#sonic cathedral records

[twinkandwink]

Having followed bdrmm from pretty much the beginning was a bit apprehensive about the new material but mind put to rest. Pretty powerful live. Track - Be Careful from the new album.

Bdrmm - Rough Trade, Bristol 3rd July 2023

[musicollage]

Emma Anderson — Pearlies. 2023 : Sonic Cathedral.

! listen @ Bandcamp ★ buy me a coffee !

[dustedmagazine]

Vince Clarke — Songs of Silence (Mute)

Photo by Eugene Richards

Vince Clarke has certainly been in some storied synth bands. He wrote “Just Can’t Get Enough” (and eight other songs) for Depeche Mode’s 1981 debut, Speak & Spell, before leaving that band over creative differences. From there, he headed to Yazoo with Alison Moyet and The Assembly with Eric Radcliffe, and finally to the boppiest, poppiest synth outfit of them all, Erasure, where he played stoically as all manner of frivolity unfolded around him.  If you grew up in the 1980s or 1990s and watched any MTV at all, Clarke’s songs are burned into your cortex, and quite possibly unwelcomely, but there’s no denying he was in the thick of a certain kind of dance-y, celebratory, machine-age pop.

The critical thing to understand is that Songs of Silence is nothing at all like that.

This brooding, looming suite of songs was recorded during COVID and reflects Clarke’s sorrow and isolation as friends fell ill. He channels a haunted vibe through modular synth, building each track around a single sustained tone that runs from beginning to end. Lots of things happen around those tones, fluttery arpeggios, slashes of stringed instruments, even, in one instance, a sepulchral folk tune about a “black legged miner.” Still, these tunes are constructed around static, meditational sonic atmospheres that fluctuate in volume and timbre but do not fundamentally change. There’s a sense of the eternal in them, even when as in “Scarper” they twitch into propulsion with percolating electronic rhythms.

Consider the opening “Cathedral” with its crescendoing drones, its altered, inhuman voice sounds, its cavernous sonic space. It unfolds in one long blast of sound after another, a rumbling fog horn, a tremulous string vibration, an unearthly space voyaging organ. You can’t really participate. There’s no melody to hum, no rhythm to tap, and so the best way to experience it is through stillness. You allow it to surround you, to envelop you, to subsume you, like a mystical experience.

These cuts are mostly solitary endeavors, but Clarke invites in a few collaborators to fill out his visions. Caroline Shaw’s pristine soprano arcs through interleaved shimmers of synthesized tones in “Passage,” sounding like the dream of a dream of a dream of an angel. Cellist Reed Hays scrawls a wild, passionate signature over the hushed immanence of “The Lamentations of Jeremiah.” Warmth and anguish flare from his instrument, spilling something baroque and organic into Clarke’s ominous atmospheres.

The disc’s most affecting cut is its oddest. “Blackleg Miner” sets a old labor protest song in a desolate post-industrial landscape. The air hums and trembles around the song’s brutal simplicity, surging to obscure it, at intervals, with sounds like bells shivering in sympathetic vibration. It’s a folk song launched into deep space, hurting through black voids, carrying a faint futile message about what it meant to be human.  

Jennifer Kelly

[burlveneer-music]

Laura Cannell - Midwinter Processionals - another alternative seasonal album

MIDWINTER PROCESSIONALS highlights a new element in Cannell’s sonic world and is performed on violin, overbowed violin, bass recorder, double recorders and synths; for the first time marrying up her love for big resonant spaces and accompanying herself with epic synths through drones, melodies and medieval harmonies. The 7 tracks on Midwinter Processionals were recorded inside Norwich Cathedral in Norfolk, UK. The melodies were improvised on her violins and recorders before taking the recordings back to her studio in Suffolk. Standing in the centre of the Norwich Cathedral nave with the stone baffled sounds of the city outside, Laura had the 900 year old cathedral all to herself for 2 hours - just enough time to play out the ideas that had been swarming in her head and explore the immense sonorities which swirled up to the 69ft high ornate roof bosses where the beams and vaults of the ceiling meet. “I wanted to capture the reverb from inside the cathedral and pair it with layers of synths which would evoke my imagined secular processions of midwinter. Alone in the Cathedral I stood slowly turning in the centre of the nave sending every breath and bow in different directions, the long tones bouncing off stained glass, stone walls or disappearing like a rolling sea mist through long isles and around the carved columns and into the transepts. As with many of my recordings, I went into this without a fixed plan, to see how I felt in the moment. To play, and to trust that I have something to say and find out where the sound wants to go. Can I push through my conflicted feelings of the sacred with the epic and immensely beautiful spaces that exist because of the highly controlled doctrines that these buildings were built around. I have learned not to judge in the moment, but to push through, to keep playing and when I return home I will see what has emerged from my conversations with the space. As the last of the autumn sun disappeared out of sight over Tombland, a darkness was cast across the centuries old stones that lay worn and marked from the thousands of processions that have taken place in the cathedral. I add my own procession, but it is for outside of this space. A procession to keep us moving forwards. I am not interested in going backwards, recreating the past or staying in one place. I want to make music that I can carry with me into new emotional landscapes and feelings.” Laura Cannell November 2023 

[drbucksletters]

#1 Porridge Radio - Waterslide, Diving Board, Ladder To The Sky (Secretly Canadian)

***

#2  Kae Tempest - The Line Is A Curve (American Recordings)

#3 Dry Cleaning - Stumpwork (4AD)

#4 Fontaines D.C. - Skinty Fia (Partisan)

#5  Just Mustard - Heart Under (Partisan)

#6  Black Country, New Road - Ants From Up There (Ninja Tune)

#7  Tess Parks - And Those Who Were Seen Dancing (Fuzz Club Records)

#8 Yeah Yeah Yeahs - Cool It Down (Secretly Canadian)

#9  King Hannah - I’m Not Sorry, I Was Just Being Me (City Slang)

#10 Yard Act - The Overload (Island)

#11 Wet Leg - Wet Leg (Domino)

#12 Sea Power - Everything Was Forever (Golden Chariot)

#13 Andy Bell - Flicker (Sonic Cathedral)

#14 Horsegirl - Versions Of Modern Performance (Matador)

#15 The Brian Jonestown Massacre - Fire Doesn’t Grow On Trees (A Recordings)

#16 BODEGA - Broken Equipment (What’s Your Rupture)

#17 The Black Angels - Wilderness Of Mirrors (Partisan)

#18 Rolling Blackouts Coastal Fever - Endless Rooms (Sub Pop)

#19 TV Priest - My Other People (Sub Pop)

#20 Julia Jacklin - Pre Pleasure (Polyvinyl, Transgressive)

[chrisryanspeaks]

Being Dead's 'Nightvision': A Dark, Mesmerizing Journey into Uncharted Sonic Territory

“Nightvision” starts with a captivating vocal and acoustic guitar introduction, setting a hauntingly intimate tone before diving headfirst into a driving, moody rhythm. The track pulses with an underlying tension, effortlessly blending the band’s signature unhinged eccentricities. Being Dead’s music is a kaleidoscopic journey, each record a vibrant mosaic where every song crafts its own self-contained universe. There's a timeless quality to their sound—vocal harmonies echoing as if in a medieval cathedral are juxtaposed with surf-inspired guitar riffs and bursts of chaotic, punk-infused energy. For their latest record, EELS, the band took their creative process to new depths, recording in Los Angeles with GRAMMY-winning producer John Congleton. The result is a darker, more intense exploration of their sound, embracing the devilish and the raucous with equal fervor. EELS offers a rawer, more visceral listening experience, where heartbreak and enchantment collide with a restless energy. The album captures the essence of Being Dead—an inviting, playful spirit infused with an ever-present sense of the uncanny. Even in its wildest moments, there’s a shadow lurking just out of sight, adding a layer of intrigue to their already spellbinding soundscapes. Check out “Nightvision” below: Read the full article

[audiofuzz]

Being Dead's 'Nightvision': A Dark, Mesmerizing Journey into Uncharted Sonic Territory

“Nightvision” starts with a captivating vocal and acoustic guitar introduction, setting a hauntingly intimate tone before diving headfirst into a driving, moody rhythm. The track pulses with an underlying tension, effortlessly blending the band’s signature unhinged eccentricities. Being Dead’s music is a kaleidoscopic journey, each record a vibrant mosaic where every song crafts its own self-contained universe. There's a timeless quality to their sound—vocal harmonies echoing as if in a medieval cathedral are juxtaposed with surf-inspired guitar riffs and bursts of chaotic, punk-infused energy. For their latest record, EELS, the band took their creative process to new depths, recording in Los Angeles with GRAMMY-winning producer John Congleton. The result is a darker, more intense exploration of their sound, embracing the devilish and the raucous with equal fervor. EELS offers a rawer, more visceral listening experience, where heartbreak and enchantment collide with a restless energy. The album captures the essence of Being Dead—an inviting, playful spirit infused with an ever-present sense of the uncanny. Even in its wildest moments, there’s a shadow lurking just out of sight, adding a layer of intrigue to their already spellbinding soundscapes. Check out “Nightvision” below: Read the full article

[aaryan-mwa-blogs]

Understanding the Different Types of Guitar Pedals and Their Uses

Guitar pedals are essential tools for shaping and enhancing your sound, whether you’re jamming in your bedroom or performing on stage. With a plethora of options available, understanding the different types of guitar pedals and their uses can help you create the perfect rig for your musical style. Let’s dive into the world of guitar pedals and explore how they can transform your sound.

1. Distortion and Overdrive Pedals

Distortion and overdrive pedals are the backbone of rock and metal tones. They add grit and sustain to your sound, creating a powerful, crunchy tone. Distortion pedals, like the Boss DS-1, provide a more aggressive sound, ideal for heavy riffs and solos. Overdrive pedals, such as the Ibanez Tube Screamer, offer a warmer, more subtle breakup, emulating the sound of an overdriven tube amp. These pedals are perfect for blues, rock, and country music.

2. Delay and Reverb Pedals

Delay and reverb pedals add space and dimension to your playing. Delay pedals, like the Boss DD-7, create echo effects by repeating your notes at set intervals. They can produce anything from a subtle slap-back to long, atmospheric repeats. Reverb pedals, such as the TC Electronic Hall of Fame, simulate the natural reverberation of different spaces, from small rooms to vast cathedrals. These pedals are essential for adding depth and ambiance to your sound.

3. Modulation Pedals

Modulation pedals offer a variety of effects that can drastically change your tone. Common types include chorus, flanger, and phaser pedals. Chorus pedals, like the MXR M234 Analog Chorus, add a shimmering, doubling effect to your sound, making it richer and more vibrant. Flanger pedals, such as the Electro-Harmonix Electric Mistress, create a sweeping, jet-like sound by mixing delayed signals with the original. Phaser pedals, like the MXR Phase 90, produce a swirling, spacey effect by altering the phase of your signal. These pedals are great for adding movement and texture to your playing.

4. Wah and Filter Pedals

Wah and filter pedals shape the tonal qualities of your sound by emphasizing certain frequencies. Wah pedals, like the Dunlop Cry Baby, create a sweeping, vocal-like effect by rocking a foot pedal back and forth. They are perfect for funk, rock, and expressive solos. Filter pedals, such as envelope filters, automatically respond to your playing dynamics, creating funky, auto-wah effects. These pedals are excellent for adding rhythmic and dynamic interest to your performance.

5. Compression Pedals

Compression pedals, like the MXR Dyna Comp, even out the dynamic range of your playing by boosting quieter signals and taming louder ones. This results in a more consistent and polished sound. Compression is especially useful for clean tones, fingerpicking, and adding sustain to solos. It can help your guitar sit better in a mix, whether you’re recording or playing live.  

Incorporating Pedals into Your Rig

When building your pedalboard, consider the order of your pedals, as it can affect your overall sound. A common signal chain might look like this: tuner > wah > compression > overdrive/distortion > modulation > delay > reverb. However, there are no strict rules — experiment with different setups to find what works best for you.

Start with the essentials that match your musical style, then gradually expand your collection. Don’t forget to invest in a good power supply and quality cables to ensure your pedals perform reliably. Guitar pedals are powerful tools for shaping your sound and expressing your musical creativity. By understanding the different types and their uses, you can build a rig that enhances your playing and helps you achieve your desired tone. Whether you’re a beginner or a seasoned pro, exploring the world of guitar pedals by visiting well known shops like VIP PRO AUDIO in Brooklyn can open up new sonic possibilities and elevate your performances. Happy playing!

[parkerbombshell]

Ola's Kool Kitchen #500

Ola's Kool Kitchen  Wednesdays 9pm BST Show 500 Iraina Mancini-Cannonball -Undo the Blue-Needle Mythology Corvair-Tenseless-Bound to Be-Paper Walls Mildred Maud Feat Lorena Quintannilla-Shifting - Microclimates-Sonic Cathedral Penny Arcade-Jona- Backwater Collage -Tapete Records Constant Smiles-Wandering Hours- Kenneth Anger -Sacred Bones Art Moore-Muscle Memory-Art Moore-Anti The Darts US-Pour Another- ALTERNATIVE TENTACLES RECORDS  Water from Your Eyes –True Life-Everyone's Crushed-Matador Petite Amie-Refugio -Petite Amie-Park the Van Fever Ray-Even It Out-Radical Romantic-Mute 2023 The Association-Come on In-Birthday- Warner 1968 MISS X – Christine-single-Ember Records  1963 Lonnie Liston Smith-Expansions– Expansions- Flying Dutchman Cowboy Junkies- Hell Is Real-Such Ferocious Beauty-Cooking Vinyl Read the full article

[soundband]

Immerse Yourself in Majestic Soundscapes: Download Cinesamples – O – Forbes Pipe Organ

Experience the grandeur and power of the pipe organ with Cinesamples – O – Forbes Pipe Organ, a meticulously sampled virtual instrument that captures the awe-inspiring beauty and rich tonal palette of this iconic instrument. Developed by Cinesamples, this exceptional library offers composers, producers, and music enthusiasts an authentic and immersive platform to explore the timeless sound of the pipe organ.

O – Forbes Pipe Organ features a comprehensive collection of meticulously recorded pipe organ articulations, meticulously captured to capture the instrument's majestic timbres and dynamic range. From thunderous bass notes to shimmering harmonics and celestial melodies, each sound within this library resonates with the grandeur and depth of the pipe organ, transporting listeners to awe-inspiring cathedrals and sacred spaces.

Seamlessly integrated into your digital audio workstation (DAW), O – Forbes Pipe Organ provides an intuitive interface for crafting dynamic and emotive compositions. With a wide range of articulations, dynamics, and customizable controls, you have the flexibility to sculpt expressive performances that capture the essence of your musical vision, whether you're scoring for film, producing classical music, or adding a touch of majestic grandeur to your compositions.

Whether you're seeking monumental organ solos, ethereal atmospheres, or haunting textures, O – Forbes Pipe Organ offers the sonic versatility and depth to bring your creative visions to life. With its pristine sound quality and user-friendly interface, this library empowers you to explore the full range of the pipe organ's expressive capabilities, creating compositions that resonate with emotion and transcendence.

Download Cinesamples – O – Forbes Pipe Organ today and immerse yourself in the majestic soundscapes of the pipe organ. Let the thunderous bass notes and shimmering harmonics of O – Forbes Pipe Organ inspire your compositions, adding depth, richness, and spiritual resonance to your music productions.

O – Forbes Pipe Organ isn't just a virtual instrument; it's a testament to the artistry and craftsmanship of Cinesamples. With its exceptional sound quality, diverse range of articulations, and intuitive interface, O – Forbes Pipe Organ sets a new standard for pipe organ sampling, empowering you to create compositions that captivate and inspire audiences. Join the community of composers, producers, and music enthusiasts who rely on Cinesamples – O – Forbes Pipe Organ to bring their musical visions to life. Your journey into the world of pipe organ music begins here.

[experimentik]

Experimentik #70 / January 17. 2024 / Lucio Capece / Claudia Risch + Francis Heery + Jung-Jae Kim

January 17. 2024 / 20:30- (doors 20:00)

Solo:

Lucio Capece - 8 voices Sampler Isla 2400, recorded cello and bass clarinet, sine-sawtooth tones and pulses

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Trio:

Claudia Risch - bass clarinet

Francis Heery - electronics

Jung-Jae Kim - saxophone

FB event: https://fb.me/e/3Ywj3sQuL

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Lucio Capece

Argentinian musician based in Europe since 2002, specifically in Berlin since 2004. Since 2010 he dedicates to offer works focused in the Perception experience, that he performs mainly in solo and in the context of occasional collaborations based in the same interest. He composes his own pieces that may include improvisation and different ways of writing. He uses tools like Flying Speakers hanging from Helium Balloons moved by propellers, Speakers as Pendulums, Analog synthesiser, Sine Waves and Noise Generators, Drum Machines, Ultra- Violet Lights, Sensors as much as the instruments that he has played for 25 years: Bass Clarinet and Soprano and Slide Saxophone. Beyond instrumentation and tools, the main intention is to focus in the physical-social-spatial human experience. Between the late 90 ́s and 2010 he offered music in the context of Electro Acoustic Improvisation, focused in quietness, attentive listening and granular material. Capece has been very active in the Reductionist Improvised Music scene in Berlin, and in the radical minimal scene related with the collective Wandelweiser collaborating mainly as member of the collective Konzert Minimal (2008- 2018) and, since 2006 with Radu Malfatti. In a parallel way Capece developed a 10 years collaboration with legendary Finnish musician Mika Vainio from Pan Sonic, working and releasing radical abstract and beats oriented music as a duo and two different quartets. Capece has performed his own sound interventions in spaces like Kraftwerk Berlin ( The Long Now - Maerz Musik), Hau Berlin (CTM festival), The Cathedral of Bern (Zoom In Festival) The Mambo Museum in Bologna (Live Arts week ),the German Pavilion built by Mies Van der Rohe in Barcelona (Sonar +D Festival), the Halle d ‘Expositions built by Alexandre Gustave Eiffel in Evreux, France (ĹÁtelie series) the Bauhaus Archive in Berlin (directing a piece in which together with musicians Axel Dörner and Robin Hayward played a piece with the kinetic sculpture called “Licht-Raum Modulator” built by Lászlò Moholy-Nagy) , and the Colón Theatre in Buenos Aires where he offered an interactive installation for children. Since 2020 he plays mainly in the context of small Ensembles where he composes the music, or collaborates with others performers-composers like Rahma Quartet, From Scratch New Discantus Quintet, Lost Jockey and Phase to Phase. His goal in this context is to re consider Music making in a Phenomenological way, re- searching in the basic elements that make Music be. He offers currently a Sampler solo set based in a personal research in Just Intonation Ratios, folding and unfolding sounds from Pitch to Pulse and vice versa. He has performed as a musician in recognised experimental music festivals and venues in Europe, USA, Japan, Mexico and Argentina. He has released around 35 Cds and Lps, including 9 solo releases, in labels like Mego Editions, B-Boim (Austria), Pan (Germany), Ftarri (Japan) Another Timbre, Entr ́acte ( UK), Potlatch, (France), Erstwhile Intonema (Russia), etc.

photo © Susi Maresca

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Claudia Risch has developed special playing techniques on the Bassclarinet, which is acoustic of it´s nature and works without additive external resorces. She focusses on the extended sound-material of her instruments like micro-intervals, multi-phonics, sound of breath. Within this variety of elaborated technical possibilities Risch combines, applies and modifies her material to create a refined, nuanced and multilayerd sound. The co-operation with composers (e.g. Thomas Gerwin, Francis Heery), electronics and dancers is an important component in her work.

https://www.instagram.com/claudiarisch07/

photo © Matthias Förster

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Francis Heery (b.1980) is a composer and sound artist. His music is inspired by science-fiction, occultism and animal aesthetics. He is an accomplished improvisor and performs with a setup integrating Max/MSP with acoustic instruments and modular synths. He specializes in long-form, site-specific performances in public spaces. His instrumental works have been performed by the RTE Symphony Orchestra, the Crash Ensemble, the Quiet Music Ensemble, the Talujon Percussion Ensemble and by soloists including Carin Levine, Pascal Galois and Izumi Kimura. He has received funding awards from the Arts Council of Ireland as well as commissions from Galway County and City Councils, the Music Current Festival, the Berlin Natural History Museum, and the Berlin International Sound Art Festival. He produces experimental electronica under the name The Cube of Unknowing, with albums released on Fort Evil Fruit and Eiderdown Records.

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Jung-Jae Kim is a South Korean saxophonist, composer, and improviser based in Berlin free/avant-garde & experimental music scene. He pushes the boundaries of sonic aesthetics and sound definitions, taking a transdisciplinary approach to explore new possibilities and delve into human senses and communication through free improvisation.

photo © Morvarid K

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Experimentik 2024 is supported by inm

[joseph-hogan]

FLORENCE CATS

Ys

Edições CN DL/MC

«The debut album from Belgian composer and artist Florence Cats opens with Sunken Cathedral, an intimate interpretation of Claude Debussy’s piano prelude La Cathédrale Engloutie.  As the opening notes leave the piano, it’s not the instrument’s reverberations nor Debussy’s allusive motifs that take the spotlight. Instead, attention is drawn to the rawness of the recording, the ambience of Cats’s room and the noises of her clothes. Through sections of gently ascending chords and stabs evocative of church bells, the composer and performer’s artistic voices exist on equal footing, one embracing the other. The brushing of fingers over piano keys, the resounding cluck of pedals, the rhythm of breathing and soft vocalisations become integral parts of the composition, woven into an understated lo-fi aesthetic that stands in juxtaposition with Debussy’s impressions of imposing spaces.

Cats’s penchant for absorbing moods and environmental noise into music is even more prominent on the remaining pieces. On Fall Call her DIY theremin responds to a passing thunderstorm by belching a sub-bass rumble that rises into the sound of a stuttering engine and jet-like sweeps. Then, a phone rings, perhaps on purpose.

Meanwhile, the closing Drop Out would be a pristine forest field recording, if not for Cats’s wistful, absent-minded humming that lands like a leaf among crackling trees and chirping birds to complete a sonically disparate but conceptually and emotionally resounding album.»

ANTONIO POSCIC  

TheWire - Adventures in Sound and Music Magazine (march 2023)

TheWire

bandcamp

[dustedmagazine]

Whitelands — Night-bound Eyes Are Blind to the Day (Sonic Cathedral)

Photo by Edward Sogunro

Depending on your feelings about the genre, it’s a sign of either good or ill health that we’ve gotten to the point where new shoegaze bands can be inspired, not just by Slowdive (that wouldn’t be particularly novel), but specifically by post-reunion Slowdive. It’s worked out for London quartet Whitelands; since singer/guitarist Etienne Quartey-Papafio saw a 2017 radio session that helped put the final pieces of their sound in place, they’ve been asked to open for the older band, and Slowdive drummer Simon Scott even mastered this debut. Indicators tip more towards the positive side of the spectrum when you play Night-bound Eyes Are Blind to the Day (a very genre-appropriate mouthful) and discover it’s a lot more than just a tribute act.

Truthfully, other than having a balance between catchy melodies and rapturous textural bliss, as Slowdive mastered on Souvlaki, the two bands don’t sound terribly close together within their shared genre boundaries. Right from the start, there’s a clarity and focus in the songs here that belies their sometimes diaphanous settings. Night-bound Eyes Are Blind to the Day’s trim 33 minute runtime frequently feels misleading given how expansive and far out it can feel when playing, although even then there’s an element keeping things anchored enough that the band never lets the songs fully drift away. Everyone contributes; whether it’s drummer Jagun Meseorisa’s steady pulse on “Chosen Light,” Vanessa Govinden’s bass threading through the indelible chorus of “The Prophet & I,” or the way Quartey-Papafio and Michael Adelaja’s guitars twinkle then churn throughout “Cheer.”

On Whitelands’ Bandcamp page, you can find a 2018 version of “Cheer.” It has its own scrappy charms (and it’s a good enough song you understand why they’d give it another crack), but the newer version doesn’t seem polished down into something more digestible; instead it's both strengthened and more comfortable in its own skin. Night-bound Eyes Are Blind to the Day has the kind of easy, confident sense of the band’s sonic identity that many great debuts manage; even when they bring in Dottie from deary to sing on “Tell Me About It,” the result just sounds distinctly Whitelands. By the time the album closes with the billowing “Now Here’s the Weather,” it’s clear that they’ve vaulted right past the likes of a 'promising debut' and have just made a record that’s already worth cherishing.

Ian Mathers

[musicarenagh]

Harnessing the Heavens: A Review of Daniel Bohn's “Emotions of the Sky” Encompassing raw power and audacious creativity, Daniel Bohn's "Emotions of the Sky" delivers an audial experience akin to a celestial lightening storm, releasing an electrifying charge that both shocks and invigorates. This US-based artist's maiden voyage with Sliptrick Records sees him explore new heights, pushing the boundaries of conventional heavy metal with a fresh, avant-garde approach. https://open.spotify.com/album/1IHDmwpKTNSWk02ibQ6UuF?si=_QO6ziARQtCX8sMDunx12g Bohn's album is a cathedral of sound, celebrating the grandeur of anthemic metal while infusing it with a distinctly progressive twist. The corpus of this ambitious project consists of eight tracks, each more powerful and intense than the last, creating a sonic odyssey that is as diverse in its offerings as it is loyal to its core identity. Emotions of the Sky is not merely an album; it's a transcendent concept project. Bohn masterfully constructs a melody-driven narrative centered around themes of divine intervention, revenge, and destruction. This divine concept crucially anchors the musical experimentation, allowing the album to remain grounded while reaching for the stars. [caption id="attachment_50801" align="alignnone" width="1080"] Harnessing the Heavens: A Review of Daniel Bohn's “Emotions of the Sky”[/caption] Bohn's vocals are raw and resonant, echoing the emotional turmoil echoed in the album's lyrics. Meanwhile, the instrumentation is energetic, nearly frenetic, effectively communicating both the elation and torment associated with the celestial struggles presented. Emphasizing powerful guitar riffs and thunderous drums, the production quality maintains the raw metal energy while adding layers of progressive depths that set the album apart from its counterparts. The album’s unique blend channels the spirits of both Iron Maiden's lyrical sagas and Dream Theater's progressive explorations. However, it refrains from becoming a derivative work, thanks to Bohn’s edgy individuality that radiates throughout the songs. Harnessing Diverse Sonic Landscapes: “Two Handed Engine” The aggressiveness inherent in the genre is certainly present in "Emotions of the Sky," but there's a certain vulnerableness that humanizes the celestial theme. One can't help but be drawn to the raw despair and subsequent catharsis that thrums within the chords, invoking an empathetic resonance that connects the listener directly to Bohn's creative ether. In closing, "Emotions of the Sky" is a groundbreaking work, reflecting the boundless potentials within the realm of heavy metal. Daniel Bohn has created something truly impressive; it's a turbulent, melodic odyssey that demands your attention. Audacious yet enigmatic, raw yet intricately layered, "Emotions of the Sky" demonstrates that this artist is not just a musician, but a celestial storyteller. This record is less a collection of songs, and more a journey through the heavens. Prepare to take flight and lose yourself in its vast, star-studded expanse. Follow Daniel on Facebook, YouTube and Instagram.

[drbucksletters]

#4 Fontaines D.C. - Skinty Fia (Partisan)

***

#5  Just Mustard - Heart Under (Partisan)

#6  Black Country, New Road - Ants From Up There (Ninja Tune)

#7  Tess Parks - And Those Who Were Seen Dancing (Fuzz Club Records)

#8 Yeah Yeah Yeahs - Cool It Down (Secretly Canadian)

#9  King Hannah - I’m Not Sorry, I Was Just Being Me (City Slang)

#10 Yard Act - The Overload (Island)

#11 Wet Leg - Wet Leg (Domino)

#12 Sea Power - Everything Was Forever (Golden Chariot)

#13 Andy Bell - Flicker (Sonic Cathedral)

#14 Horsegirl - Versions Of Modern Performance (Matador)

#15 The Brian Jonestown Massacre - Fire Doesn’t Grow On Trees (A Recordings)

#16 BODEGA - Broken Equipment (What’s Your Rupture)

#17 The Black Angels - Wilderness Of Mirrors (Partisan)

#18 Rolling Blackouts Coastal Fever - Endless Rooms (Sub Pop)

#19 TV Priest - My Other People (Sub Pop)

#20 Julia Jacklin - Pre Pleasure (Polyvinyl, Transgressive)

[pierreism]

'Ode To Boy' by Decisive Pink

Angel Deradoorian and Kate NV, two arms sprung from the same body of offbeat, exploratory sound-making, now working in perfect unison. Children of the Kraftwerk school of experimentation, the duo rifle through their toybox of analogue era instruments for their latest single. “I can’t remember all the synths we used," Angel adds, “but definitely one of the Prophets, a modular, a Juno, a Jupiter, a Rodeo, a synth with a bee on it and some synth from the 1980s that Kate knew about.” What follows is a delicately curated collage of small sounds which steadily builds itself into a whole; somehow both scrambled yet neatly arranged, like a stained glass window, or the sonic equivalent of cathedral window jelly. A fitting metaphor for this slice of art pop heaven.

Lensed by analog queen Jennifer Juniper Stratford. Taken from their debut album Ticket To Fame. Pre-order now via Fire Records.