The Shores of Valhalla

by Projektions

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about

'The Shores is an expression of the moods picked up on the isle of Arran, Scotland over two visits in 2018. Pitched up in a cave adjoined to another that had been used as a place of worship, Projektions experienced haunting nights which he wanted to express through music. This album is that experience.'

Fluid Radio review by Mick Buckingham:
The strangeness of finding labels springing up like fireflies, in a field of radiant ambience, is normal these days. Although the breed of firefly does pay diviends in how the light travels to the audience, the surfeit of pollen from the drone plant of Shimmering Moods Records is something delightfully fragrant. This review documents a trio of releases released at the same time, starting with Projektions – Shores Of Valhalla, a double disc in Kraft Paper sleeves in an edition of fifty professional copies.

It can be tough to keep attention held on music when one of its sole purposes is to play truant, to become ignorable. The music of “Projektions” answers this thought by being something of a protrusive oddity from the outset. The literary housing alone – the idea of “Projections”, in English, is to project some kind of image onto a landscape or sound recording, or both. In this way, the artists here succeed in collating an important document of hope and glory, rather than glory and vanity.

But that’s always been something that’s been on my mind in music reviews and discourse of good products, the saleability of the music as “art” and holding its status as “art” as opposed to clutter, bric-a-brac, bits and pieces, what have you. Partisan viaducts into the ultramundanity of collect-a-holic behaviour generates a kind of whimpering groan on the mechanism of life, where these days the only thing we should perhaps be interested in is if the music is functional, in that it serves its purpose, is dialectically or blankly representational of a state of matter, magnitude or fascination.

Let’s begin to explore the dynamics of these musics. While Projektions artist is as a complete contemplation album very debonair and sultry, like a lick of paint in a cobweb-swept feature wall of a town house, I find its vulnerability very appealing, it feels like music to snuggle up to anyway. There are many passages of note, but words obstruct the projection quality of the sub title. The whole thing is buffered by piano lines that lollop like a cross between The Caretaker and Delia Derbyshire. All the while, the sound palette is intrinsically dusty, an old 78rpm record set to capture “The Shores Of Valhalla”.

TONESHIFT.NET REVIEW:
The Shores of Valhalla starts as a quivering ambient record on the seductive Cave Dweller. Like waking from a haze and spying a light just barely making its way through the tiniest cracks. The hiss and crackle ground the sound of Projektions as the beat, like that of a pulsating heart, delivers the steady pace of Calm Before The Storm. The mood created is one of resistance, slowly thawing. The singular piano keys disperse between the pitter-patter effects, and the initial iciness pools into a slightly agitated setting.

And into Sea Dreamer things remain quite fluid, here building more rhythm, more mass and volume. It’s like an implosion or an avalanche in reverse, the background swells back into place, shifting topographies and broken melodies combine and discombobulate. The sound is ambiguously intimate, the mood like a tightrope in most places, the tensions high (Wax Light). The static (or rain) along with a music box melody play at odds on Old Winds with a purring drone and the underground dripping like being in the belly of a city tunnel. The peculiar scape permeates the mind with fleeting shadows, of taking cover from an unknown source (other than that of Mother Nature).

The set includes the 25 minute-long Daersinium Lopus which sits at the center of this remarkable longplayer. The track moves from the industrial (meshy, metallic drones) to the emotional (sudden piano recital) and they are cordoned off, but slowly become one towards the end. It repeats this blend and overlap, with each iteration becoming slightly more fused, with just the right amount of dramatic pause. A conversation between two alternate universes, dark and light, collide ever-so-gently.

For the remainder of the record we experience the pulsing, unplugged discordance of Night Moving (perpetual mix) and the aptly titled So Dream. Each with its segregated world of melody brought on by effects-driven noise or ersatz waves constructed by machine. Though once the Sub Conscious takes over the ambience plunges way down low. The hum is real, and what Projektions does with it is fairly uniquely minimal and radiant – both in tone and scope.

credits

released February 20, 2019

Written and produced by Mark Knight
Mastered by Roel Weerdenburg

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