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Messages - petekelly

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Other Ambient (and related) Music / Re: New work and changes...
« on: July 07, 2008, 08:49:54 AM »
Thanks for the comment, Ben  :)

Here's some more info about the upcoming releases:

The Collaboration
‘Flicker’ and ‘HALO‘ came out of a collaboration between UK based ambient artists, Igneous Flame (Pete Kelly) and Achromus (Michael Stringer). In February 2007, Michael gave Pete a pool of synth based material that he had been working on and Pete produced the albums ‘Flicker’ and ‘HALO’ from that pool. The material became split into two, the more sonorous material was reworked and guitar textures were incorporated, this material became the ‘Flicker’ album. The other darker and more ‘raw’ material was extensively processed and this resulted in the ‘HALO’ album. Some of the original material has been used in both albums - albeit in a ‘Re-cycled’ manner.

The more accessible of the two releases, ‘Flicker’ is primarily tonal with an under-current of ethereal mystery and depth. Constructed from Achromus’s synth textures and Igneous Flame’s e-bow guitar lines and abstracted harmonic shapes, melodic phrases are woven around tonally shifting soundscapes. The album’s dark luminosity shines throughout.
Composition, guitar, sound-design and production by Igneous Flame
Composition and synths/pads (source sounds) by Achromus
'Sinuhe' (edit)
'Salve'  (edit)
'Colourfield' (edit)
'Sense of Return' (edit)
'Accumulator' (full track 4:23)

‘HALO’ is a hypnotic, visceral and primarily textural long-form work, vivid in colour and dynamics, ranging from intensely industrial to pastoral with an underlying esoteric subtlety present throughout.A significant element of the album is the result of extensive sound-design and spatial processing, for which headphone listening is recommended.
Production by Igneous FlameComposition by Igneous Flame / Achromus
'Halo' (edit)

Artwork by Kati Astraeir


Other Ambient (and related) Music / Re: New work and changes...
« on: June 30, 2008, 07:45:30 AM »
Whoops, forgot to mention that,
cheers 8)

Other Ambient (and related) Music / New work and changes...
« on: June 30, 2008, 01:42:17 AM »
My self-release imprint 'Chillfactor10 records' is no more. It was something
that I inherited and I think its outlived its purpose. I've set up a new label
with UK based artist 'Achromus' called 'LuminaSounds' The website is at an
early stage of development, but I'm adding content daily.
It's here:

I've made a link to the Chillfactor10 site which I'm keeping 'alive' as an archive
as theres a fair bit of info there. 

Achromus and myself will be releasing two albums in July, 'Flicker' and 'HALO'
We've set up a MySpace profile for the collaboration:

'Flicker' will be released as a CD-R on 'LuminaSounds', and 'HALO' will be
released as a download on AtmoWorks.
More info to follow...


I think this 'Ning thing' has considerable potential - it's the realisation of the amalgm of things that this new fangled web 2.0 promised. Good on Atmoworks for running with it !

cheers Pete

RIP Gordon. Very sad news

Other Ambient (and related) Music / 1000 True Fans
« on: April 22, 2008, 01:39:23 AM »
1000 True Fans

Very interesting blog on Robert Rich's MySpace page:


Everything and Nothing / Re: Ambient Guitar
« on: April 22, 2008, 01:36:28 AM »
Well it appears I may well have been wrong about 'ambient guitar' being overlooked,
judging by the many artists (mostly unknown to me) named here

Dave, I checked out the Scott Solter album's mp3 snips - very nice.
Hi Jeff, cool to see one of the top (IMO) ambient guitar geezers reply. I tried that Ebow thing - wierd one ! I couldn't get much out of the one Sundummy posted - maybe I was doing it wrong.  ???


Not wishing to hijack this thread, but I think it might be interesting to open out the 'ambient
guitar' discussion into a wider er, forum. So I've started a separate thread in the 'Everything and
Nothing' section, if anyones interested.


Everything and Nothing / Ambient Guitar
« on: April 14, 2008, 09:11:54 AM »
The electric guitar as the primary source for creating ambient music seems a tad overlooked.

I agree with Alan that it can be the processing that makes the sounds interesting, but not
necessarily just a bit of scratchy, glitchy jiggery-pokery kind of thing. The software available now
can really transform the source sound - naturally, it helps if people play something interesting in
the first place ! All manner of looping, granular synthesis, spectral manipulations and the like
allow for a lot of scope.

I was pretty much introduced to ambient by Eno's music, so I initially thought it was all treated
synths and Rhodes Piano, but I discovered lots more.

For me one of the most evocative 'ambient guitar' styles is David Sylvian's volume pedal / tremelo
arm combination. 

I've used electric guitar as the primary sound source on almost every one of my albums and I'd like
to develop some guitar ideas further - I'm working on a technique to get a kind of a Harold Budd
'sound' on the guitar and am still working on various ebow techniques.

Interested to hear people's thoughts.

Pete K

To me, the 3 minute sample of 'Static' really does sound very good.
I have to say I'm somewhat ambivalent about a lot of material that is raved about on this here forum - but this is right up my street.


Other Ambient (and related) Music / Re: Steve Roach discussion
« on: March 31, 2008, 01:32:55 PM »
Curious to know why this kind of debate is always about Steve Roach ?

How come you never see something like this about Robert Rich (for example) ?
It seems Robert is allowed to just get on with his music without some people feeling the need to
publicly 'big him up'/chastise any 'off-message' nay-sayers periodically.

I'm stating the obvious, but any artist isn't going to appeal to everyone and saying something
to the effect that a listener 'doesn't get it' if they don't like artist 'X' is a bit pointless. 


Everything and Nothing / Re: State of the music business
« on: March 14, 2008, 10:23:26 AM »
Part of the changing nature of the Record Industry is the way that music is made.
The 'democracy' of doing everything in-house (or 'in bedroom' more typically :) ) naturally has positives and negatives. One area this applies to is mastering. The tools are now affordably available (I'm referring to software here primarily). Given experience and a good ear, the artist can do a good enough job themselves. I agree with Tony's points, but there's also great sounding 'bedroom creations' out there as well.

I would imagine most ambient artists can't afford to have their work externally mastered any more than they can afford a pressed CD run (and have hundreds of lovely pressed CDs in the basement for years to come)

For most people, 256/320 kbps mp3s are indistinguishable from CD quality audio. I'm not making any judgements on this, but I agree that a higher quality option would be a welcome option for the people who are more concerned with fidelity. Ian Boddy's 'Musiczeit' venture offers Flac downloads as well as mp3s.

Personally, I don't think there's any difference between a pressed CD and CDr in terms of audio quality - unless (as has been said previously) the CDr has been burned too quickly. I also believe that audiophiles should enjoy their systems as much as most people with average to good quality gear enjoy their music collections - Depeche Mode's 'Songs of Faith and Devotion' album sounds pretty lousy to me these days, but I'm not going to stop listening to one of my favourite albums for that reason alone.

The download music genie is well and truly out of the bottle, the big record labels are doomed and piracy is rife. I wonder how the indie labels will fare in time...


Now Playing / Re: Currently listening, part 1
« on: March 06, 2008, 02:24:57 PM »
'The line between plagiarism and intertextuality/recontextualiztion has become blurred anyway, as notions of authorship and originality have been problematized.'

Alan, could you explain your point a bit more lucidly ?. I'm curious as to what you mean by this statement.
How has the the issue become 'problematized' ?  - is it a problem ? 

Transcontextuations !


Have had chance to listen to this properly now, here's some of my thoughts.
I actually think it's quite a diverse compilation (I don't get any 'theme' as such)
There's a high production standard throughout and the artwork is very effective (as is the title).
Well done Mike, a very professional production all round !

The hilight tracks for me are the following:

'Scarecrow' by Kirk Watson - Very interesting sound design / textures

'Ghost Nebula' by dreamSTATE - Probably my favourite track, great use of Tonal colour and texture

'Strange Attractor'by Seren Ffordd - Very dark and very effective as a dark ambient piece - ominous bass !

'Behold the Trampled Wheat'by Dwight Ashley - Builds ominously then concludes with a beautiful outro section

I also particularly enjoyed the M. Peck and Justin Vanderberg tracks.


Now Playing / Re: Currently listening, part 1
« on: February 15, 2008, 01:22:50 PM »
The Gasman - bloody marvellous IDM. It's like some kind of warped mental excercise 'following' his stuff, such is it's quirk. Current faves from his 'The Grand Electric Palace of Variety' album:

'Electric Coconut' (says it all really)
'Bontempi Lutein'

and 'Spector' from his 'Love Collection' album.

Also listening to (and reworking) the fantastic Mrs Jynx


Don't be concerned that you may not understand some of Alan's (Undershadow) writings.
I'm English and I don't always follow them !
I think he's working on a new variant of the english language :)


Everything and Nothing / Re: Your MySpace experiences ?
« on: February 04, 2008, 10:01:12 AM »

Sorry to hear about your experiences with undesirable types. I have to say, I wouldn't set up a
personal profile myself.
I find it interesting to see how artists are using MySpace, some artists really 'work' it and are
busy leaving thank you comments and the like, they seem to be getting the most 'traffic'. I've found
that it takes quite a while before your profile reaches a 'critical mass' and you start getting a lot
of requests from people outside your 'circle' of friends.

I really do dislike the way some artists really 'whore' themselves though, if I see loads of tarts on
their friends list, then I always refuse their requests. 

As a contact point where you can have a blog, 6 tracks for people to stream/download, the ability to
have videos/pics and be able to sell Cds from your profile, it has quite a lot going for it.
The hacking/phishing is a pain - I change passwords regularly and approve comments before I let them
go on my profile and I've not been hacked (so far!)

Finally, (IMO) it's not ideal, but it is a great networking site for musicians and being an ambient
musician, I need all the help I can get !


Very stylish design and aesthetics.

Interesting material (Irezumi), but the line on the snowblood site referring to him as 'Without any
doubt the best ambient artist of his generation,...' may be contentious.

I do like the 'Eksynyt' tracks I must say.


Music Gearheads Tech Talk / Re: Tools for rhythm-making
« on: February 03, 2008, 07:03:48 AM »

I very much recommend FLstudio (formerly known as Fruity Loops)

It's a fantastic program for 'beat based' stuff, I do all my Formbank stuff with it.


Everything and Nothing / Your MySpace experiences ?
« on: January 30, 2008, 10:21:34 AM »
Was wondering about people's experiences here of MySpace ?

In some ways, I think it's something of a 'Fake Space', full of no-hoper bands and 'Suicide Girls'
tarts and the like. I've seen lots of profiles with awful music on which are heaped with praise in
the comments section. There's also some quite shocking images posted on some profiles.

On the other hand, (for a musician) the networking side really does work. The correspondence I've had
with other ambient musicians has been very encouraging (the private messages thing that goes on
behind the scenes), as has been the comments and messages from fans and 'friends'.   

I would say that the vast majority of previously unknown artists' music I've come across recently has
been from Myspace and the 'viral' nature of it leads to a degree of 'cross-pollination' that I don't
think exists anywhere else. To me it seems that all too often in the ambient world, people are
communicating with the people from the same world (usually about the same artists)...

Any thoughts ? 


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