Reality is always harsher than fiction. Topics such as cannibalism, war crimes, and pre-pubescent murderers are all real world phenomena. Oslo, Norway’s BLITZKRIEG BABY are simply the messengers. The band features musician and artist Kim Sølve of Trine + Kim Design Studio, MANIMALISM, and record label, Adversum.
BLITZKRIEG BABY‘s Cannibal Commando EP is a disturbing listen. It’s like being drugged, kidnapped, and held in a room to witness some of atrocities of mankind first hand. The band’s self-described “Ultra Negative Industrial Pop” is based on unsettling beats, whispers that speak louder that screams, and pure eerie, noir atmospheres.
Each song offers something different. The title track opens things up with the feel of predator hunting its unsuspecting prey. “There Will Be Casualties” sounds like brainwashing propaganda soundtrack. “This is Where Empathy Comes to Die” is an instrumental, short track that serves more as a segue piece. “Spit” is straight forward with variations on one theme. It sets things up for the finale and best song, “Cut. Slash. Maim. Kill.” By far the most musical song on Cannibal Commando, the scope is monstrous yet eerie with its entrancing beats. The instrumental is an eruption of what was bubbling under the surface during the prior four tracks, which are significantly more subdued.
Cannibal Commando is a strong progression for BLITZKRIEG BABY and shows a band that can only get more sick and disturbing. (Beläten)
MANIMALISM‘s self titled debut is an anachronism of sorts. While the band wrote the album’s material during the span of 1993 to 1999, things did not come together until now. MANIMALISM is never cited as being part of the Norwegian black metal wave that took the world by storm due to their low-key status. The band’s most well known member is guitarist Kim Solve of Trine + Kim Design Studio, who has designed artwork for ULVER, SOLEFALD, and THE WRETCHED END.
Using VED BUENS ENDE, FLEURETY, and recent MAYHEM as reference points, MANIMALISM walk on the strange, eclectic side of Norwegian avant garde metal. The ominous ringing of clean guitars and discordant time signatures meld with heavy, palm muted riffing juxtaposed with crooning vocal stylings. There is a feeling of being dragged away to the twilight zone.
Not only are the individual performances excellent, the live recording-like production make the album a great listening experience. The drumming crashes and bashes with seemingly unexpected yet perfectly timed flurries. The guitar crunch and clean guitar tones are immaculate. For example of great bass playing, check out the awesome basslines on “The Dandified and the Devilfish.”
Ironically, opener “Demons in Tuxedos” may be the weakest song on Manimalism. The vocal lines on the chorus are a tad sour. However, Manimalism gets meatier, weirder and more compelling as the tone gets stranger and more unsettling. Fourth track, “Romance,” may be the best song with the band use the dynamic of pockets of silence to great effect. Everything comes together with its ghostly eeriness.
MANIMALISM is wholly unique and thus, fits perfectly into Norwegian avant garde metal universe. (Adversum)
Norwegian post-black metal band, MANIMALISM, is returning from a long hiatus to release their first full-length album, Manimalism.
After releasing two demos in the mid-nineties as TAARENES VAAR, MANIMALISM went quiet; or so it seemed on the outside. Composed between 1993 and 1999, this album—apparently cursed from birth—has since been hovering in a near-completed form burdened by a constant barrage of breakdowns, line-up changes, and recording difficulties. Slithering from silence is the crew of renown artist/designer Kim Sølve, Bjeima (YUREI, ex-VIRUS), Petter ‘Plenum’ Berntsen (VIRUS), Member 01 (THE CONSORTIUM), and Joachim Svebo.
First up is the single “Demons in Tuxedos,” the opening track from their first demo from 1996:
Manimalism is being released on black and gold 12 inch vinyl by Adversum, the label that gave you YUREI, I LEFT THE PLANET, ALFA OBSCURA, and STAGNANT WATERS.