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Messages - petekelly

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Everything and Nothing / Re: New interview with Eno
« on: February 15, 2010, 01:53:59 PM »

'Thursday Afternoon' came out in 1985 Mark, so 30 years is a bit out.

Am re-reading Eno's 'A year with swollen appendices' diary and even then (1986) there's a feeling that Eno was working too much and too disparately. There's a lot of times when he wishes he could be in his studio working on his own music, rather than producing the great and the good.

Saying that, at the age of him writing his diary (46), he had achieved an absolutely significant body of work.



Ambient : Emissions of Sonic Beauty

#10 Igneous Flame (special mix)

Niels Mark (Podcast presenter) got in touch with me regarding selecting some of my material for a 30 minute podcast. I decided to take excerpts from 3 or 4 tracks from each of my 7 albums and make a mini-mix of each album and then to montage them together to make the full mix. The excerpts I chose were my favourite selections of some of the tracks on each particular release, in reverse chronological order.

'Electra' (2009) montage
'Hydra''(2007) montage
'Astra' (2006) montage
'Satu' (2005) montage
'Oxana' (2004) montage
'Intox' (2003) montage
'Tolmon' (2003) montage

57.7 MB

The introductory voiceover is in Danish, so is pretty much lost on me !
On the site, there are also Podcasts hilighting the work of Oophoi and Sleep Research Facility amongst others.


Other Ambient (and related) Music / Re: Mastering from The Masters?
« on: February 13, 2010, 02:00:33 PM »

I heard the clicks on the mp3 sample myself. (1:35 onwards)

Mastering Engineer to Glitch dude:
'Sorry mate, this mix is shot, there are clicks all over the place, not to mention the distortion and the hiss too'

Glitch dude:
'Thats how its meant to sound !' :)

I feel that with the required level of experience, the artist can do a perfectly good job on mastering their own material. A good ear and the
availability of affordable software tools are the combination to make this the case. In fact, being able to go back to the original multi-track session to fix problematic sounds in a composition can be advantageous - as opposed to working with a finished mix. Obviously mastering is a process as opposed to a creative aspect involved in the releasing of work, but the words ALWAYS and NEVER still need to looked at and questioned rather than simply accepted.


Tricky one,

My initial reaction was to think 'yeah, its lame', but on reflection it really does depend on how much extra work was done with the library sounds.

I worked with a feller who used ACID loop libraries to create soundtracks for Hypnotherapy CDs (which sold very well). I always felt that this was a 'fake' way of creating ambient music. He wasn't sufficiently skilled to create original material.
In my opinion, I felt this had little artistic merit. Particularly with atonal droney textures, its very east to create material - not so easy with
harmonic/tonal material or rhythmic stuff, where you need some knowledge to create work.

I worked on one project in which library loops were used (in parts) and I was very uncomfortable about it, so I did a lot to them to add something of myself to them.

Personally, I like to create my own sounds.


Listening: Podcasts, Mixes, and Music Sample Clips / Re: Spiegels
« on: February 07, 2010, 06:17:25 AM »

Listening to 'Spiegels' now Matthew - great track !


Everything and Nothing / Re: RQ009: Your desert island instrument.
« on: January 26, 2010, 01:05:53 PM »

A classical guitar.

I never learned to play it properly, but I still love its sound.

Now Playing / Re: Radio Playlists
« on: January 26, 2010, 08:24:02 AM »

Apt timing !

I had a track from my 'Electra' album played on 'Hearts of Space' a few days ago. 'Electra' and 'Harmonium' have also been played a lot on a number of 'terrestial' stations and streaming radio sites, thanks to everyone who has done so.

    PGM NOTE : the evolving world of electronic sound
    FEED DATE : 1-22-10

  Jaapuikko < 0:0->5:28>
  Tundra < 05:28->10:18>
  : TURQUOISE PLANET ; Presence PRECD 018; 2009
  : Info:

  Solar Wind < 10:18->14:14>
  Midnight Sun < 14:14->19:35>
  : Info:

  Resourceful Adaptation < 19:35->23:37>
  : GLACIATION ; 1006-2; 2007
  : Info:

  Ghost Voices < 23:37->28:41>
  : ELECTRA ; Lumina Sounds LS-02; 2009
  : Info:

  Here in the North < 28:41->32:02>
  : CRADLESONGS ; Hidden Shoal Recordings HSR050; 2009
  : Info:

  Decampment to Arcadia < 32:02->36:10>
  : Info:

  An Aerial View < 36:10->42:19>
  : AN AERIAL VIEW ; Glacial Movements WSGM001; 2008
  : Info:

  Immersion: Four < 42:19->54:25>
  : IMMERSION: FOUR ; Timeroom Editions TM22; 2009
  : Info:

  Beneath the Celestial Sphere < 54:25->58:59>
  : GLACIATION ; 1006-2; 2007
  : Info:


Everything and Nothing / Re:
« on: January 25, 2010, 08:03:13 AM »

I think is a great thing for an artist, I can't comment on the listening experience, but that looks really good as well.

It's very interesting to see how diverse people tastes are. Its hard to believe that a person can like ambient music as well as Nelly Furtado !
I think it could open up a whole new audience for ambient artists - beyond those who are fans already.

Also, I only recently found out that If you post a bulletin on your MySpace page, reposts it on your profile subsequently.


Everything and Nothing / Re: New interview with Eno
« on: January 21, 2010, 07:42:17 AM »

I found that to be a very interesting read, Eno's a one-off, in my view.

I'm not wild about some of his 'cultural theorising' but I think thats usually discussed in an 'arty' context - such as being interviewed by someone
like Paul Morley. I would imagine he could say a lot of interesting things on a lot of different levels.

I saw him on BBC's 'Question Time' recently where he took the (so-called) 'Justice Secretary' to task over a number of fibs.
Eno is a true thinker and I'd like to meet him for dinner and ask (amongst other things) why 'Neroli' was so crap :)


Music Gearheads Tech Talk / Re: Lexicon Goes Native
« on: January 21, 2010, 06:59:17 AM »

Piano and clean guitar would be interesting. If not, whatever you think works well.


Music Gearheads Tech Talk / Re: Lexicon Goes Native
« on: January 20, 2010, 02:11:44 PM »

Any chance of posting some samples ?. I'm keen to hear if this 'verb is as great as its supposed to be.


Everything and Nothing / Re: Ambient Visions
« on: January 20, 2010, 04:40:06 AM »
I noticed AV has gone too, Dene.

Michael's MySpace page is now inactive as well ?

Other Ambient (and related) Music / Re: Igneous News
« on: January 19, 2010, 08:24:49 AM »

Thanks Tobias !

Actually I wish that I could get more done sometimes :)


Other Ambient (and related) Music / Re: Igneous News
« on: January 16, 2010, 06:28:47 AM »

I'm planning to release two new Igneous Flame albums in 2010. One very dark and the other quite different. I intend to use synths (vsti's) as the source sounds only on this one (no guitars) and to explore some different ways of working.

In the early part of the year I'II also be releasing the 'Jazz-electric' album . This is another collaboration with 'Achromus' and is an
instrumental electronic 'song' project. I have to say there will be very little in the way of ambience on that one, it's more of a hybrid IDM thing
with guitars.

Also, just seen that 'Electra' was #1 in the Ambient Aether/Space Continuum (WWSP) chart for Dec 2009, cheers Misha !



The best 3 gigs I've been to were seeing killing Joke at Leeds, on the 'Brighter than a 1000 suns', 'Extremities' and 'Pandemonium' tours - Intense !
Also, Hawkwind on their 'Levitation' album tour (at Middlesbrough) were fantastic too, as were the Sisters of Mercy at Leeds.
I could have seen Janes Addiction but went to a party instead - Doh !

Marillion (3 times!) - really poor and loads of really crap heavy rock bands in Middlesbrough in the eighties.

Everything and Nothing / Re: RQ006: How do *you* define ambient music?
« on: January 14, 2010, 02:25:55 PM »
I don't understand why Simon Cowell is being referenced on some of these threads as having any kind of value - other than to himself ???

Completely out of musical context as well.

Everything and Nothing / Re: RQ006: How do *you* define ambient music?
« on: January 14, 2010, 01:18:35 PM »
I've thought about this a lot myself.
For me, the ambient that I like (and endeavour to create) has the following qualities:

Has a sense of 'otherness'
Can be listened to actively as well as passively
Has a function

On the drums/percussion front, I'm not sure, after all there is some kind of rhythmic element even in drone-based work (albeit, glacially).  
I'm up for both the 'dark' and 'light' shades too.

For me, I'd say a lot of the stuff out there is more 'electronica' than 'ambient'.
But, I have to admit I have quite a set view on what I consider to be 'ambient'.


Everything and Nothing / Re: RQ003: What influences you the most?
« on: January 13, 2010, 06:10:43 AM »

I don't know if I'm directly influenced or inspired by anything - in the sense that something has inspired me to write a piece of music.
I'm indirectly inspired by many things, especially the natural world.

I just keep creating music while I am able to, its just what I do.

One of the good things about the DIY element in the ambient world, is that you can set your own goals. There's no label breathing down your neck demanding 10 releases a year or whatever.


Everything and Nothing / Constructive criticism
« on: January 09, 2010, 09:41:20 AM »
Following Austere's recent post about their thoughts on recent ambient music. I thought it would be interesting to take things a bit further.

Constructive criticism - do artists really want it ?
I've seen a few comments over the years about the need for constructive criticism in ambient music. I tend to agree, but its a double-edged sword and some people's skins aren't as thick as others. Of course it all depends on who is making the criticisms and if you respect their opinion in the first place.

I'm wondering what the place is for self-criticism ? On one hand, artist 'X' may never release anything as they feel their work will never be good
enough and on the other hand, artist 'Y' wants to get as much out there as possible. Obviously there are various positions between these opposites.
Personally, I'm pretty self-critical and I reject a fair bit of what I do. Incidentally, I've just checked out a bunch of recordings I made onto DAT
tapes about 10 years ago. Cripes ! I'm glad I didn't release them at the time !

Here's an example of constructive criticism and my reaction to it:

My 2004 album 'Oxana' generally got very good reviews, but some reviews referred to a percieved shortcoming in the production of the album. I'II
admit that at first I didn't take it very well, but it kind of stuck. The issue was that the overall sound was a bit 'muddy'. It was true that
there wasn't much in the way of high frequencies on the album. On my subsequent albums, I started to add more HF content to 'fill the spectrum' to make them sound somewhat more contemporary (in terms of production). As time has gone on, I realised that the 'warmer/muddy' sound of 'Oxana' was appropriate for it and that the 'zing' and 'ping' production thing isn't that important to me now.

What I took from this was to take things on board, but to bear in mind that one's own judgement and sense of discrimination are core to creating work in the first place and that these things will change over time. I listen back to some of my material now and find things I didn't do very well, but it was the best I could do at the time.


Everything and Nothing / Re: good old vinyl... yet another article...
« on: January 06, 2010, 08:51:47 AM »
One of the reasons I've not been impressed with the 'glitch' side of things, is that the very sounds that I used to find annoying and distracting on
vinyl when listening to albums such as 'The Pearl' and 'Apollo' are now included (presumably) to have some musical interest or 'ambience'.

I don't miss Static, clicks and rumblings anymore than I miss tape hiss. 

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