Quote J.J.
“When I began writing „Traktat“ I was about to explode. Things started falling apart at the very beginning of the year, what left me distracted and anxious till the end of summer. And when doctors tell you that a depressive episode like this will last around or more than six months, without a treatment, then I’ve to agree with them, they are totally right. This, and the circumstance, that I travelled quite a lot this year, trying to run away from a distemper I couldn’t control anymore, is what makes “Traktat” a very personal album, musically as lyrically. That’s also the reason I wrote much of it on the road. I wouldn’t say that the previous Karg releases were less personal, but this one holds a special place in my heart. Also, it’s the last part of some kind of trilogy, which started with “Weltenasche” nearly for years ago and continued with “Dornenvögel” in summer of 2018. To me “Traktat” is some sort of manic depression, which has its ups and downs, loud and quiet at the same time and with a tailspin like every second minute. Quite a lot to bear, and full of emotions I desperately had to get rid of, as I was exploding anyway. “
credits
released February 7, 2020
Traktat was written and recorded between Mai 2018 and August 2019
Songwriting, Vocals, Lyrics and Artwork by J.J.
All songs by Karg except the vinyl and box set bonus song „Nichts als Schatten“, which is an interpretation of Bonnie Prince Billy‘s „I see a darkness“
All Drums on this album played by Paul Färber in August 2019
Produced by Georg Traschwandtner in September 2019
Mastered by David Pilz
Cover art „Flowergirl“ by Steve Kirn // Washington D.C.
Back Cover and booklet illustration by Yasin Violet
Band picture by Krist Mort
End Sample of „Abgrunddialektik“ by Árstíðir - Heyr himna smiður (Icelandic hymn)
Violin on „Irgendjemand wartet immer“, Stolperkenotaphe“ and „Abgrunddialektik““ by Klara Bachmair
Guest Vocals on „Stolperkenotaphe“ and „Abgrunddialektik“ by Purch // Instant Karma
Guest Vocals on „Jahr ohne Sommer“ by Bernhard Zieher // Weltenbrandt
Drums on „Grabcholerik“ and „Alles was wir geben mussten“
written by Mischa Radivojevic
Drums on „Tod, wo bleibt dein Frieden?“, „Irgendjemand wartet immer“ and „Nichts als Schatten“
written by Paul Färber
Drums on „Jahr ohne Sommer“ and „Abgrunddialektik“
written by M.S.
Drums on „Alaska“ and „Stolperkenotaphe“
written by Julian Huemer
Most of the lyrics are written and performed
in the dialect spoken near the Tennen Mountains
The atmosphere of this album is fantastic. Makes you feel like you're knee-deep in the trenches drenched in mud, filth, sweat, and blood. Truly encapsulates the horrors of World War I, and the fact that the lyrics of some of the songs are taken from old war letters really adds to the authenticity.
Favorite Track(s): Die Feuertaufe, Grabenlieder edoerfler
On ne frappe pas un homme à terre : c'est ce que dit la règle mais NONE a déjà prouvé qu'il ne les suivait pas et si son album éponyme retirait toute perspective de béatitude spirituelle, Life has gone on long enough, son deuxième opus, nous interdit l'accès au bonheur terrestre. La vie n'a aucune substance et la production plus distante le confirme. Le DSBM s'empare de textures sonores blues, mettant en relief une dépression urbaine. Les cris partent en fumées : ne restent que les pleurs... Jordan Vauvert
A Pagan black metal masterpiece.
Folk and black metal elements fuse into one extremely catchy and awe inspiring album. This band does not disappoint from all the high praise sent it's way. Abyssius Murkraken
The latest from the great Blood Music label, Atsronoid finds the middle ground between anthemic post-rock and dreamlike shoegaze. Bandcamp New & Notable Feb 12, 2019
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NONE a opéré un virage dans Where Life Should Be et ça se confirme davantage dans Damp Chill of Life. Le temps des métaphores est révolu : l'humidité froide, c'est celle des larmes qui coulent sur le visage à cause de la dépression. Tout pleure dans cet album : les guitares typées DSBM grésillent, les solos ("The Damp Chill of Life", "It's Painless To Let Go") sont liquides et coulent, les voix prennent à la gorge ; même le piano, étranglé par les sanglots ("Cease"), est aphone. Insoutenable... Jordan Vauvert