Traktat by Karg
Karg was founded back in the summer of 2006 as a one-man project by J.J. of Harakiri for the sky.
Between 2010 & 2014 Karg was fully formed as a band to play gigs, formally in Germany, Austria and Central Europe. In the years till 2018 Karg was, like in its beginning, held as a one-man project and released two more albums. With the release of Kargs sixth studio album “Dornenvögel” Karg will celebrate its rebirth as a live band for a few special dates from now on.
The musical style of Karg is a furious, hysteric mixture of Atmospheric Black Metal and a huge load of Post Rock, with influences also from Grunge, Shoegaze and Post Punk. The influences from other genres than Black Metal evolved more and more within the last few years but were there in abridged form since day one. Textual Karg always was about the more melancholic side of life, such as broken relationships, lost love, estrangement, drug abuse, loss or suicide thoughts and depression. In contrast to many other bands Kargs lyrics are as equal important than its music is.
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. “
Tracklist
| 1. | Irgendjemand wartet immer | 10:36 |
| 2. | Jahr ohne Sommer | 9:36 |
| 3. | Stolperkenotaphe | 10:33 |
| 4. | Alaska | 11:05 |
| 5. | Abgrunddialektik | 11:30 |
| 6. | Alles was wir geben mussten | 7:25 |
| 7. | Grabcholerik | 7:55 |
| 8. | Tod, wo bleibt dein Frieden? | 7:44 |
Videos
Credits
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
