Not much to write about, only that the forthcoming releases of this magazine will have more interviews... and longer
reviews. There is this one neatly designed digi-pack that I received some weeks ago and it is an album that has quite
a story behind it. As such, it is difficult to write on it . . . well . . . one of the tasks for this month.
Two interviews appear this time: Count Beetle, a strange band from the USA and with The Infant T(h)ree, an Italian
band, whose art was discussed in an earlier issue. Both are unique in their own respect and most certainly outside the
A lot of reviews can be found in this edition and bit all of them are positive. No, this magazine will not be a 'praise
everything over excess because it grants more copies this way thing'... No, this would definite a progression into the
I also want to thank the bands and labels that have sent me free releases so far. Hopefully my humble comment make
up for the investments and such ...
As a certain band - I will not name them - seems like to have the urge to annoy me with their ignorance of the license
an earlier edition of this magazine was released under. Everyone should be able to read and in case someone has
some difficulties in understanding the license text / or the abstract of it (link below), then you can ask me. This work
is/was/will be released under the Creative Commons, because it provides the largest amount of liberty for all sides. No
... the stuff that is available on the Internetz is not always free.
What you have to do is the following:
• Name the source
• Add a link to the source
• Name the author
Written by oneyoudontknow for 'a dead spot of light magazine' (Number ?) [LINK] released under Creative Commons
3.0 (Attribution-NoDerivs 3.0 Germany) http://creativecommons.Org/licenses/by-nd/3.0/de/
You MUST add this ... there is NO way around. You are free to use the review/magazine (print it and spread it
amongst your friends, I cannot control this anyway), but you MUST name the source. There is NO way around it. I
respect your art, you respect mine... and everyone is happy.
(Note: this exception ONLY deals with bands and their associated labels (see reviews). 3rd parties need a permission
from me in case they want to add these writings to their sites. Links without any texts are allowed though.)
This magazine was released under the:
Creative Commons - Namensnennung - KeineBearbeitung
Oneyoudontknow (oneyoudontknow at yahoo dot de)
As usual, no cover artworks were used, due to the messed up situation in International Copyright. If you want to see
this changed, then do something about the currently messed up situation.
Review Count Beetle
The Infant T(h)ree
3,14... - npo MarmHOBVK) fleBOHKy (About a Crimson Girl) 12
Airs - Untitled 13
Airs -Joyless 13
Semilanceata - Dodhelighaz Grafwlijka Mund Ok Dess Vaggande Avgrundsbruus 14
Epsilon Eridani - Tribute to H.P. Lovecraft 15
Dysphoric- Mo rke 16
Dysphoric - Delusional Haze 16
Rotorvator - Nero ep (Live in Santarcangelo) (unreleased) 17
Foreskin - Just a Fucking Preview! 1 8
Foreskin - Bombs Away! 1 8
Eagle Chalice - Underwater Panther Party 19
Eagle Chalice - Let's Float 20
Ouroboros - Vanitas 20
Mi'sogi - Tofotukami Wemitamafe 22
Despot - Cold Deliverance 23
Earth Sheds Ghostly Shadows - Demo 201 23
Aairria - Chamber of Winds 24
3Jnterbteto - Count beetle
Please introduce yourself a bit.
Hello.. .stranger... I am Teddy Horse on behalf of Count Beetle, a sort of obscure act that began in about 1994, in the
woods of Arkansas
A count beetle? A count of what and why a count at all?
Our deformities became imperial
Aside from the quite peculiar name, your band seems to be located in the deep underground. Is your music
so special that no one wants to hear it or is it rather due to adverse conditions or bad luck?
Perhaps a combination of the 3 things mentioned.... And yes, there seems to be some bad tidings that shadows this
path at times, maybe more so than another... As for the music being so special that no one wants to hear it, (*Flaps
hands like bat wings)l would say there are a select few; an esoteric few, that come to Count Beetle for a feel not
found elsewhere... this is better than a whole lot of statistical people who don't get it and thus foul the great well
springs with their normality
Do you have any releases out? What about the ominous
"Clairaudience" album? Is there any chance to lay hands on it?
There was an old oath with Fury 76 records that I have tried to honour for
as long as I can, that they would release the album... as of now it is
unreleased still, which is terrible.... the only way you can obtain it is by
such of a petition of "knocking"; by rap rapping on my chamber door (see
below). ..this is the only way now. ..the only good thing about this is that it
creates a deep and magic obscurity and allows the music to remain wild
and elusive and forms an occultist mysticism between the listener and the
The cover of said release reminded me on Lovecraft. The dark and
abandoned house with this maelstrom above it could have been
taken from one of his stories. Or what background does it have?
Good you mention such a great author and there is a relevance in that this
is another artist who never saw the greatness they should have in their
time, and this is how I can identify with Lovecraft here... The photograph
was obtained through the local library and the file size was, by magic
accident, perhaps, 6. 66... It is a place near my home; an old school house where some of my family went to
school. ..the lore of the place is that a teacher burned alive there and there were claw marks and hand prints were she
tried to escape.. .I used to visit the place and it had a special ambiance. ..it was rebuilt and stood for years until a
defacer of history and culture re-introduced it to fire.... now there is not a trace left of this place... My lady is a
photographer and helped me bring the vision I've had for years of this artwork to life. ..it is something that I can identify
with; something which was vanished and was lost....
In your interviews you emphasize your fancy for analogue techniques and releases. Might it be due to the fact
that you have grown up with these and are somehow used to these; instead of being a real advantage there?
I actually grew up with Floyd, Sabbath, the doors, and Zeppelin. ..all these bands had mostly all good and great
production, so, No; I don't think that is the issue here... I have come to find this the best byway to present our
recordings thus far for the material at hand. ...It also shows our poverty or class in a sense. ..we have few resources
but I have found you can make magic just with little tools, and this atmosphere becomes an instrument of its'
own... The advantage you speak of is of no matter as purity in form is preferred over success in a material
sense... what we do, then, is rouge
My opinion is that a vinyl disk for instance is a nice thing to have, but it comes with problems:
1 . How to preserve the quality over a longer period of time
2. The discomfort when it comes to listening to certain passages again
What would your opinion on these two aspects be?
Ah, I suppose one would have to be careful and prudent with such a format... the preservation of this against the
enemy that is shelf life is a noble pursuit, indeed...
Bwahahaha.... discomfort? I must be an old spook who will not go to the light because I still prefer full albums, I
If you like these 'old fashioned' outputs, then what about old movies? Do you enjoy watching black/white
maybe even silent ones? What about the development of the film industry? Have the visuals not a too graven
Yes, I like those things. ..when forced to work in these mediums one must make use of shadow and light. ...They could
make so much with so little... now they have all these big things they can do in the effects and still lack the necessary
components that made the old stuff so good: Imagination... Imagine what they would have done with it back then? I
like old horror movies as well as color ones like the Hammer movies ...The Haxan silent film was a classic wouldn't
you say? I am also A enthusiast of Dark Shadows and the series Wind in the Willows.... One thing I've found recently
that I highly recommend is the Sherlock Holmes series with
Jeremey Brett... this was a true artisan.... But it seems that in
horror, people don't get as scared as they used to in days
ago. ..perhaps they are numb and need to experience it in a book
or in nightmares again... what pure formats these could prove when
coupled with technology
(Note from the editor: Personally, I can understand you position
and see where you are coming from, because I prefer analogue
photography over digital one. It simply has a different touch and
when you see the negatives, and then it is something different than
those raw files on a chip. Moreover, you often know that an
analogue picture has not been manipulated; even though this is
also possible, but it needs more effort than in terms of a digital
Speaking of manipulation: should music have a natural touch
or should electronics be used to add a different tune or
atmosphere to it?
I think it depends on the music in question.... electricity and
magnetism are certain things that could unlock certain doors, I'll
*- ''fc'flKSk say. ..I've had an interest in the past with electronics in the form of
dabbling with a.m. radio and EVP related recordings in the early ninties
What kind of instruments do your play and what are used for the recordings of your music ... and what live;
did concerts take place already?
We use the mundane format of guitars, vocals and drums with dressings at times with keys, though we are self taught
and found a lot of things manually and on our own terms.. this spirit is analogue in it's own right.... The introduction of
the Clairaudience album was done by firing up an old Wurlitzer organ during an electrical storm and allowing it to seep
in through an open window.... also we take the elements and at times incorporate them into the music, capturing
sounds from the field and wood.... the magnetic atmosphere of the way we record becomes like an instrument, as
well... we have played in our homes for a select few but the nearest venues show no interest and we live deep in the
countryside, far from cities... this is an awful barrier
The music you sent to me (Corn circles; Faux Squirrels; pre night wayfarer session 97) was quite raw and
unpolished. Is this how you generally sound or are these merely some demo takes?
Generally speaking, this is the way Count Beetle is intended to sound... the album was supposed to be mastered,
however, in a professional studio by the said label... but who knows if this will even happen now? Faux squirrels was
mixed by Griff of Arkazum, and formerly of CathdraL.he truly did what was in my head as far as how I thought it
should have been done, and in an almost telepathic sense... he did the right thing and that's how I would have wanted
this done in the end... It seems to me that many demos are where the real magic is... these are not demos, then, I
must say... the night sessions is raw and elemental andl prefer that sound for what it is first, and those are actually 2
songs from the said session in one track and was recorded on an old tape deck with one track and with weird voicing
from a once collaborator who now makes music called Hellgramite:
Even though it is difficult to do so, what words or phrases would you use for describing your art?
The sound of Clairaudience...a music of dark fellows and strangers; outsiders to outsiders.... there is an olde or
elemental value within and a feeling of passion in performance...
Your texts seem to have a certain ironic undertone, or? Well, at least the track Corn Circles give this
impression ... or what I can make out from the music by listening to it.
This song came out unscripted and was performed for many years before I got it where it needed to go... it took years
to fully form the vocals; the characters... the chorus of a lone Hillman, the mock old men of old woman
choirs. ..sometimes one must hoodwink himself to release the un-manifested higher self. ...it is like a good ritual that
unlocks things inside
What inspires you and where do you take ideas from? Do you have some favourite artists or writers to whose
works you like to turn to on a (more or less) general basis?
I am inspired by old witchcraft and folklore and by paranormal and animal themes and supernature...l must first state
that there are some writers to mention, but they only inspire me insomuch as they are people I find a kinship in, in that
there work is like unto my own... I have been inspired by the tarot and A.E Waite outright and the general realm of
literature. ..perhaps certain time periods and man's development in a psychological and spiritual sense. ..and of
course, old horror; classic things dealing with darker subjects.... Writers I find of favour to my own tastes are authors
like Poe, Lovecraft, Blackwood, Machen, Wait, Jack Snow and Gary Gygax...AII inspiration comes from my wild
rover's mind, which is overgrown... The sound of a hollow log filled with ground bees can provide much inspiration...
and I mean this, in that mostly, it comes from life and living
Can you write some lines on mysticism? What is your opinion on it and how do you see the spread/rise of
neo-paganism these days?
I think it is good to have people interested in something other than consumerism and materialism and we are nature
ourselves; sometimes as custodians and keepers, sometimes as benders and channels of nature, and sometimes
crushed beneath it's great force.... there are many armchair pagans who just use it to identify something with and this
is such a ignorant artifice... how many really know the handles of old roots or aerial tops or can discern certain natural
signs or omens in the wild? How many are actually country dwellers or really do ritual or contribute to their own lore or
revere tradition? The old ways are elemental to me and I think we live in a great time in one way, in that we have
these archives to learn from... there are unseen things all around us; forces, entities, energies and vibrations... there is
a valuable core to all "paganism" that is elemental and found forged by their surrounding nature
Judging from the small amount of releases of your band, I suspect that you have some time at your disposal
to work on your music. So, how does the song-writing take place and do you turn to some older works and
reshape or re-arrange these in one way or another?
The beginning origins of Count Beetle are marked by a slow and moss like growth... The Clairaudience album is the
culmination for such a growth and the songs were allowed to grow and create themselves, sometimes writing
themselves over many, many years... in this way our music has aged like ghoulish wind from ghastly vineyards and
are now overgrown... And now we have all the magic built and saved like old scrolls containing epic spells ...But, now
we overflow with songs, material, ideas, lyrics and themes and the terrible barrier comes not from our speed to create
but the slow pace to get it release, due to lack of support and funds... Most of the songs start out as an idea, title, or
poetry first... as in daydreams and longings...
In an interview you talked about your aspiration to record your music in a cellar. Did you have had a chance
to do so? What are your reasons for attempting so and what do you want to express through this? What does
it add to your music and how would you try to record it; just with a microphone placed somewhere?
The fire on Hunter's Orange was recorded in the furnace room, which is a cellar or basement and the Labrador
Retriever that is barking comes in the recording as vibrations from the stone of the walls, so I am not a layman to the
matter... It adds to the atmosphere, by god, because I captured his essence, or spirit... and he was an esteemed
travelling companion of mine, as well, you see... when one can put this into the work, like placing the microphone into
an empty hornets nest, or the den of a ground hog or badger, or borrowing the ambiance of a wooden room, then one
truly is making quality works as an artisan, I feel... why not use the full cabinet nature and circumstance provides? I
suppose I have a strong vision in what can or has to be done with atmosphere...
Aside from this, do you have a special idea or concept which you would like to see expressed through your
art? Where do you like to go with your band?
There are many things to do. ..There must be a release of the album, somehow. ..We already have the material for an
album called "Clairvoyance" and there is great material to be expected in this... one day I would like to release some of
our older archives-these would make another good and vanished release...! would like to use this Octvember and
winter time to record an album involving burrowing mammal themes; a dark, fairy or children's song collection, if you
would... I have been working on a song for this called The secret sleep of groundhogs and have a strong vision of
this... There's a song on the "clairaudience" album that is a memorial for fallen animal companions called "Patch's
circle" about a dog that used to curl around and sleep in a magic circle I used to fool around with years ago; I would
like to make a video to this, in tribute to the memorial of animal companions I've had before and presently,
perhaps... the video would made made from photographs of our personal archives, and there is a great hall for these
companions in the form of a plain pet cemetery in our back yard Another thing we would like to do is perform and
play live... for we need an audience; real or phantasmal...
I have prepared some tracks for you and would like to have an opinion on these
(The files were sent to the band without a title and a tag ... to make it a bit mysterious)
Arrowwood - In ruin (taken from Hemlock and Spindle Flower)
1- My sch-noodle got in my lap and stared at me while listening to the first track.
so much into this; the sound and the song itself...
.then laid down, as always....! am not
Naervaer - Dose Dager (taken from Skiftninger)
2- I had a similar un-interest in this song, and cannot speak this language so i know i am missing out on
something. ..though this failed to leave me feeling as If i must figure out the
Lvna In Caelo - Encierro (taken from Aquellos Desgarradores Gritos
3- Not so interested in this one... the ethereal vocal style is interesting to me,
however; though I think it is the effect itself the guitar sound I don't like,
Green Mistletoe - Evocation to Green Elohim (taken from Forest Dweller)
4- some birds singing.... oh how i love bird songs.... some frogs? I love all these
things, and would prefer something like this over the norm; the chanting, the
ambiance. ...can't say much about this. ...on the other hand;it would be nice to
collect all the birdsongs of different birds and make a collection out of it in a
master format or audio compendium
Karl Seglem - Rorsle (taken from Femstein)
5-lnteresting maybe meditation for some? strange squawking....! have no idea of the mediums/instruments being
used, though it has a eastern feel to me. ..all these songs were better than things we here on the radio here in
How can someone get your releases?
Only by knocking, presently... and by telling others we are the real deal and making them aware that this music needs
to be released... Let them know
How can people contact you?
Any final words?
Thank you for these interesting questions and conversation tonight... may we sustain on, into the ether
Review on Count Beetle's music:
The following segment is on tracks and not on albums!!! The band is still in the process in getting their stuff released
and they asked me whether I am interested in writing some lines on their music in my magazine. As Count Beetle is a
really obscure band, I was naturally interested in doing so. The order reflects the way I received the files.
Clairaudience album (2 tracks; unreleased)
♦ Corn Circles
This is a really weird track ... 'fucked up' would be an appropriate term. It gives the idea of having been written with
the help of some 'thought-enhancing' medications. A narrative voice lays out a tale about chickens, a corn field and
soldiers ..., while a simple melody line (guitars and drums) keeps the music going. Imagine a raw sound and two
different voices, and then you get a strange piece of music.
♦ Faux Squirrels
The interesting aspect of this track is the reluctance of the band to actually play it. While listening to it someone might
get the impression that the band has some difficulties in continuing with the music. Again and again the tempo drops
to nearly zero and once the tunes start again, it sounds forced and unnatural. After the half the atmosphere seems to
have shifted to some sort of 'accepting the fate' as the song is able to continue in a normal fashion.
♦ pre night wayfarer session 97.mp3
This one was taken from a different recording and comes with a lot of unbalances as well as noisy facets. In case
someone has difficulties in enjoying raw music, then this track should be avoided like plague. Nothing polished,
nothing friendly to the ear. In style it reminds rather on a metal band doing some jamming in the rehearsal room than
anything someone would generally associate with the folk genre.
Well, the opening question is always a bit delicate, but even more so in terms of your band. The band
consists of three ... well ... 'aged' persons and I wonder what made you start this band?
And we wonder too.. Performing from many years without any signal of a retirement. The market always elicted the
Youth as the main role to be a musician so you may understand, from the name of our band for example, our goal to
be in the same time ironic and hopeful.
Did you meet at a special location by chance? Did you know each other from various other projects
would these be in case such exist?
The idea behind the project is simple: music and poetry. The aim of the project is also to definite a flux of music from
different points ( ambient, electronic, jazz...) with regard to our traditions and cultures. Venice, in this case, is a
symbol. A bridge, a door, through centuries of art, music, languages.. So our town is a carpet where unroll ideas,
feelings, and also a perfect place to feed our dreams and visions.
This is not the only peculiarity when it comes to your band, also your name gives rise to some amount of
speculation. What is its meaning and what is 'infant' about this project?
It started as a joke, a counterpoint between the need to be ironic (as we are indeed) and the wish to give a key to our
poetics. A little tree that grows, three young hearts, soldiers of poetry.. Infant in this case is not only a little child but it's
a honest desire (as humans) to live with joy and great curiosity. Both music and life.
Moreover, there is also this play of words with three/tree. What does it take to make a tree grow and blossom?
We loved the idea of a plant to dedicate to, the meaning maybe is about our need of a constant grow, an endless
research, the knowledge of the new and beyond.
What kind of tree would it be? Or should this term be seen rather as a symbol?
The tree is our music, leaves and flowers are the poems from Mirco Salvadori. His voice is a sort of storyteller, his
visions, his passion.. Mirco is a well-know radio dj, a writer, a national music expert, a record producer, an icon.
Massimo Berizzi is a talented musician (trumpet, synth, elctronics) and his stature is quickly arising in the international
music scene. Gigi Masin (also a former dj) now got his music travelling 'round the World (Bjork, To Rococo Rot,
Nujabes..) and has a long experience in the media (radio, television and theatre).
Well, how does the three play into this? Is this the proper number of influences or band members to help a
tree growing or could it be imagined to play music with a larger number of persons?
It's definitely a tree. We've joked with the number 3 just because we started this project togheter, but we've always
stated this is an open project. An orchestra of poetry, who knows... In this way both Massimo Berizzi and Gigi Masin
got two longtime musical experiences, and they have projects to release solos and perform as a duo.
The Laverna netlabel used the term Artmusic for your release as a tag. I cannot say I like this term, because it
separates your music from the rest, which would then be non-art music. How do you see the classification or
labelling and how would you describe your music in a few words?
The term 'art music' is above all related to the general concept of music in our country and maybe owing to the Latin
origin of our language. There's no separation at all.. To define the Infant T(h)ree as 'art music' is a way to approach
our work to the literature, in a territory near but uncomparable to the music scene. When you mix words with music,
here, you don't make music. It's something like to be in a theatre, with actors on stage. It's related both to the ancient
Greeks' dramas than to the meaning of 'art' that sounds in Italian like 'craftsman' (artigiano).
Your debut release comes with a lot of sounds and atmospheres. What type of instruments do you use?
For our first release we used trumpet, piano, synths and electronics. It's our strong wish to develop our sound with
acoustic instruments (like the 'oud' or the ' salterio'..) and continue to work on loops and experimental sounds from
electronic heritage and field recordings.
I gave your music another spin no too long ago and I was astounded by the richness in the concept in which
it appears. Do you see your first output as some sort of experiments or is this uncertainty in your art
something you would like to create also on future outputs?
Experiments will follow... This first attempt is a sort of beginning, just a note to say we dig in our garden and now have
a new plant and we dedicate to make it grow. Also if we have decades of musical experiences it's so exciting to
explore new sounds and mixture, trying to elaborate our vision as a trio. Ambient, jazz, electronics are the steps we've
walked in this first issue, it's just an imprinting of our intentions. The first release is more likely a photo of our
So, while there are a lot of different and maybe even conflicting influences, how does the actual song-writing
or recording take place? Is it a group process or clearly divided amongst the band members?
For the lack of time (jobs, family..) we had to create long distance, but it's easy to do that if you need just some words
to fix an idea. We talked about our first demos, but most of the music came naturally, in a funny process of shared
inspirations. Also if the music it's apparently a task for Berizzi and Masin, as an aural landscape on Mirco's readings,
the final flux is a sort of lake with three tributaries.
Are you able to transport the atmospheres of the recordings live on stage or do you have to reduce them a bit
The answer is yes also if that is not the real aim of our project, in terms of live performances. Playing live is magic, so
it's great to add something in every stage, not only improvisations but new sounds, ideas.. Our music is felt to be 'in
movement' and it's the truth.
Maybe it is possible to talk a bit about the poetry. As I am unable to understand Italian - I only learned the
language of your ancestors (Latin) in school - I have some difficult in thoroughly understanding your art.
Would it be possible to get some idea behind these writings?
Mirco Salvadori's visions are poems that blossom from his own kaleidoscopical intuition of what is or seems to be
Venice, and what may be in a remote future. You can assure that gems of Art like Moebius, Orwell, T.S. Eliot, Pound
have to be quoted here, just to give a vague idea of what could be the core of Mirco's writing. But all is chewed and
digested to form a personal, rough, undelighted 'fresko' about life. It's funny to say that many had shown in Mirco's
poetry a taste of Romanticism; like others contemporary Italian authors maybe there's also the lesson from the
Futurism and the feel about a 'cruel, automatic, mechanical world' like something distant, a foreigner to the heart and
spirit of the poet, but in the same time the wish for that world to come.
And why poetry? What is the benefit of using this type of expressing texts? Is it the rhythm, is it the free style
in which ideas can be expressed?
Yes, there's just a little bit of 'free style' in Mirco's readings. No emphasis, no rhetoric, just his way to give his speech,
simply and strong and curt also with a deep, sincere, human touch.
I tried to imagine the idea behind the cover artwork of your release, but have some difficulties in actualling
getting it. The naked woman in front of the mirror, the
tattoo and this stick or what it is that she holds hidden
on her back. Then her look away from the mirror and
towards a unknown person or incident ... It is most
certainly not easy to put the pieces together here. There
is a subliminal authority, maybe even in the realm of
sexuality. The idea of dominance and self-assurance.
She holds a sword.. There's something magnificent in
Roman Tcherpak photograpy, because he can easily wave
between different planets while his feet are motionless on
the floor. In his photos there's the joy of a child or the
enchantment of a lover, the heavy breath of the destiny, the
raw testimony of a desert land, a knife in your back while
you're smiling. He is a joker in the same time he's crying. A
Your music was released via a netlabel. Why? What is
the benefit of spreading music this way? Will there be a
chance to see your art also sold in 'regular' CDs?
It was a choice in terms of productions. To release a cd is
one of our outstanding projects, but we felt it was something to reach later, maybe with a live recordings. In a first
sight we decided to do something together, but not to do a cd as a result. The Infant T(h)ree is a project 'in progress'.
How do you see the Creative Commons and the ability to download art for free? What are the pros and cons
from your perspective?
On the CCL and copyrights there's a rising debate in our country. There are factions and fractures in the music scene,
and this means that pros/cons are still undetermined. The freedom to be an artist and the results in terms of money
are the keys of the problem, but it's a cultural gap. The music scene (like others..) is a market, where there's lobbies
and transverse interests. To build an off-market (and sometimes an off-off-market..) the CCL is a strong help but it
reveals to be a parallel world, also if common or European rules could be a real support. The sensation is about a
'limbo' where wheels are still in motion.
Some releases you would recommend someone to give a try.
Mirco Salvadori: Laverna Net label works, n5md catalogue, Gigi Masin works... your dreams...
Giqi Masin: 'Inside Out' - John Martyn, 'Fluorescences' - Krzysztof Penderecki, 'Solo Piano'
Saint and the Sinner Lady' - Charles Mingus, 'Giant Steps' - John Coltrane.
Massimo Berizzi: new conception of jazz bugge wesseltoft, khmer nils petter molvaer,
bitches brew miles davis, chiaroscuro arve henriksen, pendulum eberhard weber,
the last dj gigi masin
Paul Bley, 'The Black
Any final words if you like ...
Gigi Masin: "You can play a shoestring, if you're sincere" (John Coltrane)
Mirco Salvadori: I practice ... yes, I practice tirelessly, more and more, to overcome the invisible shield that separates
the oppressive reality from the creative inspiration, the passive and burdensome commitment from the one that hotly
glitters with passion 'Appi Ljppj Om' by Mirco Salvadori
3,14... - npo Ma/wHOByio fleBOHKy (About a Crimson Girl)
(Azerbaijan; Melodic Doom, Death Metal)
1 Track (MP3 - Self-released) -_-_- (10:18)
http://www.31 4.az/ ; http://www.myspace.com/314doom
One aspect has to be emphasized at the beginning of this review: the version made available by the band will appear
in a different style on the forthcoming release. This is important to mention because this one lacks any serious type of
vocals or lyrics; if you leave the short fragments at the beginning or the end respectively aside. Accordingly, the
description 'instrumental' applies to it in some respect. Yet, by listening to it a different impression is created. Rather
like an intra or an outro and not like a 'full' composition is piece of doom metal comes along and the listener might wait
patiently of the things to come; which never arrive or appear if course.
npo MarmHOByio fleBOHKy is quite calm and even though the guitars play a dominant role, the texture-like
performance of the keyboards in the background cannot be ignored in their impact. They fill the background with some
calm tunes and add volume to the sound. Well, basically the track is just one melody, whose arrangements are
explored again and again. In some respect everything has a ballad-like somehow 'rockish' touch to it, due to the low
amount of elements, the rather 'shallow' complexity as well as the repetitiveness of it all. To listen to this track as a
background ambience is quite easy ... a nice and charming tune ... this sums it up quite succinctly.
Airs - Untitled
(USA; Experimental, Ambient, Black Metal)
1 Track (MP3 - Self-released) -_-_- (10:09)
http://www.myspace.com/airsband ; http://airs.bandcamp.com/
Airs is a strange band. Untitled is a strange track/release. The Metal Archives classifies it as 'Black Metal / Shoegaze'
(if you do not know how this sounds, then turn to the latest Alcest outputs), but when you listen to this output then
those terms seems to fail to really grasp what is going on here. 10:09 is actually rather long, but the sheer complexity
of the composition makes it sound short and jolted. First a calm post-rock influenced opening, then a longer metal
segment and towards the end a mixture of guitar noises and acoustic/ambient tunes; everything is clearly separated
from each other, everything is somehow in a clear order.
It is difficult to listen to it, but the burst of metal and how it develops has a certain fascination. Yet, some amount of
disappointment takes over once a glance on the lyrics is shed: the emphasis on an 'emo' theme leaves a slightly bitter
taste. If you are able to look beyond this, then this track might be something for you.
Airs - Joyless
(USA; Rock, Punk, Heavy/Black Metal)
5 Tracks (MP3 - Self-released) -_-_- (23:22)
Yes, this band has found its place on the Metal
Archives and this is astounding; especially after
one has listened to this release. Just take a spin of
the opener 'Joyless': yeah, it is shoegaze, but does
it not also wake memories on more recent stuff like
Brit-pop/rock? And don't tell me that 'Never Too
Late to Hurry Up' - what an awful title by the way -
has something to do with black metal or shoegaze.
Rather a metal/punk hybrid is what the listener has
to go through... but the style keeps changing and
changing. Entitled in German 'Ende der Ewigkeit
kommt in der Nacht' (roughly, because the
grammar is wrong: the end of eternity approaches in the night) provides some Alcest-influenced piece of music, which
in itself is quite atmospheric and has some nice dynamics. 'Ravish' takes the listener back to the opener ... while the
last track is nothing but a demo version of Joyless.
Is this what the post-metal movement wants the scene to move towards? This fluffy and nauseating concept, whose
arrangements are nothing but annoying to listen to? Joyless ... the name is program, because it is simply a strain to
take a spin of this art. This ep sounds shallow, without a clear identity, too polished and way too nice ... No, this is
Semilanceata - Dodhelighaz Grafwlijka Mund Ok Dess Vaggande Avgrundsbruus
(Sweden; Acoustic, Ambient, Folk)
6 Tracks (Tape - Self-released) -_-_- (24:50)
Limited ... this idea comes to the mind in a lot of respects while listening to this tape. Limited, because not many
copies of it exists; limited, because the tracks follow a peculiar reduced song-writing concept; limited, because not
many instruments and elements can be discovered throughout the release. This tape is restricted to a small number of
facets and it is up to them to create a dark and somehow ritualistic atmosphere.
Slow in pace, minimal in facets and of a calm sort, Dodhelighaz Grafwlijka Mund Ok Dess Vaggande Avgrundsbruus
is something you might want to turn to in hours of exhaustion or relaxation. Sit back, lighten some incense, turn the
lights down and let the music fill the air. There is nothing cheerful in the art, but it is also not too depressing either;
even though a slight emphasis on this aspect can be discovered.
Something else needs to be mentioned: the compositions lack vocals; I ignore the choral part at the of Gangare
sachta fliugha for a moment. No chants, no murmurs ... nothing. In style the concept reminds on October Falls (the
non-metal stuff) as well as Of the Wand and the Moon, but again, Semilanceata's art is generally darker and more
minimalist, with a different idea behind the compositions and therefore a less orientations on the lyrics. Some of the
'dreamy' facets make an appearance, though. If you know some of the art released by Little Somebody Records -
Novemthree or Arrowwood - then you might get an idea of how this Swedish band sounds. Strings of various types
are the main focus on this release and they
are accompanied by various sounds - flutes
for instance or field recordings or drone
textures. In each of the composition the
listener has to go through a 'unique' set of
ideas and motives. Only one aspect remains
as constant: the idea behind the music. How it
was interpreted changes throughout the entire
album on a large scale. So, the minimalism
appears on the micro level, while the macro
one reveals a variety of facets.
Dodhelighaz Grafwlijka Mund Ok Dess
Vaggande Avgrundsbruus comes surprisingly
well produced and has a nice dark touch, which it is able to create over the entire length of the record. As the days
turn longer and days of the ice and snow are approaching slowly but steadily, the performance of Semilanceata
foreshadows the shift in a nice way. So, in case you were looking for gloomy music for the shorter days of the year,
then this output might be something worth to listen to ...
This tape comes with a weird, somehow bubblegum-like odour... well, at least mine has it. Furthermore, a limitation to
47 copies makes it a little bit rare. Both the tape as well as the inlay comes professionally printed. Furthermore, the
band is currently planning a somewhat funeral doom inspired piece of art and it is only natural to proceed on this path,
because the current music is not far away from this.
Epsilon Eridani - Tribute to H.P. Lovecraft
(Mexico; Dark Ambient, Drone, Spoken Words)
7 Tracks (MP3 - Netlabel: DNA Production) -_-_- (49:40)
http://www.archive.org/details/dna 85 epsilon eridani tribute to h p lovecraft ;
Before writing on the music, some insights on the origin of the band name are provided. Epsilon Eridani is a star, but
smaller and less massive then the sun. Only 10.5 light years away it is visible by the naked eye, once you have a
chance to see the sky not blurred by the advances of modern civilization. They come especially apparent in large
cities or close to industrial facilities.
The name of the band has some relation to Lovecraft of course. His writings generally deal with the vague horror of
creatures out in space and their impact on our civilization. Yes, we simply cannot resist the temptation to assume that
some living beings outside of our solar system have nothing else to do, then to make our life miserable, extricate all
our resources and maybe even to create some sort of hybrid race. What would man be without his imagination? God,
do you hear me? Helloooooo? ... Silence ... as usual.
Tribute to H.P. Lovecraft provides a mixture of various types of compositions:
♦ Instrumental ones (dark ambient and with some references to Ulver)
♦ Spoken words performances, with recitations of parts of Lovecraft's works
To figure out which track to a certain category, all
you need to do is consult the booklet, whose pages
were made available at the Internet Archive in the
jpg-Format. The Cats and Where Once Poe
Walked are those who come with lyrics, but the style
in which these are expressed there differ. The
former comes with a somehow commanding voice,
whose expression gives the idea of superiority; while
the latter expresses the texts in a whispering kind
and with less impact on the music and how it is
'perceived' of course. Aside from this one aspect,
also the sound textures vary in terms of the
composition. Minimalist dark ambient structures on
the one hand and dark ambient with a (vague)
melody line on the other. Both work, but I prefer the
The Cats ... hard to say why, maybe due to its clear structure and the vocals.
What about the rest, then? Ambient, drone and a bit of noise were merged together and provide a variety of sounds as
well as styles. While Zoth-Ommog reminds on Ulver, the succeeding track shows hints on sound tracks from horror
films. Of the other compositions their level of playing with the influences and textures needs to be emphasized.
Epsilon Eridani at least attempted to reflect the titles through the music in one way or another. Whether this was well
done or not depends on the way the art is perceived as well as the preconceptions a listener might have of 'Lovecraft-
inspired music'. This Mexican band did not attempt to create a disturbing kind of music; rather something slightly
confusing. Ambient of various types with some noise influences and sounds can be identified. Industrial elements
make an appearance as well and the overall perception is that of intense music; now intense and offensive, then
rather dark and 'out of the normal way'.
The best aspect of this release is its variety and how weird facets were combined into a framework. Yet even though
the album takes the listener not up to the entire potential of this type of art, this tribute to HP Lovecraft is guite
interesting to listen to. More weirdness in terms of the vocals would have been neat, but the performance on this
album is still as such as to create a certain fascination.
(Denmark; Black, Death Metal)
http://www.mvspace.com/dvsphoricdk ; http://www.iamendo.com/de/artist/Dysphoric
From Denmark hails the young band Dysphoric and even though their time in the metal arena has been rather short
so far, two releases have been spread already. Both are discussed below and they can either be obtained from the
band or downloaded from Jamendo; where the second one has been made available, too.
Dysphoric - Morke (2010)
3 Tracks (Tape/ 3" CD / MP3 - Self-released)
This is would be the first release of the Danish band and it offers a surprisingly great variety of different styles of
music. Black and death metal ones are the obvious ones, but also some glimpses into the Gothic as well as
depressive metal/rock genres are shed; especially 'In Infinite' applies to the latter type.
Sludge-inspired music with screams as well as grindcore influenced growls. A dominant lead guitar with some nice
riffs to back the performance up. A dark piece of music, but some ideas point in a slightly different direction.
Screams/growl play in the vocals and a style that wakes some memories on Non Serviam. Interesting is the play with
the tempo and those keyboard elements, which work as a counterpoint to the tempo.
This is a pretty dark and melancholic track. Being hardly metal at all, it comes rather in a somewhat darkwave-inspired
depressive fashion. Distorted vocals as well as a somehow minimalist concept can be found further.
It should have been obvious by now that Dysphoric attempted to experiment on their first release a bit. Being the
opposite of euphoria, their name points to something unpleasant and hard to bear; maybe this is what they tried to
express in a large variety on Morke. Aggressiveness, melancholy, sadness ... and much more can be found on this
release, but there is no coherence. This ep contains some interesting ideas, which merely wait to be more explored
and worked on. Where this band might more towards cannot be predicted from this demo, too eclectic is the
performance on it.
This release can either be downloaded from Jamendo or bought from the band.
Dysphoric - Delusional Haze (2010)
5 Tracks (Mp3/CDr- Self-released) -_-
One difference to the preceding release is obvious from
the beginning: there are two short tracks (intra and an
interlude) and three 'normal' ones. Another is the overall
change in style and a recognizable approach in the
song-writing. Even though some glimpses could have
been discovered on their first output as well, they played
a minor role and were unable to shine through in one
way or another. It might be fair to state that Dysphoric
has changed tracks towards a slightly new pathway ...
and the outcome of this would be?
Glimpses of the melodic death metal were already
apparent on Morke, but the degree in which these would
appear now is a turn that those familiar with the first ep might perceive as a surprise. On the new output Dysphoric
took quite a step into this direction, but it is important to note that their art was kept in some way basic - no keyboards
and hardly any samples - and midtempo without many bursts or violent blasts. Here more of an old-school
interpretation can be found, without the modern frippery. Rather like Non Serviam and earlier Hypocrisy than anything
of what roams the scene today. Growls by the vocalist, a bit of chugging by the guitars, some nice harmonies by the
acoustic guitar and drums whose play supports the music nicely. The five compositions are catchy in a strange kind of
way but come with a well crafted atmosphere. Despite of being a bit calm in style, the band is able to grab the
attention of the listener without much difficulty.
Delusional Haze comes as a surprise in a lot of respect: the depressive elements are entirely gone; the genre has
taken a shift towards melodic death metal and in terms of the consistency the band took quite a leap forward. So, fans
of this particular type of music should really give the second output by the Danish band Dysphoric a try.
This release can either be downloaded from Jamendo or bought from the band, but be quick
only fifty copies exist
To sum the impressions up:
Two very different releases ... really! You might not have anticipated this kind of development from the beginning, but
these two musicians from Scandinavia are actually able to write some good music and get it produced in a proper
way; especially on the latest output. Tape and 3" CDr versions of Morke come in a diy style.
Rotorvator - Nero ep (Live in Santarcangelo) (unreleased)
(Italy; Noise, Black Metal)
4 Tracks (MP3 - Self-released) -_-_- (17:14)
You cannot buy this album right now and you will also find no download link for it. The reasons are fairly obvious: it is
still unreleased and the music was sent to me by the band with the demand of not sharing these files at all. It should
be fairly obvious that I will follow their request.
Some words on the background of the release and why this piece
is so short:
The (extreme) music of the Italian band was performed on stage
while some 'dancers' - I have seen no video of it so far, so it is a
bit of guesswork - do 'something' in the space that is available for
them, whatever that might be. So, unlike the normal procedure
that some "hot" chicks try to move to the sound of the band and
pretend to like it - See: Cradle of Filth for instance -, here we
have something that is quite rare in the realm of the metal music;
yes, I would associate Rotorvator with this genre.
In case you are familiar with the sounds and atmospheres the
Italian band, then you might be curious about how this might look
like. This weird mixture of noise and black metal, those extreme
screams and throbbing drums as well as disturbing effects form a
certain pattern of rhythms and to see them "visualized" in one way
or another should be something definitely worth watching as well
as waiting for; it is maybe important to emphasize that the basic
sketches of this review were written several months ago and there
is still no release date in sight.
And believe me
the music in intense. It is sinister and
disturbing; with the exception of the last track maybe, which is rather depressing due to its minimalism. The music
does not follow a distinct path on this ep and switched between different types of atmospheres. So, while the opener is
the typical Rotorvator stuff, with each additional track a progression into much calmer regions can be discovered.
Experimental and noisy black metal with a lot of layers and electronic facets would sum the impressions up. The style
is more structured and focussed than the works of Gnaw Their Tongues for instance and hardly as offensive as the
performance of a lot of other noisy black metal bands these days. Even though the compositions themselves have
little in common, they were nevertheless created in such a way as to flow into each other.
How this plays out on stage by the theatre dance group? I have no freaking idea, but it is a nice idea nonetheless. At
the moment there only the MP3 files are available for this review ...
To be continued ... maybe ... someday
Foreskin - Just a Fucking Preview!
(Pakistan; Thrash Metal/Crossover)
3 Tracks (CDr - Self-released) -_-_- (3:18)
Yeah ... it is short ... it is sick ... it is from Pakistan ... nasty thrashy metal music with an excessive amount of
Yeah ... Just a fucking short review
Foreskin - Bombs Away!
(Pakistan; Thrash Metal/Crossover)
3 Tracks (CDr - Self-released) -_-_- (2:49)
Urgh ... another short one ... and an even more sickish one ... now with grindcore and death metal influences ... but
still raw ... Urgh
This is sick ... urgh
Words away . . .
Both releases are available from the band or download them; you can even buy one of them... urgh ... yeah ...
http://www.mvspace.com/eaalechalice ; http://www.hiddenfortresstapes.bloqspot.com/
I am not an 'anachrophobe', no I am definitely not! Those tapes are to me sort of an unnecessary inconvenience, a
relic of the 20 th century and something that is not able to stand up to the change of tides and time. They lose in quality
every time you play them; you have to turn them around every now and then and do not forget about the problem of
finding the proper second of segment on it, the one you love and hold dear. No, I am not an anachrophobe, I am
merely someone who holds his MP3/0gg/FLAC collection dear.
Well, this term jumped at me while glancing over the blog entries of the American band Eagle Chalice, of whom I was
able to acquire their two tapes. Both of them are discussed below:
Underwater Panther Party
6 Tracks (Tape - Hidden Fortress Tapes)
The first release of the American band Eagle Chalice comes with a surprising amount of facets and styles. As I do not
have any track titles at hand, I am merely able to point to the compositions through numbers. So, in case you obtain a
copy this tape, then you should take notes on the breaks in the flow of the music, because you might not be able to
Important to emphasize is the short length of some of the compositions: four times less than three minutes; at least
according to the way I ripped it. With one of these the tape would actually opens and the listener is introduced into a
chilling ambient/drone atmosphere which comes with some effects in the background that remind on rain drops. Yet,
this warm and nice type of music is not preserved, as the succeeding composition - or are these actually two? ... ah,
never mind - comes with some weird oscillating noise distortions. The confusion is complete as once again a rather
calm motive is introduced, which in style is not too far from what the band used for opening this tape. Than another
but longer disruption ... and then more of the distinct motives that was played earlier. The closing two tracks are a bit
freer in the concept and only recite earlier ideas in some respect. No vocals can be found in any of the tracks and the
instruments seem to have a place in the electronic corner. In case a drumbeat appears, then it is the usual sterile type
and the rest of the music consists of a to and fro of various types of layers of keyboards/synthesizers. Throw a bit of
noise in as well and you get the idea what this tape is all about.
Eagle Chalice seem to be uncertain about what to
do or which path to follow. Whether it is supposed
to be some sort of beat-driven good-feeling music
or some 'I am on an acid trip thing' remains
hidden, this band thought it would be best to offer
both. Imagine Vangelis with some grindcore blasts
thrown in now and then; no, not for real ... just to
give you an idea on how to feels listing to such a
type of music ... gosh. The best moments are
those with some clear structure and a slight fluffy
beat in the background ... but maybe I am simply
not in the mood for too much experimental stuff.
A 5tlltafclt.lt .',kV.
2 Sides (Tape - Hidden Fortress Tapes)
I was too lazy to find out where one track or segment ended and another one began, so I just ripped this thing via
Audacity and took one side as one track. It does not make it easier to describe the music, but actually I do not really
care. Again, no track list would give an indication on how many tracks would appear on this tape ...
Eagle Chalice uses the following description:
Killer summer synth jamz from the state where it's always summer.
(Source: http://www.myspace.com/eaglechalice/bloq )
Reminds me on the title of a Voivod track: Planet Hell. Also Brontitall, Esflovian and Han Wavel from the Hitchhiker's
Guide to the Universe come to mind. It sounds like torment ... because what could you possibly expect from such a
place? Getting drunk all day long also gets tiring soon and the energy you need to run all your modern conveniences
surely requires a nuclear power plant nearby.
Well ... once the Underground Panther Party is over the band Eagle Chalice wants you to 'float'; which sounds like a
paraphrasing of an order to getting high. Maybe it helps to get over the hangover or any other lasting impact of this
strange kind of event. Anyway, compared with release numero uno, the second one has a nice and charming touch,
which might be due to the focus on distinct rhythm patterns; those had a smaller impact on UPP. The compositions on
Let's Float have some nice calm beats in the background and it is their part that takes the listener by the hand and
guides this person through the music; the first output lacked it and was therefore harder to digest.
Aside from this, a clear continuation in style and concept can be discovered, with the exception of disturbing interludes
or the sort. Calm and steady warm and chilling tunes flow out of the speakers and create the impression of relaxation
as well as peacefulness. It is easy to imagine one sitting on the porch in some sort of sunlounger and enjoying the
tunes. Due to their repetitive character, their well crafted multiple layers of sounds and noises - crackling and the sort
- it is not difficult to follow the motives and arrangements. It should be noted that the second side of this tape - figure
out which side is which by yourself - is more accessible than the first and more experimental one. Calm idm and
synth-loaded music with inoffensive beats make up the art of Eagle Chalice and you should get these tapes now,
while they are still available (check the blog of the label for more information on this); if you wait until the next summer
- speaking from the perspective of someone who is currently tormented by autumnal weather cycles again - then
these two tapes might be not available anymore.
Both tapes come with a weird design and have no tracklists printed anywhere. So, even though the MySpace site
offers some insights on how parts of the music were 'labeled', the actual releases lack this type of information and the
reviews have also no references whatsoever.
Ouroboros - Vanitas
(Italy; Experimental, Ambient, Industrial, Noise)
7 Tracks (CDr - Prime Unit Records) -_-_- (46:14)
http://www.myspace.com/primeunit ; http://www.myspace.com/marcoqrosso
Vanitas is a compilation if you like and it consists of two cover versions:
1 . Depeche Mode's Enjoy the Silence
2. Black Sabbath's Black Sabbath
Furthermore, according to Discogs the tracks on this album are basically outtakes from "Lux Arcana" and "Nigredo"
sessions as well as some remixes of older recordings.
Depeche Mode's Enjoy the Silence
Those who have followed my reviews over the years might have
noticed a piece on a cover version performed by the British band
Sabazius. It was Rolling Stones' Sympathy for the Devil that they
worked on and changed to quite a considerable amount; the length
had been stretched to over twenty-five minutes! Ouroboros did not
take it to such extreme, but they nevertheless manage to add a
certain amount of identity to their way of interpreting the original.
Depending on which version it is referred to, the one on Vantias is
at least double the length and has generally little in common with
the original. The 'beats' were removed, guitars are non-existent
and of the nice cheerful atmosphere nothing is left. A dark and very
intense one is what dominates the cover version and especially the
dense and slightly noisy texture in the background adds a frightful
undertone to it all. When it comes to the vocals, the Italian band
also changed the style and instead of the clean way of singing the
lyrics, some operatic and falsetto-dominated (?) voice expresses
the texts throughout the track. In case you are familiar with the
original and appreciate it very much, then this version will hardly
suffice your interest and fascination. Maybe it would go too far, but
there hangs the idea of mocking the positive vibe of Depeche
Mode's composition in the air; an attempt to make this person
appreciate the silence once the track is over and the 'torment' is
gone by. Ouroboros' interpretation is not bad ... it is just so weird
and outre that it is a bit hard to endure at times.
Black Sabbath's Black Sabbath
Also in this cover version an increase in length can be identified, yet compared with the other tracks discussed above,
here everything was kept rather controlled; around on minute more compared to Black Sabbath's version. Yet one
similarity persists: the reluctance to stick to the original elements and to exchange these into some ambient-dominated
atmosphere. No drums, no guitars and also no bass ... just some drone/ambient textures with some intelligible
murmuring vocals on top of it. Occasionally, a sample or a noise effect makes an appearance - like a church bell or
some strange thundering beat - but these are rather the exception than the rule. Even less than the interpretation of
Depeche Mode's composition this one is identifiable as the original, because the gap between these is simply
immense. The main point of criticism is the lack of real identity, because the cover version sounds interchangeable
and could also be used for a different compositions or concept. To take the interpretation to the extreme is certainly
interesting, but at least some hints on the original should be provided. Ouroboros seem to have gone a bit too far with
What about the rest, then? Well, even though (dark) ambient dominates this release; the way it is presented is
interesting nonetheless. Sometimes a bit of a ritualistic touch is added to it through a distinct type of vocals or better
said recitation of the lyrics; electronic beats give the music some kind of rhythmic feeling and industrial/noisy facets
increase the tension and work as a counterpoint to the overall minimalist concept of the music. Male as well s female
voices make an appearance on this recording, but in terms of their impact the focus lies undoubtedly on the latter of
these and this has by no means solely to do with the Depeche Mode cover. Also on other tracks they were used and it
actually turns out to work pretty nice.
Two more releases wait to be written on and it is a difficult task to get these reviews done. Ouroboros seems to be
reluctant to follow a simple and easy way of composing or creating art. Each of these albums contains a variety of
sounds and influences, concepts and approaches and these range from dark and minimalist ambient ones over
industrial and even to strange operatic experiments. To nail the band to something definite seems like a vain effort.
The reasons for choosing Vanitas were simple: the interpretation performed on this recording was actually something
of a starting point to explore the art and a fixed spot from which the rest of it could be examined. Patience is what
seems to be a fundamental requirement when it comes to Ouroboros; patience and a wide spectrum of musical
MTsogi - Tofotukami Wemitamafe
(Japan; Progressive Black Metal)
9 Tracks (CD - Sabbathid Records) -_-_- (48:19)
http://www.myspace.com/misoqiip ; http://members3.icom.home.ne.ip/oriental-tiqer/
Black metal is a peculiar genre. Once you search for releases per year per genre in the Metal Archives database,
death as well as black metal are those who tend to have the largest amount of these in the last decade. So, while
there are a lot of demos and albums out there, the overall quality and the limitation in the concepts seem to be as
such as to give the impression of a music that is basically circling around itself, an endless incestuous orgy with no
hope of a way out. Yet, with the spread of this extreme kind of music to non-western spheres and with bands whose
oeuvre is not limited by the standard (trve) elements, a new vibe has begun to enter the scene. Bands from Arab
and/or Islamic countries use instrumentations of their own cultural backgrounds and combine these with the dark art of
the black metal genre. The outcome is quite fascinating ... and even more so what the Japanese band MTsogi has
crafted on Tofotukami Wemitamafe.
Even though some of the compositions wake memories on
Darkthrone's raw releases - Panzerfaust and Transilvanian
Hunger - others take a different turn. Fast and thrash-influenced
riff motives appear, while a Kagula flute and keyboards - note: not
just simple textures but the band tried to resemble traditional
instruments through this - were used to create an Eastern-
influenced atmosphere; the tracks Idumo and Aidu even have
citations of traditional music (source: booklet). It might be a bit
farfetched, but imagine Ulver's Bergtatt with an Asian folk music
spin and you get an idea on how Tofotukami Wemitamafe sounds.
As the Japanese stuck to fast lead-guitar motives and a greater
variety of tempos and arrangements the experience is a different
one of course. This release is wilder but has some of the same
spirit that the Norwegians were able to create back then. Actually,
this is only natural as the level of professionalism and quality of
black metal has increased since; in parts at least.
MTsogi's art is quite complex and this makes it difficult to describe
the performance but on the other side it is interesting to listen to.
The band does rarely leave the listener with some moments to
catch breathe and even the traditional instruments were not played
in a slow manner. Slower interludes and passages exist but their
impact is basically negligible and it is this 'Dark Funeral' inspired
art that takes the cake here. In terms of the concept the Japanese
have put more emphasis on the strings and how they shape the
music. The drums for instance have no other function than to lay
the basis for the music and were therefore kept in the background; while the guitars (also the bass) are more
dominant. These aspects alone make up a very interesting release but it should further be mentioned that M'i'sogi
song-writing leaves the listener with little to desire. Hardly any monotonous passages, hardly any kind of plain or tiring
moments ... the atmosphere and the motives merge together neatly. Further, the booklet has all lyrics printed, so it is
possible to read them and get a glimpse of what this band from Japan 'sings' about; some passages are not in English
though, but the majority of them are.
This release leaves a very positive impression. Unlike a lot of black metal bands these days, a more daring approach
was used when composing the music for this release. Even though it would be neat to hear more influences from
traditional Japanese music as well as seeing/hearing the concept drift off into a little bit more weird/wild realms, the
debut album of MTsogi is nevertheless something fans of modern and progressive black metal should definitely give a
try. The production is really good and the quality never drops just a bit over the whole course of the recording.
Nevertheless, the complexity of this recording demand from the listener to take a good amount of time to appreciate
what is going on here; a spin or two will not suffice. Really recommended.
Despot - Cold Deliverance
(Brazil; Black Metal)
5 Tracks (MP3 - Self-released) -_-_- (26:00)
http://www.mvspace.com/thedespotband ; http://www.despot.com.br/
Cold Deliverance would be the third release of the Brazilian band Despot and it would be the second one in 2010.
Furthermore, as the band is only active since 2008 it has not only spread a considerable amount of demos so far, also
the overall performance is by no means bad. Those five tracks on this latest output come with a variety of sounds and
influences: death, (symphonic) black and thrash metal make an appearance. What might astound is the overall
density of the compositions. Fast lead-guitars (Rejoice in Isolation) meet some interesting dynamics (The Bastard
Hive has some riff-chugging parts) for instance and also the drums and keyboards are able to support the music now
and then. Old Satyricon (and maybe even a bit of Dimmu Borgir) meets (modern?) Dark Funeral would give an
indication on what to expect on this release. It is hardly possible for the listener to catch some breath ... because there
is an endless stream of riffs and motives pouring out of the speakers.
Not surprisingly this comes at a cost. Occasionally, the music sounds overloaded and chaotic; especially the
keyboards appear displaced at times. There is simply too much going on and it impossible to grasp every tiny bit of it.
Even though the band refers to rather established and
conservative bands on their homepage, the music on this
demo sounds rather modern; something quite apparent
when taking the powerful production into account. Cold
Deliverance - no this title is misleading - is quite
listenable and can be enjoyed, but the lack of a clear
identity as well as the slightly chaotic approach, prevent it
from being enjoyed over a longer period of time.
Earth Sheds Ghostly Shadows - Demo 2010
(USA; Death Metal)
5 Tracks (MP3 - Self-released / Netlabel - Torn Flesh
Records) -_-_- (13:03)
www.myspace.com/tornfleshrecords ; http://www.archive.org/details/TFR157-EarthShedsGhostlyShadows-Demo2010
The cover of this release looks strangely familiar. When I am not entirely mistaken it was taken from the animated
movie The Iron Giant. In terms of the music Earth Sheds Ghostly Shadows play death metal but instrumental one. To
be frank, this 'term' does not entirely apply if you interpret it in its core meaning, because the Americans used samples
from various films for their art; hence some spoken passages make an appearance. Sadly or luckily these were not
taken from some b-horror movie or of any other extreme and disgusting type; the strange stuff goregrind band tend to
dig out in the tons. Here, some surprisingly calm, or shall I say 'inoffensive', types were used and even though some
hints on the grindcore scene are presented in the music, this additional facet does not follow.
Death metal ... yes, such is presented here, but you can feel that something is missing. Maybe it is due to the rare
type in which music was crafted - without lyrics -- that leaves this strange impression, maybe it the calmness of the
art, but there are facets on this demo that might give the listener a hard time. As I have written on other instrumental
arts in the past, also this one sounds like it could burst any minute and that the listener is simply waiting for 'it' to
come; yet such never really happens. Well crafted riffs pass by but then ... nothing; with these rather 'normal' samples
it is even stranger to listen to. Progressive or technical death metal might work without vocals, but most certainly not
the type presented on this demo. Move along ... nothing to see here.
Aairria - Chamber of Winds
1 Track (MP3 - Netlabel: Rain Netlabel) -_-_- (73:20)
http://www.archive.org/details/rain040 ; http://rainnetlabel.blogspot.com ; https://aairriamusic.wordpress.com/
It is or better said it was Halloween. As the release date of this magazine does not correspond with this particular
date, some might see the review of this release a little bit late. Anyway, Chamber of Winds would be the latest release
of this band and of a kind that provides a lot material for discussion. The title of the track would be 'Singing Ghosts'
and as such the guestion arises, whether the performance by the Polish artist might correlate with the anticipation of
the curious listener.
Well, compared with what is generally assumed to be 'ghostly', Aairria - a ruined palindrome, I say - composed music
of such a chaotic mess that any clearly distinguishable message sound or noise remains hidden. The general idea of
an 'Otherworld', whose basic foundations are somehow like ours and in which the 'deceased' are able to
communicate, despite their ethereal (vaporous?) nature, with each other; with the obvious result that everyone has to
hear about and deal again with everything one has done in one's physical existence; if this is it not a picture of hell at
its purest, then I'll be damned. Anyway, Singing Ghosts gives the idea of a strange to and fro as well as up and down
of distorted noises, which are accompanied by dronish textures. An endless intelligible murmuring, a torment of hollow
singings, whose main purpose seems to be their pure existence than anything else. There is nothing pleasing to ear in
this track, there is nothing nice and friendly, but on the other side also nothing too dark or disturbing. Just layers upon
layers of various types of voices, whose messages are hidden from our understanding ... but maybe they will reveal
themselves once we have entered this obscure and mysterious 'second world'; well, if you believe in such nonsense.
Why is has this mug just begun floating in the air by the way???
http://www.archive.org/details/Kingston Exiled for the Faith
Once I have the time to finish them: essays
More interviews per edition
Several longer reviews
Pictures from old magazines