#Dark Experimental Sounds

[vempoebooks]

After Midnight

[3liza]

Exits to freeways twisted like knots on the fingers Jewels cleaving skin between breasts Your Cadillac breathes four hundred horses over blue lines You are going to Reseda to make love to a model from Ohio Whose real name you don't know You spin like the Cadillac was overturning down a cliff on television And the radio is on and the radioman is speaking And the radioman says women were a curse So men built Paramount studios And men built Columbia studios and men built Los Angeles It is 5 a.m. and you are listening to Los Angeles It is 5 a.m. and you are listening to Los Angeles And the radioman says it is a beautiful night out there And the radioman says rock and roll lives And the radioman says it is a beautiful night out there in Los Angeles You live in Los Angeles and you are going to Reseda We are all in some way or another going to Reseda someday to die And the radioman laughs because the radioman fucks a model too Gone savage for teenagers with automatic weapons and boundless love Gone savage for teenagers who are aesthetically pleasing In other words fly, Los Angeles beckons It is 5 a.m. and you are listening to Los Angeles It is 5 a.m. and you are listening to Los Angeles I am going to Los Angeles to build a screenplay about Lovers who murder each other I am going to Los Angeles to see my own name on a screen Five feet long and luminous As the radioman says it is 5 a.m. and the sun has charred The other side of the world and come back to us And painted the smoke over our heads an imperial violet It is 5 a.m. and you are listening to Los Angeles It is 5 a.m. and you are listening to Los Angeles It is 5 a.m. and you are listening to Los Angeles And you are listening to Los Angeles You are listening You are listening You are listening To Los Angeles

[womenofnoise]

Yikii is a Changchun-based Chinese producer. When she had her first computer, she taught herself to use Logic Pro for music production. Her creative inspiration stems from her dreams, traumatic experiences, and love for science fiction literature. Her music is inspired by ambient, gabber and post-club, contemporary composition, avant-pop, and nursery rhymes.

[soures: Yikii's bandcamp, radii.co & sonofmarketing.com]

[haveyouheardthisband]

[mist-spectra]

Our 2025 album is out! "Vampire ☥▼Mortuorie" free download it: bandcamp: https://humanfobia-official.bandcamp.com/album/vampire-mortuorie-2025 internet archive: https://archive.org/details/vampire-mortuorie fma: https://freemusicarchive.org/music/Humanfobia/vampire-mortuorie //// also available for stream at most popular music platforms: ytube: https://www.youtube.com/watch?v=CcIdyb_QS6M&list=OLAK5uy_kR7ixbaLMjcN5za3z7sdrhAluLtJhxrBs / spotify: https://open.spotify.com/intl-es/album/3j6xd431PPV1QJAxhH9SmL / deezer: https://www.deezer.com/es/album/722665901 / tidal: https://tidal.com/browse/album/422053712

[finalg111rl]

'CULL'

A drone project made from white noise and field recordings 💽🤍

on soundcloud now

[grhmwtts]

“Snowkidsdigging” & “Lostinthestatic” are out today. 9 minutes of noise, very dear to me 🖤

[zef-zef]

Klein - ray from: Klein - Harmattan (PentaTone, 2021)

[invisibleanimals]

Slow Blink - Memory Care (2022, Invisible Animals)

IA125

[sound-bombing]

Zeroh - BLQLYTE (Leaving, 2020) Genre: Experimental Hip Hop, Abstract Hip Hop, Sound Collage, Dark Ambient Artwork: Zeroh Bandcamp

[secicrexe]

SEE ME SMILING

.

[ I wanted to dive into something interesting about the phrase "I see you see me smiling." Picture a place where light and shadow mix together, and my voice echoes like a thread connecting different realities.

Repeating this phrase feels like a magical chant, floating between what we know and what we don’t. It makes you think: what does it really mean to “see”? Are we just noticing things, or are we peeking into someone else’s feelings, like looking into a hidden book of worries?

My laugh, a little creepy, adds a strange twist. It sneaks in between the words, breaking the silence, like a sweet poison in a bottle of honey. This laugh, like rain hitting wilted flowers, makes you curious but also a bit uneasy. It encourages you to think about your own smiles: are they real, or are they hiding something deeper?

So, when I combine the phrase and the laugh, it raises a big question: who is really watching whom? In this funny dance, we all become puppets on a string, caught between what’s true and what’s not. Welcome to this fun maze of ideas, where every turn shows a new way to look at this simple phrase, changed by the silly and complicated sides of our lives. ]

.

Khalid EL Morabethi

instagram

[deathstench]

Formed ten years ago, DEATHSTENCH released three albums and many eps.. The "Massed in Black Shadow" album was a great obscure and dangerous one..The crown of their sacrifice was their collaboration with Bon Masters Phurpa. John Paul Whetzel and Darea Plantin spells behind this interview.

“Blood Moon Divination” was your latest release. It was released in a limited amount of copies and only in Tape format. Why this choice?

We have always preferred analog releases. We view physical copies as something that should be appreciated.. Let's face it, it's the 21st century, and people do most of their listening through some sort of streaming service. If they like it, they most likely pirate it. We understand this; Our physical releases are intentionally designed for coveting.

We put a great deal of energy into each release. In our past special editions, we have included ritual accouterments that correspond with each album, such as shards of human bone and incense we made specifically for the intent to conjure with the dead.

You have released three albums. Please tell us the concept behind each one and the process of the recordings…Each release turns out to more noisy and dark forms..

To be precise it's four albums, and numerous collaborations and splits. Our releases are not in any sort of chronological order, from conception to the final product takes its own time dependant upon the haste of that particular record label. We record basically the same for each album, building upon a structured theme. Our music is built on layers of sounds from instruments, traditional and otherwise, that we record with either handheld devices or microphones connected to an audio interface which we use to record our percussion and amps.

Each track on "Blood Moon Divination" is an audial ritual recorded and released during each specific Blood Moon in the tetrad cycle of blood moon eclipses of 2014-2015. Through that span of time, these celestial vibrations were available as they were being released on several streaming platforms, including Black Metal and Brews and Repartiseraren. A tetrad of lunar eclipses is extremely uncommon. This was only the eighth of such cycles in over two thousand years. We compiled them together for a physical album that we chose to release during the first exclusive total solar eclipse the United States had seen in over two hundred years. Eclipses, both solar and lunar, are considered to be very inauspicious events throughout the world. As an omen of war, the Talmud regards "If the face of the moon is as red as blood it is a sign that the sword is coming to the world."

"N.O.X." is a transcendent four track journey that starts out violently with the lo-fi black metal track OXEX DAZIS SIATRIS, Enochian for "Vomiting The Head of Scorpions" and slowly transforms itself into a less chaotic discord that concludes with the meditative piece "Mysterivm Tremendvm". N.O.X. or "The Night of Pan", is a mystical state that represents the stage of ego-death in the process of spiritual attainment. The Greek word Pan also translates as All, as he is a symbol of the Universal, a personification of Nature; both Pangenetor, "all-begetter," and Panphage, "all-devourer". Pan is both the giver and the taker of life, and his Night is that time of symbolic death where the adept experiences unification with the All through the ecstatic destruction of the ego-self. In a more general sense, it is the state where one transcends all limitations and experiences oneness with the universe.

"Nekro Blood Ritual", our second album, was designed specifically for its cassette release and is broken into two sections: Conjuration Rites and Burial Evocation. This album focuses on conjuring the dead and the desecration of human remains. This is by far our most atmospheric album; most of the tracks are rely heavily on field recordings and stygian synthesizers to evoke the abject darkness. These songs are reminiscent to the "Incantations in Dead Tongues" era of our work. There are only two conventional (for use of a better term) songs on this album, "Nekrobloodritual" and "Desecrating The Host" the latter being a harsh black funeral doom dirge for the departed.

In our debut album, "Massed in Black Shadow" we utilize all of our influences through the years. Incorporating elements of death industrial, dark ambient, doom, and black metal, and hideously transforming and conjoining them into a writhing mass of absolute filth, a sound truly all our own. The final track, titled “Bastards of the Black Flame” can be considered a motto to us, as it is exactly who we are. The byproducts of an unholy union between some of the most violent forms of music, in both sound and ideologies.

DEATHSTENCH collaborated with Phurpa. How did this Union take form? Are you interested in the theory of empiricism in Bon Religion?

In 2012 Alexei Tegin had discovered our music from our debut album and contacted us. Both Phurpa and ourselves operate with the same meditative qualities regarding our music. Although our sound derives from different spectrums, they coalesce quite vividly. "Evoking Shadows of Death" fuses our ultrasonic vibrations and harsh atmospheres with the harmonious chants and deep, droning reverberations of their tantric voice. These two tracks are designed to help the chod practitioner tap the power of fear. This transformation does not fall spontaneously, as grace, upon the listener: the practitioner must engage in the process. One must take steps to transmute through the aural plane and, through a process in which they must actively participate, requiring utmost concentration and mental stamina. This mystical experience is achieved, not bestowed.

Empirical reasoning has no place in esoteric practices and the occult. These objects are neither phenomena (empiricism) nor human constructs imposed upon the phenomena (idealism), but real structures which endure and operate independently of our knowledge, our experience and the conditions which allow us access to them. Some things cannot be reduced down to empirical measurements.

Thanatology and satanism are your basic influences. How do you define satanism and how death in your personal path?

Deathlore has always intrigued the both of us. There is absolutely nothing more final than Death. Every single one of us will die, as Death does not discriminate. Dying, death and how human beings respond to the inevitability of their mortality and cope with the reality of loss can be viewed from a wide range of perspectives. Our intent has never been to elaborate on our practices or rituals to any audience. Even the altars we allow you to see are set up specifically for public viewing. While they are still symbolic of what we would normally produce for our own rituals, the intent isn't there. It's merely superficial. Our personal altars and rituals will always remain clandestine, as all witchcraft should be.

“Those who know do not speak. Those who speak do not know.�� ― Lao Tzu

I would like to hear your thoughts and if you are into the systems of O.N.A & Temple of the Black Light in theory and praxis as Traditional satanic approach you unveil through your works . Satanism is such an elaborate construct; Atheistic, LaVeyan, theistic, there are so many paths. Satan has always been symbolic with the quest for Knowledge, of opposition to arbitrary authority, forever defending personal sovereignty even in the face of insurmountable odds. Our path cannot be defined by one simple ideology.

We have absolutely no affiliation with these groups.

Does DEATHSTENCH ever perform live?

We are very selective in our live performances. The last show was in Portland, Oregon way back in 2015 when we opened up for MGLA, Weregoat, and Sempiternal Dusk. Alan Dubin (of Gnaw, Khanate) and Billy Anderson, whom we have long collaborated with, did a sort of dueling vocals approach to our fifteen-minute audial assault on an beyond-capacity crowd. This show was recorded by Mateo from Greysun Records who also released it on his label in 2018.

Necromancy is an Old Art Like Time.Ancient Greece had deep roots also in this Subject. Are you familiar with the Ancient Greek Mysteries?

Yes, we are familiar with some of the Chthonic mysteries highlighting mortality and the briefness of life, and the spirits of the blessed dead. Though, like most true paths of esoteric knowledge, not much is truly known about the intricacies of these rituals, having been sworn to secrecy and then lost to the Sands of Time. It has been suggested that communicants would drink Kykeon infused with the psychotropic fungus ergot which helped the initiate to reach a fuller understanding of their purpose in life and to shed their fear of death and this, then, heightened the experience and helped transform the initiate. The same can be said of the Huichol in Mexico, who eat peyote at the completion of long arduous pilgrimages in order that they may experience in the journey of the soul of the dead to the underworld. Death worship and eschatology are celebrated by all cultures throughout time, most with the use of hallucinogens.

I would like to hear your thoughts on these words: “This being true for the ordinary Universe, that all sense-impressions are dependent on changes in the brain we must include illusions, which are after all sense-impressions as much as “realities” are, in the class of “phenomena dependent on brain-changes.”  ― S.L. MacGregor Mathers, Goetia the Lesser Key of Solomon the King: Lemegeton, Book 1 Clavicula Salomonis Regis

In contemporary education, the emphasis has been on the psychomotor and the cognitive, namely reading, writing, and arithmetic, at the expense of the affective, namely, the emotions, the sensual, the intuitive, and the imaginative. Priority has been assigned to the verbal-intellectual skills. Anything else tends to be shelved or boxed and put away as ephemeral, esoteric, or mystical, each of these terms being used in a pejorative sense.

Consider for a moment the human sensory system. To the scientific mind, the senses are perceived to act as a kind of data-reduction system. The problem with this concept of the senses is that we do not respond to all that is potential sensory input. Perception is quite a selective process, attending to only a small fraction of so-called reality.

To some extent, scientist or artist, everything we perceive is "illusory," since to perceive anything at all we must use our imaginative capacity for fantasy.

What can we expect from DEATHSTENCH in the near future?

We have a few albums waiting in the shadows including collaborations with Sektor 304 and LINEKRAFT, as well as another full-length album incorporating both Billy Anderson and Alan Dubin. Time is relative, and there are no promises as to when any of these releases will see the light of day.

[sonmelier]

Avant-cuvée 2025 #2

Backxwash | Only Dust Remains

🇨🇦 Canada 🇿🇲 Zambie | Ugly Hag Records | 41 minutes | 10 morceaux

Après une trilogie furieuse à l’intensité parfois suffocante, marquée par les éclats du metal et des sonorités industrielles, Only Dust Remains amorce un virage sonore significatif dans la discographie d’Ashanti Mutinta. Sans abandonner ses thématiques de prédilection, qui tournent beaucoup autour de la douleur, de la solitude, de la violence (entre autres joyeusetés), la productrice et rappeuse canadienne d’origine zambienne troque une partie de son esthétique abrasive et ténébreuse contre une expressivité plus ouverte, plus mélodique, parfois même lumineuse. Plus épurée, mais toujours aussi habitée, son hybridation entre hip-hop, rock alternatif et musiques électroniques démontre une capacité nouvelle à ménager des respirations, atteignant avec ce supplément de nuances une puissance d’évocation renforcée.

🎧 WAKE UP

Demdike Stare & Kristen Pilon | To Cut and Shoot

🏴󠁧󠁢󠁥󠁮󠁧󠁿 Angleterre 🇺🇸 Etats-Unis | DDS | 50 minutes | 13 morceaux

Pensé comme la bande-son d’un film expérimental de Kristen Pilon, ce dédale sonore hanté et hypnotique ne se contente pas d’accompagner des images : il en projette lui-même, insaisissables et mouvantes mais surtout profondément intrigantes. Tel un puzzle surréaliste agençant voix flottantes, textures électro-acoustiques aux contours incertains, nappes spectrales et échos lointains d’une musique de chambre paranormale, il déploie un univers magnétique qui peut évoquer les travaux de Leyland Kirby ou de William Basinski, mais aussi les fantômes de la Manchester post-industrielle (bien que le film prenne pour point de départ un improbable village du Texas). Le duo mancunien Demdike Stare n’avait plus été aussi captivant depuis son Liberation Through Hearing sorti quinze ans plus tôt.

🎧 Saddle Up

Eiko Ishibashi | Antigone

🇯🇵 Japon | Drag City | 40 minutes | 8 morceaux

Sept ans après The Dream My Bones Dream, avec notamment de magnifiques bandes originales de film dans l’intervalle, Eiko Ishibashi signe un retour aussi feutré qu’envoûtant vers une pop expérimentale, délicatement portée par des arrangements d’une précision rare. Derrière des mélodies au charme presque classique se cache un jeu de textures insaisissable, où chacun des instruments semble prêt à se dissoudre ou à se déformer dès lors que l’écoute se fait plus attentive. La patte de Jim O’Rourke, complice de vie et d’art de la musicienne japonaise, contribue à cette élégance en mouvement qui parcourt le disque. Les musiciens fidèles entourant le couple jouent leurs partitions avec une douce étrangeté, alors que le chant aérien d’Ishibashi vient maintenir un très subtil équilibre et rend absolument limpide cet univers sonore bouillonnant d’idées.

🎧 Trial

Damon Locks | List of Demands

🇺🇸 Etats-Unis | International Anthem | 32 minutes | 12 morceaux

Damon Locks poursuit avec List of Demands un geste artistique rare : celui d’unir la mémoire et la lutte, le collage sonore et la poésie, en une expérience musicale à la fois politique et sensorielle. Membre éminent du label International Anthem, cette communauté créative de Chicago rassemblée autour de l’amour du jazz et de l’expérimentation, celui qui est par ailleurs un éducateur engagé se fait le relai d’aspirations pacifiques et d'espoirs collectifs : plus de beauté, plus d’amour, plus de lumière.

🎧 Distance

Park Jiha | All Living Things

🇰🇷 Corée du Sud | tak:til | 46 minutes | 9 morceaux

Trois ans après le très beau The Gleam, Park Jiha se plonge dans une exploration sonore à la luminosité moins éclatante pour se caler délicatement dans le cycle éternel de la nature. Entre bourgeonnement et dépérissement, croissance et disparition, la musicienne coréenne tisse une fresque instrumentale contemplative d’une élégance et d’une profondeur rares. On y retrouve ses compagnons de toujours — piri, saenghwang, glockenspiel — auxquels s’ajoutent des textures électroniques discrètes qui amplifient encore la sensation d’apesanteur. Une sublime méditation sur la fragilité et la finitude, empreinte de gravité mais aussi d’une forme d’apaisement.

🎧 Grounding

Derya Yıldırım & Grup Şimşek | Yarın Yoksa

🇩🇪 Allemagne & 🇹🇷 Turquie | Big Crown Records | 38 minutes | 11 morceaux

« S’il n’y a pas de lendemain », pour reprendre la traduction du titre de ce quatrième album du groupe, alors célébrons l’instant présent et faisons fi de toutes les cases (a fortiori dans l’expression musicale). Chantant en turc, sa « langue émotionnelle », Derya Yildirim (née et vivant en Allemagne) projette ici sa voix sur des sonorités tout autant cosmopolites que fidèles à ses racines anatoliennes. Odyssée psychédélique puisant dans le folklore comme dans la soul américaine ou le psychédélisme californien, Yarin Yoksa propose une matière sonore chaleureuse, au groove hypnotique et aux mélodies aussi tendues que rêveuses. Un autre magnifique exemple, avec notamment les néerlandais d'Altın Gün, de ce que les artistes issus des communautés turques d'Europe de l'ouest sont capables d'offrir musicalement.

🎧 Cool Hand

[haveyoulistenedtothisalbum-poll]

Tracklist:

Red Velvet Corridor • I Was A Prisoner In Your Skull • Helpless Child • Live Through Me • Yum-Yab Killers • The Beautiful Days • Volcano • Mellothumb • All Lined Up • Surrogate 2 • How They Suffer • Animus • Red Velvet Wound • The Sound • Her Mouth Is Filled With Honey • Blood Section • Hypogirl • Minus Something • Empathy • I Love You This Much • YRP • Fan's Lament • Secret Friends • The Final Sacrifice • YRP 2 • Surrogate Drone

Spotify ♪ Bandcamp ♪ YouTube

[mishalikessoundsandcolours]

I remember how once when I put on both of Syd's solo albums in a row when I was hanging out with my parents in the evening, my mom said something about how Syd's solo music is more accessible or easygoing than Pink Floyd's music. I just think it's interesting since people often say that Syd went insane so his lyrics and songs were getting more mad and ladidadida, but I think that if you listen to songs like Love You, Here I Go, Love Song, I Never Lied To You, Terrapin and so on, I wouldn't say that they sound like something that was written by someone who completely lost their marbles. Yes, the way he writes his lyrics and rhymes words isn't really ordinary, but I think it has more to do with the way he naturally talked and his kind of painterly approach to songwriting. And musically the songs on his solo albums don't sound extremely complicated either – they have that charming touch of whimsy and strangeness like everything he did, but they are still kind of easy to take in and relate to in my opinion – at least compared to things like Dogs, Atom Heart Mother Suite, Alan's Psychedelic Breakfast, Careful With That Axe, Eugene and all that (not that I don't like these songs, I love them a lot but they're just was more experimental or complicated to my ears). Anyways, just wanted to ramble a bit about that.