DIRK SERRIES – THE DISINTEGRATION OF SILENCE (250 copies CD with a 28 pages 8″ booklet, Silentes)
Stefano Gentile and Dirk Serries met almost 30 years ago when Stefano’s Amplexus label released Vidna Obmana’s the seminal classic ‘The Transcending Quest’ on a limited 3”CD. Fast forward 20 years later, after the closure of Dirk Serries’ critically acclaimed Vidna Obmana project, Stefano and Dirk, under his own name, regathered with another gem ‘The Devastation Chant’, a limited 8” and 10” on Gentile’s new label Silentes/13 that used Stefano’ own impressive collage art work. Now again, after 4 years, Dirk Serries – fully operational under his own name as a free (jazz) improviser, continues to frequently return to his trademark ambient music while continuing to push himself as an artist and sculptor of the ambient. THE DISINTEGRATION OF SILENCE is Dirk’s new album that, partially inspired by the melancholic collage art work of Stefano Gentile, plays with the sound he has been worldwide so recognized and appreciated for almost 4 decades while, so typical for Dirk’s ongoing knack for adventure, expands the comfort of his ambience with alienating analog and real-time treatments. An album that has been performed solely on electric guitar in conjunction with an alliance of pedal effects. No computer was used. Enjoy this breathtaking album of melancholy and introspection, marking it as another chapter in the collaboration between Stefano Gentile and Dirk Serries.
To be released on Silentes, September 23rd, 2023 on a limited hand- numbered to 250 copies CD with a 28 pages 8″ booklet of décollage art by Stefano Gentile. The package will also include an extra 8 page 5,5″ booklet. Preorder will be available soon, stay in touch.
The incredible YODOK III (with Tomas Järmyr on drums, Kristoffer Lo on amplified tube and flugabone, and Dirk Serries on electric guitar) are returning for 3 selective concerts in Netherlands and Belgium this November. Don’t miss out as their concerts are quite impressive.
Tickets : November 9th – Paradox (Tilburg, The Netherlands) click here. November 10th – Oefenbunker (Landgraaf, The Netherlands) click here. November 11th – JH SOJO (Leuven, Belgium) click here.
Super excited to announce that PROJEKT/Sam Rosenthal just launched a KICKSTARTER campaign for the newly remastered edition and vinyl release of SAM ROSENTHAL and VIDNA OBMANA‘s critically acclaimed 1992 album ‘TERRACE OF MEMORIES‘. Read all about this here below. Sam and Dirk will also throw a listening party on bandcamp which you can join. Go to the KICKERSTARTER here.
In the words of Sam Rosenthal : Today I’m asking for your pledge on this Kickstarter crowdfunding campaign to create a remastered edition of Terrace of Memories, my 1992 collaboration with Dirk Serries (aka: VidnaObmana.) Your donations will make this rerelease possible. The $8000 we need to raise all goes to manufacturing the three physical formats: 140-gram color vinyl, CD, and MiniDisc.
I’m excited to create this reissue with the help of people who believe in our art and want to see this campaign succeed – people like you! Backing this campaign is like preordering and a lot like being a patron of the arts.
Terrace will be a single 140-gram vinyl LP in your choice of two color options. Limited to 250 each.
Tell me how I can help
Kickstarter is all or nothing; we need your pledge to help us pass the goal so the campaign succeeds. This lovely new edition will exist through pledges from people like you — our patron of the arts. Select the reward tier for LP, CD, or MiniDisc. If you want to go the extra mile, you can support at higher levels with CD & LP bundles plus opportunities to get your name in the credits.
Credit cards are not charged until the campaign is over.
Reward tiers are on the right side of your web browser or the rewards tab on mobile.
Every contribution is important — whether you give $5 or $200!
Your support is integral to the album’s existence. Your involvement allows me to make physical formats I would not be able to otherwise create: deluxe editions with extra detail and attention. And love.
By pledging, you become part of the team that realizes this release.
You can listen to the remastered album right now at Bandcamp. And while you’re there, RSVP for the July 22nd Listening Party.
Memories of Terrace of Memories
Back in 1992, England’s Music from the Empty Quarter wrote: “More than ever before, Sam lets his emotions run away on a tide of ambient turbulence. Five drifting movements ride the intake of senses, breathing the air of life and surrounding beauty. As fullsome as the cycle of seasons, cascading visions of past and present contact loop and collide. A very deep personal intrusion into the mind & heart, represented by a dark, mysterious and sensual music. Cast adrift into the caring hands of this truly original and honest artist who not only lives within himself, but sheds his soul through others as well.”
Barry from MFTEQ’s praise certainly also applies to the work of my collaborator, Dirk Serries; a few months ago he masterfully remastered the album for this reissue.
Here’s Dirk’s recollection of the project: “Back in the days, pre-internet, we traded a lot of tapes by mail. Projects and collaborations took much longer to complete due to the longer waiting times, waiting for the postal system to do their work. When I started to correspond with Sam in the mid-80s, I was very into the albums by his Black Tape For A Blue Girl band. The eerie atmospheres and ambience surrounding the songs were really mesmerizing, and I could imagine a blend of Sam’s sound-structures with my ambience. I sent him sources on tape. But with every collaboration release back then, time moved by before something was completed, again due to the slower way of communicating. I appreciated Sam’s brilliant interaction and additional performances. Terrace of Memories is a real Sam Rosenthal & vidnaObmana collaboration, and I truly wonder why we never did a follow-up. Enjoy.”
And my recollections: “As far as I can recall, I began working on this collaboration with Vidna after the recording of A chaos of desire in 1989. Dirk sent me cassette tapes of music, and I worked on my 8-track but got distracted by other projects. The project was pushed to the back-burner, and the album wasn’t finished and mixed until 1992. Quite honestly, I only have the vaguest memory of working on it in my The Lush Garden studio in Los Angeles. I remember that even a few weeks after I finished a piece, it was hard for me to tell which parts I played and which parts were Dirk. Aside from the low cello sound on my eMax, and the very slight vocals on the one track, who played what is a blur. That’s cool. It’s a great ambient blend.”
The fine print:
Each physical item tier includes the digital download, an album cover sticker, & a 2023 4×6 photo of a cover shoot outtake.
1️⃣ FORMATS — All of your pledges go towards manufacturing the LP, CD, & MiniDisc. Each contains the remastered 5-track album. The CD is a 4-panel digipak. The LP is in a standard jacket signed on the back by Sam (see ☆ below.)
2️⃣ LP COLORS — The colors in the graphic are approximate.
4️⃣ KICKSTARTER ADD-ONS allow you to include additional items in your reward, a bit like a shop. For example, select the “$25 Vinyl LP” tier and Add-On a copy of the Terrace of MemoriesMiniDisc or Poster.
How to add an Add-On: Select a reward, enter your pledge amount and click the green “continue.” You are taken to the “Configure Reward” page where you can select the Add-Ons you want to include in your pledge.
5️⃣ SHIPPING — USA MEDIA MAIL POSTAGE is added to your total when you pledge. INTERNATIONAL SHIPPING will be charged as a separate PayPal payment after the campaign ends when your package is ready to ship; ie: international postage is not part of the pledge you made.
☆ European LPs ship from Germany. To reduce the delay of LPs traveling from the plant in Prague to Portland Oregon, to the consolidator in Philadelphia Pennsylvania, and then back to Europe, your LPs ship from our friends at DeeJayDead in Germany. This means your LPs will not be signed on the back by Sam. If you want your LP signed, I can ship from the USA, which will mean more expensive shipping & handling charges. You will confirm your preference in October, when the LPs are getting ready to ship.
☆ Other international packages ship via consolidator from Philadelphia with the best shipping & handling rates we can get in the USA.
6️⃣ TIME FRAME — CDs & MiniDiscs ship in October, vinyl in January. By now you’ve heard about vinyl delays worldwide. Even though LPs are *scheduled* to ship from Prague in early November, I’ve built in a 2-month buffer just in case (November ➡ January). Premiums with CD + LP ship together when LPs arrive.
This is my 17th Kickstarter; it’s how I fund my releases in the modern version of the music industry. Crowdfunding is a wonderful connection I make with people who love my art. I enjoy chatting and hearing your experiences with the music. So often, I’m told my albums were there for you at a tough time in life. A breakup, a death, a personal crisis; it’s rewarding to know the sounds I created for my own emotional reasons were helpful when you needed them.
I appreciate the connection this makes with people who love my work — your generosity flows to my campaign which gives me the freedom to manufacture these beautiful reissues. I love the way this circle connects and the art grows because of it. Thanks! Sam
Risks and challenges
I’ve run 16 Kickstarters; all successfully funded with all premiums fulfilled. I’ve run the Projekt label and webstore for 40 years; I’m experienced following through on projects, boxing things up and getting them into the mail. I have a long history meeting budgets on over 410 releases including complex limited editions. I foresee no delays in meeting the fulfillment deadline, aside from possible unexpected delays at the vinyl plant. Vinyl production times are much more predictable after years of growing worldwide demand and limited production capacity. But you never can be sure, so I have a bit of a buffer in the schedule for that. I value your enthusiasm for the music I’ve created over the past 40+ years. Thanks for making this release a reality. Thanks so much for supporting my art.
To give you that chance to get updated with your music collection, we’re doing a Summer Sale on most of our bandcamp shops. 20% off of any digital or hard copy (or use it as an extra discount if you want to buy the full digital discography).
Code : Summertime2023 Valid through August 31st, 2023 or while stock lasts.
This incredible reissue of VIDNA OBMANA’s swansong : a trilogy of albums inspired by Dante Alighieri’s Inferno poems which originally was released on the legendary metal label RELAPSE RECORDS / RELEASE ENTERTAINMENT got the ZOHARUM treatment with this fine reissue, fully remastered and with the breathtaking photography by Martina Verhoeven. Belgium’ SIDE-LINE magazine just reviewed this 3 CD set and gave it a 8/10 rating ! Get your copy here.
Background/Info: Polish Zoharum label moves on re-releasing albums from Vidna Obmana’s back catalog. Belgian artist Dirk Serries started this legendary project in the 80s and the “Dante Trilogy” belongs to the latest productions of the project. “Tremor” 2001), “Spore” (2002) and “Legacy” (2002) were originally released as separate albums by Relapse Records. Zoharum brings this trilogy now together in a massive, single, and remastered, work.
Content: There clearly is a connection between the 3 records. The albums can be described as an offspring between Dark-Ambient and Cinematic music with Tribal rhythms on top. Serries mixed electronics together with real instruments like overtune flutes, percussion, guitar, ebow harmonics, dreampipe ao. Several guest artists also contributed to a few tracks on the different albums. One of the most renowned artists was Marc Verhaeghen (The Klinik) who played trumpet on a song featured at “Spore”.
+ + + : This trilogy remains to me the most accessible and best work ever composed by Vidna Obmana. The artist composed a very unique sound experience which you can’t compare to any other artist. He brought genres together creating his own style and sound DNA. The slow rhythms definitely inject something special while the mysterious atmospheres created by overtone flutes were just like the red line throughout this trilogy. Sometimes anguishing and characterized by a strongly inhibited approach this work still sounds accurate today. It’s really great to see this trilogy being released as one album featuring a great, artistic, digipak. Zoharum did a great work on this.
– – – : The single reproach I would make is the rather repetitive and predictable sound which comes true after a while.
Conclusion: Back to the mysterious sound of Vidna Obmana which found its apotheosis by this magic, conceptual, trilogy.
Best songs: “Mindtunnel”, “The Seeker And The Spell” + Skin Strip”, “Beyond The Shaman”, “Resonant Gore” + “Bloodshift”.
DIRK SERRIES will do a last-minute added SOLO AMBIENT concert at the STRUPPIGTANZEN concert event series (KAW/Kulturausbesserungswerk) in Leverkusen, (Germany) on June 30th, 2023.
The extraordinary Polish webzine, from the mind of Andrzej Nowak, just wrote a beautiful article on DIRK SERRIES recent albums : two solo’s : FLUCTUATION OF BEING and NOCTURNAL DISCORD, and his collaboration with JUSTIN K BROADRICK : LOUD AS GIANTS.
Dirk Serries! Back to the dark!
Belgijskiego artystę Dirka Serriesa uwielbiamy na tych łamach niezwykle intensywnie, zarówno jako swobodnie improwizującego gitarzystę (akustycznego i elektrycznego), jak i szefa fantastycznego impro labelu A New Wave Of Jazz. Tego samego muzyka po prostu kochamy, gdy dźwiękami swojej gitary zabiera nas w bezmiar mrocznego ambientu, który jak zawsze nie ma początku, ani tym bardziej zakończenia.
Z ogromną radością donosimy, iż w ostatnich tygodniach ukazały się aż trzy albumy Serriesa w ambientowej estetyce – dwa w pełni solowe, choć każdy powstały w innych realiach producenckich oraz jedno poczynione w duecie ze starym kumplem, z którym muzykował onegdaj choćby pod wspaniałym szyldem Fear Falls Burning.
Ladies and gentlemen, Dirk Serries in dark zone! Welcome!
Dirk Serries Fluctuation Of Being (Midira Records, CD 2023). Nagrane w różnych okolicznościach, 2019 – 2022: Dirk Serries – gitara elektryczna i efekty. Pięć utworów, 55 minut.
Fluktuacja bytu, to niemal klasyczna pozycja w dark ambientowym portfolio Belga. Gitarowe pasaże od lewej do prawej, od nieistniejących narodzin do zapomnianego bezkońca. Nagrania powstałe w trakcie czterech lat brzmią bliźniaczo, pięknie kołyszą nas egzystencjalną trwogą i wszechobecnym smutkiem. Tytuły utworów pełne są niemal metafizycznej pustki, zapewne obrazują dźwiękiem czasy covidowej beznadziei. Piękny album wprost do galerii wzorca gatunku!
Pierwsza z pięciu kilkunastominutowych ekspozycji zdaje się płynąć strumieniem o umiarkowanie mrocznej proweniencji. Budują ją pasma brzmiące czystym ambientem, ale także strugi bardziej zabrudzonych fonii. Całość sprawia wrażenie bardziej tęsknej niż konającej w trwodze nieskończoności. Raz po raz flow zdobiony jest bardziej masywnymi, basowymi pasmami, które brzmią dość syntetycznie. Narracja z czasem rozlewa się coraz szerszym korytem, nie szczędząc nam emocji. Druga opowieść brzmi niemal polisyntetycznie, bardziej wszakże relaksacyjnie, z głęboko skrywaną melodyką rezygnacji. Kolejna narracja wydaje się lżejsza, kreowana z większą swobodą, ale uformowana w dość płaskie pasmo. Czwarta opowieść płynie zarówno bardzo łagodnym strumieniem, jak i basowym kontrapunktem. Z czasem nabiera pewnej śpiewności, budując klimat mniej ponury, jakby na horyzoncie pojawiało się mgliste światełko nadziei. Finałowa historia pięknie wieńczy dzieło. Przypomina leniwy strumień, który nabiera mocy i zamienia się w rwący, emocjonalny potok dźwięków. Znamiona silnie mrocznego nosi tylko jeden z wielu wątków tej niekończącej się opowieści.
Dirk Serries Nocturnal Discord (Cloudchamber Records, Kaseta/DL 2023). Nagrane w czasie rzeczywistym, studio domowe, styczeń 2023: Dirk Serries – gitara elektryczna i efekty. Pięć utworów, 49 minut.
Druga z solowych nowości gitarzysty powstała w czasie rzeczywistym, z czego wnosić można, iż jest realnym zapisem procesu twórczego bez specjalnych ingerencji post-produkcyjnych. Nagrana na raz i udostępniona w formie pięciu improwizacji, budowanych surowym brzmieniem gitary elektrycznej, szumem gitarowych pick-upów, nasączona brudem analogowej metody realizacji. Nowy, ciekawy wątek w twórczości muzyka, silniej osadzony w żywych dźwiękach, poniekąd nawiązujący do gitarowego projektu życia artysty, czyli Fear Falls Burning. Płyta wszakże zdaje się mieć nieco punkowy anturaż, jest chropowata, jakby klejona taśmą malarską, nie zwiewnością elektronicznych obróbek, daleka od ambientowej płynności i dramaturgicznej zwinności typowej dla gatunku.
Nocturnal Discord budowany jest na ogół metodami dość minimalistycznymi. Gitara pracuje tu częściej krótkimi frazami niż dźwiękowymi plamami typowymi dla ambientu. Wokół niej wszystko zdaje się szumieć i skwierczeć naturalną analogowością. Narracja incydentalnie potrafi zgęstnieć, ale też niemal momentalnie rozmyć się w chmurze szumu. Ów czerstwy post-ambient ma, co do zasady, powolne tempo, porusza się niemal ceremonialne. W kolejnych opowieściach gitara żyje pełnymi emocjami – czasami przypomina niedostrojone organy, czasami moduluje dźwięk, czasami fałszuje niczym pijany wokalista lokalnego bandu. W trzeciej części narracja wydaje się wyjątkowo rwana, niebywale nerwowa jak na kanony ambientu. Dużej w niej szorstkich, męskich zapachów i siermiężnej subtelności. W czwartej opowieści przywołane wyżej charakterystyki zdają się nasilać. Całość przypomina elegię na śmierć ambientu. Finałowa opowieść znów brzmi organowo, tworzą ją mgławice dźwiękowych plam z wolna umierającej gitary.
Loud As Giants Empty Homes (Consouling Sounds, CD 2023). Czas i miejsce akcji nieznane (jakkolwiek pandemiczne): Justin K. Broadrick oraz Dirk Serries – wszystkie instrumenty, żywe i syntetyczne. Cztery utwory, 45 minut.
Jeśli we współczesnym dorobku artystycznym Serriesa mielibyśmy szukać pozycji o największym potencjale … komercyjnym, to popełnilibyśmy błąd najmniejszy wskazując na nagranie Empty Homes! Oczywiście mamy tu gitarowe, niekiedy post-rockowe frazowanie zanurzone w oceanie gęstego ambientu, ale każda z narracji doprawiona jest perkusyjnym beatem, który nie rzadko nabiera syntetycznych barw i haczy o niebanalne electro, tudzież estetykę drum’n’bass. Album dostarcza naprawdę dużo wrażeń, choć całość dramaturgicznie i narracyjnie wydaje się być dość łatwo przyswajalna, nawet dla nieobytego w mrokach ambientu odbiorcy.
Początek każdego z utworów zdaje się być typowy dla gitarowego ambientu, aczkolwiek brzmienie bywa tu gęste, chwilami wręcz ciężkie. W pierwszej odsłonie, po rzeczonym wstępie, perkusja zaczyna bić prosty rytm, czyniąc ambientową introdukcję elementem rockowej piosenki, szczególnie, gdy frazowanie gitary na froncie robi się nad wyraz spokojne. Dodajmy, iż brzmienie duetu jest dość niechlujnie, brudne, ale całkiem ożywcze. W kolejnej opowieści mamy podobny schemat, ale rozwinięcie wątku gitarowego idzie tu w masę i brzmi niczym klasyczne riffy Black Sabbath. Całość niesiona jest pasmem basowym o zdecydowanie syntetycznym brzmieniu. W trzeciej części ambient otwarcia wydaje się bardziej mglisty, z kolei gitarowy wątek główny przypomina nasączone silnym echem produkcje Cocteau Twins, odgrywane wszakże tuż przed nuklearnym atakiem wroga. Beat utworu dość szybko przyobleka tu szaty drum’n’bass. W ostatnim utworze szyk narracji kreuje elektroniczny beat, niczym perkusyjna stopa na bębnie basowym. Gitara wydaje się tu wyjątkowo rozkołysana, na poły post-rockowa, na poły ambientowa.
Chile’s LOOP MAGAZINE just published a brand-new interview with DIRK SERRIES about his recent solo album FLUCTUATION OF BEING on MIDIRA RECORDS.
In the early 80s the Belgian composer Dirk Serries began to work in the industrial scene with the alias of Vidna Obmana with whom he released more than 140 solo albums and in collaboration with other artists such as Steve Roach, San Rosenthal, David Lee Myers, Asmus Tietchens, Steven R. Smith, Aidan Baker, Celer, Scatterwound to name a few.
In 2005, Serries decided to finish with Vidna Obmana, while he had other projects like The Fear Falls Burning and Microphonics, the latter is still active. In addition to playing with several bands. Meanwhile he founded several labels such as Mechanical Orchestration Music in which he released the music of Vidna Obmana. In recent years he has developed a great interest in free-jazz and improvisational music, founding the A New Wave Of Jazz label.
Serries is a multifaceted musician who works both with metal and post-metal, as well as free improvisation, avant-garde jazz and ambient music under his name, with which he has just released the album “Fluctuation Of Being” (Midira Records, 2023), an album that features long guitar drones that float in a sea of uplifting tonalities. On the occasion of this new album, this interview is carried out.
Thanks go to Ed Benndorf, from the Berlin distributor Dense, for arranging this interview and to Dirk Serries for sharing his experience.
You work in a wide spectrum of music. Can you tell us what you find and appreciate in ambient music and free-jazz/improvisation?
“Almost from day one when I started to experiment with sound in the early eighties my goal was to look forward, to learn and grow as a musician and a human being. So, I never shied away from pushing myself and trying different combinations, genres and even instruments. Apart from a brief industrial phase in my early existence as a musician, I got extremely fascinated by ambient music and I still am. Over those past 3 decades I was able to fine-tune my own style in this genre, over the course working with synths and computers till purifying my sound to work solely with an electric guitar and a few pedals. Although I’m not that intensely active any more, the focus lies way more on the free improvisation nowadays, ambient music is what I breath and it’s actually thanks to being involved in the free improv scene I managed to apply a working method for my ambient music that is equally on the spot and surprising than any of the improvised music I do. It still is course a different music style so naturally it requires different playing techniques but both sides of the spectrum I just love to be in.”
What do you mean when you say “vintage ambient music”?
“The term is a wink to the old-school ambient scene in which I was active in the late eighties till the late nineties. Much changed over time, going from outboard hardware instruments like synths, sequencers, mutli-track recording on tape, analog mixing desks to the younger generation that works solely on a laptop computer. I am happy that I was able to perform a technique for myself that still resembles the style of ambient music I created with Vidna Obmana while trimming down the set-up to just one Carefully selected electric guitar and a handful of pedals. The way of playing, layering the tonalities and having them shift slowly over time is just that what I did with Vidna Obmana on synths and all the tools in my studio. Therefore, the reference to the vintage style of playing the ambience”
What do you like to explore with your side-projects Fear Falls Burning and Microphonics?
“Microphonics is definitely a closed book but with Fear Falls Burning ideas are forming to do another record and it surely will be the ‘band’ approach again. Hopefully I’ll be able to record some material over the course of this Summer.”
Which bands/labels/music magazines would you highlight from the early 80s?
“There are plenty as the eighties were just such an inspiring and creative period. To highlight a few musicians and bands: Giancarlo Toniutti, Joy Division, Test Department, early The Cure, Maurizio Bianchi, Chris & Cosey and even early Simple Minds. Labels like Factory, Broken Flag, RRRecords, Sub Rosa, Staalplaat and Projekt.”
Which were the sources of inspiration for the making of your latest “Fluctuation Of Being” album?
“Being here and now. I mean, despite still a lot of people will probably deny or refuse to accept it, we are living in an intense period and already for a long time. Absolutely don’t want to go politically here but the pressure ‘On us, all the impulses we’ve to digest is just sometimes too much to handle and makes you shift your life almost constantly. This album is just about that, the constant twists of the mind under impulse of daily life.’”
On Fear Falls Burning’s Bandcamp page you pointed out “a musical meditation on purity and subdued power” What does it mean?
“Wow, that’s a long time since I read that definition but back then after completing the Vidna Obmana story I really wanted to pursue something different. Fear Falls Burning still has connotations to what I did previously but the approach was different, less studio-oriented but real-time guitar manipulations through a vast array of pedal effects. The focus was on playing simple motives on the guitar while the effects brought everything into play and constructed the full guitar soundscape. Fear Falls Burning was way more powerful than Vidna Obmana ever was, louder and more intense but at the same time it was about the detailed research in what the electric guitar could produce, from the tiniest sounds to the full-on wash of tones. That said, Fear Falls Burning slowly over time, due to My ongoing urge to experiment, turned into a band project that features several key players from the metal, post-metal and free improv. scene. More to come for sure.”
What would you highlight the most from these 30 years dedicated to music?
“It’s difficult to pick one but generally seen I’m most proud of how I have been able to create my own identity while maintaining my independency. Nothing is original but in this all you can still work and make the efforts to realize your own voice and this is what I’ve done from day one. Of course, I always have been ambitious to share my music with as many listeners possible, this is something you decide upon when you start releasing your work but never, I wanted to follow the straight path and rely on a particular success. The number surely dropped when the highly successful cd retail collapsed in the late nineties, due to the arrival of streaming, but luckily there’s still a dedicated audience adventurous enough to follow me on this journey of constant exploration. And the fact that I’ve been able to work together with such talented international musicians, through various genres, while others seem to follow that and be inspired by, confirms that I probably am doing some interesting stuff. From my solo work, the free improv band KODIAN TRIO (with Colin Webster and Andrew Lisle) to the culmination of all YODOK III (with Tomas Järmyr and Kristoffer Lo).”
Guillermo Escudero
May 2023
Buy FLUCTUATION OF BEING here. Visit the MIDIRA RECORDS website here.
DIRK SERRIES, in promotion of the LOUD AS GIANTS’ EMPTY HOMES album, has been doing several interviews as well these (video) podcasts. Some of them brief, another lengthy and very detailed on lots that has been part of Dirk Serries’ 3 decades plus repetoire.
Last Thursday LOUD AS GIANTS (JUSTIN K BROADRICK and DIRK SERRIES) premiered their debut album EMPTY HOMES (Consouling Sounds) live at the annual Belgian DUNK! Festival. It was a blast. Check out a few photos…
dirkserries.com 