Tag: Azriel J. Knight

  • Per Somnia – Interview

    Pre-Print Interview

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    Interview with Julie and Ross of Per Somnia

    Interview By: Azriel J. Knight

    Azriel: What does “Per Somnia” mean and why did you choose that for a band name?

    Ross: Per Somnia is a Latin phrase, which translates to “in a dream”. I initially wanted the music to have a dreamlike quality to it, and some of the songs on the first CD even have lyrics directly dealing with dreams. Names can often sound more interesting in a language other than English, so Per Somnia was chosen.

    Azriel: There is a very beautiful relaxing feels to your music that I have only found in a few other bands, how do create this amazing sound?

    Ross: I suppose it’s just natural. We’re both pretty relaxed people in general. A lot of the musical style of Per Somnia is a continuation of my work as Sunless, where the music was mostly very gloomy. Take gloomy to a slightly happier level and you get relaxing.

    Julie: I’ve had a lot of vocal training since I was in grade school. Usually the goal for a traditional choral voice is rich and smooth. At this point in my life I don’t think I could have an angry or growling singing voice even if I tried really hard. Most of my contribution to this type of sound is due to the fact that I can’t sing any other way.

    Azriel: Tell me about the Drifting video, what are your plans with it?

    Ross: The “Drifting” video was done so that I could see what kind of video I could make with basically no training or equipment. We borrowed an old VHS style camcorder and made a primitive blue screen from a blue blanket, and then shot the footage. I edited it on my PC and was somewhat happy with the result. Recently I created a new version of the video, incorporating more footage. It will be up on our website soon.

    Azriel: How have programs like mp3.com and Napster affected your career as a musician?

    Ross: I think mp3.com is wonderful. It has really revolutionized the marketing and distribution of independent music. We’ve had people from all across the world buy our CD’s through mp3.com, I don’t think there’s any way that would’ve happened without them. Napster doesn’t really have much bearing on most independent musicians, especially when you’re giving your songs away on mp3.com anyway.

    Julie: Napster hasn’t had much of an effect on us. We’ve done a few searches for our name just to see if anyone is sharing our MP3’s and only found a few people. It seems that more people are interested in trading major label songs. Putting songs on MP3.com was probably one of the best choices we’ve made as a band. We’ve gotten fan mail from people who could have never heard our music otherwise. It’s usually hard to get exposure outside of a local area without having good connections.

    Azriel: It could just be me and it probably is, but there is an element of sex appeal in some of your songs like Opiate X and Drifting, was this done on purpose?

    Ross: Actually, I hadn’t thought that there was any sex appeal in those songs. If there is though, that’s fine by me. Sex appeal gets people’s attention. 🙂

    Azriel: Tell me about your involvement with Sunless.

    Ross: Sunless is a solo project of mine, and it was my first real musical project…very gloomy and dark gothic stuff. The music of both Sunless and Per Somnia is my way of getting out whatever emotions I’m feeling at the time. The same goes for my third project, The Endparty. Sunless is the negative extreme, Endparty is the positive, and Per Somnia is somewhere in the middle. Since Sunless is a solo project, it has never played any live shows…which hinders a band’s progress, I think. Right now, new Sunless songs are pretty sporadic since I’m putting most of my efforts into Per Somnia.

    Azriel: What sort of places do you play live? Where would you like to play in the future?

    Julie: We’ve played mostly in local clubs. Two of the shows played were part of larger events. The first had three bands and about seven DJ’s in several rooms. The second was an underground art and music festival. We would like to play some shows outside of Arizona in the future. Somewhere in California wold most likely be the first place we would go.

    Azriel: What is the future plans for Per Somnia?

    Ross: to continue making music and gaining listeners. And to tour and play for all of the people who’ve emailed us and said “will you ever be doing a show where I live?”

    Azriel: Thanks very much for this opportunity to interview you 🙂

    Ross: Thank you!

    Interview Originally Published in December 2000

  • Tapping the Vein – Interview

    Pre-Print Interview

    Nuclear Blast Records

    Bandcamp

    Interview with Heather, Eric, Joe, and Mark of . . .
    Tapping the Vein

    Interview By: Azriel J. Knight

    Azriel: Okay lets start with something that has been bugging me, what is the story behind the band name?

    Eric: I have always been a Clive Barker fan. I was working with someone who was a very big comic book fan and he asked me if I had ever seen the series “Tapping the Vein”. It is a series that Clive Barker presented in order to showcase the talents of new comic book artists. Before I even saw the series, I thought it was great name and it represents what we “try” to do.

    Azriel: How old were you when you discovered you had singing talent?

    Heather: Well, I had a solo in the 9th grade and that went pretty well. Another day, I was leaning my ear up against my speaker and singing along to something. My brother was walking by and knocked on my door to tell me it sounded good. Considering we were teenagers, close in age and barely speaking to each other, I took it as a huge compliment.

    Azriel: My friend October was the one who introduced my to your band, maybe as a payback to her I can get you to say a little something for her?

    Heather: Hi, October! Thank you so much for telling Azriel about us. I really appreciate that. And I LOVE your name. Great month, too…

    Azriel: The design on your website is amazing , did you have any say in how it would look?

    Heather: We had a lot to say about what we wanted but the design and basic concept was done by our friends at Bowhaus design. ( www.bowhausdesign.com ). Eric had them check out a couple of sites that he had seen and liked. We had a few meetings to discuss what they wanted to do and what we were looking for. After the initial layout, I started to get involved as far as what “wasn’t” working as far as we were concerned. Just little things here and there. Colors, easier navigation, photos, back ground. So, I guess the answer is “yes”, we had a lot to say about the final result. It was stressful getting it exactly the way we wanted before it went live but I e-mailed back and forth with them until everything was right. I think that they really did an excellent job. We will be making some changes soon once the full length is finished.

    Azriel: What are your future touring plans? Canada? Europe? The Moon?? 🙂

    Heather: Hmmm, Well, we get this question a lot from people that write to us. When I write back I tell them the truth. That we hope to be out this year. I don’t know where we will go or how far but we have a lot more resources than this time last year. We will have distribution and tour support through the label. It is an absolute priority as far as we, and probably any band, are concerned. The biggest problem, of course, is the money. But we’ll find a way.

    Azriel: How do you see the band progressing in future albums?

    Eric: I don’t know how I see it progressing right now. I can’t even tell you because it is a natural progression. We always just write what we feel. I experiment with new sounds all of the time. It’s not like we will put out a jazz album or anything but as long as we grow as writers that’s all I really care about.

    Mark: As we’ve matured as a band we have become more compatible as writers. We know each other’s personal writing style. In that way, I guess we will continue to progress. We also learn more and more each time we record. We always end up saying “well, that’s pretty good but next time…”

    Azriel: How do fans react to your live shows?

    Mark: The fans are very attentive and extremely appreciative. There never seems to be anyone standing around talking. All eyes are on us. That just makes the performance all the more enjoyable for us.

    Joe: Yes, we get an excellent response. Never bad. The people are always willing to come up before and after the shows to talk with us and tell us how much they enjoy seeing us play. They say that the shows keep getting better and better.

    Azriel: What is YOUR favourite band and why?

    Eric: There are so many… Depeche Mode, NIN, Tool. The reason is the same for all three. Brilliant song writing and a high level of creativity.

    Mark: I really don’t have a favorite band but right now I really like A Perfect Circle, Rammstein and Tool.

    Heather: I’m not really a “favorite band” kind of person. I kind of just obsess on songs for awhile then move on. But right now I LOVE Linkin Park. My friend, Dana, and I put on the album and sing, play air guitar and basically just jump around like idiots while we get ready to go out.

    Joe: I think my favorite band is The Cure because of the dynamics that they put into their music and moods that creates.

    Azriel: When people ask you what you do for a living, how do you respond?


    Heather: Well, I usually say “I’m a singer but I have a day job.”


    Eric: I tell them my day job because that is what I do “for a living”.


    Mark: I tell them I’m a student.

    Joe: I say that I am a prosthetic technician. Then I have to explain that it means I make artificial limbs. I once had given a friend about 10 “used” limbs which she passed on to Marilyn Manson. They turned up in a magazine spread with him.

    Azriel: What sort of tips would you give someone starting their own band?

    Heather: Do what YOU feel not what you think everybody wants to hear.

    Azriel: If I have missed anything please take the time now to let me and everyone reading this know about it

    Heather: I think you covered just about everything. Can I have some plugs? I guess I can plug the web site www.tappingthevein.com and plug the upcoming full length with Nuclear Blast. We are in the finishing stages.

    Azriel: Thanks very much for the interview, I wish you all the best

    Heather: thanks, a lot. We really appreciate your support and the exposure. Bye Bye for now!

    Originally Published March 2001

  • Mephisto Walz – Interview with Bari-Bari

    Pre-Print Interview

    Cleopatra Records

    Official Website

    Bandcamp

    By: Azriel J. Knight

    Azriel: What does the name “Mephisto Walz” mean and why did you choose that name??

    Bari-Bari: We chose that name while forming in Germany. It was Johanne’s idea from reading Goethe in school. I later got familiar with the work and the different translations. There was also a classical piece by that name and a cheap book and movie (with Alan Arka?).

    Azriel: You have been in the music industry for a very long time (not to make you sound old or anything 🙂 ) Tell me about some of the most important lessons you have learned as an artist, as a person and anything else you would like to add.

    Bari-Bari: As an artist: get good, trust what you do and then let the audience find you. Don’t try to guess what they want, it just won’t work.

    Azriel: Tell me about the Immersion Album, please 🙂

    Bari-Bari: It is my favorite release because it covers a lot of new territory. I wish my studio was in a little better shape when we recorded it and mixed it but most of it I am quite happy with. A got to play bongo parts and do Pink Floyd thingies and Chris got to sing songs about fish and snakes.

    Azriel: Do your parents still bug you to cut your hair? I mean, I am 20 years old and they are still telling me it’s just a phase, so please tell me at some point they give up and accept it 🙂

    Bari-Bari: Give it four to five more years… I think they will be out of their phase by then.

    Azriel: How has the general popularity of Mephisto Walz been since the Immersion album came out? Did the Gothic Diva’s compilation CD help?

    Bari-Bari: Well, it didn’t make much of a splash. I don’t think it was known very widely that it was out I will promote it more by releasing in Germany and posting more up to mp3.com. As to “Gothic Diva’s” I was in the record store down the block, checking through the gothic/industrial aisle when I saw this release right out in front. So I said to myself “well, if anyone would put out a CD with that name they should have at least asked us to be on it”. I was a bit miffed. Then I turned it over and went “Aaaahh!”. Another release with unlicensed Mephisto Walz material on it! This one has gone a bit too far and action will probably have to be taken. Yuk! But all labels have to do is be honest in their dealings with bands.

    Azriel: How do you come up with the music that you do? I mean it sounds general but where do you get the ideas for how they are going to sound? Is it already in your head, or is it like writing a poem where you write the first few lines then the rest comes naturally?

    Bari-Bari: The sound isn’t anywhere that I know of. It just comes out of my hands and part of my brain is a spectator. The spectator decides whether to continue or jump to force a new thought process. Kind of fun, really. It is the most enjoyable part of making music. The moment of creation…

    Azriel: What do you do when you have a difference of opinion with Christianna (vocals) ?

    Bari-Bari: We usually don’t have a problem. But the easiest way is to just move on to something else and try again when your frame of mind is changed.

    Azriel: What made you decide to separate from the rest of the band and just have the 2 of you? How do you think this will affect things like touring?

    Bari-Bari: Not too interested in touring anymore. Don’t know why, but it is not as fun as it used to be. Also, not having a playing band made it hard for Johanne and David. So we agreed that everyone would go their own ways. Also, none of us except Chris and I lived in the same cities so it was rough on everyone.

    Azriel: What are some of your favorite bands and why?

    Bari-Bari: Lots of different things right now. Classical, Irish, Ofra Haza, lots of new bands, The Coors, Radiohead, Enya, Japan, Smiths, Laura Nyro. Not very gothic really.

    Azriel: Do you get a lot of e-mails from fans? What do they usually say?

    Bari-Bari: Some are quite interesting, some quite personal as to how our music has helped them in some way.

    Azriel: Who was your biggest influence throughout your music career? It doesn’t have to be an artist; it could simply be a person.

    Bari-Bari: Strangely enough, U2 helped change my guitar style drastically and showed me how less can be more.

    Azriel: How do you feel your music has evolved over the years, and where do you think it’s headed?

    Bari-Bari: I think we have one more “Immersion” in us and some other things as well. I am relocating back to Southern California and setting up our studio there. Also, several new projects are being worked on, one of which is much slower and open with multiple vocalists and writers. June is when I hope to have that done.

    Originally Published December 2000

  • Theatre of Tragedy Interview

    Pre-Print Interview

    Nuclear Blast Records

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    Interview with Hein Frode Hansen of Theatre of Tragedy: 2001

    By Azriel J. Knight

    In promotion of their new album, Musique

    Azriel: I noticed your album is already being spread around the Napster universe, how do you feel about that??

    Hein: The new one really? I only found some odd tracks. I have nothing against Napster for exploring and checking out new releases and new bands, but to download a whole album and burn it or spread it further on the net is plain unnecessary. in order to make good music and do great live shows the underground artists need the fee earnings they get. Without it they cannot make music that the listener want and hence the listener fools themselves…. but if Metallica loses a few cents I don’t care.

    Azriel: Nicely said. I’ll admit I have pretty much all the tracks from the new one, but I live in North America, and when it finally comes out here, I’ll have a copy. So explain to me (and I know you have probably been asked a million times) why the change?

    Hein: Bands change. It’s a fact of life and we as people had to reinvent our own concept in order to survive as a band. So it would be Musique or no Theatre of Tragedy whatsoever. Without change and progress society would be quite boring in my opinion. No mobiles, no Internet, no CD’s, no nothing. And to combine organic sounds with electronics felt natural for us as we listen to such different kinds of stuff.

    Azriel: I have listened to the album carefully, and find that it still does hold the ToT flavour, and I was expecting to be disappointed, but I am impressed. Tell me about the Image video

    Hein: Thanks for still being able to hear what we tried to accomplish. Reinventing the ToT sound in a 2000 kind of way. Escape our own limitations created by us. Image video is a sexy dirty, rocky and posing video. Liv as the clean and angelic front singer, and the models and the male band members as fucked up dirty and kinky. Real MTV kinda groove but in a much dirtier and sexier way. If people wanna see it, it is on streaming on www.nuclearblast.de and on our www.theatreoftragedy.com

    Azriel: Yeah, I really like that video, Liv is looking good these days. Who’s idea was it for that type of feel for the video??

    Hein: Well we got a bunch of concepts from different directors and we liked the simplicity of this one. NO typical Goth or metal video. Only a kick ass rock and roll one.

    Azriel: What would you say you miss the most, if anything about the old look/sound of ToT?

    Hein: Our old bass player Eirik. He left last year. He was tired of being in a band and wanted a regular job. He was really funny and like the clown in the band. Apart from that I look to the future and try and focus on that. I regret nothing, but progress is a good thing.

    Azriel: I noticed when looking through your tour dates, you haven’t been out here in North America, has ToT ever considered the possibility?

    Hein: Well there is some serious talk right now to do some US shows in December this year around X-mas and between X-mas and New Years Eve. So far no date are confirmed, but as soon as we have them they will be posted on our homepage. Sign up for our update mail and you will get notified.

    Azriel: I noticed you guys have a link to a Yahoo! Club, do you visit the site often?

    Hein: we have a link to a Yahoo! Club??????? I don’t even know what it is……..

    Azriel: LOL, the link is on your web page.:) The Musique album has a general theme, defiantly technology, and I am feeling hints of 80’s techno, but I could be just a dumb shit on that, tell me more on what the album represents

    Hein: The album has really nothing to do with techno, but rather takes a look on the impact and effect technology and machinery has played on mankind over the last centuries. For good and worse. Does mankind control technology or do technology control mankind? The lyrics, music, cover, homepage and band photos are each a part in a bigger scheme. The red line between the different elements.

    Azriel: Can you elaborate on that a little . . . or a lot 🙂

    Hein: Well I thought I just did:-) Well the thing about mankind being closer to machine/robot something’s in the higher pace of society. Routines are taking over our lives, due to technology. On the other hand it offers new ways of communication as phones, internet, planes, etc. which brings the world and people closer together. As well as making fascinating sounds/noises/feedback and fucked up stuff for our music. It has negative effect as well as positive effect on mankind in my opinion. Like the equilibrium of the year 2000.

    Interview Originally Published in October 2000

  • Collide – Beneath the Skin

    Re-Constriction Records

    Pre-Print Online Review

    Bandcamp

    Release Date: 1996
    Genre: Gothic Electronic
    Similar Artist(s): Diva Destruction
    Band Members: kaRIN, Statik
    Instruments Used: Synth, Vocals (female)

    The album begins with a powerful, knock you off your ass, wanna play this while drag racing song called Violet’s Dance. I conjure up indescribable images of power and electricity when this song plays upon my ears. “Violet’s Dance is the feeling of my own perspective of life,” says kaRIN, singer/songwriter of Collide. “I have always been able to see my life from the inside as well as objectively from the outside as an observer, so that I am both passenger and driver…ride…restless violet’s dancing.”

    This is Collide’s first album, released back in 1996 with an already formed personality, where most bands don’t really find themselves till their second or third album, this California-based dynamic duo come across as if they have been playing for decades.

    The most memorable tracks besides Violet’s Dance are Pandora’s Box which kaRIN says “conveys the emotion of knowing something is bad or harmful to you, but wanting it anyway.” and Dreams and Illusions was the first song kaRIN and Statik (who does all the wonderful “noise”) did together “. . . before there was a Collide, or even the thought of starting a band together.” kaRIN explains. “It’s the feeling of wanting something that you can’t attain.”

    Beneath the Skin is a nearly flawless album which is a phenomenal achievement for a first release. The song speaks of sorrow, need, passion, enchantment and power. it will pluck at the strings in your heart and will keep your mind scanning images of your own past. “The basic theme of anything I do artistically is a subconscious flow of what’s going on in my life.” kaRIN tells me. “I like to channel through vocals and words… a diary of sorts, pin pointing my thoughts and emotions. A lot of what I was actually going though at the time was the sickness of someone really close to me.”

    Be sure and check out Collide’s Official Website and the all new Club Collide now with over 60 members, chat will other fans of Collide and the band members themselves! – Azriel J. Knight

    Review Originally Published in 2001

  • Tapping the Vein – Undone

    Nuclear Blast Records

    Pre-Print Online Review

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    Release Date: 2000
    Genre: Goth Rock
    Similar Artist(s): Garbage, Stabbing Westward
    Members: Heather Thompson, Eric Fisher, Joe Rolland, Mark Burkett
    Instruments Used: Female Vocals, Guitar, Bass, Drums, Synthesizer

    Horror Online Magazine stated Vocalist Heather Thompson combines the intensity of The Sugarcubes, Bjork with the discipline of The Cocteau Twins’ Elizabeth Frazier. Thompson’s voice also has a quality which neither Bjork nor Frazier can claim: the capacity to fly from one emotional and auricular extreme to another in one second flat – believably and without strain.

    I couldn’t have put it better myself. Tapping the Vein’s “Undone” combines a near perfect mixture of the classic euphony, basic instruments (guitar, bass, drums) with just the right dosage of programming and sampling from Drummer Eric Fisher who was also the man who decided to come up with the band name “Tapping the Vein” because of his appreciation for Clive Barker.

    This 6 song EP is more than enough to attract to attention. A hard rock feel that has also attracted some attention to the goth scene for it’s tragic theme. Each song has it’s own creative life to it, with a song like crushing, it begins with an acoustic guitar and her voice, it seems to come from a distant radio, and suddenly the static and distance clears and the other instruments kick in with a pinch of Spanish flavor which may have been done on purpose, no idea, but great none the less. The album starts off with some synth guitar sounding deal that is difficult to describe and almost immediately after the drums come into play but this “sound” always remains and it sticks in your head. Song after song, a steady beat with a catchy chorus.

    This is Tapping the vein’s second EP release and a full length album under the Nuclear Blast record label on the way, this alone is indication enough of the talent of the band. Being under the same label as bands like Theatre of Tragedy, Dimmu Borgir, and Children of Bodom should give them the recognition they need and deserve – Azriel J. Knight

    Review Originally Published in 2001

  • Goliath – Land of Nod

    Pre- Print Online Review

    Discogs

    Release Date: 2000
    Genere: Dark Metal
    Similar Artist(s): Danzig
    Members: Mick aka “Goliath”
    Instruments Used: Synthesizer, Male Vocals, Keyboard, Guitar

    If you’re looking for a CD where every song sounds exactly like the last this is the one for you. I really hate giving bad reviews but I was not impressed with this album. When I interviewed Mick a few months ago I had only heard 2 tracks off of Land of Nod and I was really impressed with his work, what I was unaware of was that after track 2 it all goes downhill, like someone set up the CD in such a way so the music got progressively worse as you listened.

    The sound is flat, reminds me of listening to someone play it for me over the phone and nearly no time was spent in the lyrics. Mick himself stated, “I just write and not really think too much about the concept…it does have to be dark…. I am more into the music giving someone a vibe…lyrics are just filler for me…I write about God, Satan, demons, death, vampires etc…. But usually only spend about an hour working on them” This defiantly shows up in his work, and it’s unfortunate for those of us who listen to the words to help in meaning for the music.
    Recently Mick has gone back to the name Midnight Orchestra, which is what he previously called his group when he was a christian band, hopping back and forth from one name to another doesn’t say much either.
    If you’re into buying CD’s just for one or two tracks this may be perfect for you, otherwise I wouldn’t bother.

    I do however see potential, but that’s all I see. – Azriel J. Knight

    Review originally published in 2001

  • Silent Watcher of Dark Matter: Installation

    MP3.com (Independent)

    Pre-Print Online Review

    Discogs

    Archive.org

    Release Date: 2000
    Genre: Dark Ambient/Ambient/Dark Post-Industrial
    Similar Artist(s): Raison D’etre, Lustmord, Rapoon.
    Band Members: myt
    Instruments Used: synthesizers, bass, flute, bells, gongs.

    Absolutely Haunting. Myt, the creator of this music has managed to find a way to take thoughts, emotions and transfer them into sound. The music will force you to conjure up images, smells, thoughts, nightmares, and whatever else you brain will find conceivable. Never have I heard Synths used in such a manner. The first track, Bipolar Outflow(1) plays out like the beginning of a story, the chimes sound as a warning to the listener it seems.
    There is a definite sign of experimental highlights in the form and sound produced by myt. Not the kind of music to play at a dance club party, but defiantly the perfect choice for meditation, relaxing alone, or for a candle lit night with a loved one. track three, Sandstorm begins with a slow rhythmic heartbeat and what sounds like a moaning of spirits but turns out to be the distant blowing of a sandstorm. bells slowly come into play and the moaning of the storm continues.
    The CD ends with a track called Surface, 21 minutes, which begins with a low hum of synth and what sounds like droplets of water echoing off the walls of a large chasm
    This is a 6 track D.A.M. CD which is available threw mp3.com and defiantly well worth it if your looking for something to relax you, memorize your mind and set you into a comatose meditative state. – Azriel J. Knight

    Review Originally Published in 2001

  • Mourning After Pill – Ask and Ye Shall Deceive (later renamed to Parasite Priestess)

    Issue 03 [Page 08]

    MP3.com (Independent)

    Bandcamp

    I didn’t think a decent song could be produced using
    Frooty Loops, but The Mourning After Pill proved me
    wrong.
    I have been aware of this project for about a year now,
    and used to frequent the site to check for updates. I
    would occasionally plug The Parasitic Need into my
    Winamp, which is the first track off this single.
    Ask and Ye Shall Deceive has some funky twists and
    turns you’ll enjoy, and some you might be mildly
    annoyed with – there’s a bit of boring repetition here.
    Again, it’s all a matter of opinion of the individual, some
    like repetition, some don’t.
    AAYSD consists of four original tracks and two remixes.
    Most of the songs on here have the certain appeal of a
    pleasant dark ambience – the lyrics are a bit cheesy but
    Mourning After Pill seems to be a hobby project. My
    biggest beef is that it’s an mp3.com release, and most
    know about the whole Universal problem that started in
    October. I must admit, mp3.com produces better CD’s
    now: shrink wrapped and less propaganda.
    MAP has some creative elements worth checking out. – Azriel J. Knight

  • Dark Muse – Sounds From Beyond The Silver Wheel

    Issue 03 [Page 07]

    The Fossil Dungeon

    Buy on Amazon

    Bandcamp

    This seven track digipak brings back the days when I was
    really into Silent Watcher of Dark Matter and Not Applicable, two fantastic but under appreciated bands.
    Dark Muse, a solo project by Phyll Smith, has subtle and
    macabre vocals. The synth work is lovely. Long, drawn
    out, progressive dark ambient, utilizing panning and echo
    effects that blend wonderfully with her soft cries. The
    haunting ambience is gradual and minimalistic, but
    extremely creative. Smith uses a guitar, a line 6-modeler, a Russian string piano, bells, nails, coils, screws, water and bowed cymbals, among other things to produce her sound. Before SFBTSW, Smith released a series of mp3.com CD’s.
    SFBTSW isn’t purely a dark-ambient project, other genre
    appearances in this seven track experience are ethereal,
    experimental and darkwave, sometimes as a singular, but
    mostly in combination.
    Track one, Queen of the World of Spirits is haunting, dark
    and therapeutic in some respects. Certain Angst, our next track has a tribal feel, but not up and close, more like, just beyond your sight in the distance at sunset, again, very subtle. Calm is where I hear the reminiscence of mp3.com artist Not Applicable. Calm has a tunnel effect so to speak. You’ll have to listen to understand what I am trying to get at. LunaFlow (The Deep) is track four. If Silent Watcher of Dark Matter wasn’t such an unknown artist I would swear this was a blatant rip off, but instead it’s more like re-created originality I swooned at Phyll Smith’s ethereal vocals, a lot of hums and hoos, and they don’t overpower the synth work – it mixes very well. Smith takes advantage of the concept of her voice being an instrument and not a centerpiece to take away from the surrounding objects. This is a must-buy for people who seek out candle and incense music. – Azriel J. Knight