MUSICAL PROJECTS, OWN AND CO-OPERATIVE, PAST AND PRESENT

Imbolc, 1999-2003

ZLKNF, 2003-2006

Sabotage en Masse, 2005 - 2010

Arraial/SATNORTE (ephemeral)

Hyaena Fierling Reich, 2006-2012

Hyaena Fierling, 2012 - 2022

Cohen Ris/Flynn Lywton (ephemeral)

Desposyni (with MUTATE), 2012 - PERENNIAL.

Radio OVNI Amador (with Horus Chamber), 2013 

La Rue de Mars (with Archétypo 120) (ephemeral) 

Light Implant (with ZOTE), 2009

Also musical co-operations, live and in recordings, with the following artists/projects:

Karnnos, Wolfskin, Urdraum, Matt Howden, Demi Mesila Thraam, Eian Orange/Luz Trina, Vitor Rua/Os Ressoadores, Lesma Sonica, Arreptícios & Karlheinz, Michael Straus, Dana Jessen, Antonio Mainenti, Al Rucini, Shagara Olaeia, Paulo Chagas, Kalendar, Daniel Miñoza, Nem Raca, Miriam Luz Ferro, Bill Drummond / The 17, La Chanson Noire, Horus Chamber II, Rodrigo Gobbet, Gustavo Bode, Homo-Ambiens / Arco Enarmonico, D.N.P., Tunnels of Ah, Cementimental, Ma X Noi Mach, Zach Archer/FREE DEATH/The Shadow Of No Man.

MUSICOGRAPHY

2001: EPs COR FULGENS and BLADES OF THE HOLY by IMBOLC (self released)

2002: Album MWT NTR KWH KVA by IMBOLC (self released)

Voice on the track "Ten Pan" by Karnnos (Cynrfeidd)

Voice on the tracks "Récitation à l'éloge d'une Reine" and "Outono Transfigurado" by Urdraum (Cynrfeidd)

2003: Text on the track "Mater Mundi" by Choronzon 333

Album LIVE @ TEATRO IBERICO, LISBOA (Lvcenti 14-Bis)

2004: EP FAVST by ZLKNF (Lvcenti 14-Bis)

2005: EP BAST BABYLONE by ZLKNF (MERZBAU netlabel)

Suite UURHA 

2006: Album TRYPTICH by ZLKNF (Lvcenti 14-Bis)

Suite CATACLYPSA GALAKTEIA (unpublished to this day, disagregated in 2007, reconstructed in 2015)

ZLKNAFAL (ZLKNF + Arraial)'s untitled EP (Lvcenti 14-Bis)

Album ANIMATION by ARRAIAL (Lvcenti 14-Bis)

2009: Album AGNELLA DIRIGIRE by HFR (ALG-A Netlabel)

EP THEE SEKRET EP by LIGHT IMPLANT (Just Not Normal netlabel)

2010: Album: SABOTAGE EN MASSE Live @ Icone (Lvcenti 14-Bis)

2011: Double album KALAHEST by HFR (Black Square netlabel)

Album Live in Porto (Lvcenti 14-Bis)

Album HFR + Nem Raca Live in A Coruña (Lvcenti 14-bis)

2012: Album THE RADIANT MINDFIELD as DESPOSYNI (Black Square netlabel)

Album KERAUNOMETRA by HFR (Stray Recordings)

EP ROSA DE LOBO by HFR (Ilse Records)

Album ISOSCELES by HFR (Stray Recordings)

2013: Album THE LAST ROSE OF IRUNEA by HFR (Stray Recordings)

Album IMPASSE by COHEN RIS / FLYNN LYWTON / IMBOLC (Ancient Language Records)

Album LUGNA ENKI by BODE | COHEN; coop with Gustavo Bode (Grimm Goat Records)

Album PASSING ROOMS by BODE | COHEN; coop with Gustavo Bode (Grimm Goat Records)

Album UR MUR / KOR VER by COHEN RIS (Haze Netlabel)

2014: Album APOKRUPHOS by BODE | COHEN; coop with Gustavo Bode (Grimm Goat Records)

Album BLOOD OF MY BLOOD by HYAENA FIERLING (Auricular Records)

Album SUPER FLUMINA BABYLONIS by HYAENA FIERLING (Auricular Records)

2015: Album THE UNFETTERED by HYAENA FIERLING (Poverty Electronics)

EP LUNAR ROAD by HYAENA FIERLING (Poverty Electronics)

Album FORTRAN by HYAENA FIERLING & COMRADES (with MUTATE, Homo-Ambiens and Flynn Lywton) (Poverty Electronics)

Voice on track "St Peter Ah-Satana" on the album THUS AVICI by Tunnels of Ah (Cold Spring Records)

Album EMISSARIES by HYAENA FIERLING & COMRADES (with MUTATE and Horus Chamber) (SuRRism-Phonoethics)

Album RADIO DIOMEDE by D.N.P. & HYAENA FIERLING (Petroglyph Music)

Album MY MOUTH IS FULL OF EARTH, I WANT MY FIELD OF GULES (unreleased)

2016: Album ANTIDOTE by HYAENA FIERLING (Auricular Records)

Album AGLAVRNI by HYAENA FIERLING (Auricular Records)

Album SOBOLOS RIOS by HYAENA FIERLING (Anti-Demos-Cracia)

Album VERGENSEN (Auricular Records)

2017: Album ATONAL CHEMIST by Hyaena Fierling (Anti-Demos-Cracia)

Album GÜL-NASR by Hyaena Fierling (Anti Demos Cracia)

 Album KRN by Hyaena Fierling (Silent Method Records)

2020: Album DEFENDER by Hyaena Fierling (Church of Noisy Goat)

SOUNDTRACKS

2014. "Dog Day Sunrise" as soundtrack for Bob Georgeson's "Why is this Happening"

"Ayesha (She who must be obeyed)" as soundtrack for Bob Georgeson's "The Illusion of Freedom"

"Timeleap" as soundtrack for Artavazd Pelechian's "Seasons of the Year"

2015. "Shadow Chase" as soundtrack for Bob Georgeson's "Shadow Chase"

Soundtracks for Bob Georgeson's "I Forget You", "The Silence" and "Judith and Holophernes" (AUS)

Soundtrack for "Le Systeme Miroir",  Eva Zornio (CH)

2020. Soundtrack for 'Objectos de Luz', Acacio de Almeida / Marie Carre (PT)

IN COMPILATIONS

2008: Single MARIE LA LOUVE in Falésia II (Enough Records)

2009: Single TÉLÉGRAMME DE BREST in Past Present and Future (XS Records)

2010: Single GRAN DOULA VILÃ MORENA in Zeca Pirata (Casa Viva Records)

2011: Single YA ABBAS CATALAKT in LES FEMMES EXPERIMENTELLES (Rucini Netlabel)

Single DOG DAY SUNRISE in CLASSWAR KARAOKE 0019 (CK)

Single MAGNIFICAT in CONTACT VOL. 1 (Haltapes)

Single MORULA in CONTACT VOL. 2 (Haltapes)

Single MUTATE (w/ MUTATE) in CONTACT VOL. 2 (Haltapes)

Single YOU SUFFER NO MORE in NAPALM DEATH YOU SUFFER TRIBUTE (Sirona Records)

Single NIUE in ICARO Vol. 1 (Daidalos Records)

Single ALKAHEST IN THE MORNING in International Email Audio Art Project vol. 7 (Haltapes)

Single FOR ROSA LUXEMBURG in International Email Audio Art Project vol. 10 (Haltapes)

Single OPUS 001 (w/ Hal Mc Gee) in International Email Audio Art Project vol. 10 (Haltapes)

Single VOLD in International Email Audio Art Project vol. 11 (Haltapes)

Single DROWNING IN 51.1.0... (w/ Kalendar) in International Email Audio Art Project vol. 11 (Haltapes)

Single OPUS 002 (w/ Hal Mc Gee) in International Email Audio Art Project vol. 11 (Haltapes)

Single GAIA in Peak the Source vol. III (SuRRism-Phonoethics)

2012: Singles YA ABBAS CATALAKT and HASSAN THE DESTROYER (as LIGHT IMPLANT) in EARLY NOVEMBER (Rucini Netlabel)

2013: Single REICH IN OROP DESERT broadcasted at MUSERUOLE Women in Experimental Music Festival Single LIMINARIA HYGROPHORA (as FLYNN LYWTON) in FS PRIMERA OLA CREATIVA (SuRRism-Phonoethics)

Single ENTERING NIGHT CHANNELS (as COHEN RIS) in CLASSWAR KARAOKE 0023 (CK)

2014: Single PARSIFAL 732 (as HYAENA FIERLING) in CLASSWAR KARAOKE 0025 (CK)

2015: Singles FROM THE STEAMY AMUR (as HYAENA FIERLING) and FEEDING KERBEROS (in/as LA RUE DE MARS) in VENTOS ACINZENTADOS compilation tape (Anti-Demos-Cracia)

2016: Single RADIO DIOMEDE (with D.N.P.) in UK EXPERIMENTAL UNDERGROUND SURVEY (Unexplained Sounds Group)

Single ALL THE ROSES OF ISFAHAN AFLAME in CLASSWAR KARAOKE 0033 (CK)

FILMOGRAPHY 

BIBLIOGRAPHY

BROTHERLY LIKE DOGS, an alchemical codex (2015-2021)

Several monographies, in prose, poetry, and essays on the Ars Regia.

All my written works await publishing,
post being impeached into obscurity
for cruelty indifferent to my consent,
fully evidenced, documented, and witnessed.
Please inquire for business.

I have had the honour and joy to play live in:

REVIEWS

Hyaena Fierling - "Kalahest", the principle of open windows on a windy day.

I had been warned about Kalahest way before its release - active since the mid-90s, the works of Hyaena Fierling have been previously available, one way or the other, in one-off collaborations, momentum compilations and self released ep's and mini-cd's but this recent full-length release offers a new viewpoint towards the real dimension of her music and sounds. Although a literary approach is temptingly motivated by the contents of this album, I suppose its inner strength is so sincere, genuine and well-intended that one reckons it must be faced through the eyes and ears of facts and how they interfere with the way her music gets perceived by the listener.

Hyaena Fierling is a laborious mind; apparently, she combines at least three different stages of procedures that lead to the final body of work (and, please mind you, I do not intend hinting at all the possible alchemic connotations this work may have) - invention, experimentation and, above all, improvisation play a heavy-duty role in it all; Hyaena seems to ponder about all the possible implications the choice of her field sounds are going to induce the listener into, so she makes a careful division, a separation of waters which is only perceptible "after the fact", that is, unlike most fellow ambient musicians and sound craftsmen/women, who accomplish their task along the process, thus "betraying" the overall effect of both performance and artistic creation. In these cases, the ambient work functions as some wallpaper you can "taste on the side", but I dare you denying the fact that most seldom people feel the curiosity to re-listen to them the next minute.

With Hyaena you are always led into going back a bit so you may check and re-check the logic and structures of tracks, thus enticing the listener into an aural focus mode. I hear you say - "ok, it's narrative, then..." - well, it is, but clearly not only that. You cannot be narrated into the unknown, especially in the shape of sound, unless you have been set in tune, meaning to turn interactive, thus being able to immediately respond to stimuli and activate your mental creativeness. Traditional narrative often implies active -passive roles that may change just slightly as the story goes. From the sounds in Kalahest, you move along under your own will - actually I feel literally like swimming some undercurrent!

Indeed, there's a rather efficient care in providing the listener with a cinematic approach to the themes in the album - the opener is a magnificent example of how an hypothetic film could be being shot in a parallel world, not that

faraway actually, preceded by an introductory dialogue that sets the expectation reeling for more; the evident ethnical vocal approach on both of the two opening tracks beams us in through open eastern fields of fulfillment - without the ever-growing corny and helpless effect of "new-age-world-music-for-world-music's-sake" - and if you are able enough to draw a sense out of the sequence, you'll be given the passport to the fully understanding of it. 2 tracks that are worth one of the best "acclimatization" I've recently experienced to a first listening.

If the Vietnamese voices looped down in Smiling radiant and Trembling, shining matter, the following handful of tracks reunite us with a more recognizable Hyaena (not sounding exactly redundant - just more familiar, which is but a good sign for stylistic consolidation!). The harsh, shouted anathemas/liberating screams in Clouds Immense portray her as a powerful individual performer (how many women in the music world do you really know capable of such delivery? Maybe 1 or 2, yes, but the best, actually, and hers is finding the way up...). There are a few re-encounters with tracks that had been previously released in special occasions and performances, but that just won't stay in the way of the sound discovery voyage this album is - déjà vu is here something of considerable enjoyment! Anyway, I do not intend to go on setting a kind of track by track map of Kalahest - that would be tiresome and would kill the thrill of it all.

In a world so highly referential as modern (contemporary) music, it's basically a contradiction in terms to tag Hyaena's work - from all the interviews and conversations I was able to attain, she was always very frank about the artists and creators that somehow introduced her to the universes we may travel to in her work -that said, we mustn't forget this can also seem limiting and pigeonholing. But acknowledging influences and references can be a constructive and uplifting exercise when you mention the names of Peter Christopherson and Jhonn Balance of Coil, of Throbbing Gristle (especially on their most recent comeback ventures, unfortunately culminating in the death of P. Christopherson), of Diamanda Galas, or even Hawkwind for that matter ( actually, I believe Dave Brock would just love to use some passages in Kalahest for long intros on the Hawks' recent and ever proficient production ;)).

The fact is that her work hardly - if ever - sounds derivative. I feel it is extremely important that women musicians of my country are definitely leading the way in terms of highly innovative experimental music and sound (just check the very recent "Les Femmes Experimentelles" compilation) - it's not reversed sexism, it's just a kind of big expectation that is being fulfilled all through this "lost decade" (also in music!) for this especial country in Europe. Hyaena Fierling isn't someone to be mistaken by anyone else - actually, her highly superior learning is the kick-starter of the whole process, then using untraceable skills of her own. Kalahest is probably a new starting point, not a "but" in itself.

As the title suggests, Alchemy may have its golden rules but as experimentation goes the free will knows no boundaries, so Kalahest dissolves more predictability than gold, recreating sound matter over and over again. Just like Paracelsus, we have a problem - the container for Kalahest will always be limiting, be it cd or mp3 (maybe vinyl would be a charming format for this, yet still limiting...), the really fit vehicle for its listening being the thin air inside a refreshed and spacious room, pure hologramic sound- just to use a worn out cliché, the sound of freedom is here. Get used to it.

João Carlos Silva

( Ex-4Luas Radio, on Aveiro Fm)

Artists: Hyaena Fierling & Comrades

title: Emissaries

label: suRRism-Phonoethics

Hyaena Fierling's 'madrigal for sugar dogs' begins with an atmospheric soundscape that comes across warm and mysterious. It feels natural and yet unnatural at the same time; something human made with the moving sounds similar to a damp propellor from a helicopter and rare daft firework explosions in the deep backdrop. Then voices appear as if they are sirens of first aid ambulances making their noises in the warm atmospheric surreal darkness. Somehow these sirens are not the sounds of an emergency response as they seemingly come across as if they actually quite enjoy themselves.

With 'Sunrise in Utopia' Hyaena Fierling gets joined by MUTATE to deliver a fierce and yet roaming track of warrior-like awakening. It's as if the grainy color on the artwork is being penetrated by glorious hand drumming that progresses like a fierce but still half subdued eye opener. Then there is the collaboration of Hyaena Fierling & Horus Chamber on a track named 'Battue'.

This is a warm exposure of togetherness of these two artist; bringing in words and manipulations to create an intriguing new form of poetry with hidden messages. The coziness of the overall collaboration has probably all to do with how these words are spoken in a close and comfortable personal way. I'm not sure how they did make this, as many artists nowadays are using the internet to make music together, but for this work it really feels as if they sit together in a cozy small room.

'Under the Labyrinth' is done by Hyaena Fierling & MUTATE and comes across intimate and yet more spiritual. It's as if the directness of words is poured out to form a mysterious audio fog that hangs in front of the listener; you can see it but it's impossible to grab it. Luckily hearing the work is no problem at all, and results in a fine listen of word vermicelli that is conceiving a relaxed atmosphere to all who attends.

The last work is done by Hyaena Fierling on her own and is fittingly called 'sister wolfram'. Here on a experimental audioscape in which squeaky laser like squeaky sounds are forming a modern pastry in which vocalic expressions are heard bumping and fleeing the great skies of artistic boundaries. It's as if happy animal spirits are leaving the planet to go and find their pleasure somewhere on another galaxy. There are words by the artist that seem to function as the 'go' sign for all these happy spirits to join the squeaky sounds and fly happily away for better places in time. Considering the things happening in the world; there is a big urge in me to jump up and join them!

Artist: Hyaena Fierling

title: Lunar Road

label: Poverty Electronics

Lunar Road opens slowly displaying itself in a gradual way, with enough to guess for the visual sound explorer. The music to me personally sketched an open landscape in between some kind of imaginative twilight zone. I could see a grain field with a parked tractor with its engine still running, and an unidentified object draws through a miraculous flight pattern an brilliant piece of crop circle art. Perhaps this is a map to Lunar, or the gate that leads to it; either way it's a wide image that speaks through sound quite fluently.

As you can imagine, the alienation within this work is stimulating the brain to imagine that extraordinaire life forms from outer space, had some kind of interest to visit earth as if it is a canvas for their road-maps and perhaps abstract arts. It's a very comfortable thought and the music done here is stimulating it to high proportions. Any moment the soundtrack might beam us listeners up for a futuristic right in a unidentified flying object, any moment we can be embraced by a surrounding even more surreal than the cornfields with the abandoned tractor. And when the moment arrives you probably feel pleasantly pleased and at ease, as this elevating space ride to Lunar is one that feels weightless, wondrous and pretty much not your ever day ride.. But thanks to Hyaena Fierling and this release you would be able to actually take this flight ride every day.. It's a perfect release for UFO lovers and anyone else that needs a science fictional audio escape after their busy work days. What else will please the listening listener willing enough to go through this pretty journey of sound? Of course a fresh amount of filling 'Lunar Milk', served poetic and mystic, a thick layer of nice lunar angel singing and a stimulating flavor of cool and warmth that will for sure send us on a pleasant journey of intoxicated relatedness. Last work is 'Lunar Caustic' which in all its fine finest supplies hissy heights together with the subtle sound of a dream-like space rocket engine. With a fast amount of speed the music shoots is through the previous unexplored parts of the great galaxy; a precious ride that is fascinating as it is active made for inner head travel. A better ending could not have been made for this album, yet I wish in all sincerity that it never had ended. A magnificent journey you really shouldn't miss out on!

(from blogsite: Yeah I Know It Sucks)

Artist: Hyaena Fierling

Title: AGLAVRNI

With a spectacular opening of fresh laser-like effects and glitter 'Aglayatri' breaks the silence. Once the opening has paved the way for the tonal prettiness to slide over, it comes without saying that this is done; But instead of walking the music flows through certain ambient settings; from one of pure light to one that sounds more like a strange laboratory, one in which hissy gasses form sweet melodic sounds that dance gracefully around the ceiling. When the space is fully covered, a nice smoke screen is setup in which a foggy fog in sound form goes hand in hand with voices. Some are sounding troubled and others are more like the one of pure enlightenment. The last ones seem to dominate the scene, clearly embracing our ears like a flying angel blessing our ears.

You can read the lyrics of The Tomb At Akr Çaar from the release its bandcamp page, (a place that you can also find the actual music from). The music sounds like an ancient ritual, a lonely drum of vicious steps into a grotto atmosphere, a place in which the artist tells the poetic mysterious story with her exotic, but strong devoted telling voice.

The cavelike ritualistic zone stays with Vreia in which Hyaena Fierling pronounces her story in a way that reminds me of the one I heard on tape that I listened as a child with brother Grimm fairytales. Yet this doesn't come across like a story for children, it's more a psychedelic wisdom for grownups, telling a much more sophisticated story.

The Man Who Searches Trembling (Suite) is one of the more experimental works that has a unique approach to poetry, worldly expressions and music. Think of a hot brewing -ever changing- soundscape of drone, with a weird psychedelic holiness that feels like we have moved into a temple of a secret order, a scene in which our artist initiates us by subjecting us to a code of numbers. We lose control and our consciousness as the music subdues with its strange hypnotic effect. It's as being bewitched in audio form, with a warm blessing of hiss and pretty mysterious tone as the last goodbyes the ritual flows to a glorious thick end.

The next stop evolves a lot of expressional expressions for a certain Rex Tremendae. It's like a anger expression, a rant, a curse laid upon a wise mistress and her haunting army of shouting spirits in a dark mysterious backdrop. If your name is Rex, this might be the track that will haunt and chase you forever in your dreams. Even if your name isn't Rex, this might be the case..