05 Sep 2017

Gargle & Bosques De Mi Mente – Absence

LISTEN

Track List

1 - Bell
2 - Snow Storm
3 - (The Triumph Of The) Flight Of The Last Bird On Earth
4 - A Sudden Lapse Of Joy
5 - The Moment Our Glances Almost Met
6 - Echoes Of Our Memories
7 - Life And Death Of A Spoken Word
8 - We Are Running Out Of Time
9 - When Light And Motion Collide

Gargle & Bosques De Mi Mente - Absence

Bosques de mi Mente is a Spanish contemporary classical composer, that has been creating minimalist piano pieces over the years. Gargle is a duo from Japan that plays beautiful post-rock ambient with modern classical influences. Absence is their first collaboration from these two artists, a delightful and pleasant record.

It all started when the band contacted the composer, a correspondence that would result in a true friendship. Both shared stage in Madrid, Spain, in 2011.

Absence, the album, was conceived when Gargle asked Bosques de mi Mente to work on a song together for the forthcoming Gargle's album. The experience was so fulfilling for them that they decided to expand on it, and so Absence was born.

From the beginning, the goal was to create a completely collaborative album. The process started by sharing small ideas and song pieces, and soon everything started to gall into place, leading to the three of them working together as a true three-piece band in a gradual and natural way. The result is pure harmony, beauty and a wing for atmosphere, space and time.

Bosques De Mi Mente's pianos are like little paper ships floating over the water. String players from Tokyo College of Music, conducted by Jun gives the album a great symphonic dimension. Gargle's guitars and accordions gets the music over the stratosphere. Hope to see these modern classical pieces turn into modern classics.

FLTTRY056
Release Date:  November 1, 2013
© Fluttery Records

Also available on:
05 Sep 2017

Mooncake – Zaris

LISTEN

Track List

1 - Zaris
2 - Gazania Blossom
3 - Cast The Route
4 - Rf 104
5 - Life Aquatic
6 - Chess Knight
7 - Dimension of Miracles
8 - Dissolution's Gone

Mooncake - Zaris

Moscow's well-known post-rock band Mooncake returns with the eight track album; Zaris.

The main idea of the band’s music is to open the door to infinite space and cosmos in any everyday thing. Catchy melodies, atmosphere, the ideal balance between rapture and grief: all this has always been Mooncake's distinctive feature

Professionals of the music industry have already highly rated the new work by Mooncake – “Amazing space rock from Moscow” – John Davis of Metropolis Mastering, London, UK (worked with U2, Prodigy, Lana del Rey). In their new album you can hear fresh recordings of "Zaris" and "Cast The Route" and six new songs.

FLTTRY055
Release Date:  October 18, 2013
© Fluttery Records

Also available on:
05 Sep 2017

Monochromie – Enlighten Yourself While You Sleep

LISTEN

Track List

1 - A Cold Sunset
2 - Broken Beauties
3 - Ashes and Sparks
4 - Birds Never Die
5 - Hymn
6 - Silence is Anger
7 - Day and Night Of a Scarecrow
8 - Fireworks
9 - Insomnia

Monochromie - Enlighten Yourself While You Sleep

Monochromie is back with “Enlighten Yourself While You Sleep”, a new nine-track album in the ambient/electronica/post-rock genre and the new album will surprise many listeners.

After his quiet and peaceful debut album “Angels and Demons”, the new album shines bright. As the album cover suggests, sounds emerge from an electric heaven or flash through stormy skies. The post-rock tone is accentuated with the addition of ethereal melodies played on guitars, while loud and saturated noises that transports the listener into an increasingly wild, intense and deep elsewhere.

Fluttery Records is very happy to release the second album of this gifted artist and we believe that the people who enjoyed his debut album will also enjoy this album and find new musical tastes with the new songs like Fireworks, Day and night of a scarecrow, Silence is Anger.

REVIEWS

THIS IS NOT A SCENE / Tomas Mathie

“Inventive … noisy … with a focus on melody, “Enlighten Yourself While You Sleep” by Monochromie is a delight to listen to from start to finish.Folks like “Fennesz” come to mind when I listen closely. Monochromie‘s use of electronics and noise is comparable to his work … especially the seminal “Venice”. That said, at times the balance of noise and melody shift in power … with tracks “Birds Never Die” being, at times, more noise than melody … but, that said, the melody is always there … waiting to be heard … and when it is heard, it is gorgeous. There is a strong post-rock influence … with guitars playing a large part on this release. Take the opening track – “a cold sunset” – for example, it’s is pure delight. Dissonant, in places … but stunning nonetheless. The use of glockenspiel is simply inspired especially in contrast with the guitars … it defines the song with a simple counter-melody that cuts through the noise and emphasises the main melody … a guitar-led wall-of-sound. Monochromie have made this effort and shown their talent … creating a release that inspires and delights in equal measure … an album that is almost euphoric in nature with tracks like “Silence is Anger” and “Day and Night of a Scarecrow” really lifting the listener in the most delightful of ways. I thoroughly enjoyed this release and would recommend it to folks who like their post-rock heavily seasoned with noise and melody … or indeed their noise infused with post-rock driven melody.

A CLOSER LISTEN / Richard Allen

Enlighten Yourself While You Sleep might be considered Monochromie‘s post-rock/drone album, while Colors in the Dark might be considered his ambient/modern composition album, but the former is not too harsh and the latter is not too light. The membrane is thin and porous; each album reaches to the other with the intention of breaking through. By the very end, their hands finally meet, fingertip to fingertip, a short stretch from a clasp. Enlighten Yourself While You Sleep is dominated by crackle and reverberated guitar, but other sounds swim happily in the mix: glockenspiel emerges as early as the first track, while electronic bells wait until the second. These bright tones are like synapses firing while the body rests, a subliminal teaching tape playing in the background. An ambient album lies in the sediment as these elements swim above; listen carefully, and you’ll find it. By “Birds Never Die”, the crackle has grown into a drone: thick, dark, immersive. As Trouvé’s piano plays, the stark beauty of the ivories is intentionally obscured. “Day and Night of a Scarecrow” develops a drum beat midway, leading to a coalescence of drones. Will the clouds ever lift? ”Insomnia” suggests they will, as a looped choir levitates above the fray. Happy children have come out to play. Quieter and quieter the pieces go, until the end descends to sleep. Light static and sampled choir lead us back to the dark side of the sun.

ECHOES AND DUST / Daniela Patrizi

If you find yourself looking for some ambient / post-rock music infused with beautiful and sublime soundscapes, Monochromie has the right solution for you. Enlighten Yourself While You Sleep is the title and it’s going to be the one of the best 45-minute album you can experience. Monochromie is the musical side of the visual artist Wilson Trouvé from Marseille who already delighted fans of this kind of music with his quiet and peaceful debut album Angels and Demons. Enlighten Yourself While You Sleep opens with ‘A Cold Sunset’, a title that sounds strange since it puts together two opposite ideas, the sunset and the cold. I’ve always imagined the sunset as something warm! This track will introduce to your houses a new aura of celestial properties: the atmosphere in it is both tense and reserved, as if deep emotions are being forcibly held back. ‘Broken Beauties’ is an example of pure beauty. Listening to this song you’ll feel like floating. I tried to imagine a suitable video for this music and I came up with slow-motion images of sand blowing off the tops of dunes. With this kind of visual music you’ll get the sense of shapes shifting and forms moving. If Enlighten Yourself While You Sleep is your first contact with Monochromie I strongly recommend you to dive into this album but don’t omit his past Angels and Demons to discover this musical world. But if you are already a fan of Wilson Trouvé I’m sure you’ll find another soundtrack to your day.

BEACH SLOTH

Classical influences continue to inform each one of these pieces. Piano tends to be the most commonly used instrument. Drones help bring these pieces into warmer pasture. Oftentimes though the static and music works together to heighten the sense of discovery. ‘Broken Beauties’ begins with a busted piano sample. With each repetition the sample appears to break down further and further until only a shimmer remains of its original self. Static floats above this breaking spirit. On ‘Ashes and Sparks’ the static helps to make the song feel closer. The beginning is far away but with additional layers of static and noise it feels accessible. Additional layers have the added purpose of creating a warped sense of rhythm. Noise elements bounce off each other. ‘Birds Never Die’ pits a piano against a large slab of distorted noise. After the piano emerges victorious it seems like a particularly sweet victory. ‘Silence is Anger’ presents the noise as a classical element. Through its restrained use the static works like a sort of noise orchestra with a great sense of depth. Towards the end of the album things mellow out, like on the calm ‘Day and Night Of a Scarecrow’ which includes the static only at the very end. ‘Insomnia’ finishes the album off with a beautiful choir. Monochromie shows how the digital and the organic can exist as one.

CLOWN MAGAZINE

Monochromie is the creative vehicle for artist Wilson Trouvé, and this release Enlighten Yourself While You Sleep is the second album by Monochromie. We’ll start with the first track A Cold Sunset that introduces a distorted sound that goes well with the theme of a frosty cold start to the day. As the chimes progress through the track it lightens-up the atmosphere and you can imagine the sun bursting it’s rays through the gaps in the clouds. Lots of crackling probably produced by whipping guitar cables on the floor, which would signify the helplessness of a person or animal in Broken Beauties, other notably audio sounds is a roughly recorded piano, as well as a short segment of clean, bright piano notes being played. It’s like you’re in a wind or echo chamber when Ashes and Sparks starts, and a very haunting cello sound piercing the sound together with radio tuning high frequency samples to give you the sense of sparks flying through the air. Enlighten Yourself While You Sleep is a psychedelic paradise of avant-garde soundscapes, and surprisingly using a guitar through different effects, and recording processes and techniques to produce something more unique than just an instrumental film

THINK MUSIK / Brad Mathews

Today we take a look at the new Monochromie album, Enlighten Yourself While You Sleep. Monochromie is the musical project of French artist Wilson Trouve. This disc has proven to be a worthy follow-up the always spectacular Angels and Demons. Naturally, when news broke earlier this year about brand new album, i was stoked. I patiently waited until the day of release and then purchased it without having heard a single track. Angels and Demons had that big an impact on me. Continuing with the overall concept of dreamy, ambient post-rock, the new disc introcuces a plethora of sounds, including light bells, distorted buzzing, and atmospheric swells of ambient keyboards. The distortion on this disc is astounding, but Trouve is careful to not lean on it too much. Instead of coming across overbearing or plain noisy, it serves its purpose to enhance the exceptional musical quality on display. Fans of post-rock heavy hitters Mono and Hammock can not go wrong with this release. In terms of mood, « Enlighten Yourself While You Sleep displays a more somber, reflective attitude, dwelling more in the darker aspects of the post-rock sound. The aura of sadness this album conveys, however, is not uninterrupted. Instead, uplifting melodies stroll through the darkened landscape like sparks on live electrical cables. Explosions of introverted silence and sweeping atmospheres pace the record. Overall, this was a very enjoyable listen. It is up to par with Angels and Demons and even surpasses it on some fronts.

FESTIVAL DIARIES / Mike Bond

Indulging in the same sonic melancholia as the likes of Sigur Ros and Mogwai, Monochromie deal in dreamlike ambience and post rock heartbreak. The work of French musician Wilson Trouve, Monochromie is a one man enterprise and Enlighten Yourself While You Sleep the second album from him. As the records opening song A Cold Sunset washes over you it's clear that this record is going to be a beautifully subdued affair, all muted ambience and gently swelling guitar chords that transport you to some far distant place, images of a cold dark ocean lit up by an angry sunset and oppressive but beautiful red tinged skies. The likes of Birds Never Die, Ashes And Sparks and Silence Is Anger continue in this vein, Monochromie less about snappy melodies or pop music tropes and more about atmosphere and ambience, creating moody sonic tapestries full of emotionally charged rawness. Enlighten Yourself While You Sleep has a certain sadness to it, Monochromie certainly not presenting anything particularly pop fueled or snappy here. For lovers of the more atmospheric and dreamlike, Enlighten Yourself While You Sleep is a richly textured affair that stimulates all the right senses in intoxicating tear stained ways.

FLTTRY054
Release Date:  May 24, 2013
© Fluttery Records

Also available on:
05 Sep 2017

Elara – Soundtrack For a Quiet Place

LISTEN

Track List

1 - Me and You Under the Aurora Borealis
2 - We are Infinite
3 - Seljalandsfoss

Elara - Soundtrack For a Quiet Place

Elara is a post-rock band from Italy which has heavy ambient and modern classical influences. The band Luigi Cerbone (Guitar, electronics, sounds & programming) was the founder, he first released an EP called “Starry night in a cold November” by himself in 2008.

Soon he met Alessio Tozzini (Bass) and Vincenzo Barbone (Drums) and they have been playing as a band since 2011. Band members told that band was result of the changes in their musical styles and concept and moreover, soon after that, "it came a moment of breathing space, the quest of peace and serenity."

These are the questions asked by the band:

"Is it possible, if only for a moment, to forget the frenzy of life?
Is it possible, at any time, anywhere you are, whatever you're doing, to take your mind back to the most exciting places you've ever seen, from the horizons that you have touched, to the nature that surprised you, to the single beat of the Earth that has allowed you to understand that whatever obstacle you're facing, somewhere there`s a lovely personal place where you can find peace and quiet?"

Elara continues:

"We tried to give shape to this need of the soul, notes and melodies, crescendos and atmospheres, which allowed us to fix forever the memory of those places and those emotions, which allowed us to create our own "Soundtrack For a Quiet Place."

The band decided to record a brand new 3 songs EP at the Domination Recording Studio based in the Republic of San Marino. Afterwards Greg Calbi, Senior Mastering Engineer at the Sterling Sound of New York, completed the mastering of the EP.

Elara is set to release their second EP “Soundtrack For a Quiet Place” with Fluttery Records in winter 2013.

FLTTRY052
Release Date:  February 1, 2013
© Fluttery Records

Also available on:
05 Sep 2017

Olekksii – Iris

LISTEN

Track List

1 - Eternal Glory
2 - Molekula's Dance
3 - Iris
4 - Exhale
5- Light Sorrow
6 - Em Majesty
7 - Last but One
8 - Semitone Waltz

Olekksii - Iris

Olekksii is the stage name of the electronic musician Alexey Krolevets from Kiev, Ukraine. His electronica travels in the rivers of classical music.

His debut work "Iris" EP is soon to be released on Fluttery Records. The label founder Taner Torun says "We receive a lot of music submissions from all over the world. We try to listen them all. When we were listening to Olekksii, we felt like he must be a part of our family."

Olekksii's music combines electronic music with classical music elements. He says "My way is to connect both too worlds of music fans: conservative classic music lovers and liberate generation of electronic supporters". When you listen to his music, piano melodies comes together with lush strings and powerful tubes mixed along with electronic beats and basses. These compositions rise the atmosphere of harmony and beauty.

He says he is very impressed by the saying of Autechre: "It's all like looking at gene cycles, who inherits what. You've got your X and your Y, and you mix them."

Recent debut “Iris” EP made by Olekksii is a pill which helps you to struggle with such a modern world feelings like lonelines, sorrow, inconstancy. If you impressed by works of Olafur Arnalds, Max Richter, Kettel, Ochre, Jon Hopkins or Nils Frahm you definitely need to give “Iris” EP a try.

REVIEWS

In Your Speakers

Classical and electronic music become one with the work of up and coming new artist Olekksii. Olekksii, also known as Alexey Krolevets, is a one man producer from Kiev, Ukraine who hopes to combine two very different musical cultures into one harmonious genre. It wasn't a difficult decision for Fluttery Records, a label that bills itself as a place for creative music and artistic independence, to sign Olekksii. Fluttery Records claimed once they heard Olekksii's music they had to add him to their family. From signing with Fluttery Records came Olekksii's debut work titled Iris. The EP consists of eight tracks which elegantly combine classical song structure with a modern electronic pulse. Each song resonates the subtle beauty of soft piano keys with sharp beats, creating a more aggressive yet just as lovely representation of classical music. Iris was released on Friday and is available on Olekksii's Bandcamp. Whether you like classical music, electronic music, or ideally, both, Olekksii is worth checking out.

Echos and Dust

My sum total of foreknowledge about this release is it "combines electronic music with classical elements…" And that's good. Sometimes it’s nice to go in cold to a release. A few years ago there was an Israeli downbeat/chill series called "Life Is..." and this EP by Olekksii immediately took me to the same place, haunting piano melodies, a spacious mix, distant, forlorn emotive states and almost a sense of regret. This is a 'walking home in light rain while dusk turns to night and you examine your life' kind of release. Overall this is a sparse, clinical record - in a good way. The melodies, harmonies, effects and even the percussion all seem to stay arm's length from you - a forced perspective from which you view the whole. Sometimes the tracks are a little brief, perhaps more vignettes than tracks - but again, it’s an EP. I would be very interested in hearing a full album from this person/group/whatever - with the extra time it could provide the basis for some great development in the tracks and overall theme. I like not knowing where it’s from, what the meaning is or why it exists – all too often I find myself falling down an internet tab explosion as I research an act… My ignorance in this instance helped the music evolve on its own. So - this is a melodic, emotive and yet sparse and cold release. I like the juxtaposition of these conflicting states and think it's done well overall. If you like smooth beats on a Sunday, melancholy on a Tuesday or just something a little different then give this a spin – there are enough layers here to keep you entertained, and it’s definitely not ‘cocktail beats’. Also - excellent cover.

Beach Sloth

Olekksii’s ‘Iris’ is dark. Much like the album’s namesake it manages to be dark while trying to let in so much light. Aspects of this album appear to be almost contradictory. On one side there are the very many classical influences. These are merged with the electronic aspects. Placed together, the uneven beats alongside the electronic it manages to become something akin to Planet Mu on a particularly loopy day. What’s strange is how Iris manages to be completely outside the realm of trends. ‘Iris’ operates in an area that’s oddly been neglected, of digital paying homage to classical and vice versa. How this has managed to be so neglected is quite surprising as it used to be a relatively common occurrence. Disembodied voices try to make their way through the piano and beats on ‘Eternal Glory’. The sound is rather sweeping. Adding the voices gives the song a heightened sense of humanity. For the title track ‘Iris’ things manage to be rather understated. Piano on here is particularly effective. Strangely the harsh, somewhat noisy electronic pieces merge perfectly well with the more dramatic classical effects. On ‘Light Sorrow’ the beats manage to get unusually hard-hitting (for them). Here the beats try to overwhelm the basic melody yet fail. ‘Semitone Waltz’ ends it rather quietly. Conflict is a huge part of the album’s appeal. At all moments the beats are trying to take center stage. This tension drives a lot of ‘Iris’ and helps to keep it thoroughly engrossing.

Beardrock

Utter the words ‘classical music’ to your average British citizen and they will possibly associate the art form with an image of upper class folk sitting in grand concert halls quaffing expensive wine, the received pronunciation of Radio 3 broadcasters overheard briefly whilst skipping through FM waves and the worrying thought of tip toeing through an intellectual minefield of composers, periods and instruments. To many, ‘getting into’ classical music must all seem like a great deal of effort. But with the continuing success of ‘modern-classical’ artists such as Ólafur Arnalds, Nils Frahm and Max Richter, comes a more widely available sound and a less uptight aesthetic coupled with a scene that can be accessed by clicking buttons rather than dressing up to go out. Here we have classical music for people in jeans and t-shirts. Judging from the music on his debut EP, Iris, Ukrainian born Olekksii appears to fit into this niche seamlessly. Taking a pinch of art-music electronic experimentalism and filtering it through beat programming techniques forged in the evolution of dance music and sequencing technology, Iris manages to sound notably modern whilst managing to retain the traditionally important melodic and instrumental sensibilities of pre-1900’s classical music. Like a great deal of ‘post-internet’ music being made today, Olekksii’s work is akin to a patchwork quilt sewn together from influences chronologically and geographically alien to one another. Cinematic and delicate, the track, Light Sorrow centers itself at first around a delicate piano flutter before being slowly drowned in dissonant synthesized string drones.

Think Music

Olekksii builds upon that template with recognizable electronic beats, which provide tempo and depth the music. Another key element of the mix is the piano. Simple, catchy piano melodies play a thoughtful juxtaposition with the electronic beats, while various string arrangements cast rays of beauty into the mix. "Iris" would be a strong modern classical performance without the electronics. With those beats mixed in, it reflects on some latter film pieces. These arrangements of multiple cellos and violins instead call to mind true classical music. These arrangements are deep enough to sound cutting-edge and modern, but paced more like contemporary. The length of tracks does often matter to me. As I said in yesterday's post about Funeral for a Friend's new disc, short tracks can lead to less variety in musical sound. This is not the case with "Iris." Though the average track length is nearly identical to the new FFAF album, the music is strikingly diverse. This perhaps owes to the absence of vocals and the insistence of contemporary musicians need to create music devoid of catchy hooks or other sounds of repetitive nature. Indeed, these eight tracks seem to stretch much further. This album is still short and I do feel that Olekksii would have been served well by including just one or two additional songs, but this is but a minor complaint. Fluttery records claims that this music is for people impressed with works by Olafur Arnalds, Max Richter, and several other lesser-known artists. Having read this bio before I listened to a single note of the music, they had me at Olafur Arnalds. Olekksii is indeed similar to Arnalds, and believe me that is a major plus. I fully recommend purchasing "Iris". This is a fantastic listen and an inexpensive download. Check out the full stream, courtesy of the Olekksii bandcamp page below. Thanks for listening and enjoy!

Clown Magazine

Olekksii is a one-man electronic creation by Ukrainian Alexey Krolevets, who has released this debut eight track album called Iris. The music is instrumental, ambient, with soft electronic beats.Alexey Krolevets is a classical trained musician, and was quoted as saying, ‘My way is to connect both two worlds of music fans,’ appealing to classical, and electronic music fans alike. With the beginning track of Eternal Glory you have the energy of youth and optimism, which you would hope, would last to eternality, and then the last moment in Exhale, and the transitional period of the ultimate end in Light Sorrow, it does have shades and shapes of a person’s journey through life. To lift things up you have Molekula’s Dance, and Em Majesty that are the shortest pieces of music on the album. Iris sharing its name with the album is rather a tense instrumental having a strong piano riff, and a grinding sound that makes you think of an eye scanning the environment. Last But One gives you the sense of being fired up to the stars, with bubbly synthesizer sounds dispersing across the spectrum of sound. Throughout the tunes on this album you can hear this is a first effort by Olekksii, and as you listen their seems to be a brake pedal being pushed-down. The finale track is a mixture of classical piano notes, the crackle of the jazz bass being played, and modern electronic blips, scratches, and solid drums in Semitone Waltz, sums up this conclusion. We are sure and expect further music from Olekksii (aka Alexey Krolevets,) and being that his music is instrumental, it wouldn’t be unusual not to hear it on a film soundtrack, and furthermore to this point it would be interesting how the audio and visual concepts of his music would marry-up.

Simon Varwell

Something much more consistent can be found in this album Eternal Glory from the Ukranian artist Olekksii. It’s a thoughtful blend of classical and electronic sounds worthy of Jon Hopkins and the ilk, with lovely strings and pianos joined by soft beats that create beautiful, film soundtrack-worthy pieces. It’s great music to chill out to, with a coherent flow to the whole album. If I had a criticism, though, it’s that the songs build up so nicely it’s a shame they all seem to be so short, with none stretching much beyond four minutes. Listening to the album I find myself wishing that Olekksii could aim for track lengths of around ten minutes, as he’d surely come up with some absolute belters. Taking the album together as a single piece of music, however, it is thoughtful, gentle and soothing; and as background music for a journey, a quiet gathering or to set a nice, relaxing atmosphere, it’s ideal. It’s probably the one I’d return to most often out of all those I’ve reviewed in this post.

Oliver Arditi

Intermittent radio communications at the threshold of audibility add stochastic grit to the plaintive melodic contours of Olekksii’s piano lines; chilly pads and grumbling basses envelop them in regret. This music speaks alienation and solitude, with its single acoustic voice picking a tentative path through fields of technological automation. Iris owes a creative debt to ambient music, but most of the tunes have a strong rhythmic skeleton, and although there is a strong element of dysphoria in its atmospheres, the sense of forward motion is somehow optimistic, or comforting at least; it’s a very relaxing listen, sad, but calm. On a tune like ‘Light Sorrow’, where the beat comes in so hard amidst the faded washes of the harmony that it jars initially, by the time it’s run for a couple of bars it is wholly absorbed by the effective landscape of the piece; on tunes with less aggressive percussion, the effect is even more pronounced. Time is passing, the music seems to say, and there is something to regret in that, but there is also something to value in the regret. This is a very well made EP with a very coherent emotional vision.

FLTTRY053
Release Date:  February 1, 2013
© Fluttery Records

Also available on:
05 Sep 2017

Gate – Sekai

LISTEN

Track List

Part 1: Descent
Part 2: Now
Part 3: Illusions of Emptiness
Part 4: Industrial Speleology
Part 5: Ascent

Gate - Sekai

Gate is an experiment in improvised music by Lajos Ishibashi-Brons, a Dutch philosopher and musician living in Japan. The name of the project, ‘Gate’, summarizes its intended nature: a gate is in between, in between inside and outside, between here and there, between now and then; and a gate is a passageway, both an entrance and an exit, and a point where paths cross. The symbol |˟˟| is a simplification of the ‘broken gate radical’ 鬥, which (on its own) is a Chinese character meaning ‘struggle’, representing another core theme of the project: dissonance, discomfort, distress.

We have asked Lajos his thoughts about his new album on Fluttery Records:

"Bury your romantic proclivities for harmony, for order, for purpose. All of that is illusion, paint. Look at the world, listen. There is beauty in discord, dissonance, disorder, destruction, decay, corruption, contrast, arbitrariness. Life is discord, life is destruction, randomness, change. Look at the world, look at the power- lines, open-pit mines, rivers and lakes, factories and power plants, mountains and roads, buildings and forests, trash dumps and oceans. Look at them clash, interpenetrate, infest, defile. Look at the transformation of landscapes. Look at the haphazard collections of streets and buildings, and at the people living in them. Look at the dirt, the mess, the disharmony. Just look: it’s beautiful. And listen. Open your eyes and ears. Listen to the sounds of the world, to the crashing, grinding, and banging. Embrace the dissonance, the discomfort, the randomness. Those are our sounds, our world. Listen. And travel in sound."

The new album by Gate, “Sekai” (世界, ‘world’), is a mix of four layers of solo improvisation on multiple instruments, one of those layers being a mix itself. The four layers resulted from four recording sessions. The first and longest of these was focused on creating loops, drones, and background noise. Selected material from this session was arranged on the four audio tracks that together form layer 1. Layers 2 to 4 were added one after the other by means of improvisation while listening to the previously recorded layers. These sessions were exactly as long as the finished recording (i.e. 69 minutes and 2 seconds), and no edits or changes to the session recordings were made other than volume adjustments (and a bit of reverb in case of layers 2 and 3). For layers 2 and 3, only acoustic instruments were used (and thus no effects or other electronics). Session 4 made use of electric instruments and a number of effects.

Instruments used include Bassanxi, a four-string instrument (tuned like a bass) combining design elements from both the guzheng (古箏) and huqin (胡琴) families of instruments; Chaĭlaazkhuur, a tea can with a neck, fingerboard, and one string; Hichiriki (篳篥), a traditional Japanese double reed instrument used mainly in Gagaku (雅楽), Japanese classical music; Sousen, an electric string instrument used for sound effects and noises; and Zarazara, a small box with short pieces of bass B-string attached on one end for creating crackling and other noises. Except Hichiriki, all of these instruments were designed and built especially for this project.
“Sekai” comes in two editions. The Original (White) Edition is the original 69 minutes, four-layered session, as it was created and as it was and is intended to be heard. The Black Edition is a remix, cutting up the original in 5 parts each between 12 and 17 minutes. The Black Edition is only available as a download.

FLTTRY051
Release Date:  January 14, 2013
© Fluttery Records

Also available on:
05 Sep 2017

How Come The Constellations Shine – Mémoire

LISTEN

Track List

1 - Overture
2 - School Days
3 - Alaska
4 - Leave the Heart That Now I Bear
5 - Motherfucker
6 - She’s Blonde And She Says Uau A Lot
7 - Shattered Glass
8 - The Wind Will Carry Us
9 - On Rascals
10 - Western Media Avenue

How Come The Constellations Shine - Mémoire

Mémoire is a compilation album of Portuguese post-rock project How Comes The Constellations Shine consisting of outtakes. Those songs were recorded between 2006 and 2010 before Gonçalo Pereira start to work on the debut album Belongs To Mafra released in 2012 by Fluttery Records. During this four-year period, he recorded over two hundred songs.

The album was highly appreciated by the followers of our label and the critiques. Richard Allen from A Closer Listen wrote that "It’s uncommon for a band to break up, then return stronger than ever ~ but this rarity has just occurred. Portuguese band How Comes the Constellations Shine (once known as Purfect) is now down to its original member, guitarist Gonçalo Pereira."

After this album Pereira started working on the next How Comes The Constellations Shine LP, Mémoire. It wasn't easy to choose among two hundred tracks and some needed remixing.

Here he is explanining the motives and stories behind the tracks

"Overture was the final song recorded for the demo-album Precious Precious Silver Gold, released as free download in early 2010. This song was one of band mates favorite, but, the band never played this song. Overture is the only that was written with my fellow mate Tito. The guitar line in the beginning on the song was written by Tito during a rehearsal. At home, i wrote the rest of the song and recorded the whole song in one night. This is a special song. This could be a special song if we still together as a band. God only knows. "

"School Days is one of my favorite song ever. It was recorded at the same time as Alaska. I was in May 2008, just before buying new gear because in the beginning of this year all my gear was stolen. So, with new pedals and my beloved Boss GT-6, i started to write and record about ten new songs since the last one recorded, (Motherfuck). School Days was entirely composed with keyboards and and a lot of drum loops. I need to listen this song a lot of times until i get the right guitar pieces to put on."

"Alaska. I love this drum loop so much. When i heard this loop, i started immediately to work on a song with this drum loop. At this time we wanted to use a lot of pianos to support our songs. So, i recorded this piano loop and then all things change. The guitars were very simple, just three chords and a second guitar with a lot of delay make the main line of this song. We open the Mub Festival with this song. It was the only moment we play this song. But it’s still one my favorite."

"Leave The Heart That Now I Bear. This song was recorded right after Belongs To Mafra release.
I recorded a few songs just with guitars planning a future extended play to be released but i guess that this song matches with the old songs. Actually, this song is three songs in one. I recorded the first guitar line to be a completely different song. Then i recorded another guitar lines in the same project. For a while, a quit finishing this song, but when i re-open this project, i realized that this could be one song.

"Motherfucker is the first song written with the piano. After a week listening to this piano line, I started to add some guitars with a lot of delay, reverb and using a volume pedal. Then for the chorus i recorded up to five guitars including an acoustic one, and pushing up over the phrases the amount of distortion. This song was the last song recorded with my favorite guitar, a blonde Telecaster which was stolen after a rehearsal in january 2008. That guitar was my favorite one. I guess the name of this song came after that."

"She’s Blonde And She Says Uau A Lot has a lovely organ for the base. This song was written to be a kind of waltz or ballad or something like that. A song we could dance after dinner, slowly with our beloved one. Of course i was pushed to lift up the song to a massive distortion a the same drum loop compressed at the limit. This was the last song i recorded with my old Telecaster and the old recording gear."

"Shattered Glass we always wanted a song with pianos, synths, loops and ambient sounds. We always wanted a song with simple drums. We wanted a crescendo based song. I wrote this song at the same time as i was working on a self side project called Arundel. When i finish the songs for Arundel demo EP i realize that Shattered Glass should be a Constellations song."

"The Wind Will Carry Us. I guess that this song is the real image of Constellations as a band, as friends, as brothers. When we played this song live for the first time it was the best moment in our lives. When i was thinking about releasing this album the main idea was recording all this songs as new ones. This collection of songs were the best that i ever wrote and they are the true history of this band. But, honestly, after a few years, they sounded so fresh and so beautifully. They pictured five years of this project as a but, no matter if we never played most of them together. But all of this songs were the songs of our dreams, were the songs we heard a million times in our car. Why should I change this songs? This song is with no doubt, the most important song of How Comes The Constellations Shine as a band. And now that we no longer exists as a band, The Wind Will Carry Us is still our song."

"On Rascals is recorded when I moved for my new house with my eventual wife. It was in the summer of 2008 after our first gig with this formation. A song with a solo. I recorded this guitar solo in one take. To play this song live, i needed to learn again that solo for a week. But when all learned the song it was, wow, a huge huge wall of sound. One of the greatest moments we ever had."

"Western Media Avenue's the main guitar was written in 2009. We played this song in our third gig. I remember when we were playing this song, a girl was on the floor, with eyes closed, and she’s was dancing alone along the song. A magic moment. But after that concert we throw away this song because the notes were the same during the all song and started to be boring for us play that. But I still love this song, the drums getting bigger along the song. I always imagine a race when I listen to this song. This song is like a see you soon guys. It´s the closer song of this album, and I know, it will be the opening one for a future, brothers.Mémoire is the summary of all these years of work."

Fans of How Comes The Constellations Shine as a band and both as a project love this album as well.

FLTTRY050
Release Date:  January 14, 2013
© Fluttery Records

Also available on:
21 Dec 2012

First albums of 2013

Hello from Fluttery Records,

2012 was a really nice year. We have released great albums and we have added very nice artists to our family. We can’t explain how it feels like with words. They are not only very good musicians, they are also very very kind in person. It’s a big pleasure for us to be working with them.

The new year is on the way and we are planning to release great albums from great artists. Here is our release schedule of first months of 2013:

01/14/2013 – How Comes The Constellations Shine / Mémoire

01/14/2013 – Gate / Sekai

02/01/2013 – Elara / Soundtrack For A Quiet Place

02/01/2013 – Olekksii / Iris

To get notified when this albums gets released, subscribe to our newsletter