Nostalgia For A Forsaken Future is a 4 tracks EP marking a transition between the « solely made with guitars, effects and live-looping » paradigm to the new approach of playing and producing music I’ll start using in the next record.
Read more about Nostalgia For A Foresaken Future in this post.
From SILBER RECORDS Press Release:
“Koyl comes to Silber with five songs in five minutes, one about each finger. But are the fingers originally on one hand or are they fingers from dead men stitched together to tell tales of angst & woe? No matter, now they all are part of the one & making incredible soundscapes with a guitar & lapsteel.”
Everything was recorded with guitars, effect pedals and loopers only (No additional samples, synths or post-production other than proper mixing & mastering).
Read more about Fingerprints in this post.
Original Soundtrack of the introduction video for “Les Mondes Minuscules” (Tiny Worlds) by Paris-based artist Lucile Jaeghers (aka HalLucilogene).
WATCH THE VIDEO (directed by La Team Collective) to hear the story behind her poetic & surrealist paper-made pieces:
You’ll find more information about Lucile’s artwork in the files included with the download of the O.S.T on Bandcamp.
You can see Lucile’s latest unique pieces here:
LA TEAM COLLECTIVE can be found here:
« Modular Glitchtar Soundscapes Vol.1 » is a collection of improvised recordings made solely on lap-steel guitars (electric & Dobro), effect pedals and live-looping devices.
– Recording pieces that are a good representation of what I do when I play live. This was achieved using a strict and uncompromising mode of operation: Every tracks (except track 10) were 100% improvised and recorded in one-take. Everything on them: guitar playing, effects tweaking, live-looping and mixing, was done live. The resulting stereo tracks were shortened, then mastered. This gave no possibility of correcting mistakes or do any post-production tweaking: No safety net. This is basically a live-in-studio record.
– My other goal was to explore the possibilities of the lap steel guitar and Dobro in a new context and in styles in which they’re not usually found.
Ambient, drone and post-rock are colliding with glimpses of folk, blues and americana in tracks that feel more like journeys than traditional structured songs. Effects, preparations and advanced live-looping techniques are used to expand the voices of those instruments. Their strong personalities and the fact that every single sound, as electronic as it might seem, is originating from them makes those Modular Glitchtar Soundscapes coherent as a whole.
The lap-steel guitar DNA is still at the core of the music, but it has been updated to version 2.0.
Read THIS POST for more information about the gear used on this record and the technical side of it.
An Electronic Press Kit (including a Biography, Record Notes, Links & Hi-Res Pictures) is available here:
This series consist of 5 tracks EPs for 5 minutes of total running time. More than 40 EPs have been released so far (all available for listen on Spotify), Fingerprints is my contribution to the collection.
Building on the idea of the hand and its 5 fingers, I wanted the tracks to be different, yet be linked and part of a whole.
To translate this musically, I decided I would only use guitars and effects as sound sources and push their use in different directions. I also wanted each track to begin with a sound from the previous one.
I started the recording with those basic concepts in mind and basicaly improvised and experimented a lot, trusting my instinct & hoping that those 5 tracks would make sense as a whole in the end.
Each track ended up representing an aspect of my guitar approach, making them “fingerprints” of my style.
There’s a polyrhythmic prepared-guitar based groove (Versus), a haunted eastern music piece (Pulling the trigger), a lush ambient/post-rock track (Flipping the bird), a heavy and scary drone (La corde au cou) and some kind of glitch IDM groove making heavy use of effects and live-looping magic tricks (Yubitsume).
This make the EP a very short but quite accurate introduction to what I do, like a DNA sample of my music.
It was a very interesting experience to work on such short tracks and to try an improvisational approach for a recording that had to have a studio mindset.
I hope you enjoy it !
Huge thanks to Brian John Mitchell for giving me the opportunity to do this !
You can also find it on Spotify.