If you are looking for some experimental ambient music, then possibly we know of the EP you need to hear. Spectrograph released at the end November, their EP, A Giant Leap Of Faith, on Depth Records.
This project began in 2012, combining the talents of multi instrumentalist and vocalist Virginia Bones with Phiorio who is a producer of electronic/dance music, as well as a DJ. They describe their style as post industrial/electro.
The tones are low and seemingly, almost basic but the more one delves into “Dmbt“, the more complex and convoluted it becomes with its revolving beats and tonal injections for this instrumental piece.
The single, “Dead Kittens“, is a dark affair. Slow and foreboding with fuzzy electronic pulses and synth keys that at times feel like they are wandering randomly within a space that has been forgotten.
Minimal clicks and whirs in a loop present “A Giant Leap Of Faith“, and there begins a layering effect of sounds. An occasional cymbal, electronically altered vocals of Bones and two notes of a piano creep across this piece, only to be joined by other noises. Strangely enough it never feels overwhelming or crowded and yet there is a claustrophobic ambience.
Last track, “If You Think You Can Fly” seems to convey the most urgency, like it needs to be on the move on a midnight jaunt to who knows where. It is bleak, metallic and wonderful with those odd noises.
Well constructed and rather interesting to say the least. If you don’t get electronic music then this won’t be for you but if you love electronica that push music limits with intelligence, then you should most definitely have a listen to Spectrograph’sA Giant Leap Of Faith.
Black Needle Noise is the project of one John Fryer and for those not so well acquainted with his name, should be with his other band from the 80’s, the highly influential, This Moral Coil, who are forever entwined with the wonderful, 4AD.
Fryer has collaborated with the Australian/Croatian, classical vocalist, Helena Mamich, to create the new electronic and ambient single, “Nocturnal“.
“Nocturnal” starts off slow, with Mamich’s vocals ghosting ephemerally above all. The gradual build up is metered out carefully, with hints of beats and swelling synth cords.
The soprano crescendo, hauntingly draws you in and almost eerily, there are in the background, the sounds of crows and other such creatures. This is almost a cadenza featuring Helena’s smooth and beautiful vocable.
In the music industry, John Fryer is synonymous with being one of the hardest working musicians around, highly sought out for his production skills and this shines through the track.
The beautifully created noises, feel like they might occupy the dark spaces of forgotten, magical places of the “Nocturnal“. This is a delicate balance of classical with ambient, electro industrial, brought to you by the master craftsman, John Fryer aka Black NeedleNoise and Helena Mamich, which is nameyour price on Bandcamp and most worthy of your time.
October 30th was the release date for the debut album, Abyss by In Tenebris. Power noise extrodinaire, SebastianSünkler of Stahlschlag, is the driving force behind this project, out on the label, Crunch Pod.
And so into the inky Abyss we travel, with the lonely, echoing call of a raven to “Inferis“, otherwise known as the Underworld. This slow build of wind tunnel sound, rings with eerie chimes.
One of the scariest creatures is “Mandkind“. They consume everything, create war and destruction and continue on. A mixture of subtle power noise creeps into this unrelenting march, with possible gun shots and Sünkler’s distorted vocals.
An electrical impulse, that could be a message. It then stops, with the atmosphere becomes murky and oppressive. This is “Interception“, with graduating industrial bangs in the background.
“Hollow Hills” might emit whistles and groans, with an errant wind blowing through them. This feels bleak and forlorn, haunted by ghosts of the unfortunate, as the electronic chimes, twitters and knocks never seem to cease.
“Mandragora” is the drug form of mandrake and this starts off like a bad, tormented trip. The lone piano, followed by struck chords and hazy noise, make this feel other worldly and darkly unrealistic. Mental screeching and lost filaments of lucid thought, drifting away.
The wavering apparition of the “Phantasm” is a very constant electronic echo of things past, making their presence felt. This shadow is what has been and never will be again, reaching out to the living. The finish with heavy breathing makes you apprehensive.
The final track is, “Antinatal“. Maybe this is opposite of birth and a return to the aether, the limbo between life and non existence. This music is like a fog, seemingly feathery and yet heavy and unable to be penetrated by light.
This is very much an album of dark ambient style sound scapes with leanings towards the nightmare realms.
‘I started this side project because of a coincidence. Someone on instagram asked me if I could do a spooky soundtrack for one of his lost places videos. Well, in the end he didn’t like what I did for his video but because of that I discovered how much I enjoy to create dark soundscapes.’, Sünkler explained to me.
With a taste for these dramatic, brooding vistas, one can presume that this is not the last we have heard from In Tenebris and nor should it be. Have a listen to the creeping doom coming from the darkly, delightful Abyss.
Sebastian Sünkler is the man behind German, industrial, power noise act Stahlschlag and September has seen the release of his 6th studio album, Alive!.
Based in Hamburg, Stahlschlag have a reputation for experimental rhythmic and atmospheric noise and he does not disappoint on this album.
From the start of “Bitterness“, the production on this album is just beautiful. The synths are clear, the beats pound into your brain and there is that hint of static fizzling. The name for this track is almost an anomaly, as it is almost joyous.
The same cannot be said for “Hate“. Grating and metallic, mincing the powerful noise into one angry climaxing beast, broken with a soliloquy from young Arya of Game of Thrones fame, on the hate she feels.
Fabulous beats hail in the smooth synth sounds for “In Tension“. It is driven in its contrasts of heavy beats with delightful, lilting tunes hovering above it.
“Addiction” with its female moans has you wondering what this addiction might be. Could be sexual, chemical or maybe to do with the music as it screeches along on its merry way.
And low, like Thor hamering on iron girders, “Rage Of Fury” is just as the name implies. A whirling cacophony of industrial noise held together with yet more noise.
There is a world of painful electronic distortion in “Wohlstandstrotz” repeatedly slamming into your brain, only broken by voice clips, as it gathers itself together for another onslaught.
You can almost imagine yourself in a jungle with the crickets singing in the humid night air, as the natives beat their drums. This is “Madness” and it almost tastes different.
“Pan” continues the tribal feel but this is far more Germanic and foreboding. This is forceful and moves at a terrifying speed, like a freight train that will not stop for anything.
After the last track, “Disbanded” is almost, positively light… almost. The the keyboards lure you into a state of near bliss before the beats drag you further in.
“Shake ‘Em” is somewhat an interlude which isn’t fully noise but isn’t sitting still either. A rhythmic breather with psychedelic oddities.
Back to German efficiency with extreme power noise in “Whataboutism“. Again this is so god damn crunchy, that you can almost feel it grating your skin.
In “Sui generis“, there is a futuristic vibe as it is cleaner than any other number in the album and yet there is such a undertow of tension.
Any track called “Plague“, is going to be coming from a dark place and the ambience indeed feels grim. Again there are those wonderful static beats that stick out starkly to the ambient tune.
The concluding track is “Aufstand“, a crunchy rhythm piece. It feels tortured and wind swept, as it echoes into the metallic void. This is the uprising.
I am not the world authority on electronic/industrial noise but I know what I like and quite frankly this is a feast for the ears. Sünkler is quite the musician, sinking melodies into distortion and noisy rhythmic sound scapes.
Alive! is tribal in a way, as the music is very motivated by Sünkler’s high energy rhythmic input. You can hear two of the bands that heavily influenced Sebastian, in his musical endeavours, those being XOTOX and NOISUF-X.
Released on Crunch Pod, I can do nothing else but highly recommend that if you have any interest in industrial music, you must check out Alive! for an intelligent and superbly crafted album that might just make you see noise in a whole different way. For the converted, you are going to seriously enjoy this Stahlschlag gem plus he’s a seriously great guy. Get Alive!