C30 TDK SA High Bias Cassette containing same audio on both sides. Composed and produced by Samuel Mercure. Mixed and Mastered by Jesse Osborne-Lanthier. Double bass by Gabriel Drolet. Acoustic recordings by Michael Bresse. Design by Lydie Bochatay. Hobo Cult Records 2014 HCR111 *100 copies
Includes unlimited streaming of LA MARCHE, LE DISCOURS, LE SOUPER
via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
ships out within 2 days
Streaming + Download
Includes unlimited streaming via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
Composé et produit par Samuel Mercure, Mixé & Masterisé par Jesse Osborne-Lanthier, Contrebasse par Gabriel Drolet, Enregistrement accoustique par Michael Bresse, Design par Lydie Bochatay
Hobo Cult Records 2014
released October 26, 2014
"The cassette’s title refers to its three discrete sections, echoing cello and drones that conjure their provided association as much or as little as you might care to allow; “La Marche” mimics the rhythm of staggered motion with a backdrop of little synthetic conceits, while “Le Discours” and “Le Souper” feel more like abstracted expositions, with the latter exploring a particularly deep, resonant palette of sounds. This is an austere but still nourishing collection, at times even cinematic, though it speaks more articulately of presence than emotion. "
"The stark beauty of this drone is matched only by the elegant simplicity of the artwork. Three tracks that gravitate around the black holes of our mind; music made for a rendezvous where everything happens in threes. The trio of tone rings the full alert, whispers ‘walk calmly towards the nearest exit’ and lays out a feast amongst the infinitesimal screaming silence of space."
"This rad new tape, released on Hobo Cult, is best described as haunted chamber music. Taking center stage here is bowed double bass that swells and pulses while electronic components creak and chirp in accompaniment, making up for a lack of brass or percussive elements typically found in orchestral movements. It’s slow, plodding (but my no means dull) and certainly ominous."