Cult with no Name: Above as below (2012)

Otro de los discos llegados a nuestra bandeja de entrada particular donde podéis enviar cualquier material sonoro que pueda tener cabida en el blog, es este Above as bellow (2012), el quinto álbum de este dúo londinense llamado Cult with no Name.
El grupo está especializado en un Piano-Pop de cortes intimistas, un sonido tranquilo y relajado que fluye durante los catorce temas de este disco, a veces con influencias del Electro-Pop a veces con ínfulas Chamber-Pop a veces del un cierto sonido algo más experimental. Una especie de cruce entre Pet Shop Boys taciturnos bajo la sombra -siempre alargada- de Tindersticks.
Podéis disfrutar del álbum en el enlace Soundcloud que acompaño y adquirirlo más abajo.

Cult with no Name – Above as below (2012)

“After a year which saw them being nominated for the prestigious Exposure Music Awards, London’s acclaimed post-punk electronic balladeers Cult With No Name return with their fifth and undoubtedly strongest album to date.
Above as Below showcases the duo at their lightest, darkest, most melodic, sardonic, nonchalant, bon vivant, serious and humorous. 14 tracks that span everything from pure synth-pop (‘What’s Certain’), to sweeping piano-led chanson (‘Maitre D-Day’), swirling trip-hop (‘Hope is Existence’), Black-American spirituals (‘Shake Hands with the Devil’), and stark spoken word (‘Losing my Elan’). Lyrical perspectives include everything from the frustration of life as a P.A. to an African dictator (‘Idi’s Admin’), to attacking holocaust revisionism (‘Numbers’).
Above as Below’s musical dexterity provides the backdrop to an illustrious supporting cast, including extensive contributions from Kelli Ali (Sneaker Pimps), Luc van Lieshout and Bruce Geduldig (Tuxedomoon), John Ellis (Stranglers, Peter Gabriel, Peter Hammill), and Meg Maryatt (17 Pygmies). Packaged in a deluxe fold-out letter-pressed sleeve, designed by world-renowned graphic designer Jonathan Barnbrook (David Bowie and Damien Hirst), Above as Below not only represents the pinnacle of CWNN’s achievements, but stands alone as an innovative, addictive and enduring song-cycle” (Press)

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