BRAGAGILD PRESENT: SOLBLOT, DIE WEISSE ROSE, ALLERSEELEN
KOPENHAGEN, 19.III.2005
www.bragagild.dk
http://allerseelen.blogspot.com/
DEN TALENDE KNOGLE
Flight to Kopenhagen. Azure sky. Himmel - in German just one word where the English language distinguishes between sky and heaven. The clouds below the airplane reminding me of photos of the antarctic Neuschwabenland. Reading some lines in Martin Heidegger, Was heisst Denken? "Was sich entzieht, kann sogar den Menschen wesentlicher angehen und in den Anspruch nehmen als alles Anwesende, das ihn trifft und betrifft." At the horizon the Austrian mountains. The desire to be there again. Looking forward to new experiences and impressions. Walking through the lanes of Kopenhagen. Many antiquariats, many books also in German by Rainer Maria Rilke.
On the roof of the Börsen, the old stock exchange, a monument of four dragons, their tails coiled together, forming a grey conic tower. Soundcheck of Solblot from Sweden, Die weisse Rose from Denmark, Allerseelen. In the afternoon the vinterbanket, the last winter banquet before the beginning of spring - grillet vildsvin (roasted boar) and many other things to eat. Thinking of Gullinborsti. This vinterbanket is a tradition of Bragagild, grillet vildsvin is eaten each year at this spring festival. Before the concerts den talende knogle (the talking bone) was passed around, a bone of the first boar that was eaten five years ago. Every one holding the talking bone was allowed to talk, to recite, to ask or just to say thank you. I said thank you for the invitation and the great meal prepared by a girl of Bragagild. I had one special wish - holding the talking bone during the whole Allerseelen concert. Solblot with ancient Swedish songs, guitar, accordion, long horn, beautiful music, but very short. Die weisse Rose with four drummers, one of them fourteen years old, soundscapes, some voices of Max Ernst and Klaus Kinski. On the stage white roses. Allerseelen were dynamic, music as ammunition - on my back and head I felt several wooden splinters from the sticks of one of my apocalyptic drummers. Holding the microphone in the left hand, den talende knogle in the right hand. During the love song Löwin I wound some white roses of Die weisse Rose around the talking bone.
Walking around in the sunshine with my bassist at the Stadsgraven. The first flowers apart from the white roses yesterday. In the Nationalmuseet I was impressed by the large, dark lures - strange ritual music instruments which were found by pairs in the black swamps. They looked more like tools. Oak coffins with dead women and men. The men with swords, the women still having combs and daggers with them - they would need them again after awakening. Woollen blankets to avoid that they freeze. There is no death, just a big or small sleep in cold nights. Thinking of Miguel Serrano´s beautiful words: "Nur während des Todes ist einem eine kurze Ruhe vergönnt." Stones with helleristning (rock carvings). A stone like a small portable throne with footprints for an emperor or magician - who is standing on it, has power. Thinking of the stone birth out of the petra genetrix. Pieces of dark amber. Large rune stones, Tirsted from Lolland, Tryggevaelde from Ostsjaelland. The runic inscriptions almost always vertical, from the bottom to the top. The famous silver cauldron from Gundestrup which was fabricated in South Eastern Europe. Drinking Malbec red wine, Yggdrasil´s Mjöd (mead).
Spring equinox. Beautiful weather. Travelling by train with a member of Die weisse Rose to Odense. Going by bus to Otterup. In the North of Odense a beautiful and very dynamic "devilish" black sculpture of Thor with his hammer on his chariot with the two he-goats Tanngrisnir and Tanngnjostr. Dolmens and tomb chambers close to Kappendrup. Close to Emmelev a beautiful little jaettestue (dolmen), surrounded by thorns like Dornröschen, the sleeping beauty in the fairy tale. Close to Emmelev too a beautiful large dolmen, this one having a more martial impression - like a bunker. The entrances of the two dolmens looked towards South-East. Staying in the evening and night in Odense. Listening to the strange and surreal songs of Else Marie Pade. Listening to the dark chants of Utrenja, composed by Krzysztof Penderecki.
Train to Roskilde. The ships of the vikings. Buying a small Thor´s hammer which was found on the Danish island Falster. The Roskilde fjord. Going by bus to Öm. Walking two kilometres to a beautiful tumulus, appearing like a female breast. The stone chamber inside the hill had a length of around seven metres. Its roof consisted of heavy rocks. A beautiful place to spend the night. Its entrance looked towards East, the direction of the rising sun. Almost no bones were found inside the chamber, solely flints, amber pearls. Maybe this tumulus was no tomb hill but a place where women went to give birth to their children. In a culture where death was sacred, birth of course had to be considered as sacred too. In fairy tales the farmers brought each winter solstice food to the jaette (spirit) living inside the dolmen to have a good harvest in the next year. Another hint to fertility. I was glad, saying thank you to be able to be at this place which appeared to me like the navel of Denmark. Is there a connection between the German words danken (to say thank you) and denken (to think)? The gaya scienza - to be able to say thank you, to be aware that everything might be completely different the next day: Als wärs das letzte Mal. Again in Kopenhagen. Being interviewed for the Danish magazine Evilution. Speaking about the talking bone, about dolmens, about art as a powerful psychoactive field of force, about songs and lyrics as seeds.
The Ny Carlsberg Glyptotek. Many beautiful and powerful solar symbols in the garden and on the facade of this building. A Mithras relief – I was again fascinated by the dynamics of this monument and movement - a circle being formed by the tail of the bull touching the coat of Mithras who closes with one hand the nostrils of the bull and pulling the dagger with the other hand into the flesh. Fleisch - again in German only one word for the English distinction between flesh and meat. Statues of some muses - Melpomene (tragedy), Polymnia (hymns), Erato (poetry), Thaleia (drama). But Polymnia and Thaleia without arms like the female saint in Alejandro Jodorowsky´s psychoactive movie Santa Sangre. Also a marble bust by Antonio Canova from 1807 which might show Mithras with the Phrygean cap. Etruskan art. Egyptian stone reliefs - the representations of the Egyptian ships reminded me of the books of Jürgen Spanuth about Northern influences on the Egypt culture. Returning to Austria. The clouds blueish and purple like on the paintings by Nikolas Roerich.
Gerhard
26.III.2005 + 24.II.2006
"Ein phantastisches Konzert! Die Trommler entfachten, unterstützt vom Bass, ein wahres Feuerwerk, laut. Allerseelen spielte sich quer durch das gesamte Repertoire und hat sich mittlerweile seinen eigenen Stern am Himmel der hochkarätigen Livebands gesichert."
www.lichttaufe.de
Tuesday, January 24, 2006
Friday, January 13, 2006
ALLERSEELEN: TROPFEN SCHÖNER ZEIT (YUKIO MISHIMA)
Allerseelen: Tropfen schöner Zeit
Zeit
unwiederbringlich
welchen Reichtum jeder Tropfen barg
an dem man sich berauschen konnte
Tropfen schöner Zeit
wie die Tropfen
eines edlen, schweren Weins
die Zeit tropfte dahin
wie Blut
alte Männer vertrockneten
und starben
sie hatten versäumt
die Zeit in jenem Moment
anzuhalten
da das reiche Blut
reiche Trunkenheit birgt
Aus: Yukio Mishima, Todesmale des Engels
The Allerseelen song Tropfen schöner Zeit was recorded on 13.1.2006 for the Russian Allerseelen-Changes-Split CD Men among the Ruins (summer 2006).
Zeit
unwiederbringlich
welchen Reichtum jeder Tropfen barg
an dem man sich berauschen konnte
Tropfen schöner Zeit
wie die Tropfen
eines edlen, schweren Weins
die Zeit tropfte dahin
wie Blut
alte Männer vertrockneten
und starben
sie hatten versäumt
die Zeit in jenem Moment
anzuhalten
da das reiche Blut
reiche Trunkenheit birgt
Aus: Yukio Mishima, Todesmale des Engels
The Allerseelen song Tropfen schöner Zeit was recorded on 13.1.2006 for the Russian Allerseelen-Changes-Split CD Men among the Ruins (summer 2006).
Tuesday, January 10, 2006
ALLERSEELEN MCD PEDRA
Allerseelen MCD Pedra
At the Allerseelen concierto in Sintra on 1.XI.MMIII, the Allerseelen MCD Pedra was presented to the public. It is limited to 500 copies. The Allerseelen songs are dark and powerful: Steingeburt, Krieger aus Stein, Unverändert. Some dozens copies are available from Aorta.
http://www.terra-fria.com/
http://www.dagaz-music.com/
http://allerseelen.dagaz-music.com/
Allerseelen
Steingeburt
Krieger aus Stein
Unverändert
All the familiar motifs of the Allerseelen sound can be found on 'Pedra': Gerhard's distinctive delivery over massed drumming, hypnotic bass woven with samples from European movies. 'Steingeburt' bustles with a mesmeric pulsating bassline augmented by muscular drumming, to which Gerhard delivers a spoken vocal. A symphonic sample appears throughout. It's a tense and and raw track which echoes the earlier work of Allerseelen. 'Steingeburt' (Stone Birth) is dedicated to the actress and priestess Diotima in the film Der Heilige Berg. The following track, 'Krieger aus Stein' (Warriors of Stone), is an untempo jaunty rhythm with acoustic guitar and a weeping violin score. The voice of Gerhard here is whispered over the looping melody. Pedra closes with 'Unverändert', dedicated to the actress and stone witch Junta in the film Das Blaue Licht, to which Gerhard reads from Hermann Hesse over a backdrop of plucked strings and soft strings. The entire CD is inspired by stone megaliths, with accompanying photograph's from Gerhard's travels throughout Europe, but Pedra isn't really a patch on recent Allerseelen but a necessary addition to those who immerse themselves in the work of this Austrian researcher and musical alchemist. http://www.compulsiononline.com/index2.htm
Tonkunst: Gerhard
The song Steingeburt or Stone Birth, finished on 22.VII.MMIII, is dedicated to the actress and priestess Diotima in the film Der heilige Berg. The photograph, taken by Sabinita, shows a beautiful dolmen at El Pozuelo, Andalucia.
The song Krieger aus Stein or Warriors of Stone, finished on 17.VIII.MMIII, is inspired by the warrior menhirs of Palaggiu on the granite island Corsica. The photograph, taken by Gerhard, shows this alignment.
The dramatic monologue Unverändert or Unchanged, finished on 10.IX.MMIII, is dedicated to the actress and stone witch Junta in the film Das blaue Licht. The music was inspired by the magical mountain Rumer Spitze in Tirol. The lyrics are taken from the beautiful narration Faldum by Hermann Hesse.
"Unverändert und ohne Alter stand nur der Berg, und wenn der Schnee auf seinem Gipfel durch die Wolken blendete, schien er zu lächeln und froh zu sein, daß er kein Mensch mehr war. (..) Wald wuchs auf ihm und Wiesen mit wehendem Gras und mit Blumen; Quellen kamen aus ihm und Schnee und Eis und Steine, und auf den Steinen wuchs farbiges Moos, und an den Bächen Vergißmeinnicht. In seinem Innern waren Höhlen, da tropfte Wasser wie Silberfäden Jahr um Jahr in wechselloser Musik vom Gestein aufs Gestein, und in seinen Klüften gab es heimliche Kammern, wo mit tausendjähriger Geduld die Kristalle wuchsen. Auf dem Gipfel des Berges war nie ein Mensch gewesen. Aber manche wollten wissen, es sei dort ganz oben ein kleiner runder See, darin habe sich niemals etwas anderes gespiegelt als die Sonne, der Mond, die Wolken und die Sterne. Nicht Mensch noch Tier habe je in diese Schale geblickt, die der Berg dem Himmel entgegenhalte, denn auch die Adler flögen nicht so hoch."
Hermann Hesse, Faldum (Hermann Hesse, Iris. Ausgewählte Märchen, Berlin: Suhrkamp Verlag 1955, S. 95)
In 2003 Allerseelen did a special concert in Sintra, Portugal. A good occasion to release a limited mini cd, containing 3 new songs, inspired by the sacres stones of Sintra. It is also the first release for the Terra Fria label, which is related to the Dagaz Music webzine. The cute mcd is limited to 500 copies and comes in a small dvd-case, It has a booklet with photos of rocks by Gerhard, as well as lyrics of the songs in German and Portuguese. The music is typical Allerseelen: the hypnotic vocals of Gerhard, the repetive loops and percussion, deep basses and subtle orchestral elements. 'Steingeburt', dedicated to the character 'Diotima' in the film 'Der heilige Berg', sounds rather robust, bringing to mind the rawer earlier works of Allerseelen. 'Krieger aus Stein', the title track, is inspired by the giant menhirs on Corsica . It is a rather funny, cheerful monotonous track, based on repetive string and bass loops and adorned by classical music reminding me of old movies. The third and final track 'Unverändert' is rather short and minimal and has again quite a number of cultural references: to the film 'Das Blaue Licht', the Rumer mountain in Tirol and the 'Faldum' text by Herman Hesse. A nice mcd with typical hypnotic Allerseelen music. The three songs on this release can perhaps not compete with the best work on 'Flamme', but are certainly worthwhile. HD http://www.funprox.com/log/content.html
Released on the newborn Portuguese label Terra Fria, this mini-CD features three new Allerseelen songs inspired by the theme of 'sacred stones' and recorded in summer 2003 especially for the Allerseelen concert in Sintra in last November. Built upon Gerhard's spoken words, percussive rhythms and a martial bass (that reminds past Allerseelen works, 'Heiliges Blut' in particular) mixed with symphonic elements, the first song 'Steingeburt' ('Stone birth') is a powerful piece in the classic Allerseelen style. It is dedicated to the actress and priestess Diotima in the Leni Riefenstahl film 'Der heilige Berg'. The second song 'Krieger Aus Stein' ('Warriors of Stone') reveals a pretty different atmosphere created by an entertaining string melody supported by a harsh bass line and combined with repetitive lyrics. It is inspired by the warrior menhirs of Palaggiu on the beautiful wild island Corsica. The rather short last song Unverändert' ('Unchanged'), dedicated to the actress and stone witch Junta in the film 'Das blaue Licht', is based on a monologue by Gerhard with lyrics taken from 'Faldum' by Hermann Hesse. The magical mountain Rumer Spitze in Tyrol inspired the tense and hypnotic music. All in all, three inspired songs that evoke ingredients of past Allerseelen works, in their minimal and organic approach as well as the magic and intense essence that emanate from them. This mini-CD, limited to 500 copies, comes with a booklet featuring the original lyrics and their translation in Portuguese agreemented by nice photos of the three sites explored here by a very inspired Gerhard. Recommended! (Nathalie F.) http://www.heimdallr.ch/Reviews/2004/Allerseelen-Pedra.html
Produit par le label portugais Terra Fria le temps d’un mini-cd, ALLERSEELEN intitule ce dernier Pedra (« pierre », en portugais) et s’attache à rendre hommage aux mégalithes de rituels ancestraux. Les références n’ont rien de surprenant de la part de cet artiste autrichien (textes d’Herman Hesse, dédicaces aux actrices ayant tenu des rôles de sorcières dans les films de Leni Riefenstahl…), mais la musique fait preuve d’une maturité fort appréciable. Certes, « Steingeburt » ouvre le disque en fanfare, avec ses déclamations viriles et ses lourds rouages industriels appesantis encore par des envolées samplymphoniques, mais sur les deux autres morceaux les cordes se désaxent un peu plus et de langoureux rythmes trip-hop (ou comment passer de la moustache austère à celle des gens du village…) viennent ponctuer de captivantes narrations. Les éléments rituels et alambiqués de Gerhard sont ainsi toujours présents, seulement leur traitement vise désormais à l’efficacité et par là-même à un certain minimalisme nécromantique de bon aloi, pour un résultat singulier et envoûtant. http://www.topiste.com/iN_tensioN/article.php3?id_article=41
Gerhard branches out with the inclusion of a new label working in conjunction with Aorta, Terra Fria from Portugal. This 12 minute CD comes in a DVD like black plastic case, somewhat chilling my enthusiasm. The layout is reminiscent in ALLERSEELEN form however, with the two panel insert being set up along traditional guidelines, with the main difference being the lyrics presented in German and Portuguese instead of English. Three songs, all new and all fantastic! ‘Steingeburt’ or something akin to ‘Stone Birth’ sounds more like some of Gerhard’s past works with a throbbing, pulsating, breathing base line. A choice sample from some enigmatic film graces this to create an intensity rarely captured in Allerseelen’s works. Quite a sensation of tension and anxiety. The second song, starts off like a polka. A very welcome atmosphere to be worked into the repetoire. ‘Krieger Aus Stein’ features some up front whispering styled vocals with emotive strings, a very great short muted strum on a Spanish guitar(so it sounds in some way) and some unique little merriment that could originate from a conglomeration of sounds obtained from a “one man band” where many instruments collide it perfect consideration with one another. These components all sound quite fantastical when described in this way, but the really, almost, joyful atmosphere created by these is so utterly charming. The refinement of sounds and repetitiveness of the lyrics on this song raise the effectiveness of the jubilant music to a new height. Track three, ‘Unverändert’ uses a poetically rendered dialogue-like text with some very subtle wavering string sample and a sample (maybe like a guitar with one muted string being plucked numerous time in rapid succession) over a simple (not necessarily) scrapping sound feeling like the mist rising off the majestic peaks of Tyrol. One can also envision the fetters cascading down the rocky face of the mountain creating an echoing friction, utilized in this sparse arrangement. Most notable use of voice, setting this, I would say, above all other Allerseelen works. Overall this CD touches upon leitmotivs employed in past ALLERSEELEN works, but brings new life and a new potency to the mood and direction of the sounds and the corpus of ALLERSEELEN. Exquisite and enchanting. (Tyler/Ajna) www.theajnaoffensive.com
Nuove eredità ancestrali per il sommo compositore austriaco Allerseelen che questa volta esegue questo MCD composto da tre brani ispirati da luoghi mistici e geomantici. L'autore ha voluto scegliere come siti rappresentativi tre particolari testimoni monolitici: il dolmen in El Pozuelo in Spagna e di Palaggiu in Corsica, la montagna Rumer Spitze in Tirolo. "Steingeburt" è il tipico brano dove Gerhard unisce una linea percussiva granitica ad un basso marziale, lo spleen degli archi a delle liriche epiche. Un'alcova sacra e protettiva, generatrice di messaggi e certezze ataviche. In "Krieger Aus Stein" prosegue il cammino di megalitici presagi con una ballata solenne e narrativa, premonizioni intense tra gli echi rupestri di scenari immortali. Vibrazioni minimali per il terzo capitolo di Pedra, essenziali sonorità sollevano le liriche di "Unverändert" estratte dal Faldum di H. Hesse. Melodiche trasmutazioni di virtù ignee. www.unmute.net
New ancestral heritages for the Supreme Austrian composer Allerseelen. This time Gerhard releases a MCD with three new pieces inspired by mystical and geomantic places. The author has choosen as representative sites three particular monolithic witnesses: the dolmens at El Pozuelo in Andalucia and Palaggiu in Corsica, the magical mountain Rumer Spitze in Tirol. "Steingeburt" is the typical track where Gerhard adds granite percussive patterns to a martial bass, the spleen of the strings with epic lyrics. A sacred and protective alcove generatrix of atavistic messages and certainties. In "Krieger Aus Stein" continues the course of megalithic omens with a solemn and narrative ballad, intense premonitions between the rocky echoes of immortal views. Minimal emissions for the third chapter of Pedra, essential sonorities raise the "Unverändert" 's lyrics taken from Faldum by H. Hesse. Tuneful transmutations of igneous virtues. www.twilight-zone.it
Aorta c/o Petak, Postfach 778, A-1011 Wien
www.geocities.com/ahnstern
At the Allerseelen concierto in Sintra on 1.XI.MMIII, the Allerseelen MCD Pedra was presented to the public. It is limited to 500 copies. The Allerseelen songs are dark and powerful: Steingeburt, Krieger aus Stein, Unverändert. Some dozens copies are available from Aorta.
http://www.terra-fria.com/
http://www.dagaz-music.com/
http://allerseelen.dagaz-music.com/
Allerseelen
Steingeburt
Krieger aus Stein
Unverändert
All the familiar motifs of the Allerseelen sound can be found on 'Pedra': Gerhard's distinctive delivery over massed drumming, hypnotic bass woven with samples from European movies. 'Steingeburt' bustles with a mesmeric pulsating bassline augmented by muscular drumming, to which Gerhard delivers a spoken vocal. A symphonic sample appears throughout. It's a tense and and raw track which echoes the earlier work of Allerseelen. 'Steingeburt' (Stone Birth) is dedicated to the actress and priestess Diotima in the film Der Heilige Berg. The following track, 'Krieger aus Stein' (Warriors of Stone), is an untempo jaunty rhythm with acoustic guitar and a weeping violin score. The voice of Gerhard here is whispered over the looping melody. Pedra closes with 'Unverändert', dedicated to the actress and stone witch Junta in the film Das Blaue Licht, to which Gerhard reads from Hermann Hesse over a backdrop of plucked strings and soft strings. The entire CD is inspired by stone megaliths, with accompanying photograph's from Gerhard's travels throughout Europe, but Pedra isn't really a patch on recent Allerseelen but a necessary addition to those who immerse themselves in the work of this Austrian researcher and musical alchemist. http://www.compulsiononline.com/index2.htm
Tonkunst: Gerhard
The song Steingeburt or Stone Birth, finished on 22.VII.MMIII, is dedicated to the actress and priestess Diotima in the film Der heilige Berg. The photograph, taken by Sabinita, shows a beautiful dolmen at El Pozuelo, Andalucia.
The song Krieger aus Stein or Warriors of Stone, finished on 17.VIII.MMIII, is inspired by the warrior menhirs of Palaggiu on the granite island Corsica. The photograph, taken by Gerhard, shows this alignment.
The dramatic monologue Unverändert or Unchanged, finished on 10.IX.MMIII, is dedicated to the actress and stone witch Junta in the film Das blaue Licht. The music was inspired by the magical mountain Rumer Spitze in Tirol. The lyrics are taken from the beautiful narration Faldum by Hermann Hesse.
"Unverändert und ohne Alter stand nur der Berg, und wenn der Schnee auf seinem Gipfel durch die Wolken blendete, schien er zu lächeln und froh zu sein, daß er kein Mensch mehr war. (..) Wald wuchs auf ihm und Wiesen mit wehendem Gras und mit Blumen; Quellen kamen aus ihm und Schnee und Eis und Steine, und auf den Steinen wuchs farbiges Moos, und an den Bächen Vergißmeinnicht. In seinem Innern waren Höhlen, da tropfte Wasser wie Silberfäden Jahr um Jahr in wechselloser Musik vom Gestein aufs Gestein, und in seinen Klüften gab es heimliche Kammern, wo mit tausendjähriger Geduld die Kristalle wuchsen. Auf dem Gipfel des Berges war nie ein Mensch gewesen. Aber manche wollten wissen, es sei dort ganz oben ein kleiner runder See, darin habe sich niemals etwas anderes gespiegelt als die Sonne, der Mond, die Wolken und die Sterne. Nicht Mensch noch Tier habe je in diese Schale geblickt, die der Berg dem Himmel entgegenhalte, denn auch die Adler flögen nicht so hoch."
Hermann Hesse, Faldum (Hermann Hesse, Iris. Ausgewählte Märchen, Berlin: Suhrkamp Verlag 1955, S. 95)
In 2003 Allerseelen did a special concert in Sintra, Portugal. A good occasion to release a limited mini cd, containing 3 new songs, inspired by the sacres stones of Sintra. It is also the first release for the Terra Fria label, which is related to the Dagaz Music webzine. The cute mcd is limited to 500 copies and comes in a small dvd-case, It has a booklet with photos of rocks by Gerhard, as well as lyrics of the songs in German and Portuguese. The music is typical Allerseelen: the hypnotic vocals of Gerhard, the repetive loops and percussion, deep basses and subtle orchestral elements. 'Steingeburt', dedicated to the character 'Diotima' in the film 'Der heilige Berg', sounds rather robust, bringing to mind the rawer earlier works of Allerseelen. 'Krieger aus Stein', the title track, is inspired by the giant menhirs on Corsica . It is a rather funny, cheerful monotonous track, based on repetive string and bass loops and adorned by classical music reminding me of old movies. The third and final track 'Unverändert' is rather short and minimal and has again quite a number of cultural references: to the film 'Das Blaue Licht', the Rumer mountain in Tirol and the 'Faldum' text by Herman Hesse. A nice mcd with typical hypnotic Allerseelen music. The three songs on this release can perhaps not compete with the best work on 'Flamme', but are certainly worthwhile. HD http://www.funprox.com/log/content.html
Released on the newborn Portuguese label Terra Fria, this mini-CD features three new Allerseelen songs inspired by the theme of 'sacred stones' and recorded in summer 2003 especially for the Allerseelen concert in Sintra in last November. Built upon Gerhard's spoken words, percussive rhythms and a martial bass (that reminds past Allerseelen works, 'Heiliges Blut' in particular) mixed with symphonic elements, the first song 'Steingeburt' ('Stone birth') is a powerful piece in the classic Allerseelen style. It is dedicated to the actress and priestess Diotima in the Leni Riefenstahl film 'Der heilige Berg'. The second song 'Krieger Aus Stein' ('Warriors of Stone') reveals a pretty different atmosphere created by an entertaining string melody supported by a harsh bass line and combined with repetitive lyrics. It is inspired by the warrior menhirs of Palaggiu on the beautiful wild island Corsica. The rather short last song Unverändert' ('Unchanged'), dedicated to the actress and stone witch Junta in the film 'Das blaue Licht', is based on a monologue by Gerhard with lyrics taken from 'Faldum' by Hermann Hesse. The magical mountain Rumer Spitze in Tyrol inspired the tense and hypnotic music. All in all, three inspired songs that evoke ingredients of past Allerseelen works, in their minimal and organic approach as well as the magic and intense essence that emanate from them. This mini-CD, limited to 500 copies, comes with a booklet featuring the original lyrics and their translation in Portuguese agreemented by nice photos of the three sites explored here by a very inspired Gerhard. Recommended! (Nathalie F.) http://www.heimdallr.ch/Reviews/2004/Allerseelen-Pedra.html
Produit par le label portugais Terra Fria le temps d’un mini-cd, ALLERSEELEN intitule ce dernier Pedra (« pierre », en portugais) et s’attache à rendre hommage aux mégalithes de rituels ancestraux. Les références n’ont rien de surprenant de la part de cet artiste autrichien (textes d’Herman Hesse, dédicaces aux actrices ayant tenu des rôles de sorcières dans les films de Leni Riefenstahl…), mais la musique fait preuve d’une maturité fort appréciable. Certes, « Steingeburt » ouvre le disque en fanfare, avec ses déclamations viriles et ses lourds rouages industriels appesantis encore par des envolées samplymphoniques, mais sur les deux autres morceaux les cordes se désaxent un peu plus et de langoureux rythmes trip-hop (ou comment passer de la moustache austère à celle des gens du village…) viennent ponctuer de captivantes narrations. Les éléments rituels et alambiqués de Gerhard sont ainsi toujours présents, seulement leur traitement vise désormais à l’efficacité et par là-même à un certain minimalisme nécromantique de bon aloi, pour un résultat singulier et envoûtant. http://www.topiste.com/iN_tensioN/article.php3?id_article=41
Gerhard branches out with the inclusion of a new label working in conjunction with Aorta, Terra Fria from Portugal. This 12 minute CD comes in a DVD like black plastic case, somewhat chilling my enthusiasm. The layout is reminiscent in ALLERSEELEN form however, with the two panel insert being set up along traditional guidelines, with the main difference being the lyrics presented in German and Portuguese instead of English. Three songs, all new and all fantastic! ‘Steingeburt’ or something akin to ‘Stone Birth’ sounds more like some of Gerhard’s past works with a throbbing, pulsating, breathing base line. A choice sample from some enigmatic film graces this to create an intensity rarely captured in Allerseelen’s works. Quite a sensation of tension and anxiety. The second song, starts off like a polka. A very welcome atmosphere to be worked into the repetoire. ‘Krieger Aus Stein’ features some up front whispering styled vocals with emotive strings, a very great short muted strum on a Spanish guitar(so it sounds in some way) and some unique little merriment that could originate from a conglomeration of sounds obtained from a “one man band” where many instruments collide it perfect consideration with one another. These components all sound quite fantastical when described in this way, but the really, almost, joyful atmosphere created by these is so utterly charming. The refinement of sounds and repetitiveness of the lyrics on this song raise the effectiveness of the jubilant music to a new height. Track three, ‘Unverändert’ uses a poetically rendered dialogue-like text with some very subtle wavering string sample and a sample (maybe like a guitar with one muted string being plucked numerous time in rapid succession) over a simple (not necessarily) scrapping sound feeling like the mist rising off the majestic peaks of Tyrol. One can also envision the fetters cascading down the rocky face of the mountain creating an echoing friction, utilized in this sparse arrangement. Most notable use of voice, setting this, I would say, above all other Allerseelen works. Overall this CD touches upon leitmotivs employed in past ALLERSEELEN works, but brings new life and a new potency to the mood and direction of the sounds and the corpus of ALLERSEELEN. Exquisite and enchanting. (Tyler/Ajna) www.theajnaoffensive.com
Nuove eredità ancestrali per il sommo compositore austriaco Allerseelen che questa volta esegue questo MCD composto da tre brani ispirati da luoghi mistici e geomantici. L'autore ha voluto scegliere come siti rappresentativi tre particolari testimoni monolitici: il dolmen in El Pozuelo in Spagna e di Palaggiu in Corsica, la montagna Rumer Spitze in Tirolo. "Steingeburt" è il tipico brano dove Gerhard unisce una linea percussiva granitica ad un basso marziale, lo spleen degli archi a delle liriche epiche. Un'alcova sacra e protettiva, generatrice di messaggi e certezze ataviche. In "Krieger Aus Stein" prosegue il cammino di megalitici presagi con una ballata solenne e narrativa, premonizioni intense tra gli echi rupestri di scenari immortali. Vibrazioni minimali per il terzo capitolo di Pedra, essenziali sonorità sollevano le liriche di "Unverändert" estratte dal Faldum di H. Hesse. Melodiche trasmutazioni di virtù ignee. www.unmute.net
New ancestral heritages for the Supreme Austrian composer Allerseelen. This time Gerhard releases a MCD with three new pieces inspired by mystical and geomantic places. The author has choosen as representative sites three particular monolithic witnesses: the dolmens at El Pozuelo in Andalucia and Palaggiu in Corsica, the magical mountain Rumer Spitze in Tirol. "Steingeburt" is the typical track where Gerhard adds granite percussive patterns to a martial bass, the spleen of the strings with epic lyrics. A sacred and protective alcove generatrix of atavistic messages and certainties. In "Krieger Aus Stein" continues the course of megalithic omens with a solemn and narrative ballad, intense premonitions between the rocky echoes of immortal views. Minimal emissions for the third chapter of Pedra, essential sonorities raise the "Unverändert" 's lyrics taken from Faldum by H. Hesse. Tuneful transmutations of igneous virtues. www.twilight-zone.it
Aorta c/o Petak, Postfach 778, A-1011 Wien
www.geocities.com/ahnstern
ALLERSEELEN CD STIRB UND WERDE
ALLERSEELEN CD STIRB UND WERDE
In preparation with various additional recordings:
ALLERSEELEN DoLP STIRB UND WERDE
Songs: Licht, Gletscherlicht, Winterschlaf, Feuervogel, Alle Lust will Ewigkeit, Feuertaufe, Käferlied, Heimkehr, Sibirische Symphonie, Totenlohe, Flamme, Stirb und Werde, Leichenfarbne Dämmerung, Licht
Mit seinem vierten Album Stirb und Werde begibt sich Kadmon alias Allerseelen auf eine prähistorische Reise, zurück zur menschlichen Sehnsucht nach Ewigkeit, wie sie Nietzsche zum Ausdruck brachte, der gleich für mehrere Texte auf dem Album Pate stand; zurück auch zu den westfälischen Externsteinen, wo Kenneth Anger einst Teile seines Films Lucifer Rising drehte. Und so bilden die wunderschönen, in warmen Rottönen gehaltenen Bilder der Steine und Angers Film zusammen mit den poetischen Texten Nietzsches und Kadmons und nicht zuletzt den gelegentlich auch elektronisch rhythmischen, oft aber orchestral inszenierten Klangskulpturen eine harmonische Einheit, wie man sie nur selten findet. Fast wirkt die überwiegend instrumentale Musik wie ein passender Soundtrack zu Angers Film, vereint sie doch Mystik, Erhabenheit, Schönheit, Rhythmik zu einer atmosphärischen Intensität, die Stirb und Werde zu einem spannenden Hörvergnügen macht. (Zillo 7/8-1999)
Nach langem Warten ist nun mit Stirb und Werde die vierte CD Allerseelens erhältlich. Was sich schon mit Sturmlieder anbahnte, führt Kadmon hier fort: Die Weiterentwicklung von brachialen, „dreckigen" Rhythmen hin zum symphonisch hypnotischen Ambient oder technoischen, stürmischen Klangfeldern. Titel wie das grandiose Licht oder das trancige Winterschlaf weisen Allerseelens Richtung und wirken regelrecht einlullend, magisch und entführen in eine Traumwelt, bestimmt von feuerroter, aber kalter Farbe. An und an entreißen schrille Töne und beschwörend kämpferische Tracks wie Feuervogel oder Feuertaufe den Hörer aus dieser Traumwelt - oder soll ich sagen Totenstarre? Stirb und Werde läßt vor dem geistigen Auge ein kaltes, dunkles, eisernes Fin de Siecle erscheinen, verarbeitet das Thema des Werdens und Vergehens auf gekonnte Art und Weise, weiß durch eine saubere Produktion auch klangtechnisch zu überzeugen und zeigt die meiner Meinung nach besten Allerseelen seit Bestehen. (Black) www.blackmagazin.com
Allerseelen is the project of Austrian researcher, musician and all-round renaissance man Kadmon. This CD maintains the high standard we have come to expect. The impeccably designed booklet displays some eye-catching pictures of the Externsteine near Horn in Germany. These images hint at the arcane potency of the tones contained on this disc. Licht acts as an overture, with layers of swelling symphonic sound. A chiming harp plucks its way through a celestial arpeggio, sealing the pure pulchritude of this opening. The luminescent Gletscherlicht perpetuates both the theme and rhapsodic essence of its forebear. Concurrently uplifting and chilling, this is the soundtrack to some mysterious film being played out in the mind´s eye. The same can be said of the icy coldness of Winterschlaf before its snowy sleep thaws under the blazing wings of Feuervogel. A chunky, reverb-drenched bass-line is picked up by pounding drums. Enigmatic lyrics written and sung by Kadmon make this an exceptional composition in the classic Allerseelen mould. Alle Lust will Ewigkeit swaps Kadmon´s lyrics for Friedrich Nietzsche´s, his vocals for Sabine´s and bass for brass. The harsher, more aggressive affair that is Feuertaufe is shortly followed by Käferlied. This brilliant song, in memoriam Ernst Jünger, first appeared on a split 7" with Blood Axis in 1998. Decidedly avant-garde flourishes pepper what is a somewhat techno laced number. Kadmon´s moving and inspirational words provide the piece-de-resistance. Fantastic! I can´t quite decide if this album reaches the pinnacle attained by Sturmlieder. If not, it at least comes within a hearsbreadth. Whether on the lament-like Sibirische Symphonie or the more active Flamme, Stirb und Werde bathes in splendour of light: The frozen stillness of a blind glacial glare. (Judas Kiss 6/MM, England)
When I got this CD and was opening it, I noticed that my mouth was actually dry, my heart was beating faster, and my hands were shaking just a little. An Allerseelen CD is an event. A ritual. An experience to be savoured completely. I have never been disappointed. Allerseelen was founded in 1989 and is basically one man, Kadmon. He lives in Austria. Kadmon has also written a journal called Aorta for a number of years, and is now writing one called Ahnstern. I encourage the study of these journals to anyone of open heart and open mind. The name Allerseelen is German for All Souls. I highly recommend every single Allerseelen album and every compilation on which Allerseelen songs appear. Every single album, 7" and compilation that contains this man´s work is worth your money and your time. I have never heard an Allerseelen piece that sounded weak, poorly done, or uncared for. Allerseelen represent a standard of excellence that is almost unheard of in the world today. Kadmon´s music is, by intent and effect, a spiritual experience. Each album is a ritual journey of sound or of „art as life ritual". Stirb und Werde is no exception. Stirb und Werde refers to the journey of death and rebirth - of pain and death followed by transcendence and illumination. The title means Die and Become. This album expresses the actualising of what death and illumination represent in the old solar cults such as Mithraism. If you are going to let Allerseelen into your life, you might want to do some reading. Julius Evola´s books The Mystery of the Grail and The Hermetic Tradition wouldn´t be bad places to start. The artwork in Stirb und Werde is taken from photographs of the sanctuary Externsteine in Westphalia and stills of Kenneth Anger´s film Lucifer Rising, part of which was also filmed at Externsteine. Externsteine is significant in the death and illumination/rebirth concept, because the natural sandstones at Externsteine were turned into a solar temple by the early Celts. The cover of Stirb und Werde is a picture of a hole in the rock at Externsteine where every year on June 21st the sun shines on what seems to be an altar. The music on Stirb und Werde follows a progression, beginning softly, and almost tentatively, like the first rays of sunlight on the horizon; and, like the sun, a few minutes after this CD has begun to arise, it becomes almost overwhelmingly brilliant. Gletscherlicht/Glacial Light is one of the most powerful pieces of music I have ever heard in my life. Winterschlaf/ Hibernation is a haunting and melancholy beginning to this musical process of dying and is followed by the caustic and surreal death knell called Feuervogel/Fire Bird. Fire Bird reminds me very much of the dark fury heard on Allerseelen´s last album Sturmlieder. Track five is a piece of Nietzsche´s poetry set to music: Alle Lust will Ewigkeit/All Lust Wants Eternity is a ferociously elegant bit of pure Allerseelen magick. Track six is Feuertaufe/Baptism of Fire and I don´t suggest you listen to it on repeat for very long. Then again.. the results could be fascinating especially when combined with darkness and flashing lights. Track seven seems to be the turning point of the album - still in darkness, but turning toward where the light will come; moving toward the Golden Age, but still shackled in Iron. It´s an almost whimsical arrangement, and very physically exciting and inspiring to hear. It´s a track full of hope and desire; it seems to articulate the very heart and soul of Icarus. The movie Wings of Desire comes to mind. Track eight is titled simply Heimkehr/Return. Fragile and tentative, the effect of this song is somehow disturbing, unsettling and wrought with life-affirming fear. Track nine is Sibirische Symphonie/ Siberian Symphony. It reminds me of crossing a long stretch of desert with the heat bearing down, no one to love, and nothing left to live for but life itself. Siberian Symphony is as refined and stately as it is despairing. Track ten Totenlohe/Blaze of the Dead could wake the dead. Track eleven, Flamme/Flame is a song of primitive virility and timeless radiance. The poetry used in Flame is also from Nietzsche and is truly exhilarating when set to this music. Track twelve, Stirb und Werde/Die and Become, reminds me very much of the scenes in Lucifer Rising where there is a woman lying in a sarcophagus carved into the side of a rock. Her hands are folded across her chest, and, as I recall, there is water running near her. It is a very powerful and poignant image - this woman lying peacefully within the substance and strength of the rock, and the current moving swiftly alongside her. Track thirteen, Leichenfarbne Dämmerung/Deadly Pale Twilight, also reminds very much of the film Lucifer Rising in its tone and atmosphere. It even reminds me in some ways of Bobby Beausoleil´s soundtrack. It has that strange, awesome, unnerving effect of being both resplendent and horrifying at the same time. The beauty of all three artists, Anger, Beausoleil and Kadmon, is that they take that resplendent horror and use it as a tool for spiritual awakening. The final trakc is titled, as was the first, simply Licht/Light. The fragile timidity of the first Light is replaced by a light more focused, a light more full and more bright, and more sure of itself. The passion and the power, and the absolute beauty contained in this final arrangement is spectacular. This last track is two minutes and twenty-two seconds of pure, unmitigated rapture. The only other creative majesty I could even begin to compare this album to, would be the experience of standing before one of Anselm Kiefer´s expansive, devastating, and regenerative paintings. If you have ever doubted art´s ability to destroy and re-create those who will let themselves be touched by it, pick any one artist I have mentioned in this review, immerse yourself obsessively in his work, and see who you are when you come out the other side. Succinctly, Stirb und Werde is a masterpiece of the Twentieth Century, and a sentinel of the Golden Age that must surely follow this modern world of darkness. www.starvox.net
Mit schöner Regelmäßigkeit veröffentlicht der österreichische Künstler Kadmon mit seiner Gruppe Allerseelen Werke seiner Tonkunst; waren es im letzten Jahr Vinylprodukte, wie das Ernst Jünger gewidmete Käferlied oder das Ergebnis einer Zusammenarbeit mit der amerikanischen Band Blood Axis, so greift der Künstler für sein neues Werk Stirb und Werde wieder auf die Lichtscheibe (CD) zurück. Wie in seinem gesamten Schaffen, so setzt sich der Österreicher auch diesmal erneut mit Themen wie Natur, Heidentum und Spiritualität auseinander, wofür er selbst die schöne und durchaus zutreffende Bezeichnung Technosophische Tonkunst, also die Verbindung von Technik, Weisheit und Kunst, geprägt hat. Kadmon selbst nennt seine Werke treffend „Lieder und akustische Landschaften". Konnte man seinen frühen Werken oftmals eine gewisse Rauhheit und Rohheit nicht absprechend, so ist Stirb und Werde erstaunlich ruhig, harmonisch. War die Stärke von Allerseelen schon eh die Fähigkeit, hypnotisch anmutende und wirkende Melodien zu schaffen, so schafft es das Duo, die Wirkung seiner Klanglandschaften noch zu erhöhen. Einige dieser „Landschaften" wirken regelrecht bewußtseinserweiternd. Lieder wie Gletscherlicht, Alle Lust will Ewigkeit, Käferlied oder Leichenfarbne Dämmerung dürften sicherlich auch den Hörer beeindrucken, der diese Art von zeitgenössischer Musik normalerweise nicht konsumiert. Eine mehr als gelungene Produktion. (Junge Freiheit 26/99)
Dinge aus unserer heidnischen Vergangenheit wie Runen wirft die Political Correctness- Gesellschaft heute gern in einen Topf mit der Nazi-Ideologie - das bekam auch der Oberösterreicher Kadmon, Kopf des Musikprojektes Allerseelen, zu spüren. Doch anstatt sich davon einschüchtern zu lassen, wurde im Mai seine neueste CD unter dem auf ein Gedicht von Goethe bezogenen Titel Stirb und Werde veröffentlicht. Einige Lieder aus diesem apokalyptischen Fin de Siecle-Werk sind leidenschaftlich-düstere Vertonungen von Nietzsches Dichtung. Die Absicht hinter der musikalischen Arbeit von Allerseelen ist eine Bewußtseinserweiterung, Die suggestive Klangwelt von Allerseelen definiert sich in einer kraftvoller Begegnung von Mythos und Moderne, Tradition und Avantgarde. Diese überirdisch-unheimliche Synthese aus zeitgemäßer Technologie und zeitloser Philosophie versetzt mit einem atmosphärischen Lärmzauber in eine unsichtbare Wirklichkeit. Die düstere Klanglandschaft als atemberaubendes Charakteristikum läßt den eisigen Lufthauch vorzeitlicher Mysterien deutlich spüren und jagt dem Zuhörer kalte Schauer über den Rücken. Die lichterlohen - mal metallischen, mal esoterischen - Klänge von Allerseelen lassen die sonst so starren Grenzen der Zeit verschwinden und bescheren selten gewordene, einzigartige Erfahrungen aus einer Welt, die es nach allen Regeln der Logik gar nicht mehr geben dürfte. (Zur Zeit 27/99)
Nouveau CD d´Allerseelen qui nous propose pour l´occasion une sorte de bilan de ces 10 dernieres annees. On retrouve quelques morceaux recents et retravailles comme Gletscherlicht, Alle Lust will Ewigkeit, Käferlied, Flamme et Leichenfarbne Dämmerung. D´autres titres plus anciens sont presents dans de nouvelles versions, mais il y a quand meme quelques inedits, et notamment l´excellent titre Feuervogel, avec une rhythmique rapide et plutot inhabituelle, Kadmon, ce genie Autrichien, semble donc faire le point sur sa longue carriere, avec ce CD tres captivant, toujours servi par des illustrations bien inspirees) photographies du sanctuaire de l´Externsteine et du film Lucifer Rising de Kenneth Anger), le tout servi par une citation de Jean Baudrillard, que peut-on ajouter? Rien? Si: ce CD est rigoureusement indispensable! (Runen 1)
Onirico e trasognante, per poi gettarsi a capofitto in violente trame fitte di percussioni e stridori industriali, momenti di riacquisita serenità portati in scena dalla voce di sabine che va a scontrarsi con la drammaticita dei testi e la brutalita degli strumenti.. una raccolta che attinge brani lungo tutta la decade che va dale fine degli anni ottanta fino ad oggi, presentando si pezzi editi, ma remixati in maniera davvero excellente, rendendo certi titoli cosi particolari da farli sembrare appena sfornati dalla fucina austriaca di allerseelen. sicuramente un album consigliato, sopratutto per chi non si e mai avvicinato troppo a kadmon, visto che questo stirb und werde rappresenta un ottimo punto di partenza verso un viaggio del tutto particolare nelle passioni ed ossessioni di uno dei maestri della scena apocalittica. non a caso stirb und werde viene dedicato alle altre entita che hanno contribuito, in questi ultimi anni, a rendere chiaro e, per quanto possibile, circoscritto, l´ambiente culturale verso cui ci si rivolge: blood axis, les joyaux de la princesse, waldteufel, scivias.. notevole inoltre l´impatto estetico, grazie alle suggestive istantanee scattatte alle externsteine in westfalia dove tinte di rosso cupo troneggiano lungo tutte le pagine del ricco booklet allegato al compact. (Marble Moon 15)
Non mi aveva affatto convinto il morbido Sturmlieder ma i segnali che arrivavano dal progetto austriaco da qualche tempo a questa parte disponevano all´ottimismo, segnali regolarmente amplificati su queste pagine. Rinveniamo quei lampi anche in Stirb und Werde, quarto atto per Allerseelen, che non ometti di riproporre il singolo dedicato a Ernst Jünger, Käferlied, e le due partecipazioni a the Nitha Fields e Lucifer Rising, rispettivamente con Alle Lust will Ewigkeit e Flamme. Affrancatosi da una eccessive fissita di stampo ambientale che ne aveva neutralizzato il certo vigore, Kadmon con altra determinazione si dedica a frustate percussive d´ottima rosa nel caso di Gletscherlicht, Totenlohe e Feuertaufe, con squarci da Götterdämmerung quali Licht, Sibirische Symphonie e Winterschlaf e piu convenzionali strutture musicali nella citata Käferlied e in Feuervogel a suggello d´un albo di inedita, per Allerseelen, varietà. (Italia)
Tripudio di fuoco e fiamme - consueto il richiamo ai culti solari pre-cristiani (si vedano le foto scattata presso il santuario mitraico Externsteine (li Anger giro parte di Lucifer Rising)) - nel quarto album degli austriaci Allerseelen. Grevi e serrate ritmiche marziali, interiezioni cameristiche, evocative citazioni nietzscheane e varia oscurita a circoscrivere un alone di misterioso arcaismo. (Rumore 9/99)
Creo que Kadmon mismo ha logrado dar una aproximacion definitoria, o varias, en lo que respecta a su concepto musical y tematico.Cada sonido – ha dicho – es una especie de simbole de lo que realmente quiere expresar, o mejor dicho, cada sonido representa un simbolo de, en cada caso, un tema o temas diferentes tratados. Indudablemente, Allerseelen es un punto clave para entender parte de la filosofia musical y tematica de las formaciones que mas nos interesan dentro del panorama Neo-Pagan- Folk e Industrial. Tras Allerseelen encontramos a un austriaco dedicado ademas a la publicacion de dos fanzines de nombres Aorta y Ahnstern. Ambos suelen ser tematicos y dedicados cada uno de ellos a un personaje en particular o incluso basados en articulos y entrevistas a grupos concretos. Para todos aquellos interesados en profundizar en las ocultas y escondidas sombras de la cultura europea, no hay lugar mejor que la musica de Kadmon bayo su proyecto Allerseelen y sus publicaciones mencionadas. Podemos encontrar, entre los temas tratados en Aorta, libretos dedicados, por ejemplo, al culto indo-europeo de Mithras, al film mistico-lunar de la alemana Leni Riefenstahl Das blaue Licht (La luz azul), a Corneliu Codreanu, fundador de la tambien mistica Guardia de Hierro rumana. Entre los articulos tratados en su nueva publicacion Ahnstern encontramos una entrevista con el director americano Kenneth Anger sobre diversos temas, entre ellos su film Lucifer Rising. Kadmon mismo define la musica de Allerseelen como Technosophische Tonkunst, Konservative Avantgarde: el termino tecnosofico auna las palabras tecnologia y filosofia. Mi trabajo, dice Kadmon, esta muy proximo a la alquimia: formo y modelo ideas, conceptos.. mis aparatos electronicos son mi laboratorio; la alquima fue siempre una ciencia sagrada que trabajo con la tecnologia mas contemporanea y trato de conjugar espiritualidad y tecnologia uniendo contrastes y conceptos opuestos. Pero entremos un poco en este su carto CD. Su estilo, proprio e inconfundible, esta basado por un lado en ritmicas repetitivas simbolicas de bases no exactamente industriales, ambientes combinados y acabados diferentes, tanto para temas ritmicos, como para otros ambientales dentro de espacios sonoros que maneja mejor que nadie. Una mezcla, come dice el mismo, de pasado y presente, de tradicion amoldada a su forma mas particular, y vanguardia disenada de forma original, sin copiar esquemas. Fuente de culturas diversas, come puedes ver, y controvertidas por sus a veces equivocadas interpretaciones y utilizaciones pasadas y presentes. En pocos podras encontrar un interes tan sincero por todo ello. Todos sus discos son recomendables, tanto come todos sus fanzines publicados. Esperamos uen un futuro cercano ahondar mas en la musica y persona de este imprescindible proyecto. (Seküencias de Culto 10)
Au allerseelen stirb und werde albuma tulajdonkeppen folytatja az elözo, sturmlieder altal kijelölt utat. egysegesedtek ezek a latkepek (landscapes), ahogyan kadmon nevezi oket, s egyre inkabb attekinthetobbek is. az elektronika tovabbra is megmaradt az eloterben, s ezaltat - helyenkent - sokkal jobban befogadhato az anyag, mint a sturmlieder. az industrialba hajlanak a legtöbbször a kompoziciok, terjengosebbek is, de azert meg kellokeppen kihaltak es fagyosak tovabbra is, hiaba egyik központi szimbolumuk a tuz es a lang. kadmon ott tudna nagyot lenditeni a produkciojan, ha sokkal inkabb alatamasztottabbak lennenek szövegileg a szerzemenyei. ezuttal harom nietzsche vers került megzenesitesre, mig sajat szöveg csak ketto. a borito konscepcioja tovabbra is a okkultizmus egyik központjat, az externsteine - i prehistorikus szentelyt mutatja be, amelynel a iii. birodalom idejen több ünnepseget is rendeztek. ehhez kapcsodolodik kepekben a lucifer rising c. film nehany jelenete - furcsa szimbiozist alkotva. a magam reszerol azt gondolom, leginkabb olyan dalokban tudja magat megtalalni a csoport, mint a flamme, totenlohe vagy az alle lust will ewigkeit es a winterschjlaft. jelenthet valamit, hogy ezek közül kettonek egy-egy nietzsche vers adja az alapjat. (Mozgalom)
www.geocities.com/ahnstern
In preparation with various additional recordings:
ALLERSEELEN DoLP STIRB UND WERDE
Songs: Licht, Gletscherlicht, Winterschlaf, Feuervogel, Alle Lust will Ewigkeit, Feuertaufe, Käferlied, Heimkehr, Sibirische Symphonie, Totenlohe, Flamme, Stirb und Werde, Leichenfarbne Dämmerung, Licht
Mit seinem vierten Album Stirb und Werde begibt sich Kadmon alias Allerseelen auf eine prähistorische Reise, zurück zur menschlichen Sehnsucht nach Ewigkeit, wie sie Nietzsche zum Ausdruck brachte, der gleich für mehrere Texte auf dem Album Pate stand; zurück auch zu den westfälischen Externsteinen, wo Kenneth Anger einst Teile seines Films Lucifer Rising drehte. Und so bilden die wunderschönen, in warmen Rottönen gehaltenen Bilder der Steine und Angers Film zusammen mit den poetischen Texten Nietzsches und Kadmons und nicht zuletzt den gelegentlich auch elektronisch rhythmischen, oft aber orchestral inszenierten Klangskulpturen eine harmonische Einheit, wie man sie nur selten findet. Fast wirkt die überwiegend instrumentale Musik wie ein passender Soundtrack zu Angers Film, vereint sie doch Mystik, Erhabenheit, Schönheit, Rhythmik zu einer atmosphärischen Intensität, die Stirb und Werde zu einem spannenden Hörvergnügen macht. (Zillo 7/8-1999)
Nach langem Warten ist nun mit Stirb und Werde die vierte CD Allerseelens erhältlich. Was sich schon mit Sturmlieder anbahnte, führt Kadmon hier fort: Die Weiterentwicklung von brachialen, „dreckigen" Rhythmen hin zum symphonisch hypnotischen Ambient oder technoischen, stürmischen Klangfeldern. Titel wie das grandiose Licht oder das trancige Winterschlaf weisen Allerseelens Richtung und wirken regelrecht einlullend, magisch und entführen in eine Traumwelt, bestimmt von feuerroter, aber kalter Farbe. An und an entreißen schrille Töne und beschwörend kämpferische Tracks wie Feuervogel oder Feuertaufe den Hörer aus dieser Traumwelt - oder soll ich sagen Totenstarre? Stirb und Werde läßt vor dem geistigen Auge ein kaltes, dunkles, eisernes Fin de Siecle erscheinen, verarbeitet das Thema des Werdens und Vergehens auf gekonnte Art und Weise, weiß durch eine saubere Produktion auch klangtechnisch zu überzeugen und zeigt die meiner Meinung nach besten Allerseelen seit Bestehen. (Black) www.blackmagazin.com
Allerseelen is the project of Austrian researcher, musician and all-round renaissance man Kadmon. This CD maintains the high standard we have come to expect. The impeccably designed booklet displays some eye-catching pictures of the Externsteine near Horn in Germany. These images hint at the arcane potency of the tones contained on this disc. Licht acts as an overture, with layers of swelling symphonic sound. A chiming harp plucks its way through a celestial arpeggio, sealing the pure pulchritude of this opening. The luminescent Gletscherlicht perpetuates both the theme and rhapsodic essence of its forebear. Concurrently uplifting and chilling, this is the soundtrack to some mysterious film being played out in the mind´s eye. The same can be said of the icy coldness of Winterschlaf before its snowy sleep thaws under the blazing wings of Feuervogel. A chunky, reverb-drenched bass-line is picked up by pounding drums. Enigmatic lyrics written and sung by Kadmon make this an exceptional composition in the classic Allerseelen mould. Alle Lust will Ewigkeit swaps Kadmon´s lyrics for Friedrich Nietzsche´s, his vocals for Sabine´s and bass for brass. The harsher, more aggressive affair that is Feuertaufe is shortly followed by Käferlied. This brilliant song, in memoriam Ernst Jünger, first appeared on a split 7" with Blood Axis in 1998. Decidedly avant-garde flourishes pepper what is a somewhat techno laced number. Kadmon´s moving and inspirational words provide the piece-de-resistance. Fantastic! I can´t quite decide if this album reaches the pinnacle attained by Sturmlieder. If not, it at least comes within a hearsbreadth. Whether on the lament-like Sibirische Symphonie or the more active Flamme, Stirb und Werde bathes in splendour of light: The frozen stillness of a blind glacial glare. (Judas Kiss 6/MM, England)
When I got this CD and was opening it, I noticed that my mouth was actually dry, my heart was beating faster, and my hands were shaking just a little. An Allerseelen CD is an event. A ritual. An experience to be savoured completely. I have never been disappointed. Allerseelen was founded in 1989 and is basically one man, Kadmon. He lives in Austria. Kadmon has also written a journal called Aorta for a number of years, and is now writing one called Ahnstern. I encourage the study of these journals to anyone of open heart and open mind. The name Allerseelen is German for All Souls. I highly recommend every single Allerseelen album and every compilation on which Allerseelen songs appear. Every single album, 7" and compilation that contains this man´s work is worth your money and your time. I have never heard an Allerseelen piece that sounded weak, poorly done, or uncared for. Allerseelen represent a standard of excellence that is almost unheard of in the world today. Kadmon´s music is, by intent and effect, a spiritual experience. Each album is a ritual journey of sound or of „art as life ritual". Stirb und Werde is no exception. Stirb und Werde refers to the journey of death and rebirth - of pain and death followed by transcendence and illumination. The title means Die and Become. This album expresses the actualising of what death and illumination represent in the old solar cults such as Mithraism. If you are going to let Allerseelen into your life, you might want to do some reading. Julius Evola´s books The Mystery of the Grail and The Hermetic Tradition wouldn´t be bad places to start. The artwork in Stirb und Werde is taken from photographs of the sanctuary Externsteine in Westphalia and stills of Kenneth Anger´s film Lucifer Rising, part of which was also filmed at Externsteine. Externsteine is significant in the death and illumination/rebirth concept, because the natural sandstones at Externsteine were turned into a solar temple by the early Celts. The cover of Stirb und Werde is a picture of a hole in the rock at Externsteine where every year on June 21st the sun shines on what seems to be an altar. The music on Stirb und Werde follows a progression, beginning softly, and almost tentatively, like the first rays of sunlight on the horizon; and, like the sun, a few minutes after this CD has begun to arise, it becomes almost overwhelmingly brilliant. Gletscherlicht/Glacial Light is one of the most powerful pieces of music I have ever heard in my life. Winterschlaf/ Hibernation is a haunting and melancholy beginning to this musical process of dying and is followed by the caustic and surreal death knell called Feuervogel/Fire Bird. Fire Bird reminds me very much of the dark fury heard on Allerseelen´s last album Sturmlieder. Track five is a piece of Nietzsche´s poetry set to music: Alle Lust will Ewigkeit/All Lust Wants Eternity is a ferociously elegant bit of pure Allerseelen magick. Track six is Feuertaufe/Baptism of Fire and I don´t suggest you listen to it on repeat for very long. Then again.. the results could be fascinating especially when combined with darkness and flashing lights. Track seven seems to be the turning point of the album - still in darkness, but turning toward where the light will come; moving toward the Golden Age, but still shackled in Iron. It´s an almost whimsical arrangement, and very physically exciting and inspiring to hear. It´s a track full of hope and desire; it seems to articulate the very heart and soul of Icarus. The movie Wings of Desire comes to mind. Track eight is titled simply Heimkehr/Return. Fragile and tentative, the effect of this song is somehow disturbing, unsettling and wrought with life-affirming fear. Track nine is Sibirische Symphonie/ Siberian Symphony. It reminds me of crossing a long stretch of desert with the heat bearing down, no one to love, and nothing left to live for but life itself. Siberian Symphony is as refined and stately as it is despairing. Track ten Totenlohe/Blaze of the Dead could wake the dead. Track eleven, Flamme/Flame is a song of primitive virility and timeless radiance. The poetry used in Flame is also from Nietzsche and is truly exhilarating when set to this music. Track twelve, Stirb und Werde/Die and Become, reminds me very much of the scenes in Lucifer Rising where there is a woman lying in a sarcophagus carved into the side of a rock. Her hands are folded across her chest, and, as I recall, there is water running near her. It is a very powerful and poignant image - this woman lying peacefully within the substance and strength of the rock, and the current moving swiftly alongside her. Track thirteen, Leichenfarbne Dämmerung/Deadly Pale Twilight, also reminds very much of the film Lucifer Rising in its tone and atmosphere. It even reminds me in some ways of Bobby Beausoleil´s soundtrack. It has that strange, awesome, unnerving effect of being both resplendent and horrifying at the same time. The beauty of all three artists, Anger, Beausoleil and Kadmon, is that they take that resplendent horror and use it as a tool for spiritual awakening. The final trakc is titled, as was the first, simply Licht/Light. The fragile timidity of the first Light is replaced by a light more focused, a light more full and more bright, and more sure of itself. The passion and the power, and the absolute beauty contained in this final arrangement is spectacular. This last track is two minutes and twenty-two seconds of pure, unmitigated rapture. The only other creative majesty I could even begin to compare this album to, would be the experience of standing before one of Anselm Kiefer´s expansive, devastating, and regenerative paintings. If you have ever doubted art´s ability to destroy and re-create those who will let themselves be touched by it, pick any one artist I have mentioned in this review, immerse yourself obsessively in his work, and see who you are when you come out the other side. Succinctly, Stirb und Werde is a masterpiece of the Twentieth Century, and a sentinel of the Golden Age that must surely follow this modern world of darkness. www.starvox.net
Mit schöner Regelmäßigkeit veröffentlicht der österreichische Künstler Kadmon mit seiner Gruppe Allerseelen Werke seiner Tonkunst; waren es im letzten Jahr Vinylprodukte, wie das Ernst Jünger gewidmete Käferlied oder das Ergebnis einer Zusammenarbeit mit der amerikanischen Band Blood Axis, so greift der Künstler für sein neues Werk Stirb und Werde wieder auf die Lichtscheibe (CD) zurück. Wie in seinem gesamten Schaffen, so setzt sich der Österreicher auch diesmal erneut mit Themen wie Natur, Heidentum und Spiritualität auseinander, wofür er selbst die schöne und durchaus zutreffende Bezeichnung Technosophische Tonkunst, also die Verbindung von Technik, Weisheit und Kunst, geprägt hat. Kadmon selbst nennt seine Werke treffend „Lieder und akustische Landschaften". Konnte man seinen frühen Werken oftmals eine gewisse Rauhheit und Rohheit nicht absprechend, so ist Stirb und Werde erstaunlich ruhig, harmonisch. War die Stärke von Allerseelen schon eh die Fähigkeit, hypnotisch anmutende und wirkende Melodien zu schaffen, so schafft es das Duo, die Wirkung seiner Klanglandschaften noch zu erhöhen. Einige dieser „Landschaften" wirken regelrecht bewußtseinserweiternd. Lieder wie Gletscherlicht, Alle Lust will Ewigkeit, Käferlied oder Leichenfarbne Dämmerung dürften sicherlich auch den Hörer beeindrucken, der diese Art von zeitgenössischer Musik normalerweise nicht konsumiert. Eine mehr als gelungene Produktion. (Junge Freiheit 26/99)
Dinge aus unserer heidnischen Vergangenheit wie Runen wirft die Political Correctness- Gesellschaft heute gern in einen Topf mit der Nazi-Ideologie - das bekam auch der Oberösterreicher Kadmon, Kopf des Musikprojektes Allerseelen, zu spüren. Doch anstatt sich davon einschüchtern zu lassen, wurde im Mai seine neueste CD unter dem auf ein Gedicht von Goethe bezogenen Titel Stirb und Werde veröffentlicht. Einige Lieder aus diesem apokalyptischen Fin de Siecle-Werk sind leidenschaftlich-düstere Vertonungen von Nietzsches Dichtung. Die Absicht hinter der musikalischen Arbeit von Allerseelen ist eine Bewußtseinserweiterung, Die suggestive Klangwelt von Allerseelen definiert sich in einer kraftvoller Begegnung von Mythos und Moderne, Tradition und Avantgarde. Diese überirdisch-unheimliche Synthese aus zeitgemäßer Technologie und zeitloser Philosophie versetzt mit einem atmosphärischen Lärmzauber in eine unsichtbare Wirklichkeit. Die düstere Klanglandschaft als atemberaubendes Charakteristikum läßt den eisigen Lufthauch vorzeitlicher Mysterien deutlich spüren und jagt dem Zuhörer kalte Schauer über den Rücken. Die lichterlohen - mal metallischen, mal esoterischen - Klänge von Allerseelen lassen die sonst so starren Grenzen der Zeit verschwinden und bescheren selten gewordene, einzigartige Erfahrungen aus einer Welt, die es nach allen Regeln der Logik gar nicht mehr geben dürfte. (Zur Zeit 27/99)
Nouveau CD d´Allerseelen qui nous propose pour l´occasion une sorte de bilan de ces 10 dernieres annees. On retrouve quelques morceaux recents et retravailles comme Gletscherlicht, Alle Lust will Ewigkeit, Käferlied, Flamme et Leichenfarbne Dämmerung. D´autres titres plus anciens sont presents dans de nouvelles versions, mais il y a quand meme quelques inedits, et notamment l´excellent titre Feuervogel, avec une rhythmique rapide et plutot inhabituelle, Kadmon, ce genie Autrichien, semble donc faire le point sur sa longue carriere, avec ce CD tres captivant, toujours servi par des illustrations bien inspirees) photographies du sanctuaire de l´Externsteine et du film Lucifer Rising de Kenneth Anger), le tout servi par une citation de Jean Baudrillard, que peut-on ajouter? Rien? Si: ce CD est rigoureusement indispensable! (Runen 1)
Onirico e trasognante, per poi gettarsi a capofitto in violente trame fitte di percussioni e stridori industriali, momenti di riacquisita serenità portati in scena dalla voce di sabine che va a scontrarsi con la drammaticita dei testi e la brutalita degli strumenti.. una raccolta che attinge brani lungo tutta la decade che va dale fine degli anni ottanta fino ad oggi, presentando si pezzi editi, ma remixati in maniera davvero excellente, rendendo certi titoli cosi particolari da farli sembrare appena sfornati dalla fucina austriaca di allerseelen. sicuramente un album consigliato, sopratutto per chi non si e mai avvicinato troppo a kadmon, visto che questo stirb und werde rappresenta un ottimo punto di partenza verso un viaggio del tutto particolare nelle passioni ed ossessioni di uno dei maestri della scena apocalittica. non a caso stirb und werde viene dedicato alle altre entita che hanno contribuito, in questi ultimi anni, a rendere chiaro e, per quanto possibile, circoscritto, l´ambiente culturale verso cui ci si rivolge: blood axis, les joyaux de la princesse, waldteufel, scivias.. notevole inoltre l´impatto estetico, grazie alle suggestive istantanee scattatte alle externsteine in westfalia dove tinte di rosso cupo troneggiano lungo tutte le pagine del ricco booklet allegato al compact. (Marble Moon 15)
Non mi aveva affatto convinto il morbido Sturmlieder ma i segnali che arrivavano dal progetto austriaco da qualche tempo a questa parte disponevano all´ottimismo, segnali regolarmente amplificati su queste pagine. Rinveniamo quei lampi anche in Stirb und Werde, quarto atto per Allerseelen, che non ometti di riproporre il singolo dedicato a Ernst Jünger, Käferlied, e le due partecipazioni a the Nitha Fields e Lucifer Rising, rispettivamente con Alle Lust will Ewigkeit e Flamme. Affrancatosi da una eccessive fissita di stampo ambientale che ne aveva neutralizzato il certo vigore, Kadmon con altra determinazione si dedica a frustate percussive d´ottima rosa nel caso di Gletscherlicht, Totenlohe e Feuertaufe, con squarci da Götterdämmerung quali Licht, Sibirische Symphonie e Winterschlaf e piu convenzionali strutture musicali nella citata Käferlied e in Feuervogel a suggello d´un albo di inedita, per Allerseelen, varietà. (Italia)
Tripudio di fuoco e fiamme - consueto il richiamo ai culti solari pre-cristiani (si vedano le foto scattata presso il santuario mitraico Externsteine (li Anger giro parte di Lucifer Rising)) - nel quarto album degli austriaci Allerseelen. Grevi e serrate ritmiche marziali, interiezioni cameristiche, evocative citazioni nietzscheane e varia oscurita a circoscrivere un alone di misterioso arcaismo. (Rumore 9/99)
Creo que Kadmon mismo ha logrado dar una aproximacion definitoria, o varias, en lo que respecta a su concepto musical y tematico.Cada sonido – ha dicho – es una especie de simbole de lo que realmente quiere expresar, o mejor dicho, cada sonido representa un simbolo de, en cada caso, un tema o temas diferentes tratados. Indudablemente, Allerseelen es un punto clave para entender parte de la filosofia musical y tematica de las formaciones que mas nos interesan dentro del panorama Neo-Pagan- Folk e Industrial. Tras Allerseelen encontramos a un austriaco dedicado ademas a la publicacion de dos fanzines de nombres Aorta y Ahnstern. Ambos suelen ser tematicos y dedicados cada uno de ellos a un personaje en particular o incluso basados en articulos y entrevistas a grupos concretos. Para todos aquellos interesados en profundizar en las ocultas y escondidas sombras de la cultura europea, no hay lugar mejor que la musica de Kadmon bayo su proyecto Allerseelen y sus publicaciones mencionadas. Podemos encontrar, entre los temas tratados en Aorta, libretos dedicados, por ejemplo, al culto indo-europeo de Mithras, al film mistico-lunar de la alemana Leni Riefenstahl Das blaue Licht (La luz azul), a Corneliu Codreanu, fundador de la tambien mistica Guardia de Hierro rumana. Entre los articulos tratados en su nueva publicacion Ahnstern encontramos una entrevista con el director americano Kenneth Anger sobre diversos temas, entre ellos su film Lucifer Rising. Kadmon mismo define la musica de Allerseelen como Technosophische Tonkunst, Konservative Avantgarde: el termino tecnosofico auna las palabras tecnologia y filosofia. Mi trabajo, dice Kadmon, esta muy proximo a la alquimia: formo y modelo ideas, conceptos.. mis aparatos electronicos son mi laboratorio; la alquima fue siempre una ciencia sagrada que trabajo con la tecnologia mas contemporanea y trato de conjugar espiritualidad y tecnologia uniendo contrastes y conceptos opuestos. Pero entremos un poco en este su carto CD. Su estilo, proprio e inconfundible, esta basado por un lado en ritmicas repetitivas simbolicas de bases no exactamente industriales, ambientes combinados y acabados diferentes, tanto para temas ritmicos, como para otros ambientales dentro de espacios sonoros que maneja mejor que nadie. Una mezcla, come dice el mismo, de pasado y presente, de tradicion amoldada a su forma mas particular, y vanguardia disenada de forma original, sin copiar esquemas. Fuente de culturas diversas, come puedes ver, y controvertidas por sus a veces equivocadas interpretaciones y utilizaciones pasadas y presentes. En pocos podras encontrar un interes tan sincero por todo ello. Todos sus discos son recomendables, tanto come todos sus fanzines publicados. Esperamos uen un futuro cercano ahondar mas en la musica y persona de este imprescindible proyecto. (Seküencias de Culto 10)
Au allerseelen stirb und werde albuma tulajdonkeppen folytatja az elözo, sturmlieder altal kijelölt utat. egysegesedtek ezek a latkepek (landscapes), ahogyan kadmon nevezi oket, s egyre inkabb attekinthetobbek is. az elektronika tovabbra is megmaradt az eloterben, s ezaltat - helyenkent - sokkal jobban befogadhato az anyag, mint a sturmlieder. az industrialba hajlanak a legtöbbször a kompoziciok, terjengosebbek is, de azert meg kellokeppen kihaltak es fagyosak tovabbra is, hiaba egyik központi szimbolumuk a tuz es a lang. kadmon ott tudna nagyot lenditeni a produkciojan, ha sokkal inkabb alatamasztottabbak lennenek szövegileg a szerzemenyei. ezuttal harom nietzsche vers került megzenesitesre, mig sajat szöveg csak ketto. a borito konscepcioja tovabbra is a okkultizmus egyik központjat, az externsteine - i prehistorikus szentelyt mutatja be, amelynel a iii. birodalom idejen több ünnepseget is rendeztek. ehhez kapcsodolodik kepekben a lucifer rising c. film nehany jelenete - furcsa szimbiozist alkotva. a magam reszerol azt gondolom, leginkabb olyan dalokban tudja magat megtalalni a csoport, mint a flamme, totenlohe vagy az alle lust will ewigkeit es a winterschjlaft. jelenthet valamit, hogy ezek közül kettonek egy-egy nietzsche vers adja az alapjat. (Mozgalom)
www.geocities.com/ahnstern
ALLERSEELEN CD NEUSCHWABENLAND
ALLERSEELEN CD NEUSCHWABENLAND
DoLP with various additional songs in preparation
Songs: Einstieg, Mit fester Hand, Nornar Nagli, Gläserne Kugel, Panzergarten, Cordon Dorado, König, Isländische Umarmungen, Idun, Hartung, Julmond, Neuschwabenland, Blonder Wein, Wiederkehr
Gelungenes Gesamtkunstwerk. Mit Neuschwabenland schuf der österreichische Künstler Kadmon sein bisher eingängigstes Allerseelen-Album. Was zuvor von avantgardistisch-experimentellen Soundscapes geprägt war, ist mittlerweile ungewöhnlich harmonisch klingenden elektronischen, sogenannten fin de siècle military pop songs gewichen, bei denen sich die düsteren Ambient- Klangmalereien mit monoton stampfenden, wuchtigen Rhythmen und fast schon säuselnd hypnotischen Melodien und gelegentlich eingestreuten Streicher-Samples verbinden. Dazu interpretiert Kadmon neben eigenen auch Texte von Hermann und Ninon Hesse, läßt Oskar Werner (Fahrenheit 451) in Blonder Wein Rainer Maria Rilke rezitieren und ließ sich selbst bei König musikalisch von Kirlian Cameras Motionless inspirieren. Abgerundet wird das gelungene Gesamtkunstwerk durch ein wunderschön von Salt gestaltetes Artwork. (Zillo 9/2000)
Neuschwabenland ist ein Meisterwerk. Der Titel wird wieder einmal für Unruhe sorgen, und wenn man die Assoziationen des pfiffigen wilden Kerls aus Friaul-Julisch-Venetien nicht kennt, so ist dies durchaus verständlich. Neuschwabenland ist ein Schmankerl. Die Stimmungen reichen von stahlgrünen Klanglandschaften, verruchten Momentaufnahmen südamerikanischer Rotlichtbezirke und lasziven Tangorhythmen bis hin zu harschem Military Pop. König ist eine eigenwillige Interpretation von Kirlian Cameras Motionless, Blonder Wein und Cordon Dorado könnten in jeder Tangolounge laufen, und mit Hartung findet sich eine gewaltige Technoversion eines Tracks von der CD Gotos=Kalanda wieder. Eine CD für Träumer. (Black 21/2000) www.blackmagazin.com
Some years ago Allerseelen was known for a raw, industrial sound, but things have changed in the camp of Kadmon. His style now can be described as ' fin de siècle military pop'. Neuschwabenland is a perfectly produced album. The songs have nice melodies, original rhythms and sounds and a special atmosphere, making me think of ice and glass. One of the songs, 'König', is inspired by the track 'Motionless' from Kirlian Camera, a band where more songs on this album remind me of, although Allerseelen shows more emotions. One of the highlights is the irresistible title track. http://www.funprox.com/judgment/review.asp?show=114
il miglior disco degli allerseelen, punto e basta. potrei fermarmi qui e avrei detto tuttol. il migliore, veramente. per tutti i fan del gruppo austriaco di gerhard, ma non solo. neuschwabenland ci ripropone il gruppo in versione meno harsh e piu atmosferica. piu belli i suioni, migliore la produzione. i brani sono tutti bellissimi. come al solito l´artowrk e molto curato ed in linea con le produzioni precedenti anche se la copertina e leggermente diversa da quanto ci si potrebbo aspettare. il booklet ricalca lo stile a cui siamo abituati, tra ghiacciai e gelide acque in un atmosfera davvero glaciale. l´opera e composta da 14 brani per una durata totale di 70 minuti. si parte con l´introduttiva einstieg, misteriosa e cupa nella sua ossessiva melodia e si prosegue con mit fester hand, un brano come solo gerhard sa creare, basato su un poema di hermann hesse. troviamo poi nornar nagli e panzergarten gia edite sul 7" que ha preceduto l´uscita del cd. la prima novita si fa ascoltare col brano gläserne kugel dal sound qaue definirei quasi easy-listening ma pur sempre nelle stile tipico di allerseelen. ma le sorprese non finiscono qui, anzi. il brani könig col suo incedere quasi etnico si ispira a motionless dei kirlian camera ed e une dei pezzi piu belli ed originali dell´intera opera. e poi ancora idun e neuschwabenland che sanno incantare con la loro poesia tra ritmi industriali, voci misteriose e note di pianoforte. il cd si chiude con wiederkehr, definita dallo stesso gerhard come industrial dancefloor, che riprende la melodia di einstieg in vortice ritmico frenetico. da segnalare la presenza di hartung e julmond, due brani gia presenti in gotos=kalanda qui riproposti in interessanti versioni arricchite. complimenti! www.geocities.com/raunend
I remember Allerseelen as a rather harsh ritual-industrial project, and exciting enough when that sort of music was a novelty to me. Parallel to the development of my own musical tastes, allerseelen has also matured and developed and mellowed, although the new material recognisably retains gerhard´s unique and distinctive signature. Neuschwabenland is a sophisticated and polished electronic soundscape with good melodies and insistent military beats. Its title refers to the alleged historical ambition to claim Antarctica for Germany. Recorded in 1999, the songs are conceveid as fin de siècle military pop songs. The impressive filmic intro leads into an album of suspense, mystery and dreaminess - particularly on blonder wein - and maintains its momentum throughout. (rik) www.fluxeuropa.com
neuschwabenland takes its name from the part of antarctica claimed by germany in a mysterious expedition which took place between 1938 and 1939. appropriately, the cover is adorned with oronteus finaeus´1531 map of that last great, unexplored continent, superimposed over its modern counterpart. a chilling, deep blue-green background completes this profusion of polar pulchritude. it is not only the packaging that possesses the texture of ice, however. einstieg guides the listener down into a shimmering world of subterranean glacial caverns. one´s consciousness is mesmerised by siren-like strings and metallic chimes, that glisten like frozen stalactites in this palace of ice. mit fester hand doesn´t so much break the spell as transform it. strident stabs of bass and brass cut through a biting arctic wind which carries the silvery sound of a glockenspiel over the snowbound landscape. kadmon intones hermann hesse´s words with a resoluteness worthy of the title. nornar nagli is followed by gläserne kugel, a sophisticated upbeat number which veers toward pop territory in terms of its melody and construction. the piece dies away in a whirl of phasing, psychedelic synths, and is replaced by the harsher strains of panzergarten. this gelid love-song constitutes one of the outstanding moments of the cd. cordon dorado soars upwards through the blizzard, circling like a falcon above the chill conditions below. what manifests itself as a mental image conveyed by the tango style rhythm of this brief instrumental appears as a lyrical motif in its successor, könig. the shrill cries of a bird of prey introduce a composition that mixes a rock steady bass-line and a jazz tinged drum pattern with electronic flourishes. the addition of string and brass sections imbues the whole with a sense of subdued tension which acts as the perfect vehicle for kadmon´s pondering, poetic lyrics. this tenor is also evident on the next two tracks, the ernst jünger inspired isländische umarmungen and idun. the latter utilises avant-garde piano playing alongside dark ambient soundscapes to create a slowly uncoiling atmosphere. after re-workings of hartung and julmond from the 1994 release gotos=kalanda comes the title track. it is perhaps this work that best fits the allerseelen main-man´s description of neuschwabenland as a collection of fin-de-siècle military pop songs. kadmon and sabine perform a brumal duet against a backdrob of pulsating bass and sweeping reverberations. a crystal clear glockenspiel weaves its way through the tundra, before yielding to the sheer beauty of blonder wein. wonderfully expressive violins at last provide a respite from the cold, whilst kadmon whispers a toast to "that sacred order that leads and ordains us, that finds us and unites us". but, everything recurs, and things are finally brought fully circle via the pounding wiederkehr. as always with allerseelen, one is left feeling enthused and invigorated by a brilliant listening experience. with concepts and music of this quality, kadmons looks set to remain at the forefront of cutting-edge sounds for years to come. (Judas Kiss, England)
In atlantisch-eisigem Blau zeigt sich Allerseelens Hommage an das antarktische Gralsgebiet. Titel wie König, Panzergarten und Cordon Dorado unterhalten mit argentinischer Bordellmusik und technosophischem Military Pop. Die Inspirationen, die Kadmon von seinen Musen bezieht, weisen den Weg in zunehmend femininere Klangwelten, in denen Isländische Umarmungen und Iduns Äpfel gedeihen. (Kshatriya)
se stirb und werde mi aveva catturato attraverso le sue idee, emozioni e ritmi vitali, la nuova prova ad ampio respiro di kadmon trasmette un senso di stupore ed intrigante curiosità gia a partire dall´effficace lay-out di cui si fregia. questa neuschwabenland, identificata con il continente antartico (efficacemente ritratto sulla stupenda copertina del compact) colpisce recondite fantasie e sensazioni di gelida utopia legate ad argomenti in parte da considerarsi tabu, non tanto perche inerenti a chissa quali trame "scorrette" quanto rispetto alla loro effettiva norietà, ma comunque capaci di trasportaci lontano, verso mondi di sogno e territori circondati da fredde nebbie perenni. quattordici movimenti di lucido allerseelen sound per portare alla luce temi quali l´utopia del progetto nueva germania in paraguay, le suggestioni dello scrittore cileno miguel serrano, le parole prese a prestito dallo scomparso runendichter islandese sveinbjörn beinteinsson (gia famoso grazie al documento sonoro edda voluto da david tibet), o gli struggenti versi di lotta e amore ambientati nel giardino dei panzer di vienna. e sempre un piacere occuparsi di progetti cosi pieni di idee e vitalita, e neuschwabenland, forte di queste sue arie da military pop messe in moto da cadenze marziali e ritmi da dancefloor sembra non voler sbagliare un solo colpo. buon per noi. da segnalare l´uscita del 7" dal vinile grigio in edizione limitata nornar nagli/ panzergarten che ha effettivamente preceduto neuschwabenland cosi come accadde per il piccolo vinile blue ghiaccio dedicato a leni riefenstahl rispetto a stirb und werde, e se quest´ultimo con i suoi toni rosso fuoco sembrava voler evocare le pulsioni vitali del ciclo cosmico ordinato dalla ruota dell´eterna morte e rinascita, neuschwabenland, con le sue distese di ghiacci eterni si carica di significati ben riflessi nell´idea di un ordine statico e monumentale, preservato dalla corruzione grazie ad assiomi di indiscutibile immutabilita del sentire perpetuo. un pellegrinaggio sonoro attraverso gli infiniti deserti ghiacciati del continente antartico in compagnia di uno dei piu valenti musicisti della nuova avanguardia elettronica europea. ma se neuschwabenland vi avra catturato cosi come ha fatto con il sottoscritto, bene, la prossima uscita del concept-album venezia promette di non retrocedere di un solo passo la bellezza e la forza espressiva di questa band dal cuore avventuroso. altamente consigliato. (Marble Moon 16)
preannunciato dall´excellente 7" nornar nagli/panzergarten di cui dissi la primavera scorsa, neuschwabenland sigla il quinto capitolo di allerseelen. un apripista, il singolo, i cui brani vengono ospitati anche nell´album, come di frequente si fa in ambito pop. si tratta d´altronde, e lo stesso kadmon a sottolinearlo con felice intuizione nel booklet, di pop songs militari di fine secolo, ma la definizione non deve allarmare ipotizzando chissa quali fruibile concessioni. l´evoluzione di allerseelen e stata costante e coerente, e neuschwabenland e forse piu accessibile di passati lavori ma anche di una forza comunicativa senza precedenti, un approdo a cui eravamo tutto sommato preparati alla luce delle ultime, ottime, tracce che di allerseelen s´erano raccolte. diviso tra crepuscolari, ma spesso tecnologicamente ferite, arie epico-romantiche, einstieg, könig, ispirata da motionless di kirlian camera, hartung, blonder wein, wiederkehr, e canzoni possibili, gläserne kugel, nel solco della mitgliore elettrowave eighties, la brumosa mit fester hand, la schiacciante panzergarten, la strizzatina d´occhio a the robots die isländische umarmung, l´ipnotica title track, la marcia d´automi di julmond, neuschwabenland coglie appieno quell´essenza sottilmente persuasiva che e propria delle military songs. (Blow Up)
www.geocities.com/ahnstern
DoLP with various additional songs in preparation
Songs: Einstieg, Mit fester Hand, Nornar Nagli, Gläserne Kugel, Panzergarten, Cordon Dorado, König, Isländische Umarmungen, Idun, Hartung, Julmond, Neuschwabenland, Blonder Wein, Wiederkehr
Gelungenes Gesamtkunstwerk. Mit Neuschwabenland schuf der österreichische Künstler Kadmon sein bisher eingängigstes Allerseelen-Album. Was zuvor von avantgardistisch-experimentellen Soundscapes geprägt war, ist mittlerweile ungewöhnlich harmonisch klingenden elektronischen, sogenannten fin de siècle military pop songs gewichen, bei denen sich die düsteren Ambient- Klangmalereien mit monoton stampfenden, wuchtigen Rhythmen und fast schon säuselnd hypnotischen Melodien und gelegentlich eingestreuten Streicher-Samples verbinden. Dazu interpretiert Kadmon neben eigenen auch Texte von Hermann und Ninon Hesse, läßt Oskar Werner (Fahrenheit 451) in Blonder Wein Rainer Maria Rilke rezitieren und ließ sich selbst bei König musikalisch von Kirlian Cameras Motionless inspirieren. Abgerundet wird das gelungene Gesamtkunstwerk durch ein wunderschön von Salt gestaltetes Artwork. (Zillo 9/2000)
Neuschwabenland ist ein Meisterwerk. Der Titel wird wieder einmal für Unruhe sorgen, und wenn man die Assoziationen des pfiffigen wilden Kerls aus Friaul-Julisch-Venetien nicht kennt, so ist dies durchaus verständlich. Neuschwabenland ist ein Schmankerl. Die Stimmungen reichen von stahlgrünen Klanglandschaften, verruchten Momentaufnahmen südamerikanischer Rotlichtbezirke und lasziven Tangorhythmen bis hin zu harschem Military Pop. König ist eine eigenwillige Interpretation von Kirlian Cameras Motionless, Blonder Wein und Cordon Dorado könnten in jeder Tangolounge laufen, und mit Hartung findet sich eine gewaltige Technoversion eines Tracks von der CD Gotos=Kalanda wieder. Eine CD für Träumer. (Black 21/2000) www.blackmagazin.com
Some years ago Allerseelen was known for a raw, industrial sound, but things have changed in the camp of Kadmon. His style now can be described as ' fin de siècle military pop'. Neuschwabenland is a perfectly produced album. The songs have nice melodies, original rhythms and sounds and a special atmosphere, making me think of ice and glass. One of the songs, 'König', is inspired by the track 'Motionless' from Kirlian Camera, a band where more songs on this album remind me of, although Allerseelen shows more emotions. One of the highlights is the irresistible title track. http://www.funprox.com/judgment/review.asp?show=114
il miglior disco degli allerseelen, punto e basta. potrei fermarmi qui e avrei detto tuttol. il migliore, veramente. per tutti i fan del gruppo austriaco di gerhard, ma non solo. neuschwabenland ci ripropone il gruppo in versione meno harsh e piu atmosferica. piu belli i suioni, migliore la produzione. i brani sono tutti bellissimi. come al solito l´artowrk e molto curato ed in linea con le produzioni precedenti anche se la copertina e leggermente diversa da quanto ci si potrebbo aspettare. il booklet ricalca lo stile a cui siamo abituati, tra ghiacciai e gelide acque in un atmosfera davvero glaciale. l´opera e composta da 14 brani per una durata totale di 70 minuti. si parte con l´introduttiva einstieg, misteriosa e cupa nella sua ossessiva melodia e si prosegue con mit fester hand, un brano come solo gerhard sa creare, basato su un poema di hermann hesse. troviamo poi nornar nagli e panzergarten gia edite sul 7" que ha preceduto l´uscita del cd. la prima novita si fa ascoltare col brano gläserne kugel dal sound qaue definirei quasi easy-listening ma pur sempre nelle stile tipico di allerseelen. ma le sorprese non finiscono qui, anzi. il brani könig col suo incedere quasi etnico si ispira a motionless dei kirlian camera ed e une dei pezzi piu belli ed originali dell´intera opera. e poi ancora idun e neuschwabenland che sanno incantare con la loro poesia tra ritmi industriali, voci misteriose e note di pianoforte. il cd si chiude con wiederkehr, definita dallo stesso gerhard come industrial dancefloor, che riprende la melodia di einstieg in vortice ritmico frenetico. da segnalare la presenza di hartung e julmond, due brani gia presenti in gotos=kalanda qui riproposti in interessanti versioni arricchite. complimenti! www.geocities.com/raunend
I remember Allerseelen as a rather harsh ritual-industrial project, and exciting enough when that sort of music was a novelty to me. Parallel to the development of my own musical tastes, allerseelen has also matured and developed and mellowed, although the new material recognisably retains gerhard´s unique and distinctive signature. Neuschwabenland is a sophisticated and polished electronic soundscape with good melodies and insistent military beats. Its title refers to the alleged historical ambition to claim Antarctica for Germany. Recorded in 1999, the songs are conceveid as fin de siècle military pop songs. The impressive filmic intro leads into an album of suspense, mystery and dreaminess - particularly on blonder wein - and maintains its momentum throughout. (rik) www.fluxeuropa.com
neuschwabenland takes its name from the part of antarctica claimed by germany in a mysterious expedition which took place between 1938 and 1939. appropriately, the cover is adorned with oronteus finaeus´1531 map of that last great, unexplored continent, superimposed over its modern counterpart. a chilling, deep blue-green background completes this profusion of polar pulchritude. it is not only the packaging that possesses the texture of ice, however. einstieg guides the listener down into a shimmering world of subterranean glacial caverns. one´s consciousness is mesmerised by siren-like strings and metallic chimes, that glisten like frozen stalactites in this palace of ice. mit fester hand doesn´t so much break the spell as transform it. strident stabs of bass and brass cut through a biting arctic wind which carries the silvery sound of a glockenspiel over the snowbound landscape. kadmon intones hermann hesse´s words with a resoluteness worthy of the title. nornar nagli is followed by gläserne kugel, a sophisticated upbeat number which veers toward pop territory in terms of its melody and construction. the piece dies away in a whirl of phasing, psychedelic synths, and is replaced by the harsher strains of panzergarten. this gelid love-song constitutes one of the outstanding moments of the cd. cordon dorado soars upwards through the blizzard, circling like a falcon above the chill conditions below. what manifests itself as a mental image conveyed by the tango style rhythm of this brief instrumental appears as a lyrical motif in its successor, könig. the shrill cries of a bird of prey introduce a composition that mixes a rock steady bass-line and a jazz tinged drum pattern with electronic flourishes. the addition of string and brass sections imbues the whole with a sense of subdued tension which acts as the perfect vehicle for kadmon´s pondering, poetic lyrics. this tenor is also evident on the next two tracks, the ernst jünger inspired isländische umarmungen and idun. the latter utilises avant-garde piano playing alongside dark ambient soundscapes to create a slowly uncoiling atmosphere. after re-workings of hartung and julmond from the 1994 release gotos=kalanda comes the title track. it is perhaps this work that best fits the allerseelen main-man´s description of neuschwabenland as a collection of fin-de-siècle military pop songs. kadmon and sabine perform a brumal duet against a backdrob of pulsating bass and sweeping reverberations. a crystal clear glockenspiel weaves its way through the tundra, before yielding to the sheer beauty of blonder wein. wonderfully expressive violins at last provide a respite from the cold, whilst kadmon whispers a toast to "that sacred order that leads and ordains us, that finds us and unites us". but, everything recurs, and things are finally brought fully circle via the pounding wiederkehr. as always with allerseelen, one is left feeling enthused and invigorated by a brilliant listening experience. with concepts and music of this quality, kadmons looks set to remain at the forefront of cutting-edge sounds for years to come. (Judas Kiss, England)
In atlantisch-eisigem Blau zeigt sich Allerseelens Hommage an das antarktische Gralsgebiet. Titel wie König, Panzergarten und Cordon Dorado unterhalten mit argentinischer Bordellmusik und technosophischem Military Pop. Die Inspirationen, die Kadmon von seinen Musen bezieht, weisen den Weg in zunehmend femininere Klangwelten, in denen Isländische Umarmungen und Iduns Äpfel gedeihen. (Kshatriya)
se stirb und werde mi aveva catturato attraverso le sue idee, emozioni e ritmi vitali, la nuova prova ad ampio respiro di kadmon trasmette un senso di stupore ed intrigante curiosità gia a partire dall´effficace lay-out di cui si fregia. questa neuschwabenland, identificata con il continente antartico (efficacemente ritratto sulla stupenda copertina del compact) colpisce recondite fantasie e sensazioni di gelida utopia legate ad argomenti in parte da considerarsi tabu, non tanto perche inerenti a chissa quali trame "scorrette" quanto rispetto alla loro effettiva norietà, ma comunque capaci di trasportaci lontano, verso mondi di sogno e territori circondati da fredde nebbie perenni. quattordici movimenti di lucido allerseelen sound per portare alla luce temi quali l´utopia del progetto nueva germania in paraguay, le suggestioni dello scrittore cileno miguel serrano, le parole prese a prestito dallo scomparso runendichter islandese sveinbjörn beinteinsson (gia famoso grazie al documento sonoro edda voluto da david tibet), o gli struggenti versi di lotta e amore ambientati nel giardino dei panzer di vienna. e sempre un piacere occuparsi di progetti cosi pieni di idee e vitalita, e neuschwabenland, forte di queste sue arie da military pop messe in moto da cadenze marziali e ritmi da dancefloor sembra non voler sbagliare un solo colpo. buon per noi. da segnalare l´uscita del 7" dal vinile grigio in edizione limitata nornar nagli/ panzergarten che ha effettivamente preceduto neuschwabenland cosi come accadde per il piccolo vinile blue ghiaccio dedicato a leni riefenstahl rispetto a stirb und werde, e se quest´ultimo con i suoi toni rosso fuoco sembrava voler evocare le pulsioni vitali del ciclo cosmico ordinato dalla ruota dell´eterna morte e rinascita, neuschwabenland, con le sue distese di ghiacci eterni si carica di significati ben riflessi nell´idea di un ordine statico e monumentale, preservato dalla corruzione grazie ad assiomi di indiscutibile immutabilita del sentire perpetuo. un pellegrinaggio sonoro attraverso gli infiniti deserti ghiacciati del continente antartico in compagnia di uno dei piu valenti musicisti della nuova avanguardia elettronica europea. ma se neuschwabenland vi avra catturato cosi come ha fatto con il sottoscritto, bene, la prossima uscita del concept-album venezia promette di non retrocedere di un solo passo la bellezza e la forza espressiva di questa band dal cuore avventuroso. altamente consigliato. (Marble Moon 16)
preannunciato dall´excellente 7" nornar nagli/panzergarten di cui dissi la primavera scorsa, neuschwabenland sigla il quinto capitolo di allerseelen. un apripista, il singolo, i cui brani vengono ospitati anche nell´album, come di frequente si fa in ambito pop. si tratta d´altronde, e lo stesso kadmon a sottolinearlo con felice intuizione nel booklet, di pop songs militari di fine secolo, ma la definizione non deve allarmare ipotizzando chissa quali fruibile concessioni. l´evoluzione di allerseelen e stata costante e coerente, e neuschwabenland e forse piu accessibile di passati lavori ma anche di una forza comunicativa senza precedenti, un approdo a cui eravamo tutto sommato preparati alla luce delle ultime, ottime, tracce che di allerseelen s´erano raccolte. diviso tra crepuscolari, ma spesso tecnologicamente ferite, arie epico-romantiche, einstieg, könig, ispirata da motionless di kirlian camera, hartung, blonder wein, wiederkehr, e canzoni possibili, gläserne kugel, nel solco della mitgliore elettrowave eighties, la brumosa mit fester hand, la schiacciante panzergarten, la strizzatina d´occhio a the robots die isländische umarmung, l´ipnotica title track, la marcia d´automi di julmond, neuschwabenland coglie appieno quell´essenza sottilmente persuasiva che e propria delle military songs. (Blow Up)
www.geocities.com/ahnstern
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