Included : 5 remixs by famous artists like Oil 10, Dither, Cdrk (Ammo, Xingu Hill, Axiome), Hiv+ and Komintern.

tracklist :

• 01 hierakonpolis : 5.36 
• 02 interlude 1 : 0.22
• 03 neuroscan : 5.36
• 04 interlude 2 : 0.45
• 05 dust particles : 6.46
• 06 interlude 3 : 0.15
• 07 heliotrop : 7.15
• 08 interlude 4 : 0.20
• 09 amenemhat : 5.06
• 10 interlude 5 : 0.23
• 11 throw about : 5.47
• 12 interlude 6 : 0.20
• 13 middle kingdom : 6.51
• 14 dust mix by Dither
• 15 heliotrop mixed by Oil 1O 
• 16 bloody mix by C-drik (Ammo)
• 17 hierakonpolis mixed by Kom-Intern
• 18 click'n noise mix by Hiv +
  
  
  
  

  Flint Glass website

  
  
  
  
  

  Flint Glass' debut "Hierakonpolis" is an 18 tracks long dark electro CD that explores a number of different but connected musical areas, entertaining you with an exosphere of sonics that convey the darkes places of our soul and the loneliest and scariest places of our lives. The key here is "dark": so is the sound, so are the atmospheres. Murky, gloomy, sombre and melancholic like in some Cold Meat Industry releases but outreaching and willing to compromise and mark new territory, like in some Extreme releases. Balancing between the ambient music that you would hear in desolated scenes of sorrow and despair and a softer version of certain well constructed industrial rhythmicism/mysticism that reminds of Mlada Fronta or Mimetic, some even compared them to Autechre, but I believe that the Warp duo's music is misleadingly brighter than Flint Glass'. Coldness and warmth are constantly fighting for predominance here and the quasi total absence of vocals makes it an extremely visionary record which would be a perfect match for a number of movie soundtracks portraying scenarios varying from post apocalyptic to foggy northern woods, from lunar landscapes to horror aberrations. Among the 18 tracks you'll find 5 remixes by Oil 10, Dither, Cdrk of Xingu Hill and Axiome, Hiv+ and Komintern. Deeply disturbing and yet unequivocally enjoyable and morbidly relaxing. Marc "the MEMORY Man" Urselli-Schärer*   French label, Brume Records, debuts new talent hopeful, Gwenn Trémorin, and his diversion from the usual amorphous body of the "experimental" genre, Hierakonpolis. Likened in its label profile to such prolific acts as AUTECHRE, and BEEFCAKE- I'm more inclined to relate FLINT GLASS as the stygian, orphaned twin to Sebastian Ullman's, FOR A SPACE. In understanding the richness of the work, I think it important to note the meaning of the project- where "flint glass" is a heavy and durable glass characterized by its brilliance, clarity, and highly refractive quality. So too do these qualities translate to the dark, yet solidly paced melodies of the tracks contained, while dabbling into the sometimes, arrhythmic atmospheres of the experimental. The durability of the sound, lends itself to the undercurrent ethnicity exampled in the titles of such tracks as the titular, "Hierakonpolis"- ancient residence to the earliest Egyptian kings, and "Amenemhat"- first Egyptian king of the 12th Dynasty. Where most of the release is electronic instrumentation in composition, there is the vague appearance of distorted voice sampling, or the pantomime of voice through digital means, in the final, actual tracks, "Throw About", and "Middle Kingdom" [another throwback to 12th Dynasty Egypt]. At first glance, the disc professes eighteen tracks of sonic archeology, when in actuality; the seven original "songs" are alternated by interludes [1-6], and closed with five mixes by countrymen and/or colleagues. Most notable of the set is the "undiscovered" trancey, more traditional composition, sneaking in at a bit past the six-minute mark of track eighteen- departure from the formula, but a nice added piece. An elegant foray into the melancholically mechanical dystopia of a future-tech Egypt, Hierakonpolis is home to what aspires to be, an electronic king. E3six   Under the pseudonym of Flint Glass, makes his debut the French electronicmusician Gwenn Trémorin and he could not introduce himself in a more convincing way. Hierakonpolis is a well constructed and homogeneous work combining mostly mild-paced, beat driven electro industrial and dark, expanded ambiences. Put it like this, it sounds like any other electro industrial project out there, but Mr. Trémorin has a way on his own of working with layering over a more or less steady rhythmic pattern. Building strength in his tracks with rather (but not totally) clean sounds cleverly combined, ingenious sequences and textures dropping in and out with cold precision, dark backdrops and beat patterns which are complex but never overdone. The atmospheres are quite dense, yet expanded and the global feel offered by the disc is, perhaps unexpectedly, a relaxed one, as the ambiences play as an important role as the industrial sequences, Heliotrop being a fair example of this. Personal faves are the opening title track, a quite dynamic jump into clean rhythmic industrial (later on treated to become noise rhythmic industrial by label mates Kom-Intern) and Dust Particles. The latter builds up layer over layer from a quiet ambient piece to a mid-tempo cosmic industrial mayhem with a dark backdrop, complete with banging percussive layers, fair doses of noise, and a worryingly distorted voice popping up at the climax. 4 other remixes appear on the disc by C-Drik, H.I.V+, Oil 10 and Dither, which could perhaps have been more suitable for a release on a separate E.P. Rarely I hang on a CD at first listening, but it definitely happened with Hierakonpolis. Darklife   Flint Glass' debut "Hierakonpolis" is an 18 tracks long dark electro CD that explores a number of different but connected musical areas, entertaining you with an exosphere of sonics that convey the darkes places of our soul and the loneliest and scariest places of our lives. The key here is "dark": so is the sound, so are the atmospheres. Murky, gloomy, sombre and melancholic like in some Cold Meat Industry releases but outreaching and willing to compromise and mark new territory, like in some Extreme releases. Balancing between the ambient music that you would hear in desolated scenes of sorrow and despair and a softer version of certain well constructed industrial rhythmicism/mysticism that reminds of Mlada Fronta or Mimetic, some even compared them to Autechre, but I believe that the Warp duo's music is misleadingly brighter than Flint Glass'. Coldness and warmth are constantly fighting for predominance here and the quasi total absence of vocals makes it an extremely visionary record which would be a perfect match for a number of movie soundtracks portraying scenarios varying from post apocalyptic to foggy northern woods, from lunar landscapes to horror aberrations. Among the 18 tracks you'll find 5 remixes by Oil 10, Dither, Cdrk of Xingu Hill and Axiome, Hiv+ and Komintern. Deeply disturbing and yet unequivocally enjoyable and morbidly relaxing. Marc Urselli-Schärer / Chaindlk   Jeune producteur issu de la frange la plus decalée de la mouvance electro industrielle, le français Flint Glass, via cet impressionnant "Hierakonpolis", titre evoquant une cité imaginaire lugubre et tentaculaire, nous distille un "illbient" qui atteint sans peine le niveau des meilleurs prods européennes du genre, en particulier celles de groupes comme Vromb et toute la ribambelle de fous furieux squattant les labels reconnus tel qu'Hymen records, Quatermass et bien d'autres. Le concept est simple, rythmiques progressives et obsessionnelles parcourues par une multitude de samples à tonalité indus et triturés dans tout les sens, obscures nappes de synthétiseurs évoquant des combos allemands à la Suicide Commando, et par dessus tout un travail proprement ahurissant sur les ambiances générées par chaque track, ces dernières, en mouvement perpétuel, se situant aux antipodes du courant minimaliste qui habituellement, prévaut au sein de cette scène. Le musicien tire, on le sent bien, pleinement parti de ses machines et maîtrise ses logiciels de main de maître; batissant ainsi une veritable cathedrale sonore, compacte, homogène, et d'une diversité pourtant remarquable pour un premier album. Richard La Case / Stopinfos   Nun ist das Debutalbum "Hierakonpolis" des französischen Dark Ambient bzw. Dark Electronica Projektes FLINT GLASS um Gwenn Trémorin auch hierzulande veröffentlicht worden. Und für die deutsche Veröffentlichung hat man sich ein nettes Bonus ausgedacht. Zusätzlich zu den 13 regulären Songs befindet sich auch die bisher unveröffentlichte "Dahshur ep" mit 5 zusätzlichen Tracks auf der CD. Sehr düstere Klangwelten warten darauf von dem Zuhörer erforscht zu werden. Gleich der Titeltrack "Hierakonpolis" geht richtig zur Sache. Harte, verzerrte Drums und verfremdete Samples. Jedem eigentlichen Track folgt immer eine kurze "Interlude", die immer ruhig, jedoch äußerst bedrohlich rüberkommen. "Neuroscan" ist wieder sehr Rhythmus-betont und irgendwie kann ich beim Hören des Tracks meine Füße gar nicht still halten. "Dust Particles" beginnt sehr ruhig, hat jedoch von Anfang an eine sehr düstere Atmosphäre. Langsam steigert sich der Song und reißt den Hörer in seinen Bann. Im Vordergrund wieder sehr rhythmisch, im Hintergrund tiefe dunkle Synthisounds. In diesem Song werden auch Sprachsamples verwendet. Mit "Heliotrop" folgt der mit einer Spielzeit von 7:15 min längste Track des Albums. Dieser Song wirkt glaube ich am besten, wenn man sich zurücklegt und die Augen schließt. "Amenemhat" erinnert mich an den Soundtrack zu einem Horrorfilm, auch wieder eine sehr endzeitliche Grundstimmung. Mit den "Throw About" und "Middle Kingdom" wird dieser Stil fortgesetzt. "At Hasard (live)" ist nun der erste Song der neuen "Dahshur ep". Interessant finde ich, daß ich nicht zuordnen kann, ob die Stimmen am Anfang Zuschauer sind oder Samples im eigentlichen Track. Auch dieser Track baut sich langsam auf, um dann den Zuschauer mit einem starken Rhythmus gefangen zu nehmen. Werden "Closer" und "Philae" nicht durch Drums dominiert, so ändert sich das bei "Germ Code". Dieser Track bietet wieder angezerrte Drums und einen treibenden Beat. Der letzte Song "Saqqara Temple" steht dem in nichts nach. Nach einer kurzen Pause kommt noch ein Hidden Track. Diesmal kommen auch Akkustik-Gitarren-Klänge zum Einsatz. Dieser Song hebt sich auch sonst von den anderen Titeln ab, da er aufgelöster, entspannter wirkt und nicht mehr diese düstere Atmosphäre versprüht. Wie beim Film: ein Happy-End ? Insgesamt gesehen bekommt der Hörer hier wirklich viel geboten. Das reguläre Album,die Tracks der EP und noch einen Hidden Track. Das ganze hat eine Spielzeit von weit über eine Stunde. Ich denke, daß Dark Ambient-Fans hier bedenkenlos zugreifen können. Aber auch für andere Leute lohnt es sich bestimmt in das Album mal reinzuhören. Scrypturasonitra   This is brume records technical third release, and by far so far one of best and most impressive releases this year concerning. composed and performed by label owner of brume records himself, gwenn trémorin, this debut release represents some of the most innovative stylings towards rhythmic noise, experimental, and dark ambient genres.this release defines similarities to the likes of early gridlock, vromb, savak, and ammo to say the least. with thirteen compositions and five remixes from the likes of oil10, c-drik, dither, label-mates kom-intern, and h.i.v+, this release defines a foundation point to brume records innovative standards it has to offer. the word hierakonpolis¹ itself is derived from the greek translation to ancient egyptian city called Onekhen¹ meaning ³city of the falcon.¹ this cult center was located in upper egypt and was ruled by the ancient egyptian god of the sky, day, and agriculture known as horus around 4000 bce. with very surreal visual directions both in music and art on this release, i can only say this title to the release is more than fitting, if not perfect. every track on this release paces a specific and very concise method of construction that could really provide as a cinematic backdrop to this once great ancient city and the gods ruled within. every track has something tell represent and evokes changes of pace and emotion. ³hierakonpolis², the title track itself, evokes the lost kingdom¹s distant callings that transcend and unwind quantum beat modulations and drone assaults. tracks such as ³dust particles² delves into very abysmally cold and calculated rhythmics that slowly encapsulate mythical dark strings and ancient voices. while ³middle kingdom² reflects deep toxic atmospheres and nicely paced circulating rhythmics that combust into some very seductive unmethodical stylings. as for remixes, i would definitely have to give oil10 and c-drik remixes my highest appreciation. oil10 always never ceases to amaze me with his work in general, but this remix by far is one of his very best he has ever done to date. it is the perfect mesh of both his style and that of flint glass, keeping the cold precision of flint glass work while incorporate the brilliant off-world sensibilities and rhythmics oil10 is so well know for. if one has never checked into brume records at all, my first recommendations would be this one next to the compilation, of course. and extremely impressive release by a very smart and innovative label from france. Seven Webzine Gwenn Tremorin, alias Flint Glass, ne laisse rien au hasard. Dès la pochette réalisée par Fred Belin (infographiste du projet de l'ancien Corpus Delicti, Kom-Intern), on s'éprend du sérieux et du bon goût de cet ancien curiste pris de passion pour l'electronique. A la première écoute des fondations instrumentales et rythmées formant Hierakonpolis, liées entre elles par des ruelles interludes et ambiantes, on comprend que Monsieur Flint Glass sait tirer le meilleur parti de ses machines. En effet, les compositions riches et complexes de Gwenn transportent l'auditeur dans un monde virtuel et urbain perdu au milieu du désert et de la canicule. Le périple est aussi magique qu'exotique, le mystère l'emportant sur le coté sombre ou dansant. Quant aux cinq remixeurs et amis (Dither, Oil 10, C-Drik d'Ammo, Kom-Intern et HIV+) ou Holger Vice pour le morceau caché, ils ne font que souligner le talent de ce nouvel outsider de la scène electronique. Le silex était vital du temps de la préhistoire, il est aujourd'hui source de plaisir explorateur et sensoriel. Yannick Blay / D-side Magazine Flint Glass presents his art of carving frequencies and atmospheres by rare intensity. This interesting work's modulations are really refined and charming, an experimental and intelligent electro by a moderate mood rich of changes and sparkling stratifications. All the sound lives in twilight zones made of particles in suspension, between fluctuating energies and dissolved pyramidal effects melted in warm ascensional vertigos. Hierakonopolis' tracks slide without imperfections, built on strong breaks rhythms and vibrant, voluptuous drum'n'noise, never pushed to extremity, pleased the develop of abstract art adrift from visionary and iridescent forms. Don't miss spaces and dark ambient backgrounds enlighten by micro effects and redundant reverbs. A digital relaxing trip, endless without shadow, thrilling and reflexive. Last tracks designated Dither's efficient remixes (digital mitigations), Oil 10 (technoid applications), C-DRIK (genial rhythmic incubations), Kom-Intern (tumultuous corrosions) and HIV (transmissions into the dust). For who has already listened and appreciated Mlada Fronta's compositions, can't loose this CD ! Genetis sidereal magnetism. (Experimental techno) Twilight Zone   Première album de Flint Glass, le projet de Gwenn - manager de Brume Records, " Hierakonpolis " nous invite à un voyage électronique au format cinémascope sans image, film sonore glacé sur nappes voluptueuses. Le beat se fait tour à tour dansant (" Hierakonpolis "), intriguant et diablement sombre (l'excellent " Dust Particles "), mécanique et cinglant (" Neuroscan "). " Heliotrop " et son remix fabuleux par Oil 10 - très reconnaissable à son son U-Boot - nous plonge encore plus profondément dans l'ambiance et change la direction, virage impromptu au cours du voyage jusqu'à un " Middle Kingdom " radical, sourd enveloppement lancinant sur rythmique martiale, fin du périple mais aussi dancefloor hit assurément. On se remémorera cette aventure sensorielle en se repassant les incontournables remixes clôturant l'album. " Hierakonpolis ", nouvelle vague electro dark ambiante, pose les bases de Flint Glass, sans aucun doute assuré d'un bel avenir grâce à une entrée en matière fort réussie. Nikö / Obskure El músico francés Gwenn Trémorin publica su debutbajo el seudónimo Flint Glass con su propio sello, Brume Records, como no podía ser de otra forma. 'Hierakonpolis' (ciudad egipcia de alto valor arqueológico) es un nuevo ejemplo de la calidad que atesoran los artistas de electrónica oscura franceses. El tema que abre el disco, de título homónimo, resume bastante bien lo que nos vamos a encontrar de ahí en adelante. 'Hierakonpolis' son elegantes ritmos rotos y latidos deformados aliñados con sampleados étnicos y envueltos por sépticas melodías. Los interludios están impregnados de ambientaciones ateridas y sombrías que preparan el camino para adentrarnos de nuevo en la hipnosis rítmica. Así, el disco refleja de forma genial la frialdad sintética de la química y el exotismo esotérico de lo ritual en una producción magistral que culmina el minutaje con cinco remezclas y cinco reconocidos artistas que están a la altura del disco y que dejan su particular huella en cada tema : Dither, Oil 10, C-Drik, Kom-Intern y Hiv+. Drum'n'Noise Industrial Music Spanish E-Zine   Flint Glass has produced an excellent album. This is not an album of burgeoning energy, most of the tracks having a mid-paced tempo, but there is a latent attack in the interplay between the rhythms and surrounding sounds that really works. Generally quite a melancholic work, this being especially the case when the ambience dominates, with enough movement and variation to really capture the listener’s attention. Production wise this is quite a dark recording, staying clear of the crisp, punchy approach of artists such as Mlada Fronta for example. Separation between rhythm and other sounds often tends to be comparatively indistinct, but this works very much to the album’s advantage, lending a very ambient quality to the overall mix. At the end of the album are remixes by Dither, Oil 10, C-Drik, Kom-Intern, and HIV+, and these re-interpretations work very well, particularly that of Oil 10 which gives a cleaner, more club orientated yet still downbeat feel to the track. Overall a very enjoyable album that, whilst not always being completely original in terms of approach and composition, still has a great deal of style and quality to offer. I look forward to hearing more both from the artist and Brume Records. Dave Dando-Moore / Immanence   First album from Flint Glass, the music output by one of the founding members of the french Brume Records label. You get 7 tracks on this album, 6 "Interludes" (one being small ambient passages), and the last five remixes by other bands. Flint Glass's tracks are made of driving straight rhythms, slightly distorted, building up slowly in a hard techno way, while some background soundscapes and bleepy details add a bit to the consistence of the music. Most of the pieces revolve around one theme, bringing the changes little by little as they accelerate. The result is rather catchy and you'll find yourself tapping the rhythm with your feet. Sound-wise, the whole thing ranges between some sci-fi oriented EBM sounds (several track remind me of intros of recent Front Line Assembly tracks) and nicely synthesized and slightly distorted beats (think Mlada Fronta). The atmosphere is laid back but not calm, rhythms are always present but nothing really throws you in motion. Atmospheric in its mood but mostly built around changing beats, the tracks also features relatively long arhythmic introductions, most of them featuring weird, cinematic samples. The remix (by four French bands and one belgium one, this is family business) do not strongly change the atmosphere. Dither goes very hi-fi and adds a nice abstract touch to the music, while C-Drik and HIV+ makes things darker and heavier. Only Oil 10 stands out, sadly with a rather simple and straightforward remix that I didn't like that much. Finally, the albums ends with a nice track played at the guitar, a very melancholic piece which is maybe my favorite of the whole CD, actually. For people like me who sometimes regret that this kind of evocative and instrumental tracks are too often kept as introductory tracks, "Hierakonpolis" is a nice pick. The recording, production and compositions are quite good. Here is a relatively accessible album for people interested to a most melodic electronica and calm side of industrial music. Recycle your ears   Gwenn Trémorin, l'auteur de ce disque (qui s'occupe également du label Brume Records), semble beaucoup s'intéresser à l'archéologie. Entre les sept longs morceaux de ce premier album sont intercalés presque autant d'interludes fantômatiques qui nous mènent tout droit dans les rues de Hierakonpolis, une ancienne cité égyptienne qui prête son nom à ce disque. Plus loin c'est à Amenemhat (nom d'une dynastie de rois égyptiens) qu'il est fait référence. Pourtant, et même si l'on entend de-ci de-là quelques influences orientales (comme sur le morceau titre), la musique créée ici n'a rien d'archaïque tant elle reflète bien une époque où certains styles s'essoufflent et où les sons mutent, se confondent. Ici pas de souci, les harmonies sont maîtrisées, les rythmes sont saturés, l'ambiance est envoûtante et une sonothèque bien achalandée parachève un résultat ni trop dark, ni élec "trop" indus. En vrac on pense à certains morceaux de Ah Cama-Sotz, Vromb, Klangstabil, Proyecto Mirage… Dans la série de remixes opportuns qui concluent l'album, une version plus vraiment reconnaissable mais très efficace de Heliotrop par Oil 10 risque d'emballer bon nombre de DJs. Finalement voilà un premier album intéressant, bien plus mature que le énième opus de groupes répétitifs au succès immérité. Carole Jay / Premonition Citant Autechre, Beefcake ou encore For A Space comme ses références, Flint Glass nous arrive avec son premier album très conceptuel: 7 titres, 6 interludes et 5 remixes. Après son apparition sur la compilation French Putch ! 1 grâce au morceau "Neuroscan", Gwenn (Brume Records) revient avec sa propre formation, maître d'une technicité et d'un son chirurgical. Industriel pris entre l'ambient dark et la noise rythmique, le spectre sonore est très large et inédit. D'une froideur rarement inégalée, on se plaît à déambuler dans cette citée manichéenne fantasmée et fantômatique qu'est Hierakonpolis. Plus que des sensations, ce sont des images qui nous viennent… Faites de verre, de béton et de metal. Les grands noms ont apparemment apprécié ce véritable travail d'architecte: H.I.V.+ ("Click n'Noise"), C-Drik de Ammo ("Bloody"), Oil 10 ("Heliotrop"); et les petits nouveaux frenchies sont venus aussi apposer leur patte : Kom-Intern ("Hierakonpolis"), Dither ("Dust"). Flint Glass allié à Kom-Intern : la France est prête à se faire entendre, et on en redemande encore. Qui d'autre sortira de la brume ? Olivier Camus / Elegy Mag   Ce premier album de Gwenn Trémorin (boss du label Brume Records), annoncé depuis longtemps sur les pages web du label, fait suite à la compilation où l'on avait déjà pût découvrir un inédit pour l'occasion. Ici, on découvrira donc 7 morceaux accompagnés de 6 interludes & 5 remixes par d'illustres guest-stars comme Ammo, Dither, Oil 10, Kom-intern & H.I.V+. Oscillant entre Industriel dark ambiant (un peu comme le faisait Polygon ou Mortal Constraint), et un je ne sais quoi de plus moderne à tendance Electronica, il suffira d'écouter des morceaux comme le très bon « Heliotrop » ou encore « Amenemhat », qui rappelle certains morceaux de Architect, pour être convaincu. A noter : les très bons remixes de Ammo, Dither & Oil 10, de quoi prouver encore une fois que la France n'est pas en reste en matière de productions de qualité. D-Key / Cesium Impact

  Interview conducted by Twilight Zone TZ : When is Flint Glass born ? Which have your first musical experiences been ? From where does your interest for this kind of music issue ? Which are your favourite past artists and who are the ones you prefer nowadays ?     FG : I’ve played bass guitar in a certain number of new-wave bands, before joining Stadium, that was a kind of pop noise musical experiment, rather-indeed, we appreciated artists like Sonic Youth, Sebadoh or My Bloody Valentine very much at the time. I’ve always been into very different in terms of music, as an adolescent, was found of new-wave bands like The Cure, Joy Division or Modern English, and I think the melancholy of their music still has a strong influence on my own work. I’ve also been interested in trip-hop and drum’n bass bands such as Third Eye Foundation, Photek or Portishead, and more recently I took a real interest in various kinds of experimental electronic music with groups like Arovane, Scorn, Beefcake, Black Lung, Electronicat, Aphex Twin, Ammo, Panacea, Somatic Responses, Pan Sonic, Vromb, Silk Saw, To rococo rot, Architect, Ultra MilkMaids…among many others ! TZ : How have you chosen the name of Flint Glass ? FG : I got the idea while reading an archaeology magazine and I just thought the word “Flint Glass” sounded OK.   TZ : Which emotions or messages do you like to spread to your public with your music ?   FG : In fact, I’m trying to make the listener travel through a cinematographic universe built up around dreamlike atmospheres. But there’s no particular message to be spread to the public ; it’s pure emotion!     TZ : What does it mean to you to compose this kind of music ? To what does "Hierakonpolis” inspire ? What does the title means to you ? Which are the contents, thoughts, and its lyrics references ? Which are the atmospheres you wanted to underline with this new album ? Are you satisfied with the result obtained ?   FG : I’ve been thinking about making a record based on visual atmospheres for a long time now. In fact Hierakonpolis was a great ancient Egyptian city that was the capital city of the country long before the pyramids. In some cemeteries of the city, skeletons wear odd marks on their vertebras, that’s why scientists suggested that people could have been sacrificed there…The idea is to convey an impression of heat, in a desert world, both ghostly and mysterious. I’m rather satisfied with the work done on this album, both myself and by my friends remixers who were all able to bring to light new aspects of my songs, or even to recreate them in their own way. TZ : Which are the instruments used in this album ? FG : I often use my bass guitar in order to find some new melodies and rhythms (that are then replaced by synthetic sounds). However, I mainly work with a PC linked to a video recorder thanks to which I can sample films and then find a number of interesting sounds. I currently use a workstation midi keyboard that can be used as a synthesiser, a sampler or a sequencer. Besides, I use audio softwares to work on rhythmic parts. TZ : What do you think about the actual Industrial-Experimental scene? And what about the “Industrial French Scene” ? FG : The French scene is terribly exciting today! I’m glad such people should work in France, all the more so as we are in very good terms with many of them, like Remy’s (Mlada Fronta) Parametric, Divine Comedy, Vaccum, Cortex, M Tronic, La Citadelle, or Yb70, with whom we collaborate on the set up of concerts, festivals or exchanges of remixes between our artists.There are excellent new labels that offer a wide range of different productions, Component, for instance, with Dryft’s amazing new record, DTA records, Huchuch (With Lilith an excellent new album in sub bass experimental ambient style, and C-Drik )or Ad Noiseam, and always Hymen (with Dead Hollywood Stars excellent new album) just to name a few.   TZ : Any future project ? FG : I’ve just finished a song for the original soundtrack of “The Zombie Commando from Hell”, a Canadian movie that was inspired by Steph Dumais’ drawings. Implant, Tarmvred, Mlada Fronta, Mimetic, Empusae….. also worked on this project, by the way. Besides, Holger Vice (one of the Brume Records artists) and I wish to work on a whole album together, very much in the style of the very last track of “Hierakonpolis”, I think. TZ : You are also the manager of the french label Brume Records. How have you had this idea? Which musical kinds have you thought to follow? Which are the artists of Brume? Which are the coming releases ? FG : Two years ago, my friend Boris Volant from Atelier 112, and I met Matthieu Maire from Celluloid Mata, who had just created his own label with Steph Alt “Vaccum”, and who really motivated us for the creation of a label of our own; thus, in December 2000, Brume Records was born. At first, I only wanted to produce a compilation gathering some unknown artists I admired, I had already worked with some of them, like Holger Vice or Atelier 112, and I met others then ; like Remy from Mlada Fronta or Gilles Rossire from Oil 10, who has now become our webmaster by the way (Gilles will join Brume for his new Album next year !). At the time, I would never have guessed Brume Records would require such a huge personal investment… of course, this does not let much time for Flint Glass, actually ! There is going to be a number of new releases this year, both on Brume Records and on Mist, our new sub label. For instance, “Carbon Flora”, Data Raper’s dancefloor oriented electro industrial first album, will be out on mist in October, while Brume Records will release Kom Intern’s second album “Funkspiel”. In October, you’ll be able to discover De Mange Machine, whose name was inspired by La Nuit des Temps, a great novel by the French writer René Barjavel, and whose record is an experimental project very much influenced by surrealist collages from Nurse with Wound, Zoviet France or Coil. De Mange Machine has built up his own personal universe out of sounds he has created thanks to everyday objects and movies’ samples. This record is very emotional and a totally out of time. Next release will be an album from L’Eglise du Mouvement Péristaltique Inversé (try and guess what this name means !) ; that’s an amazing and extremely peculiar band, mixing gothic music, dark atmospheres, with crazy musical experiments, which creates something totally unusual and bizarre. The very first time I’ve listened to their songs, I positively fell in love with their universe… They’re nuts ! Atelier 112’s vinyl and multimedia CD rom Anaesth’s industrial project, Paraben Aparathen. Moreover, we will sign Laurent Perrier’s Zonkt and Gilles from Oil 1O it’s bound to be very exciting !   TZ : Is there anything else you would like to mention about Flint Glass ? FG : I’m currently trying to find some time (which is no easy thing!) to prepare a live performance and a movie to go along this autumn’s shows, and more precisely the concert in Paris, at “Le Glazart” on the 29th of November 2002 with Mlada Fronta, Mimetic and Wired Brain. Thanks for the interview, and good luck for very good webzine.

  Mlada Fronta, Mimetic, Wired Brain et Flint Glass au Glaz'art (29/11/02) Une fois encore, le Glaz'art, réputé pour sa programmation éclectique et iconoclaste, nous offrait, en ce glacial vendredi du 29 novembre, un plateau d'artistes issus de la scène "indus-expérimentale", des plus épicé. Malgré le nombre réduit de "fêlés" venus assister aux exactions sonores des groupes précités, le tempo dark et ravageur, distillé tout au long de son set par le premier intervenant, le français Flint Glass, mettait tout le monde d'accord et "posait" l'ambiance de la plus belle des façons. Par le biais de strates sonores évanescentes et complexes dans la lignée de Somatic Response , agrémentées de rythmiques évolutives particulièrement bien programmées, le représentant de Brume Records parvenait à entretenir une tension palpable sur toute la durée et à hypnotiser son audience sans la moindre difficulté. Tirant pleinement parti de ses machines, le musicien nous prouvait une fois de plus, à l'instar des Mick Harris et autres, que la musique expérimentale pouvait associer les rythmiques les plus grooves à des sonorités plus abstraites, sans pour autant perdre l'auditeur. Une bien belle leçon...