Kraków – diin (Dark Essence Records, 14 September 2012)
Kraków – amaran (Dark Essence Records, 09 February 2015)
Kraków – genesis (Dark Essence Records, 07 August 2015)
Hey, folks. So last week as you may have noticed, we had a bit of a blast from the past: I wrote about an album that came out in the latter part of 2012, one which I have enjoyed listening to immensely since I first heard it, and one that likely would have found its way onto my list of that year’s best releases if I had just gotten around to hearing it sooner. Well today, we’ll be taking a look at another album that also came out around the same time — late 2012 — and has become one of my favorite things to listen to since I first discovered it. That album is called diin, and was the second to be released by Norwegian post-rockers Kraków. Today we’ll also discuss that band’s third record amaran (and the EP that closely followed, genesis) — and since I’d made the mistake of finding that earlier album too late and excluding it from my 2012 list, I made sure to rectify that when it came time to put together my list for 2015, since those two (jointly) happened to rank among the best things I heard last year.
Anyway, that’s surely enough in the way of introduction — you can just expect that we’ll be covering several entries from this band’s discography — part of which I was sorry to have missed once, and all of which you would be wise not to miss now!
Selim Lemouchi and His Enemies – Earth Air Spirit Water Fire (Ván Records, 06 December 2013)
Good afternoon. It’s been about eleven days since you last heard from me — sorry, but I’ve had shit going on. Like one of those times where everything decides to break all at once, and everything needs urgent attention. Whatever. I hope you’ll be able to forgive me when you hear the ABSOLUTE FUCKING MASTERPIECE that I’m sharing with you today. This album — a solo work by the former guitarist of Dutch occult band The Devil’s Blood — was released to not-a-whole-lot-of-acclaim at the tail end of 2013, and then was tragically overshadowed by its creator’s death just about three months later. A huge surge in attention for his former band ensued, but it felt (to me, anyway) like this record accidentally got swept under the rug. Which is really a shame, because it’s sheer genius.