EISREGEN are very much driven by two key members who came together to form the band all the way back in 1995; vocalist YANTIT and drummer BLUTKEHLE, both of these very talented musicians are ex-members of PANZERKREUTZ and MARIENBAD but they are both current members of GOAT FUNERAL. But I do always admire bands who have gone on for so long as these guys have done so since the 1990's, after a few demos they released their debut album ZERFALL and their second album KREBSKOLONIE both in 1998. After an EP release in 1999, they released two more albums; which were LEICHENLAGER in 2000 and FARBENFINSTERNIS in 2001, then two more albums came in 2004 and 2007 but in between these releases, two EP's also came out.

In 2008 came their seventh album titled KNOCHENKULT, followed up by SCHLANGSONNE their next release in 2010 and then ROSTROT the year after in 2011. An album did come as well in 2013, but it wouldn't be until two years later that their next release came in 2015, MARSCHMSUIK and then FLEISCHFILM in 2017. Another EP came in 2018 before an album titled FEGEFEUER also followed suit and then 2020 saw yet another album titled LEBLOS. So after a long spanning career, the band have certainly gone on to achieve more and more, but there is certainly no letting down as the band are releasing their fifteenth studio album, earlier this year in January titled GRENZGÄNGER. The intro which is quiet footsteps with a stirring soundscape, a dog barks and men shouting also followed by a loud siren in "Vorposten", then we go straight into the next track which is "Grenzgänger".

Piano can be heard with vocals whispering slowly and in a deviant manner, as we hear the black metal ingredient in the vocal line, other instruments join in after that as gothic influences are in there with the keyboard sounds. Drums seem to play an off beat rhythm as guitars are in there on the beat each time or they flow over the rhythm section, piano sonata also reappears as even the alarm sound effect is present too. "In Einzelteilen" is up next with double kick patterns in the drums pulsates together with vocals plus guitar as well, there is more of a thrash or black metal influence in this track. Vocals also have a quieter line that is less harsher but cleaner, more melodic in bringing out the gothic side as does piano with guitar riffs sneaking in too.

"Für Den Kaiser" follows on the same off beat rhythm from the first track, as a percussive intro launches the listener into a bowl of gothic and black metal vibes, as guitars or vocals portray this theme. Vocals do fluctuate as they have done so before, as does the contrast between the two vocal lines, guitars bow out at one stage, drums continue on as they allow guitars to come back in. "Als Ich Noch Kinder Fraß" as we hear strings being picked as guitars fire in with drums go into black metal mania as this track is more thicker and wicked. It does slow down for a short time, then into full beast mode. "Die Frau Im Turm" has a more spooky atmosphere, with haunting piano and a simple backbeat from drums as well, vocals even have a growl and filthy tone. Drums then back down leaving piano and vocals to go alone til we go into the next track.

"Vom Loch-In-Der-Wand-Club" has more of a sway to it in tempo, as drums does construct the track with triplets in mind, the track follows the black/gothic metal sound and vocals are burdened with their cruel demeanour. The track is in no rush as tempo goes and then into the next track which is "Wiederegänger", this has an echo of drums, with a female voice in the distance then we are into full band unison. Still running on the gothic style, guitars are more settled, certainly not violent and drums do switch back to the echo or delayed tone we heard at the start of this track. "Auf Galgengrund" pumping shots of drum hits as keyboards are also heard as vocals go wild as before, the momentum is strong here as there are moments of less aggressive playing in the instrumentation.

"Kuhlkammer" goes in a similar style as the previous track but at a reduced tempo, then a short transition into a slower section, as guitar riffs are louder and sinister. A short guitar part leads back into the full band unison with more belting drum patterns then the track slows down once more as we head into the next track which is "Gegengift". There are very cool drum fills or spills, harmonic guitar riffs and possessed vocals, as this track gives more of a garage rock style but with spots of gothic elements. Even bass guitar can be heard later on in the track but the cries of guitar or bashing drums is a good way to allow the next track to come in which is "Stirb Iächelnd 2023". This is literally a one minute cold hearted and insane track with so much going as it is lively and maddening.

"Kadaverfrüling" with a gothic themed piano playing softly, drums at a slow tempo giving focus and clarity on each beat but vocals, as we hear two parts, is bringing everything together in one big work of class, as tone is also the lead factor in this track. Viola can also be heard, which we haven't heard much of as it plays in the background, for other instruments to accompany, dynamics also are such a great aspect of this track, so into "Blutsommer" we go as it continues on. The black metal sound creeping in once more before vocals solo over drums, as the gothic theme is still there also in the piano with high notes, but drums drives the track into the next track. "Herbstleiche" has a more despondent starting point, as a very distant stirring of piano, soundscape and drums like an echo, then it builds to a climax for slow mellow metal with that gothic aspect again.

Stubborn and damned vocals are back in there in the mix, but cleaner vocals does contribute in its own way as well. Heavy cymbal hits with guitar striving for recognition and vocals moving onto every phrase with power and persuasion, then we move closer into the next track which is "Wintersabbat". Viola sings beautifully but cutting across is the menacing drum patterns crashing against the wall of sound from guitars and vocals. The words coming from the vocalist almost sounds like a chant or satanic ritual, even bass guitar is heard briefly. "Rigor Mortis" has another piano part to play, then drums click into life as the final track has come upon us, a two minute and a half closure to this album. It takes ideas from previous tracks and it does end the album on a positive note, a lot to take in but I do admire this band's commitment.