Psyclon Nine vocalist gives us a collection of ominous, heavily atmospheric and dark experimental electronic songs that plays like a soundtrack to oblivion.
Best known as the driving force behind industrial black metal act Psyclon Nine, Nero Bellum evocatively entitled new album 'The Voice Of Your Blood Cries To Me From The Soil' is, stylistically, a far cry from that band. Like its 2019 predecessor, ‘NFRN’, it is an improvised exploration of modular synthesis with no overdubs or computers used in the creative process. The results are in line with Nine Inch Nails’ Ghosts series, a collection of ominous, heavily atmospheric, percussive, dark and experimental electronics that plays like a soundtrack to oblivion.
Explaining the thought process behind these albums, Bellum has previously stated that “we live in a time in which electronic music has become foolproof and ‘œperfect’, with a level of mathematical and computational precision never seen before. To my ears, this perfection has become stagnant to the point of sterility. With most music being entirely composed within a virtual environment, I decided to embark on a journey to find physical instruments that would resonate with my desire to create an antithesis to the current state of electronic music. My goal was to find songs through experimentation while capturing every click and pop in the process. Every imperfection that would otherwise be edited out and discarded would be celebrated and pushed forward to the center of my canvas.”
He adds: "My journey guided me into the world of modular synthesis, with the concept of an instrument that could be customized and reconfigured to my liking being very appealing. While many 'fixed-format' synthesizers offer presets that can promote repetition, modular synthesizers force the user to build an instrument from the ground up. Following in the footsteps of West Coast pioneers such as Morton Subotnick and Suzanne Ciani, I became enamored with the Buchla format and philosophy. Using controlled uncertainty to invoke evolution and exploring harmonic relationships as they apply to modulation to cultivate new timbres and allowing the instrument to have a vote in an otherwise undemocratic symbiosis.”
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