Selection with commentary by Wagner Hertzog
This amazing artist gracefully conceives sonorous labyrinths of impious malevolence, that feels reminiscent of a hostile and unknown force, as you feel yourself trapped in an endless place where everything that is evil and potentially harmful is waiting for you somewhere, and you feel you will be taken by this impious force when you least expect – a terrible and sadistic dark force from the underworld, disposed to inflict such a tremendous amount of atrocities over you that you will wish you had never been born. So, in other words, Kammarheit is the perfect soundtrack for reading authors like H.P. Lovecraft, or for playing macabre games like Quake.
On this album, you will notice the formidable layouts that punctuate his music: a very tense paradigm of monumental afflictions, that gets over its superficial graveyard of emotions, doesn’t matter how or where you feel the corrosion invading the autonomy of your struggling imperative senses. You feel yourself being slowly dragged to a parallel dimension of ambiguous vertigos, as a latent and virulent sinister melody imprisons the conscience of your soul inside a lugubrious journey of fading realities, beyond an infinite realm of darkness that will sadistically arrest the universe in a somnolent and sensitive lethargic existence.
Another album that deserves to be highlighted is the beautiful and equally sinister Somewhere Concealed. Apparently, this almost one hour long record was also released in 2002, like The Northern Hymn, and it’s also an unofficial album. Somewhere Concealed has the following tracks: Arriving, Making The First Flower, Underneath The Ravine, Frigid, The Fossilised Structures, Back To Where The Trees Spoke, In Silence Of The Plague and The Renewal. Like the previous album, this record also features afflictive, dense and heavy atmospheres, that make you feel yourself suffocated, imprisoned, lost in a very dreadful, large and empty dark house, all alone by yourself, without being able to find an exit.
The claustrophobic feeling here is very latent. You feel yourself trapped – somewhere in the vastness of a darkness that never ends –, without being able to find a decent closure to a desperate situation. The tension, despite the fact that it is softer to a degree, is also afflictive and permanent. You feel a grizzly darkness consuming your soul slowly, cynically; as you drown in desperation completely surrounded by a devouring emptiness, your life easily disappears, as a brutal nothingness surrounds you, and you eventually feel entirely dematerialized, forever lost in a vacuum continuum, that will extend itself infinitely, over a lugubrious perpetual darkness, destined to never fade, but to seek new victims.
As the album approaches the end, you can hear the sound of crows croaking – which is a remote fear grounded in the lore of human folklore and superstition –, and adds to the sinister element of a hostile and unknown place, that is inherently aggressive to the human presence.
On this album, we can hear the characteristic style of the artist. The atmosphere resonates a fatalist doom that will eventually come, but it’s impossible to know precisely when. As this sensation of imminent demise gets near, but never comes – although you know it’s just a matter of time – you become more and more tense, anxious and afflicted. The landscape seems frozen, you are lost in the middle of a white desert, with some dry dead trees around you. You feel death is near, but there is nothing you can do to stop this horrendous sensation of misery, despair insecurity and nervousness. So you just sit and wait for the fatalist doom to befall over you, as you can’t do anything to avoid it, anyway.
Of course, I don’t want you to think that the music of Kammarheit is destitute of calmer or serene qualities, that would be positively untrue. On the contrary, some tracks are full of those, and it’s impossible not to feel marvelously ecstatic and relaxed while listening to it, at least in certain passages. There are different graduations and textures in his music that definitely allows a varied scale of suggestive perceptions to be felt throughout its infinite expansion of sonorous horizons. The music of Kammarheit has definitely a vivacious and distinctive versatility, that is mostly varnished by discreet and somber tonalities, which makes the music in a general basis intrinsically able to explore in each layer of sound a movable variation of possibilities, that reaches high standards on the human sensibility.
The final album that I want to comment here is a more recent one. Kollektionen was released in 2016. Seventy-seven minutes long, this record is a selection of Kammarheit tracks, featured in other albums and compilations. They are the following: The Hierophant, Tundra, Kosmos, The Excavation Site, I Found It Weeping In The Field, Landfall, Dreams And Seracs, Adrift, Ruina, Provenience and Arch.
Featuring prominently all the qualities described above, although with a more dreadful virulence, the sound on this album is undoubtedly more homogeneous, but also appears to be more clean and sober, which makes me think that it was better produced. With nefarious sounds, a dispersive tension and a lugubrious layout – graciously defined by a cohesive sense of abrasive, drastic and pungent continuity, more prominent than his other albums – that genuinely inspires fear and despair, the unknown element is very latent here. You definitely feel yourself trapped in a world of permanent darkness; severely impotent, you feel there is nothing you can do to escape the terrible and drastic fate that will eventually befall over you.
While there isn’t any movements – and he is tiny at the center of the stage – you can definitely perceive the cinematic and sensitive elements of the genre, as dark ambient really is about suggestive sounds and atmospheric perceptions. You can listen to his dense and somber tunes while accompanying the slow, but ever changing images, that definitely captures marvelously all the fantastic and ominous sensibilities driven by the sound.
As the eternal night advances, you can be certain that Kammarheit will continue to create and to produce the best frightening sounds and the most sinister albums ever created in the history of dark ambient music. This is a splendid, creative and very lucid artist, certainly one of the greatest in the annals of the genre.