For any introduction about this outfit by our dearest Mister (bleak), I invite you to check out any of the former reviews I did for this specific project (even-though I did write down my thoughts on some of his other projects too in the meantime)…
Official note from the writer of this article (indeed, the beautiful me himself…), and mentioned a thousand times before: Concreteweb exists to promote different styles of (Underground) Music, and in extension, to support the artists, projects / bands, labels, distributors, promotors etc. involved. Concreteweb is not a forum to discuss politics from any scope.
Greek outfit The Black Monolith is, dixit the act, ‘a conduit for the forces that lie beyond the veil of existence’. The project deals with archaic and / or celestial entities, ‘primal energies that stir within the earth’, dwelling around in the deepest and darkest corners of the universe, and of the (archetypical) psyche.
Those who are trusted with the divine Aural Art by Rojinski do know that this project is enormously productive (this review deals with the third [!] release in 2025 by this prolific outfit!), with each single release coming with its very own-faced approach. Throughout the years, Rojinski did slowly evolve, with all recordings having a comparable identity, yet also their specific content and attitude.
Embrace the power of the mountain, feel the magic of the Vanir, and hide in our magical forest from Ragnarök…
When talking about Nordic Folk Music, one usually thinks about bands from European soil; from Sweden, Norway, Russia, Germany, Scotland, you know… I am quite open-minded and I don’t get scared that easily anymore (I dwell around this planet for more than half a century in the meantime), but hey, a Viking / Folk act from Uruguay, of all places?
A short one...
The ever-productive sound-artist (bleak) never disappointed me with any of his many outfits, and this one, Carrion, being one of his most fruitful ones, comes up once more with a new piece of psychologically-unacceptable fairness. It’s a lengthy one-piece record, clocking 37:09 minutes. Oh yes, adorable visual artistry, by the way.
When same-minded spirits, mutually-thinking brains sort of unphysically gather…
…nope, that’s not the opening sentence I am searching for. This time, it’s quite difficult for me to start this review, because, you know, I want to do more than just expressing my appreciation for this new recording, as well as for the artist behind it. I want to have the aural effort being ‘structured’ in an embodiment of respect, gratitude, recognition and comprehension, with the creator being granted for both his expressive kindness and sonic craftsmanship…
This review deals with a re-issued release, so I will mainly copy-paste my initial thoughts (laziness, I guess), written down a year ago, with some small adaptations and additions here and there.
I never mind writing a review for ‘older’ material; at least when it’s worth being promoted somehow. That’s the case right here. Since the sympathetic Swede Pär Boström kindly offered me a copy of the latest Aindulmedir album recently, I had no (personal) doubt to write down my thoughts on it. I did like the former recordings by this specific act from Pär (you might know him as well from e.g.
You Will Not is not the first collaboration in between the ‘artists’ behind Empty Pool and D¥$FUNCTion. The first is an anonymous project from An English gentleman who lives in Andalusia, if I am well informed; the latter is one of the many outfits by Sir (bleak), a mysterious (human?) being from the U.K., who is active in several other projects, and who runs different small and independent labels.
