Hello, being part of the media (in a minuscule way) i feel i have to reassure my visitors that this site is Corona virus free, i rarely see a visitor from China here anyway. The media such a bunch of nincompoops Panic! Don't Panic it's dad's army all over again. Many more die of the 'regular' flue. Meanwhile US Republicans have become a fascist party, it could become very very nasty if the Democrats fail to defeat Trump in November. Meanwhile those brexit Brits proclaim they entered heaven and everywhere will come up roses, oh dear i foresee the 'downstairs' minded brits finally grasp their 'upstairs' lords and ladies tricked them once again, in delivering their lives into heir hands.Oh yes that's what you get when you let demons like Murdoch spew his bile.. meanwhile giant grasshoppers eat their way through the horn of Africa, this really could become yet another disaster that befalls the region, many millions see their food turn into fat grasshoppers..and yes there's also some potential big business in it too.
Today's artist is is a German ambient drone. While the early releases of the early 80s (almost exclusively released on cassette) were characterized by droning singing bowls, tambouras, zithers and natural sounds, these natural sound sources were combined more and more delicately on the late works, so that the sound source itself can no longer be identified was. The result was a deep, dronic sound current. If you listen closely, you will discover the incredible complexity that swells up and down and gives the sounds something organic. Each album was under a spiritual (often Sufic) motto and probably opened a corresponding door in open-minded listeners to touch or awaken that emotional level. Do listen to this guy, whose music, while hardly including a single word, has so much more to say to us than words, no matter their number, could ever communicate. .......N-Joy
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Klaus Wiese (January 18, 1942 – January 27, 2009 in Ulm) was a veteran e-musician, minimalist, and multi-instrumentalist. A master of the Tibetan singing bowl, he created an extensive series of album releases using them. Wiese also used the human voice, the zither, Persian stringed instruments, chimes, and other exotic instruments in his music. Wiese is considered by some as one of the great ambient or space music artists such as Robert Rich, Steve Roach, Michael Stearns, Constance Demby, and Jonn Serrie. His musical style is much more appropriately compared to the organic soundscapes of drone and dark ambient music, such as Oöphoi, Alio Die, Mathias Grassow, and Tau Ceti.
He was briefly a member of the krautrock band Popol Vuh in the early 1970s where he played tamboura on the albums Hosianna Mantra and Seligpreisung. Eventually Wiese would move away from krautrock to his own version of long tone ambient music by the 1980s. In the 1990s he founded the Nono Orchestra to play the giant sheetmetal instruments of Robert Rutman. His music has regularly been featured on nationally syndicated radio programs such as Hearts of Space and Star's End.
Wiese is known also for his collaborations with Al Gromer Khan, Mathias Grassow, Oöphoi, Tau Ceti, Saam Schlamminger, and Ted de Jong. He collaborated with Deuter on his Silence is the Answer album in 1980 and East of the Full Moon in 2005. Outrageously, twenty-four albums of material were released in 2004 alone. He traveled the East for many years studying Sufism and Mysticism which clearly influenced his spiritual, ambient music. Klaus Wiese died on 27 January 2009 at the age of 67. "It wasn't obvious he was sick and he was not suffering from any known illness. He died unexpectedly during the night."
Wieses approach to ambient music is based on the minimalist tradition of composers such as John Cage, Steve Reich and Philip Glass; The greatest similarities between his space-flooding, ethereal, sometimes almost statically persistent, and genre-typical extended (sometimes over 60 minute long) drone passages exist for artists such as Robert Rich and Steve Roach. Wiese was a self-taught multi-instrumentalist throughout his life and used various Persian stringed instruments, drums, Tibetan singing bowls, chimes and a number of other instruments in addition to the zither on his recordings.
Klaus Wiese's life's work, however, is difficult to reduce to his music as such, because for him mystical elements were always an integral part of his art, he himself emphasized spiritual, therapeutic and healing motives. Multiple trips to the Orient brought him in particular in connection with the teachings of Sufis Hazrat Inayat Khan, experiences that should also be reflected in his musical expression (and many of his artworks). Through Wiese, a piece of the Sufis' love of music came to Europe, which, although distant from classical Sufi music, still has similarities such as ecstasy (wagd) and rapture (hal)
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Ming Noir is an ambient CD which is built on the reduced emotions of the taoistic world. Stretched in time, referring to the minimal expression of beauty, it offers more a perfume in a psychic room than an impressive design.
Ming Noir is meant to act on an unseen presence, in which melodic moods shine up and disappear into the movements of an undefined background.
Klaus Wiese - Ming Noir (flac 240mb)
01 Towers of the Night I 10:02
02 Chi 2:01
03 Ming Noir 12:17
04 Towers of the Night II 6:39
05 The Bracelet 4:56
06 Wu-Wei 9:03
07 Ninja 10:03
08 Rosewood Room 5:30
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"ZEN" leads you into the reduced world of the ZEN-Meditation, where the AS-IS and the BEING-HERE are the points of importance. Therefore this album restricts itself to the repetition of little, homogenous sound elements, which offer a centre for the listener and bring back the own thoughts and feelings to the self.
Klaus Wiese - ZEN (Tibetische Klangschalen III) (flac 174mb)
01 Timeless 54:46
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"Maquam" is an absolute masterwork of singing bowl drone, drone music, and simply music and sound in general. With seventy-seven singing bowls all tuned slightly differently, Klaus Wiese crafts a monolithic, eternal, sepulchral drone that persists throughout the entire album. At first it appears static, yet upon closer listening one can hear what seems like an almost infinite amount of harmonics emerging from the tonal haze. "Maquam I" sees the drone accompanied by distant chanting and an otherworldy siren-like sound, as well as a steady, low-end drum keeping a kind of natural breathing rhythm. Exceptional. On "Maquam II", the drone is slightly raised in pitch, but sounds essentially the same. This is the most rhythmic of the pieces, with Ted de Jong's tabla drumming featured prominently. There are also some gorgeous, incredibly subdued synth lines that complement the background drone perfectly. Finally, "Maquam III" disavows all supporting players, and simply features the unadulterated drone for twenty minutes. Here its truly staggering depth and harmonic complexity is revealed.
Klaus Wiese - Maquam ( flac 227mb)
01 Maquam I 24:05
02 Maquam II 28:14
03 Maquam III 20:06
xxxxx xxxxx xxxxx xxxxx xxxxx
"Ritualistic Simplicity" is the keyword for this music.Another milestone in meditative Singing Bowl composition. There is just one track, but the ever-changing harmonics are not at all monotonous. A selection out of 50 Bowls, harmonizing together, was chosen to record this album live in one session, with no cuts or overdubs.
The Tibetans say: "Listen to the sound of the Singing Bowls and when the sound is gone keep on listening".
Klaus Wiese - Touch of Silence (flac 145mb)
01 Touch of Silence 55:23
xxxxx xxxxx xxxxx xxxxx xxxxx
Ambient music is a kind of dividing into the uncharted, in terms of the time-map as well as the melodic landscapes. It is much about an expression of the in-between of certain atmospheres and of ambiguity. This album plays with common notions of obvious melodic structures on the outside, but it points at something else behind. In this context, sequence and abrupt change into the essential are as important as the dosis of the unknown. This makes it similar to a perfume-code and its calligraphy. So I choose the direct title Perfume for this album. May the listener decide about the choice of flavours.
Klaus Wiese - Perfume (flac 278mb)
01 Velvet Octaves 15:41
02 Deer's Gate 4:02
03 Overland-Express 3:11
04 Handkerchief of Chopin 2:52
05 Drunken Leg 2:25
06 Tabla-Ballet 2:24
07 7 Up 2:44
08 Chandeliers 6:32
09 Insect Ride 6:44
10 The Canyon 2:33
11 Mungo Trail 5:14
12 Sweet Lemon 2:05
xxxxx xxxxx xxxxx xxxxx xxxxx
Today's artist is is a German ambient drone. While the early releases of the early 80s (almost exclusively released on cassette) were characterized by droning singing bowls, tambouras, zithers and natural sounds, these natural sound sources were combined more and more delicately on the late works, so that the sound source itself can no longer be identified was. The result was a deep, dronic sound current. If you listen closely, you will discover the incredible complexity that swells up and down and gives the sounds something organic. Each album was under a spiritual (often Sufic) motto and probably opened a corresponding door in open-minded listeners to touch or awaken that emotional level. Do listen to this guy, whose music, while hardly including a single word, has so much more to say to us than words, no matter their number, could ever communicate. .......N-Joy
xxxxx xxxxx xxxxx xxxxx xxxxx
Klaus Wiese (January 18, 1942 – January 27, 2009 in Ulm) was a veteran e-musician, minimalist, and multi-instrumentalist. A master of the Tibetan singing bowl, he created an extensive series of album releases using them. Wiese also used the human voice, the zither, Persian stringed instruments, chimes, and other exotic instruments in his music. Wiese is considered by some as one of the great ambient or space music artists such as Robert Rich, Steve Roach, Michael Stearns, Constance Demby, and Jonn Serrie. His musical style is much more appropriately compared to the organic soundscapes of drone and dark ambient music, such as Oöphoi, Alio Die, Mathias Grassow, and Tau Ceti.
He was briefly a member of the krautrock band Popol Vuh in the early 1970s where he played tamboura on the albums Hosianna Mantra and Seligpreisung. Eventually Wiese would move away from krautrock to his own version of long tone ambient music by the 1980s. In the 1990s he founded the Nono Orchestra to play the giant sheetmetal instruments of Robert Rutman. His music has regularly been featured on nationally syndicated radio programs such as Hearts of Space and Star's End.
Wiese is known also for his collaborations with Al Gromer Khan, Mathias Grassow, Oöphoi, Tau Ceti, Saam Schlamminger, and Ted de Jong. He collaborated with Deuter on his Silence is the Answer album in 1980 and East of the Full Moon in 2005. Outrageously, twenty-four albums of material were released in 2004 alone. He traveled the East for many years studying Sufism and Mysticism which clearly influenced his spiritual, ambient music. Klaus Wiese died on 27 January 2009 at the age of 67. "It wasn't obvious he was sick and he was not suffering from any known illness. He died unexpectedly during the night."
Wieses approach to ambient music is based on the minimalist tradition of composers such as John Cage, Steve Reich and Philip Glass; The greatest similarities between his space-flooding, ethereal, sometimes almost statically persistent, and genre-typical extended (sometimes over 60 minute long) drone passages exist for artists such as Robert Rich and Steve Roach. Wiese was a self-taught multi-instrumentalist throughout his life and used various Persian stringed instruments, drums, Tibetan singing bowls, chimes and a number of other instruments in addition to the zither on his recordings.
Klaus Wiese's life's work, however, is difficult to reduce to his music as such, because for him mystical elements were always an integral part of his art, he himself emphasized spiritual, therapeutic and healing motives. Multiple trips to the Orient brought him in particular in connection with the teachings of Sufis Hazrat Inayat Khan, experiences that should also be reflected in his musical expression (and many of his artworks). Through Wiese, a piece of the Sufis' love of music came to Europe, which, although distant from classical Sufi music, still has similarities such as ecstasy (wagd) and rapture (hal)
xxxxx xxxxx xxxxx xxxxx xxxxx
Ming Noir is an ambient CD which is built on the reduced emotions of the taoistic world. Stretched in time, referring to the minimal expression of beauty, it offers more a perfume in a psychic room than an impressive design.
Ming Noir is meant to act on an unseen presence, in which melodic moods shine up and disappear into the movements of an undefined background.
Klaus Wiese - Ming Noir (flac 240mb)
01 Towers of the Night I 10:02
02 Chi 2:01
03 Ming Noir 12:17
04 Towers of the Night II 6:39
05 The Bracelet 4:56
06 Wu-Wei 9:03
07 Ninja 10:03
08 Rosewood Room 5:30
xxxxx xxxxx xxxxx xxxxx xxxxx
"ZEN" leads you into the reduced world of the ZEN-Meditation, where the AS-IS and the BEING-HERE are the points of importance. Therefore this album restricts itself to the repetition of little, homogenous sound elements, which offer a centre for the listener and bring back the own thoughts and feelings to the self.
Klaus Wiese - ZEN (Tibetische Klangschalen III) (flac 174mb)
01 Timeless 54:46
xxxxx xxxxx xxxxx xxxxx xxxxx
"Maquam" is an absolute masterwork of singing bowl drone, drone music, and simply music and sound in general. With seventy-seven singing bowls all tuned slightly differently, Klaus Wiese crafts a monolithic, eternal, sepulchral drone that persists throughout the entire album. At first it appears static, yet upon closer listening one can hear what seems like an almost infinite amount of harmonics emerging from the tonal haze. "Maquam I" sees the drone accompanied by distant chanting and an otherworldy siren-like sound, as well as a steady, low-end drum keeping a kind of natural breathing rhythm. Exceptional. On "Maquam II", the drone is slightly raised in pitch, but sounds essentially the same. This is the most rhythmic of the pieces, with Ted de Jong's tabla drumming featured prominently. There are also some gorgeous, incredibly subdued synth lines that complement the background drone perfectly. Finally, "Maquam III" disavows all supporting players, and simply features the unadulterated drone for twenty minutes. Here its truly staggering depth and harmonic complexity is revealed.
Klaus Wiese - Maquam ( flac 227mb)
01 Maquam I 24:05
02 Maquam II 28:14
03 Maquam III 20:06
xxxxx xxxxx xxxxx xxxxx xxxxx
"Ritualistic Simplicity" is the keyword for this music.Another milestone in meditative Singing Bowl composition. There is just one track, but the ever-changing harmonics are not at all monotonous. A selection out of 50 Bowls, harmonizing together, was chosen to record this album live in one session, with no cuts or overdubs.
The Tibetans say: "Listen to the sound of the Singing Bowls and when the sound is gone keep on listening".
Klaus Wiese - Touch of Silence (flac 145mb)
01 Touch of Silence 55:23
xxxxx xxxxx xxxxx xxxxx xxxxx
Ambient music is a kind of dividing into the uncharted, in terms of the time-map as well as the melodic landscapes. It is much about an expression of the in-between of certain atmospheres and of ambiguity. This album plays with common notions of obvious melodic structures on the outside, but it points at something else behind. In this context, sequence and abrupt change into the essential are as important as the dosis of the unknown. This makes it similar to a perfume-code and its calligraphy. So I choose the direct title Perfume for this album. May the listener decide about the choice of flavours.
Klaus Wiese - Perfume (flac 278mb)
01 Velvet Octaves 15:41
02 Deer's Gate 4:02
03 Overland-Express 3:11
04 Handkerchief of Chopin 2:52
05 Drunken Leg 2:25
06 Tabla-Ballet 2:24
07 7 Up 2:44
08 Chandeliers 6:32
09 Insect Ride 6:44
10 The Canyon 2:33
11 Mungo Trail 5:14
12 Sweet Lemon 2:05
xxxxx xxxxx xxxxx xxxxx xxxxx
1 comment:
Thank you for uploading these relaxing albums and series Rho. They are truly amazing. Great work!
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