Friday, February 21, 2014

Diamanda Galás: Darker, Darker


Hailed as one of the most important singers of our time, Diamanda Galás has earned international acclaim for her highly original and politically charged performance works, as well as her spectral interpretations of jazz and blues.

A resident of New York City since 1989, she was born to Anatolian and Greek parents, who always encouraged her gift for piano. From early on she studied both classical and jazz, accompanying her father’s gospel choir before joining his New Orleans-style band, and performing as a piano soloist with the San Diego Symphony at the age of fourteen.

In the 70s, Galás played piano in the improvisational scene around San Diego and Los Angeles with musicians such as Bobby Bradford, Mark Dresser, Roberto Miranda, Butch Morris, and David Murray. She made her performance debut at the Festival d’Avignon in 1979, where she sang the lead role in Vinko Globokar’s opera, Un jour comme un autre, based upon the Amnesty International documentation of the arrest and torture of a Turkish woman for alleged treason. While in France, she also performed Iannis Xenakis’s work with l’Ensemble Intercontemporain and Musique Vivante.

Galás first rose to international prominence with her quadrophonic performances of Wild Women with Steak Knives (1980) and the album The Litanies of Satan (1982). Later she created the controversial Plague Mass, a requiem for those dead and dying of AIDS, which she performed at Saint John the Divine cathedral in New York City and released as a double CD in 1991. In 1994, Led Zeppelin bassist John Paul Jones and Diamanda Galás sought each other out for a collaboration that resulted in the visionary rock album, The Sporting Life.

Over the past two decades, Galás’ wide range of musical and theatrical works have included The Singer (1992), a compilation of blues and gospel standards; Vena Cava (1993), exploring AIDS dementia and clinical depression; Schrei 27 (1996), a radical solo piece for voice and ring modulators about torture in isolation; Malediction and Prayer (1998), a setting of jazz and blues as well as love and death poems by Charles Baudelaire, Pier Paolo Pasolini and Salvadoran guerrilla fighter and poet Miguel Huezo Mixco, occasionally fused with the virtuosic singing of the Amanes (improvised lamentation from Asia Minor); La Serpanta Canta (2004), a greatest- hits collection from Hank Williams to Ornette Coleman; and Defixiones, Will and Testament (2004), a 80-minute memorial tribute to the Armenian, Greek and Assyrian victims of the Turkish genocides from 1914-1923. In 2005, Diamanda Galás was awarded Italy’s first Demetrio Stratos International Career Award. Her much-anticipated CD, Guilty Guilty Guilty, a compilation of tragic and homicidal love songs, was released worldwide in 2008.


Galás has contributed her voice and music to Francis Ford Coppola’s film, Dracula, Oliver Stones’ Natural Born Killers, Spanish/Nicaraguan filmmaker Mercedes Moncada Rodriguez’s El Immortal (The Immortal), as well as films by Wes Craven, Clive Barker, Derek Jarman, Hideo Nakata, and many others. In 2005, Galas was awarded Italy’s first Demetrio Stratos International Career Award. Her much-anticipated CD, Guilty Guilty Guilty, a compilation of tragic and homicidal love songs, was released by Caroline in the U.S. and MUTE UK worldwide on April 1, 2008; You’re My Thrill, will be released in 2009.

As important to Galás as her multiple creative projects has been her extensive research and activism around the persecution of homosexuals in the Middle East Ethiopia and Uganda, resulting in the essays GODHEAD AND ANAL GLUE and PRAYERS FOR THE INFIDEL, which have been translated in French, Spanish, Arabic, Slovenian, German, and Italian, and published internationally.

In the past decade, Galas has continued to tour worldwide, presenting the work of living and dead poets who were imprisoned, exiled, or assassinated from/by their own countries and poets who lived in fear for their lives for real or perceived political/moral dissidence: César Vallejo, Ali Ahmad Said Asbar, Cesare Pavese, Constantine Cavafy, Miguel Huezo Mixco, Jose-Maria Cuellar, Pier Paolo Pasolini, and many others. She has also continued to perform Defixiones, Will and Testament, and Defixiones, Orders from the Dead worldwide.



 Plague Mass (1984)

 

Tracklist

1. There Are No More Tickets to the Funeral
2. This Is The Law of the Plague
3. I Wake Up and I See the Face of The Devil
4. Confessional (Give Me Sodomy or Give Me Death)
5. How Shall Our Judgement Be Carried Out Upon the Wicked?
6. Let Us Praise the Masters of Slow Death
7. Consecration
8. Sono L’Antichristo
9. Cris D’Aveugle
10. Let My People Go


Download
Tracklist:
1. There Are No More Tickets to the Funeral
2. This Is The Law of the Plague
3. I Wake Up and I See the Face of The Devil
4. Confessional (Give Me Sodomy or Give Me Death)
5. How Shall Our Judgement Be Carried Out Upon the Wicked?
6. Let Us Praise the Masters of Slow Death
7. Consecration
8. Sono L’Antichristo
9. Cris D’Aveugle
10. Let My People Go
- See more at: http://diamandagalas.com/about/discography/plague-mass/#sthash.Q1xDbI4M.dpuf
Tracklist:
1. There Are No More Tickets to the Funeral
2. This Is The Law of the Plague
3. I Wake Up and I See the Face of The Devil
4. Confessional (Give Me Sodomy or Give Me Death)
5. How Shall Our Judgement Be Carried Out Upon the Wicked?
6. Let Us Praise the Masters of Slow Death
7. Consecration
8. Sono L’Antichristo
9. Cris D’Aveugle
10. Let My People Go
- See more at: http://diamandagalas.com/about/discography/plague-mass/#sthash.Q1xDbI4M.dpuf
Hailed as one of the most important singers of our time, Diamanda Galás has earned international acclaim for her highly original and politically charged performance works, as well as her spectral interpretations of jazz and blues. A resident of New York City since 1989, she was born to Anatolian and Greek parents, who always encouraged her gift for piano. From early on she studied both classical and jazz, accompanying her father’s gospel choir before joining his New Orleans-style band, and performing as a piano soloist with the San Diego Symphony at the age of fourteen.
In the 70s, Galás played piano in the improvisational scene around San Diego and Los Angeles with musicians such as Bobby Bradford, Mark Dresser, Roberto Miranda, Butch Morris, and David Murray. She made her performance debut at the Festival d’Avignon in 1979, where she sang the lead role in Vinko Globokar’s opera, Un jour comme un autre, based upon the Amnesty International documentation of the arrest and torture of a Turkish woman for alleged treason. While in France, she also performed Iannis Xenakis’s work with l’Ensemble Intercontemporain and Musique Vivante.
Galás first rose to international prominence with her quadrophonic performances of Wild Women with Steak Knives (1980) and the album The Litanies of Satan (1982). Later she created the controversial Plague Mass, a requiem for those dead and dying of AIDS, which she performed at Saint John the Divine cathedral in New York City and released as a double CD in 1991. In 1994, Led Zeppelin bassist John Paul Jones and Diamanda Galás sought each other out for a collaboration that resulted in the visionary rock album, The Sporting Life.
Over the past two decades, Galás’ wide range of musical and theatrical works have included The Singer (1992), a compilation of blues and gospel standards; Vena Cava (1993), exploring AIDS dementia and clinical depression; Schrei 27 (1996), a radical solo piece for voice and ring modulators about torture in isolation; Malediction and Prayer (1998), a setting of jazz and blues as well as love and death poems by Charles Baudelaire, Pier Paolo Pasolini and Salvadoran guerrilla fighter and poet Miguel Huezo Mixco, occasionally fused with the virtuosic singing of the Amanes (improvised lamentation from Asia Minor); La Serpanta Canta (2004), a greatest- hits collection from Hank Williams to Ornette Coleman; and Defixiones, Will and Testament (2004), a 80-minute memorial tribute to the Armenian, Greek and Assyrian victims of the Turkish genocides from 1914-1923. In 2005, Diamanda Galás was awarded Italy’s first Demetrio Stratos International Career Award. Her much-anticipated CD, Guilty Guilty Guilty, a compilation of tragic and homicidal love songs, was released worldwide in 2008.
Galás has contributed her voice and music to Francis Ford Coppola’s film, Dracula, Oliver Stones’ Natural Born Killers, Spanish/Nicaraguan filmmaker Mercedes Moncada Rodriguez’s El Immortal (The Immortal), as well as films by Wes Craven, Clive Barker, Derek Jarman, Hideo Nakata, and many others. In 2005, Galas was awarded Italy’s first Demetrio Stratos International Career Award. Her much-anticipated CD, Guilty Guilty Guilty, a compilation of tragic and homicidal love songs, was released by Caroline in the U.S. and MUTE UK worldwide on April 1, 2008; You’re My Thrill, will be released in 2009.
As important to Galás as her multiple creative projects has been her extensive research and activism around the persecution of homosexuals in the Middle East Ethiopia and Uganda, resulting in the essays GODHEAD AND ANAL GLUE and PRAYERS FOR THE INFIDEL, which have been translated in French, Spanish, Arabic, Slovenian, German, and Italian, and published internationally.
In the past decade, Galas has continued to tour worldwide, presenting the work of living and dead poets who were imprisoned, exiled, or assassinated from/by their own countries and poets who lived in fear for their lives for real or perceived political/moral dissidence: César Vallejo, Ali Ahmad Said Asbar, Cesare Pavese, Constantine Cavafy, Miguel Huezo Mixco, Jose-Maria Cuellar, Pier Paolo Pasolini, and many others. She has also continued to perform Defixiones, Will and Testament, and Defixiones, Orders from the Dead worldwide.
- See more at: http://diamandagalas.com/about/diamandas-bio/#sthash.lnL
Hailed as one of the most important singers of our time, Diamanda Galás has earned international acclaim for her highly original and politically charged performance works, as well as her spectral interpretations of jazz and blues. A resident of New York City since 1989, she was born to Anatolian and Greek parents, who always encouraged her gift for piano. From early on she studied both classical and jazz, accompanying her father’s gospel choir before joining his New Orleans-style band, and performing as a piano soloist with the San Diego Symphony at the age of fourteen.
In the 70s, Galás played piano in the improvisational scene around San Diego and Los Angeles with musicians such as Bobby Bradford, Mark Dresser, Roberto Miranda, Butch Morris, and David Murray. She made her performance debut at the Festival d’Avignon in 1979, where she sang the lead role in Vinko Globokar’s opera, Un jour comme un autre, based upon the Amnesty International documentation of the arrest and torture of a Turkish woman for alleged treason. While in France, she also performed Iannis Xenakis’s work with l’Ensemble Intercontemporain and Musique Vivante.
Galás first rose to international prominence with her quadrophonic performances of Wild Women with Steak Knives (1980) and the album The Litanies of Satan (1982). Later she created the controversial Plague Mass, a requiem for those dead and dying of AIDS, which she performed at Saint John the Divine cathedral in New York City and released as a double CD in 1991. In 1994, Led Zeppelin bassist John Paul Jones and Diamanda Galás sought each other out for a collaboration that resulted in the visionary rock album, The Sporting Life.
Over the past two decades, Galás’ wide range of musical and theatrical works have included The Singer (1992), a compilation of blues and gospel standards; Vena Cava (1993), exploring AIDS dementia and clinical depression; Schrei 27 (1996), a radical solo piece for voice and ring modulators about torture in isolation; Malediction and Prayer (1998), a setting of jazz and blues as well as love and death poems by Charles Baudelaire, Pier Paolo Pasolini and Salvadoran guerrilla fighter and poet Miguel Huezo Mixco, occasionally fused with the virtuosic singing of the Amanes (improvised lamentation from Asia Minor); La Serpanta Canta (2004), a greatest- hits collection from Hank Williams to Ornette Coleman; and Defixiones, Will and Testament (2004), a 80-minute memorial tribute to the Armenian, Greek and Assyrian victims of the Turkish genocides from 1914-1923. In 2005, Diamanda Galás was awarded Italy’s first Demetrio Stratos International Career Award. Her much-anticipated CD, Guilty Guilty Guilty, a compilation of tragic and homicidal love songs, was released worldwide in 2008.
Galás has contributed her voice and music to Francis Ford Coppola’s film, Dracula, Oliver Stones’ Natural Born Killers, Spanish/Nicaraguan filmmaker Mercedes Moncada Rodriguez’s El Immortal (The Immortal), as well as films by Wes Craven, Clive Barker, Derek Jarman, Hideo Nakata, and many others. In 2005, Galas was awarded Italy’s first Demetrio Stratos International Career Award. Her much-anticipated CD, Guilty Guilty Guilty, a compilation of tragic and homicidal love songs, was released by Caroline in the U.S. and MUTE UK worldwide on April 1, 2008; You’re My Thrill, will be released in 2009.
As important to Galás as her multiple creative projects has been her extensive research and activism around the persecution of homosexuals in the Middle East Ethiopia and Uganda, resulting in the essays GODHEAD AND ANAL GLUE and PRAYERS FOR THE INFIDEL, which have been translated in French, Spanish, Arabic, Slovenian, German, and Italian, and published internationally.
In the past decade, Galas has continued to tour worldwide, presenting the work of living and dead poets who were imprisoned, exiled, or assassinated from/by their own countries and poets who lived in fear for their lives for real or perceived political/moral dissidence: César Vallejo, Ali Ahmad Said Asbar, Cesare Pavese, Constantine Cavafy, Miguel Huezo Mixco, Jose-Maria Cuellar, Pier Paolo Pasolini, and many others. She has also continued to perform Defixiones, Will and Testament, and Defixiones, Orders from the Dead worldwide.
- See more at: http://diamandagalas.com/about/diamandas-bio/#sthash.lnLMKHKD.dpuf
Hailed as one of the most important singers of our time, Diamanda Galás has earned international acclaim for her highly original and politically charged performance works, as well as her spectral interpretations of jazz and blues. A resident of New York City since 1989, she was born to Anatolian and Greek parents, who always encouraged her gift for piano. From early on she studied both classical and jazz, accompanying her father’s gospel choir before joining his New Orleans-style band, and performing as a piano soloist with the San Diego Symphony at the age of fourteen.
In the 70s, Galás played piano in the improvisational scene around San Diego and Los Angeles with musicians such as Bobby Bradford, Mark Dresser, Roberto Miranda, Butch Morris, and David Murray. She made her performance debut at the Festival d’Avignon in 1979, where she sang the lead role in Vinko Globokar’s opera, Un jour comme un autre, based upon the Amnesty International documentation of the arrest and torture of a Turkish woman for alleged treason. While in France, she also performed Iannis Xenakis’s work with l’Ensemble Intercontemporain and Musique Vivante.
Galás first rose to international prominence with her quadrophonic performances of Wild Women with Steak Knives (1980) and the album The Litanies of Satan (1982). Later she created the controversial Plague Mass, a requiem for those dead and dying of AIDS, which she performed at Saint John the Divine cathedral in New York City and released as a double CD in 1991. In 1994, Led Zeppelin bassist John Paul Jones and Diamanda Galás sought each other out for a collaboration that resulted in the visionary rock album, The Sporting Life.
Over the past two decades, Galás’ wide range of musical and theatrical works have included The Singer (1992), a compilation of blues and gospel standards; Vena Cava (1993), exploring AIDS dementia and clinical depression; Schrei 27 (1996), a radical solo piece for voice and ring modulators about torture in isolation; Malediction and Prayer (1998), a setting of jazz and blues as well as love and death poems by Charles Baudelaire, Pier Paolo Pasolini and Salvadoran guerrilla fighter and poet Miguel Huezo Mixco, occasionally fused with the virtuosic singing of the Amanes (improvised lamentation from Asia Minor); La Serpanta Canta (2004), a greatest- hits collection from Hank Williams to Ornette Coleman; and Defixiones, Will and Testament (2004), a 80-minute memorial tribute to the Armenian, Greek and Assyrian victims of the Turkish genocides from 1914-1923. In 2005, Diamanda Galás was awarded Italy’s first Demetrio Stratos International Career Award. Her much-anticipated CD, Guilty Guilty Guilty, a compilation of tragic and homicidal love songs, was released worldwide in 2008.
Galás has contributed her voice and music to Francis Ford Coppola’s film, Dracula, Oliver Stones’ Natural Born Killers, Spanish/Nicaraguan filmmaker Mercedes Moncada Rodriguez’s El Immortal (The Immortal), as well as films by Wes Craven, Clive Barker, Derek Jarman, Hideo Nakata, and many others. In 2005, Galas was awarded Italy’s first Demetrio Stratos International Career Award. Her much-anticipated CD, Guilty Guilty Guilty, a compilation of tragic and homicidal love songs, was released by Caroline in the U.S. and MUTE UK worldwide on April 1, 2008; You’re My Thrill, will be released in 2009.
As important to Galás as her multiple creative projects has been her extensive research and activism around the persecution of homosexuals in the Middle East Ethiopia and Uganda, resulting in the essays GODHEAD AND ANAL GLUE and PRAYERS FOR THE INFIDEL, which have been translated in French, Spanish, Arabic, Slovenian, German, and Italian, and published internationally.
In the past decade, Galas has continued to tour worldwide, presenting the work of living and dead poets who were imprisoned, exiled, or assassinated from/by their own countries and poets who lived in fear for their lives for real or perceived political/moral dissidence: César Vallejo, Ali Ahmad Said Asbar, Cesare Pavese, Constantine Cavafy, Miguel Huezo Mixco, Jose-Maria Cuellar, Pier Paolo Pasolini, and many others. She has also continued to perform Defixiones, Will and Testament, and Defixiones, Orders from the Dead worldwide.
- See more at: http://diamandagalas.com/about/diamandas-bio/#sthash.lnLMKHKD.dpuf

Reupload: Tarja's discography

Tracklist
1. En Etsi Valtaa Loistoa
2. Kun Joulu On
3. En Etsi Valtaa Loistoa (acústico)
4. Kun Joulu On (acústico)





Tracklist

1. Kuin Henkäys Ikuisuutta
2. You Would Have Loved This
3. Happy New Year
4. En Etsi Valtaa, Loistoa
5. Happy Christmas
6. Varpunen Jouluaamuna
7. Ave Maria
8. The Eyes of a Child
9. Mökit Nukkuu Lumiset
10. Jo Joutuu Ilta
11. Marian Poika
12. Magnificat: Quia Respexit
13. Walking In The Air
14. Jouluyö, Juhlayö





Tracklist

1. Ite, Missa Est
2. I Walk Alone
3. Lost Norther Star
4. Seeking For The Reign
5. The Reign
6. The Escape Of The Doll
7. My Little Phoenix
8. Die Alive
9. Boy And The Ghost
10. Sing For Me
11. Oasis
12. Poison
13. Our Great Divide
14. Sunset
15. Damned And Divine
16. Minor Heaven
17. Ciarán's Well
18. Calling Grace

Faixas bônus:

Damned Vampire & Gothic Divine (Versão estendida)
I Walk Alone (Artist version)
I walk Alone (In Extremo remix)
The Seer (Deleted scene) - UK bônus
You Would Have Loved This (Live) - EUA bônus
Damned And Divine (Live) - EUA bônus
Ciarán's Well (Live) - Japão bônus
Our Great Divide (Live) - Japão bônus









Tracklist

CD 1

 
1 Ite, Missa Est
2 I Walk Alone
3 Lost Northern Star
4 Seeking For The Reign
5 The Reign
6 The Escape Of The Doll
7 My Little Phoenix
8 Boy And The Ghost
9 Sing For Me
10 Oasis
11 Poison (Alice Cooper Cover)
12 Our Great Divide
13 Sunset
14 Damned And Divine
15 Die Alive
16 The Seer (Deleted Scene)
17 Minor Heaven
18 Ciarán’s Well
19 Calling Grace

 

CD 2
 
1 Enough
2 The Seer (featuring Doro Pesch)
3 Lost Northern Star (Tägtgren Remix)
4 Wisdom of Wind
5 The Reign (Score Mix)
6 Die Alive (Alternative Version)
7 Boy and the Ghost (Izumix)
8 Calling Grace (Full Version)
9 Lost Northern Star (Ambience Sublow Mix)

10 Damned and Divine (live in Kuusankoski)
11 You Would Have Loved This (live in Kuusankoski)
12 Our Great Divide (live in Kuusankoski)
13 Ciarán's Well (live in Kuusankoski)




Tracklist
1.The Seer (Featuring Doro Pesch)
2. Lost Northern Star (Tagtren Remix)
3. The Reign (Score Mix)
4. Die Alive (Alternative Version)
5. Boy And The Ghost (Izu Mix)
6. Calling Grace (Full Version)
7. Lost Northern Star (Ambience Sub Low Mix)
8. Damned And Divine (Live In Kuusankoski)
9. You Would Have Loved This (Live In Kuusankoski)
10. Our Great Divide (Live In Kuusankoski)
11. Ciarán's Well (Live In Kuusankoski)





Tracklist

01. Die Alive
02. Die Alive (Alternative Version)
03. Lost Northern Star (Ambience Sublow Mix)
04. Calling Grace (Full Version)
Tamanho: 20MB



Tracklist

01. Enough (versão do single)
02 . Enough (Versão do álbum)
03. Wisdom of Wind




Tracklist

01. Anteroom Of Death (Feat. Van Canto)
02. Until My Last Breath
03. I Feel Immortal
04. In For A Kill
05. Underneath
06. Little Lies
07. Rivers Of Lust
08. Dark Star (Feat. Phil Labonte)
09. Falling Awake (Feat. Joe Satriani)
10. The Archive Of Lost Dreams
11. Crimson Deep (Feat. Will Calhoun)

Deluxe Edition
01. We Are
02. Naiad
03. Still Of The Night




2013 - Colours In The Dark 

Tracklist

1. Victim of Ritual
2. 500 Letters
3. Lucid Dreamer
4. Never Enough
5. Mystique Voyage
6. Darkness
7. Deliverance
8. Neverlight
9. Until Silence
10. Medusa

Monday, February 17, 2014

How can man dig DSBM?

Depressive Suicidal Black Metal (also known as DSBM) is a slow-paced, bleak, introverted side of black metal. The main themes of DSBM songs are hate, death, suicide, misery, pain, depression, sorrow, nihilism and loneliness of human life. Unlike regular black metal, DSBM isn't based around Satanism or philosophy. DSBM isn't the kind of music we play at parties or listen to when we're down. The core of the true DSBM experience is a misanthropic and restful voyage through ourselves.

 
The purpose of music is cathartic expression - suicide is seen as an emotionless and comforting release. Get acquainted with this point of view and try to meditate on it.
As we listen to the music, we dive deeper into ourselves. We will be calm but tense. If it's troubling for us to get into this sort of state, imagine meditating outwards, giving and receiving but only within oneself.

Involve hatred. What you need is hate without a subject. Imagine hating, but not hating anything specific. (Note that the hatred may be drawn from a particular experience or episode.) Now expand this hatred to everything and use it as a perspective instead of emotion.
The tension will disappear and we will go deeper into ourselves with a slight hint of ecstasy.

Realize that we are calm, completely focused inwards, and content. This is the pinnacle. From this point on, we will find the music soothing and purifying.

This previous state will fade and we are left somewhat tired, at peace with the world, and emotionally enriched



Recommended records:

  • Silencer - Death - Pierce Me
Silencer was a pioneering DSBM band formed in 1995 in Stockholm, Sweden and very renowned among black metal by the mystery surrounding the band, which never granted interviews.

The band emerged in 1995, when guitarist and bassist Andreas Married, under the pseudonym Leere ("empty" in German) invited Mikael Nilsson, industrial Markaryd musician, who adopted the pseudonym Nattramn (a bird name of the Norse mythology that carries the soul of suicide and unbaptized babies), to sing in his band. In late 1998, they launched with drummer Tomas Mattsson th demo Death, Pierce Me, limited to 40 editions, with a single 11-minute track, which reached the ears of the German label Prophecy Productions, which closed a contract with them in 1999.

In 2000, drummer Steve Wolz joins Silencer and record an album: Death - Pierce Me.
Soon after, Nattramn publish a letter which revealed his admiration for Swedish serial killer Thomas Quick, ending the letter saying he wanted to kill young girls as he had done. In the same year, he would try to attack a girl of six years with an ax in a park at Vattentornsskogen in Ljungby. He tried to escape by bicycle, and, when caught, asked the police to kill him. He was soon admitted to a mental hospital in Växjö. There are rumors that he escaped from the psychiatric hospital, returning afterwards.


In 2001, the album was released by Prophecy, which was highly acclaimed in the midst of black metal scene. What drew much attention from the media in general to the band was the fact that Nattramn had mutilated his own hands and face with deep cuts during the recordings to produce realistic screams and the shocking picture he would get in the middle of the recordings, where his face is wrapped in bandages and his hands are hidden for pig's feet he tied around his wrists, the bandages and the body very bloody.

While staying in the mental hospital, was suggested to Nattramn to write to vent his feelings and to divert attention from mental rehabilitation therapy and deep cuts on his face in his hands. As a result, the book came out in 2011, Grishjärta ("pig heart" in Swedish). In 2012, the album dark ambient album Transformalin was released from his new project Diagnose: Lebensgefahr. 

Tracklist:
  1. Death - Pierce Me (10:34)
  2. Sterile Nails And Thunderbowels (06:19)
  3. Taklamakan (8:36)
  4. The Slow Kill In The Cold (11:38)
  5. I Shall Lead, You Shall Follow (8:50)
  6. Freeble Are You - Sons Of Sion (3:03)

Download