Description
- Beneath Fear [6:06]
![MP3 soundclip of Beneath fear [3:00]](/wp-content/uploads/2022/11/m3u.gif)
- Different Pathways [5:18]
- Empty Human Cells [3:38]
- Increasing Complexity [5:52]
- Into The Caves Of The Mind [4:50]
- Interlude [2:09]
- Reflective [9:32]
- Mindmists [8:49]
- Pale Yellow Sky [5:42]
- Distracted [6:57]
- Crying Spells [4:15]
Dreamy, atmospheric textures and analog rhythms
Heathen Harvest Web Magazine / USA –
Bakis Sirros, the Greek man behind Parallel worlds is an expert in modular-step synthesizers, three previous albums on his account, several tracks in compositions, several concerts, moderator of Doepfer A100 modular users group and sound designer for the UK based company Analogue Systems, in short; most excellent vitae resume.
Expertise most of the times leads to one thing: Excellence. There are no exceptions to this rule. The more you know the more you will be able to transform your ideas and dreams into reality through your knowledge. In other words, knowledge is the lifes technique to express our dreams, the medium to comprehend their content and give it a form through a medium. Laptop programmers may create fantastic sounds and tracks but they are locked in the laptop just like prisoners. They lack the expansion and huge sound versatility that just complex synthesizers and sound engineered apparatus could bring. When you hear something like Parallel worlds and then compare it with the laptop wizards that abound in the IDM, Ambient, Industrial and electronica in general you’ll immediately get the picture. They are wizards indeed, but meanwhile stuff like Parallel worlds have had advanced to a god from sound. Needless to say that this rather obvious introduction is a direct compliment to Parallel worlds, a band that takes you as soon as you start to listen the first seconds of their music into another dimension where dreams take form and the contours of our reality dissolve in the nothingness of a stronger reality.
I had some sort of deja-vu and strange synesthetic experience after listening to Obsessive surrealism” for the first time
DL –
Electronic bleeps contrast with a lovely organic piano as ‘Beneath Fear’ gurgles into life. All manner of sounds fizz and slither around the piano melody- then in comes a sedate but sublime rhythm, ethereal pads sighing over it all. The beats become more aggressive then subside again leaving wonderful contrasting melodies. What an absolutely awesome opener this is: inventive, compelling but also easy to get on with.
‘Different Pathways’ takes an alternative but equally as effective approach. Strange alien animal sounds mix with a staccato rhythm which literally seems to crack with energy. We then go through a grungy section as if electricity is arcing, escaping from some vast energy source. Subtle lonesome little lead lines roll over the top demanding your attention. Each sound is so precise and covering most areas of the sonic spectrum but at no time is there a sense of clutter. It’s as if every single element can be heard and taken in. If anything extra were added it would be too much. If something were removed the track would not be complete. Perfect.
‘Empty Human Cells’ features melodic stabs over almost growling bass shudders which form a melodic focus all of their own. A deep rhythm purposefully stutters underneath. It’s almost as if some awesomely powerful but injured creature is making its way through the darkness. You wouldn’t want to meet it!
‘Increasing Complexity’ has a wonderfully moody five note repeated melody to which another rather sinister lead is added. A gentle rhythm compliments the melodies wonderfully but it’s the sounds chosen for the beats that are the most impressive feature- subtle rather than bludgeoning. Even though it’s all incredibly beautiful, there is something slightly unsettling about it at the same time.
‘Into the Caves of the Mind’ uses a repeated three-note melody which slowly rises up, floating through a sea of tinkling percussion. Mean drums crash out like a whip, joined my all manner of other fascinating syncopations- then its all calm again for a few moments. Weird manipulated and scrunched sounds mingle with each other, at one moment trying to meld into harmony then at the next seemingly vying for supremacy.
Whip- the drums return. Scratching creeping creatures emerge for ‘Interlude’, creating quite an eerie atmos.
‘Reflective’ starts with very moody pads. The drums give a feel of foreboding, a squelchy bass line heightening the tension whilst a lovely little questing melody provides a mysterious contrast. I’ve heard nothing like this combination of sounds and rhythms before and I’m completely drawn in by it all.
‘Mindmists’ contains yet another wonderful collage of sounds then piano and gurgling slithering effects. We start to chug along again and there’s even Mellotron thrown in there adding a further level of mystery. There is an unclutteredness to it all and yet so much is going on that it is just impossible to take it all in.
‘Pale Yellow Sky’ rumbles into life. And these rumbles are so incredibly deep. Little melodic note droplets fall like water from a carved roof high above. Ticking percussion mixes with the coolest a beats which grab the attention and don’t let go.
‘Distracted’ is initially a riot of bleeps and twittery sounds. Two sequences and a rapid staccato rhythm suddenly propel the track forward and I’m taken with it on the back of the bubbling cauldron of pulsations. Then it’s all stop and I’m left in a delightful state of float before the syncopations return and I’m off again. We finish with another rather spooky section, a voice being heard so low in the mix that it is impossible to work out the words. This of course makes it seem even more sinister.
‘Crying Spells’ has a slow build up, a throbbing pulse and swirling effects very gradually getting louder but never really bursting through. Again it’s all so tremendously moody but this time in a brooding understated sort of way.
What an album! File under ‘God Knows’ or ‘Genius’, both would be applicable. Truly unique and Very Highly Recommended to anyone who wants to try something that is new but also accessible.
2007. DL
Sylvain Lupari / Canada –
A sound wave, dark and droning hops in opening of Beneath Fear. A variegated intro, which lets emerge a fine piano melody, stiff in a dense sound fauna. This soft tune shares its harmonies with a cloud of tonalities as varied as the fear can have its reasons; flutes, whistling synth with the melodious set of themes, percussions hopping and jerking in a light and lugubrious environment. If the tempo is of equal appearance, it becomes more implosive in the end, hammering the rhythm with the force of fear. Interesting? Of course! Parallel Worlds, or Greek musician Bakis Sirros, presents a totally awesome title in Obsessive Surrealism; the perfect fusion between EM and electronica. A world of rich sound textures and disconcerting tempos, which are moulded perfectly to the sound effects and samplings meticulously proportioned by Bakis Sirros. This defender of analogical sonorities create thus an extraordinary effect of richness to juxtaposed dimensions, as in a parallel world, which fills with wonder and which changes many data in a musical world where the sound machines don?t have borders.
This gives additional languorous effects on titles like Different Pathways and the aggressive Into the Caves of the Mind where the ingenuous lead lines are absorbed by sound effects that propagate an opposite rhythm. An incredible and subtle moulding, as if my invisible clone would go in front of me and absorb me while passing… I mould in him and am his forms. Completely brilliant.
These strokes of genius pullulate on Obsessive Surrealism, of the avant-gardism publisher DIN Records, which specializes in the Contemporary Electronic Music.
With its vaporous gas jets, Empty Human Cells presents a static intro. Gradually, a circular tempo is install supported on deform bass and percussive, if not hammering, sound effects which flies, whereas environment becomes intriguing, on short symphonic layers.
With a title as striking as Increasing Complexity, we expect an insane swirl. But we have instead a small islands beat, with xylophonists percussions. The beauty of this track is this distortional line of electronic percussions, which is moulded to a suave and flowing tempo.
A beautiful throbbing tempo wakes up Reflective senses. Slow, like a hypnotic pulsation, a fat and round sequence oscillates through synthetic pads that float gently, on a more and more hopping sequence. A strange cascade, to strings synths, crosses this bouncing movement which takes a form of undulating jazz with bewitching layers and very effective percussions.
Whereas Mindmists makes us visit the corridors as deviating as Empty Human Cells, with more variances in the rhythms, Pale Yellow Sky is a beautiful meeting piano/cello, in a lounge environment of amplified percussions. Still, the tempo is solitary and is carved around sound effects and samplings.
Aggressive and tasty, Distracted strikes us full whip with a heavy electronic approach, as if Ramp would have built this movement. A powerful title which is an absolute synthetic effervescence, in a loud ambiance, bordering Mark Shreeve and Ramp limits. Still on the upbeat, Crying Spells has the look of its title. An intense paranoiac bolero, with unpleasant choirs on satanic pulsations. What an opus!
From the first to the last key, I was struck by the musical approach of Parallel Worlds on Obsessive Surrealism, which gives me the same impact as Brian Eno with Nerve Net. Everywhere, samplers and sound effects paper the parts length into broad, over sizing the structures, all in their giving an artistic depth to the astonishing paradox. Very good, very refreshing, we perceive the parallelism intrusion with an amazing subtlety, signs of a perfect symbiosis.
2007. Sylvain Lupari / Canada
Darren Bergstein / USA –
Drama, melodrama, psychodrama. Those states imbue the syllabus Greek electronician Bakis Sirros, operating under the nom de disque Parallel Worlds, has chosen as his dictum for Obsessive Surrealism, instructing us from out of the darker amphitheaters of the Berlin school, window blinds drawn tight. Well, perhaps ‘Berlin school’ isn’t the best appellation to use here. Sirros makes sounds that seem perfectly happy at play in the fields of the lords synth and sequencer, but what actually grunts and growls its way across the battered landscape reveals something of a distinctly modern Modular mind.
Titles such as ‘Beneath Fear’, ‘Empty Human Cells’, and ‘Into the Caves of the Mind’ connote a far more Freudian preoccupation with altered consciousness than the average desiccated Krautrock hippy. Fixating on feral pinging resonances, moody nomenclature, and the noises emitted by scuttling tiny electronic beasties going bump in the night, Obsessive Surrealism acts like the monkey wrench thrown in the machinery of B.S. (doubleentendre intentional, folks).
To wit: ‘Increasing Complexity’ is all prescience and poise, muddied pulses wafting in a nocturnal thrush of chimes and argumentative insect chatter, something of a respite from the terminator synth-tug that envelopes ‘Empty Human Cells’, which is about as exhilaratingly scary as the descriptor suggests. Sirros is no doubt attuned to the fact that space is indeed the place. But it’s inner space, though, those strange little areas in the ducts of the mind that fascinates him most, that lead directly to the malevolent monoliths of buzz, gurgle and drift set into motion on ‘Reflective’.
Yes, there’s some abject dread here in these synthetic surrealities, as if Sirros OD’ed on a surfeit of Philip K. Dick and 70s Harlan Ellison spec-fiction; ‘Pale Yellow Sky’ is a compelling enough experience in and of itself, curling noises eddying in and out of shimmering black vacuums that have no mouth yet must scream. The tension here is palpable, the music’s edges serrated, pitted.
This ain’t your usual pixie grinnin’ to the cosmos kind of thing, which is why time might paint Obsessive Surrealism as a minor masterpiece of the (anti)genre.
2007. Darren Bergstein / USA
Artemi Pugachov / Encyclopedia of Electronic Music –
What caught my attention first was the title of this new album by Greek synthesist and sound sculptor Bakis Sirros. Now, let’s see if there’s anything Dali-esque about the music.
Dark tones and some bleeps is what we get for a few seconds into Beneath Fear”. Then a moody melodic refrain comes in. It’s all rather dramatic
Britzel / Germany –
Gleich vorweg: hier gehts nicht um Clubtauglichen Industrial, oder Szenegerechten Gothic. Macht aber nix, es geht um gute, eigenstndige, elektronische Ambient Musik aus Griechenland. Bakis Sirros, aka Parallel Worlds schickt einen mit Obsessive Surrealism mit 11 Tracks fr knapp eine Stunde in eine andere Dimension.
Die Tracks bieten reichlich Abwechslung, pflegen dabei aber dennoch alle den gleichen Stiel: Sanfte Synthflchen bilden einen weichen Teppich, ber die sich einfache trumerische Melodien, und vor allem zahlreiche rhythmische Effekt- und Perkussionssounds legen. Mal zwitscherts, mal klirrts..
Im gesamten gibt sich ein schn melancholischer, atmosphrischer Sound, bei dem es viel zu entdecken gibt. Ideal zum relaxen, aber auch zum konzentriert hinhren. Ganz weghren ist mir jedenfalls nicht gelungen. Nach dem Motto alternating between darkness and light gibt sich die Stimmung manchmal positiv
Dieter Doepfer / Germany –
I’m very impressed and I heard the CD three times, some pieces even more. It is by far Parallel Worlds‘ best album and they will have problems to top it in the future :-). And believe me: I don’t say it because I want to ingratiate as the A-100 is mentioned and used. It is really a masterpiece of music but not only of sounds” (many of the cds obtain from other musicians include excellent sounds – but miss musicality
Phil Derby / Electroambient Space –
Greek musician Bakis Sirros is Parallel Worlds, and his Obsessive Surrealism album is an experimental work that is perfectly wedded to Ian Boddy‘s DiN label, ambient electronica that pushes the sonic envelope.
Beneath Fear” percolates with restrained aggression as light bass
Morpheus Music / United Kingdom –
Moody electronica with strong structures and deep atmospheric backdrops. Obsessive Surrealism delivers eleven melodic synthesiser tracks where low key beats or driving electro-grooves propel shadowy compositions with periodic hints of exposed Berlin roots. Rhythmic sequencer patterns work in tandem with programmed percussion to give most pieces a clearly measured pace, that said, the grooves often break down into fluttering interludes or textural ambient explorations. Parallel Worlds makes abundant use of analogue hardware to create a sound that harks back to the electronica of previous decades whilst set within a twenty first century context. The melodic content is understated, sometimes carried by drifting chord progressions; sometimes dimly lit phrases shot through with percolating, flickering sequences.
MOOD: The range of synthetic sound here is broad, inventive and engrossing; the style also quite varied from track to track – yet the whole album is very coherent, establishing a well thought out sonic environment. There is a fairly consistent shadow hanging over most of this album – low light technology and mysterious spaciness combining into sinewy, ominous themes. The beats at their most strident produce an engine-like drive, a dramatic futuristic regularity, almost militaristic – but frequently these are allowed to break down or disperse into lighter rhythms or even into beatless expanse.
ARTWORK: An abstract image that looks something like a photograph taken from a TV screen fills three panels of this package – thin horizontal bands of blue, red and green form dark geometric shapes – on the front a narrow white vertical strip holds the titles and the DiN catalogue numeral 26. On the reverse a broader strip of white holds track titles and their timings as well as informing listeners that this is a limited edition of 1000 copies only. Inside the two leaf booklet opens out to reveal a bank of sound gear illuminated by small rows of lights, meters and glowing digits. Facing this large image, the remaining inner panel is again white with black text in a simple font – a repeated track list, credits and thanks along with a gear list of ‘selected equipment’.
OVERALL: Parallel Worlds is primarily the project of Greek musician Bakis Sirros, although collaborators occasionally lend their talents to the name. Here Obsessive Surrealism is appropriately presented via Ian Boddy‘s DiN label – the experimental, slightly ambient approach to pure electronica fitting nicely into the label’s catalogue. Promotional material explains that Parallel Worlds use mostly Hardware machines. Mainly huge Analogue Modular systems and Analogue Step Sequencers of the past and present combined with digital FM and virtual analogue synths and sampling”. This love of gear is evident in the soundscaping of the music – in addition to the emotive nature of the compositions themselves
Dieter –
Dear Bakis, at the weekend I finally found the time to listen to your new CD unhurriedly. I’m very impressed and I heard the CD three times, some pieces even more. It is by far your best album and you will have problems to top it in the future :). And believe me: I don’t say it because I want to ingratiate as the A-100 is mentioned and used. It is really a masterpiece of music but not only of sounds” (many of the cds I obtain from other musicians include excellent sounds – but miss musicality
Sea Of Tranquility / USA –
Parallel Worlds is Bakis Sirros of Greece, and this is one of the best non-ambient, non-Berlin School (though the influences are there) albums of electronic music in recent memory with a mouthwatering arsenal of analog modulars and synthesizers, to boot.
Ten short and mid-length compositions (no epics) gives this a very soundtrack” feel. Ian Boddy‘s DiN label keeps churning out winners!
2007. Sea Of Tranquility / USA“
Divine / Dagheisha music –
Un surrealismo che incentra la propria ricerca sulle infinite potenzialit del Doepfer A100 modular e sulla combinazione tra atmosfere sognanti ispirate all’elettronica analogica e agli anni settanta quanto ai traguardi raggiunti in questi anni dalla musica ambient.
‘Obsessive Surrealism’ conferma la straordinaria visionariet di un Bakis Sirros sempre pi vincente nella catalogazione delle proprie emozioni e influenze. L’inesorabile e morboso incedere di questo manifesto ossessivo di elettronica moderna trova il suo apice assoluto in ‘Different Pathways’ e ‘Into The Caves Of The Mind’ che pitturano in un contesto schematico ma mai freddo la deframmentazione organica di quelle cellule visive con le quali siamo abituati a confrontarci quotidianamente.
Nessun confine e nessun limite stabilito in tale ricerca anche quando a tratteggiarsi sono ‘Pale Yellow Sky’ e ‘Crying Spells’ che si allontanano leggermente dall’imprevedibilit generale per ricordarci che anche le menti pi sperimentali amano sottolineare i propri concetti.
Non fatevi scappare l’artwork curato da Progs von Dn limitato alle prime 1000 copie.
2007. Divine / Dagheisha music
Michael Mock / CUEMIX Magazine –
Obsessive Surrealism is the new album by Parallel Worlds. An outstanding deep album with a multi layered structure. With each note of each track youll enter deeper and deeper the parallel worlds”. Bridging between classic electronic in the spirit of Tangerine Dream music and modern IDM artists this album sets a new benchmark. The use of analogue equipment gives this album nonesuch warmth that captures the listener.
But dont get me wrong this album doesnt sound “retro” or repeats the past; it keeps the faith in the roots of electronic music and opens the door into a new world of experimental music. The complex arrangements disperse a claustrophobic AND a snug feeling at once. This is intelligent song writing.
Right from the first notes of this album you have the feeling that you become a part of something special. Maybe an obsessive Surrealism!
A great album
Electrogothic.gr / Greece –
Obsessive Surrealism” is the fourth CD by Parallel Worlds. He has previously released “Existence” in 2003 and “Insight” in 2004 and “Far Away Light” in 2005. He has also had tracks included on several compilation releases.
The CD is a dense blend of very electronic-sounding elements with very organic-sounding ones. Sirros music on this CD emphasises synthesis
Glenn Folkvord –
From Greece comes not only Vangelis and Yanni, but also Parallel Worlds, an artist and sometimes duo that creates music solely on analogue-soundingsynthesizers, both modern and old types. Influences are Tangerine Dream, Klaus Schulze, Robert Rich, Steve Roach, Pete Namlook, Jarre, Biosphere,Autechre, Plaid, Plone, Seefeel and other artists, and a mix of all of the above is what you get on Obsessive Surrealism, though it is not music that necessarily is similar to the mentioned artists. The 11-track album offers spacious, dreamy, mostly rhythmic soundscapes with wide strokes of the soundbrush. The album sounds like high, clean production values and harmonic and melodic soundscapes.
Strong melodic themes are not the fort of this album, however. The emphasis is on rhythms, sounds, harmonics, structures and effects, rather than cute melodies.The sleeve notes lists an impressive cast of synthesizer actors”
Elias Granillo / Sea Of Tranquility –
It’s unmistakable: had John Carpenter sat down to record a studio album in the early ’80s independent of the scores he provided for his own movies with which engineer/synthesist Alan Howarth always lent a huge helping hand and mixing board or two the hypothetical end-product would have been very near what Obsessive Surrealism by Parallel Worlds (aka Greek synthesist Bakis Sirros) sounds like save the penultimate, more house-flavored track. Sirros‘s first recording for Ian Boddy‘s DiN label, Obsessive Surrealism might be the best-sounding purely electronic release this year, what with its minimalist melodies, healthy emphasis on Stygian textures, and phantasmal bass-sequences the sort that tend to overshadow other aspects of the composition. Sirros coaxed this textural triumph from a plenitude of genuinely analog modular equipment by Doepfer, Roland and Analogue Systems, and vintage pieces ranging from ARP’s 2600 & Odyssey and Yamaha’s VCS3 (two of them) to a Nord Modular and Korg’s MS-50/20 & Trident synths.
The Carpenter-isms aside, these Obsessive compositions do not ride the coattails of the past; even when the Rubycon-esque ‘Tron choirs provide a counterpoint to the serpentine bass sequence in Beneath Fear
Bill Binkelman / Wind and Wire –
Bakis Sirros (Parallel Worlds) reinvents retro-EM on Obsessive Surrealism, one of the best EM recordings of the year. As he weaves his way through eleven tracks (many under six minutes – a decision that I applaud, frankly), he immerses the listener in a shadowy realm where a myriad of past EM and electronica influences (chief among them are John Carpenters soundtracks) merge with a dark yet lush contemporary tint. A smattering of synth-pop touches, perhaps trace elements of Jarre, Tangerine Dream, or Synergy also surface, as well as echoes of contemporaries like Current, Di Evantile, and others. The music (much of it created on modular analogue instruments) is always couched in an atmosphere permeated with dread, foreboding, menace and mystery. Because the music frequently has a cinematic aspect to it, I think Sirros biggest influences were the music from films such as Escape from New York, The Fog, and to lesser degrees, Big Trouble in Little China and The Thing (and yes, I know The Thing soundtrack was actually composed by Ennio Morricone, thankyouverymuch). Regardless whether you will agree with me on this point, Obsessive Surrealism is an entertaining disc and certainly plays better in the foreground rather than as sonic wallpaper. Youll really want to listen to this one.
The opening Beneath Fear” gives you a good indication what to expect. Muted bell tones are set off against assorted skittering electronic FX and minor chord washes. Rhythms emerge gradually but build in intensity along with the addition of moody chorals.
“Different Pathways” begins with a steady snare and bass drum beat. Burbling static and organ-like chords are right out of The Thing
John Shanahan / Hypnagogue –
A strong sense of narrative drama underlies every track on Parallel Worlds superb new CD, Obsessive Surrealism. Lushly dark, beat-driven and meticulously constructed, Surrealism makes great use of frontman Bakis Sirros adoration for and mastery of analogue systems. Classic-feel electronic twiddle and sequencer runs blend smoothly with breathy synth pad textures as Sirros leads the listener through his shadowy musical explorations.
Beneath Fear” opens the disc with a gentle piano riff playing in the middle of an ever-darkening atmosphere. Electro-critters chirp in the undergrowth and a phantom chorus sings like a hymnal.
“Different Pathways” drips with something both sinister and urgent
Andy Garibaldi / Dead Earnest –
Ian Boddy‘s Din label is now famous world-wide as the leading electronic music label that mixes originality with accessibility – you won’t hear something on this label that bores you to death and you also won’t hear anything that bores holes in you. This is no exception.
The opening track, 6 minutes of Beneath Fear” immediately serves as testimony. There’s a melody line but it’s twisted
Tobias Fischer / Tokafi –
To explore strange new worlds, to seek out new life and new civilizations, to boldly go where no man has gone before: These are the aims immediately associated by many with the Berlin school of electronics and its vintage synthesizers. It is an analogy which has been both beneficial and detrimental to artists from this field, who have either used the association to their advantage or tried in vain to circumvent it.
On Obsessive Surrealism”
Eva / Gothtronic webzine –
This is the forth album of Parallel Worlds and I must say a real gem. The album gives a dreamy and dark feel with surprising smooth textures and intelligent use of sound. Parallel Worlds is clearly inspired by well known artists like Biosphere, Autechre and Boards Of Canada. Parallel Worlds is the main project of Bakis Sirros (with some occasional collaborators). It was originally founded in 1994, but only after 1998 they started to be a part of the active Greek electronic music scene.
The album starts with Beneath Fear, a song with a dramatic and dark Goth sound. Its a quite good starter of the album but certainly not the best.
The real highlights of the album are Increasing Complexity, Pale Yellow Sky and Reflective which build up perfectly. Specially Reflective has some real intense drones featured which lift the song to a higher level.
Into The Caves Of The Mind is a quite more nervous song considering the rest of the album, and is one of the lesser songs of the album.
The music on this album is relaxing ambient but disturbing at the same time, a real turn on for persons who love ambient with a slight dark touch.
Grade: 8.5
2008. Eva / Gothtronic webzine
Boomkat –
Parallel Worlds is Greek analogue synth fetishist Bakis Sirros, and on Obsessive Surrealism, his fourth full-length release, he shows the world that theres still life in the old step-sequencer yet. Reminiscent of early John Carpenter or Japanese synthesizer legend (and usual charity shop find) Isao Tomita this is basically an exercise in retro synthwork and theres nothing wrong with that in my book.
Cyclic reverberating percussion hisses and pops beneath waves of sequenced atmospheric sounds and what could so easily be merely a boring paean to times past is actually surprisingly intricate and very well produced indeed. Apparently Sirros is an expert in modular synthesizers, to the point where he is a point of contact for some modern synthesizer companies, and this expertise and familiarity with the instruments is what no doubt allows him to be able to create these epic expanses of synthesized sound. Occasionally we do drift into rather ambient territory but when its good Obsessive Surrealism gives Tangerine Dream a run for their money.
Krautrock fans and gear-hounds look closely, there is still music being made without an over-reliance on computer technology shock horror!
2007. Boomkat
Roel Steverink / The Netherlands –
Beneath fear”:
It has a beautiful mysterious atmosphere evoked by the bubbling and slithering of sounds. Very nice contrast of dark layers and lighter floating melodies and esoteric choir. It also shows a row of rhythmic peaks