Primal Code の新作

Primal Code
Opaque Fixation

Opaque Fixation

Blabbermouth.net 80点相当

kerrang 80点相当

Opaque Fixation

As we hurtle towards the end of 2024, the relentless tsunami of excellent death metal releases shows no signs of abating. PRIMAL CODE are a monstrous power trio from Chicago, featuring former INDIAN / MIDDIAN bassist Will Lindsay, and they will cheerfully crush everything in their path.

It will take only a few seconds for death metal diehards to realize exactly why Relapse Records snapped these beastly extremists up. PRIMAL CODE have a sound that has deep roots in the old school, pitched somewhere between the murderous, battlefield-razing, mid-tempo carnage of BOLT THROWER and the hard-as-nails, warrior battery of UNLEASHED. Myopically focused on its own devastating, primal impact, "Opaque Fixation" is an album that strips away all the bells and whistles from modern death metal's diverse remit, and delivers a jolting dose of commanding, four-to-the-floor heaviness. Complexity and progress can wait for another day, because these songs are wonderfully well-crafted and unpretentious. This is death metal that smashes and eviscerates first, asking questions later. If it wasn't all so dark, grim and grotesque, one might be inclined to call it good, clean fun.

Three-piece bands often have the edge over their more populous counterparts. PRIMAL CODE are a six-legged riff machine, and the numerous moments when all three musicians are locked in and slamming home a filthy groove are nothing short of masterful. Frontman/guitarist Gene Marino has a voice that cuts through the wall of noise like a laser through lard, and from the moment that "Anapsid" kicks into gear, he cuts a haughty, ominous figure, spitting barbs and laying down the left-hand law like a man on an ignoble mission. There are dark, melodic undercurrents that fester away during the likes of feverish onslaught "Totem" and the sluggish, harrowing "Stuck", but PRIMAL CODE stick stoically to their simplistic musical urges never becoming bogged down by misguided attempts to be accessible. Instead, this is a collection of songs with plenty of nasty hooks, but dominated by sheer, vein-popping riffing power. More often than not, the likes of "Derelict" and "Hive" offer a mixture of mid-tempo pummeling and furious bursts of speed. Again, this is old-school thinking with a ruthless upgrade.

米国のノイズバンド Indian の元メンバーが所属

イリノイ州シカゴ出身のデスメタル

Keaton Henson の新作

Keaton Henson
Somnambulant Cycles

Somnambulant Cycles

202405月リリース

これへのアクセス履歴で気づく。

『Keaton Henson　の新作』

今作はインスト

Keaton Henson - Somnambulant Cycles: Vinyl LP - Mercury KX

Somnambulant cycles is an instrumental album exploring the feeling of subconscious states, in some ways the antithesis to six lethargies (a work intended to create unrest and unease), this one is intended to create a sense of physiologically fertile calm, the calm where ideas come from, where emotions are felt but pass by like pedestrians. it is the quiet of night when our ancestors saw spirits over the water, but felt a strange comfort rather than fear. the strange sensation of being aware that you are sleepwalking, but not wanting to wake up. It is at times a moonlit field, at others a quiet warmly lit bedroom, a blue evening from up high, a nightbus home through the rain. It was made more collaboratively than my previous classical records, while being predominantly composed alone, it all came to life when shared with other musicians I admire, creating pieces i was dying to hear played by daniel herskedal, and creating skeletons to be fleshed out by people like hinako omori, and players i love to write for like reinoud ford and Dorry Mcauley. sonically it is intended to marry worlds like electronic, classical and minimalism, glued together with a humanness and vulnerability of performance, recorded up close with flaws left in”

”Somnambulant cycles は、潜在意識の状態の感覚を探求するインストゥルメンタル アルバムです。ある意味では、six lethargies (不安や不快感を演出する作品) とは対照的ですが、生理的に豊かな静けさ、アイデアが湧き出る静けさ、感情が感じられながらも歩行者のように通り過ぎる静けさを作り出すことを目的としています。それは、私たちの祖先が水上の霊を見て、恐怖ではなく奇妙な安らぎを感じた夜の静けさです。夢遊病であることに気づいているが、目覚めたくないという奇妙な感覚です。それは、時には月明かりに照らされた野原、時には静かで温かみのある寝室、高いところから見た青い夜、雨の中を夜行バスで家に帰るような感覚です。このアルバムは、私のこれまでのクラシック音楽のレコードよりも共同作業で作られました。主に一人で作曲しましたが、私が尊敬する他のミュージシャンと共有することですべてが実現しました。ダニエル・ハースケダルの演奏を聞きたくてたまらない曲を作り、大森日向子のような人たちや、私が作曲するのが大好きなレイノルド・フォードやドリー・マコーリーのような演奏家によって肉付けされる骨組みを作りました。音響的には、エレクトロニック、クラシック、ミニマリズムなどの世界を融合させ、人間味とパフォーマンスの脆弱性を融合させ、欠陥を残したまま間近で録音した」”

イギリスのミュージシャン。1988年ロンドンの生まれ

Keaton Henson announces new album, Somnambulant Cycles

'Somnambulant Cycles': Keaton Henson on emotional privacy

Stephan Micus の新作

Stephan Micus

To the Rising Moon

To the Rising Moon

コロンビアのティプルという楽器が主役

To The Rising Moon - ECM Records

To the Rising Moon is Stephan Micus’ 26th solo album for ECM. It features instruments from Colombia, India, Xinjiang (China), Bavaria, Cambodia, Egypt and Borneo, but taking centre stage is the Colombian tiple, slightly smaller than an acoustic guitar. The sunny plucked sound of the tiples alternates with darker bowed strings which bring a more meditative mood. It’s only in the final track, "To the Rising Moon", that the two worlds of the plucked tiples and bowed strings finally come together. It’s like a hymn to something that is eternally up there in the night sky, something consistent while there is so much turbulence in the world below. Once again, Stephan Micus takes us on a unique musical journey to places unknown that couldn’t have been created or played by anyone else.

” 「トゥ・ザ・ライジング・ムーン」は、ステファン・マイカスがECMからリリースした26枚目のソロアルバムです。コロンビア、インド、新疆ウイグル自治区（中国）、バイエルン、カンボジア、エジプト、ボルネオの楽器がフィーチャーされていますが、中心となるのはアコースティックギターより少し小さいコロンビアのティプレです。ティプレの明るいつま弾き音と、より瞑想的な雰囲気をもたらす暗い擦弦が交互に鳴ります。最後のトラック「トゥ・ザ・ライジング・ムーン」で初めて、つま弾きティプレと擦弦の2つの世界が融合します。それは、夜空に永遠に存在するもの、下界が混乱に陥っている中でも変わらないものへの賛歌のようです。ステファン・マイカスは再び、他の誰にも作ることや演奏することのできない、未知の場所へのユニークな音楽の旅に私たちを連れて行ってくれます。”