"At the Foot of Nameless Roads" is one hell of a first statement. Pyle has concocted an absolute gem. This is dense music that begs for deeper inspection. Each space, each note carefully chosen and etched into glass. Ensemble Economqiue is music for the darkest nights, the pinkest mornings, and everything in between. This is vivid, haunting music that leaves a trail of gold in its wake. Limited to 500 copies.

It's an exquisite feeling, to taste the truth, to let it wrap you completely, to feel it's ecstatic warmth, to let it ripple through you, to let you feel life with every breath, as if day and night are colliding, and sparks exploding, and the sky turning deep red, and night falls like a blanket, and the wind is a soft whisper, and the dune grass are like blades, piercing blackness. Ensemble Economique is Brian Pyle of Starving Weirdos and RV Paintings. His solo project (hence the slightly ironic moniker) has previously released a CD on Digitalis in 2008 and two recent LP's on Amish and Not Not Fun Records. His music is highly narrative and cinematic mixing synth loops and electronic rhythms with epic organic structures. Crossing The Pass, By Torchlight is the culmination of Pyle's previous works presenting his most refined album so far. Dekorder.

Brian Pyle’s work under the Ensemble Economique banner has been undergoing heavy shift lately, prompted by both creative restlessness as well as inner life upheavals. He’s quested out on 2 lone wolf UK/Euro tours in the past half-year alone, plus dropped an ace LP on the Dekorder label of ominous soundtrack menace. When rapid transformation takes hold, it’s best to just roll tape and make sense of it later. Thus, in anticipation of his forthcoming 2012 NNF full-length, we present EE: Live In London, an impressively recorded 37-minute performance at The Vortex in August of last year, comprised of all new material. Primitive drum machine rhythms stutter in primal-industrial patterns, cloaked in disquieting drones and oblique tape samples (police sirens, jungle bird calls, Sinead O’Connor vocal raptures), accompanied by pained crooning, ragged squalls of electric guitar, and minor-key synth depressions. More song-based than his voodoo hallucination breakthrough, 2010’s Psychical, but no less unsettling, the new Economique approach has shades of Eyeless In Gaza’s eerie, fatalist drift but the thrust is some sort of goth-psych/beat music hybrid that we’re not aware even really exists yet. A captivating document of an artist at the crossroads. White, imprinted tapes with high-art jazz-splatter J-cards designed by Amanda Brown. Edition of 150. Not Not Fun.

Ensemble Economique is Brian Pyle (Starving Weirdos). Standing Still, Facing Forward is Ensemble Economique's first LP release, part of the Amish Records label's Required Wreckers series, fusing sounds, field recordings, and studio-created music and noise. HIGHLY RECOMMENDED.

New LP from Ensemble Economique, aka Brian Pyle, 1/2 of Humboldt avant abstractionists Starving Weirdos and RV Paintings. We’ve long loved the SW’s sprawling rhythmic dronescapery, and on his own, Pyle explores similar sonic territory, but Pyle’s approach sans partners seems to be more dense and dark, caustic and abrasive, the rhythmic element balancing the atmospheric elements, like here on the title track, which spreads out over all of the first side. A thick, swirling low end thrum oozes and undulates, it’s a hazy blurred rumble, over which Pyle layers heaving shards of crunch, thick throbs, deep bell-like tones, rhythmic machine gun stutters, all of which pile up and overlap, creating a soft cacophony of clatter and crunch, chug and churn, a strangely haunting, and sorta noisy, almost industrial creepscape, that sounds like some weird hybrid of Wolf Eyes, Philip Jeck and Umberto performed by some strange robotic minimalist chamber ensemble. A swirling, heady, and darkly psychedelic barrage of loops and rhythms, layers and textures, mesmerizing and intense. The flipside is another permutation of Pyle’s abstract beat laden drones, another thick swirling morass of sitar-like buzz and sci-fi synth squelch, this time the beats buried, little flurries of stutter and shuffle, squalls of glitchy tangle, more coloring the proceedings than driving them. The last track is a tense soundtracky stretch of layered buzz, haunting melody, a sprawl of pulsing high end over deep ominous rumbles, like the music from the scariest moment in some lost Italian giallo, stretched out into minutes instead of seconds, all tension, no release, brooding and intense, haunting and mesmerizing, fantastic stuff. (AQ) Shelter Press.

4 inch deep carpet of digi-keyboard trying to hide a drug bust gone right in a bad student disco. Several small voodoo deaths and plenty of wide-eyed drumming. With bones pointed to the heart of the jungle, the tape cuts through vegetation with big synth sweeps and small messy miracles. Bring me a head … any (size) head! Finely crafted outpourings from Brian Pyle of Starving Weirdos. Honk down them musky Humboldt vibes and pass me yon peace pipe son! Two long tracks: “Kinetic Sculpture” and “Hail!”