[Music] Various Artists – Anthology of Electroacoustic Lebanese Music


When he’s not working on his own music as Sonologyst, Raffaele Pezzella of Unexplained Sounds captures a lot of attention by releasing travelogue compilations covering the best of experimental and dark ambient music from various countries and regions. This one may well be his crowning effort.

All of these, with the exception of Sharif Sehnaoui, are unfamiliar names, but the sounds, which range from slow, churning, rhythmic drone to post-Industrial noise, the compilation introduces what I’m hoping is an energetic crop of new music composers whose influence will spread quickly both inside and outside the Levant.

Could a Syrian or Iraqi electroacoustic scene be next?  I surely hope so!

[Music] Hviledag – Minder i Fire Satser


Hviledag is the moniker of Anton Friisgaard, who has an EP due for release on September 22.

Listening to it, it seems Anton has captured the spirit of the best of 1970s Kosmich Musik out of Germany (think Cluster/Kluster and the solo releases by Hans-Joachim Roedelius and Dieter Moebius [RIP], Tangerine Dream and Klaus Schulze during their peak in the mid-1970s, and even pre-robot Kraftwerk).

Don’t think, however, that this is some boring copy of the masters.  Anton brings fresh ideas to the genre.  The recording quality, however, is so familiar and comfortable to me that if this release were to come out on vinyl, I would be thrilled to listen to it and place it along with the greats mentioned earlier.

[Music] Ataşehir – Colorful Places to Live and Play


Ataşehir is the side project of Sumatran Black, an expatriate residing in the Anatolian side of Turkey.  The music roaring out of my speakers sounds, in part, like a black-ambient version of a 1950s B-Movie sci-fi soundtrack (trust me, this is a high compliment, considering my brother and I grew up as fans of the film genre and the music it produced) and a touch like the end of the movie Solaris, where film composer Eduard Artemiev goes into a drone which grows louder and louder until it crescendoes.

There is an amusing irony that the song titles, as Ataşehir mentions on his site, “are taken from aspirational advertising slogans of various residential developments from around the world.”

There is a bleak, black beauty to this album.  It ends with a progressive-rock length final track clocking in at 48 minutes. Colorful Places to Live and Play Bandcamp Exclusive Compilation Version. . As it turns out, it is the least brutally dark track on the album, making for a pleasantly drony listening experience.

[Music] Necromishka – The Space Between Us

This is another weird, nearly terrifying, yet wonderful work from the nexus of musicians floating around Tel-Aviv and involving Tamar Singer.

Necromishka continue the neofolk tradition, mixing it with some of the hallucinatory vibe which gave early Current 93 its power.  The vocals in Beast of Prey, for instance, are slowed down to something so eerie that they should have belonged to a character in a David Lynch movie.

The other tracks give the feel of the soundtrack that should be made, if anyone is insane enough to try it, of Isadore Ducasse’s ur-Surrealist masterpiece, Les Chants de Maldoror.

[Music] Santiago Fradejas – Electric Guitar Vol. II: Yeshua


Our friend Santiago Fradejas has returned with his most powerful album to date. From what I understand, these soundscapes were all done with an electric guitar. He makes the most out of his weapon of choice, convincingly straddling the terrains of instrumental amplified guitar music, post-Industrial, and a very eerie take on contemporary classical/avant-garde music.

[Music] Destruktionsanstalt – Cerebrum Daemonia


Our friends Destruktionsanstalt make their fourth appearance on the blog with one of the most brutal post-Industrial music releases I’ve heard in a while.  Per Najbjerg Odderskov is one of the few composers working in this genre who understand the original Industrial music ethos thoroughly, and it shows in his (very brutal) work.

[Music] Leila Abdul-Rauf – Diminution


The first time I came across San Francisco, California resident Leila Abdul-Rauf’s name was when she was playing with the all-female avant-garde metal/dark ambient band Amber Asylum.  She has become a far more powerful musician as time has passed (if you know anything about her previous work, that’s very high praise), and, given the brutal darkness of the one track shared, this new album should end up quaking my speakers rather badly (and yes, I’m looking forward to that).

The album is due to be released on April 13.