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Uncensored, Audible Dementia - 98%

Verwustung, March 31st, 2006

The term "insane" is awfully cliche these days, a literary travesty in the highest order. For other words are so pitifully unable to describe exactly what you are hearing once this album takes hold. Imagining the mind of the deranged, desperately trying to locate and isolate harmony amongst the chaotic maelstrom of warped thought, Axis of Perdition relentlessly torments the psyche, touting an onslaught of merciless industrial spite which mutates into sicker and sicker audioscapes, only to have its sound further regress into complete chaotic abandon and admonish any hope of sanity.

And as if in a moment of clarity, at times the horror makes sense, harmonies evolve, shakily at first, and a brief moment of respite is offered. However, as desperately as the mind clings to coherence, this album finds itself careening down the face of dementia, and so repeats the cycle of the mentally ill.

While Stalaggh's "Projekt Nihil" may have actually featured the voices of the mentally ill, it cannot even approach the scope of anguish and fear on display here.

An utterly disturbing and haunting release.

Originally posted @ http://blog.myspace.com/49309476

Axis Of Perdition - 89%

Morris, February 18th, 2005

This review was originally written for http://www.the-metalgarage.com/

I don’t say things like this often, but this music that The Axis Of Perdition create will rip the fucking skin right off your face. The Ichneumon Method is around 50 minutes of industrial black metal, but this isn’t any cheesy keyboard melodies with techno beats laid into it. No, the electronics in here create a scary, fucked up atmosphere, similar in a way Blut Aus Nord do, just this has a lot more anger and hatred to it. The dark ambient touches are a nice touch, best shown on Forms On The Other Side Of Silence, bringing variety to an otherwise samey album. There are also the samples, which are always enjoyable. “Daddy, help me. Daddy, where are you?” then in comes the blasting drums and guitars, is probably my favourite sample from the album, making for an awesome intro to Born Under The Knife, Live In Pain.

Though the bands sound is so twisted, fucked up, and whatnot, it’s only done by a two-piece. The drums are programmed, but despite that, they still sound awesome, and something that clearly no human would be able to pull off. Though, if you’re not the biggest fan of blast beats, then the drumming will put you off, as it’s blast beat galore on this album. As for the guitaring, it’s hard to make out any riffs most of the time, but the inventive playing goes well with the chaotic sound of the band. The vocals on this album are drowned in affects. Preferably too, as the sort of, don’t laugh, evil robot sounding vocals fit the albums obvious apocalyptical aim, along with screams, grunts and chants. There are some clean, spoken vocals at times though.

If you’re into Anaal Nathrakh, then you’ll defiantly like these guys too. There are several similarities to the two bands: the type of music is very similar, programmed drumming, both are (or were in the case of The Axis Of Perdition) a two-piece, don’t play live, and so on. If you want to hear something extreme, and I mean extreme then check this band out.

Darren Morrison

Terrifying, traumatic, and seriously scary... - 88%

AggressiveNapkin, February 10th, 2005

In a day when words like “brutal”, “abrasive”, “insane”, “punishing” are often used to describe extreme metal, The Axis of Perdition is probably one of the bands that live up to these words best. When I first listened to this, I was seriously scarred of it. Few other bands have done this for me. A review I read somewhere aptly described this as “sanity obliterating,” which sums it up nicely. “Industrial Black Metal” also is a good description since it has the tremolo picking techniques and blast beats which create a terrifying wall of sound. The drums are from a drum machine and are pretty much impossible for any human to drum, but give it that precise industrial edge. The samples, various sound effects and the lyrics themes of urban decay also give it an industrial feel. I have also heard this described as “Apocalyptic Black Metal” which describes it well too. The lyrics themselves describe various apocalyptic themes, which you will definitely need a lyrics sheet to decipher.
This album also seems to share a lot of traits with grindcore since it’s so maniacal and oppressive and you can hardly tell what’s going on most of the time. It’s pure terror. On the other hand, this album also has a sense of atmosphere and even slows down a bit at times. The song “Forms on the Other Side of Silence” gives a break in the middle and is an atmospheric track with someone reading a creepy passage out of a book. You won’t find many interesting riffs here, since the riffs are buried in a murky mess of drums, samples and noise, so it won’t really want to make you want to play any air guitar. There are really no solos to speak of, so if your looking for some fancy guitar work look elsewhere. If you’re looking for some of the most insane music available today though, look no further.
The way the whole package is put together really gives an intelligent edge and credibility to something that might be dismissed as “just a bunch of noise” by the uninitiated. I had to look Perdition up in the dictionary for instance, which means the loss of your soul. This is entirely appropriate since this album will destroy your soul! The song titles also add to the whole effect of terror, such as the example of “Born Under the Knife, Live in Pain.” Most of all though, the lyrics are what makes this assault so intriguing, and are defiantly worth looking up. They paint a portrait of urban decay and apocalypse with vivid imagery. Look as examples such as “The universe is crumbling to dust/The atoms themselves are coming apart”, “Cruel, haggard eyes locked in incurable amusement/Contorted grin on the face of inhumanity/Stirring the convulsions of its puppets/Stapled down and force fed misanthropy”, and “Inconceivable claws wrenching at the gates of time Torrential incandescence of the atomic wellspring/Churning in its infinity amongst mindless dancers/Lurching to the twitching cadence of discordant flutes.” Naturally I could go on forever, but you can look them up yourselves.
The samples also really help this album. The first track starts with a distorted feedback and a quote from the Matrix: “it was us that scorched the sky,” which tries to prepare you, unsuccessfully, for the chaos that is about to unfold. “Daddy help me! Daddy where are you” is the sample that sets up “Born Under the Knife, Live in Pain,” but I wouldn’t be surprised if you find your self saying the same thing after a few minutes of the song. The last song, which is somewhat epic, “Disturbance in the Perpetual Screen,” has alternating oppressive and eerie passages and also has great samples like “no one’s coming to help us,” and the sound of someone screaming as his bones are being crushed and he is disemboweled only to have this sound be crushed by the guitars right after. The last song also features some of the best uses of sound effects on the CD.
The Axis of Perdition is probably the best example of an obscure modern band putting out some top quality material. Especially in the realm of Black Metal, where bands are praised for being obscure thanks to the elitist, kvltist, scenesterism, The Axis of Perdition really overcomes the odds and makes some music that is good for something besides making you feel cool for listening to such an obscure band.
The band has also cited Anaal Nakrath as one of it’s main influences, and it’s clear they really drew a lot of inspiration from them. Anaal Nakrath does have clearer more riff oriented songs, but that’s not really the point is it? The idea is to give a horrifying experience of the Apocalypse and in the end, The Axis of Perdition is much more effective at accomplishing this goal. So if you like Anaal Nakrath and think they are extreme, you should defiantly check out this band.

A Ruined Nation Awakens...sewiously... - 90%

KantQontrolMyself, April 10th, 2004

Damn. Just plain damn! This album is one of the craziest, most evil spawns of doom ever released. These guys are much like Anaal Nathrakh, or any other band that plays industrial black metal. The difference is that these guys are more understandable in the lyrics, and the guitar work seems to have a tad more melody to it. Of course, many people won't understand what the crap they're saying at first, but if you grab yourself a lyric sheet, he sings every word perfectly and you'll think "how did I not understand that?" Anyways, the guitars are also what shine here. They have an amazing amount of melody, but you'll notice it gets a bit repetitive. But who cares? The screaming evil-robot vocals will totally grab your attention, or...drive you away, depending. I believe they use a drum machine, but hey, at least it fits with this industrial style of black metal. It's pretty hard to imagine that only 2 (or 3) people can actually pull off crazy crap like this. Big song highlights are "A Ruined Nation Awakens," "My Time, My Reign, My Tyranny," and "Born Under the Knife, Live in Pain." This, along with Anaal Nathrakh, is probably the embodiment of the apocalypse, and if any of you crazed fucks enjoy that, you'll likely love this album. But people who hate extreme, slightly-melodic noise won't find much to enjoy here. I recommend a purchase of this album, no matter how sane you are. GO NOW!!!!