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  • Interprete: Morthem Vlade Art
  • Titolo: Absente Terebenthine
  • Genere: Elettronica
  • Catalogo #: PAN-40, PAN 40
  • Etichetta: Pandaimonium Records, Antonn Records
  • Paese: Germany
  • Data di rilascio: 26 Apr 2004
  • Stile: Industrial, Electro, Synth-pop, Experimental
  • Dimensione FLAC 1441 mb
  • Dimensione MP3: 1694 mb
  • Registra da CD, Album

Tracklist

1E-Clipse5:48
2Someone With A Transparent Eyes4:52
3Zone4:20
4Mannn9:04
5Getting Around Realism2:09
6Flow4:55
7Long Distance Conversation3:29
8Absente Terebenthine3:55
9Paranoïa4:45
10Blessingway4:02
11Dancing Without Learning3:58
12Far Away From Me4:32

Crediti

  • Art Direction, Design[email protected], MVA
  • Composed By, Producer, Mixed ByGregg Anthe
  • EngineerAlan Samson
  • Engineer [Assisted By]Pat Dumont
  • Guest, Percussion [Electronic Percussions], DrumsDavid Swest
  • Guest, Synthesizer [Sh-101, Prophet 5, Dx7]Jorgan Hansz
  • Guest, Synthesizer [Vcs 3, Moog Liberation]Thomas Hackerman
  • Guest, Tenor SaxophoneChristophe Resnais
  • Lyrics ByEmmanuell.D
  • Painting [Birds]Emmanuell.D
  • Photography ByGregg Anthe
  • Written-ByEmmanuell.D (tracks: 2, 3, 5 to 8, 11), Gregg Anthe

Note

Made in Germany.

Released in clear jewel case with 2 sided back tray and 12 page booklet.

Codici a barre

  • Barcode (Text): 7 18752 36102 6
  • Rights Society: GEMA
  • Rights Society: SACEM
  • Label Code: LC 00894
  • Matrix / Runout: Sony DADC A0100512716-0101 23 A0
  • Mastering SID Code: IFPI L553
  • Mould SID Code: IFPI 94K2

Aziende

  • Licensed To – Pandaimonium Records
  • Distributed By – EFA – EFA23610-2
  • Phonographic Copyright (p) – Morthem Vlade Art
  • Phonographic Copyright (p) – Antonn Records
  • Copyright (c) – Morthem Vlade Art
  • Copyright (c) – Antonn Records
  • Published By – Sacem
  • Published By – SinMow Music
  • Made By – Sony DADC – A0100512716-0101
  • Recorded At – Doppelgänger, Paris
  • Mixed At – Doppelgänger, Paris
  • Recorded At – Institut LVS Studios
  • Mixed At – Institut LVS Studios

Video

Album

Absente Terebenthine by Morthem Vlade Art, released 17 February 2004 1. Dancing Without Learning 2. Absente Terebenthine 3. Someone With Transparent Eyes 4. Blessingway 5. E-Clipse 6. Paranoïa 7. Flow 8. Long Distance Conversation 9. Zone 10. Getting Around Realism 11. Far Away From Me 12. Includes unlimited streaming via the free Bandcamp app, plus high-quality download in MP3, FLAC and more. Purchasable with gift card. Buy Digital Album. 7 EUR or more. Absente Terebenthine. Morthem Vlade Art - Absente Terebenthine 2004. To favorites 0 Download album. Listen album. Gothic Rock Synthrock. Morthem Vlade Art. Songs in album Morthem Vlade Art - Absente Terebenthine 2004. Morthem Vlade Art - Blessingway. Morthem Vlade Art - Absente Terebenthine. Morthem Vlade Art - Dancing Without Learning. Morthem Vlade Art - E-Clipse. Morthem Vlade Art - Far Away From Me. Morthem Vlade Art - Flow. Morthem Vlade Art - Getting Around Realism. By Stephan Thiemann Pandaimonium Records Formed in 1995, MVA first carves out a substantial place for itself within the. Посмотреть сведения об участниках альбома, рецензии, композиции и приобрести альбом 2004 CD от Absente Terebenthine на Vlade Art : Absente Therebentine,альбом, рецезия, трек-лист, mp3, тексты песен. from the album Absente Terebenthine 2004. Listen free to Morthem Vlade Art Absente Terebenthine Dancing Without Learning, Absente Terebenthine - Accoustic and more. 12 tracks 53:59. Discover more music, concerts, videos, and pictures with the : Morthem Vlade Art Album: Absente Terebenthine Year: 2004 Country: France Style: Post-Punk, Darkwave, New Wave. Tracklist: 01. Dancing Without Learning 02. Absente Terebenthine 03. Someone With A Transparent Eye 04. Blessingway 05. E-Clipse 06. Paranoia 07. Flow 08. Long Distance Conversation 09. Absente Terbenthine. morthem vlade art скачать mp3 в хорошем качестве, либо слушайте песню Morthem Vlade Art - Closer To Me, Morthem Vlade Art - Surrender, Morthem Vlade Art - Salem, Morthem Vlade Art - Spirits, Morthem Vlade

Commenti: (8)
Viashal
La progressione del duo parigino che risponde al monicker Morthem Vlade Art ha dell'incredibile. Dal death rock gotico degli esordi si é passati al suono elettronico e minimale di "Antechamber" (prima) e alle raffinatezze soniche dello stupendo "Photography In Things" (poi). Scomparse quasi del tutto le chitarre, l'ensemble si misura con un approccio sofisticato e digitale, prossimo all'opera dei migliori Depeche Mode (cfr. "Violator"), cosi' come all'innato fascino intimista di Bowie e Sylvian. L'attesa per il nuovo "Absente Terebenthine" é stata lunga, a tratti insopportabile, ma viene comunque premiata con l'ennesimo disco di pregiata fattura: meno incline al mood ombroso, malinconico di "PIT" e più prossimo ad un approccio ritmico e cangiante, l'album brilla per una scrittura francamente avvincente, in grado di citare alcune perle dell'electro-pop ottantiano (Visage e Bronski Beat, nello specifico, senza dimenticare gli antesignani Human League) sulla base di una tessitura kraftwerkiana di grande suggestione. La title-track, col suo piglio sintetico infuso di spleen metropolitano, é indicativa delle referenze citate in precedenza, ma cosa dire della mirabolante, incalzante "Someone With A Transparent Eyes", autentico monumento di glaciale espressività cibernetica, oppure della gloriosa sensualità di "E-clipse", altra traccia clamorosamente significativa. Le delizie si susseguono peraltro senza soluzione di continuità: "Paranoïa", ad esempio, col suo piglio funk e nervoso che ben si esplicita nel bassismo magnetico, la fantastica "Long Distance Conversation", dall'implacabile e cerebrale crescendo di beat, od ancora la misteriosa lascivia in "Zone", l'incedere propulsivo di "Far Away From Me", la deriva cosmica (à la Klaus Schulze) della conclusiva "Mann". Un'opera magistrale, segnata dalla performance canora di un Gregg Anthe in autentico stato di grazia. Semplicemente inarrivabili.
SENSORIUM (Italy, Michele Dicuonzo)
Azago
Morthem Vlade art se défie: passé digéré, mutation de style. Thèse/antithèse. Les vaches: aprés 3 albums de rang, on s'était accoutumé au bain de ces ambiances minimales qui avaient tué dans l'oeuf le gothique originel. Addiction onirique interrompue aujourd'hui pour un retour vers le réel...Ou du moin, à mi-chemin. Absente Terebenthine est bel et bien un disque hormonal: les rythmiques y retrouvent l'assise, sans assommer (cf le trés eighties "Long Distance Conversation"). Mais les orchestrations ténébreuses des disques fondateurs ne connaitront pas de retour. L'enregistrement est paradoxal, à la fois élastique et statique. Elastique car les textures électroniques et sons de cordes semblent chercher la voie ("Someone With A Transparent Eyes", "Blessingway"). Statique en vertu de ces rythmiques sèches, visant l'implacable sans céder au tapage. Le son est moin éthéré que sur les précédentes productions, plus new-wave ("Far Away From Me", clin d'oeil aux guitares de Cure). Il met en oeuvre une véritable chimie, et parachève le mystère: un secret qui tient autant dans les teintes opaques des instrumentaux ("Mannn"), que dans ces textes se jouant du réel ("Flow"). C'est dans la gorge de Gregg Anthe que nait enfin la vibration essentielle. Chanteur hors-norme, il contient les choses. Mais la présence et le pouvoir d'évocation s'affirment, comme le prouvent le morceau éponyme puis le reste d'un disque qui entérine un fait indiscutable: en laissant sa robotique expérimenter sur le spleen, l'écriture racée de MVA accouche de chansons subtiles mais, surtout, d'une authentique rareté.
Rock & Folk. (France, Emmanuel Hennequin).
Yla
I'm not the sort of person who sits about allowing his mind to wonder whether this band have achieved their aim of creating "a metaphorical universe, a bridge between us and the world as a 'tube', no talks but thoughts throwing" on the grounds that that is mental.
I do know that it starts and ends with noise; 'Dancing Without Learning' being an overture of interference, with voices off. It's painless, seemingly pointless, and can be seen as an itchy introduction, while 'Mannn' will see you off in more attractively dappled mood, after you're already well contented with the rest of the album, so there is a circle there. From bitter to bland, with all the quality in the middle
Musically, they reek of the 80's in their melodic sensibilities, and anyone who can't hear the Human League and (ironically) Heaven 17 rattling their languid chains really needs to send their ears back for repair. Seeing as half the electro bands in the world do exactly the same this is no great crime, or shock, but Mortern Vlde Art do something with it. They simply aren't looking for a commercial cortex to exploit, and they constantly take what could be a potential hit or crowd pleaser, smearing and ruffling it with artistic intensity.
'Absenthe Terbenthine' is a fine example, where the vocal vibrate just ever so slightly above a flat tone, which could be monstrously dull, but they use specific words to introduce tension and very sparing synth just moves them away from empty spaces and installation background music. 'Someone With A Transparent Eyes' is far better, having a wretched New Romantic core, but with an off kilter strumming that elongates moods and even the disinterested singing style seems captivating, whereupon they up the ante in 'Blessingway; with what sounds like a plastic toy acoustic guitar. On its own it's ghastly, but so strong is the composition that when this plink-plinky strumming returns later it sounds attractive
If a song can feel light-headed 'E-clipse' definitely nods off, but 'Paranoia' has some funk bass to give us typical Go West nightmares. Think deeper and you could make a decent comparison by suggesting if Soft Cell ever covered Joy Division songs they might have brought us this sort of curious mood. Not deeply felt enough, not quite kitsch, just trapped in a parallel universe all its own, and a truly excellent vocal performance.
After that high point it's gentle art which coaxes you into staying hooked, but your mind will wander throughout, because until 'Zone' where the vocals are slowed to a gravely crawl, you just get their general sound, which is slight, occasionally given a Bowiesque whisking. 'Getting Around Realism' is a strange interlude, with a whiff of tribal strength, then they're downhill into sleepiness again, and the noise for a end.
The good thing is, it works as a record because it doesn't do expected things, and you can't predict their turns. Given that I prefer my music thick with atmosphere or lively to the point of sonically hazardous, the fact I find them intriguing surely means people who really go for the artistically stylised sounds would be well advised to try this.
STARVOX (UK, Mick Mercer).
Whitestone
On commence par "dancer sans apprendre" ("Dancing Without Learning") au son d'une électronica instrumentale et grésillante avant de plonger dans "Absente Terebenthine", qui a donné son titre à l'album et qui semble évoquer la quête d'un tableaux aussi chaleureux que mélancolique. Des sons électroniques réminiscents des années new wave enrobent des mélodies pop aux accords de guitares cristallines. Dans la même veine, le troisième titre "Someone With A Transparent Eyes", est un monument de beauté froide et eighties qui rappelle autant Propaganda que Bowie ou Visage. Etrange et inquiétant, l'instrumental "Blessingway" introduit fort bien l'un des plus beaux morceaux de l'album, "E-Clipse". Les alchimies acoustique-électronique et mélodie-expérimentation du duo français Morthem Vlade Art fonctionnent toujours à la perfection, comme sur les tubesques "Far Away From Me" et "Long Distance Conversation". De toute évidence, l'absence de térébenthine n'empêche pas le duo français d'obtenir, pour le plus grand plaisir de l'auditeur, la dilution idéale: ils peignent des motifs sonores pop-new wave avant d'y méler de petites touches électroniques modernes. Du grand art!
D-SIDE. (France, Yannick Blay)
Ballardana
Si le nom à connotation gothique persiste, le duo parisien s'est éloigné depuis bien longtemps de l'imagerie lourde présupposée, toujours soucieux de raffinement. Car il s'agit bien de minutie et de précision dans les compositions, leurs enchainements, le chant clair d'Emmanuell et les textes de ce cinquième album, logique continuité à Photography In Things sortie deux ans plus tôt. L'influence de Depeche Mode, précedemment un peu trop ostensible, est cette fois quasiment balayée (hormis sur "Long Distance Conversation"), pour laisser place à un équilibre quasi parfait entre electronica et new-wave. Il n'est pas question pour autant d'electroclash ici, mais d'une savante alchimie entre ce qui fût le meilleur des gimmicks des années 80 (le solo de guitare discret de "Far Away From Me"- veritable tube en puissance- et la basse de "Zone" qui ne seront pas sans rappeler Cure, les intonations à la Bowie, la basse groovy de "Paranoïa" et son synthé à la Talk Talk) et la fraîcheur, quoique teintée de noir, des expérimentations de l'electro actuelle (voir le darkambient "Dancing Without Learning", le trés mélancolique "Flow" proche de Mùm). Autant de mélanges globalement irresistibles.
VELVET.(France, C-F)
Kiutondyl
Mit jedem Album eine Evolution. Nicht viele Bands können das von sich behaupten, die wenigsten neigen sich dermaßen weit aus dem Fenster. Man könnte ja die Fans vergraulen. Oder die Plattenfirma enttäuschen. Morthem Vlade Art haben sich jedoch einem Prinzip verschrieben, welches nicht auf einem möglichst sicheren und risikolosen Pseudo-Künstlertum basiert, sondern tatsächlich stets etwas Neues fordert, stets eine neue Wendung, eine neue Überraschung. Wobei, zugegeben: So riesig wie die letzten musikalischen Verschiebungen ist Absente Terebenthine gegenüber seinem Vorgänger Photography In Things nicht ausgefallen. Wieder gibt es melancholischen Pop, mit viel Bowie im Gesang und störgeräuschvollen Brüchen in den Stücken. Wieder viel Eingängiges, Tiefgründiges, Einnehmendes, Intensives. Weniger Gesang vielleicht, etwas mehr Kraftwerk. Man sucht sich also retrospektiv, meist in den Achtzigern, bleibt jedoch nicht in der Epoche verhaftet, modernisiert. Dafür klingt Absente Terebenthine weniger bedrückend vereinsamt als Photography In Things, etwas schwungvoller, fast fröhlich, was jedoch der Melancholie noch einmal mehr Schwung beim Runterziehen gibt. Machen wir es kurz: Erneut ein Meisterwerk, eine eigensinnige, eigenständige und vor allem grandiose Formation. (10)
ORKUS (Germany. Martin Kreischer)
Memuro
I must say that I was pleased to receive this, the second album for much accomplished dark pop act, Morthem Vlade Art. After the release of their debut album, I silently hoped they would go on to release more material. Well, just over a year later, here it is.
Trying to categorise them is not easy - being singed to a label that has given us some great alternative acts over the years goes some way to place your sound. But coming across like an alternative David Bowie in terms of sound, and being listed as 'Alternative & punk' on the CDDB, gives reviewers a bit of a headache…
Anyway, as already mentioned, the male vocals sound so much like (later) Bowie it's unreal (when playing this album while friends were visiting, someone asked if this was the new Bowie album!). But vocals aside, the music is electronic, 'alternative', and dare I say it, not as dark as the sound on the last item.
The sound here is 'fresh', and very artistic, in terms of how the sound is bent and twisted around the lyrics. Think smoothed off, matured 80's progressive pop and you're almost there. But don't let this put you off - this album is oh so very listenable, and accessible. The sound-scape is full, and the overall production is very polished. The general sound is laid back, no frantic at all. It's a good album to relax to. This twelve track album has no singular outstanding tracks - good or bad - they're all good.
That said, when listening to this album, it can fade into the background a bit, such is the overall tone of it. It's inoffensive tone making it a safe album to put on when having guests over who may not be up to hearing the majority of your music collection. And I guess this would be the downfall of this album - it's too easy to like, too easy to get into and listen to. It doesn't challenge the listener in any way. I think it can be summed up as a modern experimental painting put to music - it's modern, progressive, and inoffensive. Oh, and it's still a great album. We like it!
HARD WIRED (UK, Keith Elcombe)
Zacki
Morthem Vlade Art, depuis le départ, n’a eu pour combat que l’épure, jusqu’à parvenir à des phrasés musicaux quasiment abstraits, électroniques et minimaux. Ses deux derniers albums ("Antechamber" surtout, puis "Photography in things") conservaient certes des arguments rythmiques mais avaient glacé le paysage pour faire le groupe s’évader (définitivement ?) de ses ambitions orchestrales originelles. On sentait alors MVA accomplir le désir de donner à sa musique une dimension plus cérébrale.
"Absente terebenthine" retourne à une écriture plus physique, car plus "rythmique" : il présente une respiration dans la progression électronique de Morthem Vlade Art, un sursaut du coeur qui fond la "cérébralité" du duo dans un songwriting éclairé, lequel donne à entendre des titres ressemblant davantage à des… chansons. N’allez pas croire que le groupe ait perdu de son second degré ou de sa superbe : l’expérimentation et le décalage font toujours partie du paysage (les troubles instrumentaux "Dancing without learning" et "Blessingaway"). Mais MVA renoue avec les corps et met en scène, au cœur d’un décorum assez aéré, la voix extraordinaire (on ne trouve plus les mots, à ce niveau) de Gregg Anthe ("Absente terebenthine", "E-clipse", "Far away from me"). L’électronique, typée, mêle plus que jamais ambiances veloutées ou teintées au gris à des couches parasitaires, formulant une chimie de l’aller retour : rugosité, liquidité des textures.
MVA ne renonce pas au groove bâti sur le dernier album ("Paranoia", basse en sursaut pour electro-pop existentialiste : bondissante, et torturée par les guitares). Le disque, ci et là, sursaute. Comme la vie. Mais les textes d’Emmanuell D. dépassent la quête du sens, lui préfèrent souvent le mystère ("Zone"). Essence intouchable : Morthem Vlade Art assume aujourd’hui, plus que jamais, une écriture en demi-teinte et paradoxale, qui bouscule l’électronique ("Flow", rythmique en dérangement pour déliquescence progressive) tout en lui laissant installer les schémas desquels l’organe devra se démêler. Pris dans le labyrinthe, Gregg Anthe se débat, cherche la voie. Emmanuell D., elle, a planqué la clé. Si les mélodies s’affirment, la solution de l’affaire s’éloigne. Dangereusement.
OBSKüRE Magazine (France)
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