following a series of vinyl editions of the previously released bass communion albums ghost on magnetic tape, bass communion ii and haze shrapnel, tonefloat presents its first release containing new (solo) recordings by steven wilson's ongoing experiments with drones and ambient music, and sounds in general. litany is taken from new bass communion recordings using choral/vocal samples and looping techniques. these experiments may lead to a full album at some stage, but in the meantime about 23 minutes of work in progress will be out late july as a 2-track 12inch ep.
the ep comes in a stylish bass communion cardboard type sleeve designed by carl glover and will be available in limited editions of 1000 copies on black 180 grams vinyl and 250 copies on coloured 180 grams vinyl.
litany can be pre-ordered from the tonefloat store. the release date is late july.
tf041, a review (6)
maarten van der vleuten has had been a producer and dj of electronic and dance music for many years, and under various names, altogether making for an impressive cv spanning over twenty years of activity. he now records exclusively under his own name, and this lp on tonefloat is one of his latest works, full of inspiring and evocative droning ambient.
tons of records in the area of drone and dark ambient get produced each year, and i often find it difficult to pick out the ones which are truly interesting. high tolerance towards low energies is pleasant exception though, one of those records that shows a true master's touch already on the first listen, but which continues to amaze me after many more sessions. the music on this album is very layeres, using a plethora of different sounds - melodies, drones, percussion, samples - at all times, but everything is woven together so deftly that it never becomes overcrowded. instead, it ensures that the album stays interesting and keeps a continuous flow.
the album has a spiritual atmosphere, utilising photography from the regina coeli ('queen of heaven') church in vught, also accented by vocal samples which lend a multi-ethnic religious timbre to many of the parts. all this makes explicit what is one of the true strengths of ambient music: the creation of mystical and spiritual sounds through unorthodox musical means.
in this respect, this album is practically perfect. it seems almost too mundane to mention at this point, but the gatefold cover and heavy vinyl make the presentation of this release equally appealing. in short, there's no excuse for not owning this record if you love obscure and mystical drone and ambient music. except maybe if you read this too late, and all the 500 copies are sold out, but that's luckily not the case at the time of writing.
source: evening of light
tons of records in the area of drone and dark ambient get produced each year, and i often find it difficult to pick out the ones which are truly interesting. high tolerance towards low energies is pleasant exception though, one of those records that shows a true master's touch already on the first listen, but which continues to amaze me after many more sessions. the music on this album is very layeres, using a plethora of different sounds - melodies, drones, percussion, samples - at all times, but everything is woven together so deftly that it never becomes overcrowded. instead, it ensures that the album stays interesting and keeps a continuous flow.
the album has a spiritual atmosphere, utilising photography from the regina coeli ('queen of heaven') church in vught, also accented by vocal samples which lend a multi-ethnic religious timbre to many of the parts. all this makes explicit what is one of the true strengths of ambient music: the creation of mystical and spiritual sounds through unorthodox musical means.
in this respect, this album is practically perfect. it seems almost too mundane to mention at this point, but the gatefold cover and heavy vinyl make the presentation of this release equally appealing. in short, there's no excuse for not owning this record if you love obscure and mystical drone and ambient music. except maybe if you read this too late, and all the 500 copies are sold out, but that's luckily not the case at the time of writing.
source: evening of light
tf080, a review (2)
A natural complement to the trio's [3 seconds of air] recording is serries' sixth microphonics outing, which came about in rather impromptu manner courtesy of a last-minute invitation to perform at the whatbar #4 blog event in the hague. captured straight to tape, the twenty-two-minute improv (a one-sided vinyl release available in beautiful gold, silver, and white pressings) casts a potent spell as serries' quivering guitar lines and broad undulating waves thread multi-layered paths through a black-as-coal, starlit nightscape. it's quintessential serries captured in a single, economical piece.
source: textura
source: textura
tf077, a review (5)
a glance at the info accompanying 3 seconds of air's debut recording might lead one to think it will be a blistering, distortion-drenched rave-up. having started out as an exploratory vehicle for guitarists dirk serries and paul van den berg, the group expanded into a trio with the addition of bassist martina verhoeven. but anyone expecting her to function as an anchor for stratospheric gunslinging by the guitarists should note the “do not play this album loud, no headphones required!” instruction that appears on the album's back cover. translation: the four long-form settings stretching across the seventy-five-minute recording (available in cd, black vinyl, and clear vinyl formats) are slow-moving, haunted masses of subtle and low-level design that are anything but barnburners. recorded over two frosty days in february 2009 at the belgian chapel of saint theobaldus, the music breathes with the sound of three musical midwives interacting, pacing themselves, layering materials, and collectively giving birth to incrementally-unfolding improvisations of spectral character. “dead poets sing the sunless land” drifts across the endless terrain, setting the stage for the slightly more intense ruminations and shuddering swells of “the heart disintegrates wearing disposable masks of angels.” “warping night air having brought the boom” plunges headlong into the blackest of nights, coaxing dulcimer-like flickers into the light and blanketing the crepuscular mass with gloom. the guitarists fill the ample spaces between the bass tones with slow-burning electrical shadings and plucks, after which “ghosts stream the harmony of delight” arrives like the peaceful morn that follows the harrowing night. van den berg and serries bring respective blues and ambient-drones influences to the recording, while verhoeven unobtrusively anchors the ethereal flow in tracks that were laid down using nothing more than a laptop, pro-tools, and a single stereo microphone (no overdubs or editing either).
source: textura
source: textura
tf077, a review (4)
tonefloat, an dieser stelle schon oft und zu recht gelobt, ist die heimat von 3 seconds of air und ihrem debütalbum „the flight of song“. und, das mal ganz am anfang, die beiden formate lp und cd wollen hier nicht konkurrieren / alternativen anbieten, sondern ergänzen: über 74 minuten cd (bei nur 4 tracks!) und über 40 minuten lp (2 tracks) ohne überschneidung. daher: was immer du tust ohne das andere, eine hälfte wird dir fehlen.
in verschiedener hinsicht besetzt das hier eckpunkte: das fängt schon mit dem cover an, zwar von den bekannten verdächtigen (martina verhoeven, carl glover / aleph) unter bezug auf den aufnahmeort (st. theobaldus kapelle in brecht) gestaltet, in der nahtlosen verarbeitung und dem visuellen style aber in einem ganz anderen jetzt verhaftet und dieser, tendenziell zitathafte umstand durch das zusätzliche zitieren des elements „liner-notes“ (hier: tobias fischer von tokafi mit gewohnt detaillierter auseinandersetzung zum thema) noch erheblich betont.
und: die aufnahme. absolut live eingespielt, die „produktion“ beschränkt sich auf die bloße tatsache des aufnehmens, der hall kommt vom raum, overdubs und nachträgliche korrekturen fehlanzeige, selbst das („normalerweise“ durch die lautstärke der verstärkung überdeckte, rein akustische) klirren der angeschlagenen saiten ist zu hören.
und dann die musik. bei so vielveröffentlichern wie dirk serries taucht ja, trotz des (empirisch eigentlich erprobten) wissens um qualität im vorfeld einer neuen platte oder eines neuen projekts immer mal wieder die frage auf: ok; was ist / wird daran neu (sein).
und trotzdem, auch hier, mit „3 seconds of air“, genau wie mit „microphonics“ zuvor, gibt es tatsächlich diese neue facette, dieses anders als fear falls burning (und die anderen identitäten und kollaborationen). „3 seconds of air“ hatten es mit ihrem demo ja schon angedeutet, dieses 114 minuten debüt baut das noch deutlich aus: dieses absolute abtauchen in ein ganz anderes zeitgefühl, eine extreme langsamkeit. dabei, bei aller ruhe in sich, mit einer kommunikation der ebenen zwischen dirk serries und paul van den berg (beide: gitarre) und martina verhoeven (bass). in einem bei aller ätherik sehr körperlichen sound (ein weiterer unterschied zu ffb: 3 seconds of air nutzen durchgehend röhrenverstärker). die musik, die so entsteht, ist zugleich einfach und eindrücklich, unvorhersehbar komplex und unwillkürlich / intuitiv ansprechend, irgendwie geerdet und trotzdem immer mindestens einen meter über dem boden. auch in der treffsicheren basscommunion reconstruction auf seite 2 der lp. „the flight of song“, das passt also. so gut, dass ich bei der stadteinfahrt nach antwerpen mit der cd im player beinahe weitergefahren wäre. trotz der roten ampel. gefährliche sache. das dann also auch noch...
source: unruhr
in verschiedener hinsicht besetzt das hier eckpunkte: das fängt schon mit dem cover an, zwar von den bekannten verdächtigen (martina verhoeven, carl glover / aleph) unter bezug auf den aufnahmeort (st. theobaldus kapelle in brecht) gestaltet, in der nahtlosen verarbeitung und dem visuellen style aber in einem ganz anderen jetzt verhaftet und dieser, tendenziell zitathafte umstand durch das zusätzliche zitieren des elements „liner-notes“ (hier: tobias fischer von tokafi mit gewohnt detaillierter auseinandersetzung zum thema) noch erheblich betont.
und: die aufnahme. absolut live eingespielt, die „produktion“ beschränkt sich auf die bloße tatsache des aufnehmens, der hall kommt vom raum, overdubs und nachträgliche korrekturen fehlanzeige, selbst das („normalerweise“ durch die lautstärke der verstärkung überdeckte, rein akustische) klirren der angeschlagenen saiten ist zu hören.
und dann die musik. bei so vielveröffentlichern wie dirk serries taucht ja, trotz des (empirisch eigentlich erprobten) wissens um qualität im vorfeld einer neuen platte oder eines neuen projekts immer mal wieder die frage auf: ok; was ist / wird daran neu (sein).
und trotzdem, auch hier, mit „3 seconds of air“, genau wie mit „microphonics“ zuvor, gibt es tatsächlich diese neue facette, dieses anders als fear falls burning (und die anderen identitäten und kollaborationen). „3 seconds of air“ hatten es mit ihrem demo ja schon angedeutet, dieses 114 minuten debüt baut das noch deutlich aus: dieses absolute abtauchen in ein ganz anderes zeitgefühl, eine extreme langsamkeit. dabei, bei aller ruhe in sich, mit einer kommunikation der ebenen zwischen dirk serries und paul van den berg (beide: gitarre) und martina verhoeven (bass). in einem bei aller ätherik sehr körperlichen sound (ein weiterer unterschied zu ffb: 3 seconds of air nutzen durchgehend röhrenverstärker). die musik, die so entsteht, ist zugleich einfach und eindrücklich, unvorhersehbar komplex und unwillkürlich / intuitiv ansprechend, irgendwie geerdet und trotzdem immer mindestens einen meter über dem boden. auch in der treffsicheren basscommunion reconstruction auf seite 2 der lp. „the flight of song“, das passt also. so gut, dass ich bei der stadteinfahrt nach antwerpen mit der cd im player beinahe weitergefahren wäre. trotz der roten ampel. gefährliche sache. das dann also auch noch...
source: unruhr
tf079, a review (1)
ist „microphonics“, dirk serries aka fear falls burning letztere, breiter aufgestellte musikalische identität neben ffb schon allein durch ihre nummerierung aller äußerungen (platten, live, mal sehen, was noch in zukunft) ganz schön konzeptuell angelegt, haut „3 seconds of air“ mindestens in dieselbe kerbe (oder geht, je nachdem, sogar noch weiter): debüt cd, cd und lp, plus shirt, plus tasche, plus debüt konzert in der st. theobaldus kapelle, in der cd und lp auch aufgenommen wurden. noch mehr offenlegung und nachvollziehbarkeit geht ja fast nicht mehr.
ein paar kilometer auerhalb belgiens musik- und mode-hauptstadt antwerpen liegt brecht und dort, zwischen grünland und wald, die st. theobaldus kapelle. und (für die, die flämisch besser verstehen als ich) als einstieg in das konzert eine gesprochene einführung (durch den pfarrer?) in die bedeutung des ortes als treffpunkt zwischen heidentum und christlicher religion. und vielleicht erklärt diese schon was offene haltung zum eigenen job die selbstverständlichkeit, mit der hier mit dem ort umgegangen wird: merchandising am eingang (linke seite), provisorische bar (rechte seite), amps (altar); das alles, einschließlich der engen stuhlreihen, überwacht durch st. theobaldus himself in form einer hölzernen statue. und ein publikum, das für den sonderpreis „heterogen“ stehen könnte: im alter, aussehen, kleidung usw.; in der mischung zwischen familiär und szene ohne irgendwelche reibereien oder peinlichkeiten; sonntagsausflug für alle generationen sozusagen (wenn das als etikett nicht so negativ klingen würde).
3 seconds of air, das sind neben dirk serries an der gitarre paul van den berg, auch gitarre, auch schon im ffb kontext in erscheinung getreten (siehe: „the amplifier drone“) und martina verhoeven am bass, die bisher ebenda durch ihre die cover prägenden fotografien aufgefallen ist. live, den raum der (wirklich kleinen) kapelle allein mit den persönlichen backlines erkundend, d.h. kleine röhrenverstärker, keine pa. das „schrrrinnng“ angeschlagener saiten kurz vor dem einfaden der elektrik ist tatsächlich zu hören, der konzertbeginn um kurz vor 16.00 und der von draußen hereinleuchtende sonnenschein sorgen für eine ganz spezielle konzertatmosphäre (reden wir dabei mal nicht von den „speziellen“ alkoholwerten bestimmter in belgien und so auch hier erhältlicher biere), innerhalb derer die drei in einer mischung aus relaxtheit und aufmerksamer anspannung ihre februar-aufnahmesession für die gäste nacherzählen / nacherlebbar machen. in diesem sinne: 2 stunden flug in den wolken, ohne die kleine kapelle zu verlassen und tatsächlich eine neue facette im scheinbar so focussierten gitarren-ambient von dirk serries. und das als direktes resultat der dreier kombi und, wohlmöglich, dieser im zusammenspiel mit dem speziellen raum. und, vielleicht, besonders durch die integration des bass, der sich etwas bodenständiger gibt als die wegdriftenden gitarren und so, bei aller reduktion, die orientierungen setzt.
source: unruhr
ein paar kilometer auerhalb belgiens musik- und mode-hauptstadt antwerpen liegt brecht und dort, zwischen grünland und wald, die st. theobaldus kapelle. und (für die, die flämisch besser verstehen als ich) als einstieg in das konzert eine gesprochene einführung (durch den pfarrer?) in die bedeutung des ortes als treffpunkt zwischen heidentum und christlicher religion. und vielleicht erklärt diese schon was offene haltung zum eigenen job die selbstverständlichkeit, mit der hier mit dem ort umgegangen wird: merchandising am eingang (linke seite), provisorische bar (rechte seite), amps (altar); das alles, einschließlich der engen stuhlreihen, überwacht durch st. theobaldus himself in form einer hölzernen statue. und ein publikum, das für den sonderpreis „heterogen“ stehen könnte: im alter, aussehen, kleidung usw.; in der mischung zwischen familiär und szene ohne irgendwelche reibereien oder peinlichkeiten; sonntagsausflug für alle generationen sozusagen (wenn das als etikett nicht so negativ klingen würde).
3 seconds of air, das sind neben dirk serries an der gitarre paul van den berg, auch gitarre, auch schon im ffb kontext in erscheinung getreten (siehe: „the amplifier drone“) und martina verhoeven am bass, die bisher ebenda durch ihre die cover prägenden fotografien aufgefallen ist. live, den raum der (wirklich kleinen) kapelle allein mit den persönlichen backlines erkundend, d.h. kleine röhrenverstärker, keine pa. das „schrrrinnng“ angeschlagener saiten kurz vor dem einfaden der elektrik ist tatsächlich zu hören, der konzertbeginn um kurz vor 16.00 und der von draußen hereinleuchtende sonnenschein sorgen für eine ganz spezielle konzertatmosphäre (reden wir dabei mal nicht von den „speziellen“ alkoholwerten bestimmter in belgien und so auch hier erhältlicher biere), innerhalb derer die drei in einer mischung aus relaxtheit und aufmerksamer anspannung ihre februar-aufnahmesession für die gäste nacherzählen / nacherlebbar machen. in diesem sinne: 2 stunden flug in den wolken, ohne die kleine kapelle zu verlassen und tatsächlich eine neue facette im scheinbar so focussierten gitarren-ambient von dirk serries. und das als direktes resultat der dreier kombi und, wohlmöglich, dieser im zusammenspiel mit dem speziellen raum. und, vielleicht, besonders durch die integration des bass, der sich etwas bodenständiger gibt als die wegdriftenden gitarren und so, bei aller reduktion, die orientierungen setzt.
source: unruhr
tf077, a review (3)
this 2009 release offers 74 minutes of leisurely soundscapes. 3 seconds of air is: paul van den berg (on guitars and effects). martina verhoeven (on bass and effects), and dirk serries (on guitars and effects). processed guitars combine with bass intonations to produce vaporous structures of sound designed to evoke moody nights inside an abandoned chapel. some notes are discernible as originating from a guitar, but the majority of sounds are highly treated, elongated and transformed into luxurious textures of fragile definition. each note drifts like a feather on a blessed breeze, the course it takes through the air establishing a dreamy tonal flow. the different notes interweave while airborne, generating sinuous chords that aggrandize the compound flow into a rich sequence of ambient harmonics.
the presence of the bass lends a pensive edge to this delicate aural lattice, providing an elusive foundation for the aerial sonic stream. imagine certain gases achieving a higher density as they intermingle with the more rarefied molecules, creating a gentle ballet of swirling particles, each embodying a harmonic expression.
filling the void between sounds are ethereal tonalities, undoubtedly generated on guitar and transformed into ambience by processing. these background aspects establish a heavenly panorama for the main chords, a ghostly stage for the languid posturing of ephemeral sound sprites. these pieces undergo stately progression, gradually accumulating a subtle puissance until reaching a level of mild intensity crafted to stimulate the subconscious.
the compositions are extreme examples of ambient auralscapes, adroitly designed to sedate the forebrain while invigorating the backbrain. the music's relaxed pace enhances the moderate influence communicated by each soothing piece. a limited edition vinyl version of this release exists which includes two tracks not on the cd: an additional composition, and a reconstruction by steven wilson (from porcupine tree).
source: sonic curiosity
the presence of the bass lends a pensive edge to this delicate aural lattice, providing an elusive foundation for the aerial sonic stream. imagine certain gases achieving a higher density as they intermingle with the more rarefied molecules, creating a gentle ballet of swirling particles, each embodying a harmonic expression.
filling the void between sounds are ethereal tonalities, undoubtedly generated on guitar and transformed into ambience by processing. these background aspects establish a heavenly panorama for the main chords, a ghostly stage for the languid posturing of ephemeral sound sprites. these pieces undergo stately progression, gradually accumulating a subtle puissance until reaching a level of mild intensity crafted to stimulate the subconscious.
the compositions are extreme examples of ambient auralscapes, adroitly designed to sedate the forebrain while invigorating the backbrain. the music's relaxed pace enhances the moderate influence communicated by each soothing piece. a limited edition vinyl version of this release exists which includes two tracks not on the cd: an additional composition, and a reconstruction by steven wilson (from porcupine tree).
source: sonic curiosity
tf049, a review (6)
this 2008 release features 42 minutes of ephemeral soundscapes. the eightfold model is a unique collaboration between dirk serries (formerly known as vidnaObmana) and (operating under the alias kptmichigan) michael beckett (from schneider tm). serries plays electric guitars, loop and processing devices. beckett plays harmonium, field recordings, and processing devices. minimal tonalities blend with environmental recordings while treated guitar provides ethereal embellishment. the tones are basically sparse and often spectral in their evocation. wafting on languid breezes, these ephemeral sounds establish haunting soundscapes with minimal harmonics interfacing to generate equally tenuous melodies. the addition of harmonium escalates this vaporous flair with sustained chords crafted at the edge of perception. one might expect the field recordings to introduce an earthly quality to this music, but the result of their presence in the mix is frequently the opposite, enhancing a detachment from familiar elements and fostering an alienation from humanity and any mortal concerns. this separation from conventional parameters creates a bewitching mood that is as captivating as it is bewildering. the guitars wander through these fields of sedate noise, conjuring a melancholic air that tickles subconscious synapses with their elusive influences. the actual sounds generated by the guitars are distinctly un-guitar-like, achieving a celestial disposition through heavy treatments that transform prosaic notes into alien sounds rich with a vibrant eeriness.
these compositions succeed in removing the listener from their corporeal vantage and plunging them into a realm of strange harmonics which stimulate spiritual expansion. the minimal definition of aspects serves to hone perception as the audience strains to detect each subtle nuance. this concentration propagates cerebral interaction with the music, forcing the listener to attach meaning and details to elements that normally defy codification. this album comes pressed onto 180gms of sturdy vinyl and in a gatefold sleeve featuring the abstract art of ilan katin.
source: sonic curiosity
these compositions succeed in removing the listener from their corporeal vantage and plunging them into a realm of strange harmonics which stimulate spiritual expansion. the minimal definition of aspects serves to hone perception as the audience strains to detect each subtle nuance. this concentration propagates cerebral interaction with the music, forcing the listener to attach meaning and details to elements that normally defy codification. this album comes pressed onto 180gms of sturdy vinyl and in a gatefold sleeve featuring the abstract art of ilan katin.
source: sonic curiosity
tf058, a review (6)
this 2008 release offers 45 minutes of fragile soundscapes. while this music was never intended for release, functioning more for serries as a means for rehearsing and developing ideas, he later realized that these pieces reveal his compositional process in a pristine manner. these aspects as readily evident to listeners, exposing his fear falls burning tuneage in pure models that are quite capable of standing alone. basically: soothing guitar experimentations coexist with background tonalities, achieving a dreamy resonance whose beauty is undeniable. first the guitars are processed and looped to produce luscious sustains that undulate like furry serpents. by layering these treated chords, an interweaving tapestry of delicate sound is actualized. superimposing these writhing tendrils of sound over auxiliary tonalities results in a depth that magnifies their initial elegance. the air is transformed into a glutinous ambrosia which serves as an aerial stage for the serene majesty generated by the swaying guitar treatments. the simplicity of this music literally exposes the melodies' soul, revealing in great intimacy new depths derived from the sparse sonics. As each chord undergoes shifting currents, the fundamental harmonic unfolds without apparent expansion. this album comes pressed onto 180gms of sturdy vinyl and in a gatefold sleeve.
source: sonic curiosity
source: sonic curiosity
tf064, a review (6)
this 2009 cd is a reissue of a vinyl album from 2006 (with bonus material) and offers 74 minutes of moody music. imagine guitar experimentation from the dark side, evoking sentiments from a drowned cathedral. With this release, those experimentations go to the extreme, divorcing themselves from any recognition as having come from a guitar. for track 1: guitar chords are generated, deeply guttural and growling with subterranean power. while the notes are repeated, creating a desperate cycle of shuddering metal spines, textures of haunting demeanor coalesce as a nocturnal backdrop. rising from the mists of this backdrop are auxiliary tonalities, each derived from treatments of the main guitar chord and flavoring the gestalt with even eerier atmospherics. as the piece progresses, the apparent constancy slowly grows darker, more dire as the atmospherics accrete stronger substantiality until they stand nearly at equal volume with the tune's guitar nucleus and ultimately replace that core with their own resonance.
for track 2, the guitar adopts a swaying sustain that starts out soft and muted, but gradually becomes peppered by additional notes that penetrate from the sidelines not unlike needles cunningly slid into the mix. these needles commence vibrating, swelling to rival the central tones in verve. again, a backdrop of ethereal density unfurls to tenuously support the gracefully intertwining guitar effects. before long, the guitar treatments have mutated into a fusion of fresh homeopathy that pulsates with almost divine proportion. these new-born threads begin to separate, dividing into a chorus of grinding effects that become swept away in an emergence of piercing tones that sneakily rise to tranquil domination.
track 3 (the bonus piece) is an epic 34 minute studio recording from 2006. dense chords crash through a barrier of swaying tenuous tones. as crystalline notes emerge from those tones and squirm through processed variations, the growling guitar chords continue to meter time with their ominous presence. slowly, the sustained chords evolve into pliant harmonies, bending and contorting to form fresh sonic expressions that eventually become the background for new lead convulsions. an overall pulsation is accomplished, one whose integral effects are tuned to warp the psychic realm, muting emotional dissent with their pervasive drone.
source: sonic curiosity
for track 2, the guitar adopts a swaying sustain that starts out soft and muted, but gradually becomes peppered by additional notes that penetrate from the sidelines not unlike needles cunningly slid into the mix. these needles commence vibrating, swelling to rival the central tones in verve. again, a backdrop of ethereal density unfurls to tenuously support the gracefully intertwining guitar effects. before long, the guitar treatments have mutated into a fusion of fresh homeopathy that pulsates with almost divine proportion. these new-born threads begin to separate, dividing into a chorus of grinding effects that become swept away in an emergence of piercing tones that sneakily rise to tranquil domination.
track 3 (the bonus piece) is an epic 34 minute studio recording from 2006. dense chords crash through a barrier of swaying tenuous tones. as crystalline notes emerge from those tones and squirm through processed variations, the growling guitar chords continue to meter time with their ominous presence. slowly, the sustained chords evolve into pliant harmonies, bending and contorting to form fresh sonic expressions that eventually become the background for new lead convulsions. an overall pulsation is accomplished, one whose integral effects are tuned to warp the psychic realm, muting emotional dissent with their pervasive drone.
source: sonic curiosity
tf063, a review (8)
this 2009 cd is a reissue of a vinyl album from 2006 (with bonus material) and offers 67 minutes of eerie music. fear falls burning is a current guise of vidnaObmana. here, he experiments with processed guitar. sparse notes are elongated into vibrating pulsations that hang like ponderous insects in a mix of moody tonalities. as things progress, auxiliary guitar manipulations enter to be contorted into luscious textures, often seasoned by the shrill squeal of guitar strings being scraped into metallic resonance. At other times, nimble-fingered chords are generated, then looped into dreamy tapestries. while some of the sounds are recognizably generated by guitar, many of the expressions are transformed into sonic creatures that defy identification. these treatments establish haunting layers, cloudlike in their rarefied density yet impenetrable enough to block sunlight, casting mesmerizing shadows across a barren landscape. these guitar treatments share the stage with atmospheric tones which darken the mix with their gloomy inflection, generating a nocturnal mood rich with spooky allusions. the style of this music blends experimentation with an expert grasp of hazy soundscapes, resulting in mystical (almost gothic) tuneage designed to sedate the forebrain as it agitates the subconscious. track three (the 28 minute bonus piece) was recorded at the audio-unit living room concert in hamburg germany on may 16, 2006. here, tension is established with expansive threads that glisten with molten power, as slightly piercing sustains twist in a sedate breeze. the subtle interplay of these tenuous aspects creates a pastiche that seethes with edgy vitality while retaining a contemplative demeanor.
source: sonic curiosity
source: sonic curiosity
tf041, a review (5)
this release from 2008 features 38 minutes of abstract auralscapes. abstract soundscapes capture moods of our modern environment as viewed from a cosmic vantage.
a varied assortment of sounds are utilized in this recording, ranging from trembling bass frequencies to frenetic percussives to vocal samples of prayers, all spliced together to form a pastiche that leaves the listener edgily nervous yet strangely relaxed. the sounds are interwoven to generate a seething wall of sonics designed to evoke a compression of the world around us, presented amid eerie electronics that act as glue holding everything together. pulsations ooze through a miasma of assembled samples, masking the nature of individual pieces and creating a conglomerate that merges ambient and industrial sensibilities. snippets of muttered prayers and resonant singing serve to inject a human element into the music. random rhythms surface throughout, lending a hint of tribal influence. these compositions reside in a crevice between atonal and minimally harmonic. sparse definition serves to enhance the individual elements, meshing them together into an auralscape of deviously deceptive distinction. while the aspects are tenuous, their union produces a vividly amorphous mood of sedation. this album comes pressed onto 180gms of sturdy vinyl and in a gatefold sleeve.
source: sonic curiosity
a varied assortment of sounds are utilized in this recording, ranging from trembling bass frequencies to frenetic percussives to vocal samples of prayers, all spliced together to form a pastiche that leaves the listener edgily nervous yet strangely relaxed. the sounds are interwoven to generate a seething wall of sonics designed to evoke a compression of the world around us, presented amid eerie electronics that act as glue holding everything together. pulsations ooze through a miasma of assembled samples, masking the nature of individual pieces and creating a conglomerate that merges ambient and industrial sensibilities. snippets of muttered prayers and resonant singing serve to inject a human element into the music. random rhythms surface throughout, lending a hint of tribal influence. these compositions reside in a crevice between atonal and minimally harmonic. sparse definition serves to enhance the individual elements, meshing them together into an auralscape of deviously deceptive distinction. while the aspects are tenuous, their union produces a vividly amorphous mood of sedation. this album comes pressed onto 180gms of sturdy vinyl and in a gatefold sleeve.
source: sonic curiosity
tf063, tf064, a review (10)
long out of print in their original vinyl-only formats, these two early examples of fear falls burning's organically grown guitar-based ambience have now been reissued for a wider audience with previously unreleased bonus cuts. recorded in a close proximity to one another during the latter half of 2005, both represent some of dirk serries' first steps towards establishing a new identity for himself as an expect craftsman of deep, immersive drones. employing the same base set-up of les paul guitars and assorted effect pedals, each begins with a measured flow of gently reverberating notes or chords which gradually gains in stature and substance to become the foundation for a much longer and altogether more expansive form of meditation. the results are a succession of instrumental passages possessing all the liquid grace of an iceberg melting in slow motion; an unhurried descent into great lakes of soft focus loops and resonating ripples that, at times, could almost be sunn o))) with clean tones replacing deafening distortiong, robert fripp drifting solo or fennesz at his most becalmed and tranquil.
source: rock-a-rolla
source: rock-a-rolla
tf077, a review (2)
the flight of song is the debut album by the belgium project 3 seconds of air, aka dirk serries (also known as vidnaObmana and fear falls burning), paul van den berg and dirk's wife martina verhoeven. being in the works since 2000, this entity of three kindred spirits is an ode to the psychedelic music of the late sixties, early seventies. the cd is an atmospheric outing, a slow version of minimal ambient drone
music for which only guitars (two electric guitars and one electric bass) were used. the four extended tracks, all recorded at live-in-the-moment sessions without any overdubs or editing during two cold days in a belgium chapel, act as an acoustic compass through the chapel's history. the heavy modulated, weightless drifting textures and psychedelic dronescapes slowly morph in its own breathing space, shaped by the dynamic, sensitive interaction of the three musicians who immersive themselves in the quietude, depths and expansiveness of the gliding, reverberating, musical movements. all in all, this is an album for those who love deep-listening ambient.
source: sonic immersion
music for which only guitars (two electric guitars and one electric bass) were used. the four extended tracks, all recorded at live-in-the-moment sessions without any overdubs or editing during two cold days in a belgium chapel, act as an acoustic compass through the chapel's history. the heavy modulated, weightless drifting textures and psychedelic dronescapes slowly morph in its own breathing space, shaped by the dynamic, sensitive interaction of the three musicians who immersive themselves in the quietude, depths and expansiveness of the gliding, reverberating, musical movements. all in all, this is an album for those who love deep-listening ambient.
source: sonic immersion
fear falls burning + sunn o))) concert
de wereld is om zeep, er gebeuren rare dingen rondom mij. helemaal om zeep en het laatste oordeel kan niet ver meer zijn. het einde is nabij, de tekenen zijn onder ons. tippelende minderjarige meisjes. kosovaren die brievenbussen in brand steken. kleuters met tuberculose.
ik heb gisteren beschutting gezocht met gw in de leuvense predikherenkerk. voor een gepaste soundtrack zorgden fear falls burning en sunn o))).
fear falls burning was een serieus kijkende man in het zwart met een gitaar en een dansvloer effectpedalen. de man produceerde gedreun. het muzikale equivalent van de beeldenstorm. of wacht. schrap dat. het auditieve equivalent van de beeldenstorm. het geluid van de nacht die invalt op de steppe. zelden heb ik muziek zo fysiek ervaren. was dit überhaupt muziek? vraag het mij morgen eens opnieuw.
sunn o))) deed eigenlijk juist hetzelfde maar dan tot de derde macht verheven. ik lees overal dat je dat gewoon als "sun" mag uitspreken. twee heren in jurkjes, pijen of gewaden kwamen het kwade aanbidden. het gebrul van een pasgeboren bulldozer of een uitstervende dinosaurus.
links en rechts van mij zag ik mensen de ogen sluiten. ik deed dat ook en mediteerde op de mantra "ik ben zelf de drilboor". toen ik tot inzichten was gekomen, deed ik mijn oordopjes uit en stond ik in een bubbelbad. zelfs mijn neusvleugels trilden.
dat dit maar eens op de sountrack van apocalypse now komt in plaats van die omhooggevallen kut-wagner.
source: onderhond blog
ik heb gisteren beschutting gezocht met gw in de leuvense predikherenkerk. voor een gepaste soundtrack zorgden fear falls burning en sunn o))).
fear falls burning was een serieus kijkende man in het zwart met een gitaar en een dansvloer effectpedalen. de man produceerde gedreun. het muzikale equivalent van de beeldenstorm. of wacht. schrap dat. het auditieve equivalent van de beeldenstorm. het geluid van de nacht die invalt op de steppe. zelden heb ik muziek zo fysiek ervaren. was dit überhaupt muziek? vraag het mij morgen eens opnieuw.
sunn o))) deed eigenlijk juist hetzelfde maar dan tot de derde macht verheven. ik lees overal dat je dat gewoon als "sun" mag uitspreken. twee heren in jurkjes, pijen of gewaden kwamen het kwade aanbidden. het gebrul van een pasgeboren bulldozer of een uitstervende dinosaurus.
links en rechts van mij zag ik mensen de ogen sluiten. ik deed dat ook en mediteerde op de mantra "ik ben zelf de drilboor". toen ik tot inzichten was gekomen, deed ik mijn oordopjes uit en stond ik in een bubbelbad. zelfs mijn neusvleugels trilden.
dat dit maar eens op de sountrack van apocalypse now komt in plaats van die omhooggevallen kut-wagner.
source: onderhond blog
tf064, a review (5)
au mois de mars sortaient simultanément deux rééditions mini-lp digisleeve d'albums signés fear falls burning, enrichissant par la même occasion une discographie pour le moins... imposante. l'excellent the carnival of ourselves et donc ce i'm one of those monsters numb with grace faisant l'objet de la présente chronique. quoi de neuf chez fear falls burning? pas grande chose de réellement révolutionnaire. les familiers de l'oeuvre de dirk serries seront aux anges, les autres resteront toujours circonspects à l'écoute du drone neurasthénique et interminable que dévoile cet album le temps de trois plages qui prennent bien soin de s'étendre sur la durée. "i'm one of those monsters numb with grace i": 19 minutes 50... ok pas mal, "i'm one of those monsters numb with grace ii": 19'31"... ah petite faiblesse du garçon et là bim "dead wisdom" pour quelques 34 minutes et très précisément 22 secondes d'expérience sensorielle absolument indescriptible. une curiosité à découvrir, un cauchemar à chroniquer. quoique pas tant que ça.
enfin si quand même un peu. car sur la première piste audio du disque, on a quand même l'impression de se prendre un seul et même accord dans les gencives, celui-ci laissant s'écouler la réverbération autours de lui pendant une petite vingtaine de minutes. a trop vouloir étirer le temps, fear falls burning se montre cette fois un peu moins inspiré que sur des disques de la trempe de the carnival of ourselves ou frenzy of the absolute. pourtant c'est sur le deuxième titre que i'm one of those monsters numb with grace prend tout son sens, dirk y emmenant l'auditeur jusqu'aux frontière de l'ennui, jusqu'à cette limite quasiment imperceptible, qui nous plonge dans un état second avant de flirter avec le post-rock le temps d'un second morceau d'une rare élégance. une vraie réussite. on se laisse happer pour ces courants musicaux qui lentement, inexorablement nous emmènent errer sans fin dans les méandres du mouvement drone et le pire, c'est qu'on en redemande. sans fin, c'est un peu l'impression qui ressort de la plongée apnéique que s'offrira l'auditeur dans "dead wisdom". une longue hallucination sonique qui cadre parfaitement avec les deux autres pistes audio de cet album psychotrope et nébuleux. a la fois classe, intrigant et hypnotique.
source: w-fenec
enfin si quand même un peu. car sur la première piste audio du disque, on a quand même l'impression de se prendre un seul et même accord dans les gencives, celui-ci laissant s'écouler la réverbération autours de lui pendant une petite vingtaine de minutes. a trop vouloir étirer le temps, fear falls burning se montre cette fois un peu moins inspiré que sur des disques de la trempe de the carnival of ourselves ou frenzy of the absolute. pourtant c'est sur le deuxième titre que i'm one of those monsters numb with grace prend tout son sens, dirk y emmenant l'auditeur jusqu'aux frontière de l'ennui, jusqu'à cette limite quasiment imperceptible, qui nous plonge dans un état second avant de flirter avec le post-rock le temps d'un second morceau d'une rare élégance. une vraie réussite. on se laisse happer pour ces courants musicaux qui lentement, inexorablement nous emmènent errer sans fin dans les méandres du mouvement drone et le pire, c'est qu'on en redemande. sans fin, c'est un peu l'impression qui ressort de la plongée apnéique que s'offrira l'auditeur dans "dead wisdom". une longue hallucination sonique qui cadre parfaitement avec les deux autres pistes audio de cet album psychotrope et nébuleux. a la fois classe, intrigant et hypnotique.
source: w-fenec
tf063, a review (7)
for anybody interested in that part of fringe music lately more often regarded as “the long form” (for whatever that is supposed to mean…) fear falls burning aka dirk serries aka vidnaObmana is essential listening. if not for his consequent focus on his main instrument (electric guitar plus amplifier) and the interest in the most minute details of the sounds it shapes, then for the breath and endurance he takes on the epic drone. and also for the originality and variety he is able to bring into the rather restrictively defined genre. each new release – and also each re-release in a sense – is another gem to be added to an evergrowing collection of droning, unique jewels.
“the carnival of ourselves” is the second re-release of earlier, sold out and sought after records by fear falls burning on tonefloat after “i’m one of those monsters numb with grace” (reviewed some weeks ago) on which a single track took over one full album side each, and which now has been adorned on cd with a bonus third track. the cover photography on this re-release shows details and parts of an abandoned, doomed house, which, especially in contrast to his regular focus on details of his instrument (as shown on “i’m one of those monsters…”), gives away a little bit about the music. the two original tracks on here are more atmospheric and gently put layer upon layer of softly droning sounds. scratching amplified guitar strings never has glistened so finely in the sun. The beginning of track two almost like the echoey noodling of spaghetti western themes.
the newly presented and added track “and the land torn down” heads off in one direction, only to find itself going through unchartered territory with eerie landscapes of sound and the wailing echoes of long gone hopes and dreams. at almost half an hour length this expects a lot from its listener regarding concentration and endurance, but it gives back a freedom at heart rarely found otherwise.
whereas fear falls burning has added drums and percussion elements to its arrangement lately, these “old” releases still are solely concentrated on the guitar and how its sounds change and mix when doubled, tripled, manipulated and layered. the untited track two on here presents this obsession in intricate detail for quite some time. the main matter of dynamic is to let the ingredients dissolve more and more. new parts are introduced very subtly and protectively, but these at times also melt into the background without having come to the fore earlier. if there is a structured and executed plan behind these tracks it is cleverly cloaked in the disguise of organic, evolutionary change.
what is the secret behind fear falls burning’s outstanding oeuvre in contrast to the many other drone artists working with guitars? i guess, it is the created ambience and the mellowness and ease with which serries is able to build mountains of sounds which will take the listener with him in the most gentle and convincing manner. the epic proportions, especially in a time and age when already the three-minute-hitsingle seems way to long for a lot of young people, are almost a political statement in itself. these epic textures of layered guitar and affiliated sounds may take over the world, soon. or at least some small part of it.
source: monochrom
“the carnival of ourselves” is the second re-release of earlier, sold out and sought after records by fear falls burning on tonefloat after “i’m one of those monsters numb with grace” (reviewed some weeks ago) on which a single track took over one full album side each, and which now has been adorned on cd with a bonus third track. the cover photography on this re-release shows details and parts of an abandoned, doomed house, which, especially in contrast to his regular focus on details of his instrument (as shown on “i’m one of those monsters…”), gives away a little bit about the music. the two original tracks on here are more atmospheric and gently put layer upon layer of softly droning sounds. scratching amplified guitar strings never has glistened so finely in the sun. The beginning of track two almost like the echoey noodling of spaghetti western themes.
the newly presented and added track “and the land torn down” heads off in one direction, only to find itself going through unchartered territory with eerie landscapes of sound and the wailing echoes of long gone hopes and dreams. at almost half an hour length this expects a lot from its listener regarding concentration and endurance, but it gives back a freedom at heart rarely found otherwise.
whereas fear falls burning has added drums and percussion elements to its arrangement lately, these “old” releases still are solely concentrated on the guitar and how its sounds change and mix when doubled, tripled, manipulated and layered. the untited track two on here presents this obsession in intricate detail for quite some time. the main matter of dynamic is to let the ingredients dissolve more and more. new parts are introduced very subtly and protectively, but these at times also melt into the background without having come to the fore earlier. if there is a structured and executed plan behind these tracks it is cleverly cloaked in the disguise of organic, evolutionary change.
what is the secret behind fear falls burning’s outstanding oeuvre in contrast to the many other drone artists working with guitars? i guess, it is the created ambience and the mellowness and ease with which serries is able to build mountains of sounds which will take the listener with him in the most gentle and convincing manner. the epic proportions, especially in a time and age when already the three-minute-hitsingle seems way to long for a lot of young people, are almost a political statement in itself. these epic textures of layered guitar and affiliated sounds may take over the world, soon. or at least some small part of it.
source: monochrom
tf031, a review (3)
tonefloat is een nederlands label gespecialiseerd in het uitbrengen van voor ons blad interessante muziek op vinyl. zo brengen ze al sinds jaar en dag materiaal uit van steven wilson, en aan wilson gelieerde artiesten. de rode lijn in deze recensie is echter theo travis wiens naam je tegenwoordig geregeld in de prognieuwsrubrieken tegenkomt (o.a. the tangent, gong, soft machine legacy). slow life is een pure solo plaat, en de naam is goed gekozen. travis' belangrijkste instrument is de dwarsfluit. de muziek is doorgaans uit enkele lagen opgebouwd, en trekt traag aan je voorbij. voor sommigen, bijvoorbeeld fans van the tangent, zal het tempo veel te laag zijn. voor de liefhebbers van ambient in de stijl van eno, fripp, of david sylvian maar dan zonder de vocalen, kan het een welkome warme onderdompeling zijn. sfeervol en warm is het in ieder geval wel.
source: io pages
source: io pages
tf060, a review (4)
samen met fear falls burning aka dirk serries aka vidnaObmana maakte [theo] travis the tonefloat sessions, twee nummers van rond de 20 minuten en daarom goed geschikt voor een vinyl-uitgave. beide nummers zijn samengesteld uit solo-improvisaties: serries op gitaar en effecten en travis op fluit. een verschil met slow life is dat de fluit in volume op een veel lager pitje staat, alsof het van verre klinkt. dark ambient, fripp's soundscapes, dat is de hoek waarin je het moet zoeken. het tweede nummer melancholy of the masses opent dicht in de buurt van slow life, met een prominenter klinkende fluit. een voordeel is echter dat de vloeiende effecten van serries zorgen voor een wat gevarieerder geluidsbeeld, en ook voor de nodige weerhaakjes. soms kun je zelfs horen dat de geluiden door een gitaar worden geproduceerd.
source: io pages
source: io pages
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