The essence of good ambient is the irresistible impression that no one has created such music – someone simply came across a random harmony of sounds and happily registered it.
I was led to this conclusion by my first experience with the project of the Greek artist, Subheim.
Kostas K. is responsible for Subheim, a Greek graphic designer and composer of electronic music from the borderline of such genres as ambient, downtempo, idm. The artist has repeatedly emphasized how he tries to express specific feelings and emotions through sounds, which makes his music very personal. Perhaps that is why Subheim so much poigns the listener with its depth and melancholy. In addition to individual tracks that can be found on various compilations (for fans of modern ambient I recommend especially those under the sign of Emerging Organisms), Subheim has released two albums so far, which we will take a closer look at in this article.
Approach (2008)
Kostas K. attracted attention with his debut in 2008. First of all, it is a very coherent album, not going beyond a certain standard and climate. Nevertheless, this is not a boring compilation of twin-like songs – it is more a journey to another dimension, which, along with the changing songs, reveals to the listener newer and newer areas. Subheim’s music is also a peculiar play of the listener’s emotions. It leads him first from reverie, through free elation, to the haunting impression of anxiety. Everything, however, is harmonious in a harmonious landscape of sounds.
On the album you can also hear Katja’s voice, which was quite a surprise for me personally. The thing is, Approach is a truly perfect composition of sounds in which even a woman’s voice blends so perfectly with the accompanying sounds that I didn’t pay attention to the fact that it is actually a human voice. This may seem ridiculous, considering the key role her voice plays in the song Howl, which attracts with its depth and weight. Another track, Away, is probably the most popular song from the album, mainly due to the characteristic , recurring theme on the piano. It is an extremely nostalgic and thrilling piece – often referred to as one of the saddest in Subheim’s oeuvre. Speaking of individual songs, it is necessary to mention the first one on the Hush album. This is an excellent introduction to the album, in which we will hear fragments of dialogue from the film The Thin Red Line:
– In this world, a man himself is nothing. [In this world, man alone means nothing]
– I’ve seen another world… sometimes I think it was only my imagination. [I saw another world… Sometimes I think I just imagined him]
Is this quote for Subheim to introduce us to his other, perhaps better world created by his music?
Listening to Approach , I came to the conclusion that it is a very organic album. I mean, it’s hard for me to realize that all these intriguing compositions were man-made. It is much easier for me to accept them with the hypothesis that they were somehow discovered, that they are simply sounds that resonated spontaneously, and someone simply registered them. Therefore, I recommend that you familiarize yourself with the debut of the Greek composer.
No Land Called Home (2010)
What makes me try to keep up to date with the Subheim project is not only the amazing atmosphere of his works, but also the author’s tendency to experiment with music. He expressed this on his second album, which clearly shows us that the artist does not intend to ring the same bell over and over again.
On Subheim’s second album, Katja’s voice plays a much more important role in the arrangements, often taking on the role of lead vocals instead of background voice. Mainly thanks to her, Subheim’s songs have a completely different overtone, which did not like many fans of the previous album. Actually, this is quite a big change, but thanks to it the effect is original – this time Subheim offers us something more than just ambient/downtempo. It goes beyond the usual patterns of these genres and presents something of its own. Speaking of innovations in his work, it is necessary to mention the greater share of string instruments, which displaced the piano sounds from the first album.
As for the sound of the album itself, it is a more diverse album than its predecessor. It does not lack the typical Subheim nostalgia, melancholy and reflective mood, but we will also find faster compositions, with slightly more sinister overtones. This greater diversity means that you often have the impression that you are listening to the soundtrack of a movie. This has its advantages and makes the second album sound quite fresh. However, in the case of some works, you can feel a certain repetition of compositions and motifs, which in my opinion is not properly arranged in an interesting way. However, these are isolated moments from the whole album.
The song The Veil, on which Timothy N. lent his voice, deserves a separate mention. Gregory. This is the only element of the album with which I can not come to terms with it – although the song itself is not bad at all, in my opinion it has nothing to do with the rest of the album, unnecessarily stands out from the rest and for reasons unknown to me you can hear it exactly in the middle of playing the album, which only spoils the atmosphere more.
Apart from the above remark, No Land Called Home is a worthy continuation of Subheim’s work, whose innovative elements make me all the more eager to look forward to the next work of the Greek artist.
Finally, I would like to refer a bit to other reviews of the above albums. Well, I have often read how sad, disturbing, or even depressing Subheim’s work is. In one of the Polish reviews, the journalist even conscientiously warned potential listeners that they reach for these sounds at their own risk. Perhaps I’ve crossed the healthy dose of doom metal in my life, or other less positive sounds, and my sensitivity to melancholic elements has become distorted – but I don’t sense this depression in Subheim’s work. Melancholy, reflection, reverie, perhaps a slight anxiety – but all within the limits of common sense. That is why I solemnly announce: listening to Subheim does not harm health. On the contrary – it supports deep, evening reflection over tea, or something stronger.