Category: beaming melancholia

Nothing @ Amoeba Green Room Session

Nothing, as if the band was to perform an acoustic set in your bedroom, well, almost. the quartet performed an intimate, very moving, live session in the green room at Amoeba Hollywood in last february.
a good occasion to finger the band’s spleen and beauty.

Oiseaux-Tempête’s AL-‘AN ! الآن

alan_ot

another demonstration of rage and discontentment is expected on march 31st, another statement that will for sure meet our endless appetite for melancholic promenades and restrained expressions of anger.

AL-‘AN ! الآن (And your night is your shadow — a fairy-tale piece of land to make our dreams) is the title of Oiseaux-Tempête‘s new album that will be released in a little month on the belgian label Sub Rosa. for this third part of a journey around the Mediterranean opened in 2012, Frédéric D. Oberland and Stéphane Pigneul travelled to beirut to work with local musicians, and surrounded themselves with Mondkopf, Charbel Haber, Sharif Sehnaoui, G.W. Sok and Tamer Abu Ghazaleh, among others.

the first track unveiled, Carneval, shows sumptuous anxious patterns common to Oiseaux-Tempête and Mondkopf. this new track manifests clearly that the band keeps discovering new territories, offering their post-rock mark a brighter spectrum and a flight of genuine poetry.

MULL of OA

mysterious projects are always a thrilling experience, especially when they pair with music.

tomorrow, on the 31st october, MULL of OA will release their first album Rainy Days Friends Bring Me The Horizon on IMANCE.

as we got shaken by the amazing disquieting piano line and fineness of Chaos Lilla/Caol Ila, we got in touch with MULL of OA to know a little more about them. in this specific case, “them” refer to an intimate encounter. an unexpected rendez-vous between a (wo)man and a piano, on a scottish island called islay. a stroke of good fortune in a disused, deconsecrated church close to lagavulin, where a (wo)man met up with a piano, which beautiful, inspiring sound convinced him/her to found MULL of OA, name of the wild and tempestuous western tip of the island.  MULL of OA tells us that she/he first chased the visitors out of the church before recording improvised pieces, improvised moments of intimacy of a new-born musician. an unsuspected one-(wo)man band born last summer while travelling on this piece of land.

as his/her fingers skate on the piano keys for the first time, MULL of OA had no idea that it would give rise to a musical project. without pretending being a pianist, the fingers started to improvise, inspired by the intrinsic qualities of the piano. playing the piano’s valuable, but also imperfect, notes — playing this piano, and not any other one. MULL of OA points it out: “I have played on other pianos since then, and, for the moment, I haven’t found any other instrument with any comparable endearing nature”.

uncertain of the follow-up of the project, MULL of OA is however ready to release new improvisation albums to show listeners how the (wo)man is willing to change as she/he learns the piano further. “Yes, it a genuine project. I started to take piano lessons as I came back from Scotland.”

so, just before the official release of Rainy Days Friends Bring Me The Horizon, we are happy to introduce you to MULL of OA’s captivating music. the video of Chaos Lilla/Caol Ila, which offers a terrific mysterious echo to the piece, was created by Rodolphe Cobetto-Caravanes and Baptiste Sibony.

an authentic masterwork, both musically and visually.

MONO’s Requiem (for Hell)

mono

the amazing post-rock MONO are back in town, and ready to bath the winter in sunlight with Requiem For Hell, their ninth album expected on 14th october on Temporary Residence in the USA and on Pelagic Records in europe. after touring with Shellac during their japanese tour last year, the band asked Steve Albini to (re)join the forces on the new album, reviving a long collaboration that initiated with Walking Cloud and Deep Red Sky (2004) and wound up with the highly-acclaimed Hymn To Immortal Wind (2009). the renewal of the Albini collaboration for Requiem For Hell coincided with the birth of a close friend’s first child (Ely, the daughter of Temporary Residence’s owner), whose actual in utero heartbeat serves as the foundation for the aptly named Ely’s Heartbeat .


 
unlike their remarkable last double album The Last Dawn / Rays Of Darkness – and especially Rays Of Darkness which was the first album in 15 years to feature no orchestral instruments –, the band decided to introduce strings again, probably because their music has always found inspiration in the coexistence of entangled conflicts, such as love and loss, faith and hopelessness, light and darkness.

the heavy 18-minute title track of Requiem For Hell shows yet that MONO intertwines, with splendour, scary melodies and blazing flight of poetry. the official video published today, which was directed by Harri Haataja, offers a mysterious and disquieting glide path to the song.

Takaakira ‘Taka’ Goto, MONO’s lead guitarist and composer, explains shortly the birth of Requiem For Hell:

“This album is a series of songs from a flood of inspirations in 2015. After writing song after song and giving them titles, we stumbled upon Dante’s “Divine Comedy” and the story struck a chord with us. “Divine Comedy” is a story about travelling down to Hell, through to purgatory… this is when we decided to use Gustave Dóre’s illustration from “Divine Comedy”’s last scene as the main cover.”

MONO will head to the pond in november on the occasion of an extensive european tour (in the company of the fantastic Alcest and pg.lost, oh joy, oh glorious evening!) and you can already preorder Requiem For Hell here.

Verdaillon

the time has come for a moment of spirituality and reverence, as the pond goes into autumn quarters flood-lighted by generous indian-summer sun beams.

french ambient-drone Saåad return with a new album untitled Verdaillon released this month on In Paradisum. this musical live piece created by Romain Barbot and Gregory Buffier was commissioned by the festivals Les Siestes Électroniques & Toulouse Les Orgues, who offered the band to play on the Puget symphonic pipe organ in the Church of Notre-Dame de la Dalbade, in france.

genuine celestial beauty, this new album doesn’t turn Saåad’s back on drones and samples, and synthesizes the spirit of sacred music, with the support of experimental, electronic sounds. Verdaillon invites you to believe in the beauty of spiritual music, using your own organs of hearing, instead of following the dogmas of faith.


 
the video shot and directed by Grégoire Orio (As Human Pattern) is an introduction to the recording of the album, and to the magnificent piece of work created by Prosper Moitessier in 1844, which was rebuilt by Eugène Puget in 1927.

Jambinai

sometimes what appears as a blasting piece of music may be perceived as a poor, insufferable hullabaloo, and it is amusing how music can heighten feelings and sensibility. as my sibling looked at me with incomprehensible and fierce eyes, its mouth trembling as it contained an unexpected form of anger and temper, it was kind of hard for me to explain why this (too-short) concert had knocked me down, and to engage the debate of what-is-noise, what-is-music.

jambinai

the subject of the controversy was an instrumental band discovered prior to the Great Escape Festival, this early summer. before heading to the festival, the frog was tortured by an obsessive idea in mind: see Jambinai (잠비나이) in concert. this very band had struck the frog with the monumental song They Keep Silence, which closes their latest album. a thrilling piece of art fusing the tenderness of meditative landscapes and the explosive fury proper to post-rock.

signed to Bella Union, Jambinai released in june A Hermitage, the band’s second album and first for the label, which was recorded in seoul, south korea. their music is transported by Ilwoo Lee (guitar, piri, a korean flute made of bamboo), Bomi Kim (haegum, a fiddle-like string instrument) and Eunyong Sim (geomungo, the korean zither), who mix together standard (post) rock instruments (guitar, bass and drums) with traditional south-korean instruments. when touring overseas, the trio takes the form of a quintet, with Jihoon Ok on bass and Jae Hyuk Choi who takes care of volcanic percussions.

that very night in brighton, their concert was carried away by a common desire to give substance to a (admittedly) loud, tempered sound, but also a fatherly mildness. the concert was also the occasion to discover a band who probably revamp south-korean traditional music, with a delicious, generous apocalyptic touch. but over and above that, the brief thirty minutes unveiled one or two ambient, contemplative songs that were full of poetry and sentimentality. the delicacy of traditional instruments ideally complemented the intensity of the electric guitar and formed a very unusual haze, as For Everything That You Lost or Connection corroborate.

the various shades of post-rock show obviously that cacophony and music can pair with elegance, so my sibling may be right after all. however, Jambinai possess the necessary refinement to compose emotion-charged songs that are positively inspired. fear, anger, hope are sensibly melted, they carry a very distinctive intensity and beauty to their music. recently published by the band, The Mountain, which was filmed at the MMCA (national museum of modern and contemporary art, korea) by the seoul-based artistic agency COMPANY F, evinces the grandeur and fineness of this band full of promise.

A Hermitage is available here. long live noise and the magnificent Jambinai!

 

Miðaftann

the beautiful atmospheric Miðaftann found on Sólstafir‘s last wonder and featuring Amiina’s string quartet is now paired with a non-less beautiful video directed by Harri Haataja and Vesa Ranta. another opportunity to contemplate the beauty of the frog’s ideal homeland.

Maïak at Urgence Disk

since Maïak didn’t have the chance to head to the pond to celebrate their first exhilarating album A Very Pleasant Way To Die, we are happy to share with you a short uptake of their performance directed at Urgence Disk Records last night, where the band commemorated the release of the vinyl version of the album. thrilling, isn’t it?

Quai de l’Exil

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on 13rd may, Oiseaux-Tempête will release another quintessential, apodictic record entitled UNWORKS & RARITIES, announced by Sub Rosa as the first volume of a series compiling unreleased and miscellaneous pieces from the band.

Quai de l’Exil is the first excerpt of this new much anticipated album, with guest appearance of Christine Ott (ondes martenot), Sylvain Joasson (percussions), Jean-Michel Pirès (drums) and again, the fantastic G.W.Sok.

we just can’t wait.