Due to professional and health issues, I didn’t have the time / energy to write reviews for a long time – way too long. But even-though some releases I did receive in the recent past are, well, like ‘old’, I try to make it up for all those recordings that are worth being supported in any way. This goes for specific recordings, as well as some labels that do ‘deserve’ my attention and support.
Depressive Black Ambient Records
It is with grief, and shame, that I have to admit that I did not review any release for Depressive Black Ambient Records since more than half a year, despite two hands full of new (and great, evidently) releases. But I’ll make it all up, starting with this successor of Catharsis by Mexico’s Trauma.
Dark Isolationism Ambient… That’s how Trwoga does describe their aural art. And who am I to discuss this. When referring to their former effort, Hadefobia, I would describe it as ‘haunting and horrific Dark Drone / Black Industrial Ambient’, but it does not exactly matter.
Receive, love and hate. Receive communion with me…
For a description about the Polish label Depressive Black Ambient Records, drenched in anesthetic pleasure and suffocating fumes, I would like to refer to one of the former reviews that I wrote for this unique family of coronated sinners and serpent magicians.
I did several reviews for material released on Poland-based label Depressive Black Ambient Records and I will do more in the future. This has to do with two things: the unusual yet splendid collection of projects on this label’s roster at the one hand (about all of them are at least as frenzy-minded as the owner of this family, Mister Chris) and the imminent philosophy behind it: not searching for anything at all.
Not that very long ago, I got in touch with the sympathetic guy behind the label Depressive Black Ambient Records. Chris is a dedicated guy when it comes to Underground Music, but this Polish label’s roster too does impress enormously. It has to do with both the highly-qualitative projects involved, as well as the open-minded approach, for it deals with a wide range from Ambient to Noise, as well as some Black Metal projects.
Not that very long ago, I got in touch with Chris, a nice person who runs the amazing label Depressive Black Ambient Records. I was surprised by what this label did release as from the start: great works through obscure and oppressive, ominous and odious sounds from beyond the putrid abysses. Destruction and self-mutilation, hate and self-hatred, fury and nostalgia; this label doesn’t share joy or happiness…
I (quite) recently came in touch with Depressive Black Ambient Records, a Poland based label that focuses on daily happiness, instant joy and devoted ascetism. Indeed, nothing but my personal river to swim through… against the stream. They do not search for anything. Devourers of serpents, immersed in hypothermia. Where the breath is already imperceptible. Black, mourning, where we find no reason to inhale and exhale. Only chemicals and anesthesia [sic]. Why not? I’d like to dive into that polluted river.
Mexico’s horde The Depressick may not be that well-known, despite some sweet recordings in the past, including some splits and a full length in 2017 (Carcinoma, which was released via China’s Pest Productions). Hugely underestimated was their EP Disposable │ 1.10, initially independently and unphysically released at the end of 2019’s beautiful springtime.
Krister Bergman is quite active under his own name, as well as under monikers like Pulse Detonations (with Japanoise artist Hiroshi Hasegawa), V.O.E.R. (aka Vestige Of Earthly Remains), Demons That Drove (with finally, after years of ear-deafening silence, a fabulous yet monstrous release a couple of years ago via Basement Corner Emissions) or Secondstroke, amongst several others.