Dirk Serries is joining Mark Wastell‘s big band INVISIBLE GUARDIANS for an unique concert at Cafe Oto (London, UK) this Tuesday September 16th. In Mark’s own words : “Somehow, I seem to have pulled this one off. INVISIBLE GUARDIANS BIG BAND at Café OTO this coming Tuesday, 16th September. Featuring Jazz FM and Parliamentary Jazz Award winners, a founding member of the Brand New Heavies, a recipient of the Paul Hamlyn Award, a current member of the mightly Cymande, a platinum selling Blue Note Records recording artist, Poll toppers, and collectively, musicians that have worked with the likes of John Zorn, David Sylvian, Chaka Khan, Derek Bailey, Tony Conrad, Keith Tippett, Stewart Lee, Oasis, the London Philharmonic Orchestra, Maggie Nicols and Kid Creole and the Coconuts!“
Matthew Bourne / piano Binker Golding / tenor & soprano saxophone Rachel Musson / tenor & soprano saxophone Ed Jones / tenor saxophone & bass clarinet Sue Lynch / flute, clarinet Ntshuks Bonga / alto saxophone Kevin G Davy / trumpet, flugelhorn Charlotte Keefe / trumpet, flugelhorn Raph Clarkson / trombone Dominic Lash / double bass Caius Williams / double bass Dirk Serries / electric guitar Jackie Walduck / vibraphone Ansuman Biswas / percussion Lascelle Gordon / percussion Will Glaser / drums, cymbals Mark Wastell / drums, cymbals
Tickets are available through the Cafe Oto website.
MATTHEW GRIGG & DIRK SERRIES – INTERVENTION MODEL (lathe cut / tape, Unknown Tongue 2025)
Intervention Model is the first recorded meeting of Belgian polymath Dirk Serries and British free thinker Matthew Grigg. From overamped Shock recs squall to frayed Xpressway thrum, two guitars scorch and smoulder through these four improvised unedited tracks – captured in the reverberant shimmer of Brecht’s Oode Klooster Kapel. The results read like an exploration of sound and noise, stasis and movement, feedback and freedom. Twin guitars in constant exchange of ideas and detail, documenting the calm before/after, and the eye of the storm.
The release is very limited, the numbered lathe cut edition is on 16 copies, the cassette is on 34 copies. Get your copy here…
I had the pleasure and honour a few weeks ago to talk on my weekly radio show, “Between the Grooves,” with Belgium-based Dirk Serries — a sonic artist of longstanding.
I play Dirk’s music quite regularly on my overnight show, “Night Lights with Malcolm Burn” on Radio Kingston in Kingston, New York. If you don’t know Dirk’s work and you enjoy ambient and experimental music that has the ability to transport you to another state of mind, you need to look him up and explore his discography.
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Dirk has experimented with music on the border between avant-garde, industrial, experimental and ambient for close to 40 years now. He released his earliest work (1984) behind the pseudonym vidnaObmana up to 2007 when he closed the book on this project (realizing an extensive discography). In October 2013, Dirk Serries re-booted his classic vidnaObmana ambient sound from the mid-1980s/early 1990s. In contrast to his original music that was mostly synth-based, this ambient music is constructed on electric guitar. Dirk also runs the A New Wave Of Jazz label, dedicated to free improvisation and minimal avant-garde.
Through his experience in the free improvisation Dirk transformed his solo ambient music, originally constructed meticulously by writing strict motives before performing, to being able to improvise 200% and still create his trademark ambient music for which he is recognized worldwide.
“All of this started from the time I was a kid and enjoying early film soundtracks, which fascinated me to the extent that I thought, this would be really cool to make myself,” says Dirk. “It somehow sparked sort of an obsession… it’s not a hobby, it’s not a profession. For me, it’s an obsession — it’s part of who I am, part of my DNA, so to speak.”
We talked about the creative process. “For me, despite how you have to describe your music, for me it’s always been part of an ongoing search for that refinement in sound, and how it would trigger me as a musician to go deeper into something I would love to listen to myself,” says Dirk. “It’s part of an external world that you create for yourself and that’s where I love to be [in].”
Every musician has his ups and downs in realizing — who am I, what am I doing here, is this worthwhile to do? — and I do have that, as well,” says Dirk. “But each time I’m drawn back into it just because of the fact that it just feels comfortable with sitting in that world of sound whatever it is — if it’s an ambient record, an experimental jazz record… it’s all part of one continuing organism that grows, that expands and changes over time as I am, as a person.”
I think it’s fascinating that Dirk puts it this way because I experience the same thing. It’s the same kind of compulsion that I have, if one can call it that. There are a lot of other things that I could be doing in a day but this is what feels like it matters the most. Whether anybody else cares or not it’s not relevant.
Dirk agrees: “It’s a pretty egocentric situation you’re in but it’s also a very therapeutic situation — I feel good about it because there are a lot of things going on in the world, unfortunately, which are not that positive. The music, the sounds, the little space you create for yourself — these are things which I feel comfortable sitting in and from the moment you’re really in there and it works and the music gels, you feel really nicely despite the fact, indeed, whether you will share it with people or not, with the audience.”
“The Stars Sublime” — Dirk Serries — The Might of Stars Sublime (April 2025)
“As a musician you go through phases although it’s all in the same genre but still you have these kinds of variations on the aspect of recording soundscape music. This piece really resembles a little bit of everything I have been doing over these past 40 years. It’s a really beautiful introduction to who I am now,” says Dirk.
“There are different rules to creating such a soundscape although you could easily record it or compose it in a shorter time,” says Dirk. “I always admired Brian Eno and Daniel Lanois when they did their ambient works together. A couple of those songs are pretty short but they still work, and keep the slow pace, as well, so that nothing is abrupt, nothing is really produced in sort of its own level that really changes the entire mood of the songs. It’s artistry.”
This brought back the memory of when I was young and was listening to Pink Floyd’s “Dark Side of the Moon.” When I listen to that record now years later, having made albums and knowing how they’re made, I realized that record was made like a pop record. It wasn’t a pop record, per se, but all the pieces, for instance, even “Us and Them” and some of those tracks are six minutes long but somehow they seem longer. I think there’s an art form to that.
I asked Dirk how he would describe the relation between a keyboard instrument and a guitar in terms of the two instruments’ expressiveness. “That’s a good question and also a difficult question to answer,” says Dirk. “It took me a long time to actually get to the guitar. I started out as a young kid. My first synthesizer was a Korg MS-20 — great sounds and unpredictable, as well. That was all part of my discovery of sound and I stuck to that for a long time. I moved onto digital work stations like the Korg M1 and the wave station and your recording equipment evolved from the 2-track cassette (and 4-track cassettes). Younger listeners will probably never know what happened back then.”
“Also there was the saturation of it when you bounce it because your sound changes over time and back then you had to know that up front,” says Dirk. “Because you knew there was no way back. All these things evolved for me and created such a huge machine to operate because when the computer came, the multi-track and all the editing … and all the synthesizers together … it actually burned me out.
“At that point, I had already introduced the guitar a little bit in my music,” says Dirk.
“After I had recovered from the burn-out…, I sold all my synthesizers. And left over was one very cheap electric guitar and I started from scratch,” says Dirk. “Could I play guitar? No. I couldn’t really play it well then and I still don’t at this point call myself a guitar-player.”
I think that’s the beauty of the guitar. I use a lot of open tunings. I never change my strings. There are a lot of weird, funny things that I do that are very individual; and we invent those things for ourselves. Think of Jimi Hendrix with his guitar upside down and strung the other way up and playing, etc. These are all things you can do with a guitar. Whereas with a keyboard, you press the key and that’s the note that comes out.
Dirk agrees. “The guitar is very organic whether it’s an acoustic or electric guitar,” says Dirk. “Of course, there are big differences. It’s how you apply it, how you take it into your hands. The guitar is an extension of who you are at that point and I learned despite the fact that I was kind of an anti-guitarist. It made me discover a tool (I prefer to call it a tool) that I got so comfortable with over time. I’ve more and more started to play actual real chords on the guitar and incorporate it in my music but keep it experimental. Keep it not really too tonal.”
“This opened a different kind of spectrum for me,” says Dirk.
Photo by Shaun Cullen
I asked Dirk how he would describe his music — that is, the kind of music that he’s generally the most enthusiastic about creating. “This goes in phases,” says Dirk. “I also have a label for free jazz and experimental improvised music which I do with a lot of sound colleagues from London, Germany, Holland and from Belgium. That’s a different part of me. If somebody would ask me what kind of music I make, I would prefer to say just experimental music, which I think really covers a lot.”
“Who I am as a musician is that I’m also a huge listener of music and always want to discover new music,” says Dirk. “That’s how I learned about musicians, such as Hirotaka Shirotsubaki, classical music … and Emmylou Harris, who I discovered later because of the “Wrecking Ball” album, and that’s our connection.”
“This is what opened up my ears and my mind to other music; you discover that a lot of other people doing other music also listen to your music, which you would never expect,” says Dirk.
“If you would ask me now about my five favorite musicians, that would be impossible to do because you listen to so much music and in every little corner of a particular genre you will discover a new musician or an old musician who was already there for a long time but you never knew before and then they become part of your playlist, so to speak,” says Dirk.
I believe if there is one musician that we could all despite our musical tastes agree on it would be Jimi Hendrix. He was someone who changed music forever. Nobody was playing loud like that, bending the notes, etc. It’s hard to think about music before Hendrix. That sense of musical adventurism, I think, is something that he left behind for all us to learn from. Keep pushing wherever you can go with it and experiment. John Coltrane is another good example.
“Yes, this is very interesting and also signifies, I think, how important these musicians were back in the day, although they lived short lives,” says Dirk. “They touched upon something so unique you can’t really think about the pre-Jimi Hendrix or pre-John Coltrane, it’s mind boggling.”
Passage Dawn — Dirk Serries — Streams of Consciousness (A Series of Works by Dirk Serries, 2025)
I asked Dirk what format he works in as there are so many options available now. “I work with an Apple computer,” says Dirk. “I used to work with Pro Tools. But it’s not really compatible with all the plug-ins. I work now with Reaper, a software that’s very intuitive, very user-friendly and is compatible with all the plug-ins you want to use.”
“For young musicians who just stumble into the music scene, I think it’s also pretty overwhelming because I’m afraid they will lose the sense of the beauty of creating music because you’re so absorbed by the huge possibility of [too many] options,” notes Dirk.
I personally think that having too many options is the death of art. For example, the Abstract Expressionist American artist Jackson Pollock did something original in his art when he threw cans of paint on his canvases. Many people have tried to recreate that but they don’t and can’t. What Pollock did was unique and original. He was the first. It’s the same with music. You can make all kinds of fancy sounds but there still has to be some kind of heart and soul in there that comes from being a musician.
“Art itself has always been approached as being the more intellectual, especially the visual arts,” notes Dirk. “You have music as entertainment. But there is way more to music.”
“the ultimate drone album. My bible of inspiration from two amazing artists : Brian Eno with his legendary 80s ambient records (foremost ON LAND) and Robert Fripp’s own Frippertronics (think of LET THE POWER FALL and A BLESSING OF TEARS). NO PUSSYFOOTING still underrated, to my humble opinion.”
The Heavenly Music Corporation II — Robert Fripp, Brian Eno — No Pussyfooting (1973)
The best way to find Dirk is at his website: https://dirkserries.com/. His music is on many platforms, including Spotify and Bandcamp. Many of his live performances are on YouTube. Dirk also has a new, magnificent release — “YODOK III – NIDAROSDOMEN.” It will be officially out on September 19 but pre-ordering is now available through Consouling Sounds. After September 19, copies will be sold on Bandcamp. Check out the album teaser on YouTube.
Dirk chose a few more excellent tracks for our talk that we didn’t have the time to play on the show. I’ve included them here for your listening pleasure.
“from his vast and impressive catalog it’s difficult to choice, but this piece is one of my absolute favorites as it resembles everything I got to know Steve for, when I met him personally becoming good friends and collaborators. This piece blends in just a pitch-perfect manner the esoteric and spacious character of his music with the tribal-infused phase in his oeuvre.“
The Origin of Artifacts — Steve Roach — Artifacts (1994)
M.B. 55 T.D. 56 — Maurizio Bianchi — The Plain Truth (1983)
Listen to our entire one-hour talk here. Start at 1:01:17.
Today it’s once again BANDCAMP FRIDAY. Not only can you still benefit from the fantastic offers we have over at A New Wave Of Jazz but also are we giving you a 50%discount on any physical/digital release on these bandcamp collections
use code : bcfridayseptember
TIP ! You can also use the discount code if you want to purchase the full digital catalogues.
VITAL WEEKLY REVIEW : As of today (November 20, 2024), Discogs lists 107 compilation appearances by Vidna Obmana, or 157 if we go by ‘appearances’. If that is a lot or not it is not an interesting discussion. Dirk Serries started in 1984 or thereabouts, so after 40 years, there is a lot. Many of his works have been re-issued by the Polish Zoharum label, and now it’s time to compile the compilation tracks and (maybe) clear the archives, as from the 23 pieces, six are previously unreleased. I haven’t studied all Vidna Obmana releases that closely to know why Volume One started in 1990 and not in 1984 (or thereabouts) because right from the start, there were compilations with his music. One reason might be the clear musical break in 1990, separating what came before and what would come later. Vidna Obmana started as a noise band but, within a few years, turned towards more melodic music, which, after 1990, took off completely. The tracks on this set aren’t in chronological order, so it’s not easy to follow Vidna Obmana’s trajectory in music. Through the eight years covered here, there isn’t much development, and Serries is fine-tuning his approach to composing ambient music. Many of these pieces evolve around long-form sequences and loops of sound, set to trigger synthesisers and the occasional rhythm. Serries uses “various fujara’s, overtone flutes, percussion, dream pipe, recycling & abstraction mutations and voices” are added. These aren’t things one quickly hears through the extensive use of the sound effects, which may be called “atmospheres” on the cover (perhaps these are the sparsely used field recordings). There is in each of these pieces a slow, majestic flow, both pleasantly tranquil and yet with a dark undercurrent, stirring the music firmly away from the world of new age music. Close to three hours of music, this is an excellent soundtrack for short and dark (and cold) days, and it’s music exuding much-needed warmth. The reissues of Vidna Obmana seem endless, but bring it on.
MOORS MAGAZINE REVIEW : De Belgische elektronische musicus en componist Vidna Obmana gebruikte synthesizers, electronika, “outboard processing gear” en een heel arsenaal aan exotische instrumenten. Hij creëerde zo een bijzondere muzikale wereld met minimale middelen, waarin weinig lijkt te gebeuren, maar als je beter luistert juist heel veel. In 2007 hield hij er officieel mee op. Nu kwam er een driedubbele cd uit met werk uit de periode tussen 1990 en 1998, door Dirk Serries, die een duidelijke affiniteit met ambient muziek heeft, geremastered. Ik moet bekennen dat ik dit lange album niet in één keer heb kunnen beluisteren, en zelfs niet in twee of drie keer, en ik weet niet goed hoe ik dat moet uitleggen zonder dat het negatief overkomt – ik val namelijk elke keer na een kwartier in slaap. En dan droom ik heerlijk verder terwijl de muziek doorloopt. De volgende keer pak ik de draad weer op waar ik in slaap gevallen ben en zit ik meteen weer geboeid te luisteren tot ik opnieuw na een minuut of tien weer in slaap val, zelfs overdag. De kwaliteit van de muziek is er niet minder om, integendeel zou ik bijna zeggen, vroeger zette ik Zappa wel op de koptelefoon als ik niet kon slapen en viel ik halverwege Uncle Meat ook in slaap. Luister maar eens naar de paar fragmenten die ik je hier laat horen, dan kun je zelf constateren dat het hier om fascinerende muziek gaat. Als ik de vage foto zie die bij het bandcampverhaal staat, krijg ik overigens het sterke vermoeden dat Vidna Obmana een pseudoniem is van Dirk Serries, want deze donkere ambient past wel bij zijn vroege periodes. Hoe dan ook een geweldig, ingetogen album waar ik toch elke keer weer naar teruggrijp.
VERSACRUM REVIEW : Vidna Obmana, al secolo Dirk Serries, è una figura centrale nell’universo della musica ambient, un pioniere che ha tracciato sentieri unici attraverso la fusione di drone, minimalismo e manipolazione sonora. Con Twilight of Perception Redux: Volume One 1990-1998, ci offre una straordinaria antologia che esplora un’epoca cruciale della sua evoluzione artistica, dove il suono diventa strumento per ridefinire i limiti della percezione. La compilation si compone di brani selezionati da archivi ormai introvabili, rielaborati per catturare con una chiarezza inedita la loro complessità originale. Queste composizioni sono caratterizzate da una ricchezza stratificata: droni che si evolvono lentamente, campionamenti di suoni naturali e suggestioni etniche che evocano paesaggi sonori ora intimi, ora vasti e sconfinati. Ciascuna traccia è un viaggio emotivo che riflette la tensione tra l’organico e il sintetico, tra la quiete e la trasformazione. Ad esempio, i brani più meditativi costruiscono atmosfere di sospensione, dove il tempo sembra dilatarsi. Altri pezzi, invece, si sviluppano in modo più dinamico, grazie a tessiture complesse di riverberi, eco e campionamenti che sembrano dialogare tra loro in un linguaggio non verbale ma profondamente evocativo. La struttura di ogni traccia invita all’immersione totale, richiedendo un ascolto attento e contemplativo. Il processo di rimasterizzazione non è un mero intervento tecnico, ma un atto artistico: Serries ha reso ogni composizione vibrante e immersiva, rispettando al contempo l’anima delle registrazioni originali. Il suono risulta pieno e avvolgente, con una definizione che amplifica l’esperienza sonora senza alterarne l’intimità. Un ulteriore elemento distintivo è il design dell’edizione fisica: il digipack a otto pannelli, corredato dalle foto di Martina Verhoeven è parte integrante dell’opera. Le immagini creano un dialogo visivo con la musica, evocando gli stessi sentimenti di mistero e introspezione. Questo primo volume si configura quindi come un’opera essenziale, non solo per gli estimatori di Vidna Obmana ma per chiunque sia interessato a esplorare le potenzialità emotive e narrative della musica ambient. Twilight of Perception Redux: Volume One 1990-1998 è un viaggio che ci sfida a vedere il suono come un’esperienza trascendentale, capace di espandere i confini della nostra percezione e della nostra immaginazione.
CHAIN D.L.K. REVIEW : Vidna Obmana’s “Twilight Of Perception Redux Volume One 1990-1998” is a treasure chest of sonic meditations, painstakingly assembled and lavishly presented by Zoharum. This 3CD compilation, released on October 31, 2024, feels like an archaeological dig into the ambient and experimental soundscapes of the early ’90s – a period when Dirk Serries (Vidna Obmana’s real name) was carving out a reputation as a master sculptor of atmospheric sound worlds. The collection gathers rare and unreleased material, much of it previously scattered across impossible-to-find samplers, obscure compilations, or lost to the fog of time. Remastered by Serries himself, the recordings are bathed in renewed clarity while retaining their timeless mystique. Encased in an eight-panel digipack featuring hauntingly evocative artwork by Martina Verhoeven, the package is as much an artifact as the music within – a tactile expression of the care and reverence this project deserves. The journey begins with “Over Rainbows”, an ethereal opener that drifts like morning mist dissipating under the sun. Layers of overtone flutes, dreampipe, and Vidna Obmana’s signature “recycling & abstract mutations” intertwine, creating a spectral hum that feels both intimate and cosmic. Tracks like “The Circulating Flight” and “Awaken In Floating Colours – Composition 5 (ending)” stretch the listener’s perception of time, their elongated drones and organic textures pulling you into states of reflection or surrender. This isn’t music for passive consumption, as it often sounds like an invitation to inhabit a parallel dimension, where sound replaces language and every sonic ripple holds an unspoken story. Take “Transcending Shadow And The Nocturnal Air”, a monumental 17-minute piece that feels like a descent into an ancient, dream-like underworld. It’s dense and hypnotic, layering overtone flutes with deep, resonant drones that evoke the sensation of floating between two planes of existence. Vidna Obmana’s work from this period is steeped in shamanic qualities, as evidenced by tracks like “Shamanistic Return”. The use of instruments like fujara and dreampipe – a Slovakian overtone flute and a hollow percussion tube, respectively – imbues the music with a ritualistic, almost primordial edge. Yet, these ancient sounds are transformed by Serries’ deft touch, merging seamlessly with the modern experimental palette of his ambient compositions. Recorded between 1990 and 1998 at the Serenity Studio in Belgium, these tracks reflect not just a geographical locus but a conceptual one: a sanctuary where sound becomes alchemy. Each piece emerges as a distinct chapter in a larger narrative about transformation, liminality, and the passage of time. Tracks like “By Abundant Rain” and “Cloud Streamers” echo with the organic hiss and warmth of analog recording, while others like “Flat Earth” delve into darker, more shadowy realms. This compilation is more than a retrospective; it’s a recontextualization of Vidna Obmana’s groundbreaking work, offering both a history lesson and a meditative experience. Fans of ambient pioneers like Brian Eno, Steve Roach, or early Projekt Records releases will find familiar ground here, but Serries’ unique ability to balance melody and abstraction ensures his music stands apart. With “Twilight Of Perception Redux Volume One”, Zoharum delivers not just a reissue but a revival – a reminder of the power of ambient music to dissolve boundaries and open new ways of listening. It’s a gift for collectors, an education for newcomers, and, most importantly, a timeless auditory journey. As you immerse yourself in these layered soundscapes, you might find yourself pondering: where does perception end and the infinite begin?
HET SCHADUWKABINET REVIEW : De Belgische klasbak Dirk Serries komt hier met enige regelmaat voorbij, maar hij grossiert dan naast releases onder zijn eigen naam ook in fijne projecten als Fear Falls Burning, The Sleep Of Reason, 3 Seconds Of Air, Terrace Of Memories en Yodok III. Toch leer ik hem voor dat alles kennen als Vidna Obmana, waar de schrijfwijze nog wel eens wil verschillen. Met dit project heeft hij geëxperimenteerd met dark ambient, drones en industrial, waaraan hij dikwijls tribale geluiden toevoegde. Hij tuigde het al op in 1984 en is gestopt in 2007. Dat heeft, met diverse samenwerkingsverbanden meegerekend, een indrukwekkende en afwisselende discografie opgeleverd van zo’n 70 albums. Los daarvan heeft hij nog twee compilaties uitgebracht en zijn er vele losse, nog niet uitgebrachte tracks. Eén van die compilaties heet Twilight Of Perception uit 1996 en twee jaar erna nog eens uitgegeven. Deze bevatte 10 niet eerder uitgegeven tracks. Soms is een compilatie wel een mooie kennismaking met een artiest. Of voor de fan, zoals nu met de herziene versie van het genoemde verzamelalbum dat nu terug is als Twilight Of Perception Redux Volume One 1990-1998. Het zijn 3 cd’s met in totaal 23 tracks, die samen drie uur en een kwartier duren. Er staan slecht 3 tracks van het oorspronkelijke album op, maar de bedoeling is dan ook dat er hierna minimaal nog eens 3 delen verschijnen. Wat voor Vidna Obmana wellicht een kleine optelsom is van wat er nog op de planken lag, exclusieve bijdragen op vroegere compilaties, labelsamplers en magazines, is voor andere artiesten gewoon een complete discografie. Maar nu dus deel één de eerste drie cd’s, waar naast die exclusieve bijdragen, die vermoedelijk niet veel mensen hebben en zeker niet compleet, ook nog eens 6 nooit eerder uitgebrachte tracks te vinden zijn. Het is allemaal muziek in de bekende en toch gevarieerde stijl van Vidna Obmana, die bepaald niet onder doet voor die van zijn reguliere albums. Dat alles is gestoken in een fraai ontworpen digipack van 8 panelen. Het is een must voor de fan en een geweldige introductie mocht je deze leren kennen.
DP-MOTIV REVIEW : Although Dirk Serries’ ambient formation has been a thing of the past for nearly 20 years, posthumous releases from him still appear from time to time, thanks to his once heightened creativity and diligence. The ambient music universe has always been a genre that I have only superficially tolerated and liked, but VIDNA OBMANA, active since the mid-eighties, has been steadily gaining ground in it, as I have always greatly appreciated this kind of closeness to nature expressed in the language of music, especially with regard to the period marked by the nineties, when I was enchanted by a series of albums (without claiming to be exhaustive: Passage In Beauty, Echoing Delight, Ending Mirage, The Spiritual Bonding and, above all, Well Of Souls, produced with the participation of Steve Roach), which has remained an unbroken benchmark segment of my musical wanderings ever since. Thanks to the Polish label Zoharum, recordings that were once locked away in a drawer, then slightly improved in 2024, became available with this triple CD, which is not an easy listen at all, but definitely deserves the perseverance. These compositions recorded in the first half of the nineties depict the development of VIDNA OBMANA’s most beautiful period, these impressively clear ambient recordings are much more complex than we might superficially assume. Let’s not forget that at that time the technology was also less advanced than it is today, not to mention that Dirk Serries (in an extremely sympathetic way) gave far greater priority to analog synthesizers, tape manipulations, microphoned nature recordings and sound-generating devices, and instruments that would be considered exotic to the “average European ear”. In short, we are not talking about classically shaped music, but rather about creating a kind of soundscape, mood projections, and spiritual journeys that result in magical experiences, as these interwoven sound streams simultaneously guide and enchant you while listening, discovering landscapes where the untouched nature that resists the modern age is the master and everything is pure, like the flow of a pulsating stream swollen with power. These recordings are best listened to with headphones, either lying down, or at least in a comfortable armchair, in semi-darkness, free from all external, disturbing factors. It is worth taking the time, because this music is guaranteed to thank you for your attention.
Listen to the ZOHARUM special:
MUSIQUE MACHINE REVIEW : Twilight Of Perception Redux Volume One 1990-1998 is the first in a series of planned CD compilations from Poland’s Zoharum. Looking at rare, unreleased, etc recordings from euro ambient pioneer Vidna Obmana aka Belgium’s Dirk Serries. The three-CD set takes in twenty three tracks- with as you’d expect from such a collection variation in both the tone/ atmosphere of the tracks. The three-CD set comes in a eight-panel digipak- this features an effective blend of dark blue texts underlaid by what looks like close-up monochrome photos of tree bark. So as with all of the growing catalogue of Vidna Obmana reissues on Zoharum, we a get a nicely moody/ lightly arty look- which fits the music inside well. Seemingly the compilation isn’t set in a chronological manner- though we do get original release credits for each of the tracks featured. So, on disc one, we find eight tracks. These move from the slowly weaving tone glow meets lightly angular chiming’s of “Awaken In Floating Colours – Composition 2 “. Onto the gently harmonic warmings and lightly warbling drift of “The Circulating Flight”. Though to the spaced-slightly clunky piano key notation and moody pitch swirling’s of “Awaken In Floating Colours – Composition 5 (ending)”. Disc two features nine tracks. We move from gently warbling, circling, and rising ambience of “Twilight Came”. Onto eerily baying “Torch Of Remembrance” with its mix of distant brood and light horn like hissing tones. Though to the slurred and forlorn string like ebb & low key ritual ambience unease of “Flat Earth”. Finally on disc three we find six tracks. These open with the steady string like simmer meets suck in amber nostalgic synth tone dwell of “Deep Within”. There’s the distant hissing chatter ‘n’ knock, gliding glow, and faint female choral voices of “Approaching The Glaze”. Or “Transcending Shadow And The Nocturnal Air” with it’s dense-yet- soothing mix of cascading upwards tone, warming tone shift, and distant harmonic glint. It’s always great to see new Vidna Obmana reissues on Zoharum. And with this release there are many new- to-me/ unheard tracks to enjoy. Here’s looking forward to the next in this series.
GONZO CIRCUS REVIEW : Opmerkelijk. Zelfs na al die jaren blijft de naam Vidna Obmana in toegewijde internationale kringen waar atmosferische ambient gekoesterd wordt tot de verbeelding spreken. Nochtans droeg Dirk Serries dit lang meedraaiende (1984), succesvolle en invloedrijke project in 2007 definitief ten gave. Maar kijk: anno 2025 kruipt het fanbloed nog steeds waar het niet kan kruipen kan. Het Poolse Zoharum is al een tijdje geleden begonnen om klassieke albums zoals ‘Revealed By Composed Nature’ (1990), ‘The River Of Appearance’ (1996) of ‘Crossing The Trail’ (1998) opnieuw uit te geven, telkens gemasterd en al dan niet met flink wat bonusmateriaal. Het eerste volume van de ‘Twilight Of Perception Redux’ serie, die in totaal uit minstens vier maal drie cd’ zal bestaan, graait niet louder lukraak in het rijke oeuvre van Vidna Obmana, maar diept zeldzaam, nooit uitgebracht of puur obscuur materiaal op dat her en der te vinden was op compilaties of samplers. Er werd daarbij ook nagedacht over de sequentie van de nummers. Niet onbelangrijk, zo blijkt. Het resultaat, zoals valt te verwachten bij Serries, is een lange sonische trip naar een andere dimensie tussen tijd en ruimte. Naar een plaats tussen de oren waar grenzen tussen bewust en onbewust vervagen, waar heden en verleden symbiotisch versmelten, en waar dromen tastbaar worden. ‘Twilight Of Perception Redux Volume One 1990-1998’ bevat kortom geen seconde luie restjes, maar essentieel materiaal voor de fans van ’s mans meest tot de verbeelding sprekende soundscapes.
SIDE-LINE REVIEW : The Belgian solo project Vidna Obmana, led by Dirk Serries, has been on hiatus for several years, yet a steady stream of releases continues to see the light of day. These are mostly reissues or live recordings, but “Twilight Of Perception” stands out as a special compilation. It brings together no fewer than 23 tracks—an impressive collection of pieces originally released on small and now-forgotten compilations, along with several previously unreleased works. The compilation forms a surprisingly coherent whole, offering listeners the chance to (re)discover the distinctive, Experimental, and deeply Cinematic style of the artist. Most tracks have a floating, ambient character that recalls the work of ambient pioneers. As you delve deeper into the tracklist, however, you’ll also encounter darker and more ominous compositions. Vidna Obmana’s music remains enigmatic, yet meticulously crafted. Subtle piano arrangements weave through the album, and at times, flute passages emerge, inviting us on a journey through time and memory. You’ll also notice percussion parts running through some cuts. This release is an absolute must-have for fans of this singular artist. (Rating:7½).
ONLYDEATHISREAL REVIEW : Oh no, another one of Zoharum’s extensive – to the point of being excessive! – ambient anthologies! This was my first thought upon getting my hands on this 3 CD compilation, with the Polish label’s recent Rapoon 3 CD compilation Dream Circle (In Three Phases) in fresh memory. And while there are similarities in the nature of the releases, musically the two are quite different. And as such, my assessment of them. Twilight Of Perception Redux shares the name with an older compilation from the mid-90’s. However, I think it is best to think of these two as entirely different releases: they share less than half of the original’s tracks, which means about 1/6th of this compilation’s tracks. But, like that one, this is a deep dive into the archives of the Dutch project, compiling together rare and hard to find compilation tracks and such. Apparently it is also the first installment in a series that is meant to expand to at least four volumes. Vidna Obmana’s style is an almost cosmic, harmonious and peaceful take on ambient. Slow, long, drawn out layers of understated synthesizers dominate here. The music is not so much about composition as it is about movement; of slowly shifting, undulating and transforming layers of soothing, beautiful and ever-so-slightly mystic ambience. Subtle details such as buried percussive elements, piano or harmonious supporting layers bring depth to the compositions, but never make the music crowded or demanding. This is the kind of music you can put on for relaxing, meditation or other activities, and it will beautifully keep you grounded. However, especially at this length, listening to Twilight Of Perception Redux in one sitting is some kind of madness. I’m fairly sure I at least couldn’t withstand the entire thing in one helping. But of course, the release being a three CD thing, there’s no need to do that. It’s easy to listen to one CD per listening session. With each CD clocking in at about one hour, they’re quite heavy in their own right as well, but not too. To reiterate, I admit I approached this CD with quite some trepidation. Or worse: I was fairly sure this would be an ordeal to sit through. I was surprised to find it wasn’t; quite the contrary in fact. I quite enjoy listening to Vidna Obmana’s understated if not exactly minimalist compositions of ethereal, cosmic ambience. I may splice the whole into smaller bits, but I enjoy those bits unreservedly. My only grievance is that there are lengthy silences between some of the tracks – we’re talking five to ten seconds. This sounds like a quibble, but in music like this, such needless interruptions to a seamless, constantly streaming audial journey have a disproportionately large impact. They really bother me. Apart from that, Twilight Of Perception Redux is a beautiful piece of ambient music in its own right, and another worthy archival project by the fine people at Zoharum. Definitely holds a wider appeal than just for Vidna Obmana fans.
ROCKERILLA REVIEW : Il genio tormentato è partito per l’ultimo tour. L’archivio di vidnaObmana è davvero stupefacente. In due nuovi tripli cd il musicista belga ha raccolto ben trentanove brani per la durata complessiva di oltre sei ore di musica. Il primo volume raccoglie per lo più brani già editi su raccolte introvabili. Come Within Whitering Memories apparsa originariamente sulla musicassetta Fairy Tales & Myths (1990, 3Rio Art Tapes), o la parte conclusiva della meravigliosa suite che apre l’album capolavoro Passage In Beauty (1991, Decade),Awaken In Floating Colours – Composition 5 (Ending), pubblicata dalla Projekt di Sam Rosenthal sulla compilation From Across This Gray Land, n° 3 nel 1992. Si tratta in alcuni casi di raccolte che hanno aiutato a definire i confini di una scena in evoluzione, in grado di mettere insieme diversi stili dell’universo elettronico come l’imperdibile The Sombient Trilogy della Asphodel: vidnaObmana è presente sui primi due capitoli della serie, con Equal Distance (uno dei rari brani del musicista belga dove è presente la voce) su The Throne Of Drones, e con Flat Earth sul doppio cd Swarm Of Drones, entrambi pubblicati originariamente nel 1995. Nel complesso si tratta di brani che aiutano a capire il passaggio della musica di vidnaObmana dai primi esperimenti in ambito ambient fortemente caratterizzati dall’immaginario post-industriale, alle distese sconfinate delle opere space-ambient della metà degli anni 90. Solo quattro, invece, le tracce presenti su Twilight Of Perception Redux – Volume Two 1995-2002 già pubblicate in passato: tre su altrettante compilation e una su un raro sette pollici della Klanggalerie del 2002, Isolation Trip/Path of Distortion. Incredibili la qualità degli inediti. Non si spiega davvero come un brano della portata di Tapestry Of Dust non sia apparso su un album di metà anni 90 del musicista belga. Per non dire della suite in tre parti The Surreal Expansion I,II,III, un bagno di ambient stellare a gravità lunare. Da quando Dirk Serries ha ripreso ad osservare il cosmo con il naso all’insù pubblicando nuovi dischi di musica ambient accanto a quelli della sua oramai avviata etichetta free-jazz (A New Wave Of Jazz), deve essersi accorto che l’interesse per la musica di vidnaObmana era tutt’altro che svanito. Nel mese di maggio del 2024 ha così rimasterizzato le ventitre tracce finite poi sul triplo cd Twilight Of Perception Redux – Volume One 1990-1998. E sorte analoga è capitata alle sedici contenute su Twilight Of Perception Redux – Volume Two 1995-2002, ripulite e rimasterizzate durante lo scorso mese di ottobre. Un ascolto che vale come un’immersione rigenerante.
DIRK SERRIES was interviewed by renowned producer MALCOLM BURN (Emmylou Harris, The Neville Brothers, Bob Dylan, and his work with Daniel Lanois) on his BETWEEN THE GROOVES radio show on Radio Kingston (Kingston, NY). In this episode of his radioshow they talk about music, the world around us and more. Quite different and spontaneous. Do check it out.
On April 28th the German AUDIOPHOB label released Dirk Serries’ newest ambient album THE MIGHT OF STARS SUBLIME. Available through the label and directly from the artist over at his bandcamp here. Reviews will be added below the photo and bandcamp link. Enjoy.
VITAL WEEKLY REVIEW : This time, I will refrain from expressing my surprise about Dirk Serrries returning to ambient music, playing guitar with lots of effects, and such, because there are a few of these albums, and it’s a steady stream. If Serries is on a roll, there’s no stopping him. His improvised music side is nice, even when, most of the time, not my thing. I always preferred his work as Vidna Obmana and Fears Falls Burning, and these days doing a crossover between those previous projects. There are the highly atmospheric, sustaining patterns of Vidna Obmana, without the refinement, coupled with the rock-like guitar drone approach of Fear Falls Burning, but without the rock context, if you get my drift. The previous release had a bit more of a crumbled approach, almost like aliens playing the residue of a guitar, but on ‘The Might Of Stars Sublime’, the guitar returns to being a guitar and even howls like a drone-rock guitar e-bow solo. Here, too, the element of sustaining plays a significant role in the music, with the five pieces ranging in length from seven to ten minutes. Each of these is a well-rounded composition, and the five pieces are alike, yet different. They’re from the same composer, who nailed his approach down and sticks to the plan. Of course, Serries understands the need for this approach; to make an atmospheric album most enjoyable, it is essential to have no distractions, no out-of-place elements, and to do what he does best: play this kind of music. Whereas the previous release reminded me of Manuel Mota, this new one reminds me mostly of Dirk Serries, and that’s also (!) a great connection. Another refined work!
AFRICAN PAPER REVIEW : Mit “The Might of Stars Sublime” veröffentlicht der belgische Musiker Dirk Serries sein erstes Album auf dem Leipziger Label Audiophob. Aufgenommen mit elektrischer Gitarre und Effektgeräten, bewegt sich das Werk im Spannungsfeld zwischen warmer, vielfarbiger Klangschichtung und rauen, körnigen Texturen, oft mit einem spürbar melancholischen Unterton. Die Stücke folgen einer reduzierten, aber harmonisch fein abgestimmten Struktur, in der melodische Elemente zwar angedeutet, aber nie vordergründig ausformuliert werden. Stattdessen entfaltet sich eine Musik, die gleichermaßen geerdet wirkt und doch in eine andere Dimension zu führen scheint. Der Titel, inspiriert von einem Zitat Goethes, scheint auf diese Spannung zwischen Größe und Zerbrechlichkeit, zwischen Sternenglanz und Stille zu deuten.
NITESTYLEZ REVIEW : Put out on the circuit via the German Audiophob label on April 25th, 2k25 is “The Might Of Stars Sublime”, the most recent album by long standing producer Dirk Serries who has – according to Discogs stats… – more than 130 solo album releases under his belt using his real name alone, with a multiple of multiple involvements in groups, bands and projects as well as other aliases used since the 80s not accounted for. An impressive discography which sees its latest sequel, a five tracks and roughly 45 minutes spanning CD album, venturing into emotional, highly dramatic Synth Ambient landscapes with the opening tune “A Soft Glow” which moves to and fro like bright beams of sunlight over harsh, mountaineous terrain on a stormy, semi-clouded day followed by the deeper, more nocturnal, yet not less dramatic “Evocation” which, despite being less spiralling, for us evokes faint memories of Tangerine Dream’s score work for the 1977 movie “Sorcerer”. Furthermore “Carved Into” Oscillation” brings forth a calm take on post-apocalyptic Dark Ambient melancholia with fine morning mists floating over scarred landscapes and future battlefields whereas “Form Reversal” enters a realm of shimmering Ambient hopefulness and ethereal beauty before the final cut that is “The Stars Sublime” waves goodbye in a most comforting, and probably most classic and soothing Ambient manner with its soft ebb and flow of tonal shifts and a basically naturalistic overall feel which also might speak to fans and followers of (Neo)Classical music for a reason. A highly recommended journey into Ambient and Deep Listening Music as well as classic Synth compositions for those who know. Go check!
KRAUTNICK REVIEW : Heimlich wie die Kraft der Sterne bedient sich Dirk Serries für den Titel seines neuesten Albums (obwohl das zum Zeitpunkt der Niederschrift bei dem vielbeschäftigten Antwerpener vermutlich nicht mehr zutrifft) „The Might Of Stars Sublime“ bei Johann Wolfgang von Goethes Gedicht „Glück der Entfernung“. So poetisch wie der Titel ist auch die Musik, möchte man sagen. Dieses Mal hat sein mit der E-Gitarre erzeugter Ambient mehr Modulation als auf anderen Veröffentlichungen dieser Art, man ist beinahe geneigt, zu sagen: mehr Tempo, was bei beatlosem Ambient natürlich etwas schwierig zu ermitteln ist. Strahlende Schönheit liegt ihm ebenso inne wie beklemmende Spannung. Die Musik auf diesen fünf Tracks bewegt sich mehr, die Modulationen geschehen wahrnehmbarer. Auf vergleichbaren Alben strecken sich die Tonlagenänderungen bisweilen in den mehrstelligen Minutenbereich, hier geschehen sie wahrnehmbarer, expliziter. Rasanter wäre das falsche Wort, weil man den Bereich des Ambient hier nicht verlässt, dennoch hat sich das Tempo hier erhöht. Aufgrund der Sounds, die Serries hier und überhaupt generiert, erwartet man das komplett Verlangsamte, und fühlt sich dann, wenn er sich etwas flotter bewegt, quasi überrumpelt. Es entsteht eine Art Beklemmung, ein Unbehagen, wenn das, was den Hörenden ansonsten entspannen soll, unerwartet Spannung erzeugt. Und schon ist man gefangen von den Sounds hier. In „A Soft Glow“ klingt Serries‘ Gitarre wie zwei Orgeln: eine generiert eine deckende Soundscpae im Hintergrund, die zweite im Vordergrund in anderer Tonlage eine Melodie. Hier entsteht der Eindruck erstmals, alles sei zu schnell, obschon es immer noch sehr langsam vonstattengeht, wie Serries seine Gitarre und die Effektgeräte bearbeitet. Man ist verunsichert, fürchtet einen Angriff, als bäume sich da etwas in der Musik auf, um den unbedarften Hörenden zu attackieren, doch dies geschieht nicht, Serries hat das Biest unter Kontrolle, vermutlich windet es sich deshalb so vergleichsweise ungestüm. Für „Evocation“ wechselt Serries die Ausprägung der Sounds, hier klingt die Gitarre wie ein unbestimmtes Instrument in einem nebligen Hallraum, ebenfalls leicht beschleunigt variiert. Anders in „Carved Into Oscillation“, da nimmt Serries das Tempo erstmals heraus. Hier klingt die Gitarre wie dunkler Atem, bald cineastisch, warm, weich, beruhigend, und die Anflüge von Unbehagen sind verschwunden. Mit „Form Reversal“ kehren sie zurück, denn das Stück erhebt sich bedächtig schlängelnd aus dem Abgrund, es entwickelt einen Rausch und ist beinahe melodiös, so wie der Auftakt. Das Quasi-Titelstück „The Stars Sublime“ kommt komplett ohne den Fuzz aus, ohne das Diffuse, ohne Drones: Die Gitarre ist weitgehend klar gespielt, die zweite Ebene erinnert abermals an eine Orgel. Bill Murray erzählt den Teetrinkern RZA und GZA, dass er vor dem Schlafen Kaffee trinkt, damit er dann schneller träumt, und so wirkt „The Might Of Stars Sublime“ ebenfalls ein wenig: Es ist alles etwas beschleunigt, damit man schneller entspannt. Aber wie gesagt, lediglich im Vergleich zu anderen Arbeiten von Serries, für sich gehört ist dies immer noch chillig-schleppendes Gitarren-Drone-Ambient. Schön und entspannend, wenn es im Hintergrund läuft, und umso spannender und detailreicher, wenn man die Konzentration darauf lenkt. Und während man dies liest, hat Serries 393 neue Alben herausgebracht.
EXPOSÉ REVIEW : Like its title implies, The Might of Stars Sublime is less a disturbance and more of a step into the floating ambient direction, yet still full of fascinating textures and beautiful looping structures, created using a similar template of electric guitars and a massive number of effects. This one found release as a CD on the German Audiophob label, which specializes in ambient / industrial / experimental music. Like ZDII, the five tracks herein have no cadence or beat, they just flow from one idea to the next, though in a softer more discrete way; there’s nothing really abrasive here, just a gentle flow of sculpted dreamy sonic loops that the listener can immerse themselves in. The five tracks are around ten minutes each give or take a few, and have legible titles that are at once descriptive and inviting, like “Carved into Oscillation,” “Soft Glow,” “Evocation,” or the title track, each perhaps a journey unto its own, offering patches of light and shadow, flowing and muted tonal colors, all within a swirling eddy of textures and graininess. One might find The Might of Stars Sublime to be an easier journey with less of an overt industrial feel, a bit more melodic perhaps, expressive though still shrouded in mystery.
VER SACRUM REVIEW : Con The Might Of Stars Sublime, il suo debutto per l’etichetta tedesca Audiophob, Dirk Serries firma un ritorno che è anche un’uscita: un allontanamento dall’umano per abitare la rarefazione cosmica dell’ascolto puro. Qui la musica non racconta nulla, ma assorbe tutto. Limitato a 300 copie, il disco stesso è già un oggetto di ritiro, un frammento per iniziati. In un’epoca ossessionata dalla moltiplicazione, Serries sceglie la sottrazione radicale: una serie di brani che non cercano il centro, ma orbitano pazientemente intorno a un vuoto generativo. È ambient, sì — ma non come sottofondo: come orizzonte. Un orizzonte che si muove lentamente, troppo lentamente per lo sguardo frettoloso, ma perfettamente visibile a chi ha smesso di cercare. Il titolo stesso, The Might Of Stars Sublime, non è una metafora: è un invito a perdersi in una vertigine luminosa che non abbaglia, ma seduce con lentezza. Serries lavora per erosione. Ogni suono pare levigato dal tempo, come se provenisse da una fonte che ha suonato per eoni, fino a diventare pura presenza. Non ci sono accensioni, non ci sono cadute: c’è una stasi che pulsa, che respira con un ritmo disumano e necessario. Il minimalismo che pervade l’album non è scelta stilistica, ma atto esistenziale. I suoni si distendono come linee di forza invisibili, tra tensione e abbandono, tra l’eco e l’origine. La grandezza evocata non è teatrale: è cosmologica. Una vastità che si fa prossimità intima, come quando il buio di una stanza coincide con la notte stellata. E proprio qui si annida la forza del disco: nella capacità di evocare un altrove che non è fuori, ma sotto la pelle. Il brano finale, “The Stars Sublime”, è più che un culmine: è una soglia definitiva. Lì Serries chiude il cerchio, o forse lo dissolve. Si tratta del suo brano più trasparente e profondo, un eco affettuosa a quel Microphonics XXIII – there’s a light in vein, ma con una luce più rarefatta, meno terrestre. Non è nostalgia, ma trasfigurazione. Non memoria, ma riemersione di un sentire arcaico, assoluto. In The Might Of Stars Sublime non c’è spazio per la comunicazione, né per la relazione. È un disco per chi ha scelto di non partecipare, per chi ascolta non per sapere, ma per sciogliersi. Serries non ci accompagna: ci abbandona gentilmente in un paesaggio dove tutto è lento, distante, eppure inesorabilmente vicino. È musica che non chiede attenzione, ma sottrazione. Che non vuole essere capita, ma contemplata. Un’opera isolazionista, radicalmente aliena al tempo comune. Una preghiera muta verso un cielo che non risponde. Ma che continua, ostinatamente, a brillare.
SALT PEANUTS REVIEW : The Might Of Stars Sublime is Serries’s solo electric guitar album that expands his minimalist ambient music, now with a motherboard of analog pedals and often colored with delicate, noisy, and distorted effects. The album was recorded at Serries’ home studio between July and August 2024, and its title is taken from Johann Wolfgang von Goethe’s poem «The Bliss of Absence» («…Powers eternal, distance, time, / Like the might of stars sublime,…»). The five pieces were created spontaneously and are expansive, accumulate to a bigger whole, and enjoy a rare kind of nocturnal, deep space harmonies. The last one, «The Stars Sublime», suggests the most beautiful and peaceful territory of this journey.
AMBIENT LANDSCAPE REVIEW : Dirk Serries’ latest excursion serves up soft, layered, sculpted loops combined with floating textures which meld into deeply flowing melodic tones as five distinct aural pathways forge an ambient landscape along a serendipitous sonic journey. It presents the listener with a calming and sustaining collection of beautiful atmospheres (with an occasional, subtle, feedback-oriented growl). Mr. Serries, while still (undoubtedly) striving for the next rung on the ethereal ladder, has perfected the craft of guitar drone-scaping (along with layering effects) and has cemented his “star, sublime” into the annals of outstanding ambient axe-men. Standout tracks (for me): Carved Into Oscillation & A Soft Glow. In a word . . . “Wonderful!”
SPONTANEOUS MUSIC TRIBUNE REVIEW : Tego artystę i dark ambientowy wątek jego twórczości nie trzeba na tych łamach komukolwiek przedstawiać. Muzyk, który kilka lat temu twierdził, że ambient to przeszłość, zdaje się w ostatnim czasie dostarczać coraz więcej nagrań w zadanej estetyce. Wszystkie je namiętnie śledzimy i rekomendujemy trybunowym fanom. Dziś produkcja domowa z lata ubiegłego roku. W kategorii dark ambientu taka, którą zwykliśmy określać mianem wzorcowej dla tej stylistyki. Pośród pięciu opowieści żadna nie ma oczywiście początku ani końca, płynie soczystą strugą gitarowego ambientu. Pierwszą z nich tworzą trzy wątki – krystaliczny ambient, warstwa codziennego kurzu i brudu, wreszcie basowa struga o zaskakująco kojącym zabarwieniu. W drugiej odsłonie narracja zdaje się być bardziej mroczna, płynie z głębin bezkresnego oceanu. Z czasem rozmywa się, odsuwa w cień. Otwarcie trzeciej historii jest ciepłe, niemal relaksacyjne. Rozbudowana warstwa szumu stawia jednak znak zapytania i skutecznie dominuje w dalszej części utworu. Czwarta część wydaje się sprasowana, matowa, przefiltrowana przez grubą kotarę teatralną. Szorstki flow ma jednak nieoczywistą intensywność. Wreszcie finałowa, łagodna, pożegnalna meta ballada, z nowym wątkiem, który brzmi jak nagie struny gitary. Smutna opowieść jednocześnie narasta i rozlewa się coraz szerszym korytem. Potem umiera w dalece metafizyczny sposób.
GONZO CIRCUS REVIEW : Op ‘THE MIGHT OF STARS SUBLIME’ (fraaie titel overigens) zijn ritmes absent, en volstaan een elektrische gitaar en analoge effectpedalen om grootse, epische kathedralen van geluid, laag per laag, op te trekken. Het eindresultaat is niets minder dan gelukzalige trance.
AUDIOVISUAL OHLSEN OVERKILL REVIEW : “The Might of Stars Sublime” ist ziemlich genau, was das Coverartwork von Serries‘ Gattin Martina Verhoeven verspricht: eine traumhaft schwebende, sanfte Entrückung in atmosphärische Ambient-Transzendenz. An- und abschwellende Flächen aus Gitarren- und Effektklängen, pur und schnörkelos schön, schmeicheln das Ohr und die Seele. Scheinbar simpel und doch voll profunder Tiefe. Dirk ist hier ganz in seinem Element und erinnert an einen lichteren Zwilling von Justin Broadricks Soloprojekt Final. Wunderbar!
JAZZ’HALO REVIEW : Regelmatig duikt materiaal op van Dirk Serries bij andere labels. Dit is zijn debuut voor het Duitse Audiophob. ‘The Might Of Stars Sublime’ staat voor scenografische soundscapes zonder extreme actiemomenten maar met eerder introspectief karakter en een tikkeltje magisch realisme. Een bijwijlen sombere toonaard hoort daarbij. Kortom, een eigen systematiek van Serries om verhaallijnen met minuscule wijzigingen op te bouwen. Ook te omschrijven als gitaar ambient maar wel degelijk à la Dirk Serries. Opgenomen in zijn “home studio” vorige zomer in de loop van de maanden juli en augustus en uitgebracht als digipack met foto’s van Martina Verhoeven.
ROCKERILLA REVIEW : L’estate del 2024 Dirk Serries l’ha passatta a guardar le stelle. Quindi con la sua inseparabile sei corde ha cercato di di descriverne la natura. Il risultato è raccolto nelle cinque lunghe tracce del suo ultimo Cd, The Might Of Stars Sublime, appena pubblicato dalla tedesca Audiophob. Un suono elettrico che si trasforma fino a rendersi irriconoscbile: tra le mani del musicista belga il feedback controllato diventa una sinfonia di microsuoni. Le cinque tracce del cd sono legate quasi senza soluzione di continuit. Minime variazioni inducono in stati di meditazione che trasportano i neuroni su orbite stellari. Cinque brani di ESTATICA AMBIENT MUSIC.
Super excited to announce the new live album by YODOK III is set to be released on Belgium’ CONSOULING SOUNDS on September 19th. Pre-order for this cd are now possible here. Definitely check out the album teaser and embrace yourself in the devastating beauty of YODOK III’s realm.
At the heart of Trondheim rises Nidarosdomen: Scandinavia’s great cathedral, the northernmost Gothic monument of the Middle Ages, built upon the resting place of Saint Olav. Within its stone walls breathes the colossal Steinmeyer organ, 9,600 pipes of air and thunder. A space made not only for prayer, but for ritual.
When YODOK III was invited to perform in this sacred colossus, the idea of summoning Petra Bjørkhaug to the Steinmeyer organ arrived like an inevitability. To let the cathedral itself speak through her hands, to allow its immensity to swell and entwine with YODOK III’s shifting tides of sound.
This album is the document of that night. An audience seated sideways beneath vaulted arches — for no one may turn their back on the cross — witnessed a music that slowly transfigured. YODOK III became something more, something larger: a dialogue between trio, organ, and cathedral. It is a testament not only to sound, but to presence, reverberation, and the living breath of Nidarosdomen itself.
Over the course of the next months we’ll highlight every month an album or project from the vast VIDNA OBMANA back catalog. We initiate the series with PRINCIPLE OF SILENCE, a project that VIDNA OBMANA and Belgian jazz double bass player JORIS DE BACKER formed some 23 years ago. The duo focused on creating a live melange of ambient, ethnic, classical and free form jazz-inspired music. The live interaction between them was unique. Incredibly enough they played every concert in a church or chapel, two of them were 5-hour marathons as part of the ‘night of the museum’ the city of Antwerpen organised in the Summer of 2002 and 2003. They self-released one album. For a limited time their 4 digital live albums are available at ‘name your price‘. Thank you for your support !
Today it’s once again BANDCAMP FRIDAY. Not only can you still benefit from the fantastic offers we have over at A New Wave Of Jazz but also are we giving you a 50% discount on any physical release on these bandcamp collections – use code : bcfridayaugust
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