Dissemblance
Centauresse
Boomkat Product Review:
L.I.E.S. look under their Parisian nose to Mathilde Mallen’s exquisite coldwave gloom, perfected as Dissemblance after decades spent in the city’s underground.
Also regarded as Electric Mistress, Mathilde doubles her tally as Dissemblance with ‘Centauresse’, a cold-hearted follow-up to her 2019 debut album, ‘Over The Sand’ for Mannequin, which patently benefitted from its mixing touches by Silent Servant. We’re not sure if he’s on board here but the results are just as classic-sounding, bang on the mark for droll, dead-eyed songs in the vein of early Tropic of Cancer and the shadowiest side of Lena Platonos, edged with a delectably stylized, gallic panache.
Blessed with a real feel for the sort of synth sounds that make us salivate, Dissemblance shapes them into a spellbinding strands of songcraft that reward with amplification. Where all too often this sound can fall into cliched torpor, there’s a captivatingly undead energy to proceedings that keeps us rapt. ‘Mercure’ sets out oblique terms of atonal gunk and glossolalic vox that seduce by suggestion, before introducing more legible lyrics and rudely defined grooves in ‘Oxygene’ placing her somewhere between ToC and DVA Damas, as she continues to shapeshift from sulky goddess strung out in processed FX on ‘Attacker le Soleil’, thru to Julee Cruise-like sylvan on the immaculate darkness of ‘Bon Voyage’, variously swooning to the spirraling arps of the title cut, and haunting the soured dissonance of ‘Couteau’ and ‘Furio’ with a transfixing presence certain to garner new fans not already familiar with her first album.
View more
Boomkat Product Review:
L.I.E.S. look under their Parisian nose to Mathilde Mallen’s exquisite coldwave gloom, perfected as Dissemblance after decades spent in the city’s underground.
Also regarded as Electric Mistress, Mathilde doubles her tally as Dissemblance with ‘Centauresse’, a cold-hearted follow-up to her 2019 debut album, ‘Over The Sand’ for Mannequin, which patently benefitted from its mixing touches by Silent Servant. We’re not sure if he’s on board here but the results are just as classic-sounding, bang on the mark for droll, dead-eyed songs in the vein of early Tropic of Cancer and the shadowiest side of Lena Platonos, edged with a delectably stylized, gallic panache.
Blessed with a real feel for the sort of synth sounds that make us salivate, Dissemblance shapes them into a spellbinding strands of songcraft that reward with amplification. Where all too often this sound can fall into cliched torpor, there’s a captivatingly undead energy to proceedings that keeps us rapt. ‘Mercure’ sets out oblique terms of atonal gunk and glossolalic vox that seduce by suggestion, before introducing more legible lyrics and rudely defined grooves in ‘Oxygene’ placing her somewhere between ToC and DVA Damas, as she continues to shapeshift from sulky goddess strung out in processed FX on ‘Attacker le Soleil’, thru to Julee Cruise-like sylvan on the immaculate darkness of ‘Bon Voyage’, variously swooning to the spirraling arps of the title cut, and haunting the soured dissonance of ‘Couteau’ and ‘Furio’ with a transfixing presence certain to garner new fans not already familiar with her first album.
Boomkat Product Review:
L.I.E.S. look under their Parisian nose to Mathilde Mallen’s exquisite coldwave gloom, perfected as Dissemblance after decades spent in the city’s underground.
Also regarded as Electric Mistress, Mathilde doubles her tally as Dissemblance with ‘Centauresse’, a cold-hearted follow-up to her 2019 debut album, ‘Over The Sand’ for Mannequin, which patently benefitted from its mixing touches by Silent Servant. We’re not sure if he’s on board here but the results are just as classic-sounding, bang on the mark for droll, dead-eyed songs in the vein of early Tropic of Cancer and the shadowiest side of Lena Platonos, edged with a delectably stylized, gallic panache.
Blessed with a real feel for the sort of synth sounds that make us salivate, Dissemblance shapes them into a spellbinding strands of songcraft that reward with amplification. Where all too often this sound can fall into cliched torpor, there’s a captivatingly undead energy to proceedings that keeps us rapt. ‘Mercure’ sets out oblique terms of atonal gunk and glossolalic vox that seduce by suggestion, before introducing more legible lyrics and rudely defined grooves in ‘Oxygene’ placing her somewhere between ToC and DVA Damas, as she continues to shapeshift from sulky goddess strung out in processed FX on ‘Attacker le Soleil’, thru to Julee Cruise-like sylvan on the immaculate darkness of ‘Bon Voyage’, variously swooning to the spirraling arps of the title cut, and haunting the soured dissonance of ‘Couteau’ and ‘Furio’ with a transfixing presence certain to garner new fans not already familiar with her first album.
Boomkat Product Review:
L.I.E.S. look under their Parisian nose to Mathilde Mallen’s exquisite coldwave gloom, perfected as Dissemblance after decades spent in the city’s underground.
Also regarded as Electric Mistress, Mathilde doubles her tally as Dissemblance with ‘Centauresse’, a cold-hearted follow-up to her 2019 debut album, ‘Over The Sand’ for Mannequin, which patently benefitted from its mixing touches by Silent Servant. We’re not sure if he’s on board here but the results are just as classic-sounding, bang on the mark for droll, dead-eyed songs in the vein of early Tropic of Cancer and the shadowiest side of Lena Platonos, edged with a delectably stylized, gallic panache.
Blessed with a real feel for the sort of synth sounds that make us salivate, Dissemblance shapes them into a spellbinding strands of songcraft that reward with amplification. Where all too often this sound can fall into cliched torpor, there’s a captivatingly undead energy to proceedings that keeps us rapt. ‘Mercure’ sets out oblique terms of atonal gunk and glossolalic vox that seduce by suggestion, before introducing more legible lyrics and rudely defined grooves in ‘Oxygene’ placing her somewhere between ToC and DVA Damas, as she continues to shapeshift from sulky goddess strung out in processed FX on ‘Attacker le Soleil’, thru to Julee Cruise-like sylvan on the immaculate darkness of ‘Bon Voyage’, variously swooning to the spirraling arps of the title cut, and haunting the soured dissonance of ‘Couteau’ and ‘Furio’ with a transfixing presence certain to garner new fans not already familiar with her first album.
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
Boomkat Product Review:
L.I.E.S. look under their Parisian nose to Mathilde Mallen’s exquisite coldwave gloom, perfected as Dissemblance after decades spent in the city’s underground.
Also regarded as Electric Mistress, Mathilde doubles her tally as Dissemblance with ‘Centauresse’, a cold-hearted follow-up to her 2019 debut album, ‘Over The Sand’ for Mannequin, which patently benefitted from its mixing touches by Silent Servant. We’re not sure if he’s on board here but the results are just as classic-sounding, bang on the mark for droll, dead-eyed songs in the vein of early Tropic of Cancer and the shadowiest side of Lena Platonos, edged with a delectably stylized, gallic panache.
Blessed with a real feel for the sort of synth sounds that make us salivate, Dissemblance shapes them into a spellbinding strands of songcraft that reward with amplification. Where all too often this sound can fall into cliched torpor, there’s a captivatingly undead energy to proceedings that keeps us rapt. ‘Mercure’ sets out oblique terms of atonal gunk and glossolalic vox that seduce by suggestion, before introducing more legible lyrics and rudely defined grooves in ‘Oxygene’ placing her somewhere between ToC and DVA Damas, as she continues to shapeshift from sulky goddess strung out in processed FX on ‘Attacker le Soleil’, thru to Julee Cruise-like sylvan on the immaculate darkness of ‘Bon Voyage’, variously swooning to the spirraling arps of the title cut, and haunting the soured dissonance of ‘Couteau’ and ‘Furio’ with a transfixing presence certain to garner new fans not already familiar with her first album.
More from Dissemblance:
-
FREE MP3 WITH VINYLDissemblance Over the Sand Mannequin Industrial / Wave / Electro- MP3
- FLAC
- WAV
- LP (Black Vinyl)
More from L.I.E.S.:
-
Tom Carruthers Future Wave L.I.E.S. Techno / House
- 3LP
-
TMO X PAINKOV Tmo X Piankov L.I.E.S. Techno / House
- LP (Black Vinyl)
-
Fabio Monesi Piano Vandals L.I.E.S. Techno / House
- 2LP (Black Vinyl)
-
Gidia Struga L.I.E.S. Industrial / Wave / Electro
- MP3
- FLAC
- WAV
- 2LP (Black Vinyl)
-
Ron Morelli Heart Stopper L.I.E.S. Techno / House
- MP3
- FLAC
- WAV
- 2LP (Black Vinyl)
People who bought this also bought:
-
FREE MP3 WITH VINYLBeatrice Dillon Blues Dances Where To Now? Techno / House
- MP3
- FLAC
-
Various Artists Disco Not Disco Strut Disco / Boogie / Funk
- 3LP
-
FREE MP3 WITH VINYLSugar Minott Dance Hall Showcase Vol. II Wackies Dub / Reggae
- MP3
- FLAC
- CD
-
FREE MP3 WITH VINYLVARIOUS / WACKIES Horace Andy Meets Naggo Morris & Wayne Jarrett - Mini Showcase Wackies Dub / Reggae
- MP3
- FLAC
- CD
-
FREE MP3 WITH VINYLMark Fell and WIll Guthrie Infoldings / Diffractions NAKID Electronic
- MP3
- FLAC
- WAV
- CD
-
FREE MP3 WITH VINYLSmoke Point Smoke Point Geographic North Electronic
- MP3
- FLAC
- WAV
- Colour LP
-
The iDEALIST A Lion is A Lion and Not A Lamb MEAKUSMA Techno / House
- LP (Black Vinyl)
-
FREE MP3 WITH VINYLEmeka Ogboh 6°30′33.372″N 3°22′0.66″E Danfotronics Electronic
- MP3
- FLAC
- WAV
- 2LP (Black Vinyl)
-
FREE MP3 WITH VINYLYutaka Hirose TRACE: Sound Design Works 1986-1989 WRWTFWW Records Electronic
- MP3
- FLAC
- WAV
- 2LP (Black Vinyl)
- 2CD
-
Novidade Voaria ISLE OF JURA RECORDS Disco / Boogie / Funk
- MP3
- FLAC
- WAV
- 12" (Black Vinyl)