Gent, Belgium Organic /Ritual /Electro-Acoustic /Ambient /Doom /Post-Industrial /Soundtrack project of Nicolas Van Meirhaeghe, AKA Empusae “Virago” from “Præter” EP.Sheffield, UK ambient /cinematic /neoclassical /electronic band since 1981 formed by brothers Klive and Nigel Humberstone, aka IN THE NURSERY “H43 Ektachrome (The Animator)” from the upcoming studio LP “HUMBERSTONE”.A meandering and dirging bassline, ceaselessly on the foreground, drives dark and dreary auras through a morbid and alienated veil of warped, bleary, at times slightly dissonant, glinting guitar reverbs, whilst muted, haunted vocals drop grey bleak introspective poetry and raw melancholy. The Sardinian musician weaves a minimal, diseased, and obsessive classic ’80s post-punk in its purest and most organic form, which expresses a deep contemplative inner tension without necessarily ever bursting, curiously in stark contrast to his other projects, where noise or, at least distortion, are the masters. Italian Electronic /Coldwave /Post-Punk moniker of musician, Cristian HC Usai, aka LOVE OF CONSOLATION “Fall” from the cassette EP “Wither On A Spring Day” on beach buddies recordsĬassette edition for last Summer’s 4-track EP “Wither on a spring day”, with the addition of two unreleased tracks, both of which are not mere fillers, but ultimately adding extra substance and quality to the whole.
On pre-order the upcoming album from the enigmatic and fascinating South Korean artist with three previews of which, together with the mechanical and throbbing “Folk Tanz”, shines as well the more introspective and poignant “Diorama Dominik”, whose evocative vocalizations, switch organically, as often, between English and German inclinations, to burst with aching and moving intimate melancholic melodicism, pierced by painful and sparkling guitar wails, in an obsessive mesh of haunted fears and morphed baritone shadows of doubt, releasing the beautiful angst and restless tears of the gripping lyrical poetry into a dark and brooding longing of nightmarish fate. South Korea darkwave /coldwave /post-punk solo project of Zujeka from Seoul, Bendi Boi “Diorama Dominik” from upcoming LP “Meine Gäste”.Saint Petersburg‘s duo returns, after their last year’s promising debut EP, by plunging into both lysergic and ceremonial, sparkling darkness built on a chunky and brooding bassline that throbs with a metronomic hypnotic menace, thickened by ringing and distorted, icy edgy guitar layers to shoot a smouldering enshrouding edge of dramatic sentiments around haunted baritone vocals cast an ominous agonized exhalations of cold pain from the murky and hallucinated shadows of fear. Saint Petersburg, Russia goth /post-punk /darkwave band BLIND DREAMS “Her Anxiety” new single.Combining clean acoustic and distorted electric guitars worked for Led Zeppelin, and it can work for you, too.
The percussive, bright nature of the acoustic will serve as a perfect complement to the distorted power chord sludge. Instead, grab an acoustic guitar and layer it instead. If you really want to push a chorus, don’t reach for another overdub of fuzzed-out power chords. This makes for a big, distinct soundstage. Often, when mixing with other instruments - such as a piano - I’ll pan one amp cab left and the other to center, with the left piano panned center and right piano panned right. Layering in this manner preserves the distinct nature of each sound, and lets them stand on their own - yet the two parts will multiply into something bigger. Go Bigįor this, set up different layered sounds - like splitting a guitar into two cabs, miking each one separately, and then panning them opposite of each other (of course, this is very easy to do in the virtual world with amp sims). This gives you a full, churning sound.Ĭheck out Never Mind the Bollocks, Here’s the Sex Pistols for a great example of how this kind of layering can drive a song when mixed high. Taking the aforementioned “small” approach, you can mix the guitar tracks up, and not roll back highs and lows, if there aren’t a lot of other instruments playing. To place the part even further back, roll off the highs a bit for warmth, and pull back a little on the low end to leave more room for the bass and kick drum to give the textured part its own sonic space.
The parts will tend to blur into more of a texture, and, if mixed at moderate levels, that texture will sit in a track as a more background than foreground part.
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