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Found 11 results

  1. "Half a decade in the making, it’s an exploration of ritual music without dogma. For the first time in his 33-year career Lustmord places vocals at the centre of his abyssal ambient creations, coaxing incantatory performances out of Aina Skinnes Olsen, Jarboe (ex-Swans), Maynard James Keenan (Tool) and Soriah.Those looking to properly decode the subject matter of the album are advised to study Simon Fowler’s fiendishly elaborate, double-spread cover illustration. Suffice it to say here that it concerns "the word" as written - signs, ciphers, symbology, semantics, etymology - and as spoken - myths, mantras, chants, invocation and evocation. Of course it’s also about the unwritten, the unspoken; that which exists beyond the reach of language." The Word As Power by Lustmord
  2. My thoughts: Joshua Eustis helped out on this release and you can hear his influence in these new tracks. This record has a lot going for it, sounds like what Slowdive might be doing if they hadn't stopped making music together. If you listen to the audio (below) and skip ahead to 5:10 of "I woke up and the storm was over" that is like the best part, but both are really strong tracks IMO. Some people compare this to Beach House but I don't personally know why, maybe becuase it's a female and she's American? I like both bands but think these two tracks are better than the last BH album. Audio: Press release: Stop Suffering is the new EP from Tropic of Cancer, due to be released on 12" vinyl and digital formats on October 30, 2015. It’s the first music to emerge from Camella Lobo’s project since the 2013 debut album, Restless Idylls, and features three new songs - ‘Stop Suffering’, ‘I Woke Up And The Storm Was Over’ and ‘When The Dog Bites’ – written and recorded by Lobo in LA, with additional production and mixing from Joshua Eustis (Sons of Magdalene, Telefon Tel Aviv). Lobo’s deeply romantic, fatalistic music has always luxuriated in sadness, and that isn’t about to change: themes addressed on Stop Suffering include, she tells us, “disappointing yourself and others…burning your own house down...temporary feelings with permanent consequences.” It is music steeped in pain and regret, certainly, but unlike TOC music of old, these new songs feel less about surrender: even if the title track does seem to address the S-M dynamic at the heart of any meaningful relationship (“For you the world feels so brand new / When you cut me like you do”). On the contrary, they are self-possessed and constructive, even confrontational, embodying the stark command of the EP's title. This is not a record about loss, but about what comes after: and it is mature enough to know that what comes after is no walk in the park. Lobo identifies the idea of “self-help” as being particularly pertinent to these songs, and this comes across: rebirth, redefining the borders of the self, learning to be happy again. Gone, or at least receding, is that decadent, fin-de-siècle preoccupation with decay, with the end. Stop Suffering is a new beginning. The towering, time-stopping title track is the culmination of Tropic of Cancer’s work to date, and sets the tone for the entire EP. This is music at once intimate and immense. Rarely does an arrangement so sparse exhibit such grandeur: Joshua Eustis's bravura mixing wrings spine-melting effect out of each component, and the dubwise harnessing of space and bass pressure first showcased on Restless Idylls is now a core, defining feature of the band. Lobo's melodic gift has always been strong, but the hypnotic, monochord intensity that characterised TOC’s previous records gives way here to a more concrete song-narrative - which serves only to heighten the sensation of drowned-world psychedelia. Her divine alto still swims in reverb, but the words are clearer, there’s a resolve to communicate through the aqueous haze: “I hope you’ll forgive me…” ‘I Woke Up And The Storm Was Over’, which appears here in a slightly different mix to that which opens the vinyl-only Blackest Ever Black compilation I Can’t Give You The Life You Want, is no less mesmerising, further highlighting Lobo's ever more sophisticated, painterly use of synth textures, not to mention her unmistakably plangent, otherworldly guitar work. She has spent a considerable amount of time crafting these songs, and it shows: for all that we cherish her earlier work, never has Tropic of Cancer sounded so poised, so assured, or so moving as it does today. The EP concludes with the elegiac, frozen-space ambience of ‘When The Dog Bites’; Lobo’s vocal is a radiant blur, consoling across a void of lonesome string-pads, vaporous noise and distant, tranquilized bass-drum detonations. "I've searched all the world," Lobo sings on 'I Woke Up...', "And it turns out I want all the world." With Tropic of Cancer it always comes back to longing: for the impossible, the irretrievable, the unrequitable. Tracklist: A1. Stop Suffering B1. I Woke Up And The Storm Was Over B2. When The Dog Bites Written and recorded by Camella Lobo. Additional recording, production and mixing by Joshua Eustis. Cover photograph by Jasmine Deporta. Layout by Oliver Smith. Mastered and cut by Matt Colton at Alchemy, London. 12" vinyl pressed at Optimal, housed in black paper inner and full-colour LP sleeve printed on reverse board. Includes download code (MP3/FLAC). Customers who buy direct from Blackest Ever Black will receive a free download code when their order is dispatched. Also available on digital formats. Distributed by Cargo. Tropic of Cancer will be touring Europe this Autumn, including a performance at the Five Wretched Years Of Blackest Ever Black event at Berghain in Berlin on October 30, 2015 (alongside Raime, Prurient and more). The full list of dates as it stands is copied below, with many more to be added in the coming weeks. Please direct all booking enquiries here. Stop Suffering coincides with another Tropic of Cancer release on Blackest Ever Black, Archive: The Downwards Singles (BLACKEST041).
  3. So I never really saw this album mentioned in the forum previously, and although it's a few months old (came out in May) I thought I'd mention it because I've been really digging it lately... Seems this album didn't get much hype slipped under radar for a lot of people, but it's def a strong contender for AOTY for me. They've got some really interesting sounds and melodies that at that are both pretty and haunting at the same time, kinda reminds me of BoC gone even darker... Here's a good interview with them about the new alias and album http://thequietus.com/articles/12196-dalhous-interview not on the album, but another great track from them, threw this one into the mix I posted recently... http://www.youtube.com/watch?v=v8eh51XELXo
  4. http://joshhall.net/post/81578386910/fascism-and-colonialism-in-the-work-of-cut-hands-and I was wondering what watmm makes of this (the ethics about musical influences, titling, etc in general and the Bennett/BEB example in particular). It's an interesting read, though it's difficult to separate the writer's objective research from the strong activistic overtones (many of his conclusions have a very accusing tone and this combined with the fact that, as a reader, you're likely to already be sharing the writer's point of view from the start, the text borders on getting witch-hunt propagandistic itself - despite his good intentions that's not the way to go). This is a bit where I found the article to be maybe reading a little too much into it all. These are all clear narrative techniques. The guy is influenced by African music, appropriates it and just creates a fictional context for it, obviously influenced more by schlocky exploitation movie trailers than anything even remotely authentic. It's a make-believe Africa he's describing. People really do have a strong sense of disbelief, that they only suspend consciously and temporarily to watch the movie or listen to the music. Sure, there will always be a handful of fascist idiots who actually take the fictional setting seriously and use it as fuel for their views, but I don't believe that means the music itself is "dangerous". I mean, should we conclude that artists like AtomTM or Legowelt are being insincere or unethical in some way by having aliases that suggest they're making music from a different ethnic background than they do? Later on in the article there's also a line where the writer suggests a male doesn't have the right to appropriate feminist imagery because the meaning of it get turned around somehow an becomes misogynist instead... I dunno. I sort of get the logic, but it seems more preoccupied with pointing fingers than with the question of equality (I mean doesn't the act of declaring an image, a concept or a right exclusively to one gender support a form of gender inequality; are males by default excluded for actively supporting or discussing feminism). That's a delicate subject and there is so much material to read up on that a somewhat objective reasonable discussion is difficult. Anyway, many things related to the writer's core concern have popped up on watmm in the past (in Vatican Shadow and Muslimgauze threads for example, even in the Vaporwave one), so maybe a more focused thread would be interesting? I have some Vatican Shadow records/tapes and one particular track is a beautiful piece of music and then I look at the title and it's called "Bin Laden's Corpse". What does that mean? Is it some sort of cynical critique? And of what? Why are these particular military officers on the covers? What do they stand for and what, then, does the music stand for? Maybe making you uncomfortable enough to ask yourself these questions (and maybe read up on any politics behind the iconography and track titles) is the only thing VS wants to achieve with it? Forcing you to at least question certain things in contemporary society?
  5. ""The ill person who recovers sufficient strength to learn how to silence the racing mind, to see more of other people, of nature, and of the self, and to experience from time to time 'the mysterious order of all things', will find that circumstances which previously seemed to offer undiluted misery are first transcended and then gradually, magically, transformed. " http://www.blackesteverblack.bigcartel.com/product/dalhous-i-visibility-is-a-trap-i-blackest029-12
  6. Here's a 70 minute mix I put together in Traktor the other night as my new alias Riiitz ... LOTS of dark vibes, even a couple moments of straight up sludge and doom there in the middle with some Boris & Witch... https://soundcloud.com/baddreaminc/wear-the-shadows-proudly-2013 Here's the full tracklist: Pye Corner Audio - Vorticism/ Miles - Flawed/ Unknown - #003/ Mark Pritchard - Ghosts/ Kassem Mosse - Nacht An Allen Tagen/ Hyetal - Northwest Passage (Vessel Remix)/ Sanctums - Jaguar (Silence In Presence)/ Violetshaped - Spectral Nightdrive/ Dalhous - Success Is Her Sensuality/ oOoOO - Mouchette/ The Haxan Cloak - Hounfour (Temple)/ Boards of Canada - Semana Mertvykh/ Boris - Method of Error/ Witch - Black Saint/ Miles - Lebensform/ Autechre - Runrepik/ Old Apparatus - Dourado/ Young Echo - Nexus/ oOoOO - The South/ IVVVO - Haters/ Lake Radio - Lake Kilarney/ Boards of Canada - Telepath/ The Haxan Cloak - Dieu/ Violetshaped - Out Of Any Symmetry/ Sigha - Scene Couple/ Ghost Cinema - Gravity Pull
  7. Blerp have just named this their album of the week, i think it sounds pretty nice. Since their inception in 2009, Tropic Of Cancer's chilling post-punk has amassed them a loyal following. Blackest Ever Black are behind their full length album 'Restless Idylls', a bleak, deadpan but darkly romantic record. With original co-founder Juan Mendez now departed, it's a solo effort by LA's Camella Lobo. However, Downwards head Karl O'Connor lends a veteran's touch with additional production duties. Opening with the icy, synthesised landscape of 'Plant Lillies At My Head', Lobo progresses through drum-machine driven, doomy cold-wave - 'Court Of Devotion' - sparse and ghostly, glimmering guitars - 'Hardest Day' - and ragged, yearning, drone - 'More Alone'. As the final pattering drums and shards of synthesizer uncurl on final track 'Rites Of The Wild', it becomes clear that this is a personal album for one so steely, grandiose drama rippling through its dark depths, emotions poised on the edge of a knife.
  8. "London duo Raime aren’t the most prolific – in two years they’ve released just one EP and two 12″ singles exploring the interzone between jungle, techno, industrial and gothic post-punk – but the richness of detail in their productions to date suggests that the wait for their debut album will have been worth it. More release info coming soon, album expected for autumn." http://clone.nl/item24494.html http://blackesteverblack.blogspot.com/
  9. 1. Teenage Panzerkorps - Death, This? (Siltbreeze, 2008) 2. Two - Castles In Syria (Reflex, 1984) 3. The Trypes - No One's Alone ('82 rehearsal demo; Acute, 2012) 4. Main - Crater Scar (Beggars Banquet, 1994) 5. Tsunematsu Masatoshi - E.D.P.S. (JPY, 1981) 6. Pieter Nooten & Michael Brook - Several Times (4AD, 1987) 7. Steve Beresford - A Continuous Supply Of History (Piano, 1980) 8. Felt - Birdmen (Cherry Red, 1982) 9. Calendar Crowd - Perfect Hideaway Dub (Romantic, 1982) 10. A Tent - Parachuting In Bolivia (Edigsa, 1982) 11. Years On Earth - And I Dream (Calypso Now, 1984) 12. DZ Lectric & Anthon Shield - Lickin' (The Naked Sign) (DMA2, 1985) 13. Tronics - Charlie Manson (Alien, 1981) 14. Weekend - Red Planes ('81 demo; Vinyl Japan, 1995) 15. Minimal Man - High Why (Subterranean, 1981) 16. Smersh - Black On Black (Atlas King, 1984) 17. X-103 - Introduction (Tresor, 1993) 18. Rosegarden Funeral - The Hanging Tree (self-released, 1988) 19. Moin - Elsie (Confessions, 2012) 20. Murmuure - Torch Bearer (Cold Void Emanations, 2010) 21. Brainbombs - The Whore (Blackjack, 1994) http://soundcloud.com/selftitledmag/blackest-ever-black-dream[/media]"][media]http://soundcloud.com/selftitledmag/blackest-ever-black-dream[/media] http://blackesteverb...r-black-mixtape
  10. "includes Regis reinterpretation of 'Church Of All Images" http://blackesteverb...etorian-guard-i http://boomkat.com/v...raetorian-guard
  11. http://blackesteverblack.blogspot.com/
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