FÖLLAKZOID
New Album 'I' Available Now on Sacred Bones
Photo By Ebru Yildiz
Following the release of their new album 'I', via Sacred Bones and worldwide tour which covered Africa, Europe and Asia -- Santiago, Chile's Föllakzoid have revealed a new version of album closer, "IIII".
Japanese techno producer DJ Nobu takes the expansive track in a new direction, commenting: "When I heard Föllakzoid's music for the first time, I felt like what we are trying to express are fundamentally similar. In other words, I felt like we are both trying to reach the same destination. And one day we met each other in the forest. Domingae and I discovered that we share the same love for Cortázar. The encounter between Follakzoid and myself is a game designed by the universe. Therefore our collaboration was a destiny, but it also imposed me the most difficult challenges I faced in my music life. I'm extremely relieved and grateful to be able to present the result as a piece of work here."
Single Artwork
Föllakzoid grows via depuration, aiming with each record to fill longer spaces of time with fewer and fewer elements. The creative perspective of the band has always been about unlearning the narrative and musical knowledge that shape the physical and digital formats and conceptions available, both visually and musically in order to make a time-space metric structure that dissolves both the author and the narrative paradigms.
Their journey began 10 years ago as a trance experience between childhood friends Domingae and Diego from Santiago, Chile. Heavily informed by the heritage of the ancient music of the Andes, the band has learned to integrate their origins with contemporary sounds and technologies of our times, creating a rich yet minimal electronic-organic atmosphere.
Unlike past Föllakzoid records that were done in single takes with the full band, this record took three months to construct out of more than 60 separate stems - guitars, bass, drums, synthesizers, and vocals, all recorded in isolation. Producer Atom TM, who was not present for recording, was then asked to re-organize the four sequences of stems without any length, structural restrictions or guidelines.
The result of this was a set of songs where neither the band's, nor the producer's, structural vision primarily shaped the metric or tonal space shifts, but where both were still subliminally present in each of the parts that form the structure and the frequency modulations that guide them.
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