1914/Minenwerfer - Ich Hatt Einen Kamaraden (2016)

This split between California's Minenwerfer and the Ukraine's 1914 is certainly something I wouldn't have expected. Two bands on completely opposite sides of the world making war themed metal, of course in 1914's case, their country has literally become a warzone. So I'd assume that 1914 have actual experience with such a subject by now that it isn't just the product of several WWI books and documentary films. Unfortunately. My thoughts on the war are not very pleasant, but I won't get into them here. In any case, we have two bands that are both worthy of promotion.

The first of course is California's Minenwerfer (Minethrower) and they do produce a style of black metal that I'd describe as raw, dissonant and slightly technical. Though the band mainly use droll tones, there are also some obscure riff compositions that create a sort of slightly progressive sense to the music. They also love to thrash, blast and generally cause a ruckus. It's twenty minutes of extremely dark chaos with some unexpected nods to rock n' roll shredding (Iron Cross) that sound very similar to other acts in the genre. It isn't until “Second Battle Of The Masurian Lakes” that things really start to pick-up for me and I'm suddenly aware of their talent. Considering that members of funeral doomers Lycus are here (Nick Liuzzi plays the guitar in both bands) and Liuzzi's penchance for shredding up a storm during some of these admittedly rather punchy numbers, you're definitely getting everything you could want from a black metal act. It doesn't get much more dark or depressing than this without going into howl territory, and I'm glad that the record never reached that level of stupidity.

The next act we have is of course 1914, who have given us a much different sort of performance this time around. Aside from and intro and an interesting electronic remix, there are only two songs here, “Karpathenschlacht” and “8 × 50 mm. Repetiergewehr M.95.” Yeah, that's a hell of a name for a song and it sounds much more like a loaded weapon – which it is, of course. Fortunately, this one is a good mix of doom, black metal and atmosphere. It tends to stick towards more melodic and somber tones, but this just goes to show the listener that 1914 are more than the basic black metal affair of blasts and tremolo riffs. These unexpected excursions are what will propell the band further into relevance, and by all means; they should be blowing up by now. This is essentially well-crafted work that a great deal of thought was put into, not to mention the soundclips sometimes used in order to create the atmosphere of war. As I said, the electronic remix for “Gas Mask” is interesting and not just something thrown in for filler. Though dubstep is certainly used a bit within the piece, I found it extremely interesting when chiptunes came into play and it began to sound like these gentlemen were soring a classic Nintendo title. I love chiptunes obviously, and the fact that these guys decided to give that a go here is something I found quite inviting,

All in all, both bands have recorded decent efforts on their respective sides and you can't go wrong with a disc like this. I definitely feel that the 1914 side is much stronger than the Minenwerfer, but I would not turn either side away due to just how intriguing they can be in their respective styles. Though the two acts are similar in sound, they are by and large different in style, which you'll notice quite early on. This EP might be hard to come by as far as a physical release is concerned, but you can always pick up a digital copy on Bandcamp.

(8 Tracks, 43:00)

7/10

1914 - Eschatology Of War (2015)

Hailing from the Ukraine, this black, death and doom act released their debut just a few years ago and it's definitely still worth checking out today. This was a personal submission that I had not expected, featuring a very interesting way of looking at war. Now the war by which this album is centered on is the bloodiest one we've ever had, and that would be World War I. It was so barbaric that it's surprising it ever warranted a sequel. In any case, the most interesting thing I find about this band outside from their crushing metal outputs is their “dare we call them atmosphere” pieces. Often a very popular song for the time would begin to play from a scratched record or an old vinyl, and then suddnely fill with the sounds of warfare. I may have said this before, but if anyone ever decided to make a music genre made of classic songs from the forties and the sounds of battle, I would become a quick fan of it. Aside from that, these guys certainly know their grime. The record feels often carnivorous, terribly morose and uncomfortable and even quite horrific in the vein of Cpt. John B. Kumar's vocal expressions. Lt. Serge Russel's drumming was heavily felt in both “Gasmask” and “Frozen In Trenches” as it really brought a paramount degree of force and fire. Yet in “Verdun” the band takes a much different approach altogether, which is slow and melodic courtesy of Sgt. Andrew Knifeman and Pvt. Liam Fissen. Said piece even fills heavy with majestic choirs. The entire album places you dead center into the middle of European warfare, in possibly one of the most realistic ways that metal can do. If you watched a WWI documentary while listening to this album, you may even feel as if you're there. Word has it that Tolkien wrote some of his books down in those muddy trenches, and the world of modern fantasy has him to thank for making it out in one piece.

I'm actually hearing a lot of God Dethroned here, which is quite peculiar as they've also done their war epics, and actually went out doing them. The difference here is that there is definitely more of a fiery black metal edge to the performance than that of the death metal pummelers, which adds a much different feeling to these songs of warfare. Also, God Dethroned's work with similar material felt much cleaner than this record, which has a gritty rawness that feels more believable. Cpt. Kumar displays his vocal range perfectly as well, which translates to horrendous scowls and pained clean vocal moments, nothing ever feeling overly happy. Nor should it. This was a hell of a time for the whole of humanity. “Zeppelin Raids” gives me the right amount of ominous doom, as “Ottomon Rise” gives me an absolute splattering of mud and chaos. The riffs here sound downright demonic, once again making me feel the sorrow and fury of the war. Once again, this record puts you right in the middle of a war. You might want to put on a flak jacket before you even sit down to listen to it. That's not to say that there isn't any light-hearted bits of atmosphere to be found on the same track, but the howling and shrieking in the background certainly dirties up the clean guitar nodes used on the piece. There's no remorse here, not even in the twinkly bits. It's war! Have you forgotten?

I will say that more progression finds it's way into the mix later on, and that's fine. I do prefer records with more texture and depth, and these guys could have just given me pounder after pounder, by which I'd have been sick with the record by then. Rather, 1914 decide to give me an actual performance worthy of being on a disc, with many twists and turns in lieu of songscape and that's when I start to give a damn. I'm aware that this is an older record, but if you have not heard it yet, now is your chance to do so. I will warn you that it is absolutely gruesome, not for the feint of heart and drenched in the blood and guts of merciless warriors who fought for several things, but namely their own lives. Nothing I've seen in the metal market puts you right in the heat of battle faster than 1914, especially with album, which should be heiled as a modern classic.

(10 Tracks, 51:00)

10/10