I will be very short on this one, for this new Aube Grise release soon follows the Hanterieur recording, and in a very near future I will come back to the Shale / Arrache-Moi ep. But until then, this CDr…
When talking about the French Distant Voices label, I usually go into superlatives. That label deserves this for sure, and this for a couple of reasons. I like the crew behind, for they are really devoted to the scene, preferring craftsmanship and identity above profit. I like the few projects involved, for that’s the kind of Aural Art I do simply adore. But it’s this label as well that does release quite everything in a strictly limited yet totally handmade edition.
It’s with a huge dose of shame, but I must admit: I have not (been able to) write down my thoughts on the Distant Voices debut for Sadness, Somewhere Along Our Memory…, released at the very end of 2016. In mean time, this re-issue (there was a first pressing via Depressive Illusions, if I’m not mistaken), is sold out, so I need to apologize to the label. Mea culpa, mea culpa, mea maxima culpa!
~~With pleasure I present you a new review for the small yet unique French label Distant Voices. They’re ‘small’ in the meaning that they do release only a handful of albums each year. Quality prevailing on quantity must be their motto, and that also returns in the artistic totality of each release. It goes, of course, for the sonic result of each project involved (and every album that gets released by this label), but every single release is handmade and hand-numbered. Therefor all releases are strictly limited, with no repress possible afterwards.
The French label Distant Voices did surprise me every time for both the sonic result of each release, as well as the devotional artwork involved. This time it is not different, for the CD-version of the sophomore Scars From A Dead Room album has been designed by the Distant Voices team once again. It’s a cold, totally black edition with two cards inserted, containing quite mysterious artwork (which does fit the philosophy of both label and artist).
I do respect Anna M a lot, for she’s part of the Distant Voices-crew, taking care of the visual part (photography and graphic design) for the releases done by this fabulous French label. So I was quite surprised, as well as pleased, to notice that she wrote some own material. Eventually Anna did record some of those compositions during some days (it were times of seclusion) in spring 2015 (i.e. vocals, guitars, bass, drums and additional sounds), and the result was mixed and mastered in June 2015.
I did express my appreciation for the French label Distant Voices in about each review I did in mean time, for any release that crossed my path. I will not go to deep into the subject anymore, but I’d like to conclude this first paragraph with: respect!
It has been quite a while since I got in touch with a new Distant Voices-release, with exception of the split with Brouillard and Arbre (you can read the review on Brouillarbre on the update of December 23rd 2015). Apparently there was a new album by Misery but unfortunately it didn’t come out my way (and oops, but I was about to add a weeping smiley…). Anyway, this French label did never disappoint me. First of all the projects signed to their roster are of a qualitative high standard.
Both Arbre and Brouillard are grandiose French acts, which I praised intensively with their former Distant Voices-releases. Also the label itself is quite unique, which you can find back in each of the reviews I did for them in the past (besides both bands on this split: also Misery, Celestial Dirge and Scars From A Dead Room passed the revue; check them out on the site!).
I have always appreciated two aspects of French label Distant Voices; the projects signed to their roster, and the physical aspect of each single release. When it comes to the first, the projects, well, I’d like to refer to the reviews I wrote for Arbre, Misery, Brouillard or Scars From A Dead Room. Without exception, all of them do please undersigned’s ear drums and mental state.