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Kajsa Lindgren * Manja Ristic

Womb - 1


KAJSA LINDGREN – WOMB  Also on Spotify

Swedish composer and sound artist Kajsa Lindgren presents “a musical narration for abstracted ears and bodies – engulfing a listener in subaquatic sonic environments”.
 is the perfect title for this collection of sounds that are somehow familiar yet also seem to come from a still unknown outside world. 

The original sound material – recordings of nature and body sounds, interviews and compositions – have been “re-recorded and re-amped underwater in a swimming pool”, and were “re-arranged partly by way of the impulse responses of the pool”.
While that sounds immensely intriguing to me, I cannot imagine how exactly this works (can you?).
So it’s best to I leave that up to the imagination. And thát is not too difficult with this “phonopoetic fiction that conjures its own surreal virtual ecology”. 

Kajsa Lindgren has studied electro-acoustic composition in Stockholm; this is her first full length record. Its release was celebrated in a fitting way with an underwater concert, with  the audience swimming and floating in the pool to experience the piece (!).
As a follow-up to this remarkable release there will also be a virtual reality online installation (haven’t found a link to that yet but will add it as soon as I find it), as well as a set of remixes of the original material. But that is about what is yet to come. For now, it’s best to enjoy what is here and now… enjoy the subaquatic retreat of Womb.

There’s a beautiful Womb web installation to be enjoyed at – headphones recommended!
This site also features much more detailed background information on the project (on the About page).


On The Nightfall, Serbo-Croatian sound artist Manja Ristic presents four compositions, each one representing a year’s season and inspired by a seasonal haiku.
The combination of haiku poetry and music – or more generally speaking the intersection of different art forms – is something Naviar Records specialises in, and this album is a perfect example of the power of the combinations.

Summer, for instance, opens with soft “guitar drops in suspended time”, illustrating the haiku by Peggy Willis Lyles:

city heat
a boy stirs oily rainbows
with his pocket knife

The other haikus are also written by different haiku poets: Inahata Teiko, Jean-Louis Kérouac and Michael Dylan Welch.

For each track, Manja Ristic chooses a different instrumentation, merging “instrumental improvisation with field recordings and electronics, developing concepts of creative listening”, focusing on “the exploration of synesthesia in AV performance, intuitive composition and sound ecology”.
She’s not afraid of including some confusing elements into the mix (such as the recording of a vocal Toru Takemitsu fragment from 1956) – after all there is beauty in random discoveries.

The Nightfall is released as a cassette (limited edition of 50) and also as a digital download from Naviar.
And there’s more good news: for about the price of one LP or CD you will get the full Naviar digital back catalogue, including this one (31 releases!).
Like I said: there’s beauty in random discoveries! (However, if that is too much for you, Amazon or iTunes do offer the single album download).

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DreamScenes – July 2018

DreamScenes CZ

An extra dreamy July edition.

With, apart from the usual new releases, a fragment of Robert Kroos‘ Brainwave Set as performed in june as part of RAAR (Rotterdam Art And Radio)/Varia.


  • 00:00 DreamScenes – Intro (Susanna)
  • 00:05 Kajsa Lindgren – The Garden (fragment)
    Womb, 2018, Hyperdelia
  • 03:30 Snufmumriko – Drömmer I Juli
    Drömboken, 2018, Lagerstaette
  • 08:18 Les Horribles Travailleurs – Keizersrande 4 (ft. Anja Kreysing)
    Off Track, 2018, Esc.Rec
  • 11:15 Robert Kroos – Brainwave Set, Live at RAAR @Varia 2018 (fragment)
    Unreleased Live Recording, 2018, unreleased
  • 18:46 Memum – Illuminate (feat. Anna Marjamäki)
    Confidence, 2018, Unperceived Records
  • 24:00 Agnes Obel – Stretch Your Eyes (Ambient Acapella) (fragment)
    Late Night Tales: Agnes Obel, 2018, LateNightTales
  • 25:32 Julien Boulier – Accord Etendu
    A Film Not Yet Made, 2018, Time Released Sound
  • 27:03 J. Peter Schwalm – AUUA
    How We Fall, 2018, RareNoise
  • 32:00 Stephan Mathieu – In Them A Giant Diverted Himself
    Trace. Recordings Of Entropic Systems 1998-2018, 2018, self-released
  • 37:02 Gluid – Inbetween
    Off Track, 2018, Esc.Rec
  • 42:08 Eximia – Day One
    Visitors, 2018, Cryo Chamber
  • 47:40 Colin Stetson – Mothers & Daughters
    Hereditary Soundtrack, 2018, Milan
  • 50:23 Wolfgang Mitterer – Beethoven – Intermezzo
    Nine In One, 2018, Col Legno
  • 53:44 Bart van Dongen & Richard van Kruysdijk – One
    One, Two, Three, Four, Five, 2018, Opa Loka
  • 58:56 DreamScenes – Outro (Dean Hurley)

Play this edition on-demand from the Concertzender website.

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Jon Hassell * J. Peter Schwalm

Hassell - Pentimento


I remember my first acquaintance with Jon Hassell‘s music very well. It was back in 1980, and I checked out Fourth World Vol. 1 – Possible Musics following the Brian Eno link (obviously). I was not yet familiar with his earlier work Earthquake Island and Vernal Equinox. I remember I was totally confused, listening in that small record shop. I could not understand this music at all! It seemed to come from another world, one I could not even begin to imagine. I did not buy the album.. it was way off.. too weird for me at that moment.
But upon going home, the strangeness music kept haunting me. What was it, this strange atmosphere, the whispering trumpet sound that resemble an elephant that caught a cold, the otherworldly rhythms?
Before I reached home I turned around and headed back to the shop. I decided that any music that could surprise me this way deserved to be bought.
I remember peddling my bike even harder because I was afraid that someone else would buy that single copy available.
Jon Hassell‘s music never left me since. And never disappointed me either (although naturally I prefer some of his projects more than others).

A part of this somewhat disorienting surprise came back to me again when listening to Pentimento, Vol. One. Not as strong as with this first encounter, of course: 38 years later I am quite familiar with his music. But still: Jon Hassell is not a man to simply repeat himself.

Pentimento is a noun meaning “Reappearance in a painting of ealier images, forms, or strokes that have been changed and used as elements in a final composition”.
This suggests that parts and fragments of earlier work are re-used, de-constructed and re-arranged in new compositions. And of course there are many recognisable elements from Hassell‘s earlier work – the way he controls his insrument, the ‘spliced’ electronic layers it is embedded in – and yet Pentimento also feels like a new direction.
At first listen I found the overall atmosphere on this album more ‘nervous’ than I expected. I probably expected the lush and reassuring ambience of the Fourth World releases, and his previous (2009) album Last Night The Moon Came Dropping Its Clothes In The Street – but Pentimento is more in the vein of City: Works of Fiction (1990) or the Bluescreen projects.
This took me some time to adjust to, but -as often- persistance proves to be rewarding.

This nervous tension in the music, alternated by moments of profound peacefulness, probably reflects Hassell‘s theory about ‘The north and south of you’:
A mind formatted by language and located in the head compared with the area of wildness and sensuality below the waist where dance and music and procreation reigns.”

Another way to enjoy these sounds is by what he calls “Vertical listening”, an exercise in ‘mindful listening’:
“Most of the world is listening to music in terms of forward flow – based on where the music is “going” and “what comes NEXT. ” But there’s another angle: Vertical listening is about listening to “what’s happening NOW ” – letting your inner ears scan up and down the sonic spectrum, asking what kind of “shapes” you’re seeing, then noticing how that picture morphs as the music moves through time.”

There is no way you can overestimate the work of this now 81 years old living legend, a man who studied under Karl-Heinz Stockhausen, played on the orginal recording of Terry Riley’s In C, worked with La Monte Young in his Theatre of Eternal Music, and studied singing with Pandit Pran Nath. And this, of course is only the foundation of his work, defining a personal genre that has inspired many artists.

And there’s more good news: Listening To Pictures (Pentimento, Vol. One) is the first release on Hassell‘s own brandnew Ndeya label, which promises to release new and unreleased music as well as archival releases.

As a somewhat related sidenote:
If, like me, you’re a devoted follower of Jon Hassell‘s work and contributions, I suggest you track down this album by Michael Fahres called The Tubes‘ – an album that may be one of Hassell’s most obscure collaboration projects. The environmental recordings of the ‘breathing rocks’ on El Hiero, combined with Hassell’s trumpet and Mark Atkins’ didgeridoo, is an ode to the breath of life itself – ánd a perfect exercise in ‘vertical listening’. I don’t know if this is still available from Cold Blue Music but – given its relative obscurity – it probably is. If not, it’s definitely worth tracking down on Discogs or similar.


How We Fall


Of all the artists that came into view via a Brian Eno connection, J. Peter Schwalm is probably one that remained unknown to the larger public. Unfairly, because his music is most interesting and multidimensional. The two worked together on Music for On Myo Ji (2000), the soundtrack of Nicolas Winding Refn’s Fear X and even more intense on Drawn From Life (2001).
Since then, Schwalm released two solo albums (Musikain and The Beauty of Disaster), and an album with transformations of the music of Wagner.

How We Fall is his second release on the Italian Rarenoise label. Apart from additional guitars by Eivind Aarset and bass by Tim Harries, Schwalm performs all instruments himself, avoiding ‘popular or widespread plug-ins, instead using analog an digital outboard effects to achieve his characteristic sounds’ and the ‘multitrack composing’ technique he developed when performing at the Punkt Festival.
The result is a complex but highly detailed, ‘widescreen’ sound that perfectly matches his compositions.

Most of How We Fall has a deep sense of urgency, unrest, of hidden ‘angst’. This has everything to do with Schwalm‘s personal situation: in 2016 he was diagnosed with a brain tumour, which proved impossible to remove during the operation. Definitely one of the most threatening personal verdicts one can imagine.
In the following year Schwalm “set to work under this impression, partly weakened by the inevitably following chemotherapy. Over the course of the year, pieces were created that reflect feelings such as restlessness, fear, despair and anger, but artistically process these emotions into abstract sounds.”
“During the process I realized that there are parallels between my personal experiences and emotions and the current social and political situation in the world,” Schwalm recalls. “The music represents a closed universe that reflects the moment and the circumstances in which it was created.”

Knowing about this background gives How We Fall an extra dimension, and forces respect for the way J. Peter Schwalm faces his deepest fears and still manages to let the rays of hope shine through. It deepens the appreciation of this album. But, as with all good music, it is not really necessary to know about this to receive the message of this music.

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DreamScenes – June 2018

DreamScenes CZ

Not home
So don’t try to call
Don’t come to see me
I’m not here

(Anne Garner – Not Home)



  • 00:00 DreamScenes – Intro (Susanna)
  • 00:45 Danny Mulhern – Perpetual Motion
    Safe House, 2018, 1631 Recordings
  • 02:52 Markus Guentner – Refraction (with Julia Kent)
    Empire, 2018, A Strangely Isolated Place
  • 11:10 J. Peter Schwalm – Singlis
    How We Fall, 2018, RareNoise
  • 15:53 Anne Garner – Not Home (Porya Hatami Remix)
    Not Home single, 2018, Slowcraft
  • 22:29 Sonologyst – NASA Classified Tapes
    Silencers – The Conspiracy Theory Dossiers, 2018, Cold Spring
  • 24:17 Ben Lukas Boysen – Pending
    1+1=x, 2018, Erased Tapes
  • 28:31 Hackedepicciotto – Emerald Cenote
    Joy, 2018, Potomak
  • 33:36 Ben McElroy – Ink Drunk
    The Word Cricket Made Her Happy, 2018, Eilean Records
  • 36:02 Emerge – Substance
    Re:Flections Sound Art Festival 20 07 18, 2018, Attenuation Circuit
  • 39:54 Robert Honstein – Economy Of Means – Chorale
    An Economy Of Means, 2018, New Focus Recordings
  • 44:59 Andrew Sherwell – A Mesultane’s Flight
    Orthodox Tales, 2018, Whitelabrecs
  • 49:24 Capac – Lyke-Wake Dirge
    Through The Dread Waste, 2018, self-released (Bandcamp)
  • 54:00 Jóhann Jóhannsson – The Furious Sea Of Fogs And Squalls
    The Mercy (Soundtrack), 2018, Deutsche Grammophon
  • 54:59 Philipp Rumsch – Interlude
    Reflections, 2018, Denovali
  • 56:11 Pink Fluid – Dream One
    Pipe Dreams, 2017, Horisontal Mambo
  • 59:00 DreamScenes – Outro (Dean Hurley)

Play this edition on-demand from the Concertzender website.

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Clarice Jensen * Joana Gama & Lúis Fernandes * Pitch & Splitter Orchestra

Clarice Jensen

Clarice Jensen


Clarice Jensen is not the first and certainly not the only person that “expands and confuses the familiar sound of solo cello through the use of effect pedals, multi-tracking, and tape loops recorded at variable speed”. But when the artistic director of the  American Contemporary Music Ensemble (ACME) releases her debut album on the Miasmah label, extra attention is required. Especially when that album opens with a piece composed in collaboration with Jóhann Jóhannsson, with whom she collaborated and toured from 2009 until his death in 2018.

Her music is not about displaying virtuosity, but about restraint – “to fill the void with what [the listeners] find in their center of stillness” – which of course is a different kind of virtuosity in itself.

bc (the track composed with Jóhansson) is a relatively ‘simple’ piece displaying “the startling effect subtle changes have on conventional elements across many repetitions, employing the simple devices of a two-octave c-major scale and a three-chord loop.” It is followed by Cello Constellations, written for Jensen by Michael Harrison, scored for solo cello and 25 multi-tracked cellos and sine tones.

The second half of the album contains the two-part title track For This From That Will Be Filled, composed by Clarice Jensen herself, soliciting ‘both meditation and disorientation’ in using drones, long loops and the sounds of New York’s Grand Central Terminal accompanying the processed cello.

The music on this album is originally written for an audio-visual live performance with Jonathan Turner, stills of which are included in the album artwork. Excerpts of Jonathan Turner‘s videos for these performances can be found on his VIMEO page.

Gama - Fernandes


It starts with a knock. A kind of ‘Poltergeist’ knock, with increasing reverb. Immediately the atmosphere is as eerie as the track title “Neither Flesh Nor Fleshless”. From there, ‘the music swells and breaths’ , with ‘atmospheric layers of strings, percussion and horns’.
It is the striking start of At The Still Point Of The Turning World, the album that got its title from T.S. Eliot’s poem Burnt Norton. The opening track seamlessly flows into Perpetual Possibility, which introduces the dialogue between piano and electronics. the atmosphere slightly changes but won’t loosen its grip on the listener.

“It is a record of restless motion, lilting and pulsing with a sense of gentle determination. Born out of a period of mutual loss, the works carry a bittersweet sentiment. Bitter in the
sense of loss; sweet in the sense of lingering memory and influences recognised of those departed.”

Joana Gama, Portuguese classically trained pianist and researcher, and Luís Fernandes,  electronic music artist also known as Astroboy, met in 2012, and have released work as Quest in 2014. They have also made the soundtracks for a number of prize-winning short films. At The Still Point Of The Turning World was commissioned for the Westway Lab Festival 2017.

Exploring “the timbral connections between piano and electronics”, combined with José Alberto Gomes’ orchestral arrangements performed by Orquestra de Guimarães, results in a captivating spectrum of contemporary classical music. Or New Music. Or Post-classical electronics.
Oh well, words seem to fail me here.
Never mind, just listen to the way the atmosphere slowly evolves from the eerie opening chords to the completely different atmosphere of Lucid Stillness and Shaft Of Sunlight. 
You’ll be amazed.


Drones are often performed by single or just a few instruments, electronic or acoustic. It’s not often a drone piece is performed by a full orchestra (unless, perhaps in the moments before a performance starts, when the orchestra tunes their instruments).
The Pitch quartet teams up with the 19-person Splitter Orchestra to perform the 60 minute Frozen Orchestra (Splitter) on a variety of acoustic instruments combined with electronics, turntables, oscillators and reel to reel tape machines.

Splitter Orchester

The title for this piece could hardly have been chosen better. The frozen piece feels like the musical equivalent of a movie still. But this does nót mean that nothing changes for 60 minutes, it changes in the same way the the ice caps on the earth’s North and Sound pole change: slowly. Very slowly.
” ‘Frozen’ indicates a very slowly moving field of harmonic relationships consisting of so-called pitch sets, which are augmented by noise sets, that is, nonperiodic sounds organized in equivalent relationships. The score guides the group through various defined states of frozen surfaces where each player makes individual choices from a set of intervals or noises and thus constantly shifts harmonic weight and textural quality.”

Around 25 minutes into the piece, the orchestra retreats and environmental recordings and electronic sounds take the stage. The sound spectrum is somehow turned inside out – without realising it the listener has been transferred to a different universe. When the orchestra returns, it is hard to tell the difference between the acoustic and the electronic sounds.

A performance like this may not be to everyone’s liking. But once you’re in the right – frozen – state of mind the effect is incredible. When the music stops, it’s hard to tell if it lasted 60 seconds, 60 minutes or maybe even 60 years.

[ambientblog edit]

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Christina Vantzou * Gray Acres

Vantzou No.4

Vantzou No.4CHRISTINA VANTZOU – NO. 4   Also on Spotify

No. 4 continues Christina Vantzou‘s exploration of ‘ambient classical minimalism’ that started in 2011. Three years have passed since the release of No. 3, taking her time to determine the direction she wanted to take with this album: ‘focusing particular attention on the effects of the recordings on the body, and of “directing sound perception into an inner space”‘.
Working with artists like Steve Hauschildt, John Also Bennett, Clarice Jensen (among others), Vantzou does not simply act as the center-stage composer and performer, but channels her ideas into a process of ‘prepared sponteneity’: “having plenty of ideas ready to explore going into the session, but with enough time to depart from those ideas and see what happens.”
It definitely must take self-assurance to be able to loosen control and let other musicians (and technicians) add or delete elements in the end result, which becomes more of a collaborative effort than a personal solo album.

Still, No. 4 bears all the marks of Christina Vantzou‘s signature: ‘a fragile synthesis of contemplative drift, heady silences, and muted dissonance.’ At the same time it is not simply a continuation of the previous No. 1, 2 and 3. It’s as if the music drifts deeper and deeper into the subconscious, slowly becoming more and more ‘immersive and immaterial’, gradually ‘loosening time’ until nothing else exists but ‘hushed drones and delicate gestures eliding in the periphery of the mix’.

Like with her previous releases, there will probably be a No. 4 Remixes in the (near) future. Definitely a pleasure to look forward to, but no need to anticipate this too much: for now we can simply enjoy what is here and what is now.
For now, No. 4 deserves our undivided attention.

Gray Acres

GRAY ACRES – GRAY ACRES  Also on Spotify

Gray Acres is the self-titled debut album of the new musical project of Andrew and Michael Tasselmeyeralso known as core members of Hotel Neon and The Sound Of Rescue. With this new project, they seek “beauty and stillness”, which results in a sound that is even softer and more dreamlike than their work as Hotel Neon.

Layering “emotional textures of immersive drones, walls of effected guitar swells, subtle piano and field recordings”, their album is a textbook example of ‘contemporary’ ambient music: it’s a pleasure to drift away in its beautiful landscapes, while at the same time there’s enough happening for dedicated listening.
Or, to quote the Godfather of Ambient music Brian Eno: “as ignorable as it is interesting”.

The CD-version comes in two different editions: the deluxe edition includes three extra tracks that are not on the standard CD edition and in the digital download.

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Frank Bretschneider * Rapoon




It’s definitely not ambient at all, but it ís 100% electronic, and every once in a while even the most dedicated dronehead like myself enjoys an inescapable beat. So: turn up the volume and press Play!

Frank Bretschneider – co-founder of the raster-noton label – presents his new album Lunik with the motto “It moves, it sings. … but does it swing?”
And right from the very first track you know it does. I don’t think electronic music has sounded this funky since Kraftwerk (with a possible exception for some of the aliases of Uwe ‘Atom TM/Senor Coconut’ Schmidt)!

According to Bretschneiderthis represents the soundtrack of his life and his musical influences:“some San Francisco psychedelia, some London underground, some Berlin school (old & new). Krautrock from Cologne & New York minimalism. A shot of Detroit grit, a bit of Moscow dust, a splash of Paris charm?”
Some life that must have been!
And, judging by the sparkling vibrancy of this record, it isn’t over yet! 

Rapoon - Airstrikes


Rapoon is the alias of Robin Storey, also known as co-founder of Soviet*France. His immense catalogue boasts over 75 albums (since 1992) under this alias alone, not counting compilations, collaborations and releases under his own name (or different aliases). It seems the man literally breathes music. Often categorized as ‘ethno-ambient’, it is hard to pinpoint his music to a specific (sub-)genre

For Airstrikes he found inspiration in ‘oriental music and rhythmic structures that derive directly from dance music’. It is a reflection on the hectic state of the world – and I’m afraid the future doesn’t look too bright. The music is filled with impending doom, which is clear from the very first track Airstrikes (Disasters … Fake News), with its short vocal stabs Airstrikes – Disaster – I Told You So.
Another haunting track We Pray For Rain is like a rain dance ritual, summoning a cleansing, or at least desperately trying to do so. Drones are another subject – and in this context it’s not about musical drones, but those used in warfare or intel operations.

Storey maintains the feeling of impending doom from the beginning to the end of the album. After six relatively short tracks the album closes with the 25 minute We Are Such Stuff…, which restates some of the musical ingredients of the previous tracks into one soundscape. The most ‘ambient’ track of this collection indeed, but still not exactly one that will ease you mind…

To celebrate Rapoon‘s 25th anniversary of his solo artistic activity, the Zoharum label has released a special wooden edition box-set limited to 50 copies. Also, there is a double album version which includes a recording of the Warsaw gig entitled Easterly Moon.

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DreamScenes – March 2018

DreamScenes CZ

The March edition of DreamScenes is a mixed bag of styles: two versions of the classic Eno track ‘Julie With…’ before diving into deeper abstract waters, minimal church organ music, post-modern classical tracks as well as experimental electronics.

And after the storm
I went down to the basement
and everything was floating
lots of my old keyboards
thirty projectors
props from old performances
a fiberglass plane
a motorcycle
countless papers
and books
and I looked at them floating there in the shiny dark water
all the things I’d carefully saved all my life
becoming nothing but junk
and I thought
how beautiful
how magic
and how catastrophic
Laurie Anderson – Everything Is Floating



Play this edition on-demand from the Concertzender website.

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Bass Communion * Orphax * CM von Hausswolff

Sisters Oregon

Sisters Oregon


A 10″ vinyl record in the Substantia Innominata series on Drone Records – a series ‘presenting works inspired by or related to “the Unknown” around or within us.’
Substantia Innominata seems like a perfect series for this new release by Bass Communion, Steven Wilson‘s alias for ‘experiments in texture’, his ‘discrete medium for manifesting his most daring, challenging and obscure musical ideas.’

Like many previous titles release under this moniker, Sisters Oregon presents a deep drone piece in four parts, filled with sub-bass, mysterious atmospheres, and some scene shifts to keep attention.
Not as extremely minimal as, for example,  Loss or Pacific Codex, but still ” filled with sonorous drone expanses, tiny microsounds, deep bass eruptions and sudden breaks, ranging from an otherworldly subtleness to a most spacious finale…”

There is no information about the meaning of the title (it could simply refer to the place called Sisters in Oregon, though that location doesn’t seem to be nearly as mysterious as the music is).

This is a vinyl (10″) only release; there is no digital edition available.


Orphax - Somniatores


Sietse ‘Orphax’ van Erve is a dedicated admirer of the work of Eliane Radigue. His admiration can be heard in his own work, which focuses on creating minimalist drones, long-form pieces that make you lose your sense of time and alter your awareness of the space around you. It may be an acquired taste for some, but once you hear the soundwaves and their harmonics interact it is a fascinating experience.

Somniãtõrēs (no idea if that is an existing word in any language) is a 60 minute drone piece about sleep, and it’s a perfect soundtrack to doze away on. It is a single piece, but there are some distinct segments, variations where the emphasis on the different sound elements subtly shift, or when some new elements are places on the sound canvas. Because of these changes the piece is dynamic enough to keep the interest for the full hour (although there is of course sóme contradiction in a ‘drone’ being ‘dynamic’).

CMvH - Requiem


A 30 minute piece (split in two parts to fit the LP format) dedicated to ‘certain sole or severeal restless souls that wander our worlds looking for a place to call home’.
Still Life – Requiem is created from sounds extracted from ‘physical matter’ using a technique called emission spectroscopy, where the frequencies that are generated from the material is analysed and transferred into listenable pitches. In this respect, it is a Requiem for the soul within the inanimate (I assume: since it’s not specified which materials were used in the spectroscopy).

Using this technique does not automatically lead to a musical composition, of course. For the source material to become a composition, CM von Hausswolff  manipulated, stretched, looped and equalised it into a composition dedicated to the energy in all things around us.

“A requiem radiates calm, peace and perhaps comfort for tormented spiritual beings – it’s a piece dedicated to promote and insert tranquility and transcendence.”

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Baker/Goff/Harris * Ze-Ka




Aidan Baker (guitar)Simon Goff (drums) and Thor Harris (violin) worked together on various occasions and decided to get together in may 2017 in Berlin for some recordings. In a few hours, they recorded their improvised sessions which were then edited and re-worked (but NO overdubs) into Noplace.

It is almost incredible to believe these sessions were improvised, since the trio sounds so tight and balanced. Guitar, violin and (especially) drums are an unusual combination for this kind of atmospheric music, but here the instruments are fully equal: they match and complement each other.

“Kinetic rhythms pulsate throughout whilst the guitar and violin jostle and weave around the metronomic beats, creating a cathartic and all-encompassing experience.”

With the pulsing beat and hypnotic rhythm this cannot really be filed under ‘ambient’ (Gizeh suggests Avant/Krautrock/Improv/Experimental), but with the  sustained drones there definitely is an ‘ambient’ atmosphere within the compelling rhythms.. a bit in the way Bill Laswell managed to combine ambient drones with fat funk beats.

Baker, Goff & Harris present a sound that is seldom heard – and probably quite overwhelming when experienced live!

Ze-Ka Ghost Planet

ZE-KA – GHOST PLANET  Also on Spotify

Ghost Planet starts with a deep modular kind of pulsating electronic hum (Fission) so it will take a while before realising that Jean-Philippe Feiss (Ze-Ka) is a french cellist, and that the cello is his main instrument on this album.
But Feiss is also heavily interested in electronic music, which means an album full of interesting explorations of both sounds.
And especially the combination of the two. Check, for instance, the way the cello drone from Gold River transforms into the analog synth sound of (what I assume is) the vintage Korg M10.
Or the other way around: the way the pulsating drone from Landscape morphs into a continuous cello chord. Two different sound worlds, from opposite origins, but a perfect match.
The result clearly more than the sum of its parts!

In the past, Feiss has worked with artists like Richard Bona and Patrick Watson as well as with many artists from the French jazz scene. But this is his first solo release, full of “minimalistic drones, made for thinking and retrospection”.
The environment is his musical inspiration – in a broad sense: which means positive connotations (Gold River, which expands over 24 minutes) as well as negative (Fission and Red Forest were inspired by the Tchernobyl disaster).

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