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MOHAMMAD - Roto Vildblomma

Format: CD
Label & Cat.Number: Antifrost afro 2044
Release Year: 2016
Note: re-issue of the first CD from 2010, only 111 copies pressed!! => the Greek trio (Coti K.: double bass, ILIOS: oscillators, Nikos Veliotis: cello) started their drone journey on these 5 tracks, between the now well known deep bassy harmonic cello- & bass-drones and pure low end frequency hums and pulses, a reduction to basic vibrations that is captivating and contemplative... + at the end a surprising musical, obscure slo-mo Jazz "song", but in the MOHAMMAD style..
Price (incl. 19% VAT): €16.00

More Info

"New edition limited to 111 copies.
Mohammad is the project of: Coti K.: double bass, ILIOS: oscillators, Nikos Veliotis: cello. Having worked separately in the experimental field they decided to join forces in order to study and work on the principles of inter-modulation. Roto Vildblomma is the first Antifrost release on 2010 and the debut of Mohammad."


"Those familiar with Mohammad’s invented genre cello doom will know what to expect of ‘Roto Vildblomma’, their proto-drone debut. If you’re new, though, get all descriptions that go by the watchword “beautiful” out of your head: the music Mohammad make is as terse as dark ambient but as churning and uncomfortable as harsh noise. From ‘Som Sakrifis’ through to their psychogeographical album trilogy, their sound has remained steadfast and punishing, but ‘Roto Vildblomma’ shows their sound in process, rather than completion.

Opener “Vildblomma” is as you’d expect -- gnarled, slogging cello going back and forth by rote. It’s on “Skora” where the act become momentarily unrecognisable, opening with a foggier and calmer iteration of their sound; electronics fumble in the distance as a bloodlet bass drone slowly begins to rumble. “Lamane Kradoj” continues this flittering exchange of tone and gentle noise, bringing in what sounds like rhythmic field recordings before handing over to the suspiciously low key (but eventually power-noised) “Letzen Tranen”.

Listening to one of Mohammad’s records is very much like entering some grand hall moments before the doors lock; on this record, things feel more open-ended, as if Mohammad were sketching out ideas before a grand performance. These are still ominous and often scratchy drones, but you can hear slightly prettier versions of the band, ready for reduction (the actually quite gorgeous half-melodies of “Lumunis Vuori”, juxtaposed against heavy cello contact). A worthwhile listen for anyone who thought this band came from nothing." [Norman Records]