Blitzkrieg Baby – Cannibal Commando

Rating: 1.5/5
Distributor/label: Belaten
Distributor/label URL:
Released: 2015
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BlitzkriegBaby1Band line-up:

KIM SØLVE: electronics and instruments on all tracks.
Vocals on 1 and 4.
MR.B: Vocals on 2.
BJEIMA: electronics and instruments on 1 and 2, background
vocals on 1.
AYMERIC THOMAS: electronics and instruments on 5


1. Cannibal Commando
2. There Will Be Casualties
3. This is Where Empathy Comes to Die
4. Spit
5. Cut. Slash. Maim. Kill.


It’s no surprise to me that anyone getting into Industrial music holds Trent Reznor and his ilk in high regard. And there be a fair few bands who will try their best to match his outstanding work, and inevitably end up imitating him. By this I am referring to German outfit, Blitzkrieg Baby, who with their new EP CANNIBAL COMMANDO are trying to fashion a sound I can only describe as Nine Inch Nails’s later work with some of the angry rantings of Skinny Puppy and other aggrotech units.

We begin with the title song which isn’t all that bad. Creepy whispered vocals and backing soundbites making me think of war, so nice use of the EBM influences there. But on ‘There Will Be Casualties’, it goes into a full on political and socially aware rant which rambles for too long. I can this group were trying to bring their love for Reznor into their own but they formulated it the wrong way with this track.

Then you have the instrumental ‘Theis is Where Empathy Comes to Die’ where I think this group’s output began to fall apart. The arrangement of the melody is impressive but I couldn’t sense which direction it was going in. ‘Spit’ sounds like a Dark Caberet – as if RuPaul teamed up with Reznor to sing about LGBT themes in the most glamorous form. Again, this EP feels all over the place.

Ending track ‘Cut. Slash. Maim. Kill’ is another instrumental piece, which I really wasn’t expecting with its length. This release is confusing beyond all recognition. Blitzkrieg Baby start off with angry political themes which get boring fast and it descends into oddly paced instrumentals. What did they have in mind? This is another example of the avant-garde getting too up itself and ends up creating something that has no substance whatsoever.

Review by Demitri Levantis