In late Summer 2016 I somewhere, somehow ‘discovered’ another excellent great Russian label (actually residing in the Siberian city of Novosibirsk, close to the river Ob, and ‘only’ about 350 kilometres away from the border with Kazakhstan), called Black Mara, sort of specialised in Dark Ambient, Drone, Esoteric and Ritual Music. They did release some stuff for great acts such as Paul Minesweeper, Creation VI, Ugasanie or Carst, and this review deals with Welcome Black, a project led by Alexandr Smirnov (who took care of mix and mastering duties as well).
I was quite surprised when I did receive Darkness And Decay, which seemed to be an album by Orpheum. I surely did remember that name from a couple of years ago. I wrote a review for them, for their self-released EP Treason, which was released in March 2012. In case you’re interested, you can find that chronicle in the ‘Archive’-tab, published on November 30th 2012.
It’s the unholy year of 2014. Ebola took a new step for mass extinction in the West of Africa. An airplane from Malaysian Airways crashed – no survivors. The idiots from Boko Haram had a great year, kidnapping those young girls, raping women (and men) all over the country, and burning villages just for fun. Russia sort of conquered both the Crimean Peninsula and regions in the East of Ukraine, with a bloody (civil) war as result. The f*cking Muslim terrorists from ISIS did think it would be fun to start their own state in order to ignore their insignificant and imbecile existence.
The old English word láðspel means something like ‘evil story’ or ‘ominous news’, and it gets used in the Lord Of The Rings saga. The character Grima Wormtongue calls Gandalf that way, for the wizard only enters the halls of Meduseld in times of grief, despair or war. But that could be basic knowledge for Tolkien-adepts, I guess, so I won’t go deeper into the etymological or literary definition of this word.
The origins of Enoid go back to the mid-nineties, when Sergio ‘Bornyhake’ Moplat started the project Pest. This Swiss guy is or was in many extreme projects, but I think Enoid, which actually is the successor of Organ Trails, with Organ Trails being the follow-up of higher mentioned Pest, might be one of the best known ones he’s involved with, and for sure one of the best.
A warm, dark and subtle but complex drone experience awaits…
The Polish horde Aryman was formed at the very beginning of this century, but initially it was a band without name, without an aim (besides playing Black Metal!), without any official and professional recording or release. I guess it was in 2006 when main members Nefarius and Non Serviam decided to baptise their sonic brainchild as Aryman.
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.
~~With pleasure I present you a new review for the small yet unique French label Distant Voices. They’re ‘small’ in the meaning that they do release only a handful of albums each year. Quality prevailing on quantity must be their motto, and that also returns in the artistic totality of each release. It goes, of course, for the sonic result of each project involved (and every album that gets released by this label), but every single release is handmade and hand-numbered. Therefor all releases are strictly limited, with no repress possible afterwards.
~~With Hallucinations, Haiku Funeral have their fourth album, and the second for Aesthetic Death. The former release on their current label was Nightmare Painting, released in early Spring 2015. For the interested ones: the review on that album was published on June 7th 2015; you will find there some additional biographical information. The whole was written, composed and performed by the central duo of William Kopecky (bass, voices, lyrics) and Dimitar Dimitrov (vocals, programming, keyboards, guitars), with assistance of David Lillkvist on percussions / drums.