Album Reviews

Kanonenfieber “Die Urkatastrophe” Album Review by Carlos Villanueva

Editorial Team

September 18, 2024

After establishing a stark presence in the blackened death metal scene with their harrowing debut, Menschenmühle, Kanonenfieber returns with their sophomore effort, Die Urkatastrophe. The two-year wait for new material from Noise’s brainchild has been intense, fueled by the raw power and emotional depth of their first release. This anticipation is met with an album that explores the brutal realities of World War I, further solidifying Noise’s reputation as a masterful storyteller and musician.

Die Urkatastrophe opens with “Grossmachtfantasie,” an ominous prelude that sets the stage for the unrelenting barrage of blackened death metal to come. The chilling spoken word intro, laid over slow-building riffs, encapsulates the dread and chaos on the horizon. This is no mere warm-up; it’s a statement of intent that Kanonenfieber is here to delve deeper into the horrors of war than before.

Following the intro, “Menschenmühle” detonates with an overwhelming burst of aggression. Noise’s visceral vocal delivery, combined with frantic guitar work and relentless drumming, creates an auditory experience that mirrors the chaos of trench warfare. The seamless interplay of death and black metal elements in this track sets the tone for the rest of the album.

“Sturmtrupp” continues the assault with pounding rhythms and razor-sharp guitar riffs. The raw brutality is counterbalanced by a palpable sense of melancholy, capturing the despair and futility experienced by soldiers. The track translates the sheer intensity of battle into music, making it one of the standout pieces of the album.

“Der Maulwurf” diverges slightly, with a more narrative approach. Detailing the grim realities of underground mine warfare, the song balances a frenetic pace with haunting melodies. The storytelling here is vivid, placing the listener in the claustrophobic, lethal environment of subterranean combat.

“Lviv zu Lemberg” and “Gott mit der Kavallerie” expand the album’s scope, zooming out to reflect on larger strategic confrontations. The former recalls the battle where Austria-Hungary reclaimed Lviv from the Russians, while the latter nods to the cavalry’s role. Both tracks display Kanonenfieber’s capacity to convey both grand-scale warfare and individual suffering through their unique sound palette.

The contribution of Maik Weichert from Heaven Shall Burn on “Waffenbrüder” adds a layer of melodic sophistication to the otherwise crushing sonic assault. His guitar solo weaves seamlessly into the fabric of the track, offering a moment of technical prowess amidst the chaos.

One of the album’s most compelling tracks, “Panzerhenker,” features a funeral doom-like vocal delivery. The slower tempo and heavier riffs allow for a more reflective, doom-laden atmosphere, illustrating the psychological burdens of war.

The album’s closer, “Als die Waffen kamen,” is an acoustic piece—a stark contrast to the previous tracks. Its somber tone serves as a poignant reminder of war’s quiet aftermath, a moment of reflection that underscores the futility of violence.

Across all tracks, the production quality stands out, thanks to Kristin Kohle’s work at Kohlekeller Studio. The balance between raw power and clarity ensures that each element—from the serrated guitars to the thundering drums—is delivered with maximum impact.

My top picks from Die Urkatastrophe include “Menschenmühle,” “Der Maulwurf,” and “Waffenbrüder.” Each track encapsulates unique aspects of the band’s exceptional storytelling and musical prowess. The haunting melodies, combined with fierce instrumentation, make these songs particularly memorable.

In conclusion, Kanonenfieber has succeeded in their ambitious follow-up to Menschenmühle. The album’s intricate balance of narrative depth and musical brutality makes Die Urkatastrophe a compelling listen from start to finish. The album’s thematic coherence, combined with its musical innovation, earns it a solid and deserved rating of 9/10.