Опубликовано: 14 окт. 2014 г. Arditi - "Statues Of Gods" 10" vinyl split. All 3 tracks of Arditi: Introit 0:00 Statues Of Gods 1:24 Bardagi 7:20
Released by Equilibrium Music 2009. 200 copies packaged in a silver on light-brown folded sleeve with a die-cut black inner sleeve. 300 copies on black vinyl, with silver on black card printed artwork.
Опубликовано: 14 окт. 2014 г. Arditi - "Templets Heliga Härd" 7" splitvinyl with Atomtrakt Side A: Templets Heliga Härd
Released by Trutzburg Thule 2014. Limited to 500 copies. Hand numbered, with special 6-panel insert. First 105 in grey marbled vinyl, the rest in grey vinyl.
User #1 Male Saint Petersburg Russian Federation Reg. 14.12.2013 23:54
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QuoteSieg ()
Блё, несколько минут искал линк, а оказывается это просто анонс.
угумс, та же тема была) ещё была мысль, может позже линк добавит, однако, хрен там был. ибо семидюймовка такое дело. в магазине уже не купишь. да и вертушки нет ни у кого.
User #1 Male Saint Petersburg Russian Federation Reg. 14.12.2013 23:54
Status: Offline
25th November 2015
Arditi – March for the Gods
“I would very strongly oppose the concept […] that art is beyond left or right, this is just an excuse to avoid being held responsible. In my view all (worthwhile) art is political and it is up to the artist to defend it.” —Mårten Björkman
It’s been all the rage around here as of late to brutally deconstruct virtually every martial industrial act to cross our desks and scathingly place a spotlight on everything that has become wrong with the genre, and honestly, who can blame us? From blatant (and ever-increasing) ambiguity to its utter evolutionary stagnation, and from the plague of uninspired compositions to a general lack of talent, martial industrial has become a broken shell. This is thanks in no small part to the short list of boutique labels that have popped up over the past half-decade and Rage in Eden‘s inexplicable descent into irrelevance. I think there are a couple of notions here that at least most of us can agree on: First, that what War Office Propaganda was releasing between 2004 and 2007 was far superior to what they’ve become as Rage in Eden, and second, that this need that modern martial industrial artists have to deflect every criticism that comes their way by proclaiming “it’s just art” and that “there are no politics” in their music has robbed the genre of its power. To be frank: Your bullshit expressions of conflict and Futurism are meaningless if you can’t man up to what you’re actually trying to say. Regardless of what position you take on any subject, without a political core, any artist within the genre isn’t just meaningless: It’s boring. Give us something to talk about.
One can’t help but wonder how one of the forefathers of the modern, minimalized vision of the genre feel regarding the flaccid state of things within it. Ever since Svartvintras Productions unleashed Unity of Blood in 2002, both Henry Möller and Marten Björkman have refused to either back down from their critics or stop creating music under the banner of generalized concepts, going so far as to describe—in a 2006 interview with us—their own vision for Arditi as, “a project that concentrated solely on the principle that conflict is the most important aspect of human life.” Conflict is exactly what modern martial artists avoid at all costs, and it has revealed both the incredible importance of Arditi as a cultural reference point within music and the dire state of the scene in which they are surrounded. There was a time after their long-time partners in Equilibrium Music seemingly went dormant in 2011 in which Arditi also failed to show signs of life. Thankfully, a pulse was once again found last year when W.T.C. Productions and Trutzburg Thule released respective splits, and it wasn’t long thereafter that it was announced Equilibrium would again be releasing the project’s then-forthcoming full-length, Imposing Elitism, effectively paving the way for both to return.
Preceding that full-length was this taste of what was to come: a 7″ from Belgium’s ever-impressive Neuropa Records, showcasing two exclusive new tracks which held in check the old standards and continued the long-standing traditions that Arditi has laid for a generation of artists to follow, while they themselves have claimed influence from Der Blutharsch, Blood Axis, and Allerseelen, among others. While the power that Arditi once held is certainly still very much alive—a sound that easily brings to mind all the same cliches and tropes that we’re used to by now: endless cookie-cutter skyscrapers silhouetting menacing shadows over youthful battalions of soldiers as they march in unison towards the sun, with their backs to West—it is exactly these traditions that are problematic not only for the genre, but now for Arditi themselves.
There was a time in which Björkman stated, “…none have inspired me in the making of Arditi material the way that Marinetti, Papini, et al has.” The problem herein lies in that Marinetti himself has been quoted as saying “We want no part of it, the past […] we the young and strong Futurists!” Therefore, it seems that Arditi should have arrived at a profound crossroads by now if they are to continue taking their love of Futurism seriously. It’s an interesting paradox: Do Arditi and all those who were inspired by their Futurist influences continue to follow the path laid down by tradition, or do they stay true to their supposed influences and fight their way towards evolution, towards a future self?
Conflict is indeed important, but there is no greater battle than the one in which we must face ourselves. For now, I’ll enjoy these final few pages in the opening chapter for Arditi, but if they cannot find a way to become something new—once more find their youth—I don’t know how anyone will be able to continue to take them or their contemporaries seriously.
Track List:
A1) March for the Gods B1) Natural Principles
Rating: 8.25/10 Written by: S. L. Weatherford Label: Neuropa Records (Belgium) / NRP48 / 7″ Martial Industrial
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WWIII
