Welcome to the Wunderkammer. Pop music with a bow, a present from Reykjavik and from Sindri Mar Sigfusson. A present that he gave to us and especially to himself. A surprise album, a search game in terms of pop music. At the beginning there was an atmosphere of breaking up. Whereas on the one hand face and body of his band Seabear (whose debut was released on Morr Music in August 2007) gained their outlines more clearly, there remained a deliberately left open game with the sounds on the other hand. The name for this game was soon found: Sin Fang Bous.
Sin Fang Bous - Clangour and Flutes from Toolshed Media on Vimeo.
akira rabelais - spellewauerynsherde
Akira Rebalais is an artist cloaked in mystery, try unlocking the secrets on his magical website, an Irdialesque warren of coded messages, revelatory software programs, cryptic poems and serious essays. Musically he's never failed to make us take notice of his growing stature initially via his lost classic debut for Mille Plateuax's much missed Ritornell offshoot 'Eisotrophobia', then onto Faalt and then Orthlorng Musork. Undertaking a project to transfer from tape to digital some old tape recordings of Icelandic vocal lament songs presumed to have been recording in the 1960's Akira claims to have been completely obsessed by them to an extent where he wished to incorporate the vocals into his own music. '1382 Wyclif Gen. ii. 7' - the single voice swept up into an echoic overlapping framework, subtely falling apart until a strong wind blows across a group of microphones - astonishing. '1390 Glower Conf. II.20' is a more melancholic song, one which would lie perfectly within context in one of Ingmar Bergman's stark films like 'Winter Light' and 'Shame'. '1440 Promp Parv. 518/20' finds Akira hightening the ghostly quality of this vocal through reverb, echo and subdued time stretch that would make a Chris Morris disturbathon sketch even more effective. '1483 Caxton Golden Leg, 208b/2' stretches out for over twenty minutes feeling like a floating fogbound rework of Gyorgy Ligeti's 'Lux Aeterna'. To round up 'Spellewauerynsherde' brings to myself memories of loved one's passed, favourite films that haunt your consciousness for weeks after viewing and make you want to revisit your favourite spiritually enhancing CD's. Not many album's will move you in quite the way that this album does. Believe. - boomcat
When Ryan Gosling and Zach Shields met in Toronto in 2005 they wanted to hate each other. The two were dating sisters and resented the forced time they were expected to spend with one another, until a conversation stumbled upon their mutual obsession with the Haunted Mansion ride at Disneyland. Zach was so preoccupied with ghosts as a kid that he was put into therapy, and Ryan parents moved out of his childhood home because they believed it was haunted. Neither of them had really outgrown their fascination with ghosts, monsters, graveyards, zombies or anything deathly. Once they realized their shared affinity for the eerie, they started trying to write a theatrical monster ghost love story for the stage. They decided that this story should have music so they began learning how to play various instruments. By the time they had written their first few songs they realized how difficult it would be and how much money it would cost to create the show. They decided to continue with the music and put the play aside. Dead Man's Bones began recording, and quickly decided that the songs needed the special creepiness and longing of massed children s voices to complete the sound L.A.'s Silverlake Conservatory Children's Choir was brought in to the studio, and Dead Man's Bones, the album, was born. Some of their songs reflect the music they listened to a little bit of doo-wop, and artists such as the Shangri-Las, The Shags, Company Flow, Sam Cooke, James Brown, Bobby Vinton, Joy Division, The Andrew Sisters and Daniel Johnston, to name a few. In addition, the artistic aesthetic of old Universal horror films, vaudeville music-hall numbers, and silent-screen melodramas infest the music.
