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DAY BEFORE US & NIMH - Under Mournful Horizons

Format: CD Label & Cat.Number: Rage in Eden RAGE91 Release Year: 2012 Note: another interesting collaboration by Italian ambient & ethno composer NIMH, the melodramatic organ and piano harmonies collide with background noises and drones... five tracks filled with melancholy and sorry, "evoking a panoply of ruined cathedrals, barren wilderness, haunted factories, ominous presences, arcane rituals and monastics, though, gratifyingly, there’s none of the cartoon goth-horrorism sometimes disfiguring the genre." [IGLOO]- for fans of RAISON D'ETRE, DESIDERII MARGINIS, etc. Price (incl. 19% VAT): €12.00 Warning: Currently we do not have this album in stock! More Info "Born in Rome in 1965, Nimh (Giuseppe Verticchio), computer programmer, starts to play electronic music in 1994. In 1996 he moves in Koh Samui, Thailand, where he lives about one year. During this period he starts to know and love oriental traditional music, so he begins to collect various ethnic instruments and to use them in his CDs. Starting from 2001 he realized many CDs under the name of "Nimh". His music combines a wide spectrum of influences, he has recorded and released many works of different nature containing elements of experimental music, ambient, dark-ambient, industrial, electronic, isolationism, ritual-ethnic music. After some CD-Rs available only in limited edition, since 2004 Nimh published a lot of official CDs and vinyls by labels such as Silentes, Malignant, Eibon, Amplexus, Synästhesie Schallplatten, alternating solo works with side projects (Hall of Mirrors, Maribor…) and collaborations with other artists. The most important collaborations include Maurizio Bianchi/M.B., Mauthausen Orchestra/Pierpaolo Zoppo, Andrea Marutti/Amon, Aube, Nefelheim, Amir Baghiri. In these years of activity Giuseppe Verticchio/Nimh collaborated in various way (open projects, partecipation to CDs and compilations, live performances, audio editing and mastering works…) with other artists/projects in ambient-electronic-industrial-experimental-ethnic musical scene, such as Eidulon, K11/Pietro Riparbelli, New Risen Throne, Vestigial, Hue/Matteo Uggeri, Raffaele Serra, Andrea Ferroni, Stefano Scala, Andrea Ferraris, Subinterior/Andrea Freschi, Antikatechon/Davide Del Col, Day Before Us/Philippe Blache, Stefano Gentile, Gianluca Favaron, Claudio Ricciardi (ex member with Roberto Laneri of the historical harmonic chant ensemble "Prima Materia"). ENG: Giuseppe Verticchio (Nimh) is a brilliant Italian underground musician specialised in organic / visceral ambient tales. He is notably known for his collaboration with Maurizio Bianchi and modern experimental electronic artists (Nefelheim, Baghiri from Italy...). He released more than 10 albums (between 2001 & 2007, including collaborative projects). His charged, orchestrated abstract universe features dynamic musical motifs (from acoustic percussions, exotic instruments to e-guitar) superposed on electronic dronescapes. His work is now called ambient-electronic-ethnic-experimental music.  Day Before Us is an acoustic micro-tonal ambient project formed in 2010. The musical signature is turned to solemn soundscaping ritualism, dada-esque hypnopedies and soundtracky ambiences. The content is sometimes sustained by digital field recordings. All tracks are recorded live. The main sources of inspiration come from odd literature, ghostly presence, angelology, cinematic poetry and the magical realism. Day Before Us means the everlasting power of ancient time which saves us from the amnesia of everyday life." rageineden.org "This is not a place to look for serenity or quietude, as the two grimly conjoin their respective musical arts in a paean to sadness and melancholy, the rain falling unrelenting, plangent piano drenched in despair and desolation. These seemingly forlorn funerals are, though, not dispirited, but charged with intent, directed towards the search for spiritual truth. Day Before Us is Philippe Blache’s acoustic micro-tonal ambient project, and Under Mournful Horizons is a first full-length outing with Giuseppe Verticchio, aka Nimh, The release bears the inky stamp of the Roman ‘ambient-electronic-ethnic-experimental musician,’ whose work has seen the light (however dim) on Malignant, Eibon, and Silentes. As a collaborator he has previous, with fellow-Italians Maurizio Bianchi and Andrea Marutti/Amon, as well as Aube and Amir Baghiri. Frenchman Blache (incidentally, an Igloo contributor) deals in ‘antipop-cinematic-nocturnal-melancholic soundscapes,’ claiming inspiration from ‘odd literature, ghostly presence, angelology, cinematic poetry and magic realism,’ issuing in ‘solemn soundscaping ritualism, dada-esque hypnopedies and soundtracky ambiences’ with sometime sustenance from field recordings. Blache is evidently well attuned to Italian neo-gothic ambience, trailing the post-industrial trappings of Thanatos and Eschaton, with titles like “Contemplatio Mortis,” making a perfect match for Verticchio’s dolorous inclinations (cf. This Crying Era). The conceptual background is implicitly connected, we are told, to the rumbling process of “Entlichtung” and to the skeptical quest of men in a post-metaphysical era. As such Under Mournful Horizons is duly sombre, though not overly gloomy. Dark ambience, certainly, is the order of the day, albeit one of a deep and tremulous aspect. The album resides in a half-light nether-zone of loop decay, haunted by Blache’s piano spectres and Nimh’s voice-wraiths. You’ll find little of the harshness of the industrial areas potentially invoked by Polish label Rage in Eden with its specialism in ‘dark ambient / neofolk / industrial / experimental / militaria,’ and its War Office Propaganda past. It deals more in quietly storm-wracked sonatas and neo-classical pianistics under a holy ritual, art work and titles making mournful intent transparent, though some dim light or small glimmer does penetrate now and then through its tenebrous nebulae. Some specifics: “Frozen Gleams Of Eternity” hosts a widescreen tonemass imbued with a (g)rainy fuzz within which an off-kilter motif plays upon the ear in timbrally tweaked recursions, “Surrounded By A Moonless Night” brings faint echoes of monastic choirs, while “In The Court Of A Sorrowful Season” sussurates with speech of uncertain provenance. Overall, the pairing prove to be deft exponents of the dark-ambient-arts, evoking a panoply of ruined cathedrals, barren wilderness, haunted factories, ominous presences, arcane rituals and monastics, though, gratifyingly, there’s none of the cartoon goth-horrorism sometimes disfiguring the genre. With sorrow phasers set to stun, the pair recall kindred miserabilist spirits such as Desiderii Marginis, with some servings from a less gristly Cold Meat table adjacent to Raison d’Etre and Atrium Carceri. This is not a place to look for serenity or quietude, as the two grimly conjoin their respective musical arts in a paean to sadness and melancholy, the rain falling unrelenting, plangent piano drenched in despair and desolation. These seemingly forlorn funerals are, though, not dispirited, but charged with intent, directed towards the search for spiritual truth—as Monsieur Blache would have it, ‘the everlasting power of ancient time which saves us from the amnesia of everyday life." [Igloo Mag.]