Browsing Tag

ambient industrial

Sheen -Absence III: a Macabre Post-Punk Séance Beneath Avant-Garde Industrial Ruins

Disquiet ambient industrial scores will always be unsettling by design, but with Absence III, Sheen, the project of Romina Daniele and Lorenzo Marranini, became superlative architects of surreally macabre avant-garde aural cinema. By going down a corridor so dark that even David Lynch would hesitate to follow behind in his lifetime, Sheen became a project distinguished by its relationship to haunting, harbingering darkness.

The usual drones, thrums, and reverberations of caustic bass and snares are replaced with an unhallowed arcane post-punk presence; the atmosphere of Absence III is thickened with theatricality, evoking the romance that darkness should always be synonymous with. The piece feels less composed than summoned, allowing industrial textures and existential weight to gather like smoke in a sealed room.

Restored as part of RDM Records’ 2026 Official Label Edition of Absence, the movement reclaims the philosophical and sonic intent of a work first conceived in Milan and finalised through a new Miami-based restoration. Across the wider nine-movement album, Sheen maps human pain through indifferentiated sound masses; Absence III stands as the cinematic centrepiece, portraying absence as inner collapse, where poetry returns to its most primal foundations.

Absence III is now available to stream on all major platforms, including SoundCloud.

Find out more about the project via the RDM Records website.

Review by Amelia Vandergast

^L_ Dragged Capitalist Disillusion Through Glitchy Industrial Breakbeats in ‘People Don’t Love You When You Don’t Have Money’

Laments don’t often come in glitchy industrial breakbeat form, but ^L_, the orchestrator behind People Don’t Love You When You Don’t Have Money, one of the seminal cuts from the ingeniously titled LP Faith is a Subscription, is an originator on every conceivable level. Working far outside formula, the experimental electronic project treats tension, abrasion, and structural instability as compositional forces, building tracks that feel less like neatly arranged songs and more like hostile environments you’re forced to feel your way through.

Just as a painter would add texture and sensory tension by exploring juxtaposing mediums and methods, ^L_ has an unflinchingly intrepid way of exploring corridors of sound that few would dare to gaze into. The thematic spark behind the single hits hard when carried by the fervid momentum, which only slips to give way to ambient catharsis after getting your rhythmic pulses in a fray. That friction gives the track its power. Fragmented rhythms, granular disturbance, and dense atmospheres push the arrangement into a state of perpetual agitation, where repetition becomes pressure and space becomes part of the punishment.

What rises from that pressure is a visceral glimmer of vindication. It articulates how it’s not only capitalism that will crush you if you’re getting nowhere on its hamster wheel; everyone will greet you with glib pity rather than passion. ^L_ turns that social rot into something sonically corroded and brutally immersive, refusing polish, refusing ease, and refusing to let the listener sit at a safe distance from the theme.

Faith is a Subscription situates ^L_ in a lane of their own, where industrial abrasion, IDM fracture, and ambient collapse feed into a singular sonic language.

People Don’t Love You When You Don’t Have Money is now available on all major streaming platforms, including Spotify. 

Review by Amelia Vandergast

‘Dead and Dried’ by mothshade – Mechanical Existentialism Meets Ethereal Transcendence

Some artists compose; others construct entire dimensions with their sound. With Dead and Dried, mothshade explored the uncharted intersections between industrial electronica and trip-hop, leaving breadcrumbs of visceral emotion and motifs that demand rhythmic surrender. As a debut under his new moniker, the single is a bold declaration that the distinction between artist and composer lies in how emotion is translated into sonic form.

From the first pulse of distortion, tension ripples through the meditative release, carrying an unmistakable Nine Inch Nails imprint. But rather than mere homage, mothshade bends discordance to his own will, forging a conduit for the immense turmoil that fractures the fragility of life. The mechanical existentialism at the track’s core is tempered by iridescent female vocals, their spectral presence illuminating the cavernous depths of his production.

Drawing from industrial, electronic, rock, and cinematic influences—ranging from Massive Attack to Tool and Hans Zimmer—mothshade thrives in the chaos of transformation and rebirth. The upcoming debut LP, LIMINAL, set for release on February 18, couldn’t be more promising. Dead and Dried proves that mothshade is far more than a seasoned composer—he is an architect of atmosphere, twisting electronic textures into something both punishing and transcendental.

Stream the official video for Dead and Dried on YouTube.

Keep up to date with mothshade’s latest releases on Facebook.

Review by Amelia Vandergast

Lucretia Death forged her industrial vampcore metal signature in blood in LIKE BATHORY

https://on.soundcloud.com/ah3bL

As scintillatingly seductive as Angelspit and Zombie Girl and with all the attitude as My Ruin, Lucretia Death’s latest single, LIKE BATHORY is a dark electro hit that you won’t dare to forget.

As murderous as God is a Girl with a Butcher Knife, LIKE BATHORY pays homage to a Hungarian serial killer Countess who shed the blood of up to 650 victims before history enveloped her with vampiric lore. The hypnotically caustic downtempo industrial beats effortlessly gel with her scathing declarations of monstrous affinity and narrations of evil by the hand of one of history’s most bloodthirsty.

The Phoenix, Arizona-residing solo artist brings the night to life through her sonic signature of industrial vampcore metal. This project began in April 2022, after the artist darkened the airwaves in various solo and collaborative conquests. Her most notable performances include performing at the Denver Vampire Ball and several other Vampire/BDSM events in Denver, Colorado.

LIKE BATHORY will be available to stream from January 27th via SoundCloud.

Follow Lucretia Death for updates and live performances via Facebook, Twitter, Instagram and TikTok.

Review by Amelia Vandergast

Bahbiss Cobb celebrates feminine power and autonomy in his latest alt-electronica mix, Squabble with Oats

Bahbiss Cobb (AKA Eric Curry) dedicated his latest spill of ambient electronica, Squabble with Oats, to women around the world as a recognition for all that they are and all that their autonomy creates when they dance to the beat of their own drum.

The syncopated percussion and vortexes of swirling electronica transfuse in the soundscape to create a hypnotic ambient effect in the extended mix which lands on the visceral side of mesmerism. Genre-wise, no EDM branch was out of reach, but the industrial rhythms are the most strident ingredient in the release that is emboldening and invigorating in equal measure.

Stream Squabble with Oats on YouTube.

Review by Amelia Vandergast

TheMindSettlers set the ambient pace in their latest oceanic alt-electro single, TakeyourTime

For their latest alt-ambient single, TakeyourTime, the Montreal experimental electronic duo, TheMindSettlers borrowed the rhythmic pulses of the ocean to remind their ever-growing fanbase that pace is the trick and to provide an opportunity to dip into a pool of lush azure chords.

The Aphex Twin influence is just about legible in the natural pace of the single, which is tinged by the duo’s respective affinities for the rave scene and Skinny Puppy-era industrial music. The instrumentals may be minimal, but TakeyourTime is still a force of meditative nature to be reckoned with. It stands as a testament to TheMindSettlers’ ability to deliver everything their moniker promises.

With more releases in the pipeline, TheMindSettlers are worth a spot on your radar and your ambient playlists.

In the duo’s own words, here is what they had to say about their latest production:

The idea came when we went around the city of Montreal and found some surfers close to Lachine Canal. The base chords remind the flow of the water, and we added a water noise sample in the background to accentuate that feeling.

TakeyourTime is now available to stream on Spotify and SoundCloud.

Follow TheMindSettlers on Facebook.

Review by Amelia Vandergast

Static Null looked into the void with his industrially ambient latest release, Blister

Static Null

The Lynchian oscillating effects and reminiscence to Big Black Delta make Static Null’s latest single, Blister, an instant feat of atmospherically dystopic beguile.

Instead of just lacing light with dark, Static Null fused warm reverb with cuttingly cold tones and opened the narrative between man and machine. Dark ambience may have been hitting the airwaves by the smorgasbord in 2022, but Static Null is a caustic cut above the rest.

His work subversively implants what it means to be human in soundscapes inspired by his idyllic Swedish hometown while mourning the loss of our humanity with a faint yet infectious sense of optimism. We can’t wait to hear what follows. Seemingly, neither can his 9k monthly Spotify streamers. He’s undoubtedly one to watch.

Blister is now available to stream on Spotify.

Review by Amelia Vandergast

The Drood bring the ritualistic catharsis in ‘It Must Needs Wither’.

The Drood

The essence of The Drood’s latest single, It Must Needs Wither is a captured ritual. An invitation to cherish the memories of the many lives lost in the years leading up to this Shakespearean release that took inspiration from the tragic play Othello.

For their ritualistically cathartic release, the Denver, Colorado-based electronic duo, used post-rock, Eastern psych and industrial for their dreamy textures. For the vocals, they opted for an ethereal quiescent timbre to rival the harmonic ambience in the dreamiest Beach House and Slowdive releases.

The haunting explorative progressions carry cynical lament while light transcendent textures bring comfort to the affirmation that for all of our artifices, we’re still the same primal creatures. Primal creatures plagued by the vulnerability of mortality and the psychological afflictions that drive us to acts of madness that are all too easily romanticised in our minds.

It Must Needs Wither will officially release on January 25th, 2022. You can check it out for yourselves via Spotify.

Review by Amelia Vandergast

Jeff Goldsmith – ambient, narrative sounds with ‘Waiting Window’

Jeff Goldsmith is a composer, sound engineer, and producer based out of Minneapolis; ‘Waiting Window’ the first track from his forthcoming album ‘May You Find The Light Before The Devil Knows He’s Right’ – composed and recorded during the Covid-19 pandemic – is a dark, brooding, piece, semi-neo-classical, semi-industrial, and mainly instrumental. All based around field recordings and live samples from Minneapolis, it’s a mix of the avant-garde, elements of alt-rock mixing with a repeating piano motif, sampled ambient noises, and speech, all building slowly throughout the five-and-a-half minutes of the track. At times sounding like Phillip Glass or Mike Oldfield, others with dashes of the softer parts of Nine Inch Nails or Ministry, switching still to the Orb or Ozric Tentacles. It’s an entrancing, evocative mix of alternative, dark ambient, and auditory narrative soundscape.

You can catch the video for ‘Waiting Window’ on YouTube; find out more about Jeff Goldsmith and his work here.

Review by Alex Holmes