Portuguese players João Almeida (trumpet) and Pedro Melo Alves (drums) investigate oblique, haunted space between minimalist jazz and post-industrial on Lisbon’s Holuzam
Leaving any showy egos at the door, Mooris embark an uncompromising, ritualist session of extended instrumental tekkerz on their usual trumpet and drums, and a set of undisclosed “objects” animated with sonorous curiosity. Their resulting sound resembles aspects of Wolf Eyes’ trip metal as much as Lucio Capece’s endeavours with Mika Vainio, and the cues and themes of The Haxan Cloak or Seb Gainsborough’s work for contemporary horror flicks.
They plumb guttural registers on the seasick slosh and drone menace of ‘+’, and torture chamber free jazz clatter in ‘++’, while speakign to midnight spectres in ‘+++’ and spamming with workshop noise in ‘++++’. The flipside takes a more minimalist turn with the spittle-inflected sustained tones of ‘-‘ and clash of puckered squeal on arrhythmic strikes that settle into Zeitkratzer-esque industrial jazz noir on ‘- - -‘, and spit out into studio demolitions on ‘- -
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Portuguese players João Almeida (trumpet) and Pedro Melo Alves (drums) investigate oblique, haunted space between minimalist jazz and post-industrial on Lisbon’s Holuzam
Leaving any showy egos at the door, Mooris embark an uncompromising, ritualist session of extended instrumental tekkerz on their usual trumpet and drums, and a set of undisclosed “objects” animated with sonorous curiosity. Their resulting sound resembles aspects of Wolf Eyes’ trip metal as much as Lucio Capece’s endeavours with Mika Vainio, and the cues and themes of The Haxan Cloak or Seb Gainsborough’s work for contemporary horror flicks.
They plumb guttural registers on the seasick slosh and drone menace of ‘+’, and torture chamber free jazz clatter in ‘++’, while speakign to midnight spectres in ‘+++’ and spamming with workshop noise in ‘++++’. The flipside takes a more minimalist turn with the spittle-inflected sustained tones of ‘-‘ and clash of puckered squeal on arrhythmic strikes that settle into Zeitkratzer-esque industrial jazz noir on ‘- - -‘, and spit out into studio demolitions on ‘- -
Portuguese players João Almeida (trumpet) and Pedro Melo Alves (drums) investigate oblique, haunted space between minimalist jazz and post-industrial on Lisbon’s Holuzam
Leaving any showy egos at the door, Mooris embark an uncompromising, ritualist session of extended instrumental tekkerz on their usual trumpet and drums, and a set of undisclosed “objects” animated with sonorous curiosity. Their resulting sound resembles aspects of Wolf Eyes’ trip metal as much as Lucio Capece’s endeavours with Mika Vainio, and the cues and themes of The Haxan Cloak or Seb Gainsborough’s work for contemporary horror flicks.
They plumb guttural registers on the seasick slosh and drone menace of ‘+’, and torture chamber free jazz clatter in ‘++’, while speakign to midnight spectres in ‘+++’ and spamming with workshop noise in ‘++++’. The flipside takes a more minimalist turn with the spittle-inflected sustained tones of ‘-‘ and clash of puckered squeal on arrhythmic strikes that settle into Zeitkratzer-esque industrial jazz noir on ‘- - -‘, and spit out into studio demolitions on ‘- -
Portuguese players João Almeida (trumpet) and Pedro Melo Alves (drums) investigate oblique, haunted space between minimalist jazz and post-industrial on Lisbon’s Holuzam
Leaving any showy egos at the door, Mooris embark an uncompromising, ritualist session of extended instrumental tekkerz on their usual trumpet and drums, and a set of undisclosed “objects” animated with sonorous curiosity. Their resulting sound resembles aspects of Wolf Eyes’ trip metal as much as Lucio Capece’s endeavours with Mika Vainio, and the cues and themes of The Haxan Cloak or Seb Gainsborough’s work for contemporary horror flicks.
They plumb guttural registers on the seasick slosh and drone menace of ‘+’, and torture chamber free jazz clatter in ‘++’, while speakign to midnight spectres in ‘+++’ and spamming with workshop noise in ‘++++’. The flipside takes a more minimalist turn with the spittle-inflected sustained tones of ‘-‘ and clash of puckered squeal on arrhythmic strikes that settle into Zeitkratzer-esque industrial jazz noir on ‘- - -‘, and spit out into studio demolitions on ‘- -
Black vinyl with inner-sleeve.
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Portuguese players João Almeida (trumpet) and Pedro Melo Alves (drums) investigate oblique, haunted space between minimalist jazz and post-industrial on Lisbon’s Holuzam
Leaving any showy egos at the door, Mooris embark an uncompromising, ritualist session of extended instrumental tekkerz on their usual trumpet and drums, and a set of undisclosed “objects” animated with sonorous curiosity. Their resulting sound resembles aspects of Wolf Eyes’ trip metal as much as Lucio Capece’s endeavours with Mika Vainio, and the cues and themes of The Haxan Cloak or Seb Gainsborough’s work for contemporary horror flicks.
They plumb guttural registers on the seasick slosh and drone menace of ‘+’, and torture chamber free jazz clatter in ‘++’, while speakign to midnight spectres in ‘+++’ and spamming with workshop noise in ‘++++’. The flipside takes a more minimalist turn with the spittle-inflected sustained tones of ‘-‘ and clash of puckered squeal on arrhythmic strikes that settle into Zeitkratzer-esque industrial jazz noir on ‘- - -‘, and spit out into studio demolitions on ‘- -