ORGAN THING: Actors Artificial, Untimeliness? Default Settings? Nonobjective Rock? Noise exponent? Amplified filters? Feedback camouflage? Melancholic synthesis? This is good…

Organ Thing of The Day: Actors Artificial are from Canada, we accidentally found them last week while looking for last keys and considering the next Other Rock Show, well the first twenty minute track here sounds like radio-friendly ear food to us. Love their textures, their details, the way things rise and fall, there way the pieces move along. I guess if you want to call it post rock you can, who needs these terms now though? Actually it is how we found them! There’s a list, we do like a list, who doesn’t like a list? “Nonobjective Rock. Noise exponent, Amplified filters, Feedback camouflage, Melancholic synthesis”, that list does a far better job of describing the slow moving beauty, the rewarding construction, the majesty of it all, and I do like the cover art, just right. This excellent actuall,but don’t take our word for it, the music is just there, hit the play button. We found the keys by the way. The Bandcamp page is here, this two track 40 minute album is called Untimeliness & Default Settings, it is rather wonderful….

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Here’s what they say…

“Actors Artificial is a linkup of composed music that perceived a particular meaning in artefacts of apparitions and of conspiratorial artworks. It foreshadows boredom with experiential rock. No witness to witness anything and yet something must happen over there as an inconsequential prophecy. Untimeliness & Default settings develop this approach to conceal one possible answer to any meaning or any principle of expansion or reduction. The rate of occurrence here is a phenomenon of purposeful sounds towards the making of an object. It is an attempt of dissociating its enlightened identity by acting on amplifier apparatus as functions and in search of the contentiousness of a fake acoustic signal. Nonetheless, it’s a record of rock music, designed in a network of aftershocks events, with collaborators such as Alexandre St-Onge on electronic bass, Dominic Jasmin on guitar and electronic and Samuel Bobony on studio recorded drums. Initially, it was an in-depth performative research on filters and feedback for guitar by Jonathan Parant. His guitar ideology derived from the abduction of outcomes from different outlets. He subsequently shaped effects particularly with stillness and shifting stream. Additional guitar constructs were added throughout internal and external spirited devices such as existential theory, activity of the process and computerize mayhem. Two unending pieces emerged from that state of theatricals. At last, The future arrives with Roger Tellier-Craig as a foreign processor. The two elusive structures were entirely mutated, with his fearless vision of the deconstruct in his sound music practice, to two impossible buildings residing beside each other where non-one can live in.

Jonathan Parant. Guitars, Feedback, Filters, Amplifiers and General Composition
Alexandre St-Onge. Electronic Bass
Dominic Jasmin. Guitar and Electronics
Samuel Bobony. Drums

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