. Satanath Records

Reviews: 062GD

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Today we are presenting two tracks from a split, one by each band. They create a fascinating complement to each other. Both are mysterious, barely tethered to our material plane. Both of them are capable of provoking wonder, and both create trance-like reactions. But one is enlivened by a kind of eerie brightness, while the other is the stuff of nightmares.


That’s only one person’s impression, and you may take other sensations away from hearing them. But what’s undeniable is that both tracks nourish the imagination. The resulting visions will be highly personal to the listener, and maybe not even intersecting with the visions of the creators, but both are triggers for waking dreams.


The name of the split, almost 80 minutes in length, is Prisoners of the Solar System, and the participants are both one-person projects, Satanath from Russia and Striborg from Australia. All the songs are new. It will be released jointly by GrimmDistribution and Death Portal Studio on the 31st of May.


Whatever your own imagination may fashion from this music, here is what we were told about its conception:


“Prisoners of the Solar System tells about the imprisonment of mankind in its tiny space prison for the next hundreds or thousands of years — the solar system.


“The governments of almost all countries of the planet willingly support the creation of a consumer society, and most people are interested only in entertainment, but not in science. In such a world, the creation of modern technologies that would allow interstellar flights will take much more time. However, among us there will always be dreamers whose driving forces are development and the desire to approach a future full of incredible discoveries.”




For newcomers, Satanath is the one-man space/dark ambient project founded by Aleksey Korolyov, the boss of Satanath Records and a member of both Abigorum and Taiga. Almost three years have passed since the last release of Your Personal Copy, and 2021 will bring an anniversary in honor of which we’re told something special is being planned. This split bridges the gap.


The Satanath song we’re presenting, “Astral Symphonies”, is haunting ambient music, a glimmering sheen of sound, through which playful spectres seem to dart like quivering arrows and deeper vibrations shiver like pulsing ectoplasm within the voidspace. Deeper undercurrents begin to heave in ominous timbres, but the sound almost dies out. The volume ebbs, and mysterious sounds come and go, including a bit of percussive rhythm, and eerie glowing resonances, as if the specters have returned.


At least in this writer’s imagination, there is a brightness to the music, creating an entrancement of wonder that overshadows the more chilling aspects of the sound, as if beckoning us forward to something better.




Striborg is a venerable project, originally founded by Sin Nanna under the name Kathaaria in 1993, but operating under the name Striborg (the appellation of a Slavonic wind god) since 1997. Black metal provided the original inspiration, but over time Striborg has reinterpreted those sounds, now composing electronic music in its own genre — Blackwave.


The Striborg song we are presenting, “Empty Sorrow“, is nearly 10 minutes long. It unfolds through a methodical, echoing drum rhythm, cymbal whispers, long oscillations of unnerving ambient waves — and a blood-congealing voice, the sound of an ancient gasping and snarling vampire that has risen from long-fouled ground. As the shimmering ambient waves flow, cresting and subsiding, the feeling of frigid menace intensifies, and the immersive effect of this nightmare does as well, as if pale hands are pulling us into the maw of hollow-eyed death.


The drum rhythms grow more agitated, and the vocals more insane, and maybe a hunger within the music grows as well, behind red eyes. You begin to realize that there is a seduction being practiced here, and the gloomy singing that surfaces (surprisingly), together with a noticeable pulse within the sound, only makes the seduction more powerful, as if to prevent you from seeing the sharpened teeth awaiting within this hallucinogenic mist, or feeling them as they sink slowly into your neck.


But again, that’s just one person’s attempt to describe the feeling. You’ll have your own.




This  is  a  review  of  a  split  album  between  Russia's  Satanath  and  Striborg  called "Prisoners  Of  The  Solar  System"  which  will  be  released  on  May  31st  in  2020  as  a  joint  effort  between  Grimm  Distribution  and  Death  Portal  Studio  and  we  will  start  off  the  review  with  Satanath  a  solo  project  that  plays  a  mixture  of  dark  ambient  and  space music.


  His  side  of  the  split  starts  out  with  dark  ambient  style  synths  which  also  use  a  variety  of  many  different  sounding  keys  while  most  of  his  tracks  are  also  very  long  and  epic  in  length.  Elements  of  space  music  can  also  be  heard  at  times  along  with  all  of  his  tracks  also  being  instrumentals.


  Programmed  beats  and  electronic  music  elements  are  also  added  into  some  parts  of  his  recording.  One  track  also  introduces  atmospheric  sounding  drones  into  the  music  as  well  as  the  music  also  having  is  ritualistic  moments.  All  of  the  songs  sound  very  different  from  each  other  and  the  production  sounds  very  dark.


  In  my  opinion  this  is  another  great  sounding  recording  from  Satanath  and  if  you  are  a  fan  of  dark  ambient  and  space  music,  you  should  check  out  his  side  of  the  split.  


  Next  up  is  Striborg  a  solo  artist  who  started  out  playing  black  metal  but  on  this  recording  continues  his  blackwave  and  dark  ambient  style  he  started  on  his  previous  release.


  His  side  of  the  split  starts  out  with  some  electronic  music  elements  while  also  adding  in  some  touches  of  80's  new  wave  and  darkwave.  All  of  the  drum  beats  are  also  programmed  along  with  some  grim  black  metal  screams  also  being  utilized  at  times  as  well  as  the  music  also  adding  in  a  good  amount  of  ambient  style  synths.


  Electric  guitars  can  also  be  heard  briefly  along  with  a  great  portion  of  his  tracks  also  being  very  long  and  epic  in  length.  Clean  goth  rock  style  vocals  can  also  be  heard  briefly  as  well  as  some  real  drums  also  being  utilized  at  times  and  as  the  album  progresses  there  id  also  a  brief  use  of  blast  beats.  The  production  sounds  very  dark  while  the  lyrics  cover  night,  misanthropy,  forests,  depression  and  death  themes.


  In  my  opinion  this is  another  great  sounding  recording  from  Striborg  and  if  you  are  a  fan  of  blackwave  and  dark  ambient,  you  should  check  out  his  side  of  the  split. 



Сразу спецификация - чтобы было понятно - Space/Dark Ambient | Blackwave. Это сплит - петроградский Satanath и австралийский Striborg.

Satanath - это сейчас моно-проект Алексея Королева (еще Abigorum и Taiga), имеет на своем боевом счету уже шесть артефактов, часть из которых - сплиты как этот, а другие - полноценные альбомы.

Пять трэков зарезервировал за собой Сатанат, и это, видимо, минут на 40, так как всего диск забит под завязку - под 80 минут. Автор исследует цивилизационные проблемы планеты Земля, причем рассматривая их, так сказать, из глубокого космоса. И знаете, это ему нисколько не мешает, наоборот, тут за деревьями не увидишь леса, а отпрыгни на пару млн км - и все как на ладони.

01. To Cosmic Prisoner — настоящий эталонный эмбиент, протяженный, скользящий, мрачный и безличный, редко просверленный синт-сверлами и в особенности осененный большими крылами неизвестных созданий. Которые перелетают в трэк два.

02. Uncivilizacio. Где появляется небольшая, но проблема, которая обозначает себя для начала стратосферными звуками из поднебесья, а потом зарывается глубоко в землю, используя патентованные кибернетические устройства ускоренного бурения.

03. Astral Symphonies. Название говорит само за себя. Но по моему не надо было снижать накал из прошлой компо, когда рептилоиды приговорили хуманов к легкому финалу. Тем не менее симфонии из астрала это гигантский экран на котором изумленному человечеству показывают будущее, которое оно по глупости про

04. Kilasanthra. Вот это трудное слово. Неужели только галактическая медитация поможет антропоидам с Земли? Самая кинематографическая композиция на стороне Сатанат. Синтезатор вдруг заговорил на неведомом языке, и это устрашает. Сама композиция напоена полевыми субстанциями, которые только частично улавливаемы органами чувств человека, потому как привидения то уходят с горизонта, то всплывают в темных местах, и увидеть их можно боковым зрением. Это Evil Grey Ambient.

05. Darkspace Aura. Финал — растянутый, немногословный, гулкий, как пустота.

Striborg. 6 компо из разных демок 2019-2020 годов. Приуготовьтесь встретиться к BLACK WAVE. Sir Nanna - это замечательный музыкант с особым видением мира — там в Австралии - Таcмании у них все вверх ногами. Именно это помогает местным создавать настоящие шедевры музыкального апокалипсиса. И это далеко не аванс. Музыканты южного полушария с указанного континента - это вообще отдельная история, но вы это прекрасно знаете.

Сир Нанна начинал с эмбиентного блэка, от которого летучие мыши средней полосы пачками падают с чердаков. Black Wave может быть кто-то и ранее исполнял, но то, что услышите вы в исполнении Striborg - это продукция особая, штучная...

Здесь есть как чисто волновые трэки с неживой пульсацией, так и Синт Блэк Металл с ударными и обескураживающим вокалом(?) - скрежетом исполнителя. Вот эта игра на контрасте производит глубокое не оптимистическое впечатление. При этом учтите, что как вокалиста Сир уважает себя не менее, чем инструменталиста. Это можно назвать небольшим локальным армагеддоном в отдельно взятой квартире. А можно более приземленно обозначить - Synth Ambient True Black Funeral Metal.

Безбашенный эмбиентный сплит, серьезное приобретение.




Liki 80 minuuttia kellottavalla Prisoners of the Solar System -levyllä ei ole lähtökohtaisesti mitään tekemistä metallimusiikin kanssa. Toki sekä venäläistaustainen Satanath että sen kanssa soittava australialainen Striborg ovat sidoksissa metallimusiikkiin levylafkan ja muiden bändien kautta. Striborg myös historiansa myötä; onhan sooloprojekti ennen synamusa-aikojaan soittanut ja julkaissut useammankin levyn black metalia.


Prisoners of the Solar System -splitti ei kuitenkaan edes sivua metallia. Se sisältää kokeellista ja vaihtelevaa kosketinmusaa, ja jopa poppia. Siinä missä Satanathin raidat ovat demoilta vuosilta 2011-2020, ovat Striborgin kappaleet eri julkaisuilta vuodelta 2019. Poikkeuksen tekee päätösraita We Are All Prisoners, joka on taltioitu keväällä 2020.


Miltei kaikki kappaleet ovat instrumentaalisia. Satanathin soitanta on eräänlaista kokeilullista dungeon synthiä, jossa utuiset kosketinsoundit yhdistyvät erilaisiin avaruussoundeihin, kuten naksunoihin ja piippauksiin. Äänimaailma on kaoottisuudessaan hyvin kokeileva ja vaikuttaa pitkälti improvisoiduilta. Lopputulos ei mielihyvähermostoa hivele, mutta kaipa tällekin fanittajansa löytyy. Viimeisenä oleva ambient-raita tekee tosin poikkeuksen, ja on selvästi puoliskon paras siivu.


Striborgin puoli on, ehkä yllättäen, parempi, joskaan ei sekään laatua takaa. Osassa biisejä on popahtavaa synailua ja puhdasta laulua, osa taas on kokeellista fiilistelyä. Laatuhajontaa on reilusti, mutta ainakaan Striborg ei kuulosta tällä kertaa yhtä rasittavalta kuin joissain aiemmissa instrumentaalivedoissaan - projektin huonommista black metal -julkaisuista puhumattakaan.


Prisoners of the Solar System on erikoismusaa erikoisfanittajille, eikä levyllä ole järin paljoa kehuttavaa. Vaikka hyvät ideat ovat harvassa, niitä kuitenkin on. Esimerkiksi varsin toimiva Proceeding from a Dark Place -kappale.


Jos kokeellinen instrumentaalisynailu kiinnostaa, Prisoners of the Solar System on varsin oiva paikka moisen kuuntelu aloittaa, kunhan pitää odotuksensa maltillisina. Parhaimmillaan subbarista hyvin alataajuuksia irti ottava teos sykähdyttää ainakin erikoisuudellaan, jos ei muuten.





Video review.





Today’s review is of the split between Russian Dark Ambient band Satanath and Australian Blackwave band Striborg.

The first half of the split are the songs of Satanath. These songs have the mesmerising monotony so present in Dark Ambient, especially in projects like Suuri Shamaani.

These songs also have some certain sound that makes them feel like from the void from outer space, completely still and calm in its eternity. Nevertheless, this music would also perfectly fit in a retro videogame as well as in a meditation.

In general, this half of the split is pretty common and not too original, since there are dozens of projects like this, but if you need a moment of calmness you may enjoy it if you like Dark Ambient.

The songs of Striborg on the other hand are very interesting. With the Black Metal era of the band as only a distant memory, this split also embraces electronic music, but it is quite different than last year’s albums they released of this style. While some songs like “A Nighttime Perplexity” do sound like that, others are something new, especially “Empty Sorrow” and “The Burden Of Existence”.

These songs don’t follow that cold and eerie electronic feeling, but instead get elevated to the majesty of Symphonic Black Metal without the need for guitars and only the help of drums and vocals. These songs also follow the space vibe prominent throughout the split, but with a whole different meaning than the songs of Satanath.

If you like Dark Ambient, Dungeon Synth, Coldwave or Blackwave you may enjoy this cold and nihilistic split, but expect no violence to appear from the sorrow and existential dread, only woes of souls who lament the incapability that humans have to travel the cosmos.




"When the burden of life is too great

I´ll find solace in this reality

in the expansion of space

and the stillness of Time"


Tenía muchas ganas de meterme con este Split entre el proyecto SATANATH de Aleksey Korolyov y el mítico STRIBORG de quien algo puse por aquí a propósito de Spectral Shadow, Split con ABIGORUM. Coedición entre Grimm Distribution (Ucrania) y Death Portal Studio (Usa), el excelente artwork es obra de Benua Isya (Sorrowtonin) reflejando a la perfección el concepto espacial/cósmico de los más de 79 minutos que dura el CD. Copio y pego de la promo del disco que es bastante representativo:


"Split tells about the imprisonment of mankind in its tiny space prison for the next hundreds or thousands of years - the solar system. The governments of almost all countries of the planet willingly support the creation of a consumer society, and most people are interested only in entertainment, but not in science. In such a world, the creation of modern technologies that would allow interstellar flights will take much more time. However, among us there will always be dreamers whose driving forces are development and the desire to approach a future full of incredible discoveries".



Los primeros cinco temas provienen son para SATANATH y provienen de demos (entre 2011 y 2020). Aleksey Korolyov, además de ser el dueño de Satanath Records y tocar en Abigorum y Taiga, se encarga de toda la música en SATANATH. Pasajes de sintetizadores en gravedad cero, destaco el brutal inicio con "To Cosmic Prisoner" que parece sacado de la etapa electrónica francesa de Jarre y similares. Oscurísimo como la inmensidad del Universo, viene a ser el equivalente aeroespacial de la Dungeon Music y con auriculares la sensación triposa se multiplica. Cadencia lenta, flotante y onírica con algo de sinfonismo cinematográfico.


El ambient experimental en la mayestática/épica apertura de "Uncivilizatio" tiene esa fluidez violenta de algunas bandas sonoras de Carpenter pero con la estructura de una larguísima suite. Al contrario que muchos de estos proyectos, no se estanca ni un solo segundo. Si no fuera por la portada podría perfectamente decir que esto viene de algún proyecto oscuro de música Kosmische berlinesa a lo Tangerine Dream. Siguen las volátiles "Astral Symphonies" y "Kilasanthra" totalmente metidas dentro de la Dark Wave pero acentuando los detalles minimalistas. Cierra "Darkspace Aura"; pulsátil, insistente drone el el espectro grave auditivo con letanías de campanas en segundo plano y la sensación de estar pasando por un tubo digestivo ciclópeo.



De STRIBORG puede uno escribir un libro. No solo por su proyecto principal, sino porque también ha participado (con el sobrenombre de Sin Anna a la batería/voces) en 0))) Presents de PENTEMPLE. Activo desde 1997 (y antes) es toda una leyenda de la música extrema Australiana habiendo girado totalmente su música desde el crudo Black de los inicios a una suerte de Coldwave y electrónica oscura.


Sus seis cortes provienen (excepto el último que no se especifica) de sus tres últimos discos, Leave the World Behind, An Existential Burden e In Deep Contemplation, todos de 2019. Cuasi bailable, de otro mundo, "Interdimensional Transcendence" me trae a la cabeza a Plasma Pool (antiquísimo proyecto de Attila Csihar), algo de Aborym o el Black Industrial de los rusos Katar en su olvidado disco Paradigma Digitized (2002). Coldwave retrofuturista con detalles de Black en las voces para bailar en un antro a la deriva encima de un meteorito desbocado... imagínate a Summoning pero en versión espacial, con 15 mgr de Diacepam en el cuerpo e intentando tocar una versión Disco de los setenta.


"Empty Sorrow" sin embargo es más terrenal, con omnipresentes teclados sobre percusiones digitales en un ritmo lentísimo (casi Doom), todo aliñado en un aire raruno, Lo-Fi bizarro pero muy adictivo... algo así como harían The Nulll Collective en aquel De Monstris (Aesthetic Death, 2010). Fantásticas las voces limpias y el cambio de tercio atmosférico hacia el final en un diálogo simple pero efectivo de teclado y batería. Sigue con tesituras similares "The Burden of Existence" con un puntito más sinfónico que de existir guitarras, son casi imposibles de distinguir en la mezcla (vuelvo a insistir, usad auriculares porque de fondo aquí hay unos extraños soniquetes que me traen de cabeza); como Profanum pero en versión Blackwave, STRIBORG rompe los temas a placer para crear frontispicios acústicos de una grandiosa epicidad aunque estén metidos dentro de una vorágine de suciedad.


De aquí hasta el final, puro disfrute. La ElectroSynth y minimal "A Nighttime Perplexity", la hipnótica "Proceeding From A Dark Place" con voces limpias y machacona melodía mitad TripHop, mitad banda sonora giallesca, y el fade out futurístico "We Are All Prisoners".


Muy recomendado para oídos que busquen cosas distintas.




Apesar das expectativas estarem bastante em baixo a cada álbum ou EP (ou split como neste caso) que tenho que analisar de Striborg, o primeiro impacto foi positivo, principalmente com a primeira metade dos Satanath, que é assombrosa e “spooky” de uma maneira sóbria. O mesmo não se pode dizer de Striborg que usa uma sonoridade que até faria sentido na mudança da década de setenta para oitenta, como banda sonora de um filme de terror. Não me interpretem mal, eu adoro as bandas sonoras do John Carpenter, mas isto é algo bem pior. Tanto os teclados, como a bateria, totalmente descontextualizada, nada corre bem aqui. Pelo menos na primeira audição. Depois disso até pode ser que se receba melhor mas no final opinião continua a ser: Vale unicamente pelo lado de Satanath.



Sometimes a prophetic message is written in the starlight. A gathering of divine spirits, a stronghold of celestial deities, a revelation of astral and cosmic energy; it is like Space and Time being somehow gathered to purport the contemplation of a majestic occurrence. It comes in an aural form, unphysical, impregnable, unassailable.


That symbiotic expression of unworldly and amorphous elegance comes under the moniker of Prisoners Of The Solar System, gathering two open-minded projects from both the Northern and the Southern hemisphere. Under that working title, Russia’s Satanath and Australia’s Striborg join forces, and actually it is not their first encounter. Striborg, a solo-outfit by some Sin-Nanna from the isle of Tasmania, did another split on both labels involved (GrimmDistribution and Death Portal Studio), yet with Abigorum (link for the review: see below) - with the latter being an outfit by the very same guy, Mister A.K., who also runs GrimmDistribution, Satanath Records or Symbol Of Domination Productions, by the way.


So, to keep it short: after a split of Abigorum (Aleksey Korolyov) and Striborg (Sin-Nanna), both human (?) beings decided to have a next mutual effort, and that’s what this review will deal with. I will not go too deeply into both project’s / musician’s background; this site might lift up a tip of the curtain if your investigation skills are not too lazy (and otherwise, the .net will surely provide you any information, whether it be qualitative stuff or fake news [no fake bullshit on Concreteweb, of course, for I am a very serious person]).



Prisoners Of The Solar System – let’s be honest – is not a totally newly written effort. Both projects come with material that had been written (and recorded) over a period of time of many years, and throughout different occasions. But do you care? I do not either, for this ‘compilation’ brings some of the better things from both entities. Besides a digital edition, there is a compact disc version too, evidently. This one comes in an edition of 500 physical copies (un-physical compact discs have not been invented yet), including a quite simple four-page booklet (layout by GrimmDistribution’s Aleksey) with simplistic yet, somehow, intriguing artwork. …and some lyrics from the Striborg-side too. The whole has been mastered at the Belarussian Digivision Records studios during Spring 2020. The concept deals with some timeless captivity into endlessness, oblivion as result of man’s imprisonment in outer space. It’s a metaphor for our capitalistic, narrow-minded, consumers’ oriented and ‘brain inactivity minded’ vision in contrast to a certain escapism, not from life itself, yet from the stupid lives we’re actually living. It’s a tribute to those who are willing to leave the safety of the (western) society in order to explore and experience, to travel to the adventurous unknown beyond space and time. Science and technology, courage and guts, adventuresome open-mindedness and experimental lust are philosophical concepts to understand this sonic peregrination.


The five first tracks on Prisoners Of The Solar System have been created by Satanath as demonstrational material, and this over a period of a decade (from 2011 to 2020).


The first piece, To Cosmic Prisoner (one of the two Satanath compositions that clocks over ten minutes), shows a glimpse of the astral approach. This piece is little monotonous, yet at the same time extremely rich because of the many synth layers around, as well as the variety that, step by step, pierces the whole track. Darkened drones, mesmerizing keyboard lines and transcendental floating melodies are mingled into some obscure piece of darkened resonance. Subtle special elements, almost like singing whales, give the whole thing a certain Psybient feeling too, even though the main focus lies on the roots of Dark Ambient Music especially.


Uncivilizacio, the second piece, and the other one that clocks over ten minutes of duration, is way more spacy with those avantgarde noises and the modestly IDM-oriented electronic attitude. Somehow, it’s even progressive; not only because of those spacelike sounds, yet also caused by the progressive, somewhat Jazz Noir alike elements. The second half is even weirder, like a Chiptune reinterpretation of some Dungeon Synth game sequence. For sure this might be the most ‘spacy’ track on this album.


More in the vein of the opener, Astral Symphonies returns to an ominous ambience, explorative on and off, then again fading away into interminable void. It guides the listener into a dreamlike vastness beyond imagination.


A truly oppressive piece is Kilasanthra, heavy and abyssal, deep-dark and still enlightening somehow. After a very obscure introduction, vibrating melodies, mesmerizing sounds (as if a sitar-on-mushrooms enters, haha) and subtle percussion-like details are canalized into spatial immensity with an apocalyptic character. Especially towards the end, that post-apocalyptic asphyxiation takes the upper hand.




Darkspace Aura, eventually, is like a symbiosis of Satanath’s oppressing Space Ambient stuff. This gloomy composition is based on claustrophobic drones and intoxicating melodies, penetrated by hallucinogen injection and very subtly used percussion sounds. It seems to represent a dark, morbid ritual, the soundtrack to a sacrifice for the macrocosm. Minimal in nature once again, but Darkspace Aura is huge in attitude and expression!



The six other compositions are courtesy of Striborg, and recorded earlier for independently releases in 2019 (and some newly recorded material as well). As you might know (and if not: there is an interesting summary on the progress of this project’s Aural Art included in my review for the Striborg split with Abigorum; link below), the initial Black Metal approach has been replaced some time ago, turning into rather electronic Ambient / Wave stuff. The last efforts, all of them, dwell within these spheres, yet almost all of them are somehow differing as well. The very same goes for the material on this split too. And as said, most of these compositions are not totally new, but have been released independently before (especially in 2019 in self-release).


Take opener Interdimensional Transcendence, for instance. It is based on a murky melody in the first place, injected with spacelike sequences, electronic beats (no organic drums, nor hyper-kinetic ultra-BPM stuff either), low-tuned and harsh electronics, and both deep-blackened and whispering voices. It’s a full package, an immense sonic experience, like a self-invented symbiosis of Doom Ambient and Blackwave. Believe me: it is!


Empty Sorrow, the second Striborg creation on this album, and the longest one from this Australian entity (ten minutes of length), as well as The Burden Of Existence, continue that path, yet in an even doomier and more obscure manner than Interdimensional Transcendence. The EBM-ish electronics are less represented, and somewhat ‘replaced’ by droning Witch House / Gothic key-work. The drum parts sound rather organic this time, and it might seem a detail, but it strengthens the abysmal immensity enormously. Especially within the second half of Empty Sorrow, when the whole suddenly turns into devastating usurpation, and throughout the whole of The Burden Of Existence, these natural drum patterns show their richness. The clean, melodic voices, by the way, in Empty Sorrow add that fine-tuned level of Gothic Dark Wave in a mostly subtle and modest way.


The ‘song’ A Nighttime Perplexity, then again, return to a certain inner tranquility; Black Dungeon Dance Trance Music would not be such a stupid description. The organic drums made room once again for programmed percussion beats, but it goes well with the floating, mesmerizing and spacial melodies and those gloomy, creepy blackened voices.


Proceeding From A Dark Place somehow continues within a comparable way, but there is something like a levitating atmosphere (it does, it surely does). Besides, the clean voice once again minimizes the border with the Gothic / Cold Wave scene. A fine detail is the well-thought symbiosis of a meditative aspect at the one hand, and a harsh, ominous one at the other. Micro and infinity, modesty and expressive all in one…


We Are All Prisoners, ultimately, is a new track (written for this release exclusively?) that maintains that ultra-heavy, doomed atmosphere of both An Existential Burden tracks, combined with an adventurous tangle of psychotic vibrations and down-tuned, even martial symphonic keyboard melodies. It’s a very short piece (unfortunately), but a well-thought outro to Striborg’s half of Prisoners Of The Solar System.




Recently, along with some other releases, I received Prisoners of the Solar System. This is the split release of Satanath and Striborg. If the name Satanath remind you something, you remember correctly. This is the personal project of the owner of Satanath Records. So, Satanath is a one-man ambient project from Russia which has released two full lengths and four split albums since 2011 when it was created. Striborg, the second participant of this split, is a well-known band from Australia, starting their musical journey as a Black Metal / ambient band but after a while they were transformed into an electronic version of Black Metal. They have too many releases to mention here since 1997 that they became Striborg. Prisoners of the Solar System contains eleven tracks, five tracks from Satanath and six from Striborg, all of them are older compositions but the last track of Striborg, “We Are All Prisoners” which is a new one. Satanath’s material comes from various demos, some of them previously unreleased while others were released in the self-titled album of 2013. On the other hand, Striborg may have chosen to include their best five tracks created during 2019 and released in their full lengths along with the new one.


Let’s start with the part of Satanath. The band plays dark and atmospheric ambient music inspired by space. You may feel like floating, moving free of gravity restrictions but there are the dangers of the unexpected lurking in the dark and you will face them alone. The tracks are chosen well, so that you will feel a continuity and a smooth transition from one to the other. The tracks are not so big, if you compare them with other ambient releases, but there are times that scenery becomes repetitive, the atmosphere tedious and there are some parts, like the childish melody of “Uncivilizacio”, that will distract you and land you abruptly to earth. The sound is clean, so you will be able listen to every sound presented in the tracks.


The other part of the album, Striborg, presents a blend of electronic, ambient and Black Metal music, regarding the atmosphere and the feeling, set in a dark, drowning scenery, giving a journey in space feeling too. The music is depending mainly into the atmosphere created by the keyboards as also by the tempo of the drum machine, dark, other times chaotic, other times drowning, sometimes violent and depressing. The artist wants to present the inner emptiness, the personal struggles, the journey into an inner vast, dark and empty space through an intense journey with a lot of ups and downs. The vocals are harsh Black Metal vocals in most of the tracks while in some parts they become clean, deep ones, revealing some gothic influences. In general, they are monotonous but very suitable for the atmosphere of the tracks, giving an eerie and dangerous dimension to the album. The sound is clean with a hint of harshness, making the result colder, something that fits to the style of the music. The lyrics are contained in the cd and they speak about dreams, space and personal feelings.


I have to admit that I am not a fan of ambient music, but I have tried hard to get into the music of Satanath without any success. There are some moments that I liked but generally they didn’t manage to take me into their journey, nor did they present me successfully, the images they wanted to create. On the other hand, I am more familiar with the style of Striborg and their material succeed in transmitting all the feelings, the atmosphere and the images created. I guess a Black Metal fan will appreciate the Striborg part, as Striborg was born into Black Metal and their mentality is still into Black Metal. In conclusion, the split is not as successful as it could be as the second part is much more interesting than the first one, so if you would like to experiment with a different style of music or get to know Striborg, prefer to get another of their releases.





This split is with two bands that haven’t really impressed me that much to wanting to collect every single release from them. And with STRIBORG that is a hell of a lot of releases. But perhaps this is the release that will turn me on to these bands full on. On this split you get 5 SATANATH tracks and 6 STRIBORG ones. In the beginning I was a bit skeptical to this whole ambient thing but with artists like Mortiis and Cold Meat Industry I finally got the whole thing. Listening to the SATANATH tracks on this split is like being a drift in space. All you see is grandeur but in the back lingers a fear. As somber as they are as sinister do they feel. The STRIBORG tracks are more like being caught in a arcade game. You need to duck for all the incoming rays. As a whole this is entertaining. It made my brain work hard to connect all the dots. In the end it felt like it was a well spent break from all the brutal metal stuff.





Satanath (Rus) uses only synthesisers/keyboards to create the music. Neither drums nor guitars feature in those 5 songs.

Opening track is sort of ominous, mysterious, dark and atmospheric, more in a mood of sci-fi than horror. Cosmic Prisoner could be attached to some anime or short movie as a soundtrack because when I listen to those tunes, they kind of tell a story without words. Yes, it`s instrumental material from Satanath. Second track continuous mysteries of the first song but vintage/computer effects that has been added to the music along, with some strange industrial distortions as well, made this musical narration by Satanath started to sound a little more tense.

Astral Symphonies is a “quieter” track, like a passage between what was and what is to come...

Kilasanthra has a weird claustrophobic feel. Bell tolls effects make music sounds moody and mournful... Darkspace Aura that comes right after sounds similar to Kilasanthra but atmosphere of the song goes full dark.


Next band on this split is Striborg from Australia. Drum samples, more condensed effects and black metal vocals are main differences between bands on this release.

Better song for me is Interdimensional Transcendence that offers wide and more vivid spectrum of effects, including generated percussion beats. There is a very 80`s era feel to the music in this track, like in “B” horror movies from that period of time.

Empty Sorrow seems to have real drums, which of course, is in plus for the music itself. Creepy black metal voice and attempts in singing with clean vocals, also came out ordinarily well for the song.

The Burden Of Existence is a harsh and atmospheric track with repeatable, bombastically dark but memorable keyboard passage. Hideous and nightmare vocals in the song are not bad if you like it this way...

A Nighttime Perplexity is a slowed paced and abyssal track with many percussion accents.

Proceeding From A Dark Place is another slow and moody song with organ generated effect and medieval vocals. This track is certainly a highlight of the album.

Last track (11) of this album is more disturbing, kind like a war zone of computer effects that Striborg allowed himself to play in those last moments of this interesting split album.

All tracks on this record come from bands various releases.





Venäläinen Satanath sekä australialainen Striborg ovat pistäneet ulos tiedettä ja avaruutta ylistävän split-julkaisun, jossa ampaistaan raketilla suoraan loputtomaan kosmiseen pimeyteen.


Satanathin puolisko on tavanomaista sci-fi ambientia. Leijuvat syntikkakuviot antavat kaikelle galaktisen pohjan, jonka päälle rakennellaan tunnelmia erilaisilla äänillä. Mitään yllättävää ei tapahdu Satanathin vahtivuorolla, mutta paikoitellen mieleen tulevat Burzumin pimputtelut. Ihan jees, siis. Kyllä tämän taustalle laittaa soimaan hiljaisuutta rikkomaan tai jos pelaa jotain avaruusteemaista lautapeliä, no problemo.


Striborg tarjoilee hyvin pitkälti samaa kuin Satanath, paitsi että tässä on mukana myös rumpuja tuomassa hommaan rakennetta sekä pääjehu Sin Nannan kuivaa kärinää. Nyt kun syntikkakuvioiden päällä on biittiä ja ärjymistä, en enää tiedä kenelle tämä soppa on tarkoitettu. Kappaleissa ei ole tarttumapintaa, joten ei tätä halua kuunnella taustalla tunnelman luojana saati ajatuksen kanssa. Loppupuolella tosin tapahtuu jännittävämpiä juttuja, mutta ei se kokonaisuutta pelasta mitenkään.