{"id":2398,"date":"2014-07-23T21:19:31","date_gmt":"2014-07-23T20:19:31","guid":{"rendered":"https:\/\/www.thisistruluv.com\/?p=2398"},"modified":"2023-04-04T11:23:16","modified_gmt":"2023-04-04T10:23:16","slug":"borland-omar-1","status":"publish","type":"post","link":"https:\/\/www.thisistruluv.com\/borland-omar-1\/","title":{"rendered":"Borland – Omar"},"content":{"rendered":"\n

Every so often something drops which leaves your mouth wide open in astonishment, your concept of space and time in a state of erratic semi-permanent flux, the cup endlessly overflowing and drowning everything gravity will allow. Manchester’s very own Borland<\/strong> do this and just a bit more.<\/p>\n\n\n\n

The first part of their proposed 120 minute quadrilogy, Omar<\/a><\/strong> bristles and seethes snake-like through a dizzying terrain of moods and textures; deep gothic electronics bathing hypnotically amongst acre-long reverb, minimalist piano figures tapping incessantly upon the soul, tortured vocals effected into a cryptic, stirring, abstract realm. In places it’s reminiscent of Brian Pyle’s Ensemble Economique output, inhabiting a similar kind of deconstructed and haunted sphere – only stranger, harder, more lucid, emphatic even.<\/p>\n\n\n\n

As much as the deep subs drag proceedings violently towards the concrete, the unhinged emotions strangle and asphyxiate, there is still light amongst the shade; moments where, as if dusk meets night meets dawn, the horizon conspires to reveal the billions of miles of space left to discover. We’re only a quarter of the way in – a quarter – and we’re already verging on the conclusively seminal.<\/p>\n\n\n\n

\n