Eyelessight

Pescara, November 2011

Eyelessight formed in Pescara, Italy, in November 2011 from shared musical experiences involving Kjiel, HK and early collaborators.

Eyelessight grew from shared musical experiences and was formed in November 2011. The core documented in early interviews is Kjiel on guitars and vocals and HK on drums and vocals. Connections to Angor Animi, Lifeless and Sacrimoon are personnel links, not evidence that the projects share one authorship or chronology.

Eyelessight formed in November 2011 from shared musical experience around Kjiel, HK and early collaborators in Pescara. Kjiel and HK proposed the name as an image of seeing without ordinary sight, or seeing through appearances. The project’s history is collective from the outset and should not be rewritten as a side chapter of any one member’s other bands.

A rehearsal-room demo and the first album

Early work and the album Mantra per sopravvivere inutilmente developed through collective composition, limited resources and an effort to balance progression, lyrics and production.

The 2012 demo was recorded live in the rehearsal room. The band later remembered its raw sound, mistakes and hurried execution without disowning it; tracks came from Agatunet, ky and Kjiel. Mantra per sopravvivere inutilmente was then assembled more slowly, with Agatunet writing the songs and the other members adding their parts. Improved balance, sequencing, lyrics and production distinguished the album from the demo.

A collective with many parallel paths

The band explores fear and negative feeling through a rational examination of the irrational. Personnel changes eventually left Kjiel and HK as the core duo, with Kjiel moving from backing to lead vocals.

A 2015 lineup account named Agatunet, HK, Kjiel and ky and openly described their extensive parallel projects. The diversity of listening was treated as a route toward a shared middle ground rather than one agreed genre programme. The lyrics examined fear and negative feeling through what the band called a rational look at the irrational. That statement supplies a stronger conceptual anchor than later genre tags alone.

Athazagorafobia

Athazagorafobia first appeared in 2018 with six long Italian-language pieces: Nostomania, Surrealtà, Smarrendo Illusioni, Monofobia, Ossessiva Nostalgia and Anedonia. Contemporary reception emphasised the interaction of tormented harsh voices, dark clean vocals, undistorted passages and post-black-metal atmosphere. A later Talheim edition adds two bonus tracks, so the original album and the expanded reissue must be described as separate editions.

Athazagorafobia appeared in 2018 with six long Italian-language tracks. Credits document Kjiel, HK, Ky and Gris, guest clean vocals from MoonChild, artwork by Anita Luttenberger and mix/mastering by Déhà at Opus Magnum Studios. Its movement between harsh and clean voices, undistorted passages and expansive post-black-metal structures develops the earlier interest in progression without erasing the raw rehearsal-room origin.

The Talheim edition and its bonus tracks

Talheim Records issued the limited TR057CD edition and later announced an expanded re-release with two bonus tracks. The six-track original and the eight-track expanded edition are separate documentary objects. Until recording dates, performers and final catalogue data for the bonuses are confirmed, the chronicle names the expansion but does not assign unsupported credits.

From the Core Duo to the Expanded Edition

As later personnel changes left Kjiel and HK as the core duo, the expanded edition became the next documented form of the band’s work. It connects the collective history of the original album with a later phase centred on the two continuing members.

Live encounters and a practical DIY culture

In 2015 the band remembered shows with Lantlos, Vidharr and Dreariness as particularly successful and expressed a desire to play again despite having no immediate tour plans. The same interview placed everyday making beside music: woodworking, nature and do-it-yourself practice appeared among the members’ interests. That detail fits the rehearsal-room demo and self-organised early album without proving that every object or recording was literally made by the band. It does, however, locate Eyelessight inside a practical underground culture rather than only an online project network.