Ario-Christianity was (and still is) some philosophical ‘trend’ (I usually do not like to use the word ‘trend’, for it refers to an inferior vision on specific subjects – but you might know what I am trying to explain right now, I think), elaborated by the (former) monk (+ scholar / philosopher) Jörg Lanz von Liebenfels. This theological theory was sort of the primal basement for an organization he started, called Ordo Novi Templi. The term ‘Götter-Elektron’, by the way, does come from one of his works. Anyway, Ordo Novi Templi aka Order Of The New Templars tried to search an equilibrium in between Aryan supremacy and Christian belief, and they did use the sunwheel (swastika) as a symbol to define this creed. This can be defined as ariosophism, and during the first decades of last century, this concept was somehow gaining ‘popularity’.
A person I came in touch with a couple of years ago, is the very sympathetic guy Loki, who runs quite some excellent projects, amongst which Visoteric, Volk Lore, Endoki Forest, Herrenvolk and several more. They have nothing to do with ‘Metal’ whatsoever (there are two exceptions, Hexfog and Mastema, which I will come back to soon in upcoming reviews), but there are similarities and interfaces. He also recorded some material under the moniker of Order Of The New Templars, which somehow pays tribute to Lanz and his (contested?) Aryan-Christian theories. The album this review deals with is titled Götter-Elektron, the ‘divine elektron’, giving the white races some godly status, interstellar deities, strengthened by selective reproduction to obtain racial purity, while ‘lower’ races were the result of inbreeding, cross-production of ‘higher’ humans with humanoid yet inferior races, or just the offspring of those minor species.
Anyway, Götter-Elektron had been recorded ‘for personal pleasure’ and was released on Loki’s (hidden / forbidden) label Hyperborean Age Records, an outlet for several of his (grandiose!) projects (for which I did write some reviews in the mean-time, and some more will follow soon). The guy did everything himself (song writing + performance, production and mix). It is somehow comparable to several of his other non-Metal projects, yet once again different too – which explains the different moniker from all other outfits.
(since my copy is a one-track journey [33:31] and since I do not have a track list defining the individually separated fragments, I can’t give you any title and I will refer to ‘specific moments’ during this adventure)
Anyway, Götter-Elektron opens quite icy and overwhelming, with heavy droning background beats and some astral experiments. …as if it’s a message from the Gods, seeking attention of the devoted listener. More cosmic soundwaves enter after about five minutes and something, gathered in a multi-layered symphony of synths and, eventually, scarifying vocal samples. It does give the whole a very claustrophobic touch, horrific in nature, like a sonic expression of Giger’s (tarot) creations.
At about ten minutes, things turn more electronic, with a huge spectrum of beats and melodies. There is a modest hint of apocalyptic malignancy going on, as well as an intriguing expression of glorious epicism, mingling the Dark Doom Electro Music from Visoteric with the hypnotic and droning ambience of Endoki Forrest, if you might care.
At about fifteen minutes, the experience turns more ritual and spiritual, with those mesmerizing voices, esoteric and meditative somehow, subtly penetrated by soft sounds of ethereal aural finesse. Levitation tries to impugn my knowledge on physical matter and gravitation. But it’s a spiritual satisfaction to float though this dimensionless space beyond material existence.
As from twenty minutes of play, things turn into a purely hypnotic drone session, created through a magnificent mixture of subtly interacting soundwaves, tranquil and integer at first, yet deeply oppressive and intoxicative. And then, suddenly, everything turns militant, martial, epic and proud. Purely Martial Industrial Ambient takes over the bewitching yet ominous atmospheres with huge, abundant synth lines, militaristic beats and neo-classical majesty in sound and sphere. It’s our soundtrack to march on, victorious, fearless, unstrained and unobstructed. This excerpt is like a mighty chapter of supremacy, a soundtrack for triumph and inviolability. It eventually (at twenty-seven minutes) results in a more chaotic power-attack, with screeching noises, hurtful electronics and malignant sounds, interacting with those characteristic multiple-layered full-power synth lines.
The whole thing sees its opus magnum at almost half an hour, with the final sequence, combining – once again – many synths that are gathered, canalized into one colossal opus magnum, a huge droning sonic monument. It gets accompanied by energetic drum programming and electric strings, once more in symbiosis with aural touches of astral dreamworlds and post-dimensional, even divine atmospheres…
Let us see ourselves for what we are. We are Hyperboreans. (F. Nietzsche)