This EP is a fantastic piece of music for good moments in your life.
Sirona-Records Website:http://sirona-records.com
The artwork, designed Solange Dalannais shows us a simple pencil drawing done in real time during a dance class. The incomplete capture of moving bodies suggests that fragile but deep part of our human condition that seeks liberation and self- transformation.
The artwork designed by Solange Dalannais describes the moment when a young girl is caught discovering music fiddling one of those antique furniture-sound systems that once were in the living rooms and generally, children were not allowed to mess with.
This album was originally released independently via bandcamp, in April 2014.
The artwork is a monotype by Solange Dalannais that shows an abstract porcupine with apparent zoochosis symptoms, animal disease caused by captivity, easily seen in any zoo.
This album was originally released independently via bandcamp, in February 2014.
Credits:
Music by Kai Engel
Artwork by Лилейный
Tracklist:
01. – A Neon Flesh
02. – Cutting To The Chase
03. – Tentative Steps
04. – Past The Lanterns
05. – The Burden Of Empathy
06. – Streets As Friends
07. – Comfort In A Bottle
08. – Transcending Heaven
09. – Junction
Join Us!
http://www.kai-engel.com/
https://soundcloud.com/anton-stanislavovich-fedchenkov
https://twitter.com/KaiEngelMusic
http://instagram.com/kai_engel
PLAYLIST: Artist – Title – Netlabel – Year
1. King Imagine – Over The Earth – southerncitylab – 2014
2. [amt 23] – The Way We Are (Live) – enough records – 2014
3. Farishta & Arika Lane …
For full playlist and HQ download visit the release page below.
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
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)
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)
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]
