lunedì 29 agosto 2016

Antikatechon: "I Feel Nothing but Repulsion" CD reviewed on "Flux"

The Katechon is a biblical concept linked to the idea of the end times and the Antichrist, an eschatological term used even in political philosophy by Carl Schmitt discussing the power of the Holy Roman Empire; something that restrains the manifestation of the son of the devil in our temporal world, with little irony an idea used to preserve the political power of the not very holy empire. So the name Antikatechon could only evoke something devious and dark, something going against the imposed idea of holiness, something in another kind of time and space with a different perception of things to come, and a different approach to human memories.

This is a very apt name for the dark ambient project of Davide Del Col, which now offers us his fifth album called I feel nothing but repulsion (published by Rage in eden), an album composed of five eerie long tracks that, despite the name of the work, inspire us dread and a melancholic fascination instead of a violent sense of scorn. Melancholy, noisy soundscapes, piano keys, low-tuned guitars, drone sequences (courtesy of Justin Wright aka Expo 70) and hypnotic loops are the tools of the trade here used, crafting a world where personal suggestions and dreamlike motifs guide us in a dark journey of the soul.

The epitome of ingratitude welcomes us with its sombre dark ambient, putting the idea of time-stretching in music format: it gives us a crawling movement which then develops in a more “melodic” field recordings sound with distant dreamy keys. This is an apt start for the work we’re reviewing, creating a certain kind of mood subsequently kept in other tracks; And all my dreams, torn asunder opens with dramatic piano keys soon followed by a static feedback, adding layers of ambient effects while a crescendo reaches an almost post-punk sound. At three minutes and a half the noise elements take control in a majestic wave that reminds us of instrumental post-rock, and sampled dialogues work like distant memories made music. The track ends in a more heartfelt movement, where piano keys return with their classical taste.

The titletrack follows suit with a majestic feedback full of reverberation, giving us an acid and psychedelic movement that engulfs us in a sea of shamanic atmosphere, before it implodes in an epic guitar-driven orchestration (reminding us of some of the more evocative of the The Fragile-era Trent Reznor). Once again the end shows a change of peace returning to static noise, reminding us of the abrupt changes of mood in a tormented soul. From defeat to disintegration starts with a vintage sound which evokes 70’s eerie sounds, while a percussive loop grows in the background taking ground: piano keys and factory-like noises give us an antithesis full of mesmerizing torment, a crescendo completed by shrieking violins in an ecstatic finale.

The smell of a dying savior ends the journey with severe post punk low-tuned guitars, picturing desolation in music format, while ambient elements enrich the evocative and slow building returning to field recording motifs and the usage of reverberations and dissonant chords; a loop drowned in a decadent, swamp-like atmosphere, guiding us to the inevitable turn wherein things go abruptly in a nosier and darker direction which reminds us of Lustmord‘s “cosmic” dark ambient. The end is marked by a more ethereal, but not less menacing, sound enriched by a primordial and resolute soundscape where inquisitive keys generate the image of a cathedral lost in the mist of consciousness.

Not a feral work, but the product of past-time-desperation fueled disillusion became melancholic coldness, a music piece made of changes in music directions and atmospheres which reminds us of moods, thoughts, distorted feelings and the recall of bad experiences. A cathartic experience which will be enjoyed by the lovers of dark and evocative ambient music, a work following a coherent path without repeating itself (a danger always present in this kind of music), creating by music a plot-less and wordless narrative.

Label: Rage in eden

Rating: 8

(Davide Pappalardo)

mercoledì 24 agosto 2016

Antikatechon: "I Feel Nothing but Repulsion" CD reviewed on "Dark Entries"

Niets lijkt me akeliger dan gezichtsloze gelaten, een horrorbeeld dat Antikatechon voor zijn laatste plaat I Feel Nothing But Repulsion maar al te graag aanspreekt. Zelfs de kat en de pop van het kind op de hoes moeten er aan geloven en dienen uitdrukkingsloos door het leven te gaan. Heel het boekje is gesierd met deze levensloze figuren, en deze creepy sfeer zweeft ook doorheen het ganse album.
Niet alleen de titel van de plaat, maar ook een blik op de songtitels verraden meteen al dat deze gitzwarte poel waarin je je een uurtje mag storten allesbehalve bijdraagt aan je positivisme: ‘The Epitome Of Ingratitude’, ‘And All My Dreams, Torn Asunder’, ‘I Feel Nothing But Repulsion’, ‘From Defeat To Disintegration’ en last but zeker not least ‘The Smell Of A Dying Saviour’.
Antikatechon is het geesteskind van Italiaan Davide Del Col, en zit muzikaal een beetje in hetzelfde straatje Nimh, die we ook kennen van op Rage In Eden. Beide projecten namen in 2013 al samen een plaat op (Out Hunting For Teeth), en ook op I Feel Nothing But Repulsion slaan de twee nogmaals een nummertje de handen in elkaar (‘From Defeat To Disintegration’).
De experimentele dark ambient vergt de nodige inspanning voor ongeoefende oren, geen enkel nummer klokt af onder de tien minuten, dat we met een groeiplaatje te maken hebben, kan je al wel raden.
Binnenkomen doet I Feel Nothing But Repulsion meteen met de zwaarbeladen lap dark ambient van 13 minuten ‘The Epitome Of Ingratitude’ die de sfeer van de meest lugubere David Lynch films zoals een Eraserhead in gedachte roept, de trage pianoklanken, afkomstig van Day Before Us, oftwel Fransman Philippe Blache, waarmee ‘And All My Dreams, Torn Asunder’, opent zijn slechts een voorbode van de kakofonie die volgt, een spiraal aan geluiden waarbinnen een onheilspellende vrouwenstem kolkt, maakt deze samenwerking tot een waar hoogtepunt. Wanneer de stem ontsnapt uit de draaikolk en overblijft met de piano besef je dat deze rit van ruim 11 minuten voorbij is voor je er erg in hebt.
Ook op titeltrack ‘I Feel Nothing But Repulsion’ mag je je verwachten aan een kakofonie aan geluiden, maar is met zijn 18 en een halve minuut toch een beetje te uit de kluiten gewassen. Hier geen vrouwen- of andere stem die de aandacht Medusagewijs naar zich toe weten te trekken, deze track moet je helemaal alleen ondergaan. Hortende soundscapes en een gitaar die voor de begeleiding zorgt, zijn deze keer je metgezellen. Op ‘From Defeat To Disintegration’ , de samenwerking met Nimh dus, gaan gitaren en piano hand in hand, en ook hier hortende, stotende tonen die het angstbeeld nog eens extra in de verf zetten. Aanzwellend geruis zorgt voor de perfecte nachtmerrie soundtrack waarin ontsnappen haast onmogelijk lijkt. Afsluiter ‘The Smell Of A Dying Saviour’ weet ook de nodige geluidjes te verzamelen die de minimale muzikale begeleiding het nodige angstaanjagende cachet weten mee te geven. De verwachtingen die de hoes schept worden dus maar al te waar gemaakt door Antikatechon, op deze te koesteren dark ambient plaat.

(Dimi Brands)

lunedì 22 agosto 2016

Antikatechon: "I Feel Nothing but Repulsion" CD reviewed on "Side-Line"

Antikatechon – I Feel Nothing But Repulsion (CD Album – Rage in Eden Records)

Genre/Influences: Dark-ambient, experimental.

Background/Info: Davide Del Col better known as the operator behind Antikatechon is back on track unleashing his newest opus. The Italian dark-ambient musician feels comfortable unleashing his work on the Polish label Rage In Eden.

Content: This new work feels like having been composed on top of an ocean filled with boiling noises. We’re visiting a dark-ambient space accomplished with multiple sound treatments and noises. The experimental touch has been injected by the field recordings and other kind of noise experiments. Low electronic sound resonances accentuate the dark-ambient approach.

Some of the tracks have been built up in an interesting progressive way to slowly reach an ultimate point carried by a kind of inhibited noise production.

I also noticed interesting guitar playing adding an elevating dimension to some passages while another noticeable part consists of the French spoken monologue running through the second cut.
Notice by the way that 2 more familiar bands from the Rage In Eden Roster contributed a song to the album. I’m speaking about Day Before Us and Nimh.

+ + + : This album definitely tastes like a pure dark-ambient work, but there’s a different approach in the global conception, which is mainly due to an impressive arsenal of noises and field recordings (or samplings). There’s an interesting progression running through the cuts.

- - - : I would say that has Antikatechon clearly has accomplished his goal; this is a noticeable release in the genre and also confirms the progression of this band, but I’m missing a real climax to make this album totally immortal.

Conclusion: Antikatechon is one of these dark-ambient formations deserving more recognition. This album simply reveals the huge potential of the artist although I’m still waiting for that unique and outstanding opus.

Best songs: “And All My Dreams, Torn Asunder”, “I Feel Nothing But Repulsion”.

Rate: (7½).

martedì 16 agosto 2016

Antikatechon: "I Feel Nothing but Repulsion" CD reviewed on "Aristocrazia Webzine"

Esseri umani senza volto, manichini agghindati alla moda di inizio Novecento fanno da corredo fotografico al nuovo album di Antikatechon, al secolo Davide Del Col. Giunto alla quarta produzione da solista, escludendo il meraviglioso lavoro a quattro mani con Nimh (che comunque non fa mancare la sua presenza in sede di missaggio e produzione e come collaboratore in un brano del disco), il Nostro realizza un album che forse rappresenta la summa perfetta di quanto aveva comunicato fino a questo punto con le opere precedenti. Prodotto dalla polacca Rage In Eden, sempre in prima linea quando si entra in certi territori musicali, "I Feel Nothing But Repulsion" è un lavoro oscuro, crudo, ostico, che tiene fede con coerenza encomiabile al titolo e lascia trapelare pochissimi spiragli di luce da una trama nera e fitta come la notte.
L'apertura è affidata all'immobilità stordente di "The Epitome Of Ingratitude", un enorme strato di sintetizzatori e frequenze in mezzo al quale sono appena percepibili campionature vocali e una debolissima melodia nella seconda metà del brano. Il successivo "And All My Dreams, Torn Asunder" vede la collaborazione di Philippe Blanche (Day Before Us), sicuramente noto ai lettori amanti delle sonorità dark ambient e neoclassiche, poiché più volte recensito sulle pagine di Aristocrazia; l'elegia narrata dal pianoforte di Philippe funge da contrappunto agli abissi sonori creati da Del Col, in quello che a mio avviso risulta essere uno dei migliori pezzi partoriti dall'artista. La violenza digitale di Antikatechon si scontra con le pennellate malinconiche di Blanche e, in chiusura, con una voce femminile che recita in francese.
"I Feel Nothing But Repulsion" è un brano infinito e metamorfico, in costante divenire ed evoluzione, ma in cui ogni passaggio è comunque sostenuto e composto dai medesimi elementi: protagonisti sono droni di chitarre distorte e profondi riverberi retti da una base industrial e un sottosuolo di sintetizzatori mai troppo in evidenza. "From Defeat To Disintegration", che vede la collaborazione di Giuseppe "Nimh" Verticchio, si fonda su un crescente senso di tensione creato da un'ossessionante base digitale su cui si incastrano sparute note di pianoforte: si percepisce da lontano l'incombere di oscure onde sonore che diventano sempre più invasive, fino a inglobare ogni altro suono. Un finale stupefacente coglie impreparato l'ascoltatore che si trova di fronte a cieli improvvisamente tersi e sereni: una melodia al piano si lega perfettamente a un leggerissimo velo di sintetizzatori, creando un'atmosfera elegante e nostalgica.
Chiude l'opera "The Smell Of A Dying Saviour", traccia che racchiude il volto più sacrale e rituale di Antikatechon. Divisa in tre parti ben distinguibili fra loro, si apre con le note distanti di una chitarra e gocce che cadono, un'atmosfera misterica che viene interrotta dall'ultima bordata di frequenze ultradistorte dell'opera e che tuttavia ritorna nell'ultima porzione, in forma differente ma non meno magniloquente. Rintocchi lontani scandiscono gli ultimi minuti di "I Feel Nothing But Repulsion", un album che non può lasciare indifferenti e che riesce, attraverso materie complesse e già ampiamente sondate come noise e dark ambient, a creare immagini e sensazioni nuove nella mente dell'ascoltatore. Un disco che entra di diritto nel novero delle migliori produzioni del 2016.


sabato 6 agosto 2016

Antikatechon: "I Feel Nothing but Repulsion" CD reviewed on "Igloo Magazine"

One regular dark-ambient project signed by the Polish Rage in Eden (previously known as War Office Propaganda and key label in the field of dark underground music, from industrial ambient, to neofolk hyms and martial epics) Antikatechon has recently delivered a new physical release as limited edition. I Feel Nothing but Repulsion embraces the path of Antikatechon original musical identity, with aural soundscapes based on enveloping, grainy and abrasive drone sequences which interact with more ethereal and semi melodious phrases. If Chrisma Crucifixorum represents the more transcendental industrialism and deeply religious facets of this project (with reminiscence from Desiderii Marginis, Raison d’être, Caul…) and if Woe is the Reward shows a more explicit inclination to ultimately black and menacing drone-noisy tendencies, this new release is certainly its most atmospheric and spooky cinematic one. The opening theme is a disturbing and ghostly piece found of micro noises, droney harmonies with parly melodious synth lines. A soundtrack exploration of forgetfulness, distorted memories. Written in collaboration with the French ethereal wave, dark ambient project Day Before Us, the second piece is a claustrophobic, implicitly goth and epic track based on the grand piano enthralling arppegios. Cavernous then abrasive electric guitar drone noises progressively culminate in a vertiginous musical darkness. A highly eloquent, cinematic and moving track of dark neoclassicism. With its demonic chordal ambience the self-titled track reminds me of powerfully ritualistic and heavily mystical drone guitar works of Expo 70 aka Justin Wright. “From Defeat to Disintegration” is a more hazy soundscaping sadness built in collaboration with Giuseppe Verticchio from Nimh. A touching and even tearful track with beautiful looped motives joined by fragile notes which progressively dissolve in a black droning maelstrom. The closing track is a compelling, serene and ascending epilogue guitar echoing laments, trembling drones, various concrete noises surrounded by a really puzzling funereal expression. The cover artwork greatly sustains the state of confinement and enigmatic sorrowing dimension of this album in black and white emotions.

(Philippe Blache)