TheSirensSound

Due to popular demand,

Reinventing Jude will be releasing,

with your help ( of course ), their first vinyl EP! ever.

CAMPAIGN SUMMARY:

The campaign has arrived & there's something for everyone, hell yes... ( You Can Bet On That ). Reinventing Jude Texas based artist has been making quite a buzz lately. With two releases already and having played on the Chevy Music Showcase, the band is now getting ready ( with your help ) to release their 01st vinyl EP. Please check out our video &/or pass it along. Thank you loads and MAJOR KUDOS go to Oh JEE NAM for his creative eye & stellar video production!! All proceeds will go towards payment of recording costs, mixing, mastering, EP design, digital, cd & more importantly the vinyl production itself.

At this point I am happy to say, it's pretty straight forward. 5K to complete the entire production which include, recording, mixing, mastering, design and physical prints. What you get, as mentioned, there's something for everyone guys, you name it... Sticker, Signed CD copies, Comfy T-Shirts inside a personally painted parcel, Pack Of Reinventing Jude Matches, Signed Copies of previous release, 90 Minutes of Hot Stone Massage ( including paraffin wax treatment for tired hands & feet ) performed by Reinventing Jude Licensed Therapist of 8 years while performing a live ethereal soundtrack by Nigel Newton on the vibraphone, Free Entry to Reinventing Jude shows for LIFE, Reinventing Jude personal paintings, Your Name on the credits side, SERIOUSLY GUYS... you name it, there is definitely something for EVERYONE on this campaign.

OTHER WAYS YOU CAN HELP WITHOUT REALIZING:

If you are not in a position to ( $ ) contribute on this particular campaign, you can still help in many ways. For a start, get the word out and make some noise about our campaign, SHARE SHARE SHARE! and needless to say use the Indiegogo share tools!, Like our campaign on FaceBook, Like & Share the Video Campaign, tweet & re-tweet about our campaign and let the world know about our plans and our dreams. Listen & share our album / ep releases also goes a very long way.

BIOGRAPHY:

Fronted by extraordinary and prolific songwriter Jude Gonzalez, Reinventing Jude is Soul-Funk-Indie-Pop band making waves in North Texas. Comprised of an extremely talented ensemble, Reinventing Jude is a powerhouse of great songs and unforgettable live music shows.

Reinventing Jude has a new album due out, with a release party held Sept. 30, and while most local musicians I talk to play the "I'm just in it for the fun" card (when we know they dream of rock stardom), Gonzalez wants a world tour and radio play. She is positively outraged that people in Dallas worship Kelly Clarkson while songwriters of more substance go unnoticed. I can't say she doesn't have a point. When she launches her world tour (and it's hard not to believe her), she plans to take the Neptune Locals with her." ___[ Steve Watkins dfw.com ].

Reinventing Jude

Perform “Buddy Holiday”

on the Chevy Music Showcase

Reinventing Jude recently embarked on a quest to explore the band potential and to promote the band name itself. For the most part these engagements have come in the form of an intimate performance of a new video “Buddy Holiday”. The band executed Jimmy Kimmel couple of weeks ago and yet another video “Train Legs”, coming out in February 2015. You’ll also be pleased to know that the band is soon going to be featured on two soundtracks for two new movies. So yes… good things are indeed happening, the grass is definitely greener on the other side and with this particularly awesome sound direction the band are leaning towards; I cannot be any more thrilled to bring you the latest from the enigmatic outfit Reinventing Jude. As you will notice on this new video “Buddy Holiday”, the music takes on a different shape as oppose to the band previous 2012 titles [ Shoulder Season ] and 2013 release [ Sundial Soliloquy ].

“Buddy Holiday” reflects an entirely new composition and a quantum loop in music direction itself. But make no mistakes; at this stage I am not fully aware as to any new full length releases in the pipeline or even if this new mini orchestral-like form of sound is going to be solid and definite. But that said with the enthusiasm and passion behind “Buddy Holiday” as well as the everlasting growth and sound exploration, Reinventing Jude arguably combines an amazing power-emotion from lightless depths to the dizziest heights showing the will to trade fearless and in extremes, thus capturing a wider, stranger range of emotions that most other bands could dream of.

This new video is pretty solid and fairly unpredictable in terms of the shift in sound. Reinventing Jude, of no doubt must I add, flit from one style to another like a free mythical bird of great beauty in the open skies reinventing itself along the way as it wishes. And in this emerging process and Phoenix-like style, determine to live 500 or 600 years in the Arabian wilderness, to burn itself on a funeral pyre and to rise from its ashes in the freshness of youth and live through another cycle of years, through its emblem of immortality or reborn idealism and hope, listeners are bound to get caught with the band evocative of unique textures and emotions as well as adapting to every swing and punch they got up their sleeves. Watch, listen and enjoy.

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SUNLESS ( PR )

Sophomore albums can be a tough proposition, often created in a much shorter time span than the years of refinement most debut albums receive. Chicago based trio To Destroy A City dropped such a perfect debut in 2011 that fans have collectively held their breath for the follow-up. However, unlike some artists who rush into the studio to complete their sophomore release, TDAC has taken nearly three years to craft their follow-up: SUNLESS. The time and effort shows in the nine cinematically crafted tracks. At times SUNLESS is more electronic leaning than its predecessor, yet is still punctuated with sheets of glacially emotive guitar-work. Intricate electronic beats give way to propulsive live drumming. The synths, while more prominent this time out, fit effortlessly into the TDAC framework. SUNLESS is an album of contrasting moods, though the trio transitions between these moods more gently than their peers. Is SUNLESS 'better' than the trio's debut? Both are equally strong, which is no small feat. But one thing is for sure: it is a move onward and upward into an expansiveness that they have only hinted at previously. A must-have for fans of God is an Astronaut, Hammock, and Lights Out Asia. SUNLESS will be available on CD/FLAC/MP3 as well as limited edition 2xLP with a limited amount in red/orange/black splatter.

SUNLESS

By: To Destroy A City

Released 18 November 2014

(c) TDAC (p) n5music (BMI) 2014

FORMAT [ CD ] [ VINYL ] & [ MP3 ]

Distribution Line [ BANDCAMP ] & [ N5MD ]

[ To Destroy A City ] dropped an atomic blast back in 2011 on their debut self-title album and since then… the band went and got signed on [ n5md ], a recording label measuring up to [ Denovali Records ] and the likes, who has advanced themselves on putting out and delivering some of the best post-rock act known in this everlasting post-rock century.

Unlike some outfits who takes years or even decade to carve a niche for themselves by consistently topping up their catalogue with new Singles and numerous EP’s on a regular basis, [ To Destroy a City ] have managed to create a name for themselves with just a couple of releases, call it luck or good marketing with the right platform, I somehow prefer to lean towards the integrity side of the music itself and the awesomeness factor, since the band has successfully managed to shake listener’s emotions into a state of divine-escape.

From the beginning [ To Destroy A City’s ] music has been of a unrestricted form, variations in its layered sound sequences are as subtle as its modest guitar waves-flow, that in mind the band boundless qualities are beyond absolution, their four unit catalogue are tailored to accompany the most grand and the most elegant panorama one could possible think of: think of the grandest blue skies over the largest blue ocean, all in widescreen scope.

For regular visitors and regular readers if you know [ To Destroy A City ] from the beginning of its existence, which by the way doesn’t travel back decades, then you would know exactly what to expect on “Sunless” or at the very least, a glimpse of what to expect. Upon listening to this latest title, most of us would agree that the band has made two steps towards a more conventional ambient structure but not enough to turn off past fans though, and most likely plenty more attractive details-tunes to magnet a few more instrumental lovers who they might not have gotten the full attention in the past.

This new record is about an odd hour in duration, occupying most part of a full CD, and one that is conveniently easy to stream and to digest in its entirety. “Sunless” is precisely the type of record one would arguably state the gap and the open spaces the band left for exploring newer possibilities and new time signature for future direction. But make no mistake as this is by far not a negative critic and my guts feeling tells me the band took this approach on the mere fact that they have so much to express in a limited hour. It’s one of those tricky approaches that gives you the feeling that the band is not only itchy but also more than ready to burst in new directions and professionally explore new musical avenues without risking-up the solid presence they’ve already effortlessly established. “Sunless” accomplishment is the total proof of that.

At this point, I feel confident to say that [ To Destroy A City ] have truly delivered another incredible addition to their slow-growing discography. For the lack of a better term “Sunless” is nothing short of perfection. The record is built with glassy textures where guitar strings, drums, bass and keys are integrated in such way to create the PERFECT flow. The chiming sections, the guitar chords and all the melodies have a unique way of arcing itself together. Anyone who dig [ To Destroy A City ] in the past will dig this new release to an extreme extent. No doubt about that.

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PRESS

The Boats second album, aptly titled ‘Segundo’, arrives 8 long years after the debut release of ‘Los Musicos Perdidos’. It’s a long time between drinks, but the difficult second album has survived many set backs. Segundo was produced by J. Byron and recorded by Stuart Seers at JMC Studios in Melbourne, over the summer of 2006/2007 - and two of the hottest days on record. The approach was simple…go into a recording studio and improvise, everything. For the most part, this was true, a majority of the album is purely improvised. Several tracks were born from riffs brought to the table, others were spawned from inspiration. What followed was forged through the driving emotion of Melbourne’s extreme heat, and the kind of raw intensity that can only be produced from the marriage of glowing Fender valves and vintage Ludwig drums.

With tracks like ‘Seize the Stars and Turn them into Cinders’, ‘There’s Not a Fire that can Warm Us’ and ‘The Last Man on Earth’, the band discovered a balance between their familiar improvisational approach, while maintaining a sense of structure. Other pieces, such as the epic ‘Trash Can Willy’ parts 1 and 2 are an exception; originally formed as an entire improvised jam, over 28 minutes long and later broken into two parts. Another complete, unedited improvised track was ‘The Merchant’, coming in at approx. 17 minutes in length, and included as one of the bonus tracks in the special bonus edition.

Segundo is an epic, sprawling, largely improvised and yet focused instrumental post-rock album, fully formed and complex. A much darker record than its predecessor; it explores themes of urban aggression, the inherent destructive nature of modern society and the beautiful, yet tragic imagery associated with human isolation. There are larger concepts at work on Segundo, and the wait could almost be perfect timing. ( Play it loud ).

SEGUNDO ( BONUS EDITION )

Credits

Released 12 January 2015

Recorded by S. Seear @ JMC Studios in 2006/2007.

Mixed, produced and edited by:

J. Byron in Berlin 2012 & Melbourne 2014.

Mastered:

by A. Dempsey @ Deluxe Mastering, Melbourne 2014.

Fabulous Artwork by [ Karine Pollens ] | Design by [ J. Byron ].

SEGUNDO ( BONUS EDITION ). For a band many of us might have thought was completely wiped from the surface of the earth, Melbourne, (Australia) instrumental outfit, The Boats, are finally back after seven years, with a second album titled “Segundo” (meaning second in Spanish). Beautifully produced by band member / producer, J. Byron - the result is a rich and atmospheric post-rock tour de force, with a grand touch of spookiness. It’s almost one of those ‘back from the grave’ type surprises. When I saw the subject line 'Post / Review Request – The Boats' in my inbox, I went through mixed feelings of both complete elation and utter confusion at the same time. I wasn't sure if it was indeed, the same band - The Boats; an incredible slow-core, post-rock band I discovered years ago, and to this day have changed my entire perception on instrumental music, or if it was a different moniker altogether. But when this momentary lapse of reason passed, I can’t even begin to express the thrill I had to know The Boats, were back and stronger than ever, with a brand new twelve-track album.

"Segundo" follows the same trend and unique approach as their 2007 title “Los Musicos Peridos”, except this time with an emphasis largely driven on synths and electronics; woven together with defined guitar melodies, shaped gently into fuzzy-dreamlike harmonics, while slow sonic undertones vibrate in every corner - transmuting from one atmosphere to another. “Segundo” unfolds itself in an eerie manner, seeping into your subconscious, as if you were given a drug and didn't know what it was. The absolute darkness of this record has a strong tendency to make its way to the surface, in an uncanny way, which is on full display from the beginning of the album. This really means that it is an album that requires the listener’s undivided attention, and that’s not because it’s diifcult to digest, or filled with complex textures that requires multiple listens, in fact, any post-rock fans are bound to enjoy this album on the very first listen. "Segundo" requires absolute scrutiny, not simply because the music is dark, but because it has the ability to awaken memories of a time when vinyl was king, and rock music was raw and emotive, and held the power to conquer minds.

As lush, brooding and dramatic as 'Dresda', 'Clogs', 'Carissa’s Weird' or 'Gravenhurst' (we are talking some very high slow-core sounds here), the new boats album emanates above your average slow-core / slow-ambient monikers, and while it is compelling (and exciting) to the ears, it is also, overwhelmingly soft and pleasant; as the band experiment with different elements in order to layer a sound that is first and foremost - alluring and charismatic. Best of all, the band seems to be having great fun while doing so.

What can I say… if alternative-metal act such as 'Fugazi' or 'Mudhoney' had ever been mandate to a particular set of selected instruments loyal of a mini-orchestral outfit, they’d have probably sounded a little like The Boats. “Segundo (Bonus Edition)” is very much an epic, yet acquired taste of experimental elements that you will most likely want to hear, time and time again, over and over. - [M.S.Torabally].

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By: 1000 Suns

Release Oct. 07th 2014

Available On [ BandCamp ]

First and foremost, as dark and as heavy “The Body The Mind” gets, the album holds various silver linings radiating through its foggy yet blissful aura. [ 1000 Suns ] eclectic music architecture combines hypnotic ethereal atmospheres and psychedelic sludge-heaviness to an extremely pleasing melodies. Ethereal ( on the opening piece only ) and Sludge being the core element and the foundation of this new album, you’d probably think, fire and ice, no way, this is going to end up in some sort of a major clash, but when it’s done and mixed A La [ 1000 Suns ] precision, believe me when I say, you’ll simply end up with something sublime.

Let’s face it, [ 1000 Suns ] perfected the art of laying down some vicious melodies and vigorous riffing’s from their debut album “The Spirit Molecule”. The trio… Andy Scott behind the veil of a Graphic Designer, Tommy Hanzerian camouflaging as an audio engineer and Greg Capp who disguises himself as a tv/film lightning engineer, together, from the very beginning have acquired the capability and potential of exhilarating tracks from being utter boring to thirst quench and satisfying pieces. “The Body The Mind” is the trio’s second full length, a concept / more educated album and an extension on their melodic sounding.

The band's highest peak bounces back and forth between its strong instrumental know how and masterful electronic mixes. The guitar use is totally explicit, particularly when bursting with propulsive rhythmic section echoing some of the band's most mind-blowing composition which inevitably brings an exquisite sense of satisfaction. The drumming on the other hand is yet another stand-out element, chasing dynamic chords with series of rapid, repetitive strikes, the album showcase Greg’s drumming prowess in high definition. I think it is safe to say, Greg’s precise drumming is to the point throughout the entire album while Tommy’s bass lines penetrates the air from a distance to full blast, shifting time signatures, administering a controllable noise blast and a beautiful mix through various electronic devices and distortions effects.

The sound of this album is absolutely incredible and it also showcases the band maturity from “The Spirit Molecule”. The strongest point of the album relies heavily on the band strong leadership, while many aliases out there tend to follow, [ 1000 Suns ] proves the contrary with a mature sense of leadership. Yes… admittedly, in some cases influence, such as [ Tool “Lateralus” ] will most likely hit you, but the trio’s contribution on “The Body The Mind” crossed the platform between sludge-metal and post-progressive metal creating an amazing blend that is hard label. Their earlier albums were slightly similar ( very accessible / mind-blowing ) with vicious melodies but still not nearly as reliable, as oppose to the new one on progressive themes.

[ 1000 Suns ] instrumental combination and compelling mixing, necessitate you to rethink the whole concept of progressive / post-progressive metal. From their debut release to “The Body The Mind” the band, in many ways have expanded on their sonic territories. Words are out that the band is busy writing new material for their third album as well as creating scores for a film project, webisodes and a tv pilot. What sonic obsession and dynamic complexities we can expect from [ 1000 Suns ] in the very near future is entirely debatable; but I for one, based on the two releases the band brought forward, I am utterly excited for anything that’s in the pipeline. EXCELLENT SOUND ALL THE WAY.

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By: There Is No Teenage Love

Release Date OCTOBER 28 2014

SOUNDSCAPES FOR THE POST-EVERYTHING ERA.

Straight to it… “LAHEX” the latest cover by [ There Is No Teenage Love ] is an absolute must have for ambient collectors. The album reflect an airy, voluminous ambiance, molding darkness and echoing sound together in the form of a cushion-like material with shades of bleary lines and fuzziness. The entire album is largely driven by electric guitars and distortion coupled with electronic/synths on seldom occasions, turning into a stream-delight.

Point blank, classifying [ There Is No Teenage Love ] music in to a specific genre can be a little tricky in this particular instance. Well yes… while it’s certainly safe to say, ambient sound in its very depth, the moving textures and the originality elaborate even further and deeper as oppose to your usual average ambient monikers. That said if I were to personally draw some comparison, just to give you a head’s up as to what you are getting in to, which by the way is indeed a difficult notion, as the sound originality is so ecstatic, still… I’ll probably bring the likes of [ 36 ] awesomeness, [ Tim Hecker’s ] experimental air, [ Celar’s ] mindspcaing power and [ Barn Owl’s ] audible drones ALL in the equation.

“Lahex” truly introduces flourished textures and disintegrated shortwave corresponding to frequencies over and above 1600 kilohertz with static motion, paving the way for something unique and original in an articulated sound form. While most part of “Lahex” is executed in the aim of building a subtle motion, as you dive deeper and deeper you’ll soon notice the album unfolding a darker and a more melancholy side to it. This darker and heavier atmosphere untangled itself equally in subtlety as we reach “After The Films” movement and on-wards. There on, repletion echoes and repetition of sound produced by the reflection of its sound waves are to be expected in indulgence.

Touching up on “Lahex IV & V”, movement six on the album, which is one of my favorite track, actually I’m probably saying movement six is my favorite track simply because I am listening to it right now, truth be told the whole playlist are equally euphoric with delicate chime, strings note piercing the air while unsettling electronic/synths and long-waves echoes dissipating to flawless swing before transgressing to some solid type of drones.

Let it be for a late-night listening or a Sunday afternoon gathering, this album is a perfect listen for various occasions, with its fuzzy drones, its seemingly endless multi-textural surface that tends to sooth the atmospheres in the most chilling path, the music on “Lahex” holds up very well. In seven pieces where crackling noises breath softly along some breath-taking melodies, both executed by guitar loops and distorted fragments that emerge in waves forms, there is no better ending but in a lush, atmospheric-ambiance of the most satisfying kind. [ GO GET IT ].

12" White Vinyl Record with INSTANT Digital Download. Record/Vinyl. Receive an INSTANT digital download of LAHEX plus a bonus track when you order the 12" vinyl record. Pressed on white vinyl, LAHEX comes in a heavyweight violet sleeve within an elegant metallic silver jacket. Unadorned by type and suitable for framing, the cover features a 12,000 year old saber-toothed cat skull from L.A.'s La Brea Tar Pits, photographed exclusively for this album.*

Due to extended production times for vinyl records, estimated shipping of physical product is January, 2015. Your digital copy is available at the time of purchase. *Specimen courtesy of La Brea Collections, Natural History Museum of Los Angeles County. Includes unlimited streaming of LAHEX via the free Bandcamp app, plus high-quality download in MP3, FLAC and more. [ Shipping out on or around 15 January 2015 ].

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To be noted… “Nodula” is so rich and compelling that it also compliments several themes and visual effects, the band for a matter of fact are working on a whole set of videos/or a small movie if you prefer, with the very talented French film/visual/art artist Dorianne Wotton (VERY professional artist indeed), and she is in the process of making some outstanding visuals for the entire album which will be released on DVD. So what we looking here is a double set ( CD / DVD ) release towards Q2 of 2015. Considering “Nodula’s” audio experience on its own, which is so amazing, I can’t help thinking the visuals side of “Nodula”. Now that’s definitely something to look forward to.

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Mastered by Taylor Deupree

Artwork by Taylor Deupree

Music by Phoenix York | Released by Buried Standing

REVIEWS: [ NORMAN ] | [ IGLOOMAG ] | [ THE SIRENS SOUND ]

“Godspeed Phuong” is the latest title from [ Phoenix York ], Canadian based ambient composer / instrumentalist. The album is mastered by “Taylor Deupree” which is definitely a plus as it instantly gives us a hint of what to expect. “Godspeed Phuong” is completely detached from the usual noises and harsh electronic sounds which are generally associated with noise-waves and pitch-black atmospheres; “Godspeed Phuong” instead delivers an enchanting ambient composition that spins in an infinite dimension. The record is packed with lush field recordings and thrilling spoken-lyrics that set the sound completely apart from this world.

The coherent comfort of cheerfulness infuses the dramatic state-of-the-art composition in beauty and in charmed. Amassed with precision and gallantry, the elegant sound sequence of “Godspeed Phuong” is a dense introductory of apprehension reminiscent of the work of [ Grouper ] and [ Noveller ], alike monikers who are similarly haunted with themes that reflects deep emotions and a sense of liberation, except that here, [ Phoenix York ] emphasizes a great deal towards sleepiness and relaxation. Magical soft shivers melodies that gently emerge from a smog-like figure and sleepily turned into dream-waves as one prepare to ‘laisser aller’. Those are bonus elements that comes as a compliment of [ Phoenix York ].

Progressively over the expansion of “Godspeed Phuong”, sheets of classical-ambient orchestration, frame and superimpose one another. Thus coalesce every movement while building a delicate concurrence in sound that also resonate each other in total fluidity creating a hypnotic quilt that emanate an unearthly calmness, and whilst generating a hauntingly beautiful aura that really needs to be heard to fully comprehend its power, its warmth and its bittersweet melancholy. The track’s volume as well as the lightness of the sound is absolutely dense and the structure of “Godspeed Phuong” genuinely takes on an immensely divine and spiritual path. The album is packed with clustered textures, flexible to various atmospheres in an ostensibly abiding boldness of one simple musical statement, evolving to a melodic-pitch ( one that is filled with hallucination ) and captivating synth-choirs create a truly bewitching and almost haunting air, I must admit it’s the kind of music’s that’s almost impossible to ignore.

Yes… while the core argument remains that this particular type of music or sound of this nature appeals to a certain time or frame of mind only. Still… the intensity of the sound as well as the appealing beauty of “Godspeed Phuong” and its overpowering nature which can in many instances be compared to space-ambient and meditative-sound produced by the likes of phenomenal aliases such as [ MusicForMessier ], [ Ous Mal ], [ Endless Melancholy ] and the likes, generally ambient guru’s music’s that are well-executed and professionally delivered to achieve a certain level of emotion in sound and visual. So instead of imagining I’d say experiencing the superior dreamy-sound, filling hollow spaces of your imagination and taking you to various chambers you’d never thought exist, that alone is a whole different game together. “Godspeed Phuong” is a release you do not want to miss out on. Check it out guys as you are in for a MEGA ambient treat.

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DIFFERENT STREAMS

Credits

Releases 23 February 2015

Music by:

EUS – Jose Acuña

Postdrome – Charlie Floyd

Saåad – Romain Barbot & Grégory Buffier

Recorded in London (UK),

San José (Costa Rica),

Kuala-Lumpur (Malaysia),

Hong Kong (China),

Singapore (Singapore) & Toulouse (France)

Between February & June 2014.

Additional violin on ‘Dervish Dealer’ by Nik Koniwzski.

Mixed & Mastered by Byron Christodoulou, Athens (Greece), 2014.

Photography’s by Charlie Floyd. | Layout & Design by Romain Barbot.

First, let us start by elaborating on the history of the band as well as touch base on the fact that “Different Streams” is the quartet second effort after their 2012 title [Sustained Layers]. The elementary principle is of no doubt the thrill and contentment taken to produce the first record and the devotion to confront in all hospitality the eagerness, yet again, two years later, where everyone has evolved in different direction. This my friends is more like history repeating itself, except that this time around, the gathering of the 3 aliases characterize an “additional” two years of experimenting, writing and music producing experience on the table. This logically goes to say “Different Streams” does not necessarily sound like a reasonable collaborative continuation of the first record, but instead the post-production / production in its very core reflect with more precision and with an inundate emphasis on field-recordings.

Second and foremost, let’s face it; we are talking about a quartet from three different countries with three different languages and with a completely deluded time zone. The differences between [Saåad] based in France, Charlie who switch country every 15 days in Asia, and José formally from Costa Rica… and the concept of the album (from the collaborative aliases point of view), was to create a space where all these places and minds meet, converge in a direction of such streams. The way I sees it, as we all know it is indeed difficult for some to express themselves in words. That said some musicians have the special ability to speak out loud through some particular kind of noise. [EUS], [Postdrome] & [Saåad] are musicians amongst the handful musicians who distinctively express their emotion and their feeling through instruments and sound-making. The music itself in its very dark nature lives in a memorable place and is kept away, far from the fierceness of this world.

As dark as it gets “Different Streams” is an engaging listen, helm by 4 pilots, from various part of this world, they uses guitar / effects and field recordings to build what I would described as, strictly sophisticated and appealing drone noises. Seriously though, we got ourselves some high end material buried deeply in ambient-drone slabs where each tracks stretches to an average of 4 to 7 minutes plus, but filled with subtle distortions where everything’s around you appears to immerse in rainbows. [EUS], [Postdrome] & [Saåad] crushing noises have a strong tendency to dawdle in the air for several minutes after which a soft, washed-out drone triggers into the music leaving its listeners in a nervous state of mind and eager to know what’s next.

Lastly and admittedly, “Different Stream” paints a great number of sonic textures and soundscapes. The album is like a labyrinth in its multitude cluster of tones and darkness. Hard-core drone and ambient minded listeners will no doubt find this release as comfy as they would feel in a small paradise island. I mean smooth digestion and easy flaw from one movement to the other while recalling master-mind monikers such as [Fabio Orsi], [Noveller], [Richard Sanderson], [Kissy Suzuki] and the likes at the back of their brain. But that in mind, passive ambient listeners and none hard-core drone minded people will also find this listen extremely appealing on the first go itself simply based on the experimental side of the project. EXCELLENT SOUND that goes for everyone.

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