Με 8/10 βαθμολόγησε ο Joel Frieders , του syffal.com το «Pólýfónía» των Apparat Organ Quartet:
«I let a roommate in college talk me into taking something once. He had gotten three of these sugarcubes from a friend back home who had been dabbling in combination hallucinogens out of his basement laboratory.
It isn’t that I’m afraid of a bad trip or anything, it’s just I really really hate the taste of metal in my mouth, and as an avid tester of things illegal back in the day, that seemed a common trait.
A few hours after ingesting a single cube we were both kind of freaked out how nature was kind of fucking with us and we decided to Fuck with nature a bit. I grabbed a casio keyboard and while he pulled out an ice cream truck loudspeaker with a megaphone and sound effects board.
An hour later there were maybe twelve people surrounding us staring at us like we were on drugs. I was admittedly hitting the demo button on the casio and laughing uncontrollably while my roommate talk-sang the words to 99 Luft Balloons through a robot vocoder.
We were the protagonists in our own video game and succeeding in collecting power-ups through the acquisition of fresh giggles, odd looks and sweaty t-shirts.
What we thought we sounded like in our brains drippings with trippings, was exactly how the Apparat Organ Quartet sounds in real life. It’s a perfect example of how music is influenced by the first video games generation, whether intentional or not.
Progressive, exciting, romantic, joyful, intense, what you’d imagine your 8-bit self hearing as you skipped joyfully though a bonus level filled with bubbles to pop or places to stick your happy penis; Pólýfónía is an electric erotic experience.
I’d imagine candy flipping now a days would require a follow up trip to the psychologist, but back in the free-loving late 90’s, shit, we’d suck on opossum tits just to feel something. Apparat Organ Quartet’s music is an ideal replacement for potentially dangerous drugs and I condone the use of their music for future road trips/cheap wine binges over the use of psychotropics.
What Pólýfónía makes me feel should be illegal, but the electrified force field they provide your vehicle or person while traveling through space and time is exactly what one would expect from a band made up of robots.
This is delicious, and at the same time, way ahead of its time by being 20 years in the making so it seems.
Electrostrumental through the majority of the record, when you do in fact hear vocals, it’s Jesus talking into a vocoder. How they got Jesus to throw down and spit some hot hot hellfire, I have no idea. But I’m pretty sure there were some promises of oral pleasures given on behalf of queens, princesses and fairies or some shit.
I will attempt to summarize what I imagine when I hear AOQ in one sentence:
Legend of Zelda porn music with 49% more double arrow penetration than previous attempts, a really large robot with a really large penis with a moog tattoo on the glans, and the semen of Nikola Tesla bubbling and floating in a lava lamp.»
Τέσσερα εξαιρετικά δείγματα από το «The Miner’s Hymns» του σπουδαίου Jóhann Jóhannsson:
& κάτι ειδικά για την ημέρα:
***Σε αποκλειστική διανομή από την Recordisc.
Οι μοναδικοί Apparat Organ Quartet στο «123 Forever«:
Η μοναδική σύμπραξη του κινηματογραφιστή Bill Morrison με τον σπουδαίο Ισλανδό συνθέτη Jóhann Jóhannsson στο The Miners’ Hymns, αποτυπώνεται με τον ιδανικότερο τρόπο στο soundtrack που κυκλοφορεί από την 12 Tónar, σε αποκλειστική διανομή για την Ελλάδα, από την Recordisc.
Ηχογραφημένο ζωντανά σε μόλις 2 νύχτες στον Καθεδρικό ναό του Durham, ένα από τα κύρια χαρακτηριστικά του ακροάματος είναι η αμεσότητα και η εξαιρετική “χροιά” των εγχόρδων…
Παρακάτω ακολουθούν εγκωμιαστικά σχόλια από τον παγκόσμιο μουσικό τύπο για το ‘ακουστικό’ έπος της διάλυσης των ορυχείων :
+ “…radiates strength…Essential listening” – Grapewine
**** “A bittersweet symphony for a dying industry” – Uncut
“supremely evocative… ghostly, cavernous sonorities…[A] highly emotive score” BBC Music
“a master work… wonderfully crafted and sumptuously produced…an album which exquisitely tells the tale of a world underground” Oxford Cherwell
“Closing track The Cause Of Labour Is The Hope Of The World, a piece where a powerful melody is served by sweeping orchestral work, is equally as vibrant, but Jóhannsson pulls here some particularly emotional strings, to stunning effect.” – The Milk Factory
Και όμως το hipster NME (Chris Parkin), τους βαθμολόγησε τους Apparat Organ Quartet, στο ντεμπούτο τους «Pólýfónía«, με ένα χορταστικό 7άρι
«Jóhann Jóhannsson enjoys a time traveller’s life. He released an album earlier this year on which he paid moving tribute to Durham’s now-diminished mining community with the help of a local brass band and some old Victorian hymns. Then he beamed himself through time and space to record these nine brutalist cosmic rock tracks on a bunch of phasing analogue synths and other steely sounding machinery with three fellow keyboard fanatics (and a drummer). The result is a clean, efficient, piston-pumping, Teutonic sound of robots doing serious damage to bands with beards and banjos – icy and brilliantly foreboding future-rock. «