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DreamScenes 2017-3

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DreamScenes for March:

Music for the end of winter….


  • 00:00 DreamScenes – Intro (Susanna)
  • 00:38 Olivia Louvel – Good Queen Bess
    Data Regina, 2017
  • 04:20 Angelina Yershova – Intermezzo 80 Hertz
    Resonance Night, 2017
  • 08:16 High Plains – Song For A Last Night
    Cinderland, 2017
  • 12:54 Teleferick – Lumen Reign (Teleferick Reworks Illuminine)
    Sixteen Frames (2003-2013), 2017
  • 16:14 Abul Mogard – Desires Are Reminiscenses By Now
    Works, 2016
  • 25:00 Ceeys – Hover, Over, Me
    Concrete Fields, 2017
  • 30:26 Visible Cloaks – Terazzo (ft. Motion Graphics)
    Reassemblage, 2017
  • 33:35 José Silva – Does It Get Easier
    Modulated Tones No. 1 – Music For Framed Works, 2017
  • 37:11 Pjusk – Xue (Feat. Shao)
    Syklus, 2016
  • 42:40 Loess – Bowhead
    Pocosin, 2017
  • 44:53 Artists For Oona – Alpenglühn – Darren McClure Stem
    AlpenOO, 2017
  • 48:48 Masayoshi Fujita & Jan Jelinek – Parades
    Schaum, 2016
  • 57:57 Dead Light – The Ballad Of A Small Player
    Dead Light, 2016

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DreamScenes 2017-2

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Music for the last days of Winter….

The february DreamScenes edition may feel darker than usual.
Possibly due to the dark winter days or, perhaps,  the general darkness of current times.
But don’t worry: there’s a sweet surprise at the end. So keep listening!


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Yann Novak * Triac * Mytrip

Mytrip Filament



On his very first physical release on the Touch label, Yann Novak “continues his investigations of presence, stillness and mindfulness through the construction of immersive spaces, both literal and figurative.”

The title of this 49 minute soundscape refers to a 1913 manifesto of Adolf Loosarguing that “the proper and moral evolution of Western culture depends in part upon the removal of ornamentation from daily life”,  because “the desire to adorn architecture, the body, objects etc. is a primitive impulse.”
equated ornamentation with the degenerate – an interesting viewpoint to ignite a heated conversation in a contemporary tattoo-shop on a saturday afternoon, I guess.

For this composition, Novak carefully selected poor quality field recordings from his archive. “Difficult sounds”, low fidelity smartphone recordings, full of awkward interruptions and problematic frequencies.
This selection forced him to approach the material in an entirely different way: “the familiar, reductive approaches would fail to be useful and ultimately abandoned in favor of more dynamic, additive and laborious processes.”
The result is ‘an adornment of time itself: a meditation on beauty, labor and aesthetics’. 

Is this an ‘ornamented’ drone? Or are the original recordings stripped of their inherent ornamentations?
It’s impossible to say. One wonders what Adolf Loos would have to say about a recording like this .

Also on Spotify

Triac Here


Third Triac album by the trio consisting of Rossano Polidoro (ex Tu’M, laptop), Marco Seracini (piano, synth) and Augustus Tatone (electric bass), and their second release for Richard Chartier’s Line label: the follow-up of last year’s Days.

Though their music is constructed in an entirely different process, the result is reminiscent of that of William Basinski in its repetitive use of short melodic fragments with an almost hypnotic result.
Mysterious clouds of drifting sounds, where  the sound of piano and bass is hardly distinguishable but definitely add to the complete sound palette.

Mytrip Filament


There’s a remarkable lot of experimental electronic music coming from the Eastern part of Europe. Most of these albums were hard to find in the old days, but with Bandcamp becoming the main distribution channel for independent artists finding this music has become much easier.
While I’ve seen many acts from – for instance – Poland, there are no names from Bulgaria that I know of. With this exception: Angel Simitchiev aka Mytrip.

Filament is physically released as vinyl and cassette, and there’s a download version, but no CD release.
The album features six multi-layered, dubby soundscapes (and three additional remixes by Ivan Shopov, Evitceles and Conjecture on the cassette version only which is 20 minutes longer than the vinyl album release).

The music can be classified as “breathing on the thin borderline of ambient, drone and dub”, but with a discerning sound palette because Simitchiev is careful to keep some harshness in his sound palette to accentuate the ‘live’ feel of the album.

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Teruyuki Nobuchika * TamTam * Rhucle/Silentwave

Teruyuki Nobuchika

Teruyuki Nobuchika


The third album by Japanese electronic musician and soundtrack composer Teruyuki Nobuchika is released on the Oktaf label.
As a sound designer and composer for a multitude of (Japanese) TV dramas and movie soundtracks, he’s experienced in creating different moods and atmospheres in relatively short tracks.
His skills are convincingly displayed on this multi-faceted album, featuring “electronic abstractions and classic sensitivity influences in a minimal ambient music context”.

With eight tracks and a total playing time of just under 28 minutes, the only downside I can think of is that it is much too short. No doubt there must be much more where this came from!

Also on Spotify

TamTam Urban Dialog


If your association with ‘Field Recordings’ and ‘Environmental Music’ is that it are recordings from the environment presented in the most authentic way possible, preferrably without alteration of any kind, then this 50 minute soundscape is an obligatory listen. And doing so is without financial risk, since it’s a Name Your Pice download.

TamTam is a Berlin duo of sound artists Sam Auinger  (electronics, field recordings) and Hannes Strobl  (electric bass, field recordings).
‘Sonic thinkers’, whose music is situated at the exact spot “where the sound environment becomes the instrument, and the instrument becomes the sound environment.”

The environmental sound recordings are taken from different urban situations, restructured and merged with a set of bass sounds and playing techniques.
“The piece is considered finished at the moment it can be performed in one take”.

Urban Dialog is an environmental symphony, a soundscape where there is no difference between music and sound. It simply is both at the same time.
The hectic soundscapes of everyday city life are transformed into an pleasurable urban symphony.

Night Life


Yet another enchanting beauty on Chihei Hatakeyama’s White Paddy Mountain label is this split from Rhucle and Silentwave.

Rhucle (from Tokyo, further details unknown) delivers five relatively short tracks that feel like a garden walk in the early morning – uplifting and bright music with titles like Tipsy, Leisure Time, Ice Lolly and Warm Rug.

The album closes with a 20 minute drone track by Silentwave (Nogushi Yoshinori from Yokahama, Japan). An improvisation aptly called Night Wave, which is considerably darker -by design- but still a very comfortable way to spend the night.

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The Sound of Zen: Chihei Hatakeyama

Hatakeyama - Desert

There’s a steady and unstoppable stream of releases by Chihei Hatakeyama, on his own White Paddy Mountain label as well as on other labels.
A short roundup of some of his recent releases: 

Hatakeyama - Desert


Dronarivm‘s last release for 2016 is a great example of the Zen-like calm of Chihei Hatakeyama‘s music.
Soft drones, the sounds of half-sleep, balancing presence with absence. Being somewhere while at the same time not being there…
The sounds you hear seem detached from its source: it’s hard to imagine that this is ‘the sound output from a guitar anp and the speaker.’
Recording in the basement of a studio – or, in his own words: “worked underground in the bottom” –  Chihei wanted to create images of the sky.
This “theme of desert and sky” is perfectly captured by the album cover photo by John Fowler.

You’ll have to tie yourself to your seat before listening to this album to prevent yourself from floating away through the window.

The Fall Rises


The Fall Rises is Chihei Hatakeyama’s second collaboration with Hakobune (Takahiro Yorifuji).

The two use their Stratocaster and Les Paul guitars to produces unhurried waves of sound “with excellent overtones […] hidden harmony with depth” that “reverberate slowly with chord like Slowdive and My Bloody Valentine.”

With their roots firmly in Japanese culture, it’s no real surprise that these “songs with a sadness and beauty, such as feel the coming of fall” have the refreshing atmosphere of a Japanese garden.

Also on Spotify

Crepuscular Grove


Talking of a Japanese Garden is a good link to continue with this album and venture quietly into The Crepuscular Grove.
Opitope is the ongoing collaboration project of Chihei Hatakeyama with Tomoyoshi Date. For this album they worked together with Asuna (Naoyuki Arashi).

The trio’s ambient sound textures are created with acoustic and electric guitars, analog synthesizers, homemade instruments and (lots of) found sounds and field recordings. This means the sound is somewhat more complex compared to the meditative drones of Chihei’s solo work, but is definitely has the same “nostalgic, idyllic atmosphere.”
Which is even more enhanced by the track titles: enigmatic English translations from the Japanese like Tiny Worms Wriggling Under The Light Shines  or The Lake Was Opened When Came Out Of The Grove At Dawn. 

Coastal Railroads in Memories


OK. One more Chihei before it’s time to drift off into the void. Or maybe becáuse it’s time to drift into the void.

The music on this album is inspired by “his memory of a view of the sea from (a) train that runs along the coast”, which explains somewhat enigmatic album title.
It must’ve been a peaceful trip judging from these five pieces (the title track being the longest with 16 minutes, the others around 7-9 minutes each) and their poetic titles like Butterfly On The RiverSide Big Stone or Sleeping And Listening On The Beach. 

As on most of his albums, the soft guitar is Chihei’s main instrument, embedded in processed sounds of piano and vibraphone. Chihei stresses the fact that the result was mixed on an analog mixer, not using a DAW (Digital Audio Workstation).

Also on Spotify

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DreamScenes 2017-1

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Let’s kick off this brand new year of monthly DreamScenes with a selection to tickle your inner eyelids and induce a variety of images:
some movie/series/game soundtrack tracks, a bit of drone, post-classical piano, and some pieces a bit harder to classify.


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Drone Cinema * Kenneth Kirschner * Johannes Malfatti * Kirk Kadish

Drone Cinema Vol. 1

Drone Cinema Vol. 1


Apart from curating the recently re-launched Silent Records label and online stream (don’t forget to check the recent releases of the From Here To Tranquility compilations vol. 6 and 7), Kim Cascone is also the dedicated curator of the Drone Cinema Film Festival. A low-key festival that has taken place in Seattle, Washington as well as in Leiden, Holland (the intimate little theatre that is shown on the cover).

It is essential to point out that in this case the drone refers to the  visual aspect of the (musical) concept of drone, not -or not necessarily- to the technical use of ‘drone’ cameras.
“Drone Cinema is the flotation tank of cinema”, as someone pointed out. Or, in the words of Kim Cascone himself: transcendigital media:
“Transcendigital media is conjured through active imagination instead of software templates and presets.”

Don’t let the ‘floatation tank’ idea make you think that this is one of those new-age kind of things. Because it definitely isn’t.
While some of the tracks máy feel like a warm immersive bath, there are also some tracks that are downright scary and/or industrial and/or culminate in an almost deafening noise.
Unless you’re a seasoned connoisseur of the genre, most of the artists names will probably be unknown. But you can leave it to Kim Cascone to curate a selection that is a must-listen for anyone interested in experimental drone music, a sampler of what the most minimalist of music genres has to offer.

Selected Works, Vol. 1” is not, as you might have expected, a DVD featuring the visual works. It is a selection of the audio tracks without their cinematic equivalents, and thus focuses on audio drones only. It is, by choice, only half of the concept. But that need not be a real problem because you can let your ‘active imagination’ serve the visual aspect, too.. I suggest staring into a bright light for at least five minutes, then close your eyes and start the compilation.

Most of the drones need their time to develop, and this collection is no exception. The fourteen tracks fill up two hours and sixteen minutes, which is why this collection is only available as a digital download and not in a physical form.

Also on Spotify



To describe the music of Kenneth Kirschner and its impact, you’ll need many words.
Or maybe not.
It’s probably best to use the Yugen Art description of the meaning of the word Datsuzoku:

“One of the seven principles of Japanese Zen aesthetic. Freedom from habit or formula. Escape from the ordinary. Unwordly. Transcending the conventional.
The Feeling of surprise and a bit of amazement when one realizes they can have freedom from the formal.”

And – if this description is still not convincing enough for you: it is a free download! (Like much of Kenneth Kirschner‘s music)

Kenneth Kirschner – October 13, 2001

Malfatti Surge


It starts almost unnoticed, with a barely audible white noise reminiscing the sound of a distant beach. But slowly the intensity increases and the waves become a surge. Pushed up and forward by the drone sounds that gradually take over, sometimes with a thundering mass of sub-low bass, at other moments sounding like a distant choir. A drone in constant movement.

The 58 minute Surge “is based on textural developments that evolve very slowly over time.”
“Most processes in nature are too slow to be perceived by the human senses. We merely experience the ripples on the surface, like the passing of hours, days, of changing weather or trends in fashion. The all underlying stream of geological change, like the flow of glaciers or the drifting of continents, is outside our field of experience. However, some events bring these streams closer to the surface. In a glacial surge, the flow velocity of a glacier suddenly increases up to tens of meters per day, making the otherwise imperceptibly slow movement tangible.”

These liner notes are not only a description of what inspired Johannes Malfatti, but also link the album to its label: Surge is appropriately released on the Glacial Movements label, celebrating their tenth anniversary of releasing ‘glacial’ music.

The Berlin-based Malfatti  graduated as a Tonmeister for audio-visual media and has collaborated with many musicians, choreographers and film directors for numerous film, television, theatre and music productions. This is his very first solo album release, and it’s overwhelming and irresistible.
And glacial, too: you may better pull on an extra sweater or winter coat before you start listening.

Still Bill


Four tracks with a total playing time of two hours and twenty minutes. The shortest 13 minutes, the longest 63. You might want to sit or lie down before enjoying this collection by Kirk Kadish from Sante Fe, New Mexico.
Kadish performs in many different styles (jazz, improv, electronica) , but for this ambient project he chose an original starting point: the music of Bill Evans.

“Three of the four pieces are based on his compositions but completely reimagined from a minimalist/ambient/meditational perspective”.

I’m not familiar enough with the music of Bill Evans to name the compositions that this music is reimagining, and probably it is meant as ‘inspired by’ more than direct musical quotes. But the lush, unhurried and bright piano harmonies are a very refreshing approach to ambient soundscapes.
Add the warm  (Eno-esque) generative background synths, or a Terry Riley-like organ loop (in Some Other Time), and the result is a refreshingly fresh  – and literally timeless – ambient album …
A misty haze in daylight, instead of a thick foggy darkness..

Kirk Kadish is “happy to be free of any commercial restraints that would hinder his freedom in exploring the boundaries of our musical world”.
Which means that he is offering these tracks to download for free, or the full album for $ 0,19.
Or More. My advise would be to pay some more.

Kirk Kadish – Blue In Green

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Perception Management (Mix)

Perception Management

“There is something in the beauty of darkness. And one doesn’t have to be in a dark mood in order to appreciate it. Perhaps one gets desensitized with age to all of the bitter layers, in order to uncover all of the sweetness – like a fine old whiskey, slowly aged and waiting for your taste.
This, I believe, Peter van Cooten understands the most, with his latest Headphone Commute offering, titled Perception Management.
The concept behind this mix also challenges your view of the world… The inspiration for this particular mix came from Adam Curtis‘ BBC documentary Hypernormalisation.
Headphone Commute

Perception Management

“Domo de Argila” – Andy Goldsworth
Your reality is manipulated.
Your perception is managed.
Your thoughts are not your own.
Reality is imaginary.

perception management - sequence scheme

Mix Sequence


start time – sample length – Artist – Title
Album Title, Year, Label Details

  • 00:00 01:52 Amon Tobin – Lost & Found (Machinefabriek Deconstruction)
    Wendingen (Selected Remixes 2005-2015), 2016, Zoharum ZOHAR 117-2
  • 00:52 02:36 Ryuichi Sakamoto / Alva Noto – The Revenant Theme (Alva Noto Remodel)
    The Revenant (Original Motion Picture Soundtrack), 2015, Milan 399-758-2
  • 02:06 02:05 Bjørn Hatterud – Victoria Arreleano
    November 20th, 2016, Line LINE_081
  • 03:55 03:00 Adam Bryanbaum Wiltzie – Salero End Credits
    Salero (Original Motion Picture Soundstrack), 2016, Erased Tapes ERATP091
  • 05:37 01:16 Roly Porter – 4101
    Third Law, 2016, Triangle 33D
  • 06:20 01:57 Phonothek – Something Happened
    Lost in Fog, 2016, Cryo Chamber CRYO 037
  • 07:02 03:44 Loren Nerell – Dark Horizon
    The Venerable Dark Cloud, 2000/2016, Projekt PRO00330
  • 10:19 00:45 Sussan Deyhim & Shirin Neshat – Open City West
    Soliloquy, 2008, Venus Rising Records
  • 10:45 01:35 Andrew Liles – Taumatawhakatangitanghangakauautamateapokaiwhenua-kitanatahullanfairpwllgwyngyllgogerychyrndrobwyllllantysiliogogogoch
    New York Doll, 2004, Infraction INFX013
  • 11:57 02:19 Jóhann Jóhannsson – Orphic Hymn
    Orphée, 2016, Deutsche Grammophon 00289 479 6021 GH
  • 13:54 02:06 Jim Haynes – It Doesn’t Matter
    Throttle And Calibration, 2016, Crónica 115~2016
  • 15:34 02:33 Christopher Tignor – One eye Blue, One Eye Black (Blue)
    Along A Vanishing Plane, 2016, Western Vinyl WV149
  • 17:34 02:35 David Toop – Human Skin And The Stone Steps
    Entities Inertias Faint Beings, 2016, Room40 RM475
  • 18:07 03:02 Bionular – The Western Lands
    Stary Pisarz, 2016, Oniron ON.004
  • 19:14 01:16 Mark Korven – Caleb’s Seduction
    The Witch (Original Motion Picture Soundtrack), 2016, Milan 36768
  • 20:25 00:57 Resina – Nightjar
    Resina, 2016, 130701 CD13-23
  • 20:44 03:00 Tigran Hamasyan, Arve Henriksen, Eivind Aarset, Jan Bang – Traces X
    Atmosphères, 2016, ECM Records ECM 2414/15
  • 22:32 03:13 Looped Exodus – Mein Hz
    Souls Have Machines, 2016, self-released (Bandcamp)
  • 25:10 02:00 Nicolas Jaar – The Three Sides Of Audrey And Why She’s Alone Now
    Nymphs, 2015, Other People OP022
  • 27:05 01:04 John Metcalfe & Simon Richmond – A Descent
    Set In Stone, 2016, ECC100 Records 008
  • 27:18 03:31 Joe Frawley – Leda And The Swan
    Cartomancer, 2016, Self-Released (Bandcamp)
  • 29:40 02:47 God Body Disconnect – Prisoner’s Sacrifice Facing Arcadia
    Locus Arcadia, 2016, Cryo Chamber CRYO041
  • 31:40 01:16 Dimitry Evgrafov – The Lofty Sky
    The Quiet Conversation, 2016, Fatcat Records/130701 DA13-25
  • 32:40 01:51 Mi – Shanty Town
    Meow Wolf’s House of Return: Soundscapes Vol. 2, 2016, Meow Wolf
  • 33:33 01:44 Travis Corwin – Little House
    Beach Glass, 2016, Peconic Records 002
  • 34:30 02:03 The Cray Twins – Duao 2
    The Pier, 2016, Fang Bomb FB025
  • 35:17 05:12 Stephan Mathieu – If You Love,
    Radiance V: Fro Franz Wright, 2016, Schwebung Étendue V
  • 38:30 02:36 Biosphere – Shimmer
    Where Words Fail Music Speaks, A Compilation For Ania Mehring, Santa Sangre Magazine (Bandcamp)
  • 39:53 03:53 Monolake – Error
    D E C, 2015, Imbalance Computer Music ML029
  • 43:06 01:03 Stephen Paul McGreevy – Fish Rock Road Whistler Shower
    Electric Enigma: The VLF Recordings of Stephen P. McGreevy, 1996, irdial Discs 62 ird tcp2
  • 43:20 02:33 Mathias Delplanque – Ma Chambre Quand Je N’y Suis Pas (Paris) (Extract)
    Taâlem: Vijftien Années, 2016, Taâlem (Bandcamp)
  • 44:56 03:17 Ocoeur – Aside
    Reversed, 2016, n5MD MD243
  • 47:57 02:08 Anders Blomqvist – Sparar (Tracking)
    Media Artes II, 2002, Chamber Sound 27
  • 49:20 02:57 Tobias Freund & Valentina Berthelon – Branwelt
    Recent Arts, 2016 Non Standard Production NSP 13
  • 50:25 01:47 Paul Jebanasam – Eidolons beginning
    p = (m²A ² am to (rho-z)-y ∂t+(ρ see to wait dz/dt = it xy that I -beta* do not z countless
    Continuum, 2016, Subtext SUBCD006
  • 51:33 03:43 Nam-Khar – Tenshug
    Where Words Fail Music Speaks, A Compilation For Ania Mehring, Santa Sangre Magazine (Bandcamp)
  • 52:50 02:45 Phurpa – 100 Syllabic Mantra of Bon
    Where Words Fail Music Speaks, A Compilation for Ania Mehring, Santa Sangre Magazine (Bandcamp)
  • 54:47 03:03 Biosphere – Good Case And Rest
    Departed Glories, 2016 Smalltown Supersound, STS281CD
  • 57:00 02:23 Dead Melodies – Hidden Seeken
    Subtle Imperfections, 2016, Sparkwood Records SR22
  • 58:41 01:18 Amon Tobin – Lost & Found (Machinefabriek Deconstruction)
    Wendingen (Selected Remixes 2005-2015), 2016, Zoharum ZOHAR 117-2

Download Perception Management Now
(137Mb (59:59 min.)
[Surround-version (DTS.Wav) here]
Or: Stream it on Mixcloud:


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Rasalasad * Phelios * Ionosphere


Rasalasad - Magnetism


Rasalasad is Fernando Cerquira, mixing spoken wordcore, drone, broken word, experimental, library music… among founding and running the Portuguese Thisco label that specialises in releasing music that is hard to classify (although ‘experimental’ will do for most of them) in unorthodox packages or multimedia forms. An impressive lists of artists that have been involved in the Thisco label in some way – to name only a few: Merzbow, Rapoon, Terre Thaemlitz, KK Null, Jarboe, Francisco Lopez, Troum, Bela Emerson, Stephan Mathieu, Lawrence English, Hafler Trio, Michel Banabila … the list is endless and shows that Cerquira has been around the scene from the mid-80’s.

Thisobey is the name of an ongoing series of EP releases packed in an unusual cardboard box inside a plastic bag. The series presents collaborations of in-house artists with specially invited musicians.

Magnethism is the first from this Thisobey series, and it’s a great example of what may come after. It’s a 17 minute drone soundscape created by Rasalasad  featuring spoken word, whispering and poetry by the French collectives Von Magnet and Wildshores.
And yes, this means this rather dark, nightmarish sound poetry.
It is a strange and common misconception that music must be loud to be intense. Magnethism proves this isn’t necessarily so.



Dark ambient is a deceitful genre tag: it often represents a lot of horrific music that seems to be the exact opposite of what is usually called new age, usually recognised by the use of churchbells and chanting monks.
But, on the other hand, there is also a lot of music labeled dark ambient that is interesting, multi-layered and can invoke a deep-listening experience.
Such as this one.

The Phelios alias, the album title, the album artwork – they all promise the same thing: darkness. And darkness is what you get. An almost comforting blanket of darkness.

Phelios is Martin Stützer from Wuppertal, Germany. Apart from creating music, he is also responsible for the organisation of the Phobos Festival, a series of dark ambient concerts,
Human Stasis Habitat,  his latest release on the German Loki Found label, is an immersive trip into deep space, a dive into the ominous unknown.

Also on Spotify

Ionosphere Stellar Winds


The same (Loki-Foundlabel also re-releases this title, that originally appeared in 2007 on CDr. The (remastered) CD version is expanded with two extra tracks. All tracks are named The Stellar Winds, except for the closing track which is called Continuum Radiation Force.

As expected, these recordings are every bit as dark as the previously mentioned Phelios release. A bit more haunting, in a way, because there are some heavily processed (vocal) samples mixed in for enhanced eeriness.

“Deep, shimmering, ambient scapes and electromagnetic waves, drifting in the boundless dark.”

Also on Spotify

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Jana Irmert * Wndfrm * David Fyans

David Fyans - Somnambulist

Jana Irmert


Berlin-based sound and media Jana Irmert may have an impressive track record in sound design, multichannel audiovisual installations and exhibitions, yet this is her very first album.
It brings together six impressive examples of the versatility of her work, merging ” field recordings, experimental electronic sounds and vocal patters into unique multilayered soundscapes.”

Knowing that many or most of these pieces were created for multichannel performances hurts me (a bit). How I wish for the moment that obtaining/downloading multichannel versions is just as easy as it is for the stereo versions. But that, of course, is just my personal hangup. And I can assure you that the stereo versions of these pieces are impressive enough.

The opening title track is made of peaceful field recordings placed in a haunting context, the next track is a poetic spoken word track embedded in what seem to be experiments with various microphones. Obstacles is filled with white-noise-like waves that are as noisy as they are calming, and is followed by a mysterious track built from vocal samples.

It’s an album full of contrasts, a multi-faceted vision on sound art. But in the end the contrasts fit together like the piece of a puzzle and paint a fascinating kaleidoscopic image.


Also on Spotify



This 31 minute piece is (once again!) a stereo version of what originally was a quadrophonic live performance. Tim Westcott, sound artist from Portland, Oregon, started with field recordings from the region of Cascadia, a region known for its diverse climates and bodies of water.

The found sounds are heavily processed (and ‘re-purposed’) into a slow-moving drone piece with shifting sceneries and a dense atmosphere – where you can almost feel the area’s thick fog. But don’t think the ‘drone’ reference means that nothing much happens.
As the scenes change, the atmosphere gets more intense and more pressing. Rumbling low sounds that could come from a large waterfall as well as from a plane flying over low…
And, of course: water everywhere.

David Fyans - Somnambulist


If counting sheep doesn’t help you fall asleep, you might as well try this release by David Fyans, also known as Erstlaub.
If insomnia does not bother you but you dó like experimental drone music, you might enjoy this one, too.

This particular release features a single 61 minute track as well as a video showing a moon-like object filled with rippling water.
The soundfield changes slowly, starting as a drone but turning into what can best be described as an immersive audio sculpture:
“The listener does not suddenly find themselves thrown into new territory, rather realises that he is no longer on familiar ground and must take in and process their current surroundings in the drift.”

The Somnambulist’s Field Guide has been presented in various incarnations of installation performances before it found its way to this multimedia edition.

If you’re capable to surrender yourself to the meditative, hypnotic video (or just the music, whatever you prefer), you’re likely to “embrace a sense of ‘otherness’, meditate on the spacial and psychological qualities of sound, and traverse dense and varied landscapes, conjured from the absence of silence.”

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