Xeno oaklander sentinelle rar

Toho Picture Nuit Shadow World Sentinelle Rendez-Vous d'Or Werke Vagabond The Shot, The Fall Functioning as the absolute core of the electronic wing of the Wierd world since their beginnings in , Miss Liz Wendelbo and Sean McBride here present a carefully composed, restrained and complex form of moody electronic pop music that is simultaneously romantically melancholic and affirmatively aggressive.

Recorded entirely live in the studio with exclusively analogue instruments, Sentinelle situates itself as a series of highly crafted cinematic vignettes which takes as its vantage point a fictitious era in a long-passed distant age: a time of wandering desert travelers, forgotten underwater cities, and exquisitely sculptural objects; of arid land, sea-farers and ferrymen, blinding light and lonely rooms, precious metals and poisonous corrosion.

Themes of paranoia and disaffection associated with the transformation felt during the industrial revolution a stand-in for our contemporary digital malaise , as well as odes to the many gifts of its legacy - motion pictures, cameras, synthesizers, and voltage control, are traversed throughout the epic journey of this minimal electronic masterpiece, allowing the listener to gaze out of the frozen cold window onto the many radical paradigm shifts of the twentieth century, and is a true sonic portrait of this eminently fragile era in transition.

Tags electronic analog synthesizers experimental minimal electronics minimal wave synth pop New York. Blue Flower Live in New York. Tommy Gibson go to album. Bandcamp Album of the Day Feb 20, go to album. Get fresh music recommendations delivered to your inbox every Friday. My favourite album so far is Par Avion. But since then, they evolved.

And in this album you can really hear and feel the change. It is different, something new occurred. That was the moment, from the first listening, when I knew I have to add it to my collection. It is really special and precious.

Favorite track: Infinite Sadness. CrimsonEulogy92 Overflowing with passionate emotion, crafted and composed meticulously and precisely, and executed flawlessly. Favorite track: Technicolor.

Favorite track: Raingarden. No Name No Slogan. Michael Petz. DJ Refugium for Ghost House. Polite Society. Sean McBride : Having spent recent years at the piano, sketching and developing compositional ideas, it was only natural that polyphony found its way more and more into the songs.

The density of the chord, I find, grounds and dramatises the fragmented and often arpeggiated melodics that vapour and buzz above it. As for accessibility, I cannot say, but it is certainly moving in a direction that I find could have many happy consequences.

Sean McBride : Luxuriating in subtraction. Emptying out the form to the point that what is left is an almost barely recognisable shadow and from there positing the very ideas and motivations that lead to the tendency for the subtraction in the first place.

Colouring it back in with shadow if you will. What does singing in both English and French bring to your music and which one do you think has more musical sensibility?

French for me is more about how the words sound and feel in a concrete sense. Flowers and plants are fascinating ancient life forms that have patiently bloomed and pollinated since the beginning of time. Liz Wendelbo : Technically this album is complex with many layers and Sean felt the need to delve into the music full on.

The chord progressions are pretty unique and unusual in pop music and took a lot of work to develop. If you were to expand the boundaries of your musical explorations which direction would you go in? Sean McBride : At this point, I would need to develop my own instruments which could address and permit me greater control over multiple events and parameters at a given instant.

I am often thinking about the complexity of sounds in nature, babbling brooks or sheet metal ripple as examples, and what it would take to begin to approximate these synthetically. Of course the sound of metal is not difficult to make but to somehow wring out the tiny nuances and harmonic shading and contort the thing from metal to brook and back to metal again — all accomplished compositionally and deliberately, all with the stroke of a simple gesture.

Liz Wendelbo : I designed it the artwork. Xeno And Oaklander - Vigils anyone have this? Liz Wendelbo gracefully ascends and descends a menacing staircase while Sean McBride stands patiently in the ambiguous, blurred distance.

The time is warped, the architecture is unfriendly, and the relationship between both people and their physical environment is made anxiously questionable.

And yet, dominating the proceedings is an air of exoticism and pervasive sensuality in the face of what feels like an impending violent event. The collision of these tensions, atmospheres, and personas is soundtracked on this latest offering from Wierd Records.

The standard meaning of "ghosts of technology," with its equally standard images of looming architecture and lifeless shells of machines, is rendered obsolete. Nimble electronic melodies sing, stretch and glow like elegant apparitions. Grandiosity and restraint live harmoniously side-byside, just as the dual vocals of McBride and Wendelbo weave in and out of one another, sometimes an isolated croon and sometimes a layered texture.

Tracks like "Blue" and "The Staircase" are punchy sing-a-long industrial pop songs while "Desert Rose" uses lush synthesizer textures to rival the most forlorn folk balladeer. The interplay between McBride and Wendelbo yields very little that is conventional, but quite a lot that's alluring. Theirs is an enigmatic combination of various sensibilities that nevertheless produces a singularly focused vision.

McBride sings, "the theater, the stage, the sets the lights, masking some grand delight. Tracklist: 1.