Marcus Webb is a sound designer and composer based out of New Jersey in the United States who creates “foreboding soundscapes and craters of bass and noise serving as the constants within alternating conceptual constructs of city life and drones wrapping around cavernous spaces with clearly defined tones from his modular synths.” Truth in advertising, as he makes great use of his studio to produce a sound that has the vibe of old ritualistic ambient cassettes of the early 1990s.
Igor Vasilev, working under the nom de plume Novogradska, has produced music in various genres, including darkwave (with Alexander Veljanov of Deine Lakaien), Mizar and his own solo work in electronic music. He has also become a sought-after soundtrack composer. This particular work, for the Dina Duma-directed Sisterhood, has an air of tension that would make it music appropriate for a David Lynch soundtrack. There is an ominous foreboding in each track, which, to my ears, seems to be affected by everything from Hans Zimmer to easy listening music with a noir underpinning. The highest compliment I can give this…
This is one of those unsolicited posts that make blogging a pleasure. now|here are a dark ambient/post-Industrial music project out of Italy whose work reminds me, in a very positive way, of acts which used to appear on Sweden’s Cold Meat Industry imprint. The sounds here are cleaner, doomier, and loaded with a synthetic classical underpinning I like. Perhaps I can say that this is a better-produced dungeon synth. Enjoyable.
FRKTL is the nom de plume of British-Egyptian composer Sarah Badr, and her work straddles so many genres that it’s quite hard to describe accurately (a wonderful thing, as it means her work is incredibly fresh-sounding). There are, of course, long, drone-y elements to the music, but once you go into tracks 3 and 4 (Hverfa af himni heiðar stjörnur and Hart er með hölðum, respectively, you start hearing elements of techno (!), bleak synthetic choruses sounding like the angels reciting the liturgy over the bowels of Hades (or, in this case, Hel, in order to maintain a proper cosmology). …
One of the most remarkable things about the series of compilations released by our friends at Unexplained Sounds Group is the great number of new artists they come into contact with, and serve as a launching board for. Of all the artists on this compilation, only Ryo Murakami’s work rings a bell. Masayuku Imanishi’s work sounds like a newsroom printing press staffed by Throbbing Gristle and Hélène Sage. USG continue to release the finest in post-Industrial music.
Perhaps I’ll need to renew my subscription to The Wire or spend more time on other blogs, as I can’t believe I missed the work of Los Angelina Geneva Skeen. My hometown is producing so many fine artists working within ambient and electroacoustic music that it has become (happily) difficult to keep up with this wellspring of talent. Double Bind defies proper categorization, sitting somewhere between academic musique-concrète, noise-style improvisation and a touch of mysticism in Skeen’s work. Though bleak, there is a feeling of being inside of a warm, pulsating, silvery ocean in these compositions. The one which won…
As we observe Christmas Eve and the Nativity today and tomorrow based on the Julian Calendar, we share an avant-garde take on “Christmas” music. The French experimental record label Camembert Électrique have released a 94-track comp of some rather interesting takes of some Yuletide classics, as well as a fair number of originals. Some of the artists included include Anastasia Vronski, Sean Derek Cooper Marquart, James Hoehl, and our dear friends, Lezet. It’s not a conventional compilation for the season, but it holds its own rather well.
Jagath is a field-recorded ritual ambient act from Perm, Russia who use handmade instruments, scraps and metal to make their dark, dank industrial sounds. As quoted from their Bandcamp site, “We do this to share our vision of decaying postindustrial age, to unleash the spirit of deep beyond-world and unveil life in the abyss.”
Perila i(Alexandra Zakharenko) s a composer from Berlin of Russian roots releases one of the heaviest and, frankly, bleakest albums of the year. I spent today trying to unwind a bit as the snow looked pleasant, but after watching Juraj Herz’s The Cremator, hearing this album left me in a somewhat dark place. The sounds are deep and cavernous. It is, in fact, my favorite style of ambient music, as it becomes easy to get lost in the sonic abyss the artist is projecting through her lens. There are two standout tracks on this album; Vaxxine, with gives me the…
We have a new band to follow, and they’re out of Bulgaria. E.U.E.R.P.I. produce a sonorous and pleasantly dark ambient music that sounds heavily influenced by the works of Steve Roach, Matthias Grassow, or even Lustmord. E.U.E.R.P.I. have proven to be as masterful at using field recordings, blending them into their live performance as documented on this record. One to watch out for.