PBK & Vidna Obmana - Depression And Ideal
Label:
Catalog#:
none
Format:
6 x File, MP3, 320 kbps
Country:
US
Released:
11 Oct 2008
Genre:
Electronic
Style:
Ambient
Tracklist
| 1 | Synthesis Of The Ideal | |||
| 2 | Crystalline Silence | |||
| 3 | Aftermath Vision | |||
| 4 | Allure And Dynamic | |||
| 5 | White On White | |||
| 6 | Everybody Afterwards |
Credits
Notes
PBK:
"Dirk Serries, aka Vidna Obmana, contacted me in 1988 after hearing my "Die Brucke" and "Asesino" cassette releases. Each album included some of my ambient music, which he took note of, and invited me to submit some tracks to an ambient music comp. he was producing for his label, The Decade Collection. We traded sound-sources via mail and he quickly released the collaborative cassette, "Monument Of Empty Colours", which has since been reissued on CD by the Projekt label. By the time I met Serries in-person when he visited the U.S. the next year, he had turned away from his past "power electronics" approach for good and had now become completely immersed in ambient music. We performed concerts together in the San Francisco Bay area and he spent a week working in my home studio on his first solo album in the new style.
Every electronic musician knows that their own instrumental configuration is personal and results in a unique sound, but Serries returned to Belgium and later informed me that he had purchased a number of the instruments he'd used in my studio and was now using a system I had taught him to create his own music. Even though I felt ripped off, I was driven to find a way to reconfigure my studio and bring a new dimension to my music, even if it meant a complete change of direction. I finished using the Vidna Obmana source material I had and released my own tape, titled "Depression And Ideal". As much as I liked the results of this collaboration, the project never gained any momentum. Serries didn't seem to like it much, which was largely the reason I didn't promote it, even though I remember it receiving good reviews.
The original recording was on metal cassette and here I've edited and re-mastered these compositions to a much more detailed sound. Quite different from Vidna Obmana's solo work, these are like large abstract paintings with masses of slow moving sounds, fluxing waves of electrons, and an industrial edge that Serries' own work seems to have intentionally forgone. Good for late-night listening and best listened to loudly where the waves of textures are very powerful."
"Dirk Serries, aka Vidna Obmana, contacted me in 1988 after hearing my "Die Brucke" and "Asesino" cassette releases. Each album included some of my ambient music, which he took note of, and invited me to submit some tracks to an ambient music comp. he was producing for his label, The Decade Collection. We traded sound-sources via mail and he quickly released the collaborative cassette, "Monument Of Empty Colours", which has since been reissued on CD by the Projekt label. By the time I met Serries in-person when he visited the U.S. the next year, he had turned away from his past "power electronics" approach for good and had now become completely immersed in ambient music. We performed concerts together in the San Francisco Bay area and he spent a week working in my home studio on his first solo album in the new style.
Every electronic musician knows that their own instrumental configuration is personal and results in a unique sound, but Serries returned to Belgium and later informed me that he had purchased a number of the instruments he'd used in my studio and was now using a system I had taught him to create his own music. Even though I felt ripped off, I was driven to find a way to reconfigure my studio and bring a new dimension to my music, even if it meant a complete change of direction. I finished using the Vidna Obmana source material I had and released my own tape, titled "Depression And Ideal". As much as I liked the results of this collaboration, the project never gained any momentum. Serries didn't seem to like it much, which was largely the reason I didn't promote it, even though I remember it receiving good reviews.
The original recording was on metal cassette and here I've edited and re-mastered these compositions to a much more detailed sound. Quite different from Vidna Obmana's solo work, these are like large abstract paintings with masses of slow moving sounds, fluxing waves of electrons, and an industrial edge that Serries' own work seems to have intentionally forgone. Good for late-night listening and best listened to loudly where the waves of textures are very powerful."