'Between Interval' is Stefan Strand (known as Stefan Jönsson until late 2008),
- Delta Capricorni
- The Great Void
- Minotaur's Lair
- Pillars of Creation
- Three Years Ago
- Atlantis Lost
- Eden in Shadows
- Sea of Darkness
- Portals in Time
Between Interval - Propellerheads Reason, MIDI keyboard, Reason on a Pentium 3,2 Ghz computer with 3 GB RAM and a Terratec DMX 6Fire soundcard, ESI nEar05 eXperience studio monitors, AKG K240 Studio headphones, Soundcraft Compact4 mixer
The Edge of a Fairytale is an ambient excursion to inner and outer spaces. Inspired and influenced by ancient myths, legends and places, this album is my soundtrack to the world as we perceive it; balancing between the known and the unknown - on The Edge of a Fairytale.
...the deep, rich and mystifying sound that resides on The Edge of a Fairytale has a somewhat dark point of view. However it is not a darkness of evil, but rather one that dwells within the uncharted realms between truth and fiction; a darkness representing an unknown that we travel through while always optimistic that there is light – or enlightenment – to be found somewhere ahead."
2009. Press Information
Stefan Strand, the sole creator of Between Interval might be known better under the name Stefan Jönsson, which was credited on first 3 releases of Between Interval, but Stefan's legal surname was later changed to Strand. But in any case, this Swedish guy is undoubtedly one of the young guns in the genre and his 4th album "The Edge Of A Fairytale" confirms his big talent and potential that was evidently presented back in 2005, when Stefan has reached with phenomenal album "The Secret Observatory" sky high regions occupied by other highly acclaimed space architects.
With his newest work from 2009, "The Edge Of A Fairytale", Stefan takes us closer to immense landscapes. First two tracks, "Delta Capricorni" and "The Great Void", are absolutely outstanding, mysteriously deep and massive ambiences of the highest caliber! This guy rules again!!! Some gently pulsing electronics invade "Minotaur's Lair". With "Pillars Of Creation" we are back in more monumental and futuristic soundwall with repeated sonic outbursts. Stefan Strand once again comes here with his own voice, an adventurous style safely hanging somewhere between ambient and dark ambient terrains. High-tech soundscapes on "Three Years Ago" are perfectly enriched with slowed-down IDM ingredients and heavenly choirs, what a beauty!!! "Atlantis Lost" with ghostly voices is another deeply mysterious escapade, just like strongly nature-influenced "Eden In Shadows", it's like a trip through cavern with many miraculous sceneries. Short "Purgatory" is quite frightening while the next piece, "Sea Of Darkness", has some ice cold mechanical feel. Over 11 minutes long "Leviathan" belongs to the most mysterious and evocative tracks on this album, deep droning subterranean ambience at its best!!! "Portals In Time" is another deeply immersive and grandiose composition with emerging various futuristic and choir-like sounds, a pure ethereal bliss at the end of this tremendously fascinating journey, yes, that's "The Edge Of A Fairytale"!!!
Between Interval perfectly fits Spotted Peccary label roster and I can't wait to hear more from this Nordic Monster!!!
2011. Richard Gürtler / Bratislava, Slovakia
A varied landscape of flawlessly constructed sounds, from spacey drifts and soul-quieting washes to pulsing urgency and grim, shadowy tones, that beautifully capture his intent to describe the ‘uncharted realms’ between this world and the world of the imaginary.
John Shanahan / Hypnagogue
Stefan Strand (formerly Jönsson) returns with another excellent album in The Edge of a Fairytale.
"Delta Capricorni" starts the disc in sweeping majestic fashion with hints of electronica thrown in to the theatrical mix.
"The Great Void" takes a dark, minimal turn, rumbling like thunder and harkening back to the sound worlds Stefan created on Secret Observatory.
"Minotaur’s Lair" fades in on a cool chugging bass line and is probably my favorite track, though there is not a bad one to be found anywhere on the album.
"Pillars of Creation" has a wall-of-sound effect that crashes in and fades, repeating every couple of seconds, with atmospheric touches thrown in. The crashes gradually soften toward the end, leaving only a low rumble that ebbs away.
"Three Years Ago" begins in a similar fashion but male choirs give it a Gregorian chant feel. It deftly evolves into something quite different by the end, with a dash of sequencing and soft synth textures. Each track is well-defined, telling a unique story from beginning to end before moving on to the next chapter.
"Eden In Shadows" has a very organic quality, with odd rustling noises in the middle as gentle drifting ambience floats by. Robert Rich fans should really like this one, as well as the appropriately murky piece "Purgatory."
I cannot precisely define what it is that makes Between Interval’s brand of ambient music so special, but I can emphatically state that he is one of my favorite artists in the genre today.
2009. Phil Derby / Electroambient Space
Opening track ‘Delta Capricorni’ offers a pretty good indication as to to the sorts of deep ambient atmospheres to be found amongst the eleven tracks here, opening proceedings with sorts of vast synth pads, harmonic sweeps and deep, ominous bass drones you’d associate with Tangerine Dream or ‘Baraka’s Michael Stearns – indeed, it’s practically begging to be accompanied with some time-lapse video footage of desert clouds.
These smooth compositions have a clean spacey nature, velvet drones and glossy washes welling up into curving waves of sound, softly undulating sequential phrases and patterns somewhere just below the surface. Dark, shifting masses of tone at times suggest enormous expanses, lighter strains faintly illuminating the gloom, atonal threads suggesting air movement.
Paul / Morpheus Music
After a hiatus of three years, there’s finally another album by Between Interval, the musical moniker of Stefan Jönsson, who as of November 2008 is known as Stefan Strand instead.
The outcome of "The Edge of a Fairytale" sure has been worth the wait, offering a fascinating ambient journey with a highly cinematic impact, presented as 11 tracks of deep and occasionally darker textural music.
The expertly crafted and mastered soundscapes smoothly move through mysterious and dense sonic worlds, flowing back and forth through expansive spaces and darker caverns that are beyond imagination and wonder.
There’s even this icy touch occasionally passing by (on e.g. "Eden in Shadows") that’s characteristic for Scandinavian ambient, while the darkest, most foreboding piece is found at the end of the album by means of the 11-minute "Leviathan".
Other tracks are in line of minimal music due to its slowly transforming and morphing pace of sequencing and sound textural magic.
All in all, experiencing and listening to "The Edge of a Fairytale" is a great adventure in itself and a very rewarding one indeed.
2009. Bert Strolenberg / Sonic Immersion
Ambient soundscapes - some rhythmic, some beatless and drifting. These smooth compositions have a clean spacey nature, velvet drones and glossy washes welling up into curving waves of sound, softly undulating sequential phrases and patterns somewhere just below the surface. Dark, shifting masses of tone at times suggest enormous expanses, lighter strains faintly illuminating the gloom, atonal threads suggesting air movement. A downtempo trance-like pulse drives Minotaur's Lair into throbbing motion, whilst a beguilingly languid electronic beat barely rolls along on Sea of Darkness; the rest of the music is without obvious rhythm. The thematic inspiration for the music has led to these pieces having an enigmatic moodiness - remote origins and whispered beginnings - reality and imagination intertwining. Environmental elements keep the music grounded - water movement, a bird, occasional movement as if someone is passing through, far off voices distorted and vague.
The Edge of a Fairytale arrives in a jewelcase with a two page insert. Shadowy forest imagery fills every panel both inside and out. On the front cover a cascading stream with heavy vignette blackening the edges. Other images are more focused on trees and forest panoramas with a fern close-up behind the disc itself. The photographs are given an edged effect that makes them appear almost painted. Tracklists appear on the rear and inside - the outer list having track times alongside. Inside is a little information outlining credits and thanks along with relevant website details.
This is the fourth Between Interval album from Stefan Strand (previously named Stefan Jönsson) and follow-up to the 2006 release Autumn Continent. This time the album is released via Spotted Peccary and contains eleven immerse compositions ranging from over eleven minutes to as short as one minute forty eight.
The artist explains "There are many religions and beliefs in this world. There are stories and tales that are thousands of years old about mythological characters, creatures and places. To me, letting these tellings influence our lives, without knowing the truthfulness behind them, means that we're living on ‘the edge of a fairytale’ - between the known and unknown."
Creating music as Between Interval began as a way for Stefan Strand to take a break from his more kinetic musical pursuits. The Edge of a Fairytale (62'41") is his fourth CD of futuristic mindscapes.
Realized using a fascinating palette of synthesized and sampled sounds, this album presents 11 works meant to occupy the mind of the listener with distinctive and evocative atmospherics. With very little in the way of melodic narrative the listener may become inattendant - left to an unconscious structural appreciation of the music.
A spare simplicity, reduction of forms, the repetition of short musical phrases and other concepts drawn from Minimalism helps The Edge of a Fairytale do more with less. Mysterious nocturnes fill the air with vaporous drones, resonating metal and attenuated choirs. As benthal pads saturate the soundfield into atonal subterranean dissonance, sequencer patterns crank steadily beneath cool effects and writhing tones. One must admire the mysterious ways in which this music somehow reaches and reproduces that which is at our inner most being.
Quieting the mind Between Interval provokes us to reflection.
2009. Chuck van Zyl / STAR'S END
Between Interval builds a cosmic Ambient of complex sounds and a blurred structure which re-creates the concept of immensity with a great strength. Very suggestive, the music of this artist attracts the attention of the listener virtually since the very first instants in each theme.
Most of the tracks are slow, though the theme "Minotaur's Lair" has a powerful half-speed rhythm.
The good use of synthesizers as well as the rich treatment of sound in general throughout the album strengthens the character of the melodies and the harmonies.
2010. Sarah Tomblin
This time around, what do we get if we mix some traditional Between Interval trademark sound with Lustmord, Telomere & Michael Stearns? Well, we do get to hear what this new installment is all about. On this disc you will probably be reminded of the CD ‘Planetary Unfolding’ by Michael Stearns as it captures much of the same in terms of atmosphere, flow & structure.
The CD starts out very moody and deep, almost frightening, and this is where ‘Lustmord’ comes to mind (Stalker anybody?). It’s both a very subtle and diverse experience to my ears, and so far I’m not sure if I should call it a pure "space" music album ala Telomere/Stearns or just regular ambient "space" music, so my conclusion is ‘Dark Ambient’ music with a spacious twist.
Most parts of the album is built up with an overall scary atmosphere that haunts you to the core. And to me this is quite new, being a long time fan of BI’s music. Despite that, it’s not necessarily a bad thing at all, no, this only shows that BI is capable of producing so much more than just the ordinary, and certainly it shows on the two last tracks ‘Leviathan’ & ‘Portals in Time’ which to me are THE best tunes on this disc, and closes the disc in a perfect way. A way I would call "We got what we came for" so to speak.
So, to whom will this CD appeal to? I would say, If you are a big fan of Michael Stearns music then this is a safe bet. But even if you’re not, this is sure to please any fan of electronic music in general as it takes some time to really appreciate it. And once you have, you will never let this masterpiece be far away from your CD Player!
Kristian Persson / Sweden