If a band could win a prize for the most senseless band name, the Berlin Deathcore four-piece We Butter The Bread With Butter would be a hot aspirant for the placing on the podium. Founded in 2008 by Marcel Neumann, former guitar-player of the Rock Pop driven German casting show act Martin Kesici, and singer Tobias Schultka, who left the band later in 2010, We Butter The Bread With Butter released their limited debut album, Das Monster aus dem Schrank (The Monster in the Closet), on which the band created Deathcore versions of German children’s songs.
The childish, basic, fun concept soon turned into a dead serious undertaking when the album was released through Redfield Records in North America. Tours with the likes of Callejon and The Parachutes followed and made the band grow quickly. With the release of the second album, Der Tag an dem die Welt unterging (The Day the World Ends) in 2010, new musicians completed the line-up, where Maximilian P. Saux (bass), Can Özgünsür (drums), and new singer Paul Bartzsch frame the band beside founding member Neumann until today.
The third album, Goldkinder (Children of Gold) was released in 2013 after the release of the EP Projekt Herz, both with the help of the crowdfunding platform PledgeMusic. Fans of the first two albums who felt irritated by the orientation of Goldkinder should be satisfied again with the new fourth album, Wieder geil!, released May 22nd through AFM Records. Produced by Daniel Haniß, guitar player of Trance core pioneers Eskimo Callboy, the band made an album that wants to be seen. This high tech Extreme Metal pulverizes with a merciless attacks and staccato riffing with a healthy but cantilevered portion of Electro/Trance elements and mostly guttural growls of vocalist Bartzsch, granting Wieder geil! enough thoroughness to put a big smile onto the faces of fans of the early days.
With all brutality, We Butter The Bread With Butter also try to successfully implement a high recognition value into their songs. A lion’s share are electronic melodies, which lead the songs as well as the wide range of Bartzsch’s vocals, which are much more than just pure roaring. The opening song “Ich mach was mit Medien“ unites all the mentioned trademarks to a colorful bouquet of Modern Extreme Metal. After a first superficial view, songs like the following “Exorzist“ emerge from a chrysalis of initial absurdity to utterly outstanding tracks, which not many bands are able to achieve.
Although it is a matter of taste to listen to the German or English lyrics, “Anarchy,” is more becoming to the band’s sound, while “Berlin, Berlin!,” is an ode and paean of praise to the band’s hometown that will make the listener put on his dancing shoes while representing a strange mixture of Extreme Metal and Pop. “Bang Bang Bang,” however, manages to match doomy Death Metal tracks with Trance loops, which does not make sense in everyone’s opinion, but brings the band an absolutely unique feature. “Rockstar” will amuse all German speaking fans with a big wink. It is nearly impossible to describe the cocktail of blown styles from Rammstein-like New German Heaviness to Alternative New German Wave Pop and Death Metal.
Therefore, Wieder geil! leaves a unbelievable and surprising aftertaste, which should elate fans who love to risk a view here and there over the genre plate. For deadlocked, humorless minds, Wieder geil! could be an insufferable, senselessly emerging challenge. But for all others, this album is a pure pleasure. CrypticRock gives Wieder Geil! 4 out of 5 stars.
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