Seit 2006 wird das Konzept der Zeremonie, Lautstärke und Dichte von der surrealistischen, esoterischen und experimentellen Band Gravetemple (Oren Ambarchi, Stephen O’Malley und Attila Csihar) gesprengt, abstrahiert und verzerrt. Nun sind sie zurück mit dem neuen Album „Impassable Fears“, welches in Orgone mit Jamie Gomez aufgenommen wurde.
Das spirituelle, existentielle und metaphysische sind Kernthemen die Gravetemple musikalisch erschließen wollen.
Sänger Attila erklärt die Beweggründe wie folgt:
„The aim is to break boundaries and to find new horizons via the challenging of our own concepts of existence via the channels of musical trance. To me it is like a contemporary way of Shamanism. The Shaman in our ancient Hungarian tradition is a person who can see both the material and spiritual worlds and himself or herself is the bridge or the channel between. The connection to our deepest inner self is very primal and in a way sometimes infantile. We humans have encoded instinct to survive which ends up in the „Impassable fear“ of Death. We challenge that primal fear by expecting whatever comes in our way on our musical journey. It’s about accepting whatever that each moment brings… Gravetemple is very special because here we are seeking trance while playing and recording music together. Almost like a spiritual experience.“
Den ersten Song „Elavult Foldbolygo (World Out of Date)“ könnt ihr hier noch einmal hören: http://www.cvltnation.com/ritualistic-sonic-black-hole-premiering-gravetemples-elavult-foldbolygo-world-date/
„Guitarist Stephen O’Malley conjures distorted chords, controlled by a bank of effects pedals; vocalist Attila Csihar, famous for his time as singer for notorious and controversial black metal band Mayhem, ritualistically intones invented syllables that echo monastic chants; experimental musician Oren Ambarchi extracts strange sounds from his own looped guitar before moving to a drumkit to propel a scattered, urgent rhythm. Momentum overtaking him, a drumstick slips from Ambarchi’s hand, he breaks free of the drum kit, grabs for a beater, turns, and smashes the gong at the centre of the stage. For two long seconds the all-encompassing rumble that has amassed throughout the performance drones on with a kind of relentless inertia, still without a sonic acknowledgement of the visual climax. Finally, the pulsating wave from the heavily amplified gong reverberates through the corporate body of the audience, felt in physical vibration more than heard as sound. The musicians leave the stage, their abandoned instruments still expelling squalling sounds which gradually begin to dissipate. Listeners breathe out, perhaps open their eyes, raise their heads, shift their feet and awaken enough to clap and shout appreciation, before turning to friends or strangers, reaching for phrases and gestures, often in a vocabulary of ritual, mysticism and transcendence, which might become touchstones for recollection and communication of their individual and shared experience.“