Empusae &#8211; SIDE-LINE

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

Empusae – Mortusae III (Album – Old Captain)

Inferno Sound Diaries — Fri, 19 May 2023 07:00:00 +0000

Genre/Influences: Cinematic, Tribal, Industrial.

Format: Digital, CD.

Background/Info: Nicolas Van Meirhaeghe aka Sal-Ocin strikes back with a new chapter from the “Mortusae”-series which brings different songs from the artists together. This new compilation gets back to the EP’s “Lueur” (2017), “Œuvres Au Noir” (2020), “SHäk” (2023) and “Uzupis” (2018) remixed by Sieben.

Content: The main part of the work is driven by an explicit Cinematic approach which has been empowered and completed with the more familiar Tribal side of Empusae. From uplifting passages by crescendo percussion sections and heavy bombast to horror-movie like atmospheres this work is mainly characterized by the progressive build up from the tracks. The remix by Sieben featuring vocals and violin parts by Matt Howden sounds different although delicate and subtle.

+ + + : I like the idea bringing different EP’s together and especially when there clearly is a common threat branded by the Cinematic music style. I however like the Tribal side from the percussion and the overwhelming bombastic / epic arrangements. “Guiding Light” and “Asok” both are great pieces. The songs have a visual appeal accentuated by the slow progression gaining a true climax.

– – – : I regret there are no more chants and/or choirs featured, the music being totally appropriated to get mixed by it. The song remixed by Sieben sounds cool but it has less in common with Empusae. Why not set up a collaborative production?

Conclusion: A cool compilation by one of the absolute masters of the Belgian Ritual and Cinematic style.

Best songs: “Asok”, “Guiding Light”, “Obsidian”.

Rate: 7½.

Artist: www.facebook.com/empusaemusic

Label: www.facebook.com/Old-Captain-175993889160335

Ordo Rosarius Equilibrio – Nihilist Notes [And The Perpetual Quest 4 Meaning In Nothing] (Album – Out Of Line)

Inferno Sound Diaries — Mon, 18 Jul 2022 07:00:00 +0000

Genre/Influences: Neo-Folk, Chanson, Martial, Cinematic, Experimental.

Format: Digital, CD, Vinyl, Cassette.

Background/Info: Ordo Rosarius Equilibrio has been active for more than twenty years now. They don’t release a new album a year, but take their time to achieve their productions. This work comes three years after, according to me, the best work ever of the band “Let’s Play [Two Girls & A Goat]”. The opus is available in different formats.

Content: The work takes off with an impressive intro while there also is a kind of outro song. In between both you’ll discover 11 songs driven by bombast and orchestral arrangements. ORE has seriously boosted the production by omnipresent, heavy, percussion parts. The global atmosphere hanging over the songs is dark and sad. Choruses often have an elevating effect which is more reminding me of the past few albums. On top of it all you’ll hear the charismatic voice of Tomas Pettersson while Rose-Marie Larsen is still there to inject a feminine and sensual touch as backing vocalist.

+ + + : One thing is for sure ORE don’t repeat themselves and that’s rather a good thing as it might have been difficult to improve the masterpiece “Let’s Play [Two Girls & A Goat]”. This work sounds as a mix of early stuff together with the dark, sensible and melodic late productions. The percussion never has been that orchestral and that’s probably also due to Sal-Ocin (Empusae) who became a member of the band. This work is filled with darkness and drama. It’s a perverted mix of sensible passages, erotism, nihilistic atmospheres and total despair. The work reveals uplifting passages but here again the main feeling remains dark and depressed.

– – – : It was a true challenge striking back after their previous album. ORE did successfully although this work never reaches a same, qualitative, level. The songs are even a bit predictable after a while.

Conclusion: Ordo Rosarius Equilibro remains to me one of the most artistic projects from the dark scene. A band with its own sound and unique approach we can only salute and respect.

Best songs: “In The Skies That Burn There’s No Refuge 4 Man”, “Of All The Pearls We Cast To Swine”, “The Sins That I Did, And All The Sin I’ll Ever Do”, “
I Remember, The Perpetual Search For The Meaning In Nothing”, “I Set Fire To Cathedrals, With The Flame Inside My Heart”.

Rate: 8½.

Artist: www.facebook.com/ordorosariusequilibrio

Label: www.outofline.de / www.facebook.com/outoflinelabel

Flint Glass – Psychopomps (EP – Ant-Zen)

Inferno Sound Diaries — Sun, 26 Sep 2021 19:30:00 +0000

Genre/Influences: Industrial, Tribal, IDM, Experimental.

Format: Digital, Vinyl.

Background/Info: Set up in 1999 by the Parisian (France) based Gwenn Trémorin, Flint Glass didn’t release that much new material during the past few years. “Psychopomps” has been introduced as the legacy based on the project Tzolk’in, which was run by Empusae and Flint Glass. “Psychopomps” is inspired by the underworld of Aztec mythology named Mitclan and literally means the ‘guide of souls’, whose responsibility is to escort newly deceased souls from earth to the afterlife.’

Content: There for sure is a Ritual influence running through this work and, which might remind you of the Tzolk’in sound universe. The 4 tracks are driven by slow rhythms and supported by intriguing, mysterious and dark sound atmospheres. The tracks have been progressively built up, which next to be Ritual-driven, are also infused by Industrial sound treatments and more complex, but irresistible IDM.

+ + + : Flint Glass is a project I’ve always liked for its unique approach; a kind of crossover between different genres. And when Fling Glass got contaminated by Tzolk’in you only, but get a fascinating work. I especially like the Ritual aspect of the work, which mainly comes through at “Teyolia” and “Xolotl”. This is a complex and sophisticated work featuring sound intelligence and a great production.

– – – : I think a few passages with (ritual) voices and/or chants could have added something extra.I also regret that there are only four tracks featured.

Conclusion: Flint Glass is back with an alluring, styled and high-tech production.

Best songs: “Teyolia”, “Xolotl”, “Tonalli”.

Rate: 8.

Artist: www.facebook.com/FlintGlass

Label: www.ant-zen.com / www.facebook.com/antzen.official

‘Click Interview’ with Empusae: ‘I’m Using Empusae As Personal Therapy’

Inferno Sound Diaries — Tue, 28 Jan 2020 18:00:58 +0000

Nicolas Van Meirhaeghe better known as ‘Sal-Ocin’ and involved with his solo-project Empusae for more than 20 years now, released by the end of 2019 his newest album “Iter In Tenebris”. The album is a new conceptual work around four demons, but still the exorcism of personal demons. The Belgian artist probably released his most personal-, but for sure his darkest- and most accomplished album to date. Released by Consouling Sounds, the four tracks bring together elements of dark-ambient, industrial- and epic music with a solid cinematic touch on top. “Iter In Tenebris” is a truly masterpiece, which also became one of the best releases from the past year.

(Courtesy by Inferno Sound Diaries)

Q: “Iter In Tenebris” is not only a dark title for an album, but it probably also is your darkest work to date! Introduced as the continuation of an exorcism, each track seems to deal about a demon. Tell us a bit more about the concept and in, which way this concept has to be understood as a metaphor of personal demons?

Sal-Ocin: I discovered, after finishing my previous album “Lueur” that I’m using Empusae as personal therapy. I think it has always been like that since the start, more than two decades ago, but I only realized it with “Lueur”. I needed to make that album to help me cope with my inevitable coming blindness. And it helped. So yes, “Iter In Tenebris” is in a way the continuation of it, but even more deliberately to confront some of my personal demons. The concept though, is that each demon can be interpreted and linked in a very personal way. The music has its own power to the listener, a musical illustration of inner demons. The inspiration came from deep down the abyss, I decided to give the compositions a certain name, but don’t let the name mislead you; each song has a link to your own demons. It’s up to the listener to find out which one. Hopefully with the same therapeutic effect. So listen at your own risk…

Q: When I saw the title of the album I immediately linked it to your visual handicap, which you’ve been talking about in different posts. What can you say about it right now and how do you see things evolving as the person you are and your artistic creation?

Sal-Ocin: Like I said earlier, my eye disease greatly influences my latest work, but not exclusively. I’ve been diagnosed about 5 years ago, the impact (in my everyday life) gets stronger every year. This year, I had to quit my job as a caretaker due to my handicap, which was extremely painful to decide, with a huge negative impact as result. At the moment I’m still trying to recover from it as well as trying to find a new professional direction. But it’s not easy, as my eye sight continues to degrade, which makes this quest very difficult.

As for my artistic activities, I didn’t gave up concerts so far (with Empusae as well as playing drums with Ordo Rosarius Equilibrio and Triarii). The people I work with are aware of my handicap and are very supportive, which enables me to continue. It’s not easy, but I really don’t want to give this up.

As for my studio work, with some small modifications and adaptations in my home studio, I can still compose nearly the same way as I used to. And I don’t plan ever to stop this, even if I’m completely blind, I’ll always find a way to produce music.

Q: Back to “Iter In Tenebris”, which I also experienced as your most elaborated and accomplished work to date. I always feel something authentic and intimate running through your music, but this album feels like the ‘opus magnum’! Can you tell us the different stages you’d to go through to achieve this work and what kind of work did you finally tried to compose?

Sal-Ocin: Thank you. I really enjoyed working on this album, as it had a different conceptual approach. Each song was inspired by a certain personal demon as starting point.

For the more practical part, I started sampling old 78rpm records from the early 1900’ I inherited from a relative. I used these recording as a starting point for each song by deforming them, manipulating the sound and structures, to be able to invoke the demons. I guess you could see those old records as the medium between the demons and myself.

The rest of the music was composed around those recordings. I used various different techniques and instruments, much less electronics/software compared to the albums I released on HANDS or Ant-Zen. So those old Century-old records combined with my voice (which I started using since “Lueur”) as well as many unorthodox home-made instruments, were a big challenge for me to make it sound like I desired. Luckily I was aided by Marc T. (with who I collaborated on the “Deugden Van Angst En Het Kwaad”), known from his projects Dirge and Dither, who did a wonderful job with mixing and mastering the album, as well as some added guitars on one song.

Q: I get the impression your work is progressively becoming more epic/orchestral in the arrangements, which I think is totally appropriated to the title of this album and the vision of darkness. But how do you perceive your own evolution as musician and possible influences/interactions in your work with all the other projects you’re involved with?

Sal-Ocin: The evolution of Empusae does not happen deliberately, it just happens. It is true that it has become more epic and orchestral. I have more experience, possibilities and resources than 20 years ago to achieve this kind of sound, but is was always on my head nevertheless. I guess projects I was involved in (Ordo Rosarius Equilibrio, Triarii, In Slaughter Natives) within the last decade, probably had an impact on that. Those projects are completely different from my solo-project and except for Ordo Rosarius Equilibrio, I’m only involved for concerts. But since they were my musical idols decades ago, they already influenced me back then, so being close to them now as friends, probably amplified it. Same for my other projects such as Tzolk’in, Onus and collaborations with artist like Marc T., Nick Grey, Lamia Vox, Sieben, etc… all these joint artistic experiences are influential for Empusae.

Q: “Iter In Tenebris” is much more than simply an album! You again collaborated with your partner Christel Morvan who realized a visual work for each of the songs. The visual side of the work is only accessible through an application on your smartphone, which is a kind of premiere in this scene. How did you get this idea and what’s the idea behind? And how did this new collaboration took place?

Sal-Ocin: The idea came from Christel. We’ve been working together for several years now. She has become the visual representation of Empusae. We had the idea of one illustration for each demon, she found a way to put the demons to life trough the technology of Augmented Reality. She worked with the company (EyeJack) which developed this in the past, so this was the perfect occasion to work together again for this project. The concept of amplifying the music with visuals has always been our concern of collaboration (for cover design as well as live visuals/animations) so with “Iter In Tenebris”, she could do both. The only frustration she has was the lack of time. It was hard to develop what she did, combined with her day job and a tight deadline. Her aim was to do something even more elaborated, but of course, time is the enemy. But personally I’m extremely satisfied with the result.

Q: Your latest productions have been released by the Belgian label Consouling Sounds, while before you were signed to Ant-Zen. The German label decided to stop printing CD formats, which simply says something about sales and music industry today. In which way are you affected by this evolution and how do you see things evolving?

Sal-Ocin: I personally never lived the golden age of music industry. My first release came out during the Napster phenomenon, so somehow, I was prepared for the changes until today. Also, it was never my aim to make a living or to make profit (other than reinvest in musical gear and instruments) out of my music. So on a personal, financial level it never really affected me that much. On the other hand, seeing cult labels such as Ant-Zen and so many others being forced to end their physical release era, if a very painful and frustrating thing.

As for Consouling Sounds, I praise myself lucky to be able to work with them. They are very smart, inventive and passionate business people, but most of all, very warm human beings. These two elements make the label more than just an ordinary one; it’s a community of friends, like-minded people with passion for art and quality, mixed with love and solidarity. Not that obvious one might think, considering the very dark nature of the artistic expression represented such as doom, black-metal, dark-ambient, post-rock, etc

Empusae – Inter In Tenebris (CD Album – Consouling Sounds)

Inferno Sound Diaries — Mon, 30 Dec 2019 21:00:37 +0000

Genre/Influences: Dark-ambient, industrial, epic, cinematographic.

Background/Info: Belgian artist Nicolas Van Meirhaeghe better known as ‘Sal-Ocin’ and still involved as live member with famous artists such as Ordo Rosarius Equilibrio, In Slaughter Natives ao is back on track unleashing his newest opus “Inter It Tenebris”. The album wants to be an exorcism of four demons, which you’ll find back in each song. The album has been released in his homeland by Consouling Records. There also is an important visual work accompanying the album and realized by his partner Christel Morvan. Each song has its visual content, which you can watch by the use of an application on your smartphone.

Content: “Inter In Tenebris” features 4 long duration and elaborate cuts. Multiple influences are running through the composition, but the main characteristics are the overwhelming atmospheres supporting the album, the empowering epic orchestrations and chants –which sometimes remind me of In Slaughter Natives, and the complex percussion patterns remaining an essential element of Empusae.

+ + + : Each time again, I make the same observation that Empusae is getting better and better album after album. This work is without a shadow of doubt the masterpiece from Empusae’s discography. The tracks have been carefully crafted, mixing numerous influences and featuring impressive sound layers. The production is totally high-tech while the writing is sophisticated –which is an aspect mainly revealed by the drum sections. The epic part of the work only reinforces the overwhelming impression while the slow progression of the song structure are ending with an apotheosis. “Shabriri” and “Iso” both are great exposures from Sal-Ocin composer skills. I also have to say a word about the great artwork (digipak) while the visual concept of this release is something ‘new’ and interesting.

– – – : I regret there are only four tracks delivered, but quality is definitely better than quantity!

Conclusion: Empusae is not only a very single project in its genre, but it also is a project that never stops to improve little details from the writing and production. This is probably the darkest- and maybe the most intimate work to date, and for sure the opus magnum from the Empusae discography.

Best songs: “Shabribri”, “Iso”, “Purah”.

Rate: (9).

Artist: www .empusae .com / www .facebook .com /empusaemusic

Label: http ://consouling .be / www .facebook .com /ConsoulingSounds

Vortex – As Gods Fall (Digital Album – Cyclic Law)

Inferno Sound Diaries — Fri, 31 Aug 2018 19:30:12 +0000

Genre/Influences: Dark-ambient, ritual.

Background/Info: Marcus Stiglegger is celebrating the 10^th anniversary of his sonic brainchild Vortex with a new album. “As Gods Fall” also is the final chapter of the trilogy about mythology. It all started in 2013 with “Kali Yuga” and “Moloch” came next in 2015.

Content: This work reveals 9 new cuts, 8 remixes and 2 unknown cuts. The sound of this work is dominated by an offspring between dark-ambient atmospheres and ritual passages. There’s a perfect harmony between both sources of inspiration, but especially the ritual input accentuated by spoken-like and haunting vocals is one of the main elements of the album. Heavy sound blasts have been merged together with drones and other slow resonating percussion parts.

Remixes have been made by Apoptose, Phelios, Visions, The Trail, Vinur, Empusae, Bergemann, Operation Cleansweep and Vortex (2 remixes).

+ + + : I liked previous Vortex-releases, but this album is definitely my favorite one. It’s a bit of a referential work revealing the growing maturity of the project, but still a great, explicit ritual touch. The drones and haunting voices are leading the listener into a state of fear. Heavy sound blasts and bombastic, orchestral arrangements are simply brilliant. This album is the result of a truly creative process accomplished with patience, knowledge and talent. Among the remixes I noticed a few cool edits, but I especially want to mention the outstanding work done by Operation Cleansweep. This version will lead you into the last stadium of angst and panic… I also have to mention great edits by Apoptose and Bergemann. Vortex also features a great new cut. Notice by the way the remixes bring us back to earlier Vortex work.

– – – : Ten remixes is a bit over the top. But the main element I’m especially disappointed by is that the final chapter of this trilogy seemed to have been released only on digital format. Previous chapters have been released on CD as well.

Conclusion: “As Gods Fall” shows Vortex at its best, but it also is an album I would consider as one of the most noticeable ones in its genre for the past few months.

Best songs: “War Is Coming”, “The Slain”, “Valhalla”, “Odhinn’s Wrath” + “Close To The Edge – Operation Cleansweep Remix”, “Into The Void – Vortex”, “

Rate: (8½).

Artist: www .facebook .com /Vortex .music .official

Label: www .cycliclaw .com / www .facebook .com /cycliclaw

Cyclic Law records is now taking pre-orders for the upcoming new album by Vortex “As Gods Fall” which will be available as a 2CD

Bernard - Side-Line Staff — Mon, 09 Jul 2018 11:17:16 +0000

“As Gods Fall” celebrates the 10th year of existence for the German ritual cinematic ambient project by Marcus Stiglegger aka Vortex. It is the final part of the mythical trilogy that began with “Kali Yuga” (2013) and “Moloch” (2015). Pre-orders for this ritual music chef-d’oeuvre can be placed right here via the label itself.

Inspired by the Nordic mythology of the Edda, this album revives the realm of the Old Gods in their final conflict. As before this musical reflection on mythology is used as a metaphor for a portrait of the present world out of balance. The tracks were composed after a journey to the ancient viking relics of Scandinavia in 2015.

Marcus Stiglegger: “Breathing the air of history I felt ultimately connected to the past and heritage of the old Germanic tribes and their mythology, also understanding what this all means for what happens in the world today. “As Gods Fall” is a cycle of music invoking forgotten energies and lost wisdom…”

Here’s a preview:

For this album Marcus S. was joined by several guests (including Michael De Victor of While Angels Watch), providing instrumental and vocal contributions. The album was recorded from the summer of 2015 to the winter of 2017 and finally mastered by Frederic Arbour in 2018.

This release also contains a bonus-disc “Helstrom” featuring 2 unreleased Vortex tracks as well as remixes by Apoptose, Empusae, Phelios, Visions, Operation Cleansweep and more.

The 2CD set comes in an edition of 500 copies in a 6 panel digisleeve, matt lamination with an 8-pages booklet.

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

Maschinenfest 2017 compiled and available in a few weeks from now

Bernard - Side-Line Staff — Wed, 18 Oct 2017 18:00:17 +0000

Out in a few weeks is “Maschinenfest 2017”, a compilation including all artists who have performed at Maschinenfest 2017. You can order this set right here. This year’s event will take place from Friday 27 October 2017 until Sunday 29 October 2017 at the Turbinenhalle in Oberhausen, Germany

On the compilation you’ll find material from the following bands: Ah Cama-Sotz, Alarmen, Aphexia, Dive, Empusae, Esplendor Geometrico, Gatto Nero, Geneviéve Pasquier, Gold, Goreshit, Greyhound, Haus Am Rand, Horskh, Imminent/Synapscape, In Slaughter Natives, Lustmord, Meta Meat, Mono No Aware, Monolith, Nur Zwei Linien, S.K.E.T., Siamgda, Somatic Responses, Suicide Inside, Sutcliffe Jügend, Yura Yura and more.

Maschinenfest is a yearly, 3-day underground music festival in Germany, featuring industrial, power electronics, noise and other alternative electronic performers.

‘Click Interview’ with Empusae: ‘There Is Something Beautiful Within The Darkness’

Inferno Sound Diaries — Thu, 29 Jun 2017 17:00:49 +0000

Nicolas Van Meirhaeghe aka ‘Sal-Ocin’ and instigator of the dark-ambient/ritual/cinematographic project Empusae is a Belgian artist I discovered since his early years. He also played live percussions and got involved in very diversified bands (Implant, Ah Cama-Sotz, This Morn’Omina, In Slaughter Natives, Sophia, Triarii, Tzol’kin, Ordo Rosarius Equilibrio ao.). With his newest opus (cf. “Lueur”) released on the Belgian label Consouling Sounds, Empusae took me by surprise achieving a poignant and transcendental work.

(by Inferno Sound Diaries)

Q: Nicolas, you’re an artist I’m following since your very first official releases (on Divine Comedy Records) and I’m really impressed about the evolution in the global production process between the early work and what you’re composing today. How much of early Empusae do you recognize in your latest work?

Sal-Ocin: Thank you for your kind words. Since the beginning of Empusae, it was always about creating soundtracks for the imaginary. Certain elements in sounds and compositions you might recognise through my work such as being atmospheric, dark, melancholic melodies, ritual rhythms and a mixture of unearthly sounds and sounds and scenes from our lives (I used to sample a lot from movies, which I changed now to field recordings and recordings in my studio). In all my albums you will find out there is something beautiful within the darkness. Which is exactly the theme of my last album, literary.

Q: I experienced your newest work “Lueur” as an album with a diversified and dark sonic canvas. What kind of work did you’d in mind and how did you came to work together with Chve?

Sal-Ocin: I started to write “Lueur” as a therapeutic exorcism against a recent demon I encountered 3 years ago (genetic eye disease). I had no idea of any particular style or sonic result, it was more about transcribing emotions, fear, pain and anger into music. The result is indeed very dark but you might recognise there also is some light within. When I was at a certain point of composition, I felt something was missing. Since I didn’t know what, I experimented several ways to fill it in, but without results. After a few days it hit me like thunder: It was Colin’s voice who was needed at that passage of the song.

After he said yes to try some things out, I (re-)composed the two songs with his voice in mind. He perfectly did (even more) what I had in mind and I think the end result speaks for itself; an enhancement of the emotions I needed to express with the album. He instantly grasped the concept and it all happened very fast and naturally.

Q: I especially like the balance between music and vocals, but still the progression running through both songs, which are reaching a kind of transcendental final. How did you get such an apotheosis and do you’ve references in the genre?

Sal-Ocin: To be honest I have no idea what to compare it with. I really just did what come out during the writing of it, without thinking how I would do it and especially without any particular result. It’s the first time I used my own voice and someone else’s (except Tom De Doncker’s Vox Demonii). But it felt very natural and I need also to mention the work of Tim De Gieter (Much Luv Studios) who did an astonishing craftsmanship in mixing the whole album into a perfect result!

Q: You’ve worked with numerous guest artists while you’ve been –and still are involved in numerous other (and sometimes famous) bands. What do you like in the work and exchange with other artists and what’s the impact on your own work and evolution as musician?

Sal-Ocin: Working as percussionist (live) with Triarii definitely helped me finding the way to compose orchestral passages within ‘Sphere From The Woods’, ‘Split’ and ‘Lueur’. Those are elements which were also present in previous albums, but not as well orchestrated and integrated in the dark ambiences and electronics.

This aspect I actually put in “Vision:Libertine” from Ordo Rosarius Equilibrio. I think Tomas (Pettersson) recognised that as well and asked me to integrate that into his songs, together with the tribal rhythms.

What I do as Tzolk’in (with Gwenn from Flint Glass) is something similar as with Empusae in the sense that we create a soundtrack to the pre-Colombian civilisations.

With Onus (with Peter Bjärgö from Arcana and Sophia) it is for me the same principle: creating atmospheric music based on the burden of life.

Q: What means this artistic involvement and creation to you?

Sal-Ocin: Some people have kids, Christel and I have art. It is more than just a passion, it’s our drive of life, our therapy, our essence of life and our catharsis. It’s an obsession, an endless source of pleasure, commitment, self-development, symbiotic interactions.. In other words, hard to describe, but it means the world to me.

Q You’re right back from WGT 2017. How did it happen for you and what’s the importance of playing live plus did you see other interesting bands on stage?

Sal-Ocin: WGT was very intense this year. The Empusae gig was in a full house ‘Volkspalast Kantine’. The sound was amazing, so was the audience, they were very silent (which is not always the case and can be a huge pain in the ass during ambient parts of a concert) and attentive with a huge feedback from then at the end. It’s one of the concerts where myself as well as several people in the audience started crying.

A few hours later we performed in ‘Volkspalast Kuppelhalle’ (full house as well) with Orde Rosarius Equilibrio. One of those concerts where I had a big smile on my face at certain moment and where I had so much fun playing my percussions. Unfortunately, I didn’t visit any other band or venue, I decided to spend some feel good quality time with the band and friends.

Courtesy by Inferno Sound Diaries

Empusae – Lueur (CD Album – Consouling Sounds)

Inferno Sound Diaries — Tue, 20 Jun 2017 19:45:52 +0000

Genre/Influences: Dark-ambient, drones, cinematographic, industrial.

Background/Info: Nicolas Van Meirhaeghe aka Sal-Ocin is back on track unleashing a new Empusae opus of 2 cuts. He invited guest singer Chve (aka Colin H Van Eeckhout) to join in while live member Tom De Doncker contributed to the work as well. Empusae last year joined hands with the Belgian label Consouling Sounds for a split-album together with Klankdal, but “Lueur” is the first real full length from Sal-Ocin on this label.

Content: The work is characterized by an impressive canvas of influences. You’ll hear drones mixed with orchestral arrangements and a real overwhelming cinematographic approach. Mysterious and sometimes humming voices are adding a mysterious and somewhat ritual touch to the work.

Both songs are quite different and yet totally cohesive. There’s a subtle progression in the writing resulting in a truly apotheosis, which on the second cut is created by crescendo piano loops, drones and incoming voices.

+ + + : The evolution of the Empusae sound and global composition throughout the years is absolutely amazing. “Lueur” reveals a mature and intelligent writing, but still a kind of visionary approach in the fusion between all different genres. The work sounds pretty compact and yet it makes me think to a sonic puzzle where each little piece fits with the next one. From drones to ambient to industrial to experimental and last, but not least the addition of overwhelming vocal parts this album is a real accomplishment. Both cuts have been meticulously built up till reaching a transcendental climax.

– – – : My only regret is that this work only features 2 cuts. The only thing you can do, is to press the ‘play’ button again.

Conclusion: “Lueur” is a dark, artistic creation and definitely one of the absolute masterpieces from the Empusae discography.

Best songs: “Guiding Light”, “Retinae Tenebrae”.

Rate: (8½).

Band: www .empusae .com / www .facebook .com /empusaemusic

Label: http ://consouling .be / www .facebook .com /ConsoulingSounds

Barst – The Western Lands (Vinyl Album – Consouling Sounds)

Inferno Sound Diaries — Sun, 25 Dec 2016 20:00:13 +0000

Genre/Influences: Apocalyptic-rock, soundtrack, industrial, dark-ambient.

Background/Info: Bart Desmet better known under the Barst moniker is a renowned and recognized Belgian musician who’s already been active for numerous years. In a rather short lapse of time Barst has released several productions on cassette format and split-releases. “The Western Lands” is taken and inspired by a famous novel of William S. Burroughs. The album has been accomplished by the help of numerous musicians like Sal-Ocin (Empusae), Tokyo-Oyo, Herr Man, Karen Willems (Involves), Sloth Prince, Mathlovsky, Fär, Dehn Sora and SP808.

Content: The album reveals five songs that have been meticulously built up reaching a truly sonic apotheosis mainly created by a crescendoing guitar and excelling drumming. The tracks are compact and like sonic puzzle pieces, where one piece can’t live without the other. Some spooky guest vocals can be heard now and then, but they appear to create an extra sound effect instead of real vocal parts.

The writing reveals dense sound layers played by numerous instruments. It’s a mix of electronic- and authentic instruments all together creating an apocalyptic feeling of ambient music or psychedelic-rock.

+ + + : Barst is a band with a unique approach in sound. You can’t really compare this band to classical ambient formations. Barst covers multiple genres, like taking the best from each of them. I was impressed by the harmony between all contributors. The production is elaborate and features numerous climaxes.

– – – : Barst is probably not the most accessible production, clearly experimenting with multiple influences. In the end it’s impossible to label this band as any particular genre, but just as the addition of influences.

Conclusion: William S. Burroughs’ “The Western Lands” has been revisited and transposed into an apocalyptic music sound by Barst. It’s hard to say what poor William thinks about it, but I guess he must be very proud of such an accomplished work.

Best songs: “The Western Lands”, “The Passage”.

Rate: (8).

Band: www .barst .eu / www .facebook .com /BARSTmaker

Label: http ://consouling .be / www .facebook .com /ConsoulingSounds

Empusae / Klankdal (CD Album – Consouling Sounds/Wool-E Discs)

Inferno Sound Diaries — Thu, 03 Nov 2016 19:10:39 +0000

Genre/Influences: Soundscape, abstract, experimental.

Background/Info: This album is something really unique. It’s a split album between recognized and established dark-ambient, tribal and experimental artist Nicolas Van Meirhaeghe (aka Sal-Ocin) better known as Empusae and Klankdal, which is another Belgian formation consisting of Glenn Dick and Sebastien Crusener. It also is a collaboration between Belgian labels Consouling Sounds and Wool-E Disc. We already know Wool-E Tapes (cassette label), but this is the debut CD of Wool-E Discs. The common element between artists and labels is that they’re all from Ghent. This album got officially presented during the opening day of a big annual town festival that happens in Ghent.

Content: Empusae has been featured with 3 tracks revealing a kind of soundscape approach composed by evasive guitar playing and a few percussion parts. A few sounds have been used, but it creates an anguishing and somewhat paranoid atmosphere with some drones resonating in the background. Sal-Ocin also invites the listener to join in for a Halloween-like trip created by piano playing and progressively joined by somewhat industrial-dubby rhythms.

Klankdal is definitely more experimental and into the purest soundscape genre. Their composed a single piece (that was recorded live) that will hold you in its grip for nearly 30 minutes. It’s pretty abstract and accomplished by numerous field recordings. The sound remains dark and is supported with an ominous atmosphere.

+ + + : I like the concept of this release featuring people from the same town. It also is an opportunity to discover the rather unknown Klankdal (which previously released a cassette on Wool-E Tapes) while Empusae takes his fans by surprise unleashing a quite diversified piece of music. I especially like the last cut “The Woods Have Eyes” driven by a great cadence and a mysterious piano playing.

– – – : This is definitely not the best work I’ve heard from Empusae while this single cut of Klankdal is not exactly setting the world on fire.

Conclusion: You probably will be intrigued to discover new work by Empusae, which will also give you the opportunity to discover a new band from the Belgian experimental music fields.

Best songs: “The Woods Have Eyes”.

Rate: (7).

Band: www .empusae .com / www .facebook .com /empusaemusic

Label: http ://consouling .be / www .facebook .com /ConsoulingSounds / www .facebook .com /wooledisc

‘Click Interview’ with Ordo Rosarius Equilibrio: ‘Sex Rouses Attention – Philosophy Rouses Suspicion’

Inferno Sound Diaries — Sat, 11 Jun 2016 20:30:12 +0000

Ordo Rosarius Equilibrio was set up at the end of the 90s by Tomas Pettersson (Liber T). Together with his girlfriend, Rose-Marie Larsen (backing vocals and live member) the band rapidly became a renowned formation of the legendary Cold Meat Industry label. The sound has been often describes as a mix of dark-ambient, neo-folk and industrial revealing an explicit lyrical content. A few years ago now Ordo Rosarius Equilibrio made surprising move, leaving CMI to sign at Out Of Line. The album “Songs 4 Hate & Devotion” was released in 2010 and the EP “4Play” in 2013. The band is now back on track, having unleashed a new opus “Vision:Libertine”, which according to me appears to be their most accomplished work ever. Time for a chat with Liber T.

(by Inferno Sound Diaries)

Q: How does it feel to have achieved this new album, which is the first one in six years?

Liber T: It feels relieving and fulfilling; especially since there were times when I doubted that another ORE album would ever see the light of day.

Q: “[Vision:Libertine] – The Hangman’s Triad” was originally meant to be released as an EP so how did it finally become a full length album and what is it all about?

Liber T: I came to the conclusion that full-length albums are a waste of time. Why spending years and years making an album that has a life expectancy to survive for about two months before it is obsolete? It doesn’t seem very constructive. So I decided that ORE would start making EP’s and that I would release a smaller number of songs more frequently. But I failed. First I made 6 songs, which then became 9, and finally 14. So I divided the songs accordingly into two albums, “Holy Blood, Holy Union” and “The Tribalism of Tribadism” and decide to release them 4 months apart.

But after I started to observe the situation more clearly, keeping in mind that I already have another album ready, and hearing from the label that 4 months apart was too quick, that we better wait 6 to 12 months. I decided that the songs I had belong together and should be released accordingly in order to speed up the release process and avoid confusion similar to that of “Make Love And War” (which still baffles people almost 20 years later), and which in turn explains how all 14 songs became “The Hangman’s Triad”. The third format, three becoming two as one.

Q: I’m always fascinated by the titles of your songs, which are once more filled with intriguing themes, but still reflecting a deeper content (often linked to perversion & provocation) and an artistic format (a kind of poetry). Tell us a bit more about content, format and the importance of lyrics?

Liber T: Sexuality and eroticism are interesting topics. The very essence of sex defines who we are. Our being is reflected through our sexual consciousness and in the very search for it. We are our sexuality. We are homo even if we are not homo, and we aspire to be gay although we are not homo. And within my reflections of sexuality and eroticism as I see them, I am able to embody other more profound topics that I wish to address, but that individually would appear far less interesting. Sex rouses attention. Philosophy rouses suspicion. So not only is sex interesting on its own, but it is a catalyst for greater good.

When I write lyrics, a text or a poem, depending on how I see it and also how others relate to my writings, it is a process. Sometimes it comes easily sometimes it is considerably more difficult. The intention is clear, but words are chosen, carefully. Rhythm is crucial. And as I read and sing the accomplishment to myself over and over, the intent and the result begin to paint a picture of the very essence. The symbols become clear and they start to unveil the title, which also is a process of its own. Similar but equally fundamental.

I ascribe my lyrics the outmost importance. I need to feel that every writing is able to withstand on its own, even without the music itself. I don’t write for the music and I don’t make music for my writings. Only when they coincide I allow them to intertwine. Without saying that my writings are especially brilliant or particularly important, I sincerely don’t understand why some artists bother to sing at all considering the absolute lack of meaning and greater essence. “Work work work work work work, He said me haffi, Work work work work work work! He see me do mi, Dirt dirt dirt dirt dirt dirt! And so me put in work work work work work work, When u ah guh, Learn learn learn learn learn learn, Mi nuh cyar if him, Hurt hurt hurt hurt hurting”.

How the hell did Rihanna come up with that? Why does she even bother? She is laughing all the way to the bank, but the lyrical quality of that is so excruciatingly bad she ought to be publicly penalized. But on the other hand, maybe it appeals to such a vast number of people because their lives are equally empty.

Q: I’ve been –more than ever before, fascinated by the mix of neo-folk influences, epic arrangements, sensual and ritual cadences and a rather surprising pop touch. Tell us a bit more about all these elements making the ‘sound’ of Ordo Rosarius Equilibrio?

Liber T: This is probably one of the hardest questions to answer. In order to explain what you inquire and possibly understand the answer myself, I would have understand myself and my nature even more profoundly than I already do.

The sound of ORE is a canalization, a reflection of who I am. It’s a psychological evidence of my very being, and the evolution process I endure. It sound the way it does with the very elements embodying because of who I am and what I aspire. That’s the closest thing to an explanation I am able to provide. But if you ask me again in ten or twenty years, then I might be able to provide a more precise answer.

Q: Sal-Ocin (Nicolas Van Meirhaeghe) of Empusae joined in for this new work so what has been his input and addition to your sound?

Liber T: I decided to ask Nicolas for his involvement, not only for this album but on a more fundamental and ongoing basis. And it started with his contribution to “Vision:Libertine”.

I didn’t choose Nicolas randomly or accidentally, but intentionally. He is great friend, artist and musician, and knowing what I aspired with “Vision:Libertine” and the accomplishment at the time of my request, I sought his involvement and contributions to manifest a deeper sense of ritualism and tribalism. And I think we managed it.

Q: How do you look back at the Cold Meat Industry years, which was not only a leading label in the industrial/neo-folk/dark-ambient scene, but still a kind of family featuring numerous great bands and your move to Out Of Line, which is a famous and mainly dark-electro & EBM label?

Liber T: Leaving a sinking ship with a captain who drank all the rum himself, to embark on a journey into space to a destination unknown both was and is a huge change for better and worse.

I don’t regret anything, neither the time I spent with CMI and all the adventures we shared, all the friends we have made, or the albums we have released over the years, nor the decision to leave, to move forward rather than sideways and start a new journey and a new chapter with a more unorthodox companion in another country.

The modus operandi of the two labels is completely different. The language in which they operate is completely different. The role which we play within the context of each labels is aeons apart. Maybe the fundamental intent of both labels is the very same; to release music and make money, but there is a difference still. Maybe we were just a product and at CMI too, but it is considerably more obvious now as we live on life-support in the shadow of more renowned and important acts.

But there are advantages too, advantages I investigated prior to joining. Out of Line have financial muscles, and it’s only because of them that we had the possibility to release the two videos we did with Solobuio for “Songs 4 Hate & Devotion” and realize the success they accumulated. With CMI, none of this would have been possible and what we are today, thanks to the success of “Songs 4 Hate & Devotion” would probably not have been. Being part of Out Of Line also opens new and different channels in which to spread the gospel, new festivals that CMI did not grant access to, and the possibility to expand beyond the bubble in which we partially existed in the past. So it’s fair to asses that everything we do, we do for a reason; to stay true to ourselves and keep moving forward.

Courtesy by Inferno Sound Diaries

Ordo Rosarius Equilibrio – [Vision:Libertine] The Hangman’s Triad (DCD Album – Out Of Line)

Inferno Sound Diaries — Sun, 05 Jun 2016 20:15:03 +0000

Genre/Influences: Neo-folk & pop, cinematographic, ritual.

Background/Info: Ordo Rosarius Equilibrio for sure is one of the most atypical bands active in the scene. They don’t really belong to one established scene, but simply bring influences together from different genres. We had to wait 6 years for a new full length, which finally saw the light of day as a double disc while originally meant to be an EP. Notice by the way that the Swedish duo Tomas Pettersson – Rose-Marie Larsen got some help from Belgian tribal and ambient artist Sal-Ocin (Empusae).

Content: This new work is the perfect symbiosis between multiple and rather opposite influences. The good-old neo-folk inspiration is still noticeable while the electro-pop input has become more explicit. The songs have been achieved by impressive epic arrangements, a solid and sacred kind of ritual atmospheres and the familiar explicit lyrics, which you better not expose to young and sensitive listeners.

There’s a constant darkness hanging over this album while Pettersson’s narrative style of singing increases the intrigue. The explicit lyrical content sounds pretty ritual-like and makes you feel like you are witnessing a strange and pornographic rite. The slow cadence accentuates the ritual and sensual character of the work.

The 2^nd album will rapidly make you realize that the 1^st disc was nothing less than a preliminary experience. “[Vision:Libertine]” leads the listener quite progressively into an orgasmic climax. The provocation has been refined by beautiful choruses while a few backing vocals by Rose-Marie will make you more confident about the final issue of this work.

+ + + : This is without a shadow of a doubt the most artistic and beautiful album of this band ever. The mix of different influences has been produced into a real compact, visionary and overwhelming result. There’s a constant duality running through the work, but every little piece and element of the production appears to be an essential aspect of a wider entity.

– – – : I can imagine this is not exactly the most accessible release for classical pop lovers. It for sure must be a blasphemous exposure of pop music.

Conclusion: Ordo Rosarius Equilibrio had to enter into Dante’s ‘Inferno’ to compose this kind of work. This is pop music from a new order; the place where classical electro-pop music has been sacrificed at the altar of perversity by a refined s/m hangman. “[Vision:Libertine] The Hangman’s Triad” is without a shadow of a doubt one of the absolute masterpieces from the year 2016!

Best songs: “Holy Blood, Holy Union”, “Vision Libertine (The Magnificence Of Nihilism)”, “The White Rose Of Dysphemism”, “The Misanthropic Polygamist (How Gods Dream)”, “Snow-White Were The Stains And Paraphilia Was Her Name”.

Rate: (9).

Band: www .facebook .com /ordorosariusequilibrio

Label: www .outofline .de / www .facebook .com /outoflinelabel

3 formats for Ordo Rosarius Equilibrio’s ‘Vision: Libertine – The Hangman’s Triad’ release including vinyl

Bernard - Side-Line Staff — Fri, 01 Apr 2016 15:26:12 +0000

The new Ordo Rosarius Equilibrio album “Vision: Libertine – The Hangman’s Triad” will be released in 3 different formats – all in special deluxe packagings: a deluxe digipak 2CD (available here), a limited doubled coloured vinyl (including an extra 2CD – available here but close to being sold out) and a limited wooden box holding 3CDs (available here but almost completely sold out).

The 3rd disc in the wooden box holds “Deus Otiosus” in an extended long Friday, Pagan day version and was recorded live in Rimini in 2003.

Originally planned as an EP, over a course of 3 years Ordo Rosarius Equilibrio’s new album “Vision: Libertine – The Hangman’s Triad” grew into a double album, comprised of the two separate, yet connected entities. You’ll also be able to hear the contributions by Empusae’s Sal-Ocin on percussion and other acoustic instruments.

Ordo Rosarius Equilibrio is a neofolk and martial industrial music group from Stockholm. The band is composed of its founding member and vocalist Tomas Pettersson, and Rose-Marie Larsen, who replaced Chelsea Krook on backup vocals. In 2008 Fredrik Leijström and Ronnie Bäck joined the band on bass and guitar.

Sophia, Arcana and Empusae join to form Onus and launch ‘Proslambanomenos’ album – listen to the previews

Bernard - Side-Line Staff — Fri, 29 Jan 2016 16:59:15 +0000

Here’s a release you definitely have to check out, out on Cyclic Law: “Proslambanomenos” by Onus. Onus is the new joint project from the master minds behind Sophia, Arcana and Empusae. Peter Bjärgö and Nicolas ‘Sal-Ocin’ Van Meirhaeghe’s long term friendship culminated in this unique collaborative project which is based on recordings created by Peter over some years. Nicolas then worked to transform them into a symbiosis of both musician’s respective projects.

The album is available in an edition of just 600 copies, in a 4 panel over sized sleeve. You can order the album directly from Cyclic Law. The albums has 6 tracks which you can preview below.

Onus (feat. Sophia / Arcana and Empusae masterminds) launch ‘Proslambanomenos’ album in early January – listen to the previews

Bernard - Side-Line Staff — Wed, 23 Dec 2015 15:48:20 +0000

Cyclic Law has announced an interesting new joint project, named Onus, uniting the masterminds behind Sophia / Arcana and Empusae, namely Peter Bjärgö and Nicolas ‘Sal-Ocin’ Van Meirhaeghe. A first album “Proslambanomenos” will be released in early January 2016 and is available here.

The collaborative project is based on recordings created by Peter over some years; Nicolas then worked to transform them into a symbiosis of both musician’s respective projects. The 6-track CD (with a running time of 41:41) comes in an edition of only 600 copies and will be housed in a 4-panel over sized sleeve and you can order it right here.

Here’s a preview of the album: