TranscendNoise

 4 0. Prurient – Creationist (The Ultimate Evil) Creationist is a stark addition to the style of noise compositions Prurient excelled at in 2017’s Rainbow Mirror . The idea of doom electronics as music drenched in noise without sacrificing listenability for alienation nor musicality is something that sets apart Prurient from many other noise artists. Conceptual strength and treating his fans with hand-crafted packages full of ephemera and goodies is what makes these sounds of horror and disgust even more enticing. Somewhere between the connection of the creation myth of the bible and references to the New York serial killer dubbed Son of Sam, the different ephemera, for instance in form of an anti-record, become a form of research into a subject expressed in sound by Fernow. In recent years Fernow has begun to split up his three main projects into more distinct wholes. In the case of Prurient this entails largely eschewing any beats or techno-esque structure for long hisses of no...

Abul Mogard – Circular Forms Abul Mogard follows his latest stride into the real. Read my review of his previous EP here . Circular Forms sees Mogard releasing his debut LP. Those who have been following the work of this retired factory worker turned artist might never had the feeling of having anything short of a real album. This album even clocks in shorter than some of his previous efforts, but there is undeniable progression and change in Mogard´s discography and this is yet another grand iteration of forward-thinking synth music.  The best way to describe this LP is to set it apart from his first ever, self-titled work. As in Abul Mogard the motivation was to recreate the sounds he was missing, namely of his time working in a factory most likely around loud machinery, progressing within his musical venture, the urge to sooth his own mind by longing for the past has vanished. Circular Forms is not in any way the endeavor of a fretful man trying to recreate a cer...

Abul Mogard – THe Sky Had Vanished Enter Sky-Music. Most of you will be familiar with the concept of space music – the kind of electronic sound somehow associated with the notion of future and space travel. Mind you, space still is silent and everything associated with space music might have its appeal, but just as this notion can be said to be an imagination, space music can only be "space-y" and a fiction build around the ideas of the distant and the future.  Synthesizers are woefully married with this imagery, and almost every time these electronically processed, not bodily resounding sounds are heard, the associations of future spring to mind and are utilized for description. One other association today, and one that Abul Mogard´s first release is narratively bound to, is that of nostalgia – or in other terms the past, inhabiting associations with synthesized sound. Old computers being used to sound "old" or recreate past auras of pop or electronic ...