Memory Geist cd album "Funereal Cavern" out now!

Dieses Thema im Forum "Your Tracks" wurde erstellt von Moduleman, 20. Oktober 2007.

  1. hello all,
    the debut cd album of "Memory Geist" (my ambient\ experimental project with Steve Law) "Funereal Cavern" is released on the well-respected experimental italian label Musica Maxima Magnetica.
    this label has released works of such great musicians as Adi Newton (Clock DVA), Mick Harris (Scorn), Vidna Obmana, Asmus Tietchens, Alio Die, Max Eastley and Martyn Bates (of Eyeless In Gaza).

    many analogue synthesizers (plus software synths) have been used for this album (including ARP2600, Korg Mono/poly, etc...)
    detailed info on the album here:

    press release info follows:



    Funereal Cavern

    Format: CD
    Release date: 20.10.2007
    Catalogue number: eee 48

    Funereal Cavern is the debut album by Memory Geist, a collaboration between the electronic artists Bakis Sirros and Steve Law, from Greece and Australia respectively. The project was initiated when Bakis sent some soundscape recordings to Steve, which he proceeded to edit and process into new pieces of music. The feelings of space, darkness, depth and dampness became immediately apparent to Steve as he began sculpting these works, thus the development of the cavern theme. The three lengthy compositions flow together as a whole, intended to transport the listener on an imaginary journey into the underworld, from the surface to an unknown destination in a kind of fantastic Jules Vernesque abyss.

    Musica Maxima Magnetica
  2. Memory Geist "Funereal Cavern" album review.

    Memory Geist - "Funereal Cavern" review:

    "It is always nice when two great Ambient artists collaborate on a project, especially when the result is a massive, dark soundscape. Listening to the first track called "Shadowy Periphery", I am reminded of the best works in the genre, from Lustmord to Robert Rich and the darkest Steve Roach. Excellent, low resonating sounds might be a classic formula but here it works 100%. Like most Dark Ambient, this is music to be experienced - heard, felt, whatever. But not to be described, as there's no real melody and no rhythm. Track two starts in a similar matter, with long sheets of resonating bass and distant synth strings. I am reminded a bit on Invisible Connections from Vangelis. It has the same feel to it, although it's much more intense. The combination of Steve's textures and Bakis' deep analogue sounds really works well here. The title track begins with what sounds like an imitation of dropping water. Soon dark textures and echoing resonances completely take over, and, surp!
    risingly, one can also hear a distorted, clanging sequence of sorts, although it remains in the distance, never coming to the fore. The guys have really managed to capture the atmosphere of a deep, dark cavern, with its shadowy corners and resonating chambers. By the way, "shadowy" would be a nice description of this album. It's not pitch-black like some other Dark Ambient albums are. It's more like a combination of massive darkness and brief glimpses of light and everything in-between. This last track has so many different shades of sound that I could hardly describe them all. Let's say that it's rich ambient music, pure sonic ecstasy. Finally, as the album progresses toward its final chords, the sound becomes brighter and more emotional, while at the very end we get low bass rumbles and metallic resonance. I recommend this album as one of the most successful Ambient releases of late."

    Artemi Pugachov - Encyclopedia of Electronic Music (
  3. new "Funereal Cavern" album review.

    Memory Geist “Funereal Cavern”

    (, 2007)

    3 tracks, 59.54 mins

    As the name implies, Funereal Cavern is indeed mournful dark ambient music. Lest anyone doubt that ambient has worldwide appeal, this disc comes from the duo of Bakis Sirros from Greece and Steve Law from Australia, released by an Italian independent label. At just under eight minutes, “Shadowy Periphery” is the pop single of the set (he said facetiously), a brooding mass of ominous swirling sounds that take us right into the depths from the get-go. There is no melody, no rhythm, and no light for that matter. Something like bells and distant clanging add a little bit of form to it in the middle, but it is largely a floating affair. It’s not quite like the benchmark of dark ambient, Robert Rich and Lustmord’s Stalker, but it certainly lies in close sonic proximity to it, if a bit more free-flowing in nature. Also, there are times in “Deepest Reaches” where something approaching more traditional space music happens now and again, if only briefly. Mostly, though, it is metallic drones ringing seemingly into infinity. This brings us to the 32-minute title track, an expansive piece reminiscent of parts of Steve Roach’s The Magnificent Void with its sense of vastness. There are warmer softer edges here and there to keep things from becoming too overly bleak. If you like exploring the deep crevasses, dive into Funereal Cavern.

    © 2007 Phil Derby / Electroambient Space
  4. new "Funereal Cavern" cd album review!

    Memory Geist – Funereal Cavern

    CD, Musica Maxima Magnetica, 2007
    Memory Geist is a collaborative project of the Greek musician Bakis Sirros (aka Parallel Worlds) and Australian composer Steve Law (aka Zen Paradox, Starseed Transmission). “Funereal Cavern” is their debut album, for which Bakis send some soundscape recordings to Steve, which he proceeded to edit and process into new pieces of music. The almost 60-minute ambient/experimental album contains three extended pieces filled with deep, sometimes almost ghostly atmospheres. To it, some nice, grainy elements have been added in the first track “Shadowy Periphery”. The second title “Deepest Reaches”, clocking at 20 minutes, is a strong, extended voyage inward featuring the voice of Sayaka Yabuki (a female musician with whom Steve has collaborated quite a lot). It all ends up in a slow morphing and meandering ambience with some uplifting, ethereal sounding elements as well. The closing title track starts out with metallic sounds and bells, later ending up in a floating textural, sometimes slightly menacing sounding dronescape.

    All in all, this is some well-produced deep and dense quality ambient music demanding focussed listening.

    Bert Strolenberg