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Viranesir Reviews

 

 

 

Satanic Mosque

(2017)

 

Occult Black Metal 7/10

 

 

Supports Flag Burning And Female Raping

(2017)

 

Czech: Sicmaggot

 

Ramblings Of Scvm

 

The Metal Observer 8.5/10

 

The Grim Tower 80/100

 

Greek: Rock Overdose 78/100

 

Brutal Sedition

 

Occult Black Metal Zine 8/10

 

 

Dad's Choking On My Vomit Of His Semen

(2016)

 

Absit Omen

 

The Grim Tower 8/10

 

Czech: Sicmaggot

 

Greek: Rock Overdose 70/100

 

Spanish: Black Metal Spirit 8/10

 

Occult Black Metal Zine 8/10

 

Merchants Of Air

 

 

Children's Suicide Music

(2015)

 

Czech: Sicmaggot

 

Greek: Rock Overdose 80/100

 

Merchants Of Air

 

Spanish: Black Metal Spirit 7.8/10

 

Occult Black Metal Zine 8/10

 

Cadaver Garden

 

 

You Jewish Bastards

(2015)

 

Greek: Rock Overdose 70/100

 

Servile Insurrection

 

Metalhead.it

 

Occult Black Metal Zine 8/10

 

Spanish: Black Metal Spirit 8.1/10

 

 

Solaris

(2015)

 

Raised By Gypsies

 

Sonic Abuse

 

Czech: Sicmaggot

 

Occult Black Metal 8/10

 

 

Kaos Garden: Burn The Homeless

(2015)

 

French: Team J.G.C

 

Greek: Rock Overdose 73/100

 

 

Suffering, Fear, Lucifer

(2015)

 

Greek: Rock Overdose 75/100

Czech: Sicmaggot

 

 

Raping Lesbians For Freedom

(2014)

 

Spanish: Black Metal Spirit 8.1/10

 

Italian: Disfactory.it

 

Portuguese: Misantropia Extrema 7/10

 

Greek: Rock Overdose 80/100

 

Occult Black Metal Zine 8/10

 

 

Shoot On Mom's Corpse

(2014)

 

Weirdest Band In The World

 

 

Fountain Of Uncertainty

(2013)

 

Battle Helm

 

Metal Kaoz 8/10

 

About.com 4/5

 

The Metal Observer 8/10

 

From The Dust Returned 7.75/10

 

Italian: Headbang.it

 

 

 

 

 

 

Satanic Mosque

 

Occult Black Metal

 

 Turkey's  Viranesir  have  returned  with  a  new  recording t hat  moves  away  from  the  experimental  black  metal  sound  that  they  are  known  for  and  goes  for  a  very  offensive  and  politically  incorrect  style  of  hip  hop  on  this  recording  and  this  is  a review  of  their  2017  album  "Satanic  Mosque"  which  was  released  by  Merdumgiriz.


  Dark  sounding  ambient  style  synths  and spoken  word  parts  start  off  the  album  along  with  some  melodic  r  &  b  vocals  a  few  seconds  later  before  going  into  more  of  a  hip  direction  which  includes  rap  style  vocals  that  also  add  in  a  grim  touch  of  black  metal  at  times  along  with  the  bests  being  programmed  and  there  is  also  a  brief  use  of  melodic  and  ritualistic  chanting and  one  of  the  tracks  is very  long  and  epic  in length.

  Viranesir  plays  a  style  of hip hop  and rap  that  is  very  politically  incorrect  and  funny  while  only  having  a  small  touch  of  black  metal,  the production  sounds  very  dark  while the  lyrics  cover  Satanism,  Anti  Islam,  Politically  Incorrect  and  Anti  Black  Metal  Poser  themes.

  In  my  opinion  this  is  a  decent  attempt  at  hip  hop  by  Viranesir  and  while  most  black  metal  fans  would  hate  this  album,  I  can  see  it  appealing  to  the  more  open  minded  people  that  are  looking  for  something  that  is  very  offensive  and  antifa  and  other  hard  left  wingers  will  still  hate  this  album.  RECOMMENDED  TRACKS  INCLUDE  "Worthless  Bitches  and  Turkish  Mob  Life"  and  "Trailblazer  Trickster".

 

7/10

 

John Larsen

20.4.2017

 

 

 

Supports Flag Burning And Female Raping

 

Sicmaggot

 

Metalová hudba má mezi širokou veřejností image čehosi extrémního, okrajového, nebezpečného, zvráceného. Ve skutečnosti je to však pouhý mediální obraz a drtivé většině metalové scény podobná adjektiva nepřísluší. A to myslím především jako negativum a kritiku metalové hudby, protože ta by totiž měla být extrémní, okrajová, nebezpečná a zvrácená, jenže není. Jsou to samé homoušské melodické mrdky, kopa pozérských sraček, neškodná hudba pro děcka a zastydlé agro-fotry. Byť si samozvaná metalová elita s oblibou myslí opak, pravda je taková, že jde o zcela konvenční a obyčejnou muziku. Onu esenci temnoty a zla dokáže uchopit a zhudebnit jen velice malé procento ze všech těch skupin, které formálně spadají do metalového ranku.

„You say animals aren’t evil. Yeah right, try spending a night with a grizzly bear you hippie bitch.“
(I Only Like Meat When I Know the Animal Suffered Thoroughly)

 

Podobně jako hudební nebezpečnost se z metalového žánru vytratila i kontroverze. Dávno pryč jsou časy, kdy šokoval obrácený kříž na prvním albu Black Sabbath. Dnes jsou krev, Satan a tři prdele pentagramů chápany jako běžná součást metalových textů, pozastaví se nad tím leda tak vaše babička. Význam slova kontroverze se vytratil a stal se z něj pouhý eufemismus pro pár nacistických buranů, kteří si pořád myslí, že Hitler byl jakože v poho tejpek.

 

O to víc ovšem potěší, když se z hlubin vynoří hudebník, jehož hudba má v sobě onu animálnost a jehož mysl je patřičně chorá. Turecký magor Emir Toğrul k takovým jistě patří, a dokonce bych i řekl, že jde o jednoho z nejvýraznějších představitelů metalové zvrácenosti, jaký se v posledních pár letech objevil. Od jeho tvorby dává ruce pryč většina žánrových médií, potýká se s cenzurou a zákazy, a přesto pořád do světa pouští jedno hudební zvěrstvo za druhým, přičemž v kadenci hnusu nejenže nepolevuje, ale spíš ještě přidává na obrátkách. A to o tom mluvím hodně ve zkratce, pro ukázkovou porci historek neváhejte nalistovat související starší recenze.

„Guitar is a nigger instrument so NSBM is a joke.“
(NSBM = Nigger Sucking Bi Metal)

 

Mohlo se zdát, že vrcholu kontroverze Toğrul dosáhl na desce „You Jewi卐h Ba卐tards“, kde nechyběly hity jako „Hitler Rape“ nebo „Kill Nigger“. Ale ono ne. Aktuální deska „Supports Flag Burning and Female Raping“ se s tím nesere ještě víc a sype skladby s tak zhovadilými názvy jako „I Only Like Meat When I Know the Animal Suffered Thoroughly“„Christians Oppose Abortion Because They Like to Fuck Orphans“„I Support Isis, Nazism and Child Rape“ anebo „NSBM = Nigger Sucking Bi Metal“.

 

Jak vidno nejen dle názvů písní, ale i z přiložených ukázek textů, které již tradičně opravdu stojí za přečtení,Emir Toğrul s Viranesir vysílá na docela jiné vlnové délce, než je většina lidí zvyklá. Však to také většina lidí nevydýchá. Dle mého je ale jenom dobře, že tu je někdo, kdo zvysoka mrdá na všechna společenská pravidla, konvence, standardní přístup a vysmívá se všemu a všem. A když se někdo ozve, tak jim všem tenhle bisexuální Turek zmalovaný jak stará kurva vynadá do buzerantů, fašistů a vystrčí na ně svojí chlupatou prdel. A to není žádná metafora, tohle opravdu dělá.

 

„Throwing faggots off buildings, great!
Beheading enemies, great!
Burning people, amazing!
Using fear and brute force as propaganda and control!
Isis is truly powerful, fearsome and a great nation! No politics, to the point! It is our only hope against America!“

(I Support Isis, Nazism and Child Rape)

 

Hudební stránka Viranesir je věrným odrazem toho všeho, co se odehrává v textech a prezentaci.„Supports Flag Burning and Female Raping“ ovšem přináší mírnou obměnu receptu. A tím nemám úplně na mysli, že se po dvou ambientních počinech „Children’s Suicide Music ((Ritual of (Love) Is the Key))“ a „Dad’s Choking on My Vomit of His Semen“ jedná o návrat k black metalu. Novinka na mě působí méně chaoticky a nemocně, naopak zvuk mi připadá o něco syrovější a samotné skladby jsou ze skladatelského hlediska čitelnější.

 

To však berte čistě jen jako detail daný subjektivním náhledem. Možná jsem si už jenom na ty Toğrulovypošukanosti zvyknul a na rozdíl od minulosti mi nedělá problém do materiálu proniknout vcelku rychle, protože jsem vycvičený. Kdo ví. Jedna věc je ovšem docela jistá – „Supports Flag Burning and Female Raping“ je stále deska hodná Viranesir se vší zvráceností, dekadencí a černočerným humorem, které k tomuhle jménu prostě a jednoduše neodmyslitelně patří.

 

„Racial segregation, great!
Masterful leadership of lord Hitler!
High class aesthetics and to the point solutions, Nazism will forever live!
Clandestine ruling of jews is the real elitism Nazism is for the people!
We will not tolerate you destroying the white race!!“
(I Support Isis, Nazism and Child Rape)

 

Možná, že zmiňovaný pocit pramení i z toho, že „Supports Flag Burning and Female Raping“ tentokrát není tak neprostupný monolit a jedna velká arci-chorá zvuková koule, z níž sice negativismus teče po litrech, ale zapamatovatelný moment, jehož by se dalo chytit, aby člověk pohledal. Tentokrát není problém si určité písně zapamatovat a snad se dá říct, že z celku vystupují. Tím mám na mysli třeba„NSBM = Nigger Sucking Bi Metal“ s výborným majestátním riffem a ambientní mezihrou, „Christians Oppose Abortion Because They Like to Fuck Orphans“ se šibnutými atmosférickými pazvuky v pozadí, ošklivou „Instagram Orospusu / Fat Bitch“„666 – Köylü Orospu“ s odpudivě se převalujícím pomalým riffem nebo „666 – Gülsene Orospu“ s výraznějšími klávesami, s nimiž přijde znatelný závan ambientní tváře Viranesir. Nicméně snad není třeba dodávat, že i nejmenovaný zbytek je stále maso.

 

„Supports Flag Burning and Female Raping“ a Viranesir obecně je samozřejmě záležitost jen pro posluchače s chorou myslí, kteří se hned tak něčeho nezaleknou a kteří jsou schopni přijmout za svůj svět, v němž společenská pravidla a politická korektnost neplatí. To nejdůležitější pak tkví ve skutečnosti, že se nejedná jen o extrém pro extrém a že to není jen o zvrhlých nihilistických textech, ale že i samotná hudba ve své ohavnosti dokáže zapůsobit.

„Fields of raped dead babies, this my heaven. Indulging in the stench of your fear and death. You’ve chosen the weaker god, easier way and now Satan triumphs.“
(666 – Gerzek Orospu)

 

H.

5.4.2017

 

 

 

Ramblings Of Scvm

 

From the realm of audio sickness that is the band Blliigghhtted comes one of the most provocative and offensive Black Metal projects, perhaps ever. Viranesir, helmed by Bliigghhtted frontman and filmmaker Emir Toğrul, offers a very experimental and kinda surreal, yet very straightforward and primitive style of Black Metal and it’s very well done. Vocals that range from shrieks to whispers to maniacle yells and laughs, hazy sounding blasty drums and weird but interesting tremolo riffage bleeding out of loud, piercing guitars. Very well structured and very nasty stuff. The main thing makes this project infamous, however, is the extremely offensive and FAR from politically correct lyrical subject matter that this project offers. So much so that he was banned from Bandcamp of all fucking sites. As ridiculous as that is, and i’m sure it can provoke some sort of discussion of censorship in music (maybe i’ll write something on it), either way, I gave this a shot because I liked Blliigghhtted so much (and because unlike 卐 Bandkamf 卐 and a certain group of people on a certain side of the political spectrum we all know and love, I actually support artistic expression and freedom of speech) and I loved it, as well as much of his previous works under this guise, and whether tongue in cheek or not, a lot of these lyrics do make for a good laugh. As long as you’re not an uptight knob, that is. There are some moments on this that remind me of Blliigghhtted, particularly Into the Cunt of the Witch, particularly the last 3 tracks which I believe were tied together. Again, very well done. Anyway, not to ramble on about this, but in short, very good album, very good sound, and while I don’t necessarily agree with some of it, the lyrics were at least entertaining (again, I like Anal Cunt too). If you’re not a liberal turd or SJW or just a faggot and understand art and like weird but sick Black Metal, give this a shot!

 

Scvm

23.1.2017

 

 

 

The Metal Observer

 

Jumping headlong into controversy, Turkish experimental black metallers Viranesir have taken more than a fair share of attempted censorship in their quest to break down the barriers of artistic expression and freedom by willfully inviting any act or topic into their influences. Essentially a solo album after Emir Toğrul became the sole member, the projects’ tenth full-length effort was originally released January 5, 2017 on the band-owned Merdümgiriz label.

 

Due to the willingness to involve a slew of influences into the mix, the album is a chaotic and certainly jarring mixture of extreme metal that ranges through a wide mix of elements. Though based mainly in the realm of chaotic black metal, as in “I Only Like Meat When I Know the Animal Suffered Thoroughly,” “Burn the Flag of USA” and “Christians Oppose Abortion Because They Like to F*ck Orphans” resulting in a solid backbone of frenetic tremolo riffing firing off utterly blistering blasts of chaotic noise against relentless walls of distortion and vehement, violent vocals that forms a solid part of the majority of the album. Suitably plotting alongside the ravenous work is absolutely maddening ambient-tinged keyboards and synths as in “Metal is Full of F*ggots” and “I Support ISIS, Nazism and Child Rape” that add a dissonant, haunting atmosphere to the savagery and relentless energy elsewhere throughout the album and making for quite a striking opposition.

 

This approach, quite a far cry from the synthpunk-laden dementia trip in their previous release, enables for a truly overwhelming attack that consistently maneuvers from shattering black metal to haunting synths that adds a truly nightmarish vibe to the album as a whole. If the album has a failing at all, it’s the utterly low-budget recording as the production never allows the material to generate its full impact as the haze-riddled guitars and triggered drumming is all swept into a nearly-indecipherable blur of noise that really does a disservice to the music as the ripping riff-work and constant tempo-shifts just wash themselves out. This isn’t a detrimental factor, though, and can certainly help this out just as easily as strike it down.

 

Another top-notch highlight from one of the scenes’ most impressive figures, this continues Toğrul’s run of consistent, high-quality releases in the field and certainly makes for a highly enjoyable and worthwhile effort to look into for fans of his previous works or any adventurous extreme metal aficionado looking for something else beyond the norm.

 

8.5/10

 

Don Anelli

31.1.2016

 

 

 

The Grim Tower

 

The Turkish experimental black metal project Viranesir has returned with a new album, this one more influenced than black metal than the previous disc I reviewed. It's a bit different, a little more raw and far less experimental than the previous as well. I can't say that I like it as much, but nor would I suggest Viranesir repeating itself, which to my knowledge has not happened. Emir Merdumgiriz recorded the record earlier in 2016 and it's filled with treatises on everything from politics to an overall hatred of the modern metal scene. The Turkish born composer has been through quite a lot during his career, and mostly the dissension seems to come from him being the exact opposite of politically correct. Some artists apparently fear for their image and have obviously taken a strict liberal basis (metal is far more liberal by nature) which actually feels more conservative in the sense that they're almost afraid to be on an album release with this artist. Such a dispute was handled in the same form similar of a hip-hop diss track, entitled “Metal Is Full Of Faggots” which comes off pretty well until Emir starts using the high pitched vocal for the other unnamed band member that he was quoting, and it becomes a bit funny. Emir seems to be going for an almost G. G. Allin approach to black metal in a politically correct age, which is going to lead to more and more issues in the future. I don't take issue with it, rather I champion it. Because Viranesir is taking a path that artists seem afraid to do. Satan no longer really invokes fear among metallers, so in order to upset and offend them in the way that early black metal records used to do, uncomfortable topics like rape, murder and siding with terrorists are satirically hinted around at, more than likely in a way that will offend and upset the scant few who actually pick this one up. I haven't seen anyone actually covering this record nor this artist, and it maybe be all the Bandcamp hassles as a reason for it. I think Viranesir was also banned from social media. Hell, just mentioning these guys for some reason may result in people thinking I support the myriads of horrible things talked about on a record, but I also know the difference between reality and fiction, satire and the actual intent or belief in these items. The record explores many instances of raw black metal, death metal, doom and even some experimental quirks in places – but it's definitely not as uncomfortable as the last and feels full of anger. Emir is seriously pissed.

To some, the record might come off a little bit soapbox, but that's fine as I've made similar records and will continue to do so. It allows Emir to get some things off his chest, which I think is truly great art. Even when the message may come off as grossly offensive, rather harsh and undoubtedly pungent, it is still art at it's core and must absolutely be respected. Viranesir has made an album by which to shock and upset a great number of people and we're certainly not going to shame him here for doing it. There's no money here, no big corporate agendas and most certainly no safe space garbage to be had over at The Grim Tower.
Judging it in the vein of raw black/death record, it's pretty strong and I think that fans of extremely raw approaches to what can be considered heavily aggressive genres well find something in it. If the song titles turn you off or suchlike, there's not much I can say there. Obviously not everyone is going to love this thing, but it hearkens back to the days when metal was actually considered evil and dangerous. To be honest, the last couple of tracks (in native Turkish) were my favorites on the album and definitely show the act's strong suites. If you can get around some of the more comical sections of the disc, you'll find that it's what we need in extreme metal today. Viranesir makes no compromises here and the entire album is better because of it.

 

80/100

 

Eric May

16.1.2017

 

 

 

Rock Overdose

 

Τόπος: Αθήνα, έξω από τη Βουλή

 

Χρόνος: Κάποτε

 

Ώρα: Μεσάνυχτα

 

(Έξω από τη Βουλή γίνεται χαμός. Ο κόσμος έχει ξεσηκωθεί. Κουκουλοφόροι, ματ, δακρυγόνα, καπνογόνα, μολότοφ, κάδοι που καίγονται στη μέση του δρόμου. Στο βάθος, ένας γενναίος ρεπόρτερ διασχίζει την ομίχλη που έχουν δημιουργήσει τα καπνογόνα και τα δακρυγόνα και πλησιάζει έναν κουκουλοφόρο.)

 

-Συγγνώμη... Θέλεις να πεις κάτι για την τηλεόραση;

 

-Έλα ρε φιλαράκι και με τρόμαξες! Τι θες;

 

-Κάποιο σχόλιο για την τηλεόραση.

 

-Τι σχόλιο θες, δεν βλέπεις τι γίνεται; Χαμός! Πολύ τη βρίσκω! #%@^#^νται οι μπάτσοι!

 

-Ναι βλέπω, αλλά κάνε μια δήλωση. Γιατί συμβαίνει όλο αυτό;

 

-Μας έχουν πιει το αίμα ρε φιλαράκι. Δεν μας έχουν αφήσει σταγόνα. Φτάνει πια. Πρέπει να ξεσηκωθούμε να δούνε ότι δεν θα ανεχτούμε τίποτα πια και θα αντισταθούμε. Όπως έκανε και ο Emir Togrul των Viranesir. Δεν μασάει με τίποτα και τον γουστάρουμε!

 

-Ο ποιος των ποιων;

 

-Ο Emir Togrul των Viranesir. Black Metal συγκρότημα από την Τουρκία. Αν δεν τους ξέρεις να πας να διαβάσεις κριτικές δίσκων στο Rock Overdose. Τόσες έχουν γραφτεί.

 

-Και τι έκανε αυτός;

 

-Του έκλεισαν τη σελίδα στο Bandcamp, του έκλεισαν τη σελίδα στο Facebook, πολλά συγκροτήματα έφυγαν από τη δισκογραφική του, την Merdumgiriz, αλλά αυτός αντιστέκεται ακόμα και συνεχίζει να τα χώνει σε όλους. Το καινούργιο άλμπουμ των Viranesir, με τον για ακόμα μια φορά προκλητικό τίτλο "Supports Flag Burning And Female Raping", είναι και πάλι ένα χτύπημα στα μούτρα των υποκριτών! Και τα πυρά του κατευθύνονται προς πάσα κατεύθυνση, κάτι που βλέπουμε και από τους τίτλους των τραγουδιών του δίσκου, όπως για παράδειγμα τα "Metal Is Full Of Faggots", "Burn the Flag of the USA" και "Christians Oppose Abortion Because They Like To Fuck Orphans".

 

-Βαρύ...

 

-Φυσικά. Και καλά κάνει. Και που να ακούσεις τη μουσική, μαύρη, σκοτεινή και δηλητηριώδης. Στο συγκεκριμένο δίσκο αφήνει πίσω του την Synth/Pop αισθητική του “Dad’s Choking On My Vomit Of His Semen” και την εκτεταμένη χρήση των πλήκτρων, και επιστρέφει στα μονοπάτια του Black και του Doom Metal. Υπάρχουν πλέον και πάλι γρήγορα σημεία, με blast beats και γρήγορες παγωμένες κιθάρες, τα οποία συνδυάζονται υπέροχα με τα μοχθηρά τραχιά φωνητικά και με τη σκοτεινιά, που αναδύεται καθόλη τη διάρκεια του δίσκου. Και όπως συνηθιζόταν και στους προηγούμενους δίσκους του, οι ταχύτητες πέφτουν συχνά κι εκεί που κυριαρχεί το Doom η ατμόσφαιρα γίνεται πιο ακόμα πιο σκοτεινή, αλλά και πιο βαριά, και αναδεικνύεται ακόμα περισσότερο η μοχθηρία που βγαίνει στα φωνητικά. Είναι όμως γεγονός, ότι έχουν κρατηθεί στοιχεία από τον προηγούμενο δίσκο. Για παράδειγμα, τα πλήκτρα κάνουν συχνά πυκνά αισθητή την παρουσία τους, δημιουργώντας μία απόκοσμη ατμόσφαιρα, ειδικά στα σημεία που η μουσική λαμβάνει μια πιο ψυχεδελική και χαώδη υφή, η οποία εντείνεται από τη θολή παραγωγή. Και σε διάφορα σημεία ο Emir τραγουδάει με έναν σαρκαστικό τρόπο, που πότε βγάζει μια δόση τρέλας και πότε φαίνεται ότι κοροϊδεύει τους πάντες. Μιλάμε γαμώ!

 

-Ωραία όλα αυτά, αλλά για την κατάσταση της χώρας θα κάνεις μια δήλωση;

 

-Θες δήλωση; Θα σου δώσω δήλωση! Να πάτε να ακούσετε ρε μπινέδες το νέο δίσκο των Viranesir! Μιλάμε για μαυρίλα, που βγαίνει από τα σωθικά του Togrul, και για ένα φοβερό συνδυασμό Black Metal, Doom, ψυχεδέλειας, ζόφους, χάους και χλευασμού. Δεν έχει σημασία που βγάζουν δίσκους συχνά, σημασία έχει που κάνουν καλή δουλειά και όποιοι είναι εκείνοι που θα του δώσουν μια ευκαιρία, θα μείνουν ικανοποιημένοι! Εντάξει, το έγραψες;

 

-Ναι!

 

-Ωραία, φέρε το μικρόφωνο!

 

-Στάσου τι κάνεις; Όχι μην το πετάξεις!

 

-Viranesir ρε #%@$ιά!

 

78/100

 

Minos Ntokopoulos

16.1.2017

 

 

 

Brutal Sedition

 

One of the main goals of metal is to push the boundaries of what is considered acceptable, to make people feel uncomfortable, and to force them to confront the dark realities of this world. Few people understand this better than Emir Togrul of Viranesir. He's one of the most politically incorrect sons of bitches in the entire metal scene. He doesn't give a fuck about your feelings. He looks upon the metal scene and he is disgusted by how pussified most modern metalheads are, so in response to this he created a new album called Supports Flag Burning And Female Raping. Prepare your anuses, pathetic wimps.

 

The band is nothing but Emir Togrul at this point. According to what he told me, he let go of the other members because they weren't living up to his musical expectations. I guess if you want something done right then you have to do it yourself. Emir has repeatedly proven himself to be a talented musician, and he does so once again on this album. The drums have two primary speeds: really slow and really fast. One minute they play slow and pounding doom-like rhythms. The next minute they play raging blast beats. Said blast beats are raw in their delivery and help to enhance the fury of the rest of the music.

 

The vocal delivery is quite diverse. Every song features a vicious rasp that exudes hatred and spite. Of course, that's not the only thing he pulls off. He performs sinister whispers on songs like “I Only Like Meat When I Know the Animal Suffered Thoroughly”. He also throws a curveball by performing these high-pitched effeminate vocals on “Metal Is Full of Faggots”. By the way, that song talks about the time when a band pussied out and left Emir's label Merdumgiriz because they were afraid that social justice warriors would call them racist. He even performs some clean vocals on songs like “NSBM = Nigger Sucking Bi Metal”. In that song, he mocks the entire genre of NSBM, pointing out how they use an Arabic instrument that was popularized in America by black people. On a somewhat related note, did you know that the vinyl record was invented by a jew?

 

The guitar work is superb. They start off the album with some really slow and ominous clean guitars. They then kick on the distortion and hit us with piercing slow chords that somewhat remind me of depressive black metal, but are a lot more vibrant. They then kick up the speed and assault us with blazing tremolo riffs. These tremolo riffs are raw in their sound, but there are a few moments throughout the album where they exhibit a touch of melody. He even includes some death metal influence by playing some crushing chugging riffs on songs such as “Burn The Flag Of USA”. As for the songs as a whole, they flow nicely, as they frequently switch between blasting sections and more doom-like sections. Furthermore, each song features a perfect balance of cold, heartless violence and intelligent musical structure.

 

Supports Flag Burning And Female Raping (love that title, by the way) is the most politically incorrect album Viranesir has made to date. He pisses on everyone's heads, from social justice warriors to nazis, and he doesn't give a fuck if they get triggered by it. However, this is definitely not a cheap novelty album. The actual music is pretty sweet. It's evil and vicious but also brilliantly designed. It's sometimes disjointed and chaotic and other times graceful and melodic. Emir Togrul is willing to take great risks and make daring musical decisions that most metal bands would dare not try, with great results. He also has fun ravaging delicate sensibilities while he's at it.

 

Hell Raven

8.1.2016

 

 

 

Occult Black Metal

 

  Turkey's  Viranesir  have  returned  with  a  new  recording  that  continues  the  politically  incorrect  and  offensive  style  of  experimental  black  metal  from  their  previous  releases  and  this  is  a  review  of  their  2017  album  "Supports  Flag  Burning  And  Female  Raping"  which  was  released  by  Merdumgiriz.

  Ambient  style  synths  and  grim  whispers  start  off  the  album  before  evolving  more  into  depressive  black  metal  screams  and  clean  guitars  can  also  be  heard  at  times  and  after  awhile  the  music  starts  getting  more  heavy  and  melodies  can  also  be  heard  in  the  riffing  and  when t he  music  speeds  up  a  great  amount  of  blast  beats  can  be  heard.

  Deep  death  metal  growls  can  be  heard  in  some  parts  of  the  songs  and  the  tremolo  picking  also  gives  the  music  more  of  a  raw  black  metal  feeling  and  the  tracks  also bring  in  a  great  mixture  of  slow,  mid  paced  and  fast  parts  as  well  as  adding  in  humor  that  is  rarely  heard  in  the  genre  and  as  the  album  progresses  more  psychedelic  and  sludge  elements  are  added  onto  the  recording and  spoken  word  parts  are  also used  at  times.

  Viranesir  creates  another  recording  that  remains  true  to  the  experimental  and  depresive  style  of  black  metal  from  previous  releases  while  also  adding  in  touches  of  death  metal,  sludge,  ambient  and  psychedelia,  the  production  sounds  very  dark  and  raw  while t he  lyrics  cover  Satanism,  Anti  Christianity,  Anti  Islam  and  the  most  politically  incorrect  stuff  ever  done  in  a  humorous  matter  along  with  a  few  tracks  being  written  in  Turkish.

  In  my  opinion  this  is  another  great  sounding  recording  and  if  you  are  a  fan  of  experimental  and  depressive  black  metal  and  can  easily  handle  a  joke,  you  should  check  out  this  album. 

 

8/10

 

John Larsen

3.8.2016

 

 

 

Dad's Choking On My Vomit Of His Semen

 

Absit Omen

 

“Dad’s Choking On My Vomit Of His Semen” is a stunning work… if you aren’t scared to listen to it.This new record is one of the most unpleasant, frightening, disturbing listens one is bound to have in a while. It’s mercifully short at 40 minutes, but every second of it feels long and torturous.Emir Toğrul screams, howls, shrieks, moans, cackles, and shouts his way through fourty unsettling minutes of pure a Capella terror.In the world of music and art, there are some people who are just simply gifted.When you’ve got such a large vocal range that you can perform practically anything you want, why not do something a little unorthodox with it? With “Dad’s Choking On My Vomit Of His Semen”, Emir uses his voice, accompanied only by idiosyncratic signature drumming of the mighty BLLIIGGHHTTED drummer Merdümgiriz and industrial sounding electronics, to create unnerving and at times terrifying atmospheres and textures. It is a dreamy avalanche of synthesizer terror with decadent lyrics.They way the album is recorded is important for the atmosphere. There isn’t a lot of dynamic range in the recording, with peaking all over the place especially captures this feeling of constant observation during unwanted imprisonment this adds a ghastly texture to Emir voice, adding to the frightening sense of entrapment. A dark and heavy “Dad’s Choking On My Vomit Of His Semen” are a journey into the unknown theatres of the unexplored soul and mind, they are like a sick cabaret of unsuspecting and, at times, soul-possessing opera. It´s a kind of musical penny dreadful, replete with feelings of paranoia, brutality and dread, emotional tone ranges from deeply sad, to aggressively dark, to otherworldly uplift, Viranesir sound encompassing the dead weight of the earth and the ghostly weightlessness of worlds beyond.You may find 40 minutes of this unrelenting, emotionally wrenching music just a little to hard on the psyche, at least in one sitting,maybe because it was composed entirely in the mental asylum while Emir was doing time after his failed suicide attempt but there is no denying the sheer raw power of this performance. In “Dad’s Choking On My Vomit Of His Semen” you take a frenetic journey inside of Emir soul, on which there is a new surprise around every corner. This unbelievable album is filled with contrasts and paradoxes. Viranesir play with atmosphere driving it to the complete edge. I’m convinced that this quite brave experiment came out more than well. In fact, I daresay this is a good choice not even for synthpunk or avant-guarde lovers, but for any eager ear. This band has a really great potential, so let’s hope their enchantment will last …
A quite remarkable album.

 

Mariano

1.11.2017

 

 

 

The Grim Tower

 

Viranesir went from being an obscure act that pressed it's own albums to a band that everyone loves to hate. Who's everyone? Well, how about Facebook and Bandcamp? The band have been kicked off of Facebook (which isn't a big deal as bands make new pages all of the time) but they did get removed from Bandcamp, which is a first for me. I'm sure it happens, but not often. So why am I reviewing these guys? Because this is absurdity, it gets under people's skins and makes them uncomfortable. Checkout theMerdümgiriz website and you can see mastermind Emir Toğrul's writings for yourself, in all of their interesting glory. Keep in mind that Toğrul also has a couple of other bands, and they've all created a new album this year as well – BlliigghhttedFuneral Of God andRed Bible Black (compilation, but still a new release) all have new material to check out, so if you like this odd release, perhaps you will like those discs as well. Now Viranesir has had a history of explicit album titles, even though debut Fountain Of Uncertainty wasn't all that bad. I never really expected the guy to go this far, but hell – it got them attention and that's the best you can hope for in this industry. Let's see, we have Kill Your Repulsive ChildShoot On Mom's CorpseRaping Lesbians For FreedomKaos Garden: Burn The HomelessYou Jewish BastardsChildren's Suicide Music ((Ritual of (Love) Is The Key)) and finally, this one. Now most of this shit cracks me up, because I can take a joke and understand black humor. Then you have the Blligghhtted release, Into The Cunt Of The Witch (which really isn't all that bad, to be honest) which carries the theme onto other albums. Though I hope he would kind of keep it to Viranesir, as they've named albums like this in the past. The most odd thing about this record though, is it's name. I don't understand it. I understand what it's supposed to mean, but as an editor I'm confused. Is the semen vomit? Because how does that work? If someone coughs up semen, we don't necessarily call that vomit, like something related to food, blood or bile. I've never even heard the term, “vomit semen” before. So it has me confused. A better title for this might be, Dad's Choking On My Semen While I'm Vomiting On His Dick. I know, I just made that ten times worse and I'm a horrible individual. But as a writer, you have to work with what's presented.

 

As for the album, it seems to consist of a great deal of oblong keyboard mannerisms which more or less serve as the musical background here. It is not a guitar-laden release, nor does it contain any black metal. Sure, Viranesir might have been black metal in the beginning, but with this one, he decided to go for something of an electronic acid trip with weird squeaky vocals. It almost sounds like he's making fun of American pop music and homoeroticism, in a way that probably “triggered” a lot of writers. Better yet, I'm sure some emailed him back at the Merdümgiriz address and wondered what in the hell they had just been sent. It is certainly abstract, somewhat bizarre. I want to feature this in a print magazine I work for, but because of all the crap regarding the Bandcamp/Social Media situation as well as the title, I wouldn't want to be blacklisted. That's just the way it goes sometimes, so just consider this review to be more or less my article on one of their weirdest records ever to grace my inbox this year. If I want to put this into perspective, and even attempt to give you a proper display of the disc by which you're curious about (or you wouldn't be reading this review) then I could just tell you that the whole thing is like an out of body experience. It feels like you're on heroin or something. I just can't really put this atmosphere into proper form without telling you that it's demented. This isn't the kind of music that you play when you're looking to feel happy, it is instead a sort of record where it feels like something very wrong is occurring. If you play this in the background of well, I mean – I really don't even want to describe the scene in which a track like closer “Bourgeois Beleaguered II” would appear, but I'm sure that you can find such situations that may very well be going on from various conspiracy pages by which to decorate such unpleasant music. I don't believe that this is a bad record, it's just exceedingly uncomfortable. It feels like Toğrul has gone more into realms of horror than black metal here, which is great as Blliigghhtted more or less captures the early black metal element of this band. There's nothing wrong with changing hats and adapting new personalities and I do wish Toğrul the best on this one. I really don't know what that means as a whole considering everything that has happened, but perhaps these decisions gave the project a bit of an image booster and he needed it. 

 

I honestly don't care for many of the high-pitched squeals as you might expect from my rather explicit thoughts on their usage in other records, but here it comes off as part of the atmosphere. Conceptually it's just a bunch of weird keyboard and drum compositions, with all sorts of vocal iterations that almost seem to parody DSBM. Yet strangely enough, it all works and brings with it the sort of atmosphere that feels much creepier than several of the horror-influenced soundscapes that I receive on a montly basis from various bands and labels. Considering there is no Bandcamp page for this recording, you should be able to find it on the Merdümgiriz site as well as the writings I mentioned earlier. I do have my own personal opinion on the entire Viranesir image, but I'll actually hold my tongue on this one, as I have an inkling of what is going on here and would rather keep that to myself. At any rate, bands like this who are out to upset the status quo and really distort the minds of common individuals are definite winners in my book. Maybe they'll call their next one Licking Out The Excrement From Christ's Asshole in order to continue on with this grotesque and uncomforting imagery. As for the record itself? It'll include accordions and xylophones. Why not?

 

8/10

 

Eric May

14.8.2015

 

 

 

Sic Maggot

 

Viranesir je co do vydávaných počinů sakra aktivní projekt. Jen v loňském roce vyšly hned čtyři řadové desky a navrch ještě jedno splitko, ani nemluvě o skutečnosti, že Emir Toğrul, hlavní mozek skupiny, působí i v dalších kapelách, z nichž zejména Blliigghhtted je další projekt vydávající v brutální kadenci. Nebo lépe řečeno byl, jelikožRuhanathanas, jež byla vůdčí osobností Blliigghhtted, loni spáchala sebevraždu a letošní album „Into the Cunt of the Witch“ bylo labutí písní formace.

 

Když v letošním roce po mimořádně plodném loňsku polevily aktivity ViranesirBlliigghhtted i Toğrulova labeluMerdümgiriz, myslel jsem si, že to je důsledek právě smrtiRuhanathanas. Jak se ovšem ukazuje, rozhodně to nebyl jediný důvod. Toğrul byl totiž v mezičase zavřený v psychiatrické léčebně, kam se dostal po nepovedeném pokusu o sebevraždu. Při svém pobytu v léčebně pak skládal i novou hudbu. A výsledkem těchto skladatelských seancí ze sanatoria je deska „Dad’s Choking on My Vomit of His Semen“.

 

Už jen ze samotného názvu nahrávky je zřejmé, že ani pokus o sebevraždu, ani sebevražda jeho spoluhráčky, ani pobyt v psychiatrické léčebně nijak nezahýbaly s Toğrulovýmsmyslem pro černočerný humor a vytříbeným vkusem pro perverzi. Obého se na „Dad’s Choking on My Vomit of His Semen“ nachází koňská dávka, ačkoliv je pravda, že tentokrát o něco víc vede nihilismus a zvrácený pohled na svět, což ovšem není nic, co by do tvorby Viranesirnepatřilo či dokonce nesedělo. Tak či onak, texty – jak už je ostatně tradicí – za čtení rozhodně stojí už jen z toho důvodu, že to není nic, co by se blížilo generické textařině v metalu.

Počkat… řekl jsem v metalu? Viranesir je samozřejmě blackmetalovou skupinou, ale asi by bylo unáhlené říct, žepředevším blackmetalovou. Z devíti řadových nahrávek jsou totiž čtyři ohavný ambient, přičemž tou čtvrtou – navazující na počiny „Kill Your Repulsive Child“„Shoot on Mom’s Corpse“ a „Children’s Suicide Music ((Ritual of (Love) Is the Key))“ – je právě „Dad’s Choking on My Vomit of His Semen“.

 

Popravdě mi připadá, že pobyt v sanatoriu nijak nezahýbal ani s Toğrulovým hudebním vyjadřováním, jelikož „Dad’s Choking on My Vomit of His Semen“ co do nálad pokračuje v již dávno nastolených intencích tvorby Viranesir. Opětovně se jedná o setsakra ošklivou záležitost, jejíž poslech je těžký a nestravitelnost vysoká. Nicméně člověka znalého starších ambientních nahrávek už novinka překvapit nemůže. Základní ingredience desky jsou totiž očekávané – líně se převalující úchylné syntezátory, ujeté mečivé vokály, a pokud by tohle náhodou nestačilo, tak předobraz ambientu jakožto klidné relaxační hudby již definitivně tříští atypická bicí práce, která je vlastně totožná s tím, co Merdümgiriz (ano, tenhle týpek se jmenuje stejně jako ten label) předvádí i na blackmetalových albech Viranesir. Sám Toğrul to jen tak mimochodem nazývá „gay synthpunk“.

 

Přesto se mi zdá, že tentokrát to není úplně ono. A nemám tím na mysli, že poslech „Dad’s Choking on My Vomit of His Semen“ je vlastně nepříjemný, neboť tohle už platí za poznávací znamení Toğrulovytvorby a očekávat něco jiného by bylo vcelku bláhové. Proniknout do jeho nahrávek je vždycky oříšek, a to i tehdy, když už člověk ví, co očekávat; třeba se mi to prostě nyní nepodařilo, nevím. Ale navzdory tomu, že mě dřívější práce Viranesir dokázaly oslovit a že „Dad’s Choking on My Vomit of His Semen“ pokračuje nastoleném duchu, mě to tentokrát nevraždí takovým způsobem, jakým bych očekával.

 

Bezesporu se zde nacházejí i zajímavé momenty. Kupříkladu ve skladbách jako „Escapeless“„Sadness“,„Naphthalene“ či dlouhé „Bourgeois Beleaguered II“ lze hovořit o hutné atmosféře a o schopnosti předat posluchači koncentrovanou dávku negativismu. Na druhou stranu, písně „Soul“„Pedophilic Torturer“ a „The Father in Me“ mě vesměs nebaví, jakkoliv jim v žádném případě nelze upírat, že z nich hnus odkapává vskutku zodpovědně.

 

Když se na počin podívám jako celek, tak pocitově mě poslech „neuspokojuje“ tak, jak se to dařilo starším deskám. Sice by se hodilo prohlásit, že nahrávka složená v psychiatrické léčebně je ultimátním vyvrcholením Toğrulova snažení převodu perveze do zvukové stopy, ale čistě hudebně už jsou v diskografiiViranesir i silnější věci – třeba předchozí ambient „Children’s Suicide Music ((Ritual of (Love) Is the Key))“. Nicméně i přesto vám garantuji, že pokud jste s muzikou Viranesir doposud nesetkali, bude pro vás poslech „Dad’s Choking on My Vomit of His Semen“ zážitek. Netvrdím, že příjemný, ale určitě zážitek.

 

P. S. Na základě poslední třetiny „Bourgeois Beleaguered II“ si říkám, že by možná nebylo špatné, kdyby někdy Toğrulův ambient zůstal čistým ambientem bez bicích. Třeba by to bylo ještě zajímavější než teď.

 

H.

4.9.2016

 

 

 

Rock Overdose

 

Όσοι από εσάς έχετε ακολουθήσει μαζί μου την μουσική πορεία των Viranesir και των Blliigghhtted, θα ξέρετε ότι δεν υπάρχει κυκλοφορία, από αυτά τα δύο συγκροτήματα,  που να μην συνοδεύεται από μία ιστορία, που να μην στρέφεται ενάντια σε κάποιον κ που να μην είναι προκλητική. Αυτή τη φορά, η σύνθεση του νέου άλμπουμ των Viranesir, προήλθε από την ακύρωση εμφανίσεων στην Τουρκία πολλών metal συγκροτημάτων, ανάμεσα τους και οιTestament. Όπως έγραψαν στο δελτίο τύπου, πολλά σκληρά metal συγκροτήματα κόλωσαν να έρθουν (pussied out), ενώ καλλιτέχνες, όπως οι Jessica Stone και Sia ήρθαν κανονικά. Έτσι αποφάσισαν ότι οι Viranesir δεν είναι πια metal συγκρότημα, αλλά θα ακολουθήσει έναν πιο synth pop ήχο, κυκλοφορώντας έναν ψυχεδελικό Synthpunk δίσκο, με σκοπό να πονέσουν στον κώλο τους σκληρούς και ελιτιστικούς metal οπαδούς του με μια εντελώς gay κυκλοφορία.

 

Η διαφορά στη μουσική, ανάμεσα σε αυτό το άλμπουμ και στα προηγούμενα, γίνεται αντιληπτή πολύ γρήγορα. Το μόνο που έχει παραμείνει ίδιο, είναι η θολή παραγωγή και ένα σκοτεινό πέπλο που αγκαλιάζει τη μουσική, καθόλη τη διάρκεια του δίσκου. Από ‘κει και πέρα, το κυρίαρχο όργανο αυτή τη φορά είναι τα πλήκτρα που συνδυάζονται με φωνητικά τα οποία είναι τραγουδισμένα σε στυλ φαλτσέτο. Η χρήση των πλήκτρων και της τεχνικής φαλτσέτο έχει δύο κύρια αποτελέσματα. Το πρώτο είναι ότι με τη χρήση αυτού του τρόπου τραγουδίσματος, μοιάζει πως ο καλλιτέχνης κοροϊδεύει αυτούς που πάνε ενάντια σε αυτόν και στα πιστεύω του, και πως η μουσική του είναι ένα φτύσιμο στα μούτρα τους. Επίσης, τα συγκεκριμένα φωνητικά δίνουν στη μουσική μία δόση τρέλας και διαταρραχής, στο οποίο θα επανέλθω παρακάτω.

 

Το δεύτερο αποτέλεσμα είναι ότι η εκτεταμένη χρήση των πλήκτρων δημιουργεί ένα πολύ ωραίο ψυχεδελικό αποτέλεσμα, ένα ταξίδι σκοτεινό πάνω από ηχοτοπία παραφροσύνης και παράνοιας. Και είναι τόσο έντονα αυτά τα ηχοτόπια, που πραγματικά μοιάζει λες και ο ακροατής έχει μπει σε ένα άσυλο φρενοβλαβών, όπου του έχουν χορηγηθεί κάποιου είδους ναρκωτικά, και όλα μοιάζουν εξωφρενικά περίεργα και ασύλληπτα. Και όλο αυτό το αποτέλεσμα εντείνεται ακόμα περισσότερο με τη χρήση των φωνητικών, που ανέφερα παραπάνω, που μοιάζει λες και τραγουδάει κάποιος τρελός, και τα οποία δένουν υπέροχα με όλη την παρανοϊκή και ψυχεδελική ατμόσφαιρα που δημιουργείται.

 

Φυσικά, υπάρχουν και σημεία που η μουσική ξεφεύγει από τα όρια της ψυχεδέλειας και απλά γίνεται σκοτεινή, περνώντας από την επικράτεια του Doom, κάτι που είναι και λογικό, αφού η μουσική στους προηγούμενους δίσκους των Viranesir κυμαίνονταν ανάμεσα στο ωμό Black και στο Doom. Αυτό συμβαίνει κυρίως στο “Bourgeois Beleaguered II”, όπου μοιάζει λες και το ταξίδι μέσα από το άσυλο των φρενοβλαβών φέρνει τον ακροατή σε ένα σκοτεινό υπόγειο, όπου κάτι το μοχθηρό παραμονεύει. Επίσης, σε κάποια σημεία, οι μελωδίες των πλήκτρων μοιάζει να ξεφεύγουν από τα όρια του metal και να μπαίνουν σε πιο synth-pop χωράφια.

 

Όπως είπα, το “Dad’s Chocking on my Vomit of his Semen” είναι ένας δίσκος που ξεφεύγει από τα γνωστά μονοπάτια των Viranesir, κρατώντας μόνο το σκοτεινό ήχο και τη θολή παραγωγή. Οι μελωδίες που δημιουργούνται, κυρίως από τα πλήκτρα, που έχουν τον πρωταγωνιστικό ρόλο, είναι πάρα πολύ ωραίες και σε συνδυασμό με τα φωνητικά δίνουν με πολύ ακριβές τρόπο την αίσθηση της ψυχεδέλειας και της τρέλας. Ο ακροατής που θα αποφασίσει να κάνει αυτό το ταξίδι, είναι σίγουρο ότι θα γουστάρει, αλλά είναι επίσης σίγουρο ότι θα απορροφηθεί από αυτό και δεν είναι βέβαιο ότι θα επιστρέψει.

 

70/100

 

Minos Ntokopoulos

4.9.2016

 

 

 

Black Metal Spirit

 

Nuevo larga duración para Viranesir, en esta ocasión siete nuevas canciones inspiradas nuevamente en la oscuridad y en la irreverencia. Como ya nos tiene acostumbrados Emil entrega un álbum en donde los sonidos de guitarra y bajo pasan prácticamente desapercibidos, cobrando un papel importante todo lo que tenga que ver con sonidos más electrónicos. Para la ocasión a teñido su música de más influencias pop de los años ochenta, más sonidos góticos, algo de death para otra vez lograr crear esa atmósfera totalmente cargada, insana, viciada, depresiva y sobre todo irreverente. Quien haya escuchado con anterioridad algún trabajo de Viranesir sabrá lo que puede encontrar en un álbum como este, el oyente se ve atrapado por ambientación lograda, una ambientación que logra sumergirte en una pesadilla, gracias a las registros vocales que van desde las agresividad, hasta los lamentos. Para la ocasión, bien es cierto, que se ha optado por una mayor presencia de elementos electrónicos y de sintetizadores, pero todo seguidor de Viranesir ya sabrá que son elementos más que necesarios para conseguir ese sonido tan particular y propio.

 

8/10

 

Fran Rocha Fernández

19.8.2016

 

 

 

Occult Black Metal

 

 Turkey's  Vianesir  have  returned  with  a  new  recording  which  shows  the  music  going  for   more  of  a  synth  pop  orientated  style  of  black  metal  and  this  is  a  review  of t heir  2016  album  "Dad's  Choking  On  My  Vomit  Of  his  Semen"  which  was  released  by  Merdumgiriz.

  Avant  garde style  synths  start  off  the  album  along  with  some  depressive  black  metal  screams  as  cries  and  drum  beats  a  few  seconds  later  and  clean  singing  new  wave  style  vocals  which  also  bring  in  touches  of  goth  and death  rock  can  also  be  heard  at  times  and  the  music  also  mixes  in  a  lot  of  80's  synth  pop  elements.

  Programmed  blast  beats  along  with  some  industrial  elements  can be  heard  briefly  and  all  of t he  songs  avoid  using  any  having  guitars  or  bass  which  where  a  very  huge  part  of  the  earlier  recordings  while  still  having  a  dark  and   evil  atmosphere. 

  Viransir  plays  a  different  musical  style  on  this  recording  than  they  do  with  previous  releases  going  for  more  of  a  synth  pop  direction  while  still  having  some  depressive  black  metal  elements, t he  production  sounds  very  dark  and  raw  while  the  lyrics  cover  dark,  demented  and  depressive  themes.

  In  my  opinion  this  is  another  great  sounding  recording  from  Viranesir  and  if  you  are  a  fan  of  depressive  black  metal  or  synth  pop,  you  should  check  out t his  album.

 

8/10

 

John Larsen

3.8.2016

 

 

 

Merchants Of Air

 

Controversial, weird, angsty, insane. Those are words you can use to describe this strange album by Turkish experimental act Viranesir. The former extreme metal act has been banned from facebook and bandcamp for their often questionable content. This time, they deliver a firm kick in the nutsack of the metal industry by combining technical death metal drums with spooky synths and a massive avant-garde attitude. That way, this album reminds me more of acts like Virgin Prunes, Sex Gang Children or Alien Sex Fiend. It feels like this album was meant as a pop-induced middle finger to one industry, but unintentionally it has become an interesting piece of dark cult album. Yep, that's talent, no matter how controversial it is...

 

Serge Timmers

2.8.2016

 

 

 

Children's Suicide Music

 

Sicmaggot

 

Možná si vzpomenete na jednu nedávnou recenzi, která se točila okolo nahrávky s velice roztomilým názvem „You Jewish Bastards“, jejž ještě korunoval hákový kříž na přebalu. Jednalo se o desku původem tureckého projektuViranesir, za nímž stojí jistý Emir Toğrul (v současné době žijící ve Velké Británii), což je velice činorodý chlapík. Točí filmy, angažuje se v několika hudebních projektech (vedleViranesir ještě Blliigghhtted a Yayla) a také řídí label Merdümgiriz, přičemž všechny nosiče, jež pod tímhle nakladatelstvím vyjdou, vyrábí ručně.

 

Samotná muzika Viranesir je především o hodně perverzním black metalu, který se pohybuje někde na hranici mezi chtěným amatérismem a řízeným chaosem, výsledkem čehož je patřičně šáhlá atmosféra. Tu navíc korunuje hodně specifický smysl pro humor, jenž si s politickou korektností suverénně vytírá prdel (ostatně, co čekat od kapely, která si na obálku prdne hákenkrajc a album pojmenuje „Vy židovský bastardi“… mimochodem, další fošna formace by se měla jmenovat „Racist Rights“). Zároveň tento projekt provází docela pekelná nadprodukce, protože Emir a jeho kumpáni ty desky pálí do světa rychleji, než to vůbec stačím poslouchat. V loňském roce vyšlo jen pod hlavičkouViranesir pět nahrávek, z nichž hned čtyři byly dlouhohrající. Nicméně ta čtvrtá, o níž si nyní popovídáme, se od onoho základního black metalového modelu značně odlišuje.

 

„Children’s Suicide Music ((Ritual of (Love) Is the Key))“, jak zní celý název oné nahrávky, se totiž vydává do ambientních vod, ačkoliv je pravda, že až takhle žánrově jednoznačné to také není (k tomu se ještě dostaneme), ale lze prohlásit, že základem desky je tentokrát klávesová hudba. Nicméně to pro Toğrula a spol. není první výlet na tohle pole – stačí vzpomenout třeba na „Kill Your Repulsive Child“, druhé album Viranesir z roku 2014, anebo na skladbu „Doubt“ z počinu „No Temple“od Blliigghhtted. A když už jsme zmínili ty Blliigghhtted, asi by stálo za to dodat, že i navzdory tomu, že je Viranesir především osobním projektem Toğrula, jeho sestava je na různých deskách proměnlivá a provázaná s dalšími spřízněnýmu skupinami a zrovna„Children’s Suicide Music ((Ritual of (Love) Is the Key))“ bylo natočeno v tříčlenné sestavěBlliigghhtted.

 

To znamená, že vedle Emira Toğrula na zpěvu a syntezátorech je zde ke slyšení ještě Ruhanathanas, která obstarává rovněž zpěv a syntezátory, a Merdümgiriz (ano, jmenuje se stejně jako ten label) za bicími. Že vám ty bicí v ambientní muzice tak úplně nesedí? Inu, to je právě jedna z těch věcí, kvůli níž jsem výše prohlásil, že „Children’s Suicide Music ((Ritual of (Love) Is the Key))“ žánrově zas až tak jednoznačné není. Ve skutečnosti se totiž jedná o v základě syntezátorovou muziku, jež ovšem disponuje stejně zfetovanými vokály, jaké známé z black metalových desek Viranesir, a celé to pohání šílená bicí artilerie, která se nebojí mnohde i regulérně nefalšovaných black metalových sypaček.

 

To se může zdát jako trochu zvláštní, velice kontrastní kombinace, ale funguje to. Nevím jak vy, ale já si pod ambientní muzikou představím povětšinou klidnější a jímavější záležitosti, leckde třeba s temnější atmosférou, to je samozřejmé, ale obecně vzato to nejsou žádná zvěrstva… zde to ovšem platí tak napůl. Oproti chlíváckým a chaotickým black metalovým deskám Viranesir je „Children’s Suicide Music ((Ritual of (Love) Is the Key))“ rozhodně takové, řekněme, rozvážnější, nicméně pořád i z téhle desky dýchá podobně nervní nálada a nejedná se o moc klidnější nebo snad dokonce přívětivější záležitost. A velkou měrou se na tom podílejí právě bicí, byť i vokální stránka a také temné táhlé tóny synťáků dělají své. Vedle toho všeho jsem si však při poslechu vzpomněl i na nizozemské nihilisty Urfaust, protože z „Children’s Suicide Music ((Ritual of (Love) Is the Key))“ dýchá relativně podobná nálada. A to i navzdory tomu, že se na téhle desce nenachází žádný metal… asi další důkaz toho, že s tou ambientní čistokrevností to skutečně zas tak žhavé nebude.

 

Je ovšem pravda, že jinak je „Children’s Suicide Music ((Ritual of (Love) Is the Key))“ poměrně jednotvárnou deskou a celá hrací doba se nese v jednotném podání všudypřítomného synťákového zvuku, vokálních eskapád a bicích, které se pohybují od rituálních rytmů až po metalové výjezdy. Na tomto modelu je postavena vlastně celá nahrávka, díky čemuž mezi sebou jednotlivé písně hodně splývají a třeba mně se ani po dvojciferném počtu poslechů nepodařilo si nějaké konkrétní kousky opravdu zapamatovat. Ve finále to ale vůbec nevadí, protože album táhne kupředu především výborná atmosféra, jež je dostatečně silná k tomu, aby na tom tu desku postavit šlo.

 

To je svým způsobem docela podobné tomu, jak jsou postaveny i black metalové počiny Viranesir, protože i tam je to všechno vlastně splývající chlívek, který ale díky své náladě zvládne nenudit. Zároveň s tím je na „Children’s Suicide Music ((Ritual of (Love) Is the Key))“ cítit, kdo je autorem, jelikož i přes odlišný žánr z toho je cítit ten rukopis Viranesir, což je svým způsobem zajímavé a uznáníhodné zjištění. A navrch bych se ještě nebál přihodit tvrzení, že nejen díky své výlučnosti v rámci diskografii, ale i díky koncentrovanosti atmosféry patří „Children’s Suicide Music ((Ritual of (Love) Is the Key))“ k tomu nejzajímavějšímu, co pod hlavičkou Viranesir doposud vyšlo (alespoň tedy z toho, co jsem prozatím slyšel, protože jsem se ještě neprokousal vším), a myslím, že se k tomu budu vracet častěji než k těm metalovým nahrávkám kapely (osobně mi totiž přece jen o trochu víc sedí Blliigghhtted, byť je to skoro stejné). Ve výsledku se tak jedná o album, které by mělo stát za zkoušku i těm z vás, jimž třeba black metalová tvářViranesir tak úplně nesedla

 

H.

23.1.2016

 

 

 

Rock Overdose

 

Δεν είναι ή πρωτη φορά που καταπιάνομαι με μια καινούργια κυκλοφορία των ΤούρκωνViranesir. Όσοι έχετε διαβάσει τις προηγούμενες μου κριτικές σταπό άλμπουμ τους, θα έχετε καταλάβει οτι με τα εξώφυλλα τους κ με τους τίτλους των τραγουδιών τους έχουν σκοπό να προκαλέσουν, αλλά και να κατακρίνουν την σημερινή μας κοινωνία. Και είναι αλήθεια οτι ο τρόπος που το κάνουν δεν είναι καθόλου διακριτικός, αλλά ευθύς, δίχως μασημένα λογια κ χωρίς να ωραιοποιούν τα πραγματα.

 

Και οποίος κάτσει κ διαβάσει τους στίχους των τραγουδιων τους (μπορείτε να το κάνετε εδώ) θα δει κ μόνος του οτι το μονο που θέλουν είναι να εκφράσουν την κατακραυγή τους προς τα άσχημα πραγματα της κοινωνιας μας, να εκφράσουν τις απόψεις τους και τις φοβίες τους, χωρίς το παραμικρό ίχνος ρατσισμού, σεξισμού ή κάποιου αλλου είδους προσβλητικού τρόπου. Κάτι τέτοιο όμως δεν έγινε αντιληπτό απο τις ιστοσελίδες του bandcamp και του facebook και ή πρωτη προχώρησε χωρίς καμία εξήγηση στην κατάργηση της σελίδας του συγκροτήματος, ενώ ή δεύτερη προσχώρησε σε διαγραφή διαφόρων στοιχείων που τα θεώρησε προσβλητικά (εδώμπορείτε να διαβάσετε την ανακοίνωση του Emir Toğrul σχετικά με την απομάκρυνση της μπάντας απο το bandcamp). Η απάντηση του συγκροτήματος ήρθε λίγο μετά, με το νέο τους δισκο, ονόματι "You Jewish Bastards", ενώ λίγο αργότερα ακολούθησε δεύτερος δίσκος, με τίτλο "Children's Suicide Music". Και μιας και οι δύο δίσκοι κυκλοφόρησαν σε σύντομο χρονικό διάστημα μεταξύ τους, αποφάσισα να τους κάνω κριτική μαζί.

 

Με το "You Jewish Bastards" οι Viranesir ουσιαστικά συνεχίζουν τη μουσική πορεία που έχουν ακολουθήσει στα τελευταία τους άλμπουμ. Δηλαδή: σκοτεινό κ ώμο Black Metal, με παραγωγή που και αυτή με τη σειρά της είναι ωμή κ έχει ως σκοπό να εντείνει τη μαυρίλα που αναδύεται από τη μουσική. Και αυτή η μαυρίλα και το ζόφος που αγκαλιάζει τα τραγούδια, εκφράζεται πολύ περισσότερο με ταχύτητες που είναι είτε low είτε mid tempo, καθώς έτσι και ο ακροατής δίνει περισσότερη προσοχή σε αυτό που οι Τούρκοι θέλουν να εκφράσουν, αλλά και παρασύρεται ταυτόχρονα στη σκοτεινή δίνη που η μουσική τους δημιουργεί, ανήμπορος να αντιδράση. Γι’ αυτό το λόγο, τα γρήγορα ξεσπάσματα και τα blast-beats είναι σχεδόν απόντα, με εξαίρεση κάποιες λίγες up-tempo στιγμές.

 

Επίσης, απούσα είναι σχεδόν και η μελωδία στα φωνητικά του Toğrul, καθώς ο τρόπος που τραγουδάει είναι σχεδόν αφηγηματικός, γεγονός που δουλεύει καλύτερα, μιας και οι στίχοι έχουν να κάνουν με την έκφραση απόψεων και ιδεών. Ακόμα, περά από την αφήγηση, ο Toğrul χρησιμοποιεί και κραυγές, για να δώσει κι ένα τόνο αγωνίας, αλλά και άγχους στη μουσική, ενώ πολύ συχνά τα φωνητικά του γίνονται βαθιά, δημιουργώντας έτσι και μια μυστικιστική ατμόσφαιρα, που δένει υπέροχα με τις αργές ταχύτητες.

 

Με το Childrens Suicide Music, οι Viranesir ακολουθούν μία διαφορετική μουσική πορεία. Συμφωνα με τις πληροφορίες που συνόδευαν αυτό το άλμπουμ, οι στίχοι και η μουσική γράφτηκαν σε μία περίοδο κατάθλιψης, που πέρασε ο κύριος συνθέτης EmirToğrul, και αυτό φαίνεται ξεκάθαρα με το που θα βάλεις το δίσκο να παίζει.

 

Σε όλα τα τραγούδια υπάρχει έλλειψη κιθάρας, με τα τύμπανα και τα synthesizer να είναι τα μόνα όργανα που ακούγονται, ενώ η μουσική ακουλουθεί πλέον Doom Metal μονοπάτια. Το μόνο στοιχείο που έχει διατηρηθεί, σε σχέση με τους προηγούμενους δίσκους του συγκροτήματος, είναι η ωμή παραγωγή. Και αν με ρωτήσετε τι έχει δημιουργηθεί από τα παραπάνω στοιχεία, η απάντηση θα είναι ένα χαοτικό, ονειρικό και ψυχεδελικό αποτέλεσμα, το οποίο κυριολεκτικά ρουφάει τον ακροατή και τον κάνει να χαθεί μέσα του.

 

Βέβαια, πολλές φορές η μουσική φαίνεται να μην έχει καμία συνοχή, ενώ άλλες φορές νομίζεις ότι δεν ακούς καθόλου μουσική, παρά μόνο κάτι το δυσδιάκριτο, κάτι το ομιχλώδες και το χαοτικό που σε κατακλύζει. Και όμως, αν σπάσεις τους μουσικούς σου ορίζοντες, αν καταφέρεις να κάνεις το ένα βήμα παραπάνω που θα σε βγάλει έξω από τα όρια της συμβατικής μουσικής, θα αντιληφθείς ότι όλο αυτό το χάος που δημιουργείται από τη μουσική και την παραγωγή, αλλά και από τα βαθιά φωνητικά που ακούγονται από το background, και που φέρνουν στο νου την εκτέλεση κάποιας σκοτεινής ιεροτελεστίας, έχει ως σκοπό το να παρασύρει στα δίχτυα του τον ακροατή και να τον κάνει να χαθεί μέσα στο ζοφερό, καταθλιπτικό και χαώδη λαβύρινθό του, όπως ακριβώς συμβαίνει σε μία σαμανιστική τελετή, που οι επαναλαμβανόμενοι ρυθμοί σε ρουφάνε και σε φέρνουν στην έκσταση.

 

Οι Viranesir, με τα You Jewish Bastards και Childrens Suicide Music, κατάφεραν να συνεχίσουν την πολύ καλή πορεία τους, που έχουν χαράξει τα τελευταία 3 χρόνια. Το πρώτο, μπορεί να μην προσφέρει κάτι το καινούργιο, σχετικά με τις προηγούμενες κυκλοφορίες τους, καταφέρνει όμως να κρατήσει το ενδιαφέρον του ακροατή, αν βέβαια αυτός προσελκύεται από το ωμό Black Metal, που συνοδεύεται από μια τραχιά παραγωγή, και όχι από εκείνο που είναι μελωδικό και καλογυαλισμένο. Το δεύτερο, φερνει τους Τούρκους σε καινούργια μουσικά μονοπάτια, στα οποία όμως περπάτησαν με άνεση, δένοντας το Doom Metal με τα εκείνα τα χαρακτηριστικά της μουσικής τους που γνωρίζουν πολύ καλά, δημιουργώντας έτσι ένα σκοτεινό, χαώδες και καταθλιπτικό αποτέλεσμα, που όμως είναι ταυτόχρονα και σαγηνευτικό.

 

YJB 70/100

CSM 80/100

 

Μίνως Ντοκόπουλος

9.11.2015

 

 

 

Merchants Of Air

 

​Well, that's not a very friendly title.  Usually, Children's music is loaded with happy sounds and lovely lyrics about cute bears, candy and happily-ever-afters.  But fact remains, we lie to children.  We lie to them all the time.  Life is not about cute bears, candy and there's very little happily-ever-afters, certainly in this society.  There is no easter bunny. Santa Claus is parents' imaginary supervisor.  Children need to learn to cope with loss of hope, and that's exactly what this album represents.

Viranesir is an experimental music project from Turkey, focusing on the darkest regions of human behaviour.  Several releases already preceded this album, taking on multiple genres such as death and black metal.  With 'Children's Suicide Music' he delived a psychotic piece of atmospheric doom metal, without guitars.  That would place this project somewhere in the dark ambient scene.

The music on this album clearly is not for children, but make them listen to it anyway.  They will probably be amazed, if not horrified, by this disturbing blend of soundscapes, synths and electronic percussion.  The atmosphere will certainly do the trick of scaring the hell out of them, and of some older, unexperienced listeners.  Luckily, as I mentioned in a previous review, I'm used to a lot, so I can appreciate this.

What the music reminds me most of, is some of those eerie Cold Meat Industry releases from back in the days.  Names like Atrium Carceri, Elend, Predominance or Mortiis (in his dark ambient era) often come to mind.  The haunted vocals and frightening children's choirs, along with the electronic percussion add a blackened element and even something that resembles funeral doom.  Furthermore, there's a lot of unidentified noises present, enhancing the psychotic nature of the whole.

Somehow, this album is one of the darkest things I've heard in quite a while and certainly a recommendation if you like your music to scare away your neighbours, their kids or whoever is bothering you.  I guess even black metal fans can appreciate this, certainly as far as atmosphere is concerned.  It rarely gets more blackened than this and that's rather strange for an album without guitars.

 

Serge

19.10.2015

 

 

 

Black Metal Spirit

 

Nueva entrega para Viranesir en donde vuelva a contar son una formación estable de tres miembros, como ya había sucedido en su anterior lanzamiento. "Children's Suicide Music" vuelve a ahondar en la vertiente más descabellada e irreverente del combo, está vez en el temas del suicidio de los niños de mano de un apartado musical en el cual se ha prescindido casi que por completo de las guitarras para construir los temas sobre sintetizadores que en esta ocasión pueblan casi que todos los temas. Bien es cierto también, que a lo largo de los álbumes de Viranesir las atmósferas tienen un papel fundamental, aspecto que se ha ido acentuando entrega tras entrega, y este "Children's Suicide Music" se centra en un ambiente suicida y psicótico, casi que de pesadilla, cercano a las películas de terror. El predominio del doom en las composiciones está fuera de toda duda, ritmo lento y asfixiante,  tanto en su música como en las voces, que en ciertos pasajes se vuelve épico y no exento de bastante cambios de registro que lo acerca un tanto a un plano progresivo. La música de Viraneisr por una cosa o por otra nunca deja indiferente al oyente lo único que se necesita es cierta predisposición a dejarse atrapar por ella.

 

7.8/10

 

Fran Rocha Fernandez

6.10.2015

 

 

 

Occult Black Metal Zine

 

 Turkey's  Viranesir  have  returned  once  again  with  a  new  album  with  the  music  style  this  time  around  being  synth  driven  blackened  doom  metal  and  this  is  a  review  of  their  2015  album  "/Children's Suicide Music ((Ritual Of (Love) Is The Key))"  which  was  released  by  Merdumgiriz.

    A  very  dark  and  atmospheric ambient  synth  sound  starts  off  the  album  along  with  some  programmed  beats  and  clean  singing  vocals  that  also  use  depressive  black  metal  screams  at  times  and  the  music  also  gets  psychedelic  and  experimental  at  times  along  with  soem  spoken  word  ritualistic  parts  being  utilized at  times. 

  Female  vocals  can  be  heard  in  some  parts  of  the  songs  and  the  music  at  the  time  has  the  atmosphere  that  reminds  me  of  some  horror  movies  that  involve   children  and  violent  nightmares  and  there  are  also  certain  sections  of  the  recording  where  real  drums  are  utilized  and  they  also  add  a  small  amount  of  blast  beats  onto  the  recording  and  the  songs  also  bring  in  elements  of  doom  metal  and  some  of  the  tracks  are  very  long  and  epic  in  length.

  Viranesir  creates  an  album  that  stays  away from  the  guitar  orientated  stuff  of  previous  recordings  and  focuses  more  of  a  synth  sound  this  time  around  that  has  the feeling  of  a  nightmare  soundtrack  while  still  having  elements  of  depressive  black  metal  and  doom,  the  production  sounds  very  dark  and  raw  while  the  lyrics  cover  depression,  child's  nightmares  and  suicidal  themes.

  In  my  opinion  this  is  a  very  great  sounding  recording  from  Viranesir  and  if  you  are  a  fan  of  black  and  doom  metal  influenced  synth  music,  you  should  check  out  this  album.

 

8/10

 

John Larsen

3.8.2015

 

 

 

Cadaver Garden

 

I’m positive that you read Children’s Suicide Music and that turned you off because you began thinking of little kids committing suicide. And while Viranesir and the rest of the Merdumgiriz groups aren’t out to make friends, this album isn’t out to promote kids killing themselves in macabre fashions either. Merdumgiriz-which is the name of the label as well as the man behind the kit on this album-isn’t exactly shy about making people feel uncomfortable on that same token the label is not shy about making thought provoking music as well. As a matter of fact, Merdumgiriz’s catalogue has gotten the boot from Bandcamp, but that article will be for another time. For now we will focus on the music that is at hand.

 

And the music that is at hand comes from a band called Viranesir. As metal progresses and different genres form, and different bands take on different sounds, I’m not quite sure Viranesir conform to any genre changes, or conform to anything that is of the metal “norm”. Much like the other bands that fill the Merdumgiriz roster, this band is entirely unique and sits in a dark bleak room all on its own.

 

Not only does this not sound like any other band out there, this doesn’t sound like anything that I have ever come across. The band themselves took it upon themselves to label their music and it is the most accurate label anyone will ever come up with. The label in which they placed upon themselves is “blackened doom synth”. That description is spot on as the only real instrument played here are the drums. Everything else recorded on this album is synth and creepy singing.

Children’s Suicide Music is seven tracks of glacier slow doom metal (synth metal?) that really truly makes you believe that you’ve stumbled into the imagination of a deranged man. That deranged man happens to have very peculiar nightmares, the walls of his mind melt around you while you become sucked in by this odd dissonant music, and that odd dissonant music ends up being Viranesir and their album Children’s Suicide Music. There really is no other way to describe something like this believe me I’ve tried.

 

What you do end up hearing all throughout the album are interesting discordant sounds paired with the disturbingly slow doom synths. The vocals are something that only nightmares can conjure, as they are oddly mystifying and draw you in in a twisted sort of curiosity.

Interesting may be putting it entirely lightly as this album may take more than the average number of spins to completely comprehend. Digesting this piece would be the equivalent of trying to eat a whole live horse by yourself. There is an odd charm about it, something that draws you in. Maybe it is the fact that it is so foreign, or maybe it is the dark twisting world in which Viranesir create with their music. No matter which way you slice it, Children’s Suicide Music is a very intriguing statement indeed. One that needs multiple listens, one that needs a warped mind, and one that needs someone with an open mind to listen to. If you have that open mind and that adventurous side then Viransesir is exactly what you are looking for.

 

Jared Harrison

30.9.2015

 

 

 

 

 

You Jewish Bastards

 

Servile Insurrection

 

Back in September, black metal band Viranesir was kicked off of Bandcamp, likely due to their politically incorrect lyrics. The band was understandably pissed about it. They responded by saying, “Fine. We'll just make our music as offensive as possible.” The end result was a little album called You Jewish Bastards.

 

The best part of this album would have to be the guitar work. It possesses a tone that is dark and cavernous. It sounds like it's emanating from a foul and wretched cave where none dare tread. Not only that, but they play a lot of tremolo riffs that tear apart the souls of the weak and timid. They sound vicious, and there are even times when their structures become quite elaborate. It's a perfect blend of both the old school and the new school.

 

What about the rest of the music? Eh, it's okay. Sometimes the drums play simplistic bass-snare rhythms. They get kind of annoying after a while, but at least they make up for it by playing mid-paced rhythms that feature quite a bit of complexity like those on “Extreme Art” as well as some nice fills. They don't really do that much blasting, but at least they play some great double bass on occasion. The bass can be heard really well and they play some great riffs. When it comes to the vocals, they mainly perform some pretty sinister croaks with a few angry rasps thrown in for good measure. There are also moments on songs such as “Kill Nigger” where they perform some high-pitched vocals. I'm mixed about them. They're funny, but they're also kind of annoying.

 

Overall, this album could have been better, but it's still enjoyable. I'll cut 'em some slack because they recorded this for the lulz. If you wish to support them, then head on over to their label's website.

 

BreadGod

3.11.2015

 

 

 

Metalhead.it

 

Difficile scrivere e parlare di Emir Toğrul, molto più realisticamente però si rischia di finire in contraddizione nel farlo perché è lo stesso personaggio che induce (persino se stesso) alla contraddizione.  La riflessione giunge al termine di una lettura dei testi di questo nuovo lavoro, ma è meglio andare per gradi. I Viranesir di Emir Toğrul sono stati banditi da Bandcamp a causa di un uso di parole giudicate razziste e sessite. Facebook poi ha rimosso del materiale e altro che pure riteneva inadatto. Toğrul dice di essere mezzo turco e mezzo armeno e non propriamente un ariano e dunque ancora meno che razzista e omofobo o altro ancora. I testi (QUI) non sembrano infatti un’accusa diretta e precisa verso gli ebrei, anzi sono una generalizzazione di tante cose, tanto da apparire un po’ populisti e un po’ punk, eppure quel titolo (il quale è indicato dalle note stampa come “You Jewi卐h Ba卐tards”) come può indurre chiunque pensare una sola cosa. L’impressione però è che Emir Toğrul se la tiri un po’ dietro la situazione. I Viranesir non sembrano mai troppo in forma, come già spiegato in passato (QUI e QUI e altrove) il black metal della band appare come un miscuglio di imperfezione, certamente voluta oppure obbligata (cioè più di questo la band non riesce a fare) e di caos e delirio. Un low-fi che è tra il raw e la parodia dell’estremismo. Una bassa fedeltà che più volte rischia di essere disturbante. Anche “You Jewish Bastards” è stato registrato attraverso una qualità campata in aria ed è per tanto che suona come un demo. Qualità ben lontana da quello scorcio di paradiso che è “Nihaihayat” (QUI), firmato come Yayla, progetto primevo di Emir. Per quanto qualcosa si riesce comunque a percepire e seguire attraverso le maglie di questo album, pur tuttavia la sostanza delle cose appare incerta. Album per gli amanti del low-fi, dell’underground, manifesto forse ironico o comunque diretto verso chi tarpa le ali della libera espressione e che censura. Un qualcosa che vuole fare opinione Viranesir e generandone anche altre, lasciando però ancora perplesso chi scrive, sulla resa e lo spessore di questo progetto.

 

Alberto Vitale

12.10.2015

 

 

 

Occult Black Metal Zine

 

Turkey's  Viranesir  have  returned  with  a  new  recording  that  continues  the  experimental  black  metal  style  of  previous  recordings  while  also  putting  out  their  most  shocking  and  offensive  songs  to  date and  this  is  a  review  of  their  2015 ep  "You  Jewish  Bastards"  which  was  released  by  Merdumgiriz.

  A  very  dark  and  distorted  sound  starts  off  the  ep  along  with  a  raw  and  melodic  style  of  black  metal  that  uses  a  grim  style  of  vocals  and  screams  and  you  can  also  hear  all  of  the  musical  instruments  that  are  present  on  the  recording  along  with  the  faster  sections  bringing  in  a  decent  amount  of  blast  beats.

  Throughout  the  recording  you  can  hear  a  great  mixture  of  slow,  mid  paced  and  fast  parts   and  when  solos  and  leads  are  utilized  they  are  very  dark  and  melodic  and  when  synths  and  clean  playing  are  utilize  they  add  more  atmosphere  to  the  music  and  a  great  portion  of the  tracks  are very  long  and  epic  in  length  and  the  vocals  can  also  get  very  dark  at  times  while  soem  of  the  slower  riffs  bring  in  elements  of  doom  metal.

  Viranesir  creates  a  recording  that  displays  more  of  a  raw  style  of  black  metal  than  what  has  been  presented  on  past  recordings  while  still  having  a  touch  of  experimental  to  them,  the  production  sounds  very  dark  and  raw  while  the  lyrics  cover  white  power  and  racism  themes  but  done  in  a  more  shocking  and  humorous  matter.

  In  my  opinion  this  is  another  great  sounding  recording  from  Viranesir  and  if  you  are  a  fan  of  raw  and  experimental  black  metal,  you  should  check  out  this  ep.

 

8/10

 

John larsen

28.9.2015

 

 

 

Black Metal Spirit

 

Nueva entrega para la irreverente banda turca Viranesir, proyecto en origen creado solo por Emir Toğrul y ahora completado por un par de músicos más, presentes en diferentes proyectos en los cuales colabora también Emir. Desde los inicios de la banda Emir no ha optado por el camino sencillo a la hora de hacerse un hueco en la escena, tanto en el plano musical como en cuanto a temática y este "You Jewish Bastards" no iba a ser menos. La música discurre por esa vertiente de black metal experimental en donde también hay lugar para el noise, el sludge y una acitutud cercana la punk. El contar esta vez con un par de colaboradores ha repercutido en una mayor calidez y credibilidad del sonido, sobre todo en el apartado de batería. Sumergirse en su música es acabar sobrepasado por un ambiente asfixiante, cargado y cercano a la locura. Temáticamente hablando Emir siempre ha buscado en la irreverencia su razón de ser, en este caso afronta el tema del nazismo desde su particular perspectiva y algunas plataformas han optado por el camino sencillo del vetarlo directamente, echo que le ha granjeado una publicidad extra para estos apenas cuarenta minutos de auténtica esquizofrenia.

 

8.1/10

 

Fran Rocha Fernandez

22.9.2015

 

 

 

 

 

Solaris

 

Raised By Gypsies

 

Whenever I listen to a cassette enough times to sit down and write a review for it (or even sometimes before if I have time because it's called being prepared) I go into a document I have saved on my laptop and put out what becomes the subject of the review (Artist name/Cassette Title/Label if there is one) and then I also make the secondary line which is usually the price, edition of and link to where this cassette can be found which probably 90% of the time goes back to Bandcamp.   So what do you do when there is no Bandcamp to go back to but there once was?    Look, I'm not here to get into a big story about this- though I might one day- but basically the end result of the story is that Viranesir got kicked off of Bandcamp rather abruptly.    You can be offended by them or you can promote freedom of speech but the fact is simply this:

Censorship.
Does.
Not.
Work.

And do you know why I know this?  Because I cannot link back to Bandcamp for this cassette.   If someone is making music that you just think is so vile and offensive then just simply let it exist.   People can talk about it and say things like, "This guy sings about things which degrade women so don't listen to his band" and then hopefully people can catch on and the band will slowly begin to go away when they realize they are making music for no one.  (For the record, "music for no one" is the name of my next album)  But the thing is, I could say "Oh well, this music is so offensive!" or I could say the opposite and send you to Bandcamp so that you could decide for yourself.   But that can't be done now simply because Bandcamp- who should be impartial I'd think- simply wiped the slate clean as if Viranesir never existed.   If that's not bad enough- if you're not upset enough that Bandcamp is taking away your right to choose what offends you and what doesn't and is instead deciding for you then what you need to also realize is that this cassette is a split with a band called Survival, who do have a Bandcamp page their own but this cassette does not appear on it.    So now we have another artist suffering because of something that Bandcamp decided was best for you without ever asking first.   Thanks, Bandcamp.

But I cannot make this whole review about Bandcamp and their problems because we all know that they have them so I'd rather type about the music and the somewhat happy ending to this story because as it turns out all of the music is now being streamed and sold through the band's label and, you know, if every band opened up a website or could find a label or at least a similar place to go (Such as if all metal bands shared a site that was like a virtual label but not really) then Bandcamp really could become obsolete and in many ways artists would be able to cut out what is a somewhat unnecessary and now annoying third party in Bandcamp.    This could become the start of a slow trend as we see bands move away from Bandcamp and onto their own grounds. 

The music itself (as if we're forgetting the point here) is somewhere between metal and darkness.    Hints of Motorhead come out and, I mean, really this is the type of music that used to frighten parents and conservative rights groups back in the 1980's and even maybe the 1990's, sure, but in 2015 no one should be offended by this music as there is just so much of it out there (METAL!!) that you can't pick and choose a band to isolate and punish.   But, alas, I don't think their punishment was for their music even though I now think of Viransir along the same lines as Ozzy and the such.    But the music- dark, brooding metal- is just on the top of its game and so despite all of the controversy surrounding this cassette you really should be listening to it simply for the musicianship.

Survival- who just seems to be along for the ride here- has a bit of a hardcore punk sound to them.   They're somewhere between something like Ignite and a band from the early days of Fat Wreck Chords, where they would have had those more hardcore leanings than other bands you would hear and think of as being obvious punk.    Though Survival isn't afraid to deal the metal hand, as the songs can also bring about hints of something like Bullets & Octane just without that sort of country twang.   It is something which is heavy enough that I feel if you enjoy one of these two artists you will enjoy the other but they do sound distinctly different.

I'd like to give you some kind of final, go home speech about how Bandcamp shouldn't be allowed to push around its artists and if Bandcamp didn't have artists to push around it wouldn't exist and so you should promote this split cassette and these artists simply because they are going against that Bandcamp grain.    But the fact is, if none of this had happened otherwise, I would still be telling you to get this split cassette just because of how amazing the music is.   If it was still on Bandcamp I'd feel just as strongly about it as I do right now and I'm not really mad at Bandcamp anymore so much as I'm sad because they're losing out on this great music. 

 

Joshua Macala

21.10.2015

 

 

 

Sonic Abuse

 

With its handmade artwork, hand-sprayed disc and insert and carefully adorned box, ‘Unity/Solaris’ is one of those releases that you know means a great deal to its creator. This is not blind commerce, but the work of an artist, and it elevates the release from the ordinary to the extraordinary before you hear a note. It is remarkable, and yet heartening in these times of digitized anonymity, where so many bands are content to simply put an MP3 out on the net without thinking about how the work may be presented, that some artists are happy to buck the trend and produce something of real value for their followers. Even more remarkably, this is not a limited release. As the press release states: “there is no limit to the number of ”Unity/Solaris” CDs, as long as the man is alive.” The man is Toğrul, co-owner of Merdumgiriz and the multi-instrumentalist at the heart of Viranesir, the band behind the second half of this special split release.

 

However, before we get to Viranesir we have the mighty Survival, a West Coast punk/thrash band who have released a wide array of albums and eps ranging from full-on, carefully produced albums like ‘Shayda’ to super lo-fi recordings like ‘Hapiness’. Heavy, yet always varied, Survival’s output highlights the punk edge at the heart of thrash and throws in a few twisted psychedelic chops for good measure, and ‘Unity’ is one hell of a start to the split release.

 

Offering up five tracks overall, ‘Unity’ is a very strong release from Survival, the production perfectly matching the band’s ambitious arrangements. The opening track ‘welcome home’ is hardcore punch with a vicious metallic edge, all crunching palm-muted riffs and sneering vocals delivered with a power that shakes the room. Sitting somewhere between Hot Water Music and Anthrax (with a hint of Helmet for good measure), it packs a hefty punch and leaves the listener reeling. Better still is the brutal ‘mother of alchemy’ with its huge gang chant chorus, whilst the scything stop-start riffs of ‘Rig’ offers itself up as the EP’s most devastating workout. George Lallian’s bass is especially energetic here, but standing out above the wreckage of mangled riffs is Nick Noro’s tortured vocals which are delivered with a venom that has to be heard to be believed. The EP slows its relentless pace briefly with the swirling riffs of ‘Persevere’, a song that soon screams into life, Nick pinning brutalized hardcore vocals onto a complex, thrash-orientated track to create a snarling hybrid that would not sound out of place on the last Amebix record. Survival’s half of the record draws to a close with the arty title track, a piece that opens with backwards phased guitar and which goes on to offer up melody and power in equal measure. A complex, deeply satisfying finale it offers up some amazing guitar work as Nick Noro and Roland Sayn trade licks and it marks the end of an all-too-short EP with not a single low point.

 

Something of a contrast, to say the least, Viranesir are an experimental music project “Originally created to be the solo project of the fictional main… character in the film “Drink From The Fountain Of Uncertainty”” Somewhere along the line, Viranesir evolved into a three-piece and now produce music that is deeply unsettling. Operating on the very fringes of experimental death / black metal, Viranesir incorporate elements of early Swans, Darkthrone, early Darkthrone and even the doors into their swirling, miasmic sound. It is not pleasant music, and it deals with unpleasant topics, cleverly inverting the concepts of straight-forward politicised beliefs through confrontation, forcing those with a supposedly liberal agenda to expose their own desire to control and contain that with which they don’t agree. Such shock tactics are far from new in the metal underground, but Viranesir are more confrontational than most and a degree of caution is recommended for those of a sensitive disposition. Viranesir seem to share certain performance aspects with GG Alin, amongst others, but the use of the Swastika, for me at any rate, is a rather obvious way to offend people’s sensibilities whilst simultaneously testing the barriers of freedom. Whilst it is possible to argue that the forced removal of said image has more in common with fascism than simply wearing it devoid of political motivation,  the adoption of the Swastika is so easy a red flag to wave that you’d imagine artists would find something else to use. Nonetheless, Viranesir’s basic truth seems to be a-political, amoral and motivated by a desire to normalize freedoms rather than have them remain the exclusive province of those liberally minded souls who would talk of freedom of speech whilst erasing all the scars of human conflict and the racial/sexual abuse that has, historically categorized human behaviour. It is the responsibility of the artist to confront, and it is arguably this confrontational edge that makes for such an interesting EP.

 

Unsurprisingly, ‘Solaris’ is far from an easy listen and ‘dream’s house’ is not unlike being trapped on a fairground ride in hell with its hypnotic riffs, fizzing, muffled production and slithery synth, yet there’s something deeply compelling about it all, and as it segues into the equally creepy ‘love’, the method at the heart of this madness starts to become clear. The lo-fi production, so jarring when it first emerged out of Survival’s heavy sound, is a thing of dark beauty, a claustrophobic sound that perfectly accentuates the dark heart that beats at the music’s core. ‘Night of the mare’ is more synth driven, with a gothic edge, sort of a cross between Burzum and Sisters of mercy before the title track closes things out with a chilling, child-like melody emerging from a nightmarish collision of churning guitar and rattling percussion. It’s dark, unyielding and clearly the work of an artist entirely uninterested in the norms of what might be called ‘civilised’ society, and it marks out Viranesir as one of the few bands who can truly be called ‘independent’, for they rely upon no system other than their own.

 

Split EPs are something of an anachronism. On the one hand, as they always have done, they allow fans the opportunity to hear new music cheaply and easily. On the other hand, in these days of digital promotion, they seem to be less essential than they once were when the only way to hear new music was to take the plunge and buy into a CD by an artist you had likely never heard. Nonetheless, I like the idea of bands joining forces thanks to stylistic or philosophical similarities (here it is the later rather than the former) and, with luck, this beautifully rendered split will allow fans of either band the chance to expand their horizons. Certainly, in this depressing age of digital conformity, the hand-made artwork is very much appreciated and it makes the release somewhat more special than a simple cardboard case might be. This is not music for the faint of heart and the stark contrast in musical styles may find some fans playing one half more than the other, depending upon their own personal favourite, but it’s worth the risk to uncover artists who retain the courage of their convictions in today’s ever blander and more heavily censored age.

 

2.8.2015

 

 

 

Sicmaggot

 

Vzhledem k tomu, že o Viranesir jsme si podrobněji povídali výše, začněme část o splitu „Unity / Solaris“ menším představením té druhé (na samotném nosiči vlastně spíš první) formace, jež se na tomhle počinu společně s Viranesir podílela. Jsou jí Američané Survival, kteří aktuálně fungují šestým rokem. Obecně nejsou ve vydávání nahrávek až takoví bombarďáci jako jejich turečtí kolegové, nicméně i oni už stihli vyjma tohoto splitu letos vydat dvě řadové desky, jmenovitě „Shayda:1“ a „Hapiness“. Co se předchozích let týká, Survival mají na kontě ještě jedno řadové album („Love God“ – 2012) a pak nějaké ty neřadové kraťasy.

 

S o poznání větší nadějí jsem se upíral ke straně Viranesir, jež byla pojmenována „Solaris“. Nicméně přítomná čtveřice skladeb (z nichž jedna je navíc jen coverem) bohužel citelně zaostává za tím, co je ke slyšení na „Suffering, Fear, Lucifer“. Zprvu se to tak nemusí zdát, protože zdánlivě je vše stále na svém místě a několik povedených momentů se rozhodně najde (zejména v písních „Love“ a „Night of the Mare“ – druhá jmenovaná je onou předělávkou a původně pochází od belgických gotiků Poésie noire). Netrvalo to však příliš dlouho, aby mi došlo, že opakované poslechy „Solaris“ mi zdaleka nečiní takovou radost jako opakované poslechy „Suffering, Fear, Lucifer“. Řečeno jinými slovy, „Solaris“ se prostě tuze rychle ohraje.

 

S o poznání větší nadějí jsem se upíral ke straně Viranesir, jež byla pojmenována „Solaris“. Nicméně přítomná čtveřice skladeb (z nichž jedna je navíc jen coverem) bohužel citelně zaostává za tím, co je ke slyšení na „Suffering, Fear, Lucifer“. Zprvu se to tak nemusí zdát, protože zdánlivě je vše stále na svém místě a několik povedených momentů se rozhodně najde (zejména v písních „Love“ a „Night of the Mare“ – druhá jmenovaná je onou předělávkou a původně pochází od belgických gotiků Poésie noire). Netrvalo to však příliš dlouho, aby mi došlo, že opakované poslechy „Solaris“ mi zdaleka nečiní takovou radost jako opakované poslechy „Suffering, Fear, Lucifer“. Řečeno jinými slovy, „Solaris“ se prostě tuze rychle ohraje.

 

Vyjma slabšího materiálu od Viranesir a nudného materiálu od Survival (což je samo o sobě dost) má „Unity / Solaris“ ještě jeden obrovský neduh, který jsem sice doposud nezmínil, avšak myslím, že musí být zřejmý jen z povídání o žánrech. Ty kapely se totiž k sobě absolutně, ale absolutně nehodí. Možná, že spolu jsou kámoši (což asi ano, když pod Merdümgiriz vyšla poslední deska Survival), ale hudebně i náladou jsou si obě formace na světelné roky vzdálené a společně na jednom nosiči k sobě vůbec nepasují. Když vše sečtu dohromady, tak tento split k poslechu doporučit nemohu.

 

H.

20.7.2015

 

 

 

Occult Black Metal

 

This is a review of a split album between U.S.A's "Survival and Turkey's Viranesir called "Unity/Solaris" which was released by Merdumgiriz and we will start off the review with Survival a band that plays a mixture of hardcore and thrash.

 

Next  up  is  Viranesir  a  band  from  Turkey  that  has  been  featured  before  in  this  zine  and  plays  an  experimental mixture  of  black  and  doom  metal.

 

Their  side  of  the  split  starts  out  with  grim spoken  word  parts,  bass  guitars  and  dark  sounding synths  and clean  singing  vocals  are  also  used  on  a  regular  basis  and  the  songs  also  mix  in  the  heaviness  of  doom  metal  and  after  awhile  the  vocals  start  adding in  more  black  metal  elements  and  when  solos  and  leads  are  utilized  they  are  very  dark,  depressive  and  melodic  sounding  and  some  of  the  songs  also  bring  in  avant  garde  and  goth  elements  and  they  also do  a  cover  of  Peste  Noire's  "Night  Of  The  Mare",  the  production  sound s very  dark,  raw  and  heavy  while  the  lyrics  cover  dark  and  depressive  themes.

 

In  my  opinion  this  is  another  great  sounding  recording  from  Viranesir  and  if  you  are  a  fan  of  experimental,  black  and  doom  metal,  you  should  check  out  their  side  of  the  split.  RECOMMENDED  TRACKS  INCLUDE  "Dream's  House"  and  "Night  Of  The  Mare".

 

8/10

 

John Larsen

8.7.2015

 

 

 

 

 

Kaos Garden: Burn The Homeless

 

 

Team J.G.C

 

Formé en 2012 en Turquie par un seul homme, Emir Togrul, VIRANESIR officie dans le Black Métal plutôt Raw et très engagé. Sixième album studio de ce One Man Band, 'Kaos Garden : Burn The Homeless' est paru en Avril 2015 sur le label Merdümgiriz.

Il y a eu une nette évolution dans la musique de cette entité turque : le son. Parfois assez perçant sur l'album précédent, il est ici légèrement étouffé, avec un rendu Raw très important, typique Old School Black Metal, chaotique à souhait. Les deux albums ne sont pourtant séparés que d'un mois et demi !!

Principalement mid-tempo, l'album possède néanmoins des passages dotés d'une rythmique très rapide, féroce et intense. Le chant est profond et bien rugueux, collant parfaitement au style. L'atmosphère imposante et sinistre que procure la musique rappelle parfois le caractère mystique, presque rituel de la Bête...

Avec des textes engagés, malsains, parfois même à la limite de la bonne moralité (il suffit de consulter les titres des compositions pour se faire une idée globale...), Emir Togrul créé une fois de plus un album sombre, avec de nombreuses idées, très chaotique mais maitrisé. Du Raw Black Metal de très bonne facture. Une formation à suivre de près.

Bonne écoute à Tous et Toutes !

 

bebert94500

22.8.2015

 

 

 

Rock Overdose

 

Μετά την επιστροφή μου από τον κόσμο των Ιταλών Dawn of a Dark Age, και το project τους με τους 6 δίσκους-αφιέρωμα στα 6 στοιχεία της φύσης, αναχώρησα και πάλι με προορισμό το μουσικό σύμπαν των Τούρκων Viranesir, οι οποίοι, πριν 3 μήνες κυκλοφόρησαν τον 6ο κατά σειρά δίσκο τους. Φαίνεται ότι ορισμένες φορές η έμπνευση είναι αστείρευτη και όσους δίσκους και αν έχεις κυκλοφορήσει στο σύντομο παρελθόν, έχεις ακόμα αρκετές ιδέες και αρκετή όρεξη ώστε να συνεχίζεις ακάθεκτος. Το λέω αυτό γιατί το KaosGardenBurn The Homeless ήρθε μόλις ενάμιση μήνα μετά την κυκλοφορία του προηγούμενου δίσκου, SufferingFearLucifer.

 

Στην τελευταία τους δουλειά οι Τούρκοι συνεχίζουν την πορεία τους, μέσα στο βασίλειο του old-school Black Metal, αλλά σχεδόν άμεσα ο ακροατής θα αντιληφθεί τη διαφορά στον ήχο τους και στην παραγωγή του δίσκο. Στην προηγούμενη κυκλοφορία τους, ο ήχος είχε πολύ περισσότερα πρίμα, με αποτέλεσμα οι κιθάρες να σου τρυπάνε σχεδόν τα αυτιά, ενώ πολλές φορές τα φωνητικά ήταν τσιριχτά. Στο συγκεκριμένο δίσκο ο ήχος είναι πιο μπάσος και πολλές φορές οι κιθάρες χάνονται, εξαιτίας της μπουκωμένης παραγωγής. Αυτό όμως δεν αποτελεί αρνητικό παράγοντα, αφού η μπουκωμένη παραγωγή αποτελεί ένα κυρίαρχο στοιχείο του παλιού, ωμού Black Metal, ενώ παράλληλα οι Τούρκοι πετυχαίνουν το σκοπό τους, που είναι η δημιουργία χαοτικής μουσικής που παρασύρει τον ανήμπορο να αντιδράσει ακροατή.

 

Από ‘κει και πέρα, οι ταχύτητες στο μεγαλύτερο μέρος του δίσκου ακολουθούν ένα σχεδόν μονότονο mid προς low-tempo ρυθμό, χωρίς βέβαια αυτό να σημαίνει ότι λείπουν τα γρήγορα ξεσπάσματα. Κι ενώ από τη μία οι low και mid-tempo ταχύτητες εντείνουν τη ζοφερή, μοχθηρή ατμόσφαιρα, από την άλλη οι γρήγορες στιγμές εντείνουν το αίσθημα χάους, που δημιουργείται από τις ξέφρενες, σχεδόν ψυχεδελικές, μελωδίες της κιθάρας. Τέλος, τα φωνητικά, τα οποία ως επί το πλείστον είναι βαθιά και τραχιά, βοηθούν στη διατήρηση της επιβλητικής και μοχθηρής ατμόσφαιρας, που δημιουργεί η μουσική, ενώ η χρήση, σχεδόν, απαγγελίας δίνει κι ένα μυστικιστικό-τελετουργικό χαρακτήρα στη μουσική τους.

 

Με το Kaos GardenBurn The Homeless οι Viranesir κατάφεραν και πάλι να δημιουργήσουν έναν καλό δίσκο, ο οποίος βαδίζει μεν στα χνάρια των προηγούμενων, αλλά δεν παύει να είναι μια αξιοπρεπή σκοτεινή κυκλοφορία, που και πάλι λειτουργεί ως ένα μέσο κριτικής προς την κοινωνία (και σε αυτό τον δίσκο θα βρούμε σκληρούς τίτλους κομματιών, όπως “Set Poor People on Fire”, “Armenian Genocide is Amazing” και “I Despise Niggers”). Όσοι έχουν ακούσει τους προηγούμενους δίσκους τους, δεν θα ακούσουν κάτι το εντελώς διαφορετικό εδώ, ενώ εκείνοι, για τους οποίους το Kaos GardenBurn The Homeless αποτελεί την πρώτη επαφή με το συγκρότημα αυτό, θα ακούσουν έναν συμπαγή, καλογραμμένο old-school Black Metal δίσκο.

 

73/100

Μίνως Ντοκόπουλος

14.7.2015

 

 

 

 

 

Suffering, Fear, Lucifer

 

 

Sicmaggot

 

Možná si vzpomenete, že se zde před nějakým časem objevila recenze na debutové album experimentálně black metalového projektu s prapodivným názvem Blliigghhtted, který pocházel z Turecka. Dnes se do této země vrátíme, dokonce i do stejného žánru… a dokonce i k úplně stejným lidem…

 

Jádro veškerého dění tkví ve vydavatelství Merdümgiriz, pod jehož křídly nachází útočiště jen velice omezený počet (v řádu jednotek) skupin a projektů, přičemž takřka všechny jsou vzájemně personálně propojeny skrze tři lidi, jimiž jsou Merdümgiriz (ano, říká si stejně jako onen label), Ruhanathanas (což je jen tak mimochodem dívka, ačkoliv to tak podle pseudonymu nemusí na první pohled vypadat) a nakonec Emir Toğrul, který všechny nosiče vydávané pod onou firmou vyrábí ručně. Těmi propojenými projekty pak jsou kromě již zmiňovaných Blliigghhtted ještě Viranesir a Yayla, přičemž jejich vznik je seřazen přesně opačně, než jsem je vyjmenoval.

 

Skupina Viranesir, jejímž hlavním mozkem je Emir Toğrul, ačkoliv i oba další zmiňovaní uličníci se v ní nějakým způsobem angažují, tedy nevznikla jako první, ze všech tří projektů je však co do vydávaných nosičů nejčilejší. První deska vyšla v roce 2013 a aktuálně recenzované „Suffering, Fear, Lucifer“, jež se objevilo letos v únoru, je pak už pátou plackou. A jak vidno, neskromná kadence zjevně nebude mít jen tak konce, jelikož než jsem se k sepsání recenze dokopal, stačilo již vyjít další album „Kaos Garden: Burn the Homeless“ (v dubnu) a čerstvě, sotva před týdnem, také split „Unity / Solaris“ se zámořskou bandou Survival, o němž ještě v krátkosti pohovoříme v druhé části článku.

 

Nejprve se však pojďme podívat na „Suffering, Fear, Lucifer“, které je pro mě osobně prvním seznámením s muzikou Viranesir – krásně dle hesla „hoďte ho do vody“ začínám přímo uprostřed diskografie. Jednu věc ovšem těmhle tureckým bláznům musím rozhodně nechat – ačkoliv jsem byl zocelen poslechem „Zeroes“ od Blliigghhtted, ačkoliv jsem vycvičen poslechem velkého množství pošukaných šíleností a od „Suffering, Fear, Lucifer“ jsem předem neočekával vrchol normálnosti, i tohle album mi podobně jako zmiňované „Zeroes“ dalo docela zabrat.

 

Zajímavé přitom je, že se hudba Viranesir od Blliigghhtted zas až tak neliší – přinejmenším tedy co se „Suffering, Fear, Lucifer“ týče. Navíc je právě tahle fošna svým způsobem o kousek stravitelnější než „Zeroes“, nicméně onu stravitelnosti berte s velkou rezervou, jelikož „Suffering, Fear, Lucifer“ je stále marast jako prase. Deska trvá pouhopouhých necelých 28 minut, a přesto upřímně říkám, že na první pokus jsem ji až do konce nedoposlouchal…

 

„Suffering, Fear, Lucifer“ totiž s naprostým přehledem ukazuje, jak zní špinavá garáž. Zároveň s tím však ukazuje i to, jak zní experiment v black metalu. „Suffering, Fear, Lucifer“ je totiž obé najednou – syrovost a experiment jdou ruku v ruce, pak si zasouloží a vznikne hodně prazvláštně znějící humus. Nakonec ještě štěstí, že má to album jen těch 28 minut, protože těžko říct, jak by se to vůbec dalo strávit, kdyby to mělo hodinu.

 

Zajímavé je však i to, že „Suffering, Fear, Lucifer“ nejenže zní podobně jako „Zeroes“, ale nakonec na mě obě alba působí takřka stejně a stejně probíhalo i jejich vstřebávání. V oné první recenzi jsem napsal: „Jakkoliv to zní na první poslech trochu strašně, nějak jsem to nedokázal přestat poslouchat, a i když jsem z toho po uplynutí onoho 43 minut dlouhého marastu nebyl zrovna dvakrát moudrý, měl jsem chuť si to pustit znovu.“ Stačilo by mi vyměnit jen 43 za 28 a mohl bych to samé napsat i o „Suffering, Fear, Lucifer“.

 

V tom brajglu, který se místy opravdu blíží úrovni chaotické kombinace bzučení a sypání brambor (rozuměj kytarových včelínů a bicího mlácení), se totiž vážně ukrývá i množství zajímavých a zvláštních momentů, divných melodií, sjetých vokálů, výtečných rytmických přechodů a dalších ve špíně ukrytých legrácek. A jak postupně narůstá počet poslechů a s ním se postupně všechny tyhle zajímavé věci posluchači odkrývají jedna vedle druhé, roste ohromným způsobem i zábavnost nahrávky. A vzhledem k tomu, kolik tam toho všeho je, se nakonec „Suffering, Fear, Lucifer“ vypracuje z desky, jež zní na první pokus téměř neposlouchatelně, až k desce, od níž lze jen těžko odtrhnout sluch. Inu, jak se říká: trpělivost přináší růže, byť jsou ty růže v tomto případě velmi zaprasené.

 

Aby byl ovšem dojem turecké divnosti úplně kompletní, je nutno k celkovému obrazu připočíst rovněž lyrickou stránku, jež si s tou hudební v šílenosti v ničem nezadá a nechybí jí řádná dávka hodně svojského nadhledu. Jako jeden příklad za všechny stačí uvést pouhý název songu „Whenever I See a German Girl, I Want to Infect Her Genes with My Worthless Semen and Mock Her with a Swastika“ (a to ty texty jen mimochodem píše ta holka)…

 

Jen těžko lze věci jako „Suffering, Fear, Lucifer“ skutečně doporučovat každému posluchači na potkání. Řadíte-li se ovšem mezi dobrodružnější příznivce black metalu, pak se na tuhle záležitost neváhejte podívat.

 

H.

20.7.2015

 

 

 

Rock Overdose

 

Το δίδυμο Toğrul και Merdũmgiriz, που αποτελούν τα μέλη του συγκροτήματος Viranesir, είναι αυτό που θα λέγαμε, δανειζόμενος τον όρο από το χώρο των αθλητικών, “on fire”, και στο διάστημα ενός χρόνου κυκλοφορούν τον τέταρτο δίσκο τους, με τον τίτλο “Suffering, Fear, Lucifer”, μόλις δύο μήνες μετά την κυκλοφορία του “Raping Lesbians for Freedom”. Με το νέο δίσκο, οι Viranesir συνεχίζουν την κριτική τους προς την κοινωνία και τον κόσμο γενικότερα, χρησιμοποιώντας και πάλι σκληρούς τίτλους στα τραγούδια, που απαρτίζουν το δίσκο, όπως οι “I Love Torturing Defenseless Creatures and Eating Them” και “Whenever I See a German Girl, I Want to Infect her Genes with my Worthless Semen and Mock her with a Swastika”.

 

Μουσικά, ο δίσκος ακολουθάει τα χνάρια του προηγούμενου, αποτελώντας φυσική του συνέχεια. Η ατμόσφαιρα είναι εξαιρετικά σκοτεινή, σε όλη τη διάρκεια, είτε η μουσική βαδίζει σε τυπικά old-school Black Metal μονοπάτια είτε σε πιο χαμηλές ταχύτητες, όπου το ζοφερό συναίσθημα, μάλιστα, είναι ακόμα πιο έντονο. Και φυσικά, το ότι οι ταχύτητες διατηρούνται σε χαμηλά επίπεδα δεν σημαίνει ότι τα τραγούδια είναι λιγότερο έντονα, λιγότερα σκοτεινά ή με λιγότερο διεστραμμένο χαρακτήρα. Και λέω διεστραμμένο, γιατί ακριβώς τέτοια ατμόσφαιρα δημιουργούν οι κιθάρες με τη βρομιά στον ήχο, που σου γρατζουνάει τα αυτιά, τα φωνητικά, που είναι μία μίξη μεταξύ τσιρίδων, κραυγών, αφήγησης και ψαλμωδίας, αλλά και η γενικότερη παραγωγή, που φέρνει επίτηδες στις παλιές καλές εποχές του Black Metal, με τον εντελώς τραχύ ήχο και την ανύπαρκτη παραγωγή. Και όλα αυτά που ανέφερα μαζί με το συνεχές κοπάνημα των πιατινιών, παρασύρει τον ακροατή, σαν ένας μοχθηρός στρόβιλος παράνοιας και ψυχεδέλειας, κάνοντας τον να χαθεί μέσα του και να μην μπορεί να αντιδράσει.

 

Αν έχετε ήδη ακούσει το “Raping Lesbians for Freedom” τότε ξέρετε τι να περιμένετε με το “Suffering, Fear, Lucifer”, καθώς όπως είπα αποτελεί συνέχειά του. Αν δεν έχετε ακούσει τον προηγούμενο δίσκο ή γενικά Viranesir, τότε θα πρέπει να περιμένετε ένα ζοφερό δίσκο, που βαδίζει στα χνάρια του old-school και πιο ωμού Black Metal, που έχει σκοπό να κάνει δύσκολη την ακρόαση και να παρασύρει τον ακροατή στα σκοτεινά δίχτια του. Αξίζει να τον ακούσετε.

 

75/100

Μίνως Ντοκόπουλος

6.3.2015

 

 

 

 

 

Raping Lesbians For Freedom

 

 

Black Metal Spirit

 

Estamos ante el cuarto larga duración de este proyecto afincado en Turquia, detrás del cual podemos encontrar a Emir empleándose a fondo con todo el apartado musical. Lo primero que destaca de este álbum es la portada, que poco tiene que ver con cualquier tema relacionado con el black, es por ello que el oyente puede dejar pasar de largo un álbum como este. Pero es que tan pronto como suena el primer tema, vemos que nada más alejado de la realidad, aquí se nos ofrece un black metal muy bizarro. Emir diferencia en su música las partes más lentas y tranquilas de claro enfoque doom y de atmósferas depresivas, de las partes más rápidas que denotan una actitud mucho más punk y experimental, acabando por sonar vanguardista. Su música se nutre de diversas influencias y acaba por sonar como un caos de estilos logrando una sensación de agobio en el oyente, gracias también a una producción que añade un punto de crudeza al conjunto. A ello hay que añadir unas letras del todo irreverentes que dan forma a está obra que agradará a los seguidores de un black metal más experimental.

 

8.1/10

 

Fran Rocha Fernández

19.5.2015

 

 

 

Disfactory.it

 

Roba d’altri tempi a vedere la discografia dei Viranesir, dopo l’esordio Fountain of Uncertainty (2013) i nostri hanno dato vita a ben tre album nel corso del 2014, un ritmo forsennato (verrebbe da dire inumano) che bacia la totale spontaneità di questo progetto. Ma nel frattempo alcune cose hanno mutato pelle, i Viranesir hanno assunto forma di band -rimanendo pur sempre e primariamente loschi improvvisatori- rispetto a prima, spogliati di quell’aura “cinematografica” che li caratterizzava, ci lasciano ora per le mani una creatura volutamente primordiale da qualsiasi lato la si voglia ossessivamente guardare, l’ormai “sacro” e irriverente terzetto (formato dai soliti malati terminali Emil Togrul, Ruhan e Merdumgiriz) ci schernisce tramite un black metal nato marcio ancor prima di ricevere adeguata “visualizzazione”. Si sta parlando dell’ultimo disco della ormai “nota” tripletta partorita nel 2014, il titolo è Raping Lesbians for Freedom e per 48 minuti saprà martoriare e flagellare a dovere il coraggioso malcapitato, il soggetto rimarrà impalato a chiedersi come diamine sia potuto accadere, come è stato possibile finire sopra un prodotto di questo tipo.

 

Ormai tutto ciò che sta rilasciando la Merdumgiriz sta assumendo contorni a se stanti, è un pericoloso mondo in allestimento quello che sta andando a formarsi, un pianeta ancora una volta impossibile da decifrare o giudicare in maniera adeguata, musica come rappresentazione artistica totale, a questo giro si fa pure uso/abuso del termine “classico”, si sperimenta ma attraverso il passato, tramite forma di un black metal obsoleto, casuale, pieno zeppo di deliri compulsivo/ossessivi che si accavallano senza sosta dal principio alla fine.

 

Raping Lesbians for Freedom non è un ascolto impossibile, ma è certamente confusionario, è questa difatti l’arma usata, l’indiscussa protagonista, un arma che arriva dritta dritta senza interferenza alcuna grazie al sound secco e sacro, proveniente direttamente dallo scantinato più lercio e ben nascosto vicino casa propria. E’ come ritornare all’epoca dei vecchi demotape, ma quelli di una certa durata, quelli malsanamente studiati per lasciare importanti tracce abrasive. Le chitarre sono un flagello, la batteria rude e spartana, mentre il reparto vocale diventa ben presto il fiore all’occhiello del prodotto con i tre dannati individui intenti a darsi ritualistici quanto vorticosi cambi, quasi fossero impossessati da un qualche demone mitologico.

 

Sospiri, “latrati”, marce funeree, riffs velenosi e pungenti, sprazzi selvaggi sono qui cose comuni, ripetute quasi fossimo in un sorta di maledetto girotondo, particolarità con le quali bisognerà giocoforza fraternizzare per poter arrivare al termine con addosso ancora un goccio di “mente sana”.

 

Se siete intenti a seguire ogni tipo di modernità possibile/immaginabile lasciate pure perdere la musica dei Viranesir. Qui c’è solo l’esaltazione della depravazione, voglia di fare quel cazzo che si vuole sperimentando tonalità e sensazioni completamente “a caso”, la capacità di lasciarsi guidare dall’ispirazione del momento senza stare troppo a pensare ad effetti collaterali o conseguenze varie. Bocciarlo o esaltarlo non comporterebbe alcun aiuto, ma ormai per chi segue i prodotti del caseificio Merdumgiriz questa non è di certo una novità.

 

Che tale rude spiritualità possa colpirvi per mandarvi al tappeto, un segno positivo o negativo verrà lasciato agire indisturbato a prescindere, questo -che lo vogliate o no- è pur sempre circoscrivibile alla speciale categoria “sensazioni”.

 

Sorrisi giulivi all’accordato permesso di poter violentare tutte le “duck-face”. L’epifania della disgrazia.

 

Duke "Selfish" Fog

6.1.2015

 

 

 

Misantropia Extrema

 

Se o título do quarto álbum de originais deste projecto do turco Emir Toğrul, dos Ayala, vos fez levantar as sobrancelhas, preparem-se para abrir a boca quando lerem os nomes das nove faixas. «Child Porn Is Sublimated High Art», «I Only Like Jews When They Kill Muslims» ou «I Only Like Gays When They Scream Like To Opposite Sex As I Rape Them» são apenas três exemplos da ironia aplicada nas letras (improvisadas) deste registo, que se regem pela máxima de Ruhanathanas (dos Blliigghhtted), “A correcção política é ignorância europeia”. Musicalmente, «Raping Feminists For Freedom» prossegue o caminho libertino, cru e experimental do black metal ambiental de Viranesir. Momentos da mais extrema fealdade, com distorção no máximo, riffs dissonantes, blastbeats e produção primitiva, são alternados com outros mais introspectivos, passagens acústicas ou momentos de morbidez doom. As letras ganham um particular relevo num disco com o carácter provocativo que este tem, mas a evolução de Viranesir ao nível da sua estética sonora – mais esclarecida, original e coesa do que em algum dos lançamentos anteriores – deve ser igualmente realçada. Um bom disquinho que, ao ser encomendado, é todo feito à mão por Emir Toğrul, desde a montagem do jewelcase à pintura do próprio CD. Arte na verdadeira acepção da palavra.

 

7/10

 

Fernando

6.1.2015

 

 

 

Rock Overdose

 

Είχα την χαρά να “γνωρίσω” τον ταλαντούχο Τούρκο μουσικό Emir Toğrul, όταν έκανα κριτική στον πρώτο δίσκο των Viranesir, “Fountain of Uncertainty”, αλλά και στον τέταρτο δίσκο του κανονικού συγκροτήματος του Toğrul, τους Yayla (όπου εκεί διαχειρίζεται μόνος του όλα τα όργανα). Ο Τούρκος καλλιτέχνης κάνει εξαιρετική δουλειά ως προς την δημιουργία σκοτεινής και λυρικής μουσικής, η οποία θα σε ταξιδέψει, αλλά και ταυτόχρονα θα σε αναστατώσει. Όταν έμαθα λοιπόν, ότι οι Viranesir έβγαλαν τον τέταρτο δίσκο τους (τον τρίτο μέσα στο 2014), έσπευσα να τον αναλάβω.

 

Η νέα δημιουργία του Toğrul σε ξαφνιάζει ήδη από τον τίτλο της, “Raping Lesbians for Freedom”, αλλά και από τους τίτλους των κομματιών. Αναφέρων ενδεικτικά ορισμένους: “Child Port is Sublimated High Art”, “Fuck your Parents, Kill them, Cook them and Eat them”, “I Only Like Gays when they Scream like the Opposite Sex as I Rape them”. Σκληροί τίτλοι, οι οποίοι μαζί με τους στίχους λειτουργούν ως μία κοινωνική κριτική, για μια κοινωνία που τα χέρια της είναι βαμμένα με αίμα.

 

Και φυσικά ο Τούρκος μουσικός δεν έμεινε στους τίτλους για να αναστατώσει τους ακροατές, αλλά χρησιμοποιεί κυρίως τη μουσική του, δημιουργώντας ένα δίσκο ζοφερό και αγχωτικό. Με τις χαμηλές ταχύτητες, τη σκοτεινή ατμόσφαιρα, τη συνεχή χρήση παραμόρφωσης στην κιθάρα, τα βαθιά φωνητικά (που δίνουν και ένα μυστικιστικό χαρακτήρα στη μουσική), τις αγωνιώδεις κραυγές και τη θολή παραγωγή, ο ακροατής θα παρασυρθεί πολύ γρήγορα από τη μουσική και θα βρεθεί να περπατάει σε σκοτεινά μουσικά μονοπάτια, που θα τον βομβαρδίζουν συνεχώς με αγχωτικές και διεστραμμένες μελωδίες.

 

Και σαν να μην έφτανε όλο αυτό, υπάρχουν πολλές στιγμές όπου η μουσική περνάει σε Black Metal εδάφη, με γρήγορα ξεσπάσματα με blast beats και παγωμένες μελωδίες στην κιθάρα, στιγμές που χτυπάνε κατακέφαλα τον ακροατή. Ένα ακόμα όμορφο στοιχείο, που ακούγεται σε αρκετά μέρη του δίσκου και που εντείνει το μυστικιστικό πνεύμα της μουσικής, αλλά και προσθέτει ένα συναίσθημα εξαγνισμού, είναι οι αντρικές και γυναικείες αργές ψαλμωδίες, που σύμφωνα με τον καλλιτέχνη χρησιμοποιούνται διότι η μουσική προορίζεται και ως ένα είδος θεραπείας.

 

Ο Emir Toğrul με το ταλέντο του και με την εμπειρία του κατάφερε να δημιουργήσει έναν ακόμα όμορφο, αλλά και “δύσκολο” δίσκο, γεμάτο λυρικές, σκοτεινές και στενάχωρες μελωδίες, μέσω των οποίων περνάει τα μηνύματά του. Αν η σκοτεινή μουσική είναι του γούστου σας, τότε αυτό το άλμπουμ είναι για εσάς. Δεν θα σας απογοητεύσει ούτε στο ελάχιστο.

 

80/100

 

Μίνως Ντοκόπουλος

25.12.2014

 

 

 

Occult Black Metal Zine

 

Viranesir are a duo from Turkey that plays a very politically incorrect form of experimental black metal and this is a review of their 2014 album "Raping Lesbians For Freedom" which was released by Merdumgiriz.

 

Distorted guitar noises and melodic chants start off the album along with some slow yet heavy riffing which also uses some melody at times and deep yet grim black metal screams which also have a depressive feeling at times start making their presence known on the recording which leads up to more fast parts being added into the music that also bring in the energy of punk.

 

The slower sections of the music have a doom metal feeling to them and some of the alter tracks also add clean playing into certain sections of the recording along with a good portion of the tracks being very long and epic in length and the music brings in a good mixture of slow, mid paced and fast parts with the faster sections bringing a very raw black metal sound to the recording.

 

Throughout the album the melodic vocals mix in with the more extreme vocals which also gives the music more of an experimental and avant garde black metal feeling and the songs also bring in a good amount of blast beats at times and when solos and leads are finally added into the music they are in a few and melodic musical direction.

 

Viranesir plays a very experimental and avant-garde form of music that also mixes in a great amount of raw and depressive black metal elements along with a touch of doom and punk to create a very original sounding recording, the production sounds very dark and raw while the lyrics cover the most disturbing, offensive and politically incorrect themes you can possibly think off but done in more of a humorous fashion.

 

In my opinion Viranesir are a very great sounding experimental black metal project and if you are a fan of this musical genre, you should check out this album. RECOMMENDED TRACKS INCLUDE "Heil Hitler" "I Only Like Jews When They Kill Muslims" "Fuck Your Parents, Kill Them, Cook Them Up And Eat Them" and "Intolerant, National Imperialist, Racist Hate Metal Therapist, The Rapist".

 

8/10.

 

John Larsen

23.12.2014

 

 

 

 

 

Shoot On Mom's Corpse

 

 

Weirdest Band In The World

 

I don’t think we’ve ever featured any music from Turkey on this blog. That’s fucked up. I went to Turkey once and it was awesome. So let’s get them in on the weirdo action right now.

 

This Viranesir project is the work of a guy named Emir Toğrul and it’s basically a cross between noise rock and doom metal, but played entirely on drums and synthesizers. It’s like listening to Wolf Eyes on acid. Here’s the video for “Not Alone,” the lead track off the project’s third album, Shoot On Mom’s Corpse. Which is like the greatest album title ever, until you find out Viranesir’s previous album was called Kill Your Repulsive Child, which is ever greater.

 

Shout-out to Merdümgiriz, who is both the insanely chaotic drummer for Viranesir and the guy who emailed this project to us. Not sure how you found us, Merdümgiriz, but I’m glad you did.

 

You can stream Shoot On Mom’s Corpse on Bandcamp or better yet, buy the damn thing. It’s only $4 to download the whole 49-minute album. I’m pretty sure it’s worth at least that much just to have the title Shoot On Mom’s Corpse show up in your iTunes occasionally.

 

jakemanson

31.7.2014

 

 

 

 

 

Fountain Of Uncertainty

 

 

 

Battle Helm

 

I usually don’t go for soundtracks. Not unless they come with a movie. But I guess that there is an exception to every rule and perhaps VIRANESIR is my exception. With a run time short of 30 minutes this isn’t going to be a long, drawn-out process. I guess that I can sit through that. Don’t know what the film is about though. I find it hard to listen to a soundtrack and not seeing the film. You don’t really get the texture or context of the music when you don’t have the visual side of it too. But there is something claustrophobic to the music that leads me to believe that the film isn’t a love story but more of an existential exploration of the human soul/mind. I like the music and would like to see the film (with the soundtrack).

 

Anders Ekdahl

29.8.2013

 

 

 

Metal Kaoz

 

I was introduced to the Turkish artist Emir Toğrul via the latest release of his solo project YAYLA, (read the review HERE). Since then, Emir has created another dark solo project, by the name VIRANESIR, and he released "Fountain Of Uncertainty". By reading the press release and by doing a little research, I discovered that Emir has written and directed the film "Drink From The Fountain Of Uncertainty" and that this release is actually the film's soundtrack.

 

Based on Emir’s dark music in YAYLA it doesn't take a genius to do the math; "Fountain Of Uncertainty" is also a dark, depressive album that channels pessimistic vibes to the listener. "Ovulation" begins with distorted guitar, slow riffs and drumming and distant agonizing screams so be ready to dive deep into the blackness. The sound of the guitars serving icy and monotonous riffs create a suffocating atmosphere as you’ll be flooded with sad and depressive melodies able to kill the last hope. While "Stark Of Dark" picks up from where "Ovulation" left off, "Ejaculation" and "Fertilization" are more intense without being less murky or sad. "Sight Of Light" is the most bizarre let's say piece, where only the keyboards are present. And I say 'bizarre' because the twisted sound of the keyboards and the dirty production create a really haunting atmosphere. The vocals can be found only in "Ovulation" and "Fertilization" kept in the background being almost incomprehensible and that works in favor of the overall dark feeling.

 

"Fountain Of Uncertainty" is not something that will rock your world, but it will be an excellent friend when you want to get carried away to dark, depressive and in some strange way beautiful musical landscapes. Emir Toğrul is a gifted musician, capable of creating great music. I'm sure that the future releases by YAYLA or VIRANESIR will be equally great, if not better albums.

 

8/10

 

Minos Dokopoulos

24.7.2013

 

 

 

About.com

 

Viranesir is the name of the project of the fictional character “Musician” in the film Drink From the Fountain of Uncertainty. Fountain of Uncertainty is the soundtrack to said film. The talented Emir Toğrul (Yayla) wrote and directed the film and composed and performed all instruments.

 

The cinematic and brooding black metal of Viranesir is steeped in darkness and conflict. Largely instrumental and deeply emotional, it’s the sound of struggle. It’s not so much bleak as painful and depressing. Strings add a layer of melancholy to the lo-fi atmospherics, static filled guitar, expressive bass and primitive percussion. This is deeply affecting art serving as a testimonial to film.

 

4/5

 

Matt Hinch

25.6.2013

 

 

 

The Metal Observer

 

VIRANESIR is a self described “Dark Metal” project that was initiated by Emir Toðrul, who is also the sole purveyor of the ritualistic Black Metal act YAYLA. The project's debut release, “Fountain Of Uncertainty”, is listed as the soundtrack to a film entitled “Drink From The Fountain Of Uncertainty” and is supposedly told from the point of view of the film's fictional protagonist. Having never actually viewed this film, I'll just agree to stipulate what the project has stated. The first time I listened to this album, I had no idea what to think. The moods are so varied throughout that it's difficult to digest in one sitting, but it's a soundtrack, so it's only fitting that the tempo and timbre of the music would wax and wane much like a film plot.

 

A good portion of this album could best be described as ambient soundscapes. “Ovulation”, “Stark Of Dark” and “Sight Of Light” showcase very little in the way of traditional instrumentation. Oh, there are bass and drums and subtle guitar notes, but instead of the traditional instruments taking precedence, they take a back seat to synthesized strings, droning chants and maniacal wailing. Much like YAYLA's albums, repetition is a key factor on “Fountain Of Uncertainty”. “Ovulation” focuses on synthesized strings while a middling drum beat and bass line plod away. The drums and bass go in and out, from a slow paced march into fast paced double bass beats and steady pounding bass notes. It almost comes in waves, light to heavy, light to heavy, light to heavy. The whole time the synthesized strings stay true and to the front, threatening to lure you into a trance like void. Continuing the ambient trance induction, “Sight of Light” makes more use of key driven melodies only this time sans drumming and bass. This three minute track shows a dance between what could be the synthesized version of a cello doing battle with some light and airy keys to the rear. It's actually a good title for the song, because I envision it being during some huge realization during the film.

 

The remaining three tracks make more use of traditional instruments, but still continuously pull your mind into an otherworldly state. “Stark Of Dark” focuses on a winding guitar pattern repeated for the entirety of the track, backed by what sounds like an out tune Hammond organ keeping a relatively creepy backdrop. The album's closer, “Fertilization”, shows a winding trem riff backed by slow, sludgy drumming and vocalizations that lie somewhere between a drudging moan and a haunting chant. Focusing on the trem riff, because it's in the front, sucks you right in and refuses to let go. The grip during this track is so tight that the subtle shift from sludgy drumming to fast paced double bass and back again is almost missed, unless, of course, you're focused.

 

“Ejaculation” is the album's centerpiece and by far the heaviest piece of music on the album, which showcases dissonant riffing coupled with fast paced double bass runs. The riffing varies between moderate trem lines and power chord strikes, but in an extremely trance inducing, droning kind of way. Rather than the surreal, almost alien environs that the other tracks take you to, “Ejaculation” seems to be the most rooted in the human psyche. There is a certain pulsing violence to the riffs and the drums: from a droning and sludgy in and out to a climax towards the middle of the track, where the drums fire on cylinders before gradually slowing down. The last third of the track slowly introduces tribal drumming and a burgeoning string section that eventually washes away the violence from your mind.

 

Taking the entire album in this view of humanness and sexuality, it's a very organic listen. Everything seems geared to build up and ease the listener into the sonic behemoth that is “Ejaculation”. The gentle opening on “Ovulation” and the haunting yet beautiful “Stark Of Dark” serve as mere pathways to the dramatic violence and animalization during “Ejaculation”. The cleansing, casual slowdown at the end of that track just gear you for the realization of “Sight Of Light” and the maniacal yet repetitive nature of “Fertilization”.

 

This is a fantastic album if you allow it enough time to completely sink in. The variety of moods and tempos keeps this interesting even while it drones along. The ritualistic nature of the instrumentation consistently threatens to suck you in and refuses to let you go. That being said, you need to be in the right frame of mind to listen to this: a quiet, darkness or a meditative place. Perhaps “Fountain Of Uncertainty” would benefit from more traditional instrumentation or maybe even more to the point song structures, but I'm afraid that with too much tweaking the album would lose the subtle flow between violence and alien beauty. Check this if your a fan of trance-inducing music that has the ability to transport your subconscious to another plane of existence.

 

As with all YAYLA releases, everything by VIRANESIR is handmade and assembled by Emir Toðrul himself. Check it out and if you dig it, then by all means buy it from the man himself. Support underground art people.

 

8/10

 

Shawn Miller

21.6.2013

 

 

 

From The Dust Returned

 

With its phallic cover image and cleverly relevant album title (don't we know it, males), and a track list that reads like a chronological overview of the reproductive cycle, Fountain of Uncertainty is quite a rare bird that I've received for the blog. In fact, what makes the album even more unusual is that it's the soundtrack to a short Turkish film, Drink from the Fountain of Uncertainty, which examines the life and relationships of a musician in the Adana-Mersin provincial area, and it's quite fascinating just how the lyrics for each of the pieces matches up to the themes of alienation, subcultural isolation and so forth while still having that duality of purpose to remain an abstraction for the sexual process hinted at. But even cooler, what surprised me was just how well the ambient textures and drudging, evil black metal guitar aesthetics actually function alongside the clips of the film that I've actually seen.

This isn't Emir Toğrul's first dance with this particular admixture of ingredients, having released several albums as Yayla, but Fountain of Uncertainty is the most visionary and compelling of his works that I've come across yet. An oft times chilling, oft times majestic affirmation of the qualities once manifest in the music of an artist like Burzum orAbruptum, only cast in a more urbane, post-everything mold. Distant and cacophonous, wailing vocals hover just at the edge of perception alongside the dreamy, crude synthesizers (think early M83) and rasping guitar lines, while the drum programming thunders just loud enough that you realize there is a beat mooring the music. However, there is quite a variation in the structure of these five pieces: "Stark of Dark", for example, is a roiling marriage of molten, fuzzed out bass tones with eerie layered synthesizers, while the album's 12+ minute centerpiece, "Ejaculation" is a more jarring, progressive piece with some staccato and flooded chords, and overall the most guitar-oriented, and the closer "Fertilization" makes the best use of the snarled, decaying black metal vocal style.

Whether vocally or instrumentally, though, the album is equally engaging, with a distant and murky mix that feels like its clamoring off the crumbling walls of an inner city, only to transcend the building-tops and escape off into a dingy night sky. The caveat is, while Emir exhibits a lot of control here on the shorter instrumental tunes ("Stark of Dark", "Sight of Light"), Fountain of Uncertainty is not an album that will sate anyone who seeks the norm. Architecture, percussion, verse/chorus conventions are at best, loosely defined, and the totality of the 30 minute experience plays far more like a dark ambient experimentation than a heavily metal infused monument. There is no shortage of sounds or textures, but Toğrul leaves plenty up to the imagination, especially when one is listening through this independent of the film. That said, I found that the music worked in both situations, as ancillary tension and warmth to the story, and as a background piece one can insert into the turmoils and victories of one's own existence.

It's not perfect, and I would actually not have minded a broader palette of sounds and instruments here, but it IS consistent in quality, and has enough conviction to really swallow the imagination while it lasts. A well rationed, well executed proof of its concept. Recommended if you're seeking out a more loose, surreal, urban alternative to Filosofem, Darkspace, or that intriguing, obscure Alpha Drone s/t out of Germany.

 

7.75/10

 

autothrall

21.6.2013

 

 

 

Headbang.it

 

Copertina "che farà discutere" per l'esordio del monicker Viranesir, il nuovo progetto di Emir Togrul non è altro che l'unione, lo sfogo di due passioni come musica e cinema, difatti Fountain Of Uncertainty altro non è che la colonna sonora del film autoprodotto dallo stesso Emir "Drink From The Fountain Of Uncertainty" (al quale auguro ogni fortuna).

 

Come al solito (per chi segue l'universo Yayla) l'uscita sarà curata dalla Merdumgiriz nella solita duplice versione "casereccia" su cd classico o semplice cartoncino, ogni volta mi sembra di andare a comprare qualche prodotto regionale tipico, ed è bello così (oltre che strano in ambito musicale), fa parte del gioco e nella forza di volontà di questa piccola etichetta Turca.

 

Questo disco è parecchio strano (non di certo una novità), la sua brevità è anche la sua forza perché non riesce a dare una sensazione di "peso" che forse sarebbe uscita fuori alla distanza, la sua brevità lo rende come un "lampo", come un qualcosa da esplorare continuamente. Inizialmente lo avevo trovato parecchio diverso dai prodotti Yayla ma con il tempo devo dire di aver trovato la stessa mano nel songwriting "avulso" e criptico, qui si tende a dilatare un pochino il tutto (nonostante la durata), continue gesta che confondono e spiazzano. E' difatti una stato di perenne caos a vibrare forte nell'aria e mi ha pure stupito il rilevare una notevole gradazioni onirica presente sulla distanza.

 

Spirituale, cupo e depressivo, l'esplosione è completa è si prende uno "spazio sonoro" più ampio del solito (cosa si può fare con produzioni "alla buona"). Non c'è bisogno di cercare "la canzone" proprio per il suo essere colonna sonora, vedetelo come un percorso unico senza pensare ad altro, lasciate che la musica scorra senza alcun pensiero, anzi dimenticate quasi si stare ascoltando musica e vedrete chi i frutti cadranno da soli in poco tempo. Impossibile elaborare un sistema di voto per Fountain Of Uncertainty, in primis perché sarà un disco che si fileranno in pochi ma sopratutto perché finirà penso soltanto nelle "tasche" giuste (gli altri lo troveranno senza capo ne coda e completamente "nonsense"), di quelle che lo vogliono e lo bramano. E solo in quel caso si potrà usufruire al meglio dell'opera, comprenderla per quello che nella sua non-semplice semplicità è. Chissà quanti saranno quelli che al secondo/terzo/quarto ascolto ricorderanno quel determinato passaggio così strano, avulso "melodicamente fuori dalla schemi" ma così bello e intenso.

 

Avete voglia di underground, questa uscita è già un piccolo cimelio.

 

DukeFog

17.6.2013