Background/Info: I didn’t receive any information about Clavius and there’s not much to find on the net. All I could found is that it concerns a Spanish new-coming project, which unleashed its debut album during 2016. “Nebula” seems to be inspired by the famous “2001. A Space Odyssey” and other books of Arthur C. Clark. Notice by the way that this CD-format released as CDR in a transparent DVD box is strictly limited to 30 (!) copies.
Content: “Nebula” is an appropriated title perfectly reflecting the space theme of Arthur C. Clark. I’m always wondering how such a subject can be adapted into music. Clavius deals with an extreme sonic format, which is based upon dark-ambient music mixed with noise waves and other industrial sound treatments.
The work comes close to a soundscape or should I say a ‘noisescape’. Most of the tracks are quite long and even going over 20 minutes. There’s a slow progression, which now and then ends into a sonic cataclysm.
+ + + : Clavius doesn’t compose the usual and stereotypical dark-ambient format. The music is more extreme, less accessible and definitely into pure underground. That’s an aspect I like. “Nebula” is a tormented production, which reaches a climax on “Rama”. There’s a kind of nearby disaster atmosphere hanging over this cut. It’s pretty freaky revealing the somewhat visual strength of this composition.
– – – : I think there are several elements that can be improved. The main point that hurts me is the long duration and endless sonic corridors running through a few cuts. In the long run it starts to get a bit to get repetitive and monotonous. “Nebula” is not the kind of work, which is accessible for a wider audience.
Conclusion: “Nebula” is a tremendous experience revealing a tortured approach in dark-ambient music. I’m sure this formation will find a selected and erudite audience.
Since you’re here …
… we have a small favour to ask. More people are reading Side-Line Magazine than ever but advertising revenues across the media are falling fast. And unlike many news organisations, we haven’t put up a paywall – we want to keep our journalism as open as we can. So you can see why we need to ask for your help.
Side-Line’s independent journalism takes a lot of time, money and hard work to produce. But we do it because we want to push the artists we like and who are equally fighting to survive.
If everyone who reads our reporting, who likes it, helps fund it, our future would be much more secure. For as little as 5 US$, you can support Side-Line Magazine – and it only takes a minute. Thank you.
The donations are safely powered by Paypal.
This website uses cookies to improve your experience. We'll assume you're ok with this, but you can opt-out if you wish. Cookie settingsACCEPT
Privacy & Cookies Policy
Privacy Overview
This website uses cookies to improve your experience while you navigate through the website. Out of these cookies, the cookies that are categorized as necessary are stored on your browser as they are essential for the working of basic functionalities of the website. We also use third-party cookies that help us analyze and understand how you use this website. These cookies will be stored in your browser only with your consent. You also have the option to opt-out of these cookies. But opting out of some of these cookies may have an effect on your browsing experience.
Necessary cookies are absolutely essential for the website to function properly. This category only includes cookies that ensures basic functionalities and security features of the website. These cookies do not store any personal information.
Any cookies that may not be particularly necessary for the website to function and is used specifically to collect user personal data via analytics, ads, other embedded contents are termed as non-necessary cookies. It is mandatory to procure user consent prior to running these cookies on your website.