Euglossine - Blue Marble Agony (2020)

Like the biodomes of Silent Running, Tristan Whitehill is building ambient ecosystems as Euglossine, built from a biological syntax all his own to form something close to his own virtual paradise." (Spool's Out)

"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." (Paynomindtous)

“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." (Ma3azef)

"I want to live in this mysterious utopia." (AVYSS)

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 paradisaical 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.”

// Lenka Glisníková & h5io6i54k about the design
“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.”