SONISK BLODBAD

While not as bleak as some other electronic artists I know about by far, this isn't music that will transport anyone into their happy place either. At times these landscapes are rather challenging too, albeit mainly due to the moods and the atmospheres explored and not quite as often due to the arrangements and the sounds used in them. If ambient, dystopian and challenging progressive electronic music sounds like something you would enjoy, "Electric Mirror" should fill some of your cravings for this type of material quite nicely indeed.

Those fond of profound electronic music, of the kind that revolves around dark and cold sounds, more often than not featuring one or more sounds and effects that bring forth associations to water and the deep sea, should find Sonisk Blodbad's second album to be an intriguing one. Ranging in scope from material closer to the Berlin School tradition to ambient, dream-laden soundscapes, with a focus on being accessible just as much as cold, dark and at times haunting, this is a melancholic, mournful creation that requires a certain fascination for atmospheres of this nature by those who listen. Those who feel this description is generally appealing should find this album to be a rewarding experience.

The music of Sonisk Blodbad comes in two different flavours if this album can be trusted as evidence: Either dark and ominous or sad and mournful. One exception aside the style is an electronic one, with ambient and cinematic as descriptive keywords. Not ambient as in Gandalf and Vangelis, but rather ambient as in the complete opposite of what these artists normally produce. Vangelis has touched upon similar atmospheres on occasion admittedly, first and foremost when he crafted the soundtrack for Blade Runner, but Sonisk Blodbad's excursions are of a substantially different nature even so.

The opening four pieces are the darkest one by this outfit, at least so far. The resonating, oscillating and otherwise computer and machine like sounds of "Sonisk Blodbad" not directly so perhaps, but due to a swirling recurring sound that made me recall classic computer game Paradroid I got the dark mood by association on this one. But from "Somewhere Along the Line" through "Det Er Ingen Teatertriks" we're treated to a trio of tracks that embrace the dark side of ambient oriented electronic music. And brilliantly so I might add. The most impressive amidst these twinkling black gems "Koffår Svikta Du", a remixed version of "Varför Svek Du" that appear later on. This remixed edition opens with the subtly fluctuating light toned synth motif of the original piece, slowly invaded and taken over by a succession of darker, twisted and eerie sounds that manage to create an almost frightening atmosphere. Despite nothing really dramatic taking place. An unnerving audio experience if you like, and as far as ambient music goes this is stuff that will inspire to nightmares. The brooding, mournful creations before and after are perfect companion pieces to such an excursion, encapsulating the opening half of this production in an almost oppressive yet compelling dark electronic coating.

Title track "Dark Spring" kicks of a somewhat less intense part of this production, where minimalistic constructions that are less oppressive and somewhat lighter in spirit are given room. Not that any of them are bright and positive, but the mood associations are limited to those of sadness and mourning now, at least to my ears, and the brooding, ominous undercurrents and effects are used less extensively if at all. Easier to enjoy compositions, and easiest of them all, arguably, is the remixed version of their previous single "Blue Room". In this version sporting dance friendly rhythms and a distinct development towards a 1970's inspired psychedelic rock expression as far as style is concerned. But this track is the exception on this half of "Dark Spring", the other pieces more distinct and thorough exercises within a minimalistic context. The tile track itself is an interesting one, a subtly fragmented sad cinematic journey backed by light toned bird-like sounds. But also a creation that given a lighter tonal range and violins rather than synthesizers most likely would have been experienced as vibrant and joyful.

If you're in the mood for an album of mostly dark ambient music, ranging from the sad and mournful to the ominous and somewhat oppressive mood-wise, Sonisk Blodbad is a band to get more familiar with. And their debut "Dark Spring" is a quality evidence of just how far removed from new age electronic music can be whilst still maintaining a cinematic, mostly melodic expression.

Minimalistic, dark and melancholic music is the name of the game on this production, ambient in style, hypnotic in expression and introspective in association. Or something along those lines. A-side Blue Room features a dark, slow moving fluctuating undercurrent as the foundation, on top of which a fragile, frail violin solo contrasts beautifully. Dampened, female lead vocals is almost as constant, while a subtle noise texture come and go infrequently. A suitable soundtrack for a journey into your inner space, meditative music of the kind that invites reflections and deep thoughts. B-side Varför Svek Du? is a slightly different beast, a slow minimalistic piece that opens with a slowly fluctuating synth motif that invites melancholic associations, gradually developing overlaying details evolving into two additional textures, and following this final development a slow fadeout commences for the last minute or so. More cinematic in scope and rather more of a minimalistic creation, but a compelling one nonetheless.

If the band still have copies of this single available, those with a taste for refined ambient music might want to get hold of it. And if it should be sold out at this point, there's still the debut album to look forward to. A production planned to appear in February 2012.