into the unknown… or – wind chime guitar

since I am just now returning to active duty in terms of working on music properly again, just beginning to resume work on videos, audio mixes, and web tasks including a lot more uploaded music both past and present, I wanted to take a moment to talk about a process that to me, is pure creative joy.

as part of the ongoing work, I’ve been reviewing the recordings that are slated to be published on video in the near future, and in particular, I am listening to a session from 20120930 which is…most unusual. (update september 22, 2013 – the first of these two videos, “into the unknown”, has now been uploaded to you tube).

this is my first successful “scape & ambient guitar” session.  I had really struggled, I really, really wanted to capture the magic of scape, and of course, the purescapes channel, and the dave stafford all-scapes eternal album “music for apps: scape” both present the scapes in their purest form, as they happen, one by one – sure, those are great outlets for my scapes, as created…but I also wanted to use them in a live improvising context – which, if you think about it, it’s every ambient musician’s dream – it’s like playing live with brian eno and peter chilvers.  what an amazing feeling…

but this is a far more difficult and challenging proposition than you might think – and the first few sessions when I tried to play live with scape – were not satisfactory.  they just did not…”work”, and I couldn’t really put my finger on “why”.  I believe now that part of the issue is that scapes are such a complete entity unto themselves, that it’s difficult to “add” anything of value to them.  they stand up well on their own, so they don’t “need” any help from me or anyone!

once I realised that, I could relax a bit, and work out a way that I could play along to scapes, that made sense for me.  after a few false starts, a few early experiments gone wrong, on september 30, 2012, I finally “got it” – and I am so pleased to have captured these ambient experiments on video!

this session is comprised of just two long tracks, and scape works best when it’s a long track; the first track of two is entitled “into the unknown” (11:48) – and, (update – september 22, 2013 – as promised, now that the video has been uploaded, I have made this a link so you can see the video and hear the track) – and the scape works wonderfully in this track, and happily, the overdubs I do – which are quite, quite atypical – work well too.  I play ambient guitar, sure, but in a way I’ve never really done before.  I use three or four different roland gr-55 guitar synth patches, including one of my own custom patches, which is just wind chimes – and “playing” wind chimes, from a guitar fretboard, is surely one of the weirdest experiences I’ve ever had as a guitarist – you strum the strings…and out come the wind chimes.  brilliant!

I can tell you – playing live wind chime guitar to a brian eno scape is a heavenly experience.  I do use other more standard guitar sounds, and I play a few solos too, using a really weird sounding synth voice – but over all, I try to just add to the general ambience of the piece.  there are even sections in the song where I just stop and listen – and then, scape takes over, and really mesmerises me – I love how it picks up the slack, it’s just beautiful, and it gets even more beautiful with repeated listening…

it was such an unusual experience, listening to this scape, adding in wind chimes by strumming the guitar synth, playing the occasional guitar solo using some strange roland gr-55 patch…a wonderful experience!  and it was definitely scape that steals the show, that is the star on the day – my contributions are nothing – scape just sounds so, so beautiful.

the second of two tracks for the day is a bit more challenging, but again, it’s a unique and remarkable experience for me as a guitarist, trying to play ambient guitar – the track is entitled “discern” (19:58) and at almost 20 minutes long, it’s the first long form ambient piece I’ve done since “sky full of stars”.

again, the mellow organ tones of the scape, that peaceful, peaceful drifting chord, dominates the beginning of the track, and I am just sitting back, waiting, not playing – just listening to the beauty of the scape. then those beautiful, stereo wind chimes start to work their way into my consciousness…

I think I had also forgotten about that wonderful, mesmerised feeling you start to get in a longer ambient piece, where repetition starts to get caught in your brain, and new patterns start to emerge on the later iterations…you get caught up in the loop, and the repetitions within scape alone are beautiful and compelling.

I use the guitar synth for ambient noise, just making a lot of delay noises, interspersed with wind chimes, and these just shimmer atop the droning organ chords, balancing atop them – an unlikely pairing, but somehow, it just works – it brings to mind, to me, the work of david sylvian and holger czukay, “plight and premonition” and “flux + mutability” – two albums I dearly love – but this is the first time I’ve ventured into those kinds of sonic territories.

a very odd guitar synth voice enters at around the four and a half minute mark, which maybe seems a bit obvious at first, but I like it’s oddness – it’s just weird enough to work, after four minutes plus of delay noises and wind chimes, I think you need something more “ordinary” to re-focus on…soon enough, though, I return to my beloved delay noises and wind chimes – and “discern” rolls on and on and on.

at just around the 6:00, a sitar-like voice enters, again courtesy of the roland gr-55 guitar synthh, and I take a fairly active solo, which again, works very nicely with the ongoing scape, I love these two tonalities together, and while again, it’s a bit of an unexpected voicing, it dovetails nicely with the scape – and I end the solo on a crashing chord.

then – back to that very odd guitar synth voice again, solos bouncing about using one or the other of these two voices, with a lovely five note descending theme emerging slowly – this shorter solo ends on a very strangely bent whammy bar guitar sound…and then I am back to the delay sounds again – always returning to those.

I set up a rhythmic sound that washes over the scape’s wash, and suddenly, the piece goes from melody over wash, to rhythmic – over which I play – you guessed it – more wind chimes.  I think the rhythmic delay sound is a short loop that I created, and then I am adding more content on top of it – reiterating the five note theme, and taking some pretty active solos as well.

a more normal guitar solo starts, just distorted guitar, with the five note theme being repeated at diffferent points at different places on the guitar neck…and then I kill whatever loop is going, and things quiet back down again to the sort of “baseline” that’s been established:  delay guitar on top of scape.  with wind chimes.

both of these pieces are technically, quite active, with real solos, but because of the presence of the scape, the fact that I am also playing some ambient sounds like the delay guitar and the wind chimes, plus the fact that sometimes, loops of these live sounds are running as well – all of that turns what could have been a very active piece, into an undeniably ambient one.

then, quite suddenly, at 12:25, it happens: the quiet zone.  the whole piece quiets down dramatically, which is quite unexpected – at this point, the piece is really just flowing along, alternating between “solo sections” and more “ambient sections” – but, with a fairly decent level of “activity” – until the hush occurs.

I must have removed another loop that had been running for some minutes, and we really ended up in a very, very stripped-back space, with just scape and a little live delay guitar…lovely!

after a minute of this “quiet zone”, I begin to build the loop back up, by layering bits of scape and more wind chimes, more delay guitars – and once it’s up to a more active state, I really take off, using the “odd” sound, I play a very short, quite unrestrained solo – and then stop just as suddenly – the loop that’s playing at this point is just so cool, I could listen to that loop forever – it’s really quite hypnotic by this point.

another odd, idyllic quiet section around the 15:00 mark, now, a sinister, minor key note has crept in, and the piece goes from fairly neutral to quite, quite menacing, I love the sinister quality it acquires after being so hypnotically mesmerising all along – the last part is almost a bit like the fripp & eno classic piece “an index of metals” – not musically friendly, quite, quite ominous – but ominous in a very beautiful way.

now what seemed minor, with more layering of the loop, is becoming downright dissonant…until I stop the loop again, and the “happy” wind chimes re-assert themselves, the delay guitars return, and the terrifying two minutes is over.

the last couple of minutes are fairly ambient, with a few uncomfortable, sinister sounds interspersed, so a mixture of light and dark musical elements.

the scape re-asserts itself by changing to a different constant chord, and taking the piece to another place, a really beautiful change which totally “makes” the last minute or so of this piece so remarkable – really lovely.  the scape is on it’s own at the end, and then suddenly, it fades away without warning.

what an incredible musical journey this was for me, I’d never tried to play live ambient guitar for 20 minutes using a guitar synth before, and I was astonished to find that in the main, while not perfect, that it was possible – I can do it.

both of these pieces surprised me, because I found that using just four or five different sounds, I could sustain something fairly unique yet remaining pretty ambient (not entirely successful at that, but sometimes, ambient BECOMES active…for a moment, or for a few moments…but it’s still ambient!) without a huge effort on my part – I found it quite natural to “play” those delay guitar “sounds”, I found it quite natural to “play” the wind chimes as if I were the wind, making them sound…it just happened.

never, ever having played wind chimes guitar before, I am not quite sure “how” I know “how to” do it, but somehow, I did, and the end result is lovely.

a surprising and interesting day in the studio, and these videos are scheduled to be released at some point in the next few months – I think both of them are going to become videos, certainly “into the unknown” will, “discern” may need extra work, this remains to be seen.

I must do things like this more often, I really must – because it’s so, so enjoyable!

ambient guitar rules!

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scape – three unusual controls

a reader in nova scotia, who is also a fellow scape user, has commented on one of my earliest blogs regarding “scape”, the generative ambient music creation tool designed and realised by brian eno and peter chilvers, and in his comment, he asked me a question, which was simply, could I tell him anything more about what the three “sliders” in scape, the ones that control “density”, “complexity”, and “mystery” – about what those controls actually “do”.

I have always made sure that whenever a reader sends in a question, that I will do my level best to answer it – but in this case, I was struggling a bit, because while I’ve used these three controls, I did not feel like I could speak authoritatively about what each one does!

so I wanted to first of all, throw this question out to the scape user community at large – can any other scape users throw any light on what, exactly, the “density”,  “complexity” or “mystery” controls do?

I have a standard process when answering any question, if I happen to know a substantial amount about the topic, then I just answer from my own experience, however, if I know less about it than I would like to, I would seek out information on the internet, so I could learn as much as possible, so I could speak from an informed and enlightened position…before framing any anwer or framing an appropriate reply to the question.

however…even this “look it up on line” approach was thwarted; when I typed in the question into google; I got a number of hits back, but only the first two were actually about the three controls, the rest, were “off topic” – and I am afraid, that the first hit pointed to the original dave stafford blog post that our nova scotian reader was commenting on; and the second hit pointed to another blog post about scape that I had written – so the ONLY two references to these three mysterious controls, anywhere on the internet is…two blog posts that I myself had written!

at that point I then realised I would not be learning anything more about the controls from any internet search, even so, I’d still like to attempt answering the question from a sheer logical standpoint.  but before I attempt that, I need to explain one of the peculiarities of “scape”: when you save a “scape”, the app saves the visual instructions that you created, and of course, you can “play back” the scape at any time.  however…

the duration (or length) of a scape playback is set to “random”.  so even though I created a scape that ran 7 minutes 32 seconds the first time I play it back; the second time I play it back, it might run 5 minutes 21 seconds.  the third time, maybe 8 minutes 3 seconds.  the fourth time, 2 minutes 35 seconds, and so on, ad infinitum – it’s never the same length, and, because of that, it’s never the same “tune” – it “starts” in a random spot, and it plays random sections, so there is just no repeatability whatsoever.

the reason I am mentioning this is that the only “scientific method” to determine what, say, the “mystery” control “does”, would be to record a scape with “mystery” set to 0 or off, and then play it back and listen to the results; and then, change the “mystery” control to 100 or full on, and play the scape again, and try to determine what the “difference” is – i.e. what is now happening in the second playback, that did NOT occur in the first playback – describe that, and you have described what the “mystery” control does. 

but this whole theory falls apart – because you can’t play it back a second time and have it be the same entity it was the first time you played it back – so there is no way to gauge the difference with the “mystery” control set either off or on – it’s just not possible, because of the random duration of scape play back.

so this leaves us with pure, logical conjecture as our only remaining possible way to answer this question (barring the unlikely event of eno or chilvers reading this and offering to explain to us what each of the controls does!) – so here is what I believe, based solely on my internal logic, my understanding of the three terms used, and my experience with ambient and other rules-based music:

1)     since we do not have eno or chilvers to explain what these three controls do and

2)     since we cannot test the controls scientifically, since scapes never play back the same way twice – we cannot gauge the “difference” between a track with zero “mystery” and “full” “mystery” – as we might with other devices – we cannot compare an “effected” scape with a “non-effected” scape which would have allowed us to understand what the controls actually “do”

3)     logic, based entirely on the name of each control, might dictate the following (your opinion may differ):

“density” – I would suggest that density, like the other two controls, does exactly what it says on the tin – it controls how dense the scape is – and density must relate to the sheer count of musical events in the piece.  I suggest that a “not very dense” scape might have, say, 10,000 musical events or “notes” in it, but a “very dense scape” might have, say, 50,000 musical events or “notes” in it.  of course, on a more basic level, “density” is controlled by how many “objects” the user places into the screen (and there is a limit on that, if you place too many objects, scape removes older objects to compensate), but I suggest that this control will ADD more density, it will create extra musical events that wouldn’t normally be there, making the piece more musically “dense”.

“complexity” – I would suggest that this is similar to “density”, but will have more to do with the complexity (or difficulty) of the musical events – so when “complexity” is set to zero, the piece will be “baseline” complex – as complex as the normal scape rules allow for, no more; but, when you increase the “complexity” towards “full”, the rules are altered to create more complex melodies, more intricate harmonies, more convoluted bass lines, etc – the music becomes “trickier” – like taking a normal rock piece, and transforming it into prog rock by adding complex passages, odd time changes, etc. – in a scape, simply making the melodies, harmonies, bass lines, drum parts, etc. more complex than they normally would be.  it might introduce time changes, or extra / difficult melodic, harmonic, or percussive information, that we don’t normally get in a normal scape – more complex forms than usually occur in an “un-effected” scape.

“mystery” – I would suggest that “mystery” is all about randomness; possibly involving random musical events occurring that normally wouldn’t, so with “mystery” set to zero, there are no surprises, the scape operates “normally”, and nothing unusual happens.  when you turn “mystery” up to “full”, then unusual things begin to happen, odd events that normally would not occur, occur and occur frequently, and again, it’s just what it says on the tin, mysterious events occur, increasing the scape’s “mystery” – of course, this assumes that we actually know what to expect when we build a scape, which isn’t necessarily the case anyway!!  “mystery” is my personal favourite, I just love the idea of a control that controls “mystery” – I think that is genius!

so, these are my “guesses” at what these three enigmatic slider “controls” do – and with no owner’s manual, no information regarding these controls forthcoming from eno or chilvers – there isn’t really any choice but to guess.

I’d say, based on how very difficult that question was / is to answer, that this was a very, very good question from this particular reader (thanks, Evan!).

I’ve done my best, but my guesses are just that – guesses, so we’d love to hear from you – what do you think the “density”, “complexity” and “mystery” controls do?

____________________________________________________

original question submitted by “evan” from nova scotia, whose scapes are posted here:

http://soundcloud.com/portable-galaxy

my own scapes are now beginning to be collected into a large album, which is located here in high quality audio formats:

http://davestafford.bandcamp.com/album/music-for-apps-scape-an-eternal-album

a partial collection of specially made dave stafford scape videos, using scape screen shots as video material, is here:

http://www.youtube.com/user/purescapes17

and for you soundclouders, another small collection of audio scapes is here:

https://soundcloud.com/purescapes

the return of drone forest

I was pleasantly surprised to find that my old friend and partner in musical crime, ian stewart, has just created and posted onto you tube, some lovely long form drone forest videos (each running about 29 minutes and change) – four of them, to be exact, released on ian’s you tube channel just last month (june 2013).

I first ran into ian stewart via his excellent music mag “autoreverse”, and ian did some features on my mid-90s ambient and crafty output, and over time, we became friends.  he has also done a couple of in depth interview with me over time – one, back in 1995, reprinted here from autoreverse, and the other, quite recently – again, from autoreverse – 2011 version.

ian is an incredibly creative person, plays a number of instruments, and has a wonderful band called “devilcake” – a metal band – whose songs are exclusively about food, and another band called samarkand…he’s a fellow fan of XTC and king crimson, and is one of those people I’m always happy to work with.

one day, quite a number of years ago now, ian asked me if I would record some material for him on guitar, but he posed a really, really curious and difficult challenge:  he wanted pieces of music, but, critically, they were to have no melody and no beat – just texture.

so a few days after receiving this request (and, scratching my head a bit in terms of, how exactly will I do this?), I set up my guitar system, and started recording pieces of guitar “texture”.  I actually found this really quite difficult to do, because of the no melody rule in particular!   but, using stompboxes and my trusty ebows and some just plain strange, strange techniques, I produced quite a large “library” of these textural guitar sounds (probably more than an hour’s worth – I remember it took two cds to capture them all – maybe 25 tracks or more – I will have to locate the original discs to be able to say definitively how many tracks / how much time there was there).  I then mailed them away to ian – and promptly forgot all about it.

ian had never really said why he wanted the sounds, when I asked him about it, he would mumble something about a project of his, so I just put the whole thing out of my mind, and carried on with my life.

a few months later, out of the clear blue sky, a cd arrived in the post from ian, bearing the band name drone forest, entitled “drone forest”, which, apparently, was a new band, featuring ian c. stewart, c. reider, mike bowman, and…myself !!! I couldn’t believe it – here was a cd I was playing on, that I didn’t know existed, that I didn’t know was being made – I put the disc on, and sat there in an astonished state – and there were those textural guitar sounds of mine, recorded perhaps four months previously and then promptly forgotten –  expertly mixed in with sounds produced by the other three musicians (none of whom I had ever met, although I knew of c. reider because he’d reviewed one of my albums for…none other than ian’s “autoreverse” magazine!).

sitting there, hearing this cd, and realising what ian had done – he’d basically asked the same of both chris and mike, solicited material – they duly recorded sounds with no melody and no beat (a difficult task in particular for mike, who is a visual artist first; a drummer second, and a great guitarist/multi-instrumentalist – with his main instrument at the time being drums…the “no beat” rule must have been extremely challenging!) – but, all of the samples were superb, and ian had done an amazing job, creating several unique songs for the album which is known as “drone forest I” or simply “df1” – the first of many, many cds to come.

“drone forest II” followed hot on the heels of the first album, and after that, the albums started flowing so quickly that we couldn’t really believe it – we very quickly worked out a way of working:

1) we formed a yahoo “group”, and we all uploaded our self-created audio samples to our “sample pool”

2) we then would listen to and download the samples that the others had uploaded, picking what we liked, ignoring what we didn’t like

3) these then became the source material for new “drones”, which we each made many of, using whatever music software we favoured at the time

4) sound stretching, speeding up, slowing down, crushing, distorting, flanging, delaying, echoing, cutting, reversing, phasing, reverbing, mixing, contorting, convoluting – anything and everything went, any source files, mixed any way – as long as the end result sounded…like a drone.

a furious year of work, 2003, saw us so exhausted from the speed and quantity of creation, that we just sort of…stopped working.  leaving a massive trail of really, really interesting and innovative drone cds in our wake.  a while into the project, we decided that we would each produce a cd, instead of creating tracks and then picking a few from each member as we did originally, so I set off to produce “my” drone forest project, which is entitled “ZOSO” – the supposed “name” of led zeppelin‘s fourth album (although the music has nothing to do with led zeppelin – I just fancied calling it that, and that was that) – and each of the other members produced their own vision of drone forest – so all of these approaches, all of these amazing ideas were just flowing and it was a really fabulous and truly exciting time.

I am not exactly certain of the numbers, but I believe that in the first year, 2003, we produced eight cds – and then again, in the second working period, 2006 (which spilled over into the first part of 2007, to be fair), we also produced eight cds and then, chris produced a lovely piece of vinyl entitled “amy’s arms” right near the end – as well as two “posthumous” cds as well – for a total of 19 releases.

we’d invented a sort of  “bastard son of ambient” genre, the “drone” – along with several hundred other artists and bands, probably, but the quantity and quality of the drone forest catalogue cannot be underestimated.  sure, others before and after us, have claimed to invent the drone, but I think ian’s “drone supergroup” idea was a first – and his methods of working are unique and unrepeatable – brilliant thinking.

ian, as the godfather and founder of drone forest, embarked on a number of really, really interesting drone projects, including but not limited to a project where he created 100 one hour long drones (these were amazing, I never even heard them all, I probably have about a third of them), I think only ian has them all.  in any case, he developed a really clever and remarkable way to create these drones, for the 100 drones project (which was called “megadrone” I think – not quite sure) – he would create a short drone in the usual way, using different source files, he would build it to a particular length, five minutes or seven minutes or whatever it was (he had calculated this out) – and then, once happy with the short drone, he would “stretch” the track to one hour – and whatever the outcome – that was the drone.

remarkably, using this very strange and quite random technique – the resulting drones were – surprisingly – very consistent, and, they sounded great, and were perfect to listen to – equal in every way to drones that I had spent hours carefully concocting in cool edit pro multi-track!!  so he could produce a one hour drone, using a seven minute starting track – just by pushing a button.  this allowed him to work very, very quickly – to create a massive body of work – 100 hours – using a formulaic method that is truly inspiring.  I worked far too hard on my drones – ian just did it the easy way – and the results speak for themselves – really beautiful work.  what is perhaps most fascinating about this is, is that it demonstrates that the creation method of a drone can be almost anything – I spent hours meticulously building multi track drones, whereas ian just pushed the button – but both methods, along with whatever methods mike and c were employing – ALL methods produced beautiful, quality drones. it’s uncanny, really.

each of us worked in a different way; each of us favoured different software for the squashing, crushing, stretching and other audio atrocities that were committed in the name of drone creation – yet, when you put together an album with say, two tracks from each of us – there would be no way to tell “whose” track it was, because they came out remarkably consistently!  it really was quite something – mike, as a drummer, would make his drones the way he made them, c.,who is primarily a vocalist, would make his drones the way he made them, I would make my drones as if they were songs, but intentionally working towards a dronelike sound – and ian, well, ian was the master, really, he could make these “push button” drones, sure, but he was also the guy who put together that astounding first album – still one of my very favourite records from that period.

time passed, and for some reason, in 2006/2007, this time driven more by c., who in the meantime had built up the very, very cool drone forest website – we started recording again (quite suddenly, we just…started up again, as if three years hadn’t just passed with almost no band activity), and we created another large batch of records during another intense year-and-a-bit of drone creation.  I should mention that c. is the champion of all things netlabel, and on his netlabel site, you can download lots and lots of not just his music, but music by other netlabel artists, including compilations and collaborations galore – a fabulous netlabel resource.

and then…we stopped again – this time, for good – mike was busy starting a new family, and always busy with his art work – and his music (see velveeta heartbreak – this man is an incredibly talented artist and musician!) – I was busy with guitar craft, bindlestiff and my own solo records, and c. carried on his own solo work, on his label vuzhmusic – as well as being the caretaker of the drone forest website and being it’s main builder and webmaster.

ian carried on with his “megadrone” drone projects, and others, and also continued to work with his two bands, samarkand and “devilcake”, as well as going on to run the internet version of autoreverse, and also, his own bizarre depiction label.

but – there is so, so much drone music that has never been released – ian was far, far more prolific than any of us, and while we all gradually returned to our normal lives after the ’06/’07 round, ian continued with the “mega” and other drone projects – which really should have been released – as they were the some of the best – really remarkable stuff.

ian did produce an ultra-rare, 10-cd set of one of his unreleased projects – “metadrone” (which has the cryptic title “df8” on the actual package, and ian sent one to each band member – I am the proud owner of number 10/10 of “metadrone”, and also, a very proud owner of the vinyl record that chris produced, “amy’s arms”).  luckily, you can now download “metadrone” for free from the drone forest web site, while c’s vinyl release is still available for purchase as far as I know.

if we now fast forward to june 2013 – ian has (apparently, as I had no warning or inkling of these new recordings’ existence until today, when they appeared as suggestions on my you tube page!!) taken the original source tapes (I assume, from myself, mike and chris – and himself) and created new random audio mixes, one each for his four 29 minute long videos, using the original “drone forest I” source materials.  this is exactly the kind of thing that ian excels at, and I am so, so pleased to see these “new” videos, along with the first brand new drone forest music since 2007 (that I am aware of, anyway!).

what a pleasure and a privilege to be involved in a project like “drone forest” – an internet band, but an internet band like no other – working with three of the most creative people I’ve ever had the pleasure to know and to work with, and it’s with an incredible fondness that I think back on those two-and-a-bit remarkable years of creation, and, the massive catalogue of music we produced – which, by the way, you can download every single album and track for free at www.droneforest.com (with the one exception of the “amy’s arms” vinyl release, which is a for sale item as it is in vinyl format) – otherwise, all of the other tracks, 16 original cds and 2 posthumous cds, are free to download!!! free.

for me – well, what an absolute joy the entire drone forest experience was – and is, because right now, I am sat listening to four brand new, 29 minute long drone forest tracks – probably recorded in some very unusual way by the most excellent ian c. stewart – all hail the master of drones ! these new pieces are intriguing, dark, and most, most excellent – drones 2013 style.

you can view the entire discography on the drone forest website – we created 16 cds in our main heyday of 2003/then 2006-2007, plus the “amy’s arms” vinyl release makes it a nice round seventeen (my lucky number)  – and two “posthumous” cds.  in looking at the discography just now, I noticed that there are actually two of the drone forest cds that I produced, in 2003, it was the aforementioned “ZOSO”, but in 2006-2007, at the end of the second run of albums, I did a second production job on the final cd released by the group as a whole, “spatial displacement”.  in a way, I’m pleased that I was the one to master and produce our final album as a band – followed by the swan song – c. reider’s most excellent “amy’s arms” making it seventeen releases in total during our active lifetime as a band.

I think it’s more than fitting that exactly ten years after the release of “drone forest I”, that it’s creator has seen fit to create four brand new works from the band, here and now in 2013, but, using the ten year old samples – randomly re-arranging them into these there wonderful new pieces of music – I think that is brilliant !

if you are interested in drones, which, after all, are a sort of bastard son or offspring of ambient music, I would suggest a visit to the drone forest website, download an album or three or five or nineteen, and you might find you have a new love – the drone.  drones can be dark, disturbing, momentarily uplifting, disorienting, wonderful, moving, annoying or just downright cool, but, as an unusual offshoot of the ambient genre, once you start listening…you may find them very compelling indeed – I just listened to two full hours of brand new drone forest music, and it was absolutely captivating, relaxing, exhilarating – a great listening experience.

here are direct links to the four brand new drone forest videos, on the ian stewart you tube page:

drone forest video 1

drone forest video 2

drone forest video 3

drone forest video 4

ian also produced a short form drone forest video in 2009, which is here.

in listening to the new tracks tonight, I really find the to be most excellent – an updated, remixed, powered up version of the drone, set to ambient videos of – what else – trees, forests, snowstorms…the 2013 version of what we did so well back in 2003 and 2006/2007 – re-imagined for the 10s by none other than the drone master himself, ian c. stewart.

all hail indeed!

the drone forest discography:

title  /  assembled by

drone forest / ian c. stewart

drone forest II / ian c. stewart

our ghost in her wood / c. reider

june 21, 2003 / c. reider (a live simultaneous one hour event from four studios)

ZOSO / dave stafford

airways nova teeth / mike bowman

remixes, volume I / ian c. stewart

metadrone / ian c. stewart (original release, handmade, hand painted limited numbered edition 10 cd set)

drone forest IV / compilation – assembled by the band

remixes, volume II / the band

kirchenkampf vs. drone forest / john gore – guest assembler – drone forest source material

biolegacy / ian c. stewart (original release, handmade, limited numbered edition 3″ cdr 10 copies)

point / c. reider

honey / ian c. stewart

wormwood / c. reider

spatial displacement / dave stafford

amy’s arms (12″ vinyl release) / c. reider

forester / c. reider (posthumous release – the entire DF catalogue to date, put through an audio mulcher)

distinguish / to be determined (posthumous release)

I’ve been in some unusual bands before, from the dozey lumps to bindlestiff to the orchestra of crafty guitarists, but there has never been another band quite like drone forest.  go have a listen!