Like their previous work, Bohren & der Club of Gore's eighth album folds in lounge jazz, dark ambience, the languorous adagios of classical-music requiem, and the saturated romance of Italian film soundtracks. But while the German band's earliest recordings were chilly and even brittle, Piano Nights is luxurious in its warmth.
Influenced by acts like Bohren & der Club Of Gore and The Kilimanjaro Darkjazz Ensemble the anonymous russian group Povarovo mixed ideas of existing darker jazz acts with neoclassical elements and the melancholia of traditional russian music to a new level of intensity.
Not just a promotion platitude: an immense debut record. Time to immerse.
The idea for this collaboration was sparked after the three artists were confirmed for the first ever Garden of Drones Festival in Halle (Belgium). A mutual respect and kinship for each other fueled the idea of working together on a project. The festival seemed to be the perfect catalyst to trigger the artists into having their understanding of each others work resonate in a collaboration. Hence Tri Muerti was conceived.
Petrels second album draws on a fascination with how we deal with what is left over, both physically and mentally. With this thread running through Onkalo, the album also takes inspiration from speculative science, immense time scales, retro-futurism, personal history, and how the post-war optimism of the dawn of the atomic age has come up against a more uncertain vision of the future.
Half a decade in the making, it’s an exploration of ritual music without dogma. For the first time in his 33-year career Lustmord places vocals at the centre of his abyssal ambient creations, coaxing incantatory performances out of Aina Skinnes Olsen, Jarboe (ex-Swans), Maynard James Keenan (Tool) and Soriah.