Jurgen : The scenes on the front and the inside of the digipak give a horror-like impression, something in between the visuals of Marilyn Manson and The Kovenant. It is quite over the top, with the shock-rock-like look of red (‘bloody’) and black liquid splashed and bleak, somewhat spine-chilling looking persons/bandmembers. Therefore the debuting full-length of the Germans is also showing quite some musical similarities to Marilyn Manson, some Nine Inch Nails and, to an even lesser extent, Rob Zombie. Industrial, metal, EBM, fragments of post rock and cinematic, slightly gothic sounding spheres merge, setting out a morbid metaphysical world. With a sense of drama, Reptil is moving as a dark and evil creature throughout that world. Destructive but again constructive, the Germans – thematically – are trying to recover individual independence in the current ‘head down’ generation, a generation drowning in the strongly dominant digital age.
Many mechanical and cold-running drum loops and acoustic drumming are the regularly sounding rhythm foundation – rather groovy as well – for equally bleak synths and furthermore electronic sounds. Sharp metal chops inherent the guitar riffs, which together with the double bass patterns are giving the metal punch to most of the nine, often layered and mostly mid-paced featuring songs on the album. The singing is connecting them to a certain manic character; at one time pouring a rasping layer and another time coming of clean (Marilyn Manson), often capturing theatrically sighing and groaning or being close to a cunning whispering tone.
Grandeur title song ‘Throne Of Collapse’ and epic ballad ‘One World One Nation’ are the albums’ more spacious tunes. Rather subdued last album track ‘Beyond’ can be added to that. These tracks are the modest but not immediately special sounding exceptions to ‘Throne Of Collapse’. An album that has taken on the whole a largely amount of compositions that are considerable mutually interchangeable, seeming to be very similar to each other. The bombastic electronic colouring – sometimes orchestral – rubs and vibrates too little to create a serious gut feeling of morbid tenacity, regarding the music’s psychopathic underbelly. Therefore the metal counterparts of staccato riffs and drumbeats just do not bring up enough poison. ‘Throne Of Collapse’ is not bad but does not rise above the average industrial album. For this reason, it lacks too much tension and does often remain in more predictable darkness.