Tag: Dark Ambient (Page 1 of 26)

New Risen Throne – The Outside – Review

Artist: New Risen Throne
Album: The Outside
Release date: 7 February 2020
Label: Cyclic Law / Old Europa Cafe
Reviewer: Rich Dodgin

Tracklist:
01. The Outside (I)
02. What We Have Seen
03. The Outside (II)
04. Corrosion Of Pillars
05. The Outside (III)
06. The Outside (IV)
07. Birth Of A New Disciple (II)
08. A Vision Of The Hidden (Sysselmann Remix)
09. Echoes From The Loss (Visions Remix)
10. Breath Of Growing Structures (Taphephobia Remix)
11. Humani Nihil (Phantom Ship Remix)
12. Sad Silent Prostrations Before The Monolith (Vestigial Remix)
13. Sigh Of The Soul (Apocryphos Remix)
14. Signs Of The Approaching Wastefulness (II) (New Risen Throne Remix)
15. Withered Regions (TeHÔM Remix)

With New Risen Throne‘s previous releases, project founder Stiehl (Gabriele Panci) established himself as one of the masters of the dark ambient genre, and we’ve been eagerly awaiting a full album of new material since 2011’s Loneliness Of Hidden Structures.

Well, New Risen Throne has rewarded us for our patience, because The Outside is a double album that clocks in at almost 2 hours!

The first part of the album contains 7 cinematic dark ambient / post-industrial tracks, continuing the conceptual soundtrack series that began with 2007’s Whispers Of The Approaching Wastefulness:

After centuries of isolation the human race begins a journey in search of the causes that led to the end of its world, and for the first time it approaches the Structures, new life forms that have developed and evolved in the emptiness of “The Outside”.

Opening track, “The Outside (I)”, is a claustrophobic number, with underlying deep drone sounds accompanied by the echoing of clanging machinery, and distant chanting and sounds of distress. It’s an unnerving start to things, and it lets you know what to expect for the rest of the album. Stiehl describes New Risen Throne as “…cold and desolate soundscapes that will leave you feeling utterly scared and alone…”, and listening to this first track it’s easy to see why.

“What We Have Seen” is less abrasive, but no less unsettling, with hypnotic, repeated soundscapes that wash over you in heavy waves. “The Outside (II)” begins in a similar vein, albeit at a slower, more brooding pace… before things ramp up significantly and all hell breaks loose – as the cacophony increases and becomes downright threatening – and then, mercifully, the noise ebbs away, leaving the listener with a temporary feeling of relief.

Fourth track, “Corrosion Of Pillars”, starts off quietly, but soon morphs into a brutally caustic sonic assault. It’s impressive stuff, and perfectly demonstrates Gabriele Panci’s talents, as he seamlessly blends dark ambient and post-industrial soundscapes together to create something special.

“The Outside (III)” and “The Outside (IV)” are more measured, with less variation in tone and pace. Yet the sense of dread and other-worldliness is as prevalent here as on earlier parts of the album.

The final track of the first part of the album, “Birth Of A New Disciple (II)”, finishes things off beautifully – the post-industrial elements gradually fade away, leaving us with more soothing ambient textures… and yet, there is a real sense that this is just the beginning of something…

 

The second part of the album features 8 older New Risen Throne tracks, revised and remixed by close friends and collaborators: Sysselmann, Visions, Taphephobia, Phantom Ship, Vestigial, Apocryphos and TeHÔM.

Each track has been revisited and re-interpreted, while retaining the underlying essence of the original version. And though these tracks originally appeared on four different albums (see end of this review, for more details),  Stiehl has ensured that they all perfectly compliment each other, as well as the first 7 tracks – meaning that The Outside feels like one whole complete album, rather than one of two halves.

“A Vision Of The Hidden (Sysselmann Remix)” is a slow, almost meditative piece, with chanting and the echo of industrial machinery providing an – almost – calming feel to things. “Echoes From The Loss (Visions Remix)” begins in a similarly mellow vibe, with subtle drone sounds and crashing waves… before the droning becomes increasingly harsher and urgent.

“Breath Of Growing Structures (Taphephobia Remix)” is a wonderful, if disquieting listen, like trying to make sense of shadows on the wall when you’re half asleep… more haunting nightmare than pleasant dream. Fortunately, the next track, “Humani Nihil (Phantom Ship Remix)” is a brighter ambient piece, with the sounds of waves breaking on the shore and uplifting soothing drone and synth sounds.

The next couple of tracks, “Sad Silent Prostrations Before The Monolith (Vestigial Remix)” and “Sigh Of The Soul (Apocryphos Remix)”, are both dark, brooding numbers, with a sense of underlying threat, and melancholy and sadness respectively. “Signs Of The Approaching Wastefulness (II) (New Risen Throne Remix)” is an eerie, minimalist down-tempo piece, that somehow manages to be both chilling and chilled-out at the same time.

Final track, “Withered Regions (TeHÔM Remix)” finishes things off nicely. A bleak tone underscores a number of disturbing elements – including drones, strings, echoes, and mutterings. It starts off relatively gently, but as as the track nears its end, things build to a climactic finale of anguished sub-human roars.

New Risen Throne has released another incredible album with The Outside – its dark, cinematic soundscapes providing an audio experience that is simply breathtaking.

If you’re a fan of intelligent, multi-layered dark ambient / post-industrial music, then you absolutely have to own a copy of this album.

Written by Rich Dodgin

 

Additional album information

  • A Vision Of The Hidden (Sysselmann Remix) – original version on 2011’s Loneliness Of Hidden Structures
  • Echoes From The Loss (Visions Remix) – original version on 2011’s Loneliness Of Hidden Structures
  • Breath Of Growing Structures (Taphephobia Remix) – original version on 2011’s Loneliness Of Hidden Structures
  • Humani Nihil (Phantom Ship Remix) – original version on 2009’s Crossing The Withered Regions
  • Sad Silent Prostrations Before The Monolith (Vestigial Remix) – original version on 2016’s New Risen Throne compilation album
  • Sigh Of The Soul (Apocryphos Remix) – original version on 2009’s Crossing The Withered Regions
  • Signs Of The Approaching Wastefulness (II) (New Risen Throne Remix) – original version on 2007’s Whispers Of The Approaching Wastefulness
  • Withered Regions (TeHÔM Remix) – original version on 2009’s Crossing The Withered Regions

Links

NERATERRÆ – Scenes From the Sublime – Review

Artist: NERATERRÆ
Album: Scenes From the Sublime
Release date: 20 March 2020
Label: Cyclic Law / Liberation Through Hearing
Reviewer: Rich Dodgin

Tracklist:
01. The Last Abjurer (feat. Phelios)
02. Fate Unveiled (feat. Dødsmaskin)
03. In Deafening Silence (feat. Phragments)
04. Thou, Daemon (vocals by Yann Hagimont from Cober Ord and George Zafiriadis from Martyria)
05. Passion Domain (feat. Mount Shrine)
06. The Unfathomable Lives Again (feat. Xerxes The Dark and lithophone by Yann Hagimont from Cober Ord)
07. Doorway to the I (feat. Alphaxone)
08. The Collapse of Matter and Time
09. Towards Oneiric Truths (feat. Leila Abdul-Rauf)
10. Virtues of the Dawn (feat. Shrine)

NERATERRÆ‘s debut album, The Substance of Perception, was a daring work featuring collaborations with some of the finest dark ambient, drone and ritual musicians. The album received rave reviews and quickly established Alessio Antoni as a rising star on the dark ambient scene.

Now, less than a year later, NERATERRÆ releases Scenes From the Sublime, a ten track album inspired by visual masterpieces from the world of art – as Alessio Antoni describes in his own words:

“The album is my personal tribute to some of my favorite painters, to their minds capable of channeling the sublime, to their masterpieces. I realized 10 audial visions, each track is an ode to a different painting.”

It’s a fascinating concept, spanning across over four centuries of masterpieces, with musical collaborations from Alphaxone, Dödsmaskin, Leila Abdul-Rauf, Mount Shrine, Phelios, Phragments, Shrine, Xerxes The Dark, George Zafiriadis from Martyria and Yann Hagimont from Cober Ord.

Opening track, “The Last Abjurer”, is dark, brooding piece – with a cinematic edge, and an underlying sense of growing dread – that wouldn’t sound out of place on the soundtrack for Bladerunner 2049. It’s an incredible start to the album, and when I first heard it previewed a couple of months ago I just knew I was going to have to buy Scenes From the Sublime on the strength of that one track alone.

 

“Fate Unveiled” starts in a similarly punchy vein and, as the track unfolds, it becomes increasingly unsettling and abrasive, before finishing with a more melancholic, almost soothing vibe. It’s impressive emotive stuff, demonstrating perfectly how NERATERRÆ is continually growing and developing as a dark ambient musician.

“In Deafening Silence” is an eerie, chill-inducing minimalist number. Listening to it, it feels like you’re waiting for something horrible to happen… for the horrors just out of sight to step out of the shadows and claim your soul… And in “Thou, Daemon”, with its scratching and screaming, and speaking in other-worldly tongues, it sounds like that is exactly what is happening.

“Passion Domain” is a more comfortable listen, with waves of delicate synth-work, overlaid with subtle clicks and glitches of distortion. “The Unfathomable Lives Again” is similarly chilled – though with a darker undertone – as an echoing soundscape and distant whispering merge together to create a sense of unease and unfathomable strangeness.

“Doorway to the I”, takes things even further, with the sound palette shifting into a starker aural experience provided by repeating drone sounds and shimmers. “The Collapse of Matter and Time” is a – relatively – warmer track, with its hypnotic ticking clock, and a soundscape of groans, industrial clanking and haunting chimes, but one that still conjures up a sense of claustrophobia of the disturbing unknown.

“Towards Oneiric Truths” begins with the sounds of waves breaking on the shore, before the melancholic piano and siren’s calls take over. The resulting track is a sad, thought provoking piece, that carries you along with it, deep in your own thoughts -before the music fades and the sounds of the sea return.

Final track, “Virtues of the Dawn”, finishes the album off beautifully – with an uplifting, inspiring ambience – as waves of synths wash over the listener, giving them a sense of hope that maybe, just maybe, things will be ok.

This is an incredible album, with so many textures and levels of detail that you’ll hear something different every time you listen to it.

Yes, the range of sounds and styles, and the large number of collaborations, does mean that at first, the album doesn’t seem to have an obvious overarching vibe or sound that noticeably links everything together.  NERATERRÆ‘s careful craftsmanship, however, means that with subsequent listens you do get a sense of the whole, as the subtle nuances that connect the 10 tracks begin to come to the fore.

With Scenes From the SublimeNERATERRÆ / Alessio Antoni has done an amazing job of surpassing the high bar he’d set himself with The Substance of Perception, and if you’re a fan of dark ambient you absolutely have to get yourself this album!

Written by Rich Dodgin

 

Additional album information

Produced, mixed and engineered by Alessio Antoni
Mastered by Kjetil Ottersen
Artwork by Anirudh Acharya
Artwork layout by Alessio Antoni

  • The Last Abjurer – Inspired by Zdzislaw Beksinski’s AA72
  • Fate Unveiled – Inspired by Hieronymus Bosch’s Visions of the Hereafter
  • In Deafening Silence – Inspired by Ilja Yefimovich Repin’s Ivan the Terrible and His Son Ivan
  • Thou, Daemon – Inspired by Francisco Goya’s The Exorcism
  • Passion Domain – Inspired by Caspar David Friedrich’s Wanderer Above the Sea of Fog
  • The Unfathomable Lives Again – Inspired by Johann Heinrich Füssli’s The Nightmare
  • Doorway to the I – Inspired by Zdzislaw Beksinski’s AE78
  • The Collapse of Matter and Time – Inspired by Salvador Dalì’s The Disintegration of the Persistence of Memory
  • Towards Oneiric Truths – Inspired by Arnold Böcklin’s Isle of the Dead
  • Virtues of the Dawn – Inspired by Joseph Mallord William Turner’s Light and Colour (Goethe’s Theory) • The Morning After the Deluge • Moses Writing the Book of Genesis

Links

Council of Nine – Davidian – Review

Artist: Council of Nine
Album: Davidian
Release date: 13 August 2019
Label: Cryo Chamber
Reviewer: James Gardner

Tracklist:
01. Mt. Carmel
02. Self-Fulfilling Prophecy
03. Blood on your Hands
04. Revelator
05. Day 51
06. Davidian
07. The 7 Seals

 

On February 28th, 1993, the Bureau of Alcohol, Tobacco and Firearms (ATF) attempted to raid the Mount Carmel Center ranch in Axtell, Texas, which was home to the Branch Davidians (a sect of the Shepherd’s Rod/Davidians who are themselves an offshoot of the Seventh-day Adventist Church) as they believed that the cult were stockpiling weapons and modifying them to have automatic fire capability. Four ATF agents and six Branch Davidians died during the initial raid. What followed was a 51-day siege which ended in the deaths of 76 members of the cult, including the leader, David Koresh, and several children. The compound burned to the ground after fires were started by Branch Davidians in three separate places. It is interesting to note that the grounds on which US Attorney General Janet Reno urged President Bill Clinton to allow her to raid the compound were that Koresh was sexually abusing children. The FBI Hostage Rescue Team later said that there was no evidence of child abuse discovered; either during the standoff or subsequently.

After stand-off at Davidian compound in Waco, Texas on 19 April 1993 .

As a British person, I find the all-too-frequent instances of mass-shootings and gun-related atrocities across the pond equally heart-wrenching and fascinating. The victims are almost always those who never handle guns in the first place – in the Waco Siege, these included children and the (presumably) peaceful majority of Branch Davidians who had been brainwashed by Koresh and his associates. I could get very political here, and rant and rave about how the positive correlation between gun ownership and innocent people getting shot is blindingly obvious, but I will refrain from doing so. I will, however, point out that on March 13th, 1996, Thomas Hamilton killed 16 children and one teacher at Dunblane Primary School near Stirling in Scotland before taking his own life. Within a year, the government had passed the Firearms (Amendment) Act 1997, severely restricting gun ownership in the United Kingdom; these laws were further tightened later the same year. Since then, there has been one single mass shooting (in Cumbria, the county immediately north of the one in which I live); the gunman was from an isolated rural area, which is where the majority of firearms ownership exists due to the genuine needs of agricultural communities. We have, on average, 2.3 gun-related deaths a year per million citizens (the US has 122.1) and it is hardly a stretch to suggest that ‘people not owning guns’ and ‘fewer people dying in tragedies such as this’ might just be linked.

But I digress. Interestingly enough, there are plenty of cults here too. I am inclined to believe that all humans are fairly similar and therefore, as long as contextual factors are also similar, will behave in similar ways; consequently, the actual idea of an isolated, extremist religious community is far more familiar to me than lots of people getting shot. Plus, they are really interesting; without true crime and weird cults, we probably would not have YouTube documentaries or podcasts. At least not the ones I like. So, with that in mind, I pre-ordered Council of Nine’s Davidian, keen to experience something that sound-tracked the human need to belong to something at almost any cost, and feasted my ears on the two pre-release tracks until the whole thing dropped.

Council of Nine sits just on the inside-edge of my dark ambient preferences. Whilst they are by no means space ambient, in the same way as Alphaxone or Sabled Sun’s Signals albums, there is certainly an astral, otherworldly element that is not present in more Gothic, dystopian-future, occult or nature-focused projects. This makes it something that I probably would not have bothered with, were it not for the fact that Cryo Chamber released it; indeed, it was only down to a sale that I picked up Exit Earth and realised on what I had been missing out.

This is the second of Maximillian Olivier’s cult-centric works. The aforementioned Exit Earth, which focused on the Heaven’s Gate gnostic sci-fi millenarianist cult, and his previous output, including hefty contributions to the excellent Tomb series and a stand-out track on 2016’s Locus Arcadia collaboration with fellow Cryo Chamber luminaries Randal Collier-Ford, Flowers for Bodysnatchers and God Body Disconnect, is definitely worth listening to. I would heartily recommend all of it. If you are new to Council of Nine or dark ambient as a whole, Davidian makes for a good starting point. It is classic dark ambient stuff – big on drones, ominous sub-bass and soaring pads that create a fully immersive experience. Not only is it classic dark ambient, it is also a classic Cryo Chamber album in that it is truly cinematic. The story of the Waco Siege is well known (and if you are not familiar with it, there is always Google) so, unlike ‘fictional’ albums, there was already a story here. All it needed was a score. For even attempting this, Olivier should be respected; multiple bands and artists I otherwise enjoy attempt to tackle sensitive and controversial topics and end up looking crass or irreverent. Not so here.

Unlike the sadness of wanting to leave an unkind world that flows through Exit Earth, the ghosts represented in Davidian’s seven tracks are full of anger. The Waco siege made people angry (none more so than Timothy McVeigh, who later carried out the Oklahoma City bombing) due to the inconsistencies in the testimonies of ATF and FBI agents, amongst other things, and this is evident throughout. I do not know whose hands are being referred to in track 3 (‘Blood on Your Hands’) but the rumbles underneath the airy drones are not pleasant sounds; to me, they are the sounds of people who truly believe that they have the answers, that a hitherto hidden truth has been revealed to them, and that the world is at fault for ignoring or ridiculing them.

The final three tracks are a tour de force. The sounds that build and swirl are (almost) choral in nature; hinting at, but in no way lifting from, raison d’être at his finest. I am well aware that this is something of a lofty comparison, but I think that it is deserved. To check that I was not just hyperbolically gushing, I switched from Davidian to Enthralled by the Wind of Loneliness by the aforementioned Swedish trailblazer and I stand by what I have written; this is very good indeed. Whether we will still be playing it in 25 years, I do not know, but I do know that if the genre continues to evolve as it has done in the last quarter of a century, we will be listening to something that still sounds fresh and exciting.

So, again, Cryo Chamber and Council of Nine knock it for six/out of the park (or choose your own geographically-appropriate idiom) with an album that fans of all different aspects of the genre can unite around and use to convert others who ask “what are those weird spooky noises you listen to instead of music?” Once you have done that, start a sweepstakes on which bunch of extremist fanatics Olivier is going to tackle next. You will have people hooked in no time.

Written by James Gardner

Ruptured World – Archeoplanetary – Review

Artist: Ruptured World
Album: Archeoplanetary
Release date: 2 July 2019
Label: Cryo Chamber
Reviewer: Michael Barnett

Tracklist:
01. Rituals of Attainment Through Time
02. The Revelations of the Cipher – Deciphering the Pictish Ogham
03. The Haven
04. Passages of Exposition
05. The Grim Repasts of Cullen Shores
06. The Enigma of St. John’s
07. The Aura of Drostan’s Well
08. Descent into the Underworld
09. The Portents of Crovie

Alistair Rennie, the man behind Ruptured World, was first introduced to the dark ambient community by Cryo Chamber with his debut album, Exoplanetary. He has now returned with the follow up, Archeoplanetary, which should be considered a prequel, in terms of the story’s time-line.

If you would like to find out more about Ruptured World and Alistair Rennie,  I highly recommend you check out our interview with him and our review of his previous album, Exoplanetary.

As on Exoplanetary, Rennie takes us back into his story of horrifying alien visitors to Earth. We follow Dr. Marcrae and the now-missing Dr. Tarknassus through their journey to discover the buried and forgotten secrets of Earth and the galaxy beyond. Borrowing heavily from the sort of cosmic horror present in the works of 1930s weird authors like H.P. Lovecraft and Clark Ashton-Smith, Rennie hints at unspeakable cosmic horrors, alien races from far-flung corners of the galaxy, and the ancient texts of the ‘Pictish Ogham’ (in true weird fashion, creating his own sort of demonic text, similar to Lovecraft’s Necronomicon or Smith’s Book of Eibon).

Rennie illuminates the details of his story for us, through the use of found audio-tape recordings. These recordings are detailed documentation of Dr. Marian Tarknassus’ research from 5 years previous, before his untimely disappearance. As such, we experience Archeoplanetary through the vessel of Dr. Archibald Macrae, as he begins to piece together the story of his mentor’s disappearance, and the horrifying realities Tarknassus had uncovered.

Gentle drones and atmospheric soundscapes, along with the occasional melancholic piano, gently transport us from tape-recording to tape-recording. Along the way we are able to be instilled with a sense of awe, fear and general insignificance. Much in the same fashion of God Body Disconnect, Ruptured World is able to use the dark ambient soundscapes to perfectly sculpt the emotions of the listener. As we move from one narrative into the next, we are naturally transitioning between emotions.

Upon discovery of each tape, we are given a beautifully crafted moment. We can hear Dr. Marcrae pressing play, rewinding back to re-listen. We can feel his hopelessness as he progresses, likely realizing he’ll never see his mentor again. But also realizing, that we are far from alone in this universe, and possibly even on this planet. While it’s certainly not so, I like to think of albums like this one as side-stories to the stuff of Sabled Sun, as if this were yet another story, of another survivor, on another world. And, while the dark ambient soundscapes themselves might not be quite on the level of Simon Heath’s Sabled Sun (not to say they aren’t great, just not on par with the master!), the “found tape recordings” are dark ambient gold. The way Alistair Rennie conjures this voice and delivery-style feels like it’s straight out of a classic (1950s-’60s) horror/sci-fi film.

For me, Ruptured World is the sort of artist you want to share with your “normal” friends. While they may not immediately dig an hour of drones, they might be more inclined to sit down to a narrated story with first-class voice acting. For more seasoned dark ambient listeners, you’ll likely find the attention to detail on these recordings to be as utterly exquisite as I have. The music itself is above average, at the very least.

I would recommend picking up a physical copy of this one, if you have the means. Or even better, the 2 CD bundle, which also includes Exoplanetary. The reason being that both albums are connected in theme/story. But more so, because there is such attention to detail on these albums, one deserves to get the full experience, which includes the booklets from both albums that are full of images and information about these beings and places described by Rennie.

Excerpt from Archeoplanetary booklet.

Ruptured World is one of my favorite projects on Cryo Chamber in recent years. I have found myself returning to both these albums quite frequently, especially Archeoplanetary. If you are a fan of the Lovecraftian series through Cryo Chamber or weird fiction / cosmic horror, in general, I think you will love this project as much as I do. I will be waiting patiently to see if Rennie will continue to reveal more details about this story-line, or if he will travel into uncharted territory on his next release. In the meantime, we have a gem!

Don’t forget to check out our interview with Alistair!

Written by: Michael Barnett

In Quantum – Memory 417 – Review

Artist: In Quantum
Album: Memory 417
Release date: 23 July 2019
Label: Cryo Chamber
Reviewer: James Gardner

 

Here is a list: Ruptured World, a Dronny Darko collaboration with RNGMNN (who, it turns out, has been knocking out music for nearly two decades under various monikers), God Body Disconnect, Sphäre Sechs, Alphaxone, Metatron Omega, Ager Sonus, Flowers for Bodysnatchers, a collaboration between Ugasanie and Dronny Darko (again), Mount Shrine, Tomb of Ordeals and Dead Melodies.

What is it? It is a list of releases Cryo Chamber has put out in 2019 alone, alongside its annual ‘Dark Ambient of…’ installment for the previous year. The sheer range of styles is impressive too; compare Alphaxone and Metatron Omega, or any other two artists from the list above, and then make the oft-uttered claim that dark ambient is repetitive. The point I am making is that Cryo Chamber is probably the single most important label in the dark ambient universe. Certainly, the frequency and regularity of releases is surprising, but even more so when you consider the exceptional quality control and attention to detail for which label boss Simon Heath is famous.

On to this album then – Memory 417 by In Quantum. This is something of a rarity in that it appears to be the work of a brand new, hitherto unknown artist: one Eric Peterson. There are multiple Eric Petersons listed on Discogs, probably the most famous of whom is the founder of thrash metallers Testament. I doubt this is the same guy, but it would be very cool if it was. A new artist on the label is always intriguing because of the unknown quantity they represent; therefore, my ritual of pre-ordering and listening to the pre-release tracks was even more exciting than usual. The Cryo Chamber blurb was enticing too:

From the website:

This Cyberpunk Ambient album from In Quantum takes you to the mega cities of the future.

“Early Spring 2074
Some say the old days were different. Before cybernetics and the transhumanist revolution. Before the megacorps bought us and our nations, our hopes and our dreams. People back then did not live, work, eat and sleep their lives away within the towering megacorp arcologies. These days only the lucky do so.

Before the megacorps developed the semantic networks, there were us – soulless prototypes with imprinted memories and so cybernetically enhanced that we verge ever on cyber-psychosis. Due to our post-human DNA, programmed for resilience, we work and live in areas where Humans cannot – like Sector 417. A quarantined and irradiated zone where we protect and maintain the filtration, power and sewage systems of the Mega-City. The nuclear fallout from the conflicts of the 50’s is mostly cleaned up thanks to us, though you would never know it.

Water is scarce, and the first war over it is already brewing. We see, but lack the capacity to care. The word Humanity now feels on the tongue like some long-lost dream. A vision of freedom and serenity, turned to coarse sand on our pallets.

We see the riots from up here, red smoke and gunfire as anti-transhumanist chants peal through the city. Humans that are disenfranchised, without value in a new world where semantic networks connect the soulless, making them smarter and more effective. What is a single brain compared to thousands? Sometime recently we diverged from the evolutionary path of the many, and now seem land-locked into evolving into a single mind. A single mind at war with itself and all of creation. A single mind ready to disembowel itself to cut the cancer out.

To cut us out.”

Warm analogue bass, textural soundspaces and cinematic build ups combine for a unique look into the future of mankind.

However, this could be as interesting as it likes and it would not get read again, were the music not also really, really interesting. Luckily it is. The first track, ‘Anno MMLXXIV’, opens with a horrible groan and a distorted drone reminiscent of Dronny Darko’s terrifying Cryo Chamber debut, Outer Tehom. From then on in, the listener is treated to a lot – soaring synths, increasingly desperate spoken word passages, sub-bass, dark beats, weird arpeggios, sonic booms and the general sense that this is not the work of an inexperienced, new composer. It is assured and confident and refuses to stay safely within the confines of one sub-genre. It has the experimental nature of someone with enough behind them to take risks and also the expertise to pull it off in a way that makes you think ‘what was that!?’ at the same time as feeling that it all fits together seamlessly.

There are still some familiarities to hang on to – the aforementioned Dronny Darko and Sabled Sun to name a couple, but this is, more than anything else, a work that is absolutely bursting at the seams with originality. It is not background music; it requires concentration and repeated listening in order to be fully appreciated. It also reflects the story promised by the description above. The beginning is full of anticipation and it moves to a frantic middle before dropping into a despondent, moribund ending. It is, in short, fantastic.

I have bought all of Cryo Chamber’s releases so far this year and this is the best of the bunch, in my humble opinion. It is varied, wholly original and, what is more, would serve as a perfect introduction to the genre for the uninitiated. It also seems to be representative of Cryo Chamber in 2019 – varied and ultimately ready to break new ground whilst remaining true to its roots. More from In Quantum would be warmly welcomed – I suspect Eric Peterson is only just getting started.

*A quick note on the Sabled Sun connection – the story as detailed on the website suggests a possible link to Sabled Sun’s 21xx universe. This is uncannily similar to the link between Dronny Darko (yet again!) and protoU’s superb collaboration album Earth Songs and the aforementioned creation of Simon Heath. If so, this album would sit, rather interestingly, between tracks 6 and 7 (‘Singularity [2045 AD]’ and ‘Leaving Earth [2135 AD]’) of that Earth Songs album. This is borne out by the date given for this album, being “Early Spring 2074”. I’ll just leave that there…

Written by: James Gardner

Guest Sessions: Black Mara Records – Dark Tribal Mix

Black Mara Records has been one of the most interesting labels to emerge in the last few years. Only releasing music since 2015, Black Mara immediately stood out because of their attention to releasing the music of top-notch artists. They also have drawn much attention for their focus on beautifully realized physical releases. Each release has its own style and packaging. Special editions come with everything from handcrafted incense to leather-bound books.

It is with much pleasure that This Is Darkness offers you a mix crafted by the man that runs Black Mara Records, Дмитрий Федощенко! Enjoy the mix, and if you hear something you like please support the artist with a download or purchase of one of their exquisite physical releases!

You can find links to each track’s album on Bandcamp below the Mixcloud player!

If you find value in what we do here at This Is Darkness, please consider sharing this article on your social medias!

Cheers,
Michael

01. 00:00 Sol Mortuus – Muv-Anki
02. 09:00 Creation VI – Mountain Roots
03. 14:50 Nubiferous – Witching Rings
04. 19:35 Paul Minesweeper – Solid Heaven
05. 22:35 AFFECTVS & Lamia Culta- Sama Atar
06. 24:06 Северный Лес – Отречение
07. 25:20 Purba – Ritual Two
08. 28:07 Ad Lucem Tenebratum – Autarky
09. 30:53 Troum – Aerugo

Flowers for Bodysnatchers – Alive with Scars – Review

Artist: Flowers for Bodysnatchers
Album: Alive with Scars
Release date: 5 March 2019
Label: Cryo Chamber

Flowers for Bodysnatchers is back with Alive with Scars. Duncan Ritchie’s project has quickly become one of the most well-known in the dark ambient genre and a front-runner on the Cryo Chamber label, which he’s called home since the masterpiece Aokigahara in 2015.

His first two releases on Cryo Chamber showed a dark and personal side of Duncan Ritchie. Aokigahara took us on a journey into the forest of its namesake in Japan. This forest has become notorious and recognizable to many around the world in recent years, due to the more widespread reach of social media and news websites. It’s being featured in movies like A24‘s The Sea of Trees has only further solidified it in our minds. We knew that this was a sort of “potential suicide voyage” and the fact that Ritchie collected field recordings directly from Tokyo and the forest itself could lead us to believe that he may have taken this journey very seriously.

Love Like Blood, the follow-up to Aokigahara, added more pieces to the puzzle for us. We found out that, at least part of, this trip was due to a lost love and the emotional reverberations felt because of it. The picture was undeniably a personal one for Ritchie at this point. Not just a theme for an album, but a saddening memoir.

Alive with Scars takes us even deeper into the personal life of Ritchie. We are given a key to one of the underlying causes behind that eerie trip to Aokigahara. We find that the situation was not only one of personal incompatibilities and emotionally charged laments. Ritchie now shows us that a huge part of the puzzle comes from his struggles with MS. Here it is best to allow Ritchie’s words to speak for themselves, as he explains MS and his struggles in dealing with it.

(Taken from the album blurb on Cryo Chamber)
Alive With Scars is an album that explores the life long struggle of living with Multiple Sclerosis. MS is an autoimmune disease where the body’s own immune system attacks and destroys healthy tissue, in the case of MS, the healthy tissue is myelin, the protein that insulates the nerves in the spinal cord, brain and optic nerve gradually destroying the myelin that coats the central nervous system. Your body slowly beings wasting from the inside out by the subversion of its own central nervous system. A body that with the passing of time will waste and wither to its own unique sonnet of pain and torment.

I personally have lived with MS for almost 10 years and, this album has been an on again, off again affair for almost as long. Did I even want to do this? Will people understand it? It has been a difficult subject to approach and express musically. Yet I found I had been subconsciously doing it all along. From the formidably depressing album Aokigahara to the melancholic spitefulness of Love Like Blood. The narratives represented in these albums were backed by the way my MS affected me and the people around me. It’s a long journey and Alive With Scars continues both the physical and emotional process of living life, trying to keep one step ahead of it and, trying to say sorry for the times I got things terribly wrong. – Duncan

This all makes a lot of sense when listening to the album, especially if you are familiar with Ritchie’s previous work. There are certain sections, like the piano on the opening track, which harken back to previous works by Ritchie. The fact that he’s been working through the material of this album for almost this full ten year period explains how some of the tracks will seem like things unusual to the Flowers For Bodysnatchers repertoire, while others will feel like they were taken directly from the sessions for Aokigahara and Love Like Blood. Some could be older pieces from styles which Ritchie has since distanced himself, while others could be glimmers of the future of the project.

From a technical standpoint, Alive with Scars is very much an active listen, more so than maybe any of his previous releases. This is particularly so because of the vast number of styles incorporated, as well as the several in-your-face uses of electronic percussion. It is also interesting to try to pieces together what elements may be time-capsules from several years ago, and which other ones seemed to be created/recorded over the last year, in preparation for the final album.

I see no point in going into detail here on a track-by-track analysis. I rarely read them myself when digesting someone else’s review. The reviewers feelings about a track aren’t what’s important, yours (the listener) are. Suffice to say, I highly enjoyed each track on the album, and there is quite a bit of variation present in style, flow and emotion. Which is all to be expected when documenting the journey through physical (and so often as a result, also emotional) pain.

Unlike most releases on Cryo Chamber, but par for the course with Flowers for Bodysnatchers, the album was 100% created and realized by Duncan Ritchie. From field recordings and synths to artwork and mastering, this is from the heart of Ritchie himself. I always consider that a real testament to his talents, when such a skilled person as Simon Heath is usually the one behind the artwork and mastering. Heath is absolutely ruthless when it comes to details and final product, so there is no way he would allow an album to be released on Cryo Chamber that wasn’t mastered by himself unless he really trusted and respected the work of Ritchie.

I can highly recommend this release. But, don’t expect it to be one that you just put on in the background while reading. It won’t do the album justice, and it will likely distract you if you are studying or reading. Give this one an hour in the dark with a nice set of headphones. It will be an hour well spent, and one sure to be followed by many more visits with this episode in the story behind Flowers for Bodysnatchers.

Written by: Michael Barnett

Phobos X – Full Sets & Martin’s Thoughts

It is with great pleasure that I present to you the video footage for all four full sets from Phobos X. Martin (of Phelios / Sphäre Sechs and the man behind the annual Phobos Festivals in Wuppertal, Germany) was kind enough to add some substance to this collection with an introduction, detailing his thoughts on the Phobos festivals – in general, as well as this year’s festival – in particular. So, without further ado, I give you Martin Stürtzer!

Phobos X marks the ten-year anniversary of a series of concerts focused on dark ambient music. When I started to release music with Phelios, I was often annoyed by the way this kind of music was presented in a live situation. People talking, no seats and bad amplification are side-effects that I encountered a lot as a musician and as a guest. My idea was to present this music in an ideal environment where both artists and listeners can focus on the atmospheric sounds and video projections. The church (Neue Reformierte Kirche Wuppertal) has a long tradition with experimental arts and music and offers the perfect space for this event.

The four concerts were recorded with two cameras. The audio signal is from the mixing desk and also two room microphones to capture the reverb and ambience of the church room. It is rather dry compared to large cathedrals, but still noticeable. Arktau Eos played with the room acoustics by walking through the church during the performance and playing several un-mic’d instruments.

Arktau Eos – Photo by: Hans-Hermann Hess

What you don´t see on the videos is the meeting point and place of social gathering that the Phobos Festival has become over the years. There are large stalls from the labels where new releases are presented and where you can chat with the artists about their music. In the breaks between the concerts is time to talk to each other, exchange the experiences of the music or simply meet like-minded persons. The guests arrive from all over Germany and other countries. My idea of this video coverage is to give listeners who live too far away the opportunity to listen to the concerts for the first time – or to re-listen at home in a familiar listening situation for the audience.

Photo by: Hans-Hermann Hess

The friday-meetings became a classic of this weekend. Most artists arrive a day before the shows and we use the rare opportunity to talk about our music, the struggles of modern music „industry“ and our individual approaches to music. My personal highlight of this weekend was the guys from Arktau Eos playing the synths in my home-studio in underpants, after we got struck by heavy rain on the way from the church home to my place. One bag was lost in the flight and we were checking which of the instruments could be replaced by gear from my studio. It was good luck that the bag was delivered a few hours before the show on Saturday.

Phobos X musicians at the Friday meeting before the event.


TeHÔM

Check out TeHÔM’s latest full-length release on Cyclic Law, Lacrimae Mundi.
Also, their most recent album, Live Assault on Essentia Mundi and Cyclic Law, which we reviewed here.

Vortex

Check out Vortex latest album, As Gods Fall on Cyclic Law.

Circular

Check out the latest album by Circular, Radiating Perpetual Light on
Loki Foundation.

Arktau Eos

Check out the latest album by Arktau Eos, Erēmos on Aural Hypnox.
We reviewed Erēmos hereAlso, we very recently interviewed Arktau Eos here.

 

Martin Stürtzer
(Phelios, Sphäre Sechs, Phobos organizer)

For more videos from previous Phobos Festivals as well as the musical workings of Martin Stürtzer, subscribe to Martin’s Youtube Channel.

Check out his musical projects Phelios and Sphäre Sechs, as well as his recent eponymous release.

Skeldos – Ilgės – Caretakers of Yearning – Review

Artist: Skeldos
Album: Ilgės – Caretakers of Yearning
Release date: 5 April 2019
Label: The Epicurean

Tracklist:
01. Melas – A Lie
02. Ilges – Caretakers of Yearning
03. Blunkantys Sodai – Fading Gardens

It is with immense pleasure that I am able to bring you an (heavily) updated version of my previous Skeldos review. As I lamented in the final paragraph, Skeldos is a brilliant musician and one that was deserving of much more exposure than previously realized. While my review, at the time, may have helped a few extra people find their way to and purchase this beautiful album, it was still sadly left under-the-radar. Now, finally, Skeldos has found a proper label, The Epicurean, one that is well-respected within the post-industrial community, which will likely bring his music to the attention of a much larger audience. As it so greatly deserves.

For this re-release Skeldos has added a third track to the album “Blunkantys Sodai – Fading Gardens” and the album has been renamed Ilges – Caretakers of Yearning. It has also been mastered by Hunter Barr, and is now available as a CD. But, more on the physical aspects later.

Skeldos is an “anxious electronic, industrial, ambient” project by Vytenis Eitminavičius of Lithuania. Ilgės – Caretakers of Yearning is his third full length solo release. While his debut album, Įspaudai, was released on the Lithuanian label Terror, his last two solo releases, as well as his brilliant collaboration, Aviliai with fellow Lithuanian ambient/drone artist Daina Dieva, have all been independently released. (Though this has now been remedied with the re-release!)

Skeldos focuses on a form of drone/dark ambient which at times can be incredibly relaxing and calm. But it can move into varied territories with little awareness from the listener. The sounds seem to morph effortlessly. While the music itself can sound a good bit different at times, the approach to these soundscapes seems quite reminiscent of Kammarheit, or some amalgamation of Kammarheit and Taphephobia, maybe. Or at their harshest of times (not present on this album) can come into territory more aligned with artists like Jarl or Yen Pox, creating textures which can seem chaotic and over-bearing, but are still able to totally draw the listener into their coils, taking us on a mental voyage to destinations unknown. An interesting caveat here is that it would appear Skeldos creates all his “drones” with real acoustic instruments, namely on this album: accordion, Lithuanian zither, violin and guitar.

The first track on Ilgės, “Melas – A Lie”, falls somewhere in the middle of Skeldos‘ range of soundscapes. There is a slight harshness, but it is predominately a sort of trance-inducing dronescape, which has little variation, and yet has managed to keep my full attention over many, many replays. I could maybe lightly compare the style to something more reserved on Aural Hypnox. The second track, “Ilgės – Caretakers of Yearning”, takes us into calmer, more melancholic territory. The backing dronework has a sort of celestial/shimmering/peaceful quality to it, which is accentuated by its solitude within the track. As listeners begin to sink into this trance, Skeldos introduces, for the first time on Ilgės – Caretakers of Yearning, what I think is his most defining characteristic. His vocals. Skeldos has a very relaxing mid-deep ranged vocal quality. His vocals sound as if they are a lullaby, cutting through the darkness of night, in a sort of melodic whisper. As we reach the end of the track, the energy of the soundscapes, as well as Vytenis‘ vocals, pick up momentum for a more emotional finale.

The third track, “Blunkantys Sodai – Fading Gardens”, is the new addition to the album, as mentioned above. I’m not sure if this was an out-take from the original sessions or if it was created exclusively for the re-release. But, it fits perfectly with the first two tracks. The soundscapes follow a similar pattern to those of the previous track and we are again graced with another short but beautiful vocal section. The inclusion of this new track brings the total album length to a more satisfying 45 minutes.

The inspiration for this album was taken from the poem “melas” or “A Lie” by Lithuanian writer Antanas Škėma. As with the previous version, the poem/lyrics have been included in the digifile, in their original Lithuanian as well as in English translation. While the poetry of the first track was written by Antanas Škėma, the second two tracks have lyrics/poetry composed by Skeldos himself.

The cover-art for this version has been updated, but is still very similar to the original. The CD is housed in a beautiful 6-panel digifile made with high-quality natural paper. The special edition, which is limited to 25 copies, takes this “natural” element one step further. It includes the same digifile as the standard version, along with: Tibetan prayer flags, incense, refuge ribbon & a certificate for donation on joss paper.

As stated on The Epicurean‘s Bandcamp page, in regard to the special edition:
“€3 is going direcly to the German association ”Bridge of Friendship e.V.”. Their aim is to support the ”Karma Leksheyling” – an intermediate English-Tibetan school for girls and boys from low-income families from the Himalayan region, who are denied access to other forms of education. Its purpose is to provide Buddhist training and qualified general education for young nuns and monks in order to empower them to assume their responsibility for the protection and preservation of Buddhist teachings in the future.”

As many of us are coming to realize in this brave new world, an increase in Buddhist teachings would likely do the planet some good, as a whole. It is heart-warming to see a “dark music” label focusing on outreach to such an altruistic cause. It is also a testament to the fact that while we love dark music, we are not bad people. We just often see the world from a darker more pessimistic lens than most…

Skeldos is a true gem to the post-industrial community. There is an air of the ancient and folk, and a feeling of melancholy which many dark ambient and drone artists can only dream to achieve. Each time I listen to Skeldos I am reinvigorated by the wonders present in his soundscapes. I am beyond pleased to be returning to this wonderful release with its additional track, new mastering, and beautiful new physical presentations. I highly recommend this album, HIGHLY!

I will hopefully have an interview with Vytenis to share with you all in the near future. I’m very much looking forward to picking his brain!

Written by: Michael Barnett

Kaya North – That Comes from the Tree and the Mist – Review

Kaya North deliver a dark ambient improvisation
which showcases some of the best elements of The Eagle Stone Collective musically, as well as in the physical release.

Artist: Kaya North
Album: That Comes from the Tree and the Mist
Release date: 3 February 2019
Label: The Eagle Stone Collective

Tracklist:
01. Animal Crown
02. Shamanic Blood Leaf
03. Ancient Conifers Reign
04. Prophetic Dusk
05. Oaks Ceremony
06. Primal Forest


The Eagle Stone Collective
is a label out of France, run by Caleb R.K. Williams. A rough translation of his label’s mission statement says:

“The Eagle Stone Collective is a musical project/collective on the fringes of ambient Americana, drone and other experiments. Influenced by the desert and natural areas of the wilderness of our world and beyond. A minimalist and emotional vision of a sensory universe.”

The label released their first digital album, Eagle Stone EP in 2015 and their first physical, Alaska in 2016. The label features a variety of guests including Abigail Lily O’Hara, who released the enchanting Meander late last year. John Scott Gartner has appeared solo, as well as part of Eagle Stone and Old Green Mountain, both of which are duo projects with Caleb R.K. Williams. But the majority of the label’s releases are various solo works by Caleb R.K. Williams.

Williams uses various names to denote the different sorts of music he creates on the label, in a similar fashion to the structures Pär Boström (Kammarheit, Cities Last Broadcast, etc.) and Peter Andersson (raison d’être, Atomine Elektrine, etc.) have used over the years to denote their various styles of music. But unlike either of the aforementioned gentlemen, Williams not only uses his label for fully realized albums, it is also a place to release his experimentations and improvisations. The music that falls under this category is released under his real name, while the proper albums are released under one of his monikers (at least this appears to be the pattern from my perspective).

I’ve taken the time to detail the label itself here because I truly love what they are doing. I’ve been following The Eagle Stone Collective since about 2016 or early 2017 and I really enjoy everything they release. Some of the improvisations feel rougher than others, but that’s fine, Williams is testing his musical boundaries before the eyes of the music community. It is a laudable task to simultaneously release many of one’s wanderings while still managing to keep the releases feeling fresh and valuable (in the sense that their listeners’ time is valuable and we shouldn’t waste it listening to just anything, even an improvisation should leave the listener feeling rewarded, otherwise it shouldn’t be released at all). I always feel that my time was well-spent listening to their albums. Be they improvs, solo experimentations of Williams, or a proper album release from one of their “groups/bands” for lack of a better term.

So now I’ll get into That Comes from the Tree and the MistKaya North is one of the proper solo projects of Caleb R.K. Williams. This one he describes as his dark ambient side-project. The album was released on cassette and CDr, both in ultra-limited editions. I’m not a huge fan of CDr for obvious reasons. But, when a label is doing an edition of only 15 copies in each format it would be absurd to expect them to be pro-manufactured CDs. Every label can’t have the resources to create editions like Cyclic Law and Cold Spring. But, this is not a reason to shy away from the physical medium altogether. I think these ultra-limited editions are certainly a way of bridging that gap. Listeners that want something physical can feel that they have a truly unique piece of work in their hands, even if it isn’t 100% professional (think professional = appealing to our 21st century corporate sensibilities. It wasn’t created in a massive factory?!?! For shame!!!!).

That Comes from the Tree and the Mist is predominately a drone album. Just as conveyed on the cover-art, the music is like a thick dark fog creeping over hills and through foliage. There is a primal sense of wonder and darkness present here. There is a feeling of deep reverence and fear for/of nature, through an almost ritual lens. The ritual vibe is further evoked through the track titles themselves. Names like “Prophetic Dusk”, “Oaks Ceremony” and “Shamanic Blood Leaf” nudge our understanding of the album in the right direction. This is music evoking the old world. Old Gods and old forests, old rituals and old traditions are all subtly evoked.

While the music on That Comes from the Tree and the Mist is improvised, it feels like it moves forward with a purpose. I don’t feel that “meh, he did it in 45 minutes” vibe that I get from so many improvised dark/drone ambient projects. There is substance here, and there is music worth listening to more than once (more than 20 times in my case). There also appear to be field recordings present in a few sections of the album. Though, as the album is stated to be improvised, I wonder (and hope) that those field recordings are actually part of the improvisation. I like to imagine a window open in the studio, with a microphone aiming outward capturing nature, while simultaneously capturing his electronic alchemy inside.

While the CDr is long since sold-out (sorry, I’m moving slowly with reviews these days…) there are 2 copies of the cassette left as I type this. I personally purchased the cassette and can certainly recommend it to others (if cassettes are your thing)! It comes in a numbered j-card (I have number 10/15) with sticker labels on the cassette denoting A/B and showing that gorgeously gloomy forest from the cover (so many cassettes aren’t being labelled at all these days!). It also came with two folded sheets of paper which appear to be stamped with hand-etched rubber.

I would highly recommend Kaya North‘s latest album. For those unfamiliar with The Eagle Stone Collective, this is a great place to start, especially so far as readers of This Is Darkness would be concerned, as it is more solidly dark ambient than many of their other releases. I would also recommend following the label in general, some styles of music they release are more to my liking than others, but I truly enjoy hearing each new release from them. It will be time well spent in a market that is becoming quite over-saturated at the moment.

Written by: Michael Barnett

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