Drone Records
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Format: CD
Label & Cat.Number: Projekt PRO 140
Release Year: 2002
Note: SCOTT CORTEZ, the male actor behind LOVESLIESCRUSHING, released a wonderful 7" on Drone Records in the year 2000 with the project VIR (with MICHAEL ANDERSON = DREKKA), their only release; with the duo LOVESLIESCRUSHING he released shortly after a most remarkable experimental hybrid of heavenly voices, guitar drone layers and heavily processed sounds and glitches, loosing almost completely any song-structure; a very unique style!!
Price (incl. 19% VAT): €14.50

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On Voirshn, Lovesliescrushing continues their trend further from the traditional rock elements that characterized earlier dream pop bands. From the beginning, instrumentalist Scott Cortez and vocalist Melissa Arpin distanced themselves from the genre by rejecting conventional song stuctures in favor of an intensified version of the meandering sound that was forcefully inaugurated by MBVs classic Loveless. In Lovesliescrushing, this aesthetic has gradually approached pure ambience. Nevertheless, their typically warm guitars counterveil this tendency even with the absence of percussion and song structure. On Voirshn, their 4th recording, both are either minimal or entirely absent; wordless female vocals drift in and out while electronic beats guitarnoise softened by semi-lo-fi production occasionally interrupt a wash of guitar. Although consistent in style, the album avoids sounding like one continuous song through adequately diverse guitar sounds ranging from the lush vibrant tone of the opening track glixen to the subdued quasi-detatched feel of sovfx. Overall, Lovesliescrushing continues to exist between the worlds of shoegazer and ambience, although the ascendant former has once again conceded to the latter. This is pure glitch-bliss.

Lovesliescrushing. [Voirshn] is a synthesis of processed ambient gloss and lo-fi grit, creating a digital-analog hybrid that Scott terms glitch-bliss. Songs were compiled from a palette of sonorities extrapolated from a collection of voice and guitars, warped into rumbling subsonics, staticblast hiss, hazy chord clusters, extended infinite tone loops, melody spirals, avian-like whistles, glistening overtones, voices cut-up into splintered fragments, thoughtforms suspended over warm tonesheets like a ghost cloud, indistinct and luminous. Still eschewing bass and drums, rhythmic elements are culled from filtered guitar tones mutated into stroboscopic pulsations and digital dust clickings. Once again guitardamage is wrought upon six-strings, manipulated, deconstructed, reassembled to create bloodrush pulses reminiscent of a softly humming embryonic landscape of digitized lullabies.