‘Art is not a mirror held up to reality, but a hammer with which to shape it’, Brecht’s famous quote suites fine to describe what Anaal Nathrakh, one of black metal’s (with grindcore and industrial influences) most extreme acts, bring you with their every release since 1999.This hammer held by the British duo serves yet another misanthropic and chaotic piece of Art. “Passion” is the sixth studio album by British extreme metal band Anaal Nathrakh. The album was originally meant to be titled “Fucking Agony”, but the title was changed before the release of the album. It was released on 17 May 2011 by Candlelight Records. After only 2 years away from their probably finest moment ‘In the Constellation of the Black Widow’ (2009) the band decided to throw speed, add more atmosphere, delivering twisted sounds and chaotic music using (once again) sharp guitars, industrial samples οφ synthetic beats and digital distortion, thick bass and programming, while black metal elements sometimes outclass grindcore. Thinking wise I suppose considering that they had to compete their own selves, Anaal Nathrakh tried something different but not so weird for their style. Don’t make the mistake to interpret that it was a lack of passion in their music. Of course some had over reacted a decade before and spoke “for making steps behind” for the band. Despite the fact that the progressive nature that the band had made a career out of, the pummelling fast playing with a lot of brutal blast beats drumming, the annihilated disordered sounding guitar solos and the maniacal (almost terrifying) vocals from V.I.T.R.I.O.L (Dave Hunt) are all here. They also had the help of Maurice de Jong that played samples in the instrumental closer “Portrait of the Artist”, Paul Kenney aka Misery from Fukpig in”Manipulation of Chaos”, Paul Harrington or Ventnor that played the guitar solo in “Paragon Pariah”, Conor Droney or Drugzilla in “Post Traumatic Stress Euphoria”, Alan Dubin that sung in “Ashes Screaming Silence and Rainer Landfermann that wrote the lyrics and sung in “Tod Huetet Uebel”. There’s an urban-warfare approaching that makes things a bit closer to claustrophobia that the monotonous groove on B’ side of the album mostly has, making the album less experimental than it’s A’ side portended. “Violenta Non Fit Iniuria”, “Le Diabolique Est L’ami Du Simplement Mal” and “Paragon Pariah” (a catchy song indeed) will bring in mind their previous efforts as they have an essence of their past, but songs such as “Drug Fucking Abomination” and “Post-Traumatic Stress Euphoria” or “Who Thinks Of The Executioner?”  and “Ashes Screaming Silence” showed us the new path for Anaal Nathrakh; calculated brutality, almost operatic clean vocals and notable in choruses (ICS-Vortex styled), electronic grindcore with futuristic black metal passages of soaring melody and pure assault of martial industrial. This is (still) Anaal Nathrakh’s probably most underrated album. But despite what fans and music Press thought when it was out; a decade later “Passion” is a nihilistic triumph of Hunt and Kenney, so simple so true.