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Dale Cooper Quartet / Dictaphones * IRMxTP – Indierock Magazine x Twin Peaks


Astrild Astrild


If part of your acts name is Dale Cooper Quartet you’ll be forever linked to Twin Peaks.
Coinciding with the much-anticipated third Twin Peaks series The Return, their fourth full album release is perfectly timed. Astrild Astrild could’ve very well been part of the The Return’s soundtrack.

Mysterious dark jazz, deep tone saxophone and a rattling distorted guitar drone in the opening track and in Ta Châssis Euplecte, all in a slow pace. Everything on these long tracks with inexplicable titles is unsettling, ghostly or eerie.
Or all of that.

And even more when the ‘doom-crooners’ set in (the vocal parts are performed by The Dictaphones: Ronan MacErlaine, Gaëlle Kerrien and Zalie Bellacicco)!

It’s another similarity with the Twin Peaks series: you may not have a single clue what it’s all about, but once you start watching/listening there’s no way to stop or retreat from the mystery.
It is satisfying is a strange way immerse yourself in a weird world that resembles your own – but definitely isn’t.


PART I: I Had The Strangest Dream Last Night (The Owls Went Silent)
PART II: The Lonesome Foghorn Blows (The Secret Of Knowing Who Killed You)
PART VI: The Full Blossom of the Evening (The Most Beautiful Dream and the Most Terrible Nightmare All at Once)

Whether you’re a fan of the series or not, the impact of Twin Peaks on television, art and especially music culture can hardly be overestimated. Ever since 1989, the signature ‘Love Theme From Twin Peaks’ by Angelo Badalementi (written with David Lynch in less than 20 minutes!) has inspired many artists to create variations on the theme or -even more – variations on the otherworldly atmosphere.

This year, the third series pick up 25 years after the original series. David Lynch got carte blanche to create  18 new episodes, each almost one hour. The Return is referred to as originally intended to be viewed as one 18-hour long movie.
It’s a love-or-hate thing, it seems. Either you love it (in which case you probably think it’s the best television that ever was and will be made) or you hate it with the same intensity for many different reasons.
But either way, the soundtrack is worth investigating for lovers of atmospheric ambient themes and drones.

But: the series official soundtrack is not the issue here.
French Indie Rock Magazine (NOT to be confused with this one, by the way) celebrates the Twin Peaks Return with a series of releases called #IRMxTP. They have asked musicians from all over the world with common interest in Twin Peaks to record a new piece inspired by the series. And – as could probably be expected – to massive response.

And by ‘massive’, I mean massive: the IRMxTP series is scheduled to contain 16 (!) compilation albums, together almost as long as the 18 editions of the third series! Each of these 16 albums will be available as a free download (!) from the IndieRock Bandcamp Page. At the time of writing (July 2017), three volumes have been released: I, II and VI (III and IV will follow later: as in the series, anything predictable should be avoided).
The releases will continue in the rest of 2017 (or possibly beyond).

The first three editions present convincing proof of the way Twin Peaks inspires musicians in many ways. Of course, it covers a wide range of styles and genres, but all the tracks share the mysterious atmosphere that marks the television series. Though it’s not exclusively ‘ambient’, there are quite a lot ambient music pieces, among the many other tracks that ambient music lovers will also appreciate.

I don’t think any serious music fan will need any more recommendation.
But I’ll end with namedropping some (only some!) of the artists performing: Giulio Aldinucci, Alexandre Navarro, Mike Cooper, Aidan Baker, Moss Covered Technologies, Øjerum,  Talvihorros, Lawrence English, Philippe Lamy, Birds of Passage, Dirk Serries, and (my personal favorite): Fallows (Jeff Stonehouse and Anne Garner) performing a chilling cover version of (Badalamenti/Lynch’s)  Sycamore Trees.

Don’t forget: these are just some of the names from the first three of what’s going to be a 16-part series. More to come!

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James Murray * Pleq

Floods Returned

Floods Returned


James Murray‘s discography goes back to 2004, when he released a track as Sub on one of the legendary EM:T label compilations.  He releases under his own name, and his output seems to increase every year: three titles in 2016 and this is the third title only halfway through 2017.
Steadily working on his distinct, personal and intimate sound, he has become one of the landmark producers in the ambient/drone genre.

His previous albums were much praised for their style and content, but for a creative artist an album release is never a definitive version.
Floods Returned  revisits tracks from Murray‘s previous albums Floods, The Land Bridge and Mount View, a ‘biographical trilogy’ released between 2012 and 2014. 

Tracks from these albums are not just remastered but completely reworked:
“Simply to recombine a few elements on many of these productions is to invite another composition to spontaneously unfurl, often equally faithful to the spirit of my intent as the original.”

Like many artists do, Murray “is circling his private collection of hopes, fears, dreams and disappointments, looking at this strange assemblage from every angle, pushing and pulling to see what falls out”.

The titles still refer to the original tracks, so if you want you can compare these versions with the originals. But there are also added new title in brackets, indicating that they can best be seen as new compositions. 
Floods Returned 
simply feels like a completely new album.
Norman Records described this as “slow unfolding ambience that has the etherial uplifting qualities of Brian Eno’s Apollo” – not a compliment that should be easily given, but I think it just about nails it.


PLEQ – RE:COMPOSITION  Also on Spotify

Re:composition is a different kind of retrospective compilation.
It is a collection of (eleven) remixes of Pleq‘s (Bartosz Dziadosz’)  music tracks that were previously released on many different label.

The common denominator of all remix artists is that they all have released music on the Dronarivm labels.
And that is quite a tribe: Philippe Lamy, Autistici, Segue, The Green Kingdom, offthesky, Olan Mill, Legiac, Aaron Martin, Elegi and Tomasz Mrenca. Each taking a different approach in de- and re-constructing Pleq‘s music.

Re:composition not only shows the versatility and inventiveness of his work, it also demonstrates that the Dronarivm artists share their artistic vision – facilitated by the label’s mission to “fulfill the expectations of music lovers of ambient and drone.”

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DreamScenes – July 2017

DreamScenes CZ

The first edition of DreamScenes v2.0:

Starting this month, DreamScenes will be broadcast on the Dutch Concertzender Radio channel every second sunday of the month at 20hr (CET).
Every edition can be listened on-demand after the broadcast, from the Concertzender website as well as via Mixcloud.
More details about the Concertzender and the new DreamScenes broadcast [here].

The first radio edition: “Dream the Dark Away…”

With the title taken from (the Abul Mogard remix of) Fovea Hex’s track All Those Signs, this edition somehow feels like a ‘mission statement’ for the new series…


DreamScenes CZ


  1. 00:45 Alder & Ash – Prelude to the Decline
    Psalms For The Sunder, 2017, Lost Tribe Sound
  2. 02:45 Dronny Darko – Intermission 1: Crystalline Tunnels
    Abduction, 2017, Cryo Chamber CRYO 068
  3. 05:01 Angelina Yershova – Suspended Shadows
    Resonance Night, 2017, Twin Paradox TPR004
  4. 07:28 Jeffrey Roden – As We Rise Up
    Threads Of A Prayer vol. II, 2017, Solaire Records SOL1004
  5. 14:32 Saskia Lankhoorn – Peter Adriaansz: Attachments III
    Enclosures, 2017, Ergodos ER 25
  6. 21:16 Jessica Moss – Entire Populations (Part 1)
    Pools of Light, 2017, Constellation CST124
  7. 26:36 Arve Henriksen – Patient Zero
    Towards Language, 2017, Rune Grammofon RCD 2192
  8. 28:31 Christian Bouchard – Kinetic Friction
    Broken Ground, 2017, Empreintes Digitales IMED17141
  9. 30:24 Serpatus – Ornamentos
    Serpatus, 2017, self-released
  10.  34:56 Ryuichi Sakamoto – Solari
    Async, 2017, Milan M2-36830
  11. 37:57 Bålsam – The Ritual
    Dream Landscape, 2017, Shimmering Moods Records
  12. 41:11 Fovea Hex, Abul Mogard – We Dream All The Dark Away (All Those Signs remix, edit)
    We Dream All The Dark Away, 2017, Headphone Dust HDFHCD29 (last few copies with bonus CD available from Janet Records)
  13. 51:10 Mari Sainio – Souls From The Past
    Wind Whispers, 2017, Ranka Kustannus FIRAN 1700047 (release date tba)
  14. 55:44 Allred & Broderick – The Ways
    Find The Ways, 2017, Erased Tapes ERATP095CD

Or: listen on demand from the Concertzender website.

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Richard Chartier * Porya Hatami * Broken Thoughts

Broken Thoughts

Richard Chartier - Removed


It has almost become a genre in itself: reductionist minimalism, exploring deterioration (think Basinski), or exploring the artefacts of multiple digital copies (think Alva Noto).
Or: exploring what is remains after removing important details – think Richard Chartier‘s latest album (his first new studio album under his own name since 2013).

It’s a famous Miles Davis quote: “Don’t play what’s there, play what’s not there.”
Which is exactly what Richard Chartier does here on this album.

It took a five-year process of removal/erasure to form these two pieces (26 and 23 minutes).
“Only trace elements appear from what was”.
Only Chartier himself can probably  tell what ‘was’ and what has been removed. But the result is a fascinating ‘ghost of a composition’ which presents a sonic universe in itself. An infinite and timeless universe.

Two ways of listening are recommended: you can play it quietly amplified across your space, changing the atmosphere of your surroundings in the truest sense of ‘ambient music’.
Or, listen carefully on your headphones (be sure to listen on a decent system and using a lossless audio source) to hear all the captivating details of this ‘glacially paced progression of discreet relational sonic events and flows.’
I recommend doing both, though not at the same time.


PORYA HATAMI – MONADS  Also on Spotify

Porya Hatami (from Iran) has released quite an array of albums since 2012, and this is his debut for the Line label.
Compared to his earlier releases, Monads is more abstract and experimental in sound design (which in fact perfectly fits the label).

Monad is a philosophical concept referring (in this case) to ‘elemental particles of nature; basic elements of perceptual reality.’

These (twelve) tracks are presented as Monads, which is to say they ‘neglect to follow structure or narrative.’
Each track is a single entity (maintaining ‘a harmonious distance from each other with no open window for communication’)

It’s like listening to a few minutes of sound taken from a stream that has neither beginning nor end – a stream that simply ‘is’. Yet was unheard by many, until Hatami unlocked the hidden dimensions and found a way to collect these sonic fractals for us to enjoy.

Broken Thoughts


Broken Thoughts is Keju Luo from Yunnan, China. This is the first time I hear his music, but it is obviously created with a lot of experience.
The website already boasts seven solo albums as Broken Thoughts (though Bandcamp states it is his third solo album), and many other works, collaborations and commissions.

Seven tracks – exactly five minutes each – exploring ‘the intersection of cinematic soundscapes, industrial rhythm structures and IDM style noises and glitches.’
For further indications of the sound you can expect, Keju names his inspirational sources: Hecq, Ulver, Trent Reznor, etc.

But these are just references: to my ears the music is as fascinating as the cover image is. You cannot really tell what you hear / see. There are vague references to reality, but the result is hard to describe.

Listen for yourself – I think you will agree this album ranks among the best of the current adventurous electronic music.

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Sound Meccano + Jura Laiva * Tobias Hellkvist * No One

No One 1

Salty Wind


Sound Meccano (Rostislav Rekuta from Riga, Latvia – electronics, field recordings, sound processing) and Jura Laiva (also from Latvia – guitar, guitar drones, piano) have worked together before, releasing 2 EP’s on Crónica and Flaming Pines. This release on Eilean Records is their first full-length album.

With the campfire sounds, the rain and other environmental sounds this 8-part journey feels like camping out in a dense forest, slowly moving through different weather conditions.

“The album is best perceived as an audio journey, a road-movie for the ears.”

With the help of Kate Pavula (violin, voice, viola, accordion) and Eriks Kirsfelds (cello) it becomes a cinematic journey. The eight parts are sequenced into one 71 minute trip from which there’s no way back once you started.
But why would you want to?
“The overall mood of the record is far from somber, as if to prove that the inner fire that never goes out is warm enough to protect us from salty winds, no matter how endless the winter might seem.”

Forest Psalms


The basic field recordings for this album were recorded in the United States in 2015 and 2016: at Culver City, Los Angeles, Topanga Canyon and Big Sur (California) and Big Pine Key, Florida. Additional recordings were made in Sweden and Denmark; the album was finished in Copenhagen, Denmark.
Field recordings being the basic source material does not automatically mean that this is a ‘nature’ recording: they are the inspiration, the starting points. The added electronics make it ‘true ambient’ sounds, intended “to lead the audience into a state of mindfulness, total relaxation, and focus”.

After a 2 day hike in the forest of Northern California, I came to experience a rare kind of stillness and desolation which really fascinated me. I think most of the music I make is some kind of attempt to recreate moments like these for me to revisit.”
And we can consider ourselves lucky to be able to join Tobias Hellkvist in this revisit.

No One 1     No One

NO ONE – 13

Just  a fairly random pick of two albums from the six that are numbered in the order (Franess) No One started working on them:   123459.
This means that 6 – 7 – 8 are currently works in progress but will probably be released somewhere in the near future. Besides, there’s also mention of an upcoming CD-release on Midira records.
Franess No One is an artist of the prolific kind, obviously, because only a few days ago another album was released – not numbered but with a title: Antipodes

I can’t tell how the other titles sound (yet), but No One states that he “often creates several practically identical works”, so I guess these two releases are fairly representative for many of his other work.

“No One makes conceptual music…” (which is a nice statement in itself, by the way) “… by manipulating sounds to create confusion”. 

One could say the music on these albums are heavily drone-based, but that wouldn’t the right description for soundscapes like these that constantly change and evolve in a very cinematic, story-telling way. The drones seem to cover hidden melodies that struggle to get to the surface. All in a lush, widescreen sound created with recordings, tape treats, instruments and keyboards.
1 is split in two tracks around 30 minutes each, while 3 presents a single 41 minute track.


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Fabio Perletta * Simon Fisher Turner * Mayforest




The 一 (one) and 念 (thought) in the title refer to the shortest possible unit of time known as a principle of Zen practice: “a point of time which has neither the past nor the future.. “. The moment “where eternity cuts into time”, which exactly correspondents to what is know as Satori, which “takes place when consciousness realizes a state of one thought.”

That are some thoughts to ponder on for a while – and for that pondering Fabio Perletta provides a perfect soundtrack. Three untitled tracks (totalling 48 minutes – but put it on repeat and you can take all the pondering time you need).

On this album, Fabio Perletta explores the “emotional states experienced before, during and after a very long awaited trip”. The three different pieces are created using location recordings from Tokyo, Takayama and Kyoto, all heavily processed to unrecognisable abstract soundscapes using computer, feedback, magnetic tape and digital and ‘irreversible‘ sound processing.

Musique Concrête for the mind? In fact, words fail to describe it describe because “Zen does not follow the routine of reasoning, and does not mind contradicting itself or being inconsistent.”
Just listen. And try to look for that exact moment of ‘one thought’.

Ichinen 一念 is a digital-only release.



From the very first cut-up fragments op Into Bush it’s clear that this is going to be an amazing journey. Simon Fisher Turner – composer, actor, sound designer – took his relatively simple recording devices (Roland Edirol R-09 and iPhone) around the world (Berlin, Lake Biwa, Cambridgeshire, Hammersmith, River Thames, Tokyo, Porto, Andalucia) and mashed all kinds of location recordings into kaleidoscopic tracks that ‘blur the line between sound design and song, machine severity and narrative sentimentality’.

There are amazing sounds heard in every direction, but they are kept together by the layered electronics, morphed into augmented field recordings.
Images of non-existent worlds, created from blended and altered every day sounds: “a sonic landscape where musical and non-musical elements are placed on a level hierarchy.”

Slight Smile is a spoken word poem by Emma Smith, adding to the psychedelic dreamlike visions of this album, ultimately dissolving into the incromprehensible realms: 
“You are the leader, and I wore funny clothes. We travelled together, and I wore leather. Lovely backstage photos…”

Travelling together is the key to this album. Travelling, and sharing the amazement and excitement of unexpected encounters…

One question remains… why the Giraffe’?
The fata-morgana-like cover image of a giraffe’s shadow looks nothing like an earthly creature, but it still is. It’s an altered image, in the same way the life sounds on this album are altered images of the world surround us.




The cover design and ASCII-art track titles like –∞–––––∞– or ––(–––––)–– may suggest the analytical kind of sound resembling the analytical Raster-Noton approach: mathematical more than emotional (though that’s always a subjective matter of course). But even in the first minutes of the opening track it’s clear that this is a misconception: Mayforest presents an organical ambient sound with many acoustical (-sounding) elements.
Mayforest’s music is definitely more ‘human’ than the package might suggest.

Mayforest is Christian Maiwald, living in Berlin and Szczecin (Poland).
There’s not much information on the background of his music, apart from the fact that there’s “no lute and no 808”.

The tracks are presented in order of their production date, because  Christian “likes to see where things lead me.” Wherever that may be, it’s a promising path, passing many enjoyable soundscapes in a strikingly original instrumentation.

At moments, the sound is not unlike that of the Stars of the Lid, and you might also hear elements reminiscing Bersarin Quartett….
Namedropping of course, just to give  an idea about some of the Mayforest sounds you can expect on this ‘off-radar’ album definitely worth checking out.

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Mind Awake, Body Asleep (Mix)

Mind Awake, Body Asleep

The moment I heard Rami Malek whisper “You lie in bed and repeat this mantra in your head: mind awake, body asleep” (Mr Robotseries 2) I knew this would be the inspiration for a new mix.
A mix about half-sleep, lucid dreaming impressions… ungraspable images… and about “letting go”.
After all, Mr. Robot’s tagline was “Control is an Illusion”.

Control proved to be an illusion indeed, with these different, unrelated, fragments coming together like pieces of a puzzle, creating a mix “like its own cinematic score.” (H_C)

So let go, indulge yourself in this mix, and leave control to wherever the sound takes you.
But (as is this is not one of those ‘feel good, sleep well’ mixes) be sure to keep you mind awake at all times!

This mix was created for – and is co-hosted on – Headphone Commute – for which I am very very grateful!

“Peter van Cooten’s intricate storytelling with his favorite piece is the precise definition of a true curator. But it’s not just a collection of sequential tracks that makes a mix from PvC a transforming experience, it’s also his multi-layered approach to weaving in the dynamics and textures of individual compositions that truly create a brand new one, disabling your mind from peeling apart the individual pieces (see below the screenshot of the entire sequence). The mix becomes an event of itself – one that I am honored to share with you.”

Thanks, H_C,  for the helping in spreading lucid audio-dreams ! 


Mind Awake... sequence



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

  • 00:00 00:53 Tom Tykwer, Johnny Klimek, Reinhold Heil – Sloosha’s Hollow
    Cloud Atlas OST, 2012, Sony Classical 88765411202
  • 00:20 00:30 Rami Malek – Mind Awake, Body Asleep
    Mr. Robot, 2016
  • 00:50 02:02 Gideon Wolf – Disquiet
    Year Zero, 2016, Fluid Audio 038
  • 01:31 01:38 Kenji Kawai – Ghosthack
    Ghost in the Shell OST, 1995, RCA BVCR-729
  • 02:41 02:08 DirigentThe Perseids (Naviarhaiku 137)
    3 Years of Naviar Haiku, 2017, Naviar, Bandcamp
  • 04:11 01:22 Olivier AlaryXi
    Fiction – Non-Fiction, 2017, 130701 LP13-24
  • 05:14 02:19 Mayforest – –––––––
    Mayforest, 2017, Bandcamp
  • 07:13 03:00 Daniel WJ MackenzieAbandonment I (Moon Phase)
    Every Time Feels Like The Last Time, 2017, Eilean Rec 048
  • 09:35 02:59 Sij – Floating Clouds
    The Time Machine, 2017, Cryo Chamber CRYO 057
  • 10:08 00:26 Rami Malek – Mind Awake, Body Asleep
    Mr. Robot, 2016
  • 12:02 02:32 BJ Nilsen – Twenty Four Seven
    Eye of the Microphone, 2013, Touch TO:95
  • 13:10 02:19 Visible Cloaks – Wintergreen
    Reassemblage, 2017, Rvng Intl. RVNGNL37
  • 14:54 02:03 Stéphane Roy – III
    Migrations, 2004, Empreïntes Digitales IMED 0373
  • 15:57 01:10 Simon Fisher Turner – Burnt In
    Giraffe, 2017, Editions Meg EMEGO 231
  • 17:01 03:01 Max Richter – Morphology
    Three Worlds: Music From Wolf Works, 2017, Deutsche Grammophon 00289 479 6952 GH
  • 19:13 02:44 Angelina Yershova – Intermezzo 80 Hertz
    Resonance Night, 2017, Twin Paradox TPR004
  • 21:30 01:37 Gideon WolfNoise
    Year Zero, 2016,  Fluid Audio 038
  • 22:11 03:06 James MurrayAllways
    Killing Ghosts, 2017, Home Normal homen091
  • 24:40 02:47 Alva Noto – Gulf Night (For Peter Roehr)
    For, 2006, Line LINE_026
  • 25:49 02:17 Mario Batkovic – Desiderii Patriae
    Solo, 2015, Veruston VTR002 (2017: Invada INV16LP)
  • 27:07 04:00 J. Peter Schwalm – Endknall
    The Beauty of Disaster, 2016, RareNoise Records RNR059
  • 30:08 03:51 Abul Mogard – Tumbling Relentless Heaps
    Works, 2016, Ecstatic ELP020
  • 32:38 02:59 Lawrence English – Somnambulist
    Cruel Optimism, 2017, Room40 RM470CD
  • 34:43 01:54 Penjaga Insaf – Keinsafan
    Sama Sadja, 2010, Power & Steel PAS 27
  • 35:27 01:21 Olan Mill – Alve
    Orient, 2017, Dauw d21
  • 36:23 02:34 Jeffrey Roden – Threads of a Prayer
    Threads of a Prayer Volume 2, 2017, Solaire Records SOL1004
  • 38:50 01:40 Jóhann Jóhannsson – First Encounter
    Arrival OST, 2016, Deutsche Grammophon 4796782
  • 39:57 01:49 Adam Bryanbaum Wiltzie – They Dream Of More
    Salero OST, 2016, Erased Tapes Records ERATP091CD
  • 40:23 00:14 Rami Malek – Mind Awake, Body Asleep
    Mr. Robot, 2016
  • 41:32 01:22 The Future Sound of London – Exerting Force or Influence
    Environment Six, 2016, fsoldigital CDTOT 70
  • 41:54 02:14 Andrew Wasylyk – Ghosts of Park Place
    Themes for Buildings and Spaces, 2017, Tape Club Records TAPCLB083
  • 42:43 02:57 Elegi – K-141
    Bånsull, 2017, Dronarivm DR-43
  • 44:43 03:02 DødsmaskinHeksetimen
    Fullstendig Brent, 2017, Malignant Records TumorCD104
  • 45:46 03:22 FM3 – Dui Xiang
    Ting Shuo, 2014, self-released CN-M69-14
  • 48:28 02:13 Scott Walker – Dream Sequence
    The Childhood of a Leader OST, 2016, 4AD CAD3620CD
  • 49:31 00:15 Rami Malek – Mind Awake, Body Asleep
    Mr. Robot, 2016
  • 50:00 03:47 Seabuckthorn – Passage of Old
    I Could See The Smoke, 2016, Lost Tribe Sound LTS-024
  • 53:07 01:50 Fabio Perletta – Ichinen Pt. 1
    Ichinen, 2017, Line LINE_085
  • 53:26 06:33 Olivier Alary – Epilogue
    Fiction – Non-Fiction, 2017, 130701 LP13-24


Download Mind Awake, Body Asleep Now 140 Mb (60:00 min.)

[Alternative download from]

[Surround-version (DTS.Wav) here]

Or: Stream in on Mixcloud:


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Juha-Matti Rautianen * Bing Satellites * Bethan Kellough

Juha-Matti Rautianen

Juha-Matti Rautianen


Sometimes Art flourishes on imposed restrictions.
Finnish bass-player Juha-Matti Rautianen can tell you all about this: he cut the tip of his right index-finger in an accident on New Year’s Day in 2014. Pretty disastrous for a professional bass-player playing over 15 years on stage and in various bands and various genres.

But Rautianen obviously is a man who doesn’t accept limitations – instead he took up the challenge: composing and performing live ambient music with his primary instrument, using an array of effect pedals.
“My accident gave me the opportunity to examine the aesthetic of focusing on the present – the moment right now. “

“I think the most intriguing music is born when you set limits to yourself” –  I can almost imagine Brian Eno’s smile affirmative here.
The limitation is not only his broken hand, but also the instrument: a bass guitar is not often the instrument of choice for ambient music. “I tried to use my bass guitar as unorthodoxically as possible.”
The result: a refreshingly imaginative, ‘mindful’ album.

But please: do not read this as an invitation to break your fingers or otherwise hurt yourself… It’s better to remember this advice from Eno’s ‘Oblique Strategies“: “Honor thy error as a hidden intention”

Also on Spotify

Bing Satellites


Let’s discuss ‘prolific’…. The artist known as Bing Satellites (real name Brin Colemanhas produced over 61 albums since 2015 under this name – and that’s not counting the releases under different aliases like Blocker, Ghost Harmonics, The Ambient Visitor, The Lovely Moon and probably more.
I can’t say I’m really familiar with all of his work, so Extensions of Reality is a fairly random pick – especially when considering that another eight titles were releases (at time of writing) after this particular one from December 2016.

That said, Extensions of Reality is a fine way to start exploring Bing Satellites‘ catalogue; especially since the download version is a Name Your Price release,
The music on this album is heavily inspired by Brian Eno’s generative music concept, sometimes you even hear fragments reminiscing Fripp & Eno’s heavenly guitar loops. The three king tracks are built from improvised layers, generative loops with slightly different lengths, so the output is different each time: “they interact in ways that could not be foreseen.”

Indeed: think Music for Airports.

So completist collectors: beware!
Think again before you start listening to this album: there may be no way back from checking out many many other releases.
(But then again: most of the Bing Satellites releases are available as a Name-Your-Price download.)

Bethan Kellough - Aven


Touch label release from last year’s august that I missed somehow but still want to recommend to those that missed it too.
Reading Aven‘s liner notes it’s clear that field recordings are the main ingredient here: recordings made in Iceland and South Africa. The impressive rumbling sound of ‘underground geothermal activity escaping to the surface through a small shaft’ gave the album it’s title: such shafts are called ‘Aven’.
But by augmenting the field recordings with various drones and melodic violin passages,  Bethan Kellough transforms the recordings into a symphonic fantasy, imagining entering unknown underground environments.
If you want to hear one example of how environmental field recordings can be turned into a full-featured symphony, try Aven

Bethan Kellough (a.k.a. Bethan Parkes) got the PhD in Sonic Arts in 2015 at the University of Glasgow. She is researching “immersive sound-worlds, spatial aesthetics and the interactions between sonically and visually articulated spaces”,  her music “inhabiting the boundaries between music and sound design”.

Aven is her debut album release – a live recording, recorded in April 2016 in Los Angeles as part of the Touch Conference.

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DreamScenes 2017-4

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The April DreamScenes edition features a collection of fine tracks from recent releases – meandering from ambient dreamscapes to abstract expressionism to jazzy modern classical, overtone throat singing suites and distorted choirs…
All in one night’s dream….


  • 00:00 DreamScenes – Intro (Susanna)
  • 00:48 MayForest – -)(-
    Mayforest, 2017
  • 04:43 Olivier Alary – Epilogue
    Fiction – Non-Fiction, 2017
  • 10:57 Christopher Chaplin – Je Suis Le Ténébreux (Tim Story Remix)
    Deconstructed (Remix EP), 2017
  • 14:50 High Plains – Ten Sleep
    Cinderland, 2017
  • 17:55 Jacaszek – Love
    Kwiaty, 2017
  • 20:11 Tobias Hellkvist – Where No One Can Hear You
    Forest Psalms, 2017
  • 24:28 Olan Mill – Molanret
    Orient, 2017
  • 31:54 Second Woman – 05 ////\
    SW, 2017
  • 35:50 Simon Fisher Turner – Save As
    Giraffe, 2017
  • 36:40 Hauschka – I Can’t Express My Deep Love
    What If, 2017
  • 39:50 Enabl.Ed – To My Daughter
    Tipsy Haux 2.0, 2017
  • 44:17 Lorenzo Masotto – A Tree In The Snow
    Aeolian Processes, 2017
  • 47:30 High Plains – Blood That Ran The Rapids
    Cinderland, 2017
  • 50:46 Phonothek & Cities Last Broadcast – Last Melody
    Red Moon, 2017
  • 55:41 Olan Mill – Alve
    Orient, 2017
  • 58:00 Ocoeur – Crystal
    Touched 3, 2016

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Joshua Sabin * Christian Bouchard * Blessed Initative

Christian Bouchard - Broken Ground

Joshua Sabin - Terminus Drift


Terminus Drift is released on the Subtext Recording label, which is also the home of Paul Jebanasam. That’s is no coincidence: both sound artists use the same kind of methods to create their overwhelming and ineluctable soundscapes.
Played at the appropriate level (which means ‘loud’), it feels as if you’re witnessing something larger-than-life..

Jebanasam’s ‘Continuum’ feels as if you’ve become a part of  the Big Bang (especially in a live setting, with visuals by Tarik Barri). But Joshua Sabin‘s focus is the universe close by: he exclusively uses field-recordings captured in transit through Kyoto, Tokyo and Berlin, in addition to electromagnetic field recordings captured in Glasgow and Edinburgh.

“Sirens reverberating through station tunnels, fluctuating harmonics of subway engines, echoing tannoy systems, piercing screams of electromagnetic fields.”

However, this does not mean the sound will be more familiar to you everyday life. It’s a disruptive and unpredictable trip that feels like you’re exploring outer space (or inner space, if you prefer).
Sabin reveals details that you never thought were here, and most of them are not exactly comforting.
So it’s a good thing that the closing track, Eki, ends relatively calm, carefully returning the listener back to where he started.

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Christian Bouchard - Broken Ground


If you just listened to the Joshua Sabin album, I recommend you to keep your seatbelt fastened for this new album on Empreintes Digitales,  home of electroacoustic and acousmatic music, musique concrète, soundscapes, audio art and art sonore. 

Broken Ground was commissioned for the Broken Ground exhibition by Derek Besantthat has been presented on various locations since 2012 (in 2017 in Madrid, in 2018 in Tokyo). The exhibition “looks at seven cities over ten years, and how redevelopment infrastructure changes our perception of cityscapes. The collision of the imaging with Christian Bouchard’s electronic soundtrack builds the exhibition installation into a hypothetical representation of the constant change cities are in over time, and how components leave traces or clues to the ones that might have existed here… Even in destruction, there lies the possibility for beauty and reinterpretation.” 

The relation with cities, cityscapes and redevelopment infrastructure may suggest that the basic material for these soundscapes might be taken from environmental and location recordings. In fact there are no recorded sounds in Broken Ground – all sound sources are electronic. The sound samples were completely dissected and augmented to create a new sound environment to accompany the exhibition completing “a hypothetical representation of the constant change cities are in over time, and how components leave traces or clues to the ones that might have existed here…”.
In 2016, the music was remixed to prepare it for this release.

Christian Bouchard – Resistant Materials

Blessed Initiative


The bright white cover pictures a stylish, immaculate white car that is about to be hit by a wave of blue paint. This image, from Josephine Pryde‘s series ‘Relax (blue)’ was chosen ‘as a materialization of tension’.
And tension is what is delivered on this album by electro-acoustic composer Yair Elazar Glotmanfrom the first to the very last minute.
It’s as if a giant unknown creature is trying to break through the ground below your feet (… maybe better use your imagination to conjure your own fitting images).

“Blessed Initiative suggests a dissonant, coexistent state of extreme highs and lows. Opposite states coincide, contrast and reflect, creating moments of uncertainty and insecurity. Absurdity and at times even bliss are possible results.”

Not an album to quietly fall asleep with… but of course it wasn’t intended to do so. These intensely energetic compositions will probably raise your adrenalin level and that can be satisfying in its own special way. But I would definitely discourage listening to this album unprepared.

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