Unzucht - Rosenkreuzer
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Galleries:
- Mera Luna 2017 - 2017-08-21 (Festivals)
- M'era Luna 2015 - 2015-08-17 (Festivals)
- Amphi Festival 2014 - 2014-08-01 (Festivals)
- Nocturnal Culture Night 2013 - 2013-09-12 (Festivals)
- M'era Luna 2013 - 2013-08-14 (Festivals)
- M'era Luna 2010 - 2010-08-09 (Festivals)
CDs catalogue:
Unzucht, or harlotry. For the second time De Clercq along with the rest of the band invites you to his bed, and what surprises and tricks has his guitar Schwanz this time to offer, you have to find by yourselves, with your own eyes, by moans of pleasure repaying for the musical plateau. And do not hesitate to show the recognition in an intense orgasm repeated several times, each time you will decide to intercourse again with the latest material.
Of course, like any good, self-conscious lover has a narrow circle of female and male fans (gender is irrelevant), who appreciate his charms presented with pride, ready to pay a lot for the physical contact, so the Unzucht music will go to audience (gender is irrelevant). As the chosen ones of BDSM need a fetish to fulfill, so the German quartet will satisfy primarily fans of industrial rock and metal sounds, inviting the listener to a group ecstasy.
Rosenkreuzer, the successor to debut Todsünde 8 from 2012, refers with its title to the mystical, secret society (main themes of the lyrics are transience, loss, et cetera) and, indeed, the four monks of rock order from the Lower Saxony seems to be on good way to learn the secrets of creating a recipe causing musical lust and desire for continuous sound stimulation in the listener. Although Rosenkreuzer is made of elements known for years on the stage of electronic rock, Germans, are drawing from them handfully and combining into one, create their own body shape, that they form, making it a seductive object - on the one hand full of ferocity, on the other hand full of ingenious charm. They act as a sophisticated and experienced (though young) gigolo with a natural talent and knowledge acquired from the best masters of the immoral profession. Nearby association raises quartet of Megaherz (with them toured Unzucht), as well as Rammstein and The Birthday Massacre. And although none of these groups can not be matched, it is an interesting position on the stage of industrial metal.
In relation to the debut you should expect more clarity in compositions, at the same time composed from guitar intransigence and determination in musical form (you will not find a successor of ballad Während wir uns verlieren from the previous album), while simultaneously increasing the dose of pugnacity. There are appearing so interesting elements such as piano (also on debut one) or string instruments, and whole while maintaining the industrial character and consciousness of the origin becomes of melancholic character. Because in the end, whether you prefer a romantic atmosphere or the gentle caress or violent skin on skin friction, in the end in the essence itself nothing changes.
In the vocal layer we are dealing with unusually melodic, emotionally smooth voice with a pleasant timbre and warm, dark tone, that dominates the whole, low declamations in a style of Till Lindemann and, from time to time, a high scream straight from black metal hell, thankfully, served sparingly and only to underline the ferocious musical phrase. Among the electronics more than once reminiscent of Metallspürhunde recordings - again and again coming to lead, then again hiding in the background, but always present, industrial, choral or more similar to synthpop basis – among that electronics tenacious, friction movements performs live body of a percussion, and the electric guitar regales the listener with an ejaculate of heavy riffs and melodies while masturbation is made on the strings by De Clercq, master of a manual manipulation.
Rosenkreuzer consists of 13 more or less fateful stars, more or less grim, but always consistently spreading their radiance.
The title track that begins the album in all its glory shows, how much progress has been made in Unzucht camp since the debut. I find it hard to compare with any composition of Todsünde 8 or a new album. Charismatic, drawing attention, extended to the forefront dark industrial is the foundation of the track, possesses listener from the first notes, percussion is mesmerizing by rhythm, and distorted guitar from the background passing in clear metal riffs overpowers the body. All is complemented by gloomy, determined vocal close to melorecitation. Harsh guitar - industrial chorus with several layers of vocal and equally sharp cry drives to a verge of madness compatible with text and repeated for many times fatalistic announcement, however, limits are exceeded by an intermezzo, that increases the power of all the earlier parts. Choral sound of synthesizer gives it a mystical atmosphere, as to once again introduce racing at breakneck chorus. It is impossible, that after such experience not to come to the rest of the material with a positive attitude.
The next track, Kind von Traurigkeit, starts inconspicuously, at a moderate pace, but soon reveals its energy stored in the guitar weight, though absent in the peaceful verses - it is like a lover or mistress speeding the rate, to just before the end stop for a moment - but it is not remarkable.
Triebwerk and Feuersturm are kept in the style close to Megaherz. The first one is one of the tougher tracks on the album, in which there is a contribution of heavy, low riffs, which are alleviated by a more melodic chorus and warmer vocal contrasting with the low melorecitation in the verses. Although the composition has mainly a guitar character, Unzucht (as always) balances it at some point with extending to a forefront electronics. Similarly sounds Feuersturm, but it seems to be more balanced.
The Birthday Massacre’s influences can be traced in four tracks that are candidates for the potential synthrock hits. Brighter when it comes to the atmosphere is Nur die Ewigkeit with a modest appearance of the piano on the background play of the guitar, synthpop electronics, shining in the verses and under the heavier riffs in the chorus, stands out from that bunch least. It is different with more sophisticated symbiosis of synthetic foundations and electric guitars in thought and melodic Zwischen den Welten, but the true mastery in creating hits, however, can be heard only in Das dunkle Tier and Der Versuch zu leben. It consists of a memorable themes, dance mix of guitars and electronics, characteristic choruses and melodic lines and - at first - changes of pace, relentless cooperation of heavy guitars and drums, and the second - melancholic nature, awakening and rising at the end of voltage falling then slowly like an excitement, that was given a free rein. I like the way, in which modest symphonic elements were used and, less modestly, the piano in the last part of the track.
Fans of undoubtedly metal sound will be satisfied by Angst – Rammstein like mixture of industrial and uncompromising weight of guitar, with a little of black metal screams and the disturbing samples. Used there recitation in a low, sinister voice against the electronic layer is almost an imitation of that issued by the Lindemann’s team on the single Engel (pay attention to the intonation). Surprises are provided by Der Untergang, which begins with doom, slow riff and disturbingly high keyboards, but it quickly transforms into something else. It is still hard, though not so gloomy, and appearing here and there keyboards at the beginning of the composition and the riff are just an excuse to immediately compensate it with a powerful dose of melody (one of the best choruses on the disc), as well as thanks to the piano.
Singer Der Schulz has Spanish roots, which could be regarded as an excuse to present the song Entre Dos Tierras from Héroes del Silencio band in a new version. It is lighter musically than the original, more energetic and danceable. Unzucht definitely transposed their classics in their own musical language and you can listen to it with a pleasure.
One of my favorite tracks on Rosenkreuzer is unusual for the album content Nymphonie. Electronics is not completely abandoned, but significantly reduced, as the title already suggests, for the symphonic elements. In a climatic, gothic atmosphere introduce sampled sounds of the storm and piano used in a typical motive, that will accompany the listener for almost the entire composition growing in a sophisticated way. Electric guitar is playing there mainly the melodic role, and violins together with choral sound of the synthesizer build a bright, romantic and melancholic climate altogether with the vocal itself.
When the listener is already slowly sinking in the resounding silence, he is roughly rescued from it by voluptuous heavy riffs accompanying the motoric drums in Mit Dir oder ohne Dich - I find it hard to forgive. The word "oder" is the key - the track is a dissonance between the delicate parts with piano and violins and weight. However, that dissonance fades over a time, and the composition changes into synthrock, melancholy, hit like tune.
The weight of Rosenkreuzer is intertwined with delicacy. The work is more successful than its predecessor, but at first listening, it is not really possible to capture elements, that distinguish the individual tracks (but with time the satisfaction is increasing), and sometimes the compositions seem not to be entirely consistent.
I hope, that musical impotence will not get the members of Unzucht and soon they will be able to present another, even better work.
Tracklist:
01. Rosenkreuzer
02. Kind von Traurigkeit
03. Triebwerk
04. Nur die Ewigkeit
05. Feuersturm
06. Zwischen den Welten
07. Das dunkle Tier
08. Der Versuch zu leben
09. Angst
10. Der Untergang
11. Entre dos Tierras
12. Nymphonie
13. Mit Dir oder ohne Dich
Other articles:
Of course, like any good, self-conscious lover has a narrow circle of female and male fans (gender is irrelevant), who appreciate his charms presented with pride, ready to pay a lot for the physical contact, so the Unzucht music will go to audience (gender is irrelevant). As the chosen ones of BDSM need a fetish to fulfill, so the German quartet will satisfy primarily fans of industrial rock and metal sounds, inviting the listener to a group ecstasy.
Rosenkreuzer, the successor to debut Todsünde 8 from 2012, refers with its title to the mystical, secret society (main themes of the lyrics are transience, loss, et cetera) and, indeed, the four monks of rock order from the Lower Saxony seems to be on good way to learn the secrets of creating a recipe causing musical lust and desire for continuous sound stimulation in the listener. Although Rosenkreuzer is made of elements known for years on the stage of electronic rock, Germans, are drawing from them handfully and combining into one, create their own body shape, that they form, making it a seductive object - on the one hand full of ferocity, on the other hand full of ingenious charm. They act as a sophisticated and experienced (though young) gigolo with a natural talent and knowledge acquired from the best masters of the immoral profession. Nearby association raises quartet of Megaherz (with them toured Unzucht), as well as Rammstein and The Birthday Massacre. And although none of these groups can not be matched, it is an interesting position on the stage of industrial metal.
In relation to the debut you should expect more clarity in compositions, at the same time composed from guitar intransigence and determination in musical form (you will not find a successor of ballad Während wir uns verlieren from the previous album), while simultaneously increasing the dose of pugnacity. There are appearing so interesting elements such as piano (also on debut one) or string instruments, and whole while maintaining the industrial character and consciousness of the origin becomes of melancholic character. Because in the end, whether you prefer a romantic atmosphere or the gentle caress or violent skin on skin friction, in the end in the essence itself nothing changes.
In the vocal layer we are dealing with unusually melodic, emotionally smooth voice with a pleasant timbre and warm, dark tone, that dominates the whole, low declamations in a style of Till Lindemann and, from time to time, a high scream straight from black metal hell, thankfully, served sparingly and only to underline the ferocious musical phrase. Among the electronics more than once reminiscent of Metallspürhunde recordings - again and again coming to lead, then again hiding in the background, but always present, industrial, choral or more similar to synthpop basis – among that electronics tenacious, friction movements performs live body of a percussion, and the electric guitar regales the listener with an ejaculate of heavy riffs and melodies while masturbation is made on the strings by De Clercq, master of a manual manipulation.
Rosenkreuzer consists of 13 more or less fateful stars, more or less grim, but always consistently spreading their radiance.
The title track that begins the album in all its glory shows, how much progress has been made in Unzucht camp since the debut. I find it hard to compare with any composition of Todsünde 8 or a new album. Charismatic, drawing attention, extended to the forefront dark industrial is the foundation of the track, possesses listener from the first notes, percussion is mesmerizing by rhythm, and distorted guitar from the background passing in clear metal riffs overpowers the body. All is complemented by gloomy, determined vocal close to melorecitation. Harsh guitar - industrial chorus with several layers of vocal and equally sharp cry drives to a verge of madness compatible with text and repeated for many times fatalistic announcement, however, limits are exceeded by an intermezzo, that increases the power of all the earlier parts. Choral sound of synthesizer gives it a mystical atmosphere, as to once again introduce racing at breakneck chorus. It is impossible, that after such experience not to come to the rest of the material with a positive attitude.
The next track, Kind von Traurigkeit, starts inconspicuously, at a moderate pace, but soon reveals its energy stored in the guitar weight, though absent in the peaceful verses - it is like a lover or mistress speeding the rate, to just before the end stop for a moment - but it is not remarkable.
Triebwerk and Feuersturm are kept in the style close to Megaherz. The first one is one of the tougher tracks on the album, in which there is a contribution of heavy, low riffs, which are alleviated by a more melodic chorus and warmer vocal contrasting with the low melorecitation in the verses. Although the composition has mainly a guitar character, Unzucht (as always) balances it at some point with extending to a forefront electronics. Similarly sounds Feuersturm, but it seems to be more balanced.
The Birthday Massacre’s influences can be traced in four tracks that are candidates for the potential synthrock hits. Brighter when it comes to the atmosphere is Nur die Ewigkeit with a modest appearance of the piano on the background play of the guitar, synthpop electronics, shining in the verses and under the heavier riffs in the chorus, stands out from that bunch least. It is different with more sophisticated symbiosis of synthetic foundations and electric guitars in thought and melodic Zwischen den Welten, but the true mastery in creating hits, however, can be heard only in Das dunkle Tier and Der Versuch zu leben. It consists of a memorable themes, dance mix of guitars and electronics, characteristic choruses and melodic lines and - at first - changes of pace, relentless cooperation of heavy guitars and drums, and the second - melancholic nature, awakening and rising at the end of voltage falling then slowly like an excitement, that was given a free rein. I like the way, in which modest symphonic elements were used and, less modestly, the piano in the last part of the track.
Fans of undoubtedly metal sound will be satisfied by Angst – Rammstein like mixture of industrial and uncompromising weight of guitar, with a little of black metal screams and the disturbing samples. Used there recitation in a low, sinister voice against the electronic layer is almost an imitation of that issued by the Lindemann’s team on the single Engel (pay attention to the intonation). Surprises are provided by Der Untergang, which begins with doom, slow riff and disturbingly high keyboards, but it quickly transforms into something else. It is still hard, though not so gloomy, and appearing here and there keyboards at the beginning of the composition and the riff are just an excuse to immediately compensate it with a powerful dose of melody (one of the best choruses on the disc), as well as thanks to the piano.
Singer Der Schulz has Spanish roots, which could be regarded as an excuse to present the song Entre Dos Tierras from Héroes del Silencio band in a new version. It is lighter musically than the original, more energetic and danceable. Unzucht definitely transposed their classics in their own musical language and you can listen to it with a pleasure.
One of my favorite tracks on Rosenkreuzer is unusual for the album content Nymphonie. Electronics is not completely abandoned, but significantly reduced, as the title already suggests, for the symphonic elements. In a climatic, gothic atmosphere introduce sampled sounds of the storm and piano used in a typical motive, that will accompany the listener for almost the entire composition growing in a sophisticated way. Electric guitar is playing there mainly the melodic role, and violins together with choral sound of the synthesizer build a bright, romantic and melancholic climate altogether with the vocal itself.
When the listener is already slowly sinking in the resounding silence, he is roughly rescued from it by voluptuous heavy riffs accompanying the motoric drums in Mit Dir oder ohne Dich - I find it hard to forgive. The word "oder" is the key - the track is a dissonance between the delicate parts with piano and violins and weight. However, that dissonance fades over a time, and the composition changes into synthrock, melancholy, hit like tune.
The weight of Rosenkreuzer is intertwined with delicacy. The work is more successful than its predecessor, but at first listening, it is not really possible to capture elements, that distinguish the individual tracks (but with time the satisfaction is increasing), and sometimes the compositions seem not to be entirely consistent.
I hope, that musical impotence will not get the members of Unzucht and soon they will be able to present another, even better work.
Tracklist:
01. Rosenkreuzer
02. Kind von Traurigkeit
03. Triebwerk
04. Nur die Ewigkeit
05. Feuersturm
06. Zwischen den Welten
07. Das dunkle Tier
08. Der Versuch zu leben
09. Angst
10. Der Untergang
11. Entre dos Tierras
12. Nymphonie
13. Mit Dir oder ohne Dich
Other articles:
- Unzucht - Venus Luzifer - 2015-07-08 (Music reviews)
- Nocturnal Culture Night 2013 - 2013-12-07 (Live reports)
- M'era Luna 2013 - 2013-10-01 (Live reports)
