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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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.
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.
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.
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.
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.
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.
Avant Music News web zine, Enclosure Three radio program, The Dungeon In Deep Space blog, This Is Darkness webzine, Horae Obscura podcast, CITR 101.9 FM, Spectrasonicsound podcast, Paul Casey, Elysian Fields radio program, Ambientblog.net, Raffaele Pezzella, Eighth Tower Records, is proud to announce the International dark experimental music Awards “IDIL” (In Darkness Is Light) 2023/24.
The IDIL Awards is dedicated to all forms of experimental music in its “dark” declination and promotes the innovation and research in the field of dark electronics and dark electroacoustic music.
15 tracks among all the ones submitted will be selected and included in a compilation to be digitally published by Eighth Tower Records within February 2024 (https://eighthtowerrecords.bandcamp.com). An international jury composed by radio djs, podcasters, reviewers, will assign a score to every track determining the winners of the prizes below:
Prize for the 1st classified project: € 200,00 + a full special on the magazine;
Prize for the 2nd classified project: € 100,00 + a full special on the magazine;
Prize for the 3rd classified project: 1 year free subscription to the Eighth Tower magazine + a full special on the magazine;
Prize for the 4th classified project: 6 months free subscription to the Eighth Tower magazine + a full special on the magazine;
Prize for the 5th classified project: 3 months free subscription to the Eighth Tower magazine + a full special on the magazine.
All tracks will be played in the Unexplained Sounds streaming radio program and all radios programs of the circuit.
Participation Guidelines:
submissions of a single track for each project (maximum 8 minutes, .wav or .flac format)
tracks must be unpublished and exclusive made for the compilation mentioned above; – it’s requested a bio and a description of the project;
links to video and visual material will be welcomed;
multiple projects from the same person won’t be allowed;
track submission via link to Wetransfer, Google or similar transfer services (no Dropbox);
deadline December, 31, 2023.
Preliminary condition to participate:
to be subscribed at least for 2 months to the Eighth Tower magazine (tier Apprentice Supporter or upper tier):
Dj SpaceTerrapin – Enclosure Three radio program (Germany)
David Loveless -The Dungeon In Deep Space blog (US)
Rich Dodgin – This Is Darkness webzine (US)
Bram Hagers – Horae Obscura podcast (Belgium)
Bepi Crespan – CITR 101.9FM (Vancouver, Canada)
David Warmbier – Spectrasonicsound podcast (UK)
Paul Casey – Independent reviewer (UK)
Dominic Castelli – Elysian Fields radio program (US)
Peter Van Cooten – Ambientblog (Netherlands)
Anyone who would like to support the “In Darkness Is Light Awards” to grow and increase the amount of prizes in time, can donate here: paypal.me/usggroup
Eighth Tower Magazine is part of UNEXPLAINED SOUNDS (network of aural disorientation). Corso Secondigliano 94, Napoli, 80144 Napoli, Italy. https://unexplainedsoundsgroup.bandcamp.com
Music is one of the greatest escapes to ever exist. Time and time again, we hear of how music has helped so many cope with trauma, stress, bitterness or even act as an coping mechanism for great other achievements such as meditation, escape from reality or even provide a sense of clarity as background noise. Whatever the case may be, it’s hard to deny that music is the heart of darkness, strength and enlightenment. Specifically with Dark Ambient music (and it’s many sub-genres), there is a sense of departure from normal absoluteness, as listeners tend to descend into a world where it all makes sense. Depending on the listeners emotional state, results may vary but will ultimately be rewarding. The latest offering by the collaborative efforts of Maud The Moth and Trajedesaliva, ‘Bordano El Manto Terrestre’ presents such an endeavor with its haunting vocals, dissonant synths and euphoric spoken word narrations. Loosely translated as ‘Embroidering The Terrestrial Mantle’, this albums melancholic approach to elegant songwriting produces a mesmerizing atmosphere of chaotic harmonies and opulent vocals, resulting in a desirable album of moody textures and addictive modulations.
Immediately setting a melancholic vibe, lead off track, “Perdí Pie” emits a hint of nostalgia as attuned synth leads explode with elongated notes of discordant radiance. Operatic vocals provide a chilling atmosphere as this gloomy intonation gives off a hypnotizing result. Toward the end, a soothing spoken word bit continues to tranquilize in a foreign tongue, but delivers a message that can be felt despite its enigmatic delivery. “Jardincito De Rosa y Tierra” has a slight ritualistic intro, with regards to the atmospheric instrumentation. However, after a brief engagement haunting vocal melodies and incandescent synth arrangements soar loud and boldly as if reaching a climactic musical conclusion. The divergent harmonies in this track are captivating and represent a musical theme throughout the remainder of the album. “Habitantes Del Desgarro” commences with clean, somber modulations, while the sounds of nature cry out in the background. A distorted tone is introduced, building upon layers of dissonance while ascending vocal melodies establish a sense of chaotic beauty. Although these sounds collaborate with inharmonious effort, the intense output of strident textures combine with astounding plangency. “Cuerpo De Gato” fades in slowly with haunting layers of synths and obscure sound effects in the background. As the synth tones begin to shrill, more spoken word comes into play and fuses well with the arrangement. There is an underlying melody that is so soothing, you’ll want to replay this song several times just to enjoy its subdued nature. “Fruta Alrededor De Una Vela” begins with a synthwave pattern that will have you reminiscing classic synth styles from decades past. After a short spoken word piece, a beautiful vocal induces a tranquillizing effect while elongated keys drone belligerently. A circling of flys (or bees) can be heard during a short instrumental break before the synthwave patterns and layered vocal harmonies pick back up in a surreal combination that is equally mesmerizing and dubious. This is my favorite track on the album and I could listen to it over and over again without it growing old or complacent. “Perla” is an alluring offering with winsome guitar tones and glamorous vocals that are arranged similar to the lush sounds of the shoegaze genre. Synth notes continue to pile on in unison, producing a shrouding tone of hazy (but angelic) proportions. “Círculo Roto” offers a Dark Ambient styled intro in conjunction with a whispering, spoken word narrations before layers of nostalgic synth effects arbitrarily find a synchronized sequence in which to emit a unified tone. This is one of the darkest tracks on the album, but fits right in with its asymmetric delivery. The final track is “Hilos De Fantasía”. Immediately commencing with a succession of unharmonized keys, they essentially create a chaotic blend of glistening synth notes and random modulations that again, sound amazingly abstract and powerful. There are random patterns of percussive beats and screeching soundscapes that create a wonderful closing to this ambitious album.
Maud The Moth and Trajedesaliva are two amazing artists and are able to combine their crafts in a wonderfully disharmonic effort to produce some absolutely bewildering music. From obscure synth tones and perplexing melodies to angelic – operatic-like – vocals and soothing spoken word narrations, they have put their best efforts forward on ‘Bordando El Manto Terrestre’. At just under forty minutes, this album offers a variety of cacophonous sounds and vocal patterns to entertain endlessly. This is one of my favorite albums right now and I can’t recommend it enough. Click on the link below and experience this uniquely crafted album that combines the best of multiple genres.
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To some extent, this particular review is like coming full circle. Back when I first started The Dungeon In Deep Space in August of 2019, my very first review was the second album in the Planetary series by Ruptured World called, ‘Archeoplanetary’. I’ll admit that – although it was a great album – my review was pretty lackluster, probably due to the unforeseen direction of this blog. Now, nearly four years later, I’m extremely excited to review Ruptured World’s latest offering, ‘Xenoplanetary’. This appears to be the forth and final installment of the Planetary series and if that’s the case, it concludes this epic story in a magnificent blaze of glory. Although not your typical Dark Ambient album, Ruptured World has expanded the audial palette to include hypnotizing, electronic beats and remnants of dark noir jazz. With that – and including a story that is masterfully narrated – this album has already reached S-Tier status (for me at least), and boldly catapults the Dark Ambient genre to searing new heights.
Wasting no time in showcasing the new sound described above, “Emergency Thought – Cast Distant Messaging” slowly fades in with a mechanized, electronic beat that is more reminiscent of a sound that you would hear in a smoke filled Jazz club than with a typical upbeat percussive style. A looping keyboard chop plays a somber melody while droning soundscapes provide a textural backdrop of mesmerizing beauty. Sporadic sound bytes of communication frequencies and radio transmission acts as a prerequisite for the storyline and after a short break, that’s exactly what we get. The Macrae family legacy begins to unfold as a short narrative contributes to the preface for the rest of the album. “Tenebrous Wetlands” commences with a continuation of the narrative as a slow blend of drones and elongated keys softly plays in the background. More communication anomalies can be heard and the drones continue to expand as the song unfolds. About halfway through, massive synth tones create a dreamy space of haunting atmospherics and obscure melodies. “The Cruel Darkness” is where this ominous story takes a menacing turn. While the narrations continues on with this compelling story, the music feature another killer drum beat, alongside an atmospheric ride through spacious drones and harrowing synth effects. As this track continues to slowly build, a sense of angst begins to take over. Layers of keyboard chops and industrial modulations intensifies, albeit in a looping pattern. “The Telekinetic Amassment Of Being” start with the perpetuation of Phoenix Macrae’s mission with a strange twist on the spoken word delivery that includes voice manipulations, echo effects and eerie loops. As the story unfolds, immense drones proceed eloquently and take over as the focal point of the track. As this sound modulates at a steady pace, soothing drum textures and harmonious synth play a darkened groove that only Ruptured World could pull off in this type of musical adventure. This combinations creates a trance induced pattern that is imposing as well as easy to get lost in. With an eager enthusiasm, the entertaining escapades of Phoenix continues to play out on “Enter The Labyrinth”. A chaotic blend of radio transmissions unfold, as it provides cryptic clues for this ever evolving story. In the meantime, peaceful synths produce an evocative drone while looping keys evolve expressively. This track is really serene and it’s overall alluring tones make this one of my favorite songs on the album. Throughout the song, narrative elements can be heard but this time, they take a backseat to the mesmerizing and melodic intonations. “The Magnitude Of Luminescence” continues with a realized arrangement of amazing storytelling and an array of communication signals. As the mission continues, obscure effects begin to alter the transmissions, while effervescent drones slowly make their way into the arrangement. The inclusion of field recordings and synthwave-styled compositions adds a new element to this already impressive album. The layers of electronic arrangements seem to continue endlessly before abruptly coming to a conclusion. “The Daze Of Foreboding” begins with calming drones that can easily be interpreted as the dawn of a new day. As the continued radio transmissions slowly fade away, a jazz-like drum pattern begins to take shape. A consoling synth melody sounds more like a new wave song structure but the combination with the rest of the electronic elements are so addictively satisfying. The main key pattern also sounds like an alternative take of the keyboard melody from the first track. As the album winds down, “The Exhibition” concludes the narrative portion of this accomplished offering. The unforgettable spoken words exhibit an exhausting odyssey of family resilience and exploratory happenings that are unlike any other Dark Ambient recording I’ve ever heard. This eight minute track is mostly made up of these compelling narrations, while distant soundscapes produce an eerie atmospheric vibe. Only within the final few minutes, do we hear an increase in instrumentation, as it fulfills a sonic voyage to be remembered. The final offering is “The Agony”. Although only being just under two and a half minutes in length, it’s one of the most ominous compositions on the album. Heavy use of reverb and inaudible vocalizations enhance the listening experience for this bleak dirge that features elements of classic synthwave and industrialized drones.
Ruptured World is one of the most compelling artists in the Dark Ambient genre and the inclusion of abundantly used spoken word is both unique and rewarding. For a majority of Dark Ambient releases, the listener is able to interpret the music into their own story. However, with the Planetary releases, we are treated with the best of both worlds. With the forth installment, ‘Xenoplanetary’, Ruptured World has defied the odds yet again by adding to the musical ferocity, both elements of haunting jazz beats and looping keys. It goes without saying that this is the most exploratory of the Planetary releases and easily my favorite. This is surely a series that will be enjoyed for many years to come, and at the same time, I’m eager to hear of new adventures that Ruptured World will explore in the future. ‘Xenoplanetary’ is a Dark Ambient album of the year contender so don’t pass this one up. Click on the link below to experience this amazing album and story.
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When it comes to Dungeon Synth music, it’s almost as if it’s an “open source” genre of musical incantations. Meaning that almost any form of musical styles can mesh and blend with the basic aesthetics of Dungeon Synth without taking away its original intent. That’s why I love artists that put their own spin on the genre, providing a fresh atmosphere for all to enjoy. One artist in particular that travels down this path is Abandoned Graves. With the release of their first full length album, various electronic genres are explored and seamlessly mesh with the traditional foundations of Dungeon Synth music. The results of this is ‘Salvation’, a thirty eight minute journey into the abysmal infrastructure of electronic music that is gripping and transcendental, to say the least.
Poignant album opener, “Spring’s Lament” commences with a corrosive modulation that wavers viciously before fading into a minimalist tone with a lethargic echo effect. This tonal delivery begins the slow dive into Dungeon Synth madness and the sky becomes the limit at this point. Suddenly, a quirky, chip tune sound develops into a fun but menacing anthem. As this short track fades out into oblivion, the darkened textures of “The Dreamer” start to unfold. The deep, atmospheric drones are met with sporadic synthwave modulations that gradually expands into an electronic escapade through various styles. However, this eclectic fusion of expression coalesces into a grandiose offering that is upbeat and surprisingly accessible. Up next is the melodramatic offering, “The Board”. As the somber intonations start up, the dreamy synth effects evolve into a chaotic piece with heavily modulated synths and harrowing background ambience. As if descending into a nightmare, a blend of mesmerizing tones take this song down a darker path than the precious ones. Almost dipping into noisecore, it ultimately subsides into a peaceful Dungeon Synth canticle of harmonizing effort. “The Tower” doesn’t waste any time meshing various tones in a hauntingly beautiful harmony that finds a blend of warm ambience and light-hearted synth chops. However, that all soon comes to an end as we begin to hear pulsating drum beats and deep ambient drones, as a sinister atmosphere comes about. Industrial samples and radiant textures expose a multitude of horrors before -once again – morphing into a Berlin School styled synthwave anthem. This is definitely my favorite track on the album and my only wish was that this song was a little longer. The title track, “Salvation”, starts with an orient-styled effect but sparingly incorporates more sounds to create an amusing jingle that provides a soulful gateway to the next track. With “First Grave”, we get to experience natural sounds of nocturnal essence with the slight howl of crashing waves. Ambient textures begin to build into a tumultuous affair with looping drones and obscure effects. As this song evaporates into an audial radiance, we once again get to experience a shift in styles as the twists begin to unfold. Jolting modulations and bombastic Medieval cadences begin to consume the airwaves and vast layers become a musical fortress to these ears. The final track on the album, “The Crypt”, is a full on ambient nightmare, complete with ghoulish drones and creepy sound effects throughout. At just over seven minutes long, a lot is crammed into this bleak offering. Even with all of the malevolent effects, there is a sense of calming throughout that seems more minimalistic than chaotic. That being said, this is a cold, desolate way to close this impressive album and one that will stay in my playlist rotation for sometime to come.
Abandoned Graves has presented a fine experience with the multi-genre offering, ‘Salvation’. Although firmly staying rooted in Dungeon Synth, the Keep gates have swung wide open for the inclusion of an assortment of electronic music styles. That being said, there is a lot to take in on this recording and there is never a dull moment throughout. If an eccentric fusion of music is your thing, then I highly recommend checking out this monumental album. Please click on the link below to begin your listening experience with Abandoned Graves.
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Before I get into the heart of this review, I’d like to take a moment to provide a proper shoutout to Chet W. Scott and Glass Throat Recordings. I first learned of this small, independent label with the release of the Blood Of The Black Owl debut back in 2007 – an album that I reviewed for Maximum Metal some 15 or 16 years ago. At that time, there were no digital offerings, only uniquely hand-crafted physical releases. I quickly familiarized myself with Ruhr Hunter, another Chet W. Scott project that leans more toward Industrial Noise and Dark Ambient and was not only instantly blown away, but I was drawn into a world of musical healing and uncommon audial offerings. Since then, I’ve been constantly intrigued by the spiritual and naturalistic-based conjurings that Chet has acquiesced for physical and digital releases. Almost every album on this mighty label resonates with me on a personal level and many of my favorite albums are anchored with Glass Throat Recordings. However, one project that has been on my radar for sometime now – that has finally released a massive undertaking of an album – is Cycle Of The Raven Talons. This meditative double album is everything that I expected and so much more. Featuring over ninety minutes of medicinal drones and soundscapes, this album instantly succeeds in allowing the listener to connect with nature, their own spirituality and a world of ceremonious healing.
Leading the charge in this ritualistic experience is the jarring “Tatanka Nishna Aku”. Fusing spoken word and native chanting, this organic offering is like a calming foreword for the enlightenment that will soon follow. At nearly ten minutes in length, it’s a tributary piece that not only pays homage to women, but it represents a naturalistic approach to beauty and tranquility. Soothing flutes and drones augment the audial spaces as this track enables the lister to transcend into another world of effervescent beauty and traditional narratives. The first of the four twenty plus minute offerings is the enthralling “My Intentions Dawning”. Commencing with a thudding drum sound and whispering breath exhalations, this slow-building ceremonial oblation is a sonic escapade to get completely lost in. Ambient textures begin to layer with lethargic expediency while haunting flute melodies deliver an exotic performance. The soundscape that is presented on this track is vast and ominous while at the same time being consoling. About seven minutes in, delicate spoken words provide a narrative that is beyond relentless. As the droning ambience become louder, howling winds become the force of nature that become engagingly fierce. As the song drives toward its conclusion, vocalizations become more dominate, along with the inclusion of various instrumentation and increased ambience. The next elongated adventure is “To Live Again”. Beginning with distant horns and the cracking of a deep woods camp fire under the brisk even sky, a rhythmic drum patter soon begins, eliciting a solid cadence to synchronize the rest of the instrumentation that randomly comes into fold. For over twenty minutes, this track produces a perpetual solace in relaxation and mesmerizing comfort. Throughout this mammoth undertaking, the tides sway between full on instrumentation and just the constant back beat over reassuring whispers. The feeling of being at one with the wilderness is prevalent as the early evening evolves into the dead of night. Several instruments provide a grim ambience that seamlessly fuses with the rest of the arrangement. The final few minutes abrupts into a controlled but chaotic explosion, as the shadows of the night become the predators of our imagination as life takes on a whole new meaning. The next magnum opus is “Crying”. Opening with the sounds of bird chirping and soft waves brushing against an isolated shoreline, a hollow drone slowly crescendos in the background, clashing with the elements of nature in all forms. A steady, tribalistic drum beat begins to play as the sounds of the early morning dawn come into focus. Darkened, ambient textures become more prevalent, creating an abysmal space of sonic atmospherics. About halfway in, gentle flute-like instruments produce a harmonizing elegance that puts forth a spiritual vibe. Every so often, the cawing of birds remind the listener of the scenic beauty of these ceremonial incantations. The continuous drum patterns and water rumblings makes this track a pleasant and enjoyable experience. The final song on this medicinal experience is “Seek In Shadow, Release Into Light”. Wasting no time, this is the most audial aggressive song on the album. A conglomeration of sounds clash at the very beginning before settling into a faster-paced drum pattern. Chanting vocalizations and eerie whispers trade off as the narrative nature between the two seem contentious. Loud clashes and rumbling throughout evoke an industrialized experience as this quarrelsome piece continues to play out. Toward the middle of the song, many of the aggressive tones fade out in favor of layered vocal patterns that are mollifying and spiritualistic in an ancient, native tongue. After a few minutes of this heralded crooning, light ambient textures begin to build while whispered singing commences. The final impression of this offering starts to wind down in solidarity as the ceremonial endeavor finishes like an enlightened undertaking.
‘A Medicinal Musical’ by Cycle Of The Raven Talons is more than just a rewarding musical experience. It represents the earliest forms of music in its rawest form, as well as the basic understanding of nature and the ritualistic essence that it portrays. By allowing the listener to sink into this sonic voyage while experiencing minimalistic audial excellent it’s apparent that this album is a unique and prominent journey through the soul. Chet W. Scott continually excels in this aspect, no matter what moniker he chooses to use. His gift for providing a naturalistic experience is unmatched and Cycle Of The Raven Talons is just another project that showcases his dynamic abilities. I highly recommend checking out this once in a lifetime listening experience, as well as the other amazing musical gifts that grace the Glass Throat Recordings lineup. Click on the link below and prepare to be enthralled.
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For the past several years, Ajna has been on fire! The Dark Ambient producer has consistently released great albums spanning sub-genres such as isolationism, drone, hauntology, and other experimental aspects of electronic music. Whatever is on the radar for any particular album, you can rest assure that the results are beyond reproach. Recently I was fortunate to have a few email interactions with the mastermind behind Ajna to get a greater viewpoint of the music, influences, the ardor behind the album artwork and everything in between. The results are embedded in this congenial interview with Ajna and on display is an endless passion for music, photography and spiritual wellbeing. Hope you enjoy this interview as much as I did.
1. I really appreciate you taking the time to answer a few questions. Over the past year or so, Ajna has become one of my favorite Dark Ambient artists. Can you tell me how this project came about? Also, Ajna is such a cool name for a project of this magnitude. Does the name have a significant meaning to you?
Thank you for the opportunity, Dave! The pleasure is mine. I appreciate the kind words. Well, at the time, throughout 2007, I was getting heavily back into Dark Ambient and Drone music. I have been listening to Dark Ambient since the late 90’s/early 2000’s, that’s when I was first introduced to the Cold Meat Industry and Malignant labels but it was during 2007 when I was getting very heavily back into it, mainly because I was at a place in my life where I wanted to change my lifestyle. I spent more time in nature and away from the bustling cities, I also started practicing Kundalini Meditation, and I’ve been a practitioner since then (almost 16 years now). Dark Ambient and Drone music really went well with my new spiritual life as I feel that it goes perfectly with nature, solitude, deep thinking, meditation, esoteric books etc and eventually this inspired me to create the Ajna project early 2008. Ajna is considered the 6th chakra, also known as the “Third eye”, it works as the center for intuition, self-realization, imagination, consciousness etc. This is why I felt that Ajna was the perfect name for the project.
2. A lot of your earlier albums were very minimalistic and leaned more toward Drone than Dark Ambient. Some of my favorite early works are ‘An Array Of Black Clouds’ and ‘Anatomy Of A Nightmare’. How do these albums represent your audial experimentation up to that point?
Well, as mentioned before the project started in 2008 but I did not become satisfied with my sound until 2011ish. I created this type of slow, drifting, isolationist drone sound one afternoon and it was like finding the Holy Grail, lol! I had finally found the Ajna sound. So, yes, a lot of my earlier works were much more drone and minimalistic, at the time I was very fascinated with shaping and crafting dronescapes in various ways and as time went on, my works have progressively got more complex, little by little.
3. On those earlier albums did you use a variety of recording gear as compared to recent recordings?
I have always used a combination of hardware and software but I used less back then as compared to now. But even nowadays, I am not a big gear collector, I am more of a gatherer of sounds, I like keeping things simple. I like using everything I currently have to the fullest advantage. If there is too much choice of equipment in the studio it becomes too overwhelming for me. Ultimately, I think it’s about ideas and not how many synths you have. That’s how I feel anyway 🙂
4. One thing that is consistent throughout all of your recordings is the amazing artwork/photography used. Are these your original photos?
Thank you for the kind words, Dave! Yes, they are all original photos taken by me (aside from Black Monolith). I guess I can say that Music is my first love and Photography my second. I feel that the atmosphere of my photos goes well with the music I make which is why I have used my own photos for the artwork most of the time.
5. Speaking of photography, do you get inspired to write music after taking a particular photo?
Yes, of course. Photography shoots are always inspiring for me, the particular atmosphere, the mood, the setting, the weather, etc. All of these things inspire me to create music and yes, sometimes I hear drones/sounds in my head with particular photos. I seem to get the same feeling while watching certain films too (the ones with great cinematography), like Lynch, Bergman, Tarkovsky, etc. Ultimately, Ambient music is very visual for me and it goes hand in hand with Photography in my opinion.
6. I noticed that early on you started collaborating with artists such as IOK1, Dronny Darko and Onasander (to name a few). How was it working with a variety of uniquely experienced artists, and did this help shape your own sound moving forward?
I cannot say that it helped shape my own sound but I have definitely learned a lot from my collaborations. Although I am very picky with whom I collaborate with, it’s fascinating to see other artists’ creative process and how they sculpt the sounds compared to how you do it.
7. What’s been your favorite collaboration effort so far?
I do not have a personal favorite but the ones that are most memorable to me are Black Monolith (w/Dronny Darko), Canidia (w/Onasander), and Anamnesis (w/IOK1). Black Monolith was a very special release at Reverse Alignment, it was actually 3 different releases combined into a 2CD album and it seems to be a real favorite amongst fans, everything just clicked with that one. Canidia (released at Winter-Light) was an interesting collaboration especially due to the fact that I used to listen to some of Maurizio’s projects while I was back in High School (Typhoid, H.P.P). I was getting really into Rhythmic Noise in the late 90’s/early 2000’s, and here I am collaborating with Maurizio 20 years later. Pretty wild. Anamnesis, was a 4 track EP released at the Kalpamantra label, and I really loved the sound that David and I created on this one, very haunting, nightmarish and surreal. My isolated dense drones mixed with David’s more Industrial/Ambient sound worked really well. You can find an extended edition of Anamnesis on streaming platforms.
8. In my opinion, 2018’s ‘Lucid Intrusion’ really started to develop the modern Ajna sound. Where does this album rank as far as a shift in sound?
Yes, absolutely agree. ‘Lucid Intrusion’ was the real stepping stone for me, it was the big shift to a more active obscure dark ambient sound with much more layers going on as opposed to my more linear sound in the past. This was the real quantum leap as it was my first release on Cyclic Law. When I got back into Dark Ambient in 2007 (as mentioned before), Cyclic Law was my absolute #1 go to label at the time for Dark Ambient music (and pretty much still is today). So, it was always a dream of mine since the day Ajna began to release at Cyclic Law and 10 years after the project began, here I am releasing at my favorite label. It’s a really a great thing to be apart of a label that was so inspiring to me and it’s surreal that some of my favorite Dark Ambient artists such as Raison D’etre, Kammarheit, Svartsinn, New Risen Throne, Desiderii Marginis etc are now my label mates. It’s truly an honor!
9. I can’t compete this interview without mentioning ‘Mors Ultra’. This was one of my favorite Dark Ambient album of 2022 and is THE definitive collection of Ajna tracks. What was the thought process going into the making of this album?
That’s so great to hear and I am really happy you enjoyed the album! Well, the concept just kind of came to me one day. I am a big fan of esoteric, occult, metaphysical (etc) books, I love digging deep into mysteries and spirituality, I really cannot get enough of it but also at the time I was very fascinated with reading about Near Death Experiences. I read many accounts of it, hearing people’s different stories and perceptions about it and then suddenly the idea for the album just came to me.
10. This album is quite long as well – which is right up my alley. Was this done on purpose or were the creative juices endlessly flowing?
Well, yes it’s quite long (hah) but initially ‘Mors Ultra” was two separate albums. Disc 1 was recorded/composed throughout 2019 and Disc 2 was recorded/composed throughout 2020, which was the first year of the pandemic. I had a lot of time on my hands, everything was shut down at the time, I transitioned to remote work, spent a lot of time in nature and meditating so I got really busy in the studio in 2020 especially. So yes, the creative flow was just there all the time, I sent over disc 2 to Cyclic Law late 2020 and then Frederic suggested the double album idea and I was totally into it.
11. You recently released an extended, remastered version of your first album, ‘Nordic Drifts’. What led to the decision to release this milestone effort?
I wanted to do something special with “Nordic Drifts” since it was the first EP that I’ve ever released back in Summer 2012. I suppose you can say that it’s somewhat of a 10th Anniversary release (even though it’s a little over 10 years now). It’s always nice to revisit old tracks once in a while and I will be doing the same for more releases in the past and some unreleased material as well. I find it very interesting because some of my fans/listeners prefer my earlier sound compared to my new sound and vice versa. Everyone has different tastes.
12. Do you have plans to remaster/revisit any more of your earlier releases?
Yes, definitely. I really enjoy revisiting old work once in a while and I do plan on remastering/revisiting old works and I may even release some EPs/albums that are unreleased or tracks only exclusive to my Soundcloud. I’ve also been getting some requests for a re-release of “Inevitable Mortality” since only 50 copies were made. Hopefully, that can happen sometime in the future as well.
13. Do you have more releases lined up for 2023? If so, will there be any exciting collaborations?
Another solo length was completed this past Autumn and sent to the label but I do not know the time or the date of the release as of yet. No collaborations in the works at this time.
14. You’ve had an extensive career as a Dark Ambient artist. Have you thought about branching out to other genres of music, even if for just a one-off project?
I actually have two side projects. My one project Segment.fault is another Ambient project but has a more musique concrete/hauntology approach. The soundscapes are also loop based and have this lo-fi feel to them. I hope to have a physical release one day, I revived the project in 2020 and have released a couple of albums on bandcamp. My other side project is called Ghost Peripheral (formerly called Intrinsik) and this is the one project that’s actually beat oriented. The genre is a mixture of Glitch and IDM, I released many tracks on my soundcloud back in the day and only have 1 self released EP but I have not worked on the project in about 3-4 years. Maybe I’ll revive it one day.
15. Your Ghost Peripheral project sounds very intriguing. Do you think you’ll release a compilation album of earlier works (that were on SoundCloud) on Bandcamp one day?
You know, I’ve thought about this several times and it’s really not a bad idea at all (thanks for reminding me Dave, hah!). I may do this one day and perhaps sometime I’ll also make new material with that project. Who knows what the future may bring…
16. I want to thank you once again for your time and for gracing us all with a comprehensive catalog of music. Do you have any final thoughts for those that will be reading this interview?
The pleasure is mine, Dave! Thank you very much for choosing me for an interview. This is not a common thing for me but I really enjoyed answering your questions! To the dark ambient/drone artists getting started out there, remember to always be yourself no matter what, don’t follow the trends or hype, if you remain patient, passionate and resilient good things will happen. Thank you for taking the time to read!
One of my favorite thematic subjects for a Dark Ambient album is the vast, dark ocean and the menacing evils that lurk within its chaotic abyss. It’s even more fitting when two of Dark Ambient’s most accomplished artists collaborate for this type of setting and produce an all-out maritime nightmare. However, this is not the first time Dronny Darko and Ugasanie have joined forces on such an event, as they released the chaotically impressive ‘Arctic Gates’ back in 2019 on the Cryo Chamber label. Now, four years later, they are back with a follow-up album and it’s just as bleak and ominous as their first. ‘Dark Source Of The North’ is an aquatic ordeal that delivers a punishing array of soundscapes through an incessant void. The eight tracks contained within produce an otherworldly soundtrack of futile escapism and amaurotic malevolence.
“In Search Of An Object” wastes no time in submerging the listener in a vast, cold ocean surrounded by emptiness and horrifying seclusion. Deep drones, complimented by reverberated textures creates an overwhelming sensation of solitude. As the sound continues to flow and become more aggressive, this nightmarish scenario becomes inescapable. Opaque winds increase for a moment before subsiding with the end of the song. In the second track, “Anomaly”, frigid ocean currents crash against an unprotected shore, creating a sort of naturalistic dominance. Obscure sound effects commence, producing a repulsive sound, only enhanced by deep, droning textures. As the ocean waves subside, the faint abhorrence of distant thunderstorms display an inevitable conclusion of chaotic force and destruction. As the end of the track nears, industrialized chaos create an audible pandemonium before being overtaken once again by crashing waves on a desolate seashore. “In A Magnetic Field” begins with a sinister effect that modulates as if it’s in heavy rotation and being prepare for a destructive scenario. Space Ambient styled drones begin to increase in broad layers as various, creepy effects paint a vivid picture of apocalyptic proportions. “Presence” immediately thrusts into a collision course with an abysmal void with intense drones and arcane noises that are downright terrifying. At the peak of these sound encounters, they maintain their intensity for a while before collapsing into a single drone. Assorted effects are heard in the distance as if fleeing from an anarchic discord. The main drone also builds into a soothing atmosphere for the final few minutes of the song. “Contact” commences with a single drone that emulates a distant beacon, either providing an early warning or waywardly sounding off due to a malfunction. As it continues to fade, synth pads ascend onto the darkness with hints of obscure orchestrations and howling, digital winds. As panic begins to set in, inaudible vocalizations and elongated modulations paint a gloomy scenario of solitude. As the track nears completion, random jolts of high pitch sounds produce a peculiar sound akin to large drops of acid rain bouncing off of industrial material corroding away in a barren wasteland. “Consequences” is one of the shorter tracks on the album so it rushes in quicker than the other offerings and builds layers of destructive patterns within the first minute. Not to say it’s an all out audial assault, this track is masterfully arranged and sets the album up for a climactic ending with the remaining tracks. “Transition” begins with a deep, slightly distorted drone, as if a large vessel is passing by without warning. As the vessel draws near, the tones increase in volume and adds subtle soundscapes that are eerie but luminous. There is a lot of reverb usage in some of the effects, producing a colossal sound design that is beyond epic. The final track on this distressing album is “On The Other Side Of The Arctic Gates”. Instead of beginning with an ominous drone, bells toll in different ranges, symbolizing the traversing to calmer waters. Although many dark obstacles were observed and navigated along the way, the journey to the other side has turned out to be just as challenging. As the layers of aggressively sounding drones kick in, the sense of adventure continues down a dark path in the form of various soundscapes and dystopian-like effects. Proving that wastelands can also be aquatic, the forceful winds and soothing ocean waves at the end are a fitting finale for this esoteric and mysterious album.
Dronny Darko and Ugasanie have once again proven that their collaboration efforts produce top tier results. ‘Dark Source Of The North’ is a fantastic follow up to their 2019 ‘Arctic Gates’ album and if they choose to produce more albums with this same theme, I’d eagerly welcome it. The Cryo Chamber label always provides a solid platform for the best in cinematic Dark Ambient music and this solid release is right up there with the best of the best. If you’re a fan of sinister Dark Ambient music that ventures beyond time and space, definitely check out this album from the link below.
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Robert Eggplant is one of those artists that certainly has an unmistakable sound. Although the base of his work is ambient, there is a particular abstract design to his albums that result in a Dark Ambient, experimental conglomerate that is gloomy, nostalgic and full of neutral colors. On his stunning fourth album, ‘Dog Island ‘, he takes field recordings, acoustic guitar effects and ominous loops to another level. Fifteen obscure tracks that takes up a better part of eighty minutes, set a minimalistic scenery that’s perfect for a dreary afternoon. So, light a few candles, turn down the lights and prepare to meditate for the course of these gripping tracks.
The album lead off track, “Witanic Path” commences with a humming drone noise that resides far off in the distance. The soothing texture of rain drops present a darkened day and when the strumming guitar loops hit, there is a sense of calming amazement that penetrates the air. Anytime an album showcases the sounds of desolate winds, it has my immediate attention. “Tremorous Dreamer” is a fantastic follow up track as it fires off a barrage of minimalistic field recordings, hissing loops and obscure guitar strums. It’s like having a dream that turns into a nightmare, in which you never awake. There is something really sinister about this sound. “Magpies In The Cherry Tree’ continues the menacing atmosphere with an industrialized hum in the background while the sounds of nature try to elicit a particular purity. More random guitar strokes and beautiful use of field recordings continue this endeavor that is like a journey into the unknown. “Paroxysm” begins with a beautiful & retrospective melody that is joined with slight wind and rain sounds. As nature takes a turn for the worse, the journey must continue and the bleak field recordings lead the way. Again, looping guitar strums become a focal point and may even cause a startling reaction due to being the loudest intonation in the mix. “Leaf Blowers In Paradise” is up next and the title alone is a hit in itself. This song presents another masterful blend of field recordings, many which are audible to the point of knowing what they are, while others provide a grim backplane for the track itself. As random as these pieces may sound, they provide a wonderful sense of balance in not only this track, but throughout the entire album. “The Devil will Always Chase The Hungry” is another marvelous song title and it perfectly matches the minimalistic ambience that ensues. There are more classic synthwave textures on this track and a soothing resonance that is a much welcomed surprise. “The Dynamical Nature Of Time” pieces together chirping birds, environmental elements and looping instrumentation. Overall, this song is bleak, with austere timbres that has an uneasy effect. “Drug Rug Wedding” is an interesting title that combines looping buzzes, howling winds and creepy modulations to produce an extremely horrid outcome. Reverberated guitar tones sound so apocalyptic as it demonstrates an ever growing presence of demise. “Plague Demon” begins with the sounds of doomed terror via haunting synth keys before settling into a more holistic dirge complete with soothing guitar tones and aquatic-styled field recordings. “Device Control” is a suitable follow up track as it showcases the same aesthetics as the previous track but in a more hurried way. Although there isn’t a lot going on in this song, the synths provide the lead instrumentation while the adamant rain drop field recordings showcase a percussive element. The guitar strums sound very distant – almost dreamlike – in the mix, allowing for a wide imaginative space to contemplate these sounds. “Shadow Signifier” begins with a deep, spacey drone that soon fuses with harshly reverberated acoustic guitars and random field recordings to break up the monotony. “Left Hand Pathogen” starts like a cosmic soundscape with high pitched screeches and samples. The desolate sounds of walking down a damp path comes into play while audible rings signify the beginning…or the end. This is one of my favorite tracks on the album. “The Summoner And The Summoned” is one of the most bizarre tracks as the guitar loops are like a deformed echo moving through a modulation chamber while the chirps of bird are caught singing next to this industrialized musical gear. The sounds of stones scraping in the middle of the song is really creepy, while the untimed strums of a detuned guitar continue to impress. “Desert Storm Memorabilia” is a thought-inducing track that could represent a variety of subject matter. More naturalistic soundscapes accompany acoustic guitar strums and other borrowing sounds that present a bold tone of menacing proportions. The final track on this mammoth of an album is, “Vertical Burial (Improvisation)”. For this track we get a clear picture of compositional acoustic riffs combines with tape hisses and the occasional field recording. This is such an intriguing effort and another one of my favorite tracks. I could listen to a whole album of these type of improvised acoustic guitar textures. As the album closer, it brings everything into prospective as if the harsh elements of a monstrous journey has come to a triumphant end.
I’ve been a huge fan of Robert Eggplant ever since ‘Amalgamation’ came out back in 2019. His recordings have a very distinct sound and rely heavily on field recordings rather than traditional Dark Ambient instrumentation. For me, this is a breath of fresh air, as it showcases something distinct and unique to the artist that is undeniable in every way. On ‘Dog Island’, he continues with that same recording technique and delivers another masterpiece of an album. If you’re into something that is less song structured and more sound structured, then I can’t recommend Robert Eggplant enough. Please click on the links below to download this amazing album and check out his previous albums as well. You definitely won’t be disappointed.
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Dungeon Synth & Dark Ambient Reviews!! 