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Wumpscut
Schädling

Metropolis Records

Posted: Friday, May 09, 2008
By: Vlad McNeally

When :Wumpscut; mastermind, Rudy Ratzinger, boasted online that his 2008 album would feature tracks consistently recorded at a rate of 135 BPM in the style of his dark debut masterpiece, Music for a Slaughtering Tribe, it proved quite the scintillating comment. Discussions floated about the internet, wondering if this was the album would indeed travel back to the zenith of Ratzinger's harsh, militant EBM sound. Unfortunately, the answer is no; Schädling is unmistakably :Wumpscut:, but it has far more in common with his recent, more atmospheric works than the black Germanic anger found in classics like Embryodead or even Wreath of Barbs.

Still, this isn't to say this album is devoid of such pieces; Ratzinger's gruff snarls remain a constant, as does the project's overall macabre aura. However, Schädling is quite clean and minimalist - even its when there is distortion, even it feels rather organized. Ushered in by warbling fairy-like arpeggios, a terse synth quickly sets the meter of "Rusty Nails from Hell," spelling out in dissonant metallic syllables its stutter-to-stomp structure. Both its drum machine and Ratzinger's growls mimic this piercing gait, with only a flock of digital cellos sidestepping away from this straightforward pattern. Laden with screamed samples, cardboard snares, and a juicy bass line, Ratzinger's rapid hoarse chatter within "Rifki" seems intent on being a subliminal reminder as to why those early comparisons to Leæther Strip were relevant. However, it isn't quite on par with "Oh How It Feels," whose fluttering arpeggios, fluffy bass puff, and clacking plastic percussion lends Ratzinger's ogre-ish ruminations a peculiar trance accent.

While these pieces make an attempt at reliving those energetic salad days, the best example of modern :Wumpscut: resides firmly within Schädling's moodier moments. Set to a xylophone clack reminiscent of ravens pecking at skulls, "Foretold" rolls like fog through a mire of angular strings, croaking frogs, and murmuring bass undercurrents. Ratzinger growls as if imprisoned, a feeling further echoed by the repetitious old man stating "in hell" as if it was fact. While quite exceptional, "Voodoo Void" is perhaps the crowning achievement for Schädling. Though its pensive harp-like synths and thrumming steam engine drum machines are quite expected, it is paired with a terse mincing of orchestral strings and sawing swirls of Persian lute. Ensconced by the latter's brassy nasal accent and the former's accusing murmur, Ratzinger's relaxed smoky exhale is delightfully opium den sinister.

Overall, diehard fanatics of :Wumpscut: probably won't be too disappointed by Schädling, yet this album certainly shouldn't be the starting point for anyone unfamiliar with Ratzinger's legacy. There are some engaging ideas and grabbing songs here, but at the same time, Schädling just feels incomplete, half-written, and rushed just to ensure it was delivered for mass consumption this year. It's not a terrible album, but it is rather disappointing.