Comes in pro-printed paper-sheet with some candy for your eyes, if you own this red/blue foil fake-3D-glasses.
A study of my live and being with sounds from my environment and from my electronic devices. Drones came out from a can of "kraut" dated to 1972 and cooked with field recordings and digital pulses makes you feel like visiting me at home.
thoughts about this record
I've listened to that/my „field 1“ album just a moment before. And was surprised about that. I've read the reviews and must agree Frans and Eugenio. It's more the experimental side of dronæment and less drone. This album album is a snapshot of my live and a reference to the mind of the music I love. It's a strange collage of reality, my reality. It mixes field recordings with sounds that may remind you on space- or krautrock stuff or mid 80ie post industrial. And yes it's true, thats the spirit of that album. I would not say that this is a tribute nor a reference. It's the possibilities and the circumstances of working with the sounds of my environment and electronic audio devices.
It's the joy to work with sounds and pattern and to shift the reality, my reality.
I don't feel that my music is dark. I feel it's an open state beside darkness an light. It's like standing down to earth and watching into the eternity of the universe.
some words about...
Vital Weekly 455, by Frans de Waard
Like on most of his previous releases, Dronaement plays ambient/drone music, could of course hardly be anything else, I think. Using a wide array of analogue synths and of course field recordings, Dronaement comes with a darker version of ambient music with a bigger sensibility for the experimental side of ambient music. On 'Anduasende' he gets a bit of inspiration it seems from early nineties Asmus Tietchens and Werkbund. The influence of the latter becomes apparent in tracks like 'Field Map 1' and 'Field Map 2'. It seems to me that with this release the music of Dronaement is even more sophistacted than before and therefore a major step ahead.
Chain DLK, by Eugenio Maggi
New release from Marcus Obst on his own Field Muzick, open and closed by two tracks using basic sounds by Andrea Marutti (Amon, Never Known, AFE Records etc.) and Aidan Baker. Unlike previous recordings by Dronaement, I'm afraid I can't really get into this, though. It has a lot of analogue synth sounds and, much like his track on "Muzick out of open windows", electronic beats show up here and there as well. "The deepest point on the moon" even sounds like a kraut-rock outtake of sorts, with minimal but upbeat "motorik" rhythm. Mind it, these elements are generally used well, but I'd just stick to the droning side of the project, well represented by tracks like "It's the same as the last year - great". This is just too spacey for my taste.
Cracked Fanzine by Georg Cracked
The first thing I noticed about “fields.1” was the organic and warm feeling of the sounds used, that add an almost live pulse to the grooving drones. The next was, that some tracks on here are less drones but closer to modern serious compositions aka known as contemporary classic, that reap the biggest effects from monotony and looping on a multitude of levels. A big progression for Dronaement and exactly what I expected from what I heard on the “muzick out of open windows”-compilation; released on the same label which is run by Droneament himself. During the course of this review I will use the word “beautiful” a lot, that is, because it fits so well.
The eight pieces contained in this CD (and with a packaging as neat as this one and professional labelwork such as done here, I don’t want to make a difference between a CDR and a CD.) start from a sound or a bundle of sounds that could have been picked up anywhere. Some are bird calls or field recordings, others might be instruments recorded, while the rest is music recorded by other means. For two tracks Andrea Marutti and Aidan Baker have created basic sounds. Does it really make a difference where the sounds originally came from or how they were processed and deformed, manipulated and remixed? Isn’t the sound coming out of my amplifieres or my headphones the only thing that counts? I’d like to solve that problem the same way, I want to solve the problem of judging sounds aesthetically. A frequency that is within the aural range cannot be considered good or bad. (Except if it is so loud that it hurts or maims, then of course, that is something else.) Noise is not better or worse than the sounds from a piano. But let’s skip the theory in favor of the music.
Dronaement is able to mix real sounds with instruments and synthetic sounds in a fashion so warm, rich and beautiful that at times you’ll start to forget and just enjoy. Already the first song, with its interplay of birdsong, children playing, bongos and drums with various layers of laidback, background-synthie-music gives me a smile of freedom and joy. Not so much, though, that I’d be starting to get an interest in world music, esoteric theories or positive thinking. But I recognise beauty if it hits me over the head. Sometimes, at least, when there is not too much of everything else occupying my attention.
Some tracks are more on the noisier side (like “anduasende”), but most of them flow through various stages of harmonic and dissonant. It is clear, that drone owes a lot to industrial and ambient music, but, as I have mentioned, Dronaement has left the confines of a single genre behind. These days the interest seems to lie more on how sounds work together to create something beautiful and harmonious. Sounds and loops sway from left to right, back and forth. It is obvious that Marcus Obst aka Dronaement has spent a lot of time mixing these tracks. Then there are more percussive parts and others that have that special groove that I admire Dronemaent so much for. And of course there are also parts deftly diving into pure noise (as in field recording noise – check name of the label for info). But the main feat is how smooth and without any breaks or distortions all of these tracks are mixed into one another. At times I am sure I am already listening to a new track, but it isn’t true. In other instances you wouldn’t be able to tell where one track has ended and the second has started.
To imitate the sounds of nature in all their beauty, their slowly unfolding movement and their hidden pulse, that was the original target of new age music. Before it was drenched all in stupid keyboards and harpsichords, esoteric theories and smoke sticks. In a way “fields.1” involuntarily has evolved into new age music, but stripped of all the hippie-bullshit and pseudo-whatever-theories (I don’t want to call them either scientifical nor artistical) into music worse than industrially produced tracks for public elevators. The hour of music contained herein does almost the same to relax me as spending an afternoon at the races. But there is nothing that beats watching racecars speed by for four hours with all the trance inducing noise and steady movement.
“Fields.1”, hm – that sounds like the start of a series. I hope it is true.