1. Rapture of the skin
2. Interludium I – monde imaginaire
3. Roots of eternity
4. Interludium II – les terres sauvages
5. Children of the sun
6. Interludium III – la malédiction de l’ombre
7. It is the fear of the people/in the name of God
8. Interludium IV – un jardin sur le Nil
9. Bring the noizz
10. Interludium V – submergé par des flots d’images fantasmagoriques
11. Wir Wollen Tanzen (freaks come out at night)
13. Interludium VI – le peuple de l’éternel
15. Bring the noizz (remix by Hysteresis)
16. Postludium – tristesses de la lune
“Covering the Orient, the Middle-East, Western culture, the Unknown and the Unspoken” – the perfect subtitle for Ah Cama-Sotz’ 2013 album,
which covers all of these aspects, summarizing and enhancing all which has made this project a prime act in the Post Industrial scene in the past two decades.
“Covering the Orient, the Middle-East, Western culture, the Unknown and the Unspoken” – the perfect subtitle for Ah Cama-Sotz’ 2013 album, which covers all of these aspects, summarizing and enhancing all which has made this project a prime act in the Post Industrial scene in the past two decades. Ah Cama-Sotz is known as the brainchild of Belgian musician Herman Klapholz, well respected in both, the darker and the more rhythm-geared Industrial scenes. Celebrating its 20th anniversary, ACS can look back on a string of praised releases and a large number of acclaimed live performances. After three self-released albums, “Obsession Diabolique” also marks the return to the HANDS label, and it sure is an appropriate gift for the occasion. “Obsession Diabolique” covers the entire range of musical styles ACS has explored throughout its career, from noisy collages over dark drones to electronic beats and distorted rhythms. “The Orient and the Middle-East” have always been a fertile source of inspiration for ACS, and this album contains a number of pieces based on organic rhythm patterns and ethnic chanting, like the feverish opener “Rapture of the skin” or the carnal fantasies of “Roots of eternity” and “Interludium IV – un jardin sur le Nil”. “Children of the sun” and “Interludium VI – le peuple de l’éternel” are even compatible with the Bhangra dance floor – speaking of crossover appeal. “Western culture” is also represented on “Obsession Diabolique: The broken beat smasher “Bring the noizz” appears twice, in its fast-paced original version and a punchy raved-up remix by Hysteresis. “Wir Wollen Tanzen (freaks come out at night)” is a firm DJ weapon with technoid appeal and “Rain” presents a more minimal Electro style with upfront vocals. “The Unknown and the Unspoken” have always been the trademark of Ah Cama-Sotz’ work, and an ACS album wouldn’t go without eerie collages like “Interludium I – monde imaginaire” or “Interludium II – les terres sauvages”. “Interludium III – la malédiction de l’ombre” adds orchestral grandeur, “Interludium V – submergé par des flots d’images fantasmagoriques” plays with documentary samples and “Rayah-kum” seems to summon all the creatures from the underworld. The album is concluded with “Postludium – tristesses de la lune”, an ethereal organ piece with angelic choirs, also very typically Ah Cama-Sotz in its melodic, sinister way, conjuring up images of silent films, eras long gone. Herman Klapholz manages to cover the past and the present of the Ah Cama-Sotz sound and reach out to the future, integrating timeless atmospheres and contemporary rhythm patterns, all with a trademark sound. A multifaceted album suited for novices as well as seasoned ACS followers.
AH CAMA-SOTZ: Obsession Diabolique CD HANDS
Herman Klapholz returns with his Occult led and highly prolific project, Ah Cama-Sotz. There is always something of interest when a new AC-S album arrives as you are never sure what to expect and it’s his variation that has given the act longevity.
Eastern Guitars open up the proceedings, alongside tribal rhythmical drums and chanting vocals; providing an arcane jaunt that not only sounds accomplished, but is effective as an introduction to this latest concept. Klapholz produces albums that read like an ancient text, as opposed to just another footnote in the industrial scene.
Now don’t get me wrong, the works of Ah Cama-Sotz are not going to be for everyone. Long time listeners of the project will not be surprised that for the most part, ‘Obsession Diabolique’ drifts from Eastern tribalism, to classical mysticism and operatic ambient and has more in common with the likes of Dead Can Dance, than say the majority of the output of the scene which he resides in.
There are intersections that differ and should appeal to the more hardened HANDS aficionado, but these are few and far between, with more emphasis when it comes to beats leaning towards the Massive Attack end of the scale or Delirium, as ever so slight reference points; ‘Rain’ reminds me of GGFH vocally, once again showing key variation.
Herman’s latest output should please long term fans of the project. Indeed these will be hardened listeners that benefit the most from whatever he brings to the table. For those who have never heard the project they wouldn’t go far wrong with picking up this release with maybe one or two others at the same time, to fully get a grasp of the spectrum within which this project dabbles; I found this latest cross-stich in the tapestry enjoyable and interesting from start to finish.