From Thuringia, Germany KANKAR released its first full-length recording entitled "Dunkle Millennia" in March of 2021 (Dunkle in the German Language easily translates to dark in the English Language). Previously, KANKAR released an E.P. entitled "Elemental Fury" in April of 2018. Stríð's vocal style reminisces that of our cursed godfather Tom Angelripper of SODOM with stylistic nuances from Tom Warrior of CELTIC FROST.

"Gier" - the first album track (the song title translates to English as "Greed") opens with Stríð's clean electric guitars repeat the opening theme throughout the first minute - with slow & heavy rhythm guitar accompaniment; as one minute passes, distorted electric guitar resumes the arpeggiated theme formerly played by the undistorted guitar - in twelve eight time signature; while Plágan plays a recurring speedy sixteenth note pattern on the snare against the slower four / two   time signature subdivision - creating a contrapuntal polyrhythm - and unexpectedly, the song ends on a picardy-third: a musical interpretation of an artistic convention during the late baroque  period observing all art should be positive–that even specific music that utilizes modally minor keys should end with a major key (major third).

"Krater In Sarx" - the second album track (the song title translates to English as "Crater In Sarx") proceeds with heavy use of guitar & bass utilizing the root - with especial (though not entirely limited to) dissonance occurring on beats three and four - and resolving on the following downbeat.  The synchronized mix of the guitar and bass (especially on the down beats!) is incredibly heavy - and is a heavenly (or hellish–if you prefer) pleasure to hear & feel it.

"Zerfall Des Lichts" - the third album track (the song title translates to English as "Decay Of Light" opens with a slow, twelve-eight feel–though numerous spelling interpretations might be utilized for musical notation. Plágan subdivides the beat on the ride against the four (or two) count - adding an interesting rhythmic shift against the guitar arpeggiation–which utilizes the six count of the twelve eight feel. Rhythm guitar uses chromatic power chords–but that amends the whole step by two minutes into the song. By two minutes thirty seconds, the feel shifts to two-two time signature feel–and by three minutes–the aggression increases to that of death metal, and the pulse moves quickly. Rhythm between the guitars of Stríð & the patterns of Plágan magically pop through the recording. Numerous rhythmic modulations occur and the guitars become seethingly heavy–not that Plágan is without ulterior influence.

"Vergeltung" - the fourth album track (the song title translates to English as "Retribution") opens as nearly to a commercial pop tune as black metal might - but in no way resembles anything but black metal with deeper loyalties toward pure heavy metal. Plágan's utilization of the cymbal bell on the divided off-beat creates a perfectly synchronized rhythmic feel - and it's a pleasure to hear this in heavier forms of black metal–with less interest in double picking on a single guitar string (ornamentation reminiscent of DEATH'S "Scream Bloody Gore") but Black Metal that seeks to enhance its own heaviness - by which KANKAR succeeds.

"Thüringer Schwarzmetall" - the fifth album track (the song title translates to English as "Thüringer Black Metal"). After a slower introduction, Plágan adds rhythmic vitality through a speedy thrash style beat of straight eighth notes on the snare.  At about two minutes, the tempo slows for Stríð's vocal style to continuously recall Tom Warrior of Celtic Frost & Tom Angelripper of SODOM.

"Der Schütze" - the sixth album track (the song title translates to English as "The Shooter") opens with crowd noise & a subtle call to war (through a tonic dominant scale ascension). Plágan plays with a note snare pattern while Stríð adds a (vocal) rhythmic counterpoint at half the speed. The melody subtly ascends & builds in progressive intensity. The rhythmic speed slows - but never with intensity; and through frequent metric modulations - often rhythmically speedy, the song keeps the listeners ears ready to bleed afresh. "Festmahl für die Krähen" - the eighth album track (the song title translates to English as "Feast For The Crows") opens with guitars that augment and resolve suspended fifths.

A pre-recorded open throat vocal response track is dubbed to each antecedent phrase that Stríð initiates for the remainder of the first minute; following each verse the band modulates to a twelve eight feel. The heaviness progresses as we pass beyond the first minute. Time modulates to a slower, but slightly heavier four four time signature feel–with each beat poignantly drawn with a hellish fury. Subsequent verses are heard in a four four time signature (with the referenced pre-recorded open throat vocal response track that is dubbed to each antecedent phrase).

"Pilgerreise" - the ninth album track (the song title translates to English as "Pilgrimage") opens with undistorted sombre electric guitars replete with double stops that opens to a unique accentation through a polyrhythmic thrash style beat that suddenly slows to a pensive even recollective beat; however, Stríð subdivides every other beat with a sixteenth note triplet to then accentuate the downbeat - just beautifully intense & heavy. I'm loving this! Black Metal has a new Champion. During a moment of thrash style snare patterns Stríð maintains the slow & steady, even pensive, alternation of melodic digression (against the root) by slow variances between the guitar & bass–spiritually moving! Plágan pounds away while Stríð chants against your very soul.  You'll feel the rhythmic counterpoint & I know you'll enjoy it. At about two minutes fifty seconds - a plagal progression recurs (just a IV / I chord progression), but the counterpoint that introduced it exacerbates the effect; the listener will bow to dark lords previously unknown.  Just after three minutes - we return to the original head - but wonderfully developed; on this repeat Plágan all but topples his toms. I find myself in love!! I want to sacrifice myself. I want to BURN!

"Dunkle Millennia" - the eleventh album song, (the song title translates to English as "Dark Millennia") the title track, opens with clean, undistorted guitars. Vocal phrases accentuate the otherwise unaccented off-beat with eighth-notes and endure for an approximate eight beats in a standard four four time signature–often ending with quarter notes - that break the vocal rhythmic pattern. At about two minutes thirty seconds -the distortion fades for the introductory resumption of clean guitar with drums. Distorted rhythm guitars, slowly & heavily, resume at about two minutes fifty seconds.