Beschreibung
OF THE WAND & THE MOON
(Heidrunar Myrkrunar, DK)
Mainman Kim Larsen’s inspirations from 60-70’s singer/songwriters such as Lee Hazlewood, Leonard Cohen and Serge Gainsbourg, as well as movie soundtracks from the same period. But most importantly – developing the sound from former album “The Lone Descent” (2011). On the other hand, it still maintains some of the dark neo-folk roots of the band – but is still a huge step musically into brand new directions as well. The album also includes guest performances by King Dude, legendary Danish singer/author/artist Martin Hall (who also wrote the liner notes for the album), as well as several other household names on the Danish scene such as Uffe Lorenzen (Baby Woodrose), Bo Rande (Blue Foundation) and Sarah Hepburn (Kloster a.o.). Of The Wand & The Moon started as a solo project by Kim Larsen in Copenhagen, Denmark in 1998 when he was still a member and composer in doom-metal band Saturnus. The debut album “Nighttime Nightrhymes” was released in 1999 and was a dark folk/neo-folk album that received quite some attention in both neofolk, goth and metal scenes. With the second album “Emptiness Emptiness Emptiness” (2001), the sound of Of The Wand & The Moon had developed much, and is considered a neo-folk/dark folk classic these days. A lot of touring allowed all over Europe, as Larsen had assembled several live-members for his touring band.
KOLLAPS
(Cold Spring Records, AU)
Until The Day I Die is Kollaps’ third LP for Cold Spring Records. The record, set for release in June 2022, is merciless and visceral assault on the senses and continues the trajectory of the band’s idiosyncratic approach in their creation of sound. Until The Day I Die is an uncompromising force of harsh post-industrial music narrated by overarching themes of condemnation and redemption; violence, romanticism, sexuality, and addiction. Much of the creation and lyrical conceptualisation of the record has been stylised and presented by the use of William S. Burroughs’ cut-up method.
A wide variety of metals and raw materials were used in the creation of the album including metal grates, a rusted hoist, cement cylinders, field recordings, hammering of various decrepit objects, broken amplifiers, an exposed reverb tank, various synthesizers, and the infamous metal coil; a crudely self-constructed artifice that has become iconic in its use across Kollaps’ triptych of releases and lengthy touring history in Europe, Australia and New Zealand.
