Netherworld - MORKETID - Glacial Movements Records - 2007

First Review

Italian version

L'estetica agita tra i solchi delle sei dilatate ed eleganti incisioni che compongono il nuovo progetto di Netherworld, alias di Alessandro Tedeschi, fondatore della Glacial Movements, è volutamente assai rarefatta e ben indirizzata nel filone inesauribile che dall'ambient fino alla drone music, nelle sue diramazioni più o meno isolazioniste vede ancora un certo fermento produttivo ed inedite attenzioni da parte del pubblico anche non specialistico che pian piano sembra sempre più metabolizzare l'elettronica e le avanguardie. Sonorità  che proprio in questo caso al di là  d'ogni posizionamento stilistico sono efficaci nell'esibire stutture coerenti e qualità  anche non concettuale, nella musicalità  infine diretta, essenziale ma anche evocativa di luoghi solo immaginati e cristalline, artiche (un paradosso senz'altro per un autore italiano) atmosfere.

English version

The aesthetic in the six dilated and elegant tracks forming this new project by Netherworld, the alias of Alessandro Tedeschi, founder of Glacial Movements, is purposefully very rarefied and well-inserted in the inexhaustible river going from ambient to drone music which, in its more or less isolationist branches, still enjoys a remarkable productive activity and consideration by people who don't normally listen to this kind of music and are more and more metabolizing avant-garde electronica. In this release, the sounds, aside from their stylistic label, show coherent structures and non-conceptual qualities as well, evoking imaginary places and crystal-like and arctic (a paradox for an Italian author) atmospheres.

Aurelio Cianciotta - NEURAL

Second Review

After the well received and highly valued "Cryosphere" sampler, the Italian Glacial Movements are back with a second release. Netherworld's 'Morketid' is pressed on CD instead of the CD-r media that was used for the sampler. A good choice, because that one was way too beautiful to be "just" on CD-r.

"MORKETID is a Norwegian term that indicates a certain period in the year when the Arctic winter cold encases everything and the sun doesn’t rise over the horizon. It’s a cold and dark period that distinguishes regions and people living in the Artic." (press info)

This very well concept was chosen as guidance in the creation of this CD and the feeling these recordings give you comes definitely close to the emptiness of the North. The result is an hour worth of ambience, divided into 6 tracks.

Lots of pads and stretched sounds create this empty feeling, while the subtle use of repetitive rhythm loops create an interpretation of daily routines. The presence of the routines doesn't change, though the content does. The vastness of the glacial grounds and Northern makes you interpret everything different.

Muffled and manipulated voices implicate the feeling you're not alone, but it's huge out there. You don't see anyone, but you feel there is ... Cabin fever ...

The one remark that I had towards Netherworld's track on "Cryosphere" I withdraw. The production and sounds are very well mixed and produced. This album has the clearness of sounds one would expect with conceptually ice-based works.


Third Review


Isolationist ambient ice music. Morketid presents spacious drones and atmospheric textures that combine muffled cotton wool softness with cutting frost and the tingle of light. Often these are woven into repeating phrases where reverberating sparkles and cloudsounds are occasionally accompanied by a pulsing percussive thud. There are distant voices echoing in the spaces where tracks fade in and out or somewhere behind the music - yet these suggest human distance and the solitude of the listener rather than company or proximity. The track Jøkul has a sibilant spoken voice running throughout reminiscent of a dimly perceived radio transmission. Morketid has a warmth that was absent on Cryosphere - although maintaining the arctic emptiness and frozen stillness, this album reflects the colour and delicacy of the landscape, the fragile blanket softness of cloud and snow.


Mørketid comes in a sharp digipack - well presented and in close keeping with the musical side of the product. The front cover image is a totally barren landscape, flat horizon, sheetlike surface - however this minimal scene is beautifully lit, steeped in blue/purple hues, faint clouds hanging in the rich colour of the sky. A single disc of white gold punctuates the emptiness. On the reverse is a timed tracklist on a frosty grey backdrop. Within a snowscape backs an explanation of the project whilst the CD sits atop a dark cloud shot.  


Mørketid comes as the second release from Alessandro Tedeschi's own Glacial Movements label. The excellent sampler "Cryosphere" setting the tone in 2006. Apparently Mørketid is a Norwegian term for a certain period in the year when the Arctic winter cold encases everything and the sun doesn’t rise over the horizon at all. Alessandro explains that "into the deepness of my essence there is a wired, dark, silent, glacial and eternal place. This imaginary place contains a sort of parallel reality that I've named Netherworld. I switch, shift and record (with my microphones) environment's sounds and sibilance: a subterranean noise, ice blocks in motion, gongs and crystals while broken. Through my music, I would like to play the quietness of the silence, desolate darkness and glacial landscapes". Netherworld's resulting sound is a broad, understated richness that captures the mood of the globe's uninhabited extremities masterfully.

Morpheus Music

Fourth Review

This is the first release we've had on Italian label Glacial Movements and I know for a fact it won't be the last if this is anything to go by. As the name may suggest to you there's an icy cold, isolationist ambience at work here that's as beautiful as it is deep and sublime. Mainly constructed from elements recorded in the Arctic, the 6 pieces on offer here are compelling, meditative and sculptural in their beauty and classical influences (you can almost hear a certain Basinski or Marsen Jules-esque tone to some passages) and it's not hard to imagine the environments that inspired it. Lush and textural works that, at heart, are pure ambient music... and that, I think, is an extremely good thing. One for those moments where you just need something to relax to and drift away by. Gorgeous.

Small Fish Records

Fifth Review

Inspired by the Mørketid, a Norwegian term indicating a certain period in the year when the Arctic winter cold encases everything and the sun doesn’t rise over the horizon. The one-man project of Netherworld creates a soundtrack production, which started with field recordings. All sounds have been next reworked and manipulated in the studio to join in a somber soundtrack. More than simply ambient music, this is the right sound to accompany a documentary about this fascinating and probably tormenting Mørketid. The whispering spoken vocals on a few cuts create a kind of ghost-like atmosphere, reinforcing the dark side of this recording. An appreciable journey into the dark mysteries of nature.


Sixth Review

There is always a structure and shape behind an experimental composition”, Alessandro Tedeschi says while talking about the dividing line between “serious” and “popular” music, “but for a ‘new’ listener, it’s more difficult to discover.” Alessandro is relaxed and gladly answers my questions about his stance towards some general issues, such as his approach to composing, his influences and his quality standards. He has every reason to be satisfied, with two of his albums out - one on his own, quickly growing Glacial Movements label, (“Morketid”) as well as on Canadian outfit Mondes Elliptiques (“Kali”). The conditioning of the masses towards easy digestability by the “fixed” structures of Pop and Rock need not be a dilemma, however. To overcome this situation, Tedeschi has founded his Netherworld project and reinvigorated an art fallen out of love with the general public: Conceiving albums as closed entities and as more than just a loose collection of tracks. And the works in question may well prove his approach to be a promising one.

Playing the Quietness of Silence: The beginning

2007 has been a good year for Netherworld up to now. “Cryosphere”, a sampler featuring some of his friends and like-minded artists, continues to win over listeners as well as reviewers, while French 3 inch specialist Taalem released “Hallucinations” in Spring. The material on that concisely woven disc dates back to 2005 and to Tedechi’s beginnings. Only one year earlier, he had made his debut on Umbra, the record company headed by his Italian compatriot Oophoi – who has remained a friend and also took on production duties for some of his latest output. Two more CDs on Umbra would follow suit and turn Netherworld into one of the more succesful purveyors of a style now known as “Isolationist Ambient”, which confronts the individual with forces beyond his control, while trying to mirror the beauty of epic, barren landscapes with immeasurable dimensions.” I would like to play the quietness of silence” is his way of formulating his vision.

Morketid: Music like a reindeer sweater
On “Morketid” (available directly from Glacial Movements), he tranlates this thought into a coherent statement. In accordance with his label’s name, ice and the magnetism of the poles play a dominant role. According to the press release, the album title is a “Norwegian term that indicates a certain period in the year, when the Arctic winter cold encases everything and the sun doesn’t rise over the horizon.” Sound material from the region, sometimes only snippet-sized, as well as atmospherically hidden vocal samples form the source for six compositions between seven and almost thirteen minutes’ length. All sense of time gets lost in Tedeschi’s reduced arrangements, which use a single structural idea per piece and a densely woven net of only a few select sounds to develop their charm. Interestingly, the result is never frosty or alien, but rather of a woolen coziness, just like that reindeer sweater that will keep you warm in the last months of the year. It is a paradox one often encounters, even in the genre’s eternal classic “Antarctica” by Vangelis.Maybe if more contemporary isolationist ambient masters would actually experience the ragged nature of the vast icelands for real, their music would be different. ”I think that in order to release my best work, I need to go to the Arctic area for inspiration.”, Netherworld agrees, but he never intended “Morketid” to be a perfect representation of the North Pole anyway. Instead, the album aims at a complete transformation of his source material and subsequently “a new vision of the Arctic”. In that respect, this album certainly delivers.


Seventh Review

Ah, glacial and desolated lands of the Arctic…one has, on a certain number of occasions, ‘’sung’’ and ‘’celebrated’’ your ‘’majestuosity’’, but you will keep striking and enchanting the imagination...and this fascination for you will probably remain forever. And rightly so! The BIOSPHERE and SLEEP RESEARCH FACILITY projects, among others, became your ‘’minstrels’’ and now NETHERWORLD, a rising star from Italy and flagbearer of the GLACIAL MOVEMENTS label, on which is released MØRKETID, a deep-ambient jewel. This disc is released at the same time as the cd KALL: THE ABYSS WHERE DREAMS FALL released here, on our MONDES ELLIPTIQUES imprint. While one recognizes quite easily NETHERWORLD and his tactics in composition and stratification (in the present context, term which designates the art of putting, one over another, layers of ice!), from one disc to another, KALL and MØRKETID are like two twins having quite opposite characters; while KALL proposed the listener to lose himself in a deliciously and insidiously dark and introspective sound funnel, MØRKETID can be thought of as a more aerial entity; MØRKETID, it is a glacial, slow and implacable wind, a bit like the one blowing on those remote landscapes at the heart of arctic winter. The sound motifs are insistent, like this cold which clasps us, and haunt us for days. These subtle repetitions bearing a peculiar musicality, threnodies of an imaginary Nordic folklore, relentlessly bring us back to the sense of eternity which permeates every portion of this glacial immensity, bound to an infinite renewal, in a slow and patient way. Fragmented voices occasionally interpellate us, but without insisting too much…they are simply…there----Strongly recommended!


Eight Review

Miejsca zapomniane przez ludzi, śnieżne krajobrazy, pola kwiatów okrytych wiecznym lodem, kry lodowe zderzające się ze sobą, świt nad cichymi białymi dolinami we wspaniałych północnych lądach, zagubiony podróżnik pośród antarktycznych terenów szukający drogi do domu, zimna i cicha noc nad arktyczną doliną, stworzenia szukające schronienia przed mrozem.... Glacial Movements to wytwórnia, która zrodziła się by opisać te wszystkie rzeczy /  ukazać obrazy poprzez dźwięk.

Ørketid' - (z języka Norweskiego) - oznacza konkretny okres w roku, w którym arktyczna zima okrywa wszystko, a słońce nie wstaje nad horyzontem. To zimny i ciemny czas, który ukierunkowuje regiony i ludzi żyjących na Arktyce.

  Taką informację możemy znaleźć na oficjalnej stronie projektu i wytwórni Glacial Movements, której przewodnikiem jest twórca tego materiału.
  Niewątpliwie jest to materiał dość specyficzny i niekoniecznie łatwy w odbiorze. Jest to niemalże godzina muzyki bardzo spokojnej, stonowanej, wyciszonej, w której pozornie nic się nie dzieje. Jednakże dla wszystkich fanów gatunku ambient zwłaszcza w takim "chłodnym" wydaniu - perełka obowiązkowa. Materiał jest wyśmienicie zrównoważony. Płyta wprowadza odbiorcę w bardzo osobliwy nastrój. Przychodzą na myśl odległe pustkowia i totalna izolacja od rzeczywistości, cywilizacji, miast i wszechobecnie otaczającego nas zgiełku. Autor bardzo pomału, dyskretnie, lecz nieprzerwanie zachęca w kolejnych minutach do pozostawienia wszystkiego co nas otacza, powoduje wewnętrzne wyciszenie. To płyta, która jest czymś w rodzaju muzycznego filmu. Wystarczy dać się ponieść wyobraźni, pozwolić by dźwięki stworzone przez artystę pokazały nam drogę. Jeśli tylko poświęcimy temu albumowi całą swoją uwagę, to niemalże pewnym jest, iż po ukończeniu słuchania przycisk "repeat" włączymy natychmiastowo.


Ninth Review

I live in Minnesota where winter temps can hit -30 Celsius (-20 Fahrenheit); the days are short and the nights dark and cold. I can appreciate the environmental harshness which this recording claims to evoke (the Norwegian mørketid is a time of year when severe cold occurs and the sun never rises). While I enjoyed these sparse drone-centered soundscapes, they don’t conjure up the desired mental images for me (I prefer the more melancholic melodies of Jeff Greinke’s Winter Light for that). Just the same, Alessandro Tedeschi (aka Netherworld) has fashioned an impressive and immersive recording that moves at (its label-namesake’s) glacial pace, crafted from found sounds, sampled and shaped into warm drones, glistening textures and bell-like reverberations (with occasional rhythmic pulses and percussive booms). Snippets of barely discernible (English) dialogue introduce an element of “eavesdropping,” sparking the notion of walking along a frozen path between houses, catching fragments of conversations from behind windows lit by candlelight.

Mørketid settles into its groove on the third (title) track. Before that, the circular repetitive swirls/tones/drones of “Dreaming Arctic Expanses” and “New Horizons” with its uber-patient unfolding of fluid drones and muted booming beats, serve as a preamble to the more satisfying tracks yet to come. “Mørketid” sparkles like new-fallen snow illuminated by the crystalline brilliance of unfiltered lunar light. Undulating choral-esque tones, shimmering twinkling effects, and a subtle plodding but pleasant pulsing ooze the type of atmosphere that I think Tedeschi was aiming for (the later presence of rustling echoed noises proves a bit jarring, though, when compared to the earlier somber beauty). “Jøkul” offers a lovely mixture of dialogue fragments and ebbing and flowing washes (I’m reminded of Zero Ohms’ True Degrees of Freedom). “North Pole” opens with what sounds to me like a bass flute, with the eventual folding in of percussive effects which add three-dimensionality to the music (without disturbing the flow). “Virgin Lands” closes out the album with a repeating pattern of echoed tones accompanied by slow booming (think distant thunder) and a high-pitched tone (that, frankly, on headphones is a bit annoying).

I’m of two minds about Morketid. When Tedeschi clicks, the results are impressively evocative and draw the listener into a forlorn and sparse landscape. However I’d have preferred a tad more sensation of the beauty inherent in this environment, perhaps through some melancholic melodic elements. Taken as a whole, the album should prove a valuable addition to your collection if drone-based ambient music does it for you.

Review by Bill Binkelman - FURTHERNOISE

Tenth Review

  After spending the better part of the past couple of years of narrowing my listening down to mostly experiments in abstract sound art, minimalist soundscapes, electronica, and ambient dub Mørketid brings back a touch of nostalgia as it takes me back to one of my earliest enjoyable listening experiences in non-mainstream music - slow-moving, voluminous, lonely, icy soundscapes - a branch of what some refer to as isolationist ambient.

While some varieties of isolationist ambient delve into deep, cavernous bass resonations or dense drones textured with the crackling sound of splintered ice crystals, Mørketid draws the listener in with a blend of processed environmental samples, translucent drones, looped segments of melody and rhythms, sparkling chimes, lambent electronics, reverb-generated spaciousness, and distant, ghostly voices.
There’s a coherent theme linking the six interconnected compositions. The glacial panorama reflected in sound here is not one to dread. It’s one to stand in wonderment of, a place of extremes - the vastness, the harshness, the whiteness, the grandeur, the unforgivingness, and the solitude.

Netherworld‘s Mørketid is an excellent addition to a fairly well explored sub-genre of ambient music. Nearly an hour in duration, this is a true CD digipack release with professional graphics and artwork.

by Larry Johnson for EARLAB

Eleven Review

  In a tradition anchored in experimental drone, ritual and dark ambient, there’s a discernible Italian strain—one of indulgent introspection, of over-exaggerated withdrawal, like a minimalist ambient musical negative of Italian’s notoriously over-florid prose (think Oöphoi, Alio Die, Tau Ceti, Opium, and the denizens of Umbra and Hic Sunt Leones). “I'm interested in capturing sounds generated from the nature’s flow. Through my music, I would like to play the quietness of silence, desolate darkness and glacial landscapes,” quoth Alessandro Tedeschi, whose Netherworld manneristically aligns itself under the flag “Isolationist Ambient." A sub-genre line born circa 1994 with the Ambient 4: Isolationism compilation, Netherworld’s conceptual update “confronts the individual with forces beyond his control, while trying to mirror the beauty of epic, barren landscapes with immeasurable dimensions.” On Mørketid (Norwegian term for their period of Arctic frost-encrustation and near-total blackout), this is translated into a collection of reduced arrangements, wherein a single chord progression or harmonic motif is extended recursively over a set periodicity. Interestingly, unlike the earlier Cryosphere, the result is far from frosty or alien, but rather suffused with a remote warmth and ambiguity of atmosphere. Meditative and virtually breathing, it falls in the wake of a post-classically drawn landscape (cf., Basinski, Marsen Jules), but not quite there, ending up a more stylized spartan Italian cousin of Guentner/Lohmann Pop Ambient crossed with Milieu’s Beyond the Sea Lies The Stars. Its soft sustains evoke the recondite and the crystalline, remaining above ground, aerated, here haunted by snatches of spectral voices, there by manipulated fragments of Arctic-sourced sounds, and then again by a slow thunk-thunk like the Pole’s heartbeat. Letting radiance peripherally filter through, Mørketid offsets a certain textural and compositional depletion against an appealing ascetic allure. Who took the ice from the isolationism? Netherworld.  

Review by Alan Lockett for E/I Magazine

Twelve Review

Another new album for Alessandro Tedeschi in 2007 is ‘Mørketid’ released through his own Glacial Movements Records. Mørketid (if you’re curious) is a Norwegian term that indicates a certain period in the year when the Arctic winter cold encases everything and the sun doesn’t rise over the horizon. It’s a cold and dark period that distinguishes regions and people living in the Artic. The sounds on this album are actually treated field recordings mixed with various spoken samples and I’m assuming at least some synthesizers. The effect is an icy cold slow paced adventure through the arctic tundra, which frankly works nicely when its 90 plus degrees outside my window. The only thing that tends to annoy me with this album is that almost every second of this album has this sort of fading in and out high pitched metallic like sound alongside the music. Otherwise though I’m definitely impressed with this recording and will indeed be listening to it in the weeks to come.

August 4, 2007 By JJM LUNAR HYPNOSIS

Thirteen Review

Seconde production pour Glacial Movements, label italien fondé par Alessandro de Netherworld et qui nous avait gratifié de la superbe compilation "Cryosphere" l'an dernier. Cette nouvelle sortie est donc consacrée au nouvel album de Netherworld qui pour le coup a décidé de coller à la thématique "Nord ambient" de son label. "Morketid" est une expression norvégienne définissant une période précise de l'hiver arctique pendant laquelle l'obscurité et le froid règnent en maîtres absolus et le soleil ne se lève plus au-dessus de l'horizon. Incorporant des éléments de "field recordings" pris sur le terrain et retravaillés a posteriori, "Morketid" est une brillante démonstration de ce que l'ambient peut avoir d'enchanteur quand elle dépasse son propre sujet d'étude. Car si les ténèbres gouvernent l'arctique en cette période, on ne peut s'empêcher de sentir poindre une luminosité qui ne s'est pas complètement évanouie. Epurées et enveloppées dans un cocon de gel les nappes brillent par leur limpidité et leurs sonorités cristallines. Les harmoniques sont ici utilisées dans une optique de répétition et d'hypnose tant le spectacle sauvage des éléments de cette région du monde n'appelle qu'à une forme de contemplation quasi mystique, ou tout au moins débarassée de considérations futiles. Netherworld sort de son univers précédemment plus hermétique voire rituel par moments pour véritablement rejoindre la nouvelle école ambient, celle initiée par l'"arctic sound" cher à Biosphere et la "nord ambient" des Northaunt, Kammarheit ou Svartsinn. Un travail délicat et subtil ou aucun élément n'est réellement prééminent et dont l'impact massif n'enlève en rien l'incroyable richesse qui se tapit sous les couches de glace. Décidemment, un artiste qui confirme ses qualités et un label définitivement à suivre.


Fourteen Review

Released simultaneously with "Kall - The Abyss Where Dreams Fall" (on Mondes Elliptiques), "Mørketid" is not the disc I expected, under many aspects. Over the last few years, Alessandro Tedeschi/Netherworld has created some of the bleakest drones around, legitimately reviving the term "isolationism" and starting to build a solid reputation with a few limited releases on Umbra and Tâalem. The name he's chosen for his own label, "Glacial Movement", was perfect to define his style. But right from its beginning, this self-released work is a surprising detour, or possibly the sign of new inputs that will be gradually absorbed in his soundscapes. To be short, the whole disc is bathed in melody, and is largely loop-based (instead of featuring vast bottomless drones). The glacial theme is still there (the liner notes explain that the title refers to "a certain period in the year when the Arctic winter cold encases everything and the sun doesn't rise over the horizon"), but the atmosphere is melancholic and peaceful rather than one of ghastly desolation. Now and then, Maurizio Bianchi in his most serene mood came to my mind, along with vague similarities with some Eno or Basinski. Short melodic fragments are looped building expanding cyclic pieces, sometimes accompanied by spoken samples (one more difference - human traces!), and occasionally clouded by darker drones and metallic rumblings, as in the title track and the final "Virgin Lands". After the initial shock, I found myself liking this album quite a bit, though being no die-hard fan of melodic ambient. I am now looking forward to seeing if Tedeschi will cultivate his more humane side as opposed to the more abstract and desperate one, or try to merge both - which could lead to awesome results.


Fiftheen Review

The Glacial Movements label once more proves true to its name. The second release is a full length album by the label founder's project, Netherworld. Mørketid is an album inspired by the polar winter, the title being the Norwegian name for the period in which the sun never rises. The result, however, doesn't sound as dark as one might expect. Despite the theme (and the conceptual possibilities of the label and as seen on the Cryosphere compilation) this isn't a dark ambient album at all. Many high-frequency sounds and relaxing melodic waves make this release rather bright instead. What does remain, though, is the desolation of the vast arctic fields that inspire this kind of music.

So, as you might expect, this is ambient for those souls who share a longing for that kind of glacial landscapes, as expressed also by artists like Northaunt. And if you are one of those people, this album is definitely worth buying. In general, the sound of the album is crisp and clear, with many sounds and high noises that suggest tingling cold and vast expanses of white. Soft melodic waves fade out now and then, providing a serene backdrop to it all. This doesn't always work well, because they sometimes become too repetitive, as do the voice samples used. There are a couple of times on the album (mainly on the opening track and on "Jøkul") where I wish a new bit was used for variation. Nevertheless, the greater part of the album is very pleasant and soothing. A well placed deep beat sometimes provides some rhythm, as on the title track, which I think is one of the most well-succeeded of the album.

This is not an album that's precisely exciting, let alone unsettling; it's more for relaxation and dreaming, and letting yourself drift off to the landscapes that are described musically. And that it does well. So, this album really represents the glacial side of the label, and not so much the isolationist that is also included in the label description. I didn't find any obscure or oppressive sounds on this album. But, if you're into this specific niche of ambient and love to be taken on arctic trips, this is something you should get.


Sixteen Review

RITUAL nr.31

Seventeen Review


Eighteen Review

  Jak już wspomniałem w recenzji "Swarm", ostatnimi czasy bardzo bliska jest mi właśnie taka odmiana ambientu jaką para się NETHERWORLD. Jaka? Wystarczy rzut oka na okładkę przedstawiającą bezkresną lodową pustynię, oraz tytuł albumu "Morketid" - pochodzące z języka norweskiego słowo oznaczające określoną porę roku kiedy wszystko pokrywa arktyczna zima, a słońce nie podnosi się ponad linię horyzontu. Jak łatwo się domyślić mamy tu do czynienia z "polarnym" ambientem. Taką muzykę do perfekcji doprowadził Geir Jenssen i jego Biosphere na płycie "Substrata". Tymczasem Włoch Alessandro Tedeschi całkiem umiejętnie podąża śladem Norwega w udany sposób kreując wizje wszechogarniającej pustki, nieskończonych połaci lodowych, braku ruchu, życia... A jednak, choć pewnie zabrzmi to maksymalnie głupio, pomimo wyzierającego z głośników arktycznego chłodu, płyta "Morketid" emanuje swoistym... ciepłem. Pomimo wcześniej wspomnianego znaczenia tytułu, nie odnajduję tu mroku czy jakichś negatywnych emocji. Album ten koi, wprowadza w pewien błogostan, uspokaja i pobudza wyobraźnię. Spokojne dźwiękowe pejzaże płyną i nieinwazyjnie wypełniają otoczenie. Czasem w oddali pojawiają się ludzkie głosy, tylko po to aby ponownie zniknąć, rozpłynąć się na horyzoncie.

Zawsze można się do czegoś przyczepić - w przypadku "Morketid" wydaje mi się, że autor trochę zbyt często używa nieco świdrujących wysokich częstotliwości. Jednakże po paru przesłuchaniach człowiek przyzwyczaja się i przestaje to specjalnie przeszkadzać. Aż dziw, że płytę o takim koncepcie udało się stworzyć artyście pochodzącemu ze słonecznych Włoch. Do odstresowania się po ciężkim dniu ostatnia propozycja NETHERWORLD jest idealna.


Nineteen Review

Netherworld es un proyecto que nos llega desde Roma (Italia) a cargo del sello Glacial Movements Records donde este disco (limitado a 500 copias) supone su segunda producción. Morketid (que asi se titula este disco) es un término noruego que indica un cierto periodo de tiempo cuando el invierno ártico lo envuelve todo y el sol no sale sobre el horizonte. Hace mucho frio y está todo oscuro. Por consiguiente el contenido sonoro de este cd está lleno de temas (6) largos (7:28-12:47) que nos ofrecen una perfecta banda sonora para tal paisaje. Sonidos grabados en el propio escenario natural sirven de acompañamiento para frias y al mismo tiempo suaves y hipnotizantes texturas de sintetizador que rodean el cuerpo del oyente mientras un ligero soplido despierta nuestros sentidos. ¡Viaja!
(c) 2007 Manuel Lemos Muradás - A ULTIMA FRONTEIRA

Twenty Review + article


Landscapes under eternal ice, colliding and collapsing icebergs, polar lights, the change between midnight sun and continuous polar night, ice drift and snowstorms: With GLACIAL MOVEMENTS a new label is born RECORDS, which makes it it's duty to spread particularly Klangbilder of these icy Gefilde. Glacial and isolationist ambient calls the Italians ALESSANDRO TEDESCHI that, and brings, as the second, with „Mørketid “an album out of its own project NETHERWORLD. After on the first publication, named „Cryosphere did not dedicate themselves to a Sampler “, with Ambient Protagonisten such as THO THEN AA, TUU, TROUM, AIDAN BAKER and OOPHOI unknown quantities the glazialen topic, continues to go TEDESCHI with „Mørketid “, completely in accordance with the label Credo, this way, by joining noise fragments, which he took up in the range of the arctic, to crystal-cool sound surfaces. The name well sixty minutes are enough for that polar journey comes from the Norwegian one and stands for that time of the yearly, if the arctic winter lets the country solidify and the sun hardly rises over the horizon; a cold, dark time for humans in the high north. NETHERWOLRD is no completely new project: Already 2004 brought TEDESCHI on the OOPHOI label UMBRA with „Eternal frost “a CDr out; further followed its Sub label PENUMBRA and, still at the beginning of the yearly after UMBRA, after TAÂLEM. To first however only the current album, finally on „more correctly “CD and in one successfully simple and coloured cool opening, returns again to the eternal ice.

This polar night does not sound itself however darkly. Coolly and crystal clear it is transparent, like pure ice and from icy light. It told by over-radiated ice landscapes, by rattling/clinking frost, freezing breath, these completely certain cold colors of the winter sky. Up and abschwellenden surfaces are partly overlaid accompanied by a bright, high frequency Sirren and in parts by such a thing as slow, dull/musty heart tones, whole, as if one, apart from the wind and the noises of the ice, hears only the own heart impact in the width. As from the distance occasionally absorbed Gesprächsfetzen resounds over the ice. These are taken partly out of documentations NATIONAL GEOGRAPHIC over the arctic, others originate from noted maintenances about the north and its phenomena. However they - also, if some voices have quite the character of a documentation speaker - are hardly understandably, hardly more than echoes of the human one in the white isolation.

How does one come from sunny Italy to the eternal ice? “Into the deepness OF my essence there is A wired, dark, silent, glacial and eternal place”, tells TEDESCHI. “This imaginary place contains A sort OF parallel reality that I've named Netherworld. Netherworld of communist manifesto itself tons of ME as A child OF more faster abstract sensation that I feel instantly and I catch UP through the making OF my music. I SWITCH, SHIFT and record (with my microphones) environment's sound and sibilance; for example A gate while it's opening, or A subterranean noise OF A brook's more courier, or thus, ice's block motion, ghost's voices, gong and crystals while broken. I'm interested in catch UP sound generated from the nature's flow. Through my music, I would like tons play the quietness OF the silence, desolate darkness and glacial landscapes.”

NETHERWORLD is not however the first or only project on the Ambientsektor, which is occupied with glazialen sound worlds. Already since the 90ern the Soundtüftler THOMAS KÖNER with albums dedicates itself like „Nunatak Gongamur “, which has the unfortunate South Pole expedition of the SIR ROBERT FALCON SCOTT to topic tables the background, „to Permafrost “and „Nuuk “northern Gefilden. KÖNERs passion for the eternal ice lies after own words in the fascination for the cold weather, which slows all movements down to short before the zero point. “It' s my passion, this AREA where the cold slows down all movement,” explains KÖNER in March 1996 in a discussion with BIBA HEAD for THE WIRE (appeared in THE WIRE, issue 145): “The process OF slowing down and reaching this boron that between movement and absolute stillness is, for ME, the process OF simultaneously becoming very sharp and very unfocused, and that, for ME is like A very excellent drug.

It becomes esoterisch: Under the name COSMIC TRIGGER brought ANDREW out McKENZIE of THE HAFLER TRIO a project of PIITU LINTUNEN and GATE AF STORVATTEN, with „polar region “into appropriate regions advanced and besides in the Booklet a quite strange history told: The allegedly over 50 million years old „support Saga ", a Saga published noted for the first time in writing in Finland verbally and 1984 delivered and around the early history of the mankind in the north, which reports obviously on nordische mythology. Names fall such as Aser and Vaner (whereby LINTUNEN and AF STORVATTEN obviously their descent from the Aser derive), and Ragnarök become a reversal of the magnetic polarity of the earth (GREG BRADEN lets greet), after which a large ice age followed. Fortunately the warm gulf stream ensured for the fact that it remained bearable in the country of the Aser and there of them „arctic culture “develop could, while the Vaner on the southern side of the ice belt lived and trained in the equatorial regions new races. This period calls the Saga Altlandis, a name, which reminds certainly only coincidentally of Atlantis, which thereby once would have been found more finite. Somehow also the so-called Ley lines have to do field lines, which interconnect allegedly prähistorische cult places and force places, with history and also presented an own Aser alphabet, whose sound values, similarly the runes, are occupied with mirror-image-ritual and probably magic meanings. Allegedly, similarly to „the support Saga ", newer archaeological finds refer to a very much earlier settlement of the northern regions, than up to then accepted. Of it one can hold now, which one wants; it concerns two long pieces in music with altogether something over sixty minutes play time, which are not particularly exciting quite esoterisch, but. Interesting read themselves however the reviews, which are printed on the back that CD. There „polar region “as „sound TRACK 21 becomes. Century “celebrated brought with Crowley in connection and as the perfect music to the stimulation of sexual energy praised (which the writer also privately already saw allegedly in various Workshops and). Much pleasure.

With „True North “undertake MATHIAS GRASSOW and AMIR BAGHIRI a winter journey in the Jotunheimen mountains, by Fjell and fjord landscapes, over the Hardanger Vidda plateau in south and the Finnmark in northeast Norway. Light, icily resounding and swinging sounds are under-stored with ethnoartigen rhythms, and in the background, rushes or rumort it rattles mysteriously. There is, attentive Hinhören presupposed to discover much: Wind noises sound, sometimes seem to water to rush, in a place become from such a thing like Wasserplat a proper rhythm, then bird voices seem to ring out, an individual night bird call. Under the steps of a Wanderers - or another… Nature? - crunches rubble, stones roll, water drips. Sometimes one believes to hear distant voices a murmuring and a Wispern. Then again howling wind over far, snow-covered surfaces. Rattles, drums and bells add a schamanisches flair, and with something fantasy one believes nearly, noises of Trollen, or something, which one could introduce oneself as such to hear. Serve the sound production, beside key boards and Synthesizern, flutes, Rainstick, bell play, sound bowls, a clay/tone flute and himalayanische Singing Bowls, in addition in Norway made nature photographs are eingesampelt. As guest artists KÅRE RÅBU, MALEK HALIME and MELANIE BAGHIRI, is as well as ANKE THE DOG involved (wherein its contribution lies, is however not clearly evident). „True North “is an album, which unfolds its facets when conscious listening. Who hears it quietly or only in the background, a good part of the many different noises goes to that and sounds lost. Then it is still quite more obligingly/pleasingly, coolly Ambient with Ethno elements, the more hidden details, which lend a completely own character to each piece, remains however hidden. And a trailer record: One of the TRACKs carries the title „one for OF Aran “, perhaps a reference to the documentary film of the same name by ROBERT FLAHERTY from the year 1934, one of the first ethnographischen documentary films.

On a lot stuff was made in the meantime music - and since TERJE ISUNGSET finally also on ice. The ice sound pure in the wahrsten Sine supplies, on instruments, which it carved with a Japanese measurer personally from enormous ice blocks, of the rammer up to staffs, plates and blocks, which ISUNGSET Norwegian TERJE. Its first ice CD, “Iceman Is”, was taken up in the ice hotel by Jukkasjarvi at outside temperatures of -37°C and interior temperatures by -8°C. In order to create optimal conditions for genuine acoustics, an area with walls was built by a meter of thickness, into the daylight only by a small window penetrated. Musical support kept from IRO HAARLA at the ice harp (however of usual harp sides in an ice framework consists) and CEMBRAN PINE HENRIKSEN at an ice trumpet melting slowly when playing ISUNGSET. Fascinated of the work with the ice turned ISUNGSET after Jukkasjarvi back, in order „the Iceman “- successor „Igloo “to take up, this mark as well as the Norwegian avant-garde/jazz singer SIDSEL ENDRESEN. From the wedding of a Polish rock musician there still some Iglus stood, in which the photographs developed: ISUNGSET in one, ENDRESEN in another, and third Iglu served the clay/tone technician as control room. Again prevailed mörderische temperatures below freezing, which were ideal for the consistency of the ice, however not necessarily for the condition of the musicians. The result is however fascinating, then all these sounds is genuine, it is actually the ice, which swings and these different noises there and brings pitches out. Accompanied of the schamanisch seeming singing ENDRESENs, a mixture from sound painting, Gesumme, and something, which sometimes sound after Norwegian, in addition, somewhat completely different one to be could, its own tendency develops: A little magically, a little archaisch, and not completely of this world.

Welkommen til Utvær. Welcome ton of Shipwreck radio. Meanwhile NURSE WITH WOUND undertook a nordisches experiment of special kind: for the photographs too „Shipwreck radio volume One: Seven Sonic Structures from Utvær “traveled STEVEN STACKING CLAY/TONE and COLIN POTTER in the summer 2004 on invitation of a local Radiosenders on the Lofoten. STACKING CLAY/TONE and POTTER should make, through renouncement of conventional instruments and only of noises, which found and noted it on the islands, music for unangekündigte radio endings. Altogether 24 of such transmissions was radiated; first sieve published by them on „Shipwreck radio “- ten, if one takes in account the bonus CD „Lofoten Deadead “, which was attached to the first 150 copies. Snow and ice play a subordinated role in the panorama of an environment, which is sketched here: All noises, which process NURSE WITH WOUND, have their source somewhere on the Lofoten, come from port work and equipment, in and running out ships, from Schiffstakelage, which metallic outer hulls of Fischkuttern, of buildings, Gesprächsfetzen, humans and march music on the local „Codstock “- festival, sea gulls, sea swallows, sea and wind, which are mixed and verfremdet and disturbed, in the continuation of the radio endings, ever more. With „Shipwreck radio volume Two: Eight Enigmatic Episodes from Utvær” and “Shipwreck radio: Finally Broadcasts” followed 2005 and 2006 two continuations with further radio material.

To mention one could, what concerns ice, snow and winter, perhaps in addition the creations VINTERRIKETs, whose Norwegian name means as much as „rule of the winter “, and with those hardly one of their numerous albums winter shade, winter-outlaw, winter flames, the winter realm or winter isolation omit. But a mention is probably enough there. Back thus too NETHERWORLD, that, which concerns the ice, thus not only on the label-own Sampler in considerable society is - and KÖNER, GRASSOW and BAGHIRI, TERJE ISUNGSET and NURSE WITH WOUND put the measuring pole highly. To the originality and the sometimes nearly radio play-like character of the field photographs of STACKING CLAY/TONE and POTTER does not approach NETHERWOLRD, and also behind the ice Avantgardismus of TERJE ISUNGSET project stays - however an approximate repetition its would be also too much expected. Into a row with the mentioned fits NETHERWOLRD nevertheless, because finally belongs also TEDESCHI to those, which loose-pull even with the microphone into arctic Gefilde. Its ice comes, at least at its klanglichen origin, from nature. It remains being waiting, which will proceed glacier movements in the future from GLACIAL MOVEMENTS to hope and that the new label stretching and perhaps also ice-experimental will supply, instead of losing itself Ambientbeliebigkeit.

Twenty-one Review

The Norwegian term ‘Mørketid' refers to a dark period during the year when the Arctic winter cold encases everything and the sun doesn't rise over the horizon. One might expect Alessandro Tedeschi's hour-long Netherworld collection, then, to be a relentlessly gloomy affair but, surprisingly, it's anything but. Tedeschi, who manages the Italian label Glacial Movements, uses sampled fragments of sounds from the Artic area to build soothing, hypnotically lulling pieces that extend broadly and unfurl slowly while allowing ample light to seep in. Muffled voices and field noises give meditative settings like “Dreaming Arctic Expanses,” “New Horizons,” and “Jøkul” a strong sense of place while soft clanks, glistening signal tones, and washes cast a becalmed spell in “Mørketid” that lasts longer than twelve minutes. “North Pole” and the thirteen-minute “Virgin Lands” are textbook examples of time-suspending isolationist ambient music.


Twenty-two Review

Netherworld é o projecto do italiano Alessandro Tedeschi, que começou por escrever crítica musical na revista "Deep Listenings". Em 2004 conheceu Oöphoi e foi na sua editora, Umbra, que lançou uma mão-cheia de CDRs. Iniciou entratanto a Glacial Movements, que se estreou com uma excelente compilação de ambient «Cryosphere», editada há cerca de um ano. Mørketid é o seu segundo álbum - descontando os CDRs - publicado uma semana depois do primeiro, Kall: The Abyss Where Dreams Fall, na francesa Mondes Eliptiques. “Mørketid” é uma palavra norueguesa que designa o período do inverno ártico em que o sol não sobe acima do horizonte e, tal como os restantes títulos e imagens gráficas da obra de Netherworld, invoca um mundo sombrio, silencioso, glacial e imutável. A música de Mørketid foi composta com recurso a pequenos fragmentos sonoros captados nas zonas árticas, posteriormente tratados, samplados e transformados numa nova visão do Ártico. É um ambientalismo abstracto de sons sibilantes e drones espectrais em paisagens desoladas.


Twenty-three Review

La brachicardia ti conserva nel cuore buio del gelido inverno. Apri gli occhi: l'orizzonte ti espande. Rarefazione rigida. Lo sguardo non si aggrappa. Slitta. Precipita in orizzontale. Ogni respiro - lento - è un sussurro. La luce più una questione di memoria che altro. Il suono una foschia. Ogni suono una foschia di sensi straniti-straniati. L'ambiente è saturo di questa voce sovrumana senza fonemi. Ti ci perdi, se vuoi, nella realtà parallela di Alessandro Tedeschi alias Netherworld, architetto d'ambienti polari già noto ai frequentatori di S&A. La compilation Cryosphere - vero e proprio manifesto dell'etichetta Glacial Movements Records fondata dal Tedeschi - fu da noi recensita qualche mese fa, e da allora - non per merito nostro - si è guadagnata apprezzamenti anche oltre confine, divenendo un piccolo fenomeno in ambito electro-drone-ambient.

Ora, questo Morketid dovrebbe essere il quinto o sesto lavoro lungo sotto l'egida Netherworld, quindi possiamo ben considerare il suo marchio estetico/poetico come minimo maturo. Dunque, un'ora di musica per sei tracce che ti avvolgono in un abbraccio gelido ma - come dire? - caloroso, come una palpebra che ti copre/isola, ti fa galleggiare in un'angoscia amniotica tuttavia così astratta da consolarti, apocalisse che nella lentezza - una ammaliante, esasperante ostinazione di lentezza - scopre di covare un'ipotetica genesi. Buio di notte perenne che spande intangibile chiarore. L'impronta sintetica coglie un quid cerebrale che non distingui dall'organico, perché ogni suono potrebbe essere un suono naturale trasfigurato dalle macchine in ordine al tempo, al ritmo, alla fibra del suo manifestarsi. Potrebbe. Lo è? Dilatazione. Espansione. Rarefazione. Astrazione. Cosa importa?


Twenty-four Review

Sourced from fragments of sound from the Arctic, this release traverses similar terrain to the Orb, Biosphere, or more recently, Sleep Research Facility. This is fairly stock ambience with no great compositional surprises, albeit competently handled. Expect dark expanses of looped tones and samples, choreographed into a compulsive mixture of otherworldly voice-overs, and dreamy rivulets. High points have to be the title track, “Morketid”, that hovers mid way between dark ambience, and the purely abstract, as looped tones are peppered with stark industrial scrapings, clanks and expansive rhythmic swells. I also enjoyed “North Pole”, an epic, atmospheric piece that plummets into sub bass territory, where we are submerged in a sparse, murky underworld, a gaseous central theme layered with dark tonal meanderings that slowly dissipates into near silence, with only the mysterious movement of some unknown entity, shifting in cavernous depths. Most pieces are between 8 and 12 minutes on average, so plenty of time to kick back and chill out to the enveloping, soporific strains of Netherworld. Well worth a listen. BGN


Twenty-five Review


Twenty-six Review

ROCK E RILLA (sett/ottobre 2007)

Twenty-seven Review

Mørketid è un termine norvegese che indica il periodo dell’anno nel quale l’inverno artico avvolge ogni cosa e il sole non si eleva al di sopra dell’orizzonte. È un periodo freddo e oscuro, che caratterizza i territori e le popolazioni che vivono nell’Artico”.

Questa la presentazione, tanto scarna quanto significativa, con cui il compositore ambient romano Alessandro Tedeschi introduce il suo nuovo lavoro, in uscita per l’etichetta da lui stesso creata, non a caso chiamata Glacial Movements, che lo scorso anno ha avviato le proprie pubblicazioni con l’interessante raccolta “Cryosphere”.
Date le premesse, non è difficile indovinare che minimalismo, isolazionismo e suggestioni nordiche rappresentano il fulcro delle sei lunghe composizioni comprese in questo lavoro: “Mørketid” non è tuttavia soltanto il risultato dell’influenza di una fascinazione geografica, estetica ed espressiva, poiché reca nella sua stessa essenza tracce dell’immaginario artico, sotto forma di frammenti sonori, catturati proprio in quelle lande ghiacciate e in seguito filtrati elettronicamente e immersi in un costante flusso di synth, che, sotto una superficie apparentemente gelida e immobile, nasconde un cuore vivo e pulsante.

L’ambient isolazionista” di Tedeschi è una “environmental music”, che si innalza lentamente come una marea glaciale nell’onirica “Dreaming Arctic Expanses” e nella successiva “New Horizons”, quest’ultima percorsa da lievi battiti che non disturbano la quiete di fondo, ma si compenetrano ad essa insieme a voci distanti e movimenti elettronici appena percettibili. In questi due brani e nella conclusiva “Virgin Lands”, la musica di Netherworld si muove secondo avvolgenti linee circolari, dando luogo a una forma di equilibrato ambient orchestrale, a metà tra etereo isolazionismo e territori sonori più oscuri.
Atmosfere più cupe e inquietanti, prossime al dark-ambient, pervadono invece le altre tre composizioni, caratterizzate dall’iterazione di loop, dilatati fino all’ibernazione sonora di “Jøkul” e “North Pole”, oppure eterei e inafferrabili, come quelli che nella title track fanno da tappeto uniforme all’innesto di sciabordii e clangori sinistri.

Un album di fruizione non agevolissima, ma che con i suoi pochi elementi riesce a descrivere in maniera immaginifica e niente affatto retorica gli scenari ai quali dichiaratamente si ispira, rivelando un artista dotato di una sensibilità raffinata e cerebrale. Pur collocandosi in un ambito musicale nel quale è arduo creare qualcosa di pienamente riconoscibile, l’inverno perenne di Alessandro Tedeschi merita un posto di tutto rispetto nell’attuale panorama ambient: ed è auspicabile che la lodevole iniziativa della sua etichetta Glacial Movements possa aiutarne a diffondere il nome, non solo all’interno dei confini italiani.


Twenty-eight Review

After a number of limited CD-R releases on the Umbra and Penunmbra label’s, Netherworld is back with his debut full-length album, ‘Mørketid’ which is released in a 500 album run, by specialist Italian label, Glacial Movements.

‘Mørketid’ is a Norwegian term that indicates a certain period in the year when the Arctic winter cold encases everything and the sun doesn’t rise over the horizon. On the face of it, ‘Mørketid’ is a very sparse and airy album with an unhurried and naturally formed aesthetic. It could be said that it is extreme ambience. Dig deeper though and there is quite a lot going on underneath the deep permafrost exterior. The opener ‘Dreaming Arctic Expanses’ provides a ‘slowed-to-the-core’ image of amorphous shards of sonic debris drifting in and out of focus whilst the follow up, ‘New Horizons’ gradually envelops around the listener with its involving and atmospheric textures and whispered vocal snippets. The repetitive and perpetual nature of this track leaves the listener hypnotised and unaware of constraints such as space and time.

The title track is a suffocatingly slow-paced piece of sonic-ultrachill which utilises deftly crafted micro-tones and industrial scrapage. With ‘Jøkel’, the rhythmic swells start to gather energy and increase whilst micro-melodies start to flutter about before dying a frosty death. ‘North Pole’ is a far darker piece featuring subtle but piercing shots of treble heavy sound over soft but rumbling bass tremors, ghostly voice samples and minuscule industrial grazing. The elements coalesce to give a hypnotic effect that will captivate the listener. The closing track plays dark against light with murky and cavernous, submerged bass tones pitched against ebbing swells of ethereal sound. A high-pitched tone runs in the foreground and serves to keep the listener dazed yet ‘channeled-into’ proceedings.

‘Mørketid’ is an album composed using short fragments of live-sounds found in the Arctic area and these have been documented, sampled and then completely transformed into a captivating and glacial ambient soundscape which has the power to seep into the listener’s mindset and take hold for 59 minutes. As with all good dark-ambient music, I was left slightly numb after listening to ‘Mørketid’ as my listening room was rapidly transformed into an inhospitable and isolated Arctic tundra. One of the main reasons for this was the deliberately unhurried pace which forces the listener to give the sound their full attention.

For fans of: Biosphere, Lull, Sleep Research Facility


Twenty-nine Review

Il y a quelques années, Mark Warren, moitié de l’actuelle (et quasi inactive) incarnation de Zoviet*France, avait publié, sous le nom de Penumbra, le splendide album Skandinavien (Iris Light Records). Il y décrivait en musique un voyage vers et à l’intérieur des terres septentrionales. Les lumières y perçaient sous la forme d’ébauches mélodiques, les ponctuations de neige sous celle de formes rythmiques hypnotiques. Aujourd’hui, Alessandro Tedeschi alias Netherworld entreprend à son tour un voyage en terre arctique, une marche vers le Nord. Mais le froid et l’obscurité que précise le terme norvégien Mørketid le placent dans un territoire d’extrémité, et si le Nord est sa quête, elle sera celle éternelle à l’intérieur du Nord lui-même. Voix captées en radio, nappes glacées fluant et refluant, préparent aux beaux dessins du vent sur la neige fraîchement tombée. Plus loin, les boucles lumineuses d’harmoniques montrent la réverbération d’une faible lumière sur les motifs réguliers de la glace. Un cœur semble y battre, peut-être celui du musicien tenté de se laisser happer par le grand désert blanc. La proximité des thèmes de Thomas Köner et de Biosphere ne fait pas pour autant de Netherworld une copie des univers musicaux de l’un ou de l’autre. Bien sûr, il reprend à son compte les souffles de glace et les dessins proto-mélodiques. Mais là où le premier compose la mélancolie d’une banquise quasi désertique, où le second entreprend comme une traduction musicale de la complexe structure des flocons de neige, Netherworld se situe dans un territoire intermédiaire où précisément la pénombre suggère les formes plus qu’elle ne les dévoile. La musique de Netherworld est cette errance de l’homme dans le Nord, son regard sur les scintillements de millions de grains glacés en suspension (le fil cristallin à l’arrière-plan de la vague élégiaque s’étalant de proche en proche, sur le morceau titre de l’album, magnifie cette image). Les quelques voix flottantes, les pulsations travaillées de leur naissance à leur mise en boucle, forment les échos émouvants de cette recherche des contours incertains, de la belle nappe terminée dans le drone effiloché, du battement de cœur au fond de la parka. D.B.


Thirty Review












Thirty-one Review

 This is the second release on Italy’s GM label and is a full album by the label’s head honcho Alessandro Tedeschi. It is a deeper exploration and evocation of an ice-bound world, especially as the title is “…a Norwegian word [indicating] a certain period in the year when the Arctic winter cold encases everything and the sun doesn’t rise over the horizon…” and is composed and constructed from field recordings of sounds derived from the Arctic area combined with voice samples and gentle infusions of electronics.  What is an alien landscape during the day is made even more so when darkness envelops it for the better part of six months and like it points out in the liner notes it shapes the life and the peoples of that area. Everything slows down to a bare minimum and hides itself away. This album captures the essences, moods and atmosphere of life within the northernmost regions.

There is a quietness to all the pieces here, emblematic of a pristine untrammelled beauty combined with a stillness that reflects the Arctic night and its cold grip. Think of star- and moonlight lighting up quiescent terrain, the snow-covered ground gently glowing as the wheel of the universe revolves overhead, sometimes accompanied by chaotic dance of the auroral lights wafting like chiffon across the wide expanse of sky. Each of the sounds utilised on these compositions has been transformed from the familiar and cosy into something otherworldly, just like the landscape does when under the influence of celestial orb-lit darkness, transposing everything into a dreamscape, apparent but not quite real. Repetitive motifs cycle through each of the six tracks but somehow this essentially underpins the quietude of the Arctic winter, a time when everything stops and rightfully shuts itself away in the warmth in anticipation of the reawakening to come – now other realities take their place, perhaps playgrounds for the gods and beings of the northern pantheons. Yet don’t let the beauty fool you completely, there are hints of menace even here, after all the cold can kill as well as preserve; the tracks “New Horizons” and the brooding ghostly presences of “North Pole” exemplify that potential malignity lying just beneath that surface of untouched perfection. But whatever the mood this is above all else a deeply felt, and on a personal level, deeply affecting, collection, as these are regions that whilst I have never physically visited I still feel a deep affinity for. This is a perfect soundtrack for my inner vision of the polar regions wrapped in the studded velvet of night – quiet, otherworldly, ghostly and affecting a wan beauty beyond compare. I hate to pick out particular tracks because like the previous compilation release that kick-started this label the whole album is of a single piece but if I had to point to  personal highlights they would be the swirling shimmer of “Dreaming Arctic Expanses”, the title track with its slow wheeling of the High Arctic night-sky & the steady exhalations of a world in hibernation, when natural rhythms slow their pulses and dream of sun-return, and the crystalline fragility of “Jokul”, reflections of moonlight twinkling like scattershot off the snow… perhaps it’s just the fact that I am reviewing this CD at the tail end of November, the northern hemisphere’s winter and the soundscapes here lock particularly effectively into that seasonal groove that signals the end of another cycle. And, perhaps the best and poignant track of all is “Virgin Lands”, the piece that closes the album, a final farewell as we turn back to look at a fast disappearing world, a sad  mournful accompaniment, reminding us painfully of what we would be missing should the world go as it seems to be going at present… it would be a great pity if this were to come true. (RATING 9/10)

-[S:M:J63] byWounds of the Earth

Thirty-two Review

Is the endless night warmer than you expected, or is that just hypothermia?

Netherworld's Alessandro Tedeschi loves the idea of cold, arctic-themed ambient so much that he founded a label, Glacial Movements, devoted to the concept. It's a surprise, then, that Morketid is so much less chilling than you might expect. Named for a Norwegian word describing the sunless winters of the far north and built from samples taken from the arctic landscape, this album's themes come through perfectly in Tedeschi's windy echoing loops, but where you'd expect such isolationist atmospheres to conjure dark, lonely emotions, Tedeschi's ultimate vision is one of peace and comfort. "Dreaming Arctic Expanses" is this album's most obvious offering, thanks both to its title and the muffled snippets from a documentary on the boreal forests of the far north, while "New Horizons" ventures deeper into the frigid terrain with a slowly alternating tone faintly resembling a guitar. Title track "Morketid" is the closest to traditional dark ambient as it's usually perceived, complete with muted clanks and dragging metallic echoes. "Jokul" ably conjures the remoteness of the arctic with breathy hums and nearly imperceptible conversation, and "North Pole" removes even that minimal frame of reference, consisting only of barely-there washes of reverb. Marvelous closing track "Virgin Lands," though, is perhaps the best illustration of Tedeschi's wintry aesthetic. Its washes of fuzzy harmonic tones and low, gentle rumbles are inarguably lonely, but there's no sadness there; instead, there is only comfort and calm. It's said that as you freeze to death, your last sensation is of warmth, and Netherworld's music is like that; paradoxically, for all its focus on cold and loneliness, Morketid is tranquil, even comforting, a real tribute to the peace Tedeschi derives from his visions of endless ice-covered expanses.


Thirty-three Review

Noise Magazine

Thirty-four Review

RARO! nr.195 (January 2008)

Thirty-five Review

Italian sound artist Alessandro Tedeschi goes under the moniker of Netherworld. He also runs the Glacial Movements imprint that has so far released three ambient isolationist albums. "Morketid" is a Norwegian word used to describe a bleak time of the year, when the Arctic winter cold is particularly severe and when the sun doesn't rise above the horizon. It's cold, dark and desolate, which could very well describe Netherworld's album of the same name. Music on the album was created with tiny fragments of sounds that were initially found in the Arctic. Netherworld then sampled these and made them into new sounds altogether. Resulting mix is an ultra-quiet concoction of seclusion and cold. Don't expect anything particularly warm in this music as the sounds are meant to keep the listener in a state of deep freeze. The ebbs and flows are minimal and the movement is next to nil. Done with conviction and extra patience, "Morketid" is a lonely beast that hibernates all year round


Thirty-six Review

Netherworld è il progetto sonoro di Alessandro Tedeschi, musicista romano che ha anche creato l’etichetta Glacial Movements Records. All’apparenza niente di strano, ma guardando meglio emergono non poche singolarità. La prima è che siamo di fronte ad un’elevazione a potenza dell’idea di concept album, poiché Tedeschi ha inventato una vera e propria concept label sul tema del profondo gelo. Tre i dischi prodotti sinora, questo, l’album di Rapoon, (vedi sopra) e la compilation d’esordio Cryosphere, con anche nomi affermati della scena elettronica internazionale, come Lightwave, Troum e Tuu. Il tema enunciato già dal nome dell’etichetta è, a sua volta, distintivo, un isolazionismo sottozero senza uguali.

Passare inosservati è praticamente impossibile, ma Tedeschi si spinge oltre e qui lascia al suo doppio, Netherworld il compito di sottolineare con il suono le visioni di quelle lande desolate del Polo Nord, realmente visitate. Un diario sonoro realizzato con strumenti analogici, registrazioni di campo e campionatore. Il tema è enunciato sin dal titolo, spiegato nelle note: “Mørketid è un termine norvegese che indica il periodo dell’anno nel quale l’inverno artico avvolge ogni cosa e il sole non si eleva al di sopra dell’orizzonte. È un periodo freddo e oscuro, che caratterizza i territori e le popolazioni che vivono nell’Artico”. Lavoro omogeneo, ma si lasciano preferire la title track, North Pole e Virgin Lands, dove lo spessore del ghiaccio è davvero impenetrabile.


Thirty-seven Review

L'italien Alessandro Tedeschi a.k.a Netherworld est obsédé par le Grand Nord,les étendues de glaces, le froid, etc. Après avoir réalisé six longs formats notamment chez Umbra, il sort un premier album sur sa propre structure Glacial Movements, un label tourné vers l' " ambient glaciale et isolationniste. " (Doit-on parler de pathologie sévère ?) Le Mørketig désigne en norvégien cette période de l'hiver arctique où le soleil ne se lève jamais au-dessus de l'horizon. Cet album tente de recréer cet univers où le temps semble s'écouler différemment. Le matériau à partir duquel Tedeschi a fabriqué ces structures sonores, ces sculptures, est une série 'enregistrements de sons, des fragments captés en zone polaire. Ceux-ci ont été découpés, retravaillés, transformés pour offrir un nouveau visage de ces territoires. Les plaines s'ouvrent alors à l'auditeur qui chaudement couvert aura plaisir à découvrir ce spectacle saisissant. Avec Mørketig, Netherworld immortalise des contrées en sursis, la main de l'homme accélérant leur chute dans d'autres ténèbres, bien moins envoûtants.Il offre ainsi une possibilité d'avoir accès à un peu de pureté.
Pourquoi s'en priver ?


Thirty-eight Review


Thirty-nine Review

Strasznie lubię takie płyty! Zimne, izolacjonistyczne dark ambientowe dźwięki to istny miód na moje serce w ostatnim czasie. NETHERWORLD to projekt pana Alessandro - właściciela labelu Glacial Movements pałający się właśnie taką muzyką. "Morketid" to płyta poświęcona i obrazująca centralną kwartę roku na Arktyce, gdy panuje noc polarna i słońce nie wychodzi za horyzont (wystarczy spojrzeć chociażby na samą okładkę). W zasadzie do tej pory na tego typu muzykę monopol miały projekty ze Skandynawii, więc tym większa była moja ciekawość jak to wyszło projektowi pochodzącemu z Włoch.
Album to sześć długich kompozycji, w których panuje taki mróz i ziąb, że na głośnikach pojawia się szron. Oczywiście mamy tu "skandynawski" zimny i ponury izolacjonistyczny dark ambient pozbawiony jakichkolwiek oznak życia. To prezentował nam już chociażby NORTHAUNT, INSTINCTS, czy SVARTSINN więc wiadomo w czym rzecz. Jednakże, mimo że NETHERWORLD nie niesie za sobą żadnych innowacyjnych i oryginalnych pomysłów, to słucha się tego albumu naprawdę bardzo dobrze. Muzyka wypełniona delikatnymi, szumami, dronami, czy pulsacjami idealnie wpisuje się w krajobraz panujący za oknem. Momentami autor użył także sampli z jakimiś zaklęciami czy deklamacjami co nawet przyzwoicie komponuje się z samymi dźwiękami. I na dobrą sprawę tyle moi drodzy. Nic tu więcej nie znajdziemy poza chłodem, mrokiem i ambientowymi pulsacjami, ale tak właśnie powinien wyglądać dobry, izolacjonistyczny krążek. Jeśli zatem lubicie wszystko, co wypuszcza chociażby Cyclic Law, to NETHERWORLD jak najbardziej jest albumem dla Was.
Piękny, odhumanizowany i lodowaty album!

vote: 8

written by: Tomasz Lewicki


Fourty Review

Netherworld has rapidly risen to become one of the finest ambient artists currently recording. And by ambient I am referring to that variant that has proven most enduring since first being suggested by Brian Eno, the beatless, amorphous ambient of no beginning and no end, that creates new, impossible landscapes which are expressions of the endless space of the interior self - in both creator and receptive listener.

Alessandro Tedeschi is positively infatuated with the North; to be more concise, its deep polar winter cold and darkness. This citizen of crowded, southerly Rome pines for the fjords, dreams of vast white plains over which snow drifts play and wind-chill factors drop.

"Mørketid" is the Norwegian term for that period each year when the winter reaches its nadir and no sunbeam climbs over the horizon. Absorbed into the music are sound samples of Arctic origin, mostly transformed beyond recognition. The thirteen-minute finale "Virgin Lands" throbs quiety throughout its duration until slowly ebbing out, as if retreating to the shadows with the reemergence of the sun in spring.

Freeze-dried or otherwise, Netherworld is the source of some of the finest true ambient music being made these days.


Fourty-one Review

Abastecida a partir de fragmentos de som do Ártico, esta versão movimenta semelhante terreno para a Orb, Biosfera, ou, mais recentemente, Sleep Mecanismo de Investigação. Este balanço é em camadas gasosas com tons escuros que dissipam lentamente em quase silêncio, apenas com misteriosa de circulação de alguns desconhecidos de entidade, a mudança nas profundezas do cavernoso. A maioria das faixas são entre 8 e 12 minutos, em média, bastante tempo para chutar para trás temas envolventes, soporíficas estirpes de Netherworld. Bem vale a pena ouvir Morketid grande composição Ambient sem surpresas, embora competentemente manipulados. Expect dark expanses of looped tones and samples, choreographed into a compulsive mixture of otherworldly voice-overs, and dreamy rivulets. Esperamos extensões de tons escuros e de amostras, coreografada em uma mistura de compulsivo com over voices, e sonhadoras.Morketid paira meio caminho entre o Dark Ambient, e as puramente Abstracto, como looped tons estão recheados de nuances Industrial. raspadas, clanks inchamentos rítmica e expansiva. North Pole, um épico atmosférico, outro destaque. Indicados para fãs de Svartsinn, Sleep Research Facility. PR – 8,0


Fourty-two Review

"Morketid" est un terme norvégien définissant une période l'année durant laquelle le froid glacial et ténébreux de l'Arctique se fait encore plus vigoureux. "Morketid", c'est aussi le titre de ce manifeste d'ambient polaire réalisés à partir de fragments de sons prélevés dans la zone Arctique. Des sons transformés et échantillonnés sur un écrin de nappes organiques et opaques, qui se disséminent dans des atmosphères d'un froid hautement engourdissant. Au total ce sont 6 longues plages hypnotisantes qui composent cet album de l'italien Netherworld définitivement passé maître dans l'art de la contemplation isolationniste.


Fourty-three Review

Rating : 7
Scritta da: Michele Viali

Negli ultimi anni c'è stato un forte interessamento per la tematica 'glaciale', ispiratrice di molti compositori di musica elettronica: ricordo il recente "Deep Frieze" di Sleep Researh Facility, "Nordland" di Apoptose, "Necrosphere" di Necropolis e molti altri ancora. L'etichetta italiana Glacial Movements incentra il proprio operato esclusivamente (o almeno così è stato finora) su atmosfere che conducono ai ghiacci perenni, e Alessandro Tedeschi, titolare della label e del progetto Netherworld, assembla un album a dir poco paradigmatico, capace di svelarci l'essenza e gli obiettivi della sua proposta discografica. Il titolo "Mørketid" fa riferimento ad uno specifico periodo dell'inverno artico, quando il gelo abbraccia ogni cosa e il sole non riesce ad elevarsi oltre l'orizzonte. Da ciò scaturisce un'evidente propensione all'oscurità, fatto che si riflette in suoni rielaborati in studio ma tratti direttamente dall'area artica. Il risultato audio è descrittivo, tutto teso a ricreare nella mente dell'ascoltatore quegli ambienti freddi, grazie ad abbondanti rumori circolari ripetuti in modo tenue ma insistente. Ciò che differenzia il sound di Netherworld da molti altri autori che si sono cimentati con questo argomento è il forte senso di calma e rilassatezza trasmesso dai brani, aspetto tangibile in tutto il disco, ma in particolare in "Jøkul" e "New Horizons": soprattutto quest'ultima si lascia andare a campionamenti che creano una sorta di nenia in grado di cullare la mente. Più in generale ci si sente quasi avvolti in una spirale di freddo che diventa paradossalmente confortevole, con esiti distensivi quasi inaspettati, i quali possono garantire una separazione netta dal mondo brulicante e rumoroso di tutti i giorni. I samples ripetuti all'infinito nei lunghi brani tendono a mimare suoni naturali e ondulatori come, ad esempio, le onde marine o il vento. "Mørketid" è un album particolare che non potrà interessare chiunque, ma che mira a sopire le emozioni più estreme e gli eccessi di adrenalina in favore di una pacata distensione che non scade mai nella noia. Di certo è uno dei prodotti migliori a tematica 'artica' sfornato negli ultimi anni.


Fourty-four Review

Bardzo odpręża mnie ta płyta. Netherworld to projekt Włocha Alessandro Tedeschi który jest również szefem wytwórni Glacial Movements. Warto zwrócić uwagę na ten młody label, w katalogu ma bardzo ciekawą składankę z doborowym towarzystwem oraz wydawnictwa tak znanych projektów jak Rapoon oraz Lull.
W swojej misji Glacial Movements wyznaczył sobie by dźwięk w 100 % zastępował obraz. Dla dark ambientowców jest to idea jak najbardziej słuszna i jakże mocno przez nich oczekiwana. W tym miejscu powinno paść pytanie czy choćby na przykładzie Netherwold ta zacna idea jest spełniana?
Z przyjemnością muszę stwierdzić że tak! Jest to palce lizać zimny i ponury izolacjonistyczny dark ambient. "Morketid" to dźwiękowa wizja konkretnego okresu na Arktyce, gdy panuje noc polarna, wszystko wokół jest skute grubą warstwą lodu i słońce nie wychyla się ani na chwile poza horyzont. No cóż z ręką na sercu musze przyznać że nie znajdziecie na tym albumie nic nowego, co nie oznacza że nie jest on wart Waszej uwagi. Dla fanów zimnego, spokojnego dark ambientu pozycja godna polecenia. Trzeba ją słuchać z uwagą, za to odwdzięcza się znakomitym nastrojem: trzaskający mróz, delikatne szumy i drony, czasem troszkę fajnie dobranych sampli z jakimś słowem mówionym. Ktoś powie nic nowego, to wszystko można spotkać na setek innych płyt z tego gatunku. Tak, tylko panu Tedeschi znakomicie udaje się wprowadzić słuchacza w stan wyciszenia i relaksu, do tego wspaniale kreuje odhumanizowany klimat. Jeśli lubicie Instincts lub Hazard czy też podoba się Wam np. składak wydany przez rodzimy Fluttering Dragon pt. "The Last Bleak Days" to śpieszcie się bo Netherworld "Morketid" jest limitowany tylko do 500 sztuk. Polecam fanom gatunku!

Ocena: 7,5/10


Fourty-five Review

Netherworld - Morketid
6 skladeb / 59:21, Glacial Movements / distribuce v ČR HORUS CyclicDaemon
Začneme majitelem labelu, Italem Alessandro Tedeschim alias Netherworld, který si pro své ledové království připravil desku Mørketid. Tento termín označuje v norštině období v roce, kdy arktická zima dostoupí takové nadvlády, že nepustí slunce po celý den nad zemský povrch. Začíná polární noc. A právě z tohoto přelomového období v roce nasnímal Alessandro své zvukové fragmenty, jež se staly základem šesti delších kompozic.

Netherworld je milovník sněhu a ledu, a tak tuto část roku, která je pro většinu obyvatelstva vážným důvodem k hlubokým depresím, předkládá posluchačům v přijatelné atmosférické podobě elektronického ambientu. Z palety, jež polární noc nabízí, vybírá statický klid, usebrání ve tmě a příležitostné čarování polární záře. Ticho přerušuje mírný studený větřík, šumění padajícího sněhu a hlas moderátora z rozhlasového přijímače, který někdo zapomněl vypnout. Mørketid je poučený vstup do elektronického ambientního světa Glacial Movements.  80 %