black metal / avant garde

Black metal can be quite a stagnant art form and well, some might argue the same thing about German outfit Porta Nigra – who do not come from the place, where the original Porta Nigra stands, from Trier close to the French border, but rather from a city a little east of it called Koblenz. Thus, the band’s usage of the term probably refers more to the idea of a black gate (the literal translation), a gate into the abyss, maybe even into some kind of hell. One definitely might think so when listening to their new record, “Schöpfungswut” out on Soulseller Records, because the record starts off with a raging, speedy version of black metal on “Die Kosmiker” (‘the Cosmics’).

The record, six tracks spanning 46 minutes, revolves around a lot of mythological figures – Freya from the Nordic sagas, Ixion from Ancient greek mythology – but also around the myth of creation as represented by the title itself – ‘The rage of creation’ as it might be translated, which is also alluded to when they use the German version of ‘Our Father’ on the fifth track “Unser Weg nach Elysium” (‘our way to Elysium’) where they interestingly mix christian spirituality with a nod to Ancient Roman idea of paradise, Elysium. 

This record is musically much less avantgarde than its predecessors, also due to a lineup-change. It is much more focused on black metal and the primal anger connected to it. This is also its flaw, the album is less eclectic, even though that was the aspect why they stood out from the crowd, with songs and structures streaming in from basically everywhere. Nowadays, the only outstanding element are the vocals who channel a lot of different spirits from old shanties to infernal growls, sometimes even a kind of vaudevillian crooning or some gang shouts. All of the lyrics are well-understandable as the production is extremely good and clear but not without the necessary dirt and grind.

The band is still good at penning down interesting lyrics and transporting them into great vocal melodies, but some part of their originality is missing from this release, thus it is a good record, but not outstanding. For fans of the genre that can’t get enough. 


Thorsten

post metal / avant garde

Perihelion is one of the bands mentioned in our Hungary special (read), and a few weeks ago they released their new record called “Agg”, which is Hungarian meaning ‘very, very old’ - this and the song titles already shows that the band uses their mother tongue for their songs (and vocals). 

​This might be an obstacle for easy global success – if you really strive for that – but it can also give your songs a very unique character if you sing in a language most people won’t understand. For Perihelion, it’s definitely the second, as the mind wanders and you take the voice in as some kind of shamanic background, not that the music makes you drowsy, definitely not. 

The four-piece from Budapest officially formed back in 2012 and has since been very productive, this is their third album and fifth release all in all. Their music has some notions of post-metal, some of their patterns are very repetitive and there are definitely some arty tinges to it. They can be compared to fellow Hungarian Thy Catafalque, although there are much less extreme, or to Denmark’s Møl, even though there are no blastbeats on this record, or to Red Sparowes, albeit only when it comes down to visuals as “Agg” seems like a twin to “Every Red Heart Shines towards the Red Sun”.  The album even contains a hit: “Erdo” with its sparkling guitar intro by Gyula and Balász backed by Barna’s drumming skills and empowered by Gyula’s vocals is one of the songs that will be in your head for a few days. 

Perihelion are really good at evoking emotions with their music, sometimes it can be very “calm” and motionless like a desert due to the unbearable heat with lots of false pictures in your head just like the guys here suddenly turn the song from a post-rock melody into some kind of psyched-up post-punk. The riffs are more than solid, the drummer does an amazing job of slowing down the songs of speeding them up without dominating the whole sound – generally, it should be noted that the songwriting is really good and the vocals are on-point. If I just knew what they are trying to tell me! 


Thorsten

ambient / experimental / avantgarde

Unexplained Sounds Group

There are people on this planet, with a devotion for music, who are willing to dig as deeply as possible into the underground scene. The result of  Rafaelle Pezzalla (also active as Sonologyst)digging is almost unlikely. The sympathetic Italian is the driving force and seeker of the Unexplained Sounds Group label, which focuses entirely on the contemporary experimental and alternative electronic music of our overpopulated planet.

With the new Unexplained Sounds Group release 'Anthology of Contemporary Music from Middle East' he presents a new chapter of the Sound Mapping project with special attention to non-Western countries, following the selection of contemporary electronic music from the African continent.

This compilation focuses on experimental and alternative music from the Middle East and includes artists from Egypt, Lebanon, Turkey, Bahrain, Kuwait, Iran, Israel, Iraq, Palestine, Jordan, Afghanistan and Cyprus. This anthology shows a very interesting look at the productions sounds of artists rooted in their traditions with a progressive look at the new limits of their music.

These (as yet unknown) sound paths explore both experimental and radical improvisation, disturbed electronic tribal sonic structures, and psychedelic noise-drone escapades that sublimate the grains of sand in steaming ground breaking soundscapes. Anthology of Contemporary Music from Middle East reveals here an incredible sound puzzle in which the listener will find his favorite way to new places of architectural music constructions.

Speaking of a musical mind fuck, this compilation is a must for fans of experimental and cross-border electronic music. We have been stunned by this collection in a supernatural way. Top!

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Patsker

ambient / experimental / avantgarde

Unexplained Sounds Group

And yes, the sound mapping series of the Unexplained Sounds Group continues. After more than three years, the CD version of the previously only digital Persian experimental underground survey, focusing on experimental and alternative music from Iran, is finally out since November 30th 2019. 

Rafaelle Pezzalla had a lot of help from inside the Tehran scene to discover and compile this unique compilation. The artists delivered shining musical diamonds that have an eclectic content and various emotions. We were immersed in experimental electronic sounds, avant-garde, drones and ambient. The roots of the artists are woven in their sound sculptures and breathing rare buoyant atmospheres.

More known names in the genre, like Alphaxone and Xerxes the Dark have already released work on the American dark ambient label Cryo Chamber. The digital version of Anthology of Persian Experimental Music contains four bonus tracks. Reza Solatipour delivers to our opinion, without question, the most intriguing bonus track. The dark drones, mystical electronic pulses and a wide range of unique voices display an amazing world of deep sound ambiance.

For more than two thousand years the Persians had already developed and imprinted the core of the theoretical framework in the music of Middle Eastern origin still valid to this day. The local underground scene explores the ancient sound vibrations with a new vision and modern approach without losing their identity. The abstruse and complex quality tracks provide a soul-searching survey in the avant-garde music of Iran. We could only think of one word to end this review: brilliant!

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Patsker

ambient / black metal / experimental

Mosaic – a word for a stone puzzle picture comprised of hundreds of colored stones that only makes  sense when looking at the whole picture. Band names should not be overestimated but with Mosaic from Eastern Germany the name is really a namesake. This album is as much medieval market square as it is modern black metal auditorium, as much ritualistic wooden-ness as it is metallic clang in the modern world. There are lyrics that are as simplistic as “Come on!” but there are also lines where famous poets are quoted and their words interwoven with those of mastermind Martin van Valkenstijn. 

Martin is not only the composer and singer for Mosaic, he’s also a multi-talented guy who plays the majority of the instruments on the record himself – some clearly old-fashioned and medieval like the Nordic lur, others as normal as for example the bass guitar. He also recorded the field recordings for the record which is to be released soon via Eisenwald Tonschmiede and which shows a very cleverly arranged mix of black metal and medieval scants. 

However, van Valkenstijn doesn’t like being alone in the recording studio so he invited numerous guests including his wife or genre reps like Werian-drummer D.E. or Empyrium’s Schwadorf. Those artists comply with his line of thought and his wish to deliver another blackened medieval folklore record that hardly faces competition this year because of its brilliant songwriting, for example in “Ambrosia XIX” when simple bagpipe sounds are interwoven with deep chords and enchanted vocals just before the modern clever singular drum kicks set in and the track flows into a totally different direction yet never forgetting where it started. 

One might argue that for a band so obsessed with lyrics the vocals are too far in the back of the mix but at the same time it should be noted that they can be read off from the lyrics sheet so that you still get an impression of Martin’s love for literature which he also displayed on All Saints’ Day publishing a musical cover of Georg Trakl’s poem “Allerseelen”. But on the other hand one should note his musical vision: His music is part of a ritual, sung around a fire by the bard. 

The idea of a mosaic is on full blast here as every bit of a song is as well-structured as the others. Martin van Valkenstijn is really able to set another stone into his very personal mosaic giving us a brilliant collection of new songs. 


Thorsten

experimental / avant garde

I like strong female voices. Examples are the ritual chanting of Jarboe, the soulful crooning of Amy Winehouse, or the screaming of Amelie Bruun (Myrkur). Hell, even Adele would be great if it weren't for those mostly cheesy songs.

Last year I added Kristin Hayter of Lingua Ignota to this list. I was genuinely shocked when I first heard "All bitches Die", because of her intense, chilling screams - barely human, and especially not "female" at all. Music is rarely really frightening, but this really shook me to the bone.



So I was really eager to pick up the follow up record, Caligula. From the song titles alone you can already tell this are not really love songs: Butcher Of The World, If The Poison Won't Take You My Dogs Will, Fucking Deathdealer, and so on.

On this record Kristen has been assisted by some high profile musicians (Full of Hell, Uniform et al.). So musically it's a much more diverse affair, with the piano playing an important role. I have
to say this suits her (classically trained) vocals well, although I feel screaming is really her "unique selling point". She does some interesting throat singing as well this time (Fragrant Is My Many Flower'd Crown and Sorrow! Sorrow! Sorrow!), and at times even sounds a lot like Tori Amos ( May Failure Be Your Noose).

The violent and larger-than-life lyrics are an important part of what makes her so interesting, and, as before, they are based on her violent past (she was a victim of sexual abuse in her past). If I had to compare this record to her previous, I would say this is a more therapeutic record. "All bitches die" is rawer, it is the sound of a psychotic girl running around the street screaming, and harassing random passers-by. "Caligula", on the other hand, is Kristen lying on the couch of a shrink, recalling traumatic events from her past. Somehow it sounds more controlled and "safer" than before.

"Caligula" is a very good record, that will surely appeal to the hipster crowd. It's certainly more accessible than her previous record. Personally I would have liked a bit more screaming and a bit
less piano. Then again, this is probably a logical evolution, which should give her a lot more exposure to adventurous music lovers.


​Koen

experimental / musique concrète

Raffaele Pezzella is a busy-bee. On his Unexplained Sounds group, and its weekly radio transmission, he showcases some of the most unique sounds from all over the world. From his home town of Napoli to the deep underground of the African continent, Raffaele Pezzella has a talent to find mesmerizing music everywhere. And when he is not selflessly promoting other artists, he does some musical experimentation of his own. Those experiments have lead to releases on Cold Spring and Gravitysrainobowtapes and now leads to an album on his own Unexplained Sounds Group. 'Phantoms' is an adventurous work which every fan of musique concrete should check out.

Opener 'Phantoms' breathes that old, sixties, experimental music air. It's composed from strange noises and soundscapes, immediately setting the right atmosphere. So does the bizarre track 'Shamanic Rite Passing On A Surgery Table Equipped With Azzax and Trumpet'. This feels more like one of those albums with all different kinds of field-recordings to add to your videos. 'Memorex' somewhat follows that example and 'Dahomy Kingdom' turns that into a scary adventure with bird songs, electronic noises and samples.

By now, I realize that we're not really dealing with a soothing ambient album. We're dealing with intense experimental sounds. These are near-psychotic stories, narrated by an array of samples, noises and sounds. But then there is also the brilliant 'Three Options Collided', my personal favorite on this album. This track seems to balance between the first era of electronic avant garde music and the stuff you could find on many Cold Meat Industry releases. Closer 'Orient Out Of Tune' is another one of my favorites, a deep droning dark ambient track.

In all, this is definitely something for fans of noise and weird music. But then again, I think those people already know and follow Sonologyst. Raffaele Pezzella is a highly creative human being with a massive array of influences in his brain, so I guess it's no wonder he creates such varied music. So check out this gem and join us on the next edition of The Recognition Test, the weekly showcase.


Serge

avant-garde / drone / experimental

Not that long ago, I was at Dunk Festival, reminiscing about the origin of their much loved forest stage. Along with a few festival buddies, I remembered the very first gig in that forest, even before it became a real stage. It was Canadian drone/ambient powerhouse Thisquietarmy and his massive soundscapes. It was pretty amazing, too. 
Years have gone by and Eric Quach has not been at Dunk ever since. So I guess it's time to give him another shot next year. After all, he's got plenty of stuff in his repertoire. He can come alone, or with a full band or in the company of Aidan Girt (Godspeed You! Black Emperor). The latter would be simply baffling.

Some Became Hollow Tubes is the name of their mutual project. Eric on guitars and synths. Aidan blasting away on the drums. With 'Keep It In The Ground', they delivered a stunning piece of work, one that you will have to listen to several times and at several different volumes. The album contains six tracks, opening a bit hesitant with 'Red Eyes or Bleeding from the Nose or Mouth'. This track gradually evolves and somewhere in the middle of the thirteen minutes lasting sonic assault, the music has slowly put its droning tentacles in your brain. By the end, this is no longer Eric and Aidan, but a well-attuned act and a force to be reckoned with. 

There is one act that often comes to mind when I listen to most of these tracks: Yodok III, or maybe better, The Void Of Expansion. Track two, 'Do Not Run Away or Hide Sick People' could be a track from one of Eric's other projects: Hypnodrone Ensemble. Further down the road, Aidan Baker and his Caudal trio come to mind and - obviously - here and there elements from Godspeed You! Black Emperor come shining through. But, I don't feel like Some Became Hollow Tubes is a band influenced by all these, I think it's pretty much the other way around. Let's just call it an amalgamation of two exceptional talents.

Perhaps the most surprising aspect of this album is the sheer amount of variation. I mentioned a few different acts, and when I did that, 'Another Bad Subplot About a Boy's Search for his Father' was just starting. With this tune, I'm even being reminded of Ashtoreth for a little while, before the drums come out and turn the whole thing into a jazzy drone tune. My favorite track is 'Dog Faced Propulsion', perhaps the most dramatic and pulsating track on this brilliant album. I think the message is clear here. If you're into drones & drums, kraut & psychedelic, ambient & percussion, you need this album. You'll need to pre-order quickly, too. These will sell quickly...


​Serge

ambient / electronic / experimental / noise

Unexplained Sounds Group

Here in Belgium, as in most parts of Europe, the Americas and Australia, we know many different musical styles. From autotuned R&B to blackened doom metal and everything in between. If it's possible, it exists, that's the basic idea here. Yet, in all our musical indulgence we often seem to forget that there are other areas with a surprisingly varied musical scene. In the past, we have seen bands from unexpected places, like tiny villages in Siberia or crushing death metal from Iraq. Yet, the public opinion about Africa, music wise, is this: rhythmic, repetitive drums and weird chants, which pretty much explains why the sound of Die Antwoord is far from original. 

Anyway, who else than Raffaele Pezzella to dive into that vast continent and come back with some amazing tunes. Pezzella can be seen as the Steve Irwin of underground music: searching for the rarest gems and showing them to the world with the upmost respect and admiration. This continent is another baffling example of Pezzella's perseverance and passion. The compilation contains fourteen tracks, each one a unique piece of music. I'm not going to describe all of them. I'll leave the joy of discovering to you. But there are some jewels I'd like to pick out.

FRKTL delivered the opening track, one which immediately puts you in your place as far as your knowledge about African music goes. The opener, titled 'Hverfa af himni heiðar stjörnur' apparently puts everything back to Germany, more specifically the Berlin School. Klaus Schülze and Tangerine Dream clearly come to mind here. I wasn't expecting that so I was pleasantly surprised. A few interesting acts follow, combining ambient with traditional instruments and melodies. Fans of acts like Zoviet France might be interested. Flashes of dark ambient, drones, jazz and noise give the respective tracks their own identity. Some are beautiful, others plain weird.

Healer Oran is one of those act that deals in strangeness. Traditional chants and drums seem to have been processed through an array of effects which gives the track 'TaP{-' a somewhat unsettling atmosphere.Abdellah M. Hassak comes up with immersive drones and ritual vocals. His cooperative track 'Yearnings Complacency (feat Aziz Nadif)' brings some works of Nusrat Fateh Ali Khan to mind. I think that's a pretty neat compliment. In_o 's track '(J. Krishnamurti)' is a glitchy piece of electronics, excelling in minimalism and a pitch black atmosphere.

Then there is the bewildering closer of AMET and the confusing track 'Imposer Le Savoir'. This is definitely one for fans of musique concrete and everything avant garde. It's an adventurous finale for an adventurous compilation, one I will recommend to every fan of unusual, abstract and enigmatic music. Pezzella has done his ultimate best again, resulting in a mesmerizing set of odd tunes to enjoy.


​Serge

progressive / black metal / doom

In The Woods… were once a legendary progressive metal band from Norway during the 90’s. They released a total of five studio albums, three singles, one compilation album and one live album throughout its initial existence. The band disbanded in 2000 and reformed surprisingly in 2014.

With the album Pure they continued their story with a new lead singer James Fogarty. In 2016 the Botteri brothers left the band leading onto Alex Weisbeek and Bernt Sørensen joining In the Woods... for bass and guitar sessions. Drummer Anders Kobro is the only original member left.

With all those band member changes In The Woods… sounds still like In The Woods… The sound of the band has still the same powerful resonance and intelligence like on the albums Omnio and Strange In Stereo. Cease The Day has a more varied and intensified sound. The music feels more atmospheric and has more black metal influences. Their weeping guitar sound has moved more towards a melodic direction with a very wide-ranging approach of vocals. Black metal screaming and clean singing joining each other in balance.

In The Woods… is still refining their sound and experimenting with various tunes and moods. The keyboards are used to give the songs on Cease The Day a creative and distinctive mood. Elements of doom, progressive and black metal are melted in this very interesting piece of work. Slow old school pieces chance to aggressive soaring black metal and visa versa. The guitars speed up and resonate heavier than they ever did before. 

Cease The Day is mind-bending with an avant-garde touch. In The Woods… shows that the path they walk is powerful and covered with surprising ambience. The story of this band hasn’t been told completely. From their debut Heart of the Ages (1995) until today with Cease The Day (2018), this band sounds still original, progressive, melodic, heavy, kaleidoscopic and timeless. We could stay day and night in the woods listening to In The Woods…

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Patsker