LXXXIV: Dead Can Dance | Spleen And Ideal

DEAD CAN DANCE

Spleen And Ideal

©4AD. UK, 1985.

‟Dead Can Dance defined their music in Spleen and Ideal, moving away from gothic-rock, though still belonging in the age of gothic-rock, as exemplified by "De Profundis", which is a pure liturgy, a sound that is further abstracted in the ceremonial pounding of "Ascension", which veers towards impressionist sound-painting, i.e. pure atmosphere. It's a spectacular start but which doesn't last very long, with Lisa Gerrard's medieval litany "Circumradiant Dawn" and Brendan Perry's pompous (but tame) "The Cardinal Sin" (halfway between a ceremonial chant and an existential ballad) being far less impressive. Thankfully, "Mesmerism" returns to a sensational atmosphere: part Slavic dance, part middle-eastern ecstatic chorus, and part European symphonic splendour, all the while Perry reverts to the dense marching ceremony "Enigma Of The Absolute". European classical pessimism returns in "Advent", which also confirms they still rely on the post-punk beat. "Avatar" (with it's breathtaking coda) sort of encapsulates the method of the whole album, which is: getting the ethnic ceremonial litany, adding the sparkling textures of new-age (which themselves are a new form of symphonic music) and working within the framework of European pessimism (which is also the framework that gothic-rock adheres to). After such a highlight, the closing "Indoctrination" feels much inferior, which also underlines that this is a rather uneven album.‟

Ily

  

LXXXIII. Lycia | Ionia

LYCIA

Ionia

©Projekt. US, 1991.

‟This album is about human weakness and regrets. In the first track, a man see his will dragged down by a thing called "Ionia".
Even if Ionia is personified (Mike VanPorfleet is talking about her face and her grin) it doesn't suit the general mood of the album to think she is a woman. It rather reminds me a lot of Oscar wilde "I can resist everything except temptation", that Ionia must be a symbol of temptation. I'm really fond of Portfleet's vision of music and art, you can't find a single track of that man that isn't serious as hell. Poetic without being naive, depressed without being angry (which is extremely rare and almost makes his music unique), that album has all arguments of a masterpiece, despite of having been roughly produced (related to his equipment at that time). The second track without the vocals could have been on a silent hill soundtrack, and songs like "november, monsoon II" fit very well the mood of the music from "legacy of kain blood omen".
I strongly recommend this album for all the openminded music lovers out there, it's just a pity the work of that guy (moreover who has had to deal with diabetes all his career long) isn't more known. He is definitely to put among too many good artists who haven't really the popularity they deserve.‟

Dimitri Ostrovitch

 

LXXXII. Coil | Scatology

COIL

Scatology

©Force And Form. UK, 1984.

‟Coil signified the transition of industrial-rock to a more esoteric and traditional fusion of styles. If Peter Christopherson's previous band, Throbbing Gristle, conjured the vision of the death factory, Coil were inspired by the musical forms of the pounding march, the national anthem, the symphonic element, the ritual, and then magnified them in an industrial context, thus maximizing the psychological effect.

It started with the distorted waltz "Ubu Noir", which served only as an introduction. The album started proper with the bombastic industrial music-hall "Panic" (a la Foetus). The psychological landscape of "At The Heart Of It All" was far more effective, it's symphonic psychedelia gliding around a frozen and frightening ambience. This intriguing sound was further highlighted by the ritualistic waltz "Tenderness Of Wolves", featuring vocals by Gavin Friday (of Virgin Prunes fame).

The clanging paroxysm of "The Spoiler" got into Killing Joke (circa What's THIS For...!) territory, albeit in a more chilly and haunted setting. The more normal industrial-glam "Solar Lodge" followed, but it was "The Sewage-Workers Birthday Party" that stole the show, built around feedback distortions. The metallic anthem/ stomp "Godhead=Deathead" was even more intense, exhibiting the power of a fascist march. "Cathedral In Flames" was cut from the same cloth, but emphasized the ritualistic aspect, as if the twisted coronation of a dictator.‟

Ily

LXXXI. Les Fragments De La Nuit | Musique Du Crépuscule

LES FRAGMENTS DE LA NUIT

Musique Du Crépuscule

©Equlibrium Music. Portugal, 2008.

‟Epic, sublime, intimate and euphoric. I thought long and hard about how I wanted to describe Les Fragments de la Nuit’s album, “Musique du crépuscule”, and really, it can be summed up with those four words. The music is composed by a small band with cello, violin and piano, so it is very neoclassical in nature. But this is neoclassicalin the most etherealsense, and the music on “Musique du crépuscule” really transcends what conventions I normally use to describe beautiful music.

On the band’s Myspace page, they list composers such a Steve Reich and Philip Glass as influences. I don’t hear much experimental sound here as it sounds like there is a definite vision, but I definitely hear the intimate, introspective qualities of Glass present. They also list Godspeed You! Black Emperor as an influence. Again, I hear nothing similar to Godspeed or post-rock. There is definitely a similarity to Rachel’s “Music for Egon Schiele“, but even that comparison is fleeting. “Musique du crépuscule” is dark and epic like sound track work, using occasionally intense staccato rhythms, and really brooding progressions. However, where the music is larger than life at times, it is highly personal and reflective. Where it has similarities to a lot of music I listen to, it really is highly original work.

If you like neoclassical music, and want something as dreamy and sublime as it is dark and brooding, I definitely recommend this album.‟

Obsequious

 

LXXX. Freya Aswynn | Fruits Of Yggdrasil

 

 

FREYA ASWYNN

Fruits Of Yggdrasil

©Edition Ananael. Österreich, 2002.

‟For those of you who dont know, Freya Aswynn's is the entity created by Elizabeth Hooijschuur a figure of considerable distinction within the Norse heathen community, a dedicated priestess of Odin,  rune-mistress and writer that in past years has collaborated with some musical projects such as 6omm, Current 93, Les Joyaux De La Princesse and Fire+Ice, well know artists in the field of Neo-Folk music.
 Aswynn's" has  released three albums under her own name, The Fruits Of Yggdrasil was originally released as a limited-edition vinyl LP on Eyas Media in 1987,  1995’s Shades Of Yggdrasil  and 1998’s Songs Of Yggdrasil, which was released to accompany the Northern Mysteries and Magick book.  The Fruits Of Yggdrasil was re-released in 2002 on the Austrian label Edition Ananael, with bonus tracks including Freya’s tracks with Current 93 and Fire + Ice, as well as two tracks with Wayne Owens originally released on Shade of Yggdrasil, and it has now been released by the Hau Ruck!.
This album’s focus is on initiation into the northern mysteries, the sound is difficult to describe, the spoken words are always present, reciting magic and ancestry words, the tribal and industrial percussions set the pace,  haunting flutes and  background weird soundscapes thicken the beauty and mystery of this record, that i higgly recommend  if you have an open mind.‟

Ritualisticnature

  

LXXIX. Die Form | L'Âme Électrique

 

DIE FORM

L'Âme Électrique

©Hyperium. Deutschland, 1995.

‟Sounds great real loud or low enough to sleep too. I must warn you though: If you play this at nite while you sleep, the music & Elaine's voice will creep up under your flesh and contort your dreams into the dark realms of extascy and bliss....maybe, Then again you may find yourself in a 16th century dungeon just before the executioner chops off your head with an axe ....you never know?
I see myself buying many more Die Forms CD's in the near future. If I had to describe them I would say: A cross between Skinny Puppy/Thrill Kill Kult & Dead Can Dance/Enigma, maybe a touch of Frontline Assembly? Most Definately a Worthy addition to my collection. I know now why I can never find D.F. cd's in the used bin... either nobody in their right mind would ever get rid of them, or they just get snatched up quick ??? Oh well Some bands I dont mind paying full price for....PIG, M.Manson, NIN, Ministry, KMFDM, System of a Down, etc.
Hauntingly beautiful music,if you by chance think your house has a ghost floating around in it then I dont recommend listening to this by yourself, at night, alone, in the dark.‟  

Magadogx13

LXXVIII. Endvura | The Dark Is Light Enough

 

ENDVRA

The Dark Is Light Enough

©Allegoria. Schweizerische, 1996.

 

‟Endura are soundscape alchemists combining synthesizers reminiscent of Tangerine Dream with (un)healthy doses of Aleister Crowley, H.P. Lovecraft, and psychedelic drugs. Brought together by friends that were sure the pair shared similar interests, Stephen Pennick and Christopher Walton began a journey into the realms of ambient electronics in 1993. After two cassette releases, the next year saw the release of their first CD, "Dream of Dark Waters" on the German label Nature and Art.Endura would remain silent until the summer of '96 and the unveiling of three simultaneous releases. These three releases were "The Light is Dark Enough" on Allegoria, "Liber Leviathan" on Aesthetic Death, and "Black Eden" on America's chthonic Red Stream.  

Though each full length CD is unique both in style and concept, there are similarities. Those more inclined to medieval devil worship and sabbat dancing will want to begin with "Black Eden". Those partial to oceanic depths and what lurks beneath the waves should first swim within the dark waters of "Liber Leviathan". "The Dark is Light Enough" will await the converted follower on unholy ground. 

The songs of the dead dreamer are carved upon the flesh of Endura. Their music dares to breach the abyss and pull the listener feet first into bottomless gulfs somewhere at the edge of insanity's imagination. Endura's ambient impressions take the listener to a deeper darkness buried somewhere within the subconscious. Let us hope that all of us can crawl out in one piece.‟

Chad Hensley

LXXVII. ANTIchildLEAGUE | The Father

ANTIchildLEAGUE

The Father

©Hagshadow. UK, 2008.

‟AntiChildLeague is the noise project of Gaya Donadio renowned for her tireless promotion of underground music live events in London under the banner of Hinoeuma the Malediction. The Father is their first full-length release and it’s a varied outpouring of sounds concerning control, oppression and patriarchy. The Father flits between spoken word and instrumental noise pieces, rammed with samples. Gaya Donadio intones the lyrics; her heavily accented Italian voice, emphasizing key words and segments. The Father makes full use of rhythmic noise, looped under the barrage of noise and corrosive electronics, given a wonderful clarity by 6 Comm’s Patrick Leagas aka Godlesstate who was responsible for the mixing and production here.

Much of The Father, however, falls into generic noise territory. The power noise of ‘Overpopulate Destroy’ with it morass of raging voices or ‘Project The Self Absent Self’ which takes in treated film samples over modulated shrieks and twisted dial tones, and the distorted bass rumbles, crackling textures of ‘C From Far’ don’t stray too far from countless other power noise outfits. Where AntiChildLeague come into their own is on the lyric based tracks where Donadio takes the central role. ‘Gate To Heaven Entry To Hell’ is a wonderful opening shot with its repetitive looped beats, buzzing slabs of noise and heavily processed vocals.

Even when AntiChildLeague step down the pace as they do on ‘Occult Purity’ with its churning looped beats, sinister live buzz tones and Donadio’s continuous demands to “Set yourself free” they retain a tension fuelled edge. ‘E-Man’ follows similar territory, with Donadio throwing lines in an imposing manner, surrounded by corrosive sweeps of noise. It’s another effective moment from this female-fronted noise assault. Both pale in comparison to ‘Only One Mother’, where above crackling textures, Donadio reveals the true face of mother nature: a brutal, unflinching, cruel matriarch. A mother of life and death. “She is the Devil”, Donadio mischievously whispers with a wicked glint in her eye.

It all ends on a shrieking power electronics affair, with distorted aggro-vocals reduced to a repeated, spitting of the title, ‘Burn The Cross’. In a world of male-dominated noise acts AntiChildLeague could easily have attempted to redress the balance, instead they offer up their own take and own themes. The Father is all the better for it.‟

Heavyelectronics

LXXVI. Diamanda Galás | The Litanies Of Satan

DIAMANDA GALÁS

The Litanies Of Satan

©Y Records. UK, 1982.

‟Una serie de sonidos que no bajan de lo francamente escalofriante. Lamentos, gritos, silbidos, chillidos... todo lo que pueda hacer un referente a la locura, a lo oscuro y lo macabro está contenido en dos tracks de verdadero culto. Diamanda muestra que llegó a este mundo a causar cuando menos un poco de perturbación y de qué manera lo logra. Un disco obligatorio.
Como decía un amigo por ahí, si los autoproclamados "góticos" estuvieran mejor informados, este disco debería ser su biblia negra y Diamanda su reina.

El primer corte de poco más de 12 minutos "The Letanies Of Satan" ha sido tomado desde el poema del mismo nombre del poeta maldito francés Charles Baudelaire, el segundo track de 17 minutos "Wild Woman With Steak-Knives (Homicidal Love Song For Solo Scream)" está inspirado en la tragedia grotesca "Eyes Without Blood" de la propia Diamanda Galás.

Definir este disco como oscuro es poco, es espeluznante, de verdad tenemos acá una visión infernal.‟

Projekct 5

LXXV. NON | In The Shadow Of The Sword

NON

In The Shadow Of The Sword

©Mute. UK, 1992.

‟This one is simply a classic. The first ever NON release I owned was the mind crushing "Physical Evidence". I then rushed out the moment "Blood And Flame" came out and purchased it. Back then, with out the aid of the internet, it was perfectly clear that Boyd Rice was off his nut. This was crystallized in 1990 with the Death In June track "Bring In The Night" and the venomous "Music, Martinis, and Misanthropy". During this time of hyper-creativity Boyd teamed up with friends Douglas P and Rose Mcdowall, fellow Misanthrope (and touring Japan at that time) Tony Wakeford... and Boyd's current roommate, a young Michael Moynihan (who at the time was wrapping up his existence as Coup De Grace). Together they played recorded a live performance in Osaka, Japan, July 3rd 1989. This powerful experience has been preserved in two forms; "In The Shadow Of The Sword" - presented here, and "Live In Osaka" the DVD.Non Live In Osaka, 1989. For this release tracks 1-8 represent the Osaka performance. 9-13 were recorded back in Colorado.‟

Emotions Will Kill Me

 

LXXIV. Have A Nice Life | Deathconsciousness

HAVE A NICE LIFE

Deathconsciuosness

©Enemies List. US, 2008.

‟Desde Middletown, Connecticut-Estados Unidos, aparece este engendro empeñado en desolar con un disco doble tan terrorífico como vital: oscuridad, espacio amurallado, golpeteo metálico y imaginería ocultista, convergen en una producción sólida y totalmente extraña para estos tiempos que corren.
Hay un ambiente post-punk sofocante que recorre los temas de "Deathconsciousness", podría haber sido grabado en la etapa de negrura dark a comienzos de los 80's junto a The Chameleons, Joy Division, And Also the Trees, y los Cure de "Pornography" y sería un clásico, pero no, es 2008 y eso queda de manifiesto en el ruidismo cavernoso de "The Big Gloom", ocho minutos de espesura extrema con voces en penumbra, puro doom noise con bases industriales, un manjar para los que gustan de la oscuridad sin fronteras, sin embargo queda un dejo de nostalgia sobre todo en la interpretación vocal, de donde vendrá no tengo la menor idea.

Dos discos que suman casi dos horas de desesperación, drone, ambientes tenebrosos e inspiración mortuoria, era necesario tanto, no lo sé, pero al parecer estos norteamericanos quieren que no tengas descanso en este dilatado trayecto por las masmorras del sonido oscurecido.
"Telephony" despierta las más profundas honduras del ser con una guitarra que baila por bordes de entendimiento, mientras las voces acarician junto al metal abrasivo de una percusión omnipresente, el resultado es hermoso de todas maneras.
Los han descrito como una mezcla entre My bloody valentine, Skinny Puppy, Sunn o))) y los bajos huracanados de Joy Division, yo creo que van más allá y de seguro tomará un tiempo el acostumbrarse a esta bestial resonancia.
El trabajo se acompaña de un librillo de 75 páginas, escrito por un historiador antiguo, que trata sobre simbología y la muerte, "On An Obscure Text" se llama.
Cuentan que se demoraron 5 años en terminar esta obra sonora maldita, quedará como legado o se desvanecerá, quién sabe. Desde ya deberías escucharla.‟

Raúl Cabrera H.

LXXIII. Dollboy | Ghost Stations

DOLLBOY

Ghost Stations

©Second Language. UK, 2010.

‟Una ‘Estación fantasma’, de acuerdo a Wikipedia, es la traducción usual de la palabra alemana Geisterbahnhöfe, termino usado para describir ciertas estaciones del metro de Berlín (la U-Bahn y la S-Bahn) que fueron cerradas durante la división de la ciudad durante la Guerra Fría. El término, desde entonces se usa para describir cualquier estación en desuso en una línea de tren subterráneo. Por otro lado, Dollboy es el seudónimo del músico inglés Oliver Cherer, músico con tres discos largos hasta la fecha, para empresas como Static Caravan o Arable. Finalmente, “Ghost Stations / Geisterbahnhöfe” es aquello que une ambos conceptos, es el nombre del último trabajo de Dollboy, el primero para Second Language.

El disco, como era de suponerse, hace referencia a esas estaciones abandonadas, tanto a las de la capital alemana como a las que existen en cerca de su hogar en Londres. Usando grabaciones de campo registradas en lugares antes habitados, lo que Cherer hace es recrear esos parajes donde el encuentro furtivo arriba de un viejo ferrocarril no se produce en mucho tiempo, intentando revivir la atmósfera que existía en esas estaciones que unían acercaban y ciudades sobre explotadas por personas que hoy solo viven en los recuerdos. El álbum solo contiene dos canciones de largo aliento. La más extensa, “Down Street/ York Road/ South Kentish Town/ Brompton Road/ Bull & Bush/ Strand” recorre las estaciones de Londres a través de ciertos toques de jazz pop, según como lo entendía Mark Hollis, pianos de juguete, cajas de música, ambient desolador y pianos muy desolados. “Warschauer Strasse/ Jannowitzbrucke/ Potsdamer Platz/ Oranienburger Strasse/ Unter Den Linden” utiliza mas o menos los mismo recursos, más algo de electrónica casera y algunas trompetas un tanto difusas. En ambos casos, en ambas piezas queda la sensación de oír remembranzas de pasajeros ausentes, el ruido de almas muertas hablando entre paredes gastadas, en forma de la nueva tradición post-clásica, exibiendo las influencias de Brian Eno –la primera vez que Dollboy está tan cerca de él–, electrónica alemana e incluso como apunta la hoja de prensa, con mucha razón, el disco Gavin Bryars “The Sinking of the Titanic” (Obscure, 1975), disco que también intenta recrear habitaciones muertas.

Con sonidos que recurrentemente evocan melodías pretéritas y tonalidades entre sombras, “Ghost Stations / Geisterbahnhöfe”, o el ruido de fondo del subsuelo, esboza siluetas de música espectral. Partituras borrosas para estaciones fantasmas. “He intentado imaginarme los espíritus de aquellos que pudieron haber pasado a través de ellos: persona que viaja diariamente al lugar de trabajo, vividores, espías, y los restos en descomposición de orquestas de baile fantasmales”. El eco del pasado retumbando entre trenes quietos y paredes vacías.‟

 Hawái

 

 

LXXII. Judgement Of Paris | Conversion

JUDGEMENT OF PARIS

Conversion (reissue)

©Projekt: Archive. US, 2000.

‟From its opening track “Windswept” to its closer “Eleven,” Judgement of Paris’ ambitious 18-track debut juxtaposes organic and inorganic sound sources, evoking post-apocalyptic sirens, Middle Eastern textures, nursery-rhyme bells, Native American ceremony, images of medieval liturgy, and the twisted wee hours of rave ecstasy.
Using a combination of live keyboards and sequences, fretless electric bass, acoustic and electric guitars, woodwinds, hammer dulcimer, and a variety of percussion instruments, the band has produced a darkly textured and often hypnotic sound. Recorded live to DAT over a one-month period in late 1991, Conversion brings to mind such varied artists as Dead Can Dance, Fatboy Slim, David Sylvian, and early Pink Floyd.

This is obviously a young band without a definitive sound, but the resulting eclecticism coupled with a surprising compositional maturity is wonderfully intriguing. “Reign” appears to be an homage to Bach’s organ preludes. “Spheres of Influence” makes a breathtaking midstream shift from dancefloor highlife to a creamy slice of mutant bluegrass.
The tintinnabulations of the triptych “Denial (Part One),” “Denial (Part Two),” “Denial (Part Three)” shift like the images in a fun-house mirror, culminating in a dizzying mix of resonant vocals, chiming dulcimer, churning guitar and a maelstrom of keyboard sweeps and gurgles. The final result is flawed but breathtaking.‟

Sanz Lashley

LXXI. Cello | Alva

CELLO

Alva

©Simbiose. Portugal, 1993.

‟The band was formed in 1993 by three friends who wanted to explore different musical approaches - José Nave and Pedro Temporão are the original members. This trio played instrumental music for some time, trying to define some musical orientation, wich however would be based on electronics. Soon Cristina Martins joined the band and Cello was formed. The first demo quickly raised the interest of a portuguese independent label, Symbiose, who signed the band for a three records deal. In the same year the first album, "Alva" (1993), was released. Critics didn`t hesitate to point to Cello a place in the portuguese music scene, as a "promissing band", although still looking for a more personalised sound. The internationalization goal was present right from the begining. The earliest Cello compositions and, specially, the use of french lyrics, convinced the band about the good chances of an international carreer in some european countries. This goal was somehow achieved with the first album and consolidated with the second, "À L`Ombre du Temps" (1995). These records had an international destribution through the "independent circuit" - Germany, Italy, France, Belgium, Holand, Greece, México, Hong Kong, etc... Between 1994 and 1997 the band`s releases received good critics and program radios pointed them out as well. The participation on international compilations, side by side with the hype of the alternative european scene - bands like The Young Gods, Bel Canto, Miranda Sex Garden, In The Nursery, Von Magnet, Chandeen, Sleeping Dogs Wake... - would also help Cello`s internationalization process. In Portugal the band gradually conquered new fans as well, along the music work and the intense live presentations. They toured all over the country, passing through the main stages, suporting sometimes foreign bands - Cocteau Twins, Red House Painters, Sol Invictus... By the other side, the band would gather media unanimity through out the years: albums, EP`s, singles were considered "quality releases" - some would be elected among the best portuguese records. And after five long working years, plus a label change, the band presents the brand new album "Long Voyage" (2000). Eleven electro-rock/pop songs mixing an exciting combination of raw intensity and dizzy frailty... «Cello`s best album», many say. Again, it would be considered among last year`s best portuguese releases. "Aprés-Midi" was released in early 2003. This record is a compilation of remixes, containing also some originals. It was Cello`s last record.‟

myspace.com/celloband

LXX. Lovesliescrushing | Voirshn

LOVESLIESCRUSHING

Voirshn

©Projekt. US, 2002.

‟Lovesliescrushing returns to Projekt with a special mail-order-only release. This CD will not be available in stores. It's the second in a new series of discs from Projekt, presenting excellent music available especially for the fans via our website. This arrangement bypasses the hassle and frustration of retail and makes the music available directly to you.

On their newest album, Voirshn, Lovesliescrushing (one of the few remaining representatives of the 'shoegazer' genre) continues their trend further from the traditional rock elements that characterized earlier dream pop bands. From the beginning, instrumentalist Scott Cortez and vocalist Melissa Arpin distanced themselves from the genre by rejecting conventional song stuctures in favor of an intensified version of the meandering sound that was forcefully inaugurated by MBV's classic Loveless. In Lovesliescrushing, this aesthetic has gradually approached pure ambience. Nevertheless, their typically warm guitars counterveil this tendency even with the absence of percussion and song structure. On Voirshn, their 4th recording, both are either minimal or entirely absent; wordless female vocals drift in and out while 'electronic beats' - guitarnoise softened by semi-lo-fi production - occasionally interrupt a wash of guitar. Although consistent in style, the album avoids sounding like one continuous song through adequately diverse guitar sounds ranging from the lush vibrant tone of the opening track 'glixen' to the subdued quasi-detatched feel of 'sovfx'. Overall, Lovesliescrushing continues to exist between the worlds of shoegazer and ambience, although the ascendant former has once again conceded to the latter. This is pure glitch-bliss.

Lovesliescrushing. [Voirshn] is a synthesis of processed ambient gloss and lo-fi grit, creating a digital-analog hybrid that Scott terms 'glitch-bliss'. Songs were compiled from a palette of sonorities extrapolated from a collection of voice and guitars, warped into rumbling subsonics, staticblast hiss, hazy chord clusters, extended infinite tone loops, melody spirals, avian-like whistles, glistening overtones, voices cut-up into splintered fragments, thoughtforms suspended over warm tonesheets like a ghost cloud, indistinct and luminous. Still eschewing bass and drums, rhythmic elements are culled from filtered guitar tones mutated into stroboscopic pulsations and digital dust clickings. Once again guitardamage is wrought upon six-strings, manipulated, deconstructed, reassembled to create bloodrush pulses reminiscent of a softly humming embryonic landscape of digitized lullabies.‟

 Projekt

 

LXIX. Sol Invictus | Trees In Winter

SOL INVICTUS

Trees In Winter

©Tursa. UK, 1990.

‟El mundo está lleno de dioses y bestias, esta frase expresa parte del pensamiento en que vive y siente Tony Wakeford - fundador de esta banda - y quien es conocido por haber integrado Crisis y Death In June.

En 1987 fue creado Sol Invictus. El nombre de este grupo proviene de uno de los cultos romanos paganos más importantes y difundidos en el instante en que el cristianismo se encontraba casi aniquilado. "El Inconquistado Sol" sería su traducción literal y se trataba de un ferviente entusiasmo por la pureza obtenida y preservada por la beligerancia, la que era responsibilidad de los soldados del Imperio.

La intervención de atmósferas calmas que luego desembocan en estruendosos sonidos - ya sea de guitarra o percusión - y una voz que recita los pesares de nuestra época. Acústica depresiva, presente desde los primeros trabajos de esta banda.

El materialismo, la falta de espiritualidad y el exceso de racionalismo son tres tópicos contra los que Sol Invictus lucha y denuncia. Wakeford piensa que hay que volver a buscar en la naturaleza la esencia de las cosas. La magia de las runas es otro camino que él señala, su interés por ellas nació mientras integraba Death In June y no las concibe como objetos de adivinación, sino por el contrario, como instrumentos de conocimiento personal. Junto a Wakeford, Sol Invictus lo componen Karl Blake en bajo y Sarah Bradshaw en cello, más ocasionales músicos invitados.‟

Marcelo Umaña.

LXVIII. Awen | The Bells Before Dawn

AWEN

The Bells Before Dawn

©Dais. US, 2009.

‟This album was received with a mixture of much expectation and some trepidation. Given that Awen had made a small number of tracks available on their My Space site, one of which was the excellent 'Empire, Night and the Breaker' with its subtle mention of the law according to Lee Enfield. The full LP release, Awen's first, was slightly delayed but eventually made it to the outside world. The Bells Before Dawn itself is presented in pre-Christian imagery, evoking a heritage of ideology and art. Together with a modest inset the vinyl comprises a sunwheel side and a serpent side, Ouroborous and the Externsteine are also present on the album sleeve thereby giving form to the aesthetic ambience. Taking the Sunwheel side first, 'Ode to a Briton' gives an indication as to the albums concept and motive while serving to enshroud the listener within the world of Awen; the sounding of ritual is a prominent feature and on this track a single, melancholic voice ebbs while noise effects cut the background before the sound of winds are introduced. The result is stark, conjuring a barren environment that is quietly reanimated through thoughtful reverence. Thus, with The Bells Before Dawn a number of factors are evident; that of the primordial, both in nature and in man and the ancient, cyclical connection between the two that wheeled in antiquity. Stripped sounds are delivered on a base of solid, single drumming patterns on either bodhran or antique drum. At times additional instrumentation such as on 'Helith's Hill', fill the music out where appropriate, here with double bass working within a managed level of discordant sounds and looped passages. The guiding hand of b9 Invid shows itself through certain compositions, drifting like the ghost of Luftwaffe over proceedings. B9 Invid provides the 12 string guitar work too which applies capable layers to 'Little Edelweiss' a track that flowers with Germanic nuances and restrained string-work, it remains among the highlights of the album. To his credit Erin Powell, Awen's 'soul', keeps the music tightly to his own vision throughout proceedings. The mix of bodhran and antique drum ensures that the music retains a solemn, ritual canvas upon which are splashed votive images of warriors and Gods from a time long past. Ambient noises and decayed frequencies swirl and are used moderately and effectively to distinguish the music from that of mere folkloric reproduction; there is a grim realization of nature's cruel face amongst these tracks.

Moving onto the Serpent side; 'Take Courage' is a simple drum and vocal chant, again reinforcing the undercurrent of ritual that echoes through the LP. The earnest sounds of 'Empire, Night and the Breaker' ring with Edward Woodward's portrayal of Breaker Morant and this track contains Morant's poem, 'A Night Thought'. 'Dream of an Omen' adequately embroils the listener in semiconscious sounds and noise, the closing refrain 'I chase no dead rabbits' almost propelling the track into some pastoral, Lynchian nightmare. But this along with 'Unter den Linden' exhibit the experimentation for a unique pattern of sound despite the musical lineage; shades of Death in June flicker on the edge, even Coil. The vocals on the The Bells Before Dawn are mostly spoken or hushed, reminiscent of both Luftwaffe and Michael Moynihan's forays while those on 'Empire, Night and the Breaker' recall David Tibet of Swastikas for Noddy era Current 93. What Awen have been successful in seeking out and conveying is the primal ritual behind all music and, here, they have transplanted these sounds back to holy compound of their forefathers. The inclusion of skull scraping courtesy of a human skull for instrumentation may seem gimmicky to some but it provides a shiver of tactile reality and rawness to events. The Bells Before Dawn is refreshing in its approach to ritual sounds while developing in terms of musicality this release provides a sound foundation for the future, capturing a faded heritage.‟

Michael Cunningham

LXVII. Tuxedomoon | Desire

 

TUXEDOMOON

Desire

©Ralph. US, 1981.

‟La marginalidad como campo de acción y trabajo ha hecho que muchos artistas decidan voluntariamente alejarse de sus lugares de origen para buscar un público más acorde con sus intereses o sus propuestas. Es una constante de la historia de la humanidad, el de ir de un lado a otro, de estar moviendo el alma o la mente hacia otros horizontes. Y en el caso de Tuxedomoon, eso se vino a dar de pasar de San Francisco a Rótterdam, Bruselas y otras ciudades europeas entre 1980 y 1987.

Si bien San Francisco es una ciudad muy particular dentro del panorama artístico y social de Estados Unidos, la banda sentía que había cumplido su ciclo allí y que eran otras personas a las que debí dirigirse. Ya su paso por Ralph Records (de propiedad de The Residents) había encendido la chispa para que la banda arrancara a buscar un frente sonoro nuevo, que vino a darse con el naciente sello belga Crammed. Un subsello dedicado a sus producciones sonoras, llamado Crammed Boy hizo que los expatriados tuvieran ya un lugar preciso donde ser publicados y escuchados. El detonante de ese aprecio europeo por la marginalidad manifiesta que de su música hacía Tuxedomoon, se presenció con este disco de 1981.

Tuxedomoon, expandía su propuesta musical con su manera de unir rock, electrónica, jazz y formas de música contemporánea en este Desire. El homenaje sintetizado a la música para cine de In the name of talent (Italian western No 2), hace que pensemos en que no estábamos listos para todo aquello que se venía en aquel momento. Desire fuye un disco que conmovió al público europeo, que empezó a darse cuenta de quiénes eran estos norteamericanos que habían escogido este lugar en el mundo para componer y hacer sus cosas. Han pasado más de 25 años desde cuando este disco se lanzó, siendo nombrado frecuentemente por varias personas. Así como aquí sonaban al futuro, también retomaban sus raíces de banda desadaptada del circuito punk y new wave norteamericano.

No deja de ser reconfortarte reconocer la diferencia de Tuxedomoon, quienes desde los setenta enfocaron su obra hacia aquello que otros no se atrevieron a hacer o aquello que otros menospreciaron. Al fin de cuentas, Tuxedomoon cumplió 30 años de vida musical en el 2007 y este disco, ya casi cumplirá 30 años. No estamos viejos, no estamos jóvenes, simplemente no somos.‟

Owai

  

 

LXVI. The Sound | From The Lions Mouth

THE SOUND

From The Lions Mouth

©Korova. UK, 1981.

‟Aun recuerdo la primera vez que vi la portada. En casa de un compañero de la facultad. Viviamos los ochentas a pleno rendimiento. El tipo enloquecia con éstos y Japan. Con The Sound especialmente. Cuando sonaba este Lion's mouth, hacía que me fijara en sus movimientos, lanzando redobles invisibles, rasgados de guitarra y demás. Éramos jóvenes y queríamos algo nuevo a cada momento. La situación lo permitía. Sin tanto burbujeo como ahora, esperábamos la llegada del vinilo, lo que se anunciaba en las revista. El último grito. The Sound pasaron como un aliento, una respiración que se inicia y se apaga. Como tantos otros. Quizás un tanto tristones, quizás sus melodías se confundían con otras. Todas se parecían cuando dejabas caer la aguja en el vinilo. Necesitabas la aportación de un compañero que te lo escenificara y ni tan siquiera eso. Con los Japan, el tipo tuvo más suerte. Con estos me quedé con la hermosa portada y con esas camas de teclados que inspiraban el sueño. Años después, siguen adoleciendo de esa bisoñez y de esa impostura, aunque ahora oliendo a naftalina. No obstante, el poder de la evocación. Eso o nada. Según le vaya a uno el entierro.‟

Blackdecker

 

LXV. In My Rosary | A Collection Of Fading Moments

IN MY ROSARY

A Collection Of Fading Moments 

©Desire. Deutschland, 1999.

‟The project IN MY ROSARY was founded in 1992 by the musician RALF JESEK (vocals, instruments, music, lyrics) and the photographer DIRK LAKOMY (lyrics) to be a stage for their artistic collaboration. Originally thought to last only for a single cassette production, the reactions to their music were so positive that various record companies became aware of the project and IN MY ROSARY finally signed to the "Discordia" label in 1993. But even though they got a deal, they insisted on releasing the vinyl 7inch "Flood & Dust" under their own auspices. Their official debut album "Those Silent Years" (1993) then attracted international attention and their second album "Under The Mask Of Stone" (1994) finally established the project within the worldwide Darkwave / Alternative scene.

      
Mainly influenced by the melancholic New Wave of the late 1980s, IN MY ROSARY were often called "Pioneers of Darkfolk" in the beginning because their use of acoustic guitars was quite unusual those days. And even if their very own mixture of Darkwave, New Wave, Folk, Electro and Pop elements has become a reference for some acts of this genre nowadays, IN MY ROSARY were never part of any particular scene - and never wanted to be one. They rather use different Darkwave styles to realise their very own artistic ideas. A journalist once created the style name "DarkWaveFolkPop" and this compound might be the closest definition of IN MY ROSARY's music. The idea of independance is an elementary part of the IN MY ROSARY concept. This includes also the fact that IN MY ROSARY still see themselves as a temporary project which quasi comes together for a new album and dissolves after its realisation.‟

 inmyrosary.de

LXIV. Siouxsie And The Banshees | Juju

SIOUXSIE AND THE BANSHEES

Juju

©Polydor. UK, 1981.

‟Angustia, magia negra, frenesí, atmósferas oscuras y densas, se condensan en este cuarto álbum de la impredecible Siouxsie y sus Banshees, una de las bandas cruciales de los años ochenta, de un registro que supo distinguirse a tiempo de la camada postpunk que derivó en la uniforme y monocorde música "dark" o "gótica". Se debe agradecer a la sensibilidad artística de Siouxsie Sioux por haberle dado la vuelta a cada uno de los clisés del siniestrismo y, en todo caso, haber consumado un desarrollo no efectista, imponiendo su personalidad provocadora. Acompañada de Steve Severin en el bajo, supo sobrevivir a la vorágine punk –de la cual ambos provenían– y obsequiarnos la versión "oscura" del pop, con ciertos retoques orientalistas.

Juju es un álbum nocturno, que reclama la noche para ser escuchado y caer en su hechizo. A la vez, por su temática desfila toda la parafernalia de las películas de horror, en nueve surcos que repasan desde la celebración del Halloween (Halloween), hasta el rito vudú de tortura que consiste en traspasarle alfileres a una muñeca (Voodoo dolly), desde destripadores perseguidos (Night shift) hasta el canibalismo televisivo (Monitor) y la colección de cabezas humanas (Head cut).
Pero lo destacable es que la Siouxsie no se vale de adornos ni de sobreproducciones para transmitirnos su particular visión de lo tenebroso. Desde el inicio escuchamos a una banda de rock básico, sin más pergaminos que magníficos riffs de guitarra cortesía de John McGeoch y una percusión a cargo de Budgie. Ambos marcan el ritmo frenético de las canciones más delirantes del álbum, que arranca con Spellbound: "Desde las barras de la cuna/ Viene una voz como un señal/ Con el efecto de un giro rápido/ No tienes elección// Escuchas una risa/ agrietarse a través de las paredes/ Con el efecto de un giro rápido/ No tienes elección// Después de los pasos/ de la danza de una muñeca de trapo/ Entramos en trance/ Hechizados// Y no olvides/ cuando tus ancianos se olvidan/ Para decir sus rezos/ tómalos por las piernas/ y lánzalos a través de las escaleras".
 
Prosigue con la cadenciosa y contagiante Into the light, que pareciera acelerarse y que anuncia a Halloween, si bien antes escuchamos Arabian Knights como sofocante intermedio. En Halloween la adrenalina está ya en el ambiente, donde el horror persecutorio anunciado en las tres primeras canciones adquiere por fin un sentido plenamente musical; horror persecutorio, sí, porque esta es la descripción más cercana al mensaje intertextual y metonímico de la música: la sensación de una persecución a medianoche, cuyos móviles, como ya señalamos, son múltiples, transmitidos a la perfección por gemas como Halloween, Sin in my heart, Into the light y la ritualista Voodoo dolly, con esas guitarras obsesivas hasta el éxtasis. Justamente parte de la letra de Voodoo dolly podría resumir el espíritu de Juju: "¿Estás escuchando a tu miedo?/ Los latidos están tan cercanos/ como el pequeño tambor en tus oídos/ atravesándote hasta tu miedo".‟

Arturo Delgado

LXIII. Corpus Delicti | Sarabands

CORPUS DELICTI

Sarabands

©Cleopatra. US, 1996.

‟Corpus Delicti created beautiful haunting grooves. The band started in 1992 and broke up in 1997. Five years, four studio albums and two compilations on Cleopatra for the USA. They toured all over the world, from France to Germany, UK, USA, Spain, Italy...All those years on the road, and their very personal and emotional music made a cult band of them. The albums, hard to find for a few years, are now reissued on the french label ..D-Monic Records..... Although Corpus Delicti doesn't exist anymore, we can still listen to what they have left behind... Sebastien's beautiful voice and lyrics can still be heard in his solo project ..Kuta.., he has a brand new CD called "A Home" available... Jerome created industrial ..NKVD.. and electronica ..Gom...Recently, he has set up a mastering studio. So if you're a band and want your tracks mastered, that's here:.. ..www.airmastering.com..... Chris has an industrial project called ..Komintern.. with several albums available and is now working back with Franck(guitarist on Twilight) in a new band named ..Press Gang Metropol...Finally, Sébastien has joined the band, so Press Gang Metropol counts 3 former members of Corpus Delicti!

Myspace/CorpvsDelicti