Kalouv is a Brazilian post-rock band formed in 2010 by Basílio Queiroz (bass), Bruno Saraiva(keyboard), Rennar Pires (drums), Saulo Mesquita (guitar) and Túlio Albuquerque (guitar).
Post-rock, progressive rock and correlative music genres are the base of their work, which has already been presented on important stages and festivals of Brazil such as: Abril pro Rock, Play the Movie (Coquetel Molotov), Sinewave Festival, Under the Sun, etc.
Their debut work Sky Swimmer (2011) and the second record Pluvero (2014) had both good acceptance in the specialized media, being nominated on many best albums of the year lists. In 2016 the band launches the compact Planar sobre o Invisível, with tracks recorded at Converse Rubber Tracks project in São Paulo.
In the beggining of 2016, Kalouv has made a tour in Brazil going throught ten cities in several regions of the country. During the stay in São Paulo, the group was invited to the Converse Rubber Tracks project, which was a whole day free to record in one of the most well equipped recording spaces of the city, called Family Mob Studio. Two tracks were recorded and finalized in Recife at the CODA Studio by the hands of the producer Roberto Kramer who mixed and mastered the tracks.
The outcome of the recordings is a compact disk nominated Planar Sobre o Invisível (Soar Over the Invisible – English translation). This new work is a preview of the upcoming new album that should be released in 2017. The cover is signed by the Brazilian artist Alexandre Palacio which perfectly translates the band’s inspiration in the tracks Peixe Voador and Da Bravura, Inocência such as in games, movies and comic books, creating soundtracks to their own universes.
These Are Truly The Last Days is a musical project with a driven experimental twist. Their music blurs the lines between various genres, including ambient, electronica, glitch hop, and more. The project’s self-titled studio effort features 11 studio tracks.
Crafting a concept album is an incredibly difficult task. Tying together a cohesive narrative across a record’s worth of songs isn’t just daunting, it’s an endeavour that even some of the industry’s finest have failed to do memorably. This task, however, becomes notably more difficult when you’re dealing in the abstract via instrumental soundscapes. That is what Chronotope Project, the moniker of composer Jeffrey Ericson Allen, attempts to do with his latest project, ‘Ovum.’