avant-garde/ experimental / mathrock/ indie rock

Long Time, No See is an album by British Math Rock group Desert Vows, released by Tower To The Sea Records on May 17. A very concise and objective album, only thirty-seven minutes long, it has nine tracks: New Leaf, Lagoon, Miyazaki Frontier, Midnight Floater, 4:47am, Koriko, Standing Under Broken Falls, Templeinthedistance and Long Time / No See. A very gracious and interesting record, with unusual harmonies that breaks its preemptive and ascendant intonations on the verge of its own deeply surrealistic sonorous tonalities, the vivacity and the creativity of the melodies in general on this album are profoundly enthusiastic, quite captivating and evaluative of its own atmosphere.

This album certainly is a sensitive, placid and genuine experience on experimental intuition, that organizes in the deepest longevities of the senses an overlooking amount of perceptive nuances with the sincerity of a groundbreaking ability. While the sound of the group is transcendental and poetic by one hand, on the other, an organic logic derived by a precise, but very persuasive technique, seems to evolve and to be imperative, all the way through. With revolving processes that dilute the harmonies of its sensible nature, at the same time, the band knows how to activate the tempestuous nucleus of its charm, as the music replicates its gracious arrangements around the epicenter of an aligned soul resurgence, that poetically drives the listener into a corner of the universe that feeds the allegorical references of its own existence. 

With harmonies that displays concomitantly qualities like intelligence, creativity, elegance and splendor in abundance, Long Time, No See is an arduous fragrance of sophisticated and proverbial graciosity, that knows how to create pure artistry in an elevating and profoundly genuine musical shape. A testimony of cultural diligence, that converges to a point of asymmetric perfection, that is delightfully pleasant to hear, this album disperses crystallized waves of dense perceptions all the way throughout its notes. 

A very pure and whimsically dilapidated work, that appeals to the reason of human nature as well as its inherent sensibility, Long Time, No See, by Desert Vows, is a curious, selective and astoundingly peculiar album, that certainly showcases in an audaciously singular style a unique paroxysm, that came to be a victory for the entire genre, as a whole. 


Wagner

black metal / avant garde

The Density Parameter is the most recent album by Australian avant-garde melodic / atmospheric black metal project Mesarthim. Almost forty-eight minutes long, the record has six tracks: Ω, Collapse, Transparency, 74%, Recombination and Fragmenting. An exceedingly dimensional album with a thoroughly consistent and dense atmosphere, replete with amazingly aggrandizing harmonies, that conquer at the vicinities of its colorful and inextricably magnetizing frontiers the imponderable light of everlastingly sincere detachments from ordinary realities, The Density Parameter is almost an infinite journey throughout an omniscient and introspective universe of conscious planetary isolation, characterized by an abrasive collision of sensitivity and elementary intuition, that seeks to nullify the incongruous devices of mortifyingly detrimental chains of existence.    

With extraordinary and uncommon musical patterns, The Density Parameter is almost a sensorial journey throughout a somewhat lugubrious, but intense cosmogony of unparalleled ecstasy, that is slowly, but precisely established at the corner of a galaxy of everlasting shadows that perpetually dance over the inextricable harmonies of a lucid artistry, whose creative devices obey orders and principles that are far beyond the reach of the perishable human mind. With beautiful, grandiloquent and ascendant melodies that evoke and concomitantly reveal an entire universe in a grain of sand, this ostensibly singular work of introspective devotion paints a marvelous night of groundbreaking comprehension into the everlasting sincerity of a placid and patient human eye.  

Saturated with poetic elements and graceful infatuations of splendor, the sound of Mesarthim is a meteorically splendid journey of salutary sensibility, anxious to decipher the soul of the universe, revealing in the anatomy of its disappointments and fury the unusual veracity of its own brightness, that seeks to be eternal at the expenses of the human suffering. Nevertheless, the omnipotent energy that emerges from the constraints hidden in The Density Parameter reveals a splendid structure that remains solid and cohesive all the way through, deeply elaborated at the axial nerve of a crystalline and subtle stability, whose sonorous devices expands the allegorical intricacies of its enigmatic fervor far beyond the restrictive wave of its mordacious and elusive temperance.

Evidently, with a lot of qualities aligned in a formidable disposition that unravel a consistent universe of sonorous splendor in an inquisitive journey of sagacious reflex, The Density Parameter reveals itself to be an unusually vast, sincere and thoughtful work of art, whose echo will rebound throughout the universe endlessly, reasserting the ethereal vicissitudes of its sensibilities, and the glorious intuition of its amazingly precise dichotomies.    


Wagner

black metal

All nature is renewed by fire, that's what the title of this album by Polish avant-garde black metal act Misanthropic Rage translates as. That translation reminded me of forests burning down to make place for new plants, trees and eventually animals. Nature is counting on absolute destruction to renew and reinvent itself. 

The world of music seems to share that ability. Even headstrong styles like black metal seem to be able to burn the past and evolve, renew. Out of the ashes of old school black metal new subgenres have been evolving, and Misanthropic Rage thrives in that progressive nature.

In 'Igne Natura Renovatur Integra' we meet an astounding array of influences, from vintage black metal to melodic acts like Amorphis or Primordial and from pagan ritualism to the shoegazing guitars of The Cure. Like the tentacles of an octopus, Misanthropic Rage borrows elements from death, black, doom, shoegaze, post rock, avant garde ritual music and many more. Yet, somehow the band manages to turn it all into a coherent and infectious sound.

What surprised me the most is the overall level of both quality and variation. These are not quickly arranged piece of black metal. On the very contrary. Opening with a brilliant 'Call All Your Angels', this album is loaded with extreme anthems from a very high level. It's hard to pick out highlights. 'Abstrakt' is one of my favorites, a harsh song with an industrial feel that Satyricon might have wanted to write.

'I.N.R.I.' is another blast, one that doesn't just invite you to fiercely bang your head but brutally forces you to. 'The Agony Of The Breath' is another one of my personal favorites. One where both eighties new wave and the industrial black metal metal of Samael comes to mind. The rest is up to you. If you are into progressive and avant garde black metal, there is no reason why you should not get your hands on a copy of this thing. 


​Serge

post rock

doom / sludge / psychedelic

metalcore

folk / alternative rock

facebook

post rock / shoegaze

Spotify

alternative rock

progressive rock

dark ambient

experimental / avant garde / classical

bandcamp

stoner rock / alternative / metal

funeral doom

funeral doom / ambient

bandcamp

electronic / experimental / ambient

bandcamp

From the very early beginnings on our motto here at Merchants Of Air has been "exploring the regions of the musical universe". And that is true. We have been reviewing everything from modern classical music to avant garde grindcore and from soothing ambient to blasphemous blackened sludge metal. 

Quite often we also dare to cross the borders between music and "what is generally not considered to be music". Experimental music and noise certainly have a place on Merchants Of Air, mainly because sometimes something eeryling breathtaking comes along.

Maximilian Latva is a composer from Helsinki, Finland. With a small modular system, two monosynths, effect pedals and toy instruments Latva produces something that gracefully balances on the edge between experimental ambient and noise music. He calls it "electronic chamber music" and I quite agree with that. However, do not expect a relaxing ambient album, this is something rough with unexpected hooks and twists, in more than one aspect more jazz than ambient.

What sets Maximilian Latva apart from many other producers that appear here is his harsh, often unsettling sound. Opener 'Ajatuksesta Luopuminen' carefully lures you in. This track is interesting. It invites you to continue listening. But then, slowly, the cold harshness fades in. In that aspect 'Alkukuvien Sammuminen' is definitely a highlight on this album, a haunting, lingering piece of electronic noise, void of repetition, melody or rhythm. Merzbow or Krzysztof Penderecki fans will undoubtedly love this. 

In all, 'Hrön' is a challenging album, one that is certainly not suited for everyone. It is also quite varied for an experimental album. 'Mitättömyyden Kohtaaminen' might be my personal favorite here, an eerie folk tune thriving on the background of dark drones and soundscapes. I will leave the rest up to you, dear reader. I do recommend checking this out, but only if you are prepared to be surprised, shocked and awed. If so, you will undoubtedly find something unique and satisfying.


Serge

avant garde / black metal / progressive

The Weight of a Thousand Suns is the third album by Norwegian avant-garde/extreme metal group Horizon Ablaze, to be released on February 16. With eight tracks – Sleep is the brother of Death, Delusions of Grandeur, Ghost of a Previous Nightmare, She Who Walks upon the Sea, The End of a Dream, Behind The Veil, My Soul Divided and Insidious –, the album is thoroughly strong, with melodies exceedingly well dilapidated, full of dark and dynamic rhythms, and a very functional symbiosis between its heavier dissonant aggressive overtones and its more philosophic harmonious grievances. Imperiously and solemnly representative of the genre it displays, with methodical elements greatly devised at the shape of a formidable level of technical skills, as well as a creative excellency that combines wonderfully distinct components in their music, the general sound of Horizon Ablaze is quite singular, and certainly highlights itself at the vicinities of the genre.    

With a sincere, but at the same time despondent fury that reverberates over the principles of its own audacious experimental musical horizons, while the sound strikes you over directly in the head, you can feel the frozen elements of their electrifying enthusiastic splendor going through your blood flow, with deeply incisive and infuriatingly pungent guitar lines, that establishes over the harmonies a tremendous pulse of everlasting rapture. 

With a severe authenticity that highlights the ambitious patterns of their creative and vehemently expansive musical principles, Horizon Ablaze sees no limits for their graceful urgencies, that echoes profoundly at the sincere essence of a genuine artistic effort, deliberately projected to aggregate new elements to a genre that, with them, assumes entirely new, more flexible and indefinite shapes. 

Definitely, The Weight of a Thousand Suns is a formidable, surprising and intensely uplifting album, that comes to open a new chapter in the history of avant-garde metal, as well as to fill a gap that the genre always had, in what concerns the (now extinct) absence of creative audacity. With this work, Horizon Ablaze intuitively establishes a new level of creative and sagacious ordeals, that will divide from them on the sensitive cosmogonies and the expansive tenures within the genre.   


Wagner

ambient / drone / avant garde

Eilean Records

The quality label Eilean records starts 2018 on a high note. Ljerke is a multidisciplinary live project which took form in the Frisian landscape as as source of inspiration. The project includes some music artists from Netherlands (Romke Kleefstra, Jan Kleefstra, Sytze Pruiksma) and Norway (Alexander Rishaug, Hilde Marie Holsen, Michael Duch) completed with the video artists Marco Douma (NL) and Haraldur Karlsson from Iceland. Furthermore, this debut album is mixed and edited by Rutger Zuydervelt (Machinefabriek) and mastered by Lasse Marhaug. So there are quite a lot of experienced names behind this, which explains the immaculately beauty of it all.

Because yes, this is an absolute gem, exploring the regions of drone, ambient, classical music, (dark) jazz and experimental music. The result is an adventurous album with calm, soothing music interlaced with poetry. Throughout the entire album, Ljerke seems to blend Zoviet France with The Kilimanjaro Darkjazz Ensemble, something I personally can only applaud. Opener 'Muurv' gradually lures you in with its minimal approach and follower 'Tsjilland' goes on a mild Godspeed! You Black Emperor journey.

The music seamlessly combines modern day electronics with contrabass, trumpets and guitars. I like that, but that's not really a surprise. As a fan of all things dark, slow and atmospheric I can only recommend this thing. That, plus I recommend playing it on a rather high volume, close your eyes and let mind altering soundscapes like 'Waarbekkasin' or 'Hettekobbe' do their thing. I don't want to talk about end-year lists yet but I am damn sure that these tunes will often appear in my day-to-day playlist from now on. Do yourself a favor and add them to yours too.


​Serge

death metal

punk / hardcore

sludge metal / noise rock

death metal

death metal

post rock / post metal

alternative rock

electronic / alternative / experimental / trip hop

indie / alternative rock

post rock

black metal / "funeral grunge"

black metal

sludge metal / doom / krautrock

ambient / experimental / noise

Serge

ambient / classical

Nobody knows for sure what happens after this life is over. Yet, people have always had ideas about it. Some people believe in heaven and hell while others prefer reincarnation. Still others seem to think that the lights go out and that nothing will happen after we die.

Still, it is a scientific fact that whoever dies eventually becomes a part of nature again. Our flesh, our bones, every single cell in our body will disappear and provide food and thus energy to new forms of life. Like a forest that covers a battlefield. It seems like will well forever be a part of mother nature.

Metsänpeitto (lit. 'covered by forest') is a Finnish folk belief that one can become lost in the forest and be transported into another reality; one where the forest is timeless, reversed and distorted. Forest have always had a certain attraction to people and therefore also to their beliefs. Based on that belief, 'Metsänpeitto' is the new opus by violinist/composer Meriheini Luoto. Graduated at the Sibelius Academy in 2016, Luoto has a fresh and exciting view on classical music, folk and ambient and this album is a brilliant statement of that vision.

This album is a rather minimal blend of classical music and experimental ambient. The violin in the central instrument, here and there enhanced with voices, percussion of whistles. Although there are some uptempo and rather joyful folk music passages to be found, the majority of the music on this album is slow, lingering and intriguing. In five tracks, Luoto takes the listener on a strange but exciting journey, something I can always appreciate.

So, who to recommend this album to? Well, I think the fans of avant garde, out of the ordinary music will certainly appreciate this. Fans of Arvo Pärt, Kronos Quartet, Kuro, Henryk Górecki and even Dmitri Shostakovich might want to give this album a good listen, but also fans of (dark) jazz, noise and Nordic ambient. I admit, it can get a bit weird, unconventional and uncomfortable at times but then again, you're not reading articles on Merchants Of Air for pop music references, are you? So yes, check it out. It's something else which is almost always interesting.


​Serge

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post punk / synth pop / avant garde

This website seems to be making a name as a place for all things weird and unusual. That is perfectly fine with me. I mean, how else would an album from a duo in Tasmania reach us here in Berchem, half a world away? Coincidentally, I just bought a new record player and I wanted to give a good test ride.

But what a test ride it had become. From one amazement into another surprise, 'Regional Indifference' is something out of this place, something you won't hear very often. At the same time it's also something you will have to get used to but nonetheless, this is a fascinating release.

First things first. Bi-Hour consists of two childhood friends who grew up in what they call a "cultural backwater". Personally, I can understand that. I too come from a place where music and art were completely unknown and misunderstood phenomena. People rather went to the local football team or eat crappy meatballs at a cigarette smoke filled café. Some of them became serial killers, but that is a whole different story. I just moved to Antwerp where music, art and literature are buzzing and alive but I'm not sure if such a move is possible if you live in Tasmania.

The album is a concept album about living in such a cultural backwater and about how it would look if Hobart would suddenly become a thriving cultural city. With twenty songs, Bi-Hour deliver something out of the ordinary, something most journalist have called avant garde synthpop or post punk. Throughout songs like '​Name Drop Melbourne Locations to Sound Groovy', 'Impudence of Simplicity' and 'Warrior of Bureaumass' a heap of acts come to mind, including a mutant version of Pet Shop Boys or Depeche Mode, some Suicide, a hint of Throbbing Gristle, the outrageous Nick Cave of Birthday Party and even the eerie sound of dark industrial acts.

'6 x 4' does something with ambient and soundscapes while 'Fridge' invites you to the darkest of dancefloors. Suddenly Virgin Prunes come to mind too. 'Refrigerator' sounds like an ancient Nintendo game soundtrack and 'Janitor' comes up with sweet and cute synthpop. Then there is also the synthetic punk rocker 'All Work and No Facial Piercings Makes Jack a Dull Boy' which in terms of simplicity and roughness even bring Sex Pistols to mind, be it in an electronic version. It's actually just another of many odd tunes on a highly remarkable album. Obviously, I will recommend it to all you weird eighties fans out there. 


​Serge