Category: other-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’.”

Fovea Hex – Neither Speak Nor Remain Silent (Mix)


Fovea Hex

When I read that a new Fovea Hex album will be released in the “Very-Imminent-Future”, this revived fond memories of their 2007 box set called “Neither Speak Nor Remain Silent”.

Two quotes may introduce this fascinating collection: Brian Eno thought these were “Some of the Most Extraordinary  Songs I’ve heard in Years”, and The WIRE aptly summarized it this way: “If Emily Dickinson had ever been allowed to make a record, this is probably what it would have sounded like”.

These comments are all about the songs, but I was also impressed by the way Fovea Hex combined the (unmistakable English) “folk” tradition, their sweet sounding but very strange and mysterious vocal poetry, with a daringly experimental sound backing – even to the most extreme on the stretched minimalist remixes of the Hafler Trio (Andrew McKenzie) on the bonus versions  included in the original limited special edition.

Enrico Coniglio – Salicornie


Salicornie

Most ambient music deals with more or less imaginary landscapes -like, for example, the two compilations recently reviewed: “Hidden Landscapes” and “Underwater Noises“.

This is definitely not the case for both Topofonie albums by Enrico Coniglio (who also contributed to the Underwater Noises compilation), that are inspired by Venice and its lagoon.

“A polymorphic portrait of what Venice is today, one moment decadent and melancholy, then romantic, rowdy, colourful and chaotic. Postcard of a thousand postcards, photos of a thousand photos…”

But, just as Venice is not like any other city in the world, Salicornie (and its predecessor: Areavirus ) is not like any other ‘ambient’ album.

Elian – Whispers, Then Silence

If I would simply define “ambient” as “drone“, or as “ignorable music“, then Elian‘s “Whispers, Then Silence” would not really fit in here: this roller-coaster ride of electronic soundscapes is definitely not created for repeated playing in the background!

This is clear from the 15-minute title track opening the album: starting with a minimal vibraphone theme, there’s a sudden atmosphere change in the middle, leading to machines running amok for seemingly endless minutes until the end of the track.