We are very happy to stock these three releases from this brilliant belgian label. We usually don’t recommend things that we sell but we can ask people to have a listen to things that we like. So, I would assume that you got it. The page of the label on our website is here by the way.
Razen – Remote Hologram (2xLP)
Remote Hologram is a double album containing seven instrumental pieces, spread across four vinyl sides. Each of those takes the shape of an analogue and acoustic depth-charge into transcendental and ritualistic minimal- ism. The tracks take cues from Old European music and folk forms, historical avant-garde such as Ligeti or Penderecki, deep listening-grandmistresses Pauline Oliveros and Eliane Radigue, but equally from raw sustained-tone à la Pelt or Hermann Nitsch. One chapter of the album consists of three improvised tracks on which the Ondes Martenot, one of the oldest electronic instruments, takes center stage. A second chapter explores a hybrid of free improv and conceptual composition, using microtonalism as principal tool.
Lieven Martens Moana – Music From The Guardhouse (A Play For Magnetic Tape Recorder)
Through literature and landscape painting Martens developed a language that is as close to the personal-spiritual documentary as to contemporary classical music. Quoting Percy Bysshe Shelley in its opening piece ‘Aria, The Cloud’ the tone is set for an intimate but extroverted modernist take on neo-romanticism. The album is conceived as a play for magnetic tape recorder, using field recordings and midi devices as its round characters. Rich musical intertextuality, ranging from Baudelaire to Toru Takemitsu and Messiaen, cleverly chaperones the theatre of sound, emphasizing every shift and every detail while still allowing time and space for reflection between the acts. More than ever Martens’s work is the result of a deep process of enlightening. It shows the becoming of a mediating poet who summons the spirits of Nature, of the Sensual, of the Unspoken.
Maan – Manifold (LP)
Maan are not the kind of revivalists you would expect them to be. Although the four track garage sound makes them sound like a lost demo tape of teenage angst expression of those days, they owe as much to the literary side of the Shadow Ring, the roughness of The Fall or even the intoxicated parlando-and-bass methods of early Arab Strap. Simon Marius and Tim Depraetere had no clue when old cunts like us tried to impress them with name dropping and references to the bands of our youths. To them we were just an annoying update of nagging hippies who compare everything new they hear to Greatful Dead or Hawkwind. Maan told us to fuck off and went home to listen to their fresh free jazz downloads, then took up some random instruments, made a bunch of tape loops and decided to make a record.