At last! Those years of nuclear bomb testing finally paid off - we’re hereby releasing Sinfonia For The Blunt Sword. Yes, it took four years - all the music production and composition over the years drove us insane in the end. So here it is, our work of brutal beauty: It’s possibly the soundtrack for taking your M1 Abrams on a lowride in your damned Metropolis before flipping it over your neighbor’s SUV.
It might be your cup of tea if you like Ulver, Venetian Snares, Philip Glass or Brian Eno.
it’s been a while since i heard something new that was this inspiring, i’m appreciating this album more on each listen. one small remark is that i felt that your seven/sixteen demo had a better overall sound (to my taste)
Thanks for the positive comment Mr. 7kilo! I am happy someone is listening to it
Regarding the sound: Well, I removed all the maximization where possible to make it sound less harsh and more subtle. After all I am hearing more subtleties now that I totally forgot/did not hear with the old mastering.
Rather offtopic, but I am really looking for ideas:
It seems to me that most music magazines/bigger music blogs don’t consider taking CC-releases seriously at all. Do you (guys) have any idea how to do a propper promotion without spending a shitload of $$$?
But seriously, that is an awesome piece of work! I could go ahead and name a lot of influences, but I won’t because this thing seems to have a character all of it’s own. Good luck with the release!
There are some interesting layering ideas going on here but I find it hard to map them with the beats attacking as they do. The whole thing has a hard digital edge to it somehow. “Absolutely amazing” isn’t what I think of, and there’s little here that leaves a memorable impression.
I don’t want to seem like I’m dissing for the sake of it, I can see an almighty amount of work that’s gone into this. And no I’m not naysaying noise as a valid texture. I just prefer it warmer, less aggressive compressed, and used as thematic underpinning that unifies the purpose of the music. This feels scatty, unfocused, washed out in places, and generally hard to buy into. The only moments I’m getting into are the ultra quiet moments, and even then nothing is sticking out emotionally.
Most here will disagree. They’ll say ‘wow! look at all those detailed bits!’, and take that as the measure of goodness. And of course I’m asking you to change a single thing. But judging from your talent here in giving attention to detail, surely you find a path in the future that leads to giving more rather than attacking.
Thanks for the comment! I can follow your chain of argumentation and the points you make but I do not agree to them - they tend to be based on premises that the album is not intended to fulfill. This includes the composition and the sounddesign/engineering. If a composition is hard to follow or not reasonable (and the same goes to the sound) judging the value/quality of it might be the wrong thing to do since it most possibly neglects its context (assuming that every composition is not a product of entire randomness ).
I am not writing this because your comment can be considered negative feedback, but because I hear such feedback with a comparable reasoning quite often and - in my opinion - this reasoning does not hold.
Of course. But this is not a measure for anything but dedication. Which - in the opinion of many people - is a good thing.
A term like goodness is entirely based on a definiton in a certain microcosm of values and whatnot.
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