RARITIES

Artist: Victor Cerullo
P: 2000
The album is an excellent blend of melodical, rhythmic and progressive electronic music with sometimes traces of the music of Jean Michel Jarre. A great example of this is the impressive track “Above The Clouds” which really gives you the feeling of flying above the clouds. All alone, but free.
With “Loneflyer”, Cerullo proves that he’s one of the finest new talents in electronic music.
“Loneflyer” is based on the novel “Jonathan Livingston Seagull” from Richard Bach, a source of inspiration for many musicians (Gandalf for instance). Cerullo dedicates the album to all the gulls living far away from the flock, as well as to his father.
Loneflyer is a CD inspired by Richard Bach’s “Jonathan Livingston Seagull.” Victor Cerullo’s soundscape would serve well as a soundtrack for this fable about aspiring to be more and about nonconformity allowing the heart and soul to take the physical being beyond conventional reality. Victor’ soundscape includes symphonic synthesizer washes, subtle electric guitars and genuine seagull samples. Victor mixed and arranged the soundscape with great integrity and meticulous detail. The result is a crossover of symphonic sequences and pastoral ambience. Vintage instrument samples augment and integrate the sound design. It has a “new age feel” without pushing the envelope. The CD is pure electronic fun! Victor has chosen to highlight the purity of Jonathan’s quest to become more. The deep pastoral synth washes and manipulated samples maintain thematic integrity. The symphonic overtones create a grand crescendo. Deep rhythms and sequences provide the dénouement. The CD closes with two tracks from Ludus as arranged for E-Live 99. They serve well as a coda.

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Artist: Victor Cerullo
P: 1998
Now this is something classic EM listeners will enjoy from the very first moments. Not only has Cerullo managed to squeese ALOT of amazing sound from the only two synthesizers used (Korg 01/W and Korg Polysix, with the help of Roland R8 Rythm Composer and Emu Procussion) but the music covers just about anything from the classic EM genre in terms of style and arrangements. And not only can one easily spot influences from the great masters of electronic music, but also influences from classical music.
The music is divided into three main parts, and each part is divided again into 13 separate tracks (the 14th track is a bonus piece). The intention was to form a theme for each main part, and expand on that theme in different directions for each sub-part. There are no songs here that outshine others, the quality is constant during all of the album.
The sounds here are also amazing. If it is true that only a couple of synthesizers were used, those musicians who collect synths because they think they need dozens of machines to make good music, have no valid arguments anymore! There is not one single second without great sound. "Less is more". So not only is the music classic EM, but the sounds are also classic and resemble both the smooth analogue of the 1970s and eerie processed vocal samples.

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Artist: Vidna Obmana + Asmus Tietchens
P: 1999
Linea [1+3] was originally released as a cassette in 1988. Recorded at Audiplex Studios, Hamburg, Germany. Eight-track recycling by Vidna Obmana using processors, speed variations, volume changes, loops, FM noise and feedback. Produced, recorded and mixed at the Serenity Studio, Belgium, in December 1996.

Nachtstücke was released in 1980. Contains pieces recorded between 1975 and 1978 on 2-track Revox and 4-track Teac tape recorders. All sounds were created on the Moog Sonic Six synthesizer, using a Philips reverb and an Echolette tape delay for effects. Composed, arranged and recorded at Audiplex Studios, Hamburg, Germany. Eight-track recycling by Vidna Obmana using processors, speed variations, volume changes, loops and harmonizers. Produced, recorded and mixed at the Serenity Studio, Belgium, in January 1998.
Comes with 4-page booklet.

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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 + Bass Communion
P: 2005
Ltd 1000
Released in an A5 digipak, with 3 postcards included.
Dark Ambient with with a strange an extraterestial looking environtment.

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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.

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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.

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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.

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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.

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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: 1994
LTD 1000
Part One: Recorded live in concert at RaamTeater op 't Zuid, Antwerp, Belgium on the 19th of March 1993. Part of a two hour 'Echoing Delight' concert, remastered at the Theatre of Magic in July 1993.

Part Two: Recorded live at Comopoly, Hamburg on the 5th June 1993. No editing involved.

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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: 2001
Throughout his historic career in electronic sound, Vidna Obmana has always created music dealing with the range of mood, being and emotion. From the emptiness and desolation of "Acqua" to the bittersweet meloncholy of "Mellow At Heart"; the strength and sureness of "Forest Arrow" and the contemplative introspection of "Float Through Nights", Vidna Obmana aptly conveyes his state of existence from the headings between these four points on the compass of feelings. On the latest Vidna Obmana CD: The Surreal Sanctuary, he rolls out a remarkable new map, the kind used by adventurous travellers to move across stricken borders, through unusual terrain and down lost highways. Still present are the cerebral qualities of his past recordings, only now they are joined by a strong sense of place and movement in four dimensions. The pieces evolve slowly often fading one into the next. The album is smooth, a soundworld of shifting drones and deep timbres. The contemplative pacing of the dark harmonies is not meant to relax or reassure. Quite the opposite. The music on this album is meant to evoke a desolate, forboding place. As with any kind of travel to exotic lands, the emotions here stem from the uncertainty of the strange environment. Guiding us through this eerie land is Vidna Obmana. One can imagine him a few paces ahead, leading us through the landscape; with fog so dense we follow the mere sound of his overtone flute. In addition to playing several varieties of Fujara, Vidna Obmana also utilizes: sampler, synthesizers, electric guitar, harmonica, feedback and studio processing devices as well as the collaborative efforts of Steve Roach on guitar, bassist Joris De Backer and the overtone singing of Jim Cole. When these sources are combined and shaped by Vidna Obmana, two noticable regions are created out of the seven lengthy tracks. Much like the soundtrack work of Howard Shore, Vidna Obmana's music on The Surreal Sanctuary deals with tension but no release (at least not until volume two). During the overture to any Cronenberg movie, Shore's music bestows upon us a sense that something singular is about to unfold, a story that will make us uneasy, an experience we need to brace against. It may be best to describe The Surreal Sanctuary in these kinds of terms... an experience you undergo, something descended into, a world that has slipped over us.

- Chuck van Zyl/STAR'S END

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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
P: 2000
'Aeonian Glow' explores a similar territory as 'The Drift Inside' (Green House Music 1999), but goes deeper and into the more shadow realms of atmospheric music, highlighting the differences in light and dark. These eight tracks draw upon the din of the city soundscapes and bring about a music that is more quiet and self-reflective. The music was created in seculsion in The Bubble studio, which at the time, existed in New York City. Final assembly and spatial arrangements were done by Steve Roach in his Tucson based Timeroom Studios, mastering by Roger King.

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Artist: Vir Unis
P: 2001 
The Gathering Concert Series 23, recorded live at The Cathedral, Philadelphia, March 4th 2000.

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Artist: Vir Unis
P: 1999
The Drift Inside is the second release from Green House Music, and the first solo full-length by ambient synthesist and sound sculptor Vir Unis. This twelve-track CD takes a similar approach to his work on the Ambient Expanse (Mirage), stepping away from the fractal grooves of previous works while moving through deep, flowing passages of atmosphere, allowing a constant space for reflecting and introspection.
"The drift is the breath and light that travels through our physical and ethereal bodies and the community of spaces that are inside of us. If we could fully contemplate and realize for even a second the vast amount of space within and outside us, it would truly put us in a constant state of awe."
With the assistance of Steve Roach on the final assembly, as well as a contribution of treated guitar on two of the tracks, this release exhibits unique qualities that further enhance a true sense of The Drift Inside concept.

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Artist: Walter Holland
P: 1986
Synthesizerbased instrumentalmusic with a touch of Pink Floyd.

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Artist: Waveform
P: 1991
Making Waves, the first release from Waveform, rewards listeners with a unique and intricately woven tapestry of sound textures, rich in melody, and full of life. The title track traces the life of a river from its source to the sea, and takes you on a musical voyage from the birth of a stream, to the hidden, mysterious depths of the ocean.
Making Waves opens with "Ripples In The Dark", and so the journey begins. The listener is then transported "Downstream". Calming and relaxing melodies along with sounds of exotic birds float you gently down to the "Airboat To The Reef". In this track the tempo picks up, and you can almost feel the wind in your hair as you are whisked to your destination.
Upon arrival at the reef, it's time to experience "Hidden Depths": an underwater encounter that is both mysterious and haunting. The discovery of "Water Butterflies" (inspired by a poem), with its delightful melody and light air leads us to the Journeys End. The poignant and thoughtful "Influence Of The Moon" ends the piece with the sounds of waves breaking on the shore.
Six further tracks complete the CD. From the subtle and atmospheric “Adrift”, to the power and majesty of “Stormbringer”, each track is sure to delight fans of melodic instrumental music of the highest quality.

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