Danse des Larmes
Properly genius gothic romance joining dots between classic Vangelis, Lynch, Grouper, Béla Tarr and Coil’s ‘Musick To Play in the Dark’, new from Hungarian outsider Réka Csiszér on Athens' incredible guess-again specialists Heat Crimes. Special, special stuff...
Exploring a dark, dreamlike seam of interest for Heat Crimes, the second album by Hungarian Transylvanian vocalist, composer, performer and multidisciplinary artist Réka Csiszer aka Víz summons the spectres of Eastern European folk and dark ambient via the sonic vernacular and staging of theatre and sound for moving image. Réka works keenly at the limen of physical and spiritual realms using a mix of disembodied vocals and electroacoustic sorcery to render fine webs of choral arrangement set in shifting, cloistered netherworlds of the imagination, opening with an A-side of floating ambient drone sensuality, into a stunning half-hour long durational piece on the flip that feels like we’re happily lost behind the Black Lodge curtains for what could be an eternity.
In a quietly compelling style of musical storytelling carefully plotted with atmospheric mise-en-scene and a dramaturgist’s instinct, Víz leads down a dark path from an introductory ‘Eden X’ that feels like Grouper haunting Deathprod’s ‘Imaginary Songs From Tristan Da Cunha’, to the clammy touch of noirish romantic tristesse on the album’s title piece, while evoking more ancient mysteries via a subtly modernised prism of screwed vocals on ‘Hyperálom’, recalling the fantasy folk hymns of Christos Chondropoulos reworked for a whole choir, whilst the Julee Cruise comparison is most apt in a centrepiece ‘Angel’s Throat’, and its transition from blissed to nightmarish sound echoes. She brings the frame of reference closer to Transylvanian topographies with a reinterpretation of Míhaly Víg’s ‘Kész az egész’, from his score to Béla Tarr’s ‘Kárhozat’, reset as the smouldering, etheric waltz of ‘Vali 2.’
It’s proof, if it were needed, that Heat Crimes is a best in class new label, with Víz expanding the label’s remit and opening up a portal that leads on from the eerily seductive atmospheres of their Aeson Zervas, The Ephemeron Loop and Christian Love Forum aces, into a richly murky, sensuous, nostalgia-boggy palimpsest of the contemporary cultural unconsciousness - a place we’re very happy to visit.
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Properly genius gothic romance joining dots between classic Vangelis, Lynch, Grouper, Béla Tarr and Coil’s ‘Musick To Play in the Dark’, new from Hungarian outsider Réka Csiszér on Athens' incredible guess-again specialists Heat Crimes. Special, special stuff...
Exploring a dark, dreamlike seam of interest for Heat Crimes, the second album by Hungarian Transylvanian vocalist, composer, performer and multidisciplinary artist Réka Csiszer aka Víz summons the spectres of Eastern European folk and dark ambient via the sonic vernacular and staging of theatre and sound for moving image. Réka works keenly at the limen of physical and spiritual realms using a mix of disembodied vocals and electroacoustic sorcery to render fine webs of choral arrangement set in shifting, cloistered netherworlds of the imagination, opening with an A-side of floating ambient drone sensuality, into a stunning half-hour long durational piece on the flip that feels like we’re happily lost behind the Black Lodge curtains for what could be an eternity.
In a quietly compelling style of musical storytelling carefully plotted with atmospheric mise-en-scene and a dramaturgist’s instinct, Víz leads down a dark path from an introductory ‘Eden X’ that feels like Grouper haunting Deathprod’s ‘Imaginary Songs From Tristan Da Cunha’, to the clammy touch of noirish romantic tristesse on the album’s title piece, while evoking more ancient mysteries via a subtly modernised prism of screwed vocals on ‘Hyperálom’, recalling the fantasy folk hymns of Christos Chondropoulos reworked for a whole choir, whilst the Julee Cruise comparison is most apt in a centrepiece ‘Angel’s Throat’, and its transition from blissed to nightmarish sound echoes. She brings the frame of reference closer to Transylvanian topographies with a reinterpretation of Míhaly Víg’s ‘Kész az egész’, from his score to Béla Tarr’s ‘Kárhozat’, reset as the smouldering, etheric waltz of ‘Vali 2.’
It’s proof, if it were needed, that Heat Crimes is a best in class new label, with Víz expanding the label’s remit and opening up a portal that leads on from the eerily seductive atmospheres of their Aeson Zervas, The Ephemeron Loop and Christian Love Forum aces, into a richly murky, sensuous, nostalgia-boggy palimpsest of the contemporary cultural unconsciousness - a place we’re very happy to visit.
Properly genius gothic romance joining dots between classic Vangelis, Lynch, Grouper, Béla Tarr and Coil’s ‘Musick To Play in the Dark’, new from Hungarian outsider Réka Csiszér on Athens' incredible guess-again specialists Heat Crimes. Special, special stuff...
Exploring a dark, dreamlike seam of interest for Heat Crimes, the second album by Hungarian Transylvanian vocalist, composer, performer and multidisciplinary artist Réka Csiszer aka Víz summons the spectres of Eastern European folk and dark ambient via the sonic vernacular and staging of theatre and sound for moving image. Réka works keenly at the limen of physical and spiritual realms using a mix of disembodied vocals and electroacoustic sorcery to render fine webs of choral arrangement set in shifting, cloistered netherworlds of the imagination, opening with an A-side of floating ambient drone sensuality, into a stunning half-hour long durational piece on the flip that feels like we’re happily lost behind the Black Lodge curtains for what could be an eternity.
In a quietly compelling style of musical storytelling carefully plotted with atmospheric mise-en-scene and a dramaturgist’s instinct, Víz leads down a dark path from an introductory ‘Eden X’ that feels like Grouper haunting Deathprod’s ‘Imaginary Songs From Tristan Da Cunha’, to the clammy touch of noirish romantic tristesse on the album’s title piece, while evoking more ancient mysteries via a subtly modernised prism of screwed vocals on ‘Hyperálom’, recalling the fantasy folk hymns of Christos Chondropoulos reworked for a whole choir, whilst the Julee Cruise comparison is most apt in a centrepiece ‘Angel’s Throat’, and its transition from blissed to nightmarish sound echoes. She brings the frame of reference closer to Transylvanian topographies with a reinterpretation of Míhaly Víg’s ‘Kész az egész’, from his score to Béla Tarr’s ‘Kárhozat’, reset as the smouldering, etheric waltz of ‘Vali 2.’
It’s proof, if it were needed, that Heat Crimes is a best in class new label, with Víz expanding the label’s remit and opening up a portal that leads on from the eerily seductive atmospheres of their Aeson Zervas, The Ephemeron Loop and Christian Love Forum aces, into a richly murky, sensuous, nostalgia-boggy palimpsest of the contemporary cultural unconsciousness - a place we’re very happy to visit.
Properly genius gothic romance joining dots between classic Vangelis, Lynch, Grouper, Béla Tarr and Coil’s ‘Musick To Play in the Dark’, new from Hungarian outsider Réka Csiszér on Athens' incredible guess-again specialists Heat Crimes. Special, special stuff...
Exploring a dark, dreamlike seam of interest for Heat Crimes, the second album by Hungarian Transylvanian vocalist, composer, performer and multidisciplinary artist Réka Csiszer aka Víz summons the spectres of Eastern European folk and dark ambient via the sonic vernacular and staging of theatre and sound for moving image. Réka works keenly at the limen of physical and spiritual realms using a mix of disembodied vocals and electroacoustic sorcery to render fine webs of choral arrangement set in shifting, cloistered netherworlds of the imagination, opening with an A-side of floating ambient drone sensuality, into a stunning half-hour long durational piece on the flip that feels like we’re happily lost behind the Black Lodge curtains for what could be an eternity.
In a quietly compelling style of musical storytelling carefully plotted with atmospheric mise-en-scene and a dramaturgist’s instinct, Víz leads down a dark path from an introductory ‘Eden X’ that feels like Grouper haunting Deathprod’s ‘Imaginary Songs From Tristan Da Cunha’, to the clammy touch of noirish romantic tristesse on the album’s title piece, while evoking more ancient mysteries via a subtly modernised prism of screwed vocals on ‘Hyperálom’, recalling the fantasy folk hymns of Christos Chondropoulos reworked for a whole choir, whilst the Julee Cruise comparison is most apt in a centrepiece ‘Angel’s Throat’, and its transition from blissed to nightmarish sound echoes. She brings the frame of reference closer to Transylvanian topographies with a reinterpretation of Míhaly Víg’s ‘Kész az egész’, from his score to Béla Tarr’s ‘Kárhozat’, reset as the smouldering, etheric waltz of ‘Vali 2.’
It’s proof, if it were needed, that Heat Crimes is a best in class new label, with Víz expanding the label’s remit and opening up a portal that leads on from the eerily seductive atmospheres of their Aeson Zervas, The Ephemeron Loop and Christian Love Forum aces, into a richly murky, sensuous, nostalgia-boggy palimpsest of the contemporary cultural unconsciousness - a place we’re very happy to visit.
Edition of 200 copies, comes with a download of the album dropped to your account.
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Properly genius gothic romance joining dots between classic Vangelis, Lynch, Grouper, Béla Tarr and Coil’s ‘Musick To Play in the Dark’, new from Hungarian outsider Réka Csiszér on Athens' incredible guess-again specialists Heat Crimes. Special, special stuff...
Exploring a dark, dreamlike seam of interest for Heat Crimes, the second album by Hungarian Transylvanian vocalist, composer, performer and multidisciplinary artist Réka Csiszer aka Víz summons the spectres of Eastern European folk and dark ambient via the sonic vernacular and staging of theatre and sound for moving image. Réka works keenly at the limen of physical and spiritual realms using a mix of disembodied vocals and electroacoustic sorcery to render fine webs of choral arrangement set in shifting, cloistered netherworlds of the imagination, opening with an A-side of floating ambient drone sensuality, into a stunning half-hour long durational piece on the flip that feels like we’re happily lost behind the Black Lodge curtains for what could be an eternity.
In a quietly compelling style of musical storytelling carefully plotted with atmospheric mise-en-scene and a dramaturgist’s instinct, Víz leads down a dark path from an introductory ‘Eden X’ that feels like Grouper haunting Deathprod’s ‘Imaginary Songs From Tristan Da Cunha’, to the clammy touch of noirish romantic tristesse on the album’s title piece, while evoking more ancient mysteries via a subtly modernised prism of screwed vocals on ‘Hyperálom’, recalling the fantasy folk hymns of Christos Chondropoulos reworked for a whole choir, whilst the Julee Cruise comparison is most apt in a centrepiece ‘Angel’s Throat’, and its transition from blissed to nightmarish sound echoes. She brings the frame of reference closer to Transylvanian topographies with a reinterpretation of Míhaly Víg’s ‘Kész az egész’, from his score to Béla Tarr’s ‘Kárhozat’, reset as the smouldering, etheric waltz of ‘Vali 2.’
It’s proof, if it were needed, that Heat Crimes is a best in class new label, with Víz expanding the label’s remit and opening up a portal that leads on from the eerily seductive atmospheres of their Aeson Zervas, The Ephemeron Loop and Christian Love Forum aces, into a richly murky, sensuous, nostalgia-boggy palimpsest of the contemporary cultural unconsciousness - a place we’re very happy to visit.