TRANSIENT Z EERIE

an egregious dark ambient electronic music project by  Benoît Mussche  Бенуа Мюш

Greetings, traveler! I'm Бенуа, a Belgian composer living in St-Petersburg, who crafts music hands on with sounds created from scratch.

In my craft, I use Soma Laboratory Lyra-8, Soma The Pipe, and the ancient Soviet-era 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: Youtube Music - iTunes - Spotify - Tidal - Yandex - Shazam - Deezer - VK or search your music streaming platform for Transient & Eerie ;-)

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Below, you may find my video clips and documentary films scored with original music, as well as a stream of essential photographs.

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Further, there is my contact information, Russian-speaking press about my films and music, some history about Transient & Eerie,

and a statement about the provoked military intervention in Ukraine.

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HISTORY OF TRANSIENT & EERIE

Transient & Eerie was created in 2014. The project's name applies as adjectives to the music, and was never meant as a set of aliases.

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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 Canadian barytone René Fiji.

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In the summer of 2017, I went through Hans Zimmer's masterclass and my music made a leap forward. 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 (the 4th opus by logic standards, the 2016 version). I had my Поливокс maintained 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.

By 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 harmonics of sounds I recorded myself, so, no more fake acoustic instruments from sound banks (these are real acoustic instruments sampled for midi use, but I no longer allow myself those). 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. That's because with the Lyra-8, you are always surfing on the sound you produced so far at that very moment, thus reproducing knobs positions as you photographed them earlier does not guarantee youwill find the sound you found earlier.

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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 (only collector's), it doesn't really matter what you call them.

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2021 had a kickstart with the release of three new singles involving a couple of premium extra gear pieces: the Soma Ornament 8 and the Форманта ЭМС-01: Pointe du Sérail, Sous-Marin and Nothing respectively (Nothing beind a sequel to Nothing Can Hold Me from 2014). I republished Apocalyptic, Tears of the Exorcist (actually a remix), Courroie Temporelle ..., Âge ineffable ..., and Un Petit Voilier Vert ... (remaster) to my new label ONErpm (I'm through with TuneCore). Also finished the Ninja Meditation series with opus X recorded in Apatit, Northern Polar Circle in Russia, opus IX recorded in St-Petersburg, and opus XII recorded multipart in St-Petersburg and Moscow. Lost in parallels, I spent five months working on the album Gokoyiphiasys, featuring new developments in my melodic style, and then released a single with Rusanda Panfili on a Lyra-8 + Dvina base that I recorded in Karelia, titled De l'Autre Côté.

Live performances started for the Ninja Meditation series, all the while I started releases with the Soma Pipe, an amazing vocal synthesizer I regret I didn't get earlier: yet another remix of Tears of the Exorcist, and two new tunes as of early November, with more to come. December 2021 brought several new series and releases, and a concert in St-Petersburg. The first release of 2022 was Ground Zero, a symbiosis of Polivoks, Soma Lyra-8 and Soma Pipe.

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In February 2022, the fourth opus of Zombiepocalypse was released, featuring a guest artist playing the vintage instrument Ondes Martenot. I am now working on an entirely new album based only on Soma Lyra-8, Soma Pipe, and Polivoks. In July 2022, the final opus of the Zombiepocalypse series, opus V, is being released.

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Later in 2022, I was joined by Vrilsnow, an expert old synths player, and co-composer. He lives in St-Petersburg, but he comes from Vladivostok.

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Statement from April 08, 2022 concerning the current special military operation in Ukraine: 

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I am a Belgian living in Russia, so anything I might say for one side might trigger friction on the other. Therefore, I will speak the truth.

My country is under occupation by the Great American Parasite anyway, with three military bases and American advisers corrupting every level of Belgium's Federal government. My country's statements of foreign policy are not their own, but mere parroting of GAP's foreign policy. In my 2017 film Last Autumn in Donetsk, I already showed only a glimpse of years of war crimes and sustained efforts at genocide of the Donbass people by Ukrainian security forces, a genocide hypocritically ignored by the West. Therefore, I was happy when Russia signed the protectorate with LDNR governors. However, I was surprised when Russian troops started marching to Kiev from all sides, as I initially suspected a limited liberation of Donbass similar to the South Ossetia salvation from 2008. The reasons for zeal are 1. Threats made by Ukraine to invade Donetsk and Lugansk, then Crimea, with support from NATO countries, and even threats to strike Moscow with ballistic missiles. 2. Heavy presence of Neo-Nazi militia in Ukraine, parallel to official security forces, and representing a state within the state (a bit like Hezbollah in Lebanon, not that Hezbollah are Nazis, or Islamists, they even fought against ISIS in Syria, but the fact is they are an independent state within Lebanon). Zelensky admitted publicly he has no control over Azov, Sector Prav & clique, and in the last few weeks there has even been incidents when Azov battalion opened fire on Ukrainian troops. Last case in point, after a disagreement on the strategy in or around Mariupol: Azov wanted to use civilians as human shields, but the Ukrainian soldiers wanted to let the civilians go so they could fight proper. 3. Three times over Ukraine had a chance to avoid or evade the military intervention, but they went ahead and continued poking the bear of Russia with a long stick anyway (first when the protectorate was signed and President Putin gave an ultimatum to Ukraine to immediately stop shelling LDNR provinces, second after an unilateral ceasefire from Russia a few days into the operation, which Ukraine ignored and used to push from their positions, third when the negotiations started and the Ukrainian team went in with phantasmagoric revendications, such as getting Crimea). All this was symptomatic that simply liberating Donetsk and Lugansk from Ukrainian occupation wouldn't be enough to stabilise the situation in the long term. Add to this the information blockade and grotesque fake news published in the Western media (such as the Bucha massacre, which is complete fabrication: when Russians withdrew from Bucha, the village was calm and only two days later, bodies popped up all over the streets. Those bodies were actually Ukrainians executed by Ukrainian security forces after being accused of supporting the Russian troops, and placed there for a photo op. Even the Ukrainian Police published a statement in Ukrainian that this Bucha massacre was fake and didn't take place in Bucha, nor was it perpetrated by Russians). In any case, the endemic rise of Nazism in Ukraine ignored by the West for 10+ years and the support of the West of the post-Maydan Ukraine governments are the root cause of this conflict, which Russia had no choice but to endeavour not to find itself under an even bigger threat if they had let pass another seven years of NATO proliferation on their doorsteps. Russian troops even found four laboratories of biological and chemical weapons in Ukraine. Why were they there? Same reason they can be found even in some European countries: the research they performed there is illegal in the United States. The USA's 2003 invasion of Irak lead to no discovery of weapons of mass destruction, unless you count some old rusted sarin mortar shells, unfit for firing, as WMD's, yet no one kicked the USA or the US$ from banking networks for it. And here four research labs were found in Ukraine, that threatened Russia, but you won't hear that in the Western media. Anyway, I hurt for all the people who are victims of this conflict and I fully support a peace deal that will shorten its duration. Russia would be more than happy to step back and not march on Kiev, so President Zelensky should sober up before making statements, be reasonable and be realistic instead of ranting manic speechs on video at the UN, wasting his chances to say something useful for his own people. Talking about summoning Nurenberg-style trials after Russian prisoners of war were tortured, mutilated, executed while all Ukrainian prisoners of war are treated professionally and with respect, how dares he. I hope and pray Ukraine will realise its mistake of associating with NATO (who let them down before the first day of the invasion) and accept the wise choice of being neutral so as not to be a threat to Russia and as not to be exploited by the Great American Parasite to provoke Russia and make Ukraine pay the price. Georgia chose and accepted this neutral status after the South Ossetia war, and now their economy and level of life is much better than Ukraine's.

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If you don't agree with my position and can't accept that I have a different position than yours, feel free not to listen to my music.

Cancel culture doesn't work in Russia, so it won't make any difference to me ;-)

And if you are a pacifist foaming at the mouth at the sight of a firearm, banging your keyboard with strokes of hypocrisy, here's a question, now famous in Russia: Where were you for the last eight years?

I published a film in December 2017, warning about this genocide going on against the people in Donbass, no.one.cared.

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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 KJV

"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."