After making a name for himself over the last decade in Beirut's vibrant contemporary music scene, Anthony Sahyoun unveils his solo debut, the evocative and atmospheric Proof By Infinite Descent.
Using guitar, synthesizer and voice, Sahyoun tackles themes of mourning, accidental prophecy, and the new holy trinity of God, Capitalism, and Technology – all while mining the seams of experimental electronica and gravity-defying ambient music.
Restless, haunting, at times breathtakingly beautiful, this is an album that seeks to rattle cages rather than soothe the comfortable.
Proof By Infinite Descent is the first installment in the Corrosion Series, a new project by longtime collaborators Ruptured and Beacon Sound that aims to showcase Beirut's blast-resistant music scene, while building cultural connective tissue in a time of institutional corrosion.
Tracklisting: 1. Introspection 2. Khifat Al-Atraf (with Firas al-Hallak) 3. The New World 4. Heritage 5. Irhamna 6. Wasted Efforts (with Julia Sabra) 7. The Tenderness of Limbs 8. Requiem 9. Jesuit Literature Drowning in The Mediterranean
+++ Revised vinyl reissue from the original band members Eduardo Gatti and Juan Pablo Orrego +++ Debut from the experimental folk/ rock band in the revolutionary days of the late 60's in Chile. Remastered from the original pressing and authorized by the founder musicians, this edition also has the original artwork and unreleased material updated by designer Antonio Larrea.
Label's Note: Due to the original tape being destroyed during the military dictatorship, we have had to process direct music from a vinyl record in "MINT" state (never played before) from the first edition of the time. “A waterfall of music, a bouquet of mysteries”. There is a handwritten data on the cover of the long play that one of the members of Los Blops has treasured for half a century: “1st record. Stgo - Chile. August 26, 1970”, noted there on that day by Juan Pablo Orrego's father.
In some sense it is a spontaneous birth certificate, not the starting point (Los Blops were already formed in 1964 in Santiago de Chile), but still somehow the beginning of the major chapters in their history. That LP, called Blops, is the first of the three that they recorded between 1970 and 1973 and made the band a primary reference for rock and popular song in Chile. Then it was Eduardo Gatti on voice and guitar, Julio Villalobos (uncle from DJ Ricardo Villalobos) on voice and guitar, Juan Pablo Orrego on voice and bass, Juan Contreras on transverse flute and keyboards, and Sergio Bezard on drums and percussion.
The evidence of the qualitative leap they took from playing covers to creating their own music is in that first vinyl which appeared in 1970, a year marked by social, cultural and political transformations in Chile. Released under Dicap label, a historic record label founded in 1968 by the Communist Youth Organization, the album was self-produced. As Eduardo Gatti points out: “We were the only producers. That's how that bouquet of rather strange flowers came out. In Blops there’s also a synthesis of the musical influences of the time, including rock of course.
Eduardo Gatti goes back to that point: “We had already researched the playing of (Bob) Dylan, Keith Richards, Clapton, so making an interesting weave with guitars was quite fascinating. And there came a time when we didn't play any more covers because it didn't make sense: it was time for our stuff. As we all mature, all this information that we had processed decanted in Los Blops ”. And Orrego agrees: “We had all those aspects, but a very own musical language began”. For the year following this album, the Blops were all living together in a house baptized as Manchufela in Ñuñoa borough in Santiago. There they deepened even more the intense vital and musical construction of the group, which also coincided with the bustling years of the UP (Unidad Popular, the left-wing political alliance led by President Salvador Allende from 1970 to 1973*): all experiences cut short by the Pinochet military coup in 1973 and by the terror that followed.
Gatti looks back at those previous years: “I think we were very happy. I think the fact of living in a community gave us such a different vision, like we put together a mini-society within this society that was dismantling itself, in which we continued with tremendous energy, very luminous in our case. And that made us somehow able to survive everything that came after. " And they are elements that add to the group's ultimate identity and the significance of its music, as Eduardo Gatti concludes: “It never ceases to amaze me. We were not in the Nueva Canción Chilena, in the political song. We, along with Los Jaivas and Congreso, were unclassifiable. And we were unclassifiable the entire time we recorded and played. I think that also gave a freshness to all this that people have appreciated more and more over time. And I think it is still without any classification”. –Santiago de Chile, December 11th 2020.
Tracklisting: 1. Barroquita 2. Los Momentos 3. La Muerte del Rey 4. Niebla 5. Vértigo 6. La Mañana y el Jardín 7. Santiago Oscurece el Pelo en el Agua 8. Patita 9. Atlántico 10. Maquinaria
Canadian death metal terror legion Ceremonial Bloodbath are back with a limited edition 7" promo EP to reaffirm and perpetrate their tyrannic conquest as one of the most abominable and horrific extreme metal entities alive these days.
Originally released earlier this year as a limited edition promo tape via Parasitic Records, the "Mutilation of Sacrifice" promo EP/demo now sees the light for the first time on vinyl via Sentient Ruin as a continued propagation of this inhuman entity's unholy domain and wake of endless aural deformities.
The work once again masterfully references timeless extreme metal cults like Archgoat, Bestial Warlust, Vassafor, Black Witchery and Blasphemy, and sees the Vancouver BC-based disfigured death metal horde prepare the ground for their next abhorrent expedition into the outer realms of complete aural depravity with this raw, pestilent and unforgiving short-playing premonition to the full-fledged animalistic savagery and bestial annihilation they have lurking ahead.
Tracklisting: 1. Mutilation of Sacrifice 2. Interludium 3. Loathing Swarm
Berserk Finnish raw black metal disease Hexerei bring us their venom-soaked debut full-length abomination "Ancient Evil Spirits", a deranged aural gateway to unseen depths of madness and total hell that will reshape the listener's idea of terror and toss them into the outermost circles of insanity.
Comprising of four primordial stabs of blown out and feral homicidal rawness, "Ancient Evil Spirits" overboils from the witches cauldron with the quintessence of evil like an acid-drenched spell, invoking ancient evil forces, uncontrolled hysteria, and malevolent plague-ridden rituals to torment the listener with merciless violence and abandon.
Reminiscent in its malevolence and primeval cruelty to ancient black metal cults like Darkthrone, Mayhem, Cultes Des Ghoules, and Katharsis, Hexerei however push these limits further and redefine the very concept of total aural filth by working the formula into a wider canvas, with lengthier compositions, an even more perverse emphasis on primitivism, and a more unpredictable and ambitious songwriting that has unearthed truly unsettling and terrifying new manifestations of the craft.
Tracklisting: 1. Essence of Ancient Evil 2. Doom of Abysmal Graves 3. Howling Necromantical Imprecations 4. Unholy Ceremonial Invocation