The sound of Goldmund (Keith Kenniff’s) piano on this record definitely reminds me of the early Harold Budd recording The Serpent (in Quicksilver).
The intimately recorded piano sound (including all pedal movements and instument cracking), the emotional melancholy themes…
Take, for example, this first track: ‘Unbraiding the Sun’. It’s only 1’33”, but put it on repeat and you’ve got a beautiful Satie-esque soundtrack.
The music of this short 6-track 7″ will haunt you much longer that the 10 minutes of music it consists.
If you record a room’s resonation, feed back the recording into that room and record it again, and do this a couple of time so that the feedback gets stronger and stronger, will the result reveal the ‘soul’ of that room?
And will something in this ‘soul’ reveal the fact that these rooms were once busy with people (church, gymnasium, swimming pool, auditorium) but are now completely desolated?
And will you be able to hear the fact that these rooms are all located in the Tchernobyl disaster area?
This, as you may guess, is not intended as ‘easy background ambient’. The result is not unlike some of Thomas Köner’s work – but it’s the concept that makes is almost frightening.
Someone mentioned this hilarious animation, entirely from album covers…it's a must-see for anyone that remembers the good old times of vinyl collection. I bet you see quite a few from your own collection (come on, admit it 😉 ). Just try to count them!
Here's the link (No ambient content, by the way)
A local independent production most of the time is not a good one to judge – most of these can be categorized as ‘sympathetic’ only. Imagine my surprise when I started listening to this CD an I could not leave my place until it got finished…only to hit the ‘replay’ button.
By definition, ‘ambient music’ cannot be ‘vocal music’ unless only wordless syllables are sung (by my traditional definition, that is). Recognisable text generally asks too much attention, and singing almost always requires chords that can be ‘remembered’ easily. Still – in the last year I have heard some great examples of music that defies this narrow definition. There are quite a few examples of “songs” that work very well with a clearly ambient, droney background. For a good example, listen to Wheely Down cover by the Uncertain Music Corps.
Tor Lundvall’s name has been a bit of a buzz in the ambient community recently. Contrary to what you may expect, he’s not living in Scandinavia but in New York. And he’s not only a musician but also a painter, as can be seen on his website http://www.torlundvall.com/.
I’ve said it before, and I’ll probably say it again: Michel Banabila’s music (a well-balanced fusion of electronic, ambient, jazz and ethnic music) deserves much more attention, and not only in Europe!
To get a good impression of his versatility, you can check the myspace accounts listed below. Or read the ‘Hilarious Expedition’ weblog entry earlier. Or just click the icon below to listen to ‘Oh No Uaredeo’ with Salar Asid on violin).
Rune Grammofon does it again! Can you imagine what ‘electronic’ music based on the sound of a ram’s horn, a cow’s horn and a harpeleiki (a norwegian zither) could sound like? Well – in fact it sounds a bit like the compositions of Information’s ‘Biomekano’, because that’s where Per Henrik Svalastog comes from. Only this time the sound is much more natural (as opposed to electronic), due to the nature of the instruments used. This is a complete new definition of the electro-acoustic genre. Fascinating!
Although Keith Kenniff’s (aka Helios, aka Goldmund) music is labelled as ‘ambient’ in fact it’s nothing like it. At least not in my definition of the genre. There’s way too much melody and rhythm in it, you could even hum along…
It’s not just strictly electronics – there’s a soft guitar, piano, laid back percussion. This is the sort of music that feels like a warm bath. It’s very ‘friendly’ music…opposite to the dark threatening atmosphere that ambient drones sometimes have.
Sounds a bit like Susumu Yokota on his better works, and, yes indeed, Goldmund.
To say that I was touched by “Melody Mountain”, by Susanna and the Magical Orchestra would be an understatement. In fact, it hit me quite hard.
It may seem a bit strange to have an entry on this blog about a vocal cd containing pop covers…if it weren’t for the music in the background. This sparse, mainly electronic music will certainly appeal to the ambient music fan. It is created by jaga Jazzist keyboard player Morten Qvenild and produced by Deathprod (Supersilent) – who is well known for his own ambient music and his collaboration with Biosphere. Backed by this (almost ambient) soundtrack, Susanna’s voice sounds even more intimate and honest.
The selection of artists covered may well raise an eyebrow (or two): Prince, Leonard Cohen, Bob Dylan, AC/DC (!!), Kiss (!!!!), Depeche Mode, Fairport Convention (the cover of Fotheringay is especially moving) , and the inevitable Joy Division (sampled here). If you like Nouvelle Vague but think they were a bit too light-hearted, be sure to try out Melody Mountain!