Monolyth & Cobalt is the solo project from the french music artist Mathias Van Eecloo, born in 1977, a self-taught musician & multi-instrumentalist since 2008. His first album has been edited on Kesh Recordings in 2010. Since, he has been released on Audio gourmet, Twice Removed Records, Time Released Sounds, Unknown Tone Records and some others labels. He’s behind the Clyde Parker Project, a featuring project with 100 artists from 25 countries recorded between 2009 and 2011.
Over the years he has collaborated with some artists such as Aaron Martin, Birds Of Passage, Danny Norbury, Christopher Hipgrave, Hannu, Helena Espvall, Isnaj Dui, Mark Ostermeier, Madeleine Cocolas, Offthesky, Orla Wren and more.
As a sort of pantheist, or at least an artist who finds great stories hiding in the vast visual subtleties of nature – Subtle Trees is a classical music collage as much as it is an homage to classical music. It’s core is created through sounds gathered in the owl hours by sampling ancient instruments whose cores were derived from the trees of nature. These sounds were layered like lichen on an ancient pantheistic sculpture.
The CD features a fantastically detailed drawing from Bleeding Heart Narrative, folding out around the gatefold thick-card sleeve in a two colour print.
All copies come with a 12-panel foldout insert, and the 200 limited copies also include an extra two-colour numbered screenprint, and are also hand-numbered and sewn together.
Talkingmakesnosense is Dominic Dixon of Glasgow who has been making music in one form or another since he was a child. Most recently, he’s been releasing records on the now sadly defunct Benbecula Records, and now a new album on Rural Colours.
Coruscates consists of four long-form tracks, each tipping past the ten-minute mark.
An edition of 100, CD and cover packaged in a translucent envelope.
I first came across Marihiko Hara’s work in 2007, with his ‘Cesura’ release on the excellent Italian net-label – Zymogen. It really drew me in more than most other work that was doing the rounds at the same time. It had the sort of organic details and attention to beautiful subtle developments that I had only really heard in offthesky and Nicolas Bernier before (both label mates on Zymogen I should add). It became my soundtrack to that year and an album I returned to almost daily during the winter months. After this I followed Marihiko’s work carefully, from his rather fantastic 2009 ‘Icon’ release on Cotton Goods to his recent ‘Prosa’ collaboration with Tomas Phillips on Tench Records.