Jan-Simon : The best German-singing band of this time is back. The second full cd (no my hipster friends, there is no vinyl version of this album) by the unruly, eardrum-splitting trio Deamon’s Child simply continues where their untitled debut stopped: raw Melvins-noise with German lyrics, at times coupled with almost Slayer like speed metal.
Take for instance the successfully seperated Siamese twins ‘Keine Zeit’ and ‘Geld’, with singer Ana Muhi doing a very striking Tom Araya scream in the latter song – this is top quality metal, in an undiluted wholemeal version. ‘Scherben Müssen Sein’ may be a lot heavier than their previous work, Deamon’s Child has not suddenly become an average metal band, despite all the downtuned powerriffs provided by guitar player Sven Marsulis. Their music is still a bit too weird, too head-strong and too different to be just metal. And that is a good thing, because it results in nice hardcore punk as in ‘Monster’ (with the joyful negative lyrics “we all go to hell, what were you thinking?”) and a minimalistic experimental Rammsteinian Tanz-metal song ‘Schweinehund, Komm Tanz Mit Mir’. Unfortunately, not everything Deamon’s Child touches turns into gold. ‘In Kinderschuhen’ is a mistake. An elaborate piece of irritation. The closing song ‘Nichts’ could as well be cut into three separate pieces, which are all in their own right capable of quickly erasing the memory of ‘In Kinderschuhen’.
It is as if Deamon’s Child knew what I would be thinking when this record reached its end: “Was ist denn bloss so toll an Dir?” (just tell me, what’s so great about you?) Deamon’s Child is hard to pin down, but there is no denying it is good. From the archetypical speed metal guitar riffs and manic drum rolls to the briljant lyrics that range from poetic through surrealistic to society critical (and whoever claims that German is an ugly language should stay away from me, or face a good hit on the head with this cd!): almost everything about ‘Scherben Müssen Sein’ is right, and we would almost and fully unjustifiably forget the nice bass lines that are not pushed to the back of the mix. It is only a fraction less than the stroke of genius that was the debut album, but nevertheless, this is one of this year’s finest albums, regardless of everything still waiting for us in the next nine months.