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12rec : Anthémes pour les Regrets

Released on
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Catalog number
12rec047
 
Playtime: 43:14 - 256kb/s - 64.85 MB
Date published
2009/09/14 15:42h
Downloads
768

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Release Notes

Not only a musician for approximately ten years now, Vincent Fugère a.k.a. “Muhr” was around when the whole Netaudio thing initially kicked off. As he reports in a recent interview for Phlow Magazine, microscopic social networks, chipmusic and a Babylonian mishmash of different file types where the primordial soup for the Netaudio scene to emerge from. Actually, Vince is the face behind the respectable Camomille Netlabel and Apegenine recordlabel. He released a whole bunch of EPs at hipster places like Zymogen, Serein, Miasmah and many more. We’re happy to have Muhr joining the 12rec.-family for his most recent album “Anthèmes our les Regrets”.Equally influenced by various forms of electronica, film music, Folk and Postrock, Muhr is about organic Ambient music. Vince’ compositions and improvisations fathom the space between synthesizer oscillation and guitar delay, they focus on background noise and the spatial hiss of his lo-fi recordings. “Our Tired Souls” and “Le Cycle est sans Retard” start the album with a good amount of melancholy drones, blending delicate feedback with field-recordings and substantial sketches of piano. For “Le Cycle est sans Remords”, Muhr gets a bit closer to something you might call a song. As he’s from Montreal, people will probably declare a Constellation-influence.“Improvisation II” is a soothing 15-minutes meditation on unwound guitar and certain effect-treatments, reaching hands to the Stars of the Lid. After this break, “Mes Ruines, tes Ruines” and “Sonnete pour les Perdus” are booming and enthralling Ambient Noise before Muhr gently kicks our asses goodbye with the tiny Folk jewellery “Eschatology”.The stunning artwork for “Anthèmes our les Regrets” is based on three paintings by Portland-peintre Eric Adrian Lee. His textural works beautifully resemble the Muhr music and bring forth a new level of interpretation to both aural and visual components. Like Vince, Eric accepts (and facilates!) elements like dirt, noise and error in his producing. Like him, texture and detail are more important than sheer tangibility.

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