Posted on

Markab Project “Exercices Dans la Mort”

LES CROCS DU SCRIBE #24 (Fr.), September 2009 :
Majestic Dark Ambient from a Black Metal great… Black Metal connoisseurs will inevitably bow to Napharion, from the cult group Aryos, one of the most spiritual BM’s leading groups built in French countries. Nevertheless, did you know that the same Napharion also has a solo project called Markab Project? Here there is no Black Metal but a Dark Ambient imbued with industrial music that generates a dark and meditative atmosphere at the same time. It is therefore the second Markab Project album we are talking about here, this “Exercises in Death” offering a much darker content than its predecessor “Music for chaomantic meditation” which gave us more to hear a music that was soaring and full of contrasting feelings. Here, death alone reigns, and it is embodied in all its gloomy splendour. Four titles on this theme for a journey through this famous tunnel that follows this miserable existence of ours. Hurry up and rush to this masterpiece of atmospheres, especially since the print run is ultra-limited! (as well as the price). You will take the opportunity to add other releases from this excellent and little-known southern label, Facthedral’s Hall, to your basket. Those who are looking for new sounds, new sensations, stop whining and go to the links below to let themselves be embarked on this beautiful adventure… before the end of the world….
Pierre Avril

Posted on

v/a : “Facthedral’s Hall – 20 Years of Improbable Music”

STRANGER AEONS (NL.), Webzine September 6th 2019 :
This sampler might be a collection of music, but it listens like a mixtape. Opening with the hooky electronics from SomniaK on ‘Tears of Fish’, you instantly get into the groove of the recording. You’re taken on a journey of samples, tribal beats, crackling electronics and unholy ambient with Sizzle, Pi Cab Alter and Anti. From heartbeat throbbing baselines to wonky, warbled effects with some dungeon synthy explorations in between, the music is highly engaging. Particularly I enjoy the industrial soundscapes of Minitel, though the strange, doomy synths of deathrow77 stick in your ear for a while too I must say. But then again, Silent Tower will pound it out of you with their harsh electronics. Strange closer though, by Death Power, who deliver some miaowing followed by some raw as fuck thrash metal. I mean, everything is just pure fury. It would appear that this is contrasting with the electronics-heavy music mostly released by Facthedral’s Hall, yet it is not so. The label focuses on a certain vibe, a feeling, that is hard to really put your finger on. They do it quite well.
Guido

NAWAKULTURE (Fr.), Webzine, 05 Mai 2019 :
Jamais on n’aurait pu trouver un titre plus adéquat pour cet excellent recueil de seize titres regroupant des formations aussi éclectiques et aventureuses, souvent dans le domaine de la musique électronique et assimilés. Cette compilation – 500 copies – est en fait un amuse-bouche (un amuse-oreille plutôt quand on y pense) car elle est en fait offerte avec chaque commande faite par le biais du label, allez donc faire un tour sur le site de celui-ci qui regorge d’artistes underground courant du domaine de la pop jusqu’à la plus extrême frange du metal en passant par l’industriel et l’ambient. Une structure qui mérite tout votre soutien pour son courage depuis toutes ces années et un sérieux à toute épreuve, rendez-vous avec un vrai passionné à http://www.facthedral.com/, ça vous changera des wannabe-supermarchés, virtuels ou pas, qui bourgeonnent sans cesse partout.

VITAL WEEKLY (NZ.), webzine & podcast #1149, 2018 week 38 :
(…) we received a free compilation CD – released back in 2017 mind you – with a selection of artists that have released work on Facthedral’s Hall during its 20 year existence. The label seems to dabble in experimental electronic music and industrial mostly, but let’s take a closer look. Despite the vast sonic differences between the Facthedral acts, the track listing is in chronological order so we begin in the late 90s with Somniak’s demo-sceneish drum’n’bass that has the unavoidable amen flying around the room. A recognisable feature that is however drowned out by the lushy synth layers that are stacked on top. Via the outlandish sample-laden triphop of Sizzle and a slightly more experimental, but again lush track by Somniak, we land within the thick saturated dark ambient sounds of Pi Cab Alter. Even though this isn’t anything special nowadays, for a indie scene release from 2003 this sounds quite interesting. Anti is up next who does that thing that Talvin Singh did at some point with tabla and drum’n’bass. It’s sports the same kind of lushness as the work of Somniak, so I wouldn’t be surprised if it is a different moniker for the same artist. The following track by Sacrifice seems to consist of two elements: distorted guitar/synth (for the life of me, I can’t tell – my guess is that whatever it is, it gets pulled through one of those eardrum-ripping Boss MT2’s) and a wonky gabber kick drum. While I was involved in a project similar to this at the time, now in 2018 this kind of stuff just really gets on me tits. Deary me. So fast-forward to Chalung Gra, who present us with an ambient track of the “Celer” variety, that evolves slowly through its own undulation – outstanding! Atrabilis Sunrise jumps from what seems the one heavily treated sample to the other in an “Oval” kind of way. But then again, not like Oval at all, as it slowly ends up getting a bit more industrial after a while and then starts jumping frantically again – which is when i lose interest. Up next is Deadrow77; we hear an electronic piano loop that evolves into something more dissonant, has some sudden washes of noise cleaning the place up and then continues to develop a similar loop. This may have been interesting in 2004, or at least extremely hard to classify, but now.. I don’t know. Then we have another Sizzle track, which seems more IDM-oriented this time – the kind of stuff that Warp was all about in the late 90s. Not bad. And another Deadrow77 track but one from unholy 2015. It is again, ‘weird’, but less loopy than the other one. It could definitely serve as a sound track to some kind of game. Still I’m not a gamer, so what do I know. Velvetine ramps up the tempo and it is the first track that features actual singing. It all sounds like something Blixa could have done, like, I don’t know, with the guitar player of Rammstein or something. Nice production. Minitel gives you 50 shades of Lustmord after that, which is fine, though not very interesting amidst tracks that have so much more going on. Ingodeme is the ‘light’ that gets to contrast with the dark of Minitel and that kind of works now the whole thing has slowed down to a crawl anyway. Silent Tower play old school down-tempo black metal, which is probably a less grotesque addition to this compilation after hearing that demented gabber metal track a couple of minutes back. It’s no Gehenna or Carpathian Forest though and seems to wash over me as it goes. The closer upper by Chalung Gra is a lot darker than their other track with its metallic ringing and menacing tsunami-like flow. Enjoyed that one too though. All in all it’s just a random selection of tracks that don’t really make sense together, except for in the context of the label’s history. Good on Facthedral’s Hall for keeping its head above water for such a long time. Perhaps this is fun to look into if you’re into indie electronic label stuff or a fan of “improbable” music.

Posted on

Markab Project “Music for Chaomantic Meditation”

ABUS DANGEUREUX (Fr.), Magazine #149, 1er trimestre 2019 + NAWAKULTURE (Fr.), Webzine, 19 Novembre 2019 :
Issu du mystérieux groupe français d’avant-garde black metal ARYOS, le maître d’œuvre de ce projet expérimental a créé un enchevêtrement sonore mêlant électronique, noise et ambient avec pour toile de fond la magie du Chaos. Cette sixième sortie s’apparente comme les autres à une vraie bande originale de rituel obscur, passant allègrement du spectral au martial sans quitter le territoire du bizarre. L’emballage n’est pas courant, la couverture soignée et suggestive, le tirage limité et numéroté à une poignée de dizaines de copies, adeptes de l’étrange, osez le pas. En commençant par fureter sur Bandcamp par exemple ?
4/5 – Guillaume Ged Dumazer

REQUIEM (Fr.), Webzine, 31 Juillet 2019 :
Projet parallèle -et pour le moins confidentiel- de Napharion, du groupe français de Black Metal avant-gardiste ARYOS, MARKAB PROJECT diffère toutefois radicalement de ce dernier, puisqu’il s’agit ici de Dark Ambient à tendance industrielle, distillant une ambiance particulièrement étrange et dérangeante. Les trois plages constituant cet EP d’une vingtaine de minutes entièrement instrumentales, se singularisent en effet par leur structure dépouillée et minimaliste, mais aussi et surtout par leurs sonorités glaciales, hypnotiques et répétitives. Des atmosphères oppressantes, à la fois éthérées et sourdement menaçantes, ne font qu’en renforcer le caractère profondément anxiogène, sur un fond intermittent de percussions tribales qui confère à l’ensemble un feeling irréel. Quatrième EP du projet, Music for Chaomantic Meditation porte fort bien son titre. L’auditeur se voit ici plongé dans un univers bruitiste inquiétant, profondément autistique, et dont la dimension sombrement onirique a quelque chose de lugubre et d’éminemment cauchemardesque. C’est la bande-son d’une expérience rituelle visant à instaurer un état psychique particulier, oscillant entre le contemplatif et le méditatif, en vue de franchir les portes d’un autre monde… On est littéralement immergé dans l’occulte et le mysticisme, et même, je ne puis éviter d’y songer, dans les ténébreux arcanes de la transe chamanique. Vous l’aurez compris à la lecture de ces quelques lignes, les sons de MARKAB PROJECT n’ont rien d’une musique festive et conviviale destinée à égayer les soirées entre potes. Ils ne sont du reste absolument pas conçus d’un point de vue musical conventionnel, et n’ont pas pour vocation de devenir un produit de grande consommation. Ce n’est d’ailleurs sans doute pas seulement par manque de moyens que le pressage de ce CD-R Pro se voit limité à seulement cinquante exemplaires numérotés manuellement, mais aussi parce qu’il ne s’adresse qu’à un public restreint, à de rares personnes spirituellement éveillées qui l’écouteront et le réécouteront de manière solitaire, pour mieux en percevoir tous les effets. Car en la matière, l’essai s’avère particulièrement concluant. A découvrir, si ce style et ce genre de performances pour le moins atypiques vous interpellent.
7/10 – Hans Cany

LA HORDE NOIRE (Fr.), Webzine, février 2019 :
Quand il n’exalte pas les ténèbres licencieuses avec Aryos, Napharion Zviadadze enfile son costume de chamane avec Markab Project, son jardin secret et solitaire dont il bine la terre ambient et rituelle avec une inspiration plus fascinante encore. Edité en CD-r limité à cinquante exemplaires par Facthedral’s Hall, Music For Chaomantic Meditation est sa sixième création sous cette intrigante bannière. Petit autel long d’une vingtaine de minutes peut-être, l’offrande n’en demeure pas moins précieuse, suintant une atmosphère mystérieuse et cabalistique. Une étrangeté à la fois menaçante et limpide l’enrobe toute entière et ce, dès le premier contact qu’elle offre au pèlerin qui vient croiser de son regard, le chemin de cette femme à la nudité troublante et charnelle dont le visage et une partie du corps sont cachés par un voile transparent comme un suaire, laissant poindre un sein généreux au mamelon appétissant et une main déformée. Dressée au centre de son superbe visuel telle la gardienne d’une porte invisible, cette créature semble vouloir nous inviter à la suivre à travers une fente boisée et fantasmagorique. En trois pistes différentes et néanmoins complémentaires, Napharion esquisse un univers sonore hypnotique et obscur tout ensemble. Hanté par un souffle désincarné, Azazel Connexion Part 1 (version 1.2) est la première d’entre elles, tunnel immense et caverneux à l’intérieur duquel résonne un pouls tribal. Spectral et corrodé par une lèpre polluée, il est le théâtre d’une cérémonie méditative aux allures de sabbat tellurique dont on suit le déroulement à la manière de voyeurs tapis dans l’ombre. Lui succède Les trois voies. La tension, sourde et rongée par un râle vénéneux, monte d’un cran, ouvrant les vannes d’une puissance souterraine en une élévation aussi envoûtante que mortifère. L’homme y libère une myriade de sons entre ambient ethnique et noise chamanique. Changement de couleur à nouveau avec le terminal Sigi Tolo Po Tolo Emme Ya Tolo, incantation pulsative qui répand tel un ressac obsédant une sombre et enveloppante beauté. Percussif, le tempo s’emballe, la terre vibre d’une force sourde créant un envoûtement empoisonné. Écartelée entre noirceur chaotique et contemplation, cette offrande est comme une bande-son qui confine à la transe.
Childeric Thor – 7.5/10

VITAL WEEKLY (NZ.), webzine & podcast #1149, 2018 week 38 :
Napharion Zviadadze, the person behind Markab Project, comes from the world of French black metal. Not the Légions Noires stuff as far as I know – in case you were wondering; neither Aryos nor Forlorn (777) ring any bells, but that doesn’t really mean anything any more these days. Moreover, these bands seem very much magick-oriented, which is kind of an exotic theme in BM I guess. According to the biography were dealing with an experimental sonic witchcraft project that combines noise with electronic tribal sounds and ritual ambient. To me the latter two seem to be largely the same thing, still if anything, at least it is a consistent description. ‘Azazel Connexion part 1’ (and there’s only a part one on this EP) instantly kick off with a severely saturated digital drum loop. The low end is very muddled and shaky which makes it a bit of a challenge to sit through. Like with most ritual music, the music is repetitive. With this track however, you seem to get the same kind of global structuring over and over, albeit with slight modifications. This means you basically get a couple of bars of drum loop, some variations, then a drone in which the percussion bells ring on for a bit and then the thing starts over again. The reason of this may have something to do with the esoteric back story of the release, but since this is not explained in any kind of way, it leaves me just with the option of judging the work by its sonic aesthetics. ‘Les Trois Voies’ begins with a noisy loop that seems to consist of distorted hoover synths with an obscure percussion hit somewhere in the background. The level of the drone drops suddenly after a while and a harsh BDN percussion loop fades in and out, which may trick you into believing that the song is at an end, only for the synth loop to suddenly pop back onto the radar. Just like with the first track this process repeats itself a couple of times. The thing is that the sounds themselves are quite good, but the jarring dynamic hole that opens up after each synth and drum loop salvo doesn’t really do it for me. Again the esoteric background makes me believe this work isn’t as random as it comes across now, but this is far from obvious to the layman listener. The third track starts off sounding a bit like an up-tempo Arcana, but within a minute slows down to a more agreeable pace, before it speeds up again slightly. There’s a melodic element portrayed by a somewhat hidden sampled string instrument, next to a persistently swelling granular synth pad. Halfway through the music speeds up again embellished with with additional percussion to then suddenly die off, upon which the synth pad sound becomes a lot louder. This last quirk seems to be the result of extreme maximising during the mastering process, which becomes more evident when a layer of low-end sound is introduced and the level of the drone goes down again. If this treatment is intentional, that is all fine of course, but in my book that just sounds like bad mastering. At this point I am mostly confused about whether this is a project that would like to sound like, let’s say, Arcana or Wadruna, but fails to do so, or that the underlying esoteric elements steer the music into such a direction that comprehension of it becomes impossible for those who have not been initiated – or that the aesthetic merit of the music as such is not of any consequence for the project’s obscured intentions. The title of the EP seems to suggest as much, but then why send it to a couple of n00bs like us, i wonder. Anyway, if you’re up for something different: the EP comes in a nicely designed sleeve with some sexy witchy pics – which is always good of course – and is distributed by Facthedrall’s Hall (…).

Posted on

Chalung-Gra “Mostaferi”

STRANGER AEONS (NL.), Webzine September 6th 2019 :
The term deep industrial ambient may not immediately summon a clear sound to mind, but it does actually deliver quite some upheaval. I can’t help it, but to me, it’s like I hear the roaring dinosaur toys of my childhood as nightmarish screams throughout the soundscape ‘Somes Pieces for Destruction’. This may sound funny, but actually provides a sound that is frighteningly apocalyptic. Distant thunder, collapsing buildings, these are the end-times. Is Chalung-Gra providing a wildly dystopian soundtrack? I think so indeed, but it is wholly captivating and deeply immersive. The dark drones on ‘Trminal’ make it seem like there’s nothing left on this planet and after some time I have to retreat, just to recuperate for a while after this excellent record.
Guido

NAWAKULTURE (Fr.), webzine 26 Décembre 2017 :
Il aura fallu treize piges à CHALUNG-GRA pour concocter cette seconde œuvre oscillant, dans l’obscurité d’un voyage dans les abysses, entre noise, drone, ambient et indus. Quatre compositions – pour une durée totale de quasiment cinquante minutes – occupent le disque : Some pieces for destruction (qui évoquerait pour notre cerveau malade un navire touché par une torpille qui se démantibulerait lentement sur le chemin d’un sol dur où les différents éléments s’empileraient lentement avec un bruit sourd, faisant fuir sur leur passage désespéré d’étranges créatures des profondeurs…), Heavy emptiness (un titre plutôt adéquat pour une composition au filigrane de meuleuse parfois plus abrasif – sidérurgique ? – , qui s’insinue profond façon brise-glace quand on a la bonne idée de se passer ça à fort volume), Embedded symmetry (un vent glacé et violent balaie une plaine désertique où rouillent pour l’éternité de grandes installations métalliques, vacances sur les rives du lac Baïkal ?) et Trminal (la fin, oui, bien sûr inexorable, sinueuse et lente, pas de tunnel vers la lumière dans ce train-là mais un aller simple pour le vide absolu). Vous l’aurez compris, CHALUNG-GRA se caractérise par une musique / bande-son extrêmement cinématographique, sombre et addictive, que les amateurs du genre devraient tenter de découvrir afin de se faire leurs propres images cérébrales. Digipak limité à 300 copies, y en aura vraiment pas pour tout le monde !
4/5 – Ged

TQ ZINE (Uk.), fanzine #4 October 2017 :
Marc Reina aka Le K released ‘Mostaferi’ 13 years after his previous drone work ‘Kalonga Incantations’ (also on Facthedral’s Hall), and for this genre’s output he takes the name, Chalung-Gra. My first listen was in the car, and it just didn’t grab me. My second listen was through the TQHQ hi-fi system with well positioned floor speakers, and the improvement was immense, just like the sound produced by this one-man dark, industrial sound merchant. Inspired by the industrial environment of his home town of Martigues in the South of France, Chalung-Gra creates deep, dark, industrial, claustrophobic drone works*, and on this beast of an album there are 4 pieces, all created by computer. No overdubs. It’s hardly a toe tapper of an album, (if that’s what you are looking for, then you picked up the wrong zine), but as far as dark ambient goes, it doesn’t get better than this. It’s difficult to review an album of this nature as what’s been created are sounds that almost defy description. It’s like trying to describe a wonderous taste in mere words, or trying to capture an amazing moment on camera. It just doesn’t work, or at least it falls a long way short of the actual experience. So, you may be familiar with this sort of sound*, and if you are then you need to decide whether there is a Chanung-Gra sized empty space in your collection. If you are unfamiliar with these sort of dark foreboding soundscapes, yet want to investigate further, then I strongly suggest you get this album, but please don’t listen in a confined space on poor quality gear, give it a chance to enrapture, and wrap ya. Turn up those dials. Turn down those lights.

MITHRA! TEMPLEZINE (Fr.), webzine August 27th 2017 :
Chalung-Gra propose des paysages sonores qu’on aura du mal à catégoriser, tout comme le label en question Facthedral’s hall tout aussi difficilement classifiable et qui officie dans l’underground disons (post) industriel et electro avec un sens profond de l’éclectisme – en effet, ce label lorgne même du côté du metal extrême – depuis déjà une bonne paire d’années. Chalung-Gra est un projet puissant dans la famille des musiques industrielles et ambientes dominées par des sonorités lourdes, oppressantes et délicieusement sombres. Ce projet compte très peu de productions à son actif : un premier album, Kalonga Incantations, paru en 2004 toujours chez Facthedral’s hall et celui qui fait l’objet de cette chronique. Musicalement, on se retrouve dans des univers maussades, fantomatiques mais aussi cinématiques annonçant la fin d’un règne ou l’avènement d’un autre : celui d’une société post-moderne ; elle-même déjà en décomposition, déjà disloquée, déjà aux abois, elle agonise lentement dans le silence et l’indifférence. Celle-ci pourrait être la nôtre. La mécanique de Mostaferi prend forme autour de bourdons, de parasitages en tout genre, de traitements à partir de field recordings, le tout nous offrant une trame touffue, brute, onirique et cérébrale. Du pur nihilisme musical, mais toutefois accessible grâce à une orientation ambiente qui vient calmer le jeu et nous resituer dans des climats quasi atmosphériques bien que lugubres. Les pistes s’enchaînent et poursuivent sans interruption cette traversée malsaine dans le dédale d’une environnement industriel imaginaire, et pourtant porteur d’une sensation familière, celle du vide poisseux qui nous colle à la peau dans les mégalopoles devennues folles. En bref, ce nouvel album de Chalung-Gra est une excursion planante, glauque et prenante vivement conseillée aux amateurs des premiers opus de Nocturnal Emissions, Sigilium S, Die Sonne Satan, Contrastate et Maurizio Bianchi.

VITAL WEEKLY (Nl.) #1095, 2017 week 35 :
Some thirteen years ago Chalung-Gra released ‘Kalonga Incantations’ and now they release their second album.  They, or she, or he, that is, well he, as behind this project is Le K. of whom we learn that his real name is Marc Reina. He was a member of Sizzle (from 1994 to 2012) and since 2013 onwards in Velventine and besides this Chalung-Gra he also has a solo project called Ingodeme. In Chalung-Gra uses ‘cheap instruments and machines’ and records these on a Tascam 4 track cassette recorder, which are then digitally mixed; I was wondering: why not mix them on the machine itself and keep it all lo-fi? A bit further down on the information i read that ‘a computer generates all the composed audio sources, patched to internal & external effects, recorded and assembled on 4 tracks cassette, digitally mixed with no overdubs’, so which is then the cheap instrument? The music certainly would allow a grittier approach to recording and mixing of staying all in the analogue domain. Reina is inspired by his environment of Martigues in the South of France, which apparently in an industrial surrounding. The music is all-dark ambient from an industrial perspective. The nightline of barely lit industrial lot with flickering lights, and decay setting in; objects and machines on their final breath, falling to the floor, crumbling and the process of industrial rot being amplified in the music. These pieces do not necessarily follow compositional lines, but are rather non-linear soundscapes of sounds put together. Like looking at this industrial lot and seeing various events happening at the same time, each with it’s timing and place in the bigger story of it all. Powerful music as such, and perfect as a soundtrack to a home horror movie, taking place in such surroundings. At the same time I must also say that this is not the most unique release in the world as it follows a heavy trail of like-minded dark ambient music going strong for some thirty years. If you want to explore a new name, then lend Chalung-Gra an ear.
Frans de Waard

BAD ALCHEMY (De.) zine #95 :
Ein Wiederhören mit Le K., wieder auf Facthedral’s Hall. Marc Reina, als Skrow thrash- und blackmetalistisch bei Imperial und Silent Tower, als Deathrow77 dub-industrial bei Sizzle (1994-2012), mit electronic Percussion seit 2013 bei Velvetine, als Le K. in Ingodeme, der legt nun als Chalung-gra den Nachfolger zu “Kalonga Incantations” (2004) vor. Als Anregung nannte er damals Bilder von Alain Pelaprat, einem Künstler in Aix-en-Provence, und das Seemonster von Tino Buzzatis phantastischer Erzählung “Il colombre”, das auf französisch “Le K” heißt. 1990 war es schon Protagonist von Un Drame Musical Instantanés bizarrem “Le K” (mit einer fesselnden Performance von Richard Bohringer). Hier nun entwirft Reina eine dröhnende Vision des Industriegebietes um Martigues, einer kleinen Hafenstadt, durchschnitten vom Canal de Caronte, mit einer Fassade als ‘Venedig der Provence’, aber rundum industrialisiert. Mit der dark ambienten Vierfältigkeit ‘Some Pieces 4 Destruction’, ‘Heavy Emptiness’, ‘Embedded Symmetry’ und ‘Trminal’ (sic!) und dem dämmrigen Bronzeton des Coverfotos mit den Schlöten einer Ölraffinerie als Silhouette suggeriert Le K. ein Umschlossensein mit Gedröhn und stampfender Anästhetisierung. Links Mulmen und Dröhnen, rechts Dröhnen und Mulmen, nach Osten, Süden, Westen, Norden kein Entkommen aus einem industrial verstellten Horizont, einem von allen Seiten metallisch anbrandenden und brausenden Ozean. Dem man sich stellen, dem man standhalten muss. Denn der Clou von Buzzatis Fabel besteht darin, dass Stefano Roi den K fürchtet, bis er, alt geworden, der Versuchung des Abgrunds folgt. Und zu spät erkennen muss, dass das Ungeheuer immer nur der Bote seines Glücks war, der ihm zuletzt eine Perle in die Hand spuckt, die sich, als man Stefanos Skelett findet, freilich als Kieselstein erweist. Der K ist ein enorm großer Fisch, schrecklich zu schauen und äußerst selten. Entlang der Meere wird er gleichermaßen kolomber, kahloubrha, KALONGA, kalu, balu, CHALUNG-RA genannt. Die Naturwissenschaftler seltsamerweise, die ignorieren ihn. Einige behaupten sogar, dass er nicht existiert…
RigoBert Dittmann

CHAIN D.L.K. (Us.) webzine, August 31st 2017 :
This French dark ambient industrial project comes courtesy of Le K. (Marc Reina), active since 2005. You might know him from bands he was involved in such as Sizzle, and Velvetine. Well, Chalung-Gra is nothing like them. ‘Mostaferi’ was recorded on a Tascam 4-track cassette machine (remember them? I used one in the ’80s, good for putting down ideas on the fly) but mixed and mastered digitally by SomniaK. ‘Mostaferi’ is deep dark ambient, full of cavernous, subterranean drones in places the light just does not penetrate. Somewhat reminiscent of Lustmord in its density and intensity, these are regions best left to the experienced psychonaut to explore. While there is nothing that particularly distinguishes this sonically in the genre, there is a vastness about it that hides subtle elements that may be overlooked the first time around. Worth a listen for dark ambient fans.
3,5/5 – Steve Mecca

Posted on

Red Fog “Buried On Vanth”


REVERSE ALIGNMENT (Sw.) Label’s description :
Since it’s first release Milk of Amnesia in 2010, canadian Red Fog has entered the stage as a high quality drone act combining experimental and minimalistic elements with swarming soundscapes, always taking good care of the details to make listening a pleasureable experience. Red Fog has already released eight opuses but Buried on Vanth is the first release that actually takes physical form and it’s a bit of a mystery to us why Red Fog hasn’t been released as CD or vinyl yet. Previous releases has solely been devoted to the digital format but maybe it’s intentional, ’cause who’s actually behind Red Fog?. The artwork is clean from traces…still…Buried on Vanth is a splendid work of art.


VITAL WEEKLY #1021 (N.L.) Webzine & podcast, December 2016 :
Red Fog from Canada has four tracks on their release, in the range of twelve to fifteen minutes on the CD. Following eight online releases, ‘Buried On Vanth’ is their first CD; at least if it’s ‘their’ and not ‘him or ‘her’. There is absolutely nothing on the cover to go by in terms of names, instruments, studio or producers. That leads to the usual assuming and guessing on the side of the reviewer. No problem. I would think there is quite some acoustic objects and field recordings being used to create this music, but all of these sounds are heavily treated with all sorts of sound devices (effects, synthesizers, maybe even granular synthesis) rather than electronic sounds, and which then turns into this deep, atmospheric pieces of music. The use of objects and field recordings give the music a more bumpy sound, going up and down, rather than having drones that are made with pressing down a few keys on an organ. The cover shows a few rays of light, but that’s hardly about the music I think; the main colour is ‘black’ here, pitch black as the night, or the cosmos, but somehow this music sounds very earth-like; it’s less the sound of a spaceship and more that of being locked in a cave with rain pouring hard outside, making a droning buzz. Highly recommended for a pleasant night outside in the cold forest; unless some of these sounds scary you. Then it’s best to stay inside.
(Frans de Waard)



ORDER CD