Amnion is from Glassell Park, CA. Glossolalia Park. Amnion formed in the Summer of 2007 and is cross between neo-pagan-pop-psychedelia in the vein of [ Arcade Fire ] & [ Animal Collective ] meets [ Stevie Wonder ] & [ Paul McCartney Wings ] or [ David Bowie & theSupremes meets Queen & Carole King ]. The lyrics are about self-dis-re-covery and LOVE in the nowHERE&afterlife told in plain terms, sparing metaphors and often mantric.
Lead Vocal duties are shared by the husband/wife members of the band, Aaron and Nikki Embry, and group singing is a staple of their live shows. Instrumentation is Drums, Piano, Bass, Guitar, Keyboards, and live treatments. Standout tracks on “AmenNamO” are difficult to choose, but if you must test the water before you jump “All the Way”, start your morning with “Praise gOd for the Light Within Me” and give yourself a dose of “Heart Breath Magik” along with “A Ton” of “1 Love “.
[ Yukoku Original Soundtrack ] is BY FAR more in accordance to a beautiful subtle sound while at the same time flawless on the minimal aspect and ambient side. This [ OST ] is huge guys. I sat with it last night and gave it a thorough listen. It was such a knock out that I could barely woke up afterwards. If I have to pick up on names… top of my head I’d say [ Deaf Centre ] ~ [ Nest ] ~ [ 36 ] ~ [ Byla ] and the likes but extremely subtle and minimal though.
Artist – Amnion
Album – Yukoku Original Soundtrack [ * * * * * ]
Release Date – 2009
Genre – Instrumental, Minimal, Ambient, Subtle-ambient, Minimal-ambient [ ABSOLUTELY GORGEOUS ]
1. “YUKOKU” ORIGINAL SOUNDTRACK by AARON EMBRY Part 1 of 3 [ 08:15 ]
2. “YUKOKU” ORIGINAL SOUNDTRACK by AARON EMBRY Part 2 of 3 [ 10:29 ]
3. “YUKOKU” ORIGINAL SOUNDTRACK by AARON EMBRY Part 3 of 3 [ 10:13 ]
————————————————————————————————————————————————————– Amnion – Yukoku [ OST ]
Artist – Amnion
Album – AmenNamO
Release Date – 2008
Genre – Instrumental, Minimal, Ambient, Subtle-ambient, Minimal-ambient [ ABSOLUTELY GORGEOUS ]
1. Praise god For the Light Within Me 07:08
2. a TON 06:04
3. Here Goes Nothing 04:38
4. All the Way 05:02
5. Heart Breath Magick 05:36
6. I M U Is WE R 1 07:56
7. 1 LOVE 03:18
8. The Rake’s Progress in Lost and Jealous 03:01
9. Keep In Touch 03:25
————————————————————————————————————————————————————– Amnion – AmenNamO
The Watermark High is the alias of Johannesburg based experimental electronic musician and producer, Paul van der Walt. The Watermark High’s sound typically evolves around the marriage of acoustic & synthetic instruments, beats, field recordings, melodies & loops, to create evocative electronic collages.
The Watermark High has been pushing his wide-eyed, water-coloured tracks for a few years now, although he sees 2012 as his true, focused beginning, through the release of his aptly titled new EP, “In Flux”. Essentially, this new release is a glimpse into The Watermark High’s future. Paul maintains the dreamy, layered tones of his previous releases, but evolves into a full electronic realization in both production and live performance.
[ In flux ] Earlier this year I came across [ The Watermark High ], a project I instantly fell in love from the word go. Like everyone or at least most of us, beautiful music’s is generally something that takes us to places, a bridge that separate this world and the other side or a path that connects reality and visions. [ The Watermark High ] acts as the transporter and make it easy for us to cross that bridge and to reach to places only our mind can envision. There is a handful of artists who inspired me in ways [ The Watermark High ] has, to name but just a few, among are [ BVDUB ] ~ [ The Field Rotation ] ~ [ Lowercase Noises ] and the likes.
I have a bit of an obsession with the Teenage Mutant Ninja Turtles. I’m an 80s kid and it was, hands down, my favourite cartoon/comic book of my childhood. It still is today. The original 1990 live action film blew my mind back then and it remains one of my favourite movies of all time. I was really excited when I heard that they were making a new live action film, until I started reading and seeing reports like [ THIS ]. It made me watch and fall in love with the first movie again. Cheesy as it was, how would they beat this? [ THIS ]?
I own the original film’s soundtrack on vinyl (and the movie on DVD and VHS – yep, I wasn’t kidding) ☺ and decided that it would be fun to remix/rework something off the soundtrack. I decided on a track called “Shredder’s Suite”. If you’re familiar with the film, you’d definitely recognize it. If not, refresh your memory [ HERE ]. So, I made my remix using samples from “Shredder’s Suite” off the vinyl soundtrack as well as various sounds and dialogue from the movie itself (sampled off the DVD). I tried to keep external sounds to a minimum. Pretty much just the bass and drums were added.
It’s a 7 minute track that, in my mind, is a mini-mix of three sketches – the first “action” bit, the middle “evil” bit and the “emo” outro part. I was considering releasing them separately but I eventually decided that they worked better as one piece. I hope you enjoy, it was a lot of fun to make. If you like it, please download it or share it. Whoever owns the TMNT franchise, please don’t sue me. It was made with Turtle love.
Artist – The Watermark High
Album – Bright Black EP [ * * * * * ]
Release Date – 2014
Genre – Instrumental, Ambient, Electro’, Down-tempo [ ECSTATIC ]
1. Saudade 04:17
2. Muddle 03:59
3. Weak End 04:13
4. (W)hole 03:33
5. Welcome To The Resistance 03:08
6. The Outsider 05:17
GET IT The Watermark High – Bright Black EP
Artist – The Watermark High
Album – In Flux [ * * * * * ]
Release Date – 2012
Genre – Ambient, Electro, Soft-tronica, Post-rock, Slow-ambient [ ABSOLUTELY BEAUTIFUL ]
1. The Disconnect 03:32
2. Questions Without Question Marks 03:44
3. Everything Else Is Just Fog 03:18
4. Contradicting My Arm 04:20
FREE DOWNLOAD The Watermark High – In Flux
Brooklyn instrumental math-rock trio Turing Machine (so named in honor of the hypothetical machine designed in 1936 by British mathematician Alan Turing which is the foundation of modern theories of computation and computability) reunited guitarist Justin Chearno and bassist Scott DeSimon, who previously teamed in DC noise combo Pitchblende. After Pitchblende disbanded in the wake of 1995′s Gygax!, Chearno and DeSimon relocated to New York City, teaming with ex-Vineland drummer Gerard Fuchs to form Turing Machine; channeling influences as vast as vintage prog, Krautrock and post-punk, the trio issued their debut album A New Machine for Living in early 2000
[ Zwei ] ~ Intense is the best word I can think of for this band. Carefully balanced on the edge of math rock and post-rock, if the difference even really matters this group made a most fantastic instrumental album. The name Turing Machine is apt for a math rock band, for as wikipedia claims “turing machines are extremely basic abstract symbol-manipulating devices which, despite their simplicity, can be adapted to simulate the logic of any computer algorithm.”
Additionally, Zwei is the German word for two, which is good for a second release. Now, beyond the nerdy appellations are some clearly talented musicians. They hail from New York City, yet 2/3 of the band are by way of D.C. were they were members of the noise rock group, Pitchblende. The remaining member was the drummer for Vineland. Also, guitarist Justin Chearno also plays in Panthers, so like these fellas get around. The songs on Zwei are best listened to in order, for the rhythm sometimes carries over from one track to the next to give it a long epic feeling (I love that shit). Furthermore, the music possesses enough influences of kraut rock and post-punk that give it extra appeal. If this all wasn’t adequate, the first track is called “(Dr. R. Von) Poodles” which has got charm to itself.
[ What Is the Meaning of What ] ~ Following an eight-year hiatus, Turing Machine will release a new record called What Is the Meaning of What on May 8 through Temporary Residence. It’s their first album since 2004′s Zwei. The band initially began recording the record in 2008, but halted the process when drummer Jerry Fuchs [ who also played with !!!, the Juan Maclean, Maserati and others ] died a tragic death in 2009 after falling down an elevator shaft. His work on the new album marks his last recordings. Revisiting the basics of the record last year, the remaining members of Turing Machine called in LCD Soundsystem’s Pat Mahoney, Disappears’ Brian Case and a number of other DFA friends to help out. Download the streamlined dance-punk cut “Slave to the Algorithm”, off the new record, over at RCRDLBL.
< < < < < [ 2014 Title What Is The Meaning Of Remixes ]. > > > > >
Long-running Brooklyn instrumental trio Turing Machine suffered a major loss with the tragic death of their drummer Jerry Fuchs in 2009. Along with providing the pulse for Turing Machine since their 1998 inception, Fuchs was a busy guy, splitting his time drumming for !!!, the Juan MacLean, Massive Attack, and others. His busy schedule, along with the extracurricular activities of other Turing Machine members, had pushed the group into a prolonged backburner status. At the time of his death they were in the process of recording what would be their third album, following 2004′s Zwei. What Is the Meaning of What, completed posthumously in the years that followed Fuchs’ passing, represents his last recorded work, and presumably the final output from Turing Machine. The album was completed with help from members of LCD Soundsystem as well as other friends connected with the DFA roster. This connection is apparent, as a heavy DFA influence runs throughout the album’s seven tracks, from the constantly propelling disco-punk beats to the sleazy, repetitive guitar lines.
The hard synth programming of “Slave to the Algorithm” meets with robotically precise live drumming. The Krautrock influence is still strong on songs like this one, as well as the one-note sprawl of “Lazy Afternoon of the Jaguar” with its Harmonia-esque guitar washes. Likewise, the textural interlude “Sex Ghost” breaks up the album’s churn with two minutes of glacial walls of synth not unlike the more distant Cluster moments. The eight-minute “If It’s Gone (It’s On)” is the album’s only flirtation with vocals, featuring Disappears vocalist Brian Case shouting a mantra behind the song’s building computronic rhythms. The pounding four-on-the-floor beats and live band techno flourishes update the math rock of Turing Machine’s early days, transforming their earlier ear for showy time changes and trickery into an unraveling of various hypnotic subtleties. It’s sad to think that this is the point in the group’s evolution that marks their final chapter. Even with years between albums and the tragic loss of a key contributor, the band’s sounds are more locked in, realized, and focused on the same relentless track than ever.
Artist – Turing Machine
Album – What Is The Meaning Of Remixes
Release Date – 2014
Genre – Post-rock, Math-rock, Krautrock Influence [ DO NOT SKIP ]
1 If It’s Gone (It’s On) [Al Doyle Remix]
2 Lazy Afternoon of the Jaguar (Still Going Remix)
3 Slave To the Algorithm (Lovelock Remix)
4 What Is the Meaning of What (Jee Day Remix)
————————————————————————————————————————————————————– Turing Machine – What Is The Meaning Of Remixes
Artist – Turing Machine
Album – What Is the Meaning of What [ * * * * * ]
Release Date – 2012
Genre – Post-rock, Math-rock, Krautrock Influence [ DO NOT SKIP ]
1 Yeah, C’mon! 5:56
2 Lazy Afternoon of the Jaguar 5:49
3 Slave to the Algorithm 6:22
4 Sex Ghost 2:01
5 What Is the Meaning of What 4:48
6 If It’s Gone (It’s On) 8:04
7 Bovina 2/23/08 6:59
————————————————————————————————————————————————————– Turing Machine – What Is the Meaning of What
This release is described as a concept album in which the main ‘character’ a male in his normal form is trapped in a gigantic machine-world that is revealed as a woman (or a woman in the form of this machine). Where all the tracks are represent a journey through this unfamiliar ‘world’. Each chapter implies the understanding of the protagonist’s journey. The first chapter is the awakening and realisation of the machine’s existence. The second chapter is the struggle for escape and the last the understanding that there is no way of doing so. Bearing the above in mind I’m aiming to see if the music can conjure the up the feelings or visual representation of this plot to myself as the listener. So without further ado (and lacking popcorn) I’ll begin.
Chapter I: Wanderer
The first track aptly named ‘Outcast’ begins with a distorted orchestral build up fusing cellos, triangles and sparse kick drums. Cellos for me can easily bring a sense of sadness which can easily be related to an ‘outcast’ but not necessarily a ‘wanderer’. However, I find the piece quite pleasant and it fits well enough to the theme for me. The second track ‘Machine (Phase I)’ starts rather abruptly and utilises classical strings to an almost ear-piercing level with engines, slamming and whirring clock cog samples with underlining ambient atmospherics which make it almost impossible not to imagine machinery in action. Machine (Phase II) brings in the percussion and begins to pull the ambient atmospherics to the fore front dropping the samples as the horn section takes over. For me this adds to a sense of foreboding and is quite cleverly constructed However, I lost the sense of the mechanical world.
Chapter II: The Adder
The track begins with dark gloomy synths and rolling percussion before the accompanying cello and fits aptly to the title of the track ‘Trap” the enveloping sound certainly brought a sense of claustrophobia from within me (whether this is something ingrained into the psyche from film, television and theatre is another discussion). The title track (well the first movement at least) begins with soothing piano soon accompanied by a distorted and elongated classical drone which serves to confuse the senses i.e soothing piano, irritating drone but when the strings begin and even though the track never really settles I find myself beginning to enjoy the piece. This chapter finishes with the track ‘Vengeance’ where the previous theme continues but with distorted percussion and when it drops plucked strings are utilised to great effect before the strings and percussion amalgamate before tailing off again at the end.
Chapter III: Ancient Riddle
The first track is this chapter ‘Poisonous Well’ begins with chimes dropped over an ambient drone and sections of compressed drums with layers of synth sounds which add an electric guitar feel in places. This leads nicely into the 2nd movement of the title track, where we return to the melancholic cello and ambient atmospherics. The final track ‘Of Betrayed and Betrayers’ utilises orchestral bass chords and chimes which adopt a classic sense of walking or indeed wandering and searching (which I can’t help feeling would have suited the theme of the first Chapter). The notes get deeper and seem to almost overlap adding a slight intensity as strings clicks and (I’ll hazard a guess at) an elongated sousaphone are added which at first drew a feeling of anxiety but soon levels out bring a more soothing feeling achieving the sense of acceptance.
To summarise this album is cleverly constructed over a period of time and fits the theme of the proposed subject matter. Is it an album I’d return to again and again to be honest probably not? However, it was an interesting and somewhat dark journey which draws on emotions so that I felt was worth spending the time to experience.
Artist – Abstractive Noise
Album – Of The Adder’s Bite [ * * * * * ] X 10
Release Date – 2013
Genre – Instrumental, Ambient, Post-rock, Experimental, Cinematic, Contemporary-classic [ AWESOME ]
1. Outcast 05:35
2. Machine (phase 1) 02:37
3. Machine (phase 2) 04:28
4. Trap 05:20
5. of the Adder’s Bite (1st movement) 04:34
6. Vengeance 06:16
7. Poisonous Well 05:08
8. of the Adder’s Bite (2nd movement) 03:09
9. of Betrayed & Betrayers 09:57
BY ALL MEANS GO GET IT Abstractive Noise – Of The Adder’s Bite
Artist – Abstractive Noise
Album – Mind Corrupter EP
Release Date – 2009
Genre – Glitch, Electro’, IDM, Glitch-core, Experimental [ AWESOME ]
1. mind corrupter vol.I 04:38
2. mind corrupter vol.II 04:29
3. mind corrupter vol.III 05:34
FREE DL Abstractive Noise – Mind Corrupter EP
With their steady ebb and flow of warm, effects-laden sounds, northern California’s Whirr [ Formerly Whirl ] give the sounds of 90s shoegaze a widescreen update for the post-millennial era. The young sextet’s walls of lush guitars, breathy vocals, dreamy synth and thunderous drumming propel listening ears into a near-cinematic realm where instantly catchy melodies and emotional, enveloping atmospheres hang perfectly in the balance.
[ Distressor ] ~ Okay, so let’s get this out of the way right off the bat. This may be the most attractive cover for an album released all year, but I suppose we can thank Nicole Kidman for that and not just Whirl. With that said, let’s get to the actual album itself. Distressor is the debut EP released by North California shoegaze band, Whirl. After receiving some acclaim over their demo tape earlier this year, Whirl decided to give it a go right away, and that is what this effort is. And for a first effort, oh man, how really wonderful it is.
The good-sized EP kicks off right away with an introduction to their sound of sorts in Preface, with Nicole Kidman whispering a sampled line of dialogue from Eyes Wide Shut over fuzzy, circa-1988 guitars. For an introduction, it works fairly well, and we find the album moving quite steadily along into the much more structured, these-guys-have-definitely-been-listening-to-a-lot-of-Slowdive song Leave. It was originally one of the songs to make it from the demo tape, and here it gets a nice refurbished touch. The tune is fairly memorable, assisted in large part by the band’s faded-out, male-female vocals giving it some traction.
After Leave, the EP gives way to Blue, a much heavier track that puts large focus on the pounding drums — which, for a shoegaze song, is rather refreshing. Again, we have the traditional male-female vocals wailing away in the background behind the quite noisy feedback-laden guitars. However, it should be pointed out that the vocals Whirl provides aren’t strictly of the My Bloody Valentine strain, for all their other influence. Instead of just whispering the vocals sleepily a’la MBV, Whirl actually puts a lot of effort into passionately singing the vocals, and this ends up making the EP sound very sincere.
The melancholy is increased in Ghost, which is a shining example that there are good song structure melodies hidden beneath all the warm noise. The only lyric I discerned out of the vocals on this track was “stay with me,” but that’s enough to capture your heart with tunes like this. Meaningless kicks off with a much quicker tempo, and it sounds as if My Bloody Valentine decided to cooperate with Sonic Youth for a noiser and faster-paced version of “Teen Age Riot,” which sounds rather great if you were ever curious, as Whirl doesn’t hesitate to point out.
Child, very next on the line-up, is the most directly My Bloody Valentine-influenced track on the EP. At the start and at the end, it quickly reminds of “Only Shallow” from the classic Loveless album, but between, for the remainder of the track, it doesn’t contain much memorable flavor to it. Closing the EP out, we enter the phenomenal Sandy to the sound of an acoustic guitar coming in, quite unexpected this far into the game. But have no fear, if you are still craving fuzzy guitars they come in soon after to join the acoustic, and a rather front-and-center female vocal track does much to give the track something original. This progresses for about 5 minutes, quietly ending the EP to the sounds of waving ambience.
For a first effort, Distressor is certainly promising. In an age where shoegaze is seemingly making a come-back of sorts, after listening to this EP, a new talent seems to have arisen to join the ranks of The Pains of Being Pure at Heart and Asobi Seksu. Whirl has made a very listenable debut.
However, while the EP is a fairly solid and very enjoyable listen, with some stand-out tracks, it does have some drawbacks. Firstly, and perhaps most easy to spot, is this EP has very little originality to add to the genre. Yes, yes, a little much to expect with a first release, so we can hold out hope the second one has more of a spark of ingenuity to it. Secondly, a good amount, if not most, of the songs on this EP are rather static. They don’t really grow, or change, and while it’s nice and certainly enjoyable to listen to, a more focused and varied approach may do Whirl’s future release some good.
With all that being said, I would certainly recommend this pleasant listen to fans of My Bloody Valentine, Slowdive, or Sonic Youth. While borrowing much from what has come before, it gives hints here and there (Leave, Blue, Sandy) of refreshing breaths of new air into the genre of shoegaze. Especially recommended for late-night listening!
[ Desert of Hiatus ] is a minimal ~ experimental ~ drone project of [ Kevin Gwozdz ] from [ PORTLAND, Oregon, United States ]. Desert of Hiatus AKA [ D.O.H ] sound is completely layered on dark-ambient, subtle sound effects and deep sadness thus leaving echoes in your mind all the time. Absolutely beautiful and haunting.
Up To Date Discography:
2014 – Inconsolable Grief
2013 – Eros
2012 – Unreleased and Singles
2012 – Compendium
2011 – Fences
2011 – The Meaning
2011 – Restorations [ EP ]
2011 – The Desert Of Hiatus [ EP ]
2011 – SPLIT “EP” With [ Paper Armies ]
“Fences” by [ Desert Of Hiatus ] iss released on a digital format as well as CD format. The Digital Download is set on [ Name Your Price ] on BandCamp and CD Format is released on a limited edition of 50. Whether or not there is a plan to press more that we don’t know but I would on this particular case strongly advise all minimal-ambient / ambient-drone diggers to get their hand on a physical disc. Listen for yourself though. BRILLIANT 13 tracks CD to sleep on and you BET it’s an exquisite journey.
And here goes another KILLER update you don’t want to miss out on. This album was originally inspired by Anne Carson’s literary criticism, Eros: the Bittersweet. However, after much deliberation on the topic that is Love, there yielded no conclusive data. It happened to me, the bastard Eros had actually shot me, the triangulation began and after a couple of tattoos and flutterings in my chest I felt responsible to worship what is glukupikron – sweet bitter. The contrapasso that is Love. As it aims to be both sweet and bitter simultaneously, living on the same plane.
Credits / Released 12 October 2013
Music & Poem – Kevin Gwozdz
Voice & Triangle Drawing – Ashley Wilson
Design & Lay out done by Reid Stubblefield.
Inconsolable Grief is Desert of Hiatus’s first release of 2014. An album that is a response to process itself and how feelings that cannot fully be processed are sublimated into something new but the result always feels, empty. From this hollow space dawns the idea that it is the process it took to get here that is true catharsis and the ending result is so distant from the original feelings that were excised to create it, feelings that became repurposed that are empty yet still take up space.
Artist – Desert Of Hiatus
Album – Fences [ * * * * * ]
Release Date – 2011
Genre – Ambient, Drone, Minimal, Experimental, Minimal-ambient, Post-rock [ EXQUISITE ]
01. I Know You Don’t Sleep 02:34
02. Lyutsiana (Is Still Dead) 03:32
03. Novgorod 01:56
04. God Drives A Glass Bus And Does Not Give A Fuck 04:26
05. Jesus Drives A Chrysler And Does Not Give A Fuck 05:16
06. A Thousand Miles From The End of The World 03:15
07. We Are A Wild Misconstruction of Thoughts and Feelings 03:41
08. The Homeless Man Has Put White Noise On The Radio 03:06
09. Celestial Pornography 03:40
10. We Are Going To See The End Of The World 05:26
11. Immortality Is The Most Lonely Gift 08:29
12. Dear Dasha, I Am Sure That You Still Exist 07:10
13. You Are Not Waving From The End 03:08
————————————————————————————————————————————————————– Desert Of Hiatus – Fences
Artist – Desert of Hiatus
Album – The Desert of Hiatus [ EP ] ( * * * * * )
Release Date – 2011
Genre – Ambient, Drone, Minimal, Experimental, Minimal-ambient, Post-rock [ EXQUISITE ]
1. New Rose, A Dead Flower Part I 02:10
2. New Rose, A Dead Flower Part II 03:02
3. New Rose, A Dead Flower Part III 04:54
BANDCAMP ~ Desert of Hiatus – The Desert of Hiatus [ EP ]
Artist – Desert of Hiatus
Album – The Meaning [ * * * * * ]
Release Date – 2011
Genre – Ambient, Drone, Minimal, Experimental, Minimal-ambient, Post-rock [ EXQUISITE ]
1. The Meaning of Love 03:53
2. The Meaning of Flight 04:46
3. The Meaning of Sound 05:40
4. The Meaning of Nature 03:46
5. The Meaning of Space 04:22
6. The Meaning of Time 07:54
7. The Meaning of Sleep 05:42
8. The Meaning of Life 07:31
BANDCAMP ~ Desert of Hiatus – The Meaning
TheSirensSound aims to assist the avid music fan by facilitating the download process of the world’s best contemporary and underground bands (most of which have become inaccessible or near hard to find). All links are provided by a dedicated community that offers the music for both research and recreational purposes and which is not hosted on this server.
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Grey Storia [ Martonic ].
GREY STORIA - BIOGRAPHY
Since the fall of 2009, when they first met, guitarist Paul Gemignani and drummer Daniel Hogans have been jamming together in garages and bedrooms. After much of their jam sessions started to become more drawn out instrumental pieces than anything else, Paul and Hogans started slowly constructing original compositions. Then after the encouragement of family and friends, they decided to lay down some of their original tracks in the Spring of 2011 at Bandwagon Studios - cutting 3 live demo songs under the band name, theLakeSuperior. After having warm feedback and positive comments about the 3 songs, they decided to move forward as a band, working on more material and playing when they could.
Then in the Fall of 2012 they took on the task themselves, under the bands new and official name GREY STORIA, of recording, mixing and mastering their first Album EP, MARTONIC. Officially releasing it under the bands own label - 14 Tower Records. The fact that we set out on the process of recording, mixing and mastering our first EP by ourselves was probably not the brightest idea but wow did it teach us a lot when it comes to composing new songs and working as a band.
It is probably the hardest thing we have ever endeared musically thus far and although it's not the prettiest album to hit the shelves this year, we think it's a good, first step. Besides, music is supposed to be fun, which it was for us when making this album and we learned a bit along the way. Now, using what we know, expect to see us playing just the music and letting someone else do the recording and producing next time!"
< < [ GREY STORIA ] Latest Official Music Video "ESCAPE" ]. > >
Looks like [Gray Storia] have selected the perfect piece for a music video. The appropriate title "Escape", present itself as the perfect testimony to this instrumental finesse. It begins with an emotional electric guitar note, impersonate the constant shimmering line as it slowly settles into a steady groove. Each rhythmic line of the guitar and the drums gently compels one another and cautiously teasing until each one explodes into their own new forms. You might want to get this album guys, that is if you haven't yet.
Track 1 – Invade
Track 2 – Requiem
Track 3 – Escape
Track 4 – Nightmares
Track 5 – Destroy
Track 6 – Home
The Martonic EP, fuses warm guitar tones with pulsating drums, creating multi-dimensional soundscapes that are organic throughout inception and delivery -beckoning the listener to join. Currently the band is working on material for a second EP and planning show dates in the U.S. for the year 2013.
Arms of Tripoli: Based out of Los Angeles, CA and originally formed in July of 2011, Arms of Tripoli continues to be an ever-evolving and uniquely independent instrumental band. After parting ways with longtime friend Brian Vasallo (Signal Hill) in late 2012, the remaining core, consisting of Michael Bouvet, Robert Bauwens and Jaime Galvez, welcomed the arrival of George Tseng on drums and recent Buffalo, NY transplant, Vic Lazar. George had worked mixing and mastering on the previous EP release "All the Fallen Embers" and was formerly a bandmate with Michael in "The Half Mantis Group." The addition of his full time drumming in Arms of Tripoli was a logical step for the band. Vic having recently moved to the Los Angeles area, auditioned for the group in December of 2012 and they all instantly developed a camaraderie. The quintet immediately found natural chemistry and started working on new material that would eventually become "Dream in Tongues," the highly anticipated AOT full length follow up album.
Since its humble beginnings, AOT has pioneered the art of instrumental rock, utilizing a non-conventional format to creating innovative and timeless sounding indie rock music. Not easily pigeonholed, Arms of Tripoli has often been dubbed post-rock and math-rock, due to their progressive tendencies and dynamic and layered sound. Using some standard rock fare such as guitar, bass and drums along with the addition of less-typical rock instrumentation, such as Vibraphone, Rhodes and Omni-chord, AOT has been able to stand out amongst the sea of post-rock and carve out a niche all its own. At the heart of their sound is well written songs with very catchy melodies, at times melancholy and often cinematic while being free of over indulgence.
Following the 2012 line up revision, Arms of Tripoli has played regularly in the greater Los Angeles area, having garnered opening slots for the likes of Maserati, Felix Martin, Glaciers, Rob Crow's Gloomy Place, and A Minor Forest and earning the respect of the LA indie and post-rock community. Set to release its first official full-length album entitled "Dream in tongues" on Fluttery in 2014, Arms of Tripoli also has goals to take to the road, hoping to extend its reach regionally. The newer direction of AOT's sound reflects a maturity and a willingness to experiment and push their sonic envelope into new and exciting territories.
and Robert Bauwens
Formed: July 2011 | Residence: Los Angeles, CA
Arms of Tripoli first full length album is nothing short of a spectacular sonic masterpiece, characterized by layer upon layer of dream guitars, spread out like a deep field panoramic picture from the Hubble telescope. With this album, the band pushes the boundaries of not only the margins they set for themselves with their debut EP (All the Fallen Embers), but of the instrumental music genres in which they are often classified as well. Again the band collaborated with fellow musicians who lent their own interpretation and vision of the songs to the recording, helping to further shape and structure the overall album.
Dream in Tongues is a unique representation of the evolution of the band in both its musical style and composition techniques. The individual musical idiosyncrasies of each member, along with the additional musical collaborators, all mesh thoroughly into a refreshingly modern approach to the post-rock genre, resulting in an aural delight that is sure to enchant and captivate!
released 21 February 2014
Recorded at Neuform Studio, Los Angeles 2013
Recorded, Mixed and Mastered by George Tseng | Produced by Arms of Tripoli
[ Dream In Tongues ].
Just like how the album gets straight to it, we’ll also tag along without beating around the bush. The one thing I like the most about this new title is the band competency in song writing that are undeniably cheerful with a dash of humbleness, which gives them just the right sort of kick.
[ Dream In Tongues ] open’s with “Miniature Habitats” which is an upbeat tune with a sweet sweet sweet melody, but there's also a touch of head nodding melancholy lurking in the background which lead you to instantly believe that these guys have some of the best instrumentation abilities. Followed by “Velcro Thunder Fuck”, this piece takes the album even further characterizing itself with a light wall-of-sound style but with an integration of rhythmic guitars and distorted waves. By the time you reach “Scraping Skies” and “Escalator Jazz” Arms Of Tripoli had already drifted away from a shoegazing roots and turned to a more harmonious sounding, however, there’s still a strong emphasis on their rhythmic guitars and fuzzy / sleepy style, so perhaps it was just an attempt not to have a monotone listen which turns out exceptionally great.
“10th Graders Forever” would have worked great as an ordinary low-end math-rock song with a decent melody, but instead of the usual instrumental piece the band orchestrated it with the subtle guitar fuzz at the beginning and then progressively expanded on the texture with a whole barrel of modeling guitars riffing. As a result, they’ve created a gifted and a rich original, absorbing texture which is simply ecstatic.
Then come’s “Canna” which is a sparkly piece with dense instrumental post-rock waltz and instrumentation that shines so much that the sounds almost feels like it's made out of crystal. This is one solid album guys, solid in terms of the texture variety it has to offer and the dreamy / fuzzy atmosphere it brings to the table. “Snowed In” on the other hand is where the band literally stamps their distorted signature on this cover. If not “Miniature Habitats”, “Snowed In” is most likely one of the most memorable song here, characterized by its rather heavy, tribal-esque drumbeat that runs crazy throughout.
“Addendum” is where you realize that all along you’ve been listening to a different kind of instrumental shoegaze sound. I know shoegaze are usually characterized by wall-of-sound, fuzzy atmospheres and dreamy vocals, but seriously… if I were to compare this album to one of the most notable band of the 80’s and 90’s I’d say [Moose] straight away. “Ahs a Vahs a Vae” is so well-produced, and so tuneful that they're like drifting stars from the sky. Don't believe me? Take a listen to the entire album for yourself. There’s so much of creativity on this album that I am speechless.
1. Miniature Habitats 06:37
2. Velcro Thunder Fuck 03:07
3. Scraping Skies 04:34
4. Escalator Jazz 05:19
5. 10th Graders Forever 05:20
6. Canna 05:53
7. Snowed In 04:02
8. Addendum 05:19
9. Ahs a Vahs a Vae 07:37
Summing up… If I were to select three favorite tracks on this new set, truth be told it will be the most intense dilemma as ALL movements on this album is totally outstanding, but if one were to stick a gun onto my head and say pick your favorite three tracks or die I’d quickly say “Snowed In”, “Miniature Habitats” and “Canna”. Again the ENTIRE album speaks for itself, but those three tracks are without doubt top-notch pieces. [ One Of 2014 TOP ALBUM SO FAR ].
Australasia is an instrumental duo focused on creating atmospheric tunes with experimental solution. Experimental' in this particular instance is not meant as "Sophisticated" but instead it's a rather well maintain a focused attitude, with expressive but concise songs that reveal a minimalist sensitivity. Gian's heavily distorted guitars and Rico's fast drumming, mixed with mellow sounds and 80's synths, are used for no aggressive purpose but to add the deepest shades to the recordings.
Aims And Destinations:
Australasia is a childhood spent listening to Ennio Morricone's soundtrack: a youth on the sharp edge of the underground, extreme metal scene: a whole life sunk into the post-rock molten wax with strong fascination for the sound of vintage synthesizers. This is the place where unusual soundscapes come to life: ethereal guitars mix with blast beat drums and black metal riffing, giving birth to strange and fast-flowing tunes. Subterranean streams alternate with tidal waves, turning into cinematic pictures that can last just the blink of an eye. A path distant from the typical instrumental music clichés. This is "Sin4tr4", our way.
Include the likes of [ Red Sparowes ] ~ [ At The Gates ] ~ [ Joy Division ] ~ [ Angelo Badalamenti ] ~ [ Mogwai ] ~ [ Pelican ] ~ [ 35007 ] ~ [ Hammock ] ~ [ Boris ] ~ [ ISIS ] ~ [ Rothko ] ~ [ Cult Of Luna ] ~ [ Alcest ] ~ [ Lymbyc System ] and the list goes on...
[ Vertebra ] Update ]
"Vertebra" is Australasia's sophomore record after the EP "Sin4tr4" (2012). It represents a descent into the deepest core, a musical and evocative journey made of mellow guitars, blast beat drums and retro synth cascades. These different components are not simply juxtaposed each other but come together in a unique blend where different souls coexist and enrich each other. Also appearing on the album: Mina Carlucci and Giuseppe Argentiero of “Vostok”. The dutch visual artist Tim Van Helsdingen created a video clip for the track “Antenna”, available on all the major video platforms on the internet.
If Black-metal usually gives you the feeling of being distress I’d say think again because it’s definitely not the case with [ Australasia ]. Listening to “Vertebra” as well as “Sin4TR4” is to experience a smooth transition from darkness, and despair to a world of beauty and harmony. “Vertebra” resonate around 10 blissful songs with a total duration of thirty-five minutes and a scenario of an artist who is about to paint his master piece.
We all know monikers such as [ Alcest ] and [ Amesouer ] are artists who literally brought forward the concept of Black-metal and Shoegaze together. The two in matrimony result in a post-gazing / post-black metal atmospheres. Stepping further [ Australasia ] extend that very end result that is already outstanding and breath-taking even deeper with small adjustment of hums, spoken lyrics and vocals.
All tracks on “Vertebra” are done to perfection as you can distinguish the sequences falling right in to place. The euphoric exaltation triumph from ashes and delight emotions through an overwhelming sensation prevails from nowhere. For the band itself it’s more like a standard practice as their shimmery clean melody comes at ease. [ Australasia ] has a wonderful hang of summing up emotions and dreamy atmospheres typically through clean riffs, drumming and a catchy form of metal that are next to perfection.
Most part of the album is rather straight forward but in terms of overall structure it's a nothing but a beautiful set up that brings together various elements from post-rock to post-metal and black-metal. Let it be from an emotional point or from an instrumental view the blend is truly impressive from both ends. Again… HIGHLY RECOMMEMDED.
01 - Twin Peaks Theme [ 04:20 ]
This is the latest Single by [ Australasia ] title “Twin Peaks Theme”. It’s quite adventurous as oppose to [ Australasia ] previous releases and definitely give you the feels and the need for more. To bad it’s a Single but stay tune for more to come on AWESOME [ Australasia ] sound
The launch of [ Alma Danada ] page takes place today and I admit this is a bit of an unusual post / writing but in case you wondering, please allow me to shed some light...
[ Alma Danada ] is a UK-based daily Internet publication powered by The Sirens Sound in the aim of promoting and advertising Portuguese artists on a bigger scale. The site goal is to assist artists that are predominantly based in Portugal. In other words, although the content of this page is in English the artists themselves are Portuguese artists.
Although Alma Danada content is strongly based on independent musicians, especially post-rock, experimental, mod-classical and ambient, the range of musical genres that the site covers stretched as far as reaching down-tempo, contemporary folk, classical, instrumental and several forms of electronic outfit.
Alma Danada also offers various form of premium advertising to artists, recording labels and webzines media section, however the site remains’ a “non-profit” platform and its server cost as well as its hosting expenses and other associated form of maintenance are covered by premium advertising.
Moonlit Sailor is a young band from a city in Sweden called Borås. The band started out as an indie rock band in 2006 but later developed into an instrumental indie-postrock band. The band released their new album entitled ‘A Footprint Of Feelings’ in May-2008 and they also did a two week European tour in June 2008.
Reviwers have been blown away with Moonlit Sailor’s melodic, emotional and captivating sound and a lot of good reviews of the album have been written with strong words like; “Success!” and “One of 2008’s best post-rock releases!”
Band Members Includes:
[ We Come From Exploding Stars ].
Already having received well-deserved critical acclaim for pioneering an entirely new dimension of the post-rock genre, the four Swedes better known as MOONLIT SAILOR have done it yet again on "We Come From Exploding Stars." Their fourth album is, without question, a big step for the band. Although they are still a young (granted they have an impressive catalog of songs), they felt like they needed to navigate into new waters without straying too far from their roots. They have always written music that gives the listener hope and light...which is exactly what they brought with them into these new seas. Firmly entrenched in the quasi-pop / post-rock foundation they are known for, the Sailors continue to expand the blueprint for the future of post-rock. They've mastered the overlap of indie and post-rock...and beautifully so. From the melodies you think you've heard before (but haven't), to the arpeggios that swallow you whole, to the powerful crescendos that devastate your senses, their music is a prime example of just how effective instrumental music can be. Devoid of all lyrics, the music alone speaks for itself...and it speaks volumes. Deep Elm Records is stoked for Moonlit Sailor's new full-length to be our first release of 2014, which marks our 19 year anniversary as an independent record label.
"We knew that we wanted to do something new and fresh this time, but didn't know exactly how to do it. That was kind of scary,” says bass guitarist Markus Rundlof. Rundlof continues "Some of the songs are metaphors for how we felt back then, with elements of vulnerability, uncertainty and mystery...but at the same time they give you a feeling of hope and light. When listening to the album, we want people to have a vision of the sailor featured on the cover art, navigating into new waters and eventually finding a new home. Other songs are metaphors for pushing your limits and trying new things. What we discovered in the songwriting process is that when you decide to release control and finally jump, you see the world from a new perspective and it's liberating." "That approach gave us a lot of creativity. We've never experienced such creative atmosphere in the band before and it never felt better. We knew we were onto something special. Suddenly we had hundreds of different ideas to pick from. It was exciting to select which ideas and songs would work together to best convey our belief that human beings come from exploding stars,” adds guitarist Joakim Wiik.
Moonlit Sailor is Adam Tornblad (drums, piano, guitars, synthesizers, programming), Markus Rundlof (bass guitar, piano, programming), Oscar Gulbrandsen (guitar, piano, synthesizers, programming) and Joakim Wiik (guitars, piano, programming). "We Come From Exploding Stars" was recorded at Nacksving Studio (Dorena, Immanu El, Neneh Cherry, The Spotnicks) in Gothenburg, Sweden from September to December 2013. The album was recorded, produced and mixed by Anders Lagerfors (also of the band Obliq) and mastered by Martin at Cutting Room (In Flames, Red One, Dungen, Mando Diao) in Stockholm. Album artwork by Alexander Jansson. Band photo by Sebastian Tornblad.
01. Minutes From Somewhere Else 06:42
02. Skydiver 05:11
03. The Golden Years 05:38
04. From Gemini To Lynx 04:19
05. Into The Fray 02:18
06. Dollar Underwater 04:00
07. Sworn To Secrecy 05:28
08. Paris 03:46
09. 4.15 AM 05:35
10. A Century Under The Influence 05:59
11. Album Preview: We Come From Exploding Stars 09:19
A video for the song "Skydiver" is currently in the works with plans for release as the band begins touring in support of the album in May. The band's music has appeared in scores of television shows, commercials and films, most recently in the trailer for the romantic comedy "Love Is In The Air" by director Alexandre Castagnetti (Focus World). Previous albums include "Colors In Stereo" (2011), "So Close To Life" (2009) and "A Footprint Of Feelings" (2008) which have also been released on Deep Elm Records. Adam Tornblad and Oscar Gulbrandsen are also members of cinematic post-rock duo U137. The band resides in Boras, Sweden where they often experience weeks without sunlight.
By Appointment to Her Majesty the Queen and to Their Late Majesties King George VI, King Edward VII, King William IV, King George V, Queen Victoria, King George IV and to His Late Royal Highness The Prince of Wales ( 1921-1936)
TONY JUSTERINI and ANATOLY BROOKS are the co-founders of Rádio Etiópia. New episodes are posted every Monday set completed apart from the mainstream line of music.
Four boys and one girl, brought together by shared love, frustration, heroism & hedonism. Yes, they will fight amongst themselves, and from these seeds will bloom the cacophonous beats of rhythmic abandon, the wall & wash, dirge & pulse of strings, the glitch of technology crashing, the keening screech & wail of vocal chords pulled taut to breaking point. And in marking their words, it was Good.
Ehoes and Dust:
GLACIALS is a five piece band from London comprised by Jaemi Zahra-Hall (Guitars & Electronics), Kenneth Joseph (Guitar), Sen Xu (Drums), Ozon (Bass) & Kathryn Mae (Vocals), a multicultural set of musicians that claim to play Post-Rock, Math-Rock and Shoegaze but instead have created an eclectic sound that evokes some great bands like Good Weather For An Airstrike, Mogwai, Aphex Twin, Nirvana and At The Drive-In, all mixed with soft female vocals that may sound like Sinead O’Connor but with a warmer feeling.
On October 22nd they released their first EP, We Are Serious and We Mean It, a six track collection that was recorded with David Jackson on bass and Arielle Renwart on vocals instead of the regular members. I find this EP really refreshing because even when we can sense a little bit of all their influences we never know what is going to happen next, one track can be calm and full of distorted guitars and the next one might start with screams and powerful riffs. It is an exciting experience that lasts only 26 minutes!
'Sweet Tooth Pink Wrist' is the first track, it welcomes us with an ambient atmosphere and the seductive voice of Arielle setting a beautiful environment that at some point speeds up but remains calm until the end. This lovely song was chosen as the first single of the album, the video is a piece of art, written, produced, directed and shot by the talented artist Tyler Hurd. 'SE-Laiyf Horse' continues with the melody of the previous track but in an organic way; a guitar takes control trying to hide the darkness that rides behind its friendly sound. 'Away At Pace' and its happier rhythm travels through gorgeous crescendos and melodic guitars while the voice amazes us with its incomparable flexibility going from desperation to desolation in the same track.
Heavily distorted guitars open the fourth track 'Appreciator', which sounds more like a post-Apocalyptic song mixed with the old but awesome screamo, the riffs are impressive, drums and bass create a powerful setting that all the headbangers will enjoy; suddenly it morphs into '(ride it like a cowboy)' a bunch of synthetized sounds mixed with distorted guitars and some other electronic noises that act as an interlude; ‘Poindexter’ is the final song and my favorite of this EP. This song combines all the features of this great band; it starts with a piano playing a slow rhythm but as soon as the voice enters more sounds start to appear and in the middle of the song an electronic buzz leads to a crescendo that delivers a powerful riff that accompanied by strong drums sets the perfect ending to this short but amusing EP.
1. Sweet Tooth Pink Wrist 03:12
2. SE-Laiyf Horse 04:00
3. Away at Pace 05:30
4. Appreciator 03:37
5. (ride it like a cowboy) 03:35
6. Poindexter 05:39
Lineup for "We Are Serious and We Mean It"
Kenneth Joseph -- guitars/vocals
David Jackson -- bass/vocals
Arielle Renwart – vocals
Jaemi Zahra-Hall -- guitars/drums/electronics
Released: Oct 22nd, 2013 | Stunning cover art by Neeme Kulbok.
Three guys who meet on Craigslist, and not the personals section. The Black Penguins were formed from the primordial ooze of rock power trio’s from the past mixed in with today’s digital age noise. An evolving project of Eric Toledo, The Black Penguins are an instrumental experimental band with occasional spoken lyrics.
My name is Geoff Webb and I'm currently living as a "college student" in Ann Arbor, MI. I first started learning guitar around the age of 12 and started writing my own songs about a year after that. I've been writing songs on guitar ever since. I eventually got a mixer, mics and whatever other bare minimums I needed to start recording. I downloaded drum machine software and began making terrible metal songs, learning not only how to use my studio set up but also how to write songs.
More time went by; I joined some bands while continuing to practice and work on my solo stuff. I started to study music independently and in my own way. Namely, I started to observe how my favorite bands would structured their songs and how they would transition from part to part in ways that sounded organic and made sense. It helped tremendously with my own material. Slowly I began to understand all the nuances of song writing. It was a blast experimenting with different song structures and experimenting with different elements of different genres.
Here I am now a couple years later still writing songs on guitar. I have not upgraded my recording set up once over the past 5+ years.. In fact I think I may have downgraded. Having the best sounding gear has never really mattered much to me though. Lately I've even adopted the idea of staying lo-fi and using minimalistic recording methods, such as maximizing what I can do with audacity, etc. Last year I decided to pull together some of my best songs that were all in the same kind of punky genre, make them sound as good as they can using a simple direct input, virtual amps, a very obvious drum machine and audacity. I called it "impasse EP." (it actually isn't quite finished yet. I'm working with a friend to add vocals for all the songs. The couple that are done so far are on my soundcloud though) I also tend to write a lot of post-rock and ambient songs as well, a few of which I recently compiled into an ep, "music to pretend to," also available on my bandcamp. Those songs range from 4 to 1 years old, I think it's interesting to guess what songs are from what period.
So that's what I do. I play around on my guitar, eventually build a blueprint of a song, get on my computer and program some awkward sounding drums, record it, record some more on top of it, and then I have a song to upload to whatever social media or file sharing website I'm using during said time. I'm working on a set up to play live shows as a one man band, under the name "Losing Battles." My first show is next week. I see this as the next chapter for me as a songwriter. It's time to perform!
1. skleepatoid 02:51
2. sun 03:32
3. you live on a graveyard 03:59
4. as meant 03:02
5. interlude 00:21
6. words/waiting 03:45
[ Music To Pretend To ] is a sincere post-rock album. Even though the release date is 2012, it's music that brings you back to the roots of post-rock. The original post-rock sound before before it evolves to what it is today, before the blend of ambient, drone and atmospheric elements was incorporated to it. So yes in one way or the other this album will reminds you of the early post-rock sound you discovered while back and it's beautiful to dive back in time and enjoy what its got to offer. BY ALL MEANS head for it. You might want to start with [ Music To Pretend ] followed by [ Unknown Secret Lo-fi ] but be sure to get all of them.
The following single by [ Fire To The Stars ] is truly something different than what the description made me think of. It was a great surprise to hear not another run of the hill shoegaze pop assault but to be suddenly surrounded with something that was pretty much original. To give you a hint, it was suddenly if the evil twin of [ múm ], [ Enya ] & [ Lana Del Ray ] were mixed up in a secret laboratory to rise up and sing a pretty song in a warm flow of noise.
A noise that could be performed in a church, a relaxing spa or even a graveyard. The main conclusion is that this track was covering a lot of likable elements into one refreshing coat of new music. Lovers of the new age, alternative pop, holy experiences and noise are all getting a slice of satisfaction within this track & that’s rather unique! Especially because above all; it sounds good!
1. Keep You Safe 04:20
2. Wholesale Slaughter 05:09
The great thing is that some singles come as a pair, and that’s also the case with this one over here. The extra tune is called ‘wholesale slaughter’ and is stripped from the layer of noise to reveal a nice dreamy track that makes me think of sipping wine and wet mascara. It has that so called ‘drowned’ feeling to it and is spacey in its own way.
Fire to the Stars are
Cat Tyson Hughes,
Jim McDonald & Tim Spelman
Recorded and mixed by Casey Rice
Mastered by Roger Seibel
Artwork by Adrian Elmer for Boom Blip Blip
Keep you Safe:
[ MU Sound Laboratories ] is a musician from County Durham, in the north of England who over the last few months have released some four albums. "Faerie" being the most recent is a psychedelic folk/drone with a [ Popol Vuh ] influence, "Xenomancer" typically a demonic/angelic doom/drone/psychedelia blend, "Space Is Hell" is where things takes on a different turn as this one is a very noisy ( not for the faint of heart! ) guitar feedback drone with a soviet flavour and finally "The MU Tapes" which is a 5 CD's krautrock extravaganza! you definitely want to have a go on.
“The name of the Dweller in the Abyss is Choronzon, but he is not really an individual. The Abyss is empty of being; it is filled with all possible forms, each equally inane, each therefore evil in the only true sense of the word – that is, meaningless but malignant, in so far as it craves to become real. These forms swirl senselessly into haphazard heaps like dust devils, and each such chance aggregation asserts itself to be an individual and shrieks, 'I am I!' though aware all the time that its elements have no true bond; so that the slightest disturbance dissipates the delusion just as a horseman, meeting a dust devil, brings it in showers of sand to the earth.” • (“Confessions,” Aleister Crowley)
“URIEL semeth to be all in a white long robe tucked up... and seemed now to haue wyngs... and on his hed a bewtifull crown, with a white Cross ouer the Crown.” • “Uriel opened a boke in his own hand, and sayde, • Ur: The Fontayne of wisdome is opened. Nature shalbe knowne: Earth with her secrets disclosed. The Elements with theyr powres iudged. Loke, if thow canst (in the name of God) understand these Tables... By them shall you work, in the quieting of the estates, in learning of wisdome, pacifying of the Nobilitie, iudgement in the rest, as well in the depth of waters, Secrets of the Ayre, as in bowells and entralls of the Earth.” • (“Mysteriorum, liber Tertius,” John Dee)
[ MU Sound Laboratories ] got a lot to offer in terms of sound, atmospheres, various and different kind of trip, each album differs from one another, so yes... this is definitely not the type of moniker where you hear one album and you immediately feels like you've just listened to all of his records. It's the contrary here. Each album deserves an equal part of your hearing senses.
01 - Faerie [ 45:00 ]
Where to start... you decide, on a psychedelic note I'd strongly suggest "Faerie" but if you more into krautrock then I'd definitely recommend "The MU Tapes" which we can indeed classify as a 5 Dics Krautrock Extravaganza or if you simply looking for some noise then by all means hit the play button on "Space Is Hell". Regardless which one you go for 01st, by all means do get all of the albums.
Short Description: The idea of [ argumentum e silentio ] was born with my novel “quaint music – the alphabet theory” — an a-z story of music mysteries. So i would like to thank all the people who loves my work with [ argumentum e silentio ], [ the nikki grace experience ]! as well as [ Black Oil Documents ] cheers Marko.
About the album:
“then he slowly rise from his seat,
with black fingers from willow´s seed,
and threw his fairy tales in the street,
left the tempting pastry-cooks,
with very discontented looks.” — the artist
[ Ten Sticks of Willow Charcoal ] is the latest release from Marko H. AKA [ The Nikki Grace Experience ]. Although this album has been released under a different moniker [ Argumentum e Silentio ] which is Marko H side project. [ Argumentum e Silentio ] combines instrumental compositions with samples and field recordings, with influences from ambient and soundtrack music. The idea of [ argumentum e silentio ] was born with my novel "quaint music - the alphabet theory" -- an a-z story of music mysteries. So i would like to thank all the people who loves my work with -[ argumentum e silentio ] and [ The Nikki Grace Experience ].
1. Die Feuerumsonnte 00:55
2. Pavillion's Shadow With... (feat. Johannes Nonn) 07:12
3. A Ballad Of Suicide (feat. Johannes Nonn) 07:28
4. The Last Cherry Pit 02:37
5. Paper Igloo 06:56
[ Nutshells Budding Rose ] is the second EP under the alias of "argumentum e silentio" and we all know Marko's has acquired the necessary skills and talent that allows him to produce a specific kind of ambiance under each monikers. I mean there is a world of difference when you hear [ The Nikki Grace Experience ], [ argumentum e silentio ] and [ Black Oil Documents ] and that particular strength of carving different king of ambient ambiance is what makes his music interesting and unique. [ Nutshells Budding Rose ] is filled with sadness, a light minimalist approach that will leaves you wonder.
Black Oil Documents [ Stanza (The Old Heroic Traces) ].
INTRODUCING [ BLACK OIL DOCUMENTS ].
[ Black Oil documents ] is yet another dark ambient project with a touch post-apocalyptic, unfriendly and menacing tune. This project recently came to life by a joint effort of "Christian Fiesel" and "Marko Hupel" also known as [ The Nikki Grace Experience ] and [ Argumentum e Silentio ]. The themes carried out by this new project are vigorously dark and viciously abstract with a robust and bold characteristic.
So far [ Black Oil Documents ] has released one album and several videos on YouTube. The tracks “Fleischmann”, “Zerebralnektar” and "Das Bett Zu Klingenberg" gives us a clear idea of what to expect from this outfit and the path Marko chooses to follow. Marko’s approach on [ Black Oil documents ] is more of a sound accompanied by visuals in the sense of a story longing for hope. It’s so dark and so perfectly composed that it deliberately keeps a constant mood.
FROM THE UPCOMING ALBUM [ DIE KLINGENBERG EPISODEN ].
This procedure has an immediate effect on listeners making it a smooth flow while the tunes unite itself in a very comfortable pace with undisturbed transition from one section to the other, thus keeping a steady trajectory all across the movements. Listeners can still experience various themes throughout the length of each song and once you familiarise your senses with the sound you’ll soon discover a wealth of drone and a rich side of textures that also comes in clarities that are clear to follow and simple to digest.