thanks for listening<3 i hope you'll check out more of my music like this song.
this song + all my ambient tracks on my playlist here
soundcloud: https://soundcloud.com/tidecruz/sets/my-head-is-ambient
spotify version: https://open.spotify.com/playlist/4IB4U1ieSUcEor3LQkOAIy

i was only temporary

spotify link

Anocht

(2015)
for electric guitar. Composed, performed and produced by Breifne Holohan.

This work was inspired by the photography of Louth artist, Jason McCarthy. I was struck by his stunning photograph of the Mourne Mountains. It presents both the physical image of the mountains while also suggesting a more abstract interpretation of ocean waves. I was influenced by McCarthy's use of perception here and decided to write a musical response to it.

image: 'The Wave', Jason McCarthy.
www.jasonmccarthy.ie

the wave

The End of Everything

The smell of fire weighs on the stale air. The birds have fallen silent. A shiver runs through the naked skeletons of the trees. The dead river meanders aimlessly. As the sun darkens, the moon is bereft of its light. The land grows weary amidst the shadows grey, and hearts are relieved for they welcome darkness; they welcome our kingdom.

Belgiumʼs KINGDOM, featuring members of AMENRA and BLACK HEART REBELLION have started serving masses with their debut full-album; separating themselves from false prophets. “Hemeltraan” is a slow, mature work of bleak drones, epic doom and fuzzy sludge in five movements, which slowly draws listeners into an unfolding landscape of broken imagery and half-remembered screams from the past that burrow deep into the soul. Both the heavy and the droning parts serve as an audible fog that slowly creeps around and attacks your senses. Through the repetition of sludgy riffs built on sustained chords and eerie chanting, “Hemeltraan” hypnotizes its prey and conveys a brooding feeling of unease.

KINGDOM create long builds that grab the listener by the throat, releasing them with a tidal wave riff that flood the mind with visions of mystery and eternal torment, repenting for the sins of mankind. With opener “Altema”, KINGDOM slowly descends into a dark and cold atmosphere, and once there churning guitars, religious-like chanting and desolate drums collide into a lush mesmerizing eruption of tortured screaming and conjuring riffs. Once “Elude” fades out it becomes clear that “Hemeltraan” is a work of disturbing beauty and desperation, tension and apprehension, mystery and bipolarity.

For their first official release on Hypertension Records, KINGDOM set out to document their aural vision and found solace in the helping hands of Hein Devos (HITCH) who recorded the five tracks at The Strip in Kortrijk, Belgium. For the final touch, mixing and mastering was done by Billy Anderson (NEUROSIS, OM, SLEEP,… ) who like no other could grab the huge slabs of sound and densely layer them into a heavy, tense world of climactic cacophony.

“Hemeltraan” is immense yet quiet, dark yet hopeful, pure yet doctrinal, the sum is but an echo of it parts, inviting the listener to subconsciously abandon all hope. Now itʼs too late to pray.

KINGDOM "Hemeltraan"

The self-titled debut for the trans-Atlantic project Split Cranium was a ferocious homage to Nordic d-beat masters like Terveet Kädet and Anti Cimex. The album’s no-frills barrage of charged hardcore might have been a little orthodox in its blitzkrieg riffage, stampeding pace, and gravel-throated ire, but its straightforward approach was an unexpected departure for bandmasters Aaron Turner and Jussi Lehtisalo. While Turner has hinted at an affinity for crust classics in the base misanthropy of Old Man Gloom and Lehtisalo toyed with peace punk aesthetics on Circle albums like Panic, neither musician has ever done such a faithful approximation of a pre-existing sound. But for two artists with extensive catalogs of challenging and groundbreaking music to take a stab at working within an established framework was, in its own way, an exhilarating middle finger.

Six years later, Split Cranium returns with their sophomore album I’m The Devil and I’m Okay. Turner and Lehtisalo waste no time establishing their new mission statement, opening the album with Popol Vuh-inspired keyboards by Faith Coloccia (Mamiffer, Mara) that saturate the ruthless reinterpretation of the Discharge template on “Evil Hands”. The contrasting breaths of sublime ambience serve to highlight the savagery abetted by bassist Nate Newton (Converge, Doomriders, Old Man Gloom) and Tomi Leppänen (Circle, K-X-P), making I’m The Devil and I’m Okay simultaneously more sonically rounded and more visceral and vicious. “We wanted to make a record that was less straightforward than the first one,” Turner says of their method. “Jussi loves melody and I love dissonance and noise, so that is probably the healthy creative contrast that made this record what it is.”

While Split Cranium continues to be driven by the blazing guitar malaise of Lehtisalo and the harrowing bellows of Turner, the melodic counterpoint provided by Newton on “Wet Shadow”, the ethereal vocals summoned by Coloccia on “Ingurgitated Liquids” and “Death Bed – The Yellow Room”, and the squalls of white noise on “Whirling Dusk” are a but a few of the components that knock I’m The Devil and I’m Okay off the axis of traditional d-beat hardcore. The strongest records in the anarcho-punk canon have figured out ways to inject melody or push extremes without diffusing their punch or diminishing their hooks. Split Cranium retains the principal components of speed and vitriol while expanding their frequency spectrum into realms of both beauty and sheer ugliness, making I’m The Devil and I’m Okay a white-knuckle headfuck in a realm of sterile imitations.

iTunes

Split Cranium - Evil Hands

From the forth coming album "Canto", due June 7th from SIGE Records on LP/DL.

LP pre-order:
https://sigerecords.merchtable.com/

SIGE: sigerecords.blogspot.com/
Jon Mueller: https://rhythmplex.com/

Jon Mueller "Oil" (Edit)

INNER CHILD MEDITATION

Patient

Daedalus Maze is an exploration of the mind through guitar-driven sound. Moving between drone, ambient, noise, and post-metal, it mirrors the shifting terrains of memory, emotion, and inner conflict.

Patient

Daedalus Maze

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