Collected: Vol 2 - DJ Olive

I love the beginning of this video and the sentiment from DJ Olive that describes how music and art can often be perceived. I find it especially relevant when it comes to how some artists try and describe the creation and performance of ambient music. It isn’t something to be looked at and judged, but instead, something to become a part of…

I somehow missed out on deep diving into the works of DJ Olive. He seems to be one of those artists that, if you know you know, kind of thing… Well, it turns out for me at least, it was one of those names always on the periphery of what I was listening to - recommended here and there, skimmed on labels I knew, or compilations I listened to. But for one reason or another, I never took a breath and said, ok, let’s go deep. That was until recently, when I ransacked the DJ Olive Bandcamp page and in particular, his ambient works.

DJ Olive is responsible for coining the term, illbient (according to an impressive and illustrious Discogs bio at least). His influence and presence seem to focus on the East Coast of the US, which may be one reason why I never really went deep with his music in a big way. But diving in recently, there’s lots to admire amongst his more beat-driven, dub styles. It all feels extremely innovative and timeless, perhaps as expected, by someone also noted as an experimental turntablist.

But it’s his ambient works that need shouting out here. A trifecta of albums released on the inimitable label from Lawrence English, Room40 forming a series called Sleeping Pill.

"This is a sleeping pill...
Listen to it as quietly as you possibly can.
Mainly two things are going on at once.
One is a metaphor.
Buoy - an anchored marker that maps the passing waves.
Boringly singular, but never the same twice. There for you in a storm.
The other is an environment.
A sleep over, early morning light across the room, a screen door occasionally whispers as someone moves about.
Light fingers touch something.
Curled in a cosy corner friends near by at the edge of sleep"

I don’t think I’ve ever seen these albums on any best ambient music or best music for sleeping lists - which by no means is ever an indication of success or popularity, but partly why I feel the need to call them out here, as I’ve certainly been road testing them lately for their intended purpose.

Minimal, textured, storied, and experimental, at any one time, and staying true to his sentiment in the video - an experience to become a part of.

The long-form mixes were also recently broken down into individual tracks with additional edits and outtakes on the album Balm - a deconstructed way to experience the brilliance of all 3 albums.

Find these albums and many more over on my Bandcamp Collection.

Collected: Vol 1

It’s been a long time since I’ve done any type of blogging on here. A lot has changed since I was writing reviews more regularly. The last time I did this kind of thing, I titled it “Passing By” (for obvious reasons), and I’m not even sure those posts made it over with the site migration.

Perhaps one of the biggest shifts in the past few years, is that, other than still collecting vinyl, I am collecting more and more music on Bandcamp. And to be honest, I still feel like there’s space for people to be talking about all the great music released on the platform. I see so many brilliant albums come and go, disappear into oblivion. Bandcamp has its columns, but even those don’t scratch the surface (and tend to be a little swayed to certain styles it seems). So, here I am again, hopefully holding up a few more ambient, electronic (or any related genre tbh - you know what to expect by now) gems. Old and new. Let’s hope I can keep this rolling. I’ll keep it to five… for now, with words at a bare minimum. No pressure. No agenda.

You could also follow my collection on Bandcamp, but… maybe this approach will be less transactional.

Inhmost - Breaks and Dreams

Inhmost is a much-admired artist in our small circles, through his many styles and label appearances, his quality rarely dips. His latest on UK label Tonight’s Dream Recordings (many gems to be found in there) is quite fittingly, Simon at his Schnauss-ian best. And by that I mean - yes - beautiful drum (break) programming, nostalgic feels, upbeat, and all the melodies for window watching.

Casino Versus Japan - Tagebuch einer Verlorenen

Within the first 2 seconds of hitting play, you KNOW CVJ is back in the room. That analog whirrrrr, on Schnee… I didn’t realize how much I have missed Casino Versus Japan until I got through this album. Announced without fanfare, and maybe his best work yet, everything about this album harkens back to the early days on this site and stumbling across an agenda-less nostalgic sound that just hits right.

Gimmick - Analog Dream Plants

Acid-tinged electronics on the Sound Synthesis remix come close to succeeding the original from Gimmick, but the pure simplicity and beauty of the original track, retains #1 spot for me. Remix EPs are hard to pull off, but every one of these gems has its own flair (and BPM!). Snagged the vinyl.

Vidění - The Land Of Clouds

I like to think South Korean label Oslated has done an amazing job at continuing the legacy of the much loved yet now hibernating Silent Season label, through its deep techno aesthetics. This latest by Vidění is no exception, with airy dub techno and washes of nature infused throughout. Funny, as I look now, I see Shaded Explorer on mastering duties and a remix to book-end the album (an artist who made appearances on Silent Season). I surprise myself sometimes.

Silent State + The Fires Of Ork (Pete Namlook + Geir Jenssen)

On hindsight, Silent State began with little fanfare, given where we stand today with the label’s output over the past few years. Reissues and uploads of classic albums from Pete Namlook and the extended FAX family suddenly started to become available on Bandcamp—to everyone’s surprise—and speculation was quick to rise, given the passing of Pete Namlook many years ago. However, this situation has since been clarified by Silent State founder Nils Wortmann and he can now focus on fulfilling the label’s ambition; bringing some of the most genre-defining ambient and ambient techno albums, to wider audiences through new masters and pristine physical editions.

The next album to be reissued on Silent State, is indeed worthy of the defining tag, combining FAX founder Pete Namlook with Geir Jenssen, aka Biosphere, under the The Fires Of Ork collaboration, and one of the most revered collaborations within the early days of ambient techno.

A piece of dark art ambient wizardry, Geir’s fingerprints run deep through its mystical narration- beautiful analog textures, samples, bleeps, and foreboding atmospheres. Combined with Pete’s expansive long-form musical storytelling (also quite literally, through the distorted German voice samples), the two composers are captured working in absolute harmony, in what is undoubtedly one of the best, and finest ambient techno albums of our time.

I took the opportunity to ask Nils Wortmann, founder and operator of Silent State a few questions below surrounding the labels approach and this release. Preorder the vinyl reissue, featuring fresh mastering from Stephan Mathieu and available on 2xLP on April 5th via the Silent State Bandcamp page.

Interview with Silent State founder, Nils Wortmann., March 2024. 

How did the Silent State label begin?

Nils Wortmann: First and foremost, with pure fandom. I’m a die-hard music fan and vinyl addict and listen to Ambient music for almost three decades now. It's a sonic tapestry that envelops me, offering inner calmness, inspiration, and a sort of escape from the complexity of this world. A few months before the pandemic, I embarked on a personal stretch goal that pushed me out of my comfort zone. Inspired by David Toop's "Ocean Of Sound," I aimed to write a book in German compiling 100 ambient album reviews for beginners in the genre. During this period, I found myself immersed in Pete Namlook's intriguing music, which accompanied me through the writing process. This led me to question why no one was reissuing these remarkable albums on vinyl. Securing a publisher for the book project boosted my confidence, and I began searching for assistance to steer me in the right direction. Reflecting back, I'm grateful that I persevered and continued my exploration. In March 2021, I successfully obtained the master rights to Peter's works through a legally binding contract with the former Pete Namlook estate administrator, in alignment with his family's consent. Their approval was of utmost importance to me.

In the beginning, launching a one-man label was intimidating, and delving into all the associated tasks felt daunting. However, dipping toes into Graphic Design, Contracting, Licensing, Distribution, Royalties, Data Analysis, Marketing & Promotion, Branding, Managing finances, budgeting for projects, Sync, and the entire vinyl manufacturing process was and still is really exciting. I am still learning a lot. Yet, the most rewarding aspect that energizes me is engaging with the Ambient community: connecting with former Fax heads, new fans, artists, other labels, and contributors to these reissue projects. I am incredibly grateful for this experience, though it leaves me somewhat speechless.

Was Silent State always going to be a FAX reissue-focused project?

NW: My goal then and now remains to honor Pete Namlook's legacy and share his timeless music through physical releases. While this serves as the guiding principle for Silent State, my aspiration extends to creating a platform for lesser-known artists like my man Günter Schlienz and releasing their albums on vinyl. Perhaps one day, I'll reach that point, as currently, label mates seem to primarily appreciate the Namlook releases the most. 

How are you deciding which albums to reissue? 

NW: I got my favorite albums from the Namlook cosmos and have made careful selections thus far, I believe. There's no magic formula to it, and I don't analyze streaming numbers to determine which tracks and albums are most popular. That approach doesn't resonate with me. Take Air V, for example; it doesn't appear to have garnered much popularity, but it has deeply resonated with me and continues to do so. I often come back to the album. Eventually, I plan to reissue it and simply hope for support from the audience. Is it a financial gamble? Most likely...

How do you manage the production process for reissues? Do you have full remit of choice when it comes to mastering, pressing etc? And are any artists still involved?

NW: As a solo entity running a label, the flexibility of the Silent State release schedule allows for meticulous planning of reissues well in advance. Lead time is key, so to speak. Firstly, ensuring proper mastering of the audio material for vinyl treatment is crucial. I've been fortunate to enlist Stephan Mathieu for mastering the initial catalog numbers, such as Air I/II, Silence I, and now Fires Of Ork, resulting in exceptional sound quality. Stephan Mathieu is undeniably an eminent authority in the Ambient world and one of the most experienced mastering engineers out there. Once the master prints are received, I liaise with the pressing plant to estimate delivery dates, followed by rough backward scheduling, placing orders and settling invoices.

Artwork design is paramount, and while I have a vision beforehand, I've entrusted Juliane Hohlbaum with all SSR releases' designs, and Joanna Jon's skills for gatefold sleeve and inlay designs for Fires Of Ork. We collaborate in refinement meetings to finalize the design. For upcoming projects, I've secured Andre Ruello, known for his work on almost every Fax album, which is incredibly exciting! Upon receiving audio material and print data, the pressing plant handles production until I inspect the test pressings diligently. Although nerve-wracking at times, such as the Silence I reissue requiring multiple lacquer cuts, these incidents are rare. Fires Of Ork, in particular, has turned out exceptionally well. Geir and I decided to release the album on Silent State, agreeing to collaborate on design but with less involvement in the physical production phase.

This all speaks to a great focus on quality, and I see this first-hand with the records I have purchased from you. I probably know this answer, but is this a time-intensive project for you?

NW: First and foremost, thank you for noticing and asking me about it. The truth of the matter is, that it is a time-intensive project. But although the tasks can be time-consuming, I genuinely enjoy them. In the midst of all the digital pressure, I find solace in unplugging and engaging in hands-on activities like preparing download codes, stamping envelopes, writing postcards and recently, delving into lino-printing, such as for "Fires Of Ork." The other day, I produced 100 lino prints using a wooden tortilla press I acquired from the US. It was both exhausting and incredibly enjoyable because my latest son insisted in helping me out and we listened to some records while printing together. Additionally, I plan to include a review from a fan, Michael Thomas, whose journey with Fax Records began with "Fires Of Ork." I did this with Paul Livingstone, another Fax head, for Air II and it was also really well received. These are moments in time and a rare chance to revisit these classic albums and to pay respect to the art and to properly engrave it in history.

Fires Of Ork is, of course, a big favorite of mine. Was it an easy project to clear?

NW: Surprisingly, clearing this album was relatively straightforward. Geir, being quite approachable, mentioned in our e-mail exchanges that he frequently receives inquiries about a vinyl reissue of Fires of Ork. Given that Fires of Ork is also a personal favorite of mine, we quickly established a licensing agreement and initiated the project. For me, it was an obvious decision, considering I own every Biosphere album, and Geir is undoubtedly one of the foremost ambient artists out there. This opportunity feels truly unique, and I'm certain I'll fondly reminisce about this thrilling project in the future.

Two of Silent State’s previous heralded reissues on my turntables.

Do you have a favorite of the Namlook or Biosphere catalog, one that you may not get to reissue?

Unlike many Namlook enthusiasts, I deeply connect with the Air and Silence series, cherishing them dearly. Additionally, I have a strong appreciation for the "Music For Urban Meditation" series, which, surprisingly, doesn't receive as much attention as it deserves imho. While reissuing the latter one on vinyl carries financial risks, I fear I might regret not attempting it. Man, these drones are just amazing. Moreover, I find “Music For Ballet“ fascinating. In my quest for more insight, I engaged in a lengthy conversation with Christian Moeller, the former director of "Electro Clips," and delved into the archives of the Institute for Urban History Frankfurt, exploring reviews and learning more about the William Forsythe ensemble. I even obtained licenses for some previously unreleased images from Ivan Nemec who photographed this orcherstration. This reissue project has been ongoing for over 1.5 years now and may still require additional time, especially as it will include a booklet, and progress moves at a slow pace. Nonetheless, as the saying goes, good things take time. Another favorite is undoubtedly the Sultan series...still ahead of it's time and such an incredible piece of art.

What other gems can we expect soon?

NW: I'm constantly working on new projects, like the aforementioned Music For Ballet project, but I also enjoy keeping some surprises for label friends. While I can't reveal specific details about release schedule just yet, rest assured that there are some exciting gems in the works! The next reissue is planned for November 2024.

~

Preorder Fires of Ork via Silent State on April 5th.

A Strangely Isolated Place (Where it all began)

Twenty years ago today, June 9th, 2003, Ulrich Schnauss released A Strangely Isolated Place on the revered, City Centre Offices label.

This album, along with his similarly brilliant debut ‘Far Away Trains Passing By’ are now widely regarded as an unmatched blend of IDM, Electronica, and Shoegaze-esque etherealness, and generally regarded as a “landmark electronic music statement”. Both transportive and escapist without becoming overly cliché or veering too far back into the experimental realm, it was this unique mix of styles and melodies that made Ulrich’s music popular in a time of internet nerds listening on Pandora, Lastfm and early internet radio streaming stations. Ulrich’s music crossed genres effortlessly, tracks found their way into the electronica and indie scene, just as easily as Global Underground’s legendary mix series, propelling Ulrich’s exposure and helping add a new dimension to club-focused DJ mixes of the time. Nick Warren, Tom Middleton and Jon Hopkins were just some of the artists to include Ulrich’s music within noticeable mixes of the day.

I don’t think I’ve heard anyone describe Ulrich’s output to a tee (mine above is just as terrible), and maybe that’s where I drew so much inspiration from back in the day.

It was 2008. The album had already been out for five years. At a time when I was just trying to document the music I loved, I had (and still) struggled with words on paper. Yet for some reason decided to start a blog about music… The point wasn’t really to review or translate music into words, and I still find that exercise a little pointless. Music exists as music and commentary, is a way to add your own personal reflection. When it veers into conveying an anonymous or represented opinion, it becomes pretty pointless IMHO. Music is personal and subjective on every level. At the end of the day, it was the feeling that album transmitted, the places it took you, and the indescribable intangible qualities that made A Strangely Isolated Place stand out. Trying to describe it will hardly ever do it justice. Similarly, I didn’t feel like I had to describe music to want to share it, but it was the only way outside of sending links to friends.

It helped that around that time I spent around two hours a day on the train commuting to work. The album was perfect window-watching material. When a stranger’s armpits are in your face, standing room only, on the 7.32 am into Kings Cross for 35 minutes, plus delays, this music drew an impenetrable field between my headphones and the real world.

Little did I know at the time I would be here with the name today.

I remember, cautiously, asking Ulrich if it was alright to (basically) rip it off. I refused to start the isolatedmix series until he agreed to be the first. It only felt right, given I had already created an entire website with his album title. Whether he regrets his agreement (or his label at the time) I’m not sure. But it’s now become another way to share his album’s brilliance over time, whether people realize it or not. 

I think about changing the name often, more out of respect for the album and to leave it as its own entity in time. But I’m yet to find a better feeling or description that would capture the music I try to include on the label. Just this week, I signed an artist who was attracted to the label’s name and perceived meaning, as a reason to reach out to me.

So thank you Ulrich, for this album and those people surrounding it, in more ways than one.

PS - Get your music up on Bandcamp!!

The NRG - Live '94

My friends and I have an ongoing private joke where we (non-musicians for the most part so no chance of it ever happening) would set up a band/electronic act one day, that doesn’t really exist.

We already have the name, branding and who gets to play lead singer (it’s not me, unfortunately). We would make a fake website, and ACE the social media game, sell fake merch etc etc. We were only half-serious, I guess (right guys?) as it sounds either crazy, or like people with too much time on their hands, or both… very possible given the world today.

Well now someone beat us to the punch and has done so in spectacular style. The minor difference, however, is that these (guys/gals) are evidently, actually musicians and have created a rather lovely album, despite the fact that the story, gigs, flyers, tickets etc surrounding it is, apparently all made up.

In what is maybe a dig at today’s social-media-driven hyperbole, or just a fun way to present music The NRG are a forgotten electronic music act from the 90’s that play ‘Stadium Ambient’. And yes, you’re probably already getting the KLF vibes if that term, color pallete and name didn’t already push it over the edge.

The concept is pretty amazing, but so is the music. You can compare it to The KLF’s Chill Out of course, but it definitely leans more towards The KLF’s more upbeat music in energy and rave nostalgia, despite some very glaring references to the OG Chill Out album (Pedal Steel anyone?)

You all know how much I love that album (I put together a whole new reinterpreted mix for it) and I’m sat here wishing these old geezers from Sheffield (or whoever they are!) would have approached me to release this superb album. It would have been as magical as the thoughts in Jimmy’s head and two steps towards completing some kind of imaginary trifecta one day (it has to be a pyramid right?)… The KLF Reinterpreted Mix [CHECK]… The KLF Reinterpreted album…[CHECK]…

Now I sound like a loony.

Live ‘94 is available on Bandcamp

And you should definitely check out the website for this release.