Sunday, 9 May 2021

Dark Ambient Review: Behind the Veil of Black Stars

Dark Ambient Review: Behind the Veil of Black Stars


Review By Casey Douglass



Behind the Veil of Black Stars
Album cover

In my recent interview with Scott Lawlor, we touched on the topic of ambientonline.org’s One Sample Dare Challenges, contests in which the composers must use only one sample to create their musical piece. Scott recently released Behind the Veil of Black Stars, a slice of dark space ambient that was created for one of these challenges. The album consists of three, twenty to thirty minute tracks, each of which conjures up the bleak indifference of space in its own way. My favourite track is No Place To Land, and one of the main notes I wrote about it was “Recipe for agitation?” You'll see why.

No Place To Land begins with a low, gradual sound, a little like wind blowing along a plastic tunnel. It winds upwards and begins to rasp with a sharpness to its edge not long after. A shrill sound emerges, which to me, seemed like a flock of jackdaws settling for the night. The track starts to feel as if it has a mechanical underpinning not long after this, which I think is confirmed by the siren-like sound that comes after.

The siren tone arrives at about the three minute mark, and it feels like it agitates the soundscape. It also cements the impression that the rest of the track gave me, which was of a spaceship trying to land on a barren planet, but each time that it gets near to the ground, it spies some reason as to why it shouldn’t land. The track lifts and falls, rises and descends, over and over. You feel like you can hear engines winding down and surging upwards with each failed attempt, and that very much sets the scene for the remainder of the track.

I liked the uneasiness that No Place To Land seemed to bring about in my mind. It wasn’t too harsh or uncomfortable, but as someone who knows how his brain feels when his OCD has tripped him up with rumination and anxiety, No Place To Land approximates this unsettled feeling, but in a much more mellow way. It’s like a dark, space-based Groundhog Day, but with subtle changes as it plays out.

There is much to enjoy in the other tracks too. Behind The Veil of Stars is a track that seems to shimmer and boil with static, drone and an ominous feeling of vast depth and distance. Unquiet Spirits Wandering a Dying Planet flicks bubbling tones and electronic warbles from ear to ear in the first half, yet settles into a deeper, “plane flying over your head” droning space for the second half, which I must admit I preferred. They are both great tracks.

It’s amazing to think that Behind the Veil of Black Stars was made with only one sample at its core, and yet Scott has twisted and manipulated it into a dark sci-fi creation, one that thrums with the cold of space and the threat of an indifferent universe.

Visit the Behind the Veil of Black Stars page on Bandcamp for more information.


I was given a review copy of this album.


Album Title: Behind the Veil of Black Stars

Album Artist: Scott Lawlor

Released: 10 April 2021

Friday, 7 May 2021

Dark Ambient & VR: An Interview with Phantom Astronaut

 Dark Ambient & VR: An Interview with Phantom Astronaut


Phantom Astronaut


Dark ambient music creates incredible moods and a sense of immersion. Virtual reality, in the right hands, can do the same. When the world of dark ambient meets the technology of VR, the experience can be astounding. Sadly, I’ve not experienced VR, but you only have to read or watch others to see that it can be a powerful playground. With that in mind, in the coming months, I will be posting a series of interviews with creators who straddle the worlds of dark ambient and virtual reality. This is the first of those interviews, and it’s with Phantom Astronaut, aka Dekker Dreyer.

Dekker Dreyer is a man that wears many creative hats. He composes dark ambient soundscapes as Phantom Astronaut, he creates and directs immersive VR horror films, and he also writes Amazon top 20 selling novellas. As a first interview subject, he certainly ticks all the boxes. Below, we talk about how he came to the idea of merging his art with his music, the roll of dreams, the intimacy of VR, along with the influence of horror, folklore and the occult. I hope you enjoy it.


* * *


Casey: In an article on Entrepreneur.com, your view that VR is about a feeling, and not a narrative is one of the topics covered. Dark ambient music also, for the most part, seems to be about the same thing. When and how were you first exposed to dark ambient, or the idea of it, and why do you think melding dark ambient and VR together is such a powerful combination?

Dekker: I think we've all been exposed to ambient music in one way or another without realizing it. I remember being very small and hearing an orchestra warming up and that chaos-- those tones all blending together-- it stuck with me as musical.

One of my earliest projects was a short film to accompany a movie called Naqoyqatsi, this ambient film scored by Philip Glass. That was probably my first head-on collision with ambient music.

My creative partner Cyr3n pushed me much deeper though. She turned me on to sound baths and places like the Integratron out in the California desert, and the La Monte Young's Mela Foundation in New York.

I took all of that in and started wondering how I could integrate this music with the kinds of themes I explore in my art and I stumbled onto this rich universe of "dark ambient".

I approach all of my projects from the same starting point; I want the audience to experience something emotionally more than intellectually.

I create things that you'll play at midnight, laying on your back, getting lost in the textures. Dark ambient, to me, works best when you feel it, physically. I love playing in domes and halls and places where the audience can lay back and let the bass radiate through them. It's a very physical music, it engulfs you, just like VR. I also pair my music with visuals so it's all part of a single sensory experience.


Casey: At the end of 2019, you released an immersive visual album, Lucid, under your music name Phantom Astronaut. In Lucid, the experiencer gets to explore five dreamscapes that bring about emotions from the darker side of life. The audio-visual experience also invites the person to ponder parts of their own morality. Which is the dreamscape that you are most pleased with, and what was the inspiration behind it?

Dekker: I can't play favorites on Lucid, I love all of it, but I can talk about how it came about.

Did you know that we don't really know what dreams are? Science, as of this moment, doesn't know for sure why we dream. There's also no clear universal definition of consciousness. That fascinates me.

Artists and philosophers have been preoccupied with dreams since the dawn of time. We live a quarter or more of our lives in the dreamscape and yet we can't share that between each other. It’s so lonely to think about that. The road to VR is paved with cobblestones made of history's dream journals. For the first time we're able to create environments that allow others to walk into our dreams... it's very intimate. I'm still not sure how I feel about that aspect of it.


Casey: It is certainly an intimate notion, but at the least, if you have created something to show one of your dreamscapes, you are giving permission for someone to visit and experience that. Are you concerned that someone might learn something about you that maybe even you aren’t aware of, or do you think it boils down to more general hopes and fears that someone will “get” what you hope to convey from it?

Dekker: The nature of privacy is changing and I think that humans have this inherent alienation that can't be soothed. No matter how well I know someone I can never truly know them in the way they know themselves. Communication and art and storytelling is a manifestation of our desire to be closer. I don't believe that someone exploring one of my dreamscapes will walk away with the same interpretation as me, so I just hope they find something that's meaningful to them in that shared space.

Casey: In an interview with Voyage LA, you revealed how you thought that your experience and admiration of the Disney World theme-park might have informed your desire to create your own virtual realities. What was it about the experience of being in that place that you think appealed to your world-building inclinations, and how has this merged with your love of horror and folklore?

Dekker: I end up talking about Disney a lot. It's funny how that's a recurring theme in my life. I want to be very clear because sometimes people conflate my interest in theme park design as an interest in how Disney chooses to use the medium. I'm inspired by this brilliant moment in history where humans have decided that they want so deeply to live in alternate realities for days or weeks at a time that they'll pay extraordinary prices for it. I see that as beautiful. I see that as a willingness for us to collectively embrace imagined worlds. That's what inspired me about the Disney parks.

I see that desire for people to experience environments and characters and I answer that from my own perspective which is informed by paganism, cults, the occult, and the supernatural. These themes, in our majority Christian culture, happen to be connected to horror. Many fairy-tales or myths or folk traditions are firmly in the horror genre when examined through our current sensibilities.

As for why I'm attracted to these themes? I'm not sure. It could be about embracing the powerlessness of humanity on an individual level when up against nature. We're very fragile creatures and our main strength has always been our ability to create social groups. When you watch a horror movie or experience a VR world you're inherently alone in the forest. That position tells you a lot about yourself.

Dekker Dreyer
Dekker Dreyer

Casey: While talking to the Good Men Project, you raised the issue of how art is emotional communication, but that in most forms, it is filtered in some way, and that the effect is easily broken. Why is virtual reality such a powerful platform for creating more immersive experiences, and, if one stands out, what was a time when you felt that you were most immersed while engaging with any variety of art?

Dekker: I think this comes from the element of isolation I mentioned earlier. We're all a child, standing at the top of the basement stares, timidly holding a flashlight.

Unfortunately, I have a hard time becoming immersed in any virtual worlds anymore. That's what happens to anything when you know how it's built. I can tell you about the strongest reactions I've seen in VR though. I was showing a series I created called The Depths, a horror series that takes place in a capsized ship, and one person screamed and threw the headset across the room. They were crying and couldn't speak. I felt proud of that. I'd never seen someone react to a movie like that. If I had to guess why it was, it was a combination of isolation plus the claustrophobia of that rising water and darkness... music designed to make you feel uneasy... throw a creature into that scenario and it transports people so completely, that their bodies react.

Casey: The various viewing and production elements of The Depths came together very nicely to cause that tearful scream. Do you think that, as VR technology improves, it will be easier, or more common, to cause that kind of emotional reaction in the audience, and if so, how would you like to see it evolve?

Dekker: I don't think that any tool makes the creative process easier. Our conversation with media is always changing, so that means that the audience will come to expect something different as technology and culture change. I imagine hearing this same question when the first films were being publicly shown and people were running for cover when they saw a train coming at them on the screen. It won't be easier, just different.


* * *


Thanks so much to Dekker for taking the time to answer my questions. You can find him at his website, and you can find his many creations through any of the links above.

Wednesday, 5 May 2021

Dark Ambient Review: Reflections at the Sea

Dark Ambient Review: Reflections at the Sea


Review By Casey Douglass



Reflections at the Sea


I’ve always had as much time for urban environments as I have for the peace or bleakness of nature. Even though beautiful vistas have their place, there is a lot to be said for a small park backed by the thrum of traffic in a busy city. Reflections at the Sea is a dark ambient album from SiJ and Textere Oris, an album that, at its very core, brings these two forces together.

The album description tells of a person who wants to see the sea. Sadly, they are living alone in a big city. One day, a fog blankets the concrete, glass and metal around them. The environment feels different, and as the album plays, the fog seems to bring said person to a place in which their fantasies are almost at hand.

For me, Reflections at the Sea is an album that feels light and peaceful. There are field-recorded sounds of church bells and people talking, but there are also soothing drones, pipe or flute-like tones, and pleasant vocals. These elements make the fog envisioned in the album description one that is illuminated by golden sunlight, rather than a dreary, damp smothering greyness that fogs so often can become.

I think that I’d have to say that Train Leaves in the Rain is my favourite track. It opens with a chiming, undulating space, and a mellow low tone. A “staticy” rain emerges, a voice crackling through a tannoy system joining it. A smooth drone sits beneath everything, floating female vocals and train sounds sitting comfortably among the various plucked notes that occur in the latter half. This is a peaceful track, and one which merges the mechanical with the ethereal with adept ease.

Veter 101 is another of the tracks that stood out for me. It also makes use of a tannoy-style announcement. A small tone sounds, like a mouse trying to clear dust from a pipe. A muted buzzing shortly follows, making me thing of a tiny dot matrix printer spooling out tiny receipts. Okay, my mind is now thinking about mice buying train-tickets for their own micro train. This track is features a plucked melody, piano notes, and a variety of voices. It has an energetic feeling, but like the Train Leaves in the Rain, it seems to merge a variety of mechanical recordings with pleasing light tones.

Finally, the track K Moryu is the last I will mention. It’s a track where the sea very much makes its presence known. It begins with a high whistling tone, lapping waves, a deep beat and a male vocal. The cascading rattle of a rain-stick sounds at intervals, a variety of instruments playing their own particular notes and melodies throughout the track. This is the longest track on the album, sitting at almost twelve minutes in length, and it gives the listener ample time to bathe in the lulling qualities it provides.

Reflections at the Sea is the ideal kind of album for anyone who might be stuck somewhere and would love to be somewhere else. It offers that “world at a distance” feeling, when the weather or other circumstances make the familiar seem a bit different, when the usual view down the road is changed by fog, and you get the feeling that somewhere else might just have moved in to take its place, even if just for a little while.

Visit the Reflections at the Sea page on Bandcamp for more information. You can also listen to Train Leaves in the Rain below:



I was given a review copy of this album.


Album Title: Reflections at the Sea

Album Artists: SiJ & Textere Oris

Label: Cryo Chamber

Released: 20 April 2021

Tuesday, 27 April 2021

Dark Ambient Interview: Scott Lawlor

Dark Ambient Interview: Scott Lawlor


Scott Lawlor

Anyone who knows Scott Lawlor will be all too aware of how prolific he is with his music releases. It’s a good thing that his music is well worth listening to! Scott kindly agreed to share a few words with me in this interview. We touch on how he can be so prolific, the challenges of composing music as a blind person, the virtue of creative constraint versus total freedom, and the most mundane sound he feels that he has ever recorded. Thanks for joining us and I hope you enjoy the interview.


* * *


Casey: Scott, even though I am familiar with how prolific you are with your music releases, it still surprises me just how frequently I see that you’ve released a new album on Bandcamp. What are the main factors in your life, that you think may contribute to how you can achieve such a release rate, how does this current rate compare with periods earlier in your musical life, where you felt the need to take a break from things, and what was different between the two periods?

Scott: I am a stay-at-home dad and since my kids are in school, I have a lot of time to compose and release music. Some years have been busier than others regarding actual number of releases but through all of that time, my situation has been the same.

I've got many more albums on our network that I've recorded over the last 7 years, so if I quit writing new music right now, I'd still have releases for a long time to come. I'm always working on new music so the odds of catching up to myself are astronomically impossible at this point.



Casey: As a blind composer, I know that you occasionally tweet about accessibility issues with the tools or apps that you want to use. What kinds of accessibility issue do you find the most irritating, which apps or tools do you use that you feel handle things really well, and more broadly, what is your usual process for composing a new track, which tools do you tend to use the most etc.?

Scott: Well, for a long time, I had a Roland fa08, Sound Forge and Audacity as my main way of composing music and though this set of tools allowed me to create many albums over the 6 years that I used them, they weren't as accessible as the current tools I utilize.

The menus on the Roland didn't talk and I was limited in how I could shape sound from within the synth, so this lead me to using things like Audacity for shaping recorded sound from the Roland into something totally different. Even though it was an interesting experience to do things this way and I got quite proficient after developing such a streamlined workflow, the results from one project to another weren't as different sonically as I thought they'd be.

As an example, Paul Stretch is a tool that I used to use quite a lot in my early work and though it can create some interesting results, if you change the default values, it's something I hardly ever use anymore, or, if I do use it, it's part of something with a good many more layers and elements mixed in.

I think part of the reason PS has such a bad rap in the ambient community is probably because people didn't change the values, and just released things that were run through it with no further processing after the fact. Just look at all the videos of popular songs that were run through this plugin and uploaded to YouTube as an example.

The same can be said for other effects inside the box and so the point of all this is to say that, though for me, this method worked for a while, it's actually pretty easy to tell which effects I used, particularly on the noise projects that I've done over the years.

Now that I've said all that, the tools that I use now are totally different and they're accessible with speech so it's much easier to manipulate sound and add interesting effects where this wasn't possible before. I use Komplete Kontrol from Native Instruments, and various third party instruments by companies like Soundiron, Soniccouture, Luftrum, Sudden Audio and, of course other things from Native Instruments themselves.

The most time consuming part of composing now is deciding on which sound to use. Sometimes it takes me longer to find the sound I want than it does to create the actual work in question.


Casey: In an interview with the From Corners Unknown podcast, you touched on the topic of how constraints can often aid creativity, talking about how contests like the ambientonline.org forum’s One Sample Dare Challenge can give creating a different focus and challenge you in different ways. How much constraint do you enjoy before you feel it becomes a true hindrance, how often might you sit and compose with no purpose in mind, and the theme later suggests itself, and do you prefer one approach over the other?

Scott: Most of the time, I compose without constraint, just letting the improvisation go where it will as I play on the keyboard and upon playback over time, a theme or concept will come to me for the music. I do prefer this approach but am thinking of revisiting the ambientonline.org One Sample Dare challenges since I have new effects, software and hardware that are much more accessible.


Casey: In the aforementioned From Corners Unknown interview, you talked about some of the sounds that you recorded, including workmen breaking your house windows, at the time that it was your turn to submit the sample for the One Sample Dare Challenge. I was wondering, what is the strangest or most obscure sound that you can ever remember sampling, and which mundane thing have you recorded, that gave you the most surprising and satisfying sound, once you started experimenting with it?

Scott: The most mundane thing I've ever recorded was the spin cycle of my old washing machine and I took that recording and created an album called Spin Drone, which, looking back, isn't really that interesting but some people really seem to love that album.

Spin Drone

I think the most interesting thing I recorded was different objects in our old clothes dryer which I then used for an album called the Ambient Series 1, Symphony for Prepared Dryer. I put many different things in the dryer including silverware, wooden alphabet blocks, shoes, coins, and even sweet potatoes, recorded from 19 seconds to 3 minutes, depending on the item and then processed those sounds to create the album.

My wife wouldn't allow me to put her pipe wrench or glass in the appliance and you can hear her promptly rejecting both ideas in the last track of the album which is the documentary for the project.


* * *

Thanks very much to Scott for answering my questions. If you’d like to find Scott’s music, you can find him on Bandcamp at this link.

Sunday, 25 April 2021

Rest in Peace Mount Shrine

On the 16th of April 2021, dark ambient label Cryo Chamber shared the following tweet, a tweet announcing that Cesar Alexandre, aka Mount Shrine, passed away from Covid:



Even though I couldn't say that I knew Cesar well, we did share some emails, and an interview he was kind enough to give me. His dark ambient music is brilliant, and I still have yet to come across someone who can make rainy drones as soothing as he does. 

My condolences and best wishes go out to Cesar's loved ones. Rest in Peace Cesar.



Friday, 23 April 2021

Dark Ambient Review: glass fawn

Dark Ambient Review: glass fawn


Review By Casey Douglass




glass fawn


During one of my many perusings of Bandcamp, I discovered glass fawn, a dark ambient album from uncertain, a music project from artist Florian-Ayala Fauna. As I previewed the tracks of glass fawn, I was particularly taken with the feeling of bleak melancholy that seemed to manifest in them. It’s for this reason that I decided to write this review.

The opening track is “from falling waters” and it certainly sets a mood and the scene. It begins with a warm, low and pulsing drone, a drone that soon mingles with the sound of sea waves. The waves feel like they are chopped or foreshortened after awhile, and then a juddering, screechy sound joins them. There are other sounds that emerge too, rasping sighs and exhalations at the edge of things, creating a maelstrom of pressure. For me, this whole track created the mental image of a sea of lost soils boiling, not in hell, but in a roiling sea, beneath a black sky, with no land in sight.

“teeth, water and soil” is another track that gripped me. It starts with the strange string notes from the end of the track before, but itself blooms with bat-like chitterings, the muted sound of cascading rocks and an airy drone. The drone has a sacral chant aesthetic, peaceful yet at odds with the sea-sawing string-notes that dance above things. After the midpoint, a buzzing, warbling noise begins, one that put me in mind of the sound sea-birds sometimes make. Not a call but a chuntering. This track furthered my impressions gleaned in “from falling waters”, but this time the waves and wind brush against an island of black rock, a cacophony of seabirds mocking in the sky as oily waves lick the edges.

A lighter track (in comparison to the darkness of the previous ones at least) is “the white stag”. It starts with a high, sparkling tone, and a distant animal call and a rumbling. There is a rustling, and what sounds like fluttering paper, along with a resonant tone that hangs in the air like a snow flake. Slow string-notes weave through the soundscape, and the track, though dark still, feels peaceful. Maybe the white stag of the track title is slowly walking through a snow-dusted woodland, the mist between the trees making everything shimmer. A grinding, rougher quality emerges after the midpoint, a different, gentle tone accompanying it. A lovely track.

The last track that I wanted to write about is “pilgrimage”. If the previous track felt like it was set in nature, this one feels more urban. It features a chimey, droning space, a strange crying call, and has possible “city” sounds in the mix. I thought I heard what could have been the drone of cars passing on a wet road, and after the midpoint, a “garage door” maelstrom begins. If you have ever been near a metal garage door that someone has kicked hard, you might be able to guess what I mean when I describe the vibrating sound in this way. Maybe the stag of the previous track finds itself lost and alone in a hostile city. It seems possible.

As dark ambient albums go, glass fawn is certainly up there with some of the darkest I’ve heard. It doesn’t achieve this darkness by sinister chanting or some of the more “horror” styled tones that you might be used to. The darkness on glass fawn, to me at least, felt more subtle. I also really enjoyed how pretty much every track dove-tailed nicely with the one before and after, the tones at the end of one encroaching into the beginning of the next, sometimes soon to fade, but at other times, to stay a little longer. A fantastic album that is well worth the attention of your ears.


Visit the glass fawn page on Bandcamp for more information.


Album Title: glass fawn

Album Artist: uncertain

Released: 11 Jan 2010

Wednesday, 21 April 2021

Dark Ambient Review: Isolated Tales

Dark Ambient Review: Isolated Tales


Review By Casey Douglass



Isolated Tales


The Covid lockdowns in so many parts of the world, introduced a good number of people to the raw reality of how many hours there really are in a day. Yes, there are twenty four, but if you are ill, locked-down or alone, each of those hours can feel like its own decade. Isolated Tales is a dark ambient album from ElectronicDeathBlackDogs, and it was conceived during that time of stay at home orders, uncertainty, and creeping despair.

The track Endlessly Searching Through Empty Rooms is a great embodiment of these feelings. It begins with a low, trundling machine-like sound, with pacing footsteps and creaking echoes filling an empty space. There are distant impacts, maybe doors slamming in the wind. There are also closer sounds of the footstep owner shutting doors too. A light, string-like tone begins, floating in the air above what feels like a harsh concrete world of abandonment. At one point, I wasn’t sure if I heard distant shouts or cries. This is a haunting track, and I really liked the way that the footsteps and door shutting kept appearing.

Crushing The Construct is another atmospheric track. This one feels technological though. It starts with a knocking, as if against glass, with what sounds like a flurry of wings answering each time. Maybe this is how a bird in a glass enclosure might react to continual annoyances from its owner. A growing hollow drone emerges, soon joined by electronic screeching that rasps through the soundscape. For me, this track brought about feelings of being trapped and tormented, possibly by technology. It felt high-tech and spiteful. Maybe it’s an analogy for how shit social media can be, especially when people are stuck at home and easily outraged by stuff that doesn’t remotely effect them.

Food For The Trees is the last track on the album, and probably the darkest. It opens with the sound of the wind and a faint, wet, crumpling sound. The sound of a shovel sliding through dirt comes at regular intervals, a deep meditative chant filling the air. Deep impacts begin, languid string-notes aping the tones of the chant. As the track progresses, all of these sounds seem to coalesce to make a clattering, mechanical rhythm. If this isn’t the track to someone digging a grave in the shadow of some kind of catastrophe, I don’t know what is.

Isolated Tales is a collection of dark tracks that really do seem to fit the strange times that we still find ourselves in. Its soundscapes all feel nicely dark and spacious, and many do contain moments of lightness too, just to keep things the right side of gloomy. Isolated Tales is a great album for dreary days and insufferable nights.

Visit the Isolated Tales page on Bandcamp for more information.


I was given a review copy of this album.


Album Title: Isolated Tales

Album Artist: ElectronicDeathBlackDogs

Released: 7 Sept 2020

Monday, 19 April 2021

Dark Ambient Review: The Sleeper's Night Journey

Dark Ambient Review: The Sleeper's Night Journey


Review By Casey Douglass



The Sleeper's Night Journey


The Sleeper's Night Journey is a dark ambient album from The Great Schizm, an album that takes our nocturnal dreams as its theme, depicting all manner of strange vistas with its drone and field-recording-laced soundscapes.

The tracks of The Sleeper's Night Journey seem to loosely fall into two categories: some feature smooth, delicate tones and drones, the others are more field-recording heavy and scenic. The Platform is track two of the album and is a great example of this latter type of track. It opens with the sound of wind and echoing creaks. A low drone emerges, accompanied by a clock-like chiming that is quicker at times than others. I think this is my favourite track, as it creates such a feeling of being high up on a precarious platform, maybe looking down over a stone ruin of some kind. The creaking comes at regular intervals, almost like breath filling wooden lungs. In the second half of the track, echoing impacts sound, like something bouncing off the collapsed stone walls. An atmospheric and ominous track.

Perception Shift is the track that follows. It starts with a growing low drone that vanishes to be replaced by light, almost quirky tones. These tones for me, felt like the reflection of golden sunlight on gently rippling water. The drone and these tones seem to interplay for awhile, but around the midpoint, the track changes to a darker space. A lower drone takes over, distant squeaking and clattering metal can be heard, a roaming buzz roams, and the sound of voices and distant hammering can be heard. The track lightens again towards the end, a light melody knocking out into the darkness. I liked how the feel of each part of the track seemed to tie into the perception shift mentioned in the title, like seeing things anew each time.

An Unexplored Land is another track that I enjoyed. It opens with a warm drone and faintly clattering chimes. It feels airy yet echoey, and later gives the impression of wind or breath. Around the midpoint, a low pulsing howl or animal call can be heard, echoing drips and a roaming hiss of air. Then comes an industrial “trundling” sound. What this track suggested to me, was someone emerging from a cave-like passage and cresting the hill of a shadowy industrial landscape at night. I found it to be a peaceful track, but also another ominous one, making me wonder what might be happening in the darkened factories that still belched white smoke in the moonlit sky.

There are two other tracks that I also wanted to quickly mention. Distant Realms of the Continent is one. Early on in the track, and throughout for that matter, a strange distant shrilling call can be heard. I really enjoyed this element as it felt like some kind of exotic dreamscape full of strange creatures, but at a safe enough distance to be enjoyable. Sunken Civilization is another very atmospheric track, but this time plunging the listener into a bubbling, water-filled space, with drips, drops and at one point, a strange fun-fair type melody. Both tracks were really fun to experience.

The Sleeper's Night Journey is a collection of dark ambient tracks that really embody the strangeness and ethereal nature of dreams. Whether it’s the lullaby-like high tones or the rushing wind of otherworldly vistas, if I had a night of dreaming that followed the impressions that these tracks gave me, I’d wake up a very happy person.

Visit the The Sleeper's Night Journey page on Bandcamp for more information.


I was given a review copy of this album.


Album Title: The Sleeper's Night Journey

Album Artist: The Great Schizm

Label: Cloud Hunter Records

Released: 14 Sept 2014

Saturday, 17 April 2021

Dark Ambient Review: Drone Islands - Stellar

Dark Ambient Review: Drone Islands - Stellar


Review By Casey Douglass




Drone Islands - Stellar


Space certainly seems to be a great fit as the inspiration for music that loves to drone, the vast distances and cold danger just the kind of setting for sounds that seem to continue on and on. Drone Islands – Stellar is a collection of tracks inspired by astronomical events, and features a variety of dark ambient artists.

I think that my favourite track is Planetary Chain from Grey Frequency. It opens with a mid-level drone, one that has a vibrating edge. A siren-like drone rises behind it, the whoosh of what might be a rocket engine too, but the vibrating edge is what set the scene for me. I couldn’t help but think about how spare change rattles on a car dashboard. With the space setting of this album, I had visions of a spacecraft manoeuvring in the inky blackness of space, one of the pilot’s keepsakes buzzing on top of the control station. After the midpoint, wave-like sounds rustle against the ears, piano notes joining them a littler later. This led me to wonder if the ship is headed down some kind of galactic plug-hole.

PLUHM’s Sospensione is another track that I enjoyed, although in the beginning, I wasn’t so sure. It starts with a high, organ-like tone that crackles and breaks. A low drone sounds beneath as the notes echo away, small crackles popping as they distort. A buzzing begins, and when it ends, the soundscape has changed to a different space, one with an electronic heart-beat tone, plucked notes, and with a soaring drone behind. This buzzing occurs again, and once again the soundscape changes. It feels like whatever is going on is evolving, maybe like the stages a star goes through in its life time, or on a smaller scale, the journey an astronaut might make into the stars. By the end of the track, I had warmed to it a great deal, it’s a fascinating listen.

Astral Bridge Severance from Infinexhuma is the opening track of the album, and another one that stood out for me. It begins with a vibrating and echoing soundscape, metallic knocking sounds seeming to stir the space, a low hiss roaming, a distant shimmer beckoning. This track felt like the film Event Horizon to me, a drifting spaceship about which no one knows where it’s been or why it has appeared now. It’s sinister. The soundscape becomes a bit more cacophonous as it continues, a feeling of energy building up or maybe an engine flaring into life. There are rasping drones, female vocals, and an effect that seems like a bestial roar. This soundscape, for me, was one of threat, collapse and unknown forces. I like those things a great deal.

Drone Islands – Stellar is a varied collection of dark ambient space and drone scapes. I tended to enjoy the darker, deeper tracks more than some of the higher pitched creations, but all of the tracks have their own charm. If you like your dark ambient cosmological and droning, you should check out Drone Islands – Stellar.

Visit the Drone Islands - Stellar page on Bandcamp for more information.


I was given a review copy of this album.


Album Title: Drone Islands - Stellar

Album Artist: Various

Label: Eighth Tower Records

Released: 2 April 2021

Thursday, 15 April 2021

Dark Ambient Review: Infernal Om

Dark Ambient Review: Infernal Om


Review By Casey Douglass




Infernal Om


Normality is a godsend for people who like to create dark art. What better way to frame some strange happenings by comparing them to the “normal” life of someone else? Gravechakra’s dark ambient album Infernal Om, does just that, painting the picture of an ordinary person, experiencing extraordinarily dark things, and having to keep them to himself.

The album description sets this all up nicely. The year is 1963, the place is the USSR. A regular, normal man going about his life, becomes plagued by unsettling voices and creepy visions. He keeps this fact secret, afraid of being thought mad. Luckily, or unluckily for him, he’s not mad, but is in fact receiving messages from a strange order of beings from another world.

The tracks of Infernal Om come in a number of forms. There are dark, musical tracks that give vent to the indecipherable language of the otherworldly order. There are also narrative tracks that give the listener an insight into how the protagonist is feeling about the state of affairs in which he finds himself. I particularly enjoyed how the narrative tracks blended with the others. If the track before ended with gravelly footsteps, these sit at the beginning of the narrative one that follows.

The musical tracks often feature the guttural grunts and invocations of the otherworldly imposters. The album description explains that they are speaking something called Cordoriborium, a language that will only be deciphered in the coming years. In aesthetic, the often multiple voices put me in mind of the kinds of grunting you will hear in certain types of heavy metal. They are often accompanied by unsettling effects in the soundscape, and a variety of drumbeats and electronic tones.

One of my favourite tracks is Invocation of Bestiurgs. It opens with a bass beat, a scuffing sandpaper rhythm, and a prolonged echoing sigh or exhalation. An electronic tone begins, accompanied by the sound of air-raid sirens. Two voices begin to chant or talk from ear to ear, the sirens continuing behind them. Later, things quieten a little, the soundscape becoming a windy space with rasping invocations or shouts. After this period come the wet, glooping sounds of what just might be something being born into this world, or maybe feeding of some kind. I enjoyed the retro-horror feel of this track, and also the mixture of the different electronic tones and drumbeats in the darkness.

Another of the tracks that I enjoyed was Narration 1. It opens with the aforementioned footsteps on gravel. We hear the main character’s voice, and it has some really intriguing lines. My favourite line is “They will now scream me into another world!” And wouldn’t you know it, you can hear them start to do so as he utters the words. I really like the concept that the telltale of the other beings’ approach is the screaming beginning. The fact that it “screams him into another world” just seems so dark and creepy.

Alchemy of Liquid Souls is the last track that I wanted to specifically mention. It begins with an echoing beat in what feels like a cavernous space. It fuzzes at times, and a distant droning seeps in. Hissing whispers pierce the soundscape, soon followed by one of the guttural voices, with a dog-howl accompaniment. There is an electronic tone that sweeps upwards and then repeats. The soundscape feels like one of lifting up or manifestation. Near the midpoint, it smooths to plucked notes and a mellow feeling. The sound of breaking glass interrupts this peace, and the previous sounds resume, as if someone has broken a window and let the other place in again. This is a really fun, brooding track, and I really liked the broken window moment.

Infernal Om is an album that makes great use of field recordings, human voices and electronic beats and tones, to create sinister, interesting soundscapes. The narrative tracks deepen the effect of the soundscapes, and the soundscapes give the narrative tracks a more concrete impact. I haven’t heard anything quite like it and I’m glad that I stumbled across it.

Visit the Infernal Om page on Bandcamp for more information.


I was given a review copy of this album.


Album Title: Infernal Om

Album Artist: Gravechakra

Released: 19 Dec 2020

Saturday, 10 April 2021

Dark Ambient Review: #44 - The Recluse

Dark Ambient Review: #44 - The Recluse


Review By Casey Douglass




#44 - The Recluse


A few weeks ago, I was browsing my Bandcamp feed, and I saw The Owl’s dark ambient album #44 - The Recluse slide into view. I had a click through the three tracks and promptly decided that this sounded like my kind of thing. It felt dense and mind-filling, and after listening in more depth, I found that it had the wonderful ability to push the thoughts out of my mind, stifling the ever present merry-go-round of inner criticism and depressive predictions.

#44 - The Recluse is almost an hour long and is split into three tracks. The first is Oh, Sweet Catharsis, a track that opens with a warm, low drone. The soundscape felt like it had a rippling quality, maybe like the interference lines of a pebble splashing into a pond, but slowed down to a soothing, slo-mo rate. Lighter tones seem to emerge, suggesting themselves above the bass. These grow, and put me a little in mind of how a church organ might sound. A slight crackling of static soon follows, and then things build and build, with various elements distorting and seeming to compete with each other. At one moment the vibrating bass seems to be the louder, and then the “organ” flares up to out do it. This competing element, along with my notions of the church organ, set up a kind of God Vs Satan contest, an evolving audio tussle between two sides vying for control. That’s not to say it’s a violent track, I found it very relaxing.

The next track is Glacial Beauty. It might just be the suggestion I picked up from the track title, but I do think that this track feels cold. It opens with a low, airy, rumbling soundscape, one that evolves to contain a variety of pulsing elements. A growing static sits on top of this rumbling bass-line, making me think of midnight in the arctic. A deeper vibration begins, not unlike a rough-burning blue gas flame, if you dialled the sound up to mind-massaging levels. Around one third of the way in, a lighter tone begins, floating above the cold mental landscape like a seabird gliding above the frozen scene. A continuous bag-pipe-like whine dances with the warping higher tone of the seabird, the rough-burning gas flame a warm place to enjoy the show. This track is the longest on the album at almost 27 minutes long. It’s long enough to be lulling and comforting, yet also has enough elements to allow a variety of focusses. It builds and evolves, just like the first track, but takes a longer time to reach its peak, before simmering down to a calmer space in the final few minutes.

The third and final track is Emergence of Serenity. This track begins with a low drone, but not quite as low as the others. This one is more like a meditative chant, but there is a faster pulsing tone to keep it company. If the first track began like slow ripples on a pond, this one is the faster version. They culminate and then quietly dip down into a melancholy peacefulness. The first part of this track felt a little sci-fi to me. It had the whiff of space and vast distance, with static fuzzing that distance. Near the midpoint, things become more focussed on the bass end of the scale, a gritty throbbing vibration spreading and pulsing through the mind. The other tones come back with static, the distortion flapping in the listener’s ears, before things settle a little for a milder ending.

#44 - The Recluse is an album that creates some lovely, dense, walls of noise and drone. I wasn’t sure how I would get on with some of the harsher elements in some of the tracks, but they always felt like they stayed just the right side of “vigorous” for me. It was during my second listen (my non-note-taking session) that the album’s thought muffling powers became truly apparent. I’m struggling to remember another album that has engulfed my mind and yet also seen me nod off to it, even at its harsher moments. This is the good kind of nodding off by the way, not through boredom. #44 - The Recluse is currently name your price on Bandcamp below. I suggest you check it out if you like droning dark ambient with textures that bring peace to your dark mind, even if just for awhile.

Visit the #44 - The Recluse page on Bandcamp for more information.


Album Title: #44 - The Recluse

Album Artist: The Owl

Released: 12 Mar 2021

Wednesday, 7 April 2021

Dark Ambient Interview: Mombi Yuleman

 Dark Ambient Interview: Mombi Yuleman


Mombi Yuleman

I first became aware of dark ambient artist Mombi Yuleman when our paths crossed on Twitter and he sent me a code for his Storm-Maker Red Horse album. Since that time, I’ve come to appreciate Mombi’s particular brand of dark ambient music, something that I’d describe as part retro horror soundtrack and part “spirit of Halloween in a bottle”. Mombi kindly agreed to an interview, the result of which you can read below. We take in such topics as John Carpenter’s soundtracks, our joint experience of Obsessive Compulsive Disorder, religion, music as a means of communication, and of course, dark ambient.

* * *

Casey: You are known for your monster-fuelled, mysterious dark ambient albums, but your music didn’t begin with the genre. How did you discover ambient, and the dark ambient genre in particular, what do you enjoy about creating this style of music, and what role does your love of horror soundtracks play in the way that you create?

Mombi: I got into music production over ten years ago with an industrial project called "Junkyard Apocalypse". I was really inspired by artists like Front Line Assembly and Dismantled but more than anything I was inspired by film scores and soundtracks. I grew up listening to composers like Jerry Goldsmith, Ennio Morricone, and most of all John Carpenter. The soundtrack stuff is what I mostly had playing in my ears from as far back I remember. So the cinematic element was very important to me when creating my own music.

After I created an album and some demos, I pretty much dropped "Junkyard Apocalypse" and music as a whole for many years for various reasons. During this period of time I was heavy into creating industrial sculptures and housewares out of found objects. I called this project "Junkyard Avenue". I had a YouTube channel at the time showing how I created these weird lamps and art decor out of metal pipes, pulleys, and giant gears. Much of it had a steampunk theme. I'd listen to a lot of those soundtracks I grew up with while building artwork, but I remember specifically trying to find soundscapes that sounded like a factory in the distance, with steam and metal clangs to further enhance the atmosphere when I was creating these things at home. I found out about an industrial noise act called Stratvm Terror that I fell in love with, and that's when I discovered some mixes by Cryo Chamber on YouTube as well. This would have been circa 2012 or so.

After some years, the "Junkyard Avenue" project fell through because I was moving so much, and carrying hundreds of pounds of found objects from state to state is exhausting. It was sad because I didn't have a passion project anymore. So, after some time I started going to music festivals. Particularly psytrance parties. These events inspired me to get into music again. While, I wasn't attempting to make psytrance music, I thought I would get into weird cinematic influenced EDM again. I branded myself as Mombi Yuleman and churned out a six track EDM EP. It was a good way of getting familiar with a DAW again. I had a lot of trouble getting my ideas together for a second release.

I was listening to all kinds of genres within the underground dance scene. Stuff like dark techno, psytrance, psychill. Thing is, rather than take a genre and really learn it and craft pieces that fell within those genres, I would take ideas from those genres and form my own EDM sound. And in all honesty, many of those tracks were never sounding quite right to me. Too many ideas and not enough focus. One of the things that was recurring within all of these sounds though, was a cinematic mood driven element. My girlfriend would put on a lot of ambient music at night time to sleep to. Some of these tracks were often quite bleak and mood driven. Even cinematic. That's when a light bulb went off and I realized that's the kind of thing I should have been taking a stab at all along! Dark mood driven cinematic music with no real necessity to follow a predictable pattern, rhythm or theme. Soundtracks to films that don't exist. Of course! I totally wanted Mombi Yuleman to represent my own unique take on this whole cinematic dark ambient thing, and dropped dance music altogether under the Mombi name.


Witch-Works

Casey: In an interview with horror writer David Allen Voyles, you discussed your Witch-Works album, saying that ever since you got your first synthesizer, you always wanted to make an album like Witch-Works, and then adding that you could probably die happy having now made it. That’s quite a statement! When you listen back to Witch-Works, which elements are you the most fulfilled by, the components that you listen to and know that you nailed it. Also, which pieces of equipment do you most enjoy playing with when it comes to your music creation?

Mombi: Yes, as mentioned, I love listening to film scores, and to the film scores of John Carpenter, specifically the ones where he collaborated with Alan Howarth, had a sound that I was fond of more than any other synth based soundtrack artist at the time. I wanted to compose a soundtrack with a Halloween theme that was in alignment with that same sound but give it my own spin and incorporate some subtle orchestral and industrial elements here and there. I tip my hat to some other horror composers in that one but it's mostly John Carpenter influenced. Jars of Spiders, Dance of the Scarecrows and Through the Pumpkin Swamp are certainly tracks I feel particularly fond of. Leaves is also a sorrowful track that I feel really embraces some of my own inner turmoil.

I really only work with VST's rather than hardware synths, even though I had a Roland JP-8000 for years but it was unfortunately damaged during one of my many moves. I use Omnisphere in almost all of my work. There's just so much I love about the sounds within that magnificent synth. I tend to use a lot of programs by Native Instruments as well, the Symphony Series comes to my aid where appropriate. I lack the knowledge on how to orchestrate full blown symphonies, but using those instruments as elements with a soundtrack or a dark ambient album is so much fun.


Casey: In one of your YouTube videos, you said that you make music because you feel that your life depends on it, with the spectre of Obsessive Compulsive Disorder (OCD) looming over you. What are some of the ways that your OCD has manifested in the past, and is your creative practise a refuge from the OCD, or does it sometimes encroach on your music composing as well? I ask as a fellow OCD sufferer, and for me, OCD always seems to attach to the things that I care about.

Mombi: OCD made itself manifest in my life at a very young age. It started out by washing my hands over and over. Eventually as years passed, guilt over intrusive thoughts had me performing seemingly bizarre rituals over and over, like running up and down stairs, or I'd stare at walls for hours while I think a certain pattern of thoughts in a particular arrangement, until it felt right to let them go. I spent the majority of my teen years going through this. It wasn't until my early twenties, when I left the town I grew up in that the extreme side of OCD started to lose it's grasp. When I discovered that I no longer felt a need to have religion in my life, things got a lot better as well.

Though I still suffer forms of OCD, it's not nearly as bad as it used to be and I mostly deal with anxiety and the occasional existential crisis these days. There are times where OCD rears it's ugly head during the production process, to some degree it's beneficial. I'm never completely satisfied with my work. I often re-render files over and over to get them to where I feel they are just right, when perhaps the sounds were perfectly fine before. But this is also where I feel OCD benefits me to some degree, as long as I'm not tearing my hair out over it. A lot of work goes into an album and my OCD mostly seems to help me strive to be better for the most part. If it gets out of hand and I'm stressing too much, I recognize this and I take a break from making music altogether. I try to come back to it with fresh ears and usually it's not nearly as bad as I thought it was. I am often quite pleased with where I ended up after I've taken breaks.


Mombi Yuleman

Casey: I’m a big fan of taking breaks from creative work too. I’ve lost count of the number of times that I’ve hated something I’ve written, but after returning to it with a clearer head, I often wonder why I was so critical of it. You mentioned religion, which I know can be a miserable subject to OCD sufferers that happen to suffer with scrupulosity issues. Which religion did you engage with or belong to, and how do you think this interacted with your OCD tendencies? I know that when I was struggling with my OCD at one of my worst points, my interest/mild belief in the occult wasn't particularly helpful. I still have a mild belief/interest, but I'm now more interested in perspectives that simplify or ease my life, rather than make it more complicated!

Mombi: I grew up in a very traditional southern baptist Christian bubble. The fear of Hell was instilled in me at a very young age. The idea of eternity in Hell really messed with me and I'm so happy I became a free thinker in my mid twenties. I understand how if you're constantly validated in a fear-based belief system by your family and friends it's nearly impossible to leave that. A belief system that makes you feel guilty for questioning it can be extremely hard to turn your back on.

When I left religion behind a lot of my OCD left with it. I was no longer afraid of constantly offending a deity I no longer had faith in and I'm so much happier for it. I love philosophy and obviously have an affinity for the occult. Though, because of the monumental task of overcoming the Christian belief system, I've learned to question everything and raise an eyebrow to anything that relies on me having to have faith. Existence, reality, consciousness and the cosmos are a true wonder to behold. Religion, to me, dumbs it down. Reality is much stranger and much more marvellous than fiction!


Casey: In the same YouTube video in which you mentioned your life depending on your music creation, you also mentioned that you are an introvert and that music is your way of communicating with people. What do you hope to communicate, by way of your music, and does the music sometimes reflect something back to you that you didn’t know about yourself previously?

Mombi: In group settings, I don't know how to really communicate. People can be going back and forth and I just don't know how to chime in. I'm the quiet one in a group and I prefer to listen whilst forming and keeping opinions to myself. Creating music gives me a way to boldly speak in a way an extrovert might. I hope the feelings evoked in the music can bring about thoughts that are both fantastic and relatable to those who listen. As in the case of my album, Storm-Maker Red Horse, I had the idea of an album where the subject matter was about a perpetual storm where a tornado just continued to grow and ravished the land until who knows when, as the listener becomes a victim themselves by the end of it. Indeed though, this particular album was much more about my own inner turmoil, depression and uncertainty that I was going through at the time. I do feel like there are folks who can listen to that one and relate to the chaos within.

Certainly there are themes and melodies that are born that I didn't know I've had in me but are very reflective of me upon listening. There's one in particular, a favourite progressive piece of mine written for an abandoned album concept and now I just can't figure out what to release it on. It starts out bombastic, goes into drone, then turns into a piano piece. Truly very progressive cinematic stuff and one that is very "me" that I had no idea was in me. It's been waiting to be released for years but I won't release it until it neatly fits on an EP or album or something. But for the most part, I'd say that I feel more relief that I'm actually able to finally get some of these sounds and melodies out of my head and into the world.

* * *

Thanks again to Mombi for providing such fascinating and in-depth answers to my questions. If you’d like to check out Mombi’s music, you can find him on Bandcamp and YouTube, among other places. You might also like to join his Facebook Group: Unearthing Your Internal Monsters, a group created to bring anyone who struggles with life, and who uses their creative endeavours to cope with it, together.

Sunday, 4 April 2021

Dark Ambient Review: Astral Temple

Dark Ambient Review: Astral Temple


Review By Casey Douglass



Astral Temple

When I was a teenager, I loved reading the horror of Dennis Wheatley. My favourite book was Strange Conflict, because it was so heavy with notions of astral projection and sinister magic. Astral Temple is a dark ambient album from Notnotice. It released in 2018 and I came across it when I was having a browse of Bandcamp one fine day. In short, after having clicked through a few of the tracks, I found myself back in that teenage frame of mind, thinking about other planes of existence and the dark things that might dwell there. Which brings me to this review.

From the very first track, Molder of Sleep, the listener gets the impression that the empty space around them is far from empty. Whispers dance from ear to ear, the sounds contained within them almost making it feel like they are dripping into the mind. A throbbing drone sits beneath them, a higher tone quietly sounding at intervals. These elements play together for awhile, the pulsing seeming to afflict each tone to varying degrees. A strange type of dream machine came to mind, a resonant pealing sound carrying the dreamer to the astral plane. In the second half of the track, strange, distant music can be heard, maybe a sinister opera caught on the astral winds, but one that is impossible to actually find. This was an ethereal, bleak and sinister track, and I really enjoyed the atmosphere that it created.

Descent to Lower Levels is another track that I particularly enjoyed. It opens with a rumbling drone, one that is soon joined by distant squealing tones. The soundscape presses and vibrates with slab-like bass, horn notes, and small furtive movements that crackle in what sounds like long stone corridors. This track is both airy and spacious, yet hot and claustrophobic at the time same, like walking into Hell and being simultaneously struck by the overall vista, but also, the immediate tight pathway. This is an ominous track, the horn notes making it feel forbidden and dangerous for the person roaming the scene.

Higher Entities is a track that is ominous in a different way. It starts with a low hollow drone and the buzzing of a radio or an amp. A deep hum or chant begins, tiny scratching sounds scraping their nails down the listener’s ear drums. Distant echoing knocks start to occur, hinting at another soundscape encased in stone or rock. The chant, the crackling and the impression of distance seem to make this track feel “higher” in the way that, rather than weighing you down, it seems to lift you up. Where it takes you still feels dark, but a more refined type of darkness.

Lastly, I wanted to highlight Error of My Mirror. The track opens with an airy, trundling drone, a slight hiss accompanying it. The sound of dripping rain suggests itself, a long exhale-like swell of air soon follows, with small squeaks and hints of clattering metal wrapped in its bosom. The soundscape feels very mechanical to me at this point, like some kind of Hell-machine firing up in the basement of an abandoned church. This basement pulses with strange energies and weird lights, and the rain that manages to reach the small, high windows in the walls, is the only witness to what is really going on in there.

Astral Temple is a dark ambient album full of occult-infused spaces. It strikes me as the kind of album that you can listen to anywhere, and still feel like the veil between worlds is thinning around you. Whether you listen in the warm comfort of a modern home, or a tent on a windy hillside, I think you’ll enjoy how it seemingly brings the otherworldly so near.


Visit the Astral Temple page on Bandcamp for more information.


I was given a review copy of this album.


Album Title: Astral Temple

Album Artist: Notnotice

Label: Noctivagant

Released: 8 March 2018

Thursday, 1 April 2021

Dark Ambient Review: Shore Rituals

Dark Ambient Review: Shore Rituals


Review By Casey Douglass



Shore Rituals

Anywhere humans want to go, but can’t, whether because of their physiology or a lack of technology, tends to be the fertile stuff of myth. Ever since we had a name for it, the sea has been home to all manner of monsters and gods. Ruptured World’s Shore Rituals is a dark ambient album that gives voice to these superstitions and fears, letting the listener almost feel their ears dipping below the surface of the briny water.

Common sounds that can be heard on Shore Rituals include the field-recorded movements of the sea, the wind, and the waves. A number of the tracks begin with these sounds, dipping down below the surface into a world of different tones and impressions, before returning to the surface once more. Other sounds that appear more than once, include the use of warbled radio voices or music, and piano notes that warp and bend, almost as if the pressure of the depths itself is having an effect on them. I particularly enjoyed the periods of radio activity, as it is a lovely way to knit the otherworldly more closely with this world.

Opening track, The Merman, is one of my favourites. It begins with the wind, waves, and tinny radio squeals and chatter, a light drone looming behind. It felt like listening to a fishing boat at sea, bobbing away under a moody sky. A short time later, the sounds do the thing that I mention above, the waves quieten, the listener seems to dive underneath the surface, and the soundscape becomes a peaceful, vast space. A hint of gentle male vocal floats along, whistling, almost sonar-like notes further emphasising the expanse around the listener. There are small sounds that plink and croak, almost frog-like. There is also some piano melody as the surface-level sounds reappear. This whole soundscape feels mysterious, deep, and at the end, a little jaunty or playful.

The piano notes make a strong return in another favourite track of mine: Catharsis II. The track opens with a lurching, drunken piano melody, a light tone in the soundscape taking up a similar aspect, maybe even a mocking aspect. A deeper, slower, tone takes over, the space deepening with a dark drone. A high pitched vocal-like tone shrills and billows, like ghosts flitting around a doomed ship. I enjoyed how this soundscape starts almost whimsically, and then warps into something far more creepy, the ghostly tones probably the highlight for me.

The Human Vessel is another track that I really enjoyed. It opens with the sounds of the sea and a high, sustained tone, tinny radio music warbling behind it. There is an airy rumbling and a metallic knocking, and things start to feel heavier and ominous. A warping piano melody takes over from the radio tones, the soundscape juddering and creaking around it. A male monologue begins a short time later, talking about staring into the void and a tomb of his own wishes. The piano resumes accompanied by a light tone, the sea waves returning to see the track out.

Shore Rituals is a salt-laced windswept album, one that I think does a great job of helping the listener experience some of the majesty, mystery and magnitude, of the liquid that covers so much of our planet. Its tinny radio sounds and strange piano melodies act like an anchor for the mind, the sea and the things beneath it always pulling and pushing at the edge of the imagination. If you enjoy your dark ambient sea-soaked and mythical, you should check out the Shore Rituals link below.

Visit the Shore Rituals page on Bandcamp for more information. You can also listen to the track Catharsis II below:



I was given a review copy of this album.


Album Title: Shore Rituals

Album Artist: Ruptured World

Label: Cryo Chamber

Released: 23 March 2021

Tuesday, 30 March 2021

Dark Ambient Review: interlopers

Dark Ambient Review: interlopers


Review By Casey Douglass



interlopers

I think that some of the best horrors take the sights and sounds that we see every day, and introduce some unsettling element to them, something that corrupts them and forces us to look at things differently. This feeling lingers even when we are done with the film, show or book, and when we next see a similar object, we get echoes of those feelings. Josh Sager’s dark ambient album interlopers would provide a great soundtrack for such a tale.

The interlopers album art makes me think of invaders from other dimensions, or maybe humanity has finally made the weapon that will cause its own extinction. The metal structure and the chopped edits give rise to ideas of a mashing of worlds, or a clash of strange energies. The ubiquity of these kinds of structures, or similar ones such as pylons, in the developed world at least, drags these feelings into the realm of the everyday. The album title: interlopers, and the various track names, such as “auger spires” and “when mountains walk” really cemented these ideas for me, which the music then confirmed with gusto.

The first and titular track “interlopers” gives a great broad taste of what I felt. It opens with a fizzing, punching double beat, a windy drone blowing behind it. A buzzing electronic tone pulses out a simple melody, a high bird-like tone and a howl-like wail occasionally sounding. There is even the chime-like clinking of what could be milk bottles being left on a doorstep. This track brought such images to mind as an angry sky, a building storm, litter strewn streets and grit covered windows. It felt ominous though, like whatever catastrophe has occurred is either the first of many, or that the thing that caused it is still in the area, still a threat.

The track “to a flame” is one of my favourites. I think it’s because it opens with, for me, a retro horror-feeling electronic melody, the kind that you might hear as the victims in a film approach the haunted house that they are about the spend the night in. A scratchy beat begins a little later, accompanied by a low vibrating tone that almost snarls into the soundscape. A short while later, a roaming, ghostly sound begins, sweeping rushes of air pushing static through the ears. This track is another ominous one, and the changes in melody that come after the midpoint only serve to ramp this feeling up even more.

The final track that I wanted to talk about is “auger spires”. This is partly because it opens with a gentle, light tone and drone, with only small hints of wind or menace. The soundscape feels resonant and pulsing, and on an emotional level, ominous, but like a moment of respite too. It caused me to think about what an out of town industrial estate is like at midnight. Wide roads, tall, hanger like buildings and expanses of concrete. Then a vibrating tone begins in the track, a shuddering impact hot on its heels. For me, this was the audio equivalent of the street lights or security lights gradually fading as something dark or evil approaches. There is a shrill tone that twists in the air, and things turn to that uneasy, apprehensive feeling once more.

If you enjoy dark ambient music with fizzing electronic tones, haunting drones and unsettling “windy night on an industrial estate after an invasion” atmospheres, you should take a closer listen to Josh Sager’s interlopers at the link below.

Visit the interlopers page on Bandcamp for more information. You can also check out the titular track below:



I was given a review copy of this album.


Album Title: interlopers

Album Artist: Josh Sager

Released: 22 Feb 2021

Sunday, 28 March 2021

Dark Ambient Review: Radioactive Immersion

Dark Ambient Review: Radioactive Immersion


Review By Casey Douglass



Radioactive Immersion


At times, the beauty and courage of the dark ambient genre strikes me as if I’m discovering it for the first time. Sitting here, trying to decide how to begin this review, reading the album description of Radioactive Immersion, a collab between Dronny Darko and Ajna, it hit me again. An album steeped in desolation, peril, and set in the aftermath of a disaster? What other genre of music offers something so fucking cool?

Said album description depicts the gloomy exploration of dark tunnels, humans edging warily into the pitch black of a space where old, murderous technology sits in standby mode. There is mention of mutated plants, a fungal forest, and hazmat-suited bodies being embraced into strange cocoons. Call it a hunch, but I suspect you could happily wander around in such an environment and not have to give two shits about Covid. Sometimes a different peril is as much of a tonic as a holiday.

Radioactive Immersion features soundscapes that paint a bleak cinematic picture of the events that the listener might be listening to. There are tiny, Geiger-counter-like clicks, there are muted beeps, the sound of dripping water, and the squeaking rattling of metal things as they move, either by human hand or in some other manner. The first track, Anomalous Gravity Distortion, is a prime example. It opens with a clicking, and a ghostly drone, a warm hum bleeding through from beneath. It creates a hollow, echoing space, with hints of insect-like twitching and movement. It feels like walking down a long tunnel. After awhile, you are treated to the sound of subdued radio-voices and the sounds of what might be a generator whining. There is a radio-static hiss and a puttering, and a windy rushing sound that almost masks the small beeps and squeals of equipment. The clicking takes off, like microwave popcorn gaining heat, leaving you with a soundscape that manages to feel both hot and chilly, quiet and busy, at the same time.

Plutonium Clouds (feat. ProtoU) is one of my favourite tracks. It begins with distant echoing impacts. They repeat again and again, almost taking on the mantle of some kind of giant machine or bellows pushing air around the tunnel system. A warm drone grows, shortly followed by a shrill train-whistle sound. Later come high, hopeful tones and a vocal-like “ahh” quality. This track billows and swells with impressions of murky distance, a bit like how the sun can make a meadow mist shine. Just imagine the same thing underground, with a nuclear glow and rattling metal. I like the peacefulness of this track, and how that gets peeled back to utter grimness when you stop to think about it more deeply.

Another of my favourite tracks is Mutated DNA. A resonant tone falls over time and reversed, clipped tones begin to chop into the air. Strange beeps, pops and plinking tones deepen this effect, some of them sounding distinctly wet. It creates a really odd space, and really brought to mind the way DNA might suddenly warp or twist, like a random twitch entering the face of a motionless meditator. It just happens. After the midpoint, the track feels full of scurrying movement and egg-shell cracking birthing. I guess, to my mind, it made something half cockroach, half David Cronenberg creation.

Radioactive Immersion is a dark ambient album that carries the listener along the buzzing, mist-filled tunnels of a disaster. The echoing impacts, crumbling brickwork and rattling metal barriers all seem to vie with the strange wind that fills the lungs of the place. Curious creatures and corrupted vegetation live there now, and I wonder how long it might be before they decide to claim some of the world above for their own use. A great album.

Visit the Radioactive Immersion page on Bandcamp for more information. You can also check out Plutonium Clouds below:



I was given a review copy of this album.


Album Title: Radioactive Immersion

Album Artists: Dronny Darko & Ajna

Label: Cryo Chamber

Released: 9 Mar 2021