Famlende Forsøk ‎– Ars Transmutatoria

Eldritch Records ‎– SHiT-LP 017, Shit Tapes ‎– SHiT-LP 017
Vinyl, LP, Limited Edition, Numbered

Tracklist Hide Credits

A1 Demiourgos
Violin – San Hoffman
A2 Belzebub I Amerika 4:00
A3 Hassan I Sabbah 4:40
A4 Etter Nansen
Flute – Strawberry McKillan
A5 Kold Eksperimentering
Flute – Strawberry McKillan
B1 Hebhel
Choir – Kool Kat, Zetlitz*
B2 Spang Virr 3:05
B3 Dyret Fra Moskva 6:15
B4 Hårdhendt Redigering 5:00
B5 Exit Kanon 2:00

Companies, etc.


  • Cornet [Ess], Flugelhorn, Horn [Tenor], Guitar, Mellotron, Sampler, Synthesizer, Tape, Loops, Other [Stenocord], Percussion [Pakhawaj], Percussion, Choir, Vocals, Other [Devices]Lumpy Davy
  • Layout, Photography By [Inside]Chrisph
  • Lyrics ByBRT (tracks: A1 to A5, B2 to B5)
  • Mastered ByK.G.*
  • Mixed ByTom Samuelsen
  • Music ByFamlende Forsøk
  • Painting [Cover]BRT
  • Photography By [Famlende Forsøk]Steinar Buholm
  • Shenai [Turkish], Guitar, Drums, Percussion, Synth, Xylophone, Organ [String], Tape, Vocals, Other [Devices]Chrisph
  • Voice, Tape [Cut-Up Tapes], Percussion, Synth, Other [Devices]BRT


Limited to 500 hand-numbered copies.
Gatefold cover.

Barcode and Other Identifiers

  • Matrix / Runout (Runout Side A, Stamped): SHITLP 017 A 18C3
  • Matrix / Runout (Runout Side B, Stamped): SHITLP 017 B 18C3
  • Matrix / Runout (Runout Side A/B, Etched): K.G.

Other Versions (1 of 1) View All

Cat# Artist Title (Format) Label Cat# Country Year
SUBCULTURE 079 Famlende Forsøk Ars Transmutatoria(10xFile, FLAC, Album, RM) Sub Culture Records SUBCULTURE 079 Norway 2013



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May 21, 2012
I wasn't quite sure what to expect from this - the tape was quite an old recording - had they changed? If so, which way had they moved? Well. for those of you brave enough to risk money on a (somehow it's hard to believe) virtually unknown group, you might find here a group which fits in like a missing link between, say, LAIBACH, TEST DEPT, SPK and perhaps even COIL.
Side One opens up with "Demiourgos", a nervy, loosely structured thing punctuated with distant bursts of crashing glass, as if some great crystal bells were falling in almost exact time onto some hard marble deconsecrated cathedral floor while dark sounds hum in recesses and shaggy crow-like beings watch with dead eyes. A ceremony for unsettled shades is uttered in an emotionless German voice as the remaining crystal bells chime their final sounds in the distant arches. Horns, barely registering, play a sad final farewell to this eldritch edifice. "Belzebub I Amerika" opens to nervy sounds fast fading in and out while drifting electronics and horns float in shapeless dream state. A suppressed drum sound keeps tempo while the vocalist orates in an emotionless voice, a rhythmic tale I cannot follow. It has an atmosphere like distant martial music, a march drifting on a calm breeze from some way off. "Hassan I Sabbah", a fellow most of you will undoubtedly know something about opens on dark keyboard sustains, black as pitch while metal sounds keep a constant 'beat', voices, barely human, grow from the darkness. There's a tune under the surface, kept afloat by what sounds like guitar & synths, although the entire structure seems to move without movement."Etter Nansen" opens on what sounds like electronically sustained temple gongs, growing in magnitude to a full sound, another slow drift with a dulled glockenspiel sound keeping a beat. Perhaps more so than before, this track sounds like dramatic incidental music from some horror film, although what images they suggest I can only guess - the ancient sewers beneath some kind of generator - perhaps nuclear? Somewhere used to the dark, but lit now by some biological luminescence, a nasty dead-flesh-and-dried-blood light? "Kold Eksperimentering" is another barely structured thing with effected vocals which might make your brain fold in on itself.

Side Two opens with "Hebhel" which is a sort of Ritual music, an Ethnic Temple music, sombre, dramatic, but not exactly threatening (at least, not until the axe suddenly falls your way). Male voice in harmony create part of the rhythm - Gregorian-sounding. I could see this appealing to many different tastes for many different reasons. "Spang Virr" opens with a loop of chime-like sound and something like birdsong. It opens out into another large, drifting, orchestral thing which repeats what I can only assume are subtle samples as it moves with graceful drama. "Dyret Fra Moskva" swells into existance with muffled taped voice & a distant slow beat while sustaining sounds cast dark shadows across the body of the sound. It sounds as if it's suppressing a raw power which seems a moment away from bursting forth, but never does. the vocalist talks over the funereal backdrop about midway through, his voice, emotionless enough to neither add-to nor taint the Factory of Dread sound. "Hårdhendt Redigering" again has that atmosphere which positively chills a room, even on the warmest day. this is the soundtrack for a Vampyre or Werewolf film, of that I'm certain - you can almost sense dark clouds scudding across a cold gibbous moon while extra sensitive ears pick up dialogue from within closed buildings. The closing track is "Exit Kanon", which seems like a coda to the previous work - the same muffled voice which echoes onwards while Monk-like singers create a calming atmosphere, as if to pacify the vocal demons which smash the great crystal bells.

There's no doubt in my mind that this is a lost classic - it deserves release on CD as soon as possible. As dark as anything from COLD MEAT INDUSTRY, yet somehow more graceful, more honed, at ease with itself. Who needs the nights to draw in when this will suck the daylight from your eyes.

Originally reviewed for Soft Watch.