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LTJ-38 Terracid: Alltounia
1. asleep in the frozen woods (5:44)
2. khepera (4:27)
3. talking shadow asking for light (1:45)
4. more (10:25)
5. all doors marked green (8:33)
6. alltounia (9:19)
Released 12.7.2005, australian forest folk, hand-coloured sleeves, includes an insert, limited edition of 100, sold out.
"Songs inspired by and dedicated to Marcia Moore, a devoted seeker of the godhead. In honor of her selfless quest for cellular dissolution."
"Ehdinpä sitten kuuntelemaan sen Terracidin Alltouniankin läpi. Yllätti minut. Saundimaailma on tuttua, tietyllä tapaa perinteistä forestfolkia. Sävy ei kuitenkaan tällä kertaa ole niin mantristinen tai synkkä kuin useissa muissa genrensä tuotoksissa. Usein ollaan jopa iloisella tuulella, kuten "Khepera"-kappaleessa. Toki tunnelma muuttuu välillä uhkaavaksikin pitkien "More" ja "All Doors Marked Green" -kappaleiden ajaksi, mutta päätös on jälleen - edes jollain tapaa - valoisampi. Joka tapauksessa valloittavaa kamaa. Vie mukanaan taas leijumaan, tällä kertaa vain johonkin, mihin ei niin usein pääse. Nyt kauneus ei ole tummaa vaan levyn vesivärikansien mukaista." Jaakob Karhu
"Michael Donnelly of the Brothers of the Occult Sisterhood: dark acoustic psych-folk jams of a more insular hue than the Brothers" Boa Melody Bar
"Over the last year the MusicYourMindWillLoveYou label from Australia has issued some of the most astounding music I've ever heard, here with Terracid. They have a way of combining experimental folk and rock with a king of primitive ritualism that goes beyond the notion of contemporary music and into non-physical realms that are difficult to fully express. In the past it would have been easy to dismiss this as merely psychedelic or drug related but there does appear to be something more produced in their releases even if this is accidental. So here we have another release from them called "Alltounia". Terracid act as a kind of alter-ego to their more known (but still very obscure) Brothers of the Occult Sisterhood or 6Majik9. Where Brothers of the Occult Sisterhood sound like listening in to a ceremony at the dead of night, Terracid sound like the sound of the elements with nobody there to see them. One of the most welcome aspects of their music is how different it
sounds to just about everyone. It's very improvised in feeling but never uncontrolled with some whispering shadowed vocals contained on this release.
Perhaps it sounds like Can backing Jim Morrison but Can were far more disciplined in the structure of their pieces. Instead Terracid sound like they are gradually leaking out of rocks. 'Khepera' moves into the pure drone area with jews harp, fiddle, rumbling drums and blown instruments which sounds unique, like Incredible String Band, John Cale and Uton jamming together (imagine that!). 'Talking Shadow Asking For Light' reaches a place of primitive humans communing with nature, it's perfectly realised but deeply unsettling. It's increasingly apparent how deep the aboriginal shamanic concepts are to the collective, their journeys in time and space reproduced in the form of music. Unlock the hidden doors marked green in your brain and....." The Unbroken Circle
"Terracid AKA Michael Donnelly returns with yet another solo album of his outback-fried psychedelic jamborees. Donnelly is extremely prolific, but that's a good thing for all of us. While he must be sacrificing something on the holy altar of the folk gods, he's surely not sacrificing quality for quantity. "Alltounia" is his first record from the always great 267 Lattajjaa imprint and is one of his finest offerings yet. This is music that will lull you into a trance.
"Alltounia" begins with the stunning "Asleep in the Frozen Woods." Bowed guitars and gently plucked acoustics create a dense moss-covered forest floor. Donnelly's vocals hang in the air, just barely, before falling to the ground and dying in the dirt. This folk composition struggles with itself, trying to wriggle free from the roots and weeds below. It's organic bliss, all wrapped in a vividly-colored blanket. As always, this is great.
There are many soft and quiet moments on "Alltounia," giving this album a more reflective tone. Tracks like "More" and the title track are steeped in meditative glory. The latter track especially. Bowed acoustic guitars and minimal percussion are reminiscent of Keijo, while the underlying sonic drone brings to mind My Cat is an Alien. It's a powerful combination and Donnelly puts his own, distinct spin on the whole affair. "More" is laced in trembling percussion and methodically picked guitars. It's like the silent build-up of tension before a massive thunderstorm. As you watch the black clouds on the horizon approach, you aren't quite sure how bad it's going to be. There's a defiant sense here, like you are forcing your nerves into submission, but in the end you lose out to the forces of nature. Donnelly's delicate balancing act pays off in spades.
One thing I've been noticing about Donnelly's work, not only as Terracid but in Brothers of the Occult Sisterhood, Ffehro, and Soarwhole as well, is that you can really hear that he is inspired by his surroundings in rural Australia. "Khepera" is like a journey over the Great Dividing Range and into the sun-soaked outback. A jews harp marks your steps while fleeting recorder notes hint at the birds flying overhead. It's a beautiful moment on "Alltounia," and with the underlying percussive thuds, it's truly magical. The other element of this homeland-inspiration is the proceeding track, "Talking Shadow Asking for Light." Not only does this piece have an awesome title, but Donnelly's frantic vocal incantations feel tribal in origin. He's channelling some serious ancient spirits here. Totally fucking mystical.
The more I listen to "Alltounia," the more I've grown to love it. It's an album that takes alot of attention. But once you've found the key and unlocked this psychedelic world, you're in for one hell of a ride. Terracid strikes again. 9/10" Brad Rose, Foxy Digitalis
"One fact I often overlook: Australia is huge. Terracid's Michael Donnelly appreciates his country's size, and he tries to invoke it on Alltounia. Donnelly has breathed the outback's open, heady air and exhaled it into this recording. His every instrumental gesture points to the space beyond the music - a wide, wobbly region dwarfing the noise from its center. But this is no ambient piece. Though apparently a solo project, Alltounia contains enough rattle, hiss, and hum to cast doubt on that claim.
Donnelly's searching fiddle occupies the foreground of much of this recording. It acts as an anchor, an emotive human pivot in an unsteady world of lurking unknowns. Percussion figures heavily in the music as well, but rhythm does not. The assorted bells, hand drums, and cymbals ricocheting through Alltounia do not support the music. Instead, by disappearing into dark corners, rolling over wavy hills, and scuttling like creatures over cracked earth, they delineate the space of the record.
Not a word is uttered over the forty minutes. Donnelly opens his mouth, but his language is pulled from within, twisted into moans and howls evaporating into the wind. It's as if the sound space invades him, coercing the individual into a reluctant submission to his environment. A powerful recording from a rising force in psychedelic music." Bryn Berge, Stylus Magazine
"Micheal Donnelly kombinerer eksperimentell folk og rock med en slags primitiv rituell greie som går hinsides det vi har vært i berøring med tidligere, Selv om det virker improvisert blir det aldri ukontrollert. Skygger av vokal, plukkende og glidende akustiske og elektriske gitarer, harpe, fele, myldrende perkusjon, mystiske blåseinstrumenter som til sammen blir en unik sound. Selv en sammenligning med en jam mellom Incredible String Band, John Cale's pre-Velvet Underground-skiver og Uton er ikke dekkende. Klart transeframkallende psykedelia som kan bli vanedannende. Gedigen!" Popopdrops