Iran… Known for its repressive government, Shiite-religious fundamentalism, millennia-old Persian civilization (more than 2,500 years of culture, including a huge heritage of historical remnants – praise and respect!), beautiful women (these women have the most beautiful eyes in the world), tasteful ab kusht, even a successful wrestling team and a fabulous, undeniably attractive anti-appreciation for our Earth’s newest Caesar, Mister Donald T... But when it comes to Music, well, that might seem quite limited, even narrow-minded, in our western countries.
Cold Spring Records
Not that long ago, I came in touch with Raffaele Pezzella, a Naples-born artist who is even older than I am (two years and a handful of days more of age). In his late twenties, Raffaele started experimenting more actively as sound artist, and especially electronic research, as well as some guitar-based improvisation, became his main topics. His first steps into sonic areas also concerned mastering and mixing duties for other artists all over the globe.
My reviews for Copper Lock Hell (publishing date: November 17th 2014) and Corrosive Shroud (updated on December 24th 2015) – both, by the way, released via Cold Spring Records – sort of define my passionate adoration for this duo, being comprised of Andy Swan and Damian Bennett. Written over a period from 2016 to 2017 (during times of unease and sickness), Governance represents the newest work by UK-based Khost.
I do not know whether I can call Nytt Land as a side-project of Russian Pop-Folk outfit Ylande, but the fact is that both bands share members. This Russian act was formed not that long ago (2014) in the Siberian city of Kalakhinsk, very close to the border of Kazakhstan.
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.
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.
Stefan Weisser, the human being behind Z’EV, began performing music when he was still a little child. He got his first drum set when he was just six years of age. In mean time he grew up to a conceptual artist, dancer, poet, composer and musician. In 1997 he moved over from California to the city of New York, and then he started acting under the Z’EV-moniker. During the first half of the eighties, he did release some works under that name, and then Z’EV went silent for a decade.