Modern Obscure Music boss Pedro Vian's fourth album is an immersive call for environmental awareness that features guest instrumentation from Pierre Bastien, Raül Refree, Asia, Gina Berenguer, Aitor Bigas and Daniele Mana.
Recorded across the world in Mexico, the Netherlands, Spain and Italy, 'Earth, Our Planet?' asks us to consider the planet, lulling us into a meditative state with tracks that melt experimental electronics with live acoustic instrumentation. Vian creates in widescreen here, extending his frame with gossamer neo-classical string flourishes on opener 'Uróboros', courtesy of avant-garde violinist Asia, who floats over the producer's heaving synthesized drones. But it's an album that lurches from side-to-side frequently, toying with hoover bass gurgles on 'Satan's Voice' and dipping into Berlin-school kosmische territory on the playful 'Mother of Dragons'.
Rephlex's Pierre Bastien shows up on 'A Day in Rotterdam', one of the album's most toothsome tracks, playing horn over Vian's peculiar, rasping soundscape, and on 'The Limit of Nothing', Vian pits cop movie synth stabs against piano from Spanish producer Raül Refree.
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Modern Obscure Music boss Pedro Vian's fourth album is an immersive call for environmental awareness that features guest instrumentation from Pierre Bastien, Raül Refree, Asia, Gina Berenguer, Aitor Bigas and Daniele Mana.
Recorded across the world in Mexico, the Netherlands, Spain and Italy, 'Earth, Our Planet?' asks us to consider the planet, lulling us into a meditative state with tracks that melt experimental electronics with live acoustic instrumentation. Vian creates in widescreen here, extending his frame with gossamer neo-classical string flourishes on opener 'Uróboros', courtesy of avant-garde violinist Asia, who floats over the producer's heaving synthesized drones. But it's an album that lurches from side-to-side frequently, toying with hoover bass gurgles on 'Satan's Voice' and dipping into Berlin-school kosmische territory on the playful 'Mother of Dragons'.
Rephlex's Pierre Bastien shows up on 'A Day in Rotterdam', one of the album's most toothsome tracks, playing horn over Vian's peculiar, rasping soundscape, and on 'The Limit of Nothing', Vian pits cop movie synth stabs against piano from Spanish producer Raül Refree.
Modern Obscure Music boss Pedro Vian's fourth album is an immersive call for environmental awareness that features guest instrumentation from Pierre Bastien, Raül Refree, Asia, Gina Berenguer, Aitor Bigas and Daniele Mana.
Recorded across the world in Mexico, the Netherlands, Spain and Italy, 'Earth, Our Planet?' asks us to consider the planet, lulling us into a meditative state with tracks that melt experimental electronics with live acoustic instrumentation. Vian creates in widescreen here, extending his frame with gossamer neo-classical string flourishes on opener 'Uróboros', courtesy of avant-garde violinist Asia, who floats over the producer's heaving synthesized drones. But it's an album that lurches from side-to-side frequently, toying with hoover bass gurgles on 'Satan's Voice' and dipping into Berlin-school kosmische territory on the playful 'Mother of Dragons'.
Rephlex's Pierre Bastien shows up on 'A Day in Rotterdam', one of the album's most toothsome tracks, playing horn over Vian's peculiar, rasping soundscape, and on 'The Limit of Nothing', Vian pits cop movie synth stabs against piano from Spanish producer Raül Refree.
Modern Obscure Music boss Pedro Vian's fourth album is an immersive call for environmental awareness that features guest instrumentation from Pierre Bastien, Raül Refree, Asia, Gina Berenguer, Aitor Bigas and Daniele Mana.
Recorded across the world in Mexico, the Netherlands, Spain and Italy, 'Earth, Our Planet?' asks us to consider the planet, lulling us into a meditative state with tracks that melt experimental electronics with live acoustic instrumentation. Vian creates in widescreen here, extending his frame with gossamer neo-classical string flourishes on opener 'Uróboros', courtesy of avant-garde violinist Asia, who floats over the producer's heaving synthesized drones. But it's an album that lurches from side-to-side frequently, toying with hoover bass gurgles on 'Satan's Voice' and dipping into Berlin-school kosmische territory on the playful 'Mother of Dragons'.
Rephlex's Pierre Bastien shows up on 'A Day in Rotterdam', one of the album's most toothsome tracks, playing horn over Vian's peculiar, rasping soundscape, and on 'The Limit of Nothing', Vian pits cop movie synth stabs against piano from Spanish producer Raül Refree.
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Modern Obscure Music boss Pedro Vian's fourth album is an immersive call for environmental awareness that features guest instrumentation from Pierre Bastien, Raül Refree, Asia, Gina Berenguer, Aitor Bigas and Daniele Mana.
Recorded across the world in Mexico, the Netherlands, Spain and Italy, 'Earth, Our Planet?' asks us to consider the planet, lulling us into a meditative state with tracks that melt experimental electronics with live acoustic instrumentation. Vian creates in widescreen here, extending his frame with gossamer neo-classical string flourishes on opener 'Uróboros', courtesy of avant-garde violinist Asia, who floats over the producer's heaving synthesized drones. But it's an album that lurches from side-to-side frequently, toying with hoover bass gurgles on 'Satan's Voice' and dipping into Berlin-school kosmische territory on the playful 'Mother of Dragons'.
Rephlex's Pierre Bastien shows up on 'A Day in Rotterdam', one of the album's most toothsome tracks, playing horn over Vian's peculiar, rasping soundscape, and on 'The Limit of Nothing', Vian pits cop movie synth stabs against piano from Spanish producer Raül Refree.