Drone music #1

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Op zondag 17 september 2006 04:30 schreef The_Martian het volgende:
Luister je alleen metal-drone? Als je rock ook een beetje trekt kan ik je zeker dit album aanraden (wel een oudje, 1987)

Rhys Chatham - Die Donnergotter

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Op zondag 17 september 2006 04:45 schreef The_Martian het volgende:
Welk album prefereer je? Salvation, The Beyond of Somewhere along the Highway?

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Op zondag 17 september 2006 04:40 schreef The_Martian het volgende:
Het is wat meer rock/noise achtig, opgenomen o.a. met maar liefst 8 (!) gitaristen, wat natuurlijk een geweldig effect oplevert. Verder zijn de drums wel redelijk uptempo, waardoor de muziek me soms wat doet denken aan de experimentele rock van Sonic Youth eind jaren '80 en begin jaren '90. Metal drone vind ik wat meer ambientgericht, helemaal nu producties vaak zonder drumpartijen worden opgenomen... ook erg goed.

Cult of Luna moet ik nog ff checken.. ik ken het nog niet.

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Op zondag 17 september 2006 04:30 schreef The_Martian het volgende:
Luister je alleen metal-drone? Als je rock ook een beetje trekt kan ik je zeker dit album aanraden (wel een oudje, 1987)

Rhys Chatham - Die Donnergotter

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Op maandag 18 september 2006 23:02 schreef Faxie het volgende:
Ik vind het een leuke CD in ieder geval. Het zijn 7 nummers, opgedeeld in 11 stukjes per nummer. Elk stukje is een noize geluid op een bepaalde frequentie, die elk stukje wat hoger word.

Nummer 1 bijvoorbeeld is een enkele 25 Hz sinus, met heel af en toe een 'hapering'.
Nummer 2 is een 28 Hz Sinus, die haperingen worden klikkeriger.
Nummer 3 is 31 Hz
Dan 34, 37, 40, 43, 46, 49, 52 en 55, en het word steeds wat rumoeriger, met extra geluiden erbij etc.

Dan komt het 2e nummer, die gaat verder op 58 Hz.

enz enz enz tot het laatste stukje dat op 253 Hz speelt. Op een gegeven moment komt er een soort van ritme in in elk nummer, en het kan flink noizy worden op momenten.

Trouwens niet fijn voor je oren op hoog volume haha

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Op zondag 17 september 2006 05:12 schreef The_Martian het volgende:
Luister ook eens naar Biosphere track 'Freeze Frames'. Ambient Drone op z'n best IMHO, net zoals Autechre - Drane... _{hier en hier te beluisteren}

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Op donderdag 28 september 2006 13:26 schreef The_Martian het volgende:

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Herbst9 heeft laatst platen uitgebracht op het Duitse drone records, aanrader als electronische dark ambient/drone je ligt.

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Op dinsdag 26 september 2006 00:24 schreef fractalis het volgende:
Zijn jullie toevallig ook bekend met de band Main?

Vooral Motion Pool vind ik super!

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Dark ambient

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Op zondag 17 september 2006 04:30 schreef The_Martian het volgende:
Luister je alleen metal-drone? Als je rock ook een beetje trekt kan ik je zeker dit album aanraden (wel een oudje, 1987)

Rhys Chatham - Die Donnergotter

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Dirk Serries handed me over a copy of „The Amplifier Drone“ personally, just an hour before his concert at the „Cuba Kultur“, promising (and warning) me that it was an entirely different Fear Falls Burning record. This, in itself, was not a big surprise. After all, the project’s formula has been mutating throughout, going from Post Rock structures via shamanic, guitar-based drones to richly detailed epic sound scapes. Each release gave a slight twist to the defining parameters, changing the band’s course and feel. The only aspect important to Serries was keeping everything “close to his heart”. He has taken this quite literally here – and invited over a good friend. Together with Paul van den Berg, a local blues musician, Dirk has set out for a more aggressive and rough sound, turning up the volume and intensifying the physical aspects of his music. The accompanying post card recommends “playing at higher volume” and on this occasion, this is not a stereotypical demand. If some of the delicate textures on previous works can be compared to the art of calligraphy, then the duo has now turned to milling and sculpting from metal. Judging by the sound of his contributions, van den Berg is a purveyor of the old-school Blues philosophy, where every note represents a needle-sharp sting into the soul. Subsequently, his tones squeak and scream, groan and moan and huff and puff like a diying machine on a scrap yard. One can almost see his face twitching as he strikes another string, a new chord, a different shade of pain. The very beginning of the record, the first minutes of the tripart “echoes”, is a perfect introduction into a space of distorted harmonics, tortured melodies and sluggish development. Actually, some of the material sounds like the final stages of Serries’ lenghty excursions on “He spoke in dead tongues”, when feedback, effects and multiple layers of sound had merged into a forceful flow. After this almost primeval start, the album switches to a higher level, however, becoming more pensive and withdrawn. Especially the flipside, “on_dead_air”, connected to its predecessor by a variation on the same theme, opens out into an impressive vulcanic landscape of brightly shining erruptions. For what seems like eternity, things stubbornly carry on, before a tiny pattern disrupts the mantra. On paper, the addition of another electric guitar merely turns “The Amplifier Drone” into Fear Falls Burning by the power of two. On listening, however, it is a great deal more. While “The Carnival of ourselves” was an instant love-affair, this one might take a few spins, before one will fully appreciate it. But then it is all the more impressive. All the elements of the early albums are in place, but moulded into a more threatening and even deeper context. Rather than being an entirely different record, this is a determined step forward. Can’t wait for the next one." Tokafi - Germany

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"Personally I am always quite fond of people who limit themselves: what can I do with the sound of a tree? Explore it and then move on. But some people are productive minds and their self-limitation might become a burden for them. One such person is Dirk Serries, aka Fear Falls Burning (aka previously Vidna Obmana). Fear Falls Burning is all about electric guitars and sound effects and everything is recorded directly to tape. He already
has a number of releases out, and we could wonder how many more variations are there to theme. 'The Amplifier's Drone' is his second limited LP (white vinyl this time) for the Dutch Tone Float label, and if something is
different, then it must be the fact that this is duet for two guitars (still played direct to tape), between Fear Falls Burning and one Paul van den Berg. Armed with an amount of various amplifiers (Crate, Behringer),
Marshall, Peavey and Laney), the two pay homage to the amplifiers, but putting up a large massive field of drones.
Sounds are looped at times staying in the mix for a while and move out when no longer needed. More than his previous works, this new one is less based on one developing drone, but the extended guitar solo's makes this
rather 'old fashioned' than sparkling new. It's fine to see Fear Falls Burning exploring new territory within the limited concept chosen, but this is perhaps not how I would expected it to be. It's still of good quality,
but not all the way my cup of tea." Vital Weekly/FdW - The Netherlands

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Op dinsdag 14 november 2006 01:19 schreef Escaflowne het volgende:
Had toen een stream op staan met allemaal drone music.. Woaaaa!... Zoiets had ik nog nooit gehoord!

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Each proceeding release I hear by Bad Sector makes me realise how good this project is. Early on, I heard a comp track here and there, and an earlier full-length, but it didn't impress much. But this, like the last two we've carried by them, has a dense, anthemic atmosphere that is definitely more on the ambient side, yet utilizes heavy, soaring waves of texture, perhaps guitar chords, much like Broadrick's Final project, to take the listener up to some scary, electrified peaks.

This material just drags the listener away, sweeps one up into a whirlwind of sounds, layered in and spread apart like mountains jutting up from titan ocean waves, the water crashing against some distant, waterbound monolith, a ruined, dead city crumbling slowly over millenia.

There are thirteen tracks here, but I'm impressed by how the feel of each piece interlocks nicely with the rest, so this isn't a collection of different stylistic experiences, but a journey upon a theme, similar instruments and sound arrangements on each. You can tell Bad Sector felt something was working here, so they stuck with it while the feeling lasted and came up with this seamless experience. This will be several peoples favorite thing they've ever bought from me. From the Loki Foundation.

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Das Rheingold begins with a 136-bar unmodulating prelude based on the chord of E flat major that is meant to represent the eternal unchanging motions of the River Rhine. It is considered the best known drone piece in the concert repertory, lasting approximately four minutes

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In C is an aleatoric musical piece composed by Terry Riley in 1964 for any number of unspecified performers, but preferably 35 or more. As its title suggests, it is in the key of C, the simplest key to perform on the piano. It is a response to the abstract academic serialist techniques used by composers in the mid-twentieth century and is often cited as the first minimalist composition.

In C consists of 53 short, numbered musical phrases; each phrase may be repeated an arbitrary number of times. Each musician has control over which phrase he or she plays: players are encouraged to play the phrases starting at different times, even if they are playing the same phrase. The performance directions state that the musical ensemble should try to stay within two to three phrases of each other. The phrases must be played in order, although some may be skipped. As detailed in some editions of the score, it is customary for one musician ("traditionally played by a beautiful girl," Riley notes) to play the note C (in octaves) in repeated eighth notes. This drone functions as a metronome and is referred to as "The Pulse".

In C has no set duration; performances can last as little as fifteen minutes or as long as several hours, although Riley indicates "performances normally average between 45 minutes and an hour and a half." The number of performers may also vary between any two performances. The original recording of the piece was created by 11 musicians (through overdubbing, several dozen instruments were utilized), while a performance in 2006 at the Walt Disney Concert Hall featured 124 musicians.

The piece begins on a C major chord (patterns one through seven) with a strong emphasis on the mediant E and the entrance of the note F which begins a series of slow progressions to other chords suggesting a few subtle and ambiguous changes of key, the last pattern being an alteration between Bb and G. Though the polyphonic interplay of the various patterns against each other and themselves at different rhythmic displacements is of primary interest, the piece may be considered heterophonic.

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Full CD album on Kranky to accompany the magnificent 'Diaphanous' EP released on Lux Nigra last week. Following on from the sugar-coated post-folk loveliness of his "Curling Pond Woods" album for the Car Park label last year, "Somnia" is a much more stripped down and subtly evolving affair, basing itself largely on carefully emitted drones and slowly transforming sound pieces.

The album sees a fusion of drone-based work recorded over the last three years interwoven with teasing hidden harmonies, melodies, frequencies and rhythms from an electric sonic pallet. Greg's music fits in perfectly with the Kranky aesthetic, presenting an outward beauty that isn't completely in focus, demanding further inspection for a full appreciation of its depths. It's music like this that makes you want to slow down the pace of life, paying attention to all those fine details that life emits moment by moment, all those things we fail to pick up and digest in all the rush.
Hugely absorbing work from an artist that seems to be improving in leaps and bounds with every release - a big recommendation.

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For his sixth album Tim Hecker sticks to more organic, muted colours. It’s a sign of creative maturity and marks a welcome move away from the Fennesz-style layered glitchscapes that have dominated his back-catalogue. It’s hard to tell exactly how these drone tapestries are woven together, the granular laptop trickery of old is virtually undetectable and the source instruments detuned and dissolved to the point of blissful obscurity.

Opening with the elegiac strains of ‘Rainbow Blood’, Hecker eases the listener into his melancholy new sound-world before launching into the curiously titled, ‘Stags, Aircraft, Kings and Secretaries’ with a flickering percussive urgency. Somewhere within the digital fog you can just about discern the occasional glisten of guitar strings.

Next up is ‘Chimeras’, a real standout on the album, its slow motion synth arpeggios providing a rare glimpse of overt melodicism, a property which, though ever-present on this album, tends to be restrained – even buried. That said, filtered and faded as they may be, Hecker’s compositions always manage to reveal an emotive core beneath the static.

You can understand why Kranky snapped up Tim Hecker: Harmony In Ultraviolet sits comfortably next to material by the likes of Keith Fullerton Whitman, Stars Of The Lid and Loscil, while retaining Hecker’s unmistakeable trademarks, that minor key grandeur atop relentless waves of crumbling sonic detritus. This is music every bit as preoccupied with the beauty of decay as William Basinski’s finest material.

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On Die Spiegelmanufaktur — which translates to the Mirror Factory — Mirror consists of Andrew Chalk, Christoph Heemann, and Jim O'Rourke. In fact, that's the only information the album sleeve discloses: no performing credits, no track titles. The title reveals how this experimental ambient group likes to toy around with paradoxes. "Factory" evokes the noise-saturated '80s current of industrial music, while "mirror" alludes to something lighter, more pure, and belonging to the other end of the light/dark paradigm.

The industrial element is present in the music but remains tucked into field recordings of a factory that doesn't use heavy machinery. The sounds of human activity in an enclosed space are heard, but apart from that you are free to paint the picture any way you like, even imagine that these people are making mirrors (even though you will not hear the expected sound of shattering glass). Track one uses these field recordings in the foreground, backing them with feathery synthesizer sounds.
Track two pushes the electronics to the forefront. Closely related frequencies beat off one another in a game of cat and mouse. They seem to mirror one another, the stereo spectrum shimmering vividly between your ears. Track three all but looses the "factory" sounds. Here the electronic textures are fuller, with more bass that adds a touch of darkness to the mood. Die Spiegelmanufaktur doesn't redefine the experimental drone, but it sports superior craftsmanship and provides a captivating listening experience. [The album first came out on Die Stadt as a limited-edition picture LP. The CD edition released a few months later includes a bonus 18-minute piece.]

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this cd is a perfect introduction to his unque, after-hours death ambience. Born in 1971, Helge has worked under the name Deathprod since around 1990 in all his work as musician and producer. He was a member rock group Motorpsycho from 92 to 94 adding 'audio noise', theremin, keyboards and sound-collages to the band's hard rock.

He has also worked extensively in theatre, dance, performance, art exhibitions and installations with particular emphasis on interactive media and improvisation. He has appeared as a player on some 20 albums and produced and/or engineered a further 80. Associates in diverse contexts have ranged from members of rock groups Swans, Mazzy Star and My Bloody Valentine to the contemporary music interpreters of the Cikada Ensemble. When talking about his work methods he has revealed that he often only uses one sound source for a track, and that he can elaborate on this sound for months until he´s completely satisfied.

This attention to detail makes him quite unique and it´s difficult to compare him with specific contemporaries, but Biosphere and Thomas Köner comes to mind. Morals And Dogma, four pieces recorded intermittently between 1994 and 2000, is presented as music for the ceremonies of an imaginary secret society, a soundtrack to the arcane rituals of a fictitious freemasonry. Violins may evoke symbolism of the glass harmonica; harmonium may evoke the encoded mystical language of the organ. This is fertile ground for unearthing symbols and cracking codes. Incredible, intensely absorbing music.

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As Minit, Jasmine Guffond and Torben Tilly, formerly of Sydney and now Berlin residents, create ambient soundscapes that are meditative, hazy, and hallucinatory. If the idea is not terribly innovative or original, their particular take on it is certainly convincing enough, not to mention more musically satisfying than the genre norm. The two use sampling, digital processing, and electro-acoustic techniques to create powerful work that impresses for the quality of its conception and cumulative impact.

It’s worth noting that three of the four compositions on Now Right Here were created in 2002, but the standout, 2003’s title track, is the latest and the longest at close to twenty minutes. It’s an epic drone that’s reminiscent of the No Pussyfooting and Evening Star Fripp-Eno collaborations, minus, that is, the indelible sound of Fripp’s piercing guitar. In the Minit piece, wavering tones chime as they grow through subtle modulations and incremental changes into a dense hypnotic mass. Suspended rootlessly, the work shifts gears dramatically halfway through when a dominant bass line appears, anchoring the piece beautifully as its massive bulk wends its glacial way. The bass gradually fades along with the bright wave-like shimmer, leaving braying stuttering noises until they too fade, with a repeating piano chord remaining as a lone center. That the work sustains ample interest while developing at such a measured pace is a compliment to the control Minit exercises over its unfolding.

Predictably, while the other pieces are credible, they pale somewhat in comparison as none is as epic or consequential in scope as “Now Right Here.” Soft droning tones and creaking sounds on “CG,” originally composed for the video “China Girl” by Aaron Rogers, build towards a dense blur, while “IJ Muiden” features what sounds like heavily processed piano sounds and transforms them into a mass of hazy patter. In contrast to their becalmed ambience, the noisy beginning of prickly, crackling static in “IJ Variation” startles, but it too gradually quietens until it resembles a fuzzy recording of electrical wire tones paired with processed watery surf. Here and elsewhere, Guffond and Tilly demonstrate an impressive ability to conjure dense clusters of abstract sound without incurring a corresponding loss in musicality.

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he product of two guitarists from Austin, Texas; Stars of the Lid has been releasing some of the most beautiful and haunting ambient music of the past six years. Working in the studio to create the perfect drones, Stars of the Lid aren't a typical band that would be labeled electronic, necessarily. However, their work with tape loops, studio effects, and their uncompromising vision to a less spontaneous music fits directly in line with almost all artists featured on this site.

This record moves at a glacial pace over a two hour period and two discs. It certainly isn't for some listeners, whose attention span can't be bothered to focus for longer than five minutes. It contains five suites and assorted other tracks, however, the entire album feels like one whole piece; as though they were conducting their first symphony. Despite both members of the group being guitarists, there is nary a guitar sound found, in its original and distinctive form on the disc. Instead they have been effected to become sweeping strings. In contrast from their debut disc, 'Music For Nitrous Oxide,' the duo has went into the studio, instead of crafting the work on a four track tape recorder in their own home. They took advantage of the studio time to stretch this work out, to make it a clearer depiction of what they were attempting to do on their previous records.

For example, during the first suite, 'Requiem For Dying Mothers,' the first major modulation in the piece comes after ten minutes of slight builds and crescendo. Taking an almost right turn, while maintaining the core of the piece, a foreboding bass enters and a shimmering cello lock in what seems like an eternal counterpoint to each other. After this suite comes in the interlude piece, 'Down 3,' which features found sound vocal sample. It is the only sign of life on the album and it tellingly contains mostly unintelligible words, just out of earshot, just out of understanding (much like the music).

This type of music can be taken in two very different contexts. It could easily be used as background music, which by nature doesn't do the piece the justice that it deserves. In this context the majority of the music can be heard easily, but the changes and subtleties, which are so very important, are lost on the listener or are found only after they have occurred. In fact, my personal recommendation to the reader is to listen to this record at a louder volume and, if possible, with headphones. It makes the experience all the better, I've found. Small crackles, the individual entrances of instruments, and silence are all enhanced greatly and have enhanced my enjoyment of this record immensely.

The main thing here, though, that gets me straight to the core about this album is silence. It's nearly lyrical, unlike on other albums. The silence is part of the songs and every time one drone would cease, I would gently hum the beginning of the next drone, filling in the silence that was occurring on the record. And the slight changes. On each track there would be a change, of chords, of notes, of instrumentation. It is utterly simple and almost not notable on other records, however, on these songs the slightest changes it become epic, sweeping, monumental. Of course, I'm relatively new to this type of music, so people have probably been aping this stance for years. However, if you're new to the game, as well, I would highly recommend this record. This is the full fruition of their craft, in my opinion. There is beauty in every track.

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Eindeloze vlakten strekken zich voor je uit. Als je begint te lopen, weet je dat je na meerdere dagen nog geen stap dichterbij je bestemming gekomen bent. De weg is lang en op een bepaalde manier ook monotoon, maar vraagt om een andere beleving. Een ervaring die zich op het psychologische niveau bevindt, waar herhaling en repetitiviteit in schoonheid uitmonden, en in de vergetelheid van het dagdagelijkse. Kortom, een stap in het onbekende.

Growing bereikt met The Soul of the Rainbow and the Harmony of Light die grens. Het wijkt daarmee af van de weg die het vorig jaar met The Sky’s Run into The Sea bewandelde. De nadruk ligt nu op het continue en de evolutie en plotse richtingsveranderingen zijn daarmee verbannen naar het rijk der schimmen. Maar wat er in de plaats kwam, is mooi. Heel mooi zelfs. Met twee gitaren en samples brengt Growing sluimerende drones die eindeloos voortdeinen en voor een cyclische tijdsbeleving zorgen. Minimalistische samples van water en vogels verleggen eveneens de focus naar het organische van de natuur op zich. Want wat Growing met The Soul of the Rainbow … brengt, is het traagste wat je ooit gehoord hebt.

De titel gaat terug op een negentiende-eeuws essay over de relatie tussen kleur en geluid. Gemakkelijk is het niet, en Jan met de pet zou al wel eens snel de woorden “mateloze verveling” in de mond kunnen nemen. Maar niets is minder waar, want Growing overschrijdt met zijn nieuweling de grenzen van het conceptuele. The Soul of the Rainbow and the Harmony of Light krijgt daardoor een meditatief karakter en spreekt simpelweg andere waarden aan. Langzaam sijpelt het je lichaam binnen om je vervolgens een tijdje vast te houden. En daarmee laat Growing de eventuele vroegere parallellen met Sunno))) voor wat ze zijn en zet het een stap in het tijdloze.

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If there's one unifying theme or sonic characteristic present in all the music we love,
even if it's not always obvious, it would surely have to be the 'drone'. Whether it's in
lugubrious campfire crackle and hum, furious blasting black metal buzz, jagged fuzz and
hiss drenched noisepop, skeletal slow motion low end ambience or motorik rhythmic hypno-rock,
there is always the drone.

Infusing each note with its pervasive sound, its palpable feel.
A force as much as a sound. To be felt as much as heard. For us, the core, the heart of
all music. The sound of the stars dying, the sound of planets being born, the sound of
cells splitting, the sound of our bodies growing and decaying, the sound of life and
especially death. Whether heard or felt, it is there, in, of and around all sound.
Otherworldly and transcendent.
Soothing and relaxing. But NOT easy listening. Not easy at all.
The drone can be as bleak and foreboding as it is warm and soft, as moody and malefic as
it is sweet and shimmery. Subtle for sure, but with a power and energy unlike any other
sound in the universe.
So it would of course make perfect sense that we would be completely
obsessed with a label, created for the sole purpose of recording and releasing dronemusic.
A label appropriately named Drone Records. Run by Stefan Knappe of the group Troum
(and formerly of the group Maeor Tri), Drone Records is a vinyl only label focusing on,
in the label's words, "atmospheric music that has a certain 'mind-challenging' character,
thus supporting the sensibility of the human senses.

DRONE RECORDS RELEASES MUSIC FOR THE
RIGHT SIDE OF YOUR BRAIN... music for the unconscious, irrational mind, creating an emotional
communication without language." We couldn't have said it better ourselves. For the
last 15 plus years, Drone has been releasing ultra-limited vinyl only ep's each one hand
designed and assembled by the artist, and each one a gorgeous slab of unique and individualistic
drone music. This two disc set, released by our own Andee's tUMULt label, collects some
of the best tracks from many of the earliest, long out of print 7"s and makes them available
on cd for the first time ever.

The artists featured include Maeror Tri, Alio Die, Dual,
Ultra United, Delphium, Inade, Aube, Vance Orchestra, Osso Exotico, Klood, Vir, Reynols,
Spear, Dronaement, Toy Bizarre, Tarkatak, Francisco Lopez, Kallabris, Yen Pox and
Die Feinen Trinkers Bei Pinkels Daheim. Two discs, over two hours, a completely mesmerizing
collection of droning drifting bliss. From barely there minimal ambience to thick clouds
of whirring fuzz, to glistening expanses of ghost like melody. Essential for all drone
lovers. And of course recommended for fans of Colelcough, Chalk, Aidan Baker, Tim Hecker,
Fennesz, Tiermes, Noisegate, William Basinski, Philip Jeck, and the whole current crop of
minimal cd-r soundmakers.

While most of the music we love is in some way drone-y,
these singles give us a chance to gaze upon the drone unadorned. Feel its warmth, its mystery,
its sublime beauty. Like staring into the sun. Or into the void...
One of the most potent and pervasive sounds in the world, in our lives, our bodies, in music,
the industrial world and in nature. All hail the drone...
Packaged in a gorgeous mini cd gatefold, with a fold out poster, liner notes on one side,
reproductions of all the 7" covers on the other.
So gorgeous!"

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Op zaterdag 7 oktober 2006 18:43 schreef nipeng het volgende:

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Uitstekende plaat. Vind het alleen niet echt drone.

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5lp set
Yes, today I received the final and 10th contribution for my 5lp set of collaborative works... so happy with what I received. I invited more than 10 artists in order to select those contributions that really fit the concept of the project I had in mind. Some pieces didn't fit the concept while others blended in beautifully. The final selection turned out to be a quite diverse collection, shedding a different light on what drone music can/should be. The collection ranges from the purely minimal and experimental to post-rock and -metal. Even for me it's a breathtaking project I never believed I could realize... and with the professional help of tonefloat the project will solidify into an exceptional release, both musically and visually. This is their official announcement :

one of tonefloat's major projects in its anniversary year is a five album 'once we all walk through solid objects'. the set collects 10 original and brand new fear falls burning pieces, reconstructed by renowned experimental artists. each and every contribution makes up a full vinyl record album side. the project promises to be a landmark tonefloat release with truly prolific artwork.

all contributions are now finished, and show the wide context of the music of fear falls burning. not only by the origins of the musicians, from postrock to industrial, but also by the way the original material was treated. not only by reworking their way, but also by adding scapes, tools and instruments. we're please to give you the complete tracklisting. more details on 'once we all walk through solid objects' will be announced on the tonefloat news page, early 2007.

i - fear falls burning vs­ bass communion (steven wilson/porcupine tree; uk)
ii - fear falls burning vs final (justin k broadrick/jesu; uk)
iii - fear falls burning vs freiband (frans de waard/beequeen; holland)
iv - fear falls burning vs harvestman (steve von till/neurosis; usa)
v - fear falls burning vs birchville cat motel (new zealand)
vi - fear falls burning vs byla (dysrhythmia; usa)
vii - fear falls burning vs aidan baker (nadja; canada)
viii - fear falls burning vs johannes persson (cult of luna; sweden)
ix - fear falls burning vs jefre cantu-ledesma (tarentel; usa)
x - fear falls burning vs stefano pilia (3/4hadbeeneliminated; italy)

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BURIAL CHAMBER TRIO features: Greg Anderson (us / SUNN O))), GOATSNAKE, SOUTHERN LORD) & Oren Ambarchi (au / Touch, Staubgold) & Attila Csihar (hu / MAYHEM)


BURIAL CHAMBER TRIO
After a long, exhaustive excavation of a historic sacrificial burial mound the corpses of three prime-evil caveman were unearthed. Upon their resurrection their identities were revealed as: Oren Ambarchi, Greg Anderson and Attila Csihar. Archaeologists have determined the creatures stalked the land before performing archaic rituals under the names of : GRAVE TEMPLE TRIO (Israel only) SUNN0))), MAYHEM, TORMENTOR, and possibly the Menstruation Sisters. This current evocation of this unholy alliance has been rumored to be: subsonic, destructive and may induce vomiting, narcolepsy or rigor mortis. YOU HAVE BEEN WARNED.

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Cult of Luna
Fear Falls Burning + transmission 0

Zondag 25 februari.

Cult of Luna:

postrock/doom/drones
Met de nummers op het album 'Somewhere Along the Highway' creëert Cult of Luna nog meer sfeer dan op de vorige albums. De Zweedse band graaft per album steeds meer de diepte in en blijft zoeken naar breedte. De slepende nummers worden monumentaal opgebouwd. Traagheid bepaalt grotendeels het tempo van de Cult Of Luna nummers maar wel onder het mom van 'stilte voor de storm'. Een Sturm und Drang aanpak die we ook kennen van Isis en Neurosis. Maar een dergelijk aanpak bezigt ook Mogwai en Red Sparowes. Heel soms komt er een oerkreet van Klas Rydberg. Vooral zijn prachtige zangstem draagt nog meer bij aan de macabere en donkere sfeer. Cult of Luna is een beleving en een show biedt daar het ultieme platform voor.

Fear Falls Burning:

De groepsnaam Fear Falls Burning verraadt enige somberheid. Dit project is een nevenproject van de Belgische doom-ambientgrootmeester VidnaObmana en het ligt in het verlengde. Met Fear Falls Burning elimineert de man alle postproductieve processen of overdubs die op de Vidna-albums het geluid karakteriseren en beperkt hij zich tot lange, live ingespeelde gitaarpartijen en dromerige ambienttapijten. Met een voorliefde voor oude transistorradio's, vintage en lampenversterkers zorgt Fear Falls Burning voor een licht industriële en groezelige toets. Live worden FFB nummers vaak echte drones.