Founded in 2004 in Landshut / Germany, Noneuclid combine the instrumental virtuosity and relentless energy of extreme metal with chamber-music like polyphony, high compositional ambition, and the explicit will to innovation. The name refers to dimensions outside conventional reality as defined by Euclid, and Noneuclid’s music strives to open doors to unknown psychic spaces.
Since their debut “The Crawling Chaos” (Merciless Records), the band has vigorously pursued their evolution; influences from different metal styles (progressive, death, thrash, black, doom) merge seamlessly with elements from classical, experimental and world music.
Nevertheless, the focus lies always on musicality and cohesiveness, never on experiment or complexity for its own sake. Every song is its own world, obeying its own laws; the band seeks to think outside the box while being firmly rooted in extreme metal at all times.
This pioneering spirit led to an appearance in the renowned contemporary music festivals “Dag in de Branding” (Den Haag) and “Dutch Music Days” (Amsterdam), where the band premiered the 25-minute death metal symphony “Black Vortex Cathedral” as soloists along with the world famous Dutch Metropole Orchestra, in front of a stunned classical audience in the fall of 2008.
In 2010, the band realized Transition Metal, another ambtious orchestral project in Bavaria, together with the Bavarian Chamber Orchestra, in which the music of Noneuclid and Richard Wagner met and merged in an unprecedented encounter of genres. The orchestral version of Into The Light from this collaboration toured Germany and Holland in 2013 in 8 spectacular shows in the hull of a transformed freight ship travelling along the Rhine.
The band amicably parted ways with singer Bruce in late 2010. They continue as a 4-piece with Morean taking over all vocal duties as well.
The impulse to form Noneuclid came from two sides. One was Morean’s need after his studies to return to his musical roots, employing metal guitars, drums and vocals again for the first time in years in Quantum Ether’s 2001 Multimedia Production TRANSCARNATION. This production marked the first of many collaborations of Morean with his wife, dancer and choreographer Sanja Hasagic, and fellow artists Andrew Hughes, Ralf Fischer and Lione Giessen. Transcarnation served as inspiration for the founding of The Hungry Gods as well. Morean decided to release his new metal-based works under the moniker Noneuclid, which seemed an appropriate name for those wild and complex tracks. Before Noneuclid was founded as a proper band, Morean produced three more tracks, “Horror Vacui” and “Leviathan” (2003) and an updated version of his 1998 composition for percussion and voices, “Prayer of the Possessed” using the name Noneuclid. Incidentally, “Prayer of the Possessed” was the first work to feature Morean’s trademark undertone vocals.
The other was a set of covers, among others by Emperor and Slayer, that Seraph, V Santura, Morean and Bruce performed together at the annual Beelzebuben Christmas Concert in their home town of Landshut, Germany in december 2002. They realized the potential of this configuration of people, and decided to form a real band shortly after.
Bruce, Morean, V Santura and Seraph got together again in 2004. At this point, only the track “Worm” and a part of what was later to become “Coming in Tongues” had been written. Supplied with lyrics by acclaimed American Poet Andrew Hughes, the four-piece started shredding their brains out, and after only three weeks, they went into the studio to produce their first album, “The Crawling Chaos” (Merciless Records) – a concept album about the violent and inevitable death of the universe. In lack of a bassist, Morean took over bass duties for the album. In late 2005, bassist Linus, Seraph’s classmate at Regensburg’s Music College, was recruited, and a first tryout concert was set, together with Bavarian Thrash band Cold Vengeance, in the Landshut youth centre where the band rehearses (january 6th, 2006). That same night, the band signed with Merciless Records for a release of The Crawling Chaos. (Special thanks to Jugendzentrum Landshut and Volker Schwechheimer for their support of this newborn musical entity)
In early 2007, the news that V Santura would join Celtic Frost as touring guitarist struck like a bomb. This was probably the biggest thing to happen to the town of Landshut since the Royal Wedding in 1475, and a new era for its thriving metal scene started. High on inspiration, Noneuclid got together in the summer of that year to write and record their second album, Metatheosis. Despite the undeniable quality of the music and production and a flood of raving reviews for their first album, the search for a label proved futile in following years. The most cited reasons for denying the band a regular record deal was that the music was too complex and too hard to categorize and market, which to the band always seemed nothing but a lame excuse for fear of investing into an innovative band not afraid to push the bar. At the same time, support started trickling in from an unexpected corner: Morean’s connections in the contemporary music scene. Noneuclid was booked on a show on the Dag in de Branding Festival in Paard van Troje, The Hague in december 2007, on a bill with Ensemble Royal, a 17-piece student ensemble from the Hague Conservatory, performing with Morean his electric guitar concerto “Hatching Souls”, and headliners Circle from Finland. The last track on Metatheosis, the monumental 16-minute “None so Lucid” (an almost-anagram of the band’s name) was commissioned by and written especially for this festival, and featured again the “Mask”, an ultra-low stringed sculpture instrument by German artist Ralf Fischer.
2008 brought the next fantastic collaboration: on request by the high-profile Dutch Music Days festival and NPS Radio, Morean wrote a 24-minute Death Metal Symphony called “Black Vortex Cathedral” for the acclaimed Metropole Orchestra and Noneuclid as soloists. Far away from earlier collaborations between orchestras and metal bands, which mostly tend to be cheesy and shallow, Black Vortex Cathedral became a multidimensional plunge into an emotional abyss whose demands drove all musicians to their limits. The piece was surprisingly well-received, considering it was presented to a decidedly non-metal audience on a contemporary music festival in an almost sacred temple for new music, Amsterdam’s Muziekgebouw aan’t IJ. And thusly, the blast beat was brought into classical concert halls.
In may 2008, Morean auditioned for Eric Rutan’s Place in Morbid Angel and became one of three runners-up for the job, which at the end went to the great Destructhor.
2009 was a difficult year for the band. The steadily increasing demands on the band member’s agendas with their other bands allowed for little time and space for new projects and productions – a problem that haunts Noneuclid to this day. Nevertheless, first contact was made between the band and Linus’ father Prof. Ulf Klausenitzer, a highly accomplished violinist and conductor, and plans for future collaborations started to emerge.
When Tom G. Warrior invited Noneuclid to perform on 2010′s edition of Tilburg’s legendary Roadburn Festival, there was only one possible answer, and Noneuclid gladly accepted this honour to play their first proper club show. Celtic Frost had been a great influence on Morean since his early youth – along with bands like Voivod, Mekong Delta, Slayer, Watchtower and Emerson, Lake and Palmer, Celtic Frost introduced his young mind to the worlds beyond tonal music, something that would change his life forever.
In november 2010, the band embarked on their next symphonic collaboration, this time with Prof. Klausenitzer’s newly-formed Orchester des 13. Tons: Transition Metal, an encounter between the music of Richard Wagner and Noneuclid. Besides the new work “Altair Passage”, two band arrangements of Wagner pieces and an orchestral version of “Into the Light (pt.I)” were written especially for this concert. Once again, the combination of orchestra and death metal was met with great appreciation and enthusiasm by a mixed audience and press in Essenbach’s grand Eskara hall. It started becoming clearer and clearer that these unique settings are where the future of the band would lie, and ambitions for future collaborations in this vein started soaring high.
This project also marked the end of singer Bruce’s involvement with the band, who left amicably after the concert due to musical differences. Noneuclid had initially set out as a “regular” (at least in Morean’s eyes….) metal band, but deviated a lot from pure metal in their ever more complex work in recent years. Bruce and the band remain good friends, as they always have been. Bruce continues to rock with his own band The Grapefruit Dead.
Since 2011, efforts to continue on the path of Transition Metal have intensified. A video of the show was produced, and the band is busy at this time to find partners for future performances of this and following symphonic projects. Interested orchestras, festivals and bookers are welcome to contact us any time through this website.
2011 also marked a big step for bassist Linus, who joined progressive death metal shooting stars Obscura as a full member.
In february 2012, Noneuclid performed their first show as a 4-piece, with Morean taking over vocal duties as well, supporting Dark Fortress and fellow Landshut thrashers Diabolos Dust in Landshut’s fine Rocket Club.
In early 2013, Noneuclid signed with Finnish label Blood Music to release their second album.
In the summer of that year, Morean and Linus embarked on a new orchestral collaboration, this time with Holland’s oldest Symphony Orchestra, the Utrechts Studenten Concert, in another hommage to Richard Wagner called The Wagner Experience. They played the first part of Into The Light in front of hundreds of people every night, backed up by an 80-people orchestra, in 8 shows in the hull of a transformed freight ship travelling along the Rhine.
The band look forward to their second album being released finally, and are planning a follow-up album containing their orchestral work that has accumulated over the years.