Growl, Low vocals, Opera-Rock, Theatrical
"Rosenkreuz takes us on a tour of the "Crystal City" shallows with a gothic industrial metal in which we like to get bogged down."
ADRIANSTORK (06.05.2020)  
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"Crystal City" proudly displays its architectural forms whose crystalline brilliance is reflected in the moonlight. But at the foot of these glass giants lies a muddy swamp inhabited by a fauna that is, to say the least, dubious. There, everything is disorder, ugliness, vice, noise and pleasure. Like his colleague Shaârghot with whom he toured, the young Rosenkreuz offers us a guided tour of this urban hell for his first studio album.

Rosenkreuz, a deliberate distortion of the patronymic of a Hamlet character or more directly a tribute to the founder of the secret society of the Rosicrucians, we won't know. What is certain is that in 2017, the French group had delivered an EP, "Infinite", which already revealed a sound universe and a conceptual temptation that we find on this album. The soundtrack of this trip to "Crystal City" turns out to be dark, heavy, and offers an industrial metal tinged with gothic. 'The Antisocial Manifesto' unfolds like a hymn and presents us with the different facets of Rosenkreuz: the growl vocals are aggressive, but sometimes playful, the guitars are restless, but the bubbling energy meets moments of floating. Rozenkreuz thus finds a balance between calm and fury. While the eponymous 'Crystal City' is a crawling monster with a viscous voice and a suffocating atmosphere, 'She's Lost' is a luminous ballad. With its perilous guitar solo and very Nine Inch Nails first period keyboards, 'Lucretia' adds a new gothic seduction with a female voice that tempers the explosive ardour.

The singing, whose intonation is sometimes reminiscent of Till Lindemann, is just as theatrical and seems to provide an ironic distance to the thematic content. The themes of the songs are very gloomy (business criticism, industrial massacre, guide to the cynical dragger or the perfect rottenness). Perhaps the weak point of the album lies in this overbidding of bad taste and vulgarity, but as the poet said, you have to know how to get lost to find yourself. If Rosenkreuz's aim is to hold up a mirror to the most repulsive face of our world, then no one will accuse the mirror of being ugly. Finally, 'This Is Is War', which closes the album, is a generalized massacre (with a slogan that sounds like the Sex Pistols' 'No Future') announcing perhaps a more monstrous sequel. 

On his debut album, Rosenkreuz is like a little brother to Porn and Shaârghot, deploying an elaborate thematic universe around dark music. The aesthetic is based on a clever balance between shimmering colours and darkness. The riffs are sharp, the growl is invective but the melodies are catchy and the band always surprises by drawing a card whose colour could not have been anticipated.

More informations on

01. The Antisocial Manifesto - 4:16
02. Lucretia - 3:16
03. Crystal City - 4:08
04. She:s lost - 4:56
05. Die! - 4:31
06. Sin Addiction - 4:03
07. Vampire Killer - 3:40
08. Death Industry - 4:06
09. Libertine Lover - 3:30
10. For Eternity... - 3:53
11. This is War! - 4:44

Gabriel: Batterie
L'abbé S. M.: Chant
Phil Wei: Guitares
Pjv: Claviers
Vivien: Basse
Yoann M-g: Guitares
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