LAMMAS (01 August 2011)

The musick dedicated to this Sabbat is:

DER BLUTHARSCH

THE TRACK OF THE HUNTED



Original Issue: 2000 WKN (WKN 10)

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Margot-meter: 5 moons / 5

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Do not forget to take a look at the comments section :-)

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from Stereo Invaders (Google Translation from Italian :

"The trace of the man who is prone to hunting," fate, oppression, predeterminism, escape, violence, foreboding, anxiety, grief, all this is contained in the title of the album and the music it contains. In perfect consistency with the ideal artistic vision and content by Albin Julius, Der Blutharsch. Dark ambient, martial neofolk with drifts; Titanism atavistic, primal well-commented that it would corrupt the exploits of Roman patricians, or the exploits of the heroic classicism of Prometheus, in constant struggle with adverse fate and divinity. If someone is pushed to label as "sacred music" that consists of Julius would certainly shocking and unorthodox in his thinking, but not so far away from the essence of true. Many ethnic and popular music (folk) got the basics of the Austrian composer to write this "TTOTH". We are in the presence of the usual track list (10) untitled; "let the music do the talking" to put American and undoubtedly contributes to donate so much mystery also the right atmosphere to the project Der Blutharsch. For those wishing to necessarily references, except the understanding that Albin Julius is very unique, I could mention a few moments of Death in June (with which our works well) and Ordo Rosarius Equilibrio, although compared to the Swedes there is less room for the esoteric and the occult here, however, the greater the interest in the human comedy, made of misery and nobility, power and submission. Albin plays and manipulates samples like no other, creating real works of symphonic ambient neofolk post-industrial, able to lift the soul of the listener and land at the same time. The track number 9 in particular is a sample (shown in full) of a 30s song in German, probably a song that he met his fortune under the Nazis. Fascist and neo-Nazi epithets are often saddled with Julius, so in the past prevented him from concerts in Israel, and this is largely due to the use of iconography and issues close to the Third Reich by Julius. A course nothing is worth the net claim against the person concerned, or his firm will be able to play in the land of David.

LAMMAS (01 August 2010)

The musick dedicated to this Sabbat is:

WALL JOHN

ALTERSTILL


Original Issue: 1995 UtterPsalm (UtterPsalm CD2)

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Margot-meter: 5 moons / 5

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1 Fragmenta 11:04
2 Alterstill (Nothing Is Sacred) 10:17
3 Belief Not 8:57
4 Stunde Null (I) 7:06
5 Stunde Null (II) 11:38

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from All Music Guide:

The first in British composer John Wall's beautifully designed series on the Utterpsalm label, this limited-edition CD comes in a card-booklet slipcase. Housed inside is an aggressive and disorientating series of sample-based works, like a contemporary classical suite, although some of the chosen sample material is fairly unorthodox, such as Carcass; the power of the metal group is used to great effect juxtaposed against samples of contemporary classical, musique concrète, and free improvisations from the outer regions of 20th century music.

Sample sources range from Scelsi, Luigi Nono, Karlheinz Stockhausen, and company through to European free improvisation, black metal, and '70s Krautrock. John Wall's compositions sit nicely alongside the works of Rioji Ikeda, or some of the contemporary musique concrète from the French Metamkine CD series. Erik M, John Oswald, and Oval are all points of reference, although John Wall's vision and process is unique.

Few artists work with the attention to detail -- from production through to packaging and presentation, the work is beautiful. Rumored to have spent literally years making albums, it is easy to believe when hearing the complexities of the fine electro-acoustic transformations.

Sylvie Harrison

FAREWELL MOON (epitaph musick)

BANASIK CHRISTIAN

IGOR'S SMILE



Original Issue: 1993

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Margot-meter: 5 moons / 5

After visiting San Michele cemetery in Venice and, in particular, Igor Stravinsky's grave (see my picture below), I'm in the need to pay my respectful hommage to this unforgivable Maestro of modern music.

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1 Igor's Smile (14:59)

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from Christian Banasik homepage:

This piece can be interpreted as bridge and metamorphosis between digitally mastered tape-recorded music and a radio play. The theme of the piece is the osmosis of language and music - and of narrative linearity and purely tonal speech material. The musical sections are created through the medium of a sampler.

Brief interludes of Igor Stravinsky´s most well-known ballets are sampled, partially transformed and varied by way of a number of different transpositions and loops. In each case the individual passages from various pieces are moulded into a specifically adapted harmonic context within the respective position.

The linguistic plane is represented by Stravinsky´s original voice from interviews and rehearsals (recorded between 1962 and 1965) as well as by commentaries of the premiere performance of "Sacre du printemps" in Paris (1913) which play a key role here. In turn, striking woodblock sounds serve as mediation between the two planes, accentuating the beginning or end of tones as well as to creating the third, superordinate plane distancing the audience from the historical material. The piece was produced at the Synclavier System of the Academy of Music and Performing Arts in Frankfurt.

List of orchestra samples:

sample 1: "Firebird" - "Infernal Dance" measure 1

sample 2: "Firebird" - "Infernal Dance" [15] m1-m4

sample 3: "Firebird" - "Finale" [16] m3/4, [17] m1

sample 4: "Petrouchka" - Part 1, "Dance Russe" m1-4

sample 5: "The Rite of Spring" - Part 1 (Adoration of the Earth, "Ritual of the Rival Tribes") [57] m1/2

GHOST MOON (imaginary musick)

CARETAKER (THE)

SELECTED MEMORIES FROM THE HAUNTED BALLROOM

Original Issue: 1999 V/Vm Test Records (OFFAL02) (Buy it here!)

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Margot-meter: 4,5 moons / 5

The atmosphere created here is superb, taking old 78s and drowning them in mental distortion, going some way to what was going on inside Jack Nicholson's head in the film "The Shining" (inspiration for the project and one of Margot's favorite) - www.discogs.com

Here you can read an interesting article about Hauntology.

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1 The Haunted Ballroom (3:44)
2 By The Seaside (4:00)
3 One Thousand Memories (1:25)
4 Haunting Me (3:48)
5 A Summer Romance (3:05)
6 Den Of Iniquity (2:45)
7 Dream Waltz (3:29)
8 A Handful Of Stars (3:34)
9 Request Dance (5:09)
10 In The Dark (3:02)
11 Reckless Night (3:02)
12 Thronged With Ghosts (3:48)
13 From Out Of Nowhere (3:45)
14 Friends Past Reunited (2:00)
15 You And The Night (3:12)
16 Moonlight Seranade (2:34)
17 Disillusioned (2:41)
18 The Revolving Bandstand (0:47)
19 Garden Of Weeds (3:06)
20 "Excuse Me" For Ladies (0:59)
21 In Days Of Old (2:14)
22 September 1939 (1:57)
23 Thanks (3:25)
24 The Haunted Ballroom (3:20)
25 Untitled (3:29)

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from The Caretaker homepage:

Dusty and forgotten memories, echoes and vibrations from the past.
Using as source, recordings from the 1920's and 1930's era of Ballroom music.
Often painful and desolate memories, recalled and replayed from beyond the grave of our senses.
In amongst this darkness lies the solace of a semi-recognizable melody or phrase, a beacon of light in this often dark and distant ocean of haunted recalled audio.

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from Boomkat:

The Caretaker has always been the more thoughful alter-ego of V/VM - the Stockport based butchers have been grinding up sound for quite some time now, and this full length was originally released way back in 1999.

A nice diversion from the demonic plugin-fuelled insanity of their more well known work, Caretaker instead goes for industrial ambience. Think Skinny Puppy’s more cinematic moments and you’ll be somewhere in the right area – what I love most about this album though is the kind of reverberating fairground mood.

Seaside organs hiss and hum in the background and give the record a persistent menace, a thick nostalgic groan which reminds me of Jeunet and Caro’s shiver inducing ‘Cite Des Enfants Perdus’ or maybe even more fittingly David Lynch’s ‘Eraserhead’.

Vinyl crackle rings out across the album as if it’s being played as an instrument and before long you’ll be certain you don’t live in the real world anymore. Utterly unique and really quite scary, in the best possible sense.