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Cold
CD Album 2007 | Silber 061 9 tracks, 58 minutes out of print : Listen to the track bare : Press Release Track Listing: Frozen, Bare, Baltica, Colder, Snowdrop, Drifting, December, Polaris, Later |
“Cold”
is the third in a
series of remasters of all five Lycia studio albums on Silber Records.
Recorded in 1996 following a tour and the band’s relocation from
Phoenix,
Arizona to Northern Ohio, “Cold” marks a move to a sparser, more
soundscape
focussed sound for the group. Lycia were the trio of David Galas, Tara
Vanflower and Mike VanPortfleet, the latter of whom has also remastered
this series of reissues. Moving away from the more song focussed “The
Burning
Circle and Then Dust”, “Cold” consists of nine lengthy tracks, the
shortest
of which clocks in at just under five minutes. Concentrating largely on
atmosphere and flowing guitar-based soundscapes, “Cold” proved to be
one
of Lycia’s most popular albums, earning fans from both their regular
gothic
fanbase and new admiration from as far afield as the black metal and
space
rock communities. Essentially focussed around drifting guitar textures
augmented with atmospheric synth texture and Vanflower’s haunting vocal
accompaniment, the feeling throughout is dark and emotionally charged.
On tracks such as “Baltica” and “December”, the mood is particularly
tense
and fraught like some life-changing decision is being contemplated.
Balanced
beautifully between an ambient soundtrack, darkwave classic and space
rock
epic, “Cold” stylishly sprawls several genres whilst recognising its
gothic
roots.
~
Paul Lloyd, Sideline
Formed
in 1988, darkwave
and ambient band Lycia have been highly regarded for quite some time
now
(with even the likes of Trent Reznor and other popular musicians
embracing
the band’s sound). Though some of their albums have been out of print
for
awhile now, thanks to Silber Records the band’s sixth release (and one
of their most critically acclaimed) Cold is now available once again.
If
you missed it the first time around it’s certainly worth a listen, as
despite
having come out nearly 12 years ago the music still feels fresh.
Cold
couldn’t be a more
appropriate title for this album. Downright chilling, the instrumental
arrangements have a winter feeling to them. What I mean by this is that
the arrangements bring to mind the image of one wandering in a
snowstorm
through the woods, perhaps lost and fighting for survival. Ambient
music
is perfect for creating a story without even having proper lyrics, and
the atmospheric instrumentals of Lycia’s Cold certainly help to
reinforce
this statement. Though slow in tempo, the songs plodding and subtle
changes
will attract many listeners.
There
are vocals on this
album but they are muted and delegated to the background, making the
instrumentals
the key focus of Lycia’s music. However, with a combination of
whispered
and soft male and female vocals Cold is extremely haunting and melodic.
Listeners may not be able to make out all of the lyrics throughout the
course of this album, but this is one case where atmosphere wins over
lyrics
as the vocalists help to reinforce the chilling atmosphere of the
instrumentals.
Lycia’s
sixth album was
a great listen back in 1996 and it is still refreshing now. Music such
as this hasn’t aged at all and feels just as fresh now as it did back
then.
If you missed out on this the first time, definitely check it out now.
In addition, if you’re new to darkwave as a whole Cold is a great place
to start your journey. Here’s hoping Silber Records gives us more
reissues
from this excellent group.
~
Chris Dahlberg, Cosmos
Gaming
The
Silber Records Lycia
series continues with this reissue of the band's 1996 Cold album.
Though
Lycia have been around for many years, the Silber releases have been my
introduction to their music. I was particularly keen to hear this one
after
reading in the promo sheet that Cold was popular among the Black Metal
and Space Rock crowds, and that older rockers in Hawkwind and Motorhead
t-shirts were seen side-by-side with teenaged Goths at concerts on the
tour for the album.
The
music on Cold is definitely
Gothic/Darkwave in nature, though there's also a heavily symphonic
keyboard
presence and some Space Rock flavored synths. The atmosphere is dark
and
somber, yet dreamily melodic. Among the highlights is "Bare", which has
a Gothic core, plus Space-Prog keyboards and nice dual vocals from Tara
Vanflower and Mike VanPortfleet. Lycia excel at beautiful melodies
surrounded
by majestic symphonics, typically delivered at a slowly drugged pace.
Real
sweep you away kind of stuff. I do tend to prefer Tara's vocals,
although
I must say in general that the best Goth music I've heard has female
vocals.
One exception is "Drifting", which I think Mike's vocals were ideal for
(Tara does join in later in the song). "Polaris" is another one of my
favorites,
being a spacey, orchestral Gothic exploratory piece, with chanting
vocals
from Tara.
So
yes, I can easily see
where Cold would appeal to a Space Rock audience, and really their
previous
album, The Burning Circle and then Dust, would as well. In fact, the
two
are excellent companion albums.
~
Jerry Kranitz, Aural
Innovations
It’s
10 degrees outside,
it snowed like 3 feet last night, and my friggin’ hands are still cold
from scrapping ice off of my car, thank thee gods there’s bands like
Lycia.
Lycia’s ‘Cold’ is probably the most perfectly titled album ever, and
also
my favorite Lycia release to date. Cold truly invokes the feelings of
bitter
coldness and can easily conjure up images in ones head of seeing
nothing
but endless miles of snow. Musically as you probably know Lycia’s music
lies in the darkwave field of music, but as always darkwave music is
hard
to describe. As far as Lycia is concerned they make very chilly,
despondent,
ethereal music that relies heavily on synth with the occasional use of
guitar, bass, and percussion. Cold is just full of atmosphere like you
wouldn’t believe (Try listening to this album in your car on a very
cold
snowy night and you’ll see what I’m talking about). Vocally Mike
VanPortfleet
and Tara Vanflower stick to very delicate whispered vocal styles that
only
add to this creepy wintry atmosphere. With this release Lycia perfectly
captures the feelings of winter. All in all a fantastic release that
always
sees a lot of attention during these months of the year. Fans of
darkwave
music or those just looking for something dark, frosty, and
disheartening
sounding should own this.
~
Joe Mlodic, Lunar Hypnosis
Cold
is one of those impossible
to achieve ambient classics, built from Mike VanPortfleet’s frightening
vision of endless desperation and loneliness, made all the more
chilling
by Tara Vanflower’s lingering, ghost-like voice, and David Galas’
precision
bass-work, drum, and synth contributions. With a landscape of
endless
snow and ice, banshee-wailing winds, and a jolt of perpetual fear, Cold
is a walk into someone’s unending nightmare.
Originally
released in
1996 on Projekt Records, this haunting soundtrack has set a standard
for
ambient music that proves that created sounds can explore the depth and
expanse of human emotion, in this case, totally abject fear.
One
of the more superior tracks, “Baltica” is beyond description.
When
Vanflower begins her eerie vocals, the song takes on a new life and
personifies
the album. Cold, simply, has to be heard to be experienced
and appreciated.
Cold
is largely for ambient
fans, although many have professed a love for this work. Cold
has
even been used in film because it lends itself so well to an
atmospheric
storyline. I’m surprised that VanPortfleet hasn’t an
established
career in film soundtrack.
However,
I do have an issue
with this release, and that is the absence of a detailed
booklet.
The original digipak released by Projekt was devoid of words, letting
the
music do the work. In this reissue, there should be some
historical
data, some written words on the creation of this album. I
think that
this work demands that kind of immortalizing at this point, 11 years
later.
I have hope that the next time Cold is revisited, it gets the complete
treatment is deserves.
Timeless
works are defined
by their ability to be revisited over time. Lycia’s Cold is
absolutely
one of these classics.
~
Matt Rowe, Music Tap
Longtime
pioneers of ethereal
goth/darkwave and a favorite of Silber since before the label even
started,
the remastered Cold is essential, solitude headphone listening for the
corresponding climate. "Bare," "Colder," and "December" and every other
track have well-placed electronic drums, gothy male/female vocals that
float around and guitars out of the darkest Cocteau Twins songs. As far
as this type of music goes, it's as fresh and moody as it was when
first
released a decade ago.
~
Kenyon Hopkins, Advanced
Copy
The
third re-mastered album
to be released by Silber, Cold saw the Arizona based group (made up of
Mike Vanportfleet, Tara Vanflower and David Galas) move from their arid
and humid abode to the snowy and chilly state of Ohio, thus creating an
album that discovered new landscapes and surroundings via its mix of
darkwave
and ambience respectively. Cold isn’t just the name of an album here,
it’s
a statement of the feelings the album produces.
‘Frozen’
for example, the
first track on the album, emits a shimmering flourish of wintry
darkwave
guitars and ethereal vocals, that with pace and emotion, set the scene
for the music to come and lure you tenderly into continuing your
journey
into the album. ‘Frozen’ flows effortlessly into ‘Bare’ with a slow yet
apparent drum beat precluding the first appearance of Vanflower’s
haunting
voice that duets perfectly with Vanportfleet’s and adds a palpable
dimension
of emotion and distinction to the track.
‘Baltica’
meanwhile adds
a classically gothic element with nursery rhyme style rhythm to the
music
as well as an opener that encompasses Vanflower “la-la-ing” to add to
the
surreal and dreamlike quality of the track, making way for her
whispered
vocals to take centre stage in one of the stand out songs on the album.
‘Colder’,
an instrumental
movement, also ranks highly within the pedigree of tracks that
accumulates
this album, with a minimalist and isolating, almost drone like
beginning,
until the darkwave, slowed down a notch or two, kicks in, creating an
affecting
and sombre picture that blankets the whole album in terms of imagery
and
theme.
On
its release, Alternative
Press ranked Cold one of the most important goth albums of all time,
and
with this re-mastering you can easily tell, or more appropriately hear
why they were right. However rather than the album merely speaking
volumes
of itself it goes on to give evidence of just how important, creative
and
influential lycia were, and while their fan base may have shrunk after
their split, their sway over goth, darkwave and ambient is truly
eternal.
~
Michael Byrne, Left Hip
I
can’t seem to figure out
what’s up with all the darkwave re-releases lately. Not that I’m
complaining:
Some of this stuff has been out of print and next to impossible to find
for quite some time. But this particular release isn’t all that
difficult
to track down in its original form. Regardless, Lycia is far and away
one
of my favorite bands from the depressing darkwave genre, and there is a
definite reason why this album is called Cold. From the opening drone
of
“Frozen” through the final dirge of “Later,” this album never actually
allows you to breathe: you literally have the experience of drowning …
slowly, but extremely welcome, nonetheless.
~
loveyoudead, Slugmag
Lycia
don't pussyfoot around.
While other bands seem to spend half their time hiding the eyeliner and
crimping tongs, or denying they're goths three times before the bat
squeaks,
Mike VanPortfleet and Tara Vanflower are quite happy to do photoshoots
dressed as zombie farmhands. So when the braaaains-craving pair release
an album called Cold you know to opt for the pair of headphones with
the
fuzzy earmuff covers, because from chilly cavern to icicle-tipped peak
it's going to be a frostbitten trip.
This
is actually a reissued
outing for the record; originally released in a glut of Lycian
creativity
which also saw them churn out a double album and the splendidly bleak A
Day in the Stark Corner, all within a two year period. VanPortfleet has
since been on a mountain expedition to relocate the snow-hole he buried
the album in and dug it out for a spot of remastering (not that any
audio-resuscitation
was desperately needed). Meanwhile, the chaps at Silber Records have
taken
up the distribution cause (this is now the fifth in their Lycia series)
and added an enigmatically misty-blurry new cover, perhaps to fool
people
into thinking they may need an eye exam. Such trickery is the devil's
work.
The
album finds our introspective
twosome shying away from earlier forays with guitars and eerie
four-track
recordings, and instead harnessing sumptuous waves of droning
electronics.
These abundant layers are like a frozen waterfall, offering the beauty
of a captured cascade—trapped forever in a single moment. Glorious,
yes,
but a barrier which keeps listeners at a distance, preventing the
penetration
of this picturesque wall. Inside are the outlines of perfectly
preserved
water sirens, their mouths open, eternally delivering a wailing
harmony.
Untouchable. Unknowable. Emotional depth remains tantalizingly out of
reach,
deflected by a beguiling surface sheen.
Yet
to shatter these icy
constructs would destroy the wintery spell. The trance-like state of
yearning
for what lies beneath. The search for an elusive flower beneath the
permafrost.
Both the inner core and outer expression serve a purpose, catching mind
and ear respectively. Each wrapped within pounding, towering keys and
the
kind of snare reverb Andrew Eldritch would be proud of. If he viewed
darkwave
acts with anything other than a disdainful sense of loathing, that is.
All
of this does, however,
demand the right frame of mind—and even then some stretches of tundra
do
rather drag to the horizon. Especially "Polaris," which is pretty much
seven minutes of the duo going "la laaa laa" to varying degrees. Such
musical
attrition may even batter down the defenses of an unprepared ear,
rather
like the actual spread of cold itself. Eventually you'll feel like a
family
of happy campers caught out by a deadly flurry. The gas stove has gone
out, limbs have long since gone numb and the next gentle doze could
invite
the fatal fingers of the reaper. Just stay awake little Timmy ... just
stay awake ... and you may glimpse the morning sun.
~
Peter Parrish, Stylus
Lycia
always has been one
of my favourite b ands. Ever since I discovered Lycia ’s groundbreaking
album Ionia their coldwave (or whatever you might call it) is a league
of their own. The mixture of the icy and slow guitar of David Galas,
the
mesmerising voices of Mike VanPortfleet and Tara Vanflower together
with
compelling drums and synths manage to create an atmosphere like no one
else. Cold actually concerns a re-release since it is originally
released
in ’96. Now re-mastered it is available on Silber Records.
I
fully understand why
Silber Records decided to re-release this album because Cold is one of
the most highly respected albums our American friends. With opening
track
Frozen they set the tone; cold, dramatic and dreamy dark passages which
seep you in the surreal world of Lycia . It feels like opening the
curtains
and the entire world is lost; covered under a deep blanket of the
purest
white snow. My favourite track is Drifting, which also can be found on
the Project label sampler Beneath the Icy Flow; a beautiful slow
passage
where the qualities of the threesome mentioned above are presented in a
perfect manner. All nine songs are superb and saw too it that the album
made its spins in my cd-player over and over……
If
you are a fan of Lycia
you might already have purchased Cold. If not; buy it!
Cold
is a must have for
everyone who’s a fan of atmospheric music. Cold is more than just an
ordinary
album. It is a collection of impressions and feelings bundled and
presented
in a sublime manner!
~
Gothtronic
Cold
is right, this reissue
of Mike VanPortfleet’s dark ambient music project’s third album, emits
an icy chill into the atmosphere. Endlessly dark walls and waves of
synthetic
gloom surround the goulishly gothic whispered male vocals or Tara
Vanflower’s
cooly cooing singing, which makes things sound like a very sad Cocteau
Twins stirring the last embers of the bonfire as the night surrounds
them.
Like dark soundtracks to ominous and terrifying mysteries.
~
George Parsons, Dream
Magazine
Cold
is the latest in a
series of Lycia reissues offered by Raleigh, North Carolina's Silber
label.
According to the press release that accompanied this CD, Cold has
apparently
been the most well-received album from this band...having already been
embraced by Goth folks and space music freaks. This album is dark and
spacey...and
the instruments are drenched in reverb and other effects. The voices
seem
to have been added at the end of the recording process...often sounding
more like background effects that traditional lead vocals. Folks who
found
The Cocteau Twins too accessible and poppy will probably find Lycia
much
more to their liking. Odd, moody, and slightly surreal...Cold is a dark
and peculiar album full of ambient washes and cool tripped out guitars.
Nine cuts here including "Frozen," "Colder," "Drifting," and "Polaris."
~
Babysue
Silber
continue their fascinating
Lycia reissue series with the album (originally recorded and released
in
the winter of 1996) that Alternative Press hailed as “one of the Top 10
Goth-related albums of all time.” The trio of bassist David Galas,
groupie-turned-band
member/vocalist, Tara Vanflower and leader Mike VanPortfleet (who
personally
remastered this reissue with an incredibly crisp, explosive atmosphere
that completely envelops the listener in a wall of sound), had recently
relocated form the arid deserts of Arizona to the frozen landscapes of
northern Ohio, resulting in a more expansive, more sound-oriented (as
opposed
to song-oriented) album. This becomes immediately apparent on The
Cure-like
opener, ‘Frozen.’ Tara’s disembodied vocals emulate a lost soul,
“frozen”
in the wilderness, perhaps reaching out for the comfort of human
contact
and bodily warmth. Both VanPortfleet and Galas’ throbbing, stalking
bass
favorably recall the detached ennui of The Cure’s “suicide trilogy”
(‘Faith,’
‘Seventeen Seconds’ and ‘Pornography), with the latter perhaps being
the
closest sonic comparison. In fact, apart from the thermally descriptive
aspect of the album’s title, it may be no accident that it is also the
title of one of ‘Pornography’’s most jarring tracks.
‘Bare,’
as its title suggests,
strips away some of Lycia’s more bombastic aspects for a more ethereal
approach, settling comfortably between the grandeur of Cocteau Twins
and
Dead Can Dance. Gonging bells, forlorn, far off piano tinklings and
Tara’s
nursery rhymish “la la la’s” float across ‘Baltica,’ which has more of
a darkwave, noirish, European vibe, a la Clan of Xymox, with a touch of
Kate Bush’s more theatrically aloof whispers hovering in the
background.
‘Colder’ is more cinematic and expansive, as the trio delve deeper in
to
the influence their arctic surroundings had upon their psyches and
bodies,
moving from 100+ degree temperatures to below-zero frost. The track’s
swaying
aura also occasionally reminded me of vintage Slowdive, particularly
‘Spanish
Air.’ Bells and tambourines add a festive atmosphere to ‘Snowdrop,’
perhaps
reflecting the band’s experience of their first snow-covered Christmas.
Being a northeast coast US lad myself, I can’t imagine a Christmas, or
at least a winter without a blanket of snow to frolic in, let alone
spending
it in the blistering desert sun, and this sense of wonder is
beautifully
captured by the track, which is fittingly one of the album’s more
upbeat
efforts. It expresses an almost childlike wonder and fascination with
the
snow-covered mountains, hills and backyards of their new neighborhood.
The album’s main themes seem to be exploring the dichotomy of the
desert
heat vs. the cold Midwest winters, as well as the anxiety flushed with
fascination of an entirely new physical environment which they have
translated
into their music.
One
final side note for
fans who prefer, or whose schedule requires them to do most of their
listening
in their vehicles: kudos to Silber honcho Brian John Mitchell for
making
the extra effort of adding the CD information to the disk, which
displays
the track titles on CD players so equipped. An unfortunate aspect of
the
bleak artwork is that the track titles are almost completely invisible,
which is very frustrating for reviewers and anal-retentive types like
me
who like to know the name of the song they’re listening to. So having
it
scroll across the CD head unit is a technological advance that most
labels
don’t take the time (or expense) to provide their customers. It may be
a minor point, but it shows the dedication to his fans’ needs that
Mitchell
provides via his wonderfully eclectic label. So, we highly recommend
this
personally remastered edition to fans of Gothic, Darkwave, noirish,
ambient
soundscapists from 4AD-enizens, Cocteau Twins, Dead Can Dance, and Clan
of Xymox to fans of The Cure’s “suicide trilogy” period, as well as
former
Lycia labelmates at Projekt (Black Tape for A Blue Girl, Love Spirals
Downward)
and the more commercial end of the Goth scene like Sisters of Mercy,
The
Mission, Delerium, and Die Form.
~
Jeff Penczak, Terrascope
Online
If
you’re one of the uninitiated,
I’ll admit it: there’s really no easy entrance into Cold, Lycia’s
fourth
full-length (fifth, if you count 1989’s Wake). At first blush, it’s
overwrought
and pretentious, rife with any and every goth cliché you can think
of, from Mike VanPortfleet’s sinister vocals to lyrics such as “All the
aching signs we miss/To live in purple scarlet bliss/And swim with
jeweled
golden fish/And breathe the autumn air so crisp” ("Snowdrop") to
morose,
shadowy atmospherics guaranteed to cause pale folks in long, black
robes
to start swaying and swirling en masse.
The
thing is, Lycia never
attempt to deny any of this. They do nothing to deny the clichés
inherent in their music. On the contrary, they dive headlong into them
with wild abandon, inhabiting them fully, and never once shirking from
the stylistic and aesthetic ramifications. As such, the music certainly
never transcends its clichés and tropes. Rather, the band’s intensity
and integrity transforms those clichés into something that feels
wholly original, lively, and perhaps most importantly, convincing.
Originally
released in
1996, Cold is noteworthy for several reasons. One, Cold marked the
band’s
move towards a more atmospheric, expansive sound. Two, its creation and
release coincided with Mike VanPortfleet’s move from his native Arizona
to the snowbound wastelands of Ohio (hence the abundant winter
imagery).
Three, it was essentially Lycia’s “breakout” album, earning them fans
outside
their original goth circles. And four, it marked Tara Vanflower’s
growing
role within the band, on both vocals and keys.
Even
with a slight change
in sonic direction, though, Cold is still unmistakably Lycia. While the
sound might move/drift in a more ambient manner, the basic
elements—VanPortfleet’s
skeletal whisper of a voice, his brittle guitars, the ominous drum
programming—remain
the same. Which, when it works, makes for pretty compelling stuff.
There
are moments when
Lycia gets a little too caught up in the mood and the moment, and the
music
becomes a bit too pretentious for its own good. However, that’s always
been the case with Lycia’s music going all the way back to Wake—and as
I mentioned before, pretentious really goes with the territory. But
when
Lycia hits their stride, all of the pretense and bombast works entirely
in their favor, and the music feels more comprehensive and accomplished
than portentous.
“Bare”
is the album’s standout
track, and like much of the Vanflower-laced tracks in the band’s
catalog,
resembles a much darker, spookier Cocteau Twins (think the Cocteaus
attempting
something along the lines of Pornography).
If
Victorialand was inspired
by Antarctica’s magical landscapes, then “Bare” comes straight from the
continent’s long, sunless winters, during which one’s sanity is
challenged
by the nightbound weeks as the aurora australis shimmers high overhead.
VanPortfleet’s guitarwork is especially noteworthy here, capable of
creating
both icy sheets of noise that seem to suck the very warmth from the air
as well as delicate, lofty notes that inject a little light and warmth
into the song’s latter moments.
The
band sounds nothing
short of majestic on “Snowdrop”, approaching the hallowed territory of
Dead Can Dance’s earlier albums, back when Lisa Gerrard and Brendan
Perry
were still exploring the mystical and the arcane in their music. The
song
moves at a solemn, stately pace, Vanflower’s voice echoes between
shimmering
towers of icy synths, and the entire song seems to be wrapped up in a
winter
wind so sharp and cold, it takes the breath away.
Lycia’s
world can be a
tough one to fully enter into, simply because it’s so easy and tempting
to dismiss. However, once you set foot into the band’s dark, twilit
realm
and surrender, even just a bit, to their whims and fancies, the effect
is bracing and even thrilling—much like the coldest and stiffest winter
breeze you can imagine.
~
Jason Morehead, Opus
We
wrote before about Lycia,
of whom Silber Records are now releasing five older CDs. Lycia was Mike
van Portfleet (guitars, vocals, synth and drum programs), David Galas
(bass,
synth, drumprograms, audio-engineering) and Tara Vanflower on vocals.
Of
the planned re-issues, apparently 'Cold' is the masterpiece, one of the
top ten Goth albums of all time, according to Alternative Press (maybe
says something about being alternative) and goth and me was never a
good
marriage. Having said that and having played 'Cold', I must admit could
actually enjoy the music. It's absolutely nicely produced dark
popmusic,
brought with a lot of pathos, heavy drums, dark minor chords on the
guitar
and atmospheric synthesizers. Still, being an old guy, I prefer the old
Cure and Cocteau Twins records - I can even admit having a Dead Can
Dance
record on my ipod - but I surely like this as well. However the thought
of hearing ten different goth records in order to produce a top ten is
of course a bridge too far.
~
Frans de Waard, Vital
Weekly
Speaking
of Lycia, Silber
Records reissue project (or should that be projekt?) continues on with
what many consider their most important release, Cold.
At the time,
the release did garner them a bit of attention, both for its beauty and
excellence and because their label was enjoying a bit of critical
acclaim.
I know that of Lycia's output, Cold was certainly a
favorite, because
I was going through a phase of cold, dark music. (Well, I had
to
have something to go along with my black candles, my bowls of incense,
and my wonderful portraits of Ian Curtis! (That's not
a lie, either.)
I would simply put this record on between The Moon and the
Melodies
and The White Arcades, and I'd simply let my mind
float into the
coldest depths of sonic space. I don't know what happened, but the
record
simply disappeared from my collection, and, well, as one often does, I
moved on. But listening to it again, a decade later, I remember why I
loved
it. It doesn't get me as cold as it used to; instead, it makes me feel
warm and happy inside, as I think back to my younger days. Oh, and I
love
the song "December," in part because, well, it sounds a lot like
Madonna's
"Live to Tell!"
~
Joseph Kyle, Press Play
Record
Pubblicato
per la prima
volta undici anni fa, e da tempo fuori stampa, torna disponibile il
settimo
album dei Lycia, l’oscura creatura guidata da Mike Van Portfleet. Per
l’occasione,
a dare una mano, c’erano giŕ David Galas e Tara Vanflower: č
proprio l’alternaznza tra voce maschile e femminile a caratterizzare
l’andatura
del disco. Si rimane subito impietriti dai sette minuti di “Frozen”,
un’onda
scura che ricopre ogni cosa. Ma subito dopo, “Bare”, apre l’atmosfera
su
paesaggi che sanno di 4AD. Su “Baltica” un pianoforte accenna ad
un’aria
classicheggiante mentre la chitarra di Van Portfleet disegna mandala
gotici.
La voce della Vanflower č lo spettro che si aggira in queste
ambientazioni
crepuscolari. Nulla si č perso del pessimismo cosmico dei primi
Lycia, ma la musica ha preso a ruotare ad un’altra velocitŕ, piů
in armonia con le rotte ancestrali dei Dead Can Dance.
~
Roberto Mandolini, Losing
Today
Si
le groupe Lycia fait
incontestablement partie de cette scčne abstract/goth-rock américaine
qui a essaimé dans les années 90 autour de groupes comme
Love Downwards Spiral et Faith And The Muse, l’album Cold que le label
américain Silber republie en 2007, onze ans aprčs sa parution
dans une version remastérisée, propose sans doute la version
la plus dark de leur combinaison de pop ręveuse et éthérée
et d’électro-rock mélancolique. Obsédante comme une
bande-son de David Lynch, la musique de Lycia atteint sans doute sa
pleine
maturité sur ce disque, avec des morceaux comme "Colder", pop-song
noisy isolée dans un brouillard ambient. A (re)découvrir.
~
Laurent Catala, Octopus
Non
ci puň essere
inverno senza Lycia
Con
il passare degli anni
un disco per essere o rimanere immortale deve trasmettere emozione.
Magari
non la medesima di un tempo, ma una forma di suggestione all’ascolto
deve
comunque rimanere viva. I Lycia – in questo - sono degli artisti unici,
dei musicisti in grado di prenderti allo stomaco, di trascinarti in un
inferno di ghiaccio con le loro note malate di fluida ed onirica
melanconia.
A
testimonianza di una
discografia semplicemente grandiosa, “Cold” - forse - non č il miglior
disco dei Lycia (per il sottoscritto lo č insieme a “Wake”) anche
se č quello che ha ottenuto maggiori consensi. Ciň - perň
-non ci impedisce di garantire a questo autentico gioiello,
appartenente
alla storia della musica gotica, di ricevere la meritata visibilitŕ
perché, esattamente 10 anni dopo la sua originaria uscita per Projekt,
“Cold” intrappola ancora l’ascoltatore in un disilluso ed avido vortice
di emozioni.
Ristampato
dalla Silber
Records, che non bissa lo stupendo artwork del booklet cartonato della
prima edizione, “Cold” viene semplicemente ri-masterizzato lasciando
intatto
il fascino di un disco capace di esaltare e fondere al meglio le
distinte
anime dei suoi straordinari interpreti: Mike VanPortfleet, Tara Van
Flower
e David Galas. I suoni glaciali, maniacali e distaccati estremizzano il
titolo (quanto mai appropriato) del disco. La darkwave dei Lycia regala
scenari invernali che si manifestano attraverso atmosfere rarefatte e
voci
sussurrate in grado di evocare disperazione e solitudine.
La
musica č semplice,
ma unica. La chitarra č tagliente come il vento gelido d’inverno,
il basso scandisce il tempo con cui la neve rende piů sordi i suoni
ed inghiotte tutto ciň che incontra (e fa sparire), la voce di Mike
testimonia la resa, mentre quella di Tara appare il sussurro di un
fantasma
di una sirena catapultata ed intrappolata nei ghiacci dell’Ohio. Dopo
10
anni questo disco non mi ha ancora deluso, continua a stazionare nel
mio
stereo e a farmi compagnia durante la notte essendo un ottimo mezzo per
esplorare in profonditŕ il proprio animo e lasciarsi trasportare
dalla sua lentezza glaciale.
Brani
come “Drifting” (ma
tutti sono veramente grandiosi) sono talmente immensi che appare del
tutto
irrispettoso paragonarli ancora a "cose" dei Cocteau Twins e Cure. I
Lycia
sono i Lycia. Per fortuna!
~
Alessandro Lucentini,
Kronic
Als
recensent probeer ik
platen altijd even de kans te geven. Voordat ik mijn altijd
weldoordachte
mening (ahem) toevertrouw aan de wereld speel ik een plaat meestal drie
tot vier keer. Het is grappig om te zien hoe sommige platen groeien in
meerdere luisterbeurten. In eerste instantie doet de muziek je weinig,
maar met een paar keer luisteren begin je een plaat meer te waarderen
(en
misschien ook wel te begrijpen). Of niet natuurlijk. Andere platen
blijven
kleven. Als stroop.
Lycia's
Cold is typisch
een plaat waar het woord "stroop" op van toepassing is. De muziek
blijft
hangen en omhult je in een soort zachte cocon. Het woord stroperig is
ook
van toepassing op de muziek zelf. Of Lycia een grondlegger genoemd mag
worden van het genre "shoegazer" weet ik niet. Feit is wel dat de band
al sinds 1988 bezig is en vaak van samenstelling heeft gewisseld,
meerdere
keren is gestopt om daarna weer nieuw leven te zijn ingeblazen. Een
tijd
hebben ze op Sam Rosenthal's label Projekt gezeten, in 2003 zijn ze
overgestapt
op Silber Media die is begonnen hun platen opnieuw uit te geven,
gere-mastered
door frontman Mike VanPortfleet. "Cold" stamt dan ook origineel uit
1996.
Ik
noemde dus al even de
term shoegazer. Wie bekend is met het geluid van bands op labels als
Projekt
of 4AD (denk Black Tape For A Blue Girl of Cocteau Twins) weet ongeveer
wel wat te verwachten. Noem het shoegazer, noem het darkwave of
ethereal.
Het is rustige, om niet te zeggen, lome, melancholische muziek, trage
drums,
wazige gitaar en etherische zang wat allemaal verzuipt in galm. De
nummers
zijn stuk voor stuk hypnotiserend en sterk en het album klinkt
inderdaad
koud. Ik vind het moeilijk er toppers uit te kiezen, maar als het dan
moet,
ik geniet heel erg van nummers als "Baltica" (waar ik invloeden van
Dead
Can Dance in meen te herkennen) en "Drifting". Echt een plaat om te
spelen
als je opgerold in een wollen trui in een stoel voor het raam zit te
genieten
van sneeuwstorm in het vale ochtendlicht. Een plaat om te beluisteren,
te beluisteren en nog eens te beluisteren.
Songsoverruins
P.S.
Ik ben altijd benieuwd
geweest of je nu eigenlijk het verschil kunt horen tussen het origineel
en een geremasterde versie. Ik heb toevallig het origineel en heb ze
eens
vergeleken op een goede koptelefoon. D'r is inderdaad een verschil te
horen,
het geluid klinkt wat voller en dieper (veel meer kan ik er als
niet-audiofiel
ook niet over zeggen, ben ik bang).
~
IkEcht
Silber
records pokra?uje
v pln?ní svých vlastních sn? další reedicí
klasické desky projektu Lycia. Byl to práv? Mark Van Portfleet
a spol., jež uvrtali vydavatele k podpo?e avydávání
alternativní hudby. T?etí pohled nazp?t (po albech Estrella
a The Burning Circle And Then Dust) p?ináší asi nejúsp?šn?jší
album historie skupiny s mrazivým názvem Cold. Zádum?ivý
model – melancholický mix Sisters Of Mercy a Cocteau Twins p?inesl
do nem?nné kostry sestavené z pomalých až st?edn?
rychlých naprogramovaných rytm?, basy, povlávající
kytarové linky, maximáln? atmosférických kláves
a zimom?ivého Mikeova hlasu zvýrazn?ný element éterického
dív?ího zp?vu tehdejší snoubenky Tary Vanflower.
Kdoví,
co se podepsalo
na až hmatatelné uv??itelnosti soustavy devíti kompozic.
Zda to bylo p?est?hování kapely z teplé Arizony do
chladn?jšího Ohia, zhoršující se zdravotní
stav p?edáka, jež donutil Lycii po vydání desky ukon?it
aktivní p?sobnost na hudební scén?, ?i jen fakt, že
po letech experimentování všechny kole?ka soukolí
kone?n? pevn? do sebe zapadla. Je pravdou, že dodnes tato deska
vyvolává
mrazení v zádech a právem jí vybrané
ankety staví na p?ední místa americké darkwave
historie.
~
Pavel Zelinka, Freemusic.cz
Facile
a dirsi, un pň
meno a concretizzarsi. Cosa? Realizzare un disco dark-wave nel 1996
senza
risultare obsoleti e stanchi. Lycia ci hanno provato con un discreto
successo.
Hanno preso le dimensioni artistiche dei Joy Division e dei Cure e le
hanno
drogate con una semplice aspirina. Il risultato č molto piů
semplice ed indolore di quanto si potrebbe pensare. "Cold" (ristampato
da poco) č un cd "freddo", che spazia lento tra nove tracce oblique
e spoglie. La figura canzone manca del tutto di angoli non retti. Ma la
cosa non pare proprio interessare alla band statunitense, in quanto
porta
avanti (senza paura) il suo credo musicale. Ben vengano dunque. Senza
pietŕ
alcuna.
~
Claudio Baroni, Musica
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