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Jilemnický okultista (English title: The Jilemnice Occultist) is the second studio album by Czech black metal band Master's Hammer, self-released on December 1992 and distributed elsewhere by Osmose Productions in the following year. Self-described by the band as 'the world's first black metal operetta' and largely inspired by King Diamond's rock operas (an early influence of Master's Hammer alongside another project fronted by their eponymous vocalist, Mercyful Fate), it is their first of two concept albums, the second being Vagus Vetus, released in 2014. On several early Osmose pressings 'Jilemnice' is misspelt as 'Filemnice', what would be corrected in later pressings.^[1] Despite the track listing being in English, all the lyrics are in Czech. The original release contained the Czech titles.

In this album, Vlastimil Voral joined Master's Hammer as a full-time member (he had already played on the band's previous album, Ritual., but was credited as a guest musician only).

Jilemnický okultista would be re-issued in 2017 by Franta Štorm's label Jihosound Records under digipak format with a slightly different cover art and two bonus tracks, taken from a preliminary demo tape version of the album recorded in early February 1992 (see below).^[2]

Plot[edit]

The album, which is meant to be read as an 'operetta in three acts',^[3] is set in Bohemia, in the year of 1913,^[4] and tells the story of Atrament, a young wandering occultist who just arrives in the village of Jilemnice with the intent of furthering his studies on the occult arts there (since at the time the village was a major venue for occultists and Spiritistmediums). He settles at an inn ran by the rich landlord Spiritus, and falls in love at first sight with his beautiful daughter, Kalamaria (who is secretly a witch), being requited. However, the village's hejtman (captain), Satrapold, also loves Kalamaria. After injustly arresting Atrament, he kidnaps Kalamaria with the help of his groom Blether and takes her to his castle. Satrapold plans to escape to Cairo with her (betraying Blether in the process, who flees to the nearby town of Železný Brod in disgrace, never to be seen or heard from again), but before he can do so she uses her mystical powers to discover that he is actually the villainous Poebeldorf under disguise, and that he also imprisoned the real Satrapold. Formerly Satrapold's aide-de-camp, Poebeldorf rebelled against his master and planned all along to take his place as the village's captain, steal all its riches and Kalamaria's fortune, and flee to start a new life in a different land, but Kalamaria thwarts his evil plans thanks to her powers; subsequently, both Atrament and Satrapold are freed from prison and Poebeldorf himself is arrested. The album then ends with a huge celebration taking place at Spiritus' inn.^[5]

The only track unrelated to the album's story is 'Suchardův dům (V Nové Pace)'. Suchardův dům, or 'Sucharda's house' in English, was the residence of the noble Sucharda family of woodcarvers and sculptors from Nová Paka, originally built in 1896. Since 1908 the City Museum of Nová Paka functions in the house.^[6] Notable members of the Sucharda family include brothers Stanislav and Vojtěch Sucharda.

Covers[edit]

German gothic metal band The Vision Bleak made an English-language adaptation of 'Já mizérií osudu jsem pronásledován..' (under the title 'By the Misery of Fate He Was Haunted'), present in the digipak re-release of their 2010 album Set Sail to Mystery.

Critical reception[edit]

Götz Kühnemund from German Rock Hard magazine compared Jilemnický okultista to King Diamond, though Master's Hammer's style was described as 'considerably more uncompromising'. The vocals were described as 'like a mixture of deep King Diamond voices and Quorthon's guttural grunts'. Kühnemund lauded the band's unusual style and the album's '[u]nexpectedly good' production that 'never lets faster chipping passages degenerate into awful chaos'. He called Jilemnický okultista 'one of the most extraordinary death metal albums of the year'.^[7] Gabe Kagan, writing for Invisible Blog, also spoke favorably of the album, calling it 'the soundtrack to the literary works of E. T. A. Hoffmann'.^[8]

In 2017, the album was featured in Loudwire's list of the Top 30 Black Metal Albums of All Time, in 27th place.^[9]

Track listing[edit]

All lyrics are written by Franta Štorm; all music is composed by Master's Hammer (Štorm, Necrocock, Monster, Mirek Valenta, Silenthell and Vlasta Voral).

Jilemnický okultista demo[edit]

The Jilemnický okultistademo tape, self-released in February 1992, contains a slightly different track listing, and was recorded on an Apple Macintosh IIci, a novelty in the Czech Republic at the time.^[10] The demo counterparts of 'Mezi kopci cesta je klikatá..' and 'Já nechci mnoho trápiti..' previously appeared on the band's teaser EPKlavierstück, which came out the year prior, under the English titles 'Cards Do Not Lie' and 'Satrapold' respectively.

Famous Czech guitarist Vítek 'Vít' Malinovský was a guest musician on the tape, contributing with guitar solos for the instrumental tracks 'Litografické kalendáře' and 'Mediální kresby'.

Jilemnický okultista was eventually remastered in 2013 for the release of Demos., a compilation of all of Master's Hammer's demo tapes.

Personnel[edit]

• František 'Franta' Štorm – vocals, guitars, photography, cover art, production
• Tomáš 'Necrocock' Kohout – guitars
• Tomáš 'Monster' Vendl – bass
• Miroslav 'Mirek' Valenta – drums
• Honza 'Silenthell' Přibyl – timpani
• Vlastimil 'Vlasta' Voral – keyboards, production, engineering, mixing

References[edit]

1. ^Master's Hammer – Jilemnický okultista at Discogs
2. ^Jilemnický okultista - Master's Hammer (Bandcamp)
3. ^Barrett, Lee (March 1993). 'The Black Metal Directory'. Kerrang!. 27 (436): 46.
4. ^Štorm, František (1992). Jilemnický okultista (Media notes). Master's Hammer.
5. ^Master's Hammer English Language Translations
6. ^MĚSTSKÉ MUZEUM NOVÁ PAKA – SUCHARDŮV DŮM(in Czech)
7. ^Kühnemund, Götz. 'Master's Hammer. The Jilemnice Occultist'. Rock Hard (73). Retrieved 24 September 2012.CS1 maint: discouraged parameter (link)
8. ^Gabe Kagan (2012-04-25). 'Master's Hammer – The Jilemnice Occultist (1992)'. Invisible Blog. Retrieved 2018-05-31.CS1 maint: discouraged parameter (link)
9. ^Joe DiVita (2017-08-09). 'Top 30 Black Metal Albums of All Time'. Loudwire. Retrieved 2017-08-09.CS1 maint: discouraged parameter (link)
10. ^Master's Hammer Archives

Tarot Mediunico

Summary

Mediunic is a black and white silver gelatin photographic print made by Brazilian artist Gaspar Gasparian in 1952. Shot in his studio in São Paulo in a controlled environment, the image depicts a dark glass bottle seen through a piece of ribbed plate glass. Gasparian’s choice of subject is typical of traditional still life, yet his purposeful arrangement of the objects creates a deliberate distortion, with a series of strong diagonal lines interrupting the form of the bottle and breaking up the background. Gasparian often used props in the studio to create such distortions. The print was not editioned: Gasparian generally made very few prints, with a maximum of three per image.

The use of physical objects as filters anticipates the use of filters attached to the camera lens and, more recently, to the way contemporary photographers use filters available in digital technology. Gasparian’s approach to shooting and his darkroom technique were both unconventional. He completed all of his cropping and editing in the darkroom, beginning by taking a wide angle shot encompassing an entire scene and then arriving at the final cropped image from the contact print, often disregarding the main point of action and instead focusing on an abstract angle or shadow.

Throughout his twenty-year career Gasparian made work both in the studio and on the street, showing his versatility and will to experiment. This work – and another, slightly later work also in Tate’s collection, Triple 1958 (Tate L03596) – is typical of his studio practice, which commonly included still life studies and experiments with light and shadow. He often used glass and other studio props to produce manipulated effects, or complicated studio setups to suggest illusions of scale and depth of field. Gasparian also practiced street photography, making work in both São Paulo and Rio de Janeiro as well as in post-war Europe.

A member of several experimental photo clubs in Brazil throughout his career, in the 1950s Gasparian formed the so-called ‘Group of Six’, a collective of photographers engaged with furthering discussions around photography and photographic technique, aiming to push the medium further towards abstract and modernist aesthetics. Part of the Group’s activity involved them setting themselves tasks based on the experimental photographing of still life, and this image is representative of the tabletop compositions that Gasparian produced during this period.

Mediunic Painting

Auto fx dreamsuite ultimate. Further reading
Gaspar Gasparian: Un fotografo Paulista, São Paulo 1988.
Gaspar Gasparian: A Photographer, exhibition leaflet, Pinacoteca de Estado de São Paulo, São Paulo 2010.

Shoair Mavlian
May 2014

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