Gonçalo Pereira [ born 1984. Lisbon, Portugal ] is a multi-instrument player, post-rock, ambient electronica musician and producer. Pereira first started as the frontman of the post-rock band How Comes The Constellations Shine before establishing himself as a solo artist under the moniker of Diamond Gloss. His sound and melodies incorporate elements of modern classical, electronics, idm, ambient, and post-rock music with live instrumentation.
Pianos, micro-beats, effects-treated guitars, music-boxes, lo-fi strings arrangements and other acoustic instruments such as glockenspiels are the vehicles that shape this carefully produced and layered, non-linear quest. His influences travels among modern composers such as [ Arvo Pärt ] ~ [ Henryk Górecki ] the ambient experiments of [ Brian Eno ] or his peers [ Autechre ] ~ [ Hammock ] ~ [ Sigur Rós ] ~ [ Helios ] and [ Múm ].
[ Bears ] Diamond Gloss’s debut album “Bears” is a fresh take on the usual dark, droning styles of post-rock and ambient IDM. The record showcases a more lighthearted take on the styles and is able to find a unique identity in two genres that are quickly becoming harder to find a voice in. Diamond Gloss is the alias of Portuguese post-rock musician Gonçalo Pereira (not to be confused with the guitar virtuoso of the same name) who established himself as a solo musician after fronting the band How Comes The Constellations Shine. His solo work features many of the set piece calls of a post-rock/ambient IDM album with its slow, passionate piano work, droning background sweeps and glitchy electronics, making for an album that easily showcases its influence from acts like Helios, Secede, Sigur Rós and Múm.
From that basic starting point however Diamond Gloss adds these very happy and high pitched instruments like music boxes and glockenspiels. The inclusion and use of these instruments take the usually serious emotional tone of post-rock and inverts it into an almost innocent and nostalgic, emotional style. It’s hard to describe through words alone how this transition is accomplished but this sound is strong and striking when experienced. Songs like “Walnut and Trees Tables” invoke the thought of taking a nap in a kindergarten music room as an autumn evening breeze chills the air outside; it’s peaceful, serene, and calming.
While the majority of the album maintains its almost gleeful sound, Pereira is not afraid to show his serious side. “Fawns,” the album’s closing track takes a different turn than the rest of the album, it drops the joyous tones of earlier tracks and creates a song that brings the album’s theme of accepting that we all grow up full circle. For as much praise I have given so far for its emotional sound work, “Bears” isn’t for everyone. With no vocals, a non-linear songwriting style and half of the tracks reaching over 10 minutes in length people who do not actively listen to this style of music may be deterred from it.
It has other problems as well; tracks like “I am Black and Blue All Over” and “Step Piece” are too short to craft a song that can compete with the other tracks off the album. Regardless of what type of music fan a person is, when “Bears” stands on its own it is a beautifully crafted escape through a trail that post-rock and ambient IDM do not normally travel down. With its innocent and emotional pull, it is an easy recommendation, even if this may not be your musical cup of tea.
The Great Long Distance is an audible recollection of the first 12 months of a long distance relationship, including the highs and lows and moments in between. It is a journal without words, each of the 12 tracks representing each month respectively. Inspired by the format of NIN's "Ghosts I-IV", the album is a sonic tapestry of different moods and themes, with various recurring motifs and the subtle melding of synthesizer and samples; the result something not quite classical, ambient or electronic - rather, an eclectic blend of the three. For fans of Ólafur Arnalds, Nils Frahm and later Ulver
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