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Sl​é​ptis

by strië

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    Design [Sleeve Design] – Trym Asserson
    Graphics – Erik Sand
    Mastered By – Andreas Nordenstam
    Photography By [Cover Photography] – Sebastian Hebert

    Includes unlimited streaming of Sléptis via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
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Fading Away 05:17
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Excuse 04:57
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Subtraction 09:09

about

Originally released on 𝙎𝙊𝙐𝙉𝘿𝙎𝘾𝘼𝙋𝙄𝙉𝙂 label

Sléptis, translating to hidden from its original language, is the debut album of musician Strië. The music defines any particular genre classification, but includes elements that connects it with classical, jazz, electronic and is thoroughly drenched with cinematic aspects and borrows loosely from the neolithic genre acoustic doom. With this outset, and Strië described the album’s gestation process as one in which the sounds and the story of Sléptis sought her out, rather than vice versa, it is with a veil of the enigmatic and apparent semi-obscurity, Soundscaping releases its third title.

𝙏𝙝𝙚 𝙈𝙞𝙡𝙠 𝙁𝙖𝙘𝙩𝙤𝙧𝙮 𝙧𝙚𝙫𝙞𝙚𝙬
▼▼▼▼▼▼▼▼▼▼▼▼

Sléptis is such a complex affair that it is quite difficult to know exactly where to start. Neither dark nor light, the album goes through phases where the intensity of the music or soundscapes varies greatly, fluctuating between the slow progressive chords and odd melodic shimmer of noises of opening piece Expiring Of Identity, the abstract backdrops on pieces such as Infected Realism or Fragments Of The Past, over which themes fail to root convincingly and end up collapsing upon themselves, and the more delicate and intricate musical forms of pieces such as Fading Away, crafted around a decaying piano and a recurring operatic sample, the flowing swathes of strings wrapped around a slightly tainted guitar motif found on Hiding In The Wardrobe, or the surprisingly straightforward melodic structure of Excuse, albeit cast in the somewhat mechanical rot which develops around it. In between, there are moments where abstraction and concrete musicality attempt to cohabit (Alone In The Crowd, Crack In The Boards) often to chilling effect, and others where Reinhart’s unusual little vignettes are at their most inspiring and (Simulated Sleep).

Following credited closing piece Subtraction, which draws a series of minimal yet dense chords around a stripped down piano sequence, paced by the ticking of an old clock, Reinhart drops much of her fragmented soundscapes to settle into a smooth jazz club number, but this refined setting is rapidly distorted, almost superimposed upon itself, but not quite, so things become for a moment rather disconcerting, as if two formations were each playing a different track in the same room.

It would seem that Iden Reinhart is as elusive as her music, and Sléptis is certainly an album which reveals its secrets very reluctantly. This is actually what is fascinating about it, and continues to intrigue as the listener become better acquainted with it. It never becomes truly familiar though, its many meanders and hidden layers ensuring that enough remains concealed to retain part of its mystery.

credits

released October 15, 2010

Produced by 𝗢𝗹𝗴𝗮 𝗪𝗼𝗷𝗰𝗶𝗲𝗰𝗵𝗼𝘄𝘀𝗸𝗮
Mastered by 𝗔𝗻𝗱𝗿𝗲𝗮𝘀 𝗡𝗼𝗿𝗱𝗲𝗻𝘀𝘁𝗮𝗺
Cover Photo 𝗦𝗲𝗯𝗮𝘀𝘁𝗶𝗮𝗻 𝗛𝗲𝗯𝗲𝗿𝘁

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