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 Soma Lyra 8, Ornament 8, and more from their gadgets, as well as an ancient Поливокс.

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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.

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Get Transient & Eerie albums and singles on most online music stores. Just search for: Transient & Eerie

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Check out Transient & Eerie on iTunes - Spotify - Google Play - Tidal - Yandex - Shazam - Deezer - Boomplay - Amazon and more ;-)

HISTORY OF TRANSIENT & EERIE

Transient & Eerie was created in 2014 as a duo with some early tries, but truly 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.

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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.

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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.

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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.

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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 Jesus Christ in 1869, lost in parallels with photographs I took from the same locations 150 years later.

In January 2020, I started releasing bass vocals-backed singles based solely on the Поливокс and the Lyra 8, henceforth excluding fakeoustics 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), with optional 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). The only midi still I allow myself to mix in is to play a product of sounds I recorded myself, so no more fake acoustic instruments from sound banks. This restriction became a springboard that lead me to create the tune Un petit voilier vert ... with Rusanda Panfili in June 2020, and Equinox for Savages in August 2020 with Sayana Tchankova, with the amazing sound from their respective violins. 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.

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Is music created, or transmitted, channelled from another dimension? The more I create music, the less I know the answer to that question. Throwing my own voice into the Lyra 8 then used as a live post-processing station created even more surprises. Can you spot in which opus of the Ninja Meditation series it started?

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20 singles have been released in 2020, but individually, not as an album. However, some releases are so long they can be considered albums. It's up to you how you call them. To me, they are pieces of music that constitute an individual relase and since they are no longer crafted onto an audio CD by default, it doesn't really matter what you call them.

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(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}.]

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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."