Tag Archives: drone

From the mountains to beyond the wall of sleep

It’s music that sometimes helps to take you away from the dull, mundane affairs that fill our daily lives. We don’t all get to be sassy Instagram models, parading the luxurious holiday places or the exceptional bits of nature, some of us just need to join the daily drag. So do I.

These are tunes that take me to those places though, to the magical bits of nature that I can only dream about most of the time, the vast mountains and deep forests through synths, ambient and other forms of music. Follow the path, sometimes it’s overgrown and hard to find, but it’s there and leading far from the regular throng of people that stick to their Netflix and literary thriller reads.

Kaya North – Tribal Mountain

Origin: France
Label: The Eagle Stone Collective

There’s hardly a more awe-inspiring image to present than a sheer face of rock. The pillars on this cover, truly captivate me and so does the mild drone that sets on as I launch this release by Caleb R.K. Williams. Under the name Kaya North, Williams is releasing a  project of improv music, next to the solo work, Eagle Stone, Old Green Mountain, Uktena Kult and Cosmic Canyon (and probably a dozen other). All projects of ambient, nature-inspired. This record just offers the drones with little ripples, like the tiny holds and nooks you’ll find in the rock. It’s booming, with the odd sound of a circling bird of prey resounding through the booming tunes. There’s a tension in the sound, that you recognize when you’ve ever climbed a rock face with little between you than the rope, a next clip a meter or three ahead and your trembling fingers. It’s a feeling you can barely describe, but you can capture it in sound it turns out.

Black Hill & Silent Forest – Tales of the Night Forest

Origin: Hungary
Label:  Self-released

The artwork by Kapiller Ferenc is easily confused by me for that of Costin Chioreanu. It depicts nature as something idyllic, something almost perfectly outlined in the green, vibrant and natural colors he uses. It’s perfect over by this release of Black Hill & Silent Forest. A duo of projects that mash into the postrocky storytelling on ‘Tales of the Night Forest’. Like a gentle, babbling brook the guitars flow by. The lack of drums help to diminish any ostentatious flourish in the music, keeping the flow tranquil and soft. From the elusive ‘The gathering of deer’ to the melancholy of ‘An old owl calling’, the album keeps you in a state of flux, just as a witness to the beauty and pleasant harmony of the forest. An absolute pleasure to dwell within the tunes of Black Hill & Silent Forest for a while, no matter the pressure you’re currently feeling.

Kalmankantaja – Tuulikannel

Origin: Finland
Label:  Illuminandi Service

Kalmankantaja translates as ‘death bearer’ and is a black metal band from Finland, who uses a lot of synth and atmosphere in his music. An odd including perhaps in this aural traverse, but his easy flow makes his work as immersive to me as the others, so I gladly sidestep tot the shimmering stream of black metal that opens ‘Tuulikannel’ with ‘Aarnihauta’, a track that will last up to 14 minutes. The progression on both tracks is slow, with the occasional guttural scream emerging from the murky mists of the forests the sound appears to emulate. On the second track, we encounter a melancholic dirge, that repeats and meanders onward for minutes. Even when the music swells to a more rocking sound, there’s always that hint of continuity and an endless stream moving forward on ‘Tuulikannel’. The vocals sound hateful, but this is merely a crust to the deep greyness of the music. Which is wonderful…

Sun Through Eyelids – Glacial Iridescence

Origin: New Zealand
Label: ΠΑΝΘΕΟΝ

But let us step back into nature with Sun Through Eyelids. A deep ambient act, consisting of Tom Necklen and Meghan Wood. On ‘Glacial Iridescence’ they take you to an eerie polar landscape or an Alpine glacier, where they freely explore sounds and let nature offer its healing magic to the listener on the drony tunes of ‘Shelter of the Taiga’ or ‘Subarctic Oasis’. Booming sounds, with reverb attached to its edges, gets complemented with distant music and cold keys, maybe with a mouth harp here and there? It sounds like the buzzing of an insect as astral waves wash over you. Yet as you stick with the sound, your blood seems to thrum in your veins and your ears feel like they are in the middle of the sound instead of simply receiving it. An almost transcendental experience looms, with the sound of water, birds and nature, all acting in harmony and pure majesty together, not needing humanity one bit for its perennial cycle and balance.

Oneiromancer/MAW – Oneiromancer/MAW

Origin: USA
Label: A Moment of Clarity Records/Orb Weaver Collective

Oneiromancery is a form of divination based on dreams, which is quite an apt name for the act that provides the first side of this record. Titled ‘Dukkha’, it’s a slow waxing and waning of tumultuous drones and odd chanting, which feels as if it gets lost in the sounds of the wind. The droning keeps intensifying, forming a wall that drowns you in it, drowns the noise in your head and takes you to a place of tranquility. A valuable experience, when you’re caught up in thinking instead of doing. Subtle melodies weave through, but not at regular speeds but briefly rising from the noise and sinking again. ‘Naljor’ by MAW then just slithers by mostly, in near silence, with far-removed sounds, but ending in what feels like a guitar wall. A mystical experience, all in all, this release.

Underground Sounds: Warden – Krochtenmagii

Label: Skyggeraich Productions
Artist: Warden
Origin: the Netherlands

Warden is an act I found under dungeon synth, but his/her music is much more connected to ambient and drone music. Sure, there is a certain mysticism to his work that invokes images of the realms of our imagination, but also something very earthy and desolate clings to the notes on ‘Krochtenmagii’.

This is the third record by Warden, released in the same number of years. The production is not as high as with some dungeon synth artists, which is probably a clear cause for the high quality and narrative experience the music offers. Let’s delve in.

The image of mountains of the cover perhaps captures the droning wind and sonorous booming that opens the album. Is surges on till the next movement engages, with more soothing, harmonious sounds and the flow of water casually in the background. Then swelling it grows into a wall of sound and as the story with the music tells, time is by that point utterly lost.

By the 20-minute mark, you’ve reached a state of calm, that only the emptiness of nature can evoke. Sure, it’s an inhospitable place that Warden has taken you to, but it’s also filled with peace. In the very last movement though, we enter the realm of the dungeon synth. The wind and water are gone, yet an earthy, cavernous feel remains. After moments in this safety, the music slowly fades after what seems like a lonely journey through the wild.

 

 

Underground Sounds: Warren Schoenbright – Excavations

Label: Vacant Fulfillment
Band: Warren Schoenbright
Origin: United Kingdom

Inspired by the Egremont region in Cumbria, Warren Schoenbright created an exceptional record after a residency at the Florence Art Centre, situated on a defunct Haematite mine. It captures the environment, the depressive mood of an industrial site fallen out of use, leaving its remnants behind. This is captured on the record ‘Excavations’.

The band is three-piece, consisting of Daniel McClennan on drums, Alex Virji on bass and vocals, and Iker Ormazabal Martínez on Guitar. While they create drone/noise, their music is quite easy to listen to. Imagine something in between 5F-55 and Godflesh, and you kind of have it. Add the human nihilism to a sort of found organic sound in the industrial decay, and there we have Warren Schoenbright.

The album opens with minimal sounds and a more ambient like atmosphere, up until the droning sound swells and unleashes in a torrentuous, sludgy mass of guitars. A massive, industrial water slide, that is both heavy and hypnotic, disgusting and harmonious at the same time. No wonder that the group collaborated earlier with Caina on their ‘Christ Clad in White Phosphorous’ album to add a heavy foundation of urban despair of nauseating, gritty firmness. Exactly that is what they bring to this release too.

The album only contains one, ongoing track, so it is like being caught in the worst and most grim water slide you could ever imagine. The clanging sounds of metal, the pulsating beats of machinery and the constrictive nature of the music emulate the work that once took place on the location that served as inspiration for this record. For just under 25 minutes, you are stuck, completely held in thrall by the beating, surging rhythm, and darkness of Excavations.

Underground Sounds: Wolf Faced God – Stone Altars

Label: Dead Moon Records
Band: Wolf Faced God
Origin: USA

As we look back to our past, we delve further on to find meaning. The prehistoric times have started to fascinate us and various artists are exploring the sounds from that time. Wolf Faced God is one of those acts and with the album ‘Stone Altars’, the artist behind it reimagines the ancient past in a world full of wonder.

Hailing from the United States, Thorn Skarthborg is also the owner of the label Dead Moon Records, which releases various exciting acts in this dark ambient/ritual corner of the more explorative music. Boldly treading ancient realms and howling at the moon that still on a good night can fascinate us.

The trickling of water and eerie flutes resound in the distance as the tribal drumming starts. Instantly you are taken to a world, much quieter and smaller than ours. Peculiar synths reach through the hermetic, hallucinatory rhythm and take you to a bird’s eye position, from which you soar from opener ‘Children of the Sun’ to ‘Glacial Journey’. The wind rattles you as drones create the semblance of a song structure, but perhaps it is simply your mind trying to find structure in the wild sounds of nature?

Even more low and foreboding is the sound when we enter the ritual on ‘Paleolithic Rituals’. Humming, murmuring tones sometimes break through, evoking the sense of ritual chanting. A wonderful experience, not unlike the one on ‘Cult of the Mammoths’, which sounds playful and lively like the great forest. Immerse yourself in the splendor of a world that is simply much more dangerous and fleeting with this record, filled with magnificent ambient tunes. I absolutely love it.

Underground Sounds: Atrium Carceri/Herbst9 – Ur Djupan Dal

Label: Cryo Chamber
Artists: Atrium Carceri & Herbst9
Origin: Sweden/Germany

It’s a given that Cryo Chamber releases are superb. My expectations for this joint release by Atrium Carceri and Herbst9 are therefore high and I expect some exceptional material here on ‘Ur Djupan Dal’, which is a cooperative piece of gloomy ambient music.

The story starts in a harbor, warm and mysterious, perhaps in the orient? But this is a land of magical beings, of giants and dragons, but also of mystic vapors and strange rituals. Atrium Carceri is a project by Simon Heath, known for his involvement with Cold Meat Industries and founder of Cryo Chamber. Herbst9 is a mysterious new age/ambient project from Leipzig with various other expressions.

Unearthly mumblings and rumblings open the record and allow you entrance into this realm, as a shrill whistle blows and various ambiance and field sounds seem to fill your consciousness. Slow, gliding and with a sense of immenseness drums guide you forward as the utterances keep disturbing the sense of tranquility. In the sound, there’s always something at the edge of your perception happening though. Something ominous, foreboding even, of other events that might lurk.

That whispering takes a clear shape on ‘Ur Evighetens Pipa’, where an almost mechanic rhythm is disturbed by utterings in an unidentifiable language. This mysterious tongue seems full of mystery. On ‘Drakhuvud’ we even hear ritualistic chanting, as the sound drones onwards with unremitting power and booming strength. That is what draws you into the sound of this record, it’s sheer force and overwhelming ability to captivate and demand attention with heaviness you feel in your gut.

Underground Sounds: ΚΑΤΑΠΥΓΩΝ – ΜΗΟΥΣΑ

Label: ΠΑΝΘΕΟΝ
Band: ΚΑΤΑΠΥΓΩΝ
Origin: Russia

ΚΑΤΑΠΥΓΩΝ or Katapygon translates best as ‘the finger’, so that should be clear. The project combines ancient Greek music with electroacoustic and ambient sounds in order to create a uniquely flavored concoction of blips, chants, and ancient rituals. It makes up a rather miraculous release altogether.

ΜΗΟΥΣΑ, in turn, translates probably best as ‘muse’. The description with this record is strange, to say the least. Suggestive and shrouded in mystery, the notes refer to a poem by Paul Celan, to the philologist Wagenheim (which might be a Latinized name). The Russian group creates a record with all these references, that suggests the dispersion of humans from the islands of Hellas millennia ago in music that defies description.

From the operatic opening of ‘Jenseits Der Menchen’ onwards, you’re drawn into a world of mystery and wonder with this mixture of folk, ambient, and drone. Classical samples and odd incantations fill the air, as this collaborative effort with Noises of Russia rolls forward. Spoken word passages whisper over the droning, heavy drums, which only hid after large intervals. By the time we get to ‘Пчёлы Персефоны (feat. Sal Solaris & Noises of Russia)’, a full on martial, throbbing beat takes over as a whispering voice pronounces the words. It’s odd, wet sound is almost uncanny if it weren’t for the supporting regal drones.

The chanting ladies on ‘O Phosphor Hecate’ take it all to a more ethereal level, with dense, vast beats and that traditional ecclesiastic singing in an uncomfortable disharmony. The chanting evokes a melancholy and yearning, that harks back through the aeons that separate the suggested origins from the obtruse age we live in, where magic and art no longer are an intertwined, integrated part of life. As we move towards ‘Persephone (feat. Neznamo)’, we are once more taken on that journey of mythical chanting and fat, physical beats. You can feel this in your gut.

This record is quite something. It defies proper description, but really rattles the listener. Recommended audio-experience!

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
Band: NERATERRÆ
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: Cober Ord – Le Revers du Soleil

Label: Nomos Dei
Band: Cober Ord
Origin: France

The dark holds many shapes, even the other side of the sun might be dark if this album is any indication. The French duo Cober Ord take inspiration from something deeper than nature. Something more primordial than the earths shaping, which you find in an underlying rhythm and timbre.

The duo embraces the spiritual idea of animism. This means that certain objects and beings possess distinctive spiritual qualities. That is something they try to put into their sound, which is stripped of human elements in a way. It’s the forgotten caves, the underground rivers and the unknown corners of the world. Think ambient, but also just sounds, field recording meets drone. All of that and more by Ynn (vocals, noise and sounds, known from Habsyll) and Yn (percussion, known from Stille Volk and Ihan).

The dark, meandering drone reminds me of David Lynch’s Eraserhead. Is it a drone or an organic sound, because it feels alive and puts up the hair on the back of my neck. It’s a part of the 17 minute opening (and title track), which gradually leads you to the deepest parts of the world, where only inhuman sounds occur. Towards the end, bestial roars interrupt the drone. In the dark with nowhere to go, this is not what I’d call a pleasant moment of the record. Droning, doomy and with sounds that make you feel slightly queesy and unnerved, the sound meanders on. The vocals are modified and mutated to unearthly entities, but all still is part of a rhythmic, natural sounding progression.

That changes when the percussion takes the forefront on ‘Forêt V Cathédrale Glas I’. It feels like you’ve ended up in a different place, an underworld furnace, where mad rhythmic hammering is resounding. It’s a hellish racket, but almost industrial sounding and strangely magical as well. The vocals indicate other creatures from more mythical sources, working their instruments here in a devilish symphony with pumping bellows and clanging of anvils. Guttural barks resound over this rhythm.

It’s amazing how strongly this music plays on the imagination. It’s like a black metal paradise, but what makes it so unnerving is how real the sounds are, how every peep and squeek is audible, as if they’ve really went down into the darkness to make recordings of an unknown danger. But there’s a beautiful harmony to the sound as well, it’s always rhythmic, organic and flowing forwards unstoppably. It’s an aural journey that resets your thinking in a profound way.

This is magical, hauting and a bit creepy, but such a wonderful effort. I really recommend locking yourself up in the dark and listening to Cober Ord. Maybe in a dark forest, to experience the otherness. Well worth it.

 

 

 

Sounds of the Underground #29

Four reviews from the underground, as you know and love them. This time Tau CrossObsequiae, Sunn O))) and Kauan. Enjoy your own taste of them.

Tau Cross – S/T
Relapse Records 

source: Bandcamp

Call it a supergroup if you will, I just call it great stuff. The band was formed by Rob “The Baron” Miller of UK metalpunks Amebix and interestingly enough you find a tau cross decorating the last album of that band. Add members of Voivod and Misery to that and you do have something that definitely can get the label super group. In my opinion that term usually totally misses the plot and makes a band sound shitty instantly. Not in this case, this sounds great.

Musically the band is not really reinventing the steel, but neither do they sound explicitly metal. In fact the band has a sound that comes remarkably close to quite catchy and middle of the road. The vocals of The Baron, would suggest there’s family ties between him, Abbath and Lemmy. Great guitarwork creates a soaring sound, that feels big and stretched out. A lot like a good bit of desert stoner, but with that rough, crusty edge to it. The band is surprisingly melodic and catchy at times, with these sudden hooks like on ‘Prison’. This band is one of the reasons to go to Roadburn!

Obsequiae – Aria of Vernal Tombs
20 Buck Spin

source: bandcamp

You’re never quite sure what you’ll get with these random black metal picks on bandcamp, but I’m pleasantly surprised by these boys from Minneapolis. There’s a sense of fresh sound to this band, they have found there own almost power-metal like sound somewhere  (I’m struggling to describe this in the positive way it deserves, fully understanding power metal is not doing that). It’s the band’s second effort and well worth a listen due to its peculiar other influnces.

The wavy rhythm behind the song is in some way giving it a swirling, big aura. It makes the sound feel a bit bigger and warmer. Add to that the folk passages here and there and warm guitar lines and in the centre you have  very condensed, powerful black metal element, enveloped in atmospheric elements. The clean instruments are working out very well in combination with the harsh vocals and blast beats. I mean, this is medieval black metal or black metal for dragonslayers, it just works. Sure, if you like harsh, then this might be too mellow for you. I dig this one for sure.

Sunn O))) – Kannon
Southern Lord

source: bandcamp

If you want to really get a grip on the intense meaning behind this new project by lords of the drone Sunn O))) you should read this. The artistic angle on the whole project is so complex and globally involved that it almost overshadows the art itself that goes into the record. Luckily most will relinquish form and go for function, which in the case of this band is being baptized in body crawling drones and mythical chanting over a layer of fuzzy distortion. The fact that the band worked with Aliza Shvartz to me says a lot about the daring behind it, but also the artistic position of the band. But lets not digress further and talk about this trilogy.

The dark, foreboding drones follow eachother and pile up layer after layer. It creates also an atmosphere that is closely relatable to the oriëntal theme of the record, which can be alligned with buddhist ideas. There’s a calm to the music, that somehow lingers just long enough to keep holding that vibe. The vocals of Attila Csihar are the dark element on this record, because the music feels more earthy and calm. His guttaral meanderings are there to push the sun away. Stephen O’Malley and Greg Anderson succeed in blending their guitars an equipment into a captivating piece, with a certain mystic side that entrances the listener. A surprisingly accesible record as well, in which much more depth can be found by repeated listening.

Kauan – Sorni Nai
Blood Music

source: bandcamp

The new album by the Chelyabinsk band is an attempt at telling the story of the Djatlov Pass Incident, where 10 hikers under mysterious circumstances found their deaths in the Ural. The band does their lyrics in Finnish, but likes to tell Russian stories in their music, which is a blend between folky doom metal and postrock-like passages, combining clean and distorted sounds into atmospheric pieces. The artwork is magical, which accompanies the record and depicts scenes from the incident that is the theme of the record. It shows an eye for detail and a complete approach. The band has been sharing footage from the hikers as well.

Weaving beautiful passages, the band creates the vista of snow covered mountains, the wind surging through the trees. Intensifying, it also relates of the weather, the danger and possible disastrousnes. There’s also trickling guitar play, gentle like nature can be with a ray of sun or the drops of water falling of a branch. Most of all, the music is absolutely gorgeous and haunting. It’s hard to describe the way this band manages to set up an atmospheric and dreamy record that tells a story like no other. The growled vocals speak of the harsh parts, while the clean sing of the adventure and nature. The sound remains natural and  a bit as if the band is showing us a film, while in flowing motion the journey passes by in musical fashion.