[...] 3 seconds of air is a project that unwinds slowly developing tunes, if they develop at all, which navigate through the whims of air and silence. "the flight of song" is as literal a title as you are likely to hear.
the four songs can be read as one long piece, with "dead poets sing the sunless land" representing the onset of the journey, in baby steps of quite, brooding drone. "the heart disintegrates wearing disposable masks of angels" quickens the pace, though here disintegration means vanishing, not destruction. the pulse returns more insistent on the final two tracks, with the finale, "ghosts stream the harmony of delight," more or less revisiting all the tonal highs and lows of this battle against emptiness. But there is no real resolution; you are left with the feeling that this is almost a kind of eternal piece, and is somewhere out there still making sounds in its wandering.
3 seconds of air seems to be a deliberate project to make silence known and sound present in circumstances beyond its control. "the flight of song" momentarily wins it battle with the natural current.
source: music emissions
tf080, a review (4)
neues album von dirk serries' „microphonics": live, 22 minuten, 1 stück, aufgenommen anfang 2009 in der nest-gallery, the hague.
auch hier ist dieses tiefe rollen, das schon das debüt prägte; teils trompetenartige sounds, ein harmonischerer gestus als bei fear falls burning. aber, und das ist einer der unterschiede zum debüt: nicht nur. „microphonics vi" wird umschwärmt von delay-vögeln, die z.b. auch teile von fear falls burnings „the infinite sea of sustain" begleiten und die die hier cellohaften, bassbetonten bögen über die gesamte laufzeit begleiten und eine leicht schräge unwägbarkeit in den microphonics-sound einbringen, die (zumindest meiner meinung nach) deutlich in richtung der fear falls burning identität weist oder, vielleicht besser: dort ihren ursprung haben mag.
gut, dirk serries tut auf der konzeptebene einiges, um beide 1 mann / 1 gitarre projekte zu unterscheiden: da ist die wahl einer anderen gitarre (und ich denke, jede[r], die/der irgendein instrument spielt weiss, dass schon allein das einiges an der herangehensweise und spielweise verschieben kann) und, unter umständen bedeutender: fear falls burning geht bis dato direkt ins pult, die microphonics kommen dagegen aus einem röhrenverstärker. außerdem (zumindest so benannt): unterschiedliche fx-auswahl und -kombination. allerdings, und das ist die andere seite: dies ist keine musik, die nach noten (nach)gespielt wird (wenngleich der damalige auftritt in tilburg schon sehr nah an dem studio debüt war) und: dirk serries hat mit 3 seconds of air neben seinen kollaborationen derzeit noch ein drittes hauptprojekt laufen und(2): letztlich ist er ja auch immer derselbe mensch. darüber hinaus: dies hier ist live. und schon die laufzeit läßt vermuten: hier wurde ein bisschen losgelassen.
und damit der meiner meinung nach zweite signifikante unterschied zum debüt: dieses rollen, die typische bewegung „in sich", die das debüt dominiert, ist hier auf der „microphonics vi" nicht nur durch benannte delays überlagert, sondern in sich verlangsamt, mehr fläche, mehr schieben. und so wie das eine an fear falls burning erinnert, kommen mir hier 3 seconds of air in den sinn...
source: unruhr
auch hier ist dieses tiefe rollen, das schon das debüt prägte; teils trompetenartige sounds, ein harmonischerer gestus als bei fear falls burning. aber, und das ist einer der unterschiede zum debüt: nicht nur. „microphonics vi" wird umschwärmt von delay-vögeln, die z.b. auch teile von fear falls burnings „the infinite sea of sustain" begleiten und die die hier cellohaften, bassbetonten bögen über die gesamte laufzeit begleiten und eine leicht schräge unwägbarkeit in den microphonics-sound einbringen, die (zumindest meiner meinung nach) deutlich in richtung der fear falls burning identität weist oder, vielleicht besser: dort ihren ursprung haben mag.
gut, dirk serries tut auf der konzeptebene einiges, um beide 1 mann / 1 gitarre projekte zu unterscheiden: da ist die wahl einer anderen gitarre (und ich denke, jede[r], die/der irgendein instrument spielt weiss, dass schon allein das einiges an der herangehensweise und spielweise verschieben kann) und, unter umständen bedeutender: fear falls burning geht bis dato direkt ins pult, die microphonics kommen dagegen aus einem röhrenverstärker. außerdem (zumindest so benannt): unterschiedliche fx-auswahl und -kombination. allerdings, und das ist die andere seite: dies ist keine musik, die nach noten (nach)gespielt wird (wenngleich der damalige auftritt in tilburg schon sehr nah an dem studio debüt war) und: dirk serries hat mit 3 seconds of air neben seinen kollaborationen derzeit noch ein drittes hauptprojekt laufen und(2): letztlich ist er ja auch immer derselbe mensch. darüber hinaus: dies hier ist live. und schon die laufzeit läßt vermuten: hier wurde ein bisschen losgelassen.
und damit der meiner meinung nach zweite signifikante unterschied zum debüt: dieses rollen, die typische bewegung „in sich", die das debüt dominiert, ist hier auf der „microphonics vi" nicht nur durch benannte delays überlagert, sondern in sich verlangsamt, mehr fläche, mehr schieben. und so wie das eine an fear falls burning erinnert, kommen mir hier 3 seconds of air in den sinn...
source: unruhr
tf063, a review (9)
like a fog machine unceasingly produces an airy, hazy atmosphere, so does fear falls burning create an ethereal, misty soundscape through manipulated guitar. clouds of droning textures form to threaten your bright mood. these ghostly tracks originated on a 2006 vinyl release, but are now incarnated on cd. the first track, “19:19” takes this general foundation, but adds a few plucked, blurry, invasive guitar notes to the formula. the second track, “19:54” scales back a bit and instead makes things interesting by painting a starry midnight sky (perhaps van gogh’s own) in recorded audio form. i could very easily picture myself looking up at the darkened heavens with all their splendor and get the same chills as I do from “19:54”. the third and final (bonus) track, “and the land torn down,” was recorded live in hamburg, germany in 2006. clocking in at 28 minutes it approaches the listener in a slightly different form. rather than the fuller, softer, flatter, lower, textures, this one has a higher resonation. it’s like biting into tinfoil, but experiencing glum euphoria instead of unpleasantness. layers are added over the long, demanding track. climbing notes, thicker (familiar) films of ambiance, and a feeling of growing exploration, steer this beast in a different direction to find itself as a new entity at the end. very, very cool album art of dismal (belgian?) architectural photography on an lp style sleeve. perhaps introspective, just like the title, perhaps satirical of life’s optimism? either way, great release! 7/10.
source: foxy digitalis
source: foxy digitalis
tf080, a review (3)
op microphonics - in stijvol wit vinyl - krijgen we een live opname van gitarist dirk serries te horen. de man speelt ook in 3 seconds of air en zijn solowerk ligt in het verlengde daarvan: we krijgen subtiel in elkaar gedraaide soundscapes die beelden oproepen van eindeloze horizonten onder een overdonderende hemel. dirk serries is trouwens niet de eerste de beste; eerder gooide hij al hoge ogen als vidnaObmana en fear falls burning. te beluisteren.
source: rifraf
source: rifraf
tf077, a review (11)
en daar is die 3 seconds of air al. als je op een platenhoes geconfronteerd wordt met titels zoals 'warping night air having brought the boom' en 'the heart disintegrates wearing disposable masks of angels', dan kan je daar al meteen een paar dingen uit afleiden. zeker als er maar vier nummers op de plaat staan. om te beginnen lust dit trio wel eens een rokertje en maken de leden zeer waarschijnlijk minimalistische muziek. en ja hoor: we krijgen een uitgelezen geluidscollage die tegelijk intens, leeg, psychedelisch, episch en spontaan is, al zal er vermoedelijk heel erg goed over zijn nagedacht. betere ambient zal je met andere woorden niet gauw vinden. de valsaards weten tenslotte nog behulpzaam te melden dat je de plaat niet luid mag afspelen. waarvan akte.
source: rifraf
source: rifraf
tf078, a review (1)
after the 3 seconds of air gig - of which you can find a review on our blog here - we couldn't resist in buying some merchandise. rosebud went for the cd-only release and i went for the limited edition of 100 copies which is an all-in package containing the cd + lp pressed on clear vinyl + a 3 seconds of air t-shirt, all together in a custom printed shoulder bag that comes together with an authenticity certificate, signed by all 3 artists. there's also a limited edition of 400 copies release, which consists of the cd and the lp on black vinyl. all of this is released by tonefloat.
anyway, yesterday evening i had my very first real listening experience (consuming the music without doing something else simultaneously or being distracted by something annoying such as a babbling person or a playing television) and i had a great listening trip. in fact, the reason i'm posting this here is because i'd like to explain a few words about the lp. on that lp you'll find a song on side a that's not on the cd and side b offers you a 3 seconds of air song that was reworked by bass communion (steven wilson).
side a is in the same vein as the cd and sounds exactly the way rosebud described in his live gig review: a meandering sound tapestry that floats through air. it's very clear that air and space are very important for the music of 3 seconds of air. both components are critical parameters in making this music to reveal itself to its surrounding area.
what is absolutely amazing is that on side b, steven wilson achieved the complete opposite. as if wilson decided to put the total aspect of the music into a long tunnel in order to prevent the music from using air and space. instead, the music cannot go into any direction it wants to, but it can choose to go back- or forward or it can choose to crash upon itself. besides that, wilson also added a threatening drone that slowly but effectively tries to strangle the music. fortunately, 3 seconds of air wins this fight by strongly believing in the power of its positive music.
all of this is done very delicate and very subtle so you really have to listen to hear it, but once you've entered into a transcendent state, you will very much enjoy this listening experience.
source: mudbirdshivers blog
anyway, yesterday evening i had my very first real listening experience (consuming the music without doing something else simultaneously or being distracted by something annoying such as a babbling person or a playing television) and i had a great listening trip. in fact, the reason i'm posting this here is because i'd like to explain a few words about the lp. on that lp you'll find a song on side a that's not on the cd and side b offers you a 3 seconds of air song that was reworked by bass communion (steven wilson).
side a is in the same vein as the cd and sounds exactly the way rosebud described in his live gig review: a meandering sound tapestry that floats through air. it's very clear that air and space are very important for the music of 3 seconds of air. both components are critical parameters in making this music to reveal itself to its surrounding area.
what is absolutely amazing is that on side b, steven wilson achieved the complete opposite. as if wilson decided to put the total aspect of the music into a long tunnel in order to prevent the music from using air and space. instead, the music cannot go into any direction it wants to, but it can choose to go back- or forward or it can choose to crash upon itself. besides that, wilson also added a threatening drone that slowly but effectively tries to strangle the music. fortunately, 3 seconds of air wins this fight by strongly believing in the power of its positive music.
all of this is done very delicate and very subtle so you really have to listen to hear it, but once you've entered into a transcendent state, you will very much enjoy this listening experience.
source: mudbirdshivers blog
tf077, a review (10)
3 seconds of air consists of paul van den berg, martina verhoeven and dirk serries, the latter better known from projects vidnaObmana and fear falls burning. the album the flight of song was recorded in only two days in belgium, february 2009. in june the same year the album was being played live in the same chapel the music was recorded in some months before.
the three musicians are playing various guitar and bass instruments, in an ode to the psychedelic music of the late 60s, early 70s, and rooted through a tube of amplifiers. the cover states "do not play this album loud, no headphones required!"
there are only 4 tracks on the album, which starts with dead poets sing the sunless land, clocking in at 20 minutes. after a few seconds it's clear that this album is all about ambient guitars in slow-moving patterns of sound. sorry, but i find it utterly boring. i have to say that i don't really understand what people get from listening to this, other than probably falling to sleep. i can see the music function perhaps as a soundtrack for some kind of installation or something, but to put it on a 74 minute cd seems unneccessary.
track 2 is the 22 minute long the heart disintegrates wearing disposable masks of angels. It seems like long tunes must also have long titles. this is of course not much different from the first one, although it's maybe a bit more "threatening" and scary-sounding. perhaps music for nightmares rather than for dreams. i wonder if they had any ideas before they started recording, or if it's all improvised. the 18-minute warping night air having brought the boom is of course more of the same. maybe other people can hear differences between these tracks, but i can't. the closing track ghosts stream the harmony of delight is "only" 13 minutes long by the way. and that's really all I can say about it.
minimal ambient music seems to have quite a few fans worldwide, and i respect that other people may actually like this, but for me this was 74 minutes of wasted time. the music on the flight of song really doesn't deserve more than one point, but i'll give them an extra for the nice picture of the chapel. 2/10.
source: planet origo
the three musicians are playing various guitar and bass instruments, in an ode to the psychedelic music of the late 60s, early 70s, and rooted through a tube of amplifiers. the cover states "do not play this album loud, no headphones required!"
there are only 4 tracks on the album, which starts with dead poets sing the sunless land, clocking in at 20 minutes. after a few seconds it's clear that this album is all about ambient guitars in slow-moving patterns of sound. sorry, but i find it utterly boring. i have to say that i don't really understand what people get from listening to this, other than probably falling to sleep. i can see the music function perhaps as a soundtrack for some kind of installation or something, but to put it on a 74 minute cd seems unneccessary.
track 2 is the 22 minute long the heart disintegrates wearing disposable masks of angels. It seems like long tunes must also have long titles. this is of course not much different from the first one, although it's maybe a bit more "threatening" and scary-sounding. perhaps music for nightmares rather than for dreams. i wonder if they had any ideas before they started recording, or if it's all improvised. the 18-minute warping night air having brought the boom is of course more of the same. maybe other people can hear differences between these tracks, but i can't. the closing track ghosts stream the harmony of delight is "only" 13 minutes long by the way. and that's really all I can say about it.
minimal ambient music seems to have quite a few fans worldwide, and i respect that other people may actually like this, but for me this was 74 minutes of wasted time. the music on the flight of song really doesn't deserve more than one point, but i'll give them an extra for the nice picture of the chapel. 2/10.
source: planet origo
tf077, a review (9)
in full contradiction to the two frosty days when these recordings were made in february 2009, i listen to them while it is about thirty degrees and the sun is scorching the earth. while i am enjoying these hot summer days the slow languid chords of 3 seconds of air correspondent with my slow movements. the world around me moves in slow motion and rays of sun are blinding my eyes as they reflect on the pick ups of vintage gibson guitars slowly releasing their sultry tones in the trembling air.
3 seconds of air was an exploratory vessel for guitar-duo dirk serries and paul van den berg's forays into unknown territories. the early years were marked by a dialogue between their individual styles, van den berg contributing his blues influences and serries building on his experience in the field of ambient and drones as he was doing for years with vidnaObmana and his more successful fear falls burning. with the inclusion of bassist and wife of dirk martina verhoeven, their sound started to change, picking up further depth, resonance and direction. their pieces became more epic and complex, verhoeven's minimal bass opening up bridges to an ethereal take on doom, a slow-motion version of minimal music and the psychedelic experiments of the late 60s and early 70s.
the flight of song has been recorded in the snow covered belgian chapel of sint- theobaldus. the results of these sessions perpetuated on this disc are of ethereal beauty and serenity. desolate tones float on a weightless drift, shiny sparkling tones like faraway stars that dimly lit the farthest corners of the universe. the slow harmonic resonance of sound is carefully built into a breakable composition of majestic beauty. the slow evolving melody is breathing space like a vast bare plateau.
packed in a more than beautiful mini record sleeve in blue note style the flight of songs is a two-part release comprising a four-track cd and a vinyl-compendium. the lp (which is only available with the cd, and not separately) contains an additional composition and a reconstruction by steven wilson, both of which are not included on the cd. there is also a strictly limited special edition of 100 copies only available, containing the cd, a clear vinyl edition of the lp, and an exclusive 3 seconds of air [shirt], packed in a custom printed cotton shoulder bag. 8/10.
source: gothronic
3 seconds of air was an exploratory vessel for guitar-duo dirk serries and paul van den berg's forays into unknown territories. the early years were marked by a dialogue between their individual styles, van den berg contributing his blues influences and serries building on his experience in the field of ambient and drones as he was doing for years with vidnaObmana and his more successful fear falls burning. with the inclusion of bassist and wife of dirk martina verhoeven, their sound started to change, picking up further depth, resonance and direction. their pieces became more epic and complex, verhoeven's minimal bass opening up bridges to an ethereal take on doom, a slow-motion version of minimal music and the psychedelic experiments of the late 60s and early 70s.
the flight of song has been recorded in the snow covered belgian chapel of sint- theobaldus. the results of these sessions perpetuated on this disc are of ethereal beauty and serenity. desolate tones float on a weightless drift, shiny sparkling tones like faraway stars that dimly lit the farthest corners of the universe. the slow harmonic resonance of sound is carefully built into a breakable composition of majestic beauty. the slow evolving melody is breathing space like a vast bare plateau.
packed in a more than beautiful mini record sleeve in blue note style the flight of songs is a two-part release comprising a four-track cd and a vinyl-compendium. the lp (which is only available with the cd, and not separately) contains an additional composition and a reconstruction by steven wilson, both of which are not included on the cd. there is also a strictly limited special edition of 100 copies only available, containing the cd, a clear vinyl edition of the lp, and an exclusive 3 seconds of air [shirt], packed in a custom printed cotton shoulder bag. 8/10.
source: gothronic
tf077, a review (8)
fast 10 Jahre waren 3 seconds of air beschäftigt, bis sie es nun zu ihrem ersten output schaffen. anfangs war das namenlose projekt mehr eine experimentierplatform für dirk serries (fear falls burning, microphonics) und paul van den berg. letzterer war mit blues beschäftigt, während sich serries mehr im ambient und drone spielfeld umsah und experimentierte. als aber bassistin und serries frau martina verhoeven mit einstieg, begann sich alles zu verändern und an kontur zu gewinnen. das ergebnis liegt nun mit "the flight of song" vor. an zwei kalten tagen im februar diesen jahres nahmen die drei in einer kleinen und winterlich kalten kapelle in belgien dieses album auf. und so muten die 4 stücke dann auch an: winterlich, klar, sanft und bestimmt, wie nur der rauhreif auf büschen und bäumen im februar sein kann. aufgenommen ohne jeglichen schnickschnack, nur mit einem laptop, pro tools und kein weiteres nachbearbeiten mehr. episch, minimal, weit über die frostigen, durchfrorenen felder tragend, immer mit einem hang zum lichten, flüchtig-ätherischen, sind die kompositionen. der name und titel ist hier ganz programm. dann und wann schimmern und flimmern halluzinogene, psychedelische momente durch, sie sind das helle, unruhige flimmern über einer eisfläche. "the flight of song" wird mit zwei konzerten im juni, in eben dieser kapelle aufgeführt. die Aufmachung für tonefloat typisch: einfach, eindrucksvoll und extravagant in wahl des materials: dicke 50er jahre pappkarton verpackung, schlicht aber schön gestaltet. übrigens auch als lp mit extra Material erhältlich.
source: creative eclipse
source: creative eclipse
tf077, a review (7)
3 seconds of air release their debut album “the flight of song” on tonefloat records. hmmm, taste the associations to the words in this very formal sentence – “air”, “flight”, “tone” and “float” – let them melt in your mind for a bit and you’ll get a good picture of what this album is about. gently flowing and ebbing tones from guitars, manipulated to whirring and flirring soundscapes with counterpoints of warm bass pulses. yet “the flight of a song” is neither ambient nor drone, because it is too fragile and soft for the first and too versatile in all its static for the latter. it is more a meditation on the absence of a structural framework and on the organic way parts can structure themselves if given the liberty. ethereal, ephemeral, trancelike and soft. yet it also is ambient and drone in a fusion of what is good, nice and welcoming in both watered down genres.
dirk serries (vidnaObmana; fear falls burning), paul van den berg and martina verhoeven peruse three vintage guitars (one of them a bass), three sets of amplifiers and pedals, to levitate to a higher form of communication. serries and van den berg had been exchanging notes for a decade before the trio hid away in a chapel in belgium in the winter for two days to record these four tracks with some basic recording equipment, one mic and without re-recordings or overdubs – a story too good not to be told. you can still hear some crackles and noises that went on tape not on purpose. but if the pristine beauty of these recordings is anything to go by, then it must have been a fucking awesome place of impressive silence. the shortest of these four tracks is close to a quarter of an hour (the longest somewhere above twenty minutes) which tells me that wherever they did the recordings time plays a completely different role than around here in the big city lights. the call of the rural ease of country life is hidden in there, where live is not counted by days, hours or minutes but by seasons.
the tonality – and actually these four tracks are all about tonality and not a lot else if you stick to the basic musical impression – changes over time, becomes a little more eerie and forbeboding of dark times ahead in the third quarter. The first two pieces, “dead poets sing the sunless land” and “the heart disintegrates wearing disposable masks of angels” are warmer, more organic and shining with beauty. the third, “warping night air having brought the boom”, glimmers with the anticipation of upcoming evil, or rather the dawn of that. nothing is fixed, bound or guaranteed and expected. notes and sounds evolve like the sea on a moonless night, without interruption. on a meta-level this album is probably about communcating on a higher and more abstract level, showing the beauty dripped into sound that understanding, harmony and ease may produce if they aren’t stifled by the formulaic mind of a beaurocrat.
on the other hand, there is a definite connection to modern classical or serious music. both terms are bad, but if they mean music whose composition follows other rules, more multi-levelled and intellectual ones, than the stuff you can hear on mainstream radio, then we may apply them here. it is not only the cover which is leaned towards late fifties / early sixties blue note record label jazz covers, though it is looking great, but also the constant focus on sound and the interweaving of three droning minds. “the flight of song” is more a work of modern conceptual music than the fringe rock / drone noise genre it most definitely has its roots in. in its beauty i would compare it to brahms, for the directly beautiful modes and the warmth of the work.
source: monochrom/cracked
dirk serries (vidnaObmana; fear falls burning), paul van den berg and martina verhoeven peruse three vintage guitars (one of them a bass), three sets of amplifiers and pedals, to levitate to a higher form of communication. serries and van den berg had been exchanging notes for a decade before the trio hid away in a chapel in belgium in the winter for two days to record these four tracks with some basic recording equipment, one mic and without re-recordings or overdubs – a story too good not to be told. you can still hear some crackles and noises that went on tape not on purpose. but if the pristine beauty of these recordings is anything to go by, then it must have been a fucking awesome place of impressive silence. the shortest of these four tracks is close to a quarter of an hour (the longest somewhere above twenty minutes) which tells me that wherever they did the recordings time plays a completely different role than around here in the big city lights. the call of the rural ease of country life is hidden in there, where live is not counted by days, hours or minutes but by seasons.
the tonality – and actually these four tracks are all about tonality and not a lot else if you stick to the basic musical impression – changes over time, becomes a little more eerie and forbeboding of dark times ahead in the third quarter. The first two pieces, “dead poets sing the sunless land” and “the heart disintegrates wearing disposable masks of angels” are warmer, more organic and shining with beauty. the third, “warping night air having brought the boom”, glimmers with the anticipation of upcoming evil, or rather the dawn of that. nothing is fixed, bound or guaranteed and expected. notes and sounds evolve like the sea on a moonless night, without interruption. on a meta-level this album is probably about communcating on a higher and more abstract level, showing the beauty dripped into sound that understanding, harmony and ease may produce if they aren’t stifled by the formulaic mind of a beaurocrat.
on the other hand, there is a definite connection to modern classical or serious music. both terms are bad, but if they mean music whose composition follows other rules, more multi-levelled and intellectual ones, than the stuff you can hear on mainstream radio, then we may apply them here. it is not only the cover which is leaned towards late fifties / early sixties blue note record label jazz covers, though it is looking great, but also the constant focus on sound and the interweaving of three droning minds. “the flight of song” is more a work of modern conceptual music than the fringe rock / drone noise genre it most definitely has its roots in. in its beauty i would compare it to brahms, for the directly beautiful modes and the warmth of the work.
source: monochrom/cracked
tf077, a review (6)
fear falls burning instrumentalist dirk serries heeft bijna tien jaar gewerkt aan een naamloos project, samen met bluesgitarist paul van den berg en geholpen door gastmuzikant en bassiste martina verhoeven. hun talenten bosten en versmolten in het met sneeuw bedekte st. theobaldus kerkje of kapel. dit heilig huisje diende als, zo bleek, ijzige locatie voor hun samenwerking. de stoof (of kachel op zijn nederlands) draaide zo hard dat die de opnames vergalde, dus die moest dan ook uit tijdens de opnames van deze vierenzeventig minuten durende collaboratie. Hete koffie was de enig mogelijke verwarming.
die minimalistische sfeer hebben beide heren in de vier nummers goed te pakken: doom en blues geïnspireerd, zowel qua geluid als beeldvorming erg jaren zestig. het viertal werd ter plekke in twee uurtjes opgenomen met slechts een enkele stereo microfoon die ingeplugd zat in een laptop.. ‘the flight of song’ is het eerste imposant deel van een tweeluik waarvan dit cd'tje de hoofdmoot is. er is een vinyl compendium, gelimiteerd op vijfhonderd stuks, die een herschreven en extra compositie bevat van steve wilson van porcupine tree. beide stukken van steve zijn niet verkrijgbaar op cd. de release werd overigens gevierd met een concert in dit kerkje.
source: lords of metal
die minimalistische sfeer hebben beide heren in de vier nummers goed te pakken: doom en blues geïnspireerd, zowel qua geluid als beeldvorming erg jaren zestig. het viertal werd ter plekke in twee uurtjes opgenomen met slechts een enkele stereo microfoon die ingeplugd zat in een laptop.. ‘the flight of song’ is het eerste imposant deel van een tweeluik waarvan dit cd'tje de hoofdmoot is. er is een vinyl compendium, gelimiteerd op vijfhonderd stuks, die een herschreven en extra compositie bevat van steve wilson van porcupine tree. beide stukken van steve zijn niet verkrijgbaar op cd. de release werd overigens gevierd met een concert in dit kerkje.
source: lords of metal
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