HILTER - a tergo

review from: Chain D.L.K.


Well this was almost the CD review that wasn't. The CD was misplaced until a few weeks ago (found wedged between two boxes where it must have fallen), then the wrong side of the CD picked up some of the adhesive gum from the plastic sleeve edge of the CD package and wouldn't play because of that, and I had a hell of a time cleaning it off to restore the CD, which I finally did. Lastly, I misplaced the one-sheet that came with the CD, and this was somewhat crucial, as this group is so obscure there is pitifully little info on them on the Internet. Google 'Hilter' and you are given results for 'Hitler' who obviously had nothing to do with this album. Even their label (for this CD), Hikikomori Records only has a description of the album and not much on the group on their website. Hilter doesn't appear to have their own website either (so I had to sub the label's website just so I had something to put in the required space. Just recently I found the one-sheet providing me a little more info on this enigmatic project from Iceland so finally, I'm getting down to it.

GHilter was founded in 2000 by Peter C. Mueller (vocals, programming, words), Rob Perzika (rhythm, drum, composing) and Rhalv Folling (cello, visuals). 'A tergo' is their first album in five years, previous releases being 'Sexfilms' (2004) and 'Prepared' (2005).I haven't heard either of those, so there is no prior frame of reference. Hilter's modus operandi for their brand of experimental avant-gardism is to employ a lot of samples, loops, TV/movie dialogue, bursts of noise and twisted synth sounds with occasional passages of musicality woven throughout the proceedings. Hilter sounds like what you might get if you mixed bits of Autechre, Brume and Brighter Death Now together (and/or similar artists), so you kind of get the idea. In no way though is this any form of IDM, even in in the loosest sense.

This 9 track 50 minute album opens with a spoken word sample, 'Hello Sonny, I suppose you know...' on 'L'affaire de Sonny B.' and quickly churns into a miasma of of dialogue samples, noise, electronic sounds, loops, drones, etc. 'Modus Operandi' which follows (was I subliminally induced to employ this term earlier?) makes copious use of the dialogue sample 'If you shoot somebody in the head with a 45 every time you kill somebody it becomes like your fingerprint, see?' and others from the film 'Henry, Portrait of a Serial Killer,' over eerie, droney atmosphere and heartbeat. There are also other stray sounds and a bit of atmospheric, ominous piano. 'klopf mich ab' has a sense of foreboding malevolence utilizing dark ambient textures, and a girl breathing heavily (trying to escape the killer?, monster?, whatever) with strategically placed staccato beats to heighten the tension. It's the briefest track on the album at only 2:51. The first few seconds of 'Regan No' are a shitstorm of noise but actually becomes the most musical track so far with a rhythm track and piano noted amongst other more twisted sounds. It's 'Triangle of passion' though that is the magnum opus on 'A tergo,' at 18:31 the track is lengthy enough to expound a variety of changes and mutations, mostly on the industrial sinister side. The form is quite varied, but relentlessly bleak. It's almost like some kind of surreal funhouse dark ride through a factory engaged in the manufacture of toxic products. There's a point in this madness where it sounds like some kind of stamping machine is pounding the heads of live babies (they might want to put in a disclaimer, 'no babies were injured in the production of this track') for some nefarious purpose. After awhile though this persistent stomping just becomes a little annoying. I can't deny though that this track was one weird trip.

The rest of the album produces some credible dark ambience in both atmospheric and noisy shades, but the last track 'Persona' has a cool industrial rhythmic structure to it, no less dark but a lot more moving. I was rather impressed with this, and is seemed like the perfect outro. My guess is that there aren't a lot of people who will pick up this release, and limited to only 50 copies (my promo copy doesn't count as one of the 50) , I guess the label didn't think so either. However, if you do manage to acquire one, count yourself lucky because this could possibly become one of those cult items that could soar in price in the future because of its scarcity. 'A tergo' may not be the best thing to come down the pike lately, but it is an intriguingly intense excursion into a peculiar realm of dark ambient dementia.

Steve Mecca




HILTER - a tergo

review from: IKONEN : Magazin für Kunst Kultur und Lebensart


„a tergo“ (lat. für 'Geschlechtsverkehr von hinten’) ist das dritte Album von Hilter. Von dem kleinen Kopenhagener Label Hikikomori Records streng limitiert in einer Auflage von 50 Stück veröffentlicht, wird dieses Werk wohl lediglich ein ‚spezial interest’-Publikum erreichen. Dabei ist der Gruppe nach fünf Jahren Stille ein sehr gutes Album gelungen. Schon das Cover antizipiert mit der im Zentrum platzierten Maske eine Stimmung, die an die Terrorfilme der letzten Jahre erinnert. Musikalisch gehen Hilter dann auch tatsächlich in eine vergleichbare Richtung und martern den Hörer mit einer komplexen Mischung aus Industrial, Spoken Word und Musique Concrète.

Gleich das erste Stück „L’affaire de Sonny B.“ setzt auf den Einsatz von Sprachfragmenten, die dem Film oder Fernsehen entnommen zu sein scheinen und kombiniert diese mit aggressiven Synthesizern und kratzenden Rhythmen. Immer wieder wird die Gruppe in diesem Stile Fremdmaterial aus der Populärkultur aufnehmen und collagenartig mit den eigenen Kompositionen verflechten. Durch die Brechung eigentlich vertraut anmutender Interview-Versatzstücke oder Moderationen mit verzerrten Noise-Strukturen werden diese aus ihrem bekannten Bedeutungszusammenhang transzendiert. An einigen Stellen werden die Sprachfragmente quälend oft wiederholt und als loops so oft aneinander gereiht, dass ihr semantischer Gehalt zugunsten einer bloßen Rhythmik verschwindet. Quälend ist auch die Verwendung von Frauenschreien und hektischem Atmen, die über monotone Beats und arbiträre Krachausbrüche montiert wurden. Im achtzehnminütigen „Triangle of Passion“ wird dieses Konzept auf die Spitze getrieben: eine monotone Drone-Kulisse bewegt sich dort – überlagert durch verzweifelte Laute – unaufhaltsam bis an die Grenze des Ertragbaren. Hilter sind an dieser Stelle im akustischen Folterszenario angelangt – nicht unbedingt ein genussvolles Hörerlebnis dafür jedoch ein einprägsames.

„a tergo“ ist ein interessantes Album, das sicher eine größere Hörerschaft verdient hätte, als die strenge Limitierung zulässt. Obgleich es sich die Gruppe mit ihren eigenwilligen und gewöhnungsbedürftigen Kompositionen schwer gemacht hat und dem Hörer einiges abverlangt, besticht das Album durch seine unbestreitbare Intensität.

Patrick Kilian




HILTER - a tergo

review from: Vital Weekly


German project Hilter is trio consisting of Peter C. Mueller, Rob Perzika and Rhalv Følling. "a tergo" is the bands third release and their first one released on Danish label Hikikomori Records a small CDR-label exclusive based in Copenhagen. “a tergo” is the type of album not easy to pigeonhole. Many styles has been included to create a quite intense soundtrack for the inner cinema. Hilter picks elements from various styles such as industrial, ambient and musique concrete to create their very own expression. Stylishly it reminds me of how Einstüerzende Neubauten would have sounded like if they had focused on expressively subtlety and ambient atmospheres. Elements of industrial noises and voice-samples of both whispering and sinister screaming circulate in tunnels of dark drones. A very intense sound experience dedicated for deep listening in dark rooms.

(NM)




HILTER - a tergo

review from: Bad Alchemy


Ein nicht googlebares Projekt, vielleicht ein Trio, vielleicht aus Deutschland. Vorschnell wollte ich es abtun als überflüssigen Harsh Noise. Aber noch rechtzeitig entpuppt sich der Nachfolger zu Sexfilms (2004) und Prepared (2006) als ein mehr als beachtliches, ein fesselndes und beunruhigendes Spiel mit unheimlichen und unguten Stimmungen. 'L'affaire de Sonny B.' spielt vermutlich auf den Von-Bülow-Skandal an. In ein von Analogsynthie und Drummachine generiertes, aber auch mit dunklen Pianofiguren, knirschenden Geräuschen oder heftigen Eruptionen markiertes dunkles Ambiente sind Kino-/TV-Stimmen eingemischt, ein gelooptes murdered. V on Kopfschüssen mit einer 45er ist die Rede, dazu hört man verängstigtes Keuchen oder Schreie, bei 'Regan No' einen Dialog aus The Exorcist . In das monoton scharrende, pochende, eisern rumpelnde 'Triangle of passion', mit 18 Min. ein Kapitel für sich, sind anfangs französische Sätze eingeflochten, zum Finale hin dominieren röchelnde Laute und monotone Schläge. Beim harschen 'Rimbaube' wird theatralisch auf Französisch geknarrt. Dass mit 'Junko Ogata, Anti-mother' der krasse Fall des Futoshi Matsunaga mit Aufmerksamkeit bedacht wird, ist typisch für ein derartiges Post-Industrial-Szenario. Das Stück selbst beeindruckt durch eine abgerissene Frauenstimme und zuletzt mit einem strammen Beat. Gewalt liegt in der Luft, eine Düsternis, erfüllt mit verbrecherischen Leidenschaften und Klängen, die Unbehagen verbreiten. Am stärksten dann, wenn sie wie bei 'Incubated' hintergründig dräuen und einem mit Drones und gutturalem Chor gefangen nehmen. 'Persona', wieder von einem schnellen Tamtam angetrieben, verweist auf die Masken der griechischen Tragödien, aber auch de s Nō -T heater s. Von diesem Theater der Grausamkeit könnten sich manche bekanntere Acts eine Scheibe abschneiden.

[BA 71 rbd]




HILTER - a tergo

review from: kulturterrorismus.de


Von atemberaubender Intensität!

Hilter – Nein, nicht die Gemeinde am Teutoburger Wald, sondern die isländische Dark Ambient/ Industrial Formation, deren drittes Opus “a tergo” jüngst über Hikikomori Records in Dänemark das Licht der Welt erblickte, welches phänomenales Kopfkino beschert, das nicht zuletzt an den zahlreich verwendeten TV- bzw. Filmsamples liegt, die der Gesamtheit eine massive Ausdruckskraft verleihen.

Klein aber fein, dürfte die trefflichste Umschreibung für Hikikomori Records mit Sitz in Kopenhagen sein, wo in regelmäßigen Abständen Releases aus dem Industrial Umfeld, als schmale CD-R Auflagen, erscheinen.

Peter C. Mueller, Rob Perzika & Rhalv Følling hinter Hilter gehören zweifellos zu dem Personenkreis, die auf ihren Veröffentlichungen ihre Sexualität ausleben, weshalb es nicht verwundert, dass das dritte Werk der Isländer den Namen “a tergo” (übersetzt: Geschlechtsverkehr von hinten) trägt; früher, zu den Anfängen des Industrial, bestimmt schockierend, aber in der aktuellen Moderne eher ein Lacher, auch wenn die Herrschaften im Gesamtkontext recht hochwertig rüberkommen und nicht in die Plakativität abdriften.

In Punkto Tonkunst hingegen, präsentieren Hilter mit “a tergo” ein intensives Meisterwerk, das sich aus den Stilen Industrial, Musique Concrète & Dark Ambient zusammensetzt und zwischen atmosphärischer Bedrohlichkeit & leichter Rhythmik schwingt. Zur Akzentuierung dienen dem Trio die angesprochenen Ton- & Sprachsamples, wodurch sie den synthetischen Grundstrukturen Leben bzw. Organik einhauchen. Vergleichbare Arbeiten existieren defacto nicht, wodurch die Beschreibung, Bad Sector bloß abgedrehter (mit französischem Einschlag a la Babylone Chaos), ein wenig hinkt, aber im Endeffekt den Nagel auf den Kopf trifft. Anspieltipp? “A tergo”, ein mitreißender Soundtrack, in dem jeder Track ineinandergreift, wodurch eine wahnsinnige Dichte entsteht, die Konsumenten nicht zerstören sollten, ansonsten entgeht ihnen die teilweise erdrückende Ausdruckskraft dieses irren Kopfkinotrips – Wahnsinn!

Fazit:

Hilter offenbaren mit “a tergo” ein emotionales Highlight für alle Kopfkinofans, deren Intensität bzw. Dichte absolut beeindrucken mag – meine absolute Empfehlung!





HAIKU FUNERAL - If God Is A Drug

review from: Evening Of Light


Haiku Funeral is a project operating on the crossroads of industrial, electro, dark/doom metal, noise, and ambient, and this third album of theirs is as diverse and hard to pigeonhole as that might suggest. The album lacks little in ambience, with themes of disease, drugs, darkness, and madness springing to mind quite clearly.

The musical diversity is both a blessing and a curse on If God Is a Drug. While the album is highly varied and not a boring listen, it seems to lack a sense of direction and coherence to some degree. Nevertheless, there are quite a few interesting tracks on this album, and they’ll probably be different for each listener. I’m particularly fond of the electro/industrial on “The Holy Connection”, and the Lovecraftian spoken word / dark ambient of “City in the Sea”. Other nice elements include oriental melodies on bass, the eerie female spoken word on “Bright Red Seeds”, to name a few.

An interesting album if you’re looking for something different and not afraid to cross genre boundaries multiple times over the course of one album.




HAIKU FUNERAL - If God Is A Drug

review from: Progressor


OK, these guys are evil! They look evil, their studio is called Daemonicreation, their "vocals" consist mainly of shrieks and quasi-Satanic invocations and...they're pretty good actually. Somewhere to the right of Shub Niggurath or Burial Hex in terms of morbid soundscapes and as abstract in places as DoMe, these guys are so relentlessly dark they make Guapo sound like a circus parade band.

Haiku Funeral definitely is the most demented band I've heard this year. The highlight of this record, for me, is the free-form and heavily effects-laden bass guitar solo by group member William Kopecky on "Fungoid Moon." Alas, there follows some Cookie Monster-esque "vocals" by Dimitar Dimitrov--which, frankly, I've always found less "evil" than simply ridiculous. No matter, the duo regroups for the multi-part title piece, which without question is very effective at being disturbing and scary.

Certainly this will not be to every prog fan's liking. All the lyrical imagery is beyond violent and grim to the point of absurdity; but musically, the grimness works and the record is interesting.




HAIKU FUNERAL - If God Is A Drug

review from: Metalland


Sortie ultra-confidentielle (50 exemplaires) que celle de cet obscur duo d'alchimistes sonores français, qui fait suite à deux autres essais : Assassination in the Hashish Cathedral (2009 – 50 copies) et Hell (2010 – 33 copies). Tout ça pour dire qu'on ne vous blâmera pas si le nom de HAIKU FUNERAL vous est totalement inconnu, l'underground générant suffisamment de remous pour qu'un nouveau nom venu de nulle part s'échoue chaque jour sur nos rivages.

En l'occurrence, on tient là un véritable OVNI qui s'astreint à fuir toutes les chapelles musicales connues. Ca commence par une longue séquence drone-doom sur fond de flippe intersidérale ? Ok, les deux compères décident alors d'embrayer sur une tentative de cold-wave industrielle aliénante, parsemée de vocaux passés au vitriol. Besoin de brouiller les repères à nouveau ? Aucun problème, un solo de basse fuzz façon "Cliff Burton sous l'emprise des stup'" prend le relais et tente de mettre les sens en orbite, avant de se fondre dans une résignation maladive. Et c'est ainsi tout au long de ce If God Is a Drug, sorte de bad-trip initiatique, univers hallucinatoire où défile tout un foutoir de samples inquiétants, remugles black-metal et atmosphères brumeuses de poisse. Soit un mix improbable entre ésotérisme, effets psychoactifs et images d'épouvante passées à vitesse subliminale... Autant dire que l'opium musical décanté dans le laboratoire du duo est d'une pureté – d'une dureté – à l'épreuve des toxicos spécialisés dans tous les courants déviants qui soient, et saura leur procurer les sensations adéquates.

LAucune logique à entrevoir ici donc, aucune cohésion à l'échelle du disque qui saurait faire passer la pilule en finesse, HAIKU FUNERAL se contente au contraire de multiplier les doses létales sur près d'une heure et c'est à vous qu'incombe la décision de franchir le pas, ou non. Au risque de laisser quelques neurones dans la bataille...

Head!




HAIKU FUNERAL - If God Is A Drug

review from: Pavillon 666


Vous aimez ce Metal où les guitares tranchantes côtoient les hautes sphères d’une voix masculine haut perchée Cette musique organique où la basse claque et suit le rythme d’une batterie endiablée qui cavalcade l’heure ? Ou ces solos majestueusement rapides frôlent la vitesse de tricotage de ma grand-mère ? Et bien ami(e)s, cette chronique n’est pas faite pour vous. A moins que vous n’ailliez envie de découvrir profondeurs : les tréfonds de votre âme. Notre psy du jour ? Haiku Funeral !

La musique d’HAIKU FUNERAL (dont je vous laisse lire l’interview pour en découvrir plus sur le groupe) difficile à qualifier simplement, autant qu’elle peut-être difficile à appréhender. Mélange d’expérimental, d’industriel, de black et d’un peu de psyché, on optera simplement pour le terme d’AVANT-GARDE. Si vous connaissez SOLEFALD : c’est moins mélodique, moins black et plus industriel, dark. On pourrait également qualifier la d’hypnotique, et là, quelle monstrueuse claque (« Infected » en est le plus bel exemple). Avec « Fungoid Moon est happé par ces samples (des bulles qui éclatent, des bips) et cette somptueuse nappe synthétique, guitaristique. Le tryptique « If God is Drug » et ses voix lamentées. Un froid est désormais installé. Respirez, êtes face à votre moi intérieur. Pourtant, avec « Izkuplenie », la piste d’intro, l’on commençait par du black stylisé comme Mayhem a pu en faire (« Ordo ad Chaos » surtout). Pourtant, aucune guitare n’a été utilisé lor enregistrement. Les voix black sont souvent passées au travers de nombreux effets, pour leur donner robotique, du meilleur effet sur cette musique. Et, surprise sur « The Holy Connection ». Dès ce deuxième le duo nous assène un rythme lent, teinté de Hip Hop comme le confirmera la voix parlée/chantée qui rappellera RATM. Insolent de créativité.

Le triplé de morceaux donnant son nom à l’album regroupe à lui seul presque tout l’album en terme de Tout ce qui est Black (voix), Indus (voix, synthé) s’y trouve. Ces 3 pistes donnent un très bon aperçu de même s’il n’y est en aucun cas résumé. Même si ce n’est guère évident au départ, l’album est incroyablement Comment passer à côté de cette ambiance spirituelle (presque hindou) de 7 ? Ambiance qui devient arabisante Trees are Killing the Sky » ) ? Véritable bande sonore que ce morceau qui conviendrait parfaitement pour Sur « Bright Red Deeds » le duo Français a fait appel à une douce voix qui contre-balance parfaitement Industriel du reste. La voix d’Emmo (la douce jeune fille donc ) n’est pas passée au travers de beaucoup d’effets n’est un effet d’écho. Tout cela pour vous dire qu’une seule écoute est inappropriée. L’album, grand par sa richesse et sa magnificence, s’apprend. Il se dompte, se dévoile petit à petit. Il est un être vivant qui à besoin qu’on le connaisse. Il est même. Et c’est surement pour cela qu’il ne vous laissera plus jamais. Jamais.

sarvgot




HAIKU FUNERAL - If God Is A Drug

review from: Express Milwaukee


Pure evil. There really is no other way to describe the dark, experimental music of Haiku Funeral, a demonic duo featuring former Racine bassist William Kopecky. If God Is a Drug, the second full-length album in Kopecky's alliance with Bulgarian black-metal lord Dimitar Dimitrov, echoes with ambient terror, modulated and whispered vocals, and an almost-unbearable sense of impending doom. (The duo also recently released a single-track 3-inch CD called Hell, with a running time of 666 seconds.)

Haiku Funeral's songwriting has improved over 2009's Assassination in the Hashish Cathedral, with tracks such as "The Holy Connection" and "Fungoid Moon" revealing the duo's occasional sense of melody. Elsewhere, "The Trees Are Killing the Sky," which could be the soundtrack to a séance, hauntingly segues to "City In the Sea," Haiku Funeral's interpretation of the Edgar Allan Poe poem. For the most part, though, these sinister soundscapes probe the unexplored depths of black metal's ice-cold soul, blocking out all light. What's more, mostly unintelligible lyrics will no doubt rile some listeners.

You've been warned.

Michael Popke





HAIKU FUNERAL - If God Is A Drug

review from: Progressor.net


Prolusion. The multinational ensemble HAIKU FUNERAL was formed back in 2008, the initial recording session made by a duo consisting of William Kopecky and Dimitar Dimitrov appearing in 2009 as their debut album "Assassination in the Hashish Cathedral". This collaboration seems to have been a satisfying one, as a follow-up production has appeared just one year later in the shape of "If God Is a Drug". Like its predecessor it's released as a limited edition disc, printed in 50 copies only, through the Danish label Hikikomori Records.

Analysis. The ambient music scene has been a vital and productive one for the last 40 years or so, with artists such as Kitaro, Gandalf and Vangelis as arguably the brightest stars to provide a willing audience with relaxing, pleasant sounds inspired by nature, inward reflections and spiritual contemplations. These and most other artists have focused on and emphasized the positive aspects of this musical realm, where dream-laden and calmly jubilant themes have been the main order of the day. Cue Dimitar Dimitrov and William Kopecky, whose initial production under the Haiku Funeral moniker produced a dramatic and rather disturbing blend of black metal, psychedelic soundscapes, industrial sonic tapestries and ambient reflections. On this second creation of theirs they seem to have decided to take their reflections into the ambient territories by default, and provide an album's worth of reflections and contemplations as far away from positive and subtly jubilant as you may come upon within ambient-based musical endeavors. Dark, menacing, brooding and bleak, "If God Is a Drug" is a journey that seems to be inspired by nightmares, your innermost fears and Dante's visions of Hell – a soundtrack fit for the right part of Hieronymus Bosch' triptych The Garden of Earthly Delights. Compositions are constructed with the aid of bad dreams, bad trips and visions of eternal Hell, presented with a great deal of variety. The initial phases of this disc come across as more or less a direct continuation of the first effort by this act: dark, dramatic escapades where Kopecky's distorted bass is showcased quite nicely alongside Dimitrov's vast repertoire of evil vocal sound effects. Industrial, bleak sounds and brooding, menacing undercurrents add rhythms and depth to the proceedings, and there's even what appears to be a guitar solo present in the sickly landscapes explored on Fungoid Moon, a track more disturbing than the title indicates, as strange as that may sound. But as this album unfolds, the ambient creations start dominating, and the dramatic and easily fathomed effects are replaced by gentler, dampened ones utilized with a greater touch of finesse. Still dark, possibly even darker than the more apparent numbers, and with a constant atmosphere of menacing evil that will reappear in whatever nightmares the listeners of this album will have in the foreseeable future. Slowly fluctuating electronic textures, barely audible, machine-like noises appearing and disappearing unexpectedly, dampened voices with whispered, resonating distorted echoes, the sudden addition of a distorted resonating sound in a passage otherwise rather gentle and laid-back in its dark decay. Efficient effects carefully utilized to carve out a unique and disturbing landscape more frightening than whatever your average black metal band will churn out during its entire existence, the total antithesis of the aforementioned origins of the ambient universe if you like – the perfect and perverted contrast.

Conclusion. If you have sought out your inner demons and conquered them or merely are fascinated by soundscapes dark, disturbing and frightening, the ambient creations of this duo are ones you'd better seek out. Subtle touches of black metal, industrial music and psychedelic rock are details spicing up the proceedings in a nifty, nightmare-inspired manner, and there are even a few touches of symphonic-inspired electronic textures to appreciate. The landscapes are all menacing, frightening and utterly dark however, to an extent that anyone not totally stable of mind and spirit should avoid this one. But if your psyche is rock-solid, you have learnt to deal with your inner darkness and music of this kind sounds intriguing, you'll be among a select group of people that will appreciate and enjoy this latest hellish constellation crafted by Haiku Funeral. A very well-made effort it is too, recommended to the chosen few.

Olav M Bjornsen





HAIKU FUNERAL - If God Is A Drug

review from: kulturterrorismus.de


Visionär, intensiv & typisch französisch!

In der Nacht zu Allerheiligen (Halloween) spielen sich oft merkwürdige Dinge wie die Gründung von Haiku Funeral ab, die seitdem eine extreme Fusion der Stile Black Metal, Doom und Industrial auf die Menschheit loslassen, welche natürlich einmal mehr aus Frank- reich stammt, aber nicht von Einheimischen, sondern von Zugereisten Dimitar Dimitrov (Bulgarien) & William Kopecky (USA) Aufnahme fand.

Mit “If God Is A Drug” publiziert das Duo innerhalb von drei Jahren seine dritte Veröffentlichung, wovon zwei, wie auch dieses aktuelle Release (limitiert auf 50 Kopien), über Hikikomori Records (Kopenhagen, Dänemark) erschienen, wo mehrheitlich experimentelle Künstler das Licht der Welt erblicken.

Tonkunst und Inhalt bilden auf “If God Is A Drug” ein eng verzahntes Schweizer Uhrwerk, das von der ersten Sekunde an die Apokalypse beschwört, welche vor allem durch die dämonischen Lautäußerungen von Dimitar Dimitrov (Glades Of Gloom, Corpus Diavolis & Unhealthy Dreams) zutage tritt, der dieser komplexen wie eingängigen Arbeit ein ausdrucksstarkes “Gesicht” verleiht, das William Kopecky (Kopecky, Yeti Rain, Far Corner) mit seinem klaren wie verzerrten Sprachgesang einrahmt bzw. einfasst. In Punkto Sound kreierten Haiku Funeral eine undurchdringbare Masse mit teilweise psychedelischem “Drive” aus Black Metal Riffing, vielseitigen Dark Ambient Wänden, von Death Doom inspirierten Schlagzeugtakten & industriellen Strukturen mit Einsprengseln aus dem Noise, den die Musiker mit Sprachsamples & einer Frauenstimme (Wer? Keine Ahnung), welche ein wenig an Jarboe erinnert, abschmeckten. Besonders die Vielfältigkeit der Songs mag überzeugen und für solch ein Oeuvre verwundern, die ansonsten eher von Monotonie geprägt sind. Zudem mangelt es diesem Werk nicht an Wiedererkennungswert, der sich nicht alleine an den Stimmen festmacht, sondern an der Gesamtheit, welche sich wahrlich von anderen Protagonisten dieser Szenerie abhebt, das sich auch auf experimentelle Spielereien zurückführen lässt, wodurch Haiku Funeral über eine Alleinstellung verfügen (und sie ein wenig zu musikalischen Visionären erhebt!). Wer von einem Extremalbum mehr als nur Härte bzw. Durchschlagskraft und Monotonie erwartet, sollte unbedingt Haiku Funeral antesten, die sich fernab der Mehrheit im Untergrund bewegen und mit “If God Is A Drug” ein Meisterwerk abliefern, das verschiedenste Stimmungen auffährt und aufgrund seiner Dichte einem Soundtrack für einen anspruchsvollen Horrorstreifen gleicht.

Fazit:

Individuen, deren musikalische Wurzeln im Black Metal, Doom, Dark Ambient & Industrial liegen (und Experimente schätzen), müssen in “If God Is A Drug” von Haiku Funeral reinhören, welches unter den Aspekten Intensität, Wiedererkennungswert & Abwechslungsreichtum zu den visionären Meilensteinen dieser Szenerie gehört – meine absolute (uneingeschränkte) Empfehlung! PS: Als „musikalisch assimiliert“ dürfte man den Zustand bezeichnen, den die Wahlfranzosen Dimitar Dimitrov & William Kopecky auf “If God Is A Drug” offenbaren, der einmal mehr das Abfärben von äußeren Rahmenbedingungen beweist.

RAF





HAIKU FUNERAL - If God Is A Drug

review from: Absolute Zero Media


Blackened Industrial Noise/ Avant Electronics with a nod to bands like MZ412, Valefor , Ulver, Manes, Neubaten, Pigface and Skinny Puppy. Haiku Funeral is odd to say the least but it works in way that Ulver's Themes works as its a cross over from the Metallic to the Electronic. This very much what If God is a drug comes to mind with.. The spoken word and electronic elements are very Ulver to say the least and yet again the eastern musical elements come out seem to be a flavor of this review section this time out. I didn't know what to expect from a new label sending me material but if even half there releases are this interesting this will be a new label to follow and grow with.




HAIKU FUNERAL - If God Is A Drug

review from: DPRP - Dutch Progressive Rock Page


Dark Electronics
Brutal Icy Melodies
Black Noise Combustion


What better way to start off a review of a band with a name like Haiku Funeral than with, well, a haiku? Two releases from this band to go over in this review. On If God Is A Drug, their third release, Haiku Funeral is made up of William Kopecky (Par Lindh Project, Kopecky, Far Corner, Yeti Rain, Snarling Adjective Convention, Parallel Mind, Michael Angelo Batio, and others) on four and five string fretted bass, fretless bass, vocals, wind drums, and, to quote the CD credits, “hallucinogenics”; and Bulgarian black metal stalwart Dimitar Dimitrov (Glades of Gloom, Corpus Diavolis, Unhealthy Dreams, also has recorded and performed dark electronica as DJ Dimitrov and Daemonicreation) on synthesizers, vocals, wind drums, electric guitars, programming and “delirium”.

The style of music the duo plays pretty much falls into the category of dark electronic metal. The vocals of Kopecky, who is nicknamed in the CD credits as “WMK”, often sound like they are coming from the “rubber room” of an insane asylum, like on the nerve-shattering Infected. The tune also showcases some icy synthesizers from Dimitrov, nicknamed in the CD credits as “DIM”.

The Holy Connection offers up brooding bass and processed hip-hop style vocals from Kopecky along with airy synthesizers and militant programming from Dimitrov. A bouncing industrial section featuring icicles of bass synthesizer evokes Nine Inch Nails, and the song ends with whispered vocals from Kopecky pointing to Lycia as a commonality.

The Trees Are Killing The Sky features bleak synthesizers and programming from Dimitrov evoking early seventies Tangerine Dream, and rumbling washes of static bass from Kopecky. Some plaintive synthesizer croons from Dimitrov give way to distant crashing wind drums.

If God Is A Drug Pt. 2 displays nomadic lagoons of quicksand bass from Kopecky and insecticide synthesizers from Dimitrov.

The CD, in a limited release of 50 copies, comes in a half-size DVD case with a folded glossy sheet of lyrics and credits and a business card sized promo sticker.

Conclusions:

If God Is A Drug: 6 out of 10

JIM CORCORAN





HAIKU FUNERAL - If God Is A Drug

review from: http://www.movimentiprog.net/


Terzo capitolo per il progetto allucinato di Kopekcy e Dimitrov Peccato che nella recente enciclopedia del rock a tinte fosche "Horror Rock" (Arcana) non vi siano gli Haiku Funeral: il senso deviato, lascivo, occulto di un rock sperimentale e tenebroso avrebbe fatto bella figura nel libro di Vitolo e Lazzati. E' anche vero che il progetto di William Kopecky e Dimitar Dimitrov è volutamente nascosto e inaccessibile ai più, per lo spirito autenticamente esoterico che sprigiona la loro musica.

Kopecky è una sorta di scheggia impazzita in campo art-rock, Dimitrov è un veterano del black metal bulgaro e non disdegna i dj set burrascosi di dark-electronica. Il risultato del loro connubio sfugge tuttavia alle loro radici e si inoltra in territori impervi al crocevia di dark, elettronica, doom e ambient. "If god is a drug" è il terzo lp del duo, che gode ancora della spinta creativa nata in quella fumosa notte di Halloween del 2008, in studio a Marsiglia.

Le dodici tracce sono diaboliche, devastanti per violenza concettuale e direzione isterica e allucinata (vedi "Ikzuplen"), fino a toccare atmosfere evocative e mistiche ("Fungoid moon"). "The holy connection" è un ambient rock di matrice industriale, con un impianto rumorista che crea disturbo e disorientamento, la title-track un pachidermico drone-doom, "Bright red seeds" un minaccioso electro-rock.

Un disco per pochi: a quei pochi, preparati e aperti, risulterà assai affascinante.

Donato Zoppo





HAIKU FUNERAL - If God Is A Drug

review from: http://writingaboutmusic.blogspot.com/


Haiku Funeral is back with a very intense release. This is a limited edition CD released in a half size DVD case in only 50 copies. There are 12 tracks in 52 minutes. Haiku Funeral consists of Bulgarian black metal vocalist Dimitar Dimitrov (Corpus Diavolus, Glades of Gloom, Unhealthy Dreams) on vocals and electronics and American progressive/avant-garde bassist William Kopecky (Yeti Rain, Far Corner, Snarling Adjective Convention, Kopecky, etc) on bass and vocals. The opening Izkuplen is a very intense track. The sound is very abrasive, scary, loud and awesome. Wow… when the vocal kicks in, when you play this one loud, you really are effected, the way the abrasive production is layered with the more clear low end sound of William. They lyrics presented on the insert are also very intense and one Edgar Allan Poe story is used (City in the Sea). Holy Connection features William on vocals and a very deep dangerous bass and melodic keyboard at the start but then the sound progressively degenerates into this more distorted metallic sound. Quite a contrast from the first track. Fungoid Moon also has a dangerous low end and some super cool bass and windy synths. The track slowly gets quite spaced and evil. If God is a Drug makes up the next several tracks and has many moods, vocals layers and insanity. The 2nd part features some awesome bass playing once again. On the last part of the title track, Cveta does the howling witch voice as a special guest. The vocals are very intense on this track by Dimitar. There a few short pieces before the final mind blower. This is very psychedelic, dark, heavy stuff and not for the weak of mind..

Scott aka. Dr. Space





HAIKU FUNERAL - If God Is A Drug

review from: www.SeaOfTranquility.org


Here's one way out of left field for you. Most Sea of Tranquility readers should be well familiar with William Kopecky, bass virtuoso from here in the US who has played and recorded with countless prog, fusion, rock, and avant-garde artists over the years. Well, here he's teamed up with Bulgarian black metal singer/musician Dimitar Dimitrov for a duo known as Haiku Funeral. Their latest platter of mayhem, and also their third release overall, is called If God Is A Drug. To say it's not what we've come to expect from Kopecky is an understatement, but sometimes it's quite good to be pleasantly surprised, which is certainly the case here.

If God Is A Drug is a strange mix of black metal, industrial, avant-garde, psychedelic, and ambient styles, which might sound like an odd brew but it works for the most part. Bubbling electronics and sound effects permeate the mix, leaving room for Kopecky's brooding bass lines and Dimitar's blood curdling screams & rasps. At times things get quite creepy, like on "The Trees Are Killing The Sky" or "City in the Sea", either of which could be the soundtrack to a horror movie. Some of the pieces are minimalist in their approach, and have somewhat of a droning nature, which is going to limit the audience for this release quite a bit, but when the duo blast off into violent black metal themes, as on "Izkuplenie", the doomy "Fungoid Moon", or the venemous three part title track, things get rather interesting. Through it all, Kopecky's booming bass is integral to the overall template, as his jazz-fusion lines cut through the psychedelic washes of avant-garde and black metal dissonance.

Haiku Funeral are without a doubt not going to be for the weak at heart, but if you have an ear for some terrorizing and experimental sounds, If God Is A Drug certainly might become your 'drug' of choice.

Peter Pardo





HAIKU FUNERAL - Assassination In The Hashish Cathedral

review from: Express Milwaukee


William Kopecky may have relocated from Racine to France, but as one-half of the duo Haiku Funeral, he arguably makes the most sinister-sounding music ever linked to Wisconsin. Sure, his work in Yeti Rain, Far Corner, Snarling Adjective Convention and the eponymous trio Kopecky has always been dark, but the sounds he spawned on Halloween night of 2008 with Bulgarian black-metal veteran Dimitar Dimitrov border on pitch-black.

Promo materials for Assassination in the Hashish Cathedral warn that the album contains “dark poems of sick erotic visions, tortured screams in industrial landscapes, occult murmurings and eerie whispers.” That about covers it. Kopecky, as usual, plays moody, badass bass better than practically anyone else, and he even contributes some veiled vocals here. Dimitrov, meanwhile, electrocutes listeners with his arsenal of electronics.

Experienced collectively, the nine songs on Assassination in the Hashish Cathedral are hallucinogenic, morbid and terrifying as hell.

Michael Popke





MMW - Post-Out

review from: VITAL WEEKLY number 732 week 21


The letters MMW stands for Miller, Miller and Weston. Of the two MIllers, Roger C. is perhaps best known as the man behind Mission Of Burma (also one of those bands I never really heard) and here he plays bass guitar along with preparations and electronics. His brother Benjamin was a member the art band GKW and later of Dirty Old Man River. He plays modified guitar and preparations and electronics. Ten years ago he already played with Matt Weston (percussion and electronics) and in October 2008 they decided to play again, but then with Roger. The recording here was made in 2008 at The Outpost in Boston. This is however not some rock record, but a record of heavy improvisation music. I mean this both as heavy in terms of the sound output, but also overall as the way the music is played by this trio. They are quite loud at times, with electronics flying about, but they also know how to pull back and give the piece air and a certain lightness to it, all of this in a piece that laststhirty minutes. A heavy but beautiful piece of work.

(FdW)





HAIKU FUNERAL - Assassination In The Hashish Cathedral

review from: Progression - issue 59 (Spring 2010)


Holy crap! I've heard some evil shit over the years but this must be a true recording of hell. Drenched in doomy swirling echo this hallucinogenic nightmare grabs your throat and brutally assaults you for the full 53 minutes.

This is electronic doom/black metal with bass being the only "organic" instrument. William Kopecky--whose descent continues from Yeti Rain to Snarling Adjective Convention to this drug-sick doorway to the damned--viciously prowls the polluted bowels of the hashish cathedral with said bass growling, howling, and rumbling in ominous torture. Partner in slime, Dimitar Dimitrov, is a verteran of the black metal scene molesting electronics.

It's apparent these two wanted to one-up anything horrific in any genre as this terrifying collection of ear rape kicks through boundaries with determined hostility. Blood-curdling screams and whispered demonic moans ride over countless layers of distorted sheets of synthesized affliction. This disc lays to waste black metal, doom metal and death ambient with its unrelenting malevolence. Haiku Funeral has earned the key to hell.





HAIKU FUNERAL - Assassination in the Hashish Cathedral

review from: Progressor.net


Prolusion. The international ensemble HAIKU FUNERAL is one of the few bands around sporting more nationalities than members, formed in a recording studio in France one late autumn night in 2008 by Bulgarian black metal veteran Dimitar Dimitrov and US born William Kopecky, the latter known for his work in a multitude of progressive and experimental rock bands on both sides of the Atlantic. The end result of the French encounter between these two artists was issued in August 2009 on the Danish label Hikikomori Records, in a limited edition of merely 50 copies.

Analysis. Those familiar with the output of either of these two musicians from previous occasions should be forewarned on one matter: This album ventures quite a bit outside of what either of them have been involved in previously, at least to my knowledge. "Assassination in the Hashish Cathedral" preserves one trademark feature of both musicians though: a sinister, brooding darkness. The overall musical style of this production resides somewhere in the electronic sphere. Synths and electronic noises make up most of the moods and atmospheres in these 9 constructions, which bear stronger resemblances to sound collages than traditionally-made music. You will have to listen long and hard to find clear-cut melodies or melodic themes here, with various forms of rhythms, most often provided by Kopecky's hard, aggressive bass guitar, as the most constant element with a resemblance to an ordinary composition. Describing the contents of this disc as experimental will probably not come as a surprise by now. The moods and atmospheres conjured up by this duo are of a dark and sinister variety. Sounds from hell might be a useful description, but as that evoke associations in the direction of black metal and similar music it isn't quite satisfactory. Sounds from your innermost nightmares are a term I find pretty accurate myself. Or perhaps a soundtrack lifted directly from the nether regions of Purgatory. Multilayered, fragmented, decaying electronic textures make up the essence of these constructions. Dark, brooding, evil textures beneath and lighter, cold, clinical ones above create intriguing contrasts when both sets are utilized simultaneously. More often than not we're limited to a variety of dark sounds only though, with the aforementioned bass guitar of Kopecky underscoring and various forms of mostly creepy rhythmical noises accompanying them. Subdued spoken word passages from Kopecky and dampened, guttural noises from Dimitrov make up the final elements. The end result is evil-sounding ventures, sometimes coming across as futuristic seances from a dystopian universe of so far unknown deranged qualities, at other times as the final moans of souls tortured in hell for eternity. The atmospheres created are filled with hopelessness, bleakness and despair, yet most times with a passion of sorts. The duo doesn't come across as clinical in any manner whatsoever; there's a great deal of emotion amidst the terror-filled, bleak sonic tapestries. Personally I find this album intriguing in general, but some of the sound collages are too overwhelming, others to some extent too repetitive. There are limits to how long a particular set of sounds can be explored in such a setting, even when the subtler sounds and samples come and go to create a feeling of variation. In short: the momentum is missing on some occasions, which for me is a distracting feature.

Conclusion. Those who generally tend to enjoy music described as dark, evil and sinister might also want to check out the efforts of Haiku Funeral. Its evil-sounding, experimental sound constructions are somewhat of an acquired taste, but I would imagine that those who found a creation like Celtic Frost's electronic track "Totengott" to be fascinating could have an interest in purchasing "Assassinations in the Hashish Cathedral", too, as this effort shares many of the characteristics of that particular release, although in a more sophisticated manner.

Olav M Bjørnsen





HAIKU FUNERAL - Assassination in the Hashish Cathedral

review from: Heathen Harvest


This interesting new duo, Haiku Funeral, was forged in a place far from each other’s homeland: in a clustered studio in Marseille, on Halloween, 2008 the meeting of William Kopecky from the States and Dimitar Dmitrov. In reality, the former plays “electronics”, sings vocals and plays the spring drum, while the latter, Kopecky, plays bass, sings too, also plays spring drum and children’s harp. The latter result was the formation of this new international duo, Haiku Funeral. The duo have really honed their sound down to an automatistic industrial, dehumanized, loud and insane sounding experimentalism going on.

On the CD cover which is unique for a CD - it’s like a DVD box only 2/3 the size - it lists 3 responsibility for each member: Dmitrov is: “Electronics, Vox, Hallucinations” and Kopecky is: “Bass, Vox, Delirium”.

Among some of the tunes to check out include: the title track, for sure, plus “Let the Drug -Sick Visions Begin”, a morbid, hallucinogenic scene of chaos and suffering. “The Forever Book of Smoke” is so deep, so foggy that one feels suffocated after a while, like one is in a hole that can’t quite be gotten out of - until, of course, it lets go of you and you’re thrown into the fire of “Funeral” - all very Goth, tres Industrial and Aggro in some spots, yet it also has its ambient moments.

In some ways Haiku Funeral remind me of Skinny Puppy - the naked nihilism and the warped sense and idea of society: the filth, the depravity that lurks behind the most beguiling disguises and comes in all forms in this thing called “humanity” - it’s not all for the good. I think that’s maybe one message coming out from Assassin in the Hashish House, maybe more to it than that but that’s just one person’s perspective, but you can’t deny the samples of the sounds of the streets mixed up in there, disembodied voices that you’ll never see, that’s especially the case on “Black Asylum”, which also features a wicked bass solo - played up in the high range of notes to almost sound like a low guitar, it really rocks and then slows, morphing back into being a bass, cutting out entirely for a chill-out moment, when nothing but synthesized voices are being lushly played over and over again.

So, don’t let the band’s musical “label” (not record label, either) dictate preconceived notions, because, I, myself, did not hear any “black metal” or any other metal, it was all very experimental, very mellow in a lot of places and it used rhythm in a well-spent way. I’d have a hard time labeling this band anyway, I suppose the only thing you can honestly say is that they’re “experimental” (at least for the moment). The mistake, I think, in too hastily calling it “metal” was the industrial elements to it, which is really most of the beginning, but is gone by the second half altogether. Industrial music can be loud and grating sometimes, even though it’s in a different way than “heavy metal”, nonetheless, know-nothings at record stores and labels will lump them all in the same category. That’s a damn shame, because it keeps a lot of good music from reaching more of an audience. When a lot of people are in a record store they usually bypass the “metal” section, sniggering, as if passing an anachronism, especially these days, with practically anything available to you whether it’s from a local indie shop or online at Amazon.com.

But the title of the album, Assassination in the Hashish Cathedral gives the listener a vivid picture of what’s to come: a very stony soundtrack to heavenly visions and limitless relaxation, pure pleasure. Let’s hope this isn’t the last we’ve heard of Haiku Funeral because there is a big need for more stuff like this that can make radio either change or go away. Who needs a bunch of 3 minute pop songs surrounded by inane commercials all day? Well there’s XM Satellite for that, but besides that and the MP3 player, not much, I prefer the MP3 route and I haven’t had to listen to the radio in literally years - five or more. I have so much in my music library that anything I want to hear I can get it from there or if I don’t have it but want to hear a song from it I can get it at MySpace “my music” section.

Anyway, find this CD, buy this CD and become this CD - it’s that cool.

Blond Adonis





KARMAKUMULATOR vs GENTLEJUNK CO. - Obstetric Amenorrhoea

review and interview from: Indieville.com


Review

Harsh noise meets quirky electronics on this oddball collaboration between sound artist Karmakumulator and net-label Gentlejunk Co. For the first part of this twenty-two minute miniature CDR, Igor Mihovilović buries brief synthesizer loops under seething layers of drilling, maniacal abrasion, allowing the listener nary a moment to breathe. After awhile, the chaos begins to subside, leaving in its wake a strange wasteland of rhythmic fragments, brief melodic samples, and assorted sonic detritus. A close examination reveals many different layers of sound; at its busiest moments, Obstetric Amenorrhoea is almost suffocatingly dense, and it's easy to get lost in Mihovilović's madness. Curious stuff indeed.


Interview

First off, this disc is reported as a split between yourself and Gentlejunk Co., although i was under the impression Gentlejunk Co. was a netlabel, as opposed to a musical unit. what's the story here?

Gentlejunk Co. is an artistic collective, owned and operated by my friend Kruno from Krizevci/Croatia. He has run this DIY experimental label for mostly digital releases, and put out a Karmakumulator live album in 2004, released among other interesting experimental recordings. In 2008, I asked him if he was interested in doing this kind of collaborative release. He sent me some tracks, and I have used them in the final mix for this 3". The idea was also to release another 3" companion, with his re-worked tracks from this same album, maybe for 2010 or later. I would definitely like to hear his vision and ideas with same sound pieces as their root.

What aspects of this release are you responsible for?

Musical and visual design, which is almost everything. The releasing was handled by the label and the rest is my vision and idea, from cover design to song structuring. Kruno provided samples and Igor played clarinet, but the construction was totally in my hands.

'Obstetric Amenorrhoea' starts out really noisy but then explores a more brooding, pensive mood -- one that is even, at times, melodic and rhythmic! What explains this structure, and in what context do you imagine it being listened to? What sorts of images and feelings do you think it evokes?

As with most Karmakumulator releases, it doesn't have any specific images that it has to evoke. Listeners can listen to the finished work and if they decide to re-mix it or destroy the original sound source that can be found on 3", that's also OK. Speaking of moving from noisy to brooding and pensive, it's like watching TV and changing channels, or surfing on internet and going from obscure pornography and old design sites to hundreds of Myspace addresses or Facebook pictures one after another. It's just normal for Karmakumulator. as feelings come and go, during a day, a week, a month, a year, so do "noise" and "ambient" change their relationship and order in this music. If somebody is going to feel more creative and eager to do their own “noise,” “ambient,” “experimental,” or “field recording” after hearing this CDR, that means that somehow it made its point. That's enough for me. If someone puts this CDR on as part of some installation or movement in an apartment or building, or plays it on the radio or anywhere else, it also constructs new meanings and concepts, which is fine with me.

Briefly go over your recording set-up. What sorts of equipment and objects went into 'Obstetric Amenorrhoea'?

As I can recall, more than usual. Lots of field recordings recorded in Belgrade, Split, Zagreb, Krizevci and Dubrovnik. Another friend of mine played clarinet here. I used samples, synths, vocals, a Kaoss Pad 2, an M-Audio Ozone audio card, a Bayer Dynamic MSE S-86 microphone, a Zoom H4 portable recorder, a guitar, various pedals, pieces of wood, metal, a radio, etc. Probably the most important parts are Kruno's samples (he also used computer musical generators, a laptop, effects and samples, a MIDI controller, guitar, a Zoom 505, a mixer, piano, Virtualizer Pro, Piezzo microphones); as well, my various field recordings and Igor's clarinet. However, everything was done very spontaneously, so I can not recall perfectly every detail of sound production. Usually Karmakumulator materials grow very fast with my ears. This song took more time than some others did. But it is representative. It's probably more hermetic and "obscure" in meaning and communication with the listener, but that's the way it sounds to me now. Maybe somebody else thinks the opposite of that.

For that matter, what is the background behind the title 'Obstetric Amenorrhoea'?

Just mindfuck with strange words which induce colors and images in the head, just like the music itself.

Why the name 'Karmakumulator'?

It was in December of 2000, during a strange mix of events and things happening, including humour in the rain, as I remember. And then I said "we are Karmakumulators". It sounded great when spelled as one word and later, when I needed a name for a new experimental musical project, it seemed perfect. During the years it just sounded OK enough to keep it going. And my musical/theoretical background is almost the same as it was 10 years ago, so it's a nice homage to time and self-development/research through sound.

How did you get connected to the Hikikomori label?

He liked Karmakumulator from some other releases that I did, and offered a collaboration. After a few months I had materials ready and we did very limited edition 3" CDR. I like his enthusiasm about music in general, and about the promotion of this release. Very nice guy! We share a language and we share artistic vision. That's definitely the type of label I want to work with in the future.

Could you give us a brief rundown of the Croatian noise/experimental scene?

Hmm, maybe it would be better to check out for yourself. On my Myspace page there are links to everything nice that is happening on the Croatian and ex-Yugoslavian experimental scene (of course it's limited to projects that I am aware of and that I like). Anyone interested can find it and take a listen for themselves. Also, I have recently uploaded 60+ minutes of materials from compilations 2006-2010, which is partly still unreleased.

Michael Tau





HAIKU FUNERAL - Assassination In The Hashish Cathedral

review from: Avantgarde-Metal.com


Out of the blue, William Kopecky (bass, vox, delirium) and Dimitar Dimitrov (electronics, vox, hallucinogens) aka Haiku Funeral surprise fans of dark experimental music with an album fusing primitive and dirty black occultism with elements of psychedelic darkwave soundscapes and doomy, pounding rhythms. The whole thing is quite darkly vibrating and spooky, and right from the first few compositions, one can tell how much of a departure it is from bassist William Kopecky's precedent Prog/Jazz and Ambient curriculum vitae. I was surprised to hear, this time in a whole different style, Kopecky's convincing bass experimentation, which I had previously discovered in Yeti Rain. Haiku Funeral's music is indeed slow-moving, decaying, rotten, lung-filled with thick hashish smoke and black & white bacteriological filth. Equally ambient, industrial-fleshed, drone-y (bass) metal, Eastern flavoured and poetically meditative, Assassination In The Hashish Cathedral feels like a demented mindtrip in to your inner hell and as such, it falls short of heavenly transcendental psychedelism and sounds closer to a scary bad ass trip. The first half of the album welcomes Kopecky on vocals and his spoken evocations certainly fit with the drug sick spirit of the music, while the second half sounds perhaps more Black metal in tone with Dimitrov performing his ultra distorted screeching.

The album's only weakness, in my opinion, is the lack of global vision, which is to say that Assassination goes in many directions though never really settles down on a crystal clear 'band identity'. Hopefully this should get fixed with the next few albums, if any new album is planned. For now, the duo feels rather fragmented and chaotic, but that's also part of their charm I guess. In conclusion, the label's name perhaps will help you to get an idea. "Hikikomori, according to Wikipedia, is a Japanese term to refer to the phenomenon of reclusive people who have chosen to withdraw from social life, often seeking extreme degrees of isolation and confinement because of various personal and social factors in their lives." I could rephrase that and write that Haiku Funeral is a European/American band name which refers to the phenomenon of two reclusive musicians who have chosen to withdraw from the norms of music, often seeking extreme degrees of isolation and confinement because of various deranged factors in their musical creativity. An album for those who prefer their coffee black and strong...

Oliver Side





NRYY - Noise Re YackY

review from: Indieville.com


Osaka's busiest man, Norihito Kodama, released fifteen Discogs-accredited records in 2009 alone – an impressive surge from a scene newbie. This latest miniature disc comes from the fledgling Hikikomori label, a counter-intuitively Danish label that takes its name from a Japanese social phenomenon in which afflicted individuals withdraw entirely from society. I'm not sure how all that confusing muddle fits together, but this brief recording certainly shows evidence of a sound-crazy individual.

NRYY's six tracks range widely in terms of content, but maintain a constant devotion to the noisy and abrasive. Its most vicious passage is the devilish "Insect in Headphones," which messes about with treble-heavy feedback noise and general screech n' squall; aggravate neighbours and roommates alike! Expert "Mischief of Evil Crumb Crust," meanwhile, uses a sample of crusty scraping to design a nifty little bit of atmospheric industrial sound. On the more original (or, at least, novel) end of matters comes several tracks which revel in a more "songlike" demeanour. Among these are the folk-cum-metal-cum-noise triumph "Kiss" and sinister "Psycho Romance," which builds a chaotic (and occasionally even rhythmic) noise symphony around a twinkly music-box melody. Meanwhile, disc highlight "Wind & Cloud" destructs a traditional-ish melody with power chords and unceasingly contorting white noise accompaniment.

I always enjoy when a noise artist ventures into different realms of sound; notions of melody and rhythm need not run against noise music's grains, and here NRYY explores a curious intersection between song and abrasion. I'm looking forward to Kodama's future exploits, which, if nothing else, promise surely to be plentiful.

Michael Tau





HAIKU FUNERAL - Assassination In The Hashish Cathedral

review from: VITAL WEEKLY number 707 week 49


Similar to another album reviewed recently here in this magazine, SEKTOR 304's "SOUL CLEANSING", present album focus on expressions of Industrial from the metal-based scene. Compared to the more expressive and downright aggressive style of Sektor 304, the band called Haiku Funeral is more introvert and ambient-based but with a similar utterly dark approach. Behind the project you find two members: WmK on bass, DiM (mis)treating the electronics and both members on screaming vocals. The electronic side of the album takes it starting point in the black ambient scene with drones of sheer darkness, but also subtle noise drones shines through the hellish soundworld first of all dominated by the creepy inhuman screams. The bass creates an ultra-heavy ground in the depressive musical textures. The band describes their music as "mental distorted drug hallucinations" themselves, which is a quite descriptive phrase. Everyone interested in the industrial-based metal-style (Godflesh, Scorn, Treponem Pal, Sunn:))), Helmet) should check this out.




HAIKU FUNERAL - Assassination In The Hashish Cathedral

review from: Helly Cherry veb zin Broj 92/93 - decembar 2009.


Haiku Funeral su nastali slučajno kako to (ne)obično biva u društvu travke pobrljavke i ostalih ishaluciniranih prijatelja. I zato i nije slučajan taj psihodelični uticaj ne samo u tekstovima već i u zvuku. HF zaista zvuče teško i mračno i jezivo i atmosferično i industrial. A kako i ne bi kada vuku korene iz blek metala i srodnih pravaca. Srećom od blek metala je ostao samo mrak i osećaj okultnog. Ali kad kažem industrial onda je to baš tako. Onako, prilično staroškolski kanta i čekić, i nepretenciozno. Pored toga, mrak. Mnogo mraka. Jeza i krici demona ili duševnih bolesnika daju jednu mučnu notu. Nekako, nikako da sredim ove redove, toliko sam zbunjen i pogubljen od ovih zvukova. HF zaista zahteva posebno stanje. Vrti mi se u glavi i muti mi se pred očima. Disk potrasfklčj sddddsklj vcšpsklj... (posle mnogo dana... hikikomori-records.com). Pdrearg




STØJ - EvilPolitics1

review from: http://eattrashshitmoney.blogspot.com


Here is the first release by the new Danish artist known as STØJ. It also marks the first release by the promising new Hikikomori Records. This is something really different for me to review here. Being a mix of old-school industrial, tape collage type cut-ups, and straight up catchy synths. This really reminds me of when the cyber punk movement was in full effect, mixing politics with technology, and samplers were king! I think the term "coldwave" would a pretty good description of this e.p. in most respects. Although there is more disjointed, mechanical beats going on here than just the simple four on the floor beats of that sub-genre. I can definitely here a strong influence for artist like Foetus or Muslimgauze floating throughout this disc.

The first track "Genocide" starts out with rhythmic metallic’s breaking way to strong repetitive beats, and what sounds like a mid-eastern horn of some kind as the main synth line. Heavily effected metallic sounds, being played in reverse, along with foreign language samples, gunshots, and a woman’s screaming bring you into the political nature of the songs here after.

"Propaganda" start's out with heavy bass drums, interspersed with unaffected metallic drumming, and other tiny metallic sounds floating from speaker to speaker. The synths on this track are more subdued, adding bass and mid-range atmospherics. At some points it sounds like a recording of a dial-up modem being manipulated. There are also samples of a woman’s voice quietly talking hidden within the rest of the sounds. This track really shows off STØJ's production abilities with everything sounding just right in the mix.

The third track "Sea Devil" is one of my favorites on the E.P. Starting out with more metallic drums, and field recordings of an ocean slowly morphing into the main beat of the song. The synths kick in with a very nice analog sounding lead, that brings the first really strong melody into the album. Samples sounding like they came from a police scanner make their way in mid-way through the song, keeping to the political nature of all the tracks.

The next song "Journey To Jahannam" begins with soundtrack sounding ambient sounds, before the first sub-bass sounds of the album slowly plod into the track. Like the other songs, the "snare" drum sounds are in fact heavy manipulated metal hits, and synth glitches. Static laced synths worm their way in to the mix along with plenty more slowed down vocal samples. This track oozes’ with ambience and old-school industrial style.

The final track "OFF (Oil For Food)" gets downright funky, with some really prominent synth and organ work fueling the acoustic sounding drums in a herky-jerky toe tapping rhythm. This is the first song on the album using English vocal samples of a man talking about the way that America lied to it's people to start the war in Iraq. It seems an odd choice to me that most overtly political song of the album is also the most musical and traditional. Very cool.

The artwork is very Russian looking to my eyes. Mainly due to use of red and black, but also because of the stark grainy "messed up television" looking images used. Much like the music the artwork is very political in nature, and seems to be of equal importance to the overall aesthetic of the album. Full color cover art, with a pro-printed cd-r (nice!), inside a small jewel case.

All in all this is a really nice e.p. from this new artist. I would like to hear more variety in the rhythms and time signatures, but I'm sure the straight forwardness is a part of the intention behind this music. I will look forward to hearing a full length sometime down the line where the basic ideas of the songs can be stretched over an hour rather than just twenty minutes. Very good first effort!





VARIOUS ARTISTS - Hikikomori Records Presents
Demos: Rarities: Unreleased Tracks (2008, Slušaj najglasnije)


review from: http://www.terapija.net/njuz.asp?ID=5533


Vrlo dobra elektro - akustična kompilacija koja dolazi iz Danske, a kako tvrdi Zdena potpisuje je ekipa autora koji su s ovog ex-Yu područja sa prebivalištem u inozemstvu gdje žive i rade već neko određeno vrijeme. Nisam imao vremena da se pozabavim detaljima, ali riječ je o izdanju Hikikomori Records (www.hikikomori-records.com) gdje su obuhvaćene neke demo, raritetne i neobjavljene snimke. Inače, do sada su objavili samo dva rada; STØJ - "EvilPoliTics EP" i KARMAKUMULATOR vs. GENTLEJUNK CO. - "Obstetric Amenorrhoea EP".

Na ovoj kompilaciji nalazi se šest izvođača, svaki je predstavljen s po dvije kompozicije, a duljina trajanja iznosi 57 minuta.

Otvara je STØJ (myspace.com/stojspace) koji se u prvoj skladbi "Drive...Fast" predstavlja kao tipičan izdanak plesnog electro-body stila s efektnim samplovima paljenja automobila, automobilske sirene, vokalnih samplova i zveketa koji nastaje prilikom automobilskog sudara. Stvar je vrlo plesna i svojim ritmom, te upečatljivim melodičnim basom podsjeća na sretne dane Front 242, Cabaret Voltaire (album "Coda"), Nitzer Ebb i sličnih pripadajućih imena. "No.Ex.No.01" je minimalistički electro post-industrial s melodijom koja poprilično asocira na "Tubural Bells" Mike Oldfielda, a osnovu ovog instrumentala čine čudnovati efekti koje nemam pojma kako ih objasniti, ali su veoma staloženo aranžirani (fade-in, fade-out) poput primjerice francuske industrial scene kao Nocturne ili PPF. Vrlo dobar rad.

HEIMAT (myspace.com/heimatband) je očito gothic-etno/rock band na zasadima makedonskog ranog Mizara što se osjeti u njihovom laganom tročetvrtinskom plesnom ritmu, zvuku uda (ili šargije?), specifičnom zvuku autohtonih udaraljki, te same pjesme i teksta "Put" gdje je prisutna i klasična postava (bubnjevi, bas, gitara, klavijature) uz zvukove gajdi (možda dude, nisam siguran). Skladba je vrlo mračna s ratnom tematikom, jezik je hrvatsko-srpski, a vokal je pravi muški testosteronski gothic koji pomalo podsjeća na Goran Tanevskog. Pjevač ima vrlo zavidnu vokalno-melodičnu tehniku gdje šara s harmonijama. "Prayer" je otpjevana na engleskom i nafilana je melodičnim gitarskim distorziranim riffovima, te ima prizvuk doom etno-metala.

ALCOTRONIC (myspace.com/alcotronic) su prisutni s jednom od ponajboljih komercijalnih skladbi na kompilaciji - "Krv nije voda" koja ima vrlo zanimljiv uvodni tekst 'danas imaš kosu, a sutra si ćelav' uz plesnu electro-pop glazbu gdje ostatak teksta govori o životu koji se živio prije tridesetak godina kada nisu postojali eko-proizvodi, skupa voda u plasičnim bocama, kada se igralo partizana, Nijemaca, kauboja, indijanaca, kada su se čitali i skupljali Veliki Blek, Komadant Mark, Kapetan Miki, Zagor i kada se nisu davale tablete protiv hiperaktivnosti niti je postojao internet i sva ova tehnološka čudesa. "Mozak ti je truo feat.AD" je pravi comeback u '80's electro-pop (rani Ministry, Depeche Mode, Yello, Beograd...).

HYPERACTIVE ORCHESTRA (myspace.com/hyperactiveorchestra) su najčudniji band na kompilaciji gdje se predstavljaju kao osebujan eksperimentalni psihodelični spoj lo-fi tehnike, etna, space zvuka... a koriste uz gitare (ima i distorzije), udaraljke, efekte ritam mašine i čudne zvukove koji nalikuju na raštelani synth. "Death tide" je na engleskom, a vrlo naporna eksperimentalno disharmonično atonalna "Treptaj" na srpskom jeziku uz spoken-word tehniku. Vrlo čudna i bizarna glazba.

LUMINOUS (myspace.com/timchaplinluminous) su vraški gitarski noise s podebljanim distorzijama, atonalnim melodijama na granici slušljivosti u skladbi "Everything hurts", dok su u "Gallow" prikazali eksperimentalni stil kojeg predvodi vrlo čudna ritmički spora melodija na banju uz obilje vokalnih efekata (ima i nekih horor sintagmi) koji se nalaze u pozadini. Pomalo ima format de-kompozicije i vrlo je interesantna za publiku Timelles Pulse, VxPxCx, Throbbing Gristle...

Posljednji na kompilaciji su KARAKTER NULA koji izgleda nemaju web stranice, no po prikazanome su najotkačeniji izvođač, osobito u posljednjem komadu "Impro #2" gdje se šegače s bratstvom i jedinstvom, Daytonom, incestom, crvenim makovima koji su opet procvali, 372 podjeljeno s 16 je otprilike 25, s alternativnim Bosancima, odriču se posljednjih 6 stihova, bacaju vriskove, a upotrebili su i avangardni zvuk trube... Ha-ha-ha! Glazbeno imaju ponešto od stila ranih i mračnih Nick Cave And The Bad Seeds što posebno vrijedi u skladbi "Impro #1" otpjevanoj na engleskom jeziku uz format tromog i laganog psihodeličnog post-punk dark bluesa koji je veoma blizak zagrebačkom sastavu Heroina.

Veoma raznoliko i zanimljivo kompilacijsko štivo za slušanje.

Naslovi: 1.STØJ - Drive...Fast, 2.STØJ - No.Ex.No.01, 3.HEIMAT - Put, 4.HEIMAT - Prayer, 5.ALCOTRONIC - Krv nije voda, 6.ALCOTRONIC - Mozak ti je truo feat AD, 7.HYPERACTIVE ORCHESTRA - Death tide, 8.HYPERACTIVE ORCHESTRA - Treptaj, 9.LUMINOUS - Everything hurts, 10.LUMINOUS - Gallow, 11.KARAKTER NULA - Impro #1, 12.KARAKTER NULA - Impro #2

Ocjena (1-10): 7

horvi // 04/12/2008





STØJ - EvilPoliTics1

review from: Helly Cherry veb zin Broj 82 - april 2009.


Odavno nisam imao priliku da slusam industrial u totalno old school formatu, koji pri tom ne zadire u druge vode, kao sto su dark ambient, ili sve cesce zastupljeni noise.

Ime veoma jasno oslikava sta je tematika..."zla politika", a muzika kroz svoju metalnu ritmicnost pokazuje agresivnost koju, logicno "zla politika' nosi sa sobom.

Ovo nije "user friendly" uradak, vec cist underground komad u kome su zvuci masina nesto sto sasvim normalno pristaje. Ima tu i analogne elektronike, tako da autoru ovog teksta, prirodno, najvise lezi "See devil" kao 3.stvar na albumu. Doslednost stilu je jos jedna stvar koju mogu da pohvalim ovde.

Neko bi mozda rekao, da ovo lici na rani Laibach, ali ja ne bih postavio bilo koga kao uzore, jer ova muzika osim svoje jednostavnosti ima dobru dozu originalnosti i zanimljivosti.

Prava je steta sto je ovo ep ili mini cd, vise pesama bi mi svakako prijale, ali i 5 je pristojan broj, i veoma rado vracate stvar na pocetak.

Sve ovo zvuci vec poznato, neki su to radili nekada, ali opet je tako osvezavajuce, ako uzmemo u obzir da je odlicno sklopljeno kao celina i pruza pun industrial ugodjaj. Preslusajte pa se uverite!





KARMAKUMULATOR vs GENTLEJUNK CO. - Obstetric Amenorrhoea

review from: Helly Cherry veb zin Broj 82 - april 2009.


E ovo je vec u starom dobrom fazonu, jedan album, jedna dugacka pesma... Uvek sam bio naklonjen ovakvim delima jer samim tim sto imaju samo jednu pesmu, koja svojom duzinom pretenduje da bude dosadna, mora da demantuje slusaoca, i u tih dvadeset minuta gurne dovoljno zanimljivog experimenta koji ce te navuci da ponovis album ponovo. Karmakulator su eksperimentisali sa teskim zvucima i zahvaljujuci aktivnosti desavanja uspeli da iznesu ovu minutazu pesme.

Druga dobra stvar je sto su ovakva ostvarenja poput apstraktnog slikarstva. Pruzaju ti mogucnost da imas svoj stav, svoju sliku u glavi o onom sto si cuo. Nema teksta ili vokala koji bi ti rekao nesto konkretnije o pesmi i njenoj tematici, ovde ti ostaje da sam shvatis o cemu je rec.

Zato ne bi da odajem svoj mozdani proces prilikom slusanja ovog, jer bi to verovatno otislo u debatu, ali mogu da pohvalim uspesnost ovog komada industrial/noise buke u pokretanju razlicitih tokova misli kod mene.

Uz 3way split To/ Children Egoism-a/Ovo, Karmakulator su omiljeni muzicki eksperiment na mom player-u!





ORDER OF THE BEAK - $ic $ekem

review from: Helly Cherry veb zin Broj 83/84 - maj/jun 2009.


OOTB će vas ovim albumom pošteno, ne prodrmati ali vas neće pustiti da se opustite i uživate već da pažljivo poslušate šta ima da ponudi. Dakle nema ovde prijatnih ambijentalnih zvukova (ili bar ne preovladavaju) već su pesme dosta slojevite pa i pored (industrial) ritmova imate i neku repetitivnu temu i vokal ili sempl koji se često ponavlja i usput je distorziran i kao takav ne baš određen ili ne u prvom planu. Kako ga na kraju odrediti? Pa eto recimo ambient industrial. Psycic TV je imao te faze recimo. Disk je nabavljiv na myspace.com/recordshikikomori. Predrag