A while ago I came along Satanismo Calibro 9 via one or another (lugubrious) site, and I was truly impressed by the whole atmosphere. More recently I came in touch with Frater Rudolf from Old Europa Cafe, and one of the releases I bought / received was one for that Italian act.
Satanismo Calibro 9 were actually formed in very late 2005 by Doktor Pery. Throughout the years there were some attractive releases (this specific one, Orgasmurder, actually is not the first release on Old Europa Cafe), often with additional musicians, and in mean time Satanismo Calibro 9 sort of became a ‘band’ rather than a project by Doktor Pery.
Orgasmurder (seven tracks clocking over an hour of duration) as a matter of fact is an older recording, registered in 2010 by the Doktor, as well as Il Colonnello (of Tombers and Frangar fame), Gnosis (Mystical Fullmoon), Dahmer (not thé Jeffrey…) and Ciano. Old Europa Cafe release the material (actual release date: February 17th 2011, yet since I can’t go further back than 2013, I will have the oldest date noted on top of this review) in a so-called dvd-case, and once again it comes with extremely explicit yet grandiose artwork, teasing my lust, my hunger…
The experience starts with Horizon: Baphomet’s Revelation, an apocalyptic (or even post-apocalyptic) sonic experiment based on a repetitive rhythm (like a train on a railroad) and bizarre vocal samples. The ‘track’ includes lots of samples, noises and field recorded additions, maintaining the initial aim: creating a mostly bizarre, suffocating and misanthropic journey through the darkest regions of our mind. But that isn’t but the beginning. As from Dirty Ganesh, the listener truly undergoes the sounds coming from the deepest pits of the abyss. Martial marches, funeral elegies, noisy eruptions or industrial mechanics, it isn’t but a thought of what this composition might stand for. Here too the repetitive character works quite mesmerizing, and some additional appurtenances aren’t but a surplus (cf. the tribal sounds throughout the whole of the track). The very lengthy track La Lanterna Nera (almost seventeen minutes) has a special atmosphere, even if you do not know the story behind it. When I listened to it the first time, a felt kind of paranoid. Afterwards I read about the recording details and that’s quite disturbing. Actually, the first recording sessions weren’t quite what Satanismo Calibro 9 had in mind, so they decided to leave it in un-peace, at least for a while. When they visited a graveyard a couple of weeks later, they had a recorded left on a fresh grave, but the tape did record some discomforting EVPs, which are now used in addition, on the background. But anyhow, this piece too is based on a chaotic and post-nuclear cacophony of Death Industrial, Drone and Noise (in a wide definition, including Harsh Noise elements too). Il Numero 666 might be the most ritual invocation, morbidly penetrated by sounds of evil, of torture, of despair, of death. Anti Kosmos is much bleaker, following the hidden path where Dirty Ganesh left, continuing the search for ultimate pain, and smoothly it evolves into Sacrificio, a magic ritual that is as hypnotising as it is asphyxiating. Sacrificio dwells in atmospheres beyond our known dimensions, and you want to go further, even knowing that there might be no turning back. It is my personal favourite on Orgasmurder, for what it’s worth. And then, sorry guys, but I couldn’t resist: MZ.412 aha… The last track Aborto is quite comparable to those Swedish masters of Black Industrial, especially their earliest works (the Cold Meat Industry-era unsoftly floats by…), though as stated on Satanismo Calibro 9’s homepage, the latter is an entity on its own, coming with own characteristics and self-typifying elements.
There are not that many bands or projects that focus that strongly on the use of vocal samples (and samples in general), and that are able to have the essence of Dark Ambient, Ritual Drone, Apocalyptic / Death Industrial and (Harsh) Noise mixed into quite inventive and inspirational sound collages that exceed exaggeration, but that keep the listeners attention (despite the extensive length of all individual compositions). I do follow the band’s proposal to label this stuff as Infernal Industrial. Actually, it is…