Almost two hundred and seventy years ago, Earth experienced the rise of the Industrial Revolution. This was a time when hand made goods gave way to much faster and efficient machinery. As this dynamic became more large scale, so did the exponential use of factories, broadening the scope of expansion and a necessity for expedient reliability. However, a looming downfall became present in the form of perpetual harsh noise, the release of deadly chemicals in the air and the rise of healthcare concerns due to smog and pollution. Although the Industrial Revolution has come and gone, lingering developments from that period are still in use, especially in the form of large-scale factories – which continue to deliver the negative anomalies as in the past. That brings me to the fascinating new album by Conducive called ‘Vanterwood Industries, Inc.’, a three track magnum opus that focuses on the chaotic elements of industrialized tormentors and their abrasive influence.
“At The Edge Of Town” is a powerful seventeen plus minute album opener that doesn’t waste any time delivering a menacing scene of black smoke, dense fog and voracious machinery with an insatiable appetite for devastation. With industrial chaos thrashing at full speed, this unstoppable presence creates an intoxicating fabric of endless sound with an intriguing appeal of mesmerizing modulations. The sound patterns on this track loop with full force, creating an anxious blend of eerie commotions and an intensity that is destined to pummel everything in its wake. Additional heavy machinery noises begin to take shape in malevolent pattern that increases with ferocity as they cycle through their creative process. As the droning ambience begins to thicken, a sense of chaos is abound, increasing productive and unabridged wear and tear simultaneously. As the machinery is pushed to the brink of its capacity, a sense of dread begins to compound, while melancholic intonations are scattered throughout, like a sudden disharmonic side effect that may soon breakdown the workload of the machinery. The track abruptly stops, as if a horrified worker suddenly presses the emergency stop button, putting an end to the noise abscondment. The second track is the short, “Outside The Factory Walls (12pm)”. At just under two and a half minutes, this track represents a much needed break time from factory endeavors and although it’s much more peaceful than the first track, it continues to showcase another side of endless noises that invade outside. From natural sounds to motor vehicles there is no actual peace from the turbulent sounds that fills the audible space in our lives. The final track on the album is the near twenty minute long, “The Brink Of A New World”. Commencing with a soothing drone, a variety of one-off sounds create a dawning soundscape that slowly intensifies over time. The alluring effects casually accelerate into a wall of distortion that increasing multiplies as the track continues to unfold. At about halfway in, a motley of heavy machinery produces a synchronized pattern of dominating vortex energy that translates into harsh, mechanized chaos. Soft synth pads are tenderly introduced, giving us a somber reminder that industrialized machinery is a dominating force that cannot be stopped and that our surrender to its malevolent presence is impending.
Although Conducive has only been around for a short period of time, the creative force of this project is extremely satisfying. The chaos produced on this album allows for endless, imagined possibilities and is addictive to listen to as well. To some that may not be familiar with the genre of harsh noise, their only takeaway may be that it’s just an album full of perpetual chaos. However, there is an element of beauty that is represented on ‘Vanterwood Indistries, Inc.’ that stretches far beyond noise. If you let your imagination go and soak in all of the intricate details that may go overlooked, you’ll be completely satisfied with the end result. This album is absolutely amazing and without a doubt, my favorite offering by Conducive. If you’ve not checked this one out yet, you’re missing out on an amazing experience that is like no other. Click on the link below and begin your trip through the industrial wastelands of ‘Vanterwood Industries, Inc.’
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One of the bleakest forms of Dark Ambient music is known as Dark Industrial. Combining an esoteric blend of Dark Ambience, terrifying ritualistic undertones and a mechanized form of harrowing drones, Dark Industrial is definitely not for the faint of heart. One of the most consistent producers of this form of music is Pavor Nocturnus. With a stint of terrifying full-length albums, dismal split albums and a handful of singles, Pavor Nocturnus is one of the premier acts the genre has to offer. I had the honor of interviewing the dark entity behind the project and received some great insight on the driving force behind this amazing music.
1. Thank you very much for taking the time to answer a few questions. Congratulations on the release of your latest album, ‘Ecatombe’. What type of theme did you have in mind while writing this album?
I started writing “Ecatombe” during the first pandemic wave, collecting suggestions and thoughts that stormed in my mind during those months spent in confinement. Then I synthesized those moods in archetypes and transformed them in sound. I think that each track title is pretty self explanatory.
2. It’s been just two years between the release of ‘Ecatombe’ and the previous album, ‘Bosch’. Were there any delays between recordings or were you involved with other projects?
“Bosch” release has been delayed several times because of the pandemic, from the end of the recordings it took almost two years. Once the album was out I started recording “Ecatombe” and it took almost the same time to be released; I spoke with Frederic (Cyclic Law) in the first months of 2022 but he told me that the release would have need time to be out. In the meantime I had the chance to restart the live activity that was interrupted by the pandemic.
3. ‘Ecatombe’ was released on the mighty Cyclic Law label. Was this your first release with them? Do you have any future releases with them as well?
This is my first release with Cyclic Law, it is a great achievemnt for me to release my work with this prestigious label alongside many important artists I admire.
There are no other releases planned with Frederic at the moment but hopefully we will have the chance to do something else together in the future.
4. Your previous album, ‘Bosch’ was released on Italy’s Toten Schwab Records. That album definitely fit right in with the dark, industrial vibe of the label. How was it working with Toten Schwab for that release?
“Bosch” was released on Toten Schwan Records and Dio Drone, both labels are runned by friends and despite the difficulties we encountered, as I stated before, due to the covid 19 emergency, I was very glad to make this release with such like-minded people.
I’ve known Marco (Toten Schwan) for a long time, we have also recorded and released some music together under the monicker “Cameraoscura”. Concerning Dio Drone I really admire the work Naresh makes with his label and all the people involved in his projects, we shared some live gigs together and I am looking forward to hit the road again with him.
5. I really enjoyed that album and reviewed it back in 2022. Was there a particular vibe you were going for back then?
My intent was to translate in music not only the beautiful symbology of H. Bosch’s paintings, but also the impact those images had on me and my personal, emotional interpretation. I felt an intense experimental freedom during the whole creative process.
6. What does the name Pavor Nocturnus mean and why did you choose it as your project title?
Pavor Nocturnus means “night paleness” or “night terror” in latin, it is a sleep desease that can occur during childhood. I suffered of this kind of desease while I was a child and when I started my project i thought this monicker could be representative of the mood of my music.
7. Before starting Pavor Nocturnus, were you involved with any other musical endeavors?
I played in some black/death metal bands when I was younger, but Pavor Nocturnus is my first personal project.
8. What intrigues you the most about Dark Ambient and/or Dark Industrial music?
In my opinion the most fascinating thing about these musical genres is the range of emotion they are able to evoke, putting the listener in an immersive sonic enviroment. Everyone can experience something different according to his personal perception.
9. You’ve release several collaboration tracks over the years and I’m most intrigued by your collaboration with New Risen Throne called “Collapse Of The Orbiting Void”. How did this collaboration come about and do you have any possible plans for a full length release with New Risen Throne?
I wrote to Gabriele/NRT during the pandemic asking if he was interested in doing something together and in a couple of months we started to record and share some tracks. I took care of the arrangement, mixing and mastering process, while Gabriele was working on a computer graphics video for the track. He had this 3D model called “The Void” so that’s where the title comes from.
Besides being a great musician and 3D artist, Gabriele is also a very nice person, his work is always inspiring and I would be glad to work on something else together with him in the future.
10. What was your very first release as a Dark Ambient artist and how has your musical expression expanded since that release?
My first official release as Pavor Nocturnus was “Streghe”, an interpretation of witches’ imaginary, primordial rituals and mysticism. Back then I was not that much into electronic music, I was just looking for a musical language that could translate my intentions, that could give me freedom in composing my music. I think that a lot of my metal and classical music background merged into that album. Since then my musical approach has changed consistently and I don’t consider my music as dark ambient, despite it contains that kind of flavour of course. I have released four albums now as Pavor Nocturnus and each album sounds different from the previous one, this is something I would like to pursue in the future.
11. What has been your favorite album that you’ve released so far?
I do not have a favorite one, each album means something different to me and every release is a step forward in my growth as a musician and as a human being.
12. How do you record your eerie soundscapes? Do you record your own field recordings (if any)?
I use a mix of field recordings and sound synthesis, mangling the sounds with some samplers and effects. I have collected a lot of field recordings while working on “Bosch”, and usually when a sound intrigues me I record it and store it.
13. Do you have any album release plans for 2024?
There is going to be a release in autumn, a very limited physical edition of some material I recorded after “Ecatombe”. More info soon…
14. Have you ever played any live sets? If not, is that something that you might be interested in?
Playing live has become a fundamental part of my musical activity, in the last years I have been focused on touring in Italy, Europe and UK. Some years ago I had the opportunity to play a gig in Montreal and I would like to come back in Canada and USA.
Now I will take a break from live activity to work on some new music.
15. I really appreciate your time for this interview, and most of all your incredible music! Do you have any final words for those that may be reading this?
I would like to thank you David for this interview and for your interest in my music. My gratitude goes also to all the people that keep on supporting independent/experimental artists with interest and passion.
This was another fantastic year for Dark Ambient music. Not only were there many releases from well-known artists, but there were many great releases from up and coming artists as well. That being said, I was a fan of so many Dark Ambient albums this year, that it was almost impossible to come up with a Top 10. I could have easily had a Top 100 but it would have taken me forever to compile and write about each of them. After much thought (and a few changes along the way), I’m happy with this Top 10 list and hope you enjoy it as well. If some chance you’ve not heard any of these projects, I highly recommend them. Happy readings, Happy New Year and I already can’t wait for 2024!
10. Monasterium Imperi – Sanctium Choir Collection
Scorpio V has released four extremely impressive albums under the Monasterium Imperi moniker this year but ‘Sanctium Choir Collection’ is the grandest of them all. Over two hours of bleak, Gregorian chants over haunting drones is exactly what I love about this project and ‘Sanctium Choir Collection’ delivers in a monumental way. In all honesty, I wish this album was about four hours long but the seven epic tracks contained within will do just fine. Perfect for meditation, background noise or sleep music, I can’t recommend this one enough. Even though it’s only been out about a week, it definitely deserves a spot on my year end list. Don’t sleep on this one!
Infinexhuma released ‘Denown’ back in March and it’s been one of my go-to Dark Ambient albums ever since. Featuring a murky blend of industrial noises and immeasurable drones, this album almost has a ritualistic essence to it. This intense collection of colossal modulations is – at times – downright terrifying. There are bits of sinister vocalizations that will have you checking the perimeters for evil entities and I wouldn’t recommend this to fall asleep to, unless you desire the most extreme forms of nightmares in existence. Highly recommended for fans of more extreme forms of Dark Ambient music.
Scorpio V’s second entry in this year end list is for his bellwether project, Metatron Omega. Released on the mammoth Cryo Chamber label, ‘Kataphasis’ continues a long string of Metatron Omega albums that emphasizes Dark Choir chants and haunting ambient textures. In addition to the elongated droning modulations, there are some beautifully melodies throughout that adds another dimension to this imposing offering. Chances are, if you’re reading this article, then you’re already aware of this massive project and the consistent vibes of the six releases available on the Cryo Chamber label Bandcamp site; but if you’re not familiar with Metatron Omega, I highly recommend ‘Kataphasis’ as a starting point.
Dev-I-Ant is another amazing project that has a pretty consistent catalog of sinister offerings. From the opening modulations of ‘A Place Of Warmth And Tears’, I knew this album was going to be a malevolent journey into the depths of darkness. From terrifying soundscapes throughout and the horror-like theme that spews from every track, there is no way that I could leave this masterpiece off of my year end list. If your aim is to be aghast while experiencing Dark Ambient music, then look no further than this album and be prepared for a frightful encounter.
Sonologyst excels at releasing masterful Dark Ambient albums that build upon isolationism through elongated drones and minimalist haunts. On the projects latest effort, ‘Shortwave Spectrum’, the intonations go above and beyond than ever before. Featuring over ninety minutes of ghastly sequences that are reminiscent of sounds that may be heard at an abandoned communication station, these tracks provide the full experience of abandonment and psychotic terror. Although not as ominous as other releases in my collection of Top 10 releases, there is an everlasting presence of dread that has an equivalent effect. If nominal Dark Ambience is your thing, then the works of Sonologyst will be right up your alley and ‘Shortwave Spectrum’ would be the perfect starting point for diving into this eerie style.
The third and final entry for this Top 10 list by Scorpio V is the enthralling, latest chapter of raw, Gregorian Chants by Eshaton called, ‘Pneumos’. Consisting of a single, thirty four minute track, ‘Pneumos’ builds upon coarse production efforts, grainy synth modulations and persistent dark choir effects to deliver an ancient – almost Medieval – sound that is consistently bleak but with an emotive posture. As Scorpio V continues to expand his unique sound fit for a fantastical universe, Eshaton is quickly becoming my favorite project out of all of his endeavors. Even fans of Dungeon Synth will become drawn to this effort and appreciate this massive sound for what it is – dismal and introspective.
I continue to be astonished by the consistent output from Blackweald. Not only are the albums filled with dreadful, Dark Ambient soundscapes, but the theme choices and album length are a huge undertaking as well. ‘The Fermi Exhibit’ is over five hours of unhinged, maniacal ambient music that contains bits of Space Ambient, Ritualistic tones, industrial Ambient and Isolationism all wrapped up in a single release. Additionally, the use of field recordings and demonic effects are prevalent throughout, making this a true Dark Ambient masterpiece. My favorite track is the one hour, forty four minute long “Vast Emptiness”, as it is a Space Ambient showcase that goes from nominal tones to penetrating horror and the listener gets to experience the dark unknowns of doomed space travels. Don’t pass on this immaculate offering.
Stars Without Light is a completely new listening experience for me and I was immediately hooked when listening to ‘Beneath And Before’. Even though this is the first album from this project, it’s easy to identify that the music contained within is the product of a veteran Dark Ambient musician. From crisp drones to apocalyptic soundscapes, this is for certain, one of the darkest offerings in my Top 10 list. At times, it borders into complete noise terror with complacent Industrialism, with a surprising ritualistic twist, and other times it sways through chaotic soundscapes that are equivalent to vicious nightmares. Even though this offering is just under thirty six minutes, you’ll feel completely drained of any comforts upon the first listen. This is a brilliant release that must be heard by all fans of Dark Ambient music.
If you’re not familiar with the Planetary series by Ruptured World, then you’re probably living under a rock or are not familiar with Ambient music in the first place. All jokes aside, This series – which consists of four releases – is an enthralling experience that has a complete story narration that is just as exhilarating as the music. In the latest installment, ‘Xenoplanetary’, Ruptured World goes all out to provide one of the best listening experiences ever recorded and – in my opinion – the best chapter of the Planetary series. The music, which is completely captivating and full of trance-induced emotions, plays on loop until the listener is completely entrapped. Then, the haunting narrations of Alistair Rennie will send you spiting into an otherworldly experience like no other. Tracks like “The Cruel Darkness” and “The Daze Of Foreboding” are so good, they’ve remained on repeat since the album was released in January.
God Body Disconnect is one of the most consistent artist on the Cryo Chamber label and whereas his albums has mostly a dystopian feel to them, I find myself drawn in by the simple (and sparse) narrations that provide a huge amount to expression to each release. However, ‘The Weight Of Regression’ is a monumental achievement in multiple ways and this seventy six minute endeavor is my favorite Dark Ambient album of 2023. Not only are the dreamy synths still present throughout, but the addition of percussion instruments provides a Dark Noir texture which ultimately emits a potent sound that is highly addictive. “Remnants Of A Soldier” is almost like a Post-Rock track that hypnotizes for over eleven minutes, while “Dosed And Dreaming” is one of the most calming experiences on the entire album. All in all, there is a lot of variety on this album that gives it the ability to remain fresh and relevant for a long time to come.
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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This was another amazing year for the Dark Ambient genre and again, I had a very difficult time fine tuning my Top 10 list. If truth be told, I could have probably created a Top 50 list. Many mainstay projects created some of their best music ever, while a lot up up and coming artist created spectacular albums that could easily compete with the best of them. Either way, these 10 albums are my favorite of the year and I’m excited to share them with you. How many of these albums made it to your Top 10 list?
10. Blackweald – From The Dust Of The Old Hungarian Plains, Emerges The Invisible Claw That Drags Us Into Our Rotting Grave
Blackweald always leaves an quite an impression with each release. On his sole release from 2022, we get to experience a bold blend of space ambient, mesmerizing drones, soundscapes, narrative samples and enough field recordings to create a series of audial adventures that are spread across a ninety minute platform. Not as dark as previous efforts but certainly versatile enough to appeal to a wider audience in the electronic/ambient community.
God Body Disconnect never disappoints and I’m always looking forward to a new album by this project with eager anticipation. On ‘Spiral Of Grief’ we get a nice dose of the traditional narrative parts with soothing drones and soundscapes that are hypnotizing from start to finish. Tracks such as “Memories Become Distant Rooms” and “The Fathomless Heart” are downright otherworldly. However, as peaceful as this recording is, there is an underlying darkness – in the form of desolation – that gives these tracks extra meaning.
Ajna creates a slowly deteriorating realm of alluring drones and space ambient elegance on the nearly two and a half hour opus, ‘Mors Ultra’. Defining a process that lethargically gnaws at the psyche and combining it with an acumen of tonal clarity, this is a highly addictive album that has garnered a lot of playtime from me, hence earning a spot on my list of favorites Dark Ambient albums for this year. Not having a dull moment on the entire album, each track will have you listening (and understanding) with grave enthusiasm.
This is one of my new favorite projects by Scorpio V. The mastermind behind Metatron Omega and Monasterium Imperi, presents another take on the Warhammer 40k sound with a much rawer style and delivery. Looping tape hisses and layers of Gregorian chants pave the way for this thirty four minute long track, as the grainy production and synth delivery is quite unique and enlightening. ‘Arheia’ presents a dark unknown from an ancient civilization that is part ritualistic and part spiritual – in the sense of how the music has such a strong, dynamic effect. It’s hard to count how many times I’ve listened to this album but even rolling into the new year, that counter will continue to climb.
I first became familiar with the works of Sana Obruent on the 2021 release, ‘Fatem’ and instantly became a fan. To say that I was extremely excited for another album is a huge understatement. This year saw the the release of ‘Aftoktonia’ and as expected, its a triumphant release. Nearly an hour and forty five minutes of minimalistic, looping drones. ‘Aftoktonia’ is an imposing collection of obscure tones and discordant modulations that are as eerie as they are tranquillizing. Sana Obruent excels at creating a world that’s easy to get lost in and ‘Aftoktonia’ is the ultimate, creative set to keep you there.
Over the past few years, Caldon Glover has left quite the impression by releasing some amazing albums under a few different project names (a few in which I have reviewed on this site). However, his ultimate collection of Dark Ambient anthems just may be his current Cyclic Law release, ‘Labyrintia’. Deep, spacious drones and pronounced soundscapes make up the arsenal of this gigantic creation. With the backing of a major Dark Ambient label and a killer production, this is one of my favorite recordings of the year. It’s obvious that the passion that went in to the making of this album was spot on, as the distressed cadence and tense settings are sure to render a lasting effect.
‘Mothership’ has been one of my most played Dark Ambient albums of the year so far. With a bludgeoning sound that reminds me of one of my all-time favorite movies (Blade Runner 2049), this is the empyrean dystopian-themed release of the year. The synth sound is so huge, portraying a trance-filled atmosphere with chronic tones and soundscapes. If this is what the distant future sounds like, please hurl me there now so that I can partake in post-apocalyptic battle for humanity, while playing this soundtrack for all to here. Such a stunning release that should be heard by all.
When I’m looking for a specific type of music that provides a meditative soundtrack of wonder and openness, I look no further than Colonial Skyway. My go-to artist for all things drone, Colonial Skyway has a niche for turning monotonous noise into asomatous art that is not only relatable but introspective to say the least. Each track has a disparate style but delivers in complete solidarity when played as a whole. Not only does this album provide a level of entertainment value, but is excels at cleansing the mind of reprehensible thoughts in exchange for a positive focus.
It’s extremely hard to pick a Mombi Yuleman album for a Top 10 list, especially with everything he produces is FIRE! That being said, one thing that draws you in to his music is the conceptual themes that coincide with the audio. For 2022, the album that resonated with me the most was ‘Hours Lost’. Based on the true story of an alien abduction case from 1961, ‘Hours Lost’ has a particularly nostalgic value that takes the listener back to that era for an experience like no other. Deep drones, sinister soundscapes and an alien-like vibe are some of the key factors that ensure this album is the real deal. If you’ve not heard this one yet, you’re missing out on quite the Dark Ambient experience.
Metatron Omega is my favorite Dark Ambient artist and the intonations created by this project are something that must be experienced. Heavily themed in the Warhammer 40k universe, Metatron Omega uses Gregorian Chants along with malevolent ambient tones to create the most powerful electronic music around. Call me biased, but this is not only my favorite Metatron Omega album (so far), but my Dark Ambient album of the year. To top that, “Megalosthronos” just may be the best MO track of all-time. With the use of looping percussion, this song has an unusual groove and form that stands out amongst the rest. Don’t sleep on this exemplary album.
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One thing that is really unique about the artists on the Cryo Chamber Label, is that they all have their signature sound that distinguishes them amongst their label mates. Tineidae brings a fresh, exciting sound that is perceptible in several ways. For one, there is an invigorating fusion of Berlin School, trance, and other facets of electronic music that create a futuristic sea of emotion. There is also an abrupt sense of dystopian landscapes that are crushing in every way. That being said, Tineidae has become a premier up-and-coming Dark Ambient artist that you won’t want to miss. I had a chance to catch up with the rhapsodic producer to find out more about this exhilarating project, it’s beginnings and what the future holds.
1. I really appreciate this interview opportunity. Tineidae has already released a few really impressive albums on the mighty Cryo Chamber label. How did that relationship come to be?
Hey and thanks for the questions! Cryo Chamber is a bunch of creative people with quite a specific aesthetic, that I myself dig. I liked some of the older stuff of Atrium Carceri released in Cold Meat Industry era (in fact that was one of the first dark ambient projects I have enjoyed listening to). Naturally after some time I had a change in the sound of the project that seemed to be fitting. So as per usual, I looked up Cryo Chamber demo policy and sent in my demo (which was EXO at that time). It was a gradual development and there was communication going on between Simon and me, but in the end he quite liked it and so EXO was set to be released through Cryo Chamber.
2. ‘Exo’, released in 2020, had such a massive, dystopian sound – which perfectly matched the times of the beginning of the COVID pandemic. Did you explore a lot of Dark Ambient tones or situational events when coming up with your signature sound?
Ah man, it’s hard 😀 I’ll be honest, I don’t really remember what led me to it. It’s just more bass-heavy ambient, I guess. I wasn’t really aiming at something specific, as most part of it I think was created still when pandemic wasn’t a thing. But yeah, it played nicely together, esp. that I like heavier and darker feel in music in general.
3. You impressively blend in subtle bits of Berlin School and Trance. What are some of your influences for the Tineidae project?
Funny that you mention trance, and actually you’re quite on point 🙂 For Berlin School electronica part, I think most of it comes from the time when i was a kid and my parents and i liked to listen to a lot of 80s electronica on cassetes or vinyls. And for trance, yeah, all the supersaw trance of 2000, but also later post-industrial stuff (aggrotech, rhythmic noise, dark-electro etc.) were all heavily focusing on synth leads with that trance-like feel and that is the kind of music that i like to this day. I just like catchy melodies i guess.
4. Before Tineidae, were you involved with other musical ventures?
There were some, yes, fortunately none of those are on the Internet anymore (or at least I hope so). At around 2007-2008 when I was quite under influence of post-industrial (and esp. goth industrial on peak of its popularity), there was one project where together with another guy we were making music (something akin to aggrotech) and I was on vocals. It was fun, there even were some local gigs, but ultimately I stopped enjoying it after a few years. Later on there were two other bands (some black, some death metal) where I tried as a vocalist, but I think I attended a few practice sessions at most and didn’t really feel like it was my thing.
5. Since you mentioned Black and Death metal, do you there there is a parallel between extreme metal and Dark Ambient music?
Oh absolutely. Someone was asking me on discord some time ago about what it feels like to release stuff on Cryo Chamber and be part of its roster, and I was joking that it often feels like a chill-room for tired metalheads, as a lot of artists are or were involved in different kinds of extreme music.
6. Earlier this year, we saw the release of ‘Mothership’ which greatly expanded on the ‘Exo’ sound. What was the process like going into producing this album?
It was indeed an attempt to expand the setup and have some more bits of lore here and there suggested by the track names. The sound turned to be a bit more aggressive (at least now when i listen and compare, i feel like it is), unintntionally, likely again due to the heavier influence of industrial and other dark electronica i’m into lately. We’re not done yet tho 🙂
7. What kind of world/dimension do you want your listeners to experience when listening to your work?
I don’t like to have things overly specific, as this way every listener has their own story in mind that unravels with each album. For me personally it is a story of distant future where people drift through space living aboard huge motherships, harvesting resources from the planet’s atmosphere, discovering new habitats and lifeforms.
8. “Behind The Seal” is my favorite track from ‘Mothership’. There are so many explorations in this track that make it stand out amongst the others. What was your vision for this particular track?
For people who are still living on the planet’s surface, Mothership is more of a mystery, they only see its lights slowly drifting in the night sky every once in a while, knowing nothing about what’s actually happening inside. As the album is retold from a point of view of a new recruit who comes aboard the mothership, it is that moment of unveiling the greatest mystery of his life (as no one ever returns back from the Mothership).
9. In terms of the equipment that you use for recording, did anything change between albums or did you use the same gear? Can you describe what your recording setup is like?
The setup is rather minimal – field recordings are done with good old Zoom h2n, some sounds come out of Roland JD-XI, some from a bass guitar meticulously tortured by different exciters, but like 95% is in the box (VST synthesizers and effects, samples etc.). Actually i think i even got the whole process of making at least one of the tracks during live-streams (uploaded to my youtube now), and that one was 100% in the box (okay maybe some odd field-recordings or other noises from “outside” sources, but that’s about it).
10. Going back to ‘Mothership’, another track that I find truly impressive is “Manufacturing Facility”. The dynamics of that track is so massive and the sampling sequences are quite mesmerizing. Do you approach each track with a particular idea or do you build a story and find ways to connect each track?
Thanks, yeah that’s a neat track. Usually there is a rough idea it all starts with and there are different approaches to try and implement it, sometimes it takes a good bunch of attempts to get somewhere. In this particular case it all started with a sound design session, which means, i just get some sound source and try to destroy it with a variety of effects, modulations and what not, all while recording it. Then a resampling comes into play, where I pick the parts that I like the most and do another bunch of processing and mangling and modulations and what not. The process continues till I arrive at something that feels particularly close to what I have in mind, or if not I may restart it from scratch. In this case I had a bunch of “best picks” from one of such sessions, that sounded quite mechanical to me. At that time I already had an idea of a space inside the Mothership that would be some sort of a factory or a refinery unit, so all these things pretty much started falling into their places after some time spent arranging and playing with moods and melodies. In other tracks I sometimes start with melodies instead, and continue developing ideas with more focus on melodies, but resampling and sound design usually still find there way in.
For the second question, I tend to have an idea first and at least try to lead the sound that way (it doesn’t always work tho and sometimes music just starts living on its own, which isn’t bad either)
11. Most recently, you released a collaboration album with Drifting In Silence called ‘Simulation’. How did this partnership come about?
Derrick has found me on facebook and IG some time after ‘Slowly Drown In Static’ was released. at that point I haven’t heard his music yet, we had some chats about music in general, he’s just a cool human being who happens to have a similar taste in music. At some point we started discussing the possibility of a collaborative release, and yeah he had some amazing ideas and so he was more like leading the way and we started working on it (slowly, with some breaks at least on my end due to IRL stuff and having several other projects ongoing at the same time – bad time management skill, simply put).
12. Musically, both Drifting In Silence and Tineidae are sonically different, yet the combination of these projects work quite well. How did the two of you collaborate on the actual song building?
As I mentioned, Derrick had some really good ideas, and some jams and drones recorded in his studio – those were a starting point. Some tracks were in my opinion pretty much ready, so i probably added just a bit of flavor, and others we worked on different layers, sometimes adding sometimes taking out things, or even splitting and rearranging some of the longer tracks giving them different feel and texture. There was quite a bit of experimentation and trusting the gut feeling so to speak on my end, but i feel like for the most part those experiments turned out pretty good.
13. Do you have any plans to collaborate with other artists in the future?
I love collaborations, really, often to the point that I start too many and have hard time finishing any of those in a timely manner. And so this year several of those came out and some yet to come out at the end of this year, and there are still several ongoing and I can’t wait to share more info about those when they’re more fleshed out.
14. Speaking of collaborations, I just realized that you took part in last years’ annual Cryo Chamber Lovecraft release, ‘Dagon’. What was that experience like?
The whole collab is akin to a big brainstorm process, but in musical terms – all artists have some ideas and generate sounds and drones that are fitting the narrative or overall atmosphere,and then those are used as building blocks to form a bigger picture. It’s a pretty cool opportunity, esp. for a more sound-design-driven approach (as not everything has to be a drone or a melody), and you get a chance to focus on the fine details of each sound as much as you want to. Also limited sound pool lets you find different ways for implementing creative decisions as some of the sounds may be out of your “comfort zone” and you have to figure out how to make it work the way you want it to.
15. When not creating music yourself, who are some other artists (any genre) that you enjoy listening to?
Without a specific order or priority: Access to Arasaka, Sole Massif, 0 0 0, Belief Defect, X1-Y2, LORN, Cresil, REZZ, Tzafu, Swarm Intelligence, Maenad Veyl, Swarm Intelligence, Braden Koksal, Filmmaker, Jim Kimchi, meii, Prox.Bleep, Carpenter Brut, Sierra, Restive Plaggona, Pact Infernal, Godspeed You! Black Emperor and stuff in that vein.
16. If not done so already, are there plans to bring Tineidae to a live setting?
Likely the other way around (at least for now) 🙂 Back in the days of Tympanik Audio, I had some live shows and performances here and there. Currently with all the stuff happening IRL I doubt I’ll be able to properly prepare for live events, so instead i’d rather focus on production more and stream the process for anyone finding any helpful info in it.
17. Again, I truly appreciate your time and most of all, the fantastic music that you produce. Do you have any final thought for your fans or anyone else that may be reading this article?
Thank you so much for the questions, and you’re very kind. Stay true to yourself, put the most effort into what makes you feel complete or fulfilled, make your dreams into goals and plan on how to realistically achieve them (if possible of course), and most importantly try to keep your physical and mental health in check. Cheers!
Kalamine Records has been delivering stunning releases on its Bandcamp page since 2019. The online label from Bordeaux, France specializes in Dark Ambient, Noise, Experimental music as well as a vast array of obscure genres that migrate well off the beaten path. Producing top quality material on a regular basis, it’s difficult for me to schedule these albums for a normal review as I simply don’t have the time. However, with the introduction of this column last month and the multitude of spectacular albums that Kalamine Records have put out as of late, the timing was right for me to pick ten of these albums for summary reviews. I hope you enjoy this article and please check out Kalamine Records at the links below.
1. Mono Hideout – True Lord
‘True Lord’ is a thirty three minute session of adversarial ambience that depicts a dystopian atmosphere of chaos and evil. Although these tracks are shorter than the typical Dark Ambient intonation, the urgency of soundscape buildup and dismal drones fuel a fire of angst-laden heresy that are compelling as much as they are effective at providing huge, atmospheric settings. From celestial & spirited pieces like “Harpocrates” to sinister and minimalistic drones of “The Snake Himself”, Mono Hideout has fabricated a world of dark malevolence.
Helecho Experimentar combines ominous sound effects, samples and controlled noise on the brilliant release, ‘OU… OU… Sintaxis’. Commencing with a thirty six minute opus that forges a tumultuous passage through layers of obscure musical stanzas, this album presents a relentless impression of restrained noises and hasty modulations. Truly a unique recording, this will soon become an addictive listen as the effort to notice additional peculiarities throughout, are inevitable.
Mora-Tau has quickly become one of my favorite Dark Ambient composers and his ever-growing catalog of consistently great recordings is something to be proud of. ‘The Five Sutra’ is another paradigm of esoteric compositions that slowly portrays a story of tragedy through elongated drones, repetitive synth manipulations and a deep venture into angst-filled arrangements. This collection of retrospective anthems provide almost two hours of listening pleasure, allowing the listener enough time to mediate in its thought-provoking sound.
‘Leïla’ is a compelling offering of Dark Ambient, drone, noise, glitch and a touch of EDM, all wrapped up in a audial adventure that is both seductive and thought provoking. Haunting samples and various spots of vocalizations complete this mesmerizing collection of sonic objects that will leave the listener in a relaxed state at times, as well as emitting bouts of angst during other times. These twelve tracks ebb and flow into various emotive states and the harrowing soundtrack that ensues, is sonically unparalleled. Upon completion of this sixty five minute opus, the listener may become paralyzed with emotional shock and drenched in sweat from sheer survival of the audial jolt that took place.
HEL incorporates a plethora of vocal manipulations to establish a baseline of obscure ambient for showcasing a provocative blend of harmonizing textures and meaningful poetry. This anomalous recording also includes a variety of field recordings and effects to round out this massively peculiar effort. Taking a cappella to extreme realms, HEL emits an uncompromising take on enigmatic, yet experimental music. Highly recommended for those that are brave enough to indulge in uncompromising reaches into evanescent realms.
‘Barren Land’ sounds like a dismal exploration into mystical territories during the cultivation of 70’s or 80’s progressive-influenced synthwave. Vast wastelands are brought to light with soothing orchestrations and mesmerizing drones, as tranquil modulations produce a landscape of effervescent bliss and slow-moving sequences. This one hour long track is a lot to consume, but is equally rewarding and ominous sections fuse together in a single instance, as if wandering various rooms in a mansion, searching for clues to a portentous and puzzling storyline. One thing that remains constant throughout is the vibrant drones that seem peaceful and resonant.
‘Amarante’ is a colossal offering of minimalistic Dark Ambience that stretches beyond the imagination and pushes the boundaries of atmospheric synth music. At almost eighty minutes in length, these seven tracks produce a transient environment of electronic music that combine Berlin School, drone, space ambient and quirky effects with resilient results. As these long players unwind, a deluge of celestial textures tell a haunting story of abandonment and foreboding solitary confinement. These songs are equally soothing and enthralling to say the least and once you begin this epic journey, it’s hard to stop. Enjoy this sonic masterpiece and the reward is well worth the endurance.
‘I Walked Up Stairs’ showcases a fascinating blend of Dark Ambient, industrialized soundscapes and contained noise. This is not one to relax to or have on as background music. Wasatch Front demands your full attention to the oblivion contained within these five tracks to fathom a true understanding of the audial depth that they collectively offer. Each track takes a grueling approach to the intricacies of obscurity as the listener ascends a staircase into the unknown. As the music breeches the subconscious, a perilous adventure awaits. However, be forewarned; what goes up, must come down.
‘Into A Cold Night’ contains six protracted anthems that extend to almost eighty minutes of playing time. These masterful drones mirror a creativity of malevolent proportions as they represent a barrage of hostile actions that can only be portrayed in nightmares. From deafening modulations to wavering sound effects, there is a certain demise that becomes paramount when indulging in its menacing grasp. Although each of these tracks produce a unique listening experience, the results for all of them is the same- dark, brooding ambience with rugged atmospherics that will leave the listener is a gloomier state than before listening to this massive recording.
‘Imaginal Stage’ may just be one of my favorite recordings from Kalamine Records. It combines dark and light ambient with a touch of acoustic folk music and even some forest synth and there is so much variation on this album, it’s hard to grasp within a few listens. However, upon multiple listens, you’ll begin to experience a decaying, yet soothing journey into assorted realms of audial reassurance. On the downloadable version of this album, each track is combined with a beautiful, mystical painting that truly represents the soundscape that affectionately makes its way through the speakers (or headphones). This is such a delightful album and I highly recommend this for those that need a peaceful, meditative source to accompany them in their life excursions.
Infinexhuma is one of Dark Ambients most spectral artists. Producing a variant that captures the true essence of Dark Ambient music, while always coming up with ideas that catapult his brand of bleak atmospherics beyond comprehensible realms. Each release presents a diverse blend of haunting drones and soundscapes while fusing in intricate nuances that entertain the listeners pallet for extended moments in time. I recently had the pleasure of interviewing the audial administrator of noise terror that IS Infinexhuma. He give us the low down on the projects beginnings, influences, and what all’s to come. Hope you enjoy this as much as I did putting it together.
1. Thanks for taking the time for this interview! One thing that I’ve been wanting to know is, what does the name Infinexhuma mean and how did you come up with it for your project?
Infinexhuma refers to Infinite Exhumation, a process widely experienced by many inhabitants of this earth, a process that breeds monotony and lack of will. Around the time of the initial host death, a doorway in limbo was opened via this concept, more so a realization that this process must be broken, emphasized by the trapping within a limbo state being the most accurate example of the horrors of unbroken monotony, the journey is, was, will be the beaking. The sounds are only evidence and passive teachings channeled through this host, It is and is not music, it is and is not metaphorical, it is and is not real.
2. How did you get into Dark Ambient music and what was the influence that made you decide to start your own project?
I recall approximately 10 years ago, at the time operating a different and now defunct music project, short naps were taken during studio work. During these naps I would listen to some more subdued black metal or perhaps just throw on a horror film for the score. Later I discovered a website called darkambient.de I believe it was called, that became the go-to for the naps after that. Later of course there were multiple stages to the evolution from lightly experimenting to heavy listening to diving into field recording to eventually releasing a first album to discovering scenes etc. Learning the composition structure of such music was a long process as well, as it was new to me, not in terms of listening, but in terms of production. The energy for Infinexhuma grew while the old project died, some influences include (yes some are by the same person); Inade, Lustmord, Ark Tau Eos, S.P.K., Archon Satani, Atrium Carceri, Sjellos, Noctilucant, NERATERRÆ, Tangerine Dream, TG, Altus, Gustaf Hildebrand, John Carpenter, Deathpile, ProtoU, Sabled Sun, film scores, Yen Pox, Terra Sancta, Apocryphos, tomandandy, Enmarta, Council of Nine, A Murder of Angels, Halgrath, Alphaxone, Svartsinn, Kolhoosi 13, Dark Matter, Crawl Unit, Subklinik, Kammarheit, Keosz, Blood Box, Trepaneringsritualen, Apoptose, Beyond Sensory Experience, Raison D’être, Visions, Vestigial, Phonothek, Monocube, Phragments, Therradaemon, Nordvargr, Brighter Death Now, MZ 412, The Human Voice, Paleowolf, Ramleh, Opeth, Ulver, Enmarta, ALLSEITS, Northaunt, Hilyard, Sephiroth, Desiderii Marginis, Phurpa, Northumbria, Psychomanteum, Gnawed, and likely more. Many obscure projects have been discovered over the years, ones that would evade the objective (and often disliked by elders) classification of dark ambient. The tiers and styles and authenticity within this obscure genre could be elaborated on as my perspective and knowledge on it continues to grow and be enhanced, however this would lengthen the interview to perhaps an unhealthy limit. I later began to hit the starting point of a full circle and felt comfortable drawing influences from unrelated genres I knew more pre Infinexhuma, mostly energetically and not so much in terms of the speed and rhythms.
3. The debut album from Infinexhuma, ‘Crossing’ is a well crafted experience that easily rivals albums from more seasoned artists. How much effort and production experience went into delivering this album?
Well, in fact the real first work was Chaotic Depth, the low volume 2016 unmastered version that is, which itself took approximately three to four years of work, not much of an impact, but I believe the process of “peaking” can be reversed for some artists, some achieve the proper transmission of their message with a first production, others take several to weed out what is not to be said, Brian Williams actually said this in an interview, quite refreshing. Anyways, Crossing, the crossing state, a collection of earth captures from what we call the Pacific Northwest. Crossing took several years as well, however a period of sharp acceleration was implemented towards the end. Much of this work was guided by intricate harmonics within the field recs, which gave a solid and consistent base for workflow, and that avoided any creative blockages. This was the true state of transition between this and that world, the energy was aided by a concept I often discuss, is your visual and physical perception of music based on environment, for example Snowy Court, was an actual Snowy Court, a Japanese garden in a strong snowing winter season, aside from the of course the sounds of subtle snowfall, the energy that was there during the recording process, remains (to me) on that recording and follows all the way to the studio, providing an energy base for the track, and I believe this cannot be recreated, despite the sounds being identical, it will lack the energy. This work was mastered by the great Robert Rich.
4. “Broken River” is my favorite track on that album, as it uniquely combines field recordings, drone, haunting textures and a sense of melody. What was the story behind that particular track?
As The Snowy Court, it was in fact a broken river, the first portion of rocks shuffling was traveling to the water, traveling within the break of the river, guided by subtle harmonics, messages beyond the mind. The whole album could have been better in terms of technical production as now I am vastly more advanced in this regard, but for the sake of giving credit where it is due, the “speaking” was natural, clear and very simple.
5. Do you document your own field recordings or sample from other sources?
I use 99.99% original field recordings, samples are seldom used, and if they are, their obscurity would prevent anyone from ever acquiring knowledge of the original source.
6. In 2019, you teamed up with Neraterræ for a remastering of ‘Chaotic Depth’? I can definitely hear his influence on the album but how did this exquisite teaming come about?
In fact, it was more of a gift from fellow creator NERATERRAE, I believe I had given some unused pieces of music and in exchange for this he presented to me a mastered version of this album, alongside I believe a track for a dark ambient compilation. He was featured on his personal favorite of the album, overall it was quite a pleasure to listen to and motivated me to execute a full digital release. Again, none of it thus far is what needs to be said, I could destroy all Infinxhuma material tomorrow and it would not matter, I am attached to nothing, especially material of the past that is now deemed inferior, and in my personal opinion not so good anyway.
7. On 2020’s ‘Arcade’ release, it seems like you went for a more minimalistic, retrospective sound. The results were simply amazing, in my opinion, but what were your expectations with this release?
Very true to the Infinexhuma path, yet in a realm above many of the human compulsions and matters, hence its more neutral and overseeing vibe. This release was expected to sound good, the sound was a heavy focus of this work, the depth and intricacies within the drones were (and are) one of the most fascinating things within music to me. Many planes were explored on this, a perhaps more space oriented cousin to Crossing.
8. There are a variety of instruments used/heard throughout this release. What all do you play on this album – and other albums for that matter?
Arcade had some synth layers as I had not yet adopted the principle of operating on samples only, however likely some guitar, for sure some throat singing on a specific track, but as well likely many many field recordings and their most prominent harmonics brought to the frontlines.
9. Speaking of gear, can you walk us through your studio setup?
Which one? Ha, well
1) DAW/post production, I have an ASUS laptop with decent power, a large casio used as a midi controller and practice at times, Yamaha Hs8 monitors, a few focusrite interfaces, A tape dubber/player, a novation (mini) pad with midi pots, a large bass amp, a condenser mic with multiple filters, a digital reverb unit, two guitars, a V-Drum kit, some brass and wood instruments
2) Practice/Live Prep, of course many of the mentioned and those I will mention can and are often moved in between rooms, but fundamentally I have a Eurorack box, forgetting how many hp total, three Yamaha mg102 mixers (the old school ones without usb and digital effects and crap), many effects and generator pedals, passive ¼ mixer, a few dynamic microphones, a marantz 201, a Roland SP-404 SX multiple (actual) drum pieces, a large collection of carefully selected windchimes, more wood instruments, bells, singing bowls, a Behringer Neutron synth and one more mackie mix8 (not the sturdy VLZ construction). Of course a soldering station for minor repairs and eurorack builds, contact microphones.
3) Mobile, I often use the mackie mixer when recording in tunnels or bunkers (if accessible enough to bring power as well. In my car I have constantly my Sony PCM D-100 for intricate and high quality (safe terrain as I’ve killed a few) field recs, a Zoom H-1 for more rugged and rough locations, quick on the fly recs, and as well to be used in conjunction with the Roland CS-10EM (recommended to me by Gnawed) binaural earphones/microphones for unorthodox binaural recs as I use them in reverse, thus far at least. Next, I carry a Zoom H3-VR for not the most accurate or heavy duty ambisonic work, but interesting nonetheless after decoding, A gopro with a special discontinued Sennheiser MKE-2 underwater microphone and another deeper diving somewhat shabby hydrophone for some cool underwater stuff. A tablet for on the fly Hexen Modular patches, to be used with a smaller JBL cylindrical sound bar, as well a larger JBL ONE portable rechargeable “PA” speaker.
10. Back to the music, on last year’s amazing release, ‘Frontier’, you have a variety of guest musicians that provide some captivating input for several tracks. Did you have a particular sound or theme in mind when working with these talents?
Perhaps only for the Blood Box collaboration, I have always had a very special appreciation for Blood Box and much admiration for their smooth execution of the dark and light mixture throughout their work. This was what I was seeking on our collaboration. Minimalism was sought out for the CEKE collab, and energy for the NERATERRAE one, all I believe were excellent works.
11. I have to ask you about “In The End”. It’s so different from everything else that you’ve released, yet sounds as if it fits right in with the theme of the album. Is this a direction you may be interested in going in with this project or perhaps under another name?
I have huge respect for those that are dedicated and naturally immobile on a specific stylistic path, however as the journey continues, I become more aware of how this is difficult, and not needed for me. They are all artifacts, just sent through a host, a messenger that will one day go back to dust, some artifacts will be slow and brooding, some will be destructive, some will be energetic and within rhythmic structure. There will be more.
12. On your YouTube channel, you have a lot of live performance videos uploaded. This is something that’s not quite common in the Dark Ambient community (yet). How is it pulling off a Dark Ambient show while keeping it creative?
Many live works tend to stray from typical dark ambient, but at times have been very true to the exact style. Live is a heavy opener of creative doors, a heavy generator of energy, a powerful opportunity to give further insight into the Infinexhuma path, however there are often limitations, obstacles and at times failures that are not present in a studio setting. Embracing the failures and the death of expectations allows energy to be recycled and properly reutilized for exploration.
13. How often do you play live and do you have any plans to venture out on a larger scale for performing live?
Live services are conducted perhaps ten times or so a year, there have been some large scale events however there will be more, international service is within the scope as well.
14. We’re mid-way through 2022 and haven’t experienced new Infinexhuma material yet. Do you have something planned and what would be the direction of the material?
It has been some years now, and much work has been discarded, and much more will be created and burned, until the exact energy beam is captured. Artifacts are being prepared, yet completion is far and the time of unveiling is undetermined at this point.
15. As far as large scale collaborations, do you see any releases of this kind in the future? If so, who are some artists that you’d be interested in collaborating with?
There will be more co-operations along the journey and path, yet at this time I cannot elaborate on any who will contribute to the exploration. I will state that there are considerations, and some that may leap to genre crossing branches on the great tree of music
16. I really appreciate your time and letting us know about all things Infinexhuma. Any final thoughts for those that will read this interview?
Thank you for your effort and everything you do for the community of creatives, this will one day be read by artists hundreds of years beyond our existence as historical art exploration.
Xerxes The Dark is one of the most consistent artists of the Dark Ambient genre. Not necessarily when it comes to the Dark Ambient sound in the traditional sense, but with the unheralded impression of incorporating new ideas and tactics that indicates an endless realm of musical opportunity. With a string of highly influential albums that thrusts the Dark Ambient maestro into elegiac territories such as industrial, noise, fusion and metal, ‘The Rise Of AI’ just may be his most enigmatic release yet. With a futuristic story and theme that is not so far off from reality, this album thins the comfort zone of ambient music with a thrust into chaotic bleakness. Think about the hostile take over of bio-engineered humanoids in ‘Blade Runner’ with the invasion of indestructible alien robotics of ‘Terminator’ and then mix it with the technological destruction of ‘Black Mirror’ and you’ll have a sense of what the flow of ‘The Rise Of AI’ is all about. Let’s take a dive into this amazing recording.
Bold album opener, “The Rise Of AI” makes a critical statement for the flow and direction of the album. Slowly building into an industrial nightmare, this track more resembles Godflesh than dark ambience. From the steady cadence of drum machines and solid bass lines to a variety of voice samples and guttural transmissions, this track properly prepares the listener for the destruction that will soon follow. The nightmare continues with “Nuclear Winter”. Starting with eerie drones and haunting whispers, it quickly turns into an emergent, industrial anthem with muddy and distorted vocals. Guitar tones hint on melody but that quickly fades into a realm of bleak discomfort. “Take (No) Shelters” emits more dark ambience than previous tracks and is accommodated by stark samples and mechanized soundscapes. More vocal narration are heavily modulated and are right inline with the horrowing story that continues to unravel. “Synthetic Consciousness” is a full on Dark Ambient endeavor with a Space Ambient vibe, complete with celestial soundscapes and dark timbre that rapidly expands beyond the outer reaches of the universe. Malevolent machine nuances continue the harsh undertones of robotic supremacy. “Cyborg Soldiers” embodies an industrial sound with looping noises and drum beats, while a gritty vocal line chants in disdain. “Signaling The Alien Machine” marks a return to the Dark Ambient domain with a plethora of discordant noises and background echoes. As the drones increase in volume, muffled communications depict a scenery of imminent hostility. This calm before the storm approach creates a sense of anxiety and wonder, while complete AI take over is close at hand. “Simulating The New World” is a cinematic adventure that combines a barrage of industrial beats, melodic arrangements and and glitchy rhythms that flow together seamlessly. Portions of this track stimulate a warm sensation, as if there are light moments amongst the chaos that appear to be fathomable. “Interpret X11-01-10” is a short track that depicts communicative transmissions between AI and distant worlds. Soothing drones in the background allow this effort to be audible but untranslatable, as the evil machines prepare their next move for impending takeover. “Domination Of Humanoids” begins like a sneak attack with small, subtle noises as if being surrounded by unidentified beings. With a slow crescendo, industrial drum beats and bilious vocals elicit a constructive output that wages the war between AI and mankind. Like a battle cry of the ages, this track becomes a statement of dominance and leads the mission of AI acquisition. “Accessing Cosmic Memory” is a desolate ambient track that contains wavering drones, empty soundscapes and a looping pattern that signifies a positive communication efforts between the AI and their end goal. This expressive intonation creates a cessation of offensive strikes while vast information is being absorbed for future use. “Meeting Space Tribes” once again delivers a stark vocal arrangement with looping, industrial passages, while layers of drones produce a grandiose sound. The vocals spew a ton of pain and anger throughout and combined with the music, present a chilling, glacial landscape. “Intergalactic Empire” showcases a new side of the story as well as a new sound for XTD. With a melodic approach to Sy-Fi soundscapes, this track is industrial, yet light-hearted and probably one of the most accessible songs on the album. Complete with drum beats, bass lines and samples, this style is a welcome addition to the album as a whole and actually fits in quite well. Next up is “Holographic Wormhole Drive”. Not only is this the coolest song title ever, it’s also the closest this album comes to the traditional XTD sound. This is Dark Ambient in its truest form, with deep drones, creepy soundscapes and an overall menacing essence. There are several pitch shifts in this track that enhance the listening entertainment value, as well as present multiple sides to this gloomy effort. The final track of this epic album is the summarizing, “Gateway To The Unknown”. This is another scorching Dark Ambient masterpiece that includes some insane trip-hop beats and intense soundscape and noises. This ends the album in dominating fashion, just as the AI has systematically overtaken human kind, in this bewildering conceptual masterpiece.
I continue to be amazed by the many faces and directions of XTD. It’s safe to say that I never have any idea of the direction of each album, but pursue in amazement at how impressive each outting is. Whether it’s the established arrangement of Dark Ambient mainstays, drudging Noise Ambient, Industrial Ambient, or a conglomeration of the aforementioned, rest assured that the entertaining value (and listening experience) will be extremely high. ‘The Rise Of AI’ is right up there with the best that XTD has to offer and I highly recommend this for those that love an eclectic blend of electronic music styles. Please click the link below to download this incredible album and also check out the XTD back catalog while you’re there.
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From the distant reaches of the macrocosm, I bring you another planetary offering of Dark Ambient summary reviews. This batch of Celestial Ephemerides offers a copious selection of mystical performances that surges deep in the spheres of dimly lit voids. From noise and ritualistic to supernatural soundscapes and haunting field recordings, this is the most impressive gathering of Dark Ambient albums I’ve had the pleasure of reviewing in a while. Hope you enjoy!
1. Pillars Of Golden Misery – ‘Riders Of Misfortune’
‘Riders Of Misfortune’ is a majestic blend of discordant algorithms and resounding clamor in this abrasive but enjoyable offering. Served on a tumultuous platter of indignant ambience, this recording is not for the faint of heart or those with sensitive hearing. Piercing effects and elongated droning produce a disquieting pulse of audial horror that is as punishing as it is enthralling. Highly recommended for fans of harsh noise, glitch and transfixing avant-garde.
‘Modular Performances’ is such a fitting title for this massive collection of ambient tunes from VSSP. Innovative, tranquil, dreamy and calming are other adjectives that also accurately describe this seventy three minute offering that traverses the drone, space ambient and dark ambient genres. One thing that is predominant on this recording is the real sense of melody in each track. The emotional feeling is almost heartbreaking and sorrowful but extremely compelling to listen to. Highly recommended for background music on a cold, rainy day or while relaxing with the intent to cleanse the mind of negative thoughts.
To these ears, this is one of the most complete Drone Ambient recordings I’ve heard in a long time. Aside from a few other artists, Sana Obruent is quickly becoming my go-to artist for epic drone excursions due to the prominent foray into meditative resonance. Minimalistic & simple, yet effective and powerful, ‘Aftoktonia’ is over one hundred minutes of reflective musings that brings together powerful drones and circadian effects that is as relaxing as it is strident. This is one of my favorite Ambient albums of 2022 and probably will remain that way for many years to follow.
4. Underwater Sleep Orchestra – ‘The Night And Other Sunken Dreams’
Underwater Sleep Orchestra, the new, brooding collaboration between Cities Last Broadcast and God Body Disconnect is a seventy eight minute magnum opus of polarizing dark ambient music. From hypnotizing drones to warm soundscapes, this is a project that I cannot wait to hear more from. These songs are lethargic and melodic and are a bit different from the typical dark ambient setting. You can definitely hear the input of each artist as they bring their signature sound to this musical alliance. Can’t recommend this one enough, especially if you’re looking for something to listen to while drifting off to never never land.
It’s not often we get a fascinating album with trumpet and glockenspiel performances, but here we are. ‘Phantasiai’ is a spellbinding album of bleak expression with chilling vocals and dreamy production. Cyclic Law continues to recruit the finest artist that are ready to deliver the best of their craft. Thankfully we have Leila Abdul-Rauf to continue the flow and this album fits in with a long list of stellar releases.
The concept of improvisation by O Saala Sakraal is a must listen and ‘Heven’ is one of those albums that will draw the listener in based on the sheer amazement of the unknown. Although only 21 minutes long, this collection of spontaneous incantations is both ritualistic and engaging. Soothing vocal parts with sinister narrations coalesce with haunting atmospherics to provide a post-apocalyptic feel without sounding dilapidated. I can’t wait to hear more from this artist and thanks again to Cyclic Law for continuing to release amazing albums like this.
‘Dilogia’ is another prime example of hypnotic ambience that builds in layers to achieve a fusion of synthwave and dark ambient excellence. Warm, harmonizing drones go through an assembly of thickening tones and modulated soundscapes to produce emotion canticles that represent an exceptional blend of retro and futuristic synth virtue. Also from the Cyclic Law label, it’s no wonder why this album made it into the lineup as it sounds fresh, inviting and completely divergent.
There is nothing more soothing than the blissful sounds of crystal bowls, harmonizing with natural soundscapes. Yuko Nakai excels in this area with a splendid three-track EP, ‘Me, And The Waters’. Fusing the sound of crashing ocean waves with extended hums of crystal bowls, beautifully arranged songs of scenic allure expel a magnitude of harrowing sequences that lure the listener in with unimaginable power. My only wish is that this album was about an hour long in order to fully appreciate its hypnotizing effect. Highly recommended for a deep, meditative experience.
Gdanian is a new edition to the Cryo Chamber label lineup and upon initial listen, I can confirm that it’s the perfect label to release an album as alluring as this one. An oceanic-themed outing, ‘Submersion’ pulls no punches with including aquatic soundscapes and sub-surface atmospherics. Beautifully produced, each track immerses the listener into a vast world of unexplored adventure. With the feeling of unimaginable depth, there is no choice but to sit back and soak in (no pun intended) the bleak soundscapes and minimalistic drones. An amazing recording that should not be overlooked.
Lētum presents a cinematic nightmare of an album with ‘Tue Face Of Live And Death’. A conglomerate of disturbing samples and soundscapes backed by malevolent drones and pads. Horrifying vocal sequences are enough to to disrupt your sleeping pattern and send you down a vortex of enraged evil and madness. Coupled with theatric production values, this is a highly professional offering from one of Dark Ambient’s independent achievers. Recommended for Dark Ambient fans that don’t mind being on edge during a whole albums worth of menacing intonations.
Dungeon Synth & Dark Ambient Reviews!! 