They surely have faith in Matthijs Kouw. I think we even shared a 'stage' on one of those long afternoons of free laptop improvisation. Later on, he moved out of sight but since some two years, he's back and actively releasing music. His partner in crime is Radboud Mens, with whom he has an ongoing relationship exploring drones from modular synthesizers Kouw and long-string instruments Mens.
Here we have Kouw in solo mode and the cover lists no instruments or sound sources; just the five titles, that Jos Smolders did the mastering for and the artwork is credited to Xia Gui.
I understand from information from the man himself that this CD is made with guitar and e-bow, which in turn has been manipulated with software and that there is no modular synthesizer used here. In Kouw went to the Wudang Mountains in China to study meditation and martial arts and that is what inspired this album, along with his interest in Daoism.
According to the press release, "Daoism teaches us that the foundational cannot be named and identified, but rather has to be experienced first hand. This album is an invitation to the listener to dwell in this space of the unnameable and the mysterious, and to embrace it wholeheartedly", and listening to this music it is very easy to see how that works out in the music Kouw produces. The D-word is obvious, just as A for ambient. The drones Kouw produces have that all immersive character that good drone music should have, regardless if you play this very loud, or very quiet, if you care to devote all your attention to it, or play as some background music.
I tried it all and it works on all of those levels. One's attention is of course drawn to different aspects of the work. I preferred a sort of medium volume, which allows for all the sounds to be heard, with that fine, rich amount of detail, but without forcing itself too much upon your ears.
It is not easy to single out any field recordings in this music, so we have to take his word for it that they are in there. The music becomes a fine physical presence in my living room, without taking over my complete environment.
When I put up the volume there is a fine layer of mild distortion pressing through the music, which is fine, but for me a bit too much, and when it's too soft the details are not there enough for my taste. This is an excellent release. The next riff is awesome and reminded me of early 70s alternative rock, particularly the riff of Toyah's 'Neon Womb'.
There is a manic lead break heard over a cacophonous blast of music with all instruments turned up to The intensity is jarring and there is no room for instruments to breathe exuding a type of musical ferocity.
The vocals are like vintage 70s psychedelic bands, and there is an infectious melody on the line "the city of the dead. A radio controlled voice is heard as the sound grows powerfully. The dystopian city is given a voice as the music spins wildly out of control, chaotically bent out of rhythm until it is mercifully brought to a halt, capping off a sensational track.
The melody follows an odd time sig. As soon as that series of chords is heard on piano and later guitar it will jolt the memory. The serene peaceful atmosphere drifts on a wave of piano drawing the listener in deeper.
The Hammill-esque vocals continue and then a sax sound adds a new colour to the tapestry. Interwoven in the music is the jazzy hi-hat cymbal tapping of Dzendzel. The piano plays in isolation for a while, joined by a clean melancholy guitar. The cymbal splash signifies the floodgates of sound are about to break open. The sound suddenly intensifies and a very dense and moody atmosphere ensues. It feels dark and ethereal as the violin begins to slice out the sounds of anguish and pain, like it is being tortured with knives.
The violin is genuinely spine-chilling with its serrated cries of agony. Ominous guitar tones continue in a seductive hypnotic structure and cymbals splash accenting the next chord progression. A mellotron fills the soundscape that is evoking a sense of loss or regret. The haunting measured cadence is made all the more alarming when it suddenly cuts off after a cymbal splash.
This was undoubtedly a mesmirising piece of music; a 7 minute coda that has genuine emotive power. The last track is a colossal 24 minute multi movement suite in 10 sections, 'Rogue'. It begins with a lulling gentle acoustic picking guitar. Parmenter's vocals are multi tracked and sound jarring after hearing the extended music previously. The lyrical content is dark and brooding; "lest they smother you and break you in two.
There is a vocoder effect on some vocals providing a psychedelic effect. The Hammond organ begins a staccato embellishment and then the signature spirals wildly out of control. The tension and release of the music is astonishing. A piano returns with a guitar and crystalline high octave vocals. A new shift in meter begins as a spacey string pad mellotron chimes in. As you drift along on this wave of ambience suddenly the time sig transforms again throws you off, as Bouda's guitar rocks hard.
It feels more like Dream Theater or Riverside at this stage. Just as you lock into this groove, the time sig changes again and there are loud screaming wails generating a disconcerting apprehensive emotion. The music draws you in deeper down an abyss of sonic resonances and then you hit the bottom as the guitars are amped up with a Hammond organ grinding out a 70s vibe.
Bouda's lead break is exceptional with uplifting soaring string bends and sweeps. A fractured two note crash down signifies a new change and Parmenter's vocals return "every memory scar and fantasy leads me back should I stray, and on and on. You can make your own mind up.
A church organ and angular lead guitar fire up and draw this epic to a satisfying musical conclusion. At the end of Discipline's latest release I was left quite overcome by the intensity of the music. The band generate very organic music; at times technical and daring, but always inventive and unified. The massive epic may become one of the all time great epics along the lines of classic 70s prog or the more recent work of prog metal artists.
The prolific fusion of symphonic tones and heavy guitars is an amalgamation that works and the band are able to move from mesmirising beauty to a cacophonic ferocity with alarming technical precision. This is one of the best albums of and is certainly making an indelible impression in the prog community, and will continue to do so as the band become discovered for the awesome music they generate.
It settles with piano as the bass and vocal melodies help out. It's building and the sax comes in too. Killer stuff. Ripping guitar after 4 minutes then the vocals return a minute later. It kicks in quickly though. So good. Such an emotional track. The guitar solos after 2 minutes as the background becomes intense, then back to the earlier sound with vocals.
It kicks in before 5 minutes. A dark calm arrives a minute later. It's building then we get mellotron after 7 minutes. Violin 9 minutes in and the repetitive rhythm continues to the end when it stops abruptly. Acoustic guitar to start then electric guitar and vocals take over just before a minute.
Drums then piano as it becomes very VDGG-like. It settles after 5 minutes until it kicks back in before 7 minutes with power. The guitar solos after 10 minutes tastefully. It's building then here we go 12 minutes in. Huge bass follows that is ground-shaking.
It's so good here as they seem to jam. Prominant guitar after 15 minutes. A calm 20 minutes in and reserved vocals join in. Lazy guitar follows then organ as the song eventually fades out. This album is an absolute pleasure to listen to. This is MY music. The piano passage adds depth alongside some vocals. Lead guitar and saxophone trade off over heavy riffs in this raunchy rock opener.
Were Van der Graaf Generator a heavy progressive rock band, this would be what they would sound like. Track Listing. King Crimson. Coda: Marine Walking on Air. Inner Garden, Pt. Radio, Pt.
One Time. Bathe in its blood, its lifeless touch wallow in misery. Longing for release. Drowning in false peace. Wandering through ashes. Guided to the grave. Invert being. Absent purpose. Scalded soul. Mourn what you could have been. Scorn what you would have been.
Scorn what you should have been. Reduced to tears fears. Dragged down, submerged in malice revoked forever. Disfigured by self-deceit revoked forever. Reproach, beseech liftoach revoked forever. Brought to your knees. No more fleeting pleasures; grieving. Servant of weakness.
Cascade cascading surrender forever. Innocence erodes. Impermanence Dead god. Constant prison. Endless schism. Forced division.
Bereft humans. Conflict constant. Brother slaughter. Blood-stained fist. Blood-soaked reason. Hate as creed. Vomit your sins. Fall - become the killing blow. Alienation; self. Horse of Turin Raining fallacies. Bereft, hallowed drifter. Inward detachment. Distance craved, distance given. Anodyne nostrum. Panacea denied. Wretched leper. Misanthropic rot.
Prayers unanswered foundations lost. The body unclean. The struggle erased. Always unwhole. Raining falsehoods. Inward withdrawal. Flee in limbo.
Deficient sanctuary; lost. Undone reciprocity denied. The whip overtakes the caress. Surrender - I reach for you. Through your pain I am remade. Overlaying an image with text is a very popular choice when it comes to designing an album cover. An image can convey a lot about what the album means and helps to give an artist a unique identity.
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A blue diamond shape surrounds the centre of this album cover, highlighting the number in the centre of the design. The designer uses this diamond to display the text in an unusual, but intriguing way. The curved lines behind the diamond shape are included to add some depth to the design of the album.Apr 24, · Released back in , Janet's 5th studio album came off of the most gritty and profound album of her career, the eclectic opus that is "The velvet rope". Just like previous albums offered each a different vibe, similarly "All for you" presents a more playful and sexually charged JJ, sounding raunchier than ever/5().