Blitzkrieg Baby - War Gods
Industrial

Ah, Blitzkrieg Baby. Utterly and sarcastically defined as "Norway's little ray of sunshine," by their record label Beläten, Blitzkrieg Baby has been on my radar ever since they released the first part in the Kids' World Trilogy "Kids' World". Released on cassette and featuring a child pointing guns at a hidden camera in anarchist like garb, the titular song on the album was a menacing martial industrial march that I have listened to hundreds of time ever since. "Cannibal Commando" continued this ugly death parade with continued industrial proving grounds that were just as addicting as before. Now we are in 2018, and the Kids' World trilogy is finally coming to an end with "War Gods". 

"War Gods" takes a similar approach in track list format as "Kids' World" and "Cannibal Commando". The title track of the EP starts us off with an militarized-industrial approach. Whispering vocals akin to the title track of "Cannibal Commando", though this time a little distorted, takes us down a darkened and destructive path. Just as before, Blitzkrieg Baby is able to entice and addict listeners' through abominable lyrics and themes. It's their playground and we're all stuck in it. 

After 'War Gods' plays out, we're struck with experimental, ambient, and otherwise disturbing songs. 'They All Died with Spit On Their Faces' is an ambient track with looping synths, an echoing drum in the background, and a static noise. 'Pig Boy No. II' is a continuation of 'Pig Boy' from their album "Porcus Norvegicus". Spoken word is the name of the game here going through a brutal and merciless filthy and bloody arena - those who are queasy need not apply. 'Bolt Hammer Kiss' has a noisy playing field over top more spoken word delivery and frantic percussion. The final song on the album 'Sicko' on the album is a slow moving industrial piece out of someone's nightmares. 

The physical package that's available for purchase is also a nice piece. The cassette is standard black and white with a lack of design on it; however, I feel as if this is more than appropriate for a release with Blitzkrieg Baby. I was kind of disappointed that the cassette did not come with a case, but it does come along with a lovely A5 four page folder as well as an A6 postcard featuring blown up artwork, tracklisting, and credits housed in a plastic sleeve. That also said, the cassette does fit nicely in the sleeve with the postcard and folder, so I guess that takes care of that. 

While it is sad to see Blitzkrieg Baby end out the Kids' World Trilogy, I am sure this is not the last we have seen of this morally drained project. I love their blunt and disturbing approach to music, and it's rare to find something so sick on the market that is also so addictive. There are still plenty of cassettes to be had, so be sure to grab one sooner rather than later. 

4
Brutal Resonance

Blitzkrieg Baby - War Gods

8.0
"Great"
N/A
Electroracle
Released 2018 by Beläten


Ah, Blitzkrieg Baby. Utterly and sarcastically defined as "Norway's little ray of sunshine," by their record label Beläten, Blitzkrieg Baby has been on my radar ever since they released the first part in the Kids' World Trilogy "Kids' World". Released on cassette and featuring a child pointing guns at a hidden camera in anarchist like garb, the titular song on the album was a menacing martial industrial march that I have listened to hundreds of time ever since. "Cannibal Commando" continued this ugly death parade with continued industrial proving grounds that were just as addicting as before. Now we are in 2018, and the Kids' World trilogy is finally coming to an end with "War Gods". 

"War Gods" takes a similar approach in track list format as "Kids' World" and "Cannibal Commando". The title track of the EP starts us off with an militarized-industrial approach. Whispering vocals akin to the title track of "Cannibal Commando", though this time a little distorted, takes us down a darkened and destructive path. Just as before, Blitzkrieg Baby is able to entice and addict listeners' through abominable lyrics and themes. It's their playground and we're all stuck in it. 

After 'War Gods' plays out, we're struck with experimental, ambient, and otherwise disturbing songs. 'They All Died with Spit On Their Faces' is an ambient track with looping synths, an echoing drum in the background, and a static noise. 'Pig Boy No. II' is a continuation of 'Pig Boy' from their album "Porcus Norvegicus". Spoken word is the name of the game here going through a brutal and merciless filthy and bloody arena - those who are queasy need not apply. 'Bolt Hammer Kiss' has a noisy playing field over top more spoken word delivery and frantic percussion. The final song on the album 'Sicko' on the album is a slow moving industrial piece out of someone's nightmares. 

The physical package that's available for purchase is also a nice piece. The cassette is standard black and white with a lack of design on it; however, I feel as if this is more than appropriate for a release with Blitzkrieg Baby. I was kind of disappointed that the cassette did not come with a case, but it does come along with a lovely A5 four page folder as well as an A6 postcard featuring blown up artwork, tracklisting, and credits housed in a plastic sleeve. That also said, the cassette does fit nicely in the sleeve with the postcard and folder, so I guess that takes care of that. 

While it is sad to see Blitzkrieg Baby end out the Kids' World Trilogy, I am sure this is not the last we have seen of this morally drained project. I love their blunt and disturbing approach to music, and it's rare to find something so sick on the market that is also so addictive. There are still plenty of cassettes to be had, so be sure to grab one sooner rather than later. 

May 17 2018

Steven Gullotta

info@brutalresonance.com
I've been writing for Brutal Resonance since November of 2012 and now serve as the editor-in-chief. I love the dark electronic underground and usually have too much to listen to at once but I love it. I am also an editor at Aggressive Deprivation, a digital/physical magazine since March of 2016. I support the scene as much as I can from my humble laptop.

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Started in spring 2009, Brutal Resonance quickly grew from a Swedish based netzine into an established International zine of the highest standard.

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