Death And Nonexistence

Unorthodox Death Metal from one of the most uniquely talented bands in extreme music. A soul-searching conflagration of atypical melodicism, immaculate virtuosic dexterity and sublimated psychological upheaval. A breathtaking new beginning.

Exposing the trio’s love of all things retro with a nod to everything from Fun Boy Three to Orchestre Poly Rythmo de Contonou, while still roaming somewhere between an ambient Eno and Cocteau Twins at a late-night soiree. A unique, individual sound: Longer, more plush and pampered; more hypnotic and haunting, mixing mellotron and affected guitar with a refined rhythm. Electronic melancholy at its most evocative, riddled with super-memorable motifs and melodies that nestle in reflective echo.

Eduardo Mata was an internationally known conductor. He conducted a wide repertoire and was particularly recognized for twentieth century music, particularly of Latin American composers. He began studying guitar when he was about eight years old. In 1953, he enrolled in the National Conservatory of Music, studying with Rodolfo Halffter and Jose Moncayo. From 1960 to 1963, he was in the composition workshop of Carlos Chavez and Julián Orbón. After winning a Koussevitzky Fellowship, he traveled to Tanglewood where he continued his studies in composition under Gunther Schuller and in conducting from Max Rudolf and Erich Leinsdorf.

‘When we approach a composer, we like to immerse ourselves in his or her early works, in order to understand the evolution of the person behind the score.'

The traditionally ceremonial key of C major takes on a different hue in Schubert’s Quintet. Its demands, ranging from the pensive to the passionate, don’t ruffle the Belcea Quartet and Valentin Erben. Take it for granted that the playing is on the loftiest level, ensemble always transparently clean; and the ability to think, listen and prepare as a coordinated team results in an extraordinarily cogent performance sure in its grasp of phraseology, structure and dynamics.