R0[nought] Transmit Caustic Drone Sequences On Dismal Dark Ambient Album, ‘Pestis’

Take a moment to imagine an abandoned, industrialized city in a not so distant future, where a heavy leakage of pollutants has caused chaos amongst its civilization. As toxicity fills the air, anarchy quickly turns into desertion as the physical elements of the city start to deteriorate. However, this desolate environment does have life after all, as the seemingly rapid infestation of diseased rodents and bugs manifest at the heart of the contamination and feed on the remains of whatever is left from the catastrophic occurrence. This is a new dark world and with no hope of a possible human return. With that, I present to you ‘Pestis’ by R0[nought], a turbulent, dark ambient adventure that portrays this vivid narrative with its morose drones and potent soundscapes. These six ghoulish tracks provide the textures of endless nightmares through the essence of addictive, yet bleak noises that grip you like a straight jacket.

Blighted album opener, “Xenopsylla Cheopis” accelerates with volume like an early warning alarm, alerting everyone that imminent danger is on the horizon. The bleak soundscapes create an audial distress vessel as the anxiety-filled drones never let up from start to finish. “Miseria” should be called horror ambient, as the dismal sounds in this track, are downright disturbing at times. Brief synth pads add a cinematic quality, but it doesn’t take away from the near ten minutes of terror that this composition provides. The claustrophobic drone sounds on “The Forsaken Dead I” will provide a feeling of consternation as you continue you battle with anxious thoughts while listening to this recording. You’ll find yourself drifting off to a dark place, hoping that you’ll be able to return once the song is over. “The Forsaken Dead II” continues the same unrelenting experience as the previous track, however, elements of industrial ambient are thrown in to increase the mental suffering. “A Blackening Of The Flesh” has components of space ambient but various malevolent sounds create an unpleasant sense of doom, like a flesh-eating virus manifesting its way throughout the spacecraft to claim the lives of all onboard. The albums final arrangement, “Carrion IV” is eleven and a half minutes of maelstrom induced ambient that shifts through dark colors and gray’s, setting an apocalyptic tone for the cold, dark ending. As the song slowly winds down, it fades into a deep, black drone that represents total annihilation.

R0[nought] has gone above and beyond in conceiving a terrifying dark ambient album that empowers the listener to open their imagination (and fears) to conceive a story that conceptualizes the music. Although there are many forms of dark ambient, ‘Pestis’ is extremely bleak and frightful and is slightly more dismal than your typical ambient recording. Additionally, I appreciate how elements of other types of musical disciplines are added, showing a keen versatility of the artist. This is one album you don’t want to pass on so please support this brilliant artist by downloading the album from the link below, or by purchasing the cassette release.

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Links:

https://r0nought.bandcamp.com/album/pestis-2

https://mystictimbre.bandcamp.com/merch?filter_band=2406501586

Sádon & Treha Sektori Coalesce Haunting Vocals & Ethereal Soundscapes On Quaint Collaboration, ‘Symphony Of Dying’

When musical atmospheres collide, the nebulous outcome can sometimes be so tremendous, that the infinite drift while under its influence can be mind-altering. Combining celestial vocal sequences with ambiguous soundscapes and textures is just what Sádon & Treha Sektori have done in order to achieve this magnificent milestone. ‘Symphony Of Dying” is a staggering collaboration of epic proportions, even though it clocks in at under thirty minutes. Although rooted in dark ambient, Sádon & Treha Sektori offer so much more to satisfy the senses.

Daring album opener, “Shadow”, is a culmination of layered vocalizations with minimal soundscapes, as the duo calmly draw the listener into their world before unleashing a somber, wall-of-sound presentation. “Elimination” slowly creeps in like an overweight locomotive bound for a far-off destination. As the vocals and instrumentation collide, a sense of euphoria and serenity take over, eradicating thoughts of anything else but the music itself. Pulsating percussion makes its presence felt, congealing the overall sound of this harrowing track. “Wolfs Day” flows in a very placid state, but by the time the vocals hit, the feeling of precariousness sets in, locking the listener in on a musical journey. “Spear Over Our Heads” provides sedative drones with eccentric hisses and layered keyboards full of melodic tones as if vicariously anticipating a morning sunrise in a distant wasteland. The final track, “Aegeus” mysteriously has about twenty five seconds of silence before a sudden soundscape intro begins. Various instrument sounds sway in and out of the recording in a horrific way, as if to say an apocalyptic journey toward a final destination has been reached. Never swaying far from this format, as the instruments fade out, the track dies off with an eerie drone.

Although ‘Symphony Of Dying’ is a short audio affair, it is a compelling adventure that will keep the listeners attention from start to finish. I’ve listened to this album quite a few times now and I don’t think I’ve ever skipped a track. It’s just that good and needs to be heard from the beginning until the end. I hope to hear more collaborations from Sádon & Treha Sektori in the future, but until then, I’ll cherish this superb recording. Please support this excellent album by downloading it from the link below.

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Links:

https://cycliclaw.bandcamp.com/album/symphony-of-dying

Eyre Transmissions III: Interview With Ambient/Winter Synth Artist, Winterblood

Every once in a while, an artist comes along and consistently produces albums that immediately grab your attention from the very first note and captivates you until they fade off into the cold silence. For me, Winterblood is one of those artists and from the very first time I heard the album ‘Waldeinsamkeit I-III’, I knew I was listening to something special. After getting my hands on the back catalog and quickly downloading anything that comes out new, it’s apparent that Winterblood is an extraordinary addition to the winter synth/ambient community. I recently had the opportunity for a Q&A session to find out what drives such a momentous force behind the atmosphere. Enjoy!

1. First of all, thank you for taking the time to participate in this interview. Can you tell me how Winterblood came about?

Hello there! To talk about Winterblood, means to looking back at my childhood first of all. I remember a film called Antarctica, where the haunting melodies played by Vangelis left an indelebile sign on me; I was so attracted by that landscapes, dogs, and all that atmosphere. All so hostile and dramatic, but at the same time so comfortable. As the years passing by, searching for that power and feelings, I discovered the distorted guitar, and soon I was involved in metal music. In 1997 I started recording with some pc softwares, under the influence of very great act in Cold Meat Ind. and Burzum ambient style, and I find out that only the synth can bring that ‘not human’ character that I was looking for. Winterblood is something within me since the beginning and recognized through sounds and images.

2. You have a pretty lengthy discography! What are some of the challenges that you face while consistently writing such impressive material?

I put no limits in what I’m doing. Most of the albums are similar? May the other dimension brings me in the same direction! I’m just a kind of medium doing atmospheres, not ‘songs’. I’m still discovering my inner voices.

3. Sometimes I wonder if Winterblood is a dark ambient project or a dungeon synth project, or maybe a mix of both. What genre would you classify it as?

If I had to choose a term, it would be Polar ambient; ‘dungeon synth’ is more fantasy oriented, and my project is focused on spiritual affairs through coldness and blackness.

4. Music wise, many Winterblood albums have a trance-like quality to them, enabling the listener to drift off in a meditative state. Is it your intention to provide this type of introspective state?

All is about intuition. Every note, every drone you hear, is recorded following inner voices (I repeat myself), voices that make me dream, make me sleep, make me relax, and bring my imagination in a no-limit zone, where all is infinite and beautiful at the same time. In Winterblood, all comes from the darkness, and look how all is bright! Purification through listening, through making music. If it works with me, may it can works with others, and is real cool to have positive feedbacks. To quote my page site: ‘… the really ambitious goal is to put the listener – after a reassuring prelude – into a cold state of loss and confusion; this may causes an awakening…’. Intentional? Of course.

5. When you set out to record a Winterblood album, do you have a plan in place for a particular sound or style or do you improvise based on your feelings at the time?

I spend hours doing tests, sounds, and right fx. The visions leads all, as intuition as well. Music flows naturally cold, ripetitive, obsessive, but at the same time melodic, hypnotic… It’s not about technic, but magic and sensibility.

6. Do you play and record with physical equipment, VST’s or a mix of both?

In the past I usually worked with softwares and plug ins, with the time all is went in the analogue direction. With this equipment I can give originality to my works, something unique.

7. Do you draw inspiration from any particular bands or other genres of music? If so, what/who are they?

As said before, the Cold Meat ind. scene has a great impact on Winterblood. Act like Aghast, first Ordo Equilibrio, Mz412, Sephiroth, Raison d’Être… But also Eliane Radigue, Burzum ambient-era, Apoptose…

8. One of my favorite Winterblood albums is ‘Waldeinsamkeit I-III’. Is there a distinct theme for that album that makes it so special?

Waldeinsamkeit is an album the literally ‘break the borders’. Why? Still don’t know. All is strange behind this album, from the beginning to the end. What make it so special? The total alchemy between artwork and music. It is so nocturnal, mysterious, magic, really describes as well the title itself. Thanx goes again to Canto Críptico label for the first tape press and artwork, and Kunsthall prod. for the massive Lp release that is unbelievable.

9. You recently released ‘Hiraeth’ which was an impressive 3 hour plus long recording. What inspired you to write such a mammoth of an album?

The purpose is to inaugurate a series of releases focused on meditation, Hiraeth as first. I was looking for something very extreme, something that can makes you dream up, sleep, and floating without an end, something eternal. Of course length is fundamental in this. Hiraeth, as other Winterblood opus, is inspired by my obsession for the grey color, dark woods, old vintage illustrations, and the melancholy for something lost, that is nothing but the lost the original perfection.

10. Can you tell me a little more about your side project called Macchine Per Comunicazioni Spiritiche?

MPCS is just a container for bizarre experiments. Let’s see…

11. Are you involved with any other projects (that you care to discuss)?

Absolutely not. Winterblood is my only project.

12. I really appreciate you taking the time to answer these questions. Do you have any final words or thoughts for the Winterblood fans that will be reading this?

First of all thank you for let me open a window to my music, and thanx to all the supporters around the world! A lot is on the making…

Links:

https://winterblood78.bandcamp.com

https://www.facebook.com/WinterbloodOfficial

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Destructive Forces Are Strong At Work On Latest Nordvargr Outing, ‘Daath’

Evil comes in many forms, and although a certain mode of malevolence can be hidden in plain site in order to entice a following, some forms are in-your-face, with nothing to hide, and are ready to test your limits of dealing with the powers of it’s unpleasantries. A good example of this – especially when it comes to music – is the pioneering black ambient artist, Nordvargr. Always seemingly pushing the boundaries of dark ambient, black & industrial ambient as well as other hateful, unorthodox sounds, Nordvargr has just released the punishing new album, ‘Daath’, and it’s here to cultivate a particular madness amongst the masses. From pounding percussion, heinous vocals and thick sounding tribal instrumentation – as if they’ve been dredged from the abyss – Nordvargr has conceived a soundtrack set to obliterate all that is good, and cover the wasteful ruins in a layer of audial soot.

“Inner Monarch Awakened” is like the calm before the storm, as heavy sirens awaken the dark forces to begin its destructive plot. Immediately we hear the influence of sickening, death metal style vocals and it’s outcome is simply massive. In the background, the music has a harsh industrial influence but is maintained at a sludgy pace. “The Horsemen Ride Out On Foaming Steeds” continues without pause from the first track. The vocals continue to be the main attraction but an underlying guitar riff adds another layer of intelligence to this song. Various vocal effects are used throughout making it the primary instrument of focus, as well as constantly increasing the creepiness factor until the end. “Tabernakelvisa – The Redeemer And The Secret” begins with a deep, tribal percussion pattern and sounds as if it could be taken from a fantasy film soundtrack during a scene where a great, fanatical battle was taking place. Thumping bass lines, more calamitous vocals and ghostly synthesized arrangements help provide a chilling vibe for this track. “Death Closes The Gate Of Time And Opens Those Of Eternity” features gristly, rhythmic patterns and more stellar vocals that tell a horrifying story in the most hateful tone. “Invocation Of The Unseen” features more of a dark/black ambient atmosphere and is like an interlude from the destruction set forth by the first half of the album. In addition, this track also serves as a preparation piece for that remainder of the album that will set a relentless pace. “As King, As Queen – When Kingdom Collide” sets an industrial-like sound with some inaudible vocal samples, while the main pernicious vocals scream out in pain. “The Light Of The Lord And The Black Sun Behind The Sun” slowly fades into some chaotic chanting and tribal percussion beats, with a lot of thrilling vocal effects going on. Droning, dissonant sounds can be heard in the background as this turns out to be one of the most eerie songs on the album. The final dirge on the album, “Where There Is Word, There Is Enlightenment” is a return to the superior sounds of dark ambient, as disorder and chaos have finally given way to desolation and ruin. Frightening sound effects and field recording can be heard throughout but ultimately, evil has prevailed this time around.

Nordvargr has created one of the most evil and punishing sounding albums I’ve heard in quite some time and what better label to release ‘Daath’ than Cyclic Law – home to some of the most viscous black ambient recordings around. Not only is this album unique, it is certain to have longevity in your playlist as well, as these tunes are fascinating to listen to and are just so well written. Please support this fascinating artist and download ‘Daath’ from the link below.

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Links:

https://cycliclaw.bandcamp.com/album/daath

Ruohtta Infiltrates The Dark Realm Of The Conscious Mind With Black Ambient Exploit, ‘Kaanij’

The darkness in music can be a wonderful thing. It allows us to drift off into a world that doesn’t normally occupy our physical being, so that our minds can expand beyond the realm of ordinary existence. Dark ambient is a great medium for this, as it’s soothing, but bleak drones gives us the time to open up and meditate in the moment. Although dark ambient is normally set in austere and desolate conditions, it has a calming quality that keeps our mental capacity dialed in on a relatively easy landscape. However, the darker, harsher off-spring known as black ambient has some of the same sound qualities as dark ambient, but it goes a step beyond with its anxious loud textures and drones to create an edgier vibe. Ruohtta uses this creativity to their advantage to emit a chilling and boisterous effort on their latest release, ‘Kaanij’. An EP consisting of two long tracks, ‘Kaanij’ is a solid display of monotonous, emphatic drones with mind numbing, discordant keyboard and guitar sounds that are enough to permeate the mind and alter the mental path forward toward a cold, dark existence.

On the opening track, “Ganii I”, Ruohtta’s sole provider of doom & gloom – Tervaaja – blasts us with a perpetuating distorted drone that assimilates through the whole track. The random keyboard arrangements are a stark reminder of the cold, winter season and it’s vulnerabilities. Various sound effects blaze through the mix, like meteors penetrating the atmosphere. There are hidden melodic moments throughout that not only make this an interesting track, but keeps it focused on the elements of its craft. “Ganii II” contains many of the same conditions of the first track but at a different tone. The backing distorted droning track is in a lower key, as if an evil presence has possessed the mindset of the listener and has taken the subconscious into a new, dark direction. The guitar harmonies are supremely written and have a grandiose sound that constantly expands time and space, allowing the listener to drift in and out of the music while creating their own subjective headspace.

Although only consisting of two tracks, this is a very impressive recording. This is black ambient at its best with a little bit of a mix of other genres thrown in and it’s very well written. Not only does this have a digital release, Realm And Ritual have issued a cassette release as well. I’m looking forward to hearing more from this impressive artist, but in the meantime I highly recommend downloading ‘Kaanij’ from the link below.

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Links:

https://ruohtta.bandcamp.com/album/kaanij

Edging Both Dungeon Synth & Dark Ambient, Morgoth’s Ring Deliver Two Sinister Hymns On ‘Where Stars Are As Feral As The Prowling Wolf Upon The Hyperboreal Heath Of The Cosmos’

If I were to take a guess, I’d say that if you’re reading this, you’re probably also a fan of J.R.R. Tolkien’s “Lord Of The Rings” books (and/or movies) and everything else that falls within that universe. You’re probably also familiar with Morgoth – the black enemy of the world and the one who thwarted his power unto Arda, making middle-earth (as a whole) become known as Morgoth’s Ring. That malicious intent has crossed over to another Morgoth’s Ring, this time in the form of an ambient driven dungeon synth project. With two ominous tracks totaling over thirty four minutes of playing time, there is captivating songwriting on display here that is equal parts malevolence and cinematic glory. The album, ‘Where Stars Are As Feral As The Prowling Wolf Upon The Hyperboreal Heath Of The Cosmos’, is a daring fantasy adventure in which there is peace & bloodshed, as well as good and evil.

The first track is a sixteen minute, three-sectional opus called “Mystic Flamberge | Tempestuous Witching Inferno | Shadow Garland”. Beginning with a beautiful orchestrations, as if the opening credits of a fantasy movie explores the vast snow-capped mountains and deep wintry valleys of a mystical kingdom as it’s people enjoy peace and tranquility on any given day. However, a great storm rages on in the distance – unheard of by many – but will cause great devastation for those that are unprepared for battle. As the second part of the song enters, field recordings of remote storms signal the beginning of danger, and the kingdom prepares to launch an offensive while the commoners seek shelter. Long, droning (but symphonic) keys play melodic tones while eerie sound effects are sequenced in the mix to change the vibe to a more gloomy impression. Deep, meditative, spoken words begin to infiltrate the speakers, although they are barely audible. The adventure is at its maximum frightful level right now. However, the last three minutes of the track morph into a wonderful fantasy synth orchestration with a cinematic-worthy arrangement. The second and final track on the album is the eighteen plus minute long thriller, “Master Of Countless Terrible Legions | -.. .. . .- .-.. —- -. .”. Starting with a harrowing adventure-like tune that would sound right at home on a fantasy/adventure movie soundtrack, the grim, somber sounds work impartially to calm the savage reign of terror that may be imminent as well as provide a sense of agitated aggression due to its deep, droning echoing frequencies from the abyss. At around the six minute mark, the song proceeds down a malevolent path as supernatural sounds protrude as if you’re making your way through a haunted realm filled with evil, enchanted spirits. The last seven minutes of this song change direction once again into a more fantasy/forest synth arrangement. Although peaceful in tone, it has a bleak and dark sound too it. Even though this portion of the song title is written in Morse Code, it stands for Die Alone, and the emotion I get from the music is very reminiscent of loneliness and despair. What a beautiful way to end such a caliginous album.

Morgoth’s Ring is an exceptional up-and-coming dungeon synth artist that takes the cinematic structure to a new level. Mixing a variety of genres to create a legendary adventure – not only musically but for the imagination – this is one album that I plan to have on repeat for a long time. It meets my personal criteria for a great recording and the entertainment value is through the roof. I cannot wait to hear more from Morgoth’s Ring, but in the meantime, I highly recommend adding this one to your collection by downloading it from the link below. You will not be disappointed!

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Links:

https://morgothsring.bandcamp.com/releases

Sumatran Black Takes Us On A Doomed, Deep Space Quest With ‘Elegy For A Lost Cosmonaut’ EP

It’s been a while since I’ve reviewed a great space ambient recording so saying that Sumatran Black’s latest EP, ‘Elegy For A Lost Cosmonaut’ is out of this world (no pun intended) is a huge understatement. Consisting of three cosmic tales that takes us on an ill-fated mission through the voids of deep space, this is one trip that is filled with atmospheric drones, planetary keys & synths, and an unavoidable race through the universe that warrants no return. The grim album cover resembles an old Soviet Union astronaut that may be in a distressed situation, in which the music from this EP provides the perfect soundtrack to his grisly fate.

The opening track, “The Mission”, is a soft, textured drone that really tells a compelling story of the cosmonaut that is bound for the outer realm of the universe, but unbeknownst to him, will never reach his destiny. As various keys and pads sway in and out of the mix, subtle details of random noises can be heard as if some sort of mechanical failure has weakened his spacecraft, causing him to abort his mission. Unfortunately, it’s too late as his spacecraft is mechanically unstable and unable to return to Earth. Toward the end of the track, the bleak tones of the synths and pads become less stable and present an agonizing sound, signaling that the end of the cosmonaut may be near. “Is This Heaven” is the shortest track of the three but wastes no time in offering a multitude of discordant vibes that fade in and out like a broken spacecraft passing through nebulas – and various other space anomalies – at a breakneck pace, even though everything appears to be in slow motion for the cosmonaut that is still in shock from the events that have unfolded before him. “Elegy For A Lost Cosmonaut” is the final song on this EP and it represents the cosmonauts acceptance of being eternally vanished from Earth. These long, drawn out spacey drones are unique in that the tones suddenly elevate and then dissolves out every so often. This must be the cosmonaut getting down to the final levels of oxygen as he fades in and out of consciousness. In the end, deep space wins and the cosmonaut takes his last breath as the song abates out for good.

Even though this is a relatively short EP with just three tracks, Sumatran Black have created a very unique experience that is memorable, unique, and with a great theme. As I sit back, close my eyes, and listen to this album, I envision the events unfolding just as I have described them above. That’s the power and beauty of dark ambient music – to tell a story without words and vocals and allow the listener to imagine the scenario taking place. Please support this exceptional artist and download this spectacular cosmic adventure from the link below.

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Links:

https://sumatranblack.bandcamp.com/album/elegy-for-a-lost-cosmonaut-e-p

Black Box Memories Explore Celestial Requiems That Permeate With Casual Spoken Word Banter On ‘Missing Heart Pieces’

Probably my favorite element of ambient music in general is the creative vision put forth by the artists to conceive something that is not only unique, but also personable that represents their state of mind at a particular given time. A good example of that would be the ever evolving music adventure of Black Box Memories. Although the debut album’s music more bordered dark ambient with elements of space ambient, sophomore effort ‘Missing Heart Pieces’ has a more down-to-earth nostalgic feeling with a huge focus on interwoven spoken word recordings. The result is a high-resolution ambient album that is full of empathy and dedicated to personal alienation.

Consisting of fourteen tracks that extend over eighty minutes of playing time, there is a lot of music to get aquatinted to on this recording. The album opener, “Details” begins with a mesmerizing keyboard loop and an immediate introduction to the first bit of spoken word dialog. The discussion consists of a one-sided conversation about someone’s travel plans, as if they are unsure about their final destination. As the keyboard loop continues to play, various drone melodies create a welcoming sound but at the same time institute a desolate feeling. Skipping a few tracks, we find the grandiose “First Experiences”. It slowly fades in to a cinematic style keyboard arrangement with hardly audible spoken word samples. The trance-like quality of this song assures its gloominess and the inclusion of soft piano adds a particularly eerie feeling as well. Another stunning track is “Dreaming Of Suburbia”. The dark ambient loops provide a calming attribute, while the random conversation that is included repeats over and over again, as if there is a deep meaning in the message that the narrator is trying to convey to her listener. Harrowing synthesized pads also give an overwhelming sensation of a wide-open space that has limitless boundaries for endless exploration. My favorite song on the album and one of the darker ones is called “The Eye”. The spoken word dialog seems to be that of a professor giving a valuable lesson on the inner workings of the eye, but vaguely explaining it in metaphors. However, the standout element of this track is the music itself. With a mix of ambient and 80’s style synth wave, this song has a very exclusive quality as compare to the dynamics of the rest of the album. Skipping a few more tracks, we have “The Death Of Newt”. Although this is one of the shorter tracks on the album, it takes on another uncommon approach as there is no dialog, and features a magnetic tape-like sound quality. Just another fine example of the high recording standard that Black Box Memories has set for this album. As we cut down to the last song on the album, “Dust”, the first thing that you’ll notice is the epic twelve plus minute time length. Starting with a peaceful acoustic guitar riff, it soon shifts to synth wave arrangement that is full of spirit and anticipation, as if you’re listing to a piece from the ‘Stranger Things Soundtrack’. Large-scale keys randomly fade in and out as if providing both melody and drama. This keeps up at a feverish pace for the majority of the song and the fades into a discordant piano arrangement that is extremely creepy.

I absolutely love these kind of recordings, as they provide enough diversity to occupy your audial senses as well as keep your imagination sharp and focused so that you can dwell on the despondent album theme. The looping, spoken word element is a feature that works really well with this genre and I wish more artist would use them. So, if you’re looking to diversify your ambient catalog, as well as wanting to reward yourself with some excellent music, look no further than ‘Missing Heat Pieces’ by Black Box Memories. Please support this incredibly talented artist by downloading this album from the link below.

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Links:

https://sumatranblack.bandcamp.com/album/missing-heart-pieces

Oestergaards Reveals A Maniacal Take On The End Of A Depressive State Of Mind With ‘Moloken’ EP

Sometimes the battles in our mind are much more difficult to overcome than physical battles. In reality, the emotional scars left behind from the devastating effects of depression and severe anxiety can last a lifetime, whereas most physical scars are only temporary and will fade away over time. Not only do emotional scars have a limitless timeframe, the way everyone deals with their own trauma is a work within itself. Unfortunately, many people unsuccessfully combatant their anguish, but others find solitude in various platforms as a coping mechanism. Oestergaards has found solace with the release of his latest EP, ‘Moloken’, a deep and dark ambient adventures that shows a fortunate escape from the struggles of depression.

On the opening track “Moloken”, industrial-tinged drones pierce through like an endless nightmare. The cavernous tones set forth are equivalent to being strapped to a bed – against your will – in a darkened asylum, where the staff are there to do more harm than good. Barely audible voices can be heard about halfway through, adding a dreadful vibe to this track. “Dihovle (The Whining Of Ordinary People)” has a discordant effect as if it could be an intro to a black metal song. However, that soon changes into a soft drone with light whispers and crystal clear pad sounds as if you’ve been left all alone and are free to leave the toxic environment of the asylum. “Agansam” contains various deep drones and gruesome sounding textures that will leave you with a discomforting feeling as it seems to suddenly end just as it’s getting good. “Assint (In The Name Of Nothing)” is a rather eerie piece as it begins with some distant, heavy breathing followed by a howling wind drone that grows louder and louder while various noises are happening in the background. The final track, “Stavsberget (No Horizon Left)” signals the end of the misery – whether good or bad. Grandiose drones and field recordings dominate throughout and the distorted speech track that can be heard in a few spots is creepy enough to start another anxiety attack. The song ends as if a needle has been stuck at the end of a record that has been playing seamlessly for hours.

Oestergaards has created a very therapeutic recording with ‘Moloken’, but I only wish that the playing time was double in length. This is top quality dark ambient and fans of Neraterræ and Monocube will love this. Although I will definitely be checking out the back catalog from this artist, I can’t wait to see what the future hold as well. Please show your support for this amazing artist and download this album from the link below.

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Links:

https://oestergaards.bandcamp.com/album/moloken-ep

The Grim Sounds Of Nature & Inner-City Solitude Thrive On Robert Eggplant’s Debut Album, ‘Amalgamation’

Have you ever had that feeling where things aren’t right; where the every day normal seems out of place for no reason and without explanation? It’s like that day when you wake up on the wrong side of the bed and nothing seems to go your way, as if you’re momentarily living in an alternate universe with no control over being your true self. That’s the feeling I instantly received when listening to ‘Amalgamation’ by Robert Eggplant. It’s easily, one of the eeriest and discordant ambient albums I’ve ever heard, yet at the same time, it’s so intriguing that I find myself listening to it over and over again. Filled with a multitude of field recordings and magnetic tape loops, ‘Amalgamation’ is like taking a slow motion walk down a busy inner-city street, where all of the activities surrounding you are moving about at a funeral’s pace. The good news is, this album is very captivating and will keep you thoroughly entertained throughout its ten solid tracks.

Right from the start, “Cement Stain” hits you in the face as if you’ve just woken up from a knockout punch or a drunken daze. The curious droning sounds mixed with the bizarre samples and nature-like field recordings are enough to mangle the senses and leave you in an an unorthodox state of confusion. Curiously, you’ll eagerly listen on as there are a plethora of things going on in this track to keep it interesting and entertaining. “Tomb Of Froth” is a reserved drone track with spots of mysterious tape loops that featured slowed down and mangled vocal tracks. Although barely audible, this adds a grim detail to this rather short and peculiar song. “Conversations” begins with a peaceful field recording, highlighting the chirping of birds and splashing water, as if someone is nonchalantly walking down the street after a violent storm. In slowly fades what appears to be the aftermath of looping beats of a Tibetan singing bowl, as multiple layered hisses play on for the majority of the track. “Cave Inhabitant” is another creepy track that lineaments multiple instruments and provide a resounding drone as more tape loops and field recordings augment the free space throughout. “Travelers Of Mold” starts with the sound of vehicles traversing a bridge along an interstate and soon after, amicable keys resonate music that can relate to having blissful emotions. A lower toned drone soon takes over as the background traffic can now be heard traveling over a road during a rainstorm. “Decay Of Decorations” has a very 80’s-ish synth wave sound and various outlandish noises can be heard throughout, giving this track a very edgy feeling. “Bomber In The Woods” has a calming demeanor, with the crackling of a forest fire added in to the mix. The migrating drones take an agitative turn as if there is no resolve from the dangers that lay ahead. “Hall Of Moss” begins with the happiness of chirping birds and a quiet sounding tape loop in the background. As more field recordings are added, the lose drone sounds begin to take shape and at times seem scarce, adding to the mystique nature of the song. “Feast Of YOG” is a compelling track that features a few spots of guitar strums, but is mostly full of engrossed field recordings and low-toned drones. The final track on the album, “Everything Under The Sun Will Parish” has a very smooth and placid drone with minimal field recordings, I guess to signify the end of all things except for nature itself.

‘Amalgamation’ is a very entertaining album and one like I’ve never heard before – especially in the dark ambient genre. Robert Eggplant has fostered a pretty unique sound and I cannot wait to hear more from this artist in the future. This has become my new go-to album for when I need to hear something that’s just a little bit different from everything else. I highly recommend this album so please show your support by downloading it at the link below.

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Links:

https://roberteggplant.bandcamp.com/releases