Laurin Huber
Dog Mountain

27,00

out of stock

why we love this

While being perceptive and observant, it gently evolves, but in a way as if there is nowhere to go. Like walking on endless deserted roads.

about the record

Dog Mountain is the second release by the Zurich-based producer and composer Laurin Huber on Hallow Ground. While After Juncture saw Laurin work mostly with synthesizers and programmed rhythms, these four tracks are much more restrained, drawing on tape loops and feedback, recordings of acoustic guitar and synthesizers such as the Korg MS-10, as well as field recordings that relate to the overarching topic that informed the making of the record.

The music on Dog Mountain may transcend and overcome certain borders, but it does not deny the realities that they impose on each and every one of us – whether in our political lives or in the realm of sound. This is mirrored in Huber’s engaging in the structural and sonic interplay of repetition and difference. Working with slowly evolving and modulating elements that are exposed to slight shifts, Dog Mountain puts a focus on the interaction between small elements that together form a bigger whole which is marked by constant evolution and change.

  1. 1 - Raja 5:00
  2. 2 - Nickel 5:50
  3. 3 - A Town Is Not A Town 4:55
  4. 4 - Storskog-Borisoglebsk 7:32

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Laurin Huber
Dog Mountain

27,00

out of stock

  1. 1 - Raja 5:00
  2. 2 - Nickel 5:50
  3. 3 - A Town Is Not A Town 4:55
  4. 4 - Storskog-Borisoglebsk 7:32

Embed

Copy and paste this code to your site to embed.

why we love this

While being perceptive and observant, it gently evolves, but in a way as if there is nowhere to go. Like walking on endless deserted roads.

about the record

Dog Mountain is the second release by the Zurich-based producer and composer Laurin Huber on Hallow Ground. While After Juncture saw Laurin work mostly with synthesizers and programmed rhythms, these four tracks are much more restrained, drawing on tape loops and feedback, recordings of acoustic guitar and synthesizers such as the Korg MS-10, as well as field recordings that relate to the overarching topic that informed the making of the record.

The music on Dog Mountain may transcend and overcome certain borders, but it does not deny the realities that they impose on each and every one of us – whether in our political lives or in the realm of sound. This is mirrored in Huber’s engaging in the structural and sonic interplay of repetition and difference. Working with slowly evolving and modulating elements that are exposed to slight shifts, Dog Mountain puts a focus on the interaction between small elements that together form a bigger whole which is marked by constant evolution and change.

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