#les legions noires

[altar-ov-plagues]

Wlad Drakksteim (Vlad Tepes)

[vinter-skugga]

[under-a-felonious-moon]

[fvte]

[asphyxiating-endless-darkness]

Vlad Tepes

posted by Arcane Archivist Zine 

[itswrittenincoldblood]

[les-legions-noires]

[swangtup6]

Demo Review: Mütiilation - Rites through the Twilight of Hell (1992)

Mütiilation is a band that, for the "initiated" (god that's corny), needs no introduction. The most famous band in the notorious French black metal circle, Les Legiones Noires, I honestly don't care for most of their releases. However, I have a weakness for their '92-'95 demo run, with the band's very first release, this demo, being my favorite. How good was this legendary band's first musical venture from a (semi) objective perspective? Let's discuss.

The first thing I want to talk about is the first thing in the demo; the intro. This is atypical for me, but I specifically want to talk about the intro because I really don't like it. It's the length of a full track (over two minutes!) but Is largely boring, annoying, shitty guitar playing, with dumb sounding "occult noises" that drags on and wastes time. 2 minutes isn't a lot of time, but it's still unecessary and hurts the overall quality of the release. Overall, it's a lame start.

The next thing has to be the guitars, as they're BY FAR the primary instrument on this release. The guitars are wayyyy too loud (in a good way) in the mix, and kinda drown everything else out. The riffing is very simple and reminds me a little of early Absurd, except played a bit more confidently. The riffs often drag on for most of a song, repeating over and over again in a style remniscent of early Burzum tracks, and are mostly mid-paced and headbang-y. Overall, I really like the guitarwork on this demo quite a bit, I think it's pretty unique and enjoyable to listen to, even with somewhat pathetic leads/solos (again, very remniscent of Absurd).

There is no audible bass.

The drumming is probably the weakest part of this demo in my opinion. All of the beats are very simple like the guitar, however, they are also painfully offbeat to the point where they don't even matter or need to be there, especially considering how low they are in this mix. They pretty much only detract from the music, except for the moments where they magickally align with the rest of the song for like 30 seconds and it's like "ah this is nice" and then they go back to being off beat. I do give the drummer, credited as "Dark Wizzard of Silence", some grace though, because if he was the same age as Mey'nach (credited as "Willy" on this release) when this was made, he probably only had a year or two of experience and could still pull off some semi-decent blasts.

Onto the vocals, these are another high point of this demo in my opinion. Willy used a very different technique when recording this than he did later on. Instead of a higher rasp, he SCREAMS his lungs out for the majority of the 30 minute runtime. They're somewhat buried in the mix, but the vocals have a very shouty quality to them that benefits the headbangy, midpaced sound that this demo has.

The final specific quality of this demo I would like to talk about is the production. I've touched briefly on the production in each of the previous paragraphs, but it warrants its own. This is on the cleaner end of raw black metal, in my opinion. Just about everything is audible (except the bass but it's black metal, there's almost never bass), and due to the minimal number of instruments, the mix isn't too completely full of 482098290208 different guitar tracks and 9278352385032708 vocal layers or really any synths or shit like that. The production is stripped, minimal, and rough. The guitar is the centerpoint, being so loud in the mix it almost has a shoegaze-y quality, reducing all other instruments and at times itself to textures layered on top of one another, rather than any kind of real rhythmic or melodic sounds. The production sounds full and isn't muddy for the most part. Most riffs are distinguishable, as are vocals and drumming. However, it's still pretty harsh and distorted, so it isn't too clean but it's not super duper dirty like Witchmoon or Lampir or early Grausamkeit.

Overall, this is a spectacularly amateur demo, in the best way possible. It has pathetically played lead guitars, but they have a charm to them. It has off-beat drums, but that just makes it more trve kvlt. It sounds like it was recorded on a broken 4 track player and it probably was. This is a bunch of highschoolers fucking around and making fun, pretty good music, especially for a first release. I love how this demo sounds, and a "good" recording of the same songs wouldn't be anywhere near as great (probably why I don't like Mütiilation's later material). I think it's fantastic, personally. However, I also want to be as objective as possible while giving my subjective opinion on this piece of music. Similarly to A Funeral of Light, while this is a charming demo that I hold dearly, I can't score it as high as I want to due to it having some pretty glaring flaws.

6/10

Standout track: Born in Malediction

[closetchild]

nagoya kei doesnt have anything to do with the place, its black outfits and certain makeup!!

u know i value ur opinion more than anyones but i have to disagree. its a travesty to any genre thats firmly rooted in its local scene to try to reduce that significance 😔

[chic-a-gigot]

La Mode nationale, no. 16, 19 avril 1902, Paris. Groupe de toilettes pour dames et jeunes filles. Bibliothèque nationale de France

(10) Robe d'intérieur pour jeune femme ou dame d'âge moyen en fantaisie beige. Robe droite à plis repincés; formant dans le bas un volant auquel une broderie ton sur ton sert de tête. Même broderie devant; même broderie dessinant l'empiècement. Décolleté carré sur une guimpe de linon blanc; col brodé. Manche droite, large, ornée de broderie.

(10) House dress for young woman or middle-aged lady in fancy beige. Straight dress with re-pinched pleats; forming a ruffle at the bottom to which tone-on-tone embroidery serves as a head. Same embroidery on the front; same embroidery drawing the yoke. Square neckline on a white lawn wimple; embroidered collar. Straight, wide sleeve, decorated with embroidery.

Matériaux: 7m,50 de lainage.

—

(11) Robe de visites pour jeune femme ou jeune fille, en voile bleu-pastel. Sur une première jupe à plis fins, tombe une seconde jupe également plissée à repincés. Corsage blouse décolleté entre-deux de guipure descendant pour dissimuler la fermeture. Basque rapportée derrière. Manche large, resserrée au coude, par un bouquet de fronces; ceinture drapée de soie blanche.

(11) Visiting dress for young woman or girl, in pastel blue voile. On top of a first skirt with fine pleats, falls a second skirt also with re-pinched pleats. Blouse bodice with insertion neckline and guipure descending to conceal the closure. Basque attached behind. Wide sleeve, tightened at the elbow, with a bunch of gathers; belt draped in white silk.

Matériaux: 10 mètres de voile bleu; 2 mètres de mousseline de soie; 0m,60 soie blanche.

—

(12) Robe élégante pour jeune femme, en bengaline rose bengale. Jupe en forme terminée par cinq volants un peu froncés. Au-dessus des volants, entre-deux de guipure en forme de dents rondes et faisant deux quilles de chaque côté du tablier. Des dépassants de taffetas noir encadrent l'entre-deux. Corsage froncé, voilé d'un grand col de guipure et de deux pattes rappelant la garniture de la jupe. La manche s'écourte sur un bouffant en mousseline de soie blanche.

(12) Elegant dress for young women, in bengal pink bengaline. Shaped skirt finished with five slightly gathered ruffles. Above the ruffles, guipure inlays in the shape of round teeth and making two keels on each side of the apron. Black taffeta overhangs frame the space in between. Gathered bodice, veiled with a large guipure collar and two tabs reminiscent of the skirt's trim. The sleeve is shortened on a white silk chiffon bouffant.

Matériaux: 10 mètres de bengaline; guipure en laize.

—

(13) Robe de ville pour jeune femme ou jeune fille. Jupe en lainage vieux rouge quadrillé bordée en forme d'un volant plat en taffetas rouge "légion d'honneur". Corsage-blouse, fermé devant sous une large patte de taffetas. Col en forme en taffetas et petit col rabattu en lainage bordé d'un biais de soie. Manche droite terminée par un biais remontant en taffetas.

(13) City dress for young women or girls. Skirt in old red checkered wool lined in the shape of a flat ruffle in red “legion of honor” taffeta. Blouse-bodice, closed in front under a large taffeta tab. Shaped collar in taffeta and small turn-down collar in wool edged with silk bias. Straight sleeve finished with a rising taffeta bias.

Matériaux: 5 mètres de lainage; 6 mètres de taffetas.

—

(14) Robe simple pour jeune femme ou jeune fille, en suédoise d'été "son mouillé". Jupe en forme ornée d'un biais en forme piqué et fixé de côté par un bouton fantaisie. Large biais de drap blanc piqué, posé en forme. Corsage croisé, décolleté sur un dessous de drap blanc; guimpe et ceinture en liberty saphir foncé. Manche froncée dans un poignet droit.

(14) Simple dress for young woman or girl, in Swedish summer "wet wool". Shaped skirt decorated with a pique-shaped bias and secured on the side with a fancy button. Large bias of white stitched cloth, laid in shape. Crossed bodice, neckline on a white cloth underside; gimp and belt in dark sapphire liberty. Sleeve gathered in a right cuff.

Matériaux: 5m,50 de lainage; 0m,50 de drap blanc.

—

(15) Robe de visites pour jeune femme ou jeune fille, en voile fleuri vert-d'eau. Jupe cerclée de biais de soie blanche. Boléro ouvert sur un dessous en mousseline de soie blanche. Hausse-col et col découpé liserés de biais blancs. Manche plissée à l'épaule et froncée dans un poignet droit. Ceinture à pointe en soie blanche.

(15) Visiting dress for young women or girls, in water-green floral voille. Skirt circled with white silk bias. Bolero open on a white silk chiffon underside. Ruffled collar and cut-out collar with white bias edging. Sleeve pleated at the shoulder and gathered at a straight cuff. White silk pointed belt.

Matériaux: 7 mètres de voile; 3 mètres de taffetas; 0m,60 de mousseline de soie.

—

(16) Robe de réception pour jeune femme ou dame d'âge moyen, en crêpe vieux rose. Robe composée de volants froncés bordés de dentelle; le devant est droit; les plis maintenus par une écharpe nouée en satin noir. Décolleté en V sur une guimpe de dentelle. Manche rayée en haut de repincés, froncés au-dessous du coude dans un poignet collant en dentelle à clair.

(16) Reception dress for young or middle-aged ladies, in old pink crepe. Dress composed of gathered ruffles edged with lace; the front is straight; the folds held by a tied black satin scarf. V-neckline on a lace wimple. Striped sleeve at the top, gathered below the elbow in a clear lace fitted cuff.

Matériaux: 12 mètres de crêpe.

[todays-music-is]

Dans la forêt...

album by Lord Aäkon Këëtreh, 1996

Genre: DSBM (Depression Suicidal Black Metal), ambience metal

He is a French Black Metal artist from the (now split-up) band "Les Légions Noires" ("The Black Legions"). This album is a full demo from the Aäkon Këëtreh project. They made two more album of the kind.

Personal opinion: I personally like the sad, nostalgic and yet uplifting mood of this atmospheric black metal. I listen to this when alone and tired.

[altar-ov-plagues]

Vorlok Drakksteim (Vlad Tepes)

[cruel-nature-records]

OUT NOW: All The Heavens Were A Bell 'A Wheel Of Burning Eyes'

https://cruelnaturerecordings.bandcamp.com/album/a-wheel-of-burning-eyes

ALL THE HEAVENS WERE A BELL is a hypernostalgic syzygy between James Watts (Plague Rider, Friend, Lovely Wife, Lump Hammer, Dybbuk, Möbius) and Esmé Louise Newman (Penance Stare, Petrine Cross, Fashion Tips, 1727).

Using both self-constructed and commercially available sound machines, exploring the space between free improvisation and absolute intentionality, theopoetics, illness as vector, abstracted ritual, dread drone, trance-formation, black ambience, doomed electronics, hellfire submergence, and ophanim glow.

WHEEL OF BURNING EYES is their second document, recorded deep in their vermillion chamber, during the spring of 2022. It is recommended listening for acolytes of Sunn O))), Coil, Deleuze & Guattari, Bastard Noise, Sarah Kane, William Blake, Les Legion Noires, Mark Fisher, Black Boned Angel, Laboria Cuboniks et al

[carmenvicinanza]

Claire Denis

Claire Denis, regista e sceneggiatrice brillante e contemporanea, che ha diretto le più grandi star del cinema francese, rappresenta un faro di sapienza e maestria nella settima arte.

Nei suoi lavori crea connessioni tra il post-colonialismo e la globalizzazione, analizzando la fenomenologia umana, spesso, a partire dalle sue caratteristiche sessuali. 

L’Africa, con i suoi spazi dilatati e la sua luce, e l’immigrazione nel continente europeo, con il suo drammatico impatto sulle difficoltà della vita quotidiana, sono stati spesso i suoi riferimenti tematici.

Nata a Parigi il 21 aprile 1948, è cresciuta in Africa, suo padre era amministratore civile presso le colonie francesi. Ha frequentato le scuole elementari camerunesi, somale, gibutiane e burkinabé. Ammalatasi di poliomielite all’età di dodici anni, era tornata in Francia curarsi, continuando la sua formazione presso il Lycée de Saint-Germain-en-Laye, dove ha scoperto le magnificenze del cinema, soprattutto quello giapponese.

Dopo una laurea in Lettere e una in Economia, ha avuto un breve matrimonio con un fotografo con cui lavorava.

Quando si è separata si è trasferita per un po’ in Africa, dove ha lavorato come regista presso Télé Niger. Rientrata in Francia è stata assunta dal dipartimento di ricerca dell’Office de Radiodiffusion Télévision Française.

Mentre studiava all’Institut des hautes études cinématographiques, ha realizzato i suoi primi cortometraggi e documentari.

Fondamentale è stata l’esperienza come assistente di registi come Constantin Costa-Gavras, Wim Wenders e Jim Jarmusch.

Il suo primo lungometraggio, Chocolat, del 1988, è stato in concorso al Festival di Cannes. La storia è quella di una donna che torna in un piccolo presidio francese del Nord del Camerun, dove aveva trascorso gran parte della sua infanzia, per rendersi conto di quanto la società fosse cambiata esteriormente e di quanto certi comportamenti fossero stati tramandati alle persone che erano rimaste.

Nel 1990 è uscito S’en fout la mort, ambientato nella banlieue parigina, sulla vita di alcuni immigrati di origine africana, coinvolti in un giro di combattimenti di galli e di scommesse clandestine. Si inizia a palesare, nello stile e le tematiche a lei care, l’aggiunta di violenza da noir e l’interesse per il corpo che prenderanno sempre più definizione nei lavori successivi. 

Nel 1991 ha fondato la sua società di produzione, Les films de Mindif.

Tre anni dopo è uscito J’ai pas sommeil, ispirato alla storia vera di un serial killer, film struggente e disperato in cui ancora una volta racconta la solitudine, il desiderio d’amore e la morte tra quelli che ha definito “i tanti apartheid quotidiani“.

Nel 1996 Nénette et Boni ha vinto il Pardo d’oro al Festival di Locarno. Il film racconta la vita di un fratello e una sorella che vivono soli a Marsiglia. Lei è decisa a dare il neonato in adozione, lui rapisce il piccolo nel disperato tentativo di ridare vita a una famiglia.

Nel 1999 ha realizzato Beau travail, girato a Gibuti, un altro dei paesi della sua infanzia in cui mette in scena una storia di potere e morte all’interno della Legione straniera. Nel film, alla presenza totale e magnetica del paesaggio si sovrappone il suo occhio di donna che descrive un mondo maschile secondo coordinate lucide e acute.

Sono seguiti film che mescolano sesso e cannibalismo, persone bianche e nere, ripulsa e desiderio, come Trouble every day con Vincent Gallo e Cannibal Love – Mangiata viva che rappresenta l’apice della sua estetica post-moderna, dove sangue è pienezza e il corpo è desiderio e fonte di sazietà.

Vendredi soir, del 2003, è stato presentato alla Mostra del Cinema di Venezia.

La sua filmografia è continuata con diversi altri apprezzati lavori, tra cui L’amore secondo Isabelle, del 2017, con Juliette Binoche che è stato candidato a vari premi, César, European Film Award e Best European Film.

Per Avec amour et acharnement è stata insignita dell’Orso d’argento per il miglior regista e Stars at Noon le ha portato il Grand Prix al Festival di Cannes.

Ha girato praticamente un film ogni due anni, compresi diversi documentari.

È apprezzata dalla critica mondiale per la sua ricerca sobria ma appassionata che mette in rapporto il gioco delle relazioni interpersonali con la costruzione dello spazio, il valore espressivo della luce, lo sguardo sui corpi e sul loro equilibrio emotivo.

[jeuxgratuits]

Suicide Squad: Kill The Justice League gratuit

Suicide Squad : Kill The Justice League combine les caractéristiques d'un jeu d'action et d'aventure et d'un jeu de tir en monde ouvert et met l'accent sur la coopération en ligne. Le studio expérimenté Rocksteady, auteur de la série Batman : Arkham, est responsable de la création de la production. Le jeu est basé sur les bandes dessinées éponymes de l'univers DC Comics.

L'histoire du jeu

Suicide Squad : Kill The Justice League se déroule dans le même univers que la série Batman : Arkham, faisant partie de ce que l'on appelle l'Arkhamverse. Le jeu reprend les intrigues des précédentes productions de Rocksteady Studios. Cependant, le jeu ne se déroule pas dans la sombre Gotham, mais à Metropolis, sur le modèle de New York, une ville riche habitée par Superman. Les protagonistes du jeu sont Harley Quinn, Deadshot, Captain Boomerang et King Shark, à qui l'on a implanté des explosifs mortels dans la tête et que l'on a intégrés de force à l'infâme escouade Task Force X, également connue sous le nom de Suicide Legion, dirigée par Amanda Waller. Ils doivent se lancer dans une mission extrêmement difficile pour sauver la Terre et tuer les plus grands super-héros de la Ligue des Justiciers. Dans ce scénario axé sur les personnages, le maléfique Superman, qui se retrouve la cible de la Suicide Legion, joue un rôle important.

Gameplay

Le gameplay de Suicide Squad : Kill The Justice League est une combinaison du jeu de rôle et d'action classique du studio Rocksteady et d'un jeu de tir coopératif. On passe donc beaucoup de temps à explorer le monde ouvert, à faire des ravages dans Metropolis et à abattre des ennemis. Dans le jeu, nous incarnons l'un des quatre personnages jouables : Harley Quinn, Deadshot, Captain Boomerang et King Shark. Chacun d'entre eux dispose de compétences spéciales, de gadgets et d'armes, d'un style de combat et d'une façon de se déplacer dans la ville qui lui sont propres. Par exemple, le capitaine Boomerang peut se téléporter sur de courtes distances, tandis que Deadshot utilise un jet pack non seulement pour voler, mais aussi pour mettre le feu à ses adversaires. Suicide Squad : Kill The Justice League dispose d'un système de développement des personnages qui permet, au fur et à mesure de la progression dans le jeu, d'améliorer ses capacités et son équipement afin d'abattre les ennemis, y compris les puissants membres de la Ligue des Justiciers, avec encore plus de facilité.

Coop

Suicide Squad : Kill The Justice League permet de jouer en solo ou en coopération jusqu'à quatre joueurs. En mode solo, l'IA prend le contrôle des autres personnages, mais il est possible de passer librement de l'un à l'autre.

Problèmes techniques

Suicide Squad : Kill The Justice League a été développé exclusivement pour le PC et les consoles PlayStation 5 et Xbox Series X, ce qui garantit une grande qualité visuelle. L'atmosphère du jeu est plus légère que dans les précédentes productions de Rocksteady Studios et une bonne dose d'humour (souvent noir) ne manque pas. Le ton a été conservé dans le style des bandes dessinées et des films de Suicide Squad, et la vaste ville incroyablement détaillée de Metropolis, en contraste avec la sombre Gotham, est gorgée de couleurs. Suicide Squad: Kill The Justice League gratuit. Read the full article

[asphyxiating-endless-darkness]

Mutiilation

Found these original photos of Willy/Mutiilation from my old archive, Noktu sent them to me for the layout of Tragic Empire version of Black Millieum CD, however we used only the black & white version, colored version was never really circulated, or maybe there were used in later repress?

pictures and text taken from Psychedelic Lotus Order/goatowarex facebook