Poltergeists: Week of February 20th, 2017

Michael

ESA - “The Hold (Tight Grip Remix by ESA)”

Negative Gain Productions have a pretty consistently awesome set of releases and I tend to check in on what they are doing often. This release, though, needs no introduction! ESA (Electronic Substance Abuse) is a project that I can count on to be both dance beat heavy and emotional. Jamie has a way of making even the danciest tracks very dark and this EP is no exception! “The Hold (Tight Grip Remix by ESA)” is an epic, and yet somehow more thumpy, version of the original track - which features vocals from Valeriia Moon. The cello intro to the track is great - it has a wonderful dark folk feel and sets the stage for the pulsing, semi-tribal beats that are to come. There is an iVardensphere remix on this EP, but I didn’t review it because Scott is too cool for school and the Tight Grip mix had clear and wonderful cellos.

ESA (Electronic Substance Abuse) is the (mostly) solo project of Jamie Blacker and is one of those bands you should see live if you have the chance!  

Threads - “Words That Rhyme With Loneliness”

I have been getting into really minimal lo-fi atmospheric black metal recently. The emotions and the atmospheres are so sincere and mesmerizing. “Words That Rhyme With Loneliness” is one of many great tracks on Thread’s 2016 release As The Pale Chorus. A lot of the tracks contain a lo-fi spoken word section in place of vocals that I highly encourage you to translate if you have a minute. The writing is beautiful and tragic; it passes from hopeful life to a dark and lonely death. Here is a short passage translated from Spanish to English via Google Translate (sorry): “Let us share the same dream and in eternity we will float to the end. We will change our skin into more grayish pigments and we will feed on joy.” It is not just the spoken word that brings me to this song though. There are many different guitar parts playing off each other deep in the background, swelling and evolving to set the tone.

Threads are a lo-fi blackgaze band from Guanajuato, Mexico and you can find their album As The Pale Chorus on their Bandcamp page.

Wes

HØUNDS - “Transfiguration”

HØUNDS sounds, to me, like what you would get if Author & Punisher suddenly got into future bass. “Transfiguration” is the clearest example of this I think. You start with a simple vocal sample, and that sample is turned into a rolling, distorted sort of instrument. Then, you have the almost sludgy doom metal pace of the drums - the weight of every hit of the “snare”, the way the kick ducks the heavy bass. The bass itself, and the way it rolls and is glitched, reminds me of something you might hear from a Saturate artist. I missed this album when it first came out in 2015, and I would really love to hear what HØUNDS is doing now.

HØUNDS is an electronic project from Los Angeles. Their latest album, OUR LOVE, is available on Bandcamp.

Grebenstein - “Black Hatch Dive”

Making an eight minute techno track that doesn’t get boring is quite the feat. There is something about the rolling of the deep bassline that has a gravity to it; it pulls you in with wave after wave. The track is almost hypnotic in the way that it moves - at times, all the percussion fades away, leaving you with that pulsing, rolling bass, and right as you almost forget that the percussion had been there in the first place it drops back in, amping up the energy of motion in the song. The changes as you move forward are small and subtle, but have a significant impact on the feeling of the track. Little clicks pop in a little past halfway through the track, and suddenly the feeling shifts from the hypnosis to almost a frenetic, panicked feeling to the sound. These clicks give way to a sort of high pitched whine that creates a feeling of unease in the listener. All these little changes in the emotional timbre of the track feel completely intentional, and the results are excellent and endlessly listenable.

Grebenstien is a dark techno project from Kassel, Germany. Their latest release, Gloss, will be available on Bandcamp 24 February 2017.

Poltergeists: Week of February 6, 2017

Michael

Ellende - “Ballade auf den Tod”

After a long night of talking to and then seeing Alcest live in Portland, I was in need of some truly epic atmospheric black metal and very quickly found myself lost in Ellende. One of the things that drew me to “Ballade auf den Tod” right away was the somber tone of the introduction. Soft strings and sad, usually nylon stringed guitars tend to get me right where the heart is. The somber introduction carries through the verse with only a few added sections for rhythm and screams, but the atmosphere really pulls me through the many variations and back again to the roots of the song. The breakdown, which carries along at a nice pace with full instrumentation, is helped along with a lo-fi, sad-sounding audio sample that I can’t make out enough to translate but is spoken meaningfully enough to get the message across. Needless to say I am thoroughly satisfied with Ellende’s unique take on atmospheric black metal.  

Ellende is a one-person project based in Austria who quotes Camus on their Bandcamp release page… so… I am sold.

V▲LH▲LL - “ΛΞONS”

As a very key influence in my own music, I tend to watch V▲LH▲LL very closely whenever anything is about to come out. Not only are they awesome people to hang out with, but the music is always unique and inspiring. The first track on their newest EP, STΞNDHΛL, is a take on the very popular outrun synth lines, but with that special V▲LH▲LL stuff mixed in. The main line itself has a very spooky yet victorious feel to it, leading through various patterns and samples. One thing that the track really has a grasp on is the way that different plucky synth lines can play in the background of the main line to change the rise and fall of the song. The samples and the bass lines are all important, but the faster notes in the background give it that characteristic outrun feel. My only complaint is that it is too short and ends with a quick fade. I could have gone on that same synth line for another 2 minutes easily.

V▲LH▲LL are a bunch of wonderfully spooky people with great taste in music and style. Their new EP is up on their Bandcamp, and if you haven’t picked up the last full-length album (Leaning on Shadows), you definitely should!

Wes

Dumal - “Lost Caverns”

Dumal’s has managed to develop a really powerful and emotional tone to their music. In “Lost Caverns” the song start with a riff that carries a sort of melancholic weight, lifted by the sort of rolling beat of the drums. This tone becomes a through line - after breakdowns of heavier, more aggressive moments, the beginning riff breaks in and brings back a sense of almost hopefulness.

On top of this, Dumal is an incredibly tight sounding black metal band. In a genre that often lacks in production values, you can tell that these guys take their time to make sure that everything sounds as good and together as possible. The tremolo picking stands apart from the rhythm guitar in the background in a way that really pulls their sound together and makes it shine.

Durmal is a black metal band from Pennsylvania whose music is inspired by Ukrainian folklore. Their album, The Lesser God, is available on Bandcamp.

Nails - “Wide Open Wound”

After recently seeing Code Orange play with Youth Code, I’ve been going on a bit of a hardcore kick. This kick led me to Nails, who are, and I think this is the only accurate way to describe them, heavy as fuck. With breakdowns that feel around 80 BPM, Nails just grinds away at the listener. If it weren’t for the sort of rolling feeling of the guitars, a sort of way the riff creates a feeling of circular motion, the speed and feeling of “Wide Open Wound” would almost make me think of funeral doom - the weight of the guitar tone and the fact that you can almost count the seconds between the kick and the snare through much of the song shares a sort of language with its metal cousin.

Nails is a hardcore band from Oxnard, California. Their latest release, You Will Never Be One Of Us, is available from Nuclear Blast.

Poltergeists: Week of January 23, 2017

Michael

Emptiness - “Digging the Sky”

Emptiness is an extremely odd combination of all of the genres that make up my regular catalog of to-listen releases - the guitars are clean and shoe-gazing-ly atmospheric, the vocals are destructive and experimental, and the overall sound goes between sad doom metal and a more realized version of early 2000s gothic rock. This record is fittingly produced by Jeordie White, of Marilyn Manson fame, and Sean Beavan, who has recorded with NIN, Marilyn Manson, and Kindneythieves. Each song is unique and very odd - the vocal delivery is generally the same, but still unique against the strange landscape of each track as it passes through many styles and influences.    

Emptiness is an experimental band from Brussels.

Apocryphal Throne - “Triumph Over the Backs of the Downtrodden”

Apocryphal Throne, a new project that I hope Chase Dobson will continue making new releases for every year until the day he dies, is an apt meditation in modern atmospheric metal (not entirely black metal, not entirely doom metal, but a good combination of many types). The influences are vast and wonderful, the production is clean, and it is presented within a snowy, winter landscape. This album proves to me that Chase is a talented and inspirational musician - taking a genre that is not his current medium and just running with it is not an easy thing to do, but The Day of Our Demise proves that he very much can. It is presented without vocals but you almost don’t notice because the segments of the songs flow well enough together to create the bigger structure of the songs.

Apocryphal Throne is the solo project of Chase Dobson, who has also released IDM stuff I guess (C.DB.SN released one album on the now defunct Tympanik Audio label that is also very good, and you should check out).

 

Avi Roig

Avi is a former blogger and musician who lives in Washington and is awesome!

Ştiu Nu Ştiu - “October”

The majority of post-rock/metal/gaze fails me on two main principles. Firstly, despite the promise of grandiosity and bombast, the style so rarely achieves true heaviness; for all the bands that set their sights on the mountaintop, very few manage to cross over to the other side. Second, and most importantly, the standard template of build and release remains a poor stand-in for actual songcraft, even when augmented by an armada of effects pedals. Sweden's Ştiu Nu Ştiu defies the status quo by deploying actual riffs and composition, engineering the toms to thunder like timpani and by not shying away from dual guitar heroics that would make the Scorpions proud. The traditional hallmarks of the genre remain at the core, but fold in Billie Lindahl’s fragile, alien vocals and a predilection for chaos and noise over orchestrated soundscapes and the result exceeds far beyond all the usual expectations. The final coda of “October” is the grand highlight, a superb and glorious din and by far one of the most triumphant moments of music in recent memory.

 

Brant Showers

Brant is the mastermind behind all of my favorite projects and an Audiotrauma label mate!

Dolor - “Zero Dead Channel”

After heavily listening to Dolor’s album, Gun City, throughout all of last year (and SISTER the year before), I was extremely excited to learn that he’d be kicking of 2017 with a new album as well. Dropped somewhat unceremoniously on January 4th, the new album includes some interesting changes to Dolor’s sound palette. Bridging from his usual hazy, dusk-hour electronics, Ruby delivers the listener into rich, acidic sunsets and synthetic soundscapes in a way that seems perhaps a bit more self-indulgent than has been previously expressed through Dolor’s work. This doesn’t deter in any way from the album’s great qualities though - to the contrary, as many long-time fans will be more than happy to allow for the notoriously private artist to reflect on his more personal musings. To that end, the inclusion of the description, “this one’s for me,” is an appropriate sentiment to forgive the album’s more exorbitant synth explorations (especially as on the twelve minute ‘Reppin, Reppin’’).

One of the immediate and recognizable changes to Dolor’s production is the absence of engineering by his oft-collaborator, Lorn. For those familiar with Lorn’s specific sonic qualities, his absence will quickly explain the change in tone of this album from Dolor’s previous releases. It’s a bit unfair to place so much responsibility on Lorn’s involvement, but could also point to a specific stylistic decision made by Dolor in distancing himself from Lorn on this particular album. Either way, despite its departures, Ruby still maintains plenty of the unique traits that characterize Dolor’s music and will definitely satisfy his long-time fans. The track ‘Zero Dead Channel’ is a perfect example of prime Dolor material - saturated synth-work, beautifully distant percussive elements, and haunting leads.

Ruby may not evoke the same lush nostalgia as previous releases, but it’s an incredible way to start of the new year and stands strong in maintaining Dolor as an absolute favorite of mine. I’m excited to hear him explore new ideas and look forward to listening to this through the rest of 2017 (and on).

Episode 73 - Michael and Wes

This week we sat down to talk with... wait, this can't be right - this is just our names! It looks like we sat down to talk to each other! This must be because of the cataclysmic snow Portland has been getting.

We took questions from the Telekon Slack channel, leading to conversations about what the podcast has taught us about creativity, what music we're looking forward to this year, and why cats so good (we were split on this last one).

You can find Talking To Ghosts on Facebook and Twitter!

Poltergeists: Week of January 9, 2017

Michael

Mesarthim - “Type III”

Epic, depressive, symphonic with space imagery and synthesizers? Yeah, I’ll take some of that, please. Bandcamp did a great article on Mesarthim wherein the band expressed the need for imagery and emotion in their music. Space and its void became a recurring theme in their music, and I think that it definitely lends an interesting angle to the sound that is well within a set wheelhouse, but specifically its own. The grand nature of the guitar sounds mixed with the choirs and synths lower in the background makes a very full composition of both large halls of reverb and emptiness. In the breaks, where the guitars are gone, and maybe just a piano is playing, you can really see the many talents of the duo.

Type II (E.P.) is one of many releases available on the Mesarthim Bandcamp page.

Mortiis - “En Mørk Horisont”

Mortiis, who I will always associate with great industrial songs like “Marshland” and “Spirit in a Vacuum,” has re-issued his first few albums on Bandcamp, and they are wonderful. It is a really fascinating look at the type of dungeon synth music that was coming out in the early 1990s. Many of the dungeon synth elements would, of course, make it onto intro tracks and various filler elements on notable black metal albums of the time, but to hear a full composition of those influences is, to me, very interesting. There is a mysticism that I apply to the sounds, which I understand is completely fabricated by me, but it makes me nostalgic for the forest and the darkness. This is, in a sense, the root of the music that I aim to make now, even if I have only heard it for the first time this week.  

Mortiis has put up a lot of the early work in various limited edition forms on his Bandcamp page. These releases are also available digitally for the first time.

Wes

Niels Poensgen - “Divara”

I came across this track trolling the Berlin tag on Bandcamp, looking for that ebm/techno crossover sound I love so much. While “Divara” doesn’t cross over into the EBM world, there is a nice emotion to the track that puts it right into my wheelhouse. The building bass and rolling, filtered horns produce a nice sense of almost otherworldliness, and it never feels like it’s trying to go too big or too epic for that sort of reserved emotionality. It is a song that seems to set rules for itself, and creates something wonderful within those rules.

Niels Poensgen is a techno artist from Berlin, Germany. His latest release, Divara, is available via Keller on Bandcamp.

Roly Porter - “4101”

Ambient and drone music doesn’t often tend to grab me. There’s usually something about it that I find hard holding on to. This is not the case with Roly Porter. There’s something demanding in his music. There is a constant tension, a feeling of impending doom almost, that forces you to pay attention to it. It builds up as quickly as it releases, creating a rhythm in the soundscapes of the song that much ambient I hear lacks for me.

The soundscapes are impressive, too. There is so much thought clearly put into the design of this track; there is building vocal samples, little mechanical clicks in the background, little ringing instruments whose providence is unclear. All these sounds combine beautifully to produce that sense of tension and doom. I can easily listen to this track over and over, trying to pick out all of the little details that make it so successful for me.

Roly Porter is an electronic artist from the UK. His latest release, Third Law, is available via Tri-Angle Records on Bandcamp.

Poltergeists: Week of December 26, 2016

Michael

AmeshA SpentA - “Faces”

The depth of this song is crazy. There are so many little elements in the background, especially in the beginning of the song, that stand out so clearly. Sébastien Béné-Le Touarin is a very talented producer and almost every track on the new AmeshA SpentA album, Simplexity, shows that he can compose really beautifully perfected masterpieces. “Faces” is the track that I would choose to show anyone what the entire album sounds like because I think that this one track contains so many wonderful parts that play out in more depth throughout the album. The way that it progresses from this kind of slow breakbeat mashup of plucking strings and subtle shifts in the rhythms to this giant guitar-driven conclusion is incredible. It gets really heavy at the end, but still maintains its clear, subtle nature and that is something that is really hard to do.

AmeshA SpentA is the solo work of the French composer Sébastien Béné-Le Touarin. The new album, Simplexity, is out now on Audiotrauma Records.

Von Magnet - “Growing vs. Fading”

I am late to the Von Magnet party and I am extremely sorry about that! I was searching through some of the older Ant-Zen releases this week and was drawn in by the artwork for Von Magnet’s ni prédateur ni proie: two hands clasped together with black paint dripping from them -- which seems simple, but is very beautifully done. The opening track, “Growing vs. Fading,” is chaotic and compelling in that it contains a lot of call-and-response type vocal exchanges between Phil Von and Flore Magnet. These escalate from just talking softly to each other to a dramatic calling out, switching to an English vs. French dialogue, and then back again to English entirely. It is extremely effective. The music that also escalates under this exchange is subtle and equally epic. Minimal drumming and atmospheric droning pass through a number of variations and additions. There are pauses in the songs that act as false endings, only to come back through again with more elements added.

Von Magnet is a collective project that has gone through a number of variations and incarnations in their long and obscure career. I would suggest going through all of their material, but I started with their 2008 album ni prédateur ni proie, which is up on the Ant-Zen Bandcamp page.

Wes

M‡яc▲ll▲ - “Faceted”

It just wouldn’t be right to let a new M‡яc▲ll▲ release go by unnoticed! M‡яc▲ll▲ continues to build on their past work, making small incremental changes to their presentation and sound. In “Faceted” we can hear almost what feels like a return to a more classic M‡яc▲ll▲ sound; fast moving synth lines, backed up by equally fast bass and shuffling kicks and hats push the song into a level of aggressiveness that I don’t typically associate with M‡яc▲ll▲, but it works very well. We have vocals again from M‡яc▲ll▲, vocoded and obscuring the still mysterious person behind the music. The song evolves quickly over the course of its seven minute playtime, making tonal switches at just the right moments and never becoming boring to listen to.

M‡яc▲ll▲ is a project of the post-witch house diaspora. You can find their latest release, Aberrant Symmetry, on their Bandcamp.

Cursive - “Staying Alive”

I have been listening to Cursive’s The Ugly Organ a ton over the past couple weeks. “Staying Alive” I think captures a lot of what I love about the album; from the twinkling guitars at the beginning of the track, to the noisy, chaotic center, there is always a feeling of raw emotionality, barely contained, always ready to explode. In the end, the cellos sawing gently under the refrain, “The worst is over”, signal a return to the songs early lightness. It’s a beautiful track that I can listen to over and over without ever getting tired of it.

Cursive is a post-hardcore band from Omaha, Nebraska. Their latest album, a re-issue of The Ugly Organ, is available from Saddle Creek.

Episode 71 - Scott Kelly

This week on Talking to Ghosts we talk with Scott Kelly of Neurosis, Corrections House, and Mirrors Of Psychic Warfare! We chatted about starting Neurosis in the time of thrash metal, working on Mirrors For Psychic Warfare with Sanford Parker, and composing a soundtrack to the Oregon Shakespeare Festival’s 2016 production of “Hamlet.” Scott has many tour dates coming up with Neurosis, as well as a Mirrors For Psychic Warfare European Tour!

The play mentioned by Scott in this episode is called “Ruined” and was written by Lynn Nottage. It won the 2009 Pulitzer Prize for Drama.

You can find Talking To Ghosts on Facebook and Twitter

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