Friday, November 27, 2009

Thomas Köner - La Barca [2009]

1 35° 40' N 139° 42' E Hour One
2 43° 42' N 7° 16' E Hour Two
3 45° 26' N 12° 20' E Hour Three
4 28° 41' N 17° 45' W Hour Four
5 41° 53' N 12° 29' E Hour Five
6 33° 31' N 36° 19' E Hour Six
7 48° 52' N 2° 21' E Hour Seven
8 30° 3' N 31° 14' E Hour Eight
9 78° 54' N 18° 1' E Hour Nine
10 31° 46' N 35° 13' E Hour Ten
11 42° 7' N 19° 6' E Hour Eleven
12 41° 24' N 2° 10' E Hour Twelve

"In a barque she sails across the high lands of the past.
The barque heads shimmer and glow at stern and bow,
and that lights her unseeable passage.
She calls to the spirits of this hour, and that is how we come to even hear her voice."

There are few artists in the world of recorded music who have such an innate understanding of the use of silence and atmosphere as Thomas Köner. Next to Helge Sten, The Hafler Trio or Mika Vainio, Köner is an acclaimed master of ultra-subtle ambient acoustics, providing some of the finest records on labels like Mille Plateaux, Die Stadt and Chain Reaction, both under his birth name, and as half of seminal techno act Porter Ricks. Like a friendly apparition emerging from the ether, his latest album - the first in nearly five years - has just dropped into our world, with little prior warning, to completely remove us from our day and place us within an environment coloured with moving air, tones of sublime melancholy and indistinct aural landscapes. The tracks are titled by a set of coordinates, which we're sure the more intrigued folks out there will be researching on Google maps, but those looking to leave the mystery intact can attempt to imagine the locations through their associated voices, languages and surrounding aura. For example, without checking, on '48º 52' N 2º 21' E' you could be standing in a train station in Azerbaijan, wrapped up in an intangible moment of cinematic bliss, while on '31º 46' N 19º 6' E' one feels like a ghost in the midst of a Central American pueblo, or somewhere completely unknown. This is music ripe for the imagination, from an unrivaled mind dedicated to enhanced auditory experience and deserves undivided attention from anyone unafraid to let themselves be taken by it. - Boomkat
FLAC (lossless) w/ CUE

Thursday, November 26, 2009

Northaunt - Barren Land [2004]

1 Dying Day / Dawn And Ashes
2 A Silent Battle
3 Kapp Farvel
4 Whiteout
5 Laid Bare Beneath The Stars
6 Just Another Cold Spring
7 Lost Days
8 Varghjerte
9 The Fire
10 Shadows Over The Barren Land

Northaunt started making ambient soundscapes in 1996.
The music is mainly made from atmospheric drones, crisp field recordings (from nature here in Norway) and sometimes simple melodies (guitar, piano etc).Northaunt has a special focus on seclusion, melancholy and the relationship between man and nature. 3 cd's have been released so far.

FLAC (lossless) w/ CUE

Saturday, November 21, 2009

Necrophorus - Drifting In Motion [2000] (Remastered Re-Issue w/ Bonus Tracks)

1 Lost Land Part 1
2 Ice Shifting
3 Frost
4 Partial Melt
5 Lost Land Part 2
6 Drifting
7 Arcane Angelicum
8 Untitled (Dedicated To Z. Beksinski)
9 After The Silence

”Arctic ambience, melting with imagination, leads the listener to the frozen tundra at the top of the world. This rarely explored land, resonant with a shimmering radiance that is bleak, barren and mysterious, is distinguished by slivers of fantastical nuances that twinkle like crystals under the midnight sun.”

The above quotation was taken from a review of the original CD release of Drifting in Motion (2000 on Crowd Control Activities). Now, 8 years later it is time for an enhanced re-release for even more refined sound and experience of Drifting in Motion. The entire album has been carefully re-mixed in 2007 and has been spiced with 3 more nuances.

Peter Andersson is a multi-talented man most famous for his RAISON D'ETRE project on the label Cold Meat Industry label but he is also are responisble for music projects like Stratvm Terror, Bocksholm, Atomine Elektrine, Panzar and many more.

For this new release, two artists, Maria Gullqvist (Sweden) and Eva Verholen (Holland) has been asked to contribute with their own impressions of experiencing Drifting in Motion. Their amazing works are presented on the completely new designed CD artwork in a six panels digipak.

AAC @ 320 kbps

Thursday, November 19, 2009

Triore - Three Hours [2009]

1 The First Three Hours 4:08
2 Victory Rising 3:10
3 After Summer We Fall 4:06
4 The Missing Hour 3:02
5 Another Love, Another Hate
6 No Tears Are Shed For You And Me
7 Pleasures & Tortures
8 Fires Burn, Like Fires Do
9 Let Us Meet In The Trenches
10 There's A Smell To Life That Dies
11 Europa's Dream
12 The Last Three Hours

This fairytale started to unravel four years ago with the release of
Triarii's "Piece Heroique" (ES-05). A sinister seed was planted in
the fertile soil of northern Europe as Christian Erdmann (Triarii)
and Tomas Pettersson (Ordo Rosarius Equilibrio) gave birth to the
track "Roses 4 Rome".
And now finally, the progeny has been conceived and fully developed;
and what they call TriORE, has ultimately been born.
Both participants go beyond themselves and step out of normal
character, but TriORE is nonetheless the embodiment of all that which
is Triarii, and all that which is Ordo Rosarius Equilibrio; like a
succulent apple in two opposite pieces just waiting to be devoured.
The bombastic touch of Triarii is still there; the string sections,
the choirs, the martial drums and much more; alongside the eloquence
of Ordo Rosarius Equilibrio, musically, melodically, as well as
This is what all lovers of both bands have been waiting for, a
complete forty minutes of Art Deco Industrial Pop.
This work begins where Roses 4 Rose left us, and takes all the way
from the rising of victory, through the trenches and all the way till
Europa falls.
FLAC (lossless)
AAC @ 320 kbps

Wednesday, November 18, 2009

Inade - The Incarnation Of The Solar Architects [2009]

1 The Engine Of The Mind
2 Abandoned Inferno
3 A Lefthanded Sign
4 Altar To The Unknown
5 The Tellurian Vortex
6 The World Behind The World
7 From The Angle Of Aleph
8 The Veil Of Eternal Unity
9 Canon Of Proportion
10 Aion Teleos

There is a world that shadows our world, a world of mysterious design and unspoken secrets, of space that breathes and infinite echoes that never cease to cry.
Mirrors that refract images into dark pools of cosmic nothingness.
Inade explore these worlds on their latest masterpiece, The Incarnation of the Solar Architects, in which sound is utilized in a transformative manner, not only to focus on that which lies beyond and that which has never been seen, but to embrace the Darkness and let it wash over one’s soul.
The mythology that Inade has created touches that place beyond forever, yet now, through the insistence of that which lurks in the margins, a metamorphosis has transpired, in which the cosmos of self has awakened.
If one believes that God is everywhere, so is the Darkness that came before Him.
A Darkness thriving with anonymous ideals (the possibilities are endless …) and devious intentions, resplendent with mystical creatures that shamble through antediluvian kingdoms constructed from polished metal, luxurious crystals, and unlimited dreams … though one would need new eyes to see them, and new ears to hear them.
Inade provide the soundtrack, the frisson of unease is abundant, a churning, seething dread that veers into awe.
It’s up to the individual listener to listen intently, behind shuttered eyelids …
To see and experience the true labyrinthine hierarchy of black splendor that awaits.
FLAC (lossless)

Monday, November 16, 2009

Leyland Kirby - Sadly, The Future Is No Longer What It Was (3xCD) [2009]

1.1 When We Parted, My Heart Wanted to Die
1.2 Sound of Music Vanishing
1.3 Beauty of the Impending Tragedy of My Existence
1.4 And as I Sat Beside You I Felt the Great Sadness That Day
1.5 Tonight Is the Last Night of the World
1.6 To the Place Between the Twilight and the Dawn
2.1 When Did Our Dreams and Futures Drift So Far Apart ?
2.2 Not Even Nostalgia Is as Good as It Used to Be
2.3 Sadly, the Future Is No Longer What It Was
2.4 Stay Light, There Is a Rainbow a Coming
2.5 And Nothing Comes Between the Sadness and the Scream
2.6 I've Hummed This Tune to All the Girls I've Known
2.7 Not as She Is Now But as She Appears in My Dreams
3.1 Memories Live Longer Than Dreams
3.2 Don't Sleep I Am Not What I Seem, I'm a Very Quiet Storm
3.3 Longing to Be Absorbed for a While into a Different and Beautiful World
3.4 Days in the Wilderness
3.5 Stralauer Peninsula
3.6 We All Won That Day, Sunshine
3.7 And at Dawn Armed with Glowing Patience, We Will Enter the Cities of Glory

Leyland Kirby broke cover back in the mid-90s as the sinister music intelligence behind V/VM, an anarchic music project-cum-production house that specialised in feeding kitsch pop hits – Chris De Burgh’s Lady in Red, Robbie Williams’ Angels, and so on – though a grisly sonic mincer. The results came out sounding like the karaoke booth of your worst nightmares, humorous and nauseous in equal measure, but you had to admire Kirby’s dedication to the cause: he certainly knew how to turn your stomach and put a smile on your face at the same time.

Kirby’s debut album under his own name comes after a spell recording as The Caretaker, which with the benefit of hindsight, feels a little like a bridge between where he was then and where he is now. Inspired by Stanley Kubrick’s The Shining, The Caretaker’s early music was built from antique ballroom dance 78s, often heavily treated, pitched to alien speeds and fighting through ghostly curtains of reverb. And indeed, Sadly, the Future Is No Longer What It Was (a trilogy, available as digital download, triple CD or, for the moneybags, six platters of vinyl) shares something of The Caretaker’s drifting, ethereal feel, existing in a sort of liminal, dream-like realm where time passes slowly and signposts melt into the fog.

But this collection feels like a step on from The Caretaker, as well. Colours are sharper, the emotional content is broader, and often the fog falls away to reveal the surprising fact that Kirby happens to be a pianist of some note. On When We Parted, My Heart Wanted to Die (Friedrichshain Memory), elegiac piano and synthesised strings rise gently over a sea of vacuum hums and static crackle, and while there’s clearly no finger hovering over the edit button – the track billows out to 15 minutes in length – there’s little feel of stasis or torpor.

It’s ambient music, yes – but Sadly, the Future Is No Longer What It Was boasts an emotional, melancholic undertow so accomplished it shames many other examples of the form. - BBC Music
FLAC (Lossless) + AAC @ 320 kbps
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