Loess
by Scanner & Modelbau
Abtin Sadati
nick0137
mayer mathias
Benjamin Nicolas
kilowatts
retinascan
Chris Fox
velo-reso
henkjan
Shawn P. Wilbur
robinrimbaud
Jeen Geertsma
Stuart Hunter
ianmbrooks
James Pyke
carstennl
int3
Ross Scott-Buccleuch
larstrogend
Fernando Jose Pereira
Lars Hammerschmidt
Monkton Wylde
Phil Mackie
karl lovblad
John Seltenreich
Nancos
David Bivins
atsushi tanabe
coenoscar
Bruce Levenstein
Peter Wisckow
marcheijmans
Ryan
Dominic Appleton
Mark Scorah
muhmur_radio
Wes Moynihan
enteralight
Mr_Lamppost
F. Feys
Alexander Prill
Michel van Collenburg
pawel kozlowski
Erix
martijn
stephen dorphin
lowrents
Locke
Mac
Sietse van Erve
Denis Anderson
mechazoid
Runar Magnusson
James Coleman
Vincent Meelberg
S ROBINSON
marklovesdeafrobots
Swamsel
LEE MCFADDEN
Graham Thorpe
Primož Bončina
stonetapetheory
Paul Yates
sandemen
gruenau
jah16
quisthoudt
wolfsdorf
groundloop66
nimrodpower
chilledpandafan
Bernd Herzogenrath
c_a_curtis
Noel Fraser
Olivier Robin
ximenesuk
Paul
mikz606
dodo78
-
Streaming + DownloadIncludes unlimited streaming via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.Purchasable with gift card
€10 EUR or more
-
Record/Vinyl + Digital AlbumIncludes unlimited streaming of Loess via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.ships out within 15 daysedition of 300Purchasable with gift card
€22.50 EUR or more
-
1. |
Kaolinite
12:29
|
|||
2. |
Illite
06:42
|
|||
3. |
Vermiculite
08:30
|
|||
4. |
Clay Loam
04:58
|
|||
5. |
Volcanic Ash
06:38
|
|||
6. |
Duricrust
12:53
|
|||
7. |
Flared Slope
04:08
|
|||
8. |
Lunacrete
07:40
|
|||
9. |
Groundwater
07:43
|
|||
10. |
Weathered Rock
04:46
|
about
Collaboration is key to the practices of both musicians. Both Rimbaud and De Waard exhibit long histories of collaborating with others from very different fields. They both understand that the ability to exchange and share ideas is crucial, and how these collaborations allow both parties to work as both negatives and positives of each other, recognising spaces within the work fields and ideas. It teaches the respect of space and the relevance of context and extension of one to the other.
Interestingly, despite the advent of digital technologies, file sharing and the ability to exchange material online, Rimbaud and De Waard agreed to make a return to their roots. The discovery that they both owned Fostex 280 four-track tape machines led to this musical conversation, where works were recorded in isolation, Rimbaud in the UK, De Waard in The Netherlands. The cassette tapes were then exchanged in the post and subsequently worked on. Neither could anticipate how the other might respond.
Both musicians used a combination of music instruments at their disposal. For Rimbaud he used the quirkily named Ellitone Farm Detective Ultrarollz, and Little Boy Blue by Flower Electronics, both of which are creatures that cannot be tamed. Cheap DIY machines that produce something unpredictable. De Waard uses the trusted Modelbau gear, ranging from iPad synths to the Korg Monotron and his usual cheaper than cheap Chinese pedals.
Both musicians chose the final recordings, but with very different results. Tape speed could be altered, and channel volumes could be adjusted , so in some ways, there are literally hundreds of ways the listener could experience these recording sessions. In a sense, Loess is just one interpretation out of many.
The results are startlingly enticing. Time seems to lengthen, and the interplay of tones and overtones create rich pathways of sound. There is a sense of space and form that envelops each piece. Unusual textures combine to form an elemental whole. At points, it’s both equally serene and shadowy, hypnotic and poetic.
Tape hiss at times enters the sonic conversation, reminding us of the source of these materials, but never distracts. Rimbaud and De Waard offer listeners an album using old-fashioned techniques, music recorded directly to tape, that penetrates through time and space, leaving us with this resplendent and absorbing moment to embrace.
Interestingly, despite the advent of digital technologies, file sharing and the ability to exchange material online, Rimbaud and De Waard agreed to make a return to their roots. The discovery that they both owned Fostex 280 four-track tape machines led to this musical conversation, where works were recorded in isolation, Rimbaud in the UK, De Waard in The Netherlands. The cassette tapes were then exchanged in the post and subsequently worked on. Neither could anticipate how the other might respond.
Both musicians used a combination of music instruments at their disposal. For Rimbaud he used the quirkily named Ellitone Farm Detective Ultrarollz, and Little Boy Blue by Flower Electronics, both of which are creatures that cannot be tamed. Cheap DIY machines that produce something unpredictable. De Waard uses the trusted Modelbau gear, ranging from iPad synths to the Korg Monotron and his usual cheaper than cheap Chinese pedals.
Both musicians chose the final recordings, but with very different results. Tape speed could be altered, and channel volumes could be adjusted , so in some ways, there are literally hundreds of ways the listener could experience these recording sessions. In a sense, Loess is just one interpretation out of many.
The results are startlingly enticing. Time seems to lengthen, and the interplay of tones and overtones create rich pathways of sound. There is a sense of space and form that envelops each piece. Unusual textures combine to form an elemental whole. At points, it’s both equally serene and shadowy, hypnotic and poetic.
Tape hiss at times enters the sonic conversation, reminding us of the source of these materials, but never distracts. Rimbaud and De Waard offer listeners an album using old-fashioned techniques, music recorded directly to tape, that penetrates through time and space, leaving us with this resplendent and absorbing moment to embrace.
credits
released September 30, 2022
Music by Robin Rimbaud & Frans de Waard
Mastered by Jos Smolders
Graphic design by Rutger Zuydervelt
Image courtesy of NASA
Production by Sietse van Erve
Music by Robin Rimbaud & Frans de Waard
Mastered by Jos Smolders
Graphic design by Rutger Zuydervelt
Image courtesy of NASA
Production by Sietse van Erve
license
all rights reserved
tags
about
Moving Furniture Records Amsterdam
Moving Furniture Records is a label based in Amsterdam, The Netherlands specialized in releasing experimental electronic and
electroacoustic music, started in October 2008.
Our shown prices are without VAT. Final price is calculated at checkout.
We ship at least once every 2 weeks on Saturday.
After shipping delivery can take up to 2 weeks in EU incl. NL, outside EU, up to 4. Patience is key 🙏
... more
discography
-
Apr 2024 -
Apr 2024 -
Feb 2024 -
Dec 2023
contact / help
If you like Loess, you may also like:
-
supported by 31 fans who also own “Loess”
go to album -
supported by 29 fans who also own “Loess”
Great ambient album Robin full of perfect chill out soundscapes.
go to album -
Rabbit at the Airport
by Scannersupported by 27 fans who also own “Loess”
go to album -
Deep ambient tracks that feel like swimming down into the ocean, light fading and marvelous new worlds appearing.
go to album -
DC-based musician Carni Klirs leads listeners on a series of soothing, self-guided journeys that pull from post-rock and ambient drone.
go to album -
Music for Medication
by kyle bobby dunnNewly unearthed recordings from the early ’00s find Kyle Bobby Dunn at his most meditative and serene.
go to album -
supported by 27 fans who also own “Loess”
Robin Rimbaud est un vrai flâneur radiophonique! https://igloomag.com/features/putting-the-khemia-in-alchemeia
go to album
