Angor Animi

Kjiel’s separate writing space

Angor Animi is Kjiel’s Italian solo project, founded in Pescara in 2014 and rooted in atmospheric, depressive and post-black metal.

Angor Animi is documented as Kjiel’s one-woman project from Pescara, active since 2014. Her participation in Lifeless, Sacrimoon and Eyelessight supplies context for the shared musical network, but Cyclothymia remains an individually written, performed and recorded work.

Angor Animi began in Pescara in 2014 as Kjiel’s solo project. The distinction from Eyelessight, Sacrimoon and Lifeless is important: shared musicians and overlapping depressive-black-metal networks do not make their catalogues interchangeable. Angor Animi gave Kjiel authorship of the songs, lyrics, visual concept and central performance while allowing invited musicians to realise parts beyond a strictly solitary recording.

Recording Cyclothymia, 2014-2016

The project gave Kjiel a separate space from Eyelessight, Sacrimoon and other collaborations. Public evidence for demos and the earliest writing phase is limited.

The official credits date recording to 2014 and 2015, followed by mixing and mastering by Déhà at HHStudios in Bulgaria across 2015 and 2016. That sequence explains why the album’s public release followed later. Kjiel handled vocals, guitars, lyrics and all songwriting; Déhà supplied additional guitars, bass, drums and production. The word “solo” therefore describes authorship and direction, not the absence of collaborators.

Guests inside a solo project

As a one-person project, Angor Animi concentrates composition, performance and conceptual direction in one author. Personnel connections place it within a broader international DSBM network without making those projects interchangeable.

HK and Tenebra contributed additional voices to selected tracks, while Maylord played piano on Everlasting Lethargy and Melanchomania. Vincenzo di Biaggio supplied photography; Cordyceps M of East Graphics realised the artwork from Kjiel’s concept. Naming those roles prevents a misleading lone-author mythology while keeping the difference between the project’s author and its guests clear.

An album built as an emotional journey

Cyclothymia is documented as the central album, with sources differing between 2017 and 2018.

Cyclothymia contains nine tracks and runs 59:48. Public records disagree between a 2017 limited Talheim digipak and a digital release on 15 August 2018. The sequence opens with Prelude to an End, develops through long pieces including Everlasting Lethargy and Cleithrophobia, and closes with Self-Deception and No Way Out (RO).

Cyclothymia contains nine tracks and was conceived as a journey through memories, rejection, anxiety and short-lived relief. The sequence begins and ends with framing pieces, while long central songs repeatedly move between recalled happiness and present confinement. This reading is anchored in Kjiel’s own album note and lyrics. It does not imply a clinical diagnosis of the artist despite the medical resonance of the title.

Physical and digital dates

A private draft artist reference is therefore required for this chronicle; no public artist page is created.

Bandcamp dates the album to 19 July 2017 and records a physical CD, while Qobuz carries a 15 August 2018 digital date. These are not mutually exclusive if they refer to different editions.

LOVE(lorn) and the Later Phase

Public artist profiles indicate continued activity, but the canonical discography and current plans need Kjiel’s review.