FRÜHGESCHICHTE II. REQUIEM CD
4 panel glossy full colour digipak with clear tray limited 300.
The second in the series of early Allerseelen soundworks re-issues. One of the most mystical, dark and obscure release of the series exploring Death, Life and their relations and intersurroundings. Being close to the first volume “Schwarzer Rab”, it’s a bit more varied and complex. „All the tracks are extremely stark, striped-back and ultra bleak in their slurred ritual industrial feel. The linear notes talk about autumn tiredness, crypts and death, and that’s exactly what the music here sounds like - it’s grey, earthy, musty and dread filled rattling with ageless despair and timeless gloom” (www.musiquemachine.com).
“The artworks in the chambers of the Coemeterium Capucinorum in Rome consisted solely of the bones of unknown monks. And unknown too remained the artist and monk that had realized this almost surrealistic Capuchin Cemetery centuries ago. It was his obsession to create circles, crosses, thorny crowns, flowers, garlands, hearts, stars from thousands of bones and skulls of his dead brothers. For years, decades, maybe even centuries, this unknown Capuchin had worked in his Totengarten, his garden of death, which knew just one season: autumn. Tireless, larger than life, were his passion and patience for the tired bones. Maybe he was still alive? Dedicated to his mission, he could have forgotten about time. And time maybe forgot about him. In this artificial afterlife, the dead were not buried under dark earth as in a usual subterranean cemetery – they remained visible in transparent air. Death surrounded life. Death was close, was ‘just a kiss away’ and the one and only deity in this realm. Death owned all the keys. In it all the threads of life came together. When I realised that inside my lungs was not air but transparent earth, I held my breath – like all these unknown monks one day had done. Life became all at once an hourglass that no longer stood upright. Now, full of ashes, it lay horizontal: Time stood still, and space stood still too. Both became identical. The Totentanz, the dance of death, without sound, without movement, beyond time and space, like a still in a silent movie, was the only dance allowed to the living monks. But for them the difference between life and death diminished – until life and death became as identical as time and space. In one of the chambers, there were some Capuchin monks in their brown vestments with hoods. They pretended to be dead, not to breathe – but I could listen to their prayers. I was now inside the hourglass, still holding my breath. Now it was my turn to forget about time. And again time forgot about me too. I pretended to be alive. My clothes had changed their form and colour, they were now brown. I had been right: The unknown Capuchin was still alive. Now his mission was my mission, his obsession mine. I started working.” (Gerhard Hallstatt 1999)