Vaellus 003

“He returns to where it all began delivering an the Mexican imprint with a new age ambient album of EBM infused exotica journeying through sweet and subtle synths to organic soundscapes and otherworldly percussion”

“it’s all about emotion, trying to capture real emotions in the music. It takes more work with electronic music as everything is pre-planned and not really a spontaneous performance as you would get with a band. I always work very hard and will not settle unless I achieve the bitter sweet balance in my music.”

“It's using all those formulaic dance structures but just slightly mangled or messed up. I’m still focused on making functioning dance music for clubs, but I'm really interested in how far you push that before it's just like - no.”

“Coates incorporates a self-made method of creating cello “slime” throughout the album’s live performances. This melting of rich layers seeps through a chain of two digital loopers, distortion and chorus, which modulate the cello’s strings into a metallic sheen.”

“The ineffable, familiar harmonies of Alan Sparhawk and Mimi Parker break through the chaos like a life raft. Layers of distorted sound accrete with each new verse - building, breaking, colossal then restrained, a solemn vow only whispered.”

“two worlds collapsing, merging, also showing some intriguing approach of the Jamaican groove, used as a filigree, like the echo or the ghost of reggae, converging and conversing with a post-industrial and experimental approach”

“A blissful trip through breezy spring fields where the gentle sunrays thaw frosty winter scenes.”

“carving out a unique style in a time of fervent cross mutations, while resolutely sticking to the anonymous character format in a time when superstar producer/DJ egos were lending an unsavoury whiff to the newly developed rave scene.”

“elevates Strom’s mysterious, masterful synthesis of music and machine and opens another portal to the transportive power and healing potential of her work.”

“earthy textures that become slowly buried by celestial ones as the seconds pass. Kenniff’s kindling of piano is gradually set ablaze with synth, choir, and trilling strings provided by his equally emotive labelmate Christopher Tignor. The track is a crescendo that imparts an equal amount of dread and relief depending on the mood of the listener.”

“Frank shines on this record. He has created quietly composed pieces for moments one could only wish were real.”

“The title refers to a prophecy by Nostradamus that this will happen. Is it literal or symbolic? I'm certainly not going there this Month. Red Bird…soviet planes…flamingos? It is a SH101 and modular synth called a Fenix, mostly. With overdubs of vocals by Balance.”

“flexing drum production that hypnotises and beguiles, delivering stripped grooves shot through with dissonant pads, swollen feedback and mordant bass that manages to pull off the difficult trick of injecting a lysergic modernist feel into the junglist template.”

“has that hazy dubbed out instrumental sound we all enjoy from the likes of Deepchord and Fluxion. One for a late night drive.”

“Barbieri’s whirling, haunting synth patterns interweave with Pramuk’s other-worldly vocals into mirages of transcendence: time accelerates and decelerates in a trancelike spiral that erases any distinction between the inner and the outer worlds.”