The most important thing you should know about this website is that I'm updating it every 3 years or something, so it's definitely not a "news" source. Yes, it shares some information about SHRINE, but its main purpose is to hold a small web-shop where I can sell some cds and vinyls online.
I've had the idea to present my entire audio collection here, with info and audio samples attached to each release, but this is too much work to do and I decided to skip the audio smaples. The idea to post a list with all the audio cds i own is still present, but it's not very certain if this is going to happen and when.
I'm doing graphic and web design for living and of course I've done SHRINE's website myself. What you see is actually version 3. If you are curious to take a look at the oldest SHRINE website, i'm still keeping a copy of it online - just click on the picture above and see it for yourself.
Various compilation tracks
and remixes, etc.
My name is Hristo Gospodinov and SHRINE is my own musical project, born of my interest in esoteric music and the need to express my obscure understandings of the surrounding world in a nonverbal way. It was started in autumn' 2003 when after several years of playing various acoustic instruments i have finally turned to sampling and computer music.
Under the heavy influence of dark ambient scene from the middle and the end of the 90s, the original idea of the project was to create some noticeable dark ambient works. However the original idea got blurry in the years and has finally disappeared in the wide field of audio experiments. Today SHRINE has no genre limits. Still, i'm interested mostly in 'drifting' type of music, especially to mix nature sounds with machine sounds and other artificial things in an ambient environment. The sound sources vary from audio synthesis, to acoustic instruments, to field recordings, to whatever i find interesting to make sounds with, so not much of a limit here. It's an experimental art after all, isn't it?
With SHRINE I have released 3 cds until now (one of it a split release), one 7'' vinyl, one mp3 album on the internet and some compilation tracks and also remixes of other artists. I also made the audio mastering for the second KAYNO YESNO SLONCE album - "Elohim Neva Senzu"
Over the years i have dealt with 5 labels until now - CORVUS RECORDS, MIRAKELMUSIK (defunct since 2008), DRONE RECORDS, SNOWBLOOD (currently defunct), and finally CYCLIC LAW. The first major breakthrough for me was when I first got in touch with CORVUS RECORDS back in 2004, which led to releasing my debut album, and the second one came in September 2011 when Frederic Arbour invited me to join CYCLIC LAW RECORDS which brought SHRINE to a wider audience. As of now (and perhaps in the future), my project is considered as a part of the CYCLIC LAW family.
Years ago i thought live gigs with ambient music are boring. After all ambient music is an introvert and isolationist aural concept to be experienced in privacy, so i couldn't imagine such thing as "ambient live" where some people go and stand still & quiet, listening to monotone music... I was wrong about that. My first audio gig with SHRINE - when I opened for RAISON d'ÊTRE in Sofia in 2006, really changed my mind and I realized how powerful experience a live ambient performance can be.
My own approach to live playing has evolved in the time. At first it was a kind of DJ stuff, mixing prerecorded things only. It wasn't too interesting... just standing behind a mixing desk, pushing the faders around, and that was all form the beginning to the end. Since 2008 SHRINE's gigs are still based on prerecorded sound layers but real time synthesis and sample triggering are added to the sound. That's what makes the sound "live". It really changes the whole experience.
There have been 7 SHRINE live gigs until now, all of it in Sofia/BULGARIA
I started to collect audio gear a time ago and I bought various stuff since then, and sold some too. Before that I was using software for everything - synthesizing, processing, mixing and mastering. Today I'm doing the processing, mixing and mastering parts with both software and hardware, but regarding audio synthesis, i continue using software synths only.
Mentioning the studio, that's a very small setup I am talking about, but for me it's very useful. Here is a list of my current hardware audio equipment, the rest (including the synths) is software.
RME Fireface 400 audio interface, SPL SX-2 Vitalizer, Allen & Heath ZED-10FX mixing console, Roland SP-404 digital sampler, RANE ME15B dual graphic equalizer, TC Electronic M-350 dual reverb processor, Boss DD7 digital stereo delay, AKAI Headrush2 loop machine, RADIAL ProD2 passive stereo DI box, M-AUDIO Axiom25 MIDI controller keyboard, RODE NT-4 stereo condenser microphone, and a pair of guitars (acoustic and electric). Until not a long ago I also used a ZH4 field recorder, but I sold it so I'm planing to get the new ROLAND R-26 instead.