#thierry amar

[nofatclips]

De cercle en cercle, ressasser et se perdre dans l'illusion née de la production de distractions et multiplier la statique environnante! by Fly Pan Am (featuring Norsola Johnson) from the album Sédatif en fréquences et sillons

[spilladabalia]

Godspeed You! Black Emperor - Hung Over As The Queen In Maida Vale

[rickrubinnumber]

godspeed you! black emperor

Nine members of Godspeed You! Black Emperor have a Rick Rubin number of 3, while the rest have a Rick Rubin number of 4.

Timothy Herzog was a drummer on Godspeed You! Black Emperor's "NO TITLE AS OF 13 FEBRUARY 2024 28,340 DEAD".

"NO TITLE AS OF 13 FEBRUARY 2024 28,340 DEAD" features performances from Aidan Girt, David Bryant, Efrim Menuck, Mauro Pezzente, Sophie Trudeau, and Thierry Amar.

Christopher Comte, Mike Moya, and Thea Pratt performed on Godspeed You! Black Emperor's F♯ A♯ ∞.

F♯ A♯ ∞ features performances from Aidan Girt, Bruce Cawdron, David Bryant, Efrim Menuck, Mauro Pezzente, Norsola Johnson, and Thierry Amar.

Aidan Girt, Bruce Cawdron, David Bryant, Efrim Menuck, Mauro Pezzente, Norsola Johnson, Rodger Tellier-Craig, Sophie Trudeau and Thierry Amar performed on Yanqui U.X.O.

Yanqui U.X.O. was produced by Steve Albini.

Steve Albini was an engineer for Nine Inch Nails' Even Deeper.

Even Deeper features mixing assistance from Dr. Dre.

Dr. Dre was an executive producer on Eminem's Revival.

Revival was executive-produced in part by Rick Rubin.

[yourfavealbumisgender]

The "Pretty Little Lightning Paw" EP by Thee Silver Mountain Reveries is Nonbinary!

requested by @draculaugust

[dustedmagazine]

Jessica Moss — Galaxy Heart (Constellation)

Photo by Stacy Lee

If Montreal’s Jessica Moss didn’t tell the listener that her new album Galaxy Heart and 2021’s excellent Phosphenes (reviewed at Dusted here) make up a single body of work, on first listen the connection might not be apparent. Although both are largely Moss writing and working by herself (“Recorded alone in the jam space, produced alone in bed”), the wordless Phosphenes features the violinist’s more post-classical, composed side, forming something between a post-rock epic and a violin suite. Moss’s violin and compositional sense are all over Galaxy Heart just as strongly, but in a much more free, exploratory way. The result is no less beautiful, but it is a thrilling reminder that beauty comes in myriad forms.

The first big change is that as the work flowed out of Moss, she became determined to not limit the intensely creative period she was having by trying to fit it into forms or sounds she was already comfortable with. Violin is certainly the instrument she’s most known for, in any number of bands (and its central presence here is indelible enough you can understand why), but here there’s also striking, semi-improv guitar, organ, voice, and plenty of less traceable elements. Galaxy Heart is identifiably from the same artistic voice as Moss’s other recent work, but with a deeply expanded vocabulary.  

The few guests who (remotely) join Moss here provide some of the most vivid moments of contrast. Her Silver Mt. Zion/Black Ox Orkestar bandmate Thierry Amar plays bass on four songs and two of those four also feature the elementally powerful drummer Jim White (Dirty Three, Xylouris White, et al). Together (but apart) on “Uncanny Being (Violin Study #2)” the trio thrashes and flexes, wrenching strange new shapes out of their interplay. And on “Is There Room for All of It” they summon a kind of roiling hush, just as searching as Moss’s vocals. Their shared dynamic is successful enough that a full trio album would be very welcome, but the rest of Galaxy Heart amply demonstrates that they’re just adding on to what’s already wonderful about Moss solo. Whether it’s the opening violin tangle of “Resistance Creature,” the intensely foreboding “This Continuous Spectrum” (which suggests a duet for steam press and electric guitar at times) or the extended, ecstatic drone of the closing “Opened Ending,” this is an LP with a restless range and sonic density that belies the stereotypes that tend to go along with the idea of a home-made pandemic record.  

Because that, of course, is the context that unites Galaxy Heart and its predecessor, that makes them one body of work. The beauty in both records is inseparable from the emotional turmoil they reflect or channel, the anguish, resolve, hope, sorrow, and conviction coursing through Moss’s music. Both due to the more formal-feeling structure of Phosphenes and the way Galaxy Heart foregrounds Moss’s literal voice for the first time, there’s something intimate and intense about the new record that feels like an artist suddenly realizing that her palette is even broader and more all-encompassing than she realized. Phosphenes is a gorgeous example of what we knew Moss was great at; Galaxy Heart suggests she can do just about anything. 

Ian Mathers

[nofatclips]

Efferant/Afferant by Fly Pan Am from the EP Sédatif en fréquences et sillons

[familiarwithlucifer-blog]

pre-ordered ASMZ's new album coming out in january, can't fucking wait.

[trivialmelodies]

Godspeed You! Black Emperor We Drift Like Worried Fire 'Allelujah! Don't Bend! Ascend! (2012) http://cstrecords.com/gybe/