#Artificial Pinearch Manufacturing

[dustedmagazine]

A Winged Victory for the Sullen — Invisible Cities (Artificial Pinearch Manufacturing)

Invisible Cities by A Winged Victory for the Sullen

Adam Wiltzie and Dustin O’Halloran’s new album as A Winged Victory for the Sullen, Invisible Cities, is a soundtrack to Leo Warner’s 2019 multimedia theatre production, itself adapted from Italo Calvino’s 1972 novel of the same name. If the futility of writing about music is akin to dancing about architecture, then we’re really struggling here, strangely coming full-circle, back to Calvino’s medium. But, though divorced from its visual context, the music of Invisible Cities stands alone, proving a worthy addition to the duo’s cinematic discography.

Anyone familiar with AWVFTS’s previous albums will find the duo painting in a similar palette of neo-classical sounds, mostly comprising piano, strings and choir, blended with synths and skilfully manipulated to blur into ambient washes around the edges. While some pieces on their self-titled debut, Atomos and The Undivided Five stretched out around the 10-minute mark, the longest pieces on Invisible Cities top out at half that, creating distinct complementary scenes. Each piece is seemingly quite simple in terms of overall construction, with sustained atmospheric tones juxtaposed with spare melodies traced out in the foreground. However, pop on your best headphones, focus on the interplay between the layers of these richly detailed mixes, and you’ll find plenty of instrumental texture that’ll raise the hairs on the back of your neck. 

“The Celestial City” combines uplifting choral refrains with swells of brass, levitating piano lines, and distorted tones that buzz on the surface. On “Every Solstice Equinox” a gorgeous synthesizer melody strides confidently over an anxious bed of strings, while gaseous reverberations and chiming dulcimer conjure a bleak scene on “Despair Dialogue.” The pairing of piano and cello on “There is One of Which You Never Speak” becomes thrillingly bit-crushed at its climax, like losing reception on a symphonic piece heard over classical radio. Final track “Total Perspective Vortex” becomes similarly overwhelmed by blasts of coruscating distortion, before a calming epilogue brings the album to a fittingly peaceful close, like the sun setting over the ruins of a once-majestic city. 

Tim Clarke

[sinceileftyoublog]

A Winged Victory for the Sullen Interview: Dancing in Venice

BY JORDAN MAINZER

Ambient duo A Winged Victory for the Sullen compose for other media just as much as, if not more than, they make records for themselves. Dustin O’Halloran and Stars of the Lid’s Adam Wiltzie released their self-titled debut 10 years ago but followed it up with Atomos, an original score for Wayne McGregor’s dance company, as well as soundtracks to the films Iris and God’s Own Country. After 2019′s The Undivided Five, a more personal affair, they’ve now returned to writing for the stage, composing Invisible Cities for a 90-minute Leo Warner theatre production inspired by Italo Calvino’s novel of the same name. 

Yet, Invisible Cities as a record stands alone nonetheless; O’Halloran and Wiltzie view putting together an album out of their scores as its own creative endeavor, and the product its own artistic entity. For one, Invisible Cities, the record, is half the length of the score, which followed cues from a script Warner had written for the production. And while there’s a narrative quality to the music, it follows the best peaks and valleys of a Winged Victory record. Opener “So That The City Can Begin to Exist” shimmers with strings, keys, and solemn piano, while hopeful tunes like “Every Solstice Equinox” temper the uneasy expressions of “The Dead Outnumber The Living”. Instrumentals are surrounded by something new for the band--voice--on the pulsating and buzzing “The Celestial City” and choral lead single “Desires Are Already Memories”. The track titles themselves, meanwhile, are taken directly from the novel (translated from Italian to English), but the sequencing of the record was achieved with solely the album format in mind, independent of the order the words appear in the novel or production.

Moreover, the duo feels like Invisible Cities fits within their discography. For one, the instrumentation followed what Wiltzie called “the usual process” of “guitar that doesn’t sound like guitar, piano that doesn’t sound like piano, random keyboard sounds reprocessed and regurgitated” as well as “a little brass and the typical strings we seem to fall back on.” And even though the aesthetic is a little different, primarily due to the use of voice, they feel like they could play some of the songs on the record in a live show. Talking to O’Halloran and Wiltzie over Zoom late last year, reflecting on Invisible Cities provided them the opportunity to revisit it after a busy 2020. “It’s been a great year for sitting on your butt and making music,” Wiltzie said, telling me that the band has five (!) records finished at the moment. “I’m just gonna retire and slowly release them,” quipped O’Halloran. They released Invisible Cities on their Artificial Pinearch Manufacturing label with the blessing of their usual label Ninja Tune, so they could release the record sooner than Ninja Tune’s release calendar allowed. Considering the potential for new Stars of the Lid music after Wiltzie’s solo release and the upcoming release of O’Halloran’s Deutsche Grammophon solo debut Silfur, it was probably a wise move to drop Invisible Cities in February. It’s music that resonates now and will continue to inspire in the future.

Read my conversation with O’Halloran and Wiltzie below, edited for length and clarity.

Since I Left You: Were you aware of the novel Invisible Cities before composing the score?

Adam Wiltzie: I’d read it a while ago. I haven’t known about it for that many years. It was still fresh in my brain. Dustin lived in Italy for a while, so he might have been aware of it for longer. In Italian circles, he seems to be extremely well known.

Dustin O’Halloran: I hadn’t read that particular book until this project, but I’m definitely a fan.

SILY: How did your awareness of the novel make its way into your approach? The eventual score was for Leo Warner’s theater production, but going from start to finish, did your experience of reading the novel make its way into the scoring approach?

AW: Definitely, in a kind of roundabout way. Leo ended up hiring a scriptwriter. There were so many technical people--dancers, actors, there were about 100 people total working on the entire production. He thought it would be good to have a script everyone could follow. Pre-production to the premiere in first week of July 2019, everyone was kind of working remotely in their own cities, and eventually everyone came together. We needed a way to work on it in a tangible way where everybody could follow along. The book is this very atmospheric psychedelic 13th-century travelogue. The script had more of this dialogue that happened between things not exactly in the book that they took as an inspiration. The city of Venice, one of the main characters heavily present in the production, the spirt of the novel is there but it’s not exactly how the novel goes when you see the production.

SILY: How did working on Atomos compare to working on Invisible Cities?

DO: [Atomos] was a pretty big production. That was our first time working the stage. Obviously, this was a totally different thing. That was a production with dancing, 3D elements, an abstract narrative.

AW: I didn’t know at the time what a big deal it was to be working with Wayne. How are you gonna top that? The whole experience was really great. There were elements of what we were doing with McGregor with dance, but one major difference was the soundtrack, the score we did for Wayne’s, we played it live all the way through. The new one is a hodge podge. There are so many elements going on. I look at Atomos--I don’t want to say 50-50, but dance and the music are at the forefront. Here, music is more of a supporting role, if that makes any sense.

SILY: How does that change your approach to scoring, knowing what exact role it’s gonna play in the overall experience?

AW: A lot less pressure, that’s for sure. Hopefully, some day it’ll come back on tour again. It’s a little bit mental. There’s so much going on. I can barely even make sense of it.

DO: I hadn’t seen the production--Adam showed up at the rehearsal--but it was in this abandoned train station in Manchester. It was massive. They built a canal of water to emulate the Venice Canal, and boats.

AW: It was almost a film production, but taking place in a live format. Definitely very ambitious.

SILY: Listening to it, not having seen the production, I can still hear what sounds like cinematic cues. Do you imagine those images in your head, cinematic or theatrical, when composing?

AW: This production was more like a film score because you had a script. Doing really specific scenes.

DO: There was a lot of dialogue and Shakespearean acting. The main actor who played Kublai Khan was a strong theater actor. There was much more of a theater element to the acting.

SILY: To what extent does this as an album exist separately from its context? Can it be fully appreciated as a recording in your minds?

AW: I think so. Obviously, we’re both a little bit biased so it can be hard to have some perspective. But I see a connection with all of our records. Not everybody knows that Atomos was part of a dance production. I like to think it’ll be the same for this, taken out of the context of being there in person. Reading comments from when we dropped the first single, I saw people saying, “Oh, Invisible Cities, like the Calvino book!” without realizing it actually was the book. I think most people don’t really know. It’s a good thing. If you see the production, that’s great, but it’s not gonna show everywhere. You can let go and just enjoy the record. That’s the experience we wanted it to have during the editing process, where we could edit it down to 45 minutes to work as a solid record.

DO: Maybe more than our other works. There’s a bit more storytelling in this. With Atomos, it was pretty much like making a record.

SILY: Thinking about your discography, you have now four technical studio albums including Atomos, and almost as many film soundtracks. When I think of A Winged Victory for the Sullen, so much of it is composed for other media but stands on its own at the same time.

AW: That’s what we hope for. Anybody scoring, that’s a composer musician’s dream. You want the listener to be able to listen all the way through.

SILY: Where did the track titles come from?

AW: They come straight from the book, obviously translated from Italian to English.

SILY: Do those appear in the same order in the novel as they do in the track list?

AW: It doesn’t start from the beginning to end. The goal was to have a good side A and side B. But they are related to specific cities. There’s one on side B, “There Is One Of Which You Never Speak” which is a direct reference to Venice. The city titles are a little bit scattershot. I was reading back through the novel as we were editing, over the past few months of being in lockdown, and we started trading phrases back and forth, and Dustin thought we’d give it a try. It’s been an interesting way to do song titles, not that I invented this concept. I like the phrases. You kind of get lost in them.

SILY: Many of them seem to conjure the mood of the track, like “The Dead Outnumber The Living”. Very uneasy, expressive tones.

DO: When you have a book that interesting, it’s so psychedelic. If anything, I hope people discover Calvino. He’s very under the radar for American readers. For me, he’s such a good writer, very much of the earth, this kind of fantasy realism that’s super inspired.

SILY: Why did you release “Desires Are Already Memories” as the first single?

AW: Dustin chose it. I couldn’t really pick one. Normally, every record, I pick an obvious single, but I couldn’t for this one, so I said to Dustin, “Hey man, pick the single.”

DO: It’s the most different sound to date. I just thought it was a nice change for us and people would be interested to check the rest out. We definitely have our sound and elements we work with. It’s always exciting to get away from the things we normally use. We didn’t ever go into the project with any idea of what the instrumentation would be. Whatever we explore, there’s a lot of processing that happens, a lot of experimentation. It’s always great to bend these classical or traditional instruments to try to find ways to bring them life. That track was combining things I hadn’t really heard before.

SILY: What’s the inspiration behind the album art?

AW: On the previous record, The Undivided Five, Ninja Tune gave us some choices, and we started working with this guy Davy [Evans]. We connected emotionally with his images. We just liked him. He was a nice easy guy to work with. Very organic.

DO: I just like that his work feels so otherworldly.

SILY: Do you have a favorite track on the album?

AW: For some reason, I don’t know why, but it’s “Despair Dialogue”. This distorted guitar sound I got in the left channel at the last 45 seconds is one of my favorite guitar sounds I’ve ever gotten. The music is used as support for a spoken word moment between two main characters, so it’s not super loud in the mix. But sometimes things just happen accidentally, and it really grew on me later. I didn’t think it would even make the cut, and now it’s the one I enjoy the most.

SILY: I really like the distorted quality of a lot of the record that belies some of the more beautiful passages--but they’re beautiful in their own way, too.

AW: There are some textures we were pushing a little bit more for this one we haven’t necessarily done. I can’t say less pretty or dark, but there were things I noticed I’m not sure the casual listener does so much, but emotions we would counter some of the melodies with.

SILY: Anything you’ve been watching, listening to, or reading lately that’s caught your attention?

AW: Morricone just died, and there’s this really great biography of his called In His Own Words. I didn’t realize how tortured he was by directors. For how famous he was, he was really miserable about it. I also read The Complete Personal Memoirs of Ulysses S. Grant, about the Civil War. It’s really bleak.

For some reason, I have Adult Swim over here, and I’ve been watching Mike Tyson Mysteries and Robot Chicken. I don’t know if I’d recommend them, but they’re pretty funny. 

[postambientlux]

BEST AMBIENT OF 2021

the 100 BEST AMBIENT ALBUMS of 2021 curated by @holsgr

#100 : Robert Takahashi Crouch - Jubilee (Room40)

#99 : Xu & Darren Harper - Arising & Ceasing of Things (Rottenman Editions)

#98 : Tim Linghaus - Memory Sketches II (Schole Records)

#97 : Hauschka, Rob Petit & Robert MacFarlane - Upstream (Sonic Pieces)

#96 : Ross Gentry - Prism of Dust (Polar Seas Recordings)

#95 : Will Samson & Message To Bears - Flow State Mosaic (Human Chorus)

#94 : Land System & Mara - AKIN (Spirit Level)

#93 : Gi Gi - Lumino Pleco (Quiet Time Tapes)

#92 : Oliver Patrice Weder - The Pool Project (Spitfire Audio/SA Records)

#91 : Ian Hawgood & Stijn Hüwels - Voices (Home Normal)

#90 : Kaitlyn Aurelia Smith & Emile Mosseri - I Could Be Your Dog (Prequel) (Ghostly International)

#89 : Federico Mosconi - Dreamers and Tides (Dronarivm)

#88 : Zensō - Kyūjōshō (Self-Released)

#87 : Grabek - Tiny Melodies (Interpret Null)

#86 : Zaké & Marine Eyes - Unfailing Love (Past Inside the Present)

#85 : Jakob Lindhagen & Dag Rosenqvist - Stadsbilder (Time Released Sound)

#84 : Andrew Tasselmyer - Impulses (Home Normal)

#83 : Danny Scott Lane - Caput (Schematic Music Company)

#82 : Ian Hawgood - 朝 (Home Normal)

#81 : Arushi Jain - Under The Lilac Sky (Plancha)

#80 : Lone - Always Inside Your Head (Greco-Roman)

#79 : Allred & Broderick - What The Fog (Dauw)

#78 : Danny Lubin Laden - Through Our Time (Slow & Steady Company)

#77 : Floating Points, Pharoah Sanders & The London Symphony Orchestra - Promises (Luaka Bop)

#76 : Fabio Perletta - Un Fiocco Di Neve (901 Editions)

#75 : Bendik Giske - Cracks (Smalltown Supersound)

#74 : Robert Farrugia - Voicemail (ARCHIVES)

#73 : James Bernard - Matrices (A Strangely Isolated Place)

#72 : Ai Yamamoto - Love Me Tender (Past Inside the Present)

#71 : Ffion - Unfurling (Third Kind Records)

#70 : Enrico Coniglio - Alpine Variations (Dronarivm)

#69 : Cities Last Broadcast - The Umbra Report (Cryo Chamber)

#68 : Headlock - Dragged Away (Sci-Fi & Fantasy)

#67 : Jason van Wyk - Threads (n5MD)

#66 : Pepo Galán & Shinji Wakasa - Between The Leaves (Facture)

#65 : Roxane Métayer - Éclipse des Ocelles (Morc Records)

#64 : Whettman Chelmets - For... (Self-Released)

#63 : Picnic - Picnic (Daisart)

#62 : Minotaur Shock - Chaff Probes (Bagatelle)

#61 : Lea Bertucci - A Visible Lenght of Light (Cibachrome Editions)

#60 : Seaworthy & Matt Rösner - Snowmelt (12k)

#59 : We Dream of Eden - Deeper Still (Echoes Blue Music)

#58 : Patrick Ellis - The Deserter (FLAU)

#57 : Andrew Heath - New Eden (Disco Gecko)

#56 : Dead Melodies - Fabled Machines of Old (Cryo Chamber)

#55 : N Chambers - Spectrum Garden (Self-Released)

#54 : Hania Rani - Music for Film and Theatre (Gondwana Records)

#53 : Jonas Margraff - Drown in ur Presence (Ōtium)

#52 : Valgeir Sigurdsson - Kvika (Bedroom Community)

#51 : Joachim Spieth - Ousia (Affin)

• • •

#50 : Perila - How Much Time It Is Between You And Me? (Smalltown Supersound)

#49 : Taennya - Natural Serenity (Stereoscenic)

#48 : Burning Pyre & Canadian Rifles - The Snipe & The Clam (Eastern Nurseries)

#47 : TIBSLC - Delusive Tongue Shifts Situation Based Compositions (Sferic)

#46 : Tony Anderson - Nuit (Self-Released)

#45 : Sleepsang - Beyond (INTERWORLD)

#44 : Sascha Rosemarie Höfer - Le Traviate (Lontano Series)

#43 : Amulets - Blooming (The Flenser)

#42 : The Broken Cradle - You Are Here and I Am Yours (Self-Released)

#41 : A Winged Victory For The Sullen - Invisible Cities (Artificial Pinearch Manufacturing)

#40 : G.S. Schray - The Changing Account (Last Resort)

#39 : Takuma Watanabe - Last Afternoon (SN Variations)

#38 : Arovane - Reihen (12k)

#37 : Kajsa Lindgren - Momentary Harmony (Recital)

#36 : Lowering - Find Me In The Earth, Beneath The Weeds (Disintegration State)

#35 : Coeden - Oblivia (HIDE)

#34 : Maps and Diagrams - _Modulus (Handstitched)

#33 : Landon Caldwell & Flower Head Ensemble - Simultaneous Systems (Moon Glyph)

#32 : David Shea - The Thousand Buddha Caves (Room40)

#31 : Jacob David - Mursejler (Moderna Records)

#30 : Erik Schilke - Synthesis (Hymen Records)

#29 : Byron Westbrook - Distortion Hue (Hands In The Dark)

#28 : Romain Azzaro, Sacha Hladiy, Paul Behnam, Ruth Mogrovejo, Nicolai Johansen - Colours of Now (Rouge Mécanique Musique)

#27 : Theodore Wild Ride - Theodore Wild Ride (Icarus Records)

#26 : Sébastien Guérive - Omega Point (Atypeek Music)

#25 : Onsy - MetaConc (Quiet Time)

#24 : Animated Matter - Selkie (Self-Released)

#23 : Gaspar Claus - Tancade (InFiné Éditions)

#22 : Wil Bolton - Cumulus Sketches (Home Normal)

#21 : More Light - Casual Dragon (Dancing Eagle Records)

#20 : Landtitles - Your Voice In Pieces (Slowcraft Records)

#19 : JARR - An Echo In Her Skin (HushHush Records)

#18 : Stray Theories - This Light (n5MD)

#17 : Daniel Herskedal - Harbour (Edition Records)

#16 : Gray Acres - Dreams and Phantoms (ARCHIVES)

#15 : Matt Rösner - No Lasting Form (Room40)

#14 : Viktor Orri Árnasson - Eilífur (Pentatone)

#13 : Christine Ott - Time To Die (Gizeh Records)

#12 : Ian Nyquist - Endless, Shapeless (Laaps)

#11 : ILUITEQ - The Loss of Wilderness (n5MD)

#10 : Nebel Lang - Hand In Mine (Whitelabrecs)

#9 : The Vernon Spring - A Plane Over Woods (Lima Limo Records)

#8 : Parallel Highway - Dream of Electric Sheep (Self-Released)

#7 : That Which Is Not - The Basic Sharpness of Emotions (KrysaliSound)

#6 : Arkadiusz Salwowski - Distance (LOŻA)

#5 : William Ryan Fritch - Built Upon a Fearful Void (Lost Tribe Sound)

#4 : Hugh Small & Brian Allen Simon - The Side I Never See (Melody As Truth)

• • •

#3 : Simon Goff - Vale (7K!)

#2 : Bremer/McCoy - Natten (Luaka Bop)

#1 : Atli Örvarsson - Wolka (INNI Music)

the 30 GREATEST AMBIENT EP's of 2021 curated by @holsgr

#30 : Snorri Hallgrímsson - Landbrot II (Moderna Records)

#29 : Benoît Pioulard - Silencer (Disques d'Honore)

#28 : Botany - Portal Orphanage (Western Vinyl)

#27 : Jeroen Dirrix - A Hidden Place (Moderna Records)

#26 : JAB - Currents (Joon Dada Records)

#25 : Conor C. Ellis - Cutting Out My Shadow (Self-Released)

#24 : Perila & Ulla - Memories of Log (VAAGNER)

#23 : Molly Lewis - The Forgotten Edge (Jagjaguwar)

#22 : Edward Sikorski - Basic Colours (Oscarson)

#21 : Richard Skelton - The Hollows (Aeolian)

#20 : Lee Yi - Perception of Invisible Forms (Rottenman Editions)

#19 : Daigo Hanada & Yoko Komatsu - Sayuru (Moderna Records)

#18 : Lucy Gooch - Rain's Break (Fire Records)

#17 : Lee Gamble - A Million Pieces of You (Hyperdub)

#16 : Naemi - A Week's Notice (Self-Released)

#15 : Present Guests & Marcus Nero - Losing Stream (Current Every)

#14 : Carmen Villain - Sketch For Winter IX: Perlita (Geographic North)

#13 : Bénédicte - When It Binds (Blueberry Records)

#12 : Clarice Jensen - Ainu Mosir (FatCat Records)

#11 : Jupi/ter - Islands, Pt.2 (Ambientologist)

#10 : Ekin Fil & Ella Zwietnig - Far Within Reach (Self-Released)

#9 : Endless Melancholy - Landmarks (1631 Recordings)

#8 : Frieder Nagel - The Arrival (InFiné)

#7 : Hiroco.M - Still (Moderna Records)

#6 : Michel Banabila - Descending The Mountain (Tapu Records)

#5 : Didacte - Revenir (Piano and Coffee Records)

#4 : Theatre of Delays - Súton (Rottenman Editions)

#3 : Joe Harvey-Whyte - Flatland/Spaceland (None More Records)

#2 : Erot - Gneiss (Ultimae)

#1 : Marek Kamiński - Tumult (Self-Released)

HONORABLE MENTIONS

Grasscut - Haunts

Nala Sinephro - Space 1.8

Mary Lattimore - Collected Pieces II

Thme - Silesco

KMRU - Logue

Taylor Deupree - Mur

Tyresta & Ruan - Already Complete

Jake Muir - Mana

Faith Coloccia & Philip Jeck - Stardust

Manja Ristić - Kairos & The Dwellers

Nils Frahm - Old Friends New Friends

Arca - kiCK iiiii

The Lifted Index - Sanctuary

Growing & Mary Lattimore - Gainer

Ben Seretan - Cicada Waves

Clariloops - Sun//Rain

Jos Smolders & Jim O'Rourke - Additive Inverse

Hiatus - Distancer

Peter Gregson - Patina

Ryan J Raffa, Nico Rosenberg & The Svara Ensemble - Velā

Matt Robertson - Enveleau

John Thayer - Supermundane

Maenad Veyl & The Sarcasm Ensemble - Comfort in Misery

Eduardo Briganty - Entelequia

Shabason, Krgovich & Harris - Florence

Henry the Rabbit, Beatrice Morel Journel & Semay Wu - Songs of The Marsh

Olec Mün - Vögel

MastroKristo - Departures

Jusell, Prymek, Sage, Shiroishi - Shiki

David Allred - Driving Through the Aftermath of a Storm on a Clear Day

Awakened Souls & From Overseas - Keep the Orange Sun

Lauge & Perry Frank - Selvascapes

Robert Scott Thompson - As First Star Wakes, She Wanders There

Madre Vaca - The Elements

T.Griffin - The Proposal

Shinpal - Blue Stories

Stefán Halfsteinsson - Heima

France Jobin - The Fluidity of Time Does Not Exist

Forest Robots - Amongst a Landscape of Spiritual Reckoning

Mike Lazarev - Out of Time

Fancisco Sonur - Morning Trials

Sabled Sun - 2149

Henrik Meierkord - Kval

Havana Swim Club - Havana Swim Club

Relaxer - Concealer

Woulg - Bubblegum

FRKTL - Azimuth

Holy Similaun - Ansatz

Feral - The End

Plague Mother - Carrying Your Halo

Milio - Ave

Slow Meadow - Upstream Dream

Celia Hollander - Timekeeper

Taylor Deupree & Marcus Fischer - Proem

Mario Batkovic - Introspectio

Szymon Kaliski - Gaze Into The Sun

Tomonari Nozaki - waves

Past Palms - Empyrean

Demetrio Cecchitelli - Ruins

BEWATER - Inside Sea

Anthéne - Held

Experimental electronic & Ambient music blog made by Hermann Holsgr. linktr.ee/postambientlux

[thenewobjective]

ACL 2021 ~ Top Ten Modern Composition

ACL 2021 ~ Top Ten Modern Composition

This year, we reviewed more modern composition albums than those in any other genre ~ not because more were submitted, but because their overall quality was so high.  We read this trend early in our Spring Music Preview, and it continued throughout the year.  The backstories were intriguing as well, from Australian wildfires to the passing of a friend.  Could it be that the break from touring and…

[thenewobjective]

A Winged Victory for the Sullen ~ Invisible Cities

A Winged Victory for the Sullen ~ Invisible Cities

The musical careers of Adam Wiltzie and Dustin O’Halloran span back to the 90s with their former groups, but A Winged Victory for the Sullen has already been around for a decade, establishing its own niche.  The duo has alternated between studio albums and film productions, sprinkling in some amazing videos along the way.  Invisible Cities is a multi-media project spanning theatre, dance and…