Given the state of the German group's hopelessly stale and unexciting brand of techno-goth, the most interesting and relevant question to be asked about Das Scheit's third album Superbitch may be whether the title refers to a particular woman, or singer Clint, who sort of looks like Marilyn Manson's mother. A brief glance at the nasty and often misogynist lyrics gracing these songs ("Catpiss" outright demands fellatio of a female subject, for instance) will be enough to prove the first hypothesis true, and then one must try and find some redeeming value in 12 almost uniformly forgettable numbers. Thanks to their predominantly unimaginative, stock rock arrangements and often plodding mid-paced rhythms (see "Much Deeper," "Lonely Walk," etc.) this can be an arduous task: Clint's multiple-vocal personalities (at times whispering, crooning, or, good Jesus, pathetically rapping!) yield not a single memorable character among them; synthesizer programmer Sascha unveils a far-too-limited assortment of tricks to lend the songs that necessary gothic grandeur, never mind drama, and dual guitarists Casey and George are really but secondary players in the entire charade, their occasionally driving riffs ("Coming Up Roses," "Hardbody") ultimately lacking the conviction to save the day. Furthermore, with only the mild female-bashing controversy cited above to distinguish it, Superbitch offers nowhere near the shock value to possibly override its mundane musical achievements -- and that's a trick you'd think they could have learned from their hero Marilyn Manson, don't you think? In any event, Das Scheit's songs are at least competently performed and recorded so as to not further offend one's ears -- although, come to think of it, that may have been a good strategy for them.
AllMusic Review by Eduardo Rivadavia