…and you, have YOU protected your dreams from the Oneirophage? We think that if there was such a creature as GRIST seem to believe, then our favourite releases of the months, would provide the perfect soundtrack for its scary activities!
The music output of this month, as expected for the summer months was not the greatest in terms of quantity. Our favourite releases, helped us make a mind-numbing sonic journey while news about devastating wildfires and exhausting heat around the planet reached our ears and eyes. The latest offering by Nick Cave & The Bad Seeds ‘Wild God’, was soul-arresting, with slow rhythms and powerful soul and gospel elements infusing its ten rock ballads. Chrystabell and David Lynch‘s dreamy album ‘Cellophane Memories’ is offering some much needed lightness into our sonic landscape of the month, with ethereal songs that make one feel like floating on air. Speaking of lightness, we were particularly happy listening to Demi-Nuit‘s post-punk, 80s coldwave-infused, synthwave EP ‘Fille de Moujik’. Always punctual on her appointment with us during the summer, Chelsea Wolfe has treated us to one more beautiful disquieting ethereal EP ‘Undone’ full with great remixes by Boy Harsher, Ash Koosha, Full of Hell, Crosses and Justin K. Broadrick.
A special mention is due to the debut releases of the month, by Dallas Kent and Shadow Knell. ‘Ghost Highway‘ the debut single by Dallas Kent, is inspired by the best moments of dreamy trip hop both in terms of rhythms and visuals. ‘Shadow Knell‘ the debut album by Shadow Knell, is “…a mystical, mournful, and doom-laced synth fantasy that echoes from dungeons deep and forests eternal” and merges modern classical lyricism with the rhythmic existentialism of dark ambient music.
We hope you enjoy listening to this playlist, as much as we did preparing it!
An evening of haunting tales from a count, a witch and a siren
We’ve gone down the steps to the basement of Aces& Eights countless times but the vibe that was generated that night, a few days ago cast a dark veil over the space and made it feel much darker than usual. From the first second, the feeling was that of stepping into a post-ceremonial macabre celebration. The intimate arrangement of tables and chairs set the tone for something austere and measured, requiring a composed ‘aristocratic’ behaviour. At that moment, we had the feeling that we were not just attening a gig but that rather, we had been summoned there.
A waltz macabre loupe came from the speakers, playing games with our concentration, creating a sonic labyrinth whose exit was only visible once Down From Above appeared on stage.