Antikatechon: "Chrisma Crucifixorum" CD reviewed on "The New Noise"

Davide Del Col (Echran, Molnija Aura, Rhetra) torna con Antikatechon e pubblica il seguito di Privilegium Martyrii del 2011, un album in apparenza incagliato in ogni possibile cliché dark ambient, sia musicale sia visivo, che invece si rivelava immediatamente come un solidissimo lavoro di genere. Con Chrisma Crucifixorum Davide progredisce conservando. Ricorre sempre a un immaginario cristiano cupo e da Controriforma, soprattutto possiede il tocco e l’esperienza per creare tracce che scavano in grande profondità, immalinconendole con distese di synth e rimandi all’estetica Raison D’Ětre. Questa volta però, sembra abbia voluto tener conto del lavoro di gente come Hall Of Mirrors (Giuseppe Verticchio al mastering, come Andrea Marutti in Privilegium Martyrii) e Pietro Riparbelli: i pezzi sono più stratificati e potenti, i suoni spesso sono più sfrigolanti, noisy. Durante l’ascolto sentiremo anche un intervento di chitarra acustica, accenni di uso delle percussioni, campionamenti meno usuali, ma si tratta di dettagli che possono impreziosire ma non spiegano il disco. Questa volta non è come assistere a qualcosa di tragico, è come vederlo disturbato da una vhs consumata, giunta al suo ultimo giro prima di sfaldarsi.
Nell’insieme Antikatechon dà l’idea di qualcosa già buono che può crescere ancora, per questo non bisogna perderlo di vista.
(Fabrizio Garau) 

Antikatechon: interview on "Santa Sangre" webzine

interview by: stark

Today we’d like to present the interview with Italian project called Antikatechon, which not so long ago gave the ambient world an excellent album “Chrisma Crucifixorum”. We were talking with Antikatechon’s mastermind Davide Del Col. Have a nice reading.

According to the New Testament, “katechon” means “the one who withholds” the coming of the Antichrist – should Antikatechon be considered as “the one who withholds katechon” or is there any other meaning of this name?
Yes, Antikatechon means the intention to support the dissolving forces. It is a philosophical concept, so the interpretation can be expanded in many situations (religious, political, social etc.).
Is there any particular ideology standing behind Antikatechon?
There is an apocalyptic message that reflects my own idea about human corruption. With my music I want to create an epic and solemn scenario of the cleansing that must be done.
Which albums and artists had the greatest impact on you in the past and somehow formed you (at least in some part) as a musician?
I have to mention Current 93, Raison d’être , Kirlian Camera’s “Solaris” and “Schmerz” albums, Illusion of Safety, early Deutsch Nepal. However I also listen to different genres of music, like extreme metal, progressive rock, electro, kraut-rock etc.
I’d like to ask you about the idea of using the Latin language entirely, within Antikatechon’s activities. Why have you taken such a step and how is it related to the whole Antikatechon concept?
Well, I used the Latin language simply because I like it. I love dead languages. Latin is a very solemn language, so it is adapted to my atmospheres. But maybe in the future I will also use English or other languages.
Your debut is released by the Silentes label, which in my opinion is a perfect place for such projects as yours – what was the reason for you leaving Stefano Gentile’s label and joining the Polish Rage In Eden label which is mostly known for releasing martial music?
When “Privilegium Martyrii” was released, Silentes had many albums scheduled for release, so I preferred to also contact other labels. Rage In Eden is more oriented on Martial Music but that is not a problem for me. Marcin was enthusiastic about my music, and he immediately accepted to release “Chrisma Crucifixorum”, so I’m very happy for this solidarity.
In my opinion your music has something in common with Italian projects like Hall Of Mirrors, as well as with sacral Raison d’être-esque ambient. How would you refer to such comparisions?
I’m interested in melody and sacral concepts, but I also like structures based on drones, field recordings and death industrial loops. The consequence of this “duality” is to be connected to different styles of dark ambient. I am a fan of Hall of Mirrors but this project does not represent an influence for me, because it is a project contemporaneous to Antikatechon. Influences have to be searched for in my past, when I started to compose, and they are the projects I mentioned above.
How important is music in your life? Do you consider it more as a hobby, as an escape from trivial, day-to-day problems, or perhaps as something else?
Music is almost all of my life, not a simple hobby. It is the way I have to express myself.
I know that Giuseppe Verticchio was responsible for the mastering in “Chrisma Crucifixorum”. I have to tell you that I hold Nimh in very high esteem. And – to be honest – I can hear many similarities in sound between Antikatechon and Nimh or mentioned above Hall Of Mirrors. Could you tell me about the relationship between you and Giuseppe? Is it only on musical ground?
Giuseppe is first of all, a real friend. I have known him since, a dozen years ago, he asked me some CDr copies of Ornament, my first solo project born in 1999. He is a beautiful person and an artist with a huge personality. He made a very good mastering on “Chrisma Cruxifixorum” and he also engineered the sounds on “Privilegium Martyrii”.
According to Discogs, you are or were involved in many other projects apart from Antikatechon. Could you present in few words Rhetra, O Diabo De Vila Velha, Ornament, 30 Seconds Over Teheran, Echran, Molnija Aura and any others that elude me?
Rhetra is my black metal band in which I play drums. O Diabo De Vila Velha is just a moniker I used for some compositions inspired by 70s and 80s cosmic music. Ornament was my first solo project, started in 1999 and ended in 2003. Under this name I released 3 CDrs and a digital album. 30 Seconds Over Teheran was a collaboration with Paolo Romano (from the band I/O), we recorded some experimental tracks that were never released. Echran is my collaborative project with Fabio Volpi and Accursio Graffeo, born in 2003. We released two CDs and played live in various festivals. Molnija Aura is a cosmic ambient project in duo with Andrea Marutti. You forgot Nimeton Geist, but it is not a main project, I used this name for a tape release on The MGS records.
I think Italy has the strongest ambient and dark ambient scene in Europe. I can’t think of any other country which has so many great projects that correspond to my emotions in such a perfect way. But how do things look ”from the inside”? What’s your opinion about the Italian scene? Do you have any favourite artists or albums?
I think the Italian scene was always supported by important and inspired artists, from Maurizio Bianchi to Kirlian Camera, from T.A.C. to Alio Die, up until the more contemporary projects like Amon, Bad Sector, Nimh, Hall of Mirrors. I am very honoured to collaborate with Andrea and Giuseppe. If I have to mention some albums, I’d say “Solaris” and “Schmerz” by Kirlian Camera, “La nouvelle art du deuil” by T.A.C., “The Legacy” by Amon, “The Unkept Secret” by Nimh.
Perhaps you could recommend an unknown, young Italian artist which in your opinion deserves some more attention?
Surely there is something interesting, but I have not listened to any recent music lately.
What was the most beautiful and inspiring place you’ve ever been?
Well, I think Estonia is a wonderful country, I like natural places, not as contaminated and industrialized as the town where I live in. In Italy there are many lovely places, I like Tuscany and Umbria, both extraordinary regions.
Are you interested in football? I guess you liked your national team performance during Euro 2012?
Yes, I like football, I played myself in the past and I am a supporter of the Udinese team because I have Friulian origins. But Here in Italy football is a real disease and it’s ruining the sport. Italy did good in the European Championship, beyond all expectations.
Any plans for the nearest future?
I just started to compose new songs for the next Antikatechon release, and I’m working to improve my drumming skills for future live shows with Rhetra.
Thank you for the interview!

http://santasangremagazine.wordpress.com/2012/07/22/scenario-of-the-cleansing-that-must-be-done-interview-with-antikatechon/

Antikatechon: "Chrisma Crucifixorum" CD reviewed on "Santa Sangre" webzine

Not even months, but years have passed since the last time I liked an album released by Rage In Eden so much. On the other hand, knowing some of the facts concerning “Chrisma Crucifixorum” my reaction doesn’t surprise me at all.
First of all, Antikatechon comes from Italy and for me this is always a first advantage, even without listening to the album. I often emphasize on my fascination with the Italian dark ambient scene, so in this case I have to do it once again. “Chrisma Crucifixorum” is the second release of Davide Del Col’s project. His debut, “Privilegium Martyrii”, was published by Silentes in 2011. Stefano Gentile is rarely wrong when it comes to searching and finding new Italian artists whose works are worth presenting to the industrial/ambient scene, and Antikatechon is no exception. Giuseppe Verticchio, known primarily from Nimh and Hall Of Mirrors, is responsible for the mastering and his contribution is more than noticeable, because this record is simply permeated with the spirit of this particular segment of the Italian scene.
If I were to describe “Chrisma Crucifixorum” using specific words, I would say that we are dealing with a sound distinctive for all Silentes-related ambient projects, with Hall Of Mirrors’ ingenuity, Amon’s darkness… but also – to escape a little bit towards the North – the solemn, even sacred aura of the best Raison d’être albums rising in the air. This specific reverb sound gives a powerful sense of presence inside a vast cathedral during some religious or mystical ceremony. This impression is completed by the Latin titles of the songs. The music itself is dark and gloomy ambient, frequently interspersed with beautiful melodies, mostly synth, but in the opener, “Altaria Expiationis” you can hear an acoustic guitar (And in this case I just can’t get rid of Hall Of Mirrors “The Fortress” from my head). This combination of moist and musty darkness straight from an ancient and neglected stone structure, with sounds that are sad yet shimmering with some brighter colours works wery well here.
Great choice by Rage In Eden. It’s an excellent album both for dark ambient fans from the Cold Meat camp and for those preferring less obvious, more abstract sounds like the ones often being served by Silentes. Personally I like good meat as well as aromatic spaghetti, hence “Chrisma Crucifixorum” is very much to my taste.
(Stark)
www.santasangremagazine.wordpress.com

Antikatechon: "Chrisma Crucifixorum" CD reviewed on "Oltre il Suono"

Nuovo secondo, entusiasmante capitolo per il progetto "Antikatechon" di Davide Del Col, pubblicato dalla ben nota e sempre ambiziosa etichetta polacca "Rage in Eden". Sei brani affascinanti ed evocativi di musica tipicamente dark ambient, per una durata totale prossima ad un'ora. Sonorità oscure, sepolcrali, a momenti sinistre, tornano a dipingere paesaggi apocalittici, scorci di antiche rovine, decadenti edifici abbandonati dal tempo, lande desolate avvolte dalla nebbia, orizzonti fumosi dai contorni incerti e indefiniti… E ancora una volta tornano strutture sonore costruite con un abile e articolato utilizzo di possenti loops metallici, onde circolari di morbidi tappeti sintetici, echi di lugubri e indistinguibili voci umane, profondi drones, evocativi e cinematografici rumori d'ambiente, struggenti paesaggi melodici che talora allentano la tensione, ma senza mai regalare un solo attimo di "vera", assoluta quiete e serenità… Non c'è pace né speranza né riscatto nella musica di Antikatechon… Un CD assolutamente imperdibile per chiunque ami viaggiare nell'ombra e nell'oscurità, e negli abissi ancora più reconditi e imprevedibili delle proprie inquietudini interiori.
(Giuseppe Verticchio)
www.oltreilsuono.com

Antikatechon: "Chrisma Crucifixorum" CD reviewed on "Only Good Music"

Wierzcie mi na słowo, nie mamy tu do czynienia z jakąś hybrydą czy innym tworem, do którego trudno podejść z jakiejkolwiek strony. Samo wykorzystanie ambientu (czy jego mroczniejszej strony) jako podstawy nie jest jakieś specjalnie nowe. Więc w czym rzecz? Czym Antikatechon może zachwycić?

Jeśli chodzi o mnie, ta rozmyta brzmieniowo estetyka jest strzałem w dziesiątkę (może w siódemkę). Davide Del Col wykazał się doskonałym wyczuciem konwencji dark ambient/industrial/pochodne. Jego przestrzenny dark ambient jest pełen intrygujących ornamentacji, klawiszowych interludiów oraz muzycznych pejzaży kreślonych nastrojem. Ta muzyka mimo pewnej prostoty potrafi odpowiednio wpływać na odczucia słuchacza.

Dominują tu długie dźwięczne pasaże. Nie są nużące, gdyż co krok spotykamy niespodzianki. Z ciemnej ambientowej otchłani potrafi wyłonić się choćby gitarowy motyw ("Altaria Expiationis") czy jaśniejszy klawiszowy pasaż. Wtedy ta mroczna materia, dodatkowo podparta mruczącym chórem, szeptem tajemniczych głosów płynnie przechodzi w nastrojowe kompozycje pełne ciekawych melodii i zaskakujących zwrotów (np. w "Delubra Vexatorum", czy "Chrisma Crucifixorum").

Czasem sytuacja się odwraca: na płynące leniwie podkłady klawiszy nakładają się niepokojące głosy i szmery (np. w "Violatio Sigillorum" oraz w "Cunabula Improbitatis" gdzie klawisze wręcz napędzają nieprzystępny klimat). Wtedy atmosfera gęstnieje i znika gdzieś transowa otoczka. Pozostaje zimny i nieprzystępny ambient, który opatula słuchacza ze ze wszystkich stron. Zresztą te dłuższe fragmenty utrzymane w dark ambientowych ryzach są zupełnie przyzwoite. Taki "Convivium Vulturum" wzbogacony jest na przykład industrialnym osadem. Brzmienie zupełnie się rozmywa i potęguje wrażenie przestrzenności. Agorafobii nie mam, a wydźwięk jest piorunujący.

Naszpikowanie dark ambientu pasmami melodii zaskakuje wyłącznie na początku. Jednak z czasem potrafi nieco się przejeść, wtedy to swoiste zapętlenie zdradza znamiona monotonności. Na szczęście nie jest to jakieś przytłaczające odczucie.

Muzyka na "Chrisma Crucifixorum" jest stosunkowo oryginalna i zaskakująco świeża. Antikatechon nie daje się jednoznacznie sklasyfikować i chwała mu za to. Jest tyle muzycznych sfer, które trzeba jeszcze zbadać i skompilować. Jak tego dokonać jeśli nie przez przekraczanie dawno wytyczonych granic?

http://onlygoodmusic.pl/

Antikatechon: "Chrisma Crucifixorum" CD reviewed on "Metal.it"

Vi stupirà, o forse no, sapere che dietro il progetto Antikatechon si cela l’italiano Davide Del Col, e ancor più vi stupirà sapere, sempre forse, che il tizio in questione è abbastanza rinomato nel panorama della musica ambient, alla luce non solo del precedente e ben accolto “Privilegium Martyrii”, ma anche in virtù del fatto che è dietro almeno un altro paio di progetti interessanti, e mi riferisco a Echran e Molnija Aura.
Parlavo di musica ambient, termine troppo generico per definire la musica di Antikatechon, in quanto in questo “Chrisma Cricifixorum” la materia sonora è composta da lunghe, quando non lunghissime, suite dark ambient, piene di riverberi, di fruscii, di atmosfere algide e sinistre.
Se, per un verso, il tema di fondo sembra essere quello già sperimentato in passato, ovvero un tema a sfondo mistico/religioso, traslucendo, pezzi come “Convivium Vulturum” e “Altaria Expiationis”, un’aura di solennità e sacralità incipiente, per altro verso alcune aperture melodiche e l’uso di certi sample, come in “Delubra Vexatorum”, forniscono suggestioni che valgono a dimidiare l’atmosfera sepulcrale dei pezzi. In effetti in alcuni passaggi la dark ambient sembra tramutarsi in industrial glaciale, al punto che lo scenario sembra mutare in una banchina di un metrò di una grande città europea del nord, sommersa dalla luce fredda del neon bianco che crea sinistri chiaroscuri e che, nonostante la folla in attesa del treno, crea un sensazione di solitudine terrificante.
Sono queste le suggestioni che Antikatechon rammenta, e ovviamente buona parte è rimessa all’ascoltatore e alla sua capacità di lasciarsi trasportare dalla musica e dalle sensazioni che trasmette.
È inutile sottolineare che questa non è musica per tutti, ma sfido chiunque a non avere brividi sul finale di “Violatio Sigillorum”, finale nel quale le tastiere e i sintetizzatori creano un’aura apocalittica ma sacrale al tempo stesso, una sorta di funeral doom/dark ambient raggelante.
In definitiva un disco molto interessante, non banale, e ‘aperto’ anche agli ascoltatori meno avvezzi a determinate sonorità.
(Luigi Schettino)
www.metal.it

Antikatechon: "Chrisma Crucifixorum" CD reviewed on "Necroweb Magazin"

Wie heißt es doch so schön? Der Mai ist ein Wonnemonat – in Hinblick auf die momentanen Veröffentlichungen kann man das nur bestätigen!
Das Label Rage In Eden ist ja nicht so wirklich am Mitmischen, was den Sektor des Dark Ambient betrifft. Ein Umstand, der sich nun vielleicht ändert, denn mit Antikatechon geleitet man den Hörer in die Tiefen der finsteren Klänge.
Dieser hoffnungsvolle Vertreter seiner Zunft erinnert dabei gelegentlich an die alte Cold Meat Garde und kann zudem mit seinem Zweitwerk sofort überzeugen.
Das liegt einfach daran, dass hier neben variablem Klanggut zudem enorm Atmosphäre eingewoben wird.
Der permanente Kampf zwischen finsteren und warmen Momenten ist allgegenwärtig und obwohl die Stücke teils mit amtlicher Spielzeit daherkommen, fällt der Zugang zu dieser Welt doch erstaunlich einfach.
Antikatechon erschaffen lebendige Bilder, die von dunkler Schönheit und albtraumhaften Visionen geprägt sind, was letztendlich darin mündet, dass man hier auf eigene Gefahr den so sicheren Pfad des Lichts verlässt, um sich völlig in jene Klangsphären fallen zu lassen.
Die Konkurrenz braucht man mit diesem starken Werk namens “Chrisma Crucifixorum” keinesfalls scheuen, sprudelt das Album doch immer wieder regelrecht über vor sphärischen und melodischen Momenten.
Wer intensive Emotionen verspüren will, der darf mal an “Violatio Sigillorum” herantreten.
Und trotzdem hat es den Anschein, als benötige der Musiker immer mal eine kleine Anlaufphase. Ist diese erst einmal überwunden und das Tongut dabei, sich voll zu entfalten, dann kann man mit “Chrisma Crucifixorum” bestens überzeugen!
Sollte aber eigentlich auch nicht weiter verwundern, konnte der Musiker Davide Del Col doch in der Vergangenheit bereits mit Ornament auf sich aufmerksam machen.
Vergleiche zu anderen Projekten zu ziehen ist nicht so einfach, aber Ähnlichkeiten zu Raison D’etre und Konsorten sind definitiv gegeben.
Also, Freunde des Dark Ambient werden wohl nicht um diese Scheibe herumkommen.

9/10

(Blizzard)

www.necroweb.de