Month: March 2018



Brandnew on RAW TONK RECORDS is the duality between sax player Colin Webster and electric guitarist Dirk Serries.  Gargoyles is the duo that pushes the envelope even further in their ongoing collaborations (KODIAN  TRIO, TONUS, etc.).  Abstract, microscopic and utterly dynamic and in your face.  This is improvisation on the edge of everything.

The album is now available from Raw Tonk Records through their bandcamp.


EPITAPH pre-order & reviews

Dirk Serries’ ambient swansong, EPITAPH, is now available as a pre-order in a regular edition (2xCD or 2xLP) or a special limited edition (100 copies).  Visit the Consouling Sounds site for how to pre-order this essential release.  Mark also your agenda for the release event which features performances by Stratosphere, Scatterwound, a rare Fear Falls Burning performance and to top it all of with a YODOK III ritual, tickets here.


Meanwhile here’s the first reviews :

“Meandering through & dissecting this astonishing & breathtaking retrospective of one of the true ambient masters of our time: vidnaObmana, a.k.a. Dirk Serries.
Dirk explores sound, spacing & the distance between darkness, light & the inevitable gray areas uncovered by those polar opposite & opposing forces.

Sonic waves ebb, flow & wash over the listener as they’re immersed in the beautiful, introspective sonance delivered up via Serries’ guitar-crafted ambient sound-work.” Ambient Landscape – USA

“Er zijn weinig artiesten die erin slagen verstilde tot intieme atmosferen zodanig intens te doen klinken, dat geluidsmuren afbrokkelen. Harten worden verscheurd, en zielen verpulverd. Zonder geluidsnormen te overschrijven. Maar net door het brengen van zodanig hypnotiserende soundscapes, dat je als aanhoorder in een meer dan diepe trance terecht komt. Zo een muzikant en tovenaar die met brio in deze opzet slaagt dat is Dirk Serries in elk geval.  Dirk Serries wist ons in het verleden inderdaad, zowel op plaat als live, meerdere keren met verstomming te slaan. Via Consouling Sounds brengt Dirk Serries op 8 april een gloednieuw meesterwerk op de markt. Epitaph wordt live voorgesteld in Ancienne Belgique op die zondag. Ter gelegenheid van het festival BRDCST. De unieke gelegenheid om deze meester in intensiviteit in zijn volle glorie aan het werk te zien. Samen met enkele al even begenadigde artiesten binnen Elektronische muziek, in de brede zin van dat woord. Zoals daar zijn: Fear Falls Burning, SCATTERWOUND , YODOK III , STRATOSPHERE w/ DIRK SERRIES.

Dirk zegt zelf over dit album, we citeren:

“EPITAPH is the swansong of music I like to name my vintage ambient. For more than 30 years I’ve been trying to seek perfection, from synthesizers to electric guitars, a bumpy ride for sure with lots of doubts, frustrations, extreme self-criticism and a few highs and lows but the call kept on strong. This is what I breathe, this is the heart of who I am. But that momentum has arrived to depart from this, not that I’ll abandon my ambient music completely and forever. I do see this expanding as an occasional live entity but in the studio setting I’m looking forward to discover other terrain. EPITAPH is therefore my finest collection of ambient pieces to date. One, as all were, quite personal and attached as they are performed in solitude with only the imaginative mirror to hold in front of me. Melancholic impressions improvised on the spot with just a guitar and a handful effects recorded directly onto computer. Will for sure continue to emphasize with ambient music but my frame of mind is currently focused on moving forward and applying my techniques and inspiration towards new sonic alliances. For now I do hope you’ll join me on this closing chapter and embrace this space.”

Dirk Serries October 2017.

Die perfectie waarvan sprake, wordt al vanaf de eerste song Spectral Grey Walls gewoon overschreden. Dertig jaar ervaring heeft er gelukkig niet voor gezorgde dat Dirk Serries zijn inspiratie is opgedroogd. Bij vorige schijven dachten we dat de man zijn grens had bereikt  wat betreft het aanbieden van emotionele paden. Epitaph gaat op dezelfde intense elan door. Hoewel hij met deze schijf dus eigenlijk een hoofdstuk afsluit, zo blijkt uit bovenstaande inleiding. Hij doet dit duidelijk met een knaller van formaat. Dirk Serries tast nog maar eens zijn grenzen af, en geeft aan dat het eindpunt eigenlijk nog niet is bereikt.

Tijdens pakkende instrumentale huzarenstukken als Shining form constellation, Alternation and Return, Eaves in Dusk, Kun je telkens een speld horen vallen in de zaal. Maar, wonder bij wonder, wordt je daardoor niet in slaap gewiegd. Eerder tovert Dirk, als een ware magiër , klanken uit zijn instrumenten, die je in diepe vervoering brengen. Je hoort uiteindelijk enkel en alleen nog zijn muziek, en voelt je wegdrijven naar heel verre oorden. Ver verwijderd van de harde realiteit. Bij voorkeur sluit je daarbij best alle deuren om je heen, de ogen bij voorkeur eveneens. En de versterker op tien. Om je de intensiviteit die doorheen je ziel boord dan pas echt te voelen.

We kunnen dan ook besluiten:

Epitah  is een gevoelsplaat geworden, die je enerzijds verdooft en anderzijds murw slaat op een tedere tot magische mooie wijze. Zoals alleen een artiest als Dirk Serries dat kan. Ik ken weinig artiesten die zoveel grenzen heeft verlegd binnen het Ambient en aanverwante gebeuren zoals Dirk, geeft ik ruiterlijk toe. Ambient is sowieso een muziekstijl die je niet moet beluisteren, maar ondergaan. Dat heeft Dirk altijd goed begrepen. Ook dat komt op Epitaph voortdurend aan bod. Eén van mijn grote idolen Brian Eno drukte erop dat Ambient een helende invloed kan hebben op hart, ziel en zelfs de hersens. Het is dit soort Ambient waarnaar ik sinds ik ooit Brian Eno heb leren kennen, bewust op zoek ben. Dirk Serries is één van de weinige artiesten die dit niveau evenaart, niet enkel in het verleden. Ook deze zwanenzang, zoals hij het zelf noemt, van zijn Ambient carrière. Is een grensverleggend Ambient album geworden, dat aan alle hoge eisen voldoet.” Snoozecontrol – Belgium

Epitaph celebrates three decades of work by Dirk Serries, the man behind vidnaObmana, Fear Falls Burning, Yodok III and other eloquent collaborations along the way. Released on April 8th via Gent’s Consouling Sounds in double vinyl (a special edition of 100 as well) and CD formats I’m fully engaged from the top. With the aptly titled Spectral Grey Walls, an oddly soothing barrage of guitar and electronic drone, you are treated to a sweet frosty sensibility that is genuinely hypnotic. To honor this records’ release Serries will headline BRDCST, a massive evening of varied sound projects with special guests to catalogue his history all presented in his home country, Belgium. On track four, Eaves of Dust, he opens with a super-restrained quietude slowly weaving a crystalline harmony that even at nearly seven minutes is far to short, leaving you wanting more of the same to lose yourself in.
The whole recording, from end to end, is a bit breathtaking in its quest for light and dark, finding a happy balance in its austere sound-shaping ease. The pace is nearly slo-mo on the awkwardly titled The Profusion of Daze, but nothing is off-center as the deeper bass tones flare over the elegant opal drone with a shadowy pride. Things take a darker turn on tracks like Formations of Grace, the longest piece included here, though it sets up a bit of a quiet storm for the incredible The Nebulous Clouds. Here we have a breathing, pulsating sound that comes together in what seem to be endless layers of weary guitars, stretched thinly, semiopaque. Not too unlike the spiny pod-like undulation of the cover art (above) by the incredible Martina Verhoeven. In the final classic ambient anthem of sorts, And All The Murmur Fell, the moodiness inhabits in a moment of light drifting by. Pure solitude. And like some of the best contemporary science fiction soundtracks of late, dips its big toe into the fast-forward future. With its cyclical, contorting sound wall, the track leaves us in peace.” Tone Shift – USA

“I wasn’t going to write another review today. I had just decided to get dressed, get my sunglasses and go outside to photograph the early beginnings of spring. However, then this album suddenly came in. I wasn’t expecting it. I knew that there was a Dirk Serries’ ‘Epitaph’ event coming up but I had no idea that it was also going to be a 2LP/2CD release. I immediately downloaded the album while heating up another pancake. Then I knew, there was no way that I was going outside today. Today is Dirk Serries day, only occasionally interrupted by a quick smoke on my balcony and perhaps a few more of my delicious pancakes.

I think it was 1997 when I first discovered Dirk’s music. A friend of mine had compiled a cassette for me, one with his favorite “calm” music. Back then, I didn’t know that there was such a thing as ambient music. I was a metalhead and to me the genre we now know as ambient were merely album intros. I had one of those cassettes too, with intros and ambient passages from bands like Amorphis and My Dying Bride. However, the tape my friend gave me opened a whole new world. Dirk unknowingly opened that compilation with a Vidna Obmana track. He was followed by one from Brian Eno. I have been an ambient fan ever since.

Years passed and some Vidna Obmana albums became constants. I was a confused adolescent, not knowing which direction my life was heading into, but Vidna Obmana always managed to calm my nerves and ease my pain. I spend whole evenings listening to ‘Tremor’ or ‘Memories Compiled’. I was devastated when I lost disc one of the latter. In fact, ever since the day I lost that disc, I have been taking exceptionally good care of my physical music collection. No more discs laying around, no more broken jewel cases, no more scratches, all thanks to Dirk Serries and his mesmerizing music.

Still fully moving in the world of metal and everything gothic-related, I moved to Antwerp in the first decade of this century. There, I discovered something new, live looping. It was a festival in the Arenberg theatre with acts like Premonition Factory, Darkroom, Aidan Baker and… Dirk Serries’ Microphonics. Again, I had no idea, none whatsoever, that this was the same man that got me through emotional rough times several years before. I was enjoying his guitar drones in that small theatre in the back of the venue, and quite some times after too, since I immediately bought the album.

That was also the first time I met Dirk in person. I told him that I liked the music and I bought the album, something I probably do too much. The second time I met Dirk was at Incubate when I asked him if he knew where Sjaak (Premonition Factory) was. Sjaak was about to drive us home, which is why I was looking for him. The third time was at Dunk! festival. I was talking to Erik from Snoozecontrol. He introduced me to Dirk and to Ronald (Stratosphere). Dirk said: “oh, are you that guy from Merchants Of Air?” After my affirmative answer, he and Ronald quickly rushed off to get me an album to review.

In the years between, I often saw Dirk perform live. Mostly solo, but also with Fear Falls Burning, which is to this day one of the most impressive live performances I have ever seen. I have seen thousands of live performances but this was something I will never ever forget. That power, that atmosphere, unrivaled. At a more recent edition of Dunk! festival Dirk turned me into a jazz fan with another brilliant performance, this time with The Void Of Expansion. Soon after, he impressed me again, during a Yodok III gig at Trix. That gig pretty much kickstarted my book ‘Cecilia’s World’, especially her adventures in the worlds of drone, ambient and jazz.

By now, I’m starting to realize that this article is a bit different from my usual reviews. I’m just doing what I always do, listen to an album and let the words write down themselves. That is how I work. That is how I write my books, my columns, even my old love letters have been written that way. I don’t know if Dirk, or any musician for that matter, realized what an impact his work can have on a person. I guess that is the power of music. I guess that’s what happens when you’re continuously recording and releasing work for thirty years. You reach people, you touch people, you change people.

For me ‘Epitaph’ is a look back at those years as an adolescent trying to find his own identity and maybe for Dirk this album is something similar. He has been evolving from an ambient amateur to one of the most influential people in the entire genre and far beyond. ‘Epitaph’ sounds like the end but it also feels like a new beginning. Gates close and gates open. Today, we see Dirk hanging around with jazz musicians, pushing even that age old genre into new directions. That resulted in several ‘New WAve Of Jazz’ releases on Tonefloat. He might be the third most important Belgian in that scene, after Alphonse Sax and Toots Thielemans.

‘Epitaph’ is also a breathtaking ambient album, featuring ten enigmatic tracks. I can hear those thirty years in pretty much all of these tunes. I can see my young self dreaming about the future in ‘Brittle Air Elegy’. I can feel the harshness of life in ‘Alternation and Return’. I can sense the depressive end of those childhood dreams in ‘And All The Murmur Fell’. I will definitely cherish this album. It is a perfect overview of what Dirk has been standing for all these years. At least, it represents his solo work, his minimal but immersive approach to soundscapes, drones and ambient.

What the future holds in store for Dirk Serries? I have absolutely no idea but I’m damn sure it will be interesting. First off, there will be this ‘Epitaph’ event, organized by Consouling Sounds, who will celebrate their tenth birthday already. On that event, Dirk will be performing with Yodok III, Fear Falls Burning, Scatterwound and Stratosphere. After that, Dirk will undoubtedly continue to push his mark on any musical direction he desires. In the meantime, I will make ‘Epitaph’ another constant in my day-to-day playlist and I suggest you do the same. This is a remarkable album from a massively talented artist.” Merchants Of Air – Belgium.

“Dirk Serries goes for the angelic with the lovely long-form ambient symphonies of “Epitaph”. Possessing an uncanny state of grace, these songs exist as if in a glorious dream. Everything about the album points to a great journey, for Dirk Serries allows these sounds to evolve organically. Hard to precisely pin down, Dirk Serries brings together drone, classical, and ambient into a fully realized whole. The elongated suites represent miniature worlds at times for the way every element of the sound interacts working in unison feels majestic. Songs build off each other resulting in something that feels so vibrant and real.

Things begin in earnest with the colossal scope of “spectral gray walls”. Ebbing and flowing akin to a force of nature, the piece feels outright meditative. A sense of yearning permeates the shimmering “shining form constellation”. Ever larger the powerful wash of “alternation and return” goes for a gauzy sound. Stripping the piece down to the essentials “the profusion of daze” opts for an intimacy, as the piece feels so warm and comforting. Subtle shifts come into the fray on the serene “formations of grace” where patience truly becomes a virtue, as Dirk Serries lets the track grow and change form. Great cavernous echoes reign supreme on “the nebulous chords”. Concluding the album on a reflective note the near silence of “and all the murmur fell” feels just right.

With “Epitaph” Dirk Serries creates a dazzling display of color, one which feels fully immersive.” Beach Sloth

KODIAN TRIO back on tour


KODIAN TRIO (Colin Webster – alto sax, Andrew Lisle – drums, Dirk Serries – electric guitar) will be back on the road through Germany, The Netherlands, Belgium and the UK.

March 22nd 2018 – Djäzz, Duisburg (Germany)
March 23rd 2018 – Jazzblazzt, Neeritter (The Netherlands)
March 24th 2018 – White Noise Studio Session, Winterswijk (The Netherlands)
March 25th 2018 – De Audio Plant, Antwerpen (Belgium)
March 30th 2018 – New River Studios, London (UK)
March 31st 2018 – Salt Café, Bristol (UK)
April 1st 2018 – Bridge Hotel, Newcastle (UK)

Check out this short video live at Het Bos, Antwerpen (Belgium) :




Jazzword Reviews


“Without a tinge of nostalgia, this two-CD set of saxophone-heavy improvisations still brings up memories of the 1960s heyday of the New Thing when extended and exploratory free-for-all sessions were the norm. With the possible exception of Belgian guitarist Dirk Serries, who is far more nuanced player than any six-stringer of those times, the blasting wind power from the reeds could fit in with Albert Ayler and Charles Tyler’s Judson Hall date or Willem Breuker’s, Evan Parker’s and Peter Brötzmann’s playing on the Machine Gun LP.

Recorded live at London’s Vortex Jazz Club, each CD is an extended self-contained improvisation, whose main difference is the second-disc addition of a third voice – veteran British alto and baritone saxophonist Alan Wilkinson – to the core band of Serries, UK drummer Andrew Lisle and fellow Brit, alto and baritone saxophonist Colin Webster, who constitute the Kodian trio, plus American tenor saxophonist John Dikeman. Collectively the musicians have worked in various ensembles with bassists Simon H. Fell, William Parker and John Edwards; drummers Paul Hession, Steve Noble and Hamid Drake among many others, making them ready for anything.

Serries whose other affiliations include Rock and noise bands, sets the tone with a, slashing, knob-twisting introduction on CD1 and maintains an intermittent affiliated buzzing, that mixed with Lisle’s backbeat drumming provide the landscape upon which Dikeman’s and Webster’s timbral extensions are given free range. Glossolalia, freak notes, growls and grunts are some of the intense vibrations regularly propelled by the saxophonists. Off-centre baritone sax snorts coupled with guitar-string vibrations slow the tempo slightly mid-way through, leaving space for an archeological-style examination of his horn’s limits by Dikeman. Transcending a related trope from Webster’s alto saxophone, Lisle’s gong resonation and Serries’ echoing strums presage the improvisation’s final sequences which meld the exploratory and the grounded. Triggered reed blasts and squeezed altissimo noises become less pressurized as harsh guitar flanges signal the ending.

Ten minutes longer and with Wilkinson added CD2 begins with massed triples saxophone kinetics and works itself into a crescendo of interlocked reed screams and pointed guitar crunches. Layered but mercurial the stacked horn vibrations soon separate into individual showcases. Unaccompanied, Dikeman launches screeching tenor tongues tone repetitions into orbit; on baritone Webster snorts out sly variations on the non-existence theme; while Wilkinson’s flutter-tongued exposition moves from tension-ridden to tender. However, drum rolls and pops prevent the multi-directional reed vamps from destroying any semblance of linear movement, although it takes a downshifting of the guitar lines from slashing flanges to reflective tones to further moderate the performance. Like bratty children skirting a parental time-out, another crescendo is reached when the saxophonist contrapuntally challenge the rhythm section with more extended, layered and often tandem expositions, deconstructing and reconstructing the narrative and encompassing flattement, mouthpiece-removed wah-wahs and gooey-thick basso lows. Eventually Serries’ crunching runs triumph over reed distortions to unite the group into a moderated ending.

Quicksilver timbral excitement for the 21st Century these two improvisations demonstrate that NewThing echoes can remains modern and distinct. Done right, a hearty buzz of unbridled elation still bubbles from this sound stimulation.” Ken Waxman/Jazzword – Canada