Vom Fetisch der Unbeirrtheit is certainly an oddity, even in the world of Black Metal. The theme, and name, of this band translates into The Fetish of the Undeterred Impetus (Editor’s Note: Correction, the project title actually translates to On the Fetish of Un-craziness. Credit: Mark P. Lindhout), whatever that means. The album title, Vertilger, translates into exterminator, and this certainly sounds like music made by people who are exterminators, and love their job. The bio, which included some very disturbing pictures, was an overly intellectualized excuse for taking pictures of whatever poor creature they cut up to put on their altar. The remains of fur were stuck on a strange wire ball, perhaps razor wire of some sort, and blood covers an altar and the two members.
The whole thing reeks of a completely insane band, one that seems to be well studied by the words in the bio, yet makes absolutely no sense to me. This is the accumulation of GG Allin doing a spoken performance of Bataille’s mutually hyper sexualized Story of the Eye, mixed in with the depravity one comes to expect from Black Metal and all the stereotypical German things one can imagine. The guy who volunteered to be eaten by a cannibal was one of their buddies at the local S & M club, and while I certainly do not dismiss the world of sadomasochism as mere insanity, some people can take it to far, and this comes off as the type of people who would tie someone up in a torture rack and use their blood for lube. All of this while intellectualizing how the experiential aspects of this laboratory experience gives meaning to existence. Gross? You are starting to get the idea
V.F.d.U. seems to have no rhyme nor reason, its perhaps merely methodical torture. The vocals are a half groaned moaning from a man masturbating while getting his throat cut, as vile as that may sounds it really does sound like this. The guitars are in desperate need of a soldering iron, dissipating underneath the filth than reappearing to inflict more damage. Its as if the guitars themselves are reluctant to function properly, becoming conscious of how this could impact others. It suddenly turns into dance music, and just as quickly returns to the peculiar drum beats that could only be compared to Deathspell Omega, and that is a stretch. Early Bethlehem certainly comes to mind, although the vocals tend to not be so high pitched, minus a few screams that are absolutely maddening, Stallagh does not even compare. Kvarforth from Shining would certainly be envious of their ability to drive people insane, and Watain will desperately be trying to outdo the most putrid pile of filth to ever enter the world of Black Metal. One of the band photos, after all, is of the two members with doctor masks and robes on, covered in blood. This truly feels like a soundtrack to someone being tortured, and perhaps its through this that we are forced to confront the darkest element of the collective shadow.
Schabenbrut is the second track, and begins with some odd electronic beat, merging into various repetitive noises that makes my skin crawl. As far as experimental music goes, this certainly pushes the boundaries beyond anything I am familiar with, and experimental Black and Doom Metal is the kind of extreme music I listen to. While Nagelfar combined straightforward Black Metal with Industrial, switching between the two in a thoughtful and very distinctive way, these guys cover both genres and everything in between while experimenting and rearranging all these concepts in a Burroughs’s cut-up kind of way. I’m honestly not even sure what to make of all of this. Schabenbrut is a twenty-minute track of groaned vocals, insane drumming, and odd noises going and returning. Prothesensucht at seventeen minutes is the other longer track, the others being near the ten minute mark or less. These two songs make up the bulk of the album, perhaps being the focus while the other tracks are intermissions to bridge these tracks and fill out the whole thing.
The eerie origins of Multiformale Leiberdimension are a ghastly voice talking in German while the electronics maintain a steady beat. This electronic interlude shows how much further down the path they took the idea of bending these genres that was started long ago by MZ 412. When the guitars return, they oddly are only prominent in the abyss between the vocals. Its quite the fractured endeavor, completely annihilating the concept of harmony. Perhaps those that understand experimental music to a deeper level could answer for yourself if they are merely making noise or if this has a mature intent. Sometimes, the word experimental is used due to our lack from being human of finding a better word. Seattle’s NoisePoetNobody once told me he is not experimenting, he knows exactly what he is doing. Yet, I can guarantee you his project is not talked about without using that word.
I can honestly say I highly recommend this album, but only to certain people. Only a few, perhaps in their eyes elite, will really be able to appreciate this, everyone else will just find it to be noise and kind of creepy. If some of the bands mentioned throughout this catch your attention though, specifically Nagelfar, MZ 412, Bethlehem, and Deathspell Omega, you are going to love, or perhaps more appropriately, loathe this. I’m not really one for stickers, but this one needs a warning. If they intended to make an album accessible to few, job well done. This is simply strange music, at times odd electronic noises, and at other times a decaying sound of guitars and drums with a bloated corpse spitting out its last curse. Its both brilliant and horrible, and at the least it will get people talking. Perhaps, that is all they ever intended. Stahlmantel is perhaps the only project I have ever heard that even approaches this. Its one second blistering Black Metal, the next weird ambient followed by a few industrial beats.
The music never stays still long enough to figure out, and its difficult to figure out how much of this is intentional and how much of this is purely noise. If it is all intentional, it is incredibly well done, for its completely unique while holding bare tendrils of influences, absolutely ghastly, and mixes so many sounds it is hard to get bored. An album like this demands your attention, and perhaps that is the whole point of such a subject matter and approach. We as humans tend to be fascinated by gore, rubber necking at every moment. Perhaps if we existed in times when death was often witnessed through war or public lynching, we would not be like this. Vom Fetisch der Unbeirrtheit is certainly on the far edges of sanity and musical genres, perhaps slipping slowly into the great Abyss.
The music’s range and diversity makes it a complicated and engaging listen, quite visceral that takes you to a place that you may not always want to go. It is certainly not for the weak of heart. Admittedly, it can be a bit much, as it requires an incredible amount of attention to absorb. I cannot possibly imagine how anyone will top this. In regards to depravity and novelty. The more I listen, the more I enjoy this album, and I feel ashamed for a part of me knows these two have taken it too far, having driven themselves insane through years of Demon possessions. These guys are on a bad trip that I would not recommend, somewhat similar to taking Jimson Weed and being dropped in the middle of a brothel that is being ransacked by murderers. Out of pure fear I cannot say I do not like this album. What can be said is if you are a fan of extreme and dark music that is also quite experimental, you will find this to be the most interesting, and frightening, album to come out in a long time.
03) Multiformale Leiberdimension