Kopk Kopa
Junk DNA
Kopk Kopa
Boomkat Product Review:
Starving Weirdos' Brian Pyle mints a new moniker, contemplating recent stays in Lithuania by imagining a horror-shoegaze-kosmische blend that's part early 4AD, part Klaus Schulze, and part black metal interlude. High grade!
A former member of experimental outfits RV Paintings and Starving Weirdos, Brian Pyle previously sequestered his solo material away on Ensemble Economique recordings, where he tore through ambient and drone ideas, blackening the sky when necessary. Junk DNA is a chance for Pyle to modify his output completely, and he's successful: from the beginning there's a sense of contemplative calm and expertise that comes from having run through enough ideas to feel unburdened by the urge to impress. "Kopk Kopa" was inspired by recent stays in the Lithuanian capital Vilnius, and it's a far cry from the humid air of Humbodlt County, where most of his previous material was penned. Surrounded by Eastern European architecture, Pyle's music has become more ornate and more sedate simultaneously - his expression is careful and intentional, but lavish in its own way. 'Darbo Gatve' introduces us to the sound via squeaking strings, muted orchestral flourishes and foggy drones; it's too easy to call this dark ambient - Pyle's motivation feels different, and the result is less self-consciously bleak.
The project solidifies on the title track, a long-form lightheaded meditation that unveils Pyle's love of early 4AD and Klaus Schulze (particularly "Cyborg"). Strings phase in the foreground but don't erase the powerful low-end, that floats the music and prevents it from sinking into oppressive darkness. In another world, this might be soundtrack music - it might be Lustmord, in fact - but the peculiar jazziness Pyle is able to infuse into his compositions gives it a smokiness that's impossible to resist. In the darkness, there's a distant romance, and beneath Pyle's Lynchian creaks and Köner-esque gongs there's layers of blurry psychedelia that's abstract, absurd, and beautiful. Each track plays like a mirror image of its predecessor, revealing little until '+K+M+B', where organ drones interrupt firework-like oscillations and flutes add another dimension entirely. Recommended.
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Boomkat Product Review:
Starving Weirdos' Brian Pyle mints a new moniker, contemplating recent stays in Lithuania by imagining a horror-shoegaze-kosmische blend that's part early 4AD, part Klaus Schulze, and part black metal interlude. High grade!
A former member of experimental outfits RV Paintings and Starving Weirdos, Brian Pyle previously sequestered his solo material away on Ensemble Economique recordings, where he tore through ambient and drone ideas, blackening the sky when necessary. Junk DNA is a chance for Pyle to modify his output completely, and he's successful: from the beginning there's a sense of contemplative calm and expertise that comes from having run through enough ideas to feel unburdened by the urge to impress. "Kopk Kopa" was inspired by recent stays in the Lithuanian capital Vilnius, and it's a far cry from the humid air of Humbodlt County, where most of his previous material was penned. Surrounded by Eastern European architecture, Pyle's music has become more ornate and more sedate simultaneously - his expression is careful and intentional, but lavish in its own way. 'Darbo Gatve' introduces us to the sound via squeaking strings, muted orchestral flourishes and foggy drones; it's too easy to call this dark ambient - Pyle's motivation feels different, and the result is less self-consciously bleak.
The project solidifies on the title track, a long-form lightheaded meditation that unveils Pyle's love of early 4AD and Klaus Schulze (particularly "Cyborg"). Strings phase in the foreground but don't erase the powerful low-end, that floats the music and prevents it from sinking into oppressive darkness. In another world, this might be soundtrack music - it might be Lustmord, in fact - but the peculiar jazziness Pyle is able to infuse into his compositions gives it a smokiness that's impossible to resist. In the darkness, there's a distant romance, and beneath Pyle's Lynchian creaks and Köner-esque gongs there's layers of blurry psychedelia that's abstract, absurd, and beautiful. Each track plays like a mirror image of its predecessor, revealing little until '+K+M+B', where organ drones interrupt firework-like oscillations and flutes add another dimension entirely. Recommended.
Boomkat Product Review:
Starving Weirdos' Brian Pyle mints a new moniker, contemplating recent stays in Lithuania by imagining a horror-shoegaze-kosmische blend that's part early 4AD, part Klaus Schulze, and part black metal interlude. High grade!
A former member of experimental outfits RV Paintings and Starving Weirdos, Brian Pyle previously sequestered his solo material away on Ensemble Economique recordings, where he tore through ambient and drone ideas, blackening the sky when necessary. Junk DNA is a chance for Pyle to modify his output completely, and he's successful: from the beginning there's a sense of contemplative calm and expertise that comes from having run through enough ideas to feel unburdened by the urge to impress. "Kopk Kopa" was inspired by recent stays in the Lithuanian capital Vilnius, and it's a far cry from the humid air of Humbodlt County, where most of his previous material was penned. Surrounded by Eastern European architecture, Pyle's music has become more ornate and more sedate simultaneously - his expression is careful and intentional, but lavish in its own way. 'Darbo Gatve' introduces us to the sound via squeaking strings, muted orchestral flourishes and foggy drones; it's too easy to call this dark ambient - Pyle's motivation feels different, and the result is less self-consciously bleak.
The project solidifies on the title track, a long-form lightheaded meditation that unveils Pyle's love of early 4AD and Klaus Schulze (particularly "Cyborg"). Strings phase in the foreground but don't erase the powerful low-end, that floats the music and prevents it from sinking into oppressive darkness. In another world, this might be soundtrack music - it might be Lustmord, in fact - but the peculiar jazziness Pyle is able to infuse into his compositions gives it a smokiness that's impossible to resist. In the darkness, there's a distant romance, and beneath Pyle's Lynchian creaks and Köner-esque gongs there's layers of blurry psychedelia that's abstract, absurd, and beautiful. Each track plays like a mirror image of its predecessor, revealing little until '+K+M+B', where organ drones interrupt firework-like oscillations and flutes add another dimension entirely. Recommended.
Boomkat Product Review:
Starving Weirdos' Brian Pyle mints a new moniker, contemplating recent stays in Lithuania by imagining a horror-shoegaze-kosmische blend that's part early 4AD, part Klaus Schulze, and part black metal interlude. High grade!
A former member of experimental outfits RV Paintings and Starving Weirdos, Brian Pyle previously sequestered his solo material away on Ensemble Economique recordings, where he tore through ambient and drone ideas, blackening the sky when necessary. Junk DNA is a chance for Pyle to modify his output completely, and he's successful: from the beginning there's a sense of contemplative calm and expertise that comes from having run through enough ideas to feel unburdened by the urge to impress. "Kopk Kopa" was inspired by recent stays in the Lithuanian capital Vilnius, and it's a far cry from the humid air of Humbodlt County, where most of his previous material was penned. Surrounded by Eastern European architecture, Pyle's music has become more ornate and more sedate simultaneously - his expression is careful and intentional, but lavish in its own way. 'Darbo Gatve' introduces us to the sound via squeaking strings, muted orchestral flourishes and foggy drones; it's too easy to call this dark ambient - Pyle's motivation feels different, and the result is less self-consciously bleak.
The project solidifies on the title track, a long-form lightheaded meditation that unveils Pyle's love of early 4AD and Klaus Schulze (particularly "Cyborg"). Strings phase in the foreground but don't erase the powerful low-end, that floats the music and prevents it from sinking into oppressive darkness. In another world, this might be soundtrack music - it might be Lustmord, in fact - but the peculiar jazziness Pyle is able to infuse into his compositions gives it a smokiness that's impossible to resist. In the darkness, there's a distant romance, and beneath Pyle's Lynchian creaks and Köner-esque gongs there's layers of blurry psychedelia that's abstract, absurd, and beautiful. Each track plays like a mirror image of its predecessor, revealing little until '+K+M+B', where organ drones interrupt firework-like oscillations and flutes add another dimension entirely. Recommended.
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