Aidan Baker (Nadja, Caudal, Hypnodrone Ensemble) and Tomas Järmyr (Zu, Barchan, Yodok, YODOK III) are both very active and prolific artists with a common vision on sound sculpting and free, musical improvisation.
It seems like a miracle they found the time to record together, but somehow they did. And, they made it count! The result of their recording sessions, “Werl”, is a trip that lasts longer than an hour and a half. This seems a bit much, but it truly isn’t. The album constantly evolves and grows and truly demands your attention. The album twists and turns from psychedelia, krautrock, space rock to ambient, noise and doom.
“Werl” is a unique and remarkable album and Consouling Sounds is tremendously honored to release this extraordinary album as a double CD set.
“Werl” was mastered by James Plotkin and the packaging comes with artwork by the Belgian artist Kato Six.
After the last EP "Better Than Me" with the title track taken from the album "Falling Back To Never" (October 2015) Born For Bliss will release a brand new five-track EP called "Falling Back" in October this year. Apart from the album version, this EP features an impressive and epic remix version of the title song by All Hallows Eve which in some parts even recalls glory Fields Of The Nephilim days ("Elysium").
No surprise at all, since All Hallows Eve's mastermind is ex-Garden Of Delight, ex-House Of Usher Guitarist Tom Oconnell, who again proves his special talent to create and produce powerful wave and gothic rock soundscapes with all respect needed for the original version. This specific ability is again demonstrated by his version of the Led Zeppelin classic song "Your Time Is Gonna Come" which Born For Bliss singer/songwriter Frank Weyzig recorded for this EP as a six-minute version. Tom O'Connell remixed this one as a "Moonlooper" edit using extensive guitar solos and drums incorporated in a powerful rock-anthem-sound, which also breaks the 8-minute barrier.
Last but not least, a re-recorded instrumental version of "Dragon" is also featured on this EP, a song Frank wrote during his time as guitarist of Clan Of Xymox. "Dragon" was previously only available as a 4-track demo, released on the album "Between Living And Dreaming".
Raw, unpolished, with rough edges. Keeping the vibrancy and authenticity of the concert sound without brandishing or producing it to death. It is just what it is, and it is what it was: live. The recordings were not tampered with overdubs, cuts or new elements but kept the way they were. Which is why you feel the power unfolding and capturing your senses. Face to face with the energy and magic of a real concert experience – this is probably the best description of how this album turned out, recorded at Diary of Dreams’ Grau im Licht tour in Hamburg, Leipzig and Berlin in November 2015.
reLive is also ideal for (re)discovering the live energy of one of the stalwarts of the dark music scene. On stage, the melancholic bombast excesses come alive as new and sometimes completely different experiences. If you haven't seen Diary of Dreams live yet, this is the best way to enjoy them - with this work or live on stage.
With roughly 600 concerts in 40 different countries, Diary of Dreams are one of the internationally most active and successful dark electro bands. Welcome to the world of Diary of Dreams.
Canadian psychedelic, electronic dance quintet DOOMSQUAD are set to bring their desert party back to Europe this November with a run of live dates, including a headline show at London's Waiting Room on 9th November:
Friday 4th November - Iceland Airwaves Festival
Tuesday 8th November - Café Video, Ghent, Belgium
Wednesday 9th November - The Waiting Room, London
Thursday 10th November - Oakford Social Club, Reading
Sunday 13th November - The Old Pint Pot, Manchester
Monday 14th November - Komedia Studio, Brighton
Tuesday 15th November - Het Depot - Leuven, Belgium w/ Peaches
Wednesday 16th November - Hafenklang, Hamburg, Germany
Thursday 17th November - P8, Karlsruhe, Germany
Friday 18th November - TBC, Zurich, Switzerland
Saturday 19th November - TBC, Leipzig, Germany
Sunday 20th November - Urban Spree, Berlin, Germany
Tuesday 22nd November - Paradiso, Amsterdam, Netherlands
Wednesday 23rd November - Vera, Groningen, Netherlands
United by their love of rhythm and exploration, Beyond The Wizard's Sleeve has also reworked Doomsquad's Pyramids on Mars, which Clash describes as, "Flushed with electronics, the eight minute re-work is genuinely stunning: a languid, wide-open re-work flirts with lysergic realms while remaining rooted to urban claustrophobia." Listen below...
Having formed in 2012 siblings Trevor, Jaclyn, and Allie Blumas soon began to explore trance and electronic beat making. Their shared fascination with dance culture, rhythm, and the unknown, along with their lifelong immersion in the arts, began to manifest as a collective ethos. Before long, DOOMSQUAD had mushroomed into a full-scale art project.
Inspired by some of their favourite artists — Georges Bataille, Richard Tuttle, Tanya Tagaq, and Genesis P-Orridge — DOOMSQUAD travelled to the New Mexican desert to write and record Total Time, creating dark, pulsating beats interspersed with hypnotic, incantatory jams. Upon returning home the band continued to draw inspiration from the Toronto arts community, their friendships and connections led to some fortuitous collaborations, including one with Canadian avant-garde legend, Mary Margaret O’Hara, whose otherworldly vocals grace ‘The Very Large Array.’ The driving, dirty bass lines and analogue layers of effects come care of Graham Walsh (Holy Fuck), who produced and mixed the album.
The record features a number of other contributors: Mike Haliechuk of Fucked Up plays guitar. Industrial noise experimenter David Foster aka HUREN offers vocals on ‘Russian Gaze.’ Colin Fisher and Brandon Valdivia of free-jazz duo Not the Wind, Not the Flag bring instrumentals. And galactic twins Josh and Jesse Hasko, who perform as North America, are also a crucial part of Total Time and are now members of DOOMSQUAD’s live act.
soundcloud.com/bella-union/doomsquad-pyramids-on-mars-beyond-the-wizards-sleeve-remix/s-K4qQj
Following on from debut single 'The Church', which sold out immediately and reached number one on Hype Machine, Manchester-born, L.A. resident Patience - aka Roxanne Clifford - returns with 'The Pressure', taking her crystalline synth-pop further into the dry-iced corners of a club in 1983. Marrying a cold production, aided as before by Happy Meals’ Lewis Cook’s engineering, with the inherent sweetness in her vocal, 'The Pressure' never relents, with pulsating waves of harmony and crisp snare cracks building like the greatest early Mute Records 7” they never released, an ode to relationships and the craziness they inflict on us.
With a bittersweet stream of melancholy trickling through the half speed drum machine, her plaintive appraisal of life’s turmoil, a period spent changing, aches across the ages. On the flip, 'Wait For You' is the make up after the pressure of the fall out. Following on from her sister-band Veronica Falls’ penchant for covering Roky Erickson, Patience’s quietly dramatic take on his sweet love song is enhanced by Clifford’s Mancunian lilt and the drone-pop synthesizers humming sweetly. Dressed in Clifford’s harmonies, the song’s sweetness brings a soothing counter-balance to the A-side.
Beginning as a harbour for Clifford’s songwriting while Veronica Falls were on hiatus, Patience has now blossomed into a persona channelling Italo-disco, classic British synth-wave and Clifford's uncanny knack at writing melodies that catch the heart and ear of the listener. It’s a calling that Clifford has been answering since her first guitar groups, but with Patience, Clifford’s solo vision is pure, streamlined, and liberated by her new sound. Clifford’s prowess as a singer has also taken many forms including guest vocals for various acts, most notably Metronomy and Franz Ferdinand.
Patience constitutes just one exciting avenue of Clifford's craft, a testament to the song prevailing over the context. The future is bright, one just has to wait.
