CLASH OF THE MONSTERS
This is how this split CD is announced. For this record, the two closely-knit bands THEE FLANDERS (from Potsdam) and BLOODSUCKING ZOMBIES FROM OUTER SPACE (from beautiful Austria) have teamed up to cover six songs each from the other band. An exciting project, especially since both bands are known as the spearheads of authentic horrorbilly far beyond the national borders of their respective countries.
Even the cover of this hellish recording comes across as beautifully eerie. Both bands face each other, covered in blood but with a smile on their faces. Lovingly designed down to the smallest detail. When you open the digipack, your jaw drops completely. Norman, not only the singer of THEE FLANDERS but also a brilliant graphic designer, has truly outdone himself here. The cover of the CD is also beautifully designed. I haven't held such a beautiful packaging in my hands for a long time. More of a work of art than just packaging has been created here with love and attention to detail.
Now, let's get to the content.
Each band covers five songs from the other band.
Starting off are the BLOODSUCKING ZOMBIES. They implement their style of fast Billy with melody and charismatic vocals in the cover songs as well. The first song “Amok” is presented in an interesting new version, while the next song is even faster than the one by the Potsdam band. While this sounds good in itself, the tempo changes come across as almost frantic, as if the band was racing against the clock. If “Jack the Ripper” weren't a signature song of THEE FLANDERS, they would have created a good song here, but with that knowledge in mind, the song sounds hectic and somewhat uninspired. The only solution seemed to be to play the song faster than Norman and Co. However, song number three makes up for it. “The Witch” comes across as an accurate ballad, longing, melodic, and melancholic. Then it continues with the song “C.H.U.D.” A song that the Zombies have interpreted in their inimitable style, which should encourage proper wrecking in the pit. The last song is perhaps the most famous song of the Austrians, “Monster Mutant Boogie,” in a new recording featuring guest vocalist Norman from THEE FLANDERS. This song impresses with perfect tempo build-up, catchy and danceable melody. Live, this song is always a hit, especially when the undead fans sing together, “We dance tonight, Monster Mutant Boogie.”
Then the Potsdam band takes the helm. They give “Moonlight Sonata” their own melodic twist, as well as “Nocturnal Vacation.” Particularly in the latter song, Norman's deep and rough voice gives the song its own aura, sounding hauntingly beautiful and ominous at the same time. The next song “Wallow Queen” is also played in the style of THEE FLANDERS, which unites horrorbilly and horrorpunk. Overall, the three songs are not spectacular, but they offer interesting versions, and the fact that Norman's voice becomes more distinctive with each record is notable. “Handle with Care” then celebrates the next song with the Zombies' singer Dead Gein. Here, almost everything is right, just like with “Monster Mutant Boogie,” thus closing the circle.
As an encore, there is the unreleased “Boogieman,” which can instill fear with its raspy voice, driving drums, and ominous double bass. This is no longer about a fun teen slasher; this gets serious.
Thus, the review of the split CD for the standard version is concluded. 10 great songs from two bands that not only share musical kinship but also like each other personally. A lovely gift for each other and for the fans.
For the first 999 buyers of the first edition of the split CD, there is a bonus CD included. Just like that. Aren't the undead nice beings?
The bonus CD contains 17 songs that give an impression of the live power of both bands. The songs were recorded at the “Psychomania Rumble No. 4” in Potsdam. The recording of the Austrians is primarily notable for its bass-heavy sound.
They could have polished that a bit more. It thunders and rumbles significantly. Special highlights of the Zombies' songs are “Legendary Jack,” “Monster Mutant Boogie,” and the “Moonlight Sonata,” which the band celebrates with Norman from THEE FLANDERS. Here, you can clearly hear the difference between Dead Gein's relatively clear vocals and Norman's rough singing.
The live songs from THEE FLANDERS not only represent a great best-of set but also showcase the band's versatility. From classic melodic horrorpunk as played in “Jack the Ripper,” two extremely morbid versions of the songs “Erna P.” (original: DIE ÄRZTE) and “Romantik” (original: SOILENT GRÜN, predecessor band of DIE ÄRZTE) have also made it onto the record. Then there’s the Billy classic “Transylvanian Express” from the Potsdam band and a very old song that is always requested live, “Perverses Schwein.” German lyrics and horrorbilly/horrorpunk fit perfectly together with THEE FLANDERS. The nine songs are recorded slightly better than those of the Austrians.
So the bonus CD is also impressive.
In conclusion, there can only be one thing: Thumbs up, blood drunk, and off into the wonderful world of horror. The soundtrack to life in this world is perfectly played by these two bands.
