New merch item available! First Titan Arch T-shirt, limited to 20. Out Nov 1st. Designed by @meltgods.
Prosthetics EP is the first work released by Titan Arch since ‘Spiritual Entertainer’ (Ascetic House, 2018). It is not precisely that Sergi A.C. has been inactive during these three years, rather the opposite, releasing music and touring with his two main bands: SDH and Wind Atlas and, recently, releasing a new LP ‘Despartença’ (Cønjuntø Vacíø, 2021) under his own name.
We could say that ‘Prosthetics’ takes up the path started in ‘Spiritual Entertainer’ and followed in ‘Inception’, Titan Arch’s song featured in the ‘Dragon Skin’ (Cønjuntø Vacíø, 2020) compilation: tense and threatening ambient that flirts with noise.
The music of Titan Arch has always had an undeniable cinematographic component, surely due to the author’s passion for the seventh art, and he constantly uses samples from movies in his music – from ‘The Thin Red Line’ on “War In The Heart Of Nature” (Cønjuntø Vacíø, 2016), from ‘Ghost Dog‘ in ‘Emptiness Is Form’ (Cønjuntø Vacíø, 2016) or from ‘Magnolia’ on his recent track ‘Sidney’ from Dominio’s Various Artist compilation ‘Sub Rosa’.
Again, the germ of “Prosthetics” is the re-reading of the book ‘Sculpting In Time’ by Andréi Tarkovsky and the compulsive viewing of all his films during the second confinement.
These two songs are only available in digital format on your favorite platform.
“Modern mass culture, aimed at the ‘consumer’, the civilisation of prosthetics, is crippling people’s souls, setting up barriers between man and the crucial questions of his existence, his consciousness of himself as a spiritual being.” -A. T. in ‘Sculpting in Time’
‘Despartença’ is the first work that Sergi A.C. (SDH, Wind Atlas, Titan Arch…) releases under his real name, and it is not a coincidence because, as he himself explains in the liner notes of the physical edition of the album -a photo-book created by Aitor Bigas and Gemma Penya- ‘Despartença’ is the musical witness of his year 2020: frustrating and dark months marked by a change of city, a sentimental breakdown and by anguishing weeks of confinement due to the global pandemic.
Although Sergi A.C. has played a multitude of styles and ways of creating in all the years he has been making music in a multitude of projects. In ‘Despartença’ he knows how to find new angles that he had not yet explored: in ‘Inflexible’, with its convoluted beats, there are echoes to the intelligent dance music that Autechre or Aphex Twin signed in the 90s, just like on tracks like ‘Enviaments’ or the melancholic ‘Tardor’, where you can hear samples from private conversations and voice messages that that happened during the days of writing the album. From a different perspective, but it is the same melancholy that we feel when listening to ‘Llançà’, a song with kosmische touches that can recall what Caterina Barbieri is doing today. The roots of the author in industrial music are clearly seen in the first track on the album, ‘Separació’, which starts out dark and disturbing, as Coil did in their ‘Musick To Play in The Dark’, until a noisy industrial techno rhythm explodes. There is also room for abstraction – Cant # 1- for elegant electronic songs – ‘Passió’ and ‘Gurdjieff’ – or even a song where 90% of the sounds are created from a sample of grinding teeth – ‘Èxtasi’.
It is an eclectic album in which each song draws a world of its own, surely very influenced by the fact that it was recorded in so many different places -different cities, other people’s houses, hotel rooms… -. This idea of an archive or miscellany is also evident in the physical edition of the album, a photo-book, limited to only 50 copies, which includes a download code, with photographs by Aitor Bigas and Gemma Penya, where Sergi A.C. explains the process of creating each song.
Over a relatively short timespan Hank Gillett’s project Pterygium has demonstrated itself to have ambitious intent and be something of a sonic chameleon which inhabits the in-between spaces between noise, dark ambience and post-industrial spheres. Armed with this modus operandi, it has created a unique and now recognisable sound for Pterygium following the well-received releases on Tesco Organisation (2018’s Concealing the Past) and No Rent Records (2020’s Stoic Ubiquity).
For his first release on Cønjuntø Vacíø, we are extremely proud to present a two track 7” EP, which is the first of Pterygium’s on both vinyl as well as its shorter release format. Delivering two instrumental tracks, on A Blessing Withdrawn, Hank has opted to emphasise and showcase the dark ambient side of his sound. With a religious slant to the track titles, this is reflected in the sacral tinged soundscapes which seamlessly blench samples of ceremonial laments. Being brooding and contemplative the tone stops short of arcing into territories of overt sonic angst. File next to the sacral post-industrial soundscapes of later era Raison d’Etre, or the dark ambient side of Lussuria.
Designed by David Sota. Black print on white Gildan Hammer t-shirt. Limited to 50.
Although what we all experienced in 2020 completely paralyzed the music world, it does not seem to affect the creativity and work ethic of Julio Tornero at all, who managed to release up to seven new works under his alias Madrelarva through labels such as Faith Disciplines, Marbre Negre, LENDT or Phantasma Disques. And now, just entered the new year, Liminal Works appears, his third work for Cønjuntø Vacíø.
Madrelarva is the project with which Julio Tornero abandons dance music to hide between the folds of a blanket of sickly loops that seem to inhabit a remote post-industrial landscape with a life of their own. But nothing could be further from the truth: the ten songs that make up this new work were recorded in Higueruela, in the middle of the La Mancha steppe, a place that Julio knows perfectly because it has seen him grow. Liminal Works, and in a way all his work with Madrelarva, seem to reflect on the issue of isolation and schizophrenia – that funny disease, Panero said – that it causes. Liminal Works will be appreciated by those who appreciate the music of artists such as Nocturnal Emissions, Nurse With Wound or Aaron Dilloway.
Moon Barrier is the first work that the Barcelona-based producer from Girona releases under his MT Formula moniker. Its four songs, wrapped in an aura of mystery and reminiscent of dark fantasy, swing between a dungeon synth-infected ambient music, industrial techno and primitive house.
You will like it if you can appreciate the first references of L.I.E.S., Vatican Shadow or Mortiis’s records for Cold Meat Industry.
Arche-Fossil, the fourth album by Wind Atlas, appeared in the worst moment of a world health crisis that completely frustrated the possibilities of presenting and promoting the album live, forcing the band, like so many others, to cancel all concerts until further notice. This forced hiatus left room to start working on a remixes album they had planned for later on.
In the last few years, Wind Atlas has evolved and mutated, going from a post punk and ethereal rock band, heir to the 4AD sound, to becoming a quartet with an increasingly electronic, unclassifiable and personal sound that mixes post-industrial landscapes with Mediterranean music, post punk, noise and an infinity of other sounds from their inexhaustible palette. In Arche-Fossil, they definitely embrace electronics and dedicate most of their efforts to producing the album themselves.
During the compositional process, the songs change constantly until they find an almost definitive version for the album. Almost because as they work on them, they create parallel realities in which the songs exist in other ways. It is at this point that they begin to reflect on the idea that songs are something alive, something that exists differently in the minds of those who create them, but also those who listen to them. The idea of reworking the songs and contemplating the potential reinterpretations of their listeners is something that has increasingly interested the band, as they have already started to explore this path with their previous album An Edible Body and the subsequent En La Cruz remixes 12”. Now the band takes a bigger step.
Arche-Fossil (Remixes) features remixes by some of Cønjuntø Vacíø’s label classics acts as well as some interesting Spanish and international names. The selection is heterogeneous: Kenji Komine (Japan), under his LSTNGT moniker, presents a sad trance version of Days of Sadness; Ketamine Vault (Barcelona) and Otro (Valencia) offer a more abstract versions of Hunger and Dos Ojos. Ricardo Remedio (Portugal), under his alias RR, works again with Wind Atlas presenting two epic and cinematographic remixes of Oceanic Sexuality and Nada. Seltar (Barcelona), new a.k.a. of producer Olaf Blanch, positions himself as an interesting figure in the new scene of drum’n’bass and breakcore with a more experimental cut with a magnificent remix. Plastic Ivy (US) adds a melancholic and ethereal guitar sound to Dos Ojos and MT Formula (Barcelona) puts the point of roughness and darkness that rounds out the album.
Arche-Fossil (Remixes) works as a perfect appendage to Arche-Fossil, an album that asks questions and opens up to multiple reinterpretations: an album that is a start rather than a conclusion and refuses to be encapsulated and pigeonholed.
Dragon Skin is a new conceptual compilation around the ideas of protection and safety released by Cønjuntø Vacíø that showcases new artists and some classic acts of the label.
Dragon Skin was a type of ballistic vest formerly made by the now defunct company Pinnacle Armor, currently produced in Missoula, Montana by North American Development Group LLC available for public, law-enforcement and military customers. Its characteristic two-inch-wide circular discs overlap like scale armor, creating a flexible vest that allows a good range of motion and is intended to absorb a high number of hits compared with other military body armor. The discs are composed of silicon carbide ceramic matrices and laminates, much like the larger ceramic plates in other types of bullet resistant vests.
On August 3, 2007, the Department of Justice announced that the NIJ had reviewed evidence provided by the body armor manufacturer and had determined that the evidence was insufficient to demonstrate that the body armor model would maintain its ballistic performance over its six-year declared warranty period. Because of this, Dragon Skin was found to not be in compliance with the NIJ’s testing program and has been removed from the NIJ’s list of bullet-resistant body armor models.