Cloud to Ground
Helge Sten (Deathprod) and Led Zeppelin's John Paul Jones enter the void together as Minibus Pimps on the eagerly anticipated 'Cloud To Ground'.
For the first time outside of their Supersilent trio with Arve Henriksen, the two titans in their respective fields converge on an astrally smashed, detached sound that "contains composed and improvisational elements on an equal scale." The results are far bleaker than anything they've hatched in Supersilent, and thankfully leans more towards the Deathprod school of abyss staring than Jones' rockier inclinations. The duo arrived at this unique sound by way of the generative Kyma software which Jones' also formerly employed on his solo albums 'Zooma' and 'The Thunderthief' - diffusing his organic and electrified timbres into abstract but dramatic soundscapes of howling harmonics and complex, unreal overtones. There are some outstanding bits scattered throughout, but almost predictably, we're most taken with the final salvo, 'Superbolt', which sounds something like a flock of rabid seagulls pecking flesh from rotting cadavers on a radioactive, post-apocalyptic beach invaded by alien craft.
View more
Helge Sten (Deathprod) and Led Zeppelin's John Paul Jones enter the void together as Minibus Pimps on the eagerly anticipated 'Cloud To Ground'.
For the first time outside of their Supersilent trio with Arve Henriksen, the two titans in their respective fields converge on an astrally smashed, detached sound that "contains composed and improvisational elements on an equal scale." The results are far bleaker than anything they've hatched in Supersilent, and thankfully leans more towards the Deathprod school of abyss staring than Jones' rockier inclinations. The duo arrived at this unique sound by way of the generative Kyma software which Jones' also formerly employed on his solo albums 'Zooma' and 'The Thunderthief' - diffusing his organic and electrified timbres into abstract but dramatic soundscapes of howling harmonics and complex, unreal overtones. There are some outstanding bits scattered throughout, but almost predictably, we're most taken with the final salvo, 'Superbolt', which sounds something like a flock of rabid seagulls pecking flesh from rotting cadavers on a radioactive, post-apocalyptic beach invaded by alien craft.
Helge Sten (Deathprod) and Led Zeppelin's John Paul Jones enter the void together as Minibus Pimps on the eagerly anticipated 'Cloud To Ground'.
For the first time outside of their Supersilent trio with Arve Henriksen, the two titans in their respective fields converge on an astrally smashed, detached sound that "contains composed and improvisational elements on an equal scale." The results are far bleaker than anything they've hatched in Supersilent, and thankfully leans more towards the Deathprod school of abyss staring than Jones' rockier inclinations. The duo arrived at this unique sound by way of the generative Kyma software which Jones' also formerly employed on his solo albums 'Zooma' and 'The Thunderthief' - diffusing his organic and electrified timbres into abstract but dramatic soundscapes of howling harmonics and complex, unreal overtones. There are some outstanding bits scattered throughout, but almost predictably, we're most taken with the final salvo, 'Superbolt', which sounds something like a flock of rabid seagulls pecking flesh from rotting cadavers on a radioactive, post-apocalyptic beach invaded by alien craft.
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
Helge Sten (Deathprod) and Led Zeppelin's John Paul Jones enter the void together as Minibus Pimps on the eagerly anticipated 'Cloud To Ground'.
For the first time outside of their Supersilent trio with Arve Henriksen, the two titans in their respective fields converge on an astrally smashed, detached sound that "contains composed and improvisational elements on an equal scale." The results are far bleaker than anything they've hatched in Supersilent, and thankfully leans more towards the Deathprod school of abyss staring than Jones' rockier inclinations. The duo arrived at this unique sound by way of the generative Kyma software which Jones' also formerly employed on his solo albums 'Zooma' and 'The Thunderthief' - diffusing his organic and electrified timbres into abstract but dramatic soundscapes of howling harmonics and complex, unreal overtones. There are some outstanding bits scattered throughout, but almost predictably, we're most taken with the final salvo, 'Superbolt', which sounds something like a flock of rabid seagulls pecking flesh from rotting cadavers on a radioactive, post-apocalyptic beach invaded by alien craft.