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As events continue to evolve and magnify the obvious overreach of U.S. and its allies' influence in world affairs under the guise of the protection of democracy and freedom, the pompous lies and half-truths told by the politicians are beginning to unravel. Not that these events are new, but rather that the insidious nature of them are finally coming to light. This behavior of governmental conspiracies has a long history and has been utilized to retain control over the masses while furthering the globalization of power and wealth. As the U.S. and its conspirators has spread “democracy” to the rest of the world, so has it spread economic and social corruption.
Sanctimonium, the new album from Epoch, weaves the lies and half-truths into a sonic assault on those who seek to control us through manipulation. Epoch’s post-industrial militaristic machine music takes a harsher tone this time, bringing more aggressive and distorted guitars into the mix, while continuing the sound established on the previous album, Purity & Revolution.
Epoch further explores the rise and fall of western dominance with songs such as the monumental track The Rise, or the grungy, swirling overdriven guitar track, All Heil the Chief. On Cold Wave, Cold War and Information is Power (NSA Ultra Mix) Epoch reveals the Orwellian transgressions that have occurred and sanctioned by our leaders. With the harsh track Disciples of Mars, Epoch blends even more EBM based electronics into the forefront of its sound. Along with overarching symphonics, Epoch achieves yet another album of blended industrial styles, while retaining its militaristic identity.

In the global state, economies, politics and peoples combine in transnationalism and what occurs in one country’s system ripples through the rest of the world, often with tragic consequences. The audacity of those in power, coupled with the desire to control and manipulate, has led to the chain of events currently striking across the globe.

But this came as no surprise to Epoch, which chronicled the path to today’s crisis with the 2013 album “Purity & Revolution,” featuring the power hungry and those who warned in their own historical words, set to the backdrop of industrial militaristic machine music.

An anthem to the corrupt nature of politics and economics, “Purity” displayed a range of style and instrumentation from subtle neo-folk acoustic guitar, to powerful symphonic martial arrangements, to driving and distorted guitars.

With “[R]evolution,” Epoch invited an equally diverse and global range of artists to remix tracks from “Purity & Revolution.” Acknowledging the extremism in the socio-political landscape, “[R]evolution” delivers extreme interpretations of Epoch’s sound. “[R]evolution” features remixes by <dE/mutE> from Germany, Sz.Berlin from England, Thy Fearful Symmetry, R3m0rt and Psychepoppet from the US and Lenin from the Netherlands.

The resulting tracks explore Epoch’s musical territory even further, prodding the listener with an even harder mix of “W.T.O.” by <dE/mutE>, which pounds the dance floor with emphasized drums and incessant beat. Thy Fearful Symmetry provides the opposite, with a quietly stylized and guitar-laden take on “Architects of the Third World,” aptly titled “Neglect of the First World.” R3m0rt delves into club territory on “Corporate State,” while Sz.Berlin ventures into art/noise construction, taking on “March of the Revolution,” Lenin delivers a brilliant and dense IDM version of “Capitalism is the New Fascism.”

Purity & Revolution
Epoch's very name reflects the word's definition and believes the world is in a monumental crisis state - a state that will be viewed in the years ahead as a pivotal point in time.

Of course, every generation believes their time and space is the most important - so much so, that the next generation suffers for it.

Reflecting the current global economic, cultural and social crises, and the methods by which both are intertwined, Epoch uses its music to expose the machinations of the extremism of all points of view present in our current time. However, Epoch recognizes that despite the advancement of time, time has stood still, or maybe has even reversed.

Art as politics and as in Epoch's case, music as politics has become the voice of the disenfranchised and those who find themselves as expatriate, even if they are still in their homeland. But as transnational workforces have become the norm in world corporacy, we are all expatriates.

Originally appearing as one of the first Arts Industria releases on cassette in 1993 and later on the VUZ records (Duisburg, Germany) split CD in 1995, Epoch has returned after a long hiatus with more martial-driven industrial, in an era when we need it the most.

While owing to such genres as martial industrial, EBM, neo-folk, techno and other intertwined aspects of industrial music culture, Epoch manages to work bits and pieces into a cohesive sound with underlying politics. And although the martial genre hasn't really penetrated American musical subculture, the growing awakening of US citizens to their own political system and the American affect on the rest of the world makes Epoch's re-appearance in the US all that more timely.

Epoch's music contains many historical samples that illustrate how the current state of the world has been in development since the turn of the century and continues to be manipulated by the powers in control. Epoch is revolting against the machine here in a decidedly nationalistic tone, but exactly what national entity they are promoting is unclear. The music and message is left to the listener's interpretation.

The songs are vaguely classical at times, martial in nature, yet they seem to use their hard-line overtones to give rise to a nation of people that do not yet exist. Is Epoch trying to awake the masses, or point out our flaws?