Ulver "Sic Transit Gloria Mundi" (2017)

To use Francis Bacon's horrifying "Screaming Pope" as a record cover is an ambitious statement. For a band once associated with Black Metal I half expected this to be a transition in sound but this three track EP is simply additional songs from the The Assassination Of Julius Ceasar recording sessions. Despite being left out, these may be some of the best songs from the album released earlier in the year. For Ulver's lush and serine re-imagining of 80s Synth Pop I do not understand the relation with the dark and harrowing painting of Fancis Bacon but its the least of concerns given there are three new songs to enjoy.

"Echo Chamber" treads on unearthed ground, an atmosphere of unsettled tension, cautiously guides us through a mid-tempo night time drive of synthetic atmosphere. Slow, winding melodies scale up against Rygg's lyrics siting terror events in London as a catalyst for the current social political climate. "Bring Out Your Dead" ironically brightens the mood with a fast bustling hi hat to shift things into cruise control, although the lyrics have a sad tone, the songs melodies and synth revolve around an uplifting emergence for the dark.

"The Power Of Love" gently unfolds with archaic pianos soaking in a rich reverb, Rygg softly sings with passion to lead us into a ballad as the instrumentation unfolds. Delicate deliveries and a sincere performance give it quite the charm and class to let an underlying string element lead us into a climatic conclusion in the songs second phase. Its a remarkable track but I can't help but ponder what a cheesy synth pop ballad it could of been. The same music, retrograded back a couple of decades, this would of been a blueprint chart topping cliche track, yet with the right approach and tone its an entirely different, very enduring song. A cracking EP, three solid songs, would love to hear more!

Rating: 4/10

Autumn's Grey Solace "Celestial Realms" (2017)

This post will be short and sweet. Autumn's Grey Solace are one of my favorite bands. Their dark yet luminous, soft and sorrowful spell of Ethereal indulgence is an absolute treat. Serene and tranquil, the heavy washing of reverberated sounds lets the alluring vocals of Erin Welton soar graciously through gorgeous synths and shimmering guitars that meld into an ooze of soothing noise, sounding both luscious, ripe and harmonious. In the first few years of being heavily into their music, rotating it often, I grew to adore their releases but after 2012's stunning "Divinian", "Monajjfyllen" and "Windumæra" couldn't quite do it for me. With this release I fear the same fate, these songs are just unable to make an impact on me.

As a listener the problem is in predictability and similarity, not a moment passes by that feels unexpected or surprising, every strum of the guitar, chord arrangement or note sung feels like pieces of the puzzle re-arranged. No song here was a stranger, from start to end It feels like Déjà vu, all Ive heard before and that makes it harder to leave an impression. The records tone, production and aesthetic is sublime, one of their best sounding records but the music is so distinctively typical and within the usual tropes they perform it fails to make itself known or unique. After many enjoyable listens I feel as if I could of been listening to anyone of their recent releases, it lacks distinction or something to separate and call its own.

Favorite Track: Andromedea

Rating: 5/10

Ulver "The Assassination Of Julius Caesar" (2017)

Norwegian musician Ulver has an eclectic discography in the making. Emerging from his native native Black Metal scene in the 90s, Ulver gave up the sound after the third record and has since pursued many sounds and styles, often experimental. From Dark Ambient and Drone, to Trip Hop and Jazz, often with a strong current of Electronics, he has quite the remarkable journey. This latest venture outlines its premise and inspiration with the title alone, the music strides into new territory as an intelligent from of Synthpop emerges, rich in texture and dense in composition.

Lyrically its concept is obvious, stated in the albums title. As words often do, they go right past me however like a sore thumb one always picks up on the pronunciation of dates, events and the narrations that tie them together in the pursuit of historical ties. Sometimes we are following Caesar's internal dialog and other times from a third person perspective. Its one thing that caught my attention, however almost all of mine was captivated by the stunning instrumentals and Ulver's soaring, powerful yet persuasive voice.

 An array of beautifully crafted synth instruments unite under an inspired chemistry that brings about a truly swooning collection of songs. They play out like cinematic moments of emotion and event, with the power to transform and evolve seamlessly. The synths interweave bright, pulsing melodies with bold and poppy textures while soft, expansive strings grace the backdrop. Pianos, acoustic guitars and other instruments wage in too, the drumming is especially impressive, holding together and electronic sound without relying on booming thuds and thumps. There is a lot of hi-hat and cymbal work, subtle drum rolls and a good sense of rhythm to really flesh out the percussion without overpowering its way into the fold.

Its as if the level of craft and composition outplay its nearest neighbor, on one level it has the pop sensibilities to draw one in with fantastic hooks and inviting melodies, on another it plays so much deeper with all kinds of whispering instruments waging in, for example very quiet bongos can be heard here and there. With it the songs can be simple in structure and others more complex and evolved, however the album flows effortlessly between the varying degrees of approach. Brilliant record, can't stop listening to my favorites at the moment.

Favorite Tracks: So Falls The World, Transverberation, 1969, Coming Home

Rating: 8/10

Palms "Palms" (2013)

Labeled as a "super group", Palms consists of three members from the Post-Metal band Isis and vocalist Chino Moreno of Deftones. The two forces come together effortlessly as the group indulge in atmospheric, awe-inspiring Post-Metal with electronics and Ethereal styles, graced by the man who's voice has given such distinction to his main ambition. Its the only release from the group so far, a six track record that I really enjoyed a few years back and given their silence since I decided to dig it out for another listen.

Palms is effortless, easy on the ears, gorgeous and serine. Gleaming guitar tones echo out through lofty luscious reverbs, as if soaking in the gaze of the sun. In true Post-Metal style the band transition between golden acoustic tones and hazy, mesmerizing distortions as the rattle of chords drift and glide over one another in grandiose splendor. Much like the records cover there is the bright warmth of sunlight in the bands sound, yet the skies are overcast and this is very reflective of the sound which feels as if something beautiful is burgeoning from a smothering, gloomy setting.

Chino's charming voice focus's on his softer side, often with subtle light echos transforming the dimension of his voice, with it he fits sweetly into the soundscape. Low, deep thudding baselines and tight shuffling drum patterns mold the backbone for the guitars to cast their light across the stage. Its scenic music, warm moments pass us by, beautiful emotions resolve with a streak of sorrow, illuminating itself with the craft and vision the band members give to it.

A couple of tracks feel as if they could slip into a Deftones record, not to any fault. The electronics bring drum kits and special effects into the fold but only a keen ear would notice when they crop up as the bands sound feels so effortless and organic were acoustic and electronic forces are both at work in different measures. There's nothing to falter here and I haven't grown old of it over the years, its got its Ethereal moments too, reminding me of favorite records by groups like Autumn's Grey Solace, Lycia and Love Spirals Downwards. It certainly fits a similar mood however with a bolder metallic overtone.

Rating: 8/10

C418 "Dief" (2017)

German electronic producer Daniel Rosenfield, AKA C418, composer of the Minecraft "Alpha" & "Beta" soundtracks, brings us a comparatively short thirty two minute EP under the name of "Dief". Unsurprisingly its a far more coherent listen in comparison to last years "2 Years Of Failure". Mustering his inspiration a collection of calm, soothing and spacious songs emerge with a deeper layer of ambience than expected, based on his distinct identifiable style of modern electronic fused with lush pianos and strings.

"Work Life Imbalance" might be the records most lively track, feeling as if it could fit into many of his previous works with typically sweet and luscious pianos chiming over the driving, shuffling percussive track. From this point, every other track can be seen heard in a Downtempo setting. Gentle yet strident drums keep otherwise lucid melodic notations in motion as lead instruments drift into the layers of ambient synths with a typical dose of lush reverb.

"Blank Cubicle" steers from the path with more prominent, textural saw synths chirping melodies as Daniel brings his voice into the backdrop in an opaque manor as he straddles the line of attention, sinking behind other instruments with quietness. The opening track is my favorite, classic string sections build up a cinematic atmosphere the blossoms into a rich, dense experience as deep, underwater synths slowly engulf the opening strings. The final track revisits a moment of this wonder to tie the seven tracks together, but between them nothing too remarkable occurs beyond establishing a placid and calming tone to indulge with.

Favorite Track: Texture Prayers

Rating: 5/10

Tim Shiel "Induction" (2017)

Back with another set of soothing, calm electronic ambience songs, Australian producer Tim Shiel brings us a short, simplistic and gentle journey through eight tracks that clock in at just under thirty minutes. Opening with the records theme we encounter one of two moments where shuffling, indifferent percussion shakes itself along a path with a glitched out persona, very much like his previous works "Duet". Sound design oddities and ambiguous noises intersect the slow and steady lead melodies to give off a strangely comforting dystopian vibe. In "Undone 2" the beat comes back with a stronger presence, a steady kick clap arrangement creates a more straight forward song with a rich and deep ambience almost ready to engulf the beat.

Aside this duo, six tracks of gleaming cloud like ambience radiate with organic contractions of dense synths that slowly coming in and out of focus as they surround each other in a state of serene tranquil. These seemingly minimal and short compositions provide depth with tiny micro details buried under the wall of soothing sound, lone notes and abstract voice can be heard with great attention. On "Gernika" these ambiguous noises rise to the surface for an indulging cross roads between the style displayed on the percussive tracks and the deep resonating ambience.

On some songs Tim steers these the compositions towards greatness, the mood shifts and something emerges from one setting that can transform the music. Due to the short nature of these songs that level of progression never amounts to a second phase. With exception the essentially two part nature of "Undone 1" and "Undone 2" makes a rewarding experience of this transformation as the song climaxes in its journey through a darkening mood. With no short comings or failings "Induction" feels like an inspired, thought out project that meets its intention. I could of only asked for more, twenty eight minutes leaves me wishing it had gone further!

Favorite Tracks: Undone 1, Undone 2, Third

Rating 7/10

New Gaia "New Gaia" (2016)

If you're familiar with the genre then this records album art, rooted in nostalgic gaming aesthetics, would let you know its a Vapourwave release, the worlds first international music genre built on the anonymity of online culture. "New Gaia" made its way onto a 2016 top list and peaked my interest. For what Vaporwave has revealed itself to offer, Id say this is a pretty fair representation of its strongest points. The self titled record is a typically aesthetic journey through chopped and churned sampling, reassembled in a duality between the future and nostalgia.

It opens up with a striking sample reminiscent of the pianos in Moby's "Porcelain", although I could never pin point the exact moment its lifted. There are a few other recognizable snippets throughout but its not the focal point. Moby's pianos, paired with the sounds of birds chirping and an endless depth of looping reverb, sets the tone a soothing journey through an oddly crowded aesthetic where instruments collide and peak much to the enjoyment of the listener. Its often awkward drum tones and burried sweeping phases are subtle nuances reinforcing the dreamy, sometime ethereal soundscapes. The record doesn't have many remarkable moments but keeps a consistent tone through its short songs totaling just under twenty minutes. Its construct is fascinating, with many manipulations and technical arrangements to imagine what technique is behind the oddities of sound. Between the more obvious constructs emerge many fluid and crafty transitions which aid a seemingly static sound into an organic evolution where a sampled lead instrument often diverts our focus as the setting around it shifts and transforms.

Its mood and atmosphere, slightly alien, strangely homely, captures the senescence of this musical format far better than others Ive heard since "Macintosh Plus". The short and abrupt nature of the songs left me with a personal feeling that more could come of these soundscapes, thought they are involving and each one creates a prominent sense of something unworldly to imagine into. I think for this sound to really strike a nerve it needs its expansive ideas more track time to evolve, however whats being created is fascinating and most welcome to my ears.

Favorite Tracks: Strange New Feel, No Looking Back

Rating: 5/10

Yagya "Stars And Dust" (2016)

Days before the new year arrived the Icelandic producer turned in his sixth full length record much to my excitement as immediately took to bandcamp to get my copy. The second post I wrote on this music blog was "Sleepygirls", which was over two years ago! That and "Rigning" have been my go to records for calm and meditative music with downtempo beats and dub baselines that can sooth and clear the mind. The minimalist album cover, open to interpretation, had me excited in hope for more of this sweet ambience, which is what we got.

Initially I was disappointed, hoping for something deep, dense and dreamy the "lightness" of the record threw me off. However with each listen I realized it was essentially the same style, familiarity with that layer of atmospheric density striped back. The result exposes Yagya's wondrous spacial feel for melodies, both in the form of synth strings drifting to and from focus and the inconsequential notes that cut through the atmosphere with intimidate echos on tracks like "The Observable Universe". The unconventional melody style creates a mesmerizing sense of depth as patterns and tunes allude one in the ever murmuring synths, swirling in the void.

The formula is somewhat unchanged. Deep resonating dub baselines stroll with the easy going downtempo beats and a similar selection of instruments layer colors on top. Mostly electronic synths, a few piano sounds, bells and voices make there way in too. There's a slight swirl of atmospheric noise happening subtly in the background, sometimes dialed up on the occasion track. Its this element, shifted in composition, that has been greatly toned down from previous records.

The change gives light to instruments that feel as equally mysterious and illusive, only providing the calming, soothing tone rather than a direct narrative. However that illumination was not previously absent, the melodies were conveyed within the thick atmosphere. It leaves me wondering if it gained or lost anything in this transition. "Stars And Dust" is more of what Ive come to expect, once again with its own pallet that doesn't do much to progress the sound. A solid record for a mood of calm or focus but nothing more.

Rating: 6/10

Brian Eno "Ambient 2 The Plateaux Of Mirror" (1980)

A name maybe unknown to the masses, Brian Eno is an influential person in the landscape of music. His most known works are the Windows 95 start up jingle and "An Ending (Ascent)", a song many people would know from its use in modern cinema. Beyond these peaks he has been a big influence on electronic music and the evolution of Ambient, experimenting with minimalism and a theory before execution approach to composition. Active since the seventies with roots in Art Rock, Eno has has built up a large body of work revolving around many collaborations with big names in music.

"The Plateaux Of Mirror" is the second of four in the Ambient series and the first to "crack open" for me. The power and involvement of the subconscious in this form of music is essential as proven by the magic of shuffle, or "random" mode. Preoccupied by mundane chores, the music in the background soothed me into a calmer state of being. As the songs changed, my mind was focused on other things and my awareness of what was playing lowered but its effect still intact. Moments like these are why I always have music playing, your undivided attention can get in the way. With the subconscious taking it in a few minutes rolled by and I notice how tranquil and calming the atmosphere is, of course I then put the record on and soaked up its brilliance now understanding its purpose.

And that is to sooth, relax and unwind the listener with soft innocent sounds that disappear into themselves. Pianist Harold Budd improvises as Eno controls the atmosphere through reverbs and additional instrumentation. The result is a slow, ambiguous listen that can sound either sombre or carefree depending on how you interpret the mysterious sounds that accompany the piano. Its illusive, evocative of the imagination like a passing dream or mirage. Its ambience is both in substance and design. The reverbs shroud each moment in its own passing and the notes played are directing the moods without hooks, melodies or anything condensed or simplified. At the same time they are not elaborate or complex, just a passing collection of notes that drift us by, forming feelings and moods with out a distinguishable melody or memorable moment. I find myself in awe of their collaborative genius.

I like the records cover a lot, It resembles a map without being one, its suggestive of the equivocal sound held behind where things are open to interpretation but still powerful and vivid. To enjoy this record now is a treat but this and many others of Eno's are considered to be true artistic endeavors that paved the way for what is now a familiarity in soundtracks, video game music and within the Ambient genre. Hearing this at the start of the 80s must of really been something. For me its another mood inducing remedy to put on the shelf, left there to await the moment it is called upon.

Favorite Track: Wind in The Lonely Faces

Rating: 8/10

Sorath "Devil Daggers OST" (2016)

Devil Daggers is a hellish, brutal and difficult game that hails back to the glory days of fps and Doom clones, where the themes were menacingly dark and demonic beasts assaulted the player, putting them under an intense physiologic challenge. The game was too much for me to handle, in terms of staying alive. The free soundtrack that came with it caught my attention. There is nothing quite like the sinister soundscapes these dark ambient tracks can conjure up and so the four tracks that barely make thirteen minutes have been playing over and over. I could find next to know information about who made the music, Sorath is simply the name of the developers studio attached to the MP3 files that came with the game.

"I" starts with the sound of a dead orchestra, dense layers of deep synths and organs unite with a tonal presence that commands attention as in the distance shimmering voices and bells can be heard. Its bright, luminous yet shrouded in mystery as no comfort can be drawn from its presences. "II" Plunges us into the darkness with whispering noises lurking in the shadows. A prominent voice calls out like a cry from the abyss, a warning to an intruder. With disjointed, alien synths a few notes feel devoid of musical meaning but speak like words of the danger approaching. The pitch shifting and distortion of this instrument is fascinatingly detailed and dense in its short bursts of life between the darkness.

"III" sets in the waves of fear and terror as wretched noises observe from the black culminating to a section of heart racing paranoia as pounding industrial strikes pound rhythmically alongside shrill screams and a growing arsenal of hellish sounds as the walls close in to a narrow escape that provides some respite despite a sense of dread not over. "IV" has a sense of conclusion as a melody creeps into lead synth. The shadowy noises are in retreat and its as if a bright light is shining deep into the abyss, revealing its corruption through the oddities of electronic distortion. It ends with the darkness still breathing, awaiting its next move.

Sorath has created a very memorable set of short dark ambient pieces that are both cinematic and nontheatrical in nature. There is a plethora of textures and intrigue to the sounds at play, they don't conclude and so the music hangs in a dreading sense of ambiguity. A lack of melody or convention leaves each listen feeling fresh new, and not so memorable as the record does not stale with each returning listen. Each time the harrowing adventure starts over again.

Rating: 7/10

Oscillotron "Eclipse" (2012)

This record, Oscillotron's debut, is much like its successor, a synthesizer journey through the stars led by astral keys and stark minimalism, letting the waveform textures do the talking. Many of its songs mimic the same experience and feeling of observation, one has a sense of distance from events yet understands its magnitude as the record strolls through the cosmos. Overall its a little unpolished in comparison, fruity loop drum kits stick out to those who know them on "Oracle". The various synths achieve similar vibes but without as strong a chemistry to be truly engrossing like "Cataclysm" is.

These tones and key choices are a little louder, chirpier and focus less on subtlety and more so on the power of the alien melodies. There are moments where this clicks and the atmosphere is creaked further open. Mostly though the synths hammer away through spacey scales with a retro vibe similar to the early days of electronic music where it was more novelty. Its what makes the record different and that works well with a soft percussion track like at the later stage of "Assembly".

Another big similarity is the track "Terror", a slow and brooding song that builds up a menacing atmosphere of... you guessed it, terror! It progresses in a similar way to "Mutation" but doesn't find the same climax, it tends to fizzle out after a flat snare drum comes in. The watery sounds in the intro of "Eclipse" give a sense of confinement, as if in an underground cavern filled with water. The eerie background synth builds a sense of tension and the upfront buzz saws play out like a mischievous monster. Glitchy computer noises arise too and it gives off a confined vibe which was a nice shift from the otherwise distant nature. Its both a similar and different record but musically its aiming in the same direction but not pulling it off with the finesse its successor does.

Favorite Track: Eclipse

Rating: 6/10

Oscillotron "Cataclysm" (2016)

Here's a tip on how to find music you like, stalk people! No, joking aside the way I discovered this record was by reading a review of another record I recently enjoyed. I thought "this person knows what they are talking about" and decided to look at other albums they had talked about. Despite being vastly different I found a string of records from the Pittsburgh electronic scene and this peach from Stockholm Sweden that demanded my attention. David Johansson is the one man band Oscilotron, an electronic artist, who composed and recorded these spectacular 40 minutes in its entirity.

Much like its bleak, pale and near greyscale album cover, the music conveys a timeless sense of scale and atmosphere through somewhat colorless electronic instruments. With dense waveform synths and textural sounds they harmonize without melody, illuminating with a cold, lifeless and spacious vibe capturing the essence of the void. Its not all about the empty vastness, moments of this record perk up into life with adventurous, quirky melodies yearning a sense of exploration, journey and destination. In the track listening between each eventful musical moment there are slower, drawn out atmospheric pieces painting vivid soundscapes of the nebula. Its closing track is rather chilling, a brooding atmosphere of tension and unnerve that winds down with a sense of dimming light, creeping out while staring fate in the eyes.

It neither starts or ends in a "happy place" and for the most part doesn't convey much direct emotion. Listening to this record one will feel like an observer, watching over travelers who eventually meet there doom. Being disconnected from them directly we are treated to a dense and scenic atmosphere that will let your imagination run wild. For the most part a selection of luscious synths drone out their textures with subtle shifts and minimal melodies. These eventually lead to grander moments where the baselines pick up a rhythm, the drums cautiously take command and the synths will evolve into sturdy melodies along with the inclusion of a few other instruments, sometimes pianos, organs or event what sounds like an overdrive guitar in one song.

"Cataclysm" is an impressive record. So precise and focused it is an expression executed with vision. Every inch of sound feels perfected aesthetically and in terms of musical satisfaction it brilliantly drifts in and out of its ambience to strike with engrossing moments of magic. Exceptional record, one I feel will be with me for years to come!

Favorite Songs: Twlight, Mutation

Rating: 9/10

If These Trees Could Talk "The Bones Of A Dying World" (2016)

Four years since their second full length "Red Forest", the instrumental five-piece group from Ohio return with a maturer, cinematic record that glimmers from dark shadows as brooding emotions of warning evolve through expansive grooves, ghostly shimmering guitar leads and brightly plucked acoustic notes. A deep sense of departure and sorrow runs under the scale of these songs, as the title might suggest the inspiration is in anticipation of are destruction of mother nature and her beauty.

The natural world is whats envisioned, no ounce or inch of urban, human affection is felt. As scaling overdrive guitars wail and cry out in their lofty reverbs the soundtrack of dwarfing mountains and endless forests emerge in the mind, the sadness feeling like a last goodbye. As organic as nature itself these songs breathe and move through a continual motion with recurring riffs growing the songs to conclusion rather than part of a formulated structure.

Under neath it all chunky prowling baselines hammer down a steady backbone. The drums creatively work out all sorts of grooves and shuffles to glue the guitars direction to the beat and taking most of the attention are the guitars which orchestrate the mammoth atmosphere through tremolo plucked leads that drift endlessly into their own reverbs. Occasional distortion leads drop in with a couple of guitar solos which felt very fitting despite not being expected, they stayed very true to the intention of the song without over bloating themselves. The tone of the acoustic guitars were stunning and added an infectious feel of melodic charm that didn't come in the form of a catchy hook or memorable line.

For all its dense atmospheres and melodic tones the record maintains a tight balance between color and grey-scale. Post-Metal or Post-Rock often has an almost narrow dimension to its sound without bright and distinguishable instruments the constant oozing of sound and sorrowful tone can feel somewhat colorless and the tinges of color that emerge highlight the beautiful composition. "The Bones Of A Dying World" is a stunning effort but in moments some songs drift into less immersive moments and a couple of less favorable tracks weight it down in my experience.

Favorite Tracks: Swallowing Teeth, Earth Crawler, The Giving Tree

Rating: 7/10

Carbon Based Lifeforms "Twentythree" (2011)

It would appear I've found my niche with this Swedish duo's ambient project CBL who's previous record "Interloper" is a completely different style and form of soundscape music. Despite such a difference they tap into my preferred sound waves and with "Twentythree" we are submerged into soft ambiguous drones of non specific and continual sound that organically repeats over like a flowing stream of water as opposed to some mechanical operation. These drones are light and cloudy, foggy and mysterious, dense and transparent all in the same instance.

The record flows as a single track and the nuances of each drone may pass you by as this record drifts into the subconscious, creating a mood and environment without form or awareness. It has its darker drones, spacey, aquatic and all of them come with some form of buried and smothered sampling. Maybe its voices, bells, a water stream, an effeminate voice singing, birds chirping of even a dog barking if not an electronic lead playing a melody can sometimes be heard lost in the depths. Deep in the soundscape many sounds converge in the density which doesn't come over like a wall of sound but more like a rabbit hole that gets deeper the more you peer in and give it your attention.

Even though these dreamy ambiance pieces are vivid, rich and poised in the easy listening spectrum they do succumb to the perceived limits of such music where your foreground attention can be lulled. These are songs for the subconscious, the backdrop and serve a purpose as powerful and meditative music to condition the mind for focus on a task at hand. This is the sort of record to drop on when your attention is required elsewhere, the result, a wash of calm and tranquility. If your already in that mood it can serve as a door for your limitless imagination.

Rating: 7/10

Carbon Based Lifeforms "Interloper" (2010)

Carbon Based Lifeforms, or CBL, are a Swedish ambient music duo from Gothenburg who I was entirely unaware of until a recent recommendation. Sometimes ambient music can be a term for musical approach, performance or philosophy more so than a style or genre. CBL could be different based on your interpretation but what I heard was the cosmic jam of space ambience, the sounds of stars and constellations. This particular waveform of ambience was right on my level and with just one listen I was swept up above the hemisphere, understanding the purpose of this record and the journey it would take me on.

Reminiscent of Tangerine Dream's swirling, unraveling synthesizer drones, CBL takes on an organic form of electronic evolution where the most passive of short melodies can be gloriously engrossing in the subconscious as contracting passageways steadily shrink and expand in turn with easy paced, down tempo beats. Layers of soft electronic sounds decorate the soothing atmospheres with an ever changing design of minimal details to drench the tracks in an authentic depth that can almost go unnoticed. These 6-8 minute compositions are crafted with a care to let the power of an idea sink in deep with just one melody leading the way. There is no climax, or glory but an ever changing state around a single melody that holds together an emotion, idea or whatever it is you find in the music.

For me the visions these soundscape conjured were of futuristic flashing lights swirling in the cosmic abyss, the comforts of a science fiction fantasy realm where technology meets the limits of existence and you are the observer. Fantastic music for driving at night, seeing the stars in the sky and the passing lights of cars, cities and road lights. Its calming, soothing and chilled out and its great to hear it in such a package that lets the seventy one minutes breeze by without a thought. Its my go to ambient record right now.

Favorite Songs: Central Plain, Supersede, Euphoric

Rating: 8/10

Wolves In The Throne Room "Celestite" (2014)

Revisiting one of my favorite records from last year I found myself encapsulated in the mystic abyss that is "Celestite" again. Wolves In The Throne Room are an acclaimed American Black Metal band from Washington who never did much to catch my ear with their traditional sound, however this record, the bands fifth, marks a musical shift in style that may just be a "one off" or ambient record. A deep, dense, brooding guitar distortion lurking under the paranoid soundscape of "Initiation At Neudeg Alm" may be the only echo of their former sound as the group embark on mesmerizing plunge into the world of Dark Ambient and Drone music. In my experience these sorts of records are a niche in taste, they can easily turn you on or off with the nuances that make up the experience. In this case, everything here was primed for my taste, in the right mood one can get truly lost in these eternal soundscapes.

Drifting through the vast, colossal distances of space and time the twinkling of stars can be heard between the vicarious synths that breath in bursts of color and fade into the distance. These eerie and mystic flows of sound coarse past one another in a minimal environment that feels enriched by the quiet yet conjuring layers of intrepid synths that represent the infinite void. Its an experience of two half's, one facing the mysterious universe at its mercy and the other entrenching the spirit of evil with mean, brooding french horns and trumpets, orchestrating the feeling of a presence with a careful balance that lets no melody linger or feel prevalent. Each note works with the next to excite the imagination and paint the canvas with existential introspection in the face of vast nothingness.

The records second track dives deep into the evil, sinister side with thunderous and distant, deep droning distortions roaring alongside the sounds off descending planes and mischievous synths. Through it all the twinkling of the stars can be heard and slowly this heinous droning gives way to the abyss. After this the record continues on its haunting journey through the cosmos, droning and drifting seemingly forever, with only an inkling of evil returning on the title track.

The selection of synths and techniques used to create these sounds has been done with much care and inspiration. The compositions are lengthy, detailed, with many layers constantly working in tandem to maintain a grabbing atmosphere which plays out for 40 minutes through many progressions and drawn out moments that never make themselves to remarkable. The balance of melody and ambiance is sublime. The tunes playing the fewest of notes to whisper a tale, yet making no memorable mark, each time you are truly held into the songs moment.

Rating: 8/10

Gnaw Their Tongues "Abyss Of Longing Throats" (2015)

Its been a while since Ive delved into the hell hole of depravity that is Gnaw Their Tongues, one man band of Dutch musician Mories. I discovered this project back in 2009 and it has remained as one the most haunting and bone chilling sounds Ive ever heard. Its a noisy, claustrophobic and harrowing musical experience with an unrelenting apatite for discomfort in the exploration of perverse corruption in humanities darkest corners. With a large, patchy discography littered with EPs and limited releases in between its hard to stomach it all, but of what filth I've wadded through there is plenty of quality compositions to be found in the full lengths, including this one, his eighth in nine years of the project.

In the earlier days Morries's music was a catastrophe of symphonies colliding in a haze drenched with thunderous crashing symbols and tormented screams. Over time inklings of structure and Black Metal crept into the fold and made "Abyss Of Longing Throats" a vastly more approachable listen than I previous remember. The constant ticking of buried drums and their alterations helped guide the listener through the shifts of tone and direction under the constant haze of evil and discernible noise. Erie distortions, muffled screams, bellowing baselines, distant bells and howling winds. There's an endless list of what might be happening in the frenzy of noise these songs concoct.

The opening track is by far the records best. A discordant fuzz of guitar sets an instantly unwelcoming tone as the screams of restless spirits drag us below into the sound track of hate, pummeling crashes and strikes of metal. The nefarious choir chants build a dreading atmosphere that continually shifts one to the next before reaching an interesting conclusion in the endgame of the track as buried horns cry out from an industrious soundscape of grueling mechanical construction. The guttural vocals and lighter atmosphere on the following track also made a mark but beyond that the record descends into an expected trail of endless noise that fails to spark a memory. I'll always be interested in this project, however I find it no longer has the capacity to be unexpected or as mesmerizing as when first discovering such godless music.

Rating: 4/10

Leviathan "A Silhouette In Splinters" (2005)

American one man band "Leviathan" is the project of Californian musician Jef Whitehead, often considered one of the finest "third wave" Black Metal musicians alongside Xasthur and Black Funeral. After the Norwegian scene's sound made its way across the Atlantic in the mid 90s the evolution was frighting. The Americans played down the satanic themes in favor of even darker spiritual ideas that coined the terms "Suicidal" and "Depressive" Black Metal. Although its heavily debated if there is a "third wave" there is an undeniable shift in sound and approach that separates this scene from the other. Having my curiosity sparked I went over my Leviathan collection and picked out this record which turned out to be a Black Ambient record, supposedly recorded in 2002 before the debut release of debut "The Tenth Sub Level Of Suicide".

Its dark, haunting and nervy backdrop music that starts of with fading guitar distortions that buzz and howl in and out of focus, creating a sinister setting that in its lack of intensity lures the listener in to a calm, serene mood as if staring into the abyss from safety. The guitars and distortion cautiously grow their anxieties as slow strum chords ring unsettling melodies. The danger grows nearer and ghostly rumbling vocals feature as the voice of undead spirits murmuring and groaning their pain through deep guttural talkings burred under lonely guitar leads. Into the later part of the forth track, the guitars start to fold into chilling rattle sounds that echo and brood in the deathly reverb before throwing us deep into the despairing black as the title track whips up a punishing desuetude of sound.

Howling winds morph and transform into eerie sounds of communication from beyond the grave. Alarm bells scream the oncoming dread before a calm leads us into ghostly whispers that swell in the ambiance of an atmosphere ever echoing a noise slowly collapsing in on itself. Its bone chilling audio horror painting vivid images of hell's hallways and demonic creatures of abomination. There's no climatic moment, we leave this place as if it was never there and the final track leads us home through a similar setting of mesmerizing distortions fading in and out of consciousness while acoustic guitars strum out eerie chords of warning.

"A Silhouette In Splinters" is a real audio trip for those minds that can envision the music. Its a vividly haunting and spellbound listen that can be both frighting and calming at times. Its construct and vision has both expression and design meeting on the plateau. For those interested in the technical details there are many spooky sounds that leave wonder pondering their creation, alongside some obvious guitar reverb tricks. Its a wondrous and unnerving experience that rewards the patient listener.

Favorite Track:A Silhouette In Splinters

Rating: 7/10

Adrian Von Ziegler "Vagabond" (2013)

Looking for the next record of Adrian Von Ziegler's to spin, I noticed "Vagabond" had a similar format to our recent enjoyment "Wanderer". Four tracks, each twenty minutes in length, this was another seasonally themed ambiance of indulgence mixing gentle scores with the winds, chirping of birds and even the waters washing up on the shoreline. Where "Wanderer" charmed with its balance of environmental ambiance and passing melodies, "Vagabond" find a much more direct approach with a stronger presences from the stringed instruments that give the record a symphonic vibe.

"Winter Breath" is the most striking song, a deep howling wind paints the night black, lead by echoing xylophones as the sounds of frozen caves and landscapes glisten in the spooky quiet beyond the twilight. It steadily builds into big theatrics with strings, choir aahs and dramatic leads that intensify gently before unraveling back into the snowy, dusk bound track led by the winds.

The other three tracks are not quite as impressive, however "Autumn Forest" has some big Celtic folk leads that feel as if they have been cherry picked from traditional folk songs. They come to dance in between quite moments which is what all the songs do here, drift between calm and climactic moments, intensifying in depth and volume. Its a great ambient record, but one that's more demanding of your attention than "Wanderer". Both make for great choices when in the particular mood.

Favorite Song: Winter Breath

Rating: 6/10

Adrian Von Ziegler "Wanderer" (2011)

Adrian Von Ziegler is a Switz composer who has gained popularity for his music through the Youtube platform. Adrian composes compassionate, scenic, neoclassical ambient music that touches on Scandinavian folk, nature, mythology and fantasy themes of that variety. Upon first hearing his music I knew instantly it was for me and of the twelve plus records I picked up this was the one to jump out at me first and I'm hooked.

I will summarize "Wanderer" up quickly, its an ambient, atmospheric record consisting of three twenty minute songs that settle a natural, harmonious mood and drift on through with melodies and tunes poised for depth and meaning, while remaining subtle and calming. Progression is irrelevant, the songs hold a moment in time, a feeling without trying to climax and break the mode. Its quite simply wonderful and charming.

The execution is remarkable, Adrian breaths life into these songs with the sounds of bird chirping, rivers flowing, soft winds, the squawk of crows in the distance and the occasional owl. Alongside soft and lush stringed, plucked instruments and gentle synthesizers composed with love and care, these songs come to life on a "go to" record for relaxation, ambiance or that need for a natural connection to the beauty of nature.

Rating: 7/10