Ever since forming 16 years ago, Irish trio God Is An Astronaut has reigned as one of the premier instrumental groups. With its fusion of intense rock instrumentation, ethereal and emotional soundscapes, awe-inspiring dynamics and transfixing melodies.
Each of their prior releases has offered a breath taking sonic journey, and their ninth emotive opus, Epitaph, is a record that both sees a progression in their sound while still remaining true to their ethos that helped define the band. The cover artwork was painted by French artist Fursy Teyssier and fits the melancholic mood beautifully. Joined by long-time drummer Lloyd Hanney, contributions also come from Xenon Field on sound design and former member Jamie Dean on keys.
The opening title track ‘Epitaph’ sets the album`s mood. There is pain and loss at work here, but not pain and loss that are given in to. Sparse piano motifs face energetic rhythms, shimmering guitar coatings, and eruptions of dense fury breathe life into a journey of melancholic longing: there is the release experienced when a troubled existence ends in ‘Mortal Coil‘ followed by the sombre foreshadowing that is ‘Winter Dusk/Awakening‘.
The album changes direction slightly with ‘Seánce Room’ and the music on this highway is taking you someplace meaningful and special – someplace where near and far blur and stars weep over tragedies.
‘Komorebi’ is a word from Japanese. Think of the interplay between light and leaves when sunlight shines through trees.The song has a melancholic longing or nostalgia for a person, place or thing that is far away from you or about to slip away.
‘Medea’ references Greek mythology, and the enchantress who married Jason, leader of the Argonauts, only to be later guilty of filicide, a crime so against the natural order of things that you can imagine the stars in the sky weeping. It is not easy to confront such things, but this record and this band don’t shirk the challenge.
Finally, the beautiful and hypnotic piece of music that is the album-closing ‘Oisín’ is in memory of Torsten and Niels' 7-year-old cousin who was tragically taken from this world. It distills into four minutes all the pain, sadness and longing felt by many over a much-longer timeframe. A fitting end to an album that will move you deeply and call out to you to be revisited many times.
THE TWO-MAN SOUND MACHINE
The man-machine-hybrid le_mol send their new album 'Heads Heads Heads' to the loop-station.
The congenial Viennese instrumental-rock duo le_mol will release their now third album 'Heads Heads Heads' on March 2, 2018 (Panta R&E) and deliver post-rock at its finest.
According to their own understanding as a well-tailored human-machine hybrid the post rock duo le_mol recorded their now 3rd studio album 'Heads Heads Heads'. Following 'Kara Oh Kee' (2015) the new album convinces through catchy yet subtle instrumentals, which - played in loops - create a tremendous dynamic. Riff after riff is carved into polyvinylchloride and disk, all made possible through the excessive use of loop technology. Right from the beginning, with the smooth entering of the piano that equally marks the end, the listeners mind is inspired to create its own images. In between, the duo delivers both enchantingly soft and bizarre soundscapes that are formed by the versatile and playful use of guitars (played with the bow of a stringed instrument), synthesizers, piano, and drums. The contrabass and saxophone guest-musicians contribute to the album and broaden the timbre once again.
Further the music is understood in context: le_mol celebrate the harmonic disharmony. Their unconventional loop layers and overlapping song structures reflect a social life that is shaken in its foundations and which is threatened to fall into pieces. Without lyrics, using only instruments the duo creates a feeling of tightness, oppression and hopelessness in a society that is divided by populism and capitalism. The audience is invited to lose themselves in thoughts while reflecting and, as a result, experiencing the music even more intense - all while le_mol try to anchor 'Heads Heads Heads' in our minds - in our heads, heads, heads.
The third studio album by Sebastian Götzendorfer and Raimund 'Mundl' Schlager, alias le_mol, was produced with the help of Georg Gabler (Producer, Mother's Cake, Lausch,...) and Oliver Kamaryt (Recording, Mixing, u.a. Parasol Caravan) at the studios of GAB Music Factory in Vienna. The mastering was done by living legend Frank Arkwright at the famous Abbey Road Studios in London (Mogwai, SOAD, Sunn O))) and many more.).