Tag: Review (Page 11 of 19)

Arktau Eos – Catacomb Resonator – Review

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On January 3, 2018

In Reviews

Artist: Arktau Eos
Album: Catacomb Resonator
Release date: 29 September 2017
Label: Aural Hypnox

Tracklist:
01. Catacomb Resonator

Arktau Eos return with another brilliant ritual ambient piece. Since their debut Mirorrion, Arktau Eos have been defining leaders in the ritual ambient scene. There music takes listeners on a spiritual journey, leading to ends which can’t be defined.

Aural Hypnox has taken pride, over the last decade, in creating output which connects on a very personal level with their followers. The soundscapes are first and foremost ritualistic. Each project on the label has their own unique way of creating this atmosphere. While a project like Lingua Fungi comes close to a more musical framework, Arktau Eos has often shown the most primal elements of the ritual ambient genre.

On Mirrorion, Arktau Eos covered a lot of ground. Each track on the album tapped into the ritual ambient sound from a different perspective. While Scorpion Milk, it’s other half of sorts, was much more minimal and focused on a specific sound. Their sixth and latest release, Catacomb Resonator, is most closely comparable to Scorpion Milk. There is all the attention to detail that would be expected of an Aural Hypnox artist, but Catacomb Resonator, like the aforementioned Scorpion Milk, is one of the most minimal releases in the label’s history.

The main instrument used on Catacomb Resonator seems to be the human voice. There is a sort of rhythm to it, as the music slowly climbs to a peak and then returns to silence just as gently. The rest of the soundscapes are constructed of what appear to be predominately synthetic elements, minimal dronework that rises and falls in synch with the vocals. The use of light drones adds another layer to its subliminal depth. The contrast of human vocals to synthesized drones gives the perfect balance between nature and the machine.

When devoting full attention to the release, in a sort of meditation, it was easy for me to feel my breathing synchronize with the fluctuations in the music. In fact, Catacomb Resonator could likely be the most successful Aural Hypnox release to date, in regards to its usefulness as a meditation tool. The sounds of the album are quite subdued, giving the listener the ability to fully drift from the physical world, allowing the mind’s eye to take the lead.

Catacomb Resonator is the second Aural Hypnox release to be offered in the vinyl format. As with the recent Aeoga release Obsidian Outlander (which was reviewed here), Catacomb Resonator is presented on black vinyl with packaging that highlights the Aural Hypnox do-it-yourself aesthetic, with emphasis on originality and simple yet elegant designs. The CD version uses a very old paper stock, which was discovered in storage by the label, giving the CD format its own unique charm. The album was also released in a special collector’s edition which included both vinyl and CD as well as a cassette with additional content. Unfortunately for anyone interested, this edition sold-out almost immediately and extreme mark-ups should be expected on any available second-hand.

As is always the case with Aural Hypnox, readers will not find the album in any of the usual online music services like Spotify, Bandcamp or iTunes. While this can clearly present a problem for potential new listeners, veteran fans of the Aural Hypnox label will have already learned that previewing a new release is rarely necessary, as their quality of output is so consistent.

Veteran listeners of the Aural Hypnox label will find nothing unusual with Catacomb Resonator. It is a welcome addition to an already impressive catalog of releases. For newcomers to the label, Catacomb Resonator should prove to be a perfect album to introduce to listeners. The ritual elements are strong, but the energy levels are more subdued than will be found on many Aural Hypnox releases. I can safely recommend this release to any fans of the ritual ambient genre. Arktau Eos are tried and true leaders of the genre, and Catacomb Resonator serves perfectly to reinforce this claim.

Written by: Michael Barnett

Trepaneringsritualen – Kainskult – Review

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On January 2, 2018

In Reviews

Artist: Trepaneringsritualen
Album: Kainskult
Release date: 1 October 2017
Label: Tesco Organization

Tracklist:
01. Death & Ecstasy
02. Maðr Malformed
03. All Flesh Has Corrupted
04. ᚲ ∴ ᚲ ∴ ᚲ
05. Feral Me
06. Serpent Seed
07. An Immaculate Body of Water
08. ∴
09. V ∴ V ∴ V

Injecting catchiness into styles as unfriendly as death industrial or ritual industrial might seem about as logical as trying to teach anteaters how to read, but that’s exactly what Swedish experimental artist Thomas Martin Ekelund has done with his newest release under the alias Trepaneringsritualen (TxRxP for short. You’re welcome.). Though thematically and aesthetically up to the standard this death industrial heavyweight set for mechanical dementia, Kainskult remains as infectious as it is caustic.

In comparison to the grinding ritualism of 2014’s Perfection & Permanence, this LP’s approach sports pervading accessibility in the midst of its harsh overtones. “Death & Ecstasy” starts Kainskult off familiarly enough with growls cadencing clanking thuds and tribal grunts, but incomes quasi-melodic vocalizations evoking the most disconcerting affectations of Michael Gira and Attila Csihar’s most atmospheric tendencies. This juxtaposition of hair-raising terror and penetrating emotion derails expectations while enhancing the impact of Kainskult tenfold, which only becomes more apparent when “Death & Ecstasy” collapses into “Maðr Malformed.”

This track and the following “All Flesh Has Corrupted” sear their grooves onto eardrums like a branding iron. The former’s driving tribal percussion and subterraneanly heavy synth lines provide the perfect backdrop for demonic chants, standing in contrast to the plodding tom-tom hits and echoing back-beat of the latter. Though intimate delivery pails before bestial brutality, these songs transcend genre norms as they embody a maniacal occultist dance while pummeling listeners to smithereens.

The importance of vocals on Kainskult needs to be stressed. In many ways they’re the nucleus for the album’s memorability. On top of expanding his range, Ekelund also collaborates with several other throat-masters this time around, allowing his lyrics to take center stage on multiple occasions through multiple filters, accentuating ceremonial auras while embedding his words into the souls of listeners. The factory-esque military percussion and bass pulse on “Feral Me,” while punishing enough in its own right, brutalizes to a tremendous effect through fiery gutturals. TxRxP is no longer just about scaring, but decimating.

As its title might have already clarified, Kainskult centers around the biblical character Kain, known to Judeo-Christianity as the first murderer, and to Ekelund as the “Original Heresiarch.” His explorations of both the metaphysical divergency and visceral malice at play in Kain’s story, when coupled with paranoia-inducing drone-scapes and dirgey percussion, produce some of the most haunting music in the genre. The depth charge percussive blasts and glacial sound collages in ambient tracks like “ᚲ ∴ ᚲ ∴ ᚲ” delve into the depths of Kain’s outlook, while more structured cuts harness his archaic infamy to drive their auditory destruction.

“Serpent Seed” and “An Immaculate Body of Water” respectively encapsulate Kainskult’s undeniable groove and atmospheric rites within impregnable harshness. The former employs triplet-based vocal patterns almost bordering on rap over a bludgeoning beat, while the latter’s ominous synth lead piles layers of filthy distortion and disembodied voices comparing to West Europe’s Stalaggh/Gulaggh in aural excruciation. With the exception of the 29-second interlude “∴,” which serves only to transition from the aforementioned track into the concluding “V ∴ V ∴ V,” these tracks conjure believable vibes while energizing TxRxP‘s overall sound.

In the final song, Ekelund showcases his ability to balance accessible forays with the cavernous terror he has become known for. A hypnotic industrial beat slowly gains more complexity, while cleverly-placed descending synth lines provide the perfect foundation for Ekelund’s one-to-100 vocal jumps. The atmosphere remains intact thanks to unique auras produced by grating gutturals and brooding mutterings, keeping listeners guessing until the album closes with dynamic leaps.

TxRxP has broken new ground for the death industrial sound while paying proper respect to the style’s inaccessible nature, something Ekelund’s contemporaries often struggle to accomplish. Many projects embrace outside influences as they try to push beyond their template, but this album remains firmly rooted in brain-bashing claustrophobia. Trepaneringsritualen produces something hardcore fans of this music will adore, but also provides enough glimmers of approachability for those lost in the sonic fray — making Kainskult one of the most potent death industrial releases to drop in recent years.

Written by: Maxwell Heilman

Wordclock – Heralds – Review

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On December 14, 2017

In Reviews

Artist: Wordclock
Album title: Heralds
Release date: 12 December 2017
Label: Cryo Chamber

Tracklist:
01. Bell Ringing I
02. Bell Ringing II
03. Bell Ringing III
04. Beatrice’s Euphoria
05. St. George
06. Where Mercy Lives
07. Thames Does Flow
08. Heralds

At the youthful age of twenty-two, the Portuguese musician Pedro Pimentel has quickly solidified his position as a monumental force in the realms of dark ambient. It’s not only praise from the Cryo Chamber fan-base or label-mates that has proven Pimentel’s strengths as a musician. He’s also worked closely with Robin Finck of Nine Inch Nails on the soundtrack for the videogame Noct. All this being accomplished before most musicians have come close to finding their true calling, it’s hard to tell what Pimentel will have accomplished ten years from now.

In my opinion, his first major accomplishment has just been actualized. Heralds is the third release by Wordclock on Cryo Chamber. All the brilliant techniques Pimentel has shown over his last few albums have come to an utter climax on Heralds. This album finds itself on the fringes of the dark ambient genre, and yet it couldn’t be more in line with the goals of the genre, and particularly the Cryo Chamber label.

It’s not exactly the originality of Heralds which makes it work so well. Many of its various elements can be heard in the music of other artists such as raison d’etre, Enmarta, Phonothek and Elegi. But it’s the seemingly effortless blending of these different elements which makes Heralds praiseworthy.

The opening track brings us our first taste of this marriage of styles and techniques. Wordclock has used the piano and bass guitar previously to successful ends, but the introduction of the cello into his music has taken it to new heights. The cello, I’m convinced, is one of the best live instruments to be incorporated into dark ambient music. Each instance I’ve heard this combination throughout the last few years has been gloriously successful. For the task, Pimentel has brought back Norwegian classically trained cellist Amund Ulvestad. His skills could also be heard on the previous Wordclock album, Self Destruction Themes.

Ulvestad was first brought to my attention in 2014 as part of the Northaunt/Svartsinn split, The Borrowed World, which I still highly recommend to any readers that haven’t yet experienced it. Soon afterward, I saw him live when he toured the United States east coast performing as a duo with Svartsinn. His contributions to Heralds can’t be overstated, whenever his craft is featured the album all the better for it.

Yet, Ulvestad is far from being the only addition of note to this Wordclock release. Pimentel brings in the talents of Nuno Craveiro on the Scandinavian instrument Nyckelharpa. An instrument which has gotten some mainstream recognition recently, being used by the atmospheric black metal / Nordic folk artist Myrkur. The third addition to Heralds is George Shmanauri on trumpet. We’ve heard his trumpet work add an intriguing dark jazz flavor to his two recent albums as half of the duo Phonothek, also residing on Cryo Chamber.

When all these musicians come together, the outcome is blissful perfection. The track “Where Mercy Lives” is the crowning glory of Heralds. Pimentel brings together all of his previous experience as a solo artist and blends it with the works of these three guest musicians. Add to that some samples of choir vocals, and what we have is probably my favorite dark ambient track of the year, if not of recent years. The combination of these artists gives us a hint of what an all out dark jazz project would sound like, if they were all so inclined to create one. The music has so many noteworthy layers, that it could warrant a full review treatment itself. Suffice to say, readers must give this track their full attention, preferably through the best audio deliver system on hand, in order to appreciate the extent of its accomplishment.

It is said in the album blurb that Pimentel traveled far and wide, through Porto, London and Berlin, in order to collect the acoustic instrument sounds and field recordings necessary for completing this opus. It’s as if not only the sounds collected, but the travel itself is harnessed on Heralds. Pimentel gives us a completed album which could traverse the boundaries of dark ambient, finding praise from followers of multiple genres, including but not limited to, dark jazz, neo-classical, ambient and northern European folk.

It has been apparent since his debut, Endless, that Pimentel was a musician to keep an eye on. That sentiment has never been more apparent than now. With the release of Heralds, Pimentel shows the staggering extent of his ambition and skill as a musician and a studio technician. I simply can’t overstate the magnitude to which this album has moved me, and I strongly suspect that it will have the same effect on many, if not most, readers of this review.

Written by: Michael Barnett

Stuzha – Siberian Sketches II – Review

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On December 6, 2017

In Reviews

Artist: Stuzha
Album title: Siberian Sketches II
Release date: 15 November 2017
Label: Ksenza Records / Infinite Fog Productions

Tracklist:
01. Into the Blizzard
02. Transsiberian
03. Winter Forest (Awakening)
04. Winter Forest
05. Here is no Life without a Fire
06. Winter Forest (Into Slumber)
07. Lost in the Catacombs
08. A Night in the Village

Stuzha first caught my attention at the beginning of 2017 during my brief stint with Heathen Harvest, when they sent me his album, Butugichag, to review. I was immediately enraptured by the depths of his frigid polar ambient style and his take on the cinematic side of dark ambient music. As the man behind the project is native to the Siberian expanses of Russia, it is no surprise that he is able to convey this style so well. Siberian Sketches II is the follow-up to his first major release Siberian Sketches, all of which were released by Ksenza Records and distributed by Infinite Fog Productions.

There is actually quite a huge difference between the styles of the two Siberian Sketches releases and Butugichag. Butugichag was an incredibly subtle release, with slowly evolving drone-work and field recordings which lingered in the background. The Siberian Sketches albums are more active album in almost every respect. In fact, the latest release takes these differences much further than  did Siberian Sketches I. There are a ton of field recordings incorporated into this release, making it the most cinematic work of Stuzha to date. While Siberian Sketches I incorporated some guitar, the guitar on Siberian Sketches II is also great increased, being used on most of the tracks here. This time there are even subtle vocals added to the mix. These are not the style of dark ambient infused vocals of something like a Ordo Rosarius Equilibrio sort of project (which honestly is a stretch to even be called dark ambient), but more in line with the vocals on some tracks by Taphephobia; a deep, brooding voice which is barely audible on sub-par speakers and blends gently into the rest of the mix.

Siberian Sketches II starts with a door swinging open and someone stepping out into the icy snows of a raging blizzard, on the aptly titled “Into the Blizzard”. As they step back indoors we can still hear the storm raging just outside the threshold, a fire roaring in the stove and a dog barking nearby. The music on this track is composed almost entirely of field recordings and a guitar that sounds to be acoustic with some light effects, with the later addition of an electric guitar and soft vocals. Subtly in the background, we can hear the low roar of a passing train, a dynamic which will be fully explored on the following track, “Transsiberian”.

“Transsiberian”, beginning with an intercom system and distorted electric guitar ups the tempo of the album. Yet, this guitar is incorporated in a way that doesn’t compromise the dark ambient nature in the slightest. By the close of the track, the album’s protagonist is well on their way, journeying to some unknown, yet equally frigid, destination.

“Winter Forest (Awakening)” brings another dynamic into play. Still here, there is no discernible drone-work to be found. The track is constructed of passive field recordings which create the background atmosphere, bass guitar which also helps to solidify that foundation, and several guitars; one of which undertakes some interesting and quite delightful tremolo-picking which reminds me of the guitar español – style, but this could be do to my lack of knowledge when it comes to guitar playing styles native to Siberia.

“Here is no Life without a Fire” could be the closest to a more traditional dark ambient track, as it is one of only two on the album that seem to incorporate any use of drone-work. It is also likely the oldest track on the album, being a reinterpretation of a track from the self-released Through the Snowfield.

Given all these dynamics at play on Siberian Sketches II, one may rightly be a bit bewildered as to how this could be considered dark ambient at all. But, I firmly believe that the album falls solidly into this category. There is a ton of activity happening, but it is all done with the careful reserve of a seasoned dark ambient musician. The overall cinematic element also can’t be overemphasized. One may close their eyes and find themselves lost in the whiteout of these bleak far-northern lands. The various styles and effects of the acoustic and electric guitars also aid the field recordings magnificently in the numerous shifts between indoor/outdoor cinematics.

Stuzha once again proves their talents with Siberian Sketches II, this time taking what they learned from Siberian Sketches I as well as Butugichag, and crafting an album that is incredibly relaxing. It could be the sole companion to a lonely evening by the fire during these upcoming winter months. It could also be allowed to fall into the background during any reading, study or writing sessions. Between the combined albums of all his projects: Stuzha, Algol and Black Wanderer, Daniil Kazantsev proves himself to be an incredibly capable force in the genre of dark ambient, and one which I hope will become more well-recognized by the community as time passes.

Written by: Michael Barnett

Nhor – Wildflowers: Winter – Review on the Periphery

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On December 1, 2017

In On the Periphery

Artist: Nhor
Album: Wildflowers: Winter
Release date: 1 December 2017
Label: Self-released

Tracklist:
01. Bereft
02. Murmurations Above Me
03. Owls Through Snowfall
04. Wreaths of Hoarfrost
05. The Moon Belongs To All and None
06. The Leave No Trace
07. Mercy

“I now come to think of Autumn as a knife that was thrust into Summer,” Nhor says about the cold months creeping upon him. Indeed, the holiday season often seems detached from the underlying significance of the winter, something English artist Nhor has set out to rectify with the final release in his season-themed piano ambient EP cycle called Wildflowers. His skeletal arrangements filter out the shopping blitzes and overpriced decor, allowing Winter to epitomize the shrouding of the past in an enveloping sheet of white.

The spacious notes beginning “Bereft” take shape into a dreary depiction of a landscape suddenly monochromatized. Fall’s mad dash of preparation comes to an end, leaving frigid silence in its wake. The song’s dynamic swells and perfect sound panning creates a lens of muffled solitude by which to view the crystallized snow statuettes winter brings in its wake.

Though destructive blizzards may come to mind when thinking of this time, Nhor spotlights quiet dialogues the season harbors for those who listen. Embellished by wandering leads, the swirling modulations and uplifting chimes of “Murmurations Above Me” evoke sweeping flurries reverting natural changes, as though they never occurred.

What happened before temperatures dropped? Who can tell just by looking at a snow bank? As “They Leave no Trace” illustrates with its drifting melancholy and passionate melody, the true nature of the world becomes blurred in its hibernation. Those without resilience retreat to whatever warmth they can find as Nhor’s intimate drama depicts natures impervious dis-invitation to all but the most resilient. Of course, this frosty blight hardly drives out all life.

“Owls Through Snowfall” uses staggered arpeggiations and volume jumps to eloquently depict its namesake, proving yet again the seemingly boundless musicality Nhor brings to his compositions. While artists like Goldmund have a more phonetically complex take on piano ambient, few artists embody the term “a lot with a little” to Nhor’s degree. Winter shows no cracks in the glass castle of perfectly-placed chords and moving lines, providing exactly what is needed and allowing emotion to carry it.

Nhor’s ability to direct the listener’s attention to overlooked occurrences over seasonal phenomena never ceases to amaze, and “Wreaths of Hoarfrost” brings new light to his attention to detail. A stark melodic line gives the perfect soundtrack to one of this season’s most beautiful byproducts, woven into light-treading chords. “The space between notes has become so fragile,” Nhor says, in conscious protection of the fragile artwork created by freezing temperatures. In the midst of these new elements, a familiar character also shifts.

It came as a comforting voice in the heavens, then became the envy of the night and the forbearer of coming darkness, now “The Moon Belongs to All and None.” A balladic lament to the absent heavenly body, this fleeting hymn emphasizes the loss of vibrancy and vitality winter represents to places not pacified with Christmas lights and veracious consumerism. The moon’s presence remains, but perception of the silvery celestite is beholden to no one. “Will the whole Earth slip away into a cold, lifeless end,” Nhor wonders. “Or is there something more beyond that veil?”

Will the whole Earth slip away into a cold, lifeless end, or is there something more beyond that veil?

The bleak overtones accompanying winter are consistently perceived throughout this EP, but the concluding track “Mercy” cleverly concludes the EP by hinting at Spring with its start-stoppy rhythm, thoughtful use of silence and inconspicuously added voices. The blanquette of winter is revealed to be but the passing of a year, and the coming of spring will see a world reborn into the next cycle.

As the EP, and Wildflowers, comes to a close, its true significance manifests. Seasonal changes become a compassionate cornerstone even as they continually uproot. When seen from the broad perspective Nhor stakes out within his minimal homestead of piano soliloquies, Wildflowers provokes a newfound sense of wonder towards the seasons. “I would flood the starlit forests with my song,” Nhor says, reaffirming the maps to placidity his musical explorations draw.

Written by: Maxwell Heilman

A Cryo Chamber Collaboration – Yog-Sothoth – Review

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On December 1, 2017

In Reviews

Artist: A Cryo Chamber Collaboration
Album: Yog-Sothoth
Release date: 7 November 2017
Label: Cryo Chamber

Tracklist:
01. Yog-Sothoth 1 – 1:01:08
02. Yog-Sothoth 2 – 56:49

Full roster of contributing artists:
ProtoU
Sjellos
Alphaxone
Gydja
Kristoffer Oustad
Aegri Somnia
Kammarheit
Darkrad
Atrium Carceri
Randal Collier-Ford
Neizvestija
Council of Nine
Dronny Darko
Flowers for Bodysnatchers
God Body Disconnect
Keosz
Kolhoosi 13
Northumbria
Sij
Ugasanie

Cryo Chamber are continuing to push the limits of what fans can expect from them. The label has been incredibly successful over the last few years in bringing a new generation of listeners to the genre of dark ambient. Through a heavy presence on Youtube and Spotify, Cryo Chamber prove that the use of these free channels of listening can and will result in increased overall exposure and the slow but steady recruitment of die-hard followers that will ultimately support the label for years to come. We have recently seen the first vinyl release from Cryo Chamber on Black Corner Den by Atrium Carceri and Cities Last Broadcast. Now we see another first for the label in this beautiful digibook physical edition, which houses some incredibly unique artwork. The music, as we’ve grown to expect over the last three Lovecraftian releases by the label, is also of top-notch quality, and provides the perfect soundscapes for extended reading sessions of H.P. Lovecraft‘s weird fiction.

Yog-Sothoth, as with the previous Lovecraft inspired albums from Cryo Chamber, focuses on one specific deity in the mythos H.P. Lovecraft created almost a century ago. Yog-Sothoth, while maybe not the most recognized in pop-culture, is probably the most frequently referred to of Lovecraft’s gods within his own tales. Yog-Sothoth, albeit indirectly, played a huge part in The Case of Charles Dexter Ward as well as The Dunwich Horror. In The Case of Charles Dexter Ward, written in early 1927, Yog-Sothoth is mentioned for the first time. His name is part of an incantation which Ward finds in writings of his ancestor Joseph Curwen.

Y’AI ‘NG’NGAH,
YOG-SOTHOTH
H’EE–L’GEB
F’AI THRODOG
UAAAH

As Ward reads more of these texts he begins to learn many of the ancient secrets which Curwen discovered and manipulated for his own purposes. Through the storyline of The Case of Charles Dexter Ward, Lovecraft gives readers a rare glimpse into some of the real mechanics behind this particular god. So often in his stories, we are left to imagine most of the specifics. I will not go into these specifics here, as uncovering the details is a huge part of the suspense of The Case of Charles Dexter Ward, and it’s my personal favorite of Lovecraft’s works. So I highly recommend anyone that hasn’t already read the story to give it a try! You will find this Cryo Chamber release to be the perfect background music for reading that particular novella.

While The Case of Charles Dexter Ward referred to Yog-Sothoth in the context of ancient knowledge, The Dunwich Horror gives the deity a more central role. Through a ritual performed by Old Man Whateley, Yog-Sothoth is able to father Whateley’s grandson, Wilbur Whateley. As the story progresses Lovecraft reveals the secrets kept in the Whateley household, and the tale ends in a brilliant climax which directly relates to Yog-Sothoth. Again, revealing much more of the plot would take all the fun out of it for readers that haven’t yet read The Dunwich Horror, so I will recommend that you also give this one a read!

Yog-Sothoth is the first Cryo Chamber album to be presented in a digibook format. This particular format gives Simon Heath (Atrium Carceri, Sabled Sun), who is responsible for the layout and artwork included, the opportunity to make a sort of recreation of an old tome like the one Ward discovers in The Case of Charles Dexter Ward. Heath has included in the booklet some excellent passages pulled directly from various works of H.P. Lovecraft, most prominently The Case of Charles Dexter Ward and the short but brilliant tale “The Other Gods”. The booklet is all the more impressive for Heath’s use of his own imagination in creating various diagrams, symbolic charts, and other tidbits of data which would likely have been found in Joseph Curwen’s ancient tomes.

From my first encounter with the latest Lovecraftian mega-collaboration, Yog-Sothoth, I felt a sense that things were a bit different this time around. I’ve had several shifts in my overall opinion of the album over the last few weeks as I’ve played and replayed Yog-Sothoth upwards of twenty times. The first thing that stands out is its seeming to lean in a lighter direction than the previous installments. There are ritual elements here, and nature driven field recordings which both add to the darker atmospheres of the release, but there are also a number of sections where the dronework seems to have a light-hearted, hopeful sort of feel to it. How these various elements are interpreted will likely be different for everyone, and others may find the same sense of discovery and rediscovery that I’ve found over many deep-listening sessions.

There are subtle clues throughout the two hours of soundscapes that point toward instances of Yog-Sothoth appearing in various Lovecraft tales. These subtle uses could easily be overlooked, which gives a tangible purpose for listening to the album multiple times before casting any definitive judgments. As a die-hard fan of dark ambient music, I’ve found over the years that my favorite releases tend to be the ones that take a little extra time to fully appreciate. Those that boldly present their full depth in the first listen, often give little reward for going back and re-listening time and time again.

Yog-Sothoth was created in a similar fashion to its predecessors: Cthulhu, Azathoth and Nyarlathotep. It is a collaboration of incredible depth. The process is done by each of the twenty artists presenting layers of sound, which are then used by other artists which edit and manipulate these original layers. In this way, it becomes basically impossible to say that any particular part of the album was done by a specific artist. One might hear an element which seems to clearly be sourced from Ugasanie, but the element in question would likely be one of many layers, sourced from a number of different artists, which are all then used by another artist before returning to Simon Heath where there would potentially be even more editing. Nevertheless, it can be fun to try and pinpoint various elements provided by specific artists and seeing how they fit into the grander scheme of the release. With all that said, this seems to be a very unique production process which I would say has likely not been used before by another set of artists. These Lovecraftian albums by Cryo Chamber really do fit into a category of their own.

As I stated earlier, this album has a bit of a different feel to it than the previous three releases in the Lovecraft series. Many of its deeper characteristics will take multiple listens before any concrete judgment could be made about the album. That in itself is a positive to me. The digibook adds another new element to the series. I highly recommend picking up the physical version of this release to have a hands-on experience of browsing through these selected passages from Lovecraft’s texts as well as admiring the brilliant artwork created by Simon Heath. Cryo Chamber continues, with Yog-Sothoth, to push the boundaries of their genre and the industry standards of dark ambient. The music is incredibly thought-provoking and the visuals are in a class of their own. I, for one, will be pleased to see this series continuing for years to come, Lovecraft’s mythos and the pool of talent at Cryo Chamber are both fertile for many more iterations of this sort of release.

Written by: Michael Barnett

Eislandschaft – Tales of the Frost – Review

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On November 18, 2017

In Reviews

Artist: Eislandschaft
Album: Tales of the Frost
Release date: 13 October 2017
Label: Lighten Up Sounds

Tracklist:
01. I Found Them Buried in the Ice
02. Demented and Lost in the White Plain
03. There’s Something Out There, In the Middle of the Winter Night
04. Ten Thousand Footsteps in the Snow
05. The Iced Plateau
06. The Tombstone Under the Aurora Borealis

Lighten Up Sounds‘ recent release, Tales of the Frost, is the latest by up and coming dungeon synth artist Friedrich Curwenius of Argentina. In March of this year, Lighten Up Sounds released Curwenius’ first album Tunnels Under the Forest, under the moniker of Goblintropp. Now his latest release, Tales of the Frost, takes his dungeon synth style into a totally different territory, often transcending that genre itself, with this polar ambient / winter synth amalgamation.

Tunnels Under the Forest was a proper dungeon synth release which showcased Curwenius’ ability to create a spectacular and enchanting atmosphere within the tried and true style of previous dungeon synth masters. The album nods to the sounds of artists like Murgrind, and of course the forefather of the genre Mortiis. On Tales of the Frost Curwenius goes by a different name, Eislandschaft, which can be roughly translated to mean ‘icy landscape’. This is an appropriate title for the new album which can find comparisons to works by Vinterriket, Northaunt, Elador and Foglord among others.

While comparisons to these aforementioned artists would be helpful in describing the general direction of Tales of the Frost, it only begins to cut the surface of this brilliantly realized and well-honed release. The album could easily fit into the confines of the polar ambient or winter synth styles, but where it really stands out from the crowd is in its use of straightforward piano sections. Indeed, the album is heavily laden with this neo-classical flavor. Looking no further than the opener, “I Found Them Buried in the Ice”, the piano work sounds and feels as if it is the real deal, not a synthesizer version of a grand piano. One can almost imagine Curwenius sitting behind a beautiful Steinway, in the midst of a deep winter whiteout, winds whipping the fine granules of snow into massive drifts against the window of a cabin, high in the mountains.

The piano work is certainly the highlight of this album for me, but there is still plenty more to be said for Tales of the Frost. When incorporating the more conventional droning synth styles of other winter synth artists, like on the second track “Demented and Lost in the White Plain”, Eislandschaft proves to be a worthy competitor with some of the greatest of the style. The synth notes find that perfect balance between mid-range and a shimmering high-pitched timbre.

By the third track, “There’s Something Out There, In the Middle of the Winter Night”, we are presented with the last element which makes Eislandschaft such a successful project. As the synths take on a more subtle drone style, there are equally subtle field recordings layered in the background. These field recordings, unlike those of many winter synth artists, are perfectly balanced with the track. There is no overbearing attitude forcing this wintry atmosphere upon us. The layers of drone and field recording commingle exquisitely, making for a track which is as incredibly relaxing as it is isolating.

The original release by Eislandschaft in August 2017 would have been the middle of winter for the southern hemisphere, so we need not think of this as a summer release. The October re-release on Lighten Up Sounds gives the physical album the perfect amount of time to find its way around the world, before the winter months of the north commence. The beautifully realized cassette version of this release by Lighten Up Sounds fits the soundscapes splendidly with the cassette, cover-art and Norelco case all in white and the lettering on the cassette itself in a shimmering silver.

Tales of the Frost is a combination of winter-synth, polar-ambient and neo-classical at its absolute finest. The album makes for the perfect background to a cold winter night, nestled in one’s favorite chair in front of a blazing fire. For me, this album will be getting plenty of play through the coming winter months of the northern hemisphere. I would highly recommend the release to anyone with a deep love and respect for the frigid months of winter. Tales of the Frost is close to a perfection of its musical equivalent.

Written by: Michael Barnett

Bell Witch – Mirror Reaper – Review on the Periphery

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On October 31, 2017

In On the Periphery

Artist: Bell Witch
Album: Mirror Reaper
Release date: 20 October 2017
Label: Profound Lore Records

Tracklist:
01. Mirror Reaper

Seattle duo Bell Witch have generated considerable buzz with their engrossing take on funeral doom since releasing their demo in 2011. The unexpected death of founding drummer Adrien Guerra left the project’s future in doubt, but songwriter and bassist Dylan Desmond enlisted Jesse Shreibman (whose live work for Wrekmeister Harmonies speaks for itself) and the two began writing and debuting material while on tour. These live sessions would become a magnanimous 84-minute eulogy to the band’s fallen member wrapped in a gorgeously orchestrated ode to the mystifying dread experienced as life ebbs away.

Mirror Reaper is funeral doom at its deepest and most morose, but the massive song isn’t just impressive for its length. Patience, intuition, and musicality raise it to a league of its own. Using the dreary minimalism on which the band built their reputation, save the addition of a foot organ, Bell Witch’s attention to detail both in production and execution becomes even more apparent.

In spite of its daunting duration, Mirror Reaper functions surprisingly well as a song. Its two movements, (which together form the phrase “As Above, So Below”) remain connected through melodic motifs, yet profoundly distinct in their effect. Bell Witch likens the album’s structure to that of its namesake, as its second half is an altered reflection of the first — bringing Mirror Reaper to life in its fascination with death. It goes farther than inviting listeners to stare into the abyss, but embodies the tragic epiphanies one has on the brink of oblivion.

Though his growls don’t have the ghostly timbre Guerra had (the latter of which actually appears as a fitful farewell), Shreibman’s guttural rumbling sounds at home against Desmond’s singing. Desmond himself actually shows off more of his bass facility than on previous outings, bringing a virtuosity to the funeral doom template not often heard. His willingness to cut loose brings tremendous majesty to the arrival point in the middle of the track, but the most transcendent passage of this record begins during the intimate serenade in “So.”

Desmond’s harmonic instincts have always set Bell Witch apart from the funeral doom crowd (especially considering it all comes from his voice and six-string bass), but the way his voice commingles with his instrument on Mirror Reaper in the aforementioned passage is nothing short of spectacular.

Over open bass chords, Desmond’s soft yet steady singing completes the chord’s missing interval — creating beautifully flowing modulations. An evolving soundscape evoking gregorian chants as much as it does epic post-rock illuminates the plight of a soul in limbo between mortal life and what lies beyond. As vocal lines layer over each other, Shreibman’s suspended cymbal swells and foot organ drones eventually cadence the song back into distorted dirge while retaining the transcendent elements — cementing Mirror Reaper as a peak for the band.

Funeral doom stands apart from metal stereotypes in that its exploration of death goes beyond something to deal or be dealt, instead exploring the philosophy behind finality and the combination of fear and serenity it entails. Since Funeral’s first demo sparked the genre into existence, no band has embodied a metallic procession quite like Bell Witch. The duo have done to funeral doom what Sleep did to stoner metal with Dopesmoker — taking the genre to its limits while epitomizing its potential on a grand scale. Mirror Reaper will be remembered as a triumph for this movement, an encapsulation of its most moving attributes.

Written by: Maxwell Heilman

Svartsinn – Mørkets Variabler – Review

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On October 19, 2017

In Reviews

Artist: Svartsinn
Album: Mørkets Variabler
Release date: 31 October 2017
Label: Cyclic Law

Tracklist:
01. And In This Cloak Of Darkness I Cast My Shadow Short (Ghost Boy)
02. Doubt As Sin (Nietzsce’s Lament)
03. Echoes Of Silent Cries (Among The Sea Of Trees)
04. In The Wake Of Azathoth (A Lovecraftian Epilogue)
05. Yearning Part 2 (Å Kjenne På Ensomheten)
06. Where No Other Can Follow (Demon Stalker)
07. Vemod (Cello Mix)

Svartsinn has long been lauded as one of the foremost names in the dark ambient genre. He is one of a number of renowned Scandinavian dark ambient musicians that have left their mark on dark ambient since the earliest parts of its second wave. Where Svartsinn differs from his fellow countrymen is in the general themes of his music. Svartsinn, more so than almost any other musician in the genre, conjures images of pure darkness like a true master. This is the sort of darkness we can expect from horror films, not in its execution, not like a horror soundtrack, but in its ability to invoke a pure crushing sense of darkness. The darkness of shadows, dark sorcery and the depths of a demented murderer’s mind.

Svartsinn first caught the attention of the dark ambient world in 2000 with his debut, Devouring Consciousness on Eibon Records. Following this release, he was part of the seminal release Nord Ambient Alliance. Along with his fellow Scandinavian dark ambient artists Northaunt and Kammarheit, Svartsinn would go on to become one of the most recognizable acts on the Cyclic Law label, a label to which he still calls home to this day. Yet in this time, we have only seen four previous full-length releases, Mørkets Variabler being the fifth.

While many artists become prolific in their release of new material, Svartsinn broods over his releases for years on end. He makes sure to create something that will easily stand the test of time, each becoming an integral element of his discography. Though his last proper full-length release was way back in 2009, its opener track “Vemod” can still be seen as a perfect example of how truly dark, dark ambient can sound.

As mentioned previously, “Vemod” has arguably become the most familiar and favored track of Svartsinn‘s career. One of the main changes in his style of sound can be perfectly reflected in the rendition of this track on Mørkets Variabler. The closer of Mørkets Variabler, “Vemod (Cello Mix)”, showcases the talents of Svartsinn‘s recent partner in darkness. Amund Ulvestad has been traveling with Svartsinn for the last few years. They have conducted Svartsinn live performances as a duo, with Jan Roger Pettersen as the dark ambient maestro and Amund Ulvestad applying his cello work atop the soundscapes. Amund Ulvestad has now been brought into the studio alongside Pettersen to contribute his cello talents to a great portion of Mørkets Variabler. Though we know he is on a portion of the album, the specific tracks are not named, so we can keep our ears and minds open to those subtle cello sounds, permeating much of the release.

Speaking of subtleties, Svartsinn, in my mind, has always been one of the more subtle of dark ambient artists in his execution of soundscapes. Much of his catalog of songs is steeped in eerie sounds which linger in the background, building up a nuanced but potent atmosphere. Mørkets Variabler deviates a good bit from this template. Much, if not all, of this album is bold and thick with atmospherics. The most direct example of this is in the use of vocal samples through a portion of the album. There are Gregorian chants, which fit perfectly into the background of “Doubt As Sin (Nietzsce’s Lament)”. The same track closes with haunting female whispers. I will leave it to the listeners to discover her exact words. “Echoes of Silent Cries (Among The Sea Of Trees)”, possibly the darkest and most unsettling track on the album, features samples of the screams and cries of some tortured souls, as if the track had captured field recordings straight from the fiery depths of hell. In general, the entire album seems to be awash with numerous thick layers of sound, building each track into a monumental amalgamation of horrifying soundscapes.

Svartsinn isn’t known to focus on any one sense of darkness or thematics throughout an album, instead his music touches on various elements of darkness in any one of its incarnations from track to track. In this habit Mørkets Variabler does not differ. Some tracks seem to take on a personal tone, while others like “In The Wake Of Azathoth (A Lovecraftian Epilogue)” or “Doubt As Sin (Nietzsce’s Lament)” focus on literary or philosophical themes. While, for some, this could be seen as a downside, it is what Svartsinn has always done, and he has found praise and recognition throughout his career because of, not in spite of, this point. Svartsinn attracts the listener with many and varied mini-stories and themes throughout his albums, taking listeners throughout a tour of deviant, lamented and horrific domains.

There is no question that Frederic Arbour, owner of Cyclic Law, sees Svartsinn as one of his most prized artists on the label to this day. One need only look at the regal manner in which this release has been conducted. The cover art benefits greatly from the brilliant dark arts of Dehn Sora, who has contributed one of his most potent images to date. This artwork is given a greater chance to be appreciated through the 2LP version of the album. The vinyl edition also is of note because it houses an exclusive extra track, a remix of “Echoes Of Silent Cries” by Kammarheit. This brings the total running time of the vinyl edition to 72 minutes of pure darkness. For the CD, we are offered a well-crafted 4 panel hardcover digibook which includes a 16 page inner-booklet. The release is further accompanied by a new t-shirt donning the Svartsinn white bird logo.

Mørkets Variabler is an absolute success and well worth the long wait since the last proper full-length release. Svartsinn proves that he is still at the very top of his game on this one. Each will have their own opinions, but to me this is the apex of his work. The further addition of Amund Ulvestad’s cello and the bolder format of the majority of the album give Mørkets Variabler a character of its own, allowing it to distinctly stand out from the rest of the Svartsinn discography. If you are looking for pure and utter darkness, one need look no further than Mørkets Variabler. This is darkness in its purest form.

Written by: Michael Barnett

Jarl – Hypnosis Colour – Review

By

On October 16, 2017

In Reviews

Artist: Jarl
Album: Hypnosis Colour
Release date: 16 July 2017
Label: Reverse Alignment

Tracklist:
01. Hypnosis Colour

Jarl is the dark/drone ambient project of Erik Jarl of Norrköping, Sweden. Erik Jarl might be better known for his role in the power electronics project IRM, in which he collaborates with Martin Bladh and Mikael Oretoft. But Jarl is certainly his more active project, having released roughly two dozen albums since he started the project back in 2001. These albums have been released on a number of renowned labels including Malignant Records, Annihilvs Power Electronics and Autarkeia. But most recently, Jarl has been releasing the most consistently through Reverse Alignment, and that is where today’s album in question is released.

Hypnosis Colour is a successor to Amygdala Colours – Hemisphere Rotation from 2016. That album was described in its liner notes as: Electronic and acoustic sounds for the processing of memory, decision-making, and emotional reactions. For the right and left side of Amygdala”. So we see, it was not really directed as a musical experience, so much as a psychological manipulation. Jarl started work on the next installment right after that album’s release.

His latest release, Hypnosis Colour, plays with this section of the brain in a different way. The amygdala is responsible for emotions, survival instincts, and memory. Recent research¹ has shown that hypnosis makes it possible for the amygdala to be controlled. So Hypnosis Colour is still focused on that section of the brain which was initially explored in Amygdala Colours. Under hypnosis, the amygdala is able to be turned off, thereby stopping the mind and body from having emotional reactions, giving it time to heal any mental or even physical wounds more efficiently.

So we can see that Jarl is not simply delivering us music for casual listening. Hypnosis Colour is able to serve a specific purpose. If allowed, Hypnosis Colour could likely have profound effects on the brain. This stands to reason that the listening of this album should be given full attention. The listener should absolutely be wearing headphones, in order to correctly experience the panning of sounds between the left and right speakers. Furthermore, it should be experienced in a dark, quiet setting, where the listener is not likely to be disturbed by any external elements. If these conditions are adhered to, the listener will be able to fully appreciate the effect that Jarl is trying to achieve.

From a technical standpoint, Hypnosis Colour will exhibit many of the same sorts of sounds and techniques used on previous Jarl albums. The sounds are extremely nuanced. The album works in a steady progression, slowly building up layers upon layers of acoustic and electronic sounds, while the volume also steadily increases to its maximum. There is the same level of harshness to the release which would be expected by any seasoned fan of the Jarl sound. But, as is usual with Jarl, somehow he manages to take this harshness to a place that is mind-altering, but never overbearing or anxiety inducing. The feat is likely achieved with the help of Peter Andersson of raison d’être, who has mastered the majority of Erik Jarl’s releases as well as those by IRM over the years. For added effect, he has also used artwork created by Karolina Urbaniak, another long-time collaborator. Her cover art is a beautiful combination of light greens and blues swirling upon a black backdrop. The visuals could be called psychedelic, without any of the usual hippy connotations that often weigh this word down.

Long-time fans of Jarl will have every reason to love Hypnosis Colour. It takes his sound into a direction that makes the most sense yet in his career, the building of layers in order to create an actual mind-shift in the listener. Readers that are new to the sounds of Jarl should be warned that this isn’t light listening. You will have to approach this album in a different way than you would with the usual dark ambient release. It is meant to be an active listening experience and headphones are mandatory. With that said, Hypnosis Colour as well as it’s predecessor Amygdala Colours are two of the most technically and thematically successful releases of Erik Jarl’s to date, and both should be perfect entry points for beginners. It will be interesting to see if Jarl will continue on this path with his next release or if he has plans to switch gears into a different direction.

Written by: Michael Barnett

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