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Dead Letters Spell Out Dead Words, the project of prolific
Swedish electronic musician Thomas Ekelund,
dabbled in drones, glitches and loops on
11 Instances Of Dead Letters+Words (2004),
No Words (2005), containing short experiments,
Now That Summer's Gone (2005),
and Circles Turned To Lines Turned To Circles (2006),
containing the 19-minute Circles Fucking Circles.
Old Ghosts New Ghosts All Ghosts (2006) is a collection of short
experiments, many of them shorter than one minute. In a sense, it
stands as a catalog of sound effects: the
strident ghost music of If You Touch Me I Will Disappear,
the swirling current of The Things I Have Destroyed,
the industrial clangor of Hope/less/loss,
the decaying silence of Masks Walls And Other Ways To Keep Things In To Keep Things Out,
the cosmic cello-like "om" of In Perfect And Imperfect Circles,
the bubbling magma of Days Like These And Days Like Those And Nights That Never End
the grinding pulsing panzer of Closer Closer Still,
and the rumbling electronic requiem of
Tell Me That You Feel The Same.
A Line Align (2006) and
Fall Fall Falling (2007) were transitional works.
No Words (2007) contains three improvised pieces, two of which
were reissued on the compilation No Words (2009).
The repetiion and the crescendo makes the second
No Words of the compilation sound like
Pachelbel's canon applied to a pop theme.
The compilation also included Forgive/Forget/Regret (2008),
a dramatic crescendo of musique concrete, drums and macabre guitar tones.
Lost In Reflections (Killer Pimp, 2008) included the 19-minute
drone concerto Himmelschreibende Herzen, an apocalyptic and cosmic
crescendo of funereal tones and assorted noises
eventually matched by a majestic synth melody.
His instrumental vignettes coined a new meditational/contemplative genre,
a dynamic form of ambient music.
Zither-like notes pen a melody within the Zen-like atmosphere of This Room Seems Empty Without You, with the rhythm that mutates into industrial pulsing and organic heartbeat.
Lost & Losing lets waves of noise come and go while soaring higher
and higher.
What I Wouldn't Give To Feel Alive is a the distant droning echo of a muted cosmic choir.
In Crowded Rooms On Empty Streets would be a sterile exercise in musique concrete if the guitar did not intone a languid and vaguely melodic theme.
What Stays And What Fades Away is seven minutes of pure noise that
gets slowly populated with ghostly sounds.
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