Black Zodiac
The bizarre Belgian whimsy is strong on this debut duet between clarinetist Ben Bertrand and actress-vocalist Manah Depauw for the reliably oddball Stroom - think theatrical music or ‘Pataphysical radioplay in the vein of Tuxedomoon or that awesome Oï les Ox tape
Stemming from a creative relationship that begun with in 2018, the subtly queasy oneiric experience of ‘Black Zodiac’ is exemplary of the lowkey delirium that distinguishes Stroom releases from the crowd. In a range of processed voices, alien, husky and sensual, Depauw brings her theatrical expertise to a form of poetry dwelling on matters extra terrestrial and bestial against a backdrop of oozing electronics and airborne horns.
It’s arguably among the label’s weirdest and most satisfyingly absurd, like some sort of speculative fuckery for those who really like to have their melon twisted. We point thee straight to ‘Steel is Useful’ for an entry point to their alternate universe, where Bertrand’s looped and smudged clarinet provides the bedding for slow-moving dialogue between what sounds like two acid fried AI’s, and you should be able to gauge the sort of avant daftness and inexplicable insight at play. Honestly, if applied while on psychedelics, mind your head - it’s deeply fucking weird.
View more
The bizarre Belgian whimsy is strong on this debut duet between clarinetist Ben Bertrand and actress-vocalist Manah Depauw for the reliably oddball Stroom - think theatrical music or ‘Pataphysical radioplay in the vein of Tuxedomoon or that awesome Oï les Ox tape
Stemming from a creative relationship that begun with in 2018, the subtly queasy oneiric experience of ‘Black Zodiac’ is exemplary of the lowkey delirium that distinguishes Stroom releases from the crowd. In a range of processed voices, alien, husky and sensual, Depauw brings her theatrical expertise to a form of poetry dwelling on matters extra terrestrial and bestial against a backdrop of oozing electronics and airborne horns.
It’s arguably among the label’s weirdest and most satisfyingly absurd, like some sort of speculative fuckery for those who really like to have their melon twisted. We point thee straight to ‘Steel is Useful’ for an entry point to their alternate universe, where Bertrand’s looped and smudged clarinet provides the bedding for slow-moving dialogue between what sounds like two acid fried AI’s, and you should be able to gauge the sort of avant daftness and inexplicable insight at play. Honestly, if applied while on psychedelics, mind your head - it’s deeply fucking weird.
The bizarre Belgian whimsy is strong on this debut duet between clarinetist Ben Bertrand and actress-vocalist Manah Depauw for the reliably oddball Stroom - think theatrical music or ‘Pataphysical radioplay in the vein of Tuxedomoon or that awesome Oï les Ox tape
Stemming from a creative relationship that begun with in 2018, the subtly queasy oneiric experience of ‘Black Zodiac’ is exemplary of the lowkey delirium that distinguishes Stroom releases from the crowd. In a range of processed voices, alien, husky and sensual, Depauw brings her theatrical expertise to a form of poetry dwelling on matters extra terrestrial and bestial against a backdrop of oozing electronics and airborne horns.
It’s arguably among the label’s weirdest and most satisfyingly absurd, like some sort of speculative fuckery for those who really like to have their melon twisted. We point thee straight to ‘Steel is Useful’ for an entry point to their alternate universe, where Bertrand’s looped and smudged clarinet provides the bedding for slow-moving dialogue between what sounds like two acid fried AI’s, and you should be able to gauge the sort of avant daftness and inexplicable insight at play. Honestly, if applied while on psychedelics, mind your head - it’s deeply fucking weird.
The bizarre Belgian whimsy is strong on this debut duet between clarinetist Ben Bertrand and actress-vocalist Manah Depauw for the reliably oddball Stroom - think theatrical music or ‘Pataphysical radioplay in the vein of Tuxedomoon or that awesome Oï les Ox tape
Stemming from a creative relationship that begun with in 2018, the subtly queasy oneiric experience of ‘Black Zodiac’ is exemplary of the lowkey delirium that distinguishes Stroom releases from the crowd. In a range of processed voices, alien, husky and sensual, Depauw brings her theatrical expertise to a form of poetry dwelling on matters extra terrestrial and bestial against a backdrop of oozing electronics and airborne horns.
It’s arguably among the label’s weirdest and most satisfyingly absurd, like some sort of speculative fuckery for those who really like to have their melon twisted. We point thee straight to ‘Steel is Useful’ for an entry point to their alternate universe, where Bertrand’s looped and smudged clarinet provides the bedding for slow-moving dialogue between what sounds like two acid fried AI’s, and you should be able to gauge the sort of avant daftness and inexplicable insight at play. Honestly, if applied while on psychedelics, mind your head - it’s deeply fucking weird.
Available To Order (Estimated Shipping between 7-14 Working Days)
This item is to the best of our knowledge available to us from the supplier and should ship to you within the time-frame indicated. If there are any unforeseen issues with availability we will notify you immediately
The bizarre Belgian whimsy is strong on this debut duet between clarinetist Ben Bertrand and actress-vocalist Manah Depauw for the reliably oddball Stroom - think theatrical music or ‘Pataphysical radioplay in the vein of Tuxedomoon or that awesome Oï les Ox tape
Stemming from a creative relationship that begun with in 2018, the subtly queasy oneiric experience of ‘Black Zodiac’ is exemplary of the lowkey delirium that distinguishes Stroom releases from the crowd. In a range of processed voices, alien, husky and sensual, Depauw brings her theatrical expertise to a form of poetry dwelling on matters extra terrestrial and bestial against a backdrop of oozing electronics and airborne horns.
It’s arguably among the label’s weirdest and most satisfyingly absurd, like some sort of speculative fuckery for those who really like to have their melon twisted. We point thee straight to ‘Steel is Useful’ for an entry point to their alternate universe, where Bertrand’s looped and smudged clarinet provides the bedding for slow-moving dialogue between what sounds like two acid fried AI’s, and you should be able to gauge the sort of avant daftness and inexplicable insight at play. Honestly, if applied while on psychedelics, mind your head - it’s deeply fucking weird.