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.

A couple of singles, Le Labyrinthe de la Mort and à Table, are available only through iTunes and other stores.

Our latest 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 already produced two video clips for Reverse Mountain Falling and Aurora Borealis (visible from the home tab as you scroll down) and one single: And lo Leviathan, remastered for the occasion.

Two new singles, that constitute the debut of our next album, are already available: ça fait vraiment très peur c’est très affolant, and 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 tune And lo Leviathan from Apocalyptic.

Our main instrument is now the Soviet-era Polivoks, but other analog electronic music instruments will kick in, without forgetting the occasional guest acoustic instrument. What we want to avoid in the future are fake acoustic instruments, i.e. midi flutes, guitars, pianos, etc. 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. 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.