Habsyll | Or | Kaspar von Urbach

Khanate, Monarch, Corrupted. Pokud to jsou kapely, při kterých vás mrazí v zádech, měli byste zbystřit taky u jména Habsyll. Francouzská trojice dala vzniknout morbidnímu kříženci funerálního noise, (drone) doomu a sludge. Žádný výstřelek nebo bezpohlavní klon aktuálního undergroundového trendu, tady se jde na práh fyzické bolesti. Extrémně silové bicí přímo atakují nervová zakončení posluchače, zatímco odumírající kytarové stěny otvírají hypnotické vakuum, které probouzí veškeré tělesné tekutiny...
Členové Habsyll mají za sebou zkušenosti jak z grindové a noisové scény, tak z té elektronické nebo obecně experimentální. Bubeník hrál například v punk blackových Nuit Noire. Debutní album MMVIII vyšlo společnými silami 6 labelů, především výtečných tUMULt a At War With False Noise.
Kapela hrála (či teprve bude) s Aluk Todolo, Grey Daturas, Overmars, Grails, Monno, Monarch, Alkerdeel nebo Sylvester Anfang. Do budoucna chystá několik sedmipalců (např. s Austrasian Goat) a také dva covery Swans a Kraftwerk.

Před nimi vystoupí dvě pražská seskupení. Kaspar von Urbach vycházejí z estetiky původního industrialu (Throbbing Gristle, Einstürzende Neubauten). Kde však jejich předchůdci řvali, tam KvU ztišují hlas, promlouvat pak nechají spíš objekty/instrumenty samotné v duchu myšlenky „chyba jako záměr“.
Druhá domácí formace Or drhne řádně zatěžkaný stoner/noise rock a naživo převládá ta hlučnější stránka. Tak, jak to mají mazlíčci rádi.

Habsyll, Or, Kaspar von Urbach vystoupí 9.5. v Chapeau Rouge (Jakubská 2, Praha 1).
Vstup 150,- pouze na místě.

www.myspace.com/habsyll
www.myspace.com/ornoise
www.myspace.com/kasparvonurbach
www.letmo.net/productions
www.chapeaurouge.cz

Z tisku:

„Calling “MMVII” doom metal would be a massive disservice to this record’s heaviness, despite a similar genetic lineage. This is the sound of a prophecy fulfilled, Habsyll come in thick oiled cords of feedback and bass. Like the desperately sluggish draining of fluids from a slab, Habsyll’s dying tones take up way more of the record than the band’s occasional playing of notes. It might cause your typical doomers a little disquiet, this record creepycrawls way beyond a mere dose of slow, way beyond even the movement of some half-salted slug on its way to its distant finish. Deeper than the gloom for most of its duration, it remains this way until a shopper-fuelled Mall fire finale – a gravely brutal disc. 8/10“ (Scott McKeating, Foxy Digitalis, 11 March 2009)

“Unbelievably heavy and slow amplifier overload from France! Two long tracks of uber-doom which is seemingly devoid of any coherant structure and exists only to open up a black void in your stereo speakers through which to suck out your very soul. Habsyll sound to me like a less happy-go-lucky Khanate, or Monarch without the hipster irony. Totally morbid!” (AWWFN)

“Clearly Khanate fans is the first thing that springs to mind = instant little underground audience for this lot! These dudes clearly know what they are doing - and clearly have their own thing going on. Huge swathes of noise, odd drumming, odd sounds, it really sounds fucked up - totally slow and brutal and grimm. This is awesome. Will also keep tabs on this. 9/10” (Holy Roar Records)

“Somemore French nastiness for you, Habsyll should be filed alongside the likes of Moss and Fleshpress, blasphemous doom which dangles in the air and drops faster than guillotines. Slow isn’t the word for this bad boy. Opener “II” doesn’t let up from the offset, 17 minutes of lingering feedback and crashing percussion which builds up into morbid emptiness, followed with subtly mixed wails from what can only be described as a Lovecraftian being from some unspeakable place (France?).
The second and final track coming in at a whopping 28 minutes and ironically titled “I” continues this trend, just as crushing and perhaps slower – if that’s humanly possible. Strings are scraped and the ungodly screeches and guttural grunts are even more tortured. There’s a sense of miasma on this track which reeks of despair and gloom, totally un-FALSE audio torture.
For me, the highlight of the Habsyll sound has to be drumming, the crashes just sound thunderous and are followed with broken up and shortened fills that gives both songs a real sense of dynamic. Very few bands of this nature are capable of pulling this off and it’s quite reminiscent of early Khanate. I’d be curious to know how many sticks were destroyed in the making of this record. The digipack packaging reminds of some of the recent Corrupted releases, if it weren’t for the pseudo black metal insignia on the front. High quality Franco-doom with primo presentation, trés bon.” (Capital Punishment)

“It's starting to get seriously tUMULtuous around here. One killer disc just out and still fresh, The Memories Attack, (one of ,if not THE pop record of last year, this year and any year, in Andee's humble opinion), THREE new releases about to drop (Diamatregon, Amocoma and the Ovens) and this, the first full length record from French ultra-mega-abstract-doom trio Habsyll, which just so happens to feature one member of the mighty Fantastikol Hole, as well as the former drummer of faerical punk blasters Nuit Noire!
But nothing, and we mean nothing will prepare you for Habsyll's particularly virulent strain of ultradoom. Heavy and slow, yeah obviously, but it's HOW heavy (very) and HOW slow (ummm, so slow the songs seem to have almost zero forward momentum) that makes Habsyll something much more than a metal band or a doom band, it's almost like twentieth century classical played with downtuned guitars and massive drums. So much space, the notes and drum beats miles apart, the drums not so much beats and rhythms (although those do pop up occasionally) as brief explosions or percussive squalls, more for dynamics and texture, or if they are actually engaged in some sort of actual beat, it's mind bendingly abstract and extended and slow to the point of hovering around 2 or 3 bpm. Think Khanate, Monarch, Moss, Bunkur, Fleshpress? You're already thinking too fast, too structured, too riffy. This is some excessive extremist radical dooooooooom, the sort of chug and plod and buzz and bombinate that makes the rest of those bands sound like speed metal.
But in this slow sprawl, and these long stretches of decay, these sudden flurries of drum splatter and downtuned chug, there is a buried beauty, occasionally, these disparate parts mesh into a brief flicker of melody, or a single epic majestic hook filled swell, before slipping back into blackness. And once or twice the band ramps it up, and locks into some serious pounding crushing black hole sludge, but even then, it's a crawl, a glacial black ooze tempo, and before too long, the band abandon any sense of rhythm or tempo, opting instead to drift through some wide open stretch of outerspace ultra doom emptiness.
The guitars go from grinding and sharp, to muddy and massive, the chugs flung into the ether and carried along on streaks of whirring hiss and blackened buzz, spitting out huge jagged shards of feedback, and long smears of blurred anti-riffage, the bass is a massive cloud of low end, throbbing and pulsing, exploding like a brick wall to the side of the head before slipping back into a shadowy rumble, the vocals a caustic demonic shriek, raspy and hellish, slipping into an almost hysterical falsetto, and just as often offering up some alien ululations, and the drums, oh the drums, any drummer can tell you how hard it is to play slow, but they're talking slowcore slow, or even regular doom slow, this is something else entirely, this is doom drumming gone free jazz, pound and skitter in equal measure, meting out beats one at a time, like some sleek black submarine releasing depth charges.
Two lengthy epics, 17 minutes and nearly 29 minutes, neither very traditionally doomlike, but both most definitely doom, maybe more 'doom', than most actual doom we've heard. Like staring into the abyss, or looking up at a black moonless night sky, these sounds are the sounds of emptiness, of bottomless depths, of never ending expanses of space and time, the end of the world, the birth of new universes, the sound of black holes, of exploding stars, the soundtrack to the end of the world, to the end of everything. Slow and heavy and low and spaced out and damaged and fucked up and strangely beautiful and mysterious and abstract and far out and completely kick ass while remaining very very very difficult listening indeed!” (Aquarius Records)