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Major new business from Greek drone-folkers Mohammad. Pékisyon Funebri is a triple 10” set of thick, cloudy atmospheres, with cello, electronics and distant haunted vocals all contributing. Although the whole is certainly greater, and more inscrutable, than the sum of the parts. Out on Antifrost.

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  • Triple LP £51.99
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  • afro2071/2/3
  • afro2071/2/3 / 3x10" box set on Antifrost

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  • CD £10.49
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  • afro2074
  • afro2074 / Digipak CD on Antifrost. Includes bonus track 'Az álmok itt érnek véget (rész 4)'

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REVIEWS

Pèkisyon Funebri by Mohammad
1 review. Add your own review.
13 people love this record. Be the 14th!
9/10 Robin Staff review, 09 November 2016

Chamber doom duo Mohammad are done with their monolithic trilogy of records on disparate geographies, having kissed off the project with ‘Segondè Seleco’, a nautical drone adventure that did some kindnesses to their ominous, bass-loaded sound. On their wall-shaking custom-made instruments they now go even bigger and darker with a triple 10” for their Antifrost imprint, creating music so unwavering in its tone aspirations it’d make Stephen O’Malley blush red behind the robes.

There’s no blatant theme here, though the box set is scattered with three photos of a hearse, which speaks to the grand blankness of the music therein. What’s clear is that Mohammad want this to be their masterpiece, a culmination of a sound they’re worked so hard on honing -- it feels like one, its first piece rising from silence into a heaving drone of slowly-bowed cello and stamina-enduring bass. The record churns into “Qoxra”, where the duo find a rare drumbeat and an even rarer vocal chant, which is slowly ritualised through the song’s miserable march. With chants also adding a distant fog to “Ankourajman” and a whistling sound pushing “Sorsa” forward, this record feels like an attempt not only at completing the Mohammad sound, but also seeing how other sounds and textures respond to it.

There’s plenty to appreciate in this record between the drones, but what’s impressive is how still it remains: the cello and bass move back and forth almost ceremoniously for the full hour plus five, as if it were a boat rocking gently in the night. It’s only on the record’s seventh track where the duo break procession entirely, offering a piano ballad that trades on heavy-heart chords and total silence. It sounds like A Silver Mt Zion for a moment, proving just how sentimental their extreme music can be. This record is a testament to their craft, now as honed as it could ever be, but also a nod to what else they can do.


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