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

CLX. Trial Of The Bow | Rite Of Passage

TRIAL OF THE BOW

Rite Of Passage

©Release. US, 1997.

'Escucha nuestra música con la mente abierta y deja a tu imaginación correr libremente' es lo que nos propone Renato Gallina (percusión y voz) y Matthew Skarajew (instrumentos de cuerda), ambos integrantes de Trial Of The Bow, dúo formado a fines de 1993 y que con su trabajo anterior el EP "Ornamentation", daban clara muestra de su gusto por la música étnica, enfocada principalmente en el sonido del Medio Oriente.

Oriundos de Melbourne, Australia, siempre los motivó el hecho que a través de la música podían visitar los lugares más exóticos con sólo cerrar los ojos. "Rite Of Passage" es una producción madura donde vuelcan  todos los matices sonoros que se puedan encontrar, creándose de esta forma un álbum profundo, místico, de meditación pagana, exótico, cadencioso, puro y sugerente.

La cantidad de instrumentos utilizados, amplía aún más la excelencia de esta creación ancestral, gaitas, tablas, flautines, se entremezclan logrando transladarnos a un oasis paranormal. "Father Of The Flower", "Ubar", "The Promise" encantan con sus ritmos orientales, recordándonos ciertos pasajes de Dead Can Dance en su brecha más étnica, "Serpent", "The Eyre Of Awakening" y "Muezzin" son más ambientales y oscuros. Los ritmos tribalistas se sienten en "Ceilidh For The Shallow Ground" y "The Court Of The Servant", la utilización de voces aparece en los cortes "Alizee" y "As Nights Falls", envolviendo todo esto con un aura más solemne. Trial Of The Bow en solo 10 piezas nos hace volar hasta Asia Menor, entre agua, beduinos velos y camellos, maravillando por su pulcritud y belleza.

Grupos como Muslimgauze, O Yuki Conjugate, Ataraxia o Rapoon son sus influencias más marcadas, que al unirlas crean música que como ellos señalan: 'Te hará perderte en ella, mediatar, relajarte, hacer el amor o saborear simples y extraños placeres.'

José Villegas

(Revista Fakxion, 1998 Rancagua, Chile)

CLIII. Raison D'Etre | Within The Depths Of Silence And Phormations

RAISON D'ETRE

Within The Depths Of Silence And Phormations

©Cold Meat Industry. Sverige, 1995.

‟Within the Depths... is the third Raison D'être album for CMI, and it sees a return to the themes, and musical expressions of the "Prospectus I" album. Where Enthralled by the Wind of Loneliness sounded slightly new age, Within profits on the excellence of the Gregorian Chants, subtle percussions, and ethereal keys, and choirs. Raison D'Etre is the kind of ambience that only comes with years of work, and it is a triumph to hear such orchestrations with the degree of balance that these pieces possess. Rich, dark, mysterious, and enlightening. There are few that reaches the grandeur and expansive elloquence of Raison D'être.‟  

CMI

 

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

  

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

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

XLIII. Arcanta | The Eternal Return

ARCANTA

The Eternal Return

©Projekt. US, 1997.

‟Starting with the dramatic, commanding, overdubbed vocals of "There is No God but God," The Eternal Return again showcases Ayres achieving a serene, powerful beauty with his fusion of vocal music styles. "Kyrie" shows Ayres doing a more traditional piece, an adaptation of the noted Gregorian chant, but even that contains hints of the more multifaceted nature of Arcanta; as much romantically passionate as religiously striving, it's a seductive and fascinating blend of vocal performances (if nothing else, Ayres is an excellent arranger of his own recordings). Straightforward, solo a cappella performances are here as well: the first half of "Estranging Sea" being a sweeping example, along with "Eleison," unsurprisingly a counterpart to "Kyrie," near the album's conclusion. Not everything is the mystery of the human voice, though; the introduction to "Awake as if From Slumber" consists of a light but haunting synth arrangement deep in the mix, leading to a church organ bed upon which Ayres then weaves another fascinating performance. It's an elegant and gripping mix, a further sign of his ability to bring out new levels from familiar elements. Other standout blends of instrumental power and singing passion include "Into Thine Arms," which almost sounds like something labelmates Lycia would create, though without guitars, and "The Solitary Pilgrim." The two returning pieces from the self-titled EP form the centerpiece of Return: "Maya" is now "Maya (dirge)," with an even more stirring and mournful feeling than before, yet retaining the same blend of light guitar and synth with Ayres' voice, here singing an English lyric with his trademark dark passion; and the revamped "Via Dolorosa," ends with a spectacular series of cries from Ayres. Finishing with the appropriately entrancing "Bodhisattva," a measured, sparkling beauty of a track, Eternal is a fine effort from an artist with a rare gift indeed."

Ned Raggett



 

XXXIII. Deutsch Nepal | ¡Comprendido!... Time Stop! ...And World Ending

DEUTSCH NEPAL

¡Comprendido!... Time Stop! ...And World Ending.

©Cold Meat Industry. Sverige, 1997.

‟Consisting of a series of recordings made from 1992 to 1996, Comprendido is a good representation of the aggressive, dark black pitch of Deutsch Nepal's work. The band being a one-man operation courtesy of -- kid you not -- one Lina der Baby Doll General, a Swede, everything here, outside of a brief guest vocal/horns appearance by another band on one song, is what one guy can do on his own. The results? Pretty darn fine both in terms of grinding atmospherics and focused intensity. While the themes at play aren't that far off from the slew of death metal releases that seemed to explode from Scandinavia throughout the '90s, sonically Deutsch Nepal is very much a member of the Cold Meat Industry roster, favoring electronic/industrial explorations of sonic gloom and gore. A few tracks fall short of pop radio (if not sounding), like the brief "Morgue Restaurant" and "The Phlegethon Fish," featuring the aforementioned guest appearance from the Moon Lay Hidden Beneath a Cloud. It's not particularly noticeable, more like further shading, if attractive shading, to the heavily flanged rhythm. Otherwise, length and mood-setting are key. "Thomas 29 Needles" is a good track to start out with -- a nine minute number that begins with a lengthy movie sample trashing God and any divine plan (utterly appropriate stuff in context), it shifts to a low, rumbling pulse for most of the song. Towards the end more overt orchestration and arranging comes to the fore, in the vein of Laibach's wry post-Wagnerian epics, though still pitched low, while Lina hoarsely chants lyrics. If Deutsch Nepal has a secret, it's restraint. While whatever vocals there are sometimes sound more goofy than spooky, it's the chilled, hushed power of the music that always wins out.‟

 Ned Raggett

I. Aghast | Hexerei Im Zwielicht Der Finsternis

AGHAST

Hexerei Im Zwielicht Der Finsternis

© Cold Meat Industry. Sverige, 1995.

‟The idea of the wives of two famous black metal musicians collaborating on a project is pretty cringe inducing- various Yoko/Spinal Tap things come to mind, and I was expecting the story of Aghast to be something you'd find in a crappy, Raymond-esque TV comedy- two wives try to do something their husbands are good at, fail miserably but the husbands are guilted into supporting it, comedic hijinks follow- but lo and behold, this is actually a pretty effective piece of dark ambient.

I guess a quick summary of this album is "ghostly voices with heaps of delay" which wouldn't be terribly inaccurate- but nonetheless this whole thing is a very ethereal, minimalist and sinister bit of work. Everything is quiet and indistinct- voices and shimmering, pure tones floating around that are just a little bit too abstracted and processed to make out. Quite an enigmatic sound- everything has been smeared and obscured, so you're never able to make sense of the voices or the sounds that are made. It sounds like someone got a low quality tape recorder and threw it into the void for 36 or so minutes.

The whole thing is extremely repetitive- there's not a lot of dynamics, and except for the vocals that pop up now and then it's just a heap of ghostly shimmer. Still, dark ambient is one of the few genres where you could argue that the atmosphere is the most important thing, and damn, it's been executed perfectly here. Very occultish, heaps of disembodied spirits floating around just out of earshot, while the magicians cast their circles of protection, chant their spells and do their rituals- it's not the most original sound or inspiration for a dark ambient band to pursue but it's done really well here, particularly on the only track with drums, the marvellously ritualistic "Totentanz".

...And that's pretty much it. Ghostly voices, otherworldly tones combining together to form something very atmospheric and chilling. It's not particularly complex, this stuff, but that doesn't really matter as it's extremely effective in it's delivery. Not recommended for people with ADD as it's, well, quiet and ghostly for the most part. Fans of slow, sinister and enigmatic tunes will love this, though‟

Caspian