ADERLATING

Alias: GNAW THEIR TONGUES

doom / abstract symbolism / electroacoustic / experimental / dark ambient / drone music

Aderlating is Mories, the deus ex machina of De Magia Veterum, Gnaw Their Tongues, Ophiuchus.

ASTRAL LUEUR

Alias: TELE.S.THERION

doom / avant jazz / spoken word / musique concrete / psychedelic / esoteric / black metal / ambient music / weird black metal / minimalism / avant-garde / field recordings / sound art / dark ambient / nonmusic / abstract expressionism / ritual dark ambient

Astral Lueur (the name is the synthesis of german and french languages) came up from darkness in the middle of 2009. Astral Lueur's music tells about world of shadows, anomalous places with history goes back centuries, about something staying at the turn of life and death. Main concepts of project is: look at death by eyes of the dead in damned places which was lost in time.


Lunurumh - All instruments, synths, effects, and voices.

Contacts:
astral.lueur@gmail.com
http://www.myspace.com/trueastrallueur

 

BREATH OF CHAOS

doom / esoteric / black metal / expressionism / abstract symbolism / weird black metal / electroacoustic / experimental / dark ambient

JULIAN BONEQUI

Alias: MATARRATAS / ULTRA SPIESSER

doom / avant jazz / grind / performative art / psychedelic / minimalism / avant-garde / electroacoustic / experimental / noise / constructivism / abstract expressionism / harsh / drone music

Julian Bonequi (born December 27, 1974 ) is a Mexican artist working mostly with Noise and Improvisation and 3d computer graphics[1] He plays the drums, and experiments with electronics and voice to create a rhythmic environment much richer in atmospheres and harmonic flow situations. He plays in the FOCO Orchestra, and create with Dave Tucker[2][3] and Ricardo Tejero the project Machinations of Joy Julian Bonequi established himself in Barcelona within the Spanish improvisation free jazz music scene since 2004, but has since also performed with a wide range of musicians working in diverse musical areas since he lived in Mexico. He has performed as guest with the London Improvisers Orchestra as electronic voice, attracted by the roots of free improvisation From 1995 to 2000 he participated in several projects of folklore, Rock in Opposition and psychodelia in Mexico City. Since 1995 he played in a lot of punk, psycodelia, stone rock and progressive rock projects, but always trying to give 100% importance to the freedom that improvisation gives to music. He played with Humus (band) that was founded in 1987 by Jorge Beltrán (guitar, keyboards) and Victor Basurto the full fledged bassist. Both of them, are formers musician of many other important Mexican bands, as Frolic Froth, Smoking The Century Away, Euphoric Darkness, Loch Ness and Semefo. Since 1997 Westminster became more or less the permanent drummer of Humus, who was preceded by Julian Bonequi (1998–2000) when Jorge Beltrán invited Bonequi to made important contributions to different albums(not yet released).[4][5] In 1999 he met Decibel (band).[6] Decibel were a rare exception to the prog acts of the 1978 period in Mexico, and were well versed in European groups such as Faust, Magma, Gong, and the Italian prog masters Il Balletto di Bronzo. The lineup centered around keyboardist Carlos Robledo and the bassist Walter Schmidt. So he found finally a place for improve his skills and experiment more. With them Julian Bonequi perform in the First International Festival of Progressive Rock in Mexico City, with Magma and Gong also in the program. And the next year, in March 2000 in a concert in the Museum Ex-Teresa Arte Actual in the historic centre of Mexico City, they celebrated the 25th anniversary and present the CD release named Fortuna Virilis, in addition to a retrospective with the work done since 1974. This concert is included in the three-disc box Fiat Lux, and it was the last time Decibel, this legendary Mexican band of Rock In Opposition play together without Javier Baviera, or Jaime Castaneda, but with Julian Bonequi on drums and Juan Carlos Ruiz on bassoon, former musician of Nazca, and leader of Culto Sin Nombre The same year, in 2000, the Israeli Label, MIO Records produced a 3-disc box called Fiat Lux. The complete recordings. 1977 - 2000, which contains all the studio albums of Decibel, and plus live material and rarities of unedited material. And a small booklet of 28 pages with pictures of the beginnings of the band. Also this box contained the 25th anniversary concert at Ex-Teresa Arte Actual. With Metaconciencia Julian Bonequi recorded the first album "Bestiario" in 2003 published by the French record label MUSEA Records. The critics received well this music work. A rhythm section perform a colourful and warm instrumental rock with multiple influences: Seventies Progressive rock, jazz-rock, Mexican music The music presented in Bestiario is quite intensive all of which is accompanied by quite an extraordinary drumming. Since 1995 he played in a lot of punk, psycodelia, stone rock and progressive rock projects, but always trying to give 100% importance to the freedom that improvisation gives to music. He played with Humus (band) that was founded in 1987 by Jorge Beltrán (guitar, keyboards) and Victor Basurto the full fledged bassist. Both of them, are formers musician of many other important Mexican bands, as Frolic Froth, Smoking The Century Away, Euphoric Darkness, Loch Ness and Semefo. Since 1997 Westminster became more or less the permanent drummer of Humus, who was preceded by Julian Bonequi (1998–2000) when Jorge Beltrán invited Bonequi to made important contributions to different albums(not yet released).[4][5] In 1999 he met Decibel (band).[6] Decibel were a rare exception to the prog acts of the 1978 period in Mexico, and were well versed in European groups such as Faust, Magma, Gong, and the Italian prog masters Il Balletto di Bronzo. The lineup centered around keyboardist Carlos Robledo and the bassist Walter Schmidt. So he found finally a place for improve his skills and experiment more. With them Julian Bonequi perform in the First International Festival of Progressive Rock in Mexico City, with Magma and Gong also in the program. And the next year, in March 2000 in a concert in the Museum Ex-Teresa Arte Actual in the historic centre of Mexico City, they celebrated the 25th anniversary and present the CD release named Fortuna Virilis, in addition to a retrospective with the work done since 1974. This concert is included in the three-disc box Fiat Lux, and it was the last time Decibel, this legendary Mexican band of Rock In Opposition play together without Javier Baviera, or Jaime Castaneda, but with Julian Bonequi on drums and Juan Carlos Ruiz on bassoon, former musician of Nazca, and leader of Culto Sin Nombre The same year, in 2000, the Israeli Label, MIO Records produced a 3-disc box called Fiat Lux. The complete recordings. 1977 - 2000, which contains all the studio albums of Decibel, and plus live material and rarities of unedited material. And a small booklet of 28 pages with pictures of the beginnings of the band. Also this box contained the 25th anniversary concert at Ex-Teresa Arte Actual. With Metaconciencia Julian Bonequi recorded the first album "Bestiario" in 2003 published by the French record label MUSEA Records. The critics received well this music work. A rhythm section perform a colourful and warm instrumental rock with multiple influences: Seventies Progressive rock, jazz-rock, Mexican music The music presented in Bestiario is quite intensive all of which is accompanied by quite an extraordinary drumming.

K11

Alias: PT-R | PIETRO RIPARBELLI / PIETRO RIPARBELLI / KAULA / MACABRE / SACRAMENTAL CEREMONY / TELE.S.THERION

doom / musique concrete / psychophonia / electronic voice phenomena (evp) / transcommunication / esoteric / radionoise / abstract symbolism / suprematism / acousmatic / weird black metal / minimalism / avant-garde / electroacoustic / sound art / experimental / noise / nonmusic / ritual dark ambient / conceptual art / drone music

Pietro Riparbelli is a philosopher, composer and sound-multimedia artist. Co-curator and executive producer of the meta-curatorial practice platform "Metasound", spin-off of the publisher Radical Matters - Editions / Label directed by SG, to investigate the dimension between music and contemporary art: http://www.radicalmatters.com/metasound Artist Statement: My work arises from the study of the Phenomenology of perception with particular reference to the dichotomy between Visible/Invisible strictly connected with the studies about the concept of sound landscape. About the environmental works I usually make a deep investigation of particular places, making recordings like field recordings or recordings of signals from short wave radio receivers and VLF receivers, in order to compose conceptual works about the selected sites; together with a deep study about the history of the place on which I’m working on. I’m interested in reconfiguring the sound panorama through its transcendental aspects to create a dimension that is not only sound but mainly a total perceptive dimension that bring ourselves to find out a new kind of perception. I realize works as PIETRO RIPARBELLI especially related to the world of Contemporary Art. So each work arise from a conceptual idea turned into sound. The field in which I principally work is linked to the perception of the sound landscape and to the perception of inner states of consciousness related to other dimensions of awareness. K11 is a project that deals with the world of radio signals, the trans-communication and other invisible phenomena, to create a dimension where the only sound sources are signals from shortwave radio receivers and field recordings taken from very specific locations. In this project I use only sounds coming from the atmosphere and from invisible places turned into fields of drone with particular interest into the study of the dynamics of Noise. 



KAULA

Alias: PT-R | PIETRO RIPARBELLI / K11 / PIETRO RIPARBELLI

doom / psychedelic / black metal / abstract symbolism / weird black metal / avant-garde / noise / drone music

Kaula are: Pietro Riparbelli: Conception, Organs, Distorted Voice and Fiedl Recordings Rosy (Profanal): Vocal Kristian (Profanal): Guitar Nicco (Profanal): Drum Kaula is an experimental Black Metal band based in Italy that wants investigate some dimensions related to the hindu culture with particular reference to the worship of the Kali Deity. Thus, all the lyrics of kaula project are taken from an old an important text of the Shivaitic Tantrism called AVADHUTA GITA. The Avadhuta Gita is a text of Vedanta representing extreme Advaita or Nondualism. It is ascribed to Dattatreya, who is looked upon as an Incarnation of God. Avadhuta means a liberated soul, one who has "passed away from" or "shaken off" all worldly attachments and cares and has attained a spiritual state equivalent to the existence of God. Though avadhuta naturally implies renunciation, it includes an additional and yet higher state which is neither attachment nor detachment but beyond both. An avadhuta feels no need of observing any rules, either secular or religious. He seeks nothing, avoids nothing. He has neither knowledge nor ignorance. Having realized that he is the infinite Self, he lives in that vivid realization.

MASONIC YOUTH

doom / performative art / abstract symbolism / avant-garde / electroacoustic / experimental / drone music

M.Y. founder members are Johnny van de Koolwijk, Marc Van Elburg. Image courtesy WOT4 RECORDS.

MATARRATAS

Alias: JULIAN BONEQUI / JULIAN PERCY

doom / avant jazz / psychedelic / modern composition / abstractism / ambient music / avant-garde / electroacoustic / experimental / noise / harsh / drone music

MATARRATAS are: Julian Percy and Julian Bonequi

MZ.412

Alias: FOLKSTORM / NORDVARGR / HENRIK NORDVARGR BJORKK / TOROIDH

doom / black metal / abstract symbolism / suprematism / acousmatic / weird black metal / electroacoustic / experimental / noise / dark ambient / ritual dark ambient / drone music

Maschinenzimmer 412 (currently known as Mz.412) are the inventors of the so called "black industrial", a dark and haunting music which mixes industrial noise, ritual ambient and black metal atmospheres. The mastermind behind the project is Henrik "Nordvargr" Björkk (often credited as Kremator), aided by different people with each release. Original releases from 1989-1990 came under the name Maschinenzimmer 412, eventually Björkk founded the Swedish EBM band Pouppée Fabrikk (see relative Discogs entry). The project came back in 1995 with the shortened moniker Mz.412 and a typical black metal look (painted faces, long hair, black leather), which was later abandoned. Here is one of the truly classic CMI acts, that already in 1989 released the "Malfeitor" LP. After a four year hiatus the band formerly known as Maschinenzimmer 412 were once again blowing the battle horns in 1995, and returned with a timelessly blasphemous musical statement, the "In Nomine Dei Nostri Satanas Luciferi Excelsi" album. By that time the restructured and revitalized MZ. 412 had chosen to cruise down the left handed path, a fact that has ever permeated their output: in album titles, cover art, and not least in the songs themselves, recorded as they are during rituals. By pushing the influences from satanic rites and black metal music to the limit, it resulted in "Burning the temple of god", the ultimate crossover between dark ambience and the metal genre. This is True Swedish Black Industrial, and these guys aren´t kidding; this is music to either conjure or exorcise your demons to. - Mårten Sahlén -

NORDVARGR / HENRIK NORDVARGR BJORKK

Alias: MZ.412 / FOLKSTORM / TOROIDH

doom / abstract symbolism / weird black metal / avant-garde / electroacoustic / experimental / noise / dark ambient / ritual dark ambient / industrial music / drone music

"Driven by obsessive ideas and an uncontrollable will of producing quality ambience, Henrik Nordvargr Björkk is a man of many projects - MZ. 412, Folkstorm, Toroidh, Vargr, but it's under his given name and very own grim fashion that he delivers the most suffocating music around. Nordvargr manages to capture the spirit of bleakness like no other artist. The different shades of black and grey he paints with have never been more disturbing and at the same time more beautiful. The real Nordic giant of modern dark ambient music."

ORDO TYRANNIS

Alias: MICHAEL W. FORD

doom / black metal / abstract symbolism / electroacoustic / experimental / noise / dark ambient / ritual dark ambient / industrial music / drone music

Saint ov Gravediggers- Vocals, Lyrics, Incantations Akhtya Nachttoter- Instruments, Mutations Ordo Tyrannis is dedicated to the awakening of darken'd Chaos within the strong and the continuation of despair in the amass'd weak. Ours is a song of the cruelty of the iron soul and the corrosion of that which endures solely through the pity of crippl'd mercy. Ours is the roaring of essential Darkness. Ours is the dirge of shatter'd days. Ours is the litany of the Rust'd Aeon.

PAIN FORGED

doom / black metal / abstract symbolism / weird black metal / experimental / noise / dark ambient / drone music

PAUL CHAIN

doom / musique concrete / esoteric / minimalism / avant-garde / experimental

Paul Chain
Aliases: Death SS 1977-1984  |  Paul Chain - Violet Theatre 1984-2003.

Paul Chain is an Italian multi-instrumentalist musician,
record producer and Italian artist.

Official biography "art evolution system" updated to: May 18 2016 [PDF]

Author linked to experimental music and radical improvisation,
influenced by minimalism and musique concrete,
pioneer of the doom metal genre
and precursor of the "Italian dark sound".

Paul Chain (1977-2003) declares his artistic death on April 05 2003.
 

RMEDL

Alias: SG

doom / sound sculpture / photography / video art / visual art / avant jazz / spoken word / musique concrete / performative art / sound installation / modern composition / psychophonia / electronic voice phenomena (evp) / transcommunication / esoteric / black metal / ambient music / acousmatic / minimalism / avant-garde / electroacoustic / sound art / experimental / anti records / concrete turntablism / noise / dark ambient / contemporary art / nonmusic / constructivism / abstract expressionism / conceptual art / drone music

RMEDL | RADICAL MATTERS EDITIONS LABEL

SACRAMENTAL CEREMONY

documentary / doom / musique concrete / esoteric / black metal / ambient music / abstract symbolism / minimalism / avant-garde / experimental / dark ambient / site specific / ritual dark ambient / industrial music

An untold arcane document about early 1988's avant dark atonal black doom metal.

TELE.S.THERION

Alias: LUNURUMH / PAOLO SANNA / JASON VAN GULICK / LE QUAN NINH / MICHEL DONEDA / STEFANO CORSI / FRANZ HAUTZINGER / DAN BLACKSBERG / KRISTIAN CUCCHIARA (PROFANAL) / REINHART HAMMERSCHMIDT / ELI LITWIN / ROGER TURNER / RENè LUSSIER / NICK DIDKOVSKY / MASSIMILIANO VIEL / SG / K11 / ASTRAL LUEUR / KASPER T. TOEPLITZ / ANTOINE CHESSEX / WILDNESS PERVERSION | MORTUARY DRAPE

noise music / reduced listening / free jazz / acousmatic black metal / doom / avant jazz / musique concrete / sound installation / modern composition / esoteric / black metal / ambient music / abstract symbolism / acousmatic / minimalism / avant-garde / electroacoustic / field recordings / sound art / experimental / dark ambient / contemporary art / nonmusic / abstract expressionism / ritual dark ambient / conceptual art / industrial music / drone music

TELE.S.THERION
Acousmatic Black Metal Ensemble.

In large Ensemble with:
Lunurumh, Nick Didkovsky, Norman Westberg, Renè Lussier, Roger Turner, Eli Litwin, Massimiliano Viel, Reinhart Hammerschmidt, Kristian Cucchiara (Profanal), Dan Blacksberg Franz Hautzinger, Stefano Corsi, Michel Doneda, Le Quan Ninh, Jason Van Gulick, Kasper T. Toeplitz, Antoine Chessex, Paolo Sanna, Wildness Perversion [Mortuary Drape].

Acousmatic Black Metal is the TST self-defined musical genre. Music for loudspeakers and audience: based on atonal music and non-idiomatic improvisation principles, applied to a radical Black Metal approach, linked to authors such as Abruptum, Hell Icon, Mözkörke, Emit, Amaka Hahina, Moëvöt, Profane Grace, Astral Lueur, Black Pentecost, Darkness Enshroud, Gnaw Their Tongues, Sunn O))), Grauen Pestanz, Summum, MZ.412, Havohej, Knálh-Kurruv-Kih, Flittering, Burial Hex, Utarm, Wolf Eyes, Zero Kama, Karlheinz Stockhausen, Hermann Nitsch, Edgar Varese, Antonio Russolo, Giacinto Scelsi, Luigi Russolo, Groupe de Recherche de Musique Concrčte, AMM, Gruppo di Improvvisazione Nuova Consonanza, Spontaneous Music Ensemble, Musica Elettronica Viva, The Music Improvisation Company, Universe Zero, Groupe de Recherches Musicales, Scratch Orchestra, ONCE Group, following the non-musical aural path of early Sodom, Hellhammer, Beherit, Blasphemy, Von, Wormphlegm, Mordor, Senthil, Thergothon, Kranivm, and many more authors who moved from the borders of this sound paradigm. Inspired by the Russolo‘s researches in his Black Art of Noise; the sound spatialization studies of Karlheinz Stockhausen and his music theory; Edgar Varese‘s studies and his vision of “sound as living matter“, the non-objective and aniconic art of Tele.s.therion, is centered on polyphonic sound projections for immersive deep listening experiences, in order to unleash the auditory stimuli that allow the altering of cognitive-perceptual processes (pareidolia), to bring out imaginative and synaesthetic subconscious processes, the epopteia! What we commonly know today as Black Metal, it’s just one of the possible forms available.

[ FREE DOWNLOADABLE A5 FANZINES ]

◢ http://www.radicalmatters.com/C.O.M.M.E.N.T.A.R.I.V.M.I.pdf

◢ http://www.radicalmatters.com/C.O.M.M.E.N.T.A.R.I.V.M.II.pdf

◢ http://www.radicalmatters.com/C.O.M.M.E.N.T.A.R.I.V.M.III.pdf

◢ http://www.radicalmatters.com/C.O.M.M.E.N.T.A.R.I.V.M.IV.pdf

TELE.S.THERION Acousmatic Black Metal Ensemble
Tele.s.therion music program it’s based on the use of techniques and dynamics borrowed from musical genres such as Jazz and Rock, and thus from the practices of the radical primitive Blues that unites them, and that can be find ourselves in the original Black Metal music, introduced here as an interpretive key inside of a compositional and executive system linked to practices carried out by the fringes of classical, modern, non-idiomatic, contemporary, and avant-garde music (with a special interest on the concrete and acousmatic process), sound art, improvised, atonal, black, dark and doom heavy metal, searching for the roots of the meaning of these terms, for their sonic phenomenas, their thought forms, before they became a music genre.

What we commonly know today as black metal, it’s just one of the possible forms availabes.

It is necessary start to watch through the veil of this genre, with an upside down point of view, to discover its das unheimliche, to transgress the stereotopies and cliché, and design new possible forms whithin this musical dimension; to start a new auditory journey to the roots of Black Metal music. The Black Metal's engineering its mutuated by its royal descent, which is derived from the practices developped in Punk and Thrash era, and it is distinguishable by a strong interest in the aesthetic theories, focusing on the physiological effects of special categories such as the sublime, which here become extra musical evocative suggestions, shock tactics, hard edged, transgressive and antiestablishment attitude, iconoclasm, etc. [...]

The TST compositional method, the sound matters was previously selected choosing the performers; the characters and the timbres of the sound bodies chosen for this acousmatic composition, are a unity with the personality of the author involved in the ensemble. Such as characters on the set of a movie, they play blind and alone, using a script and few essential indications. [...]

To keep this aspect of independence of each sound event, each author was called to perform himself, recording his own sessions separately, as a moment form, without knowing what the other authors involved will do. Each recording session, it's conceived and treated as a sort of whodunit, an event developed inside the "locked room mystery", a narrative approach conceptually transposed in sound art, where each detail it's a fondant clues of the acoustic scene, raw material that becomes a sound object per sé. [...]

T.S.T.

https://telestherion.bandcamp.com

https://www.youtube.com/user/TELESTHERION

http://www.discogs.com/artist/Tele.s.therion

https://cmmntrm.blogspot.com

https://www.youtube.com/channel/UCX2UUikTbW5TMtGSXwZzuBA

http://lnx.radicalmatters.com/tele.s.therion

https://rateyourmusic.com/artist/tele_s_therion

THE AUSTRASIAN GOAT

doom / black metal / abstract symbolism / weird black metal / electroacoustic / drone music

THE AUSTRASIAN GOAT is Julien Louvet Austrasia was the name of a forgotten land, between france and germany. Centuries after centuries, the people of Austrasia refused the christian influence and kept a relative independance until the 18th century. Through the ages, this land kept marks of ancient pagan rites, scares of deceases and major conflicts, and shroud of suffering, hidden behind apparent serenity. This green and grey desert attests the fall of a civilization.

ULTRA SPIESSER

Alias: JULIAN BONEQUI / JULIAN PERCY / ANTON MAIOF

doom / avant jazz / modern composition / abstractism / ambient music / minimalism / avant-garde / electroacoustic / experimental / noise / abstract surrealism / drone music

ULTRA SPIEßER (ULTRA SPIESSER) are: Julian Percy, Anton Maiof, Julian Bonequi “NK a well known place for avant-garde and experimental music in Berlin was the location where Julian Percy aka Ratbag(electric guitar treatment), Anton Maiof (voice, wii & max/MSP) and Julian Bonequi (manipulated drums & voice) came together in November 2010 to play Ultra Speicer, a stunning performance which promises a deep and intense sonic trip. Leading off with hypnotic drumming, distorted guitar lines embedded in ambient sounds the album moves to ecstatic drumming combined with female and male vocals, accompanied by well placed sound collages which achieve to carry off the listener to another state of consciousness.” Julian Bonequi (December 27, 1974 ) is a Mexican artist working mostly with Noise and Improvisation since 1995. His musical research focuses on emotional instability, semantic landscapes and cathartic explosions and even alienated as an act of concentration. Curator of Audition Records, Dissemination of Musicalibre & drums on F.O.C.O. Orchestra (2006-2011)… has performed under the conduction of William Parker, Keith Tippett, Eddie Prévost, Michael Fischer, London Improvisers Orchestra, Berlin Improvisers Orchestra w/ Tristan Honsinger, Ute Wasserman, Alison Blunt, Wolfgang Georgsdorf… w/Mat Pogo, Klaus Kürvers, Hans Tammen & Ursel Schlicht, Thomas Bjelkeborn, Olaf Rupp, Olivier di Placido, Dave Tucker ( Machinations of Joy ), Germán Bringas, Zeger Vandenbussche, Clayton Thomas… Some other projects : Animales Varios (w/Klaus Kürvers), Ultraspießer (w/Ratbag), Tabla y Cuchillo (w/Ricardo Tejero), The Blind Date (w/Julio Clavijo), Sangre Azteca, Comechingones, The Third Mind (Barcelona), Pandillismo (México) … In Istanbul has performed with Volkan Terzioğlu (Islak Köpek)… and recorded with Umut Çağlar ( re:konstruKt ), Korhan Futacı & Barlas Tan Özemek. At the end of 90′s he played as invited musician with Decibel ( 1999 ), Culto Sin Nombre (2003) … Basically psicodelic bands, chamber music , rock in oposition and other folkloric fusions in Mexico City… Julian currently is working with drums and voice as soloist in a mixture of extreme improvisation and instant composition. In 2012, Julian will start collaborating with Salon Bruit. Julian Percy wurde 1978 in Melbourne Australien, geboren. Für die Erstellung seiner Klänge bedient er sich verschiedener Materialien, wie z.B im urbanen Raum gefundene Objekte, selbst gebauten Instrumenten , individuell preparierte Guitarren, klassischen analogen Effekten , Sampler . Seine Projekte sind RATBAG, LAST DOMINION LOST , MATARRATAS , ULTRA SPEICER , HELAAS , SKULP , NK. RATBAG on ZHARK INTERNATIONAL

UTARM

doom / esoteric / expressionism / abstract symbolism / weird black metal / avant-garde / noise / ritual dark ambient / drone music

s.f.skancke. live rituals: s.f.skancke, s.o.toft Utarm was a project that has been dwelling for years,without finding its right form. Various black metal and ambient bands..projects was tried out through the nineties, but the constallations of people never worked,and it was clear that a oneman project was the only solution. Human relations seems to be a constant failure.in the early years of the new millenium the beast found its ugly shape. Not wanting to make the classic Black Metal, neither Noise or Doom, but creating true satanic desperation not bound by musical structures. Through Utarm the darker shadows of humanity can be found, a mirror to reflect the black holes and misery of oneself. Humans tend to avoid this side of their personality, therfore most humans does not have the caracteristics of a whole person, just shallow creatures who use their time to try and forget their unavoidable death. When confronted with utarm this is not longer possible. Total darkness concentrated to audial spikes of hate, and these spikes will penetrate you.....