Mz.412 Vs Folkstorm – Live Ceremony CD Old Europa Café 2015
With Mz.412 having infrequently graced the stage over the years, it was way back in 2000 (18th August) when two of the three members (i.e. Henrik Nordvargr Björkk and Jouni ‘Ulvtharm’ Ollila) teamed up to perform at the Collapse festival in Rostock, Germany. Being billed as Mz.412 vs Folkstorm at the time, this goes partway to explain the harder and harsher elements of this recording which incidentally was previously issued via Pagan Dance in 2004 in a limited edition of 412 copies. This has now been reissued by Old Europa Café with new artwork and the inclusion of additional bonus tracks not included on the original version.
Having previous heard the Mz.412 live album Hekatomb (recorded at Cold Spring’s 21st Anniversary show at The Garage, London, 5 March 2011 – reviewed here), that recording illustrated a more refined presentation of their existing studio works in a live setting. However on Live Ceremony, the recording is a far rougher sonic affair which would seem to reflect an approach of only partially relying pre-recorded segments of music, in order to focus on the live generation of distortion and feedback. Without the inclusion of actual track names, the seven live tracks have been referred at as Act I through Act VII. But by way of example, Act I includes a short fragment of the classic track God of Fifty Names which cuts through live scattered noise, while an additional dialogue sample more thematically aligned with Folkstorm. Vocals are also present in the live setting, but which are heavily treated and again reflect the Folkstorm angle to the live proceedings. As with Act I, a number of recognizable snippets of studio works are used over the seven live tracks, such as on Act III when Der Kampf Geht Weiter from Nordic Battle Signs is blended with the introduction of Deklaration Of Holy War from Burning the Temple of God. But these recognisable fragments of albums function as short interludes which bridge the live sections of loose distorted noise and on occasion tribal/ ritual rhythmic movements, while he final short Act VII relies on sample of a Penderecki styled choral work to conclude the set.
As for the bonus tracks, the two Folkstorm tracks are solid examples of the spitting noise and raw militant industrial meets power electronics material that the project was producing in the early 2000’s. However perhaps of greater interest are the two-short bonus Mz.412, where there is no indication as to which era these are derived from (although Nordvargr later confirmed these are from around 2006/07). Mors Solum Initium Est is the first of the bonus offerings and is a darkly ritualistic affair with a deeply cavernous atmosphere, rattling metallic tones and distant wailing textures, and perhaps more reminiscent of early Archon Satani than typically Mz.412 – but an excellent track all the same. Congregation of the Abyss follows to round out the album and slightly differs given its focus on intensive multi-layered garbled to guttural roaring vocals and sweeping sub-orchestral undercurrent, which overall is a replication of the sound of the Domine Rex Inferum album and another decent track.
Being a generally loose, and at time chaotic live recording, this is a worthwhile document of the live performance, but perhaps not an essential release in Mz.412’s discography. But even in saying that, the inclusion of the two bonus Mz.412 tracks gives clear incentive to track this down.