| Genre | Unknown |
|---|---|
| Date (CEST) | 2023-01-09 13:25:23 |
| Group | GRAVEWISH |
| Size | 112 MB |
| Files | 12 |
| M3U / SFV / NFO | |
Yang-Designed_for_Disaster-CD-2022-GRAVEWISH
Infos
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Tracklist (M3U)
| # | Filename | Artist | Songname | Bitrate | BPM |
|---|---|---|---|---|---|
| 1 | 01-yang-descendance.mp3 | Yang | Descendance | Unknown | Unknown |
| 2 | 02-yang-collision_course.mp3 | Yang | Collision Course | Unknown | Unknown |
| 3 | 03-yang-disentropy.mp3 | Yang | Disentropy | Unknown | Unknown |
| 4 | 04-yang-interlude_-_golem.mp3 | Yang | Interlude - Golem | Unknown | Unknown |
| 5 | 05-yang-words.mp3 | Yang | Words | Unknown | Unknown |
| 6 | 06-yang-flower_you.mp3 | Yang | Flower You | Unknown | Unknown |
| 7 | 07-yang-unisson.mp3 | Yang | Unisson | Unknown | Unknown |
| 8 | 08-yang-interlude_-_echo.mp3 | Yang | Interlude - Echo | Unknown | Unknown |
| 9 | 09-yang-migrations.mp3 | Yang | Migrations | Unknown | Unknown |
| 10 | 10-yang-la_voie_du_mensonge.mp3 | Yang | La Voie Du Mensonge | Unknown | Unknown |
| 11 | 11-yang-interlude_-_decombres.mp3 | Yang | Interlude - Décombres | Unknown | Unknown |
| 12 | 12-yang-despite_origins.mp3 | Yang | Despite Origins | Unknown | Unknown |
NFO
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██▌ Artist...: Yang ░▐██▌
░▐██ Album....: Designed for Disaster ░██▌░
▓▐██ Year.....: 2022 ▓▐██▓
▓▐██ Rel. Date: 2023-01-08 ░▐██▓
▐██ Genre....: Progressive Rock ██▌░
░ ██▌ Label....: Cuneiform Records ██▌
▐██ Source...: CD ▐██
░▐██▌ Type.....: Retail ▐██▌░
▓▄████ Quality..: VBR, 44.1kHz, Joint Stereo ████▌░
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1. Descendance 5:27
2. Collision Course 7:24
3. Disentropy 6:06
4. Interlude - Golem 1:37
5. Words 4:29
6. Flower You 4:47
7. Unisson 5:18
8. Interlude - Echo 1:31
9. Migrations 10:39
10. La Voie Du Mensonge 6:19
11. Interlude - DΘcombres 2:16
12. Despite Origins 5:58
61:51
FrΘderic LÆ╔pΘe, the sole composer for Yang, seems like an interesting
chap. He has an interest in minimalism, Chinese language and culture,
the guitar (Robert Fripp is his guru) and his favourite composer is
Johann Sebastian Bach. Stick those influences in a blender and what you
get is the latest album from Yang, Designed for Disaster. Since Yang is
a four-piece band comprising two guitars, bass and drums, the most
obvious influence from that list is definitely Fripp, but the rest are
all there, and investigating the resulting music is very worthwhile.
Nowhere is the Fripp and Crimson connection more obvious than on the
third track here, Disentropy. ItÆs one of the darker pieces with an
ominous feel as guitars and bass explore minor progressions, only to be
interrupted by crashing heavy chords as the drums join. ItÆs all very
LarksÆ Tongues, and sounds menacingly delicious. Similar themes and
atmospherics crop up again throughout, but thereÆs much more on offer.
Yang usually plays instrumental music, but on Designed for Disaster
three songs feature lead vocals, which are provided by German singer
Ayse Cansu Tanrikulu, and these all work really well. The first of these
songs is album opener Descendance which is both accessible and
unsettling at the same time. The lyrics suggest a world going wrong, but
the exact meaning is left to the listener to decide. That feeling
pervades the album, a sense of foreboding as things are unravelling.
Given the state of the world now, it captures the moment without ramming
the message home overtly.
The second vocal track, Flower You, is possibly the poppiest song here,
but even this isnÆt the easiest of listens. TanrikuluÆs sweet vocal
delivery as she intones ôunintentional disasterö and similar lines is
poignant and yet seems to suggest some hope, some light at the end of
the tunnel perhaps? Perhaps not, as Unisson follows, and although the
guitars of LÆ╔pΘe and Laurent James and the bass work from Nico Gomez
weave an elaborate and beautiful spell, the undercurrent of menace is
ever present.
Another notable and unsettling track is the rather odd Words. Against
the marching drumbeat of Volodia Brice, discordant and distorted guitars
wail, and the band chant out seemingly random words, issued like orders
from some figure of authority. These cacophonous sections are contrasted
with quiet guitar passages. ItÆs unnerving and uneasy. For me it
conjures a world where fake leaders try to dictate to the masses, but
who have only self-interest at heart. Can we resist?
The magnum opus on Designed for Disaster is the lengthy (10-minutes)
Migrations, and itÆs the last of the vocal tracks. ItÆs a superb piece
of work, featuring difficult time signatures and fabulous guitar work.
It is also very melodic, albeit in a rather abstract way, and again
Tanrikulu excels as she picks out the off-kilter melody and makes it
very listenable. The piece takes time to build, and in places has a
Starless feel to it, but itÆs fleeting and wholly original overall. ItÆs
definitely my favourite moment on an album with many high points. The
final songs which have to be mentioned are the closing two pieces.
Interlude û DΘcombres is a short piece with definite Chinese flavours,
the twang of the guitars like dripping water forming a backdrop to some
Frippery on the guitar from LÆ╔pΘe. It makes a lovely intro to Despite
Origins, an ingenious track which starts out as a guitar fugue with a
nod to Bach, developing into a more traditional guitar workout, then
moving quite suddenly into a Gothic closing piece which has to be
inspired by Carl Orff, its operatic but dark and dramatic vocalisations
giving way to guitar taking up the theme. ItÆs an extraordinary and dark
ending to a great album, and proves LÆ╔pΘe to be a fine composer. IÆve
never heard anything quite like it before, and I will certainly be
exploring earlier work from Yang on the strength of this.
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