Going to 11 with . . . Noise (Kanonenfieber)

Metal has always had a knack for weaving historical events into its songs. Initially, bands would focus on brief moments from the past, but over the years, this approach has evolved, with entire albums or even bands adopting historical themes. Take Nile, for example, whose lyrics are steeped in Egyptology. Sabaton, on the other hand, has explored various wars throughout global history, while Chthonic has written extensively about Taiwanese history and the nation’s ongoing political struggles.

Which brings us to Kanonenfieber, a band that emerged just four years ago and has already made a significant impact among metal fans. For those unfamiliar, Kanonenfieber focuses on the events of World War I, a historical era that has seen growing interest within the metal community, especially among bands drawn to the past. Their latest release, Die Urkatastrophe, is set to drop in just a few days as I write this. The band’s founder and sole member recently took the time to answer a few questions via email about the album and the project.

Kanonenfieber delves deeply into World War I, often referred to as “The Great War.” What aspects of this conflict did you find most compelling to explore in your music?

It is the life of the individual that interests me the most. History is mostly written by generals, politicians and strategists. We hear about heroic deeds and bitter defeats. However, you never hear the words of those who gave their blood and lives in the mud. The normal Landser who endures the rain of shells in fear and despair while thinking of his family and homeland. These are the fates that interest me. 

Could you share personal connections or experiences related to this historical period?

I don’t really have personal connections to WW1. It all came out of pure interest. It started the way every teenager starts – with video games. I watched movies like Saving Private Ryan or Band of Brothers and was terrified, but at the same time fascinated. It’s hard for me to imagine what these men went through back then. Humans can be capable of things that are almost unimaginable. In both a positive and a negative sense. From then on, I read books and immersed myself in the subject. 

Your lyrical content reflects historical events with a lot of detail. How much research goes into writing these songs, and where do you draw the line between historical accuracy and artistic interpretation?

The research for the texts is tedious and time-consuming. First, my historian buddy Dani and I collect material. This can be books, documents, newspaper articles or letters. The subsequent process varies. For the song “Waffenbrüder”, for example, no further research was needed. I had several letters, a poem and a newspaper article at my disposal for writing the lyrics. That was enough material to write the complete lyrics from. The same applies to “Maulwurf” and “Panzerhenker”. I did a lot of research for the song “Ausblutungsschlacht”. I had contemporary witness reports and field reports at my disposal. But that wasn’t enough to cover the very extensive topic of Verdun. I foraged through forums, websites and books to make the song as historically accurate and expressive as possible. Generally speaking, during the sometimes very lengthy text composition phase, I listen to everything the media library has to offer – from films, books and music. 

I try to cover the topics as accurately as possible. One or two mistakes may creep in, I’m not a historian, I’m a musician, but I do my best to do justice to the historical claim. 

Can you share some insights into the lyrical themes present in “Die Urkatastrophe”?

The album contains reports from the Western and Eastern fronts of the First World War. I have discussed individual fates, summarized the course of battles and even included a legend in the concept. The album is lyrically very multifaceted with a clear focus on historical added value. 

Are there particular stories or events from the war that you highlight?

The battle for the city of Lviv in today’s Ukraine, the weeks of fighting and bombardment on the Somme, the battle for Verdun and the entry into the war itself are all included on the album. The album also contains an air battle, the last assault of the German cavalry and the fate of a miner. 

The album is written around historical events, with each song telling its own story. 

Were there any surprising facts or events that influenced the album’s direction?

As described, it is the individual fates that inspire me to write. Stories about ordinary soldiers. Some of them are so heartbreaking that you can’t help but be surprised. Every new letter, every diary, every personal memento from back then has its own story that needs to be told. 

How does the emotional weight of the topics in your songs impact you as a person?

The fates of the soldiers are not always easy to come to terms with. Most of the people I describe never made it home to their families. The letters I use to write the texts are just as relevant today as they were when they were written. Written words do not lose their meaning even after thousands of years, so you can feel exactly how the protagonist must have felt at the time. 

Who are some of your biggest influences, and how do they shape your sound?

The influences for Kanonenfieber are very diverse. From death metal to melodic black metal, from rock to classical music. Of course there are bands that influenced me. To name a few, there are Amon Amarth, Heaven Shall Burn, Boltthrower and many more. However, it is important to me not to impose genre boundaries on my music, but to do exactly what I think is right. As long as it feels and sounds right, I’m happy. 

How did the historical themes influence the musical composition of the album? Were there specific elements or styles you incorporated to reflect the era and mood of World War I?

That’s what Kanonenfieber is all about. To reflect the First World War musically and lyrically. The unbearable tension of being on the verge of an attack, the loss of a good comrade and friend, the fear of artillery fire and the grief after battle. These are the moods that I try to capture and reproduce. 

The visual elements and album art for Kanonenfieber have always been striking. How do the visuals for “Die Urkatastrophe” complement and enhance the music and themes of the album?

The artwork is just as important for Kanonenfieber as the music or the lyrics. For the debut album “Menschenmühle” I chose an anti-war propaganda poster by Mihály Biró. This paved the way for the further visual future of Kanonenfieber. I have put together an almost 50-page art book to top off the look of Kanonenfieber. It contains lots of postcards and pictures from the First World War.

On a personal level, what effect does creating music about war and history have on you as an artist?

Kanonenfieber brings with it an emotional burden, that’s for sure. It takes months of sifting through reports, documents and letters and that takes it’s toll. Being constantly confronted with death and suffering does something to you. But that’s necessary in order to write the texts for the project. On top of that, I have to put myself in the shoes of the protagonists on stage to make my acting as authentic as possible. It’s very mentally exhausting. At times I wished I could just stand on stage in the band merch like all the other singers and do my show. I would definitely sweat less then, haha. But I chose to do it this way and it’s a good thing. This project has only one purpose and that is to set the horror of war to music and bring it to the stage. If that means I have to suffer a little, then that’s all well and good. 

Kanonenfieber’s latest release, Die Urkatastrophe, is available now from Century Media Records.

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