Wolves in the Throne Room - Celestite (2014)

Wolves in the Throne Room have consistently released amazing album after amazing album, and "Celestite" is no exception. As Ulver did over 10 years ago, WitTR decided to try their hand at crafting an ambient album. Combining the influences of electronic pioneers such as Tangerine Dream, Klaus Schulze, and Brian Eno, "Celestite" is a brooding piece of art with dark, spacey atmospherics that sound like they were ripped straight out of an 80's sci-fi film (or even the soundtrack to "Interstellar"). As on WitTR's metal albums, the music feels organic, lush, and emotional. That is to say that their basic songwriting philosophy hasn't changed, even if the genre has.

My favorite track on the album, "Celestite Mirror," is as powerful as anything WitTR have recorded to date. Its grandiose, mysterious synths are backed by a choir of violent guitar chords, immersing the listener in an eerie, captivating sonic world. The bold, yet sparse composition of this track and "Turning Ever Towards the Sun" are, at times, heavily reminiscent of Romantic-era classical music, a fact made more apparent by the intermittent horn swells.

Those who need convincing should at least check out "Initiation at Neudeg Alm," arguably the album's most accessible and melodic track. It reprises the melody of "Subterranean Initiation" from "Celestial Lineage," thus making it recognizable to fans of the band's metal era.

The more I listen to this album, the more I'm convinced it's one of my favorites in the ambient genre. The cover is a perfect visual description of the album's sound: "Celestite" is the ideal album to listen to when virtually exploring the universe. While I still fervently hope they make another black metal album, I'd be thrilled to hear a follow-up to this one.

9/10

 

Crosses - Crosses (2014)

With "Koi No Yokan" in late 2012 and "Palms" last year, Chino Moreno has been quite busy as of late. Now we have "Crosses" which, similarly to his 2005 project "Team Sleep," is an experimental electronic side project. As usual, Chino sounds fantastic. His vocals perfectly fit on every song whether it's more on the dark, reflective side or more on the pop side. Though the album is a bit too long and not entirely consistent in quality, it does feature some excellent songs, "Bitches Brew" and "The Epilogue" being chief among them. Given the length I think it's more of a grower so I highly recommend giving it a good number of listens before deciding on a final score. Fans of Grimes, Chvrches, Nine Inch Nails, Depeche Mode, and, of course, Deftones should feel right at home with this album.
8.75/10

 

Ulver/Sunn O))) - Terrestrials

Both Sunn O))) and Ulver are masters of experimental music, whether it be ambient or drone, and I was fully prepared to have my mind blown when I heard they were collaborating on an album. That didn't exactly happen, but my mind did go on quite a strange and long journey while listening to this. "Let There Be Light" starts off the album with soft, quiet droning pierced by a jazz-like background and, eventually, followed by free-flow drumming. It all goes together very well and creates a distinct sense of foreboding mixed with a certain degree of anticipation. However, once "Western Horn" comes in, that anticipation is gone and all that left is misery. It's an incredibly dark track that has me imagining the darkest scenes of the classic Apocalypse Now film. Everything about it oozes menace and doom. On "Eternal Return" we hear something much more akin to Ulver's most recent album "Messe I.X-VI.X" with strings and dark ambient noodling. The strings let up and eventually we hear the familiar sound of Garm's ethereal vocals which, in my opinion, really complete the album. "Terrestrials," while not as good as "Messe" or Sunn O)))'s most recent album "Monoliths and Dimensions," is a dark, psychedelic trip through the unknown that is sure to send a chill down the listener's spine. It represents the best of what both bands have to offer and I don't think there's much they could have done differently.
8.5/10

 

Chelsea Wolfe - Pain is Beauty (2013)

I'm not a huge fan of goth rock, but this album definitely manages to get my support. That said, it's much more than a mere rehash of Siouxsie and the Banshees or The Cure, though those bands were almost certainly large influences in the album's overall sound. Rather, Wolfe borrows heavily from folk, doom, drone, and perhaps shoegaze. While this is quite an eclectic mix of genres, the end product is remarkably consistent because she experiments not for the sake of experimentation, bur rather as a means of expressing her emotions and thoughts as she sees fit. And this is an incredibly emotional, beautiful album indeed. Songs like "The Warden," "Reigns," and "Lone" are so simple yet so powerful at the same time. They're absolutely hypnotic and gorgeous. Elsewhere, Wolfe's post-punk influences come in full force on songs such as "Destruction Makes the World Burn Brighter" whose nihilistic title echoes well with the album title itself. Like Grouper and other experimental artists, Wolfe has a knack for establishing a truly haunting atmosphere. Her ethereal vocals linger in the background of every song like a restless spirit. "Pain is Beauty" is by far one of the most unique releases of last year and probably the best in Chelsea Wolfe's discography. For something off the beaten path, you can't do much better than this little gem.
9/10

 

Chvrches - The Bones of What We Believe (2013)

Quite simply, this is the best pop record of 2013. Brilliantly mixing dreampop with 80's style synthpop, this record is equal parts beautiful and catchy. Lauren Mayberry's vocals are simply to die for and are really the centerpiece of the album. There's really not much else to say other than this is an incredibly fun and joyful album. And there's variety too in case you were thinking this was a one-dimensional, generic pop album (i.e. contrast the insanely catchy "The Mother We Share" with the reflective, experimental "You Caught the Light"). Indeed, it's quite clear that this is far from the generic pop we hear on the radio. It's something ambitious, bold and downright charming. Do yourself a huge favor and check this out if you haven't already.
9/10

 

Ulver - Messe I.X-VI.X (2013)

Recorded with the Tromso orchestra, "Messe I.X-VI.X" is the logical culmination of Ulver' extension into experimental electronica that they've pursued since they released the legendary "Nattens madrigal." It's also a testament to the band's ambition and showcases some of their best atmospherics to date. The dark majesty of tracks such as "Son of Man" and "Glamour Box (Ostinati)" demonstrate the interweaving of classical and electronic sounds into something perfect for a film score. Whereas Ulver's past endeavors gave one the sense of isolation, the breathtaking, epic nature of this album invites you to look outside yourself and ponder the world. The mammoth centerpiece of the album "As Syrians pour into Lebanon..." alone makes this one of Ulver's finest achievements. It's just an immense, incredibly epic piece of art and one of the darkest, most beautiful pieces of classical music I've ever heard. As for the vocals, they're used quite sparingly in contrast to Ulver's previous works but where they do appear they're all the more effective and emotional. I daresay that this is Ulver's most cohesive and most accomplished work to date and while it doesn't quite touch the masterpiece that is "Shadows of the Sun" it's still a phenomenal piece of work and makes me all the more happy that they gave up on their black metal roots.

9.5/10

Lustmord - The Word as Power (2013)

I'm not sure if I mentioned this before, but Lustmord is my all-time favorite ambient artists along with Steve Roach. Lustmord's ability to create haunting, unfathomably dark soundscapes is unparalleled. Therefore, my anticipation level for this album was quite high and after having heard it, I can say it's a solid release but not exactly what I was hoping for. Lustmord experiments here with vocals to a much greater degree than he's done in the past making for something like a darker, wordless version of Dead Can Dance. I think the vocals work wonderfully in many parts, especially on the standout tracks "Babel" and "Abbadon." But even on those tracks I think he could have toned down the vocals a bit and added more instrumental variety. As for the rest of the tracks: they're all good but they seem to lack the factors that make them really stand out. And usually with ambient albums, the kinds of factors I'm talking about are small things you barely perceive in the background that give the music some character (i.e. the barely audible synth notes on "Abbadon.") Will this album stand up to such masterpieces as "Where the Black Stars Hang," "Zoetrope," or the incredibly varied "Metavoid"? I think not. Is it a grower? I suspect so. It may not be amongst his top-tier works, but The Word as Power is still a beautiful piece of art and a highly unique addition both to Lustmord's discography and to the ambient genre as a whole.
8.25/10

 

Bibio - Silver Wilkinson (2013)

For folk enthusiasts such as myself, the electronic world doesn't often mingle with our beloved genre and when it does we tend to shy away from it and deride it as "impure." However, on this album the mingling is done so well that it's not at all difficult to just go with the flow and think of the ambient sounds as an extension of the folk. It's folk for the modern age, as it were, and above all it's beautiful music. Where this record goes wrong (and this doesn't really detract from the quality all that much) is its lack of consistency and coherency in some parts. This is especially the case with "You" which sounds completely out of place on the record. Of course, I don't think every track should sound the same, but there should have been a bit more commonality between them to make for a smoother flowing album. Otherwise, this is a great album; both folk and electronic fans will most likely find something to enjoy on it as I did.
8.5/10

 

Boards of Canada - Tomorrow's Harvest (2013)

After a quite lengthy absence, one of the most renowned electronic groups (and one of my favorites) has returned with another amazing, meticulously crafted piece of art that is a more than worthy addition to their stellar discography. It's also one of their most unique records in that the overall sound is noticeably darker and colder than their past works. In fact, BoC even go so far as to experiment with dark ambient on "Semena Mertvykh." However, Tomorrow's Harvest is still plenty beautiful and emotional per usual, and longtime fans will certainly not be disappointed. Tracks like "Reach for the Dead," "Cold Earth," "Split Your Infinities," and "New Seeds" are simply some of the best tracks the Scottish duo have put out. While this album probably won't displace The Campfire Headphase as my favorite BoC record (admittedly a minority opinion amongst BoC fans), it already feels like a close second after just a few listens. Potential electronic album of the year here, folks.
9.5/10

 

The Knife - Shaking the Habitual (2013)

The Swedish experimental electronic group The Knife have returned with what may be their most bizarre and eclectic album yet. While there are catchy moments, especially on tracks such as "A Tooth for an Eye" and "Ready to Lose," most of the album is opaque, unconventional, and quite mind-expanding. No clearer example of the band's predilection for the weird can be found than the Nurse With Wound-esque track "Fracking Fluid Injection" whose title hints at political protest and whose music seeks to subvert the status quo. With "Shaking the Habitual," The Knife have once again not only proven their artistic worth, but have truly shook the habitual approach to electronic pop music in ways that only a handful of other artists have done (Bjork and Atoms for Peace come to mind here). If you're interested in hearing challenging, inspiring/inspired electronic music then I very highly recommend giving this album a spin.
9/10

 

Yellow Swans - Going Places (2010)

I'm hardly familiar with the "noise ambient" genre, but if there are other albums like this out there then I want to hear more of it. In contrast to the sharp, ear-destroying aggressiveness of artists like Merzbow, Yellow Swans use noise in a much more subtle fashion preferring to immerse the listener into a dreamlike, but chaotic state rather than shock you into submission. The noise samples are seemingly random yet there is a clear sense of progression in each track as marked not only by volume/intensity, but also by subtle changes in the underlying musical structure. It's a bizarre, yet beautiful kind of ambient music that shows the incredible diversity of the genre and has made me want to explore the noise world more.
9/10

 

Troum/Yen Pox - Mnemonic Induction (2002)

I'm extremely glad to have stumbled upon this little-known gem of an album because it's some of the best dark ambient I've heard rivaling the likes of Lustmord and Robert Rich. It's unfathomably dark and deep with otherworldly bass rumbling and an unfolding electronic soundscape on top of it. Many might call this album "evil" or "scary," but to me it's quite beautiful in a dark sense. In fact, it's incredibly relaxing music that makes you think of the vastness of space or the bottom of the ocean. That's really what all ambient albums should do -- inspire your imagination -- and this album does it brilliantly.
9.5/10

 

Depeche Mode - Delta Machine (2013)

After 2009's rather disappointing "Sounds of the Universe," the biggest name in electronic music is back with their most diverse and creative album to date. Though some songs are similar to "Sounds," "Delta Machine" features a nod to almost every album/style in the band's career plus brand new styles. In particular, songs like "Goodbye" and "Slow" have a distinctive blues influence while "My Little Universe" is the most experimental, Thom Yorke-esque track DM have ever created. Basically, there's something for everyone on this album. But while the diversity of this album is an admirable trait, it also makes it harder for longtime DM fans such as myself to digest and compare it with their older albums. Tentatively, I will say that "Delta Machine" is about on par with "Playing the Angel" and possibly "Exciter" though definitely not on par with "Violator" and "Ultra" (my two favorites). But regardless of how it ranks up, it's still a really enjoyable album that shows just how viable and creative this legendary band is even this late in their career.
9/10

 

Olafur Arnalds - For Now I Am Winter (2013)

One of the most recognizable names in ambient-classical fusion, Olafur Arnalds has returned for his third proper album and this he's brought Arnor Dan Arnarson of Icelandic band Agent Fresco with him. Mixing in vocals with this style of music is an unexpected and rather risky move, but Arnarson's sweet, almost Jonsi-like falsetto melts into the songs with ease. Other than the addition of vocals, Arnalds mostly sticks to his guns and delivers expertly crafted, beautiful atmospheric tracks riddled with his trademark icy beats. It's an epic, gorgeous album that, along with the new Ludovico Einaudi record, is sure to be one of the best classical albums of the year and possibly Arnalds' best.
9/10

 

Autechre - Exai (2013)

One of the most influential and ambitious electronic groups has returned after three years with what may be their best album since "Amber." Autechre are as glitchy as ever on this album with meandering, dense passages that makes one imagine being walking through an endless labyrinth. Per usual, this is not a very easy listen as its schizophrenic nature wedges it in between the safe, familiar world of electronic dance music and the bizarre, chaotic world of avant-garde. As with other IDM artists such as Aphex Twin, as well as with Autechre's previous albums, Exai presents a bold challenge to the listener to not only enjoy its quirkiness, but to appreciate it as an artistic statement. I think this album works very well on both levels and would highly recommend it to any electronic music fan.
9/10

 

How To Destroy Angels - Welcome Oblivion (2013)

Nine Inch Nails mastermind Trent Reznor and his wife Mariqueen have concocted a dark, brooding experience that sucks you in with its seductive beauty. Unsurprisingly, the music is very similar to NIN, but the key difference is Mariqueen's fragile, haunting vocals which allow for a wider range of emotions and themes. Additionally, HTDA has more in common with Reznor's recent film score work than the most recent NIN albums (The Slip and Ghosts I-IV) which are more guitar-driven. The music flows very organically and peers into the dark corners of the psyche with unnatural ease. The subtle glitch work and menacing bass beats make for an atmospheric, eerie journey that will make your spine tingle.
9/10

Atoms for Peace - Amok (2013)

As a massive fan of all things Radiohead and Thom Yorke, I was eagerly anticipating this album and now that I've listened to it I can say it's absolutely amazing. In fact, it sounds quite similar to Radiohead's recent work in that it features hypnotic guitar melodies/bass lines, beautiful ambient glitches, and of course Yorke's traditional crooning. Amok is less similar to Thom Yorke's previous non-Radiohead project "The Eraser" due to the latter's absence of guitars, but it's still in the same vein as it. All in all, it's a very dense and lush piece of art that deserves many listens to fully appreciate.
9.5/10

 

Loscil - Sketches From New Brighton (2012)

This is a superb ambient album that really shines both in its musical diversity and sense of progression. All the tracks have subtle beats and glitches that almost make them melodic. In that sense, it's neither too minimalistic nor too busy. I could easily imagine this music being the soundtrack for a dark movie or video game. As the first Loscil album I've listened to, I am thoroughly impressed with this one. I expect most ambient fans will be too.

9.5/10

Sleep Research Facility - Stealth (2012)

Filled with glitches, static, haunting atmospherics, and intermittent radio chatter, this is an album that evokes not only the silent glide of a lone bomber through the night sky, but also the uncomfortable ambiguity of humanity's relationship with technology. Tension and fear flow throughout the album giving it some kind vague narrative; what that narrative is exactly is left entirely up to the listener. While listening to this album, I imagined the B-2 flying gradually into a nightmarish realm where technology engulfs humanity. Now, I'm no Luddite of course but it seems that this album is trying to convey the message that we don't know what the full consequences of our collective decisions will be and that they could indeed be truly nightmarish. It's a deeply unsettling album, as all dark ambient works should be, and while Deep Frieze is still my preferred product from SRF, this is an excellent and quite unique album in its own right.
9/10

 

Ulrich Schnauss - A Long Way to Fall (2013)

The new album by noted electronic shoegaze musician Ulrich Schnauss finds him at perhaps his most exploratory and experimental stage. The tracks have a clear sense of progression and shimmering quality about them. In contrast to the more ambient focused "Goodbye," the new album leans towards techno and much more danceable. I still prefer his old style, but this is quite enjoyable as well. This is another very solid release from one of electronica's most talented musicians.
8.5/10