the darkness

Chulthu

Some interesting stuff

Pour danse

Deep drone/dark-ambient collaboration album between Limited Liability Sounds (Poland) and Stone Wired (Hungary). 

Date of release: May 2014
CD limited to 30 pcs. and downloading version FLAC/MP3
Label: Exabyss Records
https://soundcloud.com/exabyss-records
http://www.exabyssrecords.bandcamp.com


Stone Wired/LLS - Where The Light Consumes The Darkness

Cthulhu - dark ambient

Cthulhu

Darkcraft

Ambient

Mictian - Sa-c - 2013.
Dark Ambient / Experimental From Osorno. Chile.

Mictian - Sa -c

S.Mcloughlin & A.Cooper
Supernatural Lancashire 2
DIM006-B

It has taken over four very active years for the people behind the Finders Keepers label family to finally return to what we still consider to be one of our favourite vinyl projects. The ongoing Disposable Music library subscription series is a series which pools some of the best emotive, comprehensive, previously unavailable instrumental music from the unmarked archives of experimental artists within the expanding Finders Keepers family and presents it as a series of limited uniformed archival vinyl discs. Like all the most influential library music labels on the 60s, 70s and 80s the music from DiM is sourced, compiled and produced catering to the requirements of the film, television and radio industries but as the interest in thematic instrumental 'picture music' seep deeper into the record collector psyche these limited multi-purpose discs are naturally recommended for whichever creative application you see fit. Each disc combines two full musical programmes sourced from both vintage archives and new exclusive recordings by contemporary artists specially paired to compliment the individual musical sensibilities and mutual affection.

This time Disposable Music are proud to bring you metronomic jazz made for the Swiss cheese information board; wind synth music designed for planetariums; possessed pastoral mechanical folklore sounds; primitive electric organ sci-fi music; Spaghetti Western themes for Scandinavian fashion shows; drum machine music for household appliances; unused Polish detective theme tunes; Gallic dreamscapes for graveyard dates; mouthorgan music for mutants; Eastern street music field studies, and a selection of commercially unreleased tracks that have been recycled from French and American horror soundtracks, short-run TV ads, one-off radio programmes and educational science programmes. Having learned, enjoyed and expanded since the first run of DiM we are very excited to unleash this custom collection to your ever expanding music tastes.

It’s clear that each recording of the latest volume of Disposable Music stands up on its own merit as well as complimenting the previously released volume. Like any library series there is no ideal place to start but at www.finderskeepersrecords.com we'd like to offer a limited number of subscription places to secure the next five records before they are distributed via our usual networks. With unlimited entry to the archives belonging to names like Ciani, Spoerri, Rollin, Epple, Korzynski and Massey, Disposable Music have taken the best in unadulterated, underexposed and unattached mood music and given these homeless compositions a place, purpose and time to thrive.

Following one of the most requested titles on the first Disposable Music collection Sam Mcloughlin and Alison Cooper’s Supernatural Lancashire 2 brings a wide selection of self-made acoustic and electronic instruments to their Northern rehearsal room to blend semi-improvised melody and syncopated mechanical folk - evoking sonic images of bygone rural industry, religious corruption, hallucinogenic medicines, scenes from classic pastoral UK horror films and cautionary European fakelore. Composing the type of instrumental music that simply does not exist outside of a theatrical or cinematic brief the self-initiated and tightly twisted music of Supernatural Lancashire comes from a genuine creative place which is rarely explored with such beguiling results within the oft blinkered parameters of modern handmade music.

S.Mcloughlin & A.Cooper - Hexagons Above Dovestones

Lamia Vox & Solstorm - Return

http://cryochamber.bandcamp.com/album/the-untold

From beyond the illusion, Simon Heath brings us another chapter in his dark ambient epic. With this ominous release, he takes us to the origins: the primordial metropolis and into the void where the creator abandoned us. Ripe with otherworldly soundscapes, dusty field recordings and a meticulous attention to technical quality, this album stretches the boundaries of dark ambiance and imparts our id with a raw slab of flesh to digest. 

- 72 minutes of dark ambient produced for 24 bit playback 
- 6 page HD booklet 
- 17 page digital book The Untold Associated Collections 

16 bit CD version available here: 
store.tesco-germany.com/cgi-bin/shopper.cgi?preadd=action&key=CDXACRYO005

Atrium Carceri - The Traitor

The FKOF review:
"The organic elements that evolve around the introduction are of evil magnitude, slowly metamorphosising into a somewhat devilish stepper. After a short silence, teeth-grinding mid-ranges look to crush the listener's organs at the drop, while the pitched low-frequency-oscillators get a chance of rumbling some ear drums. 

"Understated resonance adds texture to the insanity projected through almost ghoul-like life forms that pass through the sound field. An arsenal of samples follow, while cowbells and other interesting percussion emerge. The elements give this track a nicely placed dancehall-like vibe for a short moment, just before the 'Vultures' take to the sky to search for more corpses to feast on. Clerk's tune is an evil celebration of our 666th upload and we hope it'll be remembered."

Download the 320 here: https://www.mediafire.com/?94fv9z069d7xabs

A suitably evil FKOF free download to celebrate our 666th upload from Germany's @clerk. The Devil's hands have been busy! 

@clerk
http://fatkidonfire.com
http://shadowforces.de
http://facebook.com/clerkbass
http://twitter.com/Clerk_SHFRC

Clerk - Vultures [FKOF Free Download]

Spit it Out is Post-Industrial, Dark Ambient style project. It was founded in 2003 in Belarus. Really big spectrum of sounds are used in production of the compositions such as buzz of high-voltage wires, sounds of engines, noise of city, people talkings, church choir and synthetic sounds. 
Every Spit it Out release is almost palpable embodiment of permanent yearning, alienation, misanthropy, sociopathy, catatonic apathy and other negative low-lying human essence and perception reality in general.

Dying Breed

Deep drone/dark-ambient collaboration album between Limited Liability Sounds (Poland) and Stone Wired (Hungary). 

Date of release: May 2014
CD limited to 30 pcs. and downloading version FLAC/MP3
Label: Exabyss Records
https://soundcloud.com/exabyss-records
http://www.exabyssrecords.bandcamp.com


LLS - Unfinished Flight

Stone Wired - End Is Not The End

조선로동당

This track, Rustalgia, is much simpler than my previous entries. The title was inspired by a conversation I was having with Michael Mooser (raelx2013@mdmooser) on soundcloud about nostalgia. This song is kind of long, and my excuse is that nostalgia is something that can take a person over with a feeling that one would like to savor.

I was also heavily influenced by Michael's latest recordings and also by the astounding Timothy McGaw whom I have recently discovered.

Rustalgia sound sources are only the sampled metal objects, there are no other sound sources. Absolutely no preset sounds were used. I did use a preset effect RV7000 starting point for the "squeak" solos, yet that has also been also highly modified. 

This song was created for The Electric Future Collective Music Challenge number 6. The brief was "Heavy Metal". Again, this piece is more composition than performance, altho, on this track I did play several parts in on keyboard.

Software: WaveLab LE7, ReCycle 2.1, Reason 4.0.1 build 973
Controller: mouse, Evolution MK-249C Keyboard.

Time to complete: Again, approx 5 days.

Details:
Found objects sampled with Zoom H1 on a tripod.
Samples cut down in wavelab. No samples were normalised before uploading in Reason. I used Reason MC Compressors to boost levels.

Samples:
-2meter x 1meter battered & rusty pice of sheet metal which was used for all of the drum "skin"-type sounds: bass drum, toms, snare. This was stuck with a hatchet and rubbed with a steel wool scouring pad.
-Stihl Brushcutter blade- this blade has exceptional resonance and the the main "organ sound" and delay shimmer in the choruses. This was struck with the spanner/wrench used to change the blades on the brushcutter.
-4 wood splitting wedges of various lengths: 175mm, 200mm, 225mm, 270mm. All struck with a large sledge hammer. These are fairly obvious as the piano/xylophone sound. The surprise for me was the bass in Rustalgia is the 270mm wedge tuned in an NNXT sampler.
-51cm spike chisel struck w/sledhammer. This sound is the overbearing modulation delay melody.
-Rusty coffee can with new screws- shaken- shaker and cowbell sounds.
-9 Tine Pitchfork- struck with sledge- cymbal bell
-Metal sawhorse hinge squeaks- the "guitar solo" parts

there were a lot of samples I did not use. 

Reason: This piece consists of 11 tracks.
The rack included:
8 NN-XT samplers;
3 Dr.Rex Loop players;
10 MClass Compressors;
2 MClass EQs;
1 thor synth (audio input only- used for modulation delay and one filter);
4 RV7000 Reverbs (3 with identical reverb presetfor the overall mix;
6 reMIX mixers (I could have used less, there is a full mixer of drum submix; 1 for output bus);
1 MClass Mastering Suite set to default;
1 PH-90 Phaser;
This song is much simpler than my typical automation, only (6 parameters automated, including time signature).

Compositionally, I usually think about what I want to do, especially where time signature is concerned, before a start. I came up with 2 measures of 3/4 & 1 measure of 4/4 as a starting point; I suppose it adds up to 10/4. Typically I lean towards difficult to count performances, but here I went 6/4 (12/8) in the choruses to simplify. The chord progressions are screwy enough. After my initial day of composing, I decided to sleep on it. Usually I begin writing music on guitar; not this time! I started on keyboard. After sleeping on it, listening the next day, I shouldn't write on keyboard. So I sat with guitar, playing along and further developed some better voicings.

Tuning the metal samples to "concert pitch" was vital to composing. It did take about 90 minutes. I used my trusty & very old Boss TU-12H held up to my nearfields, a crude solution, but seems to have worked.

I was gagging to track some guitar on this song, but the missus said she thought having the song be made up of only found sound metal samples was an interesting concept and I took her advice, altho, guitar would definitely add a welcome dimension.

I did play in some of the parts, the piano/xylo b5s part is a one take for one phrase. I got the feel for the bass playing keyboard, but ended up programming the bass part in the end. I am really surprised at how good the wedge sounds in the bass register. I was blown away by the sound of the Stihl saw blade from the moment I struck the blade, so I knew I wanted to lean on it extensively from my sampling session. 

The mixing is very, very limited, only one stereo track of mixer automation. All other volume scaling was handled on devices themselves (main volume) or compressor output. These metals were much harder to mix than I had expected. Volume differences from different keyboard registers was hard to control as nearly all of the samples were zoned way beyond their fundamental. Frankly, it was surprisingly difficult to get a nice balance without going crazy automating mixer channels. In Reason, it is easier to mix the specific parts as automation for a specific device, rather than adding mixers to the Reason sequencer.

On each EFCMC song, I have learned a new thing or two about Reason, this time I used NN-XT samplers to manipulate nearly every sound so I learned things I didn't know before, simple stuff like creating multiple zones and routing multiple outputs, but still things I didn't know well beforehand. 

Rustalgia (EFCMC6)

Dedicated to my father-in-law. Rest in peace.

All That You Left Behind

ARCANE PYRES is a Cursed Tapes limited split tape release featuring two collaborative projects, both initiated by Finnish experimental artist Utu Lautturi.

On side A Utu Lautturi and his fellow woodsman 45:KO conjure a set of images depicting forgotten Eastern mythology. Inspired by the eccentric Aghoris of India, created as an offering to Kali Ma these soundscapes are rituals of mystical worship. At times gleaming with heightened spiritual energy yet mostly forcing an inward vision there is no promise of an easy journey through fire, bone and ash.

Side B drags deep into archaic catacombs of brooding darkness. There is little light of salvation in the RIIPII series produced by English master of desolation Faces Of Bélmez and Utu Lautturi. However, even foreboding underground pools of thick blackness feel enticing in their eerie glow when forever lost in a damp haze. In time strange scraping noises fill our heads. Too late we realize we are only being served as food for arcane pyres.

Arcane Pyres rewards intent listening with headphones.

Artwork by Utu Lautturi.

You can order this unique tape through Cursed Tapes ( www.damned-by-light.com/tapes/contact.html )

BUY TAPE

ARCANE PYRES side A - Utu Lautturi & 45:KO - KALMA [CURSE007]

Room 4

Prequel Tapes began earlier this year when the man behind the project stumbled across old recordings of his new wave/industrial band from the late 80s and early 90s. By incorporating samples from these tapes into the exerimental music he was making on vintage drum machines and synthesizers, Prequel Tapes was born.

Read the interview here: http://www.theransomnote.co.uk/music/mixes/prequel-tapes-ransom-note-mix/


INTERVIEW

Prequel Tapes - The Ransom Note Mix

B/B/S/ - Cosmow

'Thousand Yard Stare Out Now' -
Ninjashop / Stream / Download: https://illum.lnk.to/glassSo

Taken from 'Glass' released 4th November 2016 on Ninja Tune

Listen to Ninja Tune New Releases on Spotify: http://ninjatune.lnk.to/new/spotify

Follow Illum Sphere -
Facebook: http://found.ee/illumsphere-fb		
Twitter: http://found.ee/illumsphere-tw
Instagram: http://found.ee/illumsphere-ig		
Soundcloud: http://found.ee/illumsphere-sc
Spotify: http://found.ee/illumsphere-sp

Glass

Illum Sphere - 'Thousand Yard Stare'

A special mix i did on the fly a few years back for the mesmerizing Sadistica, aka Alice Lynch.

Doppelgänger (Sadistica in the Black Lodge)

A quick and dirty remix of a track by Kingston Air Force... Very up tempo and danceable.

Grace Surrender

A new dark wave trill jam. Experiments in monster style.

Feel It Out

A previously unheard early/rough mix of the first track from the Lustmord album Heresy.

Heresy was released 20 years ago this month (September 1990) and recorded in 1989.


Heretic 1 v3

from: Apotropaismo

14-track CD 
released: June 1997 
produced by Simon Balestrazzi 
-------------------------------

t.a.c. were: 
Simon Balestrazzi: vocice, ARP Odyssey, Korg MS-10, tapes, seeds falling on a wood surface, programming, piano, electric guitar, tape processing, treatments
Patrizia Mattioli: clarinet

Astrons

From the forthcoming album "The Word As Power".

Featuring the voice of Soriah.

Grigori (Extract)

An extract from the forthcoming Lustmord album "The Word As Power".
Featuring the voice of Maynard James Keenan.

Abaddon (Extract)

Den Sorte Skole - Lektion III

tracklisting/digital booklet:
http://densorteskole.net/download/Den_Sorte_Skole_-_Lektion_III_Booklet.pdf

full quality (FLAC/WAV) download with track marks: 
https://densorteskole.bandcamp.com/album/lektion-iii

web:
http://densorteskole.net

Deluxe DL

Den Sorte Skole - Lektion III

Taken from iF We Pop, compilation released July 29th on InFiné

Taken from Machins Choses (Remixes)
also including Ewan Pearson & Camera remixes
Release date : 29/04/2012

+ about Bachar Mar Khalifé : 
http://www.infine-music.com/artist/18/bachar-mar-khalif

 

Machins choses (feat. Kid A) [Remixes] - EP

Machins choses (Almeeva Remix) [feat. Kid A]

Bachar Mar-Khalifé - Machins Choses feat. Kid A (Almeeva remix)

Sephiroth - The Call of the Serpent

https://www.youtube.com/user/niceggg
Dark Ambient The Inner Devil - Black Sunset