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.

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Conspiracy Records
2007 took a great start for fear falls burning. It's therefor with great priveledge I may announce that the next 3 fear falls burning albums will be released on the fantastic Conspiracy Records from Belgium (Antwerpen). I believe it was towards the end of 2004 when I personally met the Conspiracy Records gang at their office in Antwerpen. I was set to release the tour cd "first by a whisper, then by a storm" and wondered if they might be interested in carrying a few copies. They did and somehow since that very first moment something bonded. I would describe it as a mutual understanding and strongly believe that with Conspiracy Records I met kindred spirits ! I do look forward to a long-term partnership with them, funded by our shared passion for music and friendship.
The first CD release set will be the brand-new full-length collaboration with Nadja and in 2008 my 2nd studio full-length "frenzy of the absolute".

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** NADJA "BODYCAGE" CD: Bodycage is one of the most serious drone
full-lengths ever released. Stylistically, Nadja is one part Boris
Feedbacker, one part Merzbow and Gerogerigegege's None Friendly. IN
STOCK NOW!!!

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Het album begint met een motief, dat een uur lang gerepeteerd zal worden. Het motief wordt herhaald, maar evouleert geleidelijk en bouwt geleidelijk op. Steeds meer veranderingen komen langzaamaan naar voor, en meer en meer extra ritmes en syncopes verschijnen. De hele opbouw resulteert rond het half uur in het bijtreden van een gitaarsolo, die met de muziek verder vloeit naar het einde van het album.

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Op woensdag 17 januari 2007 03:56 schreef Yorrit het volgende:
[afbeelding]

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Op donderdag 22 februari 2007 23:15 schreef lifeblind het volgende:
tvp!

Ben laatst ook naar the burial chamber trio geweest. Sjezus, wat was dat hard!

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Op donderdag 22 februari 2007 23:18 schreef Yorrit het volgende:
die gast met zn jute zak

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Op donderdag 22 februari 2007 23:29 schreef HAL9000S het volgende:

[..]

Ja ghehehe. Die gasten in het voorprogramma trouwens, was dat een member van Acid Mother Temple? (Die Japanner?)

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Op donderdag 22 februari 2007 23:17 schreef HAL9000S het volgende:

[..]

In Rotterdam? Dat was idd gru-we-lijk hard, zonder oordoppen was het bijna niet te doen. SUNN O))) maakte z'n reputatie meer dan waar

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Op donderdag 22 februari 2007 23:29 schreef Yorrit het volgende:

[..]

ja
dat was ook een gruwelijk goeie set

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Op donderdag 22 februari 2007 23:57 schreef HAL9000S het volgende:

[..]

Jammer alleen van die 2 gasten die er doorheen zaten te schreeuwen

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Op donderdag 22 februari 2007 23:57 schreef Yorrit het volgende:
hoe was THEDIE!DIE!DIE! ?

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Æthenor Deep in Ocean Sunk the Lamp of Light LP/CD
Debut by trio of Stephen O’Malley (Sunn0))))), Daniel O’Sullivan (Guapo), and Vincent de Roguin (Shora). Taking its title from The Iliad, the music here is deep and cosmic, completely unlike anything you’d expect from such heavyweights.

More in the tradition of ‘Spiral Insana” and “Cyborg” than anything, the tracks float along in a masterful collage of activity, where careful scene changes highlight O’Sullivan’s classic but artfully placed Rhodes bombs, de Roguin’s organ, and O’Malley’s guitar. Extraordinary effort has gone into editing, mastering, and shaping these pieces – these are not tossed off improvisations or “side-project” orphans. Housed in CD and LP jackets hand-printed by Alan Sherry/SIWA. First VHF vinyl in 7 years! CD $10 (LP available in Dec

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Op donderdag 1 maart 2007 23:00 schreef nipeng het volgende:
Die is al een tijdje uit

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Fear Falls Burning gezien bij Cult of Luna in het voorprogramma. Was wel aardig.

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Op donderdag 1 maart 2007 21:44 schreef HAL9000S het volgende:
Een nieuwe drone LP binnen:

Æthenor: Deep in Ocean Sunk the Lamp of Light

[afbeelding]

[afbeelding]
[..]

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Op donderdag 1 maart 2007 23:03 schreef pfaf het volgende:
Ik zie dat hier de Goslings met Grandeur of Hair nog niet genoemd is, doodzonde, want geweldige plaat.

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Op donderdag 1 maart 2007 23:02 schreef HAL9000S het volgende:

[..]

Had je 'm al?
[..]

In de 013 afgelopen zondag geloof ik? Ik wilde ook gaan, maar ik moest gewoon werken de volgende dag dus helaas.... Maareh, was wel aardig? Qua performance? Sound? Had je er iets anders van verwacht? Hoe was Cult of Luna?

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Is Italy the new Finland? That’s what I’m left wondering after hearing this, yet another crucial collection of experimental noisy stuff..and I’ve got a feeling we’re going to be subjected to a whole lot more music from Italy in the coming months – with labels such as A Silent Place (who released the last full-length from this dronesome duo) and powerhouse acts such as the influential (and ridiculously prolific) My Cat is an Alien, there seems to be no stopping them. ‘The Stones Know Everything’ is a mammoth two-cd offering from experimental fellers Gianluca Becuzzi and Fabio Orsi (try saying that with a mouthful of Pringles while drunk) and surprisingly the duo manage to keep up the quality for the entire duration.

Interestingly though the two discs sound very much like separate entities, the first being a more melodic collection of tracks reminiscent of Fennesz or more recently Ateleia, and the second being where the two flex their experimental muscles, forging two long-form pieces and one short interlude. I would guess that the majority of these sounds have been extracted from the humble guitar (a useful beast is it not?) and with this the two musicians throw swirling whirpools of psychedelic distortion and fuzz. This is not however an album that should be lumped into the sprawling ‘avant-psych’ genre, ‘The Stones Throw Everything’ feels a little more sculpted and a little more finely realised than many other albums of its kind, and the attention to harmonic detail (especially on the first disc) gives it a strength rarely heard.

A good comparison might be to Mirror, who show an equally finely-tuned ear to the humble drone, but these guys don’t really sound exactly like anyone… something that maybe arises from their location. Since the Italian scene is somewhat in its infancy it will be interesting to see it grow, and with the help of such artists as these it looks like the future is going to be bright indeed. Deep, crumbling melancholic ambience… you couldn’t ask for more really.

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"A quiet gem of an album from label Small Voices.Each side of Osci comprises a long drift of electronic drones sourced partly from electric guitar,augmented with delicated shadings of samples and field recordings.There’s a subtle use of processed folk music and pacifying sounds of rural calm,but Orsi’s pastoral idyll keeps slipping into deep melancholy-shades of William Basinski-and even dread.The album comes apart in its latter stages and that’s not bad thing,as it might otherwise have degenerated through lack of variety into just another Ambient washout.the soft density of the sound is replaced by a section of slashing,high frequency cymbal effect,wich in turn gives way to a more brutally treated passage of folk song,underpinned by an ominous repeating thud.What sets the album apart is its careful construction and sense of restrained drama;Orsi’s collaborator Kinetix,credited with reworking and producing the material,might have added crucial input in this regard.Osci is a curious,even perplexing album rather than a truly challenging one,but that’s good enough to be going on with."

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Op maandag 23 april 2007 12:04 schreef Detroit het volgende:
Meestal zijn er altijd wel kaarten te scoren voor dit soort events, die voor sunn o))) was echter snel uitverkocht jammergenoeg.

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Op maandag 23 april 2007 19:24 schreef HAL9000S het volgende:

[..]

Ik had nog een kaart te koop staan hier op fok.

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Op zaterdag 19 mei 2007 19:53 schreef Detroit het volgende:
Zondag 20 mei treden Nadja (a.k.a. Aidan Baker), Fear Falls Burning en een artiest onder de naam FR.RO.ST op (waar ik overigens nog nooit van gehoord heb) op in een tent genaamd Occii (http://www.occii.org), in Amsterdam aan de Amstelveenseweg.

Ik ga er wel ff kijken, Aidan Baker vind ik namelijk best wel vette drones maken, al ken ik zijn Nadja pseudoniem nog niet.

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Op zondag 20 mei 2007 00:30 schreef Uzumaki_Naruto het volgende:
enigste Drone plaat die ik ergens op mn hd heb is een live bootleg van The Theater of Eternal Music

en een of andere akoestisch drone album van Boris

The Theater of Eternal Music, also known as The Dream Syndicate, was a mid-sixties musical group focusing on experimental and drone music, featuring La Monte Young, John Cale, and Angus MacLise. In 1964 the ensemble contained Young and Marian Zazeela, voices; Tony Conrad and John Cale, strings; and sometimes Terry Riley, voice. Since 1966 Young has realized the "Dream Theater" despite interruptions due to a lack of funding for such an exceptional, extensive, and expensive project.

Most of these pieces have long titles, such as The Tortoise Recalling the Drone of the Holy Numbers as they were Revealed in the Dreams of the Whirlwind and the Obsidian Gong, Illuminated by the Sawmill, the Green Sawtooth Ocelot and the High-Tension Line Stepdown Transformer. Likewise, his works are often of extreme length, many pieces having no beginning and no end, existing before and after a particular performance. Young and Zazeela are also on an extended sleep schedule, their "days" being longer than twenty-four hours.

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Op zaterdag 30 juni 2007 12:59 schreef HAL9000S het volgende:
Ik zie dat er ook een burial chamber trio plaat is uitgekomen!

http://rock.discogs.com/release/997640

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Op zaterdag 30 juni 2007 12:59 schreef HAL9000S het volgende:
Ik zie dat er ook een burial chamber trio plaat is uitgekomen!

http://rock.discogs.com/release/997640

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Op donderdag 30 augustus 2007 23:18 schreef nipeng het volgende:
Ik zal dan maar binnenkort eens naar Nijmegen gaan...

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once we all walk through solid objects collects 10 original and brand new fear falls burning pieces, reconstructed by renowned artists including bass communion (steven wilson of porcupine tree; uk), final (justin k broadrick of jesu; uk), (frans de waard of beequeen/freiband; holland), harvestman (steve von till of neurosis; usa), birchville cat motel (new zealand), byla (of dysrhythmia; usa), aidan baker (of nadja; canada), johannes persson (of cult of luna; sweden), jefre cantu-ledesma (of tarentel; usa) and stefano pilia (of 3/4hadbeeneliminated; italy). all tracks showcase 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. each and every contribution makes up a full vinyl record album side.

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Op donderdag 30 augustus 2007 23:27 schreef Yorrit het volgende:
Zo 09 Sep / deur open @ 20:30u / aanvang @ 21:00 / ¤ 6
concert

BIG CITY ORCHESTRAE (us) + TOSHIMARU NAKAMURA (jp)

In Toshimaru Nakamura's werk staat de no-input mixer centraal. Hierbij wordt de output aan de input aangesloten. Uit de resulterende feedback loops tovert Nakamura ingetogen muziek die ontdaan is van overbodige gestes. De uit Tokyo afkomstige performer verdiende zijn sporen in de internationale improvisatie / electronica scene, en werkte samen met o.a. Sachiko M, Otomo Yoshihide en Markus Schmickler. De tweede Liveset valt ten deel aan het Californische Big City Orchestrae. Sinds 1979 becommentarieert dit idiosyncratische kwartet met hun thematische muziek de monocultuur, commercialisering en andere misgeboortes van de maatschappij. Hun gelaagde soundscapes worden met akoestische en digitale middelen gemaakt. Tevens zal Dirk Serries (Fear Falls Burning en VidnaObmana) deze avond ook met BCO musiceren.

@ WORM

msischein wel vet

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Op zaterdag 30 juni 2007 16:54 schreef HAL9000S het volgende:

[..]

Hij klinkt fucking ziek!!

Volgens mij exact hetzelfde spul als tijdens hun liveshow

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Op vrijdag 22 juni 2007 11:10 schreef Yorrit het volgende:
maakt niet uit wat voor drones.. dat hier nu vooral electronische en metal drones langskomen..

wat zijn die namen die jij noemt.. heb je daar meer over te vertellen?

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Op zondag 7 oktober 2007 21:34 schreef Yorrit het volgende:
oke klinkt dope.
namen?

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About the documentary

Dronevolk revolves around four bands that play a prominent role in the ever growing drone and weirdfolk scene in Belgium. Jef Mertens made a selection of musicians to focus his film, not particularly on the scene itself, but more so on the people behind the music, their motivations and of course their MUSIC. From Kiss The Anus Of A Black Cat's dark and moody folk, Bear Bones, Lay Low's drone based move to Belgium to Silvester Anfang's ungoing discussions and Ignatz' stories of playing on a boat, the film exhibits a certain RAWNESS through stumbling interviews, live footage and exclusive recording sessions. Shot straight to tape from March through October 2007, Dronevolk serves as a music document for any self-respecting music lover.

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Op vrijdag 7 december 2007 22:37 schreef lifeblind het volgende:
Morgen ga ik naar Machinist/Industrial Passage, Bizarre Uproar, Odal, Pu:ppkakkbaggrlull, Terg en Cattletrain Commando hier in Breda. Ben benieuwd

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Op dinsdag 11 december 2007 10:35 schreef xpompompomx het volgende:

[..]

ik was er ook

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Op woensdag 12 december 2007 20:31 schreef Pantheon het volgende:

[..]

Hoe vond je Terg?

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Op zondag 16 december 2007 14:14 schreef Yorrit het volgende:
Tering wat was dat vet zeg... genadeloos... die vibraties, duivels

Fear Falls Burning en Silvester Anfang waren ook heel vet wb de drone

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Op zondag 16 december 2007 22:56 schreef HAL9000S het volgende:

[..]

Hoe was het in vergelijking met hun DOUR optreden?

Mooie pics trouwens [afbeelding]

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The Drone People feat. Stephen O’Malley, Mika Vainio & others

Info : Live Performances · Paradiso - Main Hall · thu. 21-02-08

Inspired by drone gods such as LaMonte Young and Tony Conrad, iDEAL record-label boss Joachim Nordwall has curated an event that will celebrate time, tradition, the future and the past, while simultaneously challenging them all. The sound collective The Drone People, formed especially for this event, will present a preview of their project 24 Hour Drone People. The entire piece will be performed just after Sonic Acts at the Stockholm New Music Festival.

The Drone People will perform a 4-hour concert, consisting of a series of solo performances. The Drone People are:

Joachim Nordwall (SE), the curator of The Drone People, and runs iDEAL in Gothenburg. He is a member of the ritual rock/drone group The Skull Defekts, filth noise/metal group Satan Power and analogue drone duo Alvars Orkester. Nordwall is also active composing solo works, which are often worrying and contain a static intensity.

Mika Vainio (FI), one half of the awesome minimal electronic duo Pan Sonic from Finland. His solo works, under his own name and under aliases like Ø, are known for their analogue warmth and electronic harshness – be they abstract drone works or minimal avant techno.

Hildur Gudnadöttir (IS), a classically trained cellist and multi instrumentalist. Her contributions to drones are sensitive, yet harsh and intense. She is part of the Icelandic contemporary music scene and a member of the dirty Balkan and Bulgarian folk music band Nix Noltes.

C. Spencer Yeh (USA), also known as Burning Star Core. His music has been drifting more and more from filth noise towards minimal drone noise based on voice and violin, reminiscent of LaMonte Young and Tony Conrad, with whom he recently collaborated.

Carl Michael von Hausswolff (SE), a composer and one of the leading figures in the field of radical sound performance. His works are pure, intuitive studies in electricity, frequency functions and tonal autism. In his concerts a very physical, almost brutal, side of his aesthetics blends with a polyfrequential beauty.

Stephen O’Malley (USA), guitarist, graphic designer and sound manipulator, spreads a gospel of drone and doom. As a member of extreme doom metal band Sunn O))) he is part of the genre’s resurrection and the scene’s growth into the galleries through collaborations with New York artist Banks Violette. O’Malley’s work possesses a strength, depth and dark that few master.

BJ Nilsen (SE), with a background in the Swedish dark ambient and industrial noise scene as Morthound on the infamous Cold Meat Industry label. Going from that to Hazard where he produced deep listening & minimal ambient works, often based on field recordings, for London’s Ash International and Touch labels. Nowadays, Nilsen records and performs under his own name. His drones are concentrated, focused and beautifully disturbing.

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SOLD OUT!!!

The vinyl version of 2 is limited to 1,500 copies for the world and is presented in an old-style tip-on gatefold jacket with art-worked innersleeves. The 2xLP is pressed on 180 gram vinyl. A truly heavy collaboration.

KTL is Stephen O’Malley (SUNNO))), Khanate) and Peter Rehberg (PITA) - a threatening collaboration taking in parallel worlds of Extreme Computer Music and Black Metal.

2 is the devastatingly beautiful four part follow up to the acclaimed self-titled debut and was recorded in a former abattoir in Angers, as well as a 16th Century manor in the extreme west of France. Taking the blueprint that was laid out on the first record even further, with the ecstatic build up of ‘Theme’, the near psychedelic ‘Abattoir’, and closing with the twisted romanticism of ‘Snow 2’. An upgrade both artistically and emotionaly.


As with the first album, elements appeared in the finished version of the theatre piece ‘Kindertotenlieder’ by Gisele Vienne and Dennis Cooper, which was premiered in Brest, France, in March 2007.


Stephen O’Malley (SOMA) is a musician currently based in Paris, France. He started the band SunnO))) with Greg Anderson in addition to playing in the groups Khanate, Burning Witch, Ginnunngagap, Æthenor, Grave Temple, and Lotus Eaters. He has collaborated with Merzbow, Julian Cope, Joe Preston, Attila Csihar, Lee Dorrian, Aaron Turner, Oren Ambarchi, Malefic, Wrest, Boris, Earth, and Z’EV. He is also a well respected graphic designer and does artwork and album covers for most of his own projects.

Peter Rehberg is an author and performer of electronic audio works based in Vienna, Austria. He has collaborated live and in the studio with Russell Haswell, Florian Hecker, Jim O’Rourke, Christian Fennesz, Stephen O’Malley (as KTL), Z’EV, Tujiko Noriko, Kevin Drumm, Carlos Giffoni, Mika Vainio, Zbigniew Karkowski, Rosy Parlane, Keith Rowe, Gert-Jan Prins, Marcus Schmickler, Dennis Cooper, Jade, SUNNO))), Lasse Marhaug as well as being a member of MIMEO. He also opertates the Editions Mego label

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Op donderdag 24 januari 2008 18:33 schreef HAL9000S het volgende:
Vandaag de nieuwe KLT - 2 gekocht op vinyl
[..]

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Op donderdag 24 januari 2008 15:32 schreef Yorrit het volgende:
tering...
[..]

www.sonicacts.com

dit kun je als droneliefhebber niet missen toch??

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The eight disc vinyl box '1987-2008 - Chasing The Odyssee' (out on ToneFloat late 2008) will be a last goodbye from Dirk Serries' epic project vidnaObmana. In order to focus on current and future works for Fear Falls Burning, Continuum and Eightfold Model (to name a few), Dirk Serries has asked ToneFloat/Crazy Diamond to take over the handling of his vidnaObmana back catalogue. All in print vidnaObmana titles will be available from now from here.

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Op zondag 28 juni 2009 17:28 schreef chris-mulder het volgende:
Houd je van drone ambient check dan het album van 2009 op dat gebied! Perimeter heeft na een aantal fantastische releases in het Drone Download Project van Stephen Phillips nu zijn eerste album gereleased via het label DarkDuck namelijk Perimeter, Beyond the perimeter. Voor samples kijk je op http://www.darkduck.net/a(...)beyondperimeter.html maar je kunt ook in Nederland te recht, kun je meteen de prijs in euro's zien op http://www.groove.nl/cd/8/88501.html

Dus houd je van donker mysterieuze ambient, meen dan zeker even de moeite om dit juweeltje te gaan beluisteren en oordeel zelf!

Groeten Chris

P.s. Laat ff weten wat jullie er van vinden, ik ben wel benieuwd naar jullie ervaringen van dit album

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Op zondag 28 juni 2009 20:09 schreef chris-mulder het volgende:
Klopt dat het mijn eerste post is. Was op zoek naar een plek waar gelijkgestemden hun interesse in ambient bespraken omdat ik erg enthousiast ben. Via het DDP van Stephen Philips in aanraking gekomen met Perimeter en dan nu na jaren eindelijk zijn eigen album. Heb hem gelijk gekocht en al vele malen gedraaid sindsdien. Ik ben niet Mr. Philips himself (de eigenaar van het label waaronder de cd is uitgekomen) en ik ben ook niet Perimeter (alias Andre Buter p.s. Dit staat gewoon vermeld op de darkduck site , voor ik beticht word van inside information lol) En ik ga er vanuit dat er naast het label en de artiest niet echt marges zitten in die 12 Dolar om mij geld te betalen voor promotie. Hee, waar is de tijd gebleven dat de fan een woordje doet voor een artiest. Maar goed jongens, doe ermee wat je wilt.

Groeten Chris

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Op zondag 28 juni 2009 20:09 schreef chris-mulder het volgende:
Klopt dat het mijn eerste post is. Was op zoek naar een plek waar gelijkgestemden hun interesse in ambient bespraken omdat ik erg enthousiast ben. Via het DDP van Stephen Philips in aanraking gekomen met Perimeter en dan nu na jaren eindelijk zijn eigen album. Heb hem gelijk gekocht en al vele malen gedraaid sindsdien. Ik ben niet Mr. Philips himself (de eigenaar van het label waaronder de cd is uitgekomen) en ik ben ook niet Perimeter (alias Andre Buter p.s. Dit staat gewoon vermeld op de darkduck site , voor ik beticht word van inside information lol) En ik ga er vanuit dat er naast het label en de artiest niet echt marges zitten in die 12 Dolar om mij geld te betalen voor promotie. Hee, waar is de tijd gebleven dat de fan een woordje doet voor een artiest. Maar goed jongens, doe ermee wat je wilt.

Groeten Chris

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Op zondag 28 juni 2009 23:49 schreef arucard het volgende:
Nee toen was ik bij my bloody valentine volgens mij.

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Op maandag 29 juni 2009 00:04 schreef ehqo het volgende:

[..]

Kunnen die het nog een beetje tegenwoordig?

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Op zondag 28 juni 2009 17:28 schreef chris-mulder het volgende:
Houd je van drone ambient check dan het album van 2009 op dat gebied! Perimeter heeft na een aantal fantastische releases in het Drone Download Project van Stephen Phillips nu zijn eerste album gereleased via het label DarkDuck namelijk Perimeter, Beyond the perimeter. Voor samples kijk je op http://www.darkduck.net/a(...)beyondperimeter.html maar je kunt ook in Nederland te recht, kun je meteen de prijs in euro's zien op http://www.groove.nl/cd/8/88501.html

Dus houd je van donker mysterieuze ambient, meen dan zeker even de moeite om dit juweeltje te gaan beluisteren en oordeel zelf!

Groeten Chris

P.s. Laat ff weten wat jullie er van vinden, ik ben wel benieuwd naar jullie ervaringen van dit album

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Op zondag 3 augustus 2008 20:58 schreef On het volgende:
Maar weer eens een kickje.

Ik ben wat blogs tegen gekomen met gratis ambient/drone downloads. Echt een walhalla vol obscure shit, je bent er zo weken zoet mee.
Voorbeeldje, http://deletedscenesforgottendreams.blogspot.com/
Ik ben er al echt geweldige dingen tegen gekomen die ik niet vaak genoeg kan draaien.
Als je goed zoekt kom je ook toffe dingen zoals machinefabriek tegen.
The Caretaker - persistent repetition of phrases, ergens op de eerste pagina, moet je ook zeker downloaden. Vooral het tweede nummer raakt een snaar bij me.

Ook kwam ik op een niet-zo-commerciëel label waar ook hele toffe dingen staan.
http://www.brainwashed.com/vvm/
Zitten ook veel gratis downloads tussen.

Droooooooooooooooooooooooooooooooonnnnnnnneeee on.

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Op zondag 1 november 2009 16:28 schreef FL_Freak het volgende:
24 uur drone op radio:

http://somafm.com/

Dan naar drone zone plaatje zoeken en daar op klikken. Altijd drone muziek!

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Op zaterdag 13 augustus 2011 02:08 schreef On het volgende:
Er is al 649 dagen niet in dit topic gepost. Meer een 'stilte drone' dus.
Hoe dan ook: Sinds youtube belachelijk lange filmpjes toelaat is iemand zo aardig geweest om William Basinski's Disintegration Loops in zijn geheel te posten.

William Basinski - d|p 1.1

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Op zaterdag 13 augustus 2011 03:28 schreef Faxie het volgende:
Lijkt wel heel erg op The Caretaker kwa stijl. (Niet dat dat slecht is )

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Op dinsdag 10 januari 2012 20:57 schreef On het volgende:
Ja hoor, denk het wel. Maar ik moet van 'ver' komen dus heb maar alvast zo'n pdfje gedownload. Het duurt wel tot 1 uur en ik moet uiterlijk om 12 weg voor mijn trein. Dus hoop dat ze het beste niet voor het laatst bewaren.

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Op dinsdag 10 januari 2012 21:11 schreef Faxie het volgende:

[..]

Ik heb even wat zitten youtuben, en ik vind ze allemaal wel erg gaaf eigenlijk

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Op dinsdag 10 januari 2012 21:17 schreef On het volgende:

[..]

Die tribal drone van High Wolf ben ik ook zeer benieuwd naar. Maar ik kom natuurlijk voor de helft van Stars of the Lid.

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Op dinsdag 10 januari 2012 22:03 schreef Faxie het volgende:

[..]

Ja daar ben ik ook heel benieuwd naar. Ik heb ze eens gemist toen ze in Dordt speelden. Ik kon toen niet

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Op dinsdag 10 januari 2012 22:12 schreef On het volgende:

[..]

William Basinski en Tim Hecker, zo twee namen die ik eens niet heb kunnen zien toen ze in Dordt speelden.

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Op dinsdag 10 januari 2012 22:36 schreef Faxie het volgende:

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Urban Explorers toevallig? Tim Hecker was er afgelopen jaar toch?

Nouja dit jaar hopelijk weer eens tijd

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Op donderdag 12 januari 2012 01:43 schreef Faxie het volgende:
Yorrit was er ook Die herkende ik, lol.

Fijne muziek idd, de hele avond. Jammer van de afzegger

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Earlier this year, working under his moniker The Caretaker, the electronic artist Leyland Kirby released Patience (After Sebald), the soundtrack to a film by director Grant Gee about the German writer W.G. Sebald. Kirby has now released a free album of outtakes from that album, titled Extra Patience (After Sebald), as The Quietus points out.

The record is available to stream and download at Bandcamp.

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Op zaterdag 13 augustus 2011 19:14 schreef On het volgende:

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Die nieuwe van the Caretaker is ook weer lekker. Vind het wel prettig die 'ballroom drone'.

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Op woensdag 15 februari 2012 20:39 schreef teknomist het volgende:

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The Caretaker.

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Mirrorring is the new dream collaboration between Liz Harris of Grouper + Jesy Fortino of Tiny Vipers, two artists whose respective solo works have been among the most haunting and affecting releases of the last few years. Their pensive, often devastating new record Foreign Body was born of a songwriting session in Harris’ hometown of Portland sometime last year, and has subsequently become our go-to late night/dream soundtrack over the past month or so. The beautifully murky, spectral album opener “Fell Sound” is, ostensibly, mostly Grouper, but as Mirrorring’s label puts it, “one could try to assess what part of the album each artist was responsible for, but that would prevent one from seeing the proverbial forest for the trees.” Foreign Body is due March 19 on Kranky.

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Op vrijdag 16 maart 2012 10:44 schreef On het volgende:
24 uur Star Trek drone.

Star Trek TNG Ambient Engine Noise (Idling for 24 hrs)

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Hecker tells me about the recent recordings he and Ben Frost have made, and some upcoming collaborative projects hes looking forward to.

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Op vrijdag 16 maart 2012 10:44 schreef On het volgende:
24 uur Star Trek drone.

Star Trek TNG Ambient Engine Noise (Idling for 24 hrs)

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Op maandag 21 mei 2012 20:16 schreef On het volgende:
Ik post wel door hoor.

De nieuwe Olan Mill is mooi. Doet me denken aan Stars of the Lid.

Olan Mill - Stalled Boson

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Op maandag 21 mei 2012 20:16 schreef On het volgende:
Ik post wel door hoor.

De nieuwe Olan Mill is mooi. Doet me denken aan Stars of the Lid.

Olan Mill - Stalled Boson

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Op zondag 27 mei 2012 12:14 schreef Faxie het volgende:
Over Stars of the Lid gesproken...

A Winged Victory for the Sullen speelt vanavond ook in Dordt, samen met 14 strijkers.

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Op vrijdag 24 februari 2012 21:11 schreef On het volgende:
Wist zo 1,2,3 niet waar ik het moest plaatsen. Maar er is een samenwerking van Throbbing Gristle + Factory Floor leden. Ben benieuwd of er een album aankomt. Klinkt wel vet in ieder geval.

Carter Tutti Void - V3 (edit)

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Op dinsdag 10 juli 2012 17:57 schreef emokid het volgende:
Niet écht drone, maar James Blackshaw levert weer kwaliteit op Love Is The Plan, The Plan is Death.

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Op woensdag 11 juli 2012 11:39 schreef Weakling het volgende:
Qua electronische drone verdient Fuck Buttons hier ook wel een plaatsje toch?

Fuck Buttons - Olympians

Fuck Buttons - Surf Solar [HQ]

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Op woensdag 25 juli 2012 21:23 schreef Darkestrah het volgende:
Ik stond wat drinken in te schenken toen ik dacht dat er een soort hidden track op het album van Gruta begon. Bleek het mijn printer te zijn die herrie ging maken.

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Op woensdag 25 juli 2012 21:32 schreef LostFormat het volgende:

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Prachtig.

Was ooit eens een monolake album (gobi desert) aan het luisteren met xtc op. Dit terwijl er dik onweer heel langzaam steeds dichterbij kwam. Ondanks de flitsen duurde het erg lang voorat we door hadden dat het niet in de muziek zat.

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Op dinsdag 7 augustus 2012 18:21 schreef Bosbeetle het volgende:
must have voor de droners: http://temporaryresidence.com/descriptions/trr194.php

desintegration loops op 9xLP

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