Bio


EFFTER were formed by Frank F and JQR.
Both from Milan (Italy) they met in Berlin (Germany) in the summer of 2009.

Their music is a mixture of Frank F and JQR's musical backgrounds combined with the current electronic wave to create a brand new sound.
In addition to electronic atmospheres and an enormous range of music (from metal and noise to electro, breakcore, etc.), EFFTER are inspired by criminology, psychology, poetry, literature and cinema. 

From 2009 until now EFFTER have released 3 Full-Length albums and 10 Eps.

Frank F has been an active artist since 2014: in addition to painting and writing poetry, he began studying criminology, and in 2017 started a thematic blog series.
JQR is a professional FOH sound engineer and sound designer, and has just started a tutorial series about music technologies.

In 2019, EFFTER create Sickle Records, their own music label entirely dedicated to extreme musical expressions.
Conceived, organised and materialised during a long period in which the band put aside its own prolificity, in order to give space to a project made with the intention of distributing, promoting and supporting musicians committed to an artistic proposal drawn on the most primal source of inspiration: pain.


Frank F : Lyrics, guitars, piano, bass, vocals
JQR : Drum and synths programming, noise, sampling, cello

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Blockhaus



The Atlantic Wall was a broad defense system built by Nazi Germany between 1942 and 1944 along Mainland Europe's and Scandinavia's coasts to secure German-occupied Europe from an expected invasion by UK and its allies during World War II. Its building was ordered by Hitler himself in 1942.
All that is left of that absurd project are hundreds of "blockhaus", of bunkers.

We happened to find them on the Atlantic Coast of Denmark, during a trip: a testimony of hatred, made of concrete.
They lie one after another among the highest expressions of mankind's madness - buried in the sand, in ruins.
It is such an extreme disgrace/slaughter, that even earth itself withdraws before the Horror.

Indeed, those facilities were built on the brink of a very large coastline embracing various nations. Due to sea's and wind's natural erosion, those coasts have moved back several metres in less than 80 years. Each bunker's foundation has crumbled, and they've been devoured year after year by sand: laid upside-down or on their side, like a mighty beast's corpse, now in death.

As EFFTER, we always tried to find a sense among evil's reasons and filter every drop of inspiration, making it music.
Over time we dealt with mental illness, serial killers and the birth of human's wickedness: malice practiced by a man against another, as Nature has always been unharmed and careless.
But not in this case.

We beheld works celebrating hatred, symbols of death and devastation set by a single man's delirium, so horrifying even earth itself is a casualty.
It draws back year after year, afraid, trying to bury the memories.
It erodes the Horror, but almost seems broken by still being so weak and slow, not being able to crush those nightmarish symbols.
Earth and all elements want to forget. But mankind does not. Our nature of human beings forces us to be witnesses of beauty and of obscenities of the whole creation.
Someone is dumbstruck, someone capitulates and someone remains impassive. As we reached our destination, we urged to enter those rooms and listen.
Sea and its perpetual motion don't allow the silence to prevail, but walls here are so thick and the ceiling so low that discomfort can deplete the place of oxygen.
We decided to defy that malaise: darkness, that fresh smell of cruelty and senselessness. We gave birth to our art - in there, we made MUSIC.

The sounds of the ocean, wind and the burden of memory have accompanied us.
For almost a century, that Horror made of concrete remained silent and stoic.
We gave it a voice, again: an echo of something that won't ever plan for annihilation.

It only floats in the air, and remembers...


First thing we did was pre-producing and recording guitar and piano parts between Turin and Berlin, so we could play those tracks inside the bunkers and record them again with a TASCAM pocket recorder: this to capture room reverb and audio.
We then played live music inside the bunkers, producing additional Drone/Noise sounds using Monotron/Monotron Duo/Monotron Delay, vocals, a Tibetan singing bowl and a harmonica.
Finally, we mixed down everything. During the whole process, we didn't apply any effect nor did we use any equalization option: the audio is therefore faithful to the original source.