Фирма Denovali

180g Vinyl - Limited first edition on coloured vinyl - heavy cardboard cover - printed inner sleeve. Petrels returns in May with thunderous new album, Flailing Tomb, to be released via Denovali Records. Taking the exhilaratingly huge sonic expanse that Petrels has become known for and pushing it further still, Flailing Tomb draws on a breathtaking sonic palette of influences and instrumentation to craft perhaps the strongest Petrels release to date. Flailing Tomb's underlying theme is a many-layered obsession with - and joyous celebration of - the defiance in persisting with lost causes. Building on the mythological foundations of previous albums - Haeligewielle, Onkalo and Mima - Flailing Tomb takes an underlying current that ran beneath each of these and pushes it to the fore. Flailing Tomb draws inspiration from sources as wide-ranging as Ursula K. Le Guin's speculative fiction, Indian-Celtic connections, self-mummification, Jude The Apostle (patron saint of lost causes), and Jean-Luc Godard's seminal sci-fi masterpiece, Alphaville (much of the second-half of the album is adapted from music originally written as an alternate score to the film), weaving all this and more into six intricately-layered parts - at once forthright and ambiguous. With a much broader range of instrumentation and contributors than previous Petrels albums - from the melodic cacophony of album opener We Are Falling Into the Heart Of The Sun, to the euphoric choral backdrop of Orpheus with a lead vocal from NEVER SOL and the epic motorik finale of L. Caution - Flailing Tomb is both an expansion on and refinement of the Petrels sound and an album that confirms the arrival of a singular artist. Petrels is the solo project of London-based musician and illustrator, Oliver Barrett. Since releasing his debut Haeligewielle in 2011, Petrels has toured across Europe and shared a stage with the likes of Tim Hecker, FIRE!, Nate Young (Wolf Eyes), Trouble Books, Demdike Stare, Nadja, and Hans-Joachim Roedelius (Cluster). Having also collaborated with and provided remixes for artists as varied as Duane Pitre, Brassica, Talvihorros and Max Cooper, Petrels' output is proving to be thrillingly eclectic and unpredictable Record Label: Denovali Style: Experimental

Petrels returns in May with thunderous new album, Flailing Tomb, to be released via Denovali Records. Taking the exhilaratingly huge sonic expanse that Petrels has become known for and pushing it further still, Flailing Tomb draws on a breathtaking sonic palette of influences and instrumentation to craft perhaps the strongest Petrels release to date. Flailing Tomb's underlying theme is a many-layered obsession with - and joyous celebration of - the defiance in persisting with lost causes. Building on the mythological foundations of previous albums - Haeligewielle, Onkalo and Mima - Flailing Tomb takes an underlying current that ran beneath each of these and pushes it to the fore. Flailing Tomb draws inspiration from sources as wide-ranging as Ursula K. Le Guin's speculative fiction, Indian-Celtic connections, self-mummification, Jude The Apostle (patron saint of lost causes), and Jean-Luc Godard's seminal sci-fi masterpiece, Alphaville (much of the second-half of the album is adapted from music originally written as an alternate score to the film), weaving all this and more into six intricately-layered parts - at once forthright and ambiguous. With a much broader range of instrumentation and contributors than previous Petrels albums - from the melodic cacophony of album opener We Are Falling Into the Heart Of The Sun, to the euphoric choral backdrop of Orpheus with a lead vocal from NEVER SOL and the epic motorik finale of L. Caution - Flailing Tomb is both an expansion on and refinement of the Petrels sound and an album that confirms the arrival of a singular artist. Petrels is the solo project of London-based musician and illustrator, Oliver Barrett. Since releasing his debut Haeligewielle in 2011, Petrels has toured across Europe and shared a stage with the likes of Tim Hecker, FIRE!, Nate Young (Wolf Eyes), Trouble Books, Demdike Stare, Nadja, and Hans-Joachim Roedelius (Cluster). Having also collaborated with and provided remixes for artists as varied as Duane Pitre, Brassica, Talvihorros and Max Cooper, Petrels' output is proving to be thrillingly eclectic and unpredictable Record Label: Denovali Style: Experimental

Artist: the Coma Lilies Label: Denovali (Cargo Records)

The German instrumental duo SANKT OTTEN, founded in 1999, consists of Stephan Otten (drums, programming, synthesizer) and Oliver Klemm (guitar, synthesizer, piano), and has been releasing on Denovali Records since 2009. Their eighth album ENGTANZ DEPRESSION (engl.: CLOSE DANCE DEPRESSION) expresses a significant progression of their material on the preceding album trilogy (Gottes Synthesizer, Sequencer Liebe, Messias Maschine). New drum sounds and acoustic instruments such as harmonium and piano may be found, and some pieces emerged from free improvisations, which is a completely new approach taken by this band. The album starts with "Urlaub Unter Psalmen" which builds up slowly, piles up further, just to completely disintegrate in the end. Klemm's typical E-bow guitar parts and the dubby baseline make this track a catchy tune. Next is "Beten, Tanzen, Küssen" which is the first Sankt Otten track ever where a harmonium appears. In combination with the minimal beat one could even think that this track is suitable for a club context, but the two musicians always manage to stay away just enough from the ordinary and remain slightly disturbing as ever. "Im Lichtorgelparadies" switches on the lights in paradise with a hypnotic synthesizer melody and the KRAFTWERK-like beat gives the track a floating ease. One of the album highlights is the 12-minute monster "Sing die Apokalypse", which is dominated by Otten's powerful, but always minimalistic drumming. After about 10 minutes the listener might think that the apocalypse has aleady arrived, but Sankt Otten move on and manage to even increase this feeling. The track ends unexpectedly and with a winking bow to the influential American electronic protopunks SUICIDE. However, Sankt Otten also demonstrate that they can still master the meditative sounds. Tracks like "Der Himmel ist voll" or "Die tragische Nummer" are quite far apart from average electronica. The titles of the tracks appearing on the album are as always a unique mixture of aphorisms, sarcasm and puns. In spite of the new directions explored on this album, SANKT OTTEN maintain their characteristic Holy Trinity of krautrock, ambient, and 80ies electronica. Floating, meditative, dazing and catchy at times. Recommended if you like ZOMBI, BOARDS OF CANADA, ROBERT FRIPP, KRAFTWERK Record Label: Denovali Style: Kraut

First pressing on coloured vinyl! - 180g vinyl - printed innersleeve - heavy cover jacket - downloadcode Fogh Depot is not just a collaboration between three musicians weaving a cozy melancholic cocoon in the midst of a looming, cold, unwelcoming metropolis of Moscow. It's a creativity lab where complex cryptoanarchic ideas rigidify in the viscously flowing Phrygian mode, while the simple and naive piano melodies sweep the listener right back to childhood. Fogh Depot's debut album contains eight stories told by different people in different places. "Anticyclone" feels like a massive hedge-maze amidst towering sand dunes of apathetic lust. "Mining" - is a slow descent into a narrow, murky mine, now and then suddenly illuminated by the guide's flaring torch. Does he even know where he's leading his patrons? Sorrowful and strange, "Nevalyashka" is a nostalgic waltz, bringing to mind an old wooden attic where forgotten toys are gathering dust, while the clear and springy bass in "Sagittarius" can only be the belligerent footsteps of a mythical centaur. The simplest way to define Fogh Depot's music would be to call it seductive brooding jazz with an electronic twist. Fogh Depot conjoin the unconjoinable, combining distorted low resolution samples with pure, atmospheric piano chords, multilayered drones with bebop changes, four-to-the-floor beat with polyrhythm, simple, easy-to-remember tunes with sophisticated effects for woodwinds, springy bass grooves with timeless ambient soundscapes. Live performance targeted at acoustic perception binds this technological hodgepodge together, giving every listener a chance to find the right texture for a rainy evening and a glass of good scotch. Recommended if you like Xploding Plastix, Bohren & der Club of Gore, Kilimanjaro Darkjazz Ensemble, Dale Cooper Quartet Record Label: Denovali Style: Experimental

The German instrumental duo SANKT OTTEN, founded in 1999, consists of Stephan Otten (drums, programming, synthesizer) and Oliver Klemm (guitar, synthesizer, piano), and has been releasing on Denovali Records since 2009. Their eighth album ENGTANZ DEPRESSION (engl.: CLOSE DANCE DEPRESSION) expresses a significant progression of their material on the preceding album trilogy (Gottes Synthesizer, Sequencer Liebe, Messias Maschine). New drum sounds and acoustic instruments such as harmonium and piano may be found, and some pieces emerged from free improvisations, which is a completely new approach taken by this band. The album starts with "Urlaub Unter Psalmen" which builds up slowly, piles up further, just to completely disintegrate in the end. Klemm's typical E-bow guitar parts and the dubby baseline make this track a catchy tune. Next is "Beten, Tanzen, Küssen" which is the first Sankt Otten track ever where a harmonium appears. In combination with the minimal beat one could even think that this track is suitable for a club context, but the two musicians always manage to stay away just enough from the ordinary and remain slightly disturbing as ever. "Im Lichtorgelparadies" switches on the lights in paradise with a hypnotic synthesizer melody and the KRAFTWERK-like beat gives the track a floating ease. One of the album highlights is the 12-minute monster "Sing die Apokalypse", which is dominated by Otten's powerful, but always minimalistic drumming. After about 10 minutes the listener might think that the apocalypse has aleady arrived, but Sankt Otten move on and manage to even increase this feeling. The track ends unexpectedly and with a winking bow to the influential American electronic protopunks SUICIDE. However, Sankt Otten also demonstrate that they can still master the meditative sounds. Tracks like "Der Himmel ist voll" or "Die tragische Nummer" are quite far apart from average electronica. The titles of the tracks appearing on the album are as always a unique mixture of aphorisms, sarcasm and puns. In spite of the new directions explored on this album, SANKT OTTEN maintain their characteristic Holy Trinity of krautrock, ambient, and 80ies electronica. Floating, meditative, dazing and catchy at times. Recommended if you like ZOMBI, BOARDS OF CANADA, ROBERT FRIPP, KRAFTWERK Record Label: Denovali Style: Kraut

Fogh Depot is not just a collaboration between three musicians weaving a cozy melancholic cocoon in the midst of a looming, cold, unwelcoming metropolis of Moscow. It's a creativity lab where complex cryptoanarchic ideas rigidify in the viscously flowing Phrygian mode, while the simple and naive piano melodies sweep the listener right back to childhood. Fogh Depot's debut album contains eight stories told by different people in different places. "Anticyclone" feels like a massive hedge-maze amidst towering sand dunes of apathetic lust. "Mining" - is a slow descent into a narrow, murky mine, now and then suddenly illuminated by the guide's flaring torch. Does he even know where he's leading his patrons? Sorrowful and strange, "Nevalyashka" is a nostalgic waltz, bringing to mind an old wooden attic where forgotten toys are gathering dust, while the clear and springy bass in "Sagittarius" can only be the belligerent footsteps of a mythical centaur. The simplest way to define Fogh Depot's music would be to call it seductive brooding jazz with an electronic twist. Fogh Depot conjoin the unconjoinable, combining distorted low resolution samples with pure, atmospheric piano chords, multilayered drones with bebop changes, four-to-the-floor beat with polyrhythm, simple, easy-to-remember tunes with sophisticated effects for woodwinds, springy bass grooves with timeless ambient soundscapes. Live performance targeted at acoustic perception binds this technological hodgepodge together, giving every listener a chance to find the right texture for a rainy evening and a glass of good scotch. Recommended if you like Xploding Plastix, Bohren & der Club of Gore, Kilimanjaro Darkjazz Ensemble, Dale Cooper Quartet Record Label: Denovali Style: Experimental

thick heavy sleeve with printing - printed innersleeve - 180g vinyl - Downloadcode. Ricardo Donoso is a composer, percussionist and electronic musician from Rio de Janeiro, Brazil who currently resides in Boston. After having studied composition at Berklee College of Music and New England Conservatory he has participated in a slew of projects over the years, most notably playing drums for avant-death metal unit Ehnahre and being one half of the ever morphing electronic duo Perispirit. Ricardo's musical vocabulary draws as much from contemporary composition, drone, to techno and noise. A year before exploding onto the electronic music scene in 2011with the critically acclaimed Progress Chance, Ricardo Donoso's debut release "Deterrence" was issued as an extremely limited cassette edition - a through-composed ambient piece, "Deterrence" is stripped of all the rhythmic flux which he has become known for. Considered by many in underground circles to be a true masterwork of the Dark Ambient genre, "Deterrence" is often times compared to works by artists such as Lustmord, Biosphere & Deathprod. Denovali is pleased to finally present this much needed reissue, five years from its inception. It's a fitting time for "Deterrence" to see the light of day, as it lets us explore Donoso's roots as a composer, both musically & thematically. With the simultaneous release of his new opus "Sarava Exu" one can't help but connect the dots from some of the foundations laid out on "Deterrence"; the glacial drones underpinning melodic flourishes on the surface , the patience and pacing of each movement and the use of space, sound design and texture in equal balance with the harmonic and melodic content. Although vastly different from the much loved, geometric inspired Digitalis trilogy, "Deterrence" still serves its function of sucking you into its world, guiding the listener through barren landscapes, dreamlike imagery and moments of hopeful yearning then spitting you out on the other side. Like past Donoso releases, it begs to be excavated and explored, revealing more & more of itself upon closer inspection. The motivic cycling chords tumble in-between tape his & location recordings, sometimes appearing inverted, upside down, in reversed order, but always there, present and serving it's function. Melodic content is hinted at on opener "Simulated Charity", becoming fully exposed at the halfway point on a broken down piano on "Prisoner's Dilemma" as feedback swells and guitar drones carry the movement along until the massive crescendo in "Mutual Assured Destruction" gives us some respite, albeit only briefly as the tonal clouds are then drowned by claustrophobic textures, leaving us not with answers, but more questions. While always pushing forward, Donoso' manages to maintain with each release his cinematic grandeur, an elegant narrative arc and a truly singular and dramatic tone. "Deterrence" is a small, yet important window into the one of contemporary electronic music's most unique voices. Recommended if you like Biosphere, Lustmord or Deathprod Record Label: Denovali Style: Experimental

180g vinyl - printed innersleeve - downloadcode - heavy sleeve. Ricardo Donoso is a composer, percussionist and electronic musician from Rio de Janeiro, Brazil who currently resides in Boston. After having studied composition at Berklee College of Music and New England Conservatory he has participated in a slew of projects over the years, most notably playing drums for avant-death metal unit Ehnahre and being one half of the ever morphing electronic duo Perispirit. Ricardo's musical vocabulary draws as much from contemporary composition, drone, to techno and noise. A year before exploding onto the electronic music scene in 2011with the critically acclaimed Progress Chance, Ricardo Donoso's debut release "Deterrence" was issued as an extremely limited cassette edition - a through-composed ambient piece, "Deterrence" is stripped of all the rhythmic flux which he has become known for. Considered by many in underground circles to be a true masterwork of the Dark Ambient genre, "Deterrence" is often times compared to works by artists such as Lustmord, Biosphere & Deathprod. Denovali is pleased to finally present this much needed reissue, five years from its inception. It's a fitting time for "Deterrence" to see the light of day, as it lets us explore Donoso's roots as a composer, both musically & thematically. With the simultaneous release of his new opus "Sarava Exu" one can't help but connect the dots from some of the foundations laid out on "Deterrence"; the glacial drones underpinning melodic flourishes on the surface , the patience and pacing of each movement and the use of space, sound design and texture in equal balance with the harmonic and melodic content. Although vastly different from the much loved, geometric inspired Digitalis trilogy, "Deterrence" still serves its function of sucking you into its world, guiding the listener through barren landscapes, dreamlike imagery and moments of hopeful yearning then spitting you out on the other side. Like past Donoso releases, it begs to be excavated and explored, revealing more & more of itself upon closer inspection. The motivic cycling chords tumble in-between tape his & location recordings, sometimes appearing inverted, upside down, in reversed order, but always there, present and serving it's function. Melodic content is hinted at on opener "Simulated Charity", becoming fully exposed at the halfway point on a broken down piano on "Prisoner's Dilemma" as feedback swells and guitar drones carry the movement along until the massive crescendo in "Mutual Assured Destruction" gives us some respite, albeit only briefly as the tonal clouds are then drowned by claustrophobic textures, leaving us not with answers, but more questions. While always pushing forward, Donoso' manages to maintain with each release his cinematic grandeur, an elegant narrative arc and a truly singular and dramatic tone. "Deterrence" is a small, yet important window into the one of contemporary electronic music's most unique voices. Recommended if you like Biosphere, Lustmord or Deathprod Record Label: Denovali Style: Experimental

Skye Kleins Projekt Terminal Sound System entstand zur Jahrtausendwende in den Räumen einer schäbigen Lagerhalle in Melbourne. Für das Gros der bisher zehn Veröffentlichungen verschmolz Terminal Sound System epischen Doom, Post-Rock und Jazz mit Electronica, Drum'N'Bass, Heavvy Dub und ätherischen Vocals zu einer außergewöhnlichen und einzigartigen Soundmixtur. Das neue Album 'Dust Songs', das im Dezember 2014 bei Denovali Records erscheint ist die logische Fortsetzung, hält aber auch einige Überraschungen bereit, wie man sie aus dem Kosmos von Terminal Sound System noch nicht gehört hat. Mehr als jede andere Veröffentlichung bringt TSS mit 'Dust Songs' den Gesang aus dem Schattendasein weit nach vorn und setzt ihn zusammen mit der Gitarre als wesentliche Pfeiler des Albums ein. Beide sind nahezu permanenter Manipulation ausgesetzt; sie werden mittels fehlerhafter Technologie gedehnt und verzerrt, wirken erodiert und scheinen sich in einem konstanten Zustand des Kollapses zu befinden. Die hier verborgenen Geschichten sind von Bedeutung, aber sind eingehüllt von einem Nebel aus Drone und Hiss: Ein künftiges Artefakt, eine archäologische Entdeckung oder eine von Störungen übersäte Übertragung. Die Wörter und Melodien sind bis zu ihrer Essenz reduziert. Der linearen Narration beraubt, gleichen sie in ihrem wiederholenden Charakter einem Mantra. Endlos zirkulierend - führen sie womöglich zur Transzendenz oder nähern sich zumindest einer Art von Sinn. Obwohl 'Dust Songs' auf Loops basiert, bewegt es sich paradoxerweise weg von "modernen" Produktionsmethoden wie Tempo Maps und wiedererkennbaren Sound und Strukturen - und tatsächlich in einer stark linearen Weise kreiert, als ob man mit einem Tonbandgerät arbeiten würde (und einem Messer und verbindenden Blöcken). Ausgangspunkt waren immer wieder geloopte Fragmente von der Gitarre. Mit dem Aufbau des Songs durchlief er endlose Phasen der Überarbeitung, Drehungen und Wendungen oder auch Rück-Erinnerungen, so dass das Endresultat nur noch wenig Ähnlichkeit mit dem Originalmaterial hat. Ein Prozess, den Skye Klein womöglich bedauern wird, wenn es darum geht das Album live zu performen, denn nahezu alle Sounds, die er benutzte, wurden im Moment verformt und sind deshalb in ihrer Ursprünglichkeit nicht mehr greifbar. Klein merkt zum Schluss an: "Die Texte und (musikalischen) Themen beinhalten (wie immer) auch bei 'Dust Songs' eine große Bedeutung für mich, und (wie gewöhnlich) wurde diese Bedeutung deutlich verdunkelt und verzerrt. Es gibt auch hier eine Geschichte und sie wurde nach einer kurzen Pause von der letzteren wieder aufgenommen. Ich hoffe diese Songs finden bei dir ihren Nachhall, der dich deine eigene Geschichte finden lässt." Für Hörer von Amon Tobin, Autechre, Blackfilm oder Klaus Schulze [ENG] LP + Downloadcode Skye Klein's Terminal Sound System is a project born in a dingy Melbourne warehouse at the turn of the century. On the more than ten past releases, TSS merged epic doom, post-rock and jazz with electronica, drum'n'bass, heavy dub and ethereal vocals into a style wholly unique. The new album 'Dust Songs', which sees its release in December 2014 on Denovali Records, is a logical extrapolation and a surprise at the same time. More than any other Terminal Sound System release, Dust Songs brings the voice well and truly to the front. The mainstays of voice and acoustic guitar are stretched and warped through failing technology, eroded and in a constant state of collapse. The stories here are important, but are shrouded in a haze of drone and hiss: a future artifact, an archeological discovery or malfunctioning transmission. The words and melodies have been reduced to their looped essence, no longer a linear narrative but something representing a mantra. Endlessly cycling - hoping, if not for transendence, then at least some kind of sense. Perhaps paradoxically (for all its reliance on looping) Dust Songs represents a shift away from "modern" production methods of tempo maps and recallable sounds and grids - rather, it was largely created in a linear fashion as one would work with a tape machine (and a razor and splicing block). Generally starting as a looped fragment of guitar, as the songs evolved they went through countless revisions, twists and turns and re-imaginings, so that the end result bears little resemblance to any of the original ideas. In a move that Skye Klein may well come to regret when it comes the time to perform them live, almost all of the sounds used were patched up on the spot and are essentially unrecallable. Klein finally adds: "(As usual) the lyrical (and musical) themes of Dust Songs contain deep meaning for me, and (as usual) this meaning has largely been obscured, warped and obfuscated. There is a story here, and it picks up shortly after the last one paused. I hope that these songs resonate with you, enough to create your own narrative." Recommended if you like Amon Tobin, Autechre, Blackfilm or Klaus Schulze Record Label: Denovali Style: Experimental

thick matte gatefold covers - 180g vinyl - includes free download This split constitutes an exciting collaboration of these two French experimental/avant-garde/dark jazz acts. In mutual respect and appreciation, both DALE COOPER QUARTET and WITXES selected a track of their split companion and created a fundamental and independent rework of around 20 minutes length. Based upon parts of Witxes' The Apparel -- from the last album A Fabric of Beliefs -- and afternoon summer recording sessions, the DALE COOPER QUARTET's Le Strategie Saint-Frusquin contains the classic sounds of the Quartet: ambient soundscapes, lazy jazzy rhythms, drone and distorsion guitar and a deep saxophone breath. Being mostly instrumental, the deep tone of Ronan Mac Erlaine's voice comes to ease the stormy start of the music piece. A grainy and blissful track that resembles music coming through of a 50s radio speaker, letting dark jazz flooding the room. Pisces Analogue is a new WITXES piece based on Nourrain Quinquet, a track from Quatorze pièces de menaces by Dale Cooper Quartet & the Dictaphones. In five movements, the track explores the interstices and cracks of the dark, minimalist, lurking, cycle-evolving original piece. It offers to take a look at some of its nooks, focus on a few of its endless micro-universes and jump from one to another in a flash. Just like swimming in a puzzling dream. If there is anything in common with previous Witxes output, it is a strong sense of motion as well as narration to be seized by the listener. Though this piece uses heavily processed instruments takes from Nourrain Quinquet as well as a few typical Witxes field recordings, it is Witxes most synthetic work to date. It was written, recorded and mixed in 3 weeks during summer of 2014 in Lyon and co-produced by Michael Mysak. Record Label: Denovali Style: Experimental

This split constitutes an exciting collaboration of these two French experimental/avant-garde/dark jazz acts. In mutual respect and appreciation, both DALE COOPER QUARTET and WITXES selected a track of their split companion and created a fundamental and independent rework of around 20 minutes length. Based upon parts of Witxes' The Apparel -- from the last album A Fabric of Beliefs -- and afternoon summer recording sessions, the DALE COOPER QUARTET's Le Strategie Saint-Frusquin contains the classic sounds of the Quartet: ambient soundscapes, lazy jazzy rhythms, drone and distorsion guitar and a deep saxophone breath. Being mostly instrumental, the deep tone of Ronan Mac Erlaine's voice comes to ease the stormy start of the music piece. A grainy and blissful track that resembles music coming through of a 50s radio speaker, letting dark jazz flooding the room. Pisces Analogue is a new WITXES piece based on Nourrain Quinquet, a track from Quatorze pièces de menaces by Dale Cooper Quartet & the Dictaphones. In five movements, the track explores the interstices and cracks of the dark, minimalist, lurking, cycle-evolving original piece. It offers to take a look at some of its nooks, focus on a few of its endless micro-universes and jump from one to another in a flash. Just like swimming in a puzzling dream. If there is anything in common with previous Witxes output, it is a strong sense of motion as well as narration to be seized by the listener. Though this piece uses heavily processed instruments takes from Nourrain Quinquet as well as a few typical Witxes field recordings, it is Witxes most synthetic work to date. It was written, recorded and mixed in 3 weeks during summer of 2014 in Lyon and co-produced by Michael Mysak. Record Label: Denovali Style: Experimental

Thick gatefold sleeves, 180g vinyl, free download code. "PAN & ME is the solo project of musician and curator Christophe Mevel, known as one of the founding members of dark-jazz collective THE DALE COOPER QUARTET & THE DICTAPHONES. His debut "Paal" was recorded back in 2010 while being on a boat trip along Unalaska island and has been released worldwide via Denovali Records in 2012. With Pan & Me Christophe Mevel continues the intelligent song writing of the Dale Cooper Quartet with a different approach - the arrangements are not jazz-orientated like those he creates with the other Dale musicians on their three classics 'Parole de Navarre', 'Metamanoir' and 'Quatorze Pièces de Menace'. His influences are coming from all over the map. The debut "Paal" was rather piano- and electronic-driven referring to artists in the likes of Oval, Wim Mertens or Angelo Badalamenti. His forthcoming second full length called ""Ocean noise"" is an intense and highly diverse collection of material ranging from ambient, guitar drones, vocals, field recordings and synth sounds in a much wider orchestration including piano, strings and percussion, forming a Vinyl double album set to be released in September 2014. For ""Ocean noise"" Christophe Mevel created a musical journey with the attempt of being listened as one extensive piece. This experience should only be interrupted by flipping the record in order to continue following the route of this single man leading us in a vast landscape, where repetitive melodies of an organic sound are established drawing our attention away from hectic routines. Tidal waves of long synth tunes are rising up in choirs and ebb away exposing a lonely setting on the edge of nature, where observations of all kinds of narratives seem to start. Quickly fading into pulsing guitar drones taking over the second half of the record, ""Ocean noise"" ends with mysterious vocals and footsteps to rewind of what has been left behind. Christophe Mevel offers a display of memorable melodic songwriting with a deep sense for ever changing atmospheres and complex in their use of overlapping instrumentation and extended techniques. The experimental and detail orientated methods remind of his work with The Dale Cooper Quartet, but his imaginery soundscapes thrive from a single inimitable artistic vision. ""Ocean noise"" has been played, recorded and composed by Christophe Mevel between november 2011 and april 2014 near the Atlantic ocean in Britanny, France. Found-sounds and guitars by Cyril Pansal. For fans of FENNESZ, RAFEL ANTON IRISARRI , SET FIRE TO FLAMES and THE DALE COOPER QUARTET Record Label: Denovali Style: Ambient