QuietMelodies is now open!

15 06 2009

through-open-doors

As many of you might already know, the new portal is finally open!!!!!  I am so sorry that it has taken so long to happen, but I do hope you find it worth the wait.  Some of the new features you will be able to enjoy are being able to message any member & being able to post your own favorites.  There will also be a forum added so that requests and such can be made there.  Eventually hope to in essence mirror this blog there and of course have new content available.  The new music available should be substantially more than here as there will be multiple people posting =-).  Please stop by and join your NEW home for QuietMusic – www.quietmelodies.com!

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Tim Story – Buzzle

22 04 2009

00-tim_story-buzzle-2006-b2rTim Story – Buzzle
MP3 @ 192 Kbps VBR | 51:48 min | 2006 | 98.4 MB | 10% Recovery Record

Seething brilliance and dark seduction… This episodic album is wonderfully diverse in its arrangement, full of enticing synth-borne melodies, arcane modulations and shadows of regret. If Story’s work is actually a spiritual searching through the medium of music, with Buzzle he has stumbled across more than a few haunted recollections.

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Tim Story – Shadowplay

20 04 2009

folder19Tim Story – Shadowplay
MP3 @ 320 Kbps | 49:38 min | 2001 | 123 MB | 10% Recovery Record

Tim Story is one of those artists who exists in a natural state of repose, whose music is born from a point that is deep and still, gaining resonance and contour as it rises from the bottom of the well. Story has defined ambient chamber music since the early ’80s, and Shadowplay continues down that path with music that hovers at the borders of darkness and joy. Story extends his keyboard-based palette with oboe and cello, giving his compositions an even warmer hue. What sets him apart from the likes of Kevin Kendle and Michael Hoppé is Story’s resistance toward neoclassical nostalgia. With Story, there’s always a sense that something ominous could be lurking around the corner, like a shark hanging at the edge of an intoxicating coral reef. That element of foreboding is particularly apparent on “Intemperate,” as Dieter Moebius from the quirky German band Cluster adds subtle abstracted electronics. Like most Story albums, Shadowplay is as haunting as that first moment when one awakens from a dream–and just as elusive.

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Tim Story – Beguiled

20 04 2009

cover10Tim Story – Beguiled
MP3 @ 192 Kbps | 45:52 min | 1991 | 68.5 MB | 10% Recovery Record

Story’s music might be more accurately described as psychological chamber music. It is intricately composed, well-thought-out, essentially indifferent as to how it might be perceived by the listener. It is music that speaks with a voice all its own: fragile and yet profound. It doesn’t care what you may think of it. It exists in its own very personal and intimate space, and it invites you into that space to share in its mystery.

Every piece on this album is a finely chiselled work of art. The last two pieces, “Many Years Pass,” and “The Luminous, The Dark”, taken together form one of the most beautiful sequences of music that I’ve ever heard. The music ends by converging towards a gentle electronic pulse, and then returning into the silence and mystery from which it came, leaving the listener beguiled.

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Tim Story & Joachim Roedelius – Inlandish

20 04 2009

albumartlargeTim Story & Joachim Roedelius – Inlandish
MP3 @ 320 Kbps | 50:06 min | 2008 | 101 MB | 10% Recovery Record

A sequel to the acclaimed Lunz project, this follow-up finds Hans-Joachim Roedelius and Tim Story shedding their original collaborative moniker in favour of recording under their own names. It’s great to hear the Cluster and Harmonia veteran in such fine form (he’ll be 74 this year), making effortlessly graceful ambient music that still sounds like it’s at the very forefront of the genre. Inlandish is bound to prompt comparisons to Ryuichi Sakamoto or Harold Budd for the glowing, meditative piano pieces at the heart of the record, but the kind of electronic treatments and additional instrumentation reaches beyond any single theme, with some compositions simply augmented by ghostly strands of cello, while others more fully embrace digital manipulation, as on ‘Serpentining’; a melding of melodic piano and humming circuitry. Of course, there’s some great synth work on the album too, particularly when it comes to the vintage krautrock tones of ‘Beforst’, a piece wonderfully redolent of Roedelius’ past. Excellent.  (For DX)

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