Twice as crushing. Twice as devastating. Twice as extreme. That’s our feature Twice As Heavy. A highly anticipated new album that simply demands to be examined from more than one perspective. Besides, our editors would battle it out to see who gets the golden ticket. This time, we dive into The Suns of Perdition IV: To Shadow Zion by Panzerfaust. Joris (favourite genre: black, …) and Marleen (favourite genre: black) are the lucky ones this time.
The Suns of Perdition IV: To Shadow Zion is the final chapter of the story. Does this album, this epic, differ much from its predecessors?
Joris: Since the inception of this band, these Canadians have left me speechless with every release. Their distinctive sound, the unique tones of their guitars, bass, drums, and vocals, puts them leagues ahead of bands that also narrate the downfall of the world. Every Panzerfaust album features at least one track that penetrates so deeply it seems to purge all misery from your pores. On the previous album, The Suns of Perdition III: The Astral Drain, that track was The Far Bank at the River Styx. On Part II, The Snare of the Fowler stood out. On War, Horrid War (the first part), it was the closing track, The Men of No Man’s Land. On this album, The Hesychasm Unchained evokes that same overwhelming sensation.
Marleen: To some extent, particularly in terms of theme. War, Horrid War set the tone with its historical weight: a chronicle of bloody conflicts and the recurring cycles of violence in which humanity is trapped. Part II, Render Unto Eden, shifted focus to philosophical depth, deconstructing religion and morality as human constructs. The Astral Drain, the third installment, embraced existential emptiness and cosmic nihilism, presenting humanity as insignificant in an infinite universe. Now, in To Shadow Zion, the circle is completed with apocalyptic grandeur. It’s not just a tale of the world’s end, it’s a requiem for humanity itself.
No instrumental “fillers” this time. Are we missing them?
Joris: Honestly, I don’t usually pay much attention to that, so whether they’re absent or not doesn’t really concern me. You still get those ominous intros at the start of tracks. For example, in the opening moments of The Hesychasm Unchained, you can already hear the flies buzzing.
Marleen: Not at all. I wonder if it was a deliberate choice. Those interludes in the previous album sometimes offered a moment of reflection, a breather. But perhaps the band wanted to leave no room to escape the all-consuming chaos this time. Every moment on this album feels intentional, like an unrelenting march toward the end.
Isn’t this the best extreme vocal pairing in the black metal scene?
Joris: It’s safe to say that Brock Van Dijk and the towering Goliath form a duo without equal. Van Dijk’s raspy, filthy growls are seamlessly complemented by Goliath’s deeper guttural tones. Together, they create such intensity that it’s a pleasure to behold. Take the opening track, for instance. In its final moments, their combination is absolutely lethal, especially when Kartashov and Gervais add a thunderous foundation underneath.
Marleen: Without a doubt. The interplay between Van Dijk’s raw screams and Goliath’s almost prophetic depth is unparalleled. Together, they deliver despair and fury with such intensity that you’re utterly swept away. They provide the perfect sonic palette for narrating a story about humanity’s downfall.
Would you call Kartashov a beast of a drummer?
Joris: Anyone who’s ever sat on a drum stool, or even those who haven’t, knows how challenging it is to coordinate precise hand-and-foot work. Watching Kartashov’s drum playthroughs leaves you in awe. The way he seamlessly and flawlessly connects everything is mind-blowing. Listen to When Even the Ground is Hostile, and you’ll understand how difficult it is to maintain order in chaotic intensity. Yet he consistently adds tension with his virile cymbal work.
Marleen: Undoubtedly. Kartashov drums with military precision, orchestrating a battlefield. On When Even the Ground is Hostile, his rolling salvos and sharp cymbals create a constant sense of menace. It’s like listening to a merciless bombing campaign. He’s unmatched in combining power, speed, and finesse.
The Hesychasm Unchained as the opener, what does this track evoke in you?
Joris: It immediately establishes a connection to the previous albums with its tone and structure. It possesses the precision only these Canadians can deliver. To me, this track feels like a continuation of The Snare of the Fowler. It gives me the same chilling sensation. Those piercing lead lines certainly contribute, as do the rolling drum onslaught and the pounding bass lines. And the finesse in the cymbal work? Absolutely phenomenal.
Marleen: It breaks the silence in a divine manner, igniting a fire and filling me with warmth. The interplay between Van Dijk and Goliath is both soothing and crushing here. Live, this will undoubtedly be a showstopper. The bass lines throb, the drums provide a solid foundation, and the cymbals add that extra sharpness. The careful build-up is quintessential Panzerfaust: it starts as a distant threat and grows into a devastating hurricane.
Joris: Hmm, tough question. I would’ve gone with the opening track instead, as I mentioned earlier. It immediately connects with the earlier work. However, When Even the Ground is Hostile is also a strong choice, delivering a chaotic assault on humanity. The sharp solo certainly leaves weaker souls feeling the ground beneath them heat up.
Marleen: Absolutely! It leaves no doubt about the tone of this record. “Fuck hope,” followed by the swelling drum barrages and deeply penetrating riffs. And the climax? A stomping, all-consuming storm of sound. The ultimate workout tune? For me, the anticipation for this new work was immense. It instantly put a huge grin on my face. Where Joris previously dubbed The Far Bank at the River Styx possibly the best black metal song of the year in his Chapter III review, I’d say the same about When Even the Ground is Hostile. It’s a track that won’t let you go.
Do you have any remarks about tracks we haven’t discussed yet, like Occam’s Fucking Razor or To Shadow Zion (No Sanctuary)?
Joris: The first of the two is the second promotional single, and a great choice, in my opinion. Especially the moment around the three-minute mark when all hell breaks loose is magnificent. The build-up to that point is equally stellar black metal. The way they masterfully return to calm after the climax is so typically Panzerfaust, it’s almost hypnotic. The final track brings the album to life with an air raid siren and jagged, sharp guitar work, creating a brutal piece you’ll likely be chanting along to soon. Hopefully, they play it live as well.
Marleen: Occam’s Fucking Razor is almost meditative until it transforms into a sonic battlefield. That twist surprises me every time I listen. Around the six-minute mark comes the ultimate moshpit moment, reminiscent of The Decapitator’s Prayer from Chapter I. Yet it starts as contemplative as Death-Drive Projections from Chapter III. Panzerfaust takes you on a journey. A journey through the creation of suffering, the sacred birth of violence, and the natural disease of humanity. A marvellous philosophical piece!
The closing track To Shadow Zion (No Sanctuary) ties everything together, both thematically and musically. It feels like a final, devastating blow to the essence of the story. What an ending!
Joris: I’m not one to delve into the finer details of a central theme. I might read snippets of lyrics or liner notes, but for me, it’s the music that needs to convince me. And with Panzerfaust, that’s always the case. If the music is stunning and perfectly constructed, I’m more inclined to explore the themes. Given the current state of the world, it’s hard not to feel as though there’s always a place on Earth teetering on the brink of destruction, a sad reality for those living there.
Marleen: Music like Panzerfaust’s is, especially in today’s world, a necessary evil. It confronts us with the dark, inescapable reality of violence and decay but does so in an almost cathartic way. It’s music that grates, yet purifies because of it. The perfect exfoliation isn’t found at the drugstore but at your record store. Honestly, if Brock Van Dijk had been my history teacher, I probably wouldn’t have chosen a technical university. He brings history to life with the same intensity he channels into music.
The four members of Panzerfaust make quite an impression live, not only musically but also through their stage presence and physical appearance. Last year, they tore down the Muziekgieterij in Maastricht during the Samhain Festival. You were both present, weren’t you?
Joris: That’s correct. Besides their magnificent performance, my only other memory of the festival involves meeting Mr Savelkoul and eating a bowl of noodles. Joking aside, Panzerfaust’s live performance is nothing short of impressive, especially due to their unconventional stage set-up. The drum kit takes centre stage, flanked by bass and guitar, with Goliath towering above on a raised platform. It feels as though he’s gazing down on the plebs. The band is a steamroller live, a thundering war machine. Nothing more, nothing less. I hope to see them perform again to promote this latest album.
Marleen: Absolutely, and what a show it was! I vividly remember how Panzerfaust completely took over the room with their overwhelming power. As I wrote before: “Panzerfaust came, saw, and conquered.” This is music you need to experience live to truly grasp its crushing intensity. Seize every opportunity to see them in action!
What’s your final verdict on this concluding chapter of The Suns of Perdition?
Joris: Compared to their earlier work, this final chapter feels like the logical conclusion. It’s a very strong album, steeped in Panzerfaust’s signature nauseatingly intense elements.
Marleen: What an ambition to create a four-part series with The Suns of Perdition. The execution couldn’t have been better, this fourth and final chapter is nothing short of a masterpiece. Each chapter had its own strength and voice, but To Shadow Zion is the perfect climax, the perfect conclusion to a monumental tetralogy, focusing on the inevitable disintegration of a world in decline. Where Chapter III was introspective, To Shadow Zion looks outward, addressing the collective consequences of human folly and destruction. The Suns of Perdition IV offers a mirror in which we see the shadow of our own reality. This is music that not only touches you but confronts you as well. Buy this record and let yourself be swept away by this apocalyptic masterpiece. A true contender for album of the year!
May we then receive the scores?
Joris: 90/100
Marleen: 95/100
Score:
93/100
Label:
Eisenwald, 2024
Tracklisting:
- The Hesychasm Unchained
- When Even The Ground is Hostile
- The Damascene Conversions
- Occam’s Fucking Razor
- To Shadow Zion (No Sanctuary)
Line-up:
- Brock Van Dijk: Vocals, guitar
- Thomas Gervais: Bass guitar
- Goliath: Vocals
- Alexander Kartashov: Drums
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