Oct 22, 2017

Sundaze 1743

Hello, The F1 circus is in Austin Texas this weekend on a great designed race track, it is Hamilton who was fastest, once again a pole for him. Verstappen was faster then Vettel until the final corner when he lost full control and ended up 6th with a 15 place grid penalty his will be a race of overtaking if he gets beyond the first lap unscaved. Vettel 2nd then and the start will be interesting. Behind Bottas, Ricciardo and Raikonen will gard their teams interest.

Vidna Obmana is a pseudonym used by Belgian composer and ambient musician Dirk Serries. The name Vidna Obmana, a phrase in Serbian, literally translates to "optical illusion" and was chosen by Serries because he felt it accurately described the music. Obmana's music has often been characterized as anamorphic and organic. He uses the techniques of looping and shaping harmonies, minimizing the configurations to a few notes.....N'Joy

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Belgian producer Dirk Serries, aka Vidna Obmana, is a prolific composer of deep ambient and electro-acoustic music, utilizing slow, shifting electronic figures and sparse environmental recordings to construct long, minimalist, often extremely personal textural works. Taking his nom de plume from the Yugoslavian for "optical illusion" (a concept which carries much weight in his composing, as well), Serries has released material through a wide range of different labels, including Projekt, Amplexus, Extreme, Hic Sunt Leones, Syrenia, ND, and Multimood. Born and raised in Antwerp, Serries began recording experimental noise musics in the late '80s, working solo and in combination with artists such as PBK, exploring the more abrasive side of electronic composition. Beginning with the release in 1990 of Shadowing in Sorrow, however, (the first part of what would come to be known as Vidna's ambient Trilogy) Serries began moving toward an almost isolationist ambient aesthetic, exploring themes of calm, solitude, grief, and introspection in long, moving pieces which tended to chart similar ground as American space music artists such as Robert Rich, Michael Stearns, and Steve Roach (Serries has since collaborated with both Rich and Roach). The first two movements of the Trilogy -- Sorrow, as well as its follow-up Passage in Beauty -- were self-released by Serries in 1990 and 1991, with the third volume, Ending Mirag, appearing the following year on the American ND label. The album was praised as some of the finest post-classical experimental electronic music of its time, and the Stateside connection finally opened his music up to an American audience, leading also to his association with Sam Rosenthal's Projekt label (the entire Trilogy was finally reissued by Projekt sister label Relic as a boxed set in 1996, with several new Vidna releases also appearing in the interim).

Although his textural recordings form the core of his output to date, Serries' more recent solo and collaborative works (such as The Transcending Quest, Echoing Delight, and The Spiritual Bonding) have also found him pushing the minimalism of his earlier works into the Fourth World territories of artists such as Jorge Reyes, Michael Stearns, and Jon Hassell, setting lush, dreamy soundscapes in a larger, more engaging rhythmic framework (usually with contributions from percussionists Djen Ajakan Shean and Steve Roach). Still, as many compilations and retrospectives of his earlier or unreleased work have appeared in recent times so as to confuse somewhat the trajectory of his development, which at any rate seems to trade more or less equally between the freeform conceptual landscapes of his earlier Projekt, Relic, and ND works and the more structured interactivity of the Extreme and Amplexus releases. Collaborations have also increasingly occupied Serries' time, with full-length works with Steve Roach (Well of Souls, The Spiritual Bonding), Robert Rich (The Spiritual Bonding), Asmus Tietchens (a self-titled collaboration for Syrenia), Sam Rosenthal (Terrace Of Memories), and Djen Ajakan Shean (Parallel Flaming) appearing all within the space of only a few years. Both Landscape in Obscurity and The Shape of Solitude followed in 1999, and in the spring of 2000 Obmana returned with Echo Passage and Surreal Sanctuary. Subterranean Collective was issued the following year.

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A master of techno tribal rhythms and dense harmonic soundscapes, Vidna Obmana has crafted all kinds of works. With his 2001 release, Tremor, Vidna Obmana has crafted a series of 11 dense and rhythmically charged musical tapestries. Fans will be glad that this isn't much of a departure from his previous works, but, at the same time, this really speaks well of his work as an artist. The great thing about Vidna Obmana's work is that, no matter what kind is being done, it always sounds like his own. With Tremor, he explores more of the dark and moody side, but it doesn't deviate too far away from his normal sound, which is great because it remains representative of Vidna Obmana's work while at the same time being new and fresh. Tremor is an excellent recording that can be enjoyed by longtime fans and those that are unfamiliar alike. As well, this Release recording is a recommended starting point for anybody not familiar with Vidna Obmana.

Vidna Obmana - Tremor (flac 334mb)

01 Moedra 4:28
02 Flesh Reaper 7:30
03 MindTunnel 6:55
04 The Insane Brightness 5:33
05 Luminous Progression 7:31
06 Artificial Repose 7:15
07 The Seeker And The Spell 7:24
08 Simulate 8:10
09 Tremor 8:10
10 The Bleak Inferno 3:06
11 Descent 7:00

Vidna Obmana - Tremor  (ogg 186mb)

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There are some e-music collaborations that are just meant to be. The collaboration between Vidna Obmana and Brannan Lane is such a collaboration. Deep Unknown is a set of foggy tribal expansive atmospheres. Brannan’s space minimalism and Vidna’s electro-tribal soundworlds blend smoothly and neatly into a somber, almost destitute soundscape. Deep Unknown is a set of foggy tribal expansive atmospheres. Brannan's space minimalism and Dirk's electro-tribal soundworlds blend smoothly and neatly into a somber, almost destitute soundscape. This album is about isolation and the limited benefits of that emotional defense mechanism. The benefits are the perceptions of freedom, self-importance and egotistical introspection. The dangers of isolation are clear. The biggest danger is listening to one's own interpretation of the inner self. So the low-key soundscape plays to the angst of isolation too. These expert sound designers have built a massive soundworld for isolation.

Vidna Obmana & Brannan Lane - Deep Unknown (flac  380mb)

01 Unfamiliar Territory 8:38
02 Dark Decent 10:47
03 Points Of Light 1 8:04
04 Points Of Light 2 6:57
05 Deep Unknown 1 10:22
06 Deep Unknown 2 10:45
07 Deep Unknown 3 12:52

Vidna Obmana & Brannan Lane - Deep Unknown  (ogg  165mb)

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Spore is the second disc in Vidna Obmana's (Dirk Serries) trilogy based on Dante's Inferno. This is also quite a departure for Serries. He uses quite an array of eclectic devices to create this experimental -- almost avant-garde -- album. The most interesting sounds are from the overtone flutes and fujaras. Serries has commented that this is not an ambient album. That is correct. This album is interesting enough to be the focus of deep listening. It is not innocuous enough to be ignored as background music. It demands attention. The rhythms and atmospheres complement each other smoothly. The experimental sounds are neither dominant nor dominated. This disc is certainly electronic, definitely experimental, and decidedly Vidna Obmana.

Vidna Obmana - Spore (flac  493mb)

01 Through The Collective Pain 3:37
02 The Humanity Underneath 7:25
03 Skin Strip 8:46
04 Duality Of Passion 5:38
05 Beyond The Shaman 5:57
06 The Nihilist 7:48
07 Creep - Isolation Trip 11:12
08 Spore 5:35
09 Resonant Gore 17:38
Vidna Obmana - Spore  (ogg  188mb)

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When an album clocks in at close to 75 minutes and is a mere eight songs, one gets the impression that the artist is in no hurry to make his mark. But this album is the final part of the musician's "Dante Trilogy" so it does seem logical to be so epic. Vidna Obmana begins this odyssey with "Canto," which is more in line with a dark country dirge that David Allan Coe might have performed in his heyday. The album shifts gears with an industrial-meets-ambient "Bloodshift," something Trent Reznor might pull off but few others. Dark and mysterious, Vidna Obmana lets the almost hypnotic groove settle in before adding layers of subtle yet important noise. The song comes down near the homestretch, bringing to mind brief moments of Pink Floyd's "Echoes." The ensuing "Torment and Resolution" evolves a bit quicker and creates instant tension as sounds roll over each other above a drumbeat that slowly creeps in. But unlike the previous song, there is initially something bubbling under the surface that never breaks through. Unfortunately, it results in more atmosphere than substance, resembling "Frankie's House" by Jeff Beck at times. "Sinner's Tongue" is more electro-centric in the early portions, recalling the start of perhaps a great Depeche Mode or Moby number. The centerpiece is the lengthy "The Virtual Insomnia," a 13-minute song which starts off promising as the electro-ambient tone gives way to a dominant percussion. Unfortunately it takes much too long to get off the ground and comes across as a spoiled or missed opportunity. It tends to take off around the nine-minute mark like a Radiohead instrumental, but it's too little too late. "Impious Rising" tends to stand out more for its grander, fuller sound with Vidna Obmana getting to the point far quicker than on other songs. It works thanks to its orchestral touch, not just relying on textures and haunting noises. The title track seems fitting and is the first noticeable bit of guitar, something that is sorely lacking overall. It's a decent album but only for die-hard dark ambient fans.

Vidna Obmana - Legacy  (flac 460mb)

01 Canto 2:45
02 Bloodshift 7:05
03 Torment And Resolution 11:56
04 Sinner's Tongue 7:33
05 The Virtual Insomnia 13:06
06 Cycle Of Agony 8:55
07 Impious Rising 11:43
08 Legacy 10:54

 Vidna Obmana - Legacy   (ogg  178mb )

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