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Agnivolok biography, Agnivolok discography
Thinning vocals are fleeting masks at a drugged masquerade ball, swirling circuitry oscillates with accordion ballad, swelling drones more viscous than ethereal chime with otherworldly bells and tortured samples.Murky accordions are woven onto an ambient canvas, stitched into dark and ominously pagan visuals.There are dim allusions made as the mind brings to the surface The Moon Lay Hidden Beneath a Cloud or The Soil Bleeds Black, whose own stylistic formations can be seen in the memorable medieval phrasing carved with mechanical drills mimicking martial percussion and bowed pipes Agnivolok employ.Yet unlike the aforementioned acts, Agnivolok spends more time in the surrealism and liquidity of dreams, the music wrestles equally with the anatomy of illusory samples as it does its hypnotic outcries.The Moon Lay Hidden Ben...All trademarks and copyrights on this page are owned by their respective owners.Eastern Front in an impressive silver and gold embossed digipack edition, this is the first album by Israeli dark folk act Agnivolok to have seen the light of day after their first recording (1998's Belena) was mysteriously lost.Formed by the creative duo of Vera Shapiro and Vadim Gusis (also of Chaos As Shelter fame), Agnivolok play a powerful mix of experimental ambient improvisations and mystical Russian folklore inspired neofolk.Parohod, Crossfishes, and Karat Band Toy Orchestra) as well as Shurik Waits (on flute) who add their own talents to the eclecticism.Vera also contributed some of her painted artwork to the release of Darkwood's 'Lapis' album at the request of Henric Vogel, leading to a short collaborative stay in Germany.After her return to Israel, Agnivolok have contributed to various compilations (such as 'Secret Lords' and 'Looking for Europe'), as well as pursuing further activities such as performing in the live arena, and are now composing their third album as a follow up to 'Sculptor'.Ushered in by 'Heart of stone', the first taste of the Agnivolok sound comes in the form of looping crackling noise and dramatic plaintive piano, both evocative and ominous in its minimalistic simplicity, and it is a promising introductory piece indeed, finishing with a final fourish of solo piano that calls forth imagery of being lost in broad barren wastelands.Close' then brings the first folk inspired elements with a medieval wooden flute melody, droning bowed strings and woodblock percussion.As the backing falls away, the regular chiming of the bells is overlaid with desperate mourning cries, until only the monotony of the woodblock and vinyl crackles remain to suggest a sorrowful movement onwards.Siberia while watching one's family fall by the roadside to die.With the singing joining the minor bass melody, the destitute lover calls across the sea to their loved one with no seeming hope of ever being reunited, and the resulting folk noise ambience continues to find new and intriguing ways of twisting musically in upon itself in foreboding manner, before culminating in the pining pealing of church bells marking the death of further hopes yet again.The next piece is an additional bonus track not present on the original LP release of 'Sculptor', and is entitled 'Angels'.Effected fingerpicked guitar coils in serpentine manner over basic folk flute phrases and simplistic bass drum beats in what is probably the most traditionally styled track on the album.This leaves us with an intriguing window into Agnivolok's creative process with regards to their folk roots and inspirations, as well as a brief pause before we reach the final song, the 23 minute long mystical epic entitled 'Penance'.This combines all of the elements the listener has grown familiar with from the rest of the album, and it is here where Agnivolok really pull out all the stops in a wild contorting experimentalism.Gently rising and falling in a seasonal fashion, we are left in the depths of Agnivolok's winter as the last hypnotising strains fade from perception into the sorrows of the past.Like a spiritual odyssey through the snowblown steppes of Eurasia, multiple cultures seem to be referenced in both feel and instrumentation, yet the resulting soundscapes appear to be so very much Agnivolok's own.Vera Shapiro's artwork as displayed on the band link given above, as this adds further depth, focus, and understanding of her direction and motivations (and thus additional respect for one supremely talented artist of multiple gifts).With a new work imminent upon the horizon, the future can only bring even bigger and better things for this wonderful group.All trademarks and copyrights on this page are owned by their respective owners.Yersinia Pestis (3xCDr)
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Exhibition of Vera Agnivolok 27.Comment on this)Saturday, January 21st, 20065:06 pm
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