A review from AmbientranceIn another successful "recycling" project, vidna obmana reconstructs original compositions which willem tanke reviously had rendered on classical European organs. These variations for organ, keyboard and processors respectfully merge two musical worlds from across time, simultaneously exploring mystical/physical revelations by way of thoughtful sonic alterations. The Tao of Physics; having composed the original pieces as reflections upon Fritjof Capra's East/West metaphysical writing, Willem Tanke performed them on an historic Netherlandic church organ. After careful studying, avid recycler Vidna Obmana proceeded to dismantle and reprocess the oringal acoustic recordings, reassembling them in accordance with the Canon-method, and of course, his own fine-tuned sense of sonic art. canon I leaps right into a magically swirling cloud of sound. Highs and lows bubble and blur, seeming to rotate on every possible plane, surrounding the listener with mutedly chiming organ tones and evershifting synth haze. Everything fades away until canon II (5:00) begins its pattern of ebb-and-flow-and-drift, repsirating in breath-like sprays of sound. Densely streaming notes seem to tumble over one another in the misty gusts of canon III (15:35); all quietens to a near-silence from which churning organ notes begin to emit as if from a fountain, growing in power as Gothic power chords are elaborately twisted by adroit finger acrobatics. (I can't shake the image Captain Nemo jamming away aboard the Nautilus...) The shapeless breezes of canon IV spiral in less-overt washes of sound, softer and dreamier. Underscored by a deeper drone, canon V/VI makes an exploratory journey between the various soundworlds involved... traditional organ notes blend with electronically induced shimmers. The remaining tracks make up a Finale; 13-minute-long choral (midi-étude) ventures through moodier spaces. Originally executed by Tanke on a different organ, an unusual midi-mechanical hybrid, the resulting project dips and swoops into darkly spacious regions, accented with rhythmic notes, gritty thumps and mysterious aural curtains. The piece almost imperceptibly devolves into a flat haze which segues into my friend the indian; slow tonal oscillations creep over a roughly droning atmosphere. Discerning the assorted sound layers makes for an entrancing listening experience. It wouldn't hurt to have a predilection for classical organ sounds before entering these variations for organ, keyboard and processors, though they're generally wrapped in gossamer veils of typically astounding Obmana-isms. Again proving the power of recycling, vidna obmana & willem tanke's combined efforts yield a definitely-recommened 8.6 A review from freq.org.ukThis music reminds me of a pretty doll. Handcrafted with great care, its beauty is undeniable, and the skill and patience involved in its making are completely self-evident. But what is its purpose? When would I play this music and what is its message? And does that matter, really, when dealing with such a lovely piece of art? The composers' questions seem to lie in a comparison of modern electronics, and Fritjof Capra's Tao Of Physics contrasted to pipe organs of old. What is much more obvious (at least to this listener) is a reference to ecclesiastical atmospheres: the cold stone church (in this album's case, those in Berkel-Enschot and Maurik, The Netherlands) and warmed by smouldering prayer candles and the radiance of shame and guilt. Perhaps the comparisons of mysticism to science would be more blatant to someone not of my pseudo Christian upbringing. The pipe organ means church to me. And that is not a wholly bad thing. There is a certain comfort to those echoing pipe reveberations that interlude the priest's busy work; human silence and musical reverence. And there is the slightest pinched nerve element of a drone implied to get lost to as well. Pretty is as pretty does, and these carefully arranged and rearranged pieces, assembled in full-on Canon-method, play on amicably and enjoyable. And pretty is not so shallow at all, but assembled electronically with forethought from organs of historical value and noteworthiness. In fact, after reading the stories of the organs' origins included in the sleevenotes, I am not sure that this collection is worthy enough. Still it must be said that I would have known less for not listening to it, and no doubt musicians will appreciate it all for the effort put into the making. Perhaps if I played it on Sunday mornings and felt really guilty while doing so, my mom would stop asking if I go to church?" -Lilly Novak-
canon I leaps right into a magically swirling cloud of sound. Highs and lows bubble and blur, seeming to rotate on every possible plane, surrounding the listener with mutedly chiming organ tones and evershifting synth haze. Everything fades away until canon II (5:00) begins its pattern of ebb-and-flow-and-drift, repsirating in breath-like sprays of sound.
Densely streaming notes seem to tumble over one another in the misty gusts of canon III (15:35); all quietens to a near-silence from which churning organ notes begin to emit as if from a fountain, growing in power as Gothic power chords are elaborately twisted by adroit finger acrobatics. (I can't shake the image Captain Nemo jamming away aboard the Nautilus...) The shapeless breezes of canon IV spiral in less-overt washes of sound, softer and dreamier. Underscored by a deeper drone, canon V/VI makes an exploratory journey between the various soundworlds involved... traditional organ notes blend with electronically induced shimmers.
The remaining tracks make up a Finale; 13-minute-long choral (midi-étude) ventures through moodier spaces. Originally executed by Tanke on a different organ, an unusual midi-mechanical hybrid, the resulting project dips and swoops into darkly spacious regions, accented with rhythmic notes, gritty thumps and mysterious aural curtains. The piece almost imperceptibly devolves into a flat haze which segues into my friend the indian; slow tonal oscillations creep over a roughly droning atmosphere. Discerning the assorted sound layers makes for an entrancing listening experience.
It wouldn't hurt to have a predilection for classical organ sounds before entering these variations for organ, keyboard and processors, though they're generally wrapped in gossamer veils of typically astounding Obmana-isms. Again proving the power of recycling, vidna obmana & willem tanke's combined efforts yield a definitely-recommened 8.6
A review from freq.org.ukThis music reminds me of a pretty doll. Handcrafted with great care, its beauty is undeniable, and the skill and patience involved in its making are completely self-evident. But what is its purpose? When would I play this music and what is its message? And does that matter, really, when dealing with such a lovely piece of art? The composers' questions seem to lie in a comparison of modern electronics, and Fritjof Capra's Tao Of Physics contrasted to pipe organs of old. What is much more obvious (at least to this listener) is a reference to ecclesiastical atmospheres: the cold stone church (in this album's case, those in Berkel-Enschot and Maurik, The Netherlands) and warmed by smouldering prayer candles and the radiance of shame and guilt. Perhaps the comparisons of mysticism to science would be more blatant to someone not of my pseudo Christian upbringing. The pipe organ means church to me. And that is not a wholly bad thing. There is a certain comfort to those echoing pipe reveberations that interlude the priest's busy work; human silence and musical reverence. And there is the slightest pinched nerve element of a drone implied to get lost to as well. Pretty is as pretty does, and these carefully arranged and rearranged pieces, assembled in full-on Canon-method, play on amicably and enjoyable. And pretty is not so shallow at all, but assembled electronically with forethought from organs of historical value and noteworthiness. In fact, after reading the stories of the organs' origins included in the sleevenotes, I am not sure that this collection is worthy enough. Still it must be said that I would have known less for not listening to it, and no doubt musicians will appreciate it all for the effort put into the making. Perhaps if I played it on Sunday mornings and felt really guilty while doing so, my mom would stop asking if I go to church?" -Lilly Novak-