Locate the Firestone in the New Dead Melodies Album, "Fabled Machines of Old"
Dead Melodies composer, Tom Moore, seems to enjoy his incredible high concept albums, and Fabled Machines of Old may be my favorite of Dead Melodies releases. When last we journeyed with the soundscape maestro, we were thrust into the murky streets of London, with a killer on the loose amid the cloying fog with the album, Crier’s Bane. This time, we are not only given a whole new environ in which to travel, but a whole new world.
The first track unfolds with a sense of wonder - and depending on the listener’s personality - one may even ascribe that sense as almost malevolent, yet, calming. Folk-style guitars pluck languorously among the field recordings as we feel that we are in the very tavern of which the album’s narrative describes… but there is more as ever-present within the sphere of the sonic evocations, there are sonic textures; low-end thrums and booms, mechanical whirrings and other such onomatopoeia are perhaps a good way to describe them. The album’s description would best convey what I mean by this statement.
The story alone commands your attention, and this is certainly the type of high-concept dark ambient that I crave and Dead Melodies has certainly delivered! The tones meander, and yes, this is the cinematic dark ambient of which Dead Melodies is known, but there is a measure and purpose to this music, an overarching tapestry of evocation that helps to carry the imagination along, in a transom, dreamy state, while reading the narratives of the album - we know of wars and of hardships of battles fought in kingdoms with colossal machines that towered over the landscape, we are told of the misery and pain the untold numbers of citizens felt but this is a tale told in the past tense, as our present is with a mysterious bard in a tavern, poring over old tomes to find the Firestone of prophetic importance.
The artwork immediately gives the listener the impressions of popular art style by Jakub Rozalski (Scythe) - an industrial, modern concept, but with a foreboding, technological presence. This artwork is much the same, conveying a sense of scope to the narrative, and I would say that if I had only one complaint it would be that I have no novel, no video game, no tv series to get lost among after listening!
Seriously, this album is a treat, and I must say one of the best ambient albums I have listened to all year. You can pick up Fabled Machines of Old on the Cryo Chamber bandcamp page in CD Digipak or digital formats.
Atrementia is yet another deft display of Robert Koletsky’s mastery over analog soundscapes, and is an excellent mood-piece of atmosphere...
This is the music of pure, unmotivated relaxation, of respite in a world that relentlessly pummels its survivors in a deluge of the mundane, and I am thankful every time I listen to the music of Cesare and the comfort and relaxation it brings.
These compositions deftly weave between evoking emotions of mystery and even awe - the wonder and undoubted trepidation that a human would feel in the presence of a god, but again, merely acting as pylon, while organic instrumentation rides atop.
Musically, this is a relaxed, neo-jazz ambient excursion into atmospheric palates - never once does this album try to take center stage in the mind of the listener, but rather, it is meant to be played in the periphery of the imagination, allowing the mind to wander to the neon-ridden gloom of this darkly-envisioned Las Vegas.
Beginning with languid chantings and laced with eerie, undulating pads, Phantasmora immediately conjures the imagery of a desultory Charles Dickens or Charlotte Brontë setting, filtered in a perpetual grey lens, all while our mind wanders into a home, tinged in bister and beige, tudor-crown finished, yet with intricate coils of wiring and machineries of esoteric purpose lining the walls… this is the music of forbidden paranormal practice…
These songs exactly personify the feelings of purposeless wandering. Soaked in reverb, these benign chordings offer serenity, and at no point is there a feeling of any impetus in the progression of the tracks. This is the perfect soundtrack for one who has shirked their mortal bond, and now finds themselves standing in a ghostly, empty shell of this corporeal reality.
Ugasanie returns with a new, ice-hewn Cosmic Horror droning un travail exemplaire, Cold World Eternity. This is a chilling foray into the frigid, unforgiving North, and the ancient mysteries and stark realities that become unfurled and discovered through exploration. The oblique narrative is just as open-ended and vague as the music contained within, with only the faintest touches of crystalline at the edges of periphery to elucidate the listener engaging in this journey to the far wastelands.
Subtlety and nuance is a penchant for Caldon Glover, and Metrophagy embraces said methodology with gusto, presenting vistas of flesh entwined with wire… as growing pads and thrums of circuit-bent analog pads swell and ebb, punctuated by stabs and strikes of unknown mechanical percussives.
The concept of the album alone is enough to attract sci-fi music fans, but musically, this soundtrack feels akin to the likes of a darker, moodier Vangelis, and at times a languorous Mick Gordon, producing a grand soundscape that combines flesh and circuit.
There are subtleties to the languorous, tonal directions this album takes, each transition softly flowing into the next refrain, evoking the feeling of being lost in an empty world.
Each track of the album weaves a tapestry of soundscapes, evoking both unsettling and calming emotions, sometimes, though, even hinting at eldritch presences, providing a touch of the uncertain - a tremulous dread that is unavoidable when contemplating the vast emptiness of outer space…
Rich in detail and texture, with subtle variations and layers that reveal themselves with repeated listens, this album once again displays a natural chemistry of sound which the two acts compliment between each other.
Interdimensional continues this tradition of intricate sound design, delivering a slow, methodical fresco of subtle drones and gentle uses of harmonic textures - creating an aural blanket of gentle mesmerism, a unique quality to the “space” ambient feel of which Alphaxone is deft at crafting
Dronny Darko and ProtoU are masters at taking their time with a sonic landscape, quietly filling voids in the transom with delicate flourishes of pads and intricate filigrees of soft winds and gentle, inflective tones that even mimic percussion; this is an album for quiet contemplation
The music creates a vivid sonic landscape that evokes the sci-fi atmosphere and the temporal distortions of the story, furthering the feeling of this being a soundtrack to a movie playing in the imagination, and this is among my personal favorite qualities of albums on Cryo Chamber.
The music is the brilliance of Dead Melodies come to the fore, with reserved pads, delicate plucks in cadenced patterns, all slowly evolved to be a blanketing soundscape for the listener to enjoy the soundtrack while their imagination explores the storyline of the album.
The use of modular synthesis gives the music a warm and organic feel, while also adding complexity and unpredictability, an underlying circuitry to the pads and evolving textures that seamlessly weave throughout the music. The scope and breadth of the shifting tracks create a film in the mind’s eye, which is precisely what albums of this type are meant to do, and the film created by this album is rife with sci fi elegance and dark grandeur.
Known for his ability to craft otherworldly atmospheres, Metatron Omega delves even deeper into the concepts of theological and interpersonal inference, mixed with the timbre of abyssal and cosmic aesthetics with Kataphasis.
These tracks are an amalgamation of ambient texture, orchestral prose at times, and even Berlin school stylings - reminiscent of Klaus Schulze - while at the same time maintaining its cinematic ambience and soundtrack feel.
“…the transitions between the evolving pads are delicate, and never washed with excessive reverb; rather, each element is handled with a deft craftsmanship, and the subtle and delicate mix gives each song an intimate feel.”
Cryo Chamber has an inimitable capability of presenting trepidatious moods coupled with mystery and compulsion to explore further, and the Tomb Series has excelled in its presentations…
Gdanian has a wholly unique approach to the genre of dark ambient, with a blatant use of electronic voice and overt presence, showcasing an interplay between ambient atmosphere and a cadence that rhythmically pulses in the foreground, yet maintaining the mindset and presence of subtleties.
Sometimes dark, many times dreamy, these tracks are each wholly unique, and yet collectively blend to create a comfortable blanket of evolving sonic textures that slowly massage the transom…
Beautiful choir pads and layers hover about, while field recordings keep the listener tethered to the ground; a desolate expanse, alien, and filled with life, and the entire album keeps the feeling of mystery present throughout
[The Weight of Regression is] a languid fresco of chorded pads and somber keys, lilting between ominous mood and atonal ambivalence.
…a culmination of four hours of Cesare Alexandre’s subtle mastery with his gossamer ambience. Gentle rains and field recordings wrapped in subtle blankets of warm synth pads and soothing atonal raiment abound in this release, reminding us once more of the gentle brilliance of the composer.
These musings almost feel like a sonic blanket falling upon the minds of the listener; it is an audio manifestation of the words of Jim Jones slowly enrapturing his disciples, with subtle glitches, and slight manipulations of the tones which add an unsettling nature to the serene backgrounds.
Tribal drums pound loud and deep through the tracks of the album, their dolorous, martial cadence a lumbering, kinetic propulsion drawing you inexorably closer to the rituals and practices within this primordial forest, but never in a hurry, nor in any perceptible rush - rather, this album moves of a whim all its own, slowly drawing the listener into its mysteries.
These are sounds that echo to the listener from beyond the veil of time, and the album does an excellent job of presenting this aesthetic, as if the listener were in a trance, and hearing fleeting remembrances of notes and stanzas in the transom of forgotten history.
A delicate weaving of field recordings and manipulated electronics are used interchangeably, as the songs gently evolve into each other, the former coalescing to the latter, all while sitting on atonal beds of ambient warmth, signature flourishes from ProtoU.