Sunday, 26 October 2008


“8 19” Cd 2005
(Cold spring Recs)
DEADWOOD is a one man project, created in 2003 by Daniel Jansson with the sole purpose to reflect his most inner instincts, visions and thoughts through a power electronic machine generating diverse noise and black ambience. And the result is revealed through “8 19” album, a chaotic structure with elements which seems to emerge from a psychotic mind due the elements we find in “Antabus” also, with some suggestive evocations,grimnish atmospheres and strong screaming vocals, which sometimes becomes into spoken litanies. With the 2nd track “Crushing On” a dismal paradise emerging into black ambient atmospheres and industrial patterns, eerie vocals and reverberating elements through the whole track, which is like to be entering to a dense space full of abstract forms. This is one of the best tracks included here. Coming next we have “8 19”, chaotic industrialish madness floating through the whole structure of the track, surrounded also, by harsh noisy vibrational tunes, and repetitive vociferations. Through “Bitch On The…” we must experience an in deep ambient track with such cold eerie atmospheres and the dense drone soundscapes through the whole stream of how the track is developed here. Also the sutile spoken vocal parts give us such enigmatic touch which you can presence when hearing the track carefully.
With “Wither Sinth” bells, a burning fire surrounded by dark vaporous atmospheres and chaotic screamings,are the predominant elements worth to explore. Finishing this release is an untitled track built into drone/industrial elements with suggestive, abducting dark atmospheres through the whole minutes. This release is developed through 60 minutes of pure transgressor art which reminds me to Mz412, but at moments more chaotic and abrasive. a perfect post apocalyptic masterpiece, full of such devastating and qliphotic energies from start to finish!!

“XXX” Digipack 2008
(Interregnum Recs)
Here is an act that I had been curious about for a while that I finally got here. And I must say this fill my expectative on how music is developed here. PRONOUNCED SEX is an act coming from Oslo, Norway and working as a duo, consisting of Zwizz and King Solve, since the beginning the act has focused its music into drone ambient elements with such dense and minimal patterns which we find so interesting. This album includes 7 compositions all of them built into such mentioned elements, which starts to evolve since the first track “The Last Thing You Hear Before You Drown In Semen” to the last one “No Such Symphony”. For example the third track called “Blizzard Beach” is an eerie dark composition with such dense atmospheres transporting you to the most in deep cold Norwegian mountains. With “Let’s Put The “E” In Sex” things goes oriented into an industrial soundscapes which gives the track a strong structure and surrounded by such massive drone patterns which generates such interesting atmospheres.
With “earthquake From Behind” is more an anal experimentation through in deep sounds and distorted vocal elements veiling the structure of the track. At moments music turns so aggressive and volatile, with such enigmatic moments through the whole piece. One of the best tracks to mention here. “Taog Eht Fo Remmns Lanrefni” is a drone experimental song with such interesting elements floating from start to finish and closing the album is “No such symphony” a more dark ambient track, but with such effects ,sounds which give such personal touch to the whole structure of the track. Really this album fill our expectatives, due to high quality developed by PRONOUNCED SEX so, and we must wait for next release of this interesting Norwegian project.
KEPLERS ODD (Swe) “Gro Jt655-40”
(Desolation House)
KEPLERS ODD/’s dronish industrial machine continues destroying everything to its steps, with such multilayered sonic hybrid elements which emerges to mutate everything in this existential plane. To those of you who haven’t know about KEPLERS ODD, let me tell you, this is the hybrid project of Daniel Jansson,the destructive force behinds DEADWOOD, and this name was in part taken from a Gothenburg street that has a high massive crime rate. And its reveal clearly the concept behinds this act. Through “gro Jt655-40” we must experience the deterioration of human species through 8 microorganisms installing in your brain for a perfect deconstruction of drone, noise nature. The music here is brilliant, in its own conception, with such abrasive and harsh pictured guitar elements; emerging behinds uncontrolled drone patterns and noise structures all the time. An important element to mention here is that this release was recorded live during a rehearsal improvisation, and having as result, a strong harsh album with resonant elements and such necro hellish distortion, mutating all the time and giving birth to new bizarre spectrums. Really, a very good job, in the structure of each one the 8 tracks released here. Music itself seems to incorporate to your brain, a multiprogramming organism which expands in all directions. A worth hybrid structure worth to experience due its psychic nature and harsh, aggressive elements.

DEAD FACTORY (Poland) "Das Grave Flustern" EP
(Kaos Ex Machina)
Dead Factory arrives with a very interesting ep, released by net label Chaos Ex machina...and what more interesting release, we must presence here. having such capturing ambient /industrial minimal atmospheres, this project created in 2001, has been developing all its potential which is now reflected through "Das Grave Flustern", an ep including 4 compositions which two of them are from the upcoming full album namely"ENTALPIA"sinister dark ambient experimentations, with some drone traces here and there,at moments music seems to float through dense elements with a high compenetration in how the music is created here. Eerie and cold track. And "Nokturn Listopadowy" This is more an industrial one, with traces of ambient elements surrounding the whole track.dence black corridors capturing the ethereal sounds which emerges to bring you a place with no espace.a suggestive track with interesting moments. the other two compositions are remixes” lover Silesia 2008" is a track remixed by Suture Navigator, and veiled with aggressive pulsations and destructive industrial soundscapes to create a bizarre paradise full of abstract forms. Repetitive drone vibrations crawling from such in deep realms.and Streams Of Dead Light ( Substeplnfabass)" is a rythmic electro ambient composition very interesting with such sticking parts floating from start to finish.
a very interesting potential expressed here by this Polish act!!

Wednesday, 15 October 2008

GOLGATHA (Interview)

Golgatha is the common name of the spot where the Christian prophet Jesus was crucified. It is interpreted by the evangelists as meaning "the place of a skull" (Mt 27:33, Mr 15:22, Joh 19:17). Its name represents in Greek letters the Aramaic word Gulgaltha, which is the Hebrew Gulgoleth meaning "a skull." Therefore the name Golgatha represents the skull-mountain, looking like a skull and bearing the bones of the crucified… According to Origenes the skull of Adam is buried there. Golgatha-mountain is located at the northern side of Jerusalem and became a kind of symbolic place for the ongoing conflict between the source of western religion on the one hand and oriental belief on the other. It can be seen as a representative for the current ideological and religious conflict happening between east and west. The music of :Golgatha: appears to be a careful reflection of this seemingly eternal conflict on a mythical as well as concrete level – yet without taking one of these sides. There has to be another way of dealing with humanities darkest aspects…

..and so,here is an interesting conversation we have with Christoph D. weeks ago,to reveal unknown aspects reffering his in deep viosns reflected throguh :GOLGATHA:!!!

Golgatha is a mountain located at the northern side of,could you tell us your personal references to such name and how does it closed to the musical concept handled by you back in time 2004 when :Golgatha: was formed?The name Golgatha (in its German spelling with 'a' instead of 'o') originally represents the skull-mountain at Jerusalem, looking like a skull and bearing the bones of the crucified. According to the historian Origenes the skull of Adam is buried there. Golgatha-mountain became a kind of symbolic place for the ongoing conflict between the source of western religion on the one hand and oriental belief on the other. It can be seen as a representative for the current ideological and religious conflict happening between east and west.
The music of :Golgatha: appears to be a careful reflection of this seemingly eternal conflict on a mythical as well as concrete level – yet without taking one of these sides. There has to be another way of dealing with humanities darkest aspects. The first CD-R „Waste Land“ features a track 'The Clash' that directly refers to that concept.

Golgatha: was formed as a one man band, but with the pass of time the inclusion of S.Marleni and Sorakey as driving forces inside the band. So, in which such inclusions increase the musical potential and creativity knowing the high recognition the band has gained through the years?I am not a musician, I work with sounds and concepts. So the beginnings were mainly electronic dark ambient stuff. But I soon realized that the idea of :Golgatha: would gain by using acoustic instruments. So I added percussion and some acoustic guitar. Going further I asked my old friend Marleni, who has a folk-band of his own, if he would like to work with me on the concept of „Kydos“, which he did. He also came up with the idea of involving more vocals, and as he knew Patrick Leagas, whose work we dearly admire, he agreed to help us.

Then I came to know Sorakey, who has a very original voice and vision that was especially a huge influence on „Tales of Transgression and Sacrifice“. She will appear on our future album-project „Nihil“ with even more and stunningly elaborate ethereal vocals. A first idea of that you can get on our MySpace-profile.

Perhaps to work with more members helps you to have more visons, opinions, so creating the necessary dynamism you pretends with each album? Any other inclusions in future?Working with David of Dawn & Dusk Entwined on „Sang Graal“ has worked out perfectly, so I am actually open to include other guest appearances in future. Currently I hope to work with Dev of While Angels Watch and David (again) on „Nihil“. Also I hope that Anna-Maria has enough time to add some viola-tracks. We definitely will follow the path of our last albums with more emphasis on melody, classical arrangements and shamanistic drums.

Could you reveal us a few about the evolutive musical structures from “Waste Land” album until now with “Sang Graal”? And how important is creativity when we look how your music is composed? And how is the process for the creation of a definite musical composition?Usually I develop the basic structure of the music on my own. I collect ideas, sounds, samples and recently also unusual instruments. With the basic idea I consult Marleni and Sorakey and they add further elements and possible variations. Without them the music would be less 'musical' and more atmospheric probably. Marleni has a lot of experience with production and mastering and has finalized our last albums with a great sound.

Do you need to have a special mood or source of inspiration while composing? And how are handled the ideological patterns forged through experience and knowledge in all these years, to express it through :Golgatha:?I was planning to do express myself musically for years before :Golgatha: and startet experimenting in the early nineties with the Gothic rock band Alice D., with members of the German industrial band Rabenhirn and finally and quite effectively with Lutz Rach of dark ambient outing Tho-So-Aa. My project at that time (1992) would be called Trail of Tears. Some sounds from back then I currently used as ambient background. As you might guess from the name Trail of Tears, that refers to the extinction of the American Natives, I always focused on the darkest aspect of humanity.

But I am not an outright pessimist, so I always was searching for kind of alternative world view. My perspective is of pantheistic pagan nature, heavily influenced by my acamdemic background in cultural anthropology.In :Golgatha: all kinds of different – but not opposing – views a combined: Marleni is an agnostic nihilist, Sorakey an animistic pagan, Anna-Maria of christian belief etc. We published on French, German and Swedish labels. We had contributions by people of Czech, Palestinian, British and French descent, so our band can rightfully be called multi-cultural. Finally I would define :Golgatha: as a European band with a global perspective. Therfor we refuse the term neofolk, which seems to refers mainly to new German folkbands. This does not fit our more shamanistic and sometimes neoclassical approach. So :Golgatha: is ritual folk.

What’s for you the sacred word “Art”? Perhaps, an inner expression from subconscious reflected in the way as we observe, feel the universe in which we live?I share the definition of art that occurs in the British movement of Vorticism: the artist is able to create certian forms out of the creative chaos that surrounds him. So art is the formation of truth through beauty in sound, image and words. Indeed I share the idea of art still being sacred in a religious and spiritual sense. So our rare live performances have to be seen as rituals: this year 2008 we performed with Sol Invictus on Ostara and will appear at Halle, Germany, on winter solstice with Sixth Comm.

If you would have the opportunity to represents :Golgatha:’s ideological concept in a picture, or sculpture what would you do?:Golgatha: is music from the Waste Land: Like a nearly dried out thorn tree in a stony desert with a hurting bright sky above it. The most inspirational feeling for the music of :Golgatha: I experienced in the summer of 2004 on the Greek island of Crete (actually the cradle of European culture).

:Golgatha: has become an important aspect in your life…I ask you, what has offered to you :Golgatha: to your life in general? And how do you observe this in S.Marleni and Sorakey from your personal angle?Doing music and artwork for :Golgatha: has focused my perspective on life. For each contributor :Golgatha: has gained a very personal meaning. So I can only speak for myself. :Golgatha: has always been and will be my personal vision on the world, ridden by conflicts, crisis and war. But :Golgatha: also means life and energy, so it will progess as I progess – and all people involved. I am not a pessimist, but I have a very bleak perspective.

Yet I see and feel a spiritual quality in life that I am anxious to keep and praise. What people make of our work – I don't really know. But at least I hope that they also see this glimmer of light in the darkness.
Is known the debut album for a band is unforgettable, due it’s a new experience, and a way to show its work…so, what represents for you “Waste Land” both musically and ideological? And what’s the whole concept behind such a title?Indeed „Waste Land“ is a very important step for me and :Golgatha:. All the later elements are already there, but in a more minimalistic style. The title was derived from T.S. Eliot's epic poem about the state of Europa in the beginning of the 20th Century which he describes using elements of the quest for the Holy Grail. So Europa is seen as a spiritual waste land waiting to be saved.
So „Sang Graal“ is the blossom growing out of „Waste Land“. Actually some tracks from „Waste Land“ were reworked there. So ideologically this album is marked by a spiritual quest in a despiritualized desert. „Waste Land“ was very pessimistic, while „Sang Graal“ has moments of hope.
Give us some more in deep details about the ideological patterns revealed through “Kydos” album? And what about the inclusion of Patrick Legas (Death In June) in such release?„Kydos“ may be seen as a musical essay, a reflection on the idea of heroism. The first part was inspired Yukio Mishima's writing on 'Hagakure', and especially his book 'Sun and Steel'. He was one of the last (artists) carrying the spirit of heroism and the way of the warrior – but he failed. So this album is about an idea of failure and decay. It was only logical to close with the well-known Sixth Comm-song 'Asylum', which is called 'Farewell to Herois' here. It was Patrick's idea to sing this song this way, and he also reworked Mishima's 'Icarus' this way. I was totally impressed by what he did. He never did this kind of Apocalyptic folk for his own stuff and captured our idea instinctively. I really adore him for this.„Kydos“ is NOT a glorification of war or right-wing heroism, so Patrick's quote from Death in June's „Oh how we laughed“ rang in my ear: „Oh how we laughed at your failure to see in us – yourselves.“
Oriental influences, drumming ritual passages and nihilistic vocals are elements included on your releases…so, and then I think, what will come for next releases. so is a kind of challenge to release an album, knowing the excellent past albums you have released? Or you just let the creative spirit and skills flows spontaneously? I am really happy that most people appreciated our work so far. It is more than we can ask for. To be where we are was never planned, it developed naturally. At the same time being on a label like Cold Meat Industry is challenging, because you have to live up to the expectations. At least with a quality of sound and composition. We try our best. Stylistically many things evolve simultaneously, and not all of them fit on the same album. So we try to concentrate on the subject of the album and keep true to our style, which I would still define as ritual folk. There still is a world music influence coming for the music we listen to – and the things going on in the world. :Golgatha: is really meant as the expression of an alternative world view and life style within the Western European world.
Some aspects which surprises me so much besides the great musical development at “Tales of Trangression and Sacrifice” album, were the dark erotism and expressive sensuality of pictures from German photographer (Birthe Klementowski). From where comes the idea to include his art as the visual elements to reresents the whole nature of the album?First of all this album is different to the one before: It is more personal and focussed indeed on sensual and sexual elements, combined with an animistic world view. Huge parts of it are inspired by the transgressive philosophy of Georges Bataille. Sexuality is also the focus of his thinking, so it was only a logical inclusion to use these photographies. In fact the texts and the images in the booklet add meaning to each other. I do not recommend to download this album for the music only. It is much more – an audiovisual experiment, combining the philosophy of Bataille, the artwork of Birthe and our music to something new and unique. And stunningly beautiful in my opinion.
Which were the principal ideological/musical elements to explore through “Sang Graal” to those of us whose haven’t heard the album yet?Due to the combination of two different bands we were able to explore some new territory, which I really enjoyed. „Sang Graal“ is more soundtrack- and neoclassical-based and moves towards what may be called martial gothic or military pop. „The Messiah“, „Seeker Divine“ and „Crusade“ are very pounding and catchy hymns, but you will find also very tender and subtle parts with great viola melodies by Anna-Maria.On the level of ideas this album is meant to reveal the pagan roots of the myth of the Holy Grail, which used to be an anchient fertility rite rather than the cup with the blood of Jesus. So this album is a mythical re-reading of a very popular toppic.
Reveal us a few about what do you focus so much into Thomas Edward Lawrance influence for the “Seven Pillars” album? And what’s the main reflection expressed through such title? This album is based on T.E. Lawrence' book „The Seven Pillars of Wisdom“, hence the title, which refers back to muslim mythology. Lawrence' life and ideas a perfect :Golgatha:-material, and it was this album, that for the first time manifested that special mixture of folk, ambient, neoclassic and wolrd music we are so fond of. For those out there who always expect boring genre works, neatly avoiding any border transgressions: forget it. We will never fit in one box. This is due to the complexity of our subjects. „Seven Pillars“ is full of ideas, rich in context and suggests further research. So it may be the one album dedicated to those truly into deep listening. Lawrence simply was one of the key characters between the first and second World War, caught between homosexual aestheticism, masochism, heroic spirit and intellectual sensibility. At the same time he was torn between orient and occident – one basic idea of :Golgatha:'s perpective.

How does :Golgatha: channelized the whole expressions to generate a concrete, unlimited source of power reflected in the musical concept you are handling until now?My mind is full of voices and ideas, and being a band with even more creative minds working there actually is a huge amount of energy to be handled. That works very well, while sometimes also producing conflict and discussion. So :Golgatha: is a combined vision – and at least something that works organically.

Could you tell us a few about upcoming releases “Nihil” and Rising”? what people can expect with such releases?"Rising" will in a long version appear on the upcoming label-compilation by Cold Meat Industry. The album version is part of our future concept „Nihil“ focussing on the European Nihilism in the eraly 20th Century. This album will go even further into songwriting aspects and focus on pounding ritual drums, orchestral atmospheres and melancholic folk.

Christoph,this was an effective conversation,so we hope to have another opportunity to share other aspects relating :Golgatha: in future.Thanks a lot for your interest and the inspiring questions. All seekers may be lost in the night („Sang Graal“) – but don't stop and keep looking for new paths to follow.


BLACK SEAS OF INFINITY (Usa) “Amrita”: The Quintessence digi pack 2007
(Autumn Winds)
Set-Heru, the creative force behinds BLACK SEAS OF INFINITY, is one of such individuals whose materialize all its creative spirit into sonic mantras. This opportunity though his magickal creation “Amrita”: The Quintessence and it’s a bit complex to explore the whole concept behind such title because, I think it’s develop through his experience with such magickal elixirs, such kalas distillations, emanating through sexual unions. Amrita is the psycho sexual elixir generated by fire snake charged with the lunar currents. Through such lunar emanations Set-Heru surprises us with an album full of abrasive psycorporeous atmospheres and a dark enigmatic elements which seems to emerge from another reality, reflecting us constant vortex of energies.

BLACK SEAS OF INFINITY works with different experimentations, focusing in a dark ambient ritual atmosphere created through well structured musical patterns. Opening “Amrita” is “Ajasram Abhichara”,a 20 minutes exploration into ritualistic atavisms, the music seems to reveal in part enigmatic voyages to the most in deep regions of Transplutonian dimensions. Dense elements, minimal sound converging all the time. Next, we have “Devourment”,a consecration of tantric nature, developed through the use of rhythmic patterns and dark atmospheres mutating through eerie soundscapes,in “Alshtla” the enigmatic ritualistic voyage continues this time evoking more dense structures with a well handled use of samples and effects, it’s a transmission from nightside of Eden, vibrating from deep within. “Porta Vox Umbra” is the ascension of darkness dressed in tribal evocations, subliminal percussive sounds and echoes coming from a distant past in time, where the old gods ruled the earth. In my opinion this release is the best composition here, although all of them have such addictive sounds. “Daughter Of The Bleeding Sunset” continues where “Porta Vox Umbra” ends, an infinite continuum beyond sensorial realities.

Percussive elements emerging from the void ready to absorb you. Abstract soundscapes generating such sutile subliminal atmospheres, all the time. Closing the album is “Anti-Vital Interior Of The Womb Exploded Moon” a more elektro ambient composition with the inclusion of Japanese visionary and writer Kenji Siratori, adapting his voice to the whole track. Set-Heru reveals us just a part of the great potential generated by him though “Amrita”: The Quintessence. Cd comes in a white digipack with arquetipes, sigils, and magickal squares and visual structures complementing perfectly with the whole concept expressed here. At the moment Set-Heru is preparing the next emanation “Hieros Gamos” so, keep your eyes open for such release through Autumn Winds prods

“I stand without death; mine eyes plunging the recesses of abandonment orgasmic feast vibrates the silence of the colours undreamt veracity the ascension of eternity”

“Agkdama Asrti Parasamgate” Cdr 2008
(Self Released)
To review the releases of THE JOY OF NATURE is to go into an enigmatic voyage to the realms of beautiful atmospheres, in deep soundscapes creating, visualizing elements of nature. To explore an universe of possibilities where all laws becomes one, and one becomes all. The magnitude of THE JOY OF NATURE is impressive, because through each release, Luis Couto, the mastermind of this act, offer us a high variety of diverse instruments, sounds and electronic devices which breaks all possible limits when creating music.
This album is a kind of commemoration for the 10 years of existence; in which THE JOY OF NATURE express just a part of the whole potential hidden. The music is in a word, sublime, it takes your heart due emotional soundscapes created here. With more than 73 minutes of folk-ambient-drone music in which you can experience moments of pureness, melancholy, abandonement and mental retrospective… strange at moments, sad at others, but always moving your feelings into different structures in which you find yourself lost in a realm of your own nature.
This album combines new songs alongside with compilation tracks and reworked music by side projects. Some of the new songs were based or featured old recordings. The whole 21 tracks included here are brilliant, a congregation of diverse natures reflected through instruments such as Violin, Viola De Terra,Irish Harp,Harmonica,Kantele,Acoustic guitars,Duduk,Indian Flute, Alpine Zither,Accordion,Percussive sounds, Drones and Field Recordings, just to name some of them. Also the inclusion of chorus, vocals, spoken voices, whispers, each track is dressed with such captivating atmospheres surrounding the sensibility of air, the strong of water, the enigmatic light of fire and the creative force of earth. Each seed (Songs) germinating, mutating into new forms, giving birth to sonic organisms.
To ask about each track will take us pages and pages. So, we must say this one is one of the best releases coming lately to my hands. Hearing this album last night, I was thinking how is possible someone will create the whole music alone; under which creative sources the mind & spirit of an individual could develops music in the way as THE JOY OF NATURE does. And more when we look the innovative design, the special package which is a woven small one with a flower. Limited to 100 copies only, and also comes with a card with an excerpt from a book in a package, there are a hundred different excerpts choosen for this release. For more information just contact Mr. Couto,to enter this realm of nature, and to feel the splendor of creative musical opus through ritual folk expressionism with such experimental, minimal atmospheres converging all the time. Just wait for a full interview next months.

Wednesday, 8 October 2008


when creativity is explored without limits...when limits are broken by creativity...when everything collapses,a new dimension is opened...and from such void emanates NIKO SKORPIO...
Read this informative interview with one of the most creative artists inside the experimental movement.
Greetings Niko. so, welcome to PAN-O-RA-MA and reveal us, which inner realities were explored by you as musician, to express yourself though concrete force called NIKO SKORPIO?
Hello Edgar. To put it simple, I am Niko Skorpio, and I explore any inner and outer realities that I find myself in, as diverse as they get. I explore and channel the unknown or "beyond". The results I claim "mine" because the multividual in work, in this case myselves, acts as a kind of prism. Hence, the way the results may appear to others on this side of "reality" may be somewhat coloured by my personality, that is the sum total of my previous experiences as well as my more or less limited talent in attempting to describe that which cannot be described.

Does “Hermetik Fusion Musik” is a term used by yourself to describe the experimental movements in the fields of musical, visual personal level of subconscious revealed through NIKO SKORPIO?
I coined the term Hermetic Fusion Musick to describe my body of work, for the lack of any previously existing suitable terms. I think that sums up my aesthetic tendencies and possible influences yet doesn't restrict the creative flow.

Or there is more an in deep association with your magickal studies and developments as individual in this existential plane?
I suppose you mean my personal evolution or development, yes, there definitely exists an association to it.
What’s the principal concept such as musical as ideological behinds “Half Born in Half Light”? Perhaps the exhaustive search in yourself of your own god, essence or inner realities in the magickal path still to discover?
The album sums up some of the experiences, ambitions and states of mind that occupied me during its period of creation. It started quite spontaneously. I was writing and recording under the pressure & influence of some inner urge, with no pre-conceived plans for what to do with the music that appears, not to speak of releasing an album. But as the work continued, the process went further, and new tracks started taking form, I began to have an idea what it will turn out like.

Your new album, has such strong enigmatic atmosphere and dynamic experimentations, which force us to ask you which were the principal points you analize,visualize and thought to develop in this album for the great success it has until now?
Well, instead of much critical analysis or elaboration I chose to go a purely intuitive route and let the unconscious forces surface. In that light I could say the album pretty much composed itself, all parts found their right places without too much post-processing in the studio. That was exactly what the nature of the album called for.
In connection with the last question. Do you think with “Half Born In Half Light” you have reached a maximum peak in NIKO SKORPIO’s development as musician or there is a lot more to explore? And how important is creativity for you?
Creativity is essential, a major purpose in my life in general. I creativity is taken out of me, I feel I'm useless. I think "Half Born in Half Light" is one step on the path, or one plane of the ever-mutating polygon that is my body of work. I'm satisfied with what it became, but there are yet many ways to develop, and many many areas to explore.

“Leper Angel” as magickal concept is an aethyr manifestation of primal forces of corrosion and decay…right. so,are such manifestation atavisms evoked by yourself through deliberate use of gnosis and magickal experimentations?
Experimentation is the key word here. "Leper Angel" was originally a nameless track that was composed quite spontaneously. It was born out of mixer feedback but obviously sounds nothing like that. The title attempts to describe the kind of apparition or sensation that I had while listening to the track in a receptive state of mind.
What did you means with corrosion and decay? So, such express in part your mentality into another dimensions in which decay is a part of evolution and corrosion as the own ego’s disintegration?
I think corrosion and decay represent the flip side of the coin of creation (destruction), and the passive edge to that. A necessary, even if in some instances unwanted, part of the great ever-rotating wheels.
Is known you has connections with another musical realities such HAERETICI 7074, OVRO, KAOS IN ECCENTRIS. so, could you reveal us the main difference between then?
Ovro is a musician and artist in her own right, I have merely contributed a few things for her albums the way she requested. So I'm around if my help is needed but otherwise I have no direct creative influence on her work.
Haeretici 7o74 is the band that I co-formed with Ovro. In this project our creative input is equal and synergetic. Haeretici 7o74 was formed mainly for live performances in a semi-improvisational setting. We will probably release some studio works in the future, once we manage to invest enough time and effort to the project.
Kaaos in Eccentris was formed back in 2003 or so, for improvisation with a fluctuating line-up. In the period of 2003-2005 we had numerous private live sessions with line-ups varying from 3 to 6 people or so. The range of instruments include various electronics and computers, guitars and bass guitars, theremin etc. Stylewise the project has had no limits whatsoever, the results have varied from organic ambience to free jazz and from noise freak-outs to abstract psychedelia.
Unfortunately we haven't had any KIE sessions in the last couple of years, because we've all been too busy with other projects. At the moment I cannot say if this project has a future, maybe after 10 years of silence something will happen again...

Or due the dynamism & creativity, and eclectic nature of yourself to experiment with different projects are a way to expansion to another realities?
The greatest thing about all these projects is collaboration with other artists; other people bring in their sound world and creative point of view, and in the best cases a kind of "new entity" manifests. Similar to the idea of the Third Mind as described by Brion Gysin & William S. Burroughs. This third mind was very strong in Rajapïnta, a band involving me and Ibrahim Terzic.
Rajapïnta did some fantastic stuff in 2002-2005, most of which remains kind of hidden and unheard, and very undeservedly so in my opinion. It seems that the "third mind" we had created decided to vanish at some point, after which we haven't been able to continue the work. It makes me a bit sad since there was tremendous potential to it, but what can be done? I don't know... maybe after ten years again something new will happen. Who knows. In the meantime, dozens of tracks can be downloaded for free at the Rajapïnta website Besides that there have been some projects (Reptiljan, A..H...) that have involved me only, but they have been very different by definition from my "usual" body of work, therefore these other names have been employed.
The lyrics at “Shugal” from “Escape From Heaven” album, makes me to think, about a period of your life in which you were crossing your own desert of vacuity, through your personal process of initiation and its connections with such lyric?
It seems you hit the nail on the head here. It is a personally significant song that indeed relates to certain incidents and a period of time, but I don't want to talk more about it. People may make their mind by listening to it and thinking about the lyrics and so on.
The visual side of your albums at OVRO and NIKO SKORPIO reveal us a part of your creative side in digital explorations. so, tell us how did you find such evocative reflections in the visual side (photography, paints, and art in general)?Again as far as Ovro goes, I have merely acted as a "camera man", helping her out to fulfill her visions. Anyway, visual arts have been very important for me for as long as I can remember, actually I used to draw and paint long before making any music. These days I work as a graphic designer, so I work in illustration, photography, digital treatments and design all the time.

What’s evolution for you from such a personal magickal perspective? And does self-knowledge is a principal weapon for magickal evolutive awakening?
Evolution is something essential in walking one's path and fulfilling one's purpose in this sphere of existence. I mean personal evolution as a conscious being. Without evolution there is only stasis which amounts to nothing. I think self-knowledge is a principal element in magickal work, it's the driver and the destination in some ways.

And from such awakening, we are able to explore more in deep to reach our true will, our own nature hidden in the egg of our mind?
Well, yes, I don't think sleeping people would be able to thoroughly (if at all) explore their inner selves, not to speak of finding one's true will. But it is a burden to stay "awake", the mundane world is a great sedative that easily lulls one back into slumberland. One has to constantly pinch or kick oneself to wake up again. Magick is one of the ways to do it, of course, keeping in mind it also should mutate and evolve in order to avoid it becoming just another "habit".

Does SOME PLACE ELSE records, is a massive conjunction of projects, ideas, focused to promulgate the creativity of different levels of art (visual & musical)?
Some Place Else is a channel to realize our visions without limits or outside intervention. Besides the music, the visual side is very important for us as well, and we will be focusing a great deal of effort and energy into the interaction of sound and imagery. Time and money set some limits to what we can do, especially as most of the works we produce are not commercially appealing, but it hasn't prevented us from doing our work the way we want to do it. I would have nothing against having more money or better distribution, but in any case the art will not be compromised. Currently Some Place Else focuses exclusively in releasing works by a small number of artists (that includes me, Ovro and some of our close friends' projects), but we're looking forward to accomplish some interesting collaborations in the future.
Before closing with this conversation, we want to know more about your upcoming material to be released and your connections with another great as as OVRO?
I have an album called "Psilocybe Necrophila" lined up for release. It was completed sometime in December 2007 after lots of work and some drawbacks. I hope to be able to release it this Autumn, we'll see...Apart from that there are several new things in beginning stages, but I had better not speak of them yet, it'd be too early.Ovro is busy working on a new album, that would be her fifth one. Judging by the early demos that's going to be one fantastic piece of art, hopefully to be released on Some Place Else in 2009. Ovro will also release a 7" on Drone Records shortly, it's been a long time coming.
Due your so many occupations, we choose to ask you just a few questions? So, thanx again…and wait for a METAORGANISM interview next weeks. Thanks again and close this as you want. IOPAN!!
Thank you for your efforts. Blessings of Pan and all flora, fauna & fungi!


“sterna seu de nive sexangula (a new year’s gift of the hexagonal show)”
digipack 2008
(Fractured Spaces)
The first release from this new promising British record label Fractured Space Records, marks a high peak in which what future will bring us with this upcoming releases. KEPLERS ODD, a Swedish noise/drone that started in 2001 with the general idea to create tarblack drones with hash noise textures, creating disturbing paranoid music. This trio consisting of Daniel Jansson who is known by his other project DEADWOOD, Magnus Moilala and Kristina Parsson comes with an album focusing different alternated elements from ambience far beyond the normal run of over-driven guitar noise fest and a deeply dark occult mood…
First two tracks are guitar-tune based ones wrapped into icy cold auroras with highest peaks from time to time. And the most important elements here is how the music is veiled you slowly to the point of keeping floating in such tangible dark sensations manifested here.

With tracks 3 and 4 psychotic industrial patterns show us another face in the reality known as KEPLERS OOD, being more disturbing and sinister like to run blind through a cold musty dark corridor with no escape. The guitars effects and noise, industrial elements prevailing through the whole minutes but with more emphasis on 4th track.
In tracks 5 and 6, things not differs so much in comparison last tracks. almost the same basical structure but driving into drone, noise industrial sound layers and through each layer you shall experience the ugly existence revealed to you though disharmonic platforms in which KEPLERS ODD is the device who activates its enigmatic music by the fact how drone ambient structures are handled together, noise, industrial, elements. last track is a guitar based track with specific elements which generates a dark depressive evil nature, some vociferations can be experienced to complement the over-driven guitar noise elements. last track reminds me to early Swedish act Abruptum. At the end of the track some acoustic guitars announcing its upcoming return. This comes in a digipack with a nice visual side.

“Acedia” Cd 2007
A.E.P is the dark driven force f Meldhkwis, who also is the main spirit behinds DAPNOM. A.E.P is a sinister revelation, a symbol coming from subconscious, a chaotic paradigm represented through 6 compositions which contains interesting elements from dark ambient to industrial passages from time to time. The opening track is “Legendaire” and this is a drone based structure with corrosive ethereal atmospheres. So, the next one is “Mysterieusement Murmure” ,liquid sounds emerging from another plane of existence, with eerie elements twisting in the whole structure of this track. The third one is called “Avec Une Langueur Naissante” a surreal dark whirpool of tunes, samples with abrasive industrial passages crawling all the time. Through the 4th track “Pur Limpide” mixes sinister atmospheres together some industrial patterns, always keeping such dark emphasis in the way as the whole track is created here. “Sombre Mysterieux” is an ethereal voyage to inner regions of self, so obscure in nature, with a ritualistic touch, palpable which reflects just a part of the dark essence of A.E.P.
The last track is “Perfide”also, a dark ambient composition but this time arranged with some religious chants, transforming into satanic litanies with the pass of minutes, due the dark elements incorporated to the track.bells, and some guitar parts are factors which will keep your attention all the time. At moments this album has a marked influence from LUSTMORD, due how dense the music is and ethereal atmospheres crawling between them all the time, a very interesting release to mention here.

”TheLast Sight” Cd 2008
My only experience with this Italian project, and we find here is an experimental project with so diverse sounds, elements and musical structures which are handled from start to finish. “The Last Sight” contains a total of 8 compositions with different elements having as principal patterns the harmonic, melodic passages floating above and thought the thick noise. On the other hand is the eerie dark ambient, drone elements which enrich the whole album.
At moments music turns so captivating due the way as the different elements are put together to create more than just music, but a piece of beautiful melodies through synths,drums,and effects. Tracks as “Dear sadness” with its melancholic synth arrangements. Or “Life Revolution” with cinematic futuristic atmospheres becoming so captivating. And what about “Lunar Air” built into ambient, industrial passages with some percussive elements here and there. “Spiral” through acoustic elements and a sutile but lethal atmosphere surrounding the whole spectrum of the track. The fact is that Mario Scappaticci,the master mind behinds DRESSED IN BLACK, develops here just a part of its potential, and we must sure to wait for an upcoming release soon. An act with a palpable potential due the way as he has structured each part of this album. creating an emotive piece of musical explorations, always having such harmonic elements which seems to penetrates your senses so slowly. For more info contact Mario.

(Bul) “Skyzopolis” Ep 2008
(Dumb Terminal)
The explosive electro machine known as MANASYT,send us an incredible release. “Skyzopolis” is a psychotic electronic experimentation, developed through 4 compositions. The side a includes “To The Nethers” which is going into old school Ebm, with an interesting minimalism elements. “Larkhill detention center” is a more down tempo composition with sticking beats and electronic effects arranged perfectly. For this track. On side b, you shall find “Asthma Murders” having strong structures into electro Idm and industrial influences, but handled in a rhythmic way through the whole track. The other track is “Soul dubbing” and comes with a unique sound and structure of rhythmic electro patterns and sticking beats and sounds which captures your senses all the time. Electro, dance floor music with interesting elements through the whole track is what offer us Dumb Terminal, what more auspicious debut release. Not so much information arrived to; I finished here telling you this release is limited to 200 copies only. And for more information just visit MANASYT page. A great electro act coming from Bulgaria.