Since the weather has been hovering near the 10-degree Celsius mark this evening, now would be the perfect time to share a chilly, yet inviting, ambient album courtesy of the blog’s friend, Robert Scott Thompson. Though this release is available through Acousmatique Recordings, he also has his own Bandcamp site worth perusing.
Hviledag is the moniker of Anton Friisgaard, who has an EP due for release on September 22.
Listening to it, it seems Anton has captured the spirit of the best of 1970s Kosmich Musik out of Germany (think Cluster/Kluster and the solo releases by Hans-Joachim Roedelius and Dieter Moebius [RIP], Tangerine Dream and Klaus Schulze during their peak in the mid-1970s, and even pre-robot Kraftwerk).
Don’t think, however, that this is some boring copy of the masters. Anton brings fresh ideas to the genre. The recording quality, however, is so familiar and comfortable to me that if this release were to come out on vinyl, I would be thrilled to listen to it and place it along with the greats mentioned earlier.
Sublime isn’t quite a strong enough word to describe the stylings of pianist Nhung Nguyen. She comes to me from her experimental music background something I thank my friend and colleague C-Drik for), but this particular release, my favorite of her substantial back catalog, is something that would have done Andrei Tarkovsky (the famed director of the magnificent movie, Nostalghia) proud. It is a perfect album to simply relax to and let the mind wander a bit.
Many thanks to Mike at Avant Music News who is a wealth of amazing information.
Source: Billboard. A half century into an odyssey that’s seen him work with musical prime movers such as Terry Riley and Brian Eno while pioneering his own distinct lane of so-called fourth world music, composer-trumpeter Jon Hassell is still active and vital at 81. His latest album, Listening to Pictures (Pentimento Volume 1), finds rhythms […]
Though this release isn’t breaking any radical ground musically, Hypnodial reminds me of some of the more solid ambient and electronic music releases of the late 80s and early 90s. Well done, well produced, and something quite nice to relax to.
There’s not a lot of music I could compare Slovak chanteuse Katarína Máliková to. Her sound is utterly unique, and I could only imagine bands like Dead Can Dance as sharing her ethereal vibe. The instrumentation could fit somewhere comfortably between folk, fusion and Fourth World Ambient (think Jon Hassell).
For fans of these genres and of artists like Loreena McKennitt.