Between is a rotating collective of artists that began in 2012 one night at old ryokan in Kyoto, Japan. It is collaboration that brings artists, stories and memories together acutely distilling the essence of 12k’s mission and aesthetics into one project.
The seeds of Low Flying Owls were sown in early 2022 when Taylor Deupree and Stephen Vitiello set up a small studio at a beach house in Florida. With a view of the sea they crafted long form sonic foundations of guitars and electronics and envisioned their expansion with other instruments and players from the 12k family. Throughout the next couple of months recordings from the other artists were made, woven into the timeline and the pieces began to take shape. Contributions from Molly Berg, Corey Fuller… more
Released April 7, 2023
Taylor Deupree: Synthesizers, Electronics, Xylophone, Seashells Stephen Vitiello: Guitars, Banjo, Synthesizers, Field Recording Corey Fuller: Rhodes, Upright Piano, Prophet-5 Marcus Fischer: Drums, Bass, Vibraphone, Bamboo Wisk Federico Durand: Modular Synth, Small Objects, Field Recording Michael Grigoni: Lap Steel Guitar, Dobro Molly Berg: Clarinet, Voice
Produced & Mixed by Stephen Vitiello & Taylor Deupree Mastering by Taylor Deupree at 12k Artwork by Marcus Fischer Source Photos by Between Thank You Ann Brady, Carrell Courtright & Matt Hall
More electronic goodness from Neuro… No Neuro, served up as delicious aural deliverables! We’ll be using a “special” version of ‘Unfasten Caked Dust’ on next month’s #ambient podcast . . . __________________________________________________________
This EP, kawaii (かわいい) is the beginning of a movement towards a new hashtag of #kawaii-glitch. Inspired by the suggestion of Lain Iwakura at the Mille Plateaux label, it has begun to grow into a full-blown method of composition. Using only Renoise for the composition, and designing all sounds via Ryukau (Uhhyou/Github) and Martin Bilek (Renoise) sample generators, this album leans towards a more ‘positive’, cute sound.
. . . but you can give them to the birds & bees (I want money!)” ~ Barret Strong, Money (That’s What I Want)
Looking around the various mix-hosting sites, I’ve noticed that many mixers (rebranded as “Content Creators”) are shilling for their work; often citing the “long hours”, expenses and the amount of work they put into a music mix, or maintaining their blog, as justification of payment for same.
But are they truly “content creators”? Are they not merely “content compilers” or “content curators”? The majority are not composers or song writers; they’re simply arranging a handful of tunes into a mix and then trying to get paid, via an online Tin Cup, for that arrangement.
I’ve always made mixes that I personally listen to — (they could be labeled “podcasts” — but I’m not narrating or playing the role of an online D.J. to intro or give history about the tunes I spin) — and I’m always tickled when someone else likes or downloads them — and I’ve made them available through the years, for free, on various sites (Art of the Mix, Bandcamp, Mixcloud, etc).
If someone voluntarily donates to your cause — terrific! But if I’m following you & you’re following me on a site for mixers of like-genres — and then one day you ask me to pay (directly or via a “subscription”) for the pleasure of basking in your latest atmosphere (your curated content) or to read your article . . .
. . . I’ll simply leave the room.
________________________ “I’ve mixed all over the net, I’ve left every place.” ~David Bowie, Be My Wife (sort of)
We caught up with Mr. Dirk Serries, the Belgian Jazz and Ambient artist (and pioneer), again as he embarks on the next phase of his unique journey into the ambient/experimental world of sound-craft. He was gracious enough to answer a few questions that were on our mind as we previewed his latest album, Nocturnal Discord:
1. Thanks for sitting down with us today, Dirk. With all the pioneering ground you’ve covered in the ambient genera (both solo & collaboratively) as vidnaObmana, we were curious as to why, with the release of ‘Nocturnal Discord’, this new direction now?
I always have been keen on exploring new ways and bringing those to my realm of ambient music. Of course sometimes that process takes time as it not only means you’ve to realize new techniques or approaches to your existing style but first you need to come to terms with what your style is.
Coming out of the turmoil how VIDNA OBMANA ended (artistic frustration and exhaustion caused me to crash heavily) and re-discovering myself as an ambient musician using solely the electric guitar, it took me a while to get me that perfect set-up with which I could easily create the music I wanted to without the complexity of the studio that the work of VIDNA OBMANA always demanded. Fast forward almost 20 years and of course new tools (read pedal effects) were developed and which could give me that extension my ambient music longed for. While I tried during in the latter phase of my MICROPHONICS project to work with digital tool on the laptop, I never felt comfortable and dropped that option quite fast to only return to the analog rig of pedal effects and a guitar. So when I discovered a few interesting new tools to use, this new segment in my sound as an ambient artist awoke. While it still holds my passion for minimalism and working around the strength of a few notes, these new effects granted me a freedom to expand and take my so-called trademark ambience out of its own comfort zone. NOCTURNAL DISCORD is that first step, a rather bold one immediately but a necessary one to take and evaluate how it will proceed. I do see it coming even more in sync with my original style of ambience. As a matter of fact, I’m recording right now an album that also sets the pace for unification of both directions.
2. If you can put your finger on it; how would you categorize the differences between your previous, synth-based, ambient content and what you seek to achieve with this new, guitar-driven pathway; from both a creator’s and listener’s perspective ?
Musically now I think I really succeeded in bringing my guitar ambient music to that trademark sound I had with VIDNA OBMANA, done on synths.
Technically back then it was way more complicated, no rocket science, but you needed midi, a sequencer, outboard effects if your synths didn’t have them on board, a mixing desk, etc. and the full set-up you needed as well when you wanted to play live. Early on in the mid eighties it was still ok but from the moment the computer got involved, the musical process became so multi-layered that towards the end of the VIDNA OBMANA era that the pleasure of just playing and creating music diminished over time. Really felt that I got stuck in a sort of laboratory that completely excluded the thrill of making music so when I decided to end VIDNA OBMANA, I really made a decision to change my style, techniques and which instruments I would use.
The electric guitar became my prime instrument to guide me through the various projects I started (FEAR FALLS BURNING, MICROPHONICS, etc.). And along the way I invested my experience to simulate the so-called VIDNA OBMANA sound with the electric guitar and just a handful of pedal effects.
A process that took a while but now I’m very happy and proud I can generate the ambient music I care for so much with such a minimal set-up.
3. Are there specific takeaways or methodologies from what you’ve learned working with A New Wave of Jazz that now bleeds into the new ambient content?
Oh absolutely, the pure pleasure of creating on the spot, pushing the boundaries without the fear of failure and just embracing the result with heart.
I learned a lot from teaming up with these great free improvisation/free jazz artists as they really taught me the ability to drop control and just move towards that momentum on stage or in the studio with open vision and no actual definite plan. This is what I also take with me when I’m creating my ambient music these days. Most music I created since I learned the magic of full-on improvising has been one takes without any post editing.
NOCTURNAL DISCORD has been exactly that, music created on the fly while working with all the effects there on the spot too. Some of the treatments you hear on this album are accidents, burbs from the electronic devices which are never repeated again but became just vital to each of those pieces on the album. If this have happened about 25 years ago, I definitely would have stopped the recorded and deleted the file. Now I just love those twists, turns and unexpected guidelines to stir me into a different direction.
4. And, as a follow up to the previous question, will these newer ambient treatments bleed back into A New Wave of Jazz?
Who knows, not that I’ve a plan yet to introduce this into A NEW WAVE OF JAZZ but never say never. If this ever would happen, I think at least it will be part of a new sub label, like I’m doing with the cassette releases on NWOJ where the music has more noise ingredients. Its musical language is at this point quite different: the pace, the instant interaction and the way how I use the guitar is totally the opposite. But it surely could be an interesting angle for when that moment arrives.
5. Finally, with ‘Nocturnal Discord’ setting the stage for a “darker”, “stranger” and “more abstract” first step . . . can you forecast what we can expect from your next step (or perhaps, leap)?
NOCTURNAL DISCORD is not per-sé the next necessary step in my ongoing progression as an artist but more a side path, a way of testing the range of possibilities. But most important to combine this with the trademark ambient music I’m known for. Like I said I’m currently working on an album that more or less already mixes both approaches. Exciting as it gives flare, new life and spirit to what I know so well is creating my kind of ambient music.
The ongoing (re)search for the sublime in sound just keeps me motivated.
– – – – – – – – – – – – “The aim of art is to represent not the outward appearance of things, but their inward significance.”
u n f o c u s e d_green | Experimental/Ambient/Phonography/Minimal | 77:57
Ditto on le jamba . . . slow, meandering ambient sonance — plated with a green-ish atmosphere.
Stream via Hear.This
01 Stars of the Lid – Broken Harbors, Pt. 3 02 Arovane – Rekursiv 03 Tapes and Topographies – A Bed of Cut Flowers 04 Steve Roach – Slow Heat (excerpt) 05 Kraut Sounds – Things will Disappear and be Forgotten 06 Brian Eno – Kites I 07 Jeff Greinke – Towering Cumulus 08 Steve Roach & Dirk Serries – Here 09 Anthéne & Simon Mccorry – Time Future 10 Arovane – Ephemen 11 Marcus Fischer – 180301 (excerpt B)
In ‘Impulse’, Formen explores the aesthetics of glitch and randomized arrangements. He modified old 16bit effects units which were then cascaded via internal patch points to develop a distinct and glitchy sound. As usual, all tracks were performed live by Formen on a large mixing console – meaning the whole album consists only of live recordings which were created without overdubs or subsequent editing. The arrangements of the tracks stand out due to their often generative-randomized character: The rhythms, harmonies and melodies are randomly evolving inside of the confines that were set for each track. This is a technique that Formen primarily uses for electro-acoustic art installations.
Consequently Formen incorporates the analog technique of live-dubbing into the aesthetics of digital noise, thus creating a musical field of tension between heavy rhythms and distorted noises.
The covers of the tape-edition were developed by Ines Emertasol and Formen and were all made by hand. The cover was created as a folding-cover and therefore works similar to a minimalistic origami that you’ll have to unfold to get to the tape. The depictions on the covers are of randomized nature rendering every piece unique.
Released December 3, 2021
All tracks are written and produced by Formen Artwork by Ines Emertasol and Formen Mastered by Empty Space
We mixed in a track from this album on “the scattering” podcast . . . which is the very next blog-post below this one . . . _____________________________________________________
CLIKNO is thrilled to announce the upcoming release of the highly-anticipated Peripherie Remix EP of four tracks from rand’s critically acclaimed album “Peripherie” set to drop on May 26th, 2023.
Featuring remixes by Steevio, Deadbeat, Dr.Nojoke, and Andrea Cichecki, some of the most exciting names in the underground electronic music scene, this limited EP promises to take you on a journey through a spectrum of sounds and emotions.
Steevio kicks off the EP with a groundbreaking remix of “Lucid”, marking the first time a remix by this highly regarded artist will appear on vinyl. With his signature style of intricate modular grooves and atmospheric pads, Steevio’s remix takes the original to new heights that we are sure to captivate and move you.
Next up is Deadbeat, a veteran of the dub techno scene, with a stunning drone remix of “San Gimignano”. His signature use of space and bass is on full display, as he crafts a cavernous and immersive soundscape that is sure to take the listener on a journey through the depths of sound, leaving you lost in its mesmerizing drone.
Dr.Nojoke, known for his experimental and genre-defying productions, transforms “Hoola” into a deep and introspective chill-out tune featuring lush pads and intricate percussion. This remix is perfect for some legendary afterhour sessions.
Rounding out the EP is Andrea Cichecki’s ethereal ambient remix of “Siegfried 2.0”. This remix captures the essence of the original track while adding an otherworldly dimension with its haunting and immersive sound design.
With this remix EP, CLIKNO once again showcases its commitment to pushing the boundaries of electronic music. All four remixes on this EP are a testament to the exceptional talent of these artists, and we’re excited to share their unique visions with the world.
Available on May 26th, 2023, this limited EP is a must-have for fans of rand’s “Peripherie” album, and anyone looking for cutting-edge and innovative sounds.