(Drone doom, ambient) The Angelic Process: дискография, 5 релизов, 2001–2007, FLAC (tracks+.cue) lossless

А я не понимаю, почему Nadja называют похожей на TAP. Слушал их композиции - очень грубо. И грязно. И вообще, не припоминаю ни одной группы жанра Ambient drone metal вообще, пусть last.fm и пишет, что тыщи их. Где?

Горя в приливах Бога. [Burning in the Undertow of God]
Когда-нибудь, когда-нибудь
Восстану я, чтоб быть собой опять...
Но я оставил душу свою и я никогда
Не хотел начать всё опять.
Не хотел начать всё опять.
Не хотел начать всё опять.
Я оставил душу свою и я никогда
Не хотел начать всё опять.
Не хотел начать всё опять.
Не хотел начать всё опять.
Не хотел начать всё опять.
Не хотел начать всё опять.
Мои чувства и время исчезают вдали,
Можем мы встретиться прежде, чем свет сожжёт меня заживо?
Мои чувства и время исчезают вдали, (хочу увидеть Тебя...)
И чего я боялся... Что свет УЖЕ СЖЁГ МЕНЯ дотла.

Bulletin from MDragynfly
I am making our music available again......
Hello everyone, this is MDragynfly. I wanted to drop in and tell you how much I have appreciated the overwhelming support that all of our fans and friends have given me. It has been over a year now since Kris's death and still I am contacted regularly and told how much our music has meant in people's lives and how much Kris is missed as the musical genius that he was. I know, probably more than anyone, how true that statement is. I have seen, and still have in my possession, every piece of recorded material that Kris ever did. Over 10 years of his progression into music. Unreleased Angelic Process material and work from several other projects that he worked on.
I have a secret to release. Eye the Arsonist (look it up under our friends list) was Kris himself. He created a fictional character in a very limited genre and ran with it and it met with such great response. He always did things like that... little test projects so he could play with something else not related to The Angelic Process or himself. He lived for music and spent all of his time and resources pursuing it. And everything he ever released met with some kind of positive response. He had this absolute knack for not only great music, but also finding the right people to release it.
I still owe a few boxes to people that never recieved theirs (must be postal theft or error). I'll have to make them still and will have to find all of the materials but I vow to work on them soon. I avoided the studio, equipment, even put my bass down for months. I couldn't handle it. I have never been so torn between wanting to forget and wanting to remember every second. Kris's death changed my life and thankfully I have an amazing support system that helped me keep my sanity through it all. My mother, friends, and someone who is nearly my childhood sweetheart (isn't it funny how 19 seems like a child when you're older?). These people did not let me retreat. They did not let me slip away. They dealt with all of my stubborn appearance of strength and held me when I couldn't fake my way through it anymore. Quite literally caught me when I fell. Without them I wouldn't be writing this.
Also without them I wouldn't be able to do what I am about to do. I am releasing our albums again. Some I still have copies of from the labels, the self released ones I still have the masters for and will have to either find a good company to make the cd's or I'll have to burn them myself. I know it isn't the best option but I feel so bad that everyone is having so much trouble getting our material legitimately (and feeling bad for getting it through whatever Russian mp3 site they can). That isn't fair to you at all, and I appreciate that you would rather email me repeatedly than go to these places that rip off musicians.
I currently have Weighing Souls With Sand on CD and vinyl. If anyone has been looking for these then please let me know. I'll be selling the CD for $10 and the vinyl for $20 (includes shipping which is some of the big cost factor in the vinyl because of how it has to be packaged to be protected). Email me at mdragynfly@yahoo.com if you would like one. I'll make announcements as I get copies of the other albums. I believe I might also still have copies of Coma Waering as well.
I am also considering REALLY getting back into the business. I might resurrect the label and actually start accepting these bands that tried so hard to become part of Decaying Sun Records. It is still just an idea at this point but if I feel like I can do it justice then I will put out a statement and get in touch with all of the people that I know could help make it happen.
It's all just a thought right now, but at the very least I really would love to distribute the music Kris never released. There is so much there that I would just hate myself for not sharing with the people that have supported us so much. Over 200 full Cd's of music, most of which has never been heard by anyone but the man himself and more recently by me. Some of it is mastered. Some isn't. It stretches across several genres. I also want to release the music that Kris was working on right before his death. The music he was making while gritting his teeth because of the pain in his hand. He hated it. I can't tell you he didn't. He thought it was horribly substandard, which as a musician myself just made me sick to my stomach. The man was a genius, plain and simple and it was easy to be intimidated by just how easy it came to him. Intimidating and upsetting that so much beauty was just never enough for him and he pushed himself so hard and never felt the gratification from it.
But I can't and won't horde it. I want to share his vision with as many people as possible. And in that way he can live on forever.
Why is everyone cutting on the Ruskies today?

Я доверил свою жизнь им, и мне больно. Невыносимо...
Смерть была бы лучше, чем калечащее лечение.
Калечащее лечение,
Калечащее лечение,
Калечащее лечение,
Калечащее лечение...

{мне нет причин желать тебя больше...}
Пойманный в клетку крови и костей, разделённый стенами;
но смерть будет так прекрасна.
Запечатлей её на снимке; так что все узнают,
так что все узнают,
что не был я так пуст, в конце концов,
в конце концов, в конце концов, в конце концов...

Совсем недавние слова о группе (2012 год, 23 июля) (из группы на фейсбуке):

THE ANGELIC PROCESS
"There was a moment while working on our 3rd full length 'Weighing Souls With Sand' that I will never forget: I was looking at the big marker board we have in the studio that has all the songs titles and categories for guitar, bass, drums, vocals, atmospherics, etc [to show what has and hasn't been done] and I realized there were 15 songs and every category was checked. Another Angelic Process album was nearly complete."
Formed in 1999, and hailing from the Athens Georgia realm, the husband-and-wife duo of K.Angylus and MDragynfly have been known to create some of the most mesmerizing and moving music within the ambient drone-metal musical realm... Garnering already a huge response with the 2006 re-issue of "Coma Waering" [Paradigms Recordings], a recording that is actually four years old, The Angelic Process now deliver said album's follow-up, namely "Weighing Souls With Sand."
The Angelic Process Centering around a concept that continues the story begun with "Coma Waering", "Weighing Souls..." is the inevitable aftermath as the band explain:"'Coma Waering' is a concept record about a man falling into a coma and eventually dying.'Weighing Souls With Sand' is the follow up to that concept, this time about the man's wife trying to deal with his death and failing, eventually committing suicide."
Sound-wise picture the wall-of-sound through the fuzzy celestial grace of My Bloody Valentine, the tribal ritualistic pulsations of Neurosis, the emotional fervor and bloodletting of Swans, and the powerful grace of Jesu, and here you'll get a glimpse of what "Weighing Souls..." shall offer. And then some...
Roadburn Records is proud to present "Weighing Souls..." on vinyl [a limited edition up to 500 copies: 300 black, 100 yellow, 100 red].
Words | K.Angylus
Following up a record as loved by our fans and widely acclaimed as 'Coma Waering' was never gonna be easy. Every time I start a new Angelic Process record I always wonder if the songs are going to be there this time. I think a lot of musicians go through that, but for me, it had been 4 years since I wrote 'Coma Waering.' The flood of reissues [Coma, our debut '...And Your Blood Is Full of Honey', and the 'Sigh' EP) at the beginning of 2006 garnered us a lot of buzz and it was clear people were wanting to see if we could top ourselves. MDragynfly had just joined the band [who is the perfect sounding board and an amazing musician] and we were finally able to play live, so pretty much everything had changed from when 'Coma' was written.
I think it was playing live that most influenced WSWS. With 'Coma', we had established our sound. Playing those songs live required use to alter some of the arrangements and strip the songs down. The new songs we were writing followed that line and had less repetition, more parts, and faster mouvement between those parts. We stripped away some of the ambient noise that 'Coma' used so heavily and increased the complexity of the melodies we wrote. But most of all, we were able to tighten up the arrangements by playing them live and seeing what worked and what didn't.
Having our own studio is very important. While the initial arrangements are worked out beforehand, most of the texturing and ambient atmospherics have to be worked out while recording. We build our own FX pedals and modify our gear, so we have a large number of sounds and textures at our disposal. We very rarely use synths or electronics, preferring to use guitar, bass, drums, vocals, keeping everything as organic as possible.
We also master our albums to tape and not just in the computer. We use computers to sequence tracks, but everything is run back out onto tape. Maybe this is how we keep so much warmth in our sound. Another thing I would like to mention: all the drums are live, mic'd drums. A lot of people seem to think we use a drum machine, but we don't, not since our 2001 debut. I had a custom kit build before I started recording 'Coma', the toms are bigger than normal, so we get a deeper resonance and bigger sound. Same with the crash cymbals...we just like big, deep drums.
So, after 8 months of writing and recording, we had a finished album. A lot has already been written about the extremely personal nature of the concept that runs through both our 'Coma' and WSWS. I've decided not to address it here and talk more about how the songs came together and little stories that come to mind about them in this track by track account:
The Angelic Process
The Promise of Snakes
This was the last song written for the record and the only song where there was no bass on it until everything else [except vocals] was finished. M and I did the intro and the first two riffs and just continued to write new sections around permutations of those riffs.
After everything was written, I recorded all the drums and guitars in one day, then we didn't touch it for a while. We were at the point of having to many songs to fit on the record anyway, so including a 9+ minute song meant we would definitely have to cut a song or two that we already liked. So it remained unfinished, until one day M grabbed her bass, came in, and nailed a quick take of the whole song. We went driving around and listened to the vocal less version and it just crushed! So I went back in, hammered out the vocals, and ended up with my favorite song on the album.
Million Year Summer
After we restarted the band and had been playing live, we realized we didn't really have any songs that were just full blast from start to end. We have a ton of 7+ minute mini-epics that take you on a roller coaster ride, but nothing we could throw into a set to shake things up. It was the third song M and I wrote together and was put immediately into our live set. It has been played as either the first or second song at every show we've done since. At under 4 minutes, it's the shortest 'song' we've ever done and one of the best. It also sound great on just acoustic guitar...
The Resonance of Goodbye
The second song M and I wrote together, 'The Resonance of Goodbye' is one of those songs where the title and music fit together perfectly. Such an incredibly emotional and just plain heavy song, we played it live for a while, but had to stop because of how difficult the vocals are to perform. For whatever reason, certain notes in it just shred my vocal cords. But I really love this song. The little shimmery melody that follows the bowed guitar in the intro, then leads to the feedback fade in of the massed guitars never fails to get me right in the gut. One of the most powerful songs we've written by far.
We All Die Laughing
One of our most popular songs and one that almost wasn't a song at all! We were in the middle of writing for the album and I had demoed the first 3 minutes or so and hated it. It just wasn't coming together at all for me, but I played it for M and she loved it and made me promise not to trash it.
The Angelic Process Everyday, she would come in and listen to that first 3 minutes and make notes about what could follow it. We then took those notes and continued to write until we reached the version that is on the record. Definitely a song that would not have been at all if M hadn't worked so hard to make it come together.
Dying In A-Minor
The second to last song written for the record. By that point in the writing, we had established the concept for the album and had a basic running order, so we knew we needed a song to bridge the first half of the record to the second half. I had written the middle section in rehearsal one day and kept coming back to it. Something about the movement of the chords really struck me. M and I worked on it without drums, just guitar and bass, and wrote the end section. I then mixed some heavily filtered guitars with a washy synth for the intro.
When I put down the first layer of vocals, you could just hear the backing vocals in there, so I put those instead of layering guitar melodies like I did on most of the other songs. In the end, it's the least complex song on the album, but it's all the more powerful for that simplicity.
Weighing Souls With Sand
One of those songs that comes together quickly and is done. I did a lot of weird vocal layering on this one that most people don't pick up one. I really like the flow and forward momentum this song has. It really gives the album that push into the end. After about 2 weeks of talking it out, we decided this would be the album title. It just has that certain something. That right combination of words that envokes images and emotions, especially within the context of the album.
Mouvement - World Deafening Eclipse
Since the flow of our albums is EXTREMELY important, we use shorter tracks to bridge the gap between certain songs. I knew in the beginning that I wanted to do this, but also wanted to make sure that listeners knew these weren't suppose to be viewed the same as the actual songs.
So, since I am a fan of classical music and the transitional structures we use are based off of the way classical music is sometimes arranged, I called these tracks "mouvements". We wrote several that didn't make it onto the record. Being bridge tracks, they have to be just right and really highlight the songs their between. It has some great flitered guitar atmospherics and nice chord changes in the middle. M really loves this one and we plan to play it live.
Burning In The Undertow of God
I love the dissonant notes during the first loud section and the ever shifting chord patterns throughout. The more open chord voicings allowed me to use a different approach to the vocals and use more circular guitar melodies underneath. We did a lot of guitar arranging in the studio, after the drums and some bass were tracked. A lot of little subtle things are going on in the guitars, lots of harmonic elements that create little melodic things that weren't intended, but sound great. As soon as we wrote it, we knew it would end the record. A great song, this was featured on Terrorizer Magazine's cover CD.
Mouvement - The Smoke of Her Burning
This was actually written and recorded as the original ending to 'Burning In The Undertow of God', but we decided to split it into a separate mouvement to help give the album a more defined ending. In the original version, it was much longer and had a vocal section, but it seemed to slow the pace of the album down to much. When we cut out those sections and added the more ambient outro, everything just fell into place.
How To Build A Time Machine [Hidden Track]
We left tracks 10-16 blank to give a little separation between this song and the last mouvement. To me, this song feels like the summation of the record. It was originally intended to be somewhere in the middle of the album, but ultimately just sounded to out of place. But still, a great song that I am really proud of. It's always nice to include some kind of little hidden/bonus thing at the end of a record, but we wanted to make sure that the hidden track we chose wasn't just some throwaway track and still related to the record.

INTERVIEWS
-FLAGPOLE MAGAZINE, APRIL 4, 2007, VOL. 21, NO. 13
Black Doom With White Curtains
The Angelic Process Gracefully Walks the Ambient Metal Tightrope
Oil and water. Orange juice after brushing your teeth. Conscience and the Bush administration. Some things just don't go together, no matter how hard you smack the square peg into the round hole. Most bands realize this and safely stay tucked into their little niches. Understandable. Others attempt fusion, and the few who achieve a modicum of success are rightfully hailed as awesome. From Miles Davis to the Jesus and Mary Chain to Kevin Federline, there are varying degrees of fusion as well as realization. Apart from silly matches like vegan hardcore and classical piano, perhaps the most delicate balance an artist can strive toward is that of ambient music and metal. It's a bit of an understatement to state that it's a thin line where the two meet. On the one side sits ambient music, defined by its master Brian Eno as "aural wallpaper," meaning that while it can be deeply absorbed through close listening, it also serves a secondary purpose by pleasing the ears in a background role as white noise. It's music to read to, condoning both zoning out and blissing out. On the other side crouches metal, particularly doom. The past couple of years have seen metal open up a lot of doors, and no other subgenre has gained more than avant metal. Alabama's The Angelic Process has for six years been striving for just that balance, and with increasing rewards. K.Angylus and MDragynfly were kind enough to give me some of their heavenly time recently, and expounded upon the art of mixing volatile cocktails of powerful music.
Flagpole: I understand you have a soft spot for Athens.
MDragynfly: While not an Athens native, I spent a good deal of time there and
eventually ended up moving to a sweet little house off Chase St. There's
nothing spookier than walking down Boulevard at 2 am, but I think some of my
best soul searching was spent pounding the pavement, trying to find myself. It
was a rough period of time for me, but Athens will always be my true home. I
moved to Alabama to be closer to my family and stayed after getting a great job
there. (Laughs) Not that I didn't love working at Taco Stand; it's the kind of
thing you have to do in a college town. After moving, I met K and everything with the band came together. We still spend a good bit of time in Athens when possible, and I stay in touch with a lot of my friends there.
Flagpole: I'm a huge fan of ambient music, first and foremost. Before I get to the subject of metal, how much of an influence does ambient/drone/etc. play in your
music? I'm fascinated with how two extremes such as this and doom metal can meet in
the middle and create such a wondrous maelstrom. The two make strange but
hot bedfellows. What is your purpose in blending these two genres, among any
others? It's a feat very few can pull off. Could you describe how you go about balancing the delicate with the brutal while avoiding the cliché soft-loud formula?
K.Angylus: The use of drone plays a very important part in The Angelic
Process' sound. Drone is a very primal sound element that can be found at the
foundation of most all ancient cultures. We take drone and instead of just
letting it drift like a lot of ambient music does, we harness it, give it a
charged emotional connection to the song. Drone is such a powerful thing and
most bands never properly recognize that. When we first applied that idea of
drone, with the heavier, more extreme end of metal, everything just fell into
place.
MDragynfly: I generally tell people that we're not as much composers as we
are translators. It's more stream of consciousness than method or formula. We
like to show the full spectrum of emotion or state of being, everything from
hate and anger, hopelessness, to absolute joy and epiphany. To us this is what
living sounds like, and when we write something it is obvious if it is an
Angelic Process song or not. Our purpose isn't to play with our audience like
puppeteers, leading them forward quietly and then slamming them into a wall. It
seems that some bands are going for that. What I want is something that a
person can wrap themselves up in and then ride the wave, whether it is through
joy or pain. I always hope that our music is an experience, perhaps even a
spiritual one, as it is for me.
Flagpole: Avant metal has received an enormous amount of fanfare in the last couple of years, due to the dominance of the mighty Sunn O))), the reemergence of the
mighty Earth, as well as many others. It's fertile ground right now, to say the least. How does it feel to be part of it? Why do you think this fairly young genre (or subgenre, if you prefer) has ratcheted up so much interest? I'm speaking of doom in particular, but also Jesu-type shoegaze metal and black metal, which has surprisingly crept into new corridors.
MDragynfly: I am so excited for our genre right now. Around the world people
are discovering us (collectively) and can't seem to get enough. I think part of
that is due to bands like us and like Isis who seem to bridge the gap and make
a smoother transition into doom, black metal, and other more extreme genres.
Many people are becoming disenfranchised with pop music, not only the
sound, but the attitude and the way it makes (or doesn't) make them feel. They
need something deeper, and with the internet all kinds of music are accessible
to people who might have never encountered it otherwise. MTV is losing its
stranglehold over what people will be exposed to. I can't wait to see how
things change over the next few years.
Flagpole: Obviously like everyone else you guys love My Bloody Valentine. Would you say shoegaze is on par with drone and doom on your influence list?
K.Angylus: I always loved the experimental attitude the shoegaze bands had
toward the guitar and that they never lost sight of using it as a songwriting
element. Obviously, My Blood Valentine was something extremely special and
stood well apart from its contemparies. Loveless was one of those albums that, when I heard it, changed the way I thought about music. That fluid guitar sound really resonated with me. Combining it with things I liked about other bands seemed like a natural response.
Flagpole: How does your sound translate to the stage?
K.Angylus: Extremely well, we believe. Most people think we layer everything on the records a million times to get that sound, but it's not nearly as much as
one might think. We build our own FX pedals and modify all our gear. That combined
with my playing guitar with a cello bow created much of that sound. So live, we
use volume and our absoultely HUGE bass sound to fill in the spaces, along with
a laptop for the drums and additional atmospherics.
Flagpole: So what are your plans for the near future?
MDragynfly: We've got a lot of exciting things going on this year. Our new
album Weighing Souls With Sand will be out on May 15th on Profound Lore
Records, and then Sound Devastation in the UK will be releasing it on vinyl
around mid-July. We will be touring as much as possible in the US and Europe to
promote these releases and are really looking forward to meeting everyone who
has given us such great support. We feel extremely fortunate.

When I awoke this morning - I was alone
When I was in a shower, I could swear I can hear someone asking me:
How my life sweep presence of the warn against my skin?
Glancing down on me, fooling, feeding... there is something reason leave away
All I beat is the socium binder, what it means to be alive

The sense mission making massive grow
But benign
Calculate of the expectation knows
As we doubt in own life
Bleed until you'll mote the rain
Bleed until you'll mote the rain
Even promises will drown in waters
Sail it might bevel expectation
And draws me again
Bleed until you'll mote the rain
Bleed until you'll mote the rain
Bleed until you'll mote the rain
Bleed until you'll mote the rain
Bleed until you'll mote the rain
Bleed until you'll mote the rain
Bleed until you'll mote the rain
Bleed until you'll mote the rain
Bleed until you'll mote the rain