Recorded the last week of August, 2003.
First pressing released as a digipack featuring an early demo version of
"Surrendered to the Decadence" as bonus track. Limited to 500 copies. Soon to
be re-released as a normal jewel-case edition.
1. Lost 03:34
2. Surrendered to the Decadence 06:34
3. Eternal Beauty of the Trees 06:01 [view lyrics]
4. Sounds of Pain... 19:28 [view lyrics]
5. Niche 09:30 [view lyrics]
6. Depresi髇 05:44 [view lyrics]
7. La Vaga Esperanza de Ser 05:28
8. Uaral 04:47
Total playing time 01:01:06

Uaral简介
Uaral是一个智利二人团体，其中Aciago负责乐器的演奏。而Caudal表演人声，他们两人的家庭都打着被流放的烙印。被政府镇压后流放到智利南部做农奴，这种命运带来了他们深入骨髓的痛苦。面对无语的大山、 河流、树木，这里寻找不到希望也寻找不到爱，音乐是孤独的他们唯一能减轻痛苦的安慰。对自身命运的乖蹇，对国家前途的绝望和追求自我内心的平静的愿望构成了Uaral独一无二的音乐。
(引自网络)
作者：
时而会徘徊于黑暗肃杀的军工，交织于冷漠与残酷。时而也会聆听如此这般沉郁的泣诉，挣扎于痛苦绝望之中，其实我们自己也无法透识自己。费尔南多，佩索阿写到：我的自闭不是对快乐的寻求，我无心去赢得快乐。我的自闭也不是对平静得寻求，平静得获得仅仅取决于它从来不会失去，我寻找得是沉睡，是熄灭，是一种微不足道得放弃。确实如此，有些东西我们一直无力逃脱，或许需要时间，它只是一个过程。
Uaral的悲伤并没有让我想落泪，而是让我感觉到无泪可落。有一种痛苦，无法触及，Uaral却描述出了它的形状。无休无止的听着，百听不厌。每当听起他们，一种来自内心深处的呼唤与内心痉挛般的痛苦有丝丝泛起，它把我一层一层的把我缠绕，然后它又把我一层一层的剥落，赤裸驻于阴深恐怖的夜雨之中的让宁静邪恶冲刷去我的痛苦。深处的阴霾，慢慢撕裂，缝合，又撕裂，绵绵延延。哭泣与哀嚎，在悲伤与绝望的笛声中穿梭。
赤裸驻于雷雨之中，让宁静的邪恶之声冲刷着我肌肤的裂痕之痛。让那来自深暗洞穴的哀嚎声，穿梭于内心痉挛般的悲苦与深处阴霾的疼痛之中。
UARAL的音乐中，渗透着无边的孤僻与痛苦。它的每一个音符奏响都能第一时间捕获你的心，让你无力摆脱。
UARAL总是带给我太多情愫，无法抑制地从脑袋中一个深邃的角落涌出，不能释怀。1998年这张名为LAMENTS（哀乐）的EP才是真正的UARAL作品，单纯不加修饰的FOLK。没有失真的UARAL才是最朴素的。
第一幕：Intro
大雨倾泻而下，雷声沉闷，翻滚。号角伴随阵阵传来低沉阴霾的哀吼，声声扣人心弦，回响于黑夜之中。树枝滴落的雨滴在地面溅起涟漪，此时的万物，一切都如此的阴冷，潮湿，压抑。
阴裂的嘶吼与雷雨声淡去……
第二幕：The Writing And The Cry...
阴沉的木吉他响起，两把吉他编织出交织的雨丝，在微风中微微倾斜。悲苦的人声打破了雨丝，无比忧郁，沉闷。死腔开始咆哮，震彻心扉。笛声悠远，伴随凄切之声，充斥着这个绝望的黑夜。
第三幕：Lament
此曲是整张专辑的主打。吉他声有条不紊，黑夜忧伤。紧随着的低诉声让我不知所措，疼痛从我的肩膀向下蔓延，如此无力。5分多钟后，忧伤的吉他声，如同夜鸟从这枝树梢飞落到那枝，婉转，回旋，安静。吉他划弦的声音清晰可闻，在这安静的吉他声中，隐约听到了哭泣声，痛楚的，隐忍的，却无法逃避。正沉溺于这样安静与悲伤之中时，顿时发出更加撕裂人心的哀号声，孤独、挣扎、痛苦。悲伤，无休无止……
第四幕：Surrendered To The Decadence (Part II)
刷弦声滚动，紧接着的是充满力量歇斯底里的低吼，令人窒息。长笛声也显得如此揪心，仿佛引导着你的路途，迷茫遥远。这是我LAMENTS这张中喜欢的一首，在接近尾声时，旋律无比优美。亲爱的，请带我飘向一片极乐的宁静，不必承受悲伤和恐惧。
第五幕：Eterno En Mi
雨声未尽，再此丝丝泛起，又开始沉浸在这奇异的黑暗之旅。男声开始默祷，宁静、祥和、悲苦、丝丝颤抖。终于到了要结束的时候了，末世纪般撕吼声开始哭泣，令人心悸。灵魂仿佛已经看到了躯体的死亡，含着热泪注视着自己冰冷的尸体，在无尽的悲痛中冷宿哭吼，猎猎刮痛。这样的绝望与惆怅无法让人得到安宁，撕裂、悲痛，却充满力量。这是掩埋已久的痛苦与压抑，一切都已裂开。让我的身体爆裂在黑暗中吧，或者把我埋葬在深深的地底下。
悲怜、命运，生存或者死亡。似乎一切都已逝去，一切都已经结束，但又似乎一切都未发生。
死于六月 06/07/01
来源：

Uaral是一个智利二人团体，其中Aciago负责乐器的演奏。而Caudal表演人声，他们两人的家庭都打着被流放的烙印。被政府镇压后流放到智利南部做农奴，这种命运带来了他们深入骨髓的痛苦。
面对无语的大山、 河流、树木，这里寻找不到希望也寻找不到爱，音乐是孤独的他们唯一能减轻痛苦的安慰。对自身命运的乖蹇，对国家前途的绝望和追求自我内心的平静的愿望构成了Uaral独一无二的音乐。时而会徘徊于黑暗肃杀的军工，交织于冷漠与残酷。时而也会聆听如此这般沉郁的泣诉，挣扎于痛苦绝望之中，其实我们自己也无法透识自己。

Full length follow up to SBR-044 eponymous EP from Jan.2011. For fans of Moon Duo, Psychic Ills, Silver Apples. Föllakzoid began in Santiago, Chile from what they describe as the result of, “a product of a trance experience between friends, sort of a soul abduction in which they’ve been living since 2008.” The band is made up of multi-faceted artists: Juan Pablo (bass, vocals) is a producer of the Sangre Fresca Music Festival in Santiago, Diego (drums) is a photograher, Alfredo (synth) is an architect, and Domingo (guitar) is also a filmmaker who just premiered his first feature length movie “Partir to Live”. They believe that there is some sort of gravitational force that makes South America able to dialogue directly with other places, times, and dimensions. The band have all known each other from childhood in Santiago. They take their times recording albums, generally allowing two years in between perfecting their songs with their goal being to make something organic, that breaths on it’s own, which integrates into part of a separate, higher and bigger living organism. This album shows the band growing an enormous amount as songwriters, focusing on more developed songs and structures. Throughout these five songs, Föllakzoid craft one of the finest kraut-rock record in years. Let them take you on a serpentine journey through their mystical Chilean land. Föllakzoid will be making their US touring debut this spring.

英剧《乌托邦》原声

Cristobal Tapia de Veer专辑介绍：
该剧设定在机器人Synth被繁忙都市人广泛使用的世界，呈现人类与机器人的界限愈发模糊后，扣人心弦的矛盾冲突、心理冲击与道德拷问。

It should come as no surprise to fans of the Chilean trio Föllakzoid that upon meeting the legendary Jason Pierce a.k.a. J. Spaceman (Spacemen 3, Spiritualized), they discovered they were kindred spirits. Föllakzoid and Spaceman’s projects share a restless drive to explore the outer limits of music, as well as an uncanny ability to lock into a groove until it infiltrates the deepest recesses of the listener’s psyche. When Föllakzoid met Spaceman backstage at a Wooden Shjips gig at London’s Electric Ballroom several years ago, they instantly became friends.
For London Sessions, the Chileans and Spaceman joined forces for new, live-to-tape renditions of “Electric” and “Earth,” two highlights from Föllakzoid’s III. The recordings were made in a private studio in London while Föllakzoid was on tour in Europe in June 2016, and Spaceman’s contributions breathe new life into the songs.
“Jason added a very different harmonic atmosphere to the songs,” guitarist Domingo Garcia-Huidobro explained. “It somehow rearticulated the space and metric that already existed in a way the band never could. These new versions have a different edge.”
releases April 20, 2017

The long-awaited fourth full-length by Föllakzoid isn’t merely a recalibration for the band. It is a multidimensional reconsideration of what the process of songwriting, performance, and creating a work of recorded music can be.
Föllakzoid grows via depuration, aiming with each record to fill longer spaces of time with fewer and fewer elements. The creative perspective of the band has always been about unlearning the narrative and musical knowledge that shape the physical and digital formats and conceptions available, both visually and musically in order to make a time-space metric structure that dissolves both the author and the narrative paradigms. “We found our sonic and metric identity even more in these songs than in our previous attempts,” guitarist/singer Domingæ Garcia-Huidobro explains.
Unlike past Föllakzoid records, that were done in single takes with the full band, this record took three months to construct out of more than 60 separate stems – guitars, bass, drums, synthesizers, and vocals, all recorded in isolation. Producer Atom TM, who was not present for recording, was then asked to re-organize the four sequences of stems without any length, structural restrictions or guidelines. Those sequences ultimately became the four long tracks that appear on I.
The result of this was a set of songs where neither the band’s, nor the producer’s, structural vision primarily shaped the metric or tonal space shifts, but where both were still subliminally present in each of the parts that form the structure and the frequency modulations that guide them.
“We invite you to join us in sharing the experience of being led by this non-rational, sonic artform and its energy. It is also an invitation to connect once again with your inner master and his intuition, erasing the systematic rationalization that usually follows creative forces when perceived, to guide you on this holographic simultaneous simulation where reality is rooted in,” Domingae added.