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Svart1 is Raimondo Gaviano, who works in the fields of Ambient, Dark Ambient, Industrial, Noise, live-performance and visuals.

He currently lives and works in Cagliari, Sardinia. Based in Cagliari, but with frequent international venues Svart1 is one of the few dark-ambient musicians that starting from Sardinia was able to have a gig in May 2009 in one of the most popular European club of industrial music, the "Gyari Club" of Budapest for "Hyperborea Festival" with well-know Scivias. Returned to his native Cagliari was guest of the two major festivals of electronic music and culture of Sardinia in 2009 "Music in touch" and 2010 "Signal Festival".

In 2011 was in Zagreb, Croatia at "Tvornica Culture" guest for Art & Strategy and Miljenko Rajakovic (Tehom-Principia Automatica) and in March 2012 in Prague, Czech republique at "Cafe V Lese" guest of Arkham Productions with Czech groups Fuck Tv and SWF. In 2013 for the first time he performed, guest of DEATH#DISCO in Berlin at KKK with the Croatian Umrijeti Za Strojem. In 2014 he also plays audio-visual concept "Der Schnitter" at well-know German Industrial festival Schlangstrom in Berlin.

It features several international collaborations in purely music and video (Sturmast, Scivias, Alice Angeletti, Nanako, Shattered Hand, Kenji Siratori, Dirk Geiger, Lisa Cervi, Svartsinn, Haate Kaate, Ilaria Pezone, Klangstabil, Lara Trevisan, Daina Dieva, Grauraum Hotaru Bay, Schattenspiel, Tehom) and mainly with italian artists like NihinonOrgan, Claudio PRC, Saffronkeira, Uncodified, L.C.B., Deison, Gianluca Becuzzi, Retina.it, Giulia Casula, Simon Balestrazzi, Noisedelik, Stefano Guzzetti, Scam., Compagnia di Danza Varitmes (2008-2011), Teatro Alkestis(2004-2008), Funivie Veloci (2007-2008).

His sounds, nordic-style typically, are the result of a microcosm of dark and gloomy sound characterized by minimal movements between low evolutionary where used in a thunderous, metallic roar, shadowy presences that materialize sound, like the experience and the feeling of alienation between dark presence floating around the ears of the unconscious passenger. Starting from his collaboration with Sardinian dj and producer Claudio PRC his sounds began to evolve toward more rhythmic and minimal themes abandoning real musical instruments and working more on the technical aspects of music production as well as canceling or almost every improvisation and working using a rigid schematic audio-video approach.

After some net releases in 2009 he released with the German label "Skullline" a cd-r split "Spring Wind Brings water" with American neo-folk artist Shattered hand. On 2010 is his first professional cd-r with Romanian "Valse Sinistre" label "Non tutto ciò che tace è morto". The cd-r originally printed in only 100 copies is already in its third reprint, confirming the goodness of his dark debut. In 2011 is his first industrial-noise 60 copies tape release "Der Schnitter" for Transilvanian "Mask of the Slave" records. Also in 2012 his "Praha" live set was released in 30 copies for Bosnian label "Mrtvaja records". 2013 is only the year of his first 300 copies CD release "Satanische Helden " for German label "Industrial Culture", an intense mixture of dark brooding ambient, organic ritual and rhythmic-harsh industrial straight from the deep pits below. "Haram Wounds" is in 2013 a 50 copies tape release with Italian noiser musician LCB. for Rumenian label "Mask of the Slave", in an arab power-electronics intense mood. Also in 2013 a collaboration"From This Poem Of Void" with Gianluca Becuzzi for "We Can Be Everywhere" CD on Final Muzik. 2014 is ready for 2nd chapter of "Satanische Helden" trilogy "Ardat Lili" with special collaborations with well-know Uncodified, LCB and TSIDMZ for "Mask of the Slave".

As visual artist working with performance, videos, sounds and photography, Svart1 investigate the confrontation to otherness and its inter-thematic using nature beauty, social yokes, dominant/dominated relationships, codes and what happens to them out of their context; gender and its limits and ambiguities, issues of the double and of the multiple characters under a single skin, or yet the identity, status and image of humanity. A new decadent era.

 

 

 

 

2014

"Ardat Lili" 2nd chapter of "Satanische Helden" out for Mask of the slave records. An arab power electronics with special collaborations; Uncodified, LCB, TSIDMZ.

Official visual for Orphanon"Gone" from the album "figures in slow motion"(2015 Eibon Records).

Official visual for thisGrey hates the sun"With other Eyes" From Corpoparassita | thisGrey hates the sun EP (2014 FinalMuzik)

Live audio-visual set "Der Schnitter" at SCHLAGSTROM! FESTIVAL 2014, Berlin, Germany with Monolake, Winterkälte, Absolute Body Control, P•A•L, Tanz ohne Musik, Carter Tutti play Chris & Cosey, Philipp Münch, Raison D'etre, Mortaja and much more.

Live audio showcase with Noisedelik and Simon Balestrazzi at S'Umbra progetti fotografici for Ronin and (D)ronin, Cagliari, Italy.

"U Strahu Su Velike Oci" for "Hands From Shadows" - A Charity Compilation For The Flood Victims Of Serbia.

Live audio showcase with Noisedelik and Simon Balestrazzi at Nuovo Panificio for Ronin and (D)ronin, Cagliari, Italy.

Everything collapses"audio-visual installation at Activa International audio-video Art selected for ACTIVA'2015.

"Kesi" for "North Air [UIS-05]''."North Air" became the most integral in content and hard for distribution among all releases of UIS-community. Eight projects from Russia and Italy have created dark ambient tracks, inspired by the literature of the Age of Discovery. Audiotapes and CDs were left on islands of polynesian state Samoa, where the famous writer Robert Louis Stevenson lived and worked . We dedicate this release to his immortal novel "Treasure Island".

P2P #02 - DEEP Proud to present – Deep, 2 Svart1 photos at Circoloquadro, via Thaon di Revel 21, Milano, Silvia Argiolas, Maurizio L'Altrella, Quadreria Romantico Seriale e Fabrizio Segaricci, Adriano Annino, Antonello Sedda, Francesco Cuna, Narcisa Monni, Riccardo Cavallini, Svart1, Lucilla Candeloro, Quartierino Blatta. a cura di Arianna Beretta.

GianLuca Becuzzi & Svart1"From This Poem Of Void" From "We Can Be Everywhere" CD on Final Muzik (FMSSD01 - 2014).
"We Can Be Everywhere" includes collaborations with Deison, Svart1, Retina.it as well as solo tracks by Italian ambient/electronic music artist Gianluca Becuzzi.

Su Mantu Nieddu Portade digital release at Bandcamp.

"Su mantu needdu portade" is the musical journey along four years (2007 to 2010) whose common denominator appears to be the nostalgia and memories of Sardinia abandoned to teach first in Lithuania and subsequently in Ukraine, Germany and Hungary.
A musical journey in which field recordings (extrapolated from the text "Tracce di Sacro" Condaghes edizioni by Emanuele Garau) and sound environments of Sardinia are mixed with a typical ambient type concreteness of the musical universe of Svart1.
A mysterious journey, sometimes deep but without falling into useless and vain Sardinia archaic mythologies for confirming the prominence of the own memories.

Everything collapses"audio-visual installation at Activa International audio-video Art.

Official visual for Deison/Mingle "Everything collapses".

Live audio-visual set "Aquae immobilis" with Noisedelik and "The Schnitter"at Circolo Trasponsonic, Macomer, Italy.

"Der Schnitter" audio-visual installation at Fokus 2014 København K, Danmark.

Live set "Haram Wounds" for NO UFO'S # Underground party in Cagliari. with Terence Fixmer (France) Claudio PRC, Scam.

 

2013

"Haram Wounds" tape release out for Mask of the Slave Records.

Podcast for Inner Escape EI110 (follow the link to download or listen).

Live audio-visual set for "Solo il mio Nero Festival" Feat. "Angst"" at Umanitaria, Cagliari.

Official video for The Bridge (0.5) "Statisch".

Live audio-video set "Angst" at KKK(KingKongKlub), Mitte, Berlin with Umrijeti Za Strojem (Croatia).

"Grauzone" Podcast for Erfunden 22 (follow the link to download or listen).

"Samael" official visual for my "Satanische Helden" cd release.

Live audio-video set "Angst" at Nasprias Cave, for "In(natural) Industrial; from Industrial Waves to the New Noise Harmonies Festival" with Simon Balestrazzi, Uncodified, Brigata Stirner, GL Becuzzi, Noisedelik, Macomer (Italy).

"Jihad" Podcast for Svarionipremeditati 24 (follow the link to download or listen).

Official visual for Claudio Prc (Prologue) "Nur".

"Satanische Helden" cd release out for Industrial Culture.

Live audio-visual set No Ufo's [elektronische version] at Interno24, Cagliari with Saffronkeira (Denovali records), Claudio PRC (Prologue) and Waves on Canvas (Pure Wave Recordings) Feat. "Eraserhead" audio + video performance based on David Lynch's movie.

Official visuals for Saffronkeira (Denovali Records) "The Disease" and "1859-1904".

Podcast for DeathMetalDiscoClub #008. (follow the link to download or listen).

Official visual for Koldvoid (Valse Sinistre) "Equilibrium".

 

2012

Soundscapes and some field-recordings for Gianluca Becuzzi's (ex-Limbo, Kinetix, Noise Trade Company) cd release on Final Muzik with Retina.it and Deison.

Noises for Magnetica Ars Lab/Maurizio Bianchi "LoopKlängeNoise" Cd release on Final Muzik with Faust'o, Simon Balestrazzi, Uncodified, Mauthausen Orchestra, Nicola Boari, Exagonal. Noisedelik, Colonel Xs.

Visual "Le Vigili Catalessi" for Brigata Stirner at Signal Festival, Cagliari.

Live audio-visual set for "Solo il mio Nero Festival" Feat. "Repulsion" (from Polanski's movie) at Umanitaria, Cagliari.

Live audio-visual "III"(Claudio Prc-Svart1) for Prologue Records.

"Nothing is what it seems" part I and part II visuals for Gianluca Becuzzi at Koperground Festival (Club MKSMC), Slovenia.

"Praha" cdr release out for Mrtvaja Records.

audio-visual "III" live set with Claudio Prc at Interno24.

Audio-visual set "Tetsuo" with Nihinonorgan, Scam., Khil, Waves on Canvas at Spazio Arka for XXV "Interazioni" Festival Internazionale di Performing Arts, Assemini (Italy).

Sounds for Claudio Prc double vinyl "Inner State" (Prologue Records).

Live audio-visual "Praha" at "Cafe V Lese", Praha with with Seismic Wave Factory and Fuck Tv.

Co-founder and webmaster of "Hierru Nieddu" (Industrial music and visuals association).

 

2011

Live audio-visual "Der Schnitter" at "Tvornica Kulture", Zagreb.

"Der Schnitter" tape release out for Mask of the Slave Records.

"Der Schnitter " visual at Magmart International videoart festival.

Official visual for Waves on Canvas "Flowers of the Sea".

Live dj set for "Ideoteque" at Old Square, Cagliari.

Official visual for Croatian dark ambient TeHôM "The Shadow integration". Original creditis: Daniel Askill.

Live audio-visual "Der Schnitter" at "Teatro Club" for Solo il mio Nero Festival, Cagliari.

 

2010

"Der Schnitter" at Raumklang label for "Snowflakes" Compilation, Including Klangstabil, LPF12,Tapage, Nanoptiq. Lucidstatic, A Bleeding Star, Dirk Geiger, Keef Baker, Access To Arasaka, Hotaru Bay, Midimode, ar.Muta, Anklebiter, Frl. Linientreu, Autoclav 1.1. (listen and download release here).


Sounds and visuals for performance "Slegami" Varitmes Dance Company at ExMa, Cagliari.

Live audio-visual "Poesie Incivili "(An Hommage to P.P. Pasolini) at Palazzo Regio with nihilNONorgan for "Mercoledì al Palazzo Regio".

Live audio-visual "Helychrysum Stoechas"at Castello San Michele for "Signal Festival", Cagliari.

Official Visual for Svartsinn (Cyclic Law) "September Dirge".

"Non tutto ciò che tace è morto" first Svart1 Cdr for Valse Sinistre Productions.

Live audio-visual "Pour en finir avec le jugement de Dieu" (An hommage to Antonin Artaud and Bea Tarr) at Caffè Savoia, Cagliari. Texts Antonin Artaud, Voices vassia_k. and nihilNONorgan.

Interview at "Onde diverse" Radio Press, Cagliari. Thanks to Stefano Guzzetti.

Live audio-visual "Pour en finir avec le jugement de Dieu" (An hommage to Antonin Artaud and Bea Tarr) at Spazio Nno, Cagliari. Texts Antonin Artaud, Voices vassia_k. and nihilNONorgan.

Live audio-visual "SdS" with Nihilnonorgan, Northsea, Khil at Spazio Arka for "Interazioni" Festival Internazionale di Performing Arts, Assemini (Italy).

Live audio-visual "Rapporti di routine" with nihilnonorgan and Simona Carboni at Caffe Savoia, Cagliari.

Sounds for Performance "Interferenze" Varitmes Dance Company at "Lancia Lounge", Friedrichstrasse, Mitte, Berlin.

 

2009

Sounds and Visuals for Production "Less is More" Varimes Dance Company at Ghetto degli Ebrei, Cagliari.

Live audio-visual "Ex Chaos" at Chiesa di San Saturnino, for "Music in Touch", Cagliari.

Audio-visual Performance with Giulia Casula "Lang-Land" at Casa Podda, for "La Festa dell'arte 2009", Sadali (Cagliari).

Live audio-visual "In ogni ombra il Verde" at Casa Podda for "La Festa dell'arte 2009", Sadali (Cagliari).

Live audio-visual "In-Pari" at Ex-panificio for "In(d)piastri", Cagliari.

Live audio-visual "In-Pari" at Exmà for "Gsott8", Iglesias.

Live audio-visual "Taltos" at Gyar club for "Hyperborea", Budapest.

"Spring wind brings water" Split Cdr with Shattered Hand for Skull line Records.

Live audio-visual "Tàltos" at Kodàly Zoltàn School for Csidèr Bàlint Fotòmvèsz "Nèzo-Pontok", Szolnok (Hungary).

"White "Nanako+Svart1 net release at Radio Nacional de España (RTVE: radio television española) for "Sismografo". Free download.

 

2008

Sounds and Visuals for Performance "Inutili Abbracci" Varitmes Dance Company at "Teatro dell'Elefante", Cagliari.

Live audio set "Incubi-Succubbi" at Spazio Cultura with Daina Dieva for the opening exposition by Daniele Serra, Cagliari. Free download.

Live audio-visual "Condannazione" with Daina Dieva at Titty Twister for "Electro Attack", Selargius (Italy).

Live audio-visual "Under and Behind" at Cavità di Via Vittorio Veneto, for "Sottosopra", Cagliari (Italy).

"Gutta Cavat Lapidem" on web radio startfm.lt. (Tirpstantys Tekstai XXXII Skema : Balta drobule. number 32).

 

2007

Live audio "Spezzature" at Centro comunale d'arte e spettacolo ex vetreria for Theatre Company "Cocomero", Pirri (Italy).

Live audio "Visioni" at Cittadella dei Musei for Opening exposition by Federico Carta with Fabrizio Frisan and Mario Massa, Cagliari.

Sounds for visual "Carne" Lara Trevisan (Udine-Parigi).

 

 

2014

"Ardat Lili " Mask of the Slave records (CD release) 300 copies.

2013

"Haram Wounds" Mask of the Slave (Tape release) 50 copies. (Sold out).

"Satanische Helden" Industrial Culture (professional cd) 300 copies.

2012

"Praha" Mrtvaja Record (professional cdr) 30 copies (Sold-out).

2011

"Der Schnitter" Mask of the Slave records (Tape release) 50 copies (Sold-out).

2010

"Non tutto ciò che tace è morto" Valse Sinistre Productions (professional cdr) 300 copies (In stock).

"Ad Extremas" Witte Dood Records (mini cdr) 30 copies (Sold-out).

2009

"Spring wind brings Water" Skull Line (Split cdr with Shattered Hand) 50 copies (In stock).

 

 

DIGITAL RELEASES (follow the link for free download)

"Caveat Emptor" Mono Records 2010.

"Ab imo Pectore" Kaos ex Machina 2009.

"Incubi succubbi" Clinical Archive 2009.


"Frangar non Flectar" Black Montanas 2008.

"Silentium est Aureum" Clinical Archives 2008.

"White" Tecnonucleo 2008.


"Gutta cavat Lapidem" Kaos ex Machina 2008.

"Boxhagener strasse 8_07" Clinical Archives 2008.


"Audiebantur gemitus Vulneratorum" Format Noise 2008.

"Da visibilia ad invisibilia" Bump Foot 2007.

 

 

Review about cd "SATANISCHE HELDEN" from Celtic - Slavic Webzine Serbia.

 "Shvatamo da ovo nije muzika, vec cista umetnost.

Ovih dana do mene je došao projekat Raimonda Gaviana, Svart1. Tacnije njegov album Satanische Helden. U pitanju je koncept mitologije demona Starog Istoka. Album konceptualno sadrži deset pesama, a sam vizuelni izgled je ono što mi je u pocetku posebno privuklo pažnju! Dakle, plejer je pušten i utonuo sam u mitologiju Starog Istoka.Mirnim melodijama prva numere Baphomet, zaticem sebe kako zamišljeno tonem u melodiju. Ne primecujem da je vec druga numera Abduxue pocela, a osecaj je još uvek isti, melodija traje. Glas Alistera Kroulija je prisutan. Osecaj sklada kod ovog umetnika je tu. Pocela je nova numera Ade i to je to. Demoni Starog Istoka su tu. Muzika postaje jaca, ali drži distancu od glasnoce, koja tek toliko je tu da ne ometa sklad. Sve je pažljivo isplanirano do krajnjih tancina. Uvodi nas u nešto novo, jednostavnim tonom, ali stalno prisutnim. Ton je sve glasniji i imamo osecaj da smo na nogama. Ritualne slike igraju ispred naših ociju. Ne znamo gde se nalazimo, negde na Starom Istoku, Persiji, Levantu? Ali, uživamo i to nam stvara zadovoljstvo. Umetnik nas svojim delom ne opušta, vec numerom Ahriman Ante nastavlja da nas doslovno cini još više zadovoljnijim. Shvatamo da ovo nije muzika, vec cista umetnost. Numerom Iblis prelazimo na viši nivo, savršenstvo. Sklad kompozicije i muzike savršeno funkcioniše. Shvatamo da ovo nije album kao i svaki drugi, umetnik je prisutan. Uživamo uz te nestvarne, misticne tonove.Numerom Angra Mainyu, kao kroz vreme vodi nas do sledece, najbolje numere na albumu Samael!
Totalno blaženstvo, reci su suvišne, ali osecaj je najbolji do sada. Mirnim tonovima uvodi nas u pesmu, dok polako flautu cujemo, cvrkut ptica, doboš...tonemo sve više i više. Osecaj je fantastican, opuštajuci, prija. Ovom numerom Raimondo pokazuje da je više od umetnika. Prezadovoljni smo i totalno ispunjeni skladom, melodijama.  Numerom Rashnu, razbijaju nam se osecaji sklada, ali tek toliko da ne zaboravimo mitologiju, demone Starog sveta. Bliži se kraj albuma, ali numera Astaroth, to ne dozvoljava, prosto želimo da traje citave vecnosti, jer taj sklad tonova i harmonije cine ovog umetnika i ovaj album  izuzetno posebnim. Zvuk zvona, oznacava pocetak poslednje numere na ovom albumu Ahriman Post. To nas pomalo cini tužnim, jer zaplovili smo u neki novi mistican, ritualni svet. Želimo da plovimo i dalje, putovanje nastavimo, a Satanische Helden treba tako i shvatiti, kao pocetak prvog dela putovanja (nastavak putovanja sledi krajem 2014-e godine novim albumom Ardat Lili, a završava se 2015-e godine poslednjim trecim albumom).
Satanische Helden i rad samog umetnika je nešto posebno i u svakom slucaju je tacno da vašu pažnju zaslužuje. Ono što ga cini posebnim je muzika, koja ima srce i dušu! Možemo sa velikim nestrpljenjem ocekivati nastavak putovanja novim albumom, a do tada što pre dodite do svog primerka Satanische Helden, koji možete preslusati i kupiti na BandCamp stranici, jer ovaj album svakako zaslužuje da se nade u vašoj kolekciji, plejeru.
Uplovite u mitologiju Starog sveta. Opustite se! Uživajte! Necete se pokajat

 "We understand that this is not music, but pure art."

These days, came to me project Raimondo Gaviano, Svart1. More specifically his album Satanische Helden. It is the concept of mythology demons Ancient Midle East. Conceptually, the album contains ten songs, and the visual appearance is what I was initially attracted special attention! Thus, the player is released and I plunged into the mythology of the Ancient Midle East.Peaceful melodies first track Baphomet, I find myself drowning in a thoughtful melody. I do not notice it, but other tracks Abduxue started, a feeling is still the same, the melody is. Voice of Aleister Crowley is present. A sense of harmony with the artist's there. I started a new track Ade and that's it. Demons of the Ancient Midle East were there. Music becomes stronger, but keeps a distance from the volume, which is just enough that it does not disturb harmony. Everything is carefully planned to end the last detail. Introduces us to something new, simple tone, but always present. The tone is louder and we feel that we are on our feet. Ritual images play in front of our eyes. I do not know where we are, somewhere in the Old East, Persia, the Levant? But we enjoy it causes us pleasure. An artist whose work we do not relax, but the track Ahriman Ante continues to literally makes us even more happier. We understand that this is not music, but pure art. Tracks Iblis move to a higher level of perfection. Harmony of composition and music works perfectly. We realize that this album is not like any other, the artist is present. Enjoy with the surreal, mystical tones.
Tracks Angra Mainyu, and over time leads to the next, the best track on the album Samael! Totally bliss, words are unnecessary, but the feeling is the best so far. Calm tones introduces us to a song while slowly flute we hear birds singing, drum ... sinking more and more. It feels fantastic, relaxing, feels. This thrack Raimondo shows that more than artists. We are very pleased and totally satisfied with harmony, melodies. Tracks Rashnu, break us feelings of harmony, but just so you do not forget mythology, demons of the Old World. Nearing the end of the album, but the track Astaroth, it does not allow simply want to take an eternity, because the harmony of tones and harmonies make this artist and this album very special. The sound of bells marks the beginning of the last track on this album Ahriman Post. It makes us a little sad, because we set sail in a new mystical, ritualistic world.
We want to continue to sail, travel further, and Satanische Helden needs and understand, as the beginning of the first portion of the trip (continuation of the journey follows the late 2014-s, the new album Ardat Lili, and ends with 2015-year last third album).
Satanische Helden and work of the artist is something special in every case it is true that deserves your attention. What makes it special is the music that has heart and soul! We eagerly expect a continuation of the journey the new album, but until then as soon go to your copy Satanische Helden, which you can listen to and purchase at BandCamp page, because this album deserves to be found in your collection, the player.
Sail into the mythology of the Old World. Relax! Enjoy! You will not regret it!

 

Review about cd "HARAM WOUNDS" from The new Noise (January 2014), Italy.

Ci eravamo imbattuti in Svart1 (Raimondo Gaviano) in occasione di Satanische Helden e, seppur con qualche riserva, il repertorio industrial/noise/dark ambient sfoderato ci sembrò sufficientemente ampio da augurargli un prosieguo lungo un percorso da cui ora si materializza Haram Wounds.Diamo delle buone notizie: ci si è ripuliti da buona parte degli abusi del disco precedente e ci si è ricollocati – senza rinunciare ai propri tratti salienti – in un universo di più chiaro stampo power electronics. Questi ultimi risvolti sono senz’altro merito delle altre due mani all’opera, quelle di Le Cose Bianche (Giovanni Mori), che così continua a tenere fede alla propria fama di autore prolifico. I rimandi chiari, espliciti, con tutto ciò che ne concerne (preghiere, conciliaboli, strumenti caratteristici) sono a quell’orientaleggiare avvicinato da Raimondo già in Satanische Helden, anche se stavolta sembra più di stare sulle strade spirituali muslimgauziane. Va bene, perché comunque la spina dorsale, come già detto, rimane fortemente noise e quindi lontana dai giochi etno-industriali di Bryn Jones.Svart1 in fondo sembra aver trovato questa nuova dimensione solo nel 2013, quindi sarà interesante vedere quanto questa variazione sul tema gli avrà fatto bene. Intanto per L.C.B. è positivo andare a cercare collaborazioni di questo tipo, che lo portino a contatto non solo con suoi affini più stretti (Santagiuliana, Altieri, Bianchi), perché con “Haram Wounds”, “Concime Per Concime” e “Lost Kid Forced” i risultati non tardano ad arrivare.

Review about cd "SATANISCHE HELDEN" from Club Debil, Germany.

Anfangs dachte ich, bei Svart1 handelt es sich um ein Nebenprojekt von Svartsinn oder zumindest um einen mittleren Kopisten. Doch beide Annahmen waren falsch, heißt der Mann hinter Svart1 doch Raimondo Gaviano und nicht Jan Roger Pettersen. Zudem zeigt sich der Italiener auf „Satanische Helden“ auch als bewandert in Sachen industrieller Tonsetzkunst; das Album ist abwechslungsreich und eigenständig. Darf man den Angaben auf Discogs folgen, dann ist die beim neuen, kulturterroristischen Label „Industrial Culture“ erschienene CD das erste „richtige“ Album von Svart1, zuvor machte Gaviano mit Netz-Releases und Splits auf sich aufmerksam. Das „materialisierte“ Einzeldebüt "Non Tutto Ciò Che Tace È Morto" erschien 2010 beim rumänischen Label "Valse Sinistre Productions" auf CD-R, zwei Jahre zuvor erblickte das virtuelle Erstwerk „Ab Imo Pectore“ auf Kaos Ex Machina das Licht der Welt. Nun also eine echte CD mit schickem babylonischem Artwork und einem vielversprechenden Titel. Die Musik von Svart1, die uns auf „Satanische Helden“ nahegebracht wird, zeichnet sich durch großen Abwechslungsreichtum aus. Da gibt es Industriell-Repetitives („Baphomet“, „Rashnu“), Kollagen (der Anfang von „Abduxue“ mit der Stimme des Großen Tieres), Ambientes („Iblis“, „Astaroth“), Abstraktes (in „Ahriman Ante“), Rituales („Abduxue“, „Samael“, „Ahriman Post“), Rhythmisches („Angra Manyu“), Noisiges („Ade“) und Mischformen daraus. Langweilig wird die Platte nie, denn Raimondo Gaviano versteht es, Wiederholungen zu vermeiden. Gaviano bedient sich aus dem breiten Fundus der szenetypischen Musik, ohne dabei sofort Assoziationen der Art „das klingt doch wie“ auszulösen. Sicher, der italienische Musiker erfindet das Genre nicht neu aber er beherrscht es meisterlich. Die Sounds sind weder zu komplex noch zu trivial und dabei stets unterhaltsam. Als Sammler von Klängen und Geräuschen reichert Gaviano seine Werke auch mit eher „ungewöhnlichen“ Tönen an, so dem Katzenschnurren bei „Ade“, Naturaufnahmen oder Gongs.
Sehr angenehmes Album, das aus meiner Sicht ein paar mehr Samples vertragen hätte, um die Stücke zu kontextualisieren. Aber das ist selbstverständlich nur mein persönlicher Wunsch. Eigentlich gibt’s auch nichts zu meckern.

Review about cd "SATANISCHE HELDEN" from Ravage Webzine, Holland.

Met religie heb ik helemaal niets meer, ook al kom ik uit een gereformeerd gezin. Heldenverering ook niet, ben meer van het No more heroes idee. SVART1 heeft een cd samengesteld met tien nummers waarin verschillende incarnaties van de duivel worden gepresenteerd onder de titel Satanische Helden. SVART1 is een project van Raimondo Gaviano, Italiaans muzikant en beeldend kunstenaar. Sinds 2007 maakt hij onder deze naam muziek, zowel fysiek als digitaal.Satanische Helden is, na een reeks tapes en cd-r’s, zijn eerste cd uitgebracht door Industrial Culture. Dit Duitse label wordt gerund door Raphael Feldmann die zich laat inspireren door traditionele industriële statements. Zijn doel is om te provoceren en de samenleving een spiegel voor te houden. Of satanische muziek hierin past, weet ik niet. Satanisme provoceert al jaren niet meer in de westerse maatschappij. De muziek van SVART1 wordt gekenmerkt door ambient, dark-ambient, rituele muziek, noise en industriële klanken. Al deze stijlen komen bij elkaar op Satanische Helden, waarvan de tracks zodanig gerangschikt zijn dat er een prachtige opbouw ontstaat. De stem van satanist Aleister Crowley ontbreekt uiteraard niet. De mix tussen verschillende muzikale bronnen, zoals elektronische en bewerkte akoestische muziekinstrumenten en field-recordings, weet SVART1 goed toe te passen. Het gesnor van een kat bijvoorbeeld voegt zich samen met elektronische noise. Sommige tracks zijn donker en noisy, andere zijn rustiger van aard, kalmerend met een sterker ritueel karakter. SVART1 is erin geslaagd een prachtige satanische gospelplaat samen te stellen. Het religieuze karakter van de plaat was voor mij niet nodig geweest, maar muzikaal past het album prima binnen de industriële traditie van het verzet tegen de gevestigde religieuze stromingen.

 

A complete interview with Son of Flies Webzine (December 2013)

 

Review about cd "SATANISCHE HELDEN" from Vital Weekly 911, U.S..

Svart1 is a project of Raimondo Gaviano, who works in the fields of ambient, dark ambient, industrial and noise. He currently lives and works in Cagliari, Sardinia, Italy. He started to make music in 2007 and released music at several labels and internetsites. The album Satanische Helden is his first professional CD release. The music is inspired by several presentations aka incarnations of the devil himself in Eastern cultures. Of course the voice of satanist Aleister Crowley must be used to make the satanistic atmosphere complete. The dark albums treats the listener for 10 compositions which have aswell a dark ambient atmosphere, but also tracks with ritual percussion, industrial beats or noisy sounds. Svart1 uses electronics, edited acoustic instruments and field-recordings to create his music. The track “Ade” flows from a harsh-beattrack to a recording of a purring cat and these different sounds mix in harmony. Also in other tracks are several musical elements with different backgrounds mixed together to change the atmosphere or to give another layer to the music. Elements of choirs, industrial beats, the edited sound of cymbals, noise and ambient moods come together and create several interpretations of presentations of the devil. Some tracks are very noise and dark, but other tracks have a silent and ritual atmosphere. Honestly, I don’t have anything with the devil, jesus, allah, jehovah or any other god or religion, but this album will be a good worship to the devil, if you believe in this enemy and old friend and angel of god. The album is released by Industrial Culture and label run by the Raphael Feldmann from Germany. The aim of the label to provoke, to keep a mirror to society and to do releases for a elitist group of people who are involved or interested in that state of mind. In that case this album suits well in the ideology of the label, although I have my doubts if satanistic music lead to a real provocation nowadays. (JKH)
Address: http://industrial-culture.com/

Review about cd "SATANISCHE HELDEN" from Ascension Magazine nr 35, Italy.

SVART1 “Satanische Helden” (CD, Industrial Culture) Svart1 è il nome inquietante dietro il quale si cela l'operato del musicista italiano Raimondo Gaviano. Il suo “Satanische Helden” è la prima produzione su CD della Industrial Culture, label tedesca che finora ha pubblicato alcune uscite su nastro. Svart1 si muove in un terreno dove si incrociano il vecchio death industrial svedese e un'avanguardia attenta, fatta di manovalanza e artigianato. L'album è interessante e spicca fra le molte produzioni industrial (inteso come contenitore generale più che come sonorità) per la sua capacità di assorbire, grazie alla forte identità del progetto, gli estremi di un genere. Se ci limitassimo a scrivere “ambient noise” magari uno spiraglio pure lo apriremmo ma, probabilmente, sarebbe ben più efficace immaginare Svart1 come nato da qualche vecchio progetto Cold Meat Industry (Archon Satani, Morthound) smembrato e rimesso in piedi da una ricerca rumoristica puntuale e aggressiva. Oppure, pensate agli strati metallici e field recordings dell'ultimo Z'Ev, dopo che però si è addentrato nel buio paesaggio della copertina di “Satanische Helden” sotto un cielo rosso sangue. Titoli che non lasciano dubbi (“Baphomet”, “Astaroth”, “Samael”), riferimenti e sample “crowleyani” (“Abduxue”), rumori taglienti che soverchiano terrificanti scorci dark ambient: se è questo che cercate in un album, “Satanische Helden” vi esalterà. Ottimo.

Review about cd "SATANISCHE HELDEN" from Vox Empirea Webzine(September 2013), Italy.

After a year since the last reporting record represented by the live-set "Praha", the figure of Sardinian Raimondo Gaviano resurfaces again from the ultra-alternative underground proposing yet another incursion into the more radical industrial/dark-ambient/noise. The production's chronology attributed to the artist mentions from 2007 to today tens of digital-releases of different stylistic music direction, beginning by the creation "DaVisibilia Ad Invisibilia", eight IDM/ambient tracks published by the Japanese label Bumb Foot, followed in 2008 by the album "Audiebantur Gemitus Vulneratoroum" issued for the German brand Format Noise, a work built in collaboration to the Japanese electronic musician called Kenji Siratori with which Svart1 oriented the sounds towards experimental electronics/dark-ambient/spoken words formulas. 2008 was for Gaviano a year particularly productive during which he published, besides the title just described, a succession of other net-releaes: " Gutta Cavat Lapidem ", or seven glitch-ambient episodes entrusted to the Polish label Kaos Ex Machina Promotions, "White", a mysterious electronics/experimental-noise/dark-ambient five-acts creation licensed by Termonucleo and composed by the combination between Svart1 and Nanako. They followed the seven minimal/experimental/ambient songs of "Silentium Est Aureum", published for the Russian Clinical Archives, net-label managed by the avant-garde composer Alexander Lisovsky, succeeded by the five dark-ambient/industrial/experimental tracks included in "Frangar Non Flectar", published by the American label Black Montanas and, then, by "Incubi Succubi", an unique twenty-five minutes composition in dark-ambient/post-folk/industrial mode, issued again from Clinical Archives and played by Svart1 in duet with the Lithuanian musician-video maker-sound contructor Daina Dieva. "Ab Imo Pectore" is another album released in 2008 by Kaos Ex Machina Promotions with eleven dark-ambient/industrial experimental steps, while it closes the sequence of digital publications the EP "Caveat Emptor", published in 2010 by the Italian label Mono Records and composed by the protagonist on techno-electronics schemes in cooperation with the Sardinian d.j. and producer Claudio Porceddu. Listing now the "physical" releases on CD format, we open with the excellent "Spring Wind Brings Water", a very limited-edition album dated back to 2009 licensed by the German brand SkullLine, as well as result of the dark-ambient/neofolk elaborations shared between Gaviano and Matthew S. Toth, aka the dark-ambient/neofolker solo-project known as Shattered Hand. "Ad Extremas" is the title of the mini CD-R promoted in 2010 by Witte Dood Records including only one live-track, which was followed in the same year by the magnificent full-length dark-ambient/electronics "Non Tutto Ciò Che Tace È Morto" published by the Valse Sinister Productions and reviewed time ago by me. The tape-release "Der Schnitter", published in only fifty copies in 2011 by the Romanian label Mask Of The Slave, it continued the Gaviano's way into the exploration of new dark-ambient/industrial horizons, as well as the subsequent thirty copies on CD-r of the live field-recordings "Praha" were released in 2012 by Mrtvaja Record, concluding this list with the recent full-lenght entitled "Satanische Helden ", licensed in 2013 by the German label Industrial-Culture and shortly analyzed by Vox Empirea. Live-performer and particularly good as visual-maker, Svart1 has taken part in important East-European's dark-ambient and electronic hard-experimentation shows, while his musical experience and his technical expertise in knowing how to create the right atmospheres has branched over the years towards important artistic collaborations as, citing some names of the most well-known excluding those already mentioned above: Dirk Geiger, Haus Arafna, Klangstabil, Schattenspiel, Saffronkeira, Gianluca Becuzzi and Retina.it. The camera objective and the video shots taken by Svert1 immortalize evocative images that then will run during the live sessions played at festivals and theaters: dark photographic frames, depicting symbolic landscape's details or other ones focused on the most twisted, unexplored and obsessive dephts of the human psyche, manipulations of old films, burnt coloured or black & white sequences, each of them rallentated or accelerated , each of them perfectly integrated to the motionless of dark-ambient sounds or to the frenzy of electronic/industrial-noise. The inspirational criteria by which the artist conceives his own music derived from various sources mostly related to the subterranean aspects of the emotional sphere, both individual and social, sounds which aggregation rises a dark and cold cosmos used as prism through which to filter, probing , corrupt and transfigurate seemingly inviolable and natural elements like beauty, acoustics able to eviscerate introspections, fears, but observing also the repressed mental aspects of who is succubus and the ones of those who predominates. "Satanische Helden" is an opera absoutely darker, made with the most prevalent purpose of materializing the state of anguish that screams inside in the artist's thoughts interpreted by an heterodox, blasphemous optic, played by sinister rhythmic-harsh/industrial dark-ambient procedures, occult atmospheres, so congenial to support the concept of the album, or a sonic investigation on manifestations of demons in the Eastern tradition. The opening evolves from "Baphomet", full of darkness and midtempo industrial-percussive automatisms which austerity is combined to the infected electronic manipulations that flow copious from the laptop, to the hyper-saturated electronic eruptions and to the menacing keyboard roar that surrounds entirely with coldness the track. The voice belonged to the damned English writer and esoteric Aleister Crowley flowing now disfigured by sound filterings to which they follow unstressed dark-ambient pads extensions, distorted manipulations and an undercurrent of Arabian programmed percussiveness: all this in "Abduxue". It follows the next song, "Hades", propagating impure darkness activated by an electronic vortex that, screeching against an industrial percussive drumming base, it causes abrasions and glacial combustions of high intensity, strengthening inside a sense of oppression and drama. "Ahriman Ante" spreads amount of synthetic noises processed and infected by micro-fractures, by a turbid filament, obsessively repetitive, supported by obscure-ambient perturbations longer expanded until they reach an heretic liturgy of bell and spoken words. "Iblis" burns, rhythmically automated by industrialfire sections to which it follows the eternal and slow flight of pads similar to choirs coming from the Infinite, a sound-system that not gives respite leaving the listener transfixed by such solemn gloom. The album continues with "Angra Mainyu", a track created using powerful sequences of electronic material full of timbres recalling the cruel breath of hellish entities to which they follow by excruciating radiation and hyper- technological -industrial harsh frequencies so destructive to annihilate each element, along with drumming an hypnotizing abysmal-intoned laptop chord. "Samael" retrieves the dark-ambient sound highlighting it through meditative shadiness and by low modulations which fractionations take the recalls of Nature elements represented by the rain and the bright twittering of birds, alternating all this to the Oriental movements expressed with minimalism and sinuosity by the keyboard intonations and the humble ethnic-drumming. countering such calmness, the industrial clang played by "Rashnu" extends metal echoes surrounded by an electronic gaseous, radio-contaminating turbines, which makes sound opacifications devastating the structures by its roar, while the following "Astaroth" transmits hallucinated keyboard apportionments similar to an obscure mantra, integrally saturated by noises and by a tormenting cloud of synthetic effects that spinning cyclically and mechanically obsessing the hearing. The silvery bell clink reverberates clearly for the celebration of the final rite, "Ahriman Post", moving itself softly to the rhythm of a thin and lysergic-oriental drumming phase, concluding by these sounds an opera that represents acoustically and ideally a depicts the ancient pagan iconography related to Hell and to the interaction of its creatures with the Humanity, performing so the function of "contact" between remote Era and the current times next to Apocalypse, emphasizing into musics enigmatic charm and the terrifying presence of Unknown. The creativity of Svart1 calls every electronic stratagem to re-create the right mix of evocation and pathos, while his cold and disenchanted eyes scan the approaching and the subsequent evolution of the arcane spirits without any light coming from the flaming Levantine depths: malevolent shadows will dance with the listener forever sinking him into the damned chasm of "Satanische Helden". Conscious of this, get you close to it.

Review about cd "SATANISCHE HELDEN" from Son of Flies Webzine(September 2013), Italy.

Raimondo Gaviano mente pulsante del progetto SVART1 è uno dei compositori più validi e interessanti che la scena dark ambient / industrial italiana possa vantare. E' tornato per farci annegate nell'oscurità profonda della sua raggelante dimensione sonora. L'orrore dipinto dal musicista diventa il simbolo di una incontrollata evoluzione stilistica, forse, da un certo punto di vista, un'anticipazione concreta/realistica di quel che sarà il nostro triste destino. L'eretico "Satanische Helden" si pone agevolmente fra due versanti opposti: vivente e non-vivente, fra umano e tecnologico, balzando in primo piano grazie alla flessibilità critica che lo alimenta e contraddistingue da molti simili. La musica concepita da Svart1 è nata dai suoi stessi incubi interiori che non sono da meno di qualunque altro essere vivente si ritrovi a respirare con affanno in questa vita terrena, stuprata dallo sterile condizionamento materiale. Così, Gaviano entra nel torpore dell'immaginario collettivo violandolo ulteriormente, da solo lo circonda per poi annientarlo. Nei suoi tratti tecnici si colgono echi sonori dei migliori maestri del genere, ma si sente che il bestiale/cupo "Satanische Helden" è penetrato anche da una sentita / personale ricerca avanguardista. In esso, l'ascoltatore può abbandonarsi totalmente per poi seppellire meticolosamente la propria essenza sconfitta, molto prima che la tracklist si concluda. La tangibile originalità di Svart1 diventa il segno che lo rende "diverso"/"vincente"!!! Bisogna essere assolutamente felici diascoltare artisti come Raimondo Gaviano. Lavoro notevole. Da avere assolutamente!

Review about cd "SATANISCHE HELDEN" from Darkroom Magazine(July 2013), Italy.

L'act italico Svart1, forte ormai di una discografia ampia tra uscite in download, cassette e CDr, torna con un nuovo CD a distanza di tre anni dal precedente "Non Tutto Ciò Che Tace È Morto". "Satanische Helden", titolo nato da una citazione del primo singolo dei tedeschi November Növelet, prende spunto tematico da una lista di demoni che danno nome alle dieci tracce del disco, in cui compare anche la voce (un po' fuori luogo) di Aleister Crowley. I suoni spaziano da partiture ritmico-industriali a furori noise, senza tralasciare atmosfere pacate, generate con droni prolungati o sovrapposizioni di materiale sintetico. L'elemento percussivo è la nota più vitale del disco, usato a volte in modo superficiale con cassa dritta di sottofondo ("Ade" e "Angra Mainyu"), ma anche in maniera meno scontata laddove intervengono pulsazioni abrasive che assumono la forma del ticchettìo di un orologio, come in "Ahriman Ante", o nell'andamento elettro-tribale di "Abduxue", che segna uno degli aspetti più interessanti dell'opera. Tra qualche passaggio un po' fracassone, da cui trapela una certa difficoltà nello gestire accumuli sonori importanti ("Rashnu", "Astaroth"), trova spazio anche il piccolo gioiello "Samael", pezzo che, staccando col resto dei suoni, trova il suo nodo centrale in un tema di strumento a fiato accompagnato da percussioni etniche e cinguettìo di rifinitura: ne risulta un sound incredibilmente efficace nel trasmetterci l'esotismo di un rituale antico, fotografato in luoghi ignoti lontani anni luce dalla modernità. Nel complesso "Satanische Helden" si presenta con alti e bassi: idee buone ma di seconda mano, le solite strutture industriali 'casalinghe', ma anche alcune liete e inaspettate sorprese che trovano nel ritualismo post-industriale il loro aspetto più affascinante. In futuro sarà meglio insistere sui lati positivi e ripulire i suoni da troppo, inutile rumore: gli spunti interessanti non mancano.

Review about cd "SATANISCHE HELDEN" from The new Noise (June 2013), Italy.

Svart1 (Raimondo Gaviano) è un progetto relativamente nuovo di area industrial/noise/dark ambient. Ha base in Sardegna, dove ormai – tra Balestrazzi, Altieri, Santoru, Carìa – è tutto così freddo e buio che pare di essere in Islanda. Temevo, visti i titoli di album e tracce, l’ennesimo clone degli Mz.412, che comunque in qualche recesso del dna di Svart1 ci devono essere. Satanische Helden (“eroi satanici”), invece, ha i suoi momenti di eccellenza: l’accumulo bruciante di suoni in “Iblis”, la fusione tra techno e dark ambient di “Angra Mainyu”, lo strumento etnico a fiato di “Samael” (vedi alla voce Nimh, per rimanere in Italia) o i “tintinnabuli” più percussioni circolari di “Ahriman Post”. Forse ci sono un paio di intoppi (scegliere ancora Crowley, il beat di “Ade”…), ma pure il grosso delle altre tracce regge, senza dimenticare che stiamo parlando di un genere che è già collassato varie volte sotto il peso di miliardi di uscite, quindi è dura farsi ascoltare con orecchio interessato e/o dire qualcosa di nuovo. La strada, in ogni caso, pare proprio quella giusta, perché Raimondo suona in giro e instaura varie collaborazioni (anche per quanto riguarda la realizzazione di video), incrementando dunque la propria esperienza: forse serve solo proseguire convinti, togliere le ultime imperfezioni al suono e sbarazzarsi di qualche cliché, così da trovare definitivamente una voce unica e chiaramente distinguibile.

Review about cd "SATANISCHE HELDEN" from Black on line (May 2013), Germany.

Im April diesen Jahres hat der sardische Künstler SVART1 sein neuestes Album “Satanische Helden” auf Industrial Culture Records veröffentlicht. “Böse, böse, finster!” mag man sich in Kombination mit dem doch eher stereotypen Death Industrial-Artwork denken, doch ist der Titel des Albums eher ein Tribut an die implizite Forderung nach “More Satanic Heroes” von NOVEMBER NÖVELET. Damals, vor langer Zeit. Nach diversen Tapes (u.a. JOSEF NADEK, WYRM) und einer CDR ist “Satanische Helden” die erste reguläre gepresste CD im Katalog des Labels. Eine weise Entscheidung. “Satanische Helden” beginnt mit dunklem oszillierenden Stromkrach, der angenehm rauscht und knackt. Doch spätestens nach dem Intro des zweiten Tracks wird die Erwartung auch eines klanglichen Galakthorrö-Tributes positiv enttäuscht. Die tribalen Rhythmen lassen eher an THIS MORN´OMINA minus Techno denken, bzw. an den ESPLENDOR GEOMETRICO-Ableger MOST SIGNIFICANT BEAT. Überhaupt zeigt sich “Satanische Helden” für Genreverhältnisse spielfreudig und abwechslungsreich. Nicht, dass man das meiste auf die ein oder andere Art schon andernorts gehört hätte. Die eigentliche Leistung von “Satanische Helden” ist der Mash-Up, der neue Bewegung liefert und Sympathien sichert. Gerade im Power Electronics-Sektor scheint alles gesagt, wütende alte Männer brüllen weiter zu BRSTSGTSCSCH ins Mikro ihren Frust in die Welt, während vor der Bühne verschwitzte Fanboys mit graumeliertem Haar Männlichkeitsrituale praktizieren. SVART1 setzt sich davon ab, macht Spaß und brettert unbekümmert auf die Tanzflächen, ohne dass die insgesamt zehn Tracks sich im formelhaften verlieren. Auch auf der heimischen Anlage kann man sich “Satanische Helden” am Stück anhören, ohne einzuschlafen. Natürlich gelingt das eine mehr, das andere weniger. In der Gesamtschau gehört SVART1 für mich zusammen mit ATRABILIS SUNRISE (RAUBBAU) zu den spannenderen Post-Industrial-Schrägstrich-Power Electronics-Projekten der letzten Jahre.

Review about cd "-PRAHA-" from Terapija (July 2012), Croatia.

Što je umjetno, a što izvorno? Koji su zvukovi nastali mašinski, a koji snimljeni u prirodi, organski? U najnovijem izdanju sardinijskog osobenjaka Raimonda Gaviana, koji djeluje pod umjetnickim imenom Svart1, se do nerazdvojivosti miješaju realnost i san, košmar i suptilna harmonija. Njegovo polje djelovanja je dark ambiental. Jedna vrsta zvucne terapije, pomocu koje pokušava rašclaniti u najmanje gradevne jedinice ono što nazivamo stvarnost, dogma, misao, osjecaj. Pri tome on ne bira sredstva i pomagala, nije ogranicen. Zvuk, slika i video-projekcija su njegova oruda. Koristi se kako synthesizerom, gitarom, tako i kompjuterom i drugim uredajima, ali i zvukovima snimljenim izravno i neposredno na terenu. To može biti u prirodi, ali i, kao u ovom slucaju, mašinsku jeku. Tajanstveni pogon (ili pogoni), koji neumorno dominira nad prvih desetak minuta ovog polusatnog naživo-snimka. "Praha" je nastao kao live set održan u Pragu proteklog ožujka u okviru specijalne 'industrial night', organiziranoj od strane Arkham Productions. A njegovo izdanje je preuzeo sarajevski Mrtvaja Records. Prije toga Svart1 je prošle godine imao gig i u zagrebackoj Tvornici, gdje je predstavio svoje tadašnje najnovije izdanje zvano "Der Schnitter". Što je java, a što san? U "Praha" ova dva pojma se preplicu - i medusobno poništavaju. Nije nikakva tajna da ciklicni, neprekinuti zvukovi, ritmovi i melodije izazivaju stanje transa. Stoljecima covjecanstvo se koristi tim sredstvima. Uzdignuti se 'na jedan kat više'. Vidjeti ono što je skriveno. Osjetiti ono što je daleko. No, u ovom slucaju to je strogi nihilizam. Pokušaj kroz zanijekanje otkriti pravu istinu. Samu srž stvari. Konstelacija od neprekinutog protoka hipnoticnih informacija u vidu bizarnih, atonalnih zvukova, kakofonije raznih abrazivnih šumova, udara i efekata. Te u drugom dijelu ove kompozicije, mracno tribalne perkusije u obliku iskrivljenih techno-ritmova, cije uzroke možda treba tražiti u tome što je ovaj cudni umjetnik nastupao na dva velika sardinijska festivala elektronske glazbe, i gdje je moguce inspiriran plesnom elektronikom. No, taj ritmicni element je ovdje dobrodošla protuteža mracnoj i goletnoj atmosferi. Koja se pred završetak pretvara u cistu ambijentalnu i harmonicnu meditaciju. Ali koja ipak i dalje podzvucno zadržava svoj tipicni prijeteci i hladni karakter. Ovaj ljudski sakupljac i kanalizator zvukova cilja prije svega na to da slušatelja odvoji i izdvoji od njegovog okruženja. Dovede ga u jedno transu slicno stanje i usadi mu u um zajednicke uznemirujuce projekcije. I to, mora se priznati, s inženjerskom preciznošcu.
Naravno, da bi se u potpunosti osjetilo ono što ovaj snimak pruža, potrebno je 'biti u tome'. To jest, nemati straha od dark ambientala, industriala i slicnih glazbenih žanrova. Potrebno je biti pristaša eksperimentalne i 'egzoticne' glazbe. No, oni koji to nisu, vjerojatno nece ni procitati ovaj tekst do kraja. A kamo li htjeti poslušati ovaj snimak. Svima drugima je za preporuciti ovaj najnoviji projekt od zanimljivog sardinijskog individualiste.

Review about cd "-PRAHA-" from Kulturterrorismus (July 2012), Germany.

Nachdem im Jahr 2011 “Der Schnitter” von Svart1 sehr gut zu munden wusste und mittlerweile noch durch etliche Videos des italienischen Protagonisten Raimondo Gaviano, dem alleinigen Mann hinter Svart1, angereichert wurde, erweitert das noch junge Projekt die Diskographie nun mit einer im Cafe V Lese in Prag aufgezeichnete Live-EP mit dem knappen Titel “Praha“, die im Grunde als Appetithappen auf kommende Werke fungiert. Wie zu erwarten improvisiert und ohne Cuts befindet sich ein einziger, unbetitelter Track auf der auf 30 Stück limitierten CD-r, die in schlichtem, aber stilvollem Pappschuber samt Kathedralmotiven daherkommt. Musikalisch bleibt sich das Projekt zum Teil treu: noch immer deutlich verwurzelt im (Death) Industrial besteht der gesamte Track aus Sägen, hintergründigem Stromknistern, Fabrikhallensounds & Maschinenrhythmen. Um die Weite der Atmosphäre auszubauen ist alles durchzogen von flächigen Soundfeldern, die durchgängig sakral bis choral klingen und somit die Verbindung zum Motiv und damit dem selbstgewählten Thema der Jenseitigkeit herstellen. Das dazu passende abgedruckte Franz-Kafka-Zitat “A first sign of the beginning of understanding is the wish to die” unterstreicht genau diese Richtung nochmals – allein wie schon zuvor auf “Der Schnitter” ist dieses Thema im Industrial in keinster Weise Neuland. Davon jedoch abgesehen ergießt sich die halbe Stunde der EP sehr angenehm dem geneigten Hörer, und bleibt dabei zwar nicht so variabel, wie zuvor auf dem Tape (und erreicht schon gar nicht dessen teilweise deutliche Rhythmusarbeit), trotzdem aber wandelt sich das Tongut, wenn auch linear, von rau und kratzig zu einem in der Intensität immer weiter abnehmenden Stück, das schließlich gänzlich sphärisch mit sanften Soundscapes und klassisch angehauchten Tonsamples geheimnisvoll aszendierend ausklingt. Fazit: Dass es sich hierbei um eine Livesession handelt, merkt man dabei mitnichten – “Praha” besitzt einen übergreifenden Spannungsbogen, funktioniert kompositorisch wie atmosphärisch perfekt. Zwar wird nicht ganz die Klasse des Vorgängers erreicht – für sich genommen stellt die EP aber eine gelungene Überbrückung zum nächsten Vollzeitwerk dar.

Review about cd "-PRAHA-" from Chain D.L.K. (June 2012), Italy.

SVART1 is the pseudonym of Raimondo Gaviano, an Italian musician who lives and works in Sardinia. The title of his latest work that I present today is Praha.
Svart1 is a representative member of best music scene into this big island of Sardinia, located at the center of Mediterranean Sea, which has especially into experimental grey-area and around the electronic music, some known musicians and also many followers and fans.
This last work of Svart1, titled Praha, is a limited edition CD produced by a non-Italian label, the Mrtvaja Records, a small and independent Bosnian label, born in 2009. The Mrtvaja label produces really fine limited editions of works of experimental electronic and electro-acoustic music. Svart1, in this case, works for Mrtvaja Records but hi has realized various productions for others independent labels and als more self-realised productions. All his discograpy is visible on his personal website. Svart1 during his career have also various collaborations with other artists of the Italian and European electronic scene.
Gaviano, as I said earlier, working in Sardinia like many other electronic musicians his countrymen and also for this reason is really used to have a necessary great productive autonomy and often also move beyond the narrow confines of this island to interweave many contacts and collaborations with others musicians who working overseas.This work Praha is an example of this easy "way of life" to migrate overseas for Sardinian artists. Praha contains a recent live of Svart1 recording in Prague (into the Cafe V Lese) during March 2012 for an event organized by Arkham Productions (http://www.arkham.hys.cz/).
The Arkham is one of the most renowned cultural promotion agencies of that city and, on the same occasion, also the Czeck artists of the Seismic Wave Factory performed a live with the VJ's of the Fuck TV project (you can found some infos about those projects on http://www.industrialgallery.com). This album Praha is a very good work for me. And his tracks are a perfect testimony of the genuine and sincere approach to the electronic music of our Svart1. A careful listening to this record reveals very positive for the mind as a persuasive mantra, at times more hypnotic, familiar and comfortable for discerning ears as a carpet of self-constructed rhythms that are never predictable or consistent.
For example, into the opening track, an audio sample of a simple running sewing machine turns into a cyclic pre-apocalyptic drone portends an impending flood. And all the work is a successful and enjoyable example of the best minimal noise with grafts of electronic ambient that are always expertly blended to work together without any mannerism. A great job so this Praha, which I recommend, however, to hear before a random search on Youtube videos work by Svart1/Raimondo. Because the artistic research of Raimondo Gaviano is never just or only music. And for this reason surely a single CD audio is not able to give a full idea of his works. For those, like me, who knows and follows it from many years it is difficult to separate these two aspects of sound and video image which, in this case, are always intimately linked.
The self-produced video by Raimondo Gaviano, run behind him during his live performances and are little masterpieces. Each concert, for the spectator, is indeed a beautiful multi-sensorial experience that is based on the close union between music and the video processing of extreme or dreamlike images that emphasize and amplify fueling our imagination in a growing fact of endless cinematographic references and citations. Finally i recommend also you to not stop only at this album Praha, last work of Svart1/Raimondo Gaviano, because I hope, after this review, please you to go on the net, for a search around his other works.
Because Svart1 is a complete artist. A good electronic musician but also a great video maker and a fantastic manipulator of digital images. The post-industrial atmospheres that his work created for us, by masterly use of a thin, black and white very dry, or with a color change into a soft focus often dissolving in a strong light and dark, thwarted and diverted, are the best description possible of the ruined worlds that surrounds us and surrounding our post-industrial way of feeling this strange modern life. You have to see the work of Svart1 not just listen.

From Mortemzine for "Svart1 in Prague" (March 2012), Czech Republique.

Svart 1 v Praze. Na poslední chvíli domluvená ambientne/industriální zbesilost na nedelní podvecer. Svart 1 má cestu kolem a žádá o možnost prednést své vize temného ambientu a industriální frustrace. Nedelní pozdní odpoledne v Café V Lese je mu tedy k dispozici! O vzorné uvítání zahranicního hosta se postará nastoupená jednotka Seismic Wave Factory a cestnou salvu vypálí Fuck Tv Video Divison! Zacínáme od 18:30 a vstup ciní symbolická stovecka!

Review about tape"DER SCHNITTER" from ElektroniKonsum-Blog für Krachkultur-(November 2011), Germany.

Von Svart1 alias Raimondo Gaviano ist auf dem transilvanischen Label Mask Of The Slave (u.a. Veröffentlichungen von Flutwacht und Black Leather Jesus) das Album "Der Schnitter" auf Kassette erschienen (limitiert auch 60 Stück). Raimondo Gaviano arbeitet in den Bereichen Ambient, Dark Ambient, Industrial, Live-Performance und Video. Sein Output basiert auf Geräuschen die er selbst "sammelt", also unter anderem selbst draußen aufnimmt. Dabei entsteht Sound, den man so nicht unbedingt mit Sardinien (seinem Wohnort) verbindet.Die ersten 2 Stücke sind ein einziges drohendes Dröhnen. Bei dem Opener passiert etwas im Hintergrund, das gerade so laut ist, damit man es noch bewusst mit bekommt, jedoch nicht laut genug um wirklich zu erkennen, was da im Hintergrund passiert. Als optimaler Anschluss erklingt Nummer 2, das in der 2. Hälfte dann noch etwas anzieht und eindringlicher sowie rauher wird. Die 3 (die Stücke haben übrigens keine Namen) ist mein Anspieltipp. Guter Rhythmus, weniger Minimal als die anderen Tracks, interessante Spannung. Danach folgt wieder Dark Ambient. Ruhe bis zur 5. Hier wird es abermals schön rhythmisch. Ich würde es als klassischen Maschinenklang bezeichnen. Ein bald erscheinendes Geräusch klingt wie eine klimpernde Maschine, die allerdings ziemlich bald aufhört, sich zu drehen. Danach kommt das Stück wieder zum Sound davor zurück. Der Kreis schließt sich. Das letzte Stück, welches für einen dezenten Ausklang sorgt, ist im Video unten zu hören. Insgesamt ist "Der Schnitter" gutes Industrial-Album, für das es sich durchaus lohnt, ab und zu wieder das Kassettendeck anzuschmeißen.

Review about tape"DER SCHNITTER" from No Easy Listening Webzine (November 2011), Germany.

Bekanntermaßen sind die Themen Tod, Sex und Sadomasochismus im Industrial-Umfeld keinesfalls neu. Ganz im Gegenteil findet man in ihnen viel mehr das klassische Repertoire einer Veröffentlichung dieser Couleur. Allein dieses Thema hätte mich also nicht unbedingt an Der Schnitter von Svart1 interessiert gemacht. Doch wie so oft braucht es einfach einen Anstoß, um sich genauer mit einem Werk zu beschäftigen, und so den eigentlichen Wert dessen zu verstehen. Ausschlaggebender Punkt für die genauere Betrachtung der über Mask of the Slave-Records veröffentlichten Kassette waren vielmehr zwei Videointerpretationen zu Stücken des Künstlers selbst, die zwar ebenso wie das inhaltliche Arbeitsfeld keine Grenzen überschreiten, trotzdem aber ein gutes Gespür für die Wirkung und Verarbeitung der Musik zeigen und sie dadurch um einen wichtigen Faktor erweitern. Denn vor allem im Themenfeld des atonalen, des entmenschlichten Geräusches wird es meist schwer, das Konzept selbsterklärend durch den Klang zu transportieren. Konkret beschäftigt sich der Sardinier Raimondo Gavianio hinter Svart1 mit dem Spannungsfeld aus psychologischer Selbstverletzung und Autoaggression, der Suche nach der Lösung (dem Sinn) und der, wenn jenseitig interpretiert, finalen Auflösung dieser Frage im Tod selbst, der hier als Reinkarnation in Form einer gereinigten Erneuerung gesehen wird. Dieses Konzept ergibt sich jedoch de facto nur auf dem Papier und lässt sich freilich in der Musik so einfach nicht ablesen. Hier wird wieder die Rolle der optischen Komponente, die seit jeher zum festen Repertoire von Svart1 zählt, deutlich: denn an der Stelle, an der Industrial in seinem Wesen entmenschlichte Musik meint, zeigen die Bilder klar die Bezüge zum Inhalt und erhöhen so das Verständnis für Intention und Anliegen von Der Schnitter. Und dieses Selbstverständnis ist dem Thema entsprechend in seiner Tonalität vehement schwarz. Ob in der Form des bewegten Bildes oder aber in der akustischen Form bildet das Gefühl der Schwärze und Leere den Kernpunkt der Arbeit. Dunkelheit, Schwere und die Angst vorm Unabwendbaren - das sind die Kernbegriffe seiner Ausführungen. Die tonale Umsetzung bleibt dabei anfangs bei ruhigeren Noisekollagen, bewegt sich aber später zu relativ klarem Old School-Industrial, in dem ein atmosphärischer Unterbau jedoch stets hörbar bleibt. Da gibt es kreischende Kreissägen, schwer metallisch Klangfetzen, im Mittelteil auch deutlich rhythmische Percussion, die trotz der maschinellen Ernsthaftigkeit ein wenig Leichtigkeit ausstrahlt und so den Spannungsbogen aufrecht erhält - generell verbreitet Svart1 eine Menge (professionellen) Krach, der aber nie zum leidlichen Selbstzweck so mancher Akteure verkommt, sondern durchdacht einen Sinn verfolgt; mag dieser auch keine Revolution sein, so gibt die Wirkung dem Werk recht.Fazit: Ausgehend von meinem Beginn überrascht Der Schnitter zwar inhaltlich nicht, zeigt aber genau, wie man sich innerhalb der Genregrenzen des Industrial ernsthaft und mit eigenem qualitativem Anspruch präsentiert. Ich empfehle zum Verständnis in jedem Fall die Videoarbeiten des Künstlers in Betrachtung zu ziehen, sagen diese doch mehr als hundert meiner Worte!

Review about tape"DER SCHNITTER" from Kulturterrorismus Webzine (October 2011), Germany.

Es ist ein Schnitter, der heißt Tod, Hat Gewalt vom höchsten Gott, Heut wetzt er das Messer, Es schneidt schon viel besser. Bald wird er drein schneiden, Wir müssens nur leiden. Hüte dich schöns Blümelein! (Auszug aus dem Deutschen Volkslied “Es ist ein Schnitter”, 17. Jahrhundert, Verfasser unbekannt) – ein Gedicht, das die Vergänglichkeit der Menschen vor Augen führt, die in unterschiedlichsten Facetten wie Religion, Philosophie usw. auftaucht und so manche Interpretation zulässt, der sich Raimondo Gaviano, the brain after Svart1, auf dem Tape “Der Schnitter” annahm. “Der Schnitter” erschien als limitierte Tapeedition (60 Exemplare) über die mir bisher völlig unbekannte Manufaktur Mask Of The Slave Records aus Rumänien, deren Backkatalog Namen wie Black Leather Jesus, Richard Ramirez, Brandkommando, Flutwacht, Gelsomina, Haare, Narkoleptik usw. zieren. Letztere Arbeiten des Italieners offerierten brillanten Dark Ambient, der auf “Der Schnitter” in post-industrielle Gefilde abdriftet, welche großteils an Größen wie Propergol, Slogun, Column One & Lustmord erinnern und phasenweise in die experimentellere, fast idmhaftige, Schiene verfallen – eine gewagte Konstellation, die durchweg gefallen mag, auch direkt beim Erstkonsum. Vor allem die erdrückende Intensität/ Dichte aller Tracks zeichnet “Der Schnitter” aus, das keinesfalls Neuerungen aufwirft, sondern bekannte “Kost” in guter Qualität bietet. Anspieltipp? Mit minimalem Abstand Lied Nr. 2 auf der A-Seite der Musikkassette, wo Raimondo Gaviano eine bedrohlich melodiöse Klanglandschaft à la Lustmord zelebriert – Wahnsinn!Fazit: Vorangegangenen Publikationen von Svart1, welche im Dark Ambient ankerten, überzeugten massive durch ihre Ausdruckskraft, eine Begebenheit, wodurch “Der Schnitter” ebenfalls besticht, das post-industrielle Hochkultur offenbart – meine Empfehlung! PS: Hoffentlich bleibt Raimondo Gaviano der hier gebotenen Linie treu, die seine vorherige Limitiertheit aufbricht und in eine variablere, weniger berechenbare, Variante verwandelt

Review about cd-r "Non tutto ciò che tace è morto" from sonomu.net webzine (May 2011), Germany.

The air onto which Raimondo Gaviano opens the door is noxious and damp and loose wires throw off perilous electric sparks. The Sardinian´s album is harrowing portrait of pyschological imbalance and body ailment, with the Church and its liturgy constantly hovering, incapable of offering salvation. The tone is utterly abject and Svart1 always maintains a low level of terror, which hollows you out slowly but surely just the same. Bells are a recurrent theme. A tiny dinner bell, bigger bells calling in a small, dour choir of monks. An alarm that goes off without being answered. A plague bell leading an imponent choir. In a truly Transylvanian moment – that does not come off as corny but rather truly chilling – the distant howling of wolves. The final ten minutes a windblown zombie walk off into the abyss. Deliciously baneful.

Review about cd-r "Non tutto ciò che tace è morto" from Darkroom Magazine (December 2010), Italy.

Prima produzione in CD per il progetto del cagliaritano Raimondo Gaviano, dopo varie uscite su CDr e file scaricabili. "Non Tutto Ciò Che Tace È Morto" si presenta in una curata veste grafica per una tiratura complessiva di sole 100 copie, ma per chi riesce a fare a meno della fisicità del dischetto, la label produttrice mette a disposizione anche versioni in download. L'opera è composta da sei tracce - con evidente propensione per titoli in latino - e un breve videoclip introduttivo, che traduce in immagini la cupa desolazione dei suoni grazie ad ambienti solitari, fotografati con colori che sfumano dall'oro al nero. La scuola dark ambient mitteleuropea e il gelo di matrice italica (vedi act come Selaxon Lutberg) incidono non poco sulla formazione di questo musicista, che accorpa linee di synth torbide e oscure per creare atmosfere isolazioniste e interiori, arricchite da qualche rintocco, fugaci melodie che mimano partiture vocali, canti gregoriani e immancabili rumori evocativi. La morte e lo scorrere del tempo sono tematiche centrali nell'economia del disco, viste con toni pacati e plumbei, quasi ci si trovasse dinnanzi ad una presenza oscura ma positiva, accolta con saggia benevolenza sullo sfondo di un panorama fatto di cose silenziose, ma non per questo prive di vita. Echi medievaleggianti affiorano in un contesto che rimane comunque legato ai nomi forti della scena ambient, senza aggiungere molto dal punto vista sonoro. Alcune tracce (soprattutto la title-track ed "Ex Nihilo Crevit") risentono di una resa audio ovattata e troppo compressa, non in grado di valorizzare le varie stratificazioni sonore. Derivativo lavoro di genere, assemblato con cura, ma tecnicamente deficitario. Maturità e personalità devono ancora arrivare.

Review about cd-r "Non tutto ciò che tace è morto" from PAN.O.RA.MA magazine (December 2010), Chile.

Raimond Gaviano's solo projects was created somewhere in Cagliari Italy and offer us an exquisite album full of Dark ambient masks mixed with such dense soundscapes collapsing all the time, mutating all the time and giving you a sence of desolation and vacuity due to intensity of each one of the whole tracks included here. "Ex Nihilo Crevit" evokes the pure essence of this italian act with a composition full of obscure desolated spaces gathered to create a vast piece of ambient atmospheres. "morns Omnia Solvit",congregates a kind of ritual structures by the use of bells and drone patterns,creating ghostly atmopsheres and sinister scenarios through the composition; some spoken voices as chorus can be heard as background at the end of the track. An aspect worth to mention here is how each one of the tracks evolves from time to time,always bringing new elements to the music in general. "Omnia Tempus Habenet" begins where the last track ends...and the voyage continues this time through a more drone based one,surrounded by some industial elements. "Factum Omne Rotat" is a more sugstive piece of dark ambient nature in comparison the last one. More suitable and calm atmopsheres but still bathed though such eerie structures convering all the time. The last track included here is "Non Tutto Ció Che Tace É Morto",to complements the whole conceptual album which translated means "Not everything that Tage is Dead" and from such translation we must observe SVART1 not as a dead organism but as a reality closed to a dream where nothing has been seen to be continued!!! the album includes a video clip in which you shall exprerince the visual side of SVART1,bringing you desolation and isolationism in a very interesting perspective.

Review about cd-r "Non tutto ciò che tace è morto" from Dside webzine (November 2010), Italy.

Solo-project del cagliaritano Raimondo Gaviano, cultore di tutto ciò che visivamente o acusticamente sia riconducibile al concetto di oscurità, interpretata come oggetto di analisi intellettualistica, razionale, interposta contemporaneamente a musicalità visonaria e surreale. La discografia dell'artista consta, dal 2007, perlopiù di mp3 files, tranne che per il vero e proprio debutto "fisico" avvenuto nel 2009 con "Spring Wind Brings Water" ed ora con il recente "Non Tutto..." edito dalla label rumena Valse Sinistre Productions. Il genere proposto da Svart1 è un gelido e brumoso dark-ambient, espanso in sei suites solo apparentemente immobili, cristallizzate, ma disposte in modo da far percepire, oltre la loro impenetrabile nebulosità, una vibratile energia, una fredda combustione di suoni, sussurri e dilatazioni computerizzate che esaltano la vita anche laddove essa sembrerebbe irrimediabilmente estinta. Ne scaturisce quindi un album assolutamente riservato all'ascolto conscio, ossequioso delle particolari dottrine che regolano gli incorporei ritmi di uno stile musicale introverso e cerebrale. L'evocativa finezza estetica dell'art-work suggerisce anticipatamente un lavoro di pregio, sensazione confermata dalla traccia d'apertura, la turbinante "Ex Nihilo Crevit" entro cui si evolvono progressivmente scure nubi di laptop dalla timbrica glaciale che in seguito cedono spazio ai mesmerizzanti tocchi di bell annegati nella placidità notturna del dark-sound espresso in "Mors Omnia Solvit". Ancora una spettrale scia di campana introduce le gassose strutture di "Omnia Tempus Habent", episodio che congela il suono provocando intense sensazioni di immobilità interrotte da compatti frastuoni pseudo-percussivi e da vortici di rumore sotterraneo. Infinite estensioni tastieristiche, buie, impalpabili: ecco i muti accordi stemperati nel ghiaccio di "Factum Omne Rotat", traccia ipnotica, dalla profondità abissale, in anticipo sull'omonima "Non Tutto Ciò Che Tace E' Morto", emanante un'aura di fascino immoto che circonda la spazialità attraverso un obscure-noise polare, dalle procedure monocromatiche, sospese nel tempo, che lentamente, come emergono, si dissolvono nel silenzio. "Nascimur Uno Modo, Multis Morimur" conclude la title-track utilizzando essenziali note tastieristiche meno assoggettate al gelo sonico precedentemente percepito. Release incantata, concepita con il proposito di dare forma, carne e vitalità al silenzio, sovvertendo il rigido teorema che accomuna l'assenza di ogni suono all'irrevocabile oblìo della morte. Se pensavate che ciò non fosse possibile, ricredetevi.
Non sempre le emozioni scaturiscono spontanee. A volte le più intense esigono meditate estrapolazioni da ambiti tenebrosi, luoghi dove tacitamente risiedono. Questo album, per chi è in grado di assimilarne l'oscura essenza, ne accoglie una quantità infinita.

Review about cd-r "Non tutto ciò che tace è morto" from Rosa Selvaggia (September 2010), Italy.

Quinto full length, primo in cd (i precedenti erano mp3 o cdr) per questo progetto del poliedrico cagliaritano Raimondo Gaviano. Limitato a sole 100 copie, il lavoro gode dell'ottimo lavoro grafico della bulgara Haate Kaate, evocativo del legame imprescindibile tra donna e natura. E proprio alla natura è avvinto fortemente il leit motiv dell'album, come si evince dal titolo, dal video e dalle foto che si trovano sul cd, natura di cui Gaviano è attentissimo osservatore ed in cui si immedesima quando va a comporre e stratificare i suoi suoni a tratti oscuri e desolati che richiamano i Lycia, a tratti quasi liturgici evocanti momenti à la Raison d'Etre, il tutto però con un tocco personale, un'oscurità ed un gelo impensabili se associati ai paesaggi sardi, come siamo abituati a conoscerli. Ascoltatelo al buio, chiusi in una stanza, nessun altro senso deve essere attivo: solo allora la potenza di questo lavoro si realizzerà e ne godrete in pieno.

Review about cd-r "Non tutto ciò che tace è morto" from kulturterrorismus (October 2010), Germany.

Auch unter Zuhilfenahme des deutsch-italienischen Wörterbuches lässt sich der wahre Gehalte des neuen Svart1 Releases “Non Tutto Ciò Che Tace È Morto” nicht entschlüsseln, weshalb der Fo- kus auf der Musik, dem Dark Ambient liegt, der aufgrund seiner Vo- lumina, vor allem Anhänger der skandinavischen “Variante” wie ihn z.B. Northaunt, Kammarheit, Atrium Caceri usw. “fabrizieren”, anspricht.“Non Tutto Ciò Che Tace È Morto” erblickte über die junge rumänische Manufaktur Valse Sinistre das Licht Welt, deren Backkatalog mehrheit- lich aus Dark Ambient Publikation besteht, aber auch “Ausflüge” in die Genres Black Metal & Industrial umfasst. Für das äußerst gelungene Design der “Platte” zeichnet sich die in Sofia ansässige Künstlerin Haate Kaate verantwortlich, welche hier einmal mehr ihr großes Können unter Beweis stellt. Wie zu Anfang angesprochen, bleiben beim Bestimmen des exakten Inhalts Fragen offen, die sich nur um Details drehen, da sich aus der Bebilderung, den Tracknamen und dem Satz „Closer to a dream – i had never seen anything to be continued“ erschließt, dass das große Oberthema Mord (Vergänglichkeit) ist, wozu hervorragend die erdrückenden Dark Ambient Soundscapes von Svart1 passen. Hinter Svart1 verbirgt sich der auf Sardinien lebende Italiener Raimondo Gaviano, dessen Stärke sicherlich im Komponieren von verschachtelten Strukturen liegt, welche durch den Einsatz von unzähligen Feldaufnahmen, Sprach- wie Tonsamples & elektronischen „Spielereien“ sehr komplex und zu keinem Zeitpunkt langweilig aus den Boxen “quellen”. Mit “Non Tutto Ciò Che Tace È Morto” liefert der Protagonist ein kurzes (knapp 32 Minuten Spielzeit) aber eindrucksvolles Opus im Soundtrack Stil ab, das besonders durch seine mitnehmenden Spannungsbögen auffällt, die die Lauscher gespitzt halten. Parallelen zu “Stars” wie Northaunt & Kammarheit sind grundsätzlich berechtigt, aber spiegeln nicht den hohen Grad der Eigenständigkeit von Svart1 wieder! PS: Wer Musik nur nach Namen kauft, sollte sich ein anderes Hobby suchen – Punkt!

Review about cd-r "Non tutto ciò che tace è morto" from Vital Weekly magazine (September 2010), U.S.A.

From Canada we travel to Italy, Sardinia to be precise and meet up with Raimondo Gaviano, also known as Svart1, who creates his music with field recordings, synthesizer, guitar, salterio 'and other interesting objects', both from the analogue and digital world. This is 'Italian styled dark ambient', the label says, but, despite his eight previous releases, a new name for me. Its recommended for all fans of Northaunt, Kammarheit and Atrium Carceri, which are bands I never heard of (proving the fact there is only so much a set of human ears can digest). So I don't know these bands, nor what Italian dark ambient' is, but these seven tracks give me a pretty good clue. It doesn't sound like something confined to a country, as what Svart1 does fits many other countries and labels. Foremost I was thinking of Sweden (Cold Meat Industry) or the USA (Malignant). Darker than dark music, based on a few inner earth rumbles, some lengthy synth wash and a slowed down bass thumb. But there is always a bit of melody creeping from underneath the rocks. Autumn has arrived, not just when looking outside, but also on the inside, Svart1 delivers the perfect soundtrack for that. The lightest piece is 'Nascimur Uno Modo, Multis Morimur', which is short but very light. Like sun in autumn time - rare but warm. Quite nice and to the point.

Review about Split-cdr with Shattered hand "Spring wind brings water" from kulturterrorismus (August 2010), Germany.

Wenn ein Release für äußerst kurzweilige Unterhaltung steht, dann die Kooperation “Spring wind brings water” der Ein-Mann Projekte Shattered Hand (USA) & Svart1 (Italien), die das Beste aus ihren angestammten Genres Dark Ambient, Military Pop & Neofolk zu einer faszinierenden Vorstellung fusionierten, welche ihre “Krönung” durch die zauberhaften Stimmen Tòth Fruzsina erfährt.
“Spring wind brings water” gehört zu den absoluten Highlights aus dem Hause SkullLine, das in einer limitierten Auflage von 50 Exemplaren erschien & komischerweise noch nicht den Status “Sold Out” trägt, obwohl das “Schätzchen” seit über einem Jahr am Markt Platzierung findet.
Inhaltlich laden Shattered Hand & Svart1 zu einer melancholischen Reise ein, die von Gefühlen & Naturschauspielen berichten (und irgendwie an längst vergangene Wave Zeiten erinnert, wo Bands wie Soul Whirling Somewhere, Black Tape For A Blue Girl, Love Spirals Downwards, usw. das Geschehen bestimmten). Wer die emotionale Schiene mag, bekommt mit “Spring winds brings water” einen echten Leckerbissen an die Hand, der von der ersten bis zur letzten Sekunde berührt.
In Punkto Tonkunst vereinigten die Protagonisten er- bzw. bedrückende Dark Ambient Collagen mit ausdrucksstarkem Neofolk (Harvest Rain sei als Anhaltspunkt genannt!), die gemeinsam zu einer berauschenden Symbiose “aufsteigen”, der Einschübe aus (Dark) Wave & Military Pop den letzten Charme zum großen Licht verleihen. Besonders mag gefallen, dass alle Kompositionen zwischen komplex & melodiös wandeln, wodurch sie Kriterien wie Anspruch & Ohrwurm zugleich erfüllen.
Zur Akzentuierung des mehrheitlich instrumentellen Werkes tragen besonders die Stimmen der lieblichen Chanteusen Tóth Fruzsina bei, deren Lautäußerungen zum Teil an Jarboe bzw. Monica Richards (Faith And The Muse) erinnern. Zu ihnen gesellt sich noch die äußerst markante Stimme von Matthew Toth, der Michael Plaster von Soul Whirling Somewhere gleicht, welche Shattered Hand viel Wiedererkennungswert verleiht.
Anspieltipp? “Spring wind brings water” stellt die absolut perfekte Vereinigung von Dark Ambient & Neofolk dar, die hier einen gewissen Soundtracktouch entfaltet, weshalb die Empfehlung zum Komplettdurchlauf ergeht.

From "Unione Sarda" (Venerdì 25 giugno 2010, Giuseppe Cadeddu), Italy.

La musica sarda che va fuori dall'isola non è solo trallallera e sulittu. Così può capitare che domani, per il Kollatino Underground festival di Roma, si esibisca Svart1, al secolo Raimondo Gaviano, artista cagliaritano piuttosto conosciuto nel giro della musica ambient tanto che nel maggio 2009 ha suonato in uno dei più celebrati festival europei del genere, l'Hyperborea di Budapest.
Il suo primo lavoro “Frangar Non Flectar” è uscito per l'etichetta americana Black Montanas e “Spring wind brings water”, in coppia con Shattered Hand è stato prodotto dalla tedesca “Skull Line”: «A breve uscirà il nuovo “Non tutto ciò che tace è morto” per la label rumena Valse Sinistre” dice il musicista. Intanto però c'è questo live set romano: si chiama “Per farla finita col giudizio di Dio” ed un omaggio all'omonimo testo che Antonin Artaud scrisse per la radio francese e che, per questioni di censura , non andò mai in onda. In senso stretto il lavoro di Svart1 è quello che i cultori del genere chiamano Dark Ambient, molto apprezzato nella Mitteleuropa e nei Paesi scandinavi. È caratterizzato da suoni in bassa frequenza, clangori decadenti, atmosfere oscure «ma lucide come fossero di ossidiana» dice Gaviano. Uno show multimediale: la musica sarà “parte” della proiezione di un video del regista ungherese Bela Tàar, della greca Vassia_K e di Gaviano.
Ospite della serata un altro attivissimo esponente della musica elettronica cagliaritana: nihilNONorgan, alias dietro il quale si nasconde Roberto Belli (musicista “storico” dell' underground sardo: dai Rosadelleceneri ai Machina Amniotica), La sua esibizione sarà incentrata sul testo di Georges Bataille “L'Arcangelico”. A Roma, e non solo, c'è la Sardegna oltre le cartoline e le sagre colorate: musica e parole, immagini, grigiori, rumori, elettronica e bit digitali.

Review of "Spring wind bring water" from Radiodrone (Russia).

Il lavoro psichedelico - folk - ambient dell'americano Matthew Toth, in arte Shattered Hand e dell'italiano proveniente dalla Sardegna, artista multimediale e musicista sperimentale Raimondo Gaviano in arte Svart1.
Questi nomi probabilmente dicono molto agli amanti della musica underground post-industriale. Ma risulta molto piacevole e inaspettata la maturità in "Spring Wind Brings Water", che lo rende non ordinario nell'accostamento del materiale usato nella composizione. Talvolta riconosciuti simili dalle autorità del genere. Nonostante questo ciascuno dei musicisti include in questo disco la nitida sensazione della propria esistenza nel mondo e il proprio suono individuale (Shattered Hand-autentico campione del psico-folk americano con suoni di chitarra, costruzioni malinconiche e testi poetici; Svart1 esempio dell'ambiente ciclico europeo, con atmosfere contemplative, costruite dai dolci rumori degli elementi vicini all'industriale e talvolta di origine campestre) e Spring Wind Brings Water suona in modo coerente e armonioso.
Confessando una certa logica sacrale, le tracce si versano l'una nell'altra. Nonostante le loro nazionalità diverse non mescolano l'accento con il letargo psicotropo che culla e nel quale lentamente si immerge immancabilmente l'ascoltatore.
Volta per volta i musicisti utilizzano brani vocali e musica vicina ad un certo fascino orientale ( "Darkest of Days", "Every Day we die, but to Death we don't think"). Vivente sembra la voce nella settima e nella decima traccia quando la conoscenza sarà già pronta ad assimilare il riverbero dell'estetica del post rock minore.
"Spring Wind Brings Water" ne è un esempio. Lavorando con le proprie idee e non avendo l'uno il sopravvento sull'altro ma portando i loro suoni poliedrici, i due musicisti hanno ottenuto un risultato impressionante. Quello che davvero amareggia è la tiratura limitata del disco.

Review of "Spring Wind Bring Water" from "Heathen harvest" (U.S.A.) , (December 2009).


Issued on Skull Line, this split CD-R convenes Shattered Hand and Svart 1 to a common challenge of mixing dark ambient and neofolk on a sole album. The sober black and white cover may not reflect the diversity of this opus, but does reveal the invitation of this music to some deeper dark meditation. Therefore, « Spring Wind Bring Water », limited to 50 hand-numbered pieces, may get sold out more quickly than expected.Let's see why and the wherefores.
Tracks within the album can be separated in three kinds: the purely ambient ones, the ambient /neofolk ones and other undefinable mixes. A particular feature of “Spring Wind Brings Water” is the quasi systematic alternation between the purely ambient tracks and the ambient/ neofolk ones throughout the album.
Rather anguishing ambient atmosphere are created through melting of electronic noises, distant metallic noises (« The End Of Gardens In Domahàra »), even completed with deformed voices' samples, glassy, echoed sounds, the whole quite industrial fashioned (« The First Flower Is Dead Inside The Heart's Monk »). But while an impressive envelopping synths brings serenity on « The End Of Gardens In Domahàra », on « The First Flower Is Dead Inside The Heart's Monk » deformed religious chants' samples close the track on a more ambiguous note.
This industrial side is more pronounced on « The Last Snow In Szolnok » and through rhythmical loops and smoothly grating layers on « Genua Nunc Flectantur Omnia ». More original is the track « Spring Wind Brings Water », where an abstract electronic noise stands for a disembodied ringing bell, accompanied by whispering samples, tiny gratings, echoes of another time and a prayer sung by a female voice, throughout a growing background massive rumble.
« For Colleen » stands as a typical neofolk track, with the typical acoustic guitar play à la Death In June, simple percussions, synths layers and choirs featuring some ambient features. The whole created is of course neofolk, but whose structures, transitions or lyrical sides are not developed, it's focused on atmospheres, so that the listener gets a strong ambient feeling. Drums components appear on « The Fall And The Fold (Instrumental) », as well as more sophisticated rhythmical elements, together with an clearer structure. Despite simplicity and bareness, this track is indisputably attractive. Catchy melodies, intriguing moving background ambient layers, clever yet moderated rhythmics, all fit and create something unique. More elaborated acoustic guitar melodies as well as singing appear on « The White Rose ». Here ambient components get very discreet. Again, bareness is synonymous with amazing emotional efficiency. Nostalgia of purity, of another time, melancholy, purely introspective, freed from mundane.
« They Sit In Silence » functions in the same way as this previous track, but hads a delightful cello sound, supporting a part serene, part dramatic atmosphere. Let's note the voice suits the idea of blending neofolk and ambient, for its tune is kinda stereotyped and repetitive. But, we shouldn't be too harsh here: many neofolk bands have distinguished themselves (of others) by the terrible singing abilities of their vocalists. And let's not forget all those choosing spoken words, rather for reasons of easiness than aesthetic coherence.
The last track « Every Day We Die, But To Death We Don't Think » sees a female voice progressively mixed with a neofolk atmosphere, similar to the previous tracks. We must admit the transition between this intro and the core part of the track is quite laborious, not really harmonious. The main part of the track however fits the need of a last calm and serene final part, clearly supported by a growing reverberation before ending with the same traditional Spanish words translated in the title of the song

 

Review of "Spring Wind Bring Water" from "Assessment Review" Germany) , (December 2009).

A very interesting trip and invite Shattered Hand Svart1, and the result is a harmonious and somber excursion with which to skillfully between the spectra of dark ambient and neofolk converts. Pieces can be like the opener "The End Of Gardens In Domahàra" or "The First Flower Is Dead Inside The Heart's Monk" still fit into the former genre, one experiences over time, said change to folk musical settings.
The performance will be variable, so "Spring Wind Brings Water" has been even far more than expected. The case showed up symbiosis of dark ambient and neo-folk or Apokalyptic reminded here and there in addition to Syndicate as Harvest Rain or old Ordo Equilibrio who make it in a similar way to create such an engaging atmosphere. Vocally there is something to this behavior, but this is not a shortcoming, because maybe also lies in the spice with which you can highlight performances such as "Darkest Of Days" or a wonderfully expressive "They Sit In Silence". The offered material gradually reveals its own charm, bears fruit over time, more and more, throwing keeps him on beautiful moments. Since the end remains a successful alternating play of emotions, which occasionally does create some light in her heart remains unmistakably bleak, however, and thus can be safely put all listeners sounds corresponding to the heart. But hurry, but the limitation is again rattenscharf, and thus one should be glad there still get a copy.


From "Musicintouch 09" ( October 2009), Italy.

Di stanza a Cagliari, ma con frequenti puntate internazionali, Svart1 è uno dei pochi musicisti dark-ambient che partendo dalla Sardegna è riuscita a suonare nel maggio scorso in uno dei più conosciuti club di musica industriale europea, il "Gyar" club di Budapest per il festival "Hyperborea".
Di stampo tipicamente nordico i suoi suoni sono il risultato di un microcosmo sonoro cupo e tetro caratterizzato da minimi movimenti evolutivi dove tra bassi usati in maniera fragorosa, fragori metallici, tenebrose presenze sonore che si materializzano, si ha la sensazione di vivere un'esperienza alienante tra presenze oscure fluttuanti attorno alle orecchie dell’inconsapevole viaggiatore.

 

From "Unione Sarda" (28th of July 2009, Giuseppe Cadeddu), Italy.


Nemo propheta in patria? Troppo facile, ma per Raimondo Gaviano che chiama i suoi lavori con citazioni latine ("Ab Imo Pectore", "Audiebantur Gemitus Vulneratorum", "Silentium Aureum est", "Gutta Cavat Lapidem", DavisibiliaDinvisibilia", "Frangar, non Flectar") è un incipit che ci può stare. Cagliaritano di stanza in Ungheria, dove lavora insegnando lingua e cultura italiana e con in tasca una laurea in archeologia, Raimondo Gaviano è un musicista autodidatta che raccoglie nella vecchia Mitteleuropa diversi consensi, incide dischi, fa performance dal vivo con altri artisti. Tanto che diverse testate di settore e webzine musicali hanno recensito i suoi lavori. Dopo aver seguito lezioni di pianoforte si è specializzato in nuove tecnologie: laptop, mute-synths, electronics vari gli strumenti. Del resto, per il tipo di musica che propone (un ambient concettuale molto minimale, "noisy" e dark) fatta di loops, glitch digitali, droni ed effetti elettronici queste sono le armi adatte.
Svart1, questo il nome d'arte con il quale firma le composizioni, è figlio della youtube/facebook/ myspace generation, quei luoghi virtuali dove ci si presenta, si propone la propria arte, si creano contatti inserendo sia brani che video scaricabili dalla rete (nel suo caso basta andare su www.myspace.com/svart1). Tra le passioni: Antonin Artaud, Federico Fellini e Francesco Petrarca per la poetica e i simboli, i Lustmord, Raison d'Etre, Desiderii Marginiis e gli storici Popol Vuh per la musica e un certo gusto per le immagini spiazzanti. Meglio fotogrammi degli interni di un asettico laboratorio di sperimentazioni che di un paesaggio marino, per capirci. Nonostante sia a Cagliari per concedersi "un meritato riposo ad anno scolastico concluso", Raimondo Gaviano/Svart1 ha sonorizzato dal vivo un video dell'artista Paola Porcedda giorni fa ad Iglesias in occasione del "Gsotto", un evento organizzato dall'Arci locale. Elettronica e arti visive, sperimentazione e musica d'ambiente come teorizzata da Brian Eno e superata nelle infinite possibilità espressive di tecnologie digitali, atmosfere oscure e magmatiche: questo il mondo il Svart1, cagliaritano d'Ungheria e artista, sebbene di nicchia, transnazionale. Con un grazie al WEB oltre che alla propria passione.

 

About Svart1 live for Hyperborea Festival (23th May 2009) at Gyar Club, Budapest, Hungary.

A Svart1 a minket körülvevo láthatatlan, de zsigerien tapasztalható és érezheto világ tökéletes megjelenítoje. A dark ambient mufaj talán a legalkalmasabb arra, hogy hangokkal ábrázoljon jelenségeket, érzelmeket, állapotokat, és a Svart1 esetében mindez a minket körülvevo, de mára oly kevéssé átélt természet megidézésével, a kimozdító hangulatokkal, az elsivárosodás fázisainak ábrázolásával jelent egyet. Lehet, hogy nem egyszeru szembenézni mindezzel, de a Svart1 éppen arra törekszik, hogy a keletkezo feszültség kreatív legyen: olyan, amibol az ember erot merít. Lassú, lágy ütemek egyszerre hallhatók gyorsabbakkal, feszesebbekkel, hogy a melankólia bizarr dinamikáját mindenki megtapasztalhassa.

 

ReVieW"Frangar non Flectar" from Enrico Fiore (U.S.A.) September 2008.

A pleasantly disturbing atmosphere, some would consider this to be difficult music and that may be true since it does require your full attention, this soundscape is one of organic dark ambience with otherworldly and unconfined sounds, substances and voice flowing moving about freely, pleasantly disturbing atmospheres, these are the sounds of a dystopian world, a painting of the human condition, consider it well.

 

"Silentium aureum est" Rewiev from earlab Karol (Poland), August 2008.

This album has a solid concept behind it, explained by the title; "Silentium aureum est" is a Latin term to indicate "a mental structure in which all layers are inclined in the same direction".
These tracks could be interpreted as these different layers which match up in the monocline fold composed with different simple elements, at last, are a totality of abstract substance.
Music floats as a "unicum" and simply shifts, track after track, into various basic components: dark melody, echo-deep silences, found sounds and pure sine waves.

 

 

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