Ivan Tibos.

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).

For the legendary story of the universal happenings with the Emperor and the King I’d like to refer to the greatly comprehensive discographic catalogue of Zebulon Kosted (or, in a modest way, to some of the reviews I did for the marvelous recordings by Mister Rachid Abdel Gafur; links at the bottom of this article). More confronting is the fact that the concept of this album is so topical, so real-life at this very moment of our earthly existence.

I know that this is quite a ‘late’ response (date of release: about eight months ago) and it will be a short review, but then again: whatever???!!! This chronicle does deal with a new piece by Funeral Tears, which is a project by Nikolay Seredov, whom you might know as well from e.g. Taiga or Stakhanovite (стахановец). It’s a single ‘song’ this time, being released more than four years after the former official effort, The Last God On The Earth.

[shorter review, but a fairly required necessity for sure!]