Idisenfluch + Anachoret, self-titled, Mexico, Self Mutilation Services, CD SMS131 (2015)
This split album is a significant release for the two acts involved as it was the last recording that Idisenfluch drummer Gerileme played on before he left the band. Anachoret is a side project of Idisenfluch guitarist Ker Charan. Because Idisenfluch and Anachoret share a member, I don’t expect that there’ll be much difference between the two musically, especially as the split only holds five songs (three from Idisenfluch and the other two from Anachoret).
Idisenfluch lead off with raw aggressive BM boasting moments of booming percussion, bursts of intense emotion and a lone spidery piano melody fighting to be heard above the dense scrabbly guitars. The overall sound is clear which helps the keyboard instrument. “Nebelwelten” is a good introduction to the band for first-time listeners: the emphasis is on expressive riffs and melodies, and the piano adds a doleful element to enliven and complicate the band’s style. Songs twist and change to reflect the emotion and passion of the music. The crackly wraith singing can barely be heard above the music unless it’s high-pitched and screechy. Of the three tracks the band presents, the best is “Schlafendes Gemüt” (“Sleeping Mind”): set in a different key than the other two tracks, it has swelling drama and builds to epic heights with varied riffs and rhythms. The emotions become ever more anguished and deranged.
There’s plenty of heartfelt feeling and passion – these guys really enjoy what they do – and I would only suggest that they highlight that piano sound more by making it prominent in the mix or enriching it by substituting a grand piano for what they have now.
I’m amazed to find that Anachoret is different from Idisenfluch after all: the piano has gone and the guitar has a slightly cleaner and lighter sound. First track “November” is relaxed and calm, and may have a post-metal influence in parts. Like the other band, Anachoret has its intense emotional moments and can be bombastic at times. The project’s two songs go up hill and down dale emotionally and musically, and so in each track there’s no motif that ties all the varied riffs, rhythms and moods together.
Compared to Idisenfluch, I found Anachoret a bit wearying (that may be due to coming second) and less interesting. The two long tracks could have been edited for length as more instrumental passages don’t really add much to already meandering and sometimes monotonous music.
The release serves as a taster for two related German acts, of which Idisenfluch seem more ready for a long-term career, if they can maintain a stable line-up.