When listening to the music on this CD, it’s hard to imagine that the creator, 22-year old Tomasz Bednarczyk from Poland, wasn’t born yet when Brian Eno and Harold Budd created their genre-defining work in the first half of the eighties.
In an interesting article about ‘web 2.0 fan-based fundraising’, Kevin Kelly (founding editor of Wire Magazine) states that any artists only needs “1000 True Fans” to make a living out of music.
“A ‘True Fan’ is defined as someone who will purchase anything and everything you produce. They will drive 200 miles to see you sing. They will buy the super deluxe re-issued hi-res box set of your stuff even though they have the low-res version. They have a Google Alert set for your name. They bookmark the eBay page where your out-of-print editions show up. They come to your openings. They have you sign their copies. They buy the t-shirt, and the mug, and the hat. They can’t wait till you issue your next work. They are true fans.”
It has become a sort of a yearly tradition since 2000: the “Spring ambient mix” on dutch national radio (NPS).
This year’s mix, a two hour mix, is now available to listen to online.
It was broadcast in the first two Radio 6 NPS-Folio broadcasts of April.
Not exactly “ambient”, but definitely “Cinema for the Ear” as the composer himself calls it. And indeed: the carefully orchestrated samples and sound fragments seem to tell a story without images. A beautiful tension is created in a dialogue between the electronic soundscape and the piano improvisations.
The Bersarin Quartett is a bit hard to classify. If a subgenre called ‘lounge ambient’ (not to be shortcutted to ‘lambient’, please) existed, the Bersarin Quartett would be one of the first to fit in. Or maybe even define it.
The Bersarin Quartett is not a quartet at all, as you might’ve expected: it’s just “Thomas”. Thomas “Bersarin’s” music can best be described floating somewhere between Biosphere’s ‘Shenzou’ and Cinematic Orchestra without vocals.
‘Cinematic’ this sure is: string orchestra samples are used to full effect. It’s a widescreen soundtrack to non-existent films.
And it’s full of mixed emotions….
100 Fragments is a re-release of Ikeda’s 1995 debut. Originally released on his own CCI recordings label, this album inspired the Raster-Noton founders, who proudly present this rerelease on their own label.
There are two sides to this album, or maybe even three…
“This Quiet Season” is aptly titled for a release on Slaapwel Records (Sleep Well). Slaapwel is a small DIY label from Belgium that focuses on ‘music to fall asleep to’ and releases it in limited amounts (because the packages are handmade).
While the releases on this label all have a recognizable package format, each release gets a handmade cover that perfectly fits the musical content.
Jasper TX (named after a city located in Texas) is also knows as Dag Rosenqvist from Sweden. Apart from earlier releases under this name, he also released titles together with Rutger Zuyderveld (Machinefabriek) such as Vintermusik and Feberdröm.
Some of you may have noticed the name of this weblog has changed.
“Sound is Audible Time” (a quote from a book by John Luther Adams: “Winter Music“) has been the motto of this weblog for over two years now. I felt it was time for something shorter.
“DreamScenes” was the name of one of the ambient-mixes I have created for NPS Supplement radio.
This particular one was broadcast for four uninterrupted hours back in 2002.
“DreamScenes” is a short but effective description of what good ambient music can be.
And, for some reason, it’s also the word that frequently makes search engine users land on one of my webpages.
(Could it be they came looking for a ‘dreamscene’ animated desktop backgrounds for Vista?
Most of these animated backgrounds are quite “ambient” natured too, so combining a desktop dreamscene with some of the music offered here may result in interesting combinations… )
By the way, the title is the only thing that has changed.
The rest of the weblog remains exactly the same. No need to change your links.
I can’t remember how I found the Resting Bell netlabel website – must have been on someone else’s weblog. The website layout looked promising enough, so I downloaded some of the albums available.
Starting, of course, with the latest release: Entia Non’s Sub routine.
The quality of the music of this album is impressive. Created by Australian artist James McDougall, it bears many references yet still maintains a completely personal sound.
It’s Entia Non’s first release on Resting Bell, after releasing other titles on U-Cover and Test Tube.
