![]() ![]() ![]() In the first track, the band marries towering symphonics to possessed vocals and primal snare rhythms, creating a feeling of vast sweep and power, as well as terror. (Thanks to both Rennie ( starkweather) and eitororm for recommending this EP.)Īn immersive 13-minute blackened folk-metal saga… majestically beautiful, but beleaguered in its moods… a mix of sublime singing, grim growls, tortured screams, and solemn words… continually mesmerizing in its evocations of ancient sounds, mythic climes, and yearning spirits (the prominent use of dancing flute and vibrant drumming often stands out)… builds to a sweeping, heart-pounding crescendo… and it comes with a gorgeous video, too. One hell of an electrifying trip by this one-man army from Cincinnati… remarkably multi-faceted and dynamic… wild and ravaging maniacal and magnificent ecstatic and exotic… packed with turbocharged riffs (both head-moving thrashers and fire-breathing scorchers) and crazed vocals, but also marked by descents into freezing gloom and keyboard-assisted ascents into realms of shining celestial wonder and unearthly peril… ![]() (Gratitude to eitororm for alerting me to this song.) …howling vocal madness and machine-gun drums (which eventually become more varied)… heaving low-end darkness… swirling melodies that sweep in grand waves, creating feelings of fervent buoyancy, haunting bleakness, mesmerizing grandeur, and solemn reverence (especially when joined by deep choral voices)… (Thanks go out to Miloš for passing me the link to this.) …blazing and boisterous… thrusting and thunderous… moody, melancholy, and mysterious at times, but mainly explosive and exhilarating (and highly addictive)… For much of it I resorted to fragmentary impressions rather than more complete reviews, or even complete sentences. Unfortunately for me, if not for you, I still didn’t have time to write as much as I would like about what I’ve selected for this column. Sitting on one of those benches, I think of the water flowing below, in the dark.I had more time this Sunday morning than I did yesterday to check out new music, focusing as I usually do on the blackened arts. Some stretches of these rivers even have an artificial brooks on top of the lids to recreate the land- scape of the old days. Now, most of these rivers are covered by concrete lids and many parts of them are converted into pathways with nicely lined-up trees and benches. Towards the east, down to the sea of Tokyo Bay, there are others which were man-made, created to distribute water. Some of them were natural rivers flowing from springs in this area. There used to be several small streams in west Tokyo, where I live. It is a testament to Nakamura’s skills as a producer, but moreover a recognition of his incred- ible craft and aesthetic sensibilities when it comes to creating something profound from literally nothing at all. The compositions are mini- malist in their form, but remain unconstrained, often veering into unexpected moments of deep quiet or explosive post-techno like grinds.Ĭulvert, the 10th volume in the No Input Mixing Board instrument series, expands the languages and approaches outlined on his previous effort, the 9th volume, which was released by Room40 in 2018. Each piece, moves between passages of deep rhythm and pulse which give way to caus- tic swaths of feedback, noise and at times a deep sense of harmony. On Culvert NIMB#10, Nakamura’s work takes on an incredibly dynamic and at times volcanic quality. He maintains a tireless sense of curiosity, seeking to constantly expand the range of the instrument and subvert its pre- conceived role. Over 10 volumes, Nakamura has stretched the capacities of the mixing console in ways that both shock and delight. Toshimaru Nakamura’s No Input Mixing Board instrument is without question one of the most per- sonal and experimental explorations of its kind. CULVERT - NO-INPUT MIXING BOARD 10 ROOM40
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