In the European Black Metal scene of the 2000s — a period when very few bands could continue without losing their line or venturing into experimentation — the landscape was largely dominated by Polish and German bands still infected by Nazi ideology, or those diluted with melodic and symphonic elements. Amidst this chaos, the German raw black metal tank Katharsis stands as one of the rare bands that managed to distinguish itself across the entire continent. Unapologetically declaring themselves the devil’s soldiers on every album, they favor relatively few but intense tracks averaging 10 to 15 minutes each, and keep a steady release schedule of roughly one album every three years. This steadfast attitude continues strongly on Fourth Reich, a pure satanic black metal album free of additives—exactly the kind of record longtime Katharsis fans expect (and perhaps the kind some seeking novelty might not).
Since Kruzifixxion, the band has maintained a notable stability under the American label Norma Evangelium Diaboli, which hosts other stone-cold bands—a stability whose longevity remains to be seen. An interesting point was the album’s initial announcement as a mini-album, though at a runtime of 46 minutes it’s hardly “mini.” The length differs from their previous album by only about 5 to 6 minutes, a trivial yet curious detail.
Musically, Katharsis shows significant compositional growth compared to VVorldVVithoutEnd, revealing a clear maturity in songwriting. Their trademark dark, ultra-mythical atmosphere may not suit everyone, but even with tracks that could be labeled as monotonous or based on repetitive riffs, they craft an incredibly strong and balanced foundation, delivering arguably their most energetic performances yet. Another key change compared to earlier albums is the presence of more mid-tempo passages and occasional melodic sections—though not melodic in the conventional sense. Stylistically, there are respectful nods to early Darkthrone in some parts. The band, having abandoned any urge for gimmicks, lets their satanic symbolism on the cover speak for itself quite naturally.
The core lineup remains steadfast: Drakh on vocals, Scorn handling guitars and bass, and M.K. behind the drums—unchanged since the band’s inception (aside from brief hiatuses or rumors of disbandment). This trio conjures raw, brutal madness repeatedly through diseased, necro riffs—some original, some classic madness—with abrasive vocals that perhaps deserve a more prominent, grinding role, accompanied by powerful drumming and blast beats that hypnotize the listener. The vocals deserve praise for receiving minimal effects yet delivering a wildly intense performance. It’s also worth noting that guest vocalist Wolfram from Orlog contributes a solo vocal on the final track, “Sinn Koronation.”
Although the album contains many mid and slow-tempo sections, the songs maintain fluidity and dynamism. Heavy riffs provide undeniable pleasure, such as on the opener “So Nail The Hearts,” a 13-minute Katharsis symphony that begins with a bold, aggressive blast, flows into a mid-paced wave, and gradually grows heavier, building a magnificent evil atmosphere. M.K.’s relentless snare assault from the start, the chilling liturgical hums added near the end, Drakh’s demon-possessed shrieks, and a resonating solo combine to imprison you deep within hell’s catacombs.
If you want to follow the opening’s heavy riff repetitions with a stunning Katharsis metamorphosis, Eucharistick Funereal blends their mystical ideology born from deep secrets with satanic power, delivering endless necro satisfaction, riff and rhythm variety, blasting, and vocalist’s hateful barbaric screams. The chaotic solo that closes the track showcases just how far their instrumental mastery has progressed. Yet, there are also more primitive black metal tributes, such as “Reckoning”—a track featuring primitive black and semi-thrashy riffs, blast storms, punishing raw thrash-black riffs, echoing vocals, and blast harmonies that scream sinful Katharsis blasphemy: “Brace yourself.”
Besides this, the band also reveals their ambient side with a 5-minute instrumental keyboard mystery, “Emeralde Graves,” inviting the listener into a mystical atmosphere. While this track serves as a transition and could be considered optional, it fits well within the album’s flow. “Sinn Koronation” closes the album by dripping hate slowly into your bones with heavy, brain-twisting progressions; its middle section heightens aggression and speed before returning to slower tempo, culminating in a wide-breathed, dynamic solo by D. Wolfram that injects a rational spirit into this wild Katharsis mysticism.
Fourth Reich is a refined, devastating display of the familiar Katharsis destruction. It’s an essential release of 2009 that should never be overlooked by pure black metal fans, though those seeking melancholy in the genre’s hills and mountains should look elsewhere. While the band’s previous necro aura has somewhat diminished, Fourth Reich delivers a Katharsis rising steadily without betraying its roots—a raw pure black metal force to be reckoned with.