Música para 10m2 de Relva Sintética
Príncipe’s dreamy outliers Niagara are captured in live action at MAAT Museum, Lisbon, 9th April, 2020, seemingly oblivious to the fact the world was upended by the pandemic outside.
Presented by Discrepant’s Sucata tapes sublabel just over ten years since their Príncipe debut, ‘Música para 10m2 de Relva Sintética’ yields the trio at their loosest, sublime and spangled, improvising a sort of lushly charming DIY 4th world ambient sound with synths, sequencers, and field recordings of birds, water, and breath.
While appreciated and perhaps better known for their groggy club music, Niagara’s textural ambient and atmospheric urges all equally important to their make-up, and explored to beautifully immersive degrees here. For nearly 40’ they usher a near-subliminal transition from rivulets of water sounds knit with phasing, Reichian marimba and Detroit-y string pads into pure ambient fantasy zones, where down pitched voices reminding to BZMC herald ringing sync melodies and Brazilian percussions reminding to Naná Vasconcelos’ berimbau bits for ECM. But their post-punkish waywardness and dare-to-differ style can’t help but lead into thickets of more spangled, discordant noise in the latter stages, ultimately resolving in imaginary offworld variegations.
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Príncipe’s dreamy outliers Niagara are captured in live action at MAAT Museum, Lisbon, 9th April, 2020, seemingly oblivious to the fact the world was upended by the pandemic outside.
Presented by Discrepant’s Sucata tapes sublabel just over ten years since their Príncipe debut, ‘Música para 10m2 de Relva Sintética’ yields the trio at their loosest, sublime and spangled, improvising a sort of lushly charming DIY 4th world ambient sound with synths, sequencers, and field recordings of birds, water, and breath.
While appreciated and perhaps better known for their groggy club music, Niagara’s textural ambient and atmospheric urges all equally important to their make-up, and explored to beautifully immersive degrees here. For nearly 40’ they usher a near-subliminal transition from rivulets of water sounds knit with phasing, Reichian marimba and Detroit-y string pads into pure ambient fantasy zones, where down pitched voices reminding to BZMC herald ringing sync melodies and Brazilian percussions reminding to Naná Vasconcelos’ berimbau bits for ECM. But their post-punkish waywardness and dare-to-differ style can’t help but lead into thickets of more spangled, discordant noise in the latter stages, ultimately resolving in imaginary offworld variegations.
Príncipe’s dreamy outliers Niagara are captured in live action at MAAT Museum, Lisbon, 9th April, 2020, seemingly oblivious to the fact the world was upended by the pandemic outside.
Presented by Discrepant’s Sucata tapes sublabel just over ten years since their Príncipe debut, ‘Música para 10m2 de Relva Sintética’ yields the trio at their loosest, sublime and spangled, improvising a sort of lushly charming DIY 4th world ambient sound with synths, sequencers, and field recordings of birds, water, and breath.
While appreciated and perhaps better known for their groggy club music, Niagara’s textural ambient and atmospheric urges all equally important to their make-up, and explored to beautifully immersive degrees here. For nearly 40’ they usher a near-subliminal transition from rivulets of water sounds knit with phasing, Reichian marimba and Detroit-y string pads into pure ambient fantasy zones, where down pitched voices reminding to BZMC herald ringing sync melodies and Brazilian percussions reminding to Naná Vasconcelos’ berimbau bits for ECM. But their post-punkish waywardness and dare-to-differ style can’t help but lead into thickets of more spangled, discordant noise in the latter stages, ultimately resolving in imaginary offworld variegations.
Príncipe’s dreamy outliers Niagara are captured in live action at MAAT Museum, Lisbon, 9th April, 2020, seemingly oblivious to the fact the world was upended by the pandemic outside.
Presented by Discrepant’s Sucata tapes sublabel just over ten years since their Príncipe debut, ‘Música para 10m2 de Relva Sintética’ yields the trio at their loosest, sublime and spangled, improvising a sort of lushly charming DIY 4th world ambient sound with synths, sequencers, and field recordings of birds, water, and breath.
While appreciated and perhaps better known for their groggy club music, Niagara’s textural ambient and atmospheric urges all equally important to their make-up, and explored to beautifully immersive degrees here. For nearly 40’ they usher a near-subliminal transition from rivulets of water sounds knit with phasing, Reichian marimba and Detroit-y string pads into pure ambient fantasy zones, where down pitched voices reminding to BZMC herald ringing sync melodies and Brazilian percussions reminding to Naná Vasconcelos’ berimbau bits for ECM. But their post-punkish waywardness and dare-to-differ style can’t help but lead into thickets of more spangled, discordant noise in the latter stages, ultimately resolving in imaginary offworld variegations.