Steven M. Halliday – A Relation of a Journey

Now there’s a cute little package: a 3″ CD packed in a transparent geographical map, packed in a foldout postcard, packed in a beautiful black embossed paper envelope. Oh, the joys of holding a handmade DiY-artwork packages that is obviously created with love..!

Until now I had not heard of Steven M. Halliday in any way, and not much information can be found about him online, although he has “worn many hats throughout his career from producer to sound designer, musicologist to occasional film composer and consultant”.
Also, I did not know anything about A Relation of a Journey” – it was just someone’s online recommendation that triggered my interest.

All the greater was my surprise when listening to this little gem: within the short timespan of just sixteen minutes, classical music, ambient drones, field recordings and experimental soundscapes merge into an adventurous musical journey.

Marsen Jules Trio – Présence Acousmatique


Marsen Jules Trio

Only short after the minimalistic generative soundscape presented on The Endless Change of Colour“, Marsen Jules displays a completely different musical approach with this album by the Marsen Jules Trio.

As the …Trio indicates, this album presents Marsen Jules’ atmospheric soundscapes with the addition of two other musicians: twin brothers Anwar Alam (piano) and Jan-Philipp Alam (violin), with whom Marsen Jules played tours and festivals across the USA, Canada and Europe.

Présence Acousmatiqueis a stunning synergy of ambient, avant-garde, modern classical and introspective jazz music. It is released on Jules’ own Oktaf label, but stylistically it would have also fitted the ECM (new) series.

Johann Johannsson – The Miner’s Hymns

Created as a soundtrack for the Bill Morrison movie depicting the disembling of the North East England’s mining community (the movie DVD will be released in june), this CD version is recorded live at the Durham Cathedral with a surprising cast of a 16-piece brass ensemble, church organ, percussion and electronics (the latter pre-recorded to catch the reverberation of the cathedral itself and use it in the recording).
No string section – in instrumentation and style Johannsson returns to the time of “Virthulegu Forsetar” (Touch, 2004).