act 320 · flint glass & collapsar · deus irae · cd

01. the servants of wrath part I
02. the servants of wrath part î
03. closed_universe mix by spherical disrupted
04. deep immersion mix by hologram_
05. opening of wrath mix by sylvgheist maëlström
06. the anger of the gods mix by ah cama-sotz
07. olden wrath of the great ones mix by iszoloscope

upc 821272214427
release date: 19june2k15

packaging: 4panel digipak

composed, arranged and produced by gwenn tremorin and thibaud thaunay in 2014.
mixed by thibaud thaunay in january 2015.
mastered by herman klapholz at illlektrik.toolz:
drawings and design by gleb zhurov:
layout by stefan alt:

vinyl edition released on sealt:
digital download edition released on brume records:

'in the years following world war îI, a new and powerful faith has arisen from a scorched and poisoned earth, a faith that embraces the architect of world wide devastation....'

flint glass is the paris-based one man project of gwenn trémorin, formed in 1999, which has been described by critics as one of the most innovative artists within electronica, industrial and dark ambient. inspired by fantastic and dystopian literature and influenced by 90's ambient as well as various forms of idm, tribal, industrial rhythmic noise and experimental, his music tends to crawl under your skin, shapes the most fantastic images, and keeps challenging you by means of an intelligent use of samples, rhythms and beats. all through his artistic history gwenn set a high value on collaborations with befriended artists, including this album which was conjointly developed together with collapsar, a dark space ambient solo project from strasbourg, formed by thibaud thaunay who gained great attention with his debut release on malignant records.

'deus irae' ('god of wrath') characterizes a mystical sensory journey into the depths of a post apocalyptic world, inspired by philip k. dick & roger zelazny's science fiction novel of the same title. across an imaginary nightmarish landscape as described in this novel, flint glass and collapsar join their force to create evocative, cinematic music which is suitable for discrete listening at home, and which might be also perfectly fit as a score to a yet unwritten video game. dark synth tones are deployed with an innate sense of dramatic, leading the listener through widescreen narratives of terrifying scope. dystopian futuristic soundscapes and elaborated rhythmic textures meet cataclysmic drones, epic melodic themes and arcane voice samples.

this ficticious journey, separated in two parts, lasts for more than fourty minutes and is perfected by alternative aural 'script variations' by spherical disrupted, hologram_, sylvgheist maëlström, ah cama-sotz and iszoloscope. be invited to join a parallel world of suspense, mystery, and faith.

flint glass discography:
deus irae (w/ collapsar). cd / lp / digital album. ant-zen act320 / sealt s21 / brume records brume25. 2015
zoran's equation (w/ polarlich 4.1 / transistor). cd. funkwelten fw013. 2011
circumbaikal (w/ arx kaeli). 7". sealt s3 / brume records brume24. 2011
nyarlathotep + from beyond ep. cd+cd-ep. brume records brume22 / funkwelten fw022-n22. 2009
circumsounds. cd. brume records brume20 / tympanik audio ta007. 2008
information gigabyte (w/ telepherique). cd. angle rec. a.r.05.05. 2007
nyarlathotep. cd. brume records brume13 / funkwelten fw007. 2006
hierankopolis. cd. brume records brume03 / funkwelten fw005. 2002

flint glass webpage:

collapsar discography:
deus irae (w/ flint glass). cd / lp / digital album. ant-zen act320 / sealt s21 / brume records brume25. 2015
beyond the event horizon. cd. malignant records tumorcd38. 2009

collapsar webpage:

remixers' webpages:
spherical disrupted
sylvgheist maëlströmëlström/181257448571910
ah cama-sotz


santa sangre
they have discovered something, our intrepid duo. a place where the world has ended, where humanity walk on a razor edge between existence and extinction; where the conceits of orthodoxy have become the ultimate expression of power. the remnants of civilization cannot explain anything, no control remains; vestiges of the previous age which mankind thoroughly put an end to only serve now to prey upon the few left who cannot understand what has happened. in this place, two opposing camps have arisen to deliver their own version of what the truth now is. the leading faction is who this album provides a soundtrack for and they are a loving bunch... the servants of wrath. this lot deify the one who began what would lay waste to the planet, a man to focus their own love of nihilism through. there's just one problem, no one knows what he looks like or where he resides. a quest is therefore undertaken to find the object of their worship in order to capture an image of him, the goal being to prove his existence to any who disbelieve. all throughout the journey the vast scope of destruction which this god of theirs has wrought comes into plain, painful view. the annihilation has been thorough although there are some notable escapees. the diabolical artificial intelligence of the big c eclipses everything else our pilgrims encounter as its now been reduced to consuming human beings in order to survive. it is a land where life has little, if any, value. armed with their formidable arsenal of equipment, flint glass and collapsar depict the lonliness and barbaric hostility of the search for lufteufel. this is the sort of post apocalyptic setting which only the continual threat of nuclear war could provide. in the late 1970s there wasn't a whole lot of belief in the future, a kind of perpetual malaise had set in. on one side there was the east and on the other the west. two opponents with an intractable doctrine of mutual mistrust and cold contempt. i remember the early 1980s where this book is set with even sharper clarity. 1982 would have been the perfect choice for the end, no one would have been surprised; those in charge certainly wanted it. it is dark and terrifying what these gentlemen have composed, two long form pieces which go through several movements as though they are meant to coincide with actual chapters in the book. if a film ever is made of this, what i'm hearing here had better be what gets used for the score. horrible though the outcome may be we have no one to blame but ourselves. the nature of faith and the foundations of belief were what dick and zelazny mainly addressed with "deus irae" and i have to commend those who composed this music for somehow staying true to that spirit. they don't back down or give an inch! this is an epic symphony of droning decay, a litany for the ruins and a searing indictment of technology. man and his need to believe will be the undoing of us all. (peter marks)

wounds of the earth
basics: from the moment i got word of this split, i was excited. flint glass is one of my favorite projects and i love his blend of dark sci-fi atmospherics and industrial/idm/techno. nyarlathotep is still one of my favorite records (you can't go wrong with hp lovecraft references/influence). and to see him working with crushing space ambient producer collapsar was quite exciting. additionally, this was released in various formats: it was released as a limited edition vinyl via sealt, on cd by ant zen, and digitally by flint glass's own brume. the vinyl contains the two long-form tracks "the servants of wrath part i" and "...part ii", while the cd and digital versions contain 5 additional remixes. i also want to mention that the artwork is absolutely stellar and fits this album perfectly! stuff: as predicted, the two original tracks are nothing less than spectacular. each one is over 20 minutes long, coming in at 21 and 26 minutes respectively. they are both highly dynamic and show these artists pushing what can be done within the "ambient" genre. the servants of wrath part i: this one, overall, is a bit more on the ambient side of things. it opens with clean cosmic droning which immediately transport you through the endless voids of space onto an ancient planet littered with dead technology. while it has some similarities to the collapsar solo record, overall it is much cleaner which allows it to feel exceptional spacious and dynamic. these textures are truly colossal and worth of the grandeur that lovecraft writes of. after about 5 minutes they bring in some of the trademark flint glass sounds and it slowly builds with slow, plodding percussion, giving it a very cinematic feel - think of spaceship scene in a modern take on alien. one of the best parts of this album is the incredibly deep and dynamic atmospheres which continually shift and mutate between the percussive sequences, and they are in full effect throughout this song. after the section of slow, heavy drum hits, everything collapses into a pit of subtle darkness before slowly building back up. from 11 or 12 minutes on, it feels similar to a typical flint glass track. there are many trademark noises and the click-y idm-influenced percussion dominates. from here the track shuffles between minimal ambient sections embodying the vast emptiness of space, and similar beat-driven parts, conjuring visions of strange space stations and foreign planet surfaces, several more times before coming to a close. the servants of wrath part ii: the second track contains the same general characteristics and sounds, although it brings in percussion much sooner. quickly we're thrown into a very flint glass-esque track - again with the click percussion toiling underneath impressively sci-fi atmospheres. there are some spoken word samples and crunchy (though subdued) noise in the background which must be the collapsar influence. nothing short of cinematic masterwork. part ii exhibits a similar flow to part i, although the parts with drums are a bit heavier and more driving. some of the harshness of collapsar's work shines through and enhances the flint glass palette. in addition to the 2 album tracks, there are also 5 remixes. as is the case with most remixes, the bulk of these are, sadly, disposable. the only remixes worth mentioning are the ones from hologram_ and iszoloscope. hologram_ provides a captivating industrial-y idm flavored mix with clicky, complex beats dancing beneath a charming melody and exceptionally futuristic atmospheres. iszoloscope turns his track into a heavy, rhythmic noise/dark techno banger. he does an exceptional job at allowing his crunchy & driving percussion to coexist in perfect harmony with the massive atmosphereics of the original work. a superb example of how to make interesting, deep, and well produced rhythmic noise. these are both great tracks which expertly utilized some of the best elements of the originals while enhancing them with their own sounds & flavor, and i can see myself listening to frequently. overall: an exceptional split that sounds like the two artists fully merged their brains and composed as one. everything fits together nicely and nothing feels strange or out of place. i feel that the strengths of both artists shine through. the excellent mixing and production further enhance the pieces and turn them into celestial masterpieces. definitely a must hear for fans of either artists or space-themed ambient/industrial in general.

musiques électroniques
depuis maintenant plus de dix ans, le francilien flint glass n'est pas inconnu pour qui fréquente de près ou de loin les scènes industrielles de france et d'allemagne. connu pour être la moitié de tzolk'in avec le belge empusae, un peu moins pour sa création du désormais très ensommeillé label brume records, il a depuis toujours étalé son intérêt pour le mysticisme, les ambiances post-apocalyptiques et les rythmiques qui s'intègrent parfaitement à ces deux thématiques. je ne manquerai de respect à personne en émettant l'idée qu'après quatre albums, les tribulations amérindiennes potentielles de tzolk'in apparaissent comme de plus en plus limitées. pendant que son compère belge s'autorise lui aussi quelques "infidélités" en solo ou accompagné de la clique goth arcana (très inspirée celle-là), flint glass s'attelait en compagnie de polarlicht 4.1 et transistor à une ré-interprétation musicale remarquable de la nuit des temps de barjavel. tout ça pour dire qu'il revient ces jours-ci avec un projet tout aussi ambitieux, aux côtés du strasbourgeois collapsar (dont je ne connais pas le boulot mais qui a quand même sorti un premier album sur le réputé label américain malignant records), pour proposer une libre illustration du bouquin de philip k. dick et roger zelazny : deus irae. si l'album en présence retranscrit fidèlement l'oppression totalitaire d'une époque où les moutons procèdent à la divinification de leurs propres bourreaux, on peut comme n'importe quelle oeuvre musicale l'extirper de son contexte, et donc ne pas la réserver à ceux qui ont lu ou qui liront l'ouvrage. nul besoin d'intégrer donc une vilaine fiche de lecture pour présenter l'album, ni même de vous présenter le démembré tibor, le sanctifié carleton lufteufel ou l'intoxiqué pete sands. en deux tableaux de plus de 20 minutes chacun (le deuxième est lui-même autrement plus "séquencé"), le duo français déroule lui aussi sa "fresque sacrée" et puise dans tout un arsenal sonique prompt à retranscrire de très soignés climats apocalyptiques et anxiogènes. même si je les soupçonne gentiment d'avoir eu beaucoup plus recours au sampling qu'à une véritable création de banque de sons, l'album résonne extrêmement perfectionné, et ce même pour les coutumiers du sound design moderne. la palette rythmique est extrêmement variée, les voix prisonnières du sacré n'interviennent jamais au hasard, et surtout, les parties purement "ambient" sont particulièrement immersives et n'auraient rien à envier à bien des scores catalogués sci-fi. beaucoup de souffles, de fractures sauvages, de contrastes entre les beats sévèrement tassés et les émanations putrides d'une époque fantasmée mais finalement pas si lointaine. où au commencement serait l'acte abominable, ringardisant le verbe dans les tréfonds d'une bienveillance à l'obsolescence programmée, où la servitude à l'enfer qui nous est prédestiné est presque moins cynique que les dieux de paix et d'amour béatifié. une époque où l'humain se confond de plus en plus avec le robot. mortels, accueillez donc les bras grands ouverts ce progressif déchiquetage généralisé. l'espoir est pour les faibles. "tu es né de la poussière et tu retourneras à la poussière. qu'est-ce que cela veut dire, mourir ? ce qui est unique ne peut que périr. la nature procède par surproduction de chaque espèce. l'unicité est une faute, un échec de la nature." volontairement, et malgré le respect et l'affection artistique que je voue à des gens comme sylvgheist maëlström ou iszloloscope, j'ai snobé les quatre remixes qui n'apportent à mon avis rien à l'oeuvre, et qui sont bien souvent une stratégie des labels pour vulgariser un disque à coups de bonus. ils n'enlèvent en tous cas rien à un album aussi ambitieux que courageux, particulièrement réussi, et qui joui en supplément d'une édition vinyle de très très haute volée. en plus de faire péter le bandcamp de flint glass, succombez donc à la tentation, il paraît que l'enfer est pavé de bonnes intentions. (lexo7)

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