Product Description
1 Everything Is Known — Part One
2 Infinite And Unbound
3 Ocean Became Light
4 Everything Is Known — Part Two
5 Cleansed From Dust
7. The Anchor Tree (Release) 07:04
Genres: Ambient, Drone, Meditation
For Fans Of: Alessandro Cortini, Chihei Hatakeyama, Hakobune
With an electric guitar and a handful of effects, Belgian Dirk Serries (acclaimed for the work under his alter ego vidnaObmana) sculpts five long-form gleaming ambient tracks. With over 40 years of sonic experimentation, Dirk’s melancholic mix of deep ambient and drone on Infinite And Unbound embraces a shimmering slowflow exploration of textures and emotional states. Created in real-time the transcendent and esoteric soundscapes facilitate moments of solitary reflection.
Lauded for his mastery of expansive – yet mysterious – atmospheres, Dirk channels a delicate touch on a continuum between sound and silence. For this new digital-exclusive album on Projekt, he delves further into meticulously constructed washes of melancholy; the listener’s awareness is blanketed in beautiful yet intense soundscapes of pure harmonic sonic moments. It’s a musical language that speaks emotion, contemplation and subtlety. Five long-form moody and reflective compositions simply float, serene and complete.
Sonic Curiosity wrote (about an earlier album): “Languid textures unfurl with seductive deliberation, establishing an atmospheric realm whose sedate harmonies lure in the listener with ease.”
Reviews Editor –
From Medienkonverter
Dirk Serries is an artist who has consistently defied categorization for over four decades – and that’s precisely what makes him so fascinating. It all began in the early 1980s under the name Vidna Obmana in the Belgian DIY industrial scene, somewhere between tape underground, sound experimentation, and controlled chaos. What followed – and I mean this sincerely – is a development rarely seen: from harsh industrial to increasingly refined, atmospheric soundscapes that ultimately found their own unique voice in the ambient and drone realms. With projects like Fear Falls Burning, he shaped the guitar drone, while simultaneously, with Microphonics and later works, he embarked on a path towards improvisation and the avant-garde. And this growing self-confidence is audible in every second of Infinite And Unbound. This isn’t an album by an “ambient producer”—it’s the work of a sound architect who knows exactly when a note is one too many.
Released digitally on January 6, 2026, via Projekt Records, Infinite And Unbound sounds almost brazenly minimalist. And that’s precisely what made me chuckle on first listen: While others are plastered with plugins, layers, and production overkill, Dirk Serries picks up an electric guitar, runs it through effects—and creates a space where you can first find yourself. And now comes the point that really hit me: If I hadn’t read the press release, I would never have guessed there was even a guitar involved. Really. To me, on the first listen, it sounded more like a sonic construct somewhere between a synthesizer, a fog machine, and a parallel universe. And that’s exactly where I sat and thought to myself: “Wait a minute… that’s supposed to be a guitar?” —and at the same time: “How the hell do you do that?” And yes—it’s possible. And shockingly well, too. Through reverb, delay, loops, and finely controlled feedback, the guitar is deconstructed and reassembled to such an extent that it almost completely loses its original identity. What remains are floating, expansive textures that are more reminiscent of light, space, or movement than a classical instrument. That’s precisely the moment when I find myself grinning inwardly while listening—because I realize how much expectations are being played with here, without it ever feeling like a trick.
In the main part, something happens that I love so much—and yet experience far too rarely: I slow down. Really slow down. So slow that at one point I thought, “Wait a minute… do I even have any appointments today?” These five tracks are consistently incredibly spacey, ethereal, and at the same time so pleasantly chill that they completely bring me down. In a good way. This isn’t “background music,” but rather a state of “I’ve been sitting here for ten minutes staring into nothingness and I’m perfectly fine with that.” What particularly resonates with me is that this music feels almost physical. The soundscapes don’t just glide—they transform the space. Several times I had the feeling that my surroundings were subtly slowing down, as if someone had secretly tweaked reality. And somewhere between these shimmering layers, I think to myself: This is exactly why I listen to ambient music. At the same time, the whole thing never descends into triviality. This isn’t a soundtrack for incense-burned romance or Instagram sunsets. It’s too precise, too deliberately crafted for that. This blend of vastness, tranquility, and subtle melancholy hits the mark for me. Beautiful without being kitschy. Calm without feeling empty. And achieving this balance is harder than many realize.
I’ll readily admit: I often tune out of drone and ambient albums at some point—even if they’re objectively well-made. Not this one. Quite the opposite, in fact: I want to delve deeper. Another listen, another step further away from everyday life. For me, that’s always a clear sign that an album works—not because it entertains me, but because it changes me. Nevertheless—and this is part of the equation—as powerful as ‘Infinite And Unbound’ is, I sometimes miss a moment of risk. A slight disruption, a break, something that briefly shakes the smooth beauty. The album is so controlled, so cohesive in its sonic space, that it occasionally lacks precisely this friction. That’s high-level criticism – but also the only point where I would have liked to see a little more courage.
What remains is an album that, despite its minimalist approach, never feels empty. On the contrary – something is constantly happening, just on a small scale. This slow blossoming and receding of the sounds, these subtle shifts – it’s so precise and yet so organic that while listening, I keep thinking: This person knows exactly what they’re doing. And if I had to sum it up in one sentence: Infinite And Unbound isn’t ambient music for daydreaming – it’s ambient music for disappearing. Infinite And Unbound is therefore an album you don’t just listen to, but enter. Perfect for quiet evenings, for moments when you want to unwind – or need to unwind. Fans of Alessandro Cortini, Chihei Hatakeyama, or Hakobune will immediately connect with this. Personally, I’ll be honest: This album calms me down so reliably that I’m starting to trust it more than my own evening routine – and that’s precisely why I keep coming back to it.
Reviews Editor –
From Igloo
Dirk Serries (formerly vidnaObmana) marked a new year with Infinite and Unbound, five long-form works wrought in real time with simple guitar+FX.
The Ambient DroneMeister carries on the torch undimmed, vidnaObmana long retired, 30+ titles the last two years alone solo and joint. A veteran’s touch is evident here, density offset with restraint in passages drifting in a liminal space between presence and absence, moving in nuanced light-shade interplay eponymously free of structural-dynamic convention. Reaching towards something beyond for a chronostatic half-hour, “Everything Is Known” is split to bookend title track and “Ocean Became Light,” the mesmerism ending in “Cleansed from Dust” to a slow arc and tilt of sonorities accruing semiotic synergy in Serries’ signature cadences.
As sculpted drones swell and relent, tone colors bloom and fade, at once ominous and alluring, Infinite and Unbound stands as an exhibit—base metal turned to gold with Serries‘ sonic alchemy. -Alan Lockett
Reviews Editor –
From KrautNick
An excerpt from a review of two albums:
Serries is capable of all kinds of ambient music, but for Infinite And Unbound he focuses on the heartwarmingly beautiful. Five tracks in 65 minutes, all flowing seamlessly into one another, and this technical observation already describes the music in its essence: everything flows. Yet not as leisurely as one might expect: Serries varies the pitches quite rapidly, letting them hover around each other, but not rhythmically, more like enamored spirits from another dimension, mythical Far Eastern dragons, perhaps, endlessly long, gently entwining each other in pastel-hued light, beguiling, trying to draw attention to one another, their transcendent, transparent bodies having no visible end, simply fading away, becoming one with the background, thus truly infinite and boundless.
The tones, the colors, that Serries uses are bright, radiant, not dazzling, and they spread a positive mood, not hymnal or jubilant, but rather embracing. He keeps these sonic imagery free of disturbances, shallows, riffs—that is, riffs—and focuses entirely on not focusing, namely switching everything off and letting the emotions flow out. Fittingly, Serries titles the third of five tracks “Ocean Became Light,” aptly describing the sound. Incidentally, you won’t hear a guitar here; in fact, it would be difficult to pinpoint exactly how Serries generated these sounds if you didn’t already have some experience with ambient drone music and a corresponding sense of what it’s like. Serries considers this album part of his “Streams Of Consciousness” series. -Matthias Bosenick
Reviews Editor –
From Opus
Expertly crafted drones that are just as ominous and foreboding as they are beautiful and entrancing. Although he retired his vidnaObmana ambient project nearly two decades ago, Dirk Serries has continued releasing music, and no one could ever accuse him of resting on his laurels. He’s released over 30 titles in the last two years alone, ranging from solo works to collaborations with Rodrigo Amado, Benedict Taylor, Trösta, and his wife, Martina Verhoeven.
The title of Serries’ latest album, Infinite and Unbound, is quite apropos. Using nothing more than an electric guitar and some effects pedals, he creates vast soundscapes that drift, shimmer, and unfurl with seemingly no end in sight. As such, a song like “Ocean Became Light” can prove just as ominous and foreboding as it is beautiful and entrancing. Serries’ drone-work is often likened to Chihei Hatakeyama’s, though I find Serries more surreal and even alien in comparison to Hatakeyama’s naturalistic atmospheres, though no less sublime and ephemeral.
Reviews Editor –
From Progressive Rock Central
Belgian composer and guitarist Dirk Serries (also known for work under the alias vidnaObmana) has released Infinite And Unbound, a digital-only album via Projekt.
Designed with electric guitar and a small set of effects, the release features five long-form, deeply mesmerizing ambient electronic pieces that move through deep ambient and drone. The tracks were created in real time, leaning into slow-evolving harmonies, hauntingly beautiful soundscapes, and a melancholic tone.
Serries is often noted for balancing density and restraint. On Infinite And Unbound, that approach shows up in extended passages that hover between sound and silence, with layered washes designed for quiet, solitary listening. -Stefan Bruno
Reviews Editor –
From Exposé
(,,,) it’s a stunning revelation what can be done with a guitar a collection of effects, but Infinite and Unbound certainly illustrates the dreamy, floating side of his ambient work, where vivid sheets of shadows, light, and all shades of color mingle in free space in the far reaches of the infinite, layering over one another in a free exchange of sonic bliss, unbound by any structures or cadences. Each of the five long tracks here clocks in at ten minutes or more, the two parts of “Everything Is Known” together comb the far reaches of the universe for 26 minutes — though they are separated by the title track and “Ocean Became Light” — and the set is concluded with the stunning “Cleansed from Dust.” The mysterious atmospherics and slow-evolving melancholic washes breathe unique energies and warmth as each piece unfolds in real time, yet each of the pieces stands on its own without the far too common practice of crossfading; each piece glistens with its own introspective beauty and shades of dark, light, color, and shimmer. The title track, above all in particular, breathes in and out with its own special powers, meandering harmonics and stunning vistas. The soundtrack is here, all the listener needs to do is supply the imagination. -Peter Thelen
Reviews Editor –
From Moors Magazine
An electric guitar, pedals, and effects—that’s all Belgian composer Dirk Serries needs for his captivating ambient drones. Some might find this music a bit lacking in action, but for me, that’s precisely its appeal—I can surrender myself completely to this music and let myself drift along. “It doesn’t need to be anything more,” as one of Belgium’s top chefs often says.
I won’t say anything more about it here – just listen with open ears and try to recognize the details and subtleties in the wall of sound, because if you listen through that wall, there’s so much to enjoy.