Month: July 2023

The Nebula Breviary – A Voyage Through The Black Hole With Strange Mono Records

If your seeking a label that incorporates a menagerie of artists from different backgrounds with a broad sense of musical direction, then look no further than Strange Mono Records. Releasing everything from Dungeon Synth and Ambient to Dream Pop and Extreme Metal, Strange Mono knows no boundaries and has safely provided a home for such artists since 2021. Since I’m always seeking the most obscure forms of music around, it’s no wonder that Strange Mono has resonated with me since the beginning. In order to pay homage to this amazing little label, I decided to write a few summary reviews on ten of their latest releases. These albums are all over the place but equally enjoyable – at least to these ears. Enjoy reading these reviews and please consider listening to and downloading some or all of these fantastic recordings.

1. Forge Of Tears – Softly In This Vale Of Tears

What’s more excruciating than a razor burn filled with rubbing alcohol and sealed with a gob of crazy glue? Probably two long form tracks of chaotic noise terror by way of Forge of Chains. With no compassion for delicate, tender moments, ‘Softly In This Vale Of Tears’ is thirty minutes of intense discord that is as addictive as it is disturbing. With an unrelenting wall of modulated audial pungency, Forge Of Tears produces a mesmerizing soundscape for a pallet of maniacal indulgence, not letting up from start to finish and only adjusting the molecular structure of things between tracks. At first you may be in disarray by the abrupt jolt of power but you’ll soon find yourself drawn into a world of corrupt audial sequences. This is a magnificent release on many levels.

https://strangemono.bandcamp.com/album/softly-in-this-vale-of-tears

2. Grey Windowpane – Ice The World

‘Ice The World’ presents nearly seventy minutes of abstract noise intrusion by way of ambient subtleties, haunting voice recordings and an array of soundscape to catapult this recording to its own unique design. As if being dragged through a vast world of distinct cultures and influences, Grey Windowpane finds a way to gratify all of the senses with a massive kaleidoscope of musical happenings. Presented in four elongated pieces, each track extends a sonic adventure of various themes but ultimate create a fabric of likeness and audial intimacy due to its compelling modulated bonding. This amazing album is the result of obscurity becoming an acceptable criterion of musical bliss.

https://strangemono.bandcamp.com/album/grey-windowpane-ice-the-world

3. Thecia – My Sojourn Among The Torturers

Now on to something more abrasive, as Thecia emits an angered, repugnant blend of distorted guitars, thick drum beats and destructive vocals in their brand of unrelenting Death Metal. ‘My Sojourn Among The Torturers’ presents three tracks of ripping metal that fuses Black and Death Metal with a tinge of classic Heavy Metal riffing. This mixing is both loudly askew and causticly raw – the only way to listen to metal in my opinion. The songwriting is incredible and they are perfectly lengthened to maintain headbanging integrity without becoming dry and sparse. I’m definitely looking forward to hearing more from this prominent act.

https://strangemono.bandcamp.com/album/my-sojourn-among-the-torturers

4. Jonathan Patrick – Open Heart EP

Jonathan Patrick gives us an abridged taste of Americana on his soulful new EP, ‘Open Heart’. Featuring two tracks of heartwarming guitar compositions, I can imagine listening to these out in an early morning Midwest setting, where the Dawn of the sun of slightly obscured by thick fog and towering, natural forestry. These tracks sound new and refreshing while providing a proper callback to acoustic classic rock sounds from the 70’s and 80’s. Two tracks just isn’t enough and my hope is that the next Jonathan Patrick release has at least five hundred tracks on it. All jokes aside, this is simply incredible!

https://strangemono.bandcamp.com/album/open-heart-ep

5. Webb Chapel – Speeding

Webb Chapel presents the unparalleled offering, ‘Speeding’, a lo-fi collection of alternative rock arrangements with obvious influences from synthwave, dark pop and electronica genres. This album sounds as if it could have literally been released in 1984. Even with the gnarled production, this entire albums is an addictive listen with impeccable songwriting and masterful musicianship. I could listen to these tracks over and over again without getting bored and as they say, the louder the better! This is a fantastic release that certainly deserves top tier recognition.

https://strangemono.bandcamp.com/album/speeding

6. Clang Quartet – A Slow Death For The Peacemaker

I’ve only recently crossed paths with the musical endeavors of Clang Quartet, but it’s certainly been a pleasant experience getting to know the output of this artist, the values that he represents and the impactful delivery of the chaotic noise that is consistently presented. On ‘A Slow Death For The Peacemaker’, harsh noises are more conservative and are augmented by spoken word segments and bits of contemporary instrumental parts. That doesn’t mean that there isn’t a sense of pandemonium, because this albums is a breakout achievement for the Noise Ambient genre. In between the more serene parts we can still find a massive wall of industrialized chaos that is hypnotizing as it is war piercing. This is a captivating album that has earned its praise, but demands so much more!

https://strangemono.bandcamp.com/album/a-slow-death-for-the-peacemaker

7. Idiot Mambo – Flamingo In Limbo

‘Flamingo In Limbo’ is a lighthearted soundtrack of summer rock & pop with a passion for shoegaze and low fidelity tones of the late 80’s. With whimsical instrumentation and jocular lyrics, this is a fun album that can be played and enjoyed on just about any occasion. Adding to the dynamics of these tracks are glitchy samples, hissing loops and slightly distorted melodies that all come clashing together in solid harmony. There are eleven tracks on this album and every single one of them portrays a slightly altered style, but at the same time, is very much an Idiot Mambo manifestation. Whether you need a vibe for a steamy summer drive, or some background music on a gloomy, rainy afternoon, ‘Flamingo In Limbo’ is a sure recommendation in order to facilitate an enlightened mood.

https://strangemono.bandcamp.com/album/flamingo-in-limbo

8. Ruah – Ruwa

Strange Mono continues to hit it out of the park with their consistent picks of amazing talent and Ruah is no exception. On ‘Ruwa’, Ruah continues to explore an array of genres to compliment the stellar vocal arrangements contained within. At times, they tread down the Darkwave path with gothic influences and undertones, while on some tracks, they emit a heavy Swans influence with repetitive music play and looping vocal deliveries. No matter what they’ve intended to explore, each track is an alluring endeavor that stands on its own while delivering an arcane composition with ominous intent. This album is totally captivating and it’s hypnotic effects will leave a lasting impression on the listener, while demanding repeated listens. Perfect for fans of The Swans, Vaura or 80’s Darkwave!

https://strangemono.bandcamp.com/album/ruah-ruwa

9. Ixian – Collective Indiscipline

What do you get when you combine harsh noise with Grindcore and Black Metal aesthetics? You get what’s known as unruly, dystopian cybergrind. As if just having one extreme genre wasn’t enough, Ixian goes all out on the pummeling new EP, ‘Collective Indiscipline’. As deranged as it may sound, there is actually a sense of atmospheric control amongst these tracks, as they provide an overwhelming sense of ominous disarray. Discordant tones and hyperactive drum beats create an onslaught of droll modulations. Although it’s only nineteen minutes in length, a back-to-back listen of all five tracks will have you perspiring an illusive sudor, while your brain continues to scramble in a desperate exodus of audial release. This is a very intriguing album and I would recommend this to fans of all forms of extreme music.

https://strangemono.bandcamp.com/album/collective-indiscipline

10. Fugue State – Subtlety’s Dead

Fugue State presents an upbeat, grungy depiction of old-school punk rock. With reverberated vocals (reminiscent of early Les Claypool), fuzzy guitar tones and audial hisses all over the place, ‘Subtlety’s Dead’ is a proper call back to a time when music was routinely presented in raw form to represent the most jubilant crowds of fractious souls. Even at just sixteen minutes in length, there is enough output here to satisfy the tortured umbra that resides in all of us. This makes for a great driving album, especially when blasting it at loud volumes. Can’t wait to hear more from Fugue State in the near future.

https://strangemono.bandcamp.com/album/subtletys-dead

Links:

BC: https://strangemono.bandcamp.com

Instagram: https://instagram.com/strange_mono?igshid=MmJiY2I4NDBkZg==

Merch: https://strangemono.bigcartel.com

Twitter: https://twitter.com/strangemono?s=21&t=XJy864ZhViZB0VAW0YrwBw

Chaigidel & Neraterræ Unshackle An Explosive, Ritualistic Experience On ‘Lamaštu’

It’s not enough that Chaigidel and Neraterræ have already established themselves as prominent musicians within the Dark Ambient genre, but to come together to produce one of the most daring ritualistic experiences in recent years, is a refreshingly bold statement. ‘Lamaštu’ is not your typical Dark Ambient offering, as it relies less on extended drones and dreamy soundscapes but builds it’s captivating sound around ceremonial instrumentation, haunting vocalizations and eerie nuances that give it a completely bleak listening experience. The eight tracks contained within, will take the listener on a ritualistic journey through barren darkness and meditative atmospherics that will result in the ultimate Dark Ambient listening experience.

This enveloping ritualistic encounter begins with the ceremonial, “Da’at”. Deep, grumbling drones ascend from the silence and embark on a malevolent path for us all to descend upon. A caressing ring from a singing bowl creates a grim encounter and sets the tone for darkened ride through chaotic atmospheres. Layers of drones continue to sway in and out of the mix as the looping soundscapes present a mesmerizing adventure. “A’Arab Zaraq” commences as a soothing but gloomy celestial encounter. However, whisper-like narrations present an inaudible storyline that is complimented by industrialized, harsh ambient tones and textures. As if traveling through an bludgeoned wasteland, this track presents an angst-riddled mission through the psyche, filled with unfathomable implications. About halfway through, haunting vocalizations made by throat singing techniques and mild percussive patterns are introduced, adding more frightening textures to this sinister soundscape. “Entrails Of Souls” begins with theatrical modulations and soft noise field recordings while successfully enriching the sound with ritualistic endeavors. Alluring chants are added in with hypnotizing results while tribal-like percussive patterns can be heard throughout. This track presents a bit more melody than some of the others, but it’s done in high-quality and fits in well with some of the more darker tracks. Next up is the ominous offering, “Mac Benach”. Leaning more toward an industrial ambient experience, this has to be one of the coldest tracks on the album thus far. Deep chants resemble the stark grumbles of heavy machinery and the sound couldn’t be more apocalyptic than this. Bits of frantic noises create moments of chaos as the drones will have you pinned down, unable to move at all. Slight orchestral variants create a horror-like ambience that is normally heard in horror films. There is no turning back, as this tracks continually increases in volume and discord. “Purson” stars with a blissful white noise that resembles the perpetual crashing of ocean waves on soft shores. However, it slowly fuses into a turbulent mix of industrial soundscapes and celestial drones. There is a sense of derangement in this track as clashing samples of heavy machinery and chains perpetuate a chilling picture of complete destruction. “Satariel” commences calmly, with minimalistic drones and hollow tones. As the modulations slowly grown more intense, a barrage of instruments and harsh samples begin to take shape, presenting an isolated vibe buried deep in the trenches of ritualistic voids. Even as the music remains embellishing, deep throat-singing chants fuses seamlessly, producing a stellar ceremonial tone. “Eloi Eloi Lama Sabacatni” is the shortest track on the album at a little over three and a half minutes long. Not a filler by any means, it uses cold winds, chants and industrialized noises in a molecular way to promptly lead into the final track, “Malkuth”. Beginning with cosmic drones and eerie soundscapes, this is the beginning of the end for this completely satisfying ritualistic endeavor. Reverberate narrations and ethereal ambient textures create an undefined space of dreary awareness. As pulsating drums get louder, unhinged white noise crescendos in unison, producing a blasphemous breadth of chilling sounds. Although this track builds and ends abruptly, it supremely represents closure for this ethereal listening journey.

Chaigidel and Neraterræ have done an amazing job of creating an ambient album that incorporates elements of Industrial Ambient, Ritualistic and Dark Ambient, intertwining them all into a chaotic but controlled sonic environment. ‘Lamaštu’ is the ultimate soundtrack for ceremonial destruction or life in a dystopian universe filled with possessed heavy machinery in endless industrial wastelands. Every track is masterfully pieced together to provide ups and downs, sensations of calmness and fear, as well as a sense of involuntary meditation. I can’t recommend this one enough so click on the link below and enjoy this truly compelling Dark Ambient album.

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Links:

https://cycliclaw.bandcamp.com/album/lama-tu

Hours Of Worship Presents A Multi-Genre Mashup On The Retrospective ‘Death & Dying, Vol. I’ Album

As I continue my lifelong descent into the abysmal territories of obscure music, I never cease to be amazed at the gems that perpetually cross my path. Despite the genre, if it goes against the grain of normalcy and wide-spread acceptance, there’s a good chance that it will resonate with me in the most appreciative of ways. An artist that I recently came across, continues that endeavor with their multi-genre blend of darkened modulations. Hours Of Worship successfully integrate the likes of Darkwave, Goth, Shoegaze, Dungeon Synth and just about everything in between and beyond. On their latest endeavor, ‘Death & Dying, Vol. I’, we find an obscure journey through dismal happiness and bleak soundscapes. Containing six tracks of melancholic, lo-fi entanglements, it’s safe to say that the listener will be transported to a retrospective era where dark music matched the atmosphere of more contemplative times.

From the very first note of a somber piano chop, to the vibrant ambience that soon ensures, “Loyal To Misery” immediately takes us back to a gothic landscape where the color gray was as vibrant as the sun and surrounding activities seemed to take shape in slow motion. As this scenery evolves, haunting vocals begin to croon while dreamy instrumentations build a lethargic wall of sound. Although completely bleak, there is something peaceful about this track that will sooth even the darkest of souls. “Forgotten Like The Cross” commences with a Dungeon Synth vibe as ominous keys play elongated notes, while synth leads emit a Medieval vibe. Monotonous vocals add another layer of dreariness and it seems purposefully mixed lower than some of the instrumental parts, extending the eerie expulsions of the overall sound. However, during the chorus, the vocals stand out with a full on gothic-style onslaught. “Smoke Yourself To Sleep” is a more traditionally arranged piece with an alluring amount of harmony. The addition of celestial ambience and deep synth grumbles produces a unique sound, making this one of the standout tracks on the album. A guitar riff can be slightly heard amongst the other instruments but plays a relevant part in the overall delivery of this amazing song. “Blood On Stone” slows things down a bit with its sludgy tempo and discordant harmonies. A lot of focus is put on the vocals, include the heavy reverberations during the chorus sections. This track would be the perfect example of a Darkwave ballad due to its slow, soulful arrangement, combined with the ghastly, harmonizing vocals. “Torn Like Lace” forges ahead in this underground path to renaissance-like emotions with a surprisingly uplifting melody arrangement mixed with impassioned vocals that range between deep, guttural narrations to near falsetto croonings. The medieval, battle-like drum fills near the end is a welcomed edition to this already serene track. The final song on the album is “The Eggs Of Melancholy”. At just over seven minutes, this is the longest offering on the album and it superbly brings this prodigious album to a close with Black Metal-styled screams, reverberated instrumentations, and a slow, galloping tempo that allows everything to come together in unison. Synth leads stand out as they deliver loud, grandiose modulations during the chorus parts. The vocals are mostly sung with deep resonance while an assortment of instruments deliver a minimalistic landscape of darkness and passion for retrospective surroundings. As the song draws to an end, it takes a dark turn to a more evil vibe and then suddenly concludes at sinister depths.

Hours Of Worship have only been around a few years but I believe they’ve found their niche in the Darkwave genre. They’ve also managed to challenge the norm by including other genres such as Dungeon Synth, Synthwave and Shoegaze to name a few. On their latest offering, ‘Death & Dying, Vol.I’, they continue to showcase their musical talent while expanding their catalog of consistent releases. Even if you’re new to this project, this album is the perfect introduction to what they have to offer. Click on the link below to check out this bewildering album and support the blissful existence of Hours Of Worship.

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Links:

https://hoursofworship.bandcamp.com/album/death-dying-vol-i

Eyre Transmissions XXIV: Interview With Enigmatic Dark Ambient Producer, God Body Disconnect

The Cryo Chamber label is home to quite a few of my favorite Dark Ambient artists and collectively, they have produced some of the most unique and cinematic music ever created. One artists that has called Cryo Chamber home since 2016 is God Body Disconnect. Fresh off the release of his most recent album, ‘The Weight Of Regression’, GBD has produced eight amazing albums for the heavyweight label that features an array of fascinating soundscapes, as well as his signature spoken word narrations that make his music instantly identifiable. I recently had a chance to catch up with the ambiguously talented producer to discuss his musical endeavors, past musical ventures as well as what the future has in store. Please enjoy this interview with the brilliant God Body Disconnect!!

1. Thank you so much for taking the time to answer a few questions. First, I’d like to say congratulations on the new release. ‘The Weight Of Regression’ is a phenomenal album that finds you heading in a slightly new direction. Was this a gradual progression for you?

Thank you I really appreciate that. I don’t consider it a new direction. Each album has its own flavor, but the overall themes are consistent amongst them. I’m still writing the same emotional, personal music as I’ve always done. Possibly my production or techniques have gotten a bit better, but I feel that’s a natural progression for an artist from album to album.

https://cryochamber.bandcamp.com/album/the-weight-of-regression

2. This album is almost 80 minutes long. Did you plan on releasing so much material at once?

It’s not something I planned on. In fact I don’t do much pre-planning when I produce an album. The writing process is a personal journey for me. I create everything in order from beginning to end. Similar to how an author would write a novel, chapter by chapter. It just happened that this journey took longer to get to the end.

3. In my opinion, this is your strongest release since ‘The Mist Between Mirrors’ (2019). How would you rank this album in your own discography?

Each album is equally important to me. I consider them all as an emotional blueprint of my own personal journeys and development.

https://cryochamber.bandcamp.com/album/the-mist-between-mirrors

4. How do you approach the process of creating new music? Is there a particular method or routine you follow?

I have to feel some kind of inspiration inside to be able to write. I don’t know what that inspiration is or where it comes from, but it has no specific timeline. I don’t force anything. When it hits, I’ll feel compelled to start another journey. I’ll just sit down and begin to play. Whatever comes out comes out. Of course there are many trials and errors, not everything I write is quality enough to be on an album. But once I find the starting path, I’ll continue on it until I feel the journey is complete.

5. Let’s go back in time a little bit. Your first album with Cryo Chamber was 2016’s ‘Dredge Portals’. Before that, were you involved with any other musical ventures?

Yes, I was in 2 death metal bands in the late 90’s-early 2000’s. Cadaverment was the first, which then turned into Dripping, the latter being the more well known project. On Dripping’s debut album I played: drums/percussion, did guttural vocals, spoken word vocals, wrote the lyrics, and co-wrote the arrangement and creation of the music. We decided to breakup in 2001 while recording the album.

https://cryochamber.bandcamp.com/album/dredge-portals

6. Have you had any desires to return to Metal at some point or is Dark Ambient your true calling as an artist?

As far as Cadaverment or Dripping goes no, those bands are both RIP. I still practice death metal style drums on my own to keep up my chops, but for now I don’t have any plans for future metal projects. I’m so busy and having fun with GBD/USO, that I don’t really have the interest in doing something in the metal genre. But, at the same time I hate to say never, so only time will tell.

7. How did you come up with the name God Body Disconnect?

One day at work I experienced an episode of psychosis. While I was hallucinating visually and audibly, I saw a god-like figure that I was connected to by something similar to an umbilical cord. The figure then looked at me in an intimidating way, and severed the connection between us. While I slowly floated away into the darkness, I then heard the words God Body Disconnect spoken to me. I was initially terrified to use the name, given the circumstances it came to me. But, I eventually took it as a sign that it must be used.

8. What initially drew you to music and inspired you to become a musician?

As a young child I already had the hunger for listening to music. I enjoyed the variety of sounds I was exposed to. I liked how certain music I’d hear on the radio or in movies would make me feel inside, and move me emotionally. As far as being a musician I started off on drums at around 17. By 20-21 yrs old I was already on a label with Dripping and playing shows. After we disbanded, I played in a few personal projects with close friends, and we kept the recordings just for us. It wasn’t till around 2013-2014 I decided to create my own music. This was the beginning of what has now morphed into GBD.

9. Are there any specific artists or bands who have influenced your musical style or sound?

I can’t name any specific artists or styles that directly influenced GBD, but I’ve always enjoyed different genres of music. I started off with underground rap mix tapes around 9 yrs old. Then a few years later I moved into metal, which eventually turned into a taste for death and black metal. I’m also a fan of jazz/fusion, shoegaze, 80’s pop and of course ambient. I think I can find something I’m drawn to in almost every genre.

10. Have you ever had to overcome any significant obstacles or setbacks in your musical journey?

When I started to make music on my own, I was only proficient at drums. I had to learn how to play other instruments and produce from the ground up. I’ve never had any formal training or lessons, but I was determined to make music that moved me inside. Eventually I found my lane, and I still continue traveling on it today.

11. One thing that is unique amongst your albums are the short spoken word pieces. In a genre that is mostly instrumental, what led to the decision to include these spoken word bits?

I’ve been performing spoken word pieces since the Dripping debut album, which is close to 25 years ago. Back then I was reciting poetry mixed with a bit of storytelling. With GBD my spoken word pieces are very personal. They aren’t well planned out pieces, but rather late night recordings of my real thoughts and feelings. It’s basically a conversation with my inner self. I’m not sure what drove me to start doing spoken word in music, but I’ve always had a love for monologues in movies. Maybe the spark started from there.

12. Have you ever thought about releasing a book of poetry or a fictional (or non-fiction for that matter) story at some point?

That’s an interesting question, because one of my friends actually asked me that same thing last week. I’ve thought about it some, but it would have to be either poetry or short stories. I don’t have the patience to sit and write a full novel. If I get around to it, maybe it could be something that’s narrated by me as well, similar to audible.

13. If I’m not mistaking, 2020’s ‘The Depths Of Finality’ and 2021’s ‘The Wander’s Dream’ didn’t contain any spoken word elements at all. Was this a conscious decision or did it not fit into your creative space at the time?

During “TheDepths of Finality” I was struggling with a serious bone infection in my jaw. It began spreading to the ears and quickly was on the path to the brain. I was hospitalized a few times and on very powerful IV antibiotics for months. Eventually my body began to reject the antibiotics, and mimicked symptoms of serious mobility diseases. It was a very unpredictable time for me, and I prepared myself for the end. When writing the album I did not have the inspiration or will to speak on recording. The album was meant as a musical letter to myself preparing for and accepting death. “The Wanderer’s Dream” was written during a time when I finally was able to accept that I had been suffering for years with severe mental illness. I had been pushing the illnesses and symptoms off as hard as I could since I was a very young child. I desperately tried everything to stay sane and deny what was really going on. I had been living in a foggy dreamlike state for years. “The Wanderer’s Dream” is an album about trying to find myself and acceptance. The music’s delicate nature was also meant to soothe myself after wandering for so long. Sometimes words aren’t needed.

https://cryochamber.bandcamp.com/album/the-depths-of-finality

14. Can you describe the emotions or feelings you hope to evoke in your listeners through your music?

I actually don’t intentionally try to influence the listener in any particular way. The music I create is self-therapy for myself. They are cryptic, cathartic pieces meant for me to decipher the feelings I have inside. It’s also a place for me to disappear in when life becomes too difficult. I don’t believe it’s my role to influence a listener to feel a certain way. That is solely up to them. Over the years I’ve heard from many wonderful people that relate to my music on a deep emotional level. I’m grateful to have that human to human connection, whether they are following along on my journey or their own personal journeys.

15. What role do you think music plays in society, and why is it important?

Music is life’s blood for me. I know there are a lot of others out there that feel the same way. It can give people hope, when they see none. It can inspire people to totally change their lives for the better. A particular album can make people feel like they aren’t alone, and help them get through difficult times. Music is a very powerful conduit to the heart and soul. That goes for all types of music, not just dark ambient.

16. What are some albums (any genre) that resonates with you on a personal level?

I love so many albums, but I’ll try to keep it short.

Allan Holdsworth-Hard Hat Area

This was the breakthrough album that sparked my love for jazz/fusion. As a drummer, it opened up a whole new world for what could be done on the skins.

Have a Nice Life-Deathconciousness 

Before this album I never thought it was possible to make music on your own without going to a pro studio. It gave me the inspiration and confidence to start.

Group Home-Livin’ Proof

The beats are by the legendary DJ Premier, and the lyrics tell a story of striving through hard times. This album is very inspiring when life gets difficult.

Tears for Fears- Songs from the Big Chair

As a child from the 80’s this album brings back so much nostalgia for me. The lyrics are quite personal as well and deeply resonate with me. Plus, who doesn’t love “Everybody wants to rule the world”?

Iron Maiden-Somewhere in Time

This was the very first metal album I purchased. I got it on cassette at the time so there is definitely nostalgia there. But more importantly, it started my journey in metal.

17. Are there any collaborations or musical projects you plan on pursuing in the future?

I’m always working on something these days. Par and I are beginning our experiments again for another USO album. I’m also toying with some new GBD ideas, trying to find the path. I’m starting to write poetry and short stories again. I try to keep my mind busy with different projects.

18. Speaking of collaborations, back in 2018 you participated on the ‘Miles To Midnight’ album with Atrium Carceri and Cities Last Broadcast. For me, that was a breakthrough album that showed how Dark Ambient can expand into Dark Noir Jazz and beyond. How did that album (and theme) come about?

Thank you, I love that album to death. I framed the vinyl and it hangs right next to my studio setup. We all had a mutual love for jazz, and dark noir movies/stories so it kind of came together naturally as friends trying to explore what we could do. All 3 of us collectively built that album from the ground up. I believe it took us only 2 months from beginning to the end, including Simon’s mastering and artwork. It was one magical summer where all the stars aligned. I’m confident we’ll have a follow up.

https://cryochamber.bandcamp.com/album/miles-to-midnight

19. I want to thank you once again for this opportunity to talk about all things God Body Disconnect. Do you have any final thoughts for those that will be reading this interview?

It was my pleasure, thank you for the opportunity. I really appreciate you giving me the time to express myself on your forum. I also want to give a huge thanks to Cryo Chamber for standing by me and always supporting my vision. And a big thank you to all the fans that continue to listen.

Links:

Instagram: https://instagram.com/god_body_disconnect?igshid=MTIzZWMxMTBkOA==

Facebook: https://www.facebook.com/godbodydisconnect?mibextid=LQQJ4d

Bandcamp: https://cryochamber.bandcamp.com/music