[Reviewed by Iaha Crax]
This German project has released its third album by Assembly of Hatred from Hong Kong, after a collaboration with the renewed Filth&Violence. The label warns that “This ain’t just music but a ritualistic manifest for His glory.”
The rhythmic introduction announces a slightly paced PE, but it all takes to a hideous continuation when ferocious beeping cuts through the track and drags it towards a maltreating outcome. The guitar is used here to equilibrate the sound by an ultra-distorted bass replacing the usual PE equipment; in addition raw war drums make the sound even more powerful. And above all an agonizing voice cries out dominant speeches in a black metal tone. The title’s track, “Despotism (Thy Will)” makes clear the message of revolt directed against blind leaders and forcible subliminal control.
A torrent of distorted signals is unleashed in raw force from the start of the next track, “Followers”. The sheer animalism of the electronics is a direct image of submissive thoughts unilaterally directed to obey the will of those in control. A cacophonous voice sporadically bursts out in contempt, expressing undeniable disdain towards thoughtless masses.
The hymnal “Path of Flames” opens in a highly powerful fanatical old-industrial marching style, that becomes all the more effective as a feeling of sacral presence envelops the listener. You are unconsciously driven into an immaterial plane of pure energy, where the exposure to the pressure of sound leads to psychic combustion. Following the tradition of unconventional heretics, the artist radicalizes the symbolism of initiation: only flames can consume the spoiled nature of the human.
History has seen religious figures that used sexual practices and even debauchery as a mean to conquer spiritual freedom. There’s no place for a debate here to trace lines between tantra, Manicheism, Rasputin, Crowley or Evola to name a few. And it’s hard to see what the track “Prophets Of Lust” essentially connotes, as with sound in general there is a matter of psychic collision between sonorities and mind perception; and the song plausibly unravels in BDN (the Great Death era) style a filthy flesh-sound communion. Here too, voices are of a rarely spiteful and, keeping the line of the track, lascivious tonality.
“Total Devotion (We Are Guilty)” may very well stand as a profession of faith that articulates the entire anti-ethical process of the artist. It creates the feeling of a parabolic lineage to the Gnostics from early Christianity that believed the universe to be the manifestation of an evil principle, rendering humans responsible for an ontological guilt. However, in this case the devotion is reversed towards the evil side of the creator. The song is like a devilish mantra, obscure and tuned-down by cavernous basses and whispering evocations. The pressure grows in amplitude and gains a hideous weight that arouses discomfort and uneasiness. And still, what would one feel before Him?
The project RxAxPxE delivers here professionally made PE, also capturing death ambient and harsh industrial. It is undeniably – at least in my opinion – serious musicianship reaching an aesthetically speaking, highly-controversial cultural level reminiscent of Genocide Organ, Control Resistance or The Grey Wolves, forged into a personal knowledge of the occult.
RxAxPxE – Of My Own Free Will
Assembly Of Hatred, AOH07
CD, Limited, 2012