Now this, this is something. These guys do not play it by the numbers Metal style, but mix things up good and proper by introducing some Waltz, film score music and do it so you swear you can hear some Sopor Aeternus and Schweisser come through at points. These guys aren’t out to prove they aren’t manly men or their allegiance to Satan either, as they keep things nicely rounded and balanced as they remain as sure and secure in themselves as Jazz percussion. As they know what they are about, it’s all the better as they can focus on putting out toned sounds to impress rather then bombastic tunes to blow people away with.

“Geysterstunde” gets things underway with some stripped down metal while bringing in some toylike elements to add to a good atmosphere. “Moritat des Leierkastenmanns” has an excellent waltz sound and spirit throughout, and while it’s not a dancefloor track in the typical sense, it is made for dancing to. “Armee der Wiedergänger” growls and grinds away on its one accord, understated rather then overcompensating, all with some of the waltz sound of before. “Die Knochenmuhle” does it quietly, trying to being noticed by moving not unnoticed in a way that wouldn’t fit out of place on a soundtrack by Danny Eflman in the mood for Heavy Metal. “Ein Requiem in Sepia” rocks it up German style and keeps the beat good and proper.

“Feuer-Inferno (Vision Swedenborgs 1759) brings in a touch of Monkey Island style reggae with smooth, mischievous keyboard and guitars, all while smiling cheekily. Except for the singer, who’s down for some reason. “Nautilus” gets much more aggressive, and feels like it’s trying to drop the niceties in favour of “proper” Metal. “Der Galgenvogel” gets very, very atmospheric and drops any Metal pretense, revealing its true Ethereal colours. “Gespenster-revue im Theater Obszon” brings in more Waltzing and Film score sounds, which add to the richness of its tone. “Friedhlf der Sterne” shows some more flare for Ethereal while remaining faithful to the band’s Metal roots. It really is a thing to behold, and helps understand the reason why so many metallers have a thing for classical music.

“Irrfahrt durchs Leichen-Labyrinth” gets things moving fast, which is a shame, as it has some great fragile synths in the background that it could really develop. “Taphephobie” bubbles and grumbles away in a way that makes you wonder if it should have been an intro track, but it’s a nice jaunt nonetheless. “Tango Mortis (feat. Jan Lubitzki)” hits back into Metal with a feint or two of proper Waltz and “Der Nachtalb – Eine finstere Heimsuchung” sweeps forward confidently but not too aggressively. “Gang durch ein modriges Beinhaus” wraps it up with the emphasis on the drumming that comes in like hard rain. A fitting end to the record if you ask me.

They’ve got some great ideas that they are developing, and if they focused on that instead of diverting a not so straightforward Metal, they would have an outstanding album. But what we do have here though is still a fine album that will interest people who have a wide taste in music as well as those that throw the devil horns when they put their headphones on.