Absurd - Asgardsrei
Review: Making protest music designed to cut to the core of the alienated human being by appealing to his inner child at the same time summoning wardemons through a concept and image of outright hostility and fascism, Absurd make "absurdist" music that is mostly distorted and unsteady hardcore with convoluted but minimalist song structures, using only the simplest and most seemingly imprecise methodology in instrumentalism. Compositionally, it merges this sense of aesthetic and rhythmic structure with a sense of granular melody inducted into its stream of power chord phrasing, in a style used from Oi to Impaled Nazarene.
Drums are a ticking machine churning at a throbbing pace with only the most basic structural divisions of song interrupting, pacing vocals alternating between a growled black metal howl and a youthful clean vocal. Militant tempo and ragged guitars incite action and enhance the already-krystallnacht-clear image of this band, as does the guest microphone appearance by Der Führer on track three. When soloing, guitars favor the Oi-inspired style of direct phrasing of themes and conclusion in diminishing harmonic progressions as a means of nullifying energy to limit expression to a brief appearance.
1. Intro (4:20)
2. Asgarsdrei (3:37) 
3. Crux Gammata (2:54)
4. Germanien Ãber alles (10:13)
5. Sonnenritter (6:11)
Its tugging rhythms like time in the womb or a deep sleep while at sea, this music works in the human subsconscious with an enlightened sense of melodic composition as reflected through developing riff and vocal patterning during each song, texturing its layers for the final revelation in which it concludes in militant dissonance. Moments are pure beauty as in the nationalistic hymns on the latter half, and often a gnarled and visciously inflected riff will bring mood to a focus of negativity previously only possible on Mayhem albums.
Reviled universally for aesthetic and ideological reasons, this music is a confrontation between the externalist and the inner sense of structure, as its abstraction and composition are excellent, but production and rendering deliberately ruined for esoteric reasons. In this sense the hateful jester of Absurd serves in the eternal role of art as provocateur and speaker of the forbidden, while for those who successfully parse its artistic codex the emotional basis in concept behind it will open to display the flayed soul of social rejection during the last days of humanity that Absurd capture with élan.