Formed by Cornelius Jakhelln (SOLEFALD). Lineup for this album also features Christian Svendsen (TSJUDER, BEATEN TO DEATH, DOEDSVANGR), Lazare (BORKNAGAR, SOLEFALD) and Fuchs (DIE APOKALYPTISCHEN REITER).
"Erlkönig", "Rattenfänger" and "Walpurgisnacht" poems written by J.W. von Goethe.
"Miester Mephisto" offers listeners an industrial strength dose of metal that succeeds in melding thrash and black metal influences. A bit more evil than Hanzel Und Gretyl and considerably more impacting than the latest Mortiis offering, Sturmgeist have a lot to offer those who enjoy the militant tonality of industrial music, yet crave the sheer chaos that black metal has to offer.
An album which maintains a grim feel throughout its nine tracks, Cornelius von Jackhelln excels in crafting material that would make those pretty boys in Rammstein whimper in fright. If Rammstein are your cup of blood however, and you are partial to vocals delivered in Deutsch (at times) combined with ominous ambient overtones and crunching metal guitars, this is a record that you'll no doubt find to be very interesting. "Erlkonig" is an anthemic statement that oozes with dark emotion, while "Shock and Awe" is a vehement attestment of the forces of war mongering. A chunky, galloping metallic riff ushers in "Army Of Odin", relaying von Jackhelln's Nordic influence, accented by pulsating keyboard accompaniments reminiscent of The Kovenant.
The spacy, hollow tones which grace "Master Hunter" provide a bleak tone as von Jackhelln chants "Jagermeister" during the chorus. Buzzing bass tones give this music a violent distorted feeling that is severely crushing on this, the showpiece of the album. "Rattenfanger" contains an enormous, howling refrain and an overall sound that resonates with a sonic electricity. "Miester Mephisto" closes with a two part black symphony entitled "Walpurgisnacht" that is simply a wall of buzzing, voraciously amplified hatred that is as overpoweringly overwhelming as it is a celebration of exhilarative wickedness.
"Master Mephisto" is nothing short of remarkable, as von Jackhelln has generated one hell of a bandersnatch of a metal album. Drink up!
What happens when a germanophile Norwegian multitalent substitutes his blood with Jägermeister while working his way to everything important which defines German culture for several centuries? Except for a gigantic hangover the day after (believe me, I myself am no stranger to this product of the devil called Jägermeister – he sure had one) he records the album “Meister Mephisto” out of nowhere.Cornelius von Jackhelln, one of the two masterminds of SOLEFALD, has twisted his already tweaked brain even more and formed an album that hits you with power and heaviness (mostly) unheard of in his main playground. A Pickelhauben-topped, alcohol-driven album, which wriggles itself out of musical categorization; based on German literature, mythology and fairytales combined with a (slightly) military attitude it could best be described as dark, marching, gloomy, menacing and obscure. The first song “Ragnarok” starts with making no prisoners and marches its way into your ears, catchy and forceful with dark synth interludes and background. “Shock & Awe” continues relentlessly, and not only the title and refrain reminds of FEAR FACTORY (beware though, here you ‘d have Falco fronting them and not Burton C. Bell). The “Erlkönig”, a well-known Ballade in Germany, does the atmosphere of the literary model more than justice. In “Master Hunter” we get the best refrain ever: “Jägermeister, Jägermeister, das ist meine Waffe” (Jägermeister, Jägermeister, this is my weapon)(sic!)… I love it. “Rattenfänger”, based on Der Rattenfänger von Hameln and in my opinion the best track on the album, we have a duet with Fuchs of DIE APOKALYPTISCHEN REITER (who is featured at least twice more, but this is his most memorable moment) – clean vocals, shredding & rhythmical guitars and Cornelius rasping and enforcing voice in combination, magnificent. “Grimmer Than Ugly” is nearly in the neighbourhood of Black Metal; yet, as the overall mood on the whole album, a bastard of aforementioned with elements of Neue Deutsche Härte. And screeching as BM it ends, with “Walpurgisnacht” part 1, an infernal ending based on Goethes “Faust” – If not earlier, at least here you will have the aha-effect when SOLEFALD’s more chaotic moments shimmer through. “Walpurgisnacht” part 2 tramples on whatever is left of you, and leaves you lying face down in the mud on this cloudy and foggy night. Gründgens should have used this in his famous adaption. This is what happens when you get in the way of the usually nice and intellectual Cornelius after his German Kräuterlikör Attacke. Don’t mess with Jägermeister.
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