Tag Archives: ambient

Underground Sounds: Paleowolf – Megafauna Rituals

Label: Self-released
Band: Paleowolf
Origin: Serbia

Back to the time before time

Back into the primordial realm, to the days before history, with the latest release by Paleowolf. This record is titled ‘Megafauna Rituals’ and explores the shamanistic hunter-gatherers of the 150.000-9.000 BC era, when early man was faced with giant wildlife known as Megafauna. Check out their previous records too.

When we speak of giants walking the earth, this is a time we can certainly speak of. Nature was still dominating human life, overwhelming our ancestors, who carved their image into walls and objects in reverence to their primitive, raw power. This album, the fourth by Paleowolf, explores that in sound.

‘Aurochs’ opens with a firm, reverberating drown, paying homage to the ancestors of our cattle. A mighty race of cow-like creatures, whose grunts and bellows merge with the droning and drums, that sound with ominous force. The Auroch was actually part of our landscape up till the 16th century. The ‘Sabertooth’ is a very different beast. Its ferocity is captured in fiery tribal chants and drums, but also in the low growling and eerie drones. There’s a reverie in the song for this mighty beast. A proud statement, with matching sounds.

A similar expression follows with songs like ‘Totem’ and ‘Cavebear’, tribal utterings and beastly suggestive passages, that keep the listener in that strange trance. It takes you to something untapped, something reptilian in your brain of an instinctive nature. Only with the majesty of ‘Megaloceros’, we are awoken for a bit with its sonorous bellowing. All an imitation of course, since this mighty creature no longer walks the earth. The sound swells to a mighty roar, with powerful, firmament-shaking drums. You can feel the fires dancing over the leafy roof above the tribesmen as they dance to their primitive deities on ‘Direwolf’. Attempting in their rituals, to quell the natural forces that proved to be a danger during day and night. That’s when the howling resounds and eerie drones take over.

We end with the mighty ‘Mammoth’, after which the primordial realm gently fades away again.

Underground Sounds: Isa – The Sky in the Salty Wells

Label: Shadowplay Records (album released independently)
Band: Isa
Origin: Russia

It seems that Russian act Isa has now determinedly started to move away from their black metal sound on ‘Небо в солёных колодцах’, which translates as ‘The Sky in the Salty Wells’. Not only in sound, but also in artwork and track titles. From the first release onward, Isa numbered their tracks in a continuous sequence, stringing the songs on four releases together into one descriptive piece of art detailing the pastoral Russian country life.

Previous releases would feature covers with landscapes. An almost still life of rural life depicted on them. This record shifts to a new dimension, where it seems like the human aspect takes the forefront. The cover features a collage of images of people land and nature, cut and paste together in an odd manner. It feels like a logical next step in the career of this Novosibirsk band, who constantly amaze with their beautiful music.

The result is a shimmering, brooding record full of melancholy. It is as if the winter has covered all the land, all life, and passion submerged by the mercy of a white blanket over its soil. Warm tones creep by, never really taking on any sort of force. The drums sound muffled, buried in the music that flows like a warm bath. Noteworthy is the collaboration with Lesnoy Tanets on the track ‘Poplars’, where hushed vocals speak raspy words over

On ‘Blind Man’ it is as if an accordion is woven into the sound. It feels folky, but also hazy. Almost as if you’re listening to memories of the past in abandoned streets.  Yet, streets where only the ghosts of a better time dwell. The gentle murmurings never feel urgent. The music progresses slowly, which feels a lot like the daydreaming on a winters day, staring out over the frosty landscape. The melancholic sound of Isa is a mellow swamp of keyboards, guitars, and drums, all melting together. As a result, the music  becomes an immersive dream. Melancholic and cold, most noteworthy on ‘Singing Skyline’ with its wonderful intro, is a highlight.

Isa has made a remarkable new album and found a direction to explore musically. I’m keen to hear what new works may come in the future, but this one is a record to keep coming back to.

Underground Sounds: Eldamar – A Dark Forgotten Past

Label: Northern Silence Productions
Band: Eldamar
Origin: Norway

Eldamar is an atmospheric black metal project from Norway, with a sole member in its ranks. Mathias Hemmingby from Askim has a profound love for the fantastic, which is evident from the projects name (a reference to Tolkien’s elven realms). ‘A Dark Forgotten Past’ is the second album of the band.

This is the second full length for Eldamar, which has existed since 2015. The debut ‘The Force of the Ancient Land’ came out in 2016, so respect for unleashing the next work only a year later. Most of the music is generated on the computer and inspiration comes from the likes of Elderwind and Howard Shore alike.

The sound of Eldamar lingers somewhere between dungeon synth and atmospheric black metal. The guitar riffs sound as tight as your most epic sword-guitar wielding power metal band. Due to the production all is rather polished, yet the atmosphere is vastly different. The grimy, abyssal vocals match up with clean, angelic singing. A broad spectrum of sound unfolds, with the mission of casting a spell you with magical, harmonious songs.

The melancholic chanting might remind you of the Lord of the Rings soundtracks or even some moments in the World of Warcraft lore. Its profound sadness works well in line with the steady blast beats and solid riffing. You journey to an otherworldly place with a song like ‘In Search of New Wisdom’. It’s as if the guitars and drums merely function as rhythmic devices. The synths dance their very own dance in harmony with the vocals. It works marvelously and after listening to this record for a while, I’m finding myself thinking of mighty mountain peaks, deep dwarven halls and fiery craters of doom.

In conclusion follows the particular highlight of the climactic ‘A New Understanding’, which closes the record. It completely swoops you up and carries you to the realms far, far removed from where you normally reside. Nothing quite sounds the same as Eldamar.

Underground Sounds: qqqØqqq – Burning Stones Of Consciousness

Label: Casetta
Band: qqqØqqq 
Origin: Italy

qqqØqqq is a project dedicated to silence. It’s a creation by Tomasso Busatto (Plasst) on synths, who also runs the Casetta label and Carlo Mantione (Contemplatio) on guitar and pedals. Their sound is a dedication to silence, to meditative calm and the serenity that can be found in there.

The duo hails from Italy and has a certain affiliation with murmur mori. Their music could be described as minimalist and meditative. Their record is out on Casetta, but also on E’ Un Brutto Posto Dove Vivere , Contemplatio, Dreamingorilla Records and Insonnia Lunare Records. This is the sound to immerse yourself in and simply drift away.

The music feels like triphop meets postrock, with plenty of audio samples. The sound has a certain flat flow to it, which just carries you along without ever deviating from its continuation. At times the sound swells to a more violent timbre, but never leaves the current where it is in. Particularly ‘All this Heaviness is just my monolithic self’ stands out by its intensity.

It’s peculiar how spacious the sound can be of qqqØqqq, because the sound at times feels so immense as if you are completely getting lost in it. Ethereal and earthy at the same time, the lazy beat and eerie soundscapes offer a profound expression. The titles appear to refer to states of mind, which are invoked by the sound. For example ‘Crumbling plains and burning stones of consciousness (Feat. H!U)’ has a certain forlorn sound to it. The slow beats crush anything that is still out there, untill only void remains.

This is how qqqØqqq completely blows you away with abstract sounds and immersive beauty. Classify this as ambient or drone, it doesn’t matter, it’s music for the mind.

Underground Sounds: NERATERRÆ – The NHART Demo​[​n​]​s

Label: Independent
Origin: Italy

Frozen bits of Reality from NERATERRÆ

Originally this project by Alessio Antoni was started in 2009 under the name NHART. NHART became NERATERRÆ and after a long period of time the music made in those early days is available to the listener. ‘The NHART Demo[n]s’ offer haunting creations from the past that need to be set free. That is what this release is all about.

Antoni also plays in Alma Flua, a band playing pretty straight forward rock and roll. The beast unleashes in this project though, which is a mixture of ambient, death industrial, power electronics, noise and drone. Te record consists of three demo’s from those early NHART days with truly intriguing sounds and sonic experiences to bask in.

The record feels a lot like being way to close to machines and devices in factories. Trains coming through tunnels and engines rattling. Fluid, mechanized and continuous are terms that describe the way the sound moves. There’s little to no song structure present, you simply get the cold, blaring sounds of an industrialized world presented in 4 minute formats. It chops up bits of that reality and freezes them in time. Some tunes follow a more industrial orchestration, but it remains an unpleasant experience.

If you imagine this music as part of our daily surroundings, isolated and ripped from the daily noise, the oddness sinks in. Otherworldly effects are part of what we hear on a daily basis and yet we hardly manage to distinguish them. The sounds NERATERRÆ  captures on this record are testament to our alienated world. It captures a radical disonnect from the many aspects and layers of our daily experience I might read to much into it, but the almost David Lynch-like (check the Eraserhead soundtrack) quality of this record feels particularly confrontational. Dark and full of despair, a record of clarity.

Underground Sounds: Varkâna – Rite

Label: Independent
Band: Varkâna
Origin: Iran

Dungeon synth is a peculiar genre and is being made in strange places. One of the acts I came across recently is Varkâna. The inspiration for their sound comes from Iranian paganism and history, which obviously offers a wealth of inspiration for any artist seeking topics to work with. Varkâna is the old Persian word for a region south-east of the Caspian sea, now known as Hyrcania. A region now partly in Iran and partly in Turkmenistan, which was incorporated in various historical empires.
So, because I was really curious I got in touch with the artist behind the project and I’ll share the reply the way I received it: “It’s based on Iranian mythology and nature. I composed all the tracks when I was away from the city and deep into the vast lands and forests of northwestern Iran, the name varkana means land of wolves which is a part of Iran it’s called Gorgan now which means the same.”
The music of Varkâna summons images of the tranquil beauty that this verdant realm in Iran is. It’s vast forests and radiant green colors. Of course, a few pictures that I could browse don’t cover the full extent of the region, but it links you to the visions that inspired the artist. Mellow drones and calm, thudding drums bring on a trance-like feel. Intricate melodies weave through this flow of sound. There’s an aspect of dungeon synth present in that the music seems to be produced with the traditional software. The music is slightly different though. If only simply in the atmosphere that the sounds and patterns evoke.
On ‘Gathering’ I feel I can actually hear the oriental vibe. It’s the way the heavy reverb of the drum is followed by the cascading music, the little tang right after and the way it fills you with a sense of foreboding.  It’s where you really realize that this is a different place when you stumble upon ancient ruins and imagine the sounds of those past places, obscured in the mists and fog of history.  Mellow folk influences dance through the tunes, which really work the imagination.
There’s a serenity in the music of Varkâna, a peaceful spaciousness. Dream away with forgotten histories and far of lands with this piece of remarkable ambient music.

Underground Sounds: Bròn – Зарђала Круна/White City, Black Circle/Ruins/Where The Leaden Dawn Meets Iron Shores

Label: Kunsthauch/Independent
Band: Bròn
Origin: New Zealand

The project Bròn originally released an album with a very natural vibe to it. It had the eerie magic of the night sky over the mountains as depicted on the cover of ‘Ànrach’ and I absolutely loved it. I wrote a little about previous release ‘Fògradh’ too.  Bròn is the project of Krigeist, or Andrew Campbell, from New Zealand. Campbell relocated to Scotland and there’s a definite connection between that move and the sound of Bròn it seems. He also plays in the amazing Barshasketh and Belliciste.

I missed the fact that Bròn had become a prolific outlet for the musician in the past year, so high time to catch up with the astonishing 4 releases of last year. I was reminded of this, because of the live show I saw in Little Devil recently. All exploring new aspects of nature and different sounds that express that passion and beauty found there. So this is 4 reviews of one artist. Never do words like this do justice to the full force of these albums, but I feel that I need to cover all for completion.

Bròn – Зарђала Круна

January 2017 saw the release of this record, which sticks close to the familiar Bròn sound with a lot of soaring guitars and tremolo riffs. The inspiration comes from the devil in nature, that is the only info given. The choice for a Cyrillic font does say more than that though. A later notification on Facebook said that it was inspired by the Serbian wilderness and the darkness within. There’s a definite darkness to the Balkan forests that is caught in the looming, dark sound of this new EP. The untarnished sky above it at night, the shades of the trees.

The record is a multi-part atmospheric black metal piece, with a definite Burzum doom and gloom vibe to it and the grandeur of an Elderwind.  The crisp clear production sometimes borders on overly polished but keeps on the right side of the track in all its overwhelming force. At other times it has the gentle trickling of an empty forest, where all you hear is the gentle sounds of the natural world around you. Pure magic and all of that in one long piece of over 32 minutes. Unfortunately, it’ll be the last black metal release, thus wrote Krigeist. His newer soundtracks take on different shapes.

Bròn – White City, Black Circle

Living in an urban environment requires a different soundtrack, wrote Krigeist on Facebook. He explained the sound of ‘Зарђала Круна’ while introducing this new release. The organic sound of the previous releases is vastly more fitting for the verdant realm indeed. The album signifies a radical turn in sound for Bròn. With a groove that is more triphop we enter the realm of tarmac and concrete, with lamp posts illuminating the grey jungle around you. Meandering between the aforementioned, synthwave and maybe a little dungeon synth, the sound is peculiar but fitting.

The titles are in Croation, referring to central themes revolving around that of Bròn (sorrow). It offers songs of those dark, nameless places we dwell in. Whether that’s a city in Croatia, Norway, Scotland or I wager even in New Zealand, there’s a sort of nameless grief there. The mixture of beats and ambient drones conveys that feeling very well. I particularly enjoy the mixture of that with the synths, which is always the sound of the urban environment. Towards the end of the record, the music is lighter, warmer as if the sun has broken through the smoggy haze. We leave the city here to the free part of the world.

Bròn – Ruins

On Ruins we find the same instrumentation, but a more Ulver or even folkish vibe at times with spun out tones and long passages of melancholic music. The music is calm and soothing and does, like the title tells you, remind of the tranquility you find in between forgotten ruins. That is also what the song titles refer to, to various locations of ancient ruins in corners of Europe, places that make you think and imagine. The vocals are gentle as well, almost chanting in a meditative way. The record even includes a folk cover ‘Twa Corbies’ from Scottish lore.

The sound has a clarity to it, everything is wavering and calm like an easy breeze. It’s almost like listening to an acoustic performance with various musicians, all delivering the minimal bits of sounds that make out the complete tapestry.For me, this might be the most beautiful album that Bròn has created this far. The music is so intricate, without ever sounding difficult or overly contrived. It’s a natural expression of the feeling in easy flowing, but still heavy music. After this record, Krigeist announced a hiatus for Bròn. That was definitely not meant to last after this june 2017 release.

Bròn – Where The Leaden Dawn Meets Iron Shores

A trip back to New Zealand was the impulse that Bròn needed. Krigeist was revitalized and inspired to make music again under that banner and three tracks expressing the untapped dark energies that dwell in New Zealand’s wild places. There is definite darkness on this album, which almost faded on ‘Ruins’. A long murmured intro with foreboding synths leads us into this new record. Eerie synths slither out of the speakers, while a creepy, scifi tune is played on the keys in the most bombastic tones.

But then there’s also the guitars and the screams. It would appear that Bròn comes full circle here and finds a sound that truly embraces the atmospheric output that Krigeist is looking for. The melancholy of the synths, combined with the harsh, ruggedness of the guitars. The ragged fury of the vocals, like that furious sea wind biting at you, while ver in motion on the waters. Three tracks tell the story that is both beautiful and grim at the same time. I guess it makes sense what Kant once said on the sublime in art, which really goes for nature. It’s overwhelming force can overwhelm us with awe and wonder in a sense. This is well conveyed in this piece of music by Bròn, which I really enjoy.

Let’s see what the future holds for this explorer in both the geographic and artistic realms.

Underground Sounds: Paleowolf – Genesis/Prehistoric Meditations

Band: Paleowolf
Origin: Serbia

Paleowolf really impressed me with their shamanistic debut album, full of beautiful, transcendental ambient music. The record was a surprise in an otherwise dense forest of mediocre interpretations of the far past. Apart from releases of the Russian Nomus Dei and Black Mara labels, not much can come clos to the work of Paleowolf in my opinion when it comes to ambient that embraces the primordial.

So, what I didn’t know is that Paleowolf is the side project of Scorpio V of Metatron Omega. With Paleowolf we travel through the world before it was civilised, when drums echo in ritual in valleys between rough mountain ridges. Where bonfires are the illumination during the night, to keep predators at bay and allowing the poeple to marvel at its destructive force. War, death and the hunt of primitive man is painted in the tones of this music.

Genesis (2016)

Label: Cryo Chamber

source: bandcamp

On ‘Genesis’, we hear a Paleowolf in a complete immersion in Paleolithic life. We see the fire emerge from between the trees and rise to a roaring height, illuminating the wide region like a beacon of sorts, for all wanderers. Is it fa friendly fire or is it danger? Is this then the first fire to be raised in an otherwise dark world? In that case, it would match the title. With the finding of fire, mankind enters a new era of domination.

The music is the sound of bird and the crackling of the fire, the eerie sound of wind instruments and throaty, shamanistic singing. Tribal drumming in praise of forgotten gods and to announce war or ceremony. A hurried, hunted sound forms on ‘Hunter II’. The listener witnesses the shapes running between the trees in chase of prey. This all happens in a forest filled with sounds. On ‘Eastern Tribes’ we hear more of a threatening sound. Not necessarily of war, but of seizing each other up. Of people encountering each other in the vast emptiness of the primordial world. The primitive instruments  resound in the play of power, where drums are banged and morose mouth harps resound.

Interesting fact, is that this release is different design-wise. The picture shows a shot of nature, fire between trees, with a discrete logo with runes. This differs from the self released records by Paleowolf, which are more designed and feel more abstract. ‘Genesis’ is a record that grows, that opens up and takes the listener to a different time.

Prehistoric Meditations (2017)

source: bandcamp

On the self-released ‘Prehistoric Meditations’, we enter a more meditative mood, less descriptive, more inwards and abstract. Slow droning sounds, pleasant nature sounds and dreamy passages. This is a different sort of record. Unlike  ‘Genesis’ the music is less focussed on the surroundings and more on the internal listener.

The listener therefor goes more on a spiritual journey while listening to this record. It’s made to meditate to, to relax to and explore. I’ve read about the Aborigines ‘Dream world’ and I think that this resembles most closely where Paleowolf is trying to take you to with this meditative record.

The album consists of three tracks, offering a three step rocket into the subconscious, a  gradual descent into the magical times. The droning tones, the gentle whisperings and tittering of birds touches upon something primal within you. It allows you to focus completely and try to detect the origins, it is a mind cleaner, a deep meditation and quest. Gently water is flowing, wind pipes chime and a gentle buzz fills the ear. As you come to a deep calm, deep voices chant again.

This is an album for headphones, for a solitary listener in a state of rest. It’s drony, ambient minimalism is a unique listening experience and I’ve not been able to find an artist who comes close to the sound of Paleowolf. Their attempt to reconnect with the primordial self, with the ancestor cult is something you need to be open to as a listener to truly find your way in the sound, particularly relevant on the meditative records.

Underground Sounds: Coume Ouarnède – Celui Qui Vide Les Arbres

Label: Nomos Dei
Band: Coume Ouarnède
Origin: France

I’ve been intrigued by the releases of Russian label Nomos Dei, since I found out about them. This is another mysterious release, that is in fact a quest of discovery to find our ancient roots in the mighty mountains of the Pyrenees through music, ritual and ambient sounds. Something profoundly archaïc can be found for those who dare search for it.

Yan Arexis is a percussionist, who also has been active in Stille Volk (pagan folk) and Sus Scrofa (pagan black metal). He pretty much founded all those, but also La Breiche and Cober Ord. Another set of projects unveiling archaic Pyrenean folk. So, all in all Yan Arexis is at home in the field of music he is practicing on this record. This explains the compelling force of the record for sure.

The name of the record translates as ‘those who the empty trees’ and the purpose is to create music, like it was 10.000 years ago. In awe and respect of nature, to please the gods. The percussion you hear is natural. In the description Arexis claims to use stones and rocks. The forest sounds surround the central musician, who murmurs ancient words on a whispering tone, while tribal drumming sounds softly. The sound of howling birds sounds in the background as the listener is slowly talked into a trance.

Sometimes the music is barely audible, but it’s a constant trickle of sound. Mild ambient, softly blaring sounds and the echo of something akin to bells. In particular the track ‘La Coume Ouarnède’ is a track to sink into and let go of all other things. The tribal drones are the leading element, helping the listener to find a calm. This whole record is hard to describe as a rational experience. It’s a primordial expression of spirituality and offers a meditation gateway for the listener. One needs to be open for that. If so, you’ll find a wealthy, rich album of ancient folk.


Underground Sounds: Forest of Trys – Frostburn

Label: –
Band: Forest of Trys
Origin: Lithuania

There’s  a joke in the name, because Trys just sounds like trees. The profile picture on bandcamp is a fat cat and you might start having doubts about the seriousness of Forest of Trys . Still the sound of the band is not one for light jokes and fun, but a grim affair indeed.

Forest of Trys only has one member listed on Metal Archives, namely Šmėkla. Another fact is that the band hails from Kaunas and did release a full lenght earlier in 2016, titled ‘Architect’.

‘Stars I’ is the opener, which starts with hazy, distorted noisy black metal. It feels like an industrial haze with the lecherous sound of Fat White Family somewhere hidden in the sonic fog (no clue how I take that from it). Then suddenly it merges into an old carnival tune, not dissimilar to the Eraserhead soundtrack by David Lynch. It all sounds just a bit of and wrong, which makes the vibe more slightly unnerving. Guided by martial drumming, the song moves back to the noisey dissonance. Shattering sampling and icy beats follow for the next part of the track, creating a noisy template of assault.

A more gritty sound can be heard on ‘Stars II’, where we seem to move away even further from the noisy black metal sound. Groaning noise pulsates in the air, while string elements create a semblance of style and class in sharp contrast to the colossal noise. Again, such a peculiar sound, but the final song, surprisingly titled ‘Starts III’ really takes the cake. Grim, desolate and full of industrial elements, it consists of more effects and samples of people speaking in an order that feels completely random. Pulsating, humming, squeeking the sont thunders on, with a seemingly random drum pattern offering a semblance of steadiness in the sound.

The record is an almost nightmarish trip. This is a peculiar album, with only black metal as a spirit present. Lithuania seems to have some interesting musicians out there. This record would go down well with noiseheads and experimental listeners too. Nice stuff!