«Sulla Terra» is basically influenced by Nature, Fog, Christian Religion and Jeron’s instincts.
«Sulla Terra» is the debut full-length album printed in 51 limited edition copies and distributed for free download by courtesy of DNA Production.
Storm and Thunders in «Riflessioni» have been recorded live in a raining evening in September ’08.
Organ in «Come Neruda» is a live recording from Church of Santa Maria delle Grazie.
Voice in «Carillon» is by Charles De Gaulle (1890-1970).
Voice in «Come Bene» is by Carmelo Bene (1937-2002).
Lyrics in «Come Neruda» is by Pablo Neruda (1904-1973).
Artworks are made by Jeron.
- J Orphic – Come Ingrid (09:48)
- J Orphic – Un Nuovo Pianeta (07:16)
- J Orphic – Carillon (05:25)
- J Orphic – Come Neruda (06:13)
- J Orphic – Echi (09:06)
- J Orphic – Quiete (06:04)
- J Orphic – Riflessioni (05:44)
- J Orphic – Come Bene (07:05)
or listen online:
Date … 15.08.2009
Reviewer … Viktorya
Source … Heaven Harvest
J Orphic is the creation of Jeron, since 2005 in Milan. Using electronic and ambient stylings, he is influenced by nature, Christian religion, fog, and his own instincts. For the most part his work seems to be a combination of minimal ambient and voices, be it-spoken word or whispers. «Sulla Terra», or “On the Earth” is J Orphics debut full-length album for DNA Production. Within the album are many influences. Two that are heard throughout are Northaunt and Aghast. There are so many facets to this release that at times it’s hard to believe this is a debut. Inside there is sweetness, sorrow, passion, lush arrangements, graceful calm and intensity. That a lot of thought, care, and soul went into each song is evident.
To simply dissect each song and give a half-hearted opinion would do a disservice to the work recorded. That it starts with bagpipes in «Come Ingrid» and ends with a divine and infernal reverb in «Come Bene» is merely a road map for what lies in between. There are spoken word samples pretty much throughout each track. Chilean writer and poet Pablo Neruda, the immortal Charles de Gaulle, Italian actor and director Carmelo Bene, and yes, even Gaahl from Norway’s notorious Gorgoroth are featured.
The music within is a mixture of droning ambient, music box Christmas carols, electronic, baroque, choral, trumpets, thunderstorms, breathing and whispers. That said the music is so appropriate for each piece nothing feels overdone or forced. There is an ease and tranquillity to «Sulla Terra» as a whole. That serenity is found in J Orphic’s spiritual influence, the theme is interlaced from start to finish. The use of choral music, angelic harps and bell-like tones enhance the fact. Gaahls short spoken word in «Riflessioni» brings a discussion as to what is inherent in all humans to what is man made in religion.
At times, especially in «Quiete», the mood turns haunting and uneasy, yet at the same time harmonious and sacred. The theme of nature as an inspiration is also heard in “Sulla Terra”. You cannot mention «Riflessioni» without referring to the storm used. The sound of the thunderstorm gives an intimidating touch to an already macabre yet enlightening piece. Elsewhere, the recordings of tides are used in «Come Neruda», bringing a rhythmic, gentle quality to the arrangement. That is for the first half of the song, this gentle atmosphere quickly turns into a cosmic baroque affair, yet retaining it’s natural influence.
The insight J Orphic has given to us at times is a glimpse of beauty. In simple terms he «gets it». He gets the relationship that music can have with its audience. As a piece of music (or art as the case may be) it is a total package. Songs that bear up to repeated listening, themes that give us something to think about. It’s up to you really, to what you want it to mean to you. That he’s tricked us into questioning who and what we believe in, the relation it has to nature, and the emotion that it brings is done immaculately.
Originally posted at Heaven Harvest (www.heathenharvest.com/article.php?story=20090812104039474)
Date … 16.08.2009
Reviewer … Greg Norte
Source … The Silent Ballet
J Orphic, the Milan based dark ambient, experimental artist has an interesting set of influences and motivating forces. Nature, fog, Christian religion, and his instincts are the much repeated influences that push J Orphic to compose music. Nature and fog: sure. Instincts: of course. Christian religion? I’m not entirely sure what part of Christian religion influences the music of J Orphic. Perhaps it is a love for the organ as exhibited on «Come Neruda», perhaps the influence comes from a fear or suspicion of the Christian religion rather than a simple love for an instrument, but I can’t be sure. This bit of mystery adds an air of intrigue to «Sulla Terra».
The opener, «Come Ingrid», is an absolutely wonderful introduction track and is perhaps one of the finest openings that I have heard this year. Droning bagpipes meander without real intent until «Scotland The Brave» is played full force while deep rich ambience and slight rhythmic accents flow over the bright lead of the bagpipes. Hissy background sounds, slow sweeping strings loop and swell as a woman speaks in French. The song finally ends with «Scotland The Brave» fading into space creating an effective altering of ideas and tones while keeping an overall mood present.
There is a surprising amount of activity going on in each song considering this is an ambient, minimal album. The majority of the songs have a spoken word segment with speakers ranging from Charles De Gaulle to unknown samples, as well as found sound elements and field recordings. «Come Neruda» features lyrics by Pablo Neruda and transforms from a rather bright, harp infused spoken word piece to a menacing, sci-fi-esque, cathedral organ liturgy with more Neruda lyrics to match the new tone.
«Echi», penultimate in length only to the album opener, begins with a punchy, modern trombone performance that is later overshadowed and replaced by choral singing and an unknown sound recording of forceful speech along the lines of Mussolini or Hitler. The drone of the synth sounds is a wonderful compliment to the mysterious spoken word elements that come from unnumbered corners of the world. However, I couldn’t help but wonder what happened to the trombone? I waited to hear more trombone and synth interplay throughout the piece, yet the trombone is treated as more of an attention grabber that gets left behind. This is a little disappointing.
Each song on the album tends to progress in way similar to «Echi» – catchy intro, followed by a generally well executed transition, which leads into the main drone portions. This structure is acceptable and works with great success for J Orphic, but the loss of the introductory material makes the album feel too choppy or pieced together in comparison to the main material of the majority of the songs. This is perhaps the only shortcoming of «Sulla Terra». The songs could be a little more polished and put together in a more suitably flowing manner. «Quiete» is how the entire album should have progressed. Some interest is spawned in the beginning moments with unique tones and rhythmic patterns, but the tones naturally progress and become infused with the main material rather than just fading out to make room for the headlining content. This compositional method works well with the material that J Orphic is presenting and hopefully it is a peak into future releases.
While the disjointed nature of the songs may be intentional, the more polished sections of the album lead me to believe that J Orphic can achieve greatness with a little more careful consideration of flow from one theme to another. That being said, «Sulla Terr»a is an album that explores dark ambient music with some great experimentation with live recordings without being too heavy handed. It is not dark for the sake of darkness; there are motives behind the darkness like fog, and the Christian religion.
Originally posted at The Silent Ballet (www.thesilentballet.com/dnn/Home/tabid/36/ctl/Details/mid/384/ItemID/2634/Default.aspx)
Date … 04.06.2010
Reviewer … Matthew Johnson
Source … ReGen Magazine
A rising Italian talent offers haunting, subtle dark ambient on this free digital album.
J Orphic may be a new face on the dark ambient scene, but the project’s debut album sounds anything but new. Consisting of moody drone textures with sampled speeches by such mid-20th century luminaries as French Resistance General Charles de Gaulle (on «Carillon») and Italian actor and film director Carmelo Bene (on «Come Bene»), Sulla Terra exudes a sort of post-World War II sense of grandeur, a kind of tragic optimism informed by destruction but hopeful nonetheless. Opening composition «Come Ingrid» is almost grandiose with its tinny, effects-laden bagpipes giving way to subtly melancholic strings; it’s the romantic idea of war fading in the face of war’s actuality. «Un Nuovo Pianeta» is far darker, with hollow, brooding ambient interrupted by wracking, heartbroken sobs. Even in utter devastation though, there’s a sense of passion to J Orphic’s work, as evidenced by «Come Neruda», a recitation of Pablo Neruda’s love poetry set to baroque pipe organs recorded in Milan, Italy’s Church of Santa Maria Della Grazie. If «Come Neruda» is a celebration of humanism, then «Riflessioni» is a celebration of nature, complete with live thunderstorm recordings and a sampled section of an interview with Norwegian black metal vocalist Gaahl extolling the superiority of nature over organized religion. As dark and even chilling as it is in places though, «Sulla Terra» is wonderfully human-seeming, rather than cold and alien, and will especially be enjoyed by fans of the similarly emotive, naturalistic ambient work of Desiderii Marginis and Raison D’etre. While the physical release of the album was limited to 51 copies, digital label DNA Production is offering Sulla Terra as a free download, so anyone with an interesting moving but subtle dark ambient has no excuse not to give J Orphic a listen.
Originally posted at ReGen Magazine (http://www.regenmag.com/Reviews-2120-J-Orphic-Sulla-Terra.html)