Dark Ambient Review: Tsathoggua

Review By Casey Douglass

Any H.P Lovecraft fan will likely have marked the annual Cryo Chamber collaboration, released in his honour, on the calender. Or maybe on a piece of ancient paper, one that gives off sinister crackles of green light when it feels a pen’s embrace. Tsathoggua is the newest entry to the Cryo Chamber Lovecraftian catalogue, paying its dues to the toad-like Old One.

As in previous Cryo Chamber Lovecraftian collabs, Tsathoggua consists of two tracks, each just under an hour long. In the broadest of strokes, I’d describe the soundscapes as made up of buzzing, vibrating tones, with lots of little scuffling echoes and insect-like ululations. The drones are supported by a variety of ritual drumbeats, juddery string notes, and shrill pipings, with occasional deep crumping impacts that rumble through the environment. With the toad-like god in mind, Tsathoggua tends to feel wet, close, swampy and at times, cavernous.

One of the highlights for me was around the 34 minute mark of track one. There is something about the five minutes or so that comes next, that I felt pleasantly dragged my mind out from the misty subterranean mire and that hinted at Lovecraft’s world rubbing up against our own, much like Randolph Carter and his dream wanderings in search of Kadath. Where Carter might have heard hoof-beats and anvils (if he heard anything at all), our world seems to impinge at this moment with a number of technological beeps, squeals and tones. This sequence begins with some clattering swells and what I noted as “corrupt organ music” so if you check out the album, listen out for it.

Tsathoggua isn’t all unrelenting gloom however, there are some sequences where things lighten a little, with high tones and drones shining like a pure crystal in the darkness. There are impressions of wind, rain and a static that serves as a kind of balm to the listener’s mind. I was really struck by this at the end of track one when the soundscape had a feeling of “the ordeal is over”. I’d like to add that I mean this with regards to an imaginary protagonist who has traipsed through the strange twisted world hinted at by the music, not that listening to the music is an ordeal! This feeling also made the commencement of the second track a “lets go back in” kind of notion, with unfinished business threatening the delicate tranquillity just recently found.

Highlights of the second track were, around the 7 minute mark, a segment that felt like a small nod to Lovecraft’s The Beast in the Cave. An ape-like hoo-haa-haa sound signals a stretch of track that is a veritable storm-swell of sound. There is a drumbeat, bouncing elastic swells and a windy creaking feeling. The synth, when it appears, gave me that Silent Hill, “sunlight through mist” feeling, the distant cries and candyfloss crackles hinting at a funfair that you might not ever want to visit. At around the 30 minute mark, there is also a section that I noted down as “The Prowling Abyss”, which is a lovely, hollow, dripping environment to let seep into your mind.

Tsathoggua is a remarkable Lovecraftian slab of audio-meat to feast your dark ambient chops upon. Even though I very much enjoyed the previous Cryo Chamber collabs, for me, Tsathoggua is up there with Azathoth and Cthulhu, which are my two absolute favourites. If you follow Cryo Chamber’s dark ambient music output, the chances are that you already have this album and none of this is news to you. Good on you! If you aren’t this person however, let my words kindle a spark of interest in your soul and go and check out Tsathoggua.

Visit the Tsathoggua page on Bandcamp for more information.

I was given a review copy of this album.

Album Title: Tsathoggua

Album Artist: Cryo Chamber Collaboration

Label: Cryo Chamber

Released: 27 Dec, 2022

Dark Ambient Review: Dagon

Review By Casey Douglass

Something that always cuts through the bullshit of Xmas and New Years is the yearly Cryo Chamber Lovecraftian collaboration. This year’s offering is themed around Dagon, and as you might imagine, this means that the soundscapes emitted by its two, hour-long tracks, have a decidedly nautical, briny feeling.

From the very first second of track one, the sounds of waves, drones and horns fill the ear. There is a low heartbeat-like beat, a jittering chittering, whispers, and the impression of vast forces being mobilised. Your journey into submersion and the subterranean has begun, each area opening up and deepening into the feeling of vast underground places. Gaping water-filled caverns reflect back strange echoes from their walls. Trundling rasping sounds fill the mind with notions of strange machinery. Sinister vocals roam, from low distorted words to more melodic, siren-song snippets of mournful summoning.

One of my favourite moments of the album is around the six minute mark on track one. The cavernous soundscape sparkles and rasps with whispers, accompanied by muffled impacts rumbling in the distance. A drone fills the ear and laughter-like scuffling sounds pull the attention to the fringes. Strange whirring high tones seem to hint at strange creatures flocking in the dark recesses of the unseen rocky roof. It’s a pregnant atmosphere, pent up and ready to birth something horrible.

Another great section is around the fourteen and a half minute mark. The soundscape quietens and a strange female mewling vocal beckons. Water drips and trickles, and a buffeting sound ruffles the ears, much like wind blowing against noise-cancelling headphones. Twisting, smoothed notes pluck and echo away into blares of drone, the soundscape creating a feeling of being on the edge of something momentous.

Track two also has its fair share of succulent dark ambient to feast on. Eleven minutes in, a sustained drone is joined by a wet ‘thrashing around’, echoes, rumbles and airy tones, which create a fine impression of some strange creature wending its way across a shore in the dark abyss. As time passes, things feel more hollow, like a greater space has opened up, with the distant high calls of some kind of strange creature. The listener then breaks into a breath-infused space of threat and at times, what seems to be laughter.

Another moment in track two that I particularly enjoyed occurs at around minute twenty two. A roving undulating deep tone fills the ear, with high tones squeezing through the oppressive atmosphere. Again, there is an impression of breathing or the breath, and a little later, a ghostly hum. This section of the track feels dark but meditative, the lows and highs dancing around each other and setting off a shimmering, haunted, echoing space.

Dagon is another fine slice of eldritch dark ambient from Cryo Chamber. Going in, I wondered how it might compare to 2014 release Cthulhu, both being “of the sea”. If Cthulhu depicts what it might be like to be in a dark water abyss deep under the earth, Dagon, for me, is more a tale of what sitting on that dark shore might feel like, rather than being crushed by the water itself. If that makes sense. Both are fantastic albums in my opinion; I just wanted to describe how they both differed in how I felt when listening to them. If you love your dark ambient Lovecraftian, as always, you can’t go wrong with a Cryo Chamber collaboration.

Visit the Dagon page on Bandcamp for more information. You can also listen to the album below:

I was given a review copy of this album.

Album Title: Dagon

Album Artist: Cryo Chamber Collaboration

Label: Cryo Chamber

Released: 28 Dec 2021

Dark Ambient Review: Yig

Review by Casey Douglass

One of the really nice things about the recent Lovecraft-inspired Cryo Chamber Collaborations is that they are branching out into areas of his writings that I’m not that familiar with. I didn’t really remember much about Hastur when last year’s entry landed, and Yig, the newest release, is another that has sent me off, browsing the internet for more information. Yig is some sort of snake god, and as the album description details, this sets the scene for notions of strange cults, dusty temples and people hallucinating as snake venom flows through their veins.

With this notion in mind, I guess it’s not unreasonable that I thought that I heard the hissing of snakes in so many moments of listening to Yig. I dare say that if I was listening to an album with a different theme, I would have noted some of these sounds down as “static” or “whispers” or something else. But this time, it’s snakes, snakes everywhere. And why not. I’m not phobic about snakes, and I don’t love them either. I think my mind just enjoyed looking for signs of them, therefore finding plenty. There was also at least one instance where I thought I heard a rattlesnake rattling too, and I don’t think that was just wishful thinking.

As with previous Cryo Chamber Collaborations, a number of artists came together to create Yig. Their efforts formed into two, hour long tracks, that take the listener through a variety of experiences and soundscapes, melding and merging into different takes on the theme. For me, the sounds and tones created images of the shimmering sun, grainy desert winds and stone passageways that echoed with the hiss of snakes. There are sounds that I didn’t expect to hear either, ones with a more sci-fi feel. An example occurs around the five minute mark in track two. A dark brooding space seems to be lit by a whirring, spinning effect, the whole soundscape stuttering and distorting before finally smoothing out again. I really enjoyed this, as it confounded my expectations a little.

Around the twenty-third minute of the same track, the soundscape that the listener enters feels like it is full of gelatinous bubbling bubbles. You might even describe it as swampy and wet. There are deep tones that sound like the distant mumblings of a great creature, with insect-like scurrying sounds plucking at the dense atmosphere. Three minutes later, a crisp electronic tone seems to roam the soundscape, the effect it has on the bubbles one of agitation and annoyance. It’s a truly interesting soundscape to experience. As a whole, I felt that most of Yig gave me impressions of being underground, maybe in a sprawling city, or in strange cavernous landscapes. Besides this swamp-like space, at other moments I felt like I was in an underground garden, and of course, in various temples and ritual chambers. In track one, there was even a moment where some of the more gentle tones made me feel like I’d entered an area where sunlight from the surface just about managed to reach down to me, a tiny opening shining with blue sky, offering the prospect of escape, but only if you could somehow fly.

Another fun and unexpected moment, again in track two, happens at around the nineteenth minute. The soundscape is injected with jaunty bursts of tone, warping piano-like notes and the rumbling of a water or sand-fall. I wrote in my notes that it felt a bit “jazzy”, but only the kind of jazz you’d encounter in a bar at the end of the world. Even though I’ve drawn most of my examples from track two, both tracks have plenty to admire and enjoy. There is a variety of chant-like tones, drum beats, voices and plucked notes, alongside breathy tones, drones, rumbles and ghostly sounds. And as I said at the very start: hissing. Think of Yig as a journey from the desert into the depths of the Earth, seeing all kinds of biomes and structures as you travel. That’s how it appeared to me at least.

Yig is another fantastic Cryo Chamber Collaboration, an eldritch dark ambient creation that captures the bleak fatalism of Lovecraft’s horror. It swaddles the listener in darkness, guiding them into dark places and ominous vistas. It lifts up their spirit for brief periods, with hints of light and beauty, and then plunges them back down into the recesses of the Earth once again. If you like your dark ambient eldritch, sandy... and slithering, you’d do well to check out Yig.

Visit the Yig page on Bandcamp for more information. You can also check out the track Yig 2 below:

I was given a review copy of this album.

Album Title: Yig

Album Artist: Cryo Chamber Collaboration : Neizvestija, ProtoU, Dronny Darko, RNGMNN, In Quantum, Dead Melodies, Atrium Carceri, Keosz, Northumbria, Beyond the Ghost, Wordclock, God Body Disconnect, Randal Collier-Ford, Hilyard, Council of Nine, Dahlia's Tear, Lesa Listvy, Creation VI, Aegri Somnia, Ager Sonus, Ruptured World, Alphaxone.

Label: Cryo Chamber

Released: 29 Dec 2020

Dark Ambient Review: Hastur

Dark Ambient Review: Hastur

Review by Casey Douglass

I still find Lovecraft-themed media, whether stories, games and music, a rich vein of eldritch fun. There is something so dark about his mythos and the way that it has built into something seemingly more than it is. One of the usual highlights of this media is when Cryo Chamber releases its regular mammoth Lovecraftian collaboration, giving the listener around two hours of murk, gloom and existential horror to feast on. This year’s is Hastur, and as usual, it’s very good.

"Some name him Hastur - others Assatur, Hali or Kaiwan. The last can, to the erudite mind, whisper something of where the supernal alliances may lie. The men of Leng are purported to know more, but that is no place for wholesome minds. Better then to seek out a Shantak. It will doubtless whisper of onyx and a frigid wind, urging you ever northward and upward. Were ye to follow, ye may glean the answers ye seek. But they would do you little good, once the unrelenting drums have hold on thee. It is better, sometimes, not to know whom ye serve." - Excerpt from Digibook

The drums mentioned above seem like a great place to start. These appear at various moments in the two, hour long tracks, and when they do, they often add a certain level of ‘evil blasphemy’ to things, to go a bit ‘H.P on yo' ass’. How can drums be blasphemous? Well, besides playing them during a Catholic Mass and annoying the priest, the ones on Hastur are the kind you might only hear at night, in the distance, when strange lights are in the sky and the shadows around you keep shifting. When you add in the other ritual-like sounds, from chanting and the rise and fall of a drone, you can almost feel one of the many tendrils of an Elder god tickling your coccyx.

Drums are just one part of Hastur however, the various soundscapes containing a variety of other textures and depths. I write quite extensive notes but find it hard to adequately describe a two hour album in the way that I might a 45 minute one. Here I will write down an assortment of the sounds I heard and the ways I described them on paper. It should give you a taste of what I mean at the least. I am also tempted to caption it “Lovecraftian Gratitude Journal Day 153” :

A teeth grating sound going side to side, tones filtered through murky water fizzling out before they reach the bottom, shrieking bat-noises in the belfry, guttural chuntering, witch-like ‘hag tones’, a pulsing swarm head-fuck, ‘floor sweep’ whispers, sliding granite blocks in distant temple, lonely piano notes, chimes, static and distant screams.

The soundscapes on Hastur are relatively smooth; they don’t jar and they are quite nice for relaxation. There is enough going on to keep the listener’s interest and to provide some fun, dark daydreams, from reconfiguring temples to the movements of strange creatures in the shadows. I also really liked the drums, it made me feel that unseen forces were seeping into the soundscape, ready to unstitch the reality of the denizens silly enough to invoke them. If you are a Lovecraft fan, and you also happen to enjoy dark ambient music, you’ll probably already own Hastur. If not, visit the Hastur page below and have a listen. I think you’ll be glad that you did.

Visit the Hastur page on Bandcamp, and check out the first track below. (Skip to around 29 minutes to enjoy some of those dark drumbeats I mention above).

I was given a review copy of this album.

Album Title: Hastur

Album Artist: Cryo Chamber Collaboration

Label: Cryo Chamber

Released: December 17, 2019

Dark Ambient Review: Shub-Niggurath

Dark Ambient Review: Shub-Niggurath

Review by Casey Douglass

I don’t like Christmas. It’s true. Rather than dwell on that though, I will dwell on what I do like, another Cryo Chamber collaboration honouring the master of the eldritch, one H.P Lovecraft. And it is out this December, which is the perfect antidote to all the dross about that fat red guy jumping down chimneys. This collaboration is named Shub-Niggurath, after a tentacled dark god with universal appeal to the peoples of Lovecraft’s shadowy worlds.

Album Blurb: A 2 hour dark soundscape album recorded by 20 ambient artists to pay tribute to H.P. Lovecraft. Dark sounds from dreamy dimensions to never ending cursed forests. Join us in the ritual of lust for the Black Goat of the Woods.

Shub-Niggurath is an Outer God (or Outer Goddess) in the pantheon. She is a perverse fertility deity. An enormous mass which extrudes black tentacles, slime-dripping mouths, and short, writhing goat legs. Small creatures are continually spat forth by the monstrosity, which are either consumed into the miasmatic form or escape to some monstrous life elsewhere.

Of all the mythos deities, Shub-Niggurath is probably the most extensively worshipped. Her worshippers include the Hyperboreans, the Muvians, T'yog of K'naa, and the people of Sarnath, as well as any number of druidic and barbaric cults. She is also worshipped by the non-human species of the mythos, such as the "Fungi from Yuggoth" (the Mi-Go) and the Nug-Soth of Yaddith. With the proper occult paraphernalia, Shub-Niggurath can be summoned to any woodlands at the time of the new moon.

As with previous collaborations, Shub-Niggurath comes as a couple of hour-long tracks, in which the various artists get to flex their aural muscles and stamp their own brand of murk onto things. A little like a Lovecraftian pass the parcel, except with something you’d actually want to have at the end of things, rather than a chocolate coin or plastic comb. As it’s two long tracks, I will keep my comments quite general, but still relate the things that grabbed me.

The album opens with the taut beat of a drum, first singular beats, but ramping up into a more ritual-like rhythm a little later. It doesn’t take long for one of the things I most like about the album to emerge after this: the sound of eerie flute/pipe notes. Maybe I am overly enraptured with the concept of the mad god Azathoth, his throne of chaos, and the “thin flutes piping mindlessly”, but I find that kind of sound far more sinister and sacrilegious than a lot of other sounds. These flute-based sounds appear quite often on Shub-Niggurath, and each time they do, I smile. The other element that occurs at quite regular intervals are discordant string-based notes. These bow and scythe their way through the soundscape, any other flavour sounds bolstered by their allusions to things being “not right” and madness.

As far as specific impressions, my absolute favourite occurs during track two, around 12 minutes in. The soundscape hushes and falls relatively quiet. A wheezing, breath-like sound insinuates itself, and before you know it, you feel surrounded by gurgling sighing things, glugging their way out of the murk. To me, this was the audio equivalent of being at a lakeside, looking away, looking back, and seeing strange creatures’ heads surfacing in the still water. There are a number of moments on Shub-Niggurath that conjure this swampy, humid feeling, of the trees being too close, the ground too moist and the movement at the edge of your eyes being too unsettling. Of course, I liked this a great deal.

Another compelling moment for me, occurred on track one, about 43 minutes in. The sound of chimes and rain soothes, but there is soon a deep whooshing rumbling rhythm that mingles with dripping water. It kind of made me think about what a twisted Ent (of LOTR fame) might sound like, crumping through the landscape. It isn’t too long after this that you hear strange vocalizations, and what sounds like a heartbeat, mixed with curious creature calls. Eerie and magnificent. There are also ample opportunities to hear the sounds of scurrying, wet, chitinous things scrambling through the various soundscapes, so I hope you enjoy creepy crawlies.

Shub-Niggurath is a fitting tribute to another of H.P Lovecraft’s dark gods. The soundscapes created by the various artists all dance around this theme, some are dark, some are so murky even the vision of a Great Old One might struggle to pick out any light. What they all are though, are a remarkable journey into ominous valleys of thought and superstition. The long running-time only aids this feeling, and listening to the whole thing in one long session (if you have the time), leaves the listener feeling like they have travelled much further than the distance their eyelids might have closed. I’ve listened to it a number of times, but I’m sure it will take many more listens to fully take in what is going on. As far as I can tell though, Shub-Niggurath is a fine addition to any dark ambient fan’s collection.

Check out the Shub-Niggurath page on Bandcamp at this link. You can also listen to track one below:

I was given a copy of this album for review purposes.

Album Title: Shub-Niggurath

Artists: Cryo Chamber Collaboration: Atrium Carceri, God Body Disconnect, Dronny Darko, ProtoU, Kolhoosi 13, Neizvestija, Northumbria, Apocryphos, Randal Collier-Ford, Dead Melodies, Flowers for Bodysnatchers, Ager Sonus, Council of Nine, Kammarheit, Gydja, Creation VI, Darkrad, Aegri Somnia, Ugasanie, SiJ, Alphaxone, Keosz.
Label: Cryo Chamber

Released: 4 December 2018

Dark Music Review – Nyarlathotep

Dark Music Review – Nyarlathotep

Review Written By Casey Douglass

A 190 minute dark soundscape album recorded by 25 ambient artists to pay tribute to H.P. Lovecraft.

Field recordings from the deepest dark corners of 4 continents. Dusty tapes out of forgotten archives. Strings through crackling amplifiers and distorted drone combine into a sea of pitch black.

Nyarlathotep is a manipulative being in the Lovecraftian Mythos. Unlike Cthulhu, or Azathoth, he delights in cruelty and deception. Causing madness is more important than destruction to him. Smell the burning embers as you kneel outside the sunken temple before Nyarlathotep. Feel the raspy touch of the faceless pharaoh as he leads you to the ancient Pyramid. Hear his inhuman summoning call to gods beyond reality.

Ah Mr Lovecraft, where would the world be without your own particular brand of creeping horror? Probably still in the current state it currently resides, but with less tentacles I guess. As always, anything that takes Lovecraft’s creations as inspiration, be it audio, video or game, instantly has my interest. When it comes down to music however, it just might be one of the most visceral ways of creating that sense of the eldritch that Lovecraft himself so excelled at. Nyarlathotep is a dark ambient album that uses the creative juices of no less than 25 ambient artists, working and bouncing sound off each other, going ever deeper into what Nyarlathotep might sound like or embody.

Nyarlathotep consists of 3 tracks, all around an hour long, give or take five or ten minutes here and there. For the most part, each track is a quieter visit to the dark ambient genre; plenty of echoing notes and deep rumblings that, while prominent, don’t particularly loom with any great threat or menace. I guess what I'm saying is that it is a pretty slow burner, the languid strings and electronic creakings and trills creating an undeniably dark space, but one in which you can let the echoes carry you away, rather than anything too intense.

That is quite a simplistic view and doesn't quite take into account the host of other sounds and tempos that emerge as you make your way through the tracks. There is a variety of chant-like vocals, some deep and satanic, others high and angelic. Static and distortion play their parts too; a static-fuzzy sound becoming a beat at one point, or later dancing around the soundscape like some digital insect fluttering its wings. Oh and there are chimes and bells and other metallic sounds, along with distant thumps and shufflings, I mustn't forget the shufflings.

Highlights for me were the distorted lightening strikes that emerge about eleven minutes into track two, and a bit later in the same track, the dark soundscape that features the sounds of someone breathing as they seem to be exploring wherever they have found themselves. I also enjoyed the metallic clattering that begins track three, a harsh electro-drone rising, soon to be joined by voices that either sound pleading or worshipping.

I enjoyed the time I spent listening to Nyarlathotep, although for me, there is a tentacled beast in the room that I haven’t addressed yet, and that is a previous Cryo Chamber Collaboration that goes by the name of Cthulhu. Cthulhu really blew me away, I think maybe because the soundscapes were more active. Nyarlathotep is a smooth, dark listening experience, but it didn’t get its hooks into me in the way that Cthulhu did. I’m going to give Nyarlathotep 4/5, but if you like your dark ambient at the smoother, more introspective end of the spectrum, you could easily add at least half a point to that score.

Visit the Nyarlathotep page on Bandcamp here for more information, and check out one of the tracks from the album below:

I was given a free copy of this album to review.

Album Title: Nyarlathotep

Artist: Cryo Chamber Collaboration

Label: Cryo Chamber

Released: September 27, 2016

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Dark Music Review – Azathoth

Review Written by Casey Douglass

In 2014 Cryo Chamber got some of the most prominent dark ambient artists together to synchronize their studios during a year of collaboration creating the album Cthulhu in tribute to H.P. Lovecraft. With Azathoth Cryo Chamber double the effort with a 2 CD release follow up. No less than 20 artists has been working for the last year to synchronize and co-create Azathoth. Azathoth is a collaboration NOT a compilation. Azathoth is an Outer God in the Cthulhu Mythos and Dream Cycle stories of H. P. Lovecraft and other authors. Azathoth's precise appearance is only hinted at throughout the Mythos, and indeed may be unknowable by mortal beings. It is described as occupying a position outside of the universe, where it is attended by a cohort of alien servants.

Cthulhu, the collaboration mentioned in the album description above, is probably one of my favourite dark ambient albums of all time. Its one massive track took the listener from the stormy waves, deep under the sea and back again, dragging something eldritch along for the ride. You can read my review of Cthulhu at this link. With this in mind, Azathoth had me wondering if I would find another mind-blowing favourite to add to my collection, another Lovecraft infused dance with the abyss. Featuring the work of a whole host of dark ambient artists including Atrium Carceri, Aphaxone, Randal Collier-Ford and Ugasanie amongst many others, Azathoth had every chance of being something very special. Did I find my shadowy bride or was I left jilted at the alter? Read on to find out.

Tracks / Thoughts

Rather than the usual collection of anywhere from 6 to 10+ tracks, Azathoth comes in with two mammoth tracks: the first of around 55 minutes, the second just breaking through the one hour mark. I did begin to write quite in-depth descriptions of each track but abandoned that when I realised it would make for a wall of text and would probably not be the best way to approach things. I've decided to give a general overview instead, having spent a good amount of time with Azathoth and relaxed to it on a number of listenings.

The first thing that I would say is that both tracks are fairly smooth dark ambient compositions, containing flowing drones and ambient sound recordings that I didn't find too jarring. Of the two tracks however, “Azathoth 2” has a few sections in which there are some quite harsh sounds: an example being what sounds like someone throwing a pebble at a rocky floor and it shattering. It almost felt like being poked in the chest. I can imagine this will only be an issue if you fancy using Azathoth to doze off to however, but not everyone is as strange as me in that respect I am sure.

The sounds contained in the tracks all serve to take the listener on a dark journey towards things that are hard to give words to. I felt like I spent most of my time roaming roughly-hewn rock tunnels in the earth, some segments dimly lit and dripping with water, others black as pitch with air so thick that it is hard to walk through, let alone breathe. There are audio effects that sound like something breathing and flying past in the gloom, there are others that give the impression of industry at a great distance, like creeping past some vast cavern containing strange creatures delving in further into the ground. Voices mutter and mumble, sounding like they are on old radio-sets far away and bassy rumbles hint at the shifting of colossal forces.

For me, Azathoth is a meditation on the rock-paved abyss, gradually falling through the world until finding myself in some other place, an other place with strange denizens and a strange atmosphere that scythes away the concerns of everyday life, replacing them with more primal themes and motives. If you couldn't guess, I very much enjoyed my time listening to Azathoth and happily give it a rating of 4.5/5.

Visit the Azathoth page on bandcamp here for more information and prices.

I was given a free copy of the album to review.

Album Title: Azathoth

Album Artist: Cryo Chamber Collaboration

Label: Cryo Chamber

Mastering and artwork: Simon Heath

Release Date: 6 October 2015

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