Saturday, April 23, 2022

Sarram Interview

 

1.For those that have never heard of you before, can you tell us a little bit about the solo project? 

It’s all about music, feel free to listen and discover at sarram.bandcamp.commeanwhile you’re reading this interview! 

2.With this project you have put out 5 releases, musically how do they differ from each other? 

My idea has always been to develop the projectslowly, enjoying my personal sonic trip, adding new sounds step by step – record by record. “A Bolu, in C” was entirely played with a guitar and some fx; in “Four Movements of a Shade” I’ve recorded also some synths, in “Albero” there are also some acoustic instruments, “Silenzio”was entirely made with spoken words, open circuits, tape loop, fx and synths with just little guitar, “ACME#1” is a collaboration full of tape loops, bass, fx and synths. The point is that basically I just search for sounds that I like and that satisfy my musical ideas in that particular moment or period, to underline that particular time, to don’t forget. 

3.What is the meaning and inspiration behind the name 'S A R R A M'?

 S A R R A M is my surname reversed, nothing special or too much researched and really doesn’t want to be a kind of a clever thing or a glimpse of lighting ‘cause really it isn’t. From my point of view it have to be Me in some ways but written with spaces and caps lock. 

4.With this project you record everything by yourself but have experience working with full line up's in bands, how would you compare the two?

 S A R R A M represents my musical view, my time; what I can develop, cut or ignore is exclusive about my tastes, thoughts and needs. When you play in a band or you’re making collaborations with other people everything have to be shared, discussed, analyzed and overthink. I love both ways of making music but we are speaking about two really different realities - which cannot be compared at all. 

5.You also work with a variety of many different musical styles, do you feel this makes you a better musician?

 No, I don’t, I’ve never think in that way. I play what I play always thinking about what I would listen with pleasure during a foggy and rainy day, drinking a nice glass of wine. I just try to do the best that I can, that’s it.

 6.The last full length was released on 'Subsound Records', can you tell us a little bit more about this label?

 Subsound Records is basically one of the best record label out there for the extreme music (of any kind). They’re active from 15years, releasing some of the most exciting acts from all over the world without giving a f*** about the hype. They’re true heroes of our time and I felt myself truly blessed since the first time that I got in touch with them. 

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

 The reality is that, even my expectations were as always low, I’ve seen lot of new people interested to S A R R A M since “Albero” came out; the last record sold very fast and I got more proposals to make shows around but this is entirely based on what I can see/read with my laptop, everything will be more clear when I’ll be able to touring again- which matter definitely more. 

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

Hard question, definitely, which I cannot answer at all – I have something in mind but needs time. What I can say is that I have started to touring again and after some super nice shows in Holland in the beginning of April I’ll be performing soon in Czech Republic, Slovakia, Austria, North Italy, Germany and Belgium – Dunk! Festival included! 

9.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?

 I never discover the music thinking about styles or genres, if something comes up with a nice vibe, a urgency that I can feel or just sounds/riffs that I enjoy I go deeper; It can be hip hop or black metal, whatever it is, really doesn’t matter what – matter if I can feel it. Anyway nowadays I’m listening to Norna, Matt Elliott, Whitehorse and Sons of Kemet; I don’t know what do they have in common but, well, I enjoy! 

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

Thank you for your interest, keep up the good work dude

https://www.facebook.com/sarramproject/
https://www.instagram.com/valosarram/
https://sarram.bandcamp.com/

Tuesday, March 8, 2022

Gåte Interview

 

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

We have been able to do a couple of shows, but as for everyone else covid has put its limitations on our ability to tour and play concerts. 

So, we have put our time and focus into creating new material instead and are currently working towards a new album. 

 


2.Recently you have released a new album, musically how does it differ from the stuff you have released in the past?

Gåte is deeply rooted in folk music and folklore. It is in our Gåte´s DNA and has paved the way for all our musical outputs. We call ourselves folklorists, and see ourselves as vanguards of folk lore. Our mission is to convey and further this often forgotten folk tradition and show case the beauty and strength hidden in the stories, songs, ballads, legends and myths etc. of this tradition. 


Our music has always been innovative, groundbreaking and different - rooted in cultural heritage and out musical tradition, without following the traditional rules and formulas. 


With “Nord” Gåte too became creator in this tradition.  With the acoustic expression and through a cleaner and simpler soundscape, we have tried to create something we hope might seem even more authentic, beckoning people to join us in this journey back to the very roots of the vast Nordic folk tradition. 


Approaching a more acoustic sound for Gåte also opened new doors and helped us see the music from a different stance. We felt we got even closer to defining our musical DNA and dare to truly expose ourselves and our instruments. 


Gåte has always been a force - using all means possible, maximized the esthetics, and exaggerated everything. This time we wanted to peel everything down to the core and see what lay beneath all the extravagance. "Nord" is the result of this process. 



3.What are some of the lyrical topics and subjects the band has explores with the new album and also how would you describe your progress as songwriters over the years?

Most of Gåte´s songs are our take on traditional Norwegian folk songs from the early 18th century. In recent years we have also worked with the great Norwegian folk musician Knut Buen, whom must be considered a guru within the Norwegian folk music scene, and we have had the honor of being able to adapt and incorporate some of his work into the Gåte portfolio. 


As part of the folklorist tradition our goal has been to convey existing tradition in a way that resonates with a more people and to mew generations. As such few of our songs are originally written by Gåte. They are narrated, arranged, and reinterpreted by us. 


The themes of the songs vary, but some of the themes we often find repeated are the agony of forbidden and lost love, life and death, and old myths and legends.

 

 

4.The band was broken up for a hew years, what was the cause of the split and the decision to reform?

Gåte started up back in 1999. And had sudden and fast rise to national fame. 

At a point where the band, and especially I (Gunnhild) was very young. 


Turning into an adult whilst playing in a successful rock band, with all the work, focus, and media attention that entail, is heavy.  


At the age of 20 in 2005 I needed a break. I felt the need to figure out who I was outside of Gåte and explore my own path as an artist, and so we put Gåte on hold. 

I quickly got involved in acting, and built myself a career as a actress before we relaunched Gåte back in 2017. 


 

5.What is the meaning and inspiration behind the name ‘Gåte’?

A direct translation would be “enigma”. 

It was actually the name of one of Sveinung Sundli’s musical projects back when he was in high school. 

When Sveinung and I were set to do our very first show with what would become what we know as Gåte today, we hadn’t really thought of a name. 

Right before we were to go on stage, they asked us what they should present us as and we just decided on Gåte right there and then, and the name stayed. 

It just felt right. We are Gåte, and our music and will always be genre-bending and enigmatic. 


 

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

The cover is designed by an amazing designer called Martin Kvamme. 

It is actually a collage taken from various nature photos. As Nord is an album taking us back to our roots it felt fitting to go to nature for the artwork. 

And just like the songs, the artwork turns into this half dreamscape half real imagery of something frozen in time but at the same time eternal.  



7.What are some of the best shows that the band has played over the years and also how would you describe your stage performance?

We’ve played such a vast amount of shows that it is hard to pick favorites, and live show has always been paramount for us. One of the major elements of our breakthrough back in the early 00’s was our live performances. To this day we are perhaps best known for our grandiose, intense, and energetic live shows. 


If I have to choose though, I guess playing at the Roskilde festival back in 2003 stands out as a great and important moment for us. 


 

8.Are there any touring or show plans for the new album?

For 2022 & 2023 we are hoping to do more tours and concerts also outside of Norway again. So indeed, we hope so. 

 


9.The new album was released on 'Indie Recordings', how would you compare working with this label to other labels you have been a part of in the past?

It’s been great!

Indie Recording is an independent label based in Norway, and it has been great to work with someone that levels with us in the goals and visions for Gåte. 


Moving to an independent label felt like a natural decision when we decided to revive the band. Previous partnerships have been great, but we wanted to have more control and stay in closer contact with every person involved in our music and the realization of the actual album. That said our last album from 2018 was also on an independent label, but Indie Recordings is perhaps the Norwegian label with the deepest roots in the metal and alternative rock scene, where we also find most of our fans. When we were presented to the possibility of joining forces with them, it felt like the natural choice. 

 


10.On a worldwide level how has the reaction been to your newer music by fans of folk and progressive music?

We feel the reception has been great! 

People seem to be really open towards Gåte and our music, and we can se that our international fan base has grown and is growing with the release of Nord 

I think the average music fan in 2022 is more open to explore new bands and new music than ever before. Something that, in addition to music in general being so available, is a great asset for an alternative band like Gåte.  



11.Where do you see the band heading into musically during the future?

This is kind of hard to verbalize, but our main goal is always to keep on growing and evolving. Through the making of Nord we opened up for a totally new way to find inspiration and explore music, and we are in phase now where we allow ourselves to experiment even more with the familiar Gåte sound.  


 

12.What are some of the bands or musical styles the band members are listening to nowadays?

As a band we have a very varied and broad taste in music across the group. But as for musical inspiration for Gåte we look towards bands like Garmarna, Wardruna, Gjallarhorn, Valravn, Heilung Kati Ran and Eivør. 



13.Does Paganism play any role in your music?

No, and we don’t consider ourselves pagan. That said we do find inspiration in the archaic, and in our cultural heritage, including elements from Norse culture and mythology. 


 

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

 

Thank you for the interview! And an even greater thank you to all the people who have listened to Gåte or are about to do so for the first time. 

I hope you will continue to follow us on our musical journey! 


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

Tuesday, February 15, 2022

Kirril Interview



 1.For those that have never heard of you before, can you tell us a little bit more about yourself and your musical project?



It's a mix of different influences, most of it would probably be best described as industrial. I gravitate a lot towards industrial, distorted, psychedelic and weird music. It is a large part of what I do.

I don't tend to stick to one genre though, I switch from project to project: I need to keep on doing things that are new for me.



2.In the last few years you have also released a great amount of material, how would you describe your musical progress over the years?


Things are a bit less lo-fi then they used to be, and I am also constantly pushing to keep making things darker, weirder. In the beginning things were very focussed on the dance floor on mostly illegal parties, after that I started studying music for 5 years and things got a bit more complex and more and more my own thing over the years.


The influences of the parties of the early days have begun to creep in again lately, combining it with the sound / body of work I have developed so far.



3.You also have a background with illegal parties and living in squats, what impact does this have on the musical style that you play?



The atmosphere of those surroundings and the way of life that comes with it influenced the sound of my music a lot and still often does.



In the very early years, uncertainty of how long we had electricity and could stay somewhere also made me learn how to make things fast and be perfectionistic about the right things and make sure it worked because it would be hard to change later.

I made a lot of quite minimalist tracks and loops, but making sure every sound worked and was the best I could make it. Then making larger collage type things out of those tracks in livesets.

Us throwing regular parties meant I could check well if something worked in large halls and such,/ got a reaction out of a crowd very early and consistently. That time learned me a lot overall



4.A lot of your song themes are inspired by dystopian topics and turbulent nightlife, can you tell us a little bit more about your interest in these topics?



It's what I see around me, it connects to how we live.



5.In the last few years you also have released a great amount of material, do you spend a great amount of your time writing and creating music?



Yes, I have worked at it almost every day for the past 17 years. That could be for just an hour or entire days.



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 work a lot on my own, but also have put out different collaborations over the years. From one on one collaborations to me leading small teams of different diverse artists.

The last three years were more solo work, but I would like to collaborate more in the future again and have been taking some steps towards that lately. trying some things with different people.



7.What are some of the best shows that you have played so far and also how would you describe your stage performance?



I have done different kinds of performances over the years. From illegal party´s in dark hallways and basements, to commercial clubs to brightly lit art gallery type environments. Sometimes with a laptop and some midi gear,everything tightly controlled and prepared. Sometimes also with just hardware, modular synths, drumcomputers and cheap guitar pedals and such, more freeform. Lately I have been moving more into combining those two different approaches.


I stil feel more comfortable in dark rooms/ larger halls where I can project large visuals, so that the focus is more on the music and the visual art than on me.



8.What are some of the record labels have you worked with on the releases so far?


In October I put out a self-titled cassette album on Tartarus Records, A Dutch metal label that has been getting more and more into releasing industrial stuff lately. On the 7th of January my Album Nocturnal was released on Revok Records, an industrial techno label based in London and Tokyo.


Most of my work before that was self released and promoted, in 2012 the American darkpsy label Anomalistic Records spread my EP Hardwired quite a bit, which was cool.



9.On a worldwide level, how has the reaction been to your music by fans of industrial, noise and other underground forms of music?



It's hard to tell sometimes this year because so much is just online, and so many events having stopped with the pandemic and all.


I´ve read some great reactions online though.


There's been some good responses in the industrial techno scene.

I was quite surprised to find my release on several release of the week lists of some notable metal blogs/ podcasts. That felt great. My music is far from metal but I do feel a connection to it/ attracted to it, especially to the really dark stuff. It´s a great scene.


It would be great to do some crossover stuff with some metal artists some day.



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



Things are going to get darker. And a lot of it more danceable, I am tired of that not being possible (at events), I miss it, it's been enough.


I also have some more slow noise/ industrial projects coming up though that are going to get very dark and weird.


I have a lot of new releases coming up, experimenting in how I can expand my body of work.


I am also working on developing more of a visual world around my music, making that a part of my live performances.




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?



I am listening an awful lot to The Weeknd to be honest, which a lot of people probably wouldn't expect. I like the world he created around his music. Also a lot of Lil Durk lately (not kiddin here)

On the other side of the spectrum I have been into more extreme noise/ experimental music like Prurient, Nurse With Wound and I´ve been listening to some stuff from the Deathbed Tapes label lately. There's some really great noise on there.

I listen to and am inspired by a quite wide spectrum of music. I like different ways of creating worlds with audio, either with or without vocalists.

I like it when underground and mainstream influences overlap and something special comes out of that. Artists that really develop their own thing.



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


Not really at the moment, I think I said most of what I could think of now.

Kirril Bandcamp
Kirril Soundcloud
Kirril Instagram
Kirril Facebook

Sunday, February 13, 2022

Sarram/Albero/Subsound Records/2021 Full Length Review

 


  Sarram  are  a  solo  project  from  Italy  that  plays  a  mixture  of  dark  ambient  and  drone  with  some  elements  of  post  rock,  electronica  and  doom  metal  and  this  is  a  review  of  his  2021  album  "Albero"  which  was  released  by  Subsound  Records.


  Distorted  soundscapes  and  drones  start  off  the  album  while  some  of  the  tracks  are  also  very  long  and  epic  in  length.  When  synths  are  utilized  they  also  bring  in  elements  of  dark  ambient  along  with  the  guitar  riffs  also  mixing  in  influences  of  doom  metal  as  well  as  adding  in  post  rock  style  melodies.


  Clean  playing  can  also  be  heard  on  one  of  the  tracks  while  each  song  also  sounds  very  different  from  each  other.  All  of  the  music  also  sticks  to  an  instrumental  direction  along  with  the  solos  and  leads  also  being  done  in  a  very  melodic  yet  atmospheric  style  when  they  are  utilized  as  well  as  some  tracks  also  adding  in  touches  of  electronica.


  Sarram  plays  a  musical  style  that  takes  dark  ambient,  drone,  doom  metal,  post  rock  and  electronica  and  mixes  them  together  to  create  a  sound  of  his  own  as  well  as  keeping  everything  instrumental  while  the  production  sounds  very  dark.


  In  my  opinion  Sarram  are  a  very  great  sounding  mixture  of  dark  ambient  and  drone  with  some  elements  of  doom  metal,  post  rock  and  electronica  and  if  you  are  a  fan  of  those  musical  genres,  you  should  check  out  this  solo  project.  RECOMMENDED  TRACKS  INCLUDE  "Heavy  Sleep"  "Diving  Deep"  and  "The  Far  Side  Of  The  Moon".  8  out  of  10.


ttps://www.facebook.com/sarramproject/
https://www.instagram.com/valosarram/

https://sarram.bandcamp.com/      

Saturday, February 12, 2022

Picture Ann/(Missings And Captures)/Floodgate Moods Productions/2022 Full Length Review

 


  Norway's  solo  project  Picture  Ann  has  returned  with  a  new  recording  which  shows  the  music  going  for  a  mixture  of  experimental,  lo-fi  ambient  and  doom  metal  and  this  is  a  review  of  his  2022  album  (Missings  And  Captures)"  which  was  released  by  Floodgate  Moods  Productions.


  Dark  soundscapes  start  off  the  album  while  clean  playing  can  also  be  heard  quite  a  bit  throughout  the  recording.  When  synths  are  utilized  they  also  bring  in  elements  of  ambient  along  with  a  great  portion  of  the  tracks  being  very  long  and  epic  in  length  and  the  heavier  sections  of  the  songs  also  bring  in  the  heaviness  of  doom  metal.


  At  times  the  music  also  gets  very  lo-fi  sounding  while  the  solos  and  leads  are  also  done  in  a  very  melodic  style.  Melodies  are  also  added  into  some  of  the  guitar  riffing  along  with  the  solos  and  leads  also  being  done  in  a  very  melodic  style  when  they  are  utilized  as  well  as  all  of  the  drum  beats  also  being  programmed.  


  All  of  the  tracks  also  sound  different  from  each  other  along  with  one  track  also  adding  in  whispered  vocals  which  also  adds  in  touches  of  black  metal  as  well  as  most  of  the  songs  also  being  instrumentals  and  all  of  the  music  sticks  to  a  slower  direction  while  the  production  sounds  very  dark  and  lo-fi.


  In  my  opinion  this  is  another  great  sounding  recording  from  Picture  Ann  and  if  you  are  a  fan  of  experimental,  lo-fi  ambient  and  doom  metal,  you  should  check  out  this  album.  RECOMMENDED  TRACKS  INCLUDE  "This  Man's  Rusty  Tomb"  and  "A  Lousy  Funeral  For  Iris".  8  out  of  10.



Sataray/Blood Trine Moon/Scry Recordings/2022 EP Review

 


  Olympia,  Washington's  Sataray  has  returned  with  a  new  recording  which  shows  the  music  going  for  a  ritualistic  form  of  dark  ambient  with  elements  of  harsh  industrial  and  dungeon  synth  and  this  is  a  review  of  her  2022  ep  "Blood  Trine  Moon"  which  was  released  by  Scry  Recordings.


  Ritualistic  soundscapes  start  off  the  ep  while  the  synths  also  bring  in  elements  of  dark  ambient  and  dungeon  synth  as  well  as  using  a  variety  of  many  different  sounding  keys  along  with  a  couple  of  the  songs  also  being  very  long  and  epic  in  length  and  whispered  vocals can  also b e  heard  on  a  couple  of  tracks. 


  All  of  the  tracks  also  sound  very  different  from  each  other  while  one  song  also  introduces  melodic  vocals  onto  the  recording.  Touches  of  industrial  can  also  be  heard  at  times  and  all  of  the  music  sticks  to  a  very  slow  yet  ritualistic  direction.


  On  this  recording  Sataray  takes  dark  ambient,  dungeon  synth,  industrial  and  ritual  to  create  something  very  different  from  her  previous  releases.  The  production  sounds  very  dark  while  the  lyrics  cover  occult  explorations  of  the  natural  world.


  In  my  opinion  this  is  another  great  sounding  recording  from  Sataray  and  if  you  are  a  fan  of  dark  ambient,  dungeon  synth,  harsh  industrial  and  ritual,  you  should  check  out  this  ep.  RECOMMENDED  TRACKS  INCLUDE  "Astara"  and  "Hexennacht".  8  out  of  10.


http://www.facebook.com/sataray7

http://www.soundcloud.com/sataray     

Okeano/Ocean Highway/Submersion Records/2022 Full Length Review

 


  Okeano  are  a  band  from  Greece  that  plays  a  mixture  of  ambient,  soundtrack  and  drone  and  this  is  a  review  of  their  2022  album  "Ocean  Highway"  which  was  released  by  Submersion  Records.


  Atmospheric  sounding  drones  start  off  the  album  along  with  some  female  vocals  a  few  seconds  later.   Some  of  the  tracks  are  also  very  long  and  epic  in  length  while  tragic  sounding  pianos  can  also  be  heard  at  times  as  well  as  clean  guitars  also  being  utilized  quite  a  bit  throughout  the  recording  and  the  music  also  captures  the  atmosphere  of  a  film  soundtrack.


  When  synths  are  utilized  they  also  bring  in  elements  of  ambient  while  all  of  the  tracks  also  sound  very  different  from  each  other.  At  times  the  music  also  gets  very  experimental  sounding  along  with  some  songs  also  adding  in  a  small  amount  of  spoken  word  parts,  the  drum  beats  also  give  the  songs  more  of  a  tribal  feeling  when  they  are utilized  and  as  the  album  progresses  a  brief  use  of  electric  guitars  can  also  be  heard.  


  Okeano  plays  a  musical  style  that  takes  ambient,  soundtrack,  drone  and  experimental  and  mixes  them  together  to  create  a  sound  of  their  own.  The  production  sounds  very  dark  while  the  lyrics  cover  the  ocean,  dreams  and  poetry  themes.


  In  my  opinion  Okeano  are  a  very  great  sounding  mixture  of  ambient,  soundtrack,  drone  and  experimental  and  if  you  are  a  fan  of  those  musical  genres,  you  should  check  out  this  band.  RECOMMENDED  TRACKS  INCLUDE  "A  Unicorn"  "Genesi"  and  "Mariana  Trench".  8  out  of  10.


https://open.spotify.com/playlist/6MkGsgibq0DXsq5Mfsg2PH?si=32b84dc476514494


 

https://www.facebook.com/okeanoband

https://www.instagram.com/okeano_band/  

Monday, February 7, 2022

Violenţă Domestică Interview

 

1. For those that have never heard of you before, can you tell us a little bit about your solo project?


After some unsuccessful tries, which are not worth a mention, Violență Domestică started in 2004 after I came into possession of some cheap music software and started recording my ideas. It was only a hobby project with some EPs and singles released and only became more "serious" after I quit my regular job in 2018. By that time I had collected many sketches and also found a perfect way to realize the ideas, so I had to finally make a dream come true and release the first full length album. I've invested a lot of time and money in "Cephalaea" and I'm very happy about the outcome. It was even released on vinyl in two different colors.


So Violență Domestică was and always will be my project. There is no masterplan and I don't expect much. I only want to create sounds I like and hopefully some other people enjoy them too. And by the way, I don't call myself a musician.


2. In November you had released a new split. Musically how does it differ from the stuff you have released in the past?


The EP "Zerfall" (Decomposition), which is on the split album with Mossadeq's "Czech" EP, has more accessible structures and less experiments. I wanted to try a more straightforward path. The songs still can't be called "conventional" though... Also, "Cephalaea" contained all the ideas I've gathered over more than 10 years, whereas the new EP was completely fresh and made from scratch.


3. Can you tell us a little bit more about the artwork that is presented on "Zerfall"?


Well, there's not much to explain, it's just pictures of some skeletons taken by me in Herculaneum/Italy. They are victims of the volcanic eruption in 79 AD. I just thought it fits the short story I'm telling in the songs. On the inside of the digisleeve there's a pic of me as a baby, so I think the message is pretty obvious.


The artwork for the debut album "Cephalaea" is more complex, but I don't think I want to explain that one.


4. What are your thoughts of Mossadeq, the other project that participated on the split album?


Mossadeq also consists of one guy only. His name is Cle. Cle founded a label at the beginning of 2020 and has released some pretty cool stuff from bands of different genres. In his music he also mixes a lot of genres and I like that. And unlike me, he can play many instruments.


The reason for our split album was a spontaneous idea we had while picking up the vinyl pressings of Mossadeq's album "Hospital", to which I contributed the intro and outro and also the artwork. We both have a one man music project, a small label and very similar views on many things, so we thought joining forces on a release would be a nice idea.



5. From 2011 to 2018 there was no new music being released, can you tell us a little bit more about what was going on during that time frame?


After some EPs and singles I lost interest in making music, mainly because it was very time consuming to concentrate on the details, the hardware and the software. I wanted it to be more perfect and sophisticated and I didn't know how exactly, so I stopped after some frustration with a very good but complicated hardware/software system. I focused on other types of art, as well as album covers, layouts and music videos for various bands. At some point I realized that I don't need the most complex tools to create what I wanted to, so I've perfected what I already learned and just started working on the album again, without expectations or a plan. By time everything fell together and it worked and, most important, I had fun doing it.


6. What is the meaning and inspiration behind the name 'Violență Domestică'?


Violență Domestică means domestic violence in Romanian. It was inspired by things I've seen in my surroundings but also by movies or other band's lyrics, though the main reason for the name was because it's "home made and violent". The Mr. Bungle song "Violenza Domestica" was also a reason for the naming, as far as I remember.


7. What are some of the lyrical topics and subjects you have explored over the years with your music?


Until last years EP it was mainly such subjects as conflict between men and women, with everything included: perversions, abuse, rape, murder, suicide... "Zerfall" is a story about getting older in a diseased world without accomplishing anything valuable and wishing to end it all. On the second full length album, which is pretty much developed, it will be about types of people I can't stand, again also including weak disgusting men who abuse women. Just to be clear: My music, images and lyrics are not meant to glorify this shit! I admit, it's not easy to get the message, but I hate people like wife beaters, child abusers and similar scum.


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


I did everything by myself, except for the guitars. They were always recorded by friends of mine because I'm too stupid to play an instrument. But at least I "wrote" the riffs. Also the mastering on the last two releases was made by a professional, Greg Chandler from Priory Recording Studios, who also plays in Esoteric amongst other bands. I also did some remixes and small collaborations with other bands, but on their songs and albums, not on mine. I would like to work with others, but until now there was no opportunity. But working solo is very relaxing and I don't have to compromise on anything, so I'm happy about that.


9. Most of your music has been released through 'Teratogen', can you tell us a little bit more about this label?


Teratogen is my label. Actually it's not only a label but the brand for everything I do. In 2017 I released the first album by another artist, it was a blackened Death Metal band called Seduced. Since then I have released some other stuff too, mainly albums with my artwork on them. I don't plan to make the label side bigger, I only want to release some nice stuff I'm involved in from time to time.


By the way, a teratogen is any medicine, chemical, infectious disease or environmental agent that could interfere with the development of a fetus during pregnancy. Exposure to a teratogen may result in the loss of the pregnancy, a birth defect or pregnancy complications. Common teratogens are alcohol and cigarettes for example, and Violență Domestică's music was meant to be a new one.


10. On a worldwide level how has the reaction been to your music by fans of noise, experimental and electronic music?


Well, "worldwide level" is a little exaggerated. I had some nice reviews from some parts of the world but my music made no significant impact whatsoever. I'm just happy that there were no shitty or hateful reviews, because I'm sure that many people would hate my stuff, even fans of electronic music. Maybe I should promote it more, but I think it's niche music, not electronic enough for electronic music fans, not Metal enough for Metal fans and so on...


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


As I said above, I have no expectations and no concrete plans. I just want to have fun as long as possible. I would love to see my stuff released by a label like Metropolis for example, but I don't think it will ever happen. I actually don't want to make money, just someone who helps me spread the music around. Not losing money would be the first main goal, hehe... Until now I only got half of the money I paid for the last two releases back.


12. 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?


I'm sure it's not recognizable, but the project was inspired by inventive music like Ministry, Ulver, Laibach and Mike Patton's projects. I'm more of a (almost all kinds of) Metal fan but even if I had a "traditional" band it would sound more or less like it does now, only with more instruments added. I don't want to recreate what others have already perfected in the past over and over again.


I have many favorite bands and I'm still trying to discover new ones and stay up to date in all the genres, which is almost impossible. Besides the aforementioned bands, I love Iron Maiden, Pink Floyd, Godflesh, Skinny Puppy, Velvet Acid Christ and many many more.


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


Thanks a lot for this! This was the first Violență Domestică interview ever, so I hope it was a good read. If you got curious, check out www.teratogen.at and www.facebook.com/teratogen for much more of my stuff. Also all my digital releases are available for free at violentadomestica.bandcamp.com, so feel free to grab them.


Cheers!


Dr.Winter



Tuesday, January 18, 2022

Sulphur Nurse/Roopkund/Tartarus Records/2022 Cassette Review

 


  Sulphur  Nurse  are  an  international  band  with  members  from  Lung  Knots,  Catafalque  and  Clawing  and  play  a  mixture  of  experimental,  industrial  and  noise  and  this  is  a  review  of  their  2022  album  "RoopKund"  which  will  be  released  in  February  on  cassette  by  Tartarus  Records.


  Power  electronic  and  grim  spoken  word  parts  start  off  the  album  and  also  adds  in  a  touch  of  black  metal.  Harsh  noises  and  programmed  beats  are  also  utilized  quite  a  bit  throughout  the  recording  while  the  songs  also  give  the  songs  more  of  an  atmospheric  feeling  when  they  are  utilized  and  the  music  also  has  its  experimental  moments.


  Elements  of  industrial  are  also  used  quite  a  bit  throughout  the  recording  while  each  song  also  sounds  very  different  from  each  other.  Tortured  voices  can  also  be  heard  briefly  along  with  the  aggressive  vocals  bringing  in  more  of  an  early  90's  industrial  metal  vibe  when  they  are  utilized  as  well  as  some  high  pitched  screams  also  being  added  on  a  couple  of  tracks,  a  couple  of  songs  are  also  long  and  epic  in  length.


  Sulphur  Nurse  plays  a  musical  style  that  takes  experimental,  harsh  noise  and  industrial  and  mixes  it  with  a  touch  of  black  metal  to  create  a  sound  of  their  own.  The  production  sounds  very  dark  while  the  lyrics  cover  real  life  horror  stories.


  In  my  opinion  Sulphur  Nurse  are  a  very  great  sounding  mixture  of  experimental,  harsh  noise  and  industrial  and  if  you  are  a  fan  of  those  musical  genres,  you  should  check  out  this  band.  RECOMMENDED  TRACKS  INCLUDE  "A  Headless  Body  in  A  Cave  Near  Idaho"  "The  Vaults  Of   Myrrh"  and  "Trapdoor  Gait".  8  out  of  10.


Sulphur Nurse Bandcamp
Sulphur Nurse Facebook

Sulphur Nurse Instagram   


    

Knullkompis/Crepuscular Entity/Basement Corner Emissions/2022 Split Album Review

 


  This  is  a  review  of  a  split  album  between  Finland's  Knullkompus  and  U.S.A's  Crepusculae  Entity  which  was  released  by  Basement  Corner  Emissions  and  we  will  start  off  the  review  with  Knullkompis  who  returns  with  a  mixture  of  experimental,  industrial  and  harsh  noise.


  His  side  of  the  split  starts  out  with  some  programmed  beats  and  power  electronics  while  also  adding  in  some  elements  of  industrial.  Harsh  noises  can  also  be  heard  at  times  while  most  of  his  tracks  are  also  very  long  and  epic  in  length  along  with  the  calmer  sections  of  the  songs  going  into  more  of  an  experimental  direction.  


 Synths  are  also  added  into  some  parts  of  the  music  along  with  most of  the  track  also  sticking  to  an  instrumental  direction  as  well  as  a  couple  minutes  of  silence  also  being  utilized,  all  of  the  songs  also  sound  different  from  each  other  and  one  song  shows  the  music  going  into  more  of  an  apocalyptic  direction,  spoken  word  parts  can  be  heard  briefly  and  the  production  sounds  very  dark.


  In  my  opinion  this  is  another  great  sounding  recording  from  Knullkompis  and  if  you  are  a  fan  of  experimental,  industrial  and  harsh  noise,  you  should  check  out  this  side  of  the  split.  RECOMMENDED  TRACK  "Bite  The  Pillow.


  Next  up  is  Crepscular  Entity  who  returns  with  a  mixture  of  experimental  and  harsh  noise.


  His  side  of  the  split  starts  out  with  some  harsh  noises  which  also  get  very  diverse  sounding  at  times  and  experimental  soundscapes  while  also  mixing  in  a  great  amount  of  power  electronics.  All  of  his  tracks  are  also  very  long  and  epic  in  length  along  with  each  song  also  sounding  very  different  from  each  other  as  well  as  always  sticking  to  an  instrumental  direction  and  the  production  sounds  very  dark.


  In  my  opinion  this  is  another  great  sounding  recording  from  Crepscular  Entiry  and  if  you  are  a  fan  of  experimental  and  harsh  noise,  you  should  check  out  his  side  of  the  split.  RECOMMENDED  TRACK  "Raw  Meat  Serenade".


  In  conclusion  I  feel  this  is  a  very  great  sounding  split  and  I  would  recommend  it  to  all  fans  of  experimental  and  harsh  noise.  8  out  of  10.


  https://basementcorner.bandcamp.com/album/knullkompis-crepuscular-entity     

Tuesday, January 11, 2022

Regen Graves/Climax/Pariah Child/Yoshiwara Collective/2021 CD Review

 


  Regen  Graves  are  a  solo  project  from  Italy  with  a  member  from  Abysmal  Grief  and  plays  a  mixture  of  dark  ambient  and  noise  and  this  is  a  review  of  his  2021  album  "Climax"  which  was  released  as  a  joint  effort  between  Pariah  Child  and  Yoshiwara  Collective.


  An  almost  silent  sound  starts  off  the  album  before  adding  in  some  dark  ambient  orientated  soundscapes.  Synths  are  also  a  very  huge  part  of  the  recording  as  well  as  adding  in  a  variety  of  many  different  sounding  keys  while  some  of  the  tracks  are  also  very  long  and  epic  in  length  and  spoken  word  parts  are  also  added  on  a  couple  of  songs.


  Electronic  sounds  are  also  utilized  quite  a  bit  throughout  the  recording  while  programmed  beats  and  noises  are  also  added  into  some  parts  of  the  recording.  At  times  the  music  also  captures  the  atmosphere  of  a  horror  movie  soundtrack  along  with  all  of  the  songs  also  sounding  very  different  from  each  other  and  most  of  the  music  is  also  instrumental,  electric  guitars  can  also  be  heard  on  the  closing  song.


  Regen  Graves  plays  a  musical  style  that  takes  dark  ambient  soundscapes,  noise  and  electronic  music  and  mixes  them  together   to  create  a  sound  of  his  own  while  the  production  sounds  very  dark  and lo-fi.


  In  my  opinion  Regen  Graves  are  a  very  great  sounding  mixture  of  dark  ambient  and  noise  and  if  you  are  a  fan  of  those  musical  genres,  you  should  check  out  this  solo  project.  RECOMMENDED  TRACKS  INCLUDE  "The  Last  Stage  Of  Decline"  and  "Nothing  Will  Be  Better".  8  out  of  10.


  https://regengraves.bandcamp.com/album/climax


     

1695 Interview

 

1. For those that have never heard of you before, can you tell us a little bit more about the solo project?


1695 is a manifestation of imaginations and thoughts gone havoc and as a result creating weird sound patterns - sometimes soothing, other times disturbing. 


The music of the album was born in the lockdown spring of 2020. During the long hours at home I listened to quite a lot of dark ambient. Since the work with my regular metal and folk bands had also slowed down I decided to use the time for some individual exercises in creativity. So once a week I went to the rehearsal room/studio without special preparations to force my creation – with the help of the various instruments lying around – to come up with all kinds of soundscapes and other absurdities. The sessions gave birth to the album “Lennud loojangusse / Flights to Dusk” which is my first and so far the only official release as a solo artist.


 


2. You released an album a few months ago, can you tell us a little bit more about the musical style that you went for on the recording?


I had thought about launching a ritualistic ambient project for a long time, so now the stars were finally right for this endeavor. But to gather all the songs under the banner of a single genre name is a tricky task. The music itself meanders from a pretty much classical dungeon synth to the metallic dark folk with brief deviations to the world of hectic noise or - on the contrary - strictly organised choir harmonies. The common themes would be a slow flow, liminal journeys over landscapes (both physical and spiritual) and melancholic darkness.


 


3. You also have experience playing in metal bands, how would you compare your solo stuff to the material you have released with your metal bands?


Most of my work with the metal bands like Langenu, Ulguränd and Swarn is predominantly much faster compared to my solo stuff. Doing different things from time to time helps to keep the spring of creativity fresh and flowing. 


I must admit, I probably have more bands than I can handle but they are all quite different from each other. Langenu falls into the pit of experimental and avant garde’ish black metal, Ulguränd has vowed loyalty to a blackened heavy metal and the songs about distant history, while Swarn is a rather straightforward occult death metal. 


Besides them I also play in a number of acoustic folk bands, so I cannot really complain about the lack of musical variety in my modest life.


 


4. A lot of your song themes focus on 'Gregorian Traditions', can you tell us a little bit more about your interest in this topic?


Only one song, “Põhjakaar / The North Arc” is directly referring to the traditions of the Gregorian chant. It’s one of the two songs in a capella arrangement and the lyrics of it, although containing just two words, are in Latin. I am not quite a choir singer material myself - maybe because of the deep rooted individualism - but it was interesting to put different layers of harmony together and see how it sounds. The outcome was pretty satisfying and gives an idea what a choir of a dozen clones of me could sound like if there was one. 


 


5. What is the meaning and inspiration behind the name '1695'?


I came up with my artist name ’1695’ about 15 years ago or so when I began to play in a black metal Langenu. I got seduced by the name of the Norwegian band 1349. Just to think of it – an artist name which is simply a sequence of numbers! 1349 happened to be the year of the outburst of Black Death in Norway, so I began looking for a similarly drastic event in the history of Estonia. 1695 was the first of the three infamous years of crop failure that culminated with a great famine. Ca 20% of the Estonian population died – altogether about 70 000–75 000 people, especially the old and weak.


Modern metal music in general seems to be pretty obsessed with the heroic side of history. Fighting in battles, crushing one’s enemies, hearing the lamentation of their women… You get the point. Natural disasters like plagues, famines, droughts etc on the other hand may easily nullify all the human goals and therefore have great power over our vanity. ’1695’ stands as a grim reminder of this.


 


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


The songs were all born in the time of twilight – hence the album name „Flights to Dusk“. Every time I went to record another piece I rode across the river Emajõgi that flows through my hometown of Tartu, Estonia. The dusk colours of the sky and their reflection on the water surface of the river inspired the overall feeling of the music to a large extent. When having to decide how to visualize the essence of the music on the album artwork the evening colours of the river were the number one choice. The walks to the river offered wonderful spectacles of the twilight; I am glad that I managed to capture some of these valuable moments in the photos. 




7. With this project you record everything by yourself but have experience with full line up's, which one do you prefer?


Every combination has its pros and cons. The full line ups help to create music as a group and every member can have an input to the whole. An artist who creates everything alone doesn’t have to (and cannot) rely much on anyone else. My solo works are therefore deliberately mostly much more minimalist than the songs of the actual bands. In a way things got done much faster than with a full line up band which needs a period of rehearsing and discussing things through. But on the other hand, doing things alone may sometimes give one-sided results which may lack a certain depth.


Anyway, imperfection is something that 1695 as an idea strongly stands for.


 


8. The album was released on 'Warhorn Records'. how did you get in contact with this label?


Kruxator, the brains and the musculature behind Warhorn Records is a good friend of mine and a real powerhouse of the whole Tartu metal scene. He happened to hear the songs at my place and immediately found this suitable for being released via the label. The rest of the process was fairly easy – we prepared the songs and the artwork and the rest is history.


 


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


The album has not reached any top list and I would have been very surprised if it had. It was intended to belong to the shrouded underground spheres with very little availability and it has faithfully remained there. So I haven’t gotten a huge wave of reaction from the wide world. However, the people who have listened to the music in a bit deeper manner have said some positive words and this is enough to keep me motivated. 


There have even been some (not really serious) suggestions to go live with the material but I don’t believe this will be done in this aeon.




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


In the near future I hope to focus more on the possibilities of the classical guitar. Maybe the next album under the name of 1695 will also be much more acoustic and lyric. Still, the dark beauty is what I see as the most important in my works, despite the concrete ways to express it. And I will definitely continue with my passion for metal as well. 




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?


The album “Lennud loojangusse / Flights to Dusk” itself got its first actual impulse when I was listening to a Mortiis album “Født til å Herske” (1994). From that came the longest song of my album “Värvi loojang oma hingeverega / Paint The Dusk With The Blood Of Your Soul” which is the most dungeon synth-ish thing I’ve ever done. Much of the rest of the material owes to the dark neofolk - acts like Seventh Harmonic, Tervahäät, Sol Invictus, Current 93 etc. There used to be an annual festival called Darkland Fire here in Estonia that introduced these kinds of artists to the local audience - that’s where I got acquainted with this mystical genre. Since my profession and lifestyle involve a lot of writing (mostly history and music related texts), calm ambient-like music helps a lot in keeping my thoughts focused.


Besides all of this, I am a keen admirer of the black metal bands, especially like Emperor, Dødheimsgard, Drottnar and so on. Their ambitious compositions which blend harmony and dissonance have shaped me as a creator a lot. Also, the innovation of the early hard rock / heavy metal pioneers like Deep Purple or Black Sabbath should never be forgotten. Their legacy is simply immeasurable.




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


Never get tired of searching for new things in the world, whether it is music or knowledge about something or whatever! The best and most valuable things are usually hidden under the crust of shiny nonsense. Take a deeper look and drown yourself into it - it’s all worth it! 

https://www.youtube.com/watch?v=F2x_yKC2ub4

Sunday, January 9, 2022

Bank Myna Interview

 

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


Hi John, hi everyone! Since the recording, we have been 100% involved in the live set. Spoiler alert: we’ll play with a drummer instead of a beat-box to give more power and loudness to the music. More news soon! 


 


2.In 2022 you have a new album coming out, musically how does it differ from the stuff you have released in the past?


The first EP always feels like a collection of songs more than something really thought of as a concept. And indeed, we feel like our first EP lacked some coherence. It was just like a flower that had not really had the chance to bloom, in a way. But we’ve really “grown up musically” since then, and that’s somehow good news because it was 6 years ago! We’ve also reached a kind of alchemy, playing together as a band for several years. 


There was also a turning point in 2019, when our drummer left Paris and the band. We had no rhythmic basis anymore and we probably really tried to turn this constraint into something challenging. We started writing ambient-drone music and really pushed the experimental aspect, with the use of an old clock but also a “noise box” Daniel created with strings, spirals and contact microphones connected to guitar pedals. We feel like we’ve pushed the experimental/creative card to the max of our means. What we’ve obtained is something much darker than before, much less conventional, somehow still accessible… We really feel like this record finally sounds like us.


 


3.What are some of the lyrical topics and subjects the band explores with the newer release and also how would you describe your progress as songwriters over the years?


It is overall a very introspective album. We wanted to conceive it as a dive into someone’s sleeping subconscious. It is quite dreamlike, one could say. It is like being drowned into your own thoughts or stuck in a mystical or ritualistic journey where your consciousness is altered. The lyrics of the different tracks echo each other and you can really read it like a story with a beginning and an end, throughout the album. However, we did not go really deep lyrically speaking. We wanted it to sound like messy thoughts. It does not always make a lot of sense, it’s not always clear-cut. We think words, vocals and instruments walk hand in hand in this record. At least, that was our main goal.


 


4.What is the meaning and inspiration behind the name 'Bank Myna'?


We were looking for a name related to nature, open spaces and travel because we all migrated to Paris and none of us were born there. We thought a migratory bird could be a good fit so we looked for bird names that we liked. We chose bank myna bird (even if it doesn’t migrate…) because at the time it was the lesser evil of the ideas we had. So there is no exciting story behind it but it grew on us. We’re now quite happy with it: it’s us! 


 


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


We opened for Big/Brave in 2018 and were absolutely thrilled by it. We got to know their drummer called Louis-Alexandre. He turned out to be a great graphic designer and we had been following his work ever since. We were really eager to work with him on this! We asked him for a monochrome visual because that’s how we feel the album “looks” like. Other than that, we sent him the tracks and gave him complete freedom. We really love how he translated this into an artwork! It really shows the “bumpy journey towards the subconscious feel” we wanted to get. 


 


6.What are some of the best shows that the band has played over the years and also how would you describe your stage performance?


We remember our show in Dijon (east of France) at Café de l’Univers. The place looked really shady and we were quite unsure we were going to perform at all because we had only had a phone confirmation for the show. When we got there on the time previously agreed on, the place was closed with, apparently no-one inside. We rang the bell and some funny looking man opened the first floor window half asleep and wearing a dressing gown. That wasn’t the most welcoming hello! We set up our gear in the basement later on, not sure anyone would show up. Not that many people did but we performed anyway and it was the warmest, loudest audience ever!! It turned out to be a really good night.


The other show we want to mention is the Post in Paris festival in 2019. It was not long after our drummer left the band. We only had 2 months to write new songs (complete madness knowing we needed several years to complete our first EP!!), with new gear, new instruments (a glockenspiel, a clock, a sampler…) for a great festival. We were so anxious before starting to perform. It was a complete leap into the unknown! But we took our courage in both hands with a great urge to write a new page to our story. 


To be frank, we really couldn’t describe our current live set as we haven’t played in almost two years but over time, we’ve tried to build something really immersive and to really translate our alchemy to the audience. We are not sure we have really reached our full potential in that matter but we’re working on it for the next shows.


 


7.The new album is going to be released through a variety of many different labels, can you tell us a little bit more about the record labels you are working with on the new release?


The first one that was on board was Araki Records. Simon contacted us a long time ago to let us know that he was interested in hearing our new material. He jumped at the chance when he saw on our social networks that we were about to start recording.


When he had a first pre-mix, we sent it to other labels we thought could be interested. Stellar Frequencies, Cold Dark Matter Records, Duality Records and A la dérive records all agreed to work with us with a lot of enthusiasm. Today we are so glad that these five labels trusted us enough to help us release this LP. All of them offer really great support whether it be financial, of course, but also with bookings, promo, distribution. It’s so great to be surrounded with people who are really involved and take our music to heart. 


 


8.On a worldwide level how has the reaction been to your music by fans of drone and post rock?


It’s maybe early to have an idea as for the time being we have only released 1 song, so far we are quite happy of the feedback we received.


As you say, it’s pretty hard to tell because we’ve only recently started promoting our soon to be released record. We feel like the press and webzines have been quite enthusiastic Aurora (Vi ska sova), got released in December. We’ve had a number of broadcasts on radios all over the world, from California to Australia, a number of really fine reviews too, just like yours! We have never had this kind of exposure before. It’s quite heartwarming to know that our music resonates with some people.


 


9.Where do you see the band heading into musically during the future?


Maybe for the first time, the three of us have a common artistic direction we want to follow. It will be a continuation of what we have done with VOLAVERUNT but with drums so it’ll most probably sound heavier and louder. 


We also really dig the experimental side of our music that we feel we can also explore more deeply. 


 


10.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?


To name a few, we are obsessed with Oiseaux-Tempête (and the like - Foudre!, Saaad, Mondkopf), Anna von Hausswolff, Swans. Year of no light also released an insane record last year.


We also listen compulsively to our friends’ records: Echo says echo, Nordkapp, Frise Lumière, Alpha du Centaure… looking forward to Orbel’s next release as well.


 


11.What are some of your non musical interests?


Maud: I love photography. Recently, I’ve really enjoyed Daido Moriyama and Shomei Tomatsu’s works that were exhibited at the Maison Européenne de la Photographie in Paris. There’s a dichotomy between shadow & light that I find really similar to music and especially post-rock music. I’m overall really into visual arts. Whenever I’m fed up with music, I switch to photography / drawing (spoiler alert: I am not close to being good at it but I really enjoy it!) and recently I got really into linocutting, hoping to make Bank Myna’s DIY merch!


 


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


Thank you for your support. It might sound really unoriginal but it’s sincere. We really hope some people will get into our record and feel just as much heart and effort we poured into it!



 Linktr.ee/bankmyna

Thursday, January 6, 2022

FrazyL/Mon Odyssee/Epictronic/2022 Full Length Review

 


  FrazyL  are  a  solo  project  from  Quebec,  Canada  that  plays  a  mixture  of  dark  ambient,  dungeon  synth  and  neo-classical  and  this  is  a  review  of  his  2022  album  "Mon  ODyssee"  which  will  be  released  on  January  21st  by  Epictronic.


  Ocean  sounds  start  off  the  album  along  with  some  dungeon  synth  style  keyboards  a  few  seconds  later  which  also  add  in  a  variety  of  many  different  sounding  keys.  All  of  the  drum  beats  are  also  programmed  along  with  the  songs  also  adding  in  a  great  amount  of  dark  ambient  and  neo-classical  elements.


  All  of  the  music  is  also  instrumental  while  all  of  the  tracks  also  sound  very  different  from  each  other.  On  some  tracks  while  the  keyboards  also  bring  in  a  more  tragic  style  at  times  along  with  the  music  also  capturing  the  atmosphere  of  a  movie  soundtrack  in  certain  sections  of  the  recording  and  few  tracks  also  being  very  long  and  epic  in  length  and  as  the  album  progresses  a  brief  use  of  electric  guitars  can  also  be  heard  and  towards  the  end  a  small  amount  of  spoken  word  parts  are  also  utilized.


  FrazyL  plays  a  musical  style  that  takes  dark  ambient,  dungeon  synth  and  neo-classical  and  mixes  them  together  to  create  a  sound  of  his  own  as  well  as  keeping  everything  instrumental.  The  production  sounds  very  dark  while  the  song  themes  focus  on  Homer's  "The  Odyssey",  Greek,  Celtic  and  Norse  Mythology.  


  In  my  opinion  FrazyL  are  a  very  great  sounding  mixture  of  dark  ambient,  dungeon  synth  and  neo-classical  and  if  you  are  a  fan  of  those  musical  genres,  you  should  check  out  this  solo  project.  RECOMMENDED  TRACKS  INCLUDE  "L’Initiation  Mystique  d’Odin"  "Prière  en Nouvelle-France"  and  "Orphée,  Eurydice  &  les  Lamelles  d’Or".  8  out  of  10.


https://www.facebook.com/Frazyl/      

Monday, January 3, 2022

Hiemis/Zothique/Noctivagant/2021 CD Review

 


  Spain's  solo  project  Hiemis  has  returned  with  a  new  recording  which  shows  the  music  going  for  more  of  a  mixture  of  dark  ambient,  drone  and  ritual  and  this  is  a  review  of  his  2021  album  "Zothique"  which  was  released  by  Noctivagant.


  Atmospheric  sounding  drones  start  off  the  album  while  the  synths  also  bring  in  a  great  amount  of  dark  ambient  elements  and  a  variety  of  many  different  sounding  keys.  When  percussion  is  utilized  they  also  give  the  music  more  of  a  tribal,  shamanistic  and  ritualistic  feeling  and  chants  can  also  be  heard  briefly.


  Night  sounds  and  fire  burning  can  also  be  heard  briefly  while  all  of  the  tracks  also  sound  very  different  from  each  other.  Most  of  the  music  is  also  instrumental  along  with  one  track  also  adding  in  a  breath  use  of  water  sounds,  as  the  album  progresses  some  of  the  songs  also  start  getting  very  long  and  epic  in  length.


  On  this  recording  Hiemis  takes  dark  ambient,  drone  and  ritual  and  mixes  them  together  to  create  a  very  diverse  yet  occult  orientated  album.  The  production  sounds  very  dark  while  the  song  themes  focus  on  Theosophy  and  Clark  Ashton  Smith's  Lovecraftian  mythos  and  Lost  Continent  Stories.


  In  my  opinion  this  is  another  great  sounding  recording  from  Hiemis  and  if  you  are  a  fan  of  dark  ambient,  drone  and  ritual,  you  should  check  out  this  album.  RECOMMENDED  TRACKS  INCLUDE  "Cincor"  "Sotar"  "Zul'Bha'Sair"  and  "Chaon  Gacca".  8  out  of  10.


https://noctivagantcollective.bandcamp.com/album/zothique