Ain Soph
Aurora

THE REVIEW

Aurora in addition to being the best-selling album by Ain Soph, also achieved a certain underground success, to the extent of being adored by Albin Julius of Der Blutharsch. As they themselves wrote in the liner notes, “Every completed work — and this one is no exception — should first and foremost explain itself: with its virtues and flaws that each perceives and evaluates in their own way. These notes are therefore primarily aimed at those listeners who have followed our work for a long time, and are sure to notice a change: from noise to music, from magic to ethics.” Undoubtedly, it marks a turning point in their career. The cover features a portrait of Julius Evola. In “Aurora,” the narrative focuses on the fall of the world of Tradition and its effects in the modern world. “Aurora” is a concept that draws inspiration from the memoirs of a republican soldier in the aftermath of September 8, 1943, and owes something to a book like “The Outlaws” by Ernst Von Solomon, a cult text for certain radical right groups that narrates the epic of the German Freikorps. Musically, the album made the die-hard followers of esoteric industrial cry out in betrayal. I myself adore the Ain Soph of the trilogy and albums like Ars Regia and Kshatriya. Musically, the group approaches a sort of retro-flavored singer-songwriter style between Paolo Conte and Jacques Brel. The album is not without flaws: Crucifige’s vocals are limited, although his interpretation and charisma are beyond question. Stylistically, the album is sparse, and the compositions (characterized by the sound of acoustic guitars and piano) seem too simple. The initial, lively, and symbolic “Tutti a casa” (which narrates the events following September 8, 1943) and the disillusioned and poignant “Gli amanti tristi” are among the best episodes. But perhaps the tracks sung in French (“Ramayana,” “Liberté ou mort,” “Vent”) are the most successful episodes. In “Le Départ,” a text by the great Argentine writer Jorge Luis Borges is used, while “Tempi duri” is a delightful and very explicit combat-song. Along with Crucifige, ClauD.E.D.I. played bass, Von Sebottendorff was on keyboards, and Spectre on guitars. Originally published by Chulhu in 1992, Aurora was later reissued by Old Europa Café in a standard edition and also in a special limited and numbered edition.