Evening of Light

Cloudscape #23: February 2012

admin — Thu, 02 Feb 2012 22:07:42 +0000

Cloudscape #23: February 2012 by Evening Of Light on Mixcloud

January 2012 Short Reviews

admin — Tue, 31 Jan 2012 15:55:54 +0000

Akhet

Akhet – Akhet [discogs]

There are rare impromptu recording sessions where everything just comes together. Akhet is a result of one of those, an incedental collaboration by Paul van den Berg, Marc Verhaeghen, and Dirk Serries. The four long tracks on this LP released by Tonefloat clock to almost an hour, filled with quirky electronics, soft drones, and frantic guitar work. Throughout these improvised tracks, there is a mysterious and at times psychedelic atmosphere vaguely connected to the Egyptian of the name of this project.

As has been noticed my man listeners and reviewers, there’s a distinct 1970s krautrock feel to this album, but at the same time, you can detect the evolution of electronic music in the way the synths are applied. As a result, Akhet doesn’t sound quite like any particular thing, including the other works of the individual artists involved. All tracks on the album are interesting and fascinating, but I have to mention the last one in particular, which has superb frenzied electronic looping going on, an energetic and intense climax to an excellent album.

Dead Sons

His Electro Blue Voice – Dead Sons EP [discogs]

The Brave Mysteries label pushes its boundaries again with this 12″ EP by Italian band His Electro Blue Voice. Dead Sons contains lots of speedy rock, a punk attitude, nicely layered effects, all giving a full sound to the screamy vocals and shredding guitars. Powerful driving bass and drums round out the heavier parts nicely. At the same time, there are experimental parts, like the psychedelic flute-based ending of the first track, that add additional goodness to this record.

All of this just barely lasts twenty minutes, but that’s good at times, and an EP like this doesn’t outstay its welcome. A nice surprise this one, and a band to keep an eye on in the future if you’re into ballsy, experimental rock.

The Day of the Lord

Ur - The Day of the Lord – 060606 Session [discogs]

This 2010 release on Abgurd records consists of four tracks deep in the realm of dark ambient and noise. The long first track is based on low, deep rumblings, obscured voices, and other tiny variations. The second track slowly and convincingly builds up to climax in a churning mass of noise, drones, and distorted screams. The final two tracks are a bit calmer once more, with the final track being the most interesting, where a bass guitar line and screeching violin add a touch of occult rock to the album.

All in all, not a particularly special album, but it is reasonably varied in its mix of various industrial influences, and the atmosphere is nice and obscure.

Review: Syven – Aikantaite (2011)

admin — Tue, 31 Jan 2012 15:45:31 +0000

artist: Syven
release: Aikantaite
format: CD
year of release: 2011
label: Vendlus
duration: 64:55

detailed info: discogs.com

A new project from Finland is the duo Syven, consisting of A. Tolonen whom we remember as the main artist behind Nest, and Andi Koski-Semmens, a vocalist previously in Pantheist and Ereipia. Together they’ve put together a debut album of five tracks in which they combine shamanic folk/ambient with light metal influences, and it follows in the line of their track “How Fare the Gods?” which featured on the compilation Whom the Moon a Nightsong Sings.

The main ingredients of Syven are comparable to Nest, in the sense that synths, the Finnish kantele, and skin drum percussion form the musical basis. Andy’s classical bass voice and the distorted guitar-like kantele sounds are new, though the album does feel like a continuation of or elaboration upon the music of Nest.

The first track, “Syvvys”, feels like a more ambient and ritual intro to the rest of the album, in which the second and third long tracks form the central part. These lengthy compositions have a level, flowing rhythm where all aspects of the music get a chance to shine, although at times the music fades a bit into the background as well, on account of the constant cadence. There are subtle changes in intensity in these tracks, and in the dense parts menacingly growling vocals can be heard in the background. ”Jäänkätkemä” is a calm ambient piece with just kantele and voice, a brief bit of respite after the heavier foregoing tracks. “Tuulenvire”, finally, is the coda to the album, where a stronger layering of sounds is again built up, as well as a threatening atmosphere and some samples of fauna and weather.

Aikantaite is an essential listen for those who are familiar with the music of Nest, but there is plenty to discover for newcomers as well. It’s quite hard to pigeonhole the music, because the atmosphere is somewhere in between. It has a strong tie on the one hand to a nordic shamanistic sound, but not quite in the way that some other bands do. The sound is a touch softer and more polished in a certain sense, perhaps also because of Andy’s velvety voice. Regardless, this own sound sets Syven apart from other projects, and you’ll have to find out for yourself if that’s a good thing. I certainly dig it, and Aikantaite is an excellent and original debut album.

Reviewed by O.S.

Tracklist:

1. Syvyys (6:55)
2. Jäljet (19:22)
3. Ne, Jotka Selviävät Talvestamme (18:46)
4. Jäänkätkemä (7:45)
5. Tuulenvire (12:07)

Cloudscape #22: January 2012

admin — Wed, 11 Jan 2012 11:50:30 +0000

Cloudscape #22: January 2012 by Evening Of Light on Mixcloud

Review: Peter Bjärgö – The Architecture of Melancholy (2011)

admin — Tue, 10 Jan 2012 19:12:27 +0000

artist: Peter Bjärgö
release: The Architecture of Melancholy
format: CD
year of release: 2011
label: Cyclic Law
duration: 40:19

detailed info: discogs.com

Peter Bjärgö is best known as the man behind illustrious projects such as Arcana and Sophia, but this brand new solo album of his is certainly not something to dismiss as a side project. Over the course of this seven track album, which stays close to a traditional LP length, Bjärgö explores a song style that is somewhere between ambient and darkwave, with a strong role for electric guitar melodies with subtle effects to give them a bit of an exotic touch.

The opening title track is perhaps closest to the signature gothic ethereal style of Arcana, with backing vocals provided by Ida Bengtsson. The rich, warm production bears that distinctly Swedish colour that we also find in lots of Cold Meat Industry and Cyclic Law releases. Percussion and heavy layerings are abandoned in the lovely second track, “Bitteresque”, which consists of just a minimal melody and brooding whispered vocals. We find similar calm and melancholic moods in the third and fifth tracks, while “Apathy” and “The Death of Our Sun” are full-blown songs again, with strong percussion, channeling that unique 1980s/1990s goth sound of inspirations like Dead Can Dance and Black Tape for a Blue Girl. While Arcana sometimes ventured a bit too close to such inspirations for my personal comfort, I find that this album avoids that pitfall for the most part. The long final track, then, is indeed a loop, a soft melody gently disintegrating, lulling the listener to the end of the album.

Not your usual Cyclic Law fare, this one, but a pleasant surprise for me. Nowadays it seems the goth scene is mostly about 4/4 industrial techno and fantasy folk, but The Architecture of Melancholy is the kind of music you could still hear often around the year 2000 in the clubs: dark, melancholic, subtle, and dreamy.

Reviewed by O.S.

Tracklist:

1. The Architecture Of Melancholy (6:47)
2. Bitteresque (4:44)
3. The Hidden Compass (3:59)
4. Apathy (5:08)
5. A Wheel Of Thoughts (4:05)
6. The Death Of Our Sun (5:24)
7. Sleep Dep.Loop1 (10:12)

2011: A Retrospective

admin — Sat, 31 Dec 2011 14:23:45 +0000

We’re joining in the list fever this year – though not before the year is more or less through – with the favourite 2011 records from Evening of Light HQ. Of course we missed tons of good releases out there, but these at least are things we particularly enjoyed. Thanks to all the artists and labels for sharing their music with us.

First the top 10, in alphabetical order.

The A. Lords – The A. Lords (Rif Mountain) [Our Review]

The LP followup to 2006′s self-titled 3″ is a masterpiece of pastoral, almost ambient, folk. Nicholas Palmer and Michael Tanner‘s blend of many acoustic instruments with field recordings, and quite a few fortuitous guest appearances, makes for a wonderful album that started out as a relaxed summer favourite and turned into a classic for all seasons.

Bass Communion – Cenotaph (Tonefloat)

Steven Wilson‘s drone project hits bullseye with this CD/LP release on tonefloat. The four massive tracks on this album combine ultra-deep drones with pulsating beats in a flawless production. One of the most hypnotic releases of the year!

Burial Hex – Book of Delusions (Brave Mysteries) [Our Review]

Aural insanity is one way to describe the utterly original and uncompromising output of Burial Hex the past few years. It appears the project is ending after this year, but Book of Delusions is one of the testaments to its genius, combining drones, samples, organ, piano, demented screams, and hypnotic beats into an unholy musical mixture.

Momick – Momick (Bladud Flies!) [Our Review]

Richard Moult and Michael Lawrence bring their lysergic piano morphing to a debut full length filled with melancholic melodies and soundscapes, including beautiful guest performances by David Tibet on vocals and Mark Baigent on oboe.

Obsequiae – Suspended in the Brume of Eos (Bindrune) [Our Review]

This duo’s excellent blend of death/black metal and mediaeval musical inspiration makes for an album steeped in energy, solid riffs, and awesome melodies. Our metal tip of the year!

Premonition Factory – The Sense of Time (Longstreet) [Our Review]

A flawless ambient album, and a crown on a long tradition. Sjaak Overgaauw‘s live looping technique is marvellous and the mixture of light and dark, soft and harsh on this album marks the coming of age of a most excellent project. This one just keeps on growing and is not only one of our favourite albums of this year, but one of our favourite albums, period.

Rain Drinkers – Springtide (Reverb Worship)

This project is one of our favourite discoveries of the year, and their blend of organic ambient and cinematic music (for lack of a better description) is consistently excellent. Springtide is their finest work, though, featuring marvellous violin and string work, heavy drones, organ, and tons of atmosphere.

Sand Snowman – The World’s Not Worth It (Tonefloat) [Our Review]

Sand Snowman’s most recent album is another winner, with a particularly excellent mix of progressive folk and rock songs, as well as soundscape-like episodes. Great use of piano, flutes, clarinet, and a guest appearance by Steven Wilson make this an excellent new full-length.

Tenhi – Saivo (Prophecy) [Our Review]

Refined as ever, Tenhi’s latest is easily one of the best albums of the year in the neofolk area. Despite staying true to their own style, they’re still quite a distance ahead of most others in this area and Saivo is as much a pleasure to listen as its predecessor from five years ago.

Maarten van der Vleuten – The Scars Remain (Tonefloat)

Of course we’re quite partial to the Van der Vleuten album we released ourselves in 2010, but this year’s return to vinyl (and to tonefloat) is simply a masterpiece. His original electronic compositions are masterfully fused with influences and themes from martial industrial, but with Maarten’s own critical view on the subject matter.

The following albums, too, are all particularly recommended in their own right as quality releases from 2011:

Alcest – Le Secret (Prophecy) [Our Review]:
Rerecording of Alcest’s excellent shoegaze/black metal debut EP.
Peter Bjärgö – The Architecture of Melancholy (Cyclic Law):
The Arcana frontman presents seven nice darkwave/gothic tracks.
Kate Bush – 50 Words for Snow (Fish People):
Surprising and very fulfilling, Bush’s minimal jazzy piano landscapes delight.
Circulation of Light – LEDNAH : Seven Meditations On G.F. Handel’s Organ Concertos Op. 4 (Brave Mysteries):
Acoustic/ambient reinterpretations of a classical piece.
The Cloisters – Little Winter [Our Review]:
Yule album combining harp and ambient by Michael Tanner and Aine O’Dwyer.
Jon DeRosa – Anchored EP (Silber) [Our Review]:
Four pure and lovely indie pop songs from the man behind Aarktica.
The Doomed Bird of Providence – Will Ever Pray (Front and Follow) [Our Review]:
Original and intense nautical neofolk.
The Driftwood Manor – Shelter EP (Rusted Rail):
Five lovely Irish folk tracks on this bonus EP to The Same Figure, Leaving.
Joonatan Elokuu – Earth, Sky, Moon and Sun EP (Utupuu):
Recorded in Holland, Elokuu presents a wonderful blend of neofolk, ambient, and field recordings.
Higuma – Pacific Fog Dreams (Root Strata) [Our Review]:
Gorgeous guitar and vocal drones.
Andrew King – Deus Ignotus (Epiphany) [Our Review]:
Powerful traditional balladry, with a touch of industrial aesthetics.
Machinist – Of What Once Was (Moving Furniture):
Sophisticated drones from the Netherlands.
Richard Moult – Celestial King for a Year (Second Language) [Our Review]:
Experimental compositions for strings and voice.
Raising Holy Sparks – Beyond the Unnamed Bay (Fort Evil Fruit):
Agitated Radio Pilot’s David Colohan returns with his new project, blending lovely folk tunes and experimental electronics.
Rose Croix – Rose Croix (Brave Mysteries) [Our Review]:
Ethereal and martial industrial meet on this nostalgic cassette mini-album.
Ulver – Wars of the Roses (K-Scope) [Our Review]:
Slightly underwhelming, the Norwegians’ latest is still a quality album, particularly the massive spoken word ending.
Vidna Obmana – 1987-2007 – Chasing the Odyssey (Tonefloat) [Our Review]:
Mostly older material, but this 8LP box of ambient glory is too beautiful not to remind you of.
Vortex – Rockdrill (Cyclic Law):
Ritual and rhythmic ambient goodness from this Golgatha side project.

Review: Tenhi – Saivo (2011)

admin — Wed, 28 Dec 2011 11:46:45 +0000

artist: Tenhi
release: Saivo
format: CD
year of release: 2011
label: Prophecy
duration: 70:00

detailed info: discogs.com

I’m always filled with a slight trepidation when one of my favourite bands is releasing a new album after several years. Tenhi is a case in point, as I consider them to be one of the most original and consistently excellent exponents of the past decade’s neofolk movement. The beautiful Maaäet (2006) was certainly a marvellous album, along with its predecessor Väre (2002), where we found a perfectly original style and combination of guitar, drums, flute, piano, violin, and Finnish voices. Since then, the band has shrunk to a core duo, so it was a bit of a riddle what to expect of Saivo.

With some delays, the album is finally here, and frankly, it is not as surprising as it could perhaps have been. Despite a five year conception and a line-up change, Saivo is remarkably faithful to the style staked out on Maaäet, with practically the same instrumentation, style, and musical aesthetic. Nothing revolutionary in that sense, which might disappoint some people who weren’t that into the band to begin with.

Looking past that, though, Saivo is mainly a well-filled album with a plethora of compositional gems that will delight those who loved what came before. The misty piano ambient of the opener leads the way to “Pojan Kiiski”, which showcases the excellent song structure and rhythmic twists of Tenhi’s music. While the following tracks seem a bit less earcatching (growers perhaps?), “Haaksi” is a marvellously energetic piece of neofolk-rock that certainly ranks among the band’s finest songs. A flawless interplay of drums, string bedding, voice, and piano.

It’s all gold from hereon, too. “Surunuotta” brings some calm guitar and vocal respite before the emotionally intense title track “Savoie”, with its strong chord strumming and choir vocals. The mournful “Paluu Joelle” and swinging “Vuoksi” are further highlights. “Sees” starts with gentle piano and violin layers and more strong vocals, before settling into a calm acoustic fingerpicked melody that harks back to the earlier days when this dark acoustic style was just being developed. The final track is long and intense, with a strong contrast between the song itself and full ambient parts. Though less rhythmically challenging, “Siniset Runot” reminds me positively of “Rannalta Haettu”, that phenomenal closing track on the previous album.

Through focusing on refinement and subtle changes rather than stylistic revolution, Tenhi walks a safe path with this new album, but it is a very fine album nevertheless, and I haven’t even mentioned the stunning art direction and the special editions of this album, nor yet the 9 LP collect works box set that was released at the same time by Prophecy. On musical merit alone, Saivo definitely stands among this year’s favourite releases for me.

Reviewed by O.S.

Tracklist:

1. Saivon Kimallus (3:40)
2. Pojan Kiiski (6:46)
3. Uloin (8:08)
4. Pienet Purot (4:18)
5. Sateen Soutu (3:05)
6. Haaksi (9:14)
7. Surunuotta (5:43)
8. Savoie (3:02)
9. Vuoksi (6:08)
10. Paluu Joelle (5:01)
11. Sees (4:25)
12. Siniset Runot (10:30)

Review: The Cloisters – Little Winter (2011)

admin — Sun, 25 Dec 2011 19:03:43 +0000

artist: The Cloisters
release: Little Winter
format: Digital
year of release: 2011
label: Self-released
duration: 19:31

Popping up during the last weeks of 2011, Little Winter has wormed its way among my favourite albums of the year in a couple of days. Behind this release are Michael Tanner and Aine O’Dwyer, who’ve played with United Bible Studies, among others, and whose collaboration in this year’s The A. Lords LP was particularly beautiful.

Aine’s beautiful harp work opens the album, while Michael provides field recordings, vocal samples, and various instruments (organ, accordion drones, strings) to create a wonderful mixture of ambient and folky melodies that go perfectly with the weather and the dark days of winter. ”Hvislyse” again beings with a harp melody, a yuletide tune most likely, though I can’t for the life of me recall which. Doesn’t matter, as the duelling of low and high notes is spot-on, and builds the way for a mournful layer of string drones. “Pesta Komm” is a short coda of echoing bells, mysterious and cold.

Little Winter is aptly short, but precisely the ticket for your stay-at-home winter holidays. It might get cold outside, but stick this on and make sure it’s nice and cosy indoors, and you’ve got the perfect mood. Apparently, this EP is a precursor to a full-length next year, and I can’t wait until it’s there. Until then, make sure you pick this one up, as it’s pay-what-you-want for a high quality digital download to boot!

Reviewed by O.S.

Tracklist:

1. Sorgen (10:02)
2. Hvislyse (6:03)
3. Pesta Komm (3:22)

Review: Rose Croix (2011)

admin — Wed, 14 Dec 2011 15:00:16 +0000

artist: Rose Croix
release: Rose Croix
format: MC
year of release: 2011
label: Brave Mysteries
duration: 30:17

Three anonymous musicians gathered for this project on Brave Mysteries, which displays the virtues of that peculiar mixture of neo-classical, ethereal, and martial industrial made famous in the late eighties and nineties.

Main components of the music are synths and organs, percussion (mostly drums and bells), and the voice of the anonymous female singer, with an important role put aside for different kinds of effects and samples as well. The five compositions on the mini-album or EP all have a very strong theme of their own, and different perspectives. The opener is mostly built around vocals, organ, and drums, whereas the second track is a short instrumental in which the excellent percussion takes center stage, even providing many melodic elements.

The third track is a shorter, vocal based one, in which clever use is made of orchestral sample looping. The fourth track is the longest, and features a more electronic, driving beat, reminding me a bit of some work by labelmates Burial Hex. A most excellent track, very trancelike and catchy. The final track is another short one, focusing on timpani, voice, and cymbals.

As the label promotion points out, there are certainly reference points to be found for Rose Croix in the past: Dead Can Dance, The Moon Lay Hidden Beneath a Cloud, to echo two of them. I’d definitely add Sixth Comm to that list as well. However, I realise my surprise (and relief) that this style hasn’t been copied too often in recent years, at least to my knowledge. There is a significant risk of leaning to heavily on such illustrious forebears, but somehow Rose Croix avoids this. Instead, there is just the right balance between creating an own voice and incorporating great stylistic ideas from the past.

This ltd. 100 tape deserves to sell out quickly, as it should be of great interest to all the folks in the industrial corner with a bit of a nostalgic feel for this blend of sounds. An excellent first effort, and hopefully a precursor to new work which combines the current sound with a bit more avant-garde.

Reviewed by O.S.

Tracklist:

1. (8:04)
2. (3:13)
3. (4:22)
4. (10:44)
5. (3:54)

Review: The Straw Bear Band – Vexed Soul EP (2010)

admin — Sat, 10 Dec 2011 20:35:05 +0000

7" cover

artist: The Straw Bear Band
release: Vexed Soul EP
format: 7″ + 3″ CD-R
year of release: 2010
label: Rif Mountain / Hobby Horse
duration: 17:23

detailed info: discogs.com [1, 2]

This co-release from the English label family linked to The Owl Service features a very nice and short selection of tracks by The Straw Bear Band (Dominic Cooper). It consists of a 7″ vinyl single, supplemented with a few additional tracks on a 3″ CD-R.

“A Lyke Wake Dirge” and “Nottamun Town” are both British folk classics, given an original and pleasant interpretation. The first track hobbles on at a brisk pace, utilising that unmistakable horseback rhythm in the percussion. At first it jarred me a little, such a driving rhythm behind lyrics that are so contemplative, but musically, it works very well, making it quite the catchy track. A similar though calmer rhythmic power is behind “Nottamun Town”, which has more of a swing to it.

3" cover

The tracks on the 3″ are less percussive in nature, focusing more on Jason Steel‘s guitar and Dom Cooper’s voice. Both “Black Candy” and “Go Dig My Grave” are solid own compositions where the power of the minimal folk setup shines forth quite well. The final track is particularly special though, as “Dead Souls” is a cover of the Joy Division track. However, the melancholic rendition we find here is a wholly different take on the original, and in my opinion at least as worthy as a song. Quite beautiful!

This EP in double format is short but rich in content, and certainly a recommended title if you are already familiar with the music coming from this group of labels and artists, but also if you are interested in alternative British folk generally.

Reviewed by O.S.

Tracklist:

1. A Lyke Wake Dirge (4:29)

2. Nottamun Town (4:31)

3. Black Candy (3:12)
4. Go Dig My Grave (1:45)
5. Dead Souls (3:26)

Cloudscape #21: December 2011

admin — Mon, 05 Dec 2011 20:12:23 +0000

Cloudscape #21: December 2011 by Evening Of Light on Mixcloud

Review: |˟˟| (Gate) – Deconstructed (2011)

admin — Wed, 30 Nov 2011 15:00:35 +0000

artist: |˟˟|
release: Deconstructed
format: CD
year of release: 2011
label: Fluttery
duration: 71:08

detailed info: discogs.com

Lajos Ishibashi-Brons‘ project |˟˟| is back again this year, but with a new approach. Where his first three albums featured an eclectic mix of rock, industrial noise, and free jazz that was above all improvised, his latest album Deconstructed focuses instead on remixes/deconstructions of recordings from the sessions of the album Iterations.

While sitting down and treating improvised recordings to an overhaul entails the risk of losing a sense of spontaneity, the resulting tracks on this album are certainly not complacent and overpolished affairs. If anything, a good many of the tracks offer even more layering and sounds from many different directions than what we heard on the previous album.

Some tracks, such as the fourth, “75R”, are a bit more laid back, resting on a constant drone and with subdued woodwind improvisations on top. Others, however, dive deep into chaotic and dense compositions, with screechy loops, guitar and woodwind melodies nearly climaxing into cacophony. Overall, there is a pleasant balance between these extremes, and in this way the album combines tendencies that were heard separately on earlier albums, as well as adding a few textures that are only achieved with later editing and mixing.

As such, Deconstructed has a lot to offer to those who enjoyed any or all of |˟˟|‘s earlier releases, but if you’re a newcomer interested in highly experimental sounds on the borders of jazz and extreme offshoots of rock and industrial, this album is recommended just the same.

Reviewed by O.S.

Tracklist:

1. 81U.R (6:30)
2. 55R (4:58)
3. 58R (6:24)
4. 75R (8:17)
5. 56R (10:00)
6. 67R (7:43)
7. 72R (5:10)
8. 65R (3:34)
9. 30 Seconds Of Silence (0:30)
10. 57R (18:02)

Review: Sand Snowman – The World’s Not Worth It (2011)

admin — Mon, 21 Nov 2011 15:00:53 +0000

artist: Sand Snowman
release: The World’s Not Worth It
format: LP, 2xCD
year of release: 2011
label: Tonefloat
duration: 43:09

detailed info: discogs.com

It’s always a great pleasure to be able to follow an artist from humble beginnings to a wonderful present. Sand Snowman is one of those artists who I’ve been lucky enough to follow since the first release Moth Dream, five years ago. Since that time, Sand has refined his style of psychedelic folk to a high degree. His early compositions where a bit too incoherent at times, not all elements working together all the time, but this has changed in his latest few albums, all of which were excellent.

Two Way Mirror, released on tonefloat over two years ago, was already a great work, with wonderful experimental elements on piano and acoustic guitar, a mixture of song and soundscape. Last year’s Nostalgia Ever After on Beta-lactam Ring was an experimental return into the psychedelic folk rock territory of Moth Dream, but Sand returns to calmer shores with this year’s followup.

The World’s Not Worth It is an uncommonly strong work in itself, with a wonderful flow of atmospheres and melodies. The opening track is slightly mysterious and ominous, and sets the tone with a nostalgic combination of fingerpicked melody, flute, and Moonswift‘s dreamy vocals. “Ice and Rainbows” adds gentle drums, bass, and a bit of electric guitar into the equation, as well as a longer, more drawn out composition, whilst retaining the original and magical mood. ”Under the Stares” shines because of its great piano work, comprising some wonderful improvisation as well as a very memorable returning theme. “A Life Rehearsed” once again features Steven Wilson on guest vocals, and it is the most traditionally song-like track on the album, a gently flowing progressive folk/rock track.

After this more intense central track, we return to a more contemplative mode with “Regal Season”, a great mysterious piece for piano, guitar, dreamy flute, and voice (Moonswift again), crowned by a fingerpicked solo near the ending. “Events in a Skyline” is even more wonderful, a tranquil instrumental mainly based on piano, with a distinct jazzy touch, opening up wonderful vistas in your mind. This is one of those tracks with a power of its own that’s always there, within the album, but also separate, as a work onto itself. The closing track adds a touch of psychedelic folk rock to finish the album off with a quirky touch.

Lots of words for the main album, which comes highly recommended for lovers of psychedelia and folk. But of course, there are some extras to this tonefloat release. The LP edition comes with a bonus CD copy, but more importantly, the 2CD edition has a bonus album entitled Vanished Chapters. If it’s anything like the dreamy soundscapes of The Magpie House, which accompanied the 2CD edition of Two Way Mirror, it’s very much worth your time.

Reviewed by O.S.

Tracklist:

1. Samhain Rain – Arise (4:05)
2. Ice and Rainbows (7:12)
3. Under the Stares (9:24)
4. A Life Rehearsed (6:21)
5. Regal Season (4:42)
6. Events in a Skyline (5:58)
7. The Rebel’s Rulebook (5:27)

Review: Higuma – Pacific Fog Dreams (2011)

admin — Mon, 14 Nov 2011 13:42:39 +0000

artist: Higuma
release: Pacific Fog Dreams
format: LP
year of release: 2011
label: Root Strata
duration: 40:58

detailed info: discogs.com

This project of Evan Caminiti (also of Barn Owl) and Lisa McGee has released one earlier album and one EP, but ultimately got my attention this year with this, the Pacific Fog Dreams LP. From a project related to Barn Owl, one would expect dreamy, psychedelic music, and that assumption is warranted, although Higuma focuses exclusively on lush guitar and vocal drones.

A minimalism in approach yields a maximum of impact on Pacific Fog Dreams, where relatively simple tonal and chord progressions are transformed into fuzzy blankets of sound by a variety of effects. In other words, it is an exercise in utilising sound manipulation to create precisely the textures and timbres wanted to create evocative and atmospheric music.

The power of the music is therefore not only in the grand sweep of the sound, but also in the little details that strike you here and there. A small turn of voice or note can have a lot of power when it successfully articulates itself out of a dense wash of fuzz. Particularly the melancholy first track has quite of few of those gripping moments, and the acoustic outro on “Crystal Harvest” is another divine moment, perhaps rather unassuming in any other context, but perfect here.

Pacific Fog Dreams is an excellent LP for lovers of thick drones with a touch of the organic, the spacious, the aqueous. A moment of drifting and contemplation that’s simple enough to be accessible, yet deep enough to hold you for quite a while.

Reviewed by O.S.

Tracklist:

1. Pacific Temple (8:18)
2. Burning Colors (3:59)
3. Morraine (6:13)

4. Crystal Harvest (4:37)
5. White Winds (3:25)
6. Solstice (6:01)
7. The Veiled Lamp (8:25)

Cloudscape #20: November 2011

admin — Fri, 11 Nov 2011 08:06:05 +0000

Cloudscape #20: November 2011 by Evening Of Light on Mixcloud

October 2011 Short Reviews

admin — Mon, 31 Oct 2011 11:10:51 +0000

Alasdair Roberts & Friends – Joy to the Person of My Love [discogs]

Joy to the Person of My Love

This Rif Mountain 7″ contains a duo of interpretations of 17th century songs. Scottish songster Roberts has made settings of these tunes for voice, acoustic guitar, flute, and whistle, which form a nice bridge between the sounds of the renaissance and of modern folk stylings.

I’m particularly fond of the B-side “False Astronomy”, which has a typical melody which reminds me a bit of older Christmas carols. Probably not that strange if I am correct in my assumption that those originate in the same period. Regardless, Roberts’ deliverance of the poetry is exceptionally strong rhythmically and results in a rather feelgood track.

This is a short but sweet single that is sure to please folk lovers with a penchant for renaissance music.

Burial Hex – Eschatology I [discogs]

Eschatology I

Clay Ruby‘s Burial Hex project is generally a more than excellent source of music skirting the edges of drone, ritual, ambient, and dark occult moods, and this tape on his own label Brave Mysteries is no exception.

The 60-minute effort focuses on two long compositions. The first is “Twilight Visitors”, a piece which flows back and forth between raw pulsating drones and softer ambient synths, with a good balance between intensity and silence. Other elements include various warped voices, as well as multiple different modified synth sounds, resulting in a long ambient piece that rewards attentive listening now and again. You’ll discover something different each time.

The B-side contains a long mix of the stellar track “Book of Delusions”, which I’d already praised in my review of the album bearing the same title. This version is twice as long, but the beat is so hypnotising and the arrangement flows so seamlessly that these 30 minutes drift by before you know it. Marvellous work!

Haiku Funeral – If God Is a Drug [discogs]

If God Is a Drug

Haiku Funeral is a project operating on the crossroads of industrial, electro, dark/doom metal, noise, and ambient, and this third album of theirs is as diverse and hard to pigeonhole as that might suggest. The album lacks little in ambience, with themes of disease, drugs, darkness, and madness springing to mind quite clearly.

The musical diversity is both a blessing and a curse on If God Is a Drug. While the album is highly varied and not a boring listen, it seems to lack a sense of direction and coherence to some degree. Nevertheless, there are quite a few interesting tracks on this album, and they’ll probably be different for each listener. I’m particularly fond of the electro/industrial on “The Holy Connection”, and the Lovecraftian spoken word / dark ambient of “City in the Sea”. Other nice elements include oriental melodies on bass, the eerie female spoken word on “Bright Red Seeds”, to name a few.

An interesting album if you’re looking for something different and not afraid to cross genre boundaries multiple times over the course of one album.

Voice of Eye – Substantia Innominata [discogs]

Substantia Innominata

Voice of Eye is another one of those dark ambient projects that have passed under my radar for too long. This 10″ on the sublime Substantia Innominata series by Drone Records is only one of the more recent records in a career that spans two decades. Despite being smaller than an LP, this three-track effort clocks in at almost 38 minutes, half of it being taken up by the long first track on side A, “Vīrya”, a Sanskrit word roughly meaning ‘virile’. Despite its length and minimalism, the track impresses with its dominant otherworldly voices, which are compelling and ever-changing. Only near the end of the track do we hear a few other sounds from the dark ambient arsenal, a combination which continues over on the first track of side B, named “Dhyāna”, meaning meditation – ‘zen’ is the equivalent term in Japanese. The track slowly tapers out into soft, intermittent synth waves, maintaining the mystic, ambiguous atmosphere. The final track, “Puruşa” (‘the self’) is particularly beautiful, featuring a softer, gentler melody of synth waves, joined in the end by lovely drifting flute tones, slightly reminiscent of Tangerine Dream‘s classic “Sequent ‘C’”.

All in all this is a wonderful album, deceptively beautiful and compelling despite its apparent minimalism and limited spectrum of sounds. The physical manifestation is also great, as are all Substantia Innominata releases, but the artwork and vinyl (clear with warm golden streaks) are particularly beautiful on this one. Recommended for all dark ambient aficionados!

Review: Momick (2011)

admin — Thu, 20 Oct 2011 10:01:47 +0000

artist: Momick
release: Momick
format: LP
year of release: 2011
label: Bladud Flies!
duration: 36:58

detailed info: discogs.com

Momick is a new project by Richard Moult and the bricoleur (Michael Lawrence) where they elaborate upon the mix of piano and electronic manipulation that we first heard on some tracks of Moult’s Ethe album. This style draws upon an exaggeration of the reverberating and drifting qualities of the piano sound, which brings the music somewhere in between classical and ambient.

The melodic tone of Momick is often melancholy or oppressive, and far less bright and folky than the otherwise lovely LP cover suggests. The intensity of the effects overlaying the piano sound wavers, resulting in a nice tension between crisper parts and other moments when the sound is a thick, massive wash, with even an outburst of noise at one point.

Variation between movements is considerable, particularly with the addition of some guest appearances here and there, to wit the lovely oboe of Mark Baigent in the fourth track, and the singular voice of David Tibet in a particularly emotional performance on the fifth. Of particular note too is the sixth movement, with its delightful piano swells that form a melody – or rather, a torrent of chords – that is slightly more uplifting than the rest of the album. The long final piece ends the album as it began, with a more mournful cadence.

Momick is obviously a recommended album if you enjoyed any of Moult’s earlier piano works, particularly Ethe, which featured experiments in this more ambient/electronic direction. For that reason, the album might also appeal to a more general ambient audience who are open to some interstitial dark piano sounds.

Reviewed by O.S.

Tracklist:

1. 3:46
2. 4:57
3. 6:17
4. 2:20

5. 5:43
6. 3:35
7. 10:20

Review: The A. Lords (2011)

admin — Sun, 16 Oct 2011 08:08:29 +0000

artist: The A. Lords
release: The A. Lords
format: LP
year of release: 2011
label: Rif Mountain
duration: 37:53

detailed info: discogs.com

Recorded over then summers between 2000 and 2010, this eponymous LP is the definitive work (so far?) by The A. Lords, the duo consisting of Michael Tanner and Nicholas Palmer. A lovely five-track EP already appeared in 2006 on the now defunct Barl Fire imprint, and four tracks off that release also made it to this LP, some with new names. Six new tracks have been added to fill out the album with more wonderful pastoral folk meanderings.

My verdict from five years ago still stands: this is gorgeous music that practically breathes the outdoors, the sunshine, and the Dorset landscape in which it was recorded. A wide variety of acoustic instruments gives each track on the album a unique palette, with many opting for sweet drifting melodies accented with staccato glockenspiel or dulcimer notes, besides the more familiar guitar sound, but also gentle organ drones, bells, toy piano, and the ever-present natural background sounds.

This LP is a compact album with a clear musical vision, and a perfect companion to a day in the sun, whether it’s in summer, or a day like we’re having now: a crisp and clear October morning where the sun’s warmth is all the more welcome. Calm freefolk at its best, in other words. The lovely vinyl edition by Rif Mountain with its stunning stylised artwork only adds to the appeal. Limited to 250 copies, so off ye go!

Reviewed by O.S.

Tracklist:

1. Freohyll (2:58)
2. Mistress Chetell (5:27)
3. Summerhouse (5:16)
4. Crimson Rambler (2:23)
5. Of Wren Or Raven (3:48)

6. Skyclad In Pendle (6:27)
7. The Seventh Child (2:07)
8. Hopkin’s Lament (3:12)
9. Things Near And Far (3:23)
10. Pyewacket’s Nest (2:52)

Cloudscape #19: October 2011

admin — Wed, 05 Oct 2011 19:34:44 +0000

Cloudscape #19: October 2011 by Evening Of Light on Mixcloud

Concert Review: The Great Park, The Raw Men Empire (Wishful Music Groningen, 23 September 2011)

admin — Wed, 05 Oct 2011 18:23:15 +0000

Living room concerts have been popping up more and more the past few years, at least in the Netherlands, and they always seemed a fascinating idea. Therefore, when The Great Park (a.k.a. Stephen Burch) invited us to see him play in a recent event organised by Wishful Music, we took the opportunity to see what it was all about. In this case, a cozy student’s room behind an old school, with space for about 25 people, beers in the fridge, and seats on the carpet. And, most importantly, two artists for the night.

Up first was the aforementioned The Great Park, an English singer/songwriter based in Berlin, who is currently doing a lot of European touring. Burch’s songs are firmly within the modern man-and-guitar tradition, combining fingerpicking and strumming with semi-narrative vocals. With a minimal setup such as this, the whole performance rests on an individual artist’s charisma and lyrics, and in this respect The Great Park is a wonderful musician. As astutely pointed out in a review of Burch’s excellent latest album on VPRO Dwars recently, he sounds not unlike David Tibet singing Leonard Cohen, though without most of the former’s esoteric themes and emotional outbursts, tending more toward the style of the latter, focusing on poetic tales of love and life and loss. Even without the subtle strings and other instrumental embellishments of the album, Burch’s performance is memorable in its honesty and narrative quality, personal and emotional without ever becoming trite.

Here’s a video of The Great Park performing “Portugal” on this night:

The other performance of the night was by the Israeli quartet The Raw Men Empire, four guys who play a sort of semi-unplugged mixture of folk and indie rock, with a strong emphasis on catchy songs and a bit of comedy. It showed that these men have played a lot together, as they gave away a very tight performance with various musical roles for each of the members. They also relied a lot on audience interaction,as can be seen in the video below of the song “One Track Mind”:

All in all, a funny and engaging gig, though this is a band that is most fun to see in a setting like this, and not really something to buy an album of to play at home.

Both artists benefited greatly from the intimate setting, though, where a sense of communion is just that bit stronger than when somebody’s playing on a stage generally. Though not suitable for all kinds of artists, this is certainly the strength of living room gigs, and it’s worth checking your local scene for events like this.

Cloudscape: Tribute to KinkFM X-Rated

admin — Fri, 30 Sep 2011 22:31:43 +0000

Tribute to KinkFM X-Rated by Evening Of Light on Mixcloud

At midnight between September 30th and October 1st the Dutch alternative radio station Kink FM was shut down after 16 years of dedicated broadcasting. Apart form this being a general loss for the Dutch radio landscape, it is even worse for lovers of music in the styles we usually cover on Evening of Light. For with the end of the station comes the end of the program (and since this year 24 hour channel) Kink X-Rated.

Running since the start of the station, X-Rated was the home for experimental music, industrial, wave, neofolk, ambient, drone, and all sorts of other great music. The program was first presented by Arjen Grolleman, who tragically passed away last year, and Bauke van der Wal. Later, Arjen presented the program together with Bob Rusche, who sold records in Boudisque, formerly the best record store in Amsterdam, and another institution that has passed away.

Now that Kink FM is closing down, due to dubious decisionmaking by the overarching media investment company, it also means an end to these 16 years of X-Rated in which we discovered so much great music, heard lovely interviews and live performances, and were blessed enough to be guests in the studio several times. There is light at the end of the tunnel, and Bob will be able to continue the program X-Rated at a new station, the Concertzender, but there is no doubt that the closing of KinkFM is black moment in Dutch pop history.

The mix we have prepared here is a modest tribute of ours to the music of X-Rated. Music we discovered through the program, music which is typical for the program, or otherwise came to mind. For example, Coil, Current 93, and Sol Invictus were always staple artists in the program, as heroes of the (post-)industrial music world, while Raison d’Être‘s Enthraled by the Wind of Lonelienes was the first album we ever bought in the Boudisque shop. X-Rated also functioned as our introduction to the wonderful music of Maarten van der Vleuten, which eventually led to us releasing one of his later albums. All of the tracks here have an emotional value like that, and we hope we will be able to share it with you, and give an impression of what X-Rated was (partly) about.

An immense thanks to Bob, Arjen (rest in peace!) and everyone at KinkFM for making this possible!

The tracks:

Review: Obsequiae – Suspended in the Brume of Eos (2011)

admin — Mon, 26 Sep 2011 14:47:24 +0000

artist: Obsequiae
release: Suspended in the Brume of Eos
format: CD
year of release: 2011
label: Bindrune
duration: 41:37

detailed info: discogs.com

The US duo Obsequiae is a continuation of the earlier project Autumnal Winds, and with Suspended in the Brume of Eos (that last bit means fog of dawn, in case you were wondering like me) they present their first large release, after earlier demos. While the band has its roots in melodic death/black metal, which is still the most prominent sound on this album, there is no doubt that this record carries a strong influence of mediaeval and early music.

Now, mediaeval is often a troubling influence in popular music. All too often the elements that have to lend something a mediaeval tinge are renaissance faire costumes, Olde English, and even a certain amount of drollness. In metal, things are hardly better, where these influences are generally limited to posing with swords and – dare I say it – lots of keyboards. At first glance, Obsequiae ticks a few similar boxes, with gloomy castle pictures on the inside of the CD, mediaeval European pseudonyms, and the lovely Lady and the Unicorn tapestry that graces the front cover.

However, on Suspended in the Brume of Eos the influence is more than skin deep, and that makes this album so powerful. Besides a selection of popular mediaeval interludes played on acoustic guitar that balance against the eight mostly high-speed metal tracks, we can clearly hear the influence of mediaeval melody and tone even in the latter, where the often dual lead guitars hammer out one brilliant line after another. Perhaps many metal musicians have often wondered how certain mediaeval tunes would sound played as metal, but I have exactly the reverse sensation with many of the tracks on this album. From the gently rippling lead from the title track to the slower majesty of “The Wounded Fox”, and many other bits in the album, it’s crystal clear that Obsequiae‘s music manages to be both: quick, technical and energetic extreme metal that is obviously from this day and age, but with resonances of ages past. Rather than just implying or even faking mediaeval influence through external means, this band was truly inspired musically by mediaeval forebears, even serving as a sort of missing link between then and now.

Apart from the general success of this approach, I simply have to mention the marvellous opening track, the relentless waltz of “Altars of Moss”. This track is pure gold from the start to its glorious finish with one of the best riffs I’ve ever heard. More general praise goes to the tight rhythm section, and the production, as this is one of those albums that proves that a good bass guitar sound is a valuable asset to a metal album.

This one of those metal albums that sound conventional on the surface but harbour a vast amount of sophistication within. If there’s any band that deserves the label ‘mediaeval metal’ (or as the promo notes have it, ‘castle metal’), Obsequiae is it. If these guys could serve up another portion of this the coming years, I’d be much obliged.

Reviewed by O.S.

Tracklist:

1. Altars Of Moss (5:23)
2. Sidhe (2:21)
3. In The White Fields (4:10)
4. Suspended In The Brume Of Eos (5:43)
5. Wildes Heer (1:07)
6. The Wounded Fox (4:56)
7. Atonement (2:17)
8. Estas Redit (1:03)
9. Arrows (2:59)
10. The Starlit Shore (5:31)
11. Boreas (2:18)
12. Cabin Lights (3:51)

Review: V.A. – Mit Fester Hand – Allerseelenlieder (2011)

admin — Fri, 23 Sep 2011 12:13:08 +0000

artist: Various Artists
release: Mit Fester Hand – Allerseelenlieder
format: CD
year of release: 2011
label: Ahnstern
duration: 88:19

detailed info: discogs.com

A compilation dedicated to the long-standing Austrian industrial project Allerseelen is a very understandable thing, after over twenty years of activity in the European underground. Drawing mostly from the rich roster of Steinklang/Ahnstern label artists, Mit Fester Hand presents an interesting overview of Allerseelen work in varying interpretations, though mostly within the neofolk corner.

An individual treatment of all tracks on this compilation would be a bit too much, in my opinion, but there are certainly quite a few tracks worth mentioning on the CD. Not everything is very exciting, and the compilation has a rather unassuming take-off with a few average tracks, but the overall sound is constant and pleasant to listen to. In my opinion, things start to take off properly with the organ-heavy version of ”Flamme” by Die Weisse Rose. The Blood Axis & Sangre Cavallum version of “Sonne Golthi-Ade” is also very nice, particularly because of the organic folk sound, and the typical mediterranean instrumentation we can hear on other Sangre Cavallum work. Larrnakh provide an atmospheric point of rest in the album with a great mixture of ambient and folk styles. Àrnica in their turn impress me with a very stripped down folk style that feels very ritual and intimate. One of my favourite tracks must be the surprising “Flama” by Der Arbeiter, a very well-flowing flamenco-inspired track. Also interesting – both kitschy and catchy – is the bombastic electro of Der Feuerkreiner on “Feuersalamander”. The Svarrogh version of “Heiliges Blut” deserves mention too, not in the least because of its playful nod towards NON‘s “Total War”. Closing off the album is obviously the title track in its Allerseelen version, a powerful track with beat and martial samples, dedicated to a radical self-transformation. A pity that the Von Thronstahl version of this track wasn’t included as well (released last year by Cold Spring on the Conscriptum compilation) as it too provides a powerful version of this song.

Though not everything on Mit Fester Hand is pure gold, I’d say it is a very honourable tribute to Allerseelen and an important part of any collection of that band’s works, as well as an interesting release to check out for anyone in the European industrial/neofolk area.

Reviewed by O.S.

Tracklist:

1 Ernte – Santa Sangre (Jodorowsky Mix) (2:10)
2 Tyr-Kreis – Ernting (3:34)
3 Haberfeld – Olle Lust Wui Ewigkeit (4:53)
4 Die Weisse Rose – Flamme (3:52)
5 Fanes – Sonne Golthi-Ade (4:14)
6 Sagittarius – Musa (4:31)
7 Scivias – Idun (4:04)
8 Fräkmündt – Firnföuskamerad (4:08)
9 Hrefnesholt – Herbstlied (5:34)
10 Ô Paradis – Marqués De Púbol (4:45)
11 Blood Axis & Sangre Cavallum – Sonne Golthi-Ade (3:51)
12 Sturmpercht – Sturmlied (5:24)
13 Larrnakh – Knistern (4:30)
14 Àrnica – Foc De Salamandra (5:11)
15 Klammheim – Allerseelen (5:23)
16 Der Arbeiter – Flama (4:53)
17 Der Feuerkreiner – Feuersalamander (5:05)
18 Cawatana – Alle Lust Will Ewigkeit (3:57)
19 Svarrogh – Heiliges Blut (4:40)
20 Allerseelen – Mit Fester Hand (3:40)

Review: Burial Hex – Book of Delusions (2011)

admin — Wed, 21 Sep 2011 18:47:14 +0000

artist: Burial Hex
release: Book of Delusions
format: LP
year of release: 2011
label: Brave Mysteries
duration: 32:24

Burial Hex has been accruing a reputation in the (post-)industrial underground for several years with a considerable amount of releases, but for some hadn’t shown up on my radar in any significant way. This changed radically when I was presented with the two most recent releases from this project of Clay Ruby‘s on Brave Mysteries, a publishing house that is rapidly becoming one of my favourites. The other release is the highly limited Eschatology I tape, which is excellent in its own right, and which contains an extended mix of the title track on this LP, the main attraction.

The four tracks on this stellar album run the gamut from what has been aptly named horror ambient by some, to bombastic compositions of a unique kind, as well as marvellous ritual electronica. The two opening tracks exemplify the first style, combining deep drones, piercing high frequencies that set an eerie scene, samples, and growls from the deepest infernal pits. The parallels with horror soundtracks are perhaps tangible, but the music is far more than stage dressing. Throughout these tracks we clearly sense the sophistication of Clay Ruby’s writing, with few repetitions and a flawless sense of flow.

“Crowned & Conquering Child” is a fascinating track, utterly uncompromising in its baroque layering of growls, howls, and wailing guitars over a simple piano melody and electronic pulse. Ever better are the choir vocals that truly take this harrowing track way out there.

If that wasn’t enough, the whole B-side is taken up by the marvellous title track, a stunning piece of ritual electronics, with a solid beat as its central element. Vaguely marimba-like synths provide a bit of a bass layer, and the melodic lead role is for electric guitar, and one with a distinctly spacy feel to it. Again, this is a work so well-assembled that length becomes a non-issue. Different instruments, voices, and percussive elements join in on the track at various points, and it never ceases to hypnotise. You can get a particularly good impression of the evocative power of the track in this video, where it is coupled with a scene from Fellini’s Roma: http://vimeo.com/20775822

The LP isn’t that long, but filled with excellent material by an artist that keeps pushing boundaries in modern underground music. Like many of his label kindred, Burial Hex has a unique vision and the daring to put it forth without compromise, and in this case, that all turns out brilliantly. This is certainly no music for the faint of heart, but will delight lovers of the esoteric, obscure, and intense.

Reviewed by O.S.

Tracklist:

1. Final Litany (4:17)
2. Urlicht (4:59)
3. Crowned & Conquering Child (8:10)

4. The Book of Delusions (14:58)

Interview: Jon DeRosa (Aarktica, Dead Leaves Rising)

admin — Sat, 10 Sep 2011 08:54:18 +0000

Interview by O.S., August 2011

All images property of Jon DeRosa

Jon DeRosa has been releasing music under various names for almost fifteen years, starting in his teenage years. He is best known for his project Aarktica, but is releasing a new EP under his own name this month. We ask him about the background of his career, the inspiration for his music, and the future.

To listen to a selection of Jon’s music while reading the interview, we’ve prepared a special retrospective Cloudscape that you can run in the background. Enjoy!

OS: Can you tell me how your musical career got started? Dead Leaves Rising was your first project to be more widely released into the world, and put out two albums. How do you look back on those works and what other early projects were important to you?

JDR: I was in my early teens when I started recording under the name Fade. I released two cassettes, Pale, Broken Truths in 1993 and Windows in 1995. I look back on those releases…nostalgically. I was really quite naïve. Full of angst, cathartic, conflicted. I was thirteen years old.

I remember the actual writing and recording vividly and fondly. A lot of late nights, returning home from my summer job as a cook while the world slept, learning how to translate thoughts into music. I was just getting into bands on 4AD and Projekt Records, and the Fade releases were my early interpretations of those kinds of sounds. I had been studying classical and flamenco guitar from age 10, so there is a lot of that influence as well.

This was in the pre-internet days, so everything was via physical mail and word of mouth (and zines). I think that, in itself, is the most striking thing when I think about the early days: the absence of the Internet for connecting with others. In a lot of ways, it made the connections that you did make all the more special. I have boxes of physical correspondence surrounding the early releases.

I sent the tapes around to labels, namely Projekt Records, where Pat Ogle was booking a lot of the label’s first tours. He gave me opening spots on Projekt shows in the East. I don’t think he had the slightest clue that I was only about 14 or 15 at the time. In the end, I opened for Love Spirals Downwards, lovesliescrushing, Sean Bowley/Eden, Black Tape For A Blue Girl, Attrition, (et al) all before I was 18 years old.

Brian John Mitchell at Silber Records has been talking about reissuing those Fade albums. I haven’t heard either of them in about 10 years.

Fade evolved into Dead Leaves Rising in 1996, and was followed by the release of the Shadow Complex CD in 1997, which definitely presented a more aggressive and dark folk/goth sound. The second Dead Leaves Rising album Waking Up On The Wrong Side Of No One wasn’t released for another four years, and leaned away from the gothic influences and toward a more indie rock/folk sound. Shadow Complex is what I would consider my first “official” release.

Both Dead Leaves Rising albums were just released digitally through Silber Records this year, since they had been unavailable for quite some time. I think the early material is interesting in that it shows the most primitive origins of a sound that I would develop and change over the course of the next 15-20 years.

What was it like growing up in the NY/NJ area, and how has it and its scene influenced you?

I don’t think I ever followed any local “scenes,” really. Growing up in NJ, while most of my friends were listening to local hardcore, I was following Los Angeles goth or Bristol indiepop and Sarah Records, along with other stuff I considered truly “exotic.”

I gravitated to New York as a teenager because it seemed exciting, and I was really hungry to find other people who were into the same things I was into, musically. And it really has never disappointed in that sense. But, it’s a young person’s town. You need stamina. You need that youthful curiosity and optimism. I don’t know if it was like that in Lou Reed’s New York. But it feels that way to me now.

Sometimes I wonder if I would’ve gotten more music written if I lived in a smaller, quieter place and had fewer distractions in my life. But I don’t think it could’ve been any other way for me. And besides, I have met a lot of inspiring people, and had a lot of very unique experiences because of the city. I found that wasn’t the case for the stretches of time I lived in other places around the country and world.

Nowadays you work in Williamsburg, Brooklyn, famous for being a multi-ethnic and constantly evolving artistic neighbourhood. What are your personal feelings about the place, and what role does it play in your music, apart from featuring in two Aarktica titles?

I have some family roots here. My great-grandmother made bathtub gin in her apartment during Prohibition just a few minutes away from where I live now. My grandmother worked in a factory during the War, just one block away from where I sit. So, sometimes I look at it through those eyes…

Other times, I am always amazed by the “phenomenon” of Williamsburg and how it has become almost mythic on a world-scale. It’s Neverland for the masses! It’s a play within a play. There’s even a far-fetched sitcom I saw based here now.

There are some real, solid individuals I’ve met here, no doubt. But the place does make it awfully attractive to assholes these days. Is it a place for true men? Where young men can learn to be true men? I don’t think it is. And we need more true men. Just ask true women. But it’s also my home, you know?

But, I’ll step off the soapbox because my generation was the beginning of the problem. And while I have moral issues about the gradual disappearance of the middle class in New York City, I admittedly feel grateful as an observer to have lived in a dynamic neighborhood during its transformation. Socially it is really interesting how rapidly this place has changed since I moved here about 15 years ago.

How did the idea to form Aarktica come to you when it first started?

I don’t think it was a conscious decision, it was more of a coping mechanism to try and recreate sounds the way I heard them after experiencing sudden and permanent hearing loss in my right ear. I became somewhat of an insomniac due to the aural hallucinations and the electric shock sensations that occur when nerve damage occurs in the inner ear. So there were many nights spent in front of a 4-track tape recorder trying to make sense of what was happening to me.

It was really Brian at Silber Records that encouraged me to release the material. If not for him, I’m not sure I would’ve ended up pursuing it as a musical project.

How would you describe the evolution of Aarktica from the beginning to now?

There was a certain naïve curiosity, a sense of exploration and discovery in the beginning. And also, you know, an intimate turmoil within myself that marked the early recordings. But I have always been restless and tried to make each album different and varied, with the addition of instruments, players, song structures.

I consider the most recent release In Sea a sequel to the first album No Solace In Sleep, and plan to continue in that realm of sound with Aarktica. I hope to have a new release ready in 2012.

Is there a conscious stylistic division between the works you released for Darla Records and those on Silber Records?

I don’t think I ever made conscious stylistic decisions based on what label was releasing the album. I think toward the end of my relationship with Darla, I attempted to make more pop-oriented music, because I felt that it would be interesting to update the sounds I’d established as “ambient,” and Darla encouraged that. Silber Records obviously champions more experimental sounds. But in the end, I always made the record I wanted to make.

How important has your collaboration with these labels been for your music?

Working with Darla Records was really not my best decision, at least beyond the Bliss Out album. I just don’t feel like we see eye to eye on a lot of important things, and that’s important for an artist/label relationship.

On the other hand, Silber Records has consistently impressed me. Truly inspiring, original and ethical. It is a label with a vision that has truly always done its own thing and has always enabled the artist with the freedom to do what they want with his/her music.

What is the most important thing you have learned in over 15 years of making music?

La Monte Young said something to me during our studies together. I’m paraphrasing, but he said basically it is an artist’s responsibility to contribute to society. However, the way in which the artist contributes may not be the way in which he thinks he’s supposed to contribute. While I’m sure different people will interpret that in different ways, those words always stuck with me.

Another thing that I guess I have come to realize on my own is that success is relative. Everyone needs to find his/her own personal reason for making the music/art he/she makes. If you’re doing it for the wrong reasons, something will not feel “right” to you ever. If you are doing it for the right reasons and believe in what you are doing, you will always feel at peace with yourself. I would consider that the biggest success of all.

Where did you find all the people to do those wonderful remixes of the ‘In Sea’ album?

Believe it or not, most were artists who I had been in touch with for years and years. Artists to whom I listen, and whom have followed Aarktica over the years. I was truly humbled that so many talented friends were willing to devote their time and energy into reworking my songs. It’s a really great release. And great to finally work with folks like Jon from Yellow6, Mason Jones, Richard from Hood/Declining Winter…People who I’ve been in touch with for years but never met.

The new EP released under your own name sees you returning to a more open sound, song-based, and perhaps back in the direction of what used to be Pale Horse and Rider. Do you plan on recording more in this style again under your own name or otherwise?

Anchored EP

I think the new album is actually really quite different than work I did with Pale Horse and Rider. But, in the sense that these are “songs” rather than “soundscapes,” I see what you mean.

Anchored is just the first of what will hopefully be many solo releases. After many years of making music under a guise, I really wanted to make an album that was musically representative of who I am today, which is something really difficult to do with a project like Aarktica that I have a 10 year history with.

And who are you today?

A working class singer/bartender still trying to best all my previous musical efforts.