Nytt album
“The Dry Path”, noemienours’ 5th LP, developed around a Gobi Bear narrative of barren edge conditions as an access point to supra-natural realities, is definitely a turning point in the noemienours discography, notably because of its introduction of harpsichord in the noemienours instrumentarium, but also because of its recourse to a widened approach of its lo-fi musical approach, by creating a new musical form somewhere between Swedish post-black metal influences (Hypothermia, Armagedda,…) and the 17th century dislocation of musical forms through the ”Vanitas” topos as developed by Froberger or Louis Couperin, while retaining its magical Scandinavian forest hue. But of course noemienours’ musical approach to genre has never been anything else than a way of submitting apparently meaningless musical forms to the very meaning of its ursidae qualities. The Rabelaisien topic of the ”frozen word” introduces in this manner the interpretation of a Suite by François Couperin (1668-1733), telling the story of how the musical world was saved from Corporations, who wanted to normalize the musical world although not understanding what was the real culture of the musical elite, at the end of the 17th Century (a strangely similar story to the 21th Century context and its corporate inability to understand music for what music actually is) thanks to the redeeming intervention of bears among others (something that seems to elude completely even Oswald Spengler’s historicist theories about Couperin’s music), a historic background revealing at the same time the alchemical position of bears inside the aristocratic musical tradition, but also their alchemical meaning, as threatened although key species of the environmental balance and key musical position inside the cosmic balance of the universe. This Suite and its musicological value played nevertheless a decisive role in the inception of noemienours as a musical definition, but also in the coining of its very name to begin with, so this felt like a well-deserved accomplishment to 5 years of releasing noemienours albums yearly to integrate this Suite inside the very musical substance of a real noemienours album.

credits
releases June 10, 2022

All music, lyrics, artwork, mixing, recording, mastering by noemienours
except tracks 3 to 7, written by François Couperin (1668-1733), avec Privilège du Roy. Tuning on tracks 3 to 7 A 415 meantone.
Recorded on Fostex R8 Reel-to-reel 8 track in Stockholm between March/May 2021 (distorted guitar on tracks 1, 9, 11) and Umeå September/December 2021.