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SKY BURIAL - Pas the sarvering Gallack Seas and flaming Nebyul Eye

Format: CD Label & Cat.Number: Obfuscated Records OR27 Release Year: 2013 Note: inspired by a dystopian novel from RUSSELL HOBAN, this new SKY BURIAL album sounds to us like reaching a critical mass of cosmic alien obscurity... a kind of deranged 'cosmic' dark ambience filled with organic beings... feat. diverse guest musicians again as NIGEL AYERS (NOCTURNAL EMISSIONS) or JOHN BALISTRERI (SLOGUN)... Price (incl. 19% VAT): €13.00 Warning: Currently we do not have this album in stock! More Info "Pas The Sarvering Gallack Seas And Flaming Nebyul Eye" takes its name from a line in the Russell Hoban novel "Riddley Walker" set in a dystopian U.K.. This release returns to the longer track style of previous SB releases while continuing to develop upon the sound and compositional style explored on last year's "There I Saw The Grey Wolf Gaping". This cd features guest appearances by piper Craig McFarlane, Nigel Ayers (Nocturnal Emissions), Finnish multi-instrumentalist Pentti Dassum, John Balistreri (Slogun/Self), Andrew Grant (The Vomit Arsonist) and Stargazer's Assistant. Comes in spot laminated digipak. Original cover photography by Daniel Page." [label info] www.obfuscatedrecords.com "A sky burial is a Tibetan funeral ritual wherein a corpse is left atop a mountain to be consumed by vultures and other wildlife – an image that portends Michael Page's uneasy sound experiments. 'Pas The Sarvering...' demonstrates that he is getting serious about his macabrely-named sound project, spreading his efforts across a seventy-plus minute canvas and enlisting the help of several high-profile collaborators – including industrial legend Nigel Ayers (a.k.a. Nocturnal Emissions) and Andrew Grant (a.k.a., grotesquely, The Vomit Arsonist). Whereas many of Obfuscated Records' albums tend toward the big and noisy, this is a distinctly contemplative record. Its most salient (i.e. longest) composition, “The Longest Day Heralds the Darkness to Follow,” is an epic dark ambient track that sounds as though it's been pulled off a yellowed tape from the eighties. On it, a haze of synths is used to evoke an eerie, industrial ambiance, something like the after-hours reverberations of a giant warehouse. Floating in the foreground is a rotation of peripheral sounds: a bouncy electro rhythm kicks around for a time, and at one point the sounds of a piano are haphazardly reversed and dissected. It is a consuming yet wearied track that stands out as the album's main attraction. Elsewhere, 'Vessel' evolves through a variety of textures, toggling between the subterranean and the interstellar, while the title-track submerges a childish music-box melody in a synthesized sludge. But the most distinct composition is the exhilarating opener, which sounds as though it is dragging the listener through an underworld Tunnel of Love, motoring through neon keys, hellish distorted guitar, and an intoxicating final stretch of bagpipes. Page's efforts have paid off – this colossal record may be Obfuscated's finest offering thus far." [Michael Tau/Vital Weekly]