Thanks, Fireproof Babies. If I could play Fripperguitar as you can, I’d no doubt have laid a languid guitar drone on top. On the other hand, the main section of the whole thing is a guitar drone, remorphed in a softsynth, so perhaps I already have.

Thanks for the kind words. I do not see myself so much as a remixter, as compared to the really talented people here, as a person who uses samples to create new songs. The distinction is fine, but it exists in my mind, anyway, and I’m glad to hear you express it in that way.

Thanks. I love non-linear narrative in song.

Many thanks. Atmosphere is always my favorite thing about a song, whether ambient or traditionally melodic.

Thanks for reading the “how I did it”, because I always enjoy writing those. I didn’t put in all the steps about taking 10 seconds of the original source and sequencing out the original 15 minute piece, which made my March really fun, as draft after draft had to be retuned and redone. I love that our mutual hobby can provide so much relaxation in search of sound.

I’m grateful that you add your personal taste, and I think you’re making a good point. One of the “rules” of the remixing project which generated the source ambience is that the track be ambience rather than noise. Yet in this remix I think that a bass end which is a bit more raucous would work, or perhaps even a bass drone to follow the neurowaxx percussion section. I had hoped the brilliant orange object/sleepless industrial section which bottoms the last third of the piece would be “enough”, but I think that more heft in the form of a bass would do wonders. I have done a noise piece or two in my time, but as someone pointed out once in a review of a release of mine, my work tends not to paste anyone to their chair like “real” noise music does, but instead to have a quiet about it. This one might have roared a bit more—thanks for sharing your idea on it.

You know, “star’s end” is high praise indeed—right up there with being a “hypnos secret sounds” release or being a Webbed Hand artist. This one evolved from sequenced melodies that were more conventional, and yet it continued to change until it reached this abstraction. For some reason, I’ve always had this tremendous fondness for Sleepless/Brilliant Orange Object’s little buzzes and burrs, and sample his work often.
It was great fun to combine his work with a morph of neurowaxx’s work to try to find some balance between the rather abstract ambience of my original piece and a more robust sound to come from this mix. Thanks for your kind words—much appreciated.

I like your picture approach. Although I am never shy about giving my thoughts about a mix, I appreciate the problem inherent in such critiques, and word pictures have a lot to be said for them.

By coincidence, I created my own picture the evening after I finished this mix, and now use it, for the time being, as a user icon.
It’s not as abstract as it appears, as in my mind the central section is a welding torch flame.

I was on a flight on a 727 recently which was very noisy.
I forgot to bring my mp3 thing that cancels noise, rsulting in ambient music and airplane ambience merging together in delightful ways.

I have always used the term “weirdbient” to describe my ambient-related music, largely because it is not from a purist’s point of view “ambient” music in the curious “strict” genres and sub-genres. I know one French netlabel, now defunct, also used this term, but I’m not sure how much currency it has these days.

I must admit that I am far from having my own Ramones moment.

I really appreciate you saying that Victor. This Vuzh/C. Reiter piece has been great fun for me to remix, and to have this derivate get such positive feedback here had doubled the fun.

Thank you for the kind words. I thought LoveShadow’s idea about posting pictures so good that I have written a fair number of reviews lately based on this notion.

I think you’ve made a very good point when you wonder about muting the distorted drums. Like a lot of people who like “traditional” ambient music, I tend to discount the use of traditional percussion as too “easy”. When I put drums in here, it’s to cut against this pre-conception that I bring to music that “beatless” is better (more properly, that rhythmic elements will be expressed more subtly than in traditional percussion). Theorems by an amateur non-musican such as myself are less important than the sound, though,and the sound here might work better “beatlessly” rather than worrying about “cutting against my grain” to stretch. Thanks for the review, it’s good for me to think that kind of thing through.