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Blueneck
THE OUTPOST

postrock
Denovali, 2016

Średnia ocena klientów: -    oceń

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winyl : 102,90 zł
dostępność:
Tydzień
Nr kat.: DEN273LP
EAN: 4059251024545
format : 12"LP
gramatura : 180 gram
kolor : czarny
liczba nośników : 1
opakowanie : gatefold
CD : 70,90 zł
dostępność:
Tydzień
Nr kat.: DEN273
EAN: 4059251024538
format : CD
liczba nośników : 1
Opakowanie : digipack
 


nr tytuł play mp3
1 From Beyond 6:12
2 Ghosts 4:52
3 Hypnos 7:05
4 Rats In The Wall 6:14
5 The White Strip 4:56
6 Glades 4:13
7 Hive 8:05
8 Other Gods 6:22


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https://youtu.be/yn7w4-5eWIU

Blueneck's new album "THE OUTPOST" available 25th November 2016 on Denovali Records. Hailing from North Somerset in the UK, Blueneck have been at forefront of the European underground music scene since forming in 2000. They’ve released five critically-acclaimed albums, toured extensively with acts like Cult of Luna and Mono and featured in series of high profile European festivals including a triumphant midnight set at Glastonbury 2014. The band have also soundtracked a number of independent films and had their work featured on NBC, HBO and SyFy channels. Typically obsessive, fastidious and reclusive in their approach to recording (Blueneck’s last album, 2014’s epic "King Nine", was almost 4 years in the making) the band’s forthcoming long-player "The Outpost" was written and recorded over an uncharacteristically short 18 months.



This shortened gestation period was not the only respect in which "THE OUTPOST" is markedly different to Blueneck’s previous recording experience and output (2006’s "Scars Of The Midwest", 2009’s "The Fallen Host", 2011’s "Repetitions", 2012’s vocal-free soundtrack album "Epilogue", 2014’s "King Nine". Originally planned as a wholly separate touring electronica side-project for singer-songwriter Duncan Attwood and guitarist Rich Sadler, the duo began to find the prospect of deploying the full Blueneck sonic arsenal - along with the skills of long-term producer collaborator Matt Sampson and bass-player Ben Paget - all too irresistible. Once the decision had been made to fold the side-project back under the Blueneck banner, the fact that home recordings were already well-advanced made for a refreshingly fluid, fast (for Blueneck) and - dare we say - fun final 12 months of studio time.



The resulting LP retains the melodic songcraft of Blueneck’s best work, as well as Attwood’s inimitable seductive, haunting
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