Sataray is a one-person female-led dark ambient unit based in Olympia, Washington, and it is very apparent that part of the United States leads musicians to brooding realms, be they a Cascadian black metal or something entirely non-metal like Sataray. With my deep respect for darkwave and other sorts of dark ambient music, listening to the latest Sataray EP Blood Trine Moon I knew I would be broadening my horizons and pushing the limits of what I can be playing multiple times for personal enjoyment, but since the review was planned I gave the EP several spins to fully comprehend the material.

Just about every composition is focused on cavernous sonic frequencies, sometimes coming off as menacing (Astara), or mysterious when bells and metallic shingles/triangles tinkle in the background (Astara). The Lake has a feeling of deep steady submersion, title befitting, while Hexennacht is an ominous orchestral overture with instruments just beginning to stir up inside of an otherwise dormant orchestral pit. To call Sataray on Blood Trine Moon minimalist is an understatement, as just about every composition proceeds along the route of 1-2 synth notes pretty much on constant repeat.

Another prominent feature is female vocals, ritualistic to the core, nyads whispering into the drowning person’s ear on The Lake, hissing snakes on Hexennacht and Astara and deranged female mourners on Fecundi, possessed with grief, similar to what Rotting Christ did on Aealo, however on Blood Trine Moon there is obviously no progression but only dark steady stasis reigns.

Moody and hypnotic, crystal clear in production and full bodied in sound, Sataray failed to capture my full imagination, however, because of its purposeful melodic monotony.