Tuesday, 9 November 2010


Title: "Kinder Der Nacht" master CDr
Format: Plain CDr disc in red paper sleeve with Elisabetha logo, housed in plastic wallet. An internal band promo, and thus not an item for release to the wider public, this disc contains a sampled narrative track that has been used on Elisabetha recordings. The date of recording is shown as 18 February 2003.
Edition: Single copy

Track Listing:
01. Kinder Der Nacht (sample) 01.40

Nazgul's recent post covering Elisabetha's CD single "Transilvanischer Hunger" made mention of the fact that at the outset of the song there was a sampled piece of German narrative that is known by the nomenclature 'Kinder der Nacht'.

As you will also see from the front of the paper cover, the samples within this CDr were recorded in 2003, and were used in a more contemporary Elisabetha recording in this period as well as in the 2010 session. Your task for the day is to tell Nazgul which other recording that was...?

Interestingly despite best efforts the original source of this sampled narrative can't be identified - Hugin tells me that the CDr was not actually recorded by him but by fellow Elisabetha member UB, and that he doesn't know the name of the film from whence it came. A bit of judicious internet digging hasn't identified the piece with any great accuracy either, so if any of the readers of Honour and Darkness can shed any light on this based on listening to your copy of "Transilvanischer Hunger" then do let me know and I'll update this post accordingly.

A decidedly spooky bit of narration, however, with the 'innocent' child scaring the elderly gentleman with his description of certain drugs (laudanum) that have been deployed, overlain by a fabulously creepy score of violins and other strings.

As an internal piece of Elisabetha band history it's a small but interesting item. Of course, the use of samples has pervaded the work of this band and a number of Hugin's other projects since 1999: this one is different simply because in the majority of cases one presumes that Hugin wouldn't need to create a separate work-in-progress CDr with a sample recorded on it as it would be normally be directly recorded onto the W.A.R. super-computer for assimilation into whatever song it was needed for. As this one came from a fellow band member, however, it came suitably dressed for the occasion!

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