Architecture Of The Absurd - Beluga

Bitrate: 320K/s
Year: 2016
Time: 42:39
Size: 97,8 MB
Label: Martian Sheep Records
Styles: Progressive Rock
Art: Front

Tracks Listing:
 1. Photosynthesis (feat. Marco Minnemann & Damian Erskine) - 5:21
 2. Paris Ragtime (feat. Marco Minnemann & Damian Erskine) - 6:10
 3. Trying to Be a Court Clown (feat. Marco Minnemann & Damian Erskine) - 5:27
 4. Under a Black Cloud (feat. Marco Minnemann & Damian Erskine) - 7:11
 5. Thylacine (feat. Marco Minnemann & Damian Erskine) - 6:20
 6. Monologue (feat. Marco Minnemann & Damian Erskine) - 6:45
 7. Sunny View (For Douchebags) [feat. Marco Minnemann & Damian Erskine] - 5:24

We are a Progressive Rock band. The same kind of rock that motivated thousands of avid brains to join a musical movement that enclosed everything. Undefined rock, with no boundaries or limits. A delicious caricature of music.
ARCHITECTURE OF THE ABSURD is a Progressive Rock band. The same kind of rock that motivated thousands of avid brains to join a musical movement that enclosed everything. That undefined rock, with no boundaries or limits. That rock that laughed at the world and at itself, a delicious caricature of music.
ARCHITECTURE OF THE ABSURD gathers influences from bands like Van Der Graaf Generator, Gentle Giant or King Crimson. It filters them through a Mr. Bungle strainer and performs in an imaginary Cirque Du Soleil. The result can’t be more unpredictable. Nothing is what it seems and nothing looks like nothing.
This seemingly senseless parallel world has been created by Lorenzo Matellan and Razl, two musicians characterized by an unlimited creative inquisitiveness fed by their ability to transform the simple and pretty into weird and odd, which can actually be a bit scary. At least it might trouble you. Through their compositions, Architecture of the Absurd proposes imaginary situations based on tales, movies or stories they’ve heard, and they put them in very direct words, with an extraordinary double meaning.
Lorenzo Matellan is a keyboard player and a sound engineer defined by his restlessness and his need to be musically free. He’s obsessed with breaking his own walls, eliminating complexes with machines that can generate very absurd sounds. His motto: anything goes except the word “ni”.
Razl is an out of the ordinary guitar player. After a constant process of finding himself, he discovered that he was more than one person, which led him to fund Architecture of the Absurd. His solo albums, “Rotonova” and “Microscopic”, got very good critics in specialized media, but now, he finally embraces the project that will take him to a cosmic fame. Whatever that means.
The presence of the extraordinary (and no less weird) drummer Marco Minnemann has given Architecture of the Absurd an extra push. His participation in the project has taken the band to give a step forward in their musical intentions, strengthening them with a rhythmic weight only comparable to the power of the engine of a stellar spaceship taking off.
The last tier of this intricate network has been Damian Erskine, virtuoso bass player who has perfectly understood the fevered and damaged minds of L. Matellan and Razl acting as the perfect glue between the uncontrollable pulses of Marco and the incoherent musical methods of Architecture of the Absurd.
Architecture of the absurd is the final result of something that started in a total random and undefined way. Most of the tracks have shaped themselves almost at the very final moment before entering the record studio. Both Lorenzo and Razl kept suggesting new ideas and fragments that were stored in a sort of imaginary archive without knowing how many tracks would finally be part of the album. At some point, the number of musical fragments was so high that Architecture of the Absurd started to feel a bit stressed for not being able to use them all. So, they set up a specific date to start recording; stop the constant influx of ideas and put some order in everything that had been created to far. As it was extremely difficult to make sense of it all and use every idea, Architecture of the Absurd tried to think of a more abstract concept for the album, something with and without meaning. And under this notion, they integrated all the fragments they had and shaped the tracks.

Beluga