AMBIcon 2013 – an ambient music conference organized by Hearts Of Space - featured a gathering of many of the pioneers of electronic ambient music. This panel discussion from the conference includes Hans Christian, Stephan Micus, Jeff Pearce, Robert Rich, Steve Roach, Michael Stearns, Stellamara, Tim Story, Sam Rosenthal, Mike Watson and Steve Davis. Continue reading →
DiN30 is the third DiN sampler album and has 18 tracks from releases DiN21 – 29, featuring the artists Robert Rich, Ian Boddy, ARC, Tetsu Inoue, Radio Massacre International, Surface 10, Parallel Worlds, Klaus Hoffmann-Hoock & Bernhard Wostheinrich.
Synthesist Steve Roach is celebrating 30 years of making music this year.
Here’s what he has to say about the milestone in his career:
As surreal as it is to see 2012 on the calendar, this year marks the 30-year point from when I released my first recording “Now” as a self-produced and self-released cassette in 1982.
While so much has changed in this world since then, my desire and dedication to keep reaching deeper into to the mystery of the moment and shape the sands of time into these audible forms has never been stronger.
In the years since he released Now, Steve Roach has: created works that are classics of ambient music, like Structures From Silence; he’s released dozens of albums, including deep ambient soundscapes, pulsing ‘Berlin School via the Southwest’ electronica, and electronic world music compositions; and he’s collaborated with the likes of Robert RIch, Michael Stearns, Jorge Reyes, Michael Shrieve and others.
You can see what Roach and his ‘Timeroom’ studio looked like in 1982 in the photo above.
See the discography at Roach’s site for details on his releases and audio previews.
Free Music Friday: This is the second DiN sampler disc and features a continuous mix of music by Ian Boddy, Robert Rich, Markus Reuter and others, compiled by DiN boss Ian Boddy. The compilation includes 2 cuts from each of the 9 titles spanning DiN 11 – 19.
Synthesist Robert Rich is the subject of an interesting new interview, which offers some deep discussion of both his music and his thoughts on music technology.
Rich shares his thoughts on working with synthesizers:
I love the ability for synthesizers to move into the realm of the Surreal, to paint with sonic abstraction, to allow me to compose at a completely sonic level. I dislike their distance from emotional, subconscious muscular expression.
For that reason I prefer to blur the boundaries between acoustic and electronic. I use electronics as a context for more expressive performances on acoustic or electro-acoustic instruments.
I’m not saying that electronic instruments are incapable of emotion, just that I prefer the seamless interaction that I (personally) have when playing an acoustic instrument, when my subconscious intentions migrate from my muscles into the air. When I attempt the same with electronics, my mind usually intervenes. So for me, the perfect balance is to process acoustic sounds and surround them with the abstract elements of electronic processing and synthesizers.