First Human Ferro – Heterodox Label: Old Captain – OCCD17, Gradual Hate Records – GH 128 CD Format: CD, Album, Limited Edition Country: Ukraine Released: Apr 2016 Style: Dark Ambient
Old Captain’s owner, Olegh Kolyada, fights the sea and presents his Lost Generation victory in defeat. “Heterodox” is a dark ambient album born of the sound and the fury with heroes lonely and mad. A sparse, straightforward yet emotionally vigorous record with its own interior monologue, a discourse to be a silent interlocutor to. Restraining the interior the musician offers the nature symbolism via modular synthesizers and analogue junk approach to scatter one’s ego worldwide for good. Full of elemental primitiveness the heretic in his destructive folly challenges to claim a nihilistic vision of reality to engage the listener into an ever-present absurd. A 200-CD edition in a classical glossy Digipak. A co-prod of Old Captain and Gradual Hate Records.
Credits: Artwork By – Stasys Krasauskas Composed By – Olegh Kolyada Notes: Recorded at Oda Relicta HQ in 2016. Limited to 200 copies. A glossy 4-panel Digipak edition
Merzbow – ((VIBRA)) MMVII Label: Gradual Hate Records – GH 141 CD / 2nd Edition Format: CD, Album, Enhanced, Limited Edition Country: Spain Released: Jun 6, 2019 Style: Noise
CD Enhanced / Audio + Video / Edition CD Mailer (Laminated Cardboard)
FULL VIDEO included ONLY in the «physical version»( format CD Enhanced / Audio + Video )
Merzbow Live, 07/03/2007 at the OCCC (October Center for Contemporary Culture, València, Spain) within the series of concerts of Sound Art and Experimental Music ((VIBRA)).
Merzbow (メルツバウ Merutsubau) is a Japanese noise project started in 1979 by Masami Akita (秋田 昌美 Akita Masami).
The name Merzbow comes from the German dada artist Kurt Schwitters’ artwork Merzbau, in which Schwitters transformed the interior of his house using found objects. The name was chosen to reflect Akita’s dada influence and junk art aesthetic. In addition to this, Akita has cited a wide range of musical influences from progressive rock, heavy metal, free jazz, and early electronic music to non-musical influences like dadaism, surrealism, and fetish culture. Since the early 2000s, he has been inspired by animal rights and environmentalism, and began to follow a vegan, straight edge lifestyle.
As well as being a prolific musician, he has been a writer and editor for several books and magazines in Japan, and has written several books of his own. He has written about a variety of subjects, mostly about music, modern art, and underground culture.
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…“
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
