This album has it all: dripping synths, ridiculous Tubular Bells ripoff piano themes, dadaist nonsense noise collages, and more.
Cut to a grainy 35-mm trailer with a low-voiced guy saying:
Sarah’s a normal, healthy 9 year-old girl — until recently. Her parents have started to think there might be something a bit off about their sweet little angel.
Where she used to joyously jump rope, now she just stares. Where she used to roller skate, now other kids avoid her strange aura. Where she used to solve puzzles, now she ponders the impenetrable mysteries of the human mind.
Hypnosis, telepathy, telekinesis; no one knows what she’s capable of next. One thing is for certain: there’s something wrong with Sarah.
The Black Anise Mix of Bewitch doesn’t play any fucking games: pounding polyrhythms, screeching distortion, and reverse FX come at you from all directions at once in this 20-minute journey into horror.
I’m delighted to announce the release of The Vanishing House, a two-hour collection of dark ambient and experimental offerings.
This release marks a long-overdue revival of a beloved annual ritual: the Halloween mixtape. I’ve been too busy with original music projects these last few years to produce a mixtape as well, but this year I made sure to find the time. My first three Halloween mixtapes were Dead Punks (2007), a tribute to early goth; You’ve Been Sick (2009), a love letter to asylum horror; and Pray For Death(2010), dedicated to religious horror and possessions.
This was my second stab at dark ambient after losing most of my music gear in a break-in. Using only a laptop, a mic, and a wave editor, I somehow spun hay into gold, and the Small Talk single was born