Just over a week ago The Black Heart Rebellion premiered the first single "Near To Fire For Bricks" of their upcoming album: "People, when you see the smoke, do not think it is fields they're burning." (out 23.10 on 9000 records) at Studio Brussel.

Since then the track has reached the Top 22 playlist on 22Tracks and has been included in the Zender playlist. Meanwhile T.B.H.R has been working hard on the visual for "Near To Fire For Bricks" together with Maanlander.

In the words of T.B.H.R:

"The video for Near To Fire For Bricks will fix your eyes on the creeping portrait of a timeless space. Once inside, an hour may take a lifetime and you notice gravity has failed, twisting and turning seemingly at random. The viewer is absorbed in a story detached from time and space. Unhurried it compels, with enough time for all the detail to soak in. And it does. The video leaves you with a heavy feeling on your chest and a craving to return to the rhythmic pulse of the song. The first single from TBHR’s new album is an exercise in desolation and restraint and both the video from Maanlander and the soothing voices of Pieter Uyttenhove and Annelies Vandinter accentuate those feelings better than we dared to hope for."

Ten years down the road and The Black Heart Rebellion (T.B.H.R.) are still steadily evolving. Tribal influences are slowly permeating an irreversible change in TBHR, who invite their audience to listen closely to their third studio album titled “People when you see the smoke, do not think it is fields they’re burning.”

Every recording is an exercise that shares the research for what might be their next sound. The new album is as much a snapshot of the present, as a prediction for the future of the band. Where “Har Nevo” from 2013 promised a golden land, the path of its successor is not without trial. “Har Nevo” revealed a crossroad of possible outcomes and in little more than a year TBHR found an answer. New directions have found their way into their music, telling us that the search may never be over.

 The elements that bound “Har Nevo” together have been dismantled and restored. Born again in a more consistent ambient character, that may in the end replace the violent crash of cymbals and screeching distortion of guitars. The new album definitely marks an end of sorts, it is pointing towards something on the horizon, an image or a sound coming into being.

“People, when you see the smoke, do not think it is fields they’re burning” was recorded and mixed by Koen Gisen and mastered by Frederik Dejongh (Jerboa) and will be released on October 23rd through 9000 Records.

You can catch T.B.H.R live at: 

20.09 Incubate, Tilburg (NL)

07.11 Handelbeurs, Gent

10.11 AB, Brussel

25.11 Nijdrop, Opwijk

04.12 Cactus, Brugge

05.12 La Zone, Liege

14.12 The Old Blue Last, London (UK)

French graphic designer and musician Dehn Sora, (aka Treha Sektori), compiled over two years of his visual work taken from exhibitions, carefully selected works commissioned by various international musical acts and labels (Blut aus Nord, Church of Ra, Manes, Cyclic Law and more) and also presents us two full series of new artworks.

The book is accompanied by a 25 minutes album of previously unreleased material specially created for this book release. Titled “The Sense of Dust and Sheer” and composed as a soundtrack to the books visuals, it is a collaboration between Dehn Sora’s own project, TREHA SEKTORI, and the solo project of Swiss composer Sam Vaney, MUHD (of Cortez fame). A unique addition to this album is the rare presence of KRISTOFFER RYGG from ULVER, contributing his always poignant vocal skills to the whole, making this ep a very special piece in itself.

Divided into four chapters, Dehn Sora exposes his chimerical visual obsessions through the hidden symbolism of animality and manifests sacred, unknown mythologies. Each pieces are accompanied by a written comment, complementing their deeper meaning.

Edition of 300 copies.

Book Format: 7x10". Spot UV lettering on Hardbound cover. 100 pages. Matte Finnish.

CD: 1 Track. Running Time 25:00 

On September 21, UK shoegazer The Virgance will be releasing “Paradigm 3”, his third LP in a little over 18 months, on the El Vals del Conejo label. The Virgance is Nathan Smith, formerly guitarist with nineties UK indie band Ripley, which saw BBC Radio 1 and MTV Europe airplay, and co-producer of noughties electronica outfit Loveless. Smith's first solo LP as The Virgance was 'Lost Continent', which was released in February 2014, followed by the 'Hiko Shrine' LP in January 2015. Both received critical acclaim in the shoegaze community and blogosphere.

Drowned In Sound recently featured this second album in their shoegaze highlights of 2015, alongside Swervedriver, writing "Hiko Shrine is one of the most beautifully constructed albums to grace the stereo this year, combining elements of ambient post-rock with errant, effects-laden melodies". The Virgance also got his first airplay on BBC Radio 6 Music a few weeks ago courtesy of The Tom Robinson Show and now Adequacy.net is premiering the first single from this LP 'Down the River'.

'Paradigm 3" builds on the momentum gained from these first two releases, serving up a fresh cerebral road trip for shoegaze and post-rock fans to absorb. Smith demonstrates the strength of the album format as an art form and reminds us of the rewards of patient listening in this modern, digital age of instant gratification and short attention spans. This is perhaps the most balanced Virgance release so far, embracing the more emotional aspects of shoegaze while retaining some experimental rock attributes, as well as the aesthetics of both beautiful noise and ambient music.

As with his two previous albums, Smith’s distinctive, swirling guitar sound is at the forefront, in harmony, on all but one of these eight tracks, with synthesized, ethereal female vocal sounds and some of his most advanced drum work to date. Shauna McLarnon of celebrated dreampop duo Ummagma contributes some of these vocals, which meld into the texture of the first single 'Down The River'. There are radio edits for three of these tracks, two of which were created by Ummagma.

Colchester-born Smith currently resides in rural Suffolk, where he crafted all three Virgance albums. "Paradigm 3" will be available through Bandcamp, as well as iTunes and streaming through Spotify, Rdio, etc.

www.facebook.com/thevirgance?fref=ts

Brother & Bones are five men that write songs with the artistry of Folk troubadours, the energy of punks and the self-belief of stadium headliners. Hailing from Cornwall, their acoustic-led, alternative rock sound tips its hat to the likes of Pearl Jam and John Martyn.

Not only have the band been followed across UK and Europe on their own headline shows, they have also opened for BRIT Award winners Ben Howard + Bastille.

The autumn season looks set to be big for the powerhouse rock band with an exciting schedule of live dates confirmed and release of their debut album september. Recorded at the prestigious East West Studios in Los Angeles, California, the debut album is an eclectic sound clash of tribal drumming and crushing guitars, which comes highly anticipated by their multitude of loyal fans.

On 14th October the band is coming to Brussels at the Botanique.

Watch below the new single.

Bérangère Maximin makes spacious colorful music. A sonic sculptress of exception, she started out in an academic environment with an electroacoustic training, and has gradually incorporated the contribution of post-punk, dub and sound art experiments to develop a hyper-personal style, producing sensual, hypnotic, sultry pieces with immediate impact. BM moved from her native Reunion Island to France when she was fifteen, and studied with the musique concrète composer Denis Dufour (a member of the famous GRM and a pupil of Pierre Schaeffer). Her first album came out on John Zorn’s label Tzadik.

Bérangère naturally drew inspiration from composers such as François Bayle, Luc Ferrari, Eliane Radigue and has also listened to a lot of early electronica and glitch music. She went on to develop her own approach, both to studio recording and to live performance, taking in the experiences gathered in the course of her collaborations with the likes of Fennesz, Rhys Chatham, Richard Pinhas and Fred Frith (with whom she played several duet concerts).

Dangerous Orbits is Bérangère Maximin’s fourth album, and her first for Crammed Discs’ Made To Measure series.

Bérangère Maximin’s music engages the listener in considerations of space and textures. Her new album, Dangerous Orbits takes us in a constant sway between lightness and drama. Curving filigree voices, odd melodies, powerful sub-bass, spacious drones, oceanic vibrations and orchestral bursts flow with evident motricity into a world which is together multidimensional, effusive and raw.

A master manipulator of space and distance… that sounds like Maximin sucking the listener’s brain up through a straw. - Rock-A-Rolla.

Raised on the native land of her mother, a French overseas territory in the Indian Ocean with an active volcano surrounded by wild beaches, Bérangère Maximin moved from Reunion Island to the Metropolis when she was just fifteen. From that time, she’s kept a very special relationship with her environment which shows in prismatic plating of sounds she interperses with melodic rashes, her playing with laptops and midi controllers delivering what she likes to call her digital chimeras.

The electroacoustic composer has produced a very personal repertoire marked by encounters that have inspired her writing in various degrees. She studied under the musique concrète composer Denis Dufour and then came to the attention of John Zorn who released Tant Que Les Heures Passent on his label (2008). In the meantime she crossed paths with the Ukrainian artist Anton Yakutovych who contributed with conceiving her album sleeves and an evolutive series of portraits until his death last year. Taking inspiration from the New York improv scene and her European tour in solo and in duo with the likes of Fred Frith, Fennesz or Rhys Chatham, her work then developed towards live practice which then led her to compose No One Is An Island, the second and only collaborative album so far, a very different output to her debut and the confirmation of the respect Bérangère had started to get from established artists. 

Bérangère Maximin’s personality gives her a foundation for taking laptop music somewhere different, a meticulous producer with great resource and tenacity. The listener could get lost in minimalist backdrop and prominent bass, which I find really close to the spirit of the likes of King Tubby - The Quietus.

The minimal series Infinitesimal (2013) describes a slow transformation, a deep introspection far removed from the convention of the genre. She seems to be feeding her feelings directly into morphological sounds, suffocating bed of sighs, dub effects, metallic scrapings, very special imaginary areas where only matters the physicality of the moment. 

Slowly, Infinitesimal establishes internal logic, matching the way things make sense in your head even if you can’t explain them. - Pitchfork.

Working on this new project seemed to have opened a door, a new trajectory leading to even more unfamiliar and wider spaces. She carried on recording straight away, which was fueled by some inner necessity, ending with five pieces that keep this particular warm and organic feel with an obvious sense of detail and maturity, a place to really get lost in. 

No wonder Dangerous Orbits has found a home into Crammed Discs’ Made To Measure series among great hard to categorized characters as Jozef Van Wissem, Steven Brown, John Lurie, Arto Lindsay, Harold Budd, Brion Gysin, Aksak Maboul or Hector Zazou.