Merz

Slow dark ambient/noise/drone. Bowed, ringing, sustained strings and effects along guitar distortion. Quite frightening if played at a properly deafening volume. Lots of negative space and a vaguley academic feel. Music for smoke breaks at 4am. Reminds you of the time you woke up in Potsdam on a train with no phone, wallet, or keys. For fans of Tom Carter, Svarte Greiner, Xela, Decanter, Yellow Swans, Bill Orcutt, and Pete Swanson.

*1. Whooshing electronics added to slow, echoey guitar dark ambient; snake-like hissing snippets of static. (6:22)
2. Heavy electrofuzz washes, deep low end, noisy distortion - percussion is a little busy/scrappy~ Yellow Swans? (4:06)
3. Soft dreamy trippy intro, low-key ambient mysterious feel. Warped by piano hammered and then flute-like overtones move this strangely into chamber territory. Ringing drone loop interacts with water droplets. (7:09)
4. Intense, dramatic spacecraft takeoff. Heavy low end. (4:20)
*5. Yellow Swans-industrial thud, squiggly beat, distant vocals, layers of thick distortion and lush texture. (6:41)
6. Lots of echoey, delayed percussion. Light soft single-tone siren anchors the piece, reversed electronics and manipulated with effects. Heavily looped feedback. Epic Gregorian chants with cut up tape loops/effects over frozen drone. Epic, subtle mood piece. (15:16)
7. Dreamy guitar chords, lots of feedback and crushing low-end rumble, vibrato guitar tools around, while feedback guitars are sustained. (8:34)
*8. Bend guitar strings, almost contemplative neo-freak folk, programmed noisy distorto percussion swipes in intermittently. Badgerlore. (7:03)
9. Distorted heavy guitar, what sounds like a pan flute being played through 100 delay pedals. (6:32)
10. Squeaking and tense undertone while percussion dabbles in chimes, tape loops. (2:41)