A U R O R A
About this deal
Many, such as ‘Nolan’, with its colossal rave synths and blistering distortion, have an epic, widescreen feel, which Frost offsets with intricate detail and quiet, ominous passages. It's not that this album isn't good—far from it—it's just the kind of thing that's so difficult to describe and have the description be useful, especially if the reader hasn't heard anything similar before. It also features the record’s only noticeable use of piano, but instead of the haunting structures Frost previously made use of, here it sounds like he’s pushing the instrument down a flight of stairs. But even Frost’s cold, iron and calculated world tracks like “The Teeth Behind the Kisses” seep into unfamiliar and uncomfortable quarantine zones.Based at London’s 180 Studios, Fact is a multimedia platform championing the global movement of electronic art. Where Tim Hecker's Virgins (which Frost had a hand in) saw him home in on the power of live instrumentation, A U R O R A does just the opposite. After a moment of near-silence, they unleash a cacophony so abrasive and pummelling it’s almost ecstatic.
See Gwen Fletcher demonstrate the adorable Jane’s Doodles stamp collection on HobbyMaker this Wednesday! First track “Flex” is a warning, its ambient backward drum fills and hums gradually rising in volume and tone as if to mimic the climb to the summit. We don’t share your credit card details with third-party sellers, and we don’t sell your information to others.Starved of all the adornments of it's predecessor; wholly absent of guitar, of piano, of string instruments and natural wooden intimacy, 'A U R O R A' offers a defiant new world of fiercely synthetic shapes and galactic interference, pummelling skins and pure metals.
And after that slight disappointment experienced by all avid listeners that comes with a significant change of tone; if not of style, it’s easy to see the two records as near companion pieces.This bleeds into “Nolan”, a track that would fit easily on Tim Hecker’s Harmony in Ultraviolet, featuring a percussive thump—sticks rattling, synthesizers lapping.
Recorded between 2011 and 2013 in Eastern DR Congo, EMPAC New York and Reykjavík by Daniel Rejmer, Valgeir Sigurðsson, Paul Corley, Paul Evans and Ben Frost. Nolan" is the key track here and one of the most impressive compositions in recent memory, an ever-evolving tableau that encompasses the widest array of Frost's sonic predilections. Despite its scattered creation, I tend to listen to A U R O R A as one long piece, letting the different modes congeal into a whole. Where By The Throat stalked unobserved - a malevolent spectre that lingered constantly out of shot - A U R O R A immediately surges into sharp focus, the prologue-like “Flex” bursting free from the shackles a vengeful, almost incandescent beast. Said track is a full percussive assault, Harris’ trademark chimes ringing and echoing around Frost’s towering orchestral flourishes, while Fox and Ismaily add a little blunt force trauma to the mix.Like much of A U R O R A, it feels like a battle between the human and the digital, Frost’s cold synthesizers and laptops vs. Performed by Ben Frost with Greg Fox, Shahzad Ismaily and Thor Harris and largely written in Eastern DR Congo, A U R O R A aims directly, through its monolithic construction, at blinding luminescent alchemy; not with benign heavenly beauty but through decimating magnetic force. For all this, his music is equally fascinating when you strip away the context and simply let the sounds he’s making overtake you. Fittingly, it’s this final track, and not the pyrotechnics of 'Venter' or 'Nolan', which sounds most savage: it’s the untamed, unleashed and explosive finale, as Frost unleashes every musical sinew and leaves the speakers quivering.