Фирма Denovali

ENSEMBLE ECONOMIQUE is Brian Pyle of Starving Weirdos and RV Paintings. His solo project (hence the slightly ironic moniker), which could be probably briefly classified as ambient / drone / psychedelic / shoegaze, has released various albums, splits and EPs on labels such as Digitalis, Amish, Not Not Fun, Dekorder and Clan Destine so far, before joining forces with Denovali Records in 2012. His new song-based full length LIGHT THAT COMES, LIGHT THAT GOES constitutes Ensemble Economique's first release on Denovali, and is accompanied by another release, INTERVAL SIGNALS, which is a concept record consisting of a single coherent 40 minute long piece, interrupted only by the necessity to flip the vinyl record. Brian lives in Humboldt county, a very isolated part of northern California which is probably one of the only places left in California where you can live on the beach and pay $500 per month rent, where both poor and rich can enjoy the profound beauty of this nature in equal measure. An epic coastline, the redwoods, seven different rivers, these surroundings have a profound impact on Ensemble Economiques's music, and Pyle is quite aware of this: "The nature here is pure drama. There's so much space to move around here, get lost in. So many places to take LONG walks to nowhere, alone, just you and your thoughts, and some gorgeous scenery. It's liberating, inspiring. I can see how it fucks up musicians in cities, being around so many other musicians and so many other ideas. I think it makes artists a little bit more self-conscious which maybe isn't the best thing when you're trying just to be free." Exploiting the freedom of isolation, Brian utilizes found sounds, field recordings, and musical performance that he later meticulously edits, layers, and loops in the studio. The effects of these processes are dramatic, cinematic and conceptually rigorous and this recording evidences Pyle as an important new composer emerging out of the long and storied tradition of West Coast experimentalism. Pyle's practice involves a dense approach to composition akin to assemblage, but unlike electronic and laptop composition, Pyle's studio work aims to re-establish an organicism associated with live (or, in the case of the field recordings, lived) performance that pushes the studio out into nature and nature into the studio. The result is a seamless, cinematic tapestry of beauty, filled to the brim with cacophonous melodies, meditative auditory chants, & hypnotic shambolic rhythms. This is dense music that begs for deeper inspection. Each space, each note carefully chosen and etched into glass. Ensemble Economqiue is music for the darkest nights, the pinkest mornings, and everything in between. This is vivid, haunting music that leaves a trail of gold in its wake. The concept single-piece record INTERVAL SIGNALS is based on radio signature tunes or interval signals, which serve as a bridge between the three movements that comprise the piece. Interval Signals are compelling, they are filled with this enigmatic mystery, this otherworldliness, a glimpse into a faraway culture, it's life, it's rhythm, it's aesthetic. In a practical sense these jingles start and end most of the world's day, an integral background signifier of life and it's cyclical nature. Indeed, Ensemble Economique's music between these interval signals serves as the drama of life as it happens. Style: Doom

Our universe may have been born in the Big Bang. If this was the case, the Big Bang was the beginning of space and time. Nothing existed before, not even the very concept of "before". With the birth of space and time, another important notion entered the arena: the concept of cause and effect. The Big Bang had no cause, but everything which happened after did, thus being a cause and effect at the same time. This is at the heart of SAFFRONKEIRA's third album and his first collaboration record 'CAUSE AND EFFECT'. Saffronkeira is the project of the Sardinian sound researcher EUGENIO CARIA. His first meeting with the Sardinian trumpet player MARIO MASSA was at a distance. Caria saw Massa playing on a regional TV program and was immediately caught by the immersed playing style of this musician which was unknown to him at that time. Eager to meet him, he asked several other Sardinian musicians and was lucky. He got Massa's name and phone number, immediately called him and proposed a meeting. Massa had always dreamt of a collaboration with an electronic music artist, while Caria had always been eager to work with a trumpet player, being fascinated by this instrument since his childhood. Thus, the meeting was a big success, indeed it was love at first sight. Since then Caria and Massa met every weekend at Caria's studio and ideas bounced back and forth between the two musicians. Massa improvised over Caria's compositions, Caria added layers to Massa's play, there was not the slightest disagreement about the sound and dynamics of their tracks. Just as we can only marvel at the complexity of Nature which emerged only from this simple principle of cause and effect, we can only be astonished at the result of this collaboration. The instruments of the two musicians wander unerringly through the musical landscape, from warm ambient sounds to rather abstract pieces, from thrilling hymns to threatening sound storms, but they never loose contact. Indeed, Massa trumpet play and Caria's electronics intertwine so well that at times it is difficult to distinguish them. Exploring the entire spectrum of their instruments and displaying their full virtuosity, Caria and Massa have created a unique masterpiece. RIYL: MURCOF & ERIK TRUFFAZ, DJ KRUSH & TOSHINORI KONDO, NILS PETTER MOLVAER, MAX RICHTER Style: Ambient

Expressionistic, sophisticated, evolved, overflowing, pitch-black. Just a few words, a desperate attempt to properly approach ANIMALE(S), the fifth full-length record of the French combo CELESTE from Lyon. The concept behind ANIMALE(S) is the bleak story of a boy and a girl, a kind of love story with a tragic ending. A story about how tough youth can be if parents discard their responsibilities. For once in metal-oriented music, a closer look at artwork and lyrics gives a new dimension to a record and is indispensable for a comprehensive and complete experience of this double album. Musically, ANIMALE(S) sees CELESTE developing their metal and hardcore oriented sound in different directions. Their music was always characterised by the interaction of monumental melodies, dark riffs, violent drums and expressive lyrics, but on the new album all these ingrediences are more expressed. The last three years' time has carved out the contrasts in Celeste's music like a stream carves out a rugged canyon. The melodies are more melodic, but also more sparse. Many parts are much darker and more noisy than the past albums. The lyrics are as savage as they can be without being vulgar. At the same time, ANIMALE(S) features exceptional collaborations with artists such as the experimental musician Ben Chatwin from TALVIHORROS -- also on Denovali Records - and the composers and sound designers Sabrina Duval and Jean Charles Bastion. CELESTE truly managed to finish this double album at the right moment, before the amount of concept, composition and artistic skill would have been too much for a single album. Exactly for this reason, ANIMALE(S) is a unique piece of art, a coherent album which does not allow for anything to be added without destroying it. Simply put, it is just perfect. For fans of: (early) Cult Of Luna, Alpinist, Wolves In The Throne Room, Neurosis, Amenra, Year Of No Light Style: Metal

Expressionistic, sophisticated, evolved, overflowing, pitch-black. Just a few words, a desperate attempt to properly approach ANIMALE(S), the fifth full-length record of the French combo CELESTE from Lyon. The concept behind ANIMALE(S) is the bleak story of a boy and a girl, a kind of love story with a tragic ending. A story about how tough youth can be if parents discard their responsibilities. For once in metal-oriented music, a closer look at artwork and lyrics gives a new dimension to a record and is indispensable for a comprehensive and complete experience of this double album. Musically, ANIMALE(S) sees CELESTE developing their metal and hardcore oriented sound in different directions. Their music was always characterised by the interaction of monumental melodies, dark riffs, violent drums and expressive lyrics, but on the new album all these ingrediences are more expressed. The last three years' time has carved out the contrasts in Celeste's music like a stream carves out a rugged canyon. The melodies are more melodic, but also more sparse. Many parts are much darker and more noisy than the past albums. The lyrics are as savage as they can be without being vulgar. At the same time, ANIMALE(S) features exceptional collaborations with artists such as the experimental musician Ben Chatwin from TALVIHORROS -- also on Denovali Records - and the composers and sound designers Sabrina Duval and Jean Charles Bastion. CELESTE truly managed to finish this double album at the right moment, before the amount of concept, composition and artistic skill would have been too much for a single album. Exactly for this reason, ANIMALE(S) is a unique piece of art, a coherent album which does not allow for anything to be added without destroying it. Simply put, it is just perfect. For fans of: (early) Cult Of Luna, Alpinist, Wolves In The Throne Room, Neurosis, Amenra, Year Of No Light Style: Metal

nice digipak covers. SELAXON LUTBERG is the ambient project of the secluded Italian artist Andrea Penso. After two albums, a collaboration record with Subinterior and various EPs, 'SIMBOLI ACCIDENTALI' ('Accidental Symbols') constitutes his third full length record and third release on Denovali Records. As most of his works, the new album is strongly linked to Andrea's biography. Indeed, he states: "In a long video-interview by Donatella Baglivo, the Russian filmmaker Andrej Tarkovsky says that childhood 'is the moment in human life that determines all his future, especially if future will be linked to art, inner life and psychological problems. In other words, childhood feeds all the creativity of the adult period.' Composing this album I tried to focus on accidental symbols mostly born during my childhood, tried to study them not in detail but in their essence. The 'subjective sounds' of this album were born from these thoughts and considerations." To support this motive, the album artwork contains an impressionistic story from Andrea's childhood. Simboli Accidentali is composed of 8 tracks, which have been recorded at Andrea's home between 2010 and 2012 and mastered by Miles Whittaker (Demdike Stare). The typically warm and encasing songs are mostly made with processed and unrecognizable guitars, an old and cheap organ and loops from ruined tapes and vinyls. The resulting sound can be found somewhere in the vast landscape spanned by the ambient/postrock of LABRADFORD and SLOWDIVE's Pygmalion era, the analogue and decayed loops of PHILIP JECK and WILLIAM BASINSKI and the cinematic feelings of STARS OF THE LID and DAVID LYNCH's drones. Time to explore. Style: Doom

Artist: Selaxon Lutberg Label: Denovali (Cargo Records)

Artist: Piano Interrupted Label: Denovali Records

Artist: Piano Interrupted Label: Denovali (Cargo Records)

Artist: Thisquietarmy Label: Denovali Records

LP with thick cover + thick printed inner sleeve, 180g vinyl, free mp3 download. Hex Mountains encompasses thisquietarmy's sonic growth through his latest travels & encounters across the world. Touring & sharing the stages with monumental bands such as Year of No Light, Caspian, Om, Deafheaven or Russian Circles has definitely marked his desire to take it up a notch. In an attempt to follow that ambition, Eric Quach leaves the misanthropy aside and enlists the help of drummer Scotty Rooney (Alaskan), bassist Dorian Williamson (Northumbria/Adoran) and vocalists Émilie Bresson & Jeanne Peluard (Monarch) to add fresh elements to TQA's sound: thundering drums, thick foggy bass and witch-like shrieks, while retaining thisquietarmy's signature drone-based soundscapes that remain omnipresent throughout the record. The collaborative sessions were recorded live in the Basque countryside and in various urban parts of Canada, then brought back together in the studio to extract its essence, crafting as a result TQA's heaviest and darkest album yet. The epic guitar riffs, the explosive melodies and the uplifting beats will make you soar, but the creepy noise sorcery, the mental screams and the weighty burden will also make you want to throw up. From one peak to the other, climbing Hex Mountains is one hell of a trek. Style: Ambient

Blackhaunter is Thisquietarmy's sophomore album initially released in 2008. Its themes revolve around inner demons and the darker side of affairs. The cleansing ritual is processed in slow-motion throughout six powerful mood-shifting tracks, while struggling deeply between the realms of ghostly dreams and sexy nightmares. Extra spicy agony, martial metronomic beats & haunting suffocation included. Expect to wake up from this deliverance covered in sweat... "We shift into ethereal gothic oceans, like Godspeed You Black Emperor covering a song by Low, and then next into a journey that feels like a David Lynch backdrop. It's like a relaxation tape for demons, I think!" - The Big Takeover "Following in the surrealists' steps, Blackhaunter stands against everything loud, existing as an ever-flowing, ghastly-abstract shout, quiescent, but constantly humming in one's ear. For that matter, thisquietarmy represents the genuine reincarnation of avant-garde, conquering realm after realm after realm." - The Silent Ballet "Here is where Thisquietarmy shows its teeth, forming the post rock genre to the dark side. The author uses dark ambient drone for giving tones, atmospheres and effects that serve the role of the aural thematic, but the methods and arrangements, the sonic strategy to create the atmospheres bases is premise in post rock. It's clear that the vast experience inherited from his work in this genre gave him the ability to create the Thisquietarmy world, a shady and melancholic vision, vividly cinematic and authentically progressive." - Heathen Harvest Style: Ambient

Artist: Dale Cooper & The Dictaphones Label: 1-2-3-4 GO

Artist: the & the Dictaphones Dale Cooper Quartet Label: Denovali (Cargo Records)

Artist: Sebastian Plano Label: Denovali

Artist: Sebastian Plano Label: Denovali

Artist: Sebastian Plano Label: 1-2-3-4 GO

Artist: Sebastian Plano Label: Denovali

Artist: John Lemke Label: Denovali

Artist: John Lemke Label: Denovali

The Heavenly Music Collaboration! The German instrumental duo SANKT OTTEN already teamed up in 1999 and joined the Denovali Records roster in 2009. With as much as six full length albums under their belt, their upcoming seventh longplayer MESSIAS MASCHINE (Eng.: 'Messiah machine') is something particularly special as it features collaborations with various pioneers and great exponents of electronic and avantgarde music. Last summer on one of their live shows Sankt Otten met HARALD GROSSKOPF, drummer of ASHRA (as well as appearing on albums of KLAUS SCHULZE). This day wasn't only the starting point for the collaboration with Grosskopf, but furthermore motivated Sankt Otten to invite other musicians to contribute to their 2013 release. All but the eponymous track "Messias Maschine" feature remarkable guest musicians from different generations and musical backgrounds. Participating musicians are JAKI LIEBEZEIT (CAN), ULRICH SCHNAUSS, COLEY DUANE DENNIS (Maserati) and CHRISTOPH CLÖSER (BOHREN & DER CLUB OF GORE) among others. By mixing the unique melancholy of Sankt Otten with ingredients of contemporary synth-music and the heritage of German pioneers of progressive electronic music, the band is moving KRAUTROCK into 2013. Sankt Otten are extremely proud having convinced legendary CAN-drummer JAKI LIEBEZEIT to collaborate. Jaki, this 75-year old "Human Drum Machine" joined with his mantric and experimental beats on three tracks. The recording sessions reconfirmed what Jaki's fellow band member HOLGER CZUKAY once said: "Jaki plays like a machine. Just better." Another album highlight is the appearance of ULRICH SCHNAUSS, who added some of his distinctive synth layers and percussion to the title 'Im Himmel angekommen'. Furthermore, theremin maestro MILES BROWN of THE NIGHT TERRORS from Australia joined the cooperation and played a haunting melody on a 7/8 beat of Stephan Otten's unique electronic drumming. COLEY DUANE DENNIS, head of US-postrock legend MASERATI recorded a tremendous echo-guitar for 'Da kann selbst Gott nur staunen' - vesting the track with a sound that easily could have arisen from a session of KRAFTWERK playing with PINK FLOYD Style: Kraut Rock