Before bursting out with the usual aplomb and unleashing a new review upon the public, first a bit of history! At the end of the last century Silenius (Summoning, Verbannten Kinder Evas, ex-Abigor) and Martin Schirenc (Pungent Stench, Hollenthon) thought it would be a good idea to join forces and start a rhythmic industrial project. This pestiferous intention resulted in the release of the debut album 'Iron Avantgarde' by Draenor Records in the year 2000. Thematically based upon the rise and fall of the Third Reich, this record showcases an organized chaos with pounding and thundering percussion for which rocket launchers, artillery and marching soldiers form the foundation and on top of that a cavalcade of samples derived from documentaries and authentic propaganda from the Axis as well as the Allied. The whirling and absurd atmosphere created that way can frequently even be called ridiculing. It's not strange that the label called this cd a must for musical masochists and doom prophets.

Time to move fast forward towards 2005. In this day and age Silenius simply uses the name under which he is also known by the Austrian tax collectors office, Michael Gregor. Schirenc is no longer involved with this project, newcomers Oliver Stummer and Ronald Albrecht have filled the void. Furthermore Kreuzweg Ost is currently signed to Cold Spring Records, the label that released this second album. There are similarities with the bouncing debut, but when push comes to shove, this record is more consistent and ominous.  

The cd opens with the title track, this piece of grisly dark wave serves as an introduction to the record. After that it's time for... Ein Lied! Mechanized classical melodies and an astute arsenal of samples are the building blocks from which 'Für Kaiser, Gott Und Vaterland' is constructed, here we are presented with the patriottism and the unconditional determination of Germany's military machine under Wilhelm II. The horrors of World War One and the ultimate downfall of the Second Reich are never far away, however.
More blind obedience to orders can be found in 'Die Legion', which is about the Foreign Legion in North Africa. The noise of firing and reloading artillery, exploding grenades, Arabic sounds and ethnic percussion form the basis here, superimposed on that we hear the statements of a sadistic drill sergeant which antagonizes his troops with palpable delight. Ich Werde Euch Brechen!
Next two dark martial industrial tracks avant la lettre follow, the grim 'Zucht Und Hunger' has a dark ambient undertone, organ play and a gipsylike tune provide the tearing rhythm with a melodic accent. The tragic 'Eiserne Menschen' with it's cold 'don't mourn, be strong!'-ethos is compliant with the preceding track when it comes to atmosphere.
'Zum Appell' starts with darkly undertoned drunken sounds, subsequently the humming of airplane engines, staccato eruptions of gunfire, sedate classical moments and marching rhythms are welded together to become an embittered Luftwaffe composition.
'Rasputin', some of you may have guessed it already, is a track about the malicious monk (actually a religious pilgrim) who played an important role at the court of the last czar Nicholas II and as such was an accomplice to the fall of czarism and the rise of bolshevism. This Siberian cold rhythmic track has, besides the usual vocal samples, been adorned with ethereal choral singing. Also I hear a resemblance with the synthesizer parts of Summoning in this piece. 
Merging boisterous declamation and metallic percussion, 'Leu Der Lüfte' is a track soaked with Raison d'être-like neoclassical angst. A macabre beauty emanates from this fascinating song. With 'Lebwohl' we have reached the clincher of this album, after a little bit of traditional schlager music it's time to climb into the cockpit of a bomber to fly off into the night.

Kreuzweg Ost has returned from a prolonged period of inactivity in a convincing way. The blood-drenched debris of 20th-century European history can supply enough inspiration for decades to come...