Acid Enema are quite an old outfit by Mr. Abhorrent, who also released material under monikers like Agape Christian Preschool in a very first era, and as Abhorrent, as well as Sangre, … Anyway, the first ones are related to Acid Enema. Under this moniker, he was active during the second half on the nineties especially, as well as the very early 2000’s, but then everything faded away into oblivion… Until now.
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.
Gdansk (Poland) originated artists Piotr Cisak and Paweł Oleksiński have been working together a thousand times before, very often with other sonic experimentators (like violinist Tomasz Mrenca or Dorota Mortek).
Quite the only thing I do know about Helledéofol is that they hail from the U.K., but do not ask me who is / are the (human) being(s) behind the project, for I do not know. In 2015 they did release some material on tape and the digital way, and early 2016 sees the release of Black Acid, the newest release, available the digital way on their independent (or Bandcamp) page, and in an extremely limited edition (of 25 copies only) on cassette via the young UK-based label X-Ray Noise.
Actually, this new release by Italian project Ensomhet 777, an outfit of Riccardo’19.84’ Z., was released in 2014 via !fanculo!, but I recently did receive a tape-version of that album, done via mighty UK-based Locust Amber Records. And just like acts such as Vinterriket, Moloch or Sieghetnar, this release does not deal with Black Metal this time, yet with floating sounds of mis(t)ery…
There are several bands or projects called Lifeless, but this review deals with a side-project of Sacrimoon, an outfit by Mexican multi-instrumentalist Nergot. He’s the unhappy soul behind projects such as Black Whispers, Dismal Suffering, Traurigkeit or Broken Life too, all of them being sonic expressions of joy and happiness.
Being a huge fan of Martial Industrial, no matter whether it’s political inspired or not, and no matter whether the focus lies of epic constructions, Dark Wave-oriented obscurity, militant war-propaganda or Neo-Folk / Neo-Classical inspired atmospheres, I was quite surprised that I didn’t cross the path of Ukrainian label Old Captain before. But that is about to gonna change as from now on – that’s a promise to myself! Reason is that this label did sign Die Weisse Rose (they’re named after a pacifistic resistance movement during WWII).
Sometimes it’s just incomprehensible that musicians can be enormously productive. Such an example is Damien Anton Ojeda aka Elisa aka E., born in Mexico and currently living in Oak Park, Illinois. He is active in several solo-projects, such as the new outfit Left Alone… or Born An Abomination, and used to release material under names such as Aevilian, A Nightlit Poesy, Iniquitous Depression and Evocative Atmosphere too.
Morkesagn are a relatively young quartet from Ukraine’s capital city Kiev, consisting of Heydvald (bass), Ekvil (vocals and guitars), Heisenbeard (drums), and Farn (guitars and backing vocals). Where The Darkness Never Ends is their first album, independently released the digital way and on CD via Farn Black Productions (I guess it’s owned by this band’s guitar player) with additional distribution assistance of Turkey’s Merdümgiriz.
It is not strange that hadn’t heard of Ande before, because it seems to be a new project by Jimmy Christiaens, from the Dutch-speaking part of Belgium (Flanders, somewhere…). With Light (which actually lasts for twenty two minutes), Ande bring three Black Metal tracks, accompanied by four very short untitled instrumental pieces (though, not totally untitled, for they are called I, II, III and, indeed, IV).
