The first thing that any listener needs to understand is that Anaal Nathrakh make Extreme Metal. We aren't discussing even the heaviest end of Metal; this is immensely powerful music and if you come to the British duo's latest album prepared for anything less, you're in true danger of losing your face to an intensity that makes you feel like you're trapped in a wind tunnel with a pack of starving killer dogs. And you're wearing a suit made of steak.

The opening instrumental of Anaal Nathrakh's eighth full-length release is a relatively soft piece; however the repressed scream and industrial noise building behind the guitar should warn you that they are rapidly going to enter heavier territory. And they do - Drug-Fucking Abomination comes at you furiously, singer V.I.T.R.I.O.L. (Dave Hunt) launching himself into screaming so raw that you can only sympathize with his vocal chords. The track is the longest at over seven minutes and it showcases perfectly the band's inimitable sound; the vocals are their classic mix of agonized screams and shouts, stomach-twisting intonations and the almost operatic singing that sets them apart from other extreme groups. Hunt can not only produce the sound of someone in torment; he can truly sing and he does so in verses so abrupt and stirring that it takes a moment for the listener's brain to catch up. One moment he will be virtually vomiting obscenities and the next, soaring through a melodic section with the ease of a vocalist like Queensryche's Geoff Tate; it's not something many extreme vocalists can claim.

The music and lyrics are both written by Irrumator (Mick Kenney), the other half of the duo. He also takes on the impressive role of guitarist, bass player, drummer and drum programmer, as well as producer. To say he's multi-talented is an understatement, as each aspect of his work is excellent. The drumming is savagely fast at times and the guitars keep manic pace, tangling through each song like poison-dipped barbed wire as Hunt re-creates all the sounds of Bedlam on a busy night. The production is clean and precise - the only rawness comes from the attack of the music itself. There is no danger of Anaal Nathrakh becoming commercial but the song-writing does display a genuine ear for melody and even hooks, as shown on the majestic Le Diabolique Est L'Ami Du Simple, possibly the most accessible of the ten tracks. Tod Huetet Uebel has a pure Black Metal sound to its guitars and the frenzied cries of Hunt could be compared with early Burzum. It's a great song that manages to straddle two genres with ease, being both Black and seriously Extreme.

The use of memorable guitar riffs continues with Paragon Pariah, while Who Thinks Of The Executioner kicks your mind with astonishing brutality. The last track is also an instrumental and it allows you a few moments to take some slow breaths and digest what you've heard, closing the album with a skin-crawling sound-scape that resembles the gates being forced shut on Hell.

Some reviews of Passion seem to consider that this music is too excessive. How it's possible to be too extreme when you aim to create Extreme Metal I'm not sure but no one will approach Anaal Nathrakh after over a decade in existence thinking they are going to hear some pretty power ballads. You'll know within minutes of Passion whether this demanding music is for you. Personally, Anaal Nathrakh are so amazing, I could swallow Passion whole - and go back for dessert.

Score: 8 of 10