A bit of an underrated facet of his work, BDN's best moments seem to revolve around Roger Karmanik's real love for guttural, low-frequency murkiness that still reveals its raw, synthetic or sampled, origins. Usually called his more " dark ambient" work (vs. the vocal agression of Obsessis or Innerwar), this side is seen in full force in his older work with Pain in Progress and the Great Death series. Promotes some real strong subconscious fear all the way. Overall, it's a more effective and long-lasting tactic in my opinion.