• About
  • Logistics
  • Net.Labels
  • Radio

Ambient Landscape

~ Digressions & musings on Ambient, Electronica, Mixing & the Ether

Ambient Landscape

Monthly Archives: April 2017

King Crimson, Fripp & ‘Heroes’

27 Thursday Apr 2017

Posted by gabulmer in Mixing, Post Rock, Rock

≈ Leave a comment

King Crimson performed Heroes at the Admiralspalast in Berlin as a celebration, a remembrance & an homage. The concert was thirty-nine years and one month after the original sessions at the Hansa Tonstudio overlooking the Berlin Wall. This is released in the Fortieth Anniversary year.

Robert Fripp
Wednesday 22nd. February, 2017; DGM HQ, Wiltshire, England.

Track Listing:
1 Heroes
2 Easy Money
3 Starless (edit)
4 The Hell Hounds of Krim
5 Heroes (radio edit)

DGM and Panegyric are proud to present for pre-order, King Crimson’s Heroes EP – recorded live on the European tour of 2016. The title track sees Robert Fripp reprise the unforgettable guitar role he created for the original David Bowie studio recording in the same city in 1977, particularly poignant in the year of Bowie’s death. Also featured on the EP are a ten minutes recording of Easy Money (Paris), a song that varies in length and solos from night to night and is always a fan favourite, an edited version (featuring the “song section”) of Crim Classic Starless often a set closer, always a stand-out moment and a recording of the three drummers’ showpiece The Hell Hounds of Krim (both from Vienna) – all previously unreleased live recordings.

The EP is completed with a ‘radio edit’ of Heroes.

A full live album, recorded on the 2016 European tour will be issued in September 2017.

Heroes_2016

Subsiding, by Siavash Amini

27 Thursday Apr 2017

Posted by gabulmer in Ambient, Classical/Neo-Classical, Experimental

≈ Leave a comment

Sort of like ambient glitch meets a neo-classical ghost…

Prominent Iranian artist Siavash Amini continues a triptych of works with ‘Subsiding’, an album of instrumental ambient drone. His most full and detailed sound to date illustrates Amini’s ability to bring together modern classical composition with that of controlled noise, granular synthesis, and atmospheric soundscape. Both monolithic and micro sound sculptures coexist within a perfect balance, a mix which makes for an all encompassing listen across the audio spectrum, funereal yet uplifting.

Complete with striking cover photography by Alex Kozobolis, “Subsiding” will be available on glass-mastered CD in digipack sleeves (run of 200) and digital formats.

credits

released November 2, 2015

All music composed by Siavash Amini
Violin, Viola: Babak Koohestani
Clarinet: Soheil Peyghambari
Strings and Clarinets Recorded at Migrain Studio by Pouya Pour-Amin

Residual Image

19 Wednesday Apr 2017

Posted by gabulmer in Ambient, Classical/Neo-Classical, Experimental, Post Rock, Tech/Glitch

≈ Leave a comment

An antique, experimental mix of mine…from 2003; painstakingly restored on a digital cutting board. I ripped the .wav files from a CD-R, imported them into Audacity & began re-segueing the tracks [Zoom in, Fade-in/Fade-out, Zoom out].

The project was driven by a question that, @ the time, permeated the minds of ALL mixers: “How does one successfully blend Ambient, Experimental, Post-Rock, Glitch & Classical onto a solitary mix?”
;- )

74:19

01 Brian Eno – Signals
02 Gustav Holst – Neptune the Mystic
03 Firmament – Pinhole View
04 Michael Griffin/David Fulton – Biometric
05 eM – Across the Milky Way (treated/ghosted edit)
06 Roland Ivarsson – Coral
07 David Fulton/Michael Griffin – Plastic & Flesh
08 Pan American  – Noun
09 Alien Planetscapes – Energy Fools the Magician
10 Robert Fripp/Andy Summers – Lakeland-Aquarelle
11 Arvo Pärt – Darf Ich
12 Jan Garbarek – Arc
13 Henry Frayne – Dog Days, part 1
14 Sinead O’Connor – Just Call Me Joe

residual-image

Specification​.​Fifteen

16 Sunday Apr 2017

Posted by gabulmer in Ambient, Experimental

≈ Leave a comment

Absolute minimal drift & drone…sparse textures & quiet embellishment…

RICHARD CHARTIER + TAYLOR DEUPREE

For this collaboration, sound artists Richard Chartier and Taylor Deupree were invited by the Hirshhorn Museum and Sculpture Garden, Washington, DC, to create a new live work inspired by the Seascapes series of renowned Japanese photographer Hiroshi Sugimoto on the occasion of his retrospective exhibition. The result is this live recording, Specification.Fifteen. This work premiered on March 30, 2006 in front of the curved panoramic window of the Museum’s Lerner Room as the sun set across the city’s skyline. Specification.Fifteen evokes the stillness and opposing yet related spaces of Sugimoto’s Seascapes, which suggest infinitesimal change and variation under a seemingly uniform surface.

Water and air. So very commonplace are these substances, they hardly attract attention, and yet they vouchsafe our very existence. Mystery of mysteries, water and air are right there before us in the sea. Every time I view the sea, I feel a calming sense of security, as if visiting my ancestral home; I embark on a voyage of seeing.
– Hiroshi Sugimoto

Lift a Feather to the Flood

13 Thursday Apr 2017

Posted by gabulmer in Ambient, Experimental, Post Rock

≈ Leave a comment

Nice sounds & atmospheres from these two…

by Robert Rich & Markus Reuter

Swimming defiantly upriver, slowly through sonic swirls,
Fractal shards and crystalline clouds. Troubled, yet calm.
An incantation to transform the luminous darkness. 

Markus Reuter has earned acclaim for his work as a composer, guitarist, guitar designer, sound designer, producer and teacher. Long-time collaborator with King Crimson drummer Pat Mastelotto in TUNER, Markus tours the world in Stick Men with Mastelotto and bassist Tony Levin. His duets with Ian Boddy have led to many respected albums on Boddy’s DiN label, while his group Centrozoon and his epic orchestral work Todmorden 513 show different sides of his maverick nature. Reuter also collaborated with Robert Rich on their previous release “Eleven Questions” (2007.)

Robert Rich has helped define ambient and electronic music with dozens of albums across four decades. He began building synthesizers in 1976, and studied computer music at Stanford’s CCRMA while earning a degree in Psychology, researching lucid dreaming. His all-night sleep concerts became legendary. Along with performing and recording, Rich designs sounds for synthesizers and media, teaches and lectures worldwide, and has mastered hundreds of albums.

credits

Released April 12, 2017
Composed & Performed by Markus Reuter & Robert Rich
16-17 January 2017 at Soundscape, Mountain View.

  • Markus Reuter: Touch Guitar, Sequential P6, looping/feedback network.
  • Robert Rich: Acoustic piano, post-processing and additions.
  • Edited, Mixed and Mastered by Robert Rich
    © 2017 by Markus Reuter (GEMA) and Robert Rich (BMI)

L – N E (a netlabel)

12 Wednesday Apr 2017

Posted by gabulmer in Ambient, Experimental, Mixing

≈ 2 Comments

Here’s a new (to me, they’ve been laboring @ the #Ambient genre for 17 years with 90+ editions!) & impressive netlabel, L-NE (sound art editions). I’m just getting to know their catalog, but have already used one of the artists (triac album | interview) in an upcoming mix.

Line

…and here’s one of their fine releases:

RICHARD CHARTIER + TAYLOR DEUPREE

For this collaboration, sound artists Richard Chartier and Taylor Deupree were invited by the Hirshhorn Museum and Sculpture Garden, Washington, DC, to create a new live work inspired by the Seascapes series of renowned Japanese photographer Hiroshi Sugimoto on the occasion of his retrospective exhibition. The result is this live recording, Specification.Fifteen. This work premiered on March 30, 2006 in front of the curved panoramic window of the Museum’s Lerner Room as the sun set across the city’s skyline. Specification.Fifteen evokes the stillness and opposing yet related spaces of Sugimoto’s Seascapes, which suggest infinitesimal change and variation under a seemingly uniform surface.

Water and air. So very commonplace are these substances, they hardly attract attention, and yet they vouchsafe our very existence. Mystery of mysteries, water and air are right there before us in the sea. Every time I view the sea, I feel a calming sense of security, as if visiting my ancestral home; I embark on a voyage of seeing. – Hiroshi Sugimoto

Iceland Symphony Orchestra ~ Recurrence

07 Friday Apr 2017

Posted by gabulmer in Uncategorized

≈ Leave a comment

Fabulous..! One knows merely from the samples that this is one you have to own…

a closer listen

A sense of wonder develops when one realizes one is listening to one of the year’s best albums.  This takes a while to solidify ~ first impressions are hard to trust ~ but by the tenth play or so, it solidifies.  While I’ve lost track of how many times I’ve played Recurrence, I’ve retained that sense of wonder.

Not that this should come as any surprise, as Recurrence has been one of our site’s most anticipated albums ever since its announcement way back on November 19.  This is the second Icelandic set from Sono Luminus this year, following Raindamage.  Recurrence highlights Daniel Bjarnason at the helm of the Iceland Symphony Orchestra, conducting pieces from Anna Thorvaldsdottir (another of our favorite composers), amiina’s Maria Huld Markan Sigfúsdóttir (last heard here on Nordic Affect’s Clockworking), Thuridur Jónsdóttir, Hlynur Aðils Vilmarsson and himself.  The album operates as a showcase for the entire nation, a gauntlet…

View original post 874 more words

elements eleganté

05 Wednesday Apr 2017

Posted by gabulmer in Ambient, Jazz Fusion, Mixing

≈ 1 Comment

Jazz & Ether-Jazz…and a [semi] return to the roots (more Jazz than Ether) of the ‘elements’ series & a look at Jazz as an ethereal/audiological force. Calling on some favorite, traditional artists (Miles Davis, Christian McBride, Sun Ra, elements_elegante_coverJan Garberek, Nik Bärtsch), some newer acquisitions (Arve Hendiksen, Teruyuki Nobuchika, the Anat Forte Trio), as well as some curves (Reto Bieri, Oene Van Geel & I-Ching), the goal was to craft a listenable & enjoyable, Jazz-oriented mix. An aural Jazz tapestry!

Tracks 2, 3 & 4 comprise a mix within a mix; with Takemitsu’s composition straddling the Metheny & Van Geel pieces.
Part 1 of 2.

79:03

01   Arve Henriksen, Eivind Aarset, Jan Bang & Tigran Hamasyan – Traces IX
02. The Pat Metheny Group – Distance (interpolating Litany for Piano)
[03. Toru Takemitsu – Litany for Piano]
04. Oene Van Geel – Hephaestus [excerpt]
05. Ryuichi Sakamoto, Alva Noto & Bryce Dessner – The End
06. I-Ching – Prayer
07. Richard Stoltzman – Serenity
08. Reto Bieri – Carter_ Gra
09. Kronos Quartet – Euphometric (1916-1919)
10. Jan Garbarek Group – Arc
11. Miles Davis – It’s About That Time [excerpt]
12. Teruyuki Nobuchika – Into The Silence
13. Anders Jormin – Matutinum – Clausula
14. Wolfert Brederode Trio – Conclusion
15. Christian McBride – Little Sunflower
16. Sun Ra – The Beginning
17. Jack DeJohnette, Matt Garrison & Ravi Coltrane – In Movement
18. Trio 3 w/Vijay Iyer – Suite for T #II: Fallacies
19. Anat Fort Trio & Gianluigi Trovesi – Not The Perfect Storm
20. Nik Bärtsch’s Mobile – Modul 8_11


Synth Musician Steve Roach on Tapping into Currents of Sound

04 Tuesday Apr 2017

Posted by gabulmer in Ambient, Experimental, Mixing

≈ Leave a comment

By Ned Raggett on March 10, 2017 | Re-blogged from Red Bull Music Academy Daily

A master of meditative soundscapes shares his creative philosophies

Following his enthusiastic interest in experimental electronic and progressive music as a young man in California in the 1970s, Steve Roach now stands as one of the core figures in the open-ended field. His daunting, astonishingly rich catalog of albums, covering solo work as well as a multitude of collaborations, ranges from cold, grim sequencer voyages through blackest space to warm, bright evocations of vast landscapes, often inspired by the Arizona desert where he and his family have made their home for decades.

While his landmark 1984 release Structures from Silence has received due praise in recent years, any number of other releases deserve recognition. His one-off collaboration with guitarist Roger King, 1998’s Dust to Dust, captures an eerily beautiful sensibility of the high desert, while the multi-volume Immersion series from the mid-2000s explores a series of detailed and sublime compositions measuring hours in length. A contrast can be found in 2012’s Back To Life, which is just as immersive but likewise feels free and open, a movement through space as much as time.

In February 2017, Roach released his latest effort, The Passing, an hour-long composition that was completed and made public on his 62nd birthday. In this career-spanning interview, Roach discusses his creative background and writing process, questions of time and language that persist in his work and advice for younger artists in the field.

If we could start with the creative impulse – what, where and when was your first sense of a particular creative or artistic accomplishment that you did in any field?

Before music I was drawn towards using my hands and painting, some sculpting and working with material. The compulsion to make something from nothing, I would say when I was a young teenager, became really at the forefront for me in terms of what I was drawn towards. I was starting to paint on my own and work with that kind of spontaneous expression with color and shape and form, in a nontraditional, completely freeform environment. I wasn’t taking classes or being instructed by anyone, I was just following these inner impulses to create something expressive.

At that time, I would say it was quite connected to a lot of time I was spending in the desert areas of Southern California, out beyond San Diego and the Anza-Borrego desert. There was something there that really opened up doors for me of this kind of space and this kind of creative process that seemed almost like a birthright, like something I was discovering through that process of doing it. Certainly early music from the early days inspired me – the early progressive music, the early music from the Berlin school, Klaus Schulze and Tangerine Dream and early electronic music, Pink Floyd of course. The longer tracks, and tracks that had no vocals and were more what you would think of as sound paintings at that time, were already lighting me up in those ways.

[That was] setting the stage for when I then would first find an affordable portable synthesizer in the late ’70s. That would have been the ARP 2600, the first full-blown synthesizer that I saw in a local store, and combined with hearing the music from Europe, that whole progression became so powerful, so appealing and almost compulsive that I had to have it – to start shifting that sense of painting and shaping and working from abstract forms into forms that seemed more architectural, but formed and shaped in a way that I was almost tasting and seeing in visual form.

I had a lot of the aspects of the arts from a painting and sculpting state of mind, but sound – once I got my hands on those instruments, it was like I already knew the process. I had this sense of, “I know how to do this.” So I continued through my own process of teaching myself how to work with it, just a classic woodshedding story where you lock yourself in your little space for as many hours of the day or night that you could.

Steve Roach & Roger King – Rain and Creosote

You’ve spoken in other interviews in some detail about tactile creation via your chosen instruments. Could you say a little more about the sense of physical approach and how you contrast it with what might be less fulfilling approaches?

It’s interesting, because I was just looking at some soft synth instruments that I was looking to explore, and I’m basically 99.9 percent a hardware instrument composer of electronic music. They have knobs and sliders and there’s a feel to them, they have a whole particular unique combination of aspects to them that you can identify with the same way a guitarist might identify with a Telecaster or a Stratocaster or whatever different guitar you’re drawn to.

But beyond all that would be the sound itself, the quality that one synthesizer at that time would make over another. The subtlety and the nuance that comes from the analog synthesizer and the analog experience is something that is the throughline through all of my work that exists all the way up to this morning, when I woke up and was carving sounds out on another hardware synth that I’m exploring and working with right now.

That connection to an instrument, where there’s zero latency and you’re not interfacing with what seems like a facsimile of a controller into a computer or something like that – they’re so sophisticated now, I know, and there are so many options there that are off the chart, and there’s a whole universe of comparisons that can be made now. But I tried to do that, and I just keep coming back – the experience of creating just doesn’t have that same kind of engagement and that same kind of flow. It’s just fun. It’s a real experience of just connecting with a synth that’s designed really well, and it has an ergonomic flow, and there’s no screen, and you’re not getting locked into the visual. You can get really lost in visual with the screen tracking everything. Then I find that you start to stop listening or hearing in the same way when you take away that element and you just are working through the sound field, meditating, staring, focusing intently on the space between the speakers with no screen. That’s a powerful place.

Just a slight, tiny little adjustment of a few different knobs can make a universe of emotionally engaged difference and perception.

I do use the computer for recording and for arranging and for building my pieces; it’s invaluable. I couldn’t imagine not having a workstation for the nonlinear approach to building these worlds that I do. But in that way, I guess the parallel would be if you’re a filmmaker, then you’re out shooting scenes of things that are happening and you’re capturing performances between actors, you’re capturing light shifting in the afternoon with some occurrence that’s happening there, and you’re completely tuned into that as the experience that you’re capturing.

That’s how I record so much of my music, is more in that context where you’re capturing a living, breathing experience that’s happening right between your very ears and in front of your eyes, and you’re shaping it and carving upon it at the most subtle level that the analog stuff brings, where just a slight, tiny little adjustment of a few different knobs can make a universe of emotionally engaged difference and perception.

So while that’s happening, I’m recording all of this constantly in the studio. A lot of times it’s being recorded as a stereo file. There’ll be maybe 30, 40 tracks up on that board. I have a large analog mixing console to go along with all the different instruments. Then the board itself becomes a palette where the artist mixes his paint. So between the paint-mixing, the levels, the synth, the dialing in and tuning of all these interrelationships between the instruments while they’re running live, then the processing, the reverb, the hands-on aspect of the board itself – I mean, the board is one massive instrument. That’s really another big piece in my music.

For the way I have evolved as an electronic music artist and what remains important to me… To start at the top, the list would be just the emotional impact of the sound, and then right there, almost at the same level, is how you’re extracting it, how you’re tuning into it with your body. If your body’s an instrument, which I feel it is for me – it’s one of the first instruments – then the tools, the surgical tools of sonic surgery, just need to be something that I have this relationship that I’ve also built and developed over almost 40 years. So all of those are important things to stay connected to and to not give up.

How does the conception of time figure into the limitations of recording technology in this sense? You’ve seen everything from the specific limits in terms of how much music can be presented from vinyl to cassettes to CDs to now the theoretically infinite space online presentation can give you. Is there a constant struggle between where and how to draw the lines, or how to act as an editor of your own work?

The dynamic of the listening process, the idea that something is going on too long or not long enough – it’s still completely as vital as ever. Now we have the ability to have basically an eternal space where I can just broadcast it out. Let’s say I’ve set up a station on one of my sites, and I can have music and dronescapes and all that sort of things just going on from here ’til the end of electricity. That’s a world that I really love to live in, this whole immersion world, and the Immersion series I started years ago really grew out of wanting to not leave the sound current. I always connect to this sense that there’s sound running in this current all the time, all around me, and I’m tapping into it, reaching and grabbing a section of it for a while and shaping it and presenting it out into a form that captures a certain limited sense of time.

Steve Roach – Immersion One (Excerpt)

Somehow the CD became a 74 minute medium, and now through different ways of presenting files, compressed or whatnot, you can have things extend for a long time or, like I say, a live broadcast of something running off into infinity. But the idea of composition and the way I work with time, and the way I work with sonic motifs – when I say “motifs” I’m moving beyond what would be a melody or a harmonic chord structure, but it’s something that’s so prevalent in electronic music, these episodes of sound that become signatures, and they can be completely abstract or completely unique to themselves. But there’s still an aesthetic to them that you can connect to and listen to and engage with. At a certain point you have to know when it’s overstayed its welcome, for example, or when something has made the statement and it needs to shift into the next place, or that sometimes something cannot sustain or breathe long enough to let you settle into the space and let your body engage with it.

There’s a big piece of the music that emerges from body awareness, and there’s the conscious mind awareness, and then there’s the subtle energy awareness of something that can play forever. I would learn early on I would have certain pieces that would be too short, essentially, and I would hear from listeners that it was too short. “I wanted to hear it for another 45 minutes.” [laughs] And I would agree with that in some cases.

But especially in the days when I was moving away from the influences of the European electronic music, I was consciously interested in shortening pieces and making a point and then moving to the next place, and evolving that to where the statement is made within a seven or eight minute space, which would be a shorter time frame when you grew up listening to 30 minute sides of an album.

Eventually I would return to the longer forms, and that’s probably what my preference is now, to have these movements happen within these longer forms to that sense of altering of time, where you’re slowing time down, where you take markers of time out of that space, where you’re in this continuous amniotic fluid and you’re almost floating in a womb-like state that’s not just ‘tape some keys down on a keyboard and then make lunch and come back.’

The sustained drone zone music, if you’re fully engaged with it, there’s a whole thing happening down at a molecular level with that stuff, way down inside, where movement and interaction and layers all work together in the way that, when you see large-scale abstract paintings that have a vibration and a frequency, there’s this compelling, magnetic quality to them that pulls you in and lets you experience yourself outside of normal perception and enhances your perception and expands your boundaries of your perception at the same time.

The new piece I just released called The Passing came together pretty quickly. I like to release a piece or do a concert or do something to mark that moment in time when I happen to have another birthday, and so this one, through Bandcamp, finishes up the thought with your sense of when something goes on too long, or “what’s the timing on it” or “too short.” It’s this theme I created in the mid-’90s for a compilation, and at that time it just felt so truncated and unrealized. It was really like a sketch that normally I wouldn’t have let out into the world. It had so much energy to it and had this emotional resonance to it that felt like it needed to just completely be allowed to breathe and develop. So it took a lot of years later, but that inspired me a few weeks ago just in terms of the emotion in the piece.

Album and song titles, by default, provide a linguistic context to your work that otherwise has no such element, in terms of there not being any lyrics. Do you struggle with the “right” titles for albums or songs, or is it more casual or random or easy than that?

I wish it was casual, random and easy. It is that, sometimes. But it’s still having a title that has a very significant and profound connection to the piece. Let’s say I’m working on a piece that’s come through just from the direct experience of all these different influences that are bringing me into the studio and creating the desire to go in this direction or that direction. It can be spontaneous, it can be completely unconnected to what I thought I was going in to do, but ultimately the titles are so important in the music in terms of the reflection that they can shine upon your perception when you hear the title and then you see the cover and then you hear the music, and then those things can work together for me.

It’s like a door that has three locks on it, and all three of those locks can have even more impact if those words resonate with the feeling in the music and the cover image is also connected congruently to that. So you think of Structures from Silence, or [1988’s] Dreamtime Return, for example, at a certain point the words will start emerging, shaping and carving the album into shape.

Steve Roach – The Return

If nothing’s come through by the time that I’m at the mastering stage, then I just put full focus on listening, sometimes all afternoon into the evening, and I just keep going deeper and deeper into the place that the music’s taking me without any engagement of technical aspects like EQ or mastering. I’m just listening to it in a way that’s active and stimulating the mythic imagination, let’s say, and letting the music take me to the places that I’m hoping that it takes the listeners to.

Sometimes it takes quite a while to birth the title after the music is complete. I’ll have that discussion with Sam [Rosenthal], who runs Projekt [Records], and we’ve got everything ready – we might even have the album cover ready to go, and there’s no titles on anything. It’s sitting there waiting for that stage. I can take it that far into the birthing process of finding that. But I’ll always have working titles, or usually have working titles or words that convey the feeling. If I’m talking to visual artists, then I’ll use those kinds of descriptions to help draw material through visually. Or else I’ll take photos myself, or do whatever it takes. Really, it’s a complete engagement, and it’s way more complex than I think a lot of people would be aware of from the outside, where they just think, “Well, he’s having fun cranking out some music, and now he’s got this album out.”

Then, the details that go in behind the scenes with the mastering and the subtlety that goes on there – I’m really having some great success working with Howard Givens, who owns the Spotted Peccary label with partners. His whole setup is ultra high-end, analog front-end mastering tools. It’s making a big difference for me. I can hear it and I can see it in the response, also. So between Howard and Sam with that end of the production, we’ve got a great team, and I’m just really grateful to be working with those guys at this point.

If a younger artist in any field approaches you and asks for advice or even a simple suggestion about what to keep in mind for the future, what would be your response?

I would probably first ask them questions about their creative process to get a sense of what it is that they’re drawn to, what they’re aiming to express. Then I would have to ask them if they’re coming to me and they’re interested in what I’m doing, regardless of their age or my age, or just the art form itself. I would share the techniques that we’ve talked about in this interview thus far, and I would talk about their connection to yourself as a person before you approach any instrument or any tool. It’s just getting your intention and your clarity and getting a wide view of what it is you’re wanting to express.

Even if you don’t quite understand it enough to articulate it with words, finding that emotional landscape to draw from, and then trying to stay connected to what really feels right for you, for the artist, rather than being seduced by all the newest, most recent innovations in technology or the flavor-of-the-month stuff. I know it’s quite affordable, and you can build a whole studio’s worth of material inside of a MacBook Pro, but it doesn’t take much to bring in a few hardware pieces that just give you that hands-on subtlety. Really listen and draw from the things that inspire you. It could be musically or non-musically, but find the pulse inside of that.

I just also remind younger listeners when they respond to some of my classic titles like Structures or Dreamtime that those were all created on what would be considered very archaic, very simple equipment at that time. There’s this sense that I wanted to defy the technology all the way along. It really didn’t matter what I was using; I would use things that people would come back around and say, “You used that? To create that? Recorded that on a four-track or a cassette player?” I have a lot of pieces that were recorded on a Nakamichi cassette player, and captured at that level. That’s basically the multifaceted question towards a younger composer of today.

Extreme Environments, by Si Begg

01 Saturday Apr 2017

Posted by gabulmer in Ambient, Experimental, Mixing, Tech/Glitch

≈ Leave a comment

A Drone/Glitch mashup, released January 8, 2014. What I did with this was to segue tracks 1 through 8 via Audacity for a glitch-stream on my phone via ear-buds – very nice: at times both delicate & caustic. Mmm…

Ambient Music Blogs

Categories

  • Ambient
  • Classical/Neo-Classical
  • Experimental
  • Jazz Fusion
  • Mixing
  • Noise
  • Post Rock
  • Rock
  • Tech/Glitch
  • Uncategorized
  • Vinyl
  • You.Tube

Follow me on Twitter

My Tweets

Blogs I Follow

  • Joachim Spieth
  • Greg Bulmer's Artwork
  • Dean Frey Leadership and Life
  • Ambient Landscape
  • Weird Jazz Collective
  • TEAM Centurion
  • LIFE and Leadership by Chris Brady
  • Soul Caffeine
  • Team AO

Recent Posts

  • Raise your glass high!
  • Break, by COREY FULLER
  • B O W I E [2023]
  • Fridman Variations by Stephen Vitiello & Taylor Deupree
  • Domes, by Heather Woods Broderick

Blogroll

  • A Strangely Isolated Place
  • Ambient Music Collective
  • Ambient Music Guide
  • Ambient.Blog
  • Art of the Mix
  • Data Obscura
  • Disquiet
  • ECM Records
  • ello ambient
  • eno shop
  • Framework Radio
  • Headphone Commute
  • Hypnos
  • Hypnos blog
  • Line Imprint
  • Make Your Own Taste
  • Mixcloud
  • Nova Future Blog
  • Oktaf Recordings
  • Ontario Street
  • Phonaut
  • Relaxed Machinery
  • Steve Roach
  • Tonefloat
  • Toneshift
  • Tonsturm
  • Twitter
  • WordPress Planet
  • Zoviet France @ Podbean

Meta

  • Register
  • Log in
  • Entries feed
  • Comments feed
  • WordPress.com

Archives

  • June 2022
  • May 2022
  • April 2022
  • March 2022
  • February 2022
  • January 2022
  • December 2021
  • November 2021
  • October 2021
  • September 2021
  • August 2021
  • July 2021
  • June 2021
  • May 2021
  • April 2021
  • March 2021
  • February 2021
  • January 2021
  • December 2020
  • November 2020
  • October 2020
  • September 2020
  • August 2020
  • July 2020
  • June 2020
  • May 2020
  • April 2020
  • March 2020
  • February 2020
  • January 2020
  • December 2019
  • November 2019
  • October 2019
  • September 2019
  • August 2019
  • July 2019
  • June 2019
  • May 2019
  • April 2019
  • March 2019
  • February 2019
  • January 2019
  • December 2018
  • November 2018
  • October 2018
  • September 2018
  • August 2018
  • July 2018
  • June 2018
  • May 2018
  • April 2018
  • March 2018
  • February 2018
  • January 2018
  • December 2017
  • November 2017
  • October 2017
  • September 2017
  • August 2017
  • July 2017
  • June 2017
  • May 2017
  • April 2017
  • March 2017
  • February 2017
  • January 2017
  • December 2016
  • November 2016
  • October 2016
  • September 2016
  • August 2016
  • July 2016
  • June 2016
  • May 2016
  • April 2016
  • March 2016
  • February 2016
  • January 2016
  • December 2015
  • November 2015
  • October 2015
  • September 2015
  • August 2015
  • July 2015
  • June 2015
  • May 2015
  • April 2015
  • March 2015
  • February 2015
  • January 2015
  • December 2014
  • November 2014
  • October 2014
  • September 2014
  • August 2014
  • July 2014
  • June 2014
  • May 2014
  • April 2014
  • March 2014
  • February 2014
  • January 2014
  • December 2013
  • November 2013
  • October 2013
  • August 2013
  • July 2013
  • June 2013
  • May 2013
  • April 2013
  • March 2013
  • February 2013
  • January 2013
  • December 2012
  • November 2012
  • October 2012
  • September 2012
  • August 2012
  • July 2012
  • June 2012
  • May 2012
  • April 2012
  • March 2012

Blog at WordPress.com.

Joachim Spieth

Greg Bulmer's Artwork

Dean Frey Leadership and Life

In pursuit of excellence

Ambient Landscape

Digressions & musings on Ambient, Electronica, Mixing & the Ether

Weird Jazz Collective

Jazz is the Teacher - Funk is the Preacher

TEAM Centurion

lead from the front

LIFE and Leadership by Chris Brady

Soul Caffeine

Christian inspiration and encouragement to give a jolt of caffeine to your soul.

Team AO

We started and we will finish

Privacy & Cookies: This site uses cookies. By continuing to use this website, you agree to their use.
To find out more, including how to control cookies, see here: Cookie Policy
  • Follow Following
    • Ambient Landscape
    • Join 63 other followers
    • Already have a WordPress.com account? Log in now.
    • Ambient Landscape
    • Customize
    • Follow Following
    • Sign up
    • Log in
    • Report this content
    • View site in Reader
    • Manage subscriptions
    • Collapse this bar
 

Loading Comments...