CLXXIV. Arditi | Omne Ensis Impera

ARDITI

Omne Ensis Impera

©Equilibrium Music. Portugal, 2008.

“We sing the praise of war. Not for the way it makes people die, but for the way it makes people come alive.”

‟The highly anticipated new album by the Swedish duo is finally upon us, under the title “Omne Ensis Impera” . The sense of determination that echoes through their music and which has brought them to the forefront of Martial / Industrial Neo-Classical scene has stayed untouched, evoking the sense of duty and commitment that Italy’s WWI elite storm troops, from which the name Arditi originated, were known for.

“Omne Ensis Impera” introduces an additional strength to Arditi’s compositions - epic orchestral loops and thunderous percussions are granted a more prominent role, stirring the damp and suffocating ambiance that the duo have always produced so well with their use of ominous synths, obscure speeches and mesmerizing narrations.

Similarly, shades of the Italian Futuristic movement of the early XXth century, which served as inspiration in the early days of the project, remain imprinted in Arditi’s work – “Omne Ensis Impera” could well be a modern interpretation of the Futurist’s goal of glorifying warfare to an artistic expression beyond its inherent violence and intrinsic sense of heroism.

“Omne Ensis Impera” has been mastered by Kamrat Nordvargr of Mz.412 and Toroidh, an old ally of the band. Nordvargr has also contributed with additional arrangements on a couple of tracks, and prepared a slightly modified track list, which will feature on the vinyl version of the album that will follow soon, together with a limited edition box set. The CD version is presented in a deluxe glossy Digipak, with embossed artwork.‟

Arditi

CLXXIII. Dark Sanctuary | Les Mémoires Blessées

DARK SANCTUARY

Les Mémoires Blessées

   ©Wounded Love. Italia, 2004.

‟De origen francés y formado en 1996, Dark Sanctuary ha sido uno de mis grupos predilectos y más aún, queridos. Si podríamos definir melancolía no a través de palabras sino a través del sonido como ejemplo, Dark Sanctuary estaría dentro de aquello. La belleza en cada nota, en el que el alma se regocija a través de cada minuto que dura este disco, la exquisitez de su oscura y sublime atmósfera, lo hace digno de ser oído por los dioses.

Sí, un sonido celestial, maravilloso que con cada elogio que escribo es poco ante el sentir de mi alma…

En fin, les dejo esta pequeña historia de la banda, sacada de Wikipedia:

La primera publicación de la banda fue un M-CD con una sola canción, Funeral Cry, lanzado en 1997. En aquel entonces, la formación constaba de dos miembros, Arkdae en los teclados y Marquise Ermia a la voz. En 1998 el grupo quiso aumentar su potencial añadiendo nuevos miembros, como otro teclista, Hylgaryss; un percusionista/bajista, Sombre Cÿr; y una violinista, Éliane. Juntos grabaron su primer álbum, Royaume Mélancolique y dieron su primer concierto, en septiembre de 1998 cerca de París. En noviembre de 1999 firmaron con la productora Wounded Love Records y poco después se les unió una segunda violinista, Marguerite, con la que grabaron su segundo álbum, De Lumière et d'Obscurité, hecho público en noviembre del año 2000.

Poco después de grabar este álbum, Marquise Ermia abandonó la formación para continuar con sus estudios, y una nueva cantante, Dame Pandora, se unió a la banda. El tercer álbum, L'Être las - L'envers du miroir, fue grabado durante marzo de 2002 y publicado a principios de 2003, unos meses después de haber sacado un single con dos pistas. Este álbum tuvo cierto éxito en Francia y Alemania.‟

Naska Elend

CLXIII. Flores Funebres | A Moment Before Nothingness

FLORES FUNEBRES

A Moment Before Nothingness

©Ambientaria. France, 2010.

 

‟Flores Funebres is an one man band from Poland, formed by Mespheris in 2001. From the beginning, the project was based on elements of orchestral/classical music, dark wave, dark ambient and on instrumental parts inspired by black metal.

Flores Funebres music is often symbolic. It includes elements of the philosophy of nihilism, fear of death with a simultaneous fascination with the phenomenon of passing. The music is sometimes inspired by the metaphorical character of Lucifer, but also deals with universal issues and questions about the meaning of existence.

Flores Funebres explores the feelings of despair, grief, melancholy, suicidal thoughts, emptiness, pain of life… It is a musical exploration of the literary world of the late 19th century and of the aesthetics of decadence.‟

Ambientaria

CLXII. Asmorod | Involution Toward Chtonian Depths

ASMOROD

Involution Toward Chtonian Depths

©Solistitium. Deutschland, 1997.

‟Esta es una verdadera rareza, Asmorod es un proyecto francés de Dark Ambient del cual prácticamente no hay información, ni siquiera en su My Space se pueden encontrar datos acerca del origen del proyecto, pero calculo que nacen por el año 1993 ó 1994. La alineación también es relativamente una incógnita, pero en alguna página de reviews vi que sus miembros han sido: Cédric Codognet y Nicolas D. Faure, siendo el primero quien ya no se encuentra en el proyecto.

En 1995 lanzan su debut titulado "Dance In The Winter Fog", una producción muy en la línea de Les Légions Noires en cuanto a algunos elementos del sonido, una mezcla entre Dark Ambient y Black Metal que da como resultado una serie de sonidos espectrales y dignos de un filme de horror de mediados de los 80's. Escucharemos gran abundancia de treclados y pianos que dan una atmósfera incierta, ya que en el intro dan una sensación de tranquilidad al igual que en una parte del segundo track, pero en cuanto llegamos a la mitad de éste nos damos cuenta que es una banda que bien rivalizaría con los polacos Profanum. "Involution Toward Chtonian Depths" es una muestra más de una música cadavérica con ambientes ritualistas e inspiración pagana que no podrás eludir de tus pesadillas fetichistas.‟

Dark Ritual

CLVIII. Argine | Luctamina In Rebus

ARGINE

Luctamina In Rebus

©Oktagön. Italia, 2001.

‟This accomplished album has a very full sound, and is characteristic of the best of Italian neofolk, whilst betraying other influences and styles. It has a gothic-industrial opening 'Luctamina Rerum Naturum Alunt' and soon demonstrates the group's classical abilities with 'De Versa Rosa'. On other tracks the choppy, frenetic violin playing shares the excitement of Matt Howden's style, so the instrumentation is sometimes reminiscent of Sol Invictus. 

I particularly enjoyed 'Urla (Frammenti D'Infinito)', a neofolk track featuring alternate male and female vocals, the furious violin and drum rolls. I also liked the nostalgic trumpet sound on 'Arm' which reminded me of early Death In June. 

My restaurant Italian is not up to translating the songs but we are told that Luctamina In Rebus is "a concept album about the conflicts between Nature and Man, between Man and Man and between Nature and Nature." The album comes in a beautifully produced gatefold digipak with a booklet featuring the lyrics and illustrated with Roman stucco paintings. Two members of Argine also belong to Anima in Fiamme.‟

Fluxeuropa

CLVII. Requiem In White | Requiem In White

REQUIEM IN WHITE

Requiem In White

©First Communion. US, 1990.

‟The R.I.W. (formed - 1985) is the U.S. band which played very impressive guitar gothic music with female vocals; in terms of influences I could say that Requiem in White is where The Cure and Dead Can Dance meet - the influences of these two giants can be heard quite clearly. They have a very small discography, but actually the band played for 10 years. During that time they were never into "self-promotion", i.e. no promo shots, no interviews and a very limited, only local touring: NYC, Connecticut, Boston, Providence, and Bennington, Vermont, USA. The song-writing was shared between three members of R.I.W. - Eric A. Hammer  (guitars) and Lisa Hammer (vocals) (both now are at Mors Syphilitica) and Christopher Walsh  (now at Judith). There were several drummers in the history of the band and Javier Madariaga  was the last one before the band (unfortunately...) broke up at 1995.
The album which came to my hands, which are always greedy for all that sounds, is Of The Want Infinite, 1994. Very good work: Lisa Hammer  has got a strong "ethereal" voice which fits perfectly to the guitar/bass/drums framework. The bass & drums lines remind a lot of The Cure, but still they are as unique as everything else. It is extremely hard to say what tracks I liked more - all of them are equally good, but Everlasting Peace , Santonin Kiss  and Centuries  were the best for me...
As I said, the internet lacks information about this very impressive band and I think that the people which really dispose of any valuable info on R.I.W. should come out with it and share! Nevermind that the band does not exist anymore - the music is all that matters.‟

Wirecrawler

 

CLII. Antony And The Johnsons / Current 93 | Live At Saint Olave's Church

ANTONY AND THE JOHNSONS / CURRENT 93

Live At Saint Olave's Church

©PanDurtro. UK, 2002.

‟British experimental musician David Tibet of Current 93 heard a demo and offered to release Antony's music through his Durtro label. The debut album, Antony and the Johnsons, was released in 1998. In 2001, Hegarty released a short follow-up EP, I Fell in Love with a Dead Boy, which, in addition to the title track, included a cover of "Mysteries of Love", a David Lynch/Angelo Badalamenti song and "Soft Black Stars", a Current 93 cover.

Producer Hal Willner heard the EP and played it to Lou Reed, who immediately recruited him for his project The Raven. Now gaining more attention, Hegarty signed to US-based record label Secretly Canadian, and released another EP, The Lake, with Lou Reed guest-performing on one of the tracks. Secretly Canadian also re-released Hegarty's debut album in the United States to wider distribution in 2004.

This tape Recorded live at St. Olave's Church, London on April 5th and 6th, 2002. Antony dedicates his performances in loving memory of Nellie Hegarty.‟

Deathwish

 

CXLVIII. Rising Shadows | Falling Deep Within

RISING SHADOWS

Falling Deep Within

©Twilight. Argentina, 2006.

‟Falling Deep Within is the debut album of RISING SHADOWS. A beautful journey into the darkness of ourselves and our past. Featuring the enchanting vocals of Linda-li. This is music for the soul and it will paint your mind images and dreams.

Rising Shadows started back in 1996 under the name Shadow of the Concealed. Within the first year of existence The Gathering was made. The demo however remained unreleased due to quality reasons. Work instead began on a second tape called The Seventh Gate.

The release in autumn 1997 coincided with the change of bandname into Rising Shadows. Still the only person involved was Fredrik Klingwall. Another cassette was recorded to promote the change of name but it wasn´t exactly wellspread. The first Rising Shadows release worth of it's name came over a year later. In autumn 1999 Delirium was released. It passed by rather unnoticed and Fredrik started writing more filmmusic and solowork instead. While Rising Shadows more and more plunged down into oblivion. Over the years some material was made and the concept became clearer, in 2004 the time was right to bring life to this project. Together with singer Linda-li a new demo was created. Horror Vacui was released in August 2004.
 

Early 2005 the track 'Vacui' was contributed to the Waerloga Compilation; A Tribute To Uglakh. Along with such acts as The soil bleeds black, Za Frûmi, Sagor & Swing, Autumn tears and many more.
 

In February 2006 the debut album Falling Deep Within was recorded. For release through Argentinian label Twilight Records later this year.   
 

Soon the shadows will rise again!‟

Twilight-records

 

CXLV. Black Tape For A Blue Girl | Mesmerized By The Sirens

BLACK TAPE FOR A BLUE GIRL

Mesmerized By The Sirens

©Projekt. US, 1991.

‟On Black Tape's second album, Sam Rosenthal and his rotating pool of collaborators create another fine release, much more textured and atmospheric than The Rope and more in line with the future of the band's career. While there are again a couple of songs that have a much more conventional rock air (unsurprisingly, these are the ones again featuring drummer Allan Kraut), many now embrace unconventional verse structures and eschew immediate hooks -- it's a quietly bold move that works wonders. The mix of singers (about eight all told) and instrumentation again creates a striking variety through Mesmerized, even while still maintaining an overall unity in presentation. Rosenthal's own musical voice is his work on keyboards, soft, minimal swells, sweeping orchestrations, and more all coming to the fore, especially on such solo cuts as "Dark Skinned and Inviting" and "With a Million Tears." As before, Oscar Herrera is the evocative voice at the center of key songs, most notably "A Teardrop Left Behind," a majestic, obsessive portrayal of love further fleshed out by Walter Holland's subtle acoustic guitar and Rosenthal's own strong synth arrangements. It's perhaps one of the band's most self-consciously goth efforts, but of a very Romantic (with a capital "r") bent, made all the more intriguing by its distinct two-part structure, with wordless singing matched with spoken word in the calmer conclusion. Another standout with Herrera is "Beneath the Planks," with Rosenthal's harpsichord-sounding keys and Richard Watson's clarinet providing the bed for the singer's bravura performance. The contrast between Herrera and Holland, who sings on "Lie Broken, Bleeding" is pretty clear, the latter's somewhat strained vocals not quite fitting with the album's overall flow. An amusing moment happens at the start with "Jamais Pars," where singer Sue Kenny-Smith audibly fluffs a line and laughs. It's a nice, human touch to leave in.‟

Ned Raggett

CXXXII. Elend | Leçons De Ténèbres

ELEND

Leçons De Ténèbres

©Holy Records. France, 1994.

‟Sixteen years ago when Death & Black metal were at their peak the whole scene spinned around "brutality" & "darkness" in terms of rhythm and atmosphere, fast tempos & few harmonics, minimalism over melody and any band out of these standards was classified as a traitor (to an unexistent cause of course).

Elend was one of the first bands that tried to intruduce to the core of Metal trends the neoclassical echoes from bands like Dead Can Dance, melody over the rutilant course from metal. "Leçons De Ténèbres" its a daring experimentation, introducing a vanguardistic tendency in the form of an apparent impossibility. The major triumph of this album its his own demise as well, the orchestral maneouvers gets darkened by the fuzzy and often sloppy metal introits and when the beautiful harmonies brings the magic overtones of grace and atmospherics the oligophrenic growls and screams intended as vocals obliterate the whole dimension from the sound created. The contrast its intolerable and the result unbereable.

Milton´s vision on "Paradise Lost" partially taken as inspiration for this album is well conceptualized in terms of the whole creative effort employed but the aesthetics used (mainly on vocals and certain "metallic" arrangements) are hostile to the beauty of the narrative and completely childish in form. The intention to bring growls and screams as means of despair and darkness are very naive, somehow lose the essence from what the "Fall from grace" means, an spiritual loss and therefore a pain that is mainly centred on the soul. Screaming or growling upon a wall of neoclassical paintbrushes trying to instill atmospherics doesnt really bring more darkness into the picture, just the ridicule.

Nevertheless the work must be judged by its daring and proactive try, it opened the ways for the band experimenting way further and creating an universe for their own as well as many others to hear the magic sound that could be derived from a mix that could reconciliate the harsh form from metal with the deep strength from the classic.‟

Enfantterrible

 

CXXIV. Dead Can Dance | Aion

DEAD CAN DANCE

Aion

©4AD. UK, 1990.

‟Desconcertante el designio de la clarividencia: el muerto puede bailar. ¿Prodigio o infortunio? Peor aún, ¡su ritmo!, ese contoneo corrupto que dibuja una vil existencia; esa demencial imagen, placida, de tortura psicológica delineada por una atmósfera disímil, turgente de escabrosos detalles armoniosos que como tibias notas, como embrujo de lágrimas musicales, agobian y fascinan, cual relación bipolar. Y es que es asombroso como ese manto musical, ese murmullo sardónico que se esconde tras esta mirada cabizbaja, deprava a la belleza y la ahoga en un estado vesánico, y que tras arrebatos pasionales la saca a flote, y el duelo del desenfreno se desarrolla sobre una espesa e impenetrable niebla de desilusión. ¡Sí!, esa niebla, que cobija a las sombras reptantes en su narcótica intimidad embustera y de esta suerte, forma la unidad, punto de partida e inicio hacia mundos de ensueño y profunda introspección. Proeza mórbida, maldición suprema, amor sucio, manto de oscuridad que ofusca a la razón, haciéndola despreciadora de la cognición, y que malamente troca esa virtud por el desenfreno de las prohibiciones, del instinto natural y de versos recargados y vacíos que nos han de dar consuelo. Desconcertante el designio de la clarividencia, el muerto puede bailar: ¡me estoy moviendo, el muerto soy yo!.‟

Crimsondelator

 

 

CXX. Hagalaz' Runedance | Urd - That Which Was

HAGALAZ' RUNEDANCE

Urd - That Which Was

©Well Of Urd. Nederland, 1999.

‟Active in 1998 - 2002. Hagalaz’ Runedance was a fascinating tribal trance mix of amazones, feminism, gay awareness, psychadelic elements and German culture. Written for fantasy film music. It was never used for films and thus released for CDs. - Project writer Andréa Nebel is today an acknowledged recording artist, writer, script-writer, actress and model. Her background is from the new wave, punkrock and gothic music scene and her music is inspired by that scene of course. Once focusing on left-hand path occult ideas, her many creative works today express fiction, stories and films based on dark sureal visions. XXXXX Quote by Andrea: "Update your minds the same way you update your computers. Thoughts and beliefs must be reviewed on a regular basis :-)‟

myspace.com/hagalaz

 

CVIII. Elli Riehl | Die Herren Des Waldes

ELLI RIEHL

Die Herren Des Waldes

©Hau Ruck!. Österreich, 2004.

‟Limitiert auf 250 Stück. Dark atmospheres, stirring strings and deep, wood instrumentation. Very interesting, slow pace that gives the whole record a very moody, sort of ominous, creepy feel to it. Throw in some strange, high pitched German vocals and you’ve got quite a unique record. On a side note, Elli Riehl is an Austrian Lady famous in German speaking Europe for her doll museum in Villach/Austria.‟

 Elliriehl.at

CVI. Ophelia's Dream | All Beauty Is Sad

OPHELIA'S DREAM

All Beauty Is Sad

©Hyperium. Deutschland, 1997.

‟'All Beauty Is Sad' was first released on Hyperium and this most desperately searched for work is now available again. The classic style of Ophelia's Dream flourishes beautifully on this re-release. Masterful string arrangements, Heavenly Voices, sombre soundscapes create inexpressible haunting beauty for the true melancholic at heart. An attempt to investigate the relationship between beauty and sadness. This dark, mysterious and captivating masterpiece falls somewhere between Arvo Pärt, Dead Can Dance and the solo works of Tony Wakeford (Sol Invictus). All tracks have been digitally remastered. Heavenly voices and neo-classical with a feeling of an honest, eyeball-to-eyeball confrontation with Death, or laughter in the face of Death. Goth in its purest and darkest sense.‟

Projekt.com

 

XCVIII. The Náu Ensemble | The Eternal - Variations On Joy Division

THE NÁU ENSEMBLE

The Eternal - Variations On Joy Division

©Atrium. Sverige, 1998.

‟A Swedish quartet which describes itself as a Chamber Orchestra and have recorded a suite consisting of loose adaptions on themes by the Joy Division,so this is an interpretation of the future through the past.
Or to put it another way it would be difficult to recognise any of the tunes as originally made by the Manchester band.You hear some of the words from "Atmosphere" sung in the style of a hymn.
Which is not the point here. Its a project which takes 5 songs from the "Closer" album in order to recognise the impact the Joy Division had on shaping and directing rock in the 80s. Someone had to do it so they did.‟

Familycat1

XCVII. Stoa | Urthona

STOA

Urthona

©Hyperium. Deutschland, 1993.

‟La agrupación germana Stoa fue fundada en 1991. Olaf Parusel (compositor y arreglista) se encontraba en la búsqueda de una nueva forma de compaginar su música y pensamientos filosóficos. Encontró entonces en Conny Levrow una voz idónea para comenzar su proyecto.

Olaf Parusel (líder de la agrupación), en su niñez fue miembro del Stadtsinge-Chor Halle, el coro más antiguo del mundo. Después él tomaría parte en distintos proyectos y agrupaciones musicales e incluso componiendo para la televisión germana. En la actualidad además de continuar con su destacada agrupación Stoa, Olaf estudia musicología y filosofía.

Conny Levrow toca el violín desde hace más de 10 años y ha tenido presentaciones de concierto con muchas orquestas. Ha cantado en algunos coros de música clásica y también como solista. Conny esta familiarizada con compositores barrocos y románticos como Georg F. Handel, Edward Grieg y Pergolesi por mencionar algunos.

En 1997 Conny se separa de Stoa para continuar con su carrera como solista en el ámbito de la música clásica. Una nueva voz se integra a esta agrupación, Antje Buchheiser, portadora de un hermoso e intenso timbre. Ella, además de tocar el violín desde hace más de 11 años, canta en el coro "Hallenser Madrigalisten". Antje se ha presentado interpretando música clásica tanto en Alemania, como en Japón y Cuba.

También integrando la alineación de STOA desde 1996, se encuentra la cellista Christiane Fischer, quien además funge como segunda voz en sus presentaciones en vivo.‟

Ankou Erlik

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

  

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