Un Coeur, Deux Coeurs, Un Coeur, Sans Coeur
by Orphax
Nathan Duin
Nathan Duin
Unlike anything one could hope to hear. Subtle and grand.
Favorite track: Un Coeur, Deux Coeurs, Un Coeur.
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Sean
Justin Watson
George Grella
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Production Unit
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E S A
John Eden
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Jamie Steere
DizSma
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Ultra Mega Moo
thevangelis
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Rob Hayler
Monkton Wylde
Mike Holland
cowsarejustfood
Chris K
ea
Swamsel
mcrow
Stephen Jordan
Brian Lavelle
Stephen Cockayne
Aidan
Jazperli
Sietse van Erve
Zac Bentz
post utility
Jouisse
ANDY MCLAREN
emptysea
romeo vermue
Andrew Fahey
Jio
Jan Verbunt
April Larson
Mark Scorah
decadnids
Rebecca
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magicdaddy
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DVD + Digital AlbumLimited DVD edition of the release with two beautiful, glacial video pieces from our art director Dave Fyans/Erstlaub to accompany the tracks.
Each DVD also comes with automatic free digital download.
Includes unlimited streaming of Un Coeur, Deux Coeurs, Un Coeur, Sans Coeur via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.ships out within 2 daysedition of 100£5 GBP or more
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Digital Album
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Includes unlimited streaming via the free Bandcamp app, plus high-quality downloads of Audible Tells (digital only version), Correspondence 2: 4 Impulses, Correspondence 1: Cordiform, Slow Notes For Piano and Voice, Blast Lock, Slow Notes For Monty Don, Slow Notes For Bakunin, Slow Notes For Voegelin, and 73 more.
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Sans Coeur
23:21
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about
Orphax is the recording name of Sietse van Erve, a solo minimal drone musician based in Amsterdam. Sietse has been creating his experimental sound since 1998 and has run the Moving Furniture Records label since 2008. Not to be confused with techno duo Orphx, Van Erve's music is of an altogether calmer nature, but his output is nonetheless challenging and energising in equal measure.
His Broken20 debut takes the form of two long-form drone pieces, 'Un Couer, Deux Couer' and 'Un Couer, Sans Couer'. The opening track draws the listener in with gentle chords that could be from guitar, organ or sampled machinery, slowly pulsing and calling to mind the likes of minimalist forebears Charlemagne Palestine and Terry Riley. High-pitched waves enter, the first suggestions of feedback; they're joined by what appear to be bicycle bells that build to a cacophony, rattling inside the ears with life and urgency. Feedback and volume build on ever-increasing layers in spiritual cleansing as dissonant chords jar in adjoining sections and then dominate, until the bells and higher feedback tones return, calming gradually to a single held note and then silence.
At the piece's end, one is struck by the vast change that has occurred throughout its nineteen minutes. 'Un Couer, Deux Couers' is glacial, its movement undetectable in the short term but, viewed from a wider perspective, dynamic and sprawling.
'Un Couer, Sans Couer' is the longer piece, beginning with a slow single note crescendo that suddenly plays with tuning to subvert the expectations the listener has independently accrued in its first three minutes. Glitched and picked guitar notes hint towards van Erve's love of avant garde folk music, before top range drifts and slow-moving phases provide texture. Shades of juxtaposed semitonal tension and a piercing violin tone ramp up the strain before the waves break into shards of guitar and soothing low tones. Ligetian dissonance rejoins the fray and hyper-pitched howls close matters.
This second track frequently harks back to that single held note; it thus evokes a different topography, perhaps of a strange archipelago whose islands are traversed one by one, returning each time to a central port before branching out again until the final journey leads ever outwards.
His Broken20 debut takes the form of two long-form drone pieces, 'Un Couer, Deux Couer' and 'Un Couer, Sans Couer'. The opening track draws the listener in with gentle chords that could be from guitar, organ or sampled machinery, slowly pulsing and calling to mind the likes of minimalist forebears Charlemagne Palestine and Terry Riley. High-pitched waves enter, the first suggestions of feedback; they're joined by what appear to be bicycle bells that build to a cacophony, rattling inside the ears with life and urgency. Feedback and volume build on ever-increasing layers in spiritual cleansing as dissonant chords jar in adjoining sections and then dominate, until the bells and higher feedback tones return, calming gradually to a single held note and then silence.
At the piece's end, one is struck by the vast change that has occurred throughout its nineteen minutes. 'Un Couer, Deux Couers' is glacial, its movement undetectable in the short term but, viewed from a wider perspective, dynamic and sprawling.
'Un Couer, Sans Couer' is the longer piece, beginning with a slow single note crescendo that suddenly plays with tuning to subvert the expectations the listener has independently accrued in its first three minutes. Glitched and picked guitar notes hint towards van Erve's love of avant garde folk music, before top range drifts and slow-moving phases provide texture. Shades of juxtaposed semitonal tension and a piercing violin tone ramp up the strain before the waves break into shards of guitar and soothing low tones. Ligetian dissonance rejoins the fray and hyper-pitched howls close matters.
This second track frequently harks back to that single held note; it thus evokes a different topography, perhaps of a strange archipelago whose islands are traversed one by one, returning each time to a central port before branching out again until the final journey leads ever outwards.
credits
released July 8, 2013
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May 2023 -
May 2021 -
Nov 2020 -
Jun 2020