There Is A Dark World Order Evolving On New Risen Throne’s Latest Magnum Opus, ‘The Outside’

The unknowing of what the future holds is like an obsession. Whether we continue to advance in technology and expand physiological boundaries or descend into a foreseen doomed planet, the outcome is an exotic mystery. Given the current state of the world with the COVID-19 pandemic upon us, a futuristic apocalypse is not so far fetched. With millions of people becoming effected, hundreds of thousands of people dying, supplies running low, economies crumbling before our very eyes, we are in the early stages of a possible apocalypse. This is the perfect environment for Dark Ambient music, as this is the setting that is conceptualized the most. Imagine a full-on decimation of the world with no means of viable recovery and after several centuries, a group of survivors begin to investigate the cause of this total annihilation. That is the concept behind the latest cinematic Dark Ambient adventure by New Risen Throne called, ‘The Outside’. Containing seven monumental tracks of bleak and gloomy Dark Ambient, New Risen Throne sets the bar for theatrical and atmospheric music. As a bonus, there are an additional eight tracks of older New Risen Throne material that has been deconstructed by some of the most reputable artists in the Dark Ambient genre.

“The Outside (I)” sets the grisly scene many centuries in the future as profound and despotic drones create a slow, dark grind of unknown discovery. As the tone increases, narrative samples of someone appearing to be in distress adds a horrific texture to the track. Multi-layers of synths and pads resonate evil intonations as malevolent discoveries are imminent. “What We Have Seen” is like a nightmare all in itself, starting calm and increasingly adding soundscapes that will agitate the dead. The background, hollow drones play a key role in this track as they are not overly aggressive, but make their presence felt in a frightening way. About halfway through, a discordant riff can be heard, boasting the despondency of the emotional landscape that is being portrayed. Additional guitar tones and vocalizations add layers of empathy and dread which sends this blistering track into realms of the unknown. “The Outside (II)” begins with alluring drones that slowly increase with the introduction of industrial soundscapes. As the protagonists in this story rummage through the wastelands in search of the answer that ended the world centuries before, one has to wonder if they are fearful for what may be found. As thunderous percussions hammer out a distorted beat in a rhythmic pattern with manufactured sounds, the intensity grows, creating an anxious feeling. This combination comes to an abrupt halt as bizarre and inhuman vocalizations are heard explaining a possible truth of the past. “Corrosion Of Pillars” wastes no time sounding the alarm as abysmal siren-like tones emit a harsh warning. Creepy drones are brought forth along with booming percussive beats, making it obvious that the answer may soon be found and an unsettling reveal is about to be told. “The Outside (III)” continues with the industrial influenced Dark Ambience with mechanized soundscapes and eerie atmospherics layered with haunting drones. “The Outside (IV)” begins with various field recordings and echoed effects, as the climactic ending to the story begins to unfold. The sinister vibe on this track is what nightmares are made of and may also result in a negative ending while the search for answers comes to a close. “Birth Of A New Disciple (II)” is the malevolent conclusion to ‘The Outside’ and a multitude of profound sounds and textures are brought together as a new world order is in formation. From tribal drum sounds, choir-like chants to hollow drones and ritualistic undertones, this track has all of the key elements to become a soundtrack for the post-apocalyptic dawn of a new civilization.

It doesn’t stop here though. Although ‘The Outside’ is the complete package for a Dark Ambient masterpiece, the bonus material is equally as mesmerizing. These eight additional tracks are previously recorded material that have been remixed by some of the top Dark Ambient Artists in the genre to include: Sysselmann, Visions, Taphephobia, Phantom Ship, Vestigial, Apocryphos, TeHÔM, as well as New Risen Throne. If I had to pick a few stand out tracks amongst these, they would be, “A Vision Of The Hidden (Sysselmann Remix)”, “Sigh Of The Soul (Apocryphos Remix)” and “Withered Regions (TeHÔM Remix)”.

Without a doubt, New Risen Throne is one of the leading Dark Ambient artists in the world. By adding a relevant, theatrical story line to his cinematic brand of music, the creativity of his craft sets him miles apart from most others in the genre. ‘The Outside’ is a visionary album and one of the best Dark Ambient recordings of this year so far. I highly recommend checking out this extremely addictive album, so show your support by downloading it from the link below.

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Links:

https://cycliclaw.bandcamp.com/album/the-outside

Boschivo Form Anomalous Compositions On The Outlandishly Diverse ‘Bardo Dell’Autodistruzione’ Offering

Now it’s time for something a little different. And when I say different, I mean a cacophony of obscure musical genres ranging from Dark Ambient, experimental, noise, dark folk, and any twisted ritualistic audio terror that you may not think of, to form an integrated euphonious choir of melody. Welcome to the distinct world of Boschivo, where anything goes and there are no borders for harmonic tastes. On ‘Bardo Dell’Autodistruzione’, elemental bizarreness is pushed to the limits as magnetic drones are accompanied by acoustic guitar, clean & harsh vocals, various synths & pads, and an array of styles to keep things interesting from song to song. Although this may be a challenging listen for some, it’s without a doubt, a rewarding experience for most others. Let’s dive right in.

“Pozzoscuro” starts with a single droning sound and some ceremonial overtones before a grim acoustic guitar riff takes over. Priest-like chanting accompanied by some eerie background noises blend well with the music. Soon the chanting is replaced by distant sounding vocals, but just for a few bars. The track ends with multiple guitar effects playing altering notes. “La Dania Perversa Delle Falene” is all over the place as it begins with cathedral-style organs and strange vocal effects before giving way to a deep guitar and bass riff that is played over a narration. Soon, that is followed by some harsh vocals while the guitar tone becomes more distorted. About halfway through the track, sampled effects and whispers mesmerize the listener before a frightening organ sound once again infiltrates the airwaves. Like a disharmonic orchestra, this part of the track is like listening to the dead come back to life. “Il Rituale Delle Mosche” features dissonant guitar riffing and haunting narrations, as well as industrial ambient noises. Additionally, soothing guitar riffs and clean vocals come from out of nowhere, almost seemingly out of place but fitting right in at the same time. “Essenza Di Te” continues with the clean vocals, but the guitar riffs are played on on an instrument that seems out of tune. Interestingly, it sounds rather awesome – especially for this album, and I wouldn’t expect to hear anything less. This track also features a great bass line as well – that is played in tune. “Distorta Luna Sterile” is a dark folk track with some excellent droning going on in the background, as well as some creepy sound effects. “Venere D’avorio” has a dark pop vibe to it, albeit with a very discordant sound effect in the foreground. The vocals are very clear on this track but there are echo effects in use to give it a grim feeling. “Quando La Morte Verra’” is a beautiful, dark acoustic passage with whispering narrations and deep droning in the background. Although this is a short and simple piece, it’s one of my favorites on the album. The final track on this underrated masterpiece is the title track, “Bardo Dell’Autodistruzione”. At almost eighteen minutes in length, it’s the longest track in the album and definitely shows what Boschivo is all about. Starting with background drones, ringing bells and simple percussions, other samples and effects are thrown in along the way, including deep, death metal like growls. As these heinous growls continue, church organs begin to play, adding another element of surprise to the album. Eventually, multiple loud bells begin to ring at different tone levels for a divergent sound mix.

Boschivo is an interesting artist that knows no boundaries. Combining all sorts of obscurities to produce a compelling musical experience, this album demands your full attention – and multiple listens – to really appreciate the value of the art for which it provides. ‘Bardo Dell’Autodistruzione’ is an addictive album that doesn’t reside in a particular genre, however it belongs everywhere. If you have an open mind for challenging, but rewarding music, look no further than Boschivo. The album is available for FREE DOWNLOAD from the link below, so check it out.

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Links:

https://totenschwan.bandcamp.com/album/tsr-112-bardo-dellautodistruzione

Cult Of Terrorism Unify Soothing Ambient Textures And Hypnotic Industrial Samples On ‘Megváltozhatatlanság’

When calmness and chaos collide, it can be an intriguing affair. As two distant-end spectral forces merge at the point of emotional confusion, the outcome is often unexpected – like the age old battle of good versus evil. In music, the aftermath of this emotional merger is a little more advantageous as our mental state is already at a heightened state of awareness with an illusory fixation. ‘Megváltozhatatlanság’ by Cult Of Terrorism portrays that same disconcerting situation with its unique brand of Dark Ambient. At its base, ‘Megváltozhatatlanság’ uses minimal drones and textures to devise a sense of tranquility, while on the other hand, Industrial soundscapes are injected to agitate the mind with frenzied audio terror. However, the combination of the two will escort the listener to a fascinating gray world where nothingness provides a soothing sense of anxious turmoil.

Sensational album opener, “Mitochondria, O Sindrome Di Le Tour (feat. 52-Hearts Whale)” instantly catapults the brainwaves into a hurried state as Industrial frequencies flow from side to side, creating the epicenter for a daring new world. However, ground zero quickly recovers as the menacing sounds give way to enticing drones, field recordings and melodic keys. Occasionally, harsh sounds can be heard in the background, reminding the listener that all is not safe when beauty and bleak collide. The next track is “υπναγωγικών [UNO STUDIO]” and it features synth pads that create a melodic atmosphere. Haunting keys play at intervals in the background while various effects add layers of warmth and stability. The muffled piano notes in “Qualcosa E’ Perduto” are soothing yet disturbing. Barely audible wind effects add a touch of mysticism to this otherwise cold and minimalistic track. “I’ll Sequestro Emozionale Prima Dell ‘Ultimo Gesto” kicks things back into high gear again, as a droning and discordant synth tone plays unadjusted for several minutes before layers of rigid effects and soundscapes take this song to a whole new dimension. By the time the track comes to a close, screeching synths are at the forefront, but somehow remain quite melodic. “La Fortezza Di Spine (feat. Valerio Orlandini)” keeps the Industrial momentum going with its dark, spongy drones. The addition of malevolent narrations and evil sounding textures makes this one of the standout tracks on the album. “Notturno [Il Tuo Cuore E’ Sacro] (feat. Testing Vault)” is another disturbing track that dabbles into Indistrial sampling and perfectly placed random sounds. The maniacal keys in the background maintain a monotone pattern, providing just enough normalcy to offset the controlled chaos that is happening in the foreground. The final track on the album, “Megváltozhatatlanság (feat. Meanwhile In Texas)” is a slow building track that centers around spacey drones and desolate soundscapes. At around the four and a half minute mark, the sound shift to a higher frequency with trance-like qualities. Soon thereafter, this song dissolves into oblivion, going out peacefully – just the opposite of how this album started.

Although Cult Of Terrorism has a frightening name, the music says otherwise. Even with spots of Industrial-tinged madness, this album – for the most part – is a a peaceful yet dark affair. ‘Megváltozhatatlanság’ is a very mesmerizing album, and with a great song foundation and seamless transitions between tracks, is also extremely enjoyable. It can be streamed in its entirety at the link below, so head on over to the site and check out this great work.

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Links:

https://totenschwan.bandcamp.com/album/tsr-111-megv-ltozhatatlans-g

Empty Chalice Ignite Cold And Repressed Auditory Visions On ‘Mother Destruction’

One of the missions of Dark Ambient is to instill otherworldly emotions and senses in order to expand the horizons of the conscious mind. If you allow your psyche to open up to the music, the reward can often be rewarding. Whether the listener is seeking solitude, darkness, horror, a deep space adventure, or just an escape from reality, no other genre of music will capture that experience quite like Dark Ambient. Empty Chalice excels are doing just that, as their brand of Dark Ambient is a culmination of ritualistic ambience, terrifying field recordings, grim sequences and sampling, as well as vocal narrations. All of these combined create the malevolent recording known as ‘Mother Destruction’. At just over fifty one minutes long, these five tracks of neural dread, will anesthetize the senses and draw the listener into a hollow realm of consternation as they try to find the exit back to a normal reality.

Prominent album opener, “Unholy Light”, penetrates the ear canals with jarring synth pads and frequent cymbal crashes as a bombinate drone sound breaks through and add a depressive dynamic to the track. Moments of eerie near-silence pull the listener down even further before more deep drones start to rumble again. Various instruments add brief moments of angst, but this track halts on a grim & long silent ending. “Treblinka’s Snow” begins with a calming drone with dreamy instrumentation heard in the distance. Soon, beautiful female narrations add to the story, and it creates a numbing effect with its soothing structure and pacing. Scattered samples are amply placed throughout the narration, followed by a harsher droning sequence. “Qva Resvrget Ex Favilla” is a downright sinister track, as it features black metal vocal style narrations, as well as clean, operatic singing. At around the seven minute mark, the track begins to morph into more of an industrial ambient piece, with screechy drones and piercing synth pads. The near fourteen minute long “Rest In Pain” begins with inaudible narrations that have a echo effect on them. Combined with some high-pitched drones, and melodic sequences playing in the background, this track is a slow builder but very rewarding in the ends. At around the three and a half minute mark, a mid-paced drum beat enters the picture as the melody of this song becomes more prevalent. Even after the drums fade away, the melody continues to play on for a few minutes and then too it fades into the hisses of the synth sequences. The final track on the album, “Mother Destruction” begins with haunting tape loops, obscure samples and alluring synths slowly fade in. As the drones grow louder and harsher, the tone of the track becomes more evil sounding and bleak samples can be heard throughout. The final couple minutes of this song is a slow burn into obscurity as all of the noises gradually seize to exist.

Empty Chalice takes the listener to a cold and empty world, where escaping becomes the nightmare. Over the course of fifty one minutes, ‘Mother Destruction’ creates atmospheres that are both serene and nefarious. Featuring various vocal and narration styles, as well as elements of percussion and sampling, this is a very diverse and musically versatile album. I highly recommend this if you’re into the more obscure styled Dark Ambient recordings. Show your support for this amazing artist by clicking on the link below.

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Links:

https://emptychalice.bandcamp.com/album/mother-destruction

Beyond The Below Offer Disturbing Sounds With Tranquil Piano Arrangements & Turbulent Field Recordings on, ‘Heart Like An Empty Coffin’

Every time I listen to a Dark Ambient recording, I hear it as a soundtrack to a particular moment in time. Whether its from a horrific era that has passed, an ominous & futuristic existence that has yet to happen, or the treacherous present that continues to unfold before our very eyes right now, this genre excels at bringing out the most emotional state of our being in order to imagine such scenarios and how humanity has evolved (or continues to evolve). On ‘Heart Like An Empty Coffin’, Beyond The Below covers each of those era’s by using intelligent field recordings, well-crafted piano arrangements, and modest use of long-form drones to create a unique sound that can be identified with a specific aeon. That’s not to say that there are several distinct sounds on this recording, it just means that Beyond The Below has a keen ear for sounds that expand the epoch of time. Let’s dive into this extraordinary recording.

Engaging album opener, “Downpour”, starts with a menacing piano note that embeds its presence in the conscious by its continual mesmerizing play. Scorching synth frequencies create an unnerving expanse as the field recordings start to filter in. The time setting seems to take the listener from a not-so-distant past to a near-distant apocalyptic future. More beautiful piano notes play over evaporating synth drones as the song comes to an abrupt end. “Kill The Past” begins with haunting piano melodies and distorted field recordings, creating a very bleak atmosphere. Majestic synth arrangements are introduced, establishing a smooth tone, while cosmic sound effects randomly break through as if introduced from a futuristic time portal. “Cleansing The Cursed” starts with night time sound effect, then the abrupt breakthrough of piano notes and industrial synths real havoc as if providing the score for a horror movie. “Solitudinous” features the looping hiss of antique recording techniques as retro-wave keys influence a time where industrial wastelands ruled the earth, and bands of outlaws protected its natural resources from other groups. Although one of the shorter tracks on the album, this one stands out as one of my favorites. “Creatures Sing At Night” is one of the creepiest songs on the album, as the opening elements feature obscure vocals and deep piano notes. The constant inaudible field recording in the background is enough to bring on additional anxiety. “Ghosts Of The Sun” has some of the best piano melody on the album and the echo effect really sets this track in high gear. The warm drones in the background, offer a safe haven for the imagination as this track is calming, while offering bits of discordant harmony. “Love Once Lost” starts with a synth tone that sounds like a submarine sonar. As this sequence continues to play, industrial synths are layered in, as well as additional sound effects that creates a sense of angst. The final track on the album, “Darkness Speaks”, wastes no time creating ominous sounds as harsh industrial frequencies and beautiful piano notes collide in absolute harmony. After several minutes of alluring synth overlays, the track transitions into an industrialized nightmare filled with dissonant sounds and a short blast of nightmarish vocals. Such an ideal way to end this fantastic album.

Beyond The Below take a more theatrical approach to Dark Ambient than a lot of other artist. Shedding the constant, enduring drones and epic track lengths for shorter, cinematic structured tunes that contain a variety of instrumentation and styles, ‘Heart Like An Empty Coffin’ is an enigmatic album that will appeal to a wide variety of music listeners. I highly recommend checking this one out, so please click on the link below and add this gem to your collection.

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Links:

https://beyondthebelow.bandcamp.com/album/heart-like-an-empty-coffin

Disen Gage Relinquish Orthodox Control On ‘Nature’, A Complex Adventure Of Psychedelic Infused Dark Ambience

For those of you that keep up with my blog must know by now that I have a particular formula for writing reviews and I rarely stray from that. I try my best to come up with a captivating headline that will grab the attention of the audience. Additionally, I write an introduction that relates the album (being reviewed) to a particular topic based on the imagination and emotions that are felt from the music, provide a detail of each track, and then close it with a final statement that summarizes all of the above. In most cases, my headlines come pretty naturally, but on Disen Gage’s tripped-out, experimental dark ambient outing called ‘Nature’, that wasn’t the case. Although this is quite the compelling album, I was almost at a loss for words when giving a quick synopsis of how to describe it. Then, after repeated listens, it hit me. This Russian duo goes above and beyond to eliminate the conventional means of producing dark ambient music by providing theme-based samples and soundscapes. The result is three tracks of nearly forty nine minutes of impulsive and experimental greatness.

“Planets” suddenly blazes through like a space craft coming out of warp speed, only to find itself in a harmful situation. As the space craft starts taking devastating hits from surrounding shrapnel, system alarms begin pulsating with anxious volumes as this song restlessly generates abrupt noises that match the situation. As this emergency condition draws to an end, the track eases into a hollow, deep space anthem that breeches the lines of industrial and black ambience. Horrifying sounds and effects throughout signify that danger isn’t over for this mission and the onboard systems aren’t under human control. Finally, toward the end, the madness winds down and deeps space ambience prevails. A strange song sample plays cautiously in the background as if it’s a long lost transmission that’s been accidentally intercepted. “Trains” is a dark and perplexing tune that features various train sound samples, arranged perfectly to create a particular despondency. The drones are creepy and sound as if they are long, drawn out screeches of locomotives trying to come to a sudden stop. As the train samples continue to make their presence felt in various ideas and speeds, one final pass of a lengthy caravan closes out this stunning and unique track. The final brilliant track is “Animals”, and if the bleak sounds of these oppressive drones don’t have you on edge, then how about the sixteen plus minutes of manipulated animal sounds. Twisted into bizarre tempos and speeds, this can seriously creep you out if not prepared for it. However, there is a massive amount of genius behind this idea and it works amazingly well for this track. The final few minutes include metal guitar riffs played with an echo effect and provides an off-the-wall psychedelic vibe to close out this extraordinary & unique song and album.

Disen Gage take musical experimentation to a whole new lever on ‘Nature’ by providing theme-based samples for each song that they go with. These three tracks travel through space, in rural city scapes and in natural habitats where animals are the alpha predators of the area. The substance of theses tracks is massive and the creativity is top notch. I will definitely be spending more time getting to know the music of Disen Gage. For those of you that are new to this artist and have a love for ambient and experimental music, don’t look past ‘Nature’, as this is an excellent starting point. I highly recommend checking out this album.

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Links:

https://disengage.bandcamp.com/album/nature

Cameraoscura Lay The Haunting Foundation For A Dystopian Future With ‘Quod Est Inferius’

When it comes to setting a scene for a dystopian future, I immediately think about movies such as “Blade Runner”, “The Running Man” or “Total Recall”, where overcrowding in a technology consumed society is ruled by government furnished law enforcement. The buildings seem to be built a mile high, with flying cars, gas masks and the skyline barely sees any sunlight. The music that portrays this era is dissonant, dark and ritualistic to surmount to the equivalence of misery and oppression in human culture. If there is one current artist that characterizes these exploits, it’s Cameraoscura, and their latest offering ‘Quod Est Inferius’ depicts a horrid scene of a bleak future with civilization on the brink of destruction. This album is like a day in the life of a citizen, fighting for survival while abandoning all hope.

Establishing the scenario that will cause uncivilized turmoil is “Atanor”. Creepy soundscapes and bludgeoning drones are introduced at a frightfully low tone and eerie spoken words counteract the disparity. Suddenly, at around the three and a half minute mark, rhythmic electronic beats cascade through the layers of sound and embed a cadenced pattern that is rarely heard in this form of music. The outcome is simply amazing! “Admixio” has the soothing but crisp sounds of retro synth wave with the occasional low growl. Mesmerizing soundscapes provide a wall of sound as this track represents the less chaotic form of dystopia, but at the same time, showcasing the horrifying extinction of existence. “V.I.T.R.I.O.L.” Is another consoling arrangement, but as the track crescendos in volume, austere frequencies send a chilling reminder of dark times. Once again, a downtempo style beat comes into play and mixes well with the keyboards and drones of this track, putting the listener in a trance-like state until the very end. “Interitus” covers a broad range of low-end sounds in pure dark ambient fashion while at the halfway point of the song, an EDM style beat starts up at a ferocious pace (for this type of music at least), and takes us on an unhinged path of life at dawn, where the sun is never fully exposed, but the pain of survival continues. “Attera” is a short track full of deranged industrial sounds and euphoric samples, complimented by a harsh beat, as if the ultimate battle between citizens and government were suddenly taking place with hopes of setting a new outcome for the dystopian wasteland it has become. Following the harshness is “Solve”, a short melodic piece that introduces beauty amongst the chaos with its melodic keyboard tones. The final track on the album, “Ultima Necat” starts with serene synth tones and effects that bend from side to side. Abruptly, a distorted guitar riff begins playing slowly, over and over again, while layers of harmonious discord play compliment to the harsh noise. Whether it’s the end of mankind, or the dawn of a new beginning, this track sets the bar for climactic album endings, especially one that deal with a specific and relatable theme.

Cameraoscura are on to something new and exciting within the dark ambient community. While still maintaining the complexity of sequencing drones and soundscapes, danceable beats are added to several tracks to breath new life in the genre. I must say it works very well. It may not be for everyone, but I certainly love this style and hope that Cameraoscura will continue down this path of musical innovation. I highly recommend checking this out and I’m quite certain you’ll not be disappointed.

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Links:

https://totenschwan.bandcamp.com/album/tsr-100-quod-est-inferius

Infinexhuma Assembles Dismal Drones And Manic Soundscapes On ‘Unasan’ That Resonate Into Eternal Obliteration

The subtleties of darkness are all around and coagulate into many forms. As the adversaries of evil try to expose the inherent workings of malevolent entities, the bleak becomes gloomier and dreary, causing a longing for inner peace. This longing turns into a desolate energy in the form of ‘Unasan’, the near two hour master work from Infinexhuma that is saturated with ritualistic drones, resounding dark ambience and industrial-strength soundscapes. Comprising of some of the most well thought out arrangement I’ve ever heard on a dark ambient recording, these tracks have a trance-like quality that will captivate you from beginning to end. Also, for the most part, it is a very minimalistic recording, but the nuances that are mixed in is what makes this stand out amongst its peers.

The aptly titled album opener, “The Warning”, starts with spoken word intro, as if the devil himself is conveying a cautionary message. The sizzles of a crackling fire and forceful winds in the background set a scene of spiteful terror. “Asahskar” has a very deep and cold drone that is oddly soothing, while the sounds that resemble the random strums of a distorted guitar provide a chilling ensemble of dreariness. The fourteen minute long “Suffocation” is a horrific sounding drone with terrifying audio and voice samples that will make your skin crawl. As the deep tones smother your intrinsic senses, mind-altering harmonies can be heard, creating a layer of beautiful eeriness. “Feel Their Eyes” is like waking up in the middle of nowhere, as this industrial ambient nightmare grows louder and stronger, reeking havoc on the state of mind. “Fighting Back” features some beautiful keyboard sounds, wind chimes and various other field recordings to go with the very relaxing ambient texture that flows ever so smoothly in the background. “Dreaming In Nightmares” continues the winning combination of sparse, yet eclectic vocal patterns, futuristic soundscapes and field recording. If this is the sound of true nightmares, then you better fight to stay awake. “Freedom Window” is a nice change of pace as it begins with an alluring piano arrangement before fading into a minimalistic drone. The detail in this track is immaculate and it’s one of the most creative efforts on the album. “Past Taker Oni” begins with a wall of static-like sound followed by a horrifying narration, as if evil has spoken yet again. Although barely audible, you can tell that the message being conveyed is meant to terrorize it’s listeners. “The’u Rang Pit (feat. Neraterræ)” contains inhuman sounds and deep grumbling as if the lifeless bodies of purgatory are being processed for an afterlife of eternal damnation. The soundscapes are so heinous sounding, listening to this at night through headphones are bound to give you nightmares. The clean piano arrangement at the end of this track is incredible and fits perfectly with this song. It’s almost meditative in nature and I don’t want it to end. “Violent Tara” begins with the creepy sounds of Tibetan bells played randomly. Spoken word augments the usual drone space in this bizarre track, as other demonic vocalizations can be heard a well. Is this song doesn’t mess with your mind, then I don’t know what will. “Peace Beyond Death” is another fantastic drone that proves that it’s always possible to do more with less. Through minimal droning, the exquisitely places soundscapes create such a monstrous atmosphere on this track, that I consider it one of my favorites on the album. “The Edge Of Resistance” is another track that pushes the fourteen minute mark. Starting with what sounds to be digital water drops, it soon turns to a frigid drone with malevolent textures and soundscapes. The final track on the album is “Goodbye Host”. Starting with church organs and a spoken word narration in the form of a prayer, it morphs into a very unique drone/rock song, with a nice drum beat and bass line, as if it were being used as an “ending credits” song for a movie. Even those this track is different from the rest of the album, dynamically it fits right in and I think it is the perfect ending to the masterful album.

It’s no wonder why Neraterræ chose Infinexhuma for a guest spot on his 2019 album, ‘The Substance Of Perception’. With his keen sense for detail, audial imaging and dynamic approach to these types of arrangements, Infinexhuma is a champion of the dark ambient genre. ‘Unasan’ is just an example of exactly how good he is at crafting dark ambient and drone music while keeping it interesting and challenging to the listener. From calm piano arrangements to harsh industrial ambient sounds, ‘Unasan’ has it all and you won’t be disappointed in this near two hour long recording. Please support Infinexhuma and download this excellent album from the link below.

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Links:

https://infinexhuma.bandcamp.com/album/unasan

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

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

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

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

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Links:

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

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

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

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

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

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

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Links:

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