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Industrial? Techno? Breaks? Rock? Dub? Glitch? Algo disso e nada exactamente disso, chegando nós a \"2222 And Airport\" sem qualquer preconceito (os discos anteriores encarregaram-se de os eliminar, onde eles poderiam existir). \"Swiss\", na abertura, pode recordar experiências semelhantes de funk digital ali no virar do século (Beige, Akufen, por exemplo) mas não nos deixa presos na teoria porque o groove segue imperturbado. As treze faixas rondam essa ideia de funk, nunca pura, sempre contaminada pela paleta de sons à disposição, soando mais duro quando é conveniente, puxado de Suicide (\"Rewower\"), misterioso, sarcástico, algumas vozes em conversa por algumas esquinas do som, desconcertante. Sem sentido mas de uma forma coerente, neste álbum, se podemos arriscar esse paradoxo. Graves distorcidos, samples compactadas e a soar como tal, certo ácido (na cabeça com certeza), uma declaração de auto-consciência num título como \"Infinite Shite\"? Nesse momento hipnótico respira-se groove compassado, de certa forma eterno, pelo menos no desejo que se prolongue, mas ele morre em glitch já dentro do último minuto. Divertido, sério, consequente.\u003c\/p\u003e","brand":"The state51 Conspiracy","offers":[{"title":"LP","offer_id":46635308155215,"sku":"CON913LP","price":15.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0015\/9393\/3870\/files\/CON913LP.jpg?v=1782842197"},{"product_id":"thomas-koner-daikan-mp49lp","title":"Daikan","description":"\u003cp\u003e\u003cstrong\u003eOUVIR \/ LISTEN:\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"http:\/\/blog.flur.pt\/mp3\/MP49-1.mp3\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eCLIP1\u003c\/a\u003e - \u003ca href=\"http:\/\/blog.flur.pt\/mp3\/MP49-2.mp3\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eCLIP2\u003c\/a\u003e - \u003ca href=\"http:\/\/blog.flur.pt\/mp3\/MP49-3.mp3\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eCLIP3\u003c\/a\u003e - \u003ca href=\"http:\/\/blog.flur.pt\/mp3\/MP49-4.mp3\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eCLIP4\u003c\/a\u003e\u003c\/p\u003eJUNHO \/ JUNE 2023\u003cbr\u003e\u003cp style=\"text-align: justify;\"\u003e\u003c\/p\u003e\"The Earth is burning, covering all environments in ashes. Smoke comes to us from computers-from social networks accelerating the spread of burnt affects, damaging our ability to feel and respond to what the planet strives to express. We need to cool down. Thomas Köner's music can help change the pace of our perceptions: 1) In DAIKAN (2002) - a Japanese term meaning \"the coldest\" or \"the coldest part of the year\"-the ear stretches until touching the depth of time that persists in the ice; a sonic drama offers the slowness thanks to which the skin of perceptions can reconstitute themselves; icequakes awaken listeners to the frozen life without scaring them. 2) Banlieue du Vide, considered by many to be Thomas Köner's most iconic audiovisual work and best kept secret, has not been released previously. It is in the collection of a couple of art museums, e.g. the Centre Pompidou in Paris, and has been awarded the Golden Nica at Prix Ars Electronica in 2004, in the category Digital Musics. 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Listening to this album, an excess of heat turns into an empowering coldness-like the transient feeling of our terrestrial embodiment in the midst of entropy.\" (Label PR)","brand":"Mille Plateaux","offers":[{"title":"2LP","offer_id":46866573885775,"sku":"MP49LP","price":21.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0015\/9393\/3870\/files\/thomas_20koner_20daikan_4b82c8c8-b7f4-44c5-b1cd-c0724a1d75df.jpg?v=1782842227"},{"product_id":"mats-erlandsson-gyttjans-topografi-xk021","title":"Gyttjans Topografi","description":"\u003cp\u003e\u003cstrong\u003eLISTEN:\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"http:\/\/blog.flur.pt\/mp3\/XK021-1.mp3\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eCLIP1\u003c\/a\u003e - \u003ca href=\"http:\/\/blog.flur.pt\/mp3\/XK021-2.mp3\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eCLIP2\u003c\/a\u003e - \u003ca href=\"http:\/\/blog.flur.pt\/mp3\/XK021-3.mp3\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eCLIP3\u003c\/a\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp style=\"text-align: justify;\"\u003e\u003c\/p\u003e","brand":"XKatedral","offers":[{"title":"LP","offer_id":47586382348623,"sku":"XK021","price":15.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0015\/9393\/3870\/files\/XK021_7af63fe5-2909-4670-aea0-841fb368896d.jpg?v=1782842249"},{"product_id":"marta-de-pascalis-sky-flesh-ly004","title":"Sky Flesh","description":"","brand":"Light Years","offers":[{"title":"LP","offer_id":47936689144143,"sku":"LY004","price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0015\/9393\/3870\/files\/ly004_e75e0040-0302-40d6-be13-518c3c4efdc6.jpg?v=1782842221"},{"product_id":"barbara-moore-vocal-shades-and-tones-bewith153lp","title":"Vocal Shades And Tones","description":"\u003cp\u003e\u003cstrong\u003eOUVIR \/ LISTEN:\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"http:\/\/blog.flur.pt\/mp3\/BEWITH153LP-1.mp3\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eCLIP1\u003c\/a\u003e - 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An active member of the international community of younger musicians working with just intonation, Dupleix has composed works for solo instrumentalists and ensembles in Europe and Japan, as well as performing extensively on harpsichord, piano and electronics. His music is distinguished by a formal clarity and elegance of surface, gently shaping pure intervals into delicate melodic patterns and shimmering harmonic planes. Resonant Trees presents two side-long pieces for harpsichord and ensemble, both setting slowly repeating patterns played on harpsichord and guitar within an environment of sustained tones. Dupleix performs on a French double manual harpsichord (tuned to a just intonation scheme of his own devising) and Prophet synthesizer, joined by Juliette Adam (bass clarinet), Johanna Bartz (traverso flute), Cyprien Busolini (viola), Fredrik Rasten (6- and 12-string guitars), and Mara Winter (traverso flute). The harpsichord begins Resonant Tree I alone, slowly sounding out a series of arpeggiated chords that emphasise the unique (and for unaccustomed listeners, sometimes unsettling) harmonic and timbral qualities of justly tuned intervals. Long tones from synthesiser, bass clarinet, viola and Baroque traverso flutes slowly creep into the spaces between the arpeggiated chords, joined after several minutes by delicate patterns of harmonics played by Rasten on acoustic guitars. On Resonant Tree II, a similar structure and ensemble (without the flutes) are used with quite different results. We again hear only the harpsichord at first, but this time playing a series of flowing melodic lines, each of which is repeated several times. Joined again by long tones from the ensemble, here the viola is particularly prominent and its interplay with the harpsichord creates fascinating acoustic effects. In both pieces, repetition gives the music a static, stable quality while, at the same time, the exact shape of the repeating patterns remains difficult to grasp. As Dupleix writes, these pieces dream of music as ‘space and a sound that one could grasp in one’s hand.’ As the near-static quality of the repetitions and long tones with little incident make these two stretches of musical time feel like spaces for the listener to inhabit, the small variations on a narrow range of related material act like a three-dimensional object whose each facet is examined in turn. At once austere and seductive, Resonant Trees takes its place beside the work of contemporaries like Catherine Lamb, while also calling up the languorous melodic world of Mamoru Fujieda, the dignified melancholy of Satoshi Ashikawa’s classic Still Way and the espaliered chamber atmospherics of the Obscure catalogue. 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