Music

DAVID LYNCH RECORD ‘THE AIR IS ON FIRE’ REISSUED.

647d1152

In early 2007, David Lynch was the subject of a retrospective art exhibition at Paris’ Fondation Cartier pour l’art contemporain. Evocatively titled The Air is on Fire, it was notable for being the first major comprehensive exhibition of the avant-garde director’s paintings, photographs and drawings. It wasn’t strictly a visual affair; throughout the entire gallery’s two floors and four rooms, a pervasive, interactive soundscape escorted viewers through the work. That soundscape, which shares the name of the exhibition, was composed by Lynch and his collaborator, Dean Hurley, and it’s being issued for the first time on vinyl by Sacred Bones Records as a special Record Store Day release.

Film icon David Lynch‘s releases for Brooklyn label Sacred Bones include the 2012 Eraserhead reissue and last year’s The Big Dream. On April 19, for Record Store Day, Sacred Bones will add another title to their Lynch catalogue: a reissue of the hard-to-find, 41-minute electronic soundscape The Air Is on Fire.

The piece originally accompanied Lynch’s 2007 retrospective exhibition of paintings, photographs, and drawings at Paris’ Fondation Cartier pour l’art contemporain, during which the music filled the gallery’s two floors. (The exhibition was also titled The Air Is on Fire.) The reissue will be on vinyl for the first time, in an edition of 2,000.

The Air Is on Fire was composed by Lynch with his collaborator, producer/engineer Dean Hurley. In a 2007 Arte Radio interview, Hurley described some of the sounds that make up the piece: “a large flashbulb paparazzi sound,” “short drum machine phrases,” “brief phrases of machines working,” “dubbed industrial hip-hop,” “characteristic winds,” “punch-presses pitched down,” “train mechanisms and large steel factory samples,” “a steam station,” “high-heel footsteps,” “metal structures that were welded together,” “the train horn,” and more.

BUY ‘THE AIR IS ON FIRE’ ON I-TUNES

Welcome to Twin Peaks.com

NUX VOMICA, A REVELATION.


Portland, OR’s underground crust miscreants NUX VOMICA unleash their Relapse Records debut and first full-length album in over 5 years. Blending the suffocating atmospherics of doom / sludge with the raw ferocity of black metal, punk and d-beat, NUX VOMICA construct an organic heaviness caught somewhere between Neurosis and His Hero Is Gone. Their self-titled LP is a 3 song, 40+ minute emotional odyssey into the depths of human darkness. A flawless combination of epic song structures with crushing melodies and colossal riffs with powerful dynamics, NUX VOMICA is a truly captivating listening experience that will appeal to fans of anything extreme.

BUY ‘NUX VOMICA’ ON BANDCAMP.COM

Relapse.com

SUNN O))) & ULVER JUST MADE IT.


TERRESTRIALS IS OUT NOW.
Oslo, Norway, August 10th, 2008. Following their 200th gig, playing before 2000 people at the Øya festival, SUNN O))) teamed up with Norwegian legends ULVER at their Oslo studio, Crystal Canyon. They recorded three “live in improvisation” pieces, starting that evening and ending at dawn, as Northern sunlight seeped in through the windows.

“We were sitting in the console room, early in the morning, listening to the takes. Someone said, ‘ah, sunrise over Crystal Canyon,’ as if the night had been a dark one. We all laughed and Greg proposed it as a title. In that setting it sounded perfect. The boys had mentioned wanting the music to orient towards the light, like some lost pilgrim stretching before the sun. We kept that mental picture for the processing.” – Kristoffer Rygg

That take became the album’s opening piece, “Let there be light,” which builds up from silence and darkness and proceeds – ceremoniously, coruscating – O’Malley and O’Sullivan creating the backdrop for Rygg’s Basso Profondo chants. The music unfolds over eight minutes before reaching a crescendo of bass and brass, introducing both Anderson and ULVER as we know them. The Sunn has risen.

“Western horn” accelerates on a single and austere note of sustained bass and low end, evolving gradually into a haunted soundscape. Crying violins, clusters of Fender Rhodes, guitar pickups, and metal plate drones are gradually layered beneath Anderson’s augmented bass feedback.

“Eternal return” introduces Rygg singing a lyric evoking ancient Greece, Egypt and the Biblical lands. The song is palindromic, echoing the lyric, beginning and ending with the same bass line and musical pattern, though the guitars are ultimately reversed as the song implodes upon itself.

“Terrestrials”; is  three movements which are fluid like the flow of magma beneath the Earth’s crust, sonically uninhibited, unpredictably cosmic, haunting and stirring yet simultaneously ceremonious and beautiful.

BUY ‘TERRESTRIALS’ ON BANDCAMP.COM

Southern Lord records.com

%d blogger hanno fatto clic su Mi Piace per questo: