VA - Pop Ambient ..

D e B T i s S l a V 3 r Y S T u P i D
DuBi0uSlY EnDoWs YoU WiTh
VA-Pop_Ambient_2011-2011-DeBT_iNT
ARTiST.... VA
TiTLE..... Pop Ambient 2011
LABEL..... Kompakt Germany
GENRE..... Ambient
RiP.DATE.. 2011-05-14
STOREDATE. 2011-01-31
SOURCE.... CD
QUALiTY... 230 kbps / 4410kHz / Joint Stereo
TRACKS.... 12 / 69:04
SIZE...... 120.13 MB
RIPPER.... EAC Secure with LAME 3.98.4
URL.......
NR. TRACKNAME TiME
1 ANBB Alva Noto & Blixa Bargeld - 4:50
Bernsteinzimmer
2 Marsen Jules - Once in a Moment 6:57
3 Triola - Dunkelraum 5:33
4 Wolfgang Voigt - Ruckverzauberung 1 4:49
5 Bhutan Tiger Rescue - Beginner's Waltz 7:28
6 Jurgen Paape - Ein Schoner Land 5:10
7 Bvdub - Make the Pain Go Away 5:54
8 Crato - 30.6.1881 5:56
9 Barnt - Libretto 5:17
10 Mikkel Metal - The Other Side pf You 4:31
11 Jens-Uwe Beyer - Volax 4:31
12 Thomas Fehlmann - Titan 8:08
TOTAL TiME: 69:04 MIN
TOTAL SIZE: 120.13 MB
RELEASE NOTES
Even though it's rooted in stasis, ambient music
is always evolving. The German label Kompakt, an
authority in the field, has driven both its
evolution and the entrenchment of certain habits
in the last decade. Label co-founder Wolfgang
Voigt's ambient techno with Gas and other
projects inspired a generation of frank
imitators, even as his label's Pop Ambient
compilations have pushed the limits of what
ambient can entail. The term has picked up such
varied connotations since Brian Eno coined it
that it's become hard to define clearly. As
usual, this year's Pop Ambient entry is an
opportunity to take the temperature of what
ambient means right now.
Pop Ambient 2011 does suggest some common
properties of modern ambient music. It assumes an
air of immutability-- then, it changes. It
features cyclical phrases, layered drones,
sculptural textures, and flashes of traditional
instrumentation. It avoids crisp delineation of
sections, obscuring its internal dynamics to
create a sense of traveling without moving. It
has more in common with abstract visual art than
other music-- it calls attention to its materials
and features enigmatic subjects, like the scraped
and peeled paint fields of Gerhard Richter, the
colored light sculptures of Dan Flavin, and
especially the monumental land art of Robert
Smithson. Ambient insists that music is already
latent in the raw terrain of sound.
But Pop Ambient 2011 provides exceptions to every
rule. "Bernsteinzimmer" by ANBB (that's Alva Noto
and Blixa Bargeld) conveys an abstracted but
palpable narrative via harmonic development and
whispers that suddenly break into an
authoritative voice. Against the notion that
ambient music is sonic wallpaper, it shockingly
commandeers the foreground. Triola's "Dunkelraum"
also taps into the current vogue for submerged
voices, but otherwise is merely an inert bed of
tone and texture that represents ambient music at
its most pro forma.
Mikkel Metal and Bhutan Tiger Rescue take the
"pop" part to heart. The former's "The Other Side
Of You" places dreamy piano and drums amid a
radiant synthetic sunburst. The latter's
"Beginner's Waltz" is built around three lustrous
tones that sway endlessly, splashed with sleigh
bells and ethereal harmonies. Here, ambient music
is something superficial; a haze gathering around
repetitive tunes. That's not a ringing
endorsement, but it's hard to get mad at pretty
songs for conceptual reasons, and the Bhutan
Tiger Rescue track has an especially memorable
mood. At the other extreme, Crato conceives of
ambient as something closer to noise or
drone-metal: "30.6.1881" is a grayscale dirge
midway between Infinite Body and Svarte Greiner,
spooky but rote.
But the most fertile influence on this year's
comp is classical music. Voigt offers orchestral
halos that wax and wane majestically, like an
overdubbed Arvo P?rt symphony. Marsen Jules
splices Glassian piano minimalism with a coiled,
pouncing filter odyssey, and the Orb's Thomas
Fehlmann creates a "cover" of Mahler's First.
Best of all is label co-founder J
rgen Paape's
huge, swooping "Ein Sch?ner Land". Like Voigt's
offering, it has more false endings than a James
Brown song, and a dramatic sense of tension and
release. Its shapes are stalwart and high-relief.
Nothing feels vague or accidental. These are bona
fide compositions, relying on traditional
building blocks like tonality, counterpoint, and
motivic development instead of the haphazard
interaction of shimmering tones-- a style that
some of Kompakt's artists seem content with, even
as the founders who enshrined it keep pushing
forward.
QUOTES
Even Castles made of sand, fall into the sea,
eventually.
-- Jimi Hendrix
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