Posts Tagged ‘SINthetik Messiah Ambient Noize’

13th April 2021

Christopher Nosnibor

I love an album that carries a warning. In the case of SINthetik Messiah’s full-length debut, Ambient Noize, we’re advised ‘Caution: When listening to the album with headphones the music may cause a form of psychosis, listen with caution’ (although we’re also advised that ‘All music on this album is meant to be listened to through headphones’. Is the Messiah wanting to fuck people up? Or just warn off the kind of people who may not appreciate an album ‘inspired by Ambient and Drone music from around the world’?

The album’s eighteen tracks are simply numbered, AN01-AN18, and due to the multitudinous influences absorbed within its fabric, while all existing within the broad sphere or dark ambient and drone, there is a considerable diversity on offer here. It’s rich in atmosphere, deep, dark, and dense.

If the title seems perhaps like a contradiction, the pieces tend to be either one of the other, and sometimes a collision of both, and while the ambience is often of a darker, rather more eerie persuasion, the noise is dense, abstract, and sometimes harsh.

‘AN01’ arrives with a low, sonorous drone and a crackle of degraded samples, and slowly throbs and eddies in a cloud-like drift, and the tracks run through in a seamless sequence that feels like a continuum. ‘AN03’ slithers and slides, the rasping breath of a dragon that rumbles and bursts before diminishing slowly to silence. ‘AN04’ plunges cavernously deep, dark depths, while a sing-song vocal sample collides with billowing harsh noise on ‘AN05’, while ‘AN06’ gyrates in slow-mo around a deliberate beat, and while there’s a speculative, shifting aspect of the album, there’s also a certain trajectory, and it’s downwards and into darkness from hereon in, as dank rumblings dominate the ever-more oppressive soundscape.

‘AN09’ marks a shift, with something of a folksy element, and with brooding strings alluding almost to a ‘Black Sails’ shipwreck pirate folk vibe, spun in with something more Japanese in origin, and it’s here that the album begins to develop new layers of interest.

And so it goes.

But what of process? It wasn’t perhaps as mystical as all that, when we learns that ‘the album’s creation, by Cajun front man Bug Gigabyte used vst synthesizers, field recordings and Garageband’s Electronic instruments on the Iphone’. Guess it just goes to show you don’t need the best kit and a full studio to capture something intense or professional-sounding. But then, ‘Grammy – nominated engineer, Joe Haze (The Banishment) then mastered the album by recording every track onto tape at 30 IPS (inches per second) and then mastered the audio through analogue gear.’ This isn’t turd-polishing, but an indication of the way some pro finishing can make all the difference. Then again, I’m not sure of the difference to be made to this…

Ambient Noize is challenging, as it’s intended to be. It has some great moments, and also moments that drag you down into dark places…

AA

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