I lean back in relax-mode and enjoy the intro Bloodline, but the calm before the storm only lasts for 9 seconds, then the first chord takes on the lead and cares for a direct entry. The route of march seems to be clear: fast paces, complex structures and partly dissonant sounds dominate during …At Death. GROTESKH add an enriching Black’n’Roll touch, but nice melodies or memorable refrains do not appear. Consequently, an eerie and inconvenient sentiment is created, some hardly noticed measure changes turn around the corner and attach playfulness to Realms Of Sorrow. In this case, the desperate voice affects me, but in all an ambivalent effect results.
A while later, the epic Reek Of Betrayal emerges as downright direct hit. Rhythmic accentuated, throttled measures and high-speed alternate and a hymnal lead guitar shows up. I appreciate the calm middle part, carried by contained drums and a dreamy acoustic guitar. Reduced sequences loosen up the groovy tune Mercy Is Torn, which is also variegated by weird guitar lines. The sentiment of the track Pride reminds me of Satyricon’s Mother North at the beginning; in further course, GROTESKH oscillate between discreet complexity and driving elements. Surprisingly, the concluding part is contributed by the drums only with a cool solo – well done! Meaningless picks up the awkwardly shaped structures anew and does not touch me deeply, whereas the terminatory piece Ghosts is presented in better accessible style, because some melancholic, very harmonious melodies flatter the auditory canals.
GROTESKH give the listener a run for his money, because nicely flowing melodies and sober breathers are opposed to headstrong guitar runs as well as cumbersome passages, which act as hard to overcome barrier to continuous joy in listening – but this contrast effect definitely got its zest.