Formed by Chris Anderson, with Chris Minor, Richard Storer & Stuart Longden. Firesuite are an ongoing musical endeavour, born out of the desire to create something loud & hugely affecting. Combining polar opposite dynamics, from total white noise, to moments of striking beauty, Firesuite are as complex a unit as you are likely to find out.
"Firesuite was started as a tribute to my little brother, Daniel. That's him on the front cover of You're An Ocean Deep, My Brother. That album was written as a way to reach him somehow. Much of the material on it was written in the immediate aftermath of his death. Outlive Your Body is still very much infused with his memory, but was written more as a way to make him proud.
Daniel introduced me to so many bands, bands I love to this day and were integral to my musical adolescence. He brought home Jeff Buckley, Deftones and Breeders albums all within a few weeks and that was that. Mission complete. I was obsessed.
I have always approached everything we have done as a band with a sense of fatalism, like it will be the very last thing we do. On this occasion, that turned out to be a self fulfilling prophecy. It became clear recording the album, high up in the hills of Sheffield, that this would be the last thing we would ever complete as a band. Given that, it became that much more important that I put everything I have into it. We made the album during a number of sessions at Old Pig Farm spread across a number of years. The project began without any clear direction, we thought we may record a couple of EP's perhaps. As time went on though, it became clear an album was forming. Slowly.
So this is the record. It was pieced together with John Sephton, who became a friend and ally throughout the process. He guided it to completion, along with a few helping hands along the way. We recruited Dave Sanderson to assist in mixing several songs, in no small part due to his incredible work on the 65 DAYS OF STATIC discography. Caroline Cawley came in to add vocals to Little Sacrifices, and Matthew Pronger added layers of brass to swell the end of Harbour. Lucy Revis and Chris Endcliffe lifted Edge Of The Earth and Lights into the upper atmosphere.
The songs are about lots of things. They are about wanting to escape (Harbour), about mine and Daniel's experiences growing up (Eulogy), about close friends (SJVL). They are also about the band coming to an end. Lights was intended to be the soundtrack to this.
I am so proud of this record. We have worked so hard to build it into the thing it is. I am very happy to share it with you, and would love if you would share it with others. I am heartbroken about the end, but if something has been worth doing, then this should be how it feels when it ends. "
Danijel Zambo is a self-taught musician and began playing guitar and piano at the age of 14. After having played in a few bands, he released his first solo album "All my demons" in 2008. A wonderful debut between electronica and classical music. More critically acclaimed albums have followed and he is working as a freelance musician these days composing music for new media projects etc. "THE WORLD IS TOO LOUD, is a compilation of instrumentals I haven't released before because they simply didn't fit any album. Now I felt the time is right to release them and some of the tracks date back to more than ten years ago. Dreamy and evocative guitar ambience - a soundtrack for this age of turmoil."
There are many bands that draw inspiration from the mysterious, dreamlike, simply weird world of the American novelist H. P.Lovecraft. One such band can be found also on the Czech scene, though you would look for it in vein within the metal genre. What we refer to is POSTCARDS FROM ARKHAM, a post-rock project, whose mastermind is Marek “Frodys” Pytlik, who arose from the iconic North Moravian doom act DISSOLVING OF PRODIGY, as well as from the melodic death metal band AWRIZIS. Now PFA return with their second studio album with a cryptic fateful title “ÆØN5” that will take you to the world of lucid dreaming beyond angled space, where a different music of the spheres reigns supreme.
Already the first album of POSTCARDS FROM ARKHAM, entitled “Oceanize”, was a breath of fresh air on the Czech not only metal scene. “ÆØN5” goes way further. Once again, maestro Frodys took care of all music and instrumentation and conjured up a unique mix of nostalgic and poetic post-rock sound combined with a horror narrative. Here and there even an isolated black metal scream appears, more often however a splendidly sounding spoken word, uttered for example by the diva Lenka Machová from ADOR DORATH, who besides that participated on the visual and lyrical side of the album. State-of-the-art production was brought in by Libor Kukula from MetalGate
Howard Philips Lovecraft and his “weird fiction” is one those instances that show how whimsical fate can be. Neglected in life and delegated to the margins of pulp literature, today a literary icon, whose work serves as an inspiration to countless other artists across the cultural spectrum. The Czech scene is not an exception. Take POSTCARDS FROM ARKHAM for example, a post-rock/metal project by Marek Frodys Pytlik that translates Lovecraft’s legacy into its music, and that is now releasing under MetalGate Records its already third studio album entitled “MANTA”. Those who are familiar with PFA, may be surprised that the new album is somewhat darker and rawer than its predecessors. It is so because the intent was to create a counterpoint to the previous piece “ÆØN5”, both music-wise and theme-wise. While “ÆØN5” built on Lovecraft’s so-called “dream cycle”, which are stories having as their common denominator phantasmal dreamscapes that make them in a way lighter and more colorful compared to the rest of his works, “MANTA” heads into the utterly nonhuman and unfathomable cosmic voids of Lovecraftian cosmology – that is, into vistas ruled by the Demonic Sultan Azathoth, Lord of All, and to which to gain entrance entails transgressing the boundaries of the angled space, which is to say to leave behind that which we perceive as reality. Hence the contrast.
Ali Murray is an ethereal folk songwriter/musician from the cold isle of Lewis in the north of Scotland. He writes dark atmospheric folk music with lush sweeping dreamy soundscapes and Celtic-twinged instrumentation. His new album LAND OF EVERGONE strikes a balance that is intimate and soaring, peaceful and haunting, sad and quietly joyful, delicately reverberating with Murray's dreamy voice and guitar playing.
Orellana is a neo-classical/post-rock collective hailing from Bristol, UK. Their new album “52”, released in late December, brought in the new year with it’s explosive and intricate sound. The project’s music transcends genre definitions in order to focus on a broad, diverse concept that is more emotional than tangible. This particular release is full of rich and diverse arrangements, but it is also a powerful exercise in minimalism, one that showcases the strength of very few notes placed in the right spots. The simplicity of the arrangement is actually one of the strongest aspects of this entire release: there’s a palpable stillness created by the long, drone notes in the background, which almost makes you feel like the world is happening in slow motion. When the chords and notes change, it feels quite monumental due to the beautiful contrast between the stillness of the background textures and the expressive sound of the guitar-based melodies.