To celebrate their 30th (!!!) anniversary (indeed thirty years of raison d’être), Skullflower (finally) release the Cold Spring-successor of the magisterial album Draconis. The latter was released at the very beginning of Autumn 2014, and undersigned published a review on that material on November 10th 2014. For some biographical and discographic information, you can check out that (superb, but that’s evident) review; enter the band’s name and you’ll come to the specific page).
Clay Ruby’s Burial Hex is an extremely productive outfit, with really tens of tens of recordings and releases. And you know, Clay is active under other monikers and in different constellations as well, with much more releases going on. But okay, that is nothing but an objective remark, with no consequences whatever for this review.
When Maëror Tri decided to split up almost two decades ago (and still my tears haven’t completely gone yet), two of the members, Stefan and Martin (aka Baraka[H] and Glit[s]ch), decided to continue their collaboration under the moniker of Troum. ‘troum’ is an old-Germanic word for ‘dream’ (Traum in modern German), and they did choose this moniker specifically to focus on the experiences of the past, knowing that there will never be a return.
Henrik ‘Nordvargr’ Björkk is quite a busy musician, especially within the worlds of Industrial / Ambient / Drone / Noise. I can sum up quite an impressive list of projects he is, or was, involved with, but that would not exactly create a surplus. I’ll just mention some of the best known: MZ.412, Folkstorm, Toroidh, Körperwelten, All Hail The Transcending Ghost, Pouppée Fabrikk, Nordvargr / Drakh, amongst many others (for some of them I did write a chronicle in the past, in case you’re interested).
Let’s start with an open question: is it possible to seek for, and find, some symbiosis of melodious beauty and chaotic harshness? Can Power-Electronics and semi-divinity result in acceptable structures? Let’s find out…
This album is a remarkable one, for it deals with an underestimated recording from quite a while ago. Actually, Yang-Tul was recorded and released on tape and vinyl in 1998 on Anomalous Records, a label run by Eric Lanzillotta.
Let’s start with an open question: is it possible to seek for, and find, some symbiosis of melodious beauty and chaotic harshness? Can Power-Electronics and semi-divinity result in acceptable structures? Let’s find out…
This album is a remarkable one, for it deals with an underestimated recording from quite a while ago. Actually, Yang-Tul was recorded and released on tape and vinyl in 1998 on Anomalous Records, a label run by Eric Lanzillotta.
Well, let’s be honest: Cold Spring do come with quite some excellent re-releases lately. Amongst those, please welcome a recording from 1985 (!), a creation of Japanese Noise god Akita Masami aka Merzbow. This ‘old’ guy (he’s sixty in mean time!) named this solo-outfit after some piece of art by Dadaist artist Schwitters, the ‘Merz-bau’, for what it’s worth.
Art in its most virginal definition compiles more than lyrical, aural or visual creation. It’s the totality of artistic aspects that characterizes the deep essence of Art. When open-minded experimentalists join forces, the result can be quite global. Such an example is Common Eider, King Eider, an American collective that creates music especially, but books too, for example.
