She said destroy - Neofolk for the masses

Death in Rome haben derweil ein zweites Album namens "V2" (lel) nachgelegt. Ich finds wieder super, diese ganzen 80er ff. Synthpop Sachen passen aber auch echt gut in ein neofolkiges Gewand :)

Track list: Sinking Sand, Warm Machine, It's a Sin, The Sign, Every generation, Lambada, Lion and The Lamb, All Together Now.

Mal reinhören. Der Erstling hat bei mir, nach anfänglicher Begeisterung, unheimlich schnell abgebaut.
 
Das kann ich mir durchaus vorstellen, da die musikalische Bandbreite ja naturalmente stark begrenzt ist, v.a. wenn die Band an ihrem urspruenglichen Konzept festhalten will. Ich habe das Debut auch rueckwirkend betrachtet extrem selten aufgelegt...
 
Das kann ich mir durchaus vorstellen, da die musikalische Bandbreite ja naturalmente stark begrenzt ist, v.a. wenn die Band an ihrem urspruenglichen Konzept festhalten will. Ich habe das Debut auch rueckwirkend betrachtet extrem selten aufgelegt...

Als großer Di6-Fan muss ich sagen, dass das DEATH IN ROME-Debüt selbst für Genreverhältnisse extrem eintönig ist (sieht man mal vom Opener ab).
Sobald sich der Kuriositätsfaktor abgenutzt hatte, blieb nicht viel übrig. Aber vielleicht machen sie es jetzt ja etwas besser.

@wrm : Gibt es eigentlich was Offizielles zum Stand des 2. Blood and Sun-Albums?
 
Als großer Di6-Fan muss ich sagen, dass das DEATH IN ROME-Debüt selbst für Genreverhältnisse extrem eintönig ist (sieht man mal vom Opener ab).
Sobald sich der Kuriositätsfaktor abgenutzt hatte, blieb nicht viel übrig. Aber vielleicht machen sie es jetzt ja etwas besser.

@wrm : Gibt es eigentlich was Offizielles zum Stand des 2. Blood and Sun-Albums?
Ich weiß von nix, und Bandleader Luke hat auch nix davon gepfiffen. Ich frag ihn gleich mal
 
Ich glaube ich habe nun endlich den Zugang zu David Tibets verschroben musikalischen Verwirklichung „Current 93“ gefunden. Fasziniert hat mich die Musik schon immer, ich habe auch relativ viele Alben von Tibet, aber immer dann, wenn ich denke, so langsam macht es Klick, verliere ich die Lust daran. Bei „Aleph at Hallucinatory Mountain“ ist das jetzt anders. Das ist genau mein Ding, Tibets Stimme nicht so penetrant aufdringlich, dazu eine überaus präsente E-Gitarre. Ziemlich finstere, rituelle Platte - fast schon dronig. Definitiv der beste Einstieg den ich bisher gefunden habe, neben ggf. Imperium. Und ja, irgendwie ist das eine Hassliebe.

 
Ich glaube ich habe nun endlich den Zugang zu David Tibets verschroben musikalischen Verwirklichung „Current 93“ gefunden. Fasziniert hat mich die Musik schon immer, ich habe auch relativ viele Alben von Tibet, aber immer dann, wenn ich denke, so langsam macht es Klick, verliere ich die Lust daran. Bei „Aleph at Hallucinatory Mountain“ ist das jetzt anders. Das ist genau mein Ding, Tibets Stimme nicht so penetrant aufdringlich, dazu eine überaus präsente E-Gitarre. Ziemlich finstere, rituelle Platte - fast schon dronig. Definitiv der beste Einstieg den ich bisher gefunden habe, neben ggf. Imperium. Und ja, irgendwie ist das eine Hassliebe.


Dann viel Spaß mit diesem fantastischen Projekt. Die Diskografie gibt ja genug Stoff für mehrere Jahre intensiver Auseinandersetzung und leerer Gelbeutel.
 
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ich habe in den letzten tagen pdf-versionen alter fanzines überflogen und ein DI6 interview entdeckt. ist von 1991 und wurde in der ersten ausgabe des "the fifth path" veröffentlicht. habs mal für die pearce ultras hochgeladen: https://imgur.com/a/wK1jFd2
und auf archiv.org kann man sich alle fünf erschienenen ausgaben (swans, adam parfrey, boyd rice, sol invictus, blood axis, und und und) laden.
 
Neues Projekt von David Tibet.

Pressetext:
SURE, EVERYTHING IS ENDING, but not yet. Ever since David Tibet’s Current 93 sung its birth canal blues back in the early 1980s, there's been a smell of apocalypse in the air. As the American author of horror novels Thomas Ligotti put it, Tibet has over the years presented us with words and images that are “portentous in a literal and most poetic sense.”* No matter how great or small, Tibet’s visions has sustained a sense of urgency throughout his many, many projects and towering work. 35 years on, as dark clouds once again are gathering on the horizon, his syncretic tale of the fallen empire inside us all seem to be as pertinent as ever. Arise for bad times.

Enter Zu93, the effectively named collaboration between Tibet and the ever-changing Italian group Zu, centered around Massimo Pupillo and Luca Mai. Seven years after the collaborators first met in Rome, the most beautifully apocalyptic city of all, they can finally present Mirror Emperor, mixed and produced by Stefano Pilia. If last year’s Create Christ, Sailor Boy, the startling Hypnopazuzu album Tibet made alongside Youth, the legendary producer and Killing Joke bassist, was “a transformative union,” the imperial ghost music presented on Mirror Emperor marks a return to their earth, a tour amidst the ruins: Gentle guitars, weeping cellos, the occasional rumbling bass and soft percussion, are melted and gently poured into the sepulchral engine. Despite a few electric swirls or the odd metallic screech Mirror Emperormoves seamlessly and comes across as surprisingly grounded and subtle, yet anticipatory, foreboding and at times even pastoral and Arcadian. The sound of a magical chamber orchestra or Cæsar Legions? Well, Mirror Emperor does echo pivotal moments from the respective catalogues of its creators, most urgently akin to Zu’s acoustic explorations on their 2014 collaboration with Eugene S. Robinson of Oxbow fame, The Left Hand Path, leading up to last year’s brilliantly metamorphic Jhator. For others the album will come as a gift from the blazing starres, more than hinting at a stripped down Current 93 of the 90s, perhaps in the same way as 2010’s Baalstorm, Sing Omega or Myrninerest’s 2012 album, ‘Jhonn,’ Uttered Babylon at times did.

“The album is the closing of a long circle for me,” comments Massimo Pupillo. “I’ve been following David’s work since the early days and count Current 93 as one of the main inspirations behind my work with Zu. For me his poetry and music is like a light in the depths of human experience, a soundtrack for one’s personal descent into the unconscious fields.” “Zu made something very beautiful and very powerful for me to skip into. I love this album,” Tibet says. Mirror Emperor adds another chapter in his ever-expanding oblique vision: personal, dense and hallucinatory. A voice through a cloud, indeed. On Mirror Emperor, the demiurge of our demise hides in the cracks of a broken world, beneath stones and moss, among the comets, in tears and things and on BloodBoats, as if a “cosmic melancholy” (Ligotti) is being articulated. More mourning than light. Tibet explains:

We all carry different faces, different masks, and all of them will be taken from us. We were born free, and fell through the Mirror into a UnWorld, a Mirror Empire. In this Mirror Empire we are under the Mirror Emperor, and there are MANY Bad Moons Rising. At the final curtain there is scant applause.

As the music fades out, we hear a whispered “awake”. “Every time I heard this final call to awakening while working on the album, I found myself deeply moved,” Pupillo says. “Awake. If this was the last word to come out of Zu, I would be a happy man.”

What we’re left with is a dreamlike suite, created under a murderous moon. Perhaps that is all we ever hoped for. Hey, was that the Apocalypse?

Zu93 is: David Tibet, Massimo Pupillo, Stefano Pilia, Luca Mai, Luca Tilli, Andrea Serrapiglio, Sara D’Uva.

– TORE ENGELSEN ESPEDAL, MARCH 2018

*Quoted from Thomas Ligotti’s “Will You Wait For Me By the Dead Clock?”, the afterword in David Tibet’s collection of lyrics Sing Omega (Spheres, 2015)




Hab es mir mal bestellt, da das Sample mir gefällt.
 
Neues Projekt von David Tibet.

Pressetext:
SURE, EVERYTHING IS ENDING, but not yet. Ever since David Tibet’s Current 93 sung its birth canal blues back in the early 1980s, there's been a smell of apocalypse in the air. As the American author of horror novels Thomas Ligotti put it, Tibet has over the years presented us with words and images that are “portentous in a literal and most poetic sense.”* No matter how great or small, Tibet’s visions has sustained a sense of urgency throughout his many, many projects and towering work. 35 years on, as dark clouds once again are gathering on the horizon, his syncretic tale of the fallen empire inside us all seem to be as pertinent as ever. Arise for bad times.

Enter Zu93, the effectively named collaboration between Tibet and the ever-changing Italian group Zu, centered around Massimo Pupillo and Luca Mai. Seven years after the collaborators first met in Rome, the most beautifully apocalyptic city of all, they can finally present Mirror Emperor, mixed and produced by Stefano Pilia. If last year’s Create Christ, Sailor Boy, the startling Hypnopazuzu album Tibet made alongside Youth, the legendary producer and Killing Joke bassist, was “a transformative union,” the imperial ghost music presented on Mirror Emperor marks a return to their earth, a tour amidst the ruins: Gentle guitars, weeping cellos, the occasional rumbling bass and soft percussion, are melted and gently poured into the sepulchral engine. Despite a few electric swirls or the odd metallic screech Mirror Emperormoves seamlessly and comes across as surprisingly grounded and subtle, yet anticipatory, foreboding and at times even pastoral and Arcadian. The sound of a magical chamber orchestra or Cæsar Legions? Well, Mirror Emperor does echo pivotal moments from the respective catalogues of its creators, most urgently akin to Zu’s acoustic explorations on their 2014 collaboration with Eugene S. Robinson of Oxbow fame, The Left Hand Path, leading up to last year’s brilliantly metamorphic Jhator. For others the album will come as a gift from the blazing starres, more than hinting at a stripped down Current 93 of the 90s, perhaps in the same way as 2010’s Baalstorm, Sing Omega or Myrninerest’s 2012 album, ‘Jhonn,’ Uttered Babylon at times did.

“The album is the closing of a long circle for me,” comments Massimo Pupillo. “I’ve been following David’s work since the early days and count Current 93 as one of the main inspirations behind my work with Zu. For me his poetry and music is like a light in the depths of human experience, a soundtrack for one’s personal descent into the unconscious fields.” “Zu made something very beautiful and very powerful for me to skip into. I love this album,” Tibet says. Mirror Emperor adds another chapter in his ever-expanding oblique vision: personal, dense and hallucinatory. A voice through a cloud, indeed. On Mirror Emperor, the demiurge of our demise hides in the cracks of a broken world, beneath stones and moss, among the comets, in tears and things and on BloodBoats, as if a “cosmic melancholy” (Ligotti) is being articulated. More mourning than light. Tibet explains:

We all carry different faces, different masks, and all of them will be taken from us. We were born free, and fell through the Mirror into a UnWorld, a Mirror Empire. In this Mirror Empire we are under the Mirror Emperor, and there are MANY Bad Moons Rising. At the final curtain there is scant applause.

As the music fades out, we hear a whispered “awake”. “Every time I heard this final call to awakening while working on the album, I found myself deeply moved,” Pupillo says. “Awake. If this was the last word to come out of Zu, I would be a happy man.”

What we’re left with is a dreamlike suite, created under a murderous moon. Perhaps that is all we ever hoped for. Hey, was that the Apocalypse?

Zu93 is: David Tibet, Massimo Pupillo, Stefano Pilia, Luca Mai, Luca Tilli, Andrea Serrapiglio, Sara D’Uva.

– TORE ENGELSEN ESPEDAL, MARCH 2018

*Quoted from Thomas Ligotti’s “Will You Wait For Me By the Dead Clock?”, the afterword in David Tibet’s collection of lyrics Sing Omega (Spheres, 2015)




Hab es mir mal bestellt, da das Sample mir gefällt.

Oh, das habe ich so gar nicht mitbekommen. Höre heut Abend mal rein.
Da von Tibet aber eh fast alles früher oder später in meine Sammlung wandert, wird das auch hier wahrscheinlich nicht anders sein.:D
 
Three years in Her Making and Shaping, the new album from CURRENT 93, THE LIGHT IS LEAVING US ALL, is released on October 13, and She will first be available at C93’s Channelling—at London’s O2 Shepherd’s Bush Empire—with C93’s SisterGroup Nurse With Wound as C93’s Special Guest.

THE LIGHT IS LEAVING US ALL (The Spheres TwentyTwo LP/CD) Channels 11 songs. The vinyl edition Skips Out in a gatefold sleeve, with an accompanying insert containing all lyrics and credits. The CD edition PickNicks Along in a gatefold digipak, again with an accompanying insert containing all lyrics and credits. We are OverMoon to announce that for the first time since the early 1980s, there will be a C93 cassette release (HOM 093), of this album, on the Lovely House Of Mythology.

BRIGHT DEAD STAR, the digital single from the album, freely available for streaming, is released on Friday August 23; details and links will be announced on that day.

We look forward to seeing you in Leiria on August 24.

Thank You, and GoodLight,

David+++ & C93+++
 
Three years in Her Making and Shaping, the new album from CURRENT 93, THE LIGHT IS LEAVING US ALL, is released on October 13, and She will first be available at C93’s Channelling—at London’s O2 Shepherd’s Bush Empire—with C93’s SisterGroup Nurse With Wound as C93’s Special Guest.

THE LIGHT IS LEAVING US ALL (The Spheres TwentyTwo LP/CD) Channels 11 songs. The vinyl edition Skips Out in a gatefold sleeve, with an accompanying insert containing all lyrics and credits. The CD edition PickNicks Along in a gatefold digipak, again with an accompanying insert containing all lyrics and credits. We are OverMoon to announce that for the first time since the early 1980s, there will be a C93 cassette release (HOM 093), of this album, on the Lovely House Of Mythology.

BRIGHT DEAD STAR, the digital single from the album, freely available for streaming, is released on Friday August 23; details and links will be announced on that day.

We look forward to seeing you in Leiria on August 24.

Thank You, and GoodLight,

David+++ & C93+++

Ich freue mich sehr darauf. Vielleicht gönn ich mir sogar das Tape fürs Auto.
 
liebe gemeinde,
als stiller mitleser dieses gesprächsfadens danke ich zuvorderst für die teils sehr kenntnisreichen, interessanten beiträge. ich bin im bereich des neofolk (abgesehen von den klassikern der 1990er jahre und den ganzen (post-)industrial/noise-vorläufern) nicht allzu bewandert und konnte hier schon ein paar empfehlungen mitnehmen. überhaupt schön, dass diese angestaubte form des informationsaustausches mittels klassischer messageboardpostings noch nicht in gänze dahingerafft ist. aber genug der affektierten herumfaseley.

meine empfehlung: st. michael front.
herrliches schräges gemisch aus dark wave, pop, western soundtrack und, ja, neofolk. die in promo und rezensionen eingestreuten referenznamen (the who, ultravox, walker brothers, morricone, current 93) könnten unnötig verwirren, mir ging es jedenfalls so. doch wenn man mal genauer hinhört, passt das schon. kein neofolk im klassischen sinne, aber unüberhörbar davon indoktriniert und mit pop, humor und etwas soul in der stimme weitergeführt. die lesenswerten african paper schrieben u.a. von "christian kracht als popband" und "beste neofolk-karikatur seit swastikas for noddy".
http://africanpaper.com/2018/05/05/st-michael-front-end-of-ahriman/

es erschienen bisher:
2015 demo-cd
2016 12" ep
2018 end of ahriman lp

für den ersten eindruck:
once
i'm fine
https://www.youtube.com/watch?v=WPDG3QhY_xE
white lights shine
https://www.youtube.com/watch?v=AXJBx_FMUzQ

was haltet ihr davon?

Habe sie jetzt auf dem House of the Holy kennengelernt: Passten zwar meines Erachtens überhaupt nicht ins Line-Up und ins Setting, haben mich aber schwer begeistert. Läuft bei mir seit dem in Dauerrotation.
 
Nun nicht mehr?

Ach ja, natürlich ganz wichtig: Das von uns allen heiß erwartete Death In Rome-Cover von Modern Talkings "You're My Heart, You're My Soul".


Endlich.
sch_lol2.gif
 
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