Das Sombreros – to rhyme with ‘hair loss’ rather than ‘pharaohs’ – is Pedro Wong and Klaus Patel. The pseudonymous duo develop ‘paranoiac collages’ that layer found and treated sounds with nonsensical, misheard phrases and fleeting moments of musicality. The results can be hallucinatory, sinister, erotic and hilarious – sometimes all at once.
Despite the ambient washes that permeate the nine tracks that constitute The Lamp, the music of Das Sombreros could never be consigned to the background. It demands to be listened to, not just heard. However, as with all the best experimental music, the work the listener is required to put in is richly rewarded. In this case, with a series of documents that seem to have been plucked fully formed from the psychologically precarious mind of a sleeping recluse.
The work of Das Sombreros bears comparison to David Shea, Nurse with Wound, Clic-era Franco Battiato and a decent whack of the Sub Rosa roster. Confessed influences include post-war art music, horror aesthetics, the European avant-garde, Simon Fisher Turner, Musica Elettronica Viva, Andrzej Zulawski, David Lynch and RD Laing.
The Lamp is available only on 180g black vinyl in a pressing of 250 copies. A digital download code allows access to the album as wav or mp3 files as well as to artwork and tracks that do not appear on the album. Unusually, although the album is almost 37 minutes in length, the record has been cut to play at 45 rpm. This is because of the unusual sounds and high frequencies that Das Sombreros employ. Cutting at 45 has prevented distortion, allowing the album to be louder and clearer.
For full appreciation of this extraordinary album headphone listening is recommended.
Walden Pond's Monk is the brand new album from Portuguese musician and composer Tiago Sousa. Following the limited vinyl-only album InsÃ³nia released in 2009 on German label Humming Conch, Walden Pond's Monk is the first album from Sousa released worldwide on both CD and LP formats.
Limited Edition 10″ Vinyl of 250…
Riser was borne out of a desire to bring the sound of the human voice to the core of Fieldhead’s music, and to rally against an idea of it as peripheral, as an afterthought to the music. The EP continues the love of tape hiss, grainy textures and dusty loops married with brevity and melody to be found in the album preceeding it (‘They Shook Hands for Hours’), but this time the pallete has been stripped back to just the human voice and minimal, organic synthesisers.