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Back in stock - musica Black Metal e Dark estrema
[6 Panels Digipak] Shortly following the successful re-editions of FORGOTTEN WOODS’ cult albums “As The Wolves gather” and “The Curse of Mankind”, it’s now time to offer the same treatment to the most controversial and innovative project of the Norwegian combo, JOYLESS.
“Wisdom & Arrogance” is the second output of the project, but also the first to show JOYLESS in a comprehensive form, an evolution of the first wild signs that characterized the band’s debut, with songs swifting towards more contaminated negative rock territories.
The album has been indeed an influence on the scene and was released by the young Kvarforth (Shining) via his personal label Selbstmord Services.
Kommandant took their first steps into the Black Metal playground whilst the western world was retreating into a deep slumber. We can now either decide to face reality; a call to arms, or remain in such a state of impotence.
Kommandant brings forth the inferno; an enlightenment and awareness that is both clandestine, and apparent simultaneously . Ancient phantograms, echoing both the struggle of the past and the actuality of the present, make their fog of war pervasive to all the stagnant relics that hinder advancement. Audibly , this is by far the most staggering version of the Kommandant weaponry. Blunt force trauma, striking hard and fast, for maximum effect.
The soldiers marching in the fog are obedient vessels, actuated by a primordial magnetic impulse. While listening to “Titan hammer” it can immediately be perceived as an imminent tragedy , a mere lingering spectre, devouring any remaining glimmer or aspirations. Once fully emerging from this acrid slurry, the miasma will succeed in trapping the listener within the entrails of atavistic phantoms.
References can be made somehow to nefarious acts like War, Marduk & Zyklon-B. Within a scene that is severely overpolluted by disingenuous bedroom projects , Kommandant takes a step to the front with mature songwriting and a professional studio recording shaped in Belle City Sound Company studio, located in Racine, WI.
The artwork and layout is perfectly emphasized once again with the creative genius of artist Francesco Gemelli ( Abigor, Katatonia. Kvist, Darkspace, Spectral Lore ..)
“Titan Hammer” will march and progress deeper and deeper into the battlefield of humanity , like a dagger to the heart of the world.
EXHIBITION OF CONQUEST is an abrupt departure from the undeviating approach of titan hammer; a sojourn into the psyche and Genesis of the band’s original historical concepts, yet realized as a contemporary manifestation. It has been a time for reflection, and time for pause, to energize and gather weapons, planning the next strike.
This true form of Black art is dangerous and intoxicating, a fist in the face of God.
EXHIBITION OF CONQUEST provides a path of escape, to those lost within the current insufferable and nauseating state of extreme music.
This new chapter of the American band is not merely a furtherance of their usual brutal approach . This version has been sharpend to form a Rising Storm of frostbitten icy landscapes, that satiate the seeker of truth.
Once again, all artwork has been created by Francesco Gemelli (Darkspace, Spite Extreme Wing, Forgotten Woods, Abigor…).
Kommandant returns to record all audio at Belle City Sound, in Racine ,WI
Linguas Diaboli è un numero speciale di Sulphur Fanzine, stampato professionalmente ed interamente dedicato a quelle realtà Black Metal italiane (e non) che cantano nel proprio dialetto o in lingua autoctona. Tante interviste ed articoli, come sempre, tra cui IMAGO MORTIS, MALARIUM, TRINAKRIA, VULTUR, ILIENSES e molti altri
IN LINGUA ITALIANA
Numero speciale di Sulphur: una monografia di 30 pagine di STORMLORD
IN LINGUA ITALIANA
IN LINGUA INGLESE
(metalitalia.com) "A differenza di altri misteriosi figuri che oggi popolano le tenebre dell’underground black/death, Lalartu continua a conciliare la suddetta immagine incappucciata con un suono che, per quanto complesso, stratificato e ultraterreno, si guarda bene dallo scadere in forme onanistiche di eccentricità e sperimentazione (basti pensare alla recente prova degli Ævangelist). Musica che si è nutrita abbondantemente delle peggiori nefandezze del catalogo Iron Bonehead e Norma Evangelium Diaboli da un lato e di certi titani degli anni Novanta dall’altro, per un risultato complessivo che, sul filo di una gestualità rituale e contraddittoria, sembra volerci traghettare oltre il nostro spazio-tempo.
Così com’era stato per l’esordio “Kadingir”, anche “ITIMA” si configura quindi come un viaggio, un’opera da assimilare nelle giuste condizioni per riuscire a carpirne il linguaggio espressivo e non smarrirsi nel suo reticolo di pieni/vuoti sensoriali, con i primi dati da esplosioni di blasfemia non troppo distanti da quelle di Wrathprayer, Teitanblood o Beyond e i secondi a manifestarsi grazie a parentesi ambient dal sapore etnico e siderale. Un flusso di coscienza (trattasi di un’unica suite della durata di poco superiore ai quarantacinque minuti) che ci mostra il Nostro camminare sull’orlo dell’Abisso per poi descriverne con dovizia di particolari il tuffo in quel maelstrom ribollente e terrificante, con i riff, le ritmiche e le voci a farsi via via sempre più deformi e votati al culto di antiche divinità che creano e distruggono la vita.
