Posts Tagged ‘Atmospheric’

Abel Autopsy – uunder

Posted: 6 April 2026 in Albums, Reviews
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20th March 2026

Christopher Nosnibor

With his debut release, Abel Autopsy makes his ambition clear, announcing that uunder is envisioned as a journey within a three-part series, with the next two releases in the series being overr and outt, and promising ‘dark, melancholic, shapeshifting worlds that slide between light and shadow’. Although the inconsistency of the double letters on this first release from those projected to follow disturbs my sense of necessary balance, I can close my mind to it while opening my ears and concentrating on the music.

The nine tracks take the form of layered, atmospheric synth-dominated compositions, and Abel Autopsy sets out the context for these thereal works, which evoke haunting (super)natural landscapes by electronic means.

“This started in my youth – pulling apart various musical instruments (battery powered) while in the woods of Appalachia. There was an eerie, ethereal vibe almost like something ‘other’ in the wilderness with me. That permeates through all of the songs and is woven in the mental tapestry throughout. This album is an exercise in capturing that – the balance between light and shadow, feeling another ‘presence’ with you that is not entirely from here.”

The vocals on ‘ghostride’ are muffled, indistinct, the words – if there actually are any – indecipherable, serving more as another instrument than anything else. The pieces are bold, sweeping, cinematic, the ambient tendencies given form by solid mechanised beats which are up in the mix. ‘unfound’ and ‘gates’ land in the space between later Depeche Mode and Nine Inch Nails, the latter also spinning in dance tropes and the haunting monasterial sounds of Enigma music.

He is very partial to the big thunderclap blast when making a change in key or tempo, or simply stepping up the drama – perhaps excessively so, as there are moments when things do feel a bit formulaic – something compounded by the comparative uniformity of the track durations, which are all within the range of 3:01 and 3:37 (three of the nine have a run time of 3:37).

‘mycenae’ tweaks the template to accentuate the contrasts between light and dark and thanks to a super-full, extra-low bass, goes darker than anywhere else on the album, and the crackling static which fizzes through the introduction of the heavier, more distorted ‘nihill’, which concludes the set, brings a sense of decay and a doomy finality.

There are some neat ideas spread across uunder, and the execution is similarly neat, with a clear attention to detail. More variety, particularly in terms of tempo and dynamics would likely create greater impact, but it’s a promising start, and it will be interesting to see how Abel Autopsy evolves over the next instalments of the trilogy.

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Fågelle – Bränn min jord

Posted: 27 February 2026 in Reviews, Albums
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Self release – 27th February 2026

Christopher Nosnibor

‘Riv mig’ is so quiet at first you can hear slight shuffles during the introduction, but it builds, first with the vocal intensity, her voice cracking slightly, before the instrumentation explodes. Nothing could be more fitting for a song the title of which translates as ‘Demolish Me’, and the beefy electro groove at the start of the segmented and transitional ‘Before the Moths Get In’ is prefaced by a brief interlude in the form of ‘Skogsskrik 1’ which contains the faintest of ambience and a raw, primal scream. The title’s translation ‘Forest Scream 1’ is self-explanatory, and this seems like an appropriate point to delve into what Bränn min jord is really about.

In a sense, it’s about homecoming, but it’s also so much more. The accompanying notes are worth quoting at this point:

‘The inland of Halland, a patchwork of forests and abandoned mills in southern Sweden, is the backdrop for Fågelle’s most personal album yet… After years in Berlin and Gothenburg, she returned home — not out of nostalgia, but as an act of reclamation. She wanted to reconnect with the soil that shaped her and let something new grow from what had been left behind.

‘Bränn min jord (“Burn my soil”) grew from this process of renewal. Its title references the tradition of burning the ground to spark new life — a metaphor for the personal upheaval and rebuilding at the heart of the album. The music explores the tension of growing up somewhere you know you’ll have to leave, yet which keeps pulling you back. It speaks about identity, memory, and the hidden emotional landscapes of overlooked places.’

Here in England, we used to burn stubble in fields of corn and when after harvest. The practice was ended a good time ago for environmental reasons – the smoke and emissions were grim – and while the practice of heather burning on moorland continues, it’s been subject to significant reduction of late. We burn less soil, but still we do, and for the precise purpose of clearance and renewal. And there is much to be said for the power of the purge, the clearing of dead wood – and not just in the physical landscape.

Returning to a place can be difficult, too; reconciling the changes which have taken place, the difference between the past and the present. All of this feeds into the wide-ranging forms of this detailed, crafted album. ‘Det blev våra liv’ is unexpectedly poppy and light, but rather than feeling at odds with the main body of work, it feels like part of the natural flow of a work which is already rooted in nature.

The album’s form is shaped by brief interludes, with samples and fragmentary segments sitting between the ‘proper’ songs, and rather than interrupt the flow, they add to the depth of this exploratory work.

Title track ‘Bränn min jord’ is nothing short of epic: it’s poppy, but also operatic, cinematic, and essentially encapsulates the while of the album’s form in four dramatic minutes, and ‘Satans jävla fan’ is powerful and dense, worthy of comparison to Big | Brave, with whom Fågelle toured in 2022.

Bränn min jord is not an album which conforms easily to any specific genre. It’s expensive epic. It’s post-rock, but its more, so much more. But genre definitions are only so helpful anyway: what matter is that Bränn min jord is a great album, rich in emotional resonance and heavy atmosphere.

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Listen: ‘Odyssey Limen’ by The Moon and the Nightspirit

Posted: 26 February 2026 in Singles and EPs, Recommended Streams and Videos
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The Moon and the Nightspirit reveal the new track ‘Odyssey Limen’ as the next advance single taken from their forthcoming album. Seed of the Formless has been chalked up for release on April 17, 2026.

The Moon and the Nightspirit comment: “The song ‘Odyssey Limen’ represents our new album’s most intense and dynamic peak – a relentless, metallic journey that mirrors the ultimate spiritual metamorphosis”, Ágnes Tóth states on behalf of the duo. “This track charts an inner cosmic voyage that culminates in the profound realisation of one’s true nature. It is the sonic embodiment of catharsis, where all form and doubt are shed in a final, explosive awakening – the most aggressive point on our path, capturing the moment of pure, unbound becoming.”

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With their eighth studio album Seed of the Formless, The Moon and the Nightspirit have reached a crossroads in their ever changing path. A deliberate and significant sonic mutation has created a leap in their stylistic evolution. While the Hungarian duo’s deep roots in ethereal folk remain audible, Seed of the Formless marks their conscious journey into the heavier realms of atmospheric post-metal.

The Hungarians’ embrace of electric guitars and vast synth soundscapes to channel what they describe as a more cosmic and visceral energy, as compared to the whispering of forest and meadows in their musical past, makes perfect sense at this stage of their sonic evolution. As The Moon and the Nightspirit navigate the space between shadow and luminescence, the parallel contrast between the acoustic and the electric as well as their subsequent amalgamation, they unlock the gates to a vast realm of new possibilities.

The Moon and the Nightspirit view their creative process as a spiritual practice. To them, music is not just written; it is channelled through meditation, connecting with nature, and the exploration of philosophical concepts about consciousness and the formless void. These are not just themes, but direct gateways to their compositions.

The Moon and the Nightspirit were founded in 2003 when Hungarian singer as well as piano and violin player Ágnes Tóth joined forces with guitarist and vocalist Mihály Szabó. Their original style has been variously located in the ethereal, pagan, and neofolk realm, which was emphasised by the use of instruments such as zither and woodwinds. A dose of melancholia, dreamlike and sometimes eerie soundscapes as well as lyrics revolving around fantastic, mythical, and shamanic themes quickly carved them their own niche and a dedicated following, starting with the debut full-length Of Dreams Forgotten and Fables Untold (2005) and growing with each following album until Aether (2020).
There will always be those who oppose any change, but as true artists The Moon and the Nightspirit  acted on their need to evolve further. The result is Seed of the Formless, which is drawing from atmospheric post-metal and ambient, while the duo’s soul remains intact: mystical, yearning, and eternally bound to the infinite!

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KEE.– Sound

Posted: 2 January 2026 in Reviews, Singles and EPs
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Christopher Nosnibor

The debut single from Nottingham band KEE. is a rare beast – it does something different. Sure, they’re an electro act who’ve been described as ‘Portishead on steroids’, but there’s a whole lot going on here. Yes, there’s a noirish aspect to the sound, and a haunting female vocal which has undeniable shades of Beth Gibbons about it. It’s also muted, low key, with something of a vintage analogue feel. But then there’s some twanging guitar soaked in reverb and it’s more desert rock than country, and suddenly, as if from nowhere, an urgent drum ‘n’ bass beat pumps in, jittery, frantic, like a fibrillating heart, an anxiety attack arising inexplicably in a moment of tranquillity.

The accompanying video – shot in part artful black and white, naturally, the rest blurry – captures and enhances the tense, dark atmosphere.

The groove builds as the track progresses, but so does the tension, and the abrupt finish seals it. It’s exciting, and promising, and I want more.

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In A House Of Heartbeats – Divination of Dreams

Posted: 30 December 2025 in Albums, Reviews
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Ripcord Records – 16th January 2026

Christopher Nosnibor

What do we know about In A House Of Heartbeats? Personally, nothing, and I can’t be alone in that, so will draw on the band’s bio to provide some necessary insight by way of an introduction: ‘Emerging from the shadows of Essex’s underground scene, instrumental trio In A House Of Heartbeats have been quietly sculpting soundtracks for euphoric nightmares since 2022. Their music, steeped in atmosphere and cinematic tension, walks the line between dream and dread, an ever-shifting blend of post-rock, doom, goth, and shoegaze, filtered through inspirations that reach far beyond the musical world.

‘From arthouse cinema and silent film to folklore, myth, and the murky corners of the subconscious, the band construct deeply absorbing sonic “journeys” rather than conventional songs. It’s a style that encourages deep listening: passages unfold with deliberate patience, building from whispered ambience to tectonic weight, always leading the listener somewhere unexpected.’

They pack pretty much every musical aspect of their broad range into the album’s first track, the behemoth that is ‘In a Perpetual State of Wonder’. A hiss yields to a drone before a colossal riff and soaring lead guitar crash in on a surge of powerfully atmospheric post-metal portent… and that’s just the first minute and a half. Spindly gothy guitars weave spidery webs over rolling tribal beats before the next round of the riff. Towards the end, the pace picks up, and drags the listener headlong into a thrumming tremolo-driven blast that’s like a black metal My Bloody Valentine. I went for a seven-mile walk this morning, and it took me just over two hours but it was nowhere near as mentally and physically intense or exhausting as this eleven-minute blizzard of guitars.

Next up, ‘Cambion’, which first surfaced back in December 2024, is altogether more sedate, at least initially, with a chiming, almost folk-infused prog-flavoured intro creating a calmness before the inevitable storm which pounds in with a sustained post-rock crescendo before things get heavier… and heavier. The level of detail, the attention to texture and the frequent twists and turns make this feel like an entire album compressed into a single – albeit lengthy – track. Along the way, chunky bass rips and guitars chime and soar, and I find myself thinking I must be into the next track, but no.

The sample-laden post-rock drift of ‘Parasomniac’ (that would be someone who suffers from the effects of ‘a category of sleep disorders that involve abnormal movements, behaviours, emotions, perceptions, and dreams that occur while falling asleep, sleeping, between sleep stages, or during arousal from sleep’ (according to Wikipedia)) is reminiscent of Maybeshewill, and provides a welcome interlude between the epics before ‘Oneiromancy for Beginners’ lands with the gutsy punch of Andsoiwatchyoufromafar – surely one of the most remarkable and potent riff-driven acts to have emerged from the early noughties post-rock scene. This is a band bursting with ideas and bursting with energy.

The final two pieces, in combination, form a whole, as the Shakespeare-referencing titles suggest: ‘Drift into Sleep…’ bleeds into ‘…Perchance to Dream’, with its title casting a reference to Hamlet, to forge a twelve-minute opus that begins with a ticking clock and a sample from a guided meditation recording which is almost a carbon copy of a recording used for Cognitive Behavioural Therapy (CBT). It’s likely uncomfortable for anyone who’s been through it, and I find myself squirming through the juxtaposition of soothing, flat vocals and churning noise, but suspect that’s part of the objective here. It’s disorientating and challenging, the second part conjuring atmospheric distortion and endless space with ambient tones and bold sonic washes, before slowly strolling towards an immaculate conclusion, defined by a smooth, swirling climax.

Divination of Dreams certainly delivers on the promise of ‘an ever-shifting blend of post-rock, doom, goth, and shoegaze, filtered through inspirations that reach far beyond the musical world’, and it would be impossible to deny that the end result more than achieves the ambition. Everything about Divination of Dreams is immense, from its ambition to its overwhelming listening experience. It simply covers so much ground – and does so with a rare confidence and finesse. It’s a rare beast, and a spectacular work.

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Photo: Charlie Hill

Falling You – Metanoia

Posted: 17 December 2025 in Albums, Reviews
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Projekt Records – 1st December 2025

Christopher Nosnibor

Having recently written on the retro qualities of Lowsunday’s latest release, the latest hot landing in my inbox is from another act which is preoccupied with a previous time – and who can blame them? I am painfully aware that old bastards like me constantly bemoan the shitness of the now while reminiscing about the golden era of our youth, and it’s no different from boomers still banging on about The Beatles and the music of the 60s and 70s as if time stopped when they hit thirty or whatever. There is a lot – a LOT – of exciting new music coming out right now, and much of it is pushing boundaries in unexpected directions. I for one will never cease to excited by this. But there is a significant amount of music emerging that draws its primary influences from the eighties and nineties, created by artists who simply cannot be drawn by nostalgia. Falling You are a perfect example.

Metanoia is pitched as being for ‘fans of 1980s 4AD dreampop (This Mortal Coil, Dead Can Dance), ‘90s shoegaze (Slowdive, Lush), or the darkwave / ethereal / ambient-electronic releases of the Projekt label (Love Spirals Downwards, Android Lust). It’s quite a span, but the fact is that this is a release with its inspirational roots well in the past. It pains me to be reminded that 1995 is thirty years ago when it feels like maybe a decade. The cover art of previous releases very much state shoegaze / dreampop, and while this album accompanied by altogether moodier artwork, which may in part serve to reflect the album’s title, it’s nevertheless hazy and evocative at the same time. ‘Hazy and evocative’ would be a fair summary of the album itself, too, and the dreamy / shoegaze elements are countered by some really quite unsettling spells of rather murkier ambience.

It starts strong with the bold swell of steel-stung acoustic guitar and a strong vocal – I’m not talking about a Florene Welch lung-busting bellow, but a controlled and balanced performance that really carries some resonance, and it’s mastered clear and loud… and then things swerve into a more electronic, almost dancy territory. Immediately it’s clear that this is going to be less an album and more a journey, and ‘Demiurge (Momento Eorum)’ immediately affirms this with its spiritual incantations and sonorous, droning rumblings.

‘Alcyone’ is the first of the album’s ten-minute epics, and it uses the time well: that is to say, with shuffling drums, spacious synths and layers of lilting vocals, it’s very much distilled from the essence of The Cocteau Twins, and slowly unfurls with an ethereal grace. A delicately-spun pop song at heart, the extended end section tapers down to a softly droning organ.

While the atmosphere is very much downbeat, downtempo, understated, one thing which is notable is the album’s range: ‘Ari’s Song’ is built around a soft-edged cyclical bass motif, around which piano and synths swirl, mist-like, the drums way in the distance, and even as a disturbance grows toward the end, it’s so far-away sounding, and the song itself, beyond that ever-present bass, barely there, and the same is true of the dank, dark ambient echoes of ‘Inside the Whale’. If ‘Ariadne’ is another shimmering indie tune hazed with fractal electronic ripples, the second ten-minute epic, ‘They Give Me Flowers’ provides a suitable companion piece to ‘Alcyone’, swerving from a brooding country and folk-tinged song with hints of All About Eve, and the album’s final track, ‘Philomena’ effectively completes the triptych, pulsing along gently and dreamily before slowly tapering away to nothingness. It’s a fitting conclusion to an album which at times is so vaporous and vague, it’s barely there – which is precisely the design. But in between the hazy drifts and particle-like waftings, there are some beautifully atmospheric and utterly captivating songs with strong leanings towards the dreamy pop side of indie. In terms of achieving an artistic objective, Falling You have absolutely nailed it with Metanoia.

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Falling You - Metanoia - cover

Watch: ‘Love Language’ by lowsunday

Posted: 14 December 2025 in Recommended Streams and Videos, Singles and EPs
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Projekt Records artist Lowsunday emerges with their first record comprised of all-new material since 1999, bridging three decades of distinct sonic legacy. The Low Sunday Ghost Machine – White EP delves into emotional isolation, this music laced with a counterbalance of escapism, dreamlike sounds, drones and feedback, with carefully-placed classic song structures with melodic hooks. This is the first of a two-EP series being released via Projekt.

Based in Pittsburgh, Lowsunday is now a duo made up of Shane Sahene (vocals, guitar, synth, bass, drums) and Bobby Spell (bass, guitar, drums), this EP serving as both a reflection and a resurgence. The band also presents their new video for ‘Love Language’.

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Blurring the lines between post-punk, shoegaze, dreampop, and darkwave since 1994, Lowsunday brings something new to the music scene, treading sonic waters with screeching guitars and layer upon layer of arsenic-laced melodies, crowned with bittersweet and emotive vocals. From quiet intensity to sweeping sonic landscapes, Lowsunday makes a welcome return with their retro-futurist daydream.

The White EP demonstrates a connection to the band’s history while showcasing a natural expansion that builds upon guitar-driven atmospheres, synth textures, emotive vocals and stripped down drum beats. A confident return to form that explores darker yet more expansive sonic territory, at times, they push atmospheres to the limits of noise and, at more delicate moments, into a dream pop air of deeper melancholia.

Sahene and Spell distill years of sonic exploration and inspiration into this release. Lyrically and sonically, these songs use classic post-punk rhythms and atmospheric layers to express simple, fundamental emotion.

This five-track EP arrives on the trail of the extended 30th anniversary remaster of their debut album Low Sunday Ghost Machine a 2-CD feast recorded at the height of their ascent. The original nine tracks are complemented by a second disc with seven unreleased tracks, remixes and reinterpretations. Projekt also released the 25th anniversary remaster of their sophomore album Elesgiem in 2024.

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Watch: ‘Fish-Like Things’ by Suspicious Liquid

Posted: 30 October 2025 in Recommended Streams and Videos, Singles and EPs
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Relative newcomers Suspicious Liquid have crashed the York scene in a big way with some powerful live shows, and now, with an album in the offing, they’ve gifted us with a video for ‘Fish-Like Things’.

It’s the perfect introduction to the band – melding elements of stoner / doom, prog, psychedelia and even a hint of jazz, and driving them home with some big riffage, ‘Fish-Like Things’ encapsulates the weird and wonderful sound of Suspicious Liquid. The accompanying video is suitably dark and twisted, and locals have the added bonus of being able to play ‘identify the location’.

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Watch: ‘Beyond The Veil’ by ATMAEN

Posted: 24 October 2025 in Recommended Streams and Videos, Singles and EPs
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Italy-based melancholic ambient artist ATMAEN has released the song ‘Beyond The Veil’, taken from the artist’s new EP Lullabies From The Dark Ether, out on December 12th via Inertial Music. This latest work is meant to be a bridge to cross the line between being awake and falling asleep.

Lullabies From The Dark Ether is music that flows gracefully in the quiet darkness of the night, like an owl flying silently, lifting the veil between the world of daylight and the world of dreams. Otherworldly soundscapes create the frame within which soulful melodies unfold. Wordless vocals seem to come from a different dimension. They flow and blend with the synth sounds, creating a rich evolving sound tapestry, to drift into dreams as wide as the universe. Some songs also feature a beautiful heavily processed piano that sounds like it’s coming from another world, yet speaks directly to the listener’s soul. A gentle invitation to feel lighter, to let the mind dissolve in the night sky, to let the spirit roam free and blend with the vastness of space.

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ATMAEN is a project created by Valentina Buroni. She’s a singer, a songwriter, and a researcher in the field of sacred ritualistic chanting and of self-transformation through sound and music. Her songs are prayers, invocations to the spirits of nature, sacred chants to connect with the spiritual dimension, medicine chants, sonic journeys and meditations to expand the consciousness. She creates dreamlike, magical, otherworldly atmospheres in her songs. She is influenced by Celtic music, folk music from Western Europe, ritualistic chants of contemporary indigenous cultures, electronic music, ambient music and movie soundtracks.

Valentina is trained in early music singing, modern singing, Irish traditional singing, overtone singing, Gregorian chant singing. She also plays the frame drum. She is a dance therapist and a professional holistic operator with more than 20 years of experience in the use of voice and singing for personal growth and well-being.

She has released 7 full-length albums with different music projects (Dragonheart Records, Standing Stone Records, Inertial Music) ranging from heavy metal, to electro-acoustic ambient, to world folk music. She has played big festivals like Triskell Celtic Festival, Nomad Dance Fest, and Wave Gotik Treffen.

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ATMAEN Photo 2 by Roberta Lo Schiavo

ATMAEN by Roberto Lo Schiavo

Listen: ‘Ultraviolet’ by Ventenner

Posted: 14 August 2025 in Recommended Streams and Videos, Singles and EPs
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After rising through the ranks steadily from their 2014 album Distorture through to 2017’s Invidia record and following a series of EPs and singles, alternative rock hybrid outfit Ventenner return with new EP Slow Dissolve on 31st October (Athanor Records). Known for flawlessly blending metal, atmospheric electronics and doomy riffs, this latest release marks a new era for the band, following a number of years of major changes and upheavals. Though the concept of change has been a constant theme that has run through Ventenner’s music. Frontman Charlie Dawe comments,

"A lot of my music over the years has centered around the idea of something ending and something new beginning. There’s always been a strong theme of death and rebirth in the approach. These were normally restricted to the lyrical themes and to a personal level, this time however it was more about the band as a whole and a concept.

We had got to a good point by the end of the decade. Our 2017 album Invidia had been a success, so had the subsequent singles we released in its wake. It had opened doors to big shows and big tours, management, a publishing deal, tipped as the next big thing etc etc. After the lockdown, we had some key line up changes that didn’t end on good terms, and I spent the following years releasing Ventenner albums and EPs with fellow long time member Luke Jacobs. But the way things were, the industry was on pause still, and our momentum had stalled."

Despite those releases being some of Ventenner’s best work to date, it all came to a head in 2023, with their first step on to the stage in 4 years. Charlie explains,

"The newly joined RomyBen-Hur and Ted Nieddu, both on guitars and backing vocals, came along for the trip and musically it was great. The tour was fun, the people who came said we were on our A game, but it was stressful and difficult and without the support of our agent (who had quit the business in covid) it wasn’t a success. Personally, my life was in a similar situation. Having made some difficult decisions to move on from people and things, done the therapy thing, I had no idea where I fit in to music any more, if Ventenner was still a thing or ever would be, generally an existential crisis and cataclysmic shift on every level.”

After nearly 20 years in London, Charlie admitted defeat, closed his record label and moved to the wild coasts of Rural Suffolk. Away from the pressures of living in the capital, he got sober, ran in the woods every day, immersed himself in a burgeoning career as a film score composer and thought that maybe, that was it…. Charlie adds,

"We had put out an album in 2024, Exit Manual, which was the most startlingly apt title I’ve ever come up with for what I and the band were going through at that point. For me it was probably a swan song and it was time to bow out, quietly and without applause.

At some point, whether it was the newfound clarity and productivity, the letting go of negative elements, or just being away from everything and being ‘on the outside’ of the industry, something just sparked. I had a few things left over from the previous album sessions that didn’t fit, and some ideas I had from a side project called Last Sign which never really came into full bloom. So I started writing for Ventenner again, not because I thought I had to or I had something to prove like the last 10 or so years, but just because I wanted to. I had been writing a lot out here, both for solo work and soundtracks, and it was flowing easily. The long drawn out slow dissolve of the last 10 years was not the demise I had thought it was, rather just a very gradual reveal.”

The results are the Slow Dissolve EP, now once again a solo project with Charlie handling all the music and vocals, this is the sound of an artist refreshed, refocussed and reenergised across 4 new tracks of dark heavy rock & metal, underpinned with atmospheric textures. Essential listening for fans of: Nine Inch Nails, Filter, Smashing Pumpkins, Deftones, Failure, Tool & Massive Attack with Cold in Berlin vocalist makes a guest appearance on ’Sway’.

Today sees the release of first single ‘Ultraviolet’ which according to Charlie, “is about examining things close up. Things that are only visible under a certain light, but are there all the time and affecting everything we do. This song, and this record, is about finding the hidden reason in our actions. Things that wanted to stay hidden for our own protection, but need to be uncovered if we ever want to move forward.”

Listen to the track now:

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