Achromatic Cold - Existence, Interwoven (2010)

| Dark Ambient | Noise | Drone |

I don't know if I have reached the darkest bottom I'm able to, but I must be close to. Existence, Interwoven is another of my conceptual works on music, and my third full-length album. It relies mostly on emotional compositions, instead of the harsh brutality shown previously. This lugubrious atmosphere, wherein songs try to reach the deep of the emotional subconsciousness, grants the album a wearying feeling. The excess of short yet repetitive gloomy-ambient tracks makes the listening experience exhausting to the mind. In a good way, though. There are few ambient-based albums that have drained me the way this one does, which is somewhat comfortingly warm. Feels like giving all of you to the music and being embraced in return. The recording sessions were also the hardest ones I've been in. Some songs, despite being shorter than 2min, were so morbid that I almost felt like immersing in sleep. Also, all songs where recorded on sessions from 2am to 4am (which may explains why it felt so tiring...).

If I had to describe the album in a few words, I'd say it's like a big and bloody drop of oversaturated black ink, viscidly flowing through the paper's borders. May sound overpoetic, but at least that's what it is supposed to be. Tracks like All Souls Interwoven And The Endless One displays a fluid and dense droning, filled with all that abstract feeling. Ones like Desolation are basic piano compositions, but the dismal ambience around it and its slow pacing makes it feel utterly dispirited. The abrasive softness of Tears Under The Cold Storm which buries a haunted and blizzardly growling melody, the grotesquely hollow Dreary Arms and Fate, and the guard from a few noise tracks (the beat-based The Pain And The Agony and the beautiful and spiritual The Angel And The Last) and a few other enigmas completes this morbid soundtrack. While it works perfectly to listen to it as a whole unity, a more careful listening shall reveal lots of small details in each composition (like the high-pitched eerie screams from The Angel And The Last, buried under all the upper noise layers, the side-sounds from Become One or the breath accompaniment from Drowning, Gasping).

All songs were recorded live (as most of my works). The Pain And The Agony uses real-time loops. The painting on the cover is by Zdzisław Beksiński. Finally, as I said, it's a conceptual album. But if I told you from where I took the concept, you'd shit bricks (or lol). So just try to figure somekind of story by yourselves.

Catalog: VB-25 (Velvet Blue Records)
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