Belgian producer Dirk Serries, aka Vidna Obmana, is normally a prolific author of deep ambient and electro-acoustic music, utilizing gradual, shifting digital figures and sparse environmental recordings to create lengthy, minimalist, often extremely personal textural works. Acquiring his nom de plume in the Yugoslavian for “optical illusion” (an idea which carries very much fat in his composing, aswell), Serries provides released materials through an array of different brands, including Projekt, Amplexus, Intensive, Hic Sunt Leones, Syrenia, ND, and Multimood. Blessed and elevated in Antwerp, Serries started recording experimental sound musics in the past due ’80s, working single and in conjunction with artists such as for example PBK, exploring the greater abrasive aspect of digital composition. You start with the discharge in 1990 of Shadowing in Sorrow, nevertheless, (the first element of what would become referred to as Vidna’s ambient Trilogy) Serries started shifting toward an nearly isolationist ambient visual, exploring designs of relaxed, solitude, grief, and introspection in lengthy, moving items which tended to graph similar floor as American space artists such as for example Robert Affluent, Michael Stearns, and Steve Roach (Serries offers since collaborated with both Affluent and Roach). The 1st two movements from the Trilogy — Sorrow, aswell as its follow-up Passing in Beauty — had been self-released by Serries in 1990 and 1991, with the 3rd volume, Finishing Mirag, appearing the next year over the American ND label. The record was praised as a number of the finest post-classical experimental digital music of its period, as well as the Stateside connection finally opened up his music up for an American market, leading also to his association with Sam Rosenthal’s Projekt label (the complete Trilogy was finally reissued by Projekt sister label Relic being a boxed occur 1996, with many new Vidna produces also showing up in the interim). Although his textural recordings type the primary of his result to time, Serries’ newer single and collaborative functions (like the Transcending Goal, Echoing Delight, as well as the Spiritual Bonding) also have found him pressing the minimalism of his previous works in to the 4th Globe territories of performers such as for example Jorge Reyes, Michael Stearns, and Jon Hassell, placing lush, dreamy soundscapes in a more substantial, even more engaging rhythmic construction (generally with efforts from percussionists Djen Ajakan Shean and Steve Roach). Still, as much compilations and retrospectives of his previously or unreleased function have appeared recently in order to mistake relatively the trajectory of his advancement, which at the very least appears to trade pretty much equally between your freeform conceptual scenery of his previously Projekt, Relic, and ND functions and the even more structured interactivity from the Great and Amplexus produces. Collaborations also have significantly occupied Serries’ period, with full-length works together with Steve Roach (Well of Souls, The Religious Bonding), Robert Wealthy (The Religious Bonding), Asmus Tietchens (a self-titled cooperation for Syrenia), Sam Rosenthal (Terrace Of Recollections), and Djen Ajakan Shean (Parallel Flaming) showing up all within the area of just a few years. Both Panorama in Obscurity and THE FORM of Solitude adopted in 1999, and in the springtime of 2000 Obmana came back with Echo Passing and Surreal Sanctuary. Subterranean Collective was released the following yr.