• Distribution,  Vinyl

    Wind Atlas ‎– Arche-Fossil (Vinyl, LP)


    Wind Atlas – Arche-Fossil (Vinyl, LP)
    Label: Cønjuntø Vacíø ‎– Ø-55
    Format: Vinyl, LP
    Country: Spain
    Released: 20 Mar 2020
    Style: Experimental, Industrial, Ambient, Abstract, IDM

    Arche-Fossil (Cønjuntø Vacíø, 2020) is Wind Atlas’ fourth record, which sees the band pushing the boundaries of their own music as genres such as post-industrial electronics, ambient, noise and popular mediterranean music merge, bringing to life a hybrid and intense album.

    The gestation process of Arche-Fossil began even before the publication of An Edible Body (2018). With that record, the band changed members and ventured into more electronic territories by using drum machines and synths that still fit their ritual post-punk sound. After two years spent working on this new record, these electronic landscapes have taken over their music.

    Arche-Fossil was almost entirely recorded by themselves at their home studio and finished at Maik Mayer’s recording studio with Sergio Pérez. It collects the songs that represent the band’s work over the last two years and that best reflect the issues that weave the whole record regarding the relationship between human beings and reality. Is it possible to know an uninterpretable reality? What is knowing? How does the relationship between human beings and reality work? These questions inform a series of songs that produce a voice that continuously muses on what it perceives and the ways in which it does.



    Hunger opens the record amidst a thunder of abstract sounds and a viscous bass loop. By using samples from M. E. S. H.’s “Optimate”, which forms the noisy basis of the song, Hunger approaches more experimental electronic terrains. This song revolves not only around an insatiable and uninhibited hunger for finding new ways of saying and being in the world, but also around an enormous emptiness.

    The monumental track Where Nothing Happens explores empty spaces and everything that happens within them when something–a step, a voice, an object–interrupts their eternal being, thus generating new meanings between these spaces and that which suddenly inhabits them.

    In Dos Ojos, the band continues navigating electronic landscapes, this time through Spanish traditional and oral literature. They follow this path further in Esta Despedida, where the vocals use one single sentence to unsay: “Todos los nombres van a morir a ti.” (“You are where all names go to die”) From then onwards, the vocals employ a form of glossolalia as a tool to continue uttering after the death of meaning that they have previously announced. Likewise, Days of Sadness, a free adaptation of Galician poet José Ángel Valente’s poem “Latitud”, pays homage to the language of the unsaid, which has heavily influenced Wind Atlas’ discourse over the years.

    That Mouth emerges as a dramatic effect when the record has managed to hypnotize us. Trance and an industrial sound meet amidst MS20 roars and a beat going over 140bpm. Metallic blows and the sound of chains burst in, creating rhythmic patterns over a bass drum that pushes forward.

    The eeriest and most beautiful moments appear on the record’s B-side. Such moments come to life in tracks like Oceanic Sexuality or the closer Do You Have a House?, along with the experimental Nada, in which, by only utilizing noise, Wind Atlas create a sonic collage poem that draws from power-electronics. Here, some of the band’s recurring themes reemerge: emptiness, water, and the body.

    In Arche-Fossil, Wind Atlas continue exploring some of the paths they began mapping with their previous record. This time, however, they manage to approach the heterogeneous in a much more certain and lucid manner, without ever stopping wondering about their own voice.

    Andrea P. Latorre: vocals
    Sergi Algiz: electronics and guitar
    Raúl Q. de Orte: Synths
    Raul Pérez: drums

    Recorded by the band and final recordings at Maik Maier Studios (Barcelona) by Sergio Pérez. Mixed by Sergio Pérez and mastered by Stephen Quinn at Analogue Heart (UK). Art photos by Àlex Sardà. Artwork by David M. Romero.

  • 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

    Buy Digital Download → Lingua Ignota | Wind Atlas | GH Records (bandcamp.com)

    /// 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


  • GH Records

    MEMENTO FINIS

    MEMENTO FINIS

    01 – Requiem Aeternam from Lux Aeterna by Oda Relicta
    02 – Bereginya from Adorned path of Stillness by Day Before Us
    03 – End .​.​. from Ad Extirpanda by Stupor Mentis
    04 – Mordance Hall from Unbewusste by Turnavel
    05 – Finis Gloriae Mundi from Oscvritas Illvmina – The 77 Pages Soundtrack by Kazeria
    06 – Tooth and Claw (Sol Invictus) 2010 from Mørk Skog / Five years of Dark Ambient Sounds by Mørk Skog
    07- Opened Eyes from Psicofonías – Las Voces Desconocidas (reissue) by In Slaughter Natives
    08 – To Clarice from An Edible Body by Wind Atlas
    09 – The Chronicles Of The Great Race (The Shadow Out Of Time) from Summoning The Elder Ones “ a Neofolk / Neoclassic tribute to H​.​P​.​Lovecraft” by Kazeria
    10 – Como La Piel from Donde Habite El Olvido by Silent Love Of Death
    11 – Without Purity from Comprende by Cawatana
    12 – Polaris from Circulo de Ur by The Wyrm
    13 – Der Unheimliche Gast from Nachtstücke by HIEMIS

    Original Sounds From GH Records

     


  • CD,  GH Records

    Wind Atlas – An Edible Body


    Wind Atlas – An Edible Body
    Label: Gradual Hate Records ‎– GH 137 CD
    Format: CD, Album, Digipak
    Country: Spain
    Released: 26 Jan 2018
    Style: Dark wave, Cold Wave, Post-Punk,Experimental

    An Edible Body, Wind Atlas’ new album, marks a turning point in the band’s trajectory. Their third record builds a new space for the band to experiment and play with new sounds and electronic rhythms. Strangely, An Edible Body is the band’s most experimental album and at the same time the most accessible.

    After a change in the band’s formation at the end of the Lingua Ignota (BFE, 2015) tour, Wind Atlas take a break from performing as to discover new sounds and work on a new album. Without a bass player, the band turns to electronic music as an answer for mixing their ritual  ways with new intensities and rhythms never explored by them before. If their first albums, the EP Fen Fire (BPR, 2012) and The Not Found (BPR, 2013), were essentially influenced by 4AD’s eighties bands like Cocteau Twins or Dead Can Dance, with Lingua Ignota, Wind Atlas discover an array of possibilities beyond the bands initial reverb-pumped folk songs. Opening up to post-punk, primitive sounds and spiritual chants, they begin to include post-industrial hints that would later crystallize in the form of this new album, An Edible Body.

    In search of this new sound, the band decide to record the album in New York with Sean Ragon, main figure of the current post-industrial scene, leader of the band Cult of Youth -whom they meet after performing together in Barcelona- and occasional guitarist of Psychic TV, seminal band of the industrial music scene: the chemistry in the studio was immediate. An Edible Body was recorded in just two weeks, one freezing month of February in 2017, at Sean Ragon’s basement studio in Maspeth, Queens, New York.

    The album experiments not only with new sounds but also with new forms of speech. That’s why “Desertor»opens the album, a crude and simple song, in which the voice finds itself almost alone, in the aridity of a desert, threatened by a noise in the background. Interferences interrupt the words and the voice goes out of tune due to tape manipulation.

    That interference foretells what is to come, the anticipation of a new affirmation called “Shedding Light”. The drum machine blends with the acoustic drums and metal plates, the synthesizers stand out and the voice sings ironically to a new reality,  built in a more assertive and cruder way than in previous albums.

    Despite the apparent distance between songs, An Edible Body sounds oddly solid. The dark ambient sound of “Camino de la cruz” is far from “How to Liquify” or “Ruins”, the most unabashed pop song the band has composed to date. In a way, Sean Ragons production gives unity to an eminently heterogenous album. The eastern influences of Lingua Ignota reappear in “Herencia de Jade”, with a danceable industrial beat that takes on more significance when performed live.

    “En la cruz” is a techno tribute to San Juan de la Cruz and probably, one of the central tracks on the album. The new version of some of the verses from his Cántico espiritual combined with a dense rhythm that culminates in a polifony of voices affirming the existence of the force of the invisible, product of Sean Ragon’s magic in the studio thanks to the sound processors used on bands like Coil or Chris and Cosey.

    On the other extreme we find “Under these Waters”, a sound poem that sings to a theme present in the band’s imaginary from the start: the uncanniness of water. “Under these Waters” is a song with a strong sexual component built through hipnotic cadences and suggestive synthesizers.

    “To Clarice” is a post-industrial ballad, fundamental to understand Wind Atlas’ new vibe. Again, the influence of poet Leopoldo María Panero is reflected in the lyrics, which speak of a cathartic encounter. “To Clarice” is also an offering to writer Clarice Lispector, as well as a recognition of one’s body and the foreign body, its senses and its meanings.

    The album is out on January 26 through labels BFE Records and Hidden Track on vinyl, and GH Records on CD


  • Distribution,  Vinyl

    Wind Atlas – An Edible Body (Vinyl, LP)


    Wind Atlas – An Edible Body (Vinyl, LP)
    Label: B.F.E Records ‎– BFE 044, Hidden Track Records ‎– HT013
    Format: Vinyl, LP, Black or  Milky Clear
    Country: Spain
    Released: 26 Jan 2018
    Style: Dark wave, Cold Wave, Post-Punk,Experimental

    / / / SOLD OUT / / /

    An Edible Body, Wind Atlas’ new album, marks a turning point in the band’s trajectory. Their third record builds a new space for the band to experiment and play with new sounds and electronic rhythms. Strangely, An Edible Body is the band’s most experimental album and at the same time the most accessible.

    After a change in the band’s formation at the end of the Lingua Ignota (BFE, 2015) tour, Wind Atlas take a break from performing as to discover new sounds and work on a new album. Without a bass player, the band turns to electronic music as an answer for mixing their ritual  ways with new intensities and rhythms never explored by them before. If their first albums, the EP Fen Fire (BPR, 2012) and The Not Found (BPR, 2013), were essentially influenced by 4AD’s eighties bands like Cocteau Twins or Dead Can Dance, with Lingua Ignota, Wind Atlas discover an array of possibilities beyond the bands initial reverb-pumped folk songs. Opening up to post-punk, primitive sounds and spiritual chants, they begin to include post-industrial hints that would later crystallize in the form of this new album, An Edible Body.

    In search of this new sound, the band decide to record the album in New York with Sean Ragon, main figure of the current post-industrial scene, leader of the band Cult of Youth -whom they meet after performing together in Barcelona- and occasional guitarist of Psychic TV, seminal band of the industrial music scene: the chemistry in the studio was immediate. An Edible Body was recorded in just two weeks, one freezing month of February in 2017, at Sean Ragon’s basement studio in Maspeth, Queens, New York.

    image

    The album experiments not only with new sounds but also with new forms of speech. That’s why “Desertor»opens the album, a crude and simple song, in which the voice finds itself almost alone, in the aridity of a desert, threatened by a noise in the background. Interferences interrupt the words and the voice goes out of tune due to tape manipulation.

    That interference foretells what is to come, the anticipation of a new affirmation called «Shedding Light”. The drum machine blends with the acoustic drums and metal plates, the synthesizers stand out and the voice sings ironically to a new reality,  built in a more assertive and cruder way than in previous albums.

    Despite the apparent distance between songs, An Edible Body sounds oddly solid. The dark ambient sound of “Camino de la cruz” is far from “How to Liquify” or “Ruins”, the most unabashed pop song the band has composed to date. In a way, Sean Ragons production gives unity to an eminently heterogenous album. The eastern influences of Lingua Ignota reappear in “Herencia de Jade”, with a danceable industrial beat that takes on more significance when performed live.

    “En la cruz” is a techno tribute to San Juan de la Cruz and probably, one of the central tracks on the album. The new version of some of the verses from his Cántico espiritual combined with a dense rhythm that culminates in a polifony of voices affirming the existence of the force of the invisible, product of Sean Ragon’s magic in the studio thanks to the sound processors used on bands like Coil or Chris and Cosey.

    On the other extreme we find “Under these Waters”, a sound poem that sings to a theme present in the band’s imaginary from the start: the uncanniness of water. “Under these Waters” is a song with a strong sexual component built through hipnotic cadences and suggestive synthesizers.

    “To Clarice” is a post-industrial ballad, fundamental to understand Wind Atlas’ new vibe. Again, the influence of poet Leopoldo María Panero is reflected in the lyrics, which speak of a cathartic encounter. “To Clarice” is also an offering to writer Clarice Lispector, as well as a recognition of one’s body and the foreign body, its senses and its meanings.

    The album is out on January 26 through labels BFE Records and Hidden Track on vinyl, and GH Records on CD



    An Edible Body, el nuevo trabajo de Wind Atlas, marca un punto de inflexión en la trayectoria de la banda.

    Tras un cambio de formación al final de la gira de Lingua Ignota (BFE, 2015), la banda decide dejar de tocar durante un tiempo para reflexionar, buscar nuevos sonidos y preparar un nuevo disco. Ya sin bajista, la banda desvía su mirada hacia la electrónica,buscando la manera de mezclar su ritual con una intensidad y unos ritmos nuevos no explorados hasta el momento. Si en sus primeros trabajos, el EP Fen Fire (BPR, 2012) y The Not Found (BPR, 2013), las influencias de las bandas de los ochenta del sello 4AD como Cocteau Twins o Dead Can Dance eran fundamentales, con Lingua Ignota, Wind Atlas encontraba una nueva grieta que abría un abanico de posibilidades más allá de las canciones folk inundadas de reverb de sus inicios.
    Se abrían al post-punk, a los sonidos primitivos y los cantos espirituales y empezaban a mostrar ciertos tintes post-industriales que se han cristalizado en su nuevo trabajo, An Edible Body.

    Con el objetivo de buscar ese nuevo sonido, deciden ir a grabar su disco a Nueva York con Sean Ragon, figura esencial de la escena post-industrial actual, líder de la banda Cult Of Youth –que conocen al compartir escenario en Barcelona- y guitarra ocasional en Psychic TV, banda seminal de la música industrial: la química en el estudio fue instantánea.
    El disco experimenta no solo con nuevos sonidos sino también con nuevas maneras de comunicarse. Su tercer disco construye un nuevo espacio que ha permitido al grupo experimentar con los sonidos y jugar con los ritmos electrónicos. Extrañamente,An Edible Body es el disco más accesible y, al mismo tiempo, más experimental de la banda. creditsreleases January 26, 2018

    ·Grabado y mezcldo por Sean Ragon
    (Cult of Youth, Psychic TV) en Queens,Nueva York.
    · Masterizado por Stephen Quinn en Analogue Heart
    · Diseño y arte del de Verushka Sirit (www.verushka.cat)
    Andrea Pérez: Voz
    Sergi Alejandre: Guitarra
    Raúl Q. de Orte: Sintes

  • CD,  GH Records

    Wind Atlas – An Edible Body


    Wind Atlas – An Edible Body
    Label: Gradual Hate Records ‎– GH 137 CD
    Format: CD, Album, Digipak
    Country: Spain
    Released: 26 Jan 2018
    Style: Dark wave, Cold Wave, Post-Punk,Experimental

    An Edible Body, Wind Atlas’ new album, marks a turning point in the band’s trajectory. Their third record builds a new space for the band to experiment and play with new sounds and electronic rhythms. Strangely, An Edible Body is the band’s most experimental album and at the same time the most accessible.

    After a change in the band’s formation at the end of the Lingua Ignota (BFE, 2015) tour, Wind Atlas take a break from performing as to discover new sounds and work on a new album. Without a bass player, the band turns to electronic music as an answer for mixing their ritual  ways with new intensities and rhythms never explored by them before. If their first albums, the EP Fen Fire (BPR, 2012) and The Not Found (BPR, 2013), were essentially influenced by 4AD’s eighties bands like Cocteau Twins or Dead Can Dance, with Lingua Ignota, Wind Atlas discover an array of possibilities beyond the bands initial reverb-pumped folk songs. Opening up to post-punk, primitive sounds and spiritual chants, they begin to include post-industrial hints that would later crystallize in the form of this new album, An Edible Body.

    In search of this new sound, the band decide to record the album in New York with Sean Ragon, main figure of the current post-industrial scene, leader of the band Cult of Youth -whom they meet after performing together in Barcelona- and occasional guitarist of Psychic TV, seminal band of the industrial music scene: the chemistry in the studio was immediate. An Edible Body was recorded in just two weeks, one freezing month of February in 2017, at Sean Ragon’s basement studio in Maspeth, Queens, New York.

    image

    The album experiments not only with new sounds but also with new forms of speech. That’s why “Desertor»opens the album, a crude and simple song, in which the voice finds itself almost alone, in the aridity of a desert, threatened by a noise in the background. Interferences interrupt the words and the voice goes out of tune due to tape manipulation.

    That interference foretells what is to come, the anticipation of a new affirmation called «Shedding Light”. The drum machine blends with the acoustic drums and metal plates, the synthesizers stand out and the voice sings ironically to a new reality,  built in a more assertive and cruder way than in previous albums.

    Despite the apparent distance between songs, An Edible Body sounds oddly solid. The dark ambient sound of “Camino de la cruz” is far from “How to Liquify” or “Ruins”, the most unabashed pop song the band has composed to date. In a way, Sean Ragons production gives unity to an eminently heterogenous album. The eastern influences of Lingua Ignota reappear in “Herencia de Jade”, with a danceable industrial beat that takes on more significance when performed live.

    “En la cruz” is a techno tribute to San Juan de la Cruz and probably, one of the central tracks on the album. The new version of some of the verses from his Cántico espiritual combined with a dense rhythm that culminates in a polifony of voices affirming the existence of the force of the invisible, product of Sean Ragon’s magic in the studio thanks to the sound processors used on bands like Coil or Chris and Cosey.

    On the other extreme we find “Under these Waters”, a sound poem that sings to a theme present in the band’s imaginary from the start: the uncanniness of water. “Under these Waters” is a song with a strong sexual component built through hipnotic cadences and suggestive synthesizers.

    “To Clarice” is a post-industrial ballad, fundamental to understand Wind Atlas’ new vibe. Again, the influence of poet Leopoldo María Panero is reflected in the lyrics, which speak of a cathartic encounter. “To Clarice” is also an offering to writer Clarice Lispector, as well as a recognition of one’s body and the foreign body, its senses and its meanings.

    The album is out on January 26 through labels BFE Records and Hidden Track on vinyl, and GH Records on CD


    image

    An Edible Body, el nuevo trabajo de Wind Atlas, marca un punto de inflexión en la trayectoria de la banda.

    Tras un cambio de formación al final de la gira de Lingua Ignota (BFE, 2015), la banda decide dejar de tocar durante un tiempo para reflexionar, buscar nuevos sonidos y preparar un nuevo disco. Ya sin bajista, la banda desvía su mirada hacia la electrónica,buscando la manera de mezclar su ritual con una intensidad y unos ritmos nuevos no explorados hasta el momento. Si en sus primeros trabajos, el EP Fen Fire (BPR, 2012) y The Not Found (BPR, 2013), las influencias de las bandas de los ochenta del sello 4AD como Cocteau Twins o Dead Can Dance eran fundamentales, con Lingua Ignota, Wind Atlas encontraba una nueva grieta que abría un abanico de posibilidades más allá de las canciones folk inundadas de reverb de sus inicios.
    Se abrían al post-punk, a los sonidos primitivos y los cantos espirituales y empezaban a mostrar ciertos tintes post-industriales que se han cristalizado en su nuevo trabajo, An Edible Body.

    Con el objetivo de buscar ese nuevo sonido, deciden ir a grabar su disco a Nueva York con Sean Ragon, figura esencial de la escena post-industrial actual, líder de la banda Cult Of Youth –que conocen al compartir escenario en Barcelona- y guitarra ocasional en Psychic TV, banda seminal de la música industrial: la química en el estudio fue instantánea.
    El disco experimenta no solo con nuevos sonidos sino también con nuevas maneras de comunicarse. Su tercer disco construye un nuevo espacio que ha permitido al grupo experimentar con los sonidos y jugar con los ritmos electrónicos. Extrañamente,An Edible Body es el disco más accesible y, al mismo tiempo, más experimental de la banda. creditsreleases January 26, 2018

    ·Grabado y mezcldo por Sean Ragon
    (Cult of Youth, Psychic TV) en Queens,Nueva York.
    · Masterizado por Stephen Quinn en Analogue Heart
    · Diseño y arte del de Verushka Sirit (www.verushka.cat)
    Andrea Pérez: Voz
    Sergi Alejandre: Guitarra
    Raúl Q. de Orte: Sintes