Ultraviolence über alles

However, it is great.

Those with a vehement hatred for anything industrial related should steer absolutely clear of this, and if you're looking for industrial black metal akin to Aborym, you won't find it here - instead, what you will find is some damn good metal!

This is harsh, abrasive, aggressive music at, perhaps its' finest. The guitars themselves aren't anything spectacular, they get lost in the mix slightly, but they're still audible, with some killer riffs and leads to be found all over the place. Bass seems to be non-existent.

The drumming doesn't do anything spectacular but definitely seems to be computerised as most industrial beats are (think Suicide Commando if you're familiar with them).

All in all there's very, very little synth to be found on this album, which may be a relief to some, and may make it feel like it lacks something (like the synth, hah) to others, but I think that if there were synth on this album it'd just add unneeded noise.

Hreidmarr (of Anorexia Nervosa fame) delivers a solid vocal performance as usual. The difference between his work on AN and this is that higher pitched vocals aren't a standard and he opts for a deeper growl and pulls it off well.

If you're looking for something new, here it is. Aborym fans may dig this... I don't know, it's more guitar driven than Aborym are now. And, perhaps, for those interested in black metal with an industrial tinge but were dissapointed with bands like ...And Oceans, Aborym, etc, this may just be an album to rekindle the fire.

Highlights:
Get A Gun - Shoot At Random
Kommando '96

I almost never review a band I dislike.. (Haven't yet) ...so get ready for some obligatory worship. Count Nosferatu Kommando are AWESOME and amazingly original. They play symphonic industrial crossover black metal, for a somewhat accurate description. Punk yells and thrashy guitar riffs, symphonic elements, industrial keyboards, and black metal but with very few blastbeats. They amaze me still, and I'm now familiar with EVERY song on this release! Lets get to the review. BTW, I'm only reviewing the two best songs in the album. Not the whole damn thing.

Opener has an interesting sound, techno/industrial drone overtop a sample of screaming fans. An announcer style voice comes in, saying: "Ladies and gentlemen, please wel-come, zee COUNT! Nosferatu! Kommando!" The last syllable of "Kommando" does a stutter type effect... then the symphonic elements come in. The drums soon follow, and lead into the guitar very well. The guitar has a nice riff, powerful and intimidating. Oh, and I read UltraBoris' review of Opeth's Blackwater Park (Which I really don't like myself...), and he talked about his view of metal, which I believe is very sound and good. And I believe he would love this album like a sword, axe, chaingun, and army of emo loving kids armed with pixie sticks all right in front of him. The guitar riff slowly builds up speed, before stopping for the drums and symphony. A new guitar riff takes over soon. When the vocals first come in, its like listening to a injured rat/troll/vampire sing or something. Then it changes into high-pitched mutilated goblin vocals with hellish symphony backing it up. The drums all this time have been superb, doing their job without pushing to the foreground like they do in alot of industrial BM outfits. This part slows, then the next verse lyric-wise comes in, and with it changes the vocals and such to the second riff, with the injured rat/troll/goblin vocals. A very powerful and full sound, majestic and hateful. Kinda like a Middle Ages massacre with modern day weaponary. The riff slows at the end this time, and finally the punkish yells shine through. This actually could be the highest point of this album: Amidst all this hellish destruction normally brought by industrial BM (with a few thrash influences saying "NO!" to the Diabolicum drum machine sound); there is this yelling of nice hardcore punk, and it actually is the only vocal style that brings out the full aggression and rage conveyed by the music, the hellish snarls just sound mean, they don't sound like a vampiric military leader commanding his troops to attack a certain area, they don't sound like the warchant of an ancient army of evil. The punk yells do though. Anyways, after that riff fades, so do those vocals, replaced by a mallcore/BM screamish thing. Normally, this would be a BAD thing. But the little bit of mallcore sound in the vocals makes it very original, and it fits the music. Back to the mutilated goblin screeches, then a mechanical sounding part, somewhat quieter, with what sounds like a machine's lever turning back and forth. The drums have a technoish beat at this part. Then the guitar comes back! Back to the very first verse and the very first pairs of vocals. Once again to the mechanical part, which takes a back seat to the guitars and vocals this time! A very militaristic march style of drumming is used as the song slowly fades out.

Next track, BEST TRACK ON THE WHOLE GODDAMN ALBUM. It starts with loud drums which sound like steel snares (!!!) being faded in. The symphony comes in a few seconds into the song, followed by a punk yell (They're baack!) leading into the guitars and REAL drums. This song is SO much faster than the first, and so much better. It is a headbanging fest that could actually give some people a headache. The mutilated goblin vocals/some type of new death metal + punk roars dominate this song. Each vocal has its place, and all are properly used, none are abused or mistreated. The new vocal style, the DM/punk roars are always surrounded by a very militaristic rhythm, while when the punk yells or goblin screeches are in, its a speedfest. After this first collection of awesome thrashy riffs, it goes back to the steel snares, along side a very well timed techno-ish bass drum. The song part here is VERY! And I EMPHASIZE -VERY!- Catchy. Like, a fucking war drum beat with headbanging guitars. The DM/punk roars are the only vocals heard in this part, which sounds like the chorus. As soon as he starts to roar "I am the chosen one," the drummer goes insane on the double bass. Fast as hell. A very majestic and slow riff follows, with the goblin snarling out his two lines: "We.. wor-ship the Sacred Ham-mer... We wor-ship.. the New.. CROSS!" The same symphonic keyboard line featured at the beginning of the song with the steel snares is played, though missing its steel snare counterpart. The goblin starts chanting "CHAOS! CHAOS!" over and over.. which is actually the only bad part of the song! First verse/collection of thrashy riffs is played again, along with the steel snare line again. The chorus comes back, and I love it. The last word and keyboard sound is drawn out, and drawn out well. Everything slows down, seeming to hang in the middle of the air. The guitar pulls it back to earth, where it plods along doomily for a little bit. Then comes the guitar solo. Its quite well done, and its followed by the DM/punk roars, which slow the song down, seemingly. Then we have an awesome galloping technoey sounding riff. The next part I've heard somewhere before, but I can't exactly place my finger on it. But it fits well enough. And thus the song fades out.

The rest of the album REALLY starts to bring the industrial elements out front, and everything is well used. Its actually so good, I've almost forgotten that bad music exists through all the time I've spent listening. Buy at all costs!