I was unfamiliar with this artist before hearing this album, but hails from Potsdam, Germany, and their Bandcamp bio describes their music as "Erotic Body Horror for the Flesh and the power it holds." Evidently, this is somewhat of a concept album about radiation. The liner notes describe it thus: "Radiation is a measured escalation that refuses drama. The first is closest to background: almost musical, almost normal, almost safe. Each subsequent track tightens the world, not by spectacle but by normalization. Like fatigue under a spiral that accelerates until speed becomes a habitat. The album doesn’t narrate collapse; it records how collapse becomes routine." Sounds like a good time, so let's raise a glass to Marie Curie, get out our Geiger counters, and give it a listen,

"Reading I 2.6 mSv [ CALIBRATION SEAL ]" kicks it off with a nice industrial beat and some noisy drone. We're off to a good start. "Reading II 9 mSv [ BASELINE DRIFT ]" is more droney without the beat, with multi-layered synth drone and grinding noises. The atmosphere is dark ambient meets arc welder, and it works really well. Next up, imagine you have been eaten by a massive creature. You can hear its heartbeat with the sounds of digestion. "Reading III 32 mSv [ LATENCY MARK ]" is what you would be hearing. "Reading IV 112 mSv [ THRESHOLD RITE ]" is pulsing synth waves along with quiet percussion and just enough distortion to make it gritty. "Reading V 390 mSv [ COMPLIANCE PHASE ]" is spacier, but still with a rhythm and a bit of noise and distortion to give it a bit of an edge. "Reading VI 1370 mSv [ MARROW EVENT ]" features scraping noises and high pitched squeaking noises, making it a bit noisier than previous tracks, although not really getting completely to noise. Rather, this feels like it is done intentionally, and the synth drone works well with the noises. "Finally, "Reading VII 4800 mSv [ HANDOVER ]" closes it all out with long, static drone with some hiss and static underneath. There are incidental sounds throughout that keep it from getting too boring.

Overall, the atmosphere is industrial dystopian. If you like your dark ambient with a healthy side of noise, this is the one to check out. It is not too harsh, but rather just a bit abrasive and bleak. Nicely done, and well worth checking out. This album weighs in at around 28 minutes.

Substak is the work of Athens (Greece) -based artist Kostas Staikos, and he has had several releases on Inner Demons at this point. The liner notes describe this as "a landscape that has been physically altered by the processing." So let's take a walk in the woods and see how things change.

This album consists of one 32 minute track, "The Mutated Woods." This is a lovely slab of constantly shifting atmospheric drone. The over feel is darkly ominous, but not in a horror film sort of way. Rather, this is a realization that you are completely alone in an uncaring forest full of other creatures who may or may not see you as food. But it's nothing personal. Substak recently put out a release called "Natura Non Constristatur," which roughly translates to "Nature is not saddened," reflecting the uncaring nature of nature. This evokes a similar feeling.

This is constantly shifting, almost imperceptibly, but enough to keep it all interesting. If you like heavy drone, this is well worth checking out and one of the best things I have heard from Substak's many releases.

If you have followed Inner Demons in even a cursory manner, you have probably come across some of Substak's work. After all, this is the 14th release from this artist, so you would have a lot to choose from. According to the notes for this album, "The Mesmeric Recording sourced from the frequencies of a metro station platform. A hypnotic, mechanical abyss from the echoes of the underground." Sounds like a good time, so have your tickets ready and let's see where the Substak Express takes us.

Substak has created a lot of atmospheric music, but I think that this is one of the best I have heard from them. If there is a word to describe this, it is "otherworldly." The core of this track is what seems to be heavily processed field recordings with a healthy serving of reverb that gives a sense of where you are. However, there are times where it shifts into pure tones. The overall feel of the track is dreamlike and disorienting (in a good way, of course).

If you like your dark ambient atmospheric, this would be a good station to depart from. Well worth picking up. This album weighs in at around 18 minutes.

The Deep Bleed is the work of one Mark Hjorthoy, who hails from Vancouver, British Columbia. I had previously enjoyed his disc, “Machines that Search for God,” so I was interested to see how this one compared. The liner notes state, “Rise Or Fall asks, in every situation in life, ‘Do you rise, or do you fall?’ Do you rise to the occasion, or do you fall and comply? That determines who you are. Simply, and truthfully. You are what you do everyday. If you don’t like that you see, change it.” So let’s get philosophical with Hjorthoy and see what rises to the top.

We start off with “The Fall of Icarus,” which is densely layered drone that builds in intensity over time. Despite the title, the feeling is calm and almost peaceful. Rather than the sudden crash suggested by the title, one can almost imagine Icarus gliding peacefully down on what remained of his wings. “The Rise of the Phoenix” is a bit more unsettled. It begins with slightly jagged drone with the same underlying hiss of the previous track but then settles into a pulsing drone that builds over time. Crackling noise reminiscent of fire crackling enters into the mix and eventually takes over as the drone continues to crescendo into a cacophony of stuttering noise and sweeping synth before fading into nothing.

I have enjoyed everything I have heard from The Deep Bleed and this release is no exception. If you like your dark ambient soothing and peaceful, the first track is what you need. If you want it noisy and unsettling, the second track will be right up your alley. Well done. This album weighs in at around 23 minutes.

This is quite the set of heavyweights on this release. Noise Hangover hails from Russia, and despite the funny name, this is some serious noise. I don’t know much about the artist, but I have yet to hear a Noise Hangover release that I did not enjoy. Fail is the work of Dan Fox, the hardest working man in noise. He also records under a host of names, including This is What I Hear When You Talk, Fail, Loss, as well as being the driving force behind Inner Demons Records. Platonoff hails from Saint Petersburg, Russia, and has also put out a steady stream of excellent noise discs on Inner Demons. With this roster, I am expecting some good noise, so let’s dive in.

Noise Hangover lays down some thick, heavy, constantly evolving drone. Layers and layers of drone. This would be in the same vein as Troum, but if Troum is a dream, this is not quite a nightmare, but rather a dream from which you awake with a sense of unease. Really solid.

Fail brings the noise with digital noise that sounds like malfunctioning kids toys thrown into a cement mixer. There is a lot going on here, and Fail keeps changing things up to keep it all interesting. This is a fun ride, as expected of Fail.

Platonoff closes it off with the machinelike noise that I have come to expect from this artist. This is a bit more chaotic than previous works I have heard, with the clanking metal combined with squiggly electronic noise. Out of the three, this feels the most harsh.

As expected, all of the artists brought their A game to the split. This would be a fantastic show to see live, and all of the artists are in top form. If you like any of the artists, or just like solid noise and drone, this is well worth picking up. This album weighs in at around 39 minutes.