Ivan Tibos.

[a short review, yet about an interesting release for sure]

[since I did promise to write a review once in a while for bands and / or projects and / or artists and / or labels and / or distributors (etc.) that I do adore (personally and / or musically), I will finish this one, although it’s an older one, being released about a year and a half ago. This one is, in the first place, for my dear friend Aleksey, this one is for Jane, this one is for Juha, Ilya and Evgeny, for me and for you too!]

[since Concreteweb is not a politics-oriented site in essence (which does not mean that I can not / may not / will not express my disgust for certain ‘world leaders’ or their sociologic ideologies, or to promote certain, well, rather ‘open-minded’ and critically deep-thought theories), I will not just go into the country involved and its problems, at least when it comes to this specific review; however, I do support the people that stand up for their rights – this is for those who fight dictatorial authorities, and for those who resist and revolt against these cowardly

Just a short introduction on (1) the label, (2) the projects involved, and (3) the specific recording details, before getting over to the aural essence. Winter-Light is quite a young label from the Netherlands (with Anglo-Saxon roots); or better: it’s not such ‘new’ label anymore, yet as from a couple of years it is about to become one of the most prominent labels within the Dark Ambient / Drone (and so forth) scene. It’s run by the mostly sympathetic human being Mark O’Shea, by the way.

Sometimes I just crave for some good, honest, straight-forward Rock ‘n’ Roll, you know, the energetic, uncompromising neck-muscles-injuring stuff. Only very rarely I get aroused by new (or older) Hard Rock pur sang, yet once in a while a band can draw my attention with passion, pain and pleasure (oops, that rather sounds Emo / Goth / Ero). Anyway, here comes a swift, short, yet indispensable (haha) resume about a new yet savory new recording…

[since I did promise to write a review once in a while for ‘older’ releases by bands and / or projects and / or artists and / or labels and / or distributors (etc.) that I do adore (personally and / or musically), I will finish this older release. This one is for Stu in the first place and his Aesthetic Death hordes, this one is for all of us]

(the first paragraph is nothing else but a copy of the first review I did for this U.T.R.Y.N.-series, and the following ones are slightly adapted versions; yet then again: no remorse, no shame, just laziness)

Kristof Bathory, active under this name as well as,  currently or previously, being in, or behind, Dawn Of Ashes, Cryo Chamber Collaboration or Void Stasis, started a new project recently, called Bleak Haven. This review will focus on the first recording under that regime.

I do not think I have to introduce this project anymore. It’s the main sonic outfit by Italian Raffaele Pezzella, who runs some labels too within the scenes of Dark Ambient / Electroacoustics / Drone / Space Industrial / Dark Drone / Experimental / Electronic, you know. For more information about this specific project, Sonologyst, you can check the internet, of course, or additional info provided in one of my former reviews (links: see below).

Short introduction: Vertebrae Fetish Totem is the name of one of the many projects that involves Jared Moran aka Plaguehammer. As close member within the Centipede Abyss community, it is not a miracle at all to see that this newest Vertebrae Fetish Totem album gets released by Centipede Abyss once more, just like the former releases (Cult, Alchemy and Rituals).