‘0x001’ is the 2016 release from Coarses. It’s a collection of ambient tracks that work just as well as stand alone pieces as they do as a whole. I stumbled upon this collection of drone goodness after seeing the trailer for the amazing short film ‘The Pond’ (link below). This is excellent music for writers of horror, thrillers, or any sort of dark fiction.
‘Open Field’ puts you in a trance right away with what sounds like the breathing of some fantastic machine. From the sound of it, its most likely a machine that eats people.
‘Worship’ creates an unsettling atmosphere, like you’ve just happened upon some ancient druidic ritual. Never a good thing.
‘Focus’ changes this up a bit with its catchy techno beat, and ‘Focus on Hands’ is the album’s best track. The finale is machine-like, bringing to mind The Terminator in his relentless quest to kill his intended target.
If you’re a fan of drone and ambient, this is definitely for you, and if you’re a fan of horror soundtracks, you should definitely check this out.
A ghost box, or Frank’s box, is a device used for contacting spirits through different radio frequencies. Some claim these devices should not be taken lightly, or abused, as there can be severe consequences. Others claim its all a bunch of superstitious nonsense. Either way, the ghost box has been the subject of great interest to those interested in contacting the spirit world. Doubtless its only a matter of time before Hollywood seizes upon this concept and creates an entire movie franchise around it. But for fans of music, Ghost Box Orchestra is something else entirely.
If you’re looking to “revisit” the 90s with new music, this is your chance! Ghost Box Orchestra is a band out of Boston that brings back the echo drenched neo-psychedelic 90s with a heart-warming vengeance. Sounding like The Verve back in their A Storm in Heaven days with a bit of Shoegaze thrown in for good measure, this album is definitely the type of music made for those who love music. And it contains enough reverb to kill a small elephant.
The album starts strong with “Flutter” and continues with the psychedelic guitars of the title track. Some high points include “Wave Goodbye”, with its slow plodding drums and sinister vocals sounding like some sort of death march. “Dead & Gone” conjures up memories of Stabbing Westward at their most menacing. Its heavy groove will make you want to smear the blood of your enemies on yourself after you’ve slain them. (editor’s note: this is not recommended as law enforcement usually frowns on such actions)
The last track, “Casualty Devotional” is the album’s masterpiece. It showers you in shimmery vocals while endless echoes of synthesizers and guitars fill the space around like an oncoming tide. Like a good story with a third act that pays off all the setups, this is the track that the entire album has been leading up to. And like a good story, you will not be disappointed, with the ending. After listening to this album, you will truly believe that you’ve been communicating with the spirit world, and from the sound of it, the Other Side is in good hands.
Labyrinth is the latest compilation from Eighth Tower Records, purveyors of fine ultraterrestrial dark ambient, drone, and electronic music. With a total of twenty two tracks there’s enough darkness here to swallow the Earth whole.
The compilation starts off with “When the Shadows Come” from Psionic Asylum, a deep, dark ambient track that starts you down the path to the Labyrinth. Some of the standouts are track 3, “Luft” by Monocube, which wades into static like you are waste deep in murky waters of the mind. A train whistle is used expertly to disconcert the listener, sounding much like a plane crashing.
Track 6 brings “The Labyrinth” by Warpness with helicopter sound effects that increase the tension. Track 17 is “Hostile to the Past” by Soliloqua which uses creepy organ music that plants the seed in your mind that perhaps coming here was a mistake.
Track 18 is from Traansmutt, entitled “HehBethKathDaleth” and its packed with plenty of disturbing sounds like you’ve accidentally intruded on some kind of ritual in an old Hammer horror film. Other tracks include “Tre” from Necrophorus, “Verminephrobacter eiseniae” from Stigmate, and “We’ll Return to Our Departed Selves” by IOK-1.
Finally, the compilation contains an interesting passage about the nature of the labyrinth itself: Mazes must be solved, a left brain activity that involves choices and an active mind and logical, sequential, linear thinking. A maze is multicursal, with many paths. If you don’t pay attention, you can get lost in one. Not so with a labyrinth. It is unicursal – one way in, one way out. There are no decisions, no choices, no thinking required. The only choice is to enter. To walk one is a right brain activity involving intuition, creativity, and imagination, and it requires a receptive mindset. You must trust the path, surrender to it.
A labyrinth is not a puzzle; it is a mystery. Theologian Diogenes Allen illuminates the difference: “When a problem is solved, it is over and done with. We go on to other problems. But a mystery, once recognized, is something we are never finished with. Instead, we return to it again and again and it unfolds new levels to us. Mysteries, to be known, must be entered into. We do not solve mysteries. The deeper we enter into them, the more illumination we get.”
1 Psionic Asylum “When the Shadows Come”
2 Sysselman “Submarine” (featuring Radio Feskslog)
Big Sleep Little Death is the latest release from the purveyors of dark electronic music, Bedtime for Robots. This ambitious release comes on the heels of the enigmatic Music From an Undisclosed Location.
The album opens with the sprawling and spaced out electronic horror track “All My Idols Are Dead”. Given the pedigree of disparate musical acts that make up the brain trust behind Bedtime for Robots, this list of idols is undeniably quite impressive. The description on Bandcamp states that this album was inspired by horror and sci-fi films. The album does not disappoint, as one can easily hear certain tracks dropped into scenes of stalking or dismemberment (and who among us doesn’t love a good dismemberment?) But one can also hear glimpses of Junkie XL or The Crystal Method, and even The Texas Chainsaw Massacre, especially in tracks such as “National Lobotomy”.
The album features two centerpieces: the first is the title cut, which features dark electronica that is so sinister it sounds like it belong right at home in a William Friedkin film. The second is the final cut, entitled “Easter”, a bleak post apocalyptic sci-fi soundtrack that will make you think of all the possibilities and could have beens that the world once held while you’re staring at the mutated corpses rising from the wreckage of what was once your favorite record store.
Bedtime for Robots is the brainchild of Michael Ferentino. He was a musician once. You don’t want to know what he’s become now.
Elementals is a very grounded recording based on the elements of earth, air, fire, and water. The wind plays a major role in this album which is described on their bandcamp page as ritual ambient soundscapes. According their label, Black Mara, Elementals is a “spirit of the Elements”.
“Elementals is a result of working with the subtle world, where the sounds becomes
the key to the unknown, to the mysteries of alchemy. This is an attempt to find the truth of a certain existence in the perceptions and emotions.”
The album is somber, and brings to mind images of autumn and winter, of desolate skies, over fields of rock earth untouched by human civilization. “Place of Force” has a tribal vibe conjuring up spirits of the long dead and forgotten. The centerpiece of the album is creepy sounding “Hole”. Clocking in at ten minutes, this track is by far the darkest and the most likely to be used in a horror soundtrack.
The album is mostly low key, more supernatural than horror, and uses low fi field recordings in place of mechanized synth pop, but it does have a sense of foreboding. Rather than a post apocalyptic world that is the realm of cyberpunk, this album has more of a portent of things to come. Dark things. But it’s a future that is not set in stone. One that may be changed. One that possibly offers hope for humanity.