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onthewall2983
I’m listening to Santana's Lotus. I posted pics on my IG just now and am on the last track “Incident at Neshabur”. This is the band at an experimental point almost, two keyboardists instead of another guitarist like Neal Schon was for him on Abraxas and the third album. He also worked with McLaughlin around this time too, but as far as the Santana band this album is maybe their triumph to me. 1973-4 is the kind of sweet spot of classic prog and such but bands across the board were putting out stuff so daring in a professional and cultural sense.
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onthewall2983
Noticed you’ve listened to the Naked Lunch soundtrack. Not sure if I would want to see it, but I also really like Shore's other work with David Cronenberg. Crash and more recently I have rewatched Videodrome and their work together really has to be seen to appreciate more.
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Cairnem
To be honest I listened to the sountrack mainly for the Coleman involvement not so much for the composer himself. The movie is great though, that is if you enjoy sort of a dream logic based stuff. I definitely have to rewatch more Cronenberg as well and focus on the sountrack after your suggestion.
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Cairnem
You won't find many scrobbles of the other big names like Zimmer or Williams as well. There's actually an easy explanation for that - I don't tend to listen to isolated soundtracks all that much. I feel like they're created for a specific purpose and I feel weird separating them from the media they are made for. I know it's riddiculous and I do make exceptions but I just don't go out of my way to do that.
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onthewall2983
I understand as much in that I won’t listen to anything without having seen the movie first. Keeping that open to a purely cinematic experience is key later on if the music is good enough to listen to as part of my own soundtrack.
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versionJBT
Cool profile. I found you on the Steven Wilson shoutbox but was surprised to see as much jazz here as I did. Since you like fusion-era Miles and several acts from the modern British jazz scene, I think you will like Yazz Ahmed's albums a lot, especially La Saboteuse and Polyhymnia.
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versionJBT
Oh and you'll probably also like Black Classical Music by Yussef Dayes and Emily's D+Evolution by Esperanza Spalding
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versionJBT
Her music is definitely some of the most interesting new jazz around. I remember reading her described as the "High priestess of psychedelic Arabic jazz" and it's one of the coolest titles I've ever seen for a musician. She mentioned in an interview last year she's planning on releasing a new album this year, so fingers crossed. McCoy Tyner and Keith Jarrett are the guys I've been obsessed with lately. You can't go wrong with a lot of their classic 1970s albums like Koln Concert, Fly With The Wind or Enlightenment. Oliver Nelson's The Blues and the Abstract Truth is definitely mandatory listening when it comes to the classics, the line-up alone is superb. I also adore Conversations with Myself by Bill Evans, Undercurrent by Bill Evans & Jim Hall, Forest Flower by Charles Lloyd, Elevation by Pharoah Sanders and a lot more but I should stop here.
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Cairnem
McCoy is a beast! I actually listened to some of his albums way before getting into Coltrane. Not knowing the connection, when I finally started to discover Coltrane's music I was thinking to myself who the hell is that stellar piano player on some of the records. Of course it was McCoy Tyner. I gotta say Coltrane + Tyner is such a perfect combo. I really love the work they did together. Thanks for the recommendations! I'm saving all of those for future listening sessions.
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versionJBT
Hope you enjoy them, and yeah Tyner was really remarkable in the 1960s and '70s. Something happened to him after Coltrane died, because everything he put out from '67 to '76 was unbelievably excellent. That's the period to focus on if you're ever in the mood for him.
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onthewall2983
I have discs from the Bitches Brew and In A Silent Way sessions box sets in the car. Those were rather essential purchases and really cool to poor over.
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Cairnem
I see you have noticed I'm having the annual Davis obsession right now. BB and silent way are definitely classics for a reason. Such unique and great sounding records. BB is actually the only Davis I have in a physical format (vinyl). The mix on that record is so… inclusive? I mean it feels like you're standing there right among the musicians while they're recording the session.
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onthewall2983
The outtakes from those sessions are just as adventurous if not more so. How this period of development with younger players and transitioning from acoustic electric instruments holds up so much now. Well beyond jazz too. The book Electric Miles by Paul Tingen is worth searching out, it’s a great look at the last 25 years of his life and career.
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onthewall2983
Your memory is correct, a lot of that material was released elsewhere but they did have some tracks exclusive to the sets. The In a Silent Way set particularly. I prefer the box sets to those comps for the most part (the long stuff on the Get Up With It, which is kind of at the other end of the fusion period as far as the gems go), as I was compelled hearing the whole gamut of music that was recorded during that time.
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onthewall2983
I like the new SW album. I get a little too reverential in the album page but I stand by that, it’s very very good. I told my best friend he’s once in a generation for me.
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Cairnem
Yeah, it's definitely good. I rate it just below Insurgentes and HCE. Some songs feel out of place to me though. What Life Brings sounds like a result of AI command "write a generic SW song". Rock Bottom is an ok song but definitely the weakest one when it comes to SW/Tayeb collab. Both don't stylistically fit the album IMHO. It feels like there's an album within the album that SW really wanted to make but opted for slapping few extra tracks to it to please different kinds of listeners. Those two mentioned tracks sound like they are for the very easy to please SW audience (people who just require simple hook and guitars to be happy). Impossible Tightrope sounds like it's been added to please the prog heads (good song though). The real album I see there is Inclination - Economies Of Scale - Beautiful Scarecrow - The Harmony Codex - Time Is Running Out - Actual Brutal Facts - Staircase. I'm sure I'll learn to love it as it is but the flow just isn't the best in the first half.
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onthewall2983
It’s a mixed bag for sure and maybe the flow isn’t as easy as it was on his earlier albums, but this time it feels very part of the artistic fabric that these songs are all different from each other in some way, more connected through the lyrics and spoken word passages then the music directly. I like the two pop songs, even if it reminds me of all the others he’d done before, it’s still good craft on his part that one song contains his only guitar solo on the record and that the other I found quite moving. If that makes me easy to please then I’m okay with that.
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pyramidfaceoff
so whaddaya think about Urian? I think it's alright but nowhere near Eskapist imho
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Cairnem
Too much decent shit being released rn and too little time. I'll let you know once I listen to the whole thing properly. Loved the first single but the second one I think I've listened to only once or twice and wasn't impressed. Eskapist was too strong of a record. Is it better than Kollaps though?
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pyramidfaceoff
Kollaps has grown on me a lot since it came out (I think it's my most listened THE album at this point, lol) so idk about that, but it certainly sounds more like their better stuff (Agnosie / Eskapist era).
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onthewall2983
There is woefully too little really great professional live recordings of Pink Floyd, but there are some incredible bootlegs.
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Cairnem
I still don't understand how is it possible there are no professional or at least semi-professional VIDEO recordings from the golden era. The band got HUGE after DSotM. How come there's plenty of proshot videos of their material just before DSotM and absolutely nothing after that until late 80s. They must had been actively against video recordings after they blew up. There's no other reason I can think of.
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onthewall2983
When it comes to what there is of the band before DSOTM, I think mostly were shot by television crews. They weren’t hired by the band to film, but as part of whatever crew was doing a story by them. There wasn’t the premium there is on live footage now, because cable was just in it’s infancy in the early 70’s. Still doesn’t explain why they didn’t cut a live album.
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pyramidfaceoff
The Hirsch Effekt knocked it out of the park with Solitaer. Heavy as fuck. Hoping they can carry this momentum for their next LP
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onthewall2983
https://www.loudersound.com/news/steven-wilson-will-release-new-epic-and-uncompromising-solo-album-next-year *fingers crossed*
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onthewall2983
Sadly no. Haven’t been to any shows since King Crimson three years ago. Not crazy about concerts but would have loved to seen this tour.
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Cairnem
I get that. I mean I used to love to go to big shows but as I'm getting older I just can't be bothered in most cases. All that travelling, waiting, big crowds… nahh. Kinda ironic as me and a group of friends manage this local underground music club so I'm often surrounded by live music. Or maybe that's the actual reason - oversaturation.
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onthewall2983
I’ll withhold full judgment until the next volume is out at the end of this month, but the I Am The Moon records by Tedeschi Trucks Band might be my favorites of this year. It’s an expansive record without any pretension and far beyond the kind of simple bluesy cliches Derek Trucks was far beyond from the time he was a very young man. For her part Susan’s abilities as a singer are of such rare quality and soul entwined with musicality it makes this a real landmark for me just as someone who loves music. C/C is a respectable but slightly distant 2nd.
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onthewall2983
Any first impressions? “Pasaquan” is definitely a tour de force, and not surprised you listened to that more then once.
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Cairnem
Sorry, I've been meaning to comment on this. My very first impression was - wow, this is very... american! Haha. I felt like I'm not that used to that particular sound but I got surprisingly quickly into that. I feel like I have to be in a particular mood to enjoy this though but it's definitely extremely well executed. I like how they don't necessarily stick to a single genre and switch things up. I also watched this live vid and the musicianship is definitely top notch - https://www.youtube.com/watch?v=ML8zJhbfMaM
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onthewall2983
I caught quickly onto how different the songs are from each other but still fit together. And how intimate the messges get across such a densely musical band behind it.
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onthewall2983
Have you ever tried listening to Miles Davis’ work in the 80’s? I’m not a fan of all of the studio records, but he did some really cool stuff live right up to the show in Paris with pretty much everyone who was on Bitches Brew and the 70’s records mixed in with his current group. The one album I highly recommend is Aura, for it basically being the closest thing to a Miles ECM record.
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onthewall2983
Not one specifically but it has the feel of something more specifically European, since the arranger/composer was Palle Mikkelborg, who did a lot of work with ECM. He’s on several of Rypdal’s albums as a trumpet/flugelhorn player.
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onthewall2983
Sorry to hear that. Collecting physical media doesn’t currently jibe with the living situation but man those delays suck. I remember when HCE came out there was some sort of ice storm in NYC and I think copies were damaged. Mine wasnt thankfully but came about a week late I recall.
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Cairnem
So, just had my first listen. I love the sound design and production on this. Really top-notch. Not that it's surprising in any way. As for the music - it sounds really uncompromising and sort of, uhm, chaotic? I mean I had the same feeling when I first heard Harridan. I'm sure the structure will reveal itself to me by repeated exposure. I like that it's demanding. Usually the best things are.
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onthewall2983
After the Rain, Descendre and Blue are the albums with more scrobbles then Odyssey on my profile. His last album Conspiracy is pretty awesome too.
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onthewall2983
He was maybe the first jazz guitarist to play Stratocasters, and has done everything from power trios to dabbling heavily in composing for full orchestras. If you’ve seen the movie Heat you’ll recognize his playing in a few scenes. He indirectly parlayed that when he did an album, Crime Scene, that uses samples from movie dialogue while he plays with a big band behind him.
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onthewall2983
I think Insurgentes might be SW’s career high point for me. So much good material, it sounded at once somehow retro but contemporary. I’d say that overall that whole decade was his in ways for those who got the work like you and me, that may not be so recognized even now unfortunately but I still think some day they will be recognized as classic works of their own.
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pyramidfaceoff
Completely agree here. Insurgentes represents everything I used to love about SW. Harmony Korine alone beats all of his more recent pop attempts by a landmile. I'm not sure when the "new" PT songs were actually written but it's nice to see that he hasn't completely lost it. I'm not 100% into the idea of him just doing PT again because I liked the darker and noisier side he took on on Insurgentes/GfD, but hey, it's something, isn't it?
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Cairnem
Totally missed this comment. I definitely agree that somewhere around 2007/2008 SW was at his creative peak. FoaBP, Insurgentes, Schoolyard Ghosts - those records are pretty much perfect from start to finish, still very fresh and it feels like he's not copying anyone in particular and is maintaining his own sound. After that it has been a slow decline with occasional decent release, well, HCE is more than decent, but that's the only one I'd consider a high tier record. Apart from HCE the releases feel more like compilations of good, mediocre and bad songs and not with an especially great ratio between them. That said I'm looking forward to C/C. From what I heard so far it might be a good one (fingers crossed).
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onthewall2983
Back in the halcyon days I joked that if he ever made a bad record it would be the most interesting one he’d ever do. Jury is still out on the re-listenable qualities of The Future Bites for me, but some of the To The Bone songs are aging well in my opinion. It’s his The Who By Numbers in a sense, much more inward lyrically and straight-forward musically. But also showing the cracks that are more apparent to me in The Future Bites, which didn’t feel as cheeky enough as the publicity campaign for it suggested. He’s not as capable of satire as his heroes Roger Waters and Trent Reznor are, and this was the first time I think he pretended to be but in his own way.
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Cairnem
New song? We're talking about Harridan I presume? Dude, I didn't expect much given what's SW been doing last couple of years but that shit actually slaps! First minute is somewhat meh cause I'm just tired of that washed out overused retro sound design (bass with scooped highs and rhodes) but I think I can live with that because the rest of the track is tastefully chaotic, modern sounding, experimental, unexpected and catchy at the same time. Yeah, I'm pleasantly surprised. Then again this material is back from 2009 so it's from the era when SW songwriting was exciting and on point. We still have no idea how would an actual PT song written in 2021 sound. What are your thoughts on the track?
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onthewall2983
Love it. When it gets heavy 3-4 minutes is when it dawned on me that this was the band I loved all these years. I remember a quote from an earlier interview being brought up when news of the new music hit, that SW said he would be interested in returning if he were able to directly collaborate more with the other guys instead of doing the heavy lifting of composing all himself. I’m sure the fact that Gavin got to work with and in his own way pick Fripp’s brain so directly all those years appealed to SW as much if not more then the experiences the two had together writing, recording and performing together. So from where I sit it’s almost like a new band again, the way it was when In Absentia came out. There are still traces of the old sound but it feels fresh compared to SW’s last 2 records where it felt far more like one man’s work than a collective. And maybe, in this stage of his career, that’s where the gold might come from now. Can’t hold talent like that back for long.
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Cairnem
I just hope this thing and its inevitable success will fully kick start his interest in PT so it's not just a one-off thing. And as you pointed out this is the perfect opportunity to make PT more equal when it comes to songwriting. We were already seeing this tendency during FoaBP/The Incident era with Nil Recurring and the second disc of The Incident. Also, SW seriously needs quality control and feedback from the other bandmates, it's what makes the material perfect.
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onthewall2983
Wilson has been an able collaborator in no-man and in Blackfield, Less so on Blackfield’s latest albums which I don’t mind saying were quite forgettable. But he never really did that with PT until the last two albums, and maybe not to the extensive degree that they probably did for this record, and maybe go from there. Like them or not it worked for Metallica on their last two records, in that they made them in total collaboration as opposed to it being the James and Lars show. That gets me to wondering about the elephant in the room, and where Colin is or more likely isn’t in the picture. This is a band with amazingly little drama, Maitland’s leaving was quickly resolved with Gavin coming in and the band just sort of disappeared like the song goes, with odd things said by SW in interviews as a solo artist about the band’s future. So there are as much questions as there is relief this band is back. Speaking for myself I will take a great album over answers to those questions.
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Cairnem
Oops, you got me! Please, don't tell anyone. My security team would like to speak with you. They will be contacting you soon. As a reward for your silence you will be given the actual new album - The Future Actually Doesn't Bite. It's an edition of one. The original idea was to record an album just for myself never to be heard by anyone, but this changes now. The Future Bites was just a decoy made by my stepdaughters on their laptops with some free VST instruments they've downloaded. They've also written the lyrics inspired by their TikTok experience. I just provided my voice. I hope we have a deal. -SW
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pyramidfaceoff
Cairnem is not Steven Wilson -- I am. You want proof? My next album will be called "Super Intelligent Dance Music", accompanied by a close-up photo of my feet as the album cover. The first song is me complaining about Tiktok for 5 minutes. See you next year. -SW
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Cairnem
Oh, wow! That's quite an extensive list! :) I'm asking because this year I haven't heard that much of new electronic stuff. But I can add these three releases (I especially highly recommend the first one, Rob is very VERY underrated artist I've been following for years): Rob Clouth - Zero Point; The Fear Ratio - They Can't Be Saved; Julian Winding - Celsius.
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pyramidfaceoff
aaaaaaaaaaaaaaaaaaaaaaaaaaaaaAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA
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Cairnem
I'm starting to kind of like the album. It's somewhat more accessible, shorter and consistent in quality (which isn't the highest, but still). Probably their weakest one but good for a quick nondemanding listen. Also, the album has a really nice flow, it almost feels like a one long track.
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pyramidfaceoff
Yeah it's growing on me too. It has everything I want from a THE album, but its highs aren't quite high enough. Like you said, it's a fun listen but it's missing some real highlights that would elevate it to real greatness.
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Violaine70
Just browsing through random stuff and lol at the fact we both have like five scrobbles of Kanye West's MBDTF where we obviously both gave that 'masterpiece' a go before shutting it off.
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pyramidfaceoff
I keep discovering stuff I didn't notice before in their elseq/NTS seshs from time to time. But I agree, they should just start copying their brains and plug them into some machine learning thing so we can have new AE 24/7. Should be a human right!
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pyramidfaceoff
oh hey, did you know there's a new Hirsch Effekt album coming in May? I almost forgot about these guys
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Cairnem
Yeah, I'm aware of that. I do listen to The Hirsch Effekt quite regularly as I consider it probably the most progressive thing of the last decade so this is my most anticipated album of this year so far. The Noja single sounds pretty sweet, that little "rap" section made me smile. Though Lifnej was superior as a single but that is a composition par excellence. Hard to top that.
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Mork_Laerer
Hey man, it's been a while since we talked. How is going with your project? Did something new lately? I would like to share with you one of my latest works, because I'm very interested in your opinion. https://soundcloud.com/aedact/10134b
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kashmirowy_sok
Will you please start trolling on SW pages more intensively. PS. I'm drunk for the first time in this yearh
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Cairnem
To The Bone is clearly an album aimed to entertain as broad audience as possible. There are "girly" catchy tracks like Pariah or Blank Tapes, ballads like Song of Unborn, pure happy pop tracks like Nowhere Now or Permanating, political power-pop like The Same Asylum As Before, darker heavier tracks with punk-energy like People Who Eat Darkness, new agy tracks like Refuge or To The Bone, proggy tunes like Detonation, trip-hop electronic tracks like Song Of I. I believe I've read somewhere SW said that it's the album for the whole family. That is spot on. A product crafted to cover most of the needs of the listeners. A genius marketing move in theory but unfortunately it greatly suffers from the artistic point of view which is expected but I have a feeling that SW felt that it wouldn't be his case and that he's able to execute that perfectly without the compromise. Time will only tell how good/bad move it was to act on the feeling that his usual devoted fanbase is not big enough anymore.
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kashmirowy_sok
I kind of agree with your opinion about GfD. However, songs included on that album are somehow more in Steven Wilson spirit and style than his latter works. I like it (maybe nostalgia factor works here; idk). When it comes to TTB, I also agree but this kind of music is someting that I would compare with ELP's Love Beach. Totally uninteresting daddy-rock snooze. So it doesn't just suffer from artistic point of view. It somehow conciously avoids it to fulfill commercial expectations of broader audiences, which are nourished with radically uninteresting and repetetive pop/rock (Ed Sheeran etc.). It's like Dostoyevsky started to write nihilistic novels just because it's what people expected. I don't mind SW writing catchy music, I despise his pop music being a radio friendly bullshit you can hear on almost every shitty top 10 list.
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kashmirowy_sok
A radical example of what I'm talking about is Greta Van Fleet. Totally grotesque.
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pyramidfaceoff
hey man, I need a new shoutbox to unload my ever growing pile of shitpost ideas on, now that SW's latest embarassment has been milked to death. can you point me in the right direction? surely you haven't been neglecting the practise of internet superiority? the elitist mind craves for exercise.
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onthewall2983
Just got the new special edition of No-Man's "Returning Jesus". It's almost criminal how slept on they are, even by SW's fanbase. I love this album, and am so glad it's finally collected all of the extra tracks which came out around that time. There really isn't a question in there, but I figured you'd appreciate my .02 on the matter.
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Cairnem
I agree that No-Man is somewhat underrated for some reason. I bet if SW was singing on those tunes fans would be all over No-Man. Which is kind of sad. Returning Jesus/Together We're Stranger/Schoolyard Ghosts "trilogy" is a very special thing and the older stuff is hight quality as well. I've seen No-Man in Krakow on their short tour back in 2012 and it was really an unforgettable experience. That gig along with 2009's PT in Vienna were the best SW related shows I've been to. And it actually looked like they were reuniting for a new No-Man album but then SW changed his mind I guess and left Bowness do the thing alone as a solo project. It was supposed to be a No-Man album with all the guys from the 2012 live band but in the end - nope. Btw. thanks for bringing the Returning Jesus special edition to my attention. I was not aware there's such thing. I have to check that out.
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onthewall2983
You're right about the early stuff, hopefully a Flowermouth special edition is next and maybe a collection of the early singles at some point too. That in and of itself is an interesting period, where Wilson tried to be "trendy". Especially with what we're seeing from him now.
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onthewall2983
I'll admit I didn't warm up to Bowness' voice right away, but that didn't take long to change. It's highly unique away from Wilson's other bands which are largely his doing with input from the other members like Porcupine Tree, or the kind of loose collaboration Blackfield is. In No-Man he acted purely as the musical backdrop for someone else's ideas, and in relatively limited space he created some of his most intense music.
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Cairnem
Those were just two examples. But nowadays when I hear a "new" genre or an artist I'm not familiar with and like some aspect of it I give it a chance a try to listen to it several times to see if it would grow on me or not. For some reason I find the music I don't quite understand the most intriguing and the most giving in the long run.
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onthewall2983
I'm probably more stuck in the mud when it comes to these things than you are. It might be even worse as I get older, because I tend more to stick to things that I know work and move me. But it also could be a phase until I do find something new and which pushes me into more un-chartered territory for me. Rap, from a distance, is quite impenetrable to me because I was exposed to it as a teenager with a few siblings who liked it and it just never clicked. That said, I won't deny that there are elements of it that seeped into music I have more an affinity for, so I can't say I hate it entirely. I am actually loathe to say I hate any genre of music because that could potentially upset or undermine someone who has the same love for it that I have for something else. I didn't get into music to have arguments on social media with people, my presence here not withstanding lol.
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onthewall2983
Even though there are lots of really good bands that somehow get the progressive tag, I get where you're coming from as far as today's "prog". But I think as long as there is something genuine in what any band does, there's nothing wrong with traditionalism as long as it's not just being done for it's own sake. I think innovation and new thinking has it's place, but if it's at the expense of what makes music moving and emotional for people in the first place, then I don't think it's worth it.
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Night-Mares
The Fragile is still honestly up there with Downward Spiral, even if it's incredibly long.
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Cairnem
The Fragile is one of my most fave albums of all time (TDS as well). I don't find it long though. And the new complete version with 10 Miles High and The New Flesh is superb. Always loved those tracks, don't understand why these were left out from the CD/digital version in past. After this album Reznor has stopped shooting heroin and his songwriting went downhill.
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onthewall2983
He's doing some of his best work as a film/TV composer right now. He's always been good at the instrumental part. But I'm not honestly sure if his song-writing was ever uphill in the first place. The Fragile is definitely the height of his capabilities in that area, but there's a lot before and since to be desired.
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Mork_Laerer
Hey, once again I would like to share with you another new track of mine, as I think you should appreciate it! https://soundcloud.com/anemonedc/alonium
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Cairnem
I was kind of overly exaited about Exai when it came out. Though I'm somewhat tired of it now as I know it inside out, I still consider it the most diverse AE record to date and basically the best representation of their sound. In a way it combines everything they've ever done with their current approach. Btw. looking at your charts (nice taste!) you should listen to the new Porter Ricks stuff if you haven't done so already. Some stunning comeback to the scene.
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Cairnem
If there was any hype around Porter Ricks I think it missed me. I've just discovered they've been releasing new music few days ago and I did't even know about the last year's EP. But then again I don't follow music sites or forums much and hype usually doesn't have any effect on my opinion anyway. Quaristice session (LP + related EPs) is pretty awesome. Very misunderstood and disliked among fans for some reason though.
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Mork_Laerer
Hey, I was kinda waiting for your opinion! Haven't you listened to the track yet?
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Cairnem
Hey mate, ah, that's weird. I'm pretty sure I've commented on that track but I don't see my comment anywhere so idk if I haven't hit send or the site lagged or something. Anyway, I like your style very much, it's very close to what I love to hear in music. That particular piece has some dense brooding atmosphere which I enjoy as you can probably imagine from my own works. I like how ever-evolving your compositions are. And they are pretty unpredictable - that's something I admire. You don't know where exactly it will take you. So thumbs up for that! Btw. is that your voice or is it sampled from elsewhere? Inner collider is also sweet. Is that processed guitar that chopped up background in the first third of the track and also in the second half? Could be anything really but I feel like I hear a guitar timbre in that. The second half sounds very Autechre-esque :). Those percs especially. Exai and elseq era style. Nice.
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Mork_Laerer
Thank you very much friend, I'm working hard and I feel at the very beginning of everything, there's an universe to learn, a complicated one I would say. Yes I sampled my own voice in that fragment of exper_two and I've glitched it out somehow; I don't know if it felt that way but there's a precise sense of transformation in that track, from synthetic sounds to more natural towards the end. Also you're correct, that melodic line is made with the guitar, I have a little personal technic which allows me to render that particular timbre; it's also interesting since guitar is almost never used as a source in this kind of electronic music.
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Night-Mares
Tenth Sub-Level of Suicide/Scar Sighted work. As for Blackgaze, WHEEELLL.... Normally ANY work with Neige works (Alcest, Amesoeurs which you've listened to, and Lantlôs, which had Neige as a front man for two albums before drummer/band leader Herbst took over vocal duties for the last released album Melting Sun).
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