samedi 30 janvier 2016


“You like the tones of the 70's? Those years of analog feast? Impregnated by the years of Phaedra and Stratosfear, BauRauM is the answer to your musical greed”
1 Unten Freien Himmel 18:34
2 Er Ist Immer So Kosmisch 20:14
3 SpaceRunner 5:55

REWO Music (DDL 44:43) ***½ (Lire en Français ici)
(Analog cosmic rock)
You have enough of these artists who move the ashes of the past? Of those who throw in the sound spheres some works with the unchanging perfumes of the vintage years? For you, this past is dried up since the 70's have changed for a more metallic sound of the 80's? “BauRauM” could very well change your mind! And for those who eat of these tones, Rene van der Wooden proposes you here an opus which has all the reasons for justifying your greed. Written and recorded on the basis of the improvisation and imagined by the inspirations of the 70's, “BauRauM” landed between our ears with all the warmth of the analog years. The basic idea of the Dutch synthesist was to recreate the essences of the vintage EM by getting in his studio and by modulating the tones of the former days while ignoring the bases of MIDI and of samplings, creating the perfect illusion of the years when the cosmic rock was in full boiling.
Like an architect,
Rene van der Wooden puts all his sounds and his tones in order to structure an introduction build on the model of improvisation of the 70's. So electronic sounds which twinkle in the oblivion, static cracklings which irradiate wide walls of metallic mist and long whoosh which float like clouds of ether; the introduction of "Unten Freien Himmel" is painted of all these elements which become allied to structure some brief rush of wavy rhythms   as the sharp tumbles of centipedes on drugs trying to go down a wall of acrylic stucco. In fact, the first 8 minutes of "Unten Freien Himmel" are forged in these mysterious cosmic atmospheres where our ears ran of madness in front of the imagination of the creators of this time. Except that we are in 2016! And nevertheless the charm still operates because of the modulation of a structure which grows rich constantly in front of our perplexed ears. When they are not the sounds, it's the short phases of rhythms that question our suspicion. The rhythm pierces finally the mysteries of the metallic drizzle a little after the point of 8 minutes. Rene van der Wooden brings us then in the period of Phaedra and Stratosfear with a superb movement of sequences which rolls like a crazy train through the so many psychotronic clouds of the vintage years. The analogy with the works of Baumann, Franke and Froese cannot be avoided with this structure of rhythm which moves up and moves down through a sound painting which imitates marvelously the genius of masters of the time. That's very good! The illusion is perfect and it's more than just a simple imitation just because of this cosmic touch which is rather unique to the repertoire of Rene van der Wooden. "Er Ist Immer So Kosmisch" is built around the same principle, although here the introduction mislays its first 11 minutes in a more cosmic, a more psychedelic, approach with a thick cloud of weird tones which wave in the acidity of the iodized winds. A pattern of rhythm, tied by circular loops, makes climb a hoop of docile keys in a minimalist approach decorated by tears of synth. A synth in its clothes of violin which caresses the indefatigable walking of a rhythm which sometimes surprises us by a tone and by a slight change in its rotation. This rotary motion breaks itself slightly a little after the bar of the 15 minutes, offering a more pulsatory and a more ambient rhythm with variations in the movement and of which tints try to harmonize with a clearly more psychedelic and more ethereal approach of a synth and of its armada of electronic tones worthy of vintage years. This is cosmic rock with a very ambiospherical flavor. The same goes for "SpaceRunner" which is very near the ambient cosmic movement of Vangelis.
BauRauM” is an ode to the 70's. These years when the music went out of its zone of comfort with instruments which would change forever the way to create rhythms, harmonies and ambiences. A beautiful album for those who missed this era. A beautiful album to dip us back there.
Sylvain Lupari (January 30th, 2016) &
You will find this album on René van der Wouden Bandcamp page here

vendredi 29 janvier 2016

FORREST FANG: The Sleepwalker's Ocean (2016)

“What we have here is a deeply ambiospherical album which goes alongside with Steve Roach's Immersion series, but with lovely ghost melodies hanging here and there”
1 Gone to Ground 8:35
2 Message in the Sand 8:49
3 The Sleepwalker's Ocean - i Cloudburst 5:14
4 The Sleepwalker's Ocean - ii Bog 5:08
5 The Sleepwalker's Ocean - iii  Night Ferry 8:13
6 The Sleepwalker's Ocean - iv  Geiger 6:52
7 The Sleepwalker's Ocean - v  Lumin 4:31
8 The Sleepwalker’s Ocean - vi  Waywards 3:30
9 Driftwood 6:57
10 Not Forgotten 11:05
11 An Alternate Ocean (The Salton Sea) 54:16

Projekt ‎| Projekt322 (CD/DDL 123:15) ***½
(Quiet ambient with lyrical touch)
Forrest Fang is an artist immensely poetic. His words? He transposes them into sounds! In ambient music which is structured around a meshing of synth lines that he creates in harmonies tinted of nostalgia and by acoustic instruments which are very near of the essences of spirituality. From where a texture of enchantment! Quieter than his silky Letters to Farthest Star, “The Sleepwalker's Ocean” is an incredible ode in the serenity which is draw in the deep of the ocean. Well anchored in the charms of a good pair of earphones, the music of this last opus from Forrest Fang is a delicious descent towards the oceanic inner waves where everything seems to us so far that we let ourselves being submerged by the delicate ambient nature of “The Sleepwalker's Ocean”. Here, no rhythms! Except for this fascinating ethereal dance in "Message in the Sand" and also some scratchings of an acoustic six-strings well scattered here and there. Only ambiences. Quiet movements of mass where we confuse easily the cosmos and the oceanic depths. But do both are not connected?
We feel sucked up towards the depth as soon as the first celestial waves of "Gone to Ground" reach our soul. Strange lamentations emanate from the synth lines of which the sibylline approach is like a song of mermaids. The movement intensifies its approach of deep surrounding atmospheres with gongs which resound around the notes of an acoustic strings instrument came from abroad. This is very representative of the sound depths of “The Sleepwalker's Ocean” where its darkness is always pierced by somber lines and by translucent harmonies. It is enveloping and there are always secret harmonies, as much from the synths as from acoustic instruments, which decorate the walls of synth lines glued in mass by a synth of which the colors of the tones remain unique to the Sino-American musician. "Message in the Sand" is quite alone in this somber decoration by offering a beautiful tribal rhythm where the jingles of tom-toms beat in walls of murmurs which form the armature of this rhythm, a little like the effect of a crawling bass.
Robert Rich enriches these atmospheres here with a delicate flute. A beautiful moment of ambient folk without borders before that the long sonic saga of “The Sleepwalker's Ocean” puts to sleep our senses with a deep and surrounding approach. And that begins with the hollow winds of "Sleepwalker's The Ocean - i Cloudburst". Carillons ring nervously, absent voices hum  and stars sparkle in a soundscape misted by linear hummings. It is less dark in "Sleepwalker's The Ocean - ii Bog", except that the movement remains always lineal. "Sleepwalker's The Ocean - iii Night Ferry" is one of the rare tracks livened up by an ambient rhythm in this immersive work. This is a peaceful rhythm strummed by a string instrument of which the crackling flutters in synths lines shiny of hybrid tones and where are tinkling chords as crystal clear as the singing of the carillons. This is a very nice piece of music and the play of the percussions, more creative than rhythmic, add a depth more colored to this track which dives into a heavy storm of dark drones with "Sleepwalker's The Ocean - v Lumin". There where snore the rattlers, where hum forgotten songs and sparkle distant stars. Quiet, mesmerizing and enveloping! As the soft "Sleepwalker's The Ocean - vi Waywards" and its melody sculpted in the effects of musical cannon from a rather lively piano. The elements of harmonies and ambient rhythms which whipped the sighs of Neptune in Night Ferry are floating in suspension in "Driftwood". A track detached from the “The Sleepwalker's Ocean”, just like the elegiac breezes of "Not Forgotten" which is the equal of a sunset and its warm beams over a peaceful sea. "An Alternate Ocean (The Salton Sea)" proposes a different look on the atmospheres of “The Sleepwalker's Ocean”. Here the synth lines, divided between long whoosh and iridescent voices, are floating with a few movements, very ethereal, in an oceanic bed which lets glimpse the soft reflections of the moon in suspension. It is comparable to the Immersion series of Steve Roach, for the long river of placidity, and of Michael Stearns' intense submarine waves, for the voices of child mermaids, in M'Ocean. That wraps you. That switches off your brain!
Sylvain Lupari (January 29th, 2016) &
You will find this album on the Projekt Bandcamp page here

jeudi 28 janvier 2016

FRINGO CHILLS: ...the first time (2015)

“Well divided between ambient moods and ambient beats, ...the first time is a nice album of soft relaxing EM which will find its way through your need to relax”
1 Seismic Lifestyle 21:37
2 Minimal Pulses 6:20
3 Bimetall 14:11
4 Blue Atmospheres 21:08
5 Lonely Satelite 7:48

Luna SynGate ‎| CD-r FC01 (DDL/CD-r 71:04) ***½
(Ambient moods, ambient beats: relaxing EM)
Fringo Chills? It's half of Fratoroler, this duet strongly soaked of the retro Berlin School style, in mode relaxation. Frank Rothe has never hidden his interest for the EM of the vintage years which exploited the long evolutionary ambiospherical structures endowed with soundscapes which lined the threshold of the anesthesia. It's exactly the idea behind “...the first time”. An ideal musical experience for relaxation, offered on the download platform of the SynGate label (a CD-r version is always available), this first album of Fringo Chills is a raid in the meditative EM with a Berliner touch, where quiet rhythms slumber or burst simply, but always in an approach of Chilling Out.
"Seismic Lifestyle" makes its start towards the cosmic serenity with lines filled by Gong tones which melt in wide banks of whoosh. Intergalactic noises chirp on this somber introduction where settles a range of electronic tones which little by little are fading in the delicate bites of a line of bass. Ambiocosmic with an approach for the unusual tones a la Tomita or still a la
Vangelis of the Beaubourg era, "Seismic Lifestyle" exhausts its first 7 minutes in an interstellar atmosphere before that a dense veil of metallic mist embraces its long cosmic trip. Noises of clogs resound in the background and sounds of drops breathe also. In fact those are noises difficult to identify, before that an approach of a solitary rider pierces a heavy mass of mist where grumbles a of bass line. This first phase of ambient rhythm breathes more by its bass line than its mild gallop which accentuates the pace towards the point of the 13 minutes, but for a short moment because "Seismic Lifestyle" muffles its rhythmic shyness in a dense cloud of whoosh where also are whistling some long lost sonic strands. "Minimal Pulse" plunges us in the Zeit and Totem years with lines which buzz and clouds of ambient noises which tame random percussions. It's minimalist and on the verge of the exploration of ambient matter. "Bimetall" is the jewel of “...the first time”. After a brief introduction stuffed of noises smothered in a cave, a beautiful movement of sequences unfolds crystalline keys which skip in the shade of more opaque keys. A bass line makes resound its radiations, structuring a third ghost phase where the crystal keys create a beautiful morphic melody forged in a glass anvil. Clamors of tom-toms rumble here and there, reminding above all that “...the first time” also flirts with the style of ambient and experimental EM. It's a splendid which draws a very hypnotic harmonious path between the ears. "Blue Atmospheres" is the most relaxing music piece of this first ambiospherical opus from Frank Rothe. Its introduction is filled with these hollow winds which break up their opacities for a strange pulsatory movement a little before the point of 6 minutes. It's like the alarm of an astral siren of which the strident roaring seem to go out of a factory where we create sibylline shouts. A threatening shadow wraps these shouts. Crushing them even until the last tone. There where hatches out a beautiful movement of sequences, as attractive as in "Bimetall", which makes skip keys happy to cavort in more silky winds. This first attack of sequences gets lost in the desert of the hummings, giving way to a superb seraphic walk which shows that Frank Rothe always possesses this touch for the hypnotic rhythms. This passage is worthy of a good music moment Roachian, even if the turbulence of the tones which livens up this passion for the latent disorder in the atmospheres of “...the first time” tries to repulse it to the borders of the forgetting. And it's this turbulence which livens up the spirits of "Lonely Satelite". To say the least of its introduction! Because after the first 3 minutes, keys begin to skip like if an rubber brand bring them back on a wooden drum, like a kind Bolo game, sculpting these hypnotic minimalist rhythms which invade our brain throughout this discovery of an ambient album, but not that much. Of a rhythmic album, but not too much either. In brief of an album which lulls between two poles but among which the one of the ambient rhythm is clearly more appealing here.
Sylvain Lupari (January 28th, 2016) &
You will find this album on the SynGate Bandcamp page here

mardi 26 janvier 2016

IVAN BLACK: The Image Has Cracked (2015)

“The Image Has Cracked is a big wall of drones, tones and glitches which lean over ambient and abstract beats flavoured by the modern vision of experimental EM”
1 Drips 15:28
2 Tugging at the Heart Strings 18:00
3 Impossible Object 1 10:24
4 Stretching Metals 8:40
5 The Image Has Cracked 7:44
6 Forget About Me 10:02

Ivan Black (DDL70:17) ***
(Ambient, drones and noisy soundscapes)
I really enjoyed Ivan Black's last two albums. I had discovered an artist who felt so much at ease with the retro Berlin School style and an EM more directed towards a panoply of electronic rhythms and which surfed on the various poles of the modern EM. This last album is very different to say the least. Offered completely free on the site, “The Image Has Cracked” is a very ambiospherical album lit by a very social vision with soundscapes fed by hummings, cracklings and a plethora of quirky noises which are carried by ambient, or abstract, patterns of rhythms. It's a very pessimistic sonic vision, and clearly in the tone, of the image of our modern society which is denounced as being guided by the corruption of the political systems in place. A glaucous album with a beautiful pallet of tones, of noises and of glitch. But would you be surprised if I told you that it's rather interesting all the same?
"Drips" plunges us straight out into the musical genre which waits for our ears throughout the 70 minutes of “The Image Has Cracked”. The intro is fed by long drones which float and derive in a sound panorama decorated with parasitic noises. There is quite a whole sound activity behind these lines of hummings, a little as a revolt which stirs up, with a troop of drummed pulsations which spread out its steps lost in a kind of spherical zigzag pattern.
Ivan Black brings out the arsenal of tones with a pallet of grayness which roams like a drizzle of white noises, whereas a kind of ambient crescendo livens up this long movement which intensifies its wall of atmospheres over these cracklings which try to breathe a life into this rhythmic revolt which will be more than passive. "Tugging at the Heart Strings" is a little built on the same model, but longer. More musical also, the wall of drones is more unctuous with layers of ambient voices, with a morphic down-tempo which will shake its last 10 minutes. "Impossible Object 1" is a very ambient track with a legion of white noises and of glitches which peck at our ears. It requests patience and a good open mind! "Stretching Metals" is the most lively track, the most in rhythm of “The Image Has Cracked”. The structure is boned with jumps, like a kind of Hip-Hop Glitch, unctuously abrupt and of which the roundness are chewed by a noisy flora. The title-track is the most linear of the album with large banks of noises which float like clouds of radioactive sounds and tones. That's the chant of emptiness! "Forget About Me" takes back a little the spirit of the first two tracks with an introduction sculpted into floating drones. The knocking resist to the hold of the sonic hoops before turning towards a more morphic down-tempo where they scatter in a calculated disorder.
An adventure, a vision of the power of the decision-makers put in music, “The Image Has Cracked” is the reflection of all the possibilities of those boxes maker of sounds and beats where the color of tones can really be heard. It's free and you have to taste, to tame it. It's a nice raid in the spheres of the modern EM, but that remains a work which risks to please to the curious. To those who love when the music goes out of its comfort zone.
Sylvain Lupari (January 26th, 2016) &
You will find this album here

lundi 25 janvier 2016

RAINBOW SERPENT: Pulse (2000/2015)

“Pulse is a great EM album which mixes marvellously two poles, the old as the new Berlin School, with two contrasting approaches which fit so well in those intricate ambiences”
1 Pulse Trancemission 15:12
2 Part I 13:25
3 Part II 10:45
4 Part III 10:28
5 Part IV 4:17
6 Alien Nature 14:23
7 Part V 9:50

SynGate Records ‎| RSX-4 (DDL/CD-r) ****
(Progressive vintage and contemporary EM)
WoW! I completely missed this album! And it is one of the good reasons that I esteem those re-editions of the SynGate label. Year in year out, the German label resuscitates an album forgotten in time on its download platform. An album which very often is an inescapable and which remained snuggled up well inside its borders. “Pulse” from Rainbow Serpent is this kind of album. Cast into 7 tracks which are linked in ambiences as convoluted than its rhythms weaved in a creative complexity, but which flow so well between the ears, this 8th album of Rainbow Serpent is the perfect example of the duality between the harmonious approach of Frank Specht and that a little more audacious of Gerd Wienekamp.
"Pulse Trancemission" begins very slowly with sighs of computing machines of which the echoes are amplifying the presence of emptiness. Electronic effects draw an informatics language, bringing the first track of “Pulse” near the borders of cosmic psychedelism. A pad of voices unveils a vintage perfume. It precedes the first pulsations of "Pulse Trancemission" which take the shape of those of a peaceful heart beat. Synths divide these pads between effects of voice and mist, without forgetting to spread an orchestral veil which serves as onset to a shower of crackling and ambient tom-toms which resound far off. Wrapped by a cosmic choir, the rhythm of "Pulse Trancemission" thwarts the forecasts with a heavy and lively approach. It spreads its parallel curves which wave with fluidity in the tumult of the ambient percussions, percussions kind of those tribal trances in
Schulze's Totem era as well as electronic effects and solos from a synth which whistle such as a mechanical nightingale with a mutating voice. Sometimes a pulsation gets lost and tries to run away. It loses of its vitality in the wide banks of interstellar layers filled of electronic chirping and in some faded voices, as well as in the pulsations which bring us to this fascinating electronic dialect of which the well tied up loops forge a surprising sequence of rhythm. The movement of "Part I" looks like the one of a carnival that we hear far off. Very far in the cosmos! Still there the movement is fluid. It hangs on to its oscillating loops which are leaning on sober pulsations and on lively noises of cymbals. The chants of the synths are piercing and draw acrobatic tricks which spin over these indefatigable curl of electronic rhythms. The percussions tumble down at around the 4th minute. Their scattered crashes structure an ambient rhythm, a little as Grosskopf in the ambiences of Klaus Schulze. A beautiful movement of dark sequences runs away while "Part I" wraps itself of mist around the 7th minute point. The rhythm becomes fluid and heavy, like in the Phaedra years, beneath pads of mist and of voices before that some more lively pulsations lead it not far from of a morphic techno. One of the charms of “Pulse” is doubtless this fusion of organic tones and ambient percussions which sound so much like Klaus Schulze's fathomless rhythms in Totem. Except that the contemporary envelope of the sound muddles up our memory, so that the impression of already heard gives way to a form of dazzle.

Little by little the rhythm which gets organize all around becomes a kind of cosmic Groove of which the swaying of the hips makes undulating our body in an intense cosmic phase. Synths and their effects are very melodious and get closer a lot of Frank Specht in Sebastian im Traum. It's a beautiful moment of a little more celestial mood before that the lively and fluid rhythm of "Part III" brings us no more and no less near of ['ramp], of Redshift or if you prefer in the good old Tangerine Dream days. The play of the percussions, so much the jingles as the Bongo drums, adds a more contemporary electronic depth to this rhythm buried under a good chthonian choir. It's very good. It's the track which catches our attention the quickest on the first exploration of “Pulse” which dives afterward into a very ambiospherical phase with "Part IV" and its vocoder which seems to recite a prayer over the bitter sight of battle field and its mist of sweat. That reminds me enormously of Pink Floyd in Animals, Sheep. The dialogue of the machines continues with "Natural Alien", a complex track which deserves to be discovered. The first listening could displeasant a little with this voice of machine which gabbles a secret language that only people of some very former nomad tribes seem to understand, if we trust this structure of rhythm which adopts a kind of clanic trance with pantings which blow in loops. That reminds me of the aboriginal structures of Steve Roach. The first 3 minutes of "Part V" prolong the ambiospherical phase of “Pulse” with a synth which frees multi-sonic twists over the jingles of the cymbals. A bass sequence beats a little after the 3rd minute, lighting up a nervous structure of rhythm where sequences and percussions flicker without a precise plan of rhythm before plunging this last track of “Pulse” towards a fast sequencer based electronic rock which is filled by a technoïd approach hidden in this Teutonic universe of rhythms unique to the approaches of these German groups which always knew how to bring their EM jewels of the Berliner style towards other heavens. Yep... a damned beautiful album. Not easy to tame but of an incomparable wealth.
Sylvain Lupari (January 24th, 2016) &
You will find this album on the SynGate Bandcamp page here

vendredi 22 janvier 2016

NORD: Bells of the Sun (2015)

“A nice EM with a good musical aestheticism, Bells of the Sun is in this same lineage of the Roumanian label with a crystalline sound wrapped in a spiral of minimalist mouvements”
1 Bells of the Sun 12:58
2 Heat 9:36
3 Radiation 11:45
4 Solar Wind 10:43
5 Waves of Soul 10:47

Kontinuum Productions (DDL 55:49) ***½
(Minimalist ambient beats)
Nord is part this new emergent wave of EM for Romania. Another talent of the Kontinuum Productions label, Sztakics Istvan Attila is inspired by the colors of the tones that he gets out from his equipments in order to give a direction to his albums. “Bells of the Sun” is thus imagined in the somber corridors of the shadows of a Rhodes piano created by synthesis on the North Lead 4. The structures are always guided by this minimalist approach which this time abandons the effects of hypnosis for moderate increases of the paces.
And that begins with the title-track and its keyboard chords which bloom and burst into suspension to forge a kind of funeral march. Synth pads, weaved in the sadness, accompany this clandestine procession with airs and tears stolen from the prism. The movement is ambient, almost astral with a kind of fluty tone which escapes from the shadows of certain chords. A pad knotted in tragedy wraps this fascinating symbiosis whereas that quite slowly a veil of emotion seizes the moods and its crescendo. A bass line is crawling in the background. As soon as we feel it, the ambiences of "Bells of the Sun" evaporate in order to make room for a good steady rhythm where the percussions answer their echoes and where a line of sequences makes its keys sparkle which flash like organic flies. Synth layers coo on what becomes a kind of good electronic rock. They spread a harmonious aura with soft and elastic airs which wave slowly while adopting a structure of rhythm which rises and comes down in a more and more rich sound decoration. "Heat" takes also this shape of march with a pulsating line which makes a single key pounds in the smoke decorations of a synth and of its wadding mist. The mist is of blue and caresses our ears of a sinuous movement, like those of the old Mellotron, scattering even pads which fly lightly on this rhythm arisen from a simple pulsation. Sleepy, the linear movement of "Heat" is pulsing laconically in mists which become scarlet. Mists which get soaked of cosmic elements which are swallowed by some interstellar waves. And according to the same rule as in "Bells of the Sun", the more "Heat" withers it's seconds and the more it shows its rich tone which is literally submerged in a cosmic envelope. "Radiation" is a long atone track where the noises, the drones and the tears of synth are of used as sinister atmospheres to a track which crushes itself under the radiations. Nord shows creativity here by giving the true color of sounds to the spirit of its title. Fans of sounds and atmospheres arisen from these sounds, this track is going to please you.
"Solar Wind" makes ring a regiment of sequences which parades in a narrow and sinuous corridor beneath a sky blocked by clouds which spit radioactive shadows. Other tones ring while the sound clouds expose more of radiances. The oscillations of sequences adopt some upward curves whereas jingles fill the rhythm of a nervous adrenalin. Although the whole thing  remains within the limits of an ambient beat, the rhythm evolves like a kind of a roller coaster which rolls in slow motion.  It follows cosmic paths before that some balls of steel skip violently, pushing "Solar Wind" in the same temperate fury of a good structure of EDM whom we had felt with the title-track. The percussions, effects of rattlers and the bass pulsations are structuring and decorate this linear techno while that synth pads wrap it with electronic effects and with cosmic orchestrations. It's the diversity of tones in a rhythm of lead which bursts its abscess with slightly stroboscopic strands. This is a very good track! The upward spiral is more lively, and also more harmonious, in "Waves of Soul" which unwinds its rosary of sequences in a minimalist approach which is calmed down by layers of voices and by others more sibylline. The movement proposes some nice and slow sinusoidal oscillations a bit dismantled, creating delicately stroboscopic strands. Chords join the beats and their airs of grumbling ducks which cackle add an organic touch to this structure which bronzes itself constantly of cosmic elements, such as celestial waves and delicately discreet angelic harmonies. "Waves of Soul" remains serial and increases slightly its pace without exploding like in "Solar Wind" or still the title-track. It's a good ambient rhythm adorned of nice chords and with nice electronic elements. In fact it's like the whole of “Bells of the Sun” which is just in the musical lineage of the Rumanian label with an elegant EM which favors rhythms and ambiences with some nice melodious and cosmic approaches. You taste is for a nice and melodious hypnotic EM? You can trust this one!
Sylvain Lupari (January 22nd, 2016) &
You will find this album on the Kontinuum Productions Bandcamp page here