Hello, it's the final race before the summer break in F1 and Mercedes still leads the pack not as clearcut as previously, Red Bull is making a move on them whilst passing Ferrari who are still close. Rosberg is on poll and needs a good start because Hamilton will be eager to steal his glory in Germany. Verstappen and Riccardio will battle for third, with Ferrari trying to outsmart them with a better strategy. Could be an interesting race with plenty possibility of overtaking.
About today's artists, they shared the same label 'Extreme' both produced a shortlived excellent blip in the mid nineties. One uses electronic music to create a ethereal, multi-textured sound that builds around an electric bass core. Their mixture of organic and electronic instrumentation help them achieve a depth and complexitity of composition that is somewhat rare in ethno-ambient music. The other creates organic influence wrapped around electro sensibilities, it creates exotic constructions that skirt the borders of ambience, techno-lite and soundtrack with a vocabulary that is both stylish and deep. They nest layers of acoustica and electronica to create their unique and variable tone.......N'Joy
xxxxx xxxxx xxxxx xxxxx xxxxx
The duo known as Mo Boma (named after a pygmy girl's lullaby), is comprised of Carsten Tiedemann, a native of Germany, and Skuli Sverrisson, of Iceland, both of whom attended Berklee College of Music in Boston. Tiedemann's studies in classical composition structures and ethnic music traditions feature prominently in Mo Boma's style, which uses electronic music to create a ethereal, multi-textured sound that builds around Sverrisson's electric bass core. Sverrisson's own experience as a jazz bassist and improvisational musician also makes a major impact on Mo Boma's sound. The mixture of organic and electronic instrumentation help Mo Boma acheive a depth and complextity of composition that is somewhat rare in ethno-ambient music. Their debut album, Jijimuge, was issued in 1992, but perhaps the best example of their unique sound is their 1996 album, Myths of the Near Future, Vol. 1, which was vaguely inspired by the works of J.G. Ballard. It weaves percussive sections around a calm, shimmering vortex, anchored always by Sverrisson's bass. Mo Boma issued two more volumes of the Myths of the Near Future series in the mid-'90s, each featuring similar sounds, but playing tribute to their own unique themes.
xxxxx xxxxx xxxxx xxxxx xxxxx
A very nice blend of percussive, bass guitar-rooted rhythms with field recordings from Africa and a variety of synthesizer and sampler tones and textures. Mo Boma are based mainly in Sweden, though this album was recorded in a number of locations including South Africa. It's a fascinating blend of world and trance music, with part of its heart in the works of J.G. Ballard. Musically, the entire album has a tendency to shift slowly and gracefully around a calm center, sliding from drifting tones to percussive sections in a remarkably seamless manner. There's a lot happening in these tracks, whether it's the percussion, the environmental sounds, or bassist Skuli Sverrisson going off on an extended jazz jaunt on "Terrace." It's an album with which you can relax the mind and body and work up some creative fire, which is no small recommendation.
Mo Boma - Myths Of The Near Future I (flac 235mb)
01 Food Of The Gods 6:12
02 Walk Like A Pygmy 4:02
03 The Kindness Of Women 3:50
04 Slolooblade: The Drowned World 7:05
05 Terrace 3:42
06 Jijimuge Three (Yellow Earth - Amaboma) 7:10
07 Mongombi 3:48
08 Garden Of Time 5:45
09 Nyodi 5:20
xxxxx xxxxx xxxxx xxxxx xxxxx
With music dedicated to "the memory of the plants, animals, and indigenous peoples whose extinction is caused by man," Mo Boma mixes elements of ambient and world music combined with the same sort of new age-y classicism that drove much of Tangerine Dream's best work. But what sets the trio apart from more self-indulgent groups of the instrumental music genre is the incorporation of live instruments. Skuli Sverrisson's subtle, unobtrusive bass work recalls the bottom-end gurglings of Bill Laswell, while Carsten Tiedemann (who also contributes vocals, percussion, and African lute to the mix) plays guitar like a young Robert Fripp. But it's the synth work of Jamshied Sharifi that provokes Tangerine Dream comparisons, as his mature phrasing and textural layering sound like the product of a classical music background. The group uses source recordings from Central Africa as one element of its sound, but rather than the shallow gimmickry of groups like Deep Forest, such assimilations seem natural in the context of Mo Boma's exotic musical environments. A welcome addition to the ethno-ambient canon.
Mo Boma - Myths Of The Near Future II + III (flac 420mb)
01 First Thought Best Thought 2:05
02 Jijimuge Four (Thirsty Heavens+Papua Swirl) 6:10
03 Mo Fonk 3:25
04 Little Morf 2:40
05 Bombolionheart 5:30
06 Bataloo 4:00
07 Loony Toon 2:45
08 Mebasi 2:20
09 The Day Of Creation 4:30
10 Elima: Dance Of Girls 3:20
11 Bambuké 2:25
12 Ba 'Mbuti Minus One 1:55
Myths Of The Near Future III
01 Water Baka 4:21
02 Whirl 3:48
03 Dreaming Weavers 3:01
04 Secret Cargoes 3:57
05 The Crystal World 4:08
06 Day Of Forever 2:15
07 Memories Of The Space Age 5:02
08 Sannin Bayashi 2:26
09 Three Beaches C. S. 5:58
10 Molimo 5:54
xxxxx xxxxx xxxxx xxxxx xxxxx
Soma is the dark ambient and techno musical project of Australian composers David Thrussell and Pieter Bourke. The collaboration began in 1993 when Thrussell approached Bourke about the possibility of remixing Eden tracks. The Eden remixing sessions yielded the first Soma compositions. Soma developed into a full-time project when Bourke moved in with Thrussell after a fire had destroyed his flat, allowing the two more time to work together. Their debut album Hollow Earth was issued on Extreme Records in 1994 and was well-received critically.
There are firm underlying concepts behind each SOMA album. It's an organic thing. We don't consult our demographic charts or memorise the latest edition of "How To Win Critics and Influence Audiences". But themes and linkages naturally develop. For some reason the music of SOMA seems to circle the areas of magic, mystery and the 'supernatural'. On "Hollow Earth" the music and ideas naturally developed around obsessions with caves, water, soil, subterranean existence and the civilizations living beneath the earth's crust. On "The Inner Cinema" you can see an obvious rejection of late 20th Century cold materialism. "The Inner Cinema" celebrates passion, heroism, drama and emotion. We immersed ourselves in hot-blooded "Spaghetti Westerns", the lore of ancient and lost civilisations and bizarre sex and sacrifice rituals.
xxxxx xxxxx xxxxx xxxxx xxxxx
Powered by artists Pieter Bourke of Dead Can Dance fame and David Thrussell of electro acts Snog and Black Lung, Soma's debut, Hollow Earth, has the polish of veteran musicians. Bourke's organic influence wrapped around Thrussell's electro sensibilities creates exotic constructions that skirt the borders of ambience, techno-lite and soundtrack with a vocabulary that is both stylish and deep. Soma nest layers of acoustica and electronica to create their unique and variable tone. "Soma Romanz" is founded on a solid techno beat interspersed with electro pulses and a syncopated cowbell, and driven by a hauntingly simple, wordless female vocal sample. By contrast, "Sleepwalker" is much lighter and more mechanistically electro fare that approaches ambient techno. In parts of Hollow Earth, the obvious electronica recedes. "God Sends the Meat and the Devil Cooks" is a journey detailed with spaghetti-western guitar, rhythmically complex bongo, and a faraway synth melody. Soma has got complexity and depth, but it's not necessarily music that will keep you still. However, Soma's subtle darkness dodges between the poles of upbeat and brooding. One of the high points of Hollow Earth is "Dark Koma," in which another haunting female vocal plays a counterpoint against a screeching synth that threatens to overtake the melody, against electro bells and all-too-real percussions. As in most of Hollow Earth, the balance between elements is delicate and perfectly defined. Perhaps the only disappointing aspect of the release is that this tension itself is hard to sustain -- tracks such as "The Subterranean" and "Corporate Anthem Part 1" may threaten to become easy background music for some listeners. Hollow Earth may not reveal itself fully at first glance, but that is half the pleasure of getting to know this release. Energetic yet engaging, Hollow Earth is the music of imagined scenes that may take some time to settle, but is worth every moment. The style is a true hybrid of electronica, at times feeling like early sci-trance, but with a lot of unexpected breaks and transitions - engaging arrangements of lush and crisp sounds. A recurring bassline/mechanical drum theme pushes forward. Then there is also also a strong ambient element throughout, lots of twists and turns with a somewhat sacred vibe, but also great electronic bounce thanks to ample sequencing/synth techniques. It's a retro-futuristic drive and a hidden gem of Australian electronics.
Soma - Hollow Earth (flac 366mb)
01 Soil Theme 4:27
02 Soma Romanz 7:59
03 Sleepwalker 6:04
04 Nightsoil 4:52
05 Corporate Anthem Part 1 4:37
06 God Sends The Meat And The Devil Cooks 4:10
07 Corporate Anthem Part 2 3:21
08 Dark Koma 6:06
09 The Subterranean 4:15
10 The Black Lodge 6:01
11 Soma Romanz (Clovus) 6:17
12 Nowhere Nothin' Fuck Up 3:40
13 Hollow Earth 12:29
xxxxx xxxxx xxxxx xxxxx xxxxx
The Inner Cinema sees the collaboration between David Thrussell and Pieter Bourke evolve and deepen from the tone set by the debut release, Hollow Earth. Thrussell's hard electronic tendency, evidenced in his other acts, Snog and Black Lung, is tempered with Bourke's organic sensibility to create a range of soundscapes that compels the imagination. The different scenes that The Inner Cinema paints do not fall into the category of ambient mood music. Without breaking type, each track is different, setting up a distinct reflective feel that marries acoustic and electronic voices and cultural flavors. At times spaghetti Western, at others a panoramic establishment wide shot, and at yet others a poignant vignette, Soma has captured the imaginary spaces of soundtracks without films. "Stygian Vista" is a blend of steel-string guitar, smooth electro bass, and synth washes laced with small acoustic drums and gunshots. There is no weak point or even flow -- each of the ten remaining tracks is a stand-alone scene that tells its own story, each as well realized as the last. The mood on "The Drunken Atlantean" is different again, with a ponderous electro riff and light percussion that gain gravity as the track proceeds to its quiet conclusion. "Baal"'s urgency and driven percussion picks up the pace, reinforced by electronic elements and trumpets that come straight from the Ennio Morricone stable. Soma touches on a variety of moods without compromising the organizing principles of The Inner Cinema -- it just works. Neither artist's voice dominates in a space shared by two obviously talented artists. Soma has stolen glimpses of a faraway place and packaged them for review in The Inner Cinema. It is not the same tone as predecessor Hollow Earth, but the end you arrive at is not what Soma seems to be focused on -- it is the journey.
Soma - The Inner Cinema (flac 379mb)
01 Stygian Vista 7:26
02 Arcane 5:43
03 The Golden Dawn 5:58
04 The Drunken Atlantean 3:36
05 Baal 6:07
06 The Collector 5:43
07 Risen From Agartha 6:11
08 Antediluvian 4:27
09 Alchemical Nuptial 8:38
10 Shambhala 4:44
11 Endless 5:00
xxxxx xxxxx xxxxx xxxxx xxxxx
Not quite a new album, not quite a stand-alone EP, not entirely a remix collection, Stygian Vistas is an often enjoyable collection of moody instrumentals in the vein of Soma's earlier work. While it's perhaps easier to tell at a distance than at the time, Soma could be said to have had peers in groups like A Small Good Thing and Future Sound of London, bands who played around with ambient textures, breakbeats, worldwide sources of samples and instruments, and a sense of cinematic work, suggesting soundtracks to unfilmed movies. The use of twangy electric guitar on some tracks, calling to mind as it does the innovative work of Ennio Morricone, is the clearest connection to that last sense, as songs like the title track and "God Sends the Meat & the Devil Cooks (...And Cooks...and Cooks...)," the latter reappearing from Hollow Earth in a new form, amply demonstrate. At the same time the sense of tribal rhythms from many different sources demonstrates perhaps why Soma's Pieter Bourke later worked with Lisa Gerrard -- "The Olmec Enigma," with its beats intermixing between electronic and apparently acoustic elements (including what almost might be a sequenced guitar part), is a nicely moody example. The polite experiments with jungle on songs like "Amphibious Premonitions Bureau," while enjoyable, lack the careening edge that defines the best of such work. Of the outside remixes, the Nonplace Urban Field take on the title track is fair enough, but the Francois Tetaz take on "Riser From Agartha" is something else again, at once a deep, murkily sensuous dub and a crisp, upfront steady beat, a quavering vocal sample bridging the gap. The Fetisch Park remix of "Alchemical Nuptial" closes the album on an agreeable enough note.
Soma - Stygian Vistas EP (flac 263mb)
01 Stygian Vista (Radio Controlled) 4:03
02 God Sends The Meat And The Devil Cooks (...And Cooks...And Cooks...) 6:21
03 Amphibious Premonitions Bureau 5:08
04 The Lost Mathematician 4:39
05 The Olmec Enigma 6:02
06 Stygian Vista (Nonplace Urban Field Remix) 4:58
07 Risen From Agartha (François Tétaz Remix) 4:54
08 Alchemical Nuptial (Fetisch Park Remix) 7:56
xxxxx xxxxx xxxxx xxxxx xxxxx
About today's artists, they shared the same label 'Extreme' both produced a shortlived excellent blip in the mid nineties. One uses electronic music to create a ethereal, multi-textured sound that builds around an electric bass core. Their mixture of organic and electronic instrumentation help them achieve a depth and complexitity of composition that is somewhat rare in ethno-ambient music. The other creates organic influence wrapped around electro sensibilities, it creates exotic constructions that skirt the borders of ambience, techno-lite and soundtrack with a vocabulary that is both stylish and deep. They nest layers of acoustica and electronica to create their unique and variable tone.......N'Joy
xxxxx xxxxx xxxxx xxxxx xxxxx
The duo known as Mo Boma (named after a pygmy girl's lullaby), is comprised of Carsten Tiedemann, a native of Germany, and Skuli Sverrisson, of Iceland, both of whom attended Berklee College of Music in Boston. Tiedemann's studies in classical composition structures and ethnic music traditions feature prominently in Mo Boma's style, which uses electronic music to create a ethereal, multi-textured sound that builds around Sverrisson's electric bass core. Sverrisson's own experience as a jazz bassist and improvisational musician also makes a major impact on Mo Boma's sound. The mixture of organic and electronic instrumentation help Mo Boma acheive a depth and complextity of composition that is somewhat rare in ethno-ambient music. Their debut album, Jijimuge, was issued in 1992, but perhaps the best example of their unique sound is their 1996 album, Myths of the Near Future, Vol. 1, which was vaguely inspired by the works of J.G. Ballard. It weaves percussive sections around a calm, shimmering vortex, anchored always by Sverrisson's bass. Mo Boma issued two more volumes of the Myths of the Near Future series in the mid-'90s, each featuring similar sounds, but playing tribute to their own unique themes.
xxxxx xxxxx xxxxx xxxxx xxxxx
A very nice blend of percussive, bass guitar-rooted rhythms with field recordings from Africa and a variety of synthesizer and sampler tones and textures. Mo Boma are based mainly in Sweden, though this album was recorded in a number of locations including South Africa. It's a fascinating blend of world and trance music, with part of its heart in the works of J.G. Ballard. Musically, the entire album has a tendency to shift slowly and gracefully around a calm center, sliding from drifting tones to percussive sections in a remarkably seamless manner. There's a lot happening in these tracks, whether it's the percussion, the environmental sounds, or bassist Skuli Sverrisson going off on an extended jazz jaunt on "Terrace." It's an album with which you can relax the mind and body and work up some creative fire, which is no small recommendation.
Mo Boma - Myths Of The Near Future I (flac 235mb)
01 Food Of The Gods 6:12
02 Walk Like A Pygmy 4:02
03 The Kindness Of Women 3:50
04 Slolooblade: The Drowned World 7:05
05 Terrace 3:42
06 Jijimuge Three (Yellow Earth - Amaboma) 7:10
07 Mongombi 3:48
08 Garden Of Time 5:45
09 Nyodi 5:20
xxxxx xxxxx xxxxx xxxxx xxxxx
With music dedicated to "the memory of the plants, animals, and indigenous peoples whose extinction is caused by man," Mo Boma mixes elements of ambient and world music combined with the same sort of new age-y classicism that drove much of Tangerine Dream's best work. But what sets the trio apart from more self-indulgent groups of the instrumental music genre is the incorporation of live instruments. Skuli Sverrisson's subtle, unobtrusive bass work recalls the bottom-end gurglings of Bill Laswell, while Carsten Tiedemann (who also contributes vocals, percussion, and African lute to the mix) plays guitar like a young Robert Fripp. But it's the synth work of Jamshied Sharifi that provokes Tangerine Dream comparisons, as his mature phrasing and textural layering sound like the product of a classical music background. The group uses source recordings from Central Africa as one element of its sound, but rather than the shallow gimmickry of groups like Deep Forest, such assimilations seem natural in the context of Mo Boma's exotic musical environments. A welcome addition to the ethno-ambient canon.
Mo Boma - Myths Of The Near Future II + III (flac 420mb)
01 First Thought Best Thought 2:05
02 Jijimuge Four (Thirsty Heavens+Papua Swirl) 6:10
03 Mo Fonk 3:25
04 Little Morf 2:40
05 Bombolionheart 5:30
06 Bataloo 4:00
07 Loony Toon 2:45
08 Mebasi 2:20
09 The Day Of Creation 4:30
10 Elima: Dance Of Girls 3:20
11 Bambuké 2:25
12 Ba 'Mbuti Minus One 1:55
Myths Of The Near Future III
01 Water Baka 4:21
02 Whirl 3:48
03 Dreaming Weavers 3:01
04 Secret Cargoes 3:57
05 The Crystal World 4:08
06 Day Of Forever 2:15
07 Memories Of The Space Age 5:02
08 Sannin Bayashi 2:26
09 Three Beaches C. S. 5:58
10 Molimo 5:54
xxxxx xxxxx xxxxx xxxxx xxxxx
Soma is the dark ambient and techno musical project of Australian composers David Thrussell and Pieter Bourke. The collaboration began in 1993 when Thrussell approached Bourke about the possibility of remixing Eden tracks. The Eden remixing sessions yielded the first Soma compositions. Soma developed into a full-time project when Bourke moved in with Thrussell after a fire had destroyed his flat, allowing the two more time to work together. Their debut album Hollow Earth was issued on Extreme Records in 1994 and was well-received critically.
There are firm underlying concepts behind each SOMA album. It's an organic thing. We don't consult our demographic charts or memorise the latest edition of "How To Win Critics and Influence Audiences". But themes and linkages naturally develop. For some reason the music of SOMA seems to circle the areas of magic, mystery and the 'supernatural'. On "Hollow Earth" the music and ideas naturally developed around obsessions with caves, water, soil, subterranean existence and the civilizations living beneath the earth's crust. On "The Inner Cinema" you can see an obvious rejection of late 20th Century cold materialism. "The Inner Cinema" celebrates passion, heroism, drama and emotion. We immersed ourselves in hot-blooded "Spaghetti Westerns", the lore of ancient and lost civilisations and bizarre sex and sacrifice rituals.
xxxxx xxxxx xxxxx xxxxx xxxxx
Powered by artists Pieter Bourke of Dead Can Dance fame and David Thrussell of electro acts Snog and Black Lung, Soma's debut, Hollow Earth, has the polish of veteran musicians. Bourke's organic influence wrapped around Thrussell's electro sensibilities creates exotic constructions that skirt the borders of ambience, techno-lite and soundtrack with a vocabulary that is both stylish and deep. Soma nest layers of acoustica and electronica to create their unique and variable tone. "Soma Romanz" is founded on a solid techno beat interspersed with electro pulses and a syncopated cowbell, and driven by a hauntingly simple, wordless female vocal sample. By contrast, "Sleepwalker" is much lighter and more mechanistically electro fare that approaches ambient techno. In parts of Hollow Earth, the obvious electronica recedes. "God Sends the Meat and the Devil Cooks" is a journey detailed with spaghetti-western guitar, rhythmically complex bongo, and a faraway synth melody. Soma has got complexity and depth, but it's not necessarily music that will keep you still. However, Soma's subtle darkness dodges between the poles of upbeat and brooding. One of the high points of Hollow Earth is "Dark Koma," in which another haunting female vocal plays a counterpoint against a screeching synth that threatens to overtake the melody, against electro bells and all-too-real percussions. As in most of Hollow Earth, the balance between elements is delicate and perfectly defined. Perhaps the only disappointing aspect of the release is that this tension itself is hard to sustain -- tracks such as "The Subterranean" and "Corporate Anthem Part 1" may threaten to become easy background music for some listeners. Hollow Earth may not reveal itself fully at first glance, but that is half the pleasure of getting to know this release. Energetic yet engaging, Hollow Earth is the music of imagined scenes that may take some time to settle, but is worth every moment. The style is a true hybrid of electronica, at times feeling like early sci-trance, but with a lot of unexpected breaks and transitions - engaging arrangements of lush and crisp sounds. A recurring bassline/mechanical drum theme pushes forward. Then there is also also a strong ambient element throughout, lots of twists and turns with a somewhat sacred vibe, but also great electronic bounce thanks to ample sequencing/synth techniques. It's a retro-futuristic drive and a hidden gem of Australian electronics.
Soma - Hollow Earth (flac 366mb)
01 Soil Theme 4:27
02 Soma Romanz 7:59
03 Sleepwalker 6:04
04 Nightsoil 4:52
05 Corporate Anthem Part 1 4:37
06 God Sends The Meat And The Devil Cooks 4:10
07 Corporate Anthem Part 2 3:21
08 Dark Koma 6:06
09 The Subterranean 4:15
10 The Black Lodge 6:01
11 Soma Romanz (Clovus) 6:17
12 Nowhere Nothin' Fuck Up 3:40
13 Hollow Earth 12:29
xxxxx xxxxx xxxxx xxxxx xxxxx
The Inner Cinema sees the collaboration between David Thrussell and Pieter Bourke evolve and deepen from the tone set by the debut release, Hollow Earth. Thrussell's hard electronic tendency, evidenced in his other acts, Snog and Black Lung, is tempered with Bourke's organic sensibility to create a range of soundscapes that compels the imagination. The different scenes that The Inner Cinema paints do not fall into the category of ambient mood music. Without breaking type, each track is different, setting up a distinct reflective feel that marries acoustic and electronic voices and cultural flavors. At times spaghetti Western, at others a panoramic establishment wide shot, and at yet others a poignant vignette, Soma has captured the imaginary spaces of soundtracks without films. "Stygian Vista" is a blend of steel-string guitar, smooth electro bass, and synth washes laced with small acoustic drums and gunshots. There is no weak point or even flow -- each of the ten remaining tracks is a stand-alone scene that tells its own story, each as well realized as the last. The mood on "The Drunken Atlantean" is different again, with a ponderous electro riff and light percussion that gain gravity as the track proceeds to its quiet conclusion. "Baal"'s urgency and driven percussion picks up the pace, reinforced by electronic elements and trumpets that come straight from the Ennio Morricone stable. Soma touches on a variety of moods without compromising the organizing principles of The Inner Cinema -- it just works. Neither artist's voice dominates in a space shared by two obviously talented artists. Soma has stolen glimpses of a faraway place and packaged them for review in The Inner Cinema. It is not the same tone as predecessor Hollow Earth, but the end you arrive at is not what Soma seems to be focused on -- it is the journey.
Soma - The Inner Cinema (flac 379mb)
01 Stygian Vista 7:26
02 Arcane 5:43
03 The Golden Dawn 5:58
04 The Drunken Atlantean 3:36
05 Baal 6:07
06 The Collector 5:43
07 Risen From Agartha 6:11
08 Antediluvian 4:27
09 Alchemical Nuptial 8:38
10 Shambhala 4:44
11 Endless 5:00
xxxxx xxxxx xxxxx xxxxx xxxxx
Not quite a new album, not quite a stand-alone EP, not entirely a remix collection, Stygian Vistas is an often enjoyable collection of moody instrumentals in the vein of Soma's earlier work. While it's perhaps easier to tell at a distance than at the time, Soma could be said to have had peers in groups like A Small Good Thing and Future Sound of London, bands who played around with ambient textures, breakbeats, worldwide sources of samples and instruments, and a sense of cinematic work, suggesting soundtracks to unfilmed movies. The use of twangy electric guitar on some tracks, calling to mind as it does the innovative work of Ennio Morricone, is the clearest connection to that last sense, as songs like the title track and "God Sends the Meat & the Devil Cooks (...And Cooks...and Cooks...)," the latter reappearing from Hollow Earth in a new form, amply demonstrate. At the same time the sense of tribal rhythms from many different sources demonstrates perhaps why Soma's Pieter Bourke later worked with Lisa Gerrard -- "The Olmec Enigma," with its beats intermixing between electronic and apparently acoustic elements (including what almost might be a sequenced guitar part), is a nicely moody example. The polite experiments with jungle on songs like "Amphibious Premonitions Bureau," while enjoyable, lack the careening edge that defines the best of such work. Of the outside remixes, the Nonplace Urban Field take on the title track is fair enough, but the Francois Tetaz take on "Riser From Agartha" is something else again, at once a deep, murkily sensuous dub and a crisp, upfront steady beat, a quavering vocal sample bridging the gap. The Fetisch Park remix of "Alchemical Nuptial" closes the album on an agreeable enough note.
Soma - Stygian Vistas EP (flac 263mb)
01 Stygian Vista (Radio Controlled) 4:03
02 God Sends The Meat And The Devil Cooks (...And Cooks...And Cooks...) 6:21
03 Amphibious Premonitions Bureau 5:08
04 The Lost Mathematician 4:39
05 The Olmec Enigma 6:02
06 Stygian Vista (Nonplace Urban Field Remix) 4:58
07 Risen From Agartha (François Tétaz Remix) 4:54
08 Alchemical Nuptial (Fetisch Park Remix) 7:56
xxxxx xxxxx xxxxx xxxxx xxxxx
3 comments:
I'm really looking forward to hearing these. Extreme recordings put out some great stuff in the 90's. For all I know they're still going, but aside from the Mo Bomo releases, this is all new to me. Great post! Thank you!
i was actually listening to a compilation called 'narcosis' from 1997 that has a soma track on it, so many thanks rho :)
i have never heard 'mo bomo', so this will be uncharted territory for me.
the 'trost' album by 'fetisch park' was another artist on the compilation, which is also very good indeed (also on the 'extreme' label).
Evening Rho! Thanks for all the great posts recently. Would you be so kind to possibly re-up all these Extreme releases especially Pieter Bourke's Soma. Many thanks and stay safe & awesome.
Post a Comment