Flint Glass
Circumsounds
2008
CD 6-panel digipak with blue foil stamping
Out now !
Inspired by revered electronic pioneers like Tangerine Dream and Klaus Schulze, Flint Glass creates a futuristic sonic vision of brilliant neo-tribal rhythmics and lush occult soundscapes bound by vast cinematic atmospheres. After two critically-acclaimed full-length albums for Brume Records and the abrasive collaboration with Telepherique last year on Montreal's Angle.Rec label, Flint Glass now offers up his very best remix creations for such acts as Empusae, Polygon, Displacer, HIV+, Disharmony, OTX and many more ; all compiled into one stunning collection of music. Beautifully packaged and designed by imaginative visual artist Eye.Lyft, 'Circumsounds' is not merely a collection of random remixes, but instead manages to flow like a fresh body of work, thoroughly demonstrating the composition talents of this French artist.
Limited to 777 copies worldwide and embalmed in a unique 6-panel digipak with blue foil stamping,
this exclusive release is a must have for collectors and dark electronic music fans alike.
Track Listing :
01-Polygon- gestern
02-Thermidor -Plenum Aquae
03-Eretsua-Travelling light
04-Zonk’t- Air field
05-Shizuka- Les esprits
06-Empusae-beauty-of-decay
07-Suicide Inside-Angel
08-Prospero-contagion & rebirth
09-HIV+ - Havoc2027
10-Disharmony- Sacred Truth
11-HIV+- Doors Of Perception
12-Displacer- fueled
13-SFI Industries- Questions and answers
14-Tzolk'in-Zotz
15-OTX- Blood for oil
Circumsouds press review :
“Circumsounds” is the latest album from Paris based musician Gwenn Trémorin and follows 2002’s “Hierakonpolis”, 2006’s “Nyarlathotep” – both on Brume Records – and last years “Information Gigabyte”, an abrasive collaboration with Telepherique. The difference between this and Trémorin’s previous releases for the Brume Records is that “Circumsounds” is a compilation of remixes he has done for artists such as Zonk’t, Empusae, Suicide Inside, HIV+, Displacer and Tzolk’in. What is even more surprising about this release is that it is not collection of disparate remixes switching mood, tempo and style dramatically from track to track but a remarkably cohesive compilation. Maintaining an amazing level of consistency throughout, Trémorin skilfully reworks a diverse range of tracks from an equally diverse group of artists but manages to place his fingerprints all over each of them. Trémorin’s style is to mix dark droning textures, nightmarish swirls of sound, atmospheric melodies and precise pounding rhythms to form a hybrid industrial ambient sound of his own. Adjectives such as atmospheric, tense, dark, cinematic and disturbing all spring to mind when listening to “Circumsounds”. An intense and edgy sense of unseen evil pervades Trémorin’s music, heightened by the dark fluid textures he builds, the atmosphere he creates and the tense anxiety the adrenaline pumping rhythms inject. The overall effect is to create an “Edge Of The Seat” experience that is as enjoyable as it is unsettling.
(PL:8/9)PL.
http://www.side-line.com
Brume Records artist Flint Glass - actually a pseudonym for French musician Gwenn Trémorin - has already gained notoriety in the post-industrial and experimental electronic scene with two critically acclaimed albums. With Circumsounds, he presents an album that features a collection of his best remixes for other artists, not only sharing the limelight with his peers but also showcasing the range of his abilities. To listen to the record from beginning to end, one will notice the flow between tracks, carrying the listener through peaks and valleys of noisy beats and haunting ambiences. While this might not sound impressive by itself, it's interesting on this particular release as the cavernous symphonic swells and steadily creeping marches of distorted drums in Polygon's "Gestern" seep ever so subtly into the despairing melodies, insectoid electronics, and monstrous tribal energies of "Plenum Aquae" by Thermidor; two different artists brought together into a cohesive thematic construct. This continues throughout the record as Zonk't's "Air Field" presents a sparse array of glitches and subdued electronic blips gradually building to some rather catchy IDM rhythms, and Empusae's "Beauty of Decay" in which fractured samples flutter amid an abysmal drone giving way to a series of conservative but effective breakbeats and growls of deep bass. The same can be said "Fueled" by Displacer as oscillating synths quiver into a frenzy of industrialized IDM. It's all decidedly electro, but possessing the scope of classical music, creating the intimations of some grim or beastly presence, suitable for any dark ambient horror film soundtrack. Another notable track is the remix of "Sacred Truth" by Disharmony, which has a distinct Skinny Puppy flavor with ghastly vocals so similar to Nivek Ogre slashing abstractly across an array of fluctuating drumbeats and flashes of seemingly random noise. Where most remix collections would probably suffer from the same sense of confused schizophrenia as a regular compilation, with tracks by different artists moving casually through divergent styles with a minimal amount of solidity among them, Flint Glass manages on Circumsounds to bring together these different artists into a unified package thanks to his distinct stamp as a remixer. Without hearing the originals, one might be inclined to accept this album as Glass' own compositions, and while it doesn't break any new ground in the field of cross-genre post-industrial that is steadily becoming more prevalent in the underground electronic music scene, it does at least demonstrate the skills of a very fine artist who is at the very least making a positive contribution. Re: Gen e zine
. .To release a successful remix album (i.e., a compendium of songs by various artists, remixed by a single artist), an artist must first be of a certain caliber, that is to say, one that already exhibits a successful body of work. From this established portfolio are drawn various examples of the artist's craft and vision, each carefully selected and ordered to create a sort of retrospective that appears in album form, and more significantly, stands together as an entity independent of the sources from whence it derived. Aphex Twin did it brilliantly with the snide "26 Mixes For Cash" (2003), a walloping paragon of the remix album model. Flint Glass (Gwenn Trémorin), having built a name in post-industrial dark electronics through various releases, remixes and side projects (notably Tzolk'in), not to mention tireless creativity and production prowess, delivers a natural winner with "Circumsounds." Jointly released on Trémorin's own Brume Records and on the relatively young label Tympanik Audio, the disc holds a collection of uniquely Flint Glass treatments, material taken from fourteen artists, which demonstrates Trémorin's competence in his art. This is a man who knows what to do upon receiving a remix kit.
"Circumsounds" gathers tracks from several of the usual suspects (Zonk't, Tzolk'in, Sci Fi Industries, Prospero, HIV+, Empusae, Displacer) and other, lesser known or unexpected projects (Thermidor, Suicide Inside, Shizuka, OTX, Polygon, Eretsua, Disharmony), overall a healthy mixture of sounds and sources by which Flint Glass can prove remixing adroitness. The collection begins quietly, setting a mood befitting this brand of music with Polygon's "Gestern" and "Plenum Aquae" from Thermidor. These openers build gradually, with oppressive ambient passages and penetrating, saturnine effects. Stormy "Plenum Aquae" is instrumental in introducing the resonating drums and soaring movement that characterizes "Circumsounds," an indelible Flint Glass signature imprinted on each of the collection's haunting pieces. The prominent drums serve throughout as primal pulse and emphatic structure for an atmosphere unmatched in depth and darkness, the gripping, menacing force that seethes and festers in the periphery. Tracks like Shizuka's "Les Esprits," "Doors of Perception" from HIV+ and "Air Field" by Zonk't confirm that spacious, minimal arrangements are where Flint Glass excels, though others such as Empusae's "Beauty-of-Decay," Suicide Inside's "Angel" and Disharmony's "Sacred Truth" argue Trémorin's virtuosity lies in heavier, rhythmic noise orientations. "Contagion & Rebirth" from Prospero hits home with evil drum'n'bass, and the remarkable Displacer and Tzolk'in takes provide enduring validation of the "Circumsounds" gestalt. In short, this remix album is not to be missed. Dutton Hauhart [9/10]
http://www.connexionbizarre.net
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One of the most important artists on the Tympanik Audio roster is, without any doubt, Gwenn Trémorin aka Flintglass and the way their relationship will develop could be defining to the label as a whole: Trémorin is one of the few producers capable of reaching back in time for inspiration without sacrificing his soul on the alters of retro. He is also a composer whose vision seamlessly includes the mechanical metrum of digital beats and a highly sensitive musicality - the result of a past as a bassist with a love for sludgy Indie Rock.
While there is as yet no information on a new full-length of original material, “Circumsounds” is a great way to kill time until it arrives. A 72-minute collection of 15 tracks, the disc highlight’s Flint Glass’ talents as a remixer – not necessarily a capacity he has become famous for, but one he obviously esteems highly. “Circumsounds” is an eclectic mix of styles and genres, moods and approaches marked by a great respect for the original author and the unfaltering will to take these pieces to the same hypnotically deep space as his own pieces.
A lot of the tunes here are powered by the recognisable broken beats of IDM. Sensual, slow and powdered with a fine coating of controlled distortion, the transparent and crystaline mix brings the warm bass impulses, creepy ambiances and every single sonic detail to the fore, creating a pristine and alluring panoramic sound. In addition, however, there is a whole array of spikey tracks which agreably fail to live up to any easy expectations or pre-defined characteristics. Trémorin’s take on HIV’s “Doors of Perception” is obsessed with nightmarish fogs and breaths, with the filigree drum track stoically pounding and puckering away in the distance.
Seagued into a continous set, the general flow is more important than individual tracks and yet, there are several moments of bliss that stand out for their contagious potential: The premonitious resonance of “Air Field” condensing into weightless beats, the way “Les Esprits” (formerly by Shizuka) grooves like a spaceship in Chinatown and the prismatically cinematic trance of closer “Blood for Oil”. “Circumsounds” blends Ritual, Ambient, Industrial, Dance, Gothic and Drum n Noise into a smooth and fruitful cocktail, best served loud and making for one of the ideal alternative soundtracks to this Summer.http://www.tokafi.com
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Remixeur émérite, notre compatriote Gwenn Trémorin, alias Flint Glass, a apporté ses couleurs, rituelles et ambient, à nombre de projets au fil des ans, pour des relectures souvent bien meilleures que l’original qu’elles utilisaient comme base. Souvent difficiles à trouver, ces remixes sont aujourd’hui compilés sur Circumsounds qui reprend quinze remixes réalisés, entre autres, pour Empusae, Suicide Inside, HIV+, Tzolk’in, Zonk’t ou Displacer. Allant du plus expérimental (Zonk’t) au plus ambient (Polygon), sans oublier le breakbeat (Prospéro) ou l’indus (Disharmony), cette collection de remixes fait montre d’une grande cohérence, Flint Glass, en fervent adepte de la collaboration, ayant le don de faire sien les univers des autres pour accoucher d’un territoire intermédiaire ou chacun retrouvera ses marques selon que son point d’entrée soit l’artiste initial ou le remixeur. Alors même que le remix, en se généralisant, commence un peu à perdre de son attrait initial, Flint Glass prouve, en réunissant les siens ici, que c’est finalement dans la globalité que l’on peut percevoir le propos créatif..Jean-François Micard/ D-Side Magazine
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Métaboliser. Voici le premier verbe qui jaillit de mon esprit dès les premières sonorités émises à l’écoute de cet opus.
Pourquoi « métaboliser » ? : reprenons la définition : transformer et assimiler (une substance). Et c’est bien de cela qu’il s’agit. Flint Glass, l’entité complexe et dense, protéiforme, a littéralement métabolisé de nobles substances.
Gwenn Trémorin compile ici ses travaux réalisés dans le cadre de remixes. Et les noms font rêver : Polygon, Empusae, HIV+, Disharmony, pour ne citer qu’eux. Ces substances se sont laissées absorber, digérer, modifier par l’implacable travail biochimique de Flint Glass : Textures denses et lisses, percussions tribales et électroniques affûtées qui s’entrechoquent, distorsions élégantes, mélodies judicieuses, nous évoluons dans un univers calibré, l’organisme ne prenant ce dont il a besoin pour exister. Pour preuve, l’aspect éminemment homogène de l’ensemble.
Homogénéité ne s’associe pas à l’ennui, car pris indépendamment, les morceaux retravaillés ont tous leur climat, leur autonomie. Certains, très cinématographiques dans leur déploiement font place à plus dansants, flirtant avec une DnB distordue par exemple, ou plus sombres, plus hypnotiques. Ce recueil se traverse avec un plaisir sans entrave, le métabolisme œuvrant sans dénaturer l’audace et l’intérêt musical du morceau initial mais en apportant cette patine finale qui est la marque de fabrique de Flint Glass. Une belle leçon de savoir-faire, l’exercice ne souffrant d’aucune baisse d’intérêt ou de facilité.
Les remixés peuvent être fiers de voir leur matière première jetées en pâture à la Créature devenir tout cela.
Axess Code
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Flint Glass is the project of the Parisian Gwenn Tremorin, who also runs the Brume records label and with Flint Glass he creates intelligent dark electronic Music in which tribal rhythms and an occult ritual atmosphere form the core of its musical outings. The music of Flint Glass especially appeals to the imagination and it will not be much of a surprise that Flint Glass is a much sought after remixer for other projects. On Circumsounds the best remixes of this talented French electronic project have been compiled for the first time.
Thus you’ll hear a remake of the ‘Air Field’ track from the French experimental Zonk’t project, a remix of ‘Beauty of Decay’ from the befriended Belgian ritual-ambient industrial project Empusae, a ripped apart interpretation of ‘Angel’ from the industrial project Suicide Inside, two remixes or tracks from HIV+, with a remix of ‘Doors of Perception’ and of the successful track ‘Havoc 2027′.
Furthermore you will find remixes of tracks from the dark ambient project Thermidor, the experimental idm / electronic project Eretsua, the French industrial project Shizuka, the Canadian idm-electro-industrial act Prospero, the solid Slovakian EBM/idm project Disharmony, the phenomenal idm project Displacer, the Empusae vs Flint Glass revelation Tzolk’in, the adventurous Portuguese project Sci Fi Industries and the French electronic alchemist OTX. You will notice on this release how Flint Glass has managed to integrate its typical enchanting sound in the various remixes from this musically diverse selection of artists.
The track list have been compiled with care and Circumsounds comes across as a Flint Glass release. Personally is find the remixes of the tracks from Empusae, Suicide Inside, Prospero, Displacer and OTX the most accomplished since the synergy between the music of both artists work the best here. The cd is beautifully packaged into a digipack which has been designed by Eye.Lyft. Recommended to fans of dark electronic soundscape music and more specifically the work of Flint Glass. Released as joint-venture between Tympanik Audio and Brume records. [8/10] Reviewed by TekNoir www.gothtronic.com
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Flint Glass’s latest limited edition release “Circumsounds” is a collection of remixes that Glass has done for various artists. However, what makes this collection unique is that it is not a haphazardly thrown together collection of remixes that is all over the place in style and quality (e.g. Twenty-Six Mixes for Cash). But rather, the remixes were carefully selected to have the thematic flow of an album of original material. The overall sound of “Circumsounds” is instrumental dark electronica that blends elements of EBM, IDM, drum and bass, and a hint of glitch. What’s impressive about the album (and also seems to be a trend in most Tympanik Audio releases) is the rather organic sound that it develops through its use of synthesizers and samples, which works to create a vibe that is more fluid and not as cold and sterile as a lot of modern industrial tends to be. The only complaint that I would have with “Circumsounds” is that it is too good at what does, in that while all of the remixes work together in a very cohesive manner, it does at times cause the album to sound a bit repetitive. While the album as a whole is rather fast paced, the standout tracks of the collection are the more mellow cuts such as HIV+’s “Havoc2027” and Tzolk’in’s “Zots.” However, it must be noted that Glass’s remix for OTX’s “Blood for Oil” is definitely destined to be a club classic. http://www.chaindlk.com
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Gute Musiker sind vielleicht nicht immer in der Lage, ihre eigenen Werke gekonnt an den Mann zu bringen, sie haben aber dennoch aufgrund ihres enormen Wissens oder ihre für Kenner tollen Songs einen hohen Stellenwert bei Musikerkollegen. Flint Glass sind da natürlich keine Ausnahme. Auch wenn die Band schon einen etwas größeren Status hat und der eine oder andere vielleicht sagt, den Namen habe er schon irgendwie mal gehört, so gehört dieses Projekt immer noch zu den Underdogs. Der Grund liegt nahe: Die Musik, die Flint Glass, ist alles, nur nicht einfach zu verdauen. Flint Glass haben sich auf einen Dark Ambient Sound spezialisiert, der zu hören beim Hörer eine ganze Menge Aufmerksamkeit und Anspruch voraussetzt. Dennoch oder vielleicht gerade deswegen haben viele Bands Flint Glass angefragt, Songs zu remixen. Das Ergebnis kann man jetzt auf „Circumsounds“ hören. Bands wie Polygon oder auch HIV+ haben sich an den Tastengott und Soundtüftler gewandt und um eine Neuinterpretation ihrer Songs gebeten. Die Ergebnisse verblüffen durchgehend, sind die Songs eigentlich kaum mehr oder nur sehr selten etwas klarer zu erkennen. Flint Glass lässt es sich eben nicht nehmen, die Songs komplett neu zusammenzubauen (was ihn von anderen Musikern unterscheidet, die meinen, einen Remix vollführt zu haben, wenn sie mal hier oder da eine Sequenz etwas anders filtern). Daher ist „Circumsounds“ auch schon wieder fast so etwas wie ein eigenes Album. Wie man es auch nennen mag: „Circumsounds“ vollführt einen geschickten Spagat zwischen Dark Ambient und Industrial, wirkt dabei aber weder konfus noch kopflastig. Eine sehr schöne Scheibe und mal etwas fürs Hirn. Tipp! 5.5 /6 http://elektrauma.de
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A novel approach to the standard remix album. Rather than a collection of Flint Glass works remixed by other artists, this is Gwenn’s approach to other artists within the scene. As we know nowadays a standard remix isn’t merely changing levels on a track, it’s a complete re-work. As such this should be a different affair to the norm, and I was very interested as to what FG would bring to the table.Having heard most of the artists on show before this did help when gathering together the different perspectives and evolutions of the tracks laid before me.
The first part of the album concentrates on those acts that delve around in more ambient circles, an area that FG knows all too well, with a lot of his own work. What’s in store is an aural treat with a rich plethora of soundscapes and tribal ritualistic movements that’s come crashing through your speakers with a hypnotic paranoid resonance.
Circumsounds has that aura of mystery to it. It evolves, it twists, it turns and it keeps you on edge every step of the way, never once losing that all essential flow to keep your mind on edge and your senses aroused.
What I genuinely love is that with such a broad range of artists with different styles in their own right, FG has managed to keep it all cohesive and relevant enough so that acts such as Sci-Fi industries who are more electro friendly in their approach don’t sound out of place next to the more enigmatic of artists such as Displacer and such like. It would have been very easy to produce a mash up of work and styles that didn’t fit so easily side by side.
Circumsounds sits neatky in the FG back catalogue as a portent to the next full-length album from this prolific artist and will keep me satiated until the next chapter.
8.5/10 http://enochianapocalypse.com
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Специально для cамых ярых поклонников и коллекционеров совместными усилиями французского лейбла Brume Records и американской партнерской фирмы Tympanik Audio в июне ограниченным тиражом в 777 экземпляров в оригинально подсвеченном и графически украшенном художником Eye.Lyft шестипанельном дигипаке был издан сборник ремиксов, сделанных одним из наиболее талантливых дарк эмбиент-индастриэл-нео-трибал-power rhythmic noise проектов современности FLINT GLASS на композиции таких групп как POLYGON, THERMIDOR, ERETSUA, ZONK'T, SHIZUKA, EMPUSAE, SUICIDE INSIDE, PROSPERO, HIV+, DISHARMONY, DISPLACER, SFI INDUSTRIES, TZOLK'IN и OTX. Полагаю, что отдельные вещи с данного сборника вы уже могли слышать ранее на альбомах и синглах вышеперечисленных команд, но охватить весь ремиксовый багаж FLINT GLASS удалось, вероятно, лишь единицам. По крайней мере, шесть из пятнадцати ремиксов FLINT GLASS, представленных на диске, я услышал впервые. Можно с уверенностью сказать, что на "Circumsounds" Gwenn Tremorin остается верен себе и даже в ремиксах с фантазией, щепетильностью и специфическим технологичным драйвом продолжает создавать мрачные и таинственные футуристические звуковые ландшафты с массивными трибально-урбанистическими ритмами, гипнотизирующими или вводящими в оцепенение оккультными влияниями, а также экспериментами нойз-эмбиентного толка. Научно-фантастическая, хоррор, фэнтези кинематографичность и визуальная насыщенность треков заставляют сразу же вспомнить два замечательных альбома французского музыканта. При этом, по заверениям самого музыканта, ремиксы собраны на диске не в случайном порядке, а плавно перетекают друг в друга, образуя целостное музыкальное полотно и в некотором роде создавая новый опыт, иллюзию "свежего альбома" самого FLINT GLASS. Только если рассматривать "Circumsounds" как полноформатный альбом, то он, на мой взгляд, не выглядит шедевральным, безупречным в плане исполнения или интересным от самого начала до конца. Виной тому пара-тройка не совсем удачных ремиксов. Так, из-за слабых "вокалов", дешево звучащих дисторшнов и общей блеклой ритмики мне совершенно не понравился агрессивный и крикливый ремикс, сделанный на песню белорусов SUICIDE INSIDE "Angel". Он выпадает из общей концепции сборника и выглядит инородным. Ровно как "чужим" выглядит на диске и стандартный индустриально-брейкоровый ремикс на трек PROSPERO "Contagion & Rebirth". Наконец, какое-то невнятное впечатление произвел на меня ремикс, сочиненный по мотивам композиции POLYGON "Gestern". На роль вступления он еще, пожалуй, сгодится, но не более того. В остальном, материал на диске подобран совсем недурственный и преимущественно тяготеющий к очень мрачному и густому эмбиенту, с завидной периодичностью переходящему в тяжеловесные трибальные вздрагивания и мощные индустриальные покачивания с холодными индустриальными завихрениями. На мой взгляд, самые лучшие ремиксы сделаны французским музыкантом на треки ZONK'T "Air Field", ERETSUA "Travelling Light", EMPUSAE "Beauty-Of-Decay", DISHARMONY "Sacred Truth", SFI INDUSTRIES "Questions And Answers", TZOLK'IN "Zotz" и OTX "Blood For Oil". Резюме: данный сборник адресован в первую очередь всем фанатам FLINT GLASS, а также ненавязчиво рекомендуется для ознакомления поклонникам качественной, атмосферно-ритмической дарк электроники. При этом будущим слушателям диска лучше настроиться на спокойное, погруженное и вдумчивое прослушивание и не ждать от релиза каких бы то ни было откровений композиционного, мелодического или ритмического толка. Просто рассматривайте "Circumsounds" как неожиданный и приятный экспериментальный бонус к уже имеющимся в вашей коллекции альбомам FLINT GLASS. На диске больше знакомых, нежели новых для вас звуков. А еще настоящий Мастер чувствуется даже в ремиксах. [8 /10] http://www.machinistmusic.net
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Les remix sont plus qu’à leur tour utilisé à de simple fin mercantile. Un petit ep par si, un long lp par là, on le bourre de remix cheap, simple amalgame de boom boom et de sons inutiles sur une pièce qui n’a guère changé. Vite fait et en quantité limitée ça rempli bien les coffres de certains labels. C’est tout à fait triste car il y a réellement des artistes qui font de petits bijoux avec des remixes, pas seulement des citations et des empilages de sons. Non, de véritable ré-interprétation qui emporte une œuvre plus loin. Gwenn Tremorin, alias flint glass, nous démontre avec son circumsounds qu’un remix peut être une œuvre a part entière et non pas un simple accompagnement bon marché et mercantile d’un album. A entendre ces pièces, nous sommes véritablement loin des originaux et l’on ressent la patte de flint glass. Ce n’est pas un album majeur pour ce projet parisien, mais plutôt un bon complément qui nous démontre l’étendu de son travail. La qualité des pièces est peut être légèrement inégal mais cela reste un espèce de bonbon en attendent le prochain album de flint glass. Belle note aussi à l’esthétique du cd, par eyelift, qui travaille depuis un bon bout de temps avec flint glass, vraiment un look dans l’esprit de l’album. www.plastikmekanik.blogspot.com
Formed in 1999 by Paris-based musician Gwenn Trémorin, FLINT GLASS gained a strong reputation of being one of the most talented heads when it comes to electronica and ambient. Over the years he released two albums and one EP, more than just-well received by the press. Besides FLINT GLASS, Gwenn is also a co-founder of the French label Brume Records, a label for experimental electronica and he’s one half of the Tzolk’in project, a collaboration between FLINT GLASS and EMPUSAE, recently releasing their second album ‘Haab’, but now it’s time for ‘Circumsounds’ which presents a collection of remixes Flint GLASS made over the years…
Opening the collection is ‘Gestern’ that instantly opens the room to haunting layers of dull ambiance made of strings and field recordings, imbued with German speech samples and from out of the rain, a distant rhythm appears to develop further to distorted drum section. Further on with ‘Plenum Aquae’, where the scenery changes to a dark night where a storm slowly becomes a blusterous inferno to step in the background a while later and make way foe melodic textures giving the track a majestic experience, accompanied elaborated tribal rhythms. ‘Travelling Light’ opts for a slightly different path by putting a seemingly living beat under a coat of dark ambient and microscopic melody fragments that seem to dance over it, while the rhythm evolves to a concentrated layer monster. Now we’re heading towards the ‘Air Field’, starting with a field recording and what appears to be a random series of clicks in the beginning turns out to be a precisely crafted pattern, woven into it and while we’re making our way through the night more noises and sounds appear to emerge in a compact rhythm in the end. A disturbing sequence of chopped and manipulated sound fragments leads us to a pretty standard sounding beat, but it’s still a matter of ho wit’s used with its dozens of small additions that keeps the song interesting for me. The agonized souls of tortured souls are wafting through endless corridors in ‘Beauty of decay’, pierced by layered tribal rhythms broken by abrasive outbursts of distorted industrial. Not light-footed but heavy as a stone ‘Angel’ comes along with eclectic warped industrial rhythms put under a contrasting melange of tiny bell melodies and destructive noise sequences with a little surprise at the end…
Questo album è una semplice raccolta di remixes che Flint Glass ha fatto negli anni, alcuni editi, altri no, alcuni lavorando su nomi abbastanza noti (HIV+ ed Empusae), altri decisamente di nicchia.
Quello che risulta evidente ascoltando la raccolta è che più che un omaggio ai gruppi l'album appare un omaggio alle capacità di FG non fosse per il fatto che in alcuni casi la versione remix supera di gran lunga quella originale. E qui ci si addentra in un discorso più vasto: che la cultura del remix sia parte primigenia del mondo dell'electro è risaputo, meno chiaro è onestamente quale possa essere il significato di una operazione che vede coinvolti gruppi del settore, o semisconosciuti o comunque legati alla Brume, rielaborati da un collega/amico in tempi diversi, se non quello di mettere in mostra la, per altro nota, sagacia tecnica di Flint Glass.
Detto questo non resta molto da aggiungere; come in ogni raccolta ci sono pezzi che convincono di più, la versione di "Angel" dei Suicide Inside o la techno di "Blood For Oil" di OTX, e brani che piacciono meno, personalmente non ho apprezzato la rivisitazione del brano di Empusae "Beauty Of Decay".
Dare un giudizio a questo cd è difficile a fronte del tipo di proposta offerto. Diciamo che si tratta di una raccolta discreta che però resta ad appannaggio di una stretta cerchia di ascoltatori affezionati alla nicchia che ha come padrone di casa Mr. Flint Glass. http://www.kronic.it
