Strom Noir — Ma¾ované Kvety & Xeroxové Motýle

Ma¾ované Kvety & Xeroxové Motýle is a both a compilation and a new album. It’ is a celebration of the decade of activity of Strom Noir (the moniker of one Emil Mat’Ko.) Released on Zoharum this is Emils 15th album since beginning releasing music in 2008. Mixing raw electronics with drones and de/re-constructed guitars this eleven track album showcases the creativity of Emil perfectly. The album splits into Against A Dwarf recordings from 2012-2014” and Painted Flowers & Xeroxed Butterflies (recorded 2015-2016).

Against A Dwarf begins with “Widely Open Window” this drone piece shifts gently as each aspect loops in on itself. This is a slowly evolving piece that although light in tonal quality has a richness to it. There’s something about drone tracks that both warrant attention and need to be ignored. They shouldn’t be up front, in your face beasts. They are meant, by their nature, to just be there: a constant
that you feel on the periphery of your senses.

“Rozkyv Duše” is clearly more guitar based, albeit still working in the drone field. Somewhat more abrasive, yet still retaining the lightness of the previous piece.  “Saturday is Gone” has a dandelion clock that’s been blown in to the wind feel to it. A scattering of tiny objects that when land make ripples across a meadow. It’s plaintiff and subtle.

Storm Noir has an almost Vidna Obmana quality to it. Somewhat more airy, but still there’s a gentleness to the music that delights in it’s playfulness. Each piece is beautifully crafted and fits alongside it’s companions on this album well. This is surprising in that as previously mentioned, the albums is both a compilation and new music.

Painted Flowers & Xeroxed Butterflies opens with the  long
time-stretched drone of “Tlkot Dreva & Bzukot Kovu” which is like freefalling in ultra slow motion. Following this is the ten minute title track: an open space of reverb and dust fall that has a ghost-like quality to it from the outset. As it builds (and this is not a quick activity!) the lack of anything really substantial forming is there throughout, and its perfect in it;s emptiness.

Ending this half of the release is “Pure II”. Keeping the granular aspects that have been put before us, this piece quickly develops and plateaus into the aural equivalent of a vacant concrete construction dripping with rainfall.

If you do not know Strom Noir, or even if you are very familiar with his work, this release is a brilliant place to jump off into his work. It’s a mix of old and new, and throughout this is the sense of both beauty and balance.