Moloch Conspiracy Produces A Chilling Listening Experience That Eclipses Genre Boundaries On ‘Incantatios From Ugarit’

The bewilderment of ritualistic ambient music never ceases to amaze me. The element of dark, ceremonial soundscapes fused with minimalist drones and tonal ambient vibes conjure a malevolent atmosphere that takes a special artist in order to create this monstrous effect. If not done correctly, the outcome can lead to an extremely boring affair with no sense of liturgical reasoning. Fortunately, Moloch Conspiracy has mastered this craft and presents us with the bold ‘Incantatios From Ugarit’, a dynamic, ritualistic encounter that reaches the far scopes of the obsidian spectrum.

“The Cold Escape” epitomizes the ritualistic experience and is the perfect album opener with its nefarious soundscapes and ominous atmospheric undertones. Harrowing vocals add a layer of chilling bleakness that is thought-provoking, yet unforgiving. This gloominess continues into “Daughter Of Anu”. With the vocals more dominant and layered than the first track, a depth of ancient ceremonial vibes begins to come into view. The addition of haunting narrations and acoustic instruments create endless boundaries as this musical exorcism is now in full stride. “She Clambers Over” begins with a dissonant musical arrangement, played over a dark drone that has a feeling of misery and suffering. As the distant, narrations read through long lost religious texts, constant, soft percussive rhythms provide a trance-like state for the lister to absorb everything that is happening. “The Familiar Weapons” introduce new sounds to the album as this track has a lighter arrangement than the previous ones. That’s not to say that the message and delivery aren’t as heinous, as female vocals and narrations take center stage once again. Containing more soundscapes than ambient tones, this track stands out amongst the dark, ritualistic listening experiences. “The Head Of The Cauldron” commences with sinister drones that fade in like an evil spirit taking over a summoning encounter. Dark, and atmospheric with the occasional ceremonial instrument inclusion, this is one of the more perverse tracks. With “Visions Of Namtar”, Moloch Conspiracy once again proves the versatile nature of songwriting on this album. Although, it starts off with a lighter sense of reasoning, it quickly takes a turn to a more gloomy ordeal. Featuring bleak drones and somber soundscapes, this is actually a busy track as there are a lot of things are going on without sounding over bearing. The final track on the album is “Legions To Legions”. Beautiful drones and ritualistic chanting are at the forefront, as it soon becomes an all out dark ceremonial experience – a climactic summoning of evil spirits. Various instruments add liturgical tones throughout, as this wondrous sacrament of evil comes to a daunting close.

‘Incantatios From Ugarit’ is an exception Dark Ambient album album with majestic ritualistic influences and it goes without saying that Moloch Conspiracy didn’t hold anything back for this magnificent listening experience. From somber drones and bleak atmospherics to female vocals and ceremonial narrations, ‘Incantatios From Ugarit’ contains all of the elements necessary for an album worthy of multiple listens. Please support this captivating artist by downloading the album from the link below.

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Links:

https://eighthtowerrecords.bandcamp.com/album/incantatios-from-ugarit

Colonial Skyway Provide A Desolate Soundscape Of Midwestern-Influenced Ambience On ‘Landline’

As with any genre of music, there is a wide variety of flavors to choose from even in the dark ambient arena. Whether it’s the cold, isolated drones of space ambient; ominous, ceremonial vibes of ritualistic black ambient or the harsh soundscapes that infiltrate the airwaves in industrial ambient, there is always something to appeal to a particular mood. Colonial Skyway takes us down a different path with an equal balance of warm and cold ambient vibes, heavily influenced by the Midwestern landscape and character. The output is a minimalistic and bleak recording that is heavy on atmospheric and transparent drones that are trance-inductive and perfect for the meditative practice. On the latest album, ‘Landline’, the listener is taken on a spiritual journey in which the mental excursion is self-induced, yet magnified by the listening experience.

The album begins with the sincere and barren, “Data Over Iowa”. The hiss and crackles of tape loops flourish lightly in the background while light winds and diverse soundscapes contemplate in a cycled pattern. Somber keyboard tones are introduced as another element to the mix vice as a standout instrument, adding to the depth and meaning of this track. “Overnight” is a bold statement on the album as it is an eleven minute continual drone that doesn’t contain any additional instrumentation, soundscapes or field recordings. When you put in perspective the song title and it’s style, it all makes sense. If the listener sits back and lets this track take them away to another encounter, then the perpetuity begins to come together. Next up is my favorite venture on the album, “Could Be Down”. Featuring cold atmospherics and bleak soundscapes, this is one of the darker experiences this album. Deep tonal synths sway with high and low modulations, perpetuating a feeling of solitude and malevolence. While enjoying the apocalyptic feeling of this recording, it’s astonishing to know that this ten minute track seems to pass by so quickly. “Calling Merrytown” is another dismal piece that could easily be in a horror film sequence, at the point where viewer anxiety has reached it maximum level, and just before a climactic and violent sequence takes place. However, for the theme of this recording, I can imagine traveling through a deserted town where the infrastructure has all but rotted or collapsed, with weeds growing through every crack in the roadways and sidewalks and vines creeping up everything that remains vertical. Even without the help of a deep drone, the consistent looping of the discordant keyboard chops are enough to keep the shock value in tact. “Subdivision” starts with a warm drone, as if the clear sky of the early morning dawn radiates on the horizon. I can imagine driving down a long empty highway, listening to this track while (in unison) the sunrise slowly comes into view. The final song on the album is “Town And Country”. With the faint sounds of (what could be) a train soaring by, howling keyboard effects provide a shining light to end this amazing album. The elongated keys drone systematically throughout most of the track fading softly into the final few minutes that end in the same fashion as it began.

Colonial Skyway have put together an immaculate recording of expertly crafted dark ambient material. The use of field recordings, soundscapes and overbearing deep drones are used sparingly and in proper taste. However, that has all been replaced with long, intelligent drones and keyboard use, that is full of emotion and mid-west landscape influences. For me, this is the perfect meditative album for sleeping and even complementing thought patterns while working or just trying to relax. I highly recommend checking out ‘Landline’ so please support this fascinating artist by downing the album from the link below.

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Links:

https://colonialskyway.bandcamp.com/album/landline

Artists Of The Obscure Realm Conjoin To Finalize The Overture Militia Compilation Known As, ‘The Plan’

Label compilation albums are the perfect introduction for not only finding new and electrifying bands and artists, but to also dig deep and explore in a vast array of genres that we – for the most part – tend to generally only skim the surface. Earlier this year, Overture Militia Inc., a small label that spotlights artists of the post-industrial and dark ambient domain, released a valiant, eighteen track collection known as ‘The Plan’. Examining genres such as dungeon synth, dark ambient, drone, harsh noise & industrial, ‘The Plan’ is an hour and forty six minute journey into the oblique side of esoteric music. Although this is an amazing, yet bleak outing, I will further examine a few of my favorite tracks below.

“Ruination, The New Dawn Cometh” by Old Tower is the second song on the album and one of my standouts overall. Although most of the album consists of harsh, industrialized noise and dark ambient, this dungeon synth track fits in perfectly, with its austere sound, doomy tempo, and thick synth tones. There is a great bit of melody on this song, which is hauntingly beautiful. However, don’t get use to it because that vibe stops almost completely after this song. “Nursery” by Aseptic Void is the fourth song and it contains some of the creepiest dark ambient emotions I’ve heard in a while. The sound bit in the beginning – of children playing on a playground – adds an extra sinister awareness to all of the malevolent soundscapes that continuously possess the audio waves. Low-end drones and the occasional guttural narration is enough to give consistent nightmares. “Unhallowed” by Ursuper is the fifth track on the album and it continues in the dark ambient arena with a brooding, minimalistic approach in the beginning. It’s one of those tracks that slowly grows and builds to a climactic ending but you never know what’s going to happen in between until it actually does. At around the four minute mark, industrial affects increase in volume as if total annihilation is soon to happen. Over the next couple of minutes, this mechanized sound crescendos before slowly fading into oblivion. “The Horsemen Ride Out On Foaming Steeds” by Nordvargr is the ninth track on the album and probably one of my favorites. Nordvargr is such an amazing artist that consistently delivers appetizing music that borders post-industrial, black ambient, and death metal (specifically with the vocals). This track is a standout masterpiece on the album and the guttural vocals are what make this so appealing and unique. I could listen to this style of music all day. “White Sun Over Our Children – Exhale 22” by Miracle Of Love is the tenth track on the album and is just over ten minutes long, making it one of the longest songs on the album. Beginning with a short blast of harsh noise, it soon settles into a rhythmic drum & bass loop with minimal synth effects and soundscapes. Every so often, the drum beat alternates rhythms and the occasional harsh noise sample is thrown in for good measure and in good taste. For the last three or four minutes, the drum beats are replaced with drones and maniacal sound effects. “Hackfleisch” by Rubber Nurse is the eleventh and most evil sounding track on the album. It’s a near three and a half minute grueling drop into the abysmal hole of blackened industrial ambience, with a fair share of barely audible voice samples. Never the less, this sounds killer and I want to hear more by this artist! “Euer Hunger” by Todesritual, is the twelfth track on the album and is like listening to a scene from a horror movie. There are layered whispers, obscure field recordings, industrial soundscapes, and mild keyboard sounds, but they all come together in a frightening way and the final minute is an excellent throwback to the retro synthwave sound of the 80’s.

Overture Militia did an excellent job putting together this compilation of artist from varied backgrounds and genres. For those that are into obscure music and for those that don’t mind venturing into territories of the unknown, then ‘The Plan’ is for you. This album is sure to contain some artist or tracks that will get your blood pumping (or boiling), allowing you to continue following their artistic endeavors outside of this compilation. That being said, do yourself a favor and support the underground by downloading this album from the link below.

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Links:

https://overturemilitia.bandcamp.com/album/the-plan

Lunch Cult Bends The Knee To A Variety of Genres And Musical Influences To Present ‘Knights & Knaves”

When it comes to exploring new territories of music for some artists, some are a little apprehensive about taking risks while others compromise their original sound altogether despite reproach. One such collective is Lunch Cult, a LoFi Garage Rock Band that transcends experimental creativity but has never strayed too far from the pop/rock genre…until now. On latest album, ‘Knights & Knaves’, Lunch Cult fuses an improvisational blend of Dungeon Synth, ambient textures, crypt hop moments and synth effect wizardry to produce an eclectic concoction of three Medieval tales that will have the listener spying for influences throughout each track.

Animated album opener, “Return To Cucumber Castle”, sets things off in high gear as the somber synth tones are reminiscent of a jazzy, noir setting that slowly begins to incorporate layers of effects, hip hop rhythmic beats and hypnotic keyboard effects that perfectly harmonize with the main chop of the song. At about the halfway point, a fast drum beat takes over and plays along side the main keyboard section. This combination of fast beats and slow keyboard arrangements go over really well and flow perfectly into the next section of the song, as if it’s taking after a 70’s prog rock instrumental track. As the song climaxes in the final minute or so, all of the arrangements come together in unison and slowly fade out to a improvised saxophone section. Up next is the eccentric “Knavesong”. Random keyboard licks, percussion grooves and saxophone notes, come together as individual improvisations but can be easily interpreted as a single and relevant composition. There are parts of this track that remind me of of the OLD (Old Lady Driver) track, “Backward Through The Greedo Compressor” from their 1993 album, ‘The Musical Dimensions Of Sleastak’. Like any fusion-era jazz composition – that seemed wildly random at the time – this kind of music is an acquired taste for some and an audible gem for others. I fall in the latter category and commend Lunch Cult for their creativity and output, and for remaining open to ideas that unfold across multiple genres. The final track on the album is the twelve minute long “Knightsong”. With more of a straightforward approach, Lunch Cult takes the listener on a Medieval journey with brooding Dungeon Synth sounds that are augmented by haunted rhythmic beats and ambient sections. Although it is more minimalistic than the other tracks on this album, it has a heafty output and at times sounds chilling. There are small bits of chiptune thrown in at random and the peculiar noises that fade in and out throughout, are done in great taste. There is an awesome video premier for this track below, and I highly recommend checking it out. It’s really entertaining and put together very well with a comedic, but impeccable storyline.

If you take the time to peruse through Lunch Cult’s Bandcamp discography, you’ll probably reach the conclusion that there’s truly no accounting for musical taste. The sounds you may hear on one album will be completely different from the next. That couldn’t be further from the truth when it comes to ‘Knights & Knaves’, as it includes rich ambient textures, Dungeon Synth overtones, a little bit of quirkiness and a considerable amount of anything else that can be processed to compose magical musical endeavors. Check out the awesome video for “Knightsong” (below) and support this unique band by downloading ‘Knights & Knaves’ from the link (even further) below.

Video Premier of “Knightsong” (Official Music Video):

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Links:

https://lunchcult.bandcamp.com/album/knights-knaves

Xerxes The Dark Escalates Industrialized Tension On Monumental Dark Ambient Effort, ‘Final Crisis’

Anyone that knows me or follows my site, must know by now that Xerxes The Dark is probably my favorite Dark Ambient artist. Whether sketching out bleak, industrialized madness on his solo projects or lending his captivating production work to collaborations, XTD embodies the true, stark nature of Dark Ambient music. That being said, anytime there is a new XTD release – without hesitation – I’m ready to spend my hard earned money because I know it will be well worth the investment. ‘Final Crisis’ does not disappoint in the least bit and may be XTD’s darkest (and most ruthless) offering to date. To summarize the ‘Final Crisis’ listening experience, it’s like being embedded into a nightmare, or a relentless horror story where there is no escaping the agonizing terror of the unseen entities that haunts you.

Beginning the horrific ordeal is “The Hiding (Alternate Edit)”, with uneasy and ominous drones seeping into audio range while sinister static noises causes unrest. As the hollow sounds increase and tension builds, various soundscapes detail a malevolent mission of violence and dread. The listener is now locked into seventy two minutes of ambience filled with malicious intent. The intensity continues to build with “Antimatter Emergence”. Filled with industrialized drones that are accompanied by bizarre effects and field recordings, the minimalistic feel will easily increase all anxiety as the anticipation of lurking evil never seems to dissipate. The torment continues with “Parallel Disturbance”. If the abundance of screeches and unknown nuances weren’t enough to increase your blood pressure, the sudden blast – of what seems like – air brakes from a vehicle will definitely get your heart pumping. There is no escaping the unnerving soundscapes of the rainfall, traffic sounds, mixed with other unidentifiable noises to keep you on edge. A steady low end drone continues to play in the background as a storm races to the forefront of this track. There is a sense of ferocity as this near ten and a half minute nightmare displays a furious depth like no other. “The Leakage Between The Worlds” starts with a space ambient drone with a multitude of effects and soundscapes that gives an otherworldly feel. There are some excellent minimalistic moments on this track that are cold and dreary, with spots of inaudible narrations that are muffled and downright sinister sounding. “Crisis (Pt. 1 – Microscopic Black Holes)” immediately begins with an industrial feel as static materializes at a frantic pace. Vocal modulations are added, along with destructive soundscapes and field recordings. The impression of urgency can be heard, as all of these sounds are thrown together in perilous unison. Drones and synthesized tones increase in volume as the intensity reaches its peak. “Interaction” crystallizes from a somber drone that shifts in tone, as an industrial sample creates a harsh moment in the album. This chaotic sound ruptures into a loop and echoes from speaker to speaker before finally shifting into an all-out industrialized audible assault. “Crisis (Pt. 2 – Vacuum Bubbles)” continues down the path of deafening sounds as the synth modulations use various pitches and depths – especially in the beginning of this track. At times, there is a bit of distortion added to the drones, giving it a thicker, meaner tone as it accompanies some of the fiercest soundscapes and samples thus far. There is no rest for the weary, as bitter, severe noises wait around every corner. “The Hiding” is just as intense as the album opener but is a little more minimalistic at times. There are still periods of madness and mayhem as this original cut is just as menacing as the Alternate Edited version. The final track on the album is “Theory Of Nothing”. Displaying a great mix of dark and space ambience, there is a beautiful instrumental melody that is guided along with layers of clear, tonal synths. Unlike the other tracks on this recording, the soundscapes take a backseat (volume-wise) to the somber drones and instrumentation. What a genius move to close out such a dark and gruesome album with a brilliant track like this.

Xerxes The Dark continues his streak of releasing exceptional Dark Ambient albums, and has been doing so for the better part of fifteen years. Although he’s (lately) been devoting time to the downtemp/IDM project known as MOREGO, I’m glad to see that he still has the dark desire to continue releasing amazing albums such as ‘Final Crisis’ under the Xerxes The Dark moniker. This album is not for the faint of heart, nor one that you would probably want to fall asleep to – as you’ll sure to wake up sweating from a terror-filled nightmare. On the other hand, this album epitomizes what Dark Ambient is all about and is one of my favorite releases of this year thus far. If you like your Dark Ambient on the more sinister side, look no further than ‘Final Crisis’. Please support XTD and download this amazing album from the link below.

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Links:

https://xerxesthedark.bandcamp.com/album/final-crisis-24bit

Mora-Tau Lets the 70’s Minimalistic Space Rock Influences Shine Bright On ‘The Light Of The Winter’

The calm demeanor of minimalistic music can evoke all sorts of human emotions. The vast listening experience is like an endless field of dreams and nightmares, all rolled up in one, and depending on your psychological state, it could allow for one of the best experiences ever. This is especially true when we realize that the ambient music that is providing this backdrop, is heavily influenced by spacey elements of 70’s progressive synth music – especially the monumental sounds of Tangerine Dream and the brilliant solo works of Klaus Schulze. Luminous Japanese recording artist, Mora-Tau, maximizes these influences on a spectacular new release called, ‘The Light Of The Winter’. The four improvised – but majestically written – tracks on this album will catapult the listener to a cold, surreal world where there is no limit for crafting a story for blissful meditation.

The ultra silky sounds of the the lead off track, “The Light Of The Winter”, is reminiscent of a jazz noir piece that has improvisations in the perfect spots to create a hauntingly beautiful moment. As the synth volume increases and the play becomes more sporadic, the listener is cascaded back into an era where time was slower and gray weather drifted in between sun rays at a snails pace. Although this song is filled with many peaceful moments, there is a sense of dreadful nostalgia in the background that always makes its presence felt. Up next is the twenty five and a half minute long “Cityscape”. Without rushing a single note, the track starts off with dreary deep tones and oppressive melodies that represent a cold, dark and miserable time where the infinite clock paints a mesmerizing picture of never ending despair. Slowly, additional soundscapes are added to the track, bringing a great variety of light and dark ambience to the mix. At around the halfway mark, layers of drones begin to build, creating a climactic effect. Even though this is an extremely long track, it continues to build and garner strength throughout its duration, making it a wondrous journey to be a part of. The next track, “For The Memory Of The Earthquake” is a fascinating song as (in my opinion) it pays homage to the 2011 Tōhoku earthquake (and tsunami) that decimated parts of North Eastern Japan. Coincidentally, I lived in Japan during that time and experienced some of the effects of this disaster and would never want to relive that situation again. Anyway, back to the song at hand as it contains somber instrumentation with a very minimalistic approach. It’s almost as if the artist is reliving the experience in slow motion and the music is creating a positive outcome from such a negative event. Retro keyboard tones really stand out on this one as the improvised moments take us back to the old days of synthwave. The final track on this illustrious album is the near twenty one minute long “New Moon”. Starting with deep modulation tones that reverberate as a solid foundation, odd synth tones slowly build and create a mild frequency havoc when some of them are pinched together. However, this is a necessary part of the track as the sound waves continue to build until they are replaced by clear, piercing drones. Bizarre improvisations fit in rather well during this moment and even make this a standout track on the album. Soon, ordinary synth tones begin to layer in a harmonious effort to bring much needed light to this track. More retro synth sounds are added, along with mysterious keyboard effects, to present an irregular ending. Although it fades out with a few minutes to spare, it abruptly fades back in with a systematic closing that summarizes the fascinating style of this album as a whole.

Mora-Tau is an extremely compelling artist that is full of vision, even when creating long, epic tracks full of improvisations. ‘The Light Of The Winter’ not only captures retrospective synth moments, but it also finds common ground with dark and light ambient compositions, making for an extraordinary production effort. I’m eager to hear more from this talented artist and I highly recommend checking out this album as soon as possible. Please show your support and download ‘The Light Of The Winter’ from the link below.

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Links:

https://kalaminerecords.bandcamp.com/album/the-light-of-the-winter

Apocryphos Reveals A Dismal Truth Of Society With The Guitar-Heavy ‘Against Civilization’

Taking into consideration that the year 2020 has been one of the most atrocious years in recent history, it’s safe to say that the perception of society as a whole is pretty detestable at the moment. Politics aside – a subject I will never glamorize in my reviews – times have changed and cultural understanding and guidance seem to have fallen by the wayside. That being said, it must have been like a premonition when Apocryphos released the phenomenal album, ‘Against Civilization’ back in February of this year. The overall theme for this album is exactly what we’re dealing with when it comes to humanity’s embrace on life. These eight tracks of guitar-laden dark ambience reveals the chaos when handling the rage of the untamed.

Right from the opening track, “Heartsick”, there is a dispiriting sensation that prevails when the soothing and melancholic guitar effects begin to play out. There is a somber quality with the tone that instantly suppresses the mood to allow for the prolonged and hypnotic drones to take center stage. “Altschmerz” initiates with an empty space of dread while mesmerizing, layered guitar effects slowly imbue the mix. Acoustic tones play indiscriminately while boosting the various soundscapes that hauntingly play out in the background. “A Feral Nature” begins mournfully, playing depressive and minimalistic drones. Even in the bleak nature of this track, Apocryphos still seems to find a way to mix in beautiful melodies that are not only memorable, but highly addictive to listen to as well. “Dysphagia” commences with a haunting static effect with various soundscapes added in to deliver unbiased nightmares to the listeners. Low-end guitar tones playing in the background to increase the creepiness factor and keeps the overall sound at an abysmal level. “Cupio Dissolvi” continues the use of beautiful, yet dismal guitar drones and the slow buildup to the louder sound level is soothing and leaves the listener in dire anticipation for what’s next. The melodic drones build over time and change in tone often to make this a consoling piece of work. “A Feral Night” begins with a deep, tonal modulation that remains constant and hypnotic. The guitar-heavy drones are reminiscent of an industrialized wasteland as the austere tones are layered perfectly and are used sparingly to provide a sense of apprehension. “Sunken Eyed Theopanies” starts with an astonishing sound that resembles the constant gong of a Grandfather clock. Without hesitation, higher pitched intonations ring in on multiple occasions to ensure this bleak track remains as enthralling as possible. The final track on the album is “ A Feral Kind”. It calmly begins with a mollifying drone that increases in volume over a short period of time. Additionally, it seems to add in a deeper layered drone to thicken the sound. Throughout this track, drone tones are manipulated in higher and lower pitches without conflicting, in order to contribute to this wondrous and minimalistic offering.

‘Against Civilization’ is not like most other Dark Ambient offerings, as the artist relies heavily on guitar effects and tracking to provide layers of massive drones and quality melodies. Not only does that make this a unique contribution to the genre, it’s also one of my favorite Dark Ambient albums of the year so far. Additionally, the songwriting impeccable, and the quality of the material is beyond exceptional. Apocryphos is a staple artist on the Cryo Chamber label and with releases like this, it shows why. If you’ve not heard this amazing recording, now is the perfect time to do so. Please click on the link below and support this stunning album.

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Links:

https://cryochamber.bandcamp.com/album/against-civilization

Sa Bruxa Brings Ominous Nightmares To Life With Perilous Soundscapes On ‘From The Depths’

Have you ever had one of those dreams or nightmares that seem memorable, but when you wake up, you just can’t seem to recall the events that took place? Then, at some random time you come across an object or engage in a conversation that has you suddenly evoking those thoughts from the subconscious that haunted your mind. Fortunately, that scenario will never happen with Sa Bruxa’s ‘From The Depths’, as its chimerical induced soundscapes and chilling drones have the capacity to shift its nightmarish narrative from the subconscious dream state to a ghoulish reality. Containing just a single, nineteen and a half minute track, Sa Bruxa shares a dark and relentless scheme of grim proportions that will have you wishing that your nightmares never existed in the first place.

The albums’ only track, “From The Depths” commences with thunderous tones from the apocalypse, while crisp keyboards play a dismal melody. As this daunting sound continues, an underlying and unorthodox synth synchronizes to condense the sound. In the background, layers of soundscapes and field recordings are contributing to the hellish result of this offering. At around the five minute mark, all of the chaos descends into darkness while a distant drone plays a steady tone. The sound of slow, heavy footsteps (or unknown movements) creep around as if someone is on the hunt for another victim. Random synths and effects produce a harrowing affect as anticipation continues to build. Inaudible voices can be heard off in the distance, adding another layer of mystery to this horrifying track. At around the eleven minute mark, the drones suddenly increase in volume, as terrifying sounds of someone getting closer – and dragging a weapon of sorts – conjures thoughts of imminent and agonizing pain. As the drones continue to increase and decrease, an intense deep breathing sound pulsates loudly, enough to give you a sudden dose of the chills. This happens one more time – less intensely – and then the reverberating drone fades out slowly to end the song.

‘From The Depths’ is a very intense recording and demands the attention of the listener. Although it contains the typical setup of a Dark Ambient recording – drones, field recordings and soundscapes – there is a lot going on and it takes shape quicker than your typical Dark Ambient album. That being said, this near twenty minute long track seems a lot shorter than it actually is. If you’re into the horror and fantasy realm of Dark Ambient, I would definitely recommend checking out Sa Bruxa’s ‘From The Depths’. Please support this innovative artist and download the album from the link below.

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Links:

https://sabruxa.bandcamp.com/album/from-the-depths-2

ElectronicDeathBlackDogs Gestate A Perplexing Theme Of An Uncharted Enigma On ‘The Hidden Paths’

If I were to set a scene for how the music comes across on this album, it would go something like this; you awake from what you believe to be a dream. A bright, burgeoning light glows from the window, drawing you to the exterior of your home. Your senses tell you not to go but without hesitation, you open the door and head out toward a glooming path that has never been seen before. The surroundings look familiar but there is an impression of obscurity in the air. Although you believe you are experiencing anxieties of Earth’s dark offerings, it’s actually the bizarre contributions of a parallel world in which there is no return to reality. Welcome to the harrowing sacrifice by ElectronicDeathBlackDogs known as ‘The Hidden Paths’. The eight prolong tracks contained within, take the listener beyond the reaches of our universe and into another dimension where things are eerily similar but beyond the scope of reason.

Ritualistic sounds of dissonance begin this journey with the field recording-heavy, “Meditation & Technique”. With the calming sounds of a small fire, complimented by the random snaps of burning embers, distant drones begin to emerge in layers, along with industrialized effects. Heavy breathing describes a scene of what was once calm but has now been converted into unconventional discord. The drones intensify and with more distortion and reverb, increasing the chance of a violent altercation during this vulnerable time. “Ash Covered Wasteland” begins with deep drones and low bellowing wind sounds as if this is where the true nightmare is beginning after completing the meditation experience. The space ambience elements of this track are calming, yet leave so much room for many other factors to take over, and that’s exactly what happens once the layered & elongated keys come into play. The sounds are completely soothing but also provide a sense of isolation and desolation. As the listener proceeds through ‘The Hidden Paths’ they will notice things are similar but at the same time peculiarly different. Heavily layered synths and various sound effects add to this shock value, but slowly fades out, as to not cause panic. Further down the path, “Assail” continues the journey in a more peaceful constraint. Soothing keyboards flow in harmoniously and are complimented by birds chirping in the distance. As they increase in sound, a drone synchronizes with the track to provide a balance between the dark and light. Orchestration effects are dominant on this offering and are arranged very well without being over used. At around the halfway mark, it almost goes silent with the exception of the constant drone. Then suddenly, loud buzzing synths roll in unexpectedly as if there were a sense of urgency to continue the journey through the path. “Elder Light” commenced with a tonal alarm affect that slowly fades, while a dark drone sways from one side of the spectrum to the other. Light orchestrations are appeasing to the perception of the surroundings of the path at this point. There are more natural elements in this track, meaning that ‘The Hidden Paths’ is finally leading to a place of familiarity. “The Shores Of Creation” starts with the flow of wind and water elements and then a loud alarm sound rings throughout the land and continues to echo for a brief moment. Brooding drones are introduced with layers of static to give off a really evil vibe. At random, the enormous alarm sound continues to reverberate, causing havoc in this section of the path. Toward the end, the drones take on a more space ambient theme of calmness and acceptance. “Eternal Darkness” is one of the most sinister sounding tracks on the album. Malevolent soundscapes, twisted keyboard effects and a massively dark drone that lies deep within create an ominous sound with a threatening presence lurking close by. Whispers and hisses can be heard throughout as if the listener is being stalked in this portion of the path. Apocalyptic modulations add an intense effect, causing disorientation. “The Edge Of Chaos” takes the listener one step closer to the end of ‘The Hidden Paths’. Although not as dark as the previous track, the use of soundscapes prevail and maintains the intensity as before. The orchestrations (in small parts) make a return on this song and are placed perfectly throughout. Deep grumbles mixed with light keyboard tones shows that the distant end is drawing near. The final few minutes have a beautiful and nostalgic synth wave appeal, as the listener approaches the final stages of the path. “Return” begins with the crackles of hot embers and the swift introduction of space ambient sounds. The harmonic sounds of an angelic choir mixed with deep tonal effects are enlightening and deranged at the same time. As the gathering of sounds intensifies, the listener exits the path to find themself back at the beginning of the the exact same path. There is no escape from ‘The Hidden Paths’ and the paradox that it has created.

ElectronicDeathBlackDogs excels at creating musical endeavors that provide a headspace for conceiving your own adventure. For ‘The Hidden Paths’, I’m not sure of the mindset of the artist at the time this album was created, but it was crafted so meticulously, that it is easy to imagine an adventure that could have been. That’s when you know that a Dark Ambient album has surpassed the expectations of the listener. This is an absolutely amazing album that I can not recommend enough. So, if you’re looking for a Dark Ambient album to put you in a particular headspace to free your mind from reality – although briefly – look no further than ‘The Hidden Paths’. Please support this incredible artist and download the album from the link below.

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Links:

https://lakelabel.bandcamp.com/album/the-hidden-paths

Ajna’s ‘Oracular’ Sets A New Precedence For Minimalistic And Dreadful Ambience

Sometimes, music that terrifies the soul comes in unforeseen forms. Specifically in the Dark Ambient genre, haunting drones and malevolent soundscapes tend to be the vanguard for uncompromising nightmares and emotions. However, it’s the minimalistic approach to ambient music that contribute to the sensation of true isolationism, and that – to me – is a whole new level of horror. The latest release by Ajna, ‘Oracular’, confines the listener into a deep space of abandonment and desolation, so that the mind is held captive by the ten cavernous tracks contained within. The perception of this sixty six minute journey is like having an out-of-body experience and if you sit back, close your eyes and take in the powerful audible message, that’s exactly what will happen.

“Metaterrestrial” opens with deep, brooding notes that are the dawn of a chilling sequence of sounds leading up to a guttural drone with horrifying soundscapes. It’s as if a nightmare from a horror film is playing out before our ears, creating a dark, unforgiving world that is ready to apprehend the listener without bias. Waves of cosmic synths modulate in slow motion, causing relentless tension. “The Unknown” commences with a soft but profound drone, followed by a frantic static sound that abruptly gets the blood flowing. Afterwards, layers of subdued synth tones build a wall of astral sound as it creates an environment for easy mental drifting. The static noises, as well as a few other industrial-like soundscapes randomly make an appearance as an obscure gesture to torment the mental awareness of the listener. The next track of unsettling detail is, “Parallel Hypnosis”. With the soft drones taking a background to the ever changing soundscapes, distraught noises kick things off before halting and giving way to ghostly drones. Irregularly timed industrial sounds give this track a mechanized feel and that benefits the overall theme of the album. “Astral Hybridization” starts with a steady, low end sound with drifting synths blended in, giving it a bit of a melodic appeal. The abrupt soundscapes continue to be a driving force and they can be a bit daunting when least expected. “Rising Above Physical Time (alternate version)” introduces a grim and constant tone that sounds like the aftermath of a forceful bang of a Tibetan singing bowl. Grotesque soundscapes coagulate for a while before fading off in the distance, making this a rather eerie track. “Pneuma” rolls in like a deep winter snow storm, ascending to loud, harsh volumes before descending into uncertainty. Once settled into the depths of cold and despair, irregular modulations crackle through the speakers and icy drones continue to fill the colorless void. As the synth frequency increases, so does the volume, creating a whirlwind of relentless desolation. “Paralysis” wastes no time with the bludgeoning drones, as they pierce the airwaves fiercely right from the opening moment of the track. Without hesitation, moments of harrowing shrills bellow out with full force! After a few minutes, a particular calmness comes over this track but a constant drone maintains a steady vibration while various soundscapes compound with renewed resonance. “Two Red Moons” appears less hectic than most of the other tracks, but still complies with the random drops of industrial-laden soundscapes. “Nightmare Sector” is probably the most sinister sounding track on the album. Although the drones are mid-level in tone, various other sound effects make this one extraordinarily creepy. The last track on the album, “Infinitam Abyssum II” is a true masterclass in claustrophobic ambience. The dreadful phantasm of sound exuded in this final offering is bleak and cold and epitomizes minimalistic Dark Ambient in an unparalleled way.

Ajna has set a precedence when it comes to confined Dark Ambient. With a minimalistic approach to deep, meditative drones complimented by apocalyptic soundscapes, ‘Oracular’ is a highly entertaining album with a consistent and ear-pleasing style throughout. If you enjoy Dark Ambient with a restrained sound amidst innovative soundscapes, then checkout the latest album by Ajna, ‘Oracular’, our now on the Cyclic Law label and available for download at the link below.

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Links:

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