Discover Top Posts Tagged with #iury lech

Playing Experimental, Psychedelic Rock, Ambient Techno, Free Jazz. Experimental and intercepted transmissions every month with Field Work fr

#nts #radio #Iury Lech #Brannten Schnure #nocturnal emissions #Terre Thaemlitz

Iury Lech - Fool's Age

#m #Iury Lech

iury lech -- musica para el fin de los cantos (album, 1990)

#1990s #electronic #synthesizer #minimalism #iury lech

#nts radio #woo #tara clerkin trio #iury lech #popol vuh

Iury Lech - Barreras

#Iury Lech #Barreras #musica para el fin de los cantos #me

Reviews 052: Iury Lech

Iury Lech’s Musica para el fin de los cantos, re-issued last year by Cocktail d’Amore, was a revelation and I’m happy to have grabbed the recent repress. Originally released on Hyades Arts and firmly apart of the late 80s/early 90s Spanish ambient scene, Musica para el fin de los cantos see the Hungarian transdisciplinary artist weaving a sublime musical web from flowing pianos, bleary synthesizers, and majestic choirs. And Cocktail d’Amore have just followed up this essential re-issue with a 12” of captivating remixes from Powder, Zavoloka, Suzanne Kraft, and Hatchback. The latter remix is especially exciting, given that Sam hasn’t release much, if anything, for many many years. It’s a nice primer ahead of his new record out later this year on Lo Recordings.

Iury Lech - Musica para el fin de los cantos (Cocktail d’Amore, 2017 Re-issue) The A-side is bookended by two pieces based around cascading piano repetitions. Opener “Cuando Rocío dispara sus flechas” sees the piano traveling up and down the scale, flowing like a waterfall under subtle phaser effects and recalling Jordan de la Sierra’s Gymnosphere: Song of the Rose. Floating synthetic brass underlies the shimmering keys and long methodical pads wrap around each other in a slow multilayered dance. It’s all very mysterious and evocative, with shades of darkness creeping in via the rumbling bass synths. “De la melancolía” sees the piano falling like rain and flowing between ominous atmospheres and dark enchanting lullabies. There are droning bass tones and dramatic key changes, and towards the end sci-fi vocal pads color everything in dark prismatic hues, slowly dominating the mix before it all cuts away. The deep sea exploration of “Barreras” sits between these two pieces, with synthesizers sounding like bubbles and colorful sea-fauna swimming through the stereo field. Panning echo synths move through the mix, like sunlight refracted through the ocean’s surface, and strings drift on the placid underwater currents. For brief moments the track seems to fade away, leaving cavernous bass drones or psychedelic oscillations, before returning to the subaqueous ambiance, joined towards the end by soft yet percussive delay textures.

“Ukraïna” is the centerpiece of the album…a massive and comforting cloud of deep choirs and twinkling synth harmonics at almost 17 minutes. It’s the kind of romantic and moving outerspace drama perfect by Klaus Schulze in his early days, and is also not unlike Aeoliah’s new age masterwork “Tien Fu”. The choral progressions are joined by hypnotic reed instruments, with most of the song’s drama coming from the sweeping chord changes, sometimes epic and hopeful, other times shadowy and sedative. Watery ascending piano chords sit in the background ether, creating captivating moods and textures, as high pitched echo effects join the twinkling synth chimes and deep space noises flash across the sky. This undeniable ambient masterpiece is followed by “Posmeridiano”, which is built around layers of synthesizers under slow attack and long decay. Brass and string tones mix together, with low and high frequencies intertwining organically. Sliding oscillations fly around the edges of the mix, almost theremin like, vocal and alien, enhancing the progressively woozy and dissonant nature of the electronic atmospheres.

Iury Lech - Musical para el fin de los cantos [Reinterpretaciones] (Cocktail d’Amore, 2018) Leftfield house champion Powder takes on “Barreras,” focusing in on a zoned out kick, dubby bassline, and paper snare. Percolating synthesizers fire off in cerebral patterns, syncopated and maddening, and intertwine with classic house chords under dubwise fx. Percussive accents rattle off the edges of the mix and snippets of the underwater ambiance of the original drift in the distance, but the focus is always on the looping percussive atmospheres, filtering and morphing as the song progresses. It feels very much in that Vancouver mould, a druggy Pacific Rhythm or Mood Hut style nod out. Suzanne Kraft applies his magical ambient touch to “Cuando Rocío dispara sus flechas”, building a cold and crystalline dronescope from glowing synthesizer washes and abstract noises that could be birds or insects. His tact for crafting comforting drones from unsettling sounds is on full display, as machine like rattles, moaning effected vocals, glitchy electronics, and submarine pings are all woven into a gorgeous drifting cloud. The melodic progressions of the original track are apparent underneath the haze, but mostly divorced from the flowing pianos, which here show up only as ghostly background layers towards the end of the piece.

Hatchback takes the vague darkness of “Posmeridiano” and weaves a lustrous tapestry from starlight chiming tones in ascending loops of repetitive bliss. Sparkling leads and affecting pads hover above a flowing bassline, huge and warm, and everything builds together, teasing a climax before it all drops away. What’s left are ghostly piano chords and industrial tones under morphing effects, with cerebral sound editing and string synths in a dim glow. A metallic and percussive pulse emerges from this sonic mist and the strings start swelling, but rather than exploding into some post-rock climax, Hatchback takes us further out to sea with a subdued kraut-pulse and melodious waves of synth romance. And here we float forever, with epic moments of sunset magic swirling all around. Zavoloka’s take on “Ukraïna” sees the epic choirs shrouded in layers of haunting feedback over a deep tribal pulse. The cymbals are reverbed into infinity and the reed instruments here take on slightly sinister tones, drifting eerily alongside unsettling howls over the murky bass effects. At some point, the whole mix seems to get refracted and splintered, everything increasingly effected and modulated, only to come back together as something new. Now bright arcs of feedback mix with droning string synths, and the tribal pulse fades away, leaving cymbals splashing in liquid static over delicate layers of feedback.