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Through the Nightfall Grandeur CD [Cryo Chamber 2018]


Dahlia’s Tear is a dark ambient project out of Stockholm, Sweden by sole member Anile D.
Dahlia’s Tear debuted in 2005 with Harmonious Euphonies For Supernatural Traumas Mesmerising
Our Existences in Radient Corpuscle and was followed up in 2007 with My Rotten Spirit of Black.
Yet, these two releases remained quite elusive, and have only recently been uploaded to the
personal Bandcamp page of Dahlia’s Tear. Therefore, my knowledge of the project starts with
their masterpiece Under Seven Skies, also from 2007 and released on the now defunct Thonar Records.
The strength of Under Seven Skies would lead to Dreamspheres in 2012 which was released on the
legendary Cold Meat Industry.

This all seemed to be leading toward Dahlia’s Tear becoming a first-class name within the
dark ambient genre. But, after their one-track inclusion on the Cryo Chamber compilation
Behind the Canvas of Time in 2012, Dahlia’s Tear disappeared for the next six years.
Each time I listened back to Under Seven Skies and Dreamspheres I would think of that track
on Cryo Chamber, and hope that one day there may be a new album by Dahlia’s Tear released
through that label. Dahlia’s Tear did, indeed, keep in contact with Cryo Chamber throughout
these years, and the long-awaited follow-up to Dreamspheres has finally arrived!

Though plenty of time has passed, the core of the Dahlia’s Tear sound has remained intact.
Those familiar with Dreamspheres and Under Seven Skies will find many of the elements they
loved are still being incorporated on Through the Nightfall Grandeur. Each track is distinctly
musical, in comparison to many dark ambient releases, on Cryo Chamber or otherwise.
Drones are constantly morphing and shifting. Piano arrangements feature often and distinctly
in the mix. The female voice is incorporated throughout the album, taking the form of short,
spoken word passages, (more in line with Dreamspheres than with the vocal performance by
Carline Van Roos of Aythis and Lethian Dreams on Under Seven Skies).

One of the most moving elements of the Dahlia’s Tear sound, for me, has been its blending
of the musical, dreamy, light-hearted elements with harsher industrial field recordings and tones.
, Again, this aspect of their sound is still intact, and further honed.
This contrast is perfectly displayed on tracks like
“Drowning in Delusions of Grandeur”, where the piano, female whispers, and distant chants,
all play beautifully off one another, creating something that is at once familiar and warm,
but equally harsh and remote.

The opening track, “Encroaching Shadows Beckon to Chase the Fleeing Light”, shows off the use
of field recordings and subtle drone to create a dark but vibrant atmosphere. We get a real
sense of the evolution of Dahlia’s Tear with this one. While, the following track “The Keeper
of Broken Dreams and Tattered Spirits” seems like a direct continuation of the styles incorporated
on Under Seven Skies. It is nice to see how this musician manages to retain the magic of these
previous releases, while also moving into new terrain.

The cover-art for Through the Nightfall Grandeur seems to also nod to the artwork from
Under Seven Skies, with thick fog and clouds rolling across the mountainous landscape.
Though here there doesn’t seem to be such a connection to alien technology as was on display
with Under Seven Skies. While the cover-art was created by Simon Heath, the album was not
mastered by him, as is almost always the case with Cryo Chamber releases. Instead it has been
mastered by Jeff M. in the U.K. The vocal performances, as well as words, on the album have
all been contributed by one Michelle Rippy, who also contributed to Dreamspheres in 2012.

Dahlia’s Tear has always been one of my favorite dark ambient musicians when I’m in the mood
for something more musical and more active than most dark ambient releases. For anyone familiar
with Dahlia’s Tear, I think you will likely agree that this album is equal if not superior to
his previous output. For anyone new to the sounds of Dahlia’s Tear, I highly recommend this dark
ambient project. I can’t overstate my pleasure that I can cover something new from them, when I
was often unsure if I’d ever hear anything new from them ever again. It’s also great to see that
they’ve found a home on Cryo Chamber, where their music will certainly now become familiar to
many of the more recent fans of this genre.

Written by: Michael Barnett

Through the Nightfall Grandeur CD [Cryo Chamber 2018]


[Reviewed by stark]

It’s good to see Dahlia’s Tear is back, because I really thought he would be gone for good.
It’s been six years since “Dreamsphere”, and while such a long gap between full length albums
isn’t anything unusual, the artists remained active during that time, playing live,
collaborating with other musicians and so on. Svartsinn, Kammarheit are the first examples
that come to my mind.

Yet Anile and his Dahlia have simply vanished in thin air. And somewhere in the deep corner
of my heart I felt sadness, even though there was a lot of other great music around.
All this because Dahlia’s sounds always were extremely efficient on both cinematic and
emotional levels. Few artists manage to achieve it indeed, yet it’s not a standard within
the kingdom of electronic music.

I remember when I got his first album from the late Ulvberth from Ravenheart Productions
over ten years ago and read its title: “Harmonious Euphonies For Supernatural Traumas
Mesmerising Our Existences In Radient Corpuscle Galaxies”. I thought: “With this title
it will be either brilliant, either totally unlistenable, no third option”.
Expecting some cosmic black metal I played it for the first time and… it stayed with me
for years to come. And “Voyage & Calaquendi” remains one of the most evocative tunes I’ve ever heard.

What struck me then and strikes me now is how Anile can find balance, the golden key between
what can be called the aural reflection of the journeys through fantasy realms and this more
introverted and personal touch, the story of one’s lost love, the soundtrack to your failures.

He has always had a tendency for these flamboyant titles, which one may find pretentious –
this is the element of the whole Dahlia’s Tear entourage since the very beginning, but you don’t
need to focus on them, follow their story while listening. It may serve as an alternative “Skyrim”
soundtrack with all these misty soundscapes, field recordings, female vocals and whispers
projecting the image of enchanted woods and snow covered mountain peaks. On the other hand
the sorrowful yet intimate piano melodies and the overwhelming melancholic feeling move some
tender strings in my heart, make me think of my past, the wrong choices I made.
Both layers of Dahlia’s Tear fit me very well.

Emotions are the key, without them, the technical proficiency means nothing. And emotions are
always on the forefront when it comes to this Swedish project. Back then, on the raw sounding
album of this extremely long and peculiar title and today on this perfectly produced
“Through The Nightfall Grandeur”. Long live Dahlia’s Tear.

Dahlia’s Tear – Through The Nightfall Grandeur
Cryo Chamber, CRYO 104
CD/Digital 2018

Through the Nightfall Grandeur CD [Cryo Chamber 2018]


After a long silence, Dahlia's Tear returns with a new release presented as a concept album based
around a spiritual awakening during a search for meaning. As usual, his music uses elements from
religious music, mostly voices and cymbals, as a counterweight to the sometimes abstract musical
nature of drone and this creates a sort of emotive link with the listener.

The first track, "Encroaching Shadows Beckon to Chase the Fleeing Light", introduces the listener
into a dark ambient form based on a long loop, rather than on a drone, with the addition of other sound
elements like samples and voices creating something which is simple and complex at the same time.
"The Keeper of Broken Dreams and Tattered Spirits" uses instead a drone crescendo as a backbone of
the track while using voices to create a meditative atmosphere. "Forlorn Whispers on a Moonlit Path"
uses a piano loop and an impressive barrage of samples and effects. After a quiet first part,
"The Frozen Echoes of the Endless Moor" uses the samples to create a rhythmic structure for the samples.
"Bitter Silence of Desolate Steps" is developed upon a drone and a variation of the piano of the third
track giving the impression of an overall design behind the whole release. The stacking of sound masses
of "Drowning in Delusions of Grandeur" is overwhelming and "Lamenting Memories Long Past in the Remnants of Darkness"
continues instead with a crescendo which has the same means. "Drifting into the Void Grasping at Fading Starlight"
is a suspended track with long tones and short loops. "Lost in the Crystalline Enigma" closes this
release with wide spectrum drones which underlines the sparse cymbals.

This is one of the few release in this genre which shows a musical personality which uses a particular
musical framework instead of repeating the canonical formula working only in the sound effects.

Highly recommended.

Through the Nightfall Grandeur CD [Cryo Chamber 2018]


Genre/Influences: Cinematographic, dark-ambient.

Background/Info: Swedish musician Anile D.has already been active for several years now.
Dahlia’s Tear previously released four albums on four different labels. The previous work
“Dreamsphere” was already released in 2012 on the now gone Cold Meat Industry.

Content: This opus is a perfect mix between dark-ambient- and cinematographic music.
Both together create an intimate atmosphere, which however dark has something dreamy-like.
But quite progressively the tracks are becoming more overwhelming and more anguishing.
Some spoken samplings are empowering the paranoiac atmosphere supporting some passages.

+ + + : “Through The Nightfall Grandeur” has something inhibited. It feels like opposite
elements are coming together in a freaky, tormented sonic trip. The tracks have been
accomplished with a real finesse illustrated by piano treatments and other subtle noises
you better can hear when using headphones. The melancholia of the piano-like parts also
injects something authentic to this album.

– – – : The work is a pleasant voyage throughout dark territories, but it all sounds a
bit similar after a while.

Conclusion: What I especially will keep in mind from this album is the refined sound treatments.
Dark-ambient music can be not only tormented, but also refined in its composition.

Best songs: “Drowning In Delusions Of Grandeur”, “The Keeper Of Broken Dreams And Tattered Spirits”,
“The Frozen echoes Of The Endless Moor”.

Through the Nightfall Grandeur CD [Cryo Chamber 2018]


Long-awaited follow-up to 2012’s Dreamsphere from Stockholm’s Dahlia’s Tear
Sometimes, with dark ambient music (as any genre), it’s a matter of “if it ain’t broke, don’t fix it.”
Sometimes you’re just in the mood for some crepuscular moods to make you feel like you’re
exploring some gloomy, run-down cemetery in the fading sunset.

Through the Nightfall Grandeur’s aesthetics will come as no surprise to the long-time
dark ambient listener. There’s the epic church bells, the groaning atonal synth, and the distant,
ominous whispers. Through the Nightfall Grandeur features more melodicism than most of the other entries
on this list, but that’s part of what makes it such a stand-out release. Dark ambient frequently
rubs cobwebbed cloaks with both neoclassical music and dungeon synth. Through the Nightfall
Grandeur excels, in that regard, by keeping it simple. The piano remains chilly, glacial, ruminative
instead of succumbing to your usual post-Philip Glass minimalism so often heard in neoclassical music.

Through the Nightfall Grandeur is much more menu music for some existential turn-of-the-century
first-person occult mystery computer game than as a soundtrack for some Wes Anderson or Poul
Thomas Anderson flick. It’s still got the lavish production Cryo Chamber has become known for,
but it retains some of the malignant lo-fi charm of classic dark ambient records on
Cold Meat Industry or Malignant Records.

by Jason Simpson

Through the Nightfall Grandeur CD [Cryo Chamber 2018]


So experimental ambient and post industrial music is something over the last 30 yrs I have really
fallen in love for to the point I have recorded it over many projects of my own as Broken Hands for
brilliant minds and As All Die. With Dahlia's Tear we get three different elements all coming together
in one visions. Minimalist Neoclassical, Dark Ambient waves of synths and strings and very Ethno
ambient over tone with some distant vocals and they way the eastern tones come through the speakers.

There is a very jagged way the ambient tones come out of the speakers as well. The fractured nature
to Dahlia's tear make it all the more personal and special to this reviewer. I hear so much Rapoon
and Steve Roach in this album. Dahlia's Tear has been away from the scene for about 6 yrs so they
have had the time to refine this album to ultimate levels and I think it really shows.

I want to Say in closing this album has the over all tone of Creation vs Death and how moving one
grain of sand at the wrong time can make waves of changes that we will never know for hundreds of
years to come.

"Through the Nightfall Grandeur" is a brilliant undertaking of modern Dark experimental music in 2018..

Through the Nightfall Grandeur CD [Cryo Chamber 2018]


Swedish musician Anile. D. created DAHLIA’S TEAR project in the first half of 00s. The first three albums

the Swede were published on not known European labels and the fourth came out already on the popular
Industrial record company Cold Meat Industry in 2012. After that, for 6 years nothing was heard from the
musician and now in 2018 the sixth album, ‘Through the Nightfall Grandeur’, is released on the respected
and known label Cryo Chamber belonging to Simon Heath of the ATRIUM CARCERI.

New work of DAHLIA’S TEAR is made in a classic enswathed gloomy Dark Ambient. Grim sombre music using squeaks,
rustles, rare piano notes fully reflect the essence of the album’s name ‘Through the Nightfall Grandeur’.

The sun is almost set below the horizon.

Trees sway and rustle in the soft cold wind. Somewhere a thin water stream flows down from the cliff.

Somewhere a squirrel settles its lair on a tree. Somewhere a hungry wolf runs in search of a new victim.

Somewhere the hunters made a fire. Somewhere in the forest a little lost girl is trembling with fear.
And over all of them hung the shadow of the Forest Demon preparing his night bloody ritual...

Through the Nightfall Grandeur CD [Cryo Chamber 2018]


Parlare di Anile Dahl (DAHLIA'S TEAR) significa parlare di un artista che partecipa attivamente
allo sviluppo della musica drone/dark ambient, nei cui confronti è stato capace di mantenere sempre
un metodo sperimentale, aperto verso tutte quelle possibili soluzioni in grado di ampliare il suo
spettro sonoro. Le tracce di "Through the Nightfall Grandeur" sono fonti di illuminazione duratura
che colpiscono i due diversi volti del mondo: quello interiore e di conseguenza quello esteriore.

Anile Dahl mette in evidenza le proprie linee guida interagendo con la rappresentazione di un
Tutto che possiede una forza celebrativa e mistica. Artwork, songwriting, produzione sono stati
elaborati con maestria, a favore di nove tracce che si distinguono per la loro singolarità e
magnificenza. Non deve stupire, pertanto, se "Through the Nightfall Grandeur" verrà considerato
uno dei migliori album del genere usciti nel 2018. Pura catarsi sonora.

Through the Nightfall Grandeur CD [Cryo Chamber 2018]


Nach einer langen Zeit des Schweigens ist Anile D. mit seinem geistigen Kinde Dahlia's Tear wieder
zurückgekehrt, der mit "Under Seven Skies" für mich einen wahren Klassiker erschaffen hat.
Das anschließende "Dreamsphere" war dann ein etwas anders aufgebautes Werk, komplex und ehr schwer
zugänglich, und auch das nun vorliegende "Through The Nightfall Grandeur" erfordert eine gewisse Aufmerksamkeit.
Auf Anhieb zu begeistern vermag das sehr stimmige Artwork, der Einstieg hingegen wirkt ehr gemächlich,
wenn auch überaus angenehm. Allerdings wird im weiteren Verlauf enorm Atmosphäre aufgebaut, weshalb
"Through The Nightfall Grandeur" den Kreis schließt und sich stilistisch wieder mehr an erstgenanntes
Album anlehnt. Auf fast schon als weich bettend umschrieben, so trägt uns der Opener
"Encroaching Shadows Beckon To Chase The Fleeing Light" behutsam in diese Welt, ehe mittels dem folgenden
"The Keeper Of Broken Dreams And Tattered Spirits" stimmige Melodiebögen aufbrechen, dezent und feinfühlig
in ihrer Ausstrahlung. Eine Stimme (für welche sich eine gewisse Michelle Rippy verantwortlich zeigt)
dringt aus der weiten Ferne, und dominiert von zarten Tastenanschlägen, so gemahnt mich
"Forlorn Whispers On A Moonlit Path" etwas an Atrium Carceri. Eine Tür knarrt, irgendwo werden
Apparaturen betätigt und auch sakrale Elemente birgt die folgende Umsetzung- man kann bemerken,
dass Anile D. in jede Vertonung versucht, gewisse Elemente einzubinden. Dies gelingt dem Musiker
auch überaus gut, auch wenn mit "Bitter Silence Of Desolate Steps" der Bogen etwas abflacht.
Beim nächsten Stück steigt hingegen die Atmosphäre wieder schlagartig an und ein Hauch von Melancholie
liegt in der Luft, ehe ich bei den letzten Stücken dann aber leider doch irgendwie das gewisse Etwas vermisse.

"Through The Nightfall Grandeur" ist ein feines Dark Ambient Album geworden, welches viel Interessantes
birgt, allerdings im zweiten Abschnitt irgendwie Leerlauf spendiert. Die zwischenzeitlich etwas abflachende
Atmosphäre vermag allerdings nicht jene Hörerschicht stören, die sich bei angenehm dahinfließenden Klängen wohlfühlt.

Artikelbild Copyright: Cryo Chamber

Dreamsphere CD [Cold Meat Industry 2012]


Amazing! (9/10)

This year started in a really strong manner for the dark ambient scene. Few solid releases were out
on Loki and Cyclic Law during the first months of 2012, giving it a promising start. Some of the
CD's were reviewed here and there by Brutal Resonance crew members to bring our readers the part
of our inspiration from those albums. And now it is April to spread even better news.
One of most honorable and veteran labels of the scene which we thought to be out of business already;
regains power, takes a deep breath and blasts out with a set of solid albums and again proves the fact,
that once you put your leg into the scene, you can never pop off without regret.

Today it is Cold Meat Industry to bring delight into my heart resurrecting the line of its artists.
And one of the bullets that shoot me down, is Dahlia's Tear long awaited album called 'Dreamsphere'.

Five long years passed from the last record of Dahlia's Tear. Finding its new home at Cold Meat,
this formation naturally leveled the expectations from the new album. And here it is, right in my
hand while I willingly dive into that creation.

It is always hard to review the albums that are highly abstract and individually oriented.
Those albums can touch different strings inside each individuality, rising subjective feelings.
And this is the case of 'Dreamsphere' as well. The album welcomes the listener with "The Transition"
and top level cinematics hit me from the very beginning. Opening the gate into obscure haunted house,
diving into the deep lake of horror and terror, this is the first step of the journey.
Each door inside it hides a different nightmare; each floor is covered with a blood of innocent victims.
Extremely complex sound layers are engraved with samples of women chanting, creepy children ghostly
voices fill the ambience, percussion and huge amount of field recordings. The usage of tribal soundscapes
inside the structure rises the feeling of an ancient cults and human sacrifices to beseech cruel gods of
long forgotten times. "Carousel of the Headless Horse" brings the vision of the abandoned park with the
real carousel and rotten childish zombified figures, dead trees spread their branches over the
decaying pool, death and devastation is everywhere. Able usage of different sampled
gramophone sounds, various field recordings, church bells ringing and cinematic manipulation with
the musical structures are the key to the heart of a squeamish listener like me. Extremely mystical
"Dreamscape (Liquid Chamber)" captures me with more and more elements,like a slight background piano
melodies, cracking, clicking, running water effects.

And here they come, two most powerful tracks of the album for my taste. First of all
"Toward the Dark Cellar", a totally massive, which fully consists of a deep piano melody, enchanting me
with its uncovered dark beauty and sadness, supported by background field recordings.
And of course, "An Enigma in the Black Gap", which wide and colorful tribal soundscapes rise ancient
spirits of earth and water to transform by the end of the track into enormous flow of strong droning dying layers.

Six long compositions create a vast landscape that fit a hundred percent into the concept of
Cold Meat Industry scene vision,cultivated almost two decades. An example of successful mix between
experimental, industrial and neoclassical cultures, and as a result is a brilliant record to inflame
the hearts of even the most hard-boiled fans of dark ambient genre.

Dreamsphere CD [Cold Meat Industry 2012]


Verlag : Cold Meat Industry
Bewertung : 9 von 10 Punkte
Format : CD
Spielzeit : 47:04 min

Wunderschön und melancholisch. Dies sind die Worte, die mir spontan in den Sinn kommen,
wenn ich an das Vorwerk “Under Seven Skies” von Dahlia’s Tear denke. Mittlerweile sind
schon einige Jährchen ins Land gezogen, fünf sind es genau an der Zahl, und inzwischen fand
man ein neues Zuhause, was das Label betrifft. Ein wichtiger Schritt, um den Status dieses
hervorragenden Projektes auszubauen.

Was mir auf dem neuen Werk “Dreamsphere” sofort ins Auge springt, ist die hervorragende optische
Aufmachung, die sich in stimmigen, geheimnisvollen Bildern widerspiegelt.

Ebenso geheimnisvoll ist auch der Inhalt ausgefallen. Aber nicht nur das, denn im Gegensatz zum
erwähnten Vorläufer ist “Dreamsphere” weitaus unruhiger und vor allem von verdammt düsterer Natur.
Das sollte eigentlich nicht weiter verwundern, wenn man bedenkt, dass die Inspiration jener
abtrünnigen Klangwelten in diversen Albträumen liegt.

Musikalisch unterliegen somit die warmen Gegebenheiten klar den finsteren Visionen,
wobei aber dennoch Momente der Hoffnung gelegentlich von ihrer Anwesenheit künden.

Um “Dreamsphere” in all seiner Pracht zu erfassen, sollte man sich keinesfalls mit nur
wenigen Durchläufen zufriedenstellen. Es sind schlicht und einfach zu viele Feinheiten,
die der Musiker zu einem kleinen Kunstwerk verwebt, als dass man jene auf die Schnelle komplett
erfassen könnte.

Kinderstimmen, das Flattern von Flügeln, Glockenläuten, Zirkusmusik, entferntes Gelächter –
hier gibt es arg viel zu erkunden! Wer mag, der sollte mal eine Runde auf dem
“Carousel Of The Headless Horses” drehen, welches sich langsam aber sicher in Bewegung setzt und
auf eine unheimliche Fahrt in einen düsteren Strudel einlädt.

Ob ihr stark genug seid, hier von alleine wieder herauszufinden, das müsst ihr allerdings selber austesten.
Einmal in die Tiefe von “Dreamsphere” eingetaucht, ist man schnell umgeben von Visionen und Geschichten,
die einen glücklicherweise im wahren Leben wohl eher nicht heimsuchen werden.

Es bleibt ein finsteres Märchen, welches den Hörer für viele Stunden beschäftigen wird.

Dreamsphere CD [Cold Meat Industry 2012]


reviewed by / autor recenzji: VITRIOL

translated to Polish / tlumaczenie: stark

ENG: DAHLIA’S TEAR is a Swedish industrial dark ambient project, counting three releases until now
(Harmonious Euphonies For Supernatural Traumas Mesmerising Our Existences In Radient Corpuscle Galaxies,
Ravenheart, 2005, Under Seven Skies, Thonar, 2007, My Rotten Spirit Of Black, Alcor Productions, 2007).
Their music is characterized by the expansion of the genre to include elements of minimal neoclassical,
organic sounds, drone, avant-garde/experimental, even traces of noise in some occasions. “Dreamsphere”,
released under the renowned CMI label, is their fourth album and to my understanding, their best so far.
If I was hard pressed to label it I would say “horror neoclassical dark ambient”, as there is a distinct
atmosphere of cinematic horror throughout the recording.

The listener is lured into the dark beauty of this release as soon as the first track begins.
Everything is permeated by an air of ghostly nostalgia and antique grace, from the artwork on the 6 panelled
digipak to the music itself, and the text on the project’s website taken from Daphne du Maurier’s “Rebecca”:
“…last night I dreamt I went to Manderley again. it seemed to me I stood by the iron gate leading to the drive,
and for a while I could not enter, for the way was barred to me. There was a padlock and a chain upon the gate.
I called in my dream to the lodge-keeper, and had no answer, and peering closer through the rusted spokes
of the gate I saw that the lodge was uninhabited. Moonlight can play odd tricks upon the fancy, even upon
a dreamer’s fancy. As I stood there, hushed and still, I could swear that the house was not an empty shell but
lived and breathed as it had lived before… ”. The old, half-opened mansion gate on the cover invites us into
the dreamworld, the realm between the living and the dead, dwelling between illusion and reality. Where all
fancies linger on in the form of ghostly shadows, and the wheels of time stand still. An undefined creature creeps
in as we are beckoned to follow. The evocative and elegant imagery of the artwork really assists in the
understanding of the concept.

“Dreamsphere” consists of six long tracks of sharp, incredibly clear and admirably complex soundscapes,

where everything is brought into play, from recitations and obscurely poetic passages to organic sounds,
children’s play, horrific screams, minimalistic melodies, and all else that could constitute the music of a
decrepit, abandoned mansion with unsuspected life thriving within it. Always covered in the mantle of
painfully cold and unusually inspired dark ambient.

“The Transition” begins with male and female religious chants, interposed with bells, chimes and other types
of delicate-sounding percussions, in their turn pierced by horrifying, high-pitched strings. A female recitation
repeats throughout the track. “Entrance To Dreamsphere” continues in the same motif, but on a notably more
aggressive, experimental tone. Resonating metallic sounds and seething female screams are mixed with operatic
vocals, to be broken by drones, ritual drums and yet another female recitation – M. Rippy’s texts and voice add
a great deal of poetic charm to the recording with their appearance in two of its most crucial tracks.

“Carousel Of The Headless Horses” expresses the theme of childhood terrors with an especially internalized,
industrial-experimental track that is among the heaviest in the album, while “Dreamescape” creates a more
abstract atmosphere with wide-ranging drones, lots of experimental sounds and neoclassical melodies coming
through with a muffled voice, as if transmitted through waves of water. “Toward The Dark Cellar” is simply
put one of the best horror neoclassical tracks I’ve ever listened to, with its serene, nostalgic piano
evoking a cold, lifeless despair. The recording ends with “An Enigma In The Black Gap”, where all the ghosts
wreak havoc as melodies unite with clanging sounds, howling drones, arcane voices and escalating dark ambient sequences.

“Dreamsphere” is an extremely seductive vision of a nightmare, portrayed in such a vivid manner that the lines
between reality and the dreamworld become blurred, and the dreamer is lost in the dream. Its hypnotizing
atmospheres, impeccable execution and production and its very original combination of diverse musical
elements make this a fascinating listen. One that will not fail to engulf you in its dusty cobwebs so that
before you know it, you will be enthralled.

Dreamsphere CD [Cold Meat Industry 2012]


reviewed by / autor recenzji: VITRIOL

translated to Polish / tlumaczenie: stark

PL: DAHLIA’S TEAR to szwedzki projekt industrialno-darkambientowy, majacy do tej pory na koncie trzy
wydawnictwa (“Harmonious Euphonies For Supernatural Traumas Mesmerising Our Existences In Radient Corpuscle
Galaxies”, Ravenheart, 2005, “Under Seven Skies”, Thonar, 2007, “My Rotten Spirit Of Black”, Alcor Productions, 2007).
Ich muzyka charakteryzuje sie wykraczaniem poza sztywne ramy gatunku i wykorzystywaniem elementów neoklasyki,
dzwieków organicznych, avant-garde/experimental, a nawet okazjonalnie sladami noise’u. “Dreamsphere”, wydana
przez odradzajaca sie CMI, to ich czwarty album, w mojej opinii jak na razie najlepszy. Gdybym byla mocno
przywiazana do etykietek, opisalabym plyte jako “horror neoclassical dark ambient”, jako ze cala plyta naznaczona
jest wyraznym klimatem filmowej grozy.

Wraz z pierwszymi dzwiekami, sluchacza zaczyna wabic ciemne piekno plyty. Calosc przenika aura widmowej
nostalgii i staroswieckiego wdzieku, od oprawy graficznej na szesciopanelowym digipaku do samej muzyki.
Plus ten tekst na stronie oficjalnej projektu, zaczerpniety z “Rebeki” Daphne du Maurier: ”:
“…last night I dreamt I went to Manderley again. it seemed to me I stood by the iron gate leading to the drive,
and for a while I could not enter, for the way was barred to me. There was a padlock and a chain upon the gate.
I called in my dream to the lodge-keeper, and had no answer, and peering closer through the rusted spokes
of the gate I saw that the lodge was uninhabited. Moonlight can play odd tricks upon the fancy, even upon
a dreamer’s fancy. As I stood there, hushed and still, I could swear that the house was not an empty shell but
lived and breathed as it had lived before… ”. Stare, na wpól otwarte wrota na okladce zapraszaja nas do krainy
snów, krainy pomiedzy swiatem zywych a umarlych, zawieszenia pomiedzy iluzja a rzeczywistoscia. Gdzie wszelkie
fantazje przybieraja forme upiornych cieni, a kolo czasu stoi nieruchomo. Niezidentyfikowane monstrum wpelza
do srodka, a my kuszeni jestesmy aby podazyc jego sladem. Sugestywna i elegancka oprawa graficzna w duzej
mierze pomaga w zrozumieniu konceptu.

“Dreamsphere” sklada sie z szesciu dlugich utworów pelnych przeszywajacych, niesamowicie wyrazistych i zlozonych
pejzazy dzwiekowych, gdzie kazdy element wykorzystano w pelni, od recytacji i mrocznych, poetyckich pasazy, do
dzwieków organicznych, odglosów dzieciecych zabaw, przerazajacych wrzasków, minimalistycznych melodii i
wszystkiego tego, co mogloby utozsamic muzyke z rozpadajaca sie, opuszczona posesja i niepozadanym gosciem,
który ma sie wewnatrz calkiem dobrze. A calosc okryta jest warstwa dojmujaco zimnego, niezwyczajnego dark ambientu.

“The Transition” rozpoczyna sie meskimi i zenskimi zaspiewami religijnymi, wspólgrajacymi z dzwonami, dzwonkami
i innymi subtelnie brzmiacymi instrumentami perkusyjnymi, które z kolei sa klute przez przerazajace,
wysokotonowe smyczki. Kobieca recytacja przewija sie przez caly czas trwania utworu. “Entrance to Dreamsphere”
rozwija ten sam motyw, podazajac jednak w bardziej eksperymentalnym i agresywnym kierunku. Rezonujace metaliczne
dzwieki oraz wsciekle niewiescie krzyki mieszaja sie z operowym spiewem, po to aby zostac przelamanym przez drony,
rytualne bebny i kolejny kobiecy monolog – teksty i glos M. Rippy dodaja mnóstwo poetyckiego uroku plycie,
wystepujac w dwóch najistotniejszych utworach.

“Carousel Of Headless Horses” przedstawia motyw strachu z dziecinstwa – to szczególnie zinternalizowany,
industrialno – eksperymentalny fragment, jeden z najciezszych na plycie. Za to “Dreamescape” kreuje bardziej
abstrakcyjna atmosfere poprzez zastosowane porozciaganych dronów, mnóstwa eksperymentalnych dzwieków i
neoklasycznych melodii wspomaganych stlumionym wokalem, dobiegajacym jakby spod kaskad wody.

“Toward The Dark Cellar”to po prostu jeden z najlepszych zabarwionych groza utworów neoklasycznych,
jakie kiedykolwiek slyszalam, który wraz z delikatnymi, nostalgicznymi dzwiekami pianina wywoluje
uczucie zimnej, martwej rozpaczy. Album zamyka

“An Enigma In The Black Gap”, gdzie wszystkie duchy sieja spustoszenie, a melodie jednocza sie w dudniacych
dzwiekach, wyjacych dronach, magicznych glosach i narastajacych darkambientowych sekwencjach.

“Dreamsphere” to niesamowicie uwodzicielska wizja koszmaru, zobrazowana w sposób tak bogaty i szczególowy,
ze linia pomiedzy rzeczywistoscia a kraina snu zaciera sie, a sniacy gubi sie w swoim snie. Jej hipnotyzujaca
atmosfera, nienaganne wykonanie i produkcja, oraz laczenie w oryginalny sposób zróznicowanych muzycznie
elementów, czynia plyte fascynujaca w odsluchu. Taka, która pochlonie Cie w swoich zakurzonych pajeczynach,
tak ze zanim sie zorientujesz, bedziesz zachwycony.

Cold Meat Industry

Dreamsphere CD [Cold Meat Industry 2012]


(Cold Meat Industry)

Time: (47:06)

Rating : 8.5/10

Sentivamo di aver visto giusto quando, oltre quattro anni or sono, avevamo promosso a pieni voti il
terzo album di questo solo-project svedese, e non ci stupisce affatto che ad assicurarsi le prestazioni
artistiche di Dahlia's Tear sia stata un peso massimo della dark ambient (e affini) come la rediviva
Cold Meat Industry. Se col precedente "Under Seven Skies" (edito dalla defunta Thonar) avevamo accolto
con piacere la nuova e spiccata propensione melodica insita nella materia dark ambient sapientemente
lavorata da Anile.D., col nuovo "Dreamsphere" ritroviamo un artista il cui suono, maturo e consistente
come raramente ci capita di sentire, rinnova il proprio oscuro splendore e riesce nuovamente ad emozionarci
con la ricchezza delle sue forme cangianti. La produzione, a dir poco superiore, ci permette di apprezzare
ogni singolo dettaglio dell'ampia gamma di suoni e campionamenti che il Nostro incastra con splendida maestria
fra le cupe trame di una materia dark ambient che, nella fattispecie, è stata ispirata da un incubo sognato
ripetutamente dallo stesso autore. Uno spunto altamente suggestivo che Anile.D. riesce a musicare e a rendere
palpabile con classe innata, esplicato in sei magnifiche tracce che, fra voci sfuggenti e spoken words
femminili (ad opera di Michelle Rippy, ottima nel completare i momenti salienti dell'opera), cori gregoriani,
fughe simil-sinfoniche, modulazioni industriali, percussioni, motivi di piano e quant'altro possa calzare
alla perfezione per rendere al meglio lo stato d'animo desiderato, costituiscono i tasselli di un flusso
sonoro di enorme pregio artistico e spessore concettuale che sarebbe impensabile scomporre e/o interrompere.
Le indiscutibili capacità tecniche e compositive del Nostro, unite ad una personalità non comune nel filone
d'appartenenza, superano di gran lunga gli standard del settore, e valgono a Dahlia's Tear un meritatissimo
posto nel gotha delle sonorità dark ambient di maggior spessore ed efficacia descrittiva: una definitiva
consacrazione che era solo questione di tempo dopo una prova maiuscola come il precedente
"Under Seven Skies", all'epoca penalizzato dalla limitata esposizione mediatica. Nessun dubbio sulla
qualità di un'opera così riuscita, che si fregia inoltre di una magnifica confezione digipak a sei pannelli:
non è davvero il caso di esitare di fronte a tanta oscura bellezza.

Dreamsphere CD [Cold Meat Industry 2012]


“…last night i dreamt i went to manderley again. It seemed to me i stood by the iron gate leading to the drive,
and for a while i could not enter, fo the way was barred to me. There was a padlock and a chain upon the gate.
I called in my dream to the lodge-keeper, and had no anser, and peering closer through the rusted spokes of
the gate i saw that the lodge was uninhabited. Moonlight can play odd tricks upon the fancy, even upon a
dreamer’s fancy. As i stood there, hushed and still, i could swear that the house was not an empty shell but
lived and breathed as it had lived before…” – beeindruckende Zeilen mit Visualisierungseffekt, oder?
Nachzulesen auf der Dahlia’s Tear Homepage, die die “Wiedergeburt”, nach 5 Jahren in der Versenkung, mit
“Dreamsphere” verkündet, das derbste Alpträume vor Augen führt.

Letzterer Kontakt mit Dahlia’s Tear fand im Rahmen der Veröffentlichung “Under Seven Skies”
(2007, Thonar Records) statt, welches ebenfalls auf ganzer Länge überzeugen konnte, aber von seiner
Grundausrichtung her, majestätischer bzw.erhabener ausfiel, “Dreamsphere” hingegen, entstand im Übrigen in 2009,
erschien über Cold Meat Industry , dem schwedischen Vorzeigelabel für Dark Ambient, wo beklemmende
Soundcapes Tradition haben.

Hinter Dahlia’s Tear verbirgt sich der Schwede Anile.D., der auf “Dreamsphere” erdrückenden Dark Ambient
offenbart, den er mittels klassischer Pianoklänge, industrieller Einlagen, Sprach- wie Tonsamples
(Vom Rummelplatz bis hin zum tibetischen Glockengeläut!) und Gesangslinien von Michelle Rippy akzentuierte.
Insgesamt ein sehr komplexes Gesamtergebnis, das aufgrund seiner Vielfältigkeit einige Hördurchläufe mehr
benötigt, um komplett vom Konsumenten erfasst zu werden. Zudem führt die enge Verzahnung der Tracks
untereinander, zu einer weiteren Dichte, die einem niemals enden wollenden Sog gleicht – Wahnsinn!
Heißt, Soundtrackfetischisten erleben in “Dreamsphere” ein packendes wie berührendes Highlight,
dem zu keinem Zeitpunkt die Luft ausgeht, wofür unzählige unvorhersehbare Spannungskurven sorgen.
Einen Innovationspreis gewinnt Anile.D. mit “Dreamsphere” definitiv nicht, aber in Sachen Intensität
gehört der Schwede zu den Großen der Bewegung, welche Hörer(-innen) auch nach x Kostproben noch berühren bzw.
einfangen. Anspieltipp? Alle Tondokumente verfügen alleine über ihren Reiz bzw. Charme, aber besonders als
Einheit überwältigen sie Interessenten, deren musikalischer Fokus auf Lustmord, Atrium Carceri
(Sabled Sun) oder Lull liegt.

Im Endeffekt lässt sich “Dreamsphere” von Dahlia’s Tear nicht in Worte fassen, dessen Atmosphären von
Anfang bis Ende vollends packen, einfangen wie berühren – meine absolute Empfehlung! PS: Individuen, die
nach der Extraportion Kopfkino verlangen, müssen “Dreamsphere” von Dahlia’s Tear ihr Eigen nennen!

Dahlia’s Tear – Dreamsphere
Tracklisting: 01. The Transition 02. Entrance To Dreamsphere 03. Carousel Of Headless Horses 04. Dreamscape
(Liquid Chamber) 05. Toward The Dark Cellar 06. An Enigma In The Black Gap

VÖ: 2012 Label: Cold Meat Industry

Genre: Dark Ambient, Soundtrack Format: CD

Author : RAF

Dreamsphere CD [Cold Meat Industry 2012]


Da poco è uscito sotto la svedese Cold Meat Industry un album dei Dahlia’s Tear dal titolo Dreamsphere.
E’ molto importante questo album perché rappresenta un aggiornamento sulla definizione dell’album “ideale”
per il suo genere di riferimento. Pensavo che l’album dark ambient per definizione dovesse essere Within
The Depths Of Silence And Phormations di Raison D’etre. Anno 1995. Da poco, invece, questo album è stato
soverchiato proprio dall’ultimo disco dei Dahlia’s Tear. I tempi sono cambiati e il dark ambient ha passato
delle fasi altisonanti: da qualche momento interessante ad immensi spazi di noia. Con Dreamsphere vengono
messi nuovamente i puntini sulle “i” per definire il genere. Innanzitutto viene ripresa in considerazione
la qualità del disco a livello complessivo e al contempo quello dei singoli brani – particolare che con la
massificazione delle produzioni era quasi scomparso. In seguito viene ripresa e rivalutata la componente
multidisciplinare: le canzoni di questo album sono quasi tutte abbinate a video creati per l’occasione e
reperibile su youtube. In aggiunta a questo, il dark ambient, non deve aver paura di contaminare e farsi
contaminare e quindi è giusto trovare all’interno di un lavoro delle influenze elettroniche, atmosfere
ruvide e ritualistiche, spunti neoclassici o schizzi di sound etnici o orientali. Sta nella mente dell’uomo
sapere racchiudere il tutto senza perdersi nel proprio ego o in qualche raccolta di suoni pre-confezionati.
Dreamsphere è un disco maturo, interessante e molto variegato che va assolutamente sentito senza nessuna scusante.

Canzoni consigliate: Toward the Dark Cellar, An Enigma In The Black Gap, Carousel Of The Headless Horses.

Dreamsphere CD [Cold Meat Industry 2012]


Cinque anni dopo "Under Seven Skies", ben accolto dalla critica, il progetto di Anile D. tocca i confini della
compatriota Cold Meat Industry per proporre un'opera dal tessuto cinematografico, che riesce a interpolare
elementi concreti a pure divagazioni narrative. Se il concept su cui si basa il disco è piuttosto ovvio,
per non dire banale, il trattamento che ne subisce è fuorviante nel suo gioco stilistico, che lo rende uno
specchio magico da attraversare e contorcere a piacimento più volte.

La parte iniziale, ovvero la coppia "The Transition" - "Entrance To Dreamsphere", è quella più vicina al
gotico moderno amato della celluloide. Tra rumori sinistri e gracchiare di corvi camminiamo lentamente tra
le rovine fredde di abbazie, mentre il silenzio si distorce e nasconde i nostri sensi per il rito di passaggio,
quel "Carousel Of The Headless Horses" in cui il bianconiglio ci mostra il suo mistero.

Un liquido onirico astratto in cui gli oggetti dell'orrore fluttuano rallentati si fa largo davanti a noi,
annegandoci in una vasca di deprivazione sensoriale: "Toward The Dark Cellar" e "An Enigma In The Black Gap"
uniscono nella loro ossessiva paranoia fraseggi melodici, piccole opache apparizioni di una realtà in fuga
dal maelstrom del sogno. Il senso superficiale di concretezza, di realtà, che traspare da alcune tracce è un semplice bagliore
intermittente, un riflesso morente di un disco dalle radici sotterrate in un'altra dimensione. Non un
singolo secondo è lasciato a sé, in quello che si rivela non solo un buon esempio di dark-ambient,
ma anche un'avvincente esperienza fantasmagorica.

Dreamsphere CD [Cold Meat Industry 2012]


Пугающий и чарующий калейдоскоп из звуков, образов и тем. Путешествие вглубь себя, в мир детских страхов и
фантазий. Вот несколько робко и нервно переминающиеся у порога в Иллюзион клавиши испуганно замирают при
скрипе двери... Вот отстранённый, холодный женский голос начитывает свои медитативные мантры... Вот мелькнула
чья-то тень, там, в старом, треснувшем зеркале... Этот мир реален, он всегда был здесь, мы лишь потеряли ключи,
но заботливый Anile.D. соглашается быть нашим проводником в этот заповедный, леденящий душу край.

Пять долгих лет мы ждали нового откровения Dahlia's Tear и, наконец, дождались, - вот он, загадочный "Dreamsphere".
Теперь ночь наполнится иными видениями... Неторопливо, последовательно вплетая в ткань повествования всё новые и
новые элементы музыка уносит души куда-то далеко-далеко, в заброшенный цирк уродцев, а может, на обезлюдевшею
детскую площадку. Лишь ветер играет проржавевшими конструкциями неизвестного (и от того ещё более ужасающего)
назначения да доносит до слуха эхо былого. Неба нет, оно здесь и не нужно, - в "Dreamsphere" правит балом ветер.
Неумолимый, беспристрастный, живой.

Из шести представленных на альбоме треков сложно выделить какие-то отдельные, обособленные. Все они хороши в
равной мере, и так же, как нельзя разложить на эпизоды симфонию, так и здесь вырвать кусок не получится. Да и
нужно ли? Конечно, было бы слишком смело заявлять, что новый релиз шведского проекта превосходит предыдущий,
гениальный "Under Seven Skies". Нет, не превосходит. Но вполне на уровне, что, учитывая далеко не обнадёживающее
состояние сегодняшней dark ambient-сцены, лишь добавляет ему баллов. Томительное ожидание того стоило.

Не рискну рекомендовать данный альбом всякому, но если качественная, атмосферная электроника Вам по нраву, то
"Dreamsphere" подарит немало приятных минут. В этот материал нужно вслушиваться, погружаться, растворяться в
нём. Только тот, кто найдёт в себе смелости заглянуть в самые тёмные уголки чердака своей памяти, сможет получить
истинное наслаждение и не только от сей пластинки, но и от всего творчества Dahlia's Tear в целом. Остальным же
будет куда спокойнее жить без этого. Путь к свету по сумеречным тропам - удел не для всех.

Dreamsphere CD [Cold Meat Industry 2012]


Alpträume an sich sind ja schon keine angenehme Sache; aber immer wiederkehrende Alpträume haben
sicherlich noch ein ganz anderes Bedrückungspotential. Zur Bewältigung dieser Situation wird den
Betroffenen unter anderem auch schon einmal vorgeschlagen, sich den Alptraum in Musik vorzustellen,
um die seelische Belastung zu verarbeiten. Eben dies scheint ANILE D., der hinter dem schwedischen
Projekt DAHLIA’S TEAR steckt, beherzigt zu haben, entstand „Dreamsphere“ eben aus dem Erleben und
Verarbeiten eines wiederkehrenden Albtraums. Das Album, das schon länger mal angekündigt wurde und
bereits 2009 entstand, stellt somit die perfekte klangliche Rückkehr des COLD MEAT INDUSTRY-
Labels in das Land der Lebenden dar.

Dem Album gelingt es vor allem, eine absolut drückende, surreale Stimmung zu erzeugen, indem eine
echte Breitwandszenerie aus bedrohlichen Flächen, Pianomotiven, ausufernden Klängen und Geräuschen
aufgebaut wird. Schon im Eröffnungsstück scheint geisterhafter, rufender Frauengesang hinein in den
Abgrund des Traums zu locken; es knarzt und schlägt an jeder Ecke; die drückende Atmosphäre wird spürbar.
Auch im zweiten Stück „Entrance To Dreamsphere“ begegnen dem Hörer diese Rufe wieder, wobei eine
weibliche Stimme – die weibliche Unterstützung auf dem Album liefert MICHELLE RIPPY – quasi in
den Traum hineinbittet.

Mit „Carousel Of The Headless Horses“ lauert schließlich das überzeugendste Stück, wenn man ein altes,
morsches und verlassenes, sich einsam drehendes Karussell quasi vor sich stehen sieht. Man hört jedes
einzelne Geräusch; es knackt und knarzt, eine Glocke schlägt düster im Hintergrund. Die Intensität ist
schon erstaunlich, lässt man sich auf das Gehörte ein. Im Allgemeinen geht man ja davon aus, dass
Alpträume kreative und sensible Menschen öfter heimsuchen. Hier möchte man fast von einem Vorteil sprechen.
Nach diesem atmosphärischen Höhepunkt geraten die Musik und die Atmosphäre etwas versöhnlicher.
Kleine Pianomelodien ertönen und das Klangbild zieht sich etwas stärker auf Flächenklänge zurück.
Ob es hier um vielleicht erlebte Trauergefühle geht oder ob bereits die Verarbeitung in die
Klangkreationen hineinspielte, bleibt natürlich offen.

„Dreamsphere“ ist für mich eines der überzeugendsten Alben der letzten Monate in diesem Genre.
Stimmung, Ausführung, die gebotene sehr gute Klangqualität und nicht zuletzt das gelungene Artwork
fügen sich nahtlos ineinander. Gegenüber dem etwas luftig, leichten, nicht unbedingt herausragenden
Under Seven Skies“-Album von 2007 hat dieses Projekt jedenfalls einen deutlichen Schritt nach vorne getan.
Vielleicht braucht es doch echte emotionale Anstöße, um etwas Kreatives zu schaffen.

Tony F. für nonpop.de

Dreamsphere CD [Cold Meat Industry 2012]


A distanza di cinque anni da "Under Seven Skies" torna Dahlia's Tear, progetto dello svedese Anile D.
"Dreamsphere", album dall'artwork cupo e gelido, affronta un oscuro e onirico viaggio in un mondo di
sogno, che si traduce in paesaggi neri, agghiaccianti e desolanti, in cui il lontano tintinnare di carillon
da film horror - come in "Carousel Of The Headless Horses" - rimanda alle più folli atmosfere carroliane,
e il funesto gracchiare di corvi, unito a echi di voci lontane - "Intrance To Dreamshpere" - trasporta
l'ascoltatore in un'atmosfera gotica, claustrofobica e inquietante. Rari vocalizzi, modulati da una
melodiosa ma lontana e flebile voce femminile, rendono ancora più dantesco e visionario il trip attraverso
il quale l'artista scandinavo costruisce atmosfere di tangibile terrore e tragica desolazione.

"Dreamsphere" è senza dubbio un'ottimo esempio di genere dark ambient, dalle trame sonore quasi
cinematografiche, rassemblanti alla colonna sonora di un film vampiresco ma high-tech, in stile "Underworld".

Under Seven Skies CD [Thonar Records 2007]


Mit “Under Seven Skies” schenkt Thonar Records dem Hörer eine kleine Perle, welche bereits beim
Erstkonsum voll begeistern kann. Die Rede ist von Dahlia’s Tear, ein Projekt, welches 2005 von
Anile D. ins Leben gerufen wurde. Und der Schwede versteht sein Handwerk, gebärt uns dieser hier doch
7 wunderschöne Klangcollagen mit stark prägendem Charakter. Schon mit dem Opener “Sky Minimalism”
serviert uns der Künstler eine melodische Klangebene, die sich aufgrund einer gefühlvollen Tastenmelodie
unweigerlich festsetzt. Wer jetzt denkt Anile D. hätte hier sein gesamtes Potential in diesen
Song gesteckt irrt sich gewaltig. Diese Art der Melodieführung füllt das gesamte Werk, welches vor
melancholischen Elementen nur so strotzt und eine wahre Achterbahn der Gefühle auslöst.

Die Tracks sind rein instrumenteller Natur, nur gelegentlich vernimmt man dezent im Hintergrund platzierte
Gesangspassagen, wie in “Sky Convergence & Pointless”. “Under Seven Skies” lebt somit von teils
hypnotisch pulsierenden Elemente, die perfekt mit dem hier gebotenen Dark Ambient harmonieren.
Dabei ist dieses Album nicht einmal unbedingt als richtig düster zu bezeichnen, Dahlia’s Tear birgt
enorm viel Melodie und erweckt Emotionen von unglaublicher Intensität. Ein klitzekleines Manko könnte
man “Under Seven Skies” dennoch anlasten – die Kompositionen sind derart prägend, dass man das komplette
Werk bereits nach zwei Durchläufen im Kopf hat. Somit gibt es dann leider nichts neues mehr zu entdecken,
was aber einem wunderbaren Klangerlebnis keinen Abbruch tut. Mit diesem Werk wird der Schwede wohl bald
zur Spitze des Dark Ambient aufsteigen, wer die Werke von Desiderii Marginis mag wird dieses Album lieben!

Verlag : Thonar Records
Bewertung : 9.5 von 10 Punkte
Veröffentlichung : 10.12.2007

Under Seven Skies CD [Thonar Records 2007]


Nonostante il progetto Dahlia's Tear abbia preso forma solamente verso la metà del 2005, il suo artefice
unico Anile.D. è già arrivato alla terza fatica sulla lunga distanza, peraltro approdando alla corte
dell'attenta label tedesca Thonar Records giusto in tempo per dare alle stampe un terzo lavoro che ne
svela la rinnovata ed ormai pienamente raggiunta maturità artistica. Se nei due lavori precedenti
("Harmonious Euphonies For Supernatural Traumas Mesmerizing Our Existence In Radiant Corpuscle Galaxies",
edito nel 2005 dalla Ravenheart, e "My Rotten Spirit Of Black", pubblicato dalla Alcor lo scorso anno)
il suono di Dahlia's Tear aveva mostrato tutta la propria predilezione per la materia prettamente dark
ambient con poche timide aperture melodiche, stavolta queste ultime entrano a pieno titolo nella struttura
portante dei sette brani che compongono il nuovo album (edito in una bella confezione digipak e limitato
a sole mille copie), imponendosi senza 'se' e senza 'ma'. Seppur ancora profondamente oscura e legata alle
sorti di certa dark ambient meno ferale e minimalista, la musica creata da Anile D. si tinge con colori che ne
evidenziano gli aspetti drammatici, il grande pathos ed una capacità di scrittura che sa andare oltre la
solita stratificazione di droni tipica del genere. Le semplici, efficaci e splendide melodie di piano,
opportunamente dilatate ad arte, si incastrano alla perfezione con le architetture sonore plumbee e gli
intensi muri sonori che fanno da sfondo ai vari brani, andando a completare il quadro con ritmi elettronici
sapientemente dosati, cori solenni usati in maniera mai banale e taluni azzeccati inserti di voce femminile,
gentilmente forniti da Nephelia (Stellaria Fennica) e dalla a noi già nota Carline Van Roos (Aythis).

Un disco capace di andare ben oltre i canoni della classica dark ambient per approdare ad un suono in grado
di coniugare melodia, passionalità e capacità di suscitare emozioni ben più forti rispetto a certe sterili
'discese agli inferi' che troppo spesso ci capita di sentire. Un lavoro di rara bellezza ed intensità,
perfetto per chi alle sonorità ambientali chiede sempre quel qualcosa in più e per chi vuole realmente
emozionarsi, superbamente confezionato da un artista che ha molto più da dire rispetto a tanti nomi più blasonati.

Acquisto decisamente caldeggiato.

Under Seven Skies CD [Thonar Records 2007]


Title: Under Seven Skies
Artist: Dahlia’s Tear
Genre: Ambient
Release Date: 10th December 2007
Label: Thonar Records

Album Review

DAHLIA’s TEAR was formed in 2004 and the project has released three albums since its foundation with
‘Under Seven Skies’ being the latest one.If you take a short look at the track list, you’ll notice the
categorization of the tracks into 7 skies. This concept should be familiar to those, who read the entire
Divine Comedy by Dante Alighieri. In the third part (Paradise) Dante’s travelling through different skies
as well i.e. Jupiter & Saturn Sky.

The world of ‘Under Seven Skies’ is filled with an all overshadowing darkness and a wind made of despair
is wafting through the gloomy soundscapes Anil is painting. The 7th Sky begins with a threatening appearing
wall of synthesizers and field recordings. He also initially introduces wailing guitar sounds into the mix;
what sounds kind of strange in that dense entity of ethereal and floating sounds. Rhythmic sounds are mostly
used as a gentle and not too obtrusive accentuation, except for the 6th sky, where they beco0me a major part
of the composition as a demanding percussion whirlwind which gives the song a ritual feeling. There seems to
be a sort of common re-appearing ambient theme in some of the songs, appearing in a different shape every time;
sometimes as a male choral or just as an extremely widened synth layer. The highlight for me and the final
track is the first sky with the title ‘Minimalism’ which begins with a recording of a thunderstorm and you
can hear the rain falling down on earth and slowly electronic elements sneak into the storm of which the most
beautiful surely is the violin whether it’s a synth or a real one doesn’t matter; the feeling of endless
melancholy it creates is what counts and this is deeply touching.

‘Under Seven Skies’ is ambient in a very pure form and conjures up dark pictures in the listener’s mind.
The music unfolds its true beauty when listening to it in twilight, then just close your eyes and drift away.


Music: 9
Sound: 9
Extras: -
Total: 9

Under Seven Skies CD [Thonar Records 2007]


Manchmal glaubt man, in bestimmten Genres könne es einfach nichts mehr Neues oder Bemerkenswertes geben.
Dark Ambient ist so ein Genre. Diese düstere Musik erfährt zwar keinen massiven Ansturm, aber doch einen
regen Zulauf, woraus man eigentlich schließen müsste, dass sich der Ideenreichtum irgendwann erschöpft.
Das schwedische Ein-Mann-Projekt Dahlia's Tear ist zwar noch ein recht junger Vertreter dieser Gattung,
da das Projekt erst seit 2005 existiert, aber jetzt schon ganz vorn mit dabei. Mastermind Anile D.
ist schon seit 1998 musikalisch aktiv und auch bei seinem Projekt Dahlia's Tear zeigt er wahren Arbeitseifer.
"Under Seven Skies" ist bereits sein drittes Album in drei Jahren.

"Under Seven Skies" ist eine atmosphärisch dichte, düstere und träumerische Meditation. Anile D. verwendet
dazu einfache aber ergreifende Melodien, die er mit Streichern, Synthies und Klavier erzeugt. Ähnlich wie
Vangelis auf seinem Bladerunner-Soundtrack hinterlegt Dahlia's Tear diese Melodien mit weiteren, gesetzteren
Melodien und einem packenden Rhythmus. Dabei rollen die Songs ständig auf und ab, sind Ebbe und Flut zugleich
und ehe man sich versieht, schweift der eigene Blick in die Ferne, beginnt man zu träumen und nachzudenken.

Die Songs des Albums erinnern manchmal ein wenig an die Klanglandschaften eines Pete Namlook, nur bei weitem
nicht so minimalistisch. Durch die Fülle an Sounds und Wahrnehmungen entsteht vielmehr ein differenzierter
Eindruck der sieben Songs bzw. der sieben Himmel, von denen das Album handelt.

Eine ganz besondere Stimmung erzeugt Dahlia's Tear durch eine Vielzahl an Sprachsamples, die von Kinderlachen
bis zu nervösem, gehetztem Atmen reichen. Dezent, aber sehr effektvoll sind die dunklen, männlichen Choräle,
die "Under Seven Skies" einen sakralen Hauch verleihen. Nicht zu vergessen ist der Gesang von Carline Van Roos
(Aythis) und Nephelia (Stellaria Fennica), der aber mehr gehaucht und ätherisch ist, als dass er stark ins
Gewicht fällt. Nephelia, der Anile D. dieses Album gewidmet hat, war neben dem Gesang auch für
die Covergestaltung verantwortlich.

Die erste Auflage des Albums erscheint im Digipack,

ist auf 1000 Exemplare limitiert und ein unbedingte Kaufempfehlung wert!

Under Seven Skies CD [Thonar Records 2007]


Title Under Seven Skies
Homepage www.dahliastearband.com

Leserbewertung 10/10

Wow, was für ein Album!

Mit DAHLIA’S TEAR beweist das kleine Augsburger Label Thonar Records erneut seinen hohen Anspruch in Sachen Dark Ambient.
Hinter dem Projekt steht der Schwede Anil Emre Dedeoglu, der uns mit „Under Seven Skies“ bereits sein drittes Album
vorlegt. Und das ist wirklich äußerst gelungen.

Mit den sieben Tracks führt uns DAHLIA’S TEAR auf eine atmosphärische, hypnotische und teilweise beklemmende Reise.
Dabei verwendet Anil ED auch verzerrte Gitarren, Geigen und andere Instrumentierungen. Gelegentlich hören wir eine
zarte Frauenstimme oder dezente Männerchöre. Typische Zutaten für Dark Ambient, aber eben doch ganz anders und
einzigartig. Alles wird so harmonisch und abwechslungsreich mit düsteren langsamen Flächen umschmeichelt,
dass die Musik eine derartige Tiefe bekommt, wie es selten in diesem Genre erreicht wird.

Mit „Under Seven Skies“ kann sich DAHLIA’S TEAR bei den ganz Großen des Dark Ambient locker einreihen.
Die Erstauflage von 1000 Exemplaren erscheint in einem sehr schön gestaltetem Digipack. Absolute Kaufempfehlung.
Fans des Genres werden „Under Seven Skies“ lieben.

Under Seven Skies CD [Thonar Records 2007]


Dahlia’s Tear (solo project of Anile D.) first came to my attention a few years ago through his album,
‘My Rotten Spirit Of Black,’ which was quite a pleasing album, though it’s his 2007 release, ‘Under Seven Skies’
that has become a true favorite of mine over the past year.

Dahlia's Tear music is within the dark ambient genre, though his music is noticeably far more harmonious and
generally more dynamic, fascinating and varied than your typical dark droning ambient band, which are nearly a
dime a dozen these days. The music has a very strong dreamy and otherworldly quality to it which allows the
listener to pass into a realm of unknown thoughts and visions which may very well elude them when not listening
to music like this. This is truly a great album to listen to while lying in bed since personally I’ve had
some very interesting thoughts and dreams pass through my brain while under the influence of Dahlia'a Tear songs.

It’s interesting since the music is more than just lush melodic synthesizers; Dahlia's Tear music also features
distorted electric guitars in the background, industrial characteristics, sampled voices, female and male chanting,
treated field recordings, piano and some well placed subtle beats too. I also love the way the music carries a
very cold atmosphere to it and even though it’s fairly hot outside today I still feel a slight chill as a listen
to this album and occasionally notice the hairs on my arms standing on end too. Wonderful.

Additionally the album comes packaged in a sharp looking digipak with wonderful artwork too. If you have any
love for dark melodic ambient music then this is surely not one to miss as its absolutely fantastic for its
entire forty eight minute duration.

Under Seven Skies CD [Thonar Records 2007]


Dahlia's Tear jest moim odkryciem. Mówię to może ze złośliwością ale w muzyce wielu projektów czuć niestety ich
metalowe korzenie. Na ”Under Seven Skies” z instrumentów które używa się do ciężkiej rockowej muzy pozostała jedynie
gitara. Zresztą jest ona jedynie dodatkiem, gdyż Dahlia's Tear jest 100% dark ambientowym tworem.

Zacznę od brzmienia: selektywne i czyste, całą masę nałożonych na siebie dźwięków możemy usłyszeć bez specjalnego
wsłuchiwanie się. W tak intensywnej, bogato zaaranżowanej muzyce jest to bardzo ważne. Teraz czas na materiał audio:
niezwykle piękne 7 utworów kreuje niesamowicie przeplatającą się wzajemnie eteryczno- hipnotyczną atmosferę, czuć że
autor poświęcił sporo pracy, co zresztą doskonale słuchać w efekcie finalnym. Warto pochwalić całą masę użytych tutaj
dźwięków: wspomniana gitara, śliczny kobiecy wokal i chóry, fortepian, skrzypce oraz obowiązkowe w tym gatunku
ambientowe szumy, nagrania terenowe itp. Może ta lista nie jest zbyt długa ale ”Under Seven Skies” jest tak
skomponowana że ma się wrażenie ich wielkiego bogactwa. Na mnie ta muzyka zrobiła niesamowite wrażenie, są to
dźwięki wybitnie klimatyczne oraz wspaniale działające na wyobraźnię. Sam nie wiem jak to się stało że ta płyta
dotarła do mnie dopiero teraz, a nie rok temu gdyż w moim prywatnym plebiscycie na najlepsze płyty ubiegłego roku
znalazłaby się na wysokim miejscu. Szczerze polecam „Under Seven Skies” wszystkim fanom dark ambientu, choć nie
tylko gdyż jestem pewien że inni słuchacze mniej wprawieni w antymuzycznych bojach będą oczarowani tym pięknym,
magicznym albumem. Brawa należą się również młodej niemieckiej wytwórni Thonar Records za ładnie zaprojektowany digipack.



Lista utworów:
1. 7th Sky She Winnows The Galanthus, Synaptic State
2. 6th Sky Spellbound The Circles
3. 5th Sky Within A Dying Single Ember
4. 4th Sky Convergence & Pointless
5. 3rd Sky In-Perfection, From The Past Subconscious
6. 2nd Sky Between Lights, Unreleased Colours And Earth
7. 1st Sky Minimalism

My Rotten Spirit Of Black CD [Alcor Productions 2007]


Just imagine the idea of making dark ambient darker...so exciting. With this second release, Dahlia’s Tear engage
this concept in a most sinister and provocative fashion while simultaneously branching off in a fairly different
direction than the debut. My Rotten Spirit Of Black is similar to Harmonious Euphonies in that what is incorporated
as far as methods of arrangements are unchanged. However, what makes it stand far apart is its incorporation of said
methods in persistence towards a much more disturbing forum. Between each clutter of banging metal and shriek of pain,
Dahlia’s Tear still makes you feel each and every inch of sound.

My Rotten Spirit Of Black appears to be a loosely conceptual record about being haunted, utterly alone, suicide, and the
darkness and horrors of the afterlife. Placing this concept along with each track helps to differentiate the impacts of
each song, also rendering the imagination of the concept all the more foreboding. In ambient music it is important to be
able to separate yourself from any contemporary, and this record does so with the very obvious and incredibly involved
method of dynamic. How loud a sound is, which instrument you use for this part, and countless other things come to mind.
While these things can take extensive care to undertake, Dahlia’s Tear seems to understand restraint towards over-analyzation
and when to let certain sections flow as you had first written them. This natural process of composition is vital in
producing unique and more personal pieces, and with the awareness of creating something this unsettling just makes it
a more cohesive listen.

While Dahlia’s Tear has successfully progressed in multiple ways from the debut, there is still the issue of repetition of
instruments, which allows certain areas to clutter. While moving the main progression of keys and strings to the front of
the mix creates a much more abrasive character, the use of different methods of harmonies or dissonances within the
of unheard instruments or sounds would have made the record as a whole all the more interesting. Nonetheless, My Rotten
Spirit Of Black is a welcomed step towards wherever this act is treading, and the infinitely dismal indication of
this record allows one to assume future releases will be even more involved, blackened, and comprehensive.

Harmonious Euphonies For Supernatural Traumas Mesmerising Our Existences
In Radient Corpuscle Galaxies [Ravenheart Productions 2005]


For the music lover who can sit and enjoy the evolving sound of someone else’s nightmares. Out of the countless amount
of ambient artists, how can you tell what is better than the rest, or even worth your time" Judging the book by its cover
is a standard method but can still lead to useless albums, so does ambient music just have an attraction towards its own
potential listeners" Simply, yes, music can actually pick the consumer on the sole of reason of what some call intuition or
whatever outwardly force you wish. It’s merely another way music reaches out to you, and with all the fog cluttering the
masses, ambient listening seems like yet another method of stepping apart. With Harmonious Euphonies, Dahlia’s Tear begins
this passage through expressions any normal mortal wishes to suppress. How welcoming.

Sweden’s recent output of more atmospheric music has been glorious. Besides Dahlia’s Tear, we have Arcana, Atrium Carceri,
Desiderii Marginis, Raison d’etre, Rome, and many others thanks to Cold Meat Industry records. But amongst all these acts,
they can all stand apart from each other respectfully as they each explore their own realms of creativity. Dahlia’s Tear
in particular boasts a more comfortable tone than the rest while retaining the unsettled consciousness dark ambient tends
to share. Endless Snow Spiralling Gentle is such a track, with quick piano runs above slow, churning noises and harmonized
flutes. The sound effects on the whole album are extremely well-arranged, always adding a new color to the sound. As the
title and art of the album might have hinted, the overall sound is fairly celestial, or mystical if you will, which becomes
all the more of a grabbing element as the album continues.

While some may misunderstand ambient music as just a bunch of keyboard layers, let them be pathetically mistaken. Anything
from white noise to single female choirs to squeaking gears or chiming bells can be found here, amongst the subtle keyboard
progressions. Babies crying, women screaming, it’s all good. But what’s important is that none of it feels forced. The
arrangements are as natural as can be because of the space provided to allow each section to spread its wealth. Also
featured are a few moments of hypnotic string passages beside creaking raindrops for an unknown amount of time, something
featured and built upon more and more on the future releases.

As far as musical progression goes, it seems like ambient is starting to take the lead. While most of rock and metal are
stuck in pop structures, ambient doesn’t even glance back as it forges its own molds of what music is supposed to sound
like, that being whatever the artist envisions to be a worthwhile expression. Dahlia’s Tear is, especially with the next
two records, standing at the forefront of this movement along with many dark acts waiting to be found. This is not an
album with hooks, but an album meant to overcome you. Music is a higher power, and this is a good start to understand it.