Dying Machines

New Orleans multi-instrumentalist Thomas Buschbach has a particularly interesting way of generating the neo-classical-electronic music he issues under the Dying Machines name. Employing a strict ‘no synthesizers' rule, Buschbach uses guitar to produce blurry washes of ambient design, which are then merged with piano as well as orchestral elements (usually viola and cello) played by real musicians for the final mix. What results on What I Have Not Forgotten, the follow-up EP to Dying Machines' debut, Nicht Spreche, are transporting, five-minute epics that play like heady fusions of Arvo Part and Stars Of The Lid.

Reminiscent of the kind of music the prototypical Hibernate artists excels at producing, “So We Lived” opens in a foggy ambient blur before morphing into a more strings-heavy dynamo that swells incrementally to a massive size. As huge as its eventual sound is, it's dwarfed by the immensity of the strings-and-guitar washes in the penultimate piece, “It Has Been.” Sparse sprinklings of reverb-heavy piano introduce “Prisoner's Cinema” until an all-encompassing strings-based drone appears to nudge the material in the direction of Stars Of The Lid. In like manner, “None of That Matters Now” opens with the spotlight on a lone cello before a sweeping orchestral expansion emerges that's so dense the cello is almost rendered inaudible. One of What I Have Not Forgotten's more memorable aspects has to do with the contrast Buschbach creates between a single instrument's sound, be it piano or cello, and the towering washes that otherwise dominate, and the EP makes a strong impression on the listener, despite being a modest twenty-seven minutes in length. - Textura Magazine

Nicht Sprechen, the debut release from Dying Machines, is a lovely and expansive EP that acknowledges the emotional aspect of ambient and mood music.

Dying Machines is Thomas Buschbach, a New Orleans-based multi-instrumentalist. His early artistic interests took him down some conventional and not-so-conventional paths, with piano and guitar training eventually giving way to classical training. With these elements in tow, Dying Machines’ EP seems to reflect every ounce of Buschbach’s development as an artist thus far.

Some musicians take up bits of knowledge along the way and drop them off as their path expands, but Nicht Sprechen makes great use out classical, guitar and piano conceptions by melting them in one pot.

Dying Machines’ work takes on a minimalist bent, sure, but it only uses that as a foundation on which to blossom flowers of delicate keys and gentle sound. The latter largely emanates from string parts, which in turn arose from Buschbach’s neo-classical instincts. Citing everyone from Hans Zimmer to Stars of the Lid, he plots his course with no less than the collation of influences, skills and visions.

It is hard to imagine so much stuffed into the music of Nicht Sprechen, a slowly progressing work that draws out over five pieces. But much like Kyle Bobby Dunn’s brilliant Bring Me the Head of Kyle Bobby Dunn exceeds the confines of many albums by tossing track numbers in favour of cogent tones, Dying Machines’ release functions best as a whole.

Using chamber strings, pianos and effects-laden guitars, Buschbach’s work is every bit the encapsulation of sonic breakers. The serene effect is but one characteristic of this sort of music, as its formulation of reflective ground leads to something decidedly more profound. Nicht Sprechen is beyond “sounding pretty,” in other words.

Commencing with “This, And Other Times,” the record spools its grid of aural bliss with entrancing worth. Pulses of sound slip in, giving way to pieces like the ivory-echoing “Await You” and the closing piano of “Some Mistakes Are Bigger Than Others.” The ultimate emotion seems to suggest that Nicht Sprechen has come full circle.

A compelling release of tones and light, Dying Machines’ Nicht Sprechen is a beautifully contemplative and outstandingly patient piece work. In this era of flash and dash, Buschbach has thankfully created moments worth savouring. - Blinded By Sounds

Nicht Sprechen, the debut release from Dying Machines, is a lovely and expansive EP that acknowledges the emotional aspect of ambient and mood music.

Dying Machines is Thomas Buschbach, a New Orleans-based multi-instrumentalist. His early artistic interests took him down some conventional and not-so-conventional paths, with piano and guitar training eventually giving way to classical training. With these elements in tow, Dying Machines’ EP seems to reflect every ounce of Buschbach’s development as an artist thus far.

Some musicians take up bits of knowledge along the way and drop them off as their path expands, but Nicht Sprechen makes great use out classical, guitar and piano conceptions by melting them in one pot.

Dying Machines’ work takes on a minimalist bent, sure, but it only uses that as a foundation on which to blossom flowers of delicate keys and gentle sound. The latter largely emanates from string parts, which in turn arose from Buschbach’s neo-classical instincts. Citing everyone from Hans Zimmer to Stars of the Lid, he plots his course with no less than the collation of influences, skills and visions.

It is hard to imagine so much stuffed into the music of Nicht Sprechen, a slowly progressing work that draws out over five pieces. But much like Kyle Bobby Dunn’s brilliant Bring Me the Head of Kyle Bobby Dunn exceeds the confines of many albums by tossing track numbers in favour of cogent tones, Dying Machines’ release functions best as a whole.

Using chamber strings, pianos and effects-laden guitars, Buschbach’s work is every bit the encapsulation of sonic breakers. The serene effect is but one characteristic of this sort of music, as its formulation of reflective ground leads to something decidedly more profound. Nicht Sprechen is beyond “sounding pretty,” in other words.

Commencing with “This, And Other Times,” the record spools its grid of aural bliss with entrancing worth. Pulses of sound slip in, giving way to pieces like the ivory-echoing “Await You” and the closing piano of “Some Mistakes Are Bigger Than Others.” The ultimate emotion seems to suggest that Nicht Sprechen has come full circle.

A compelling release of tones and light, Dying Machines’ Nicht Sprechen is a beautifully contemplative and outstandingly patient piece work. In this era of flash and dash, Buschbach has thankfully created moments worth savouring. - Blinded By Sounds

New Orleans multi-instrumentalist Thomas Buschbach, aka Dying Machines, is not your typical indie dream pop musician. Rather than relying on the go-to choice of synthesizers, Buschbach strives for a no-synthesizers approach to Dying Machines’ music, writing sheet music for orchestral instruments (viola and cello) to be performed by other musicians before Buschbach gets to stir the pot. With influences ranging from Arvo Part and film composer Hans Zimmer, Dying Machines’ music is decidedly epic. - Earbuddy

New Orleans multi-instrumentalist Thomas Buschbach, aka Dying Machines, is not your typical indie dream pop musician. Rather than relying on the go-to choice of synthesizers, Buschbach strives for a no-synthesizers approach to Dying Machines’ music, writing sheet music for orchestral instruments (viola and cello) to be performed by other musicians before Buschbach gets to stir the pot. With influences ranging from Arvo Part and film composer Hans Zimmer, Dying Machines’ music is decidedly epic. - Earbuddy

Cinematic and wonderful are the words that came to mind the moment I pressed play on a submission from the ambient/post-rock project of Thomas Buschbach.

Buried deep within the blog’s inbox, the intricately textured music brings out stunning yet haunting sounds to life. I really enjoy the use of synthesizers, minimal guitars, and the lush accompaniment of orchestral strings.

This is music to get lost in, something to consciously sit in the background of your tasks at hand while each track gently builds and builds. Listen below and discover more about Dying Machines here. - What's Protocol

Cinematic and wonderful are the words that came to mind the moment I pressed play on a submission from the ambient/post-rock project of Thomas Buschbach.

Buried deep within the blog’s inbox, the intricately textured music brings out stunning yet haunting sounds to life. I really enjoy the use of synthesizers, minimal guitars, and the lush accompaniment of orchestral strings.

This is music to get lost in, something to consciously sit in the background of your tasks at hand while each track gently builds and builds. Listen below and discover more about Dying Machines here. - What's Protocol

Dying Machines is the musical alias of New Orleans-based multi-instrumentalist / producer Thomas Buschbach, and this debut download-only EP on Mush Nicht Sprechen sees him exploring a cinematic ambience over its five tracks that’s not completely dissimilar to Eno’s work with pianist Harold Budd. Perhaps most interestingly, Buschbach employs a strict ‘no synthesisers’ approach when constructing his tracks, instead creating his textures by meticulously treating instruments such as guitar, viola and cello.

Opening track ‘This, And Other Times’ introduces the swelling glacial atmospheres that colour this entire EP, as rich layers of brooding yet hopeful strings hang in the background and delicate piano keys trail in the foreground, the entire track floating with a sense of calm warm stillness. The shoegaze-meets-filmscore ‘Await You’ meanwhile sees the melodic keys bleeding slightly more into the foreground against a spectral wash of bass drones and subtle traces of treated violin in what’s easily one of the most melancholic and moments here, while elsewhere ‘As A Day Fades’ takes things back towards prog-tinged ambience as elegant string arrangements trail out over a vaguely psychedelic backdrop of deep drone harmonics. While there’s a slight sense of lack of variation across the five tracks here, on the whole this is an impressive and immersive debut. - Cyclic Defrost

Dying Machines is the musical alias of New Orleans-based multi-instrumentalist / producer Thomas Buschbach, and this debut download-only EP on Mush Nicht Sprechen sees him exploring a cinematic ambience over its five tracks that’s not completely dissimilar to Eno’s work with pianist Harold Budd. Perhaps most interestingly, Buschbach employs a strict ‘no synthesisers’ approach when constructing his tracks, instead creating his textures by meticulously treating instruments such as guitar, viola and cello.

Opening track ‘This, And Other Times’ introduces the swelling glacial atmospheres that colour this entire EP, as rich layers of brooding yet hopeful strings hang in the background and delicate piano keys trail in the foreground, the entire track floating with a sense of calm warm stillness. The shoegaze-meets-filmscore ‘Await You’ meanwhile sees the melodic keys bleeding slightly more into the foreground against a spectral wash of bass drones and subtle traces of treated violin in what’s easily one of the most melancholic and moments here, while elsewhere ‘As A Day Fades’ takes things back towards prog-tinged ambience as elegant string arrangements trail out over a vaguely psychedelic backdrop of deep drone harmonics. While there’s a slight sense of lack of variation across the five tracks here, on the whole this is an impressive and immersive debut. - Cyclic Defrost

New Orleans multi-talented instrumentalist Thomas Bushbach's interest for music early in life got him training in writing arrangements, and classical training in piano and guitar, giving Dying Machines an epicness that your average musician couldn't bring.

The project has an unusual approach to creating the pieces as well, with Bushbach writing the sheet music for the orchestral instruments, and musicians coming in to perform the written pieces before he puts it all together for the final mix. The result is breathtaking, giving the listener who enjoys it an out-of-body spiritual experience from beginning to end.

“Await You” is off of Dying Machines’ second record entitled Nicht Sprechen, set to drop next Tuesday, September 25, with Mush Records. The track is a very gentle, droning piece with a light piano melody throughout and a vibrating background medley. It sounds like something that would be matched with a slideshow of beautiful nature photography to be displayed in a spa, or a track to perform some tai chi to. Either way, it’s relaxing and thought provoking, and we at IYS suggest you download it if you enjoy taking yourself on musical journeys. - In Your Speakers

New Orleans multi-talented instrumentalist Thomas Bushbach's interest for music early in life got him training in writing arrangements, and classical training in piano and guitar, giving Dying Machines an epicness that your average musician couldn't bring.

The project has an unusual approach to creating the pieces as well, with Bushbach writing the sheet music for the orchestral instruments, and musicians coming in to perform the written pieces before he puts it all together for the final mix. The result is breathtaking, giving the listener who enjoys it an out-of-body spiritual experience from beginning to end.

“Await You” is off of Dying Machines’ second record entitled Nicht Sprechen, set to drop next Tuesday, September 25, with Mush Records. The track is a very gentle, droning piece with a light piano melody throughout and a vibrating background medley. It sounds like something that would be matched with a slideshow of beautiful nature photography to be displayed in a spa, or a track to perform some tai chi to. Either way, it’s relaxing and thought provoking, and we at IYS suggest you download it if you enjoy taking yourself on musical journeys. - In Your Speakers