GoH-371: Vampiir Nazarenii – An eyeless savior
Subterranean drones, metallic, ritual beats, deformed black metal shrieks and whispers to bring visions of ultimate blasphemy. Haunted Black Industrial dressed in sick, harsh, lo-fi sound.
Kristallo is an alternate project by the Argentine artist Pablo Reche, which he defines as his ‘B side.’ With this alias, he explores the sonic possibilities of noise in a field with a stronger presence of rhythm and pulsations, further away from the sound composed of drones. The pieces that make up the EP “Persecución” have a brief format, with a predominant sound of a primitive and rough nature that tends towards pure abstraction.
T1 > Everything begins with a mass of interference and sounds that appear as discoveries in the gaps left in the tuning bands of a radio. These units are waves with changes in their dynamics, which gradually form a constructive process of noise.
T2 > Accents in a hiss grow to form a polyrhythmic block that dissolves into a state close to silence. It’s a structure whose spectrum emerges and lingers.
T3 > In an industrially charged environment, you can feel the pulses and folds as time progresses. Each layer has its own space and communicates with the others as if in conversation. Noise bursts create the grid where everything is organized.
T4 > What remains after a burst is the shape of an echo that extends like a drone. Things become recognizable under a faint layer of sand.
T5 > In the resonant space of a tube, digital rhythmic gestures bounce, moving away from the organic roughness of the previous ones, forming a slow melody. There are openings that mark its development, transitioning from a contemplative tone to a dramatic one.
This set of tracks has the virtue of creating a calm atmosphere in which the subtlest intervals can be perceived.
Oscar Santis
(Santiago, Chile. October 2023)
Two autocomplete junkies with two cyberdecks hooked up over midi and
adat, fueled by two glasses on continious refill rotation, and the
occasional psychedelic nightcap. A quiet room, with quiet clicks, plucks
and taps over muffled looped up weirdness leaking out of headphones.
Homebrewed beer, hardware and software, all very much alpha stage. Ten
hours of backlog, edited down to thirty minutes of almost music. Staged,
committed and mixed down to a beta version. Served to you over TCP/IP
for your real world enjoyment.
Bass, Kalimba, PureData: nonkel waldek
Drums, Synths: Wal Gend
blue moon over west
africa for another
wednesday coup d’état
a dog crying at
a closed door somewhere nearby
on a bright morning
ivy consumes all
marginalia in reach
carpeting gravel
All songs written by Rebecca Smit & Eli Wallis except where noted.
“Is It Really Too Much To Ask (for this?)” and “Mummified Mammoth” written by Rebecca Smit.
“Three Days’ Leave” written by Eli Wallis.
released 18. Juli 2023
For my ears, Lately Kind of Yeah and evocations of nature come packaged as one, accompanying or even transcending literal lyrical interpretations or impressions one might scoop from track titles. Melodies plod like footsteps on dunes; guitar riffs swirl through crunching distortion like leaves in a windstorm. Looping vocals become the benevolent mantra of waves rolling against the shore, especially notable in the release’s centerpiece, “Zones” — let it wash over you.
originally released January 17, 2023
latelykindofyeah.bandcamp.com/album/motor-grown-up
drums on tracks 7, 9, 10 by Zachary M
tribute, puzzle-pieced, succinct
exercise, exorcise, excelsior
Zum Einsatz kamen die Volcas Beats und Keys, eine Bassgitarre und der Waldorf Rocket. Ergänzt bei einigen Liedern vom Korg Minilogue. Die Aufnahmen begannen im Cubase SX3 und endeten im Studio One 5.
So wenig wie möglich, so viel des Guten.
Mögliche Ähnlichkeiten mit lebenden Personen sind rein zufällig und meine Gedanken keine der möglichen Realitäten zuzuordnen.
