Tag: Review (Page 14 of 19)

The Rosenshoul – Darkly I Listen – Review

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On August 14, 2017

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Artist: The Rosenshoul
Album: Darkly I Listen
Release date: 14 August 2017
Label: Self-released

Tracklist:
01. Violence My Heart
02. In Her Blood
03. Revenge And A Black Dog

The Australian musician, Duncan Ritchie, will be best known to our readers from his other dark ambient project Flowers For Bodysnatchers. While he started creating dark ambient initially as The Rosenshoul, he had several highly acclaimed albums as Flowers For Bodysnatchers before he was brought into the Cryo Chamber family. Aside from Atrium Carceri, Flowers for Bodysnatchers has become one of the most successful and recognizable artists on Cryo Chamber, that is, if we are to gauge success by album sales and Facebook followers.

The Rosenshoul has been on hold since the 2014 release of Hidden Field. With all the output coming from the Flowers for Bodysnatchers project, I was a bit surprised to see this new album by The Rosenshoul show up on Bandcamp. Surprised, but also delighted. The difference between the two projects can often be quite minuscule. The most noticeable difference between the two project can be seen in track lengths. While Flowers for Bodysnatchers tracks usually run between four and seven minutes length, The Rosenshoul always delivers long-form tracks. Often as long as twenty minutes in length and usually roughly three tracks per album. This long-form style of dark ambient makes for a more intimate and uniform approach to the music. The Rosenshoul tracks have a chance to slowly develop and they can often gently slide from one emotion or energy level to another within the same track.

Flowers For Bodysnatchers takes on a cinematic dark ambient style which incorporates the cinema into the tracks, building a story within itself. The Rosenshoul also has a cinematic approach, but it is less in the active sense; it leans more toward providing the role of a soundtrack. There is no shortage of field recordings, and there are stories being told, but these stories are much more subtle, allowing the listener to take a more imaginative approach to their interpretation.

Darkly I Listen is full of energy, emotion and intrigue. The album comes with a companion poem, which is helpful in conveying a full understanding of the material to the listener.

Darkly I Listen through the raven.
Darkly I Listen through the trees and
through the walls and the windows.
Darkly I Listen into your violent heart.

Now I will come to you.
Come to you as decay and death.
Come to you slowly.
Like the black dog in the blackest night.

And from the bloodiest of shadows I shall
show you the hell you brought unto me.

The only other descriptor we are given to understand the album is this sentence: “Darkly I Listen explores a Victorian era tale of murder and otherworldly revenge.” There is no point in me attempting to tell my personal interpretations of these tracks or how they fit together as a whole. The process should be personal to each listener, and Ritchie has clearly intended for that process to be an integral part of the experience listeners have with his album.

From a technical standpoint the music is a bit more musical than many other dark ambient artists, though this can also be said about Flowers For Bodysnatchers. Flowers for Bodysnatchers most often incorporates piano sections as the direct musical addition to the soundscapes. The musical elements of The Rosenshoul, specifically on this new album, seem to come in the form of string instruments. In all honesty, I’m not sure if these sections are synthesizer created or if they are the actual instruments being played, but my guess would lean more toward the former. The drone-work is quite active, with swiftly evolving drones coming in and out of the soundscapes, changing note and pattern frequently. The real foundation of this album lies in the field recordings. They have a constant presence throughout the album. They are best described as industrial, not the genre, but as in field recordings collected in an industrial district of a city. A picture comes to mind of a scene from Eraserhead, Henry (Jack Nance) wandering through a dark, rainy, gloomy atmosphere in the heart of the industrial district of some nondescript metropolis. This image fits nicely with the descriptor for the album, which describes this as taking place during the Victorian era, which was also centered amidst the industrial revolution of western civilization.

Darkly I Listen is the most ambitious effort yet from The Rosenshoul. This is the first album to be released under that moniker in the physical format. Darkly I Listen has been self-released by Duncan Ritchie and he’s taken the bold step of creating a digipak CD that appears to be quite professionally executed. The cover-art is beautifully dark, evoking just the right sort of imagery for sounds such as these. The gamble seems to have already paid off, as there are only 8 copies remaining for sale through his Bandcamp page as I write this review. So if you are thinking about purchasing a physical copy, you’d best move fast! I would highly recommend this album to just about any dark ambient fan. It should have no trouble with impressing fans of Duncan’s other project Flowers For Bodysnatchers. It is also a real treat for those fans that prefer the long-form style over short, concise tracks. In short, Darkly I Listen should be a welcome addition to the collection of any discerning dark ambient listener!

Written by: Michael Barnett

Altarmang – Void – Review

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On August 10, 2017

In Reviews

Artist: Altarmang
Album: Void
Release date: 21 December 2016
Vinyl release: Autarkeia
Digital release: Hypnagoga Press
CD release: Cyclic Law (Includes two bonus tracks exclusive to this edition)

In only its first year, Hypnagoga Press has shown itself to be a leading label within the dark/ritual ambient genre in terms of quality of packaging, innovation of sounds and breadth of focus. The young label is run by Pär and Åsa Boström, the two siblings from the central/northern realms of Sweden. The label has a multi-dimensional set of goals. So far they have delivered three musical releases and three ultra-high quality pamphlets/zines. In the second edition of The Solar Zine they introduced to us Altarmang, a new project between Pär Boström and fellow Umean, Kenneth Hansson; their debut release coming on a c40 cassette packaged exclusively with The Solar Zine vol.2.

Altarmang made quite an impression on label heads involved in the dark ambient music scene. It wasn’t long before the Altarmang debut was offered an irresistible proposition. Their debut was quickly adopted for a second pressing by the Lithuanian label Autarkeia. Autarkeia is already well known for its deluxe and highly unique re-releases and Void is no exception. Void is now available in a limited edition of 250 copies on heavy black vinyl. It comes beautifully packaged in a sleek black and white outer jacket with a full colour inner jacket which features images of Pär and Kenneth. As far as vinyl releases go, this is one of the more interesting and well prepared packages that I have seen. While the vinyl itself is solid black, with no variant color options, the packaging is quite beautiful, crafted of high-quality materials. It easily reflects the high standards that Pär and Åsa have set for their output.

The music of Altarmang, much like its members Pär and Kenneth, is eccentric, esoteric and crafted with the most unlikely of techniques. Each of its two tracks comes in at nearly 20 minutes, which makes it a perfect fit for a vinyl release. Over this forty minutes of music, listeners are urged to follow these artists into a deep trance-like state. The music is easily enjoyable in its own right, but it is an exceptional tool for meditation purposes. From what I have gathered, Pär and Kenneth spent as much time during the creation process honing their mindsets and opening their third-eyes as they did on the actual crafting of the sounds. With each track being approximately twenty minutes, one may choose either side of the LP to use as a tool for a meditation session.

In the creation process, Pär’s primary goal is the manipulation of sounds. Much of the album consists of guitar and synth drones which have been twisted and warped by various means. Kenneth brings his knowledge as a reel to reel tape enthusiast to the project. He is able to take the initial soundscapes that Pär has created and run them through these antique machines to change them into something that sounds quite hypnotic, and at times almost disturbing and even daemonic. Kenneth’s second contribution to the project comes in the form of his breadth of knowledge as an herbalist. Filling the studio space with clouds of smoke in varied combinations, Kenneth helped Pär to tap into a deep and primal state of mind, making the ritualistic creation of this meditative music have an ever more dense concentration of spiritual energy.

Side A, “Sulphur”, is the more active of the two tracks. It starts off calmly with what I assume to be heavily manipulated analog synthesizer sounds. As the track progresses an electric guitar is used in an increasingly bold manner. Focusing on these sounds during a deep state of meditation, the guitar helps to pull the listener into a deeper level of consciousness and meditation. I have been told that the artists used a blend of essential oils, The Oil of Abramelin, as a dot on their foreheads to help awaken the third eye, I have also mixed a batch of this for my meditative sessions and found it very beneficial.

Side B, “Aether”, is a more subtle and relaxed experience. The music is more heavily focused on the synthesizer elements and doesn’t come to a high energy climax in the same way as “Sulphur”. This track is more suitable for meditative sessions that focus of calmness and reflection.

Of course, the album is perfectly interesting on its own, sans meditation. The sounds, even on “Sulphur” never become so active as to distract the listener from some other primary goal, such as reading, gaming, studying, etc. But, just as the sounds lend themselves so well to meditation, listeners will also find that a traditional listening session can be quite fruitful and enjoyable. I would recommend this album to any fans of ritual ambient, especially those that lean toward the styles presented on the Aural Hypnox label. While the album is available for download through the Hypnagoga Press Bandcamp page, this latest release on vinyl through Autarkeia is really beautiful and well prepared. It will be a great addition to any fan’s record collection.

Written by: Michael Barnett

VelgeNaturlig – Opalescent Pust – Review

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On August 9, 2017

In Reviews

Artist: VelgeNaturlig
Album: Opalescent Pust
Release date: 12 May 2017
Label: Winter-Light

VelgeNaturlig is a project from Portugal, the country I always wanted to visit. Even though it is Western Europe, you may say it’s secluded, at least to a certain degree. It’s located on the edge of the continent, surrounded only by ocean and… well, Spain, it feels like it’s culture isn’t that influenced by popular trends like in the case of other nations. Not only mainstream, I would say, but also the underground has this individual face. I wouldn’t describe the Portuguese post-industrial scene as the most resilient, but those few artists I know, they all have their own character, and this fact is not that obvious these days.

One of these artists is Ivo Santos hiding under the VelgeNaturlig moniker, active on the scene for almost fifteen years, though he had some significant moments of silence during that time. Maybe it isn’t a name from the first line of dark ambient, but I suppose that it’s quite recognizable. Although maybe I’m wrong, but I have the feeling that Ivo’s project is more respected and has a high reputation rather than actually being liked and listened for pleasure, if you know what I mean. It may be the effect of a dual nature of the project. It combines organic bliss and electro-acoustic experimenting in an interesting yet not always easily approachable manner. Even the name itself, read it out loud: VelgeNaturlig, it has an organic beauty, but at the same time it’s mechanical and cold. And it describes the nature of the project perfectly.

Opalescent Pust is his first full length album in over ten years, not counting the gterma re-edition of Humus. And it is a very mature piece of dark ambient with all the attributes mentioned above, but mixed in a way that it doesn’t raise any confusion. The drones are dense, sometimes counterpointed by the natural sounds like tiny bells or water streams. It may not have single memorable moments, but it works as one monumental entity. The tracks don’t have beginning nor end, one transforms into another. That was the way Ivo initially constructed this CD, it was later divided into particular indexes. It’s one of these albums which you can place only in your own personal context, made by yourself as it’s floating outside the fourth dimension, you can’t place it in a specific time and space, but have to make up one of your own. For one listener Opalescent Pust may be dark and oppressive, while another will find it soothing and serene. Nothing is obvious here, everything is left for your own interpretation. Even the titles of the pieces are just, I don’t know, to put things in order. Personally, I don’t even care about them, I listen to this CD from the beginning to very last minute without paying attention when one fragment ends and another begins. It absorbs the environment (and the listener’s attention) pretty effectively. Not a bad work, Mr. Santos, not bad at all.

Written by: Przemyslaw Murzyn

protoU & Hilyard – Alpine Respire – Review

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On August 6, 2017

In Reviews

Artist: protoU & Hilyard
Album: Alpine Respire
Release date: 25 July 2017
Label: Cryo Chamber

Tracklist:
01. Alpine Respire
02. Blood Grass Sojourn
03. Cave Lights on the Bay of Bengal
04. Boreal Distillate
05. Final Refugium
06. Elwha Snowfinger

Alpine Respire is the latest addition to the quickly increasing set of collaborations by protoU. protoU was first introduced to the greater dark ambient community through the brilliant release Earth Songs, in collaboration with now husband, Dronny Darko. Earth Songs still gets tons of play here at This Is Darkness HQ, “Riparian Forest” being one of my favorite dark ambient tracks in recent history. Earth Songs was followed by her first two solo releases, Lost Here and Khmaoch. Both of these albums showed her inclination to keep to the subtle side of the genre. Creating music that is often quite pleasant sounding. More dark in a sense of solitude and introspection than in the malevolent or occult sense. Her recent collaboration, Stardust with Alphaxone, took us into space, giving us a tour of the cosmos through the dark ambient lens.

Alpine Respire, in the same fashion as it happened for protoU, is the debut release on Cryo Chamber by Hilyard. Bryan Hilyard has already been making his rounds in the ambient / dark ambient communities for several years. His previous works have been field recording heavy, with an overarching focus on nature. Much like protoU, Hilyard finds the sweet spot between ambient and dark ambient music, making for albums that are at once peaceful and meditative, but ever so slightly eerie and melancholic.

Coming together for this release, protoU and Hilyard seem to have already had a decent bit in common. So instead of two styles clashing and creating some unlikely outcome, we are instead presented with something that seems natural, free flowing and polished. As if the duo had been working together for years. The music keeps a constant focus on nature, particularly the colder forested environments. Alpine Respire, in its literal definition would mean something like the breathing of the high mountains, or some similar sentiment. Taking the sounds of the album and the gorgeous cover-art into consideration, this definition seems to fit their vision accurately.

The album opens with the title track, “Alpine Respire”. My very first impression of this track was as surprising as it was delightful. I, even after hearing it 10+ times at this point, feel a strong connection between this and the opening track from Sigur Rós self-titled debut album. The drones are dense and slowly evolving in the background. The foreground is laden with eerie higher pitched sounds. This whirlwind of sound all seems to come to a climax around the two minute mark as the drones subside and there seems to be a celestial voice (or maybe just some well-placed synth) giving a sort of exhale. As the energy begins to rise once more there are so many sounds to capture the imagination, allowing listeners to take their interpretations off into various directions. This opener sets the perfect mood for the rest of the album. The balance between darkness and light, eeriness and comfort, devastation and peace, constantly plays itself out beautifully.

“Blood Grass Sojourn” starts off droning and subtle, then slowly moves into more active territory. A plethora of field recordings taking the foreground. Crows cawing, winds rushing, flecks of indeterminate sound oscillate between left and right as the drones begin to construct a thick wall. As if falling under the pressure, we begin to hear the movement of large rocks, like they are being crushed by the drones. There is a strength and depth to this wilderness being conveyed. The tones of something that sounds like Tibetan singing bowls gives the impression that this is almost a religious experience. But this is no modern religion. If religion it is, then it is that of our ancient forebears, those that respected and feared the Earth itself for its brutal nature.

“Boreal Distillate” seems to be on par with the aforementioned “Riparian Forest”. protoU and Hilyard pack this track, once again, with field recordings. There is a downpour which lays the base for the track, augmented by thick slowly evolving drones. The rest is filled out with the occasional sounds of wildlife. There is not a ton of activity here and we are urged to take a meditative approach to listening. The track works perfectly in passivity, accompanying the mind as it is left free to wander. If listening actively, we are able to picture ourselves trekking through some great old forest, as the rains permeate our clothing. If placed in the background, the gentle beauty of the music does little to side-track from any other goal, be it reading, studying, writing, etc.

Photograph used courtesy of barefootjake.com

The album concludes with “Elwha Snowfinger”, which is a perennial snow field located near the Dodwell Rixon Pass, which is 1452m/4763 ft high and separates the watersheds of the Elwha and Queets rivers in the Olympic Peninsula in Washington State in the USA. This track reminds me a lot of the many works of Ugasanie. There is a thick almost overwhelming layer of drone-work setting the foundation. Upon this base we here strange sounds, likely field recordings, but the context and meanings are hard to discern. This gives the track an eerie sort of feel, as if one is wandering aimlessly through a white-out at a bitter cold high elevation, fumbling for shelter, nearing hypothermia and the inevitable final outcome of death.

Alpine Respire is a perfect fit on Cryo Chamber. It has all the attention to detail one would expect of this label. The field recordings are crisp and give life to the entire album. The drones are varied, sometimes taking on hollow natures other times so dense that they literally seem to crush boulders. protoU and Hilyard make a fantastic pairing, their skills seem to be relatively overlapping, as are their goals. This album is overflowing with field recordings. For listeners that love to hear the elements of nature transported to their speakers, this is the perfect album to add to their libraries. the drone work is also top-notch. The combination makes for some brilliantly dark ASMR enriched music. It is the perfect companion to a late night of reading, a stroll through nature, or a critical session of active listening on a high-quality headset. I, for one, will surely be returning to this album very often.

Written by: Michael Barnett

Siyanie – Mystery Of Life – Review

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On August 3, 2017

In Reviews

Artist: Siyanie
Album: Mystery of Life
Release date: 21 July 2016
Label: Zhelezobeton

Tracklist:
01. You Are Self
02. The Moment of Truth
03. Circling Eternity
04. Invocation
05. Chant for Beauty
06. Deep Tenderness
07. The Sky is Not the Limit
08. Everflowing Stream
09. Shine If You Will Pt. 1-3

When I got this album, I opened the envelope, put the CD to the player and felt like taking a nap. And it was a pleasant nap. This Russian duo doesn’t push the limits of the genre, but their creations are nicely prepared and quite relaxing.

The two musicians are known from their other projects, as both Vresnit and Neznamo are already recognized members of the ever-growing Russian ambient/experimental family. Mystery Of Life is their fourth album, including the collaboration with the mentioned Neznamo. I know that our page is called This Is Darkness and Mystery Of Life is somewhat distant from the pitch-black or grey ambiances (check the cover), but there’s a certain form of depth which most of the shades of ambient share. The spirituality, the detachment from the mundane world. But, while dark ambient artists often wander through the wastelands, sometimes in the literal meaning, sometimes as a metaphor of the dark corners of the human soul, the artists like Siyanie (Russian word meaning “radiance”), search for a harmony with nature, a contemplation in a peaceful solitude.

It’s nothing new musically, you won’t find anything that you haven’t heard on the albums by Alio Die, Mathias Grassow or Klaus Wiese. In this form of ambient it is even harder to create your own, personal path than in dark ambient, so the trick is to capture the perfect atmosphere, that won’t bore or tire the listener, that will let him be immersed in the blissful contemplation. Serene, but not shallow. The body may lie on the bed or in the grass, but the spirit is traveling astrally to the world beyond. And they manage to do it, I find the album relaxing after a hard day, but not in a mindless way, there’s a whole open space for reflection here. The other important thing for such music is to avoid falling into the new age trap. And they succeed here as well, although there are moments when they balance dangerously close to the edge of triviality. Perhaps the album is a little bit too long, the album is not able to catch my attention for the whole duration and a few tracks seem like they are filling the gaps, but I can’t deny that there are some magic moments here, like the fourth composition, “Invocation”, with the growing tension, deep drones of the Eastern provenance and the sublime sounds of sitar. It’s worth mentioning that all tracks (except one) were recorded during live performances. If I didn’t know, I wouldn’t guess, they sound awesome. So if you don’t expect anything crucial to the genre, but rather look for a completion of your spiritual ambient collection, this one might be for you.

Written by: Przemyslaw Murzyn

Leonard Donat – Deer Traps – Review

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On August 2, 2017

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Artist: Leonard Donat
Album: Deer Traps
Release date: 30 June 2017
Label: Blackjack Illuminist Records

Tracklist:
01. Fog Horn Deer Trap
02. …And Then It Materialized
03. Alteglofsheim Night Pedal
04. Forest Fire

Alexander Leonard Donat is best known for his project Vlimmer. Vlimmer is a genre bending project which touches on dark ambient, darkgaze, darkwave, indie and krautrock among other things. His latest release Deer Traps is released as Leonard Donat also on the Blackjack Illuminist Records label, where most of his works can be found.

Deer Traps takes a significantly more subtle approach than albums under the Vlimmer name. The album is decidedly lo-fi, giving it a sort of warm rusty feel that could almost touch on the emotions conjured by The Caretaker and the like. Yet, contrary to the comparison, the actual sounds beneath this hissing and cracking are presented in the most minute of detail.

The opening track, “Fog Horn Deer Trap” is a beautifully somber experience. The hiss never subsides through the progression of the track, but serves as a contrast to the other, more polished sounds. There is a repetitive piano section that adds a significant portion of the emotional charge. Field recordings of birds chirping in the not-so-far distance add even further to this inviting nature. And yet, beneath this beauty and comfort lies a layer of brooding drone-work, almost harsh in its mildly high pitched register. The combination and contrast of these sounds makes the perfect recipe for fans of dark ambient. There is a pervading sense of darkness, always lying just beneath the surface, like a disturbing memory or unwanted task which keeps mockingly presenting itself.

While the opening and closing tracks fall short of the seven minute mark, the middle two tracks are both between thirteen and fourteen minutes a piece. This long form center of the album is fitting for the sounds Leonard Donat is creating. While there is always plenty happening, and a variety of instruments/software being used to create the soundscapes, the music manages to hold a passive element, which overpowers any sense of activity. In this way, the music takes on a timelessness. The balance between activity and passivity make for a versatile album, giving listeners the ability to use it as an atmosphere enhancement, or to close one’s eyes and fully focus on the music.

The packaging of the album seem to be quite representative of the project as a whole. The cover-art is a simplistic piece of art, in execution, yet it holds enough mystery to allow the listeners’ minds to ponder its greater significance. The release is presented on ultra-limited edition cassettes (only 15 copies), which all have been hand-painted with the word “trap”. There is also a CD version, again hand-painted. The CD comes in a handmade sleeve, along with two separate art photos.

I have enjoyed the previous works of Alexander Leonard Donat as his Vlimmer project. But, the active and slightly rock leaning nature of its style keeps me at arms distance as a reviewer. This latest release was a pleasant surprise which I found myself returning to over and over, especially on long nights with my face buried in a book. The music should be particularly interesting to fans of more active forms of dark ambient as well as those who love to witness the various attempts at originality by the often-audacious experimental genres.

Written by: Michael Barnett

Cadabra Records – No Ordinary Fairy by Roland Topor

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On July 28, 2017

In Reviews

Artists:
Laurence R. Harvey (Spoken Word)
Theologian (Soundscapes)
Roland Topor (Artwork)
Album: No Ordinary Fairy by Roland Topor
Release date: 13 February 2017
Label: Cadabra Records

Side A: No Ordinary Fairy
Side B: Laying the Queen

We likely live in one of the greatest times throughout history, if only for dreamers. We have instantaneous access to the works of artists, great and small, which span literally thousands of years. An attempt to absorb even 1/4 of the “must experience” artists throughout history becomes nearly impossible, even for someone with nothing but time. My first encounter with Cadabra Records came in the form of H.P. Lovecraft’s Pickman’s Model. I made the discovery thanks to a night of browsing the Theologian discography. Since that portentous first encounter I have fallen madly in love with the works of Cadabra Records. Not only because of their well-above average physical productions (Pickman’s Model remains the most physically impressive vinyl release I’ve ever seen), but because of their choices in material to cover.

My first new discovery by way of Cadabra Records was Clark Ashton Smith, on their release of The Muse of Hyperborea, read by S.T. Joshi, the leading scholar on Lovecraft, and the music again performed by Theologian. A name that often cropped up in my reading of Lovecraft’s biographical coverage, I hadn’t actually delved into his works. Though, once introduced, I’ve been rabidly consuming all his poetry and weird fiction that I can manage.

Roland Topor is yet another name that I had only encountered in passing. Though I quickly found out that he was responsible for the novel, The Tenant, which would, a decade later, be brought to the big-screen by Roman Polanski, one of my very favorite film directors. Roland Topor was one of the leading visionaries of the mid-20th century. He, alongside others such as Alejandro Jodorowsky and Fernando Arrabal, worked within a version of surrealism that aimed to retake the movement from the mainstream, watered-down version that it had become on account of its increasing popularity and exposure. Topor’s works are dark, shocking, often crude.

The No Ordinary Fairy LP brings out a slightly different side of Topor than many would guess. The vinyl contains two short stories: No Ordinary Fairy and Laying the Queen. They complement one another perfectly in their dark humor and crude nature. No Ordinary Fairy is a tale of an encounter with a real-life fairy, three wishes and all, going sour. Laying the Queen, true to its title, documents the journey of one deranged fellow with the solitary goal in his existence of having sex with a queen, any queen. In both these tales absurdity is pushed to the max making for quite a hilarious scenario. But there is still a dark shadow looming over each of these tales, especially No Ordinary Fairy, a tale which takes place directly following a bout of horrific domestic abuse.

Theologian, at this point one of the top contributors to the Cadabra Records soundscapes, again delivers top quality dark ambient music to complement the story as well as its diction by Laurence R. Harvey. We move from broodingly dark moments through more whimsical sections of sounds. From claustrophobic frenzy into vast vistas of solemnity. Theologian takes a grasp on the story content and always manages to heighten the appropriate emotions as the story moves among them. It is no wonder that Cadabra Records keeps returning to him as the musician for so many of its projects.

Actor Laurence R. Harvey makes his first appearance on a Cadabra Records release with the No Ordinary Fairy LP. Harvey is best known for his parts in The Human Centipede II and III, as well as The Editor and Rats, among others. His performance here is, like Theologian‘s, a perfect fit for this release. His vocal diction is creepy, to say the least. Not in a horror sense, but in a “maybe I’ll sit on the other side of the bus” sense. He takes the concepts behind these absurdly dark comical stories to brilliant new heights with his various inflections. In particular, toward the end of Laying the Queen, his performance of the narrative is stunningly appropriate to the story.

Cadabra Records pride themselves on the physical manifestations of these releases just as much as the aural content. No Ordinary Fairy does not break from this tradition. The cover-art is the work of Roland Topor himself. The 150 gram opaque purple vinyl comes in a deluxe tip-on jacket with liner notes by Heidi Lovejoy, giving us a bit of history of Topor’s legacy. The packaging is sturdy and attention to detail is paramount. The vinyl is in the 30 cm 45 rpm format.

If you are a fan of Topor’s works, enjoy the music of Theologian, or just love to collect unique and high-quality vinyl releases, the No Ordinary Fairy LP should be right up your alley. Cadabra Records have quickly solidified themselves in the vanguard of the spoken arts. I really can’t recommend the works of this label enough, and No Ordinary Fairy is a perfectly suitable place to start.

Written by: Michael Barnett

Bonini Bulga – Sealed – Review

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On July 22, 2017

In Reviews

Artist: Bonini Bulga
Album: Sealed
Release date: 21 June 2017
Label: Hypnagoga Press

Tracklist:
01. Each Named
02. By A Higher Thought
03. Each With Six Wings
04. Becoming
05. Sealed As One

Bonini Bulga is the latest manifestation from the enigmatic mind of Pär Boström. While the symbolism of the album seems to draw allegories to both himself and his sister Åsa, the music was solely created by Pär. Bonini Bulga is the most subtle project yet from Pär Boström, the man behind the lauded project Kammarheit as well as Cities Last Broadcast and his other recent output, Altarmang, along with Kenneth Hansson. We also can not forget to mention the brilliant launch album on Hypnagoga Press, Orgelhuset by Hymnambulae, the collaboration with his sister and equal in Hypnagoga Press.

If this introduction to the works of Pär Boström seems a bit dizzying, it is understandable, as he has literally exploded with creativity over the last few years. But for those of us that are huge fans of his sparse but fantastic output over the last 15+/- years, this new spurt of energy and output is nothing short of a revelation.

Bonini Bulga is a hypnotic experience. A subdued collection of tracks which rely heavily on various hardware to create their strange, otherworldly soundscapes. Tape loops make up much of its foundation. The loops having been connected to various equipment, like effects foot pedals and other machinery, take on a dark and mystical quality. The darkness of the album predominately comes in the form of this odd, mystical structure. Yet, there is a pronounced darkness which occasionally rears its daemonic head. “Becoming”, which is my favorite track from the album, seems to be the climax, it brings whatever has been lurking in the shadows out into the open.

The album offers us hints at its meanings in a variety of ways. For example, each of the track titles can be read together to form one coherent statement: Each named by a higher thought, each with six wings, becoming sealed as one. The mythical and religious elements presented are clearly intended to build the foundation for the work. We can also read the passage that accompanies the album to understand more of its purpose:

”Beyond theophany and behind revelation, they arrived. Bonini and Bulga. An unlikely manifestation, of being and unbeing.

They stood there. They bowed and they bent the room they had entered.

Behind the Hierophant’s mask, Bonini, with the power to know, to shift and to unveil. The paths of hidden light and eclipses turning inward. A cowled head, overlooking thought.

Behind the mask of the Other, Bulga, with the power to create, to root and to merge. All shapes there to inhabit, all geometries there to unfold. A crowned head, overlooking process.

And they sang. Sealed as one.”

I interpret this as connecting Pär to Bonini, his work often coming in spurts of creative productivity. Much of his inspiration and direction coming from the dream world. To connect it to literature, I see him as someone like Randolph Carter from H.P. Lovecraft‘s Dream Cycle. He visits these strange beings and places in these furtive dream worlds and brings them back to us, puts thought to vision and sound, often depicting strange creatures and mystical dilapidated vaults, underworld kingdoms of ancient beauty.

Åsa Boström corresponds with Bulga. She is the mediator. Taking the so-called “geometry” and making sense of it, giving it form, purpose and direction. Restoring the ruins of ancient peoples to life, more directly a second life, a rebirth. She “roots” the meaning out of the complex visions, “merges” the uninhabited dream kingdoms with the real world. In so far as Hypnagoga Press is concerned, we have still only seen hints of the potential that she brings to the label. As the months and years progress, we will surely see much more of her direct input and influence surfacing in upcoming projects.

This is part of why The Solar Zine no.3 is so important and interesting. It literally draws a map of the future endeavors of these two visionaries. We know Kammarheit “the city, the catacombs, the mountains”, Hymnambulae “the desert and the organ house” as well as several of these other locations on the map. But, we are also given the opportunity to guess at the other upcoming works and visions of the siblings. What lies ahead for The Seafarer “the lighthouse”, or The Astronomer’s Garden “the observatory”. Then we have locations like Kalsamenen and Insomniska which give us no real hints at their purpose or how they will manifest themselves.

It seems that the coming years will be ripe with output from Hypnagoga Press. Whether this will continue to be the sole production base for the siblings, Pär and Åsa, or if some of these other locations hold introductions to new partnerships and collaborative output is anybody’s guess. But, if we consider what we have already seen as an indicator, we are in for one hell of a collection of works.

Written by: Michael Barnett
D

Council of Nine – Trinity – Review

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On July 21, 2017

In Reviews

Artist: Council of Nine
Album: Trinity
Release date: 11 July 2017
Label: Cryo Chamber

Tracklist:
01. 527
02. Memory
03. Bargaining
04. January 3rd
05. I No Longer Hear You
06. Silent Dawn
07. Trinity

“This is my catharsis. The many stages of grief and the acceptance of loss, deeply personal, unforgiving, cold and painful. This is the story of the greatest loss I have suffered, the death of my mother. This marks the end of a chapter and the closure I was desperately seeking.”

Council of Nine first appeared on the dark ambient scene with Tomb of Empires, the collaborative compilation between four artists using the theme of fallen civilizations as the basis. Since then he has released three full-length albums on Cryo Chamber as well as a follow-up collaboration in Tomb of Seers, and we also cannot forget about the massive Locus Arcadia album, which was the first time that Simon Heath allowed his Sabled Sun cycle to expand outside of his own work and into the hands of his label-mates.

On each of these releases Council of Nine has shown us his adaptability, attention to subtlety and his evolution as an artist. Trinity will follow most closely to Diagnosis, his last full length album. Diagnosis seemed, as its name would imply, to be the realization that there was a problem with his mother’s health. It was a look inside his mind as this news had its chance to sink in, and the artist had a chance to unload some of his emotional baggage into his music. Trinity moves forward in that narrative to the final period of her life. As the man behind Council of Nine attempts to cope with what is likely the greatest emotional roller coaster of his existence, the physical world moves forward, and the earlier diagnosis manifests itself in the physical form, bringing a demise to one life and a brush with the edges of sanity to the other.

So we can see that the narrative of this album is probably one of the most fitting imaginable for the inspiration of a dark ambient album. It is also quite unusual in terms of the common narratives covered in this genre. So often artists prefer to tell an abstract story, something of horror or science fiction or the occult. Actually diving into such a personal landscape of events must be a heart-wrenching experience for the artist, and thus it is often pushed aside in favor of more palatable and superficial topics.

The “darkness” in Trinity is overwhelming. It is crushing in its execution. On “January 3rd” we are confronted by actual recordings of his mother’s voice. She is literally present within the album. This must make the listening experience for the artist all the more emotional. While there is a hopeful beauty to some of the songs by Council of Nine, particularly those on Tomb of Seers, we hear none of that side of the artist manifest itself on Trinity. Council of Nine downplays the crushing bass drones on this one. He allows the lighter elements of his sound to come to the forefront, without actually allowing the mood of the tracks to be uplifting. These kinds of things allow the overwhelmingly somber subject matter of the album to expose itself fully without becoming overbearing on the listener.

The subtlety and nuance on Trinity is only possible for an artist that has been fine-tuning his craft nonstop over the last few years. Council of Nine has had little downtime since his first appearance on Tomb of Empires. He has become a master at pulling the emotions of the listener in any direction he chooses, all the while delivering top-notch musical output.

Trinity is obviously the last part of a three album sequence. It is a closure to everything that Council of Nine has done within his three solo releases. This leaves a big question mark for listeners as to what will come next. Trinity being the most personal of these three releases it seems quite possible that we will now move into some territory that is much less connected to the artist’s personal life and more aligned with his external interests. Trinity can be seen as the closure to his period as a new artist. What comes next will come from a musician that has honed their skills for several years, and is prepared to deliver their craft with a purpose and mastery that can only come from a veteran artist. For now we have plenty of great Council of Nine music to keep us entertained, and we can patiently wait to see where this artist will direct his attention next.

Written by: Michael Barnett

Vond – Green Eyed Demon – Retro Review

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On July 18, 2017

In Retro Reviews

Artist: Vond
Album: Green Eyed Demon
Original release date: 1997
Re-release date: 10 January 2017
Original label: Cybertzara
Re-release label: Funeral Industries

Tracklist:
01. My Dying Day
02. Living Among the Remains of Dead People
03. Satan at My Back
04. To the Dreamer Dead and the Dreamer Dying
05. Hell Starts Now

Green Eyed Demon is the third and final album by Vond, a side project of Mortiis. These three albums were created from 1994 through 1998. Green Eyed Demon was initially released on the Cybertzara label. Now, almost 20 years later, Mortiis has re-released this album through his own label, Omnipresence.

Many of our readers should be very familiar with Mortiis. Several of his Era 1 albums were released through the late, legendary Cold Meat Industry, which was the launch pad for many of the forefathers of the dark ambient scene. The main project of Mortiis started as what is now called dungeon synth. He would later transition into dark wave / goth rock / goth metal or whatever other classification would best describe his varied sounds. But the lesser known side-project Vond, is the one which would be best suited to fans of the dark ambient genre. Vond may not in every aspect fall perfectly into the framework of traditional dark ambient, but it is probably the closest genre to this music.

The album Green Eyed Monster consists almost exclusively of the manipulation and layering of cinematic samples. Throughout the album, Vond sets the foundation for each track with a blend of dense industrial soundscapes and noises. This is industrial in the literal sense of the word, not the genre. We can hear machinery humming, the crashing and hammering of metal, steam releasing through valves. On top of this foundation Vond pieces together a plethora of samples of various cinematics.

The opening track, “My Dying Day”, focuses on descriptions of the early use of the electric chair in the United States prison system. The samples of a narrator describe the procedure in minute detail. Occasionally intertwined with these samples are Gregorian chants, which add a sort of perverse beauty to the composition. All this is placed on top of a thick foundation of industrial noises, which easily brings to mind early works of raison d’être, with particular similarities to the album Within the Depths of Silence and Phormations. As both artists were on the Cold Meat Industry roster during this period, it isn’t hard to imagine that they were likely borrowing a bit of inspiration from one another. Though I should make it clear that these similarities are not nearly enough to warrant calling one or the other a follower or copycat of the other’s style.

The following track, “Living Among the Remains of Dead People”, incorporates large portions of an old film, which appears to be of a documentary format, though it is actually a horror film posing as documentary footage. The story follows the demented and evil deeds of a psychopath by the name of Ezra Cobb. The narrative explains the progression of Cobb’s mental collapse from his initial attempts to cope with the death of his mother through his later acts of grave-robbing and necrophilia. Along with the narrative, Vond layers in samples of the man screaming “mother!” and other sound clips which add to the immersion for the listener.

My favorite track from the album, “To the Dreamer Dead and the Dreamer Dying”, takes us closer to the sounds of Era I Mortiis than much of the other output on  the Vond albums. There is much more prevalent use of the synthesizer on this track. Initially, we can hear a wind instrument, later it shifts to a sound which comes closer to a bass guitar that eventually is treated with distortion. As the track progresses the synth work moves into territory that would be very fitting on some soundtrack to a film, which is obviously a natural choice here, on an album that is full of cinematic samples. Aside from the synthesizer, Vond incorporates a variety of cinematic samples which seem to take us into some of the worst sagas of Christian history.

Green Eyed Demon has been given an impressive re-release. While it doesn’t appear that there was any re-mastering done, the physical copies of this album will be a delight to the avid collector. Through Mortiis‘ web-store there is finally an official digital copy of the album. A limited edition LP is presented in several different variations, including: black, blue, testpress, and there are even some copies of the original 1997 pressing available. The album is also released for the first time on CD in an A5 digipak.

For long-time fans of Mortiis, there will be nothing new here aside from the beautifully crafted re-release editions. But, for newer fans, just recently discovering his older phases and side-projects, Green Eyed Demon, as well as the other Vond albums, should be a delightful discovery. Vond definitely shows off a side of Mortiis’ talents that should be highly attractive to fans of dark ambient music. Its gritty production is a reminder of the old days of the dark ambient genre, back before everything could be done with a computer and midi controller. It’s also a reminder of the varied nature of Mortiis‘ interests. I would love to see these old albums draw enough attention to maybe get Mortiis to consider opening the vaults of Vond for one more chapter.

Written by: Michael Barnett

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