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Goodbye 2011 – Reviews & Interviews

Fovea Hex’s album, HERE IS WHERE WE USED TO SING reached the best of year lists in a number of publications, including Brainwashed ( “one of the few stellar, flawless albums of the year”), Caleidoscoop and Canada’s Textura, who named it Album of the Year. Clodagh Simonds also offered her own listening list of the year to Textura –

Human Greed’s FORTRESS LONGING also received an honourary end-of-year mention in Was Ist Das, whilst the same outlet named Michael Begg’s subsequent low key digital release, LIVE DARK ARTS AT THE CLASSIC as “the most spectral and un-nerving live album I have ever heard”.

In the wake of Fortress Longing there were a number of noteworthy interviews with Michael Begg:


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Fragile Pitches – Vital Weekly review

Frans de Waard gives a positive – though typically oblique – review of Fragile Pitches inĀ  Vital Weekly…

“Slow, minimalist changes of glacier like moving masses. This is of course the kind of music that needs its time to develop. A great work indeed. Potter is one of the masters of the genre, and this release is easily one of his best.”

Buy directly from the Omnempathy Store here (

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Fragile Pitches – Brainwashed review have published a review of Fragile Pitches by John Kealy.

“…a sublime hybrid between the real world and a fantastic alternative… Although it is a live album, Fragile Pitches never truly feels like it happened here on earth”

The full review can be found at this URL :

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Compulsion – Autumn Blood review

Autumn Blood (Constructions) – the 2009 Lumberton Trading Company compilation receives a positive write up in Compulsion, with an honourable mention for the Human Greed contribution: Moonsuite IV: Dalkeith’s Next Top Model. Also nice to have LeeDVDs vocal to the track given a namecheck!

The CD is available from the Omnempathy online store. Click here to purchase (

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Fragile Pitches – review mention

Unfortunately, the high winds that blew sparks into the crowds outside of the cathedral was grasped by some newspapers who elected to over-egg this minor distraction into some near catastrophic blaze on the Royal Mile. This ensured that Fragile Pitches itself received somewhat less attention in the press than it deserved. One notable exception was the Scotsman’s Joyce MacMillan who offered an honourable mention in her review of the proceedings:

“The other major Light Night element was a musical experiment in computer-generated and fragmented sound called Fragile Pitches (an anagram of light, space, and fire) created by composers Michael Begg and Colin Porter, and performed throughout the evening in St Giles’ Cathedral, its thoughtful rhythms of creation, resonance, emergence and dispersal attracting crowds.”

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As preparations continue apace for next week’s performances in Poland, and the first flabby reviews for Black Hill begin to trickle in with their tiresome limpid references to “ambient” and “dark” and “dread” and “chilling atmospherics” etcetera, it is gratifying to observe that the promoters of the show in Gdansk are prepared to spare a few lines to suggest what lies under the ripples of sound…