Review: Panzerfaust – The Suns of Perdition – Chapter II: Render unto Eden

SadoMaster Rattenkonig July 10, 2021

Review by SadoMaster Rattenkönig

Panzerfaust – The Suns of Perdition – Chapter II: Render unto Eden

Record Label: Eisenwald

Year: 2020

Rating: 9/10

It is undeniable that nowadays Polish Black Metal scene is among the best in the world, having created a style and original to play this musical genre. Style taken up by more and more artists of various nationalities: this is precisely what confirms a style that “teaches” this genre. And it is precisely the case dealt here with the Canadians, now veterans, Panzerfaust: from the first minutes of this album it is hard to believe that they are of a different nationality to Poland, which fully resumes, like its predecessor, the sound of giants such as Mgła, Kriegsmaschine, Medico Peste, Blaze Of Perdition and Odraza. The Suns Of Perdition: Chapter II: Render Unto Eden is the worthy continuation of the previous The Suns Of Perdition – Chapter I: War, Horrid War, of which it takes up the sounds but giving us a more sulfurous, unhealthy and oppressive work than its predecessor. Mention of merit goes to the voice of the vocalist Goliath (the name was never more appropriate, given the vocal performance) which, generally on low tones, really puts the chills as is the power it emanates.

Panzerfaust

The “Promethean Fire” opener starts with a dismal arpeggio that creates a disturbing atmosphere, fueled by successive other sinister arpeggios supported by interesting percussion work. The song moves on cadenced tempos, also making use of a female voice that makes everything evocative and even more disturbing. The overwhelming song overall, one of the best. On “The Faustian Pact”, the bass comes in overpowering and then leaves room for a psychedelic riff. Subsequently, time accelerates, even unleashing a pressing Arabic melody, which then explodes in a disturbing blast. This song is more animated than the previous one. On “Areopagitica” the double bass drum is the master with an arpeggio in full Mgła style, and then passes to a monochord with pounding drums. What you seem to hear seems to be the sacred monster Mgła, but in a more evil and sulfurous version. The drumming is really valuable and the drummer Alexander Kartashov gives his best both here and on “The Snare Of The Fowler” in which the drums masterfully juggle a disturbing arpeggio, and then lead here also in a blast in which Mgła are honored. The same goes for the arpeggio that comes later, accompanied by the typical drum rhythm so used by the Polish band. Towards the end of the song the initial part is resumed which then leaves room for a weeping final melody. Undoubtedly my favorite episode of the album. “Pascal’s Wager” begins with a quiet arpeggiation, and seems to have been made on purpose to calm the tension accumulated so far listening to the previous pieces. It is subsequently decorated with guitar formulas, then the drums enter which acts as a prelude to a blast that takes up, even with the following parts, all the tension, bringing back the oppressive atmosphere characteristic of the album, and then ending with an acoustic break in fade out that calms the waters and ends the listening of this pitch-black opera. The Suns Of Perdition: Chapter II: Render Unto Eden is a masterful work and, while retaining the same coordinates for each song overall, it never bores and rather kidnaps the listener by spitting on him all the sickness of the sound and lyrics it contains. Disc recommended for admirers of the aforementioned Polish bands, of which Panzerfaust proves to be among the most faithful followers.