Mirko Uhlig & Dronæment – Farewell Fields
- Catalogue Number: ERA 2048-2
- EAN: 8594048312484
- Release Date: 09.11.2007
- (P)+(C) 2007 NEXTERA & respective authors
Fields of clouds come and go like Spanish veterans and young mothers, queens and accessories and the one big misapprehension that is the ocean for every well crafted ship.
The utero for this two-headed baby was butt-joined after the Ex Ovo Orchestra performance that took place at the AZ Conni venue, Dresden February 2007. Mirko had caught some moaning itinerary fish para Puri a few weeks earlier while Marcus was fishing for it at that particular night. One is about leaving, the other about the destination.
And Nextera is a very nice orphanage. Go and get orphaned in the fields of parting.
- Para Puri by Mirko Uhlig 24:06
- Fields (live) by Dronæment 31:41
Total Time: 55:52
Digital Mastering by Karel Kourek at RA Studio, Prague, Czech Republic. http://www.rastudio.cz/
From Connexion Bizarre
The Ex Ovo Orchestra performed that cold February night in Dresden. Born as an improvisational experiment for artists who contributed to the "I, Mute Hummings" sampler which was released by the German-based label Ex Ovo, it also served as a base for the collaboration between Mirko Uhlig and Dronæment. And to make a long story short, the first fruits of this collaboration are presented to you by the Czech label Nextera, who you might recognize from releases by Lustmord, The Hafler Trio or Klaus Wiese. Yes, we have entered the realm of true sound artists.
The two artists who wrote "Farewell Fields" each already earned more than an ocassional liner-note. Mirko has been active for several years already as Aalfang Mit Pferdkopf and, under his own name, he released on amongst other labels Ex Ovo, Field Muzick and Drone Records. Marcus from Dronæment started his project on the border between two centuries and since then some twenty releases have seen the light of day on labels just as impressive as the ones who featured Mirko's work.Yes, we are talking about a new generation of soundartists and the natural question that follows is "What can we expect musically?"
An hour's worth of minimal drone-influenced ambience. In "Para Puri" a theme of no more then four notes played on a guitar, mixed and intermitted through voices of unknown origin. "Fields (live)" forms the second half of the CD and, in contrast to the first track, it makes more use of different notes and the harmony created by the combination of them. "Fields (live)" might well have been recorded during that earlier mentioned performance of the Ex Ovo Orchestra because the date at venue are the same. The feeling you are left with after the track has finished is a feeling of having missed an opportunity of a lifetime...
-- Bauke van der Waal [8.5/10] http://www.connexionbizarre.net/
While the album opens up a horizon of posibilities, it is mainly a look back to that defining weekend with both artists effectively delivering the material to the AZ Conni gig – one long track around the half hour mark each. And yet, „Farewell Fields“ is not just a live album. Dronaement's contribution has been digitally remastered by Nextera Records' labelhead Karel Kourek and Uhlig's piece comes in an extended studio version never performed like this before. These fields are still fresh.
The virtual set of “Farewell Fields” opens with one of Mirko Uhlig’s all-time favourites. „Para Puri“ has been an integral part of almost all of his recent performances, chiming in the atmospherics and instantaneously creating an ambiance of high expectations and majesty. For the studio version, recorded in preparation to the e.t.a. Festival, he takes more time than on any of these occasions.
Essentially, his entire composition is made up of nothing but a deep, breathing bass vibration, a spliced-up voice sample as well as a four-tone melody, which fluently melts with the underlying undulation. Thanks to asymmetrical cycles, filter modulations and the mute button, the elements will move in or out of sync, subtlely juxtaposing as the music unfolds and creating a circling sensation. This track is not about development, it is about falling, letting go and about space. Around the sixteen-minute mark, it seems to all but fade away, but returns again with staggering intensity. „Para Puri“ is one of those pieces, which will stay with you for weeks, burning itself into your subconscious like a flaming fire.
In direct comparison, Dronaement's „Fields“ is more open and diversified. Building from guitar lines swaying gently in the warm wind like a mobile on a sun-lit veranda, Obst takes his audience through threedimensional field recordings, morning drones and even a passage of rhythmic sequencer pulsations in the best of Krautrock traditions.
Considering this is a live recording, he displays a pronounced sense of direction, a definite sense of proportions and an intuitive feeling for arrangements, coming full circle with an effective rehash of the opening bars at the very end. With its sounds of cocks crowing and birds chirping as well as through its smooth surfaces, the opening half of the work has a pastoral beauty to it, while the mood turns contemplative and brooding in the second one, with the sustained tones taking on a more determined, premonitous and cosmic air.
Nothing is ever spelled out in full, everything remains a beautiful allusion and a silent gesture, but Obst uses this to his advantage. His world is filled with chinese whispers, childhood memories and vivid episodes from a life in the country, breathing softly into your ear lulling you to sleep. By all means, this is music to drift away to and to get lost to in a sensual spark of associations. With all of its differences, though, both tracks have something very important in common. They deal with rest and balance and proceed at their own pace. Even more importantly, they are emotional in a way usually reserved exclusively to Rock or Dance music, far away from cool intelectualisms or abstract philosphies: These picture postcards from a personal Woodstock are always aimed straight at the heart.
By Tobias Fischer http://www.tokafi.com/
From Vital Weekly (number 607 - week 52)
- reviewed together with our "Subliminal Relation Between Planets" CD by Andrea Marutti
A brave move here from Nextera. None of these three artists have a big name yet, and in this day and age to release them on a real CD is a brave move, me thinks. All three artists have some reputation in the field of ambient and drone, mostly due to limited releases on CDR, tape or vinyl. All three are always 'promising' in my book, especially Mirko Uhlig. He has made some great, much overlooked releases, and here returns with a piece that is great. Much reverb is used on the piano, and below deck there is a synthesizer or two lurking and the voices could be the announcement of a train station, but reminds the listener of Bryars 'Sinking Of The Titanic'. Uhlig seems to be heavily inspired - more than before - by Brian Eno's ambient music, especially the first one 'Music For Films' springs to mind. Maybe a bit too much in the direction of new age but still on the right side of ambient music. Dronaement is Marcus Obst from Germany, who offers a live piece here, called 'Fields'. It's not, as the title may suggest, a pure field recording piece, but at the foundation of it, there is some highly obscured field recording, which sounds like a boat or so and on top Obst plays organ/drone sounds, not unlike Palestine (which lead me to think these boys know their classics), but as the piece evolves arpeggio keyboards come in and things land in cosmic land - with soft noise underneath. Quite a nice piece, both of them.
Also live but of a somewhat different kind is the release by Andrea Marutti, whom we sometimes know as Amon and Never Known and also as the labelboss of Afe Records, releasing many Italian artists. He too operates in the area that we could loosely identify as drone music, or ambient, but unlike his German counterparts on the other CD this is of a much darker nature altogether. It's hard to tell what it is that he does; be it synthesizers, samplers, computer processing or just tons of sound effects, in the end the effect is a seventy-minute opus of dark, utter dark electronic music. The planets mentioned in the title may give away some of some of the darkness, and perhaps its all too easy to say that its pitch black as the stars by night, but on christmas eve, with stars bright and almost full moon, these sort of references may count. Think Lustmord meeting Mirror, the darkest fantasy of Klaus Schulze or such cosmic hero from yesteryear, and Andrea Marutti is your man. The ambient/drone posse might be a dead end, and as such none of these three offer any real innovation of the genre, but they all do a great job, producing some excellent music, the best you can get these days. That alone justifies the release of their music on CD and before you know, we have our own new stars. (FdW)