about the record

Habitat (what we might now properly refer to as Habitat I) arrived, fully-formed, in 2021—the product of a conscientious, exploratory, and decidedly Covid-era collaboration between two Berlin-based experimental musicians: the composer N. (Niklas) Kramer, and percussionist, J. (Joda) Foerster. Inspired by the Italian architect, Ettore Sottsass, Habitat’s simple, albeit beguiling conceit (following in the footsteps of canonical ambient releases like Music for Airports and Plantasia) was that each track ought to represent a room in an imagined building. Taken quite literally, tracks like “Curved Hallway” guided the listener through a kind of psychogeographic labyrinth, at once welcoming and slightly uncanny.

Habitat II operates on a similar premise. But if Habitat I charted the perplexing intricacies of an imagined, self-contained structure, Habitat II expands the conceptual realm. Think now, not only of rooms in a hypothetical home, but of the winding hallways and grounds of a mid-century structure—perhaps slightly past its prime, but not at all an inappropriate venue for a late-night soiree.

  1. 1 - Seating (Welcome) 5:06
  2. 2 - Souvenirs 5:03
  3. 3 - Catalog 3:29
  4. 4 - Bedding (Four Layers) 5:56
  5. 5 - New Sway 5:23
  6. 6 - Blue Terrace 5:38
  7. 7 - Wasserspiel 5:18
  8. 8 - Windspiel 3:19

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  1. 1 - Seating (Welcome) 5:06
  2. 2 - Souvenirs 5:03
  3. 3 - Catalog 3:29
  4. 4 - Bedding (Four Layers) 5:56
  5. 5 - New Sway 5:23
  6. 6 - Blue Terrace 5:38
  7. 7 - Wasserspiel 5:18
  8. 8 - Windspiel 3:19

Embed

Copy and paste this code to your site to embed.

about the record

Habitat (what we might now properly refer to as Habitat I) arrived, fully-formed, in 2021—the product of a conscientious, exploratory, and decidedly Covid-era collaboration between two Berlin-based experimental musicians: the composer N. (Niklas) Kramer, and percussionist, J. (Joda) Foerster. Inspired by the Italian architect, Ettore Sottsass, Habitat’s simple, albeit beguiling conceit (following in the footsteps of canonical ambient releases like Music for Airports and Plantasia) was that each track ought to represent a room in an imagined building. Taken quite literally, tracks like “Curved Hallway” guided the listener through a kind of psychogeographic labyrinth, at once welcoming and slightly uncanny.

Habitat II operates on a similar premise. But if Habitat I charted the perplexing intricacies of an imagined, self-contained structure, Habitat II expands the conceptual realm. Think now, not only of rooms in a hypothetical home, but of the winding hallways and grounds of a mid-century structure—perhaps slightly past its prime, but not at all an inappropriate venue for a late-night soiree.

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