. Satanath Records

Reviews: SODP089

< Обратно к релизу / Back to page

I was immediately captivated by the two songs you’ll hear next. They are quite unlike most of the music we feature on this site, and I admit that their unusual distinctiveness is itself part of their attraction. I think they’re also very, very good.


Both songs come from an album named Ad Augusta Per Angusta that will be co-released on January 30 by Symbol of Domination (Belarus) and United By Chaos (Finland). The name of the band is Aegri Somnia, and it’s a collaboration between two Spanish artists with very different backgrounds — Cristina R. Galván (aka Lady Carrot), who comes from the world of Castillian folk music, and Nightmarer, who has been a participant in the avant-garde metal bands As Light Dies and Garth Arum.


You’ll get a sense of what’s unusual about the songs by looking at the lists of instruments performed by these two:

Cristina R. Galvan - Galician and Castilian tambourine, pandero cuadrado, palo de agua, spoons, almirez, shells, and claps.

Nightmarer - electric and acoustic guitar, fretless bass, keyboards/synths, programming, violin, accordion, wind chimes, claps, and stomps.


The ethnic folk aspects of these songs are prominent. Though I’m not well-versed enough to tell you their provenance, Aegri Somnia have explained that the songs are “a compilation of Iberian popular folk songs from the late 19th and the early 20th century”: “A travel through the rural Spain watered by our ancestors’ sweat and blood, an approach to the magical Spain with its lights and its shadows, and a gaze into the abyss of the black and tenebrous Spain with the inner cruelty and brutality of human beings. Pieces of memory, tradition, secrets and myths transmitted over the years from generation to generation, around bonfires, while long working days under the sun or during celebrations. Small samples of popular wisdom which, unlike others already entered into the mists of time, have been rescued from our elder memory before their demise.”


The two songs below are “Ronda De Mayo” and “Señor Platero”. On both of them, Cristina Galván’s voice is a marvel, as are the exotic melodies she expresses through it, and the ingenious combination of her singing with the dark heaviness of Nightmarer’s riffing, the ethereal glow of the keyboard overlays, and the sonic textures of other acoustic and percussive instruments, is completely winning.


Of the two tracks here, there is greater intensity, hard-driving speed, and weight in the dervish-like whirl of “Señor Platero” (until you reach the final segment), while “Ronda De Mayo” is simply mesmerizing. Can’t wait to hear the rest of this.




The opportunity to premiere the fascinating debut album by the Spanish band Aegri Somnia is a special pleasure for me, and therein lies a story that I will tell — and part of that story includes commentary about the music by a friend of mine who I think of as a Renaissance man, an American close to my own advanced age who spent much of his younger formative years living in Madrid, and hasn’t ever lost his fascination for the country and its people. For this purpose I’ll refer to him as Oudekerk.


When I heard the first two songs from this album that had been released for public streaming, “Ronda De Mayo” and “Señor Platero”, I shared them with Oudekerk. You certainly couldn’t call him a metalhead, but I thought he might appreciate Aegri Somnia’s creations both because of his own knowledge of Spain and affection for it and because he seems to have eclectic musical tastes and an open mind.


He was quite taken with those two songs, and wrote me the following note, which I’ve edited slightly because it was a private message, and which I’m now sharing with Oudekerk’s permission:




As you pointed out on NCS, this pair has done some really interesting things by blending a number of different “heirloom” Spanish musical genres, including some that date back to the pagan era (pre-300 AD). Because of Spain’s history, even this ancient music has taken on various newer influences including Celtic, Visigothic, Arab and Sephardic Jewish scales, tones, measures, and flourishes.


I think that Aegri Somnia’s work continues the tradition of synthesis by impressively combining these ancient influences with newer twists that the band’s instrumentalist (Nightmarer) describes as “metal on the vanguard.”


The singer, Cristina Galván, apparently is the one with the deep knowledge of Spanish folkloric music, including ones from the Madrid (Castilla – La Mancha) region and elsewhere.




The first song you listed on NCS, “Ronda de Mayo,” originated in a tiny town north of Madrid called Paredes de Buítrago. There are several interesting dimensions to the song and its origin. First, it’s a celebration of the last night of April and the first day of May – the end of winter and the start of planting season.


One of the videos Galván has posted (here) highlights the origins and strangely syncopated beat of the song. It also highlights how spectacular her voice is, even sitting on her sofa at home. In the notes to the video, she also points out that the “Ronda” form is heavily influenced by Arab music. Another song is here.


This is rather “inside baseball”, so ignore it if you wish: I don’t know whether the band realized the rather humorous image conjured up by the name of the town the song comes from. Paredes de Buítrago, the town name, means “walls of vulture roosts,” which seems a rather strange counterpoint to a song about planting seeds and springtime desire. Rather metal, actually….




Galván has posted several other videos, which I think are intended for primary school students, so I surmise that she may be a school teacher in addition to being a musician. The videos are interesting, in that they explain the various different forms of Spanish folkloric songs, the measures involved, etc., but she also demonstrates them on a tambourine in a pretty amazing display of musicianship. Also, should you wish, you can learn how to play spoons like a Spaniard!


I mentioned that there was something about the band’s work that reminded me of Sephardic (Spanish Jewish) music. The Jews were kicked out of Spain at the same time as the Muslims, in 1492. Here is a link to a song that might prove my point (or not).


One of the pieces I read on them said that the two principals started Aegri Somnia in a rented old (they say haunted) house in a valley in the northern Spanish countryside five years ago. The album is obviously a labor of love, with that kind of gestation period.


And yes, it’s evident, even from simply listening, that this album is a labor of love — a labor that has produced something rare and entrancing, vibrant and moody, exotic and evocative. I hope you get lost in it just as I have.


The album was produced, recorded, and mixed by Nightmarer at Fireflowers Studios from 2011 to 2016. It was mastered by Simon Da Silva at Empty Hall Studios.


The album will be jointly released on January 30 as a digital download and in a jewel-box CD with a 12-page booklet by Symbol of Domination Productions (Belarus) and  United By Chaos (Finland).




За названием Aegri Somnia стоят всего два человека, и не исключено, что этот дуэт является семейным. Именно в таком "любовном" составе и был записан альбом "Ad Augusta Per Angusta", в котором помимо романтики скрывается трагизм и много испанского фольклора. Музыка не подпадает под какое-то одно определение и сочетает в себе множество традиций конца XIX - начала XX веков, словно заново переживая то смутное европейское время и в полной мере давая окунуться в него своему слушателю. В пресс-релизе лейбла все это названо как-то незатейливо и просто - "фолк-метал", но на самом деле, как такового металла здесь практически нет, а аранжировки классически вырисовываются народными инструментами и своеобразрым пением Кристины Гальван. Что касается вокала, то он и не сладкий, и не горький, но умет без проблем варьироваться от одного к другому, не теряя ни капли очарования. Профессионализм музыкантов, в общем-то, налицо, и упрекнуть в чем то группу совершенно не реально, а все это академически выточенное искусство на самом деле берет не только за душу, но и местами даже сжимает сердце. Временами все очень гимноподобно и возвышенно, кое-где убаюкивающе и мелодично, а в целом даже очень экспериментально и не совсем стандартно. Чего только стоит взаимодействие ближневосточных мелодий с современной электроникой и арфой. Музыка для тех, кто хочет послушать именно музыку, без всяких перегрузов, агрессии и брутального рычания. Спокойную, переливающуюся, романтичную и совершенно неприкосновенную...





L’Espagne, en tant que pays latin, est étiquetée comme un pays machiste.  Paradoxalement, la femme y joue un rôle fondamental. Pas assez ample, c’est en tout cas ce que considère un important secteur de la population, dans lequel je m’inclus, mais fondamental. Le culte de la Vierge Marie n’est qu’une illustration symbolique de la haute importance du mal nommé « sexe faible » de l’autre côté des Pyrénées. Considérée comme la base de la famille, elle représente, entre autres, le sens du sacrifice, du travail et de l’abnégation. Et aussi : elle chante.


En bon « guiri » (les Européens du Nord) ou « gabacho » (nom péjoratif pour désigner les Français) -c’est-à-dire en véritable ignorant du folklore local, malgré plus de quinze ans passés en terre ibérique- j’ai cru, en écoutant pour la première fois Ad Augusta Per Angusta, tenir une version métallisée des chansons traditionnelles andalouses. « Tiens, chérie, pour une fois, ma musique à la con pourrait te plaire ! C’est du flamenco à la légère sauce metal-electro ! » . La réponse ne s’est pas faite attendre : « Tú eres gilipollas, ¿o qué te pasa? », que l’on traduira gentiment par « T’es vraiment un **&%$, non ? » J’ai pu apprendre ainsi, que, malgré des mélodies sonnant « du sud », le rythme des .chansons ne correspondait en aucun cas à du flamenco. Si "Veneno" provient de la région de Huelva -ouest de l'Andalousie-, l’inspiration  d’Aegri Somnia est puisée dans une large partie du territoire ibérique (de la Cantabrie à Madrid en passant par la Galice), et l’objectif du groupe est simple : métalliser avec finesse le legs traditionnel de ces régions. Avec finesse, car le duo ibère privilégie très franchement la chanson initiale aux décibels et à la castagne. La preuve : la rythmique est entièrement assurée par le tambourin (la « pandereta ») et autres instruments à percussion populaires d’antan, au détriment de la batterie. Les guitares et les beats electro font au mieux jeu égal avec la tradition ("Señor Platero", "La Culebra", "La Niña de la Arena"), mais en général, elles ne font qu’électriser les titres du bout des doigts.


Par conséquent, toute personne n’appréciant pas un tant soit peu ce folklore méridional peut passer son chemin directement. Les amateurs de ce genre de mélodies pas forcément très adaptées au metal, tout du moins a priori, pourront en revanche apprécier la voix de Cristina aka Lady Carrot, remarquable de précision et totalement faite pour ce type de chanson. Souple, modulé, son organe vocal possède une gamme ample et la demoiselle monte parfaitement dans les aigus, sans indisposer l’auditeur, bien au contraire ("Seran", "Rondón del Enamorado y de la Muerte"). La musique ne fait, en général, que mettre en valeur ses envolées, comme la tradition l’impose, et c’est peut-être le seul défaut de l’œuvre : un (trop ?) grand respect du folklore. Seuls "Señor Platero" et l’immense "La Culebra" osent mettre à mal les versions originales. La première est la plus remuante de l’ensemble, grâce à une guitare tranchante l’espace d’un morceau, tandis que la seconde réussit une symbiose inespérée entre chant traditionnel, beats electro et guitare, et se permet même le luxe d’intégrer un break symphonique inattendu et somptueux. Pour le reste, Ad Augusta se « contente » d’exciter légèrement des chansons dont la portée émotionnelle est souvent haute pour les amoureux du plus beau pays d’Europe. "Molinero – Vengo de Moler" et "La Niña de la Arena" montrent un visage rythmé, là où "Romance de Santa Elena" développe doucement sa mélodie, et, de manière globale, on ne déplora que très peu de déchets sur cette bien belle ode au folklore de la péninsule ibérique.


De par sa nature, Ad Augusta Per Angusta ne peut séduire qu’un public métallique restreint, mais si vous éprouvez certaines affinités avec la tradition ibérique et n’êtes pas insensibles au chant des sirènes du sud, tentez l’aventure. Le second album d’Aegri Somnia est natif d’un pays où l’on crache moins sur ses racines que sous d'autres cieux, et ça se ressent.





Whenever metal gets blended with any other type of music in the world, in special with more traditional styles and genres, the result is always beyond interesting, transpiring creativity, passion, feeling and entertaining us all in a different way than our usual metal bands. That encounter of the fury and darkness of heavy music with distinct non-metal sounds is exactly what you’ll experience in Ad Augusta per Angusta, the debut full-length album by Madrid-based Black/Avantgarde Metal project Aegri Somnia, where Spanish oral traditional music, unknown even for most of Spanish people, is mixed with the harmonic eccentricity typical of musical styles such as Black, Folk and Experimental Metal.


Aegri Somnia are Cristina R. Galván (also known as Lady Carrot), from the Castilian folk music world, and multi-instrumentalist Nightmarer, from the Avantgarde Metal scene (As Light Dies, Garth Arum), who decided to form the project in 2012 in an old ghostly house located in a northern Spanish valley, surrounded by loneliness, silence and the smell of wet earth. And it didn’t take long for the duo to give life to Ad Augusta per Angusta from the harmonious union of their skills and backgrounds, offering the listener a compilation of Iberian popular folk songs from the late 19th and the early 20th century, a travel through the rural and magical Spain with its lights and shadows, and a gaze into the abyss of the black and tenebrous Spain with the inner cruelty and brutality of human beings. Featuring a stylish artwork designed by Cristina and Nightmarer themselves, Ad Augusta per Angusta will certainly redefine the way you see folk and metal music.


Serene acoustic guitars and the delicate voice by Cristina kick off the folk composition Seran, full of traditional Iberian elements and showcasing a steady, melancholic atmosphere. Furthermore, all additional instruments played by both Cristina and Nightmarer are necessary to the music, never sounding out of place. Aegri Somina offer heavier guitars and a rousing vibe in the excellent and classy chant Señor Platero, presenting a great performance once again by Cristina on vocals while Nightmarer brings the word “metal” to the musicality in a perfect balance between extreme music and Iberian folk; followed by La Culebra, a song that’s at the same time tailored for a dancing performance and for a metal concert. Not only Cristina changes her tone a bit in this song, sounding more aggressive than before, but also the song’s symphonic elements enhance its darkness, cohesiveness and taste.


La Deshonra, the longest of all tracks, transpires melancholy through the beautiful acoustic guitars by Nightmarer and the passionate vocals by Cristina, and despite the music not having any breaks or variations, that doesn’t mean it’s not a great song. In fact, its constant rhythm is what makes it mesmerizing. In Molinero – Vengo De Moler, the fusion of metallic guitars and the classic sound of unique instruments like spoons, clamps and stomps, among others, creates a fantastic ambience for Cristina to declaim the song’s lyrics, filling all spaces in this exotic and fun composition, whereas in La Niña De La Arena, one of the best tracks of the album, the duo speeds up the pace and delivers sharp guitar lines, both electric and acoustic. This is indeed an intricate chant displaying several different instruments and layers, with nuances of modern folk music to spice it up a bit. And exhibiting a softer side, Cristina and Nightmarer focus on the more gentle sounds of their instruments in Romance De Santa Elena, generating a calm atmosphere where Cristina beautifully tells the story through the song’s poetic lyrics.


Ronda De Mayo brings Iberian folk with hints of modern Hard Rock, Folk and Progressive Metal, feeling like part of the soundtrack for a dark movie, with its percussion and synths working really well, keeping the music flowing smoothly. Then we have Rondón Del Enamorado Y La Muerte, another dancing tune full of clapping and acoustic lines keeping up with the Spanish traditions, with Cristina going back to her sharper vocal lines while Nightmarer does an amazing job with his unstoppable guitar, and Charro Del Labrador, where Cristina continues to showcase her tender vocal lines, with the musicality in this case being denser than usual thanks to the heavier beats and louder folk instruments. I personally think this experimental composition should sound very interesting if they record a full metal version of it. And Veneno, the last composition in Ad Augusta per Angusta, offers the listener atmospheric passages and a high dosage of melancholy, and albeit not being a bad composition, it’s in my opinion slightly below the rest of the album in terms of creativity.


It’s extremely easy to know more about Aegri Somnia and their music. For instance, you can listen to the full album on YouTube, where you can also watch an amazing video by Cristina herself speaking about the traditional percussion instruments used in Ad Augusta per Angusta and other details about the Iberian oral tradition (with subtitles in English available). You can also follow the duo on Facebook, and purchase Ad Augusta per Angusta at their BandCamp page, at the Symbol Of Domination’s BandCamp page, at the Satanath Records’ webstore or at Discogs. And if exploring new music is part of your life, then you’re more than welcome to join Cristina and Nightmarer in their voyage through the darkness and light of the rural Spain.





Entre TONY WAKEFORD, CORDE OBLIQUE y NATURE AND ORGANISATION uno puede decir que ya va servido de producciones folclóricas, pero para ser justos y realistas hay que decir que el mundo del neofolk contiene un encanto infatigable, el paradigma de lo añejo mezclado con la constitución vanguardista constituye una de las mayores gamas sonoras, siendo esta ventaja innata de la música el principal impulso de la banda que vamos a analizar.


AEGRI SOMNIA (que comparte nombre con un thriller canadiense) es la expresión latina que hace referencia a los sueños del enfermo, una perspicaz denominación que a nivel semántico refleja la esencia de su música, y es que “Ad augusta per angusta” es una excentricidad turbia y delirante, un trabajo monumental que combina la angustia lírica refinada con lo acústico y lo clásico, más la extrema dureza distorsionada del black metal.


Los cánticos melosos y taciturnos de Lady Carrot agitan la fortaleza anímica al adoptar la sonoridad del gallego, presente en el primer tema “Seran”, un idioma capaz de transmitir la morriña y la tristeza mejor que ninguno, más la simbología de pasajes grises narrados en castellano; por desgracia, la percepción de su canto se ve afectada por el manto sobredimensionado de riffs blackers, y los interludios de silencio y marcha apaciguada son pocos, así que su desempeño y las fábulas que se recrean en las letras pierden impacto.


La línea de las guitarras es muy efectiva, la calidad de la composición recuerda al black metal más primario y ponzoñoso, de la misma manera con esa esencia tradicional podemos describir a las panderetas, a la guitarra acústica, a las gaitas y otros instrumentos mucho menos conocidos y utilizados como las cucharas, el pandero cuadrado, las panderetas gallegas… piezas de acompañamiento que, junto con las palmadas, sustituyen a la habitual batería.


También se procura la ambientación a través de efectos electrónicos, siendo estos bastante descarados y espontáneos, formalizando el enfoque experimental que se intenta lograr en este vanguardismo de 11 piezas. Las resonancias se podrían equiparar a las que presumen bandas como ALTAR OF PLAGUES y LITURGY.


La gran pega de este álbum recae en la producción, la presencia de las guitarras eléctricas es demasiado hegemónica, oculta el encanto de las líneas vocales y del resto de la instrumentación en casi la totalidad de las canciones, y es una verdadera pena, porque se puede percibir (una vez que se aumenta el volumen) que el papel individual realizado por cada uno de ellos es de notable calidad, las que más sobresalen en equilibrio serían las de la segunda mitad del disco, como son “Romance de Santa Elena” y “Ronda de mayo”.


Pese a este destacado desliz en la producción, “Ad augusta per angusta” es un gran álbum que mezcla el tenebrismo del dark wave, la magia del canto popular, el resurgir del black más convencido de sí mismo y letras de narrativa tradicional. Un experimento eficiente y notable que de tener una producción más lúcida se hubiera convertido en una obra de culto indiscutible; sin embargo, lo recomiendo encarecidamente.





Coming off a hell of a lot like a vintage 90’s Projekt Records signing, these Spaniards are a duo consisting of a folkie going by the name of “Lady Carrot” (if you can believe that) and a guy named “Nightmarer” from As Light Dies (who I’ve at least heard the name of previously).


It’s a lot closer to gothic darkwave than metal of any sort, though to be fair, they self-identify as folk metal…a designation generally ascribed to bands like Skyclad (whose value for me pretty much centers on Wayward Sons of Mother Earth, the one album of theirs generally considered more “metal” than “folk” in any real respect). And as such, comparing this to later Skyclad, or even acts like Northern Oak…yeah, I can hear similarities.


They seem to avoid “band dynamics” in a proper sense – it’s all vocals and guitars, with various bits of odd percussion instrumentation (supposedly they improvised with things like cookware) – no drums, no bass.


There’s also a focus on doing traditional Spanish folk music, which sounded just fine to me – while she doesn’t have a full bodied operatic voice or the bombast generally ascribed to the ladies of the gothic metal scene, it’s certainly a pretty one, whose airy lightness of being is well suited to the folk scene she hails from.


I’d have preferred an actual full band – even an acoustically oriented one ala The John Renbourn Group – to the guitar only setup seen here…ideally, something more like Fairport Convention behind Sandy Denny, Steeleye Span behind Maddy Prior or best of all, Pentangle behind Jacqui MacShee. And this is simply not in those bands’ league.


But taken in isolation, yeah, this was pleasant enough…mainly down to the efforts of Ms. Galvan…er, “Carrot”.





Aegri  Somnia are  a  band  from  Spain  that  plays  a mixture  of  folk,  avant  garde,  electronic,  and  black  metal  and  this  is  a  review  of  their  2017  album  "Ad  Augusta  Per  Augusta"  which  was  released  as  a  joint  effort  between  Symbol  Of  Domination  Productions  and  United  by  Chaos.


  Folk  instruments  and  operatic  female vocals  start  off  the  album  and  after  awhile  synths  along  with  elements  of  electronic  music  are  added  onto  the  recording  along  with  some  heavier  and  melodic  guitar  riffs  and  whispers  are  also  utilized  at  times  and  they  also mix  in  tribal  and  ritualistic  elements  in  the  heavier  sections  of  the  songs.


  A  small  amount  of  percussion's  can  be  heard  at  times  along  with  some  avant  garde  elements  and  when  the  music  speeds  up  a  decent  amount  of  tremolo  picking  and  blast  beats  can  be  heard  an d they  also  add  a  heavy  black  metal  influence  onto  the  recording  and  the  music  also  adds  in  touches  of  Spanish  and  Celtic  pagan  folk  music  and  nature  sounds  are  also  added  into  certain  sections  of  the  recording  and  melodic  guitar  leads  are  also  used  briefly.


  Aegri  Somnia  plays  a  musical  style  that  takes  folk,  electronic  music,  avant  garde  and  black  metla  and  mixes  them  together  to  create  something  very  original,  the  production  sounds  very  professional  while  the  lyrics  are  written  in  Spanish  and  cover  Paganism  themes.


  In  my  opinion  Aegri  Somnia  are  a  very  great  sounding  mixture  of  folk,  avant  garde,  electronic,  and  black  metal  and  if  you  are  a  fan  of  those  musical  genres,  you  should  check  out  this  band. 





"Aegri Somnia" je španski bend koji u svoj folk metal dodaje primese metala i blagih elektro semplova. Dakle, nije u pitanju folk metal, da se razumemo odmah. Umesto akustičnih gitara, korišćene su električne, distorzirane. Dosta me podsećaju na stari "Orphaned Land", samo bez bubnjeva i muških vokala. Produkcija je evidentno dobra, s tim što zaista ne znam u kojoj prilici bih uopšte pustio "Ad Augusta Per Angusta" koji je poprilično težak za slušanje. Smatram da su baš zbog pomenutih elektro semplova i distorziranih gitara članovi benda pokvarili potencijal album ima.





In 2012, in a small house somewhere in northern Spain, two individuals sitting in a decrepit kitchen began playing tambourine and kitchen utensils together with an electric guitar. The two involved musicians were Cristina R. Galván, a Castillian folk musician, and a fellow simply called Nightmarer, who’ve spent much of his time in metal outfits such as Garth Arum and As Light Dies. The melodies preformed in this simple but romantic setting were old, at times ancient, Iberian folk songs, many of which are all but forgotten in Spain today. Five years later, after long hours of work, what began in that cottage has crystalized into the full length debut album of Aegri Somnia – Ad Augusta Per Angusta.


To be perfectly clear: this is not really folk metal, in so far as folk metal is to be understood as metal infused with melodies from traditional music. Rather, it is straight up folk music, which has incorporated elements from avant garde metal. These elements give the music a certain body, but are not dominant enough to form the core of the album. The list of instruments is instructive enough, with Cristina Galván playing an impressively long range of Spanish traditional instruments, Nightmarer handling strings, synths, violin and accordion – and both of them clapping their hands where it fits.


Even someone largely unfamiliar with Spanish music, beyond flamenco and tango, will probably recognize some key elements here. Plenty of the chord progressions and rhythms will definitely send your mind towards the Iberian peninsula. The more specific genres and forms of folk music is of course lost on many, this reviewer included. That does nothing to make the album less accessible, though, and if you are interested to explore these things further, there is plenty of material in a more in-depth review at No Clean Singing, as well as in an explanatory video by Cristina Galván herself. The latter offers a full crash course in Spanish folk music, and can be recommended.


The moods built with the layers of traditional percussion, well placed electronics and occasional heavy guitar is often festive, at times brooding and always entrancing. There is nothing really ambient going on here, though, for these are straight up folk songs presented so that it’s perfectly possible to enjoy them as pop or metal songs.


“La niña de la arena” is without a doubt the catchiest tune you’ve heard so far this year, and “Rondón del enamorado y la muerte” brings images of the toil and struggles of old Iberia – blood flowing into the fertile soil. In the words of the band, the album consists of pieces “of memory, tradition, secrets and myths transmitted over the years from generation to generation, around bonfires, while long working days under the sun or during celebrations. Small samples of popular wisdom which, unlike others already entered into the mists of time, have been rescued from our elder memory before their demise.”


Ad Augusta Per Angusta is a beautiful piece of music, reminding us how great the combination of ethnic (in a broad sense) elements and modern music can be. It is co-released by Belarusian label Symbol of Domination and Finnish United by Chaos, and available here.



Aegri Somnia viene desde Madrid y se formó en el año 2012; mezclan música tradicional oral española (canciones del siglo XIX y principios del XX), con los sonidos del Black Metal. Su trabajo “Ad Augusta Per Angusta” salió el pasado 30 de Enero.

El álbum comienza con Serán, interpretada por Lady Carrot con una exquisita dulzura, con la guitarra  dotando al corte de una atmósfera singular.

Señor Platero, cuenta con esa profunda esencia del Black Metal, creando un corte más duro y con una ambientación a mi parecer más fría. Además, resalta la combinación de instrumentos tan distintos entre sí pero que a manos de Aegri Somnia se entrelazan sus sonidos con una armonía inigualable consiguiendo una composición personal y muestra la esencia de la formación. La Culebra y La Niña De La Arena son pistas interesantes y con una voz vibrante que te atrapará desde el primer momento.

La Deshonra y Rondón Del Enamorado Y La Muerte recogen influencias de canciones de juglares, mientras que en Molinero - Vengo De Moler encontraremos un ritmo ágil en la parte instrumental que estará acompañado por unos sonidos más folclóricos y tradicionales que mostrarán toda la riqueza de las canciones orales españolas, que con tanto ahínco ha cogido la banda para exprimir las raíces culturales del país. Aunque Romance De Santa Elena tampoco tiene ningún desperdicio, es un tema que destaca por esa unión entre la voz tan dulcificada de Lady Carrot y las seis cuerdas de Nightmarer.

Ronda De Mayo es un corte que transmite buena energía y mucha fuerza. Destaca en él también sus fuertes influencias orquestales con protagonismo del teclado, al igual que en Charro Del Labrador, sobretodo en el estribillo.

El plástico cierra con Veneno, una pista tranquila y que destila una magia especial y cierra el disco con un buen sabor de boca.

Aegri Somnia traen una propuesta novedosa que gustará al público metalero español, puesto que “Ad Augusta Per Angusta” tiene un gran sonido y mucho que mostrar. Espero que así sea.





There’s always a risk in taking on traditional music, as sometimes through no fault of the music it’s just impossible to cut across the culture. In this case it’s Castilian oral folk music but mixed with avant garde metal. Well, I’ve managed Estonian yoiking before and came out unscathed, so here goes.


Well I was immediately put on the back foot. A high-pitched harmony, sung by a lady called “Lady Carrot”, provides a loftiness. The beat is North African – Moorish, perhaps – and the more recognisable guitar work is in keeping and in proportion. It’s a good and very interesting start. A dramatic riff follows, but the star of the show is this Carrot woman. The pitch is so high that it’s almost Indian. This is just brilliant. The metal element changes tack. It becomes more exciting, urgent and black metal, but that lady infuses more exoticism than any instrument. Even a progressive passage doesn’t faze her. I can only imagine that Lady Carrot is Kate Bush’s Spanish sister. “La Culebra” continues the process of sucking us in. It sounds so Spanish that I imagine the lady twirling in a multi-coloured dress and gesticulating with her hands. What’s interesting is that the metal guy, who plays death, black and symphonic metal in As Light Dies and Garth Arum, is on the same wavelength even though the style is totally different. Neither style overpowers the other. “La Culebra” ends dramatically. This is pure opera. Ringing tones now work behind the lady who sings a sad song with pomp and beauty. My Spanish is non existent but what I do know is that there is a mass of expression, feeling and power in the delivery of this song. Where Finnish warriors romp by fires in the wood, this is from the warmth and colourful temperament of Spain. Strangely we hear birds singing, doors squeaking and the sound of children – it’s one of many interesting touches.


Now we hear traditional Spanish guitar music. Subtly the metal guitar comes in and plays a jolly tune. The lady’s voice floats above this mix of metal and Spanish tradition. “Molineto – Vengo de Moler” is the song. The blend is immaculate and powerful. It’s yet another song of balance and passion. There’s a more metal edge to “La Niña De La Arena”. But it’s an exciting one. The lady and music exude urgency and heroism. Is that a trumpet? This conjures up the image and colour of Spanish festivals. Bells toll. The lady introduces the drama. The electric guitar is strident. It is “Romance de Santa Elena”. The scene is irrepressible and dark. The electronic end is sinister. Clapping can be heard. The guitar raises the pitch and of course the soft and sweet ones of the lady raise the bar once more. A kind of hey nonny nonny folk music strikes up, but of course “Rondón Dei Enamorado Y La Muerte” has the extra twist of the vocals and the balance of the metal guitar, which plays through an atmospheric piece while the clapping continues around it. “Charro de Labrador” again mixes the quality of a catchy traditional song with special vocals and high- powered instrumentals. Melancholic and lush guitar work would be enough to express the atmosphere of “Veneno” but the lady takes us to greater heights once more. There is a haunting sound running through the background. The lady sounds vulnerable. The atmosphere is tense yet magical. And magical is what this album is. It ends with a fusion of sounds in an experimental way. And again it’s not folk, it’s not metal but it is unpredictable and incredible in its cohesion and harmony.


This album is unique. With the uniqueness go high quality musicianship and a special atmosphere. I am a Northern European of Irish descent with not a trace of Hispanic blood in me. Yet this album took me to the heart of Castile, an area of a country I have never been to in my life. All the elements are perfectly harmonised in spite of the mix of ingredients suggesting that in any rational world they shouldn’t go together. I can’t remember listening to an album where the music and the vocals have transported me to such a different and vivid place like this. It is both interesting and a sheer pleasure to listen to. “Ad Augusta per Angusta” is a musical and cultural temple.





Il dark ambient non fa decisamente per me, ma come tutti i generi merita un’opportunità anche per il sottoscritto. Devo dire che questo album comunque è arrivato fino alla fine nel mio lettore, punto di partenza più che buono visto il genere. Diciamo che il disco fonde molte influenze, dalla musica leggermente gitana alla musica elettronica, al mood orientale. Senza dimenticare comunque delle chitarre dal sapore decisamente heavy. La voce femminile sa essere ammaliante e conquista subito per la limpidezza dell’esecuzione, quasi a stridere con il resto degli strumenti, molto impastati e sporchi. Il platter ha molta linearità , con il rischio mai scongiurato fino in fondo di essere ripetitivo nelle canzoni. Certi passaggi son davvero ostici da digerire per i non amanti del genere, ma l’esperimento può disri nel complesso abbastanza riuscito.





Fantástico! É o adjectivo que mais nos assalta enquanto ouvimos Aegri Somnia, uma banda de folk em que o foco da atenção não deverá estar no facto de não serem uma banda convencional do género. Não nos parece que faça sentido dizer que tocam folk metal por causa disso mesmo. Seria estar a associá-los com um género que provavelmente não serve para descrevê-los na perfeição. Diríamos que estão mais perto de uma entidade como Enia do que propriamente de uns Eluveitie ou Korpiklaani. Há um sentimento de sonho que percorre todos os onze temas da banda, um sonho no qual no queremos perder. Gostamos de trabalhos que nos surpreendem mas nunca pensámos ser surpreendidos por um álbum como "Ad Augusta Per Angusta", cheio de sensibilidade e respondendo na perfeição ao que um álbum folk deverá ser. Fantástico!





The album’s title translates as ‘through difficulties to honours’, and this collection of Iberian folk songs, popular in the late 19th and the early 20th century conveys nothing if not the supremacy of strength of character, and a sense of journey, through adversity to triumph in a way which speaks of the resilience of the human spirit, and the human soul.


The album’s accompanying blurb sets the scene: ‘A travel through the rural Spain watered by our ancestors’ sweat and blood, an approach to the magical Spain with its lights and its shadows, and a gaze in to the abyss of the black and tenebrous Spain with the inner cruelty and brutality of human beings. Pieces of memory, tradition, secrets and myths transmitted over the years from generation to generation, around bonfires, while long working days under the sun or during celebrations. Small samples of popular wisdom which, unlike others already entered into the mists of time and have been rescued from our elder memory before their demise.’


Folk music, by its nature, tends to be narrative, but also dramatic and allegorical. While the lyrical content is, admittedly, entirely lost to me, the sentiments conveyed by these ambitious reshapings of traditional compositions remain intact, and, using contemporary rock instrumentation Aegri Somnia succeed in rendering them powerful and moving in an alternative context.


To unravel the workings of this project, which was pieced together over the course of some five years, some biographical detail may be useful: formed by Cristina R. Galván “Lady Carrot” from the Castilian folk music scene and Nightmarer from the avant-garde metal projects As Light Dies and Garth Arum. Aegri Somnia is a folk / dark wave duo from Madrid, Spain.


If it sounds like a curious hybrid, Ad Augusta Per Angusta is proof that it’s one that can work well. It’s loud, dark, metallic. It’s contemporary, but also timeless.


‘Seran’ launches the album with an immense swell of theatricality, huge swathes of post-metal guitar propelled by a spiky drum machine bringing force and layers of drama to the gothic symphony.


‘Señor Platero’ is a beautiful, graceful folk song – played in a full-throttle metal style. The guitars burn, slabs of molten lava over which Galván’s operatic vocal soars s if swooping from the heavens to grace this interzone between the earthly and the ethereal. The loping drums and serpentine vocal of ‘La Niña de la Arena’ is high-tempo and high-power, but features some neatly executed techno-industrial percussion breakdowns. Entirely incongruous with the origins of the material, such features serve to highlight the versatility and absolutely timeless nature of traditional folk music.


Elsewhere, on ‘Charro del Labrador’, the violent, top-end-orientated drum track duels with a chorus-heavy picked guitar line to create a sound that will resonate with anyone who’s heard – and enjoyed – a bootleg containing demos by The Sisters of Mercy from circa 1984. I’m probably writing for myself alone at this point, but this is by no means an album exclusively of interest to old goths. Far from it.


The album’s sound is dominated by big, grainy, up-front guitars with a thick, metallic edge: sometimes almost overbearingly so. That’s by no means a criticism per se: the production values are unusual, in that the guitar sound is as ‘unfiltered’ as it is up-front, a shade messy, and prone to burying everything else in the mix, including the vocals. All of this adds to the potency of Ad Augusta Per Angusta, an album which yields rewards through perseverance. Exactly as the title foretells.





Beautiful and brooding, Aegri Somnia sculpt a unique hybrid of folk, goth, and post-punk on “Ad Augusta Per Angusta”. Emotionally resonant the way the songs are structured reveals a true talent for form as the songs soar off into the sky. Throughout the album Aegri Somnia employ a surrealist bent to the proceedings as everything swirls about in a stately haze.  Rather spirited the pieces possess a great depth to them while they explore vast swaths of territory. By far the highlight of the album and what ties it all together are the compelling vocals which rest in the very heart of the sound.




Opening things up on a high note is the expressive work of “Seran”. At first so delicate the song builds up into a muscular, commanding sound. Trading out the acoustic guitar for distortion laden riffs the piece transforms into an unruly tempest. Easily the highlight of the album the song’s haunting melody lingers in the mind long after it has ended. Layer upon layer of sound work wonders on the dark “La culebra”. Flourishes occur with fanfare leading the sound out. Somewhat reflective is the blissful work of “Le deshora”. Rather hazy in temperament is the sprawling riffs of “Romance de Santa Elena” which gives the song a lush rich feeling. Percussion anchors the powerful “Ronda de mayo” with a rhythm that grows in strength. Elements of metal emerge out of the tortured sound of “Charro del labrador”. Closing the album off is the late 80s darkwave vibes of “Veneno”.




Aegri Somnia forge a unique sound that is entirely theirs on the sweeping scope of “Ad Augusta Per Angusta”.







The thing with Satanath and Symbol of Domination, such is the variety of music on offer from both labels, you never know what to expect… so here’s an album based on old Iberian popular folk songs from the late 19th and the early 20th century. Yeah, that took me by surprise as well.


Translating it into what you are really going to hear, is ethnic based Metal. Mysterious female vocals lead the way and the twisting rhythms, despite me already knowing their origin, have a distinct Middle Eastern flavour… ok, Iberian flavour.


Whether it’s the Mongolian Folk Metal of Nine Treasures, or the Jewish and Arabic flavours of Orphaned Land, I love the culturally diverse variations Metal can produce. And this album is no different.


The Metal content isn’t as high as the two bands I’ve just mentioned, but it’s certainly worthy of being mentioned in the same conversation. I’d say it has more in common with some of the more ethereal moments from Liv Kristine’s illustrious career, than your average Metal band.


Would it be offensive to describe this as Gothic Metal meets Rock and Metal infused belly dancing? Because that’s what my brain thinks it is.


Whatever you want to call it, it’s a nice distraction from the normal (louder) promos that come my way.




Si en el mismo contexto mezclamos metal extremo y música tradicional oral española, muy probablemente la primera reacción sea de escepticismo, incredulidad o sorpresa. Pero si dejamos atrás, primeras impresiones y tópicos ya trillados, seguramente aparezca  en nosotros ese gusanillo que hace ampliar nuestro horizonte, y según dicen mató al gato, la curiosidad. ¿Cómo es posible que dos mundos tan distantes consigan, ya no solo encontrarse sino fusionarse? Si tomamos como premisa, que toda música se nutre, en parte, de los sustratos de la tierra donde están plantadas sus raíces, tenemos que estos son un nexo de unión perfectamente válidos para dicho encuentro. No obstante, es necesaria la intervención de otros agentes externos para hacer florecer el fruto. Dichos agentes nos son otros que la creatividad, la falta de prejuicios y la valentía. Ad augusta per angusta es fruto de ello, y los responsables son AEGRI SOMNIA. Un proyecto paralelo de sus 2 integrantes, iniciado en 2012 por Lady Carrot, procedente del mundo folk castellano LA BOJIGANGA, y Nightmare, componente de la banda de metal extremo AS LIGHT DIES entre otros.


Ad augusta per angusta  consta de 11 cortes que narran historias antiguas, lejanas y caídas en el olvido. Aunque en el fondo, los temas tratados no distan tanto de la actualidad; pues el engaño, el amor, los malos tratos y los prejuicios siguen aún presentes. Todas las narraciones están construidas en atmósferas oscuras e inquietantes, impregnadas de nostalgia y tristeza. Sin duda, la ambientación de los temas lleva el sello del black metal, gracias  al sonido crudo y distorsionado de la guitarra eléctrica y los arreglos de teclado. Una ambientación en la que según mi parecer, dicho género son maestros.


Las guitarras y los teclados, son los únicos instrumentos contemporáneos que he conseguido distinguir. Para el resto, sobre todo en lo referido a la percusión, han optado por dar protagonismo a otros más tradicionales, propios del folclore; dejando a un lado la clásica batería. Los instrumentos más utilizados han sido la pandereta castellana, la gallega y el pandero cuadrado. Tampoco han dudado en utilizar unas simples cucharas, unas vieiras o un almirez, mortero de cocina metálico, como acompañamientos; tal y como nos explica Lady Carrot en su vídeo Aegri Somnia: Sobre Ad Augusta per Angusta.


Los temas desprenden magia, una magia que siempre me han transmitido las historias antiguas, pese a que en ocasiones narren situaciones tan crueles y miserables, como la violencia machista en “Romance de Santa Elena”. El disco consigue atraparte como si del hechizo de una meiga se tratase, gracias a las melodías de guitarras y a una voz dulce e hipnótica. Basta con escuchar “Seran”, cantada en gallego, para quedar embrujado. El único aspecto que más me ha costado asimilar del disco, es el elevado volumen de las guitarras. Esto hace que en ocasiones la voz y algunos elementos de percusión queden apagados, como por ejemplo en el “Señor Platero” o “Charro del labrador”. Un trabajo, que como ellos definen, es un viaje folclórico por toda la península, desde el sudeste hasta el noroeste, desde un fandango de Huelva hasta una jota. Para ser francos, debido a mi desconocimiento sobre cantos tradicionales, la jota, es el único que he reconocido.


Es de agradecer la valentía de gente como AEGRI SOMNIA para romper con estereotipos musicales, y acercarnos un poco más nuestros orígenes. Unos origines que de otra forma, caerían en el olvido. Según podemos leer en sus entrevistas, parece que aún tienen historias por rescatar y contarnos.





Immaginate una casa abbandonata, circondata da un'aura spettrale, in cui prende vita una sessione musicale del tutto improvvisata; aggiungeteci canti appartenenti alla tradizione orale spagnola del XIX e XX secolo, per giunta sconosciuti perfino a molti autoctoni; come tocco finale, influenze provenienti da universi acustici e distorti, contaminate dagli stili più diversi. Seguite tutti questi passaggi e otterrete gli Aegri Somnia, attivi dal 2012 e dietro al cui nome si celano Lady Carrot, interprete di musica folkloristica castigliana, e Nightmarer (As Light Dies, Garth Arum), proveniente da un tipo di scena musicale più estrema.


"Ad Augusta Per Angusta" è il primo risultato concreto di queste nozze miste tra generi diversi. Un disco che reputo interessantissimo soprattutto dal punto di vista antropologico, dal momento che permette agli ascoltatori di avvicinarsi a una tradizione di nicchia, poco diffusa e, quindi, tutta da scoprire. Banale, ma doveroso e da tenere a mente, «canti popolari tramandati oralmente» è un concetto che si lega inevitabilmente a una ripetitività di fondo nelle melodie e nelle strutture dei singoli brani per esigenze strettamente legate al bisogno di trasmetterle ai posteri e far sì che sopravvivessero: era necessario, in altre parole, creare linee vocali semplici che non andassero perdute col passare degli anni.


Il brano di apertura "Seran" presenta, difatti, ben poche variazioni, mentre già con il successivo "Señor Platero" gli animi si modificano e movimentano, soprattutto grazie alla parte strumentale, in cui figurano suoni acustici, elettrici e anche percussioni. In "La Culebra" troviamo perfino una spruzzata di sonorità elettroniche, mentre la voce cresce in corpo e volume; "La Deshonra" è un concentrato di dolcezza e malinconia che si abbracciano e uniscono: troveremo intenzioni e sensazioni analoghe anche in "Romance De Santa Elena".


"Molinero - Vengo De Moler", "La Niña De La Arena" e "Rondón Del Enamorado Y La Muerte" sono probabilmente le tracce più belle dell'album: movimentate e ritmate le prime due, in cui chitarre flamenco e suoni amplificati si sovrappongono senza disturbarsi le une con gli altri; apoteosi e picco più alto del folklore trattato in tutto il disco la terza, in cui fa la sua comparsa anche una voce maschile di accompagnamento. Se in "Ronda De Mayo" le sequenze di accordi si fanno più allegre, nella successiva "Charro Del Labrador" i suoni amplificati della chitarra elettrica si ritagliano un angolino da protagonista, con plettrate e accordi inequivocabilmente contaminati dal black metal. Il disco si chiude infine con "Veneno", che potrebbe tranquillamente passare per una tipica ballata hard rock, così come il nostro viaggio alla scoperta di canti da non dimenticare.


Esperimento ben riuscito per gli Aegri Somnia: mi auguro che riescano a tenere viva la tradizione del folk della loro terra con continuità e passione.







Met bands als Sangre De Muerdago, Har Belex en ook deze Aegri Somnia komt er een frisse wind vanuit het warme Spanje onze kant opgewaaid.


Het verhaal van Aegri Somnia begon ergens in 2012 toen Lady Carrot (Cristina R. Galván; actief in de Castiliaanse folk muziek scene) en Nightmarer (Oscar Martin; actief in avant-garde metal projecten als As Light Dies en Garth Arum) een muzikale sessie hielden in een oud spookhuis in een Noord-Spaanse vallei. Omringd door eenzaamheid, stilte en de geur van natte aarde. Het duo ging in de oude ijzeren keuken, alwaar de termieten bijna de laatste resten van de houten balken weggevreten hadden, aan de slag met tamboerijn, kookgerei dat voorhanden was als percussie en luide akkoorden van de elektrische gitaar. Met een pak traditionele songs onder de arm improviseerde het duo er op los. De twee sterk van elkaar verschillende werelden (de traditionele langs de ene, de zware, harde langs de andere kant) convergeerden en gingen onder de ogen van de geesten die dit verlaten huis bewoonden wel een zeer opmerkelijk huwelijk aan.


Een huwelijk dat al meteen een liefdesbaby ter wereld liet komen: Aegri Somnia. Het duo brengt Spaanse traditionals, liedjes die zelfs voor vele Spanjaarden zelf nog onbekend is, en mengt deze met de excentriciteit die kenmerkend is voor muziekstijlen zoals (black) metal. Maar bovenal wil Aegri Somnia via deze versterkte liedjes een bitterzoete soundtrack bieden die de boodschappen die onze voorouders aan ons hebben doorgegeven, benadrukken.


Ad Augusta Per Angusta is een compilatie van populaire Iberische (een niet-geclassificeerde Europese taal die in de oudheid werd gesproken in het zuidoostelijk deel van het Iberisch Schiereiland, in een gebied dat ongeveer overeenkomt met de huidige Spaanse regio’s Catalonië, Valencia, Murcia en Andalusië.) folk songs uit de late 19de en vroege 20ste eeuw. Een reis door het Spaanse platteland, bevochtigt door het zweet en bloed van onze voorvaderen, een benadering van het magische Spanje met zijn lichten en schaduwkanten, maar ook een blik in de afgrond van het donkere Spanje met zijn innerlijke wreedheid en de brutaliteit van zijn inwoners. Aegri Somnia brengt zo deze tradities, mythes en geheime vertellingen die verspreid werden rond kampvuren na een lange werkdag of tijdens feestdagen, en doorgegeven werden van generatie op generatie, terug tot leven en red ze van de ondergang.


Een unieke aanpak is het wel degelijk, dit contrast tussen het authentieke en het harde karakter. Toch mocht van ons de metalgitaar iets minder doordrukken in de sound van Aegri Somnia. Deze klinkt immers zodanig prominent bij wijlen, dat de traditionele instrumenten wat vanuit de schaduw lijken te opereren. Een song als ‘La Deshonra’ is in deze dan ook een rustpunt, steunend op enkel de mooie vocalen van Lady Carrot en akoestische gitaar, en het geluid van de zee en vogels die de song sfeervol afsluiten. Laat je echter niet afschrikken door de metal waarover sprake, want ikzelve ben ook geen fan van het genre op zich, doch heb dit geen enkel moment als storend ervaren op deze fijne plaat.


Maar dat deze combinatie voor verrassend vuurwerk kan zorgen, zeker wanneer de combinatie dezer twee componenten er pal op zit, zoals tijdens ‘Señor Platero’ bijvoorbeeld of ‘La Culebra’ waarin men verder nog experimenteert met elektronische ritmes. Luister zeker ook eens naar ‘Molinero-Vengo De Moler’ alwaar flamenco en metal zorgen voor een wonderbaarlijke combinatie, die wij tot voorheen niet voor mogelijk achtten.


Ad Augusta Per Angusta klinkt bij de eerste luisterbeurt nog als een tamelijk vreemde combinatie, maar al snel verandert dit in een verslavend plaatje dat door zijn unieke aanpak nog vaak de weg naar de stereo installatie zal vinden.


We zouden dit graag eens op een podium zien, en Aegri Somnia zou zeker niet misstaan op de planken van Castlefest of Coalescaremonium, dus, beste organisatoren, sla jullie slag!



Płyta składa się w 11 interpretacji tradycyjnych, iberyjskich utworów ludowych z przełomu XIX i XX wieku. Mamy więc do czynienia z folk metal, w którym dominuje damski wokal. W kompozycjach przewija się nuta smutku i nostalgii. W lekki trans wprowadzają momentami gitarowe riffy o black metalowych korzeniach, które łączą się z bardziej klasycznymi instrumentami. Znalazło się też miejsce na kilka, nawiązujących do elektroniki fragmentów.





I will admit quite candidly that this album baffled me at first….and then 2nd and 3rd and then I finally got it. I am certainly glad I stuck with it as I have listened to numerous times now and it gets better with each successive listen. Aegri Somnia ( I would translate as a “nightmare”) is a 2 piece act from Spain featuring Cristina on female vocals and various folk instruments and Nightmarer on guitars, bass, programming and male vocals. On their debut album “Ad Augusta Per Angusta” (“Through Difficulties To Honors”) they have taken folk music to another place which I think will have a major crossover effect.

Mixing in elements of black metal, traditional and electronic music, Aegri Somnia have cultivated a different approach to the music of their ancestors. If I had to mix a few bands together to describe them, I would say Birds Way, Dead Can Dance, Ad Plenitatem Lunae and Thy Worshiper were probably a few bands I could hear elements of in their sound but these are very simplistic comparisons. Everything on this album is very sparse from a listening perspective….Cristina’s vocals and Nightmarer’s guitar being the primary instruments in most tracks. However, some tracks will have key arrangements and numerous folk instruments so you will get caught a little off guard with not knowing what is coming next. Another interesting aspect of “Ad Augusta…” is that the basis for the tracks are late 19th and early 20th century Iberian folk songs which if you were told that, you may think they would have an altogether different sound. However, they don’t take it in the “flamenco” direction or the overtly Spanish sound/style and have made it more appealing if not as linear a listening experience. If you remember classic Celtic Frost, then you may be familiar with the track “Tristezas De La Luna” (“Sorrows Of The Moon”) and I think that one track could be the closest thing I could compare to Aegri Somnia style. Because of the programming in some cases you could almost say “industrial” on a couple of tracks.

The tracks were recorded over a 5-year span so that could explain why there is such a diverse style of tracks on here. The mix and overall recording has an old sound to it which lends itself to the authenticity of the entire album…..it doesn’t have an overly digitized or overworked sound but sounds very home grown. Give this album a few serious listens and it will grow on you like it has on me….. an interesting take on folk music with a nice inclusion of various styles to make it interesting for every listener.




I don’t know from what part of Spain AEGRI SOMNIA comes from but I suspect that the folklore differs depending if you Catalonian or Basque or Andalusian or from any other part of Spain. And since I know very little about Spain at all it is hard to tell where they are from just from the folk metal that they play. But had I not known that they are Spanish I would have thought them to be from Northern Africa. They have that Islamic feel to their music that you find in southern Spain. As much as I like what I hear as much do I wonder what the hell it is that I am listening to. And the fact that I couldn’t find them on Metal Archives makes me even more confounded. But it is a very interesting album even though I don’t understand where they are coming from.





Не знаю, кому это пришло в голову. Интересный музыкальный проект Aegri Somnia. Который состоит из Cristina R. Galvan “Lady Carrot”, которая здесь представляет кастильскую фолк сцену и ВНИМАНИЕ!!! Nightmarer из авангардных групп As Light Dies, Garth Arum, последнюю команду слушал, альбом - полный разрыв шаблона, отклик есть, смотреть сюда http://resurgam.ucoz.ru/blog/garth_arum_2013_the_dawn.. ). Так что у меня лично вся надежда на Найтмарера.

Не правда ли, нам давным давно пропилили мозги разными фолк делами? Фолк роком, фолк металлом, фолк дэтом, фолк блэком, фолк думом, фолк трешем... нужно ли продолжать? Конечно, нужно. Пропилили так, что иногда хочется бежать уже от этого. Куда? В поля, к пасторальным пастушкам, которые свиристят на свиристелях (красивая птица) и дудят на дудочках )). Так что, куда ни беги, везде фолк, везде архаика, отовсюду льются звуки, которые сопровождают это и другое человечество (до всемирного катаклизма) сотни тысяч лет (может и более). Потому всегда будет беспроигрышным шагом музыкальное обращение к древнейшим эпизодам человеческой истории, которая, кажется, прописана у нас где-то в генотипе, потому и такая разная (если корни разные). Это своеобразные ниточки, которые хороший музыкант может дергать невозбранно, всегда свободно проникая в глубины души каждого человека. Потому-то иногда и говорят: проверь себя на идентичность — послушай такого-то фолка. Или фолк-дэта.

Здесь нам предлагается кастильская фолковая составляющая, которая удалена от славянского и кельтского регионов влияния. Хотя с последним она граничит, и можно предполагать определенное взаимодействие. Считается, что среди многочисленных протоиспанских народностей в древние времена в Кастилии рулили баски, которые, будучи народом крепким, успешно противостояли романскому влиянию и исламскому вторжению. Это страна крепостей. Кастилия - кастл — понятно, вроде. Я это к тому все говорю, что нам важно вычислить составляющие исконного кастильского фолка. Итоги подведем в конце отклика.

Да, брате, Найтмарер полностью оправдал мои надежды. Это экстремальный металл с сильным фолковым началом, с индустриальными фишками, заботливо и талантливо распиханными по материалу. Сделано все вкусно, енно, выигрышно... Запись на 5+, - опытный режиссер шикарно проработал богатую поллитру(зачернуто) палитру этого муз. контента — который богат на звучание самых разнообразных народных инструментов, а также истинно метальных , +++ синт. пассажей, которые искусно врублены в плоть компо. И будет это проливаться из колонок изумительным мелодическим дождем. Слушать это любителям фолк-металла и фолк-авангарда, конечно, обязательно. Дарк металлистам — обязательно, и всем прочим металлюгам - рекомендуется. Потому что, камрады, душа просит иногда омыть личные архетипы живительным водопадом народной традиции. Потому что без этого - никак.

Я просто надеюсь, что командовал здесь Найтмарер, он то и формировал эти фолковые реки, притоки, озера и моря. К тому же встраивая их в наш стальной и индустриальный мир. С того и начал, поражая переходами, когда идет роскошная фолковая отработка с женским вокалом, которая вдруг перетекает в индастриал кусок, причем вроде и вокал не сильно меняется, и дарк-фолк молотком вбивает свои медные гвозди в мясо этого трека. И в результате пытки тот становится понемногу дарк-металлом, с летающей гитарой, и уже фолка здесь не видно.

Иногда, впрочем, компо начинается с дарк-фолка, с чарующим вокалом Кристины. Однако она не была бы брильянтом местной сцены, если бы ее голос не приобретал там, где надо жесткие обертоны, настроение отстраненности, сильного давления. И это, естественно, кроме интонаций, соответствующих традиционных сонгов, - веселья, печали, траура, торжества, которые изначально присущи фолковому пению. Видится мне, что Кристина - сильная классическая певица, которая может соответствовать любому настроению, востребованному композером.

А уж наш композер потребует, ибо, как говорилось, здесь он конструировал и индастриал, и дарк-металл, и арт-металл, симфо-пассажи, и партии оригинального микса всего со всем )) (чем был богат Garth Arum).

Пора финализировать. Кастильский фолк испытал сильное влияние или был ответвлением кельтской традиции, при том в такой же пропорции обладая именно мелосом истинно иберийской локализации, без явных влияний арабизмов и иных компонентов. Найтмарер в свою очередь интересовался, как эту мелодику приспособить к современному звучанию.

50 минут фолк-металла. От души.