Love Like Blood, THE godfathers of German Gothic Rock, have given us yet another milestone in the 12-year history of the band with their new album ”Enslaved + Condemned”.
After recording their previous piece ”Snakekiller” with well-known hired guns, the two brothers Yorck and Gunnar Eysel went into ”Enslaved + Condemned” with the line-up that had already been used on the successful ”Snakekiller Tour” and then, after completion of this current album, on Lacrimosa’s ”Elodia Tour”.
For the recording of ”Enslaved + Condemned”, the band went to Jacobs Studios in Farnham near London, where Love Like Blood worked day and night on the production for two full weeks, cut off completely from the outside world – not even the eclipse of the sun, which was blowing people’s minds throughout Western Europe at the time, could persuade the band to leave the studios located in a 400-year-old country mansion.
The piece of work produced during these concentrated recording sessions was fine-tuned to perfection by nobody less than Simon Efemey, who has produced such bands as Paradise Lost, Pantera, Amorphis and Helmet. Efemey was able to give the songs that vital transparency and to create a powerful sound that ultimately brings out all the features Love Like Blood are known for.
The engraving hooks, backed by straight guitar work and Yorck’s penetrating, rasp-like voice, generate an atmospheric depth which, enhanced by the dark, metallic sound of the album, mediates a powerful and atmospheric picture.
Recommended to hit as first track, besides the hard-driving ”Bleeding”, and the catchy ”Remember”, is the epic ”Love Kills”, which has already now established itself as a typical Love Like Blood-Classic.
The album finds the final perfection in the graphic transposition of its musical and lyrical focal points. This artwork, that was created by Gunnar Eysel during a lasting period after finishing the recordings, closes the circle made from words, music and picture.
”Enslaved + Condemned” shows Love Like Blood in peak shape and not only demonstrates quite convincingly that the band has mastered the transition into the new millennium, but also identifies very clearly the areas that will serve as the standard for future productions.