Alternative Editions of Contemporary Music.
Re: Alternative Editions of Contemporary Music.
A seminal piece which probably inspired Lou Reed's MMM. Don't be fooled however as it's heavier and a hundred times more vital and mesmerising. A significant recording in the annals of Drone......
Re: Alternative Editions of Contemporary Music.
"Ambient music will be the classical music of the future" Pete Namlook 1993.
Stating the bleeding obvious but still......Even Brian (from Comet Records) loved it at the time. Junks the Apollo mission samples and twittering nature noises in favour of winding melodic loops and synthetic textures. It's subtle and it's bloody brilliant even 25 years on.
Stating the bleeding obvious but still......Even Brian (from Comet Records) loved it at the time. Junks the Apollo mission samples and twittering nature noises in favour of winding melodic loops and synthetic textures. It's subtle and it's bloody brilliant even 25 years on.
Re: Alternative Editions of Contemporary Music.
Jacob Kierkegaard's OST for Saodat Ismailova's 40 Days of Silence.
Re: Alternative Editions of Contemporary Music.
Not Philip Glass but Philip Johnson’s Glass House played like an instrument.
Main: Qobuz/Arcam Alpha 9 CD/Project Carbon Esprit->Auralic Polaris->Chord Silver Carnival->Martin Logan EM-ESL
Office: Qobuz->Auralic Aries Mini->Denafrips ARES II->miniDSP 2X4 HD>Primare I32->Harbeth P3ESR/REL T5X
Office: Qobuz->Auralic Aries Mini->Denafrips ARES II->miniDSP 2X4 HD>Primare I32->Harbeth P3ESR/REL T5X
Re: Alternative Editions of Contemporary Music.
Jóhann Jóhannsson RIP........
Copenhagen Dreams
Copenhagen Dreams
Re: Alternative Editions of Contemporary Music.
Both vinyls arrived this morning from RVNG and Boomkat respectively....
Re: Alternative Editions of Contemporary Music.
I was introduced to Johann's music through the Touch label. Little did I know that he'd soon make huge strides in the music industry especially through his soundtrack work. I especially loved the way he captured the organic sound of instruments either normally or electronically plus his use of pace, space and atmosphere. He'll be sadly missed......
In his own words :
"Englabörn – the album – isn’t the original score to Sigurjónsson’s play. Instead, that blossomed into a free-standing album, its sixteen sublime miniatures steeped in austere melodic elegance and profound melancholy. “The music took on a life of its own,” Jóhannsson recalled during preparations for the reissue. “It wasn’t intended to be my first album as a solo artist. Like a fine example of Taoist serendipity and ‘doing without doing’, this material simply demanded to exist as a work in its own right. And, as someone who embraces chance and letting go, and who tries to listen to what the music I compose wants to be – rather than what I want it to be – I was happy to oblige and spend the time required to make it into its own independent work.”
Jóhann Jóhannsson 1969-2018
The news that Jóhann Jóhannsson has died hits hard. He configured a personal and progressive spirit, making a bridge between experimental music and Hollywood, for whom success was always subjugated to a humble awareness. Above everything he was a friend, a lovely person to work with. In his short career, he changed the way the world thinks about alternative music, then film soundtracks, and had this exceptional talent to merge classicism with noise and disturbance.
In Summer 2002 we finished production for Jóhann’s first release for Touch, his first outside Iceland and the Kitchen Motors project – “Englabörn”. It was Andrew McKenzie, the two of them still living in Iceland, who introduced us and encouraged us to release it. Jóhann is on record as saying how much he owed to McKenzie’s presence in Iceland, being an education and catalyst for his work. Then, in turn, it was Jóhann who suggested we work with Hildur Guðnadóttir and so a continuing light shines through our story.
The situation changes, ambitions become unaffordable financially, so it was part of the sequence that Jóhann moved into the next dimension, first recording for 4AD and being supported by Forma for live events, and latterly recording for Deutsche Grammaphon and winning multiple awards.
While he only released his first two albums with us (“Englabörn” in 2002 and two years later, “Virthulega Forsetar”), Jóhann always remained close to our operations, contributing new compositions to “Touch 25” in 2006 and the more recent “Touch Movements”. One of our favourite moments was when he expressed his joy after a live performance of “Virthulega Forsetar” at Ultima, Oslo in 2005. All who were there will never forget it – or him.
Jóhann’s work has made a huge impact on various films, we don’t need to list them here. We remember his sensitive soul… His dedication. It is easily heard, in the great work which will last beyond a lifetime.
Shortly before his passing, Jóhann completed “Englabörn & Variations”. With the support of his family, a remastered version of his debut album “Englabörn” and reworks by himself and others will be released on March 23rd via Deutsche Grammophon.
In his own words :
"Englabörn – the album – isn’t the original score to Sigurjónsson’s play. Instead, that blossomed into a free-standing album, its sixteen sublime miniatures steeped in austere melodic elegance and profound melancholy. “The music took on a life of its own,” Jóhannsson recalled during preparations for the reissue. “It wasn’t intended to be my first album as a solo artist. Like a fine example of Taoist serendipity and ‘doing without doing’, this material simply demanded to exist as a work in its own right. And, as someone who embraces chance and letting go, and who tries to listen to what the music I compose wants to be – rather than what I want it to be – I was happy to oblige and spend the time required to make it into its own independent work.”
Jóhann Jóhannsson 1969-2018
The news that Jóhann Jóhannsson has died hits hard. He configured a personal and progressive spirit, making a bridge between experimental music and Hollywood, for whom success was always subjugated to a humble awareness. Above everything he was a friend, a lovely person to work with. In his short career, he changed the way the world thinks about alternative music, then film soundtracks, and had this exceptional talent to merge classicism with noise and disturbance.
In Summer 2002 we finished production for Jóhann’s first release for Touch, his first outside Iceland and the Kitchen Motors project – “Englabörn”. It was Andrew McKenzie, the two of them still living in Iceland, who introduced us and encouraged us to release it. Jóhann is on record as saying how much he owed to McKenzie’s presence in Iceland, being an education and catalyst for his work. Then, in turn, it was Jóhann who suggested we work with Hildur Guðnadóttir and so a continuing light shines through our story.
The situation changes, ambitions become unaffordable financially, so it was part of the sequence that Jóhann moved into the next dimension, first recording for 4AD and being supported by Forma for live events, and latterly recording for Deutsche Grammaphon and winning multiple awards.
While he only released his first two albums with us (“Englabörn” in 2002 and two years later, “Virthulega Forsetar”), Jóhann always remained close to our operations, contributing new compositions to “Touch 25” in 2006 and the more recent “Touch Movements”. One of our favourite moments was when he expressed his joy after a live performance of “Virthulega Forsetar” at Ultima, Oslo in 2005. All who were there will never forget it – or him.
Jóhann’s work has made a huge impact on various films, we don’t need to list them here. We remember his sensitive soul… His dedication. It is easily heard, in the great work which will last beyond a lifetime.
Shortly before his passing, Jóhann completed “Englabörn & Variations”. With the support of his family, a remastered version of his debut album “Englabörn” and reworks by himself and others will be released on March 23rd via Deutsche Grammophon.