TOME OF THE UNREPLENISHED - INNERSTANDING - REVIEW

Τα τελευταία χρόνια έχει αρχίσει να διαμορφώνεται από μία κολεκτίβα black metal συγκροτημάτων η τάση του νεορομαντισμού και έχει αρχίσει να παίρνει μορφή. Δεν είμαστε πλέον μέρος της φύσης. Δεν βρίσκουμε τη γαλήνη μέσα στα όρια που οι ανθρώπινες αισθήσεις ορίζουν. Ποθούμε την απόλυτη κενότητα της συνείδησης.

Η επιθυμία για αφύπνιση και την ανακάλυψη της αλήθειας, τη μία και μοναδική αλήθεια που βρίσκεται κρυμμένη μέσα σε μας, μπαίνει εμπόδιο σε αυτή τη συνειδητοποίηση. Ποιος, εάν όχι ‘εγώ’ κάνει ερωτήσεις; Ποιος, εάν όχι ‘εγώ’, είναι ορισμένος να ζήσει περιορισμένος και πολεμάει για το απεριόριστο; Αυτή είναι η αιώνια μάχη μεταξύ του ‘εγώ’ και οτιδήποτε αλλού το οποίο γίνεται αντιληπτό, από το ‘εγώ’, ως το ’μη-εγώ’. Πάνω σε αυτή τη δυαδικότητα, η ζωή πηγάζει από την ίδια της την ουσία.

Ο Hermes, ο άνθρωπος πίσω από το συγκρότημα, βρίσκεται σε αυτό το στενό και δύσκολο μονοπάτι της συνειδητοποίησης του εαυτού. Θα μπορέσει να αποκτήσει το όραμα του; Θα φτάσει στο σημείο χωρίς σημεία; Θα θεραπεύσει όλες τις πληγές και τις απαθείς επιθυμίες του; Πρέπει να περιμένουμε και να δούμε, καθώς ο Hermes θα παραδίδει τα προϊόντα του ταξιδιού του.

Το πρώτο του δημιούργημα λέγεται, ευλόγως, ‘Innerstanding’και είναι ένα black metal album το οποίο μπορεί κάποιος να το ζήσει σαν σύνολο, όπου τα τραγούδια διασυνδέονται και συγχωνεύονται μεταξύ τους σε κάτι ενιαίο. Το όραμα του βασίζεται σε έντονες κιθαριστικές μελωδίες που έχουν την τάση να δημιουργούν ένα κοσμικό, αστρικό συναίσθημα. Απλώς ακούστε το δεύτερο μισό του ‘Take me to the stars’ και ζήστε τις εξυψωτικές μελωδίες του. Ένα album το oποίο θα μπορούσε να είναι instrumental, καθώς ο μισός χρόνος του συντίθεται αποκλειστικά από μουσική.

Ίσως όλα να λειτουργούσαν τέλεια, εάν δεν υπήρχαν δύο φτωχές επιλογές. Χρησιμοποιεί drum machine και αυτό αφαιρεί από το album. Δεν μπορεί να αγνοηθεί, τουλάχιστον όχι από τα αυτιά μου. Αυτός ο πλαστικός, μηχανικός και καθορισμένος ήχος λειτουργεί εναντίον της μουσικής, αντί να την στηρίζει ή να την ανεβάζει.

Το δεύτερο φτωχά εκτελεσμένο μέρος είναι η φωνητική ερμηνεία. Πέρα από κάποιες black metal κραυγές στα ‘Transcended Body’ και ‘A monument in time’, επέλεξε να απαγγέλει με μια βαθιά και επιβλητική φωνή, μαζί με την χρήση echo. Ίσως να ήθελε να δημιουργήσει μια θεϊκή φωνητική ερμηνεία, το οποίο είναι περίεργο, καθώς η φωνή είναι το πιο ανθρώπινο και εκφραστικό όργανο που μπορεί να χρησιμοποιηθεί στη μουσική. Αλλά η ρύθμιση, η ενορχήστρωση, τα εφέ που χρησιμοποιούνται για ηχοτοπία και, πάνω από όλα, οι πανέμορφες και έντονες κιθαριστικές μελωδίες κάνουν το album να ακούγεται μοναδικό και ισχυρό.

Ένα αστρικό ταξίδι που σε καλεί να το ζήσεις, καθώς πλανητικά αντικείμενα περνάνε από δίπλα σου με εκρηκτική ταχύτητα και ήλιοι καταπίνονται από τη δικιά τους γιγαντιαία βαρυτική έλξη, καταρρέοντας σε μια μαζική μαύρη τρύπα κενού όπου το μόνο πράγμα που το διαπερνά είναι χορδές συνειδητής δημιουργίας. Ναι, το σύμπαν ουρλιάζει αλλά όχι για την τελευταία φορά. Θα αναδημιουργηθεί, από αστρική σκόνη σε τραγούδια. Έχω απόλυτη πίστη στο όραμα του Hermes και το ντεμπούτο του θα πρέπει να θεωρείται ως το πρώτο βήμα ενός περιπετειώδους ταξιδιού.

Take us to the stars.

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TOME OF THE UNREPLENISHED - INNERSTANDING - REVIEW

In the recent years, neoromanticism is forming by a collective of black metal bands and has started taking its shape. We are no longer a part of nature. We do not find peace within the confines of the human senses. We yearn for the absolute emptiness of consciousness.

The desire for enlightenment and the discovery of truth, the one and only truth that is hidden within, stands in the way of this realization. Who but the ‘I’ is asking questions? Who but the ‘I’ is set to live confined and struggles for the unconfined? This is the eternal battle between ego and everything else that is being conceived, by the ego, as not itself. Unto this duality, life sprung from its own essence. 

Hermes, the individual behind the band, is on that narrow and difficult path of self-realization. Will Hermes obtain his vision? Will he reach the point of no points? Will he heal all the wounds and apathetic desires? One must wait and see for himself, while Hermes will deliver the products of his journey.

His first creation is called, understandably, ‘Innerstanding’ and it is a black metal album that can be experienced as a whole, where the songs are interconnected and melding into each other seamlessly. His vision is based upon the intense melodicism of the guitars that tend to have a cosmic, astral feeling. Just listen to the second half of ‘take me to the stars’ and experience its uplifting melodies. An album that could be instrumental, since half the playing time is comprised solely by music. 

Everything could work perfectly if there weren’t for two poor decisions. He is using a drum machine and that takes away from the album. It cannot be ignored, at least not by the ears of this writer. This plastic and mechanized, fixed sound is working against the music, rather than just support or promote it. 

The second poorly executed part is the vocal performance. Apart from a few black screams in ‘Transcended Body’ and ‘a monument in time’, he chose to recite with a deep and imposing voice, along with the use of echo. He might have wanted to create a god like vocal delivery, which is weird, since the voice is the most humane and soulful instrument that can be used in music. But, the arrangement, the orchestration, the effects that are used for ambience and, most of all, the beautiful and intense guitar melodies make the whole album sound unique and powerful. 

An astral journey to be lived, where planetary objects pass by you with extreme speed and suns are being swallowed by their own gigantic gravitational pull, imploding into a massive black hole of voidness where the only thing that passes through, are strings of conscious creation. Yes, the universe does scream but not for the very last time. It will be reformed, from astral dust to songs. I have complete faith in the vision of Hermes and his debut album should be regarded as a first step to an adventurous journey.

Take us to the stars.

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ANTAGONISTE - THE MYTH OF MANKIND - REVIEW

Οι Antagoniste κυκλοφόρησαν ένα φιλόδοξο album και οι προσδοκίες που εκφράζονται από τον άνθρωπο πίσω από το συγκρότημα, αποτυγχάνουν να φτάσουν το όραμα το οποίο ο ίδιος έθεσε μπροστά του. Η τέχνη, σε κάθε μορφή, απαιτεί όχι μόνο έμπνευση και ανάγκη για έκφραση. Απαιτεί δεξιοτεχνία. Όπως ένας λιθοξόος (μου αρέσει αυτή η αναλογία) που δουλεύει ασταμάτητα, κάνοντας απανωτά λάθη, μέχρι το αποτέλεσμα να πλησιάζει σε αυτό που είχε στο μυαλό του.

Υπάρχει ένα ανέκδοτο για τον Μικελάντζελο και το γλυπτό του, Δαβίδ, όπου στεκόταν μπροστά από το γιγάντιο κομμάτι μάρμαρο για μήνες χωρίς να κάνει τίποτα. Όταν ρωτήθηκε για αυτό, απάντησε: «Δεν βλέπεις ότι δουλεύω;» Όλα ξεκινούν από μέσα και έπειτα εκφράζονται προς τα έξω. Η τέχνη είναι ο επιτυχής τρόπος επικοινωνίας με τη χρήση ενός μέσου.

Υπομονή, θυσίες, αυτοκριτική, καταστροφή και δημιουργία, όλα τους αρετές των τεχνών. Αυτό το οποίο δεν καταλαβαίνω είναι αυτό το οποίο θέλουν οι Antagoniste να επικοινωνήσουν με το The myth of mankind. Το όραμα τους δεν είναι καθαρό και θεωρώ πως οφείλεται σε καλλιτεχνική ανωριμότητα. Η ενορχήστρωση των τραγουδιών είναι αυτή της ποπ μουσικής. Ο θόρυβος, το feedback και το sludged-ambience χρησιμοποιούνται σε ολόκληρο το album για να δημιουργήσουν ένα ταξίδι ανακάλυψης του εαυτού, αλλά αποτυγχάνουν. Οι στίχοι δεν έχουν βάθος και ειρμό. Η σχέση μεταξύ μουσικής ατμόσφαιρας και στίχων που προσπάθησαν να δημιουργήσουν δεν συμβαίνει ποτέ.

Μπορώ να το δω σαν μια Indie-rock, shoegaze ηχογράφηση με τσιτωμένο distortion, gain και ένταση. Ο τραγουδιστής κάποιες φορές μιλάει ψιθυριστά, άλλες κραυγάζει και άλλες ακούγεται σαν να φωνάζει σε ένα σκοτεινό δωμάτιο. Κάποιες δυσαρμονίες στις μελωδίες τις κιθάρας δεν κάνει ένα τραγούδι black metal, ούτε βέβαια και η ατμόσφαιρα. Θα πρότεινα τα τραγούδια ‘The Barren Lands’ και ‘The Demiurge’ σαν παραδείγματα καλών προς μέτριων τραγουδιών. Έπειτα προσπαθήστε να ακούσετε ολόκληρο το album και δείτε για τον εαυτό σας πως δεν επιτυγχάνεται η σύνδεση μεταξύ ακροατή και μουσικής.

Δεν μπορείς απλώς να φιλοδοξείς το μεγαλοπρεπές. Απαιτούνται θυσίες και η προσπάθεια να το περάσουν αυτό το album σαν ένα ‘εξελικτικό μουσικό ταξίδι το οποίο θα σε βοηθήσει να εξερευνήσεις την εσωτερική άβυσσο του εαυτού σου’, με άλλα λόγια ότι είναι μια μορφή διαφωτισμένης καλλιτεχνικής έκφρασης και να αποτυγχάνουν ακριβώς σε αυτό, είναι αλαζονικό και ανώριμο.

Παρακάτω παρουσιάζονται μερικοί στίχοι που εκλιπαρούν για προσοχή μας. Ας τους διαμελίσουμε.

The world is conditioned by the very idea of its own annihilation (I deny all existence)

There is no objective, no morality, no object, meaning or purpose, reality doesn’t exist, existence has no meaning, the negation of one, the meaninglessness of life, all human ideas are valueless, an ascetic attitude as a will to nothingness.

Πρώτος στίχος: Ναι, η ιδέα του θανάτου μπορεί να διαμορφώσει τον ανθρώπινο νου. Αλλά δεν είναι αυτό καλό και σημαντικό. Η ιδέα του θανάτου μπορεί να είναι ένα ισχυρό κίνητρο δημιουργικότητας. Δεν υπάρχει λόγος να αρνηθούμε την ύπαρξη. Memento Mori, αδέλφια.

Επόμενοι στίχοι: Έχεις χάσει τον σκοπό σου στη ζωή και νιώθεις πως δεν υπάρχει ηθική στους ανθρώπους; Και εάν όντως αυτό συμβαίνει, γιατί είσαι τόσο εξαρτημένος από την ανηθικότητα του κόσμου; Λες πως δεν υπάρχει αντικείμενο, το οποίο μπορεί μόνο να σημαίνει πως δεν υπάρχει υποκείμενο, εκτός εάν είσαι κατά κάποιο τρόπο σολιψιστής, το οποίο είναι ένας κουλτουριάρικος τρόπος να λες πως πιστεύεις στο Καρτεσιανό δόγμα του ‘Σκέφτομαι άρα υπάρχω.’ Αλλά αμέσως μετά το αρνείσαι, λέγοντας πως όλες οι ανθρώπινες ιδέες είναι ανάξιες. Δεν εκτιμάς την τέχνη σου, επειδή είναι δημιούργημα του νου σου;

Ολοκληρώνοντας, η εξιδανίκευση των first world problems δεν σε κάνει γνώστη με καλλιτεχνική φύση. Εάν θέλεις να το φιλοσοφήσεις, θα σου πρότεινα να πάς πέρα από το σημείο δίχως επιστροφή και να σταματήσεις να πετάς ιδέες οι οποίες ταιριάζουν στις προϋπάρχουσες αντιλήψεις σου για την ζωή.

Αυτό δεν αποτελεί κριτική μόνο για τους στίχους. Όλο αυτό το δημιούργημα εκφράζει ένα συγχυσμένο νου. Ή, ίσως, εγώ να είμαι ο αλαζόνας και ο ανόητος και το επόμενο album τους, σίγουρα όχι αυτό, να είναι απόλυτο αριστούργημα. Ε ρε, γιαούρτια που θα μου πετάξουν… μάλλον όχι.

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ANTAGONISTE - THE MYTH OF MANKIND - REVIEW

‘Antagoniste’ has released an ambitious album but the aspirations being expressed by the man behind the band fail to reach the vision that he set before him. Art, in every form, requires not only inspiration and the need to express one-self. It also requires a craftsmanship. Like a stone mason (I really love this analogy) that works relentlessly, making mistake after mistake, until the result comes closer to what he had in mind. 

There is an anecdote about Michelangelo and his sculpture David, where he stood in front of the giant piece of marble for months without doing anything. When asked about this, he replied: ‘Can’t you see I am working?’ Everything begins from the inside and then expressed on the outside. Art is a successful form of communication though a medium.

Patience, sacrifices, self-reflection, destruction and creation, all of them are virtues of the arts. What I do not understand is what ‘Antagoniste’ want to communicate with ‘Myth of Mankind’. The vision is not clear and I can only blame artistic immaturity. The orchestration of the songs is that of pop music. Simple pieces put together. Noise, feedback and sludged-ambience are used throughout the album to create this self-exploring journey but they fail. The lyrics have no depth and no coherence. This relevance between the musical atmosphere and the lyrics they tried to create never happens.

I can see it as an indie rock, shoegaze recording with amped up distortion, gain and volume. The singer is sometimes speaking with a whispering voice, other times exclaiming and others just shouting in a dark room. Some dissonance in guitar melodies doesn’t make a song black metal, neither does the atmosphere. I would recommend listening to songs, ‘The Barren Lands’ and ‘The Demiurge’ as examples of good to mediocre songs. Then try to listen to the whole thing and see for yourself that no connection between the music and the listener can be achieved.

Οne cannot simply aspire to greatness. Sacrifices need to be made and trying to pass this as an ‘evolutionary musical journey that will help you explore your inner self abyss’, meaning that this album is some sort of an enlightened artistic expression and fail to deliver, is arrogant and immature. 

Here are some lyrics which are begging for our attention. Let’s pick them apart, shall we?

The world is conditioned by the very idea of its own annihilation (I deny all existence)

There is no objective, no morality, no object, meaning or purpose, reality doesn’t exist, existence has no meaning, the negation of one, the meaninglessness of life, all human ideas are valueless, an ascetic attitude as a will to nothingness.

First lyric: Yes, the idea of death can condition the human mind. But isn’t that a good thing. The idea of death can be a massive motivation to creativity. No need to deny all existence. Memento Mori, brothers.

Next lyrics: Have you lost your purpose in life because you feel there is no morality in humans? And if that is the case, why are you so dependent on the immorality of the world? You say there is no object, which can only mean that there is no subject, except if you are somewhat of a solipsist, which is a cultural way of saying you believe in the Cartesian dogma of cogito ergo sum. But then you deny it, saying that all human ideas are valueless. Do you not value your art, since it is the creation of your mind?

To sum it up, idealizing fist world problems doesn’t make you mindful with an artistic nature. If you want to get philosophical I suggest you go all the way and not just throw some ideas that fit your preconceived beliefs about life. 

This is not just a critic about the lyrics. All of this creation expresses a confused state of mind. Or maybe I am the arrogant fool here and their next album, certainly not this one, will be an absolute masterpiece. Boy, will I have egg on my face...probably not.

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A PRIMORDIAL BATTLEROAR OF THE NIGHT - A FEW WORDS ABOUT THEIR SHOW

I am not much of a photgrapher either

I arrived at the venue about half an hour before the doors would open for the public. It has been over two months since a saw a concert and also it was my first time that I would see Primordial. I was excited and a bit cold. More than twenty people were waiting outside with me at that time and since I did not see any familiar faces I decided to merge myself into the atmosphere with a beer.

Half a liter later the crowd was more than fifty people and a queue was formed in front of the door. I stood there marveling at the stylistic choices of the metal heads, both guys and gals. Even though I am a metal head my wardrobe doesn’t give any clue. One might say that I was dressed for a night out at a white collar bar, or for a congregation along with members of Akercocke. To each his own.

When we stepped inside, I chose a spot at the center of the venue where I could see the stage and stand between the two main big speakers. To my left I saw a couple of guys talking in English and drinking beer. Something inside me was sure that one of them was about to climb on stage and start doing something. Maybe play guitar or sing. I grabbed another beer and my mind was fixed on smoking. I was thinking about cutting it down a bit, but beer, or any alcohol related beverage, is the best friend of smoking, so I opened my heart to this nasty habit and enjoyed myself until the show would start.

I chatted a bit with some friends, which as they informed me, Battleroar always give a great show. But, dear lord, I wasn’t ready for that. That guy that was standing next to me, now was at the center of the stage and welcomed as all to what would turn out to be an amazing night. With an emphasis to their latest album ‘Blood of Legends’ the night started with ‘The swords are drawn.’ Gerrit P. Mutz was in great form and talkative between songs, creating a nice relaxed atmosphere. This is epic metal and we were all hailed as comrades in the fantasy lands that they took us. He then welcomed Babis on stage, who was about to play the electric violin, an organ used by Battleroar with an immersive way that ads up to their music. ‘Poisoned well’ followed and everyone’s feelings were going through the roof with this highly melancholic and beautiful song with great solos and Mutz’s voice standing great.

‘Warriors! Forget them not.’

Here’s the thing about ‘Blood of legends’. It is an excellent album. And here is another thing. They fucking played with their hearts. From the song with the album’s title, to ‘Immortal Chariot’ and ‘Valkyries Above Us’ there are little to be said and more to be experienced. Everyone was focused and at the same time having fun and there is nothing more to expect. Well, maybe another beer.

During the intermission I chatted a bit more with my friends. In comparison with other times, the only thing that they had to complain about their show was the sound. That only comes in play if you have similar experiences to compare. I could listen to every instrument throughout their show and I can’t complain.

The venue was warm and getting warmer. There is a deep love for Primordial and everyone was excited. ‘Where greater men have fallen’ gave the signal for Primordial’s war. Alan Averill has a dominant presence on stage and his theatricality and movement gave life to the stories that Primordial were singing to us.

I have to admit that I didn’t like the sound at first and after a couple of songs I felt the need to change places. Maybe it is this tendency that we all share when we want to see something we like and our critical point of view is biased from our expectations. Something similar happened to me when I saw Tool for the first time. ‘Gods to godless’ you might say and you are probably right. This was going to be a great night.

‘Babel’s Tower’ is an impressive introspective song which also has a great video and it was the first time where I felt emotional. The band was tight and Alan was all over the place. As I said before, they embody the true meaning of tragedy.

I can’t remember clearly the order of the songs, since I was a liter and a half deep into beer and I am not much of a drinker. But I do remember the emotional impact that the songs had. ‘No grave deep enough’ and ‘Bloodied yet unbowed’ from their previous album, had me singing and trying to look over a couple of tall dudes that were standing in front of me. I saw Alan kneeling down, hugging fans while singing and jumping up, raising his hand and looking at us with a fierce gaze. Turning the mic to the crowd and orchestrating our voices.

At some point I went upstairs, because I wanted to have a more clear view. The sound was better and decided to stay there for the rest of their show. Both the guitarists were communicating with ease, giving Alan the ‘space’ to perform his best. They are veterans and legends in the metal scene and it showed.

I was watching both excited and curious to see the orchestration of the songs come to life. ‘Wield lightning to split the sun’, ‘Heathen tribes’ and ‘The coffin ships’. We are talking about some of the deepest, most emotional and classic songs. Not only for Primordial but, also, for the entirety of the metal and rock scene. Disprove me. I dare ya.

I wanted to listen to a couple of tunes from ‘Storm before calm’. That was my first album of theirs and has a special place in my heart. ‘Sons of the Morrigan’ came to appease my appetite and justify in my head that Primordial are one of my most beloved bands. I have spent countless hours listening to their albums and as a fan I have to admit that I will never be satisfied when seeing them performing live. Is it unjust and unfair? Yes. But I left the venue wanting more. They played for two hours, they gave their hearts and everything they had in them and I am just a selfish prick. I am OK with that.

Until next time lads.

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OBSEQUIAE - ARIA OF VERNAL TOMBS - TWO NEW TRACKS

Obsequiae create a world that has long been dead or is to be created in another timeline. Medieval music, and not Medieval fantasy. is merged with electric guitars that are playing emphatically melodies and a voice that is soothing to an ear comfortable with these types of soundscapes.

I know nothing of the lyrics but I am amused by these two songs and excited about the new release which is scheduled for the 12th of May. Their previous effort was a unique and an uplifting metal album. Until the release of the new full length, why don't you spend some time with 'Suspended in the Brume of Eos.'? I guarantee you'll like it and I also guarantee that if you don't, you probably need to develop your taste in music.

These Minnesonians have a talent in crafting 'timeless' melodies.

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I SING OF INSANITY IN IT'S LIVING SHELL

 The voice in a metal band works as an extra instrument. Especially in the extreme sound, where the singer moves between the soundscapes that the rest of the musicians create and expresses something special, different and on occasion horrifyingly unique. 

These occasions are rare and I am not sure if it’s due to a genetic error, traumatic childhood memories or just a broken heart. Nevertheless, in these instances the singers express themselves with such persuasiveness that we ought to wander, we the listeners and supporters of this music, why we love it. The answer is simple but not so original. The theatricality and performance of the singers can take the music into a whole new lever, with their delirium and inherent madness. If they weren’t singers then they would be inmates in a psychiatric ward. Maybe in Arkham.

1. Aldrahn – Dodheimsgard, Thorns, The deathtrip 

Diagnosis – Bipolar Disorder

His case is clinically extreme. He is aping impulsively, screaming and whispering about exquisite spiritual experiences and the eight limbs of Yoga. He shouts deliriously at every one crossing his path at the street and addresses higher entities when no one is paying attention to him. He lingers from certainty and self-esteem to complete self-destruction with masochistic delight. He is, simultaneously, the abuser and the abused, the narrator and the lead protagonist in a world that is hanging from a thin and fragile psychic thread. 

In his pellucid moments he appears to be normal, with the ability to communicate clearly and with vivid and well-constructed reasoning. But these are rare and brief occasions. In his visions, he sees himself being born from the trees as the fruit of humanity’s hatred. He despises conversing with others and prefers soliloquys after the night has fallen. He claims he feels safe among the creatures of the night.

2. V.I.T.R.I.O.L. – Anaal Nathrakh

Diagnosis – Multiple Personality Disorder

It is being said that he was found naked on the floor. He was sleeping in a pool of sweat and urine and the neighbors, after some clarification, described yesterday’s eventful night at their apartment block, as a quarrel between three individuals. 

According to their testimonies, and since no one has seen the other two, we believe that these three were friends who happened to have an intense disagreement. The subject of their disagreement cannot be clarified since the only words that the neighbors heard clearly were ‘lucidity’, ‘I deny’, ‘despair’, ‘craft’, ‘liar’ and others that mostly confuse rather than help. 

The only clue that helped in their testimony was the description of the voices tonality and quality. The first was clear and articulate. He spoke with confidence and clarity. The second was highly pitched and irregular. He sounded frenetic and it was impossible to make out any words. The third one was low and deep and it reminded them a demonized human being or some wild animal fighting for its life.

The only certainty on this case is that no one has ever seen them together. 

 

3. Arioch – Funeral Mist, Marduk

Diagnosis – Paranoid Schizophrenia – Messiah Syndrome

He is coming at our sessions voluntarily and seems confident. Up to this day, he hasn’t shown any desire to harm anyone, though there is some wariness concerning his true intentions behind his preaching. He can be found daily standing in front of the Great Hunger Temple and preaching about the truth.

I have to admit that I, myself, attended one of the congregations and I was impressed by his imposing presence. His devotees were enthralled by him and they were asking for his blessing. 

In our next session I will recommend that he stops his preaching for a few days. I am sure he will decline and this is my purpose. To see what is there beneath the mask. I just hope he doesn’t become dangerous or threatening to my well being.

His preaching sounds more like a teleological manifesto for the awakening and liberation of the faithful on the oncoming Maranatha, the coming of the savior. He claims he is the last of His prophets and it is his duty to prepare the ground for His arrival. He has gained a number of followers but they have never provoked the common feeling of safety. Their congregations seem more like a theatrical play of Dante’s Divine Comedy, rather than a holy devoutness and most of the attendees are there for the show. 

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Nachtreich / Spectral Lore "The Quivering Lights" - review

Επιστρέφω σε αυτό κάθε βράδυ. Αυτό είναι ένα πολύ προσωπικό δημιούργημα και με εξέπληξε, καθώς είναι αποτέλεσμα συνεργασίας μεταξύ δύο διαφορετικών σχημάτων. Οι Nachtreich είναι σχήμα που παίζει neo-classical ενώ οι Spectral Lore παίζουν atmospheric black metal. Το αποτέλεσμα είναι ένας βαθύς μελαγχολικός περίπατος κάτω από την αιώνια και απέθαντη νύχτα, γεμάτη από άστρα και σύννεφα που περνούν μπροστά από το φεγγάρι, καλύπτοντας το φως. Οι σκιές είναι οι λέξεις μου.

Βλέπεις, φίλε μου, καμία ιστορία δεν μπορεί να ειπωθεί κάτω από το αμυδρό φως της φθινοπωρινής νύχτας. Είναι, από μόνο του, μια ιστορία ύπαρξης. Θυμάμαι ακόμη, και ας μην είμαι του παρελθόντος, ούτε του μέλλοντος, την φιλία μου με το σκοτάδι. Ήμουν τα κλαδιά των δέντρων, καθώς κρέμονταν πάνω από τους νεκρούς καιρούς του ανθρώπου. Μεγάλωσα ανάμεσα σε πέτρες και χώμα, σαν τα λουλούδια της νύχτας, καλώντας με το τραγούδι μου τους ψίθυρους της δημιουργίας.

Εγώ είμαι η μουσική όπως αυτή εκφράζεται μη εθελοντικά από τις φλέβες της θνησιμότητας μου. Είμαι μια ανεξάρτητη ύπαρξη, αυτοκαταστροφική και αυτοδημιούργητη. Ίσως να ακούσεις το λυπημένο βιολί, να μιλά με τα πουλιά της νύχτας, όπως οι κλωστές του χορταριού ταξιδεύουν με τον αέρα. Μπορεί ακόμα να ακούσεις την επερχόμενη καταιγίδα να υψώνεται με την σύγκρουση των κυμβάλων, αλλά τίποτα δεν θα σε προετοιμάσει για τις εμψυχωτικές μελωδίες των κιθάρων. Φουσκώνουν σαν τη θάλασσα του μακρινού ωκεανού και έρχονται καταπάνω σου, καλύπτοντας τη θέα του κόσμου όπως τον γνώριζες.

Και εκεί, μέσα σε αυτές τις μικρές στιγμές, γίνεσαι αυτό. Τα πλήκτρα θέτουν τον ρυθμό. Ένα πιάνο σε ένα έντιμο και μέσης κοινωνικής τάξης Βικτωριανό σπίτι. Κάθεσαι μόνος σου ακούγοντας τις νότες να πετούν στον αέρα και να βουτάνε μέσα στη φωτιά. Το βιολί έρχεται από τα δεξιά σου, ακολουθώντας τον σταθερό ρυθμό της βροχής πάνω στα παράθυρα.

‘Τι είμαι;’, σκέφτεσαι. Βλέπεις το φως του κεριού να τρεμοσβήνει βίαια με το ξαφνικό άνοιγμα των παράθυρων. ‘Κρατώ τη μοίρα μου στα χέρια μου; Και εάν ναι, είναι σαν ένα λυγισμένο ξύλινο παιχνίδι που σπάει και καρφώνεται σε ένα όραμα μεγαλειώδες, παρά την συντομία του;’ Αναφωνείς καθώς σηκώνεσαι με τα χέρια σου ανοιχτά ενάντια στον απρόσκλητο άνεμο. Οι κουρτίνες χορεύουν στις μανιασμένες μελωδίες των κιθάρων και νιώθεις τα δάκρυα του χρόνου να καίνε τα μάτια σου. ‘ Σε καταριέμαι , Ήλιε, γιατί ξέρω πως εγείρεσαι αν και μόνο εάν ξαναπέσεις.’ Φωνάζεις.

‘Είναι η αθανασία που ψάχνω; Την υπέρβαση του χρόνου; Υπάρχει μια αόρατη κλωστή που δένει τα πάντα, λεπτή και εύθραυστη. ‘ ψιθυρίζεις απογοητευμένα. ‘Πρέπει να την έκοψα, γιατί ακούω το τραγούδι των φύλλων και του ανέμου, αλλά δεν μπορώ να τα νοιώσω.’

Βαθιά μέσα από το δάσος, που απλώνει τις ρίζες του γύρω από το γοργά γηρασκόμενο σπίτι σου, έρχονται οι κραυγές που αντηχούν στην καρδιά σου. ‘Dort, auf einer dunklen Lichtung, tötet Apollo Dionysus. Doch während er weitet rein, kalt und steril bleibt, antworten die Sterne nicht mehr.’

‘Τα αστέρια δεν απαντούν πλέον.’ Επαναλαμβάνεις. Και όλα τα φώτα είναι πλέον φτιαγμένα από φαντάσματα. Πνεύματα που κάποτε γνώριζες πως είχαν σάρκα και οστά, τώρα είναι μακρινά και απαρχαιωμένα και μαζί με τους ήχους των χορδών που υψώνονται από το φλεγόμενο σπίτι σου και τον χτύπο της πονεμένης σου καρδιάς, που αναβλύζει με αίμα, αληθινό και εκδικητικό, σε τραβούν σαν την πλεόμενη εσωτερική σπείρα φτιαγμένη από άτομα αέρα στην ανάσα μιας στιγμής, μέσα στη καρδιά της Γης.

‘Οι χορδές που συγκρατούν το σώμα μου, τώρα και για πάντα θα χαθούν στον χρόνο και θα μείνω για πάντα εδώ. Θα είμαι η βροχή που χορεύει στα μαλλιά μου. Θα είμαι η φωτιά που καίει τα δάχτυλα μου, καθώς ορμητικά κλιμακώνονται πάνω στο καμβά της ψυχής μου. Θα είμαι τίποτα παραπάνω από μια αντανάκλαση της εικόνας σου καθώς οι κραυγές σβήνουν μέχρι την επόμενη νύχτα, όπου θα έρθω πάλι, όπως έκανα χιλιάδες φορές παλιότερα, μαζί με το χτύπημα των πλήκτρων του πιάνου.’ Απαγγέλεις και κλείνεις τα μάτια σου.

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Nachtreich / Spectral Lore "The Quivering Lights" - review

I have been returning to this every night. This is a very personal creation and it came as a surprise to me, since it is collaboration between two different acts. Nachtreich is a neo-classical act, whereas Spectral Lore is an atmospheric black metal band. The result is a deeply melancholic walk under the everlasting and undying night, filled with stars and clouds passing in front of the moon, blocking the light. The shadows are my words.

You see, my friend, no stories can be told under the dim light of the autumn night. It is, by itself, a story of being. I remember still, even if I am not of the past, nor of the future, my friendship with the dark. I was the branches of the trees, hanging over the dead times of man. I grew between stones and gravel, like the flowers of night, calling with my song the whispers of creation.

I am music as it is expressed involuntarily through the veins of my mortality. I am my own being, self-annihilating and self-creating. You may listen to the sad violin, speaking with the birds of the night, like strings of grass floating with the wind. You may even listen to the upcoming storm rising with the crushing of the cymbals, but nothing will prepare you for the uplifting melodies of the guitars. Soaring like the sea in the deep ocean and coming over you, hiding your view of the world as you knew it.

And there, into these last little moments, you become it. The keys are setting the rhythm. A piano in a fairly, moderate, middle class Victorian house. You sit alone listening to the notes flying into the air and diving into the fire. The violin comes from your right, following the steady rhythm of rain on the windows.

‘What am I?’ you think to yourself. You see the candle light flickering violently with the sudden opening of the windows. ‘Do I hold fate in my hands? And if I do, is it like a bent wooden toy that breaks, thrusting at a vision too great for its briefness.’ You exclaim as you rise with your hands opening against the uninvited wind. The curtains dancing to the fierce melodies of the guitars and you feel the tears of time burning your eyes. ’I curse you, Sun, for I know you’ll only rise, as long as you fall down again.’ You shout. ‘Is it immortality that I am seeking? The transcendence of time? There is an invisible thread that binds everything, thin and fragile.’ You whisper disappointed. ‘I must have cut it, because I hear the song of the leaves and the wind, but I cannot feel them.’

From deep inside the forest, laying its roots around your rapidly aging home, came the screams echoing into your heart. ‘Dort, auf einer dunklen Lichtung, tötet Apollo Dionysus. Doch während er weitet rein, kalt und steril bleibt, antworten die Sterne nicht mehr.’

‘The stars no longer answer.’ you repeat. And all light is now made of ghosts. Spirits that you once knew, with flesh and blood, now are distant and obsolete and with the sound of the strings rising from your burning home and the pounding of your aching heart, gushing with blood, true and vengeful, pulling you like the float of an inward spiral made by atoms of air within a moments breath, into the heart of the Earth.

‘The strings that hold my body together, now and forever will be lost in time and I shall stand here forever. I shall be the rain that dances on my hair. I shall be the fire that burns these fingers, rapidly escalating unto the canvas of my soul. I shall be nothing more than a reflection of your image as the screams subside until the next night, where I will come back again, like I did a thousand times before, with the hitting of the piano keys.’ You recite and close your eyes.

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KATAVASIA - SACRILEGIOUS TESTAMENT - Metal Feed

It still amazes me how vibrant and variant the greek metal scene is. I have put some thought into it, as to find out what are the reasons that lead people to express them selves through art. My conclusions are probably false, since I've only used my critical thinking and haven't done any real discussion with artists on this matter. Primarily, I believe that we, the greeks, have an inherent need to express ourselves against our dark history. Both in wider scope and in a more narrow and closer to our time.

Difficulties, wether they are economic, national, geographical, political, lead those who suffer to a crossroad. On the one hand there is submission and on the other you have resistance. This resistance always begins from the inside, psychologically, as an internal struggle that slowly becomes greater. When it is expressed, the means that are used differ, depending on the individual and of course the cultural background.

Art is a common but a unique medium of expression. The leading forces that layed the foundations of the greek metal scene are, of course, known internationally to everyone who has an interest and a love for the extreme music. From 'Rotting Christ', 'Necromantia', 'Varathron', the greek black metal, or hellenic black metal to some, was created. Then came a number of other bands and to these days one can only be amazed by the vibrancy and artistic consistnency of the scene.

'Katavasia' is a collaboration between members of four bands that are currently active and have released in 2014, and one in 2013, albums that were well accepted by metallers worldwide. Here is the list of bands and albums of 2014 (along with links to their bandcamp page) and I strongly encourage you to listen to:

Varathron - Untrodden Corridors of Hades

Aenaon - Extance

Agnes Vein - Soulship (2013)

Hail Spirit Noir - Oi Magoi

Now, 'Katavasia' will officially release their full length in March 15 and by now have three songs available for streaming through their bandcamp page. As the band describes their sound: 

'Katavasia is a unique evil Greek alliance including members of well known occult act Varathron, prog blacksters Aenaon, gloomy doomsters Agnes Vein & psychedelic masters Hail Spirit Noir.

Katavasia's sound is based in original 90s Greek BM. The Mediterranean dark spirits are revived through the unique heavy metal chants and the unholy epic riffs.'

In these three songs one can listen to the well known riffs and leading melodies of the greek black metal scene, the atmosphere of ancient times and the harsh magisterial vocal performance combined in a familiar and very satisfying sound. Keep in touch.

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