This is an elegant & evocative work. Murray & Gri develop a rich tapestry of ambient sonance — inducing the listener to delve deeper into the aural canyons of their collaborative slabs of quietude. The album, though firmly rooted in finite, recorded work, is nearly generative in its progression; and draws the active listener into a labyrinth of mesmerizing, beatless rhythm.
It presents worlds of sound that literally reverberate in the ebbing distance, even as the next wave envelops you in another, echoed, aural return — like a warm, resonant ambient hug.
We liked the environment so much that we replaced the closing composition (by a major, long-time running ambient sound-sculptor) with a track from Remote Redux on a recent mix – which can be found here.
The album can be ordered here, or at the link below, & is highly recommended! ~Ambient Landscape, November 2019 ________________________________________________________________
James Murray and Francis M Gri’s Remote Redux is a delicate and original response to distance and closeness as expressed by the Japanese concept Ma, known also as negative space. It’s a place of elegant dimension where Gri’s graceful piano motifs and bowed guitar figures are carefully framed within the free flowing surrounds of Murray’s warm synth sequences and nuanced sound design.
Having released each other’s work on their Slowcraft and KrysaliSound imprints James and Francis naturally extended this exchange into a remote London-Milan collaboration. The resulting debut is an unhurried collection of exquisitely crafted minimal ambient, tender and contemplative, a listening experience that simultaneously explores and distorts our awareness of separation and togetherness.
Released October 17, 2019
Written, arranged, mixed & produced by James
Murray & Francis M Gri
The album is an exploration of abandoned and derelict industry, infrastructure, technology and equipment that once upon a time helped to create, connect and sustain society.
It wanders amongst deserted factories, discarded machinery, closed mines, mills and kilns and their echoes and remains; taking a moment or two to reflect on these once busy, functioning centres of activity and the sometimes sheer scale or amount of effort and human endeavour that was required to create and operate such structures and machines, many of which are now just left to fade away.
The CD and Bandcamp download include accompanying notes on the tracks by the contributors.
The Quietened Mechanisms is released as part of the A Year In The Country project, a set of year long journeys through spectral fields; cyclical explorations of an otherly pastoralism, the further reaches of folk culture and the spectral parallel worlds of hauntology – a wandering amongst subculture that draws from the undergrowth of the land.
As a project, it has included a website featuring writing, artwork and music which stems from that otherly pastoral/spectral hauntological intertwining, alongside a growing catalogue of album releases.
Accompanying the music releases is a book called A Year In The Country: Wandering Through Spectral Fields which gathers and revises previous writing from A Year In The Country alongside new journeyings.
The book and the written posts on the site are intended to draw together and connect layered and, at times, semi-hidden cultural pathways and signposts, journeying from acid folk to edgelands via electronic music innovators and pioneers, folkloric film and photography, dreams of lost futures and misremembered televisual tales and transmissions.
“…the first book of it’s kind to catalogue all these disparate strands, many of which cross over time and space to influence one another.” DJ Food
“…an essential field guide to a distinct aesthetic that remains loosely defined, like a fluttering night moth that would die if pinned down.” Ben Graham, Shindig!
On A Year In The Country and its previous music releases:
“A Year In The Country quietly go about their business releasing beautifully packaged music that is influenced by folk, electronica, drone as well as by landscape, time and place… each have themes running through them, tying the music together and seemingly telling a story as they unfold.” Terrascope
“…another exquisitely packaged affair… murky and ominous as befits the guiding thematic: places that are spectrally imprinted with past conflicts and struggles… a conceptual compilation of excellently eerie electronic music…” Simon Reynolds, author of Retromania and Energy Flash
“A Year In The Country… operating like some sinister rustic arts and crafts movement manifesting online via a Wi-Fi connected scrying mirror… an almanac of unearthly sonics to tide you through the winter nights.” Shindig!
“…a response to British folk traditions that acknowledges the history without seeming beholden to it.” John Coulthart, Feuilleton
Last year (2018) marked the 25th anniversary of the release of this album. I had a fleeting thought about this project, but it lay dormant in my head until several months ago: a re-working of Brian Eno’s landmark classic ‘Apollo‘.
The original title for this project was ‘Apollo on my Mind’ (it was later changed after I decided to close with the Diamond Dogs track); because back, w-a-y back, in the deep recesses of my mixological cranium . . . Apollo has ALWAYS been on my mind; shaping, guiding & navigating; & providing a pathway (as well as a way out) through the din.
I relied heavily on my own mix back-catalog: (what tracks had I utilized with Eno, & specifically Apollo, over the years?}. In some cases (noted in the play-list), I purposefully targeted excerpts from previous mixes (both ambient & ether-jazz), coupled with infinitely long segues, to achieve an Apollo-like aural atmosphere. Several of the tracks (where indicated*) were custom “built”; that is reconstructed, echoed, fitted with slightly longer intro/outtros; I built the last track (Bowie) first – – which was a lot of fun – blending a rock track with an ambient intro & a back piece (molded noise) due to the original, abrupt ending.
My approach to albums is that, while the compositions themselves may be great, the ordering of tracks, as well as the overall atmosphere, leaves MUCH to be desired. So I reorder & mix them with like-minded tuneage until I get something I can listen to again . . . & again. Incorporating layered tracks, ghost-editing, over-dubbing up the ying-yang & fragmented/edited tracks, I now present it for your listening pleasure (IF you enjoy this sorta’ thing, that is . . . ).
The full LaibachSTUMM433 track/video (released on MUTE) can be found here & here.
And, finally . . . one more tip of the hat to David Robert Jones (1947 ~ 2016)
01 John Cage/Laibach – STUMM433 (excerpt) 02 Richard Chartier – Central (for M.Vainio) excerpt 03 Ambient Landscape – Matta’s Secret* 04 Daniel Lanois (ARR) & Brian Eno – The Secret Place 05 Ambient Landscape/Lowlight Mixes – Slow Decay* (excerpt) 06 Brian Eno – Matta 07 France Jobin – Singulum n_ 08 Ambient Landscape – Sans Serif (opening excerpt) 09 Brian Eno& Daniel Lanois – Stars 10 Jaja – Aurigae (edit) 11 Brian Eno& Daniel Lanois – Under Stars 12 Cinchel – Drinking Tea on the Couch, Staving off a Fever 13 Brian Eno – An Ending (Ascent) w/*intro wash 14 Loscil – Monument Builders 15 Ambient Landscape – Blade Running – rework* (excerpt) 16 Zahn, Hatami & McClure – Byte 17 PCM – Par 18 David Bowie – Big Brother* (extended gibberish mix)
Longer-form ambient landscapes + drones — a mix where a portion of every song has been deleted, edited, ghosted over or withheld from the listener’s ear. Given the country in which I live, it would be easy for the reader to ascertain from whence the inspiration for this project, an inadvertent follow up to 2015’s ‘r u s t‘ mix, originated.
The cuts, splicing, insertions & omissions all served to make this a navigable mix. Most of the compositions were entirely too long to be included in their original format. That being said, I’m sure you’ll find that this flows smoothly with almost imperceptible transitions between compositions, as well as where the “drop-outs” & ghost-editing occur. It’s an effort to Make Mixing Great Again (#MMGA)!!
The cover art was crafted from a 300 foot view of the redactions contained within the Mueller Report; a creative piece of American political fiction itself based upon an unearthed copy of an old Mother Goose nail-biter, entitled The Tale of the Steele Dossier (which was bought & paid for by the [ultimate] loser of our 2016 presidential campaign).
Fabrication, it would seem, has its drawbacks . . .
Some of the oral r3d@cTi0ns can be heard ever so slightly on the project’s final track.
Having become mutual admirers of each others work; English of Cortini’s Sonno and Cortini of English’s Wilderness Of Mirrors, the pair were very pleased to receive an invitation to collaborate together.
Following a number of months exchanging compositional ideas and materials, Cortini and English met in Berlin several days ahead of the festival and commenced an intense period of rehearsal and arrangement. The resulting piece, Immediate Horizon, traces their shared interests in harmony and texture. It is a work that meditates on saturation and the ruptures that occur when harmonic elements are stacked. Immediate Horizon’s five pieces swell and burst in a perpetual sense of pulse.
This LP is a live recording, made at the premiere of the piece during Berlin Atonal, held at Kraftwerk in Berlin.
Released November 30, 2018
This edition is published by the fine folk at Important Records
Recently I have written a series of pieces that are concerned in one way or another with the presentation of unique, and yet similar, events or objects. In this work there are twenty-four pieces for flute(s), accordion, acoustic guitar(s), piano, electronics, which combine to form an hour-long work.
The pieces can be played in any order; there are 620,448,401,733,239,439,360,000 permutations.
total time: [60:00]
Releases December 24, 2018
flutes: Jennifer George accordion, guitars, piano: Ian Vine
flutes and guitars recorded at first moon, UK, September 2018 accordion and piano recorded by lunar module in Oregon, USA, August 2018
mixed and mastered at first moon by Ian Vine, November-December 2018
many thanks to KAG for the use of her accordion and piano
Glåsbird is an anonymous project by an established artist within the Ambient/Modern Classical scene. To date this artist name has not produced any work that has been published and we’re proud to present both the first ever Glåsbird release as well as the debut album, due out early next year.
The Glåsbird sound is undefined and we’re told that it will be used to demonstrate working to themes, ideas and soundtracks. The artist studies their chosen topic intently before crafting electro-acoustic recordings into evocative cinematic soundscapes. The debut album Grønland is a sonic expedition to Greenland, tracking the enormous frozen ice cap, the colourful scandi huts and its lack of human inhabitants.
The preceding Drift Stations EP features two tracks which tell the story of embarking on this imaginary journey to Greenland, as it begins in the North Pole before traversing the frozen Arctic Circle sea towards the monolithic landmass.
In a brief section of recording space, the artist has stitched together a shrill and lonely coldness using violin, cello, sparse piano notes and other digitally effected acoustic instruments. Drift Stations is then set off with a magnificent photograph, taken on Greenland by photographer and tour guide Lasse Kyed.
Here’s a site that deconstructs and reconstructs Brian Eno’s classic Music for Airports album; additionally you can play with the files yourself! ___________________________________________________________________
In 1978, Brian Eno released Ambient 1: Music for Airports, a landmark album in ambient and electronic music. Although it wasn’t the first ambient album by any means, it was the first album explicitly released as an ‘ambient music album’. The album was essentially a continuation of Eno’s experimentation with the tape machine as a compositional tool, as well as his exploration of generative music, music created by systems. In this article I’ll discuss how Music for Airports was created, I’ll break down and recreate the tracks 2/1 and 1/2, and hopefully give you some ideas about how to adopt this approach yourself.
Eno’s experiments with tape loops go as far back as 1973’s (No Pussyfooting), a collaboration with King Crimson’s Robert Fripp that employed an early experiment in sound-on-sound tape looping. For the recordings, Fripps’s guitar was run into two tape machines feeding into each other. The musical material runs back and forth between the machines, creating longs delays akin to modern loop pedals. The length of the delay was set by the physical distance between the two machines.