Friuli is a region in Italy, in between the Gulf of Trieste (the northernmost part of the Adriatic Sea) and the Dolomites, somehow at the feet of the mighty Alps, near the borders with Slovenia and Austria. Nature-wise it’s a fabulous area, quite unspoiled, with only a handful of larger (mainly ancient and, therefore, not that ugly-industrialised) cities. Oops, I sound like a touristic guide…
I was hesitating – would I write a short essay on the ‘Eurasian’ current or not… But in order to comprehend the philosophy behind TSIDMZ’s concept, it would be a missed chance not to do so. So here it is. The Eurasian ideas, as being related to an anti-capitalistic conviction, were born almost a century ago, trying to focus once again on the human being as existing like an entity of flesh and spirit, rather than being a part of an economic, world-dominative and fake-democratic mechanical construction.
I was hesitating – would I write a short essay on the ‘Eurasian’ current or not… But in order to comprehend the philosophy behind TSIDMZ’s concept, it would be a missed chance not to do so. So here it is. The Eurasian ideas, as being related to an anti-capitalistic conviction, were born almost a century ago, trying to focus once again on the human being as existing like an entity of flesh and spirit, rather than being a part of an economic, world-dominative and fake-democratic mechanical construction.
For more than a decade, Spanish duo Eldar gives us aural pleasure by their several recordings, especially released via SkullLine and, in a next phase, via Old Europa Café (of course I cannot but mention Cold Meat Industry either, can I?). There has been a permanent evolution, and the very same goes for this new full length, Noûs.
After several years of silence, Emanuele Buresta returns with a new work under the moniker L’Effet C’Est Moi. This Italian guy (Italian, despite the French moniker and the lyrics in French) started a decade ago with L’Effet C’Est Moi (first album: Tomber En Héros in 2006), and now he returns with the fifth album, called En Guerre Avec Amour (‘at war with love’).
On Friday the 22nd of April 2016 we did publish a review for a retrospective, a compilation of the oldest stuff by Peter Andersson’s most known project, Raison d’Être. Around the period of that release, Old Europa Café also came up with the expanded re-release edition of Metamorphyses, one of the many Raison d’Être-albums that were on Swedish, and sadly defunct Industrial-label Cold Meat Industry (in 2006, FYI).
It would be a waste of time, taking too much energy from my laziness, to introduce Raison d’Être, which is probably the best known outfit by Peter Andersson. I am sort of possessed by this project as from the release of Prospectus I, though not every release that followed could totally please me. But in any case, Raison d’Être are highly influential (so are many of Peter’s outfits).
Songs Of Hate + Hate is not the first collaboration in between those two projects. Gnomonclast and Art Abscons co-operated on a split-EP in 2011, which also featured Luftwaffe, which was released as well via Italy’s Old Europa Café (like some other of their stuff). Luftwaffe and Gnomonclast share members, by the way, being J1 Statik and N2 Itiniti, in case it might interest you.
I was quite surprised when I read the biography of Electric Sewer Age on some forum. Apparently this project nowadays run by Danny Hyde, indeed the guy behind e.g. Coil, Psychic TV or Aural Rage, was created by the Coil-fan John Deek in 2006, soon after joined by colleagues (deceased) Peter Christopherson (Coil, Throbbing Gristle, Psychic TV) and aforementioned Danny Hyde.
For quite some time, and through different releases, French outfit Barbarossa Umtrunk gives its specific view on humanity (anti-Liberalism and searching the truth behind totalitarism in a democratic society; or am I misinterpreting the concept?) by means of quite unusual and eerie sonic escapes. This solo-project by Baron Von Stenay appears on splits especially, and now they return with a new full length, La Fosse De Babel (‘the tomb of Babel’).
