Tag: Hypnagoga Press

Aindulmedir – The Lunar Lexicon – Review

Artist: Aindulmedir
Album: The Lunar Lexicon
Release date: 21 January 2019
Label: Hypnagoga Press

Tracklist:
01. Wind-Bitten
02. Book of Towers
03. The Librarian
04. Winter and Slumber
05. The Lunar Lexicon
06. Snow Above Blue Fire
07. Sleep-Form

Aindulmedir is the latest project from Pär Boström, known to most in the dark ambient community for his work as Kammarheit and Cities Last Broadcast. Following in the aesthetic the label often presents, mixtures of solitude, mysticism, northern landscapes and nostalgia draw the listener once again into the esoteric worlds presented on Hypnagoga Press.

For this release we will quickly notice a new side of Pär Boström being unveiled. While he often focuses on northern and/or dream landscapes and mysticism in his works, Aindulmedir takes these concepts a little bit outside the confines of the dark ambient genre. Aindulmedir adds a healthy dose of dungeon synth vibes to the mix. But this will not be your standard dungeon synth. Comparisons to someone like Mortiis wouldn’t make much sense here. The sounds of Aindulmedir more closely align with something like Grimrik‘s debut Eisreich. The solitary northern vibes outweigh the fantasy elements here, allowing for a subtlety which is often sorely lacking in the vast majority of dungeon synth releases I hear.

Though I mention a lesser reliance on the fantasy motifs, Aindulmedir actually does bring its fair share of fantasy into the mix. However, this is more noticeable in the album art and theme than the music itself. (Though there are some great fantasy moments, like the track “Winter and Slumber” with its more jubilant vibe.) We can see, through album art and titles, that The Lunar Lexicon transports us to some lonely tower on a remote mountain pass. This tower must be filled with the slowly decomposing grimoires of centuries passed. In the middle of the tower sits the old wrinkled hermit, his white beard falling carelessly across his old robes. In his lap sits some book of knowledge and power, while blue flames dance and leap from within the stone hearth. This is a place I never want to leave…

The Lunar Lexicon is stated to have some connection to a novel Pär is currently in the process of writing. Now, we can all begin to obsessively wonder what mysteries might be in store for us within the pages of this novel. As far as I’ve seen, this is the only public mention of such a work, so we can be sure that frigid climates and magickal books (and maybe even a wizard?) will be part of this narrative. But as the album description says that the music is “crossing the borderlands of a novel Pär is writing”, we are left probably with more questions than answers. I, for one, am incredibly excited about this news.

The album is also said to be “winter music for bibliophiles and hermits”. For those of us in the northern hemisphere, that makes now the perfect time for enjoying such a work. As our world slowly shifts we’ve been seeing vast accumulations of snow across various and often random sections of the world. There is no better time to sit down with a great book, a cup of hot tea or coffee, and Aindulmedir on repeat in the background.

I continue to be surprised by the ability of Pär Boström to continue expanding his musical output into new projects, while also moving forward with the others. I get a bit of a Kammarheit vibe from “Sleep-Form” but really this album sounds nothing like any of the other releases I’ve heard from Boström (of course, not all his works are solo, some like Hymnambulae include his sister Åsa, and Altarmang includes Kenneth Hansson). It will be increasingly interesting over the years to come, as we see how these various projects will all advance and morph.

The album was released digitally as well as in 30 limited edition cassettes. The cassettes were sold-out in something like two hours, so it looks like the community is certainly keeping an eye on these limited edition releases. From their past statements, it seems we can expect to see more of these sorts of ultra-limited edition releases in the future. However, other releases like the Hymnambulae debut, Orgelhuset, were pressed in a much larger quantity, so I guess there will continue to be a bit of each.

Since I first discovered the genre of dark ambient, Kammarheit and Cities Last Broadcast have both been incredibly important to me. It’s great a few years later to see Pär Boström taking his work in new and varied directions, while still staying faithful to his original projects. The Lunar Lexicon by Aindulmedir is yet another utterly magnificent release to add to that already impressive list.

Written by: Michael Barnett

Teahouse Radio – Her Quiet Garden – Review

Artist: Teahouse Radio
Album: Her Quiet Garden
Release date: 24 April 2018
Label: Hypnagoga Press

Tracklist:
01. A low-toned meadow
02. Snow falling on black water
03. Death would find my halls and flood them
04. Unable
05. Urn
06. Dreaming splendid spaces
07. If I were a garden
08. Underwater sleep orchestra
09. Her tiny ears and paws
10. Resembling a ruin
11. The elsewhere sleep

Read our recent interview with Teahouse Radio/Hypnagoga Press.

Teahouse Radio is the latest project by Pär Boström. Boström has seen a veritable whirlwind of creativity over the last few years. As far as the quality of this burst of creativity is concerned, the music speaks for itself each and every time. We’ve seen new Kammarheit and Cities Last Broadcast since 2015, both albums well worth the considerable wait since their predecessors. But the most interesting aspect of Boström’s “reawakening” has been in the new projects he’s launched.

We’ve now seen the quality-over-quantity ideology of his young label Hypnagoga Press, with beautifully crafted releases by Hymnambulae (with sister, Åsa), Altarmang (with Kenneth Hansson), and Bonini Bulga. But, this latest release must be the most ambitious of Pär Boström’s attempts (successful attempts I might add!) to create something that is both deeply personal as well as novel to the dark ambient community. From cover-art to acoustic instrument choices to general atmosphere, Teahouse Radio is indeed a quite interesting and unique release.

This isn’t a cinematic dark ambient release in the same sense as we would hear from Cryo Chamber, (ex. Cities Last BroadcastThe Humming Tapes). Instead, Her Quiet Garden hones in on atmospherics and emotion. There are massive amounts of cathartic and lethargic emotion flowing through every moment of Her Quiet Garden. The music itself has a sort of lazy summer afternoon vibe. It begs to be heard while reading a book beneath the shade of an old gnarled tree, or while lying in bed on a hot summer night, too close to sleep to be productive, but too far to be fully relaxed. Tracks like “Death would find my halls and flood them” and “Snow falling on black water” have an incredibly sluggish and depressive feel.

While the album is undoubtedly steeped in lethargy and a generalized sense of depression, there are absolutely beautiful moments shimmering through the haze. “Unable” is a nice combination of the two sides co-mingling. The underlying drone/atmospherics are quite dark, giving a very ominous vibe to the track. But the piano section which sort of sits atop the track is more light-hearted. The two sides combine giving us a sense of that respite from depression, those beautiful moments between memories of loss, and yet even in those moments, we still cling to the worst, even if only subconsciously.

Relaxing and positive elements show through occasionally on Her Quiet Garden. On “Dreaming splendid spaces”, Boström incorporates several light-hearted piano elements giving the track a very nice warm feeling. Boström hums along in the background, quietly and effortlessly fading into the mix. This all serves as a respite from the otherwise bleak nature of Her Quiet Garden. But this is the point. The imagined garden in Boström’s vision is a place to visit those lost loved ones which are still held so dear. Deeply negative emotions are sure to surface, but memories of happiness and contentment are also sure to help exert a balance, and maybe find a personal understanding, a path to move forward.

Her Quiet Garden is not about finding an escape from one’s sorrow, loss, depression. It is about seeing it as it is, all the hard saddening memories combined with all those wonderful days and nights spent in a youthfully ignorant contentment. The loss of any true loved one, or even a past home or acquaintances, all come with their share of good and bad. Her Quiet Garden lets all these emotions melt into one another, giving listeners a deeply moving album, which will likely make a much greater personal connection with each listener than the majority of the music coming out of the post-industrial scene. This is what has kept listeners returning to Boström’s music over the years; his ability to tap directly into the mind of the listener, playing our memories and emotions like yet another instrument in his collection.

Her Quiet Garden was release on Hypnagoga Press in a CD edition of 100 copies (only about a dozen remain). The album is also, of course, available online. You’ll find in the album’s artwork some very unique elements. Boström used a very different technique in it’s creation, which can be seen and explained in better detail through the videos he’s posted online about the process. There has been talk of Her Quiet Garden being the best release yet by Pär Boström. I would rather not make that judgment, I love far too much of his previous work to downgrade its importance in any way. But, with that said, this is one incredibly powerful release, from the technical side as well as the emotional. It also doesn’t hurt, on the technical side, that Simon Heath (Atrium Carceri, Cryo Chamber) did the final editing and mastering of the release.

I would highly recommend Her Quiet Garden to anyone that loves to hear various instruments boldly blended with dark ambient elements. But, also to anyone needing a helping hand in coping with loss. You are likely to find as much solace in these songs as Boström did. So get some headphones and take this album with you to your own quiet garden, where ever it may lie.

Written by: Michael Barnett

Teahouse Radio / Hypnagoga Press – Interview

Over the last few years we’ve seen a huge increase in the output of Pär Boström. Once known only for his oldest (main?) project, Kammarheit, Pär Boström has since created a multitude of wonderful albums, always more or less focused on dark ambient, as Cities Last Broadcast, Altarmang, Bonini Bulga, and now his latest project Teahouse Radio. Near the beginning of this recent bloom in releases, he partnered up with his sister, Åsa Boström, to start the publishing house/record label Hypnagoga Press, as well as collaborate on their first release as Hymnambulae. After my previous interview with them in 2016, not long before I started This Is Darkness, I thought it was time to catch up with the siblings and find out from Pär about the new Teahouse Radio album, and to get some general clairvoyance on the label and future releases from Åsa. Enjoy with a cup of your favorite tea and be sure to check out the new Teahouse Radio album, which you can stream in full below.

Interview with: Pär & Åsa Boström

Conducted by: Michael Barnett

You can also read our review of the Teahouse Radio debut here.

Michael: Teahouse Radio is your latest project to be released through Hypnagoga Press. Since, over the last few years you have been working on a growing number of projects, I wonder if you could tell readers what makes Teahouse Radio unique for you? How does it stand apart from your other endeavors?

PärOne intention we have with Hypnagoga Press, is creating a house encompassing all our projects. Even the ones that have been or are still brewing in the background. For one and a half decades, Teahouse Radio has served as a counter-point during a difficult psychiatric evaluation and treatment. It took me this long to decide to finally share the music. What makes it unique, for me, is how it managed to keep its roots in the children’s books I read, as a kid. A sort of honesty and naïveté that resonates well with me. Things like Narnia, Winnie the Pooh and the Moomin books have been a big inspiration for this project. There is something in those books that connects to my own early encounters with melancholia and existential questions. I don’t really have the words for it, only the music. Some would say it’s not as dark sounding as my other projects, but I would say it has some of that as well. But more than anything, it has a different form of melancholia and dreaminess.

Michael: How long have you had the idea to work on a Teahouse Radio album?

Pär: The oldest songs on this album are from 2004, maybe a bit earlier than that. But, I can’t recall exactly when and how it started. One day it was there. A new friend you feel like you’ve known forever. I don’t know if I had the intention, initially, to publish an album. All my projects start this way. Something personal, a place to visit for as long as I need. Somewhere along the way, I invite people to take part in it. Then, the music sets out on an adventure of its own, becoming a part of other peoples lives, as well.

Michael: Can you tell us a bit about the process behind creating the Teahouse Radio debut, Her Quiet Garden?

PärIn 2016, I stayed in my sister Åsa’s old summer house and guest studio. My intention was to make an album, using a semi-acoustic guitar and a few effect pedals. I often do this, bring equipment with me somewhere secluded. It was supposed to be a singer-songwriter thing. Early on, I noticed that what I was making was similar to what I had already been recording as Teahouse Radio, years before. I had a notebook with me to jot down technical details about chord progression, lyrics, etc. Instead, immediately it turned into a studio diary, with reflections on what I was making. I wrote about my cat Kosmos who had passed away three years earlier, picturing her in this peaceful, dreamy garden. As I was sitting in the rocking chair listening to the new recordings, I wrote about the weather, the bumblebees and about loss, in general. About mental illness. Somewhere in those notes, the album began to emerge. Half of the songs had been recorded sporadically since 2004. The rest were created during a few days late that summer, in that idyllic countryside setting.

Michael: Hypnagoga Press, the label run by Åsa and yourself, has focused on releasing music by your various projects. Of course, some of these projects are your solo efforts, but others have been collaborations, for example: the Hymnambulae or Altarmang debuts are collaborations with Åsa Boström and Kenneth Hansson, respectively. The new Teahouse Radio album looks to be more of a solo project, in line with Bonini Bulga or Kammarheit. Was this, in fact, a solo project, or did you collaborate with any other artists on this one?

PärTeahouse Radio is initially a solo project, but I would like to select a few collaborators further down the road. The songs on Her Quiet Garden were sent to Simon Heath, who added a few extra touches on some of the songs and mastered the whole album. I am very grateful for the way he made the old and new material blend together.

Michael: Is there any specific importance behind the names Teahouse Radio and Her Quiet Garden?

PärThere was a tiny wooden house, an elk tower, in a field outside the city where I lived during high school. Due to my insomnia at the time, I sometimes bicycled there, and had a cup of tea while trying to find radio stations on a small radio I insisted on carrying with me. When deciding on names for this project, that memory came back and Teahouse Radio felt like a suitable name. As the first album is centered around loss, my deceased cat Kosmos became the main symbol. To imagine a garden for her. A calm, quiet garden.

Michael: You’ve given followers some hints about this release, over the last year or so. Was the process behind its creation similar to other albums? Meaning, do you usually use journals in this way, capturing your ideas for later translation into music?

Pär: I don’t think I’ve shared anything from my journal entries before. Not translated and shared almost in full like we did in The Solar Zine Vol.3. I often write about my music, looking closely for clues on how to best proceed with what I’m working on. Most studio notes are about changes I want to make and title ideas. But, this notebook went further. I will experiment with this on future albums, as well. To my defense I want to add, that when combining a rocking chair, a loop pedal and a summer house with a beautiful lake and garden view, there will be some thoughts running through your head. Dramatic weather only further added to the mood.

Michael: The album art for this release has an incredibly unique and surreal feel. What is the importance of this image and how was it created to have such a unique look?

PärI am constantly drawing. Strange animals, trees, figures interacting with each other or dealing with sleep in different ways. It has been like this for almost two decades. I decided early on, that Teahouse Radio should try to fill a gap between my music and these drawings. So, for Her Quiet Garden I made a lot of different paper landscapes with trees and a pond. I tried all kinds of papers to make it look like water and other transparent papers to get a fog like effect. Not many of the photos I took were used for the final artwork, but I will continue with these kinds of images in the future.

Michael: Will Teahouse Radio remain an active project after this release?

Pär: That’s my intention. The illness, the need to take a break from the world, to dream and drift, will likely never change. And there will always be the need to make music for weather and cats. Aural tales.

Michael: What does the future hold for Teahouse Radio? Do you intend to do any live performances as this project, or will it remain a studio entity.

PärFor now, I wish to remain in my studio for quite some time, before doing live performances again, with any project. I’m happy to be able to create now. I’ve had long periods of inactivity before, or have felt a big need for distance and avoidance, so I want to make sure I’m making the most of this moment. As I said earlier, I hope to collaborate with different musicians in the future. Hopefully animators and paper landscape artists, as well. Her Quiet Garden is merely the introduction.

Michael: Is there any interesting news happening with any of your other projects, currently? I’m sure you have a lot going on, but anything you are willing to share?

PärA new Kammarheit album is completed, but it might still be some time before it can be released, as it is a soundtrack and must be synchronised with a product that isn’t finished yet. I have yet another unknown project I will share soon, and then it is hopefully time for new material from Altarmang, Hymnambulae, Cities Last Broadcast and Bonini Bulga. It moves in cycles. Even with Hypnagoga Press, I feel like we’ve barely started yet.

We Didn’t Tell Each Other How Wounded We Were by Åsa Boström

 

Michael: Transitioning to label matters, Åsa, would you like to tell us what has been happening lately around Hypnagoga Press? Any new plans, projects or developments that you would like to speak about?

Åsa BoströmWe’ll open the publishing house part of Hypnagoga Press soon, and to begin with, publish some of my books. Going forward, the music label and publishing house will overlap. Literary texts, voice, spoken word will be embedded in our music publications, and our literary publications will include music components.

Onward, we’ll also be focusing more on collaborations. Recently, we made a remix for Carl Abrahamsson, featuring on an album set for release at the end of May. It also contains both music and spoken word, with Carl’s and my voice overlapping.

Michael: Hypnagoga Press has already done releases in several formats: CD, Cassette, Zine, will you continue expanding into different forms of media?

ÅsaYes, we’ll continue expanding into different media formats. Explore multimedia products – music, literature, art – as well as various packaging formats. Boxes. Hybrid products. Possibly include objects as a part of the packaging. In my art-making, one medium I work with are sculptural objects, a form of ritual objects, made from materials collected on travels. Some of this might also turn up in our packaging. We’ll also introduce vinyl and more types of fine art prints. We intend to keep the physical editions very limited.

I Had Words Left, You Found Them by Åsa Boström

Michael: So far, Hypnagoga Press has been a conduit for you and Pär’s creative output. Will there be plans to search out talent from other individuals, or are you happy to keep this a close-knit sort of personal operation?

ÅsaHypnagoga Press is mainly a space for realising our own projects. But we’re planning an outlet for collaborations with others, an imprint or a series of publications, in the future.

Michael: Hypnagoga Press is still quite a new label, with your first release being Orgelhuset in 2016, by yourself and Pär as Hymnambulae. What has the startup been like? Are you happy with the current position of things, or have there been any setbacks?

ÅsaI’m very pleased with our first music releases – the debut albums by Hymnambule, Altarmang, Bonini Bulga, and now Teahouse Radio. Projects with narrative depth, supported by interesting creative processes, and I look forward to their progression.

Hypnagoga Press will be built long-term. It’s intended as a life’s work, with our creative and spiritual practices interwoven with creating experiences in which others may take part. Our publications serve as a form of tools, also for others to utilise, forming their own path and journey. To step in closer, reach further, manifest more.

Life also interfered in our startup. I got ill, due to mold in the countryside house where I was living, in the woods in northern Sweden. A house we’d made our Hypnagoga Press headquarter, where I had also set up my own studio space and a guest studio. All of that had to be taken apart and some of our publications got delayed. Now I live in Umeå, where Pär also lives, which makes running Hypnagoga Press together easier. Forces more joined and space freed up for what’s ahead.

Prayer Book by Åsa Boström

Michael: Are there any topics you would like to tell readers about, which I haven’t mentioned?

ÅsaI’d like to add a few words about our new release by Teahouse Radio. I’ve followed the development of the project for almost 15 years now. It’s a good example of how our individual projects often influence each other. I’ve been listening a lot to Teahouse Radio while writing my novel The Seafarer, which we’ll be publishing soon. And Pär has read The Seafarer while working on Teahouse Radio. Initially, we had planned to release them simultaneously.

Michael: Thank you so much for your time, it is always a pleasure!

Pär/Åsa BoströmThank you Michael, likewise!

Links:
Hypnagoga Press: Website, Facebook, Bandcamp, Youtube
Teahouse Radio: Website, Facebook, Bandcamp
Hymnambulae: Facebook, Bandcamp

Pär’s projects reviewed on This Is Darkness:
Altarmang – Void (2017)
Atrium Carceri & Cities Last Broadcast – Black Corner Den (2017)
Atrium Carceri, Cities Last Broadcast & God Body Disconnect – Miles To Midnight (2018)
Bonini Bulga – Sealed (2017)
Kammarheit – The Starwheel (2005)

 

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