Borders/Red Desert Remixes
Klara Lewis and Biosphere rework highlights of Carmen Villain’s Helge Sten-mixed album, Infinite Avenue, beside the original version of Borders featuring Jenny Hval.
One of the record’s rhythm driven points of interest, Borders stars Hval switching between gaseous and plangent vocal styles, perfused into the ether over loping, wooden drums and keening bass pressure.
In Klara Lewis’s hands, however, Borders becomes a sighing swell of melancholic harmonies and sloshing, almost seasick rhythms with Hval reserved to a more enigmatic presence. Meanwhile Biosphere hints that he’s been listening o a lot of the new weird rap instrumentals outta ATL on his mix of Red Desert, convecting his best Lynchian atmospheres over skewed, skinny trap tics with Villain crooning blue in the upper registers.
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Klara Lewis and Biosphere rework highlights of Carmen Villain’s Helge Sten-mixed album, Infinite Avenue, beside the original version of Borders featuring Jenny Hval.
One of the record’s rhythm driven points of interest, Borders stars Hval switching between gaseous and plangent vocal styles, perfused into the ether over loping, wooden drums and keening bass pressure.
In Klara Lewis’s hands, however, Borders becomes a sighing swell of melancholic harmonies and sloshing, almost seasick rhythms with Hval reserved to a more enigmatic presence. Meanwhile Biosphere hints that he’s been listening o a lot of the new weird rap instrumentals outta ATL on his mix of Red Desert, convecting his best Lynchian atmospheres over skewed, skinny trap tics with Villain crooning blue in the upper registers.
Klara Lewis and Biosphere rework highlights of Carmen Villain’s Helge Sten-mixed album, Infinite Avenue, beside the original version of Borders featuring Jenny Hval.
One of the record’s rhythm driven points of interest, Borders stars Hval switching between gaseous and plangent vocal styles, perfused into the ether over loping, wooden drums and keening bass pressure.
In Klara Lewis’s hands, however, Borders becomes a sighing swell of melancholic harmonies and sloshing, almost seasick rhythms with Hval reserved to a more enigmatic presence. Meanwhile Biosphere hints that he’s been listening o a lot of the new weird rap instrumentals outta ATL on his mix of Red Desert, convecting his best Lynchian atmospheres over skewed, skinny trap tics with Villain crooning blue in the upper registers.
Klara Lewis and Biosphere rework highlights of Carmen Villain’s Helge Sten-mixed album, Infinite Avenue, beside the original version of Borders featuring Jenny Hval.
One of the record’s rhythm driven points of interest, Borders stars Hval switching between gaseous and plangent vocal styles, perfused into the ether over loping, wooden drums and keening bass pressure.
In Klara Lewis’s hands, however, Borders becomes a sighing swell of melancholic harmonies and sloshing, almost seasick rhythms with Hval reserved to a more enigmatic presence. Meanwhile Biosphere hints that he’s been listening o a lot of the new weird rap instrumentals outta ATL on his mix of Red Desert, convecting his best Lynchian atmospheres over skewed, skinny trap tics with Villain crooning blue in the upper registers.
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Klara Lewis and Biosphere rework highlights of Carmen Villain’s Helge Sten-mixed album, Infinite Avenue, beside the original version of Borders featuring Jenny Hval.
One of the record’s rhythm driven points of interest, Borders stars Hval switching between gaseous and plangent vocal styles, perfused into the ether over loping, wooden drums and keening bass pressure.
In Klara Lewis’s hands, however, Borders becomes a sighing swell of melancholic harmonies and sloshing, almost seasick rhythms with Hval reserved to a more enigmatic presence. Meanwhile Biosphere hints that he’s been listening o a lot of the new weird rap instrumentals outta ATL on his mix of Red Desert, convecting his best Lynchian atmospheres over skewed, skinny trap tics with Villain crooning blue in the upper registers.