Update: He has left us alone...

Ìncubi is no longer the manager of this blog, for reasons that I will not reveal, and do not know. It will now be updated by me. Yes, me.

btw, I'm not John Wight.

last of all, the discography will be most complete here.

suitable picture:

Cornucopia (2010)

This work is the one I consider my best opus to date. It takes a lot of the ideas I've worked on in the past, perfects them, renews them, and puts them in a wholly different environment. Some of it is quite lo-fi... It was recorded with minimum equipment and instruments, but manages to bring out a vast array of sounds.

I could go on to explain the contents, but I think Jeemobon of WTFmusic did a much better job of summarizing it in his review of the Incubi albums, so check out his review and check out WTFmusic too.

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Credits:
John Wight: production, violin, voice, saxophone, electric & acoustic guitars, percussion, electronics, drum machines, various reed instruments on Metalith

All compositions by John Wight

album artwork for Crustacean!

The album art for Crustacean is finished! It was done by "Nabraxas", who's art is totally unique: strange mixtures of crustaceans/insects with portraits of various serial killers and criminals! The soon-to-be-released album Crustacean was actually inspired by this artwork! So obviously it is quite an honor to have him do the artwork for this particular release! The artwork also references the cover of John Zorn's The Dreamers, except has ugly creatures instead of the cute ones that graced that cover.

So here it is:

Eureka (2010)

This album is what I consider Incubi's "electronic album". There's some ambient, some breakcore, some noise, some weird sound art, field recordings, among other things, but it's mostly made up of electronic sounds that were made on a computer, and some samples. Anyway, I hope you enjoy it.... LISTEN TO IT WITH HEADPHONES. There's a lot of small details. Smoke a joint, put the headphones in, and listen to this laying in bed with the lights out. I don't recommend just playing it as you sit on the computer or as you do something else. Only one track is background music.

Neptune: this track takes field recordings of cicadas and crickets and layers it over a soothing ambient loop. This is meant to be relaxing, and uh, it also implies that there is life on Neptune.

Crystal Mines: this was actually taken from a previous album called Extra-capsular Manifestations. It is made up of: music from DK64, ambient stuff I made on the computer, me playing saxophone, and a dialogue sample from an audio collection about occult/paranormal phenomena.

Necromimesis: the loudest track here, and the most complex. Mostly electronics, but can you find the violin on here?

Eureka: A collage of electronic stuff. At the end is the track Shots.Shots..Shots... from my album Tecton Voltalade.

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The Magus (2010)

This was the first Incubi release. It's more like a collection of 'demos' then a proper album, as it definitely has lower production standards, and is a bit incoherent. However, it does contain a lot of interesting material, spanning around 40 short tracks over the course of an hour, displaying many different ideas and themes. It includes avant-metal, math rock, dada, noise, folkish music, avant-classical, electronic music, collage, middle-eastern-inspired music, sound art, cartoon music, among many other styles. Instrumentally there is also a lot of variety, especially for a bedroom recording by someone who doesn't have much money to buy instruments. There's computer-made electronic sounds, samples, guitars, bass, violin, saxophone, tuba, trumpet, 8-bit sounds, vocals, ukulele, a broad range of percussive sounds, flutes, keyboards, and maybe some others I'm forgetting.

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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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