Transient & eerie
Benoît Mussche’s music project Transient & Eerie, born in 2014, is a dark ambient, electro & acoustic music realm with occasional lyrics, breeding mostly instrumental and continuous digital symphonies.
The first three albums were co-created with Lys; since 2015 (Quadrature du Cercle), Transient & Eerie is Benoît’s solo project with occasional guest parts, such as the talented Canadian barytone René Fiji from the Belgian National Théâtre de la Monnaie singing with deep pathos in Pentateuqueeum, or world class Moldavian violinist Rusanda Panfili in Apocalyptic.
Click on the album covers below to listen to the entire 2014-2018 Transient & Eerie’s discography, and discover the video clips specifically designed for them with original media provided by Benoît’s photography and films. Links to buy each specific album can be found in the YouTube description.
Our forelast album, Apocalyptic, has to be acquired on iTunes, or from Apple music, YouTube, Spotify, Amazon, Google Play, Shazam, Yandex, or SimfyAfrica via the links on the front page. If the link is not provided, just search your favourite digital store for: Transient & Eerie.
From Apocalyptic, we produced three video clips: Reverse Mountain Falling, Aurora Borealis, & And lo Leviathan, remastered in the single version.
Our new album, published on Sept. 1, 2019, has several singles available: ça fait vraiment très peur c’est très affolant, Incommensuétude & Polivoks is Nuts. They mark the beginning of a new era for Transient & Eerie, deeply rooted in electronic music created with analog knobs and whistles, as you might have caught a glimpse of in the tunes Cosmic Bolider & And lo Leviathan from Apocalyptic.
Our main instruments are now, beyond the Midi keyboard use for input in Ableton Live 9 Suite, the Soviet-era Polivoks, and a Soma Lyra 8 designed & built in Moscow by creative engeniuseer Vlad Kreimer in Moscow, but other analog electronic music instruments might kick in later on, without forgetting the occasional acoustic instrument. I own a viola, which I torture to feed in acoustic sounds in the computer, and recently brought back my Finnish kantele from Belgium.
What we want to avoid in the future are fake acoustic instruments, i.e. midi flutes, guitars, & pianos which no matter how well sampled they are, SOMEBODY will be able to tell and the tune’s prestige will be ruined; we want our music now to be heartfelt by the listener unscathed, unbroken as the creator and or the players will have performed each track of each and every tune moving their fingers (and feet) to the largest extent possible. Exceptions are kept for midi violins and cellos that are so well sampled in Ableton Live 9 Suite that they allow playing with pathos using the synthesater. Last but not least, vocals will of course remain summoned in some of our tracks, always originally performed for the specific piece of music in question, and never imported from sound banks: You can trust 100% of our contents is original.
Edited on Sept. 12, 2019
A true mix of 05 years of music (2014-2018) for your commute rituals