Krill.Minima is one of the aliases of Martin Juhls ,who is also releasing as Marsen Jules and Falter, (not to mention his Wildach Sonnerkraut alias.)
From all these aliases, Marsen Jules is obviously the most well-known.
The Krill.Minima music is of a somewhat different kind, but also very dear to Juhls’ heart – especially for live performances.
Philippe Lamy (France) is an artist combining various art-forms. He’s a painter, but also teaches ‘plastic arts’ at the School of Architecture in Toulouse. He started creating music about ten years ago, “feeling that his paintings and music resonate together”.
His soundscapes indeed resemble paintings: they are incredibly detailed, almost organic, including a wide dynamic range of sounds.
His latest solo album,“SlowFast“, is recently released, following up two recent collaboration projects with well-known Polish artist Pleq.
Creating music based on well-known originals is not without risk, especially when the original is a part of our ‘collective memory’.
It is even riskier to create a full album based on a single composition, one that almost everyone will immediately recognise: Erik Satie’s “Gymnopédies No.1″.
Born in 1955 and making music since he was 20 years old (inspired by Tangerine Dream, Klaus Schulze and Vangelis), Steve Roach has personally helped shape ambient music to become what it is now. He’s one of those extremely prolific artists: his discography boasts about 100 albums at the moment.
He has worked together with many well-known musicians, and though his style may vary on each different release it is also very personal and immediately recognisable.
With 40 years of musical experience, percussionist Byron Metcalf is not exactly a newcomer, either.
“Tales from the Ultra Tribe” is their latest collaboration (released in conjunction with Steve Roach’s drone album “Soul Tones” , which showcases quite a different side of his music).
The tense and suspenseful rhythms from these seamlessly mixed eight tracks immediately catch hold of the listener and don’t let go until the end, 74 minutes later.
Exactly 10 years after the original release of David Sylvian‘s “Blemish”, electroacoustic sound artist Stephan Mathieu reworks the original material into a fascinating new soundscape, presenting a different view still perfectly in line with the original material.
If you have ever watched Stanley Kubrick‘s “2001 – Space Odyssey“, you will definitely remember the impressive scene in which the memory modules are slowly taken away from HAL, the ship’s main computer, because it started to disfunction and became a threat to the astronauts and their mission.
Just before his memory fades completely, HAL remembers being programmed to sing“Daisy”, one of his earliest digital ‘childhood memories’.
With this scene (as well as with HAL‘s name), Kubrick directly referred to the IBM 7094 computer (used to control the Mercury and Gemini space flights, as well as the Apollo missions) which was programmed to sing Daisy in 1961 – a remarkable accomplishment at that time!
Computer systems revolting, loss of memory, human utterings that seem to come from lost souls….
I guess you’d better be prepared for a dark and suspenseful listening hour …
If you have listened to this mix, I’m really curious to know what you think, so please let me know!
(and please let your friends know, also… just spread the word and make these mixes heard … thanks for your help!)
When hearing the first notes of “The Eskdalemuir Harmonium” by (Scottish) composer Chris Dooks – created together with Machinefabriek – and reading the album’s liner notes, one thing is very clear: a Harmonium is a strange and fascinating instrument.
“If it sucked air past its reeds it might be called a melodeon but this one blows, so it’s a harmonium. In a harmonium, the more notes in your chord, the faster you have to pedal, the quicker you reach exhaustion. Also, the more notes in your chord the quieter it becomes and only pedaling much faster will keep up the volume.”
“Accumulated dust causes constriction of the tubes, narrowing the airways like an asthma attack. Keys can stick, as can internal mechanics. Things can snap off, rupture. A lung can collapse or be torn open.”
“I catch myself assigning human properties or illnesses to it, calling it arthritic and asthmatic. It can also be grumpy and stubborn depending on the weather.”
At the closing of 2012, I’m proud to present this new ‘dialogue mix’ (the only other collaboration on ambientblog is the “Division Dialogue“ mix created together with Muttley in 2010).
When Christophe Ywaska, creator of the weekly Klankschap radio shows on VillaBota webradio (whose mixes can also be found on Mixcloud, by the way) suggested working on a mix together, I knew we were in for a sonic treat.
Klankschap mixes are never “just” ambient – or “just” any other genre for that matter. Their tracklistings are a display of a deep knowledge of all kinds of experimental music, both new ánd old.
Due to their nature, they dó require some ‘active’ listening, though: they’re never meant to be ‘easy listening’ background music.
And the same is true for this mix, “Both Were Moving”: this is clearly no ‘ambient’ mix – it’s a sonic rollercoaster ride!
The announcement of this charity compilation – the very first release of the popular Headphone Commute weblog – has caused quite a buzz in the ‘ambient’ music community. I’t not very difficult to see why.
Boasting a tracklisting of 87 tracks, it seems that almost everyone artist imaginable has contributed to “…. And Darkness Came“.
More than six hours of music (and sounds) for just USD 10 (or more, of course) – of which all proceedings will go to Doctors Without Borders and The Humane Society to support those affected by the recent Hurricane Sandy.
How’s that for a Christmas present?!
