Sooner or later the hissing fades, and there are birds calling and far away there might be distant machines screaming, things clear up before the end of the track, I think we land well in distant electronic spring marshes.
Ride into a slow motion transformation
Just jumping in, “Parasites, kill them all!” (4:18) strange noises in the darkness suggesting motion, somewhere. Now I hear a drone, a new sound involving huge metallic sheets or perhaps a railroad. I hear crying metal and the hour of execution has arrived. Now give yourself over to the exterminator. Blink. “Eternal comeback” (5:37) returns through the spitting fire and the listener finds the glitchy melting tension running down the screens, enduring glorious sustained buzzing distortion while the screens writhe. Agony and screaming machines try to reach inside you. I love this!
Ride into a slow motion transformation, into something warmer, until something turns back into raining fire. This next song has some difficult moments, “Snow on TV” (4:41), the the listening experience is mixed with electronic fizzing and hissing of course, and slowly, yes, something is out there signaling. Time perspectives change when the sound represents media hissing, and while you are in it, things are always moving in there, deep inside of the annoying hissing. Sooner or later the hissing fades, and there are birds calling and far away there might be distant machines screaming, things clear up before the end of the track, I think we land well in distant electronic spring marshes.
Where a small homage unfolds ::
This next track is the most important track because it touches on so many things at once, “My tribute valentine” (4:22), where a small homage unfolds, perhaps machines from space build something, new characters emerge and things change even more by the end of the track. “Raining sun” (4:08) I am frequently coming out of one thing and going into another, taking note of changes in tension and possible new dangers. Compare two things, think about paired tones and try different combinations. Some combinations of tones reverberate, new spirits join and a melodic wave starts to form, I hear many instruments in the structured and expansive atmosphere.
Are those the first few hesitant steps into what might become a spooky movie? Eventually the monster arrives, “Saison” (5:32), and the opposing forces match wits, now they are dancing. Later things get quiet, or so it seems, until the tension builds again, deflates slightly and then goes again. These are strange visitors. “Water takes unexpected paths” (3:35), a floating keyboard overtakes a peaceful field, I enjoy the playful melodics at a gentle pace. “Outro” (1:43) addresses what it feels like after the night terror, there is forever a new awakening. But I fear that we are where the sirens act as drones.
Mist is the hazy period during which this album was composed, between territorial invasion, virological invasion, and parasitic invasion. The state of the world and the close personal environment merge in this arrangement of sounds and melodies with noisy tones.
With Skulls Drawn On It! continues his sound experimentations and delivers an experimental drone dark ambient album with a touch of minimalist noise. With Skulls Drawn On It! is a sound artist from Brussels with a focus on experimental music based on textured sounds and field recordings.
Mist is available on Adventurous Music. [Bandcamp]
