Von Thronstahl
Sacrificare

Analyzing a good album solely based on the music is fine, but when the music itself becomes an intriguing means to communicate any kind of poetry or, more importantly, some deep reflection, it's even better. It's a bit less so if behind the notes lurk ideas of political extremism, and in the case of the Von Thronstahl (German), it's about neo-fascist ideals.

The first encounter with this "Sacrificare" (2007) is quite strange, almost antithetical: the music, namely an excellent blend of apocalyptic folk and a particular martial-industrial cadence, is truly excellent, almost bordering on the sublime; yet, listening to the dramatic nostalgia of the first track, the eye inevitably falls on the title: "The Age of Decay and Democracy". Behind the delicate symphonism scratched by acoustic arpeggios one begins to perceive a nostalgic vein directed towards a past that everyone would like to forget.

The album is nonetheless extremely varied overall, both in the atmospheres and in the combination of various instruments. The tracks flow by alternating epic eruptions of snowy melancholy ("Gloomy White Sunday"; "Undefinierbare Sehnsucht") with rougher and more touching parts ("Dressed in Black Uniforms") or with small gems that scent of a tradition here rejuvenated and modernized by a waxy touch of keyboards ("Ganz in Weiss und Ganz in Eisen"; "Mother of Mercy").

"Occidental Identity" offers chilling moments, with its apocalyptic yet latent mood, while the title track is entirely electronic/orchestral, dynamic, solemn, and almost combative - I stop at defining it "combative" without going further, and those who know will understand. In short, in many parts, the levels of artistry nearly reach the optimal, never predictable; it is clear that there is a lot of musical experience behind Von Thronstahl.

Wherever instead the group insists on uniting their previously mentioned political ideals at all costs with the (beautiful) music, the album becomes somewhat irritating. For instance: the track "Multi piu onore" (yes, it's written just like that) displays martial-military rhythms accompanied by the cry of a guitar that could be more than decent and fascinating if it simply abandoned itself to indefinite and vague poetry. Instead, throughout the track, we hear the singer intone something like:

"Hep, hep, hep... Multi pìu nemicci, multi pìu onorre! Boja chi mòla!!!"

This is, allow me to say, a tad degrading. At least if they had tried to say it in decent Italian, but not even that.

And what about the track "Palaestina"? It is also heavily centered on a menacing warlike industrial like the title track, but here too, the singer returns to intone/recite:

"Hep, hep, hep... Slay! Slay! Slay!" [Slay! Slay! Slay!]

Not to mention other double meanings (sometimes not even double) that can be noticed here and there in the lyrics and various titles.

This is what partially spoils an album that would well deserve top marks. Alas, it is very sad to see how music can become a tool for political expression. Some may not mind it at all, while others might promote such an attitude. Personally, I think that no political issue on the face of the earth (especially if extremist and/or intolerant) should taint the true essence of music and the true message it is meant to communicate.

Very good album, but pay attention to what's behind the scenes.
The rating? You decide.