Terrascope reviews CIII: Even Celestina Gets The Blues by 17 Pygmies

The most recent Terrascope review of 17 Pygmies' release "CIII: Even Celestina Gets The Blues (A Tale of Love and Quantum Physics)" speaks to "evocative vocals and shimmering beauty...":

Terrascope Rumbles for May 2012


Regular readers of Rumbles will know I'm a huge fan of the two most recent 17 Pygmies releases, which managed to combine shimmering beauty, melody and SF weirdness into a compelling whole. Now we venture into the third and alas final part of the Celestina story (the tracks here numbered 23 to 331/3, or more accurately XXIII to XXXIII.III), ‘Even Celestina Gets The Blues (A Tale Of Love And Quantum Physics)’. As before, the music is often in 3/4 time, with strong musical themes repeating beneath the synths, effects and vocals soaring above. Track 23 opens proceedings, then the first song proper emerges, with another pair of themes that propel the listener space-wards. Lovely stuff. '25' again captures the magic of this music, with repeating themes and evocative vocals, while '26' is a kind of audio hymn. The lengthy '27' begins like a space synth-funeral, but then heads off into the kind of instrumental Hawkwind were doing in the early 'nineties, except here more weird and jump-cut. '28' mixes main man Jackson Del Rey and Meg Maryatt's vocals into a cut that epitomises the Celestina sound, while '29' brings in extra percussion, and '30' some lovely classical elements, making the album highlight; sublime vocals too, and a lovely tune. '31' features classical guitar, '32' returns us to repeating melodies sung in that oh so mournful voice, while the final pair of tracks conclude the album with grace. As a whole, CI, CII and now CIII comprise a marvellous showcase for a most intriguing band. Highly recommended, as an album and for the work as a whole, with the standard of the artwork particularly fabulous. But where will 17 Pygmies go next...?  (www.trakwerx.com)

Background Magazine reviews "CIII: Even Celestina Gets The Blues" by 17 Pygmies

Background Magazine, a notable prog rock magazine based in The Netherlands reviews "CIII: Even Celestina Gets The Blues (A Tale of Love and Quantum Physics)" by 17 Pygmies

In 2011, I reviewed CII: Second Son (see review), the second album by 17 Pygmies, a band from Los Angeles, California (USA). That album gave me the feeling that life doesn't have to be lived in the fast lane. The album provided some fine relaxing moments to dream away on. For that reason I felt positive about the achievements of 17 Pygmies. I also expected the third and final chapter of the Celestina-trilogy to end this concept in style.

Now one year later I had the pleasure to listen to CIII: Even Celestina Gets The Blues (A Tale of Love and Quantum Physics). Again this CD has been wrapped up in an unusual paper sleeve that also contains a booklet comprising the whole story written by Jackson Del Rey (synthesizer, guitar, bass). The line-up of the band hasn't changed since the previous album. This means that Meg Maryatt is still responsible for the strong female vocals and some playing on the piano and the synthesizers. Jeff Brenneman (vocals, keyboards, guitars) and Dirk Doucette (vocals, percussion, keyboards, drums) complete the line-up of 17 Pygmies.

Musically, CIII is reminiscent of Celestina and CII: Second Son. Once again 17 Pygmies created an album that contains enjoyable mellow music. I think that people who enjoy the music of Tangerine Dream might like this album, because the ambient sound passages are more or less influenced by the early Tangerine Dream. However, in certain passages the music of Karda Estra crossed my mind as well. I noticed the same kind of mellow soundscapes and orchestral passages. Besides I think that people who fancy a band as Nosounds will like this fine album, but also the music of Laurie Anderson and Tori Amos is never far away due to the vocals of Meg Maryatt. This time I can add a couple of names to the list of possible influences: Ennio Morricone and Kraftwerk. To give the album a stronger classical feel 17 Pygmies invited several guest musicians like Bob Mora (bass), Lea Reis (background vocals), Claire Chenette (oboe), Larissa Fedoryka (cello) and Heather Lockie (viola). The music has certain themes that often return throughout the album. By doing so the album becomes recognizable and never gets bored.

Of course this album will not be loved by all people who like progressive rock. It's just a matter of personal taste, but trying to get into this kind of music is certainly no punishment. If you give the mellow side of the genre a try you will perhaps dream away on this relaxing music, just like I did. 17 Pygmies ended the Celestina-concept in style, indeed! I sincerely hope their next album to be as beautiful as this one!

*** Henri Strik (edited by Peter Willemsen)

BLISS/AQUAMARINE reviews "CIII: Even Celestina Gets The Blues" by 17 Pygmies

Bliss/Aquamarine, a cool fan webzine, reviews "CIII: Even Celestina Gets The Blues" by 17 Pygmies

17 PYGMIES Even Celestina Gets The Blues (A Tale of Love and Quantum Physics) CD (Trakwerx)
A highly original album in terms of music and packaging. The factory-pressed CDR is packaged within a translucent metallic paper sleeve, which is in turn packaged within a gold-embossed sleeve held together by a wax seal, which is in turn packaged within an outer sleeve also containing metallic confetti. The CD also comes with a miniature handmade book, The Book of Celestina Part Three, written by multi-instrumentalist and backing vocalist Jackson Del Rey. It's a bizarre science fiction story about a robot who feels human emotions, and is closely related to the title of the album itself. A great deal of effort has gone into this hand-assembled packaging, showing this band really care about what they do.
17 Pygmies have four band members, each playing a number of instruments, and are also joined here by 7 guest artists adding further vocals and instrumentation including oboe, cello and viola. The music is an innovative mix of spacerock, prog (I'm talking actual progressive music, not the mere excuse for self-indulgence exemplified by some of the genre's most famous representatives), folk, classical, and film soundtrack-like sound effects. Despite its avant garde aspects, it tends towards the strongly melodic, and features vocal sections from the very talented singer Meg Maryatt.
Celestina XXV has a very lovely folky melody and a dreamlike, psychedelic atmosphere. Celestina XXVIIis an epic instrumental close to 10 minutes long, with much spacey electronic bleepery and odd sound effects, building up into a crescendo of dark, heavy spacerock, like a gothic version of Hawkwind.Celestina XXX sets a folk-tinged song to a mixture of ethereal drones and sophisticated orchestration.Celestina XXXI is a neoclassical piece with a waltz rhythm, based around classical guitar, cello, viola and glockenspiel. Celestina XXXIII.III is a fractured, deliberately lo-fi form of underground blues.
This is one of the most inventive albums I've heard for a while; taken as a whole it defies categorisation. The band are clearly doing their own thing outside of restrictive genre boundaries or the dictates of current fads, and this is something I really appreciate, especially when the music is this well-crafted. Available from www.trakwerx.com/label.htm

Mick Mercer reviews Cult With No Name's "Above As Below"

Mick Mercer reviews "Above As Below", the stunning new release by Cult With No Name

Mick Mercer

21 hours ago 

CULT WITH NO NAME
ABOVE AS BELOW
Trakwerx

Up there with the very best of them CWNN manage to turn the air around you inside out with duplicitous ease, the comforting harbouring dangers, the lethal turning sublime. Like the best detective intrigues and mysteries of overheard conversations, tiny nuances trigger the imagination. They have the artistic maturity you expect as the background for an advert for your Sunday papers, except that, having them on your table, you’d find the reason it was so heavy is the bundle contains the severed head of your vicar.

I don’t mean to imply the music or ideas offer any kind of brutal shocks. Erik Stein (main vocals/piano) and Jon Boux (main piano/vocals) play things with a defter touch, instruments and voices often glowing embers. For those who recognise people from other bands I should also point out they have special guests involved. Plenty of wispy vocals across eight tracks by Kelli Ali (Sneaker Pimps), Luc van Lieshout and Bruce Geduldig (Tuxedomoon) are there (bonus points for Luc as he plays flugelhorn, proving it isn’t a made up instrument at all), John Ellis playing guitar on one song, Meg Maryatt with vocals on another.

‘One Kiss, Then Home’ has the standard mellow wash of airy emotional ambivalence and ochre dashes of a solemn intensity. ‘Hope Is Existence’ is a modern cocktail of swirling atmospherics, brushed drums and saucily traipsing keys, piano waiting for the dreamy vocals to close their lyrical eyes before purring contentedly. ‘Maitre D-Day’ is a simple enough picture of sexual tension mingled with danger and regret but it’s the way the quietness seems to almost vibrate which lifts these easy moments, and I’m sure she’s a very nice girl really.

‘Drowned’ has their traditional dovetailed vocal/keyboard waltz going, lilting vocals circling the timid doleful keys, unusually comforting. ‘Raise A Glass’ has clever wordplay rolling down the supple inclines of the piece, with a sweet ‘bop’ ending, whereupon a stylishly idle ‘Everyone’s The Butt Of The Joke’ sees the keys flower in slow motion. Spoken word weirdness with ambient accompaniment called ‘Losing My Elan’ breaks the spell, but they shuffle back on track like an old steam train after a wash and brush up into a slinky ‘Today’s The Day (They Knew Would Come)’ with a rising breathy chorus and sinuous grace glowing from every pore.

‘Numbers’ is emptier and apparently concerns Holocaust revisionism but it isn’t easy to catch the words, something which affects other songs, you just gradually have to let the words seep into your consciousness and with some it takes time. The curious, drifting instrumental ‘As Below’ bleats delicately but ‘What’s Certain’ fidgets on a synth pulse dealing with CWNN’s ever-present appreciation of romance as roulette. ‘Shake Hands With The Devil’ is more hushed drama, plaintive and gutted, while ‘Idi’s Admin’ has quite an unexpected Sisters feel to it, a nervous lullaby waddling along. The hazily pretty ‘Secondary Sexual Characteristics’ sees us out, wilting intentionally.

So there you have it, a record of consistently beautiful moments and enthralling notions which has an almost looser feel at times, but an even stronger effect. I think that’s called skill.

http://cultwithnoname.net/
http://www.sonicbids.com/2/EPK/?epk_id=175036
http://www.trakwerx.com/home.htm

Escafandrista Musical reviews "CIII: Even Celestina Gets The Blues" by 17 Pygmies

Escafandrista Musical by DJ Golden review of "CIII: Even Celestina Gets The Blues" by 17 Pygmies

17 Pygmies banda de los Los Ángeles formada en 1983 que actualmente está compuesta por Jackson Del Rey (Vocals, Bass, Guitar, Synthesizer), Meg Maryatt (Vocals, Electric Guitar, Accordion, Synthesizer, Classical Guitar), Jeff Brenneman (Guitar, keyboard) y Dirk Doucette (Drums, Percussion, keyboard).

Son casi treinta años desde su creación pero un largo paréntesis separa Missyfishallá por 1991 del extraño proyecto Celestina que arrancó hace cuatro años, basado en la clásica novela del siglo XV de Fernando Rojas. Concebido como salmos dictados a través de un paisaje musical progresivo y surrealista entre el amor y el engaño, dicho proyecto se dividió en tres partes: Celestina (2008), CII: Second Son(2011) y CIII: Even Celestina Gets The Blues (2012) el disco que os presentó hoy, puesto en circulación el 2 de enero.

Disco de digestión lenta y paciente, de mecánica ondulatoria, transforma la tragicomedia de Calisto y Melibea en un paradigma que sólo saben descifrar los diecisiete pigmeos, una historia de amor que arranca en un agujero negro donde adentrarse y no saber donde ni cuando salir de él. Experimental viaje al pasado desde un futuro digital, radiactivo y etéreo, únicamente apto para funambulistas sin red protectora. Si David Lynch dirigiese una película de ciencia ficción le recomendaría este disco. Y puestos a dejar de lado tanta subjetividad, pero sin abandonar la estirada neuronal que le doy al asunto, aunque situando de forma más práctica la reseña, es como si Pink Floyd se aliasen con el amor, pero también conMercury Rev o Sparklehorse para invadir el reinado de los Reyes Católicos.

De las 32 partes de esta trilogía, dejo la 25.

Si te quedan fuerzas después de la verborrea, feliz viaje.

Google translation:


17 Pygmies of the Los Angeles band formed in 1983 currently consists of Jackson Del Rey (Vocals, Bass, Guitar, Synthesizer), Meg Maryatt (Vocals, Electric Guitar,Accordion, Synthesizer, Classical Guitar), Jeff Brenneman (Guitar, keyboard ) and DirkDoucette (Drums, Percussion, keyboard).
Almost thirty years since its creation, but a long hiatus between 1991's strangeMissyfishallá by Celestina project that started four years ago, based on the classic novel of the fifteenth century by Fernando Rojas. Psalms Conceived as dictated by aprogressive and surreal musical landscape between love and deception, the projectwas divided into three parts: Celestina (2008), CII: Second Son (2011) and CIII: EvenCelestina Gets The Blues (2012 ) the disk that you presented today, put into circulationon January 2.
Disk slow digestion and patient, wave mechanics, transforms the tragicomedy of Calisto and Melibea in a paradigm that can decipher only seventeen pygmies, a love story that starts in a black hole where you enter and not knowing where or when to leave it . Experimental trip back from a digital future, radioactive and ethereal, onlysuitable for tightrope walkers without protective net. If David Lynch address a science fiction movie I would recommend this album. And while we ignore such subjectivity, but without abandoning the straight neural give the matter, although more practiceplacing the review, it's as if Pink Floyd will ally themselves with love, but also Rev orSparklehorse conMercury to invade the reign of Ferdinand and Isabella.
Of the 32 parts of this trilogy, I leave the 25.
If you have any energy left after the verbiage, happy trip.

Mick Mercer reviews "CIII: Even Celestina Gets The Blues" by 17 Pygmies

Mick Mercer posts a review of "CIII: Even Celestina Gets The Blues" by 17 Pygmies on his Live Journal blog.

17 PYGMIES CIII: Even Celestina Gets The Blues (A Tale Of Love And Quantum Physics) Trakwerx The final part of the delicately inspiring trilogy comes so beautifully wrapped it seems a crime to even open it, but I flew in a team of dutiful keyhole surgery specialists who extricated without damage and it was under their solemn tutelage that I also learned to slide the contents back into place so the rose seal remained unbroken. There is an outer acetate envelope, a single piece of wrap-around card (sealed), a separate wrap around acetate sleeve for the CD, accompanied by a CD sized book, with acetate cover. Their sci-fi tale reaches an end, their music gives itself up to the ether. ‘XXIII’ has a wilderness feel but with active ingredients, either whirring or chiming, so this economy of action is very clear, very instant, and a gorgeous beat flows seductively from the nothingness. ‘XXIV’ also chimes away and while it does so you should know the book continues the story of the space flight which reached a planet full of robots but they escape and make their way back to Earth to digest the usual menu of treachery, despair, love and sacrifice. ‘XXV’ introduces a fuller tone and beautiful singing, with a lightly ominous undertow. I cannot place any special significance for tracks to sections of the story as I don’t read sci-fi thoroughly enough to burrow deeply into meaning. A woozier, spacier opulence fills the sleepy ‘XXVI’ with its grandly eloquent lines and the same kind of oozing vocal harmonics. Like the Carpenters never happened! ‘XXVII’ is emptier and I could be wrong but it’s like the machines are talking to us, or themselves. Gradually a silky, albeit groaning, wash overcomes you and it closes with a chunkier, livelier version of the start. You can get lost in this quite easily. ‘XXVIII’ shares the leisurely but oddly profound pace, as you could swear these songs are far longer than their actual length, but keep you hooked to their noduled dreaminess, so it’s more time travel than space. ‘XXIX’ is shorter, equally mysterious with its languid pull, then ‘XXX’ drips like a bead of Kate Bush sweat down the neck of a pensive, ghostly horse. Strings saw sweetly as they sing the question, “could this be Heaven?” and I’d say they’re pretty close. While exquisite guitar sighs through a mesmeric ‘XXXI’, a bout of tremulous woe, ‘XXXII’ idles sensitively. ‘XXXIII’ stirs thickly, meaningfully, then vanishes, and we’re left with the oddly titled ‘XXXIII.III’ (in keeping with their initial desire to create, and I quote, “a three part, 33 1/3rd psalms/songs long science fiction story”), the notion of the blues introduced an alien listener, creaking skilfully. It’s a bewildering thing, in one way, as if discovering some lost opus that manages, across all the CDs to be unlike anything else in your collection, although I’m assuming Floyd fans (Pink, not Keith) might appreciate certain textures and intentions. It’s also a mighty thing disguised as something simple, winsome and well-mannered. A mighty thing…

https://www.facebook.com/pages/17-Pygmies/203624375710 http://www.myspace.com/17pygmies http://www.trakwerx.com

Postpunk 80s Underground features Cult With No Name

The Postpunk 80s Underground posts about "Above As Below", Cult With No Name's latest release.

iO Pages reviews CIII: Even Celestina Gets The Blues by 17 Pygmies

iO Pages a Progressive Rock Magazine in The Netherlands reviews "CIII: Even Celestina Gets The Blues" by 17 Pygmies in their latest issue (#107)

Arlequins reviews CIII: Even Celestina Gets The Blues by 17 Pygmies

Arlequins, an Italian-based prog rock magazine has published a review of "CIII: Even Celestina Gets The Blues" by 17 Pygmies.

La musica di Celestina sembra provenire dallo spazio profondo, con i suoi movimenti estremamente lenti che sembrano avvenire in assenza di gravità. E’ leggera e splendente come polvere di stelle ed è incredibilmente dilatata ed onirica. In maniera soffice e gentile riempie progressivamente l’atmosfera creando un ambiente sonoro rarefatto e piacevole. Colorazioni elettroniche, sonorità vintage di tastiere e anche strumenti classici come oboe, viola e violoncello, suonati in questo caso da tre special guest, creano qualcosa che sembra orbitare fra il cielo e la Terra, attraverso visioni astrali fatte di suoni artificiali ed elementi musicali più familiari che fluttuano fra il post rock, il pop, l’elettronica ed il prog sinfonico.
Questo album è il terzo capito di una trilogia iniziata con la pubblicazione di “Celestina” nel 2008 e secondo me non può essere slegato dai precedenti episodi, anche perché la storia, narrata in maniera minuziosa nei ricchissimi booklet allegati a edizioni splendide, ricche di ornamenti, guida l’ascolto di una musica che ricrea alla perfezione le ambientazioni in cui si svolgono le vicende di questa saga spaziale che si sviluppa in crescendo, capitolo dopo capitolo. E’ tempo ormai per l’equipaggio di Celestina di tornare sul nostro pianeta, portando con sé il messaggio ed i segreti appresi nel suo viaggio all’interno di un buco nero e questo ritorno sulla Terra è accompagnato da una musica che, rispetto al passato, si è arricchita di particolari e soprattutto di preziosi elementi classici ed orchestrali, pur non perdendo mai quell’andamento morbido e in un certo senso soporifero che perdura dall’inizio della storia, senza mai subire accelerazioni di sorta o brusche deviazioni.
La voce splendida di Meg Maryatt (che suona anche piano, chitarra e synth) ci accompagna di nuovo col suo timbro dolce e rilassante e sembra quasi rivolgersi all’ascoltatore dall’interno di in una bolla dove il tempo è fermo e lo spazio è dilatato all’infinito. I synth sono gli artefici delle atmosfere più belle dell’album e sono suonati praticamente da tutti, dal chitarrista Jeff Brenneman, dal batterista Dirk Doucette e dal bassista e chitarrista, nonché leader del gruppo e autore del concept, Jackson Del Ray. Le trame ritmiche sono appena appena disegnate e si sviluppano spesso in un morbido 4/4 e a volte persino a ritmo di valzer che sembra accompagnare l’ascoltatore in una danza fra le stelle come nella seconda traccia, “Celestina XXIV” (tutti i titoli sono come al solito designati da un numero progressivo in cifre romane) che progredisce in lento crescendo, come una nuvola di vapore che si disperde nell’aria, accompagnata da coltri di Mellotron, una batteria filiforme, atmosfere Floydiane e morbidi ricami elettronici che danno costantemente l’idea dello spazio profondo. Molto belle le linee melodiche del capitolo XXVI, molto minimali e delicate, che ricordano qualcosa dal sapore vagamente orientale. In alcuni episodi la musica si fa più astratta, cosmica e tecnologica, con riverberi alla Tangerine Dream, ma in generale l’ultimo episodio di “Celestina” ci riporta sulla Terra e c’è spazio anche per sorprese come il capitolo XXXI, un valzer anche qui, fatto con strumenti acustici, con la chitarra arpeggiata e gli archi, una vera delizia che risalta particolarmente nel contesto di questo album ma senza bruschi salti, non interrompendo mai il flusso emotivo che perdura costantemente dall’inizio alla fine. Molto onirica è la penultima traccia, il capitolo XXXIII, che somiglia ad una grigia e spenta musica da circo, scandita dai rintocchi di campane tubulari e densamente velata da vapori cosmici. Una trovata molto azzeccata è proprio quella di lasciare ampio spazio alla musica che riempie delicatamente ogni dove, con un intervento molto limitato della voce di Meg che è un bellissimo ornamento più che una voce narrante. Tutta la storia infatti è descritta, come accennato, nel booklet che contiene dialoghi e descrizioni, come il copione di un’opera teatrale.
Se avete apprezzato i precedenti due lavori non potete privarvi certamente di quest’ultimo che vi regalerà un bellissimo finale che non voglio svelarvi troppo in anticipo e che rappresenta il perfezionamento di una formula musicale decisamente personale; se siete incuriositi potreste iniziare anche da qui, certamente, la musica ha comunque un valore universale e può essere apprezzata anche al di là del concept, proprio perché è poco verbosa e molto di atmosfera ma anche in questo caso direi di non indugiare perché la stampa di questo disco, che vi arriverà avviluppato in carta pergamena, con nastrini, brillantini, fiocchetti e un sigillo di ceralacca a chiudere il tutto, è limitata.


Loose English translationL


Celestina's music seems to come from deep space, with its extremely slow movements that seem to occur in the absence of gravity. And 'light and bright as star dust and is incredibly dreamy and dilated. In a soft and gentle gradually fills the atmosphere, creating a sound environment rarefied and pleasurable. Electronic colors, sounds of vintage keyboards and even classical instruments like oboe, viola and cello, played here by three special guests, create something that seems to orbit between heaven and earth, through astral visions made of artificial sounds and musical elements family that fluctuate between post rock, pop, electronic and symphonic prog.


This album is the third in a trilogy got started with the release of "Celestina" in 2008 and in my opinion can not be dissociated from the previous episodes, also because the story, told in a detailed booklet rich in annexes editions beautiful, rich ornaments , driving listening to music that perfectly recreates the locations where the events take place in this space saga that grows in crescendo, chapter after chapter. It 's time now for the crew of Celestina to return on our planet, bringing with him the message and the secrets learned in his journey into a black hole and return to Earth this is accompanied by music that, compared to the past , was enriched with precious details and above all orchestral and classical elements, while never losing quell'andamento soft and somewhat soporific which lasts from the beginning of the story, without ever suffering any sort of acceleration or abrupt deviations.


The wonderful voice of Meg Maryatt (who also plays piano, guitar and synth) takes us again with his gentle and relaxed tone and seems to turn from inside the listener in a bubble where time has stopped and the space is dilated infinity. The synths are the makers of the best atmospheres of the album are played by almost everyone, guitarist Jeff Brenneman, drummer Dirk Doucette and bassist and guitarist, and leader of the group and author of the concept, Jackson Del Ray. The rhythmic patterns are barely drawn and often develop in a smooth 4/4 and sometimes even a waltz rhythm that seems to accompany the listener on a dance among the stars as the second track, "Celestina XXIV" (all titles are as usual designated by a number in Roman numerals) that progresses slowly growing, like a cloud of steam that is dispersed in the air, accompanied by layers of Mellotron, a battery filiform Floydiane atmosphere and soft embroidery that give consistently the electronic 'idea of ​​deep space. Very beautiful melody lines of Chapter XXVI, very minimal and delicate, vaguely reminiscent of something from the East. In some episodes the music becomes more abstract, cosmic and technological, with reverberations to Tangerine Dream, but in general the last episode of "Celestina" takes us back to Earth and there is room for surprises such as Chapter XXXI, a waltz even here, done with acoustic instruments, with guitar arpeggios and strings, a treat that is especially striking in the context of this album, but without any sudden jumps, not interrupting the flow ever lasting emotional consistently from beginning to end. Very dream is the penultimate track, chapter XXXIII, which looks like a gray and dull circus music, punctuated by the tolling of bells and tubular densely veiled by cosmic vapor. Found a very apt it is to leave plenty of room for music that gently fills everywhere, with very limited intervention of the voice of Meg is a beautiful ornament of a narrator. All history is described in fact, as mentioned in the booklet that contains descriptions and dialogues, as the script of a play.
If you enjoyed the previous two works can not deprive the latter of which certainly will give a beautiful finish that does not want to reveal too much in advance and that is a further development of a highly personal musical formula, if you're curious you could start from here, certainly , the music still has a universal value and can be appreciated even beyond the concept, because it is verbose and not much atmosphere but also in this case I would say do not delay because the release of this disc, you will come wrapped in paper parchment with ribbons, glitter, ribbons and a wax seal to seal the unit is limited.