I’m a big WWI buff. I’ve even been to Ypres trenches, Sanctuary Wood and laid a wreath at the Menin gate in Belgium.  And in my review of the most recent God Dethroned album, The Judas Paradox, I lamented the fact that God Dethroned was no longer focused on WWI, a subject I of course enjoyed, and that their style of blackened death metal was perfect for.

Well, like a Big Bertha shell from the sky, I get the promo for the second album of Germany’s Kanonenfieber (‘Canon Fever’), a project from a gentleman named ‘Noise’ and the project’s music is all about WWI exclusively. And I don’t mean a casual reference to a battle or event as both the band’s album’s lyrics are taken from Noise’s great grandfather’s personal diaries from WWI and other original documents, factual reports, and letters from deceased and living WWI veterans. Even the rest of the band’s anonymity is a tribute to the ‘Tombs of the Unknown Soldier’.

The band’s albums do not glorify war but give names and faces to the senselessness and horror of the truly horrifying conflict, and while the German lyrics might require some extra steps for English-speaking folks to grasp the stories and message of the songs truly, its worth it, and to help matters the black/death metal supporting these recountings is excellent.

While WWI-era God Dethroned is certainly a valid comparison for the faster songs,  Ukraine’s 1914 is also an erstwhile comparison, as this is melodic, often somber (of course, considering the subject matter) black/death metal with a crisp, clear production from Kristian Kohle (Powerwolf, Aborted, Benighted, Six Reasons to Kill). Cementing the 1914 comparison is the use of plenty of samples and FX and propaganda recordings to convey the stories (the ‘Over the Top’ whistle that starts “Menschenmühle” or ‘The Meat Grinder’- also the title of the band’s debut,  is particularly effective).

And while, like  God Dethroned, the songs contain some more fierce MG-08 machine gun-paced tracks like opener “Menschenmühle” or “Sturmtrupp” (‘assault troop’), the focus is on a moodier, more somber gait like “Der Maulwurf (‘The Mole’), “Gott mit der Kavallerie” (‘God is with the cavalry’) or “Ausblutungsschlacht” (‘War of Attrition’), where some keyboards/choird aid in the mood, which I wish they had user more (but then again 1914 already has that covered).

And to these ears, they have a little Heaven Shall Burn-ish morose trundle in there (and whose guitarist Maik Weichert appears on “Waffenbrüder”- ‘weapon brother’). Especially with the bigger production. Listen to the aforementioned “Waffenbrüder” and “Lviv zu Lemberg” and tell me I’m wrong.

But two of my favorites are  “Panzerhenker” (‘Tankslayer’- based on the exploits of  J. Krüger at The Battle of Cambrai) and “Ritter der Lüfte” (‘Knights of the Sky’),  due to the mix of big, beefy riffage and more savage blasts.

As with the debut, the album is adorned with superb Daniel Bechthold, WWI propaganda-styled artwork (a relative newcomer in the album cover art scene) , that like the music, gives the same excellent consistency for both albums and adds a killer visual component to an excellent album.

[Visit the band's website]

---

Comments