Reviews:

From Compulsion: (by Tony Dickie)

  A rather futile review for those already familiar with the majestic overload of the much maligned Von Thronstahl. Imperium Internum is their first full length CD, which appeared five years after their contribution to VAWS' controversial Riefenstahl compilation. Imperium Internum (along with the compilation E Pluribus Unum) has been reissued by Cold Spring Records in a striking digipak.

  None can deny that Von Thronstahl do not have a firm grasp of aesthetics. Red, white and black visuals and text combine to stunning effect. The visuals support Von Thronstahl's desire for an Imperialistic Europe. Their warrior spirit and Eurocentric values are carried over into the music, a collection of industrial neo-classical (or classic neo-industrial??) that ranges from strident symphonic passages to orchestral bombast. Battle field imagery reigns throughout from martial drumming, stoic speeches and tolling bells. Unfortunately much of the text and speeches are delivered in their native Germanic tongue and so much of the message is lost on me. As a consequence this didn't come close to the effect that The Gospel of Humanity from Blood Axis had on me on initial listen. Imperium Internum is both dramatic and stirring although the synthetic melodies do, at times, become irksome and things do become slightly generic. 'Heimaterde, Mutterboden, Vaterland' and 'Turn The Centuries' take an acoustic guitar approach while 'Atlantisches Tief' is a sound collage. I very much enjoyed the mediaeval folk of 'Turn The Centuries' but Imperium Internum will be remembered for its orchestral and symphonic pieces.

  E Pluribus Unum gathers together an assortment of compilation tracks, most of which are out-of-print, together with some previously unissued recordings. The inspirations behind a number of the contributions are telling - Leni Reifenstahl, Josef Thorak, T.E. Lawrence, the archangel Michael, Julius Evola, Captain Codreanu and the Iron Guard - further cementing their belief in a secret Europe. In comparison to Imperium Internum, E Pluribus Unum is a much more varied release dipping into a number of musical styles, alongside versions of a number of tracks from Imperium Internum. 'Bells', in fact, displays their more "rock" tendencies while the other tracks feature their stirring symphonic pieces. 'Inthronisation' is a sombre orchestral piece. 'Victoria II' incorporates martial music effectively. The remake of 'Fahnentrager' with spoken prologue and text amidst synthetic strings is unquestionably impressive.

  It's spirited and their ideals are romantic, grounded in a desire for an Imperialist Europe, and its less hate-filled (it's actually non-existent) than their detractors would have you believe. I'm aware of the accusations levelled at Von Thronstahl but on an artistic level the compositions created by Von Thronstahl are particulalry effective. And anyway, how dangerous can a group that appropriate tracks from AC/DC., Metallica and E.L.O. be...

From Dark Life: (by Gianfranco Sciacca)

  Another very welcome re-issue, E Pluribus Unum is an album collecting a number of compilation appearances and odd tracks giving a great overview of the imaginative power conveyed by Von Thronstahl's musical creations. Originally issued in 2001, E Pluribus Unum is quite varied as far as styles are concerned. It is dark and melodic, it is martial and orchestral, it's bombastic and evocative, goes quiet, flirts with the neoclassical, touches imperiously the apocalyptic, explores oriental atmospheres and even weirdly twists popular themes such as AC DC Hell's Bells or Electric Light Orchestra's Mr Blue Sky, contaminating the latter with war marches. If you have missed this disc the first time round, here's the great opportunity to catch up with an album that is a complementary companion to the epic Imperium Internum.

From Ventrilocution: (by Pedro Serôdio)

  Einstein, known for his iron-clad grip on all matters physical and mathematical, once wrote that the doctrine of socialism would be of an invaluable and, dare I say, essential use when mankind would finally release itself from the oppressing shackles of bestiality and evolve beyond its primary predatory behaviour, thus rendering inoperable the most basic postulates of economic science, for men would no longer have the need to, first and foremost, ensure their own survival either by obtaining sustenance directly or through specialisation and the production of tradable surplus. No, instead, men would belong to a society so perfect and well-built that no living human creature would ever need to regard their necessities and survival as priorities. He forgot one simple thing: necessities outweigh resources. This basic premise of our life as primarily animal creatures on this planet undermines the underlying thought behind Einstein’s beliefs on how the human “spirit” will eventually regard its own existence.

   Much of this reasoning is still present nowadays in many sectors of western societies, which, armed with the most elaborate and exquisite theoretical assertions on the behaviour of Man as an undoubtedly superior inhabitant of this planet, reject the basic advantages provided by a free trade system for being primeval and inadequate for the intellectual know-how of today’s humanity. Strangely enough, or perhaps not, right and left-wing radicals seem to agree that globalisation and its consequences are the by-product of an international economic conspiracy aimed at the utter destruction and subsequent homogenisation of all peoples to the sole benefit of some. It is rather intriguing that they should condemn what most of the ideologies preached by fascists and anarchic-socialists ultimately aim at: an Orwellian dystopia wherein men would no longer be “socially conditioned” to ensure their own survival by whatever means they have at their disposal, but rather “enlightened” to believe in the necessity of a greater, unified good that would, in turn, provide plentiful sustenance for all those who sacrificed themselves for the whole.

  And why is this even remotely relevant? Well, simply because even though there are plenty of reasons, of a scientific nature (yes, the science of Economics is not the battleground of ideologies most people believe it is), for my repulsion towards any sort of radical extremism, I believe in one’s right to freely express one’s views in a socially acceptable fashion, regardless of how “offensive” and “hateful” they may appear to others. With that in mind, and even though I am particularly bothered by imperialistic and fascist ideologies, that does not change the fact that no individual or group of individuals should be condemned or censored for believing in any ideal of their choice. Thus, I admit that the sensible and enlightened way through which Von Thronstahl express their views of our world, namely through music, is inspiring in the sense that it provokes criticism and intelligent debate.
As for E Pluribus Unum, it is essentially what one would expect from a collection of random items previously released or of a as of yet unknown nature. The martial, industrially imperialistic gait of their songs is unmistakeable and, according to one’s own taste regarding such forms of aural expression, can be both enveloping and insufferable. I stand somewhat in the middle of the two, I must admit. The pulse and vibe of the songs can be thrilling and inspiring at times, especially when the neo-folksy bits are exemplarily nailed, but they also tend to become monotonous and especially unbearable whenever the samples of popular hymns make themselves noted (vide the ending of “This is Europe not L. A.”).

  I am, as you might see, somewhat undecided regarding what to make of E Pluribus Unum, for it is more ambiguous than I expected, especially regarding the basic choice between the overtly revivalist and hope-filed style of neo-folksy music they seem so fond of or the unabashedly militant and aggressive stance of some themes. The latter is probably more in agreement with the imagery and aesthetic of the band’s ideals, but the former perfectly suits the recurring thought in this Teutonic ensemble’s camp of a return of a secret Europe with renewed pride and strength. Musically, even though the repetitive lingering of the majority of the album is of a love-it-or-hate-it nature, and I’m not too crazy about it, it must be clearly stated that the pseudo-symphonic vibe expounded in songs like “Das neue Reich”, “Hail You Captain and thy Guard” or “Path of St. Michael” is perhaps a lot more interesting than I originally believed.

  The political background and mind-set of Von Thronstahl may be a bit too terrifying for the faint of heart or to the adherents of equally oppressing antipodes in ideological terms, but those not afraid of being confronted and questioned with more extreme points of view should certainly acknowledge the persistent work developed by this band, albeit with the essential amount of indulgence, equally regarding both the ideological and the musical aspects.

From Funprox: (by HD)

  Just like the debut "Imperium Internum", Cold Spring has also re-released Von Thronstahl's second album "E pluribus unum" in a digipack format. This cd collects compilation tracks and rare songs previously included on limied vinyl releases. Furthermore there are some remixes and unreleased pieces present. Perhaps because the tracks are taken from various sources, this album sounds less homogenous than "Imperium Internum". There are some nice individual tracks, but the album works less well as a whole.

  Again there are some typical neo-classical hymns like 'Inthronisation' and 'Hail you captain and thy guard', but there are also tracks with more rock/crossover influences. For instance 'Bells', which sampled some AC/DC sounds, or the alternate version of 'Under the mask of humanity' with some heavy guitars and weird crossover piece 'This is Europe not L.A., which abuses an old E.L.O. song.

  My favourite track is probably the impressive 'Mitternachtsberg', also known from the "Thorak" compilation. Also good is the bombastic 'Path of St. Michael'. Not every song on this album appeal completely to my taste, but "E pluribus unum" has some strong moments.

From GothicInfo: (by Paul Wiggers)

  At the same time as Cold Spring Records decided to re-release E Pluribus Unum , they also re-released the album Imperium Internum , both from the German band Von Thronstahl, in a deluxe digi-pack. This album is considered to be one of their finest releases.

  Although the music of Von Thronstahl is sometimes described as orchestral power, this is only partially true for this album. There are a few songs for which that term counts, but most of the songs are pretty easy on the ears. They sure do hold a lot of power and some of them makes you want to march along, but others can be considered mellow.

  The album starts of with the wonderful title song which gives a great impression of what is to be expected from the rest of the album. The military drums, soothing melody and well timed lyrics are a pleasure to listen to. There is no need to mention the rest of the songs, as they are all of the same outstanding quality.

  Although it was released for the first time in the year 2000, this album can already be looked upon as a classic in its genre. It contains a lot of great and a few mediocre songs too; but that is almost inevitable. All together this is a great album and it deserves all the credits it is receiving.

From Heathen Harvest:(by Malahki Thorn)

  Whether you agree with Von Thronstahl's politics or not and whether you condone there fascist flirtations it is unarguable that the band has left a definitive mark on the martial orchestral and post industrial world. Where other bands skirt the edges of illicit subject matter Von Thronstahl takes these subjects to fruition with an uncompromising and unwavering dedication that is admirable in and of its self.

  Von Thronstahl needs little introduction amidst martial orchestral and industrial music fans. With a discography that spans three full length albums, a number of singles and vinyl releases and countless compilations tracks Von Thronstahl have made quite a name for themselves in the post industrial music scene. The bands name which translates in English to Throne of Steel is very indicative of Von Thronstahl's musical vision. On Thronstahl infamous musical vision from a desire for a return to an imperialistic Europe . Von Thronstahl is without doubt one of the most unapologetic and fiercely political voices in the post industrial music arena. Through art, music, and song titles Von Thronstahl takes every opportunity to indoctrinate the listener in their war against the new world order. Von Thronstahl's vision is not simply one of destroying the united world powers, indeed Von Thronstahl also advances an agenda of returning Europe , and its scattered peoples back to their rightful steel throne of power. Deeply traditionalist Von Thronstahl often reflects upon themes of a hidden and sacral Europe which has been lost during the past centuries of Europe 's embracing of the foreign cult of Christianity and the ever growing plague of globalization.

  With such outspoken political views and fiery calls for the redemption of the European spirit Von Thronstahl have earned themselves much contempt by extreme left wing liberals who seek to oppress free speech and art which they consider martial or militant in tone. On the other hand Von Thronstahl has acquired quite an audience that I count myself amongst. Many of us are drawn to the honesty of Von Thronstahl's music as well as the diverse angle at which they approach martial orchestral music. If there is one thing that cannot be argued it is that Von Thronstahl brings an original voice to the genre.

  E Pluribus Unum has been released by Cold Spring Records which is based in the U.K. Cold Spring is a reliable staple of authentic and original industrial music and it is good to see the label working to bring older Von Thronstahl titles back to the forefront as well as offering this original morsel. E Pluribus Unum is a collection of previously rare and hard to find compilation tracks and vinyl only tracks released by Von Thronstahl over the past years as well as a couple of new songs. If you have missed out on purchasing many of the European compilations that Von Thronstahl has graced over the years E Pluribus Unum will help to fill in the gaps in your Von Thronstahl collection. It is a blessing that these songs have been re-released as many of the compilations and vinyl releases they are taken from are long out of print and cannot even be found on EBay today.

  E Pluribus Unum begins with track one titled “Bells.” “Bells” has heisted samples taken from the classic AC/DC song Hells Bells” as well as some pirated guitar chords which will make the song quite familiar to rock fans. In the liner notes Von Thronstahl mentions adding some German bells to the mix as well which keeps the song in character with the band. The lyrics are of course original to Von Thronstahl. The music on “Bells” is a combination of bells, electric and acoustic guitars and martial drums. The electric guitar plays a repetitive rift while the acoustic guitar contributes some evolving guitar chords. The bells sound throughout the song and the drums descend at appropriate times accenting the martial tone of the song. The male vocalist gives an awesome performance in classic Von Thronstahl style singing in varying ranges and meandering between soft serenades to more forceful moments. The lyrics are hard to decipher completely as they are slightly imbedded in the music but the mood is one of remembered glory.
  
Track 5 titled Verein(sam)t illustrates Von Thronstahl's diversity as the band tackles a more industrial / dark ambient track that contrasts the opening track. Verein(sam)t originally appeared on the “Sturmzeit” a 7” vinyl released by the German label Eis & Licht in 1999. The song contains text fragments spoken by the German author and poet Gottfried Benn. Gottfried is one of a handful of German expressionist artists who chose to remain in his German homeland during the reign of the Nazi. Though he was prosecuted under the Nazi regime after the war ended the German nation acknowledged Benn's literary contributions to the nation. Verein(sam)t begins with industrial rumblings that are injected with text from Gottfried Benn. Slow churning machine like rhythms march through the music supported by minimal dark ambient tones. One can easily envision the state machinery of censorship and oppression descending upon the lone artist. Intermittent industrial noises come and go as the pounding rhythm keeps step. Gottfried's voice drops in and out of the music stern and steady as if in direct resistance of the music. The song has a peculiar oppressive quality that is hard to quantify. Von Thronstahl clearly illustrates their mastery of the industrial genre here.

  Track 10 titled “Hail you Captain and thy Guard” is an unapologetic tribute to the historical fascist legion of the Arch Angel Gabriel also known as the “Iron Guard” in the foreign press of its time. The Iron Guard was the principle fascist movement in Romania during the interwar era between WWI and WWII. The Iron Guard was unarguably anti-Semitist, violent and fiercely nationalist as were all fascist movements of its time. Clearly in line with Von Thronstahl fascist fetishism “Hail you Captain and thy Guard” is an anthem of neoclassical music that hosts thundering drums and classical symphonic instrumentations in a stirring tribute to this historic fascist movement.

  Track 13 titled “Lawrence of Arabia (Arabian Unity Mix)” is yet another tribute to a historical figure this time a noble Englishman. The liner notes speak of Von Thronstahl's respect for T.E. Lawrence and the old sons of England . A message of hope for a united Arabia is noted in the liner notes as well. “Lawrence of Arabia (Arabian Unity Mix)” is slightly altered from the original which the band recorded for the small print magazine Judas Kiss that is produced in the U.K. The music on “Lawrence of Arabia (Arabian Unity Mix)” is a repetitive mix of neoclassical elements and martial drums that are looped into a hypnotic homage. The song rears towards exaltation only to pull back and start again. The song reminds me of a long forgotten European national anthem played on an old record player that continues to skip just before breaking out into a glorious hymn.

  Whether you agree with Von Thronstahl's politics or not and whether you condone there fascist flirtations it is unarguable that the band has left a definitive mark on the martial orchestral and post industrial world. Where other bands skirt the edges of illicit subject matter Von Thronstahl takes these subjects to fruition with an uncompromising and unwavering dedication that is admirable in and of its self. It is a given that their subject matter is bound to piss off people who think certain chapters of European history should be quarantined and cleansed from our collective memory. But regardless of your political views, agreement, or dissent, Von Thronstahl remains as a defining and relevant band within the post industrial genre.

From Blow Up Magazine: (by Paolo Bertoni - Original printed in Italian)

  "E pluribus unum" one year later picked up instead a series of apparitions of Von Thronstahl in various sampler. Although is absconded, comprehensibly, that compactness that is among the maximum merits of "Imperium internum", the album furnishes numerous sprouts of interest, Bells that samples AC/DC, Mitternachtsberg, the first piece never accredited to the project and destined to the tribute to the Riefenstahl of the VAWS, the decadent inspiration of Inthronisation it foresees on the homage to Evola "to Ride the tigress", the two epic parts of Victoria, the atypical ballad Turn The Centuries, Hail You Captain And Thy Guard, from the tribute to Codreanu, the excellent Path Of St. Michael, with inserts of Gregorian chant, the unrestrained neoclassic rushes of Lawrence Of Arabia.

From Terrorizer: (by Ciarán Tracey)

  Surprisingly given the relative esteem in which 'Imperium Internum' is held, it is the collection of outtakes, covers, and occasional pieces comprised in 'E Pluribus Unum' that represents the surefire winner of these two releases. VT found themselves stamping their identity firmly on everything herein, even misappropriating the classic lick from AC/DC's 'Hell's Bells' for use in their apocalyptic folk to brilliantly desolate effect. Put simply it is chock full of excellent pieces, with closer 'This Is Europe Not LA' summing the whole enterprise up fittingly.

From Aural Pressure: (by ANM)

  How do you follow up a debut recording that has amassed huge critical acclaim and had fans drooling and foaming at the mouth since its release? Simple…you release all the released / unreleased / re-treaded bits and bobs culled from various compilations and other sources that the group has amassed and stick them all onto one perfect package. But what happens when that sells out and starts going for silly money on all the Internet auction sites? Again simple…you re-release it in a snazzy spanking digi-pak to meet the demand that has ensued. Do you add anything extra with the re-release? Afraid not. There’s absolutely no need as the product sells itself without any further inducements required. There, my friends, in a nutshell is why "E Pluribus Unum" has risen from the Cold Spring tombs and finally seen the light of day once more.

  Hearing "E Pluribus Unum" once more you begin to realise just how talented all the members of Von Thronstahl are/ were and how their approach to con tributing tracks to various compilations shows their care and attention to detail so often missing in such projects. Every one of the fourteen tracks presented here reeks of a professional dedication to produce quality music that can only be admired. What is also intriguing is finding out, thanks to the informative booklet, where they have taken their samples from and discovering, from listening to the music, how these samples have been integrated and become integral to the music. How does one try to explain to people who have never heard of Von Thronstahl before what they actually sound like? ‘Military / Neo Classical & Folk genres with samples’ tells only a rudimentary part of it. I point them towards "Imperium Internum" [ read here ] and let them be wowed by that instead. We’ve all got our own opinions about what fits into which genres. On this release Von Thronstahl cover all bases. From the gentle guitar strummed pieces…to the boot stomping drum patterns…onward through classical orchestral passages…whilst taking in sample heavy cut-ups. They are all here. And more.

  Although coming close "E Pluribus Unum" can’t match the majestic heights of "Imperium Internum"…but that would have been asking just too much. What must be remembered is that "E Pluribus Unum" acts as the perfect companion piece to that recording and when bought together the development of the group is there for all to hear.

From Transmisiòn: (by Sara & Keni Pérez)

  En esta ocasión Cold Spring nos presenta catorce temas de Von Thronstahl procedentes de varios 10" y de contribuciones a diferentes discos recopilatrios como Riefenstahl o Audacia Imperat. Por lo tanto se trata de una inmejorable posibilidad de hacerse con un material que de otro modo seria dificil de conseguir.

  El sonido de las canciones lógicamente varia en la medida que no hay un nexo conceptual común entre ellas, como sucede en un trabajo completo, pero tampoco debemos olvidar que el sonido de Von Thronstahl se caracteriza precisamente por su variedad (ritmos marciales, folk, melodías, etc.). Tremendamente curioso me ha parecido el último tema del disco, titulado "This Is Europe Not L.A.", ya que se trata de un "collage" de antiguos himnos militares y sonidos similares donde encontramos hasta el "Cara al sol".

  Anécdotas aparte, "E Pluribus Unum" es un disco recomendado sobre todo a los seguidores más fieles de Von Thronstahl y también a aquellos que quieran aprovechar esta ocasión para tener muchos temas dificiles de conseguir de esta banda.

From Ritual Magazine: (by Stefano Morelli)

  Von Thronstahl e le nuove versioni digipack/remastered di 'Imperium Internum' ed 'E Pluribus Internum' (Cold Spring). Fulgidi esempi estici di un ideale, quello della grande Europa e del suo mito. Un Impero interno, spitituale, oggi sotteraneo appunto, che è simbolo non solo di guida, d'unicità di sintetizzare folk marziale acustico e wave elettronica con imponenti processi sinfonico-industriali di derivazione laibachiana. Gli episodi in questione presentano anche delle tracce inedite e remix (come nel caso di 'Lawrence of Arabia' per 'E Pluribus Unum').