Here’s a relatively new release for your listening enjoyment. This is Ian Hawgood’s Mysterious Shapes and Remembered Rivers, which makes one think of China Crisis’s Difficult Shapes and Passive Rhythms. It came out in 2022. He does a song with Stijn Huwels, with whom he’s done a lot of great music, and Friends We Found, who I know nothing about, but will. It’s just great ambient music. That’s all.
Being that we’ve veered a bit from Sunday, let’s veer a bit from traditional Ambient. Susumu Yokota‘s “sakura“. It’s an amazing record by a young man that I came across in 2014 and started following him and he died suddenly in 2015. It was a really strange feeling. I had the same experience with Mitch Hedberg. But this record is just a stellar example of what this man created. Check him out! If you’re into that sort of thing.
Biosphere is the nom de plume of Geir Jenssen, a Norwegian electronic musician and composer. He lives in a place called, Tromsø, which is within the Arctic Circle; in other words, way the fuck up there. You can see how someone living in such a achingly dark and cold place could create the sort of Ambient music he does. (Of course, they do have some long, long summer days.)
Substrata is his masterpiece. As I’ve mentioned before, talking about Ambient music isn’t easy, so it’s hard to even tell you why I believe this is so. It’s haunting, has lots of overdubbed old recordings of voices and even singers, chilly effects, and yet remains (often) really quite upbeat. So, there you go; A masterpiece.
There are more than one Biosphere-named artists out there – just an FYI. I will definitely be sharing more of his work as I go through my favorite Ambient albums.
Rest in peace, Mr. Sakamoto. So my ambient Sunday 2 will step back to what I consider the first, and maybe still best, Ambient album ever. Brian Eno’s Ambient One Music for Airports. I bought it after having bought Here Come the Warm Jets and Taking Tiger Mountain and Before and After Science, and I honestly thought there was something wrong with my turntable. I fucked around with it a little bit and it slowly dawned on me that this was exactly what it was supposed to be. I learned just how brilliant Brian Eno is. 1/1 is sublime.
Ryuichi Sakamoto “async”
I’ve always wanted to share some of my favorite ambient albums, but it’s such an odd thing to share, right? It’s really hard to talk about – Ambient music is, one tends to lots of new age sounding adjectives, and so I will mostly just post the album and encourage anyone who wants to search it out and listen to it.
I learned today that Ryuichi Sakamoto died. He’s one of my top four, for sure, musical artists. He’s on constant rotation for me, partly because he has dozens and dozens of great albums – from early Yellow Magic Orchestra, his poppier solo work, and his own Ambient, soundtracks and piano albums, to his many, many albums created with other artists. It breaks my heart to know he’s no longer with us, but he definitely left us with lots of amazing music with which to remember him.
Note that sometimes albums I call Ambient are called electronic or some other genre elsewhere. It’s a hard one to nail down, for me they range from classic Ambient, such as Brian Eno’s Ambient 1: Music for Airports (which I always assumed would be my first Ambient post), to more experimental Ambient music that moves beyond the soft mellow chill of classic Ambient. This one shows up as electronic on my Apple Music, I would call it experimental Ambient. I just happened to be listening to it yesterday when he passed. I love this record.
It’s called “async”, by Ryuichi Sakamoto.
I’m a big Harry Nilsson fan! Love the guy! Great songwriter with one of the great voices of the era. I’ve been a fan since the 1970s (pre internet but post dinosaurs) and when the Internet came around, of course, googled him and listened to anything I’d not seen. Pandora, Spotify, internet itself.
Okay, so how on earth did I just come across two Nilsson albums I HAVE NEVER SEEN? One of them, Knillson, is possibly his greatest album ever. Schmilsson is genius, but this one… Where the hell has that been?! Or, how can a guy who’d spend many afternoons flipping through albums in record stores never, ever come across either album?
Look we got a pandemic, fires, hurricanes, Trump, death, destruction, republicans, and so this doesn’t really float to the top of important topics, but I can’t understand how I missed two albums from one of my musical heroes. Help?
The other is Pandemonium Shadow Show. Also a blast, but not quite Knnillssonnn or Schmillsson.
Okay, so the dubstep show. That was trippy. And I wasn’t even tripping. I had no idea that happened. Picture these young folk with an array of colorful, brightly lit baubles and bangles, hula hoops and hats, glowballs and whatnot, much of which they swung around in slow sometimes erratic orbits in an otherwise mostly dark room.
They wore big furry bear hats, and sometimes that was about it. They wore footy pajamas with hoods. They even wore beaded masks. I’m not sure what that was all about but it was rather disconcerting mostly because it must be complicated to breathe, let alone drink. And they had gloves with lighted fingertips that they wiggled around in front of other dubsteppers faces like some crazed magician.
The deejays pounded out music with their fists in the air. I couldn’t tell exactly what else they were doing up there. A lot of dancing and then stopping to work on something on a table in front of them. But the music pounded the people and the people jumped up and down ecstatically. The ones toward the back, the really trippy ones, mostly just spun around in circles – often well-lit as well.
But it was cool! Kind of Build-A-Bear meets Cabaret Voltaire cool, but cool like that! I wanna go again – and be almost the oldest guy there. There was an elderly gentleman in a straw hat with a handful of glow stick bracelets on each wrist. He rocked back and forth in the middle of the crowd. I was proud.
so many years ago. Love it!
hey, kuehner.
hey, daniel.
hey, gherity
I’ve had my acoustic guitar for many years – possibly ten. My wife bought it for me for one Christmas and since I’ve been playing it constantly to the point where it really does feel like an extension of me. When I see it across the room I want to hold it and play it. I want to strum it and sing with it. I want to harmonize with it. I was staring at it just now and noticed the brand and realized that at any time over the last ten years if anyone would have asked what kind of guitar I had I would have only been able to say, “acoustic.” If they pressed for the brand I would have had no idea! I saw the name just now: “Cort.” It’s a Cort. My guitar is a Cort and as much as I’ve loved it, I could never have told anyone that that it was/is a Cort – and there’s probably another name as well – The X44 or The Chrysalis. It’s like not knowing the name of your wife. I feel terrible – because I never knew, and also because now I do.
Cort. No, just my guitar. I’ve never been good with names.
Luke Soiseth 