TRANSIENT & EERIE
an egregious(1) dark ambient electronic music project by Benoît Mussche
Greetings, traveler! I'm Бенуа, a composer who crafts music hands on with homebrew sounds.
To achieve this, I use Ableton Live 9 Suite, a Поливокс and a Soma Lyra 8.
I hail from Belgium, but I sojourned over two years in Russia.
Transient & Eerie is my dark ambient music project, with occasional special guest stars
featured (a.k.a. 'feat.', or 'ft.') in tunes designed to give space to their talent.
Get Transient & Eerie albums and singles on most online music stores. Just search for: Transient & Eerie
Transient & Eerie on iTunes - Spotify - Google Play - Tidal - Yandex - Shazam - Deezer - Boomplay - Amazon and more ;-)
(1) $ dict egregious
From The Collaborative International Dictionary of English v.0.48 [gcide]: Egregious \E*gre"gious\ (?; 277), a. [L. egregius; lit.,
separated or chosen from the herd, i. e., distinguished, excellent; e out + grex, gregis, herd. See {Gregarious}.]
Isaiah 5:30
"And in that day they shall roar against them like the roaring of the sea:
and if one look unto the land, behold darkness and sorrow,
and the light is darkened in the heavens thereof."
CONTACT
Do you want Transient & Eerie original quality music in unaltered, uncompressed wav/aiff format directly from the artist, or to order signed audio CD's by snail mail?
Are you considering an original soundtrack by Transient & Eerie for your feature film or stage performance?
Don't hesitate to write!
My feature films above are scored with original Transient & Eerie music. My music video clips feature only original footage. In 2017, I completed Werner Herzog's masterclass on film making and Hans Zimmer's masterclass on film scoring, but my portfolio is my witness more than my mentors. If you have instrument players available, I can write their part using midi on the synth, export a music sheet and then substitute their performance for my midi simulation.
Check out Russian / DNR / South Ossetian press about my films:
Last Autumn in Donetsk:
Inforadius - Newsfront - SMnews - Vyborg war film festival - Regnum
Through the Eyes of Crimeans:
Interview with Dmitri "Goblin" Puchkov
Tears of Ossetia:
Sputnik Ossetia interview - Sputnik Ossetia article - Donbass insider
If your music fits my taste and is up to par with my audio recording standards, I will consider your offer to sing chants in the style of my most recent music (Tears of the Exorcist, How Could Spiritism Go Wrong?, Снимаемъ) in a remote recording session for your project, as a guest, featured bass singer. My prices start at 500 euro for one session. I can sing very slowly a text you submit, or my own vowels. I can chant text in French, Latin, Italian, English, Dutch, German, Finnish, Russian, Arabic, Farsi, and Aramaic. Write for details.
If your music fits my taste, but you require help for mixing and mastering, I will consider your request for me to mix and master your music,
I will also perform as a reverb artist. I call it mix & mart. Yes, I coined up that term.
My company, Transient & Eerie OÜ, is an European commercial entity registered in the graceful country of Estonia (registrikood 16014518).
I can and will meet you in the center of Brussels, Belgium. Write me a mail to or use the form below
HISTORY OF TRANSIENT & EERIE
Transient & Eerie was created in 2014 as a duo with some early tries, but really started in 2015, after I endorsed the project solo and wrote Quadrature du Cercle, a 40-minutes continuum mixing digital drones. Transient & Eerie's project name applies as adjectives to the music, and was never meant as a set of partial aliases for any composer.
In 2016, Pentateuqueeum appeared, featuring solemn Bible reading and acoustics played on a Finnish harp called Kantele, as well as a guest grand finale from barytone René Fiji.
In the summer of 2017, I went through Hans Zimmer's masterclass and my music rmade a quantum leap. At first, in less than two months, I conconcted a deep impacting album called There is a Thing There to See. The album has botched aspects, finished under pressure as I was prepping my international move from Belgium to Russia, but at the same time, it has an intensity unseen in any previous album.
Couple of months later, after starting to live in St-Petersburg in September 2017, within the span of five weeks, I was inspired to write Sem Rek, that was meant to become the OST of my first movie made from Russia, Last Autumn in Donetsk. Then, in December 2017, after the movie premiered at Herzen University, I found a Soviet Polivoks Поливокс. Little then did I know how important the Поливокс would become to my music. I had then wanted a Поливокс for over a year, but it's impossible to find in Europe. I found out about that instrument watching videos by Mick Gordon on scoring the 2016 version of DooM. Yes, you can hear his Поливокс while playing DooM. I had my Поливокс restored in 2018 by a top notch Russian sound engineer from St-Petersburg to give me pristine old school sound.
In early 2018, In That Day was released by the end of January and after that, the album Apocalyptic took an entire year to finish, published in January 2019, featuring a guest part by world class violinist Rusanda Panfili.
I then heard about, and ordered straight from Moscow, a modern Russian synth called the Soma Lyra 8, engineered by Vlad Kreimer, a genius-designed instrument that revolutionised Transient & Eerie music.
Six months in the making was the next album, NuclearStrike, which was out by the end of August 2019, with a pillar of Lyra 8, then in another two months, the experimental drone dark ambient music Other Side of the WormHole, based mostly on the Lyra 8, was touched up and released while I was on a trip in Cyprus on my way to Jerusalem. The second tune from that album became the soundtrack of a video that showcases my grand grand grand ... uncle's paintings from the 14 Stations of Christ in 1869, lost in parallels with photographs I took from the same locations 150 years later.
In January 2020, after moving back to Belgium, I started releasing bass vocals-backed singles based on the Поливокс and the Lyra 8, henceforth excluding midi instruments: from 2020 onwards, any sound you hear in Transient & Eerie music is audio recording of an analog, acoustic or electro-acoustic source played by a human person (featured if not me), and vocals, and the digital post-processing thereof (one and only exception being the drums in Mesmérisation played from the Korg Kaoss pad 3 hardware bank, but still by hand). Furthermore, as a bass-barytone singer, I entwine my voice into the mysteries of analog mixing to produce sounds and voices never heard before. There are sounds I produced hands on from scratch on the Lyra 8 that ressemble voices of angels, and I can't explain how I did it, nor reproduce, on purpose, even writing down the Lyra's knobs and switches positions. Only happens while I'm playing the instrument, feeling the music, with no attention whatsoever to the actual knobs.
Is music created, or transmitted, channelled from another dimension? The more I create music, the less I know the answer to that question. No doubt that throwing my own voice into the Lyra 8 will create even more surprises in the future.
18 singles have been released so far in 2020, but individually, not as an album.