Genot Centre was founded in 2014 by Ondřej Lasák and Wim Dehaen as an independent record label/music community in Prague, the Czech Republic, with an initial focus on the local experimental scene, which quickly grew also towards abroad artists. Since the start, they’ve been strictly adhering to the concept of cassette tape releases and inserted download codes with each cassette always accompanied by impeccable packaging design and digital visuals by various artists.
Besides releases, they used to organize legendary experimental electronic/drone/ambient/further-unspecified sleepover Silent Night events that also served as a showcase of their released and befriended artists. Some of the events took place outdoors as a kind of one-day meditative camping trips full of music, togetherness and substantial pleasant chills down the spine.
Euglossine’s Blue Marble Agony is their forty-second release, hence why it’s called GEN042. According to Tristan Whitehill, aka Eglossine, the proverbial sawing off of the branch under humanity’s own ass environment-wise and the individual’s response to it is reflected in this most recent release. Delving deeper, we can catch a hint of tunes catapulting us tired and angsty 20-30-somethings into a mental tea room of sorts, featuring soothing atmospheric and orchestral arranges.
Lenka Glisníková provided incredible artworks of organic, squishy and textured 3D designs, glitching in a world of their own while h5io6i54k provided a video teaser in the same aesthetic vein.
WORDS BY GENOT CENTRE / GEN042: Euglossine – Blue Marble Agony
On BLUE MARBLE AGONY, Euglossine constructs something that is akin to a self-contained miniature domed city, filled with glowing mosses, intricate organic machinery and a range of peculiar lifeforms. Using a highly idiosyncratic language that can only begin to be described as high definition cyber prog, imaginative modal explorations and the constantly re-opened and transformed harmonic possibilities create a paradisiacal surface; supported and contrasted by otherworldly drum hits, chirps and clicks, these apparent daydreams become aching cryptograms, uncanny reflections and tremendous labyrinths. Percussive, bouncy particle systems, ornamentalized alien flute motifs, carefully strummed guitar tapestries all figure in a whole that has the outward lightness of a breath of air, the depth of a thought taken to its conclusion and the inner congruence of a small universe conceptualized.
Tristan Whitehill (Euglossine) about the album
“Blue Marble Agony is inspired by coping with the environment as it changes and as evil figures fighting for power, yet harming the nature they require to live.”
“Burning sand under my feet and a cocktail in my hand, I levitate in a vortex on the threshold of pleasure and agony. The tornado that blew over the beach carefully gathers all individual sea-shells, flowers, cigarette butts and paper parasols, arranging them inside my field of vision as if they have become the central subject of the last remnants of the rest of my existence. I am irreversibly hurled outwards from the earthly atmosphere along with my everlasting companions to finally witness the phantom image of our host in the form we have always craved to see as default – an infinite homogeneous beach. I slurp my drink and drown in the universe of alien nostalgia.”
“It’s basically impossible to foresee the next move in the cinematic grandeur of the compositions, which are at times so overflowing that it makes you wonder if an actual arcane alien message could have been encrypted in the sound textures.”
“Euglossine relies on a highly professional musical language that he creates with his dreamy and intertwining guitar melodies. In addition, Euglossine plays with human sound, lively drumming, flutes, and fluid surroundings, creating from these coherent elements a small, imaginative universe.”
“I want to live in this mysterious utopia.”
Tristan Whitehill (Euglossine)
Tristan Whitehill is a multi-media artist and composer from Gainesville, Florida. His work utilizes digital painting, 3D animation , creative coding, and music composition to explore abstract narrative and inventive design.
In addition, Whitehill has hosted workshops on Processing and Pure Data. His long running musical pseudonym Euglossine has been featured in The Wire, Pitchfork, and Noisey. He has collaborated on work that has been featured by Mozilla, Girls Rock Camp, Adult Swim and Hawaiian Airlines.
Lenka Glisníková is a Czech artist who works on the intersection of photography and sculpture. Often combining various crafts with digital manipulation and post production resulting in sequences of actions in the processual body of work. Her work seems to be fascinated by the confrontation of minor physicalities – such as fingerprints – and immense size – for example the Internet. Glisníková expands this medium to create installations, where she questions the results of contemporary changes to human lifestyles that occur due to non-regulated technological progress.
h5io6i54k is a visual-generating service based in Brno. Through Lovecraftian imagery and self-limiting techniques it tackles the question of beauty in this (non)anthropocentric reality.
For more fresh music check full library of GENOT CENTRE record label & music community from Prague.
Album / Tristan Whitehill (Euglossine)
Music label / Genot Centre
Mastering / Angel Marcloid
Limited edition of 55 C34 tapes with on-body printing, stickers & digitally printed fabric pro-dubbed / Headless Duplicated Tapes