German Black Metal acts are - in the greater part of them - linked to the past. Ok, it’s clear that some bands use different insights, but it’s usual for the German scene on Black Metal to stay attached to the models defined during the rise of the Second Wave of the genre (something circa 1991 and 1993). It’s obvious that many very good releases can come from such formulas and models, as shown by SCHEUSAL on “Urwahn”. The album was recorded, mixed and mastered on 2024, at the sonority relies on the old models of the 90s: a lo-fi approach to make things sound funereal and sinister, with organic instrumental tunes and nasty shrieks being mixed on the most classic ways possible for the genre. It’s good, but some improvements can be done in the future.

It’s no heresy to say that SCHEUSAL (that seems to be a one men band) put all its efforts on the most primitive ways possible into Black Metal on the ways that were defined by releases as “De Mysteriis Dom Sathanas” and “A Blaze in the Northern Sky”, with focus on something more climatic and darkened than on fast tempos. The band truly has potential to trail such paths, but can evolve a bit more. It’s not bad at all, but it can be better (they can do it).

Pay attention: what is shown on “Der Giftler”, “Blutsumpf”, “Rotäugig & Gehörnt”, “Der ewige Pilzkult”, “Mit Horn, Huf & Schwefeldunst”, “Die Bestie am Seelengrund”, “Der Nachtmahr”, “Der Tod im Gehölz”, “Der Dornengott” and “Der Spiegel im Abgrund” is really charming and will hook fans of Old School Black Metal, indeed (especially for the creative contrasts between faster moments and slow funeral parts), but as written above, too much can be expected from SCHEUSAL’s music. And remember: the higher the expectations are, the better the band’s music can be.

As final words: “Urwahn” is a fine first coming (it’s the band’s first release) and will earn many fans for the band’, but SCHEUSAL is that kind of band that can improve its music a lot.