without Internet Explorer,
in 1280 x 960 resolution
This is 2002 and counterproductive musical pieces are rampantly popping up from everywhere like mushrooms. These bands usually lack spirit, enthusiasm, dedication, originality, quality and inherently every obvious factor that makes any kind of Art truly enjoyable and transcendental. These bands also try to justify their irrefutable failure on claiming their music is just a soundtrack for a revolution. Anyway, they fail, as they most closely resemble a disgusting mass of rotten juvenile pubic hair in a near-literal sense. Many of these bands are also very politically oriented and resemble themselves more than the idea they're attempting to worthlessly emulate. Something that takes the worst things of the newest segment of the Black Metal movement fused with a plastic kind of pathetic forced innovation and a completely punk song-writing is simply disgusting. And yes, this obviously belongs to that category, as this seems to be a rip-off of nothing particular but something which was the worst of everything and the only thing you remember about it is the band itself just being too miserable to remember any specific song.
This underman shit deed can be described as a shitty collection of modern Black Metal filler riffs almost directly inherited from the least-good parts of newest Darkthrone and Grand Declaration of War coalesced to more senseless filler thrown in, thus being the sonic equivalent of emetophagia. Arguably calling this emetophagia is a bit too pleasant and abstinent, perhaps sculpting deformed raw mid-size figurines of naked Negro musclemen with huge cocks out of clay would work better for the methodology of writing this album? It's not like it's only that commiserative it resembles teenager's pubic hair, eating vomit and clay gay-porno, Planet Zog in some aspects appears to be an attempted abortion to make a Cowboys from Hell adaptation to Black Metal. Planet Zog is infested with excessive angst and whine that exerts itself to create a 'intense violence and hate' atmosphere but only forges you a mental image of a high-school girl fight. Yes, I wouldn't be surprised this is unintentional because although he derangedly fails at doing it, Kaiser Wodhanaz wants to be a very tough Nazi guy with a very strict kind of totalitarian ideology. None of the lyrics display explicit bigotry: they're either highly militaristic and "hateful" or vaguely nationalist childish dadaist rambling completely lacking any sense (KAMPF, KRIEG UND SIEG UND WANG, COCK, SIEG SIEG!).
As it was previously said, this has a very obsessive emphasis on fake aggression and toughness which castrates the little potential the album could have had; this album's guitar songwriting is a very displeasing trebly execution of a perpetual recycle of just a few randomly borrowed filler riffs from randomly chosen post-Black Metal bands that are almost as revoltingly fecal as this is. Knock-knock? Who's there? Bass? No? Not really much of it. And what can we say about that wonderful thing that shows us the way riffs should go through, namely Drums? They're so fast executed and mechanic sounding quasi-blast beats it almost sounds like if they weren't there. Some people simply can't understand playing Metal isn't Sonic the Hedgehog. The vocals are constant in the way they are mildly digitally distorted shrieks with little place for variety. A great part of the structure consist of a basic tremolo riff unforeseeably displaced by another, much can't be said about it. The emaciated production, very thin for its general absence of bass, being mostly very sharp and exhausted with inefficient expansibility, successfully allows the rest of the instruments to be audible but mitigating much of their strength. There's also a significant presence of some samples, ranging from disjointed industrial loops to ridiculed Islamic prayers that as well maximize a great part of the countless bad qualities of this album.
This album is truly avoidable, it's the same loathsome band of always that exists within all genres that displays nothing more than a synthesis of using clichés that could make you sound good at times can turn everything into total shit. However, this isn't as deplorable and unintentionally humorous to be listened just out of morbid curiosity, but repugnant enough to be considered a shame for the NSBM bands. There's practically no reason to get this.
Self described as ‘Totalitarian Black Metal’ and rightly so and at an exceptionally professional, top skilled level. This is not your average NSBM record or band. The music is executed with great craftsmanship, originality and pure metal feelings.
When I first heard of this band I was expecting either simple raw BM or sloppy moronic (for the most part) Absurd worship, when the church organs (on the first track) started going into very melodic yet raw and angry guitars I knew I was in for something completely different.
It is black metal. It does have some ‘industrial’ sounding parts, for the most part it is very melodic and catchy but without failing to be aggressive, angry and hateful.
Many prefer the release after this ‘A New Race…’ to this one but I am one of the few that don’t. I love everything about this release except for the horrible unreadable layout inside the cd sleeve – maybe it is intentional, maybe not but you can’t read a damn thing.
The vocals are insane, distorted angry screeches, the guitars are very trebly and fast, the drums (maybe a drum machine?) are very mechanical and with just the right amount of bass sound – almost in all tracks there are explosions, weird industrial sounds which really add to the overall atmosphere of this nearly perfect release.
The main stand out thing about this album for me is the excellence throughout the album, there are no cheesy parts, and everything is executed and thought out to a crisp. It is intense and has enough variety going on from track to track to listen to the whole thing without becoming bored, every track is different yet it is all top notch black metal.
For those who have labeled NSBM as complete crap this would be a good record to get a hold of, this is ahead of the NSBM scene on many levels. Definitely not your typical BM album.
Standout tracks: Invocation of Madness – The Art of Schizophrenia, Wolf Power, Soldiers of Wotan
NSBM is a genre of music that has never really appealed to me. Usually one could describe said genre of music as talentless and juvenile with few exceptions. The last NSBM release I heard stared off with the seemingly mandatory sample of Hitler or some other high ranking Nazi official making a fairly passioned speech which the music just couldn't follow up. The opening track of Ad Hominem's Planet Z.O.G debut album, Invocation Of Madness/The Art Of Schizophrenia starts off with a church organ playing. At this point I was expecting Ad Hominem to follow the usual way of the NSBM band and have a sample of some speech being made to come in and then be followed up by some half hearted, generic, poorly produced Black Metal that lacked the intensity and passion of the speech. Imaging my relief then when some slow, razor sharp cutting guitar work comes in instead of the expected sample and sets the mood for the rest of the release i.e. very clinically executed hate and violence. The guitars are quite trebly and usually play power chords, occasionally with a bit of harmonising from a lead guitar with the bass simply just being there following and blending in with the rhythm guitar's root notes. Whenever there is a bit of tremolo picking the guitars really do cut through things, hence the saw comparison by many people. Fortunately, as mentioned above, there is usually always a rhythm guitar to keep it from sounding weak in any way.
The vocals are slightly distorted yet they are different than most distorted vocals which have becoming something of a norm. It's clear that he's actually putting his heart into what he's singing and not just whispering or speaking quietly and distorting it to make it sound bigger than it is. Also, they sound sick as fuck, I can't really pin down why. Maybe it's because of his accent, maybe because he's shouting, I don't really know (I hasten to add that with a lyric sheet the lyrics are clearly discernible).
The production is crystal clear and key to creating the aforementioned hate and violence. I believe I've read an interview with Kaiser Wodhanaz where he describes it as "militant" or "martial". I couldn't agree more. Yet it does get a bit wearing after a while and can sound empty during some of the slower sections. This is not helped by the fairly obvious drum machine which is nothing more than a glorified metronome The beat is either a mid-paced blast beat or a kick-snare-kick-snare rhythm. I don't even think toms are used at all in this album, just the kick, snare, crash and hi-hat. This can seem very monotonous at times and is the most minimalist drum performance I've ever heard, there aren't even any snare rolls. Even Burzum and Ildjarn have a few drum rolls here and there. Luckily, on future releases, a session drummer is used and this is changed.
As a side note, I should mention that he obviously knows how to use such things as clean singing, clean-tone guitars, explosions and other samples in moderation as they only appear a few times and actually add something rather than just simply being there.
The major disadvantage of this release, along with the production, is that there is quite a lot of filler. I find this quite strange as Kaiser Wodhanaz can obviously write some very memorable, even catchy, riffs (see the "kampf, krieg und sieg, sieg, sieg" 'chant' to the title track Planet Z.O.G). The middle tracks (The Psalmody Of Sub-Humans to Wolf Power) on this album are fairly average, virtually worthless and almost instantly forgettable.
In conclusion this is a good release with some very good and memorable sections. Unfortunately, it's dragged down by the production and there being too much throwaway material in the middle. The future releases I've heard (the split with Warfire and some tracks from A New Race For A New World) have a less clinical production and seem to have less filler. So obviously I would recommend that if you are unfamiliar with this band try to obtain those first. However, this album would make a welcome addition to anybody's collection, providing they like their Black Metal doused in violence and hate.
"Hateful, violent NSBM" is a term that doesn't particularly appeal to me. Indeed, purely-oppositional expressions of hatred have an aura of immaturity about them, perhaps due to the fact that so many people in this day and age seem to believe that black metal is, and should be, synonymous with hate. We had the brutal death phase, here comes the brutal black.
But but but but, just like in the BD genre, there is the odd band who does it just right. An emotion as feral as hatred is not easily focused into something purposeful, but these guys evoke a spirit of war that will devastate the more timid minds on the BM 'scene'. Let the humanists and the easily-offended stay clear, with songs like "Auschwitz Rules" this isn't your thing. Efficient, energetic, relentless, militaristic, soullessly forceful; it captures an intense feeling of forward progress. It manages to be utterly ugly yet rousing and uplifting at the same time, which is something not many bands get right.
A typically haunting organ tune starts the album off, but does absolutely nothing to prepare us for the ferocity of the first track. When the first malicious chord is struck down accompanied by a roar, so begins a short, slow, simple and HUGE dissonant passage, that manages to be just as heavy (and I don't mean superficially 'heavy', this has real power) as any doom while keeping a far blacker edge to it. You know it hasn't kicked off, though, there's still a sense of the ominous. When the drums kick into a mid-paced even beat, and that first crunching, chugging dissonant chord begins alternating with a desperate, scything tremelo melody, with one of the fiercest vocal deliveries I've ever heard battering one's mind, you just know this is going to rule. The song opens up more into a lightning-fast brutal passage before returning to the destructive opening section, and by now images of soldiers marching and destroying are already poignant in your mind.
It's not a long song - none of them are, and there's nothing technical about this in style or structure, yet it works. There's an acoustic passage and a small bit of deep clean-vocalled work as well, as the album starts to branch out a little as to provide some variation, but don't worry; it's tastefully executed, and doesn't end up being contrary to the album's aims.
I totally agree with Aquifel that the guitar here is like a saw, I couldn't have put it as well myself. Well, it's more of a chainsaw. The thin tremelo rips and tears, the gargantuan chugging is a sharp blade spinning with sheer violence. This is another one of those albums that has a mechanic efficient relentlessness which can best be done, and is done, by a drum machine. The guitars and in particular the somewhat distorted vocals dominate, though. The production as a whole is in fact excellent and very fitting, with every instrument very clear and obvious, and the huge wall of noise adding to the atmosphere.
So, in case the previous two reviews weren't enough inspiration for you, I must also urge you to have a look for this. Not essential, but you'll be hard-pushed to find something better in the style. Ad Hominem don't barrage us with a "hateful" mess of frantic drums and barely-audible riffs, in fact the album would be nothing without the great spirit of the melodies, as well as the power and energy with which they are driven. This is why this one gets 20 more than 50.