Archive for June, 2011

From the Archives – Flux Europa

From the Archives – Flux Europa

FOR TEN YEARS Flux Europa“dark music and more” – provided an alternative review of art, books, films and music.  It seems that the initial inspiration for – and direction of – Flux Europa was provided by Tony Wakeford (1) of Sol Invictus fame (2).  The site was created by Rik and launched in October 1995.  However, it ended active publication in April 2005 and sadly now only lingers on as an archive.

This is a great pity.  It carried excellent reviews of both mainstream artists – such as All About Eve (3), Gary Numan (4) and Soft Cell (5) – and relatively unknown bands like Death In June (6), Inkubus Sukkubus (7) and Minimal Self (8).

Although it modestly describes itself as “an arts zine” it really is much, much more.

Its two core areas are music and art.  Of music it says:

“We specialise in ‘dark-edged’ alternative and avant-garde music variously categorised as neofolk, neomediaeval, ethereal, filmic, apocalyptic folk, dark folk, gothic-industrial, goth-rock, darkwave, dark-ambient, ambient-industrial, dark metal, military bombast, electronic and noise etc. We also cover some early music (Mediaeval and Renaissance), traditional folk music and neoclassical music.”

And of art, Flux Europa notes:

“We cover a number of contemporary artists connected with the above musical genres, but we also have a special interest in Futurism and other aspects of early twentieth-century modernism.”

However, it also features books, films, personae, miscellany and a massive links section.

Although it’s been archive site for six years, we’ve noticed that these sometimes have the habit of suddenly disappearing.  If this happened to Flux Europa it’d be a real tragedy.

Many of its reviews and articles are timeless.  As such they deserve to be syndicated out – to reach as wide an audience as possible.  With this in mind we hope to reproduce as many articles as possible from Flux Europa, to whom we give our acknowledgements.

As these reviews are fairly old, we apologise in advance for any inactive links.  We’ve also had to change some of the pictures used to illustrate a few articles as the originals weren’t as clear as we’d like.

We kick off our homage to Flux Europa with a look at a couple of bands featured in its music section:

15 DELIGHTS OF DIONYSUS

The Nightmare Museum
2002
Limited CDR
The Fossil Dungeon

The 15 Delights of Dionysus (Mike Bull, and Mark and Michael Riddick of The Soil Bleeds Black) emerged from a desire to explore “fringe consciousness and the bizarre in art & sound”, and the group has had several releases on “obscure underground labels”. This one is via Michael’s own Fossil Dungeon and features industrial-ambient and electronic samples but nothing too harsh. I particularly liked the heavily reverbed sixth track where a sort of dark Kraftwerk meets Dead Can Dance.

Excerpts from this CD were featured on a Discovery Channel documentary about ‘Sleep Paralysis’, Alien Abduction: The Mystery Unraveled.

Rik – 23 July 2002

AARDIA

Fairy Tales From Beyond
2003
MCD
Witchcraft and Folklore ARD 003
15:59

Dramatic and menacing percussion, celestial choirs and neoclassical piano characterise Aardia’s debut MCD of film soundtrack music. It’s composed by Patrik Söderlund and Daniel Johnsson and reminds me of those historical epics that my grandmother took me to see as a child, although the actual musical inspiration here is Fabio Frizzi, Carl Orff and Ennio Morricone rather than Cecil B de Mille. One rather suspects that the fellow Swedish project, Arcana, and the American neo-mediaeval project, The Soil Bleeds Black, have also had some influence. On the literary front Aardia cite Lovecraft, Poe and Tolkein as inspirations.

In an attempt to sound literally like a film soundtrack, ‘The Summoner’ begins with a Mediaeval convivial, while ‘Call To Arms’ features whinnying horses and the sound of mortal combat. Incorporation of ‘historical’ SFX and other material always treads a fine line between the convincing and the kitsch. I think Aardia get away with it, but I tend to feel more comfortable with the other two, less literal, tracks. ‘The Wandering’ is percussive enough, but generally less epic in scope and features female vocals by Maria Carström. I think the best track, however, is the title one, ‘Fairy Tales From Beyond’, which has the dramatic neoclassical qualities of the first two without the SFX.

The recording can be downloaded free of charge from the Aardia MP3 website, although you may prefer to own the CD replete with Tolkeinesque artwork.

Rik – 3 March 2003

(1)  http://en.wikipedia.org/wiki/Tony_Wakeford

(2)  http://www.tursa.com/index.html

(3)  http://www.goony.nl/aae/aae.htm

(4)  http://www.numan.co.uk/

(5)  http://en.wikipedia.org/wiki/Soft_Cell

(6)  http://www.deathinjune.net/

(7)  http://www.inkubussukkubus.com/

(8)  http://boomkat.com/cds/95511-minimal-self-formula-of-reversal

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Sagittarius – Songs From The Ivory Tower

Sagittarius – Songs From The Ivory Tower (Cold Spring Records)

SONGS From The Ivory Tower – has any album title ever more succinctly summed up the elitist and idealist aspirations of neo-folk and martial industrial music? Sagittarius is the solo project of German musician Cornelius Waldner, and Songs From The Ivory Tower is the band’s second album following 2003’s Die Große Marina, released as a limited edition vinyl LP by Renovation Verlag, and still available as a free download from the Sagittarius website and from Neo-Form magazine (www.neo-form.de). For the recording of Songs…, Cornelius Waldner has assembled a formidable array of guest musicians, including Marcel P. of Von Thronstahl, Halgadom etc., Herr Twiggs of Kammer Sieben, Damiano Mercuri of Rose Rovine E Amanti, Troy Southgate of H.E.R.R. and Seelenlicht, and Philipp Jonas of Secrets Of The Moon.

Songs… opens with a song in English, Nihil Arisen. Cornelius Waldner’s wistful piano finds an apt counterfoil in Philipp Jonas’ guitar, as Waldner intones the mournful lyrics in a clear, simple spoken recitative. The general effect is similar to Golgatha or some of Karsten Hamre’s (Penitent, Arcane Art) work. However, the song is marred by the words simply not fitting the rhythm of the music, which is a shame. Fortunately, nearly all of the album’s remaining tracks are either instrumentals or in German, so this problem doesn’t arise again. The following four songs form a sort of suite, all being based on poems by Timo Kölling, the former editor of the German black metal magazine Moondance and a member of Trist. All the lyrics are given in the album booklet, but without English translations, so you’re on your own there. Musically, the songs are dominated by neo-classical piano work. Marcel P. contributes cello to Du Stehst Am Alten Gartentor Und Schweigst and An Des Meeres Strand and An Des Meeres Strand features vocals by Herr Twiggs, who arguably has a deeper, richer voice than Waldner.

Later songs feature lyrics by other German poets, including Stefan George, Bernhard von Uxkull-Gyllenband, Gottfried Benn and Ludwig Uhland. Of these, the most famous is undoubtedly Stefan George, whose Das Lied is the seventh track on Songs…, with the vocals being handled by Marcel P. Cornelius Waldner contributes piano and flute, at least according to the album notes, but this doesn’t sound like a concert flute to me, more like a wooden flute or recorder.

The following song, Der Gute Kamerad has vocals by Troy Southgate. Now, those who have read my previous reviews of H.E.R.R. and Seelenlicht will know that I’m not the most ardent admirer of Troy Southgate’s vocal stylings, but here, he’s not half bad. In fact, I’ll go so far as to say that this is the most enjoyable work I’ve heard so far from him – his voice suits the material, it melds well with Damiano Mercurio’s acoustic guitar, and overall it sounds quite a bit like Ian Read of Fire +Ice. A stately, formalist minuet by Johann Krieger follows, also with Damiano Mercurio on guitar and more of that mysterious flute.

The thirteenth song is Europa Calling, a cover version of the song originally recorded by Forthcoming Fire, but made famous by the several different renditions of it released by Josef K.’s subsequent band, Von Thronstahl. This song has become something of a neo-folk anthem, a rallying cry for the Children of the Black Sun to rival Death In June’s Runes And Men, and Sagittarius fully do it justice:

Don’t you hear Europa calling
For him who leads the children home…

(This song, incidentally, is not to be confused with the Sol Invictus song of the same name, which is also very fine, but is entirely unrelated.)

The album concludes with a bonus track, The Song, an English rendition of Das Lied, with Tory Southgate again handling the vocals, and again sounding good. Apart from my reservations about the opening track’s clunky lyrics, Songs From The Ivory Tower is an effortlessly pleasant listen, with many talented musicians playing real instruments, strong lyrics and beautiful neo-classical arrangements. Praise and plaudits to all involved – this is another quality release from Cold Spring fit to stand beside Von Thronstahl, Rose Rovine E Amanti and Werkraum at the more melodic end of the Cold Spring roster.

www.sagittarius.de

www.myspace.com/marblecliff

www.coldspring.co.uk

www.myspace.com/coldspring

Reviewed by Simon Collins. Reprinted with acknowledgements to Judas Kiss web-zine.

Songs From The Ivory Tower by Sagittarius is available from: http://www.coldspring.co.uk/discography/csr89cd.php

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What Dreams May Come (1998)

What Dreams May Come

Click on image to buy DVD

What Dreams May Come [DVD] [1998]
Robin Williams (Actor), Cuba Gooding Jr. (Actor), Vincent Ward (Director) | Rated: Suitable for 15 years and over 113 mins

The books I was reading and the books ordered for future reviews tied in perfectly with the film What Dreams May Come – so I was anxious to watch. Despite the warnings (mainly about themes) I decided to view with my 12-year-old son (who when we talked about the film afterwards thought it had been made for children and was surprised about these warnings!). The film won an Academy Award for its visual effects and it was nominated for the Academy Award for Best Art Direction. It also won the Art Directors Guild Award for Excellence in Production Design.
Perhaps the first thing to consider is that the book the film is taken from is probably one of ideas – and ideas don’t translate well to the screen – in fact the book’s author, Richard Matheson claims in its introductory note that only the characters are fictional, and that almost everything else is based on research. The screen (and the BIG SCREEN particularly) wants action and – naturally – visual power. The latter is there…hence the awards – but somehow I found the whole experience lacking. The ideas are so profound how can they be espoused in under two hours. Matheson’s research appears to dissolve into cringing sentimentality – is this slushiness from the book or straight from the ‘depths’ of Hollywood?
The character Christy ‘Christian’ (played by actor Robin Williams) falls in love with Annie (they meet while boating on a lake in Switzerland) and subsequently marry and have two children…Annie’s an artist he’s a doctor – life seems pretty damn good for them (a few problems with communication with the children) but they seem to spend their whole lives together giggling – and getting on well. Then the children get killed in a car crash – for which Annie holds herself responsible, as she wasn’t driving… And there is a very moving scene at their children’s funeral (some of this action is viewed through flashback). Then Christy gets killed while helping someone in a car crash – and he goes to Heaven. This is a Heaven his thoughts have created. And his Heaven begins (because it’s ‘safe’) as a reflection of one of his wife’s paintings – visually this is very beautiful if not highly viscous – wading through painted water in one scene.
Heaven seems to be without time (yet there is movement) and explained as a dream (dreams have no or little time yet also appear – when dreaming – to be perfectly normal); indeed it is a Heaven composed of thoughts. Often seemingly anarchic and pointless (but are we seeing ‘true’ Heaven or differing people’s thought-ideas – or only Christy’s?) there are some nice touches; ‘souls’ often seem to take on different guises of age/race/sex so as to make the meetings of people who knew each other – perhaps were related to each other – equal and without the usual baggage and preconceptions.
So Christy begins to get used to Heaven but then finds out that his wife has committed suicide. This means she will go to Hell (though Hell is explained as being not quite as we imagine) and there is nothing Christy can do about this. He refuses to believe he can do nothing and decides to find his wife and bring her back with him to Heaven. (They are explained as soul mates as a tree has appeared in Christy’s Heaven, which has been painted by his wife when on earth, an apparently  ‘remarkable’ occurrence.) His guide – whom he calls ‘Doc’ – is not actually the Black doctor he thought but rather his son – and their relationship (with notions of the father expecting more than the son could or wanted to achieve) partially explained in flashback. The psychiatrist helper/guide ‘Sigmund Freud’! turns out to be the Black doctor…More flashback shows that his wife has had a nervous breakdown and how Christy tries to help her and how there is a significant conversation at the hospital where she vows to carry on (and not give in to either madness or death).
The journey to Hell is impressive visually – though it could have been more so – it made me recall Dante’s Inferno at times but Christy’s reaching of Annie is too quick (unless of course this all takes place in his thoughts and is his illusion). During this journey we find out his guides are his son as well as his former doctor/mentor. If all this is his illusion (his dream) then everything is excusable – but finding Annie amongst a sea of faces (seemingly trapped in thick mud) stretches credibility to the limit. He then attempts to enter ‘her’ illusion (his, hers or both?!) and mustn’t be caught by her (therefore remaining there within ‘her’ illusion) – this mirrors a conversation he has had with Annie in the grounds of the mental hospital. The dialogue is clever but not wholly convincing – he decides to stay there with her and by doing so (sacrifice?) manages to persuade her to leave with him and it’s all – considering – much too easy. As my son pointed
out – if people are in Hell for a punishment or through judgement how can they travel to Heaven so easily? Wouldn’t that interfere with some higher judgment?! Also – it seems the age-old notion of a suicide being condemned for taking away God’s gift is brushed aside and it’s rather a matter of self-worth/self belief. I’m not passing judgement here – but balancing it against religious teaching (Oh and God is referred to as being ‘up there’ somewhere! A Heaven in Heaven?)…
It also seems that despite the whole of humanity (to that point) dying and going to Heaven or Hell – and all the noble figures; all those who have lead strict and difficult lives; all those who have loved through UTMOST difficulty – it seems only ‘now’ that ANYONE has got someone out of Hell  – it’s taken a couple of giggling Americans to do what none other has EVER done.
Everyone gets reunited – father, mother, two children and the dog (of course)…now, dogs in Heaven? Okay as part of an illusion but if dogs really get to Heaven where are all the animals people have eaten? And the amoebas – wouldn’t there be all forms of life there? Where would this line of life be drawn? (And umm…how about the dinosaurs?)…
Again – and it really boils down to this – if we are witnessing everything as Christy’s illusion ONLY – then anything goes…it’s his dream and his rules…the fact that we are TOLD or apparently shown others ‘realities’ or dream-states or Heaven Experiences could simply be Christy’s illusion. So now then…what to do in Heaven for an eternity eh?
Well Christy persuades Annie to get reborn (a ‘Christian’ goes Buddhist?) so they can find each other again and fall in love – for what purpose? – hey, and guess what – the last sickeningly sentimental shots are of a little boy and girl meeting and you know it’s them finding each other (not a lake this time more a large pond with toy boats not real ones!)…A near ‘perfect’ reduction of some of the greatest and most profound questions on (Heaven and) earth to simpering Hollywood schmuck!!!
I’ll leave you with this reported quote from the film’s Wikipedia entry:
When asked his thoughts on the film adaptation of his story, Richard Matheson said, “I will not comment on What Dreams May Come except to say that a major producer in Hollywood said to me, ‘They should have shot your book.’ Amen.”

Reviewed by Tim Bragg

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Tales from the Castle Gate

Tales from the Castle Gate

“THERE is perhaps no more fruitful form of education than to arouse the interest of a people in their own surroundings”

– Joe Baker, Glenravel Local History Project, North Belfast.

I THOUGHT I knew a bit about local history, but even I was stunned to hear that French forces had invaded Carrickfergus! Indeed, from 21st February to the night of 25th – 26th February 1760, Carrickfergus was an overseas territory of the French realm of King Louis XV!

This event – and much more besides – can be found in an excellent book written by Charles McConnell (and published by Carmac Books, Carrickfergus in 2002). Called Tales from the Castle Gate it attempts to provide as much information as possible about the castle. As McConnell notes: “There are few buildings in Ireland with such a well-chronicled and long history as the town’s most compelling landmark and it was the strategic importance of the Castle as a military fortress that led to the succession of memorable events associated with the town’s history”.

There is so much to read in this remarkable book – chapters include The Castle Builder, Lord Edward Bruce, Roundheads and Cavaliers, The castle and the Williamite War – but the day Carrickfergus became part of France really captured our imagination! This is dealt in reasonable depth with a chapter entitled Under a Foreign Flag. It really is a fascinating account of the French invasion – and subsequent capture – of Carrickfergus.

On 21st February 1760 around 600 French troops – under the command of Commodore Francois Thurot – landed at Kilroot and advanced towards Carrickfergus. The castle and town were put on alert as soon as the French were spotted. Around 300 French Prisoners of war, captured from previous land and sea battles, were being held in the castle. (They had originally been held in Cork for two years. However, because of rumours of a French invasion of the southern coast of Ireland, they had been moved. These prisoners were first moved to the Irish midlands and then on to Belfast. Three Hundred were held in Barrack Street in Belfast and the remaining 300 held in Carrickfergus). When Thurot’s fleet was spotted these prisoners were mustered and marched off to Belfast!

During this period Carrickfergus Castle wasn’t as militarily impressive as it had been. Tales from the Castle Gate states that in “the relatively peaceful times of the first half of the 18th century in Ireland, complacency had developed about the Castle’s military role”. Thus it had fallen into a state of disrepair – indeed; there was fifty foot breach in the outer curtain wall where a section had collapsed six years earlier in 1754.

The only military forces defending Carrick at the time was a detachment of General Strode’s regiment, the 62nd Regiment of Foot. This consisted of about 160 young recruits undergoing training. There was barely only enough ammunition for each soldier’s training and there were no guns mounted! They were under the command of Colonel John Jennings. (According to Tales from the Castle Gate, the commander of Carrickfergus Castle, Colonel Jennings, later described it as “an old fortress little better than a heap of ruins”.)

The majority of those soldiers defending Carrick – the 62nd Regiment of Foot – were deployed at Joymount where the main French attack was expected. Others were deployed at North Gate, West Gate and the castle itself. A lack of ammunition saw the British troops retreat to the castle. And a series of running battles saw some of the French invaders get into castle. The bulk of the French troops had marched into Market Place. Some were then deployed on to West Street then to Cheston Street where they could fire directly at the outer castle gate. Other French forces were concentrated in Castle Street. The web-site of Carrickfergus Borough Council http://www.carrickfergus.org also notes that whilst the French were on route to the castle “the silver in St Nicholas church was stolen”.

Those defending Carrickfergus castle found themselves in an impossible situation. The lack of ammunition (which had prompted their initial retreat) meant that there was more powder than ball. Therefore, half the powder from each cartridge was fired with the bullet – the other half was used to fire a metal button from their tunics!

It wasn’t too long before the French invaders charged. Led by Captain d’Esterees they attacked the castle door, which had not been closed properly. This led to hand to hand fighting in which d’Esterees was the first to fall. Senior British officers – including Colonel Jennings – and about fifty men with fixed bayonets repulsed this initial French attack. They were aided by their comrades who although they didn’t have any ammunition threw stones and bricks at the French!

Given the inadequate state of the British defence, it’s surprising that they were able to hold off the French for several hours. However, it was clear that Colonel Jennings would have to surrender. His men were outnumbered three to one and were completely out of ammunition. Despite fighting against overwhelming odds the British defenders had two killed and five wounded. At the same time, the “French lost a surprising number of, about fifty being killed, including three officers, and about the same number wounded”. (Interestingly, one of those wounded during the fighting was Brigadier General Flobert. He originally wanted the diversionary invasion abandoned but was overruled by Thurot. Flobert was so badly wounded that he had to stay ashore to recover). Additionally, it was only a matter of time before the French discovered the massive breach in the defensive wall. This would have led to the French completely overrunning the castle and possibly killing all of its defenders.

In Tales from the Castle Gate, McConnell notes that the terms of capitulation were generous. “The garrison were allowed to march out with drums beating and flags flying and be on parole till they were exchanged for an equal number of men. The Castle was to be delivered up with the stores in it. The town was neither to be plundered nor burnt, nor the inhabitants misused.”

Once the French had occupied Carrick Castle they demanded provisions and stores from Belfast. They stated that if nothing arrived they would burn Carrick to the ground and kill all of its the inhabitants. The provisions were slow in coming so Commodore Thurot threatened to march on Belfast. The local authorities relented and met his demands – enough food and fresh water was supplied to see them back home. The French invaders also took what they could from Carrick – including any clothing they could find to protect them from the bitter winter. To ensure their safety they took some local dignitaries as hostages.

The brief French occupation of Carrickfergus ended when – on the night of 25th – 26th February – Thurot’s forces left just as the advance guard of the British reinforcements approached. However, Because Carrickfergus lies within Belfast Lough, they had to wait two days for a favourable wind to take them out to the open sea.

However Commodore Thurot never reached home. Three ships of the British fleet having been alerted, intercepted the three French ships off the Isle of Man and in the ensuing battle the French were defeated and Thurot killed.

Reviewed by John Jenkins.

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