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“Kunstraub” (2013) - In Extremo

The penultimate entirely original album in the band's production (Kompass Zur Sonne released in 2020 will be commented on later), this Kunstraub appears rather heterogeneous.
The texts are all this time in German, in a very beautiful writing that often grooves very well and carried by a superb, powerful singing and much more in front of the mix than in the past.
Medieval influences are rather absent and traditional instruments less present, often replaced by synths playing lines that are not always very happy.
The compositions once again testify to a great sense of melody, offering choruses that work admirably.
But for the record, the eponymous song (track 6) appears to be largely dispensable…

My choice :

- Gaukler (track 5) : to savor for his magnificent chorus, superbly carried by the bass and illustrated by a rather rare bagpipe on the album,

- Feuertaufe (track 7) : change of tempo here with a bagpipe that installs a devilishly effective chorus again; very nice bridge to the bagpipes once again. The whole is monolithic but terribly effective. Don't miss to look at the two bagpipes on the video: it's just worth the detour!

“Kein Blick Zurück” (2006) - In Extremo

The group from Berlin was formed in 1995 from a double base of rock (or even punk) and medieval music.
Many of its members have great experience in various animations on medieval events or markets with ad hoc instruments.
Their fusion of these styles is generally successful over time, as part of an ambitious project; several albums offer songs in ancient languages while traditional instruments are often totally original.
The bagpipes are in particular of high quality and very visually worked.
With the assertive personality of the lead singer Michael Robert Rhein and a very developed sense for melodies with catchy choruses, In Extremo is an essential band in Folk Metal.

So let's start our exploration with a look back with this 2006 compilation maliciously named Kein Blick Zurück... meaning "No look back"...
Like any self-respecting compilation (sic), we are dealing with an artificial juxtaposition of songs but with some real pearls.
One can feel well that the true strength (and history) of the band is based on the successful use of traditional instruments and on the quality of multilingual lyrics and associated vocal leads.
The fusion with a resolutely rock or even metal rhythmic base is sometimes worth it: if some tracks are a perfect success, others are more of a collage that has difficulty to take off, as it is true that the exercise is always difficult.
Some arrangements are frankly dated - this is the risk of the compilation exercise - like those from synthesisers from another era. The melodies often of (very) high quality sometimes flirt with the commercial but the band ultimately manages to avoid this pitfall.
In general, the tracks reveal a very Germanic linearity that can be boring: we sometimes lack ruptures, madness and... arrangements.

In short, this record that could rather be described as medieval rock is quite successful and makes you want to listen to the original albums for a better highlighting of the subject and of course to see the band in concert. That's already it.

My selection :

- Ai Vis Lo Lop (track 2) : outstanding start with a leading bagpipe and guitars, followed by a superb break to introduce the vocals featuring a pronounced bass that flirts with the guttural. What is missing? Perhaps some cohesion between all these slightly juxtaposed parts,

- Vollmond (track 3) : a solid gold chorus carried by the two leads, voice and bagpipe. A linearity a little commercial but diably effective for this powerful hit,

- Pavane (track 6) : bagpipe with splendid drones on an A-MA-ZING theme; the metal rhythm fluidly takes up the torch to bring some guttural vocals; everything works in coherence, everyone in their right place in a miracle of mix and fusion,

- Küss Mich (track 9) : beautiful solo bagpipe in the intro (Pavane's part 2…), the chorus starts quickly and it is devastating despite its German variety side perfectly assumed. The vocals are well in the perfect mix; the chorus gives a superb thrill every time. A successful break with the appearance of a final leads to a magnificent rock relaunch with powerful vocals. The commercial success of this track helped to propel the band,

- Spielmannsfluch (track 10) : the whole thing is very linear but not boring; the rhythm serves the purpose remarkably. Carved in rock with a chorus of hell sauce,

- Alte Liebe (track 11) : a slow to change; rhythmic guitar and bass raise the tension to bring a huge chorus. Very well sung in the particular style of the lead singer, on lyrics of very good level. And what a melody!

KUNSTRAUB (2013) - IN EXTREMO

Folk Metal / Celtic Metal - 1

BEST OF 2006 - IN EXTREMO
My tracks