morosphinx
vilvoorde

8,00

only 3 left

why we love this

A catapult through a disorienting space, where sounds simmer, intensify, burst, and disintegrate.

about the cassette

Recorded in Vilvoorde, on the outskirts of the Belgian capital, this album probes impressions of relative distances within a sound space. morosphinx projects us into a musical context that is both strange and familiar, where sounds blend together and define their own landmarks.

The A side of vilvoorde is experienced as a long, unresolved breath. Silence is its latent base and reminds the listener of it as a ghostly fourth member. The vibratory mechanics of morosphinx are then gradually put in place. Each musician is busy awakening the sound space by delicately stretching the walls of the spectrum. For this purpose, each musician will draw from the depth of their instrumental languages.

As a condensation of micro-events, the second part of the project unfolds hastily. Musical time is more jerky and each intervention is volatile. During the last movement of vilvoorde, each part withdraws into itself as if it were load of its previous interactions. The interrogative form that these last moments take leads the listener to extract himself quickly as if he were the final punctuation of this tumultuous exchange.

  1. A1 22:44
  2. A2 4:43
  3. B1 19:33
  4. B2 3:55

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Copy and paste this code to your site to embed.

morosphinx
vilvoorde

8,00

only 3 left

  1. A1 22:44
  2. A2 4:43
  3. B1 19:33
  4. B2 3:55

Embed

Copy and paste this code to your site to embed.

why we love this

A catapult through a disorienting space, where sounds simmer, intensify, burst, and disintegrate.

about the cassette

Recorded in Vilvoorde, on the outskirts of the Belgian capital, this album probes impressions of relative distances within a sound space. morosphinx projects us into a musical context that is both strange and familiar, where sounds blend together and define their own landmarks.

The A side of vilvoorde is experienced as a long, unresolved breath. Silence is its latent base and reminds the listener of it as a ghostly fourth member. The vibratory mechanics of morosphinx are then gradually put in place. Each musician is busy awakening the sound space by delicately stretching the walls of the spectrum. For this purpose, each musician will draw from the depth of their instrumental languages.

As a condensation of micro-events, the second part of the project unfolds hastily. Musical time is more jerky and each intervention is volatile. During the last movement of vilvoorde, each part withdraws into itself as if it were load of its previous interactions. The interrogative form that these last moments take leads the listener to extract himself quickly as if he were the final punctuation of this tumultuous exchange.