Earlier this year, I reviewed an amazing album by Monstruwacan. It’s based on the sorrowful concept of grief and poverty and project mastermind, Caldon Glover excelled at creating a dismal state that listeners can dwell in and become at one with the music and theme. I wouldn’t necessarily call that album a side project, but it’s one that relates with the horrors of mankind and societal shortcomings. As for his main Dark Ambient project, Caldon Glover plunges into the very heart of mayhem and polarizing destruction with the harsh sounds of Indistrialized ambience and deep tonal modulations that produce a sinister atmosphere of gruesome discovery. On his latest album, ‘Death Mycelium’, he presents 5 tracks of violent commotion that weighs much more on the psyche than it does toward physical bloodshed. At almost an hour long, these songs send a pulverizing image of darkness and disturbing images by way of horrific drones and soundscapes. Let’s dive deeper into each of these tracks.
The ill-lighted album opener, “Gateway To The Fiber Network Deadworld”, begins with an isolated drone that sounds as if it’s drowning in frequency abandonment. Simplistic but relevant effects depict a scenery of obscure visuals and a dismal populace. As the mind starts to wander with a slow walk through destructive landscapes and architectural structures, soundscapes begin to build, increasingly becoming the dominate force in this song. Sounds of ghostly shrills begin to terrorize while hollow modulations multiple with a brutal sense of depth. It’s as if the clash between tangible disasters and deep space came to an infinite conclusion. “Sunk Into Thin Spaces” commences with several frightening tones, equaling that of the terrorizing music that plays in unison with a killing scene in a horror movie. Although a bit more minimalistic than the first track, it’s just as effective in creating a void that listeners can describe as they are falling endlessly into an abysmal pit. This song sounds like a nightmarish space disaster that has taken place far out of recollection of other beings. “Endless Worm” continues with the grimness but in a less chaotic way. Minimalist sound shift from hollow oscillations to desolate bitterness that seems perpetual. As this twelve minute song continues, deeper instances of continual drones push the boundaries of insanity. Although there is not much going on with regards to effects and soundscapes, there is something deeply disturbing with a track of this nature. Definitely one of my favorite songs on the album. Next up is “Broadcasting Calls Through Strange Winds”. The celestial launch of this intonation is like an unnatural velocity of force that is set to destroy all in its path. The deep bellows of synth pads create a reverberated sound much akin to our thoughts of what the frigid corners of the universe must sound like. At thirteen and a half minutes long, this is the second longest track on the album and is a tour de force of cosmic vacuums and the doomed pandemonium that is kept hidden within. The last four minutes is what nightmares are made out of, as if an unseeable force is pinning you down against your will and infiltrating your mind with terror and dread. The final – and longest – track on the album is, “Let Yourself Away From This Place.” At fourteen and a half minutes long, there is no denying that the bleak adventure that lay ahead will be lethargic and unbearable. Dreamy drones paint a picture of boundless turmoil and apathetic occurrences. The occasional use of percussion is a welcomed sound as it blends with the texture of the dreary soundscapes and ceaseless moments of tonal dissonance. Interestingly, the final few minutes depict a spot of hope, as warm drones enter the picture, shining a hint of light on the distant horizon. What a spectacular way to approach the final moments of this stunning album.
Caldon Glover has provided us with an array of Dark Ambient albums since 2018 and ‘Death Mycelium’ just may be his most challenging (and rewarding) album to date. There are no over-the-top cinematic tricks or indulgences, just bleak, atmospherics that takes the listener beyond imaginative realms. If you’re a fan of sinister and minimalistic Dark Ambient music, look no further than Caldon Glover. Click on the link below to download this amazing album, and check out the remainder of his discography while you’re there.
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Ruins Of Xibalba, the soaring new project of Tir main man, is much more than a Dungeon Synth side project. It is an ambient adventure into outer realms, where cosmic soundscapes compliment daunting melodies and admirable song structures for an outcome of refreshing proportions. Bits of synthwave and cinematic arrangements elicit a high level release that eclipses the boundaries of many electronica genres. Mystical second album, ‘Gobeklitepe’ is an excursion through ancient mythos and compelling sacred cultures through 9 distinguished compositions that erupts in almost an hours worth of synth greatness.
Celestial album opener, “Sirius”, commences with a soothing drone that is reminiscent of gothic overtures from a classic, transcendent period. As altering tones shift like a slow flowing current of vast oceans, luminescent soundscapes and peaceful synths build a scene full of dreamy characters and endless landscapes. “Reverie” begins with a calming tone that creates a sense of relaxation and drifting timbres while utopian synth leads play somber intonations that pay homage to 80’s synthwave. Harrowing textures build into an austere arrangement that is addictive and completely mesmerizing. This is one of my favorite tracks on the album and one of the most played songs in my synth playlist. “Pedestal” is one of the shortest tracks on the album and has more of a traditional Dungeon Synth flare than the previous songs. Layers of synth leads build in crystal clear context and this beautiful little dirge is over just as it starts to create a dream state for the listener. “The Flame In The Temple” fires off on all cylinders as bombastic samples paint a picture of dread and anguish. As if a battle is looming near, this particular sound continues for a few minutes until a melodic chop begins to integrate, forming a massive sound of Medieval spirits. Alluring female vocals are added, sending this song to soaring heights and giving the listener a sensational overture of adventurous development. Additional spoken words enhance the terrain of musical endeavor, making this a supremely well rounded song. At just over ten minutes in length, “Prophesy” is the longest track on the album. Combining elements of synthwave and atmospheric effects, this song is a slow build into a captivating cinematic performance. Sonic drones and spacey keyboards fill the void as a wall of sound is created in hypnotic fashion. Representing the subtle changes that occur at dawn, “Prophesy” runs the gamut of sounds, from elongated and peaceful to melodic and grandiose. “Shaman Of The Welkin” is a change of pace, as a rhythmic drum beat leads the charge in this eerie dirge. Written in a very theatrical way, it features a gigantic orchestral sound that flows in a very emotional way. This track could very well be featured on a soundtrack of a fantasy/adventure-based movie. “Göbekli Tepe” is a whimsical outing featuring a quirky keyboard chop that plays in the background, while sounds of the orient take center stage with colorful effects and serene synth elements. “Eternal” is a daring, ambient adventure with a host of menacing soundscapes and effects. Immediately commencing with a sinister drone, mind-melding effects play sporadically, showcasing a sense of dread and endless agony. About halfway through this eight minute opus, fluid keys begin to play, opening the depth of this track like an endless black hole in deep space. It’s as if a constant storm reaping havoc on the mind and causing a depth of internal commotion. The final track on this spellbinding album is, “Reverie – Yetzer Remix Version”. For over seven minutes, we are treated to a masterful drone experience with minimalistic effects that bridge the gap of various electronic genres. With an anodyne of modulated tones, there are similarities to the original track but this remix version is a darker presentation of an already bleak performance that demands multiple listens.
This sophomore album by Ruins of Xibalba is an extremely fascinating affair and a one-of-a-kind experience. Overall, ‘Gobeklitepe’ is a consoling journey through time, space, the mind and any other relatable experience and certainly fulfills a particular destiny with thoughtful arrangements and mesmerizing cadence. Although this album was released last year, it’s still extremely relevant now and I highly recommend this for fans of ambient textures and the wonders of Medieval soundscapes. Please click on the link below to dive into this amazing adventure.
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Infinexhuma is one of Dark Ambients most spectral artists. Producing a variant that captures the true essence of Dark Ambient music, while always coming up with ideas that catapult his brand of bleak atmospherics beyond comprehensible realms. Each release presents a diverse blend of haunting drones and soundscapes while fusing in intricate nuances that entertain the listeners pallet for extended moments in time. I recently had the pleasure of interviewing the audial administrator of noise terror that IS Infinexhuma. He give us the low down on the projects beginnings, influences, and what all’s to come. Hope you enjoy this as much as I did putting it together.
1. Thanks for taking the time for this interview! One thing that I’ve been wanting to know is, what does the name Infinexhuma mean and how did you come up with it for your project?
Infinexhuma refers to Infinite Exhumation, a process widely experienced by many inhabitants of this earth, a process that breeds monotony and lack of will. Around the time of the initial host death, a doorway in limbo was opened via this concept, more so a realization that this process must be broken, emphasized by the trapping within a limbo state being the most accurate example of the horrors of unbroken monotony, the journey is, was, will be the beaking. The sounds are only evidence and passive teachings channeled through this host, It is and is not music, it is and is not metaphorical, it is and is not real.
2. How did you get into Dark Ambient music and what was the influence that made you decide to start your own project?
I recall approximately 10 years ago, at the time operating a different and now defunct music project, short naps were taken during studio work. During these naps I would listen to some more subdued black metal or perhaps just throw on a horror film for the score. Later I discovered a website called darkambient.de I believe it was called, that became the go-to for the naps after that. Later of course there were multiple stages to the evolution from lightly experimenting to heavy listening to diving into field recording to eventually releasing a first album to discovering scenes etc. Learning the composition structure of such music was a long process as well, as it was new to me, not in terms of listening, but in terms of production. The energy for Infinexhuma grew while the old project died, some influences include (yes some are by the same person); Inade, Lustmord, Ark Tau Eos, S.P.K., Archon Satani, Atrium Carceri, Sjellos, Noctilucant, NERATERRÆ, Tangerine Dream, TG, Altus, Gustaf Hildebrand, John Carpenter, Deathpile, ProtoU, Sabled Sun, film scores, Yen Pox, Terra Sancta, Apocryphos, tomandandy, Enmarta, Council of Nine, A Murder of Angels, Halgrath, Alphaxone, Svartsinn, Kolhoosi 13, Dark Matter, Crawl Unit, Subklinik, Kammarheit, Keosz, Blood Box, Trepaneringsritualen, Apoptose, Beyond Sensory Experience, Raison D’être, Visions, Vestigial, Phonothek, Monocube, Phragments, Therradaemon, Nordvargr, Brighter Death Now, MZ 412, The Human Voice, Paleowolf, Ramleh, Opeth, Ulver, Enmarta, ALLSEITS, Northaunt, Hilyard, Sephiroth, Desiderii Marginis, Phurpa, Northumbria, Psychomanteum, Gnawed, and likely more. Many obscure projects have been discovered over the years, ones that would evade the objective (and often disliked by elders) classification of dark ambient. The tiers and styles and authenticity within this obscure genre could be elaborated on as my perspective and knowledge on it continues to grow and be enhanced, however this would lengthen the interview to perhaps an unhealthy limit. I later began to hit the starting point of a full circle and felt comfortable drawing influences from unrelated genres I knew more pre Infinexhuma, mostly energetically and not so much in terms of the speed and rhythms.
3. The debut album from Infinexhuma, ‘Crossing’ is a well crafted experience that easily rivals albums from more seasoned artists. How much effort and production experience went into delivering this album?
Well, in fact the real first work was Chaotic Depth, the low volume 2016 unmastered version that is, which itself took approximately three to four years of work, not much of an impact, but I believe the process of “peaking” can be reversed for some artists, some achieve the proper transmission of their message with a first production, others take several to weed out what is not to be said, Brian Williams actually said this in an interview, quite refreshing. Anyways, Crossing, the crossing state, a collection of earth captures from what we call the Pacific Northwest. Crossing took several years as well, however a period of sharp acceleration was implemented towards the end. Much of this work was guided by intricate harmonics within the field recs, which gave a solid and consistent base for workflow, and that avoided any creative blockages. This was the true state of transition between this and that world, the energy was aided by a concept I often discuss, is your visual and physical perception of music based on environment, for example Snowy Court, was an actual Snowy Court, a Japanese garden in a strong snowing winter season, aside from the of course the sounds of subtle snowfall, the energy that was there during the recording process, remains (to me) on that recording and follows all the way to the studio, providing an energy base for the track, and I believe this cannot be recreated, despite the sounds being identical, it will lack the energy. This work was mastered by the great Robert Rich.
4. “Broken River” is my favorite track on that album, as it uniquely combines field recordings, drone, haunting textures and a sense of melody. What was the story behind that particular track?
As The Snowy Court, it was in fact a broken river, the first portion of rocks shuffling was traveling to the water, traveling within the break of the river, guided by subtle harmonics, messages beyond the mind. The whole album could have been better in terms of technical production as now I am vastly more advanced in this regard, but for the sake of giving credit where it is due, the “speaking” was natural, clear and very simple.
5. Do you document your own field recordings or sample from other sources?
I use 99.99% original field recordings, samples are seldom used, and if they are, their obscurity would prevent anyone from ever acquiring knowledge of the original source.
6. In 2019, you teamed up with Neraterræ for a remastering of ‘Chaotic Depth’? I can definitely hear his influence on the album but how did this exquisite teaming come about?
In fact, it was more of a gift from fellow creator NERATERRAE, I believe I had given some unused pieces of music and in exchange for this he presented to me a mastered version of this album, alongside I believe a track for a dark ambient compilation. He was featured on his personal favorite of the album, overall it was quite a pleasure to listen to and motivated me to execute a full digital release. Again, none of it thus far is what needs to be said, I could destroy all Infinxhuma material tomorrow and it would not matter, I am attached to nothing, especially material of the past that is now deemed inferior, and in my personal opinion not so good anyway.
7. On 2020’s ‘Arcade’ release, it seems like you went for a more minimalistic, retrospective sound. The results were simply amazing, in my opinion, but what were your expectations with this release?
Very true to the Infinexhuma path, yet in a realm above many of the human compulsions and matters, hence its more neutral and overseeing vibe. This release was expected to sound good, the sound was a heavy focus of this work, the depth and intricacies within the drones were (and are) one of the most fascinating things within music to me. Many planes were explored on this, a perhaps more space oriented cousin to Crossing.
8. There are a variety of instruments used/heard throughout this release. What all do you play on this album – and other albums for that matter?
Arcade had some synth layers as I had not yet adopted the principle of operating on samples only, however likely some guitar, for sure some throat singing on a specific track, but as well likely many many field recordings and their most prominent harmonics brought to the frontlines.
9. Speaking of gear, can you walk us through your studio setup?
Which one? Ha, well
1) DAW/post production, I have an ASUS laptop with decent power, a large casio used as a midi controller and practice at times, Yamaha Hs8 monitors, a few focusrite interfaces, A tape dubber/player, a novation (mini) pad with midi pots, a large bass amp, a condenser mic with multiple filters, a digital reverb unit, two guitars, a V-Drum kit, some brass and wood instruments
2) Practice/Live Prep, of course many of the mentioned and those I will mention can and are often moved in between rooms, but fundamentally I have a Eurorack box, forgetting how many hp total, three Yamaha mg102 mixers (the old school ones without usb and digital effects and crap), many effects and generator pedals, passive ¼ mixer, a few dynamic microphones, a marantz 201, a Roland SP-404 SX multiple (actual) drum pieces, a large collection of carefully selected windchimes, more wood instruments, bells, singing bowls, a Behringer Neutron synth and one more mackie mix8 (not the sturdy VLZ construction). Of course a soldering station for minor repairs and eurorack builds, contact microphones.
3) Mobile, I often use the mackie mixer when recording in tunnels or bunkers (if accessible enough to bring power as well. In my car I have constantly my Sony PCM D-100 for intricate and high quality (safe terrain as I’ve killed a few) field recs, a Zoom H-1 for more rugged and rough locations, quick on the fly recs, and as well to be used in conjunction with the Roland CS-10EM (recommended to me by Gnawed) binaural earphones/microphones for unorthodox binaural recs as I use them in reverse, thus far at least. Next, I carry a Zoom H3-VR for not the most accurate or heavy duty ambisonic work, but interesting nonetheless after decoding, A gopro with a special discontinued Sennheiser MKE-2 underwater microphone and another deeper diving somewhat shabby hydrophone for some cool underwater stuff. A tablet for on the fly Hexen Modular patches, to be used with a smaller JBL cylindrical sound bar, as well a larger JBL ONE portable rechargeable “PA” speaker.
10. Back to the music, on last year’s amazing release, ‘Frontier’, you have a variety of guest musicians that provide some captivating input for several tracks. Did you have a particular sound or theme in mind when working with these talents?
Perhaps only for the Blood Box collaboration, I have always had a very special appreciation for Blood Box and much admiration for their smooth execution of the dark and light mixture throughout their work. This was what I was seeking on our collaboration. Minimalism was sought out for the CEKE collab, and energy for the NERATERRAE one, all I believe were excellent works.
11. I have to ask you about “In The End”. It’s so different from everything else that you’ve released, yet sounds as if it fits right in with the theme of the album. Is this a direction you may be interested in going in with this project or perhaps under another name?
I have huge respect for those that are dedicated and naturally immobile on a specific stylistic path, however as the journey continues, I become more aware of how this is difficult, and not needed for me. They are all artifacts, just sent through a host, a messenger that will one day go back to dust, some artifacts will be slow and brooding, some will be destructive, some will be energetic and within rhythmic structure. There will be more.
12. On your YouTube channel, you have a lot of live performance videos uploaded. This is something that’s not quite common in the Dark Ambient community (yet). How is it pulling off a Dark Ambient show while keeping it creative?
Many live works tend to stray from typical dark ambient, but at times have been very true to the exact style. Live is a heavy opener of creative doors, a heavy generator of energy, a powerful opportunity to give further insight into the Infinexhuma path, however there are often limitations, obstacles and at times failures that are not present in a studio setting. Embracing the failures and the death of expectations allows energy to be recycled and properly reutilized for exploration.
13. How often do you play live and do you have any plans to venture out on a larger scale for performing live?
Live services are conducted perhaps ten times or so a year, there have been some large scale events however there will be more, international service is within the scope as well.
14. We’re mid-way through 2022 and haven’t experienced new Infinexhuma material yet. Do you have something planned and what would be the direction of the material?
It has been some years now, and much work has been discarded, and much more will be created and burned, until the exact energy beam is captured. Artifacts are being prepared, yet completion is far and the time of unveiling is undetermined at this point.
15. As far as large scale collaborations, do you see any releases of this kind in the future? If so, who are some artists that you’d be interested in collaborating with?
There will be more co-operations along the journey and path, yet at this time I cannot elaborate on any who will contribute to the exploration. I will state that there are considerations, and some that may leap to genre crossing branches on the great tree of music
16. I really appreciate your time and letting us know about all things Infinexhuma. Any final thoughts for those that will read this interview?
Thank you for your effort and everything you do for the community of creatives, this will one day be read by artists hundreds of years beyond our existence as historical art exploration.
Xerxes The Dark is one of the most consistent artists of the Dark Ambient genre. Not necessarily when it comes to the Dark Ambient sound in the traditional sense, but with the unheralded impression of incorporating new ideas and tactics that indicates an endless realm of musical opportunity. With a string of highly influential albums that thrusts the Dark Ambient maestro into elegiac territories such as industrial, noise, fusion and metal, ‘The Rise Of AI’ just may be his most enigmatic release yet. With a futuristic story and theme that is not so far off from reality, this album thins the comfort zone of ambient music with a thrust into chaotic bleakness. Think about the hostile take over of bio-engineered humanoids in ‘Blade Runner’ with the invasion of indestructible alien robotics of ‘Terminator’ and then mix it with the technological destruction of ‘Black Mirror’ and you’ll have a sense of what the flow of ‘The Rise Of AI’ is all about. Let’s take a dive into this amazing recording.
Bold album opener, “The Rise Of AI” makes a critical statement for the flow and direction of the album. Slowly building into an industrial nightmare, this track more resembles Godflesh than dark ambience. From the steady cadence of drum machines and solid bass lines to a variety of voice samples and guttural transmissions, this track properly prepares the listener for the destruction that will soon follow. The nightmare continues with “Nuclear Winter”. Starting with eerie drones and haunting whispers, it quickly turns into an emergent, industrial anthem with muddy and distorted vocals. Guitar tones hint on melody but that quickly fades into a realm of bleak discomfort. “Take (No) Shelters” emits more dark ambience than previous tracks and is accommodated by stark samples and mechanized soundscapes. More vocal narration are heavily modulated and are right inline with the horrowing story that continues to unravel. “Synthetic Consciousness” is a full on Dark Ambient endeavor with a Space Ambient vibe, complete with celestial soundscapes and dark timbre that rapidly expands beyond the outer reaches of the universe. Malevolent machine nuances continue the harsh undertones of robotic supremacy. “Cyborg Soldiers” embodies an industrial sound with looping noises and drum beats, while a gritty vocal line chants in disdain. “Signaling The Alien Machine” marks a return to the Dark Ambient domain with a plethora of discordant noises and background echoes. As the drones increase in volume, muffled communications depict a scenery of imminent hostility. This calm before the storm approach creates a sense of anxiety and wonder, while complete AI take over is close at hand. “Simulating The New World” is a cinematic adventure that combines a barrage of industrial beats, melodic arrangements and and glitchy rhythms that flow together seamlessly. Portions of this track stimulate a warm sensation, as if there are light moments amongst the chaos that appear to be fathomable. “Interpret X11-01-10” is a short track that depicts communicative transmissions between AI and distant worlds. Soothing drones in the background allow this effort to be audible but untranslatable, as the evil machines prepare their next move for impending takeover. “Domination Of Humanoids” begins like a sneak attack with small, subtle noises as if being surrounded by unidentified beings. With a slow crescendo, industrial drum beats and bilious vocals elicit a constructive output that wages the war between AI and mankind. Like a battle cry of the ages, this track becomes a statement of dominance and leads the mission of AI acquisition. “Accessing Cosmic Memory” is a desolate ambient track that contains wavering drones, empty soundscapes and a looping pattern that signifies a positive communication efforts between the AI and their end goal. This expressive intonation creates a cessation of offensive strikes while vast information is being absorbed for future use. “Meeting Space Tribes” once again delivers a stark vocal arrangement with looping, industrial passages, while layers of drones produce a grandiose sound. The vocals spew a ton of pain and anger throughout and combined with the music, present a chilling, glacial landscape. “Intergalactic Empire” showcases a new side of the story as well as a new sound for XTD. With a melodic approach to Sy-Fi soundscapes, this track is industrial, yet light-hearted and probably one of the most accessible songs on the album. Complete with drum beats, bass lines and samples, this style is a welcome addition to the album as a whole and actually fits in quite well. Next up is “Holographic Wormhole Drive”. Not only is this the coolest song title ever, it’s also the closest this album comes to the traditional XTD sound. This is Dark Ambient in its truest form, with deep drones, creepy soundscapes and an overall menacing essence. There are several pitch shifts in this track that enhance the listening entertainment value, as well as present multiple sides to this gloomy effort. The final track of this epic album is the summarizing, “Gateway To The Unknown”. This is another scorching Dark Ambient masterpiece that includes some insane trip-hop beats and intense soundscape and noises. This ends the album in dominating fashion, just as the AI has systematically overtaken human kind, in this bewildering conceptual masterpiece.
I continue to be amazed by the many faces and directions of XTD. It’s safe to say that I never have any idea of the direction of each album, but pursue in amazement at how impressive each outting is. Whether it’s the established arrangement of Dark Ambient mainstays, drudging Noise Ambient, Industrial Ambient, or a conglomeration of the aforementioned, rest assured that the entertaining value (and listening experience) will be extremely high. ‘The Rise Of AI’ is right up there with the best that XTD has to offer and I highly recommend this for those that love an eclectic blend of electronic music styles. Please click the link below to download this incredible album and also check out the XTD back catalog while you’re there.
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