last call for the upcoming tonefloat gigs next week. with exciting new albums out in 2009, tonefloat is pleased to announce a short series of tonefloat label nights in holland, belgium and germany. with exclusive performances by fear falls burning, theo travis, and sand snowman, the evenings will showcase music from new and recent albums. the evenings also mark the first european mainland performances ever by theo travis (as a solo artist) and sand snowman, so be there! theo travis and dirk serries (fear falls burning) will also join forces for a one-off duo-performance at these concerts.
the tilburg show is going to be recorded by vpro radio for a future broadcast.
every visitor will receive a free sand snowman sampler cd.
the following dates are confirmed and on sale now:
monday 30 march - spirit of 66, verviers (belgium)
tuesday 31 march - movie, bielefeld (germany)
wednesday 1 april - paradox, tilburg (holland)
see you there!
tf059, a review (12)
de in londen woonachtige ierse muzikant en componist sand snowman debuteert in 2006 met het album "moth dream", dat aanvankelijk enkel als mp3 verkrijgbaar is. na in eigen beheer enkele albums op mp3 en cd-r te hebben uitgebracht, komt snowman niet veel later in aanraking met het nederlandse tonefloat, dat "i'm not here" en "the twilight game" opnieuw (op vinyl) uitbrengt. dit vormt het begin van een succesvolle samenwerking, want het nieuwe album verschijnt in februari 2009 ook op dit label.
ofschoon dit rotterdamse label door zijn vaak schitterend vormgegeven vinyluitgaven een meer dan gedegen reputatie heeft opgebouwd, verschijnt "two way mirror" nu ook op compact disc. sterker nog... de eerste vijfhonderd exemplaren van het album hebben een extra disc, "the magpie house", met maar liefst acht nieuwe tracks. omdat mijn recensie-exemplaar echter uitsluitend de reguliere cd bevat, kan ik hier alleen iets over de eerste schijf kwijt.
het nieuwe album telt negen nummers, variërend in lengte van bijna twee tot ruim acht minuten, die samen nog geen veertig minuten duren. ondanks dat sand snowman niet of nauwelijks van zijn inmiddels beproefde benadering afwijkt, laat "two way mirror" in vergelijking met zijn voorgangers een wat meer volwassen geluid horen. na enkele draaibeurten krijg ik immers het idee dat snowman hier wat minder naar een eigen geluid of identiteit zoekende is en dat hij zijn aandacht wat meer op het verder verfijnen en vervolmaken van zijn stijl kan richten.
op "two way mirror" borduurt sand snowman derhalve min of meer voort op zijn karakteristieke mengeling van ambient, folk, progressieve en psychedelische rock, die ook op eerdere platen al te horen is. het fundament van dit mengsel wordt gevormd door snowmans modern klassieke, meestal akoestische gitaarspel, waarbij vaak door toedoen van indringende elektronische ambientklanken geluidslaag op geluidslaag wordt gestapeld. met een even gevarieerd als omvangrijk arsenaal aan akoestische en elektrische instrumenten tot zijn beschikking en af en toe vocaal terzijde gestaan door zangeres moonswift, singer-songwriter jason ninnis en porcupine tree-voorman steven wilson, resulteert dit in rustige electro-akoestische, meerlaagse luistermuziek die mij bij elke beluistering meer en meer bij de kladden grijpt. dit is dan ook werkelijk van een indrukwekkende schoonheid!
verpakt in een prachtige, door carl glover vormgegeven mini-gatefold van karton laten de negen muziekstukken zich bijzonder moeilijk in één hokje stoppen. tijdens beluisteringen doolt dan ook een klein leger van bands en artiesten door mijn hoofd. daarbij denk ik vooral aan syd barrett, john cage, can, nick drake, faust, mark hollis, neu!, nico, pink floyd, porcupine tree, roxy music, silver apples en scott walker en wat mij betreft kunnen deze namen zonder enig aarzelen als mogelijke referenties dienen.
ofschoon de plaat nog moet rijpen, kan ik nu al tot de conclusie komen dat "two way mirror" mijn favoriete album van sand snowman tot op heden is. de unieke, meerlaagse mengeling van ambient, folk, progressieve en psychedelische rock kan ik dan ook van harte aanbevelen bij liefhebbers van moderne, elektro-akoestische muziek. tonefloat heeft, zoals gezegd, een naam hoog te houden op het gebied van schitterend uitgevoerde vinyluitgaven, maar laten we hopen dat dit album het startpunt is van nog meer fraaie muziek op compact disc van dit avontuurlijke nederlandse label!
source: progwereld
ofschoon dit rotterdamse label door zijn vaak schitterend vormgegeven vinyluitgaven een meer dan gedegen reputatie heeft opgebouwd, verschijnt "two way mirror" nu ook op compact disc. sterker nog... de eerste vijfhonderd exemplaren van het album hebben een extra disc, "the magpie house", met maar liefst acht nieuwe tracks. omdat mijn recensie-exemplaar echter uitsluitend de reguliere cd bevat, kan ik hier alleen iets over de eerste schijf kwijt.
het nieuwe album telt negen nummers, variërend in lengte van bijna twee tot ruim acht minuten, die samen nog geen veertig minuten duren. ondanks dat sand snowman niet of nauwelijks van zijn inmiddels beproefde benadering afwijkt, laat "two way mirror" in vergelijking met zijn voorgangers een wat meer volwassen geluid horen. na enkele draaibeurten krijg ik immers het idee dat snowman hier wat minder naar een eigen geluid of identiteit zoekende is en dat hij zijn aandacht wat meer op het verder verfijnen en vervolmaken van zijn stijl kan richten.
op "two way mirror" borduurt sand snowman derhalve min of meer voort op zijn karakteristieke mengeling van ambient, folk, progressieve en psychedelische rock, die ook op eerdere platen al te horen is. het fundament van dit mengsel wordt gevormd door snowmans modern klassieke, meestal akoestische gitaarspel, waarbij vaak door toedoen van indringende elektronische ambientklanken geluidslaag op geluidslaag wordt gestapeld. met een even gevarieerd als omvangrijk arsenaal aan akoestische en elektrische instrumenten tot zijn beschikking en af en toe vocaal terzijde gestaan door zangeres moonswift, singer-songwriter jason ninnis en porcupine tree-voorman steven wilson, resulteert dit in rustige electro-akoestische, meerlaagse luistermuziek die mij bij elke beluistering meer en meer bij de kladden grijpt. dit is dan ook werkelijk van een indrukwekkende schoonheid!
verpakt in een prachtige, door carl glover vormgegeven mini-gatefold van karton laten de negen muziekstukken zich bijzonder moeilijk in één hokje stoppen. tijdens beluisteringen doolt dan ook een klein leger van bands en artiesten door mijn hoofd. daarbij denk ik vooral aan syd barrett, john cage, can, nick drake, faust, mark hollis, neu!, nico, pink floyd, porcupine tree, roxy music, silver apples en scott walker en wat mij betreft kunnen deze namen zonder enig aarzelen als mogelijke referenties dienen.
ofschoon de plaat nog moet rijpen, kan ik nu al tot de conclusie komen dat "two way mirror" mijn favoriete album van sand snowman tot op heden is. de unieke, meerlaagse mengeling van ambient, folk, progressieve en psychedelische rock kan ik dan ook van harte aanbevelen bij liefhebbers van moderne, elektro-akoestische muziek. tonefloat heeft, zoals gezegd, een naam hoog te houden op het gebied van schitterend uitgevoerde vinyluitgaven, maar laten we hopen dat dit album het startpunt is van nog meer fraaie muziek op compact disc van dit avontuurlijke nederlandse label!
source: progwereld
tf059, a review (11)
wat krijg je soms toch merkwaardige cd's te recenseren. neem nu two way mirror van sand snowman. sand wie? inderdaad, een cultfiguur van het zuiverste water die stilletjes in z’n eentje in Londen drie platen in elkaar gesleuteld heeft vol verstilde mystieke songs van een hoog rustgevend niveau. dat ging rondzingen en langzaam werd de sneeuwman bekender, en nu worden zijn platen alsnog breed uitgebracht op cd. two way mirror is het derde deel van de trilogie en hoe onbekend ook voor ons, frosty the snowman is er wel in geslaagd om porcupine tree’s steven wilson voor twee tracks te strikken. dat geeft gelijk een goede indicatie van de muziek want two way mirror klinkt als david sylvian’s brilliant trees met steven wilson in de begeleidingsband. okay, niet helemaal van hetzelfde hoge niveau want de compositorische kracht van de zandman is minder. tegelijkertijd gaat de cd bij vaker draaien steeds meer intrigeren … en is dat niet het teken van een blijvertje? 8/10.
source: plato mania
source: plato mania
tf059, a review (10)
sand snowman - echte naam? - maakt luie, folk getinte, muziek met overwegend gitaar. op dit vierde album staan twee nummers met een vocale bijdrage van steven wilson. het vormt een bijzonder aspect van dit wonderlijke album.
source: oje music
source: oje music
tf059, a review (9)
folk. unkonventionell. träumerisch. gefällt mir sehr gut. hat irgendwie das gewisse etwas um sich von den massen der neo folk veröffentlichungen der letzten zeit abzusetzen.
source: tonband
source: tonband
tf067, tf068 (2)
originally released on cd by important records in july 2008, tonefloat is pleased to announce a double vinyl editon of the eight bass communion album molotov and haze. the album shows just how far steven wilson has come in defining his perspective – a necessary evil when obvious, yet misleading genre denominations like “drone” or “ambient” are always conveniently close around the corner. composed of four tracks, all of which extend comfortably beyond the ten minute mark, with vinyl exclusive expanded versions of molotov 1502 and haze 1402, it constitutes a kind of temporary summary of his aims and an acme of his abilities as a creator of dense and cohesive, yet weightless and multichromatic soundscapes.
the first and limited edition of only 500 copies (as per usual in a tonefloat trademark carl glover designed gatefold sleeve, and pressed on 180 grams vinyl) will include an exclusieve 10inch version of the 3inch cd haze shrapnel, that will not be available separately and is thus limited to this release.
molotov and haze can be pre-ordered now from the tonefloat store for 30 euros for the set (plus shipping). pre-orders will ship around 7 april.
the first and limited edition of only 500 copies (as per usual in a tonefloat trademark carl glover designed gatefold sleeve, and pressed on 180 grams vinyl) will include an exclusieve 10inch version of the 3inch cd haze shrapnel, that will not be available separately and is thus limited to this release.
molotov and haze can be pre-ordered now from the tonefloat store for 30 euros for the set (plus shipping). pre-orders will ship around 7 april.
fear falls burning + sunn o)))
fear falls burning will be opening for drone masters sunn o))) for their show at predikheren church, leuven, on 26 may.
tfi001, a review (7)
personally i am always quite fond of people who limit themselves: what can i do with the sound of a tree? explore it and then move on. but some people are productive minds and their self-limitation might become a burden for them. one such person is dirk serries, aka fear falls burning (aka previously vidnaObmana). fear falls burning is all about electric guitars and sound effects and everything is recorded directly to tape. he already has a number of releases out, and we could wonder how many more variations are there to theme. 'the amplifier's drone' is his second limited lp (white vinyl this time) for the dutch tonefloat label, and if something is
different, then it must be the fact that this is duet for two guitars (still played direct to tape), between fear falls burning and one paul van den berg. armed with an amount of various amplifiers (crate, behringer), marshall, peavey and laney), the two pay homage to the amplifiers, but putting up a large massive field of drones. sounds are looped at times staying in the mix for a while and move out when no longer needed. more than his previous works, this new one is less based on one developing drone, but the extended guitar solo's makes this rather 'old fashioned' than sparkling new. it's fine to see fear falls burning exploring new territory within the limited concept chosen, but this is perhaps not how i would expected it to be. it's still of good quality, but not all the way my cup of tea.
source: vital weekly
different, then it must be the fact that this is duet for two guitars (still played direct to tape), between fear falls burning and one paul van den berg. armed with an amount of various amplifiers (crate, behringer), marshall, peavey and laney), the two pay homage to the amplifiers, but putting up a large massive field of drones. sounds are looped at times staying in the mix for a while and move out when no longer needed. more than his previous works, this new one is less based on one developing drone, but the extended guitar solo's makes this rather 'old fashioned' than sparkling new. it's fine to see fear falls burning exploring new territory within the limited concept chosen, but this is perhaps not how i would expected it to be. it's still of good quality, but not all the way my cup of tea.
source: vital weekly
tfi001, a review (6)
dirk serries handed me over a copy of "the amplifier drone" personally, just an hour before his concert at the cuba kultur, promising (and warning) me that it was an entirely different fear falls burning record. this, in itself, was not a big surprise. after all, the project’s formula has been mutating throughout, going from post rock structures via shamanic, guitar-based drones to richly detailed epic sound scapes. each release gave a slight twist to the defining parameters, changing the band’s course and feel. the only aspect important to serries was keeping everything “close to his heart”. he has taken this quite literally here – and invited over a good friend. together with paul van den berg, a local blues musician, dirk has set out for a more aggressive and rough sound, turning up the volume and intensifying the physical aspects of his music. the accompanying post card recommends “playing at higher volume” and on this occasion, this is not a stereotypical demand. if some of the delicate textures on previous works can be compared to the art of calligraphy, then the duo has now turned to milling and sculpting from metal. judging by the sound of his contributions, van den berg is a purveyor of the old-school blues philosophy, where every note represents a needle-sharp sting into the soul. subsequently, his tones squeak and scream, groan and moan and huff and puff like a diying machine on a scrap yard. one can almost see his face twitching as he strikes another string, a new chord, a different shade of pain. the very beginning of the record, the first minutes of the tripart “echoes”, is a perfect introduction into a space of distorted harmonics, tortured melodies and sluggish development. actually, some of the material sounds like the final stages of serries’ lenghty excursions on he spoke in dead tongues, when feedback, effects and multiple layers of sound had merged into a forceful flow. after this almost primeval start, the album switches to a higher level, however, becoming more pensive and withdrawn. especially the flipside, “on_dead_air”, connected to its predecessor by a variation on the same theme, opens out into an impressive vulcanic landscape of brightly shining erruptions. for what seems like eternity, things stubbornly carry on, before a tiny pattern disrupts the mantra. on paper, the addition of another electric guitar merely turns "the amplifier drone" into fear falls burning by the power of two. on listening, however, it is a great deal more. while the carnival of ourselves was an instant love-affair, this one might take a few spins, before one will fully appreciate it. but then it is all the more impressive. all the elements of the early albums are in place, but moulded into a more threatening and even deeper context. rather than being an entirely different record, this is a determined step forward. can’t wait for the next one.
source: tokafi
source: tokafi
tfi001, a review (5)
the amplifier drone": fear falls burning verändert auf seinem neuesten release produktion und damit auch den sound. nicht mehr gitarre und effekte allein, sondern die ganze kette einschließlich mehrerer verstärker wurden für die aufnahme in der garage des befreundeten blues-gitarristen (!) paul van den berg benutzt. Der auf seinen bisherigen veröffentlichungen immer mit einem hauch kristallener klarheit umgebene sound von fear falls burning erscheint dadurch deutlich dunkler und erdiger, auch mittiger und komprimierter; bohrender. die in die teile "echoes I-III" und "on dead air I-II" (der titel beschreibt die atmo der platte gut) aufgeteilten, harmonisch und im sound aber aufeinander aufbauenden 5 drones ruhen damit nicht mehr in sich selbst wie noch auf der "carnival of ourselves", sie schieben und bohren, drohen aus dem ruder zu laufen. starken anteil daran haben sicher auch die fragmente verzerrter gitarrenmelodien, die in einzelnen der drones, gefangen in ihrem eigenen loop umherstreifen (und die sicherlich für einige hörer gewöhnungsbedürftig sind; würd' mich interessieren, ob die mithilfe von paul van den berg sich auf die bereitstellung der amps und das recording beschränkt hat, oder ob er auch selbst musikalische zutaten / anregungen geliefert hat.....vielleicht gibt da ja die anstehende tour antworten.....). Trotz aller unterschiede im sound: die grundsätzliche herangehensweise von fear falls burning ist als übergreifendes erkennungsmerkmal jederzeit präsent: die konstruktion von loops und deren overdubbing, die statik der harmonie, die hypnotische wiederholung zum herausstanzen einer zeitschleife. Wie die vorherige tonefloat veröffentlichung im handgemachten pappcover, diesmal mit aufgeklebtem foto und beigefügter postkarte (die auch schon auf die drei weiteren anstehenden veröffentlichungen hinweist: kollaboration mit den kanadischen nadja, konzert-dvd und 10-inch.....), limitiert auf 500 und in schickem weissen 180 gramm-vinyl.
source: unruhr
source: unruhr
tfi001, a review (4)
een van de voornaamste redenen om tijdelijk te stoppen met vidnaObmana was de wens en noodzaak om het wat kalmer aan te doen. niet verwonderlijk met meer dan dertig releases op de teller in ruim twee decennia. maar echt stilzitten, zit er niet in want de discografie van fear falls burning lijkt al net dezelfde weg op te gaan als die van vidnaObmana. gitaardrones kunnen momenteel steeds meer rekenen op belangstelling en dat ook fear falls burning terecht tot de club van onder meer aidan baker/nadja, growing, asva, sabers en natuurlijk earth en sunn o))) wordt gerekend, blijkt onder meer uit een druk gevulde concertagenda met ondermeer cult of luna. een eerste hoogtepunt is zonder meer 'the carnival of ourselves', een op 180gram geperst en luxueus uitgegeven vinylalbum in een beperkte oplage van driemaal honderd stuks. met behulp van een elektrische gitaar en een batterij effectpedalen worden eindeloos geloopte klankspiralen in een mantra van drones en feedback gegoten. de vinyluitgave biedt de mogelijkheid om voor de twee nummers voldoende tijd uit te trekken - dus zonder vervelende onderbrekingen waardoor het beoogde effect, namelijk trance door herhaling, wordt bereikt. waar 'the carnival of ourselves' de ambientkant van fear falls burning in de verf zet, kiest 'the amplifier drone' - eveneens op luxevinyl - resoluut voor de heavy aanpak. had de eerste best ook op kranky (stars of the lid, lichens, charalambides) gekund, dan had de tweede zich zonder meer thuis gevoeld op southern lord (sunn o))), thrones). beide releases belichten (de) twee gezichten van fear falls burning. de eerste zet de dromerige kant in de verf en is ijl en relatief luchtig; de tweede rockt en is donker, hermetisch en zwaar als lood. maar hiermee hebben het laatste van fear falls burning ongetwijfeld nog niet gehoord.
source: gonzo circus
source: gonzo circus
tfi001, a review (3)
dirk serries von fear falls burning schafft es immer wieder seine vielzahl an veröffentlichungen interessant zu halten, zu variieren und um entscheidende facetten seiner drone studien zu erweitern, neue erkenntnisse umzusetzen. wie klingen seine drones diesmal? durch eine konzeptionelle veränderung in der produktion schafft es fear falls burning diesmal einen lebendigeren, direkteren zugang zu seinen dronen zu schaffen. für den neuen sound wurden verschiedene verstärker in der garage des befreundeten blues-gitarristen paul van den berg zusammengeschlossen und mit gitarre und verschiedenen effekten aufgenommen und später für die lp mit studioaufnahmen variiert. das ergebnis ist die vielleicht lebendigste fear falls burning lp bis jetzt. denn sie stücke sind vergleichsweise kurz und klingen erdig, homogen und griffiger. die verzerrten, fast schon dreckig klingen gitarrenlinien mit den sphärischen, weiten backroundrones ist eine neue "würze" im oeuvre von fear falls burning. natürlich lebt "the amplifier drone" von schier endlos scheinenden wiederholungen, die wie ein zeitfenster wirken. "the amplifier drone" kommt auf weissem 180g vinyl und natürlich limitiert (auf 500 Stück). das handgemachte plattencover ziert das aufgeklebte foto eine peavey amps. alle nötigen infos sind auf einer postkarte enthalten. auf die weiteren fear falls burning releases wie dvd, lp und picture 10" bin ich gespannt. rating: 8.5/ 10.
source; creative eclipse
source; creative eclipse
tfi001, a review (2)
once again a limited release by the drone artist fear falls burning. And as usual this lp, entitled ”the amplifier drone”, comes with a at least said impressive package that should every music collector jump out of joy. in contrast to other releases by fear falls burning it's not only dirk serries that is the creator of this atmospheric drone, since here the blues guitarist paul van den berg has also had the chance to put his personal touch on the soundscape that meets the listener. the duo has loaded up with a number of amplifiers in paul's garage to record the material and where the fascination of old transistors and amplifiers has been the driving force. this has also caused the soundscape on “the amplifier drone” to differ a bit from what fear falls burning has released in the past. the dreamlike drone has been transfered to a colder and more sterile world where the machines rule. the guitar, or as in this case the guitars, stands still as the only source of the music, but twisted by various pedal effects in order to create the hypnotic drone effect and it's these that have gotten a much rawer and colder feel than before. this makes the whole album a bit more difficult to get into, since as a listener you don't experience quite the same peaceful atmospheric dream world as before, but instead you face a sound that is quite provoking and demands full concentration, which however in the end is very awarding. this is something that is maybe the most visible on the first side of the record, “echoes”, while “on_dead_air” falls back a bit towards a softer and hypnotic soundscape, yet still with clear traces of the metallic and cold tunes. even though “the amplifier drone” isn't maybe the most enchanting release fear falls burning has released, it's still a really impressive drone creation. it's fascinating to see how powerful atmosphere can be summoned from the minimalistic sound that the guitars create and as a drone fan you therefore have much to appreciate on this release.
source: metal only, sweden
source: metal only, sweden
tfi001, a review (1)
nother one of my favourite drone-2006-albums. this one is from fear falls burning, who is also know als vidnaObmana or the belgian composer dirk serries, an industrial/noise/dark ambient pioneer. he's been active since the 1980's and he has produced many obscure records. this album is one big hypnotic soundscape, build out of minimalistic guitar drones. again, i recommend you to take your time, while listening to this album ... what seems boring can go incredibly deep, but that is just inherent to drone genre i guess. once again a limited release by the drone artist fear falls burning. and as usual this lp, entitled ”the amplifier drone”, comes with a at least said impressive package that should every music collector jump out of joy. in contrast to other releases by fear falls burning it's not only dirk serries that is the creator of this atmospheric drone, since here the blues guitarist paul van den berg has also had the chance to put his personal touch on the soundscape that meets the listener. the duo has loaded up with a number of amplifiers in paul's garage to record the material and where the fascination of old transistors and amplifiers has been the driving force. this has also caused the soundscape on “the amplifier drone” to differ a bit from what fear falls burning has
released in the past. the dreamlike drone has been transfered to a colder and more sterile world where the machines rule. the guitar, or as in this case the guitars, stands still as the only source of the music, but twisted by various pedal effects in order to create the hypnotic drone effect and it's these that have gotten a much rawer and colder feel than before. this makes the whole album a bit more difficult to get into, since as a listener you don't experience quite the same peaceful atmospheric dream world as before, but instead you face a sound that is quite provoking and demands full concentration, which however in the end is very awarding. this is something that is maybe the most visible on the first side of the record, “echoes”, while “on_dead_air” falls back a bit towards a softer and hypnotic soundscape, yet still with clear traces of the metallic and cold tunes. even though “the amplifier drone” isn't maybe the most enchanting release fear falls burning has released, it's still a really impressive drone creation. it's fascinating to see how powerful atmosphere can be summoned from the minimalistic sound that the guitars create and as a drone fan you therefore have much to appreciate on this release.
source: electronic obscure
released in the past. the dreamlike drone has been transfered to a colder and more sterile world where the machines rule. the guitar, or as in this case the guitars, stands still as the only source of the music, but twisted by various pedal effects in order to create the hypnotic drone effect and it's these that have gotten a much rawer and colder feel than before. this makes the whole album a bit more difficult to get into, since as a listener you don't experience quite the same peaceful atmospheric dream world as before, but instead you face a sound that is quite provoking and demands full concentration, which however in the end is very awarding. this is something that is maybe the most visible on the first side of the record, “echoes”, while “on_dead_air” falls back a bit towards a softer and hypnotic soundscape, yet still with clear traces of the metallic and cold tunes. even though “the amplifier drone” isn't maybe the most enchanting release fear falls burning has released, it's still a really impressive drone creation. it's fascinating to see how powerful atmosphere can be summoned from the minimalistic sound that the guitars create and as a drone fan you therefore have much to appreciate on this release.
source: electronic obscure
tfi002, a review (6)
it seems now that fear falls burning is going to be present in every vital weekly, and here he comes in a highly unlikely format, that of a 7". one could wonder if that entirely justifies his music, but for me there is another reason to be happy. this 7" contains two excerpts of his concert he played at the ever so-lovely extrapool, on october 9th. to be honest i do only vaguely recall the way fear falls burning did a built up of his piece, so its hard to for me to say when he played these two excerpts. i think they are both taken from the first half of the concert, with the a-side being the start of the concert, with gliding e-bows tones, slowly disappearing from the scene. a little further along the concert is where we find the b-side, when the sound is more full and all sorts of organ-like sounds have dropped in. it's right at the end of the first half when things start dying out and things come to rather swift conclusion. still I am not entirely convinced that the 7" format suits his music, but it's indeed a daring approach.
source: vital weekly
source: vital weekly
tfi002, a review (5)
it's probably one of the most eerie and atmospheric drones i performed live but one i'm very satisfied with" soweit fear falls burnings selbsteinschätzung zu diesem neuen werk; als 7" auf tonefloat und ein (oder teile eines) konzert(s) im extrapool in nijmegen auf die heimanlage transportierend. und man muss der selbsteinschätzung unbedingt recht geben: sind andere ffb-veröffentlichungen durch eine dichte und extreme schichtung geprägt, so stehen bei der "woes" über lange zeit einzelne bögen im raum, denen sogar die zeit gegeben wird, langsam zu verklingen, ohne das sie (wie sonst) loopartig immer wiederkehren und als grundgerüst des weiteren aufbaus dienen. freigelassen und im sound fast (gitarren-)synth-artig werden erst auf der zweiten seite der 7" die einzelteile zu einem teppich verwebt, der das für fear falls burning so typische dreidimensionale fließen im sound zeigt und sich schließlich in einer tremolo/vibratofläche fängt. unbedingt empfehlenswertes kleinod und in seiner verpackung aus packpapierfarbenem umschlag mit einer typografie in klarlack auch noch extrem hübsch anzuschauen.
source: unruhr
source: unruhr
tfi002, a review (4)
to receive a new fear falls burning release with the mail is a bit like being given a present from a good friend. you know that it's something really special that waits under the wrapping paper and this is something that is once again becomes true with the release of "woes of the desolate mourner", a 7" in a limited edition of 500 copies and printed on a clear vinyl. a delight for both eye and ear. fear falls burning always seems to come up with new approaches to his minimalistic drone, created just with a electric guitar and a number of different effects and this is something you once again get to experience on "woes of the desolate mourner". a vague presentiment of what direction this release will take is gained from the title and this turns out to be one of the more melancholic releases that fear falls burning has released. yet this melancholy isn't of the dark and anguish filled kind, but more of a eerie and floating melancholia that is built around relatively light and almost weightless tones. this is especially true for the minimalistic side a where the electric guitar has been given a sound that almost brings to mind bowed string instruments. here a thin and eerie sound reigns and in a way its soundscape touches some of the material that dirk serries has created through his other project, vidnaObmana. on side b there is a bit more weight and variation in the sound and even though the eerie atmosphere is still to some extent present the sound becomes more similar to what fear falls burning has previously created. especially the last part of this side is just wonderful with its almost hypnotic loops. the only negative critique that can be said about "woes of the desolate mourner" is that the playing time becomes a bit short due to the fact that this is only a 7" vinyl. fear falls burning seems to be at its best when you as a listener really get the time to float into the music, something that you don't really have time to do here. Despite this "woes of the desolate mourner" is a really strong release and I really appreciate the new approach that is presented here.
source: metal only, sweden
source: metal only, sweden
tfi002, a review (3)
dirk serries ist mit seinem noch relative frischen fear falls burning projekt derartig produktiv, dass es selbst für Fans schwer sein dürfte, den überblick zu behalten. ausserdem kommt erschwerend hinzu, dass nicht all vös von substantiellem nutzwert getragen werden. manchmal scheint es, als wolle fear falls burning ausschnitte aus dem einen, grossen, alles umspannenden drone präsentieren. die lp auf equation, schön präsentiert, ist so ein fall, wo es den hörer dünkt, dass hier ein outtake aus einem viel viel längeren schwingwerk getätigt wurde. die platte besteht aus konzertiertem gedröhn, ohne rechten spannungsbogen. das sieht bei der kleinen 7" schon anders aus, die es schafft, den drängenden schwebedunst zu einem symphonisch-kompakten ganzen zu verdichten und somit der musik auch so etwas wie eine natürliche dringlichkeit zu verleihen. dies rettet auch den x-ten drone vor der beliebigkeit.
source: auf abwegen
source: auf abwegen
tfi002, a review (2)
the hardest part is getting this started. pressed on transparent vinyl, running on 33 instead of the traditional 45 rpm and trying to make the best possible use of the space available on the disc, this 7" vinyl offering needs a trained hand and an eagle’s eye for the needle to land exactly in the opening groove instead of the turntable. after that, it’s eyes closed, as you dive headlong into what possibly constitutes the most emotional moment of dirk serries’ extensive tour of last year.
surprises are not uncommon in his discography and this limited edition release nestles nicely in between single and double cd's, sampler contributions, 10" and full length vinyl, as well as an upcoming 5lp set. and yet, some have expressed doubts as to the viability of the fear falls burning concept in the smaller format, regarding it as too restricted for his overflowing and freewheeling excursions into drones, distortion and delightful daydreams. which goes slightly against the evidence - in my opinion, both his contribution to the 4-way split with aidan baker, z’ev and john duncan as well as this, his latest release with his congenial partner tonefloat records from rotterdam, have been among the more adventurous and leftfield in his oeuvre. which is not to say that “woes” is a blind experiment or a sudden deviation from proven paths. rather, this extract from his nijmegen show sees dirk in a romantic reverie, in which surrealism, future memories and gentle mood swings all occupy the same room. the tone is set in the very first seconds, when long-drawn swoons paint streaks of light on the nightsky and darkness falls over the towers of the tyrell corporation. individual lines drop into a polyphonic murmer, dancing a ballet of hints and suggestions. caught in a frozen scene of yearning, serries is no longer just letting his guitar speak, he is already at the stage of metaphors and threedimensional images. slowly, the music enters a hopeful hum, brimming with energy, yet simultaneously calm and warm. deep sighs echo whales floating through space, as the composition drifts towards the abstract and the point, where words fail. on his blog, dirk mentions that he was surprised by the atmospheric power of this piece himself, when hearing it back some time after the concert – which only goes to show the state of concentration and total immersion he must have experienced during the performance. of course, there is a short break when you turn over the disc, but this merely opens up the chance to enjoy this as a continuum or as two seperate tracks with their own, clearly defined identities. the only thing you’ll have to take heed of is to get the needle into groove again. but apart from that, there’s absolutely nothing to worry about.
source: tokafi
surprises are not uncommon in his discography and this limited edition release nestles nicely in between single and double cd's, sampler contributions, 10" and full length vinyl, as well as an upcoming 5lp set. and yet, some have expressed doubts as to the viability of the fear falls burning concept in the smaller format, regarding it as too restricted for his overflowing and freewheeling excursions into drones, distortion and delightful daydreams. which goes slightly against the evidence - in my opinion, both his contribution to the 4-way split with aidan baker, z’ev and john duncan as well as this, his latest release with his congenial partner tonefloat records from rotterdam, have been among the more adventurous and leftfield in his oeuvre. which is not to say that “woes” is a blind experiment or a sudden deviation from proven paths. rather, this extract from his nijmegen show sees dirk in a romantic reverie, in which surrealism, future memories and gentle mood swings all occupy the same room. the tone is set in the very first seconds, when long-drawn swoons paint streaks of light on the nightsky and darkness falls over the towers of the tyrell corporation. individual lines drop into a polyphonic murmer, dancing a ballet of hints and suggestions. caught in a frozen scene of yearning, serries is no longer just letting his guitar speak, he is already at the stage of metaphors and threedimensional images. slowly, the music enters a hopeful hum, brimming with energy, yet simultaneously calm and warm. deep sighs echo whales floating through space, as the composition drifts towards the abstract and the point, where words fail. on his blog, dirk mentions that he was surprised by the atmospheric power of this piece himself, when hearing it back some time after the concert – which only goes to show the state of concentration and total immersion he must have experienced during the performance. of course, there is a short break when you turn over the disc, but this merely opens up the chance to enjoy this as a continuum or as two seperate tracks with their own, clearly defined identities. the only thing you’ll have to take heed of is to get the needle into groove again. but apart from that, there’s absolutely nothing to worry about.
source: tokafi
tfi002, a review (1)
dirk serries' fear falls burning gehörte im letzten jahr konstant zu den projekten die mich durch das ganze jahr begleitend, qualitativ auf hohem niveau, live wie auf polyvinylchlorid, zu überzeugen wussten. man erkennt, sofern man zu dieser minimalistischen musik zugang findet, einfach den roten daden und das was da mit aller konsequenz, leidenschaft und professionalität verfolgt wird. woes of the desolate mourner ist ein aus 2 atmosphärischen drone- stücken bestehender mitschnitt der ersten hälfte eines konzerts in nijmegen, holland vom vergangenen oktober. woes of the desolate mourner erscheint in minimalistischer aber dennoch extravaganter aufmachung auf aussagekräftigem, durchsichtigem vinyl und ist streng limitiert. rating: 7.5/10.
source: creative eclipse
source: creative eclipse
tf035, a review (5)
lange angekündigt, endlich fertig und fast schon wieder ausverkauft ist dieses auf 500 Stück limitierte mammutprojekt von dirk serries aka fear falls burning. zehn ausgewählte musiker aus verschiedenen bereichen und ländern bearbeiten und kollaborieren hier mit fear falls burning. und was habe ich mich gefreut, als das teil einfach so zum beschreiben für diese schüchterne publikation vor meiner haustüre lag. once we all walk through solid objects ist ein Höhepunkt im immer schneller wachsenden oeuvre von fear falls burning.
vor mir liegt eine Box mit fünf (!) schallplatten in klarem 180g Vinyl. die Box ist braun und das artwork erinnert an diese archiv-kisten oder pappschuber von irgendwelchen ämtern oder institutionen. einerseits understatement pur, andererseits ästhetisch hochwertig und beeindruckend. denn jede der fünf lps ist in eine bedruckte, durchsichtige Kunststofftasche gefasst, die leicht bläulich bedruckt sind mit fotografien der belgischen fotografin martina verhoeven. aufgedruckt auf die sogenannten lp-labels sind zu jedem der zehn stücke die nötigen informationen. jeder der beitragenden zehn musiker dokumentiert auf seine ganz eigene weise wie die experimentelle gitarrenmusik von fear falls burning auf ihn wirkt, wie er mit ihr umzugehen weiss. die zehn bearbeiteten stücke sind deshalb weniger remixe im eigentlich Sinne, sondern eher eigene bearbeitungen oder meditationen über die musik von fear falls burning.
im folgenden ein kurzer abriss über die einzelnen Künstler und ihre interpretationen von fear falls burning. bass communion: schön mit apple g4 book und gitarre bastelt bass communion (steven wilson/porcupine tree, uk) aus dem fear falls burning-grundgerüst ein stück, das wabernd anfängt und sich zu einem gar orgelhaften, orchestralen drone stück steigert. final: hinter final verbirgt sich ja bekannterweise jk broadrick (godflesh, jesu, uk) der hier wesentlich rauher und improvisierter vorgeht: über das musikalische fear falls burning-drone-skelett spielt er seinen beitrag ein und verwebt ihn gleich live mit dem ausgangstück. freiband: frans de waards (beequeen, holland) beitrag wirkt völlig entfremdet, fast insektenhaftes surren und hohes Dröhnen bestimmt den track. hier zeigt sich, ob das vinyl dieser extremen klangcollage überhaupt gewachsen ist. keine sorge, hier knickt es jedenfalls nicht ein. anfangs noch eher verhalten, insekten hier und da, verdichtet sich die drone zu einem extrem starken, dichten und flirrenden "insekten-dronen-tanz" von massiver und feuriger intensität. einer der höhepunkte von once we all walk through solid objects.
harvestman: steve von tills (neurosis, usa) bearbeitung ist wieder lauter und dreckiger, gitarrenorientiert. nur im hintergrund ist licht und leicht das grundgerüst von fear falls burning flächig zu vernehmen. birchville cat motels (neuseeland) stück lässt sich nur sehr schwer bestimmen, es wirkt kalt, maschinell und scheint digital bearbeitet und verfälscht zu sein. die fear falls burning dronen sind in ihrer flächigkeit gebrochen und kommen eher unterschwellig durch. der hypnotische dauermanipulationslärm muss so laut gehört werden, dass schier die lautsprecher bersten. byla: kevin hufnagel und colin marston (dysrhythmia, usa) bilden mit ihrer bearbeitung den ersten richtigen kontrapunkt auf once we all walk through solid objects. fear falls burning bekommt den einstiegsvortritt und die beiden herren legen einfach ein fast fröhliches, und hell anmutendes akustikgitarrenduett über den fear falls burning grundbaustein. mit dauer-akustigitarren-loop geht das stück dann auch zu ende. aidan baker (nadja, Kanada) verstärkt das fear falls burning stück um bekannte sphärische und beklemmende, doomige elemente, wie man sie von seinen solo arbeiten oder nadja kennt. johannes persson: nach final und harvestman versucht sich auch johannes persson (cult of luna, schweden) mit offensiveren gitarrenakkorden und verwebt diese deutlich, aber geschickt in das ausgangstück von fear falls burning. teilweise recht wummernd, knöchrig und desperat. zum ende hin dann konzentriert-verdichtend. jefre cantu-ledesma: auch ein kleinerer bruch in der reihe der fünf lps, der aber die vielseitigkeit und vielschichtigkeit dieser monumentalen veröffentlichung offenlegt. dunkel, eher in den dunkelsten bereich des drone und ambient reichend ist der beitrag von jefre cantu-ledesma (tarentel, usa). langsames hallen und dröhnen. tief und bedrückend. schachtmusik. stefano pilia: mit dem zehnten stück schliesst stefano pilia (3/4hadbeeneliminated, italien). seine herangehensweise ist auch nicht auf offensichtlichkeit ausgelegt, eher subtil und metallisch wirkend, gleitet das Stück dahin. er lässt meist der fear falls burning-drone den scheinbaren Vortritt.
fear falls burning hat mich nun bereits mehr als ein jahr kontinuierlich begeleitet und ich habe dabei den werdegang dieses projekts immer wieder schreibend begleitet. man muss jetzt aber, nach dem epischen once we all walk through solid objects 5xLP Set nicht annehmen, dass nun eine pause im schaffen von fear falls burning kommt, nein. es scheint fast so, als gehe es jetzt erst richtig los: im oktober erscheint, auf nur 136 stück limitiert "first by a whisper, then by a storm" auf lp und cd, kurz danach als letztes im laufenden jahr die schallplatte "when mystery prevades the well, the promise sets fire" sie ist der erste vorbote auf brandneue fear falls burning stücke, die im neuen jahr mit dem titel "frenzy of the absolute" über conspiracy erscheinen. rating: 9.5/10.
source: creative eclipse
vor mir liegt eine Box mit fünf (!) schallplatten in klarem 180g Vinyl. die Box ist braun und das artwork erinnert an diese archiv-kisten oder pappschuber von irgendwelchen ämtern oder institutionen. einerseits understatement pur, andererseits ästhetisch hochwertig und beeindruckend. denn jede der fünf lps ist in eine bedruckte, durchsichtige Kunststofftasche gefasst, die leicht bläulich bedruckt sind mit fotografien der belgischen fotografin martina verhoeven. aufgedruckt auf die sogenannten lp-labels sind zu jedem der zehn stücke die nötigen informationen. jeder der beitragenden zehn musiker dokumentiert auf seine ganz eigene weise wie die experimentelle gitarrenmusik von fear falls burning auf ihn wirkt, wie er mit ihr umzugehen weiss. die zehn bearbeiteten stücke sind deshalb weniger remixe im eigentlich Sinne, sondern eher eigene bearbeitungen oder meditationen über die musik von fear falls burning.
im folgenden ein kurzer abriss über die einzelnen Künstler und ihre interpretationen von fear falls burning. bass communion: schön mit apple g4 book und gitarre bastelt bass communion (steven wilson/porcupine tree, uk) aus dem fear falls burning-grundgerüst ein stück, das wabernd anfängt und sich zu einem gar orgelhaften, orchestralen drone stück steigert. final: hinter final verbirgt sich ja bekannterweise jk broadrick (godflesh, jesu, uk) der hier wesentlich rauher und improvisierter vorgeht: über das musikalische fear falls burning-drone-skelett spielt er seinen beitrag ein und verwebt ihn gleich live mit dem ausgangstück. freiband: frans de waards (beequeen, holland) beitrag wirkt völlig entfremdet, fast insektenhaftes surren und hohes Dröhnen bestimmt den track. hier zeigt sich, ob das vinyl dieser extremen klangcollage überhaupt gewachsen ist. keine sorge, hier knickt es jedenfalls nicht ein. anfangs noch eher verhalten, insekten hier und da, verdichtet sich die drone zu einem extrem starken, dichten und flirrenden "insekten-dronen-tanz" von massiver und feuriger intensität. einer der höhepunkte von once we all walk through solid objects.
harvestman: steve von tills (neurosis, usa) bearbeitung ist wieder lauter und dreckiger, gitarrenorientiert. nur im hintergrund ist licht und leicht das grundgerüst von fear falls burning flächig zu vernehmen. birchville cat motels (neuseeland) stück lässt sich nur sehr schwer bestimmen, es wirkt kalt, maschinell und scheint digital bearbeitet und verfälscht zu sein. die fear falls burning dronen sind in ihrer flächigkeit gebrochen und kommen eher unterschwellig durch. der hypnotische dauermanipulationslärm muss so laut gehört werden, dass schier die lautsprecher bersten. byla: kevin hufnagel und colin marston (dysrhythmia, usa) bilden mit ihrer bearbeitung den ersten richtigen kontrapunkt auf once we all walk through solid objects. fear falls burning bekommt den einstiegsvortritt und die beiden herren legen einfach ein fast fröhliches, und hell anmutendes akustikgitarrenduett über den fear falls burning grundbaustein. mit dauer-akustigitarren-loop geht das stück dann auch zu ende. aidan baker (nadja, Kanada) verstärkt das fear falls burning stück um bekannte sphärische und beklemmende, doomige elemente, wie man sie von seinen solo arbeiten oder nadja kennt. johannes persson: nach final und harvestman versucht sich auch johannes persson (cult of luna, schweden) mit offensiveren gitarrenakkorden und verwebt diese deutlich, aber geschickt in das ausgangstück von fear falls burning. teilweise recht wummernd, knöchrig und desperat. zum ende hin dann konzentriert-verdichtend. jefre cantu-ledesma: auch ein kleinerer bruch in der reihe der fünf lps, der aber die vielseitigkeit und vielschichtigkeit dieser monumentalen veröffentlichung offenlegt. dunkel, eher in den dunkelsten bereich des drone und ambient reichend ist der beitrag von jefre cantu-ledesma (tarentel, usa). langsames hallen und dröhnen. tief und bedrückend. schachtmusik. stefano pilia: mit dem zehnten stück schliesst stefano pilia (3/4hadbeeneliminated, italien). seine herangehensweise ist auch nicht auf offensichtlichkeit ausgelegt, eher subtil und metallisch wirkend, gleitet das Stück dahin. er lässt meist der fear falls burning-drone den scheinbaren Vortritt.
fear falls burning hat mich nun bereits mehr als ein jahr kontinuierlich begeleitet und ich habe dabei den werdegang dieses projekts immer wieder schreibend begleitet. man muss jetzt aber, nach dem epischen once we all walk through solid objects 5xLP Set nicht annehmen, dass nun eine pause im schaffen von fear falls burning kommt, nein. es scheint fast so, als gehe es jetzt erst richtig los: im oktober erscheint, auf nur 136 stück limitiert "first by a whisper, then by a storm" auf lp und cd, kurz danach als letztes im laufenden jahr die schallplatte "when mystery prevades the well, the promise sets fire" sie ist der erste vorbote auf brandneue fear falls burning stücke, die im neuen jahr mit dem titel "frenzy of the absolute" über conspiracy erscheinen. rating: 9.5/10.
source: creative eclipse
tf035, a review (4)
something valuable for the entire scene. finding the perfect drone: a collaborative 5 LP set by one-man guitar project fear falls burning documents the rise of a genre from obscurity into the general canon. music reviews are mostly regarded as a mere promotional tool to sell records. this thesis does not hold true for the latest fear falls burning release once we all walk through solid objects, however, as it has already all but sold out. so what am i writing about here? well, the fact that almost 500 copies of a work offered at a price of 60 euros and purely pressed on vinyl have practically found a new owner over night, to begin with. even counting in the occasional speculative buyer (who will try to pass on this massive five lp set at a surcharge) this is both a powerful sign that the fight between physical and digital distribution is more and more one of quality versus quantity – and that fear falls burning is currently capable of serving both.
casting a shadow
all through 2006, we have been witnessing the maturation of this one-man guitar drone project, announcing new pinnacles on a monthly basis: a double cd for a debut album, the grandiose i’m one of those monsters numb with grace foldout cover, the 4,5 hours of the smoothly packaged the infinite sea of sustain dvd and the monolithic cooperation with canadian doom mongers nadja. but all this time, as all of these things were happening, once we all walk through solid objects slowly took shape, casting a shadow of great things to come. listening to it over the last month, slowly entering its world, it has become clear to me that the strength of the release lies not only in mobilising dirk serries’ extensive network of friends and respected colleagues, but in concentrating an entire scene over the course of these ten sides of music. it is the essence of a genre, which has long been a synonym for obscurity and pointless minimalism and which now shines brightly, as its outer limits imposingly approach bordering styles.
a drone manifest
it is all about the drone, therefore, in all sizes and shapes. serries calls once we all walk through solid objects a "drone manifest” and he is right. without a single exception, all ten tracks are based on reverbed feedback, sustained guitar string clusters, endlessly distorted chords and shimmering harmonics born in the wake of raw textures, pulsating at different frequencies, scratching each other’s surface areas. on the one hand, this can be explained by the fact that all of these pieces base on source material personally provided by him. each and every artist treats it in a uniquely personal way, but no matter how much they manipulate, mash and mix it, his typical timbres of intangible, longing sweetness and inexplicably sensuous mystery always shine through. aidan baker feeds the music into his pc, justin k broadrick (who on this occasion takes on his final incarnation) plays along to it in his studio, enigmatic duo byla add hypnotic acoustic guitar pickings, campbell kneale of newzealand's birchville cat motel adds a host of other instruments, while freiband’s frans de waard even “re-composes” the piece alltogether “in the world of ones and zeros”. purely computer-based or in a band-like context, the music comes into being in all of the colourful ways the scene is capable of.
the second reason why we’re deep into drone territory here is that one could safely leave the confined space of the genre today and will still find many of its constituent elements everywhere in experimental music. the drone has become an integral part of all variations of soundart and the fact that the ensemble of contributing artists is anything but “typical” (except for a few obvious choices, maybe) proves that new adepts are coming in from all directions. Even the huge crowds serries has played to in support of swedish metalband cult of luna were anything but completely unfamiliar with the fear falls burning concept. although it is anything from compatible with what is happening in pop charts, this box set is certainly no longer just food for a secluded niche anymore either.
the studio version of a festival
musically, once we all walk through solid objects could be compared to the studio version of a festival: there is a clear red thread and yet enough variety to keep the most diverse groups of listeners glued to their seats. in the context of the fear falls burning discography, it contains both material which is closer to the roots of the project than anything that serries has released himself as well as compositions which stretch his vision to its limit. the opening collaboration with steven wilson (untitled, like all other entries) is a slowly building, ominous cloud, which grows in volume and density, while broadrick’s impromptu improvisation as well as stefano pilia’s similarly constructed track (which, however, in addition uses “magnetophones and ventilators” according to the info) deepen the ambient side of fear falls burning, attaining a new and strong kind of tranquility. frans de waard, meanwhile, turns the material into a haunting, ghostly piece of microtonality, filled with crackling chains of subtly taunting clicks and hiss, while byla distance themselves far from the original, turning it into a dreamy folk mantra, which happily spins round its own axis.
from a fan point of view, though, it is probably the submissions by birchville cat motel and cult of luna-member johannes persson which leave the strongest impression. the former unleashes an amorphic, viscous and viscious audio-lava-stream, with sounds as though an entire orchestra were moving nervously underneath its skin, while the latter begins with a triumphant, hymnic guitar theme, which is then gradually deconstructed. In both cases, you could close your eyes and imagine dirk serries holding his guitar himself, enjoying each and every moment.
holding on to the vision
it has been, Serries admits, with “relief and still with enormous pride and satisfaction” that this box set has been finished. various delays seemed to have endangered its release, but those responsible never faltered, record company tonefloat included. as they point out: “the artwork alone was something that took over six months of preparations to get it the way we wanted - and even required a completely new sleeve format at the plant.”
the result is a firm brown cardboard “file”, which includes all of the transparent vinyl discs in rubbery plastic “folders”, each one with exclusive photography printed on it. it is clear that such a project wants to make a statement. in this case, though, there may even be two. firstly, once we all walk through solid objects is an overview of the different manifestations of the guitar drone, a collection with a broad palette and bright individualism. secondly, it is the materialised personal quest of a man who had a dream and pursued it, the temporary acme of an ongoing process of finding the perfect drone and holding on to it as long as one can.
meeting on uncharted territory
most of the records of the fear falls burning cosmos have by now sold out, but writing and reading about them has never exclusively been about selling records - but about documenting this journey as well as one possibly can with words. dirk serries is not “one of those monsters numb with grace”, he is preaching his gospel in an ever-increasing number of venues around europe (with the rest of the world undoubtedly to follow soon). the connections he has made on the road are already beginning to show a mutual fertilisation between different factions, between the experimental and the more accepted. this process is anything but new and in fact, the slow rise from obscurity into the general canon is one most established genres have once made. never before, it would however seem, has it been documented this closely. once we all walk through solid objects tells a story of bridging divides and how hands are being extended from various sides and meeting on uncharted territory. i can already imagine the participating artists finding ways of continuing down this road in different constellations and of several of the 500 lucky owners being inspired to take up a guitar them. if there is anything we can learn from the story of velvet underground it must be that it's not about how many records you are selling. there is something valuable happening here for the entire scene.
source: tokafi
casting a shadow
all through 2006, we have been witnessing the maturation of this one-man guitar drone project, announcing new pinnacles on a monthly basis: a double cd for a debut album, the grandiose i’m one of those monsters numb with grace foldout cover, the 4,5 hours of the smoothly packaged the infinite sea of sustain dvd and the monolithic cooperation with canadian doom mongers nadja. but all this time, as all of these things were happening, once we all walk through solid objects slowly took shape, casting a shadow of great things to come. listening to it over the last month, slowly entering its world, it has become clear to me that the strength of the release lies not only in mobilising dirk serries’ extensive network of friends and respected colleagues, but in concentrating an entire scene over the course of these ten sides of music. it is the essence of a genre, which has long been a synonym for obscurity and pointless minimalism and which now shines brightly, as its outer limits imposingly approach bordering styles.
a drone manifest
it is all about the drone, therefore, in all sizes and shapes. serries calls once we all walk through solid objects a "drone manifest” and he is right. without a single exception, all ten tracks are based on reverbed feedback, sustained guitar string clusters, endlessly distorted chords and shimmering harmonics born in the wake of raw textures, pulsating at different frequencies, scratching each other’s surface areas. on the one hand, this can be explained by the fact that all of these pieces base on source material personally provided by him. each and every artist treats it in a uniquely personal way, but no matter how much they manipulate, mash and mix it, his typical timbres of intangible, longing sweetness and inexplicably sensuous mystery always shine through. aidan baker feeds the music into his pc, justin k broadrick (who on this occasion takes on his final incarnation) plays along to it in his studio, enigmatic duo byla add hypnotic acoustic guitar pickings, campbell kneale of newzealand's birchville cat motel adds a host of other instruments, while freiband’s frans de waard even “re-composes” the piece alltogether “in the world of ones and zeros”. purely computer-based or in a band-like context, the music comes into being in all of the colourful ways the scene is capable of.
the second reason why we’re deep into drone territory here is that one could safely leave the confined space of the genre today and will still find many of its constituent elements everywhere in experimental music. the drone has become an integral part of all variations of soundart and the fact that the ensemble of contributing artists is anything but “typical” (except for a few obvious choices, maybe) proves that new adepts are coming in from all directions. Even the huge crowds serries has played to in support of swedish metalband cult of luna were anything but completely unfamiliar with the fear falls burning concept. although it is anything from compatible with what is happening in pop charts, this box set is certainly no longer just food for a secluded niche anymore either.
the studio version of a festival
musically, once we all walk through solid objects could be compared to the studio version of a festival: there is a clear red thread and yet enough variety to keep the most diverse groups of listeners glued to their seats. in the context of the fear falls burning discography, it contains both material which is closer to the roots of the project than anything that serries has released himself as well as compositions which stretch his vision to its limit. the opening collaboration with steven wilson (untitled, like all other entries) is a slowly building, ominous cloud, which grows in volume and density, while broadrick’s impromptu improvisation as well as stefano pilia’s similarly constructed track (which, however, in addition uses “magnetophones and ventilators” according to the info) deepen the ambient side of fear falls burning, attaining a new and strong kind of tranquility. frans de waard, meanwhile, turns the material into a haunting, ghostly piece of microtonality, filled with crackling chains of subtly taunting clicks and hiss, while byla distance themselves far from the original, turning it into a dreamy folk mantra, which happily spins round its own axis.
from a fan point of view, though, it is probably the submissions by birchville cat motel and cult of luna-member johannes persson which leave the strongest impression. the former unleashes an amorphic, viscous and viscious audio-lava-stream, with sounds as though an entire orchestra were moving nervously underneath its skin, while the latter begins with a triumphant, hymnic guitar theme, which is then gradually deconstructed. In both cases, you could close your eyes and imagine dirk serries holding his guitar himself, enjoying each and every moment.
holding on to the vision
it has been, Serries admits, with “relief and still with enormous pride and satisfaction” that this box set has been finished. various delays seemed to have endangered its release, but those responsible never faltered, record company tonefloat included. as they point out: “the artwork alone was something that took over six months of preparations to get it the way we wanted - and even required a completely new sleeve format at the plant.”
the result is a firm brown cardboard “file”, which includes all of the transparent vinyl discs in rubbery plastic “folders”, each one with exclusive photography printed on it. it is clear that such a project wants to make a statement. in this case, though, there may even be two. firstly, once we all walk through solid objects is an overview of the different manifestations of the guitar drone, a collection with a broad palette and bright individualism. secondly, it is the materialised personal quest of a man who had a dream and pursued it, the temporary acme of an ongoing process of finding the perfect drone and holding on to it as long as one can.
meeting on uncharted territory
most of the records of the fear falls burning cosmos have by now sold out, but writing and reading about them has never exclusively been about selling records - but about documenting this journey as well as one possibly can with words. dirk serries is not “one of those monsters numb with grace”, he is preaching his gospel in an ever-increasing number of venues around europe (with the rest of the world undoubtedly to follow soon). the connections he has made on the road are already beginning to show a mutual fertilisation between different factions, between the experimental and the more accepted. this process is anything but new and in fact, the slow rise from obscurity into the general canon is one most established genres have once made. never before, it would however seem, has it been documented this closely. once we all walk through solid objects tells a story of bridging divides and how hands are being extended from various sides and meeting on uncharted territory. i can already imagine the participating artists finding ways of continuing down this road in different constellations and of several of the 500 lucky owners being inspired to take up a guitar them. if there is anything we can learn from the story of velvet underground it must be that it's not about how many records you are selling. there is something valuable happening here for the entire scene.
source: tokafi
tf035, a review (3)
it’s always something magical with fear falls burning’s releases and those readers that have actively followed this webzine have surely noticed my great love for this drone artist. but on "once we all walk through solid objects" the feeling that this is really something special is greater than ever. it’s not only because the release in itself is so beyond compare, here we in fact get to take part of fear falls burning’s cooperation with ten different artists on five clear 12" vinyls, but this also turns out to be a journey straight into the pure soul of dirk serries’ drones. to be able to describe this extensive release with just words in a review feels like a hopeless task when considering the huge amount of material that is presented. but that’s just part of the problem, since you also have to take into consideration all the emotions that the music creates and just as much depends upon. to describe and live out abstract emotions and moods with just the use of words is very difficult and one should in all honesty experience the music personally to fully understand what i’ll ramblingly will try to express. none of the different parts of this release differs greatly from what we are used to when it comes to fear falls burning and the sound is still deeply rooted in atmospheric and quite minimalistic drone, yet every contributing artist manages to add enough of new elements to each song on "once we all walk through solid objects" to make it unique. the cooperation with bass communion kicks off very softly, but the creeping drone soon grows stronger and stronger and it doesn’t take long before we have a thick wall of sound consisting of heavily distorted guitar loops that pours out of the loudspeakers. however, before the composition ends the music again changes direction and slowly begins to weaken before if finally comes to a silent end. a truly atmospheric piece of music. the b-side of the same vinyl is a very melancholic composition where dirk has worked together with final and where the light and clean guitar riffs rises in a really nice way up from the much more distorted and obscure background of sounds. the cooperation with freiband is one of my absolute favourites on "once we all walk through solid objects" and the composition does in fact revolve as much around ambient as drone. it’s a journey filled with horror and anguish that you head out on during this composition where initially the very heavy bass sound is the dominating element. the soundscape then changes as time goes by, first it gets slightly lighter, but soon the intensity starts growing again in a really eerie way and deeply embedded in the music you even get some hints of a chanting sound. in the composition in which harvestman takes part you suddenly get a surprisingly large amount of guitar riffs that aren’t getting looped in all eternity, which is something that gives the song a quite different atmosphere. a large amount is of course here slightly misleading, so don’t expect any major deviation from the drone concept. the cooperation with birchville cat model acts in the service of horror and has incorporated a really creepy atmosphere with its heavily distorted and dark drone. the opposite can be found on the b-side of the same disc where the sound is far lighter and more harmonic with a beautiful and quite minimalistic guitar play that floats around above the darker and distorted loops. first out on the fourth disc is aidan baker, who has previously been working together with fear falls burning twice, yet those time though the band nadja. even though the soundscape is dark on this composition, it’s built up in a quite different manner than what was the case with nadja and here we get a sound that lies very close to dark ambient where the guitar loops have been damped down and instead we find a slow moving mass of twisted sounds that surrounds the listener. the final part of this song is really impressive with the increasing level of intensity and menace. on the b-side the next familiar name turns up, familiar even to those readers that feels more at home in the metal world. it’s johannes persson from cult of luna who lends his guitar abilities and is a part of the creation of this song that to some extent reminds me of the cooperation with harvestman. this means that you’ll find a more varied guitar work that clearly differs from the background with it’s thick wall of sound and drone mist, but which also at the same time fits really well into the overall laid-back atmosphere that the song creates. it gets even more laid-back and tranquil when one reach the cooperation with jefre cantu-ledesma, which can be described as a very harmonic and beautiful journey into a soundscape without time or space. we are in other words far from the more intense and emotionally heated compositions that have been previously mentioned. the last composition that is included on this marvellous release is a cooperation with stefano pilia, which follows to some extent the same harmonic path, but is even more abstract and eerie. a wonderful composition with a slight hint of quiet grief that is easy to get lost in. yet, towards the end of the song the sound starts to shift more and more into a state of chaos, which gives the music yet another dimension. this is without any doubt the longest review i’ve done up to this point during my time at this webzine, but "once we all walk through solid objects" is also the most extensive release i’ve reviewed. it’s indeed something magical with this release and i can’t do anything else but to express my warmest recommendations to all those who are interested in drone or various forms of ambient to check out this release.
source: metal only, sweden
source: metal only, sweden
tf035, a review (2)
het gaat steeds harder met fear falls burning, het dronesproject van dirk serries, die enkele maanden geleden definitief de stekker trok uit zijn bekendste en langst meedraaiende project vidnaObmana. wat met dat laatste niet helemaal leek te lukken, blijkt nu moeiteloos te gaan met ffb: het opent internationaal overal deuren. labels en artiesten staan aan te schuiven om met hem in zee te gaan. zo nodigden niemand minder dan rhys chatham en the grey daturas serries uit om met hen mee te spelen op het recente zxzw festival en boden vermaarde labels als kranky, important en riot season hem recent nog een deal aan. een ander indrukwekkend bewijs van zijn toenemende reputatie is 'once we all walk through solid objects', een vijf lp's tellende box waarop tien tot de verbeelding sprekende namen aan de slag gaan met fear falls burning. of kent u nog belgen die op één release onder handen worden genomen door bass communion (alias steven wilson van porcupine tree) justin k. broadrick (godflesh, jesu) als final, steve von till van neurosis als harvestman, aidan baker (nadja), jefre cantu-ledesma (tarentel), johannes persson (cult of luna), birchville cat motel, frans de waard (freiband, beequeen), byla (dysrhythmia) of stefano pilia (3/4hadbeeneliminated)? we dachten zo van niet. de tien nummers situeren zich zonder uitzondering allemaal in het dronessegment, maar zetten tegelijkertijd ook de creatieve eigenzinnigheid van de betrokken artiesten in de verf. zo klinkt bijvoorbeeld jefre cantu-ledesma bijzonder dreigend voor zijn doen, terwijl bij birchville cat motel het spel van elkaar heen dansende geluidsspiralen maximaal ten dienste staat van het hypnotiserende effect. zoemende drones domineren de sound van freiband, terwijl steve von till zich helemaal verliest in een zweverige atmosfeer. etcetera. dat deze box bovendien magnifiek is vormgegeven - vijf transparante plakken dik vinyl in doorzichtige plastic hoezen met röntgenfoto's bij elkaar gehouden in een doos die lijkt op een ziekenhuisdossier - mag haast evident zijn. een dure release die elke euro echter meer dan waard is.
source: gonzo circus
source: gonzo circus
tf066, a review (5)
how better to spend a cold monday night then with a prime choice in the best of music? well, paradiso had it in the house!
tonefloat is a label which, i now found out, has some beautiful works on offer. as i understand they always go for the eclectic sounds. this evening was kind of a promotional evening... he, he, well it was so to me ;) well advertised on x-rated, kinkfm radio, this evening drew a good crowd of enthusiastic music lovers.
in between sets there was some awesome tracks played by dj maarten van der vleuten... i'd love to find a list of titles he played. i found out one, but more on that later.
this warming opening paved the way to the first act on stage: sand snowman. one man, acoustic guitar. beautiful music, which seemed improvised, and at first had something of the work by harry sacksioni. but.. not so. here was a man in deepest concentration working out his ideas. maybe it was by the length of the improvisation, but there was this fantastic development in the play! i'm not sure what it was, but the effect was kind of hypnotic and it kept your ears glued to the sounds.
it was kind of a switch to the music played by maarten van der vleuten after. but a quick beer and i just settled down on the ground and let my mind drift again in the music. gah! there was one fantastic track that i had to find out what it was! but that had to wait a little because it was fear falls burning on stage!
fear falls burning was again one man... with a mission. omg. talk about dark doom! this man produced sounds like he wrote the book on it! deeeeep anguished electric guitar in loops, distort, overdrive and at one point he started a slllooowww and deeep rhythm track, sounding like a recording of a real 'live' drummer. made me think of sunn o))), earth, om... absolute powerful act, which ended all too soon. with leaving the stage and let the guitar and electronics run their own course. it was abruptly switched of a minute later and reality flared up again! time to hop over to maarten van der vleuten who had switched on his decks again. i asked him about the track he had played before the stage act; trying my best to describe it. he quickly flashed me a brownish lp and said it was just out on tonefloat and available at the desk. ok then! hunting time!
i went over to tonefloat and found the album: high intolerance towards low energies. by... maarten van der vleuten. ha, ha, ha!!! sold. fantastic album; two straight tracks on each side. i completely forgot to get a picture of him. sorry!! with the cold walk toward central station ahead i decided to call it a night. and a fantastic night it was...
source: myspace
tonefloat is a label which, i now found out, has some beautiful works on offer. as i understand they always go for the eclectic sounds. this evening was kind of a promotional evening... he, he, well it was so to me ;) well advertised on x-rated, kinkfm radio, this evening drew a good crowd of enthusiastic music lovers.
in between sets there was some awesome tracks played by dj maarten van der vleuten... i'd love to find a list of titles he played. i found out one, but more on that later.
this warming opening paved the way to the first act on stage: sand snowman. one man, acoustic guitar. beautiful music, which seemed improvised, and at first had something of the work by harry sacksioni. but.. not so. here was a man in deepest concentration working out his ideas. maybe it was by the length of the improvisation, but there was this fantastic development in the play! i'm not sure what it was, but the effect was kind of hypnotic and it kept your ears glued to the sounds.
it was kind of a switch to the music played by maarten van der vleuten after. but a quick beer and i just settled down on the ground and let my mind drift again in the music. gah! there was one fantastic track that i had to find out what it was! but that had to wait a little because it was fear falls burning on stage!
fear falls burning was again one man... with a mission. omg. talk about dark doom! this man produced sounds like he wrote the book on it! deeeeep anguished electric guitar in loops, distort, overdrive and at one point he started a slllooowww and deeep rhythm track, sounding like a recording of a real 'live' drummer. made me think of sunn o))), earth, om... absolute powerful act, which ended all too soon. with leaving the stage and let the guitar and electronics run their own course. it was abruptly switched of a minute later and reality flared up again! time to hop over to maarten van der vleuten who had switched on his decks again. i asked him about the track he had played before the stage act; trying my best to describe it. he quickly flashed me a brownish lp and said it was just out on tonefloat and available at the desk. ok then! hunting time!
i went over to tonefloat and found the album: high intolerance towards low energies. by... maarten van der vleuten. ha, ha, ha!!! sold. fantastic album; two straight tracks on each side. i completely forgot to get a picture of him. sorry!! with the cold walk toward central station ahead i decided to call it a night. and a fantastic night it was...
source: myspace
tf038, a review (5)
waren viele, insbesondere der vinyl-veröffentlichungen von fear falls burning visuell davon geprägt, detailansichten des zentralen instruments zu liefern, damit den blick auf die vielzahl der ineinander greifenden einzelteile zu lenken, die den spezifischen klang erst ermöglichen und so zu veranschaulichen, wie aus einer ebensolchen vielfalt von einzelloops, schwingungen und rückkopplungen das komplexe klangbild von ffb entsteht, so variiert das neue ffb-studioalbum auf seinem (sehr schicken! tonefloat halt) gatefold das thema des (historischen) zaunes: gestalterisch gelungen, aber eine grenze aufzeigend, dabei den blick zulassend, ohne zugang zu gewähren. könnte das auch eine methapher für ffb sein? harmonie, immer an der grenze der zugänglichkeit; offen, entdeckt zu werden, aber das tor muss jede(r) schon selbst finden. zu der "i'm one of those monsters numb with grace" war in aufabwegen zu lesen, dass es irgendwie wie ein ausschnitt aus einem viel größerem drone wirkt, der hörer quasi mit einer situation konfrontiert wird, die auf lead-in und lead-out verzichtet, einfach nur "jetzt!" ruft und ohne eingewöhnungsphase vom geneigten hörer genau das verlangt: zuhören. was, soviel sei verraten, im fall der ähnlich aus dem stand startenden "when mystery prevades the well, the promise sets fire" mit einem filigranen und trotzdem druckvollen, vielfädigen und trotzdem zusammenhaltenden drone-kokon belohnt wird. mit einer vielzahl von mikro-eingriffen, die die loopschichten unvorhersehbar variieren und, tief eingebettet in den gitarren, mit (äußerst) subtiler percussion. fast nur leise knackser, wie (hier: gewollt verteilte) staubkörner in der rille. dave vanderplas (lips + ontayso), zuständig für die percussion, fühlt sich perfekt in das fragile soundbild ein und schafft es mit seinem auf kurze klangereignisse geeichten instrumentarium, trotzdem atmosphärisch zu arbeiten. und insbesondere jede form von "beat" zu vermeiden. dem abrupten auftakt zum trotz bietet das über beide seiten gestreckte stück damit ein zusätzliches tor und deutet gleichzeitig an, welche potenziale immer noch und immer wieder neu in einem vermeintlich limitierten konzept liegen. insofern: don't hesitate, in bild und klang aufs beste empfohlen. vinyl-only, übrigens und in abgewandelter form kern des köln-konzertes der aktuellen tour mit jesu gewesen (vermute ich mal einfach so in der rückerinnerung).
source: unruhr
source: unruhr
tf038 / tfi103, a review (2)
two beautifully packaged, charcoal black vinyl slabs of dirk serries' fear falls burning axe-smithing courtesy of rotterdam-based independent tonefloat recordings. the fear falls burning project was initiated in 2005 as a vehicle for exploring improvisational drone pieces using les paul guitars augmented by idiosyncratically designed effects pedals. heavily processed pieces unfurl organically with slow builds and subtle shifts in direction, with an emphasis on controlled flow rather than abrupt ruptures.
when mystery prevades the well, the promise sets fire includes subtle cymbal and percussion punctuation by dave vanderplas but is otherwise all guitar (or, more precisely, "paul reed smith custom 24, gibson sg standard and epiphone les paul custom optimized with steffsen pickups in relation to contemporary boss, danelectro, line 6, electro-harmonix, marshall, and rocktron pedal effects"). characteristic of fear falls burning's approach, each side presents a single long piece. side one begins meditatively in atmospheric drone mode with simple chords that blossom slowly. the music simmers quietly for many minutes with the threat of eruption omnipresent but, to his credit, serries resists the impulse and chooses to let the music curdle for a full seventeen minutes. the piece continues on side two but now with a slight increase in volcanic activity though, as before, the music escalates incrementally until it eventually becomes a muffled, almost strangulated howl.
first by a whisper, then by a storm not only precedes when mystery prevades the well, the promise sets fire but represents the very first recordings done by fear falls burning (and that apparently document the segue from serries in his vidnaObmana guise to the drone style of fear falls burning). auspiciously packaged in a handmade black sleeve with a red wax seal on the front, the earlier release includes four untitled pieces, two short framed by two long (and, for the record, performed with "craftman stratocaster and ibanez prestige guitars in relation to contemporary boss and danelectro pedal effects"). once again serries exercises considerable restraint as the material never strays too far beyond becalmed levels of guitar drift and shudder—an approach that might frustrate and disappoint listeners more accustomed to buildups and climaxes. to these ears, it's refreshing to hear him take the road less traveled and challenge convention. the weave of clean lines constituting side one's short piece is even almost tranquil. Serries shifts gears on side two with a haunted, slow-burning setting of ghostly drones and then a long-form, frippertronics-styled ambient exercise in crystalline shimmer and multi-layering. What recommends first by a whisper, then by a storm over the later release is that each of its four pieces reveals a slightly different side of the fear falls burning persona.
source: textura
when mystery prevades the well, the promise sets fire includes subtle cymbal and percussion punctuation by dave vanderplas but is otherwise all guitar (or, more precisely, "paul reed smith custom 24, gibson sg standard and epiphone les paul custom optimized with steffsen pickups in relation to contemporary boss, danelectro, line 6, electro-harmonix, marshall, and rocktron pedal effects"). characteristic of fear falls burning's approach, each side presents a single long piece. side one begins meditatively in atmospheric drone mode with simple chords that blossom slowly. the music simmers quietly for many minutes with the threat of eruption omnipresent but, to his credit, serries resists the impulse and chooses to let the music curdle for a full seventeen minutes. the piece continues on side two but now with a slight increase in volcanic activity though, as before, the music escalates incrementally until it eventually becomes a muffled, almost strangulated howl.
first by a whisper, then by a storm not only precedes when mystery prevades the well, the promise sets fire but represents the very first recordings done by fear falls burning (and that apparently document the segue from serries in his vidnaObmana guise to the drone style of fear falls burning). auspiciously packaged in a handmade black sleeve with a red wax seal on the front, the earlier release includes four untitled pieces, two short framed by two long (and, for the record, performed with "craftman stratocaster and ibanez prestige guitars in relation to contemporary boss and danelectro pedal effects"). once again serries exercises considerable restraint as the material never strays too far beyond becalmed levels of guitar drift and shudder—an approach that might frustrate and disappoint listeners more accustomed to buildups and climaxes. to these ears, it's refreshing to hear him take the road less traveled and challenge convention. the weave of clean lines constituting side one's short piece is even almost tranquil. Serries shifts gears on side two with a haunted, slow-burning setting of ghostly drones and then a long-form, frippertronics-styled ambient exercise in crystalline shimmer and multi-layering. What recommends first by a whisper, then by a storm over the later release is that each of its four pieces reveals a slightly different side of the fear falls burning persona.
source: textura
tf038, a review (4)
"when mystery prevades the well, the promise sets fire" ist eine dezent, aber eindrucksvoll gestaltete gatefold lp auf 180g vinyl und limitiert auf 500 exemplare.
mystisch wirken die dronen auf "when mystery prevades the well, the promise sets fire" allemal. zart, sanft und trotzdem mit einer macht, der man sich nicht entziehen kann, lullen die dronen den hörer ein, umgarnen ihn, wollen ihn holen und einspinnen. subtile percussion-variationen heben die beiden langen stücke aus dem drone-einerlei heraus und machen diese platte zu einem eher einzigartigen hörerlebnis. ist das tor auf dem cover noch verschlossen, so öffnet es sich dem hörer zunehmend und zieht ihn unaufhörlich weiter in einen verwunschenen garten, in dem es aus allen Ecken und Enden flimmert und schimmert. fragile hintergrund-gitarren und helle percussion, vordergründig mehr ein durchgängiges dröhnen und brummen. rein technisch gesehen sind einerseits auf "when mystery prevades the well, the promise sets fire" neue ffb dronen enthalten, und andererseits hat ffb kopf dirk serries die herangehensweise an sein schaffen etwas neu konzipiert und strukturiert. so bringen die genannten hintergrunddetails (percussion) eine neue dimension in das musikalische oeuvre von ffb ein. es entstehen weitere dimensionen und deutlich mehr vielschichtigkeit, auf subtiler ebene. beide stücke sind harmonisch und kraftvoll und begeistern mich einmal mehr.
source: creative eclipse
mystisch wirken die dronen auf "when mystery prevades the well, the promise sets fire" allemal. zart, sanft und trotzdem mit einer macht, der man sich nicht entziehen kann, lullen die dronen den hörer ein, umgarnen ihn, wollen ihn holen und einspinnen. subtile percussion-variationen heben die beiden langen stücke aus dem drone-einerlei heraus und machen diese platte zu einem eher einzigartigen hörerlebnis. ist das tor auf dem cover noch verschlossen, so öffnet es sich dem hörer zunehmend und zieht ihn unaufhörlich weiter in einen verwunschenen garten, in dem es aus allen Ecken und Enden flimmert und schimmert. fragile hintergrund-gitarren und helle percussion, vordergründig mehr ein durchgängiges dröhnen und brummen. rein technisch gesehen sind einerseits auf "when mystery prevades the well, the promise sets fire" neue ffb dronen enthalten, und andererseits hat ffb kopf dirk serries die herangehensweise an sein schaffen etwas neu konzipiert und strukturiert. so bringen die genannten hintergrunddetails (percussion) eine neue dimension in das musikalische oeuvre von ffb ein. es entstehen weitere dimensionen und deutlich mehr vielschichtigkeit, auf subtiler ebene. beide stücke sind harmonisch und kraftvoll und begeistern mich einmal mehr.
source: creative eclipse
tf038, a review (3)
a change in concept: the core of what fear falls burning is about becomes even clearer. it was bound to happen. when dirk serries began producing under the name of vidnaObmana almost a quarter of a century ago, his music could be summed up as dark and cinematic industrial soundscapes. a couple of years later, he released the dream-like “the river of appearance”, a telekinetic connection with the brian eno/harold budd albums of the mid-80s and seemingly the work of an entirely different composer. “i like to push boundaries while loosing grip onto the initial concept”, serries describes his sometimes involuntary evolutionary process. and yet, this “personal flaw”, as he calls it, is the spark which gave birth to “when mystery prevades the well, the promise sets fire”. the last harbinger of the upcoming new cd on conspiracy Records, “when mystery...” introduces guest musicians to fear falls burning for the first time on a “regular” studio record. of course, the 5lp set “once we all walk through solid objects” (also on tonefloat) already hinted at this possibility with its concept of various collaborations under the roof of the guitar drone. back then, though. it was still more of an experimental exception, a serene celebration of the project’s first two years and of a scene in the state of waking. just a few months later, there was the aswoonly ghost shuffle of the partnership with new zealand’s birchville cat motel, another sign that the walls of the monastery were crumbling. now, however, Serries is as serious about opening up as never before. the aforementioned record for conspiracy is said to feature four sidekicks, three of them drummers/percussionist, with dave vanderplas contributing to both “frenzy of the absolute” and “when mystery prevades the well, the promise sets fire”. for anyone still uncomfortable with this immanent change, it will come as a relief to hear that his performance, as important and (at least in my opinion) decisive as it is to this lp, is nonetheless extremely subtle and fully integrated into the mix as well – fusion rock or metal are still as far away as ever. rather than concretising his cymbals into repetitive patterns or cohesive rhythms, vanderplas adds a fine metallic layer to the drones, like iron dust blown across the surface of a giant electromagnet by the breath of the wind. side 1 does open with one of his brush strokes, as if to introduce him to the audience, but just a second later, serries jumps in with moaning bass drones, backwards loops and a deep pedal point, slowly but insistently pushing the piece forward. on side 2, the impulses are less transformed, with loose hits of dry metal scattered around the track. overall, the mood of this side is more aggressive, its tonal edges sharper, although it sheds some of its threatening potential over the course of the dialogue between serries and vanderplas.
while it may seem that the new material stays pretty close to the by now well-known formula, this proves to be an illusion. in search of older reference points, i quickly discovered, in fact, that “when mystery prevades the well, the promise sets fire” doesn’t sound like anything that has come out under the fear falls burning logo. less smooth than “the carnival of ourselves” and more refined than both “the amplifier drone” and “the rainbow mirrors a burning heart”, it presents a style which is confident enough to dismiss the need for drastic changes.
pieces start off with a restricted set of themes and then continue to allow these themes to develop through time. his new method invites the listener to look at a track from various angles, revealing some of the transformations only to those listening very attentively. It is not so much the hypnoticism of the magically meandering repetitions, but the inner complexity of the music, which can never fully be grasped in a single moment, which justifies and endorses this approach: compositionally, Serries has never been this efficient before.
the effort of allowing external influences in has interestingly enough made the core of what Fear Falls Burning is about even clearer: texture. all elements are entangled in an inseperable knot, which rotates around a single, unfathomable idea. on the first side, a sinister melody initially obscures sight of this organic tissue, but gradually, it, too, is submersed in the undulation, like yet another satellite circling Saturn, as the underlying truth manifests itself.
while “when mystery prevades the well, the promise sets fire” may rather be part of the ongoing search to keep the original fear falls burning ethos of one man and his guitar alive in permutating manifestations, recent blog entries suggest that “frenzy of the absolute” may truly represent a break in the catalogue. the future, then, may yet hold a couple of surprises. one of the artists to appear in dirk serries’ current playlist is miles davis, after all. another man who couldn’t just keep on doing what he had been doing in the past – fusion rock and metal may turn out to be more than just silly daydreams some day.
source: tokafi
while it may seem that the new material stays pretty close to the by now well-known formula, this proves to be an illusion. in search of older reference points, i quickly discovered, in fact, that “when mystery prevades the well, the promise sets fire” doesn’t sound like anything that has come out under the fear falls burning logo. less smooth than “the carnival of ourselves” and more refined than both “the amplifier drone” and “the rainbow mirrors a burning heart”, it presents a style which is confident enough to dismiss the need for drastic changes.
pieces start off with a restricted set of themes and then continue to allow these themes to develop through time. his new method invites the listener to look at a track from various angles, revealing some of the transformations only to those listening very attentively. It is not so much the hypnoticism of the magically meandering repetitions, but the inner complexity of the music, which can never fully be grasped in a single moment, which justifies and endorses this approach: compositionally, Serries has never been this efficient before.
the effort of allowing external influences in has interestingly enough made the core of what Fear Falls Burning is about even clearer: texture. all elements are entangled in an inseperable knot, which rotates around a single, unfathomable idea. on the first side, a sinister melody initially obscures sight of this organic tissue, but gradually, it, too, is submersed in the undulation, like yet another satellite circling Saturn, as the underlying truth manifests itself.
while “when mystery prevades the well, the promise sets fire” may rather be part of the ongoing search to keep the original fear falls burning ethos of one man and his guitar alive in permutating manifestations, recent blog entries suggest that “frenzy of the absolute” may truly represent a break in the catalogue. the future, then, may yet hold a couple of surprises. one of the artists to appear in dirk serries’ current playlist is miles davis, after all. another man who couldn’t just keep on doing what he had been doing in the past – fusion rock and metal may turn out to be more than just silly daydreams some day.
source: tokafi
tf038, a review (2)
een van meest productieve landgenoten is terug met wat beloofd alweer een nieuwe serie te worden. een eerste worp is deze “when mystery prevades …”. nieuw is dat dirk serries (mr fear falls burning) het geluid breder trekt dan enkel de vintage gitaar (mét effecten) waarmee hij tot nu toe zijn drones produceerde. de vele samenwerkingen die serries in 2007 had met gelijkgestemde zielen (leden van jesu, porcupine tree, neurosis) hebben hem duidelijk zin gegeven de ingeslagen weg verder te bewandelen. en dus krijgen we op deze lp voor het eerst een extra muzikant op een plaat die onder fear falls burning (tout court) uitkomt. nog geen al te drastische ingreep, want de percussie (op cymbalen en ander licht metaal) is subtiel en volledig geïntegreerd in de ambient drones. ffb gaat bewust op zoek naar wat het onderbewuste met klank kan aanvatten. de (overigens prachtige) hoes suggereert hammer-films en gothic, maar de muziek zelf is rijker. donker, nog steeds, maar vanaf nu kan er ook al wat licht in het universum van fear falls burning. al is het dat diffuse licht dat nog amper je oogleden binnendringt na een flink uit de hand gelopen nuit blanche. twee lange tracks waarin unieke gitaarklanken heerlijk ongrijpbaar verschuiven. het resultaat zijn twee grote canvassen opgetrokken uit donkere maar heldere tinten.
source: soundslike
source: soundslike
tf038, a review (1)
This release from 2007 features 35 minutes of eerie ambience. Joining Fear Falls Burning on this recording is Dave Vanderplas on cymbal and percussion.
Haunting tonalities drift in a cloud of fainter tones, all of which are initially generated on guitar, then processed until they no longer bear much semblance to any sound created by a stringed instrument. Auxiliary pulsations slide in and out of the mix, enhancing the overall eerie context and creating additional harmonic threads that gradually interweave to achieve an engaging cohesion. Swimming in this mysterious textural pool are hints of guitar notes, soft and briefly twinkling like raindrops falling on calcified cement. Some of these notes resonate in the bass range, providing a guttural punctuation for the drone structure.
While following this tenuous structure, the second piece tends to hold more discernible guitar hints, as chords surface and sink on a steady oscillation. Incidental percussives pepper the song in a nonrhythnic manner, providing single beats here and there, as if something were groping about in a murky milieu.
As the pieces progress, they gather more density until reaching a state of languid euphoria. As compositions go, these are mainly harmonic structures pursuing an ambient disposition laced with spooky undertones. If one casts aside any “paranormal” codification, this music serves as a dreamy panorama that could well be used as a portal for the listener to access their subconscious, at the least to segregate them from reality
source: sonic curiosity
Haunting tonalities drift in a cloud of fainter tones, all of which are initially generated on guitar, then processed until they no longer bear much semblance to any sound created by a stringed instrument. Auxiliary pulsations slide in and out of the mix, enhancing the overall eerie context and creating additional harmonic threads that gradually interweave to achieve an engaging cohesion. Swimming in this mysterious textural pool are hints of guitar notes, soft and briefly twinkling like raindrops falling on calcified cement. Some of these notes resonate in the bass range, providing a guttural punctuation for the drone structure.
While following this tenuous structure, the second piece tends to hold more discernible guitar hints, as chords surface and sink on a steady oscillation. Incidental percussives pepper the song in a nonrhythnic manner, providing single beats here and there, as if something were groping about in a murky milieu.
As the pieces progress, they gather more density until reaching a state of languid euphoria. As compositions go, these are mainly harmonic structures pursuing an ambient disposition laced with spooky undertones. If one casts aside any “paranormal” codification, this music serves as a dreamy panorama that could well be used as a portal for the listener to access their subconscious, at the least to segregate them from reality
source: sonic curiosity
tfi003, a review (3)
tonefloat, das label mit den schlicht saugeilen vinylschätzen, hängt sich auch bei diesem thema wieder aus dem fenster: alle, die mit fear falls burning und seiner "first by a whisper then by a storm" angefangen und diese "tour-cd" für die ersten recordings gehalten haben, haben es einfach nicht besser gewusst: es gab noch ein vorher und das gibt es jetzt und auch noch auf vinyl. aufhänger waren wohl 136 verbliebene cds der "first by a whisper then by a storm" und die bilden die grundlage dieses hybrid-releases, bestehend aus der schon damals veröffentlichten cd und einer lp mit bisher unveröffentlichten aufnahmen von 2004. wie schon die beiden anderen tonefloat releases "the carnival of ourselves" und "the amplifier drone" besteht das cover aus einer strukturierten, gefalteten pappe, diesmal ohne bildapplikation, statt dessen mit einem im umschlag beigelegten dokument mit den infos zum release sowie der nummerierung. der tonefloat-echtheitsstempel aus siegellack ist aber auch hier wieder vertreten; die cd sitzt auf einem hub in der gleichen pappe wie die lp.
und: die vier stücke sind es wert, der typische ffb-sound ist also bereits damals entstanden, auch wenn es noch leichte equipmentunterschiede gegenüber den späteren aufnahmen gab. vielleicht ein wenig luftiger im sound, teils vielleicht nicht ganz so vielschichtig wie einzelne spätere werke, aber bereits hier in einer art komponiert und gespielt, die vom 1. ton an packt. und wer die "first by a whisper then by a storm" noch nicht hat, für den lohnt es sich sogar doppelt; meine unverschämt knappe kritik über eine einfach unverschämt gute platte gilt (zumindest von meiner seite) nach wie vor.
source: unruhr
und: die vier stücke sind es wert, der typische ffb-sound ist also bereits damals entstanden, auch wenn es noch leichte equipmentunterschiede gegenüber den späteren aufnahmen gab. vielleicht ein wenig luftiger im sound, teils vielleicht nicht ganz so vielschichtig wie einzelne spätere werke, aber bereits hier in einer art komponiert und gespielt, die vom 1. ton an packt. und wer die "first by a whisper then by a storm" noch nicht hat, für den lohnt es sich sogar doppelt; meine unverschämt knappe kritik über eine einfach unverschämt gute platte gilt (zumindest von meiner seite) nach wie vor.
source: unruhr
tfi003, a review (2)
dezent gestaltete LP mit rotem siegel auf dem cover. zu hören ist altes, unveröffentlichtes material von 2004, aus den anfangstagen von fear falls burning. der ffb-drone charakter war damals schon vorhanden, allerdings klingen die stücke noch etwas luftiger und leichter. die Idee zu dieser platte kam mit den letzten 136 exemplaren der "first by a whisper, then by a storm" cd und so fackelte man nicht lange und veröffentlichte eine kleine spezial edition, bestehend aus cd plus lp, die wohl inzwischen schon so gut wie ausverkauft sein dürfte. die liebhaber und kenner werden langsam aber beharrlich mehr. die stücke klingen noch einfacher gestrickt, ohne viele flächen und Schichten. einerseits wirken die dronen dadurch primitiver, andererseits aber durchaus direkter und leichter greifbar. "first by a whisper, then by a storm" kann also als dokument einer Entwicklung betrachtet werden, die zu grossartigen Alben geführt hat, wie das unten besprochene "frenzy of the absolute" album, das ja in diesen tagen erschienen ist.
source: creative eclipse
source: creative eclipse
tfi003, a review (1)
this release from 2007 offers 40 minutes of experimental ambience. in the first long track, shimmering tonalities establish an environment of slightly edgy drones. swaying in minuscule oscillation, these tones are gentle and almost soothing; “almost” because they exhibit a subtle hint of eeriness that could be perceived as an uneasy resonance. an air of thin atmospherics provides a diaphanous foundation for those primary drones. the second track (this one being rather short) features more conventional guitar sounds, albeit progressively less traditional as the treatments bend the notes and elongate them to overlap with each other. the result displays a sense of relaxed anticipation.
flipping the album over, the third track is another short one, in which the drones adopt a harsher demeanor. growling resonance becomes stretched out, then punctuated by more shrill tones that embody endearingly forceful sustains. these elements steadily converge to achieve a piercing definition. hints of distress can almost be heard in the far distance during the piece’s pensive culmination.
the final track (another extended one) offers a more tenor level of drones that almost exhibit a cheerier outlook. the tonalities waft with an ascendant quality, straining for altitude (not to be confused with volume) and achieving a standing wave of pleasant agitation (an oxymoron that can only be understood by experiencing this tantalizing composition). auxiliary tones enter the mix, first softly and gradually swelling to rival the dominant harmonic flow. their union generates a thought-provoking clarity that lingers long after the track has concluded. these compositions are keenly harmonic and sparse, evoking foggy vistas of emptiness. They are basically designed to attenuate the listener to introversion, leaving the real world behind and immersing in a psychic realm. there, introspection or meditation can result. For those not interested in such spirituality, this music provides an excellent background soundtrack of minimal definition that is unintrusive but still substantial enough to float at the edge of perception.
a full edition of this release includes a cd that documents the first recordings made by vidnaObmana as he made the transition from that identity to the guitar drones of fear falls burning. the 12-inch album features exclusive tracks not found on that cd.
source: sonic curiosity
flipping the album over, the third track is another short one, in which the drones adopt a harsher demeanor. growling resonance becomes stretched out, then punctuated by more shrill tones that embody endearingly forceful sustains. these elements steadily converge to achieve a piercing definition. hints of distress can almost be heard in the far distance during the piece’s pensive culmination.
the final track (another extended one) offers a more tenor level of drones that almost exhibit a cheerier outlook. the tonalities waft with an ascendant quality, straining for altitude (not to be confused with volume) and achieving a standing wave of pleasant agitation (an oxymoron that can only be understood by experiencing this tantalizing composition). auxiliary tones enter the mix, first softly and gradually swelling to rival the dominant harmonic flow. their union generates a thought-provoking clarity that lingers long after the track has concluded. these compositions are keenly harmonic and sparse, evoking foggy vistas of emptiness. They are basically designed to attenuate the listener to introversion, leaving the real world behind and immersing in a psychic realm. there, introspection or meditation can result. For those not interested in such spirituality, this music provides an excellent background soundtrack of minimal definition that is unintrusive but still substantial enough to float at the edge of perception.
a full edition of this release includes a cd that documents the first recordings made by vidnaObmana as he made the transition from that identity to the guitar drones of fear falls burning. the 12-inch album features exclusive tracks not found on that cd.
source: sonic curiosity
tf007, a review (2)
the use of ashes richt zich met albion moonlight, een naar meer smakend tussendoortje op wit vinyl, op avontuurlijk ingestelde psychedelica-adepten. evenals hun nijmeegse stadgenoten van delgendary pink dots vraagt the use of ashes om een open geest. het multi-instrumentale duo komt met hulp van psychedelica, ambient, folk en techno namelijk tot een half uur associatieve muziek.
source: oor
source: oor
tf007, a review (1)
na het album firetree en de single moongarden ben je opnieuw welkom in de wondere droomwereld van the use of ashes uit nijmegen. maarten scherrenburg en peter van vliet nemen ded luisteraar mee naar het hinterland, waar we worden omringd door bedreigende geluiden, een huilende wolf in de verte en trage synthesizerklanken die langzaam overgaan in een semi-akoestisch, psychedelisch liedje dat snel wordt onderbroken door een korte electronische storm. zes nummers lang blijf je in het ongewisse over de afloop van deze sfeervolle en afwisselende 10inch waarin soundscapes, akoestische en electronische nummers elkaar in golfbewegingen opvolgen.
source: fret
source: fret
tf013, a review (2)
de invloeden van de laatste twee albums van talk talk hebben duidelijke sporen achtergelaten in engeland (o.a. bark psychosis, hood), maar net als de prozak-rock van codeine en de fingerpicking-experimenten van jim o'rourke met zijn vroegere band gastr del sol hoor je die invloeden niet zo snel terug bij hollandse groepen. postrock is misschien een vies woord in een land waar meer waardering is voor spierballenmuziek. hotel hell, het eerste album van de utrechtse mercy giants, klinkt als een implosie. de zang zit angstvallig weggestopt in demix. de sfeer is desolaat, de enkele uitbarstingen zijn verre van levenslustig en eerder een teken van wanhoop dan van hoop. onvoorspelbaarheid staat voorop. een liedje dat nauwelijks is begonnen wordt onderbroken door verstilde, instrumentale intermezzo's. nummers die langzaam worden opgebouwd lijken nergens to te leiden of krijgen een onverwachte (anti)climax. het resultaat is een even melancholieke als spannende plaat die bij elke nieuwe draaibeurt meer geheimen prijs geeft. de laatste eenzame orgelklanken laten ons met een leeg gevoel achter. een indrukwekkend debuut.
source: fret
source: fret
tf013, a review (1)
sympathiek hoor, zo'n groot en stevig plakkaat vinyl, maar mercy giants is meer dan dat. het utrechtse duo verrast met een album vol intieme slowcore, hoekige gitaarnoise, vijfsterren lo-fi (één per spoor), elektronische soundscapes en een zanger die kan zingen, een punt waarop ik doorgaans afhaak bij negen van de tien o zo sympathieke vaderlandse gitaarbandjes. zelf noemt men talk talk, gorecki en polvo als invloeden. ik zou daar graag codeine, bedhead en red house painters aan willen toevoegen, voor de vele serene en breekbare fluisterliedjes, zoals dyed away en would you mind? de kracht van hotel hell zit 'm daarnaast in de afwisseling, zowel binnen de nummers (hard-zacht, elektronisch-akoestisch) als tussen de nummers (kakafonish-verstild). soms gebruiken de onbekende giganten mark zuidema en maarten scherrenburg niet meer dan hun gitaar, hun stem en een synthesizer voor wat vage achtergrondklanken. soms klinken ze als een heuse band met drummer, schots en scheef en toch zeer gestroomlijnd, net als polvo inderdaad. een wonderschoon debuut waar nog geen tien zoppo's en zea's tegenop kunnen. nu maar hopen dat er nog genoeg muziekliefhebbers met een pick-up rondlopen.
source: oor
source: oor
tf016, a review (13)
the use of ashes is quite different compared to other bands reviewed here at vampire magazine. it is no metal and doesn't even come close to metal. though still i think some of our readers will be attracted by these sonic soundscapes which the use of ashes present us here.
but before i start talking about this album i'll give some background information first. the use of ashes is a dutch band, based in nijmegen and they started long ago (early eighties) under a different name, which was mekanik kommando back then. under that name they released six full-length albums of which two at well-known emi records. they also did hundreds of shows under that name, both on television and radio as well. over the years mekanik kommando adapted a more spheric, organic and psychedelic style. most of the electric instruments were replaced by acoustic instruments and because of this change also the bandname changed. that's when mekanik kommando turned into the use of ashes. with a new name the band released quite some cd's, lp's and ep's and in 1995 they played the fast forward festival as a headliner with among others beck. not much later the band also supported porcupine tree on their tour in 1998. after that some more gigs were done (one together with porcupine tree vocalist steven wilson) and some other albums were released and in 2004, after four years of hard working, this album "ice 67" was released.
because it is very hard to describe this music i'll quote the band with one of their descriptions: "the use of ashes is cinematic, dim and explores the caves of a rich dreamworld, challenging the listener to accompany the band on a journey in its world. the music creates a strange image of sounds with a vigorous atmosphere, familiar and at the same time alienating from today's life". well, hopefully this does clear up some questions hè? nah, not really i guess, though it captures the essence of the band well. but i will give it a try and give some examples of songs to describe the music (if possible at all of course).
the album starts with "the second flowerman", which in my eyes is one of the highlights on this album. one can hear an acoustic guitar playing along a drumcomputer and some spacy kinda background sounds. this actually gives me the impression of floating through the sky in between the clouds, passing over the landscapes with a high speed.....like in a dream. when listening to this song i really become extremely calm and relaxed and my thoughts go wandering around. i don't know what to say but this really is amazing music and i never had such an amazing journey. there really are no words for this. you just got to listen, or should i say experience it yourself. comparisons to other bands? no way, this is unique and one of a kind! the next track takes you on another journey and again i feel like drifting through the sky. the only instruments used are the acoustic guitar, the drumcomputer and a machine which produces those spacy background soundscapes. this may not seem much but with just these instruments the use of ashes really manage to get a full, clean dreamlike sound. the third track "rainbird" is actually the first song which sometimes makes me think of another band. oberon that is. and no, i don't mean the deathmetal band oberon but the norwegian oberon, which released two fantastic cd's ("oberon" m-cd and "mysteries" cd). the similarities between both bands are merely because of the use of acoustic guitars with those floating backgroundnoises. the other six sonic journeys on this album all sound unique and are really a pleasure to listen to.
i really recommend this album to anyone with an open mind and who enjoys this kinda dreamlike music. "ice 67" is really an impressive album!
source: vampire magazine
but before i start talking about this album i'll give some background information first. the use of ashes is a dutch band, based in nijmegen and they started long ago (early eighties) under a different name, which was mekanik kommando back then. under that name they released six full-length albums of which two at well-known emi records. they also did hundreds of shows under that name, both on television and radio as well. over the years mekanik kommando adapted a more spheric, organic and psychedelic style. most of the electric instruments were replaced by acoustic instruments and because of this change also the bandname changed. that's when mekanik kommando turned into the use of ashes. with a new name the band released quite some cd's, lp's and ep's and in 1995 they played the fast forward festival as a headliner with among others beck. not much later the band also supported porcupine tree on their tour in 1998. after that some more gigs were done (one together with porcupine tree vocalist steven wilson) and some other albums were released and in 2004, after four years of hard working, this album "ice 67" was released.
because it is very hard to describe this music i'll quote the band with one of their descriptions: "the use of ashes is cinematic, dim and explores the caves of a rich dreamworld, challenging the listener to accompany the band on a journey in its world. the music creates a strange image of sounds with a vigorous atmosphere, familiar and at the same time alienating from today's life". well, hopefully this does clear up some questions hè? nah, not really i guess, though it captures the essence of the band well. but i will give it a try and give some examples of songs to describe the music (if possible at all of course).
the album starts with "the second flowerman", which in my eyes is one of the highlights on this album. one can hear an acoustic guitar playing along a drumcomputer and some spacy kinda background sounds. this actually gives me the impression of floating through the sky in between the clouds, passing over the landscapes with a high speed.....like in a dream. when listening to this song i really become extremely calm and relaxed and my thoughts go wandering around. i don't know what to say but this really is amazing music and i never had such an amazing journey. there really are no words for this. you just got to listen, or should i say experience it yourself. comparisons to other bands? no way, this is unique and one of a kind! the next track takes you on another journey and again i feel like drifting through the sky. the only instruments used are the acoustic guitar, the drumcomputer and a machine which produces those spacy background soundscapes. this may not seem much but with just these instruments the use of ashes really manage to get a full, clean dreamlike sound. the third track "rainbird" is actually the first song which sometimes makes me think of another band. oberon that is. and no, i don't mean the deathmetal band oberon but the norwegian oberon, which released two fantastic cd's ("oberon" m-cd and "mysteries" cd). the similarities between both bands are merely because of the use of acoustic guitars with those floating backgroundnoises. the other six sonic journeys on this album all sound unique and are really a pleasure to listen to.
i really recommend this album to anyone with an open mind and who enjoys this kinda dreamlike music. "ice 67" is really an impressive album!
source: vampire magazine
tf016, a review (12)
wat was de oorzaak van de rare beelden die door mijn hoofd spookten vanmorgen terwijl de intercity door het nog duistere landschap zoefde. was het het gebrek aan slaap door de gebroken nachten van de afgelopen weken? Of werden de beelden veroorzaakt door de cd van the use of ashes? of was het combinatie van die twee die leidde tot deze weirde trip om even na zes uur in de morgen? wat dat betreft doet deze eerste plaat van the use of ashes in zes jaar tijd me weer terug verlangen naar de eerste albums van porcupine tree. ik lag vlak na het ontdekken van up the downstair en on the sunday of life... af en toe tot diep in de nacht gewoon op mijn rug op de vloer tussen de luidsprekers te luisteren naar de trips van steven wilson. diezelfde neiging krijg ik ook bij het luisteren naar ice 67. maar in de trein deed het dus ook rare dingen met me. in combinatie met het slaaptekort. het zijn ook hypnotiserende klanken die uit de koptelefoon komen. helemaal als de lijzige zang van peter van vliet er overheen galmt. neu!, tangerine dream, syd barrett, kraftwerk en vroege porcupine tree dus. maar dan wel gespeeld door een tweemansband. want naast van vliet bestaat the use of ashes alleen uit maarten scherrenburg (van mercy giants-faam). maar daar merk je niets van in de negen tracks, die eigenlijk bijna geen liedjes te noemen zijn. het zijn gewoon negen soundtrips verpakt in een kraakhelder productie. slaaptekort of niet.
source: fileunder
source: fileunder
tf016, a review (11)
le nouvel album des hollandais the use of ashes (ex-mekanik kommando) est une perle de pop atmosphérique. vaporeux et minimal, un son décharné mais finalement assez voluptueux déroule patiemment des atmosphères éthérées, tout le long d’un disque dont les rythmiques squelettiques parviennent à donner quelque consistance folk à des ensemble opaques ("ride a unicorn"). parfois, l’amertume et la bizarrerie du kraut rock reviennent sur le tapis. les rythmiques légères et acoustiques se nappent alors dans des textures ténébreuses : l’introductif "the second flowerman", dont les voix noyées dans les effets donnent une curieuse dimension psychédélique à une pop légère et mélancolique, voire froide, est d’une beauté sans nom. plus filandreuse qu’une cold pop signée weevil (à titre de comparaison), la musique de the use of ashes renvoie quelque chose de plus fantomatique et de physiquement plus léger, mais inquiète aussi davantage. les référents à la musique psychédélique des années 70 ne sont pas frontaux, mais il y a une amertume et une fausse légèreté qui ramènent les premiers pink floyd sur le tapis, à ceci près que la quête de the use of ashes semble être davantage la recherche du minimalisme que celle du groupe de syd barrett. les rythmiques, électroniques, apparaissent ainsi à un niveau très bas dans le mix de "ice 67" et préfèrent laisser les égrenages folk et mélancoliques des guitares créer un univers onirique, mais au cœur duquel un semblant de réveil a lieu sur le plus physique "ice and the snowbeetles". a ce moment précis, la rythmique, sans quitter sa linéarité primale, laisse les guitares gagner les saturations pour créer une entité un peu plus proche de la noise-pop anglaise des années 90, tout en gardant le recul et sans jamais raccrocher quelque wagon que ce soit. on est chez les hollandais, rappelons le tout de même. un ovni musical, un enregistrement lunaire, quelque chose de définir à décrire et qui, sans doute de ce fait, parle au cœur. the use of ashes vient de frapper un sacré coup. en douceur...
source: obskure
source: obskure
tf016, a review (10)
often described as holland's best-kept secret, the use of ashes arose from the er, ashes of the legendary mekanik kommando in 1988. their music can be compared with some of the floyd's earlier work (albeit with added electronics and breathy phased vocals). with an output of 3 albums and 2 singles in 15 years, the band took no less than 5 years to release this album. with such time on their hands, one would expect Ice 67 to be a masterpiece. the songs do contain the use of ashes' usual mix of organic psychedelica, folk and krautrock and are beautifully recorded and produced, but the album leaves the listener with a curious unsatisfactory feeling. ice 67 promises, but doesn't really manage to deliver. fans will embrace this cd, but those curious about the band's unique style should seek out firetree, their masterpiece from 1996.
source: record collector
source: record collector
tf016, a review (9)
schon gemein, wenn die wunden der vergangenheit noch nicht ganz vernarbt sind. die erste begegnung mit the use of ashes hatte ich vor rund 8 jahren, als sie mir mit ihrem 96er album "firetree" zu ohren kamen und nicht gerade einen bleibenden, keineswegs begeisternden eindruck hinterließen. doch es kam noch schlimmer. bei einem Auftritt anno 1997 im vorprogramm von porcupine tree durften die holländer den aufwärmer spielen und selten hat mich eine vorband aufgrund ihrer inhaltlichen langweiligkeit und mangelnder ausstrahlung so schnell aus dem konzertsaal gejagt. aus diesen gründen hat die wiederkehr des namens the use of ashes erst einmal wenig innere aufregung und eine sehr eingeschränkte erwartungshaltung ausgelöst.
doch gerade, wenn man nichts erwartet, kann man manches mal um so positiver überrascht werden. "ice 67" baut zwar sehr viel auf elektronisches und erinnert in seiner monotonie des öfteren an krautrockbands im stil von can oder die frühen kraftwerk bzw. kann mit leichteren anleihen bei moderneren new artrock bands aufwarten. doch sorgen vor allem verfremdeter gesang und analog aufbereitete keyboardklänge für den richtigen wohlklang. die fragilen, schwebenden modernen psychedelic klänge wirken vor allem durch ihren minimalismus, was besonders beim ausgezeichneten opener "the second flowerman" prächtig gelingt, etwas elektronischer beim folgenden "northstar" seine fortsetzung findet.
doch leider hält die erste freude nur kurz an, denn schon bald verschanzt sich die band wieder hinter experimentellen klangexkursionen, kommen die spartanischen, spacig-psychedelischen songs eine spur zu kraftlos aus den starlöchern. so sorgen neben den soundexperimenten, gegen später die "richtigen" songs durchaus zwar für angenehme stimmungen, dennoch wirken the use of ashes manches mal eine spur zu verschlafen, zu träge. richtig stark ist die niederländische formation immer dann, wenn sie hypnotische elektronik-gitarrenmuster erspinnt und sich rhythmisch treiben lässt.
gute ansätze, das persönliche gesamtbild wieder erheblich aufgebessert, na ja, vielleicht klappt es ja beim nächsten mal mit noch durchschlagender begeisterung. wer's ruhig melancholisch und elektronisch mag, darf gerne mal ein ohr riskieren.
source: progressive newsletter
doch gerade, wenn man nichts erwartet, kann man manches mal um so positiver überrascht werden. "ice 67" baut zwar sehr viel auf elektronisches und erinnert in seiner monotonie des öfteren an krautrockbands im stil von can oder die frühen kraftwerk bzw. kann mit leichteren anleihen bei moderneren new artrock bands aufwarten. doch sorgen vor allem verfremdeter gesang und analog aufbereitete keyboardklänge für den richtigen wohlklang. die fragilen, schwebenden modernen psychedelic klänge wirken vor allem durch ihren minimalismus, was besonders beim ausgezeichneten opener "the second flowerman" prächtig gelingt, etwas elektronischer beim folgenden "northstar" seine fortsetzung findet.
doch leider hält die erste freude nur kurz an, denn schon bald verschanzt sich die band wieder hinter experimentellen klangexkursionen, kommen die spartanischen, spacig-psychedelischen songs eine spur zu kraftlos aus den starlöchern. so sorgen neben den soundexperimenten, gegen später die "richtigen" songs durchaus zwar für angenehme stimmungen, dennoch wirken the use of ashes manches mal eine spur zu verschlafen, zu träge. richtig stark ist die niederländische formation immer dann, wenn sie hypnotische elektronik-gitarrenmuster erspinnt und sich rhythmisch treiben lässt.
gute ansätze, das persönliche gesamtbild wieder erheblich aufgebessert, na ja, vielleicht klappt es ja beim nächsten mal mit noch durchschlagender begeisterung. wer's ruhig melancholisch und elektronisch mag, darf gerne mal ein ohr riskieren.
source: progressive newsletter
tf016, a review (8)
met de heruitgave in 1988 van het laatste mekanik kommando album werd tegelijkertijd the use of ashes in het leven geroepen. dat nijmeegse mekanik kommando was één van de bekendere bands uit het begin van de tachtiger jaren die met staccato new wave het enigszins verloren gevoel van veel jongeren in die tijd een vorm gaven. de muziek van de band werd allengs meer atmosferisch en psychedelisch, iets wat zich met the use of ashes duidelijk heeft voortgezet. de subtiele maar evengoed indringende mix van folk, psychedelica en krautrock is nu voor het eerst door een nederlands label uitgebracht, na talloze releases in het buitenland. daar hadden ze kennelijk wat eerder door wat deze band voor een schitterende wegdroommuziek maakt.
source: fret
source: fret
tf016, a review (7)
the use of ashes sono sempre stati per me una sorta di cult band, qualcosa da condividere con pochi amici intimi. ricordo ancora quando mi capitò tra le mani una copia del loro primo vinile, quando ancora facevano chiamara mekanik kommando, un attimo prima del cambio di ditta. "the castle of fair welcome"uscito intorno al 1988, è tipico album di quella decade e tuttavia con fragranze che lo rendono ancora oggi diverso e misterioso. pochie i loro albums considerando gli anni di attività uno di questi tra i mieri preferiti uscì proprio per l'italiana mellow nel 1996. "firetree" il titolo, poi un paio d'anni di silenzio e poi un ep/cd, "albion moonlight", bellp ma troppo poco forse. e dopo ancora altri cinque anni di altri silenzi con alterni mormorii di qualcosa in divenire. "ice 67" per farla breve è ora finalmente pronto ed è un album che mantiene intatte le caratteristiche del suono the use of ashes. un suono non di rado cinematico ed evocativo, ma che stavolta s'impenna più che in passato su lidi elettronici lievemente retrò con tocchi di trancetechno che credevamo ormai scomparsa. the use of ashes non si cura di mode e correnti soprattutto se effimere. così nelle nove tracce del nuovo disco, psychedelia, folk, passagi kraut sono classici elementi rconoscibili, laddove le ritmiche ed il beating sono invece gli elementi più 'nuovi' anche se non sempre efficac. un gradito ritorno comunque.
source: blow up magazine
source: blow up magazine
tf016, a review (6)
het mij volslagen onbekende the use of ashes uit nijmegen blijkt al jaren te bestaan, uren muziek op haar naam te hebben staan, en daar nu een hoogstaande drie kwartier an te hebben toegevoegd. wat een aangename verrassing! filmische, uitgestrekte soundscapes die tegelijkertijd vervreemden en verwarmen. bij vlagen, wanneer er daadwerkelijk gezongen wordt, is het alsof de stone roses terug zijn en zich hedendaagse technieken hebben eigen gemaakt. hier en daar raakt het ook aan de laatste van massive attack. maar begrijp dat ik wat uit het veld geslagen ben en me opeens heel klein voel. met vaak eenvoudige gitaarpartijen, vervormde vocalen en allerhande electronica wordt maximaal resultaat bereikt. de veelal lange, instrumentale passages voeren je naar god mag weten waar. psychedelisch, dromerig, eindeloos. go with the flow, raden ze aan. advies dat ik ter harte neem.
source: live xs
source: live xs
tf016, a review (5)
the atmosphere the music of the use of ashes reflects is organic, psychedelic and contains traces of popmusic, shoegazer, krautrock and electro. the music is somewhat comparable with radiohead and spiritualized, though more experimental. the music is dreamy and invokes images of a magical dreamworld, in which there’s place for dark soundcolors as well as light-footed tones. this is the fifth cd of this bnd that has experienced quite a tumultuous development after the mekanik kommando era with line-up changes, but also a tour with porcupine tree. the use of ashes seem to be back for real. musically one can not trace the bad luck this band has experienced as the sound is very fresh and the songs are professionally worked out. the cd needs to be listened to as a whole, it has cool dynamics on which it is nice to go with the flow. this is an excellent record!
source: gothtronic
source: gothtronic
tf016, a review (4)
voortgekomen uit de as van het nijmeegse mekanik kommando is the use of ashes een ware zeldzaamheid binnen de nederlandse muziekwereld. de start van deze tegendraadse formatie wordt in 1988 officieel ingeluid met een heruitgave van mekanik kommando’s laatste elpee "the castle of fair welcome", die twee jaar later met enkele andere nummers op een titelloze cd verschijnt. niet lang hierna valt de band alweer uiteen, zodat multi-instrumentalist peter van vliet alleen overblijft. mede om die reden duurt het nog tot 1996 voordat opvolger "firetree" wordt uitgebracht. kort na het verschijnen van dit album komt van vliet in aanraking met het nederlandse label tonefloat, dat in 1998 "firetree" met de bonustrack under the black sun op vinyl uitbrengt.
rond die tijd maakt peter van vliet ook kennis met maarten scherrenburg, die korte tijd later the use of ashes komt versterken. na een tournee met porcupine tree begint het nederlandse tweetal aan nieuw materiaal te werken dat uiteindelijk terechtkomt op het mini-album "albion moonlight", dat in 2000 met twee extra nummers op cd wordt uitgebracht. in datzelfde jaar verschijnt ook de bijzonder fraai vormgegeven boxset "the rosebud years" met onuitgebracht materiaal, waaronder de plaat "three men and a boat". vervolgens wordt het stil… akelig stil.
na een afwezigheid van bijna zes jaar (!) keert het vaderlandse tweetal met "ice 67" terug uit deze anonimiteit. dit werk is het eerste album van de band dat in nederland op cd wordt uitgebracht. nu veronderstel ik dat beide heren in die periode beduidend meer nummers hebben geschreven dan het negental dat op deze plaat is beland. getuige de speelduur van amper drie kwartier heeft het duo echter gelukkig gekozen voor kwaliteit in plaats van kwantiteit. in een tijd waarin klaarblijkelijk de opslagcapaciteit van een cd ten volle benut dient te worden, is dit voor mij een echte verademing. mijn complimenten!
dit laatste is in mijn ogen illustratief voor de mate van eigenzinnigheid van de heren Scherrenburg en van vliet. geheel tegen alle heersende trends en rages in, kiest dit koppel onvoorwaardelijk haar eigen weg op zoek naar een eigen identiteit en uitstraling. ook het negen nummers tellende nieuwe plaatwerk is een treffend voorbeeld van deze halsstarrige, doch lovenswaardige eigenwijsheid. deze komt in feite al deels tot uitdrukking in het werkelijk schitterende boekwerkje van de cd, want hier worden de namen van de muzikanten niet gekoppeld aan een opsomming van instrumenten.
de opvolger van het acht jaar eerder verschenen "firetree" biedt wederom een ondoorgrondelijke mengelmoes van ambient, folk, krautrock en psychedelica. in vergelijking met zijn voorganger zijn de nummers op "ice 67" echter beter uitgewerkt met fraaie arrangementen en af en toe prachtige melodieën. het van the use of ashes kenmerkende organische allegaartje is bovendien verrijkt met allerlei elektro- en techno-invloeden, waardoor het nog moeilijker wordt om de negen composities in een muzikaal hokje onder te brengen.
desalniettemin wil ik een poging wagen om de welhaast ongrijpbare, vaak breekbare muziekstukken van "ice 67" van een muzikaal kader te voorzien. na meerdere, intensieve luistersessies kom ik met referenties als syd barrett, the beatles, can, nick drake, brian eno, kraftwerk, neu, pink floyd, popol vuh, porcupine tree, r.e.m. en tangerine dream op de proppen. ik realiseer me terdege dat dit een zeer gemêleerd gezelschap is, maar dat is nu eenmaal inherent aan de grensoverschrijdende muziek van the use of ashes.
het mag genoegzaam bekend zijn dat een goede productie van cruciaal belang is voor de drijvende kracht achter dit unieke duo. peter van vliet is daadwerkelijk bezeten van alle facetten rondom dit intrigerende ambacht. misschien is deze perfectionistische instelling wel één van de redenen dat we zo lang hebben moeten wachten op een nieuw album van Tthe use of ashes? hoe dan ook… "ice 67" is voorzien van een bijzonder smaakvolle productie, waarbij de grote verscheidenheid aan klanken adequaat de ruimte krijgt om te kunnen ademen. mijn hooggespannen verwachtingen zijn hiermee duidelijk ingelost.
desalniettemin kent het album toch duidelijk één zwakke schakel en dat is het stemgeluid van peter van vliet. de monotone zangpartijen mogen dan misschien wel een belangrijk onderdeel zijn in het totaalgeluid van the use of ashes, toch moet ik toegeven dat zijn manier van zingen me op een gegeven moment lichtelijk begint te irriteren. dat moet hij zelf ook gedacht hebben, want de plaat staat bol van allerlei technische trucjes om dit ongerief enigszins te verzachten. dit lukt helaas niet helemaal, maar het begin is er.
the use of ashes heeft met "ice 67" wederom een buitengewoon intrigerend kleinood afgeleverd, welke de kleine, maar trouwe schare fans ongetwijfeld op zijn waarde zal weten te schatten. het avontuurlijke koppel heeft op dit album haar traditionele muzikale mengelmoes verrijkt met ietwat meer eigentijdse invloeden. mede door dit feit kan het mogelijkerwijs een geheel nieuw publiek aan zich binden. laten we het hopen, want dit uitzonderlijke tweetal is absoluut nog niet rijp om op een lijst met uitstervende rassen geplaatst te worden.
voor mij persoonlijk is "ice 67" als bij toverslag uitgegroeid tot één van de aangename verrassingen van het jaar. nu maar duimen dat we niet weer een half decennium moeten wachten op nieuw werk van the use of ashes…
source: progwereld
rond die tijd maakt peter van vliet ook kennis met maarten scherrenburg, die korte tijd later the use of ashes komt versterken. na een tournee met porcupine tree begint het nederlandse tweetal aan nieuw materiaal te werken dat uiteindelijk terechtkomt op het mini-album "albion moonlight", dat in 2000 met twee extra nummers op cd wordt uitgebracht. in datzelfde jaar verschijnt ook de bijzonder fraai vormgegeven boxset "the rosebud years" met onuitgebracht materiaal, waaronder de plaat "three men and a boat". vervolgens wordt het stil… akelig stil.
na een afwezigheid van bijna zes jaar (!) keert het vaderlandse tweetal met "ice 67" terug uit deze anonimiteit. dit werk is het eerste album van de band dat in nederland op cd wordt uitgebracht. nu veronderstel ik dat beide heren in die periode beduidend meer nummers hebben geschreven dan het negental dat op deze plaat is beland. getuige de speelduur van amper drie kwartier heeft het duo echter gelukkig gekozen voor kwaliteit in plaats van kwantiteit. in een tijd waarin klaarblijkelijk de opslagcapaciteit van een cd ten volle benut dient te worden, is dit voor mij een echte verademing. mijn complimenten!
dit laatste is in mijn ogen illustratief voor de mate van eigenzinnigheid van de heren Scherrenburg en van vliet. geheel tegen alle heersende trends en rages in, kiest dit koppel onvoorwaardelijk haar eigen weg op zoek naar een eigen identiteit en uitstraling. ook het negen nummers tellende nieuwe plaatwerk is een treffend voorbeeld van deze halsstarrige, doch lovenswaardige eigenwijsheid. deze komt in feite al deels tot uitdrukking in het werkelijk schitterende boekwerkje van de cd, want hier worden de namen van de muzikanten niet gekoppeld aan een opsomming van instrumenten.
de opvolger van het acht jaar eerder verschenen "firetree" biedt wederom een ondoorgrondelijke mengelmoes van ambient, folk, krautrock en psychedelica. in vergelijking met zijn voorganger zijn de nummers op "ice 67" echter beter uitgewerkt met fraaie arrangementen en af en toe prachtige melodieën. het van the use of ashes kenmerkende organische allegaartje is bovendien verrijkt met allerlei elektro- en techno-invloeden, waardoor het nog moeilijker wordt om de negen composities in een muzikaal hokje onder te brengen.
desalniettemin wil ik een poging wagen om de welhaast ongrijpbare, vaak breekbare muziekstukken van "ice 67" van een muzikaal kader te voorzien. na meerdere, intensieve luistersessies kom ik met referenties als syd barrett, the beatles, can, nick drake, brian eno, kraftwerk, neu, pink floyd, popol vuh, porcupine tree, r.e.m. en tangerine dream op de proppen. ik realiseer me terdege dat dit een zeer gemêleerd gezelschap is, maar dat is nu eenmaal inherent aan de grensoverschrijdende muziek van the use of ashes.
het mag genoegzaam bekend zijn dat een goede productie van cruciaal belang is voor de drijvende kracht achter dit unieke duo. peter van vliet is daadwerkelijk bezeten van alle facetten rondom dit intrigerende ambacht. misschien is deze perfectionistische instelling wel één van de redenen dat we zo lang hebben moeten wachten op een nieuw album van Tthe use of ashes? hoe dan ook… "ice 67" is voorzien van een bijzonder smaakvolle productie, waarbij de grote verscheidenheid aan klanken adequaat de ruimte krijgt om te kunnen ademen. mijn hooggespannen verwachtingen zijn hiermee duidelijk ingelost.
desalniettemin kent het album toch duidelijk één zwakke schakel en dat is het stemgeluid van peter van vliet. de monotone zangpartijen mogen dan misschien wel een belangrijk onderdeel zijn in het totaalgeluid van the use of ashes, toch moet ik toegeven dat zijn manier van zingen me op een gegeven moment lichtelijk begint te irriteren. dat moet hij zelf ook gedacht hebben, want de plaat staat bol van allerlei technische trucjes om dit ongerief enigszins te verzachten. dit lukt helaas niet helemaal, maar het begin is er.
the use of ashes heeft met "ice 67" wederom een buitengewoon intrigerend kleinood afgeleverd, welke de kleine, maar trouwe schare fans ongetwijfeld op zijn waarde zal weten te schatten. het avontuurlijke koppel heeft op dit album haar traditionele muzikale mengelmoes verrijkt met ietwat meer eigentijdse invloeden. mede door dit feit kan het mogelijkerwijs een geheel nieuw publiek aan zich binden. laten we het hopen, want dit uitzonderlijke tweetal is absoluut nog niet rijp om op een lijst met uitstervende rassen geplaatst te worden.
voor mij persoonlijk is "ice 67" als bij toverslag uitgegroeid tot één van de aangename verrassingen van het jaar. nu maar duimen dat we niet weer een half decennium moeten wachten op nieuw werk van the use of ashes…
source: progwereld
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