Tag Archives: drone

Bismuth: Existing in Sound

The primal movements of the earth can be felt when Bismuth plays its second set at the Ladybird Skatepark at Roadburn 2019. Slow, purposeful drone doom, delivered with a mantra-like repetition over a fundamental groundwork of drums by Joe Rawlings. The guitars produce a growling, textured sound that hits you like sonic waves with full force.

On guitar is Tanya Byrne, who also plays in Monoliths, Nadir and Dark Mother. Having been pummelled by the live delivery by the band, I wanted to know more about the duo from Nottingham and contacted Tanya to ask her some questions about Bismuth, sound, studying the environment, gear and, of course, playing Roadburn.

Interview with Tanya Byrne from Bismuth

 

I understand you are originally classically schooled, if I may use that term. How did you move from that to the music you create now?

That’s right. I play the piano, played clarinet in an orchestra and studied music theory and composition. I think I moved to drone when I discovered minimalism. Artists such as Arvo Pärt and Terry Riley. Space is an important feature of that, and I wanted to see if that could be explored within the sphere of heavy music. So much metal tries to bludgeon with riffs, but I feel contrast, space and dynamics are needed for something to remain heavy. That’s why I loved Lingua Ignota so much. It has a weight to it, without the usual metal and noise tropes.It would seem that this background really shapes your approach to music than, which is not based on, let’s say, the pop format songs. So where in this development did feel you transitioned that classic approach into a metal framework?

It happened when I was around 25. Through minimalism, I started to discover bands like Khanate, Asva and Sunn O))). For the longest time, I found guitar-based heavy music boring, but these bands showed me that heavy music could be interesting.

I like your mention of Arvo Pärt, because his music is for me essentially attentive listening and very heavy in its intentional nature, as every note has meaning… What attracts you to the minimalism and more so the slowness in music (as you play ‘very slowly’)?

The focus of minimalism is what drew me to it. You have to give each note your full attention. Playing slowly helps with that. Nothing can be rushed and you have to exist in the sound. Everything else falls away as the sustaining of the music becomes everything.

What does heavy mean to you and what role does volume play in that, which is what most people would assume to represent heavy?

Heavy is more of an emotional response. Volume can be helpful in reaching that intensity, but for me, the intensity in performance is so much more important. I’ve seen bands that are quiet in volume, but their music has a connection that makes it truly heavy.

I’ve seen you perform, but I wonder how you feel you put the heavy in the performance you deliver with Bismuth. Is it physical or in your own experience of the meaning and voice of the music?

A lot of my lived experience comes out in the music. Obviously, both Joe and I are fans of volume to add to this, so that comes out too. When we play, nothing else exists. I see nothing and just share what is normally hidden.

Is the meditative aspect of that sound on some level relevant to what you do? And by that, I mean the ritualistic or even religious aspect of music, but also may be a connection to your academic field?

Very much so, yes. Becoming lost in the sound is a form of meditation. It not so much religious for me, but I definitely think that playing so slowly helps me feel connected to the deep time of the geological record, in a small way. People need time and space to contemplate processes that take millions of years, and I think the state of feeling nothing but sound and time can tether me to that. Day to day worries fall away, and for a time, notes seem like infinity.

I am intrigued by the connection though, between your academic interest and music. Which came first and when did you first connect them like they are on ‘The slow dying of the great Barrier Reef’?

I’ve been playing music since I was five, but I only started studying environmental science within the last 6 years. Barrier reef was the first time I attempted to connect the two. The music and themes arose due to my increasing frustration with the world government’s inaction on climate change. I read journals pretty much every day showing the way in which humans are degrading our environment, and I can’t believe the inaction of governments around the world.

There’s a lot of disinformation going around, or fake news as we call it today. Was that attitude, the inaction, was it a driver for you to connect these two?

Or was it something brooding already to make this connection and just got this push here.

Both. As a scientist, it’s very frustrating to hear talk about ‘beliefs’ when there is solid evidence that climate change is happening, and that our species is causing it.

For you as a person, what does it mean to bring these two together? Is this a platform?

I’m not sure if it’s a platform so much as me trying to process the thoughts I have around this subject. It’s great if others are prompted to research, but joining music with this subject matter helps me deal with the anger and despair that I feel at times. It’s difficult to maintain hope when all you read about is destruction and death, but we must hold on to hope and work together.

For me, as a listener, your performance felt very cathartic too, as the music is delivered with a certain laborious effort. It helped to connect, to move in harmony with you as artists. Is that something you feel is important, this connection through the music?

The connection is one of the most important aspects. When you are playing with others, it’s important to get into the same space. I’m not very outgoing in real life, and the way I connect the most is through playing music.

How big is the role of your equipment when you play music like yours?

Very. Very important. I use multiple amplifiers set up so I can use each amp to cover a different frequency range.

Coming back to your approach of music not as simply bludgeoning with riffs, is this an example of your way of creating this heavy effect?

For sure. Cutting the bass amp and reintroducing it later can help add heaviness. I also run different effects chain for each amp. It’s important to have different amps for different tonalities.

So what is your process when creating music, because by what I read about your gear expertise it feels like an engineering job, so I was wondering if you could describe how that happens?

Generally, Joe or I will have an idea, a riff or a drum beat. We then work in that for a while and see if it’s something we can expand on. Vocals are always written secondary to this, as layers of sound are very important to us.

Is there a lot of tinkering with the equipment involved?

Yes…I tend to have a pretty precise idea of the sound in my brain. There have to be lots of playing around with pedals to match up the sound I am aiming for.

Do you consider yourself a bit of a gearhead?

Yes, in other aspects of my life I work as a programmer, so I get really interested in tech of all kinds.

Now, this is usually a pretty male-dominated terrain. Is that something that ever came across your path of an artist and do you notice the shift that’s happening and was very visible at Roadburn this year?

Yes, I have had a couple of amps and pedals custom made for me, and only I and the person that built it knows how to work them. This still hasn’t stopped some guys trying to tell me how to use my own equipment (they usually shut up after they see us play). Sometimes I feel like I need to be super nerdy about it so I can stand my ground in male-dominated spaces. It was very heartening to see that Roadburn is showing that creating experimental music is not just the domain of men.

So, can you tell me about your Roadburn experience and history?

Both Joe and I are so overwhelmed by our experience of Roadburn. Becky, Walter and the rest of the Roadburn crew are amazing. When they asked us to play a second set in the skate park. We couldn’t believe it. I watched the Lingua Ignota show there and it was amazing.

Bismuth started 8 years ago and we’ve recorded two albums and a few splits and EPs., but this was our first performance at Roadburn, yes. We’ve done a few tours in Europe and the UK. We have always wanted to play Roadburn and were so so excited to be asked.

But then to get a second set, what was that like?

Disbelief! When my friends told me about the queues for the first set, I really didn’t know what to think. It was a great honour for us.

Did the second one feel different?

Yes. I think we were both more at ease. I’m not sure why, perhaps it’s because it’s more similar to the usual places we play? I think its because its closer to the DIY spaces a lot of the bands are used to normally play. I definitely felt more comfortable there

Do you think Roadburn is a different place to play?

Definitely. I think many bands aspire to play there. The friendship and open-mindedness of the people that attend is something I’ve never experienced at any other festival. It’s really special.

What does the future hold now for Bismuth?

In the next couple of weeks, we are playing Northern Discomfort fest in Copenhagen, DIY fest in Nijmegen and Raw Power fest in London. We also have a show in Leeds with Thou and Moloch. That should be fun. After that, we are going to take a little live break to focus on writing for our third album and a few splits.

If your band was a dish, what would it be and why?

Hmmm well, it depends who you ask! Joe would definitely say kebab. However, I would say tasty lentil dahl, with rice and chipati. We would both agree on tasty Oreo brownie though.

Is that because you both like it or is there a more complex idea?

Haha nope, we both just think it’s tasty. I think it would match is as it appears sweet but can be intense.

Forbidden realms and forgotten places: the sound of out there

There are many places in this wide world. Some are hidden, some forbidden and some are lost in time. Music can take you there and this collection is a little tribute to that magical journey, but also a showcase for some great tunes about forbidden realms and forgotten places.

John Levy – Tibetan & Bhutanese Instrumentals and Folk Music

Origin: Tibet/Bhutan
Label: Sub Rosa Records

John Levy is a London ethnomusicologist who explores the musical materials found in the far and remote areas of Tibet and Bhutan (and many more. He explores the almost Delta Blues-like sound of Go-Te Do-Pe (immediately on the first track, by Tashi Laso). From lute and fiddle to the rattling percussions of Tibetan monks, the music takes you to a place beyond, with a meditative feeling through repetition and soft, rounded sounds. I particularly enjoy the singing by Trinlem of Tongsa, who with a slightly nasal sound, brings you to a soaring height with her singular voice. This is a collection of sounds, that take you on a journey to a sense of calm and tranquility. I don’t know exactly how (or why), but it has something to do with the repetition, the ease, and intonation and timbre of the music. For that, this collection is absolutely marvelous. I can’t get enough of the chanting, drumming and droning. Exquisite.

Rhian Sheehan – A Quiet Divide

Origin: New Zealand
Label: Loop Records

To see a composer score big with an album is an unlikely event, but Rhian Sheehan managed it. The New Zealand musician created ‘A Quiet Divide’, which is a wonderful piece of music. The cinematic qualities of this record are quite outstanding, making it substantially captivating for the listener. It takes you over the land, in that bird view perspective familiar from the epic movies as the gentle sounds evolve, grow and rescind into milder territories. At one point the music swells to major, warm proportions, while a moment later the pace goes slow again. From trickling piano to soaring synths and strings, Rhian Sheehan takes you there as the songs gently swoop over and under the clouds in a high-over way, with green fields below. It’s perfection.

Old Tower – Stellary Wisdom

Origin: Netherlands
Label: Tour de Garde

There are some undoubted masters in the genre of dungeon synth at work and if there are any rockstars (apart from Mortiis), Old Tower must be one of those. The vaporous sound of his synths, combined with crips and clear melodies, is a rarity in balance and composure, with minimal shifts and deftly statuesque delivery. The sound of Old Tower is one of melancholy and abandonement. Well, as if everyone has left the place a long time ago and all that is left is this empty, vast space with dust settling and gentle synths rolling over the place. While the gentle steps of the instruments barely disturb the dust, you traverse these halls in deep silence and deep thought. It’s music to get lost in, to take you to different realms to traverse in toughts with some absolute tranquility.

Gaetir The Mountainkeeper – Norðr

Origin: Serbia
Label: Prometheus Studio

The north has beckoned for many artists and Gaetir the Mountainkeeper is no different. The journeys his music tells of (knowingly I speak of a he, but I have no idea) are those from the ancient mysteries from the Edda. The travels of Odin, across the far and wide realms of fire and ice. This means a feeling of lengthy travel, which is captured in the dense, droning ambient and nordic mysticism of ‘Norðr’, which is delivered as 6 parts in one hour long track. At times it is really the wind blowing, the swelling drones and icy hails, but then the drums come in and take me to the Paleowolf-like sound of tribal doom. It’s a record, taking you on that heroic quest where you face the most desolate and threatening aspects of nature. This, makes it a grand experience to indulge in as you mentally traverse the great north.

Andrew DR Abbott – Live On Daisy Hill

Origin: United Kingdom
Label: Bloxham Tapes

The north of England may now have you think of chavs on street cornersrun-down down industrialism and a place where ‘Britain First’ is a popular slogan. But that’s not the only side of it, as Andrew DR Abbott explores with his baritone playing on this record ‘Live on Daisy Hill’. The former mill towns and cities have a character of their own and a simple beauty. Quaint, would be the word that springs to mind with the mild, folky tunes by Andrew DR Abbott, that feel like an origin story for the Appalachian folk medleys from across the ocean. A little Nick Drake here and there perhaps, as the tones gently caress the inner ear, like ‘Whatsandwell’. Americana, but then Britticana, with more Fairport Convention and less Johnny Cash. It’s weaving patterns remind you even more so where it comes from and what shaped its sound, making this a remarkable journey to a forgotten harmony.

Tallawit Timbouctou – Takamba Whatsapp EP 2018

Origin: Mali
Label: none

Agali Ag Amoumine’s WhatsApp cassette 2018 captures the cassette culture of the desert music in this new age of digital accessibility. Played traditionally on a teheredent and calabash, it captures the traditionally popular music and was send by Whatsapp from Timbuktu to Portland. The recording may be lo-fi, but captures the haunting repetition of the sahel sounds, as the lyrics are chanted over the clapping sounds in one rough cut. It is odd, as this tradition means the recording has an introduction and shout-outs throughout the recording, delivering a very special experience of a time past for the listener in an age of fast traveling media. Listening to it is immersive, as you have to focus. Best listened to on a cell phone, it says in the description, and this is very true as that is the means which allowed this recording to be made, send and uploaded on the same day for your listening pleasure. So indulge yourself, and venture into the desert with the twangy, scrappy, scrapy sounds of this distinct, bluesy music for a while. You’ll not regret it.

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.