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Darker Than Black Records

Totale Vernichtung are one of the most interesting act of the last years. After a bunch of demos in 2006 and a first great album in 2012 ‘Feuerbestattung’, almost one year ago released this ‘Ritualmordlegenden’, under the famous label Darker Than Black Records.

Totale Vernichtung (Total Destruction in German) is a one man band run by the young Austrian musician Antimessiah (that lead also the project Vicarivs Filii Dei, whit a more ‘Scandinavian’ sound and antichristian themes). It’s always fascinating to note how the tradition of the one man bands in Black Metal keep on living, since the times of Bathory and Burzum.

‘Ritualmordlegenden’ (something like the Legends of Murder Rituals) is a fantastic example how is it still possible to play Black Metal in an original and thrilling way. The guitar riffing is almost always on ultra high pitched tones: fast like a series of a gun shot, pounding like a hammer, sharp like a blade in your ears, you will be blown away by the fury executed by Antimessiah.

But it’s not only loud: every song is different and unpredictable, with breaks and pick ups: Totale Vernichtung runs fast but are even able to bang your head with some thrashy mid-tempos parts.
The drum machine set on industrial and martial sound contributes to give that sense of alienation and darkness; the voice is deep, cavernous and reverberated, proclaiming his message of hate and destruction.

The lyrics (all in German), so like the band image, are not clearly politically exposed but you can read the title of the songs to make your idea, for not forgetting that Darker Than Black Records is one of the main label involved in the NSBM scene.

Songs like ‘Nucklearpogrom’, ‘Die Gasmaskenblindner’ (The Gas Masks Forger), ‘Massengrabenlied’ (The Mass Grave Song) or ‘Das letzte zertretene Glas’ (The Last Crushed Glass) leave certainly the sign and are the manifest of a band that was able to forge a distinguishing, original and awesome sound.

91/100                                                                                                                                                         (c) Dan Ross

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