Category: other-music

Fovea Hex – Here Is Where We Used To Sing

The music that is presented on “Here Is Where We Used To Sing” is not the kind of music usually presented here on Ambientblog.
But ever since their impressive debut release “Neither Speak Nor Remain Silent” I have a weakness for all things Fovea Hex. 

Apart from that, they are closely connected to the ambient music scene because of the musicians involved in the project, and expecially for the extremely mininal drone remixes that come with the special editions of their albums.

Erik Satie et les Nouveaux Jeunes

Erik Satie et les Nouveaux Jeunes cover

I guest most people listening to ambient and ‘post-classical’ music also have a special place in their heart for the music of Erik Satie. Or at least they should have.

The eccentric genius composer, or “phonometrician” as he called himself,  “the laziest student in the (Paris)Conservatoire” (where he was labelled untalented by his teachers) has left the world some of the most impressive (and introspective) compositions – of which the Gymnopédies and the Gnossiennes are the most famous.
With his ideas about Musique d’ameublement (‘Furniture music’), Satie was one of the real predecessors of ‘ambient’ music.

So any double CD set offering reworkings of his music by some of the best artists in the contemporary experimental ambient/electronic genre immediately has my full interest!

Antonymes – The Licence to Interpret Dreams

Although it is his debut for Hidden Shoal Recordings,  the new album by Antonymes – “The Licence to Interpret Dreams“ – is in fact his second full album following up “Beauty Becomes the Enemy of the Future” (or third, if you also count “31: Before the Light Fails”, which was a special project in a limited edition of one (!), and only partly available as a digital download after that).

“The Licence to Interpret Dreams“  fits in perfectly with the best of the recent ‘post-classical’ releases and will have immediate appeal to listeners that also enjoy releases by artists like Johann Johannsson, Max Richter, Peter Broderick and Dustin O’Halloran. 
But to leave it at that description would not do justice to the versatility of this album. It is not “just” a collection beautifully constructed post-classical chamber music.

Arno Peeters – The Peeters Principle (Mix)


Arno Peeters

When I started working on this ‘single artist mix’ featuring music and sounds from Arno Peeters, I did not realise that creating a mix-collage based on soundscapes would be more difficult than one based on single tracks.

A soundscape is a collage in itself – and using fragments from soundscapes to build another soundscape is like ripping up a collage and presenting the fragmented details out of their original context, rearranging them to create a new caleidoscopic image.
The original context gets lost, and the result feels like an aural stream of consciousness that may not exactly be “easy on the ears” …. but may prove to be a fascinating exploration of imaginary territories..

Visionary Hours – The Road to Basho


The Road to Basho cover

From the first bars of the opening track “Everyday is a Journey“, one could get the impression that “The Road to Basho” might fit in perfectly with the post-romantic classical chamber music releases so popular nowadays. 

But after a while things start to sound a bit different: although the music sounds like it is created with acoustical instruments, the theme itself does not really seem to change..it gets looped over and over again – until it’s as hypnotizing as Gavin Bryars’ “Jesus Blood Never Failed Me Yet” (or as a William Basinski recording without the tape deterioration).

In fact, the only way to know your player is not stuck on repeat, is by recognising the (slowly increasing) phasing effects in the background.

Dakota Suite & Emanuele Errante – The North Green Down

The deepest grief can often inspire the most impressive art. 

The albums of Dakota Suite are not the ones to celebrate the happier moments in life, as can be seen from their titles alone.
They commemorate sadness, loss, pain, fear and loneliness.
But the (mainly acoustic) instrumentation also always leaves room for hope, for acceptation of the way life is. 

Previous Dakota Suite releases have brought some timeless masterpieces, like “The End of Trying”  and its remix companion “The Night Keeps Coming in” (you can still stream the Folio Radio show compilation of these two albums).
Dakota Suite’s latest release “The North Green Down” may prove to be their most impressive work to date. But the foundations of this album is of heartbreaking sadness once again…

Michel Banabila – The Latest Research…


Research - Cover

For those familiar with the work of Michel Banabila  (and if not: you may check this mix presenting a broad range of his work), his new album “The Latest Research from the Department of Electrical Engineering” may come as a noisy surprise.

Created entirely from electrical sound sources that are fiercely mixed and meant to play LOUD, this has nothing much to do with his gentle ‘world-ambient’ output. In his catalogue it is loosely connected to the two “Spherics” released, that also contained strictly electronic music. But it’s different in sound and in using thumping industrial beats.

Dustin O’Halloran – Lumiere


Lumiere Cover

By now, we can safely speak of a “school of composers”, creating neo-classical, romantic, sometimes melancholic chamber music (sometimes with some electronic elements too): people like Max Richter, Johann Johannsson, Sylvain Chauveau and the like.
Music that sounds like the soundtrack of a movie you want to see just because of the soundtrack…

Dustin O’Halloran  is no ‘newbie’ in the genre. He wrote the scores for Marie Antoinette (2006) and An American Affair (2010), and has released two “Piano Solos” albums on Bella Union.

With this new release “Lumiere“, Dustin O’Halloran definitely settles firmly between the masters of the genre!

*AR – Wolf Notes

*AR is the “collective pseudonym” of Autumn Richardson & Richard Skelton, and “Wolf Notes”  is their first abum together. 

But *AR is also “an archaic place-name element found in river names. (…) It is thought to mean ‘starting up, springing up, setting in motion’ “. 

A further quote from the liner notes explains what this music is about:
It “is inspired by the landscape of Ulpha – a region of spare, rugged beauty in the west uplands of Cumbria, in Northern England. Wolf Notes derives its title from the word ulpha itself, while it is understood to mean ‘the hill frequented by wolves’.”