The Fat – Meat Me

D!HR-26

The Fat

“Meat Me”

For its 26th release, Da ! Heard It Records invites you to come meet The Fat, with their first album: “Meat Me”.

The Fat, a band based in the north of Paris, consists of two pillars: Jacques de Candé and Thomas Suire. Louis Pontvianne and Romain Drogoul join the two comrades live. One year after their first stage performance at Instants Chavirés, aside pioneers of Russian industrial music Vetrophonia, their first album, Meat Me, comes out.

The band aims to let the synths speak. Their qualities, their flaws, the damage they’ve suffered overtime are as utilized in the conception of the pieces as are lengthy improvisation sessions.
A festival of Moog, DSI, Roland, Aelita, Jomox, Oberheim, Eowave… The use of exclusively analog machines kindles a usually cold sound into a latent dampness. The construction of the pieces from a bass line, blurry yet well-framed, thanks to a crispy solid rhythm reminiscent of Oto, accentuates our indecision between choppy gesticulations and petrified emotion.

At the beginning of the album, a languorous beat skews all pulse of excitement and favors a listening focused on all of the subtleties in the variations of sonorous matters. When the rhythm accelerates later on, a tribal dialog settles in, where the roundness of the exchanges between melodies and the rhythm box’s primary pulses tangle in despair, as if bliss only ever belonged to the past. A few infecticidian gimmicks erupt on certain tracks, and our bodies appropriate this music in a measured gestural.

Now, it is your turn to appreciate and have your emotions ascend. Shh!… Listen, there…
That little repetitive sound, in the background, in a psychotic spiral, where is it taking us to ? Are we not heading towards Forbidden Planet?
To create the visuals on the sleeve, the band called on Pia-Mélissa Laroche, a graphic illustrator that cherishes lead. Pia’s universe is a mixture of anatomical imagery and geometric volumes where spheres, cubes, and organic cells intertwine. We lose ourselves, like children, in this very personal interpretation of an infinitely small world.

“Meat Me”, Da ! Heard It Records’ 26th release is distributed under a Creative Commons License BY-NC-ND. The album can be downloaded at the following address: http://www.daheardit-records.net/en/discography/dhr-26


Cousin Silas – Weaving Portraits

SCM-1407

Cousin Silas

“Weaving Portraits”

“Weaving Portraits” is Cousin Silas’s second work with Sucu Music and, by happy coincidence, also the release marking the first anniversary of the label. There couldn’t have been a better way to celebrate our first birthday than by releasing a beautiful work of meditative music entirely created by textures of keyboards and delicate touches of electric guitar. No rhythm, no percussion, nothing that might encompass this music into a closed system. Cousin Silas’s is music for open spaces, and it doesn’t matter whether we are speaking of real spaces or inner spaces of the mind. Call it cinematic, call it ambient, call it soundscapes, call this music as you like, but be ready to leave everything behind and experience it with every pore of your body, every neuron of your brain and every unnamed substance which makes up what you really are.

LLuvia Acida + Friends – Insula in Remix

pn089

LLuvia Acida + Friends

“Insula in Remix”

Insula in albis
circumdederunt per glaciem maris,
infesta, in fine mundi.

Terra Australis, Terra Incognita.
Ventus magis placent.
Orate mare ut revertar in patriam.

(Island of while
surrounded by sea ice.
Hostile, at the end of the world.

Southern earth, unknown land.
Wind in favor.
We pray to the sea to return us home).

With these words pronounced in Latin(1) by our friend and colleague Frank Benkho “Insula in Remix” begins, a collection of remixes and versions of the pieces that gave form to our disc “Insula in albis” (Pueblo Nuevo/Eolo, 2013). In a way, it is the final link of a work that started nearly two years ago, when we traveled with the support of the Chilean Antarctic Institute (INACH) to a secluded place located on the borders of civilization: King George Island (South Shetlands, Antarctica). There we collected images and sounds, both natural and human in origin, in an environment in which the majestic landscapes contrast with the technology used to resist the onslaught of the elements. We met people of different nations and cultures, sharing together in this environment of water, stone, ice, and rusted metal.

We presented “Insula in albis” in the Teatro Municipal “José Bohr” in Punta Arenas in the Celebration of 50 years of the Chilean Antarctic Institute. At the beginning of 2014 we managed to return to King George Island and we presented the work before the personnel of the “Eduardo Frei” base, in what was our second recital in Antarctica. After having shown it in Buenos Aires and Santiago, we decided to invite other musicians to reinterpret our discoveries, to make them their own and give them new forms in their own style. We appreciate the time and effort each one invested in realizing their contributions. We hope that we manage to transmit once again to all those who follow our trajectory the excitement we feel when we put our feet on this island, where people live together in a way that the rest of the world should imitate. “Insula in Remix” is available here, to help you set forth on a sonic flight towards the Continent of Light.

(1) All Latin provided to us by online translation applications.

Lluvia Acida
(Punta Arenas, Magallanes, Chile, September 2014)


Plusplus – Psycho

[LBN026]

Plusplus

“Psycho”

“Psycho is the third and final installment in the ‘Evils trilogy’ from Adam Radmall aka Plusplus
consisting of eight new tracks that continue on a similar theme to the two previously acclaimed albums‘Evils’ (2010) and ‘Game Over’ (2012).Compared with the first two Plusplus albums, Psycho is more a collaboration with Bryan Styles (Plantman) and Rob Scillitoe contributing on drums and double bass respectively. Producer John Hannon also contributed significantly. The result is much more of an organic sound that reveals another side of the plusplus yet retains a similar mix of brooding atmospheres and circadian rhythms punctuated by playful folk melodies evident on previous work.”

.Zigo – Drupas Migrantes

pn088

.Zigo

“Drupas Migrantes”

.Zigo has an apocalyptic “Blade Runner” world in his sonic conception. He swings comfortably between sulfuric sunrises, romantic evenings to the cyberpunk distopians.

This work, like his others; and many other things that I have enjoyed in concert, has its own peculiar character, the detail that blows the mind and that eccentricity carries it to work every detail like a careless tide, but he has the control, so many years on the path have not made him aloof, and he applies every consciousness, every experience.

It shows in the quality of the sound and in the domain of reaching the very edge of the break, without breaking.

Tiny pearls invade each of the tracks, and yes, he is one of the masters in this sense, in showing us that heavy noise with delicate sonic touches, that are not lost, on the contrary, he makes them be noticed.

In “Drupas migrantes” we hear from the beginning with “Zaxsibulan”, mantric drones that invade, and leave us almost perplexed to wait any longer.

We pass through quasi organic states like those in “Drupa” and “Ralokhao”, cyber-robotic moments like “Aeasxoolar” and “Drirl” to descend to the shamanic poetry of “Xeticanteral”.

Can this work be classified? It cannot – you can only listen and enjoy- qualifications do not count, just immerse yourself or be engulfed by it.

.Zigo without a doubt “is” in past, present and he shows the future, and all this comes together for capture us to hear.

———————

.Zigo tiene el apocalipsis Bladeraniano (de “Blade Runner”) en su concepción del sonido. Se hamaca cómodamente entre amaneceres sulfúricos y atardeceres románticos a lo cyberpunk.

Este disco, como otros y muchas otras cosas que he disfrutado en vivo, tiene su peculiar sello, el detalle de la voladura de cabeza y esa excentricidad que lo lleva a trabajar cada detalle como en una descuidada marea, pero él tiene el control, tantos años de carrera no le son esquivos, y aplica cada conocimiento, cada experiencia.

Se nota en la calidad del sonido y en ese dominio de llegar hasta el borde mismo del quiebre, sin llegar a quebrarse.

Diminutas perlitas invaden cada uno de los tracks, y si, es uno de los maestros en este sentido, en mostrarnos ese heavy noise con delicados toques sonoros, que no se pierden, al contrario, los hace notar.

En “Drupas Migrantes” oímos desde el comienzo con “Zaxsibulan” drones mántricos que se nos vienen encima para invadirnos y dejarnos casi perplejos para esperar más.

Pasamos por estados cuasi orgánicos como en “Drupa” y “Ralonkhao”, ratos cyber-robóticos como “Aeasxoolar” y “Drirl” para descender a la poesía chamánica de “Xeticanteral”.

¿Cómo podemos calificar este disco señores? No se puede, solo se puede escuchar y disfrutar, los calificativos no cuentan en una obra tan completa, solo meterse en ella o ser engullida por ella.

.Zigo sin duda está en el pasado, el presente y nos muestra el futuro, y todo conjugado para que lo tomemos, para que lo oigamos.

Luis Marte
(Buenos Aires, agosto 2014)


Wings of an Angel – The Year I Tried To Kill My Love

Self-Releae

Wings of an Angel

“The Year I Tried To Kill My Love”

sometimes, one is required to be a warrior for so long, that you have trouble putting down your sword.

The year Love almost died inside me,
it was a year fraught with trial and tribulation,
elations of successes waylaid by new responsibilities;
and these new responsibilities,
they almost took the joy away.The year Love almost died inside me,
it almost died in all it’s forms;
Love for my fellow brother,
my fellow sister,
relations both amorous and familial,
as all the joys that were supposed to be inside me were almost detained.

The pain inside me almost surmounted all my senses,
as I lost touch with the capacity to feel Love in it’s greatest fulfillment;
I touched the face of the divine in dreams,
but alas,
this was barely enough to keep my sense of Love sane.

I learnt,
however,
that the pain,
it had a purpose,
had served to purify me of past regrets,
had served to teach me to move forward,
ever onward,
to greater horizons,
and the very scope of those horizons,
they are redefined now,
and though I know that journey will be difficult,
I would rather undertake THAT journey,
to experience the pain of growth,
rather than regret,
and the capacity to love,
it grows inside myself,
especially the capacity to love myself,
and I know,
that in this year,
or any year from this point on,
I could not kill The Love inside myself,
in order to hide from pain;
I could not kill The Love inside myself,
not even if I tried…

[Copyright © 2014 Robby Baby Dark Poet of Amour aka Robert Matejko]


Kai Engel – Evening Colors

SCL133

Kai Engel

“Evening Colors”

If Kai Engel’s third album showed his abilities as a composer of cinematic soundtracks for historical films, then his new work gets us back to the neoclassical tone of sound, only with far greater versatility and skill. Once again you’ll hear lyrical melodies born in joys and sadnessess of love, inspired by a melancholy in the night, a light sorrow and urban romantics.

Music by Kai Engel
Artwork by Oleg Litvinchuk


Wings of an Angel – Kaleidoscope

Self-Release

Wings of an Angel

“Kaleidoscope”

Constant noise, crude movements we make in order to repress our emotions; we create kaleidoscopes of foreign meanings that have everything to do with hiding from ourselves. And we keep telling lies. What will happen if you stop and freeze yourself in this rat race?
With over 1,000 kaleidoscopes all-around me, my eyes have slowly closed to all incoming stimuli, resulting in an emotional deadlock.
This is the music that I’ve composed in order to break free from this vicious circle. Will you join me on this introspective journey?

Various Artists – Tranzmitter Research (Volume 3)

TRANZCD009

Various Artists

“Tranzmitter Research (Volume 3)”

RELEASE INFO:
ARTIST: Various Artists
RELEASE TITLE: Tranzmitter Research (Volume 3)
CAT Nº: TRANZCD009
RELEASE DATE: April 19, 2014
FORMAT: MP3 / 320kbps/ 44.100 MHZ
GENRE: Electronic
SUB-GENRE: Ambient / Downtempo / Breakbeat / IDM / Avant-Garde / Lounge
TOTAL TIME: 01:29:45
SIZE: 237 MB

TRACKLIST:

01. Human Robot a.k.a Jef Ciarvi – Heaven (3:20)
02. Bruce Kasinsky – Mantra (3:32)
03. Eisenlager – Darf Ich Jetzt Bitte Schlafen (11:04)
04. Noisesurfer – It´s Cold At North (4:07)
05. AlienAqtor – Libertária (4:14)
06. Solitudage – Remember And Let Go (2:24)
07. Eletromariola – Breathe (4:26)
08. Modularity Think – Invite To Dance (5:53)
09. Projekt Gestalten – Der Vollkommene Mensch (6:18)
10. Yallah Fingah – Thousand Degree (4:12)
11. Cavalaska – Cold as Metal (4:48)
12. M.Nomized – Start Atmos End (7:20)
13. Blasquez & Holocaos – Metamorfose (9:08)
14. PJ Waldman – Rolezinho (6:08)
15. A104 (Paula Daunt And Skull & Drones) – Synapse Failure (3:18)
16. MindReflex – Scape From Death (4:37)
17. Thycron – Office Tuna (4:56)


Kai Engel – Deathless: The Renaissance

SCL125

Kai Engel

“Deathless: The Renaissance”

Almost three months ago Kai Engel released “Calls and Echoes”, an album that signalled a move towards epic trailer music with the old neoclassical approach. On new album composer went deeply in that direction. Characterized by more dramatic, cinematographic dynamics, the sound of “Deathless: The Renaissance” also incorporated ambient elements, became heavier and darker. Two months of work and nine compositions, almost screaming at you from the headphones: “We’re just made for a movie!”. Have a nice listening.

All music by Kai Engel (Антон Федченков)
Cover by Red One

Join us!
Kai Engel:

http://vk.com/kaiengel

Free Download Digital Album:

https://archive.org/details/SCL125

http://southerncityslab.bandcamp.com/album/deathless-the-renaissance

http://freemusicarchive.org/music/Kai_Engel/Deathless_The_Renaissance/

2014 Creative Commons BY-NC-SA 4.0


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