What sounds do you hear in the night? Do you ruminate on feelings of fear, of guilt, of anxiety galloping through your head, unheeding of your pleas to stop? Do you hear the throbbing of your heart beating and your breath as it escapes your body while you wonder if the next will come? Do you hear your childhood dreams wandering through your synapses, tantalizing you with hopes to come and regrets unrealized? Or do you simply hear the dripping of faucets, whirring of clock gears and midnight conversations of neighbors?

Whatever nighttime echoes are yours you will find here. You will find them to comfort or dishearten you, to console or to torment. All things echo here in this haunting ambient compilation from Bottle Imp Productions.

“Silhouettes” is the first mini compilation featuring ambient artists from Bottle Imp Productions

This album is a compilation of tracks put together as a proposed score for the near lost Frankenstein movie, filmed by Edison Studios in 1910.

In a time when moving pictures were considered new and vulgar compared to the respectable plays of the state Edison Studios undertook the challenge to commit the first moving picture version of Mary Shelley’s Frankenstein. The intent of this version, as stated in The Edison Kinetogram was, “to concentrate its endeavors upon the mystic and psychological problems”, of Shelley’s “weird tale.” This innovative film, believed to be the first American horror movie, was lost from memory until a series of serendipitous incidents led to the discovery of the lone surviving reel from the hands of a collector in the 1970’s.

This new score has been composed in homage to those early pioneers of cinema who have transformed this once “vulgar” medium to the art form it is today.

Read the artist’s notes about this music.
Read more about the movie’s history.

On this album, tracks 1 through 7 are the individual songs broken apart by changes. Track 8 is an extended version of the music from the attack scene. Tracks 9 through 11 are outtake tracks, which were originally used in the mixed, then replaced. Track 12 is the final mix as it appears syncronized with the film.

Life Toward Twilight’ “I Swear By All The Flowers” explores memories from the end of the Nineteenth Century through sound collage and gentle melodies. The album tells a quiet story, with an unnamed protagonist, exploring daily life, travels, and intimate moments.

All of the sounds used in the recording came from antique sources, including music boxes, ticking grandfather clocks, steam trains, wax cylinder recordings, early mechanical factories and old voices. An old detuned piano played by hesitant ghosts haunts the recording. A warm static stays in place throughout, a constant reminder of the technical hurdles of early recordings.

“I Swear By All The Flowers” is an unusual ambient recording meant to transport you to a different era.

“Blood” is a 17 minute dark ambient mini-album that explores themes and moods from horror films.

“We Waited For A Subtle Dawn” is a collection of tracks composed by Life Toward Twilight between 2002 and 2005. The tracks explore various styles and genres, including ambient, neoclassical, and sound collage.

An overcast sky. Clouds move past the glowing white orb of the moon. Sometimes languid swimmers on holiday, sometimes warriors marching towards battle. The moon stands, guardian or sentry, it stands and watches. Between the passersby it looks down on the cities, the lakes, prairies and fields. It looks down on the forests of young scrub trying to repopulate. It looks down on the solitary, old giants who somehow outlived the genocide.

“An Eclipse” is Life Toward Twilight’s third album, originally a limited release in 2003. It is the sound of confusion and regret, longing and beauty, calling to the listener to feel with it.

“Catayo” is Life Toward Twilight’s first thematic album. It was released in early 2002. It is a very thick, dark ambient and drone album, and works as a post-apocalyptic story of escape and rebirth.