Plague Haus


J Dread 01.11.2010 Interviews

Meldhkwis of Aymrev Erkroz Prevre, Dapnom, Etmenns Derokwis answers a few questions from J Dread. The following was originally intended for the Portals Of Dawn zine.

J Dread: Hails Meldhkwis! To begin with, would you please introduce yourself to our readers…

Meldhkwis: Well to summarize I am a pianist, piano teacher, and also on my way for becoming an electro-acoustic composer. I know that at the very beginning my closest contacts had a hard time to understand how someone in the classical sphere could be interested in Black Metal, but for me it was a search of a rotten sound, but, well, I won’t develop this since most of you know what I am talking about. The why is simply ’cause I felt in some bands the same feeling that can be found in Scriabins’ music. And usually not every composer is interested in the word that Scriabin developed.

Like everybody, when I was young I composed for my piano, but, well, compared to the Chopin or Beethoven works I was learning, it was really garbage, so this is why I stopped them. I came in confrontation with the ambient/electro-acoustic world in two different times. At first I was listening in my 18 classical radio and I remember that every Tuesday night there was a very strange programme, with something really different. Yes, it was some avant-gardist, electro-acoustic and musique concrete programme, but for those who have a classical education, this side of the creation is not really liked nor accepted by the traditional instrumentists, it is considered as some kind of horrible noise. Long after when I entered the Paris conservatory’s superior classes in music history, there was a course about all kind of avant-garde and post-1950 creations. So I finally rediscovered and started to understand this weird music that attracted me in my youth. At very same time I got from a close contact a lot of Black Legions side projects; this was my introduction to ambient (I don’t speak about old Mortiis and late Burzum; those kind of materials sound too cheap to me, some told me about strong concepts and so on, but I always am too dubious about this). So at this period I started to compose, at first it was not very serious, but when I started to work on my 2 demos, things started to be more serious, ’cause with it I could express things that were not possible with my piano, and not also with the 2 bands I was in (an epic black metal one, and a symphonic BM, the first never had a name and due to line-up problems and lack of motivation fell into oblivion. The other had potential to become the French Xasthur, but the members had too much a high opinion of themselves coupled with a biker-like vision of BM that I quit [means: beer + fuck], also for them doing a demo and gigs was the royal way to fuck more gothic whores, I had not my place in such a caricature of a band, and in my eyes their names deserve to be lost into oblivion, so I won’t give it to anyone).

Years had passed and doing Black Art really became a passion, like piano, and feeling that I had some impossibility to break limitations, I tried to enter into the electro-acoustic composition class of the Paris conservatory, and succeeded. Now I am in my second year.

I am still continuing piano, preparing international competitions and some recitals, and some of my pupils won national and international competition at, of course, an early grade.

J Dread: You have numerous projects (Aymrev Erkroz Prevre, Dapnom, Etmenns Derokwis… and did I forget any?), all being one-man projects; what is the reason for releasing material under three different projects? Ideology, sound, or something else?

Meldhkwis circa 2005Meldhkwis: Well things increased a bit since those days. I have still AEP and Dapnom, but Etmenns Derokwis became a collaboration with [D]. from Vrolok/Vomit Orchestra etc, I am also doing a as of yet unnamed project with him (for now it sounds like funeral doom ambient), I will help him in an upcoming EP of the SICK Collective, and I play the bass in Dokimatia (ex-Tenebrare), so a pretty busy schedule hehe.

Well, with a list of my compositions I will write down at the end of the interview you will see that I had “periods” where I was more interested in the development of a certain project. So back in 2002 I started to compose some stuff, more in a “noise”-like way (note bene: I still have a very limited knowledge of this scene, except some works of Nicole12 or Grunt that I really appreciate, back in this old period I could not guess such a scene existed). From these experiments I only kept a little three minute track to be found in the Actes Prealables box-set, all the others were erased due to their poor uninteresting nature. So in this way AEP was born, from those experiments came two demos that were supposed to be the beginning of a pseudo-album, three other tracks were on their way, but never finished due to the loss of interest I had in this project. After having composed an intro for Christicide, Offering Rec. wanted to release some material from me. Before that I was doing only long tracks, and working only for one minute was a very good exercise, telling everything in a short period, I learned to work with the density of the counterpoint. The ones who listened to those old demos will surely note the evolution, from the bruitist and one-sided ambient, to the more Dark Ambient-like sound of the early Dapnom material. It is also to be noted that more than two years passed until the official Todestrieb release. During this period those juvenile materials were only given to really trusted and close contacts, and it was they who insisted their release, otherwise I really think that I would never have released them, since I couldn’t bear their weakness and also their very simple, one-sided, way of understanding.

So after the intro I started to work on some much more dense music, I wanted to do something melancholic and eerie, full of hate, anger and despair; the direct influence there was Vzaueubtre, and Etmenns Derokwis was born. After the composition was complete, I continued to work with some remaining materials, which I put in the highly limited advance tape as a 30 minute bonus, and so Dapnom was born.

This new entity totally absorbed all my creativity, and with it I tried a lot of things, from early Dark Ambient, total abstraction, a mix of both, to noisy material. Those who have all my Dapnom-material, have surely heard that. Well, I needed some time to truly understand where I wanted to go, now with the multiplicity of experiment, I saw two possible developments for my projects (in another word two kinds of “ambience” with which I wanted to work): the Dark/Ritual Ambient like, and something more experimental and avant-gardist. The first possible development is now done with AEP, and the other with Dapnom. On the other hand with Etmenns Derokwis, even if the three demos received really great feedback (some even say that it is my best project), I always felt that I never reached where I wanted to go, I guess my musical background is one of the reasons for this; too much organised compositions (some also compared those demos with Amaka Hahina), so with [D]. I am sure that we will be able to do it in this way.

So as you understand I have various projects ’cause I feel the need to explore my sound in different directions.

J Dread: You seem to be a rather creative person, having recorded such a vast amount of material in just a few years time. From where does your creativity come from?

Meldhkwis: Well I guess this is my vision of my material: nowadays people are expecting that with your first demo or even intro you will deliver a transcendental masterwork, something so incredible that it will change their whole life forever. Of course this kind of material does not last long for them and if you had transmitted such a giant message to mankind your tape has the right to be noted into their cult list of trade.

I really don’t see things in this way (even if I have to admit that the description was a bit too caricaturous), so until now I only released demo[nstration] tapes and, as I will explain later, I see them as experiments, so when I had a new idea, something inspiring (etc etc) I was working on another tape. I guess that this kind of behaviour came from classical music. Just see how much compositions Mozart did before starting to compose a new opera.

J Dread: And, on a related topic, what inspires you to create your music/soundscapes?

Meldhkwis: Well it really depends; unfortunately there is not for me a special thing that gives me transcendental ideas… I would love to, but, well, it varies all the time. It can be some paintings, some compositions, some books, some movies (in this case it is not the movie itself but some FX, or some special effects that give me some special ideas), some noise when I am walking, some stuff that happen in my life…

J Dread: Are there any particular pieces of art (paintings, movies, music…) or such that have in the past inspired any of your creations?

Meldhkwis: Well, they really are legion. But only one was involved in the whole thing, from inspiration, musical reference to the artwork; this is Dapnom’s 1951-N demo (Insidious Poisoning), more usually known as Black Abstract Expressionism. As its name suggests, it refers to the Clyfford Still painting that I saw at Washington’s National Gallery museum.

Nacho Cedras’ “Aftermath” claustrophobic morgue inspired me for Dapnom’s C16H12Fn2O3 (Mind Control and Actes Prealables).

Guinea pig1’s “Devil Experiment” for the Christicide Ouverture.

meld1There is also A.E.P.’s demo 2 (Todestrieb) that was inspired by “The Isle of Death”, a symbolistic painting of AAAAAAAA. The Hypotermia midtro (Marecage) was inspired by a painting of a pond I have on my piano (painter unknown, unsigned). I had the idea of the Dapnom Potestatem cycle after a Poliakoff exhibit (it was on all his monochromes) and also by Liszts’ “Apres une lecture du Dante” piano sonata (I used his very famous psychological development to give a unity for the whole tapes, so this work can be seen as a cycle and not a succession of tapes; this is the reason why Terrorizt compared it with an archipelago: in this work there is not a chronological development with a beginning, development and end, but on the opposite you are totally free to start with the tape of your choice, each has its own personality and is the development of all the others).

On the other hand I can also talk about “mid” influence. This is works that inspired me in a certain way (not completely). This happened on one of my newly composed works. I had to do a split part with Camisole. Well, like usual I did my thing, talked to RDoktor while I was in my “100th time” re-listening process (to listen to possible weaknesses and audio problems); we talked about the whole thing and of our mutual compositions and he gave me its track name (mine was still un-named). After this I continued to listen to my track and influenced (I guess) by Camisoles’ track name, I felt that there was a special aura that reminded me of the very famous Azathoth void described in Lovecraft’s “Dreams in the Witch House”. So at this time, I re-read it and found a sentence in it that would fit perfectly. So when a solid concept was found, I totally recomposed my track; having a beautiful name is pretty useless when your sounds can only be seen as a shadow of the original idea. Another thing is the case of release that takes an enormous time in the composition process, due to a very vague concept of it, this is what happened with my two albums, the A.E.P and the Dapnom, I had to delay the release of the first one for this reason, having a lot of material composed, but the incapability to organize it correctly.

At last there are pieces of art that are not a total inspiration, but which gave me a “little spark” for composing: the Egyptian book of the dead for the first Etmenns Derokwis demo (Offering), the Christicide demo for E.D.’s demo 2 (Offering, and both at Tour de Garde), Antonin Artauds’ recordings for the E.D. 3 (Gravestench), a catacomb drawing by an unknown person for Dapnoms’ Dvoeskreb (first version, Sadolust ).

After I guess that some projects un-consciously influenced me for some works: Cthuluh demo (Ru) for Dapnoms’ De Profundis tape (Antihumanism), Black Seas of Infinity for the long track I made for our split (tape: Ravenheart, CD: Sonic Tyranny ), Stigma Diabolicum (Fr) for the split with them (Insikt).

J Dread: You use a very strange language to name your recordings and in the booklets of your releases. Would you please tell a little something about this language, and also why you use it?

Meldhkwis: Well this is true that the first years of my creative period where under the exclusive use of an unique dead language: proto-Indoeuropean. As you know, it is known to be the root of almost everything. At the beginning I was hesitating with dead Egyptian as well, but I think that this choice was wiser for the use I wanted to do: being able to be subconsciously understood by everyone. Also, I noticed after a very lot of months that the constant use of the very same vocabulary was also unfortunately one of the unconscious causes of the impossibility of Dapnom to evolve. Of course, this is not the only cause of it; a basic use of total abstraction was also another cause. Luckily I was able, after the creation of the Tombeau sur le nom de Scriabin (a tiny piece first released on the Etmenns Derokwis demo II advance tape, and done for the 90th birthday of his death) to find a new way of composing, less abstract.

So since then I am using some other languages, their use has nothing to do with any occult or magic thing, but more of the effect they had, the way they are entering in “raisonnance” with the compositions that I did, or on the other hand inspired me. As an example, the Verkärt Nacht title was found some days after I composed the whole demo, at first the title was a much simpler one: De Profundis II.

J Dread: Would you care to tell a bit about your ideology and the ideologies behind your projects?

Meldhkwis: Well, there is not a particular ideology behind it, it really can’t be considered as a NS band or pagan, nor purely Satanist neither. I know that my music is affiliated with Black Metal: almost all my compositions have been released by Black Metal labels and I did intros/midtros for BM bands. But on the other hand on all the artworks I made you won’t find any 666’s or inverted crosses.

I see already the ones who had some of my old bloody tapes believing that Meldhkwis will deliver a message of full hatred ordering wars and children raping. All those will be highly deceived. My music is totally myself, I can easily tell you to listen to it in detail and you will, of course, know everything deeply. Most of my works can be regarded as some “états d’âme” (or soul states for the non-French, but I don’t know if the translation is quite exact). Maybe very disappointing but I prefer this, than the ones who make long speeches about things like hate, terror, how they will destroy everything etc etc and that in reality are what we can call “good guys.”

I developed a pantheon of my own, my own symbols… of course most of them are taken from occultism and hermetism, and for the others (very few), I created them after having foreseen them in meditation. Also one important source of inspiration is the post-romantic, modern and decadent period with pieces like the late Liszt, late Scriabin, Wyschnegradski, Roslavetz, Feinberg, Sorabji…

My vision of my own music also evolved with the years, this also why I like interviews, talking, analysing my works with time passing, helps me to understand the why, a kind of written psychoanalysis, he he. But beside that I see now the bloody days as something more organic, less structured; always put me in really terrible states to compose. Of course I won’t give you details of them, since all were true and I am not the kind to show off to sell more. Of course most of you will think that those old days were better ’cause the tapes hold (in the opposite to nowadays more structured) true feelings. The reverse side of the coin is that you can compose only during those periods, and… those periods do not last long. Of course they last many days, but not enough for this kind of music that deserves so much time to be well built. So you could get great material and on the other hand weak material, or materials that don’t feel like what you are expecting (a lot of those can be found in the Actes Prealables limited in time tapes box-set, materials never given to anybody, that I liked a lot, but on the other hand were not good enough for a demo concept). Also I think that I needed to build all these worlds for my compositional process due to the little experience I had with sounds (experience and knowledge that I am improving each time I am going into the Paris conservatory studio), and it is important to note that I never saw my tape release as little albums, or albums in becoming. No, for me it is what it is primarily: a demo(nstration) or, as it is most suitable to say in my case, an experiment. Now time has come for my first real album (not to mix with CD tape-re-releases); it will be the AEP one at AWP (name not found yet, and composition process not completed) or the Dapnom one at Ajna.

So now I am more distanced of my works even if they are completely myself, I don’t need all the behaviour around the compositional process and I can master it and have the sound quality that is expected from an electro-acoustic composition (or in another word compositions done for the CD hi quality possibilities and not the poor sound that a tape can produce, this goes of course in pair with the fact that most of the time a CD/DVD player is much more coupled with a better quality hi-fi system than a tape player).

J Dread: So, in other words, there isn’t really any message or such you are trying to convey to the listener, but instead you seek to transmit feelings, atmospheres and states of mind (or, as you put it, “soul states”) to the listener?

Meldhkwis: Well of course in the beginning (and in a certain way now also but it was much stronger in my beginnings since I was full of utopias) the music was with a strong “message”, I used to write and put all details in the artworks, in proto-Indoeuropean, and I guess with the blood too. Now all my releases are bloodless and in most of the cases the artworks are made by others (I like this as well ’cause I can see how others react to my sounds). On the other hand a final release with blood, the long delayed Potestatem (Akedia). The question would be “if there was such a content, why would you use a so obscure, dead language, (or for some stupid ones) why rip off the black legions language?” I would answer the second question first. As you might have understood I use proto-Indoeuropean and not something totally invented as they did, in another word and contrary to them, if you search in some books relation this subject or even the Internet (like Google) you can translate everything. And to answer to the first question, the why? I will use a sentence Jesus, son of Joseph that is repeated many times in the apocryphal gospel of Marc: “The one that has ears is able to listen” (terrible translation done by myself from French). Also it was too the main reason of Etmenns Derokwis, those texts (in the Scriabinian utopia) “read” with this dead language, had to be subconsciously understood by the ones who listen to it (due to the fact that it’s he root of almost all languages) and so, assimilated. So I don’t really know if it has worked as I wished. Also this goes in pair with the fact that my music is not attractive; no melody, structures not easily understandable, a passion for very long tracks (most of my release have only one track), so how can I expect to be understood? Again for those who still believe that I am a black legions rip off, if it was the case, how would it be possible to have one of my artworks made by Meyhna’ch? (thanks for this great piece of black art).

Anyway this transmission of soul-states, feelings, atmosphere re-came naturally when I finally saw the bad side of an over-use/abuse of total abstraction, but thank to those experiments, I have now much more skills to create more elaborated and synthesized structures . But all this will be more deeply analysed in the next answers.

So the other question would be: “what is the message”? This I won’t answer. First of all, as I am sure you all noticed, my mastering of English is really basic, my “message” won’t be sharp enough, and you know how much details can change everything especially on this topic. Secondly, I share Scars’ opinion on the fact that, usually this kind of explanation is useless, few would understand it as it has to be done (and with my English mastering my chances are even thinner) and the others would understand it in another way, totally opposite of my ideas. For those who are still curious enough or the others that would say that no explanation means no message at all (or lack of personality as some say), I will tell them to meditate on all my tape artworks done by me, there are a lot of hints to my “message” (and the one where I went the furthest is Dapnom’s Potestatem).

J Dread: Most of your releases so far have come with blood-soaked covers. Would you tell a bit about the concept and reason behind this?

Meldhkwis: As you know now I am a great admirer of the work of Scriabin. At the turn of the XIX century, and as everybody knows, genuine composers and genuine artists used ideals old fashioned theory such as the “harmonies des spheres” ( just read the first book of the Traité des Objets Musicaux of Schaeffer, to see how those kinds of musical theories are seen nowadays) to create The Gesamtkunstwerk or Oeuvre d Art total. So I had me either the ambitious idea to do it (as a Scriabinist it was a pretty obvious move). So I had to control everything of my creation and to prepare the ones who will hold my work in his hands to feel what he is going to listen to. Also I oblige him to feel a certain way, the cover being a medium to serve the music, and the touch of the blood being particular… so in a certain way all senses are used in my creation:

Ear: music
Touch: blood cover
Smell: blood
Eyes: blood + artwork more in my way and less superficial than before
Taste… Bah… This one is for the courageous who like blood, but in this case this is useless.

Also the reverse back of the covers is a part of this compositional way: I use for that what we call “dripping” or “action painting” a painting made into a special state of meditation and that is created meditate, all those random forms are like infinite abstract waves, or dunes, that, hand in hand with my Black Art is here as a medititative ‘tools’.

Now I am pretty tired of all this. Very few understood it. On the other hand the ones who were not disgusted by the smell, believed that it was a pseudo way of being cult or I don’t know what. Others destroyed my creation, and so a lot of label did not distribute it. So most of my tape production to come will be bloodless, except very few releases, very limited (in quantity) and most of the time highly conceptual like the one to come through Necrocosm or the highly delayed Potestatem through Akedia (which will be finally available at the end of 2006).

J Dread: As you explained in the very beginning of this interview, you come from a background of classical music and education in classical music. However, the field of music you’ve made your own (Dark Ambient, Noise etc.) is not one that adheres of conventional music theory or even to conventional instruments. Do you think your education has somehow made it easier for you to compose this kind of music, and/or made your musical creations stronger; for example when compared to other Dark Ambient-artists with far less or even no education in classical music? How about negative aspects and/or results, do you think there are or have been any such (apart from the ones you already mentioned, regarding Etmenns Derokwis)?

Meldhkwis: Well at first I saw only the reverse side of the corner with my classical education, and more by my instrument: the piano. Anyway, don’t misunderstand my words, I still very deeply love classical music, and I have the greatest pleasure in practicing/playing it. Like every child I used to compose for my instrument in my youth, but… when I compared my works to those I was practicing (at this time some Beethoven Sonatas and Chopin Fantasies), I saw the abyss separating it from those masterworks… so I stopped composing.

Of course entering the graduate course, I had the luck to perfect my study of counterpoint (especially from the Renaissance era), music history, analysis (speciality the middle age and contemporary). So I started to compose on those dark fields ’cause I was frustrated by all the limitations of the 12 notes within the octave, also at the very same time I got some really good ambient projects and in music history we studied the post-1950 music (with all that interesting research plus an introduction to Schaeffers’ music and others), so at the beginning my skills were both an advantage and its opposite. An advantage ’cause I used some musical forms and also some harmonic inventions (see Scriabin and Rozlavets), in a certain way I always knew where I wanted to go and (in a certain way) how to reach it (musically but not technically). The negative point came directly from my admiration to Sorabji, immense work, very dense, but without the genuine approach of Beethoven, and also from what I learned from all the composition classes. For this last point this is my “orchestral-score” like approach I had in all my demos (for all project), without knowing how sounds evolve, and all the sounds’ “rules”; in my eyes this is one of the reason of my past “non-professional” sound.

Now with all this past experience, coupled with a deeper understanding of the music (thank to the constant evolution of my pianism and the early understanding of the concrete/electro-acoustic music), I am much more able to see those “classical” roots as another source of inspiration, thanks to all the compositional techniques such as developments, forms, counterpoint, etc etc.

I won’t compare myself to the other Dark/Black Ambient/Noise artists that have little or no musical education simply because I don’t see myself as someone superior. Those are other musical universes, other ways of seeing things, some I like some other not, simply a question of personal taste and not a question of quality. Pierre Henry did incredible pieces with ugly sounds…

J Dread: You touched your compositions briefly in a previous question, but let’s get deeper into that. Would you care to tell a bit about how you compose music for your various projects?

Meldhkwis: Well the beginning always varies, and is also the most terrible period: the inspiration. With years I am much more closer to the words of wisdom Brahms used to say: “inspiration always comes with frustration”. Of course it was (more or less) his point of view and it has not to be understood in the basic point of view. So when I finally start the first step, things start to be “easier”. The hardest point was to find a whole concept, being precise or not, finding the good sound (past period of having them in your mind and unable yet to concretely materialize them is terrible), how tracks or themes will evolve (can be assimilated on finding a structure). At this point I am starting to have a first sketch, so I am starting to enhance it, and when it’s done there is the long “100 times listening” (more or less of course). Now the composition is about to be finished. But usually when I am arriving a this point (if my initial “concept” was not strong enough) my structures can change very much. This is why I released this Actes Prealables box-set with, inside, all those previously unreleased versions. A box-set almost free (you only pay the costs, means price of the tapes and shipping fees) available only on pre-order with the Actes Prealables 2LP, and to avoid e-bayers, all copies will have written on artworks and tapes the name of the owner. Artwork is done by [D.] of Vomit Orchestra/Vrolok and will be sold out when the 2LP is released (so the exact number won’t be known, but anyway, who cares, certainly not me since I see this as a gift for Meldhkwis maniacs)

J Dread: Alright, having talked about the composing process, would you tell a bit about the sounds; how do you make them? What instruments and such do you use, how do you work on the sounds, edit them and alter them? How much is software-based, and how much is “live” or real instruments and such?

Meldhkwis: Well, on the last question I was expecting this to come. Twice I started to answer it but in both cases I erased it. So for this I will use Glenn Gould’s famous legend about technique: “once a frog asked a mile-legs how he could walk so well with so many legs, while he, even with a strong training can only jump. After a very deep analysis of all his movements, when the mile-legs started to walk to show him how it works, he fell, unable he was to coordinate all his legs.”

J Dread: Do you think you’ll ever record and release anything that reflects your background in classical music more strongly… something like, say, piano recordings or the like? Personally I think it could be interesting to hear that side of your musical personality as well.

Meldhkwis: Well I recorded some piano pieces already, some of them were broadcasted on TV long ago (I performed a Scriabin concerto and long after a Bach double concerto), for the smartest you can even watch me play a little part of the Beethoven Waldstein Sonata on a Japanese website (I was selected to play a little thing for a Japanese presentation of the Parisian Ecole Normale) also I recorded (when I could) some of my recitals. For now I don’t believe much in classical recordings, except for promotional use… anyway the Meldhkwis diehard fans will find in the Actes Prealables box-set two piano recordings: Scriabins’ “Vers la Flamme” poem, and Liszts’ Dante sonata.

J Dread: You talked about accusations of being a BL-rip off earlier. I guess they are natural considering the origin of the name “A.E.P.”; but have you had to face a lot of such rip off/copycat-accusations?

Meldhkwis: Well A.E.P had nothing to do with this misunderstanding. It started with Dapnom. In my opinion it was simply due to those facts, I was deep into the underground and on my “themes” and imagery, it was impossible to link me with a common Black Metal genre such as Satanism, NS, Pagan but my own “pantheon”. And also I did not use for my titles the common English, French, Swedish or Latin, but a very remote and almost forgotten dead language. So for some I HAD TO BE part or at worst a copycat of the Black Legions. Well in most of the cases, since on all my demos you can find my e-mail, they simply dropped me a line to know about it, and, as usual, I would explain that I am not. I never faced any accusations except some childish acts of some who talk a lot while having only heard rumours without having listened to it or owning a demo and did not try to deep it (or simply ask me, if they would own one they would have my e-mail). Anyway this happened only on one Internet-forum. This is a chronogical list of my compositions :

pre Aymrev Erkroz Prevre 3 min track
Aymrev Erkroz Prevre Demo 1
Aymrev Erkroz Prevre alternate version of track 1
Aymrev Erkroz Prevre Demo 2
Ouverture of the Christicide Demo I
Etmenns Derokwis Hra-uü
Etmenns Derokwis Hra-üu Advance tape + 30 min bonus track (pre-Dapnom)
Dapnom Regwoisvokwos Gwhenmi Welminti
Etmenns Derokwis Untitled track
Etmenns Derokwis Untitled track II
Dapnom Dvoeskreb
Dapnom Melenoiserkwos
Dapnom Potestatem Unio Mystica
Dapnom 1951-N “Black Abstract Expressionism”
Dapnom Potestatem Goneyos
Dapnom Potestatem Pemen
Dapnom Potestatem Tolk
Dapnom Potestatem Mortom
Dapnom Potestatem CLABHAAM
Dapnom De Profundis
Dapnom z²->z+c
Dapnom Potestatem De Profundis …
Etmenns Derokwis Antapex of Suffer
Dapnom Enifubos
Dapnom Tombeau sur le nom de Scriabine (a.p.0)
Dapnom Ert Brvueazv 0 (a.p.I)
Dapnom Dvoeskreb new longer version
Dapnom Melenoiserkwos new longer version
Dapnom c16h12fn2o3 pre version
Dapnom c16h12fn2o3 (a.p.II)
Aymrev Erkroz Prevre Enifubos…
Aymrev Erkroz Prevre Nos’leh Cifnoy-raam
Aymrev Erkroz Prevre …kaiwelos Dapnom S’ohö… Aiÿ uhè en-öghg (a.p.III)
Dapnom Antapex (a.p.S)
Aymrev Erkroz Prevre g6k2 Klrk
Dapnom De Profundis 2 ( pre Verklärt Nacht )
Dapnom Verklart Nacht
Dapnom De Profundis… cd version totally recomposed 20 min longer than De Profundis the demo
Dapnom Qliphoth
Haec inivstitia obmixta a principibvs peccatorvm
( Midtro for the Diabolum vincit omnias Demo I )
Marécage ( Midro for the Kyla 2nd album )
Dapnom Todestrieb

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