For the cover cover art I used the original Assurbanipal Lion Hunting from the British Museum, with spherical effects applied and some changes in the colour, added by liquid tools. The background is one of my photographies.
Assurbanipal, or Asshurbanipal, was one of the greatest emperors of the neo-Assyrian empire; who ruled the Iron age world from his palace in Nineveh, modern days Iraq, where he cultivated an ancient library in cuneiform language. His palace was deeply explored by British archaeologists in the 19th century, such as Sir Austen Henry Layard. In 2014 the Islamic State of Iraq and the Levant (ISIL) occupied the palace of Nineveh, during that time they bulldozed several of the monuments who survived the centuries. The palace was later re-occupied by Iraq forces in January 2017.

My idea when composing Assurbanipal was that it should be vast and long as the neo-Assyrian empire, with all its greatness, gathering several different cultures and types of inspiration from an age. The production and its whole arrangement resulted from distinct recording sessions of synthesizers, exploring different harmonic scales, digital and analogue effects on a time that a lot of his inspiration resulted from reading about Bronze Age's decadence and the emergence of a new era in the ancient Eastern world.

This extended play has been recorded before the one-track live album (in 7 acts) 'Nada como um dia após o outro dia', which also explored Bronze Age's decadence trying to bring into comparison current times' downfall. What would be our modern days bronze? The oil? Information and data? The global commerce hegemony? Political hegemony? To having one's religion and ideology prevail?

With Assurbanipal, the goal is to bring ancient history into contemporary electronic music and using it to establish a parallel with the present time. Finding a way to sing the imaginary past by contemporary mechanisms of music production while shaping the music of the future.

Official release 14th of June by Capiroto Records.
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