Graves And Orchestra Pits - Graves And Orchestra Pits

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4...according to our Dave on Thu 24 Mar, 2011.

One of my favourite things about this CD is the fact that the 'Pits have decided not to indulge us with any type of track listing or any other type of information on its rittle sleeve. Ace. That means that I can read what I like into it and not feel like I'm taking liberties, or libertahs if you will. This record is 8 tunes which interlock and start whence the others finish. The lines of reality are not so much blurred as scrubbed away completely as this group of musical mercenaries flit deftly from one (de)composition to another with only a flap of zombie skin to keep themselves warm. I'm not too sure what that means. The 'Pits have a very good sound though, kind of minimalist one second, then moving towards louder waters the next. They remind me of Goblin, but without the synchs and tight leather trousers. I guess there are synch type moments to be heard on this record but they are roundly trounced by big crushing gee-tar riffs and pounding drums. This record sounds great and I really liked its lavish production, it has warmth and enough sufficiently heavy moments to keep any metal/experimental music fan more than happy! Did I forget to tell you you can raise the demon Paimon when you play this record backwards, and when you play the Mumford & Sons LP backwards, it actually sounds better! The 'Pits have a good LP out here..You might want to buy it.....

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Graves and Orchestra Pits is a transcontinental duo utilizing guitars/electronics/drums in order to create an ecstatic and unique sound mixing raw power with modern composition, subtle electroacousic alchemy and sonic maximalism. They create a stunning kind of meta-music that sound anarchic and futuristic at the same time.
In 2008 composer/musician Daniel Vujanic began to shape vibrant bodies of sound. Atmospheric guitar lines, morphing drone clouds, minimalist patterns and crunching electronics that wouldn't fit into the aesthetic and musical parameters of his previous projects (Baja, Höhlenmusik Ensemble, E Jugend). The compositional results were demanding a very specific rhythmical backbone. One that could underpin and enforce Vujanic's distillation of euphoric noise, hallucinatory constructivism, and the hollow bones of rock 'n' roll. That's the point where drummer Yoshihiro Kikuchi came in. An integral part of Japans vivid noise music scenery and also a colorful percussionist, he manages to combine massive minimalism, dense improv and ritualistic polyhythms.
The self-titled debut album effortlessly creates a blissful intensity with its additive compositional approach, sounding orchestral at times employing strings and synthesizers as well as sparse injections of glockenspiel, found sounds, piano, vibes and woodwinds.
The distinctive front cover talks about the mystic whoredom of death, a motif that has existed throughout rock 'n' roll's underground history. This artwork stands on the same tradition, but alters the detailed elements in whole, from the inside by contemporary editing approaches by Kikuchi, to resonate with sound contents. The real dead bodies photos were scanned, colored, printed, and collaged, scanned again and combined with typography.

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