Terminal Muse: Red

1 Terminal Muse
7:55

About Album

This was Lid Emba’s 3rd release, and the 1st installment in the color-coded Terminal Muse trilogy, a three EP dedication to the chronic and sometimes fatal condition of having to create art for affirmation. I was very ill when I arrived at this defeatist epiphany. I got better.

I believe Lid Emba really starting coming into its own on this release. More fearless. More convoluted. More melodically developed.

The inner sleeve of the CD includes the following dedication, which remains true to my scarred heart:

‘Thanks to all the malignancies, motherfuckers, and forces of corruption and demoralization – some culpable, others clueless – that contributed to making this construction possible.’

– Sean Moore

Hearsay:

“Adventurous listeners will find much to love here.” – Ohmpark

“The five tracks of dark psychedelic noise on this album are a towering testament to the healing power of efx abuse and truly peculiar ideas about juxtaposing certain sounds and patterns in eccentric methods.” – The one true dead angel

“As abstract as the tracks get, the music has a very organic feel. This isn’t random improvisation – it’s far too tight and it’s melodic figures too deliberate to be ‘happy accidents.’ The perfect soundtrack to a downtown drive on a hot summer’s night in a sinister mood – trouble awaits!” – Pushed Buttons Burning In

“Quite a furious little fucker and a very fine release. Earcleaning time.” – Vital Weekly

“The tracks scream and rake away at your eardrums, creating soundscapes like urban wastelands, full of unpleasant pitfalls, yet nicer to have outside your back door than a rubbish dump.” – Subba Cultcha

“If you’re tempted, be prepared for this circa-26 minute instrumental extravaganza: a factory-fueled splash of concrete sounds, where the abrasive texture is as important as any conventionally understandable rhythm or melody.” – Sea of Tranquility

Label
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Release Date
January 26, 2010

Available Lyrics

Terminal Muse

Album Review

Of much more interest is the CDEP by Lib Emba, the project of Sean Moore. His previous release was a collaboration with Ryan Huber, then under the guise of Bobcrane, but later on better known as Olekranon, at least in the Vital world. Here however Lib Emba does all the duties himself. Its the first release in a series of three (and apparently limited to 100 copies). It sees a continuation of the previous release. Quite loud rhythm music, loaded with nasty synthesizer bits, and sometimes perhaps a guitar – although this seems to be less than before. The drum sounds are in my ear real drums, mixed with drum machines – but of course I might be wrong there. Was the last one perhaps along the lines of Techno Animal, this one owes more to prog rock, with rapid changes in the drum department, such as the intro of ‘Stuporfied’. Quite a furious little fucker this release. Although perhaps not the sort of thing I would play on a daily basis, this is a very fine release. Earcleaning time. - FDH

Modisti

Those of you reading this who are robots, androids or perhaps even just cyber people will already, I am sure, be hooked onto Lid EMBA's Terminal Muse: Red, the first in a series of three EPs with a limited edition of 100. So, if you're just plain old flesh and blood, you may have to hurry to buy what may yet become a collectors' item when the machines take over the planet. But, if you're tempted, be prepared for the industrial sounds of this circa-26 minute instrumental extravaganza: Lid EMBA's music is a factory-fuelled splash of concrete sounds, where the abrasive texture of the sounds is as important as any conventionally understandable rhythm or melody. The band, hailing from Atlanta, seem pretty coy about revealing themselves: theirs is the weirdest website I've seen and this carries over to their MySpace (dubbed mydisgrace on the website) – too much consumption of engine oil, clearly - so you'll have to find out more about them yourselves. As for the music: clicks, beeps, whirls, metallic drops, clangs, reverberations, deep timbral resonances; occasional regular rhythms and synthesizer and, in the latter section of the title track, nearly a discernable melody. I call it "industrial", they call it "concrete" – whichever, you'd better be a machine-head to truly enjoy this.

Sea Of Tranquility

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