We like to think that ‘Post’ is more of a dialogue between two artists than a split record. In fact, these songs were not initially intended for a collaborative album but when we received the material we felt that they had to be presented together rather than on two different EPs. Ramón (La Màquina Corrupta) and Sergi A.C. have been friends for years and share a similar background: they have grown up listening to punk records and going to shows and it wasn’t until several years later that they both became interested in electronic music.
In ‘Post’, La Màquina Corrupta departs a bit from the more techno tracks for which he is best known and builds four suffocating cuts of post-industrial sound with modular synths, sometimes more rhythmic, sometimes more ambient but always mysterious and haunting. On the other hand, Sergi A.C. returns after releasing early this year ‘Despartença’, his first álbum under this new a.k.a. His four songs are less contemplative, more direct, and jumbled in frantic, broken rhythms, distorted sampled vocals, and digital synthesizers. It is undeniable that the two artists have their own particular sound but the songs flow as part of a whole.
For us, ‘Post’ works as a new starting point after months of confinement and the absence of live concerts and club sessions, and at the same time as the embodiment of a longing, of a hope that is never lost.
Conjunto Vacío is thrilled to welcome Seltar.
‘Citerior’ EP is Seltar’s third EP after the ‘Inner Silence’ EP (self-released, 2020) and ‘Persona’ EP (Aizkora, 2020) that came out last year. In a short period of time, Seltar has established himself as one of the most interesting producers in the national experimental rave scene and has shown his intense live at leading festivals such as Mutek and MIRA.
‘Citerior’ EP continues the path the Barcelona-based producer started last year. Heavily processed drum breaks, deep basses, cutting noises and other rave sounds reminiscent of jungle are the basis of his style but in ‘Plus Ultra’ -the EP opener- he shows a new and unexpected taste for more straightforward hard techno beats that will delight all the party goers. B-sides ‘Citerior’ and ‘Ulterior’ originally appeared on the Persona EP but here are presented in a killer new remastered version that only strengthen their virtues.
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.