Not sure how this works, but posting anyway
#fashion #couture #diamonddress #rhinestones #highfashion #luxury #couture #sheerdress #nudedress #elegant #avantegarde
#Avantegarde
You Knew Them When - Sustaining Our Humanity
#WeirdJazz #AvanteGarde #PianoImprov
https://muz4now.com/2024/you-knew-them-when-sustaining-our-humanity/
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Apostolis Tziogkidis - Dsus2
#bandcampcodes #experimental #noise #improvisation #avantegarde #freejazz #music
Tyshawn Sorey - Verisimilitude
#jazz meets #avanteGarde #classical forms #drummer #experimentalMusic #vinyl @vinylrecords #NowPlaying
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Apostolis Tziogkidis - Dsus2
#bandcampcodes #experimental #noise #improvisation #avantegarde #freejazz #music
The Brain DJ is rattling around in the deep recesses of the stacks, pulling out odd cover versions like –
Rowland S. Howard and Lydia Lunch, "Some Velvet Morning" (1982)
The original by Lee Hazlewood and Nancy Sinatra came out in 1967.
Free download codes:
Apostolis Tziogkidis - Dsus2
#bandcampcodes #experimental #noise #improvisation #avantegarde #freejazz #music
1970 inerview with Albert Ayler who started with #LittleWalterHorton age 15 and played with all the #AvanteGarde #Jazz Musicians The ending is so #SAD A telephone call informs Albert even the Dutch have abandoned jazz clubs as a weekday regular gig and radio pays more than performing live. #History #USA #Music https://youtu.be/dVjE9pURobs?si=GlY3SM5jbQF3aTNR
垂直商場 – Entrepôt des Individus Perdus
#BogusCollective #Experimental #avantegarde #glitch #hypnagogicdrift #lofi #lofiambient #postinternet #vaporwave #Savusavu
CC BY (#CreativeCommons Attribution)
https://boguscollective.bandcamp.com/album/entrep-t-des-individus-perdus
A Swarm of the Sun – An Empire [Things You Might Have Missed 2024]
By Carcharodon
“Imagine the best parts of Katatonia, Anathema, My Dying Bride and Agalloch all submerged into a minimalist post-metal miasma, so thick not even the faintest ray of hope can penetrate.” This is how Steel Druhm invited us to envisage Swedish joy vampires A Swarm of the Sun, in his review of their second album, The Rifts. That review introduced me to A Swarm of the Sun and to that list I might add the claustrophobic, stripped-back sorrow of NONE. Despite being unflinchingly beautiful, The Rifts and its successor, The Woods, blanket and suffocate you, so that when you emerge after … well, a period of time that’s extremely hard to gauge, you feel like you’ve been underwater, holding your breath longer than is comfortable and you surface, gasping for air. A Swarm of the Sun’s fourth LP, An Empire, is no different.
Talking to Grymm about An Empire, he said, in that way he has of cutting straight to the core of things, that it’s “incredible how gorgeous it is.” He’s not wrong and, to be honest, I could have left this write-up of A Swarm of the Sun’s latest symphony of depression there. But, perhaps, I should attempt a long-form descriptor of why it’s so gorgeous. As with all previous outputs from Jakob Berglund and Erik Nilsson, the record feels like a single living composition, that moves, flows, and breathes. So, while it technically comprises six tracks, there was really no point in subdividing it, other than to label different movements within the whole. An Empire is not a record you pick a favorite track from to add to a playlist. The movements, spread over 71 minutes, range from sparse, haunting fare (“This Will End in Fire”) to heavier, post-doom (parts of “The Pyre”) and even mesmeric drone (title track). But separating it into its constituent elements somehow diminishes the album, while also failing to convey what it is.
As A Swarm of the Sun wend their way through An Empire, they build layer upon sunless layer. Speaking about the album, the band said that one early direction, when writing it, was to develop the album’s instrumentation purely in terms of texture, and you can hear that. As the instrumentation—which includes everything from guitars, piano, and a variety of organs, through to synths, harmonium, musical saw, and trombone—develops, the textures are so rich, even in the album’s starkest moments, that you can almost bite into them. Consistent across the piece is Berglund’s distinctive crooning, which has a fragile, reedy, Billy Corgan-like (Smashing Pumpkins) quality, but one which is always threatening to crack with emotional strain. For the most part, this is set to stripped-back, ponderous keys, delicately plucked strings, and minimalist percussion falling somewhere between drone and the most post of post-metal.
However, while Berglund’s voice feels like a thread to clasp hold of across An Empire, there are extended instrumental passages to A Swarm of the Sun’s sound, which feel every part as emotive. The heavier, doom-adjacent parts of 18-minute epic “The Pyre,” which are the closest thing to metal on An Empire, build for so long that you’re almost unaware of them, until they break over you like a wave. At which point it’s as though a valve has blown and all the pent-up pressure is released. Similarly, the rumbling drone, breathed into being by the dying gasp of a long sustained note from Berglund, which forms a chunk of the title track feels every bit as much a part of An Empire as the delicate keys that open “Heathen.” It would be easy to underestimate the songwriting skill and confidence that it takes to craft an album like An Empire. But its very simplicity is its haunting, despairing magic.
“It’s incredible how gorgeous it is.” – Grymm.
Tracks to Check Out: No, I’m not doing this, you’ll listen to the whole goddamn thing and you’ll bloody well cry like I did!1
#ASwarmOfTheSun #Agalloch #AnEmpire #Anathema #AvanteGarde #DoomMetal #Drone #Katatonia #MyDyingBride #None #PelagicRecords #PostDoom #PostMetal #SwedishMetal #ThingsYouMightHaveMissed2024 #TYMHM
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Noise For No One - disastrous cheat
"Sophomore album from the amazing Noise For No One"
#bandcampcodes #electronic #experimental #modularsynth #musiqueconcrete #handmadeinstruments #avantegarde #music
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Echo Vocation - Chromosphere
"Waves of radiation lap against my vessel as I enter orbit around a distant sun...."
#bandcampcodes #experimental #electronica #soundtrack #scifi #solar #avantegarde #noiseambient #music #yumcodes #bandcamp
Five the Hierophant – Apeiron Review
By Carcharodon
I wanted to love Five the Hierophant’s last album, 2021’s Through Aureate Void. I really did. Alas, it was not to be. However, after seeing them play a great set at ArcTanGent in 2022, I revisited that record. While I stand by everything in that review, including the 2.0, which some viewed as harsh, the potential was clear and Five the Hierophant was tantalizingly close to delivering a worthy follow-up to their very good debut, Over Phlegethon. The British quartet’s brand of psychedelic, jazz-inspired, instrumental post-metal had elements of greatness marred by meandering, over-indulgent songwriting that lacked standout ideas. However, I can’t think of another 2.0 that I’ve given, where I would be as genuinely interested and optimistic as I was going into Five the Hierophant’s third album, Apeiron. Could they tighten up the formula and deliver that great record I know they have in them?
While there is no paradigm shift in Five the Hierophant’s sound on Apeiron, there is a clear expansion of vision. Building on the model of Through Aureate Void, the foundation remains one of dark, sprawling atmospheres, pregnant with ambience and pent-up threat (“Tower of Silence I”). The backbone of Five the Hierophant’s sound is built around bass, guitar, drums, and other percussion, apeing the likes of BRIQUEVILLE to create a rich, textured post-metal soundscapes (title track). However, where some bands rely on a vocalist to punctuate and enhance their compositions, Five the Hierophant have Jon’s sax. Crooning, whispering, screaming, the sax commands the sound stage (“Uroboros”), just as it is allowed to do in places on White Ward’s albums also. However, not content to rest on its laurels, the band is ever-expanding its horizons, broadening the already extensive array of tools at their disposal to now include horns, trumpets, gongs, bells, violins, skull shakers, and more.
Apeiron is a Greek word meaning that which is unlimited or infinite. What Five the Hierophant do so well is to capture that sense of both scale and organic fluidity. The overarching drone and ambient elements feel boundless and vast, amplified as they are by not only the horns and violins (“Moon over Ziggurat” and the title track), but also the liberal use of effects (end of “Tower of Silence I” and closer, “Tower of Silence II”). The sax, as well as the trumpet and other adornments, then light up the inky void, sometimes flowing like quicksilver (“Moon over Ziggurat”), sometimes more challenging, insistent, even angry (the opening title track), occasionally recalling the freeform lines of Neptunian Maximalism or an instrumental Pan.Thy.Monium. Even as we slip into looser, more chaotic soundscapes (middle portion of “Initiatory Sickness”), the whole of Apeiron retains an identity and cohesion that does great credit to Five the Hierophant.
A cursory listen to Apeiron might suggest that Five the Hierophant has delivered a freeform creation, light on tangible structures. However, while this may be true using only traditional metal as your reference point, there is a model or blueprint for the material that runs through the record. Each track opens in languid mood and, even where there are threatening or forbidding overtones, the sound is delicate, restrained slow-burn. It then gradually builds towards something more powerful and cathartic, punctuated by chaotic forays along the way. Perhaps this basic mold is responsible for the cohesive feel of Apeiron. However, it also means that, after a few listens, you start to lose the sense of indefinite exploration and feel instead like you are on a moist, well-trodden, slightly predictable path. That said, despite only being four minutes shorter than Through Aureate Void, the material on Apeiron feels significantly tighter and less meandering, with the sole (and unfortunate) exception of “Tower of Silence II.” This was, sadly, entirely the wrong five minutes with which to close the album. If only Five the Hierophant had stopped at the end of “Uroboros” (or, I suppose, swapped the two tracks), this could have been a far superior experience. As it is, Apeiron finishes on a disappointing siding, rather than a triumphant main line.
The production on Apeiron is a significant step up from previous albums. Rich and dynamic, it imbues Five the Hierophant’s sound with genuine power, while the master allows the legion of constituent elements sufficient breathing room. Indeed, it’s not just the production, but also the songwriting that represents a significant step up. Where Through Aureate Void meandered aimlessly, Apeiron feels like a journey, albeit with diversions and detours en route. If Five the Hierophant can now finetune their process to maintain the feel they’ve imbued Apeiron with, while slightly reducing the structural predictability, their next record will be truly masterful.
Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Agonia Records
Websites: five-the-hierophant.bandcamp.com | facebook.com/fivethehierophant
Releases Worldwide: October 18th, 2024
#2024 #30 #AgoniaRecords #Ambient #Apeiron #AvanteGarde #Briqueville #BritishMetal #DoomJazz #Drone #FiveTheHierophant #NeptunianMaximalism #Oct24 #PanThyMonium #PostMetal #Review #Reviews #WhiteWard
Free download codes:
Echo Vocation - Chromosphere
"Waves of radiation lap against my vessel as I enter orbit around a distant sun...."
#bandcampcodes #experimental #electronica #soundtrack #scifi #solar #avantegarde #noiseambient #music #yumcodes #bandcamp
if i were a fashion designer, i'd just resurrect varvara stepanova's early 20th century constructivist patterns & make them - affordably - from ethical fabrics, without shafting the producers & workers. these are the clothes i want to wear. she was a genius.
#art #fashion #constructivism #avanteGarde #design #revolutionary #textiles
To-day's picks are by #AvanteGarde artist #YonatanGat of #Israel.
https://youtu.be/Djk4REyBZfE
https://youtu.be/MNK5UTgx4XA
https://youtu.be/Pkm3ir3ECjU
https://youtu.be/NoG0wmq2ANU
#LunchtimeListens #WorldMusic
Frank Ocean’s “Blonde” is one of my favorite records. I have special love for the song “Solo,” which is deep and soulful.
I’ve been wondering about the record’s name. It’s listed in text as “Blonde,” while the cover art labels it as “Blond.”
I thought perhaps it was intended to create controversy for attention. But there may be other reasons. The Atlantic wrote up an interesting take:
#Music #FrankOcean #Blonde #Blond #RAndB #HipHop #Rap #AvanteGarde
Just hit a paywall halfway through a poem. #avantegarde #tech
2024 starting artsy. #postrock #avantegarde #electronicmusic #newmusic https://songwhip.com/kreidler/twists-a-visitor-arrives
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