Xerxes The Dark Delves Deeper Into The Chaotic World Of Death & The Macabre With ‘Soundtrack To The Blind Owl’

Over the past few albums, Xerxes The Dark has taken a seemingly harsher approach to his Dark Ambient output. Instilling more of an industrial assault rather than lush, cinematic tones, it’s safe to say that XTD is producing some of the most aggressive work of his career. Although his past work has contained quite a bit of ominous modulations and sinister soundscapes, material from the past couple of years have been extremely bleak and harrowing, but a fitting progression for one of the best artists in the genre. That leads us to this years surprise release, ‘Soundtrack To The Blind Owl’. Extremely influenced by the 1937 novel, ‘The Blind Owl’ by Sadegh Hedayat, the story is about a desolate mans descent into chaos after experiencing personal loss and metaphysical shame. XTD interprets that discord into a grueling six track album of harsh noises and antagonizing dread that breaks down ones own spirit and will force the listener to question their own sanity.

It’s almost cliche to say that the album begins with a calm-before-the-storm approach. However, with the ensuing onslaught of punishing tonality that reeks havoc on the mind (and ears) for the following fifty three minutes, that statement is putting it mildly. “Misanthropic Mind Within Nightmares” begins with pulsating modulations and distorted guitar screeches that progressively sets the tone for this horrific ordeal. Subtle glitches are manipulated in a rhythmic pattern while random guitar noises inflict audial damage at deafening volumes. “The Women” commences with some of the same fragmented tones that were predominate in the first track and fuses with strident guitar reverberations that would please fans of the mighty Sunn O))). Bleak soundscapes are imbued strategically, enhancing the experience of the ascension of chaos. The layers of deep, guttural nuances give this track an overall creepy vibe. Next up is my favorite track, “Opium & The Bent Man”. Before I get into the details of this track, I’d like to point out that each song flows seamlessly into the next and is meant to be listened to as a single instance, showing a slow descent into oblivion and the process in which maniacal sentiment infiltrates all thought processes. As for “Opium & The Bent Man”, this is the eeriest eight minutes on the album and the celestial synth contained within are what phantasmic dreams are made out of. The droning, distorted guitar riffs are still present but take a back seat to the sinister soundscapes that oscillate at will, like an abandoned pitch shifter. “Bed Of Dead” continues down the path of destruction as distorted frequency sounds create a drone-like impulse, devastating everything in its wake. Layers of exaggerated guitar riffs continue to surge, adding a frenzied accent to this otherwise minimalistic intonation. “Horrible Abyss” continues the insanity but doesn’t begin with a constant hysteria of sound. Instead, vibrant impulses tease of an imminent demise before fully committing to an agitated madness of constant tones and malevolent riffs. The final track on the album is “The Shadow Of The Void”. Commencing with a low volume and gradually committing to a solid foundation of hateful, droning guitar riffs and dismal effects, this is the climactic piece that solidifies the concept of this very engaging album. As the psyche begins to wear thin, the throbbing fill of sonic distortions continue to blast at earsplitting volumes. However, everything comes to a grinding halt – and without warning – as the song stops in an instant, representing the abrupt end to the rapid decline of the mind.

Xerxes The Dark has been on a role over the last few years by releasing some of the best albums of his career. Instead of maintaining the status quo, XTD continues to add to his signature sound, digging deeper into the industrial ambient sub-genre and producing albums of harsher and more severe sounds. “Soundtrack To The Blind Owl” is no exception, as it’s his most brutal XTD output thus far. However, if this is what we can come to expect, then I’m already excited to hear of what may be next. This is not a relaxing, meditative listen. This is very coarse and requires the full attention of the listener in order to appreciate and understand what all is going on. That all being said, this album is absolutely amazing and one of my favorite Dark Ambient recordings of the year so far. Please show your support and listen to and/or download this outstanding piece of work from the link below.

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Links:

https://xerxesthedark.bandcamp.com/album/soundtrack-to-the-blind-owl

Infinexhuma Amasses A Large-Scale Aural Attack With Intense Soundscapes On ‘Frontier’

When it comes to ominous soundscapes and adventurous Dark Ambient compositions that are filled with terror-induced tones and agonizing drones, Infinexhuma has to be one of the front runners that consistently supplies this huge undertaking. One thing you can always count on with an Infinexhuma album is a grim experience that clinches like a slowly tightening vice grip. On the latest deafening effort, ‘Frontier’, the tones are colder, soundscapes more chilling, and an overall dominating audial ordeal that is more dismal than ever. Also, enlisting the help of other Dark Ambient elite artists such as Blood Box, Neraterræ, and Common Eider, King Eider, together they catapult this deviant journey into multiple realms of chaos. At almost one hour and forty minutes long, this bleak expedition has enough creepy twists and turns to create and angst-filled environment.

The intoxicating album opener, “Converter”, is an all-out onslaught of malevolent sounds, designed to overwhelm the senses and bring forth nightmarish reactions. The haunting drones are propelled to a grueling depth with the help of industrialized soundscapes and a flock of crows, circling in agitation. This ten minutes endeavor does not let up and thoroughly prepares the listener for the next hour and a half. “Orbital (feat. Blood Box)” creeps along at a gradual pace, refining the audial invasion of the first track, and subduing the listener into a catatonic state. Terror-filled screeches and modulations grow louder as the weight of this track becomes even heavier. The next track, “Sword” summons ancient, dark vibes as the mildly distorted drone appends itself to the listeners subconscious. More like a malicious space ambient outing, there are intense ritualistic moments throughout that is reminiscent of a doomed celestial society. Fabricated screams elicit moments of terror as this haunting track beckons the darkest of times. “Sweeper” keeps the nightmare sequence alive with alluring drones and field recordings. As if surviving another dimension, grim manifestations are on full display in eerie fashion. “Heaven March (feat. Neraterræ)” displays signs of solitude and emptiness, as these superior drones have an echo effect, creating a wall of sound that embodies desolation. Sonic soundscapes present a trance-like significance that is addictive to listen too. This is probably one of my favorite tracks on the album. “Position In Flames” is a slow builder but well worth the wait. Light drones and incredulous synths seem far off and blurry at first, but slowly form into a dynamic track full of distorted frequencies and angst. As they start to fade into a warm drone sound, breathing becomes normal and an escape back to reality is in close focus. “Catharsis Of Goodbye is nearly thirteen minutes long and runs the gamut of emotional brain patterns. Beginning with a short, foreign narrative, it fuses into an assembly of sound that takes its time to decimate those that listen. From hollow drones and mechanized soundscapes to retro synthwave distortions, this track contains the elements and checks the blocks for a true dark ambient excursion. Next up is “Deep Runnel (feat. Common Eider, King Eider)” and it’s fascinating resistance of grueling, harsh moments make this one of the most effective tracks on the album. Maintaining a low compulsion for gradual effects, this one builds in anticipation without breaking its lethargic flow. “In The End” is a supernatural spectacle of sound and voice, as they fuse together in a dreamlike state. An interesting addition of EDM synths and monstrous backing tones are a welcomed surprise and I’m sure many listeners will appreciate this branching out to additional genres and will succumb to multiple listenings in one sitting. “Forged” begins as a minimalistic piece but grows into a fierce synthwave crossover song that features beautiful synth leads and darkened drones. There are other obscure sequences that add to this amazing sound, creating a monumental track that easily stands out amongst the others. “Every Door” is discordant offering that is full of twists and turns, including heavily distorted & sequenced vocalizations. Although it starts off semi-peaceful, it morphs into a noise-filled composition that becomes one of the harshest tracks on the album. The final track on the album is “Stormless”. Another stellar feat in space ambience, this enticing arrangement will have the listener drifting off to the far reaches of the bleak, uncharted universe. Although all is safe, you never know what’s lurking around every corner, as this song will have the listener calmly anticipating what the future holds. Such a captivating way to end this preeminent Dark Ambient experience.

I can always count on Infinexhuma to provide the ultimate Dark Ambient experience. Whether it’s cinematic soundscapes, ritualistic tones, harsh noise or space ambience, each album provides a unique platform for transparency with all of these musical forms. ‘Frontier’ is no different, as it challenges the listener to open the mind to fully embrace all of these magnificent compositions. If you’ve not heard this colossal recording yet, please visit the link below and experience one of the best Dark Ambient recordings out right now.

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Links:

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

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

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

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

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

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Links:

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

Guan Yin Video Premiere For “Repentance II”

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

Information from the artist/label:

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

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

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

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

Links:

https://guanyin.bandcamp.com

https://acephalewinter.bandcamp.com

https://sunthrougheyelids.bandcamp.com

Destruktionsanstalt Resurrects A Cluster Of Menacing Tracks From Various Projects To Comprise The Superbly Written ‘Kaelder Mug’

Destruktionsanstalt is no stranger to The Dungeon In Deep Space site, as I reviewed the mighty 2018 offering, ‘Døds-hymner’. Fueled with industrialized anguish and a powerful artillery of noise, this was a pinnacle album of harsh dark ambience. Fast forward to 2020 and we find the compilation release of ‘Kaelder Mug’, an undeniable distribution of sickening atmospherics amongst several projects by Per Najbjerg Odderskov – the mastermind behind Destruktionsanstalt – that are being unearthed and brought to dark light. Destruktionsanstalt, God Cancer, and Lidane Livering set a new standard in breaching critical mass with deep ambient drones, sinister soundscapes and the harshest of noise modulations and combined, formulate a seventy two minute album that will appeal to the minds of malevolence.

The first eight songs come from pitch-shift master, Destruktionsanstalt. Combining jolting frequencies that pierce the inner ear and sustain a constant discontent for easy listening, these tracks are not just a mine field of random noises. They are randomly crafted oscillations that fuse with morbid soundscapes and narrative samples to create a meaningful soundtrack of crafty intonations. Album opener, “Familia” begins with gloomy tones in the form of layered drones with heavy distorted sequences. Voice samples tell an eerie story and it matches the music perfectly. A couple of tracks later, “Mali Spiritus” blasts off with sharp, piercing resonance and alternates between high and low decibels as if an alarm is providing an early warning for an unfamiliar doomsday. Again, a progression of audible narrations play a major role in deciding the anxious outcome of things. “Sanguinem Pressura” is nearly four and a half minutes of agonizing modulations that deliver some rabid drones and horrifying soundscapes. This is one of those tracks that are not for the faint of heart and is best played in a dark, cold place to receive its full affect. The final Destruktionsanstalt track is “Hic Sunt Dracones”. Commencing with a desolate wind field recording, the radiant, penetrating noise accents suddenly desecrate all in its path. As the wind volume picks up, so does the noise intensity. Together these sounds are mesmerizing and easily succeed at putting the listener into a catatonic-like state for its duration. Samples and various effects can be heard throughout, adding an evil value to this already mind-bending tune. The next three tracks come from the God Cancer project. Although there is still a noise intensity about those songs, there is more of a cosmic vibe to them, thrusting the listener into the farther most reaches of the harsh realms of the universe. The first track, “Midnight Distortions” contains a great dose of glitch recordings and immense pads to radiate the intensity that much more. It’s as if being sucked through a black hole and an dodging an oncoming asteroid field at the same time is unavoidable. “The City Is Alive” is like a sonic nightmare, as this seven plus minute track sees multi-layers of modulations glitch and bend endlessly, catapulting the brainwaves into an unexplained dimension. The final two tracks are from the Lidane Livering project and although these two tracks are probably more accessible than the previous, they are far from being insidious. The final track on the album, “Dunwich”, epitomizes the field recording technique and heavy use of soundscapes makes this minimalistic song a cold adventure all in itself. With the soft sways of an ocean vessel the ripple effects of passing currents, the calm-before-the-storm scenario is close at hand. Soothing drones and inaudible whispers howl in the background and without recoil, it all quietly disappears.

I’m a big fan of Destruktionsanstalt and I really enjoy the intriguing mix of dark ambient and harsh noise that this project provides on a consistent basis. With ‘Kaelder Mug’, we get a fascinating compilation of not only Destruktionsanstalt tracks, but an excellent glimps into two other amazing projects – God Cancer and Lidane Livering. Although the Bandcamp page for this release lists these tracks as part of abandoned projects, I sure hope this is not the last we’ll hear from any of these acts. If you like your Dark Ambient with a touch of harsh noises, look no further than ‘Kaelder Mug’. You can download this awesome piece of work at the link below.

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Links:

https://marbrenegre.bandcamp.com/album/kaelder-mug

https://destruktionsanstalt.bandcamp.com

https://godcancer.bandcamp.com/releases

https://lidanelivering.bandcamp.com

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

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

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

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

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Links:

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

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

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

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

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

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Links:

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

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

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

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

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

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Links:

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

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

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

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

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

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Links:

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

Diaspora Psichica’s ‘Eprom’, Interprets The Horrific And Unhinged Ordeals Of The Artificial Intelligence Era

We’ve all seen the movie; an artificial intelligence (AI) being of some sort turns against its maker or civilization and provokes all sorts of havoc. A glitch in the system causing a reactionary output that has nullified all previous code and syntax, is now enemy number one. If you’ve not seen the movie, I’m sure you’ve read the book or have watched the TV show or at least have envisioned a scenario similar to this. In the computer age, things like this aren’t supposed to happen. Systems and components are presumed to work and function as designed. Even if there is a bug or malfunction, a failsafe is typically written to prevent the devastating effect of a hostile machine takeover. On Diaspora Psichica’s latest album, ‘Eprom’, a ghastly nightmare unfolds that is the equivalent to a systematic meltdown of frenzied proportions.

At the commencement of this album is the eccentric “Trasmisson”. Luminous sound effects race hysterically from one speaker to another as if the system startup is commanding an explicit set of code from memory. However, the narrative throughout the track repeats the same seven words over and over again, exhibiting a glitch in the system. Cosmic sounds and noises provide further evidence of a system failure, as this track finally ends, never completing the startup process. “Vision” begins with daring, low-end drones and minimalist but vibrant synth tones that are eerie and perplexing. More systematic narratives commence – a few words at a time – as if providing clues to a code. “Equilibrium” starts with a bizarre synth wave loop as if the balance of AI and Human intelligence is stuck in a type of EPROM, unable to be erased, and now must work together somehow to overcome this disaster. A deep voice can be heard providing details of their predicament. Although the voice is human-like, it definitely represents the machine. “Daleth” commences with industrial synth loops and samples, and a few oddities thrown in the mix. A few wandering drones fade in and out of the mix while a cryptic narrative repeats the same eight words over and over again. Coincidentally, each word starts with the letter D. Without warning, the track suddenly fades out. Next up is “Vertigo”, with pounding drones and enough pulverizing looping sounds to cause a panic. Searing high-pitched synth tones race through the speakers at several different random times to keep this track compelling and aggressively dark. “Afternum” is a short track of bleak drones that sound as if they are slowly breathing. Maybe this is the AI finally coming to life due to the continued interaction with human intelligence. Random thoughts regenerate at the end of the track in vocal patterns that sound straight out of a horror movie. “Hysteresis Human Mind” is the most sinister track on the album as the monotonous drones are austere in nature as well as the jumbled sound effects placed throughout. The humanoid narration – matched with this music – is completely frightening, and it continues the same format as previous tracks, in that it repeats the same few words over and over again. The final track on the album, “Thelema” is completely different from the rest of the tracks, containing an astonishing drum beat to go along with sound effects placed in a melodic pattern. Synthesized narrations play a key part in this track as well, giving it that futuristic – but at the same time, retro – feel to it. This is the perfect track to summarize this intelligent but disturbing album.

Diaspora Psichica have created a monumental album in ‘Eprom’. Although this album was recorded a few years back, it was recently brought to my attention and I’ve enjoyed this album very much. I’m very much looking forward to hearing more from this artist and I dig their unique style and quality. ‘Eprom’ is available as a FREE DOWNLOAD from the link below, so do yourself a favor and add this amazing album to your collection.

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Links:

https://diasporapsichica.bandcamp.com/album/eprom