Pick one that's hard-to-crack, only known by you, and at least 6 characters long. Use this to log in to your account, receive notifications and get handy updates from us. Date of Birth? Please enter the account owner's birth date here.
We based it off your Facebook details. But you can pick one that's 25 characters or less and includes a letter. Numbers, dots and dashes are ok, too. Select one Female Male Unspecified. Connect me to Facebook friends and artists on Myspace? You may already know people on Myspace. Johnny vil selv, Grim — den lange rejse : en historie fra jernalderen, Pancho og Lupita er indianere : historie fra Mexico, Vi bor i Zambia, Bussemandstrillerens hemmelighed, Her er historien : Nye opdagelser : , Historien om middelalderens mennesker, Her er historien : Danskerne og kolonierne : kolonitiden fra til i dag, Kender du Island?
Babu er hindu : en historie fra Nepal, Hokus-Pokus Sofus, Salina er kun en pige : historie om en muslimsk pige i Bangladesh, Tove, Ove og ridder Rolf : historie fra middelalderen, Overfaldet og andre historier fra oldtid og vikingetid, After its release in , it was an instant hit, and brought a lot of recognition to KK. With no formal training to count, KK got himself to release a music album Pal with support from his friend, Lesle Lewis in Mumbai.
All lyrics are written by Mehboob ; all music is composed by Lesle Lewis. All the songs from the album were massive hits all over India. From Wikipedia, the free encyclopedia. Retrieved 11 March Retrieved 26 September That's not easy to hear as this hour long work is one of continuos drone music: loops fade in, fade out, fade in, but since they sound kinda similar, this is music that is always moving and shifting about.
Like many shades of one color, or indeed like a wheat field. From a distance it looks the same but by close inspection you will notice that they are different. It works well, this ambient music. Its nothing new under the ambient sun, but this gentle music is bound to bring light and joy on a grey day. Nothing special for the genre of ambient, and nothing outstanding in the world of Celer, but another fine addition to the vastly expanding catalogue.
As Montauk In February he operates in a more experimental fashion, as opposed to Code At the basis of 'Broken City Heart' there is the sound of 30 video's filmed at some construction site in Brussels, along with vibraphone and piano samples played by others. However the five pieces that span only just under eighteen minutes here didn't leave a big impression on me. The sounds from whatever construction site are highly processed into massive chunks of computer sound, that are massive and monolithic most of the time, but where I kept thinking: what does a vibraphone and piano have to do with this, where do they fit in?
It wasn't a bad a release actually, but a bit too short perhaps to form a solid opinion about it. There is overall I think room for improvement. The letters in the band name stand for Leo Fabriek , Mariska Baars, a. The first two pieces on 'Drifts' were released on a cassette by Digitalis and of that the first one has all four people playing, the second just Mariska and Rutger. The third piece is by Leo, Rutger and Wouter and was a released as a 3".
In the quartet piece that opens up here we get a pretty full sound, and pretty much improvised. Even within the realm of things being atmospherical this is an improvised work, with sounds going in and out, and everybody does whatever he or she deems good, and let's hope it works alright. It does work out fine. The piece with Mariska and Rutger is very 'silent': Mariska sings and Rutger processes the sound. Endless wordless humming create a quiet, weightless piece of space music, with lots of hiss like sounds and sparse additional sounds.
In the third piece Leo Fabriek plays piano and is pretty much present in this recording. Wouter plays melodica and tape recorders, while Rutger plays guitar, sampler and effects, and both of them wave together a great, densely layered piece of atmospherics in which a nice tape-loop with spoken word Drs P.
Very nice piece, making two pieces very fine and one ok. The other two releases are just by Machinefabriek and are very recent. For 'The Breathing Bridge' he uses sounds taped at the Erasmus Bridge and the river Nieuwe Maas, both in Rotterdam and creates two pieces of music with that, although it wasn't easy to see the distinction between both. As with many of his recent outings, Zuydervelt is all about atmospheric music, but arrives there from different ends.
Sometimes with musical instruments and sometimes with field recordings, such as in this case. For the most part the music humms at a low, bass end level, until it bursts out somewhere halfway through the second piece, after which things die out again. On 'Nerf' he plays just acoustic and electric guitars which in 'Sluimer' sound like a guitar, with some very open sound, in an Ambarchi like manner.
In 'Ax' the whole things hoovers about in effects, resonating and vibrating, whereas 'Nerf' is the culmination of both ends. Here the atmospheric card is played by Machinefabriek and both are highly enjoyable releases, which may not shed that much new light on the Machinefabriek, but with such a vast output its hard to be 'new' all the time.
I can't remember. When he appeared on the scene, back in the late 80s, with a series of strange cassettes full of found which seemed to be captured on microcassettes. I can't say I was a big fan of his work. It seemed to lack composition in favor of one big concept. The first side is made of pieces of magnetic tape stuck together of found sounds.
Obscure banging of objects, spoken word sounds like excerpt from an interview , distortions and such like, and may come across like a very lo-fi Schimpfluch record. Whereas side two has a more continuos piece of music, based on vocal loops, bell sounds and throughout this sounds semi-religious, or perhaps Factor X takes the piss out of very early Current 93? Both sides are long, perhaps close to thirty minutes, which is too long if you ask me.
Still not blown away by it, but its quite interesting to see someone actually making the effort to release it. Address: none given. On these pieces he plays 'field recordings and objects', but all of this highly obscured through extremely lo-fi transformations. It seems like captured on a cassette or perhaps a whole bunch of cassettes , which add a low resolution to the material.
It moves low over the surface of sound and is truly obscure record, but also a captivating one, I think. Maybe because one doesn't have a clue what's going on here, it leaves lots of space to contemplate about that. A record that poses more questions then the answer it gives. Which I guess if you call yourself Socrates Martins is the whole idea. Beautiful obscurity. Before I read the short message that came along with the release by AS11 I first played the music. Quite a normal procedure, to check out what it is before knowing anything about it.
I couldn't make much of it. A bit noisy, heavily based on the more noise based outings of the world of computers and plug ins, cascading waves of sound, drums, glitchy rhythms.
Odd stuff. Not entirely blown away by it, I read the note. It seems that all of this was made with the sound of bagpipes, apparently a love of AS11 to do at least once in his life. That's hard to hear on this release, I think. At least I had a pretty hard time figuring out that we deal with bagpipes here.
Once I knew it didn't change much for me I think. I still wasn't blown away by the somewhat crude manipulations of the sounds and the likewise somewhat compositions that were derived from it. One CD has eighty of them, one fifty and one only twelve, so in total.
The latter two have been previously released, 'Skegg' was reviewed in Vital Weekly , and 'Spor What was written then, still stands today: "The tracks are short and distinct indeed and obviously succinct as well. These are miniatures, delicately constructed from a great variety of sound sources. There is no such thing as a general mood or atmosphere; the tracks are too varied for that.
The only thing one might say is that they are all sampler based which says nothing much really. And it's not the first time that he goes all the way. Go for it. By Fred M. Meelkop is one of those sound artists dealing with hyper intellectual avant electronic music walking on the edg Don't worry oh you tender hearts! Meelkop is not just cold and sharp and he's not absolutely trapped into the "strong sound" vs silence dichotomy, sometimes like in the case of the second track you can also happen to taste a quasi melodic fragment by the way I'm sure you know what to expect.
Sometimes it also reminded me of some Asmus Tietchens experimental works, since he's more some kind of perforative use of sound art than in the construction of a "song". I found it also interesting the fact thanks to a varied and mixed track-list it doesn't get boring after a while and it keeps building a constant tension that catches listener's attention. For the simple it may appear there's no doubt Meelkop's minimalism hides a maniacal definition of sound and particulars.
Soft minimal abstractism for trained ears, that's the name of the game. Review by: Andrea Ferraris. A passionate workhorse: Towards the very core of realism.
But besides acting as a busy bee in the field of journalistic enterprises and reviewi Field recordings are the centrepiece of this release, accompanied by silence and sounds of unclear origin. Here, we are confronted with a hard-core and extremely straight approach to new music. Field recordings are being pushed to the very core of realism; Sounds of wind and noises generated by the coincidental arrangements between the recording unit and nature are accompanied by electronically enhanced additions.
These compositions congenially reflect his perspective on composition, timbre and development. This was an unfinished project of Waterman, and de Waard has arrived at some well-balanced criteria transforming the piece into an intelligent display of careful alterations.
It enhances the original, while giving it a whole new meaning and value. It is certainly not de Waard's only one, though: When I heard that he's also on tour with his music I could hardly believe it.
Where in the world takes this man the time to do what he does?中國時報>>人間副刊 輯一 走訪一座不知名的小城 c 15 22 鄭 寶娟 中國時報>>人間副刊 輯一 安妮之家 c 23 32 鄭 寶娟 輯一 滑鐵盧古戰場斷想 c 33 41 鄭 寶娟 幼獅文藝>>月刊 輯一 櫥窗女郎 c 42 46 鄭 寶娟 自由時報>>副刊 輯一 跟著基督山伯爵的足跡.