Noise

Formed in 1984, Solmania is a music experimental project of Masahiko ”Masaki” Ohno and is one of the earliest amazing noise projects out of Japan. Pushing far beyond expectations of free improvisation, Masahiko weaves blistering passages that incorporate touchstones from progressive , punk, metal, noise, and drone, into more intricate movements of dystopian avant-gardism, culminating as a strikingly forward-thinking expanse of sonic creativity that pushing toward uncharted ground.
Erosion captures an astounding concert at Eggplant, in Osaka May 15th 1987, recorded at the venue, using guitar, tape, radio, metal, turntable and voice and published on cassette by Solmania own legendary label Fatagaga Tapes the same year in very limited edition. Fully remastered from the original analog tapes, vinyl is comprising a single, extended work over two sides, for about 30 minutes where the artist dives into one of the most joyous and tense musical expressions to have emerged during that decade, generating dense, trance-inducing guitar drones that seem to touch the eternal, washing the ear in rich overtones and harmonics embellishments that transcend their sources – the original instrument – in uncanny ways.

Black Metal

“Sorcier Des Glaces’ second offering to the mortal world was recorded just two years after the very first album, in August 1999. Nevertheless, the maturity of their sound and composition is perceptible. It’s no longer a one-man band this time, involving Luc more extensively, who this time records all the drum parts and also participates in the elaboration of several keyboard parts. The infernal duo is officially up and running.

Black Metal

Truly, the evidence is there with SORGETID’s first public recording, the full-length Natt av Tusen Dödsfall. Endearingly and engagingly familiar yet done with the deft nous for which V-Khaoz is known, SORGETID’s first salvo is based purely on intuition and the man’s need “to get quite old stuff out of my head – no future, no past.” Existing within those reverently stringent boundaries, Natt av Tusen Dödsfall unveils a landscape rife with melancholy and madness, nostalgia and nightsky mysticism, fury and wonder woven together with elder chainmail forged in the fires of olde. Eight songs across 37 minutes are more than sufficient to paint the atmospheres and sensations that seemingly exist out of time. The album’s no less raw nor polished than it needs to be; rather, it IS, unyielding and undying.

Black Metal

Now, to round out the ruinous year of 2022, it is here, bearing the title Requiem. Indeed something of a lament, feeling fixed and finite, SPECTRAL CORRUPTION’s latest full-length bristles with a despair that can only suggest infinite misery, malodorous and miasmic: a vacuum of violence where melodic/majestic riffing gets broken down and blown out. Mainman Verminitar (also of Cryptic Vampire and Spheral Void) howls into that vacuum, drunk on his own power/misery but drowning within it all the same. That he ends the album with a Lamp of Murmuur cover indeed underlines SPECTRAL CORRUPTION’s place within this uprising of modern RAW black metal.