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The Suns Of Perdition - Chapter I: War, Horrid War

Canada Country of Origin: Canada

The Suns Of Perdition - Chapter I: War, Horrid War

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Type: Full-Length
Release Date: June 14th, 2019
Label: Eisenwald
Genre: Black

Review by Alex on May 8, 2019.

Panzerfaust is an extreme metal band which plays a blistering form of black metal whilst covering themes surrounding war (WW2 specifically) on The Suns of Perdition I: War Horrid War. They parachute out the plane with 5 tracks worth every second of your attention. Upon first listen, it felt like a song or two was missing, nevertheless, the music is constructed in a very awarding fashion whilst depicting a dramatic scenery. Panzerfaust could roughly be categorized alongside the likes of 1914, but their sound is more rooted in a black metal. Their approach of using classical samples and sound effects gives the listener a clear image and strong feeling of the era they’re trying to convey. Played between fast moderate tempos, Panzerfaust manages to carve a baleful atmosphere of dread; hence the items discussed are of great significance to this day. 

Songs such as opener “The Day After Trinity” and “Stalingrad Massengrab” have a potent feeling of fear accompanying them hence the former deals with an atom bomb (I think) that was designed in Los Alamos, New Mexico in 1945 and successfully tested, whilst the latter tackles the battle of Stalingrad which is cited as  “one of the largest, longest and bloodiest engagements in modern warfare”; more than 2 million troops participated. The drumming and guitar leads on those 2 tracks excel at setting the tone. Hearing the turbines and propellers of the planes cut through the skies matched with the intensity of the drumming and guitar leads, paint a rather brutal and apocalyptic atmosphere. The kind you would expect given it was such a large and catastrophic war involving the Nazis, Russians and Axis forces.  What I have found very misleading is the sound used by Panzerfaust on The Suns of Perdition I: War Horrid War; the band is Canadian, but the record’s production is strikingly similar to that of Polish black metal bands. It brings to mind the likes of Hate and Arkona, in which usually have a very bass heavy and lively guitar and drum kick. Even the vocals have a Polish feeling considering the way in which the rasps and raw sort of grunts are delivered. 

As stated before the record sums-up to about 31 minutes making it a tad bit short by my standards when referencing black metal (though this is only black metal sound-wise), but the flow of the music, organization of the songs, and general craftsmanship is enticing and creates a concise and more-so cinematic appeal. It’s definitely a well-thought-out record; every moment presented submits to a pre-ordination of sorts; therefore, fitting and latching-on delicately. Early on entries are rather short, spanning about 4-5 minutes each, whilst later material e.g. “The Decapitator’s Prayer” and more notably, “The Men of No Man’s Land”, conjoin in displaying a cooperative union of the record’s strengths and highlights. There’re no unnecessary moments to be found on The Suns of Perdition I: War Horrid War, every note fits within the confines of the matters brought to hand, making it a linear (in a good sense) and disciplined record. It's a total team effort, all elements play their roles efficiently and effectively. However, the drumming is for me the most impressive feature, whilst playing to the tune of standard black metal, there are instances of shifts in tempos lending a technical yet supporting hand to the lead guitars heard. It’s a tight and focused drum attack that exploits the clear production. 

The Suns of Perdition I: War Horrid War is a very strong record, it’s a chapter in extreme metal that has been covered before, but hearing it played with such prudence calls for emblazoning.

Rating: 8 out of 10