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Ok, irgendwie bin ich heute zu müde und/oder faul, mir ein richtiges Review aus den Rippen zu schnitzen. Aber dafür zwei halbe?

Tatsächlich warteten diese beiden LPs von Jörg Schneider schon gut zwei Monate darauf rezensiert zu werden. Das habe ich allerdings nun gemeinsam mit zwei weiteren Alben anderswo getan. Ihr wisst schon...


SCHNEIDER SHIROISHI - Schneider Hiroishi (LP) (2022)

Meine erste Bekannstschaft mit Schneider habe ich über das Album "Dual Gaia" der Jazzmetal-Gruppe Roji gemacht. Ein Mitstreiter des Drummers dort ist Saxophonist Patrick Shiroishi, den ich im Oktober erst in einem kleinen Club in Tilburg als Support von Sumac live gesehen hatte.

Das Zusammentreffen der beiden auf diesem Album ist ein wunderbar lebhaftes, dynamisches Freejazzfest, welches nicht nur aufregend gespielt ist, sondern vor allem - insbesondere auf dem schwarzen Rund - ganz phänomenal klingt. Man fühlt sich, als säße man direkt zwischen Trommeln und Tröte und kann jedes Atmen, Klicken und Kratzen hören. Und eben auch sieben tolle Improvisationen in der Tradition von Albert Ayler, Peter Brötzmann, Ornette Coleman... [Nachnamen-ABC bitte beliebig lange fortsetzen!]

SCHNEIDER DAHL - Schneider Dahl (LP) (2022)

Ein anderer Kollaborationspartner und es werden ganz andere Seiten aufgezogen, Bass-Saiten nämlich. Was Tim Dahl allerdings aus diesen herauslärmdröhnt, klingt eher wie eine komplette Kakophonie aus Elektrobrummen, Gitarre and Baritonsaxophon beim Imitieren eines Flugzeugs. Feine Musik also. Und wer auf einen Titel wie "Evil Knows Best" kommt, der hat im Grunde ja eh schon gewonnen. Alternativer Projektname für dieses Duo: Merzbow-DeadNeanderthalsche Freundschaft. Herrlich krankes Krachgepolter.

Zwischen diese beiden LPs passt also beinahe das komplette Spontanjazzspektrum. Ja, beinahe, nicht ganz. Zumindest aber die ebenfalls neulich erschienen Alben "Schneider Kristof" und "Schneider Baker". Wo ich die bereits mitrezensiert habe, erwähnte ich ja schon weiter oben.

harineweekly 47/52

Probably some pictures in here which I have done almost identically before. But maybe not in the same colour mode, so who cares? Here are two days in two modes from this week with the Digital Harinezumi 3.0:


MUSIC 2022: TOP 5 reissues

T'is the season again! Time to start with those dreaded end of the year lists! I'm trying to keep them short, even though it always pains me to leave out so much worthy stuff.

Today I'm starting with one of the "B categories" that doesn't need much explanation: just my personal favorite reissues which came out in 2022. So here we go!


  1. Seriously? A tape with a not really convenient packaging wins against several vinyl releases including a box set? Of course the value-for-money ratio plays a little bit into that, right?
    Yes, it does. But this WV Sorcerer Productions reissue of Dolpo's 2019 album, wrapped in cloth, with a rice paper credits sheet and a cone of Tibetian ritual insense, also looks cool. But most importantly this very raw cosmic drone doom experience, enriched with authentic Himalayan field recordings and traditional Asian instruments is just a phenomenal intersection of Bong, Bell Witch and Saba Alizadeh. With this run of cassettes long gone I still recommend anyone who digs the merging of doom with ethnic influences (think Rinuwat or SteppenDoom) to give the digital version a listen!

  2. BLUT AUS NORD - 777 (Sect(s) / The Desanctification / Cosmosophy)

    This box is not perfect (one poster mix-up and why no downloads for that price?), but it comes pretty damn close. The three albums in beautiful colour pressings and gatefold cover plus the slipmat, which is still rotating on my turntable, don't give me any regrets buying Blut Aus Nord's complete "777" trilogy, which was originally released in 2011 and 2012. Musically these avantgarde black metal meets industrial, doom and even French hip hop classics are a class of their own anyway. Enormous! 

  3. MAGMA - Mekanïk Destruktïw Kommandöh

    This reissue from Music On Vinyl is pretty straight-forward. The album from 1973 is far from being an unearthed obscurity, but an absolutely legendary, genre-defining (the genre of course being Zeuhl) masterpiece. The quality pressing is gold, the cover artwork of the gatefold shines gold, too. Oh sorry, it's not gold, but "copper". Well who cares? It looks and sounds great. No fancy extras beyond that needed. Beautiful edition of an untouchable work of the century.


    This one looks even less spectacular: Just two black records in a single sleeve, a card, that's it. Nothing more, nothing less. But I'm in it for the music and this wild free jazz gathering of Turkish quartet Konstrukt and saxophone giant Peter Brötzmann from 2008 is a fantastic slice of exciting chaotic manic fun. Further proof that Konstrukt and Karlrecords are always a worthwhile combination.

  5. SINISTRO - Hóspedes Silenciosos

    The doom band from Portugal re-released three demos from 2012 on one CD. Over one hour of cineastic (apart from a couple of rather textural primal screams) instrumental sludge enriched with samples, slightly Mediterranean clean guitars, post rock, synthie scores and trip hop beats. Huge and heavy, deep and visonary emotional music. And of course a perfect reminder that Sinistro were already great before they had a certain fantastic lead singer for a couple of years and releases.



You bought a twelve-string bass. Not with twelve strings in a row, but with the regular four strings and two thinner extra strings attached to each of them, so every note you play automatically has two overtones. What do you do with it?
Let's play some doom metal! Yeah, that sounds nice. I wish I could also sing three notes at a time, that would fit so perfectly. Oh wait, there are singers out there who can exactly do that!

Ok, this is not exactly how producer Marc Urselli's many years long journey of creating this album started. But there's also a bit of truth in it. If you want to know more about how this "all star" project of doom and indigenous throat singing came to be, I recommend you consider checking out the artbook CD version of "SteppenDoom"!

AND SINCE I'VE ALREADY WRITTEN ANOTHER AT LEAST MEDIUM-IN-DEPTH REVIEW OF THIS ALBUM HERE ON VEILOFSOUND.COM, I will treat this following text more as an addendum and mainly focus on the haul of the awesome physical product.

MARC URSELLI'S STEPPENDOOM - SteppenDoom (white/müritzblau marbled vinyl LP + clear 7" + artbook CD) (2022)

Yes, I went full let's get myself an early Christmas present from Magnetic Eye Records on this one and purchased the box set, which contains most of the other available formats and adds a couple of extras.

Obviously the most basic version - the digisleeve CD - is missing in the box, but I can tell from afar that it's probably a miniature variant of the LP gatefold with the disc containing the same six regular tracks as its big relative.

On its own the vinyl is available in black and two different coloured version based on red and yellow, while the one in the box set comes in a mountaintop style marbled mix of light blue and white. The gatefold looks great and comes with a sheet for the basic credits.

So if you dig records and are mainly interested in the music, you already have a great album with this.

What you're missing though are the two bonus tracks. And with one of them lasting for thirty-three minutes that's quite a respectable amount of music.

The only physical format which gives you the whole eight tracks is the luscious artbook CD. So if you don't want to go for the whole box, this version of "SteppenDoom" is the one I would recommend the most. Not only the music, but also the photographic art plus the extended credits and liner notes really make this item the heart of the whole release.

There's still a little bit more in the box though! In fact those are the first things you'll see when you open it: prints of three photographs, which also appear in other places of the artwork and photobook - and a neat transparent 7" which again features the two bonus tracks.

And before you're doing the math: Yes, the second one of those - which features the most guest musicians of all tracks, including Dave Chandler (St. Vitus), Wino (The Obsessed), Norman Westberg (Swans), Anders Møller (Ulver) and Alexey Tegin (Phurpa) - is of course not the complete half-hour version, but edited down to a tenth of the original length. That doesn't capture the whole well... Phurpa/Ulver/Swans style meditative grandiosity of it, but it's still something, right? Ok, one could argue why this isn't a 12" extra LP, but since we already have the CD I'm down with this ehm... radio edit. 

So, since I've now finally started to mention some of the participants, I will quickly summerize, what this project actually is.

"SteppenDoom" is the more than successful merger of the worlds of droning doom - think Bong and Sunn O))) or recently Bong-Ra and Rinuwat - with the primeval power and astonishing diversity of the world's indigenous throat singing traditions. Not all of those are covered, since there are also for example forms of overtone singing in South Africa, Sardinia or famously among Tibetian monks. But we have features from the Russian republic of Tuva, where this form of music is the most common, Mongolia and Tanya Tagaq as a representative of the North-Americac Inuit.
Other big names on the throat singing side are Huun-Huur-Tu, Yat-Kha and the Alash Ensemble, while on the instrumental doom side you're very likely to recognize players from Paradise Lost, Cult Of Luna, Neurosis and Sleep.

The basic skeletons of all tracks were provided by the Swiss-Italian producer Marc Urselli himself. You don't need to care about his Grammy fame, but over eighty-five albums with John Zorn or examples like his work with Toby DriverArthur Brown and the jazz metal trio Kilter should indicate that the man knows what counts.

Production-wise alone "SteppenDoom" is an immersive listening experience full of fantastic details. This whole project is more than a well-produced conceptual idea. No, this amplification of ancient vocal art with deep and slow metal transcends the premise of its ingredients and lays bare the deepest roots of doom in a profound place far beyond Black Sabbath.

This is magical stuff. And the doomiest doom of 2022. (But since I've bought this box you probably already guessed that I like it quite a bit.)


THISQUIETARMY x AWAY - Machine Consciousness, Phase III

And here's what I brought from the merch table in the MS Stubnitz on November 9th: Appearantly the two collaborations between soundscape gardener thisquietarmy and Voivod drummer Away haven't been enough yet. So here we go with another round of atmospherically layered guitar and synth noises and drums!

THISQUIETARMY x AWAY - Machine Consciousness, Phase III (CD) (2022)

This album came from the same recording sessions in 2019 as its two predecessors, but a photograph used for the cover and even more so the title before the appendix Phase III not being "The Singulary" again point to this work being somehow apart from them - but not so far that you would loose the chronological connection or the  pattern of naming the individual tracks with greek letters and binary numbers.

The main difference is that this third joint album needed more post production and got it in the shape of guest musicians fom Eric Quach's full live band on trumpet, trombone and bass.

What's more to be said without repeating my previous review? It's the same brand of raw, minimalistically structured ambient drone post rock sprinkled with metal and industrial influences, but also with some beautiful extra jazzy onion skins around it. A fitting, slow-burning finale for this great trilogy.

Even though I could have snatched the vinyl version without postage, I went for the CD, not only to match the formats of Phase I and II in my collection, but also because it has an additional track. And more good stuff is more good stuff.  

harineweekly 46/52

A cat, some dogs, a bird and one deer. I think I've done good with the Digital Harinezumi 3.0 this week.

(Yeah, you have to look closely for some of those.)