Tiga - No Fantasy Required

Counter Records: 2016

For someone who seems primed for a glorious run wading through the pop charts, Tiga sure doesn’t like venturing there often. Every time he comes out with a new album with a couple instantly catchy club tunes radio stations wouldn’t have much problem playing, he retreats to the DJ circuit instead. Even after adopting a new live show in support of his third full-length No Fantasy Required, Mr. Sontag’s back to the relatively safe confines of rinsing out records on a regular basis. Not that I blame him for keeping to the scene that nurtured his rise from the early Montreal raves to globe-trotting stardom – the actual pop scene is a vicious, cruel mistress, more than capable of gnawing you to raw pulp before spitting you into a gutter. Tiga has no problem flirting with said mistress, but is wise enough to know any long-term engagement leads to more trouble than it’s worth.

Which in part explains the long wait between Ciao! and No Fantasy Required, seven years in the making. Mr. Sontag had definitely kept busy in the interim, releasing nine singles in that time. That’s almost enough for an LP right there, but only a few show up in this album, primarily the most popular of his quirky club anthems (Plush, Bugatti). Aww, no 100 with Boys Noize? Guess that one was too much of a one-off milestone to make sense in an album context. Also missing are a number of Audion collaborations (Fever, Let’s Go Dancing), but Matthew Dear lends his hand on a clutch of new tracks for No Fantasy Required anyway, so it’s a wash there.

I’m honestly surprised Dear’s serious approach to techno worked well enough with Tiga’s more playful style, 3 Rules’ goofy bounce as mischievous as anything Mr. Sontag’s done with Jori Hulkkonen. Less interesting is the Hudson Mohawke collaboration Planet E, the sort of moody acid cut with pitched-down vocals I honestly thought had gone by the wayside as of late. Really, the whole middle portion of No Fantasy Required drags with serious techno groovers, save a light, poppy deep house offering of Tell Me Your Secret where Tiga’s earnest singing shines wonderfully.

It’s these moments that serve No Fantasy Required best, highlighting Tiga’s ease with introspection even as nonsensical faux-posh ‘bugatti’ quips are what folks generally remember him for. The titular opener, Make Me Fall In Love, Don’t Break My Heart, and Blondes Have More Fun offer some of the deepest vibes ever heard on a Tiga LP, and stand in stark contrast to the motionless club tunes that eat up the album’s middle portion. Maybe it’s that Stuart Price factor.

Oh yeah, Price is here too, providing “Musical Assistance” to No Fantasy Required and Don’t Break My Heart. Talk about your ‘set pop stars retreating from the limelight all in together’ narratives! Like, I know The Thin White Duke kept busy with Pet Shop Boys, but you sure didn’t hear about it compared to those Madonna and Killers collaborations.

Perturbator - Night Driving Avenger

Blood Music: 2012/2015

The debut EP from Perturbator, self-released way back in ye olde age of early 2012 (before the dark times… before the Orange Emperor). Naturally, when Blood Music started reissuing his back-catalog, they went to bat with multiple limited-edition coloured records, a standard digipak CD, but no tape for this outing. Huh, guess that collector’s scene isn’t as obsessive as others if they can’t be bothered with singles. Why, back in my day, when tapes were all I could afford, I bought singles, absolutely. Okay, only a few – Bad Boys Blue’s Go Go (Love Overload), Intermission’s Piece Of My Heart, and 2 Unlimited’s Maximum Overdrive - but the market was there even in the waning days of commercial cassettes, so surely it exists in these waxing days of novelty cassettes. I’m honestly surprised Blood Music didn’t offer up a tape option for at least Night Driving Avenger.

I’ve also realized, despite having written three reviews of the chap, I haven’t delved much into James Kent’s pre-Perturbator fame. Right, there isn’t much to tell, but I’ve gotta’ burn some word count with a fresh angle, so here’s a few tidbits. He played guitar in various metal bands prior to adopting synths, which I can definitely hear in the way he constructs his tracks (lots of half-time bridges, which metal adores) - finally that Blood Music tie-in makes sense. His pop’s also apparently a well-known rock scribe, Nick Kent having written about punk music during that scene’s rise during the ‘70s, and publishing articles in all manner of respected rags (NME, Spin… Guardian?). Seems the Elder Kent also got into scuffles with some of punk’s icons, including Sid Vicious and Adam Ant. Hm, does this mean if James wants to live up to his father’s legacy, he’s gotta’ get it on with Simon Reynolds or Philip Sherburne? Okay, that’s enough.

Night Driving Avenger is a handy little primer into what the Perturbator style generally entails, each track touching upon his various types of songs. Opener Grim Heart does the moody, cinematic build, the sort of music you’d expect of credit sequence at the start of an ‘80s pulp film. Electric Dreams goes slower, synthier, and introspective. The titular cut ups the tempo into a pulse-pounding action thrill ride, and Miami Sunsets brings it all together into synth-pop’s realm as our hero/heroine rides off into a neon-soaked boulevard. Oh, plus a charming chiptune cover of Flock Of Seagull’s I Ran, called I Ran To The Arcade. Cute.

What isn’t cute, however, is the mastering on this EP. Dear Lord, but is there ever a lot of muddy side-chaining, with no dynamics to speak of. I know much of Perturbator’s music is generally brickwalled, but it usually adds to the gritty dystopian nature of his tunes. Not here though, the Young Kent clearly still figuring his way around production. Rather remarkable, then, he got the knack of it so quickly with later releases. Shame Blood Music didn’t give Night Driving Avenger a remaster though.

Martin Nonstatic - Nebulae Live At The Planetarium

Ultimae Records: 2016

Ultimae Records has put out a few live recordings in the past, but it’s not one of their main selling points. Even then, it’s mostly via the label’s second-tier acts, like Cell, Circular, and Scann-Tec. And even then-then, such releases are regulated to the digital-only realm, hard copies extremely rare. Their last live CD was H.U.V.A. Network’s Live At Glastonbury Festival 2005, released in 2010. Guess Ultimae was overdue for another regardless, but it feels odd they’d give Martin Nonstatic the honors, a relative new recruit to the French label’s ranks. Then again, it’s not like the print’s fielding a deep roster as of late, options for a ‘second-tier act live album’ exceedingly small. Heck, at this point, Martin’s practically part of the starting bench, one of the few artists with a full-length album out on Ultimae in the last few years.

Previous Ultimae live LPs featured recordings taken from festival performances, but Nebulae Live At The Planetarium comes from a more intimate setting. Aww, no crowd cheering ambience? Of course not, folks at the Zeiss Planetarium in Bochum, Germany likely far too tripped out on the dome projections, man. Unfortunate there isn’t an accompanying DVD video though, displaying the visual splendor of the event as the music within plays along. Then again, how can you replicate a planetarium projection at home? Clearly a typical TV or computer screen won’t cut it. Even a home projector doesn’t do justice, still reliant on flat surfaces like a wall or ceiling. And what about the lasers, man? Everyone knows a good electronic music show at a planetarium’s gonna’ have a far-out laser show. Eh, I’m not fussy, at least some YouTube clips of the event would suffice. No dice? *sigh*

Forget the visual aspect then. At least we’ll get to hear some nifty reinterpretations of Mr. Nonstatic’s tunes. Slight problem in selling that angle though, at least in my case: I honestly can’t recall much of his music. For sure I know I liked what I heard from his Ultimae debut Granite, and should I pop that album on again, I know I’ll enjoy his chilled-out, dub techno vibe just the same. As I mentioned in my review of that CD, however, very little of it sticks to my brain matter, and playing Nebulae back, I honestly didn’t notice any significant differences based on memory alone. I do have sparks of recollection in some songs – the low throb of Granite, the guitars of Distance B, the heavy dub of Out Of Silence - but aside from a more expansive mixdown benefiting a live planetarium show, I couldn’t tell you the difference between these and the album versions without side-by-side comparisons. Which I can’t say I’m interested in doing for this CD.

Really, I was hoping for more tunes from Martin’s back catalog, but ultimately Nebulae is just a remixed version of Granite. A fine downtempo, dub techno album for sure, but hardly necessary if you’re not interested in the sound.

Souls Of Mischief - Montezuma's Revenge

Clear Label Records: 2009

I always wondered what ‘Montezuma’s Revenge’ meant, figuring there was more to it than a kick-ass ride at Knott’s Berry Farm (The G-forces!! The G-forces!!). I thought it was fanciful Mexican folklore, the famed ninth Aztec emperor Moctezuma II arising from the dead to exact vengeance on the Spanish Conquistadors who killed him and murdered his people. So when I heard Souls Of Mischief had an album out of the same title, my first thoughts was something along those lines, except it was a case of indie, conscious hip-hop making its revenge upon the oversaturated ‘pop-rap’ of the time – everyone was bemoaning hip-hop’s death by the late ‘00s, after all. Then I discovered the general meaning of ‘Montezuma’s Revenge’ in today’s society, which yes, I admit, has eluded me all this time (count my blessings, yo’). Ah, now it all makes sense when asked about the title’s meaning, Tajai quipped, “The deeper meaning is the album will make you crap yourself.”

However you read it, Montezuma’s Revenge was seen as something of a rebirth for the Hieroglyphics foursome, their first album together after nearly a decade of simmering solo projects. A-Plus, Phesto, Opio, and Tajai didn’t have plans for a reconvention of their MC powers, but a passing Prince Paul expressed interest in working with the Oakland crew, which sounds like an all-star project the likes backpackers around the globe could only dream of. One of the preeminent producers of indie hip-hop paired with one of the most respected groups from the Golden Years, all hanging out in the same studio, unleashing all their potential creativity into a mega-reunion collaboration super-project! Or not.

I admit the Adrian Young project There Is Only Now spoiled me some towards what a Souls reunion could truly entail. For sure there’s nothing to find at fault with Montezuma’s Revenge, as the group sound as fine as they ever have, and Prince Paul handles the dials with sleek professionalism while throwing a few trademark quirks in for good measure. And when compared to what hip-hop was doing on the charts in 2009, the laid-back beats and witty verbal dexterity on display must have been a welcome respite for the old-school heads. It’s just, with all the players involved, one kinda’ hopes for a little more than what we got here. A new modern-classic rather than experienced vets giving us acceptable examples of their tried and true abilities. Even Prince Paul has a bit of a pisstake with it all, a guest “Mr. Freeman” calling into the studio telling the lads they need to drop that “old-school shit, son”. And indeed Souls Of Mischief would, after teaming up with Adrian Young for that new modern-classic everyone had been dying for since ’93 To Infinity.

Montezuma’s Revenge feels more like a warm-up to the Souls’ resurgence in the current decade, a trial-run before all the members embarked upon bold new territory. Lord knows they needed it, and Prince Paul was more than capable in lending a hand.

Aegri Somnia - Monde Obscure

Cryo Chamber: 2015

Oh, dark ambient, may you wrap your bleak, inky tendrils over my confused being, leading me into dreams, reflections, and realms that are as twisted reality to our own. The Dread Year Of 2016 shows no remorse, but it cannot compare to the strangeness your scene provides in a multitude of ways. Near futures where we blew it all up (us maniacs!), peaks into dimensions perverting our hypercritical sense of moral decency into twisted parodies upon ourselves, inner and outward sojourns into extreme isolation from humanity’s failings, pondering how the self can carry on in the face of so much strife and decay. Forever searching for those specks and glimmers of light and hope in an unyielding chaos of black.

I did not intend for this genre to provide so much escapist solace this year, but damn if it doesn’t do the job better than most of my traditional standbys. Or maybe it’s that whole ‘new novelty’ factor, sounds and songcraft that is fresher for yours truly. Oh, but that’s just so much less poetic.

Anyhow, Monde Obscure is yet another Cryo Chamber album I’m reviewing, because of course it is. I promise though, this will be it from the label for… a little while? There’s only a few left in this endless backlog, so they gotta’ be spaced out better than this last batch of EVERY. OTHER. CD. Though I’m quite enraptured by a lot of this label’s output, a little more variety needs to kick in soon. I didn’t undertake this wacky listening project just to hear the same ol’ over and over.

ANYhoo, this album comes from Aegri Somnia, or Jurica Santek to the Croatian Crab-Lovers Committee [citation needed]. The Latin alias translates to ‘The Patient’s Dreams’ in Google, referring to fever dreams, or dreams induced from madness – something to do with a suffering sickness. And while the project has existed in some capacity over the last decade, Mr. Santek hasn’t done too much with it, a sprinkling of a smattering of released material over that time. Still, with digital albums like Nothingness and Script, he developed enough of a cult following (yeah yeah, ‘cult’, ‘dark ambient’, har har), that Cryo Chamber gave him the greenlight to put out a new album under their banner, spiffy hardcopy CD and all.

With cover art of a burnt-out husk of an apartment tower, you’d expect Monde Obscure some post-apocalyptic business, but the tale behind this album is a much different. Rather, this charred building serves as a portal to another realm, one not for the faint of heart. As dark ambient records go, this one is heavy on the field recordings, music almost incidental to the whole. There are snippets of piano, pad, choir, and tonal drone, but Mr. Santek would rather guide you through creaking infrastructure, dripping water, burning hallways, and distant echoes of crowds shuffling beyond this mortal coil. Feels like I’m playing one of the good Silent Hill game while listening to this.

Sounds From The Ground - The Maze

Waveform Records: 2010

It took nearly fifteen years, but Elliot Jones and Nick Woolfson had finally found a way to evolve their sounds from the gound. They had to have been itching for something new after all that time, but their craft with ambient dub was so skill, there wasn’t much need to mess with the formula. True, they did some nu-jazz and trip-hop explorations too, yet so did everyone else in the downtempo scene around the turn of the century, so their efforts mostly got lost in the glut. Perhaps that’s why they ended up back with Waveform Records shortly after, a sturdy, steady print with a small enough roster they wouldn’t be buried in the process. Only drawback may have been Waveform’s dedication to the spliff’d side of chill vibes, but Sounds From The Ground maneuvered those waters far better than most throughout the mid-‘00s, milking the style nearly up to our current decade.

As I said though, changes were afoot, required even. Waveform itself was moving ever so slowly into contemporary sounds found on the crusty festival circuit, new cats on the scene embracing digital production over the sample-heavy style of the ‘90s. After so many years doing the dubby trip-hop thing, Sounds From The Ground finally embraced a comparatively ‘plastic’ aesthetic as well. The Maze was their first effort in this bold new realm of psy-dub electro!

Whoa, wait, that’s way too much overselling for this album. Its different compared to their prior work, but on a song-writing level, not that much different. There’s still an undeniable sense of dub groove Sounds From The Ground navigate with ease throughout, sections still filled with floating chill-out bliss (Temple Steps, Midnight Crossing, ambient leaning Afterglow), plus room for excursions into oddball electro explorations (Delphine, Acid Cornflats). Though never the hookiest of music makers, Jones and Woolfson come up with a couple nifty earworms befitting their legacy (A Thousand Colours features a lovely little swaying melody with its dub groove, This Land works in a grumbly, gritty bassline that has me wondering if the duo were feeling the dubstep itch as well). And just in case you still craved some of their jazzy influences, The Lenox gets some of that lounge vibe going with muted trumpets and spritely keyboards jamming alongside chill acid. Also, is it just me, or does the title of this song have you imagining Dr. Seuss’ The Lorax, but staring Annie Lennox in the titular role? What a bizarre book that would have made, featuring an androgynous synth-pop singer over a grumpy Wilfred Brimley stand-in. Future consideration for the 2071 100th Anniversary reboot!

And that’s about it for The Maze. Like so many Sounds From The Ground albums, there’s little at fault with their songcraft, though if you don’t fancy the dubby side of downtempo chill music, you probably won’t be fussed with this album. Still, in adapting a few new tricks to their trade, The Maze is one of the higher recommendations in their discography.

Tricky - Maxinquaye

Island Records: 1995

Tricky was my first exposure to trip-hop, via Deep Forest of all groups. The world beat duo provided music for the 1995 cyberpunk thriller Strange Days, and Teenage Sykonee being the throes of ethno-pop at the time, eagerly checked the movie out. Cannot deny I was also quite intrigued by the Kathryn Bigelow film on its concept, a look into the near future of the year 2000, and what the End Of The Millennium might hold.

It seems so quaint now, the fear that things would somehow catastrophically and abruptly end just after 11:59pm of December 31, 1999, and I’m not just talking that silly Y2K Bug thing. Nay, Strange Days depicted a society where, with the right kind of angle, seemed on the verge of utter collapse, a powder keg of racial strife and decadent decay, easily lit with but a single, reckless act of senseless, bigoted brutality. I have to admit Ms. Bigelow teased such an eruption so expertly throughout the movie, I actually believed the prophetic Millennial Apocalypse was nigh at the movie’s climax. Yet, clearer heads prevailed, the ‘eruption’ but a ‘scritch’ overall. Ms. Bigelow was smart, knowing Y2K paranoia was much ado about nothing. No, the real problems wouldn’t start until 16 years after! (Sorry, but it’s difficult not getting topical and political right now)

Tricky’s debut Maxinquaye is hailed as one of the shining moments of trip-hop’s mid-‘90s peak, in large part because it’s barely a trip-hop album at all. True, he helped Massive Attack set the template of the genre, and there’s definitely some all-time classic trip-hop class on here. Overcome, the opening track - and tune featured in the Strange Days soundtrack (relevancy!) – works a sultry, dubby, tribal thump, losing itself in the grit of inner city lust and doubt. Aftermath, his debut single, was initially intended for Massive Attack, but the lads behind Attack said ‘nay’ to that one, a shame because it would have fit marvelously into their canon.

That rejection, plus feeling generally stagnant within the group, prompted Tricky to pursue his solo ventures. He had plenty of ideas in his head, but not much production capability on his own though. Enter producer Mark Saunders, who somehow stitched together Tricky’s wayward muse into comprehensible music. Soul, punk, hip-hop, dub, and all manner of sample-heavy abstraction fill Maxinquaye, leaving you unsure where it’s going at any given time. The vocal dynamic between Tricky’s subdued conscious raps and cooing of singer/life partner Martina Topley-Bird fuels the sense of life on the skids, a scattershot collage of hopes and paranoia, lust and despair.

I probably can’t prop this album up any more than the UK press did at the time (holy cow, the hyperbole!), but as one of the seminal trip-hop albums of the era, this “not trip-hop” record definitely earned its spot among the Blue Lines and Dummys. It’s confrontational compared to the others, but that makes it all the more intriguing as a whole, as you decrypt the angst within.

protoU - Lost Here

Cryo Chamber: 2016

Yeah yeah, another Cryo Chamber album. I’ve said before such is the result of a label splurge, and when said label offers such lovely bulk deals on their music, label splurging is easy indeed. Heck, remember when I covered that pile of Psychonavigation Records material earlier in the year? Or even all those Fabric and In Trance We Trust mixes? And it’s not like I haven’t gathered massive amounts of material from other labels either: Hypnotic, Waveform, Turbo, Ultimae… um, Columbia. Of course, the difference there is that music was gathered over a course of two decades before taking on this blog in earnest, spreading their entries more fluidly as I trek through everything now. If Cryo Chamber had existed prior to 2012, we wouldn’t have such an overabundance of albums now. Then again, I wasn’t as open to a dark ambient label either. It still stuns me how my interest developed towards Simon Heath’s print.

On the other hand, ProtoU provides the sort of sound that might have eased me into the genre if I’d preferred a gradual transition from my general ambient interests. The lady behind the moniker, Sasha Cats, is relatively new onto the scene, almost completely barren of information at Lord Discogs. Last.fm does provide a bit more background, touching on her prior influences (violinist, choir, traditional classical) and some dabbling in contemporary genres (d’n’b, ambient, noisy experiments). T’was not long before she found kinship with dark ambient sorts though, soon enough making her debut on Cryo Chamber in the collaborative album Earth Songs. A short while later, Ms. Cats made her solo debut with this particular album, Lost Here, one of the few records on this label to have so much white in its cover art. Ooh, contrasts!

The titular opener features field recordings of flowing water and open spaces, all the while a rather calm and reflective pad tone drones in support. Hey, wait, didn’t the last ambient album I reviewed (The Longing Daylight) also open in a similar fashion? In what must be attributed to complete coincidence considering the disparate musical worlds between Mr. Norris and Ms. Cats, absolutely yes! Still, I’m always intrigued by common links within genres, so that was a cute coincidence to behold with my listening arrangement.

Similarities end there though, Lost Here much more vivid in the portrait it paints – it really does feel like I’m wandering about an empty area, alone with my thoughts. An abandoned city? The rubble of ancient ruins? A foggy seaside beach? Who’s to say, but there’s something strangely comforting about the tones ProtoU guides you along. They’re spacious, but never so empty you feel lost in desolation. Final tracks The Sea and Believe even offer hopeful tones, inching closer to the reflective nature of ambient-proper, though with a layer of gritty soot in this case. Lost Here isn’t reinventing any wheels, but should serve as an easy entry point for those looking to dip their toes into dark ambient’s opaque waters.

Lee Anthony Norris & Porya Hatami - The Longing Daylight

Carpe Sonum Records: 2014

This is now the third alias of Lee Norris I’m reviewing, his seldom used eponymous pseudonym. Seriously, the scant few times he’s gone by his own name for an album is when he’s paired up with this Porya Hatami. He also put out a double-LP collection of prior works under his other projects (Nacht Plank, Autumn Of Communion, Moss Garden, plus others), a semi-retrospective titled Italian Works released through his own …txt print. Speaking of …txt, damn is there ever a lot of tasty looking music there, so much only available in extremely limited CDr if you’re a hard-copy connoisseur. Dammit, I’m breaking the bank buying from Carpe Sonum, Cryo Chamber, Silent Season, Ultimae, Altar, whatever stray Fax+ albums float my way. How many more nifty ambient prints can my finances take?

I’m not sure why Mr. Norris uses his own name solely for this collaboration with Porya Hatami, especially when he’s never shown fear in doing the Pete Namlook thing in creating a new project alias with every producer pair-up. Is there something in particular that makes Porya Hatami special? The Iranian has definitely been a busy chap these past few years, plying his trade in twee ambience and static-drenched field recordings across many labels (Dronarivm, Tench, Dewtone Recordings, Flaming Pines…ooh, Inner Ocean Records?). No surprise Lee would find a common vibe with Mr. Hatami, pairing Iran and Italy like no other ambient project before! Add Irish Mick Chillage, and they can form a super group called Triple-I (obscure Transformers joke).

Norris and Hatami first paired up for the album Every Day Feels Like A New Drug, initially on Unknown Tone Records, then again on …txt; good luck finding that one at a reasonable price anymore. A couple years after, they reconvened for The Longing Daylight on Carpe Sonum Records, a tidy five tracker of ambient music lasting less than forty minutes of runtime. Um, super-short much? I mean, it’s nice having a collection of pleasant, calming synth melodies that don’t pointlessly meander for unnecessary lengths – Norris and Hatami craft concise pieces that say all that needs saying within each. Just seems guys as prolific as these two would have more to offer than a quintet of tracks averaging around seven and a half minutes each.

Particulars, then. Opener Druid Liquid features field recordings of various flowing water sources as gentle, reflective pads play in support; towards the end, the water recedes, letting the pads shine on their own. Follow-up Rune Stoned gets old-school ambient with its soft piano work, lonesome pads, and night insects. Finally, Alchemy, The Longing Daylight, and Moon get all Planetarium Ambient in our ears – I can easily imagine watching shimmering stars slowly rotate while this plays. Rather preferred the reflective pieces early though. As far as this sort of ambient goes, they had more character, morphing as they played along, the rest mostly remaining static. Look, with this much ambient music out there, I can afford to be picky.

Randal Collier-Ford, Flowers For Bodysnatchers, Council Of Nine, God Body Disconnect - Locus Arcadia

Cryo Chamber: 2016

Scaling back from the super-mega-ultra concept of ‘ALL The Roster Work On Singular Label Project’, we have ‘A Few Guys On Label Work On Concept Album’. Not under a group pseudonym though, nor with any specific collaboration between each artist beyond working around the theme as laid out by Bruce Moallem (God Body Disconnect). Cryo Chamber's done something similar as this before, an album called Tomb Of Empires, and I can’t help but continuously marvel at how much creative freedom Simon Heath offers all these morbid musicians from across the globe. Still, despite each contributor providing a single (long) track to Locus Arcadia, this is more than a compilation. Applying the trusty ol’ ‘dark ambient as storytelling’ analogy, each piece is rather like a short story set within a specific setting, though whether we’re dealing with the same protagonist throughout, I’m not sure.

Locus Arcadia is the brain-child of Bruce Moallem, whose backstory I’ve detailed in the God Body Disconnect album Dredge Portals. Along for the ride is Council Of Nine, one Maximillion Olivier, whom I’ve also detailed to some degree with his two albums Dakhma and Diagnosis. Flowers For Bodysnatchers joins the haunted sci-fi party, though I didn’t get as heavy into Duncan Ritchie’s history while writing up his Aokigahara album (the forest history ate most of my word count). And finally there’s Randal Collier-Ford, who’s making his debut with this blog! Well, technically he did on the Cryo Chamber Collaboration of Azathoth, but who could tell where his portions of that jumbo project began and ended. Ah, maybe if I’d taken in some of his prior work, I’d figure out what his particular dark ambient attributes are. For now, all I’ve got to go with is the opening piece on Locus Arcadia.

Into The Maw Where All Men Die certainly is an auspicious title to kick off a dark sci-fi outing, and the music within is suitably apt. Menacing drone, mechanical breathing, claustrophobic mood, with a touch of wonderment at the end as you take in the grandeur of whatever deserted, orbiting super-structure you’re wandering about. Flowers For Bodysnatchers opts more for a pure ‘haunted house’ vibe with his piece, Black Echo Of Morgues And Memory: lots of distant clanking across empty halls, creepy sounds clawing at metal chambers nearby, all leading to an unleashed cacophonic fury of whatever horror lurks erupting on your senses. Mr. Ritichie’s use of natural instruments definitely plays a crucial role in his piece. Council Of Nine, meanwhile, brings things down to a steady ambient drone, Pale Sister Of Sanctuary Lost an almost calm and soothing respite from FfB’s intense outing. He still maintains the desolate space drone that permeates Locus Arcadia though, for God Body Disconnect must take us out in an incredibly cinematic piece. Using a Death Star-tonne of sci-fi sound effects, Prisoner’s Sacrifice Facing Arcadia could be a mini-movie in its own right, complete with soaring score and gentle piano denouement at the end. How Spielbergian of Maollem.