Benedictis, Dean De

Artist: Various
P: 1997
Some very nice interpretations from very well known musician about pieces from the master of ambient.

Here the last copy!

Artist: Dean De Benedictis
P: 2005
Dean De Benedictis, has envisioned a vital work of instrumental compositions, exploring the art of electronic music with a refreshing integrity. Blending traditional electronic tones and structures with acoustic elements, he has sculpted an album that is raw and direct. In essence, he has captured a heart of true electronic music, while suggesting more thought-provoking themes.
De Benedictis realizes this vision through various electronic tonalities, samples, and acoustic instruments such as mayahachi flute, bamboo flutes, cello, piano, voice, guitars, hand drums, and percussion – applying all, with the passion and inspiration of the masters before him.
Salvaging the Past is not only an homage to the electronic music of the past, but expands the vocabulary of the present.
To the listener:
Our physical realm is comprised of drastically separate entities mix-matching and ambiguously aligning into one harmonious collage. Such is the underlying principal behind "Salvaging The Past.” It is not the first time I've based a project on this philosophy. So much of my unreleased work had been inspired by this principle, and specifically by a variety of traditional ambient music genres, that eventually I felt compelled to tie this particular work together... how could I not? With some songs containing an intense electronic base and others a pure acoustic base, creating the mood for "Salvaging The Past" was tricky, but I do feel that we brought the music together as best as possible. As always, it is all from the same soul.
Dean De Benedictis

Artist: Dean De Benedictis
P: 2016
Bending the walls of experimental electronic-ambient music, Dean De Benedictis creates a bold tapestry of sonic vibrancy on Salvaging The Present. Through the creative use of musical instruments and sound design tools, De Benedictis scores an emotionally deep, aesthetically appealing and technologically sophisticated triumph, blending organic and electronic expressions into a compelling panorama of music and sound.
Vowel-based arpeggios and pulsing sequences modulate with abstract yet mesmerizing rhythms, clearly defining a distinctive sound that is deeply rooted in De Benedictis’ unorthodox technique of blending vocal samples with percussion hits. Added to that are many other elements – both electronic and acoustic – as De Benedictis rounds out the mix with his own performances on concert flute, grand piano, guitar, harmonica, hand percussion, cedar flutes, and voice, as well as contributions from Percy Jones (bass), Alexey Gorokholinskiy (clarinet), Peter Ludwig (cello, and voice), Lisa Claire Mitterer (vocals), D’Von Charley (native flute), Jim Goetsch (sax), and Angelo Elonte (violin).
Rendering his sonic travels through realms of mystery, stillness and spirit, De Benedicits delivers fresh investigations into the environment of music and sound; an environment where electronic wizardry and acoustic dexterity combine with samples, effects and processing, resulting in a distinctive artistry that is truly unique. From the vibrant and energetic rhythms that propel the atmosphere onward, to the lush blankets of sound that wash over everything and give way to a delicate tranquility, the music of Salvaging The Present does indeed roll gracefully through the present moment, always evolving, and moving ever forward.

Artist: Deborah Martin & Dean de Benedictis (Surface 10)
P: 2022
Inspired by the mysteries of the afterlife, Chaos in Premonition returns to the fantastical world Spotted Peccary artists Deborah Martin and Dean De Benedictis built in their first collaboration as Desensitized. Like their previous work Hemispherica Portalis, Martin and De Benedictis recorded their latest release live in the studio together, forming nine pieces from edited improvisations. Blending instrumentation such as clay ocarinas, flutes and Tibetan bowls with a variety of digital and analog synthesizers, Chaos in Premonition is an album that invites contradictions and makes peace with them, the only way to approach the question that inspired it: who are we and what made us?  The title track “Chaos in Premonition” begins in quiet vastness and rises to a bewildering crescendo, then fades to an ethereal chorus. Percussive chimes like raindrops in a cavern rise slowly from shadowy depths, evoking the cosmic. From there, the piece builds a sonic mosaic of skittering breakbeats, glitched fragments and glimmering arpeggiations: the birth of a world from quietude. On “Abundant Time” counter-rhythmic clock samples and heartbeats ebb and flow around sinuous drones and gently plucked strings. The two artists employ a rich amalgamation of acoustic and electronic elements throughout the work. With “Immortals and Their Graves,” De Benedictis’s Mayahachi flute moves from calm lulls to sweeping trills to rhythmic stutterings and back again, capturing in its amorphousness the peaks and valleys of a life. Even vocal elements appear in the finale “Sleep of Innocence” which finds Martin and De Benedictis humming in harmony over celestial chimes, an otherworldly lullaby. Just when one feeling takes hold, it darts away—unknowable, and yet a seamless compositional flow offers a well crafted consistency with every track. Martin describes the joy of collaboration as discovery; as each artist brings their own unique identity, how their compositional styles will blend is a mystery until uncovered. She continues: “That is what I find most exciting, the endless potential and possibility.” De Benedictis says “the essence and originality of Desensitized lies in how Deborah and I are so different.” From asynchronous perspectives comes sonic synchronicity. On Chaos in Premonition, this accomplished duo embrace their collaborative name Desensitized and weave the ancient and futuristic into an otherworldly tapestry all their own. 

Artist: Various Artists
P: 1996
A collection of tracks from different electronic musicians, that play favourite TD tracks in their own style.

Here the last copy!

Artist: V/A
P: 1999
Here's another excellent ambient anthology for those into the darker end of the genre. Featuring nine artists, the sampler takes from both new and veteran musicians, to deliver up a diverse yet flowing 74 minute CD. Kevin Keller opens the disc with samples of voices whispering. From it he creates a slow 12 minute warm drift similar to musicians like Robert Scott Thompson. Illinois synthesist James Johnson's Closure is at least half as long as Keller's track, yet the style is very similar, with muted and shifting chords gently floating on the air, melodic and peace-inducing. Dean DeBenedictis takes a much different approach, far more abstract and surreal, although there is a similar underlying melodic pattern underneath the Schnitzler like rattling and scuttling. As the tracks progresses along its eight minute length, it grows more fascinating with treated water sounds and voices. It is over far too soon. Ma Ja Le return the focus to melody, and the nine minutes Images Remain is full of crystal, ethereal chords floating up, a far different sound than their CD with Vir Unis. A piece one can lose themself in, with longing and melancholy, this would have fit perfectly on The Ambient Expanse. Rod Modell's Ipperwash Twilight leaps out of the speakers with incredible sonic clarity, and you immediately know you're in the presence of a creative force. Strange, but slightly melodic synths with a wide array of tones and field recordings spread sheets of sound over percolating sequencers, and the strange scaling and effects, successfully create an incredibly alien landscape. This is visionary music, alone worth the price of this disc. Dave Fulton's piece is also odd, with steely sequencer and loads of metallic industrial sounds that starts at a low volume that increases over most the track's length. It's dissonant melody provides sort of a lull in the overall CD flow, and sets up veteran Loren Nerell's Liquid Metal Stasis, an intense drone with microtonal bell sounds, volcanic bubbling, and other rich and colorful tonal shading. We definitely can never hear enough from Nerell. Scott Fraser's Straight Lines is another drone where the subtlety hinges on the changes of tones of the synthesizers. At eight minutes, it progresses through number of colorings, remaining surprisingly dynamic. As he often does, Steve Roach closes the set, his contribution the 7 1/2 minute Bottomless, and here we see the least urban track on the anthology evoking the wide expanses and chthonic depths of consciousness. A more chilly track than Roach usually produces, but no less evocative for it. A strong anthology, and one of the more impressive of the type in recent memory."
1999  Mike McLatchey / Expose Magazine