Khôra
Gestures of Perception
Boomkat Product Review:
Epic stuff here from Marionette - Khôra follows releases on Constellation and Arachnidiscs with an extended weave of home-made drum machines, acoustic instruments and modular systems to connect archaic folk sounds with serpentine, polyrhythmic techno and cosmick electronix. RIYL Kilchhofer, Egil Kalman, Wojciech Rusin.
Quietly influential in the Toronto scene, Matthew Ramolo (aka Khôra) has been defining his signature sound for over a decade, using his arsenal of electronic and acoustic instruments to devise a spiritually incisive form that pulls as liberally from ancient music as it does from the modern avant-garde. 'Gestures of Perception' is his first double album, and is built around jerky, Muslimgauze-esque rhythms he generated using a DIY solenoid drum machine. The pulses are deviously hypnotic, sounding both electronic and uncannily acoustic at once, and form a ritualistic base for his wormy synth melodies and oddly-tuned drones. On opener 'Golden Femur', Ramolo uses the erhu, a Chinese two-stringed fiddle, to sweep around rattly, muted pops, harmonizing with his modular and adding kora-like harp plucks to create a swirling fusion of familiar and unfamiliar traces. It's smart, intentional music that connects the eras and continents with open-hearted warmth, wondering about the possibilities of technology rather than feeling shackled to it.
Antiquated, untempered horns underpin 'Flux and Hieroglyph', while Ramolo's custom made drum machine pats out a rhythm that sounds as if it's been ripped from a pagan ceremony. His skill here is in sculpting his synth patches so they sound as if they've always been there, coiling around bagpipe-like wails and subtle, shaking bells. His percussion is breathtaking throughout the album, but the synthesis is just as well handled, nestling into the gusty polyrhythms like memories from another life. There's outlines of Indonesian gamelan forms on 'Chöd', and Ramolo follows the fluttering chimes with cascading bleeps, and on the medieval-sounding 'In Petrified Light', he meets courtly ancient greek flute wails with rising psychedelic arpeggios. We know how this sounds, but Ramolo works with restraint, and like Wojciech Rusin, is able to respectfully absorb these far-flung elements without descending into parody. 'Pneumatic Magic' meanwhile starts like a slowed-down tribute to Basic Channel, eventually encasing the circuitous, dubby synths with blown-out wails that gesture towards the past without battering you around the head.
It's a bold, confident set that infuses its latent psychedelia with rigorous research and keen-eared listening - the kind of record people are prob gonna dig out in a decade or two and wonder how it slipped under the radar for so long.
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Boomkat Product Review:
Epic stuff here from Marionette - Khôra follows releases on Constellation and Arachnidiscs with an extended weave of home-made drum machines, acoustic instruments and modular systems to connect archaic folk sounds with serpentine, polyrhythmic techno and cosmick electronix. RIYL Kilchhofer, Egil Kalman, Wojciech Rusin.
Quietly influential in the Toronto scene, Matthew Ramolo (aka Khôra) has been defining his signature sound for over a decade, using his arsenal of electronic and acoustic instruments to devise a spiritually incisive form that pulls as liberally from ancient music as it does from the modern avant-garde. 'Gestures of Perception' is his first double album, and is built around jerky, Muslimgauze-esque rhythms he generated using a DIY solenoid drum machine. The pulses are deviously hypnotic, sounding both electronic and uncannily acoustic at once, and form a ritualistic base for his wormy synth melodies and oddly-tuned drones. On opener 'Golden Femur', Ramolo uses the erhu, a Chinese two-stringed fiddle, to sweep around rattly, muted pops, harmonizing with his modular and adding kora-like harp plucks to create a swirling fusion of familiar and unfamiliar traces. It's smart, intentional music that connects the eras and continents with open-hearted warmth, wondering about the possibilities of technology rather than feeling shackled to it.
Antiquated, untempered horns underpin 'Flux and Hieroglyph', while Ramolo's custom made drum machine pats out a rhythm that sounds as if it's been ripped from a pagan ceremony. His skill here is in sculpting his synth patches so they sound as if they've always been there, coiling around bagpipe-like wails and subtle, shaking bells. His percussion is breathtaking throughout the album, but the synthesis is just as well handled, nestling into the gusty polyrhythms like memories from another life. There's outlines of Indonesian gamelan forms on 'Chöd', and Ramolo follows the fluttering chimes with cascading bleeps, and on the medieval-sounding 'In Petrified Light', he meets courtly ancient greek flute wails with rising psychedelic arpeggios. We know how this sounds, but Ramolo works with restraint, and like Wojciech Rusin, is able to respectfully absorb these far-flung elements without descending into parody. 'Pneumatic Magic' meanwhile starts like a slowed-down tribute to Basic Channel, eventually encasing the circuitous, dubby synths with blown-out wails that gesture towards the past without battering you around the head.
It's a bold, confident set that infuses its latent psychedelia with rigorous research and keen-eared listening - the kind of record people are prob gonna dig out in a decade or two and wonder how it slipped under the radar for so long.
Boomkat Product Review:
Epic stuff here from Marionette - Khôra follows releases on Constellation and Arachnidiscs with an extended weave of home-made drum machines, acoustic instruments and modular systems to connect archaic folk sounds with serpentine, polyrhythmic techno and cosmick electronix. RIYL Kilchhofer, Egil Kalman, Wojciech Rusin.
Quietly influential in the Toronto scene, Matthew Ramolo (aka Khôra) has been defining his signature sound for over a decade, using his arsenal of electronic and acoustic instruments to devise a spiritually incisive form that pulls as liberally from ancient music as it does from the modern avant-garde. 'Gestures of Perception' is his first double album, and is built around jerky, Muslimgauze-esque rhythms he generated using a DIY solenoid drum machine. The pulses are deviously hypnotic, sounding both electronic and uncannily acoustic at once, and form a ritualistic base for his wormy synth melodies and oddly-tuned drones. On opener 'Golden Femur', Ramolo uses the erhu, a Chinese two-stringed fiddle, to sweep around rattly, muted pops, harmonizing with his modular and adding kora-like harp plucks to create a swirling fusion of familiar and unfamiliar traces. It's smart, intentional music that connects the eras and continents with open-hearted warmth, wondering about the possibilities of technology rather than feeling shackled to it.
Antiquated, untempered horns underpin 'Flux and Hieroglyph', while Ramolo's custom made drum machine pats out a rhythm that sounds as if it's been ripped from a pagan ceremony. His skill here is in sculpting his synth patches so they sound as if they've always been there, coiling around bagpipe-like wails and subtle, shaking bells. His percussion is breathtaking throughout the album, but the synthesis is just as well handled, nestling into the gusty polyrhythms like memories from another life. There's outlines of Indonesian gamelan forms on 'Chöd', and Ramolo follows the fluttering chimes with cascading bleeps, and on the medieval-sounding 'In Petrified Light', he meets courtly ancient greek flute wails with rising psychedelic arpeggios. We know how this sounds, but Ramolo works with restraint, and like Wojciech Rusin, is able to respectfully absorb these far-flung elements without descending into parody. 'Pneumatic Magic' meanwhile starts like a slowed-down tribute to Basic Channel, eventually encasing the circuitous, dubby synths with blown-out wails that gesture towards the past without battering you around the head.
It's a bold, confident set that infuses its latent psychedelia with rigorous research and keen-eared listening - the kind of record people are prob gonna dig out in a decade or two and wonder how it slipped under the radar for so long.
Boomkat Product Review:
Epic stuff here from Marionette - Khôra follows releases on Constellation and Arachnidiscs with an extended weave of home-made drum machines, acoustic instruments and modular systems to connect archaic folk sounds with serpentine, polyrhythmic techno and cosmick electronix. RIYL Kilchhofer, Egil Kalman, Wojciech Rusin.
Quietly influential in the Toronto scene, Matthew Ramolo (aka Khôra) has been defining his signature sound for over a decade, using his arsenal of electronic and acoustic instruments to devise a spiritually incisive form that pulls as liberally from ancient music as it does from the modern avant-garde. 'Gestures of Perception' is his first double album, and is built around jerky, Muslimgauze-esque rhythms he generated using a DIY solenoid drum machine. The pulses are deviously hypnotic, sounding both electronic and uncannily acoustic at once, and form a ritualistic base for his wormy synth melodies and oddly-tuned drones. On opener 'Golden Femur', Ramolo uses the erhu, a Chinese two-stringed fiddle, to sweep around rattly, muted pops, harmonizing with his modular and adding kora-like harp plucks to create a swirling fusion of familiar and unfamiliar traces. It's smart, intentional music that connects the eras and continents with open-hearted warmth, wondering about the possibilities of technology rather than feeling shackled to it.
Antiquated, untempered horns underpin 'Flux and Hieroglyph', while Ramolo's custom made drum machine pats out a rhythm that sounds as if it's been ripped from a pagan ceremony. His skill here is in sculpting his synth patches so they sound as if they've always been there, coiling around bagpipe-like wails and subtle, shaking bells. His percussion is breathtaking throughout the album, but the synthesis is just as well handled, nestling into the gusty polyrhythms like memories from another life. There's outlines of Indonesian gamelan forms on 'Chöd', and Ramolo follows the fluttering chimes with cascading bleeps, and on the medieval-sounding 'In Petrified Light', he meets courtly ancient greek flute wails with rising psychedelic arpeggios. We know how this sounds, but Ramolo works with restraint, and like Wojciech Rusin, is able to respectfully absorb these far-flung elements without descending into parody. 'Pneumatic Magic' meanwhile starts like a slowed-down tribute to Basic Channel, eventually encasing the circuitous, dubby synths with blown-out wails that gesture towards the past without battering you around the head.
It's a bold, confident set that infuses its latent psychedelia with rigorous research and keen-eared listening - the kind of record people are prob gonna dig out in a decade or two and wonder how it slipped under the radar for so long.
Back in stock - Pressed on 180g vinyl with printed artwork on reverse-board inner & outer sleeves.
Out of Stock
Boomkat Product Review:
Epic stuff here from Marionette - Khôra follows releases on Constellation and Arachnidiscs with an extended weave of home-made drum machines, acoustic instruments and modular systems to connect archaic folk sounds with serpentine, polyrhythmic techno and cosmick electronix. RIYL Kilchhofer, Egil Kalman, Wojciech Rusin.
Quietly influential in the Toronto scene, Matthew Ramolo (aka Khôra) has been defining his signature sound for over a decade, using his arsenal of electronic and acoustic instruments to devise a spiritually incisive form that pulls as liberally from ancient music as it does from the modern avant-garde. 'Gestures of Perception' is his first double album, and is built around jerky, Muslimgauze-esque rhythms he generated using a DIY solenoid drum machine. The pulses are deviously hypnotic, sounding both electronic and uncannily acoustic at once, and form a ritualistic base for his wormy synth melodies and oddly-tuned drones. On opener 'Golden Femur', Ramolo uses the erhu, a Chinese two-stringed fiddle, to sweep around rattly, muted pops, harmonizing with his modular and adding kora-like harp plucks to create a swirling fusion of familiar and unfamiliar traces. It's smart, intentional music that connects the eras and continents with open-hearted warmth, wondering about the possibilities of technology rather than feeling shackled to it.
Antiquated, untempered horns underpin 'Flux and Hieroglyph', while Ramolo's custom made drum machine pats out a rhythm that sounds as if it's been ripped from a pagan ceremony. His skill here is in sculpting his synth patches so they sound as if they've always been there, coiling around bagpipe-like wails and subtle, shaking bells. His percussion is breathtaking throughout the album, but the synthesis is just as well handled, nestling into the gusty polyrhythms like memories from another life. There's outlines of Indonesian gamelan forms on 'Chöd', and Ramolo follows the fluttering chimes with cascading bleeps, and on the medieval-sounding 'In Petrified Light', he meets courtly ancient greek flute wails with rising psychedelic arpeggios. We know how this sounds, but Ramolo works with restraint, and like Wojciech Rusin, is able to respectfully absorb these far-flung elements without descending into parody. 'Pneumatic Magic' meanwhile starts like a slowed-down tribute to Basic Channel, eventually encasing the circuitous, dubby synths with blown-out wails that gesture towards the past without battering you around the head.
It's a bold, confident set that infuses its latent psychedelia with rigorous research and keen-eared listening - the kind of record people are prob gonna dig out in a decade or two and wonder how it slipped under the radar for so long.
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