Il secondo lavoro degli Antikatechon, progetto in mano interamente a Davide Del
Col, è una lenta agonia in musica dilatata nel dolore e nel sempre eterno
dualismo tra il bene ed il male. Binomio visto ed interpretato con un dark
ambient che imita le gesta dei Raison D’Etre e dei Kirlian Camera più gelidi e
nichilisti. I movimenti di questo ‘Chrisma Crucifixorum ‘ sono sei. Numero che
ha un certo significato dogmatico. Quanto è dogmatico il resoconto sonoro che si
dipana ascoltando tali litanie di rumore ancestrale. Una fede che bisogna
perseguire con l’amore più puro e disinteressato verso sonorità profonde cariche
di significati spirituali. I synth si muovono per scavare in profondità e creare
un substrato di rumore che porta l’ascoltatore in meandri cupi e desolati.
Sembra di essere in un anfratto medioevale, vittime di una macchina di tortura
pronti ad espiare colpe e confessare reati mai commessi. Si odono in lontananza,
fraseggi di chitarre classiche e percussioni che danno un sapore ancor più
misterioso, contrapposte a rumoristica d’avanguardia al limite del ritualismo
tanto caro ai sempre compianti Coil. Ci avviciniamo a situazioni quasi
isolazioniste con drone che annichiliscono e tormentano le carni. Siamo al
cospetto di un’opera che non ha dinamicità ma che offre uno spettro sonoro
tutt’altro che statico. Un quadro fatto di tinte forti dove anche il più piccolo
rumore ed il minimale arrangiamento hanno una carica emotiva devastante. Un
album che regalerà dolore ma che servirà per purificare l’anima attraverso
l’espiazione dei propri peccati. Attraverso il martirio dei sensi.
(Gabriele Oltracqua)
sabato 20 ottobre 2012
venerdì 19 ottobre 2012
Interview on "The New Noise"
Davide Del Col è una persona-chiave in Italia per quanto riguarda l’ambient e i suoni sperimentali. Le tante collaborazioni che ha avviato ci permetterebbero di parlare per ore di questo mondo piccolo ma estremamente prolifico e di qualità. In quest’intervista abbiamo cercato di capire il suo grado di coinvolgimento nei vari progetti a cui partecipa, ma se per caso – ad esempio – avessimo deciso di parlare di etichette, ecco che sarebbero saltati fuori i nomi di Afe, Ebria, Small Voices, A Silent Place, Silentes, Oktagön, quindi dieci e più anni di storia di un genere in Italia.
Ho avuto modo di seguire molti dei tuoi progetti. Vorrei che tu mi parlassi di Ornament, che è l’unico su cui non sono documentato.
Davide Del Col: Ornament è stato il mio primo progetto elettronico, nato nel 1999 ed orientato su un versante ambient/industrial con precise caratteristiche quali la ripetitività e il minimalismo. Con quella sigla ho pubblicato una tape, tre cd-r e un album in formato digitale, in più si conta qualche partecipazione in varie compilations.
Molnija Aura: duo con Andrea Marutti, cioè Amon, Hall Of Mirrors, Afe Records e quasi vent’anni di attività nel mondo sperimentale italiano. Come ti trovi con lui e come è nata l’idea di fare un disco assieme? C’entra anche il fatto che negli ultimi anni c’è stata la riscoperta delle ambientazioni “cosmiche” e kraut?
Io e Andrea ci conosciamo da anni (Afe Records nel 2005 si era anche occupata della ristampa del secondo album di Ornament, Unicorn Lullaby), cosi un giorno gli feci ascoltare del materiale che avevo registrato usando il mio sintetizzatore abbinato a vari effetti. Lui mi chiese se poteva metterci mano e aggiungere delle sue idee, così è nato Utopian Suns. Quel tipo di sonorità e atmosfera tipicamente cosmica mi affascina da sempre, non è stato un tentativo di accodarci ad un trend “revivalistico”, non siamo interessati a questi aspetti.
Echran: Il primo Echran ha ricevuto tanti responsi positivi. Tagliente, crudo, teso. Poi è uscito ancora un disco che continuava il discorso dell’esordio. A che punto siete ora e che avevate in mente quando l’avete iniziato?
Echran è stato fondato nel 2003, l’unica cosa che avevamo in mente era quella di sperimentare unendo le nostre precedenti esperienze. Va detto che è un progetto più di “proprietà” di Fabio Volpi che mio, in quanto lui ha sempre composto tutte le liriche e la maggior parte delle musiche, io ho contribuito in maniera minore a creare l’identità del progetto rispetto a lui. Attualmente è il lavorazione un terzo disco, c’è stata l’entrata di un terzo membro (Accursio Graffeo) e Fabio sta sperimentando nuove soluzioni per le live-performances.
Antikatechon: inizialmente l’ho visto come una continuazione di certe cose Cold Meat Industry, ma col secondo lavoro trovato degli agganci anche con quanto stanno facendo Riparbelli, Hall Of Mirrors e altri italiani. Come mai hai deciso di misurarti su questo scivolosissimo terreno? Nel senso che su certi suoni e su certi immaginari si è detto moltissimo in questi vent’anni.
Non è stata una decisione a tavolino, ho cercato di unire atmosfere tipicamente industriali e profonde con strutture melodiche, senza tralasciare l’aspetto marziale. Ovvio che venga visto come una “reprise” delle release della Cold Meat Industry, in quanto non ho problemi ad ammettere che gruppi come Raison D’Être e Desiderii Marginis hanno significato molto per me in termini di influenze musicali. Quasi nessuno invece ha visto in Antikatechon un collegamento con i Kirlian Camera degli anni ‘90, io lo avverto chiaramente. Di Riparbelli sinceramente ho ascoltato molto poco, ci possono essere agganci con Hall Of Mirrors, anche se, essendo un progetto contemporaneo al mio, non li posso considerare come un “influenza”, o almeno, non di quelle che ti lasciano un segno dentro per anni. Detto questo, penso che in fondo in Antikatechon ci sia anche un po’ di mio. Credo, almeno spero, che non sia un progetto cosi totalmente “derivativo”.
Per fortuna non è derivativo, ma il rischio era grosso, questo intendevo. Quando ascoltavo Raison D’Être mi facevo sempre domande sul contenuto cristiano e “sacro” del disco, di riflesso poi anche su Desiderii Marginis, nel quale secondo me questa componente pesava molto di meno. Il tuo caso, sin dalla scelta del nome e dell’immaginario, mi costringe a chiederti a che pensi di fronte a una croce.
Trovo molto affascinante e suggestivo il Libro della Rivelazione, tuttavia considero il Cristianesimo un’organizzazione criminale molto ben attrezzata, e nella mia musica non è certo esaltato e glorificato, ma calato in un contesto tetro, minaccioso ed angosciante.
Rhetra: non molto tempo fa, chi suonava quello che suoni tu snobbava il metal e storceva la bocca quando sentiva black metal, un genere che sin dagli MZ.412, invece, bussava alle porte di certo industrial ambient. Tu come la vedi la questione black?
Ascolto metal da una vita e sono molto legato all’ottica del black più primordiale (Emperor, Darkthrone, Gorgoroth) pur apprezzando anche varie contaminazioni che hanno caratterizzato il genere nel corso degli anni, cosi quando la mia amica Sofia mi ha proposto di creare i Rhetra, ho accettato con entusiasmo. Avevo già una certa esperienza con la batteria, anche se avevo smesso di suonarla da molto tempo, riprenderla in mano è stato divertente, anche se un po’ impegnativo. In questo progetto io non prendo parte alla composizione, lascio tutto nelle mani di Sofia, e devo dire che nonostante i richiami al classico black old-school, lo stile delle sue composizioni è molto personale.
Come funziona l’ispirazione quando si agisce sotto così tante sigle? Come fai a capire che stai facendo qualcosa che potresti utilizzare per Echran anziché per Antikatechon (e così via)?
Come ho già detto prima, in alcuni progetti non mi occupo della composizione ed il mio contributo è marginale, ma in ogni caso le sonorità delle varie entità musicali con le quali interagisco sono nettamente diverse, quindi la questione da te sollevata non mi ha mai sfiorato, riconosco immediatamente se un tipo di suono è adatto o meno ad essere inserito in un contesto piuttosto che in un altro.
Sei apparso su varie etichette, anche italiane. Non faccio l’elenco, ma accanto a nomi più di lungo corso negli anni sono emerse Glacial Movements, Boring Machines, per non parlare di label più piccole dedite a vinili, cassette… Un tuo giudizio sulla situazione nazionale per quanto riguarda i generi che segui.
Sinceramente non sono la persona più adatta a tracciare una panoramica dell’attuale situazione di questa o quella scena musicale, in quanto ultimamene ho davvero poco tempo da dedicare agli ascolti. In ogni caso per quanto riguarda la scena elettronica/sperimentale/ambient l’Italia ha sempre avuto un ruolo di primo piano, rappresentata da artisti importanti. Di recente ho davvero ascoltato molto poco, posso segnalarti il nuovo cd di Nimh in collaborazione con Day Before Us, davvero un ottimo album. Per quanto riguarda le etichette va sicuramente menzionata anche Silentes, che sta facendo molto bene.
All’estero, invece, che artista/band ti ha sorpreso in questi anni?
MI è piaciuto il nuovo album di Mario Diaz De Leon, Hypnos, davvero molto interessante. E ho apprezzato alcune uscite del giro dubstep, come i primi dischi di Burial e Vex’d.
Ti lascio come di consueto lo spazio per raccontarci dei tuoi progetti futuri e se intendi suonare in giro.
Attualmente sto lavorando al nuovo Antikatechon, che sarà una collaborazione con Nimh, e a breve suonerò dal vivo coi Rhetra.
(intervista a cura di Fabrizio Garau)
http://www.thenewnoise.it/davide-del-col-antikatechon-rhetra-molnija-aura-echran-ornament/
giovedì 26 luglio 2012
Antikatechon: "Chrisma Crucifixorum" CD reviewed on "Side-Line"
Rage In Eden was in search of a dark-ambient project so they picked-up Antikatechon to release the 2nd full length of this project.
Last year Antikatechon released their debut CD and this new opus is a terrific successor! Taking off with humming waves emerging from the depths until an acoustic guitar plays a floating melody, this track is a surprising, but overwhelming debut. The next piece is opening the doors of hell. We're moving throughout cellar atmospheres and spoken ghost-like female voices. The sounds are like echoing in an obscure space.
Antikatechon progressively joins pure dark soundscapes, but it's only a teaser for what's coming up. "Convivium Vulturum" sounds like the epicenter of hell. The blasts of sound symbolize an imaginary army of evil spirits that are dropped to terrorize the mortals. "Cunabula Improbitatis" is an intriguing and unique experience. The dark-ambient sound is overwhelming and feels like gangrene slowly conquering your body. Before you really realize what kind of nightmare you're walking through "Chrisma Crucifixorum" will give you the final dark assault. It sounds dark and oppressive, like there is no real exit.
This dark-ambient release will ravish all fans of the genre. Antikatechon will appeal to the fans of Cold Meat Industry, which is more than a reference!
http://www.side-line.com/reviews_comments.php?id=48155_0_17_0_C
Last year Antikatechon released their debut CD and this new opus is a terrific successor! Taking off with humming waves emerging from the depths until an acoustic guitar plays a floating melody, this track is a surprising, but overwhelming debut. The next piece is opening the doors of hell. We're moving throughout cellar atmospheres and spoken ghost-like female voices. The sounds are like echoing in an obscure space.
Antikatechon progressively joins pure dark soundscapes, but it's only a teaser for what's coming up. "Convivium Vulturum" sounds like the epicenter of hell. The blasts of sound symbolize an imaginary army of evil spirits that are dropped to terrorize the mortals. "Cunabula Improbitatis" is an intriguing and unique experience. The dark-ambient sound is overwhelming and feels like gangrene slowly conquering your body. Before you really realize what kind of nightmare you're walking through "Chrisma Crucifixorum" will give you the final dark assault. It sounds dark and oppressive, like there is no real exit.
This dark-ambient release will ravish all fans of the genre. Antikatechon will appeal to the fans of Cold Meat Industry, which is more than a reference!
http://www.side-line.com/reviews_comments.php?id=48155_0_17_0_C
martedì 24 luglio 2012
Antikatechon: "Chrisma Crucifixorum" CD reviewed on "Rosa Selvaggia"
La dark ambient (secondo lavoro di Davide Del Col con questo moniker n.d.r) miete vittime tra i polacchi. Folgorati sulla via dell'inettitudine, si lasciano travolgere dalle atmosfere ...criptiche delle camere di risonanza catacombali. Nonostante la celebrazione si svolga secondo i dettami della regola aurea dogmatica (lo stupore si carica di incantevole armonia cosmica e trasale), il desiderio di libertà sovrasta l'iniziazione per una più tiepida lezione di darkitudine. Sei tracce di desolazione collettiva, una esperienza di vita nelle viscere della terra laddove l'uomo ha posato le sue pietre per ascoltare il suono della terra oltre la spiritualità. Lo spazio è respiro, l'ossigeno è goccia, il tempo è nullità. Per ritrovare se stessi nel labirinto della perdizione e provare ad uscirne senza abbandonare la percezione che fuori tutto è carta velina.
(Pinhead)
http://www.rosaselvaggia.com/recensionidischii_luglio_2012_1.htm
(Pinhead)
http://www.rosaselvaggia.com/recensionidischii_luglio_2012_1.htm
domenica 22 luglio 2012
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)
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/
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/
giovedì 12 luglio 2012
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
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
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