From https://t.me/u_now

💔 Under the shopping mall #Kvadrat‎ a boy was playing the accordion with the song "‎How not to love you, #Kyiv my" and was collecting money for the Armed Forces

Yesterday, #Russia destroyed the shopping mall with a missile strike.

🇺🇦 #US / Subscribe

#ukraine #putinisamasskiller #putinisawarcriminal @kardinal691

"#russian terrorists doing what #russian terrorists do!"🤮🤮🤮

From https://t.me/Pravda_Gerashchenko

😡#Kyiv endured a difficult night, with damage to more than 40 locations in all districts

In particular, the shopping center #Kvadrat in the #Shevchenko district was reduced to burnt ruins.

#ukraine #putinisamasskiller #putinisawarcriminal @kardinal691

#BedtimeMusic for the wretched. ⬛🕯️✨

https://kvdrt.bandcamp.com/album/the-horrible-dissonance-of-oblivion

#Kvadrat #TheHorribleDissonanceOfOblivion #metal #RABM #BlackMetal #DissonantBlackMetal #DeathMetal #DissonantDeathMetal

Kvadrat – The Horrible Dissonance of Oblivion Review

By Thus Spoke

Back in June 2021, when my Instagram page was fresh-faced and non-AMG-affiliated, I reviewed Kvadrat’s EP Ψυχική Αποσύνθεση. Struck by its mesmerizing blend of atmospheric, dissonant death and black metal, I bemoaned its truncated length as I was sucked in by what I then described as “a gripping black hole of sound.” With the vividness of this experience having faded into a memory of “that really great Greek EP,” everything came flooding back upon receipt of a DM from the (sole) individual behind Kvadrat, Ivan Agakechagias, asking if I wanted to review his upcoming debut. Needless to say, I jumped at the chance. The Horrible Dissonance of Oblivion, “built to remind, provoke, traumatize and disturb, to fuel and awaken the nauseating sensations of uncertainty, alienation, hatred and pain” with artwork, drawn by Ivan himself, accompanying each track, is a plunge into the existential nightmare of being-in-the-world, and meaning, or lack thereof. As of course, all the best extreme metal is.1

The Horrible Dissonance of Oblivion assertively cements Kvadrat’s signature voice in the scene, enhancing those most alluring, and crushing, aspects. Guitars don’t just resonate, they hum, even whistle, as they whip like icy wind in mournful, piercing melodies (“Σηπτική Ανυπαρξία,” “Γυάλινα Μάτια”). And melody is what makes this music so powerful. Melody in that pseudo-dissonant, urgent, mournful sense that draws itself up into spikes of biting drama and waves of washing catharsis that crash down into ferocious, blackened ire (“Υπόγειος Λαβύρινθος,” “Ολική Αποσύνθεση”). The propensity for compositions that endlessly undulate with a feeling of push and pull, driven by writhing percussion stop-starting and pacing, demonstrated in Ψυχική Αποσύνθεση, is here expanded on, as is how these tides of melancholic refrain lead the rhythmic convolutions into mesmerizing patterns. It’s bleak and it’s beautiful, and with a longer runtime than previously afforded, the album provides a longer, and deeper experience that is insidiously affecting.

Like the ancient Greek tragedies of aeons past, The Horrible Dissonance of Oblivion plays out a drama of pensive mystery, rising, ebbing, then resurgent tension, and melancholic lamentation. With “Υπόγειος Λαβύρινθος” opening the album with an intriguing play of gentle plucks, and closer “Ολική Αποσύνθεση” gradually building a delicate, ever-more-mournful melody, the remainder—save “Αμνησία”‘s cavernous, hair-raising inhale of unease—pulls a thread of nerve-wrecking, endlessly punishing intensity. The tremolo that comes to those opening and closing tracks, projecting the theme into a renewed acuteness and gravity, is like lightning licking the smoky ground. The long screams that bridge spidery chord progressions and torrential washes of guitar (“Υπόγειος Λαβύρινθος,” “4°C,” “Γυάλινα Μάτια”) are little shivery breaths. And together with the push and pull created through the endless tumble and roll of percussion—shifting tempos breaking down in stripped-back echoes (“Η Φρικτή Δυσαρμονία της Λήθης”), dropping down to heavy pulsing, and racing back up again to dbeat double-bass devastation (“Σηπτική Ανυπαρξία,” “Ολική Αποσύνθεση”)—this creates a momentum that is violently addictive and compelling.

It was probably whilst hearing the title track (“Η Φρικτή Δυσαρμονία της Λήθης”) for the second or third time that I realized what it was that holds the record back from complete perfection: reserve. While there are great, extended parts where the tragic dramatic elements interweave and rise together beautifully—”Ολική Αποσύνθεση”‘s first half is probably the highlight in this regard–there’s a sense in which it seems Kvadrat is teasing us. Beyond the most potent peaks of melodic and tension-releasing beauty (“Υπόγειος Λαβύρινθος,” “Σηπτική Ανυπαρξία,” “Ολική Αποσύνθεση”), the compositional waves in this storytelling ocean are more akin to the churning of agitated waters (“4°C”) or ripples on a deceptively still surface (“Αμνησία”). And it’s in the title track, where things threaten multiple times to break into floods of pathos—but never quite do—that the unbearable tension of the dissonant and semi-dissonant scales and circling drums is the most immediate. The thing is, what I condemn for being unsatisfying I ought perhaps to commend for representing, in musical form, that from which the album takes its name—an endless, placeless dysphoria.

To say that The Horrible Dissonance of Oblivion succeeds is an understatement. It is a crowning glory of existential agony and dark beauty. And it’s a debut. Even though the compositions fall short of total devastation, there is more than enough time, both for them to grow obsessively in the mind, and for Kvadrat to release their future masterpiece. It should not stop anyone, least of all myself, from diving headlong into its depths.

Rating: Very Good
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Desolate Depths (EU)/Nuclear Winter (EU)/Total Dissonance Worship (US/ROW)
Websites: Bandcamp | Facebook
Releases Worldwide: April 4th, 2024

#2024 #35 #Apr24 #AtmosphericDeathMetal #BlackMetal #DeathMetal #DesolateDepths #DissonantBlackMetal #DissonantDeathMetal #GreekMetal #Kvadrat #NuclearWinterRecords #Review #Reviews #TheHorribleDissonanceOfOblivion #TotalDissonanceWorship

Sabi textile range by Louise Sigvardt for Kvadrat

**Dezeen Showroom: **Sabi is a series of woolen upholstery textiles from Danish brand Kvadrat, which plays with the perception of colour, textures and layers.

Created by Copenhagen-based designer Louise Sigvardt, the Sabi textiles use a traditional dobby weave and are crafted with yarn made from virgin wool and post-industrial recycled wool.

The textiles are crafted with a classic dobby weave and made with both virgin wool and recycled wool yarn

The virgin wool has been used for the coloured thread while the recycled wool, which is sourced from UK yarn spinner Wooltex, is dyed in darker tones to create a dynamic depth.

Sigvardt conceived the idea of Sabi when renovating her own home, in which she became interested in layering colours and textures.

"I have worked with colours and combinations that emerge when you peel the layers of what you immediately see, both literally and figuratively," explained Sigvardt.

Sabi is informed by the layering of colours that Sigvardt discovered when renovating her own home

To encapsulate the meeting point between past and present, Sabi uses a rich palette of vivid colourways that blend contemporary colours with shades typical in the 1970s and 1980s.

The combination of these colours gives Sabi its visual depth and creates a multidimensional effect.

"As you move towards the textile, it reveals different levels until, finally, individual colours emerge," explained Kvadrat.

Sabi plays with the perception of colour through its blend of darker hues with vibrant colours

Colourways included in the collection range from Mellow Butter, Acid Green and Camel Brown to Sour Lavender and Prima Magenta.

Sabi forms part of Kvadrat's 2021 Fall collection, which features a series of textiles that embody the brand's values of visionary design, colour accuracy, engineering excellence and functional performance.

Product: Sabi
Designer: Louise Sigvardt
Brand: Kvadrat

About Dezeen Showroom: Dezeen Showroom offers an affordable space for brands to launch new products and showcase their designers and projects to Dezeen's huge global audience. For more details email [email protected].

Dezeen Showroom is an example of partnership content on Dezeen. Find out more about partnership contenthere.

The post Sabi textile range by Louise Sigvardt for Kvadrat appeared first on Dezeen.

#textiles #furniture #all #donotshowonthehomepage #design #dezeenshowroom #finishes #kvadrat #fabric #upholstery

Technicolour textiles by Peter Saville for Kvadrat

Dezeen Showroom: graphic designer Peter Saville has created a collection of colourful textiles called Technicolour for Kvadrat, comprising three rugs, two curtains and upholstery fabric.

Technicolour, Saville's first-ever textile collection, was informed by the multicoloured sprays used by farmers to distinguish their sheep, which the designer likens to "rural graffiti".

Peter Saville has created a colourful textile collection called Technicolour

"I am excited by how the collection brings the industry of the land, in raw form, into the living environment," explained Saville.

"The collection elements offer an experience of texture and colour, ranging from the expressionistic to the subliminal."

It includes iridescent curtains

Though designed to the same theme, the different Technicolour products each have distinctive textures.

The rugs, which are either handwoven or robot-tufted, have a coarse shaggy finish with bright spots of colour, while the curtains are sleek and iridescent through the use of woven Trevira CS yarns.

The upholstery fabric is available in 11 colourways

The upholstery textile, which is available in 11 colours, has a coarse texture crafted using wool sourced from British sheep.

Product:Technicolour
Designer:Peter Saville
Brand:Kvadrat

About Dezeen Showroom: Dezeen Showroom offers an affordable space for brands to launch new products and showcase their designers and projects to Dezeen's huge global audience. For more details [email protected].

Dezeen Showroom is an example of partnership content on Dezeen. Find out more about partnership contenthere.

The post Technicolour textiles by Peter Saville for Kvadrat appeared first on Dezeen.

#rugs #all #donotshowonthehomepage #design #dezeenshowroom #accessories #finishes #kvadrat #textiles #curtains #fabric #petersaville

Peter Saville designs "rural graffiti" Technicolour collection for Kvadrat

Graphic designer Peter Saville has created his first-ever textile collection, Technicolour, which he designed together with Danish brand Kvadrat.

The collection was shown at Danish design festival 3 Days of Design, where Saville took part in a live-streamed interview with Dezeen editor in chief Marcus Fairs.

The collection was on show at 3 Days of Design in Copenhagen

It was informed by the colourful sprays used to mark sheep that roam the countryside, which create patterns that Saville calls "rural graffiti".

The way in which the bright colours stand out against the white wool was replicated in the Technicolour collection, which features upholstery, rugs and curtains.

The designer had worked with Kvadrat before and the company encouraged him to create his own textile collection. Saville then worked with Stine Find Osther, vice president of design at Kvadrat and Dienke Dekker, Kvadrat's design manager for rugs, on the designs.

Technicolour has its origins in Peter Saville's childhood

"It has its origins in my childhood – which is kind of weird for me, this collection is a bit like a biopic – but then came as an observation and as a concept during this period that I've known Kvadrat," Saville told Dezeen.

"It was about the way sheep are marked in the fields to distinguish ownership. I would look at this and it looked like graffiti in the countryside."

Rugs, upholstery and curtains all feature different interpretations of the design

Seeing the colour used on sheep, Saville described it as "quite loose and random-looking", and thought of how it could be adapted to work on fabrics.

"I started to think, what would happen if those colours weren't washed out?" he said. "What if they made their way through the entire industrial process as a kind of rogue, random agent in the machine?"

Sheer curtains were shown in Kvadrat's showroom

The resulting collection features this concept realised in a number of different ways – as sheer, almost neon-coloured curtains, shaggy white rugs with bright tufts of colour, and even a discrete upholstery fabric in grey with flecks of other colours.

The way in which the sheep are marked, with one colour that denotes who the owner is and other colours used to mark things such as lambing and vaccinations, is the whole premise of the project.

But Saville says that, without him noticing it himself, it also ties back to earlier work he has done.

[

Read:

Live talk from Copenhagen with Peter Saville on his textile collection for Kvadrat

](https://www.dezeen.com/2021/09/16/peter-saville-kvadrat-technicolour-talk/)

"Someone said to me: 'well, it's colour coding, Peter, isn't it, again?'" he said. "And I thought, I've done colour coding before – I'm quite known for doing colour coding. And yet I hadn't quite seen it as that."

"You do what you do. And there are certain things that you do instinctively and automatically and that's who you are. And this is actually all about colour coding."

Bales of wool were created for the launch

This is the first collection from Kvadrat that is designed by a British designer and uses wool from the UK that has also been woven and dyed in the country.

While Find Osther says the collection has the potential to be commercial, she adds: "We had no rules – it's 100 per cent gut feeling, this collection."

To Saville, seeing the samples come back when the collection was being developed was "like Christmas time," he said.

"It was like a great surprise to see the sampling begin to come back and seeing the whole thing evolve."

Technicolour is Saville's first textile collection

"And some of it was totally unexpected – I mean, the rugs are almost what I imagined in my mind's eye, but these upholstery textiles are much more subliminal; I couldn't imagine this, because I don't understand the processes well enough," Saville said.

"And I did not expect these net curtains. They're kind of phenomenal."

Saville is known for his album cover designs for Manchester-based record label Factory Records, which he began working with in the late 1970s.

He has since collaborated with numerous brands on projects ranging from creating a logo for Burberry to designing a trophy based on the shape of sex hormones for Pornhub.

Danish textile brand Kvadrat has previously worked with designers including the Boroullec brothers, and CEO Anders Byriel recently spoke to Dezeen about how he believes Denmark is in a "new golden age of design".

Photography is byBenjamin Lund.

Technicolour was launched during3 Days of Design in Copenhagen, Denmark. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.

The post Peter Saville designs "rural graffiti" Technicolour collection for Kvadrat appeared first on Dezeen.

#products #all #design #copenhagen #textiles #kvadrat #petersaville #3daysofdesign

Watch our live talk on how to design a beautiful TV with Kvadrat, Bowers & Wilkins and Philips TV & Sound

Representatives from Kvadrat, Bowers & Wilkins and Philips TV & Sound will explain how they designed the Philips OLED+986 and 936 TVs in this live case study as part of a collaboration between Dezeen and Philips TV & Sound. Tune in from 2:00pm London time.

The case study is titled How to design a beautiful TV and is the third in a series of four talks by Dezeen and Philips TV & Sound inviting designers from different disciplines to explore the cutting edge of product design.

Philips TV & Sound is represented on the panel by its chief design officer Rod White. Stine Find Osther, vice president of design at Danish textile brand Kvadrat, will also appear on the panel alongside Andy Kerr, director of product marketing at British audio brand Bowers & Wilkins.

The live case study will be moderated by Dezeen's deputy editor Cajsa Carlson and will feature a collaborative presentation from the three brands that will explore in detail the process of creating the OLED+986 and 936 televisions.

Philips' OLED+986 and 936 televisions feature an inbuilt Bowers & Wilkins soundbar, which is upholstered in a Kvadrat fabric.

The panellists will discuss how Philips TV & Sound realised the designs for the televisions by combining its own specialism in manufacturing consumer electronics at scale with Kvadrat's expertise in craft and materials and Bowers & Wilkins' approach to boutique sound design.

The discussion will cover the challenges of incorporating premium materials into the design of consumer electronics, as well as what the future holds for the design of technology in the home.

Rod White, chief design officer at Philips TV & Sound

In his role at Philips TV & Sound, an arm of the electronics brand Philips which designs and produces television and audio products, White is responsible for the company's design strategy and direction and leads its design studios in Amsterdam, Taipei and Shenzhen.

In July, White spoke to Dezeen about European design in the first talk of this series. Last year, he also introduced the brand's collection of portable audio accessories with Georg Jensen in a talk as part of Virtual Design Festival.

Stine Find Osther, vice president of design at Kvadrat

As vice president of design at Kvadrat, Osther is responsible for the creative arm of the business. In her work with Kvadrat's collections, she collaborates with a wide range of external designers including Patricia Urquiola, Olafur Eliasson and the Bouroullec brothers.

Osther started working at Kvadrat in 2007 in the brand's product development team. She holds a masters degree in textile design from Kolding Designskole, Denmark.

Andy Kerr, director of product marketing at Bowers & Wilkins

Kerr joined Bowers & Wilkins in its research and development department before becoming its director of product marketing and communications. During his time at the company, he has contributed to every major product the company currently produces.

Bowers & Wilkins was founded in 1965 by John Bowers and Roy Wilkins. The brand's iconic Zeppelin iPod speaker was one of the first devices to utilise Apple’s AirPlay system.

Bowers & Wilkins' audio equipment is used in Apple Stores around the world, as well as George Lucas’s Skywalker Sound studio and London's Abbey Road recording studio. Its speakers are additionally installed in a number of Jaguar, Maserati and Volvo car models.

Dezeen x Philips TV & Sound

This article was written by Dezeen for Philips TV & Sound as part of our Dezeen x Philips TV & Sound partnership. Find out more about Dezeen partnership content here.

The post Watch our live talk on how to design a beautiful TV with Kvadrat, Bowers & Wilkins and Philips TV & Sound appeared first on Dezeen.

#designtalks #dezeenxphilipstvsound #all #talks #kvadrat #philipsdesign #technology #televisions #livestreams