Spellbinding new chapter to Offen Music’s choose-your-own-adventure program, by London-based electro-acoustic producer Christian Duka and interdisciplinary sound artist Lucie Štepánková
In the wake of Vādin’s two turns for Alex Egan’s Utter, their path insects Vladimir Ivkovic’s label with a immersive style of musical storytelling acutely comparable on Offen to Ex Ponto’s Australasian mythos, Tapan’s desert-dwelling fantasy, or Full Circle’s downtempo treks. The sound is not so much peaktime as in an other time zone of its own, outlining the scene with Štepánková’s enchanting narration set to sylvan sound design and slowed down, Dylan Carlson-like desert blues guitar in ‘The Hollow’, and setting off into the nightfall with 11 minutes of cloven-hoofed trot and time-bending bass warp under the distant, rining alarm bells and pitched stings of ‘Juegro’, and emerging, bleary-eyed but in-the-zone, on the other side to the palpitating percussion and brooding pads of ’Sungazing’.
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Spellbinding new chapter to Offen Music’s choose-your-own-adventure program, by London-based electro-acoustic producer Christian Duka and interdisciplinary sound artist Lucie Štepánková
In the wake of Vādin’s two turns for Alex Egan’s Utter, their path insects Vladimir Ivkovic’s label with a immersive style of musical storytelling acutely comparable on Offen to Ex Ponto’s Australasian mythos, Tapan’s desert-dwelling fantasy, or Full Circle’s downtempo treks. The sound is not so much peaktime as in an other time zone of its own, outlining the scene with Štepánková’s enchanting narration set to sylvan sound design and slowed down, Dylan Carlson-like desert blues guitar in ‘The Hollow’, and setting off into the nightfall with 11 minutes of cloven-hoofed trot and time-bending bass warp under the distant, rining alarm bells and pitched stings of ‘Juegro’, and emerging, bleary-eyed but in-the-zone, on the other side to the palpitating percussion and brooding pads of ’Sungazing’.
Spellbinding new chapter to Offen Music’s choose-your-own-adventure program, by London-based electro-acoustic producer Christian Duka and interdisciplinary sound artist Lucie Štepánková
In the wake of Vādin’s two turns for Alex Egan’s Utter, their path insects Vladimir Ivkovic’s label with a immersive style of musical storytelling acutely comparable on Offen to Ex Ponto’s Australasian mythos, Tapan’s desert-dwelling fantasy, or Full Circle’s downtempo treks. The sound is not so much peaktime as in an other time zone of its own, outlining the scene with Štepánková’s enchanting narration set to sylvan sound design and slowed down, Dylan Carlson-like desert blues guitar in ‘The Hollow’, and setting off into the nightfall with 11 minutes of cloven-hoofed trot and time-bending bass warp under the distant, rining alarm bells and pitched stings of ‘Juegro’, and emerging, bleary-eyed but in-the-zone, on the other side to the palpitating percussion and brooding pads of ’Sungazing’.
Spellbinding new chapter to Offen Music’s choose-your-own-adventure program, by London-based electro-acoustic producer Christian Duka and interdisciplinary sound artist Lucie Štepánková
In the wake of Vādin’s two turns for Alex Egan’s Utter, their path insects Vladimir Ivkovic’s label with a immersive style of musical storytelling acutely comparable on Offen to Ex Ponto’s Australasian mythos, Tapan’s desert-dwelling fantasy, or Full Circle’s downtempo treks. The sound is not so much peaktime as in an other time zone of its own, outlining the scene with Štepánková’s enchanting narration set to sylvan sound design and slowed down, Dylan Carlson-like desert blues guitar in ‘The Hollow’, and setting off into the nightfall with 11 minutes of cloven-hoofed trot and time-bending bass warp under the distant, rining alarm bells and pitched stings of ‘Juegro’, and emerging, bleary-eyed but in-the-zone, on the other side to the palpitating percussion and brooding pads of ’Sungazing’.