Shortly after the release of “The Eskdalemuir Harmonium”, Chris Dooks releases the second part of what will become a colourful Idioholism trilogy.
“300 Square Miles of Upwards” is released in a stunning package (designed by Rutger ‘Machinefabriek’ Zuydervelt): a bright blue vinyl 12″ album that also comes with an (extended) digital download version including a video version of the opener track ‘Gardening As Astonomy’.
In the mid-90’s the multi-talented genius Bill Laswell proved that ambient soundscapes and low basslines can match together perfectly.
Still, it was some surprise for me to find Jah Wobble’s trademark low rumbling basslines merging with the cinematic ambient sounds of Marconi Union (Richard Talbot and Jamie Crossley) on their recent collaboration album “Anomic“.
Here’s a batch of most interesting recent releases by dutch artists (that definitely should be heard outside Holland):
SIDDHARTHA BARNHOORN – ANTICHAMBER
Siddhartha Barnhoorn‘s relatively young biography (since 2004) already boasts a great number of soundtracks for movies and commercials. His latest release is the soundtrack for the “Antichamber” game (released through Steam) – a game that does quite well in the gaming community as far as I can tell by the ‘metacritic score’ of 82/100.
I cannot tell anything you about the game experience (if anyone reading this has played the game please share your experience in the comment section) – but as far as the music goes: this is spectacularly atmospheric, breathing a calm that seems to be the complete stylistic opposite of the preview images’ atmosphere.
Creating game music is quite different from creating soundtrack music, as games are mostly unlinear, and it’s never known how long a player will remain at a certain scene. So it’s all about creating an atmosphere, especially one that you would love to stay in longer … and this is what Barnhoorn does very, very well.
“I’m not formed by things that are of myself alone”
This is the key quote (taken from Stoker) for this mix, which is also ‘not formed by things of itself alone’. Every detail, every short sample, has its origin in another context, another musical composition, from which it is taken to find a new place in a completely different context.
“My ears hear what others cannot hear.”
“Parallax“ is the visual effect that, when you are moving yourself, objects closer to you seem to move by faster than objects in the distance, which slowly seem to move with you in the same direction.
In sound, drones seem to create a somewhat similar effect.
In some way that is what this mix is about: the background sound slowly moving along with you while some other fragments pass by so quick you cannot even focus.
Just don’t try to focus.
“…Now I see things that were hidden from my eyes…”
In the Shortlist sections, I will mention the albums that I enjoyed listening to, but couldn’t find the time (or the right words) for a “full” review for. Still, I definitely think they deserve your attention, with or without extra words!
MY HOME, SINKING – MY HOME, SINKING
Enrico Coniglio often refers to Venice (Italy) in his music, which may explain the name of his new project. Released by Fluid Audio in a stunningly beautiful package (which is quickly selling out so don’t hesitate) it marks the label’s venture into new musical territory: ambient/experimental/improv crossover to rock/pop oriented music. This might have been risky ’cause when it failed it would have lost both audiences. But with this incredible set – and the help of people like Barbara De Dominicis, Laura Sheeran, Orla Wren and Katie English – Enrico Coniglio and Fluid Audio manage to define a completely new quality standard.
“The joined arsenal boasts acoustic instrumentation as well as synthesizer, manipulations and field recordings. Here guitar, cello, piano, harmonica, melodica, percussion and voice ring alongside Korg Monotron, Orla Wren’s processing, and Coniglio’s vinyls.Tracks range from glowing string examinations to humming whitewashes, from vocal reveries to textured pop allure.”
MY HOME, SINKING – MORNING WALK
BLUHM – THE VALE OF TEARS
The newly-set Fluid Audio standard is immediately and easily met by the labels follow-up release by Bluhm, a collaboration of Tim (‘Maps and Diagrams’) Diagram and Macedonian singer Genoveva.
They present a sound more ‘psychedelic’, with washes of echoes and vocal dubs, but (as My Home, Sinking does) their new releases also clearly marks a new musical direction.
“The musical production side utilises Tim’s trademark palette of drone, delay, reverb, discord, distortion, tape effects and granular synthesis. All consciously crafted with the light, ardour and purity that is always associated with his oeuvre. These primary melodies were presented to Genoveva, who then added her seraphic vocals.”
“It’s an exploratory, elemental union that includes a significant, immersive and expressive vocal narrative. The overall theme of light and hope is perhaps not so apparent on the first few listens because the vocals are full of hidden mystery. However, its nascent sense of optimism does become apparent the more you listen to it, essentially it’s a journey of hope”
BLUHM – WHEN WE CRY
Only short after the minimalistic generative soundscape presented on “The Endless Change of Colour“, Marsen Jules displays a completely different musical approach with this album by the Marsen Jules Trio.
As the …Trio indicates, this album presents Marsen Jules’ atmospheric soundscapes with the addition of two other musicians: twin brothers Anwar Alam (piano) and Jan-Philipp Alam (violin), with whom Marsen Jules played tours and festivals across the USA, Canada and Europe.
“Présence Acousmatique” is a stunning synergy of ambient, avant-garde, modern classical and introspective jazz music. It is released on Jules’ own Oktaf label, but stylistically it would have also fitted the ECM (new) series.
In the Shortlist sections, I will mention the albums that I enjoyed listening to, but couldn’t find the time (or the right words) for a “full” review for.
Still, I definitely think they deserve your attention, with or without extra words!
CHRIS WEEKS – THE EBB AND THE FLOW
“Staring out to sea. The Ebb & Flow of the tide. Waves of sorrow wash over you; a deep melancholy. Comfortable, a self-aware sadness. Its motives: wistful, romantic, hopeful, not without purpose; absorbing, fuelling creativity, a source of inspiration.”
Compilation albums are a great – and often low budget – way to find new music and artists that you may possibly want to check out further.
And, of course, that is exactly why they are made.
Check out the compilations below for hours and hours of music exploring (about 10 hours, to be exact!):
SEQUENCE 6 [Free Download]
This Future Sequence compilation offers 4 (four!) hours of music – 40 tracks, which were chosen from over 160 (!) submissions. The fact that this is the sixth volume in this series of free compilations within two years demonstrates the ambient/experimental music scene is more alive than it ever was.
As with most compilation albums, not every track will probably be to your liking, but even if you leave these out there’s enough left to go on for hours. As in all previous editions of the Sequence compilations, tracks from established artists are juxtaposed with those of emerging artists.
I am extremely honoured to present a guest mix for the Grounding Sounds series, which, “drawing inspiration from the famous Back To Mine compilations, showcases the music that captured experimental artists and labels”.
But: I must warn you beforehand: this mix contains NO ambient music at all – with a possible exception of the opening track “Spider & I” by Brian Eno.
It is a rather eclectic selection of all kinds of unrelated genres, because I deliberately chose to stay away from ambient music for this ‘classic mixtape-style’ selection of some of my all-time favourites.
