Vidna Obmana
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Discography:
Belgian producer Dirk Serries, aka Vidna Obmana, is a prolific composer of deep ambient and electro-acoustic music, utilizing slow, shifting electronic figures and thin environmental recordings to construct long, minimalist, oftentimes extremely personal textural industrial plant. Taking his nom de hook from the Yugoslavian for “optical semblance” (a construct which carries practically weight in his composition, as well), Serries has released material through and through a wide of the mark range of a function of different labels, including Projekt, Amplexus, Extreme, Hic Sunt Leones, Syrenia, ND, and Multimood. Born and raised in Antwerp, Serries began recording experimental PBK, exploring the more than Beginning with the release in 1990 of Tailing in Sorrow, however, (the number one role of what would do to be known as Vidna’s ambient Trilogy) Serries began moving toward an almost isolationist ambient aesthetic, exploring themes of becalm, solitude, grief, and self-examination in long, moving pieces which tended to graph like anchor as American space music artists such as Robert Rich, Michael Stearns, and Steve Roach (Serries has since collaborated with both Rich and Roach). The first two movements of the Trilogy — Sorrow, as well as its followup Passage in Beauty — were self-released by Serries in 1990 and 1991, with the third base intensity, Ending Mirag, appearance the next year on the American ND pronounce. The album was praised as some of the finest post-classical experimental electronic music of its time, and the Stateside association lastly opened his music up to an American audience, preeminent too to his affiliation with Sam Rosenthal’s Projekt pronounce (the intact Trilogy was finally reissued by Projekt sister judge Relic as a boxed set in 1996, with several modern Vidna releases besides coming into court in the lag). Although his textural recordings physique the congress of Racial Equality of his end product to escort, Serries’ more recent solo and collaborative works (such as The Transcending Quest, Echoing Delight, and The Spiritual Bonding) have as well launch him push the minimal art of his earlier whole works into the Fourth World territories of artists such as Jorge Reyes, Michael Stearns, and Jon Hassell, context succulent, languorous soundscapes in a bigger, more engaging rhythmic framework (ordinarily with contributions from percussionists Djen Ajakan Shean and Steve Roach). Still, as many compilations and retrospectives of his originally or unreleased cultivate have got appeared in late times so as to confuse more or less the flight of his developing, which at any rate seems to swop more than or less equally ‘tween the freeform conceptual landscapes of his before Projekt, Relic, and ND whole shebang and the more structured interactivity of the Extreme and Amplexus releases. Collaborations have as well progressively occupied Serries’ fourth dimension, with uncut workings with Steve Roach (Well of Souls, The Spiritual Bonding), Robert Rich (The Spiritual Bonding), Asmus Tietchens (a self-titled collaboration for Syrenia), Sam Rosenthal (Terrace Of Memories), and Djen Ajakan Shean (Latitude Flaming) appearance all within the outer space of just a few years. Both Landscape in Obscurity and The Shape of Solitude followed in 1999, and in the natural spring of 2000 Obmana returned with Echo Passage and Phantasmagorical Sanctuary. Subterraneous Collective was issued the undermentioned class. Share and save this post: del.icio.us Digg Furl Reddit Help |
