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.
Welcome to the era of big brother is watching you and using your fears to control you. This is the theme explored in the latest Vexillary EP, SurViolence which was released at the end of July.
New York based musician and chemist, RezaSeirafi, is Vexillary, who has four previous EP’s under his belt and his style is dark electro/techno/industrial.
Kicking off with the single “Maritime Panic“, which is the current single from the EP and this sets the tone for Seirafi’s very electronic style which feels at times clinically modern… almost futuristic and yet there are lapses of stability. The music quivers and becomes almost uneasy feeling and slightly oppressive.
“Annihilation” at first feels very upbeat and light with its techno heart beating. But this just seems to be the cover for what is in store. The complacent move to the ordered beat of the hierarchy.
With technology, authority figures can feed the populace information, track them and even surveil them from a far. “Forged Skies” has a cold feel about it, the imperial rise of the machines as the synths bleat at us like we need them.
The starting beats are like the ticking of an overwound watch. In “The Geneticist“, we finally get to hear Reza and implores us to see how humans are becoming more computerised and that even sexual voyeurism is being used to control people through fear. ‘A snap of his fingers, and the beast is in your land‘.
This could be science fiction but then looking at today’s current global geo-political climate, this could be very much reality.
This EP flows well with its electronic instrumentation without vocals until “TheGeneticist“, which gives an extra punch of impact. If you like to close your eyes and have the music take you away or just love good synth based pieces, then Vexillary’s, “SurViolence” could be what the government never wanted you to hear.
German composer and musician, AlexanderKling, just released his latest album, Love, which consists of nine song. You will find synth and piano lead music with soundscaping from his project, Dedalos.
This is the beginning and it starts with the “Ending“, a slow yet gradual building piece, with piano at the front and centre and synths giving depth. There is definitely the feeling of melancholy.
“Why” is a soundscape that taps into the MassiveAttack feels. A lonely expanse with whispered questions.
Third number is “Missing“. This is the loss of another or even a part of one’s self. A languid piece of realization that not all is right. There are musical outbursts along the way as the feeling builds. The buried vocals in the background lamenting ‘miss you so much‘.
Next is a bit of “Insanity“, a reflection of a mindset. The plodding rhythm of sadness settling into ones soul which then becomes the deafening noise that encapsulates all reason.
Darkness with bright areas is how I would describe “You“. There is such poignant bubbles of joy that slowly are eaten by the intruding dark fringes.
And so “Unbearable” follows. Low flowing and tidal with sound enveloping your senses. Nothing else but the feeling of being overwhelmed and that heartbeat rhythm.
“Last” is like the slow waking and a movement towards the dawn. It pauses for an effective break as the music builds. It is not joyous nor does it feel relieved but rather purpose driven.
The completion of any relationship is the “Farewell“. This is release with emotions still attached and yet within you hear the freedom to launch forward and leave the shackles of mental torment.
The conclusion is “Love“. Reflective and careful but with hope of the future, this is the title track and the end of a journey.
This is very much dark ambient/synthwave instrumental music which is very much based on real life. AlexanderKling explained to me how the album came about after the breakdown of a relationship.
‘Istarted with this album after the end of a relationship. But I started to recording this album with the burning pain. Sometimes I cried while recording, it is tear notes. You can feel the atmosphere, you can feel the pain, the depression and sometimes salvation and peace’. – Dedalos
This is an instrumental journey through the heavy realization that not all loves last and that there is a beauty in that suffering, though painful non the less. This is despair, loss and revelation with Dedalos and his Love.
January the third was the release date of the album, LeDésertRouge, which is a combined effort from experimental, ambient, electronic musicans, PoetryOf Thorns of Mexico and I, Eternal of France.
There are four tracks on the album with the first three composed by Poetry OfThorns using sounds given to them by I, Eternal and vice versa for the last number.
“La Porte de Sortie” translates the The Exit Gate. This short piece is metallic and almost oppressive as it reveberates with its own self made rhythm. It is eerie in the insistence as if the Gate leads to some eternal doom.
“Ces pensėes pyromanes” literally is These Arsonist Pens and again there is that hollow presence of ghostly design. This is delicate and almost other worldy with a french girl speaking a little in the back ground. Maybe the title eludes to how words can inflame hearts and minds.
“Echos intersections et Aubes” or Echoes intersections and Dawns reminds me of a radio trying to find the channel but not quite catching the signal. Dawn with seagulls wheeling in the grey early morning skies as they mournfully cry to each other, dropping from one wind draft only to be lifted by another, in the meeting of stale dark and new light.
This blood-colored desert or “Ce dėsert couleur de sang” is the fourth and final track. This is noise building on noise but slowly and purposely, as you hear from within the distant storm odd snippets and echos. Like a sand filled, unbearably hot desert, it is relentless and has a life of its own and a near audible heartbeat. This experimental piece goes for a whopping twenty five minutes and twenty six seconds and has an almost trance like quality.
PoetryOfThorns‘ last album was produced by none other than goth – industrial legend, MartinBowes of Attrition, which means they have quite a bit street credability. Both these acts really seem to enjoy the collaboration and have a great respect for the other, it shows or rather it can be heard in the care they have taken.
This is what experimental music is all about, pushing boundries and artists encouraging each other to go one better. If noise and experimental industrial music on an ambient plane is your thing or whets your curiosity, please check out Poetry Of Thorns/I, Eternal with LeDésertRouge.
American industrial/EBM is alive and well, with the prime example, Slighter, also known as Colin Cameron Allrich. This accomplished musician and producer is based in Los Angeles and can be found on the Confusion Inc. label.
In May, Slighter brought forth his latest album call Automata which can be found on Bandcamp and most recently released a deluxe version with ten extra tracks.
There is nothing more memorable than a heartbeat and “The Shadows” has this familiar rhythm. This is a quiet and retrospective feeling number about things now passed and how the past can repeat itself to start off the album
In isolation, there is a loss of identity and the ability to be forgotten. Oscillating electronic tones with the vocals droning over the top of “Isolate”. This is serpentine in the way the music flows. If you can’t guess by now, this isn’t going to be the happy joy album…
“Give Me” is a solid EBM track. This features Craig Joseph Huxtable on vocal duties, who is best know for the Vancouver bands, Öhm and Landscape Body Machine. It has those wonder low vocals and heavenly ‘oooohs’. This isn’t the first time Huxtable has a dalliance with Slighter, as seen on the Erode album with the song, “Lights Out”.
The dark, atmospheric piece, “Survive”, is made even more delicious by the whispered lyrics. Colin’s enunciation is brilliant and so very crystal clear, so you can see the darkness reflected over and over again, accented with that solo guitar.
“Imbalance” is a spoken word observation about the destruction humans have caused our planet and that the Earth will go back into equilibrium without us in the end. Kadin Contois is the featured voice, speaking at us in a monotone, matter-of-fact way. Contois is an industrial musician from Virginia, formerly known as Pseudocide..
Not much is known about Floridian vocalist, Christy Hannon but her sweet tones ring true from the start of “Walls”. A hint of a swelling musical build-up and growing beat, yet this is deceiving, as the song does not get any faster.
Moris Blak is a Bostonian industrial powerhouse on the Australian label, Blind Mice Productions and can also be found on the track, “TheHunt”. Allrich gives us a much bigger vocal presence which might be influenced by Moris Blak’s heavy, moody bass beats. This is great. It’s seedy, bold, dangerous and could be picking its nose but you wouldn’t dare tell them to stop. Well worth looking for the Moris Blak Industrial Bass Edit on SoundCloud.
“Undertow” is a great gradual building, almost symphonic sounding piece. Not symphonic because of an orchestra, rather the vastness of the sound. It is so simple and yet so huge in its concept. Maybe this is also the link to tidal waters… A drop is nothing but a sea is deep, mysterious and powerful. All this is managed with simple electronics and vocals
If “Undertow” wasn’t good enough to set the hairs on your neck on end, then “A Moment of Inexplicable Clarity” just might. This is so ambient and thick with delicate vocals and synths that wouldn’t be amiss on Jeff Wayne’s War of the Worlds. American author, Rachel A. Desilets lends her hushed tones to her husband’s masterpiece. It has to be said, these two numbers compliment each other so very, very well.
The final track for all intent and purpose, is “Static on the Line”. This is slow and grimy, like you are stuck in a greasy, dirty hotel room, with a phone against your ear, dealing with the grainy reception.
On the deluxe version, there is a reworked version of each song, from darkwave to techno/trip hop. Soundscapes through to dark electro but it never feels disjointed or at odds with itself which is an artform.
There is a reason Colin C. aka Slighter, is featured on television programmes such as Bones and True Blood. Simply put, he is quite the evocative musician. If you like to not only hear your music but also see and feel it, then you should definitely give Slighter an opportunity to get into your ear and maybe even introduce you to some talent you may not have had the delight to be entertained by yet.
From the online music publisher, Ton Doigt Dans Mon Cul Netlabel comes the artist La Flore Intestinale, whom recently released Onani: Ambient Works Volume One.
La Flore Intestinale is the nom de plume for the female mind and noise artist, Florence, behind this experimental, avant-garde music, who is based in Saguenay, Quebec.
“Apres Le Guerre Lorsqu’il Ne Reste Que Les Morts” literally means ‘After the war when only the dead are left’. A haunting, wavering electronic noise breaking with distortion greets your ears. You can almost image a far off war being waged in the distance getting louder as the mortars go off, as it closes in on you, only to fade out.
Is it industrial knocking of a machine in constant motion? Getting gradually louder with a near imperceptible buzzing drone above it all that eventually takes centre stage. This is “Blank Keurig Space Tape”.
The science fiction effect of “Tentaculas” is a temporary interlude before “Satic Black Tits”. Like a radio in a Faraday cage, the voices cut in and out as the static takes over the airways, creating its own morse code calling out to the world.
Beautiful chords strike out for “Melissa, The Professor’s Daughter”. This is relaxing and floats with lightweight synth, lulling you into a sense that all is in equilibrium. It gently charms your ears into another realm.
Ton Doigt Dans Mon Cul Netlabel puts all of its music online for free download, so what is stopping you from checking out La Flore Intestinale? Absolutely nothing, so enjoy the electronic soundscapes today!
Adam Majdecki-Janicki is an artist from Darlowo, Poland, who creates ambient/experimental industrial music and he has a new album out on Bandcamp calledNext Bardo.
Distortion, static and grinding/high-pitched squealing industrial is the basis of “Work, Consume, Die, Become Cremated”. A commentary of what daily life as an adult in the modern world is really like. A drudgery of endless monochrome, until the human machine fails and is no longer of use.
“The Flower Thief” is an ethereal floating experience. The almost sound of bells tolling in a strange ambient world that feels not quite in focus and drifting. What could be strings can be heard in the distance, trying to call your attention.
A slight 1950’s science fiction feel mixed with Hammer Horror style pipe organ music heralds “Melancholy Baby Dies from an Overdose of Time”. Dark gothic overtones with a pounding beat that never slows or stops but just when you are used to that beat, it disappears into the dirge, though later reprised without its former strength..
“A Thunder of Eternal Music” is like a hypnotic drone trying to lull you. The drum machine keeps time while the distortion wends it way into your brain. Most definitely almost tribal and ancient, a calling to our primitive past.
It has the avant-garde feel of Cabaret Voltaire. Being experimental means that in the end, everything is up for interpretation and reinterpretation, so what you perceive this time may not be the same on a second listen. So get a bit old school dark/ambient/electro.
From the online publisher, Ton Doigt Dans Mon Cul Netlabel, we have an E.P. with two artists. Building Castles Out Of Matchsticks (Anne Sulikowski) from Canada and Sean Derrick Cooper Marquardt of the USA with the rather intriguing title….Why Should I Give You The Cure, When I Can Always Give You The Treatment.
Swirling noise with reverb pulsate cosmically, like an epic space trip into the unknown. Why unknown? Because we, as the listener, are unsure of this journey and we are here for the ride and experience.
Like twinkling stars and beating quasars, this transfixed you though sound alone. It is imagination unbound and the composer might be the alien hand guiding us.
It is hard to imagine that Sulikowski can make many of these amazing sounds on a guitar but then “Differential Diagnosis” is a 13 minutes and 42 seconds piece of electronic beauty and the only number by Building Castles Out Of Matchsticks.
Someone is leading a crowd in unity in “Dreamers” and so starts Sean Derrick CooperMarquardt‘s contribution. Laid over the top is discordant piano and feedback, then it suddenly……stops.
“We Destroyed All the Mirrors and Glass Out of Fear That You Will Forget Us and Fall In Love With Yourself”could be the longest song title I have ever had to write and this is a low cacophony of sound, which when you listen you can hear drums and chanting within, like Tibetan monks and their throat music, within a storm, within a can.
Bells chime, clear and bright over a haze of noise. This is “Instant Karma”which is the segue way, even though it suddenly stops for the last piece, “Tod von Heike Klar”. Buddhist monks chant with german spoken word, not so much vying for attention but running in harmony with the chanting. You just accept the words and sutra rather trying to understand them or garner meaning.
These pieces take you on journeys to feel and hear whatever you take from them but ultimately, let it take you away to new realms.
Yes, this was released 2 years ago but then this is the whole point about music is the search for what gives you pleasure and bringing things to the broader attention.
All music on the Ton Doigt Dans Mon Cul Netlabel is for free download, so why not indulge your senses.