FFWD - Orbert (CDr)

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Discipline Jam Sleepless Man With An Open Heart Sleepless 1 PV Sleepless 2 PV Cirkus 3. Fripp Speaks 4. Pictures Of A City 5. Formentera Lady 6. Discipline DISC 2: Larks' Tongues In Aspic Pt. Discipline DISC 4: Cat Food 5. The song just sort of hovers for the first few listens, like it is floating around your ears, a work of sustain. Martinez was a master at this bipolarity, where what sounds completely blissful eventually reveals a restlessness lurking below.

Opener "Strata" makes this darker, anxious edge apparent right from the start of the album, beginning with a buzzing static that comes and goes over the course of the 8 minutes, injecting thorny moments into the blissful atmosphere. That blissful atmosphere is created by a warm, deep drone that quickly follows the static and will soon become the unrecognized substance from which everything emerges.

That everything includes additional drone layers, an occasional dubby beat, mournful bells, a heartbeat bass, squelches, clicks and the crackle of static.

Whatever genre you classify it under, it is certainly its minimal version, utilizing a limited and restrained synthetic palette. The centerpiece is a gorgeous synth drone that moves simply between two chords for seven plus minutes.

I can't say enough about this one, definitely a must-hear for anyone interested in music that seeks to bridge the gap between the dancefloor and chillout room, the club and the environment. It's beautiful music touched with a melancholy, which perhaps results from knowing that there is no more Electric Birds music to come. Head below to the comments for more. Electric Birds, "Painted Rooms".

Electric Birds, "Slow Motion". Electric Birds, "Radia". I realized that dropping seven CDs worth of clicks and cuts in a row might not be the best idea, so I figured I would try to mix in a few of my favorite artist albums from the Mille Plateaux catalogue into the mix. Logically, we are going to start with an album that undermines my whole reductionist minimalism argument and ascetic aesthetic.

Plus, you know we love trying to recover some lost, overlooked gems and I feel like this one is a perfect candidate for rediscovery. There isn't a ton of info out there about Mr. Martinez, although a look at Discogs tell us that he has been a session musician as recently as last year. It's a shame that he seems to have disappeared, as that intense period of production from was a fantastic start, would have loved to see what came next.

Perhaps if this post becomes hugely popular, we can coax him out of retirement. Regardless, no sense in mourning what could have been, let's have gratitude for what was.

What was is a work that explores the possibility of a sensual austerity, a West Coast chill meets Frankfurt techno hybrid that will have you reconsidering the potential of the clicks and cuts sound.

For those who find stuff like Snd's too ascetic and cold, this is the perfect antidote, as Martinez takes that template out into the sun for warmth, light and relaxation.

Take "Radia," a beautiful song that perfectly embodies this contradictory mission. It is because of the wafts of acoustic guitar picked notes, which bring a wistful vibe to the track. Finally, "Slow Motion" bring the funk to the Mille Plateaux minimalism, as a bass groove creates a slow as molasses bounce underneath spare and slight clicks and hazy synth textures. It's an exercise in reduction, in both materials and time, thinning out and slowing down disco as much as possible.

Out of print, I highly recommend giving the whole album a listen when you have a chance, as the three tracks above are just a taste of what is below in comments. Snd, "Circa ". Vladislav Delay, "Synkopoint". Ester Brinkmann, "Maschine". Kid , "Sonqizzmaster". There were a few unsuccessful attempts at relaunches in the ensuing years, but those never gained traction.

For anyone who went to graduate school, you will recognize the source of the label's name, an homage to Gilles Deleuze and Felix Guattari's A Thousand Plateaus: Capitalism and Schizophrenia. Much more importantly, it showed me that dance music could straddle the ground between the experimental and dancefloor.

Despite its instrumental character, dance music could and should have an explicit politics. Finally, while I'm not sure that I realized it when first listening to these releases as a teenager, it was one of my first exposures to both ambient and minimalist music.

It's probably best to see these as in-the-moment retrospectives for the label, a 5-volume summation of the label's output and aesthetic over two decades. I say this because even on the earliest volumes much of the music doesn't strike me as particularly glitchy, a call-to-arms to embrace the an aesthetics of failure from the ubiquitous clicks and crashes of the computer age.

In other words, how stripped down could techno get before it is no longer techno? Despite its radical reduction, it retains a forward movement, a skeletal rhythm, all of which I find beatiful.

As he wrote:. You have come here, you must think about minimalism. Be it the minimalism of "rich" kinds of "idea"-based, "abstract" experiments, or the "poor" minimalism of reduced sounddesign, abstractions of substraction. You clicked, somebody delivered. And with it you will be introduced to a new differenciation of your concept of the minimalist nation. The digital routing of ideas based on sound, it's flaws, delicacies, it's enlightenment, and it's value for the times to come.

And as you guessed it, it clicks and cuts. Remember the days when all was easy? When a new sound created a soundgeneration every couple of months, and progression was not an internal quality of electronic music, but it's driving force? Times when a new genre wasn't just a sub-something of a sub-something, but fact? Well, stop remembering, these days have arrived once again, and they have changed. It is the Cut-Copy-Paste-Funk of the most unessentialist sounds ever; the clicks, the movements from one to zero made audible to and from a computermusicgeneration, that finds a new entente to be the departure of all relevance for the century to come.

Clicks no longer are a part of what can be imagined as a cultural process, they are it's value, it's measuring, it's money, rules, laws, content, communication and whatever transaction media give way to. To make you feel at home, in a place heard of, but yet unknown, fascinating in it's ability to change perception of processes and processes of perception and what will be.

And it sounds first of all promising. Oh boy, so much good stuff in there. I was excited and surprised by the utopian undertones that come through, that unabashed desire "to construct a new world. I'm not just thinking of its musical adherents like Steve Reich and Michael Nyman, but that entire post-War movement that found expression in the visual arts and architecture as well.

I'm definitely out of my league with this discussion, but hopefully we won't drown by delving into visual art and more. For any art historians reading, feel free to get in touch and send a life jacket. Otherwise, check back soon for more Clicks and Cuts and other Mille Plateaux goodies.

We began with his new album of original material, moved on to one of his official mixes and their edits, so it only makes sense to touch on a few of Prins Thomas' remixes over the years.

It's not totally surprising that he is so in demand, as our dude has a unique sound and a willingness to completely reimagine the originals he deconstructs. Add in a prolificness and you understand why over the past decade and a half he has remixes to his credit, reimagining tracks from everyone from LCD Soundsystem and Simian Mobile Disco to Bebel Gilberto and Bryan Ferry.

Check out this interview with Thomas from the Red Bull Music Academy lecture series, where he delves into his music and career, with a particular emphasis on the place of the remix in both. I just love Thomas Moen Hermansen and the brilliance and creativity he has displayed remaking other people's music as Prins Thomas, so I wanted to collect a portion of that incredible output in one space. I know that most people aren't buying 12" singles and and so a lot of this material doesn't get heard or gets heard in a club and fades away into obscurity because Shazam isn't up on their vinyl B side game.

That's a damn shame, so we wanted to do our part in fighting against that silence. I'm actually thinking of making this an incomplete post, updating it down the road as I get my hands on other remixes, but we'll see. Anyway, above are just a few highlights, some personal favorites; below in the comments, you can find a larger sample, a 2 volume Prins Thomas Remixes collection that covers everything from Tensnake to Lana Del Rey to Blackbelt Andersen.

It will hopefully give those new to his work a good intro and fill out the collection of even the most grizzled, bearded disco veterans. Download, enjoy, spread the cosmic vibes further and wider and support the artist by buying his recent work. I won't discuss each and every one of the tracks, as, contrary to what it might seem like sometimes, I do not want readers to die of boredom. I will highlight a few, however, for those wondering where to start with above. Plus I just can't help myself.

I've tried to capture that range in the samples above, with an emphasis on Namlook projects that aren't as well-known these days like Silence and Air. This 6 and a half minute song begins with a mournful, violin-like drone; as the song unfolds, deep bass and twinkling percussion accent it beautifully.

About halfway through, a rush of distorted bass notes up the pace and intensity; the drums get harder, synth notes bubble up and evaporate quickly. It feels like you are being sonically sucked into the whorling drone vortex. With about a minute left, you find yourself on the other side, alone with the melancholic drone. It's especially interesting to listen to this with the other two songs featured on its initial release, "It's Getting Strength" and "It's All Around Us. Two tracks from his Sequential project with Christian Thier give the compilation a dark center.

Finally, Hearts Of Space's "Drawn" closes the record out with something completely different; while the shortest track at a little over 4 minutes, it might have the biggest impact. I can't think of a better way to describe this than as skymusic, the sound of the clouds and birds lift you up and let you drift off.

It covers ground air? Avalon, "New Frontier". David Byrne, "Machu Picchu". Bleep, "The Launchpad Boomerang Mix ". The Arc, "Orphic Mysteries".

Terre Thaemlitz, "Hovering Glows". Moby, "Myopia". We'll dig into a few other volumes down the road, but in order to satiate my obsessive need to starting from the beginning, we open with Freezone 1. Released in on SSR Records as both a 4LP and 2CD compilation , the music was compiled by label boss Marc Hollander, while the sequencing was done by Solar Quest who not surprisingly is the only artist with two tracks on the record.

I really like this first volume of the series, as it sits in a nice sweet spot between mix and compilation. What I mean by that is that there is a flow between tracks and consideration of juxtaposition, but each song is allowed to play out to its entirety, so the part is not sacrificed for the whole. Add in all the tracks from artists I had never heard of and you have yourself an essential compilation. Future, more popular volumes were mixed by DJ Morpheeus, which are the ones to seek out for your deep space journeys.

Rather than bore you with my guesses as to what the phenomenology of ambient means and erroneous Husserl references, I figured that we would just take a brief look at the music. To my ears, there isn't any discernible themes dividing the two discs; both cover a ton of ground, giving you a nice sense of just how far-reaching the ambient turn was in the s.

On the new to me side, there were three exclusives on the compilation, each of which shines brightly. Avalon's "New Frontier" takes us to a sonic border, on one side of which is bird chirps, flute and peaceful ambience, while a tribal house number is on the other. The Arc's "Orphic Mysteries" builds a cosmic house track out of the depths of deep space drones; this one just feels made for sunset, with the tranquil beats, lush synths and screwed vocals.

On the reevaluating the familiar side, it was initially a shock to see David Byrne of Talking Heads fame listed. While his collaborations with Brian Eno have come to light again recently, he wouldn't be the first name you would expect to see on a mids ambient techno compilation.

There is also a track from another insufferable New Yorker, Moby. I must confess that I forgot how talented he once was as a producer, as the compilation features the effervescent "Myopia," which takes flight on the strength of an unforgettable and unstoppable bubbling synth bass. Finally, two tracks from two of the most creative minds in electronic music who are still going today, Geir Jenssen and Terre Thaemlitz.

You know Jenssen better as Biosphere, but before he became the dark ambient god, he made sleepy techno under the pseudonym Bleep. This closing track ends Disc 1 on a darker note, as splashes of hi-hats and clanging percussion accent a bed of ominous, twisting drones. There's more darkness of Disc 2 with the highlight of the compilation, Terre Thaemlitz's "Hovering Glows. This one is all about bleeps, clicks, bells, rattles and snares that produce a reduced techno. I am embarrassed that we have not mentioned Thaemlitz before, but I hope that we can get to her music as soon as possible; there might not a more important figure in establishing the political nature of ambient music.

Enjoy this fantastic compilation. The week ahead is going to be devoted to one of our favorite artists and labels today, so much exciting stuff to get to. Talk soon. Calm, "Light Years". Leggo Beast, "The New Deal". Conrad Schnitzler, "Electric Garden".

Streamer, "Sleepwalks". My friends, I apologize for the lack of posting lately, but it is summer and I had a chance late last week to return to paradise, aka the beach, and I could not pass that opportunity up. I am the tannest I have been in two and a half decades and feeling as relaxed and inspired as I have been in perhaps as long.

We have some amazing stuff coming up here at the site that I hope will only extend these good vibes and inspiration to you, my dear reader. Yes yes, I know that I said we were done with Morris last week.

This nearly minute mix was released in on Return To The Source, offering a rare chance to hear Morris in his native habitat, the DJ booth.

As an integral figure in the development of the chill-out room, this mix provides a snapshot of what a night in that space might have sounded like a decade after its birth. I have pulled out a few highlights from the mix that cover two of my favorite sequences from the mix, the beginning and end; as always though, these excerpts are not a replacement for taking the time to listen in its entirety, which lets you appreciate Morris' skills at crafting a set and building a temporary space of relaxation and bliss.

Morris brings things to a close not with a bang, but an appropriate whimper. Perhaps because of the influence of this past weekend, what struck me the most this time with this album is how it brought to mind both the New Balearic sound and the larger concept of Balearica.

The liner notes inform us about "Electric Garden" that "if you were lucky enough to go to Ibiza in the late s you would certainly have heard this record! It's an exhilarating one, as it places the chill-out room and the island in a utopian continuum that confirms our belief that these spaces were laboratories to experiment with music, community, play and more. Under the chill-out room, the beach. We will return to this figure of the chilled, as it suggests a new urban character that can help us reimagine the city.

The Irresistible Force, "Spiritual High". The Irresistible Force, "Sky High". The Irresistible Force, Flying High. It is so fucking hot out right now that I think we all need maximum chill in our lives all the time. With that in mind, we return to the London-SF ambient route of the early s, when the chill was at its apex. Long-time readers here have already encountered Morris' work in the form of the seminal Chillout Or Die compilation, which he mixed and helped compile.

He had residencies at legendary nights like the New Age meets Rave Megatripolis party and in the purple room at Lost. Ninja Tune picks up his Zelig-like story , telling us that "The Mixmaster made his name as the hardest working chillout DJ in the world, doing all-night soundscapes in 30 countries at a bizarre selection of parties. In Germany, he appereared at the Berlin Love Parade for ten years running the world's largest techno event, ".

Flying High comes right smack dab in the middle of all of this; it is Morris' first LP under the moniker, released on Rising High Records in A reflection of main gig as a DJ, the 6-track album has that feel of a seamless mix like Despite the fact that the vocal sample makes things feel dated, I actually kind of love it. The instructional tone actually works for me, as chilling out was a new thing and I like hearing the explicit demands that one lie back and close your eyes.

After a couple of minutes, our guide takes off and soon we do as well on the strength of layers of rippling, cascading sequencers that Morris warps and twists and speeds up and slows down.

This all leads into my favorite track, "Sky High," a magnificent minute track that move between cosmic acid and ambient drift passages, journey and destination. The epic length serves things well, as each passage is allowed to develop, no rush, no anxiety.

The album's standout track would probably be "Symphony In E," which out of the blue breaks the chill template by adding a beautiful, uplifting violin phrase and bird sounds to the mix. The violin feels like the aural equivalent of throwing a rock into a pond, as repetitive notes seem to ripple out or echo from the source. At times Morris matches that violin with a similarly cascading bass. Another reason that this one stands out is that the violin and bird calls give this one an mournful quality, a feeling rarely evoked in this type of music for me.

That trippy beginning is the perfect intro to the album's most experimental song, as Morris plays with sounds, textures and pacing over 20 minutes. It's all must-hear music that simultaneously sounds of the early s and timeless.

Ok, I feel like we need to calm things down after all of that acid excitement and anxiety from yesterday. Your boy can only handle so much these days, which I believe the medical community has determined to be one of the key indicators of getting old. Anyway, to bring some calm back, I turn to one of our favorite up-and-coming ambient artists today, Oliwa.

I was excited to get news of the new album, partly because it served as a reminder to listen to some of his older work again. What better place to start than his first full-length, Naturalia , released in on the now-defunct Twice Removed label. This one came out on CD in a hand numbered limited edition of 50 copies, making this super duper rare.

Interestingly, it turns out that the seeds of FFWD were actually planted the year before in , when the quartet recorded a minute demo track called Orbert. Fehlmann described it as ""an Orb track which became so long that it became a whole album!" Later, they divided that one track into 12 songs and gave us FFWD. Both of these releases.

8 thoughts on “FFWD - Orbert (CDr)

  1. View credits, reviews, tracks and shop for the Lightscribed,Cardboard Sleeve CDr release of Orbert on Discogs.
  2. Jul 02,  · FFWD - Orbert () (unreleased demo mix) Robert Fripp, Thomas Fehlmann, Kris Weston, and Dr. Alex Paterson. # moecurlythanu. Can be purchased on Discogs from the label w/bonus CDR. (As I did.) Waniyetula .
  3. A+ xx/xx/19 73 CD REC th Monkey - 'Space Dubs and Other Miscellany ()' A+ xx/xx/20 21 CD REC th Monkey - 'More Miscellany' (x3) A+ xx/xx/96 66 CD REC Afro Celt Sound System - 'Volume 1: Sound Magic' A+ xx/xx/99 64 CD REC Afro Celt Sound System - 'Volume 2: Release' B+ 07/30/99 79 CD AUD Afro Celt Sound System - Sonic Foundry .
  4. Jan 03,  · The Orb — британский электронно-музыкальный коллектив. В году одна из работ The Orb, альбом The Orb's Adventures Beyond the Ultraworld была включена в рейтинг The 25 Most Influential Ambient Albums Of All .
  5. FFWD>> / ORBERT -demo mix of FFWD album- SMEG G (1CDR) EX-SBD Recording // Digital Remaster Unreleased demo mix Robert Fripp // Thomas Fehlmann // Kris Weston // lucbabobfilante.svizokagluricocoveswaytsunucuph.co Paterson lucbabobfilante.svizokagluricocoveswaytsunucuph.co one lucbabobfilante.svizokagluricocoveswaytsunucuph.co two lucbabobfilante.svizokagluricocoveswaytsunucuph.co three lucbabobfilante.svizokagluricocoveswaytsunucuph.co four 90年初頭、ロバート・フリップがテクノ/アンビエントのミュージシャンとの.
  6. Aug 10,  · CDR: UK (Cooking Vinyl; FRYCDCDR) [promo] Aftermath (album version) Aftermath (bus remix) [bus] From a Distance (hybrid's ladies meadow mix) [hybrid] Track 2 is titled Bus Remix on the sleeve and Bus Mix on the CD itself. A1: Recorded at Lab. A2: Remixed at Lab Berlin. B: Recorded and mixed at Glamcentral Cast.
  7. О музыке: The Orb — британский электронно-музыкальный коллектив. В году одна из работ The Orb, альбом The Orb's Adventures Beyond the Ultraworld была включена в рейтинг The 25 Most Influential Ambient Albums Of All Time .

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