First time I heard Atlantis was late 2007, early 2008. Anyway, it was winter, it was cold and I played Carpe Omnium, the debut of then Tilburg resident Gilson Heitinga. This dark and heavy layered post rock took influences from the Bristol triphop-scene, the heavy weights on Neurot Recordings and the repetition of indie rock demigods The Godmachine, just to combine them in a very unique atmospheric and discomforting whole that fitted temperature and landscape outside of my own Tilburg living room.
A sound that could only originate in a bleak has been industrial city as my own. A town that I love, and thus I loved Carpe Omnium, an album which of course is not a reflection of Tilburg, but the brain child of Heitinga. This a complex and multidimensional piece. To emphasise its complexity one must point out that Atlantis live is nothing close to a solo-project. Nowadays, two EPs and a second full length later, Atlantis performs as a six pieces, guitars, synths, drums, bass guitar and with all the necessary digital side equipment under twelve hands, a hunderd-and-twenty fingers, all in full motion . On the records, though, Atlantis remained and remains the sole vehicle of Heitinga.
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