Malignant Cove is adcBicycle’s 3rd album. All tracks are about a rocky ocean cove in Nova Scotia, Canada. The album was constructed to be catchy, dark, background music. The music engages the listener with gritty analog sounds, loosely played instruments and driving beats, yet at the same time sits peacefully in the background with distant vocals, slow building drama and a consistent dark pop mood.
I had then walked and walked forward on, with abrupt and unhesitating steps, leaving behind and beneath me a landscape of emotional chaos and languishing turmoil… I was alone again; an indisputable shadow piercing through the dense light. The clouds had no sign of giving up, force-feeding me with rain and occasional doses of excessive oxidation. I hardly breathed; at times I almost forgot my own name and place of origin… I moved through the darkening terrain, stepping to and fro unrecognizable crowds of human-like robots dressed in traditional attire, constantly reincarnating monsters and transparent biblical creatures. I passed a lovelorn tomb and an empty forest without a birthmark. I kept on walking even though by then I didn’t know whether i’m dead or alive… I took some photographs but had nowhere to develop them. So I ate them to keep me safe from starvation. I saw a crippled young girl offering poisonous candies to funnily dressed women, and strangely beautiful very old men offering their bygone youth to unborn babies. I could hear the distant noises of war but also the comforting buzz of nature’s cutting edge freedom. I walked forward like a zombie with closed eyes, led not by my eyesight but by my rusty inner compass… Where to? I wish I’d known. Or… Do I, actually? Perhaps it’s better not to know anything…
We know not where our separate paths lead us, none of us know anything, as a matter of fact. We play an occasional role here and there; yet everything we are is a theatrical mirage; each one of us being a minor player in this surreal shadow theater. You may believe in whatever you want or whoever you want; it doesn’t matter to me. You may lead your life according to society’s compass or the fathomed rules of your psyche… You may be and/or choose to be a clown or a god… I will still pass through you as if you were a random ghostly projection of my perpetually dreaming consciousness…
Controversial producer of the 21st century. A visionary, known for his sod-cutting construction building in electronic music, aleatory composition and sound space.
Follower of the Darmstadt School, his early student compositions remained out of the public eye until the conjunction music experience resolved in the debut album “unsound noisy glitch”.
Mers describes music written in an uncompromising transethnic style with a mixture of recognizable genres.
De una forma insospechada, el propio algoritmo conlleva la inversión de los valores iniciales.
Quizá sea porque éstos, ya en el propio momento de su elección, no significaban nada.
Un juego de prestidigitación en el vacío, extrayendo números del caos y buscando, a posteriori,
el sentido que los relaciona.
In an unexpected way, the algorithm itself makes the investment of the initial values.
Maybe because at the time of his election, this values meant nothing.
A game in a vacuum, picking numbers from the chaos and the searching, a posteriori, of the meaning.
“sketches and improvisations for fretless bass ukulele”
bass ukulele and electronics: stefan schmidt
recorded in december 2014/january 2015
except for samples of gongs and broken tiles on track 2
no additional sound sources were used
“Reliefless” is a 4th album by Deftechnixks, an experimental rock unit which employs different rules, strategies and approaches to their every album.
This time, Deftechnixks decided to explore repetition in rock music, by releasing 12 songs, each based around repeating the same motif over and over again. The result, however, is far from boring! Each consecutive song is constructed from increasing number of notes for each instrument, thus for track 1 there is a 1 note motif for drums, bass, guitars, keyboards and vocals, for track 2 each consists of 2 different notes and so on, up to 12.
However cerebral this may sound, the resulting songs are actually very much rock music, bouncing between punkish simplicity, postrock clouds, metallic screaming, industrial mechanics, shoegaze dreaminess and plain all catchy sing-alongs.
Instead of being monotonuous, the melodical,rhythmical and production choices make it a fun listen, since Deftechnixks eagerly employs minor changes here and there, ranging from minimalistic, like occasional additional snare and cymbal hits, through very gradual, like expanding palette on “caffeine” or a “hidden” vocal track emerging in “Turn your pink eye to the sky”, purposefully leaving the accidentally doubled instrumental track on “hey bird trash double” or even straight-up demolishing one motif by overlaying it with another, creating a loopy cacophony in “Snow Shelby Over Vasenby”.
So, this is an experimental rock album one can actually rock out to, and at the same time a groovy rock album that is fun to take apart and look into its interlocking parts, all put in a specific order.
Enjoy and worry not, since the most important rule is always “if any rule stands in the way to creating an enjoyable song, disregard the rule immediately!”
Jan Strach creates a lot of music in bands and solo under many pseudonyms, all of which is available here: