ALLERSEELEN DoLP STURMLIEDER
DoLP with six exclusive new songs
CD sold out!
www.geocities.com/ahnstern
Gudrun Ordskidur:
"SOUNDTRACKS FOR VOLCANO LAKES AND BUNKER POETESSES"
"Sturmlieder (Storm Songs) is the latest DoLP on the Austrian label Ahnstern. I got it some days from the distributor Ajna in Oregon. As I consider all Allerseelen publications as some kind of travels, I will start the description of this magical mystery tour with the dark green cover showing a strange wooden sculpture surrounded by runes close to a hidden lake somewhere in the mountains. The lake looks very Austrian but the liner notes state that the photo was taken close to the volcano Mount St. Helens, obviously during the Pacific Westcoast tour of Allerseelen in 2003 with their live concerts in Seattle, Portland and San Francisco. Side I, which contains six brand-new songs, starts with WIR TRAGEN EIN LICHT, a powerful song with violent violins and a very beautiful, breath-taking melody which is dedicated to John Balance, the late singer of Coil. A strange requiem song without lyrics, almost too rhythmic for a funeral - but John Balance would probably have liked this for his last journey! In some way this song reminds of Eastern Europe, maybe of Poland where one of the last Coil concerts took place. Somewhere in the web I read that Allerseelen sometimes perform this song on stage with a human skull on stage. The next song VINO E CUORE has a completely different mood. It is almost a blues, some piano, some splinters of classic music, very slow and dark with the beautiful voice by an Italian girl named Gaya Donadio. Very sexy! Obviously a song about wine and love. A wonderful composition and a perfect soundtrack for a evening, relaxing at home with a good glass of Californian or Italian wine. It would be great to understand the words. But maybe it is better this way, as words that I do not understand allow more space for imagination. The next track is called ALLERSEELEN, like the band, almost a dancefloor song with guitars and ravens and violins. In some way these recordings appear in a similar vein like magnificent classics like Current 93´s Thunder Perfect Mind and Einsturzende Neubauten´s Zeichnungen des Patienten O.T. WACHOLDERWEG is powerful and again very rhythmic, so it is not surprising that Allerseelen, their friends and also their enemies consider this music as ammunition! Music as ammunition: This was also the title of a lengthy interview that Allerseelen gave to the American book Tyr II published last year by Ultra in Atlanta, Georgia. Already all the unreleased songs make the purchase of this double lp worthwile. HERBSTLIED, a song about the fall, again with violins and strange mandoline sounds. Some of the noises that Gerhard uses are familiar from the very early cassettes like Autdaruta and Schwartzer Rab which were also released on the Allerseelen DoLPs Heimliche Welt and Archaische Arbeiten by Ahnstern. So strange music, dark pop, sentimental, bitter, beautiful! It is easy to fall in love with this dark beauty, it is so seductive, with all its strange loops it has a very hypnotic quality. In some way it is sweet and bitter like medicine, poppy tea. It also reminds me in some way of Coil´s Horse Rotorvator and Psychic TV´s Dreams Less Sweet. LIEBE, the last one of the unreleased songs, even features some metal guitars, melted into one another with violins and industrial sounds. This song has again a strange Eastern Europe atmosphere. The other three sides of this lengthy DoLP contain the songs of the sold out Allerseelen Sturmlieder CD. Side II starts with HEILIGES BLUT - feedback noises, industrial noises, developing in a strange industrial rock song with a strong, almost brutal rhythm, a heavily distorted bass. Maybe many Allerseelen works are so hypnotic because they are constructed in a very simple and spartanic way. The voice of the singer was more aggressive in the past than it is now. The strong rhythm and the bass have a very energetic effect on the heart. It is really ammunition, it is like adrenaline or an acoustic amphetamine evolving from of the black vinyl. STORM starts with the noises of wind, then a bitter sweet violin enters the reign of the song. Again a very catchy rhythm and this time English, hard to understand lyrics by Andreas, another Austrian musician. The bass almost like an electric guitar, strange effects on the voice. The volcano lake on the cover fits well with the music on this album - the music is volcanic like magma inside an apparent dormant volcano, yet it contains at the same time the beauty and also hidden danger of the dark water of the lake - the violins at the end of the song, are they before or after the volcanic eruption!? TRAUMLIED - another very simple song with whispered voices, a strange slow motion rhythm with some piano and flutes, the right atmosphere for my Californian wine or also poppy tea. Having sold my Sturmlieder CD copy some years ago, I am glad to own these recordings again which were digitally remastered. This song fits well with the volcano lake, a hidden voice somewhere close to the water, close to the woods, whispering words about dreams. Side III starts more threatening with DUNKELGRAUE STILLE, reminding in its atmosphere of WWII, ashes, darkness, a menace somewhere. The wooden sculpture on the cover of the Sturmlieder double lp was burnt to ashes in October, 1944. What happened to it? I feel like waiting somewhere in a bunker or cellar for the end of the air-raids, for a utopy named peace.. It is bunker music. There is something strange about the throbbing rhythms of Allerseelen, either it is their speed or something else in the formula of this music! IN STAHLGEWITTERN: Very industrial storms of flames, of steel, again very catchy, no words, some noises reminding again of air planes, hypnotic and menacing. STURMLIED, storm song, the now well-known Allerseelen track based on lyrics by the German poetess Ricarda Huch who probably also spent a lot of time in a bunker or at least in a stormy and violent period of time, starts again with stormy noises and strange sounds that could be gongs or feedbacks treated with various electronic devices, at the same time brutal and beautiful as the theatre of cruelty by Antonin Artaud. An industrial rhythm and again a very simple bass, cruel and effective. This is the first Allerseelen song featuring Ostara, a girl singing in German, the former singer of Allerseelen who seems no longer to be a member of the band. The song ends very apocalyptic. A lot of the music of Allerseelen has a very apocalyptic quality. SEHNSUCHT, the first German word I learnt through the famous song by Einsturzende Neubauten, is basically just one loop, a very monotonous, hypnotic and seductive violin or cello, maybe recorded backwards. It is the final track on side III. Side IV starts with LEICHENFARBNE DÄMMERUNG - cruel feedbacks, distorted guitars, a solemn voice obviously being aware of some forthcoming apocalypse, flutes. A soundtrack for the showdown. But then the song gets another direction with a more serene rhythm. Some of the Allerseelen songs are really long which makes it easier to enter the underworld of their music. Some, like WINTERSONNENWENDE, might be too long. Wolves and a bass guitar, maybe some bone flutes and a sound between an organ and guitar feedback, some time later a very powerful beat on kettle-drums. HEIMAT, homeland, is more silent with its remote violins, the noise of rain, the thunderstorm, the sparse acoustic guitars.. Is the rain really on the vinyl!? Or do I hear in my bunker an actual thunderstorm from the outer world? Are the air-raids over? Is it the rain of spring in Nyja-Jorvik?
It would be great to see Allerseelen one day live at the coast of a volcano lake or even in Nyja-Jorvik. Maybe this dream will become true in the near future."
This is a page from the diary of the bunker poetess Gudrun Ordskvidur, Nyja-Jorvik, March 2nd, 2005, 9:53 p.m.
"All art is at one surface and symbol. Those who go beneath the surface do so at their peril." (Oscar Wilde, Dorian Grey)
I
Wir tragen ein Licht, Vino e cuore, Allerseelen,
Wacholderweg, Herbstlied, Liebe
II
Heiliges Blut, Storm, Traumlied
III
Dunkelgraue Stille, In Stahlgewittern, Sturmlied. Sehnsucht
IV
Leichenfarbne Dämmerung, Wintersonnenwende, Heimat
Stimme: Gaya Donadio, Ostara, Andreas, Gerhard
Liedgut: Gerhard
Gestaltung: M. Presch/Gerhard
The songs and soundscapes on II, III, IV contain the songs which were published on the sold out Allerseelen CD Sturmlieder. They were recorded in the years 1994-1996. The new songs on I were recorded exclusively for this release in MMIV. All the songs were digitally remastered by M. Presch. Wir tragen ein Licht is dedicated to John Balance (16.II.1962-13.XI.2004). Vino e cuore was recorded in London and Wien in summer MMIV with the Italian singer Gaya Donadio. Allerseelen is based on a poem by Hermann von Gilm zu Rosenegg. The lyrics of Wacholderweg and Leichenfarbne Dämmerung were written by Friedrich Nietzsche. Liebe is inspired by a song from Laibach. The poem Sturmlied was written by Ricarda Huch.
The cover of this double lp contains photographs taken by Gerhard in June MMIII at the Pacific West Coast. It shows the mysterious June Lake close to the dormant volcano Mount St. Helens. The wooden Odin sculpture was constructed by the German architect and artist Bernhard Hoetger in the years 1929-1931. This sculpture was burnt to ashes on October 6th, 1944.
Sturmlieder is dedicated to the ashes of this wooden sculpture and the members of Ajna and Waldteufel who accompanied me during the magical mystery tour to this lake hidden between anthracite-grey lava rocks covered by golden moss.
Gerhard
"Ich nenne es das grüne Land. Manchmal bin ich dort. Es ist wie unter Wasser, und mein Atem steht still, wenn ich dort bin. Es ist tief unter Wasser, und alles scheint in ein grünes Licht getaucht."
(Gustav Meyrink, Der Engel vom westlichen Fenster)
"Es gibt in der Welt einen einzigen Weg, welchen niemand gehen kann außer Dir. Frage nicht, wohin er führt, gehe ihn."
"In the world there is only one path which no one may walk on apart from you. Don´t ask where it will lead to - follow its course."
(Friedrich Nietzsche)
Allerseelen DoLP Sturmlieder Reviews
Allerseelen CD Sturmlieder Reviews
CD sold out
With the lush minimalism of a Japanese garden, Allerseelen have created a chiaroscuro masterpiece. Songs like Sacred Blood, Desire and Deadly Pale Twilight are heartbreakingly beautiful. Kadmon´s lyric prowess shines through with breathtaking clarity on this, Allerseelen´s third album. The photography in the liner notes must be seen; the photos are of an Expressionist building in Bremen, called Haus Atlantis. The stark splendor of the photos reflect the music, and to include them was a stroke of genius. Kadmon has described Allerseelen´s music as „technosophical soundwork" and „psychoacoustic landscapes". I could not agree more. The majesty and the anguish of these Storm Songs is nearly exhausting. I simply cannot recommend this highly enough. (Outburn 5, USA)
The third CD of this Austrian industrial cult-band is just fantastic. Over one hour of „technosophical" industrial music, a mixture of archaic paganism and industrial avant-garde. This masterpiece opens with Heiliges Blut, which is a new version of Santa Sangre. Another re-recorded song is Sturmlied, the others are entirely new and they acknowledge the listener with Kadmon´s musical creativity and sense for experiment. They range between hard hypnotic songs and psychoacoustic soundscapes. Allerseelen is, undoubtedly, one of the most innovative industrial-bands of the nineties. (Gwydyon 1, Belgium)
The latest release from Austria´s industrial esotericists Allerseelen (All Souls). Haunting, hypnotic songs of melancholia and spiritual triumph. If the pre-Christian Germanic barbarians had access to samplers, this is the record they would have made. Beautiful expressionist packaging with German & English lyrics. (USA)
Sturmlieder is perfectly produced with the so typical strident Allerseelen sound. On the other hand the overall impression isn´t as destructive as the previous CD. Still the best band of this current. (The Noiseist, France)
Never has the industrial sound been so brutal and fantastic. In fact the neo-classical soundscapes which it occasionly gives way to are also among the best, relieving and stirring at the same time. Allerseelen was founded in 1989 by Austrian researcher Kadmon, who describes his music as technosophical: the fusion of technology with spirituality. Sturmlieder is both highly accomplished and arousingly raw, conservative avant-garde seeking to resolve and broaden the black and white materialism of the modern world. Violent, mechanical repetition churns beneath refined synthesized melodies and stylised noise. Pounding drums, howling wolves and cascading rains captivate - gently prying open the mind´s eye, while the distant snarls, whispers, spoken words and sweet songs document the emotion within these psychoacoustic landscapes. In that way, this is like soundtrack music - almost theatrical in structure. On reading the English lyrics in the CD insert, I was astounded by the similarity between the atmosphere each track´s lyrics conveyed, and the atmosphere which had effortlessly seeped into my imagination with each track, prior to reading the lyrics. This is highly expressive, exciting and recommended music.. Kadmon is also editor of a fascinating spiritual magazine, Aorta, which is closely connected to his music. Incidently, issue 13 is also called Sturmlieder (storm songs) and is about the magical war of English witches in August 1940. (Judas Kiss 3, Great Britain)
Sturmlieder (Storm Songs) is the latest work by Austrian industrial band Allerseelen, their third CD since the group was founded in 1989. Led by the artist and writer Kadmon, Allerseelen explores both pagan myth and the rootlessness of modernity; tradition and avant garde. These combinations have led Kadmon to describe their music as „Technosophical Soundwork", which unifies the ancient and technological into a powerful and rhythmic sonic whole. Accompanied by stunning photographs of a starkly eerie expressionist building built in 1929 in Bremen, Germany, Sturmlieder presents ten tracks ranging from pounding aggression to haunting and hypnotic dreamscapes. Distorted bass guitar, mantra-like male and female vocals, and a maelstrom of samples all collide to form the „Storm Songs" on this release. The poetic and often sorrowful lyrics are printed in both German and English. Sturmlieder is a perfect evolution from Allerseelen´s previous two releases, Cruor and Gotos=Kalanda, which have become underground classics in Europe and among dedicated listeners in America. And now, for the first time, Allerseelen has found a release through the small US label Storm, which is determined to bring this totally unique and visionary form of music to a wider audience. (Michael Moynihan)
There´s a strong philosophical background behind each Allerseelen release. Sturmlieder being a third full-length album again showcases Allerseelen merging modern industrial avantgardism with obscure archaic sounds. This time, though, Kadmon (the mastermind behind Allerseelen) opted for a little obvious parting of these two component parts. The first half of the album sets the rhythmically driven pace with minimalistic noise injections and actual singing coming closer to conventional songwriting yet in their own specific way. While another half of Sturmlieder mines darker and mystic realms based on psychoacoustic soundscapes, whispering voices and a huge hollow atmosphere which definitely suits me better. There´s no excuse to miss this album if you take your interest into highly developed and thought-out dark music. No tired cliches here but loads of new and stirring experiences. Uneasy listening too. (Wounded, Lithuania)
Kadmon, the driving force behind Allerseelen, has been producting music and publications especially relevant to Asatruars for quite a few years now. In his journal Aorta (and ist immediate successor, Ahnstern) he´s dealt with everything from Mithraism and English witchcraft to the Rumanian Iron Guard movement and the Norwegian Black Metal scene. In its own way, Allerseelen has always followed a path concurrent with these interests (or obsessions, as the case may be), and Sturmlieder is no exception. Allerseelen´s latest highlights Kadmon´s own talents as a poet and musician. Sturmlieder is undeniably his most mature achievement thus far. Juxtaposing gripping minimalist lyrics against „technosophical" rhythms and „psychoacoustic landscapes", it´s also his finest musically. Traumlied in particular might be the best thing Allerseelen have ever recorded - at the least, it marks a move towards more accessible, if no less mystifying, songwriting. Also of interest here is the packaging itself, which contains numerous rare photographs of Bernhard Hoetger´s Tree of Life, a massive Expressionist sculpture of Odin which was placed on the facade of the Haus Atlantis in 1930. But unlike that monolithic masterpiece, which fell to Allied bombing in 1945, one can only hope that the Europe celebrated in Allerseelen´s songs and texts might survive the more insidious maelstrom of technocratic and spiritual corruption. „That everything is now to be destroyed/And leaves and leaves and gold/Autumn is dissolving everything/And everything is doomed to death/In my homeland the lights are going out slowly/A no man´s land, only in dreams/Is it really too late?" Exemplary. (Vortru 57, USA)
Eisige Wände ziehen über das Land, Raben kreischen, die Felder beginnen Früchte zu tragen, ein Sturm zieht auf, und Allerseelen liefern den Soundtrack zu diesem Naturereignis. Sturmlieder, so lautet der Titel des nun schon dritten Albums des in Österreich lebenden Tonkünstlers Kadmon, auf dem er wie gewohnt kompromißlose, eiserne Avantgarde und Naturton der feinsten Sorte zu einem Ganzen inkarniert. Das geniale Sturmlied fällt in der überarbeiteten Version zwar nicht so gut aus wie auf der Mental Measuretech-CD, doch das ist nur nur meine subjektive Meinung. Das Stück Santa Sangre (bekannt von der Im Blutfeuer-Compilation) ist jedoch - hier als Heiliges Blut publiziert - um Längen besser als die Originalversion. Die Rhythmik, die diesen Song durchzieht, wirkt derart zerstörerisch und desillusionierend, daß der Text - jetzt in deutsch intoniert - kaum noch zu ertragen ist. Heiliges Blut, das hier auch um zwei Minuten länger als das angesprochene Original ausfällt, ist ehrliche, technosophische Tonkunst und zeigt in etwa, auf welch hohem Level sich Kadmon mit diesem Tonträger bewegt. Storm ist ein Track im industriellen Dancefloor-Gewand, bei dem brachial-sägende Rhythmusattacken auf beruhigende Geigen und entfernte Stimmen treffen. Der absolute Hammer dieser CD ist in meinen Augen das Traumlied. Rhythmisch-einschläfernde Soundscapes und eine hypnotisierende Stimme vereinigen sich hier zu einem Intelligent-Ambient-Track und „in der Stille deiner Schläfen" liegt die (Aussage-)Kraft dieser ruhigen Hymne. Ich liebe diesen Track! Das Stück Dunkelgraue Stille entführt den Hörer dank des repetativen Anschlags einer Gitarre und dem Pulsieren eines herzschlagähnlichen Geräusches in ein psychoakustisches Erlebnis der besserern Sorte. Über In Stahlgewittern gibt es nicht viel zu sagen, der Titel und die gewohnt harten Noise-Schleifen sprechen für sich. Heimat und Sehnsucht jedoch zeigen wie auch das Stück Dunkelgraue Stille, daß Kadmons Welt der Tonkunst nicht nur aus so brachialen Hymnen wie Gilbhart in Stahlgewittern oder Bluttaufe besteht, sondern beruhigender, schöner Natur sein kann. Schräge Distortionen prallen in Leichenfarbne Dämmerung auf eine Nietzsche rezitierende Stimme, die dere im Traumlied verwandten in nichts nachsteht. Interessanten Chrakter erhält dieses Stück zur Mitte hin noch einmal durch den hier benutzten technolastigen Ambient - besser hätte man es nicht vertonen können! Wie die rituelle Ausgabe des Sturmlieds mit männlichem Gesang mutet Wintersonnenwende an, nur ein bißchen langsamer ist es ausgefallen. Mal abgesehen von der Musik, aufgrund des genialen Booklets, das Fotos des expressionistischen Haus Altantis in Bremen, sowie der optischen Gestaltung der CD, die ein alchemistisches Kosmogramm von Robert Fludd zeigt, kann ich euch nur raten: Kauft unbedingt die 67minütige CD Sturmlieder, es ist bisher die mit Abstand beste Kadmons. .. und alles ist dem Untergang geweiht. (Black 8, Deutschland) (www.blackmagazin.com)
Kadmon, der oberösterreichische Esoteriker und Herausgeber der Schriftenreihe Ahnstern (früher Aorta) hat in jüngster Zeit nicht nur durch wohlwollende Erwähnung im neuen opus magnum des konservativen Essayisten Gerd-Klaus Kaltenbrunner („Dionysius vom Areopag", Die Graue Edition 1996) auf sich aufmerksam gemacht, sondern vor allem durch die neue CD Sturmlieder seiner „technosophischen Tonkunst"-Gruppe Allerseelen. Mögen seine vorherigen Werke durch lärmige Dissonanzen den konservativen Hörer erschreckt haben, so gilt das für Sturmlieder nur mehr zum Teil. Musikalische Ruhe („Dunkelgraue Stille") harmoniert mit poetisch anspruchsvollen Texten. Die optische Gestaltung der CD präsentiert in ansprechender Form das wenig bekannte „Atlantis"-Haus in Bremen (errichtet um 1930), ein „völkisch"-expressionistischer Bau von Bernhard Hoetger, inspiriert von Herman Wirth. (Nation & Europa 5/97, Deutschland)
Die CD Sturmlieder des Projekts Allerseelen enthält einige positive Überraschungen, etwa in Gestalt des Traumlieds oder der anrührenden Untergangsprophetie Heimat. Kadmon scheint gewillt, nicht länger ausschließlich auf technosophisch unterlegten, letztlich minimalistischen Baß-Schlagwerk-Sounds zu wandeln - und weiß speziell da zu gefallen, wo die allerseelischen Klänge aus einer leichenfahlen Chill-Out-Zone zu kommen scheinen.. (Sturmgeweiht, Deutschland)
Die neue Allerselen CD, schön gestaltet und bebildert: Sturmlieder ist die mit Abstand beste CD der Österreicher, sowohl aufnahmetechnisch wie auch musikalisch. Mit Heiliges Blut, einer neuen Version des Kultsongs Santa Sangre beginnt die Scheibe dann auch gleich kraftvoll technosophisch. Die Version ist großartig. Kadmon hat seine Stimme auf Sturmlieder im Studio ordentlich nachbearbeitet und teilweise einen Herrn Maurer die Texte vortragen lassen - so gefallen die Gesänge (oder sollte man eher geflüsterte Wörter sagen?) mehr denn je zuvor. Einzig mit dem Sturmlied findet man noch Bekanntes - die restlichen acht Stücke sind neu und lassen Allerseelen zu einem der ernstzunehmenden und besten Industrial- projekte werden. Kadmons Kreativität sowie sein Hang zum fruchtbringenden Experiment scheinen ungebremst, und so hat er beispielsweise mit In Stahlgewittern und Sturm unvergleichliche Stücke geschaffen. Letztgenanntes zeigt dann mit noch einigen anderen Stücken in Richtung industrieller Dancefloor. (Sigill 13, Deutschland) (www.eislicht.de)
Geniales Musikprojekt. Sturmlieder ist die dritte CD von Allerseelen, und mir fehlen eigentlich die Worte. Technosophische Tonkunst, konservative Avantgarde - so nennt Kadmon selbst das Schaffen dieser Gruppe, und treffender kann man es nicht ausdrücken. Versatzstücke des Industrial/ambient-grenres kommen zum Einsatz - aber was wichtiger ist: das Material ist so was von stark. Dieses meine ich jetzt rein von der mentalen Wirkung her. Aber genug: Worte sind hier nicht ausreichend. (Sin is There 12, Deutschland)
Düster und hart. Nördlich der Alpen war der technosophische Tonkünstler Kadmon nicht untätig. Sein vorliegendes Album Sturmlieder steht in einer anderen musikalischen Tradition. Die unmittelbar zu Herzen gehende schöne Form tritt zurück zugunsten einer brutalen Expressivität. Die Mysterien der Rauhnächte standen Pate. Beim Zuhören entsteht ein unverwechselbarer Gesamteindruck: geflüsterte, bedeutungsschwere Texte, dazu ein leises Weben der sparsamen Instrumentalisierung, Sturmwehen. Die leisen, bedrohlichen Klanglandschaften, die blutigen Opferfeste und Schwerttänze sind immer noch da, besser denn je. Eiserne musikalische Meditation in steter Dämmerung, die CD ist optisch gut gestaltet und zeigt völkisch-expressionistische Architektur. Gesamturteil: Empfehlenswert. (Thule-Briefe, Juni 1997, Deutschland)
Ein Hauch von Fin-de-siècle-Kunstreligion, ein Anachronismus im Geschäftsordnungs-Musikbetrieb. Auf der neuen CD Sturmlieder (Aorta) wird das archaische Motiv einer Weltenwende (in nietzscheanischer Paraphrasierung) mit der metropolitanen Gegenwart überblendet: esoterischer Industrial als Künder großer, anstehender Entscheidungen. So etwas ist wie geschaffen, um Verstörung zu provozieren, die sich in Empörung entlädt. Kadmon dürfte dies keine schlaflose Nacht bereiten. (Junge Freiheit 24/97, Deutschland)
Claras arengas resultaban ser aquellos interpretados y pasionales discursos que marcaban la doctrina, el orgullo, el sentir y objetivos de un pueblo durante la primera mitad de siglo en buena parte de Europa, desde mas alla de los Urales haste el Mediterraneo. Allerseelen lo hacen claro que omitiendo todo tipo de fratricidio o apologia pero si basandose en la semilla y en el germinar de su engrandecimiento que gira alrededor de lo sagrado, del poder de acero ambos empapados por enfoques de mitologia alemana, clasica y de antiguas creencias paganas, en la que se realza el viejo honor, la sangre, el valor. Destruccion y creacion son facsimiles. Se realzan proverbios como el Wintersonnenwende, el Stirb und Werde o el Heiliges Blut. Sturmlieder es el tercer CD de Allerseelen, al margen diversas participaciones en diversos recopilatorios. Sturmlieder mantiene la fuerza de anteriores trabajos Cruor y Gotos=Kalanda. Que mejor que la fuerza para superar la tormenta? La grandeza y solemnidad continuan intactos tanto en lo referente a la musica como a las letras. Magnifico el tema Sturm y su inculcacion de orgulla, honor; y poder o Sturmlied de similares caracteristicas. Interesante y sugerente suenan Traumlied ademas de una version en aleman del tema de Santa Sangre con resultado algo mas rudimentario. Simplemente recomendado para segudores de este estilo de musica. De muy buen gusto. (Maldoror 6, Espana) (http://seduced.to/maldoror)
Sturmlieder, que na nossa lingua significa qualquer coisa como Cancoes de Tempestade e o terceiro longa duracao em formato digital do prejocto austriaco Allerseelen, dirigido pelo artista e escritor Kadmon. Tendo criado o termo „technosophical" (que por razoes obvias, prefiro nao arriscar uma traducao), para designar as unides - da tradicao e do avantgarde, do arcaismo e da idade nuclear, do mito e do mundo moderno - presentes no seu trabalho, Kadmon ve a sua arte como magia, sendo esta considerada come o triunfo do espirito sobre a materia, e por conseguinte, sobra a estagnacao. E neste contexto que se insere a musica de Allerseelen que, espelhando a juncao de elementos sonoros sinteticos e organicos, podera ser classificada de Ritual-Industrial, se bem que esta classificacao, como qualquer outra, nao e satisfatoria. Destaque para a capa - muito bonita diga-se - que mosta-nos a fachada de um edificio expressionista construido em Bremen entre 1929 e 1931 por Bernhard Hoetger. Em termos musicais, ha a destacar uma nova versao de Santa Sangre (tema incluido na compilacao da Cthulhu Records Im Blutfeuer) agora com o titulo Heiliges Blut e o poderosissimo Sturmlied (que e marcado pela presenca de uma voz feminina). Finalmente, um destaque especial para o lindissimo Traumlied, traduzindo Cancao de Sonho, que nos mostra Allerseelen com um som mais accesivel que o habitual. A utiizacao de um baixo electrico, a maior parte das vezes distorcido e o ritmo totalitario presente em algumas faixas, confere a esta musica uma forca e um poder que muitos perseguem mas poucos atingem. Variando entra a violencia e a escuridao, entre a beleza e a magoa, estas „paisagens psicoacusticas" gravadas entre 1994 e 1996 formam uma das mais interessantes obras que tive oportunidade de ouvir no ano transacto. Recomendado vivamente. (Crepusculi Aurora, Acores)
Un difficile equilibrio tra avanguardismo e ricerca-evocazione di ancestrali energie: mi sembra questa la caratteristica dominante del valido lavoro della formazione austriaca. Brani oscuri e rituali, in cui un remoto retaggio sigillato nel sangue, una volta evocato (Heiliges Blut) irrompe con la forza furiosa della tempesta (Sturm). Il tutto in una luce vivida e sinistra, ove il vortice sibilante e bellicoso del vento assume une inquietante voce femminile (Sturmlied). Le sonorita sono spesso sostenute e marziale ed un equilibrato uso della rumoristica evoca bene la potenza devastante della bufera e delle energie dell´inconscio (Sehnsucht). Altrove si assiste ad un ripiegamento interiore, ad uno scivolare nel proprio ego (Traumlied); qui, in occasione del solstizio d´inverno, si risvegliano le ombre dei lupi (Wintersonnenwende). Utile alla comprensione dello spirito del lavoro e anche la copertina, ove e riprodotto il Cristo nordico-solare dell´Atlantis Haus di Brema, ispirato alle idee di on oscuro personaggio. Herman Wirth. (Marble Moon 9/10-1997, Italia) (marblemoon@tiscalinet.it)
Nell´area dark-folk piu oscura viaggia da anni questo nome, insieme a quelle dei piu celebri Death in June, Current o Sol Invictus. Comunque, radicali nella struttura scarna, rumorista, industriale del loro rock gli Allerseelen non temono alcun paragone. Un album incisivo, a tratti ossessivo questo Sturmlieder, registrato tra il 1994 ed il 1996 ed appena pubblicato dalla casa americana. In diverse forme di espressione viene messa in risalto la radice esoterica e politica della band, in quel richiamo incerto ma ben simboleggiato dai molti gruppi che appartengono al genere. Uno stile unico, profonde ed interiore, distante e sospeso al punto da toccare i vertici dell´infinito.. (E.N.D.E. 3/97, Italia) (ende4luxor@hotmail.com)
Un nouveau CD de Kadmon, le divin editeur de la revue Aorta est toujours un evenement. Un ocffret oeuvre d´art, une musique indicible, des titres sans ambiguite (Orages d´acier, Le saint sang, Patrie, Solstice d´hiver).. Voici de quoi convaincre tous nos lecteurs de l´acquerir. (Jeune Resistance 7/97, France)
Az osztrak Allerseelen, egy Kadmon nevü fiatalember egyszemelyes zenekara, valtozo alkalmi segitökkel. Kadmon ismertebbe az avantgarde-on belül (ö maga egyebkent a konserzaviv avantgard stilusaba sorolja produkcioit) az idöszakonkent megjelenö Aorta nevü kiadvanyaval lett, melyet ö ir es ö is szerkesz, nagyobbreszt. Ezek atfogobb jellegü kiadvanyok, melyek foglalkoznak lycantropizmustol kezdve, Karl Maria Wiliguton (öt zenekaraban is favorizalja Kadmon) es Codreanun kresztül a norvel black-metal okkultizmusig sok mindennel - jöl mutatva, mar a többi elöadonal is eszrevehetö visszasagokat. Az Allerseelen 1989 ota keszit felveteleket. A Gotos=Kalanda es a Sturmlieder koncept lemezek. Kadmon viszonylag pontos tampontokat ad a bookletben a lemezek temait illetöen, a szövegektöl a felhasznalt krepekig. Csattogo ipari hengbetetek uraljak a hangzast, elektornikus zajok, monoton ütemek, a meglehetösen torzan szolo basszusigatarok mellet. Szenvtelen a hang, s csak neha van kiterö, akusztikus gitarnak, hegedünek vagy nöi eneknek. Kitlenek es csupaszok ezek az pszichoakusztikus latkepek (sjat fogalmuk), pusztultsagot es hidegsegete arasztanak magukbol. A szövegekre, barmennyire fontos volna, nem nagyon lehet tamaszkodni (a Gotos=Kalanda eseteben jobb eligazodast nyujtanak Wiligut versei), altalaban nem kifejtöek, s neha a banalitas hatarat is suroljak, pedig Kadmon, a cikkeit nezve, a tajekozottabbak köze tartozik, azok közül, akik e temakat boncolgatjak. Bar a Sturmlieder-en jelentösen több a figyelemremeltobb darab, s mind megszolalasban, mind tartalomban attekinthetöbb a kep, megis eröteljesebb es egyertelmübb produkcioknak kellene ezeken a CD-ken felcsendülniük, mint ahogyan varna az ember. Talan a közetkezö album mar sozolgal is ezekkel. (Mozgalom IX/Oktober 1998, Hungary)
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