Efterklang - Raincoats

01. Raincoats (Single Edit)
02. Harmonics (Covered by Peter Broderick & Nils Frahm)

'Raincoats' really stood out from the tracklist of Efterklang's most recent album, Magic Chairs, chiefly because there's a vocal hook in it that sounds eerily similar to 'Hangin' Tough' by New Kids On The Block. It's a lovely production however, finding the Danish post-rockers making a harmonious marriage of elaborate electronic programming and organic - almost folky - live band performances. The B-side is likely to draw a crowd all by itself: Peter Broderick and piano maestro Nils Frahm take on an acoustic cover of 'Harmonics' (another track from Magic Chairs) which proves that even once all the electronics and extra personnel have departed, there's still a strong piece of songwriting at the heart of what this band do...www.boomkat.com

Halves - Haunt Me When I'm Drowsy

1. Darkenings
2. May Your Enemies Never Find Happiness
3. Amberscene
4. The Lamp Dies... A Sleeping Circuit Wakes
5. Medals
6. In The Sorrow, In The Fire
7. Morning Breaks The Sleep Recorder

Like the review says, you should pick this up just for the packaging. It's fucking awesome. And so is this band. For fans of Efterklang, Sigur Ros, Mum, etc. Yum.

As with the previous release we've had in by Halves (their eponymous debut EP),the packaging of Haunt Me When I'm Drowsy is incredibly lavish. Across theseseven tracks the band do a splendid job of avoiding the formulaic tendencies ofthe post-rock fraternity, instead exhibiting sufficient diversity and skill toavoid being yet another quiet/loud Mogwai knock off.. You simply can't avoidcertain references, however: right down to the vocals, there are clear cut SigurRos approximations on tracks like 'In The Sorrows, In The Fire' or 'May YourEnemies Never Find Happiness'. You can make out further Scandinavian influencein the Efterklang-style microbeats and orchestration of 'Amberscene' or theM∙m-isms of 'Medals, but fortunately Halves write and perform well enough tocarry off such ambitious music with great aplomb. Genre fans won't want to missout on this one - Lovely.

What the Blood Revealed - What the Blood Revealed EP

01. Politics, Here is Death
02. The Corporation as We Know it is Dead, Dead, Dead
03. A Million Explosions Live Inside Everyone

What The Blood Revealed is a post-rock band from from the burgh of Ayrshire in Scotland

Our Brother The Native - Sacred Psalms

1. Well Bred
2. Manes
3. Someday
4. All Grown
5. Dusk
6. Child Banter
7. Awaken
8. Sores
9. Behold
10. Endless Winter

Their third effort for Fat Cat is also their most accomplished. Drawing on both the youthful, campfire sing-along quality of their 2006 debut "Tooth And Claw" as well as the epic, icy expansiveness of last year's "Make Amends, For We Are Merely Vessels", "Sacred Psalms" finds the young trio of now-transplanted Detroit natives exponentially increasing the instrument range and the sheer depth and quality of their recordings. Inspired by a love of African, Caribbean, Middle Eastern, Balkan, and Javanese Gamelan music, and with densely packed sonics, this record is the band's most eclectic release to date, but it also reveals a new focus on melody and songcraft...www.amazon.com

A Journey Down The Well - Sorry Monsters I Have To Grow

1 Sugarman
2 Sorry Monsters, I Have to Grow
3 I Will Never Become, What I'm Afraid Of
4 Bush Horror Movie Soundtrack
5 Two Beautiful Swans in a Dirty Lake
6 Happy Bird Day
7 New Abandoned Places On Earth

A Journey Down The Well are known for their unique style, using classical instruments to create a special sound which flirts with rock, ambient and experimentalism.

“Sorry Monsters, I Have To Grow” is their second station on their journey; the strings create a smoky and haunting downtempo ambience with the piano; lyrical songs wink poetry.

The band was also backed by the members of Strandvägen Choir in the recording process. “Working with a choir has made a powerful impact, I can’t imagine ‘Sugarman’ and ‘Sorry Monster, I Have To Grow’ without their parts” remarks cellist Martin Bjelfvenstam.

According to the band members the album is about brutal wars, oppression of personality and trying to grow as a human being while leaving all the unnecessary fears behind. “Despite the bombs, despite the guns, despite people building prisons for themselves and others.” Taner Torun adds.

According to Anna Erneman, their contemporary classical influences move one step ahead in this album. “We are inspired by many elements. The chilly sound of post-punk, eye openers like A Silver Mt. Zion and Godspeed You Black Emperor; Brian Eno and many others... But in this album our sound, with hints of contemporary classical composers like Arvo Pärt, Richard Einhorn and Henryk Gorecki, is dominant.”...www.cdbaby.com

Like Bells - Like Bells

01. Atlas
02. Yeti
03. Can I Say Something To You?
04. The Streets Themselves
05. Nothing Collapses
06. Where Is The White?
07. Fragments
08. Searching Now
09. Boiling Springs
10. Certain Types Of Conversation

Like Bells is what happens when you mix a violinist, a jazz drummer, a laptop, and a guitarist with an aptitude for unique tunings. Formed in 2006 while all three members were students at Oberlin College/Oberlin Conservatory of Music, Like Bells have taken advantage of their ivory tower fortifications to develop a personal and honest musical style. Like Bells draws on a wide swath of musical influences, from instrumental acts like Do Make Say Think, Sigur Ros, and Mogwai, to electronic wizards Aphex Twin and Matmos, to widely regarded pop artists like Bjork, Frank Zappa, and Radiohead. Like Bells have built up a strong following in the Cleveland area, and have brought their act on the road, playing in clubs from Knoxville, TN to Columbia, SC. They will be on tour during the spring and summer in 2009. This tour will coincide with the release of their self-titled LP, which was engineered, mixed, and produced by the band. It will be released by Cleveland-based indie label Exit Stencil Records. Like Bells writes songs that challenge listeners without alienating them. Their live shows are characterized by their attention to detail--a result of countless hours spent writing and rehearsing material--and by the boundless energy and excitement that can only come from a band of wide-eyed 20-somethings touring around the country, happy for the chance.

The Dead Sea - The Dead Sea

1. Slow Jet
2. Okono
3. The Devils Bends
4. III
5. Zabriskie Point
6. Nulla Desiderata
7. Little Lights
8. Departure Gates
9. Banquet
10. Bandicotts

Sydney three-piece The Dead Sea is composed of vocalist, guitarist and video artist Tim Bruniges, bassist David Trumpmanis, and drummer Nick Kennedy - the latter two musicians involved with other Sydney-based projects such as Big Heavy Stuff, Bluebottle Kiss, The Cops and Sarah Blasko. While I will apologise for the preceding emboldened list of deceivingly namedropped artists that may have stuck out as you skimmed this paragraph, it is interesting and worth considering how such an indie-centric endowment of musical capacity could result in this project, The Dead Sea, that could not be further removed stylistically from any of the aforementioned artists.

The Dead Sea’s motivation seems to stem from the same place as latter-day Mogwai, who after years of defining the parameters of the (now tattered) post-rock genre, have decided, like Tarantino and Natural Born Killers, to disown its bastardised and debased remnants for greener, boundless experimental pastures. The difference here is that The Dead Sea have skipped the formalities of confining style establishment and gone straight to their calling, which is to veer a little to the left of post-rock’s beckoning. Listening to the opener, “Slow Jet”, gives off this impression - the grumbling howls of synth and tribal drumming are key symptoms of a band shaking off the post-rock infection.

The thick, Hammock-like howling atmospherics of the first EP suggested that their full-length would be anything but what they’ve concocted on their debut. It is by no means an epic recording, running on ten tracks that clock in at a conservative 40 minutes. It doesn’t constantly erupt in climax-oriented sonic enormity, instead opting to leave the reverb to a relatively sparing presence. Even the style, composition and technical execution of the album, when isolated, in no way signal groundbreaking, novel gestures by any stretch of the imagination. Instead, the album draws its fortitude from the forward momentum of its piece-to-piece fluidity. The Dead Sea have mastered the ability to identify, fuse and arrange their far-reaching breadth in a way that allows each number to say its piece concisely without ever overstaying its welcome. The efficiency under which The Dead Sea dictate and convert their alternating styles, that would otherwise so easily be the cause for disconcerting and disruptive listen, instead becomes the agent of a wondrous aural treat.

Of the ten tracks, I would say only four are solid, determined, structurally integral pieces, with the rest floating around the two-minute mark serving as ambient filler. That is not to suggest that these tracks are superfluous, quite the opposite; these interludes give the record the wiggle room it needs to segue seamlessly, and they do this without ever hampering or undermining their own aesthetic sensations or the aesthetic sensibility of the album's entirety. It never devours precious minutes with extended introductions, self-indulgent brackets of feedback or repetitive phrases, and it's this efficiency that makes the experience compelling. The bigger pieces do well to accommodate themselves and their ranging styles, from the hypnotic indie rock of “The Devil Bends”, to the dangerously close flirtation with dynamic post-rock on “Zabriskie Points”, to the the closing cinematic ambience of “Bandicoots”. On top of this, “Departure Gates”, a piece that certainly made an impression on the reviewer of the EP, Lee Whitefield, who said “its infectious little tune burrows its way into my subconscious in a way which very few artists of this ilk are able to do so”, (a sentiment I will happily steal) finds a slightly polished version of itself a home on the LP.

The Dead Sea have certainly had their share of attention since 2007. On their myspace, they’ve humbly publicised the fact that “Respire”, from the old EP, was used in an episode of CSI: Miami. Now, if it doesn’t already go without saying that any association with a badass like David Caruso ought to help their credibility skyrocket, then perhaps this unveiling of a thoroughly seductive, tightly packaged self-titled LP, that exceeded all expectations after the scope offered on the stylistic snippets of the EP, should convince you that The Dead Sea are not an outfit going away any time soon.

Do Make Say Think - The Whole Story Of Glory EP

1. The Landlord Is Dead
2. Reitschule (Live From Hillside Festival 2007)
3. Frederica
4. The Universe! (Live From CBC Radio 3 Session 2007)
5. March Of Worms
6. THofR Part Three
7. Disco & Haze

Ive always loved Do Make Say Think. Instead of constantly creating dense walls by adding brick after brick (or instruments in non-metaphorical terms), theytend to weave warming tapestries that bend and fold around you. They usesubtleties and move at a speed that is more realistic and natural. Their songsare like a conversation sure they might get heated and emotional, but everyvoice can be heard and appreciated. You can process every single note and youbecome engrossed in the songs, as opposed to being overwhelmed by them.

So whats new with DMST? Well, they just released a tour only, Japanese importEP called The Whole Story Of Glory. Basically, its a bit of an odds and sodscollection of classic, live and unreleased tracks to celebrate their first tripto Japan. The EP is a perfect introduction to Do Make Say Think if you considerthey add some of their best songs - Frederica is probably my favorite DMST trackever. I think its the way the plucked stand up bass line and jazzy drums force
a smile on your face, but the song relies on the horns and distorted fuzz to slowly make the song dark and powerful - but also show how tight they are live.

The version of Universe! they recorded on CBC Radio 3 is ridiculous. Swells ofhorns and guitar are matched with great strings and terrific percussion. Thetrack moves slowly, transitioning with gentle ebbs and flows but never fullyreleasing the reigns. Halfway in the repeating horn flourishes surge ahead, butjust as quickly return the focus to the other elements. The two new songs areshorter, and the second (which may or may not be called Clash Tune or THofR PartThree) takes on an almost whimsical feel. The airy guitar is more folksy thanpost rock and the quick hitting track is a nice light break from the chaos theband uses so often. Sure the back half of the track is full of noise andeffects, but it never deviates from that summery feel.

Oceans - Nothing Collapses

1. Lit Up Under Streetlights
2. We Are Ruins
3. Ways With Wolves
4. Boy Detective
5. Sound Of Static
6. City At Peace
7. Terrified Of What We Might Become
8. Traps And Traps
9. Your Plane Leaves Tomorrow

Oceans are a five-piece, instrumental post-rock outfit from Chicago, IL presenting a debut full-length of nine tracks clocking in at nearly an hour, and successfully balancing gentle atmosphere with melodic, spirited guitar leads, bringing to mind This Will Destroy You, Explosions In The Sky, Mogwai, Maserati and Unwed Sailor.

Eno - Stea Alto

1. Ser Roen
2. Kelar
3. Arelle
4. Ne Treer
5. Aalto

Amazing instrumental post-rock from this Swiss 2-piece. Featuring Ivo (Mr. Willis Of Ohio) on drums. For fans of Explosions In The Sky, This Will Destroy You, Gregor Samsa etc.

Wolf and Club - Science & Sorcery

01. Seven Sevens
02. What Are They Running
03. One To The Other
04. Master
05. Spiders Web
06. Restless Sons
07. Hearts
08. The Loosest Of Gooses
09. Blood
10. Burden

WOLF & CUB return with their second album Science and Sorcery a dizzying mix of deep grooves, psychedelic journeying, motoric propulsions and straight out effects-pedal-mangling riff rock. Produced by BUMBLEBEEZ genius Chris Colonna, Science and Sorcery is (in the words of guitarists/vocalist Joel Byrne) Still Wolf & Cub, but a new piece in the puzzle. The band and Chris have fed off each other?s energies to create an album driven by (but never bogged down in) the band?s inventive splash of sound and energy.

The Deer Tracks - Aurora

01. Yes This Is My Broken Shield
02. The Puzzled Piece
03. Slow Collision
04. 127 Sex Fyra
05. Before The Storm
06. I Bite Your Tongue
07. Christmas Fire
08. World Of Abel
09. Cast Away

The Deer Tracks is David Lehnberg & Elin Lindfors, both children of the Swedishtown of Gavle. Despite their earlier success with respective projects (Leiah,Ariel Kill Him & Twiggy Frostbite), all roads led them into this electromagneticmist of melodies. And so, around the shift of 06/07, they met to shape electrolandscapes just as sparkling as the rime that sheeted the long and hard winternights.

Hammock - Maybe They Will Sing For Us Tomorrow

01. Gold Star Mothers
02. City in the Dust in My Window
03. This Kind Of Life Keeps Breaking Your Heart
04. Mono No Aware
05. Three Sisters
06. Maybe They Will Sing For Us Tomorrow
07. Elm
08. Razorback Drug Town
09. Eighty-Four Thousand Hymns
10. We Will Say Goodbye to Everyone
11. All of Your Children Are Addicts

The fourth full length from this incredible postrock band from Tennessee. It's even more layed back than their other stuff, so you should get high right now.

And So I Watch You From Afar - And So I Watch You From Afar

1. Set Guitars To Kill
2. A Little Bit Of Solidarity Goes A Long Way
3. Clench Fists, Grit Teeth...Go!
4. I Capture Castles
5. Start A Band
6. Tip Of The Hat, Punch In The Face
7. If It Ain't Broke, Break It
8. TheseRIOTSareJUSTtheBEGINNING
9. Don't Waste Time Doing Things You Hate
10. The Voiceless
11. Eat The City, Eat It Whole

Bonus Disc Tracklist:
1. Intro
2. Marching Over The Coals
3. Clench Fists, Grit Teeth... Go! (Live)
4. Holylands, 4AM (Live)
5. The Machine (Live)
6. thisRIOTSareJUSTtheBEGINNING
7. Mount Kailash
8. The Voiceless (Beat Down Motorcore Version)

Opener ‘Set Guitars to Kill‘ immediately sets the album apart from previous EP’s: this is no longer a sombre affair, the band are here to raise hell, as well as destroy it. Powerful crashing drums couple with a wailing guitar siren to announce the band’s arrival as if the apocalypse is imminent. Then the rock kicks in, slaps you in the cranium and next thing you know, you find yourself dancing along, regardless of the restrictions of the world around you. The frantic pace continues with the second track ‘A Little Solidarity Goes a Long Way‘. Chaotic drumming, epic reverberating guitars, all centred around a seriously addictive riff, which soon breaks down into a melodic fluffy moment before ripping back in towards a mammoth climax.

Elsewhere on the album there’s no shortage of variety. ‘Start a Band‘ brings to mind the band’s punk roots, whilst ‘I Capture Castles‘ will please fans of early era Explosions in the Sky. ‘Clench Fists, Grit Teeth…GO!‘ sounds as evil, burly and aggressive as its title would suggest, and ‘If It Ain’t Broke, Break It‘ is a mash of frenzied rhythms and daunting riffs. The guys also show they certainly know how to throw a musical party, with the vocal chants and cowbell (!) on ‘Don’t Waste Time Doing Things You Hate‘ sounding like the apocalypse’s euphoric after-party, almost guaranteed to stimulate a huge cheesy grin on your mug.

Finally, the band sees the party off with two very different but equally brilliant moments. Classic fan favourite ‘The Voiceless‘ has never sounded as good as it does on this album. Beautiful guitar melodies, keyboard plonks and a blissful breakdown show that underneath the band’s aggression there is still a heart that has the ability to produce something wonderfully dreamy and moving. The album finishes with ‘Eat the City, Eat it Whole‘, an uplifting opus of movements comprising feelings of hope, panic, calm and finally balls out brutal destruction.

Its easy to picture a band such as this going places in the future, despite being a solely instrumental band, thanks to the drive and passion these guys show for not only playing music, but for being involved and helping others alongside them walk the walk. In a genre becoming increasingly stale, its great to see a band break down the boundaries and push forward with an album of such original sound and style. As the title of one track implies, “If It Ain’t Broke, Break It” – thankfully, they really have.

We vs. Death - A Black House, A Coloured Home

1. The Things You Did
2. Hands
3. The Sun
4. Mirage
5. Collection Of Stones
6. Black Map
7. Golden Medals

Formely known for its instrumental indierock with strong rhythm and lush melodies, We vs. Death now presents a new collection of songs. Their second full-length album might surprise you with both noisy and more
quiet songs, and some distinct singing. The album, titled ‘A Black House, A Coloured Home’, was recorded in their self-built studio within fifteen days and fourteen nights and has been released in April 2009. Their music is remeniscent of and inspired by bands like Fugazi, Neutral Milk Hotel and Pavement...www.beepbeep.myshopify.com

The Seal Cub Clubbing Club - Super Science Fiction

1. World Of Fashion
2. Lone Planet
3. Aurienteering
4. 3ft Of Air
5. Song For Haku
6. Slow-Motion Powerslides (In Dee)
7. Down Lamb
8. My Ten Acres
9. PSPM
10. Secrets

The Seal Cub Clubbing Club (The SCCC) formed in 2004 on the Wirral peninsula of Northwest England, with the intention of
playing a few gigs and writing a few songs about their lives and books they liked .. with drums and electronic instrumentation. They did some recording too, releasing a single Why Dont You Fix It? on a label they invented called Boon(e). More gigs and writing and releases followed.

After a year and a bit together they signed a record deal with Jack to Phono Records, a London based independent label who
liked the distinctive cut of the Seal Clubbers jib.

They have now recorded their debut album Super Science Fiction with super producer Barney (Arctic Monkeys, Kasabian,
Editors). This is scheduled for release in April 2009...

Crippled Black Phoenix - 200 Tons of Bad Luck

01. Burnt Reynolds
02. Rise Up and Fight
03. Time of Ye Life / Born for Nothing / Paranoid Arm of Narcoleptic Empire
04. Wendigo
05. Littlestep
06. Crossing the Bar
07. Whissendine
08. A Real Box of Cheer
09. 444
10. A Hymn for a Lost Soul
11. A Lack of Common Sense
12. I am Free, Today I Perished

For what they do, Crippled Black Phoenix achieve a fair amount on 200 Tons of Bad Luck. The only problem is, sometimes it just seems like they’re doing a bit too much. The disc is compiled from tracks off of two different releases with two very different sounds, and upon listening to the final product, this is more readily apparent than anything else. Clocking in at over 70 minutes, the album runs the stylistic gamut from languid post-rock to the sounds of Pink Floyd circa 1977. Like Forrest Gump’s analogy of life, you really do never know what you’re going to get next.

This eclecticism is a mixed blessing, as the variety keeps you guessing, but the stark juxtaposition of styles prevents 200 Tons from attaining any sort of thematic unity from front to back. For a perfect example of this, one must look no further than the first three tracks: dirge-like opener “Burnt Reynolds” is followed up by the plodding alt-rock of “Rise Up and Fight”, which closes with the pulse of a beating heart – a not so subtle nod to Floyd – before transitioning into “Time of Ye Life/Born for Nothing/Paranoid Arm of Narcoleptic Empire”, an eighteen-minute monster of a suite. If this all sounds a bit jarring on paper, that’s because it is to a certain degree. In a weird way, though, it kind of fits. Hell, this album kind of rocks.

Kind of.

Some moments do feel out of place, like the lo-fi carnival samples which make up the entirety of “A Real Box of Cheer”, as well as providing the coda for “Burnt Reynolds”. The same can be said of “A Hymn for a Lost Soul”, a piano/choral duet which serves no real purpose. Luckily, these blemishes are overshadowed by a handful of songs which are among the best released by any band this year, regardless of genre. “Littlestep” could easily be a b-side from Animals, and the polyrhythmic introduction of “Crossing the Bar” engages and captivates in a very unique manner.

All of these things come together to make an album that’s pretty damn good – the question, then, is one of making it “great.” And while it would be tempting to suggest Crippled Black Phoenix make up their mind as to the direction they want to pursue, perhaps this is not the case. Perhaps the bipolar nature of the music is what makes it enjoyable. Perhaps what the bands need is not a singular purpose, but simply a few more years to iron out the kinks and tighten things up. Perhaps a classic album is in their reach...www.thesilentballet.com

The Strange Death of Liberal England - Forward March!

01-Modern Folk Song
02-Oh Solitude
03-A Day Another Day
04-An Old Fashioned War
05-Mozart On 33
06-I Saw Evil
07-God Damn Broke And Broken Hearted
08-Summer Gave Us Sweets But Autumn Wrought Division

We have Arcade Fire to thank for stirring three peculiar ingredients into the bubbling pot of modern pop: the baroque arrangement, the atonal, rabble-rousing singalong, and the unsettling, primeval lyric. The Strange Death of Liberal England, a brilliantly named five-piece from Portsmouth, have drunk deep of this potion. They sing songs in shouty, American-accented unison about wars, graves and solitude over thudding pianos, growling basslines, and relentless percussion, bringing to mind the anarchy of Pixies and the strange pastoralism of British Sea Power. Still, the confident delivery of these songs is often too strong and too rough, as if every member's throat and guitar strings had been rubbed with hot coals. Gentler moments prosper: the quiet vocal lines of Modern Folk Song and the sweet lull of An Old Fashioned War showing how restraint can be revealing. A promising, if overwhelming, start...www.guardian.co.uk

Wixel - Clouds

1. Cloud Formation

2. Rising Clouds

3. Cloud Fields

4. In Clouds

5. Fog Rainbow

This is the second edition - February - of my awesome and/or stupid 2009 project. For those unaware of the project: It’s a challenge in which I force myself to record and release a record within each month of the year 2009. 

Unlike the January edition called “Winter” there were no constraints for this record, but I quickly felt like I wanted to continue with an idea for music I already touched in “The Aesthetics of Clouds” which you can find on “Winter”. Dense yet soft sounds, slowly moving and progressing, a bit like ... clouds. Most of the songs rely heavily on a sort of tape delay plugin I have, which I fed any sound I felt was appropriate for coloring the cloud. Some compositions are more electronic, others more acoustic, but always cloudy. As you guessed by know, the record is titled “Clouds”. Comparing it to other artists is not so easy, but I would guess a mellow Tim Hecker drone might come close, or maybe you can sense a little bit of similarity to a Stars of the Lid or Mountains composition. I tried to make it drone out, lots of fuzzy/blurry sounds with an undercurrent of melancholic melodies. You should probably listen if this sounds a bit vague..www.2009.bandcamp.com

Wixel - Winter

01. Acoustic Hum
02. The Bergeron Process
03. Winter Waltz #1
04. Dawn Chorus
05. Aesthetics Of Clouds
06. January 4th
07. Stumbling Music #2
08. Melsbroek
09. Winter Waltz #2
10. Vaarwel
11. Stumbling Music #1
12. Aerosan
13. Stumbling Music #3
14. Winter Sun
15. Reading Music

Welcome to the first edition - January - of my awesome and/or stupid 2009 project. It’s a project in which I force myself to record and release a record within each month of the year 2009. There are certain rules and guidelines which I must obey. You can find those at the wixel website. Due to the limited time of recording, and the constant output, this thing will feel very much feel like a personal journal. I have no clue whether it’s going to be interesting or not. It will just exist, I guess. Some months will be more interesting/better sounding than others. I’ll always explain in these liner notes what’s going on each month. 

For the first record my setup included nothing but an acoustic guitar, a microphone and the ableton live software used as a traditional multitrack recorder. No fancy effects, nor fancy plugins. Just the basic controls of recording, cutting, pasting and adjusting the volume. I thought a constraint in options would result in getting more out of less, and at some points I did come across some marvelous sounds. ‘Melsbroek’ for example is nothing but a few hundred recordings of various singles notes, with the volume turned down at each beginning, then slowly turned up while all notes are placed in a way so the guitar starts to sound like an organ. I quite like the effect. 

The record is titled “Winter” because I feel it could be a nice compagnon for the “Herfst” ep I did with Wixel a few years back. The pictures included were all taken during the month of January. It rarely snows this much in Belgium. I like winter...www.2009.bandcamp.com