Search results for "Tjukurrpa"
"Tjukurrpa" entries in albums descriptions
| Artist |
Album |
Format |
Description |
Year |
Price (incl. 19% VAT) |
|
| LUTZ SCHRIDDE |
Troum Dreams |
consiliis animum fatigas? |
Troum dreams
quid aeternis minorem
consiliis animum fatigas?
Cur non sub alta vel platano, vel hac
pinu iacentes ....
(Horatius, carm. 2,11,13)
Why lying on dying, never we'll be
with eternity,
Hear no evil, no bad under this tree,
Lay, see and be, here, no worry
with me.
About Horatius we read in Nietzsche's "Götzen-Dämmerung" that in his poetry we find 'sound', 'position', 'term', what is with the words (Klang, Ort, Begriff) . This German romantic appreciated the artistry and effectivity, and he considered his own wording equal. Today, I feel free to take 'sound, position, term' to put compositions of Troum into the context of romanisation of German language what informed the romantic metaphor of music as a language. The challenge of translating Horatius into other languages, as Nietzsche had accentuated, is not to fail such artistry and effectivity. What I want to say is that compositions of Troum are more than romantic translations, beyond music as a language. Troum is sound, yes, and then listening is navigating, and listening then is without translation.
The German romantics claimed art to be not of purpose, no, art were autonomous and a value in itself, so were a genius. Does that mean the compositions of Troum – when not dubbing it romantic – have a purpose? Troum's navigations are taking the listener beyond such question. It is not about purpose or autonomy, Troum is two composers together, Stefan Knappe and Martin Gitschel. Their collaborative compositions is band-work, there is no solo. Like technical stereo-navigation of pilots in early airplanes, their navigations are even not communicating questions or answers. Following and listening here is about sharing their state of navigation, their state of mind.
Stefan contacted me in 1997 and told me about the end of Maeror Tri and a new project he had no name for at the time. I had collected most of Maeror Tri and contributed liner notes once. Moreover, Stefan was irritated how I could identify his hidden solo compositions on my own. Actually, after my time as a connoisseur of music I entered the sphere of musique concrete and drones for sort of cultivating my mind. I had already learned about the righthandedness of European music, had even read Wolfgang Scherer's dissertation "Babellogik" on the matter. Maeror Tri always seemed a soundtrack to my search for a new vantage point. Stefan liked my approach to revaluate the implicit morale of music, himself a lefthanded. When he told me Maeror Tri was disbanding and the new project needed a name, that occured right in time to jump to the new vantage point.
Musique concrete and post-punk creativity had affected me, and Maeror Tri all that time reminded me of the restrictions of surreal or psychogeograhic composition some people like to dub the French and British accomplishments. Maeror Tri - cassette by cassette since 1988 - shed some sound on that fashion, sometimes ambient, sometimes industrial, sometimes drone. To me, the fascination came through a sense of game and improvisation, often leaving any boundaries of the genres behind. Some of their early cassettes seemed informed even by the very wish to stay beyond boundaries, an approach to go for a change of any game before. Reading the reviews in Vital Weekly, I find a similar appreciation with the editor. Such exploration of composition may have resulted in new awareness and reflection then in 1997, disbanding Maeror Tri and a new project may explain itself. And as I see it today, the new project went on to explore and navigate beyond any boundaries of genres.
Changing games is a skill of the lefthanded. And again, Stefan was surprised watching me identifying his hidden solo compositions. I am righthanded, touched by surreal music and post-punk creativity, I am not a composer. And I will not out his solo compositions here, no. Nietzsche was a lefthanded, his skills surfaced in writing, and he was seemingly not selfaware of this natural skill and tending to curious vanity. His opinion about Horatius shows that in particular. Nietzsche never learned about the giveness of his skill when running his revaluation of all values. He was with the German romantic tradition all the time. And he had a certain selectivity who he liked to value, all were lefthanded (Goethe, Ceasar, Bismarck, Napoleon), all game changers, very skilled. In romantic music, Beethoven and Mozart were skilled brilliantly as such. In visual art, we may call Paul Klee an example. When Stefan needed a name for the new project, I was ready to try.
I said "Traum". In English, dream. By 1997, my search for a new way of composition beyond the genres of 'improvised', 'free jazz', 'world music', 'industrial', 'ambient', 'noise', 'drone', 'musique concrete' and else had already ended in sort of disappointment. I was sure, that the romantic tradition and its relative surrealism encompassed my search well, but at the time I had little in hand. My short essay "Noise Culture" in Vital Weekly Supplement in 1996 was a result of my search. Then talking with Stefan, and by intuition I avoided consideration of material or procedure what is behind the genre division. During that talk I threw myself out of that and looked for the location in musical anthropology. I looked for the essence of the genres and opened gain. So it became "Traum".
Stefan liked that immediately. He made it "Troum", just as if he knew the game change behind. To be clear, Troum is no music for Nietzscheans. And I am not a Nietzschean, although I have mastered in philosophy and know about him. His approach is restricted to values and valuation, in his case furthermore to the 'game' the values are framed by. That spoke to his nature and his romantic vanity. It happened, that I decided to leave Germany and I am teaching in China for eight years now. Here, musical anthropology is still a vantage point, and I am listening to Troum in Xian at the eastern end of the Silk Road.
Troum had done great things, I like the long-trackers "Sen" and "Mare Idiophonica". The Tjukurrpa-trilogy is also with me here, and allow me to highlight the collaboration with Martyn Bates and raison d'être. My current favorite of Troum is "Acouasme".
And if you know Horatius, yes, then you may be the right one to try Troum. It is sound, navigation and prior to translation. Here is abroad.
Lutz Schridde, Xian, China, April 1st 2018
Horatius in German:
Wozu, da er doch nicht gewachsen ist Ewigkeitsgedanken,
willst du deinen Geist damit plagen?
Warum wollen wir nicht unter der hohen Platane oder
unter dieser Pinie liegen sorgenlos, ....
This German translation is taken from Bernhard Kytzler, Horaz. Eine Einführung, Stuttgart 1996, page 176, on Nietzsche and Horatius see same page.
The English version above is mine.
|
2018 |
€ |
 |
| TROUM |
SIGQAN |
CD |
"...„Sigqan" von 2003, remastered und in neuem cover auf neuem label, diesmal dem eigenen. und gerade bei so verbesserungen ist das ergebnis ja oft zwiespältig; das re-master hier dagegen subtil lebendiger, körper- und räumlicher, die (für troum verhältnisse) fast minimalistische, auf gebündelte sounds setzende klangästhetik unterstützend bzw. eben einfach besser ans ohr bringend: dunkel, fast glazial, gegeneinander verschiebende ebenen rund um den hauptstrom der einzelnen teile der sigqan-trilogie, im „part 3" mit ergänzender, eher subtiler rhythmustextur; bis zum ende nur noch ein feedback zwischen cello- und trompetenästetik den beginn widerspiegelt. unter den troum alben vielleicht eines der focussiertesten, vielleicht immer ein wenig versteckt zwischen der grossen tjukurrpa-trilogie; in jedem fall: schwer empfohlen. das neue cover, wieder ein digipack, diesmal in farbe, textur und besonders typografie irgendwie nicht einem bestimmten grafischen (zeit)geschmack verpflichtet wie damals die erste auflage." [N, Unruhr.de]
"Deep beneath the ocean is a world of mystery, wonder, darkness, and danger. Even if it weren't for the cover art of this German duo's brilliant new album, there is unmistakably no other place in the universe that has influenced the sounds and movement of what is represented within. These drones are not passive in the least. The depth and volume are all encompassing, and moving slowly but steadily like an ancient and lonely large whale through the graveyards of shipwrecks, at the very beginning of the food chain in which all living creatures depend. Recorded live in the studio without overdubs, the first two parts are based on live performances the band was touring around with in 2001, the first being a dark blue rumble, heavy on the low end and marked by patient melodic movement, the second with swirling guitar strums and leads like the sun coming through in bended bands of beams: flickering, reflected, and refracted. The intangible overwhelming feeling of weight and pressure is unavoidable and inescapable, like being frozen in a dream, unable to move, but calm and comforting all the same. Around the half-way mark, it dips back into the darker regions as pitch and pace slow down deeper and deeper and deeper and deeper yet into the cold, black unknown. The third part was recorded as an afterthought, and is described as a new ending. Its brightness and chugging backwards-sounding guitars brilliantly accent the feel that it is a journey which is reaching its end. At this point, it feels that the central figure in the journey seems to be a vessyl of some sort, and the 16-minute Part 3 is thematic of a glorious resurfacing, reintroduction to the bright light of day, and returning to solid ground. But, as the brightness comes, so does an ominous sense that all might not be right. The world looks different than before, the places are familiar but everything's seemed to have changed. The credits may roll but this is certainly not the end." [Jon Whitney / Brainwashed]
“Finally, the first Troum record to be widely available in the United States, released through Relapse subsidiary Desolation House, and we're pleased to say it's maybe their best yet. Troum are the ambient-drone ensemble that emerged from the dissolution of proto-industrial dronesters Maeror Tri. Unlike the primarily guitar based whir and rumble of Maeror Tri, Troum obfuscate their sound sources, laptops, found sounds, accordians, guitars too maybe, and the results are timeless, mysterious, haunting, ethereal and utterly breathtaking dronescapes. Sigqan is a lengthy three part epic, beginning with rich sonorous foghorn like swells, that ebb and flow, separated by near silence, and slowly building in intensity from warm crescendos to huge doomy pulses. Eventually, these roaring rumbles joined by complementary shimmers of high end, that sound out, and then dissipate like sonic ripples, fading into blackness. The swells slowly grow closer and closer until the edges begin to blur and a subtly more continuous melodic framework begins to emerge and so begins the second movement, a creepy and slightly ominous, slowly fluctuating slow-motion-melody, whose lazily shifting notes keep the sonic landscape dense and rich, and keeps the sounds from flatlining into monochromatic drones. As the piece winds down, the dynamics and melody start to smear together into a warm, diffused fuzzy hum, with the subtle traces of melody sinking deeper and deeper into the dark warmth. The third and final movement was a sonic afterthought, added/recorded later than the first two, but is a pleasantly dreamy coda, with a slightly sunnier tone, a keening upper register melody, stretched out into subtly slithering iridescence with a shuffling, staticky rhythm just below the surface. So nice.“ [Aquarius Records, 2003]
"Beauty and profundity are the evident merits of the album - like the unity of oceanic and atmospheric elements, and namely the ocean is most frequently mentioned association used by critics and musicians. When you are at a depth of thousands metres, even the storm on the surface is impossible to hear." [Dmitry Vasilyev, IEM]
|
2009 |
€13.00 |
|
|
Autopoiesis / Nahtscato |
CD |
"Two elder vinyls first time on CD. These vinyls materials aren't available + bonus tracks.
Packaged in exclusive 3-panel digipack.
'Autopoiesis' was originally released as picture LP on Small Voices in October 2004 in limited edition of 567 copies 'Nahtscato' was originally released as a 12"EP on Paranoise Records in July 2005 in an edition of 300 copies. The bonus tracks were recorded in 2003." [label info]
www.zoharum.com
TROUM – Autopoiesis pic-LP : Small Voices :
In 2003, the German post-industrial duo Troum completed their celebrated Tjukurrpa-trilogy. Each of the three records concentrated on the aesthetic fundamentals of their work: harmonies, drones, and rhythms. At the same time, the trilogy was inscribed with the metaphorical themes relating to Aboriginal dreamtime. If this mighty body of work had one flaw, it was the way the formalist agenda of this series trumped Troum’s ongoing investigations into hypnogogic states and the psychological impact of sound. Troum have been at their best when the sonic elements of their work play off each other and run in parallel with their conceptual ideas. The vinyl-only picture disc Autopoiesis finds Troum at the top of their game, as their guitars and bass, heavily fortified with effects, drift through miasmic washes. When suspending their drones as lugubrious slabs of sound, Troum emerge as a brooding doppleganger of the shoegazer ethos. And throughout Autopoiesis, they vulcanise their drone into chugging riff and darkly majestic melodies. [Jim Haynes, THE WIRE]
|
2010 |
€12.00 |
|
|
Mare morphosis |
CD |
"'Mare morphosis' forms the third & final part of TROUMs so called 'Power Romantic' trilogy that started with 'Mare Idiophonika' in 2010. The basic materials & arrangements for this one long epic piece were created from 2009-2013 (partly based on the recordings for the 'Bach Eingeschaltet, Dritter Band' 7" dealing with experimental reworkings of J.S.BACH pieces) & to some extent used live in different live-programmes: A piece like an 'Ocean of Transformations', morphing through various stages of intensity. 'Mare morphosis' stands out in the history of TROUM studio-albums as their most symphonic, refined and orchestral effort so far. Cover photography by Paul Takahashi, graphic design by Tilmann Benninghaus (8 panel fold out digipack). First edition: 1000 copies.
'Mare morphosis definitely gives Troum’s music a new dimension, reflecting ancient waves, amplifying the power of Sehnsucht, drumming the drowning heart." [Denis Boyer / Fear Drop]
"Mare morphosis" ist eines der stimmungsvollsten und abwechslungsreichsten Werke von TROUM, die ich kenne. Die einzelnen Abschnitte wirken tatsächlich wie Sätze einer Sinfonie, ohne dass die Gesamtanmutung vernachlässigt wird: Es geht hörbar um die mächtigste aller Naturgewalten, das Wasser, in seinen unterschiedlichen Ausprägungen. Von ästhetisch über melancholisch bis düster und bedrohlich; vermutlich sind die 'Veränderungen' im Titel so zu deuten. Wunderschön und mit vielen Details zum Mehrfach-Hören gespickt.' [Michael We / nonpop.de]" [label info]
"What comes with the Power Romantic trilogy (which pt. 1 and 2 are: Mare Idiophonika, Grote Mandrenke) is brooding from the core of Troum’s universe. Relating Troum with strong Romantic tropisms is like sewing an endless canvas. In every musical piece they work, the two musicians BarakaH and Glit[s]ch navigate a vast sea of sound, recalling the Romantic feeling in front of deep landscapes that reflect the very soul, threatening in a voluptuous appeal the observer to dissolve in the totality. Troum’s attraction to the notion of Dissolution is felt every time that the sound waves inflate to shape a luminous drone, every time that the pulsation melts into a magmatic rumbling. And what about the beauty of sadness, celebrated since the days of Maeror Tri…
That sea of sound, of profound melancholic drones and waves gets its monument with the Power Romantic trilogy in which Troum show their skill in harmony, but not only. Drones and harmony still reign but a clear way is designed for melody and rhythms (as it already was in Tjukurrpa pt. 3). The oceanic feeling is fueled by new movements, like a storm upon and under the fluid. Mare morphosis, pt. 3 of the Power Romantic trilogy, opens as the very building of a Sunken Cathedral, with heavy rhythms like stone columns gently embraced by subtle sharpened melodic phrases. The whole soundscape navigates then by the tide and lets the strong motion of sound rumbling and driving to surface the heavy layers of undercurrents, bringing up to light their deep melancholic germ of melody. Mare morphosis definitely gives Troum’s music a new dimension, reflecting ancient waves, amplifying the power of Sehnsucht, drumming the drowning heart." [Denis Boyer / Fear Drop]
listen: http://troum.bandcamp.com/album/mare-morphosis-cd-2013
www.troum.com
|
2013 |
€12.00 |
|
| |
Autopoiesis / Nahtscato (re-press w. different artwork) |
CD |
https://alchembria.pl/en/strona-glowna/4949-troum-autopoiesisnahtscato-new-edit-cd.html
TROUM – Autopoiesis pic-LP : Small Voices :
In 2003, the German post-industrial duo Troum completed their celebrated Tjukurrpa-trilogy. Each of the three records concentrated on the aesthetic fundamentals of their work: harmonies, drones, and rhythms. At the same time, the trilogy was inscribed with the metaphorical themes relating to Aboriginal dreamtime. If this mighty body of work had one flaw, it was the way the formalist agenda of this series trumped Troum’s ongoing investigations into hypnogogic states and the psychological impact of sound. Troum have been at their best when the sonic elements of their work play off each other and run in parallel with their conceptual ideas. The vinyl-only picture disc Autopoiesis finds Troum at the top of their game, as their guitars and bass, heavily fortified with effects, drift through miasmic washes. When suspending their drones as lugubrious slabs of sound, Troum emerge as a brooding doppleganger of the shoegazer ethos. And throughout Autopoiesis, they vulcanise their drone into chugging riff and darkly majestic melodies. [Jim Haynes, THE WIRE]
|
2021 |
€12.00 |
|
| V.A. (VARIOUS ARTISTS) (COMPILATIONS) |
 TROUM TRANSFORMATION TAPES: The 20th Anniversary Celebration (1997-2017) |
do-CD |
with: ALLSEITS, CONTRASTATE, V.O.S.(YEN POX), VANCE ORCHESTRA, TARKATAK, RAISON D'ETRE, NADJA, MARTYN BATES w. TROUM, MULTER, QST (Frans de Waard/KAPOTTE MUZIEK), URE THRALL, MYRRMAN (SAL SOLARIS), INADE, DUAL, BAD SECTOR, CISFINITUM, REUTOFF, MOLJEBKA PVLSE, and MARKOW C.
ORIGINAL INVITATION:
"Dear Friends and Dreamers,
Troum did the very first performance under this name (after the demise of Maeror Tri) in March 1997, so this year we reach our 20th anniversary. We have never done any anniversary "celebration" or "remix" projects of Troum material before, so we thought maybe it's the time now!
You can choose any existing Troum material (also taken from multiple tracks) to cover, re-interpretate, re-work/process/arrange or collage it. You can also add your own sounds, create a new track-title, watever comes to your mind! (We are certainly NOT looking for a standard "remix", so we don't send out any specific material to everyone!).
This invitation goes out to various musicians that have worked with us over the 20 years, which became friends or important for our evolution as a band." TROUM, March 2017
2. TRACKLIST:
CD 1
1. ALLSEITS - Times
2. CONTRASTATE - The Silent Fish
3. INADE - The innermost Sun
4. VANCE ORCHESTRA - Giascei
5. TARKATAK - vs. Brinnan
6. RAISON D'ETRE - Ananke
7. NADJA - Mirrored in You
8. MARTYN BATES w. TROUM - An Untitled Protest
9. [MULTER] - Sela Saiwala MNX
CD 2
1. QST - Kapotte Muziek by Troum (QST remix 2017)
2. URE THRALL - Krypte
3. 016 vs. MYRRMAN - Sen №350 (Psychic Automaton Rework)
4. V.O.S. (Steve Hall/YEN POX) - Breath Again
5. DUAL - TTN (Ursprung)
6. BAD SECTOR - Signedumiroir
7. MARKOW C. - Chaneism
8. CISFINITUM - Skaun[ei]s
9. REUTOFF - Hypoxia (Troum Spirare Cover)
10. MOLJEBKA PVLSE - Ennoia
Liner Notes from JIM HAYNES:
It was 1996 when the German industrial project Maeror Tri disbanded, and I recall being deeply saddened by the news. A few years earlier, I had discovered the project while working at a now-defunct distribution company in San Francisco. Fittingly released through Korm Plastics 'Introductions' series, Maeror Tri's Multiple Personality Disorder reflected an interested in psychological pathology as channeled through raw sound. Industrial culture has long used the metaphors of disease as a mirror to shine a light on any number of ills in contemporary society. This particular album addresses four aspects of the titular disorder, itself the most extreme form of schizophrenia which fractures the discrete personalities, which Maeror Tri identified in the general dissociative characteristics: The Administrator, The Anaesthetizer, The Revenger, The Protector. With each of these tracks, Maeror Tri orchestrated dense layers of heavily effected, sustained noise, back-masked growlings, and shimmering drones as emotionally resonant portraits to those four personality traits. With Industrial culture's penchant for sensationalized horror of autopsy and abbatoir footage, Maeror Tri's constructs were uniquely sympathetic to those who suffered from this debilitating disease.
With the posthumous release of Emotional Engramm in 1997, Maeror Tri's compositional complexity began to blossom, relying less on the hypnogogic dislocation of time-lag effects and more on the poetics and the portent of the underlying melodies that rippled through their ghostly accretions for drone and noise. Right as they called it quits, the ideas of Maeror Tri had expressed a maturity that had much more to say through the collapse of sound into an crushed, all-encompassing, cathartic tsunami.
What was to emerge in the wake of Maeror Tri's dissolution did not immediately seem clear. Founding member Stefan Knappe had already established his impeccably curated Drone Records, which initially focused on the improbable medium of the 7" single to release long-form works of dark ambient, heavy drone, and industrial din. Many of these artists that landed on Drone were unknown or under-appreciated projects, but without fail, these proved to be impressive documents and demanded that they be acquired upon sight with or without any idea of who exactly was behind the project. In this series, Knappe did commisson work from a number of highly acclaimed musicians including Inade, Francisco Lopez, Cranioclast, Aidan Baker, The Lotus Eaters, etc. but there were the lesser known acts such as the Hungarian experimental project Hideg Roncs, Holland's esoteric ambient outfit Indra Karmuka, and the hermetic tape machinist Abner Malaty. Drone released exactly 100 singles between 1993 and 2010, at which time the format switched to a four-way split LP format under the Drone-Mind // Mind-Drone banner, in addition to the 10" Substantia Innominata series, both of which maintain high calibre curation to this day.
In 1998, Knappe reconvened with fellow Maeror Tri member Martin Gitschel to form Troum. The name for this new project was taken from an archaic German word for dream and provides clear insight into their investigations manifesting universal archetypes and symbols from a collective unconsciousness into an overwhelming flood of sound. The first recordings for Troum were published on a small cassette housed in a small pillow, ascribed with the title Dreaming Muzak. As with Maeror Tri, Troum sculpt their dronescapes mostly through heavily processed guitars along with an assortment of other instruments. If the intent of Troum was to put the listener to sleep, the lulling vibrating patterns certainly have the capacity; but the overall darkness of these sounds will never inspire the most pleasant of dreams. These are shadowy, bleak, and cold sounds which permeate the album, and lend themselves to images of desolate factories spewing a constant stream of black soot in some wintery post-Soviet country.
At the turn of the millennium, Troum embarked on their ambitious Tjukurrpa trilogy, the title of which has its origin in the physical, spiritual, and psychological state of dreamtime for the Australian Aboriginals, symbolizing Troum's intention to divine transcendence through their hypnogogic compositions. They applied these ideas to the three compositional foundations to their music, in Harmonies, Drones, and Rhythms & Pulsations each of which are highlighted on the trilogies component albums. Harmonies for Troum relate to the cold ambient swirls of resonant timbres from Troum's interlocked guitars that cycle through minor-key chords bathed in a resplendent wash of effects and melancholy atmospheres. Troum's signature drones are heavy, lumbering propositions of earth-shaking rumbles and subterranean minimalism. The use of rhythm appears in Troum's work as percussive mantras with a ritualist approach to metal-bashed patterns and looped sequences.
These fundamental tools - harmonies, drones, and rhythms - represent a set of pre-linguistic symbols that Troum employs to articulate to the primal emotional responses of various psychological states. More often than not, Troum turn towards ashen, sublime, nocturnal, and grim metaphors through their work, even though rapturously golden crescendos flourish on the rare occasion in their body of work. Sigqan (2003) is a harrowing album that plunges deep into an overwhelming gloom through sustained tones and drones. Like the project's name, the title harkens to a pre-medieval dialect of the Goths that roughly translates as the setting or sinking of the sun. Here, Troum addresses the Dark Ages fear that the sun might not rise again, leaving the world in permanent darkness. The Power Romantic trilogy (which include the albums Mare Idiophonika, Grote Mandrenke, Mare Morphosis released from 2010 - 2013) finds the duo embracing the oceanic metaphors that undulate upon the cycles of the tides through billowing shadows of mournful melody and subharmonic rumble. These too are drawn towards hostile metaphors, with Grote Mandrenke referring directly to a massive storm surge that devastated Northern Europe and the Britsh Isles in 1362, sweeping some 25,000 people out to sea and to their deaths.
Through the Drone Records productions and ancillary distribution company, Troum have maintained a very healthy network of connections all across the globe. In doing so, they have also engaged in a select number of ongoing collaborations. Their first was with the occult American project Yen Pox whose collective low-frequency thumming stand at the pinnacle of the dark ambient genre. An enduring presence from the once mighty Cold Meat Industries, Raison D'etre has worked with Troum in transforming raw material through the existential lens of a vacant cathedral. Architectural reverberation and ghostly chorales flutter with a solemn, ethereal impressionism. The baroque post-punk singer-songwriter Martyn Bates of Eyeless In Gaza had long been an inspiration for Knappe and Gitschel in both Troum and Maeror Tri. In fact a dedication to Bates was ascribed to a track from the Tjukurrpa series. In 2006, Bates joined Troum for their collaborative album To a Child Dancing in the Wind, which girds Bates' beatific, lyrical vocalizations to a luminous, shimmering facet to Troum's aesthetic.
This compilation with its remixes, deconstructions, and reconstitutions of Troum's back catalogue and raw material is a celebration not only to Troum's impressive body of work but also to their ongoing and active participation in the broader communities of the avant-garde, minimalism, drone-rock, and industrial culture with unflagging dedication. These propositions respectfully build upon the fluid dynamics of Troum's sound as well as the wordless symbolism of pre-lingusitic conditions that are fundamental to Troum's work. It should be noted that both Dual and Vance Orchestra reunited specifically for this project.
Sibilant. Subaquatic. Serpentine. Ominous. Thunderous. Billowing. Haunted. Hypnogogic. Blossomed with sadness. Best Drones.
JIM HAYNES
|
2018 |
€12.00 |
|
|
Your cart (0 item)
