The New album "beasts in binary city" by Mandala eyes is an all improvised electric guitar + looper, underlaid by also improvised electronic beats. The story is about wildness struggling to exist in a reductive environment, a reflection of his internally difficult time living in a city in middle America over the past year.
memory of dying flowers - 01:22
my love wanted a skyscraper of me, an electric nightlife of me, a smog city of me - 12:03
bent truth - 05:41
they erased the name for what I am - 02:47
dysphoric descent - 04:02
human skull packed with explosives - 04:20
hide & seek - 01:56
?uestion engine - 03:34
in my debris, the first breath of pine trees - 05:08
There are many bands that draw inspiration from the mysterious, dreamlike, simply weird world of the American novelist H. P.Lovecraft. One such band can be found also on the Czech scene, though you would look for it in vein within the metal genre. What we refer to is POSTCARDS FROM ARKHAM, a post-rock project, whose mastermind is Marek “Frodys” Pytlik, who arose from the iconic North Moravian doom act DISSOLVING OF PRODIGY, as well as from the melodic death metal band AWRIZIS. Now PFA return with their second studio album with a cryptic fateful title “ÆØN5” that will take you to the world of lucid dreaming beyond angled space, where a different music of the spheres reigns supreme.
Already the first album of POSTCARDS FROM ARKHAM, entitled “Oceanize”, was a breath of fresh air on the Czech not only metal scene. “ÆØN5” goes way further. Once again, maestro Frodys took care of all music and instrumentation and conjured up a unique mix of nostalgic and poetic post-rock sound combined with a horror narrative. Here and there even an isolated black metal scream appears, more often however a splendidly sounding spoken word, uttered for example by the diva Lenka Machová from ADOR DORATH, who besides that participated on the visual and lyrical side of the album. State-of-the-art production was brought in by Libor Kukula from MetalGate
Howard Philips Lovecraft and his “weird fiction” is one those instances that show how whimsical fate can be. Neglected in life and delegated to the margins of pulp literature, today a literary icon, whose work serves as an inspiration to countless other artists across the cultural spectrum. The Czech scene is not an exception. Take POSTCARDS FROM ARKHAM for example, a post-rock/metal project by Marek Frodys Pytlik that translates Lovecraft’s legacy into its music, and that is now releasing under MetalGate Records its already third studio album entitled “MANTA”. Those who are familiar with PFA, may be surprised that the new album is somewhat darker and rawer than its predecessors. It is so because the intent was to create a counterpoint to the previous piece “ÆØN5”, both music-wise and theme-wise. While “ÆØN5” built on Lovecraft’s so-called “dream cycle”, which are stories having as their common denominator phantasmal dreamscapes that make them in a way lighter and more colorful compared to the rest of his works, “MANTA” heads into the utterly nonhuman and unfathomable cosmic voids of Lovecraftian cosmology – that is, into vistas ruled by the Demonic Sultan Azathoth, Lord of All, and to which to gain entrance entails transgressing the boundaries of the angled space, which is to say to leave behind that which we perceive as reality. Hence the contrast.
Joe is the former leader of instrumental rock space ship, Ruined Machines. He is currently making a live record within the suburbs of Philadelphia, Pennsylvania, USA.
Two preliminary mixes from ‘Peace Talks,’ a record currently being lived and recorded. Drawing from post-rock and longform compositional influence, the storytelling heard in the sound is the core of what’s to be experienced.
Elã (pronounced Elan) is the new record of the Brazilian instrumental/post-rock band Kalouv, formed by Basílio Queiroz (bass), Bruno Saraiva (keyboards), Saulo Mesquita (guitar), Túlio Albuquerque (guitar) and Rennar Pires (drums). The album was composed between December of 2016 and march of 2017, in a country house named Sítio Santa Fé, located in the interior of the state of Pernambuco in Brazil. Also, the record became possible by a crowdfunding campaign, raising 124% of the goal in 45 days.
Between the time of composing in the Sítio Santa Fé, the nine tracks of Elã gained life and made the musicians develop new ways of creating music. This process brought more direct songs inspired by contemporary music that goes from alt rock and IDM genres to pop from the eighties. Therefore the post-rock that guided the previous records get new colors and goes off the sobriety and introspective tone to give space to tracks guided by synths, rhythmic guitars, and vocals, with more interaction between drums, bass and piano.
Created in 2010, the band has in their history two full-length albums, Pluvero (2014) and Sky Swimmer (2011) and an EP, Planar Sobre o Invisível (2016), all of them being well received by Brazilian and foreign media. In this fourth work, the band tries to bring new musical influences and collaborations to the album, like Sofia Freire in the tracks Elã and Pedra Bruta, Yukio in the track Mergulho Profundo and RØKR in the track Hotline Miami. The record had the recording, mixing and mastering by Bruno Giorgi, sound engineer behind other Brazilian music projects like Lenine (winner of Latin Grammy), baleia, Vitor Araújo and others. He also participated in the album adding textures and rhythmic mixing designs to the album.
The graphic art and design project is signed by Thaís Jacoponi, a resident of the city of São Paulo, Brazil. The image of a person hugging this black risk represents the energy that the word Elã brings: innovation, impulse, drastic force. The record was named after we met a little dog in the country house called Elã. The name drew our curiosity because is an unexpected name to put in a dog, so we looked for the meaning and found that it connects entirely with the feeling we were trying to put in our composing time. Also, was a meaningful word to represent our friendship and the stories that we constructed together in seven years as a band.
Pedra Bruta - 04:17 Moo Moo - 05:27 MÃ¡quinas - 05:25 ElÃ£ - 05:36 Hotline Miami - 06:42 Depois do Escuro - 04:52 O Escultor - 06:12 Rei Sem Cor - 05:15 Mergulho Profundo - 06:38
This cosmic journey began life springing from the fretboard of bassist Drew Cranford, whose layered chords, agile arpeggios, and fluid tapping anchors the musical foundation of the project. Starting as a solo artist, Drew's writing focuses on complex riffs and technically demanding performances which produce a unique style of bass playing that challenges the understanding of the role of the instrument itself. Eventually Drew crossed paths with fellow Georgia Tech student Jeff Harrison. An experienced drummer, and somewhat pursuer of good tunes, Jeff instantly connected with Drew’s melodic-centric bass riffs and thus a rhythmic foundation was laid. Over time the duo honed material together, practicing for hours in the basement of a house in Atlanta until eventually the two approached Steve Bledsoe to lead the charge on guitar. A past bandmate and friend of Jeff's, Steve would bring a unique sound to the group, blending classic guitar styles with a more modern, melody focused, vibe.
The three soon coalesced into a well-oiled musical unit, gigging locally around the Atlanta music scene, all the while working out the kinks for the songs that would become the self-published 'Peripheral Sounds' EP. Recorded in whatever spare time the group could afford, the EP served as an early sonic blueprint for the future iteration of Cosmic Carpool. Regrettably, college graduation and subsequent geographic separation became too much to gainfully surmount, and the group amicably parted ways for an indefinite period of time. The members pursued various other musical endeavors, with Jeff and Steve eventually touring together again in a different group. The three remained close friends, however, and would occasionally jam as Cosmic Carpool for a bedroom audience.
Years later, with the disbanding of his touring act, Jeff began experimenting with synthesizers and DAWs developing a deeper understanding of not only music itself, but the underlying technology behind the sounds. Eager to pursue this new passion, Jeff set off to reunite with Cranford and Bledsoe, reinventing Cosmic Carpool into a genre-bending, electronic 'space' rock trio. The group, reinvigorated with fresh songs from Drew's catalog and the sonic possibilities of modern synthesizers, began an intense rehearsal schedule to flesh out what would become 'Horizon'. With Jeff at the console and taking nearly a full year and a half to complete, the resulting LP is a testament to perseverance, and the payoff is huge. The entire record is a joy to listen to from start to finish, and while the songs certainly stand on their own right, the true power of ‘Horizon’ is best appreciated as an entire package.
Transporting listeners through time and space by way of intricate arrangements, bruisingly heavy riffs, and soaring electronic melodies, Cosmic Carpool is a sonic force quite unlike anything you've heard before. Hailing from Atlanta, GA, the genre-bending trio crafts a unique amalgam of rock, electronic, metal, ambient, and dance into something that is far greater than the sum of the parts. Every note is intentional, every passage designed for maximum feeling. Written by Drew Cranford (bass) and Produced by Jeff Harrison (drums/keys/synths), with Performances by Steve Bledsoe (guitar/mandolin), Cosmic Carpool’s debut full length LP 'Horizon' is an ethereal journey whose cadence is perfectly timed from beginning to end.
Hello from the Children of Planet Earth - 02:03 info Horizon - 06:09 info Big Blue Beast - 07:20 info Arise - 03:25 info Beyond 2D - 08:08 info Interlude - 01:27 info Phantom Funk - 02:27 info Nintendose - 09:23 info Reprise - 07:17 info Looper - 04:38 info Metal - 08:27 info
Ali Murray is an ethereal folk songwriter/musician from the cold isle of Lewis in the north of Scotland. He writes dark atmospheric folk music with lush sweeping dreamy soundscapes and Celtic-twinged instrumentation. His new album LAND OF EVERGONE strikes a balance that is intimate and soaring, peaceful and haunting, sad and quietly joyful, delicately reverberating with Murray's dreamy voice and guitar playing.
Orellana is a neo-classical/post-rock collective hailing from Bristol, UK. Their new album “52”, released in late December, brought in the new year with it’s explosive and intricate sound. The project’s music transcends genre definitions in order to focus on a broad, diverse concept that is more emotional than tangible. This particular release is full of rich and diverse arrangements, but it is also a powerful exercise in minimalism, one that showcases the strength of very few notes placed in the right spots. The simplicity of the arrangement is actually one of the strongest aspects of this entire release: there’s a palpable stillness created by the long, drone notes in the background, which almost makes you feel like the world is happening in slow motion. When the chords and notes change, it feels quite monumental due to the beautiful contrast between the stillness of the background textures and the expressive sound of the guitar-based melodies.