Sonic explorations of isolation, distances, and landscapes. The fourth Lammergeyer release.
Borders & Barrens follows the same general style as previous Lammergeyer releases, delving even deeper into sonic explorations of isolation, distance, and the mood of landscapes. The scene is coastlines, misty headlands, desolate marshes, barren moors and their mysterious solitude. The music is richly atmospheric, studded with inventive detail and drawn-out, almost subconscious melodies. It is a music with underlying emotion, and is a journey not to be missed. –Press Release (Follow link to hear sample)
“Anthony Paul Kerby, the man behind Lammergeyer and The Circular Ruins, is, I think, one of the most interesting and consistent musicians working in the area of contemporary ambient music today….” –Warren Punshon – Synth Music Direct
“On his ninth album, Animism, Chinese-American musician Forrest Fang creates a diverse musical style that fuses timeless Fourth World acoustic instruments with a modern fractal ambient sound. Inspired by the ancient belief that all living and inanimate forms possess a spirit or life force, Fang has composed eight pieces that radiate with energy and warmth.
Besides acoustic and electric violins and mandolins, he embellishes his atmospheric textures with melodies and polyrhthms from stringed and percussion instruments such as the Turkish lavta, Peruvian bandurria, Filipino kulintang, Mexican cantaro and Balinese kendang.
Animism is a celebration of life’s internal rhythms and their ultimate path to rest.” -projekt.com
Minimal glitchy atmosphere’s complimented by spare soft rhythms and gentle, yet moving, shades of melody. Beta Two Agonist was born in 1976 in Barcelona, son of a Catalan musician and a Dutch mother. He attended art college around 1998. There he discovered the computer as a valuable tool, while picking up the mindset of experimentation and openness. Through the years the borders between music and noise were blurring. He discovered that error and chance can be wonderful, and captures those magic moments in audio. He also uses field recordings, percussion and other objects, circuit-bent toys and contraptions, synths, effects pedals and software. Databloem is so good at finding new talent in ambient electronica, and they have really outdone themselves this time in bringing listeners the fresh sounds of Beta Two Agonist.
“All of the instrumentation; acoustic guitar, autoharp, various bits of percussion, and analog synthesizers, were performed directly to multi-track with very little editing (they preferred to re-take rather than edit). The duo recorded much of the sound with with microphones to capture roomtone which created a warm, organic and often playful mood. Loose drums, the squeak of a monosynth and lush pads from the Jupiter-8 make The Sleeping Morning appear at first as an experiment in micro-folk but when vocal tracks are added a whole new world of song-structure and post-something is created.” –12k.com
Delicate and fragile dreaming atmospheres, melodic and hypnotic ambient light sparks, sonic landscapes both semi-acoustic and then close to shoegaze, introspective lyrics almost whispered by a simple and gentle voice, mainly based on evocative and shiny, delicate, and dilated electric guitar riffs laid on discreet rhythmic backgrounds, sometimes simply backed by acoustic guitar chords, in a singer-songwriter mood. -Silentes
Surface 10 is nothing less than a pulsing, reckless tour de force of spiky, punchy beats welded and fused with white noise, grunge guitar, dislocated voices and a swaggering disregard for somnolent sine wave culture that permeates much of todays Electronica. With a glistening, extrovert production, the album is a cavalcade of ideas which fly off like sparks. The dense layers of texture are frequently parted to reveal astonishing knots of wry melody lurking deep beneath the surface of the album. Each track slides from one oeuvre to another in a dazzling, almost precocious attention to detail which offers much in the way of rewards for repeated listening. -din.org.uk
The music was all played live, between cigarette breaks and with coffee stained equipment (mostly cheap synths and abandoned floor effects pedals). Most notably there is Thorsten´s amazing synth organ work. His wonderful lead lines and colourful organ clusters can be found on all tracks of the album. Bernhard’s duties on the other hand levitated toward keeping the sequencers running, generating endless variations of tones and textures in real time. Recorded with very basic means, but mixed and mastered using state-of-the-art technology, this album is the perfect amalgamation of musicianship with a traditionalists feel for early EM, and modern production techniques. The material from the recording session was edited and mixed by DiN founder Ian Boddy and mastered by Krautrock specialist and mastering guru Eroc. -din.org.uk
One of the aims of the DiN label was to act as a community of artists who could interact and colloborate in different ways. DiN 18 is a perfect example of this with label founder Ian Boddy forming a new creative partnership with Bernhard Wöstheinrich. DiN afficionadas will recognise the latters previous involvement as both one half of Centrozoon on DiN 6 – Blast and also Subsonic Experience on DiN 13 – Praposition. Furthermore Wöstheinrich, a trained graphic designer, has also been instrumental in the sense of design style that permeates the DiN artwork since DiN 10.
However the collaborative mesh involved in the creation of Moiré has further layers in that Markus Reuter, long time Boddy colloborator & musical partner to Wöstheinrich in Centrozoon was also heavily involved in the early editing of the pieces as well as guesting on bass on the track “Fractalise”. Indeed the gestation of Moiré has been a long and complex process. Boddy & Wöstheinrich first got together in the DiN studio way back in April 2002 and played a number of improvisations utilising Boddys mastery of his large analogue modular system with Wöstheinrichs quirky & organic approach to drum & arpeggiator patterns. These sessions were then locked in the DiN vault for almost a year until Reuter opened the lid and intuitively edited the performances into a number of arrangements that formed the basis of the tracks on Moiré. The baton was then taken on by Wöstheinrich who, over the summer of 2004, further added to and sculpted the pieces into more refined forms. The final lap was then for Boddy & Wöstheinrich to finalise the arrangements & mix at the DiN studios in December 2004.
The resulting music spread over 10 tracks captures both the detail & complexity of arrangement possible with modern music technology with the spontaneous nature & organic feel of the original improvisations. Sonically it effortlessly ranges from classic analogue sequencer lines to deep, metallic atmospheres through to full on drum & synth work-outs. The majority of the tracks employ organic analogue arpeggiations together with muscular & unusual percussive loops to form the backbone of the music . Ethereal ambient textures provide a suitably surreal counter-balance to the solidity of the rhythmic structure to create a constant sense of flow & change within the compositions.
Lithosphere is the second collaborative release between DiN label boss Ian Boddy & American ambient pioneer Robert Rich. Following on from their debut album “Outpost” (DiN 11 – 2002) the duo once again decided to eschew the false economy of a purely virtual collaboration and convened at Rich’s Californian Soundscape studio to physically work together over an intense period of 10 days. Following Boddy’s departure Rich then honed and fine-tuned the arrangements before finalising the mastering of the project.
Whereas “Outpost” was sonically ‘out there’ and was perceived by many to have it’s heart in the realms of space music, “Lithosphere” has a more earthy, organic quality. Once again the album is centered around Rich’s signature lap steel guitar voicings and deep bass machinations of his analogue MOTM modular system. However Boddy’s input is once again unexpected in it’s direction with astonishing sound design elements intermingling with delicate keyboard textures using high quality sampled glass & stone percussion instruments together with haunting string & woodwind loops.
One of the binding forces for this album was the duos decision to utilise an alternate just intonation tuning. This at times gives the harmonies a piquant flavour whereas at others a glistening quality that just adds to the sonic exotica that Boddy & Rich have concocted on “Lithosphere”.
Boddy has always pushed the aspect of collaborations within his DiN catalogue and “Lithosphere” shows the true advantage such a philosophy brings to bear musically on the labels output. The album is a true reflection of the two artists combined efforts and could only have been produced with their joint work ethic. “Outpost” is one of the most popular DiN albums. There’s every chance that “Lithosphere” could surpass the high standard that it’s illustrious predecessor has set. -din.org.uk
React is the third collaboration between American ambient pioneer Robert Rich and DiN label boss Ian Boddy. This is a record of their first ever live performance at the Star’s End Radio Show 30th Anniversary Celebration Concert in Philadelphia in June 2007.
The duo forge a fascinating sonic collaboration that allows for glimpses of each other’s musical personalities to be seen within the evolving musical landscape. Boddy is mainly responsible for the rhythmic content which he mutates and morphs from the sonic input of Rich’s MOTM modular system. There are references to a couple of tracks from Outpost (Ice Fields and The Edge of Nowhere) and the title track of Lithosphere but they’re presented in a more energised and dynamic version. Meanwhile Rich paints a tapestry of sound with muted keyboards, flutes and his trademark gliss lap steel guitar voicing.
The music ebbs and flows from abstract soundscapes through gentle reveries to up tempo sections that combine thunderous analogue bass and glitchy percussion overlain with a mesmerising mix of keyboards, flutes and gliss guitar. A truly unique concert performance by two of the most accomplished musicians in modern ambient electronica. -din.org.uk
Slide is the studio album follow-up to Elemental and is the sixteenth full solo CD release by DiN label boss Ian Boddy. Musically it is split between three beautifully expressive legato pieces and six up-tempo tracks which employ Boddy’s trademark inventive rhythms with soaring, expressive synth voices.
Although Boddy has a well known love of vintage analogue synths he’s never made a big deal of whatever gear he’s used on a particular project as it’s always been the music on each release that has governed what audio tools he’s employed. However Slide is dominated by the sound and playing techniques Boddy has coaxed from a new musical instrument he aquired in 2008. This is a modern analogue version of the keyboard employed by the Ondes Martenot (invented in the 1920’s) which utilises a wire and ring pulley system sitting in front of a keyboard via which the player can smoothly glide between notes and create natural vibrato. Furthermore a rocker switch on the left of the keyboard allows for the natural and subtle control of the articulation of each note. This instrument breathes new life into playing a synthesiser and allows for an incredibly expressive performance. In combination with Boddy’s large modular analogue synth a series of beautiful, expressive tones emerge that are arranged over nine pieces. Indeed analogue sounds dominate throughout the album lending a gorgeously lush, warm sound to the tracks.
Thus even after a musical career spanning 28 years Boddy still has the ability to discover new ways of expressing himself and producing an album that will delight and surprise with it’s musical inventiveness.
Parallel Worlds employ a vast arsenal of both vintage and modern analogue modular synthesisers with extensive use of classic sequencing techniques to produce a sonic world that combines modern electronica and ambient music styles with the feel of retro electronic music. His attention to detail is astonishing and his careful sculpting of sounds and textures produce an organic, ever evolving atmosphere full of half glimpsed meanings and subdued emotions.
With Shade Parallel Worlds show a musical maturity and command of sonic atmospherics that takes the music on a journey, moving through dreams and shades, aiming for the light. -din.org.uk
Recorded in England and Austria, the album contains a guest appearance by King Crimson’s drumming and electronics wizard, Pat Mastelotto.
Dervish’s sound-world is constantly evolving and always in motion. Atmospheric loops, cross-picking arpeggios, unresolved sequences that hang in the air, and some metallic-edged soloing that carves its own unique space. All add extra layers of momentum and tension to a music already brimming with invention and mystery. The muscular dynamics on this recording were achieved by acclaimed engineer Clemens Schleiwies, who translated the digital recordings back onto analogue tape. These were then run through a vintage sound desk that was used by the likes of David Bowie and Brian Eno during their legendary sessions in Hansa Studios, Berlin. This new meets old” approach with its combination of 20th Century post-production techniques and up to date tech-savvy gives Dervish some of its a freshness and undeniable presence. Across its seven tracks, Dervish pushes way beyond the usual comfort zones of electronic and ambient music.” -din.org.uk
“As unpredictable as he is prolific, multi-instrumentalist/composer Robert Rich defies expectations on a stunning new release that combines field recordings, acoustic instruments (PVC flutes, percussion), lap steel guitar, and electronics. The result is a luscious, organic mix where textures and melodies float naturally in and out of the foreground, often to the accompaniment of irregular rhythms that decorate time as raindrops do, suggesting patterns that are always slightly out of reach.” –Gino Robair, Electronic Musician
“VESTIGES began as the unspoken corollary to the strong concept album ‘What We Left Behind’ and proves even more up close and personal. While traveling forward in his own imagination to experience the earth after human extinction, Robert Rich needed to push aside the brooding sense of melancholy and unfulfilled promise that accompanies thoughts of our own end. Well, VESTIGES explores those feelings without apology, finding catharsis in the melancholy that hovers behind its predecessor … What initially starts out from a dense and dark place transforms slowly into a next level of emotive, organic-flavored and desolate soundscapes growing tenderer and reconciled as a kind of catharsis while facing the inevitable. It reaches a first highlight and transition on the mesmerizing intense ‘Spectre of Lost Light’ where things dissolve in unity in the end. Immersion is deepened again on the hypnotizing textural ‘Obscured by Leaf Shadows’ and “Equipoise and Dissolution”. Both velvet aural perfumes feel like a hallucinogenic and surreal desolate journey beyond. Toward the end, the solitary journey we all have to make seems to dwell on effortless, descending imminently into far-off, misty borderlands and ghostly plains on ‘Anchorless on Quiet Tide.’ It was no repose or release I felt at the end but a brooding vast journey of darker sonic surrealism carrying on elsewhere. It makes VESTIGES an in-depth and most compelling listening experience for all of us confronted with reality and what lies beyond.” –Bert Strolenberg, Sonic Immersion
Robert Rich & Markus Reuter are well-known for their many musical journeys – from the back of beyond to the brink of the mainstream. On Lift a Feather to the Flood (66’00”) they mainly explore tonality, and many of its subtle shades and moods. With Rich at the grand, and Reuter breathing out atmospheres and textures from his touch guitar and synth, this duo realizes eight subtle thought zones meant for pondering and questioning – more so than assurance and confirmation. On Lift a Feather to the Flood we do find the dignified, stately procession of reverberant piano notes walking thoughtfully through a cloudy haze of digital mist. But the most potent pieces are made with an ear for light, motion and surface – compositions that we must reason our way through. It is in these deepest moments that we may feel this album’s personal tone. As they work in this unique frequency, using melody and harmony likes signs and symbols, Rich & Reuter lean into the Avant-Garde. Locating tone is their mission, and the production of these rarefied ambient zones touches a distinctive, inquiring energy, and maybe even a bit of our fear of the unknown. This work does seem to be searching, just for the stimulation of it – with Rich & Reuter sharing their deep wondering about music, humanity and life. This duo knows about this music’s secret mind, and in their dreamy, drifting, lulling, pulling sonics, we approach something like the actual flow of consciousness. –Chuck van Zyl/STAR’S END 18 May 2017
“I am deeply inspired by the scientific forays helping us to discover habitable planets besides earth, showing us that we are almost certainly not alone in the Universe. I feel wonder at our efforts to place our precarious existence into the context of this 13.8 billon year old reality, and at our model-building nature, trying to understand the shape of space and time. As I sought inspiration for this music in the realms of physics and cosmology, I found that the concept of the Anthropic Principle helps to connect my sense of wonder with the scientific curiosity that keeps us doubting what we think we know. The Anthropic Principle observes that our particular universe is well suited to evolve consciousness within it, as evidenced by the fact that we exist. As we look within our own consciousness, we find our place in this immensity, as an eye of the universe observing itself. This doesn’t place humanity in a special central position, but does make note of the surprising complexity of our existence. As we proceed to undermine the dynamic balance that helped us evolve on this Eden Earth, putting our own future in doubt, we should pause to understand the miracle that allowed us to exist at all.”
Hypnos is pleased to collaborate with Robert Rich on this deluxe reissue of Rich’s out of print classic ambient drone work. Originally released on cassette individually three decades ago, Trances and Drones were later released together on double-CD by Extreme (1994) and Release (2000).
Our new edition, designed to be the ultimate archival version of an essential ambient/drone classic, includes a beautiful 6-panel digipak with 8-page full-color booklet insert.
We’re very pleased to make available this archival 2CD digipak reissue of two of Robert Rich’s earliest albums, Sunyata and Inner Landscapes. Both albums were originally released on cassette, then issued for the first time on CD by Hypnos in 1999-2000. Two classic Robert Rich albums together in a deluxe package including 2CDs, 6-panel digipak and 8 page booklet insert.
Of this new release, Robert says:
Three decades after the release of my early works “Sunyata” (1982) and “Inner Landscapes” (1985), we created an archival edition with the help of Mike Griffin at Hypnos, who sponsored the first CD re-issues of these albums back in the late 1990s. After those pressings sold out, we decided to wait before bringing them back, assuming that the interest in physical media might be diminishing in favor of downloads. As it happens, people still express interest in getting a beautiful artistic package holding music that somehow stays relevant after all these years.
Organic, lush and sensual, Robert Rich’s first solo studio album in three years seductively blends languid polyrhythms with influences as diverse as South Indian Karnatic music, post-rock, jazz, and minimalism.
Pushing the boundaries of Robert’s melodic world-fusion vocabulary, such as on Seven Veils or Propagation, Ylang blends Rich’s expressive steel guitar, shimmering organic electronics and yearning flute melodies with influences as diverse as south Indian Karnatic music, pulsing minimalism and pensive jazz; while its deconstructed drums and blurry guitar feedback might feel at home with Sigur Ros or Bark Psychosis.
On his newest CD, Electric Ladder (2006), Robert Rich finds a new voice for the vibrant interlocking melodies that characterized his works such as Numena, Geometry and Gaudí.
With its seamless blend of analog modular synthesizers and acoustic tonalities, Electric Ladder weaves a hypnotic spell – lush, ecstatic and seductive. Its shimmering geometric lines grow more sharply etched with the clarity of justly tuned instruments and the intelligence that pervades Rich’s compositional vocabulary.
Robert’s second self-released disc (following last year’s well-received Temple of the Invisible) is a recording of a 2003 Denver concert — ambient and atmospheric Rich sounds, similar to the Humidity release on Hypnos.
This 74 minute live recording documents an entirely improvised concert in Denver CO, on Saturday July 26, 2003, with an intimate audience who came prepared for anything. With a thunderstorm forming outside, breaking to a peak mid-concert, this improvisation refered directly to the recent weather I had experienced on tour that summer. Below are two journal entries that might flesh out the meaning of the cover artwork, visually interpreted by John Bergin.
While better known for his electronic textures, Robert Rich often includes piano solos during his live concerts. Open Window documents his improvisational approach to acoustic piano, with influences ranging from Alan Hovhannes, G.I. Gurdjieff and Erik Satie to Terry Riley and Keith Jarrett.
Rich chose to record Open Window on his own 1925 vintage A.B. Chase baby grand, an instrument with a more intimate sound than a full-size concert piano. Over a period of two months, he kept a daily schedule of piano improvisation, with microphones set up to record at all times. The pieces selected here reflect special moments during this concentrated period. These were the moments when effort vanished, and the music seemed to write itself.
“T.A.C. sonic trip goes on through unexplored territories, forcing the borders between electronica and new psychedelic soundscapes, making room for gentle ballads merciless deconstructed …Enter now T.A.C.’s surreal and swirling world. The tribernetic shamans are back…” -soundohm.com
Thirty-year veteran of the Italian underground music scene, Francesco Paolo Paladino (A.T.R.O.X., The Doubling Riders, Nosesoul, Alio Die), offers his latest multimedia solo extravaganza to an unsuspecting public. Musically, The Son of Unknown Fish is cinematic, visceral and thoroughly engaging. By weaving spoken word elements with prog-ish compositions, Aaron Moore’s soundtracks from Paladino’s short films and found sound experimentation, Paladino tells a Darwinistic autobiography, a celebration not only of his life, but of humanity in general. As the tracks seamlessly progress, multiple moods unfold, from triumph to darkness and consistency to confusion. It’s Fellini via Instagon: unusual, provoking, fascinating. The DVD, on the other hand, reveals Paladino’s visual persona. Ranging from music videos assembled from public domain movies and NASA films to the aforementioned short films, which feature a woman in a giraffe mask playing with a weird rubber ball, they complete the full, albeit head-scratching, portrait of an artist whose work is remarkably unique. Though Francesco Paolo Paladino’s piscine heritage may be a mystery, he is proud of it nonetheless. Join him in a toast to, not only his, but all our ancestors and learn to breathe through gills again.
MORAINES II is a radical re-working of the limited cdr release MORAINES. The original recordings have been augmented, re-worked and newely mixed into an entirely different piece of music. The final result is far heavier and more substantial work that creates a light and dark relationship with the original release and is much more than a simple ‘remix’of Moraines. Andrew Liles also contributes a track that takes elements and unique contributions to twist the work into his own personal sound world.
“Gianluca Becuzzi, for the first time, presents his work under his birth name, confining the Kinetix as an extension of his name. The Tuscan sound-artist focuses his research on electro-acoustic sounds, livening ‘Memory Makes Noise’ with throbbing concrete noises, material manipulations and deep environmental reverberations.” -coldspring.co
Storms of cosmic energy, boiling and gurgling electronic fluxes, sonic masses made of monolithic and impenetrable drones, visions of smoky afterdeath landscapes, scorching and infernal… A neverending tunnel with no way out, a sense of deep anguish, of desolation and resigned impotence that lead the dark journey from the beginning to the end of this hallucinatory path. -Silentes
Extended sonic fluxes of synthetic nature mixed with delicate acoustic and electric guitars chords and riffs, crowd noises, indefinite and fading melodic spots of unknown origin, feedbacks, echoes, pulsations, vibrations, cracklings, rustling waves in continuous movement… But also sudden pauses, unpredictable and improbable inserts of folk blues radio transmissions, crystal clear water sounds, static, wrapping and dramatic electronic weaves, metallic tickings. An extraordinary range of sounds and atmospheres for this new, challenging and really particular experimental-explorative project by Stefano Gentile and Gianluca Favaron.
Seven ‘rooms’ described through the visual essence of sober and linear photographic black and white images, and through sonorities based on whispered and discrete synthesis, often bordering on silence, violated by occasional harshness, chimes of plucked strings, hissings, cracklings, electrical tensions, gurgles and digital creaks. An intimate and introspective path, through long and deserted corridors, entering spacious and bright rooms surrounded by white large walls, walking on reflective polished floors, cold and aseptic just like the sounds that Gianluca Favaron and Stefano Gentile chose to fill with vibrations of their spaces and architectural forms. Ltd x 300 hand-numbered copies in an outsize 6-panel sleeve, including a unique slide with each copy. -coldspring.co.uk
Deep and wrapping digital soundscapes, dotted by micro-noisy granular material, resonant fields where time and space humble themselves in a single perceptive continuum. Contemporary, abstract, minimal, cold, intense and evocative drone music. -soundohm.com
Double-CD. KINETIX is Gianluca Becuzzi, electronic composer and sound artist active since the first half of the 80’s. He writes: “The artistic production of KINETIX is characterised by a strong experimental imprint, by the interest into the expressive possibilities offered by the digital technologies and by a clear aesthetic inclination towards minimalist forms and micro noises/sounds.” (from the website) Really, the music sounds like a study about a representational work of minimal art. The first CD includes 9 pieces dealing with volume of sound, time and frequencies to underline the relationship between physical space and acoustic space. Clear digital signal-buzz changes with wide open resounding drones evoking superficial sounds and three-dimensionally impressions. The 2. CD shows very reduced sounds conceived for a sound installation. Only the room is the interpreter. High frequencies circle abstract noises, playing with silence.”
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