Heathen Harvest review for 'Nivritti' (Kalpamantra)
"Akoustik Timbre Frekuency is a magickal ritual experiment which emerges from England in the year of 2001 with the sole purpose of representing the audial side of Priapus 23 (the only Member of this project) through diverse ritualistic methods, creating vast inner realms of meditative music which transcend the senses due to the enigmatic nature of each one of the releases since 2001 until now in 2011.
This time we have the pleasure to review “Nivritti”, which in its own meaning is the ascending arc of human evolution, the path of return to grace, to reintegration, to positive transformation, to the true purpose of life. Through such magickal ascension to inner freedom Priapus 23 offers us two compositions. The first one is called “Brairavas”, with dense vaporous atmospheres and deep soundscapes crawling though the whole composition, ritual bells and shamanic rattles gathering to create a very hypnotic composition.
Though “Mahapralaya”, the sensitive magickal expressionism generated by AKOUSTIK TIMBRE FREKUENCY, is just brilliant!! A ritualistic opus created by hypnotic singing bowl sounds and spectral soundscapes generated through subtle vibrational echoes surrounding the whole picture of the track. A very interesting piece for all those into ritualistic magickal art, full of intense moments from start to finish. One more time we must say Priapus 23 is one of the most creative artists nowadays, making such amazing music.
Rating: 4.5/5"
Damned By Light review for 'Nivritti' (Kalpamantra)
"The experienced ritual music-act Akoustik Timbre Frekuency has been focusing more and more on the acoustic properties of different sounds and instruments. This transition was already visible through the transition between his albums Memetik Etchings and Kthonik Korridors, but this free download-EP presents this change in a more concrete form.
The fourteen-minute opener starts with absolute minimalism; only some metal bells are softly struck to create a slowly growing field of organic vibration and humming echo. The bells don't follow a pattern, but somehow all the hits fall in place in creating a really pleasing experience. There isn't any real changes in the song until its halfway, when some leather drum tapping, echoed chanting and equally distant but truly mighty horns are added to the soundscape. The low-pitch horns really succeed in intensifying the soundscape, whereas the leather drums moreso make it too concrete and actual; their sharp sound brings the songs' meditative qualities down.
The follow-up could be regarded as a drone-tune which has been crafted through (at least mostly) actual organic instruments. It slowly pulsates onwards through bubbly droning, hoarse and echoed sounds, chimes and wooden beats. It has no concrete structure, it's rather an acoustic, distant and echoed snarl which comes out as a portrayal of slow and darkened movement which doesn't seem to have a target or destination. The delay-effect has been used well on this one, and although the song doesn't have much of an appeal structure-wise, it has a deep and intriquing atmosphere and an aura of mysticism. I just wish it would have more distinctive detail due to its place on the EP; a song like this could work better on a full-lenght, but falls short when serving as a closer after such a contrast-reliant tune as "Mahapralaya."
The EP is available as a free download, which has the songs accompanied with a single cover image - meaning that there isn't much to enjoy aside of the songs themselves, especially so since the cover image is a dark and dull one. The image fits the theme, but that's all. Of course one has to note that there's only so much one should expect from a free download-release.
These two are well atmospheric quality songs by a quality artist. It just seems as if the EP's purpose is to serve as a "teaser-release" to give a demonstration of ATF's new style, instead of being a functional stand-alone release. I'll be waiting to hear the project's upcoming album, as I'm sure that the artist's ideas function better in an album-length. 7½ / 10"
Gerauschkrieg review for 'Gnostik Spasms' (Dark Meadow Recordings)
"From what I can gather, Gnostic Spasms is a summoning or banishing device of some sort or another, complete with the necessary sigils included in the liner notes. Exactly what supernatural presence is being called up remains unknown, but hopefully it enjoys drone music too. Anyhow, as you may have already guessed, Akoustik Timbre Frekuency plays ritualistic drone with a heavy mystical emphasis. Because of the occult aspect, you might expect this to go the whole spooky supernatural route, but instead it focuses on altering your consciousness and penetrating the subliminal. Even if you're not into the arcane wisdom contained with in, you'll dig this just for the music."
Pan.o.ra.ma journal review for 'Gnostik Spasms' (Dark Meadow Recordings)
"Its always interesting to review albums as the those created by Priapus 23 and AKOUSTIK TIMBRE FREKUENCY. This tiem the incarnated siling siligl emerges with a transformative piece which was supposely released in 2003,but now has been unleashed under the Dark Meadow Recs. The album includes 8 compositions all of them built into magickal ritualistic defragmentations and subliminal codex,covered with a snsitive structure only able to be explore by these with receptive and unlimited mind! "Banishings Pat.I(Thee Opening),opens the ritual,with a track full of drone ambient passages,mutating and going around the whole structure of the track. With "Gnostik Spasms",things goes really amazing,the whole track floats under diverse ritual sounds and subliminal mantras evoking the most hidden forces of subconscious. "Subliminal Spasms" is astrong piece,with such enigmatic drone elements and magickal paradigms dressed into a solid but mutative atmopshere.One of the best tracks included here. Then comes "Advances Neurologickal Patterns",and the mutative path continue,this time including rythmic percussive patterns and a transdimensional futuristic sound.A very sticking and great piece here."Thee Flowering Of Konsciousness",is another piece worth to explore here,due how repetitive sounds and drk subliminal frekuencies seems to penetrate slowly your mind. "potent Absence" keep such ritualistic essence which I find so amazing,suck kind of projects focusing the idea of ritual as principal bbasis on thier work are worth to be explored,due the potential and alchecmic sounds though each one of the passages. "Sublime Transmissions" and "Banishing Pt. 2 (Thee klosing)...are the last tracks here!! you shall be submerged in a transformative piece of ritualistic nature ,when let the living sigil created by priapus,enter your subconscious and thenmyou fall into Gnostik Spasms!!!!!"
Darkroom Magazine Review of 'Harmonik Radiance' (Invisible Eye Productions)
"Akoustik Timbre Frekuency aveva già trovato posto nelle pagine del nostro magazine in relazione a due delle sue tantissime realizzazioni, e nonostante la singolarità del moniker - di sicuro non per tutti i gusti - non ci siamo lasciati sfuggire l'occasione per tornare a parlarne. Come già sapranno i pochi e fidati adepti, i suoni/rumori di Priapus23 - mastermind del progetto - sono delle miscele lo-fi di strumenti ritualistici e/o di fonti sintetiche generate per intensificare e accompagnare rituali magici. Un'attitudine che rimanda indubbiamente a nomi come Zero Kama, primi Ain Soph, Nekrophile Rekords e - a livello tematico - ad Aleister Crowley. "Harmonik Radiance" non fa eccezione, ed anzi amplifica tutte quelle caratteristiche che hanno sempre segnato l'act inglese. La singola traccia contenuta nel dischetto (un CDr di formato 3") è la registrazione di un gong portatile processata e rielaborata in studio. Il risultato è un suono continuo, ipnotico e quasi subliminale, dotato di variazioni sistematiche che nel divenire assumono sembianze impercettibili, forti di una rutilante oscurità. Come detto per altri dischi di Akoustik Timbre Frekuency non è certo l'originalità a mancare, ma si richiede all'ascoltatore un uso diretto del mezzo proposto, utile non ad intrattenere o a creare immagini, ma a supportare rituali. Difficile improvvisarsi ciò che non si è, per cui la nostra funzione di presentazione termina qui. Chi sa può provare a spingersi oltre e ad utilizzare nel miglior modo possibile questo CD. Assurdo tentare di assegnare un voto, che sarebbe basso se ci fermassimo all'aspetto musicale e quindi di svago, e al contrario alto se considerassimo le finalità sottese all'opera e gli eventuali risultati di una sua applicazione. L'edizione di 20 copie è limitata in pratica ai soli iniziati."
Translation:
"Akoustik Timbre Frekuency had already found a place in the pages of our magazine in relation to two of his many achievements, and despite the singularity of the moniker - certainly not for everyone - we have not missed the opportunity to return to it. As the few adepts already know and trust, the sounds / noises of Priapus23 - mastermind of the project - are blends of lo-fi ritualistic instruments and / or synthetic sources generated to enhance and accompany ritual magic. An attitude that undoubtedly looks to names like Zero Kama, Ain Soph first, Nekrophile Rekords and - thematically - Aleister Crowley. "Harmonik Radiance" is no exception, and even amplifies all those characteristics that have always marked the English act. The single track contained on the disk (format a CDr 3 ") is a recording of a hand held gong, processed and reworked in the studio. The result is a continuous sound, hypnotic, almost subliminal, with systematic variations that take in becoming imperceptible appearance, armed with a glowing darkness. As mentioned before about other discs, Akoustik Timbre Frekuency is certainly not lacking originality, but it requires the listener a direct use of the means suggested, useful not to entertain or create images but to support rituals. Difficult to improvise what you are, so our presentation function ends here. Who knows may go further and try to use this CD as well as possible It would be absurd to assign a rating, which would be low if we considered ‘music for entertainment’, but then high if we consider the purposes underlying the work and any results of its usage. The release of 20 copies may be practical only to initiates."
darkambient.ge review for ‘Kthonik Korridors’ (ATF Produktions)
"First of all when talking about AKOUSTIK TIMBRE FREKUENCY - the project which has it's solid place in Ritual Dark Ambient genre, we must imagine dark ritualistic music. The album is fully saturated with magical atmosphere and consists of six tracks which make listener to abandon the usual life and take a long voyage into the waves of cold low frequency soundscapes. This is something beyond the usual Dark Ambient. It's the mysterious key to the another, unknown for us world. This work will surely interest people who are interested in chaos magic. This working has more drowning elements, than other workings of Akoustik Timbre Frekuency. From the album we should highlight the 4th track “To Name His Kaptured Fetish”, which is pure drowning, soft & yet dark music and on which artist managed to unite both things so good, that it became something unique sound, that doesn’t allow user to leave it’s atmosphere. Every Dark Ritual Ambient listener must have this album in his/her collection. Especially those ones who adore world of Lovecraft as whole album’s theme is dedicated to his themes. Turn off all the lights, light candles and prepare your mind for mysterious journey. Highly recommended from www.darkambient.ge."
Qoronis review for ‘Kthonik Korridors’ (ATF Produktions)
“Mit KTHONIK KORRIDORS präsentiert uns ATF seine Huldigung an H.P. Lovecraft und dem Cthulhu-Mythos mittels feinstem Ritual-Sound. Keine CD zur Unterhaltung, keine Album für "nebenher" – das Album erfordert Aufmerksamkeit, geschlossene Augen und einen klaren Kopf; vielleicht gar Meditation? Aber das ist nun wirklich keine Überraschung, wenn man ansatzweise mit den Arbeiten des Engländers vertraut ist.
Frequenzen, die man nicht nur mit den Ohren wahrzunehmen glaubt, tragen den geneigten Hörer immer wieder weg von der realen Welt. Selbst wenn dies "abgehoben" klingen mag – es entspricht im Groben der Wahrheit.
Um dem Ritual-Charakter gerecht zu werden ertönen nicht nur Glocken, Flöten diverser Couleur, Klangschalen und Rasseln, sondern auch metallische Klänge von Messern, Macheten und – Gerüchten zufolge - auch einer Heugabel. In diesem Zusammenhang sei Titel Numero drei, DATE ARKITEKT RESPONSES, hervorgehoben – ein Ritual-Track par excellence.
Insgesamt kann man das Album als Soundtrack für einen gut einstündigen Exkurs in eine Welt verstehen, die viele Leute nicht kennen und noch viel mehr nicht verstehen. Apropos: KALIBRATION OF THE GODS ist der Soundtrack des gleichnamigen Kurzfilms des dänischen Künstlers Madguten.
Als geerdete und abschließende Information möge hinzugefügt sein, daß die CD im Digipack in der typischen, ansprechenden ATF-Aufmachung erschienen ist.”
Translation:
“With KTHONIK KORRIDORS, ATF presents us its homage to H. P. Lovecraft and the Cthulhu mythos by means of the finest ritual Sound. No CD for entertainment, no album for "half-listening" - the album demands attention, closed eyes and a clear head, perhaps even meditation? But that really is not surprising if one is to some extent familiar with the work of the Englishman.
Frequencies that are believed to be perceived not only with their ears, take the listener away from the real world again and again. Even if this may sound exaggerated - it corresponds roughly to the truth.
The ritual character is provided not only with the sound of the bells, flutes of various sorts, singing bowls, rattles, but also metallic sounds of knives, machetes, and - according to rumors - a pitchfork. In this context, title number three, DATE ARKITEKT RESPONSES must be emphazied - a ritual-track par excellence.
Overall, one can understand the album as a soundtrack for a good hour-long excursion into a world that many people do not know many more even do not understand. Apropos: KALIBRATION OF THE GODS is the soundtrack of the eponymous short film by the Danish artist Madguten.
Rounding off, the CD comes in a digipack format with the typical, attractive presentation ATF has become known for releasing.”
Cyclic Defrost review for ‘Kthonik Korridors’ (ATF Produktions)
“Akoustik Timbre Frekuency is a British dark ambient project instigated by Priapus 23. ATF have been active for a decade now, and have released over a dozen previous albums on various labels. Kthonic Korridors is a tribute of sorts to H P Lovecraft, the great American writer of weird and occult fiction. Musically, we’re visiting that dark hinterland bordered by the Tangerine Dream of Zeit, the Cluster of Cluster’71, and the Nurse With Wound of Soliloquy for Lilith.
‘Kult Future Repeated’ features high drones, cavernous rumbles, and what sounds like maggots feasting on dead flesh. ‘Date Arkitekt Responses’ chills the blood with the moaning of singing bowls, eerie bell-like percussion, and free-form flute floating in and out of the mix. ‘To Name His Kaptured Fetish’ features more low drones and weird, thick clunks and clanks – evocative of the nameless horrors and dark, eldritch creatures of Lovecraftian lore.
Priapus 23 suggests that this album be used “as bakground atmospheriks for Rites dedikated to thee Kthulhu Mythos.” I have no doubt it would be perfectly suited for that purpose. It would also make a fine soundtrack for putting your feet up and immersing yourself in that dog-eared paperback with the lurid 1970s horror cover, which you keep towards the back of your bookshelf…”
Damned By Light review for ‘Kthonik Korridors’ (ATF Produktions)
ATF is a ritual music one-man group with nine years of history. When I reviewed the band's previous album I mentioned that the album's theme might've been too personal for the artist, thus making the album a bit difficult for the listener to grasp. This album is themed around one of the artist's great influences H. P. Lovecraft, so even if the theme is very personal again, this time the listener can more precisely know what the artist is trying to create and express.
Surprising to me, this album relies a lot more on individual sounds than on some more general and wider ambience, and it has a greatly organic soundscape for the most part. The songs vary from some sparse ritualistic chimes and especially their echoing used as the main element, to some parts backed with simple synth-like but harsher, even slightly noisy ambience and thin droning, to even more intriquing parts such as even drone-like sounds from cutting and otherwise operating on a piece of raw flesh. There's even some oriental flute creating a really deep atmosphere in the third track, which really surprised me. The more usual elements, such as the wide and ritualistic percussion-section, are also present. The album doesn't really get "music-like" at any point: it's an occult ritual soundscape built from sparsely used and small elements, that together turn into something unique and overwhelming. This album really shows the artist's skill in his craft; he isn't afraid of silence and even really slow progression, he moreso uses it for his advantage.
The album plays a lot on dynamics. It has to be played very loud on definition, as some parts (such as a single crude chime hit and it's echo) can be very highlighted whereas there are two whole tracks with a very low volume level when compared to the others - for example, the second track sounds really minimal and distant after the very loud and active ending of it's predecessor. It bothered me at first, but when I got to know the album better I noticed that it's all for the album's own good; it keeps the listener at full attention at all times, and it quides the listener's focus to either a whole soundscape or just some smaller, shorter and/or more fragile sounds that are not so easy to spot. It gives the album a really powerful and primitive pulse that pushes the whole forward throughout it's lenght.
The album has quite interesting cover arts. It looks just like a green and dull mush at first, but on further examination it seems to work a bit like a primitive hologram. It's surprisingly hypnotic to look at, and a rather original choice. The inner covers are dark (blood) red and not nearly as pleasing, but they're more for just containing the info anyway. It could've been done better, less crude and in a more holistic manner, but it's good as-is. A wider visual side would've been nice though, so that there would've been something to really look at while listening the album to deepen the experience.
On the first listen, I thought that the album didn't do justice to it's theme. Later on I noticed that I had been very wrong, as the soundscape isn't as minimal as it is greatly organic, well built and put together, mystical, hypnotic, and even occult - and the playing on dynamics and variation between colder and warmer sounds makes it even more fascinating. It's a really deep listening experience, and one that really makes the listener aware to hear all that's going on. The album isn't afraid to challenge it's listener either.
Aside of the third track's oriental flute-based approach letting the listener explore it just a bit too easily, there aren't too many flaws on the album - and the aforementioned track has very interesting percussions that borderline between calmness and chaos, which make the track more than worthwile. The album really does compliment it's theme. 9.5/10"
Damned By Light review for 'Invokation' (Witte Dood)
"ATF has been going on since '01, if I've understood right, and this is their tenth release. Sadly I haven't heard their earlier works, but the style on this release is quite calm ambient with some bassy drone.
The soundscape conscists of one signal-like high sound with little variation which is quite on top (and pretty much keeps your attention on the track while sounding fitting, thus being a good choice), some more ethereal high sounds and a really overwhelming, calm-sounding bass drone. There's also a variety of some short sound samples scattered here and there as a spice. The higher sounds don't really grab your attention for most of the time, they are there just to create some calm atmosphere; it's the bass that gets the attention. The bass drone sound is really vast, it really takes over the soundscape sounding calm but powerful, and even a bit eerie. It is constantly on the move, changing it's volume level, from droning in the background to calmly "attacking", covering the other sounds, and sometimes fading away just to get the chance to take over the soundscape again.
It's quite surprising how interesting this soundscape really is, despite the calmness and small amount of different (well, at least constant) elements. The overall feeling is really calm even though there's constantly something going on. The higher sounds create a very powerful, calm, overwhelming and even trance-inducing soundscape together with the drone, and, despite the simplicity of the changes within the twenty minutes, the track remains interesting for it's whole lenght. It's like all the elements would've been smelted together. I sense talent and great effort. 9 / 10"
Damned By Light review for 'DCLXVI' (Witte Dood)
"DCLXVI (roman numerals for 666) is ATF's second offering on the Witte Dood-label, and number 12 on his whole catalogue. The band's style can be described as ritualistic and slightly brooding ambient on this release, too. There are some things in common with this EP and the band's previous WD-offering, Invokation. Headphones are recommended.
The first minute you'll hear only a mid-pitch thin drone travelling from your ear to another. This drone is most likely made through sound manipulation, meaning that I have no idea of it's origin. It might be some beats? This sound is pushed to the background between one and two minutes, but it'll stay more or less audible throughout the eleven minutes. The space is taken over by a really low and vast drone that has a soft sound with a really slight gritty/noisy touch. This drone keeps traveling from your ear to another throughout the record's lenght, and aside from this panning it doesn't really change, only slightly in volume. The third remaining sound is a high one, most likely a manipulated beat similar to the first one. Occasionally it provides some soft, high, and echoed beats, but most of the time it offers some patterns closer to ambient-esque drone. It changes it's pitch, volume and panning in an unpredictable way, and this way makes the record stay interesting and on the move for it's whole lenght, and provides something to really concentrate on.
ATF really seems to know how to make a hypnotic soundscape. The song builds up slowly, until at the halfway all the elements are very much present, creating a living and moving "thing" that you just have to concentrate on. The minimal elements work very well together in creating this fascinating, calm and even slightly hypnotic soundscape.
Still, eleven minutes of ambient is not too much, especially when the song takes a couple of minutes to build up. There would've been some room for an additional sound, too, although it's visible that the band was aiming to create the hypnosis through minimal elements. I would've gladly heard a sound that would slightly "break" this soundscape on occasion. Nonetheless, this record is strongly recommended for those who are seeking something more daring within the field of ambient, or ritual-music in general. 8½/10"
Damned By Light review for ‘Memetik Etchings’ (Quartier23)
“ATF is back again, this time with a physical full-lenght album after some EP's and net-releases (having made a total of over 15 releases within 8 years). My expectations for this release were already high due to a couple of EP's I've heard from the band previously (reviewed here and here), but the album's name got me even more interested. The band promises me memetic etchings, and I'm expecting for them to happen. If you don't know the band, know that their music is intented to be used as "general ritual intensifiers", meaning that the music is meant to be a part of -or to even create- a deep and truly personal experience.
The album consists of 7 parts, yes, but they're so tightly knit together that talking about each of them separately would be nonsense. The main elements are as follows. The synth, or at least something that really sounds like one, creates some semi-ethereal sounds that fill most of the soundscape and are audible at almost all times. They don't usually have a pattern, although their progress shows traces of repetition at times; they're moreso a "sound mat", put out to serve as the foundations for the other sounds. Their sound is usually a peaceful and soft one with occasionally a harsher touch, but it's only to make them more appealing and less usual. They still have variation, naturally; the two-minute part five has an even (in comparison) noisy, albeit softly humming sound, and occasionally they're in the background as a really thin signal just to give the soundscape a little depth and the ethereal and peaceful touch. This sound is often backed up by another synth-layer with a slightly more sharp and a bit eerie sound, giving the synths the variation they need. The other sound also moves more freely in both patterns and volume levels, thus bringing some surprises to the composition.
The album's backgrounds were recorded in an out-of-use sewer, and they consist of for example scratching something against the tiles, croaking frogs, some tile-, wood- and stone-hits, rattles, and various other beats in the distance. They all sound pleasantly organic and their softness due to the echoing makes them fit perfectly to the atmosphere, and gives the album a big part of it's character and personal sound. Their variation and unpredictable nature give the album a good dose of variation and thus more appeal, too. An occasional sound panning from one speaker (or earphone) to another is also a nice add in all it's simplisticity, making the music more vivid and actual: many times both of the speakers have their own backgrounds, too, so there's a lot to discover within the music.
So, what does the big picture sound like? It sounds uneven. For example the watery drones backed with ethereal hums in part three are a true pleasure to the ears, and there are many such moments that really grab your attention to the soundscape and the otherworldly emotions it breathes out. Sadly there are weaker parts, such as the part four in it's ten minutes long entirety. It's really peaceful, and even though it's background croaks and hisses bring variation to it, it's whole remains flat and uninspiring, even thin sound-wise - especially after part three. The fourth part has many good elements, but they're mixed so that the whole is uninteresting and way too safe. Part six and it's signal-drones make this kind of expression work a lot better.
Overall it seems that the record doesn't know it's nature. It partly relies a lot on the repetition and minimalism, whereas partly it relies on a few interesting droning sounds panning from earpiece to another with some beats and synths backing the varying whole up. It's really hard to focus on the record as you don't really know how to look at it; should it be a calming and hypnotic one, or an interesting and highly appealing one? The truth is that by going to both directions the record falls short from it's capabilities, as the tracks and their very varying aims (be it the even very different natures of the tracks caused by the mixing, or the tracks' wholes created by the sounds alone) don't grab the listener's attention the way they should. I was bummed when I realized that the record totally lets go of the listener from time to time.
The artist behind the project said that "M.E." was composed to serve as a part in his rite of recharging his entity, which might also explain the nature of the record; it might've been carved to suit a certain ritual that one must be familiar with to fully understand the record's and it's different parts' purposes. As of now, I can only say that I was let-down, but the album still channels forth sounds, emotions and feeling in a way that many "ritual musicians" can only dream of, and does it in a personal way and sound too; it's just the whole and its flow from one part to another that doesn't fully work. 8 / 10”
Panorama Journal review of 'Memetik Etchings' (Quartier23)
"Again quartier23,surprise us with a very interesting release, this time through the British Ritual ambient/experimental project AKOUSTIK TIMBRE FREKUENCY,This is the 9th studio album from AKOUSTIK TIMBRE FREKUENCY and the 2nd to be released by Quartier23. Creating electro acoustic exposition of sounds with such ritualistic experimentations which evolves from time to time into diverse spaces and outer worlds ready to be explored by yourself. Diverse elements and instruments as Horns, Flutes,singing bowls, percussions and field recordings among others are used for each one of the albums generated by AKOUSTIK TIMBRE FREKUENCY. 7 untitled compositions which reflects in part the vast universe created here in which you shall experience an induced trance voyage due the nature of how each one of the compositions evolves from time to time... dense drone ambient passages with the necessary experimental touch which keeps your senses vibrating all the time. At moments music is like a lucid dreaming evoking different abstract visions which seems to made flesh through each ambient explorative frequencies of soundscapes and structures, always mutating...always moving into all directions. One of the best releases coming to my hands recently and hoping to have an interview soon!!!! For more info just visit Quartier23 page"
Club Debil review for ‘Kthonik Korridors’ (ATF Produktions)
“Die Musick von ATF ist stets eine mystisch-okkulte. Das verdeutlicht allein das Auftreten des Musikers, der nie ohne seine Mönchskutte abgebildet ist und dessen Gesicht nicht zu sehen ist. Mancher mag das albern finden aber die Sounds, die ATF schafft, sind es definitiv nicht. Dunkle Drones, leichtes Knistern, Flöten, Fieldrecordings, echte Percussions - die Atmosphäre eignet sich stets für okkulte Handlungen, denn so versteht der Künstler sein Werk - als Soundtrack für Rituale und Meditationen. Dies wird zum Beispiel auch bei Titel 2, "Kalibration Of The Gods" deutlich, wenn gut hörbar Klangschalen zum Einsatz kommen. Wirklich beschreiben lässt sich die Musik nicht. Sie hat etwas sehr altertümliches, atavistisches, wirkt wie aus einer anderen Zeit. Oftmals glaubt man sich als Konsument auch in der Rolle eines zufälligen Zuhörers hinter einer Wand, der z.B. bei "A Degenerate Ancient Order" den ihm unsichtbaren Vorgängen auf einem Schiff lauscht.
Man könnte bei ATF selbstverständlich immer auch an einen Horrorfilm denken. Die sehr langsamen, manchmal sehr leisen und reduzierten Stücke werden den einen oder anderen wahlweise langweilen oder erschrecken - massentauglich sind ATF definitiv nicht. Manches wirkt wie im Computer zusammen gestellt, anderes wiederum zeigt sich sehr organisch. In diesem Sinne ist der bereits erwähnte Titel 2 das beste Stück des Albums.“
Translation:
“The Musick of ATF is always mystical and occult. That alone illustrates the appearance of the musician who had never without cowl is depicted and whose face is never seen. Some may find this silly but the sounds, that ATF created, definitely are not. Dark drones, light crackle, flutes, field recordings, real percussion - the atmosphere is always for occult activities, because the artist understands his work in such a way - as soundtrack for rituals and meditations. For example this becomes apparent with track 2 "Kalibration Of The Gods", where singing bowls are audible used. It is nearly impossible to describe the music. There is something very ancient, atavistic, as if taken from another time. Often one believes oneself as a consumer also in the role of a coincidental listener behind a wall e.g. "A Degenerate Ancient Order" sounds like overhearing hidden activities on a ship. One could always equate ATF to a horror movie of course. The very slow, sometimes very quiet and reduced pieces will maybe bore the one or frighten the other - ATF isn't for the masses. Some parts sound like computerised, others in turn sound very organic. In this sense, the aforementioned Title 2 is the best song of the album.”
Club Debil review of 'Evolution (New Year Rite)' (Quartier23)
"Das vorliegende Werk diese mysteriösen Projektes besteht aus einem einzelnen 22-Minütigen Titel. Schaut man sich auf der Website von Akoustic Timbre Frekuency um, so wird dort erklärt, dass die Musik für Rituale jeder Art gedacht ist und der Musiker selbst den Pfad der Kaos Magie beschritten hat. "evolution" unterstützt diese Aussage glaubhaft.
Das Stück wird von Drones dominiert, die zumindest aber zum Teil eher nach Klangschale als nach 0+1 klingen. Auf der Seite spricht der Musiker davon, dass er rituelle Instrumente aus aller Welt in seienn Sound einfließen lässt, "inkluding Singing Bowls, Horns, Aura Chimes, Rain Stiks, Flutes and Bamboo Perkussion to name a few". Auch dies kann bestätigt werden, auch anhand der effektvoll gesetzten Akzente.
Die ebenfalls erwähnten Feldaufnahmen vervollständigen das Klangbild und schaffen eine Atmosphäre, die selbst sehr nüchterne Personen als "mystisch" einschätzen werden. Zu diesem Eindruck trägt auch der hintergründig gehaltene dämonisches Stimmeinsatz bei. Insgesamt eine überzeugend okkulte ..Platte.., der man nur ein etwas ansprechenderes Cover gewünscht hätte."
Translation:
"The presented work of this mysterious project consist of one 22 minues long track only. If you look at the website of ATF you can read that this music is for rituals of any kind and that the musician trod the path of chaos magic. EVOLUTION supports this message credibly.
The track is dominated by drones, which at least sounds more like sound bowl than like 0+1. On the site the musician talked about the use of various ritual instruments from all over the world 'inkluding Singing Bowls, Horns...'. Also this can be confirmed, also with the effectively accents. The also mentioned field-recordings complete the sound image and create an atmosphere, which also sober people would call mystic. To this impression contributes also the enigmatic used demonic voices.
Overall a persuasive occult record, which would deserve a more appealing cover"
Club Debil review for ‘Memtik Etchings’ (Quartier23)
“Akoustic Timbre Frequency machen keine Musik, die sich leicht konsumieren lässt. Am besten lässt sich das Ganze als Drone Ambient einsortieren, wobei hier eindeutig tiefere, okkulte Schichten des Bewusstseins angesprochen werden. Die vorliegende, etwa 50 Minuten lange CD eignet sich hervorragend zur Versenkung. Zu einem Teil der wenig aufregenden Stücke lässt sich hervorragend meditieren, andere funktionieren wie eine mysteriöse Reise in unbekannte Welten. Dabei geht es sehr langsam voran, an ADS-Leidende werden der Musik kaum folgen können. Sanfte Kratz-, Wasser- oder andere Geräusche, summende Chöre und besagte Drones bilden einen Klangteppich, der extrem reduziert daher kommt und völlig frei von pathetischem Gedöns ist.
Insgesamt ist das Werk sehr leise und es ist notwendig, die Anlage ordentlich aufzudrehen, um Alles mitzubekommen. Um der inhaltlichen Dimension des Ganzen nahe zu kommen, lohnt es sich, diesen Artikel zu lesen oder sich anderweitig mit dem Thema "Memetik" zu beschäftigen.“
Translation:
“Akoustik Timbre Frekuency does not make music which can be consumed easily. It can best be classified as Drone Ambient, whereby deeper, okkult layers of consciousness are clearly addressed. The new CD, which is about 50 minutes long, is excellent for meditation. The slower parts of the pieces can meditate well, others work like a mysterious journey into unknown worlds. It proceeds very slowly, and ADS sufferers are unlikely to follow the music. Gentle scratching, water or different noises, humming choirs and the aforementioned Drones form a tapestry of sound, hence it is extremely reduced and is completely free from pompous rigmarole. Overall the work is very quiet and it is necessary to turn it up properly in order to receive everything. To come close to the substantive dimension of the whole, it is worthwhile to read this article, or otherwise deal with the topic of "memetics".”
Darkroom Magazine review Of 'Evolution (New Year Rite)' (Quartier23)
"Progetto nato ormai da qualche tempo e con le idee assai chiare, Akoustik Timbre Frekuency intesse il proprio suono mescolando fonti diverse, unendo strumenti acustici a macchinari elettronici, facendo anche uso di materiale estratto dal mondo circostante, sia esso di provenienza naturale che artificiale, il tutto rielaborato poi in studio e finalizzato ad essere sfruttato in sede rituale per aumentare l'esperienza gnostica. Dunque non ci troviamo dinnanzi ad una musica di puro ascolto, ma ad un mezzo atto a potenziare alcuni stati della coscienza umana, tentando di far scaturire alcuni effetti mentali sfruttando coordinate sonore. Non a caso questo lavoro rientra in una "Ritual Musick Series", di cui rappresenta il primo capitolo. Ci aggiriamo nei paraggi dei primi Current 93 (Crowley è uno dei punti fermi della band), della Nekrophile Rekords o del Teatro Satanico, ma manca quell'appeal che riesce ad affascinare anche gente non necessariamente avvezza alla pratica magica. Le finalità sono simili a quelle dei primi Ain Soph, ma la band capitolina produceva inizialmente per sé stessa, mentre questo progetto inglese realizza materiale guardando all'uso che ne può fare il pubblico. "Evolution (New Year Rite)", lavoro che si inscrive all'interno di una carriera pressoché decennale, è costituito da una traccia unica di oltre 20 minuti fissata su un CDr nero inscatolato in una custodia per DVD. La resa audio è ovattata, quasi caliginosa, e si fa fatica a distinguere i singoli suoni ammassati in un unico drone che si propaga lento e cupo, con variazioni quasi impercettibili. Risulta pressoché impossibile dare un giudizio obiettivo su un disco del genere: sarebbe necessario che qualcuno usasse questi suoni con specifici intenti ritualistici, per vedere poi quali risultati riesca a raggiungere. Senza dubbio i nostri arrivano ad indurre l'ascoltatore in uno stato di trance, grazie a loop ipnotici ripetuti in serie. Per il resto è doverosa una applicazione diretta. Solo per intenditori e praticannti."
Translation:
"Project was born for some time now and with very clear ideas, Akoustik Timbre Frekuency create the sound mixing different sources, combining acoustic instruments with electronic machines, also making use of material extracted from the world around them, whether from natural or artificial, then reworked the whole studio and intended to be used during ritual to increase the Gnostic experience. So this is not a pure music listening, but a means to enhance certain states of human consciousness, trying to generate some mental effects exploiting coordinated sound. It is no coincidence that this work is part of a "Ritual Musick Series", which is the first chapter. We wander around the first Current 93 (....Crowley.... is one of the key strengths of the band), or the Nekrophile Rekords Teatro Satanico, but lacks that appeal that manages to fascinate people even not necessarily meant to practice magic. The goals are similar to that of the Ain Soph, but the Italian band originally produced for its own purposes, while the English project realized this material looking that can be done by the public. "Evolution (New Year Rite)", a work that falls within a career almost ten years, consists of a single track over 20 minutes on a fixed canned black CDR in DVD slim case. The audio is padded, almost darkness, and becomes hard to distinguish individual sounds stored in a single drone that slowly spreads and dark, with almost imperceptible changes. It appears almost impossible to give an objective opinion on a disc of this kind would be necessary for someone will usethese sounds with specific intent ritualistic, to then see what results can achieve. Without doubt our reach to bring the listener into a state of trance, with a hypnotic repetitive loops in series. For the remainder is due a direct application. Only for lovers of this genre and magic practitioners."
Obliveon Magazine review Of 'Evolution (New Year Rite)' (Quartier23):
"Akoustik Timbre Frekuency erschaffen elektro-akustische Kompositionen und können mittlerweile auf vier Veröffentlichungen zurückblicken, die aufgrund ihres rituellen Charakters musikalisch wohl am ehesten dem Bereich okkulten Dark Ambients zuzurechnen sind. Dabei kommen die unterschiedlichsten „Instrumente“ zum Einsatz, darunter Glocken, Flöten, Percussioninstrumente aus Bambus, Field Recordings und natürlich Keyboards, die für die düstere Grundstimmung dieses über zweiundzwanzigminütigen Stückes sorgen. Wer frühe Veröffentlichungen des „Cold Meat“-Labels zu schätzen weiss, der wird vieles von dem, was den legendären Ruf des schwedischen Kultlabels begründete, bei Akoustik Timbre Frekuency wiederfinden. Düstere Soundflächen ohne grosse Modulations- und Dynamikwechsel, eine gespenstische Atmosphäre und immer wiederkehrende Glockenklänge. Musik also, die ein tiefes Hinabgleiten und volle Konzentration erfordert, um die ganze Intensität und konzeptionelle Tiefe dieses Projektes zu erfahren, das während einer rituellen Handlung zum Neujahrstag entstand. Akoustik Timbre Frekuency sprechen daher sicher nur einen sehr begrenzten Zuhörerkreis an, der diese CD unter: http://www.quartier23.org ordern kann."
Translation:
"Akoustik Timbre Frekuency, who have already had four releases, creates electro-acoustic compositions which, because of their ritual nature musically, most likely are attributable to the occult Dark Ambient area. There were various "instruments" used including bells, flutes, percussion instruments made of bamboo, field recordings and, of course, keyboards which contribute to the gloomy mood of this 22-minutes-long piece. Those that appreciate the early publications of the "Cold Meat" label, will find that much of what the legendary reputation of the Swedish cult label are, they will find in Akoustik Timbre Frekuency too. Dark sound fields without big sound, modulation and change of dynamic, a spooky atmosphere and recurrent bell sounds.
Such music requires a glide down and full concentration to have the experience of the whole intensity and conceptual depth of this project that was created during a ritual act for New Year's Day. Akoustik Timbre Frekuency have surely a limited audience, This CD can be ordered at: http://www.quartier23.org."
