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Iyou can downlaod the basic koan generative software for free!& Thomas Koner's Kaamos & Daikan also&Jon Hassell's possible musics vol 1 with eno, and 'power spot'hmm loveliescrushing 'glissceule' a cross between cocteau twins and thomas koner.& itom heasley's website he plays his tuba through delays and reverbs and it's way too good.and zoviet france: norsch, mohnomishe, eostre, shouting at the ground, just an illusion, loh land - i suppose anything of theirs really I don't have it all there is too much of it but it's so primevally monged. Maybe the 3 cd popular youth music set is the best place to start i dunno. 'Loops Over Land consists of about 50 min. Of loops produced using an analog reel-to-reel tape deck and an analog tape delay system (provided by Neil Rolnick). The loops were constructed using random 'scissors clips' of Mahler's 5th Symphony and thus reflect the pastoral feel of his original composition. Some of what sound like drum beats in the loops are actually sloppy splices bathed in reverb. Production of the loops happened over the course of 2 days while I was confined to my apartment dodging an enormous snow storm.
During these days of looping and confinement, I listened as deeply as possible to the sounds and envisioned large circular loops of light slowly turning over the landscape. The landscapes themselves were of lush green fields and hills dripping in recent rain while the loops shimmered gold each holding their own shape.
Loops Over Land continues what I have been calling since 1987 'image drones.' Image drones are drones that are meant to evoke a very specific image for the listener. I also consider these recordings to reflect my interest in 'romantic structuralism,' a term coined by filmmaker Ken Jacobs. It seems illogical to bring the theories of structuralism and romanticism together (this was the seed of the split between Boulez and Stockhausen). However, the power of the 'structuralist activity' (see Barthes) lies in the possibility of revealing hidden functions and existing structures.
The function of tonal materials in the works of Mahler were intended to induce emotive states in the listener. What I have done is isolated 'tonal moments' and made manifest their explicit function. The loops of Loops Over Land are loops of emotion embodied in the traditional form of minimalist composition.
Will the loops always evoke the same feeling in every listener? I believe they will come close, at least to the Western ear.' -Andrew Deutsch. /This is the album that began the genre of 'New Age' Music, in 1975, along with Steven Halpern's 'Spectrum Suite'.This can be thought of as a sonic journey through a great many realms - from etheric tropical to inter-planetary - great for 'consciousness-travelling' via sound.This album marks the very beginning of Iasos' recording career.
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It is a cd version of the original record album, as well asthe bonus track: 'Angel Play'.Designed for focused listening - definitely not as 'background music'.New Age Journal'Iasos is a 29 year old musical genius. While other musicians have taken cracks at creating what might be called celestial music, Iasos has perfected the art. 'Inter-Dimensional Music thru Iasos' does point to a previously unheard musical wavelength. An excellent vehicle for travelling toward higher planes of consciousness.
In this newly developing form of Space Age/New Age music, 'Inter-Dimensional Music thru Iasos' has set the standard to which others must aspire or from which they may depart.' (Peter Simon, 1975)New Age Retailer magazine:'When I put on his Wave 1: Inter-Dimensional Music, I thought I'd heard nectar from heaven.' (Carol Wright, July 2001). Ill try 2 remember 2 upload it when i get home but srsly bro u shld check outArmed with four 8011 DPA hydrophones, DPA 4060 omni mics, a Telinga parabolic reflector mic and a Sound Devices 744T digital hard disk recorder, Jana Winderen studies and records wild places which have a particular importance in our understanding of the complexity and fragility of marine ecosystems.The recordings were made on field trips to the Barents Sea (north of Norway and Russia), Greenland and Norway, deep in crevasses of glaciers, in fjords and in the open ocean.
These elemaents are then edited and layered into a powerful descriptive soundscape. The open spaces of Greenland, northern winds, ravens and dogs in an icy landscape provide the setting for these haunting but dynamic pieces.
Sounds of crustaceans, fish such as cod, haddock, herring and pollock recorded as they are hunting, calling for a mate or orientating themselves in their environment, are all included in the mix. The result is a powerful, mesmeric journey into the unseen audio world of the frozen north. F4rish has been a Weather Channel music staple for over a decade. His music has been an integral part in giving The Weather Channel (TWC) a musical identity.3 Many of F4rish's works can be heard on TWC's Local on the 8s. One of his songs, 'Holding Hands' is featured on The Weather Channel's CD released in October 2007, The Weather Channel Presents: The Best of Smooth Jazz. This compilation climbed to the No.
1 on the Billboard Jazz Album Chart. Farish's work with on TWC led to the channel commissioning an original score/theme for their primetime TV show 'Storm Stories'.
Love the sealsself-pedant mePermalinkrecording of Antarctic Waddell Seals. Different recording than Douglas Quin's 'At The Sea Ice Edge'.― Milton Parker, Wednesday, 10 December 2008 23:16 (1 year ago) Permalink^ awesomethese or similar were featured briefly in encounters at the end of the world― sleep, Thursday, 11 December 2008 01:08 (1 year ago) Permalinkthey just reused Quin's recording for the Herzog soundtrack instead of doing new location recording.there are so many seals in the Quin recording, their descending whistles almost form a Shepard's Tone, sounds more like a multitracked modular than anything acoustic (i.e. It's been in every one of my DJ sets for the last two years, it goes with everything).
It's a huge relief to have another recording to compare it to, on this one you can almost take this for something that actually happens― Milton Parker, Thursday, 11 December 2008 01:41 (1 year ago). From his desolate arctic abode, a man once at home in the cities of our modern world has thrown his previous life away in search for the obscure splendor and natural desolation of his newly adopted homeland. Dan Quin has spent the last 10 years of his life mapping & mastering the animal & natural world of his promised land, the bottom of the earth, the South Pole, Antarctica, The End of the World-and apparently producing some of the newest in dark analog driven techno & house. Once a respected reporter for a prominent U.S. Nature magazine, Quin went A.W.O.L. While on assignment documenting the mating habits of seals, only to reemerge as the founder of the 1st whale riding championship in history & the worlds only national liberation campaign for an unclaimed natural territory.
An anti-social Steve Irwin with the heart of a lion and the cold skin of his beloved sea friends, his reputation among the few locals as a true hero & devoted follower of his adored native soil has earned him the title of duke of whales, and his presence, if not fest physically on the land due to his reclusive demeanor, is certainly felt spiritually as the saintly father of the region. Rumor has it that Quin was not seen for 6 months away from his arctic estate, apparently so entranced by the sea cries of his beloved seals that he was nearly lost in his own solitude, going on to record the beautiful cries that haunted him for so many nights. Determined to create what he called an artistic testament to the great Antarctic expanse, Quin employed the recordings on his 1st 12 release, the haunting and epic At The End of the World. We can only hope he continues to labor away in his igloo of inspiration, hearing further calls of primitive encouragement and continuing his crusade to bring the beautiful silence of the arctic to our warm & ready earlobes. /Rutman's solo Steel Cello & metal ensemble records are amazing but usually a little more active / dissonant listening - this is a collaboration with an electronic producer who doesn't synth or reverb out the acoustic steel sound, just kind of edits / tailors the most consonant moments into more of a nighttime listenMutant Sounds has two of Rutman's more intense / unedited steel cello albums - I'm a big fan and I'm a little confused I hadn't heard about this one until now, it does have kind of a silly title. That cover is nicea few new and old things i've been playing lately:helm - to an end lpdark ambient in a In The Shadow Of The Sun styleharold budd/simon raymonde/robin guthrie/elizabeth fraser - the moon and the melodiessounds exactly how you'd expect it to, budd brings the delicate arpeggios and cocteaus bring the swirlalva noto - xerox vol. 2slept on this for a bit but it's seriously amazing, among the best ambient of the 00skeith fullerton whitman - disingenuitydeep modular bubble bath.
Xp Read an interview with Brock Van Wey the other day about that record, kind of a bummer really:Can talk about the quote on your album, “We all die alone, but some make it their last work of art”. What is its source and effect on your inspiration for this album?Its source is actually me. I would say it very much relates to this idea of how after you’re gone, others’ memory of you in their lives will intertwine with the story of their own lives, no matter to what extent. For me personally, the most beautiful way this can be achieved, at least in my ideal, is to somehow know the end is near, and to silently disappear to spend those last moments completely alone, thinking back on the life you lived, and then just vanish as easily and suddenly as you appeared.This has always been an obsession of mine, but it had lay dormant for a while until one day about a year ago I asked someone what their ideal way to die was, and they answered very matter-of-factly, showing they had thought about it many times, that they wanted to die alone in a place no one had ever been. I thought that was such a beautiful answer (coupled with the fact it came from the mouth of someone around 19 years old, which was extremely unexpected) I honestly shed a tear, and every time I even think of it, including now, I do the same. Quite frankly, to me, even the thought of such a concept is truly a work of art.No matter how many friends you make, how much your family loves you, or anything else that we arbitrarily attach to the meaning of life, we were intrinsically born into this world alone, and we will leave it alone.
So to me, embracing that fact, and seeking to make that a time of beauty, makes much more sense than this absurd idea of being surrounded by loved ones etc. What possible good does that do? To me it’s just another attempt to distract ourselves from the inevitable, even when it’s weeks, days, or minutes away. I’d rather spend that time finishing the last few sentences of my own story on my own, rather than making others fumble through them on my behalf.Basically the idea for the album, its title, and that quote all came about during an extremely low point for me, during a pretty much crippling depression I experienced when first moving back to China, when I was experiencing a loneliness that was really beyond all description.
My mind being the tortuous Moebius that it is, I began to obsess on the thought of not only how truly alone I was, but the fact that I could easily disappear or meet my end and no one around me would truly care – it was the closest I had ever come to that point of being alone I had previously dreamed of as the perfect way for it all to end. And the lowness I felt, quite honestly, made me care less by the day as to whether the next day was the last. In fact, I reached one day where I literally didn’t care at all.I don’t know what happened, but I all of a sudden decided to take that crushing weight and put it into music. I think quite honestly, it was a sort of last-ditch effort to see if I could feel something again. It wasn’t even depression anymore. I had gone numb. So thought the only thing I could do was attempt to put the experience to music, to see if I could come out of the tailspin by talking about it then only way I know how – with myself.
It was the first time I had touched music since moving across the Pacific, but it seemed like the perfect time to start, to try to make something constructive happen from what I was fairly certain was a depression that might consume me.Though from the title of the album to those of the tracks themselves, I think it’s fairly obvious how I was feeling at the time, but what I wasn’t expecting was the beauty that ended up coming through in the tracks (at least I feel it, I can only hope others do too). I think it’s the most overtly sad album I’ve ever made, but as I progressed through it, it began to take on more and more beauty along with the sadness, and before I knew it, it became as much a statement about the beauty of life as much as its futility. And really, I think it’s embracing both that futility and beauty, irrevocably intertwined, that can bring about that one last work of art – one’s ability to make that last stroke on the canvas of their life, alone, just as they were when they made the first. So there's this semi-obscure ambient/drone album that I used to love and I can't find it or remember who it was.I think the whole album was only three long tracks or so and it sounded like a barge slowly scraping against an iceberg.It was very sludgy, almost like Nadja but no drums and deeper and lo-fi(you could hear the thickness of the tape, not a lot of high end) and it felt like it was maybe an 80s cassette release?Anybody with any idea?
I think I might've read about it as a recommendation from Milton or another old school noize board dude. Via ned and whiney, red alert, red alert:Environments is a historic catalog of long form field recordings created for the way you live. Whether you need to work, meditate, sleep, or any other use, Environments is the only ambient sound app based on extended recordings created in the 1960s and '70s on analog tape. Environments began as an unprecedented series of vinyl records, garnering widespread acclaim and selling millions of units. Now Environments steps into the mobile age as an invaluable and unique sonic tool for the way YOU live.
No internet connection required—all recordings are part of the app. 22 fully remastered long form analog recordings, most 30 minutes or more. Not short loops, not white noise— Environments live and breathe like nature itself. Simple, intuitive navigation. god this is so perfect. I hope it doesn't preclude a higher quality reissue program at some point; Teibel had so many unreleased Environments projects in the can I've been hoping could see the light as bonus material, but this app is just the perfectly functional way to present this material. Tintinnabulation & Intonation forever.a lot of my sleep listening is increasingly handled by the phone via a digital dock with optical out, in the past either extended playlists or 10 hour youtubes, but looking forward to more people experimenting with generative apps like Eno's Reflection or this - /.
Just a head's up that the new Light in the Attic comp is out:Kankyo Ongaku: Japanese Ambient, Environmental & New Age Music 1980-1990it's kind of misleading because it's up on spotify and bandcamp, but only 10 songs. The physical release has 25 songs. I feel like the bandcamp page should mention this - it's a really good incentive to purchase the physical version!i'm happy to see that it leads off with a track by Satoshi Ashikawa, whose Still Way I have been obsessively listening to for the last month or two (or longer? How long has it been?). Still Way was his only released album, but he has tracks on other comps of the era that i have never heard, including the song included on Kankyo Ongaku, 'Still Space'. Similar to the first Light in the Attic ambient comp (I am the Center), it's a mix of well known names and obscure.
In this case, you can find familiar names like Hiroshi Yoshimura, Takashi Toyoda, YMO, Haruomi Hosono and Sakamoto solo tracks, as well as a bunch of people i've never heard of.light in the attic's shipping center is down until March 1, but i'm excited to get it in the mail soon! I also picked up the second ambient comp (The Microcosm: Visionary Music of Continental Europe, 1970-1986) while i was at it. Karl have you spent much time with yours? So far this is the only ILX mention I see.i've listened a few times, but i wasn't following along in the booklet/tracklist so i can't remember the standout tracks offhand. I mentioned it upthread, but the lead track is by Satoshi Ashikawa, whose album I'm completely obsessed with.in general, though, i'm less taken by this new comp than the last two (I am the Center and Microcosm). I think it's because environmental music tracks on the latest one really reach their full potential when heard in the context of the full album by the respective artist, rather than on a comp with other artists. Environmental music like this thrives when it's allowed to settle in a particular mood for long stretches of time, for hours, maybe even on repeat.
Just when i start to settle into the Ashikawa track that leads the comp off, it switches to the next thing, and the process repeats itself. Bless you guys. Just a head's up that the new Light in the Attic comp is out:Kankyo Ongaku: Japanese Ambient, Environmental & New Age Music 1980-1990just finished listening to this (the full version) and it's really nice. Love comps like this where there's a lot of variety but you don't exactly feel like you're listening to a different artist on each track.probably doesn't mean anything to you lot but it's currently bolded on RYM and has over 1,000 ratings, that's pretty significant for something that I imagine would've gathered zero attention five years ago. Daniel Schmidt In My Arms, Many Flowers Recital DL/LP While deeply learned and eminently serious, the American gamelan music documented on In My Arms, Many Flowers is somehow quintessentially Californian. A student of Javanese gamelan at California Institute of the Arts, Daniel Schmidt and some of his fellow travellers wanted to begin composing for the instrument in the early 1970s.
As there was no authentic gamelan accessible, Schmidt determined to make his own, forging from aluminium instead of bronze, and putting together a group of players who had to be trained to play the new instruments as they were being developed. It was an experimental process, and the result was the Berkeley gamelan – the name referring to both the instrument and its attendant players – with which the four tracks presented here were recorded between 1978–92. Of building the first instruments, Schmidt simply said that they sought not perfection but “the general sound of gamelan”. “Our instrument designs and our compositions evolved hand in hand, and our products became increasingly idiosyncratic,” he writes in the sleevenotes. “I suppose American Gamelan was much like the rest of our country. Everyone did things their own way.” He did not compose in the traditional Javanese style, looking instead to the contemporary music that excited him, especially minimalism; and although he says that the music he created “is outside our Western experience for the most part”, it certainly seems of a piece not only with much 20th century avant garde composition, but perhaps even more so with the new age sounds that formed a background hum in the Golden State at the time.
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“And The Darkest Hour Is Just Before Dawn” opens with a cycling string samples, before the gamelan enters with a slow melody at first, then with phosphorescent bursts of ornamentation; on the percussive title track, the ringing of the gamelan is joined by the plaintive sound of a rebab, intended by Schmidt to signify a bird that “calls from far away”. “Ghosts” employs traditional gamelan techniques to produce rapid passages of interplay, too fast for a single player to execute; the final track “Faint Impressions” is a hypnotic study in layered overtones and decay. All four compositions are annotated extensively and rather esoterically by Schmidt, and unusual looking sheet music is also available: wayward scholarly trappings for a beautifully pure-spun product of the West Coast dreamtime. – Francis Gooding.
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Pyrolator was the solo guise of German synth experimenter Kurt Dahlke, best known as a member of the groundbreaking (if underexposed) post-punk/synth pop band. Like that group, Pyrolator was chiefly inspired by the synthetic sleekness of and the dissident surrealism of, fitting squarely into the emerging German new wave movement. However, Dahlke also drew from the experimental side of post-punk, employing proto-industrial beats and tape collages for a distinctly off-kilter brand of electronic pop.Dahlke began his career as a charter member of, helping to found the Ata Tak label that issued their first album, but left that group very early on to pursue other projects. He quickly formed with Frank Fenstermacher and Moritz 'RRR' Reichelt, but actually beat his new band to the punch by issuing Inland, his debut album as Pyrolator, on Ata Tak in 1979. Using found environmental sounds and implicit social commentary in place of lyrics, Inland received positive reviews in Germany and earned Pyrolator a cult following. The 1981 follow-up, Ausland, was even more acclaimed, expanding Dahlke’s audience, and got some positive notice in England as well. Third album appeared in 1984, the same year Dahlke teamed up with A.K.
Klosowski for the groundbreaking sampling experiment Home Taping Is Killing Music. Meanwhile, Dahlke continued to record extensively with, and also served as a producer for numerous other German artists. His final album as Pyrolator arrived in the form of 1987’s Traumland, although he did team up with Linda Sharrock and Frank Samba for Every 2nd, a collaborative album of music for the German Olympic pavilion at the 1988 Seoul Games. A similarly conceived single, 'Ficcion Disco,' appeared in 1992.Other than that, Dahlke stayed with into the mid-’90s, and also continued his production work. When disbanded, Dahlke and Frank Fenstermacher reteamed under the name, issuing the first of several albums in 1996. Still involved with Ata Tak, Dahlke also served as producer and remixer for contemporary electronica artists, including, and, among others.UPD:From wiki: When Pyrolator’s suffering from led him becoming devoted to, the group almost broke up. Nevertheless they released yet another album, entitled Die Peitsche Des Lebens in 1989, which was much less successful than their previous works.In 1992 Der Plan eventually split up.In 1993 the fake live album ' Live At The Tiki Ballroom ', which is confirmed as a studio album on their official website, was released.
Its first edition was accompanied by a mini CD, which contained ' versions' of well known Der Plan titles.Moritz R dedicated himself to painting after the group’s break up. He chronicled his experiences as part of Der Plan in the book Der Plan – Glanz und Elend der Neuen Deutschen Welle ( Der Plan – the Splendor and Misery of the New German Wave).Pyrolator and Frank Fenstermacher formed a project A Certain Frank later. They joined another German group, in 2002.Kurt Dahlke’s Acts are.