It is said that a good debut is exceptionally hard to follow, but Katzenjammer Kabarett have no such difficulties. Grand Guignol and Varietes is an absolute masterpiece. As more than one reviewer has noted, the term ‘deathrock cabaret’ scarecely does the Katzenjammer Kabarett justice, and this CD is living proof. Listening to “Grand Guignol and Varietes” is akin to an opera or a piece of surrealistic art. It is a complicated, yet eminently listenable tapestry of different elements that weave together seamlessly, and repeated listenings illustrate that the whole is much more than the mere sum of its parts.

I scarcely fell competent to review this sort of intricacy, but I will endeavor to hit a few of the highlights that may adequately convey a small sense of the artistry contained in “Grand Guignol…” The production is excellent, and the CD is very attractively packaged with an insert and artwork reminiscent of the Victorian era

“Jack’s Parade” sets the tone, with a wonderfully spooky opening. Chimes ands strings lead into Mary K’s characteristically exquisite vocals, svelte yet with considerable bite; and edgy guitar rounded out with thrumming bass and synth. “Hidden and Sick” starts with majestic cello and then rises to wonderful vocal harmonies accentuated with militaristic percussion, chimes. The song shifts into a punkish gear with great guitar, ending with feedback.

The pace storms forward again, on “10 Years”. Burst of guitar and romping synth and percussion are punctuated with sudden breaks, before charging on the the finish. “Percy Has Returned” is eerie and has a nearly Renaissance plucked synth paired with ice-pick sharp guitar. Discordant piano gives a demented carnival effect.. At one point the bassline turns Jazz/Funk. The song reminds me of early Siouxsie (as does much of this CD).

“Nothing but his’ has marvelous singsong vocals backed by strong piano and percussion. Mary K. nearly shrieks, then shortly the mood drops into poignant chimes and a futuristic synth, from which very edgy postpunk style guitar emerges. “Sunlight sanitorium” is a bit of theater, with a music hall beginning supported by tight guitar. Chanted dialogue, machine gun guitar, and piano interludes remind me simultaneously of King Crimson and Cinema Strange. The song ends with a dash of strings.

“A real gentleman of the mad lover” has fine piano, vocals that bring Blondie to mind at one point, and more cutting guitar. “”One Eliot turned ugly in his bed” has parcels of Batcave and New Wave, with some Gary Numan-esque synth. The fuzzed out, funereal organ and frenzied vocals of “Wondered couple killed couple” , with its take on the Bauhaus classic, is short but stunning. The catchy and compelling “Collage” starts with a spoken story-soliloquy, merging into a bit of heavy synth and then some awesome post-punk guitar. “Romance” combines classic Goth and New Wave, with an eerie guitar line (which reminds me of Joe Jackson’s “Memphis”) and rollicking fuzzed-out synth. The CD ends with “45”, with its Batcave guitar and buzzsaw effects, countered alternatively by plaintive cello and weighty synth.

Whether you are a fan of Batcave, Deathrock, Classic Goth, Postpunk, Dark Cabaret, Steampunk; or just great music, “Grand Guignol and Varietes” simply cannot be missed.

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