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Famlende Forsøk - One Night I Had A Frightful Dream Album

Famlende Forsøk - One Night I Had A Frightful Dream Album

Performer: Famlende Forsøk
Title: One Night I Had A Frightful Dream
Released: 2002
Cat#: SGLP 33, SHiT 027
Label: September Gurls, Crawling Chaos, SHiT Tapes
Country: Norway
Style: Abstract, Industrial, Experimental
Category: Electronic
Size MP3: 1004 mb
Size FLAC: 1927 mb

Tracklist

1Supernatural Horror In Literature
2Nyarlathotep
3The Shadow Over Innsmouth
4The Call Of Cthulhu
5The Festival
6Dream-Quest Of Unknown Kadath
7A Gentleman From Providence
8The Gardens Of Yin
9Al Azif
10At The Mountains Of Madness
11The Dunwich Horror
12The Ancient Track

Versions

CategoryArtistTitle (Format)LabelCategoryCountryYear
SGLP 33, SHiT 027Famlende Forsøk One Night I Had A Frightful Dream ‎(LP, Album, Ltd)September Gurls, Crawling Chaos, SHiT TapesSGLP 33, SHiT 027Norway2003
SUBCULTURE 056Famlende Forsøk One Night I Had A Frightful Dream ‎(File, MP3, Album, 320)Sub Culture RecordsSUBCULTURE 056Norway2013
SHiT CD027Famlende Forsøk One Night I Had A Frightful Dream ‎(CDr, Album, MP)SHiT Tapes, Crawling ChaosSHiT CD027Norway2002

Comments:

FLIDER
"Supernatural Horror In Literature" reminds me immediately of the high moments of SPK's "Zamia Lehmanni" over which the craggily-accented tones of the vocalist speak his prose in clear English. A wonderful opener, sounding as if it's drones were formed by a Lo-Fi / Electro hybrid of drones. Dark, yes, but strangely calming, even welcoming.

"The Dunwich Horror" continues their "Twin Peaks" influence - that sadness and beauty melded with simple but strange synth sounds. The words here concern the 'Old Ones' waiting to break through once more into our dimension. While this piece has a clearly defined structure, it manages to suggest the chaos and darkness of those from 'Beyond'. And the LOVECRAFT-ian words sound resigned to the inevitability of Their coming - standing in awe at Their dark wonder, rather than warning those of us kept in the dark while walking in the light.

"The Call Of Cthulhu", full of alien incantations and a deep, subtle darkness of sound, carries the atmosphere further still.

LOVECRAFT's words appear again in "The Shadow Over Innsmouth". That nobody has tried to form the writer's imagery into music before seems odd - both the musical atmosphere and the pleasure of having a story read to you work so well. If you appreciate the writings, I'm positive you will enjoy this - if not, them you really need to hear this - forget the Hollywood attempts at portraying this work - FF wipe the floor with the celluloid garbage - and nor do they credit the tale to POE (a spit of contempt, not for EDGAR ALLEN, but for the idiots who exploited both of these Dark Fiction giants).

"The Gardens Of Yin" opens like some New Age brain-number, stroking the cerebrum with sharper claws than any of the pastel-painted bloodless dream-weavers who have gone before. Although a gentle drifting and calming piece, it still manages to disturb the air with bowed guitar shards and an atmosphere of chill passing unaccountably through the warmth.

The opening notes of "Dream-Quest Of Unknown Kadach" bring LULL to mind immediately, and not for the first time I found myself thinking of "Murder Ballads" - instead of the floating harmonic ghost beauty of BATES's voice is the throat-ripped edginess of FF's orator. And FF manage in a short space to convey much more than BATES and HARRIS did over a much larger canvas.

"The Festival" takes a primal drum beat and, along with a soft violin, make this a Folk music touched on by the likes of CURRENT 93.

"At Azif" is seen from the group's point of view (I think), yet is written in their own words. This story concerns ABDUL AL HAZRED, the writer of "The Necronomicon", whose strange knowledge led to LOVECRAFT's Cthulhu Mythos, over 1000 years later.

"Nyarlathotep" takes the 'Eastern' atmosphere of the previous track and carry it into a strange, mysterious imagery of harmonic floating recorder, harmonium and electronics. The tale opens another door to the hideous 'beyond', a peep-hole squint at black, fetid, mad beings we cannot set eyes upon and stay sane.

"The Ancient Track" again uses a mostly calming New Age sound with more than a suggestion of things far less pleasant, just out of eye-shot. Spoken over this is a piece of poetry, once more taking the listener into the Land of Dread.

"At The Mountains Of Madness" explores another area of shapeless mood music. An abstract introduction gives way to a solid 'Eastern' rhythmic piece, both warm, welcoming, and evocative of things waiting just outside the flickering camp light. Yet, once more, the music works more as wallpaper to the spoken word, rather than the other way around.

And the opening to "A Gentleman From Providence" could almost be LULL's cover version of THROBBING GRISTLE's "Industrial Introduction" - night shrouded escape of some UFO. The words act as a warning against delving into LOVECRAFT's darkness. Take my advice and read as much as you can by the man. And listen to this album while you delve into the domain of Cthulhu and his cohort.

They claim the album hasn't the darkness they had originally envisioned, and maybe that is so - I, and probably you, have heard music darker and more dread-filled. However, it is sufficiently outre and eldritch in it's portrayal of a myth cycle that may just - waiting in the shadows of those nightmares the mind shuns and forgets by daybreak - be summoning momentum to escape into our world.

Delightfully doomy and despairing, entertaining and creepy, this is one of the darkest, most horror-dripping albums I have heard in ages. As an English speaking man, I felt none of the quirkiness that goes with listening to foreign folk attempting the language. On the contrary, the heavy accent added a craggy, somewhat hollow dimension to the sound - a soul-less feel within the black embers and cloying smoke of the music.

Originally reviewed for Metamorphic Journeyman.

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