On October 30th & 31st, in the strange autumnal Wendigo-winds of Canada, an event was put together and *(and DJ’d) by DI AUGER. An exquisite, two night affair to celebrate the thinning of the Veil , culminating in a dual performance of not only DI AUGER, but Canada’s other deicide’s of darkness, DOUBLE EYELID *(I would have given one of mine to attend this gig, were it not a few thousand miles away). Anyway, one of the special Treats given for those who could attend were a pair of extremely limited edition cd’s by DI AUGER, created specifically for this event, and perfectly suited music and subject matter with which to bring the holiday in. *(Yes, I full-well understand it’s more than a week after said holiday, but the feel is still in the air, Autumn chill now permanently set in – – – and I did nothing of note, not that I’ll mention here, on Halloween Night, anyway – – – so this in a sense makes up for that, in its own way). Also, these ‘Treats.’ given in the form of two 4-song ep’s, one on the 30th, Devil’s Night *(aka: Mischief Night, depending where you live, I suppose), BLOOD, and one on the 31st, Halloween Night, PUMPKIN.
Released: October 30th, Devil’s Night
BLOOD opens with the anthemic “Song Of Rebellion,” a song that creeps in, not unlike a JOHN CARPENTER theme, slowly building, a vision of the masses of creatures of night lurking out from the darkness, beasts of all sorts, unnamed, before unseen, as they explode from the blackest corners of the night of the mind. But the song is a scream for the violence man perpetrates toward man to end, to shriek back against that violence and not take part. Be aware of what the real monsters are, who they are, and stop letting them in the door. *(Remember that dream scene in American Werewolf In London – – – yeah, like that.) The music follows a darkly invasive beat of militance that pushes the song ever forward, not unlike these wars themselves, too many to name, as society crumbles under the iron fists of a subversive and sociopathic dystopian rule, whose own mask has long ago sluiced off. It fits in with the general theme, as it seems these humans act as vampires upon the masses, slowly draining us of all we are.
“Vampyr” brings in a different element altogether, an entrancing rhythm of unrelenting sensuality, writhing around and pulsating, not unlike Lilith thrusting from atop – – – but just beneath the surface hide in the darkness of the lyrics the harshness of a brutally lustful affair, succubus-like, and a heart torn asunder by the rejection of the perfect lover – – – though you’ve already been infected by her draining punctures deep into your soul, your bloodstream, your being.
In an interesting contrast, “Teeth,” almost a continuation of “Vampyr,” as well as explanation: the ultimate Vampirism maintains to be that of deceit, of the soul and psychology. To see it for what it is, but to come back, and question, after all the sin, “If these are your Teeth, where are your Teeth?” Who really has the power. The song is carried out as the slow seductive lyrical bait & switch it is, incredibly orchestrated music of classical beauty pushing through the mesh of this dreamy and beautiful electronic nightmare.
“I Ate The Moon” finishes the disc off in grand style, as the Other Side has begun to take hold, questions being of identity and becoming the night, embracing its power, invisibility to the workaday world, and the pressures of a mind about to burst with the Threshold of Death, an admitted madness and undesired isolation, a choice to create and live within their conceived/perceived nightmare reality – – – and begs to ask on the final line of the song, “Would you like to follow me?”
Fukk yes, we would – – – so let’s go:
Released October 31st, Halloween Night
Kicking right in, almost starting right where BLOOD leaves off, PUMPKIN starts with the slow-creep ghoul intro of “I Am Myth,” easily one of my favorite songs within DI AUGER’S repertoire as a whole *(well, at least what I’m familiar with). They low-octave synth-line that drives this song is one of the most unique, catchy, and original that I’ve heard. This song is a brilliant and the perfect grave-torn opener, bringing to mention a number of quite seasonal elements, blending song and legend perfectly.
The next track, “Vampyr (Dance Into Darkness)” amps up the beat of the version on BLOOD, creating virtually an entirely different song, much grittier, faster, and less depressive. A total take-no-prisoners vibe dominates this version in it’s layers of unrelenting brutality that tear, most accurately, into the heart of the issue.
“Clouds Of Flies (Infestation Mix)” tells the ghastly tale of a rotten, larval internal apocalypse, presenting it as both desiccation of the body and the soul as well, including a melodramatic backbeat that goes into Moroccan/Middle Eastern trance territory, as it slams back into the bitter bite of a rancid sonic body horror. *(As I’ve mentioned before, if one is synesthetic, there is an extra element of potency added to the already thick internal sonic Apocalypse of the trip you are on.)
The final song, “Ossified,” creeps in like the Boogeyman out of the closet, to inadvertently decapitate the infant, with its glowing red eyes and maw full of teeth. And the Boogeyman has solidified into the strength of all it knows it can be, all that has preceded the pain of existence for this beast. Now that it’s been stuck on this side of the Veil, it really just wants to go back, but adamantly refuses to let this world tears it to pieces. Through its ultimate pain, it has found ultimate strength.
QUADRAPUS: BLOOD/PUMPKIN is yet another work of stultifying talent from the mastermind behind DI AUGER, C. LeFORT. All eight songs, between the two discs, form one mystical, dystopian death-march of Neo-Industrial Gothic Rock *(with a punk-grit edge) that is the beast known as the QUADRAPUS: BLOOD PUMPKIN. A perfect Halloween release, it’s good for anytime of the year. And as a progression from DI AUGER’S last album, WHITE LABEL / BLACK NOISE, soundwise he seems to have come fully into his own with this release. There’s nothing I can really compare it to – – – it’s a monster of its own sort, a ghastly-beautiful blood-soaked bitch-beast waiting to rip the heart out of any dumb bastard ballsy enough to get near her. Just the way it should be.
For more on DI AUGER:
Links to DI AUGER’s music can be found all over the internet for download and streaming, and availability is expanding rapidly. Expect DI AUGER to be available via iTunes, Amazon Music, Spotify and a multitude of other platforms by mid 2015.
Currently BANDCAMP, CD BABY, SOUNDCLOUD and YOUTUBE offer a fair sized collection of DI AUGER’s works to date.
Previous DI AUGER releases include SIX PLAYS ‘TIL DOOMSDAY and the sister album HORSE STORM RISING, as well as WHITE LABEL / BLACK NOISE. He is currently working on his fifth album SILENTUIM.
To connect with DI AUGER,
Please feel free to contact Chris Lefort
for bookings or inquiries at:
Vincent Daemon, writer, editor, musician, photgrapher, film/music buff and historian, and rabblerouser, can be found on Facebook at https://www.facebook.com/vincent.daemon.1 as well as his spontaneously updated blog of writing news and nonsense THE WRITINGS OF A DEPRAVED MIND http://vincentdaemon.blogspot.com/Some of his music can be painfully experienced at http://www.reverbnation.com/vincentdaemonsageofdesire3 His email is email@example.com