about the cd
John Also Bennett's Music for Save Rooms 1 & 2 compiles two volumes of minimal music conceived as infinitely looping and morphing compositions for 'save rooms'—temporary safe spaces within video game maps. The compositions primarily stem from a week spent working in a former military barn in the Marin Headlands, just north of San Francisco, spurred on by multimedia artist and frequent collaborator Peter Burr, for whom a handful of the pieces on these albums were initially composed. Consumed with the idea of music that could create an effortless sense of stasis, yet never exactly repeat itself, Bennett spent days alone in the remote, empty barn composing endless loops, experimenting with phasing techniques, and melding with the surrounding ambience.
- 1 - Still Inside the Deku Tree 5:37
- 2 - Save Room 11:21
- 3 - Utopia and Oblivon 8:44
- 4 - Save Room 6 9:55
- 5 - Utopia and Oblivion (Return) 9:24
- 6 - Spiegel im Spiegel 8:08
- 7 - Sky Music 5:26
- 8 - Power Plant 5:35
- 9 - Desolation 5:18
- 10 - Glass Castle 3:44
- 11 - Out Back 2:40
- 12 - Embarkation 3:20
- 13 - Computer Terminal 2:15
- 14 - Letter From Home 5:33
- 15 - Ambling 2:58
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€18,00
in stock
- 1 - Still Inside the Deku Tree 5:37
- 2 - Save Room 11:21
- 3 - Utopia and Oblivon 8:44
- 4 - Save Room 6 9:55
- 5 - Utopia and Oblivion (Return) 9:24
- 6 - Spiegel im Spiegel 8:08
- 7 - Sky Music 5:26
- 8 - Power Plant 5:35
- 9 - Desolation 5:18
- 10 - Glass Castle 3:44
- 11 - Out Back 2:40
- 12 - Embarkation 3:20
- 13 - Computer Terminal 2:15
- 14 - Letter From Home 5:33
- 15 - Ambling 2:58
Embed
Copy and paste this code to your site to embed.
about the cd
John Also Bennett's Music for Save Rooms 1 & 2 compiles two volumes of minimal music conceived as infinitely looping and morphing compositions for 'save rooms'—temporary safe spaces within video game maps. The compositions primarily stem from a week spent working in a former military barn in the Marin Headlands, just north of San Francisco, spurred on by multimedia artist and frequent collaborator Peter Burr, for whom a handful of the pieces on these albums were initially composed. Consumed with the idea of music that could create an effortless sense of stasis, yet never exactly repeat itself, Bennett spent days alone in the remote, empty barn composing endless loops, experimenting with phasing techniques, and melding with the surrounding ambience.