Soraksan is a dark ambient artist based in South Korea, influenced by Korean folklore and shamanism.
Chapter 2 is released on Jeju Digital.
https://jejudigital.bandcamp.com
Soraksan soundtracks the Dark Side of Seoul podcast.
Korean true crime, dark history, ghost tales, folklore, serial killers, and more.
https://darksideofseoul.com/podcast/
An ambient album with a mixture of talents this time around, with Curious Inversions making a comeback, Abdicant appearing for the first time, and several Kahvi regulars appearing as guest remixers.
Alt Folorn turns into dark vibes and subtle beats by 4T Thieves, Sleeping Wolves gets the remix treatment by Substan, a new artist to Kahvi, and Twin Hearts and Sleeping Wolves remixes appear by Kahvi regulars NNYz? and Jasinski.
credits
released September 27, 2020
Cover image by Hugo Aitken
Ambient, drone y tape loops a la “lo-fi” desde Monterrey, México. Damos la bienvenida al talentoso productor TORRES a Virtual Soundsystem con este lanzamiento de lujo, mismo con el que cerramos la fila de artistas mexicanos que nos acompañaron con su estilo único durante todo este mes patrio. 
Welcome TORRES! Enjoy the music! 
released September 26, 2020
Produced by TORRES.
torresfernando.bandcamp.com
youtube.com/user/ferjth20
[VSS_109]
2020 Virtual Soundsystem Records, Mexico.
Sphere² has been producing music since 2017, focusing on various music genres, from Electronica / IDM to Ambient.
With his debut, Sphere² introduces us to his amazing melodic electronics, lovely harmonics and playful seriousness. From the Land of The Rising Sun to like-minded listeners.
This 4-track EP contains slow-paced tracks that go hand in hand with some rhythmic beats.
Sphere² hails from a new generation of innovative electronic music – a masked artist, whose activities should be anticipated in the near future, from his home natition.
So play it out loud and go with the FLOW.
“You Deserve the Darkness” is the second single off Akiba Jonze’s 2019 album “ANTICHTHON”. This release includes two remixes and a b-side.
Music, lyrics, synthesizers, all vocals, recording, editing: Iñaki Barrocal Castro a.k.a. Akiba Jonze
A single by Mothermantra Records
More than four years ago, in 2016, Mahorka released the Eastern Depths Vol.3 compilation, that took us on a dark and trippy electronica adventure through a good part of the deepest depths of the Bulgarian underground electronic music scene. And now, in 2020, EASTERN DEPTHS IV is unleashed onto the world!
This new edition is more omnipresent than ever, presenting most of the active, many iconic Bulgarian electronic producers with tracks exclusively produced/selected for this mesmerizing sonic experience, featuring SuB, Mr.SMiFF, RoboKnob, Markov, U-stók, Hypnos, Scav, Autonomaton, NIANDRAZ & XI-N, Second Body, Cyberian, Dayin, Ivan Shopov, Protuberance, Recidivist, Virtually J, E23N42SF, MBA, MO. (remixed by Second Body), Trohi, Kliment, Erased Memories (remixed by Cinnamint), Mloski, Kanz, Polygon Ring, The Science, Shamanez, Goro, BHE, Warm Aquarelle, Esem.
Released September 20, 2020
Compiled and executed by: Stanislav Genadiev, Ivelin Iliev, Ivo Petrov
Final mastering touches by: Stanislav Genadiev
Artwork by Angel Draganov
using photography by Iavor Kolev
Gear: Uher 4000 Report Studio tape recorder, Roland System-100m, Roland RE-201 Space Echo.
Conceived, recorded and mixed by bellerophone in Athens 2020
Mastered by Dimitris Santziliotis
Artwork by Dimitris Santziliotis
This is a mix tape (on cassette and digital) blending dark ambient, playful electronica as well as experimental beat and drone.
A journey into warm, analogue noise, echo and soundscapes, sometimes perhaps resembling a soundtrack for a yet unfilmed low budget sci-fi movie.
When Robot choirs start singing or (broken) analogue circuits and filters start doing what they want, it can get wacky, but we think it always remains pleasant to listen.
Mostly analogue electronic gear, often of the cheaper and not exactly hip kind, and tape effects were used.
It is recommended to listen to each side of the album in one piece. The single Digital release tracks are not mixed, but musically cut – and we’ve added the side A and B mixed files too. Sounds cooler on the nicely saturated ferro tape though.
bleed Air lives in Cologne, loves his Omnichord OM-27 and his tape echo too.
Shinpal is a musical and emotional itinerary that leads to the interpretation of sounds. Monocromatic melancholy alternate with meditative spaces, between density and rarefaction. Sculpted and texture sounds, noises, discreet rhythms; virtual places that become intimate, familiar; ethereal and vibrant.
These four tracks plays on images, which presents visions of external spaces and internal places, to be investigated with a new point of view. The rest must be discovered …
Demetrio Cecchitelli, “Empty Spaces” (SR224, 09/16/2020)
2 Tracks
Evolving ambient
Italy
“In the process of “Empty Spaces” the evolution of the musical message is given by the use of multi-layered sounds, found sounds and digital processing. The main characteristic is the use of the repetition and looping techniques, both from live electronics and prepared material. Sounds passes from ambient music influences to post-drone atmospheres, by inserting passages of melodramatic and melancholic feelings, all with a soft touch of transported restlessness.”
A Tribute to the Horror classic movie series: Poltergeist.
Filmy Ghost is a dark experimental, ghostly computer music project from Rancagua, Chile.
For more Filmy Ghost music visit his websites:
humanfobia.jimdo.com/filmy-ghost/
archive.org/details/fav-sabila_orbe02
hearthis.at/filmy-ghost/
All tracks mixed & created/cover artwork collage by Sábila Orbe. / pictures taken from google pics. // most tracks contain samples from the original Poltergeist movies.
released September 4, 2020
All music and artwork by Cialyn (cc) A.Pachins 2020. Recorded during Spring 2020.
Oceanic is a massively long LP of experimental Ambient material I recorded between 2007 to 2008. Most of the tracks were live broadcasts on various internet radio stations (remember those?). I would build up loops using loopers as well as by using my Puredata patch ‘Jlooper’, then improvise with the K1, Guitar, and other fx and percussion. It’s some pretty out there stuff and great to put on before going to bed to direct your dreams to weird and interesting places.
Free to VIPs!
credits
released May 18, 2020
Justin Wierbonski – Synths, guitars, drums, fx
Alex Huang – Artwork
“Haunted Houses” is a collection of seven tracks in slow, melancholy, dreamlike, nocturnal mood. It’s a work made of waiting, of grainy sounds and silences full of rustles. It’s a work talking about isolation, either in a physical and mental space; which talks about full spaces and empty or restricted spaces, of presences and absences, of memory and hope, of distances, of houses and rooms. Rooms innervated with restlessness and waiting (the opening track “Sleepless”). Houses where memories crowd, layered memories that coexist with the present (the title-track “Haunted Houses” is a short electroacoustic study on perception: indistinct, evanescent sounds, old pianos in the distance, confused and ectoplasmic voices, furniture that moves from the floor above, sighs…). And then there are presences such as those of literary characters, which can come to life in the mind while reading (“The death of Joe Christmas” is inspired by the restless and controversial character narrated by William Faulkner in “Light in August”).
Even absences find space in the album, manifesting themselves in their impalpable distance (the piece “In Absence”), as memories of a past that has no place in the present. Then the rooms can become places overloaded with pain (the track “Torture Room”), where this suffering and effort can take an expiatory, spiritual, meditative form. And after all this inner torment, even isolation can turn into an opportunity for reflection, “redemption” and sincere change: the final tracks “Pure” and “Endless” try to capture this renewed spirit, following a strongly emotional path. “Endless” closes the circle, but it can also reopen it.
“Haunted Houses” was made with guitars, contact microphones, an old cassette recorder, field recordings, dusty and grainy lo-fi sounds, found objects, recordings of streets at night, sounds of a carpentry workshop, slowed sounds, manipulation of loops of classical music taken from the radio. Every detail, every sound has been carved and polished day after day, chiseled and positioned with care and devotion, in a work of “sound craftsmanship”.
https://soundcloud.com/alessandro-barbanera
https://alessandrobarbanera.bandcamp.com
Credits
Composed, recorded and mixed by Alessandro Barbanera
Mastered by Francis M. Gri
Yoko Imamura lives in Kyoto and she always had a deep love for Piano. The basis of her music is classical music, but she also likes various genres of music.
The album contains seven tracks of soft, melodic piano instrumentals that sound like they were written so listeners could the beauty of a not too densely written piano composition.
This “Imaginary World” was created for something which can be played on quiet evenings or sunday mornings, knowing that it will be a comfortable ride until the last track has passed.
“To freely quote Professor Paulo Motta, «music is the mirage of sound». Schroedinger’s music: Suppose it takes shape? Suppose it doesn’t? Suppose both states exist? Suppose I didn’t want to chose?
As a composer, I enjoy indeterminacy. The system of electronic devices I use allows for careful planning of events, timbres, textures, their evolutions in time, but I just give it a gentle push. I will shut it down before it churns out the Big Musical Obvious. I want the fabric to remain visible. The background to be the foreground, in plain sight. The vibrating atoms have been set in motion to become music, but it’s not exactly the purpose. This is music on its way to, but whatever it is, it will not reach it. I will make sure it doesn’t. It’s a mirage on the horizon. Considering the parameters I use, would you ever reach the unintended oasis, it wouldn’t quench your thirst.
Quite the opposite – this music wants to reinstate the unformal beauty of raw material. Correlations will eventually create a scale, a rhythm: it would be foolish of the composer to pretend he is not a human being, equipped with a brain that needs structures in the face of the universe. If he could actually see the universe as it is, he would die instantly. Instead he creates little boxes to tick, generation after generation of flesh vehicles. I don’t believe in tabula rasa. Whatever new musical system will be invented, will be invented either by a brain, either by something programmed by a brain. Hence, I programme. But without too much self-examination, I know this is mere pretense.Systems, society, Kultur, music induced by Kultur, you are so small next to my faith.
So, here it is, voltage, mere voltage, and a few algorithms from the 1990s. There’s a design, but mostly, chances (I prefer chances to refer to vast blocks of sound emerging from a jolt of the finger here and there, rather than improvisation that pertains to shorter segments). Both compositions were produced out of exactly the same patch on my electronic system. You will hear many differences between the two, but they’re really part of the same continuum. The Universe, Nature, the All, God, whatever you call it, is first and foremost a continuum, and by insisting on long-form compositions, I want to reflect that. Sometimes I will cull a chunk that makes sense. Sometimes I will select a transition. I could have arbitrarily decided to propose 2 more hours of it, 24 hours, a month, why not, of this sound. I tune in to this sound whenever I feel the urge. I have the quasi-mystical belief it continues even when I unplug the whole studio. Proof is I can hear it in my head. Like you would open the window, tune in to the wind creating layers of phasing in the trees, mixed with the sounds of civilization nearby, and then shut the window: you may well be the center of your own interest, but something, the unfathomable something is still roaming outside. Vaster than you. This is what I try to convey with these pieces. Eventually, electronics has the last word against other instruments, and even the electronic imitations thereof, because voltage, that bare expression (expressiveness?) of electricity, is a sound of nature, a lifeform in itself. When you delve deep in electronics, you don’t look at the global picture of human ideas, languages, social organizations, the bullshit; you peer at the atoms interweaving, doing their thing, a wrong move and they overcome you, little teases. Focus on the details. Study the microcosm, and you will get closer to the real design, and its chances. The rest, again, is a pile of more or less useless structural rubbish. I have faith in something smaller.”
— JP, May 2020
Released on August 19, 2020 as free (cc) digital download and also as limited cassette edition.
Composed on modular synthesizer, ARP 2600, ARP Sequencer, EMS Synthi E, Waldorf Microwave, Korg Z1 and Akai S950
October-December 2019, IB Studio 2.0, France
Cover artwork by Ivo Petrov, using photography by Aurélie Gerlach
Produced by Ivo Petrov
One of the most striking aspects of Arthur Schopenhauer’s philosophical explorations is the author’s deep respect for Hindu and Buddhist thought, as both traditions present address an issue that occupied a large portion of his work: suffering.
The collaboration between Catapulta and Svayam seeks to dilute any answer in the contemplative exercise itself. Shadows are, moreover, a fundamental part of the feverish journey of this dialogue. The synthesis between millenary sounds and a beat replicates a process of non-traditional exploration and reinvention that is the answer to any type of aberration that was conventionally called cultural appropriation.
Donde Vem o Eco goes beyond any kind of fusion that limits itself to joining opposite worlds. On the contrary, it finds in the universality of human concerns the (un)fertile ground for walking.
