“No society would survive without order. Free thought is not free. There’s no such thing as revolution. The oppressed always become the oppressors and the cycle repeats itself over and over.”
Continuing on the path that was paved with the debut, Offenbarung, Kraschau’s message is strongly entrenched in Christian convictions and belief in the rule of monarchies. In Kraschau’s vision, the monarchy (and indeed, that monarchies are divine appointments) and a devout faith in God compliment each other to free man from the missteps of modern culture.
Falanx steps off into harsher territory and, as such, is seemingly a commentary on the effects of liberalism and the democratic processes that are active in the world – a world obviously seen in decline by Kraschau. There is a tense, uneasy feeling that exists in much of the music as if you were having a heated political and ideological discussion.
Falanx starts off with “Gott Erhalte den Habsburger-thron”, a foray into background noise and static, attenuated with vocal samples and a dry organ melody which sets the album into its musical motif. There’s sonic foreboding on many of the tracks with the juxtaposition of classic horn phrases, organ and coarse industrial sounds. The march of the machines is constant through the first four tracks and we’re treated to a change in pace with the track “Christus Vincit! (Intermezzo)”, which features a plucked and frantic string lead that is offset by a light horn melody, both weaving flawlessly together.
As the album is split between songs focusing on Christian mysticism, the Austro-Hungarian Empire and the general history of Central Europe (Kraschau’s Ádám Bérces is deeply rooted in these themes) and, alternately, the Spanish Civil War, the tone also changes between the first half and the latter.
Starting with “Falangista Soy”, the noise elements recede and the brass sounds move to the front with a quite extensive use of historical sampling, much of which fill each successive track. Bérces supplies additional vocals in unison with the samples, gentle piano lines, blasting horns and vintage heroic songs.
Kraschau’s sound is quite different from the artists in the martial genre that I personally listen to, in that it isn’t buried in waves of reverb like it’s coming from a far-off battlefield, but instead it is presented in a deliberate frontal fashion to grab your attention.
While many, if not most, of the martial projects within the industrial scene espouse a return to a grander and more conservative way of life, Kraschau calls for this return to tradition in revolutionary terms.
01) Gott Erhalte den Habsburger-Thron
02) Neuzeichnung der Karte Europas
03) Gegen / Revolution
04) Christus Vincit! (Intermezzo)
05) Cultul Mortilor
07) Falangista Soy
08) Por la Gloria
10) A Nap Felé