Anyone viewing this blog will immediately see that my posts have been almost entirely focused on the promotion of new releases. This probably stems from my late 90s and early 2000s web sensibilities (i.e. fairly static sites with the traditional “news” and “discography” buttons) which are boring by today’s standards. Though I like the idea of social media as a means to reach current and potential listeners, I myself am not much of a social person. My posts on Facebook and Twitter are only slightly more frequent than my posts here.
People say that rock bands should have an air of mystique, that you shouldn’t reveal the man behind the curtain. I used a pseudonym when I first began Luciftias even though it didn’t resemble rock music in any way shape or form. At the time, people in the underground black metal scene knew me as Lord Akhkharu. Luciftias was viewed as a side-project of Vukodlak, so it made sense that I would carry over what small amount of notoriety I had when “Suspension of Disbelief” was released. Things changed after I moved back to northwestern Pennsylvania in the spring of 2001. Vukodlak was effectively dead, and, although it took a couple years to refocus, Luciftias became my sole means of expression. I started crediting my musical and artistic contributions as “J. Beers” before ultimately settling on using my full name.
This doesn’t make me special, of course. I know that I am just one of millions of other people presenting themselves on the Internet. All the same, I want to begin pulling back the curtain a little more, to allow some insight on the sounds I choose to make, and to maybe show someone else that it’s okay to be yourself, that it’s okay to pursue a path of personal expression even if it will never make you rich. I’ve always created music that I wanted to hear. I thought, if someone else liked it, that was cool with me; if not, I wasn’t going to let that stop me. Maybe you’re interested in reading a bit more, and maybe you’re not. Either way, I’m fine with that.
After a bit of creative downtime, I finally got around to recording again. The raw track was created with an approximated Frippertronics-style setup directly into Ardour. I later went back and ran the original audio through Guitarix and Rakarrack to add some additional effects. I did a little bit with Paulstretch to lengthen things (nothing dramatic) to get what you hear as the end result.
I chose to use artwork by Thomas Park (Mystified, Mister Vapor) once again as like to think it compliments my own abstract approach.
“Amorphous Architectural Abstraction” just released by Treetrunk Records!
Available on Archive.org and Bandcamp:
This piece began as an improvised guitar drone that had been laying dormant on my hard drive for a few years. I often revisit such recordings, massaging and shaping them into something new. I like the way this one turned out because it works as an ambient piece, subtly blending in like wallpaper, while rewarding the active listener with a droning textural undercurrent. Enjoy!
From the album “Coordinating the Azimuth”
Available on Bandcamp – http://bit.ly/28RGX4p
2013’s Beyond the Aether is the #1 most downloaded Luciftias album on Bandcamp.com and is second only to All work and no play makes Jack a dull boy on Archive.org.
Beyond the Aether was the final Luciftias release of 2013 after a series of well-received albums including: The Great Abstinence, Rain, A Flash of Red, Wonderland: The Cheshire Cat, and Dronosphere III: Transcension. The single longform track built upon all of those works yet reduced them to the barest, most minimal abstract drone still capable of carrying the listener to an otherworldly dimension. To that end, I am especially proud of Beyond the Aether despite have a fondness for everything I’ve recorded under the Luciftias name.
The next stage in the evolution of Luciftias began an exploration of guitar-based, Frippertronics-influenced drone. The aforementioned All work and no play makes Jack a dull boy album was the first of several albums making use of this style. It’s interesting to note that two of my top albums were recorded more or less back-to-back during what now appears to be a pivotal transitional phase.
“The Night Had Gold In Its Teeth” just released by Treetrunk Records!
Available on Archive.org and Bandcamp:
The idea behind this piece was to apply a Frippertronics/drone approach using a bass guitar instead of my usual 6-string. I wanted to incorporate tapped harmonics into this as well. The original recording was roughly 14 minutes long, but I did some minor stretching and additional editing to create the final track.
Astralnautics For Beginners is now available as a free stream or download!
Licensed under a Creative Commons Attribution license, it is indeed “free” in the sense of cost as well as the ability to listen, distribute, and remix to your heart’s content.
From Treetrunk Records:
OR…get it in FLAC format from Akhkharu Hymns: