Peering behind the veil of loss.
A cold yet bewitching adventure. Do not expect to come out of it unscathed.
An uncanny mosaic of emotions from a glacial dreamworld.
From the blackest umbrages of despondent landscapes long forgotten.
Grab your space suits and prepare your cryo-dried coffee.
A dark ambient, cyberpunk haze.
Steeped in mysticism, Farewell’s amorphous and verdant folk compositions beckon us into an early onset of autumn.
Dredging up opaque memories from our respective childhoods, God Body Disconnect’s latest work imbued in us a keen sense of introspectiveness and longing.
A recounting of our journey out to Jackson Hole, Wyoming, and the festival that transpired near the Grand Teton mountain range.
Depending on the time of day and/or the mood harboring your skull, each perceived track floats by like an amorphous mass, ceaselessly shape shifting before your eyes. It renders each listening experience a novel one. And this quality glimmers fervently, long after you depart from its substances and continue your day-to-day.
Duncan Ritchie discusses his latest Cryo Chamber effort, Alive With Scars. He speaks about some of his field recording techniques, the album’s artwork, and how living with Multiple Sclerosis has ultimately served as a touchstone of influence for all of his compositions, old and new.
From the eerie crawl of nausea-inducing orchestral strings to the gaping maw of hopeless black ambience and the bone-piercing industrial beats, Alive with Scars harbors tones immediately familiar to those acquainted with Duncan’s work, though it simultaneously treads new sonic terrain, bringing us closer toward understanding his existence with Multiple Sclerosis.