Evening of Light

New Machinist album on Betontoon: Viens avec Moi dans le Vide

admin — Mon, 01 Mar 2010 19:51:50 +0000

The latest Machinist record was released last month as the second release on the Betontoon roster. Entitled Viens avec Moi dans le Vide ['come with me into the void'], it is built around a reading of the poem by the same name written by Yves Klein [wiki].

'Viens avec Moi dans le Vide' album cover

The central track of the album contains a reading by Sven Schlijper of the poem, and indeed the whole of the album fits the theme; it is Machinist’s most refined album to date, containing fascinating dark ambiances and drones, shimmering noises, minimal guitar melodies, and some abstract cello parts by Elleke Bosma.

'Le Vide' (1958) by Yves Klein

The album is presented with transparent artwork in a cloth bag, and available for preview and purchase from the Betontoon website.

Review: The Driftwood Manor – Every Light Goes Out Eventually (2009)

admin — Mon, 01 Mar 2010 16:48:18 +0000

artist: The Driftwood Manor
release: Every Light Goes Out Eventually
format: CDr
year of release: 2009
label: Slow Loris
duration: 27:34

detailed info: discogs.com

After a very successful debut (mini-)album, A Gathering, in 2008, The Driftwood Manor bridge the gap to the next one with an EP release on Irish d.i.y. label Slow Loris. Every Light Goes Out Eventually is again a wonderful piece, though different from its predecessor, this time around with a focus on a meditative minimalism combining folk and drones.

“The May Floods Came” opens this EP with layered mantra-like chanting, backed by oriental drones on tampura and guitar chords. About halfway, a short piece of lyrics is delivered by Eddie Keenan, the man behind the project, after which the track returns to its basic mode. Of a similar nature is the central title track, which consists of a profoundly melancholic piano line of harmonic intervals, overlaying another subtle drone. Faint field recordings are heard here and there, as well as a deeper, darker drone. The release ends with a short coda, the folk-oriented “Before it Is Time”. It’s a beautiful brief piece for vocals and guitar, ending in a series of haunting chords for oriental strings.

And so, this record, centered around the theme of death and loos, comes to an untimely end itself. One wishes this gem, which reminds me of Current 93’s Sleep Has His House in its melancholic minimalism, would have lasted longer. Thankfully, unlike people, CD players are equipped with reset buttons…

Reviewed by O.S.

Tracklist:

1. The May Floods Came (12:58)
2. Every Light Goes Out Eventually (11:11)
3. Before It Is Time (3:25)

Review: Autumn Grieve – Stray Birds (2009)

admin — Tue, 23 Feb 2010 18:48:48 +0000

artist: Autumn Grieve
release: Stray Birds
format: CDr
year: 2009
label: Corbel Stone
duration: 24:42

detailed info: discogs.com

The world is full of gems. Some you find after a long time of frantic searching and toil, hidden away somewhere. Others you just find on your travels, through sheer luck or coincidence, or perhaps left in its place by someone. Stray Birds is, then, like a pebble found in a meadow, polished by time or some unknown source, with a simple, unique beauty.

Grieve’s songs for voice and acoustic guitar have an elegant and natural poetry that fits perfectly with the gently beautiful atmosphere created by the sound and presentation of this release. In the background, we hear subtle arrangements for strings and piano by Richard Skelton, who manages excellently to supplement these songs without becoming obtrusive, enhancing the musical whole rather than cluttering it.

Stray Birds, like its predecessor Terra Infinita, is a release that turns inward rather than to the outside, finding a beautiful expression in its own realm, without any obvious distraction of musical citations or direct influences. Quite fitting, then, that an EP like this is limited to a couple of very small, handmade editions. Like those special pebbles, you have to venture out to find them, but the rewards are plentiful for those with an open spirit.

Reviewed by O.S.

Tracklist:

1. Alight (3:45)
2. Within Hollows (4:56)
3. Shades (3:17)
4. Revenants (4:33)
5. Depart (3:46)
6. Kneel (4:25)

Review: Splinterskin – Wayward Souls (2009)

admin — Mon, 22 Feb 2010 21:48:39 +0000

artist: Splinterskin
release: Wayward Souls
format: CD
year of release: 2009
label: Cold Spring
duration: 44:49

detailed info: discogs.com

Ohio-based musician Splinterskin released his debut album on Cold Spring last summer, a full-length piece filled with moody and unnerving dark folk. The many short pieces on this record breathe an atmosphere of forest nights, creaking walls, and spiritual horror that is the lifeblood of that typical dark natural æsthetic that has developed over the past 15 years or so.

The musical base consists of fingerpicked acoustics, sometimes calm, sometimes frantic and quick, with mystical and dark chords that form the melody of this record. Samples of nature sounds and other wayside encounters emphasise the context of the lyrics that deal with various subjects. Foremost are tales of terror and dark folklore: wooden puppets with a life of their own, hidden creatures, old gods. An at times welcome variation is provided by more personal reflections on tracks like “The Skarekrow (October Roads)”, one of the best tracks on the album.

Criticism can certainly be levelled at precisely these æsthetics. You have to be in a certain mood to appreciate these grim tales and the demented storyteller voice of Splinterskin, though that isn’t a problem in itself. Rather, both the musical and lyrical stakes seem to be in atmosphere only, while the underlying substance is rather meagre, a downside that occurs regularly in this area of thematics.

Still, what is there is consistent, moody and expressive, an enjoyable trip through magical autumn woods that will please lovers of dark folk in the vein of bands like the Empyrium of give or take ten years ago, especially with a touch of dark atmosphere added.

Reviewed by O.S.

Tracklist:

1. Chanting Bells Call Shadows (1:45)
2. Dancing Dead Men (3:42)
3. The Crumbling Cabin (2:06)
4. Something In The Walls (2:56)
5. Moonlight Rain (2:49)
6. The Thing That Wasn’t (2:00)
7. Broken Down Hearse (1:46)
8. Still At The Windowsill (3:33)
9. Hoofbeats (1:40)
10. The Eyes That Hide (3:31)
11. The Skarekrow (October Roads) (3:20)
12. A Horrible Night To Have A Curse (4:15)
13. Black Bird Sorrow Song (0:47)
14. The Man On The Porch (3:13)
15. A Trail Of Trees (2:42)
16. Wayward Souls (3:52)
17. Dancing Dead Men (Reprise) (1:01)

Review: Tervahäät (2009)

admin — Thu, 18 Feb 2010 20:48:38 +0000

artist: Tervahäät
release: Tervahäät
format: CD
year of release: 2009
label: Anima Arctica
duration: 36:26

detailed info: discogs.com

The fifth release from Finnish underground label Anima Arctica is this self-titled debut work by Tervahäät, a duo consisting of Antero Väätäjä and Ilmari Akkanen. This shortish but interesting album builds bridges between raw post-industrial ritual tracks and frosty Finnish folklore.

From the start of the album on, we are presented with the successful instrumental base of this project that returns in most of the tracks: banjo and bass melodies overlaying rumbling industrial soundscapes, varied organic percussion and some seething electric guitar work. Longer tracks like “Otava” forge these elements into extended ritual journeys, accompanied by pathos-filled vocals in Finnish. The accompanying sheet of English text (a translation of the lyrics?) speaks of animals, spirits, and mystic poetry. In general, the music of this album is not easy to get into; while there are accessible tracks like the Nordic neofolk of the instrumental “Joulukuu”, the greater part of the album is rather esoteric and demands a receptive mood, one that resonates with the cold and oppressive visual imagery. It is perhaps typically Finnish in the sense that it doesn’t open up at the first listen.

However, despite this closedness and lack of very direct compositions that immediately grab you by the throat, Tervahäät manages to deliver an album that has a compelling mysticism about it, as well as an original sound that blends organic, industrial, and folkloric elements. The foundations for an interesting musical oeuvre have been laid here, and lovers of experimental post-industrial music should definitely check this album out. It will be especially appealing if you have an ear for Finnish underground music of the past decade.

Reviewed by O.S.

Tracklist:

1. Lumi (2:55)
2. Otava (12:02)
3. Hautaa (4:50)
4. Kalankallo (3:08)
5. Menneet (9:12)
6. Joulukuu (1:30)
7. Lähdin (2:54)

Review: Pregnant – Spirit of Being (2008)

admin — Tue, 09 Feb 2010 21:14:26 +0000

artist: Pregnant
release: Spirit of Being
format: 3″ CDr
year of release: 2008
label: Reverb Worship
duration: 15:26

detailed info: discogs.com

Many good things come in little packages, and that’s why the 3″ format is so attractive. Something about presenting a little release on a little format is just plain right, and it helps that many of these get released by DIY labels such as the excellent Reverb Worship. Spirit of Being is not one of the most recent titles from this label, but it is one of a couple that stood out most from a larger number of releases from 2008 and 2009.

These four tracks start out with a spacy ambient intro, and quickly moving on to freaky electronica combining unusual beats, various melody synths, and glitchy sounds. “Fly”, “Walk”, and “Swim” offer different modes of travel through a brief realm of shimmering music with a bright and colourful otherworldly atmosphere.

Pregnant don’t offer anything extremely special with this EP, but it is what it should be: short and sweet. According to the label website, it is still available, but it’s a small print run, so act quickly and pick this up if you’re into alternative electronica.

Tracklist:

1. Spirit Of Being (1:48)
2. Fly (5:37)
3. Walk (4:13)
4. Swim (3:48)

Review: Cisfinitum – Devotio (2006)

admin — Sun, 31 Jan 2010 20:52:48 +0000

artist: Cisfinitum
release: Devotio
format: 10″
year of release: 2006
label: Substantia Innominata
duration: 23:49

detailed info: discogs.com

One of the ways in which experimental music can be thought-provoking is to take a familiar sound source and bend, stretch, twist or mangle it until it achieves a whole new level of expression. Listening to such an everyday sound an sich can already be an amazing experience if you listen attentively and with a receptive spirit. But there is something intriguing about hearing a sound actually modified, unlocking sound levels normally only accessible through the imagination.

Here we have Cisfinitum (Evgeny Voronovsky), and on Devotio, his medium is the church bell. While the tolling of bronze is a staple in gothic, ambient, metal, pop, or indeed any genre with a potential for pompousness, it is in itself a modest but extremely rich sound, laden not only with multiple sound layers, but a great many cultural echoes as well. On this EP, though, it serves as the carrier of many musical textures. The deep, reverberating sounds work as underlying drones; the moment where the clapper hits the metal, when looped, becomes a rhythmic base; the tolling itself, clean, echoed, delayed, provides many melodic layers. Together, two intricate and sophisticated soundscapes are crafted, pieces that utilise the possibilities of sound manipulation to nigh perfection. Despite the usage of a single sound source – and a very specific one at that – as the building blocks of these tracks, Voronovsky avoids the pitfall of exaggerated minimalism. The overall sound is always layered, and het is not afraid to add a small touch of different sounds here and there, such as some faint violin or distorted voices.

There’s a bit of many industrial subgenres in here: drones, metal percussion, loops, ambient waves, theat general sense of being caught in an irresistible musical maelstrom. When done right, such elements lend music a ritual and spiritual character that is a unique quality of music only. The ability to take your consciousness to new modes, if only for a short while. In the case of Devotio, it’s all in place: the music, the packaging and cover art, the muddled white vinyl. This is, quite simply, how it’s done.

Reviewed by O.S.

Tracklist:

A. (12:59)
B. (10:50)

Review: Birch Book – Volume III: A Hand Full of Days (2009)

admin — Wed, 27 Jan 2010 13:24:33 +0000

artist: Birch Book
release: Volume III: A Hand Full of Days
format: CD, LP
year of release: 2009
label: Little Somebody (CD), Ahnstern (LP)
duration: 60:41

detailed info: discogs.com

After releasing the excellent second Birch Book album in 2007, and a couple of successful tours with the likes of Woven Hand, Faun, and Sieben, it was time for B’eirth to settle down and record the follow-up, which is what I hold in my hand now. A Hand Full of Days was released on CD by Little Somebody Records, who’ve found a perfect addition to their roster with this album, and the vinyl edition was once again handled by Ahnstern.

The album is constructed in symmetrical fashion, with the instrumental birch tracks opening and closing the album, as they have done twice before. Also at opposing places are “Left Hand” and “Right Hand”, atmospheric instrumentals that provide a repose from the ten songs that make up the bulk of this hour-long album. The songs are in a style that has been more or less the same throughout the past decade: gentle singer/songwriter folk, with clear influences from psychedelic and neofolk, as well as touches of americana.

The production and polishing of B’ee’s music has never been better than on this album, which lends it a strong appeal, though I must say A Hand Full of Dayswon’t turn any heads in terms of innovation. B’ee does what he does best, and his strengths lie mostly in creating gentle, flowing songs with eloquent lyrics. At times, a darker atmosphere is achieved, on an instrumental like “Hatched in Stone”, which is an excellent track, but held back by a sense of understatement that works better on peaceful tracks like “Patchwork Woman”.

Altogether, though, this is another good album from one of the more unique voices in contemporary alternative folk. It most certainly won’t disappoint fans like me, but newcomers will find much to enjoy as well, especially if you have a love for calm, laid-back folk.

Reviewed by O.S.

Tracklist:

1. Birch Leaves (2:08)
2. Feet Of Clay (3:30)
3. Empty Corner Of The Page (5:42)
4. Left Hand (3:36)
5. Patchwork Woman (5:16)
6. Stray Summer Song (6:28)
7. Hatched In Stone (6:57)
8. Sad Song (3:39)
9. Nothing More (3:23)
10. White Angel (4:52)
11. Right Hand (4:02)
12. Life’s Lace (3:52)
13. Will Of The Wind (5:02)
14. Birch Leaves (2:14)

In Memoriam: Arjen Grolleman (1972- 2010)

admin — Thu, 21 Jan 2010 22:38:08 +0000

Only recently, after reading his necrology for a local bookstore, we complimented him on the way he was able to fill such memorial texts with true poetry and touching words. “Yes,” he said, “but why does it always have to be necrologies?” Perhaps because we only realise what we’ve lost until it’s gone?

On Wednesday January 20th 2010 we heard the shocking news that Arjen Grolleman had passed away suddenly, having had a fatal accident at home. Arjen was a station manager and DJ at KinkFM, as well as a prolific voice-over for national Dutch television and other media. At KinkFM, he presented the programs Avondland and X-Rated, the latter of which was the show for experimental music on Dutch radio. Through X-Rated, together with co-presenter Bob Rusche, he expressed his love for alternative and experimental music in a way that was honest, remarkable, and memorable, as well as giving it a solid place in mainstream Dutch media, inspiring many listeners and supporting a great number of artists and labels. Poetry and the spoken word always had a firm place in his programs as well, with recordings of Dutch and foreign poets and other important writers featuring alongside marvellous underground music. Where else could one hear a track by Coil after a speech by Noam Chomsky and a poem by W.H. Auden?

In Arjen, we also lost a dear friend. We remember fondly the long evenings turning into early mornings, filled with deep conversation, laughter, and wine. Arjen was the perfect companion for a discussion about music, literature, culture, art, poetry, life, perfume… He was ever inspiring; after hearing him speak about his Rosicrucian tour through Paris, you can’t help but want to follow in his footsteps. And we can’t even remember how many records we’ve sought out after having heard them played on X-Rated.

His friends were always able to follow his daily adventures and travels on Twitter, a medium which he had utilised to perfection, with an excellent sense of timing and content. A lovely feeling in the morning: turning on your PC, and seeing a first-hand account of Arjen and his radio colleagues, rushing down the slope in front of the KinkFM studio in their desk chairs in the middle of the night.

Arjen was an exceptional person. Exceptionally driven, exceptional in his idealism, his interests, and his passions. He was able to put his spirit into all of his work and interests, turning it into something more. The way in which he made his job out of his passions is equally admirable and inspiring. He was also gentle, loving, and hospitable. We wish with all our hearts that we would have been able to spend more time with him, but it was not to be. We hope he has found a loving embrace in whatever awaited him in the hereafter… the warmth of the sun, floating on the æther, a drink with Jhonn Balance?

Our thoughts are with Arjen’s family, friends, and colleagues, all of whom we wish much strength in coping with this great loss.

-Oscar & Diane

Review: Rose Rovine e Amanti – Demian (2009)

admin — Tue, 05 Jan 2010 08:07:14 +0000

artist: Rose Rovine E Amanti
release: Demian
format: CD
year of release: 2009
label: Cold Spring
duration: 42:52

detailed info: discogs.com

Recorded in Rome in 2008, Demian is the second full length album by Rose Rovine E Amanti (mastermind: Damiano Mercuri) on Cold Spring Records. The album collects ten tracks of hot-blooded neofolk with a flair that is the trademark of many Mediterranean artists working in this field.

The songs on this album alternate between Italian and English, balladry and more powerful rock-influenced tracks, striking an enjoyable balance between calm pieces and more bracing work. There is a strong influence of Southern European folk and pop sensibility, which places the sound somewhere on a continuum between Sangre Cavallum and Spiritual Front. The more rocking tracks tend to stand out, because they offer a gripping appeal that is not present as much in the more generic slow songs. The title track is easily the best, fusing heavy martial industrial percussion with powerful acoustic guitar chords and a catchy song structure, and a swirling violin solo by Giuseppe Lorenzoni, reminiscent of Matt Howden’s style. Equally strong is the bass-driven “From Desperation to Victory”, highlighting the martial theme that is still at the forefront of much contemporary neofolk.

And, like many of his contemporaries, Mercuri isn’t truly pushing the (sub)genre any further. The themes, the style, the sound, the atmosphere, we’ve heard it before in quite some places. In this sense, Rose Rovine E Amanti is a natural player in the process that practically all specialised styles of music succumb to: stagnation. That doesn’t mean Demian isn’t a good or enjoyable album, because it certainly is, if you’re in the right mood. It does mean that this album is niche music and recommended mostly to people operating within that niche.

Reviewed by O.S.

Tracklist:

1 Il Gatto Osserva (2:30)
2 Rose Rovine E Amanti (5:17)
3 Demian (3:53)
4 Il Grande Tradimento (5:04)
5 From Desperation To Victory (2:50)
6 The End Of This World ( 5:00)
7 Paura Del Demonio (5:23)
8 Mille Serpi (3:47)
9 Noi Ritorneremo (3:39)
10 Ave Maria (5:34)

Review: Seasonal Sevens: Summer & Autumn (2009)

admin — Mon, 04 Jan 2010 14:23:40 +0000

artist: Emily Scott / Hélène Renaut; Pamela Wyn Shannon / The Magickal Folk of the Faraway Tree
release: Seasonal Sevens: Summer; Autumn
format: 7″
year of release: 2009
label: Autumn Ferment
duration: 6:27; 5:55

detailed info: discogs.com (summer; autumn)

The Seasonal Sevens are a series of 7″ double A-sides released by Autumn Ferment Records. Starting out in summer 2009, each season will see a new release, featuring tracks from a variety of contemporary folk artists. So far, we’ve had a summer and an autumn release, and the winter edition is bound to follow soon.

Seasonal Sevens: Summer

The first 7″, release on bright sun-bleached yellow vinyl, contains previously released tracks by Emily Scott and Hélène Renaut. Scott, based in Edinburgh, ushers in the summer with a laid-back sweet track, supported by Malcolm Le Maistre and Pete Baynes on banjo and ukulele. A nice old-timey careless summer feeling is invoked. San Francisco-based Breton singer/songwriter Renaut brings a shorter, bittersweet track that’s warmer and hazier than the first. Excellent picks by the label, as both tracks conjure up a sultry feeling with modern folk that harks back to the 60s and 70s.

Seasonal Sevens: Autumn

Autumn is represented by two tracks I’d already heard on earlier releases. The clear brown vinyl holds “Woolgathering” by Pamela Wyn Shannon, taken from the album Courting Autumn, and “The Blackthorn Tree” by The Magickal Folk of the Faraway Tree, taken from their EP The Mildew Leaf. It might not be the best off her excellent album, but Shannon’s track is a warm and romantic song steeped in autumn atmosphere, gathering both actual and metaphoric wool to keep the impending cold at bay. The Magickal Folk of the Faraway Tree are one of the bands from out of the Deserted Village collective, including a host of people active in other projects. “The Blackthorn Tree” is (or could pass as) a traditional folk classic about love’s mysterious ways and wiles. An austere and loving performance, with vocal harmonies by Dave Colohan and Shane Cullinane, and Sean Òg on flute.

Of the two, I think the autumn single is slightly more successful musically, because of its originality, but both 7″s manage to capture the atmosphere of the season in a highly appealing way. I recommend, therefore, to treat the series as a whole, in order to experience the full scale of sound. Anyone interested in contemporary folk is urged to check these out, and the price is no impediment, at only about five pounds each. They’re all limited to 300 copies, though, so act quickly if you still want the summer and autumn editions as well. Here’s to the next two!

Reviewed by O.S.

Tracklist:

Summer
A. Emily Scott – Pond Dipping (3:40)
AA. Hélène Renaut – Bumblebee (2:47)

Autumn
A. Pamela Wyn Shannon – Woolgathering (3:44)
AA. The Magickal Folk Of The Faraway Tree – The Blackthorn Tree (2:11)

State-X New Forms presents first 10-inch: Machinist & Mendel Kaelen / Boom Boom du Terre

admin — Sun, 03 Jan 2010 11:21:40 +0000

Machinist & Mendel Kaelen side label

The State-X New Forms festival for experimental music, based in The Hague, introduced its very own band and artist contest in 2009: X-Vektor. Two aspiring Dutch artists were the winners of the contest, and the reward was not only a performance on the festival itself, last December, but also a side on a 10″ split that was released on the first day of the festival.

The winners were the drone/ambient duo of Machinist & Mendel Kaelen, and quirky rhythmic electro project Boom Boom du Terre. The result shows that it is indeed quite worthwhile to hold band battles like this, for it allows promising new acts to reach a wider audience.

Boom Boom du Terre side label

The A side holds the first collaborative studio recording by drone artist Machinist and Mendel Kaelen, resulting in a varied and highly sophisticated mix of field recordings, deep drones and pulses, and guitar wails that almost sound like brass instruments. Certainly the most advanced recording by Machinist yet.

Boom Boom du Terre delivers two shorter tracks of electro with a strong rhythmic emphasis, mixing straightforward beats, chiptune-like synth sounds, and sampling.

Vinyl lovers that are interested in hearing something new from the Dutch experimental music scene are recommended to give this 10″, limited to 500 copies, a chance. The Machinist website is the place to go if you’d like to buy a copy.

Review: Allseits – Hel (2009)

admin — Sun, 20 Dec 2009 15:11:04 +0000

artist: Allseits
release: Hel
format: CD
year of release: 2009
label: Cyclic Law
duration: 44:27

detailed info: discogs.com

The latest Cyclic Law release is Hel by Allseits, the project of Nina Kernicke from Bremen, Germany. Nina also records as All Sides, the name she used for her collaboration with Troum on Shutûn. The current album is a trademark Cyclic Law release in the area of dark ambient drones with a spacey toucNina h.

The album follows the course of a journey to the underworld of Norse mythology, from the roots of the World Tree Yggdrasil to the realm of (and corresponding goddess) Hel itself. We travel across the river (and bridge) of Gjöll, where the guardian Móðguð is encountered. Up next is Garm, the Nordic counterpart to Cerberus, the guardian hound of the underworld. The penultimate encounter is Fjalar, a name which can refer to both a dwarf and one of the roosters that will crow in the day of Ragnarök. Finally is Hel itself. In a musical journey, then, we somewhat retrace Hermóð’s quest in the Prose Edda to retrieve Baldr from the hellish realm.

Interesting concept matter aside, Hel is a decent and rewarding album that will appeal particularly to lovers of very dark and obscure drones, in the vein of projects like Svartsinn and Kammarheit. In that sense, the album is perfectly at home on this label. It’s not too long and each track has theme and structure different enough to keep the album interesting for the almost 45 minutes of its duration. In particular the closing title track is quite good, with its classic slow crescendo buildup.

However, you certainly won’t find any innovation here, which is perhaps typical of the genre at this moment. Dark ambient has been established as a unique and interesting style over the past fifteen years or so, but such a crystallisation inevitably leads to stagnation in many cases. As such, this is a perfect album if you can’t yet get enough of this kind of music, but not quite what you’re looking for if you seek the cutting edge of modern ambient.

Reviewed by O.S.

Tracklist:

1. Yggdrasil (6:44)
2. Gjöll (8:01)
3. Modgudr (6:47)
4. Garm (9:02)
5. Fjalar (7:45)
6. Hel (6:08)

Article: Tale of Tales – The Endless Forest (2005 – present)

Oscar — Mon, 14 Dec 2009 15:55:57 +0000

Concept art by Lina Kusaite

This article is part one of a four-part feature on the digital media art of Belgian studio Tale of Tales, run by Auriea Harvey and Michaël Samyn. The discussion of these works, apart from showcasing their intrinsic merits, will serve as a springboard for brief thoughts on the relationship between digital media, games, art, and narrative.

First released in 2005, The Endless Forest is a “multiplayer online game” and “social screensaver” developed by Flemish studio Tale of Tales. It was originally commissioned by the Musee d’Art Moderne Grand-Duc Jean in Luxemburg in 2003, and has passed through various stages of development since its original inception. Version 3.3 was released in November 2009 and presents only the latest of these developments: the addition of a new location in the forest.

A 'fawn' in The Endless Forest

The premise of the program is relatively simple: you ‘play’ or are represented by a deer avatar in a vast forest that is inhabited by other deer, which in the online version are all controlled by other people. There is nothing to achieve or win as such, but there are various landmarks and natural phenomena to interact with, and there are numerous possibilities to interact with other deer. Since the 2006 version, new players start out as a ‘fawn’ or young deer in which form they will remain for a month of playing. Thereafter, the deer avatar will have grown up into a stag.

The ability to ROFL in The Endless Forest is quite convenient

The basic options of communication are constrained to using gestures, movements and calls as a sort of nonverbal language. The fact that the players are forced to interpret these communication acts without being able to resort to writing – there is no chat function in the game – poses an interesting challenge. Among adult deer, language conventions have arisen, prompting some players to write rudimentary dictionaries of the meanings they convey in-game with the various deer gestures (see this blog post, for example). Fawns or new players however, unless they search the TEF community for guidelines ‘how to do it properly’, are forced to learn the language by observation and mimicking the language acts of other deer. In this way, The Endless Forest provides a fascinating scope on how language might be learned by animals (including humans) in the real world.

These purely communicatory acts are supplemented by what is known as forest magic. By interacting with different locations or objects in the forest, a deer can transform its own appearance temporarily, or more importantly, transfer the cosmetic change to another deer permanently. In this way, by gifting each other different appearance options (decorated antlers, masks, skin patterns, etc.), deer can customise their appearance as they see fit, constructing a unique identity within the forest community, apart from that already created by name and behaviour.

The forest itself is not only endless, in the sense that it is a looped in two dimensions, much like the earth, it is also everchanging. Since the original version of the program, new interactive locations and types of terrain have been added to the forest in stages, each coinciding with the presentation of the game on art exhibitions and the like. The net result is that there are now seven different locations in the forest to interact with, including a graveyard based on the Ename ruin, a huge hollow tree to rest in, and a magical pond which allows deer to shed their forest magics and start afresh.

Altogether, this creates a small world in which there is no goal, no violence, or even competition, which sets The Endless Forest apart from the majority of massively multiplayer online games. Like later Tale of Tales programs, it can be debated whether it is a game at all, since there are no rules apart from those imposed by the program environment, and no ways to fail or succeed. Instead, enjoyment of the forest is purely dependent on discovery and, most importantly, interaction with other deer.

Two deer playing on the set of boulders that has become known as 'The Playground'

This social aspect becomes clear gradually as one notices deer running around together, sharing forest magic, playing on big boulders, and simply having fun. It is the essence of The Endless Forest, and it lives most strongly in the hardcore TEF community. The regular players – a relatively large proportion of which are young women and girls – gather there to post blogs, deer descriptions, screenshots, fan art, diaries, and just general chitchat. As in many MMO games, the lines between in-game and real life social activity are blurred as players roleplay their deer outside the confines of the program as well, on the aforementioned community website. At the same time, there are lively discussions on the development forum about game design ideas, the nature of the forest, and future development of the program.

A TEF 'plushie', a handmade rendition in textile of one of the players' deer

Another area where the social network in and around The Endless Forest shines is that of fundraising. The game has always been free to play, its development being funded by art grants and participation in various exhibitions and festivals. The hosting and continued development of the forest cost money, of course, and enthusiastic players have devised ways of raising money that show a high level of engagement. Many players make forest-inspired artwork and crafts, and the earnings of many of these items go towards the development of the game. Recent times have seen many nice initiatives such as little deer puppets, jewellery and crafts, and most prominently the 2009 and 2010 fan art calendars that have sprung from the TEF fanclub on deviantart. Apart from this, Tale of Tales have facilitated a PayPal donation program the allows players to voluntarily donate on a one-time or monthly basis.

In all, The Endless Forest is a successful endeavour which provides a lot of fun for its players, and also serves as a backdrop for a much larger circle of social activity that surrounds its basic game structure. It has been criticised by some people in the online games press precisely because it lacks the competitiveness, clear-cut goals, and even violence that is part and parcel of most digital (and other) media. However, this view fails to take into account the charm the game holds its current audience, not to mention the more benign social interaction that is becoming more and more important today as digital media expand its audience to include a larger spectrum of the population. It is a niche game, to be sure, if we may call it a game at all – a point that we will return to in discussing the later Tale of Tales titles – but it provides a calm and magical alternative, albeit just as escapist, to many MMO shooting and ‘roleplaying’ games out there.

Text by O.S.

Images courtesy of Tale of Tales and the respective artists.

Links:

If you ever see a deer with this pictonym around, it's me! Though he may not have quite the same coat by that time...

http://endlessforest.org/community/frontpage

2010 and Some Spirits

admin — Sat, 12 Dec 2009 13:39:21 +0000

Get ready for 2010. We’ve got something coming for you!

Review: The Psychogeographical Commission – Genius Loci (2008)

admin — Wed, 02 Dec 2009 18:47:21 +0000

artist: The Psychogeographical Commission
release: Genius Loci
format: CDr, CD
year: 2008, 2009
label: Self-released
duration: 52:45

detailed info: discogs.com

Originally released in late 2008, Genius Loci is the debut album of the English duo The Psychogeographical Commission, consisting of mrsix and Hokano. Their music, as the band name indicates, is dedicated to exploring the psychological characteristics and effects of the (urban) landscape, in this case, focused on London. This is explored musically by fusing influences from ambient, industrial, field recording, and experimental music in general.

The result is a collection of songs that charts different aspects of the theme chosen for this album, varying between a number of musical modes in between. Some tracks explore spoken or sung narratives and conventional song structure, others are geared more towards field recordings and drones. On the whole, the experimental bent of the music reminds me somewhat of later Coil material, but perhaps most of all of English Heretic, who blaze a similar trail through England’s psychogeography.

Though Genius Loci has elements in common with the artists aforementioned, I feel it lacks a bit of the originality or salience inherent in their works. The album flows nicely and has enough variation to never bore, not to mention a great atmosphere. Nevertheless, I miss a bit of an edge or challenging touch in these tracks. The album is best experienced as it was also intended by the artists: as a musical and aural backdrop when exploring an urban environment oneself. In such a setting, Genius Loci shows its strengths more than in any other.

For lovers of experimental music in the (post-)industrial corner with a fascinating conceptual backing, Genius Loci is well worth your time and money. Two versions are currently available: the original CDr release, housed in a map-like double gatefold, limited to 250 copies (pictured here), and the remastered CD edition in slimline DVD packaging.

Reviewed by O.S.

Tracklist:

1. The Fires Of London (4:22)
2. Camden Book Of The Dead (4:00)
3. Have You Ever? (4:24)
4. Where Roots Think Of The Child (3:54)
5. Spare Thoughts (5:58)
6. The Ones Who Walked Before (8:16)
7. Genius Loci (6:34)
8. Certain Shifting Angles (4:40)
9. OK Commuter (10:38)

Review: Joonatan Elokuu – Mushroom Heart (2009)

admin — Fri, 27 Nov 2009 18:20:01 +0000

artist: Joonatan Elokuu
release: Mushroom Heart
format: CDr
year of release: 2009
label: Kiiltomatolyhty
duration: 43:20

detailed info: discogs.com

Insiders in the modern psychedelic and alternative folk scene might have become acquainted with the Finnish project Aura Shining Green over the past few years. By now, names and project concepts have been changed, and Joonatan Elokuu has released this new full-length album under his own name, though bringing back a couple of songs from the older period.

For those new to this Finnish songsmith, I can say his sound is informed by psychedelic folk both from the early period around the changeover of the sixties and seventies, as well as later and contemporary psychfolk artists. In particular, Joonatan’s sound can be compared to that of In Gowan Ring and Stone Breath, though without being altogether unoriginal.

Mushroom Heart itself is a very pleasant and successful debut album, containing a varied mix of acoustic songs. It opens up traditionally with Joonatan’s wife Helena Halla intoning “Adieu to Old Finland”, which soon becomes a duet and then morphs into a psychedelic misty piece with a banjo lead. “Rain Falls Hard on Camden Town” is a classic track from the Aura Shining Green days; another duet with a great melancholic atmosphere and rich sound structure. Other highlights include the americana-ish rendition of Donovan’s “The Little White Road”, and the final track, a version of C.O.B.’s “Solomon’s Song” that transforms into a marvellous ambient folk drone. In general though, the album is strong and varied, finding a perfect balance between folk from different eras and continents, and a music that breathes a spirit of freedom, travel, and spirituality.

It seems Joonatan and Helena are all set to release more music, under both their own names, so there’s much to look forward to! Until then, this edition of CDr copies is bound to sell out fast, so be quick if you are into psychedelic folk, because this is an underground album to cherish.

Reviewed by O.S.

Tracklist:

1. Adieu To Old Finland — Trees, Stones, Earth (6:19)
2. Rain Falls Hard On Camden Town (3:54)
3. Purjehduslaulu (3:17)
4. The Little White Road (3:05)
5. The Calling Of Crows Beckons Us Home (4:50)
6. A Hushed Lullaby (To The Old Windmill) (4:17)
7. Willowisp Lantern (2:37)
8. Solmu Loputtomalla Langalla (3:52)
9. As Fair As Gilead — Anneli (11:29)

bf3a-78jd’s

Review: Woodpecker Wooliams – Diving Down (2009)

admin — Wed, 18 Nov 2009 19:02:13 +0000

artist: Woodpecker Wooliams
release: Diving Down
format: CD
year of release: 2009
label: Autumn Ferment
duration: 35:25

detailed info: discogs.com

Scottish label Autumn Ferment seems to be going strong, and this imprint delivers its best album to date with Woodpecker Wooliams’s Diving Down, a mighty fine piece of modern experimental folk.

The woman behind this project is one Gemma Williams, hailing from Brighton in the UK. Apart from an excellent voice at the high end of the spectrum, she brings a well-chosen and original instrumentarium to the table. Harp seems to be a staple instrument in many tracks – making comparisons with Joanna Newsom slightly relevant – but we’ve also recorder, clarinet, quirky percussion and a slightly surprising yet pleasant amount of drones. Not to mention the often underestimated uses of beer bottles filled with varying quantities of liquid! In short, a sound that fits in tightly in today’s new weird folk current, without ever running the danger of being too conventional.

Technicalities aside, though, Diving Down is simply an excellent album. Williams writes original and at times touching lyrics, and presents them over compositions that are traditional and familiar, yet presented in the proper fashion: folk the evolves with the times, changing traditions that have a shifting but profound core. A sea shanty like the title track should be proof enough.

Lines of connection leading to other women in modern folk music present themselves at times, and deserve to be mentioned. The somewhat dark and melancholic touches that are present in this album will certainly appeal to those who are fond of Marissa Nadler’s style, but in general I think this album will be enjoyed by anyone who is fond of strong female artists in today’s scene. Hell, there’s even some Kate Bush in here.

Considering this is her debut album, I’d say she delivered an excellent work that’s highly enjoyable in itself, without referring to all those other artists. If you enjoy well-written and well-played modern folk, do check out this release. It’s highly promising and this lady deserves a big audience.

Reviewed by O.S.

Tracklist:

1. Put A Bird (4:33)
2. The Lamentable Love Of The Barometer (2:07)
3. Perm (2:22)
4. Diving Down (5:00)
5. Out Walking (3:58)
6. I Shot You (3:00)
7. In Your Mouth (4:43)
8. Threads (2:36)
9. Wife (7:06)

Review: The Use of Ashes – White Nights: Glowing Lights (2009)

admin — Tue, 17 Nov 2009 22:05:09 +0000

artist: The Use of Ashes
release: White Nights: Glowing Lights
format: LP, CD
year of release: 2009
label: tonefloat
duration: 45:37

From Nijmegen in the Netherlands hails The Use of Ashes, a band consisting of the brothers Peter and Simon van Vliet, and Maarten Scherrenburg. The first two were active in the early 80’s in the avantgarde wave band Mekanik Kommando. Their style has changed over the years though, and this latest album (second in the White Nights series) is firmly in the realm of psychedelic folk.

For me, this album is somewhat of a mixed bag. The overall sound is rich and wonderful; a blend of folk with experimental and dronish parts, and above all a great ear for detail and sophisticated sound design. It reminds me perhaps perhaps most of Twelve Thousand Days in terms of style, though The Use of Ashes lacks the appeal of a unique and excellent vocalist like Martyn Bates. The is at least in part compensated for by the lavishness of the sound.

The main turn-off for me, however, is that a number of tracks on White Nights: Glowing Nights (such as the opener and “Stranger in Paradise”) wax somewhat too sugary-sweet, expressed in the lyrics, vocals, and general atmosphere. It’s something of an acquired taste, perhaps, and part of artistic expression. It might not bother other people, but it doesn’t do much for me personally. What is clear to me, however, is that the band’s main strength lies in composition and sound design, rather than text or vocals. This can be heard in some of the highlight tracks like the excellent misty neofolk of “Falling from the Sky” or the folky drones of “9 Glowing Lights”.

Altogether, White Nights: Glowing Lights is a pleasant album that fits neatly into the psych side of the tonefloat roster, with artists like Porcupine Tree and Sand Snowman. The spectre of Pink Floyd is ever present. If you’re open to a well-succeeded Dutch psych folk album with a bright and sweet atmosphere, this is well worth your attention. Personally, I can’t help but feel that it is a bit less interesting and original than the stuff that went on in the Mekanik Kommando days.

Reviewed by O.S.

Tracklist:

1. Morgenstern (The Umbrella Jigsaw Man) (2:26)
2. Falling from the Sky (5:32)
3. Stranger in Paradise (1:55)
4. Forever Comes with the Morning (1:55)
5. Zeit (1:14)
6. Kiss the Light (2:10)
7. Dark White Planet (2:43)
8. Dongal Taleteller (Part 2) (1:04)
9. White Night (0:31)
10. King of the Moon (0:53)
11. Lazy Daisy Day (3:07)
12. Eidolon (Days Are Darker Nights) (4:53)
13. The Sky-Cracked Children (0:58)
14. The Prince With the Golden Hair (3:07)
15. Stiller Berg (2:30)
16. 9 Glowing Lights (7:35)
17. White Dream (2:00)
18. Endstille (1:04)

Review: Sedayne – Naked Season (2009)

admin — Thu, 12 Nov 2009 14:47:02 +0000

artist: Sedayne
release: Naked Season
format: MC
year of release: 2009
label: Sloow Tapes
duration: 58:01

detailed info: discogs.com.

Throughout the years, English storyteller and musician Sean Breadin remains one of the most unique voices in modern folk music. His idiosyncratic style walks a tightrope between loyalty to tradition on one side, and the love for experiment and unique expression on the other, proving that the two need not exclude each other. In this respect, he is up there with Andrew King as being one of the most interesting artists in experimental British folk.

Apart from loose tracks on MySpace and YouTube, Naked Season is Sean’s latest release, once more under the name of Sedayne. It was released in January 2009 on Sloow Tapes, limited to 70 copies, which have since sold out.

What we get is almost an hour of classic Sedayne material. A great deal of the songs are traditionals, but as usual, the musical arrangements are unique, played in an assortment of string instruments, percussion and other odds and ends. The emphasis is on hurdy-gurdy drones, mouth harp, and skin drum. All of it, except for the singing, are in a timbre quite unlike that usually used in folk musicianship, always lending Sean’s music a more otherworldly touch, turning folk into something edgy and exciting, rather than confirming the stuffy image that often clings to it.

Compared to his other releases, though, Naked Season isn’t all that special. The album shines in the excellent double opening track; both the vocal and instrumental raga version of “Seeds of Love” are wonderful. Equally impressive is the extended “The Sheep Stealer”, set up with a perfect narrative tempo and a gripping instrumental part with clarinet solo. Many of the other tracks, like the slightly uninspired rendition of “John Barleycorn” are a bit less remarkable though, essentially business as usual for Sean, which is good nonetheless, but not essential compared to his other works.

This tape is worth seeking out for Sedayne fans, especially for the couple of brilliant tracks on it. But, since it’s sold out and not an exceptional album, newcomers would do best to check out other works first, still available through Sean’s own Ploughmyth International.

Reviewed by O.S.

Tracklist:

Side 1 (Dexter)

A1 Seeds Of Love (Song) (6:45)
A2 Seeds Of Love (Raga) (12:00)
A3 John Barleycorn (8:13)
A4 Shoe The Goose (2:27)

Side 2 (Sinister)

B1 Cob-A-Coaling (6:26)
B2 Clarty Hall (7:17)
B3 The Sheep Stealer (11:23)
B4 Leg Of A Mallard (4:15)

Review: Troum – Eald-Ge-Stréon (2009)

admin — Tue, 10 Nov 2009 15:00:40 +0000

artist: Troum
release: Eald-Ge-Stréon
format: 2xCD
year of release: 2009
label: Beta-lactam Ring
duration: 1:32:18

detailed info: discogs.com.

If there are any artists in the realm of drone music that have left a lasting impression on me during the past few years, Troum surely are among them. The German duo consisting of Glit[S]ch and Baraka[H] (both previously part of Maeror Tri) have done so not only through a breath-taking live performance a couple of years ago, but also through their recent releases, such as AIWS and their collaboration with Martyn Bates on To a Child Dancing in the Wind. When the first notes of “Elation” hit me when listening to the samples of this latest release, I knew we were in for something special once more.

According to the liner notes, this album is a collection of oddities, presented almost apologetically as a loose collection of tracks that were used before, sometimes in live performances, reworked and remodeled. As a bonus, we get a second CD, Abhijñâ, which contains another 30+ minute new composition. However, when a ‘mere’ archival compilation is as tightly put together as Eald-Ge-Stréon, it doesn’t truly matter where the material comes from; the result is a rock-solid album of rhythmic drone music.

As that last typification suggests, rhythm is one of the factors that makes this album so gripping. Whether we are dealing with pure waves of sound – as in the truly moving opening track or the serene “Eolet” – or rather the more concrete percussion of “Usque Sumus Lux” or the brilliant Savage Republic cover “Procession”, rhythms and pulsations power this album, giving it a forward-moving (or spiraling) force that is usually not achieved by more minimalistic drone and ambient artists. Like I’ve said earlier, it’s remarkable how coherent the sound on this album is, considering the diverse origins of the tracks themselves. Each track seems to have received a great deal of attention in order to make the perfect fit, which has its effect on the listening experience: entering Eald-Ge-Stréon is like drifting into a special world where sound forms epic cloudscapes, sirens’ songs, and ritual journeys.

Added to the power of processed sound, there is always the visual and linguistic element prominent in Troum’s work. To start with the latter, words from places distant in time and space are always present (Old English and Sanskrit album titles in the case of this double album, among other things), giving other parts of your brain to work on something as well. Perhaps my suspicion that at least one of Troum’s members is a professional linguist is founded? Either that, or they simply have a knack for picking thought-provoking words for their track titles. The visual side of this release is handled by Stephen O’Malley, resulting in a glitzy, almost too slick, design and packaging. It combines quite well with the excellent glossy (and sturdy!) sleeves used by the record label, but it’s perhaps a bit too artificial compared to the organic, almost muddled flow of the music.

Time to cut a long story short: Eald-Ge-Stréon is a superb work, definitely one of Troum’s best albums so far, and certainly one of the most important drone albums of the year. The original 2CD edition is limited to 500 copies, but a 2LP version is due in mid-November 2009. Ample opportunity to lay your hands on this masterpiece, in other words.

Reviewed by O.S.

Tracklist:

Eald-Ge-Stréon

1-1 Elation (7:09)
1-2 Usque Sumus Lux (8:18)
1-3 Eolet (7:53)
1-4 Ecstatic Forlorness (9:40)
1-5 Dhânu-H (4:41)
1-6 Procession (4:39)
1-7 Crescere (16:28)

Abhijñâ

2-1 Abhijñâ (33:30)

Review: 3 Seconds of Air – The Flight of Song (2009)

Oscar — Mon, 09 Nov 2009 11:19:57 +0000

artist: 3 Seconds of Air
release: The Flight of Song
format: CD, LP
year of release: 2009
label: tonefloat
duration: 74:25

detailed info: discogs.com.

Released in June 2009, this debut album by 3 Seconds of Air is a new addition to the roster of tonefloat records. On second thought, new… who other than Dirk Serries (vidnaObmana, Fear Falls Burning) would be one of the members of this trio? Together with bassist Martina Verhoeven and guitarist Paul van den Berg, he’s embarked on a new musical journey. The Flight of Song was recorded live last February in a frozen-over Flemish chapel, using two Gibson Les Pauls and a Fender Jazz Bass, some effects, amps, a mic, and a laptop. Sounds like a recipe for some heavy guitar drones, but that’s not quite the case.

No, The Flight of Song is more like the exact opposite: light and flighty sounds in long, drifting compositions. In fact, the band name is perfectly chosen, provided you extend the time period a bit. From start to finish, these three musicians pick you up into a soaring, bright atmosphere, and they don’t put you down until the last notes fade after over an hour. Most of the floating power, so to speak, is provided by gentle guitar waves, with the bass picking out a note here and there. Very slow, very minimal, like a much lighter counterpart to Bohren & Der Club of Gore.

I get the feeling that when the band came to recording the final result, they had grown perfectly attuned to their surroundings and each other’s music; they never get in each other’s way, the sound is delicate and well-designed, and in a way, we’re listening to a record meditation session expressed not in words or song, but in soft drones and waves. The one problem that I have with this though, is the following. This might be one of those cases where the result, however charming, is infinitely less important to the listener than to the maker. For me, the atmosphere and flow of the album is perfect, but in essence, it never transcends the level of excellent background music, because the experience of being part of this meditation is absent. I imagine this must have been different for those who had the chance to attend of the band’s performances this summer. In the end, though, this is purely subjective, and I encourage others to judge for themselves if they can find something tucked away in these musical cloudscapes.

Reviewed by O.S.

Tracklist:

1. Dead Poets Sing The Sunless Land (20:03)
2. The Heart Disintegrates Wearing Disposable Masks Of Angels (22:44)
3. Warping Night Air Having Brought The Boom (18:19)
4. Ghosts Stream The Harmony Of Delight (13:19)

Review: Faelwa – Farewell Sun (2009)

admin — Fri, 06 Nov 2009 20:28:11 +0000

artist: Faelwa
release: Farewell Sun
format: CDr
year of release: 2009
label: Self-released
duration: 19:10

Introducing a promising new Dutch project is always a pleasure to me, so I’m glad I can present Faelwa to you. This band is a duo consisting of Mark Kwint and Jasper Strik, who hail from the Eastern part of the Netherlands. The music they play is instantly recognisable as the kind of romantic neofolk that has its roots in metal, and that we know from bands like Empyrium.

Interestingly enough, this EP starts with what I consider the weakest track, “The Heron”. Like the title track on this release, it is a song based on piano, guitar, and drums, strongly reminiscent of early Tenhi in the way neofolk and progressive rock are fused. The title track, however, is just a bit more refined and original. In between we find the marvellous “Wilgenwind”, which is easily good enough to come straight off an Empyrium or Vàli album; a lovely piece for piano and guitar/bouzouki. The closing track is “Orphan Lullaby”, a calm, soothing composition dominated by a sweet dual piano/guitar melody.

Let me get this out of the way: Farewell Sun isn’t a thoroughly original release, and the sound of inspiring artists – especially Tenhi – is found throughout. It is clear that Faelwa is a young project still in search of its own voice. However, this EP is an excellent first work, lovingly produced and played. It is one of those hugely important first steps for a band, and in this case, it’s a very successful one. Therefore, if you enjoy dark acoustic music from this particular end of the spectrum, do these men a favour and support their development by purchasing this lovely and promising EP.

Reviewed by O.S.

Tracklist:

1. The Heron (4:22)
2. Wilgenwind (2:14)
3. Farewell Sun (7:44)
4. Orphan Lullaby (4:50)

New Tenhi Album ‘Saivo’ Teaser Online

admin — Wed, 04 Nov 2009 07:30:49 +0000

The new album by Finnish progressive folk masters Tenhi is due to appear in summer 2010, according to the label, Prophecy Productions. A teaser for the album has been put online on YouTube recently:

The clip is, of course, not as impressive as the previous complete video for “Kausienranta”, but it’s nice to hear things are moving along for the new album. Just for the heck of it, here’s that older video as well:

Review: Karjalan Sissit – Fucking Whore Society (2009)

admin — Tue, 03 Nov 2009 19:10:22 +0000

artist: Karjalan Sissit
release: Fucking Whore Society
format: LP, CD
year of release: 2009
label: Eternal Soul (LP), Cyclic Law (CD)
duration: 43:31 (LP)

detailed info: discogs.com.

Fucking Whore Society is Karjalan Sissit’s latest full-length album, no doubt eagerly awaited by a growing group of fans. I count myself among the after seeing a stellar performance by the band last year, in which they presented their authentic – and alcohol-drenched – mixture of dark ambient, modern Finnish folklore, and crushing martial industrial sounds.

This new album was release on CD by Cyclic Law and on LP by Eternal Soul, the latter version of which is reviewed here particularly. On the whole, it seems Fucking Whore Society focuses mainly on the variation between threatening ambient pieces and more intense rhythmic industrial tracks, all of which exude an atmosphere of depravity, booze, and misanthropy. Nothing out of the ordinary for Karjalan Sissit, in other words. That goes for everything about the album, really. It is subtly different from its predecessors, but not a lot; the titles are a blend of obscenities in Finnish, Swedish, and English, and the quality level is high: dark and ominous when it needs to be, but overpowering and in your face as well.

Nice perks about the LP version are the bonus track (“Rautakeppi”), the limited coloured vinyl editions and the already quite fancy packaging of the regular LP, and the poster.

It’s not a surprising record; it won’t turn any heads or convert unbelievers. But it’s definitely an excellent and powerful album of post-industrial decay music that manages to ask at least some of the right questions in a rotten – sometimes, admittedly – society: “har du horat runt på campingen?” Have you been whoring around on the camping?

Reviewed by O.S.

Tracklist:

A1. Jävla Psykopat Kärring (Värre Än En Horunge) (4:50)
A2. Asuntovaunussa Huoraamassa (4:18)
A3. Slöddret Måste Bort (2:31)
A4. Loppuun Nussittu Avioliitto (3:44)
A5. Har Du Horat Runt På Campingen? (4:01)

B1. Nyt Tulee Kirvestä; Perkele (3:44)
B2. Rautakeppi (3:16)
B3. Hyi Helevetti (You Are A Whore And Will Always Be) (3:41)
B4. Skitfolk (3:58)
B5. Knulldate (4:27)
B6. Solmu On Solmittu (4:57)