Mein Fleisch an deinen Lippen...

Mein Fleisch an deinen Lippen… draws much of its energy from the space between thrash and black metal. A riff might begin at a measured pace, return over blast beats, and give way to an acoustic or clean passage before the guitars take over again. The transitions keep the seven songs lively without making them difficult to follow. On this first listen in years, their structures did not always reveal an obvious chorus, but the hooks were immediate.

The guitar work is the album’s greatest strength. Its thrash riffs often bring Metallica’s first two records to mind, though the black metal edge gives them a different character. That is a resemblance I hear, not a claim about Bluttaufe’s influences. Tapping leads, arpeggios, melodic phrases, and a well-placed solo provide just as much to enjoy as the main riffs. The vocalist leaves plenty of room for those parts to develop; the songs can run longer as a result, but usually make good use of the time.

“Trauma” remains my favorite. Its opening riff is instantly catchy, shifting between mid-tempo sections and blast beats, while quieter passages add contrast. The verse guitar part has an almost metalcore-like shape, although the band as a whole belongs firmly in its black and thrash metal setting. The occasional clean vocals are a little awkward, but delivered with enough conviction to work. “Mein geschundener Leichnam” follows with especially strong thrash riffing and a memorable melodic lead under an almost sung scream; low growls add another layer to the vocals.

“Zu Staub zerfallen unsere Träume” moves from a German spoken sample into a striking lead guitar part, then makes room for an acoustic bridge. “Glorifizierung der Vergangenheit” is darker and more overtly black metal. Its blast-beat opening riff becomes just as effective at mid tempo, and a piano passage and lead-guitar bridge broaden the song’s mood. On “Dem Untergang verpflichtet,” a thrashy opening riff is recast with blast beats for the verse; a calm bridge then gives way to another forceful return. At seven minutes, it is the one track that feels slightly longer than it needs to.

“Untertänig, meist zur Nacht” leans into straight thrash and double-bass drumming, with a guitar solo that arrives as a welcome surprise. The opening of closer “Der Tod ist nicht das Ende…” recalls the first riff of “Trauma” to my ear, giving the record a satisfying sense of return without requiring the two parts to be an intentional reprise.

The production helps all of this land. It is unpolished but clear and pleasant to listen to, particularly when the instruments are left to carry a passage on their own. The screams sound unusually distant at times, as if the vocalist is in another room, with lower growls and occasional clean singing adding variety. That vocal sound takes some getting used to, but I would not trade the album’s honest character for a more polished recording.

For readers who consider label associations, this album was released by Christhunt Productions, whose catalog has also included NSBM and far-right acts. That connection deserves mention; it does not, by itself, establish the band’s politics. The lyrics here concern grief, death, fear, anger, and memory rather than right-wing themes.

“Trauma” is still the standout for me, but the rest of the album is consistently strong. Its 40 minutes went by quickly enough that I was almost disappointed when it ended. 9/10.