Though Oblik Lines claims to make ambient music, not that usual ambient in Window track summed with the vocals provided by CEC, that evidences the influence of a more indie-electro approach as well. The track has been recently released in 29th April. Oblik Lines is a French composer/sound designer.
« Oblik Lines » is a new Ambient project at the crossroads of many musical genres. The first EP is a kind of introspection, a first attempt to create bridges between my obsessions for various sounds and musical styles. Maybe it is utopian but if one day we could reunite idm lovers, modern classical fans and electroacoustic elitist in the same concert that would be a huge victory.
This is an ambient, lo-fi, track with drops of experimentalism with more soft sound designs and use of vocals. As said in MÒZÂMBÎQÚE‘s Soundcloud profile, he’s the sort of “Slow Motion Ambient Architect”.
Andrew a.k.a MÒZÂMBÎQÚE grew up in the jazz scene of San Francisco, where he developed affinity for instrumental music. In his early twenties he experienced a life-changing trip to Africa, where he studied and learned all sorts of percussion from a Kudu antler horn in Cape Town, ZA to the Tabla in Varanasi, India. For sure his music has the goal to be a guide to your own travels. As much as being truly an inspiration to his music composition.
Distance is his third single for his upcoming album, featuring Lone Kodiak.
20th April Macro/Micro released his new EP, called A Grain of Sand in the Blue Mist. He called it a “17 minutes sonic journey though a strange and powerful dream”.
In total, the EP is a big track divided in 4 movements, but keeping the flow from the first to the last track. It is ambient music, with experimental, glitch and drone touches, bright keys share the space with long low sounds and noise. Voices are used rather as an instrumental than precisely as vocals. We have a lot of dynamism and is best experience in one sitting, just like watching a short film.
Macro/Micro is the electronic music project of Tommy Simpson, artist based in Los Angeles and Almaty, Kazakhstan. The EP is available for streaming by Spotify and Bandcamp as embedded, but you also follow Macro/Micro on Soundcloud for more.
Inside the panopticon. Just a hotchpotch of curious minds?
When I read the word “Panoptikum” I immediately recall Michel Foucault and all his theories about power, discipline, surveillance society and prison system. Taking into consideration what I have written in this blog before about my views on social media, such as last March editorial I should say that we live in a world where surveillance is the rule, and everybody is watching each other through the windows of social media, a behaviour that is both imposed by the establishment as much as done irrationally on purpose, exactly like a panopticon. People fed themselves with mind control information, are instigated to act in certain behaviour of likes and share actively. What one day was a monopoly of radios, newspapers, magazines and television, now we have the web as a hub of companies/individuals who are shaping people’s behaviours and taste. Again, partially imposed and partially a rational decision, that in the end is more irrational than ever.
Dadanaut (maybe the cosmonaut of Dadaism) a German composer from Lauffen Am Neckar has released this 14th April his album Kabale, with 9 ambient/drone/experimental tracks, some of them shorter and other ones longer, such as Panoptikum itself. Well, considering everything written above, a track that uses this word in a track is nothing more than appropriate for our contemporary world.
Though the subject explored by Foucault and all the surveillance theories about individuals and communities in the digital age are quite complex and mindblowing, Panoptikum is in fact mostly a calming track, that provides chill ambient feelings for 12 minutes, but providing that big tension of being spied by someone far above you, that is controlling everything you do 24/7, with no space for private or to breath in peace.
You can check more releases from Dadanaut in their Bandcamp page, with track that go back to 2012.
It’s raining downtempo tracks in this blog, due to highly creative artists making what they know best. Another one from USA, this time Haulm and their new track Clean. A song part of their 6 tracks EP Stay For Me. The whole EP is highly recommendable for those who are looking for new downtempo material, not the most danceable kind, but the field recording with birds singing in They Come Along will mesmerize fans of this style, summed by superb sound design. Clean is just one among 6 other powerful tracks.
Haulm is a collaboration between vocalist/composer, JT Norton, and producer Reed Kackley (BAILE). The two met in 2012, in the local scene of Brooklyn bands, but just started to work together recently in 2017. It all started with some casual jam vocal sessions for BAILE, that turned into a serious music project.
The project blends ambient electronic music, with the traditional downtempo touch, vocals are very delicate and intimate. The instrumental were recorded by modular sounds summed by analog synthesizers. The duo aimed to create music that express a sense of sincerity.
It is possible to stream their tracks by Spotify.
The first thing that came to my mind when I heard this track was the collab between Alva Noto and Ryuchi Sakamoto. It recalls the noisy glitches followed by a slow and mellow piano composition. The track Vaun is also a collaboration among a German producer and a piano composer, this time between Arovane (Uwe Zahn) and Iranian Porya Hatyama. Vaun is being released in vinyl as a LP called Kaziwa that can be pre-ordered in n5MD website’s.
Another similarity with Alva Noto and Ryuchi Sakamoto’s collaborations is that both artists have been already working on other full-length albums before, being Kaziwa their third collaboration. The difference is especially in the sound design, while Alva Noto and Sakamoto have composed very minimalistic piano samples with glitch, the collab between Porya Hatyami & Arovane is more focused on a atmospheric and ambient tunes, deep and dark. Way more involving. It is possible to feel white noises on the background that sound like rain field recording.
To check some more works by Porya Hatyami you can access his Bandcamp. Porya has releases that go back to 2012.
London based producer Lyne wrote this track around an year ago, while living in the countryside. According to the artist, this was a kind of self-discovery recording process, when Lyne felt completely lost in the music, intimidated by the beauty of such a composition. The picture that illustrates the record was shot in La Verne, Italy, by Nicholas Lyne.
The song is actually short, what is rather unusual for ambient music. It sounds pretty much like a prelude for what can be an entire project. It brings into memory the feelings represented by a ‘prelude’, the start of a long journey, whose ending is unknown. Interesting rhythms, marked as mysterious drums and ethereal glitches that appear once in a while during this almost three minutes of a ‘prelude’ contemplation.
It is possible to purchase the track by Bandcamp, as embedded here. Also, you can stream it on Soundcloud.
Another remarkable ambient track sent from Norway. Ceiling Filled With Water is the combination of two artists, Tortusa/Breinstein. The track is part of the album Mind Vessel released 16th March by the jazz label Jazzland Recordings. The duo was nominated for the Spellemann Award (Norwegian version of Grammy) for their last album in 2016. It is possible to affirm that this duo gets the best from both worlds of Jazz and Electronic Music.
Tortusa (John Derek Bishop) is an ambient artist that gathered with saxophonist Inge W. Breistein. After releasing the album “I Know This Place – The Eiving Aarset Collages” (2016) by Jazzland Recordings they returned to another collaboration. The whole album itself is a collage of saxophone recordings that are sampled and processed by hardware and software. Largely improvised, the album mixes partially composed melodies with rhythmic repetitions typical of electronic music.
Another interesting fact about the recording process behind Mind Vessel is the fact that recording sections were executed in different rooms of a Cultural Centre and former beer brewery Tou Scene in Stavanger. The acoustics of those rooms is an important factor to this album’s ambience, as much as harmony and melodies itself.
The duo is touring Norway, England and Germany to release the album. On stage they vary between playing improvised stretches and composed songs. Some of the saxophone played in the concerts are also spontaneously sampled and used as part of the live performance. In addition to pre-recorded material. Breistein also experiments with effects to extend the sound of his saxophone, just like a guitarist with his pedals.
Tortusa is also responsible for the album’s visual arts.
The whole album explores the limits of sound design in music, playing with sampling and recording, the final result is just great.
The track No Surrender by Berlin based Italian producer Messy & The Gang is a compelling ambient work, that is full of glitch drums. The sound is dark, mysterious, proper for a nocturnal sentiment. Inspired by cosmic thematics, with this moon cover art, it suggests a style of ambient that is suitable for live performances and is yet danceable. Artists who you cannot define by specific genres of electronic music are exactly those who are making highly original material.
The track was released 1st March. Messy & The Gang explores multiple genres of electronic music and is currently collaborating with different European artists. No Surrender is the closing track of his album A New Principle that is available in Soundcloud and Bandcamp for streaming and purchase, plus Spotify (embedded bellow).
N KRAMER, Berlin-based music producer, comes with his new work A New Color, that is part of his new upcoming album, Endless, expected to be released in March the 30th, by FEEL FLOWS (FF002). 3:18 seconds exploring the vastness of ambient music produced by synthesizers. With his new releases, N KRAMER is uncovering the vastness provided by the 70s ambient-experimental European scene, such as Automat, mentioned here before.
We can listen to polyrhythmic patterns, like those provided by sequencers, that are constantly sounding throughout the whole song. Very dynamic and bright. They are followed by big distance pads. Accompanied by sweet and low melodies. Pretty much reminds Brian Eno, Ashra and Automat. All of this using modular synths, soft percussion and a nice mixing process using tape effects, summed by a sense of perspective, such as the reverberating synths on the back, when poly rhythmic sounds are being played.
His new album is avalable to be purchased in Bandcamp and already have A New Color Available in Spotify.
1. N KRAMER – Endless
2. N KRAMER – Slipping Through The Cracks
3. N KRAMER – A New Color
4. N KRAMER – A Different Structure
5. N KRAMER – Shifting Patterns
6. N KRAMER – It Has Never Worked Before