Tag: Dark Ambient (Page 10 of 27)

Frozen In Time: Dark Ambient News – March 2018

The move is over and things are starting to settle again here at This Is Darkness. So, you can all expect to see lots of new things coming along in the near future. Some articles and projects that have been in the works for months will be coming to completion and unveiled very soon! In sticking with the vision for these Frozen In Time articles, I’ve spent the last week digging through every dark ambient related release that has surfaced since our last Frozen In Time post. I’m going to be a little more selective from here forward with the news shared as things like weekly singles and incredibly prolific artists can make it hard for newcomers or casual followers to find the newest releases of the highest quality. These kinds of things aren’t an exact science, so if you feel I missed something extremely important, feel free to reach out!

-Michael Barnett

New Releases & Preorders

Ager Sonus – New Album Released (Cryo Chamber – CD/Digital)
“Ager Sonus is back with his second Egyptian themed album on Cryo Chamber, the first being Book of the Black Earth.
You open your eyes. Darkness. Silence. Oppressing silence. Your breath feels shallow, the air too thin to breathe. The space you are in feels narrow, the ceiling so close you can almost touch it. Your heart starts pounding as the feeling of panic brings you to your senses. You seem to be.. Underground, buried!
How did you get here? Fragments of your memories hover in front of you in the darkness like thin layers of fog, guiding you. Sand.. A desert.. Symbols.. Hieroglyphs… A faint voice calling you..
Ager Sonus brings us an ambient album set against the backdrop of lost civilization. Explore occult secrets buried in ancient tombs.”

Astral & Shit – New Album Released (Black Mara – CD/Digital)
“Like a monolithic stone this album reveals the secrets of the Universe for the questioner. Beneath the veil of its darkness hides the depth of the beginning of time.
This album is something alien but familiar the Earth. That once came out of the Earth and now once again reunited. It was so long ago that we the living can’t appreciate with common sense that has been revealed to us. Alarming and dangerous, but beautiful at the same time, it is Divo.”

Atrium Carceri & Herbst9 – New Album Released (Cryo Chamber – LP/CD/Digital)
(Check out our review here!)
Ambient Veterans Atrium Carceri & Herbst9 team up on this mysterious album.
The harbor was humid and hot in this mysterious land, nothing like the frosty cold ports of home. Yellow smoke danced to the beat of the drum joined by hypnotic women. The crowd spiraled inward, dancing to far away bells and the murmur beneath the ground.
You awoke sweat clad in linen sheets, the naked woman passed a long pipe. The cherry sparked red like a dragons eye. Head leaned back against a soft pillow, body free falling from soothed skies. A thud as your body hit the ground on a pathway built by giants.
Chanting, ritual drumming and spoken word weave in and out of this album that pays tribute to the old ways.

Babalith – New Album Released (Sombre Soniks – Digital)
“Gramatique du Ciel is inspired by the intuitive and primal language of sound, as it is taught within sensitive nature, and is structured according to the seven spheres of paradise, in a way contrasting with Inferno, my second album for the label. Because of its peculiar linguistic shape, it is dedicated to the memory of the Portuguese sage António Telmo.”

Carlo Giustini – New Album Released (ACR – Cassette/Digital)
‘La stanza di fronte’ or ‘The Other Room’, is Carlo Guistini’s first work released under his own name. this highly conceptual release – the four tracks were recorded in four different rooms of a house built in 1966 – explores our relationship with homes, with the matter they are made of and with the scents that impregnate their walls.
Carlo Giustini recorded these 4 serene pieces by placing two microphones and two dictaphones in the corner of each room. the tones and the harmonies are translations of the vibrations of the house itself, Carlo’s movements, and the noise of moving objects. the opening track even includes unexplained sounds and footsteps captured in one of the rooms while the house was empty and the mics were on.
“No need for the outside, as the walls, heavy as boulders, become the breath of a world that won’t preach any sound. The humming of the mould and the cracks over the door jambs become companions to whom entrust your thoughts. And there’s no need for anything else.”

Darkrad – New Album Released (audiophob – CD/Digital)
“Jana Komaritsa presents the new album of her project Darkrad – Heart Murmur, released on German label audiophob. With this album she continues the theme of inner blackness and disturbances of mind, weaving the canvas of ominous world. Heart Murmur is a medical condition, when the sound of blood flowing can be heard in between regular heartbeat cycle. Darkrad creates swishing rumbling sounds of the tortured heart, sounds from the reality not seen, from the world not known, sounds from the dread, both inner and outer. Merging melancholic dark ambient passages, bitter melodies, disturbed vocals and raw noisy sounds, rhythms and basslines, she opens the door to the infinite dark and offers the listener to dive into the world beyond. Pure unrestrained emotion interweaves with once suppressed memories and fears, merging into one flow of hypnotic soundscape. Listen to her grim heart murmur, pulsating and vibrating in between the regular healthy heartbeat, frightful signals sent from the other side, penetrating the normal reality and spreading into our world. The album also includes bonus tracks: compilation contributions and former tape releases, partially in new versions, as well as remixes from Flint Glass and Mortaja.”

Day Before Us – New Album Released (GH Records – CD/Digital)
“Adorned path of Stillness » marks the return of the neoclassical and dark ambient music act Day Before Us on the Argentina based label Twilight Records, in collaboration with GH Records. This is their sixth full length release. This new effort is an enthralling soundtrack for dark, solemn, thoughtful times. It incorporates acoustic and lyrical sections next to electronic textures and diverse processed sounds.
The general atmosphere offers precious moments of introspective melancholia punctuated by mysteriously hypnotic instrumentals. This is a multifaceted album but also remarkably cohesive with many dynamics, emotional movements that will ravish fans of haunting and touching cinematic music in a rather classical mood.”

DeepDark – New Album Released (Digital Only)
After a very busy period of releases over the last year or two, DeepDark seems to have settled a bit and is now releasing his first album of 2018, Leaking From His Own Pores.

Eidulon – Preorders Available (Malignant – CD/Digital)
“Following an 11 year absence since his debut, Idolatriae, Eidulon returns a radically different entity. Whereas Idolatriae was haunting and minimal catacomb ambience, Combustioni is otherwise now a daunting, full on apocalyptic industrial, auditory excursion, complete with crushingly ominous brass chords, fearsome horn proclamations, organ, and doom filled atmospherics. Contributions of murderous, gnarled vocals courtesy of Nordvargr and Luca Soi, as well as caustic noise from Italian heavy electronic practitioners Naxal Protocol (ex-Cazzodio) add a powerful element, often cutting through a blaze of swelling tones and pneumatic percussive pummel, the only respite coming in the form of collaborative tracks with Kammarheit and Caul, which sees Eidulon returning to the foggy gloom and bleak isolationism that populated the debut. Collectively, it’s quite the provocative declaration, shattering genre barriers and setting the soundtrack for a world of incinerated cities, global plagues, and nuclear winters.”
Releases March 25, 2018

Flowers For Bodysnatchers – New EP Released (Digital Only)
Flowers for Bodysnatchers has taken us into a variety of interesting places and scenarios over the last few years. This time we go to one of the most repulsive times in human memory, the Nazi holocaust, at the scene of a gruesome slaughter at Babi Yar, northwest of Kiev, which took place over the course of two days in September 1941. Not for the faint-hearted.

Grim Heka – New Album Released (Digital Only)
Grim Heka is a Dark Ambient project from Darren Coyle. Composed on Eurorack modular synthesis, often improvised and recorded live. Tale of the Picts is his self-released debut album.

Hadewych – New Album Released (Malignant – CD/Digital)
“Though the project of Dutchman Peter Johan Nÿland, contributions from members of Trepaneringsritualen, Dead Neanderthals, Turia and veteran experimental vocalist Greetje Bijma, help Hadewych to function more as a collective as it amorphously shapeshifts and navigates through a broad swath of styles. And yet, Welving is so finely honed and skillfully crafted, that it works as a singular,whole, never losing a firm grasp on what remains at the core of its unique and dynamic sound. Still, it is nearly impossible to classify or define, utilizing a broad array of instrumentation, working in the monolithic, organic and the acoustic, and filtering it through a complex network of darkened, post-industrial, post-black, ritual hallucinations, and noir-ish Bohren And Der Club Of Gore deathjazz, with a steady stream of insistent bass, percussion, and spoken narrative to propel many of the tracks forward. Hadewych defines their music as black rituals channeling the ultra-grotesque, which is about an apt description as you’re going to find, and yet it’s that vagueness and ambiguity that manages to sum them up perfectly. One of the most unique and exceptional releases under the Malignant banner, and highly recommended for those unafraid to venture into realms unknown.”

Kalpamantra – New Malignant Records Compilation Unveiled
(Kalpamantra – Digital Only)
The Portrait of Mortality is the next massive compilation in this series on Kalpamantra net-label which includes artists exclusively from the Malignant Records roster. Expect to see solo and/or collaborative tracks from all your favorite Malignant artists!

Kloob – New Album Released (Winter-Light – CD/Digital)
“Here on ‘Remarkable Events’, Kloob has brought a darker, much more intense, rich feel to his music, quite different from some of his previous works. The tracks switch between dark and light and you can feel the influence of his recent Eastern travels, crackling in the air, in the field recordings, in the synth sweeps and patterns and in the sonic landscapes that the album creates and carries you along. Make no mistake, this is not an album filled with the chants of Hindu monks and the busy clatter of every day Indian life. It is an intensely spiritual album, which for its duration will take you along the same paths traversed by the artist himself.”

Land:Fire – Live Album Released – (Shortwave Transmissions – Digital Only)
These two recordings are from May 13-14th 2006 at the Sonic Lodge at Weezie/Galerie für zeitgenössische Kunst, Leipzig.

Mrako-Su – New Album Released (ΠΑΝΘΕΟΝ – CD/Digital)
“Coldest hour before sunrise. Moonlit valley covered with snow. Sharp outlines of pines standing still. Everything seems static, no single move, no birds or beasts, no clouds in the bottomless sky. The air is an invisible, perfectly transparent crystal. Endless quietly ringing sound seems to pervade everything… Is it real? Echo of this question falls into a void of silence. No one answers. Nothing moves. But the feeling is here, the presence, the instinct. Something is lurking, something is hiding… Remaining at the edge of sight line all the time. Maybe it’s shadows, their predatory spikes. Perhaps it is the flickering of snow… Firstly unnoticeable vibration becomes evident, it has the rhythm, overtones. It calls someone… Maybe you?”

Nordvargr – Preorders Available (Cyclic Law – LP/Cassette/CD/Digital)
“With great honour we welcome one of Sweden’s most revered craftsman of industrial soundscapes. “Metempsychosis”, the transmigration of the soul, is the basic concept for the new album from Henrik Nordvargr Björkk. However, not in the classic reincarnative sense, but as a study of how souls rather than being judged by a higher power, themselves chooses what flesh to inhabit. To freely roam between the dimensions and to cling on to any form of life at will. These cycles of life and death, bound in part by flesh, inspired to create these tense and organic atmospheres – all synonymous with the journey of the soul. The result is a natural evolution of Nordvargr´s trademark darkness into more rhythmic and vocal compositions where the confrontational stance of Henrik´s other projects shines through; from the harsh bombast of MZ. 412 to the vocals of Anima Nostra, all surrounded by the darkest Scandinavian aura of horror. Featuring guest vocals by Trepaneringsritualen on the track “First East” and stunning artwork by Dehn Sora. Both LP & CS versions feature a different track listing than the CD & Digital versions.”

Northaunt – New Album Released (Glacial Movements – CD/Digital)
***Read our review here.***
“Northaunt is the ambient project of Norwegian Hærleif Langås, and has since the late nineties released 4 albums where the signature sound is a mix of field recording from nature, soundscapes and ambient, inspired by norse nature and landscapes and our role as a part of nature.
The composing of ISTID came as a reaction to our modern lifes, our world and how it sometimes seem confusing, stressful and noisy. Put of by all this and inspired by books about earths history, iceages and the forces that formed the landscapes we have today, Hærleif started making ISTID, Iceage in Norwegian, to imagine a world of silence before man. This is the 3rd album in the series and we can now imagine man is about to start his lonely quest for meaning in the desolation.”

Nubiferous – New Album Released (Digital Only)
Nubiferous is an artist I’ve been following for sometime. His music consistently moves under-the-radar, leaving his name a novelty to many dark/ritual ambient listeners. As with his earlier work, you can expect some raw ritual ambient with hints of tribal and folk music. His style is something of a cold, far-northern ritual ambient.

Phelios – Live Album Released (rabbau – Cassette/Digital)
“In 2015, Phelios enchanted russia with his outstanding performance. while listening, we more and more feel like cosmonauts diving deeper into the universe of this gifted musician, with every track being a microcosm of breathtaking beauty that we pass through on our journey. the foundation of these nine sparkling compositions are crystal-clear synth pads which are layered into sounds capes at various shades of dark ambient. combined with ritualistic drum patterns that pick up the pace in between droning bells, we awake from ‘hibernation’ until we reach ‘atlantis’ with its soft strings that brush away the last attachments we may have had to planet earth.
Martin Stürtzer, the mastermind behind the project, has truly left his fingerprint on the ambient music community. next to arranging concert series taking place in a church, he also pioneered in organizing his own performances within the wagon of a suspension railway, demonstrating his musical talent at the ‘schwebebahnkonzert’ in wuppertal in 2007. in line with his ongoing commitment to creativity, phelios again invites his audience on board to enjoy the excellence of his work – back in st. petersburg and moscow and now on raubbau. for those who already fell for phelios creations, two previously unreleased tracks, ‘timelord’ and ‘cloud sector gamma’ have now found their way on this very record. but whether you are already familiar with phelios or not – this album simply is a must-have for everyone who appreciates complex ambient music on the highest level.”

protoU – New Album Released (Cryo Chamber – CD/Digital)
“Sasha further explores the themes of her first collaboration album Earth Songs. While her album “Khmaoch” explored the roots of civilization, “The Edge of Architecture” probes into the future of the modern age.
Black gigantic buildings loom over our hubris as we reach for the unnatural with each new brick in the wall. The night reeks of dark fluid as flickering neon lights reflect on wet streets. Winds howl over a jungle of steel and shadows of automated builders creak in the distance.
Field recordings blend with deep drone and ethereal overlays on this immersive album. For lovers of Sasha’s unique style of cold and warm ambient blended together into an emotional ride.”

Randal Collier-Ford – New Track Released (Digital Only)
“‘Anti-Meme’ is an updated version of the song, “Disgust”, featured exclusively at live shows. ‘Anti-Meme’, originally created 3 years ago for live shows only, features a mix of “horror” elements and themes taken from the roots of albums such as, Dark Corners, De Vivis Somnium Mortis, Putredinis Illusiones Putredinis Illusiones. Adding this together with the first stages of live mixing industrial constructions for live shows (and future studio albums), ‘Anti-Meme’ was meant to settle the building atmospheres of live acts, fused with the visuals of an altar with candles and bones.”

Ruairi O’Baoighill – New Album Released (Cursed Monk – CD/Digital)
To See Without Eyes is the final album in his trilogy, which also includes the albums Walpurgis and The Faceless One.

Sana Obruent – New Album Released (Digital Only)
“Recorded at the TSC Hideaway Studio – Somewhere In California – March 1, 2018. Thank you Electro Harmonix, Fender & Tascam. No synthesizers or keyboards are used in this recording.”

Taylor Deupree – New Album Released (12k Music – CD/Digital)
“…Fallen was supposed to be, after all, a relaxed album, one that would come quickly, off-the-cuff, and with little regard to any rules or restrictions. It, however, ended up being one of the longest albums for me to create; well over a year and a half, as it had coincided with a particularly dark and difficult time in my personal life.
As the album progressed the thoughts of a freer, solo-piano sound quickly faded as layers of disintegration and noise came to the foreground. Half-broken tape machines and plenty of ghostly echoes helped hide the honesty of the piano as I hid myself, and my music, away under the cover of abstraction…”

Ugasanie – Preorders Available (Cryo Chamber – CD/Digital)
“Ugasanie returns with his 5th album on Cryo Chamber. This time exploring the vast landscapes of Antarctica.
The snowstorm builds on the horizon as the ice crackles under your feet. The faint call of someone beyond the blinding blizzard.
A subdued and chilly album in the isolated style that is Ugasanie’s expertise.”
Releases 6 March 2018.

Winterblood – New Album Released (Grey Matter – CD/Digital)
On L’ingresso, Italian dark ambient artist Winterblood takes us into a bleak and frigid lo-fi atmosphere, full of eerie elements lurking in the darkness. The opening track “Waldeinsamkeit II” follows it’s predecessor in the use of blisteringly cold wind rushing past the field recording microphone. The analog snythesizer becomes increasingly prevalant giving the album an ever grittier edge as it progresses.

Yann Novak – New Album Released (Touch – CD/Digital)
“The Future is a Forward Escape Into the Past is the latest album by Los Angeles-based multidisciplinary artist and composer Yann Novak, and his second for Touch. It considers the relationships between memory, time, and context through four vibrantly constructed tracks that push Novak’s work in a new direction while simultaneously exploring his sonic past. ‘The Future is a Forward Escape Into the Past’ is composed as a quadriptych – a single gesture broken into four parts – that meditates on the inevitable progression of time, our relationship to the past, and our distortion of the past through the imperfections of memory.”

Other News

Infinity Land Press – New Book Released
“Infinity Land Press is pleased to announce the release of Thatcher’s Tomb by Stephen Barber, an apocalyptic novel.
The book is illustrated by Martin Bladh and comes with an interview, with the author, conducted by Steve Finbow.
n an alternative narrative of Thatcher’s 1979 rise to power – in which her regime unrestrainedly carries through the razing of resistant cities and the extermination of all opposition – forces of insurgency have to adopt aberrant strategies and inhabit subterranean, occluded spaces to combat that regime. One insurgent cell, in the North of England, conducts a dangerous adventurous journey through decimated and depopulated lands, via such sites as the Queen’s Hotel Leeds, the Denge Acoustic Mirrors and the Hinkley Point Nuclear Reactors, in order to summon up the means to sustain their insurrection of the subsequent decades, until all of England has been transformed into the form of a mausoleum of itself, created and abandoned by Thatcher and her successors, and ‘the problem of England’ in its cruelty and banality takes on an outlandish life of its own.”
Available to purchase here.

Infinity Land Press – Pre-orders Available
“Antonin Artaud’s 1937 apocalyptic journey to Ireland and his writings from that journey form an extraordinary moment of accumulating disintegration and tenacious creativity in his work. After publishing a manifesto prophecy about the catastrophic immediate-future entitled The New Revelations of Being, Artaud abruptly left Paris and travelled to Ireland, remaining there for six weeks and existing without money, travelling first to the isolated island of Inishmore off Ireland’s western coast, then to Galway, and finally to Dublin, where he was arrested as an undesirable alien, beaten by the police, and summarily deported back to France. On his return, he spent nine years in lunatic asylums, including the entire span of the Second World War. During that journey to Ireland – on which he accumulated signs of his forthcoming apocalypse, and planned his own role in it as ‘THE REVEALED ONE’ – Artaud wrote letters to friends in Paris and also created several magic spells, intended to curse his enemies and to protect his friends from Paris’s forthcoming incineration and the Antichrist’s appearance at the Deux Magots cafe. To André Breton, he wrote: ‘It’s the Unbelievable – yes, the Unbelievable – it’s the Unbelievable which is the truth.’ Many of his writings from Ireland were lost, and this book collects all of his surviving letters, drawn together from archives and private collections, together with photographs of the locations he travelled through. This edition, with an afterword and notes by the book’s translator/editor, Stephen Barber, marks the seventieth anniversary of Artaud’s death.”

Available for pre-order here!

 

Recent Reviews on This Is Darkness

Atrium Carceri, Cities Last Broadcast & God Body Disconnect
Miles To Midnight (Cryo Chamber)

“Miles to Midnight is a brilliant and novel release for Cryo Chamber. Following on the footsteps of their recent release Heralds by Wordclock, Cryo Chamber takes the dark jazz elements in an even more focused direction. While they are obviously a dark ambient label at heart, it’s great to see them taking chances and testing the waters of different genre influences, which should ultimately make for a more diverse catalog of releases and widen their fan-base even further. A highly recommended release especially, but certainly not only, for fans of dark jazz!”
Read the full review here.

Shock FrontierTumult (Malignant)
“Shock Frontier have absolutely proven their worth on Tumult. The album is challenging at times, but always at maximum intensity and always drenched in negative emotion, even during its more reserved, dark ambient leaning tracks. This new vision was given the full treatment by Malignant Records, housed in a beautiful DVD digipak with irradiated, irreligious, apocalyptic art created by Noculture. The sounds are mastered by death industrial veteran John Stillings of Steel Hook Prostheses. Kozletsky and Carney have bared their souls, grinding out tracks which surely took them into the darkest recesses of their psyches and Malignant gave them a platform to spill this deviant heresy on the post-industrial world. It is now left to us, the listeners, to share this dark beast with the unsuspecting masses. May they bask in its deviance… or crumble beneath its iron grip.”
Read the full review here.

Bridge To ImlaThe Radiant Sea (Winter-Light)
Bridge To Imla delivered a strong debut. An album which could have only been created by artists with a lifetime’s experience in the field of ambient soundscapes. The album is equally as delightful when given full undivided attention as it is when played in the background, as an augmentation to some other activity. After this strong debut, we can hope to see more albums like this in the coming years from these two gentlemen. Until then, there should be many hours of enjoyment as one floats along on The Radiant Sea!
Read the full review here.

Atrium Carceri & Herbst9Ur Djupan Dal (Cryo Chamber)
“Ur Djupan Dal should be a welcome release for any listeners that have been following the “second wave of dark ambient”. Atrium Carceri and Herbst9 have both been performing at the top of their game for over a decade each. Ur Djupan Dal is a perfect example of how artists can come together to create not only sounds which delight, but storylines which have direct connections to each of their past works. I would recommend this album to any dark ambient listeners who enjoy the perfect blend of ritual, cinematic and traditional dark ambient music.”
Read the full review here.

raison d’êtreAlchymeia (Cyclic Law)
“It is not hard to imagine Alchymeia as the magnum opus of raison d’être. A return to form after years, Alchymeia is sure to delight and fully enrapture listeners. It is the perfect modern connection to the older works of raison d’être. If Peter Andersson will see this as his defining and final work, we will all likely hope for otherwise. But it is undoubtedly defining. It takes all the elements Andersson has been perfecting over two decades (closing in on three decades) of music creation and puts them to perfect use. The darkness is as dark as anywhere else in his discography, and the light is soul-gripping, heart-rendingly beautiful. Alchymeia is, in my humble opinion, the album we’ve all been waiting for from raison d’être. Truly a magnum opus in every sense.”
Read the full review here.

Martyria – Martyria (Malignant)
“Martyria aren’t interested in simply recording interesting textures, instead taking listeners to the source through their authentically mystical expression. From its opening bell toll until its last notes fade into the annals of time, this tremendous debut succeeds not only as an incredible amalgamation of ritual ambient and world music, but an exercise in eschatological internalization.”
Read the full review here.

NorthauntIstid III (Glacial Movements)
“Langås has been working these various aspects of his Northaunt sound since the late 90s. Istid III brings the old together with the new in a unique way giving us the best of both worlds. This release is also a step outside the ordinary, as it’s been released through Glacial Movements, a label out of Italy that specializes in various types of polar ambient soundscapes. This should hopefully bring a new group of listeners to the Northaunt sound, as all the die-hard listeners will certainly find their way to his work regardless.”
Read the full review here.

AjnaAn Era Of Torment (Reverse Alignment)
“With An Era of Torment, Ajna proves that he is still developing as an artist, each album that comes along shows improvements on techniques and a focus of vision. Much of the music is incredibly subtle, so fans of the more active varieties of dark ambient may not find what they are looking for here. But, if you enjoy artists like Svartsinn, Kave, or Dronny Darko, that create passive, but intricately crafted drone-work, you are likely to find much to love on An Era of Torment.”
Read the full review here.

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Ajna – An Era of Torment – Review

Artist: Ajna
Album: An Era of Torment
Release date: 22 December 2017
Label: Reverse Alignment

Tracklist:
01. An Era of Torment I
02. Infect My Soul
03. An Era of Torment II
04. The Melancholy Hours
05. Manie Sans Delire
06. An Era of Torment III

Ajna is a dark ambient artist out of New York. He’s been creating dark ambient music since about 2008. But, his first proper release didn’t come until The Strange Demeanor of Solitude in 2013 on the Petroglyph Music netlabel. By 2016, he had his first physical release, Inevitable Mortality, through Reverse Alignment. Inevitable Mortality spread the subtle but ominous drones of the Ajna sound to a larger audience. Further solidifying his name in the dark ambient genre, Ajna released Black Monolith, a massive collaboration with Dronny Darko. (You can read the review of Black Monolith here.)

The latest release, An Era of Torment through Reverse Alignment, will not hold any surprises for listeners familiar with Ajna. The dominating element of the sounds are drones, as was the case on previous releases. However, there has certainly been growth in the artist since his last release. An Era of Torment has a strong isolationist feel. The music in ways reminds me of the more subtle tracks by Svartsinn. The sounds are consistently dark and eerie. The drones are crafted with the utmost care. But, the overall experience is slow-paced. This slow pace gives the album a particular edge when searching for quality background music for studying, sleep aid, etc.

The album opens with “An Era of Torment I” which brings us slowly into the mix through drones of various texture, some light and hollow, while others are incredibly thick, distorted and crushing. Moving into the following track, “Infect My Soul”, Ajna incorporates a more active approach. The track is again dominated by the movement of drone-work, but there are field recordings throughout the track, which add an extra layer of depth not only for the sake of the music, but also to help paint a better picture of the surrounding environment. The track brings forth images of the end times, apocalyptic visions and a devastated environment reek havoc on the soul, slowly moving toward its full and irreversible corruption. The rest of An Era of Torment sticks more or less to the formats of these first two tracks. There are three parts to the title tracks “Era of Torment (I-III)”. In general, these “Era of Torment” tracks are more heavily reliant upon drone than the other three tracks on the album, giving the full experience a nice ebb and flow.

With An Era of Torment, Ajna proves that he is still developing as an artist, each album that comes along shows improvements on techniques and a focus of vision. Much of the music is incredibly subtle, so fans of the more active varieties of dark ambient may not find what they are looking for here. But, if you enjoy artists like Svartsinn, Kave, or Dronny Darko, that create passive, but intricately crafted drone-work, you are likely to find much to love on An Era of Torment.

Written by: Michael Barnett

Northaunt – Istid III – Review

Artist: Northaunt
Album: Istid III
Release date:
Label: Glacial Movements

Tracklist:
01. Part I
02. Part II
03. Part III
04. Part IV
05. Part V

I’m happy to be reviewing the second Northaunt release in recent months. The last one, Night Paths (which can be read about & heard here), was a compilation of previously unreleased Northaunt material from the last decade. He decided to polish and release those tracks while waiting on the release of this third part of the Istid series, a proper full album of new material.

Northaunt, as many of you may know at this point, has been one of my favorite dark ambient artists since I first discovered the genre. I have a profound love for northern landscapes and, for me, this music most closely defines that in a dark ambient format. Through the various albums we’ve heard a variety of different themes which all fall under the banner of this northern climate and landscape. Though recently, it has been in a more defined form than in the past. With Istid now moving into its third chapter, Hærleif Langås is giving us an extended look at this particular theme.

In the liner notes for Istid I-II, Northaunt tells us of previous ice ages and how quickly they may have came and went, swallowing continents in their wake. This theory has been played out in great detail recently by various scientists and researchers. Particularly to my knowledge, Graham Hancock & Randall Carlson speak of the evidence of previous Ice Age progressions and recessions that were devastating to life on all parts of Earth. The Istid series gives us snapshots of various points in time during these cyclical events.

Especially in the beginning, Northaunt had a style of polar ambient which seemed closer to human emotion. However, as Horizons and Istid I-II came along, humanity was less involved in the vision. But with Istid III, we are starting to hear the return of humanity through various samples of people speaking, mostly in a language I don’t speak, so I can’t comment on that part. But whether it is the woman in “Part II” or the old man in “Part IV” it adds a hazy look at human emotion in a way reminiscent of early Northaunt and also Langås’ newer album Silent Heart by The Human Voice.

Going into the final track there is a thick frigid wind billowing prominently in the background behind some of the best guitar work present in Langås’ repertoire. It sets us in these dark frozen landscapes, gazing across a glaciated horizon with flecks of ice burning our cheeks in a way that many of us rarely or never will experience. This has always been the beauty of Northaunt, the music transports us to these places and shows us their best and their worst aspects.

As I said earlier about Alchymeia by raison d’être (in a recent review here), this is a tour-de-force by Northaunt. Langås has been working these various aspects of his Northaunt sound since the late 90s. Istid III brings the old together with the new in a unique way giving us the best of both worlds. This release is also a step outside the ordinary, as it’s been released through Glacial Movements, a label out of Italy that specializes in various types of polar ambient soundscapes. This should hopefully bring a new group of listeners to the Northaunt sound, as all the die-hard listeners will certainly find their way to his work regardless. My only regret is that I would love to have the Istid III vinyl sitting on my shelf beside the Istid I-II set. But, maybe the release could still find its way to Cyclic Law in the future for a vinyl release, or maybe Glacial Movements will start to head in that direction too, as many labels have opted to in recent years.

Of course, this should be highly recommended to any lovers of dark ambient. Northaunt has had a pretty broad and consistent following since the debut years ago and Istid III is only going to reinforce listeners’ feelings about his music.

Written by: Michael Barnett

nota bene: You can also read a recent interview we conducted with Langås of Northaunt here.

Martyria – Self-titled – Review

Artist: Martyria
Album: Martyria
Release date: 8 January 2018
Label: Malignant Records

Tracklist:
01. Logos
02. Pneuma
03. Nekros
04. Nyx
05. Eschaton

Ambient music often carves out paths to enlightenment by providing head-spaces for spiritual and emotional self-discovery. In this way, the style connects back to the origins of musical expression as a whole, in which ancient peoples used chants and rhythms to facilitate reconciliations with their place in the universe. This cross-section of ambient and traditional world music is where Martyria find themselves. Using tribal instruments and ancient eschatological texts as their basis, Martyria scour the vanguard of ritualistic music at the very foundation with their debut LP.

Martyria don’t treat their instrumentation like a crutch. George Zafiriadis (didgeridoo, synth and ozark harp) and Lena Merkouri (Percussion and Wind Instruments) effortlessly evoke both the sonic and numinal qualities of apocalyptic mythologies. Their synthesis of ritual ambient and atmospheric world music carries a purpose far beyond a spooky aura — as exemplified by the ominous bell cadence, archaic drum pulse and droning throat singing of opening track “Logos.” Both musicians employ their sarcophagic vocal serenades, plunging the listener into malignant prophecies. Rustic synths fill in the sonic space, making an already expansive soundscape completely massive.

Martyria use the most resonant and monolithic qualities of their instruments to create their unique aura. Zafiriadis’s didgeridoo and ozark harp hardly function as exotic relics, taking the reigns of “Pneuma” and deepening the roots of its terminative tale. Echoes of rhythm linger and overlap in the song’s arrangement, which in this case function more to vectorize the song’s atmosphere rather than to confine it to a rigid structure. This unconscious movement allows Merkouri’s stirring byzantine melodies to find footholds rather than aimlessly drift, evidencing the project’s primeval elements, while allowing them to express their own inner dialogues.

“Nekros” divulges into less world music tendencies, allowing synth and processed samples and vocalizations to drive its amorphous labyrinth. The song’s emotional crescendo reveals some of the most fearful passages in the record, encapsulating the forlorn dread coinciding with fatal premonitions. While similar armageddon-centered music often evokes the terror of its subject matter as they imagine it occurring, Martyria hovers spectrally through the ashes of crumbled civilizations and bears witness to humanity’s end. With their aboriginal substratum intact, Zafiriadis and Merkouri confront the ultimate finality of existence and presents a unique vantage point from which to explore universal destiny.

Though the aforementioned track makes more overt use of modern synthesizers, this album’s seamless integration of the modern and the prehistoric allows it to remain entirely unified in its vision. “Nyx” remains perfectly balanced in this regard, with its distant chants and thudding percussion seemingly echoing off catacomb walls. Even the electronic drones hark back to a time long past, bolstering a ghostly flute melody as they illuminate mysterious sacraments. Additional voices and soundscapes trickle into the mix, filling the atmosphere so tactfully that one might not realize their submergence until the song releases its grip on the senses.

Howling winds begin the last and longest track “Eschaton,” as Merkouri’s spellbinding laments beckon listeners into the shaman’s cave for one last rite of passage. She and Zafiriadis create a cyclopean choral, free-flowing from hair-raising shrieks to oceanic swells. Their ability to simultaneously build tension to a breaking point while assuaging the listener into a trance, imparting a state of mental limbo between paranoia and prayerful tranquility. This particular track’s use of field recordings emphasize the transportive qualities of this record.

Martyria aren’t interested in simply recording interesting textures, instead taking listeners to the source through their authentically mystical expression. From its opening bell toll until its last notes fade into the annals of time, this tremendous debut succeeds not only as an incredible amalgamation of ritual ambient and world music, but an exercise in eschatological internalization.

Written by: Maxwell Heilman

raison d’être – Alchymeia – Review

Artist: raison d’être
Album: Alchymeia
Release date: 31 January 2018
Label: Cyclic Law

Tracklist:
01. Nigredo
02. Albedo
03. Citrinitas
04. Rubedo

raison d’être has been one of the most beloved and recognizable names in the genre of dark ambient for over 20 years. His early work on the Cold Meat Industry label would be inspiration for numerous artists that came after him. His style of dark industrial soundscapes blended with contorted chants is immediately recognizable and often imitated, but never duplicated.

It’s crazy how much can change over a few years. For many young dark ambient listeners, raison d’être may not even be a familiar name. While he made huge waves in the late 90s through early 00s, recent output by raison d’être has been less frequent and less impactful on the scene. Meanwhile, veteran listeners are still playing their old copies of The Empty Hollow Unfolds or Within the Depths of Silence and Phormations like they are hearing them for the first time.

Photo by: Mia Vaattovaara 2008

Alchymeia struck me immediately as a so-called return-to-form. Veteran listeners should find everything they love about raison d’être in this release. The samples of a thousand clattering bells, chimes and random metallic objects are present through every track. The drones are sometimes crushing and sometimes light as a feather. But the thing that will likely be the most welcome is the frequency of chants.

The recurring complaint I’ve heard from dark ambient fans over the last few years was that there has been too much of the harsh industrial elements and not enough of the sort of dark beauty which raison d’être is so masterful at weaving. Albums like metamorphyses and Mise en Abyme were perfectly hypnotic and showcased the work of a veteran musician. But they didn’t have that heart-melting impact of some of the earlier classics. Alchymeia finds a perfect balance between the new and the old. The industrial elements are still bold and mixed prominently into the tracks, but those other elements, the delicate play on chants which create a sort of perverse beauty, have added just the right amount of emotion to the album.

The opening track “Nigredo” gives us an introduction to the theme of the album. Alychymeia is a look at the various elements of alchemy, from its dark mystical conjurations to its more practical uses. The topic seems fitting for an album with such a bold blend of the religious with industrial. A sort of melding of emotion and science. “Nigredo” in alchemy means putrefaction or decomposition. Many alchemists believed that as a first step in the pathway to the philosopher’s stone, all alchemical ingredients had to be cleansed and cooked extensively to a uniform black matter. So, too, this opening track can be viewed as an entryway to the greater product.

“Albedo” takes a more reserved approach. It may give listeners a bit of a nostalgic feeling as it has some similarities to some older favorites like “The Mournful Wounds” from the Collected Works compilation of compilation tracks release, originally on Perception Multiplied… released in 2003 on CMI. Again, the title has a strong connection to alchemy. We can see in the following definition that all four of these track titles have a specific significance in alchemy. “In alchemy, albedo is one of the four major stages of the magnum opus; along with nigredo, citrinitas and rubedo. It is a Latinicized term meaning “whiteness”. Following the chaos or massa confusa of the nigredo stage, the alchemist undertakes a purification in albedo, which is literally referred to as ablutio – the washing away of impurities. In this process, the subject is divided into two opposing principles to be later coagulated to form a unity of opposites or coincidentia oppositorum during rubedo.”¹

Photo by: Roger Karmanik 2015

“Albedo” really brings the idea to fruition of a washing away of impurities. That deep dark male chant which dominated the beginning of the track gently fades away and is later replaced by a female choir chanting a piece which is incredibly beautiful. It seems to radiate a sense of hope and levity which is in total opposition to anything we’ve previously heard on the album.

“Citrinitas” and “Rubedo” continue to move on in this fashion. Each track of the album working with the themes of each of the four alchemical stages. These four stages are all preparation of the magnum opus in alchemy. The magnum opus being the process of working with the prima materia to create the philosopher’s stone. It is not hard to imagine Alchymeia as the magnum opus of raison d’être. A return to form after years, Alchymeia is sure to delight and fully enrapture listeners. It is the perfect modern connection to the older works of raison d’être. If Peter Andersson will see this as his defining and final work, we will all likely hope for otherwise. But it is undoubtedly defining. It takes all the elements Andersson has been perfecting over two decades (closing in on three decades) of music creation and puts them to perfect use. The darkness is as dark as anywhere else in his discography, and the light is soul-gripping, heart-rendingly beautiful. Alchymeia is, in my humble opinion, the album we’ve all been waiting for from raison d’être. Truly a magnum opus in every sense.

Written by: Michael Barnett

1. R. van den Broek, Wouter J. Hanegraaff. Gnosis and Hermeticism from Antiquity to Modern Times. SUNY Press. 1998. p.158-159

 

Atrium Carceri & Herbst9 – Ur Djupan Dal – Review

Artist: Atrium Carceri & Herbst9
Album: Ur Djupan Dal
Release date: 23 January 2018
Label: Cryo Chamber

Tracklist:
01. Mot Främmande Land
02. Sov Ej Hos Kvinna, Som Är Kunnig I Trolldom
03. Österländska Tempel
04. Ur Evighetens Pipa
05. Vida Jättars Väg
06. Blott Den Vet Som Vida Reser
07. Drakhuvud
08. Händer Skola Hålla Hårda Yxor
09. Den Döda Trollkvinnan

The protagonist comes from the far north, but has awoken in the lands of the middle east during the earliest times of human civilization. Ur Djupan Dal takes place in the fertile crescent of ancient Mesopotamia. During this period, the “Cradle of Civilization”, humans began to create magnificent cities like the fabled Eridu, Uruk, and Ur of Sumer (modern-day Iraq and Kuwait), some origins of which go back further than 5000 BCE.

Longtime fans of Herbst9 will be very familiar with this setting. Over the last two decades, Herbst9 have been utilizing the medium of dark ritual ambient to take listeners on a journey into the ancient past. Their destination of preference has always been the fertile crescent, looking at the ancient Akkadian and Sumerian civilizations, especially in the Mesopotamian trilogy which includes: Buried Under Time and Sand, The Gods Are Small Birds, But I Am The Falcon, and the masterpiece Ušumgal Kalamma, a double disc which closes the series.

Herbst9, as well as Atrium Carceri, are no strangers to collaboration. They recently released their magnificent collaboration with Penjaga Insaf on their own Shortwave Transmission label. Fans will also fondly remember their decade-old collaboration with Z’EV, who has unfortunately passed on this year. But, a noteworthy difference here might be pointed out; Ur Djupan Dal is the first of the Herbst9 collaborations to use the connector “&” instead of “vs”. This gives me the impression that they might have collaborated a little more closely with Atrium Carceri than on these previous endeavors, which may have been more akin to one artist sending a fully realized product to a second artist and having them present their work “against” the original, instead of “alongside” the original. However, without actually asking the artists, guessing may be pointless and fruitless.

Looking at the collaborations of Atrium Carceri, we can begin to enter an exhaustive rundown of everything from close one-on-one collaboration, to other artists borrowing from his lore, to the massive 20+ artist collaborations that are the Cryo Chamber Lovecraft series. While the list may be exhaustive, the content has been consistently memorable, with some of my favorite dark ambient releases, for instance Onyx with Apocryphos and Kammarheit, falling under this tag.

While the story seems to be independent of anything which has happened in the proper Atrium Carceri lore, there are certainly connections to be made. The Atrium Carceri lore was never based on just one individual. It has, instead, focused on multiple main characters over multiple locations and timelines. So, adding one more character and timeline to the list isn’t exactly unwarranted here. Taking some liberties: it seems like the story is based around a man from the Scandinavian region (timeframe uncertain), falling asleep by the sorcery of some enchantress and awakening in the distant past thousands of miles away in the fertile crescent, roughly the modern day Middle East. The character is immediately certain that there has been a vast change, but as he moves through the ancient city, he slowly realizes where he has gone, and takes in the beauty of this city in the ancient world, its architecture and its religion.

The story truly captivates me in the third track, “Österländska Tempel”. Here it is the easiest to close one’s eyes and imagine themselves in this ancient city. As the protagonist nears the temple, we are given suspenseful and contemplative dronework. The music sort of guides us through the opening of the doors to this great temple. As the doors open the protagonist becomes fully enraptured. The music builds to a wonderfully divine climax as the doors open. The protagonist is bombarded with the architecture, paintings, symbolisms, and rites of a long lost civilization. He becomes so totally enraptured that his head grows dizzy, he sways in place as a plume of frankincense burns his nostrils. This is a scenario that fully plays out in my mind each and every time I listen to “Österländska Tempel”.

The story seems to end by returning to the enchantress from the previous time and place on the track “Den Döda Trollkvinnan”. Roughly translated to English as “The Dead Sorceress”, this track seems to be a reflection on the events that have just come to pass, as the protagonist stands by the funeral pyre of the enchantress or sorceress whom seems to have been a sort of antagonist for the tale. These three above defined scenarios are the only ones that I would be willing to give my opinion on. As always in the cinematic dark ambient style, listeners will be encouraged to fill in the blanks on their own, with their own ideas and narratives.

From a technical standpoint, the album is quite successful in finding a harmonious unity among the three artists involved. Frank Merten and Henry Emich of Herbst9, as well as Simon Heath of Atrium Carceri, have all created music which could be easily recognizable along side this collaboration. Meaning, they are not breaking the wheel on this release. We will not find some brand new sort of sound here which we could have never imagined would come from these two projects. When listening to Ur Djupan Dal, fans of both projects will constantly hear familiar sounds and techniques which have been perfected by their creators over the not-so-short histories of both projects. For example, Atrium Carceri and Herbst9 have both included a fair share of percussion in their previous works. So here, we will not be surprised to hear a lot of well-placed tribalistic percussion sections on numerous tracks.

Another shared feature of both projects, which particularly stands out on Ur Djupan Dal, is the delivery of vocal passages. In these we should be able to glean some further knowledge about the storyline. In the voice modulation which is often used in his Atrium Carceri project, Simon Heath recites several passages throughout the album. Some of these passages seem to be his own work, while others can be traced back to various H.P. Lovecraft works. On “Vida Jättars Väg” Simon recites two passages from H.P. Lovecraft. The first,

“I have seen the dark universe yawning where the black planets roll without aim. Where they roll within their horror unheeded. Without knowledge or lustre or name.”

is from the poem “Nemesis”. While the second passage,

“The most merciful thing in the world, is the inability of the human mind to correlate all its contents.”

comes from story “The Call of Cthulhu”. The addition of Lovecraftian lore into the equation really begins to uncover the connections Atrium Carceri and Herbst9 are making between their seemingly divergent sets of lore and themes. The idea of time-travel and obnoxious gods reeking havoc on humanity fits squarely within the Atrium Carceri framework. Meanwhile, Herbst9 are masters of the ancient world. So, in connecting the two ideas and the two masters of these ideas, listeners are dealt the best possible outcome of a connection between these times and worlds.

It shouldn’t be a surprise that Cryo Chamber decided to give this release the vinyl option. Now the third vinyl release on Cryo Chamber, we have yet again a title which showcases the recent collaborations of Atrium Carceri. Just as on the first two, Black Corner Den with Cities Last Broadcast, and Miles To Midnight with Cities Last Broadcast and God Body Disconnect, Simon Heath has opted to take releases in this direction which are sure to bring in a large crowd, a prudent tactic for any label opting to branch into untraversed territory.

Ur Djupan Dal should be a welcome release for any listeners that have been following the “second wave of dark ambient”. Atrium Carceri and Herbst9 have both been performing at the top of their game for over a decade each. Ur Djupan Dal is a perfect example of how artists can come together to create not only sounds which delight, but storylines which have direct connections to each of their past works. I would recommend this album to any dark ambient listeners who enjoy the perfect blend of ritual, cinematic and traditional dark ambient music.

Written by: Michael Barnett

Bridge To Imla – The Radiant Sea – Review

Artist: Bridge To Imla
Album: The Radiant Sea
Release date: 1 December 2017
Label: Winter-Light

Tracklist:
01. Prologue: The Kuroshio Current
02. Tsushima Basin
03. Shatsky Rise
04. The Aleutian Current
05. Hikurangi Plateau
06. Mariana Trench
07. Louisville Ridge
08. The California Current
09. Richards Deep
10. Raukumara Plain
11. Emerald Fracture Zone
12. Fobos-Grunt
13. The Humboldt Current
14. Galathea Depth
15. Epilogue: Ring of Fire

Bridge to Imla is the new ambient / Berlin School project by artists Hans-Dieter Schmidt and Michael Brückner. Both artists are veterans of the wider ambient music genres and have been releasing music under various projects for decades. The Radiant Sea is their first collaboration.

The Radiant Sea is an ode to the Pacific Ocean. The theme of the album is two-fold. It partially is a telling of the Fukushima Disaster in Japan, and a warning against allowing these sorts of disasters to happen in the future. But it is also a love-song to the Pacific, a look not only at its majesty, but also at its ability to heal the planet. Our oceans help greatly in keeping the atmosphere clean, absorbing much of the toxins we create and discard. So, it is, in some instances, the only thing holding us back from fully disrupting our planet’s fragile eco-systems.

The music on the album is quite diverse. There are elements of many different sub-genres within the greater ambient spectrum. Fans of the Berlin School sound will find much to love here. It is also telling that they sought the mastering skills of Robert Rich, as much of the album fits nicely with his tastes and skill-sets. There are certainly elements of dark ambient which rise and fall throughout the album, particularly on the opening track, “Prologue: The Kuroshio Current”, we can hear some deep, menacing dronework which brings to mind the Northaunt opus, Horizons. Throughout the album, as well, we can hear drones which greatly relax the mind and lull the listener toward a sleepy half-aware state of consciousness. Yet, as a whole, the album is less routed in dark ambient than readers will find on most of the releases we cover. However, that isn’t to say that this should be ignored by those listeners which only are interested in that crushing darkness, it touches the genre in many ways throughout its entirety and will have plenty of things for dark ambient lovers to enjoy along the way.

The drones are well crafted and give the album that particularly dreamy feeling, but they aren’t always at the forefront. Much of the album is filled with field recordings, voice samples and instrumentation, which all come together to keep it incredibly entertaining, easily enjoyable as the primary point of focus for listeners. “The Humboldt Current” is a great example of this, with crystalline drones backing a beautiful wind instrument section, which give it a wonderful sort of meditative Eastern feel.

Then there are tracks like “Louisville Ridge” which lean heavily into the Berlin School / electronica side of the spectrum. The track is filled with synthesizer sections which give the listener an almost psychedelic feeling. This psychedelic element crops up often throughout the album, without becoming comical or overused. Often the subtle ways in which drones shift can play with the mind of the listener, especially if they are listening to this as they prepare to fall asleep.

The album becomes an all around success with the help of Robert Rich and the Winter-Light label. Robert Rich was brought in to master the release. Putting his decades of experience in the ambient genre to work, polishing the album to a pristine perfection. Once handed off to the Winter-Light label, The Radiant Sea was given beautiful cover-art, as well as a high quality 6-panel digipak, making the physical release as enticing as its stripped down digital-only alternative.

Bridge To Imla delivered a strong debut. An album which could have only been created by artists with a lifetime’s experience in the field of ambient soundscapes. The album is equally as delightful when given full undivided attention as it is when played in the background, as an augmentation to some other activity. After this strong debut, we can hope to see more albums like this in the coming years from these two gentlemen. Until then, there should be many hours of enjoyment as one floats along on The Radiant Sea!

Written by: Michael Barnett

Atrium Carceri, Cities Last Broadcast, God Body Disconnect – Miles To Midnight – Review

Artist: Atrium Carceri, Cities Last Broadcast, God Body Disconnect
Album: Miles to Midnight
Release date: 9 January 2018
Label: Cryo Chamber

Tracklist:
01. Miles to Midnight
02. A Thousand Empty Rooms
03. Scene of the Crime
04. Floor 6, Please
05. The Other Lobby
06. Sorry Sir, You Are In The Wrong Room
07. The Sleep Ensemble
08. Quiet Days On Earth

Miles to Midnight is one of those surprise records that you didn’t realize you needed until it presented itself. A collaboration between Atrium Carceri, Cities Last Broadcast and God Body Disconnect sounds like the perfect combination. But, then we add to this the unexpected dark jazz elements, which takes the concept from interesting to must-hear.

The first thing that will immediately jump out at any previous fans of these three artists is the addition of drums. It would seem that Bruce Moallem of God Body Disconnect was not ready to fully bury his love for the instrument, even if he’s moved on to the genre of dark ambient, which very rarely includes the use of a proper drum set. Throughout the album we hear these elements of dark jazz and dark ambient play off one another in a wholly unique way.

There really aren’t many albums out there that could be compared to Miles to Midnight. Of course, many of us will be familiar with dark jazz acts such as Bohren und der Club of Gore or The Kilimanjaro Darkjazz Ensemble. Miles to Midnight certainly plays off much of this style, but it also manages to keep its dark ambient roots intact along the way. Tracks like the openers “Miles to Midnight” and “A Thousand Empty Rooms” work heavily within the dark jazz framework, creating sounds that are vastly more “song-like” than much of the dark ambient genre’s output. Yet, particularly in the second half, with the exception of the closer “Quiet Days on Earth”, we hear tracks that keep the atmosphere intact while moving into territory more familiar to fans of these artists.

The reason for this stylistic shift from the first to second half of the album has to do specifically with the underlying theme of the album. The vinyl edition is the perfect fit for this release, on account of this split. Side A takes us through a sort of Lynchian crime-noir storyline, following a worn-down, unstable detective as he enters some seedy hotel with a dark history of murder. But as the detective makes his way to the 6th floor, he finds that this hotel has much darker energies than were first imagined. Side B takes us to “the other side”. We move from the scene of a gruesome crime on the lower levels to this twisted and otherworldly realm which has somehow made a connection with the upper section of the hotel.

Bruce Moallem of God Body Disconnect helps keep this first half in check, particularly through the use of his drum kit. We are able to enjoy something surely dark, but not necessarily unearthly. Though, as we move into the second half, the strange occult influenced talents of Par Bostrom from Cities Last Broadcast, among his many other varied and intriguing projects, become paramount in the recipe. The foundation goes from dark jazz to a twisted and troubling form of dark ambient. Bostrom’s vocal contributions, which can be heard creeping in and out of particularly the second half of the album give Miles to Midnight a truly mystical edge. Simon Heath’s (Atrium Carceri) contributions will be most noticeable to many in his piano elements, which fit perfectly with the dark jazz percussion of Moallem. Aside from their more obvious contributions, it seems fairly evident that each of these musicians contributed to the foundational layers of dark ambient throughout the album, in their own unique ways.

A particular highlight of the album, for me, is the closer, “Quiet Days on Earth”. On this track we return to the straightforward percussion of Moallem, which sets the foundations for the only truly dark jazz track on the second half of Miles to Midnight. There are guitar and piano elements accompanying this, which I expect are the work of Bostrom and Heath, respectively, but I can’t be certain. As the track nears its end we hear one of the most melodic and yet haunting vocal performances to-date by Par Bostrom, which really helps to fully solidify the dark jazz elements in our minds as the album reaches its close.

As I’ve been moving into my new apartment, this album has been pretty much on repeat for the last few weeks. The blend of dark ambient with dark jazz works in a way that gives the album energetic highs and lows, making it the perfect music for when one is trying to focus on some other project, but still wants to keep themselves thoroughly entertained. And yet, sitting down in the dark with a set of headphones, one is able to dissect the multitude of elements here, building a clearer picture of the underlying story.

Miles to Midnight is a brilliant and novel release for Cryo Chamber. Following on the footsteps of their recent release Heralds by Wordclock, Cryo Chamber takes the dark jazz elements in an even more focused direction. While they are obviously a dark ambient label at heart, it’s great to see them taking chances and testing the waters of different genre influences, which should ultimately make for a more diverse catalog of releases and widen their fan-base even further. A highly recommended release especially, but certainly not only, for fans of dark jazz!

Written by: Michael Barnett

 

Frozen In Time – Dark Ambient News – New Years 2018

Another move is underway and then things will be back to normal. This post should cover all releases from mid-December through mid-January. There have, obviously, been a ton of albums released over this last month. With all the awards lists and such being published around this time of year a lot of these albums get lost in the chaos. So, take your time browsing the latest offerings from the dark ambient community!

Music Videos & Teasers

raison d’êtreAlchymeia – official album teaser 2017
Artwork by Nihil. Music and video by raison d’être. Releasing soon on Cyclic Law.

Atrox Pestis – Music Video for “Hewn by the Hands of the Damned”

Ashtoreth and Tiloh – Music Video by Tim VDS

Astral & Shit – New Album Teaser

Darkleaks – The Ripper Genome
Documentation of a performance that took place during book launch at Horse Hospital on 11 April 2017.

Hadewych – “Welving” Trailer
Though the project of Dutchman Peter Johan Nÿland, contributions from members of Trepaneringsritualen, Dead Neanderthals, Turia and veteran experimental vocalist Greetje Bijma, help Hadewych to function more as a collective as it amorphously shapeshifts and navigates through a broad swath of styles. And yet, Welving is so finely honed and skillfully crafted, that it works as a singular,whole, never losing a firm grasp on what remains at the core of its unique and dynamic sound. Still, it is nearly impossible to classify or define, utilizing a broad array of instrumentation, working in the monolithic, organic and the acoustic, and filtering it through a complex network of darkened, post-industrial, post-black, ritual hallucinations, and noir-ish Bohren And Der Club Of Gore death-jazz, with a steady stream of insistent bass, percussion, and spoken narrative to propel many of the tracks forward. Hadewych defines their music as black rituals channeling the ultra-grotesque, which is about an apt description as you’re going to find, and yet it’s that vagueness and ambiguity that manages to sum them up perfectly. One of the most unique and exceptional releases under the Malignant banner, and highly recommended for those not unafraid to venture into realms unknown.

ia~mt~hi~ng ~ – Music Video for new track “Transcend”

New Releases & Preorders

Atrium Carceri, Cities Last Broadcast & God Body Disconnect
– New Album Released
(Cryo Chamber – LP/CD/Digital)
“Atrium Carceri, Cities Last Broadcast and God Body Disconnect collaborates on this foggy noir album.
The invitation came in a cinnamon scented envelope. It had been years since your last visit to the hotel, before the headlines of murder had shut it down. Was it re-opened after all these years?
A bottle of pills later, your car pulled up outside the old building. The lights were on, struggling to cut through the heavy fog. Distant voices and music lingered like smoke as you entered the lobby.
Miles to Midnight is a Dark Jazz Ambient album with a Lynchian Noir feel: A hotel trapped between two worlds and a detective with a traumatized past.
God Body Disconnect’s live jazz drums and cinematic wall-of-sound builds the foundation of the mysterious hotel. Cities Last Broadcast brings ghostly tape loops and melodies stuck in time. Atrium Carceri dusts off his old pianos and shatters reality with low bass rumbles and brings you into the other side of the hotel. For lovers of smokey soundtracks to unwritten movies.”

raison d’être – Pre-orders Available (Cyclic Law – 2LP/CD/Digital)
“It’s with great honour that we present the latest album by Swedish dark ambient stalwart raison d’être. This time Peter Andersson scrutinizes the paths of Carl Gustav Jung’s notions of archetypes and the individuation process. Just like Mise en Abyme, the previous raison d’être album from 2014, Alchymeia is diving deep down to the shadows of the unconsciousness, and back to a dawn of the true Self. Confronting the shadow within is the darkest time of despair. There seems no way forward, only down. All is blackening and decomposed. Suddenly, through an enantiodromia, the ever deepening descent into the unconscious transmogrifies and becomes gradually illuminated. The melancholia is being purified. Alchymeia is in a sense the “raison d’être” of raison d’être, a shadowy journey through our unconscious the individuation process and archetypes. This release also marks the first time a raison d’être album will be available on vinyl.”
CD edition of 500 Copies in 6 panel Digisleeve. 4 Tracks.
Vinyl edition of 200 Copies in Gatefold Double LP. 4 Tracks.
Digital edition in 24bit – 96khz Exclusive to Bandcamp
Releases January 31, 2018.
https://cycliclaw.bandcamp.com/album/alchymeia

Atrox Pestis – Preorder Available (Chryptus – CD/Digital)
New dark ambient project by Grant Richardson of the death industrial act Gnawed!

Mark 9:43
And if thy hand offend thee, cut it off: it is better for thee to enter into life maimed, than having two hands to go into hell, into the fire that never shall be quenched
Genesis 1:6
And God said, Let there be a firmament in the midst of the waters, and let it divide he waters from the waters.

Who are “the damned,” the living or the dead, and which of these is the cruel plague? We have riven great scars in the surface of the planet. Each human age brings with it more terrible capabilities. Do we approach godhood, or something else? The ambivalence of the great powers of the universe is frightening.
Where Gnawed is the bloody heartbeat of humans crushed by their own creation, Atrox Pestis is that same barren world self-reflecting. Pristine bass, distant scrape, the rumination of a world luxuriating in deep, geological time. Those ambivalent forces have set about reshaping our world. What will be created next?

Alone in the Hollow Garden – New Album Released (CD/Digital)
“The second physical offering released at the gateways of the MMXVII Winter Solstice, “Ain Soph Aur” gathers five rituals recorded under a two years span and collected especially for this magic time, when our souls are releasing the old structures and are opening for a new cycle of evolution.”

Andrew Tasselmyer – New Album Released
(Shimmering Moods – CD/Cassette/Digital)
“Vantage Points is an album about place, meaning, and translation. It is literally a tape reel playing back my memories.
When recording this album, I heavily manipulated field recordings from several places relevant to me. Some sounds were trivial, some were remarkable, but each one came from a place that has had a very specific and powerful impact on my life; impacts that I can’t necessarily describe in words.
I recommend it be played quietly, as a low-volume companion for your dreams and reflections…”

Aseptic Void – New Album Released (Eighth Tower – Digital)
“Ideazione di Contrasto is dedicated to a mental phenomenon associated with the fear of losing control and present in OCD (Obsessive Compulsive Disorder). Every track is a communicative need that reached its final form in music. A journey into the artist’s unconscious, where the echo of every single step resounds in the meanders of a tormented psyche. An experimental dark ambient in which nothing is left to pure aesthetic taste, but moves from an authentic excavation into the psychic process of a mental disorder that imprisons the listener in an abysmal void.”

Astral & Shit – Pre-order Available (Black Mara – CD/Digital)
“This album is something alien but familiar the Earth. That once came out of the Earth and now once again reunited. It was so long ago that we the living can’t appreciate with common sense that has been revealed to us. Alarming and dangerous, but beautiful at the same time, it is Divo.”

El Prêtro Maniaco – New Album Released (Required Rate of Return – CD/Digital)
“Conceived in the Haunted Chapel during the damned year ov 2015.
El Prêtro Maniaco uses & abuses ov psychothropes, EVPs, Ouija board, herbs & stones for magical purposes.
No animal were harmed during the making ov this record.”

Grove of Whispers – New Album Released
“Time rarely weighed upon him, for he had many methods of passing it.
Truman Capote, In Cold Blood (1966)”
Grove of Whispers is John Tocher. John does the Sadayatana podcast and plays live several nights a week on stillstream.fm He also releases dark and experimental music at Buddhist on Fire.

ia~mt~hi~ng – New Album Released (Noctivagant – CD/Digital)
IV, the new album by the ritual dark ambient project ia~mt~hi~ng,
is a dark and blackened journey through a range of different ritual ambient styles, making for a dynamic and often hypnotic experience.

Jason Christopher Watkins – New Album Released
(Dune Altar – Cassette/Digital)
“As keyboardist for heavy prog dreamers Ancestors, Jason has become known for creating vast sonic landscapes. On this, his second release as a solo artist, he single-handedly conceived of, designed and constructed his own dark metropolis of sound. Fans of the soundtrack works of Vangelis and John Carpenter are likely to love this record!”

Jim Wylde – Preorder Available (Fuck Labels/Fuck Mastering – Cassette/Digital)
Jim Wylde’s – Bedtime Stories For Lo-Fi Witches is the follow-up album to his 2016 release Songs For the Brokenhearted From The Departed released on IO Sound out of Vancouver Canada.
Here we find him continuing in his off center nostalgic and emotive compositions, dropping the previous distortion drenched keys and building a journey through dark and submerged fables carried on modulated waves.

Martyria – New Album Released (Malignant – CD/Digital)
“With its great textural depth, sepulchral atmospheres, and exotic, richly detailed ritualistic passages, the stunning, self-titled debut from the Greek male/female duo Martyria signifies the arrival of a vital new entry into the world of ritual/dark ambience and a welcome addition to the Malignant roster.
Running 41 minutes spread over five tracks, the disc opens with “Logos”, a haunting piece track of gorgeous female keening, angelically drifting over a bed of primitive Byzantine rhythms and liturgical chants. It deftly sets the tone and lays the foundation for the proceeding pieces, which move from bottomless, subterranean drift and luminescent drones, to more sinister realms marked by slow, tribal percussion, resonating wood instrumentation, and elongated vocalizations. All of it flows seamlessly, rising from tendrils of wood smoke and incense, rooted in spiritual and ceremonial darkness, and bound together by atavistic and organic means.
For fans of Shibalba, Caul, Herbst9, Funerary Call, and Voice of Eye.”

Melankolia – New Album Released (Hypnotic Dirge – CD/Digital)
Ambient / Neo-classical artist Melankolia presents their fourth full-length album ‘Vividarium Intervigilium Viator’. Founded by musician Mike O’Brien, (Appalachian Winter, Veiled Monk, Ritual in Ash) Melankolia has been releasing introspective and thoughtful music since the project’s beginnings nearly 10 years ago.
Mike O’Brien states:
“This album bridged nearly 5 years of hardship and resurrection in my life. Thematically, this album is a journey of OUROBOROS in my personal life; self-cannibalizing at one end, enigma of absolute perpetuality at the other. It wasn’t the project that changed, but me. The music was always there, but I had to learn to extricate it from the ruins of a life that was no more. In this way, the album is a study of personal catharsis”
The nights are long, the air is cold, and winter’s firm grasp is upon us. This is the season of contemplation and reflection. Vividarium Intervigilium Viator is the perfect soundtrack for solitary introspection and a recalibration of your mind, allowing you to feel mourning, loss, resentment, as well as hope for optimism. The physical album is presented in a 4 panel digipack with an accompanying booklet of photography from the composer Mike O’Brien and Silvana Massa.

Silent Universe – New Album Released (Cryo Chamber – CD/Digital)
“Pavel Malyshkin ( Ugasanie ) presents us with his dark space project Silent Universe.
Explore the anomalies that lurk in the infinite dark. Listen to magnetic readings of dark space as you probe the unexplored.
This albums bring dark rumbling sounds in the raw isolated style that is Pavel’s expertise.
Recommended for fans of space ambient.”

Sílení – New Album Released (Cephalopagus – Digital)
“Sílení is an experimental project which has started in 2015 as a way to explore very intense and dark atmospheres.
The debut album, released on the 31st of October 2016,
can be perceived as a disturbing soundtrack of a bizarre and haunting world.
The project is strongly influenced by surrealist filmmaker Jan Švankmajer’s Lunacy (Šílení) and many classic horror films.”

Sombre Soniks – New Compilation Released (Digital Only)
“Thee Longest Night brings forth thee sekond in thee series of Ritual kompilations from Sombre Soniks –
‘Thee New Ritual Movement vol. II: An Introduktion To Kontemporary Ritual Muziks’.
This release features 24 Muzikians from a variety of kountries who were invited to take part, kreating over 5 hours of Ritual Muziks, each with their own partikular styles and tekniques. From purely akoustik rekordings to processed elektronika, this release showkases some of thee best Artists in thee field of Kontemporary Ritual Muziks.
Also inkluded is an 88 page booklet featuring info, links and artwork from each Artist, plus a gallery of artwork and writings from various Occult and Ritual influenced Artists.
As with thee first volume, I decided that I would not master this kompilation due to thee Ritual and highly personal nature of thee kompositions…Therefore thee overall levels may raise and fall a little, but I believe this is best to remain faithful to thee Intended Sound…” – SomSon109

The Null Spectre – New Album Released (Digital Only)
“Wendigo was written as the score to a fictitious film about a group of explorers who become stranded in the wilderness after a severe storm blows through their camp, leaving them helpless as they are stalked by an unseen predator; an ancient entity known as the Wendigo…”

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Flowers For BodysnatchersAsylum Beyond – Review
Asylum Beyond serves as a perfect template for the dark ambient community. It shows how one may focus on themes that could be considered unworthy to the more philosophically driven artists of the genre; and how these themes are still absolutely worthy of our attention. When undertaken from the right perspective, horror ambient can be as entertaining as the best of horror movies. Even more so in many ways, since “seeing the evil” ultimately brings about disbelief and sometimes even humor in horror films. Horror ambient is able to bring us face to face with these horrors without ever removing the fragile veil from the listener’s imagination.”
Read the full review here.

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Flowers For Bodysnatchers – Asylum Beyond – Review

Artist: Flowers For Bodysnatchers
Album: Asylum Beyond
Release date: 28 November 2017
Label: Cryo Chamber

Tracklist:
01. Red Ballerina (Oksana’s Theme)
02. Midnight My Dearest Midnight
03. Ravenfield
04. Phantasma
05. Mechanical Pictures
06. Dear Ernest, You’re Dead
07. A Darker Rebirth
08. Black Catechism
09. White Ballerina (Polina’s Theme)

Asylum Beyond marks a moment in dark ambient which I’ve been waiting to see for quite some time. In a genre like dark ambient, one would expect to find “horror ambient” music around every turn. But the truth is, most dark ambient artists stray quite far from this style. Their sounds usually harnessing something more akin to melancholy, despair or the phenomena of the natural world. We get views into the horror infused world only intermittently. Artists like Atrium Carceri, Svartsinn and Apocryphos have spent time in this area, but few others have fully dedicated themselves to producing utter darkness, in a skin-tingling fashion.

Duncan Ritchie seems like the perfect person to join the small but potent group of musicians that have delved into the horror style. His first project, The Rosenshoul, has always worked in a soundtrack-like fashion; building soundscapes for imagined horrors. But with The Rosenshoul, the focus was never on the cinematic, only the pure musicality of the sounds. Flowers For Bodysnatchers, from its inception, has been a channel for Ritchie to create intricate and often intimate cinematic experiences which actually seek to tell a story. His first two releases on Cryo Chamber, Aokigahara and Love Like Blood, told a story of a broken man, riddled with guilt and heartbreak, who takes a trip to the great sea of trees in Japan, the Aokigahara forest, the most popular suicide destination in the world. On the four artists collaboration, Locus Arcadia, Flowers for Bodysnatchers joined Randal Collier-Ford, Council of Nine and God Body Disconnect to tell a sort of side-story from the Sabled Sun mythos, another product from the mind of Simon Heath (Atrium Carceri/Sabled Sun).

Ritchie puts to the test his experience in story-telling with Asylum Beyond. This album takes all the lessons Ritchie has learned over the years and hones them in on the story of a deranged, and possibly even evil, antique store owner from 1968 in Massachusetts. Ernest Semenov was admitted to Ravenfield Asylum for the murder of his wife and children. Numerous elements on the scene pointed to ritual dismemberment and slaughter. Not long after his admission to Ravenfield, the asylum burns to the ground, killing everyone on the premise aside from Semenov and his doctor, which have both disappeared.

The focus on old burnt-out asylums, ritual murders, secret occult knowledge and the hideous truth that lies somewhere just beyond reach all make for the perfect late-night exercise in the imaginings of the macabre and deranged. The surgical execution of Ritchie in his aural story telling reaches its climax with Asylum Beyond. The album is a perfect example of horror ambient, because it sits on the boundaries between the real and the imagined, the historic truth and the supernatural lore. The listener is given just enough textual information and aural clues to follow Ritchie’s plot, while simultaneously creating one’s own narrative.

From a physical standpoint, Asylum Beyond is also quite unique. On the Cryo Chamber label, almost all albums are mastered by Simon Heath. He has also created most of the cover-art for these albums. On Asylum Beyond, Duncan Ritchie is given full reign over his project. He was responsible for all parts of the creation process: mixing, mastering, photography, and so forth. Asylum Beyond also comes with a 16-page booklet filled with more clues and images to enrich the story, another oddity for the Cryo Chamber discography. So, it’s clear that Heath also sees the infinite talents of Ritchie, and trusts in his judgment.

Asylum Beyond serves as a perfect template for the dark ambient community. It shows how one may focus on themes that could be considered unworthy to the more philosophically driven artists of the genre; and how these themes are still absolutely worthy of our attention. When undertaken from the right perspective, horror ambient can be as entertaining as the best of horror movies. Even more so in many ways, since “seeing the evil” ultimately brings about disbelief and sometimes even humor in horror films. Horror ambient is able to bring us face to face with these horrors without ever removing the fragile veil from the listener’s imagination.

Written by: Michael Barnett

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