Dark Ambient, Synthwave And Noise Collide on Trajedesaliva’s Intelligent Offering, ‘Ultratumbra’

Sometimes, the best albums out there are the ones that haven’t been heard yet. There are many gems hidden away on bandcamp and often it’s like a diamond in the rough, searching for the one that offers pure cosmic bliss. Fortunately, Bandcamp is one of the best platforms for music these days – especially for obscure genres – so finding an album as impressive as ‘Ultratumbra’ by Trajedesaliva is certainly appeasing to these ears. Combining all of the elements that I love about esoteric music, ‘Ultratumbra’ delivers forty two minutes of musical euphoria that fuses Dark Ambient, noise, spoken word and retrospective synthwave. The modulations that prowl behind every corner are unexpected but are eagerly welcomed, as this album is supremely put together and most of all, enjoyable on multiple levels.

Sonic album opener, “Todo Era Blanco”, sounds like an immediate drift back into time when retro analog synths ruled the airways and the break of dawn demanded its own sound signature. This track builds in grand layers with a lot of reverberation to thicken the sound. The synths are clean without being crisp, like a morning fog clearing before a beautiful day. Spots of percussion can be heard throughout without going overboard and this is such a grand way to start this amazing album. “A Casa Por Las Vías” continues on the strengths of the first tracks with massive, elongated synths that are slightly muffled but concise in the mix. We also get our first listen of a spoken word bit (spoken in Spanish) and it sounds so bleak with the terrifying layer of noises and percussive elements happening in the background. Upon the completion of the spoken word element, there is a climatic shift in music as it builds up in devious fashion before collapsing into a beautiful and melodic synthwave track. “Familia Ferro” commences with a loud, constant tone, followed by a short spoken word piece. It immediately unfolds into harsh noise modulations that shake the foundation with its strident industrial intonations. Next up is the multi-faceted, “Arenas Calientes”. Beginning with a single keyboard chop and then quickly expanding into multiple layers before suddenly unfolding into a mechanized tone, this track goes through several pitch shifts and succeeds at altering ones mood from dark to anxious to downright maniacal. Toward the end, sharp whispers can be heard throughout, adding some mysticism to this already terrifying song. “Mamá Es Un Animal Morado” starts with a jolting tone, like a large turboprop airplane already in mid flight. However, other sound effects are introduced, creating a spacious melody and then spoken words take over. The track deviates from the harshness and turns into a somber affair and the spoken words continue to complete the calming nature of everything that is fused together up to this point. “Mammillaria Sempervivi” is another melodic affair with dreamy keyboard harmonies and a compelling bass line that’s adds a great bit of depth. The spoken words continue to tell their tale and then 80’s style keys and beats commence, adding yet another aspect to this incredibly diverse album. “Queremos Verte” maintains the keyboard harmonies of the last track but adds an extra layer of emotion with superior song writing and haunting production. Even the spoken words sound different in this track, as the narrator seems to be at ease or in a more comforting situation than previously. The final track on the album is “Ultratumbra” and it immediately begins with a line of spoken word before fusing into a harmonic keyboard composition that sounds straight out of the 80’s. This track is magnificently arranged and contains all of the elements that I love about Trajedesaliva. Although it starts out smooth and alluring, there is a middle section that begins to fill out with harsh noises and drum rhythms that’s simply infectious to listen to. This song is so wonderfully arranged, I just wish it would never end.

Although Trajedesaliva is a new artist for me, they’ve been around for over twenty years. It’s a travesty that I’m just now getting to know their craft but I couldn’t be more pleased with what I’ve been exposed to so far. From the retro compositions, nostalgic arrangements, well placed spoken word bits and great use of industrialized noise, ‘Ultratumbra’ contains everything I could ever ask for in an album. I highly recommend checking this one out so please click on the link below and support this amazing artist.

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Links:

https://trajedesaliva.bandcamp.com/album/ultratumba

Multi-Genre Synth Extraordinaire, Jenn Taiga, Cultivates A Nostalgic Collection Of Deft Anthems On ‘Lunar Nocturnes And Esoteric Incantations’

If you’ve listened to Dungeon Synth, Berlin School or any style of Synth music in the past few years, then Jenn Taiga needs no introduction. For all others, well, you’ve been missing out on one of the most talented musicians across a broad spectrum of genres. Last years ‘Plight’, was in my Top Ten list for synth album of the year and remains one of my favorite synth albums of recent years. As time and space progress, I find myself anticipating new releases by my favorite artists – Jenn Taiga included. Earlier this month saw the release of ‘Lunar Nocturnes And Esoteric Incantations’, a collection of six exquisite synth songs that embrace a world of retro darkness and euphoric bliss.

Album opener, “Six Of Swords” first appeared on last years ‘Apostles Against Hegemony, Vol. I: Transitive Properties’ compilation and it was one of my favorite songs from that huge assortment of impressive tunes. Beginning with a dreamy arrangement that slowly builds with haunting leads and cosmic sound effects, this track will surely generate a hypnotic state for the listener and prepare them for the mesmerizing characteristics that gracefully infiltrate the remainder of the album. “Strength” has a beautiful (but mild) Berlin School backing arrangement that is completely lenitive and soothing, while layers of concordant synths provide a rollercoaster of emotive vibes that are unmatched in their scope of memorable influence. Although this track is five minutes in length, I wish that it lasted another ten minutes or so. After a short nostalgic intro on “King Of Swords”, we are treated with a hefty dose of conventional, Berlin School patterns that are soon combined with an ominous arrangement of swaying synth leads and celestial soundscapes that are otherworldly and reminiscent of 70’s retro Space Rock/Synth music that popularized the genre several decades ago. “Justice” is the shortest track on the album at just under three and a half minutes long. However, it’s a monstrous synth piece filled with melody and tasty backing arrangements, making this compact offering a delightful listen. “Braziers Are Burning” commences with a grueling sound, like a distorted warning alarm terrifying an unsuspected community. After that startling lead in, majestic synth offerings come into being and provide a mystical journey of harrowing cadence, cinematic effects and layers of sonic resonance that reveals one of Jenn’s most complete compositions to date. The final symphonic piece on this mesmerizing album is “…As Our Offerings Rise To The Heavens”. At just under nine and a half minutes, it’s the longest track on the album and is an epic ending to this modern-day trip down memory lane. It’s starts with a somber synth fill that sways of lush movements. At just over two minute in, Berlin School melodies permeate the audial channels and we find ourselves falling deep into another legendary excursion. The retro synth patterns are simply amazing and this track is like a continuous build-up to a never ending story. There are several layers of harmony that can be heard in a couple of spots that are hypnotic and could be considered the transcendent soundtrack to a trance-like state of mind. As you continue to ingest the enchanting rhythms of this track, it suddenly fades into the black, leaving you wanting more.

For me, Jenn Taiga is one of the ultimate musicians in the world of synth compositions. Never afraid to venture out beyond a single genre, Jenn Taiga pulls from a wide array of musical aspects to create a sound of her own. Although there is a huge amount of influence from retro synth styles, it’s the polished, modern take on electronic song writing that makes this (and other Jenn Taiga albums) stand out. Whereas ‘Plight’ was in my Top Ten synth album of 2020, there is no doubt that ‘Lunar Nocturnes And Esoteric Incantations’ will be in my Top Ten list for 2021. If you’ve not heard this mind-blowing album yet, please click on the link below and relish in the greatness.

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Links:

https://jenntaiga.bandcamp.com/album/lunar-nocturnes-and-esoteric-incantations

Humanfobia Fuse Dark Electronic, Dungeon Synth And Avant-Garde On The Impressive ‘Vampiresa’

As I continue my deep dive into music of the obscure, I often find myself enthralled by artists that know limitless boundaries for presenting their craft. Although there have been many instances of genre-bending throughout the years, there are still elements that I find new (and intriguing) that stops me dead in my tracks, enough to warrant my undivided attention. Humanfobia is one of those artists that combines elements of dark electronic, avant-garde, and even Dungeon Synth to create a unique universe of audial sophistication and elegance. On last year’s ‘Vampiresa’ release, six tracks of ambiguous compositions solicit an enigmatic approach to synth music that is powerful and mesmerizing.

Right from the start, “Enchanted Castle” imposes a barrage of symphonic sounds from multiple genres, combining them to form an impressive opening track. Haunting vocals are layered over hefty beats and distorted tones and as a slight tonal shift occurs, the vocals continue to tell its story almost until the final note is played. “Ataúd Solitario” begins with the tolling of a bell and a slight build up of the music. Synths play up and down a scale of notes while a rhythmic drum beat provides a polyrhythmic groove. At the same time, dreamy vocals build and contain various effects to give it a thick, layered sound. Hints of gothic undertones can be heard throughout, as this obscure piece goes through a rotational pattern with the music. “Vampiresa” is a creepy little track that contains some nice Dungeon Synth elements and haunting narrations. There is also a monstrous vocal effect in the background that is downright sinister. The drum beats in this track are pretty cool and show a modest Crypt Hop influence. “Ajos y Cruces” is another Dungeon Synth-heavy track with spacey vocals and an overall Renaissance era vibe to it. “Vampiric Ancient Transmutation” commences with heavy distortion and echo effects that get absorbed into a dark drone, while eccentric vocals begin to make their way into the mix. At the same time, backward narration samples add an alluring feel to this track that is completely devoured by a grim ambiance. The final track on the album is “Ataúd Solitario (Burial Version)”. It begins much like the original version but the drum beats and keys have been replaced with melancholic synths and eerie soundscapes. The vocal performance is still the same, which stands out in both versions of the track.

Humanfobia is a unique and talented entity that has a vision for arcane compositions and seems to feel comfortable at fusing any genre they can to produce quality synth music. ‘Vampiresa’ is a fascinating EP in quite an impressive catalog of releases that I’m still diving into from this artist. If you’re into esoteric music and albums that fuse various genres of music, then I recommend checking out ‘Vampiresa’. Click on the link below and support this artist and check out the large catalog of albums available on their bandcamp page.

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Links:

https://humanfobia-official.bandcamp.com/album/vampiresa-ep-2020

Ambitious And Hypnotizing, Dagmar Gertot Conjures An Enrapturing Improvisational Chronicle Called ‘Os Lacrimale’

I remember my first time experiencing Scott Walker’s ‘The Drift’ album back in 2006. For those that are not familiar, Scott Walker is a singer-songwriter that had a string of avant-garde albums late in his career, which were a heretical change of pace from his pop beginnings. At any rate, ‘The Drift’ (at the time) was one of the most mesmerizing recordings I’ve ever heard, and at times, it was downright terrifying as well. Fast forward to present times, and once again I am feeling the exact emotional state with Dagmar Gertot’s debut album on Cyclic Law, ‘Os Lacrimale’. Eight tracks of vocal and instrumental improvisations that invoke a sentiment of aimless wander and endless nightmares.

The merriment begins with the portentous “Iron Cradle”. Commencing with a single, unbridled note – that seems to be a fusion of a horned and stringed instrument – the vocals suddenly belt out with an inaudible presence, but present heavy Middle Eastern influences with regards to vocal control and technique. This is improvisation at its best, as there is a particular chemistry between the instrumentation and vocalist that will certainly resonate with the audience. Next up is “Non Healing Wound” and although it slowly crescendos out of darkness, a maniacal presence will soon unfold by way of chilling stringed instruments and mesmerizing vocal effects. This one is a slow builder and finds every aspect of the arrangement coming together in a deranged harmonic variance, while the vocal performance creates a segregated instrument that stands out all on its own. “Snake Dance” starts with an operatic-like vocal performance that assembles with layers of odd harmonies. Although just over a minute long, this track packs a powerful punch and truly showcases the talent of Dagmar Gertot. “Delirious” is one of my favorite songs on the album as it is as entertaining as it is mysterious. Vocals are, once again, perfectly layered and in the background, ritualistic instrumentation sets a bleak scene that is soon filled with Oriental influences and haunting soundscapes. “Two-Headed Roe Deer” begins with crackles and hisses of vintage tape loops, while random stringed-instrument screeches and off-key piano notes create a dismal soundtrack for the vocal performance that – at times – wanders off in the distance. “Pyromaniac” emerges as an a cappella track with soft, layered vocals and an underlying track of deep grunts and growls. Without notice, various instruments play in alliance, but with different types arrangements, as if they are out of synchronization and trying to find their way to a unified sound. Toward the end, the vocal patterns become more eccentric, as if anxiously finding a rhythm to latch on to for a continued aural assault. “Nude Metemorph” begins with choir like vocal harmonies being played in a dream state. As the vocals become more eclectic, the dream turns into a nightmare, intensifying the listening experience. The music for this track is down right dreary and the vocals are some of the most chilling to be heard yet. The final track on the album is “Anathema”. Starting with a refreshing vocal harmony of inaudible cadence, random piano keys create an abhorrent atmosphere that is sure to induce a trance-like state (if allowed). At times, it seems as if the vocals and piano are trading off, telling two versions of an intense story that has no words, but one that can be felt through the power of music and emotions.

Dagmar Gertot’s bold statement of vocal and instrumental improvisations on her first album, ‘Os Lacrimale’ is a magnificent listen and widely open for interpretation. Although I mentioned a comparison to the great Avant-garde artist, Scott Walker, in my opening remarks, Dagmar Gertot transcends any single genre or classification and doesn’t deserve to be held back by any barriers. Whether you’re into ambient, experimental, ritualistic sounds Or avant-garde, ‘Os Lacrimale’ will definitely appeal to your musical taste. I highly recommend this unique artist, so please head over to the Cyclic Law Bandcamp page, or click on the link below to download this amazing album.

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Links:

https://cycliclaw.bandcamp.com/album/os-lacrimale

Eighth Tower Records unveils companion book for ‘The Black Stone – Music For Lovecraftian Summonings’

The Black Stone – Stories For Lovecraftian Summonings

In January of this year, Eighth Tower records released another groundbreaking album of Dark Ambient resonance that featured the best-of-the-best artist of the genre. Some of them are amongst my favorite and include Mombi Yuleman, Alphaxone, Ashtoreth, NEW RISEN THRONE and Moloch Conspiracy to name a few. All of these artist successfully constructed Lovecraftian-themed tracks of fascinating darkness and a sonic exploratory of unmatched mythical subject matter. Fast forward a few months and we find another innovative event for Eighth Tower Records in the form of their first-ever book release. A companion to ‘The Black Stone’ album, it is entitled, ‘The Black Stone – Stories For Lovecraftian Summonings’ and features twenty seven tales of horror inspired by H.P. Lovecraft and his Cthulhu Mythos.

Here is some additional information about the book and writers, as found on the Eighth Tower Records Bandcamp page:

Featuring: Ramsey Campbell, Brian M Sammons, Glynn Owen Barrass, Lucy A. Snyder, E.A. Black, Chris Kelso, Andrew Coulthard, Stephen Mark Rainey, Kevin Lewis, Richard A. Scott, Russell Smeaton, John Buja, Made in DNA, David Agranoff, Pete Rawlik, Brian C. Short, Michael Housel, John Chadwick, David Voyles, Konstantine Paradias, Edward Morris, Parry Milton, Phil Breach, Garrett Cook, Andrew Freudenberg, Love Kolle, Sarah Walker.

Curated by Raffaele Pezzella
Cover illustration by John Chadwick
Editing by Parry Milton

https://eighthtowerrecords.bandcamp.com/merch/the-black-stone-stories-for-lovecraftian-summonings-book-cd
https://eighthtowerrecords.bandcamp.com/album/the-black-stone-music-for-lovecraftian-summonings

Grab a copy of this book before it’s sold out and if you’ve not heard the amazing album that was released back in January, do yourself a favor a download that one right away for a stunning audial experience.

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Links:

https://eighthtowerrecords.bandcamp.com/music

https://unexplainedsoundsgroup.bandcamp.com

Cryo Chamber Label’s Seventh Lovecraftian Collaboration, ‘Yig’, Is The Most Versatile Offering In The Series Yet

Since 2014, the Cryo Chamber label has embarked on an annual endeavor that epitomizes the meaning of artist collaboration. Paying tribute to world renowned author – and creator of the Cthulhu Mythos – H.P. Lovecraft, these musical ventures have proven time and time again to be epically daring and adventurous beyond the realm of typical artistry participation. Consisting of mainly album-length tracks, these Lovecraftian collaborations find the gathering of current Cryo Chamber artists, alumni of the label, and additional artists that are some of the best in the business. As each album culminates an evolution of sound and dynamics, they also improve with more sophistication and a variation of modular potency. The seventh (and latest) album in the series, ‘Yig’, consists of two songs that are around seventy minutes in length each and the transparency of these arrangements make it the most accessible and auditory one yet.

“Yig 1” wastes no time in creating a cinematic ambience, as mystifying soundscapes and fearless drones find a balance between sinister accord and Middle Eastern vibes. Percussive elements of a tribal nature begin to create a ritualistic groove that challenges the senses which results in being caught between darkness and a theatrical emotive state. As the percussion slowly fades, it gives way to deep, peaceful drones that succeed in delegating mental prowess to the subconscious. Various field recordings and effects paint an eerie scene, but this is just the beginning. At the twelve and a half minute mark, electronic beats add a rhythmic cadence that is downright sinister, but it is also a well designed section for this track as it adds an authentic layout to the ominous subject matter. One of my favorite sections of this track starts at around the twenty eight minute mark. Up to this point, the output has been mostly dark and malevolent in nature, but here there is a particular calmness that is a perfect inclusion. Layers of vibrant drones create a spacey vibe while keeping it melancholic at the same time. It’s so easy to get lost in this section as it’s so dreamy and introspective. If you’ve not done so up to this point, you’ll want to close your eyes and soak in the fantasy world that is being created. This section carries on for about seven minutes or so before traversing into darker territories again. At around the forty seven and a half minute mark, another important section of this track is introduced. Commencing with a good mix of field recordings, it is soon joined by West Asian instrumentation and some wicked vocalizations that are barely audible. After a few more very powerful sections of this track, we finally make it to the last few minutes, which ends in the same fashion as it started – unique field recordings and beautiful instrumentations that provide the cinematic finale to this grandiose piece. “Yig 2” is another impressive feat of legendary proportions. Starting with dark, desolate drones and apocalyptic soundscapes, the beginning sets a ravaging pace of systematic annihilation for the next seventy minutes. At around six and a half minutes, spacious drones meander in slow motion while a calming effect pierce through its dense layers. The looping effect creates an arcane sensation and the trance-like results are mind blowing. Another impressive section begins at around nineteen minutes in. As one section transparently fades into the next, this one has soaring guitar and piano leads with almost a dark noir sound. I could listen to a whole album of this stuff. Well played and just enough distortion on the percussive parts to change things up a bit, this is one of my favorite parts on the whole album. Starting at around the thirty two minute mark is probably one of the most essential sections on the album, as it really provides that nostalgic Lovecraftian vibe of horror and fascination for darkness. The bombastic drum beats combines with various drones and soundscapes create a menagerie of sound that is addictive and suggestive of the subject matter. Ominous and explosive black ambience is captured at around fifty two minutes in, as elements of industrialized drones begin to take over. The sound continues to grow darker and more perilous as a sense of anxiety begins to mount. However after a few minutes, that is counteracted by soft, soothing drones that successfully develop into an emotional journey for the final few minutes of this monumental album.

One of the most impressive aspects of the ‘Yig’ collaboration is how over twenty artists from all over the world, supply a version of their craft for this themed story with absolutely no opacity between parts. We’re talking two, seventy plus minutes tracks of some of the best arranged Dark Ambient material that has been produced recently. That extraordinary effort has made ‘Yig’ one of my favorites amongst the Cryo Chamber Lovecraft Collaboration series. If you’ve not heard this yet, I highly recommend checking it out by clicking on the link below.

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Links:

https://cryochamber.bandcamp.com/album/yig

Guan Yin Video Premiere For “Repentance II”

In May of 2020, I reviewed an extremely diverse and unique collaboration album released on Akashic Envoy Records called ‘Apostils Against Hegemony, Vol. I: Transitive Properties’. Although that album contained thirty three extraordinary tracks, I detailed ten of them that stood out the most. Amongst those standout tracks was “Evocation I” by Guan Yin. The ritualistic essence laid a foundation for bleak drones, discordant vocals and black ambience and left me wanting more. The time has finally come for a new track and I’m extremely excited to present the video for “Repentance II”. It’s everything that I expected it to be and so much more. I hope you enjoy this song as much as I do and please visit the links at the bottom of the page.

Information from the artist/label:

Guan Yin: a ritual ambient project from multi-instrumentalist Cicatrix (Nodus Tollens, Chernozem – they/them)) and vocalist Espi Kvlt (Seas of Winter, Apricitas, Nehushtan – they/he).

In much the same way that the duo’s other collaboration Exsanguinated Shade doesn’t fit neatly within the parameters of a single genre, Guan Yin doesn’t approach ritual ambient in the traditional way. For starters, there are no occult themes in the duo’s music – Espi Kvlt is a practicing Buddhist, and all of their lyrics come from Buddhist texts. From a musical perspective, Cicatrix draws as much inspiration from power electronics artists like Prurient and Theologian as they do from the ritualistic sounds of Corona Barathri or Emme Ya.

For the dark and frequently harrowing half of their split with cinematic ambient duo Sun Through Eyelids, Espi Kvlt took their lyrics from the Platform Sutra of the Sixth Patriarch, specifically the section on Repentance. They chose that particular text because they were struggling with a mistake they made around the same time the duo were working on the split, and when dealing with serious life issues, the way they tend to overcome the pain and suffering from said issues is by making music. By focusing on the Repentance section of the Platform Sutra of the Sixth Patriarch, they were able to heal through singing the words and forgive themselves for said mistake. While no amount of repentance can ever truly eliminate the pain caused to another, it can serve to spread good will into the world and bring loving-kindness to any beings we have wronged.

The Sun Through Eyelids/Guan Yin split will be available on cassette from Acepahle Winter Productions on March 19. Limited to 50 copies on metallic silver shells. Preorders launch on March 5.

Links:

https://guanyin.bandcamp.com

https://acephalewinter.bandcamp.com

https://sunthrougheyelids.bandcamp.com

Aleksis Tristan Shaw Reveals An Array Of Influences On The Cinematic ‘Drones Of The Hive’

I’ll be the first to admit that it’s hard to soak in and preserve a lasting affection for many of the albums that I review. It’s not that I don’t like them, in fact, I’ve been fortunate to love everything that I’ve reviewed up to this point. Once I’m finished with one, I tend to put that album on the back burner (for a while), so that I can move on to the next. However, there are many instances where an album stops me dead in my tracks and enthralls me for multiple listens, with an extended staying time on my iPhone. ‘Drones Of The Hive’ by Aleksis Tristan Shaw is one of those albums. Not your typical Dark Ambient release, this one digs deep into emotional wounds with grandiose, cinematic energy, ominous synth leads, and an endless supply of menacing soundscapes & textures that set the mood for continual meditative euphoria. The ten imposing tracks contained within, offer variety, horror, substance, and unequivocal entertainment for the better part of forty eight minutes. Let’s take a deeper dive into each of these tracks.

The album commences with the somber, “Human Remainder”. Soft keys and pads drift sadly as they create a lush melody that will instantly reel the listener in. Soon after, harsh, looping keyboard tones ring out like a warning alarm while the cinematic instrumentation increases. “Vestigial Cries” begins with low, tonal sounds that set a grim mood. High-pitched drones oscillate throughout the track, providing a glimmer of hope to the emotional vibe that was previously set. Layers of synths piece this track together boldly with hints of dissonance and conflict while never loosing focus on the contemplative state. “Shamanic Atavism” is brimming with discordant synth leads while the background sounds like a black metal style song into. This track is very dark, yet dreamy and introspective. “Tenement Graves” is another gloomy piece that features the sounds of a crackling fire and a nifty drum beat that fits right in with the pace of the synths. As the percussive parts change up, multi-layers of quixotic keys & pads provide a grandiose audial platform that’s so easy to get lost in. “Dukkha And Anatman” is a multifaceted track that goes from horror score, minimalistic droning, to cinematic bliss. The use of percussive elements really stick out as well, making this one of my favorite tracks on the album. “Drifting Consciousness” renders terrifying drones, looping soundscapes and unidentifiable noises that will keep the listener on edge. Although this is one of the shorter tracks on the album, it succeeds at masking a horrifying feeling of dread. “Fugitive Drone” is an addictive listen, as the quirky keys & pads fuse perfectly with the cosmic drones, proposing the feeling of a doomed celestial mission. About halfway in, a blast of malevolence alters the tempo, setting up for a lifeless finale that can’t be altered. On the polar opposite of the scale is “Untethered”. Looping tape hisses, minimalistic drones and obscure field recordings dominate this track and when the pulsating drum beat is initiated, it gets that much better. Amongst the crackles and pops, this is actually a really smooth and mellow song that deserves multiple listens. “Caravan Of Outcasts” begins with an ambiguous orchestral arrangement, like a symphony warming up in various keys just before the conductor provides the signal to silence everyone before starting a performance. However, there is beauty amongst the chaos, as melody can be heard throughout. Wind chimes and other field recordings add a layer of organic texture that makes this one stand out as well. The final offering on this wondrous album is, “The Wastelands”. Even though it’s less than three minutes long, this light ambient opus is full of emotions and provides a cleansing affect on the mind and soul. The energy surrounding these hollow drones is breathtaking and it seems to ends too quickly.

Aleksis Tristan Shaw certainly has an ear for not only Dark Ambient but synth music in general. Whether fascinating the listener with cinematic soundscapes, horrifying drones or melodic synth leads, Aleksis Tristan Shaw knows how to administer the perfect blend of music and emotion and the result of that fusion is ‘Drones Of The Hive’. If you’re into ambient recording with meticulous detail and a variety of flavors, then please show your support by downloading this amazing album from the link below. This is truly a masterpiece in sound quality and music depth and it deserves your attention.

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Links:

https://aleksistristanshaw.bandcamp.com/album/drones-of-the-hive

The Wyndham Research Institute Constructs A Retro-Grade Space Ambient Album With The Cosmic, ‘Interim Report No. 57: Io Transmitter Sub-Committee’ Release

When we think about the characteristics of space ambient music, usually deep, prolonged drones come to mind and they are complimented by resounding soundscapes that are celestial in nature. As a listener, we often feel as if we are alone on a spacecraft traveling through deep space on a doomed mission. However, not all space ambient albums have to carry out the same accord and that’s none more apparent than on the latest album by Wyndham Research Institute, ‘Interim Report No. 57: Io Transmitter Sub-Committee’. Elongated drones are replaced with retro synths and cosmic soundscapes that are more inline with a 60’s science fiction show soundtrack than modern space ambient. Fortunately, that’s the beauty of versatility in music and the creative complex. Although these compositions seem nostalgic, they are effective in creating a dark, intricate atmosphere that’s perfect for any ordinary space adventure.

Each of the seven tracks are presented as notes, as if to represent a transmitted sequence at a particular point of time. Right from the start, “Note I” has a retrospective feel and presents sound effects that could have be heard on a 60’s science fiction show. Minimalistic noises and tones serve as a beacon of nostalgia, just as older spacecraft lack the technology of newer ones. “Note II” begins with obscure modulation bends and frequency adjustments, as a smooth drone sets in to define the mission at hand. Organic effects tend to be a bit distorted and at around the halfway point, more antiquated tones generate a puzzling nuance as if an impromptu meeting with a foreign being is about to take place. The start of “Note III” reminds me of a special effect that Tool or Voivod would use, just before setting into a crushing riff. However, Wyndham Research Institute decides to dial back the noise to a low-frequency drone and more obscure soundscapes. Random ticks and buzzes play on throughout the track, making this a really unique experience. “Note IV” commences slowly into a hollow drone with piercing signals mixed in. Soon after, an 80’s-style horror themed synth pattern begins to play, making this one of the most terrifying tracks on the album. Assorted scratches and screeches intensify the scene as these unidentifiable patterns can only mean mayhem. “Note V” is like a spark of controlled chaos, as various discordances are fused together to present a grueling environment filled with intense moments and obscure happenings. Melodic keys are played throughout, adding a bit of peculiarity to this bizarre track. “Note VI” is one of the most accessible songs yet, as the smooth flowing drones prevail from the very beginning and ascend into layers of deep space bliss. Light soundscapes and an acoustic guitar strum are introduced as well, creating an intoxicating adventure. However, the additional attributes don’t last too long, as they slowly fade out and all that’s left is an austere drone to finish out the track. The final song on the album is “Note VII”. Commencing with a high-pitched frequency vibration and distorted ambience, the track shape-shifts into a mild-tempered hum with a slight Berlin School influence. The heartbeat-like percussive element is a welcomed sound to this final track as many new musical forms are merged together to what may be the best track on the album. The final minute consists of a continuous hiss, reminiscent of a combustion chamber of a spacecraft, thwarting a lonely cosmonaut into the far reaches of the universe.

Wyndham Research Institute have uniquely carved their own path for creating a variety of Dark Ambient, influenced by science fiction of an obsolete sound. This is also a breath of fresh air in the ever-growing Ambient community where modern, complex themes dominate most recordings. ‘Interim Report No. 57: Io Transmitter Sub-Committee’ is a rare treat for the Space Ambient sub-genre and is an unprecedented achievement for modern synth music. I highly recommend checking out this album so please support Wyndham Research Institute by download it from the link below.

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Links:

https://wyndhamresearch.bandcamp.com/album/interim-report-no-57-io-transmitter-sub-committee

Ashtoreth & Chthonia Join Forces To Conjure Ritualistic Ordeals On ‘Throne Of Astrōarchē’

To me, Dark Ambient is much more that a listening experience. It’s also a journey into ones own mind, to the realm where the conscious and subconscious rarely fuse together. Even though the soothing – often grim – elongated drones elevates our psyche to the realms of the unknown and produce a trance-like emotional state, there are other variables to consider as well. In the case of the magnificent collaborative effort of Ashtoreth & Chthonia, the use of ritualistic soundscapes, haunting narrations and chilling black metal-esque shrills can also produce a comparable outcome. On ‘Throne Of Astrōarchē’, four sinister compositions is all that is needed to coalesce the inner oracles of the mind, releasing a feeling of modular discomfort and ethereal tranquility.

To begin the ceremonial happenings, “Asir” boldly combine many of the elements I previously mentioned. Dark, liturgical soundscapes make a menacing introduction as they are combined with insane Black Metal styled vocal effects and sacred narrations that will have the listener fully engaged. Void of any prolonged drones, it is replaced by creepy sound effects that enhance the grim vocal arrangements. “Nehalennia” commences with a consoling drone that captures the essence of spiritual beauty, along with various soundscapes and ringing bells. I love how nothing is rushed, allowing for the mood of the music to take hold of the listener and bring them into this dark, captivating world. At almost seventeen and a half minutes long, there is plenty of time for many additional things to occur that will build this mystical journey to be remembered. At around the four minute mark, the drones begin to assemble in layers, creating a space-like vibe. However, as soon as the vocals come in, this track takes on a whole new meaning. This song has such an esoteric vibe that it’s so easy to get lost in its dark beauty. Even at its epic length, this song just isn’t long enough and is easily my favorite one on the album. “Marmarospilia” begins with a field recording of a rain storm and what sounds like crashing waves. However it is soon joined by warm drones and synthwave-like keys and pads, producing more of an obscure sound than on the previous tracks. The layering of these elements create such a massive atmosphere, even with a minimalistic arrangement. This fascinating combination carries on for the better part of twelve minutes and the time passes much quicker that it seems. The final track on the album, “Baetyl”, opens with ominous, howling winds that – at times – screech at piercing volumes. Soon after, the combination of soft, effervescent vocals and deep, guttural tones of throat singing begin to emerge as if providing the main drone for the near fifteen minute long track. Various spots of soft whispers and devilish shrills continue to tell an eerie story that remains gloomy and mysterious. Several times throughout the track, the vocal intensity increases, but always descends into darkness as to not take away from the ritualistic experience. The malevolent chanting that occurs in the last few minutes are epic and I really wish there was more occurrences of this on the album. However, that doesn’t distract from the fact that this song has a certain purity that is nearly perfect from start to finish.

I’ve been a big fan of Ashtoreth for quite some time now and I enjoy the emotional journey he creates through his music. His diverse back catalog crosses several music genres, yet his energy remains the same throughout. This effort, along with Chthonia, is no exception as it takes the listener on a bleak, ritualistic journey that is as haunting as it is cleansing. I highly recommend this album for those of you that like to wander beyond the normal boundaries of Dark Ambient, especially if the addition of harrowing vocals and narrations are your thing. ‘Throne Of Astrōarchē’ is the album for you and it demands to be taken seriously. Please support this outstanding collaboration and download this album from the link below.

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Links:

https://ashtoreth1.bandcamp.com/album/throne-of-astr-arch