Distributor/label: Cloister Recordings
Buy Album: https://cloisterrecordingsus.bandcamp.com/album/genocidal-sextasy
Band Website: https://www.facebook.com/blitzkriegbabyofficial/
The Right Reverend Mr. B
1. Open Season On Homo Sapiens
2. Kill Them All
4. One By One
5. Feed Them To The Pigs
6. Fuck Toy For The Death Patrols
7. Just Another Throat To Slit
8. Genocidal Sextasy
9. They All Died With Spit On Their Faces II
Genocidal Sextasy is the new album from Norwegian Industrial/Electronic group: Blitzkrieg Baby, and that might sound like a bit of a dull and dreary opening for an album review, but if I want to express just how I felt about this album, dull and dreary is most fitting.
This band is the work of experienced Norwegian electronic artist Kim Sølve, who has made impressive use of all the best Industrial works from famed artists like Laibach, and the avant-garde of fellow Norwegians: Dødheimsgard, but the impression said artist intended did not quite bode well for this critic. The band describe this record as a “tough pill to swallow” in their press release, but I think said pill had an allergic reaction to my immune system.
I can understand this album was made for a time of monotony and gathering anger and disgust at the surrounding world, as 2020 has been a year of absolute chaos for many a poor soul, but I cannot see what Blitzkrieg Baby had on the agenda for said souls.
“Genocidal Sextasy”, bearing a rather interesting cover art that made me think of sideshows, opens with some slow and tiring tracks which I found really hard to distinguish as they wore on. If that was the band’s gimmick in reflecting how one day merges into another with nothing notable happening, kudos to them, but it didn’t make me dig this record any further.
Vocals seem very low and off, with no memorable lines staying in my head and then on “Just Another Throat to Slit,” we have some very annoying and cringey vocals of what I can only describe as little girls in a playpen. Sorry, Blitzkrieg Baby if I’ve missed some kind of artistic significance with this, but your take on the Industrial and Electro genres has not dissolved well into my audible palate.
There’s a range of instrumentation and arrangements that might pique the interests of some keen collectors of this music, but I’m not sure if this was an album made to be enjoyed in a club or to be listened to at home. In total, this isn’t the direst record I’ve heard of this music, it’s just boring.
Review by Demitri Levantis