Sphinx (2010)

Sphinx is an album that collects various compositions that were never for a particular album. However, the material here is far from throwaway, and once again explores new ideas while expanding on earlier ones.

The first segment of the EP is 9 short "math" tracks that explore odd time signatures, atonality, and various ideas that sometimes change each measure, all the while staying very fast-paced. The tenth track, Xaphan, is a Middle-eastern flavoured "rock" track. The next track is the longest track on the album (6 minutes) and was originally written for the drone metal project Obelisk. It is a doom metal track which features Arabian scales, shrieking sax, odd percussion, and strange ambient noise.

Track 12, 13 and 14 combine tribal percussion and chanting with electronic/ambient noise bits, and even a spastic violin solo. Finally we have the title track Sphinx, one composition divided into four parts. Originally it was to be on the 'sequel' album to Les Catacombes Mortes, but ended up going in a slightly different direction. De-tuned guitars, dissonant vibes, and gritty, dirty sound effects that create a dark atmosphere similar to Les Catacombes Mortes, but of course the instrumentation is completely different.

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Les Catacombes Mortes (2010)

In mid-2009, I- John Wight -recorded a dark ambient album named Weltzraghassor. It was my first proper "dark ambient" release, inspired by the film Eraserhead. It was a big step at the time, and had strong Lychian atmospheres, but there were some major flaws. Basically, Les Catacombes Mortes is a completely new creation, yet it fixes all of the flaws of Weltzraghassor and incorporates new sounds and ideas.

The best way to describe this album would be noisy, discordant dark ambient with screeching electronics. It is obvious from the get-go that it is influenced by Naked City's Absinthe. The themes of the music are grotesque living puppets, dark cathedrals and catacombs, industrial wastelands, and surreal atmospheric chaos. 

Released on Velvet Blue records.

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