Blind Ruler Cursed Land – Chrysantheme Delirium

Blind Ruler Cursed Land – Chrysantheme Delirium MC Rum Fixion Records 2021

Blind Ruler Cursed Land is a side project to UGFC which takes a slightly different thematic slant by: ‘exploring various shades of cultural & moral decline, post-defeat societies and dark esoteric “fanaticism” fascinations’. With some further investigation, Chrysantheme Delirium appears to be the debut tape from the project (after a couple of digital singles from 2020), while thematically focusing on Imperial Japan.

Musically speaking the sonics issued under the Blind Ruler Cursed Land name is not worlds apart from the main project, although its stylistic framework is based more on drone and dark ambient with only fleeting tinges of martial industrial inspiration. Four interlinking compositions deliver a combined runtime of around 20 minutes of material, where the pacing is slow and atmospheric, letting musical segments slowly shift and change in a controlled drone-ambient manner. More specifically synth-based orchestral textures, looped structural drones, and various choir vocals are used, which functions to balance the sound somewhere between whimsical, melancholic, and uplifting. However, the final of four tracks In This Sign You Shall Perish introduces overt martial industrial elements, featuring air raid bombing sounds, speech samples, distant martial percussive pulse, and a rising storm of muted distortion, before the tape concludes with a sample of a stirringly nostalgic 1940’s era Japanese song.

To conclude on the album’s chosen theme, the promo text reveals: ‘Imperial Japan symbolism is just one gate left opened for you to come. Tread softly, but come wholeheartedly!’, which functions as oblique instructions for a sonically strong release. A full-colour, fold-out, doubled-sided j-card and transparent lurid fluorescent green tape round out the physical presentation.

UGFC – Ost

UGFC – Ost LP Grom & Lord Records 2021

Following 2019’s Stalinist God (reviewed here), this is the second album I have heard from UGFC, which incidentally is an acronym of Uncle Grasha’s Flying Circus. As an immediate observation, Ost is again concerned with high calibre martial framed ambient-industrial soundscapes, containing a distinct hint of satire which I can’t quite put my finger on. But to also start with a comparison, with its prevalent tone of obscure martial industrial atmospheres Ost it is very much reminiscent of early Laibach, or other notable martial industrial projects like Toroidh.

Mother (Guilt) acts as a short introduction, framed around rolling kettle drums and sampled nationalist type song, which leads into Mother Lied (Zeppelin Dance). Here it features a central unwavering drone, slow martial percussive thrum, while whispered vocals and wailing air raid siren provides a brooding warlike mood. Von Richthofen’s Flying Circus then steps up the pace a notch with faster-paced industrial loops, loose mechanised clatter, and further nationalistic song sampling, while the back half of track is far more atmospherically melancholic despite maintaining a rougher industrial edge. On Side B the lengthy Hüzün Horns features ‘post-battlefield ambience’ at its finest, with thick bass-toned sub-orchestral drones and windswept barren bomb-blasted landscapes. The final track East Is The Best edges into anthemic territory with rousing martial percussion, industrialised loops, and gruff vocals which are later replaced with lamenting chants and church bells.

Not an overly long album by any stretch (totally just over 30 minutes), Ost still maintains a strong mood and atmosphere throughout which edge towards a more ambient-industrial mood overall. But of note, Ost functions to strongly demonstrate that it is still possible to create interesting results with a broader martial industrial style, which for a number of years fell out of favour due to the genre becoming rather tired and derivative through the mid to late 2000’s.

Die Kombination – Signale

Die Kombination – Signale CD / 7”EP Endangered Species / D-A Tonträger 2020

Although Signale is the second full-length album from Die Kombination personally I have not heard the 2017 debut. But as per the saying ‘first impressions count’, Signale immediately makes a heavy impression based on the packaging and presentation alone. The standard edition* is anything but standard, being reminiscent of the lavish and sophisticated packaging of the early works of Der Blutharsch and Les Joyaux De La Princesse (LJDLP). As such the CD and 7”EP are housed in a black cardboard box with the project symbol and title printed in silver foil blocking. Additional insets then include: a photograph; stamped information card; and 16-page booklet held together with coloured twine. This beautiful presentation gives an immediate sense of dedication and attention to detail which absolutely sets the tone before any of the musical content is heard.

As for the music, Sopimus opens the album with a tone of bomb-blasted and ash-strewn landscapes, where sweeping winds and tensile sustained synth line are the main elements underpinning a lengthy Finnish speech sample. Brooding and intense, it immediately captures a tone and atmosphere often attempted but rarely achieved. A similar mood follows with Tali-Ihantala, where the stilted rhythmic synth elements have been over-processed to replicate the sound of exploding bombs. Narvan Marssi then comes as quite the musical surprise by featuring rolling martial snare drums and strident organ melody. The short track Interludium recedes into a furrow of deeply brooding slow synth melody, which functions as the introduction to Gefechtsverband Kuhlmey, which elevates into a grinding, mid-paced heavy electronics track of muted swirling tones and heavily echoed textures. Unternehmen Silberfuchs reverts to an atmosphere of minimalist battlefield atmospheres (again with lengthy dialogue samples), where synth and layers elements are added and subtracted over the course of its extended length. Playing out as a largely instrumental album, vocals then do appear on a single track Poltetun Maan, and are an absolute standout element. Here the track is based around atonal shuddering loops and sweeping widescreen textures, where the heavily processed vocals are of the classic-sounding heavy electronics type (treated with echo and distortion), and while unintelligible they sonically articulate a sense of baying anguish. The main album concludes with the short piece Erinnerung, an ambient industrial soundscape which in its features an achingly beautiful musical motif that carries through to the dying moments. To then mention the 7”EP, while it contains a further two tracks these feel to be more aligned with rounding out the thematic context of the set given they are original songs (1936 & 1942 respectively) from the period the theme of the album relates. With further reference to the theme, as titles and samples are not in English it makes it difficult to grasp the concept overall. Yet based on the title of one track (Operation “Birke”), it appears the theme relates to a conflict between Finland and Germany towards the end of WWII.

Musically speaking, clearly, there are passing shades of LJDLP, but perhaps a greater influence and homage to early 1990s German heavy electronics material such as early Predominance and Dagda Mor. Yet while such linage and inspiration are clearly noted, in no way does Signale sound to be a mere copyist as there is ample individual flair and considerable sonic and musical variety across the album. Likewise, when then sonics are appreciated in combination with the content of the lavish packaging, it ensures Signale is a mandatory album.


* – a private edition of 15 copies also exists, with the album on a cassette, with it and the 7”ep and other inserts housed in a vintage German metal ammunition box with the Die Kombination symbol sand-blasted into the paintwork.

Dream Into Dust – Fragments Of Legacy

Dream Into Dust – Fragments Of Legacy CD Chthonic Streams 2020

Dream Into Dust are a project helmed by Derek Rush with a rotating cast of contributors, but has been on a long hiatus given the group never officially disbanded. Although Dream Into Dust are well respected in facets of the post-industrial underground, more to the point they perhaps never received wider recognition they deserved. Musically the early works drew together disparate elements and influences from dark ambient, neo-folk, martial industrial, gothic and neo-classical, while later material incorporated some more contemporary influences and production techniques drawn from alternative, rock and pop.

As for Fragments Of Legacy it draws together 15 tracks, which were previously released on various compilations, or intended for compilations which never eventuated. With the collection of tracks being exclusively lifted from earlier phase the project, this suits my stylistic listening preferences, as personally I was less interested in the later evolution of the sound of Dream Into Dust. Given its musical leanings, Fragments Of Legacy comfortably sits between the sounds coming from Cold Meat Industry and World Serpent Distribution during the late 1990’s. Quite some territory is covered across the span and while martial industrial and neoclassical forms a consistent stylistic underpinning of these cinematically tinged soundscapes. But rather than stoic and bombastic, the overall atmosphere is forlorn and mournful. Equally the elements of neo-folk reinforce this archaic atmosphere which seems to sonically articulate a yearning for a lost time, with this general sentiment being specifically referenced by the title of their debut album The World We Have Lost. Yet with all that said, tracks such as The Chariot and Invictus notably stand out in all their strident neo-classical bombast. To make mention of further stylistic diversions, the album opener Stormbringer displays neo-classical and martial industrial elements, yet these are framed with a muted goth rock tone provided by the clean guitar and part sung/part spoken vocals. Other tracks like Totestadt are framed around fragile simplicity of clean guitar and piano, backed by creaking field recordings and spare neo-classical elements. Fields of Night features as an emotive and stripped back acoustic neo-folk tinged instrumental track, complete with sparse yet stormy martial percussion, while Out of Chaos Stars Are Born is also of note, coming fully formed as a shrilly intense soundtrack styled orchestral composition, moving through a crescendo and following passage of fragility. Late album track London, while neo-classical in tone also contains a whimsical Victorian gothic flavour to its core piano melody and cyclic musical motifs against which Derek recites a poem of William Blake. As for the final track The Trial Invisible, it stands apart from the rest. Deviating from the predominant atmospheric soundscapes, it is a moody and direct neo-folk song, complete with strings and cleanly sung lead vocals, thus give a partial nod to the later direction the project would take.

Packaging wise the CD comes as an 12 page colour printed booklet sleeve, with detailed liner notes on the origins of each track and pick up on some important conceptual influences, such as: poems of William Blake, The Trial by Franz Kafka, films such Slaughterhouse Five, M, Metropolis, Ulysses’ Gaze, While Fragments of Legacy may be effectively a collection of compilation tracks, it is surprising how well this disparate material hangs together as a complete album. Ultimately Fragments of Legacy is a positively conceived and compiled album, and very enjoyable document of the early phase of Dream Into Dust, regardless if you are an existing fan or perhaps a new listener to the project. A legacy of intent if you will.

Autopsia – In Vivo II

Autopsia – In Vivo II CD Death Continues 2020

Autopsia have been active since 1980, but on a superficial level of artwork and sound the project have perhaps remained in the shadows of Laibach who have been operating for a similar amount of time. Sonically speaking early Autopsia works were of a lofi dark ambient / ritual industrial style, which gradually morphed towards more composed neo-classical structures, and much later sought to draw in modern sonic elements (i.e. glitch and programmed beat driven sounds). But In Vivo II is not concerned with the current phase of the project, and as per the sub-title of the album clarifies the album is: ‘Autopsia Archive Recordings 1980-1988’. More specifically, over this period Autopsia issued numerous compilation tapes under the same title of In Vivo, where the 17 tracks collated here are sourced from different compilation tapes, and with selected tracks previously not released. In Vivo II is also the second archive album to be issued on Death Continues.

Of the disparate tracks collected here, there is a fair amount of variation which span the differing sounds of Autopsia from dark ambient, to experimental soundscapes, to martial industrial and neo-classical elements. Likewise, some tracks collected here are mere minutes in length, thus play out as short fragments of sonic ideas. Kissing Jesus In the Dark opens the collection, with sampled Tibetan throat singing offset with stoic industrial percussion, which highlights Autopsia’s martial and experimental tendencies. There is also a notable use of tape loops on various pieces, such as the early track Aqua Permanens has a strident martial industrial sound, based on sampled orchestral strings and slow pounding martial percussion. An excellent track. More variation is displayed on ESOTerIC II – The Machine also stands out as composition based on an organ dirge in full flight, where it is not immediately clear if this track was sample based or specifically composed and played. In further sonic deviation, the ritual dark ambient track Red Nights, complete with sampled female vocals, is noteworthy, given plays out very much as a precursor to the stylistic approach would refined by Cold Meat Industry artists’ through the mid-1990’s. Equally the track Relaxed with its industrial soundscape and pornographic dialog sample seems to have been specifically influenced by the earliest phase of SPK (i.e. Information Overload Unit and Leichenschrei). Recomposing A Dismembered God is the longest track at over twelve minutes, and another standout of the collection, being a shrill and stormy classical soundscape based on interlinking orchestral loops. On the concluding track We Area Death, it perhaps is the most refined example of sampled orchestral and choir based loops, being a slow and moody track, charting a tone which wavers between the ominous to the serine, and a sublime conclusion to the collection of tracks.

Given the nature of In Vivo II being an archive release, the correct way to approach this is as a disparate collection of early experimentations from the group, and not as a proper album. This means that some tracks clearly not a strong or refined when considered as individual standalone tracks, but that is not the point either. In Vivo II exists to bring to light a collection of the earliest working of the group and their varied development in conceptual approach to sound and composition. To that end, the release does its job perfectly.

UGFC – Stalinist God

UGFC – Stalinist God LP Grom & Lord Records 2019

UGFC is an obscure project from the Czech Republic, helmed by one Willhelm Grasslich, and with the acronym of ‘UGFC’ being an abbreviation for ‘Uncle Grasha’s Flying Circus’, it immediately gives a strong sense of satire at play. With some further investigation, the project is self-described as being concerned with: ‘surrealistic visions, poems and manifests of avantgarde artist Willhelm Grasslich. Avantgarde and propaganda fascinations and the topics of war, power relations, religions, ideologies, painful historical legacies etc. shape the palette of its inspiration and articulation’. As for the concept of this album, given that the sampled speeches and dialogue on the album are exclusively in Czech, it creates a clear limitation for me to grasp the detailed concept. But at least the liner notes in English provides some strong pointers – and I quote: ‘Stalinist God does not represent a personality, nor idea/myth, nor any form of transcendental being. Stalinist God is a status. A state of power that creates a blind alley for all ideologies and regimes. When your propaganda reach the maximal success and you became a God per se, you must just sound your trumpet for apocalypse and destroy everything you have created’.

Sonically speaking Stalinist God features high caliber, martial tinged industrial soundscapes. But when I refer to ‘martial industrial’, it is not in reference to the overly synthetic sound of that style from the mid-1990s to early 2000’s, rather it harks back to the raw and obscure martial industrial sounds of the earliest phase of industrial pioneers Laibach – which is obviously meant as a large compliment. Early tracks Kaitan and Kasbah are prime examples, with roughly echoed and looped industrial factory noise create grim and soot infused soundscapes atop which political rally type speeches are overlaid. Juche is equally of note, as it features a distant and partial buried martial drumming pulse, as well as samples including speeches, crowd applause and orchestral and choral music, it certainly gives nod to the sonic styling and approach of the likes of LJDLP. As further deviations Culpabilité sonically channels mid-1990’s German heavy electronics sound of subdued but bass heavy pulsing drones and radio waves, while Securitate provides a rousing atmosphere of sampled orchestral loops, speeches and rapturous crowd noise. Within the twelve tracks a number of the tracks are purely instrumental, where Anatolyevna uses loose and echoed metallic percussive as the core of its industrial soundscape (very much evoking visions of abandoned factories), while Scharnhorst uses rhythmically hewed bomb blasts and other metallic clatter. Late album track You Have To Be Death To Be Wise is the longest track at 10 minutes, and unfurls in an elevating capacity of tensile mid toned layers which rise to a rough noise peak as a moody synth melody acts as an underpinning element. Mid track muted horns appear and fade, as do other more caustic sonic layers. As for the final track Headquarters, it rounds out the album which a track which is effectively an unaltered traditional nationalistic type song.

Packaging wise, the album is presented in atypical fashion, where the cover design has been printed on white cloth which is wrapped around a plain white LP sleeve, while two  further multi-page booklet inserts provides text and imagery relevant to the concept. Although having not heard of UGFC prior to this album, this is very much a post-industrial obscurity which I am very happy to have been made aware of. Recommended.

Blitzkrieg Baby – Genocidal Sextasy

Blitzkrieg Baby – Genocidal Sextasy LP Cloister Recordings 2020

Following quickly on the heals of 2019’s Homo Sapiens Parasitus album (reviewed here), Blitzkrieg Baby have returned with their third album. Visually the cover is immediately notable as it continues the Looney Tunes inspired artwork of the last and reinforces the bleak cynical streak of pitch black humour which underscores the project.

Open Season On Homo Sapiens opens the album and is short intro track consisting of looped vocalizations and sinister sounds, before the cynical swagger of Blitzkrieg Baby kicks in full force with Kill Them All – an excellent track machete slashing rhythms, bass plodding beat, and minimalist horror synth melody. To throw an early curve-ball, the following instrumental cut Manhunt charts a fast-paced driving beat/bass driven track complimented with stabbing piano line, which although not quite EBM in production, certainly edges that way in song writing. One By One then arrives as both a standout out and album highlight. Being a track I first heard played live at the Cloister Recordings Dominion of Flesh festival in Stockholm in November 2019, and is equally as immediate here. Framed around a mid-paced rhythmic sway, heavily pounding and counterpointed percussion, sinister synth lines and anthemically whispered vocals it is an absolutely cracker of a catchy track, while Feed Them To The Pigs rounds out the first side of the LP, opting for subdued death industrial loops and half sung/half spoken vocals. On side two the instrumental horror movie soundtrack style returns in full force on Fuck Toy For The Death Patrols and the title track Genocidal Sextasy, where each achieves a differing sinister stalking vibe using throbbing beats, shrill strings and atmospheric drones. After the pairing of two short instrumental interlude pieces (They All Died With Spit On Their Faces II and Pop.0), the album closes on another high-point with the track Piggy. Mid paced and militantly rolling drums drive incessantly forwards, further complimented with backing drones and minimalist synth strings and rounded out with apathetic yet commanding spoken vocals.

By now you should be well versed in whether the quite unique sound of Blitzkrieg Baby is to your liking, with Genocidal Sextasy being a further continuation and honing of this established approach. The album displays significant black humour in the way it plays with its conceptual cynicism, but with the musical backing is treated with utmost seriousness it never approaches anything close to being deemed a joke project. Another great album from these Norwegian piggies.

Lamia Vox ‎– Alles Ist Ufer. Ewig Ruft Das Meer

Lamia Vox ‎– Alles Ist Ufer. Ewig Ruft Das Meer Cylic Law 2020

Lamia Vox’s second album Sigillium Diaboli * was released all the way back in 2013 (reviewed here), which means new material has been long awaited and strongly anticipated from Alina Antonova’s ritual/dark ambient project. But from the outset the new album’s theme and focus strongly captured my attention – and I quote: “… the album isn’t presented merely as a musical piece but bears a deep spiritual message and a counterblast to the rational, materialistic and post-theist nihilism of current age. Inspired by early modern poetry, Hermeticism, fin-de-siècle symbolism and naturphilosophie, this new opus celebrates another vision of the world, one of higher dimensions and beyond the human sphere, a world of intoxicated and ecstatic alchemy of poetic language and ideas”.

As an initial observation, this new full length is perhaps less immediate than Sigillium Diaboli, but in then being a slow burn album, upon repeat listens has demonstrated itself to be a much more of a confident and sophisticated release. Although broadly referred to as dark ambient, the album is very much a musical one based on individual songs which feature strong threads of martial and neo-classical sensibility. The album open Three Dreams sweeps into frame with a brooding orchestral synths (produced to sound anything but synthetic), where layered vocals ranges from spoken to ethereal choir-esque in delivery. When this further is combined with wind and lapping waves samples, it provides a strong mind’s eye vision that the vocals are those of the mythological Greek Sirens calling unwitting sailors to their doom. The following track Eternity with it rolling percussion, deep brass horns and hammered dulcimer comes across as more darkly gothic take on early classic Dead Can Dance. Equally this impression is also mirrored and reinforced by the intoxicating ritualised tone Dionysos complete with its ethnic percussive strains. Song of Destiny evokes a further ritualised ethereal mood through ringing piano notes, sweeping string, rolling drums and choral female vocals, while late album track Animis, with militant drums, sweeping orchestral backing and the understated yet equally edging towards soaring lead female vocals of Alina. I Call the Stars On High is another soaring and epic track of driving percussion and brass and strings orchestral melodies, while Alina’s commanding vocals are multi-tracked for choral effect.

The seven tracks combine to make a relatively short album at only 35 minutes, but in that time not a second is wasted, nor any tracks could be relegated to filler status. While Lamia Vox is in effect the logical extension of a mid to late 1990’s ‘Cold Meat Industry’ sound, Alina has also expanded on her song writing skills into realms of much greater confidence, where the end result is now very much immediately recognisable as that of Lamia Vox. The professional production and Alina’s multi-tracked vocals are very much a part of this, and when complemented with such rousing musical song focused format it has resulted in an album which has been most certainly worth the extended wait.


* – Sigillium Diaboli is being reissued by Cyclic Law at the same time as this new album, featuring alternative artwork, both on CD and pressed on double vinyl for the first time.

Ditch State ‎– Purge

Ditch State Purge MC Cloister Recordings 2019

Ditch State is a new and purposefully anonymous project signed to Cloister Recordings. Yet, if I were to hazard a guess, this has connections to the Northern European sound and approach that radiated out from the now-classic 1990s / 2000s Cold Meat Industry era. Sonically speaking, Ditch State are clearly of a post-industrial type, but perhaps this could be described as taking raw death industrial tracks which are underscored with a martial-inspired song-based frame of reference. Given the stoic and heavily pounding standing kit drum, plodding atonal bass guitar, and song-focused vocals, a partial parallel could also be drawn between Ditch State and the approach showcased on recent albums from Nordvargr and Trepaneringsritualen – except that the ritual elements of those two have been replaced with a focused militant tone.

The album opens with the paired tracks Live to Destroy and Flattened Mounds, each of which is rhythmically framed around driving/pounding drum beats (played not programmed) and blended with bass, raw industrial loops, and minimal synth lines; the vocals are in a gruff and roughly yelled style. Silent Waves, in contrast, is a dour soundscape piece with vocals resembling an unanswered message broadcast over the airwaves. With these three opening tracks, the greater arc of the album is demonstrated, with subsequent tracks falling into one of two camps. The first are militant percussive-driven compositions (seven of the ten tracks). The second camp are interlude soundscape compositions that evoke the brooding ambience of a crater-blasted battlefield once the forces have swept through. All of the 10 tracks are on the shorter side (the longest is less than six minutes), meaning they function as standalone tracks.

Offhand, I can’t think of many direct comparisons to the specific sound of Ditch State (which is itself positive), but the militant-inspired death industrial style clearly has the potential to find an appreciative audience within the post-industrial underground. Packaging wise, the tape is housed in an oversized high-gloss cardboard box with the shredded flag logo printed in black on the front of the box. Limited to 100 copies.

Militia – The Face of God / Ambiorix

Militia – The Face of God CD Old Europa Café 2019

Militia – Ambiorix CD Old Europa Café 2018

To provide a brief history lesson, Militia have been operating since the late 1980’s, where their general approach could be characterised as a logical extension of the early oil barrel percussion of industrial pioneers Test Department. Militia then managed to hit an outstandingly high peak of output early on, with particular reference to: New European Order 3xLP (1996); their contribution to the cult compilation War Against Society 3xLP (1997); and The Black Flag Hoisted 2xCD (2000). Each of these and now broadly considered landmark classics of the post-industrial underground, which then tends to cast a very long shadow over everything which has followed and to which against every new release is compared. Inevitably this is the context in which the two new Militia albums are considered.

The Face of God although issued in 2019, was first issued in 2015 as a self-released box-set, but with poor distribution it was quite difficult to obtain. This 2019 version appears it may in fact be from the original CD pressing but re-issued within a newly designed 6 panel digi-pack. In context of Militia’s discography The Face of God followed on from 2005’s Everything Is One CD and 2011’s Power! Propaganda! Production! CD. Both of those albums where characterized by being more streamlined, cleanly produced, and song focused, and for me were both highly enjoyable releases which demonstrated a gradually refinement of Militia’s earlier approach. Interestingly The Face of God differs from those albums given it has a rougher and distorted edge which more closely aligns with the earlier era. Male choral vocals and tolling bells of Psalm 1: An Atheist Statement opens the album, before an echoed proclamation of project mainstay Frank Gorissen makes the theme of the album exceedingly clear. Following this the track launches into a section of trademark looped synth lines, wailing horns and heady thrummed percussion. Without doubt a brilliant start. Psalm 5: Sermon is also a clear standout with its fast-paced metallic percussive drive and maudlin underpinning synth line. Psalm 7: God’s Face is another track displaying all the pinnacle trademarks of Militia’s approach aka the rhythmic loops, pounding metallic percussion and wailing horns. Late album track Psalm 10: Call All Atheists is another particular highlight with its atonal droning synth-line, blended with forceful incessantly rolling/ clanging percussion and strained proclamation styled vocals. Yet alongside the highlights sporadic missteps don’t go unnoticed, where on occasion the execution of percussion feel overly stilted and out of time, such as on Psalm 2: The immaculate Conception Of Lies. A minor gripe, but a gripe nonetheless.

In moving on to the consideration of the latest Militia opus Ambiorix issued in late 2018, from the outset the album draws a clear parallel to the recent 2017 re-recording of the classic New European Order (reviewed here). By this it is meant the earlier percussive driven windswept battlefield atmospheres are clearly present, but the recording is crystalline and without a grey hued murkiness. Likewise of note, on the thematic side of things instead of political framed social commentary, the album differs as it focuses on a historic period instead, and quoting from the cover: ‘Militia plans King Ambiorix’ struggle again the Roman occupation of Gaul in 54 BC’. In an overarching sense while Ambiorix follows Militia’s established sonic template, the album as a whole is quite atmospherically filmic in tone, particularly where rousing synth based neo-classical elements such as choirs, horns and strings are utilised. This cinematic impression is further reinforced through the clear narrative outlined by the album’s 11 tracks, and with the production being relatively clean and spacious, means that although being percussive based, it does not feel as heavy as other Militia material. To talk specifics, early Negotiation perfectly blends rhythmic loops, driving militant drumming and stirring synth melodies. Equally the introductory neo-classical strains of Ambush are particularly rousing, which sets the scene for a ‘battle march’ percussive driven track. Calling All Gauls again follows the classic Militia format of rolling metallic percussion and looped melody and further elevated with neo-classical backing elements. Late album track War is equally rousing with its battlefield samples, choir synths and ever-present driving percussion. Rounding out the hour length album is the 11.5 minute The Lost King which is an ambient soundscape which evolves into a mid-paced militant percussive track though the mid-section, before shifting back to and ambient soundscape during its final moments.

As an overall comment, I would not profess that either of these Militia releases exceeds the heights of the early era classics, yet they each still stand as resoundingly strong releases on their own. In recognition of their slight deviations in tone and approach, both The Face of God and Ambiorix are fitting additions to the Militia discography and will absolutely please followers of the group, both older or more recent. Recommended.