• CD,  Distribution

    Ulver – Drone Activity


    Ulver – Drone Activity
    Label: House of Mythology ‎– HOM 018 LP
    Format: CD Album
    Country: UK
    Released: 11 May 2019
    Style: Ambient

    It all happened in a haze. I am not sure everyone was prepared to obey the summons and forsake the shore in order to be pulled under by the loudness of sound. Yet the ethos on that crisp October night was clear in its wording: Drone Activity.

    Upon entering the old fish-warehouse, now converted into an activity hall, on the new Oslo waterfront, the security guards barely cared to check our tickets. Even mammoths would have been able to hide in this enormous dark space, illuminated by a few logos and stalls of sugary drinks, about to disappear in a sea of smoke.

    Disappearance comes in many shapes in the age of extinction. Following the Danish noise act Damien Dubrovnik, Ulver started out in a subtle manner, carefully examining the territory, vast and waste. Screeching sounds echoed distant roars from the approaching edge as snowflakes pierced the air with ferocious speed. Where to go from there?

    A retreat into the sunken paradise. Half-buried misty temples, giant creatures and vaguely prehistoric figures emerged as depth and time intertwined, from the ancient Atlantis to the northernmost seas.

    We stayed there for 90 minutes, of which 70 have been meticulously mixed and mastered for this release. All of them are new sounds. Darker and more dire, yet containing the vibe of their previous semi-improvisatory sessions, documented and catalogued on the “Zodiac” album, ATGCLVLSSCAP (2016).

    If that Zodiac album was a free-form Ulver interpreting the signs in the stars, Drone Activity stares into the abyss, documenting those moments after the last rays of sun speckle the surface and careless subterranean streams start determining the course.

    “Something murky and liminal emerged, in sound and space,” the band states in their liner notes. I can’t think of a more apt description of what, and to where, Ulver brought us that night. There is no shoreline a thousand feet down.

    TORE ENGELSEN ESPEDAL,
    on the ferry from Naples to Palermo, March 2019


  • CD,  Distribution

    Merzbow – Hanakisasage


    Merzbow ‎– Hanakisasage
    Label: Old Captain ‎– OCCD27
    Format: CD, Album, Limited Edition
    Country: Ukraine
    Released: 29 Nov 2016
    Style: Noise, Ambient

    Recorded and Mixed at Munemihouse, Tokyo 2014-2016.
    ©Merzbow 2016.

    Limited edition of 300 copies in a glossy full-colour Digipak.

    A new album by Merzbow. The name “Hanakisasage” means very rare trees which exist only few in Japan. 2 tracks of noise ambient/rhythm recorded in Tokyo during 2014-2016 and musically follow in the tendency of his recent works like ‘Kakapo’. 55 minutes of pure untamed energy and sonic insight into Masami Akita’s world. A 300-CD edition in a glossy full-colour Digipak

  • CD,  GH Records

    Wind Atlas ‎– Lingua Ignota


    Wind Atlas – Lingua Ignota
    Label: Gradual Hate Records ‎– GH139 CD, Twilight Records ‎– TW 1.156
    Format: CD, Album
    Country: Spain
    Released: June 2018
    Style: Darkwave, Folk, Psychedelic Rock, Post-Punk, Experimental

    /// SOLD OUT ///

    Recorded and mixed by Javier Ortiz Fullton at Estudios Brazil in december 2014. Studio Assistant: Marcos Bandera. Mastered at Yves Roussel Mastering by Yves Roussel in january 2015. Cover art is “Magic Circle” (1886) by John William Waterhouse. Artwork designed by Raúl Q. de Orte.

    Credits
    Backing Vocals – Raúl Pérez Pérez, Raúl Q. De Orte, Sergi Alejandre
    Bass – Iván Montero
    Bouzouki – Sergi Alejandre
    Drums – Raúl Pérez Pérez
    Guitar – Sergi Alejandre
    Lead Vocals – Andrea Pérez
    Mastered By – Ives Roussel
    Mixed By – Javier Ortiz
    Recorded By – Javier Ortiz
    Santoor – Raúl Pérez Pérez
    Synth – Raúl Q. De Orte

    Wind Atlas’ music has gained in nuances, drifting smoothly from dark dream-pop and new-wave passages (which remind us of Dead Can Dance) to gloomy postpunk atmospheres similar to those of Crispy Ambulance, Durruti Column or In Camera.
    Music to think of an unknown continent, to look for the lost alchemical formula, to eventually discover Talos the robot hurling rocks at the Argonauts. Music that requires to do nothing but listen, a task that nowadays appears almost impossible.

    The message is conveyed in an imagined language from a terra incognita, the lingua ignota. Each song is like an accent or a period, like a comma, a verse, a whole chapter of a liturgical chant. Gibberish for those who relish the best soundtrack by Basil Poledouris and the 4AD catalogue.

    The album was recorded in Estudio Brazil (Madrid) with Javier Ortiz and mastered in Yves Roussel Mastering (Barcelona).

    “Wind Atlas, if “Ecdisis” is any indication, sound a bit like Sioux Sioux after the Banshees broke up, if she had gone in a more interesting direction. Or maybe if Peter Murphy had started a project with Sioux Sioux? Something like that. Truth is, it doesn’t matter once those early Edge/Chameleons guitars, full of melodic urgency despite their simplicity, hit; the ritualistic feel of the backing turns up their immediacy even more, to the point where the whole composition seems to depend on them.

    But that voice, ringing through the ether, also needs something, anything, to happen, lest the sands of time swallow her whole. It’s a mystical, otherworldly trip…“

    image

    La música de Wind Atlas es rica en detalles, deslizándose refinadamente de oscuros pasajes dream pop new wave (que bien traen a la memoria a Dead can Dance) a la bruma de atmósferas postpunk que podían hacer grupos como Crispy Ambulance, Durruti Column o In camera.

    Música para pensar en un continente no conocido, buscando una formula alquímica perdida, y acabar descubriendo al robot de Talos apedreando argonautas. Mejor dejémoslo así, en no hacer nada mientras se escucha, una tarea que se nos plantea hoy en día imposible.

    El mensaje se proyecta en un idioma imaginado de una terra incógnita, la lengua ignota. Cada canción es como una tilde o un punto, como una coma, un versículo, un capitulo entero de un canto litúrgico. Un galimatías entre quienes disfrutan de la mejor banda sonora compuesta por Basil Poledouris y el catalogo de 4AD.

    1.Eurydice’s Chant 02:38
    2.Sound Of Gold, Rhythm Of Jade 05:17
    3.The Sun Rises 03:47
    4.Hylé 02:40
    5.Stalker 05:13
    6.The Goddess Is Where It Is Venerated 05:43
    7.Ecdisis 04:44
    8.Demona 06:35
    9.The Joy Of The Auloniad 02:30