Metal maniacs, rejoice! I am proud to present to you: GEFRIERBRAND; independently unsigned, hailing from the glory of Germany - performing Melodic Dark/Black Forest Metal/Metal, on their 3rd Full-Length Album entitled: "Es War Einmal" (released February 29th, 2020).

Since formation in 2006; the sextet in question have a Demo entitled: "Caveat Emptor" (released in 2009), 3 Full-Length Albums...the first entitled: "Zeitenstrum" (released in 2011); "Weltenbrand" (released November 12th, 2016) & this here album entitled: "Es War Einmal". 11 tracks ranging at around 42:27; GEFRIERBRAND arrange an intricately designed formula of heavy-hitting Melodic Dark/Black Forest Metal/Metal amalgamations. Beginning the record with the soundscape of a crackling chair going back and forth in an eerily daunting "Prolog"; until advancing into a high-pitched bark of amplified calamity of riveting adrenaline, boistrously bouncy gnarliness and a concretely gritty fabrication culminating harmonic hymns into a barraged frenzy of outrè panache with quintessential virtuosity - in the titular track which sets the bar for the rest of the record.

Consisting of Tom on the geschrei (which translates to yell, screaming & shouting et cetera); the frontman executes a blistering demonstration of rawly rough shreiks that showcases raspy throatiness & a borderline foundation of monstrous pipes with lungs lacerating killer momentum while staying primitively vibrant yet savagely sinister. "Die Boten des Todes" manifests meticulous rhythms that syncronize wildly rushing yet razor-sharp remedies from guitar duo Lord Säsch von Speyenstein der Schläfrige & Frosch; both forge a crunchy dynamic of dextrous flamboyancy, implementing catchy fretworks with volatile meatiness while juxtaposing tight soars that strike with thunderously ripping shreds which strum with organic substance & rapidly swift nimbleness - while embellishing into an experimental maelstrom of quirky snappiness.

"Der Graf von Geichen" supplies more salubriously sonic seamlessness; portraying upbeat tempos, trailblazing vibes of folklore elements & blackened extremity converging an energetic ritual of relentlessly stampeding piledriving from hammering drummer Yannick who batters his set with steely precision yet rambunctiously slamming perseverence. Persistently pounding with groovy detail, diligently constructive distortion & distinctively distinguished intensities that will shatter that rocking chair from the opening to scattering pieces. "Wie Kinder Schlachtens miteinander gespielt haben" rumbles with ruthless pandemonium, with this consistently constant percussion punching profusely robust ramifications that merges thrilling transparency of rampant stability & audible bass frolicking from Ingo; injecting infectious chugs, thumpy yet pulsating gallops and a frolicking aesthetic of uniquely versatile vehemence.

"Totenhemdchen" capitvates listeners into a lull but enriching embodiment of relaxing mobility, mixing things up with its chilled but acoustic landscape & ambient-fuelled chaos. Impressively containing those once ridden aggressive flurries, until unmasking them yet again delivering grinding dimensions of hybrid immensities while stomping with jumpy firepower & chunky finesse. "Tief im Forst" creates a harnessing adversity of old-school retribution; pursuiting skyrocketing melodies that surge with revelling subjugation, systematically providing those venomous yells with the punishing patterns of stylish vibes including gloomy yet potent sludginess and an evil empowerment of twisted but brutally dark hooks mesmerize souls with majestically melancholic moods yet maddening relishments.

"Das letzte Haus (am Ende des Brotkrumenweges)" articulates an adroitly deadly compoment of mandatory yet mighty fundamentals; as the bass continues to pummel with massively weighty yet towering shines, while the drums combust into a cymbal-pedalling quake of tremendous heft. Guitars bursts with oozing sophistication, while the vocals prodegiously wonder with blood-curdling cords that overarchs high-pitched hostilities. Hardened into a fluidly polished strife of speedy sound production memorability, and a pleasing songwriting contrast brilliantly keeping the musicianship methodically timed while brimming with full-throttle remarkability while slabbed with neck-breaking, fist-pumping grit. "Grab aus Dornen" establishes a breifly turned-soft introduction converging a healthy overdose of vigourously spirited musicalities, materialized with progressively technical imagination & bone-crushing malice.

The penultimate song: "Das Schrättele" dominates into a whirlwind ultimatum of outstandingly strong performances, raging with stampeding stability and a splendidly shulpurous reckoning of triumphantly tribal warfare. Overall concluding "Es War Einmal" with the finale epic: "Rot" which elegantly backtracks to the Black Forest formulaic in a deathly bombardment of unprecedented clean-singing fragments, Melodic Dark enticements & battle-ready royalties. I am compelled to say that GEFRIERBRAND certainly outdone themselves with this one, definitely exceeding all original expectations with enjoyably entertaining but glorious grandures in which supply an awe-inspiring amount of rocking varieties and exquisite myths that tell the tale of their homeland in Southern Germany as well as their legends based on the frontgate of that Black Forest. If this intrigues you as it did me, do yourself a favour and check these metallers out!