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VA - Trance In Motion Volume 209 (Mixed by Emil Sorous) [2017 / MP3 / 320] [Trance]
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Артист: Vr Название: No One Dances Quite Like My Brothers Жанр: Electronic Год выхода: 2013 О музыке:
Vr is a lo-fi act that started out with as a four-track recording project comprised of visual artists/musicians Elias Bender Rnnefelt of Iceage, Loke
Rahbek of Sexdrome, Kristian Emdal of Lower, and Lukas Hjland. Borrowing musical ideas from cold post-punk groups of the early '80s and following
in line with the blown-out recording trend of the 2010s, the band signed to Sacred Bones for their debut, No One Dances Quite Like My Brothers. The
album was recorded in May of 2012 in the back studio of New York indie record store Heaven Street, and released in 2013.
Страна: USA | Издатель (лейбл): Sacred Bones | Продолжительность: 36:33
01 Begin to Remember 03:6
02 The World Fell 03:25
03 No One Dances Quite Like My Brothers 03:40
04 Motionless Duties 04:13
05 Hair Like Feathers 03:08
06 Pictures Of Today / Victorial 03:48
07 Boy 02:57
08 Into Distance 02:57
09 Katla 03:45
10 The Boy Or The Boot (Bonus Track) 04:49
The young Danish punk group Iceage makes claustrophobic songs so short and dense they make you breathe in a shallow fashion to preserve their limited
oxygen. The band has also gained what may feel like a claustrophobic reputation. The swift militaristic efficiency of their musical maneuvers, the
transgressive influence of dead French surrealists, and the heavily reported flirtations with nationalist and fascist imagery have added up to a
distinctly aggressive image, even though the members look more like One Direction-gone-to-seed than bellicose reactionaries. That’s what makes Vr,
the new band of Iceage's Elias Bender Rnnenfelt, sound like a refutation rather than a mere tangent-- or at least, a balancing of scales.
Vr is something of an unusual supergroup within the boundaries of Copenhagen's thriving D.I.Y. hardcore scene. Joining Rnnenfelt are Loke Rahbek
of Sexdrome and Kristian Emdal of Lower, along with Lukas Hjland. Their similarities to Iceage end with the purported influence of Georges Bataille--
which might account for the absurdist poetry moaning over the doomy electronic pulses of their song "Hair Like Feathers"-- and the use of rolling
field snares, suggesting the forced marches of valiantly defeated armies. But Rnnenfelt's downcast voice and mournful, dystopian lyrics are laid
bare by the krautrock, industrial, goth- and synth-pop styles that replace guitar thrash on No One Dances Quite Like My Brothers. Though crusted with
rough textures, the music is as open and vulnerable as the Copenhagen punk bands are clenched and impervious, bending the same apocalyptic impulse in
a serene, interior, even sensuous direction.
For being recorded in a cramped home studio in Bushwick last summer, Vr's Sacred Bones debut feels surprisingly spacious and cool, roaming a wide
swath between the softest borders of Joy Division, Kraftwerk, and the Foley-effected, electro-acoustic war folk of These New Puritans. Throughout the
album, samples of broken glass and metal, acoustic and electric guitars, analog electronics, bleary trumpets, and processed percussion line up in soft
curves with scoured edges. Bright Eyes may have beat Vr to the mirrored album cover by 13 years, but Vr's choice of artwork makes a sound
contextual point: This is reflective music, making the listener complicit.
At their poppiest, as on "The World Fell" and "Pictures of Today/Victorial", Vr set raggedly reaching multi-tracked vocals (apparently canned in
Germany in the 1970s) over thumping beats and chiming guitars that think they're synthesizers. The velvety, sparkling miasma of the latter
represents this collaboration at its most realized, the low heat gradually igniting the snarled images of iron and fire at the end. Not everything is
that considered: "Motionless Duties" breaks the dreamy mood with its darkness and abrasion, though woozy trumpet peals eventually open it up a bit,
and the drums-and-drones piece "Boy" is a long interstitial at four minutes.
But ventures outside of Teutonic synth-pop pay off in the title track, where Pharmakon's Margaret Chardiet gives a remarkably tender recitation
atop a pillow of distorted symphonic ambiance. A stirring piece of music in its own right, it also feels like another deliberate attempt, following
the video for “In Your Arms (Final Fantasy)”, by the punks of Vr to soften a brittle public perception of themselves as right-wing hawks. Although
the sensitive side it reveals is less developed than their established one, it's just as intriguing.