Friday, December 31, 2021

Devil's Looking Glass/Treacherous Autumnal Wisdom/Moonlight Cypress Archetypes/2021 Full Length Review

 


  Devil's  Looking  Glass  are  a  musical  project  from  Tennessee  that  plays  a  mixture  of  southern  goth  and  dark  folk  music  with  some  touches  of  black  metal  and  this  is  a  review  of  their  2021  album  "Treacherous  Autumnal  Wisdom"  which  was  released  by  Moonlight  Cypress  Archetypes.


  Americana  style  folk  instruments  start  off  the  album  along  with  some  clean  vocals  a  few  seconds  later.  Black  metal  screams  are  also  added  into  certain  sections  of  the  album  along  with  some  tracks  also  showing  an  influence  of  country  music  as  well  as  adding  in  a  southern  gothic  atmosphere  at  times.


  When  electric  guitars  are  added  onto  the  recording  they  also  add  in  some  old  school  metal  style  solos  and  leads  as  well  as  some  melodic  riffs  which  also  gives  the  album  more  variety.  All  of  the  tracks  also  sound  very  different  from  each  other  along  with  some  of  the  songs  also  being  instrumentals  and  the  closing  song  is  also  very  long  and  epic  in  length.


  Devil's  Looking  Glass  plays  a  musical  style  that takes  southern  gothic,  Americana,  country  and  dark  folk  and  mixes  them  together  with  some  touches  of  black  metal  and  hard  rock  to  create  a  sound  of  their  own.  The  production  sounds  very  dark  while  the  lyrics  cover  miserable  tales  of  lost  and  woe  with  some  references  to  the  old  gods  set  in  an  Appalachian  Haze.


  In  my  opinion  Devil's  Looking  Glass  are  a  very  great  sounding  mixture  of  southern  gothic  and  dark  folk  with  some  touches  of  black  metal  and  if  you  are  a  fan  of  those  genres,  you  should  check  out  this  musical  project.  RECOMMENDED  TRACKS  INCLUDE  "Her  House"  "Paint  Mountain"  "Go  Dig  My  Grave"  and  "Wodenstag".  8  out  of  10.


https://www.facebook.com/devilslookingglass/          

Saturn/W.AA/Ukhan Records/2021 Compilation Album Review

 


  This  is  a  review  of  a  compilation from  Ukhan  Records  called  "Saturn"  which  consists  pf  artists  and  musical  projects  in  the  drone,  ambient,  glitch,  industrial,  experimental  and  techno  with  the  song  themes  revolving  around science  fiction,  astronomical,  alchemical,  mythological  and  archetype  subjects  and  the  album  was  released  in  2021  by  UKhan  Records  and  called  "Saturn"  and  we  will  review  each  track  one  by  one.


  Shortwave  Research  Group  brings  us  "Lua  Mater"  which  starts  out  with  some  electronic  drones  along  with  some  ambient  synths  and  programmed  beats  a  few  seconds  later  and  sticks  to  an  instrumental  direction.


  Petrolio  brings  us  "19°  7′  6″  +  44°53'56_04 N  +  08°12'28_44 E"  which  starts  out  with  some  ambient  style  synths  which  also  add  in  a  variety  of  many  different  sounding  keys  and  glitches  while  also  mixing  in  some  electronic  sounds  before  going  into  a  more  experimental  direction.  programmed  beats  can  also  be  heard  at  times.   


  Bad  Girl  brings  us  "Land"  which  starts  out  with  some  drum  beats  and  field  recordings  before  adding  in  some  electronic  style  drones  and  glitches  before  adding  in  some  programmed  beats  and  spoken  word  samples  as  the  track  progresses.


  Roberto  Memoli  brings  us  "Divisione  di  Cassin'"  which  starts  out  with  some  techno  style  synths  and  programmed  beats  while  also  add  in  some  touches  of  glitch  and  idm  and  also s ticks  to  an  instrumental  direction.


  Marco  Pianges  brings  us  "Mimas"  which  starts  out  with  some  electronic  style  drones  before  adding  in    glitches  and  programmed  electronic  beats  as  well  as  always  sticking  to  an  instrumental  direction.


  For  The  Flory  Of  Nothing  brings  us  "Cassiel"  which  starts  out  with  electronic  style  drones  and  noises  while  also  bringing  in  a  very  ritualistic  style  which  also  gets  very  experimental  sounding  at  times,  guitar  sounds  are  also  added  into  the  track  and  when  synths  are  utilized  they  also  add  in  a  touch  of  ambient.


  InHum'AwZ  brings  us  "Sideral"  which  starts  out  with some  ambient  style  synths  and  drones  before  adding  in  some  glitches  and  electronic  beats  which  also  adds  in  elements  of  techno  into  the  track.


  Ad-Just  brings  us  "God's  Sickle"  which  starts  out  with  glitches  and  programmed  beats  while  also  being  mostly  rooted  in  an  electronic  style  along  with  some  elements  industrial,  techno,  idm,  and  ambient.


  The  Diish  brings  us  "Capro"  which  starts  out  with  some  programmed  industrial  style  beats  and  experimental  soundscapes  and  noises  before  adding  in  some  elements  of  techno  and  electronic  dance  music.


  M.  Irrlicht  brings  us  "Yamaloka"  which  starts  out  with  some  drones  and  experimental  soundscapes  while  the  track  is  also  over  7  minutes  in  length  and  after  awhile  programmed  beats  and  glitches  are  also  added  into  the  music.


  Quindicesimo  Arcano  brings  us  "Orbite  di  un  pianeta  defunto"  which  starts  out  with  some  harsh  noises  and  power  electronics  before  adding  in  some  ambient  style  drones  and  synths  and  also  sticks  to  an  instrumental  direction.


  Rino  Sorbello  brings  us  "Cut"  which  starts  out  with  some  distorted  sounding  drones  and  electric  guitars  which  are  also  all  improvise  along  with  some  melodic  guitar  solos  and  leads  a  few  seconds  later.


  NCT333  closes  the  compilation  with  "Black  Bile's  Control"  which  starts  out  with  some  ambient  style  synths  and  drones  while  also  having  some  experimental  soundscapes  in  the  background  before  mixing  in  a  heavier  industrial  metal  sound  and  clean  playing  can  also  be  heard  briefly.


  In  conclusion  I  feel  this  is  a  very  great  sounding  compilation  and  I  would  recommend  it  to  all  fans  of   drone,  ambient,  glitch,  industrial,  experimental  and  techno.  8  out  of  10.


https://ukhanrecords.bandcamp.com/album/saturn          

Thursday, December 30, 2021

Phil Stiles Interview

 

1.Can you give us an update on what has been going on with your and your solo project?


Hi, thank you so much for the interview. For me, as for so many, it’s been a very difficult year for a number of reasons, both personally and because of the pandemic. Throughout it all, I’ve tried to be as positive and as creative as circumstances have permitted and, to that end, the last few months have been incredibly busy. Obviously, the main event was releasing The Anchorhold – the recording basically ran through the first lockdown, and it was a great way to maintain that sense of musical community that is so integral to being a musician and which we so nearly lost as we all retreated into our bunkers. When that was done, I wasn’t sure how soon it’d be before I started writing again but as I have so often found, activity begets activity, and I ended up producing several new pieces almost immediately – the basis for the next two EPs. One piece is already out - it’s called Reclaim Your Life and I produced it for the recent Terra Relicta compilation (https://terrarelicta.bandcamp.com/track/reclaim-your-life). I also did two pieces for another band. I’m afraid I’m going to have to be a little coy here, because they haven’t yet announced what they’re up to and it’s not for me to reveal their plans, suffice it to say that I have two pieces of music bookending their record. 


Finally, I am very proud to announce that I teamed up with a fantastic DJ from Seattle – Shane Aungst - who remixed the Anchorhold in its entirety. The record will be released next year, and we’re just finalising artwork and details as I write this. It’s a really cool project that reminds of me of the NIN companion EPs (stuff like Further Down the Spiral or Fixed). Shane did a fantastic job – he’s incredibly cool; very musical and attentive to detail; and I am so grateful that he chose to work on this project. Anyway, we’ll be announcing more details regarding that soon, but I can tell you that it will be called The Anchorhold – Dissolution. 


2.Recently you have released your first solo album, can you tell us a little bit more about the musical style that you went for on the recording?


Well, when I started The Anchorhold, the pandemic had already started to take hold, although several pieces had been demoed earlier (in particular, the piece that became Reflections from an Echo Chamber). Anyhow, I had it in mind to create an album that reflected some of the sense of isolation that abounded in those early days. I didn’t really have a musical style in mind, as such, although it’s glued together by the electronic elements that I use throughout, but rather I wanted to create a record that flowed from start to finish as something of a journey – a fairly common theme in all my work. 


I can honestly say that it was not my intention to gather together so many different musicians, but when I started reaching out to people there was this amazing response and it just felt like the right thing to do. You know, most of these people are musicians with whom I’ve previously played, and so it was finding a different way to have that sense of community that you normally have when you’re waiting for a show to start and it was just amazing to me that these artists, all of whom I hold in the greatest respect, would be willing to give their time and their talents so freely. It really lit a fire under me, and I honestly think that the album not only benefited from their contributions, but also their contributions were so good that it made me work a lot harder than I otherwise might have done. It was a really engaging creative experience and I’m very proud of the results. 


Anyhow, as far as style goes, I think you can probably find the reference points in bands like Swans (latter period), NIN, Mogwai, Radiohead and Massive Attack – but there’s plenty more swirling through the mix for those who care to look! 


3.You are also a part of 'Final Coil', how does your solo material differ from the stuff you record and release with your full-time band?


That’s a really good question. Somewhat inevitably, there’s cross over in terms of sound and style, but there are, I think substantial differences. Firstly, while I use electronic elements in Final Coil, they are always more as part of the atmosphere of a track – augmenting it rather than driving it, if you like. There are a few pieces that are pretty much wholly electronic (Alienation, from Persistence of Memory, for example) but, on the whole, I write songs for Final Coil with the expectation that the songs can be played live in a more conventional way. For my solo material, the music is electronic from the outset and it’s hard to imagine doing these pieces in the absence of synthesisers. It’s very liberating to write in that way because you’re less worried about the limitations of the stage, so anything becomes possible. That said, now that I am thinking about putting together a band, it does beg the question of who’s going to do what to make it all work because I’m really not keen on going down the backing track route – I imagine the live presentation will be somewhat more visceral. Nevertheless, the first difference, I guess, is that I have a very different palette from which to choose. 


The other difference is that the solo material was written with very little filter. When I write for Final Coil, I’m writing material with the expectation that Rich will add some guitar at point X, that Dan (the drummer) will adapt the programmed drums to his remarkable playing style and that Jola will augment the bass patterns. So, there’s always that kind of filter, and I tend to leave things relatively open in that respect. With the solo stuff, I don’t have that expectation or, where I worked with guests, it was only on one or two parts of the whole, so there was much more pressure on me to fill those spaces. I don’t think that that necessarily makes the music better or worse… it’s just different, and it’s a constant challenge for me to learn new tricks so that I can keep things interesting both for myself and (hopefully) the listener. 



4.What are some of the lyrical topics and subjects you have explored so far with your music?


The themes in my solo work and Final Coil are rather similar in that they tend to pick on social issues and explore them in one way or another, although I’d argue that my solo work is much more overtly political. Ideas of sovereignty and what that means in a partially globalised world loom large, as do themes such as human rights, freedom of speech and communication. 


If there’s a common theme for both Final Coil and my solo work, it is the increasing inability of people to communicate effectively, despite the potential for communication. I am generalising, because there are many intelligent and articulate people out there, but you look at social media and all you see are these snarky soundbites filling the void, and it’s hard not to lose hope when you see how cruel people are when they consider themselves cornered. I come from an academic background and, at the risk of sounding incredibly naïve, I have always believed that the purpose of learning is never to prove yourself right, but to uncover the truth of a thing to the best of your ability, even if that truth stands contrary to your previous beliefs. We were already seeing people treating debate as a zero-sum game with Brexit and Trump, but the pandemic has exposed the fault lines more than ever. There is no nuance to people’s interactions, just remonstration and resolve, and it’s impossible to look at all of this and not find subject matter for lyrics. 

Of course, on top of that, here in the UK, we have the most inept, corrupt and amoral government that this country has ever seen, which adds further fuel to my lyrical fire. It’s interesting because, when I was getting into politics as a subject, it was always in my mind that you could disagree with a politician but still respect their ideals. Off the top of my head, I would pick out people such as John Major, George Bush and even the ever-divisive George W. Bush (who, admittedly, was more a product of his handlers than his own ideals) as leaders to whom I was largely opposed in a political sense, yet I always felt they were enacting what they believed to be the best policies for their country and for their party. In other words, I respected their commitment to their beliefs even as I disagreed with much of what they did. That respect is important in a democratic system because you’re simply not always going to get the person or the party that you wanted in power. 


However, with “politicians” like Trump and Johnson (and the quotation marks are very deliberate), there is no such feeling. They are so obviously lacking in any ideal beyond their own sense of self, that it’s hard to believe their respective parties would ever allow them into power. Such a level of narcissism in high office is terrifying to me. Power may corrupt, but what happens when power is granted to the already corrupt? This is something that is playing out right now in both the UK and the US – with Brexit and the aftermath of the Jan 6th disgrace respectively, and it isn’t pretty. So, I’d argue my criticism is nuanced – it’s not anti-government for the sake of it (although I can see the charms of such an approach), but rather it is anti- what government has become and it is written with a sinking sensation that, where democracy once allowed for politicians from diverse political backgrounds to shape a country’s future, we are now living in a populist age where people vote out of incredibly narrow self-interest. In such a situation, of course the selfish and venal will flourish and there’s no question that my lyrics were directly informed by my utter rejection of the modern political class.  



5.Can you tell us a little bit more about the artwork that is presented on the new album cover?


I am so proud of the artwork. It was created by my incredibly talented wife, Jola (also the bassist in Final Coil), and it was a direct representation of the concept behind the album. Briefly, an anchorite was most commonly a religious recluse, often declared dead to their earthly life upon choosing their calling, and the majority lived within tiny cells known as Anchorholds. In other words, they subordinated their entire existence to a belief system and rejected the world beyond it. So, the anchorhold is a self-imposed cell – a rejection of the wider world – although they often had a window upon the world through which wisdom could be imparted. I like the concept because it makes me think of individuals, locked away in their basements, imparting information through the web – their window on the world – while rejecting viewpoints that differ from their own. At any event, when we discussed this concept, Jola immediately picked out (and edited) the picture that now graces the front cover. 


Once that was in place, Jola then set about creating the gorgeous internal artwork, which is a mixture of photography (it’s a picture of a mountain range in Zakopane), digital manipulation and hand drawn imagery. An indirect inspiration for this latter approach was the packaging for Radiohead’s I Might Be Wrong, which featured a similar mix of photography and fantasy, and I think Jola produced one of her best pieces of work when she created this cover. 



6.On your solo album you also have a great amount of musicians also helping you with the songs, are any of the session musicians also involved with any other bands that should be mentioned?


Yes, every musician on this album is an artist in a band worthy of note and I am very glad to share them here. So, in no particular order, the following musicians are on the album:


Kyle Brandt – Kyle produced a simply stunning vocal for C21H22N2O2 that totally blew me away. I first heard Kyle with A Light Within, a band whom I rate very highly. More recently, he produced his debut solo album under the name of Molitoth (https://molitoth.bandcamp.com/album/the-tribunal). Both bands broadly exist in a post-rock environment, but they’re both eclectic and have their own unique sound. In the same way, when I sent the track over to Kyle, he took an approach that was totally outside of anything I had considered, and he just made it look effortless. 


Roger Morter provided bass for It Follows Me. Rog and I have been friends for years and we previously worked together when he did some bass work for an early (unreleased) Final Coil demo. Roger would probably blush for my saying this, but he’s not only immensely talented, but also a very interesting individual with a unique artistic vision. As such, I was thrilled when he joined Pornographic Sunset (https://www.facebook.com/PgSunsetBand/), a band that just seems to be the perfect vehicle for his ambitious approach to the bass. Something of a cross between bands like Mr Bungle and Dog Fashion Disco, although any simple comparison is to do them a disservice, they draw on jazz, industrial, noise and more, and their live show needs to be seen to be believed. 


Richard Allsopp played guitar on It Follows Me and I’m Not Done Yet. Rich is extremely talented and does things with his guitar of which I can only dream (and even in my dreams, I’m hopelessly outmatched). He has a load of projects on the go, but his main outlet is Monachopsis (https://monachopsisbanduk.bandcamp.com/), a melodic death metal band with some serious chops. Rich made it so easy, and his blistering lead work really gave those two tracks the lift they needed. I have no doubt that we’ll work together again down the line. 


Matt Steady is a folk singer and musician whom I met when he shared a bill with Final Coil. An incredibly down to earth individual who manages to juxtapose musical gravitas with a twinkle in the eye that is utterly irresistible, Matt not only delivered on The Wanderer, but came back with layers of harmony that just worked perfectly. Matt is both a solo artist and in The Grace Machine (https://mattsteady.bandcamp.com/album/new-buryin-ground), but whatever you may hear of his work, it is always incredibly authentic and informed by a genuine love of the music. 


Pauline and Brett of The Medea Project (https://medeaproject.com/) worked on Reflections from an Echo Chamber, not only adding layers of noise but also lyrics and vocals. It was amazing to me how fully they understood the track outline I sent them, and they really turned it into something special. As for the Medea Project, we played together in Nottingham, and I became an instant fan. They have this remarkable look and sound that just draws you in. When they released Sisyphus, not long (I think) after we had played, that just sealed the deal. Since then, they’ve been super busy with all manner of projects, including the Southern Echoes EP and I’d strongly recommend them.  


Mark Gatland (https://hatsoffgentlemen.com/) added bass to I’m Not Done Yet and, as with the other guests here, he delivered way more than I could possibly have expected. Of course, Mark is a super-talented musician who plays with both Hats Off Gentlemen It’s Adequate (a band I first heard courtesy of a progressive rock radio station that was also airing Final Coil) and IT. Mark’s one of those people who will happily chat about music for hours and, when I finally shared a stage with his band, it was a real pleasure to sit and talk influences over a cheeky pint.


Tomek Wolksi added bass to Sleep Take Me. I met Tomek when we were both teaching in the town of Skarzysko in Poland. He is one of those people who just fosters enthusiasm in the way that he describes his favourite music and we played in Metanoia together while I was out in Poland. Anyhow, I knew that I had to work with Tomek again and, when I was putting this project together, it was just obvious that he should play a part. Tomek plays in loads of different projects, but his most recent effort is with S/W and it’s stunning (https://www.facebook.com/SWbandofficial). Their debut is a heady mix of Porcupine Tree, Pink Floyd and Genesis and I was so happy when Tomek sent me a copy – it’s the music he was born to play, and he does it brilliantly. 


7.You have also mentioned an interest in Hermeticism, can you tell us a little bit more about your interest in this topic?


You know, your questions are really well thought out. They’re both interesting and challenging and I really appreciate it. Thank you so much.  


Anyway, with regard your question, Hermeticism is a deeply interesting (and even controversial) topic with regard Christianity, in that it looks at the nature of truth and the revelation of wisdom as being central to humanity. However, what interests me in particular is the focus on what might be referred to as a knowledge of god – in other words, the truth at the heart of Christian Hermeticism is not a truth at all, but a deeply held belief. It is a contradiction that is impossible to reconcile because if, as the Anchorite might believe, all truth flows from this central premise, then truth will always be subordinate to belief. 


Anyhow, I see in this an analogue for the modern world. I have already alluded to my concerns over modern politics, and I would argue that the world is increasingly filled with anchorites – people who take one truth as their central premise and then allow everything they believe to flow from that. Conspiracy theorists, for example, accept as truth that there is a conspiracy and their understanding of the world flows exclusively from that, tainting their relationship with any form of expertise (including science). Similarly, Trump supporters have adopted the “big lie” as their truth and, like conspiracy theorists, they are now holed up in basements, viewing the world through a warped lens and spewing their beliefs back out through the window of the internet. 


So, here we are, a mere few hundred years after the dark ages, and people are once again rejecting rational, observation based science, politics and philosophy in favour of belief – beliefs so radically held that their followers would reject a vaccine, storm the capitol or cling to discredited notions of sovereignty rather than adapt their views according to circumstance. Change does not scare me, but people’s propensity for certainty does… hence, The Anchorhold. 



8.On a worldwide level how has the reaction been to your music by the fans?


Well, especially as this is a very new project that has never played live, I have been consistently blown away by the support the project has received. From webzines sharing release news to the reviews (most of which were incredibly positive), it has been a constant surprise how supportive people have been of this project. 


As I mentioned before, I came into this with no expectations other than that I wanted to use the time of lockdown to create something a little different, but I didn’t really expect too many people would take notice – there’s so much great music out there and it’s easy to get lost amidst the noise. Certainly, it has been a pleasure for me to see people from around the world picking up the record and commenting upon it and there’s also been quite a bit of radio play, which was a nice surprise. 


9.What is going on with 'Final Coil', these days?


Plenty! This year, there were three projects on the go. First of all, we recorded a lockdown EP of reinterpretations of songs from our back catalogue, stretching all the way back, even to before our debut EP (2011’s Live With Doubt https://finalcoilrock.bandcamp.com/album/live-with-doubt-ep-2). Entitled Somnambulant II, it was the first release I have mixed and mastered entirely on my own since Somnambulant back in 2014, and it was a real pleasure. With all the restrictions in place, we recorded our parts individually at home and then traded files over the net. Not the ideal approach, perhaps, but it was a great way to keep the band’s creative flame alight at a time when we could neither practice nor play. 


Having done that, I then decided to return to our inspiration for the EP – Somnambulant (https://finalcoilrock.bandcamp.com/album/somnambulant-i-2021-remix-remaster). Initially, I was just going to do a little remaster but, as it turned out, I ended up doing a substantial remix. It was really satisfying because, although the files were in good shape, I could see how inexperienced I was when I produced that EP, and I ended up spending a lot of time on editing and tidying the files so that the EP had a sound more consistent with Somnambulant II. Jola then reworked the artwork and, as with my album, she did a truly fantastic job. 


Beyond that, we are also putting the finishing touches on our third album (and the final part of the trilogy we began with Persistence of Memory). I believe it will be the best thing we have done to date, but time will tell… 


10.Where do you see yourself heading into as a musician during the future?


I honestly have no idea. Since I was very young, I have been involved in music one way or another and it is something that comes from a very personal place. I love to explore, and I can say that there will absolutely be another solo album at some point. Final Coil, too, has quite the distance left to run, although in what configuration remains unclear. 


You know, it’s been a really difficult two years and, at this point, it feels enough simply to say “we’re still here” and to be working on new material – so many of our fellow artists have fallen by the wayside during this difficult period but, for us (and for me especially), making music is something we have to do, regardless of whether we can play live or attract new fans. The art is the thing, and I hope and believe that I will continue to evolve in the coming years. 


11.What are some of the bands or musical styles that have had an influence on your music and also what are you listening to nowadays?


Oh no! How long do you have? There are so many bands that have contributed to my musical DNA that we could be here a while!


Off the top of my head (and fully aware that the list shuffles every time I am asked such a question): Sonic Youth, NIN, Swans, Alice in Chains, Tool, Pink Floyd, Genesis, Manic Street Preachers, Butthole Surfers, Nirvana, Soundgarden, The Cure, Killing Joke, Screaming Trees, Neil Young, Gary Numan, Radiohead, Massive Attack, Pearl Jam, Paradise Lost, Anathema, The Ocean, Mogwai, Spiritualized, Depeche Mode, Katatonia, Porcupine Tree, REM, Mayhem, Darkthrone, David Bowie, The Orb… you know, I’m going to stop there before I list my entire collection! 


As for what’s been on my stereo of late, my albums of the last year included: Melvins – Working With God; Year of no Light – Consolamentum; Nick Cave & Warren Ellis – Carnage; Amenra – De Doorn; Ministry – Moral Hygiene; Halsey – If I Can’t Have Love I Want Power; Converge – Bloodmoon I; Mastadon – Hushed & Grim; Darkthrone – Eternal Hails; Tomahawk – Tonic Immobility; Neil Young & Crazy Horse – Barn; Mogwai – As Love Continues and Arab Strap – As Days Get Dark.  


12.Before we wrap up this interview, do you have any final words or thoughts?


I started making music with no plan. I was very naïve and operated on a “if you play it, they will come” mentality (thanks Wayne’s World), because I believed that that’s how music should work. In many ways, despite plenty of evidence to suggest that a mix of money and familiarity is probably the best way to (for want of a better phrase) get ahead, I still believe that music is art and should be treated as such regardless of how cynical the market has become. 

I suppose that what I am trying to say is that I strongly believe in the music I make. I don’t ever have a plan and I don’t often know even how it will be released. To some degree, that is a secondary consideration (although, of course, I’d like as many people to hear it as possible), and I can’t imagine not making music, even if it is only ever heard by myself and the people unlucky enough to be in the vicinity. It’s a passion that runs deep and it is as exciting as it is cathartic. With that in mind, I’d like to thank you very much for your time and for your great questions and, if any of my listeners are reading this, thank you for taking the time and trouble to check my music out – I never take it for granted and I very much hope you’ll join me for my next release, whatever it may be. 


www.philstilesofficial.com

www.philstiles.bandcamp.com

www.twitter.com/finalcoil_phil

www.instagram.com/philstilesofficial 


In The Absence Of Words Interview

 


1. Can you give us an update on what has been going on with the musical project since the recording and release of the new album?


‘A Collection II’ was released on September 1 and is the second of two compilations featuring works that I recorded and released between 2017 and 2021.


After a few years of simply releasing individual tracks on Bandcamp without any marketing, I felt the tracks deserved more attention.


I assembled the tracks to form two different compilations and, for the release of ‘A Collection II’, I enlisted the help of a fantastic PR company that had experience working with dark ambient artists. I couldn’t have been happier with their work and the coverage for the record. 


Since the release of ‘A Collection II’, it’s been great creating more awareness for the music and In The Absence of Words as a whole. 


With regards to what I’ve been doing since the release, sadly, during the campaign for ‘A Collection II’, my father suddenly and unexpectedly crossed over, which left me devastated. The idea of creating music was far from my mind. However, slowly but surely, I’ve come to realise that in time those emotions together with an accompanying and heightened interest in mysticism and spirituality will be represented musically. 


2. A few months back you had released your second volume, musically how does it differ from your previous release?


That’s easy to answer - ‘A Collection I’ is compilation of the long-form dark ambient works that I’d created and released. Despite being a compilation, it is more immersive and feels like a full-length dark ambient album.


‘A Collection II’ on the other hand is a compilation showcasing the diversity of the project, where each song could belong to a different genre while still containing the essence and intention of In The Absence of Words.


3. What are some of the themes and images you have brought into your musical concepts so far?


When I originally started In The Absence of Words in 2017, the idea was to explore different moods, sounds and themes and release a new track every month for a year. 


The launch of the project coincided with a new life chapter I’d just started following a heavy couple of years where my marriage ended, I quit my job, sold everything I had, and moved country. When I started In The Absence of Words, the aim was to express and release all the emotions associated with that period - loss, hope, sadness, grief, possibility, betrayal, heartbreak, confusion, anger, rebirth, renewal. 


Interestingly, even though it was not something I’d planned for - or even thought about for that matter - upon the release of the first 12 releases (aka “chapters”), my closest friend remarked how the works revealed a journey, both sonically and emotionally. The journey begins dark and foreboding and ends with a sense of arriving at a place of serenity. 


Following the release of the original 12 chapters, and now having settled into my new life I had created, I began producing music that focused more on themes of spiritual exploration and mysticism. 


4. What is the meaning and inspiration behind the name 'In The Absence Of Words'?


I work as a copywriter and I love working with words. However, there are experiences, events and moments in our lives that defy words. Be it the connection with another human being, the grief of losing one, or the sheer beauty of nature, sometimes words cannot capture. In The Absence of Words was created as an outlet to express experiences and moods in other ways than words. 


For example, someone could try to explain to someone else a specific experience or emotion. However, the person speaking is limited not only by vocabulary but also the hope and expectation that the listener understands or relates to what he or she is saying based on the listener’s own knowledge or experience. In such instances, words can often fail to communicate and convey the message. 


Where words might fail, feeling cannot. Ad such, music can be a more resonant and accurate form of expression. With the goal of creating sounds that resonate emotionally, the listener is be able to associate the feeling with their own personal experience. Whether it or not the listener experiences the emotion because of the same event or experience is irrelevant; the sound triggers an emotion in the listener which they can connect to an experience or event in their own life. 


5. Can you tell us a little bit more about the artwork that is presented on the new album cover?


The artwork for ‘A Collection II’ is a photo that I took in Lapland, Sweden during the middle of winter a few years ago. I think the photo captures the beauty, solitude and the extremity of the deep north. 


Since the music on ‘A Collection II’ is diverse and covers a few different genres, I needed  an image that could represent the music as a whole. However, it would be impossible to create an image that could represent the different themes and sounds. Therefore, I opted for something that I think acts as a blank canvas of sorts with its vastness and emptiness. 


With that being said, although the music and themes on the collection vary, many people have remarked on a consistent glacial, melancholic and Nordic quality that  runs throughout In The Absence of Words. So, I think the artwork fits the collection well on two different levels. 


6. With this project you record everything by yourself, are you open to working with other musicians or do you prefer to work solo?


I am open to working with others, such as a producer, mixer or percussionist. That said, I think the creation of ambient music is often very solitary and may not benefit from collaboration in a way the other genres might. 


I could only see myself working with somebody once I have created the framework or essential pieces. Therefore, I think involving someone to mix or add parts would likely be the best form of collaboration as opposed to working with someone from scratch. 


I am quite particular about what I want to achieve with each song. That’s not to say that the tracks couldn’t be made better with the help of others. However, I have always recorded, written and produced music by myself. I enjoy working that way, especially since the events that trigger the emotions that inspire the works are personal even if the themes and emotions themselves are universal.


7. So far you have remained anonymous, what impact does this have on the musical style that you play?


The decision to be anonymous is really two-fold. Firstly, I want the listener to be able to listen to and experience the music without any specific knowledge about me or many details about my experiences so that they can experience things themselves. It’s not to be secretive or create some sort of mystique, rather I don’t see how knowing more about me would help someone to enjoy the works more or enhance the experience. 


Secondly, the music is a snap shot of an emotion, and represents but an aspect but not and the totality of me. 


8. Currently you are unsigned, are you looking for a label or have received any interest?


Up until five years ago, I worked in the music industry for many years and over time I just became tired and jaded by it all. While working on what would become the ‘Ascension’ EP, which is one of my personal favourites, I had the goal to make it a full-length album, which I would then pitch to labels. I liked the idea having a label get the music into the right channels and to see the music released physically, and maybe through a label that I admire. 

 

A close friend made an introduction to a label and I also spoke very briefly to two or three labels to gauge interest but the whole process quickly reminded why I became tired of the industry and why I preferred to do it on my own. Everything was so slow and I didn’t want to wait around for responses or to release music. I prefer the freedom to record and release music as and when I feel.


So, instead of looking for a label, I will continue to self-release and then enlist the help of a PR company again to help spread the word. 


9. On a worldwide level how has the reaction been to your music by fans of dark ambient and drone?


I think most people would say that a lot of the music on ‘A Collection II’ isn’t dark ambient or drone but I would say 99% of the people who have connected with the music listen to those genres. 


Since my goal for the project has always been to explore various emotions and sounds, I would say a lot of what I do doesn’t fit into traditional dark ambient. For one, not every theme I explore is “dark” - in fact, far from. Many of the themes are of hope, exploration, love, desire, aspiration and yearning. So, it’s definitely not dark ambient in that sense. 


I’ve received some really humbling words from listeners and from magazines and websites focused on dark ambient and extreme metal. Especially for ‘A Collection II’, the reviews have exceeded any expectations I had about how people might feel about the music. 


What’s more, a couple of tracks have been added to playlists alongside other great tracks, namely Peter Bjärgö (of Arcana, Sophia fame) and Raison d’Etre. Since I grew up listening to work by both those artists, having my music playlisted alongside theirs has been a crowning moment. 


Sales and streams have been quite minimal but I never expected the music to sell truckloads anyhow. 


10. Where do you see yourself heading into as a musician during the future?


I hope to record a couple of individual tracks and maybe a 3-track EP. For those releases, I would like to move away from trying to capture emotions and feelings associated with events and instead explore something the hopefully resonates with listeners on an instinctual and spiritual level. What that will sound like musically, I am not sure yet but intuitively, I think it will be more spacial and serene, and perhaps continue off from where the ‘Ascension’ EP left off.


11. What are some of the bands or musical styles that have had an influence on your music and also what are you listening to nowadays?


My first introduction to ambient music was in the early-mid ‘90s through the Cold Meat Industry label and Lustmord. Of all the great artists that CMI put out over the years, the ones that influenced and resonated with me most are Raison D’etre and Desiderii Marginis. Together, these artists created my awareness and appreciation of dark ambient music and they continue to influence me today, albiet unconsciously. 


Today, I find myself listening to ambient artists like Hilyard, who I absolutely love, as well as Warmth and Poemme who all have a more serene and emotional sound that resonates with me. 


Aside from ambient music, I would say that  Dead Can Dance, and the long-defunct Australian death/doom band Disembowelment are both important influences. In fact, Disembowelment’s only full-length album is one of my all-time favourites - the production, composition and sheer atmosphere are incredible. To that, I would also add Trial of the Bow - the short-lived project formed by two Disembowelment members - is an influence and inspiration. 


Who else? Sigur Ros, classical pianist, Ludovico Einaudi, even The Mission UK inspired one song. 


Lastly, I would venture to say there’s likely to be an unconscious second-wave black metal influence at play too, which may contribute to some of the melodies and feelings of melancholy.


12. Before we wrap up this interview, do you have any final words or thoughts? 


First and foremost, I would like to say thank you to Dark Underground Music Zine for being the first platform to interview In The Absence of Words and for the interest and support. It’s been a lot of fun answering the questions.


I’d also like to say thank you to anyone who has bought any of the music from Bandcamp, streamed the compilations on Spotify, or has written about or reviewed In The Absence of Words. 


Lastly, thanks to Paul and Chris at Imperative PR whose work to spread the word about ‘A Collection II’ and In The Absence of Words has been incredible.  


Wednesday, December 29, 2021

Gåte/Nord/Indie Recordings/2021 CD Review

 


  Gåte  are  a  band  from  Norway  that  plays  an  alternative  form  of  folk  music  and  this  is  a  review  of  their  2021  album  "Nord"  which  was  released  by  Indie  Recordings.


  Folk  instruments  and  percussion  start  off  the  album  while  also  bringing  in  a  dark  ages  orientated  atmosphere.  Vocals  are  all  done  in  a  clean  style  along  with  some  organs  also  being  utilized  at  times  as  well  as  the  stringed  instruments  also  being  a  very  huge  part  of  the  recording  and  a  couple  of  the  tracks  are  also  very  long  and  epic  in  length.


  When  acoustic  guitars  are  utilized  they  also  enhance  the  folk  music  vibe  that  is  also  a  very  huge  part  of  the  recording.  Spoken  word  parts  are  also  added  on  some  of  the  tracks  along  with  each  song  also  sounding  very  different  from  each  other  and  the  songs  also  add  in  touches  of  alternative  and  modern  rock.


  Gåte  plays  a  musical  style  that  is  very  heavily  rooted  in  Nordic  folk  music  as  well  as  mixing  in  some  alternative  and  modern  rock  influences  to  update  the  style  for  modern  era.  The  production  sounds  very  professional  while  the  lyrics  are  written  in  Norwegian  and  cover  Folklore  themes.


  In  my  opinion  Gåte  are  a  very  great  sounding  alternative  folk  music  band  and  if  you  are  a  fan  of  this  musical  genre,  you  should  check  out  this  recording.  RECOMMENDED  TRACKS  INCLUDE  "Solfager  og  Ormekongen"  "Horpa"  "Kjærleik"  and  "Sjåaren". 8  out  of  10.


https://www.facebook.com/Gaateband/


  

Urferd/Resan/2022 Full Length Review

 


  Urferd  are  a  solo  project  from  Sweden  that  plays  a  pagan  form  of  folk  music  and  this  is  a  review  of  his  self  released  album  "Resan"  which  will  be  released  in  2022.


  Nature  sounds  start  off  the  album  along  with  some  atmospheric  sounding  keyboards  a  few  seconds  later  which  also  add  in  a  variety  of  many  different  sounding  keys.  When  stringed  instruments  are  utilized  they  also  bring  in  elements  of  folk  music  and  a  couple  of  the  tracks  are  also  very  long  and  epic  in  length.


  At  times  the  music  also  captures  the  atmosphere  of  a  fantasy  movie soundtrack  set  in  the  medieval  era.  Percussion  is  also  added  on  some  of  the  tracks  When  melodic  chants  and  clean  vocals  are  utilized  they  also  give  the  music  more  of  a  pagan  orientated  atmosphere  along  with  some  spoken  word  parts  also  being  utilized  briefly,  all  of  the  tracks  also  sound  very  different  from  each  other  and  as  the  album  progresses  a  brief  use  of  acoustic  guitars  can  also  be  heard  and  a  couple  of  songs  also  add  in  a  small  amount  of  female  vocals.


  Urferd  plays  a  style  of  folk  music  that  is  very  heavily  rooted  in  the  Nordic  pagan  traditions.  The  production  sounds  very  dark  while  the  song themes  focus  on  Paganism. 


  In  my  opinion  Urferd  are  a  very  great  sounding  pagan  folk  music  solo  project  and  if  you  are  a  fan  of  this  musical  genre,  you  should  check  out  this  album.  RECOMMENDED  TRACKS  INCLUDE  "Gryning"  "Envig"  and  "Dvala".  8  out  of  10.


https://youtu.be/s0prGYt0qJU


Facebook: https://www.facebook.com/Urferd-103328035182217
https://www.youtube.com/channel/UCwfy_8ApE3v3KyxusKARatQ
Instagram: https://www.instagram.com/urferd.official/
Twitter: https://twitter.com/Urferd_official

Bandcamp: https://urferd.bandcamp.com/ 


    

Satanath/Urban Apocalypse/Grimm Distribution/Gravacoes Tunguska/More Hate Productions/2021 CD Re-issue Review

 


  Satanath  are  a  solo  project  from  Russia  that  has  bene  featured  before  in  this  zine  and  on  this recording  played  a  mixture  of  dark  ambient  and  space  music  and  this  is  a  review  of  his  2011  album  "Urban  Apocalypse"  which  was  re-issued  in  2021  as  a  joint  effort  between  Grimm  Districbution,  Gravacoes  Tunguska  and  More  Hate  Productions.


  Dark  ambient  style  synths  start  off  the  album  while  also  adding  in  a  variety  of  many  different  sounding  keys.  At  times  the  music  also  brings  in  a  very  cosmic  and  space  orientated  atmosphere  along  with  some  of  the  tracks  also  being  very  long  and  epic  in  length  and  all  of  the  music  also  sticks  to  an  instrumental  direction.


  All  of  the  songs  also  sound  very  different  from  each  other  while  also  capturing  a  very  apocalyptic  sounding  atmosphere  at  times.  Some  tracks  also  show  the  music  going  into  more  of  an  atmospheric  direction  as  well  as  capturing  the  feeling  of  a  movie  soundtrack  along  with  one  song  also  introducing  elements  of  electronic  music  onto  the  recording,  programmed  beats  can  also  be  heard  briefly


  On  this  recording  Satanath  took  dark  ambient  and  space  music  and  mixed  them  together  to  create  a  very  diverse  sounding  recording  as  well  as  keeping  everything  instrumental  while  the  production  sounds  very  dark.


  In  my  opinion  this  was  another  great  sounding  recording  from  Satanath  and  if  you  are  a  fan  of  dark  ambient  and  space  music,  you  should  check  out  this  re-issue.  RECOMMENDED  TRACKS  INCLUDE  "Sacred  Place  Is  Empty"  "Mysterious  Cult"  "Vote  For  Evil"  and  "Destroy  Your  TV".  8  out  of  10.


https://grimmdistribution.bandcamp.com/album/072gd-satanath-urban-apocalypse-re-release-2021    

Death Verified/In Praise Of Shadows/2021 Full Length Review

 


  Death  Verified  are  a  musical  project  from  Poland  that  plays  a  mixture  of  drone,  ritual,  industrial,  dark  ambient  and  dungeon  synth  and  this  is  a  review  of  their  self  released  2021  album  "In  Praise  Of  Shadows".


  Industrial  style  beats  start  off  the  album  while  melodic  chants  can  also  be  heard  briefly  along  with  all  of  the  beats  also  being  programmed.  Synths  are  also  added  in  some  part  of  the  recording  and  also  mix  in  some  influences  of  dungeon  synth  and  dark  ambient  as  well  as  the  vocals  also  being  done  in  a  very  aggressive  style  and  female  vocals  are  also  utilized  at times.


  When  distorted  sounds  and  electric  guitars  are  utilized  they  also  take  the  music  into  a  heavier  direction.  At  times  the  album  also  gets  very  ritualistic  sounding  along  with  some  of  the  more  aggressive  vocals  also  adding  in  touches  of  black  metal  as  well  as  some  tracks  also  adding  in  some  drones,  clear  vocals  can  also  be  heard  as  the  album  progresses  and  one  of  the  later  songs  is  also  an  instrumental  and  each  track  also  sounds  very  different  from  each  other.


  Death  Verified  plays  a  musical  style  that  takes  drone,  ritual,  industrial,  dark  ambient  and  dungeon  synth  and  mixes  them  together  to  create  a  sound  of  their  own.  The  production  sounds  very  dark  while  the  lyrics  cover  occultism,  darkness,  death  and  the  poetry  of  Charles  Baudelaire.


  In  my  opinion  Death  Verified  are  a  very  great  sounding  mixture  of  drone,  ritual,  industrial,  dark  ambient  and  dungeon  synth  and  if  you  are  a  fan  of  those  genres,  you  should  check  out  this  musical  project.  RECOMMENDED  TRACKS  INCLUDE  "Hydrocarbon  Corpse  Juice"  "The  Undivine  Comedy"  "Werewolves"  and  "Spleen".  8  out  of  10.


https://deathverified.bandcamp.com/   


  

Tir/Persepolis/Brilliant Emperor Records/2021 CD Review

 


  Tir  are  a  solo  project  originally  from  Turkey  but  now  resides  in  Australia  and  has  bene  featured  before  in  this  zine  and  plays  a  mixture  of  dungeon  synth  and  dark  folk  and  this  is  a  review  of  his  2021  album  "Persepolis"  which  was  release d in  2021  by  Brilliant  Emperor  Records  and  is  a  re-mixed  expanded  and  re-imaged  version of  his  2019  release.


  Dungeon  synth  style  synths  start  off  the  album  while  also  adding  in  a  variety  of  many  different  sounding  keys.  When  drum  beats  are  utilized  they  also  give  the  music  more  of  a  militant  and  epic  atmosphere  along  with  the  music  also  bringing  in  a  dimension  similar  to  what  can  be  heard  on  fantasy  movie  soundtracks.


  All  of  the  tracks  sound  very  different  from  each  other  while  some  tracks  also  add  in  a  small  amount  of  dark  nature  sounds.  Elements  of  folk  and  neo-classical  can  also  be  heard  in  certain  sections  of  the  recording  along  with  a  couple  of  the  tracks  also  being  very  long  and  epic  in  length  as  well  as  one  track  also  adding  in  a  brief  use  of  acoustic  guitars,  touches  of  ambient  can  also  be  heard  quite  a  bit  throughout  the  recording  and  the  whole  album  also  sticks  to  an  instrumental  direction.


 On  this  recording  Tir  takes  his  previous  songs  and  adds  in  new  touches  to  expand  on  his  mixture  of  dungeon  synth  and  dark  folk  as  well  as  keeping  everything  instrumental.  The  production  sounds  very  dark  while  the  song  themes  focus  on  ancestors  from the  ancient  past.


  In  my  opinion  this  is  another  great  sounding  album  form  Tir  and  if  you  are  a  fan  of  dungeon  synth  and  dark  folk,  you  should  check  out  this  recording.  RECOMMENDED  TRACKS  INCLUDE  "Daemon  Of  Desert  (Azi)"  "The  Dragon  King  Raised  An  Army"  "Blood  Red  Desert"  and  "Forgotten  Prophecy".  8  out  of  10.


https://tirofficial.bandcamp.com/album/persepolis


tirofficial.bandcamp.com

instagram.com/tirofficial

facebook.com/tirofficialpage          

Tuesday, December 28, 2021

Knullkompis/A Faustian Drug Bust/MuteAnt Sounds/2021 Full Length Review

 


  Knullkompis  are  a  solo  project  from  Finland  that  has  recently  had  music  reviewed  in  this  zine  and  on  this  recording  plays  a  mixture  of  noise  and post  industrial  and  this is  a  review  of  his  2021  album  "A  Faustian  Drug  Bust"  which  was  released  by  MuteAnt  Sounds.


  Industrial  style  beats  start  off  the  album  along  with  some  power  electronics  and  noises  a  few  seconds  later.  At  times  the  music  also  sounds  very  mechanical  and  militant  sounding  while  most  of  the  tracks  are  also  very  long  and  epic  in  length  and  distorted  sounds  can  also  be  heard  in  some  parts  of  the  recording.


  Home  made  instruments  can  also  be  heard  in  some  parts  of  the  recording  and also  gives  the  music  more  of  an  experimental  and  avant  garde  feeling.  When  synths  are  utilized  they  also  take  the  songs  into  more  of  a  darker  direction  along  with  a  lot  of  the  drum  beats  also  being  programmed  and  adding  in  touches  of  underground  dance  music  when  they  are  utilized  as  well  as  most  of  the  music  also  sticking  to  an  instrumental  direction.


  Spoken  word  parts  can  also  be  heard  briefly  along  with each  track  also  sounding very  different  from  each  other  as  well  as  one  song  also  adding  in  a  brief  use  of  pianos. The  production  sounds  very  dark  while  the  song  themes  focus  on  a  dystopian  society  full  of  pollution ,  decaying  technology  and  the  collapse  of  society.


  In  my  opinion  this  is  another  great  sounding  recording  from  Knullkompis  and  if  you  are  a  fan  of  noise  and  post  industrial,  you  should  check  out  this  album.  RECOMMENDED  TRACKS  INCLUDE  "Bite  The  Pillow"  and  "Consolating Warmth  Of  Crematory".  8 out  of  10.


 https://muteantsoundsnetlabel.bandcamp.com/album/a-faustian-drug-bust       

Monday, December 27, 2021

For The Glory Of Nothing/Garmonbozia/Ukhan Records/2021 EP Review

 


  For  The  Glory  Of  Nothing  are  a  musical  project  from  the  United  Kingdom  that  plays  a  mixture  of  ritual,  ambient,  industrial  and  idm  and  this  is  a  review  of  their  2021  ep  "Garmonbozia"  which  was  released  by  Ukhan  Records.


  Idm  style  sounds  start  off  the  ep  along  with  some  spoken  word  samples  a  few  seconds  alter  while  all  of  the  drum  beats  are  programmed.  Elements  of  industrial  are  also  utilized  quite  a  bit  throughout  the  recording  as  well  as  the  synths  also  being  very  heavily  rooted  in  am  ambient  and  whispered  vocals a r e also  utilized  at  times.


  At  times  the  music  also  gets  very  ritualistic  sounding  while  the  synths  also  add  in  a  variety  of  many  different  sounding  keys.  All  of  the  tracks  also  sound  very  different  from  each  other  along  with  all  of  the  songs  sticking  to  either  a  slow  or  mid  tempo  musical  direction.


  For  The  Glory  Of  Nothing  plays  a  musical  style  that  takes  ritual,  ambient,  industrial  and idm  and   mixes  them  together  to  create  a  sound  of  their  own.  The  production  sounds  very  dark  while  the  song  themes  focus  on  the  sex  magick  of  Aliester  Crowley,  Jack  Parsons  and  L  Ron  Hubbard  in  the  O.T.O  and  the  UFO  phenomena  from  the  writings  of  Valle,  Hynek  and  Keel.


  In  my  opinion  For  the  Glory  Of  Nothing  are  a  very  great  sounding   mixture  of  ritual,  ambient,  industrial  and  idm  and  if  you  are a  fan  of  those  genres,  you  should  check  out  this  musical  project.  RECOMMENDED  TRACKS  INCLUDE  "And  Its  Color  Is  Green"  and  "Anti-World  overnight".  8  out  of  10.


Youtube: https://youtu.be/PNe_cwLFMa4
Bandcamp: https://ukhanrecords.bandcamp.com/album/garmonbozia

Soundcloud: https://soundcloud.com/ukhan-records/for-the-glory-of-nothing-feat-fabio-di-gregorio-anti-world-overnight   

Dark/Nightmare/2021 Full Length Review

 


  Dark  is  a  solo  artist  form  Germany  that  plays  a  mixture  of  darkwave,  goth  and  post  punk  and  this  is  a  review  of  his  self  released  2021  album  "Nightmare".


  Electronic  music  style  synths  start  off  the  album  while  all  of  the  drum  beats  are  also  programmed.  Vocals  are  done  in  mostly  a  clean  goth  rock  style  along  with  the  whispers  also  adding  in  a  touch  of  black  metal  and  at  times  the  bass  guitars  also  bring  in  a  very  powerful  sounding  post  punk  style.


  Elements  of  darkwave  can  also  be  heard  quite  a  bit  throughout  the  recording  while  all  of  the  tracks  also  sound  very  different  from  each  other.  One  song  also  adds  in  a  brief  use  of  electric  guitars  and  solos  along  with  some  female  vocals  also  being  utilized  on  a  couple  of  songs  as  well  as  one  song  also  introducing  spoken  word  parts  onto  the  album,  all  of  the  tracks  also  stick  to  either  a  slow  or  mid  tempo  direction.  


  Dark  plays  a  musical  style  that  takes  darkwave,  goth  and  post  punk  and  mixes  them  together  to  create  a  sound  of  his  own.  The  production  sounds  very  professional  while  the  lyrics  cover  dark,  tragic  and  poetic  themes.


  In  my  opinion  Dark  are  a  very  great  sounding  mixture  of  darkwave,  goth  and  post  punk  and  if  you  are  a  fan  of  those  musical  genres,  you  should  check  out  this  solo  project.  RECOMMENDED  TRACKS  INCLUDE  "Nightmare"  "Gothic  Love"  and  "Avoid  Everyone".  8  out  of  10.


https://dark-darkwave.bandcamp.com/album/nightmare-full-album    

Dperd/Monsters/My Kingdom Music/2021 CD Review

 


  Italy's  Dperd  have  returned  with  a  new  recording  which  shows  the  music  going  for  more  of  a  decadent  and  ethereal  style  of  darkwave  and  this  is  a  review  of  their  2021  album  "Monsters"  which  was  released  by  My  Kingdom  Music.


  Clean  playing  and  distorted  sounds  start  off  the  album  while  the  keyboards  also  bring  in  a  great  amount  of  darkwave  elements.  Vocals  are  done  in  mostly  a  clean  yet  ethereal  style  along  with  the  songs  also  mixing  in  a  great  amount  of  dark  rock  and  pop  music  elements  and  melodies  are  also  added  into  some  of  the  heavier  riffing.


  All  of  the  musical  instruments  on  the  recording  also  have  a  very  powerful  sound  to  them  while  the  solos  and  leads  are  also  done  in  a  very  melodic  style.  All  of  the  tracks  also  sound  very  different  along  with  some  influences  of  80's  era  gothic  rock  also  being  utilized  at  times  as  well  as  some  songs  also  adding  in  male  vocals,  a s the  album  progresses  a  brief  use  of  mellotron's  and  trumpet's  can  also  be  heard  and  the  whole  recording  also  sticks  to  a  slower  direction.


  On  this  recording  Dperd  remain  true  to  the  ethereal  style  of  darkwave  that  they  have  established  on  previous  releases.  The  production  sounds  very  professional  while  the  lyrics   cover  melancholic  themes.


  In  my  opinion  this  is  another  great  sounding  recording  from  Dperd  and  if  you  are  a  fan  of  ethereal  darkwave,  you  should  check  out  this  album.  RECO MMENDED  TRACKS  INCLUDE  "The  Spawn  Of  Evil"  "In  The  Crowd"  "No  More  no  One"  and  "A  Good  Deed".  8  out  of  10.


https://youtu.be/TcarcO5lrv4


http://facebook.com/dperd      

Sunday, December 26, 2021

Deeper Graves/The Colossal Sleep/Disoder Recordings/2022 Full Length Review

 


  Deeper  Graves  is  a  solo  project  of  Jeff  Wilson  best  known  for  his  work  in  Abigail  Williams,  Nachtmystium,  Wolvhammer,  Chrome  Waves  and  Contrition  and  on  this  recording  goes  for  more  of  a  mixture  of  post  punk,  shoegaze  and  alternative  and  this  is  a  review  of  his  album  "The Colossal  Sleep "  which  will  be  released  in  2022  by  Disorder  Recordings.


  Atmospheric  sounding  synths  start  off  the  album  along  with  some  post  rock  style  clean  playing  a  few  seconds  later.  All  of  the  drum  beats  are  programmed  while  the  bass  guitars  are  also  utilized  as  a  lead  instrument  at  times  along  with  the  guitar  solos  and  leads  being  done  in  a  very  melodic  shoegaze  style.


  Vocals  are  done  in  mostly  a  clean  style  as  well  as  showing  an  influence  of  goth  rock  at  times  while  the  songs  also  mix  in  a  great  amount  of  post  punk  elements.  Melodies  are  also  added  into  some  of  the  guitar  riffing  along  with  some  of  the  tracks  also  being  very  long  and  epic  in  length  and  all  of  the  music  sticks  to  either  a  slow  or  mid  paced  direction  and  touches  of  alternative  rock  can  also  be  heard  at  times.


  Deeper  Graves  plays  a  musical  style  that  take s post  punk,  shoegaze  and  alternative  and  mixes  them  together  to  create  a  sound  of  his  own.  The  production  sounds  very  professional  while  the  lyrics  cover  dark  and  melancholic  themes.   


  In  my  opinion  Deeper  Graves  is  a  very  great  sounding  mixture  of  post  punk,  shoegaze  and  alternative  and  if  you  are  a  fan  of  those  musical  genres,  you  should  check  out  this  solo  project.  RECOMMENDED  TRACKS  INCLUDE  "Feverish  Dreams"  and  "Distant  Fires".  8  out  of  10.


https://deeper-graves.bandcamp.com

https://www.instagram.com/deepergraves

https://www.facebook.com/deepergravespgh