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A U R O R A

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Predominantly written in DR Congo and performed by Frost, Greg Fox (ex- Liturgy), Shahzad Ismaily and rhythmic overlord, Thor Harris of Swans, the release was birthed from self-induced isolation and a collective desire to excavate inherent truths of nature and being; submitting to swathes of noise with the implicit aim to evoke an altogether transient moment of lucidity. Where Tim Hecker's Virgins (which Frost had a hand in) saw him home in on the power of live instrumentation, A U R O R A does just the opposite. Enjoy 20% off your purchase today when you sign up to our newsletter and be the first to get notified of the latest releases and exclusive special offers straight to your inbox!

It’s telling that Frost selected Griffin: the kind of clinical, controlled, yet simultaneously explosive violence that characterises his playing style is omnipresent in Frost’s music. Just as these natural phenomena create a feast for the eyes via two-million-degree solar winds, so does Frost via textures and sounds that are by no means conventionally beautiful. That feeling of distance coincides with the facts of A U R O R A’s creation: Frost wrote most of the collection on a laptop while working with photographer/filmmaker Richard Mosse in the Eastern Democratic Republic of Congo. Where previous compositions felt somewhat, uh, frosty and chilling, the electronics here feel lighter, more airy, if still possessed of that same icy, crystalline touch.Said track is a full percussive assault, Harris’ trademark chimes ringing and echoing around Frost’s towering orchestral flourishes, while Fox and Ismaily add a little blunt force trauma to the mix.

Based at London’s 180 Studios, Fact is a multimedia platform championing the global movement of electronic art. Google Analytics sets this cookie to calculate visitor, session and campaign data and track site usage for the site's analytics report. Sola Fide’ is the albums centrepiece, a ferociously vibrant clash of animalistic tension, full of cinematic theatricality.Mixed, Mastered and laid to rest by Valgeir Sigurðsson and Ben Frost at Greenhouse Studios, Reykjavík Iceland in December 2013. The anthemic ‘A Single Point Of Blinding Light’ is a case in point, its screaming trance loops, brutal percussion and thread of searing white noise bringing to the surface a latent horror, while ‘Venter’ is A U R O R A’s dramatic peak. Swirls of some heavily processed and entirely unnameable instrument growl overhead and smother the underlying but fundamental driving percussion before falling away, leaving us to slowdance alone with these heady beats for a time.

Rex wreaking havoc on a chainsaw factory the song rushes into a surprisingly danceable beat with pulsating and uneasy synths mingling with crashing drums. This is no pristine vision of digital music, it is a filthy, uncivilized offering of interrupted future time where emergency flares illuminate ruined nightclubs and the faith of the dancefloor rests in a diesel-powered generator spewing forth its own extinction, eating rancid fuel so loudly it threatens to overrun the very music it is powering. Then, at the four-minute mark, almost like offering some kind of introverted, experimental take on an EDM drop, the track gains a new kind of force and momentum on the back of whiplashing electronics.By the Throat never allowed the listener to be entirely sure when the hit was going to land; on A U R O R A we know when and where the punches are coming, and instead are dared to resist the onslaught itself. But “Nolan” is where the violent reaction takes place, all distortion and abrasive frequencies, bass drums thumping and bells clanging just beneath the surface. Diphenyl Oxalate" is a grindcore band playing through a chemical fire, while "Venter" hurtles towards you in slow motion, sucking in syncopated percussion and tubular bells along the way. The Teeth Behind the Kisses is a ghost in the machine, silently lurking and threatening although it’s barely there. That usually happens to me about two-thirds of the way through this album (on the relatively-dull "Sola Fide").

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