Twenty five years and eight albums on Northeastern Germany-based grindcore influenced death metal quintet KEITZER are pretty well set upon their general identity, having ramped up their evolutionary trait early on and iterated to a point of steadily additive personage over the course. This shouldn’t necessarily suggest they’ve settled in but rather there is no need to molt away prime efficacy developed as we land upon the groove-riddled punisher level swat of ‘Pandemonium Humanitas‘ witnessing a band entirely consistent in their quest for the riff and the adrenaline with which it is applied. What follows is a broader ranged example of conviction and consistency delivered by rifle and chain-gun alike, a death metal band sporting familiarly woven rhythms where the torsion of their work is tragedian, dramatic as often as it is pummeled with bone liquefying intensity.

Keitzer formed circa 1999 having been collectively inspired by the Bremen-area grindcore/metallic hardcore scene as they’d combined forces beyond previous groups (Androphagous and Mörser) which’d either split or stalled out by then. Early releases from the band naturally fed into their own heavier take on ‘old school’ deathgrind where 90’s Swedish metalpunk and late 80’s/early 90’s British death metal/grindcore (i.e. early Bolt Thrower, Benediction etc.) appeared to be additional aspects of their growing fusion, naturally garnering Nasum comparisons early on. Keener-eared listeners might also point to traits upheld by various other greats, such as Insect Warfare and Assück, where death metal inspiration took increasing precedence as their sound became more volatile and brutal with each release. From my point of view their step toward a brutal almost ‘Panzer Division Marduk‘-level of intensity began around the time their fourth LP (‘Descent Into Heresy‘, 2011) released and this tunnel vision peaked with ‘Ascension‘ in 2016. Though those collective traits carried on in some sense their sound pulled back into more exploratory classic death metal centered type of guitar work from that point, a part of their continually additive modus which’d begun calling for more dynamic pacing and performance.

Back when I’d given short review of Keitzer‘s 2019 released LP ‘Where the Light Ends‘ I’d admittedly paid less attention to the scaling, semi-melodic bent of some of their riffcraft but it’d been one of their best ’rounded experiences to date. Though they’d been leaning in a more pure death metal direction for years that record in particular began to flesh out with a broader variety of textures, types of riffs and guitar tones. Today ‘Pandemonium Humanitas‘ continues to expand upon this all-angles-considered approach to Keitzer‘s realm where elements of thrash and even blackened death metal occasionally stir up their grinding, groove-seeking ways. In fact this -should- feel like a homecoming for fans of the previous album as we step into the brutal swat n’ dodge riffing of opener “Our Funeral Pyre” and find they’re still in that sidewinding pocket where deathgrind and Bolt Thrower‘s dramatic rhythmic escalation achieve a greater sum, a sensation that only intensifies as the title track (“Pandemonium Humanitas”) helps to make hammer home that first impression. Layered vocals accentuate martial verses, lead guitars scorch through transitions, and all in all they’ve amped the world-at-war feeling that ‘Pandemonium Humanitas‘ leads with.

As is the case with most of Keitzer‘s discography once they’re in the pocket and know they’ve hit upon something worthy they stick with it, having built a pretty unbreakable dynamic over the course of fifteen years. Part of that observation can actually scale out to the production/sound design they’ve managed working with Jörg Uken (Temple of Dread) @ Sound Lodge Studios for the four albums and ~ten or so years, bringing a familiar ‘old school’ warmth to their sound via the dual-set guitar tone and somewhat distantly slapping drum sound where the double bass kicks almost feel like they’re attuned to an early 2000’s blackened death rattle. This is most noticeable as we step toward the blackened warp of Side B opener “…Of Eden” and the arabesque riffs they’ve built up over the course of the album let loose a bit more as the song provides mounting tension throughout its length. To my ears this recalls an era of bands inspired by Nile (or, Krisiun even) particularly the Polish spectrum of blackened death in a certain era (sans the bricked up production values of that era, of course), as we step onto the minefield of congested grooves that is “In Darkness You Feel No Regrets” and the pace rifles out ’til a ‘…For Victory‘ sized riff helps rain down one of the bigger grooves on the album.

At this point the death metal attuned ear will have earned access to the general melodic language and stylized features which Keitzer have developed over the last five or so years, a form of death metal concerned with depiction of horrendous human conflict which straddles the line between machine-like groove hammers and the organically sourced adrenaline from depictions of death-riddled scenario. Pick any given song on Side A to get the gist of it but maybe step on the landmine provided by “Scorched Earth” to get that feeling in a nutshell where deathgrind intensity and familiar classic death metal grooves create a commanding sum, dramatic and pulverizing at once. That said, I’m not sure the vocals have evolved much beyond providing more layers which at times dilute some of their effect for my own taste. Being such a riff and rhythm driven machine I’ve never quite felt like the vocals commanded the ship in this band, at least on record, tough they fit the role of volatile narrator in a somewhat standard way.

The general appeal of Keitzer’s sound should be quick to hit and consistent in its variations which aren’t breaking outside the box so much as finding ways to extend the life of the aforementioned “pocket” of efficacy which they strike into early and often in the span of this ~40 minute record. My favorite moments to start were the most intense (see: “Call of the Void”) but the more time I’d spent with ‘Pandemonium Humanitas‘ the more I’d appreciated when the band did slow down and focus on some of the more twisted, ominous riffcraft that’d extended beyond their previous album’s style. I wouldn’t say that they’ve completely one-upped past efforts here so much as remained consistent with a pattern of building upon where they’d left off, focusing on the fundamental brutality of death metal without forgetting where to place their biggest riffs for effect. The whole of the experience may not stick in mind in terms of catchier pieces outright but they’ve done well to stack this album with big grooves (which’re a bit front-loaded) and a sensation of brutally ramped speed that the full listen managed to avoid droning on too long within any given tangent. A moderately high recommendation.

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