RARITIES

Artist: Vidna Obmana + Asmus Tietchens
P: 2002
Source material for this project was recorded in Den Haag and Nijmegen, The Netherlands, from 1995 to 2000 using PT device, electric and acoustic guitars and 4 and 8 track recording machines. Identical recordings were given to Asmus Tietchens and vidnaObmana, which they "recycled" into the recordings contained on these two CDs.

Artist: Vidna Obmana & Jan Marmenout
P: 1999
When it comes to creating those luxurious soundwaves, few are as consistently transportive as Belgium's Vidna Obmana. Here, with help from Jan Marmenout, VO stirs the Spirits of tribal sound explorations with a host of traditional ethnic/primitive musicmakers and, of course, modern synthsounds as well. The flutey tendrils which drift through the Ceremonial air of the opening track are accompanied by various clattering, drumming and whispering. More percussion surfaces during Traveling Moon Part 1 & 2, setting a rhythmic pace for the hovering electrodrones and fluttering Ney flute, and accelerating in the second movement, while wispy sheets of sound waft alongside a buzzing Jew's harp and hypnotically serpentine wind instrumentation.Slower, lower and beatless, Majestic guidance resonates with the rippling prescence of processed fujara sounds, backed by a moodily thrumming veil of electrons. As the track progresses, pressures rise, then fade so slowly away. Various drums, ceramics, woodwinds and more converge at The meeting ground for a peaceful-yet-animated gathering, uniting their musical voices in rather cinematic expressiveness. A particularly lush ebb-and-flow langorously spreads beneath The sacred balance, its softness occasionally stippled by distant random clatter. Simply gorgeous! Closing on the trio of pieces which make up the Temple of dawn, things shift back into the rhythmic... a swirling flurry of drumbeats, pattering ceramics and chiming metals dominate Part 1; this primal thunder is joined by an animatedly growling digeridoo, animalistic wails and skywardly climbing flutage. As everything else vanishes, the didge carries on, pulsing like a live electric current into Part 2 (3:28), where it meets with a sparkling fujara counterpart. The two entitities entwine and dance through various contortions, often sounding like grungy guitar feedback. These tones subside into the much smoother, velvety expanse of Part 3 (16:41). Trickling sands, tweedling tones and ghostly whispers accent the drift-and-shimmer of VO's synthesizer magic.

Here the last copy!

Artist: Vidna Obmana
P: 1994
Lovers of ambient music will find two hours of solid delight in this two-disc collection of early material (1988-89) from Belgium's Dirk Serries (a.k.a. Vidna Obmana). The first disc, Monument of Empty Colours, done in collaboration with Puerto Rican experimental artist PBK, is the grittier of the two, with a distinctly postindustrial rumbling making up the low end of most of the otherwise relaxing, synth-loop-driven compositions. Gathering in Frozen Beauty, the other disc in this lavishly packaged set, is brighter and a bit more serene. It's Obmana on his own this time, and it's the kind of work that would presage the smooth, calming ambiance so skillfully executed on his early-'90s material (captured superbly on the Trilogy box set). According to Obmana, this music was meant to be played at low volume, presumably in the background. Not to deny the artist's intent, but you might find that headphone listening really captures the stark beauty of these introspective soundscapes.

Here the last copy!

Artist: Vidna Obmana
P: 1994
Lovers of ambient music will find two hours of solid delight in this two-disc collection of early material (1988-89) from Belgium's Dirk Serries (a.k.a. Vidna Obmana). The first disc, Monument of Empty Colours, done in collaboration with Puerto Rican experimental artist PBK, is the grittier of the two, with a distinctly postindustrial rumbling making up the low end of most of the otherwise relaxing, synth-loop-driven compositions. Gathering in Frozen Beauty, the other disc in this lavishly packaged set, is brighter and a bit more serene. It's Obmana on his own this time, and it's the kind of work that would presage the smooth, calming ambiance so skillfully executed on his early-'90s material (captured superbly on the Trilogy box set). According to Obmana, this music was meant to be played at low volume, presumably in the background. Not to deny the artist's intent, but you might find that headphone listening really captures the stark beauty of these introspective soundscapes.

Here the last copyof the digipack version!

Artist: Vidna Obmana
P: 1994
Remastered archival recordings from 1988 - 1991, resequenced by the artist, with an additional 30 minutes of unreleased music from that era added per disc.
Lovers of ambient music will find two hours of solid delight in this two-disc collection of early material (1988-89) from Belgium's Dirk Serries (a.k.a. Vidna Obmana). The first disc, Monument of Empty Colours, done in collaboration with Puerto Rican experimental artist PBK, is the grittier of the two, with a distinctly postindustrial rumbling making up the low end of most of the otherwise relaxing, synth-loop-driven compositions. Gathering in Frozen Beauty, the other disc in this lavishly packaged set, is brighter and a bit more serene. It's Obmana on his own this time, and it's the kind of work that would presage the smooth, calming ambiance so skillfully executed on his early-'90s material (captured superbly on the Trilogy box set). According to Obmana, this music was meant to be played at low volume, presumably in the background. Not to deny the artist's intent, but you might find that headphone listening really captures the stark beauty of these introspective soundscapes.

Here the last copy!

Artist: Vidna Obmana
P: 1993
With REVEALED BY COMPOSED NATURE I had the opportunity  to explore my first compositional ideas, in the ambient genre, onto record, sequel to my cassette works.
Using only the internal sequencers of my instruments, I could manage  to create, structure and synchronize short loops in compositions.The changing of timbres shows the melody towards the end  of each composition. Unfortunately due to the poor quality of the vinil pressing,  my intention to offer particular moods was lost.
Hopefully, thanks to this reissue on digital format and  the recent remastering  from the original cassette master,  the character and atmosphere of this work is restored.'

Vidna Obmana, November 1993

Artist: Vidna Obmana
P: 1996
This is one of Vidna's very best solo efforts, and was composed between 1995 and 1996; he describes it, "The River of Apppearance translates my affection for the calm, serene and almost untouched: and it is definitely one of my most personal albums in years." Separated into eight pieces (ranging in length from 5'15" to 10'23"), the album as a whole is a peaceful, soothing excursion, with instruments (e.g., keyboard) often played "live" over an ambient background.
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Artist: Vidna Obmana
P: 1994
Here the collaboration from 1994 with Steve Roach, Robert Rich, Djean Ajakan Shean, Alio Die and Vidna Obmana.

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Artist: Vidna Obmana
P: 1996
A collection of selected works recorded between 1990 and 1995. None of these tracks featured on any albums, but some were released on compilations.

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Artist: Vir Unis + Interstitial
P: 2002
The album features a live set recorded at the Space For Music Festival in Milwaukee, WI in May 2001. Blending the fractal grooves and atmospherics Vir Unis is famous for with the subtle synth drones, bass guitar grooves, and processed trumpet of Interstitial - it's a release we're sure many people will be excited to hear.

Here the last copy!