A Strangely Isolated Place: Recent Episodes

A Strangely Isolated Place

The latest ambient, electronica, techno, drone, shoegaze and chillout mixes from www.astrangelyisolatedplace.com

Enter the Magnetic Heliosphere.

Mikkel Rev returns to A Strangely Isolated Place with Evocation, his third full-length album shaped deep within the forests of Norway.

Since Mikkel’s debut, The Art of Levitation first arrived in 2023, Mikkel has been quietly building his own corner of the ASIP catalogue. Last year's Journey Beyond expanded that vision further, revealing an artist increasingly comfortable balancing the emotional pull of early trance with a more reflective, ambient-leaning approach. While his work elsewhere naturally gravitates towards the dance floor through his own collective, Ute Recordings and other club-focused outlets, his ASIP releases have always evolved differently. Beginning with a larger body of material that’s gradually shaped together, each album seeks to find a narrative without a dancefloor in place; one that moves naturally between momentum and stillness, carrying something of the spirit found in those early-'90s records that drifted effortlessly between peak-time energy and the quiet hours in room two.

astrangelyisolatedplace · Mikkel Rev / Evocation (ASIPV057) [Previews] Long-form compositions like "Step Inside" and "MRI" favor gradual development over immediate impact, while "Dream Sand" introduces shimmering rhythms that subtly shift the album's momentum and pace. The piano-led "The Infinite" offers a definitive nod to the enduring emotional pull of classic trance before "Sanitorium" closes the record with one of Mikkel's most restrained and affecting pieces to date.

Evocation continues Mikkel Rev's remarkable run on ASIP, extending a catalog where echoes of trance's formative years find new expression through the communal energy and natural surroundings of the Nordic forest gatherings that have become an integral part of his world.

Ventral Is Golden returns on artwork duties, with Lupo handling the mastering and cut. Released on August 28th as a gatefold double LP on dusty purple smoke and digital.

Buy on Bandcamp

Buy at Space Cadets (UK/EU orders)

Buy on Bandcamp Noodle Therapy is the ambient-focused alias of Brighton-based producer Dan Porter, a musician active since the late 1990s whose previous work has appeared on labels including 4bit and Thirteen[rec]. While his history and aliases (Gods of Ruin, Cosmic Acid) span a variety of electronic styles, Field Notes marks a deliberate shift toward slower, more reflective forms, drawing inspiration from the coastal, rural, and woodland environments surrounding England's south coast.

Built from a combination of field recordings, modular synthesis, and hardware-based experimentation, Field Notes explores the relationship between memory and place. Fragments of found sound drift through evolving compositions, where analog circuitry, digital instruments, and Eurorack systems are used less as tools of precision and more as instruments of discovery.

The album was mixed collaboratively by Dan and Dennis White (Thermal Audio) during the depths of winter, with Dennis adding a subtle layer of additional production throughout and co-writing The Dip. For listeners familiar with Quiet Places on ASIP, Dennis's presence will already be well known; his touch here provides another thread connecting Field Notes to the wider ASIP family.

Voices appear briefly and disappear again, landscapes emerge from abstraction, and melodies surface just long enough to leave an impression before dissolving back into texture. Particular thanks go to poet Grayson Wayne, whose words feature within Sea Glass.

Perhaps what makes Field Notes feel especially meaningful is the path it took to arrive here. For a brief period, Dan lived directly beneath label founder Ryan (ASIP) back in England, and while neither could have known where their respective musical journeys would lead, it's hard not to appreciate the small chain of coincidences that eventually brought this release into the world.

Buy on Bandcamp (Limited time Name Your Price until June 26th)

RSVP to the Bandcamp listening Session

  Our radio station project, 9128.live is still alive and kicking. Crazy to think it’s been 6 years now since we launched. I recently stumbled into someone at a show who was with us for our all-weekend takeovers during the pandemic era, and he said it helped him get through one of the hardest times of his life. It was very humbling to hear, and despite rarely hearing these comments, it’s one of the reasons I still keep this thing alive.

I’m quietly updating music in the background on the station - of course, ASIP music is easy for me to keep updated in rotation, and a few other labels keep on top of things with new releases. without much fanfare.

Here are a few key updates that you might have missed:

New label partners

In the past year or so, we’ve added three amazing catalogs into rotation, including Quiet Details (just this week), Never Late, and Analog Attic. Between these 3 labels alone, we’re hosting some of the most majestic music to hit our ears in recent years. I’m also adding some one-off artist music into rotation, as some listeners get in touch with their own music that fits.

Memberships

We had a membership that enabled paying users to access unreleased and exclusive sets. I let this dwindle for far too long, so I’m sorry to anyone who kept going with it. But I’ve now canceled it fully as I don’t see the time or space to make this worthwhile right now. Thank you to everyone who helped us keep the station going with their contributions.

Listening apps

Not new news, but very importantly, we have both iOS and Android apps that enable you to listen to the stream, and they also host the isolatedmix series as a podcast too. A few other bells and whistles to check out too. Links to the apps here.

Sonos

One of my favorite ways to listen is actually through Sonos (at night) and it’s not too easy to make that happen. But essentially, you need to add the stations custom listen URL into your TuneIn app (once downloaded), then add the TuneIn Service to Sonos, and it should then show in your faves. See here for more ways to listen.

The 9128 label

When we had regular weekend takeovers, artists were preparing sets for their slots, many of which were original, so we decided to release some of these sets and begin the label. Check out the releases here, by Jo Johnson & Hilary Robinson, Gailes, 36 and Ameeva. With no pipeline for original releases, the label is on a bit of a hiatus, but I hope to spin this up again one day and may open up the catalog to live releases in general.

The future

Being transparent, the radio costs thousands of dollars to run and host each year. For now, it’s an investment and a bit of a vanity project because I use it so much myself. So a big thank you to everyone who donates to help with this cost. I hope I get to spend more time on the project in the near future, and bring back proper programming and weekend takeovers again. Until then, I’m doing my best to keep the lights on and keeping 24/7 ambient and electronic music flowing.

Thanks for tuning in.

https://9128.live/

Griff opened our label showcase at Public Records in 2024, and at the time, our relationship had only just got started. His album, Immersion, released last month, was only just in mastering stages with Sven Weisemann, and would take nearly another 1.5 years to see the light of day due to some troublesome test presses. But while his release date was touch and go, an isolatedmix was always written in the stars.

I technically heard Griff DJ at Brooklyn’s The Lot radio station just a few hours before our label showcase - sharing the booth with him as a temporary groupie while I plastered ASIP stickers all over the walls - and had been deep in his guest mixes prior to us even meeting in person. His journey as a DJ regularly takes him to festivals worldwide, and as part of his connection with Delayed, some intimate sets in the Pocono’s have come to fruition and are a worthy bookmark if you end up liking this one.

As someone who can traverse a multitude of styles, from ambient and downtempo to deeper house and techno, Griff’s one of those artists that shows up in different ways - every time. Likely because, his music, and the stories around his reasons for his music, are often very personal. Whether it’s a concept, or a vibe, I get the feeling Griff is a master of sense and construct - a pretty special skill for an artist and DJ to have, where stories told come from the heart and have a pure reason. Not performance for performance sake, but a narrative traveling from the mind, told through a meticulous track selection.

The concept was my attempt to portray various stages of consciousness throughout the morning, from dark into light / sleep to awake, as I get up & start the day & eventually get outside, into the woods for a morning - deep sleep into REM, vivid dreams, waking up from a dream & it's still dark outside but there's a faint glow of light, immersed in nature feeling the warmth of the sun in your face. It starts out cold, dark, alien, otherworldly then shifts towards something more mysterious & inviting but still a bit strange, then moves into warm & fuzzy. Analogous to frost on the ground slowly being melted, warmed & evaporated by the sun. - Aspetuck

astrangelyisolatedplace · isolatedmix 135 - Aspetuck Download

Listen on Soundcloud, the ASIP Podcast or the 9128.live iOS and Android app.

Tracklist:

Altjira - Atvelope
Solma - Skaub
JEMAPUR - WSIF.rg
Corell - Under The Surface
Dan Bean - Chum
Jeremiah Chiu - Static Stone Railway
Talaboman - Midnattssol
Skee Mask - Reminiscrmx
In Transit - A.2829
Innerst Inne - Nils Påls
Doltz - Ibuki
Michael Rother - Klangkörper
Aspetuck - Synth Named Sukie
Aspetuck - Hit Me With Your Pet Shark
Arovane - Sunter
OK EG - Open Sky
Luke Abbott - 2nd 5th Heavy
Tunnel Dancers - Central Radiance
Anushka Chkheidze + Robert Lippok - Rainbow Road
Innerst Inne - Hemma Hemma

Aspetuck | Bandcamp | Soundcloud | Instagram

Listen and support Griff’s latest record here

Immersion by Aspetuck Aspetuck has been steadily carving out a name for himself through releases on Never Late and Oslated, garnering a respected following for his DJ mixes and festival performances. Aspetuck’s latest record, Immersion, was sequenced and curated from dozens of ideas spanning a transformative few years in Griff Fulton’s life. The album is less a snapshot in time and more of a memory bank - flashes of fatherhood, loss, modular rabbit holes, late-night studio sessions, and long walks by the Hudson River with his daughter.

The emotional undertow of the album is immediate. Opener Hit Me With Your Pet Shark is one of the earliest compositions in the collection, created just months after the loss of Griff’s brother and during the sleepless swirl of new parenthood. Built around a single sound from Spectrasonics Omnisphere, found while rediscovering his brother’s studio gear, the track sets the tone: restrained yet searching, personal without becoming precious.

From there, The Printing Press captures the raw energy of a live jam in Griff’s upstate New York basement, running through a 1980s Tascam mixer like a lo-fi assembly line of synths, pads, and drum machines. REI, named after a spontaneous family mission to find a pink water bottle, encapsulates his knack for imprinting daily minutiae into sound. And title track Immersion- once known simply as Tuesday 303 Jam- emerges from a dinner break and a blender, distilling modular sketches and distorted drums into a powerful, slow-motion march.

Under, Under The Tree hits hardest. Built around a grainy iPhone voice memo of Griff’s daughter singing by the Hudson. And closing the album is Bobik, a collaborative studio session with Moon Patrol channeling the playful chaos of a close friendship and modular exploration. Named after a joke about their golden retriever and filled with alien textures from Griff’s beloved EMU XL7 gifted years ago by his late brother, it’s a fitting send-off to an album that straddles celebration and mourning with grace.

The artwork comes courtesy of Peter Skwiot Smith, whose textured analog/digital aesthetic resonated immediately with Griff’s original vision. Peter’s treatment draws on Griff’s personal photography and leans into motion, blur, and the layered nature of memory, echoing the album's sonic tone without overexplaining it.

Mastered by Sven Weisemann, Immersion is available on blue smoke colored 12” and digital from today, May 15th 2026.

View the release page for all links to buy

<a href="https://wndfrm.bandcamp.com/album/live-at-nonseq">Live at Nonseq by WNDFRM</a> After presenting a recording from *Salvatore Mercatante* on our Bandcamp last year, I wanted to try and keep up this approach on the label by surfacing live sets from our artists wherever possible. I knew as soon as I was immersed in **WNDFRM’s** live set last year, that it would make a great live release and would be enjoyed by anyone who picked up his **WVLT** release.

~

WNDFRM has long occupied a parallel lane, equal parts reductionist and tactile. His studio output, including his 2025 release on ASIP, WVLT, is often about what isn’t there, carving space with restraint and a patient sense of pacing. But in this rare live recording from his appearance at Seattle’s Nonseq series in late 2025, we’re reminded how those same principles can hum with immediacy, weight, and physicality.

Tim’s live set leans even deeper into the tactileness hinted at on WVLT. Over 37 minutes, WNDFRM builds a slow-motion tension through dub-damaged rhythms, brittle textures, and dissolving sequences. Familiar elements, saturated pads, clipped delay lines, off-grid percussion, surface and vanish without resolution. A gradual unravelling from a sound designer in his element.

A huge thanks to Steve Peters, Chloe Harris and the Nonsequitur community for the evening.

Available now as name your price on Bandcamp.

2025 is probably our first year without a proper ambient release, with this year’s annual compilation reflecting how diverse our catalog has grown.

KILN and Monoparts presented music this year that pushed expectations, with KILN’s music pretty much in a world of its own anyway, and Monoparts bringing a vocal-heavy trip-hop record to the lineup - two records that would stand on their own on any label, irrespective of genre classifications.

Christian Kleine’s second Lost World volume spoke to our true IDM roots of past, and Mikkel Rev’s Journey Beyond, to the future perhaps, with a subtle wink to Trance music running through our blood.

A new signing in WNDFRM presented a landscape of micro-rhythmic IDM, as did returning artist Salvatore Mercatante, through a live set that traversed a spectrum of bass-heavy atmospheres.

Tying this all together in one mix has become todos’ annual challenge, and he would be the first to admit this one was his most challenging yet. While I would never force this concept on him, if it didn’t work, todos has the permission to edit, layer, chop and re-work where he needs to, just like a live set. In turn, his magic becomes a completely new way to absorb the releases from our past year, and an enjoyable way to spot moments you missed.

Available on Bandcamp

Thank you to everyone who has supported the label and the artists included here this year.

2025 | Label Compilation (mixed by todos) by A Strangely Isolated Place todos - Continuous mix tracklist

Mikkel Rev - ‘Fragile’ (edit) / WNDFRM - ‘WVLT 021’ (edit) / Monoparts - ‘Abandoned Woods’ (edit) / KILN - ‘Moon Ratchet’ (edit)
KILN - ‘Ptarmigan’
KILN - ‘Moon Ratchet’ / Christian Kleine - ‘Beyond Repair’ (edit)
Mikkel Rev - ‘Transmit’ (edit) / KILN - ‘Solarsystem Breathing’
Christian Kleine - ‘Slow’ / KILN - ’Cadmium Lounge’ (edit)
Salvatore Mercatante - Extract from ‘Live at Public Records’
Mikkel Rev - ‘LM8182’
Monoparts - ‘Abandoned Woods’
WNDFRM - ‘WVLT 021’ / Salvatore Mercatante - Extract from ‘Live at Public Records’ (edit)
Christian Kleine - ‘Closer’
Monoparts - ‘Abandoned Woods’ (ASC Remix)

*As with all my previous* *‘Reflection’ year-end mixes**, I begin with a collection of albums, EPs, and compilations that resonated with me over the past year. From there, I curate tracks to build the mix - a process that’s as much about omission as inclusion. Inevitably, many of my favorite tracks and albums don’t make the final cut, simply because they don’t fit the flow of the mix or get lost along the way. There are plenty of albums I played on repeat that aren’t included here, but I enjoy this process much more than creating lists.*

As I remind myself each year, this isn’t meant to be a definitive “best-of” list. Instead, it’s a snapshot of some of my favorite music from the year, distilled into one cohesive and listenable format. Compiling these mixes under self-imposed restrictions is my way of revisiting and celebrating the music I’ve loved critically, while sharing it with you in a way that’s both meaningful and accessible. For me, listening back to these mixes is like flipping through an audio photograph, capturing the essence of my year in music and invoking memories from special moments.

I encourage you to use this mix as a jumping-off point—dive into each artist, explore their albums in full, and check out the labels behind the music. You can find a Buy Music Club list linked below to help you dig deeper. If you’re curious about the broader scope of music I’ve supported this year, my Bandcamp collection is always up to date. And for the ASIP year-end label compilation, that’s coming very soon…

~

2025 was nearly the year of breaking point with my time and effort spent on the label. A new job, a third child, and… well that’s enough to do it I guess. So as the year-end drew closer, the idea of completing this mix became laughable in its scope and I thought it might be the first year in over a decade I haven’t completed one.

It’s helped that I haven’t done many mixes this year, so approaching it pulled on some much needed creativity, but even when looking back at what music I had supported on Bandcamp and the records on my shelves, it took me a long time to organize, make sure I had it downloaded, and even pull the trigger on items in my wishlist (my wishlist often revolves around vinyl I’ve picked up with no BC download code offered - gripe). Those who go through this obsessive process know how much time it can take up.

Looking back at the mix now it’s complete, I’ve managed to include around 80% of what was in high rotation for me this year (there’s always some that don’t make it into mix form) and the styles are on point as usual in reflecting my taste over the year. We’re starting with the deep ambient cuts, moving into more IDM and techno, and moving through a lot more energetic tracks towards the end - from Jungle to Trance…

One of the only live gigs I got to emerge from my family life to see was WNDFRM and Patricia Wolf in Seattle, so of course, Patricia’s newest installment on Balmat (who also had another epic year as a label) is included. Related to that event, organizer Raica (Chloe Harris) made a return with two albums this year I believe - both worthy of praise, but her piece for (another relentless outpost) Quiet Details was the stand out. A regular on these reflection mixes, MPU101 on Ilian Tape gets another nod- a BoC-vibe regular who always manages to tickle the right part of my ears. Alex Kassian had about three tracks or remixes in my original shortlist (including the lush remix of Spooky) so I had to do my best to not over-indulge - his remix of a classic Pianoman melody will bring back the Global Communication / Tangerine Dream vibes. Skee Mask is still releasing archive material that defies expectations. In one of the most welcome moves of the year, finding All Possible Worlds on Bandcamp made many people ecstatic, not least because of the full release of Irini’s odyssey, or the random track found on their profile. Light of Cacti got my Schnauss tastebuds tingling. Anushka Chkheidze has been on my radar for a long time now, so it was a treat to see her collabing with the much respected Robert Lippok across a very interesting record. OPN landed late in 2025, but arguably released one of his more welcomed albums by die-hard fans, hooking me right back into his unique worlds. Simon Littaeur came into my feed through his Instagram videos (normally something that doesn’t always result in a quality album) but his production lived up to the visual hype. The album by jp on emerging label Theory Therapy was full of big tracks, and I did my best to make sure one was included on here. Talking of big, Djrum’s latest didnt dissapoint, and he’ll continue to be classed as an innovator with output like this years. I nearly stopped at the Barker track, as it doesn’t get much bigger than that euphoric high, but something told me to bring it back down a little bit more, so into a slight trance we went with a superb debut by Alvar (Teo Bachs) and of course, the masters of hypnotizing techno, Voices from The Lake making a much needed return. The ending comes from vinyl selector Chee Shimizu, a unique piece of music that would bring the sun down on any horizon and one of two great tracks included in the mix from the ESP LA fundraiser.

astrangelyisolatedplace · ASIP - Reflection on 2025 Listen on Soundcloudthe ASIP Podcast or the 9128.live iOS and Android app

Download

Tracklist (Artist - Title - Album - Label)
1 - HARZ - 0647 - (polychromatic) [Empty Space]
2 - Roméo Poirier - Picobello - (Off the Record) [Faitiche]
3 - Florian TM Zeisig - Earth Loop - (A New Life) [Stroom]
4 - Patricia Wolf - I'll Take Care of You - (Hrafnamynd) [Balmat]
5 - Saapato - Active Decay (feat. Patricia Wolf) - (Decomposition: Fox on a Highway) [Constellation Tatsu]
6 - Pianeti Sintetici - Part One - (Space Opera) [Astral Industries]
7 - Heavenchord, Infinity Dots - Entering Landscapes - (Landscapes Of The Soul) [Secret Domain]
8 - placa - cityzen - (in trance it) [Non-transparent]
9 - Area 3 - Grass Turns To Sponge - (View) [Khotin Industries]
10 - Cahl Sel - Leaf - (Traces) [Reflective Records]
11 - Raica - Not There Though, Dive - (The Absence of Being) [Quiet Details]
12 - MPU101 - 3100beta2 - (MPU106) [Ilian Tape]
13 - Jo Johnson - Variance Remnants 3 (field recording) - (Variance - Remnants (Alterations)) [Self]
14 - Pentagrams Of Discordia - < - (Triskaidekaphobia Extd.) [Self]
15 - Alex Kassian - Lost in Hanoi - (ESP Institute XV) [ESP]
16 - all possible worlds - untitled - [all possible worlds]
17 - Skee Mask - 32Crescent - (E) [Self]
18 - Rod Modell - Snowstorm in Naubinway - (Northern Michigan Snowstorms) [Silentes]
19 - Strategy - Earthling - (A Cooler World) [Constellation Tatsu]
20 - µ-Ziq - Peppermint Aero - (Manzana) [Balmat]
21 - Lord Of The Isles - Opalescent - (Signals Aligned) [Self]
22 - Plant43 - Skyway Shadow - (Luminous Machines) [Self]
23 - Xenia Reaper - Drift__ - (Nept Polarisation) [Delsin]
24 - Lord Of The Isles - United Wire - (Signals Aligned) [Self]
25 - Martinou - The Last Hour - (The Glow That Lingers) [FauxPas]
26 - Coatshek - Eternal Lovers - (Sound Bath) [Dark Entries]
27 - Light of Cacti - Washed Away In Pink Skies On Brighton Shores - (Neverland is a State of Mind) [Tonights Dream]
28 - Pianoman - Pasion (Alex Kassian's Mandarine Dream Mix) - (Pasion) [Planet Strange Love]
29 - Anushka Chkheidze + Robert Lippok - Uncontrollable Thoughts - (Uncontrollable Thoughts) [Morr Music]
30 - Oneohtrix Point Never - Measuring Ruins - (Tranquilizer) [Warp]
31 - Simon Littauer - Phicet - (Modular) [Katharsis]
32 - arcologies - asleep and dreaming - (PARTICLE SHIFT) [Rabbithole Club]
33 - E.L Heath and Karen Vogt - This Is Spirit - (This Is Spirit) [Plenty Wenlock]
34 - Aural Imbalance - Thermal Isolation - (Edge Of Space) [Auxiliary]
35 - jp - planes - (we're here all the time) [Theory Therapy]
36 - Vivian Koch - September (Gold) - (Colors of September) [Self]
37 - Courtney Bailey - Under The Water - (In Dream) [Music From Memory]
38 - Djrum - Waxcap - (Under Tangled Silence) [Houndstooth]
39 - Roméo Poirier - 12 - Steve A. - (Off the Record) [Faitiche]
40 - Barker - Reframing - (Stochastic Drift) [Smalltown Supersound]
41 - Alvar - Meg og sola - (The Mist LP) [Peak Experience]
42 - irini - The Higher (Lost In Dreams) [all possible worlds]
43 - Voices From The Lake - Aquateo (II) [Spazio Disponibile]
44 - Chee Shimizu - Zeze (ESP Institute XV) [ESP]

Buy Music Club

Last December, we were fortunate to host one of our largest label nights to date at Public Records, New York, one of the most renowned venues in the world for sound system quality. One year later, we present to you one of the recordings from the evening, by Brooklyn’s own Salvatore Mercatante.

Live at Public Records by salvatore mercatante Live at Public Records captures Salvatore Mercatante at his most unguarded and instinctual, set free from the polish of post-production, delivered to a room of people who gave themselves over to the quiet pull of tension, decay, and harmonic dissonance on one of the best sound systems in the world.

Performed as part of a curated label night inside Public Records’ intimate Sound Room, Salvatore’s set was equal parts sculpture and erosion. Working with a minimalist setup that belied the richness of the result, Salvatore traced an arc through fractured rhythms, bent tones, and fogged-out signal paths, drawing on his 2024 album ‘Ø’ and a trove of unreleased and WIP material.

Following a DJ-set by Aspetuck and preceding a live set by OKRAA as part of the label’s biggest showcase to date, Salvatore’s set was the perfect middle-ground, with signature low-end blooms and crisp drum patterns, reconstituted in real time and massaged by the custom four-point sound system.

Live at Public Records was recorded on December 6th, 2024 in Brooklyn NY, mastered by Antony Ryan at RedRedPaw Mastering. Artwork and video taken from photography by Daniel Salemi.

Available as name your price on Bandcamp

Join us for the listening party at 2pm PST Friday

*Photos by Daniel Salemi*

  *Photos by Daniel Salemi*

  *Photos by Daniel Salemi*

<a href="https://wndfrm.bandcamp.com/album/wvlt">WVLT by wndfrm</a> **WVLT i**s the newest sonic addition from **WNDFRM** (Portland-based, Tim Westcott), an album of eight distinct explorations of micro-rhythmic IDM.

Tim Westcott’s practice is rooted in an acute, nearly forensic attention to sound. Subtle tones, sculpted drones, and lean percussive gestures, always pursued with a patient ear and obsession with sound design.

With previous releases on Prologue, Home Normal, and Dragon’s Eye Recordings, and several live performances at Mutek, a new album from Tim is a rare yet welcome occurrence. The conceptual approach for WVLT began in 2021, mixing synths with drum machines and granular processing. Lightly arced structures slip between gates of rhythm, shifting pulses, translucent washes, and disquieting residue. There’s a precision to the hesitation and an insistence in the space between notes, a deft balance of raw improvisation and sculpted quietude.

An exercise in immediacy and response, each track builds and unspools, like form in fleeting motion, driven by the moment’s tonal contrasts, micro‑rhythmic interplay, and slight gestures that alter entire planes of listening. It’s minimal without sparsity, intense without density.

Available digitally and on limited transparent dark blue 12” vinyl on September 26th 2025. Mastered by Taylor Deupree @12k Mastering and featuring artwork by Noah M / Keep Adding.

Release page

The Dutch duo of Robin Koek and Nick Lapien, known together as ***Artefakt,*** have long been shaping their own atmospheric corner of techno. Bridging the meticulousness of academic sound design with an ever-present emotive pulse, their work has resonated deeply across releases for labels such as Delsin, Semantica, Field Records, and their own De Stijl imprint.

They've always struck a balance between abstraction and function, a rare knack for making club-appropriate music that still rewards deeper, solitary listening. That tension surfaced memorably in tracks like "The Fifth Planet" or "Somatic Dreams," but perhaps most personally, in "Entering The City", a track that found its way into my Reflection on 2017 mix and still holds that special late-night gravity for me, many years on.

Kinship by Artefakt Their contribution to the isolatedmix series lands as an expansive meditation on contrast and communion. As the duo describe it:

"This recording came together for us imagining being in spaces of sonic isolation - conversing with each other and through this act of exchange, unfolding a dynamic landscape. This emerges as an auditory refuge where we become the waves. As we navigate this appearing structure, we re-anchor ourselves as listeners, embracing the ephemeral and reconciling with strangeness to find solace in deviation.

The mix also draws from a lifelong inspiration that runs as a thread through our own music - the contrasts between natural textures, organic decay and fractal blooming sounds set against the quantization, designed function and electric qualities of the built city and the futures they represent, captured in musical imagination. The mix invites listeners to dwell in this synthesis of spaces, discovering connection within isolation."

This is Artefakt working in longform and dictating progression, where subtle shifts feel tectonic and sequences unravel like a conversation across timezones. There's techno here, but blurred through the lens of wide-angle composition - a unique trance-like state that mimics their unique dance-floor rituals.

astrangelyisolatedplace · isolatedmix 134 - Artefakt Download

Listen on Soundcloud, the ASIP Podcast or the 9128.live iOS and Android app.

Tracklist:
01. Arovane & Hior Chronik - A Day, November 2013
02. Multicast Dynamics - Field of Dreams
03. Jake Muir - Twilight Transmissions
04. 2030 - Key to the Universe
05. Neel - Alchemy
06. Stenny - Dew
07. 1991 - High-Tech Love-Life
08. Imaginary Softwoods - Globe IV
09. Emika Elena - Reflection (Multicast Dynamics Remix)
10. BFTT - Enin
11. queniv - Viba
12. Hiver - Inner Motion
13. Sven Weisemann - Cascading Lights
14. Imprea - In a Landscape
15. Purelink - Stadium Drive
16. The 7th Plain - Chords Are Dirty
17. Marianna Maruyama & Hessel Veldman - Softly, at first

~

Artefakt Bandcamp | Soundcloud | Instagram

Somewhere between tape hiss and transmission error, **Pentagrams Of Discordia** have been quietly assembling fragments of forgotten broadcasts, reel-to-reel experiments, and dusty rhythm boxes into something that might resemble a memory.

The elusive trio work collectively, in analog shadows, and their fingerprints are embedded deep within this mix. Much of the material you’ll hear is unreleased- looped, spliced, and sequenced exclusively for this set. It's both a showcase of their sound, and an enigma; a nodding towards certain iconic duos and chill-room auteurs without ever tipping fully into homage.

Triskaidekaphobia Extd. by Pentagrams Of Discordia Their isolatedmix is the kind of journey that begins with no particular destination, meandering across shortwave frequencies, roadside daydreams, and the occasional flickering motel sign. A collage of found melodies, distorted lullabies, and cracked-lens nostalgia - less a DJ set and more a shared hallucination.

“Expect unreleased gems, spectral edits, and glitchy whispers from forgotten projects: each track chosen not just for sound, but for how it haunts. A guided descent into the vaults, stitched with care, mischief, and just enough distortion” - PoD.

Download

astrangelyisolatedplace · isolatedmix 133 - Pentagrams Of Discordia Listen on Soundcloud, the ASIP Podcast or the 9128.live iOS and Android app.

After following their lush analog output via Ghostly International in recent years, I couldn’t be more excited to present an album by KILN here on ASIP. By way of an entry point to anyone new to the trio of Hayes, Marrison & Rehberg, think more electronic worlds of Christian Kleine, Bitstream, Freescha, ISAN et al, all captured as live performances, combined with micro-field recordings and further saturated with color and texture…

A big thank you to Sam Valenti IV for connecting our two worlds.

~

KILN return with an opulent new display of hue and swing on Lemon Borealis, a sumptuous gallery of dazzling motifs that display a finely hewn concoction of visual tones and vital pulse.

Across its 12 cuts, this collection utilizes a fresh process of condensing immersive sprawl into compact, punchy and colorful sound. Using aspects of live performance, beatmaking and waveform sculpting, the troika of Kevin Hayes, Kirk Marrison and Clark Rehberg III create evocative and invigorating dioramas, continuing to surprise and enchant listeners after over thirty years into their collaboration.

Deep in waves of Hi-meets-Lo Fi, KILN delivers a panchromatic daymark arranged to biochemically align and stimulate your personal syntax, forging a tapestry of sonic reveries ranging from the aquarium-on-fire radiance of DrnkGrlfrnd, a garden groove of field-recorded percussion in Maplefunk Diptych, to the sizzling guit-noise whiteout of Deacon Rayhand.

Their eighth album, and first for A Strangely Isolated Place, on Lemon Borealis, KILN expands upon the long-explored themes of mosaic texture, subtle melancholy, eroded consonance, and vivid cadence to reveal yet another aperture to their unique magnetic universe.

Lemon Borealis is available on 12” Transparent Yellow Smoke vinyl and digital on July 18th. Mastered and cut by Andreas Lupo Lubich, and featuring artwork by KILN.

See the album release page for full details to buy

***Matt Xavier*** has been a friend of mine for many years now. A fellow music obsessive and trusted voice when it comes to all things ambient, techno, and beyond, we finally managed to meet in person while I lived in Los Angeles, and we stayed connected over music ever since.

We’ve swapped stories about pressing vinyl and running labels, and he was the reason I first crossed paths with Joel Mull (Damm) at one of his gatherings held at a beautiful Topanga home. It was a serendipitous moment that still echoes today.

A proponent for the deeper layers found in music, Matt has since become a practician, ambassador, and pioneer for psychedelic soundtracking. Along the way, he shared tracks from ASIP and other labels that were influencing and guiding his private sessions, shaping the grand masterpiece we present to you today. As his practice deepened, we exchanged many texts discussing his ambition to publish a book about his unique experience and include an accompanying mix on ASIP.

Matt’s new book, ‘The Psychedelic DJ: A Practical Guide to Therapeutic Music Curation and Psilocybin-Assisted Therapy’, is a groundbreaking manual for anyone looking to bridge sound and healing. Whether you're a clinician, a DJ, or just someone who knows the power of a well-placed track, Matt’s work will likely reframe how you think about music’s role in inner journeys.

His isolatedmix is a fully formed and accompanying ‘Protocol’, which is an example of one of his many guided sessions, referred to as “therapeutic DJing.” Psilocybin Therapy Protocol v1.22a, distills his craft and evolution in this practice for us all to dip into at a surface level, providing a peek into what are very personal worlds prepared for his clients.

Alongside the mix, Matt joins us for a deep-dive interview, discussing his new book, his transition from rave culture to guided sessions, his real-time curatorial method and how music, when chosen with care, can become a tool for transformation.

astrangelyisolatedplace · isolatedmix 132 - Matt Xavier: Psilocybin Therapy Protocol v1.22a Listen on Soundcloud, the ASIP Podcast or the 9128.live iOS and Android app.

HQ Download (4gb)

~

Tracklist | Bandcamp Playlist to support the featured artists

Jon Hopkins – 1/1 Singing Bowl (Ascension)
Marconi Union – Weightless Part 1
Neel, Voices From The Lake – Planatia
Helios – Penumbra
36 & awakened souls – Take Me By The Hand (awakened souls - Acid Dream Version)
poemme – awning ~ under the willow tree
zakè (扎克) – 000607053 OTS3 [Solar]
awakened souls & From Overseas – Migration
awakened souls & From Overseas – Certainty Of Tides
36 & awakened souls – Passing Dreams
Desert Dwellers – Lotus Garden Spaces
Disneynature Soundscapes – Jellyfish Atmosphere (BATHROOM BREAK)
Endless Melancholy – When I'm With You
Archivist – Photosensitive
Jens Buchert – Milano
Endless Melancholy & Black Swan – Forever In A Moment
Gelka – Ambient Impressions Vol 2 Mashup feat. FredAgain/NilsFrahm/Fejká
Lav – Collaborative Survival
Unknown – SMD_60_Bb_Oceanic_FX_Long_Surf EDITED
Lisa Bella Donna – Crystal Mountains (Matt Xavier EDIT)
Alucidnation – Skygazer
Wagogo Treeboga – Dream on
Poemme (Ed Harrison) – Out (Poemme remix)
John Beltran – Lose You
John Beltran – I Can Chase You Forever
Bluetech – Resonating Heart
Chicane – Early
Synkro – Midnight Sun (Helios remix)
Synkro – Movement
Carbon Based Lifeforms – Clouds
LF58 – Evocazione/Contatto/Risveglio
Liquid Bloom & TRIBONE - Interbeing (Telepathy Remix)
Federico Durand – El pequeño zorro colorado
alucidnation – All at Sea
Slow Meadow – Upstream Dream
Endless Melancholy – Expand
Orbital – Belfast (ANNA Ambient Remix)
Slow Meadow – Fake Magic Is Real
Helios – Halving The Compass (Rhian Sheehan Remix)
Lusine Icl – Stones throw
Slow Meadow – Pareidolia
Jon Hopkins – Immunity

~

Interview with Matt Xavier, Integrated Psychedelics Author of The Psychedelic DJ: A Practical Guide to Therapeutic Music Curation and Psilocybin-Assisted Therapy [Buy Paperback] [Buy hardcover]

**ASIP: You come from a place of passion, DJing, and running labels. What impacted or influenced the shift into the psychedelic space with music?**

Matt: I’ve been passionate about pairing music with life since I was very young, but I especially remember the very first time I ever stepped onto a dancefloor in 1993 at NASA, the legendary rave club in downtown New York City. From that point on, I knew I just had to be involved. I started throwing raves, and eventually became a psychedelic DJ during what I still believe was the most influential time in dance music history. The 90s were a hedonistic blast, especially our groundbreaking psychedelic trance events at the Shelter, but such debauchery also came with some downsides.

I ended up burning out at the turn of the millennium and went sober from 2000 to 2003. That time helped me fall back in love with myself, but I also fell out of love with New York. I moved to LA to be near my friends in Moontribe, who I’d gotten close with in the late 90s. That chapter in LA led to years of nightclub events, DJ sets, and running our techno label, Railyard Recordings. They were wildly fun times, but honestly, LA’s backstage rat race wore me out. Financially, it didn’t really hold up either, so I knew I had to make a change and find something that could carry me, and possibly a family, into the next chapters of my life.

In 2009, I decided to go back to school to become a counselor. I’d had a ton of personal experience with therapy by then, mostly from working through childhood trauma and recreational or problematic drug use during my teenage years. I worked full time as an addiction counselor during the oxycontin and heroin epidemic of the 2010s, and by 2015 the burnout was getting hard to manage. That’s when I decided to revisit psychedelics but this time intentionally, and with a more therapeutic approach.

A few years later, the burnout finally caught up with me. I reached out to a friend who was a therapist working on the MDMA studies at a local university, and they pointed me toward the growing psychedelic integration community. The first time I walked into that space, it felt like home. Not just because it reminded me of my work as a group therapist, but also because of my deep history with psychedelics from the 90s rave and psy-trance scenes. It was a perfect match.

I immediately started seeking training and built out a private practice focused on integration work. That quickly evolved into guiding with psychedelics and music. And at some point, my wife pointed out that I hadn’t actually quit DJing like I thought I had back in 2017. I was just doing it differently. I wasn’t playing to or seeking crowds anymore. I was DJing for one person at a time, what I’ve always called an “audience of one.” And the sets I’ve played in that context have, in many ways, offered more meaning and healing than anything I ever experienced on a dancefloor.

Caught catching up in the garden with Matt’s new book

ASIP: I’m aware this type of practice can come across as very “hippy-dippy shit”, but you approach it through a serious music background. Can you explain, for anyone new to this how your approach differs from the stereotypical approach?

Matt: Oh wow, I totally get that. It’s understandable. Psychedelics still get looked at through the lens of “hippy-dippy shit,” especially because of everything that happened in the 60s and 70s, and how effectively the government programmed society to see psychedelics as ridiculous or unserious. And to be fair, some of that reputation was well earned, and that goes for the ridiculous fashion and antics of ecstasy-rolling ravers of the 90s too.

The way psychedelics were presented during both counterculture movements didn’t exactly help make them look medicinal or appealing to the average person. Hopefully the intentional, therapeutic, research-based approaches being taken these days are starting to change that narrative across the board.

As for the stereotypical approach... I’m honestly not even sure what that means anymore, because my colleagues and I all work in such different ways, sometimes radically different. But if we’re talking about my approach, and what I lay out in the book, I’d say it’s more intentional, more clinical, and more therapeutic, with aspects of spirituality mixed in. It’s not recreational, though there’s nothing wrong with recreating oneself, and it’s definitely not counterculture or political.

The focus of my practice is helping clients safely explore psychedelics to address whatever they’re working through when they arrive. That means looking at both conscious and unconscious drives, in a space that’s safe and clinically informed. I do a full screening and assessment before we begin to make sure someone’s a good fit. Then we do two or three 90-minute prep counseling sessions, and eventually a full journey day, which usually includes a nine-hour arc with a four-hour live DJ set to support their experience.

It’s a serious, detailed, and thorough process that also leaves space for enjoyment, if that’s what the client needs.

ASIP: As you mentioned, you’re approaching it differently from a lot of other psychedelic guides. You’re actively DJ’ing, curating music live during these journeys. Can you talk about your process more?

Matt: Yeah, one of the things I kept seeing in this field were guides who would just pull playlists off Spotify and hit play, hoping the client would be okay with it... and then being shocked when neither the client nor the guide were satisfied. I was never interested or willing to take that chance. And thanks to my background as a DJ, I didn’t have to.

That’s where I started developing something I now call Therapeutic Music Curation. It’s a practice where music is treated like medicine, just like any other consciousness-altering substance. I think of each track as a sonic compound. I collect them, listen to them in different states, get to know their traits, and figure out how they might support a particular client’s intention.

Then I build a rough arc based on what we’ve uncovered during screening and preparation, and align the music to the qualities of the first four stages of the psilocybin experience — the hike, the climb, the summit, and the descent. It’s kind of like an internal therapeutic mountain-climbing expedition, with mushrooms and music doing their magic..

If you want to compare it to DJing, it’s a lot like prepping your record box before you head to the club. You have a general idea of what might work based on the space, the sound system, the time slot, and the vibe. But as any DJ knows, once you walk in and feel the room, all your plans can go out the window. That’s where the magic, and the real skill, comes in.

That moment of adaptation is what I call Psychedelic Soundtracking, the real-time adjustment of the “set” based on what’s actually happening in the room, emotionally and energetically. I’m watching how the client is presenting. Are they crying? Laughing? Silent? Restless? I’m also tracking my own reactions in the field, and using all that information to shape both the sound and the music in response. That’s the head and the heart of it.

Therapeutic Music Curation is the prep. Psychedelic Soundtracking is the execution. And together, that’s what I call Therapeutic DJing, the intentional use of music before, during, and after the session to support the client’s inner process and healing.

ASIP: What does the onboarding process you mention look like?

Matt: Psychedelics are incredibly powerful tools that should be used safely and wisely, preferably by trained professionals, shamans, or experienced psychonauts. To prevent unwanted harm, it’s essential to screen all prospective clients before welcoming them into my practice. That process helps both the client and me figure out if we have rapport, and whether we’re a good fit to work together in such a vulnerable capacity.

Equally important, and maybe even more so, is assessing who isn’t a good candidate for this work. That includes people with certain mental health conditions like bipolar I, schizophrenia, psychosis, borderline personality disorder, or active substance use disorder. I also screen for physical issues that could complicate things, like heart conditions, stroke history, seizures, asthma, and so on. Ruling out those risks is essential, both ethically and for the client’s safety, and mine.

The screening usually happens weeks before the first prep session. Once we begin, we work closely for a few weeks leading up to the journey, and then again afterward for integration. The client isn’t the only one stepping into a vulnerable space, we’re both doing that. Trust and safety are non-negotiable.

**ASIP: How do you react as a “DJ” during the session? How are you reading the client in the moment?**

Matt: Like I said earlier, I call that part Psychedelic Soundtracking. It’s the live, real-time response to what’s unfolding in the room. It’s how I adjust the music and the energy of the setting based on how the client is showing up, through their words, their silence, or their emotional state.

I might sketch out a rough plan beforehand similar to filling my record box, but as we learned in traditional counseling, I try not to arrive with a fixed agenda. That kind of rigidity can pull you out of attunement. You might miss what’s actually happening in the moment. So I see it more like a choose-your-own-adventure book. The client’s experience shows us what page to turn to next, and I meet them there musically, just like we do on the dance floor.

ASIP: What are the emotional or energetic markers from beginning to end of your sessions, and how do you approach curating for those?

Matt: At the beginning, during what I call the “Hike”, or what others might call the onset, things are usually quiet and restful. The client is often meditating or simply lying still, waiting for the effects to come on. The music is subtle and grounding, the kind of sound that helps you settle in and feel safe, like you're approaching basecamp.

Then comes the “Climb,” which is where the medicine starts ramping up. This is when emotions begin bubbling up such as crying, laughing, yawning, trembling, shifting around. That’s when I start slowly increasing the energy, emotionality, or psychedelic quality of the music. But it’s not about pushing, it’s about supporting the rising effects and helping them make the climb toward the peak.

Next is the “Summit,” the peak. This is when the medicine is at full strength, and ego dissolution can happen. For some clients, it’s a storm of emotion. For others, it’s total stillness. Either way, I usually pull the music way back during this time. There’s a kind of reverence in that moment that I try to honor. The music becomes very spacious. I leave room for the imagination to soar.

After the peak, we enter the “Return,” or descent. This is when the medicine begins to lose strength and agency starts coming back online. Clients might begin to move again, process what just happened, or begin noticing what’s unfolding as they slowly return to their senses. The music reflects that with something melodic and comforting, often with a feeling of homecoming. This is a great phase for what I call “music for remembering.” It helps the client begin to make sense of what they just experienced.

ASIP: Can you explain the different types of music you use, and what mixtures or styles usually work best and what doesn’t?

Matt: Ah, the notorious genre question. Well, I’ve got a soft spot for the classics such as trippy electronic ambient from the ’90s chillout universe, modern neoclassical with lush synths, psychedelic downtempo, and a lot of expansive, cinematic soundscapes. But for me, it’s less about genre and more about emotion and visual enhancement. I lean into music that has emotional depth and visual texture. I need to feel it in my body and see it in my mind. It has to stir something, whether that’s ache, awe, release, or some associated memory.

One thing I’ve noticed — and this might surprise some of the more minor-chord–leaning dancefloor DJs out there — is that I often use major chords and melancholic sublimation in sessions. You can hear this approach in Psilocybin Therapy Protocol 1, which I describe more as “The Light.” This protocol is typically used in early sessions, especially with new clients. The music holds a tone of beauty, grace, and uplift, not in a naive or saccharine way, but in a way that gently invites the heart to open. It’s music that’s both sad and beautiful. Sublimative. It doesn’t deny pain, it transforms and resolves it.

This kind of music resonates with the core human paradox: the struggle and the gratitude of being alive at the same time. For many clients, especially early on, that emotional tone helps them soften into the experience. It creates a container where the nervous system can feel safe enough to let go. It’s the sound of surrender, not force.

On the other hand, Psilocybin Therapy Protocol 2, which I call “The Shadow,” leans into darker, heavier, more introspective psychedelic material with minor chords, tension, and the kind of raw emotionality that meets people deep in their grief, anger, regret, or trauma. These tracks are often used with experienced journeyers or when a client is ready to confront deeper material. It’s still intentional, it’s not “dark for the sake of dark”, but it meets the psyche where it’s at, and it creates a necessary counterbalance to the more major-leaning, sublimative compositions that I’ve found effective for therapeutic work.

What doesn’t work for me is dry “psy-muzak” that lacks energy or sizzle. Music should ignite the senses, spark curiosity, and take you somewhere unexpected. I avoid tracks that feel too safe or lack depth, intensity, or psychedelic flavor. I’m especially mindful of overly dark, twisted, or unnecessarily heavy beat-driven material (unless specifically requested), as it can easily overwhelm or distract in such an intimate, emotionally open therapeutic space. Keep in mind, this is all highly subjective.

At the end of the day, I’m not choosing music to impress a crowd, I’m choosing it to support the transformation of that audience of one that I previously mentioned. That inspires very different selections than what you’d hear in more underground circles. And that means trusting the emotion more than the genre. ASIP: Can you share a track or a moment in a set that continues to resonate with you, something you’ve returned to again and again?

Matt: Yeah, a few come to mind from Audio Protocol 001. For the onset stage, “Take Me By The Hand (Awakened Souls – Acid Dream Version)” by 36 & Awakened Souls. Cynthia’s vocals and James’s 303 lines are just... divine! It hits that emotional place where people often start crying, not out of sadness, but from that deep inner shift that happens when the medicine starts to open the heart.

Then around the two-hour mark, often when a booster might be kicking in, I’ll bring in something like “Out (Poemme Remix)” by Ed Harrison or “Iliad” by Malibu. Those tracks are pure sublimation: sad but beautiful. They hold sorrow and hope in the same breath, and that kind of emotional container really helps people process what’s surfacing.

During the descent phase of Protocol 1, I mix “Expand” by Endless Melancholy with the ANNA remix of “Belfast” by Orbital. That pairing was originally inspired by a live session with a client years ago, and the reaction was incredibly powerful, it even brought me to tears. It still gives me chills to this day whenever a session calls for it. Together, those two tracks feel like a triumphant return, a kind of emotional homecoming. And that ANNA remix of Orbital’s classic Belfast really hits those “music for remembering” nostalgia buttons.

And that’s the goal, not just to bring someone back, but to bring them back home, with self-reflection, meaning, and celebration.

ASIP: There’s a lot of talk about “set and setting.” What do people often overlook when preparing for, or recovering from, a journey? What are people most surprised about?

Matt: The number one surprise is always how different the journey ends up being from what they expected. People say they have no expectations but of course they do. We all do. And then the medicine shows them something totally unexpected. Sometimes they’re shocked by how powerful it is. Other times, they’re amazed at how safe or courageous they feel when they assume they’d be terrified.

That’s always my favorite moment: when someone realizes they’ve reconnected with a part of themselves they forgot was even there. That’s the real magic.

In terms of preparation, a lot of people forget to start living the life they want on the other side. They wait for the journey to fix them. But I encourage clients to start having conversations with their future selves to ask, “What should I be doing now to get ready for who I’m becoming?” It’s like tending the garden before the rains come. You clear the weeds, loosen the soil, and plant the seeds of intention. Then the medicine knows where to land.

And then there’s the basic stuff: avoiding alcohol, stepping back from news and social media, doing breathwork, staying mindful. These small choices really do help the nervous system prepare to navigate the psychedelic space.

Post-journey, people often think the afterglow will last forever. It won’t. The high wears off. Life gets lifey again. That’s why integration is crucial. Psychedelics aren’t a fix. They plant seeds, but you still have to water them.

We go over all of this in the screening and prep sessions. The journey is just one part of the process, but it’s everything around it that makes it sustainable.

Matt Xavier (center), Joel (2nd from left) and I with friends at one of Matts parties in Topanga. Photo by Jill Sutherland.

ASIP: We’ve previously talked in depth about how the practice of curating music as a guide is hard to protect, people can copy your sets or your tracklists, for example. So what makes a guide special beyond musical choice?

Matt: It’s true that in this day and age, you can’t really guard your IP like we did back in the day such as covering our records to fend off curious trainspotters. Everyone has access to the same tracks now, and artists are getting paid less and less as streaming takes over. So spreading the word is essential to the growth of the artists who make the music we use in sessions. That’s part of the reason I’m so vocal about giving credit to the artists I use and directly supporting them whenever possible.

But what really makes a guide special isn’t just the music. It’s how you show up. It’s your ability to attune. To sense what’s needed. To recognize that music, like a psychedelic, is a medicine. And that your presence, your pacing, your sensitivity, all of that becomes part of the treatment.

A guide needs to know how to work with both the music, the moment and the psyche. They need to understand trauma. To regulate their own nervous system. To hold space for whatever shows up, whether it’s grief, rage, laughter, silence, or pure cosmic awe.

And honestly, I think anyone doing this work should have at least some training in counseling or psychology. It doesn’t have to be academic, but you need to understand how the human psyche works and how to guide and counsel someone who is trusting you with their most vulnerable states. Otherwise, you’ll be unprepared when the real material surfaces, and you can unintentionally do harm.

ASIP: What are some of the most enlightening, unexpected, or just fun outcomes of your sessions you’ve seen over the years?

Matt: I love that question. There are so many. The most enlightening thing, for me, is just the privilege of sitting with someone who’s opening themselves up that deeply. It’s sacred, and it never ceases to amaze me. To be trusted in that way, to be invited into that kind of vulnerability, it still humbles me every time.

There’ve been moments where people just erupt in tears, and five minutes later they’re laughing uncontrollably. I remember one session in particular, which I wrote about in the book, where the client went from deep sorrow and grief into a spontaneous outburst of joy. I followed him musically, moving from “Forever In A Moment” by Black Swan & Endless Melancholy, and then dropped a custom edit of Junkie XL’s “Intergalactic Space Travel.” The energy exploded with color, and that supported him into full catharsis. I followed that with a beatless track called “Lunar Landscape” by Sacred Seeds to help him land again and integrate that emotional purge. He said afterward it was one of the most cathartic experiences of his life.

Or a more recent session, where the client arrived saying they were excited and had prepared to go deep. From the start, they kept asking me to turn the volume up, and if you know the Adam Audio S3V monitors, you know they can get proper loud. I was stunned at how clearly the client knew what they needed, not just to enjoy the music and the experience, but to actually break through something. I remember giggling to myself as they kept yelling for more volume. It was wild, and totally inspiring! Not only did it help them push through their own blockages, it helped me realize I’d built up some of my own limitations around what’s “allowed” in a session.

Sure enough, the volume amplified the psychedelics and helped them access deeper levels of release. Like the client, I was deeply humbled.

And that’s the thing, to be allowed to witness these kinds of moments, to be part of it in any way, I don’t take it lightly.

ASIP: What advice or recommendations would you give to any DJ who wants to apply some principles of your practice to their own sets, maybe in more intimate or personal settings?

Matt: First and foremost, move slowly. Get properly trained, and do your own deep work before guiding others. Study psychology, counseling, trauma and, of course, psychedelics and psychedelic guiding. Understand what it truly means to hold space, and know your own limits. This will help you recognize who you can, and shouldn't, be working with.

Curate your therapeutic medicine bag. Go through your music library and pull out the tracks that have helped you in difficult moments, the ones that comforted you, inspired you, and made you feel more human. Find the intimate instrumental pieces you turn to when you're alone. These are the sounds that will serve as sonic tools in your practice.

This isn’t a dancefloor so don't get caught up in beatmatching; focus instead on emotion and vision. Learn every nuance of your tracks, their qualities, moods, and shifts. Know which ones calm, which ones activate, which ones expand, resolve, or which ones are trippy. Think about how each song might align with different phases of a psychedelic journey, and allow yourself to experiment with the fun of soundtracking the various moments of your life.

Above all, recognize the sacredness of this work. When someone enters a psychedelic state, they are profoundly open, and you hold responsibility for their safety. The music, medicine, and counsel you provide can either support their healing or add to their struggle. That weight should never be taken lightly.

As the saying goes, “Go slow and dose low. You can always take more, but you can't take less.” Stay humble. Don’t set out to save the world before you know what you’re doing. Listen deeply to your music, your medicines, and most importantly, your clients. Because in the end, they are trusting you with the most vulnerable parts of themselves, and that is truly an honor in this lifetime.

ASIP: Given this mix is named Protocol v1.22a, can we assume there is more to come?

Matt: Psilocybin Therapy Protocol 2, will be available via my website and SoundCloud. I like to call this, “The Shadow,” as it leans into darker, heavier, more introspective psychedelic material with minor chords, tension, and the kind of raw emotionality that meets people deep in their grief, anger, regret, or trauma. These tracks are often used with experienced journeyers or when a client is ready to confront deeper material. It’s still intentional, it’s not “dark for the sake of dark”, but it meets the psyche where it’s at, and it creates a necessary counterbalance to the more major-leaning, sublimative compositions that I’ve found effective for therapeutic work.

~

May/June 2025.

Matt Xavier | Website | Soundcloud | Instagram

Eighteen sessions in, and somehow, **todos** still manages to unearth mixes that astound.

Kilchurn Session XVIII arrives as a continuation of a conversation we’ve been having for over a decade, threading forgotten film cues, elusive ambient B-sides, and left-behind downtempo sketches into a two-hour séance.

If you’ve followed the Kilchurn Sessions from the beginning, or todos’ end of year ASIP label mixes, you’ll know they’re less about progression and more about excavation: digging through his deeply considered music memory, looping time in on itself, through careful and unexpected edits, seamless blends, and the most considered mix sequencing possible.

Listen on Soundcloudthe ASIP Podcast or the 9128.live iOS and Android app

todos · Kilchurn Session XVlll Download

Tracklist:

Akira Rabelais - ‘Du côté de chez Swann - Il y a bien des années ... dans le silence du soir’ (edit)Field Kit, Hannah Von Hubbenet & John Gurtler - ‘Downward Rising’
Sophia Loizou - ‘Anima’ (edit)Junkie Digital - ‘In Transit’
Jani R - ‘Eyes Eluding’
Vivian Koch - ‘Lil Birdy Starts to Fly Again’
Mifune - ‘Many People’
Marc Spieler - ‘Selflove’
Before Tigers - ‘Look At Me’ (edit)Marcibagoly - ‘We’re Flying’
SVLBRD - ‘Solstice’ (edit)D J 1 9 8 6 一九八六 - ’N O S T A L G I A '9 2’
Simone Giudice - ‘Ghiaccio’ / Patricia Wolf - ‘Distant Memory’
Sierra Romeo - ‘Promiza’
Savvas - ‘Elysian’ (ambient mix)
Savvas - ‘Elysian’ (original mix)
PJS - ‘Forest’
Cremallier - ‘Activity’
Bop - ‘Hiding’
Trudge - ‘Berserk’ / Suso Sáiz - ‘Inside The Egg’
Simone Giudice - ‘Passione’
Holy Other - ‘Lieve’
Marcibagoly - ‘Jet Stream’
MPU101 - ‘nurMKS30’ (edit) / Tim Exile - ‘A Little Bit More’ (edit)HAAI - ‘Be Good’
James Holden - ‘In The End You’ll Know’

Following **Mikkel Rev's** debut album on the label in 2023, ‘The Art Of Levitation’, the Norwegian artist returns with Journey Beyond, a selection of tracks demonstrating his innate ability to conjure the most atmospheric trance music, irrespective of BPM.

Journey Beyond by Mikkel Rev Journey Beyond was created from an extensive set of tracks sent to the label that were initially sequenced as two shorter EPs. With the first offering a slower 80bpm trance style, and the second EP, a classic ~130bpm trance style. However, over time, with tracks swapping in and out, ASIP had the idea to create a mixed version, progressing through the tracks and increasing bpm's, showcasing Mikkel’s ability in bridging euphoric worlds - and a style that is often reserved for Mikkel’s live performances amongst the forest raves held as part of the Ute Collective in Norway.

Classic trance and the art of a DJ mix have been influential to ASIP since the label’s inception, making this release and the process of creating it a true reflection of how Mikkel and the label come together to define the end output.

Featuring artwork by Ventral Is Golden and mastered by James Bernard, the album is available now on Bandcamp to preorder for just $1, with full release following next Friday and a Bandcamp listening party the day before (Thursday 22nd, 11am PST).

There’s a certain feeling that creeps in when listening to ***Illuvia***. A delicate suspension between rhythm and atmosphere, where the weight of a breakbeat never overwhelms the stillness it moves through.

Since debuting as Illuvia on ASIP with Iridescence of Clouds back in 2021, Ludvig Cimbrelius has steadily carved out his own temporal rift in the world of ambient and jungle- a sound that sidesteps nostalgia and instead uncovers a forgotten future buried deep in the recesses of our collective memory.

With such a history on the label going back to our earliest of releases and our 7th vinyl press (as Purl, alongside Lav) this is the second time Ludvig has appeared on an isolatedmix, along with the close ties and inspiration of this Portals mix from God Is No Longer A DJ.

Both across his latest release, Earth Prism, and Iridescence of Clouds, he introduced a world of ambient lovers to weightless pads combined with chopped breaks, barely tethered to gravity, and melodies that seemed to shimmer. It was both an echo of something familiar and an entirely new dialect, not strictly jungle, not wholly ambient, not liquid in the traditional sense, but unmistakably Illuvia.

This new mix is a continuation of those worlds. Or maybe a glance sideways into a parallel one. Illuvia’s approach has always been about restraint and resonance: every snare hit is softened by reverb, every progression feels like it’s been carved out of silence.

For those who have followed his trajectory through ASIP and beyond, this is another precious window into Ludvig’s meticulous and emotive world. And for those new to it, welcome.

Embed Block Add an embed URL or code. Learn more ~

Illuvia: Mauna Kea

When preparing to leave what has been my home for the past three years and setting sail towards a different continent, I knew some of the old hard-drives I have been carrying around would not make the trip with me. A move like this one marks a new beginning, and when it comes to my music I usually attempt to go through what I can easily access in my archives and feel out what calls for being salvaged and shared in some form. The rest will remain disconnected from the digital cloud, destined to slowly disintegrate (perhaps to be dug up by archeologists in some distant future).

In my search, I discovered the first demo tracks I had sent to Ryan back in 2019, as well as a track called ‘Where Clouds Dissolve Into Sky’ - the first idea I took down for Illuvia’s debut on ASIP. That title eventually morphed into the album name, while the track itself remained a beautiful idea that didn’t quite reach all the way. It had something special, just like the raw demo versions that were either refined or completely reimagined on their way to release.

As some of what I found felt too radiant to fade, I began to feel for ways that these odd pieces could flow together into a continuous mix - and naturally an Isolatedmix as most of the tracks were directly or indirectly connected to my albums on ASIP. Slowly, a path emerged, leading deeper into the heart of Illuvia. It turned into quite a collage, with cut out pieces from the myriad of versions being processed and becoming background layers, adding dimension and depth to moments that seemed to call for it.

When listening to the mixed version of Mauna Kea, I was surprised by how alive the music felt to me and decided that I wanted to try to compile this work as an album too, sharing more of the near endless versions and including tracks that I had an attachment to that didn’t find their place in the mix. It turned out to be a lot harder to reach the finish line on the album, with the tracklist continuing to morph and me going deeper into the rabbit hole of mastering to make sure I gave these musical entities all the love I had to give. Letting them be the way they were created while also doing what I can for their message to translate with clarity. Now as I arrive at the moment of letting them go, it’s time for some other ears (and hopefully hearts) to continue the exploration.

– Ludvig (Peru, April 2025)

astrangelyisolatedplace · isolatedmix 131 - Illuvia: 'Mauna Kea' Listen on Soundcloudthe ASIP Podcast or the 9128.live iOS and Android app.

Tracklist:

Via I (Dream Fragment)
Where Clouds Dissolve Into Sky (Origin)
Nirmala Sundari
Abyssal Plains
Mauna Loa
A New Tomorrow (Origin)
Mauna Kea
Light Within Shadow
Snow Melt From My Heart
State of Emergence (Origin)
Blue Rays (Disintegration)
Chiara (Intro)
Beyond Skies

All tracks written and produced by Ludvig Cimbrelius
Artwork by Lena (moonspeace)

This mix is also available as a release on Illuvia’s Bandcamp page to enjoy in high quality download formats and individual tracks, including a limited CDr run.

Mauna Kea by Illuvia

**Christian Kleine’s** Electronic Music From The Lost World 1998-2001 Vol.2 is out today on gatefold pink 2LP. But not to overshadow this moment, we also have another special item as part of this release dropping shortly...

Electronic Music From The Lost World: 1998-2001 (Vol.2) by Christian Kleine I probably don’t need to wax lyrical about the impact and role of City Centre Offices in my journey. You can connect the dots easily given the name and artists on the label, and go deeper with my interview with Thaddi Herrmann.

Outside of the artists and genre-defining output, the 7” releases from the label were undoubtedly one of the biggest influences on my obsession with vinyl and the DIY aesthetic. Minimal in design, striking colors and cute random stickers made these 7”s an instant collectible - although at the time, they probably felt much more lo-fi and budget given this was the heyday of vinyl production for emerging independent electronic music. I hate to imagine how cheap these were to make back then compared to today.

So when Christian’s return to the label was in discussion and further digs into his DAT archives, I had the idea to pay homage to one of his earliest labels and one of my favorites with a copycat 7” lathe.

Mimicking the design to the finest detail, I enlisted Robyn at Red Space Records to cut a 7” transparent lathe (currently in production), ordered a replica sticker approach for the front, and designed a bunch of different color labels to placed randomly on each copy to replicate further the strong aesthetic that formed over time on the CCO roster.

Electronic Music From The Lost World: 1998-2001 (Vol.2) by Christian Kleine" target="_blank">Available now on Bandcamp, just 50 copies were made due to the DIY nature of lathe cuts and assembly. I know many people won’t be able to get their hands on this special edition, but simply trying to scale something that takes time and is focused on quality can be very hard nowadays.

The two tracks, “Beyond Repair (Version)” and “Wonder Var” will remain exclusive to the 7” for the time being. Mastered by the man who did all of CCO’s early mastering, LOOP-O.

7" mock for illustrative purposes (the sleeves will be in perfect condition, don't worry).

Electronic Music From The Lost World: 1998-2001 (Vol.2) by Christian Kleine Christian Kleine continues to unearth long-lost transmissions with Electronic Music From The Lost World: Vol.2 - another batch of pristine artifacts from his personal DAT archive. Much like its predecessor, this release serves as both a time capsule and a reminder of Kleine’s effortless blend of melodic warmth, intricate rhythm programming, punk influences, and a deep-rooted love for the fringes of electronica.

Where Vol.1 felt like an invitation back to the late ‘90s, a time when IDM was still an evolving conversation, this second volume extends the dialogue, revealing more of the sonic experiments and fully-formed pieces that never saw the light of day. Tracks recall specific moments from Kleine’s time living in Berlin, an era of minimal comforts but maximal creativity, where all that really mattered was that the PowerPC, sampler, and synths kept running. This period of introspection, coupled with the musical freedom afforded by cheap rent and late-night school classes, shaped the deeply personal and solitary sound of these recordings.

Visually, Vol 2 shares its origins with the first volume, as Midori Hirano’s stark Berlin photography forms the foundation, and Noah M / Keep Adding pushes the imagery into a brighter, more reflective final space. Final touches remain in familiar hands, with LOOP-O on mastering and lacquer duties, bringing new life to Christian’s OG DAT recordings.

And much like the classic City Centre Offices era that shaped this sound and Kleine’s early career, this release nods to that legacy. A special limited 7” EP with two bonus tracks, designed in tribute to CCO’s iconic DIY aesthetic, will be available on release day direct from the label’s Bandcamp.

Electronic Music From The Lost World: 1998-2001 (Vol.2), will be available on marbled pink gatefold 2LP on April 18th 2025.

View the release page for all links to buy.

Whether under his ***Dream Weapons*** or ***Fantastikoi Hxoi*** aliases or more his more extensive output as ***Anatolian Weapons***, Aggelos’ music is one to get lost in, where each project feels like a conversation between worlds that don’t usually meet. As Anatolian Weapons, that conversation comes into sharper focus: what began as an experiment in bridging the sharper edges of EBM and krautrock with the circular, percussive energy of Greek folk music has turned into a fully formed and consistent thread through his output of EPs and albums.

One of his first full-lengths as Anatolian Weapons arrived via the legendary Tim Sweeney’s Beats In Space label back in 2019 - a move that pulled ancient melodies into unfamiliar territory and a statement piece at the time. Since then, Aggelos has gone on to release on labels as varied as Emotional Response, Transmigration and Sound Metaphors along with more techno-oriented homes such as Dekmantel and Kalahari Oyster Cult.

Fast forward to 2024’s album, Beyond, and that sense of push and pull is still present, only now with more intent and confidence. It’s music that leans into repetition and rhythm without losing sight of where it came from. Aggelos also has an innate ability to find some really addictive hooks in his music, too (for example, I used this voice texture as a loop in my Monument mix, which I absolutely adore).

Aggelos’ isolatedmix feels like a natural continuation and culmination of his complex yet harmonious style. There’s no strict mood or genre at play, but rather a slow reveal, drawing on the same tensions and textures that have defined Baltas’ path so far. It’s a pleasure to have him contribute with such a dreamy trip through the many facets of his influences.

~

I see you describe your sound as 'progressive folk and psych'. Can you expand on this a little?

'Progressive Folk And Psych From Greece' is a 3-part mix compilation showcasing my influences as Fantastikoi Hxoi. The Fantastikoi Hxoi albums brought me to the attention of selectors like Lena Willikens, who used to play tracks from that era (2009-2011). The sound is something between space rock, kraut, folk, and progressive with electronics. The Dream Weapons moniker is reserved for more techno-oriented sounds while Anatolian Weapons is moving towards world music influences with driving beats.

**One of your first albums came about for Tim Sweeney's esteemed Beats In Space label - how did that happen?**

There had been two Fantastikoi Hxoi releases before that, and I had just started the Anataloian Weapons project. Again, Lena Willikens played an unreleased track on her Beats In Space and I contacted Tim to let him know about the ID. He seemed interested, and my collaboration with local folk musician Seirios Savvaidis was born. I love his work, and I'm very lucky and humbled to have worked with him on the album, which did well.

Can you tell us a little about your approach to some of the many remixes and edits you create and why you enjoy producing them?

It is very fun to collaborate with people I admire, and re-editing is something that I enjoy immensely, even if it's just a good pitch-down of a track. I love re-contextualizing and juxtapositions of different genres. It all comes down to the inspiration I get from fellow artists or my musical heroes of the past. I have just released an edit compilation called 'The Whiteout Edits' a couple of days ago and I am working closely with Sound Metaphors on the remix front as well as on original material.

Whiteout Edits by Anatolian Weapons It seems you also enjoy experimenting more by releasing through EPs versus albums - is that intentional? Is that a way to create more regular approaches to your sound?

It all comes down to requests, really, and the dynamics of each label. I feel very lucky to have worked in album format with BIS as well as Subject To Restrictions, a label that feels like home nowadays. Dominik Andre has a flawless instinct for A&R and a great ear.

STR is surely a label worth checking out. Apart from the two brother albums 'Earth' and 'Beyond' I also did mixing and additional production on my good friend Anna Vs June in her album 'Ersi', the album and her musical world are extraordinary - also worth checking out.

Mantili EP by Anatolian Weapons One of my favorite tracks of yours is 'Lets Talk' on the Mantil EP - and I think this does a great job of capturing your sound. For anyone new to you, which records would you point them to first?

Thank you. I'm glad you like it; it's much appreciated.

I'd say 'A Strange Light From The East EP' or 'The Black Sea EP' on Lurid music would encapsulate the Anatolian Weapons sound, whether it is dubbed out excursion of African library music or druggy downtempo. My mix for Tim Sweeney's Beats In Space and Lena Willikens Lightning Conductor on NTS can show exactly how I like my music to sound when I play out, along maybe with the Sameheads mixed tape called 'Palace Of Imagination'.

Teachings In Stone LP by Anatolian Weapons As a producer from Greece, what are the opportunities and challenges you face there? From my limited knowledge, it must be very hard to form a community, given how extensive the country is across islands, etc. Are you active in any local scene?

I have been playing in numerous spots in Athens throughout the years with many local and international acts, as well as keeping my 20-year residency at Astron Bar (now in a new building with a capacity of 300).

The scene is getting stronger day by day, and there are a lot of talented people creating music and throwing parties. The friends whom I have shared decks with would be too many to mention,

I enjoyed opening a gig for Polygonia / Kangding Ray / Wata Igarashi along with Nausicaa from Revolt! who also runs an excellent record shop. So yes, I think the scene here is at an all-time high with a knowledgeable and heady crowd supporting what truly deserves the support.

How has your sound impacted the tracks chosen in this mix? Was there a concept behind the mix? Can you list any tracks included in the mix?

The mix showcases my taste on the ambient/ downtempo side with a couple of tracks from Gus Till, whose output I love, some local stuff, plus the original mix of The Light At The End, a huge favorite of mine by Zen Paradox from his first CD-r release.

I also have the honor of remixing it with two new versions - the vinyl will be out on Transmigration very soon. If the music is deep, contemplative, melancholic, and melodic, with a touch of light for good measure, it will probably be up my street. Two tracks that almost made it in the mix are Kay Nakayama's 'Free Your Mind (Light Side Mix)' and 'Loading To Airport'.

**What else can we expect to hear from you soon?**

I just released 'The Whiteout Edits' on Bandcamp, there is a split on Dalmata Daniel with The Spy coming soon on 10'' lathe, the Zen Paradox remix EP on Transmigration, remixes for Arvin Fajar and Talking Machine (digital only) an album on Byrd out (digital only) plus original material on Sound Metaphors Also a lot of new edits on Bandcamp so watch that space!

We rarely sleep around here.

~

astrangelyisolatedplace · isolatedmix 130 - Anatolian Weapons Listen on Soundcloudthe ASIP Podcast or the 9128.live iOS and Android app

Download MP3

(No tracklist on this one I’m afraid but quite a few tracks mentioned above)

Rod Modell & Taka Noda - Glow WorldThis album from last year, but only recently made available digitally. I picked Glow World up on vinyl originally and have been spinning it consistently since. A masterclass in detailed world-building, it has to be one of my prized vinyl purchases of late. Everyone knows Rod Modell, but I am sure some people may not have realized that Taka Noda, also released under a dub moniker, Mystica Tribe on Silent Season for a few years. The two make a perfect duo on this timeless record.

Glow World by Rod Modell & Taka Noda And just as you think we’d exhausted the Modell treasure trove in the past few months, he just released another LP of sublime icey textures on ‘Northern Michigan Snowstorms’. The sub-zero chillout room from one of Michigan’s most renowned immersive techno producers.

Northern Michigan Snowstorms by Rod Modell Single Cell Orchestra - Single Cell OrchestraOur upcoming release from Monoparts couldn’t be further from the sound on this album, but in a twisted rabbit hole way, posting about Olga’s upcoming album on Instagram led me to this overlooked classic when asking for people's favorite trip-hop tracks. I love it when older 90s albums crop up on the corners of Bandcamp. For a new platform, I am always dubious of finding gems when hitting the search bar. Silent Cell Orchestra is the perfect capsulation of the freedom of sound and styles found across albums in an era when feelings beat genres.

Single Cell Orchestra by Single Cell Orchestra ESP Institute XV – I Active, II Passive, III Unobtanium [L.A. WILDFIRE FUNDRAISER]There have been a few amazing LA fire fundraiser comps released in the past month or so, and I am sure many of you managed to wrap your ears around the ‘For LA’ comps, which are a no-brainer of epic proportions within the ambient producer realm.

This one from ESP Institute, however, took me by surprise. I mean, where do you even start? 90 tracks from a label that is consistently pushing genre boundaries and coming up with some defining albums (those early Lord of The Isles, as just one example). I debated doing an entire collected post with 5 of my favorite tracks at one point.

After giving this a spin in its entirety as I hopped around the house and car, it’s the type of album you could listen to all day long and always find new moments. The sequencing is subtle but definitely considered. You find your ears pricking up to a beautiful new sound every two tracks or so. My choice track is by the vinyl digger officianado, Chee Shimizu, presenting a truly uplifting Balearic sunset vibe on Zeze... save this one for the summer.

ESP Institute XV – I Active, II Passive, III Unobtanium [L.A. WILDFIRE FUNDRAISER] by Chee Shimizu OK, just two more choice cuts then…

ESP Institute XV – I Active, II Passive, III Unobtanium [L.A. WILDFIRE FUNDRAISER] by Lord Of The Isles ESP Institute XV – I Active, II Passive, III Unobtanium [L.A. WILDFIRE FUNDRAISER] by Alex Kassian Band Ane - Anish MusixMost of you know I love the playful IDM vibes of artists such as LJ Kruzer, Freescha and ISAN. It’s been a while since any of those have produced any new music of note, and it’s rare to stumble across something that evokes similar feelings nowadays. I don’t know why though. Twenty years later, is it all just too serious now? Has the innocence in electronic music just disappeared? Is it not cool to create playful melodies anymore?

I can’t remember how this album by Danish artist Band Ane, ended up on my wishlist to purchase, it might have been playing on the Deep Space radio station. An innocent album of whimsical, melodic IDM that takes you back to the early 00’s.

Anish Musix by Band Ane Voice Actor, Squu - Lust (1)Listening to Voice Actor’s debut on Stroom felt like a voyeuristic snapshot of personal photographs. Abstract, minimal, field recordings, vocal shards- you never knew the twist it was going to take from track to track. Now the enigmatic Stroom label return with Voice Actor alongside ‘Squu’, (who I know very little about -perhaps on purpose, as the only profile I can find is this Soundcloud).

Squu brings a dubby and trippy metallic sheen to Voice Actor’s fragmented musings, turning the abstract, into an almost danceable, yet much more listenable epilogue.

Lust (1) by Voice Actor, Squu Find these albums and many more over on my Bandcamp Collection.

Volume 7 is an ASIP artist-related special; on the odd chance you missed some of the amazing records put out by our small extended world of producers. I was thinking of maybe starting a new rating system for ASIP alumni - something along the lines of “How Annoyed I Am ASIP Didn’t Release This Out Of Five.”

Alex Albrecht - Someday SaraAlex Albrecht on Anjunadeep wasn’t on my 2025 bingo card, but listening now, it makes complete sense. Alex’s sensibility and stewardship of —quite simply— feel-good music can be heard through his ambient field recordings all the way to the warm-up dance floor. Anjuna veers towards the more accessible side of things, of course, so here Alex has dialed up the beats, but kept consistent with the organic instruments and storied pianolines.

If you liked his release here on ASIP, imagine this record as Disc Two (Evening) versus our Disc One (Daytime) to put it in 90’s Trance Compilation verbiage.

Someday, Sara by Alex Albrecht Abul Mogard & Rafael Anton Irisarri - Live at Le Guess Who?Guido and Rafael’s 2024 collaboration, Impossibly Distant, Impossiblt Close, is the most fitting album title I’ve ever encountered. Listening to it on headphones was a revelation—an immense soundscape unfolding while the smallest details surfaced with startling clarity. Naturally, experiencing this record of the duo playing live is just as mesmerizing.

Also, Berliners, please note our very own Lihla will be performing at the same show as these two greats on March 20th… don’t miss!

Live at Le Guess Who? by Abul Mogard & Rafael Anton Irisarri Yagya - VorShawn Reynaldo (First Floor) recently featured this album in his newsletter, and his short review pretty much hit the nail on the head. Something along the lines of- and I may be paraphrasing here with my own POV- ‘dub techno is getting pretty popular again, but no-one does it better than some of the overlooked OGs’. Well, Yagya is one of the OGs, and on Vor, he returns to his purest manifestation. Bellowing clouds of dubby warmth take you right back to the tin shed pitter-patter vibe of Rigning, with more confident flourishes to be found after years of perfecting his style.

Vor by Yagya Deepchild - BelovedRick Bull swings from banging techno to swirling moods of ambiance over on his Bandcamp, so it’s hard to know when to dive in if you only enjoy one of the two (luckily, I enjoy both!) ‘Beloved’ is a similar vibe to his vocal approaches on his ASIP release ‘Mycological Patterns’, and in a textured Burial-esque way, can be even more engrossing and intriguing at points.

Beloved by Deepchild Markus Guentner - Black DahliaMarkus has been getting some amazing and well-deserved praise for his new album on Affin, Black Dahlia. You don’t need to ask me, his #1 fan if it’s any good… But those who listen to Markus’ music are a special breed in today’s overbearing world. His music and sound design are truly enveloping, and great rewards can be found if attention is given from front to back. Black Dahlia is a precious reminder of this attentive listening approach, as Markus has taken an even more metallic and experimental approach to his usual widescreen world-building - it’s not all comfort in there, but the reward is just the same.

Black Dahlia by Markus Guentner Jo Johnson - Alterations 1: UnbrokenJo is up there with some of the masters of synthesizer minimalism, but instead of pioneering the sound in the 70’s, she’s keeping the atmospheric and dystopian side of this music well and truly alive. And I mean that in a positive light, of course. Much darkness can be found in her compositions, but she is never overbearing to the point of negativity. It was her delicate approach alongside Hilary Robinson that made their 9128 release so glorious, and once again, this record is another class in session.

No embed enabled on this one, so head on over and dive in.

Find these albums and many more over on my Bandcamp Collection.

You could say ASIP has brought me closer to ‘my people’ over the years—those with a deep, almost obsessive appreciation for all things ambient and electronic. The ones who love this music, who show up at the same gigs, who get so inspired by the sounds and stories that they start paving their own.

Based in Rotterdam, Rosillon is one of those people. Co-founder of the electronic music platform Embodiment, he’s been a long-time listener and supporter of ASIP. At his core, he’s just another music obsessive, choosing to share his passion through mixes and curated events—the kind of person who keeps music culture moving forward, regardless of genre or scale. Last November Rosillon had the pleasure to play for the first edition of ZERØBPM, a 18 hour non-stop ambient/meditation experience in a church in the Netherlands. And his previous mixes have cropped up for the brilliant Deep Breakfast series, as well as the Korean collective, Vurt.

I don’t typically accept submissions for the isolatedmix series, but his vinyl-only mix landed in a way that many don’t. And when he shared the story behind it, it perfectly captured how music like this isn’t just heard—it’s experienced, absorbed, and ultimately, passed on. Listening back and reading his inspiration, it reminded me of the exact mindset I experienced when picking a name for this endeavor, A Strangely Isolated Place.

Places of inspiration for Rosillon’s mix

~

“ Last summer, during my travels through Bulgaria, I found myself deeply inspired by the landscapes, and the sense of remoteness that each place evoked. As soon as I returned home, I aimed to translate these experiences into sound.

This mix is the result of that, a sonic exploration of isolation, both physical and emotional. The concept behind this set revolves around the idea of ‘isolated places’, not just in the geographical sense, but also within the mind. These are the places that trigger emotions, memories, and introspection. Places shaped by sound aesthetics that speak directly to the imagination. With this in mind, I carefully selected tracks that embody these feelings, crafting a mix that serves as both an escape and a reflection.

The mix unfolds as a metaphor for the experiences we gather during our journeys. It begins at an airport, a symbolic starting point that sends the listener on their way. From there, the music takes you through a collage of progressively more obscure destinations, each transition serving as a portal to another isolated place.

Places of inspiration for Rosillon’s mix

Some transitions are smooth and fluid, while others are abrupt and disorienting, mirroring the unpredictability of travel itself. As the mix progresses, it immerses the listener in various emotional landscapes, reflecting the highs and lows that come with discovering unfamiliar territory.

Near the end, a vocal announcement signals that the gate is closing, marking the inevitable conclusion of the journey. The bittersweet nostalgia of leaving behind an enriching experience is captured in a track featuring glitching sounds layered over a field recording of an airport.

However, just as in real life, the end of a trip brings with it a renewed appreciation for the lessons learned and the memories made. In the closing section of the mix I wanted to embrace this sentiment, offering a positive and empowering conclusion.

It reminds us that every journey, whether to distant lands or within ourselves, leaves a lasting impact, shaping our perspective in ways we may not fully grasp until we return home. I hope this mix transports you to your own isolated places, allowing you to lose yourself in the journey and find meaning in the sounds along the way.”

Rosillon

astrangelyisolatedplace · isolatedmix 129 - Rosillon Listen on Soundcloudthe ASIP Podcast or the 9128.live iOS and Android app

Download MP3

Tracklist (vinyl only)
01. The Black Dog – M1 [Dust Science Recordings]
02. Rod Modell - Ghost Lights B-side [Astral Industries]
03. Inhmost – In The Bay [re:st]
04. 3.11 – Dissolve in Patience [PRS]
05. Box5ive – Rough Sleeper [co:clear]
06. 3.11 – Hard Copy [PRS]
07. Alva Noto - Confidential Information 1 [Noton]
08. Off The Sky – Ahurani [re:discovery records]
09. Xenia Reaper – 23724 [INDEX:Records]
10. William Selman - Farther Off Among The Foaming Black Rocks [Mysteries Of The Deep]
11. Pontiac Streator & Mister Water Wet - Angelus Spit [Motion Ward]
12. TIBSLC – Hypertranslucent [Sferic]
13. Quiet Places – Side B [A Strangely Isolated Place]
14. The Black Dog - Lounge [Dust Science Recordings]
15. Alva Noto - HYbr:ID Ectopia Field 1 [Noton]

~

Rosillon Soundcloud | Instagram
Embodiment Soundcloud | Instagram

Dreamfish - DreamfishThere are a few LPs I have been hunting down for a long time now, and the original Dreamfish 2LP is up there. I've never seen it in the wild, and a Bandcamp comment suggests only 500 copies were originally pressed back in 1993. Silent State is slowly working through some of the most majestic titles from this era, and now Dreamfish is up for reissue, with preorders on Feb 7th. Read this interview I did with Nils from Silent State a while back who is on a mission to share more from the Namlook estate.

Dreamfish by Dreamfish Snad - BubblescopeI’ve been on a Smallville kick recently - well, probably since the Joe Davies album reminded me they exist, and they constantly churn out some of the best house music going. This latest one from Snad was playing in Passenger Seat Records in Portland when I asked what it was… of course, it turned out to be on Smallville. A lovely slice of dubby relaxing house music to float away to. The B-side, the standout.

Smallville 67 - Snad - Bubblescope by smallville records Kiln - Seltzer BoaEvery year since 2021, Kiln has offered up a single through Bandcamp on January 1st, as a sonic snapshot of their groovable electronics. Many will know of this group through their releases on Ghostly, defining a specific sound that is perhaps the most organic and instrumental way possible to approach the listenable side of early IDM. Look out for more from Kiln arriving very soon….cough cough.

Seltzer Boa by KILN PFM - Equilibrium VIPIt’s not often you get an unreleased gem from one of the kings of atmospheric / liquid drum’n bass making an appearance on Bandcamp. PFM has been dropping a bunch of singles on his own bandcamp in recent years (often deleting the releases once people have downloaded them), but looks like this one is set to stay, with a vinyl press to boot.

Roller.

Equilibrium VIP - PFM / Icarus - PFM & Greekboy by PFM / PFM & Greekboy Simon Littauer - ModularEveryone hates on Instagram for many reasons, but once in a while, if you follow bunch of music nerds, it presents you with… more music nerds, jamming in front of their expensive rigs. Most sound as you’d expect, but Simon Littauer’s got a knack for intertwining some absolutely beautiful pads and melancholy amongst the complex analog glitch and breaks. This album is name your price right now, too.

Modular by Simon Littauer Find these albums and many more over on my Bandcamp Collection.

Our first release of 2025 was announced today, featuring our very own Olga Wojciechowska, (Infinite Distances (2019), Unseen Traces (2020), and the 2022 collaboration with Scanner), alongside Tomasz Walkiewicz.

The Monoparts project was sent to me as unreleased material a few years back by Olga, and it was spoken of as something that would never see the light of day, due to the duo going their own ways.

It was put into rotation on 9128.live, and since then, I grew to love it so much, I made the steps to secure it as a release on ASIP.

In a dramatic departure, Olga unveils a new and unexpected side, debuting her haunting vocals—a delicate, spellbinding performance that recalls the golden era of trip-hop, and comparisons to the sounds pioneered by Tricky, Massive Attack, and Martina Topley-Bird.

"This album is like becoming one with the earth itself—feeling the rawness of the wood, tasting the earth in your mouth, and sensing the presence of ancient spirits. The music carries a deep, primal energy, like being part of the forest, with creatures watching you from the shadows." - Olga Wojciechowska

To complete the journey, ASC lends his signature touch with a stunning drum’n’bass reinterpretation, amplifying the album’s nostalgic essence. Soothsayers emerges as a spellbinding ode to times gone by, in more ways than one.

Featuring artwork by Moon Patrol, with mastering and lacquer by Andreas LUPO Lubich, Soothsayers will be available on 12” maroon smoke-colored vinyl and Bandcamp on February 28th. Preorder is now available on Bandcamp and Space Cadets, with more stores to follow soon.

Save the Monday 24th for our listening party over on Bandcamp. RSVP here.

Soothsayers by Monoparts

There are only a few podcasts and mix series that stand the test of time over the years and become regular go-to’s. ***Unrush,*** for example, began 8 years ago and has since hosted classic mixes from Wanderwelle, Jamie Mccue (Silent Season), Kamikaze Space Program, Sven Weisemann, and the host herself, Mareena. If you’re not familiar with the series, you have some digging to do.

As many may know, my DJ mixes are often conceptual and ladder to a bigger idea. For example, my most recent mix for Monument was made entirely of loops, and I’d often spend weeks perfecting the output.

I often try and do more with recorded sets because you have more time to obsess and create something different than what someone would hear playing live. However, for this mix, given it was over the holiday period and life is pretty hectic right now, I chose to adopt a more “don’t overthink it” approach, and just did what hit me...

I was also more optimistic about kicking off the year, and I didn’t want to go down a dark or ambient route (as might be the initial reaction given the mix series title). In hindsight, I very rarely do straight-up ambient sets.

The result:

We are delighted to begin the year with a mix from ASIP (Ryan Griffin), the founder of A Strangely Isolated Place - a label and mix series that has become a cornerstone for contemporary ambient music. Inviting him felt long overdue, and we couldn’t be happier to share this contribution from someone whose work continually inspires us. For this mix, Ryan delved into musical memories, crafting a journey filled with nostalgia and influences. As he beautifully puts it:

"Thank you, Mareen, for the invite to your series. This mix is full of nostalgia, some Balearic undertones, and classic approaches to ambient electronic music, without an agenda. It starts to speak to some major influences on me over the years. Growing up on 90's electronic music, influential summers in Europe, and the formative years of early 00's IDM and electronica. If Unrush is self-described as 'a serene space within the mind that is free from the encumbering stresses of daily life,' then this is music that always helps me get there."

Ryan’s contribution is a heartfelt journey through time, marked by the sounds that have shaped him and continue to inspire, perfectly embodying the unrushed ethos. Let yourself drift and enjoy... ❤️

The set features 3 unreleased tracks that may or may not be forthcoming on the label. Well… Aspetuck’s is locked and loaded at least, and the Mikkel Rev and Alvar are in the early discussion and sequencing stages (the fun part!)

Listen to the mix below or on Soundcloud. Bandcamp links in the tracklist wherever possible.

UNRUSH · 093 - Unrushed by ASIP Download MP3

Tracklist:

Ishq - And Awake (2011, Interchill Records)
Aspetuck - Hit Me With Your Pet Shark (Forthcoming, A Strangely Isolated Place)
Wilson Tanner - Further Than Your Headlights (2016, Growing Bin Records)
TSR - gtchi3 (2012, Record Union)
MPU101 - Sunset Memories (2024, Ilian Tape)
Dream Dolphin - L.E.A (Mirror Coordinate Mix) (2023, Music From Memory)
C-thru - Awake In A Dream (2023, Pacific Rhythm)
Norman Feller - Melting From The Inside (2003, Electrolux)
Gallo - That Moment (2023, Hell Yeah)
Spooky - Let Go (1993, Guerilla)
Neutron 9000 - Empire (1994, Rising High)
Alvar - Our Peach Sky (Unreleased)
Mikkel Rev - Unknown (Unreleased)
Ebi - Kaze (1996, Space Teddy)
Jochem Paap - Dx-Snth (1999, Fax)

This edition is a little harder given I’ve recently just completed my Reflection on 2024 mix with over 40 tracks and artists I’ve enjoyed this year. So with that in mind, I’m digging into some non-2024 stuff I’ve picked up on Bandcamp recently.

Akra - Pure (Rising Sun Melancholia - Shield Cut)After our label event at Public Records in early December, we headed upstairs to continue the night at a second space (one of 3 rooms at the venue), where the DJ was sat in front of another lovely Devon Ojas system, comfy on a couch, spinning a bunch of classic house and 10’s. Most of it was built for the Friday night crowd- funky and danceable - but at one point, this absolute beast of a sub-bass cut through, and then a soaring atmospheric string line. My old ass started to move. I walked away not knowing what it was, but got a short 5-second video to go from. After sending it to the DJ on Instagram asking for a track ID - and after a bit of back and forth - it was finally revealed.

Funny, as my friend Hadi mentioned on my Instagram video when trying to ID the track “sounds like early Rising Sun”…. I responded… yeah it does, but I doubt it… it was a 10” and in the middle of a lot of older Chicago house-sounding stuff..

I was very glad to be in the wrong. Big love to Isaiah Collier, who was spinning this tune and did what any great DJ should do, and helped track down that track ID!

Pure EP (Rising Sun / Lake People / Greg Beato Mixes) by Akra Christian Kleine - Relic MemoriesAs I prep another host of music from Christian Kleine’s prime era to be released on the label soon, he quietly dropped this bunch of nostalgia over on Bandcamp. As confirmed with a few other die-hard CK lovers, this is straight from the era that made many fall in love with his unique sound (and I'm kind of annoyed he didn’t send it my way first tbh ha). I have some more gems of his to come very soon, though, so don’t worry.

Relic Memories by Christian Kleine Jako Jako - MetamorphoseIt’s the track Amygdala that blew me away from this album. Enough arps, enough analogue, enough euphoria for a perfectly sweet slice of electronics. It’s like Hania Rani’s classical sensibilities transported into a full analog system.

Metamorphose by JakoJako Citizen Maze - Northern AngeliqueI have been well aware of Analog Attic Recordings for a long time now, of course through my relationship with ASIP artist Alex Albrecht. But, it often takes a while to make it through all of the releases. But after recently adding the Analog Attic catalog into rotation on 9128.live, I found myself deep in Citizen Maze’s releases - lost in some warm, dubby, trancey euphoric world. That’s a very rudimentary way to describe this music - but I’m only here to point you in the right direction, and not ruin it any more for you…

This might be the last we hear from the Citizen Maze alias, though, which is disappointing… a recent Soundcloud set text mentioned, “This mix might be the last of my mixes under Citizen Maze as I'm slowly working towards establishing my new alias and it's sound”…

Northern Angelique by Citizen Maze Aspetuck - Early ColorAs you may have already figured out, we are gearing up for a 2025 release with Aspetuck. Based in New York, Griff recently played at our Public Records label showcase, and is also a regular artist on South Korean techno label, Oslated, with several releases to date and a new album coming in the new year.

In addition to this, Griff also runs his own label alongside the Delayed crew, called Never Late. Early Color, the label’s first release, sets a very clear intention of sound and style that’s subsequently been followed by two more great releases by Mjulev and Tensen Park (also recommended).

A truly relaxing jaunt through various styles, soundtracking the brim of a beautiful horizon.

Early Color by Aspetuck Find these albums and many more over on my Bandcamp Collection.

*As with all my previous* *‘Reflection’ year-end mixes**, I begin with a collection of albums, EPs, and compilations that resonated with me over the past year. From there, I curate tracks to build the mix—a process that’s as much about omission as inclusion. Inevitably, many of my favorite tracks and albums don’t make the final cut, simply because they don’t fit the flow of the mix or get lost along the way. There are plenty of albums I played on repeat that aren’t included here, but I enjoy this process much more than creating lists.*

As I remind myself each year, this isn’t meant to be a definitive “best-of” list. Instead, it’s a snapshot of some of my favorite music from the year, distilled into one cohesive and listenable format. Compiling these mixes under self-imposed restrictions is my way of revisiting and celebrating the music I’ve loved critically, while sharing it with you in a way that’s both meaningful and accessible. For me, listening back to these mixes is like flipping through an audio photograph, capturing the essence of my year in music and invoking memories from special moments.

I encourage you to use this mix as a jumping-off point—dive into each artist, explore their albums in full, and check out the labels behind the music. You can find a Buy Music Club list linked below to help you dig deeper. If you’re curious about the broader scope of music I’ve supported this year, my Bandcamp collection is always up to date. And for the ASIP year-end label compilation, you can find the feature and mix here.

~

Starting this year’s mix was no easy task. It’s been a whirlwind of a year, with my family relocating from Los Angeles back to Oregon. For a significant stretch, my ideal listening setup was in flux, and I wasn’t commuting to work as much—two key times I’d normally dive deep into the music I’d collected.

That said, I still managed to accumulate a fair share of vinyl this year (probably too much), so that became my starting point. I began shortlisting from my unsorted crate—my go-to spot for new acquisitions—despite knowing the mix would eventually be recorded digitally I always intend on ripping some vinyl-only releases. Since most of my purchases are through Bandcamp, I typically have digital files ready to go, but there are still a few frustrating cases where I’ve had to double-dip and buy the digital files separately (labels, let’s get those Bandcamp download codes in vinyl sleeves—it’s almost 2025!).

This year’s shortlist started with over 80 artists/tracks from albums I’ve loved, which I eventually narrowed down to 40 for the final mix. It’s a good representation of what’s been on heavy rotation for me. As always, I stuck to my usual self-imposed rule of no ASIP artist related tracks. I’d easily fill an entire mix with their music if that rule weren’t in place (also that’s what 9128.live is good for). I like to take this time to highlight other incredible, often overlooked releases that haven’t made the rounds in our circles, or through the usual “best of” lists.

I intended to rip some of my vinyl-only releases for this mix as a few really stood out this year, but time wasn’t on my side, and no digital was available. On the bright side, nearly all the music included here is readily available on Bandcamp for you to support.

A few callouts as you skim through the tracklist.

The latest Röyksopp album leans heavily into ambient tropes, but it’s undeniably comforting—a continuous flow reminiscent of the classic Art of Chill mixes, blending atmospheric textures with accessible pop crossovers. It nails that sweet spot, and I’m not one to turn my nose up at that.

Isabel Pine, whose demo first landed in my inbox some time ago, continues to impress—her latest release is an absolute gem. Aja’s ‘Lullaby’ is pure sweetness, so addictive I often found myself hitting repeat. C.K. didn’t drop any new ambient projects this year, but he did finally upload his phenomenal catalog to Bandcamp The track I included serves from his only 2024 release as an ambient counterpart to his more techno-focused album from this year.

Music From Memory’s Virtual Dreams compilation was a highlight for me—every track on it felt like a guaranteed vibe, no matter the mood (#1 on my HHV list). Casino Versus Japan’s comeback might just be his finest work yet, even if it hasn’t made it onto other lists out there. Its stripped-back, raw quality made it a challenge to incorporate into this mix without it becoming the centerpiece.

Minotaur Shock was a standout discovery in 2024, offering a blend of IDM-infused drum-oriented sounds. This track, in particular, is one of his most melodic. Another new find was Civilistjävel!, courtesy of Juan (OKRAA), who introduced me to the record while we were record shopping in New York. Florian T M Zeisig made waves with a ’90s-inspired album, consistently impressing with his inventive approaches (and even debuting a new alias).

nthng remains a regular on my year-end mixes, and deservedly so. My favorite track of his this year was ‘Echo Track,’ though it didn’t quite fit into this mix. Synkro returned as Ovïd with a mesmerizing slice of gaseous dub-techno—I even let it run long to max out its hypnotic qualities in the mix. Brian Grainger and his aliases are extremely productive, so it’s hard to cut through sometimes, but I always gravitate to his Coppice Halifax output.

Vril delivered an audio-sensory onslaught with his new album. While my favorite track didn’t make this mix, the entire release is excellent. I bent one of my own rules by including two tracks from Daniel[i]—a testament to the quality of that record. Rising Sun also deserves a mention. Even though his uploads this year were from his back catalog, the music is as timeless as ever (and I have a special memory of hearing this amazing track at Public Records, cementing a solid 2024 core memory).

Solar Alliance saw me bending another rule, as this is technically from the Ute collective but for anyone into '90s-style trance and downtempo- not to be missed. Xylitol, another new artist on my radar, delivered a release perfectly aligned with its Planet Mu home—think Aphex-inspired IDM with breaks and bass. Metamatics took an unexpected turn, dropping a drum’n’bass album with a '90s vibe featuring vocal samples from the emotional worlds normally assigned to DJ Healer or Rising Sun.

Finally, the closer comes from Mortal—a 1997 gem I only discovered in 2024. Though technically from December 2023, it missed last year's mix and felt like the perfect way to wrap up this year’s edition.

astrangelyisolatedplace · ASIP - Reflection on 2024 Listen on Soundcloudthe ASIP Podcast or the 9128.live iOS and Android app

Download

Tracklist:

Chihei Hatakeyama - Insects Chirping At Night (Field Recs)
CHANTSSSS - Lose My (Theory Therapy)
Endless Trains & Taennya - Lifeless Place (Archives)
Röyksopp (Feat. Alison Goldfrapp) - We Enter (Self Released)
Merely & Malibu - outlanders intro (Year 0001)
anthéne - Crimson (Floralia Editions)
Isabel Pine - Silhouettes (Where The Flowers Grow)
Old Amica - Klorofyll (Self Released)
Aja - Absolune (Grand Musique Management)
Winter Silhouette - Solidarity (Peak)
C.K - We Share The Skies (Private Recording System)
Dub Squad - Blown Fruit (Music From Memory)
Shokunin - Darlands (Bonse1)
Li Yilei - Yip, Yip, Yip (Métron Records)
Voyage Futur - Marina Botany (Vill4in)
Casino Versus Japan - Licht (Self Released)
Minotaur Shock - With Me? (Bytes)
Civilistjävel! - XII (Felt)
Ear To Ear - Live Recordings D (Astral Industries)
Strategy - Numeros (Community Library)
Florian T M Zeisig - Wave Guide (Stroom)
nthng - Dont Be Scared (Self Released)
Brendon Moeller - Pressure (Quiet Details)
Lb Honne - Musium (Project Indigo)
Priori ft. Sabola - Learn To Fly (Naff Recordings)
Ovïd - Dream Sequence (Fauxpas Musik)
Coppice Halifax - Ceremonial (Milieu Music)
pondlicker - orchid media (Naff Recordings)
Daniel[i] - Jobkas Dom (Muzan Editions)
Vril - Pneuma (Omnidisc)
Low End Activist - Airdrop 02 (Yarnton Rd 2 Cassington) (Peak Oil)
Daniel[i] - Dom Amb (Muzan Editions)
Wardown - 5 It Is The Mercy (Blu Mar Ten)
Rising Sun - The Ascend (Original) (Self Released)
Vera Logdanidi - Euphoria (Semantica)
Donato Dozzy - Lucrezia (Spazio Disponibile)
Solar Alliance - Tri-Mind (Self Released)
Xylitol - Monte Mare (Planet Mu)
Metamatics - A Second Chance Is Rare (Self Released)
Mortal - Minus One (Sunny Crypt)

Buy Music Club List

Handing over a year’s worth of releases to ***todos*** and watching the magic unfold is always an exhilarating experience. His ability to craft a narrative from such a rich and varied palette is unparalleled, offering fresh insights into the music and the year behind us. A true specialist in narrative witchcraft, todos continues to redefine DJ mixes with such a limited palette to build from. This year’s selection posed an increasingly complex challenge, with its mix of tempos and styles, but it’s a testament to the incredible work of the ASIP artists in 2024, all tied together under the meticulous eye of our trusted selector.

The year began with new label signing Salvatore Mercatante, and his pin-point drum patterns and room-filled IDM. This was followed by an about-turn in style with a new label signing, Lihla, presenting her hypnotizing blend of spoken word and atmospheric multi-instrument talent. Lapsed Pacifist (who happens to be a good friend of todos' in the UK - another full circle moment for the label) presented his debut album, featuring 'rolling waves of lavender synths', which Pop Matters recently listed as one of its best ambient albums of 2024. Keeping things unexpected, we then presented another new artist, Theef, who released a selection of timeless deep techno cuts from a DJ mix he posted online in 2018. It was then a chance for one of ASIPs most cherished sounds to return, as Illuvia continued his monumental exploration into the deep expanse of ethereal ambient drum'n bass. By now, we were approaching the much-celebrated half-century catalog number, and who better than long-time label artist, Markus Guentner to bring it over the line, alongside eight other fantastic talents. Colombian producer OKRAA, evolved his living-and-breathing psychedelic electronics, introducing more breaks and electro to his palette, in a truly unexpected second album. And closing out the year, Hungarian artist swanasa, presented a taster of her sonic capabilities in a short EP, that shone a light on multiple approaches we hope to explore from her very soon.

Thank you for all of your support, comments, and encouragement this year. Here's to those who explore the unique, the nostalgic and the new, and those who forge their own way forward.

Download on Bandcamp

Join us on Friday 20th December, 12pm PST for the full mix premiere and Bandcamp listening party.

2024 | Label Compilation (mixed by todos) by A Strangely Isolated Place todos Continuous DJ mix tracklist:

swanasa - Swan Song (edit)
Lihla - Resonance
Markus Guentner - Father Of Waters
Lapsed Pacifist - Tragic
Markus Guentner & Arovane - Utopian Fragments (edit) / Illuvia - A New Tomorrow (edit) / swanasa - AHO / Lihla - Becoming Human (edit)
OKRAA - La Gran Corriente
Salvatore Mercatante - Love Of Lies
Illuvia - Tectonic Shift
Markus Guentner & Abul Mogard - While Hunting Nightmares And Dreaming For Peace
Theef - Strange Nights
Salvatore Mercatante - How Many Hands
OKRAA - Para Desaprender (edit)
Theef - Odd Entity
Lapsed Pacifist - Almost Remembered

Download MP3

Gi Gi - DreamlinerGi Gi’s Lumino Pleco from 2021 was a big fave of mine, and this new album represents an updated approach from the Texan producer. The distant smudged vocals and heart-pouring strings are gone, and more structured drums and downtempo is in - but Gi Gi still retains a delicate and approachable palette that would suit any 90’s chillout room.

Dreamliner by Gi Gi nthng - Echo TrackYes, I am a nthng super fan, and pretty much everything he touches turns to gold in one way or another. He hits that sweet deep, melodic and pure techno touch, (as well as doing ambient just as good) and the second piece of music on this EP is nothing short of simple perfection. Echo Track is the type of music you want to hear in a big dark basement with good friends.

Two People by nthng Solar Alliance - HAMMARÖ-23It may take some digging, especially as these guys don’t exactly pour out news on social media, but this new collective consists of our very own Mikkel Rev, his Omformer partner Filip Storsveen, and Ute cofounder, Teo Bachs Larsen. So, of course, expect some forward-thinking trance in both chugging and high-energy level forms from the Norwegian experts.

HAMMARÖ-23 by Solar Alliance Starterra - Transformation CyclesIt’s not easy to come across Berlin-school space ambient, that echoes that of our very own Merrin Karras, or 36. But this 2022 album by Starterra, is up there with the best of them, especially the track ‘Celestial Intellect’. There’s enough movement to keep it entertaining, and enough atmosphere to fly. For listeners of the aforementioned artists, and of course legends like Carbon Based Lifeforms, Tangerine Dream and even Jean-Michel Jarre.

Transformation Cycles by Starterra Neutron 9000 - Lady Burning SkyA classic from 1994 and the days of Rising High Records, this one no doubt skipped past many; unless you were really in it to win it back then. As you would expect purely by mentioning the words “1994 and “Rising High”, this is a seminal electronic album with touches of acid, trance and classic ambient house. KLF in variety, James Bernard acid in inflection. A must-have 3LP reissued by Tiga’s Turbo Recordings (?!) and even boasting a Daniel Avery remix on this reissue version.

Lady Burning Sky by Neutron 9000 Find these albums and many more over on my Bandcamp Collection.

Watch a new video for the single, ‘Es Hora’ taken from OKRAA’s upcoming album, La Gran Corriente.

Created by Dead Society, the visualizer captures an organic energy and momentum of Juan’s new beat-focused approach, highlighting its IDM sensibilities through abstract and hypnotic visuals.

La Gran Corriente, is now available for preorder on gatefold 2LP and digital. View the release page for more details and links to listen and buy.

Join us on October 23rd for the album listening party and full album playthrough over on Bandcamp, at 11am PST. RSVP here.

Watch a beautiful new video for the track ‘All Light Will Remain’ by Markus Guentner & Karen Vogt, directed by Guillaume Eymenier.

Inverted Audio have the video premiere and additional details on the inspiration and approach from Guillaume.

Markus Guentner’s new album Kontrapunkt is now available on digital and gatefold 2LP, with copies going fast!

Head to the release page for more details and links to buy.

James Bernard - Atmospherics (30th Anniversary Edition)Many of you will know James for his releases here on ASIP, but since then, James has made a home with the crew at PITP, and so of course they got first dibs on reissuing this beast of his. Atmospherics is one of the seminal electronic ambient albums of the 90’s, and one for the heads. You won’t often find it on many, ‘best of’ lists, but you will hear many reputable DJs and producers reference it as a major impact on their productions, with its acid-tinged synthesis that James is now well known for, and straddling the lines of trance, downtempo and ambient with a full throw-back to the chill out rooms of the time. One of the people it impacted some 30-years ago, is Brock van Wey aka bvdub, who has been enlisted to reinterpret the entire album for this Anniversary Edition.

I would imagine an entirely new set of tracks to be born from Brock’s mind - not just remixes, but complete deconstructions, reimagined from the ground up.

Atmospherics [30th Anniversary Edition] by James Bernard Old Amica - För alltidAbout as organic and textured as ambient music comes, this is one of those records to find subtle details in every time you listen, while wandering an expansive landscape of nordic winter. For fans of Ous Mal; with Sigur Ros, Johann Johannson and Thomas Koner on backing duties.

För alltid by Old Amica Minotaur Shock - Salina Pulse StreamsI’m new to Minotaur Shock, and it looks like I’ve got some catching up to do. I gravitated toward this album due to it’s ‘mixtape’ nature as described in the album notes. Experimental downtempo and trip-hop with lush metallic tones and clean, clean drum programming. Recommend a full album listen from top to bottom to hear the evolution as intended.

Salina Pulse Streams by Minotaur Shock Ovid - Dream SequenceSynkro’s Ovid alias turns out a beautifully lush piece of dub-techno on Dream Sequence EP. The title track is as classic dub-techno as you can wish for, with its muddled beats, syncopated patterns and subtle hi-hats. One to get lost in. The other two tracks open up the highs a bit more, but remain on point with more glitch-focused elements, for an all-round superb EP.

Dream Sequence EP by Ovïd 3.11 - IlluminateLastly, it’s an awesome day when a certain ‘vinyl-only’ artist until now, releases their collection on Bandcamp. 3.11 has made some of the most sought-after ambient and ambient-leaning techno vinyl of recent years (I’m only missing a couple luckily!). 3.11 styles can vary between lush swathes of ambient textures and swampy dub-techno, to italo house and 90’s sounding downtempo. Now they’re all available digitally.

Expect to see more 3.11 music in ambient mixes in, 3, 2, 1….

Journey To The Core (PRS07) by 3.11 Find these albums and many more over on my Bandcamp Collection.

***Markus Guentner’s*** new album, ***Kontrapunkt*** showcases eight collaborations with some exceptional artists, each of whom has a unique connection to ASIP’s world in one way or another. Though I did not influence Markus's choice of collaborators, the album somehow found a thread through so many of our past releases, as well as artists I have also respected for a long time. Here are some of my favorite tracks from each artist, in case any of these artists are new to you, or you want to dig a little deeper and an introduction to each of the relationships by Markus himself.

Kontrapunkt by Markus Guentner Joachim Spieth

I've known Joachim since the early 2000s, back when we were both involved in the Kompakt Pop Ambient Series. Our collaboration has grown over the years, and we've recently been working together on projects for his label, Affin. It's been a fantastic experience, as I get to contribute my graphic ideas and, of course, some music too. Collaborating with Joachim feels like a natural extension of our long-standing friendship and creative synergy - Markus Guentner

It might seem a bit dated to highlight Joachim’s early Pop Ambient work, especially considering how much he has evolved within the widescreen ambient and techno genres in recent years. However, this track was pivotal in launching the iconic Kompakt Pop Ambient series and remains a timeless classic in my eyes. It’s an essential example of what defined 'Pop Ambient' and the series as a whole. While there are significant stylistic differences when you compare this track with Joachim’s more recent works, that irreplaceable sense of attachment and atmosphere still resonates.

Pop Ambient 2001 by Joachim Spieth Karen Vogt

My first encounter with Karen was through a request for the Galán/Vogt remix album. Since then, we've developed a close relationship, regularly sharing ideas and having wonderful chats during video calls. Working with Karen has been incredibly inspiring, as her creative vision aligns perfectly with mine. Our collaboration has blossomed into a seamless partnership that I deeply cherish - Markus Guentner

Karen Vogt, a founding member of the Australian band Heligoland, has been creating music for over 20 years. Recently, she has found her niche in more expressive ambient and vocal work. The track I've chosen is a stripped-back piece that perfectly captures Karen’s distinctive approach and serves as a wonderful example of the mesmerizing ways her vocals can evolve.

Losing The Sea by Karen Vogt Sonae

Sonia and I have been good friends for a long time, and our bond is strengthened by our epic five-hour phone calls! We first connected when she remixed my track "Saint" for the "Uncharted Places" ASIP release in 2013. Given our long history and mutual admiration, it was only natural that we would eventually collaborate on a project together. Our collaboration feels like a culmination of years of shared experiences and creative exchanges. - Markus Guentner

Sonia and ASIP have a history that spans over 11 years now as one of the early artists who took a chance on the label with a demo for The Places Series. Since then, Sonia has developed a distinctive style that blends elements of ambient, techno, and experimental music. Her sound is typically abstract, free from conventional rules or clichés, and often explores unexpected directions. Her collaboration with Markus is a prime example, featuring shifting BPMs and a vivid, pulsating heartbeat that showcases her unique approach. The track ‘Rust’ from her 2018 album, ‘I Started Wearing Black’ is a nice companion to her collaboration with Markus.

I Started Wearing Black by Sonae Pepo Galán

Like Karen Vogt, my first significant interaction with Pepo was for a remix for an album. Shortly after, Pepo and I found ourselves in a perfect coincidence: he asked me for a collaboration for his project ‘Family Harmonies’, while I was simultaneously considering a collaboration for Kontrapunkt." This serendipitous alignment led to a fruitful and harmonious collaboration that we're both very excited about. - Markus Guentner.

With collaborations involving artists like Warmth, Awakened Souls, Karen Vogt, David Cordero, Shinji Wakasa, Max Würden, and many others, Pepo is an obvious choice as a collaborator in the ambient world. His track with Markus stands out as one of the album’s most surprising, elevating Markus’ music to unexpected new heights based on some of the feedback I’ve heard so far. To complement this, I’ve chosen a more nuanced track from his 2018 collaboration with Max Würden which again, shows a perfectly complemented partnership.

All of a Sudden by Pepo Galán & Max Würden Arovane

Uwe and I have known each other for some time, although our interactions have been mostly digital, through emails and such. I was thrilled when he asked me to remix "Scale," a track by him and Hior Chronik released on ASIP in 2016. As a long-time fan and admirer of Uwe's music, it was an honor to collaborate with him. Our collaboration was a highlight for me, blending our musical styles in a way that felt both fresh and familiar. - Markus Guentner

I wasn’t exactly looking forward to this part… Trying to pick a favorite track by Arovane is a bit like choosing a favorite child—you might have one, but admitting it is a different story. There's no need for a history lesson on Uwe here, as his inspiration knows no bounds. Instead, I’ll focus on the track I chose, which is admittedly a bit of a selfish selection. Over the years, Uwe has contributed several times to the label, collaborating with Hior Chronik, but I still vividly remember receiving his AMX remix of his own track After Tomorrow, on the In-Between Remix EP. If there’s ever a track that encapsulates the quintessential Arovane sound outside of his earliest album, this is it.

In-between Remixes by Arovane & Hior Chronik Benoît Pioulard

Released eleven years ago, Benoît’s "Hymnal" was, and still is, on heavy rotation for me. Our connection felt almost predestined when we met in Seattle while playing at Rafael's Substrata Festival. I've always wanted to collaborate with Benoît’, and finally, the timing was perfect with this new album. Working with him has been a dream come true, and our collaboration has exceeded all my expectations. - Markus Guentner.

Thomas Meluch’s most recent contribution to the label was in collaboration with Viul on the album Konec. Like Uwe, Thomas has an expansive and well-loved body of work, making it difficult to pick a favorite. However, for this occasion, I’m choosing to highlight his more vocal-forward work on Morr Music. This selection takes me back to the first time I discovered the beautiful guitars and melodies of Slowdive, or even the more electronic folk sound of artists like Bibio and early Caribou. Thomas seems to be one of those endlessly talented individuals who can master a vast spectrum of styles, all while keeping his distinctive sound at the forefront. I’ve picked the second track from his 2023 release, ‘Eidetic’ which is the first impactful vocal hit from the album that represents this side of Thomas’ work.

Eidetic by Benoît Pioulard Abul Mogard

I'm a huge, huge fan of Abul's music. Before our collaboration, we had no prior connection, which made reaching out to him feel daunting. I was elated when he replied and agreed to work on a collaborative track. Despite the initial uncertainty, the collaboration turned out to be incredibly rewarding, and I am thrilled with the outcome. - Markus Guentner

Checking the blog tag for Abul Mogard on the site reveals a wealth of mentions and mixes spanning several years. Guido’s music has played a significant role in shaping my taste, and, alongside a few select others, he’s been instrumental in fostering my appreciation for more powerful ambient music (see the Portals: Power Ambient feature). There was a time when I engaged in countless debates about Abul’s identity, which remained a mystery for many years, making him the ambient scene’s equivalent of Burial—before Burial ventured into ambient, of course. Now that his identity is no longer a secret, Guido has been relentless in honing his distinctive style through live performances and collaborations. One of his more recent releases, in collaboration with Rafael Anton Irisarri, is particularly noteworthy. The album’s title has never made more sense after experiencing it in full. The intricate details, combined with the music’s vastness and intimacy, are nothing short of awe-inspiring.

Impossibly distant, impossibly close by Abul Mogard & Rafael Anton Irisarri Hollie Kenniff

I've admired Hollie Kenniff's music for a long time, especially her work with Mint Julep alongside her husband Keith. When she released her solo album "The Quiet Drift," I immediately thought it would be a perfect match for a collaboration. Despite our musical differences, we share a lot of similarities that made working together a fun and enriching experience. This collaboration is certainly not our last, as I'm already looking forward to future projects with her. - Markus Guentner

As Markus mentions, I think it was Mint Julep that formed a big part of my exposure to Hollie’s music alongside her partner and esteemed producer Keith Kenniff (aka Helios). Mint Julep has that certain Schnauss-ian effect (especially his remixes) so it was easily absorbed into my realm; electronic shoegaze and with a stellar vocalist, you can’t go wrong. But before that, her debut solo record on n5MD blew me away, forming the opening to my Reflection on 2019 feature and without a doubt one of the best records of the year.

The Gathering Dawn by Hollie Kenniff ~

Markus Guentner’s new album , Kontrapunkt featuring each of the above amazing collaborators is now available, digitally and on gatefold 2LP.

I love the beginning of this video and the sentiment from DJ Olive that describes how music and art can often be perceived. I find it especially relevant when it comes to how some artists try and describe the creation and performance of ambient music. It isn’t something to be looked at and judged, but instead, something to become a part of…

I somehow missed out on deep diving into the works of DJ Olive. He seems to be one of those artists that, if you know you know, kind of thing… Well, it turns out for me at least, it was one of those names always on the periphery of what I was listening to - recommended here and there, skimmed on labels I knew, or compilations I listened to. But for one reason or another, I never took a breath and said, ok, let’s go deep. That was until recently, when I ransacked the DJ Olive Bandcamp page and in particular, his ambient works.

DJ Olive is responsible for coining the term, illbient (according to an impressive and illustrious Discogs bio at least). His influence and presence seem to focus on the East Coast of the US, which may be one reason why I never really went deep with his music in a big way. But diving in recently, there’s lots to admire amongst his more beat-driven, dub styles. It all feels extremely innovative and timeless, perhaps as expected, by someone also noted as an experimental turntablist.

But it’s his ambient works that need shouting out here. A trifecta of albums released on the inimitable label from Lawrence English, Room40 forming a series called Sleeping Pill.

"This is a sleeping pill...
Listen to it as quietly as you possibly can.
Mainly two things are going on at once.
One is a metaphor.
Buoy - an anchored marker that maps the passing waves.
Boringly singular, but never the same twice. There for you in a storm.
The other is an environment.
A sleep over, early morning light across the room, a screen door occasionally whispers as someone moves about.
Light fingers touch something.
Curled in a cosy corner friends near by at the edge of sleep"

I don’t think I’ve ever seen these albums on any best ambient music or best music for sleeping lists - which by no means is ever an indication of success or popularity, but partly why I feel the need to call them out here, as I’ve certainly been road testing them lately for their intended purpose.

Minimal, textured, storied, and experimental, at any one time, and staying true to his sentiment in the video - an experience to become a part of.

SLEEP by DJ Olive BUOY by DJ Olive TRIAGE by DJ Olive The long-form mixes were also recently broken down into individual tracks with additional edits and outtakes on the album Balm - a deconstructed way to experience the brilliance of all 3 albums.

BALM by DJ Olive
Find these albums and many more over on my Bandcamp Collection.

It’s been a long time since I’ve done any type of blogging on here. A lot has changed since I was writing reviews more regularly. The last time I did this kind of thing, I titled it “Passing By” (for obvious reasons), and I’m not even sure those posts made it over with the site migration.

Perhaps one of the biggest shifts in the past few years, is that, other than still collecting vinyl, I am collecting more and more music on Bandcamp. And to be honest, I still feel like there’s space for people to be talking about all the great music released on the platform. I see so many brilliant albums come and go, disappear into oblivion. Bandcamp has its columns, but even those don’t scratch the surface (and tend to be a little swayed to certain styles it seems). So, here I am again, hopefully holding up a few more ambient, electronic (or any related genre tbh - you know what to expect by now) gems. Old and new. Let’s hope I can keep this rolling. I’ll keep it to five… for now, with words at a bare minimum. No pressure. No agenda.

You could also follow my collection on Bandcamp, but… maybe this approach will be less transactional.

Inhmost - Breaks and DreamsInhmost is a much-admired artist in our small circles, through his many styles and label appearances, his quality rarely dips. His latest on UK label Tonight’s Dream Recordings (many gems to be found in there) is quite fittingly, Simon at his Schnauss-ian best. And by that I mean - yes - beautiful drum (break) programming, nostalgic feels, upbeat, and all the melodies for window watching.

Breaks and Dreams by Inhmost Casino Versus Japan - Tagebuch einer VerlorenenWithin the first 2 seconds of hitting play, you KNOW CVJ is back in the room. That analog whirrrrr, on Schnee… I didn’t realize how much I have missed Casino Versus Japan until I got through this album. Announced without fanfare, and maybe his best work yet, everything about this album harkens back to the early days on this site and stumbling across an agenda-less nostalgic sound that just hits right.

Tagebuch einer Verlorenen by Casino Versus Japan Gimmick - Analog Dream PlantsAcid-tinged electronics on the Sound Synthesis remix come close to succeeding the original from Gimmick, but the pure simplicity and beauty of the original track, retains #1 spot for me. Remix EPs are hard to pull off, but every one of these gems has its own flair (and BPM!). Snagged the vinyl.

Analog Dream Plants by Gimmik Vidění - The Land Of CloudsI like to think South Korean label Oslated has done an amazing job at continuing the legacy of the much loved yet now hibernating Silent Season label, through its deep techno aesthetics. This latest by Vidění is no exception, with airy dub techno and washes of nature infused throughout. Funny, as I look now, I see Shaded Explorer on mastering duties and a remix to book-end the album (an artist who made appearances on Silent Season). I surprise myself sometimes.

The Land Of Clouds [OSL033] by Vidění

A retrospective 2.40hr mix of all 3 **Markus Guentner** albums, ***Theia,*** ***Empire*** and ***Extropy***now available on Bandcamp as free/Name Your Price. Before we present Markus’s next chapter, ‘Kontrapunkt’, absorb yourself in the triptych of music Markus contributed to ASIP over these 3 albums in one extended session.

For fans of long-form ambient, space ambient, and dense atmospheric drone. One to get lost in without interruptions.

Trilogy Mix by Markus Guentner ~

Markus Guentner presents a long-form mix of all tracks from his trilogy of albums on ASIP, Theia, Empire and Extropy.

Over eight years and three LPs, Markus Guentner weaved a conceptual narrative that spanned millions of years. The German musician’s first album for the label, Theia explored the legend of the planet believed to have collided with Earth to form the Moon. This was followed by Empire (2018), narrating the creation of life on Earth, and the trilogy concluded with Extropy (2020), centered on the concept of limitless growth and what potentially lies ahead of us all.

Together, the mix embodies Markus’ most defining chapter in style and sound, available as one complete high-quality and immersive long-form listening experience.

Original albums:

Theia (2015)

Theia by Markus Guentner Empire (2018)

Empire by Markus Guentner Extropy (2020)

Extropy by Markus Guentner Mixed and sequenced by Markus Guentner.
Original tracks mastered by Rafael Anton Irisarri.
Original artwork for albums by Nick Brzostowski and Noah M / Keep Adding.
Trilogy Mix artwork edit by ASIP.

Liner notes are printed on thick card inside each of our vinyl releases.See here for some background on the intention and format. I am publishing Liner Notes from existing and past releases here on Substack for all to enjoy.

Artist: Comit
Title: Remote Viewing
Format: Gatefold Orange 2LP + digital
Released: 2019

This is only my second entry into the Liner Notes series on Substack (I’m in no rush) and this is the first release that didn’t have any physical liner notes (they started around ASIPV020, I think). So it’s a bit of a reflection and trawling back through some emails on this one. With the release turning five years old today, the digital version is also Name Your Price on Bandcamp for the next 24 hours to celebrate this milestone.

Remote Viewing by Comit Artwork:Despite James’ brilliance in his music, he doesn't ever give me much to go on with artwork, which is both awesome and tough! He lets his music do most of the talking, and there I go, coming in with a request for something super nuanced and conceptual as always…

For this one, I remember wanting to depict something futuristic and colorful - much like the sound of IDM that James covers in this album. If you look closely at this artwork, you can probably tell what it is, but without giving too much away, it’s a photo of a famous street in Tokyo that I took (maybe the year before this all started), distorted and fractured to hell by Noah M / Keep Adding.

Story:Before Remote Viewing, James released a small EP under the Comit alias on the now-defunct Short Trips label.

Under Your Spell by Comit I covered this release in 2016 as one of my favorites, and then in 2017, James sent me an email saying he was working on an album’s worth of new material in a new style (without mentioning Comit), but either way, I was 100% in. Those who know how prolific James is across several styles will come to respect this sound from him. If there were a Venn diagram of James’ music, I think Comit would sit directly in the middle - with ambient on the left (as himself, ASC, Central Industries etc) and then Drum’n Bass on the right. Take the best of both those worlds and you get this magic.

James would go on to release another Comit record with ASIP ‘An Ocean Of Thoughts’ and I hope there are many more to come.

Insight:Anybody who lived the melodic IDM style of the late 90s and early 00s will know exactly where James’ inspiration comes from. Some called it “Schnauss-esque” (Boomkat, if I remember rightly) and without a doubt the City Centre Offices vibe can be heard in the music, as directly referenced from James, along with many others. But to me, it’s not just a copy cat of that era - it takes that approach, gives you the nostalgia, but propels the sound into completely new, more breaks-forward, territory.

Comit was born out of my love for the music that was classed as 'IDM' during the mid-late 90's. I didn't start releasing music until 1999, and at that time I was heavily into drum & bass, so my production focus was 100% on that. An appreciation of labels such as Morr, City Centre Offices, Merck, Hobby Industries, (to name but a few) was the impetus behind the Deep Space Mix series I started in the early 2000's. I had experimented with producing music that would fit this genre briefly, under my ASC and Intex Systems guises, but it had never become something I'd totally devote an alias too, until I decided to start the Comit project. The core of the Comit sound is broken/glitchy breakbeats and emotive chord progressions with analog synthesizers. Overall, it creates a distinct sound that feels very separate to the music I produce as ASC. - James

Press:This was one of our first records mastered and cut by Andreas Lupo Lubich, as he was heavily involved in shaping the early IDM era in sound, so naturally he would be at home with this record. With Lupo behind the cut, test presses were approved on the first round back in 2017.

We cut it at 45rpm to maximize the quality of the record (faster rotation = more vinyl surface to read for the needle = better quality). There was a moment when people received the record and would send Instagram videos etc playing the record at the wrong speed. I still see some today. But the best thing is, it works well at 33.3 rpm too. Give it a try.

Even though we are well over fifty vinyl releases now (thanks to my bad vinyl catalog nomenclature), it’s still a celebratory moment to reach the ASIPV050 milestone. And of course, it had to be with Markus.

Markus has been with the label since our first digital release series - The Places Series, with his Talking Clouds EP. I still remember clearly emailing Markus to see if he was interested in my rather humble proposal, and like the true gentleman he has been ever since, he graciously accepted and turned out an amazing set of music.

Since then, Markus has gone on to release three 2LPs through the accidental triptych of Theia, Empire and Extropy, as well as two digital releases; Gradient Spirits, and a single track for Charity - Overtone (David’s Song). He has become the label’s most prolific partner, and has been a pleasure to work with since day one. So it is my absolute honor to introduce his new album which features eight similarly brilliant producers, in Kontrapunkt.

Kontrapunkt by Markus Guentner View release page for full details Markus Guentner returns to his longstanding label, A Strangely Isolated Place, following the triptych of Theia, Empire, and Extropy, presenting eight inspiring collaborations on Kontrapunkt.

Collaborations are nothing new to Markus, but it’s hard to see beyond his strong singular presence as a pioneer of long-form ambient and drone. Collabs have punctuated his albums in various places over the years, and he is no stranger to working as a duo amongst other projects, with such a strong conceptual thread throughout his prior ASIP releases, Kontrapunkt represents a literal pivot and counterpoint in his production approach. Instead of music encapsulating a strong conceptual narrative, Kontrapunkt sees Markus create a dialogue between himself and a collection of inspiring production partners.

Kontrapunkt opens with ‘Vanish’, a widescreen cinematic odyssey created in collaboration with fellow German and Affin label-head Joachim Spieth, forming the perfect opener with its modest subtleties. Australian-born Karen Vogt, renowned for her voice layering and looping, brings a beautiful, and natural addition to ‘All Light Will Remain’.

Sonae, who appeared on ASIP’s early digital releases, demonstrates her evolution into experimental flourishes with ‘Farbe Der Nacht’, adding pulsating techno tendencies and a menacing, metallic approach to Markus’ foundations. Multi-instrumentalist Pepo Galán harmonizes beautifully with Markus on ‘Ancestral Images’, adding complex nuances to a slowly evolving euphoric piece.

A master of synthesis, Arovane delivers a powerful display of supercharged electronics and coils of energy on ‘Utopian Fragments’. Benoît Pioulard's renowned expertise with guitars and tape distortion become a perfect counter to the electronics of Markus, blending styles seamlessly on ‘Father Of Waters’.

‘An unstoppable force meets an immovable object’ on ‘While Hunting Nightmares And Dreaming For Peace’, as Abul Mogard adds powerful restraint in a meeting of two drone titans. The album concludes with ‘Presence’, where Hollie Kenniff’s uplifting vocals provide a shimmering finish, perfectly bookending an album of perfected counterpoints and evolutions on the Markus Guentner sound.

Kontrapunkt will be available on Gatefold Black/Grey/Blue marble 2LP, digital and streaming on August 30th 2024. Mastered by Gio at Artefacts Mastering, Berlin, and featuring artwork by Noah M / Keep Adding.

Two familiar names step up for our next isolated mix, with a highly conceptual approach that matches their new (and similarly conceptual) collaborative album, ***‘Démarrage’.***

I’m unsure where I would start if I were to create an album based on a love of cycling. Weirdly enough, it wouldn’t be the first electronic album to do so (See Kraftwerk’s, Tour De France, of course), but it’s obviously a big enough inspiration to spur electronic producers David Douglas and Applescal. After listening to t‘Démarrage’, it makes total sense, in more ways than one. The energy, euphoria, drive - even the pop of color and variation in approach - an effervescent continual movement throughout its 10 tracks.

Applescal contributed an isolatedmix some twelve (!) years ago now, and it remains one of our most popular in the series. Combining multiple styles across an addictive hour of listening, the session proved Pascal is a master at developing a conceptual narrative in mix form, and now evidently in album form. David Douglas, who has made numerous appearances on Pascal’s Atmonation label, with one highlight for me being 2014’s, Moon Observation’s, is similarly a man of conceptual understanding and many undercurrents, spending time scoring music for films and commercials, while also releasing under a new alias HATY HATY, which combines electronic and indie music tendencies.

I imagined a hybrid of styles to appear on their mix submission, and I wasn’t disappointed. But for it to also match the concept of their new album, takes it up a notch. The mix, goes as slow as Chihei, with the euphoric highs of The Paradise, sudden bursts of pace in Eversines, the anguish in Bersarin Quartett, and the comforting (I can see the finish line-vibes) of Ulrich Schnauss, in an unexpecting manner that’s on par with the unexpectedness of Fourtet’s not-so-secret secret side project.

Démarrage by David Douglas & Applescal

“Just like our album "Démarrage," which is essentially a long mix of interconnected tracks, we aimed to tell a broad story with this mix. We love to approach music as a continuous mix, as you can set a certain different vibe and have tracks complement each other. Our mix for ASIP begins gently, like a warm bath, with the calming sounds of Chihei Hatakeyama's "Calm Sea." Later on, we bring up the pace with the remix from Roman Flugel. We end with a return to tranquility and introspection with work from Bersarin Quartett and Skúli Sverrisson. Just like on our new album, we added a bunch of samples of cyclists to capture the emotion of the race” - David & Pascal

astrangelyisolatedplace · isolatedmix 127 - David Dougls & Applescal Listen on Soundcloudthe ASIP Podcast or the 9128.live iOS and Android app

Download MP3

Tracklist:

Chihei Hatakeyama - Calm Sea
Tomaga - Intimate Immensity
Kyle Hall, Kero - 19FT
Unit Moebius - Dolfinarium
Tambo’s House - Jhe Gu Jye
Dusky - Metropolis
C.A.R - Idle eyes. (Roman Fluegel Remix) Applescal body Edit
The Paradise - In Love With You (Alan Braxe Remix)
Fasme - Sweet Flux
David Douglas & Applescal - Galibier
David Douglas & Applescal - Galibier (Gruppetto)
⣎⡇ꉺლ༽இ•̛)ྀ◞ ༎ຶ ༽ৣৢ؞ৢ؞ؖ ꉺლ - ʅ͡͡͡͡͡͡͡͡͡͡͡(ƟӨ)ʃ͡͡͡͡͡͡͡͡͡͡ ꐑ(ཀ ඊູ ఠీੂ೧ູ࿃ूੂ✧✧✧✧✧✧ළඕั࿃ूੂ࿃ूੂ
Eversines - Vlaag
Eversines - Vlaag (Beatless Version)
Ulrich Schnauss - A Letter from Home
Bersarin Quartett - Verflossen ist das Gold der Tage
Skúli Sverrisson - Instants

Applescal | Bandcamp
David Douglas | Website

The Deep Breakfast mix series has slowly (quite quickly compared to my isolatedmix efforts!) become one of the greatest ambient-leaning mix series around, pulling in some of the finest curators and artists to grace our small world. From well-known artists and DJs to passionate music collectors, it seems Francesco, the curator, is intent on hosting a series truly meant for every corner of the ambient spectrum.

The name of the mix series gives you an idea of what to expect, and for my submission, I battled hard with what style to attempt in order to live up to the many great mixes that have been featured before. Breakfast to me - deep or not - can often be light and uplifting - chill or even dubtechno on some mornings. But similarly, a deep breakfast may also mean the edges of light at 4 or 5am… and this is more the route I went with this mix. Look out for some of the many upcoming ASIP tracks featured in this one!

Big thanks to Francesco for the invite, and I hope you all enjoy the mix.

Deep Breakfast Series · Deep Breakfast 267 ~ ASIP Listen on Soundcloud or the ASIP Podcast

Download MP3

Tracklist:
01. swanasa - AHO (A Strangely Isolated Place, Forthcoming)
02. Hiemal - Pays D'en Haut I (Self)
03. Thomas Koner - Nuut (Night) (Force Inc)
04. Markus Guentner & Abul Mogard - While Hunting Nightmares And Dreaming For Peace (A Strangely Isolated Place, Forthcoming)
05. Ayaavaaki & Purl - Einstein-Rosen Bridge (Passage II) (LILA)
06. LF58 - Utopia (Northern Electronics)
07. Avsluta - It's Always Lonely Being Free (Self)
08. Pete Namlook & Bill Laswell - Angel Tech (Subharmonic)
09. STBL - Carousel Of Light (Self)
10. Mikkel Rev - Lauryl (A Strangely Isolated Place, Forthcoming)
11. James Murray - Grace (Home Normal)
12. Robert Rich - Summer Thunder (Self)
13. OKRAA - Canto Luminoso a la Luna (A Strangely Isolated Place, Forthcoming)

<a href="https://astrangelyisolatedplace.bandcamp.com/album/earth-prism">Earth Prism by Illuvia</a> ***Ludvig Cimbrelius*** returns with his third full-length album on ASIP under his illustrious ambient jungle/drum’n bass alias, ***Illuvia***. Shifting focus from the stratospheric highs of 2021’s Iridescence Of Clouds, Ludvig now reflects on the meaning and spectrums of life on Earth.

According to my lifelong research, Earth appears to be a modulation of light. It is said that what the eyes receive are rays emitted by a star, whose flow of photons is invisible to the human eye until they are reflected and modulated by matter.

Matter — the patterned dance of charged particles appearing out of nothing. Simultaneously, it is observable that light converts into matter. And matter converts into light.

Logic tells me that they are one, appearing as two. And, as a consequence of their division and subsequent interaction, the spectrum of a world appears.

Being a manifestation of something as ethereal and ephemeral as light modulated by the dance of charged particles, the world feels surprisingly solid.

Less like a prism and more like a prison. That is what the surface tells us.

Those who seek freedom look deeper.
–Ludvig Cimbrelius (Illuvia)

Earth Prism will be available on A Strangely Isolated Place on transparent vinyl, gatefold 2LP + digital formats from June 20th 2024. Mastered by Hollis Nolan, Lacquer cut by Andreas LUPO Lubich, featuring artwork by Noah M / Keep Adding. Please join us on June 12th for a Bandcamp album listening session.

Full details and links to buy via the release page * Please note a slightly new approach where we are working to extend our preorder times, to capture more accurate numbers to press, and give writers and distro a better chance to do their thing. So please pay attention to the extended shipping timings on this release!

Sun & Smoke by Theef Sun & Smoke is originally a 2-hour self-produced mix uploaded to Youtube and Soundcloud in 2018 by Greek artist, Theef. Consisting of unreleased productions, the set was uploaded as a safe space, with zero expectations of it ever gaining attention or release.

After many late-night listening sessions, ASIP contacted Theef to discuss how a release might come to life. Originally consisting of 21 tracks in total –with two subsequently released on Morevi Records in 2022– ASIP had the honor of curating and sequencing an album from the remaining 19 unreleased productions, finally landing on those that best represented the intention of the original mix and the feelings it evoked upon those first moments of discovery.

The appeal of Sun & Smoke can be found in its purity. Built with no intention or audience in mind, the album traverses core elements of deep techno, trance and downtempo. Progressive atmosphere building, addictive underlying grooves, and expansive moments of euphoria; as a mixtape, Sun & Smoke is a zero-visibility haze of eyes-closed, body-moving, forward momentum. As an album, each track is now allowed the space to deliver on its own defining atmosphere.

From the ambient leaning beginnings of Sky Textures and the title track, Sun & Smoke, to the electro tinges of Primal Age, and the metallic swirls and glistening synths in Approaching Stars, the parts now have the chance to become greater than the sum of its original whole.

Mastered by Giuseppe Tillieci (Neel / Voices From The Lake) with artwork photography by Juan Fernandez (edited by ASIP), Sun & Smoke will be available on Transparent Red/Orange Smoke gatefold 2LP + digital.

RIYL DJ Healer / Traumprinz / DJ Metatron / Giegling

Full details and links to buy via the release page

Hypatia by Lapsed Pacifist As a professional sound engineer by day, Colin Dunkerley aka Lapsed Pacifist, spends much of his time traveling and rarely gets to focus on producing his own music. Despite high praise from those who have become familiar with his work over the years, Colin’s previous productions have mainly consisted of shares with friends and DJs in smaller circles through his Negative Neutron alias.

Colin envisaged a more pronounced and darker ambient style to emerge one day but struggled to dedicate the time. Hypatia came to life over an extended and fragmented period, with field recordings and loops of audio created on the go, later processed through his modular setup. In the autumn of 2022, Colin spent time collating and listening to these many fragments and field recordings, making notes in a book as he wandered around cold, unfamiliar places with headphones on, trying to shape disparate starting points into something thematically connected.

The title of Lapsed Pacifist’s debut album, Hypatia is a reference to one of the many fantastical descriptions of imaginary places by Marco Polo in the book, Invisible Cities. Written as a dialogue between Mongol emperor Kublai Khan and Marco Polo, the book became the inspiration and a clear parallel for how Hypatia came to be and what it means to Colin today.

Attaching music to a place and time can become a very powerful and long-lasting memory. Across its eight tracks, Hypatia depicts fragmented glimpses of color and textures –a scrapbook of senses– traversing the optimistic first steps; the first smell of cold air; cityscapes burnt into your head; and the many emotions from exploring new places that stick with you longer than any photograph ever could.

“The experience of moving between places so frequently can be fascinating but also dislocating and often quite lonely. I have so many small stories about places I’ve been, but I often think they aren’t necessarily real reflections of anywhere, no more real than anything Invisible Cities author Calvino dreamt up”. - Lapsed Pacifist.

Hypatia is available on transparent Copper smoke 12” + digital, mastered by Rafael Anton Irisarri and featuring artwork by Noah M / Keep Adding.

Links to listen and buy via the release page

On hindsight,***Silent State*** began with little fanfare, given where we stand today with the label’s output over the past few years. Reissues and uploads of classic albums from ***Pete Namlook*** and the extended ***FAX*** family suddenly started to become available on Bandcamp—to everyone’s surprise—and speculation was quick to rise, given the passing of Pete Namlook many years ago. However, this situation has since been clarified by *Silent State* founder ***Nils Wortmann*** and he can now focus on fulfilling the label’s ambition; bringing some of the most genre-defining ambient and ambient techno albums, to wider audiences through new masters and pristine physical editions.

The next album to be reissued on Silent State, is indeed worthy of the defining tag, combining FAX founder Pete Namlook with Geir Jenssen, aka Biosphere, under the The Fires Of Ork collaboration, and one of the most revered collaborations within the early days of ambient techno.

A piece of dark art ambient wizardry, Geir’s fingerprints run deep through its mystical narration- beautiful analog textures, samples, bleeps, and foreboding atmospheres. Combined with Pete’s expansive long-form musical storytelling (also quite literally, through the distorted German voice samples), the two composers are captured working in absolute harmony, in what is undoubtedly one of the best, and finest ambient techno albums of our time.

I took the opportunity to ask Nils Wortmann, founder and operator of Silent State a few questions below surrounding the labels approach and this release. Preorder the vinyl reissue, featuring fresh mastering from Stephan Mathieu and available on 2xLP on April 5th via theSilent State Bandcamp page.

The Fires Of Ork (2024 Remaster) by The Fires Of Ork Interview with Silent State founder, Nils Wortmann., March 2024.

How did the Silent State label begin?

Nils Wortmann: First and foremost, with pure fandom. I’m a die-hard music fan and vinyl addict and listen to Ambient music for almost three decades now. It's a sonic tapestry that envelops me, offering inner calmness, inspiration, and a sort of escape from the complexity of this world. A few months before the pandemic, I embarked on a personal stretch goal that pushed me out of my comfort zone. Inspired by David Toop's "Ocean Of Sound," I aimed to write a book in German compiling 100 ambient album reviews for beginners in the genre. During this period, I found myself immersed in Pete Namlook's intriguing music, which accompanied me through the writing process. This led me to question why no one was reissuing these remarkable albums on vinyl. Securing a publisher for the book project boosted my confidence, and I began searching for assistance to steer me in the right direction. Reflecting back, I'm grateful that I persevered and continued my exploration. In March 2021, I successfully obtained the master rights to Peter's works through a legally binding contract with the former Pete Namlook estate administrator, in alignment with his family's consent. Their approval was of utmost importance to me.

In the beginning, launching a one-man label was intimidating, and delving into all the associated tasks felt daunting. However, dipping toes into Graphic Design, Contracting, Licensing, Distribution, Royalties, Data Analysis, Marketing & Promotion, Branding, Managing finances, budgeting for projects, Sync, and the entire vinyl manufacturing process was and still is really exciting. I am still learning a lot. Yet, the most rewarding aspect that energizes me is engaging with the Ambient community: connecting with former Fax heads, new fans, artists, other labels, and contributors to these reissue projects. I am incredibly grateful for this experience, though it leaves me somewhat speechless.

Was Silent State always going to be a FAX reissue-focused project?

NW: My goal then and now remains to honor Pete Namlook's legacy and share his timeless music through physical releases. While this serves as the guiding principle for Silent State, my aspiration extends to creating a platform for lesser-known artists like my man Günter Schlienz and releasing their albums on vinyl. Perhaps one day, I'll reach that point, as currently, label mates seem to primarily appreciate the Namlook releases the most.

**How are you deciding which albums to reissue?**

NW: I got my favorite albums from the Namlook cosmos and have made careful selections thus far, I believe. There's no magic formula to it, and I don't analyze streaming numbers to determine which tracks and albums are most popular. That approach doesn't resonate with me. Take Air V, for example; it doesn't appear to have garnered much popularity, but it has deeply resonated with me and continues to do so. I often come back to the album. Eventually, I plan to reissue it and simply hope for support from the audience. Is it a financial gamble? Most likely...

How do you manage the production process for reissues? Do you have full remit of choice when it comes to mastering, pressing etc? And are any artists still involved?

NW: As a solo entity running a label, the flexibility of the Silent State release schedule allows for meticulous planning of reissues well in advance. Lead time is key, so to speak. Firstly, ensuring proper mastering of the audio material for vinyl treatment is crucial. I've been fortunate to enlist Stephan Mathieu for mastering the initial catalog numbers, such as Air I/II, Silence I, and now Fires Of Ork, resulting in exceptional sound quality. Stephan Mathieu is undeniably an eminent authority in the Ambient world and one of the most experienced mastering engineers out there. Once the master prints are received, I liaise with the pressing plant to estimate delivery dates, followed by rough backward scheduling, placing orders and settling invoices.

Artwork design is paramount, and while I have a vision beforehand, I've entrusted Juliane Hohlbaum with all SSR releases' designs, and Joanna Jon's skills for gatefold sleeve and inlay designs for Fires Of Ork. We collaborate in refinement meetings to finalize the design. For upcoming projects, I've secured Andre Ruello, known for his work on almost every Fax album, which is incredibly exciting! Upon receiving audio material and print data, the pressing plant handles production until I inspect the test pressings diligently. Although nerve-wracking at times, such as the Silence I reissue requiring multiple lacquer cuts, these incidents are rare. Fires Of Ork, in particular, has turned out exceptionally well. Geir and I decided to release the album on Silent State, agreeing to collaborate on design but with less involvement in the physical production phase.

**This all speaks to a great focus on quality, and I see this first-hand with the records I have purchased from you. I probably know this answer, but is this a time-intensive project for you?**

NW: First and foremost, thank you for noticing and asking me about it. The truth of the matter is, that it is a time-intensive project. But although the tasks can be time-consuming, I genuinely enjoy them. In the midst of all the digital pressure, I find solace in unplugging and engaging in hands-on activities like preparing download codes, stamping envelopes, writing postcards and recently, delving into lino-printing, such as for "Fires Of Ork." The other day, I produced 100 lino prints using a wooden tortilla press I acquired from the US. It was both exhausting and incredibly enjoyable because my latest son insisted in helping me out and we listened to some records while printing together. Additionally, I plan to include a review from a fan, Michael Thomas, whose journey with Fax Records began with "Fires Of Ork." I did this with Paul Livingstone, another Fax head, for Air II and it was also really well received. These are moments in time and a rare chance to revisit these classic albums and to pay respect to the art and to properly engrave it in history.

**Fires Of Ork is, of course, a big favorite of mine. Was it an easy project to clear?**

NW: Surprisingly, clearing this album was relatively straightforward. Geir, being quite approachable, mentioned in our e-mail exchanges that he frequently receives inquiries about a vinyl reissue of Fires of Ork. Given that Fires of Ork is also a personal favorite of mine, we quickly established a licensing agreement and initiated the project. For me, it was an obvious decision, considering I own every Biosphere album, and Geir is undoubtedly one of the foremost ambient artists out there. This opportunity feels truly unique, and I'm certain I'll fondly reminisce about this thrilling project in the future.

Two of Silent State’s previous heralded reissues on my turntables.

Do you have a favorite of the Namlook or Biosphere catalog, one that you may not get to reissue?

Unlike many Namlook enthusiasts, I deeply connect with the Air and Silence series, cherishing them dearly. Additionally, I have a strong appreciation for the "Music For Urban Meditation" series, which, surprisingly, doesn't receive as much attention as it deserves imho. While reissuing the latter one on vinyl carries financial risks, I fear I might regret not attempting it. Man, these drones are just amazing. Moreover, I find “Music For Ballet“ fascinating. In my quest for more insight, I engaged in a lengthy conversation with Christian Moeller, the former director of "Electro Clips," and delved into the archives of the Institute for Urban History Frankfurt, exploring reviews and learning more about the William Forsythe ensemble. I even obtained licenses for some previously unreleased images from Ivan Nemec who photographed this orcherstration. This reissue project has been ongoing for over 1.5 years now and may still require additional time, especially as it will include a booklet, and progress moves at a slow pace. Nonetheless, as the saying goes, good things take time. Another favorite is undoubtedly the Sultan series...still ahead of it's time and such an incredible piece of art.

What other gems can we expect soon?

NW: I'm constantly working on new projects, like the aforementioned Music For Ballet project, but I also enjoy keeping some surprises for label friends. While I can't reveal specific details about release schedule just yet, rest assured that there are some exciting gems in the works! The next reissue is planned for November 2024.

~

Preorder Fires of Ork via Silent State on April 5th.

A new mix for the brilliant Monument platform, and their new series ‘Waves’ which looks to feature more of the ambient side of things, rather than the deep techno world they are known for, if the first of the series by Chris SSG is any indication.

After our label showcase mix I did for them a few years back, I was extremely pleased to return to Monument again and decided on a new approach for #2.

Taking inspiration from the podcast series’ title, I aimed to create a mix that focused on repetition and layers, as if staring out to sea watching blankets of waves roll in from miles out; changing in intensity, but forever calming in their unbound repetition.

The result is reflective of the many adjacent styles I enjoy from ambient, to IDM and deeper techno and some of the seconds of tracks that stand out to me, or I forever wished to be looped in my head - be it a texture, vocal or beat pattern.

Thank you Monument for the support over the years, and for inviting me to what I am sure will become a very special series.

MONUMENT · Monument Waves 002 : ASIP Listen on Soundcloudor the ASIP Podcast

Download MP3

Tracklist:

Mikkel Rev - Evocation [Unreleased / A Strangely Isolated Place] (Loop/edit)
Chronovalve - Almost There [Home Normal] (Loop/edit)
03 . Yumi Iwaki - Nocturnal[Kankyō Records] (Loop/edit)
DJ Healer - Great Escape [All Possible Worlds] (Loop/edit)
Susumu Yokota - No Kaori [Leaf Label] (Loop/edit)
The National Pool - Through The Beach [Infraction] (Loop/edit)
Bana Haffar - Lifter [Touch] (Loop/edit)
Pontiac Streator - Stuck In A Cave [Motion Ward] (Loop/edit)
TSR - 01 [Record Union] (Loop/edit)
Christina Chatfield - Sutro [Mysteries of the Deep] (Loop/edit)
Oneohtrix Point Never - Format & Journey North [Arbor] (Loop/edit)
Gi Gi - Montjuic Feat. Mi Mi [Quiet Time] (Loop/edit)
Jonny Nash - All I Ever Need [Melody As Truth] (Loop/edit)
Saphileaum - Elegant Voyage [Mysteries of The Deep] (Loop/edit)
RQ - Hounds (Sam KDC remix) [Auxiliary] (Loop/edit)
Michael Stearns - In The Beginning [Continuum Montage] (Loop/edit)
Solar Quest - Flying Spirals [Crammed Discs] (Loop/edit)
Zodiac Childs - Kepler Track Two (Zodiac Wax) (Loop/edit)
Central Industrial - After Image [Auxiliary] (Loop/edit)
Intrepid Soul - Under The Sun (The Gods Planet) (Loop/edit)
Anatolian Weapons - Teachings In Stone [Self] (Loop/edit)
Theef - Sun & Smoke (Unreleased / A Strangely Isolated Place) (Loop/edit)
Quiet Places - Side B (A Strangely Isolated Place) (Loop/edit)
Courtesy - You're Not Alone [Kulør] (feat. Erika de Casier & August Rosenbaum) (Loop/edit)
Maxime Denuc - Ouverture [Vlek] (Loop/edit)
µ-Ziq - Whale Soup [Self] (Loop/edit)
Adam Johnson - Version 02 [Merck] (Loop/edit)
Autechre - Bronchusevernmx24 + Aphex Twin - On + Aleksi Perala - UK74R1406070 (edit)
Pub - Summer [Vertical Form] (Loop/edit)
Loess - Sofar [Toytronic] (edit)
Biosphere - Monju 1 [Touch] (Loop/edit)
Salvatore Mercatante - Classical [Unreleased]
OKRAA - La Gran Corriente [Unreleased / A Strangely Isolated Place]
Lihla - Becoming Human [A Strangely Isolated Place] (Loop/edit)
Ylia - Drifting Off into The Waves [Balmat] (Loop/edit)
The Eightsome Reel - A Stranger Landing [Self] (Loop/edit)
Terre Thaemlitz - Music is Controllable Desire You Can Own [Self]
Echospace - Love Always Lives [Self]
Bill Laswell & Pete Namlook - Telepathy II [FAX] (Loop/edit)

After ***Sa Pa’s*** isolatedmix contribution last month, we continue in an unintentional alphabetical spectrum of brilliant producers, with ***Saphileaum***.

There comes a time after listening to some musicians for many years that certain instruments and musical approaches begin to stand out. Sure, most of the time you probably know what album you’re sticking on the turntable, but when you have those days you put on shuffle (or when you’re listening to 9128.live, cough cough), some producers start to stand out and trigger the music-geek in you from the first few seconds. It can take many years or decades to find and hone a unique style, but I think Georgian producer Andro Gogibedashvili is well on his way to carving out a unique style of organic, new-age ambient and tribal-infused techno.

Saphileaum’s isolatedmix is a perfect example of his style as a whole, with elements you might hear in his productions stylistically coming to the fore throughout the 25 tracks, despite not including a single track of his own in the mix.

I sent Andro a few questions to complement this wonderfully energizing trip. Check out his latest release on the revered Mule Musiq label, and expect more music from him soon.

~
I first came across your work in 2019 with Silent Season, how have things changed for you since?

My first release on Silent Season called "The Traveler" was a sort of a turning point for me and my sound. It was music that I'd created after a pretty long break recording-wise. Since the release was out, a sort of a new journey began for me. I started making more tribalistic and electro-acoustic musical pieces and was also trying to balance them out with downtempo and half-beat grooves, sometimes a bit techno-like maybe too. I also dived a lot into Percussions and eventually ended up learning and playing on real Congas, Bongos, and Georgian Dhol. I'm still in the process of learning and hopefully, it will never end!

The Traveler by Saphileaum I can start to recognize your style over the years which is often a sign of a great unique producer. But how would you describe your sound to someone new?

Thank you very much! I appreciate it. I would describe my music as "Background Music", "Music which you play at gatherings", "Music for Meditation", "Music for looking at the night sky". I would describe the sound as Tribal, Ambient, Cosmic, Joyful and Relaxing.

Your Discogs profile states "Saphileaum is highly inspired by esoteric, mystic, new age, cosmic and visionary art and teachings". Do you think New Age music is becoming more prevalent today? Is this something you aspire to?

Yeah, I think New Age music is slowly starting to get more and more recognized. It is quite a young genre still, compared with the other ones. Plus, there are some musicians and producers who are pushing the boundaries of what New Age music can sound like and it's really amazing to see it grow. First thing that I immediately fell in love with, before listening to the actual music, was the name itself, New Age Music...

Saphileaum - Transpersonal Experience by Saphileaum You’ve been on several labels over the years including Oslated, Constellation Tapes, Mysteries of the Deep, Mule Musique and Good Morning Tapes (the GMT released in 2021 was one of my favorites of yours). What is the goal of releasing on different labels?

I look at labels as traveling to another country that I've never been to. Meeting new people, exploring its culture and heritage, and contributing to it. There are always new possibilities, new inspirations, and new crowds in every label. It's very important for me that a label where I release music has a sort of a musical or ideological vision that I share and like and that it's represented well visually. I should feel inspired by and connected to it.

Can you tell us about the mix you have prepared?

The mix was mainly inspired by the music I've been enjoying recently. It's ambient, but it’s rhythmical and diverse. There are a few ethnic tracks that might sound similar, but they have elements that differ them culturally. I like the thin multicultural line it has, which might be tricky to notice, maybe. To be honest, there was no particular vibe I was after, I just wanted to create an interesting musical journey to enjoy.

There are quite a few artists in here I’m unaware of, are there any you’d like to call out in particular?

I would like to thank all the artists, whose music I've included in this mix, for creating these pieces and putting them out in the world. I recommend checking them all out, there's much more to explore!

astrangelyisolatedplace · isolatedmix 126 - Saphileaum Listen on Soundcloud the ASIP Podcast or the 9128.live iOS and Android app

Download MP3

Tracklist:

DJ Sports - Akrasia (Subsidiary Mix)
William Arist - Black and White
Andrew Pekler - Hy Brasil
Don't DJ - Southeast Subteranne
Another Fine Day - Esperanto
Greville - Marbles
Forest on Stasys - Atlantico Sur
Eyot Tapes - Jungle Tapes
Robert Rich - Rainforest Suite Drumsong
Jeans - Ganglia
Om Buschman - Prima Kalimba
Guem et Zaka - Mouvements
Sara Berts - Nova
Mo Boma - Jijimuge Two
Yves Tumor - Role In Creation
Posm - Bamboo
Steve Roach - The Reflecting Chamber
Jorge Reyes & Antonio Zepeda - Wawaki
Auragraph - Downcast
Nicolas Gaunin - Marama
Matthewdavid - Unfolding Atlantis
Sage - Mind BodyAlgorythm
Gigi Masin - Panama Girl
Asa Tone - Perpetual Motion Via Jungle Transport
Alex Kassian - Chopstick Romance

~

Saphileaum Bandcamp | Instagram | Soundcloud | Facebook

I’m excited to announce a new signing to the label and a new dimension to our roster of music, with Lihla’s upcoming album ‘Socha’.

“Music gives us a place to be lost. Washing away thought, place, time and identity. It’s in the falling into the river, the dream, that we find just who we could be”.

Classically trained cellist, composer and storyteller Lihla (Lih-Qun Wong) presents her debut album, ‘Socha’ for A Strangely Isolated Place. Combining a vast instrumental skillset of piano, cello, electronics, and spoken word, she crafts intensely immersive aural-hallucinatory worlds of intricately shifting landscapes.

A deeply personal work, Socha explores the ‘diaspora of time and space, and why we all feel so displaced.' Piano chapters capture the meeting place between memory and longing, while explorational vocal and cello textures invoke and echo the ancient, the feminine, and the otherworldly.

Lihla’s voice guides us, weaving through electronics and field recordings of the ‘real world' to set the path for a poetic and deeply haunting journey through the internal psyche that is truly transportive and escapist.

‘Socha’ is available on transparent smoke 12” and digital. Mixed by Sebastian Lee Philipp and mastered by Rafael Anton Irisarri, featuring artwork by Lihla and Visions of Akira.

View the release page for all details and links to buy.

I remember our 5th vinyl release way back. Just our second artist album at the time, but an artist who is still with us today.

I’d been a fan of Chymera for a long time prior, but I first heard Brendan’s alias, Merrin Karras on a John Beltran compilation - ‘Music for Machines’. ‘The Veldt’ went on to appear on Brendan’s first ASIP album, Apex (our 5th vinyl release - no wait, technically our 6th after the ASIPV003R) and to this day it remains a firm favorite of mine for many reasons. The biggest reason -and like most deluded label owners I’m sure -is that I can imagine that album being looked back at in many years to come as a true understated gem. It will never be big enough in my opinion. I don’t think I’ve met anyone who has given Brendan’s albums a listen and not been blown away. Truly transportive and timeless music just waiting to be found.

With each new Merrin Karras album, the bar has been raised. But hearing Brendan’s music in one long-form set is always a special and unique perspective to take. Much of his influences stem from early Berlin School producers like Klaus Schulze and Steve Roach- evident in most of his releases so far. But Merrin Karras’ truest proof point so far has been the release of his last long player, Silent Planet, where Brendan took the opportunity to expand his music to a full 40+ minutes, similar to many of the early long-form compositions that established the style. The hooks, chord changes, evolving atmospheres, and instrumental elements added a certain dynamism to his sleek, fluid sound and proved to be a true pinnacle in his catalog so far.

So, when Merrin Karras plays an hour’s worth of material in one set, it’s time to take it all in.

We’ve been sat on this set for a while and there’s never been a right time to release it. It’s been up on YouTube with some great visuals for a few years already.

But on Thursday afternoon - mere hours before Bandcamp Friday - I happened to be on an email thread with Brendan, and it reminded me this gem was sitting rusting away when it could be channeled as HQ into the eardrums of everyone here.

In the space of ~3 hours, we had everything ready to go (a testament to Peter Skwiot Smith having some superb artwork handy).

It’s simply an unmissable set of music in my opinion, and I think it’s hard to say that about most live sets in this world nowadays. (Talking of great live sets, don’t sleep on this one btw)

Merrin Karras was built for this type of approach and is holding the torch for the nu-Berlin School era.

~

It’s been nearly two years since Brendan Gregoriy’s (Chymera) Merrin Karras alias graced us with a new release, but since his magnificent Berlin School opus, Silent Planet (following 2020’s ‘Northwest Passage’, and 2016’s ‘Apex’*), Brendan has been quietly musing on the next evolution of his beloved synthesizer-laden sound.

Until that day arrives, we’re being treated to a recording from one of his rare live appearances, capturing special moments from across his catalog in one expanded set. In a similar style to the extended long-players of early Berlin School masters, Brendan’s live performance follows a similar narrative, traversing an expanse of intensity, pace, and atmosphere with subtle edits and transitions making familiar tracks seem like entirely new passages of time and sound.*

Name Your Price on Bandcamp

Merrin Karras / Live by Merrin Karras Featuring artwork by Peter Skwiot Smith
Originally performed and recorded for Reworks festival, Greece, 2021. reworks.gr
Watch the full A/V set featuring custom visuals from MinimalicQuantum below.

As someone who enjoys the process of putting together mixes- specifically more conceptual ambient leaning mixes- I often think about how I would approach playing an event designed for sleep. I’m yet to play a set like this live, but I did tackle something similar in the *Portals* series by roughly mixing styles that aligned to specific sleep stages (eg, REM, deep etc). But in person, sleep is never as predictable as hypothetical sleep stages in a recorded mix, let alone the idea of a room full of people mirroring these stages at the same time. To approach an in-person set designed for sleep would be a daunting undertaking, but an extremely rewarding experience for both DJ and listener - the career highlight for an ambient DJ, maybe... They say the warm-up set is the hardest test for a DJ and I would tend to agree. But I’d love to see some of the world’s best DJs execute 3.5 hours of music for a room full of people looking to do the exact opposite of dancing, or even listening, for the entire duration…

Sa Pa has executed this concept flawlessly.

No stranger to the minutia and atmosphere needed to transport someone from a horizontal state into an elevated lucid dream, I can hardly think of anyone better to take control of such a situation than Berlin-based artist, Sa Pa. His latest release for Astral Industries (the undisputed label kings of lucid states, no doubt) is the perfect example of transportive and psychedelic ambient music down to the finest grain of sound, sample and texture.

AI-33: Atmospheric Fragments by Sa Pa If Sa Pa’s productions weren’t enough to demonstrate his transportive power and worldbuilding tendencies, then his recent captures from his own Absurd Lustre events, or his mix for one of our 9128.live takeovers, may have provided an additional glimpse of what to expect when he was given the reigns for an all-night sleep in event recently, in Leipzig.

“For years I've kept a mental cache of what music would I'd love to play at a sleep in, but was never really sure if there'd be a chance, so small some dreams came true that night for me too - it was a pretty rare experience I'd say especially with everyone there really taking part in the concept”.

It’s not often we get the chance to host a set from an event that by its very nature, is designed to be experienced in person, but after several trials of this mix (on a plane, going to sleep, and waking up from sleep, then all states in between), the concept translates to an outstanding headphone session and the perfect concept for a defining moment in the isolatedmix series of concepts and sounds.

“I think it was one of the deepest and most solitary DJing experiences I have ever been part of, and driving a three and half hour cloud through the pitch darkness was a beautifully liminal journey, caring for the dreams of those in the room, some 100-200 people or so”.

A 3.5hr liminal state available for your own time and place, in the gentle hands and ears of Sa Pa, displaying the very essence of horizontal ambient music designed to immerse, weave and transport. Featuring tracks from, Luc Ferrari, Zenxen, Pinkcourtesyphone, cv313, Jason Lescalleet, Yann Novak, BJ Nilsen, Robert Henke, Rod Modell, Ryoji Ikeda, Steve Roach and Sa Pa, himself.

Introduction and words from Sa Pa - ‘Diary of a Lonely DJ’:

There’s something about gazing out of a train window or being 30-thousand feet high up in the troposphere, that evokes a feeling of what we try best to describe as liminality. With this in mind, Deutsche Bahn had me scuttling toward Leipzig from Berlin on a typically stark and windy day that could of been taken right out of a Wim Wenders classic; the treetops lining Urbanstraße on the way to Hauptbahnhof looking as stripped and brittle as burnt skeletons in the snow.

Some 8-to-10 degrees warmer in Saxony, I arrived at a city shrouded in mist, with the darkness of the early afternoon somehow made a touch warmer by that first Friday-feeling of the year. Onwards to Leipziger Baumwollspinnerei - a converted cotton mill where this evening’s ‘Sleep In’ would take place - the 14 tram would rumble past the pink and lilac glow of the city’s opera house. Sleep Ins are no new thing, and to be in the arms of the proverbial morpheus with some 200 people in an industrial estate does have its abstract appeal, and I’d be lying if I said I wasn’t a fan of the concept.

Around 6PM, dragging their mattresses in with them, it was encouraging to see people arrive some eight-hours before the witching hour. Tuning in to the event myself, and finding a little respite backstage, I drifted in and out of consciousness, occasionally breaking REM sleep to acknowledge the sounds of “Simple Headphone Mind” and Zoviet France’s remix of Panasonic, reverberating in the hall.

With a medley of lullabies soundtracking the evening so far, preparing selections too deep even for my own Absurd Lustre event, provided a much needed boost of waking life before taking to the couch in the DJ booth. Over the course of the next three-and-a-half hours, in near pitch-darkness, I was able to draw from a rare cache of non-music and atmosphere, embraced at large by a small flotilla of sleeping souls, leaving port to navigate the inner landscapes of a technicolour head trip.

With only the dimmed lights of my equipment and an exit sign illuminating the room, safe to say, it was a resolutely profound DJing experience and deep journey into the estranged fields of time and space. There were moments at the helm where I felt like a small craft adrift in a sea of voluminous black, while simultaneously part of a delicate collective sub-consciousness, sailing through a dream-like abyss. As if bridging a void between the physical world and something beyond the imagination, it was truly a strangely isolated place.

~

Listen on Soundcloud the ASIP Podcast or the 9128.live iOS and Android app

Download MP3

astrangelyisolatedplace · isolatedmix 125 - Sa Pa (Sleep In) The start of the event, as attendees bring in mattresses ready for the night and Sa Pa’ set.

Sa Pa | Web | Instagram | Soundcloud | Absurd Lustre | Soundcloud (Absurd Lustre) | Instagram (Absurd Lustre)

Our first release of 2024 welcomes New York musician Salvatore Mercatante and his new album 'Ø'*, a stunning suite of electronic music born from the idea of starting from nothing, again and again.

With previous releases on Castles in Space, Werrafoxma, and Subexotic along with his own label Nocimiste, Salvatore’s output can bridge many styles, and here, we’re treated to a crowning mixture of ambient, IDM, downtempo, and techno influences, all underlined by his mastery of soundtracks.*

~

The concept of naught (Ø) has challenged Salvatore Mercatante throughout his musical career, specifically, trying to understand how the idea of ‘nothing’ fits into the realm of sound, and at the same time, exist in a world of influence at every turn. In the absence of everything, are we able to create something truly free?

As a lifelong New York-based musician, Mercatante’s influences and productions run a wide spectrum. Just as happy producing 80s-inspired horror soundtracks as he is refining acute drum patterns over and over again, Salvatore is the first to ask himself, where next? When a musician’s output can be influenced today by so much, and there is no self-defined or perceived artistic goal in mind, how do you start from a place of nothingness, again and again?

This approach has born many minimal and experimental albums of note in the past, but with Ø, Salvatore ended up with an almost controlled maximalist approach. Beginning with open spaces and allowing sonic textures to live and evolve past where you may expect, Ø allows the space between notes to become equally as important as the notes themselves. Walls of noise, soaring soundtracks, dense techno, glittering IDM, and minimal glitch, sit side-by-side to present an all-encompassing palette of sonic possibility.

Often, even without any intent, what can be born from nothing will somehow transpire back into something more recognizable. It’s human nature after all. A subtle fingerprint, as a sequence, melody, pattern, or drum kick. Whether Salvatore intended for this record to represent his defining sound or not, only time will tell.

Visit the release page for more info and links to buy

Ø by Salvatore Mercatante Written and produced by Salvatore MercatanteMastered by Giuseppe Tillieci @ Enisslab, Rome, Italy.
Artwork by Brandon Locher

*As with all past* *‘Reflection’ year-end mixes**, I start with a collection of albums, EPs, and compilations I have enjoyed over the past year. Through the process of compiling a mix, tracks are selected from this extensive collection. This ultimately means many of my favorite tracks and albums are often omitted in this process, due to the organic process of compiling a mix, things don’t fit, or fall by the wayside. There are many albums I had on high rotation missing from this mix, but I have to stop somewhere. As I say every year, this isn’t a definitive ‘best-of’ list, but a selection of *some* of my favorite music from the year in one listenable format. It’s the most enjoyable way for me to boil down the music I’ve loved from the year using these self-imposed restrictions, for you to enjoy and hopefully discover more, and for me to reflect on time and time again - like a photograph that captures the year in music.*

I encourage you to use the mix to explore each artist, listen to the album in full, and explore each label (and check the Buy Music Club list at the bottom). If you want to see the majority of music I’ve been supporting this year, head over to my Bandcamp collection. For the ASIP year-end label compilation, see the feature and mix here.

~

Yikes, I crossed the 3-hour mark! Well, that speaks volumes to the amount of great music that was released this year, and I’m already feeling guilty about omissions from this mix. But alas, it needs to stop somewhere, the Holiday’s are coming…

This edition marks the tenth year in succession (2010 was the first mix but I skipped doing this for two years for some reason) and it is an extremely enjoyable exercise I look forward to every year. Revisiting many of the albums I’ve purchased throughout the year, and records from my shelf, then taking the time to absorb more recent releases - the process is cathartic (after the slight anxiety that builds knowing I have a beast of a mix to tackle, and hard decisions to be made).

Looking back at previous Reflection mixes, I am evidently a creature of habit and seem to gravitate to certain artists more than most over the years (we all have our faves), but I also take a lot of time to dig for new artists and approaches to music in this realm, and this year’s edition is probably the most varied in music styles since the Reflection series began. Ambient, field recordings, drone (Power-ambient, even), big saxophones (the flute revival didn’t make it ;-), Japanese left-field pop, deep techno, chugging techno, modern classical, experimental, jungle, breaks, dub and more… as you might imagine, this is a 3hr mix that feels more like a showcase than a DJ mix in the traditional sense, as I’m focusing on creating chapters of different styles, but I hope makes for an attentive listen if you’ve got 3hrs to spare.

Am I going to write about all 42 tracks? Not this time, as I don’t think there’s much I can illustrate other than ‘go listen to that entire album!’ but I will make a few observations on themes that emerged as I was going through this process.

Firstly, the far corners of Bandcamp are very much alive, so for anyone looking for alternatives given all the talk with Bandcamp this year, please don’t hit the escape button and continue to support us- I continued to find so many new labels and artists, some of which are included here such as Liis Ring, Etüüd, ǝɯǝɐ, Azu Tiwaline and not to forget a kick-ass Jungle community throwing out some lovely 90’s infused comps. Bandcamp keeps small labels and artists alive right now (only two of these tracks were physical releases and not on Bandcamp - #19 & #42).

I spent a lot of time listening to music that would work for the two shows I played in Japan earlier this year, and for those who listened back to one of the sets I posted, you may notice a few similar tracks/artists appearing here again which I’ve held in high regard since their release, such as Jo Johnson, Field Lines Cartographer and Endurance. On reflection, there was a lot of deepness for me this year that came from preparing for and inspired by those sets, sitting on the edges of techno with lots of synthesizer/Berlin school projects (as well as a couple of artists I got to see in person whilst over there such as Yolabmi and Endurance).

There were a couple of glaring omissions from this mix (checks Bandcamp app most played) which I had on rotation so much this year that I still wanted to mention, such as Imaginary Softwoods, who was behind one of my favorite tracks of the year, ‘Diagrams of the Universe’. Along with Johnny Nash’s Point of Entry - a tranquil guitar-laden affair, both of which never left my turntable for long.

The ever-expanding ASIP roster of artists, both alumni and current, had an extremely busy year evidently (I try to restrict their inclusions in this mix where I can otherwise it could be an entire ASIP promo show… hey that’s an idea…). bvdub released about ~10 masterpieces, as only he can, flaunting all possible peripherals in his deep arsenal (along with rounding out the Earth House Hold project with us of course). ASC was crazy busy with his quality retro Spatial DnB releases (one of them made it in here). For those who enjoyed Alex Albrecht’s debut with us, don’t miss his earlier 2023 release. Deepchild released another great textured follow-up to his ASIP debut for those wanting more. 36 continued some rave-esque ambient no doubt inspired by his 9128 recording a few years back. Markus Guentner began an exciting collab project with Joachim Spieth (and also appeared in several other collaborations). RAI kept things relatively reflective with a few Bandcamp specials and recordings from his live tour. Benoit Pîoulard made a beautiful return to Morr Music, and Christian Kleine rounded out the year with a limited vinyl press. Those needing more from our 2023 new signing Mikkel Rev, can check out his earlier album released in January this year. James Bernard had a busy year alongside his wife as Awakened Souls, and found more 90’s DAT goodness among many other projects. Mick Chillage released a superb sleeper IDM album in the form of Initial Programs. Dr Atmo’s throwback to his early sounds saw a rebirth of one of his most enjoyed albums alongside new remixes. Wanderwelle made their second full-length odyssey for Important Records and Yagya continued to explore uncharted new takes on his sound through his new label imprint. Scanner’s innovative repertoire continued to expand and one of my faves of his came in the form of this collab. Hior Chronik published a couple of unreleased gems. And lastly, Ludvig Cimbrelius aka Purl/Illuvia and Arovane managed to sneak onto this mix with a couple of their releases…

Two labels who hit home runs for me this year with the majority of their releases. Illian Tape had some extremely great (and varied) electronic releases. And while Mysteries of the Deep’s output was relatively choice (quality over quantity), 3 out of the 4 releases made it onto the mix!

There are a couple of tracks in the mix from albums that align with what seems to be, the common consensus on some of the ‘best’ electronic releases from the year (one of the advantages of my waiting until mid-December to finish this mix is I see what other people are rating highly or what I might’ve missed) such as James Holden’s psychedelic return, and Purelink’s amphibious dub LP. But other than those two, I think everyone should find something new among the twists and turns across the 3 hours and 42 tracks.

For the mix artwork this year, and after last year’s terribly basic AI take (it’s come a long way in a year!), I toyed with creating another AI attempt on a “A Strangely Isolated Place” prompt, but you have to spend time to get quality back out of these lil’ work gnomes. Every image I created from that prompt ended up being a stereotypical lonely hiker (with 4 fingers I’m sure) strolling through a highly conceptual colorful future universe. Either that or a decrepit shed…

So instead, I opted for an image that means much more to me… a wall. Not just any wall though, it’s the wall outside of Spread nightclub in Tokyo where I had the pleasure of playing an ambient set this year, meeting new friends, and making some amazing memories.

Thanks to all of the artists and labels included here who have soundtracked my year in more ways than one, and the many more I didn’t manage to include this time around. Be sure to check the previous year’s Reflection mixes for more of the same.

Hope you enjoy the listen back at a great year of music.

astrangelyisolatedplace · ASIP - Reflection on 2023 Listen on Soundcloud the ASIP Podcast or the 9128.live iOS and Android app

Download MP3

Tracklist:

Sleep D - Hector (Dreaming) (Butter Sessions)
Liis Ring - after-image IV: abborresjön (Breton Cassette)
William Selman - Leaky Paradise (Mysteries of the Deep)
Etüüd - Õhtute kollane tolm (Self released)
TU M' - Monochrome #26 (Line Imprint)
Arovane - ypaal (Quiet Details)
Field Lines Cartographer - Mountain Icicles (Castles in Space)
Dream Dolphin - Gaia (Ethereal Fantasy) (Music from Memory)
Salamanda - Nostalgia (Wisdom Teeth)
Endurance - Crest v2 (Muzan Editions)
Suzanne Ciani & Jonathan Fitoussi - Coral Reef (Transversales)
Alex Israel - Vacua (Somnambulant Drift)
The Black Dog - The Mundane (Dust Science)
Locust - Miriam (Mysteries of the Deep)
Niko Tzoukmanis - Way Home (Libreville Records)
Jo Johnson - Transience (Mysteries of the Deep)
Dasha Rush - Dubby Doo (Raster Noton)
ǝɯǝɐ - Andrei Rublev (Secuencias Temporales)
Gigi Masin & Rod Modell - Red Hair Girl At The Boat Shop (13)
Toki Fuko - Part Two (Astral Industries)
shedir - Deer Fluent in the Wind (n5MD)
Ayaavaaki & Purl - Distant Lights (Ovum III) (LILA)
Bana Haffar - Sit Still (Touch)
Mike Lazarev - Tonality Number Two (PITP)
Claire Deak - In Defiance of Time (Lost Tribe Sound)
Lord of the Isles feat. Ellen Renton - Don't You Ache (AD93)
nthng - Unlimited (I) (Self released)
Donato Dozzy & Sabla - Flusso III (Gang of Ducks)
Sindh - Spyres (Sindh)
James Holden - In The End You'll Know (Border Community)
Andrea - Audieze (Ilian Tape)
ASC & Aural Imbalance - Overcast Skies (Auxiliary)
Accelio - The Garden (Sawteeth)
Yolabmi - Liquidity (29 Speedway)
MPU101 - nurMKS30 (Ilian Tape)
Ylia - Ame Agari (Balmat)
Azu Tiwaline - Antenna Opening (I.O.T Records)
Purelink - We Should Keep Going (Peak Oil)
Priori - Top Soil (Rhythm Büro)
Hysterical Love Project - Ionian Sea (Motion Ward)
Om Unit + TM404 - Microdose Mondays (Acid Test)
David - Daybreak (Simpler Times)

Buy Music Club List (all tracks available digitally on Bandcamp other than #19 (here) + # 42 (here)

*A showcase of individual tracks from our 2023 label* *releases* *and a special continuous mix of select tracks from* ***todos****.*

It’s become somewhat of a tradition since our first annual compilation release in 2019, and each year I find it tough to separate tracks from their album releases in this way. We pride ourselves on delivering an album format, and more often than not, specifically a conceptual album format that works best as a whole. So I appreciate the artists who allow us to separate their musical children for this worthy annual exercise. It’s so easy to skip over releases nowadays - at no fault of anyone but the pace of life and technology today - and so this compilation not only helps us reflect on the year gone by, but also ensures anyone new to the label, or dipping in and out over time, can get a taste of what we have proudly spent our time and passion presenting this year. Please take the time to visit each respective artist's release to realize its full form.

Not only is separating tracks from an album format a formidable task, but finding a way to combine them in one seamless mix is even more so. Once again, we’ve asked our esteemed todos to provide the continuous mixed version. Creating a flow using a limited predetermined set of music across a variety of styles, moods, and tones is an almighty feat. But no-one does it better than todos. Here, he is left to his own devices as we have grown to admire time and time again, using snippets and samples from many of the releases, but focusing on delivering a long-form mix that stands on its own, using nothing but the ASIP 2023 library of music.

It was a year that introduced new faces to the label with Iceland’s Gunnar Jónsson Collider providing a spectacular audio-visual experience in S.W.I.M, and welcoming Germany’s Mary Yalex who explored imaginary worlds of fascinating texture and melody. We fulfilled a long-awaited foray into more classic trance styles through the exciting Mikkel Rev, and finally presented the magical drums of Alex Albrecht’s heart-warming soundscapes. Max Würden continued his foray into expansive sonics with Landmark, and Quiet Places returned with their second Volume of psychedelic long-form trips into the unknown. One Million Eyes returned with more compelling genre-defiant magic, and OKRAA brought his live edits of his debut album 1994 to life once more. 2023 will also be remembered as the year Brock Van Wey’s Earth House Hold project came both full circle, and full stop. The last track title on this compilation coincidentally represents the perfect swan song for a project that has found a home on ASIP for the past five years.

Thanks for all your support, comments and encouragement this year. We have an exciting 2024 lined up.

Available as Name Your Price on Bandcamp

Play the mix on Soundcloud

2023 | Label Compilation (mixed by todos) by A Strangely Isolated Placeastrangelyisolatedplace · ASIP Label Compilation 2023 (mixed by todos) Continuous mix by todos: soundcloud.com/djtodos. Full mix tracklist differs from the digital compilation tracklist featuring additional edits and samples.

Art and photography by ASIP featuring a photograph of ‘The Landmark’ sculpture by Enrique Martínez Celaya.

For album credit and production details, please see each release page.

ASIP is going on fifteen years of existence now (as a website and blog at least), and a few things have remained a constant over the years helping keep us going. One of them has been the support of *Juno* and in particular, ***Milo Bragg,*** who was the first distributor to take us on as a label back in 2013.

As many labels and musicians will know, it’s pretty hard to get your start in this world, and Juno can be held up as one of only a few who have kept an open ear to our style of music and given it a home (and subsequently many other labels like us). Over these past ten years or so, Milo and I have gotten to know each other relatively well, and more recently Milo has stepped into the label game with Future Primitive Records and can be found putting together some sublime vinyl-forward mixes.

I’m excited to find our worlds overlap here in the isolatedmix series, as Milo recorded a vinyl-only set a few months back and sent it my way, (after a long delay - sorry Milo - Good things come… etc etc.). Featuring several tracks and albums that have been on high rotation for me, it’s a superb trip that I think many of you will enjoy.

~

You’ve worked at Juno for many years now, how has this shaped you musically? For example, I imagine getting exposed to a great amount of music over the years...

It’s definitely helped me find what I do and don’t like for myself. When I first started in the late ‘90s/early ‘00s I’d sit and listen through a massive pile of records at the end of each day and didn’t have to pay attention to press or DJs like most people back then, I could find the good shit for myself! Listening to the new releases in an office environment shaped my taste to be more chilled too. It just suits the environment, when I first started I was predominantly into hard club bangers :)

I’m interested to know a bit about your view on record labels within your role and what you think it takes to succeed as a label nowadays. Everyone knows pressing vinyl is hard, and securing a great distributor like Juno is just as hard and critical for further exposure. How have you seen things change for labels since you started at Juno all those years ago?

It’s so tough for vinyl labels now especially the new smaller ones doing really interesting stuff sadly. The visual side of things has become so important with stores using Instagram so much they need the record to look good. I think the “anti-marketing” days of just putting some clips up on Soundcloud are over sadly, I’m always so stoked on DJs/artists/labels that aren’t on Instagram but I don’t think you can escape it anymore, especially if you’re just starting out.

Silent Season · Campfire Stories 79 (A New Dawn) by Milo Bragg Juno has always been a great supporter of ambient music in general, giving a platform to many small labels such as ourselves over the years. What does it take in your opinion to secure a distributor like Juno?

Yeah, my boss Richard (one of Juno’s founders) loves his ambient :) If you’re not going to get a well-known artist involved at the early stages to help bring attention and get the label off the ground, the music (and artwork) had better be bloody good!

You’ve got your own projects going on too, with the Club Rooted mix series and the Future Primitive label, can you give us a brief intro into these?

Club Rooted was a product of listening to records in the Juno office with Matthew Kent (Blowing Up The Workshop/Mana) and suddenly realising they weren’t dance music anymore but still very much rooted in club culture. I got really excited about that zone and thread that runs through electronic music’s history. There are so many good labels pushing stuff that rides this line, and events too like Absurde Lustre (& more recently A New Wave) in Berlin run by Sa Pa & Blume.

How or why did you decide to start Future Primitive? (Did seeing labels at Juno all those years make you want to do something similar?!)

I’ve always been obsessed with vinyl labels so of course I’d want my own and it was a way of contributing to the scene without being a producer + I came across a lot of music through work by artists like Murcof & DJ Guy that was CD or tape only the label was a way of me getting those tracks onto wax! The original of The Leo Anibaldi track “Aeon Fusion I” from FPR001 was super fast too and the label enabled me to work with the artist to slow it down and to get it DJ-friendly for the vinyl heads :)

This mix came out of nowhere and (for everyone here) took a while for me to actually publish it since you sent it last year! What was the inspiration behind it?

I got excited about recording an ambient mix. It felt challenging, I wanted to capture something in between the old chill-out room sets and a modern-sounding warm-up. It only takes a couple of good records to inspire me to start piecing a mix together, it’s often their juxtaposition I get a real kick out of. I love beat-matching records that shouldn’t work together on paper and have always found DJs that make a new sound by mixing old records very inspiring, it’s not a million miles from producing really. Konduku is definitely someone I think finds a new thread in old records that inspires me a lot.

Club Rooted · Club Rooted #3 / Konduku Given you get the pick of the bunch at Juno and get to listen to so many records in advance, who are some musicians or labels that might be relatively new or unheard of that excite you when landing on your desk?

PVAS, Kosmogonik (check their ambient stuff!), Purelink, Cousin, Yushh, Mu Tate, Sindh, X Or Size, Rat Heart + love the Luck Of Access and Doo labels.

I’ve followed your mixes for years now, but see you’re also DJing out quite a bit more now. What are some records that never leave your bag?

Money Morning - Corporate Karma, Drux – Transe Deep Version, 3 Chairs - 3 Chairs, Alka Rex - Shapes to Phases, Bluetrain - Babylon Paralysis.

~

astrangelyisolatedplace · isolatedmix 124 - Milo Bragg Listen on Soundcloud the ASIP Podcast or the 9128.live iOS and Android app

Download MP3

Tracklist:

Dwig - Keep Us outro (Dwig)
Leo Anibaldi - Evocation Part II (Future Primitive)
Benjamin Brunn - Life Cycle (Black Wall)
Deadbeat - Right As Rain (~scape)
UD - Adapter (Kimochi)
Alexx A-Game - Braver (Swing Ting Smooth Version)(Swing Ting)
CN - Adrift (Future Primitive)
Satoshi & Makoto - Crepescule Leger (Safe Trip)
Bauri - Have No Fear (Expanding Records)
Sindh - Ayaka System (Sindh)
Being - I Can't Look At It Though (Firecracker Recordings)
The Detroit Escalator Co. - Float (Peacefrog Records)
Leo James - Lonely (Mind Dance)
Money Morning - Therah (Acting Press)
Mike Paradinas - Hi-Q (Interdimensional Transmissions)
John Heckle - Where The Wild Ones Go (Mathematics Recordings)
Tongues Of Light - Awakening outro (Pre-Cert Home Entertainment)
Design A Wave - Weird F (No 'Label')
~
Artwork photo by Jethro

Future Primitive | Web | Soundcloud | Bandcamp | Discogs

We are in full release mode as we close down the second half of the year and get caught up on some releases after a big switch in Plants and Distro early on in ‘23. Next up is a beautifully pointed and succinct portrait of the wonderful work to come from Australian producer Alex Albrecht. Alex has been slowly winning over every ear his music seems to touch and this record will undoubtedly do the very same if you’re new to his lush mixture of Jazz-infused deep house and field recordings.

We’re leading the announcement with the mesmerizing, perfectly matched video for the last track of the album, ‘June’, created by Jessica Grilli.

~

Australian artist Alex Albrecht debuts on A Strangely Isolated Place with Violet Visionary, a perfectly honed evolution of picturesque downtempo and hazy, percussive Deep House.

Alex Albrecht has refined his unique triangulation of ambient, house, and instrumental influences over the years, either as one-half of Albrecht La’Brooy (Apollo) or under his Melquíades alias (Analogue Attic). Combining rich field recordings and hypnotic instrumentation, Alex’s productions are often recognizable thanks to this instantly warm and welcoming combination. Percussive elements and powerful drum patterns sit amongst perfectly executed melodies and dusky atmospheres; Alex’s music is just as suited for the orange hues of dawn as the purple tints of sundown.

A notably shorter album than we may hope, but sequenced as one complete experience, Alex is purposeful and precise in his approach, with every element completely additive to the last. Violet Visionary echoes a moment of organic evolution that disappears as quickly as it came into existence; peaking to a glowing embrace that will undoubtedly leave an impression.

Featuring original artwork by Evie Cahir and mastered by Corey Kikos, Violet Visionary is available on Transparent Orange Smoke 12” and digital, from September 29th 2023.

Visit the release page for more info and links to buy

The Observatory is a new mix series curated by Jay Keegan and has already featured a few of my favorite artists and DJs since its recent inception. I can tell that Jay has an ear for great sound and curators, so I’m excited to see where the series goes in the future and was honored to play a part in its path forward.

I took the opportunity to spotlight a few unreleased gems in this mix, as well as two very exciting ASIP releases in the works…

Recent contributions have come from the likes of, Jo Johnson, Toner (Liminal Dreams), Gentle Force and Patricia Wolf. Listen to the full series on Soundcloud.

Here’s what I had to say about the mix when sending it over to Jay.

This mix came together over a 2/3 month period, as I've spent a large part of the summer between Oregon and California with family and haven't had much dedicated time to focus on a mix. Normally I approach mixes more conceptually, but this one came to life organically in pieces, over time. In hindsight, the mix reflects a specific period in time for me and a lot of my life musically over the past few months. From the unfortunate passing of Brian McBride (Stars of The Lid) and revisiting those brilliant albums nearly every evening; anticipating the new Lord of The Isles album after his standout isolatedmix this year; our latest label addition from Mary Yalex; music being sent to my inbox from new artists; and of course, a couple of upcoming ASIP releases that are keeping me busy lately. Thank you for having me as part of the series.

The Observatory · The Observatory - ASIP Listen on The Observatory Soundcloudor the ASIP Podcast

Download MP3

Tracklist:

Mary Yalex - Snowy Avenue (Excerpt) (Yalex Recordings) [Forthcoming]
Stars of The Lid - Down (Kranky) [2001]
Monolake - Mass Transit Railway (Field Records) [2023]
nthng - Unlimited () (Excerpt) (Transatlantic) [2023]
Liai - A-A (Quiet Time) [2022]
Terre Thaemlitz - Liebesmachine (Comatonse) [2019]
Biosphere - Antennaria (Alternative Version) (Biophon) [2022]
Vernal Equinox - Six Figures In A Landscape (Clover Recordings) [1997]
hoyah חיה - BB walk [10129] (Mellia) [2022]
Andy Aquarius - Kyrie (Constellation Tatsu) [2022]
Romance & Dean Hurley - Still Lives (Ecstatic) [2022]
Chihei Hatakeyama - Insects Chirping (Field Records) [2023]
Lord of The Isles - Last Day (AD93) [Forthcoming]
Alex Israel - Octonions (Somnambulant Drift) [2023]
Shīdo - Denial (Unreleased)
Owl - Moonshine Haze (Silent Season) [2021]
Not Glass - Fallite Fallentes (Ecstatic) [2019]
Carl Stone - Lim 1974 (Unseen Worlds) [2016]
Stars of The Lid - Preludes (In C Sharp Major) (Kranky) [2001]
Arovane - Yord (Quiet Details) [2023]
Markus Guentner & Arovane - Utopian Fragment (A Strangely Isolated Place) [Forthcoming]
Salvatore Mercatante - Open, Open (A Strangely Isolated Place) [Forthcoming]

We’re entering a busy half of the year for the label, and while we don’t always use the isolatedmix series to help tee up what’s in store, Alex Albrecht also happens to be a brilliant selector and curator of many great mixes over the years.

Yes, you did read that right, Alex will soon be gracing ASIP with a new release, to be announced in full very shortly and available at the end of September. We had hoped to get this mix out a little earlier in the year but life got in the way for us both, and after a small trip to Japan recently, Alex was able to get some answers down to a few of my questions in anticipation for his awaited release here on ASIP.

~

It's been interesting to see how you've created a very unique style and approach between your own project, with Sean as Albrecht La'Brooy and under the Melquíades guise. How would you describe the differences between them all?

I originally created the Melquiades alias as a way to separate club/dancefloor music from more downtempo/ambient productions under my own name. The music I now produce under Alex Albrecht incorporates all sorts of sounds and influences and in my development, I don’t now see a reason to differentiate.

Campfire Stories by Alex Albrecht

Campfire Stories was quite the debut album, and received such a great reception it seems. It combined lovely atmospheres and house elements, with downtempo and instrumental (even jazz). How are your albums born usually?

My albums are usually created through my field recordings and recent experiences. I generally take recordings and loop/manipulate them to create a canvas and use that as the inspiration for each new track. When I see a larger album coming together I try to identify gaps in the concept and fill it with new productions.

Your own label imprint, Analogue Attic was home to much of your early work and continues to host some of your music alongside others. How did the label aspect come about?

The label was definitely created as a way to release our own music but very quickly became a medium to put out music from our friends and influences. The ambition has always been to showcase ambient music specifically made in Australia. We also hope to showcase music that does not generally conform to current trends in the global electronic scene.

Healesville by Albrecht La'Brooy

As mentioned already, your music is rich with field recordings and vivid instrumentation. What does your studio setup consist of usually? And what elements have remained a constant?

My studio has been very consistent throughout the last 6 or 7 years. It has a Nord A1R, A Blofeld, a few Yamaha digital pianos, and some eventide effect pedals. Of course, there is also the Sony PCM A10 recorder which is really an incredible piece of tech.

If your label (Analogue Attic) is any indication, the output and potential of producers in Australia seem very rich and fertile - is this true? How would you describe the "scene" for this type of music where you are?

I’d have to agree – it is certainly a fertile scene in Aus with amazing music being produced around the country. There are many artists blending strong musical themes and elements with electronic elements and many gigs/shows aim to push boundaries and do something out of the ordinary.

Your isolated mix captures your sound very well and includes a variety of styles and influences, what was your approach?

I am often commuting to work by bike and love an interesting, hypnotic mix to push me along. I have been listening to ASIP mixes for years and was compelled to dive deep into my old libraries to capture some of the nostalgia that I feel with the earliest memories of ASIP. I brought a few of these into the picture with Dousk, John Beltran, BOC and Jesse Somfay (among others) and was also really happy with how well they’ve stood the test of time.

Other than ahem, a pretty special record dropping here on ASIP soon, what can we expect from you for the remainder of 2023?

It’s unclear for now but I’m always making music and searching for inspiration. I have a huge collection of field recordings from Japan so will be surely using these in the short term to see what it inspires.

~

Stay tuned for news of Alex’s album on ASIP set to be announced very soon, and available at the end of the month.

astrangelyisolatedplace · isolatedmix 123 - Alex Albrecht Listen on Soundcloud the ASIP Podcast or the (new!) 9128.live app

Download MP3

Tracklist:

IMPS - Heaven and Bagpipes
O.S.S - Bianga
Sense - Rain 5
Marow - Tsih
Jesse Somfay - Tomorrow's Yesterday is Today
Cyan341 - Pattern4
Alex Albrecht - Forest Dance
Castel - Estrel
Remote - Public Service
John Beltran - Gutaris Breeze
HOLOVR - Outer Time
The Phantasy - Love Will See Us Through
Ariet - Shaman's Heart (Polygonia Remix)
Boards of Canada - Amo Bishop Roden
Dousk - Sidewalk Lovin

Alex Albrecht | Bandcamp | Instagram | Soundcloud

**Viul & Benoît Pioulard’s ‘Konec’** turns one year old today, and to celebrate we have a small set of LPs featuring a limited edition 12x12” art print by ***Liz Harris*** and a 1x1 original Polaroid from Benoît.

Now available on Bandcamp and shipping from label HQ.

These are the same record from the original run, but without the original 2LP gatefold sleeve (due to damage) and limited to just 33 copies with the additional print and Polaroid. Artwork printed on heavyweight Canson Arches BFK Rives white.

Konec by Viul & Benoît Pioulard

View fullsize

View fullsize

View fullsize

View fullsize

View fullsize

German musician Mary Yalex debuts here on A Strangely Isolated Place depicting a storied transition from our recognizable surroundings, into a vision of the future.

With releases and music styles across a variety of labels over the years, it has been Yalex’s more experimental ambient work that has stood out amongst her catalog, and in Fantasy Zone, we find Mary fine-tuning this sound to reflect the work of a true architect of storytelling, mood and atmosphere.

Drawing influences from her day-to-day surroundings, Fantasy Zone begins with more vivid pieces; softer melodies and clearer instrumentation, represented as much in song titles such as Air, After Rain Comes Sun, and Half Light of Dawn. The second half of the album transitions into a future state, as Yalex draws on darker manifestations - perhaps intrinsically influenced by the state of the world, and in particular her love of nature, we play witness to more storied, haunting atmospheres, distant voices and slowly shifting gravitational chord movements. Dystopian-bound or pure fantasy, Yalex depicts a future that mirrors some of the more poignant, thought-provoking work of great synthesizer soundtracks of the past.

Mastered by Rafael Anton Irisarri, and featuring artwork by Noah M / Keep Adding, Fantasy Zone will be available on Purple Smoke 12” and digital.

Preorder now available with full release following on August 28th 2023.

Listen and links to buy via the release page

Fantasy Zone by Mary Yalex

Our radio station (and sub-label) 9128.live has been up and running for over three years now. Born out of the lockdown period, it went on to host many great takeovers at a time when everybody was locked inside, and the station has grown slowly with music from a collective of amazing labels now in rotation, for always-on, 24/7 ad-free listening.

While the website is still a great place to listen and hosts the important chat, our Apps have not changed since day one and so we were excited to update them with a new look and functionality.

We were restricted as to what we could do with these, so while I know there is probably a wishlist of great things we could do if we had a clean slate, that was not the case. However, we think they’re a great improvement and will allow for a much better experience.

Here’s what you can expect from the new 9128 apps.

- Submit a song request - choose from a specific set of tracks that will evolve and change over time to include upcoming and unreleased music and other themed options. Requested tracks are entered into a queue and depending on queue length, will normally play after 2-3 tracks. Think of this like advanced previews on demand!

- View the radio schedule/calendar, including upcoming takeovers, showcases and regular radio shows such as the Espacio Perpendicular weekly radio show.

- View the latest news and updates from within the app.

- Listen to the ASIP/9128.live Podcast, which will include all the mixes from ASIP as well as 9128 exclusives, with more to come soon.

- Light and Dark modes (Default is Dark mode)

- Dynamic stream option (request a lower quality signal to save on mobile data)

- Push notifications! Never miss out on new and important updates (don’t worry we will use these very sparingly)

Download / update on the Apple App store

Download / update on Google Play store.

https://9128.live/

For the time being, the apps remain free of charge and ad free. We endeavor to keep them this way but they are not cheap to build and maintain, so grab them before we put a $ sign in front of them one day.

Don’t forget to leave us some glowing reviews and rate us 5* on each respective store!!

Thank you.

We are very excited to welcome Mary Yalex to the label soon, and her upcoming release set to be announced in August. Mary’s work has appeared on respected labels such as Muzan Editions, map.ache’s ‘Kann’’, Carsten Jost’s ‘Dial’, Sound as Language, and her own label, Yalex Recordings. Her productions have spanned various ambient and experimental styles, and I am very excited to present a new album distilling her years of hard work into her sharpest vision yet.

There’s no better way to get to know an artist than stepping up to the isolatedmix series to illustrate your music style and background, and the mix is a great reflection of what to expect from her new record.

Mary Yalex’s album on ASIP is set to be announced in August, so in the meantime, please enjoy a short interview and perfectly curated mix (including a track from the upcoming album to preview).

~

Hi Mary, what has influenced you to produce music today?

As a child, I was attracted to music not played with acoustic instruments. My mother had a Vermona Piano Strings in the DDR. It was 1989 when my mother bought them and I was 5 years old. I liked to play Rum on the piano and tried to play melodies (and the scratching of the sliders, when you wanted to switch to strings, was really terrible as I remember it).

Music has always played a big role in my childhood. I would look and listen excitedly to my mother's record collection, from Pink Floyd, Led Zeppelin to Bronski Beat. I think the music you hear as a child is a much greater influence than what you hear today, and my interest in electronic music works was there from the beginning.

Over the years, you acquire techniques and repetition, and processes for how to make music. But today's influence is much more based on what happens around you, as in the world; how you perceive things and the people you are surrounded by, more than the music you hear. A melody always comes out of a mood and feeling.

Sunset Stories by Mary Yalex

I’m interested to learn about this production process; how you approach making music conceptually - do you have ideas & concepts or improvise?

When I make music, I sit down at my synthesizer or electric piano and play a melody first - the main core. It has to feel great, if not then I'll throw it away. I never force myself to make music, for me it is important, there must be a feeling and it must flow. I like to use the same techniques that have been acquired over the years - it is a familiar process of editing.

So what motivates you to sit down and make music? Is it a personal outlet? How easy does it come to you?

For me, it is a passion to make music, a feeling that has to come out. I get in a bad mood when I can't make music so it also helps me cope with moods, discovering new sounds and possibilities again.

What instruments/gear do you tend to focus on or always work with?

I mainly produce with Elektron Octatrack, Clavia Nord Rack 2 and Elektron Digitone.

Ohra by Mary Yalex

You normally accompany your releases with your own paintings - how would you describe this relationship? Were you a visual artist or a musician first?

I used to paint in my childhood when I lived in Austria. I only really started producing electronic music more recently. I want to give the whole thing a picture - something that is more than just a photograph.

How does your home city and local history impact your music?

I have been living in Erfurt now for a year and a half. I'm getting older and I'm also looking for a quiet life. I don't need the hustle and bustle of a big city anymore. Here in Erfurt I also have my studio. During the Corona period, I decided to go back to my home country. It hasn't really changed much for me as I live very withdrawn. For me and my music, the place has never played a big role. Back when I went to Leipzig in 2008, there were more opportunities in my learned profession.

Your isolatedmix is a mixture of different styles of artists, many of whom are on regular rotation for me. Can you tell us how you approached the mix?

I always look for pieces that match my mood. You start with quieter pieces, which are also a bit atmospheric. I like to combine emotional music with ambient drone pieces, the dreamy pieces at the end. For me, it always has to sound like a trip.

If you could make a mix of any type of music, what would it be and what might be the most surprising track inclusion?

Boy Harsher - Burn it down

You have a new album coming up on ASIP, what can people expect?

To describe it briefly, it is for me, one of my most profound and dynamic albums…

~

astrangelyisolatedplace · isolatedmix 122 - Mary Yalex Listen on Soundcloud or the ASIP Podcast.

Download MP3

Tracklist:

James Murray - Careful Now
CORBEN - The Zills
Ripperton - Ingénuité
The House In The Woods - Tone Intervals
Chestnut People, Priori, Ludwig A.F: - IV
Viul & Benoit Pioulard - Catalune
Mary Yalex - Endless Possibilities
Lauge, Alvaro Suarez, Fallen Metropolis - -FAM015- May 7 - Live
Room 208 & Zuwe - Time Moved Like It Used To
DJ In A Dream - La Silhouette
Måla - E Is For Elegance (With Burning Pyre)
Martinou - ...in all it's splendor
Boliden - Pools
Malibu - Atlantic Diva
Boy is Fiction - Silversand
nthng - Looking Outside

Mary Yalex | Website | Bandcamp | Instagram | Soundcloud

You may remember in October 2021 we posted an addition to our Portals series that highlighted some of our favorite classic Trance music in the form of a series of beatless loops, put together as one mix. (Check it out here and below)

astrangelyisolatedplace · ASIP & todos - Portals Episode 10: Classic Trance Loops (Hypnotised) It came at a time when the book, and compilation ‘Hypnotised A Journey Through Trance Music’ was released, evoking many memories for me personally, as someone who grew up with the genre and helping to inspire the Portals Trance Loops mix.

‘Hypnotised: A Journey Through Trance Music (1990-2005)’ - a deep dive/encyclopedia on the classic Trance sound, that covers “its proto to seminal periods, through to its ascendance and glory years”, across “500 essential records, 75 record labels and 25 albums, with in-depth interviews with 35 influential artists and label owners”. [buy]

Fast forward to today, and Black Hole Recordings (along with the compilation curator, and book author Arjan Rietveld) have returned with the second in the series, this time focused on the British side of Trance music (the Ying, to the Trance Music Yang IMO).

Where the first edition covered seminal artists such as Armin van Buuren, Kamaya Painters (that’s Tiesto before everyone knew it), Vincent de Moor, System F, and Sander Kleinenberg among many others, the new compilation hits home for me (being a Brit after all) with music from UK Trance legends such as Binary Finary, Salt Tank, Pete Lazonby, Tilt, Ascension and many more…

I am not here to just reminisce about my aged-old love for Trance music and post about two compilations… Instead, the label and curator have been nice enough to offer up some free Bandcamp download codes for ASIP readers, if you’re quick…. see below.

If you could be so kind as to comment below with codes you have redeemed already, this might help everyone reading…

Hypnotised: A Journey Through Dutch Trance Music (1994-2005) by Hypnotised Hypnotised: A Journey Through British Trance Music [1993 - 2002] by Hypnotised

Redeem the Bandcamp codes here.

A Journey Through Dutch Trance Music Bandcamp codes:

tp68-7r6n
xk5t-xmq7
jy6y-jtg5
72y3-kbnf
mlkm-6hvm

A Journey Through British Trance Music Bandcamp codes:

ygyy-bmmd
2kuy-xzyc
dz5z-jgnx
st6z-k3qq
x6gh-6v6z

Now available, in a short run of 60, the ‘ASLIP’ is a leather anti-slip turntable mat, featuring an embossed ‘RSS’ ASIP logo (inspired by our blogging days).

Available in 3 editions:

Matte black with Black logo emboss

Matte black with Silver logo emboss

Tan with Silver logo emboss

You can buy them here in our webstore (US orders) or visit Space Cadets to buy for UK/EU/ROW shipping.

SEND PICS!

Made of premium vegetable-tanned leather, this anti-slip mat boasts less static than other materials, along with added sound-dampening properties. The ASLIP improves sonic characteristics by reducing vibration transfer to the turntable playing surface and allows the cartridge a more stable performance. The leather sound impression is often described as tight, rich, and soft. Suitable for most turntables, but not for DJ’ing purposes due to its anti-slip nature.

Inspired by the greatest years. Tranquility of the highest order.

A mix of music taken from, and inspired by the most influential years of electronic and ambient music - the 90’s.

astrangelyisolatedplace · ASIP - Tranquility Listen on Soundcloud, or the ASIP Podcast.Download MP3

MLO - Shadows of Life and Thought (2021)
Merrin Karras - unreleased
Stryke - Introspection Part 1 (1994)
Glide - Space Van (1997)
Solar Quest - Save The Whale (1994)
Namlook & Montana - Path VII (2010)
Young American Primitive - Sunrise (1993)
Beaumont Hannant - Vague (1994)
B12 - Void/Comm (1996)
Perishing Thirst - Sacred Agency (2018)
Speedy J - Pepper (1994)
A Positive Life - The Calling (Loved'Ub Remix) (1993)
Global Communication - 8:07 (1994)
Moby - Myopia (1993)
Geir Jenssen & Pete Namlook - In Heaven (1993)
Mick Chillage - Hypersleep (2022 mix) (2022)
Niko Tzoukmanis - Fallen Angel (2023)
Spooky - Orange Colored Liquid (1993)
Omicron - Tranquility Base (1994)

You don’t get any trippier or spaced out than Quiet Places, so following their mind-bending debut, I’m very excited to announce Volume 2 is now available.
~
Dennis White, Charlie May, and Dave Gardner return with their second outing as Quiet Places, expanding upon their deep and suitably hypnotic long-form compositions across four continuous sides of wax.

Minimal in context and retaining the untitled track approach, the trio of producers, well versed in a variety of music styles between them, leave the music and the subliminal messages contained within as the descriptor.

Finding moments of melody amongst the wide landscape of abstract sounds and samples is the only glimpse of reality you’ll find down here.

Quiet Places, Volume 2 is available on limited edition gatefold 2LP pressed on marbled vinyl, mastered and lacquer cut by Andreas Lupo Lubich and featuring artwork by Noah M / Keep Adding.

Listen and links to buy via the release page

Stream the full Digital Bonus track in full over on Headphone Commute.

Volume 2 by Quiet Places

In 2014 I wrote the long-form feature ‘Neither Scene Nor Heard: A Journey Through Ambient Music’, detailing my own personal experience and evolution with the genre. I wanted to update the feature some 10 years later, but in the meantime, decided to continue and evolve the original playlist on Spotify, and keep it updated moving forward with new and inspirational discoveries.

The playlist includes ambient music in all its forms, pushing into other genres at times but covering what makes the genre so malleable and personal to many. Artists both old and new. But only one artist can be featured (excluding collaborations). This way, I hopefully avoid a playlist full of the hits, or the entire SAW or BoC albums.

Jump over to the playlist on Spotify, and follow to get updates on new additions. It currently stands at over 400 individual artists and I intend to keep it growing and swapping out music where possible.

Hope you find someone new to explore and continue to support them on platforms like Bandcamp.

One of the very few known labels emerging from South Korea and going from strength to strength recently, Oslated has become a consistent outlet for quality deep techno and ambient-leaning electronic music. Helmed by Jongmin Lee, the label, and its sublabel Huinali keep a busy calendar between them, push a variety of artists both new and known in our small circles. Oslated, also keep a great guest mix series going to help fuel the collective inspiration.

Segue, Inhmost, Doltz, Earthen Sea, Javier Maramon, Saphileaum, Polygonia, and many more artists have graced the catalogs of Oslated and Huinali in recent years, and the label’s various artist compilations expand even further into great artist territory. Needless to say, with such a rich and growing catalog, it’s a perfect time to use the isolatedmix series to highlight some of the great music across the two labels along with a few questions for label owner Jongmin Lee…

ASIP: How did Oslated begin and what was the inspiration to start a label?

Oslated: The Oslated project is a natural byproduct of my beliefs since 2016. It includes the label’s international scope based on my past experiences. The label's early mission statement was to feature unknown talented young DJs and producers, but if there were things that inspired me, it would be based on my various experiences in music for the past 20 years - since I was in my late teens. This still stands today.

You have a great ear for music and I much of your output. What is your general approach to the label’s releases?

First of all, I really appreciate the good feedback & support from many followers & friends including you. I want to give various answers to this question, but to put it simply, I believe in my ears, brain, and heart. What happens after that, whether good or not, I come to a conclusion after the release. I think this way is better. As my belief is that almost all releases on the label were a good experience for me. Therefore, I still believe in my choices, and I still love all the artists I've released on the label.

Kóshkil [OSP003] by Vanoni

How would you describe the difference between Oslated and the sublabel, Huinali to the listener?

When I founded the Huinali Recordings sublabel, I wanted to differentiate myself from the parent label, Oslated. However, while out running one day, I thought it was not something I’m absolutely set on differentiating. It's classified according to the artist's wishes, and this is always in progress. So I don't know. The same question was previously asked on a webzine, and my answer to this is still valid: "To be honest, the genre division for our both labels didn’t matter from quite a while ago. What I think iss important now, is the relationship between the concept of an entire album and the corresponding time with the artist."

What are your most and least favorite parts of running a label?

My favorite part is, of course, when I see an artist get a very good response to a release and develop further musically. I would say the hardest part is the interpersonal relationships. I get the most stress from this part, but I put the most effort into directing and consulting myself to minimize this and to be flexible with one another. This is probably the common denominator of all label & platform owners...isn't it?

Harbour Cove Dubs [HNP001] by Segue

You just pressed your first vinyl record for Huinali, with Segue, who I admire. What made you decide to move into vinyl for this release?

First, I don't want to say that a lot of physical releases are the goal. Anyway, Oslated had already released 3 vinyl records, and at some point the sub-label Huinali planned to do a vinyl release as well, from the day it was founded. And yes, I tried to do this naturally. Before being a label owner I was a DJ and a collector of various music. I honestly don't want to differentiate between digital and physical and I just want to release GOOD MUSIC. The reason I release physically as well is simply because my followers wish.

If you could have released any favorite/past album in the world on your label, what would it be and why?

I myself had such a wishful plan, and I’m the one who insists on “Oldies, but goodies” too. But as time passed, I realized something myself. Now, my simple argument for this question is, "The past is beautiful when it is the past."

You had S-Pill make the mix, can you tell us a bit about him and why you chose him to create the mix?

Seojun oh aka S-Pill is my close brother, and he holds the title of the only official DJ artist on the label. I guarantee that he is the best DJ in Korea and proud of him. This is the only reason.

What can you tell us about the future of Oslated and Huinali?

I don't want to elaborate on this question, but love Paul Valery's quotes here. "Nothing is complete unless you put it in final shape.".

"The trouble with our times is that the future is not what it used to be."

~

astrangelyisolatedplace · isolatedmix 121 - Oslated & Huinali Showcase (Mixed by S-Pill) Listen on Soundcloud or the ASIP Podcast.

Download MP3

Tracklist:

Inhmost - River Crossing [HNL008]
Gallery Six - Wish On A Star [HNL006]
Vâyu - To Achieve Awareness [HNL015]
Earthen Sea - Outcropping [HNL004]
Moon Patrol - Inparke [OSL026]
Adhémar - Smell Of A Summer Field [HNC001]
Lindamann - Blue Hour [HNL017]
Javier Marimon - Dem Cics [HNL002]
The Vision Reels - Her Form Is Slowly Morphing [HNL016]
Daniel[i] - Eubela [HNL010]
Segue - Deep Green Dub [HNP001]
Launaea - Reflected Life [OSL017]
Asllan - Citizen of the World (Soolee Rework) [OSL024]
Saphileaum - No Clue Of Life [OSL006]
Zemög - Hiking In Chicaque [HNL011]
Owl - Forest Shadow [HNL014]
Doltz - En [Forthcoming on Huinali Recordings]
ABSIS - Static Trip [OSL021]
Polygonia - Tanz der Gliederfüßer [HNL012]
Einox - Chirico (Romi's Paradox) [OSL016]
Sanjib - Without Words [OSL008]
Javier Salazar - Acae (Adhémar & Javier Marimon Repitch) [OSL025]
Aspetuck - Microscopic Moments Of Focus [OSL023]
Modeo - Nobody Sleeps [OSC002]
Ryefield Society - Sun Fossils [HNL018]

~

S-Pill (Oslated / Jeju Island, South Korea) | Soundcloud | Facebook | Instagram
Oslated | links

Twenty years ago today, June 9th, 2003, Ulrich Schnauss released A Strangely Isolated Place on the revered, City Centre Offices label.

This album, along with his similarly brilliant debut ‘Far Away Trains Passing By’ are now widely regarded as an unmatched blend of IDM, Electronica, and Shoegaze-esque etherealness, and generally regarded as a “landmark electronic music statement”. Both transportive and escapist without becoming overly cliché or veering too far back into the experimental realm, it was this unique mix of styles and melodies that made Ulrich’s music popular in a time of internet nerds listening on Pandora, Lastfm and early internet radio streaming stations. Ulrich’s music crossed genres effortlessly, tracks found their way into the electronica and indie scene, just as easily as Global Underground’s legendary mix series, propelling Ulrich’s exposure and helping add a new dimension to club-focused DJ mixes of the time. Nick Warren, Tom Middleton and Jon Hopkins were just some of the artists to include Ulrich’s music within noticeable mixes of the day.

I don’t think I’ve heard anyone describe Ulrich’s output to a tee (mine above is just as terrible), and maybe that’s where I drew so much inspiration from back in the day.

It was 2008. The album had already been out for five years. At a time when I was just trying to document the music I loved, I had (and still) struggled with words on paper. Yet for some reason decided to start a blog about music… The point wasn’t really to review or translate music into words, and I still find that exercise a little pointless. Music exists as music and commentary, is a way to add your own personal reflection. When it veers into conveying an anonymous or represented opinion, it becomes pretty pointless IMHO. Music is personal and subjective on every level. At the end of the day, it was the feeling that album transmitted, the places it took you, and the indescribable intangible qualities that made A Strangely Isolated Place stand out. Trying to describe it will hardly ever do it justice. Similarly, I didn’t feel like I had to describe music to want to share it, but it was the only way outside of sending links to friends.

It helped that around that time I spent around two hours a day on the train commuting to work. The album was perfect window-watching material. When a stranger’s armpits are in your face, standing room only, on the 7.32 am into Kings Cross for 35 minutes, plus delays, this music drew an impenetrable field between my headphones and the real world.

Little did I know at the time I would be here with the name today.

I remember, cautiously, asking Ulrich if it was alright to (basically) rip it off. I refused to start the isolatedmix series until he agreed to be the first. It only felt right, given I had already created an entire website with his album title. Whether he regrets his agreement (or his label at the time) I’m not sure. But it’s now become another way to share his album’s brilliance over time, whether people realize it or not.

I think about changing the name often, more out of respect for the album and to leave it as its own entity in time. But I’m yet to find a better feeling or description that would capture the music I try to include on the label. Just this week, I signed an artist who was attracted to the label’s name and perceived meaning, as a reason to reach out to me.

So thank you Ulrich, for this album and those people surrounding it, in more ways than one.

PS - Get your music up on Bandcamp!!

Well, a whole nine months since our last isolatedmix, we return in style…

Scottish producer Lord Of The Isles has been high on rotation for me for about ten years now, with a string of electronic EPs across labels such as Mule Musiq, Permanent Vacation, Phonica and ESP Institue. Never guessing where he was going to push next, Neil has remained a bit of an enigma in style over the years and more recently, has captured hearts with an emotional, Poem-infused EP on Whities (more on that below) and in December just gone, a more ambient-leaning debut on Lapsus.

The result is an artist that appeals to the electronic music fan in more ways than one. An artist you grow attached to as you walk alongside an ego-less evolution, welcoming new approaches and experimentation, always eager to see what he takes on next.

While Neil is obviously adept a putting together a DJ mix [check], we’re even more fortunate that Neil has taken a much more dedicated route to his mix contribution, with a 100% unreleased mix of his own material.

~

Hi Neil, being a man of the outdoors it seems, where are you right now and what are you enjoying, outside of the music world?

Not in the wilds at the moment, unfortunately! But I will be soon. I’m taking some recording equipment up north in a few weeks to hopefully finish my next album. Outside of writing music, I’m enjoying keeping fit and reading. I’m reading Under The Skin by Michael Faber right now for the second time.

Subtle Thoughts by Lord Of The Isles Your style is notoriously hard to pin down (which I love), but I'd love to know how you would describe it to anyone new to your music.

Deep and melodic maybe? I’ve always listened to all kinds of music and I've always had a very open mind in that regard. I suppose you are exposed to different things at different times throughout life.

What music did you grow up on to influence it?

There was a lot of Motown going on in my family very early on, and hearing stuff like Cream and Kate Bush now always transports me back in time when I hear it, as does a lot of soul, hip hop, and indie from 80s and 90s. Way too many to mention!! Growing up in the nineties, Acid House, Detroit techno, and Chicago House all played major roles in influencing my style, as did dub, dub techno, and all things ambient. Sorry, sounds all so clichéd! But it’s true.

Night Of The Endless Beyond by Lord Of The Isles You've recorded a more ambient-leaning isolatedmix, and a few of your most recent albums definitely veered this way too. Is this a reflection of your current taste or mood right now, or something else?

It’s just the way it’s come together in the studio past few years, although, I am becoming aware that there’s now a lot of people now that think all I do is ambient music. I have another album coming later this year that was completed over a year ago which is also ambient, but that will be the last release like that for a while I think, as the music I’m working on at the moment is definitely not ambient!

Whities 029 by Lord Of The Isles Your Whities EP with Ellen Renton’s vocals is definitely a personal favorite of mine. You also sampled Carl Sagan in your latest album. Can you tell me a bit about your approach to integrating guest vocals and samples?

With Ellen, I write music inspired by her poems. Other vocal samples are usually things I hear in films or documentaries that resonate with me. Growing up listening to artists like the Orb, BOC, and The Black Dog has given me an appreciation for disparate vocal samples. I love the cinematic quality it adds to the atmosphere.

Parabolas Of Neon by Lord Of The Isles You have a monthly radio show on Openlab, How do you go about selecting music for the show, or what can people expect?

I still buy and collect a lot of music, so it’s a great outlet for me to share music I love. You’ll hear mostly, electronica, deep house, techno, and breakbeat.

Glisk Science EP by Lord Of The Isles Your isolatedmix is 100% unreleased music, so no tracklist here. Can you tell us a bit about how you put it together?

It’s a bit of a hybrid set - half DJ half live, all unreleased music. It may well be the last ambient thing from me for a while. No plans to release any of it at the moment.

Lastly, I read you're a candle fan (as am I) What's your latest scent?!

Lol! :) I have a trial tester from an amazing new Scottish aromatherapy brand called àile. They do amazing products and are thinking about doing a candle. It’s cedar wood, mandarin, and clove I think. It’s great!

~

astrangelyisolatedplace · isolatedmix 120 - Lord Of The Isles Listen on Soundcloud or the ASIP Podcast.

Download MP3

(No tracklist as all unreleased material)
Artwork image by Faisal Waheed.

Lord Of The Isles Bandcamp | Discogs | Soundcloud

Icelandic musician Gunnar Jónsson Collider debuts on A Strangely Isolated Place with an expansive trip through six fictional environments, brought further to life through an accompanying video by artist Arna Beth.

Inviting escapism through detailed, glacial textures, S.W.I.M. elevates a traditional beatless spectrum into a first-person narrative, moving across burning wastelands, miles-high sundown, a dizzying night sky, subterranean exploration, and more beautiful, natural phenomena. Subtle changes in tone and texture across each of the six environments provide a signal of the destination’s energy and the intended perception of the traveler. At times, elated and dwarfed by nature’s surrounding grandeur. Other times, bestowing a sense of apprehension and unknowing.

Best absorbed through the accompanying visual album by fellow Icelandic digital artist Arna Beth, *S.W.I.M*. is an immersive jump into a majestic sci-fi world, placing you front and center in both sound and visual. After appearing on numerous well-respected electronic labels in recent years such as *Móatún*, *Moller* and *Vertex*, *S.W.I.M* represents Gunnar’s most horizontal output to date.

Mastered by Franceso Fabris, and featuring artwork by Noah M / Keep Adding, based on Arna Beth's visuals, S.W.I.M., will be available on limited edition Blue Smoke 12” and digital.

View the release page for full links to listen and buy

Join us for a full album AV experience on Bandcamp, May 21st.

S.W.I.M. by Gunnar Jónsson Collider

*****Important announcement for our vinyl buyers and shops stocking our records*****

We’ve made an important decision to join a new distributor who will handle our stock (outside of our Bandcamp sales). Going forward, our physical releases will be distributed and sold directly by https://www.spacecadets.world/

Recently setup by Ario from Astral Industries, Space Cadets allows us the chance to work and build something with a trusted friend in a similar world, and some of our favourite labels are already onboard, such as Mysteries of The Deep and Affin.

TLDR; if you previously purchased our records in the UK, EU, ROW (or basically any non-US sales) Space Cadets will now have the majority of our stock to buy on their site direct and be handling sales into local shops. Anyone who purchases our records on Bandcamp, nothing has changed and we will still also sell direct on our Bandcamp store.

I wanted to thank Juno and Milo for the immense unwavering support they’ve shown since our very first release. We wouldn’t be where we are now without their support. And more recently, One Eye Witness for taking us on and supporting as part of their amazingly curated venture

Any stores looking to stock our upcoming records (including backstock) get in touch with us here or direct with Spacecadets.

Check out the Space Cadets site and get ready for our next release to be announced very soon with Space Cadets leading the charge!

Recording of my live DJ set for the Liminal Dreams 1st-anniversary series in Tokyo, March 11th, 2023 alongside @lynne-tokyo, @yolabmi (Live), @yutotakei, and @yutaroy at Spread, Shimokitazawa. Thank you to all who made this evening happen, those who came, listened attentively, shut their eyes and let the music fill the room on an amazing system that Saturday evening.

It really was a special, memorable moment for me.

The set includes lots of unreleased/forthcoming ASIP music, alongside releases from Quiet Places(plenty of their new stuff in here ;-), Max Würden and Merrin Karras, plus some of my fave moments from Field Lines Cartographer, Echospace, qebrµs, Sindh, Jo Johnson, Acronym, Endurance and Wndfrm.

Cover photo on the night by Toby Barnes.

Read more about the event here.

astrangelyisolatedplace · ASIP - Live DJ set @ Liminal Dreams, Tokyo

Back in July 2018, I had somewhat of a pilgrimage to Tokyo and spent an entire week visiting record stores, resulting in the first feature here on ASIP covering ten of my favorite record stores.

Five years later, I was lucky enough to visit Japan once more, this time with a best friend who also loves music. Our visit was sandwiched between two DJ shows I played in Tokyo and Osaka, allowing me the option to also explore Kyoto and Osaka stores more. What follows, are some of my favorite stores from the trip, that are in addition to those covered in the first post linked below.

Read: Digging in Japan: Ten of Tokyo’s best record stores

Plenty has happened in the five years since I went to Japan last, most notably, a global pandemic… Whether directly related or not, two of my favorite stores had since closed. Technique in Shibuya shut its doors in 2022, almost certainly as a result of Japan’s strict restrictions surrounding the pandemic. The techno-forward store was a mecca for any electronic DJ and is sorely missed. In addition, cult-favorite Disc Shop Zero shut down due to the unfortunate death of E-Jima san. The owner of the store passed away without passing the reigns, and now Japan is without one more very special record store.

This trip included repeat visits to Lighthouse Records, Face Records, Next Records (all Shibuya), Jet Set, City Country City, and Disk Union ( all Shimokitazawa), all of which were covered in the previous article so won’t be called out again here. All of these shops appeared relatively unchanged this time around and are all still highly recommended visits.

So, on to the new shelves…

Kankyō Records (Tokyo)One thing that’s evident since 2018, is the increased proliferation of ambient music in physical form, especially the popularity of *Kankyō Ongaku*, or “environmental music” - a Japanese genre of music that was established in the 1980s as a reaction to the rapid urbanization and economic development of the time, and now seemingly having a resurgence. Unrelated to any of the reissues, but obviously inspired by the term and genre, *Kankyō Records* stocks many styles of ambient and experimental music, and goes deep. The store, located in what seems like a quiet student neighborhood, was hidden just off the main road on the ground floor of an apartment building. Stepping through the doors, the shop is small, with an entrance to remove your shoes and a pristine white interior - somewhat of a stark contrast to the busy record stores found elsewhere in Japan. A small crate of second-hand records meet you as you step in and remove your shoes, then a single wall of new vinyl, a wall of tapes, and CDs, all meticulously evenly spaced and presented.

Kankyō no doubt focuses on highlighting some of the many smaller tape labels in the scene - many of which come from Japan - but you can also find American labels such as Constellation Tatsu taking up a lot of that lovely white real estate along with a wide selection of ambient music on vinyl, precisely curated.

Brilliant stickers too.

Average cost: $$$ (many imports)
Specialty: Ambient, Drone, Experimental (Vinyl, Cassettes and CDs)
https://kankyorecords.com/

Ella Records Warehouse (Tokyo- Shimokitizawa)We saw a fellow tourist in *Disk Union Shimokitazawa* and gave the digger nod, and an hour or two later, found ourselves in a chance meeting outside of a coffee shop. Noticing us again, he stopped and asked if we had got anything great, and we got talking. I can’t remember his name, but he was a DJ from Montreal back in the day and ended up recommending ***Ella Warehouse***, which was just 5 minutes up the road. I had saved ***Ella Records*** previously on my list, but this seemed to be a new location near the station and a ‘warehouse’ if it wasn’t already obvious. Four floors up, the entrance is (surprise surprise, unassuming and easily missed, and took us two trips up the stairs to finally try the big heavy metal door) but when you enter, the space is noticeably more spacious than the typical store characteristic in Japan and reminded me of a store you might find in the UK.

Two people cleaned and filed records without even glancing up, and with crates at two levels (yes, the knee busters were out in force), it was clear we had our work cut out. Looking at the other customers, it was clearly a DJ-forward shop, and the collection went on to reflect it. Split in two, with house and techno on one side and hip-hop the other. There was plenty of 00s dance music to be found, including the more commercial stuff (including big trance and house hitters) so it was definitely more of a quantity-over-quality vibe. I ended up picking up and listening to about five records, but none really shouted at me to grab them right there and then, and so I left empty-handed. Don’t take that as a negative though - definitely a store worth visiting and going by the huge backstock shelves, it likely switches things up more often than other stores, so timing is everything.

Average cost: $$ (all used but generically priced in levels)
Specialty: House, Techno, Trance, Hip-hop.
https://ellawarehouse.com/

Meditations (Kyoto)If *Technique* was a techno lover’s mecca in Japan, ***Meditations*** in Kyoto is quickly becoming the ambient lover’s mecca. Away from the Temples and small streets that make Kyoto so endearing, ***Meditations*** floats upon the second floor of yet another unassuming building a bit further north of the tourist hustle of downtown.

As you’d expect from such a name, it was a calm space, but also has a very active webstore by my experience, meaning the owner was busy packing records as we dug in - the sound of tape being ripped slightly jarring against the beautiful music and smell of incense. But, I was here at work (aka to dig) not to meditate...

The standing racks featured just about every adjacent genre to ambient music and within them an amazing selection of well-curated, new releases, some of which are hard for me to even find in US stores. Plenty of Music From Memory, Astral Industries, Imp Rec, and a surprisingly big Boomkat-related distro selection (think Sferic, 3XL etc) - impressive ambient labels of today that are hard to find outside of Europe. Under the racks, was a selection of Japanese and world music but second-hand records were few and far between. Ironically, I think I got my least ‘ambient’ records in this store and finally picked up the Death Is Not The End London Pirate Radio editions. With new records, it’s always hard to stretch your ears into unknown territories without taking a $plunge, and I had only really just got started on the trip…

After Meditations, there was another record store just around the corner from Meditations, which we sat patiently (in a nearby bar that the owner kindly kept open for us) waiting for the store to open, only to find they were shut for the week. It came recommended by a local friend, so may be worth stopping by the link above if you already hit Meditations.

Average cost: $$$ (mostly new, and many imports)
Specialty: Ambient, Experimental, Drone/Noise, Japanese + World
https://meditations.jp/en

Jazzy Sport (Kyoto)I didn’t end up going to Shimokitazawa’s *Jazzy Sport* this time around (we tried, but it was shut despite Google saying it was open) so I made sure to visit the Kyoto outpost instead. It was also very close to my hotel, so no excuse. Up on the 4th floor above a beautiful district on the east side of the river, this spot is more of a DJ and merch store than a record store, but it gave an overall pristine and luxury vibe with new records, crossing funk, jazz, world music and plenty of local label support too so worthy of a call out here. The picture just about captures the amount of vinyl on offer, albeit with a few more crates underneath. I debated a compilation featuring all local Kyoto artists that they played for me on the system, but it didn’t hit the spot. Worth a step inside, if even for the cool merch and view from the top floor.

Average cost: $$$ (mostly new)
Specialty: Funk, Jazz, World, electronic.
https://jazzysportkyoto.com/

View fullsize
View fullsize
View fullsize
View fullsize
View fullsize
View fullsize
Newtone (Osaka)With the second DJ gig of my travels in Osaka being on the day before we left, it meant I only got to dig here for one afternoon, but we went pretty hard and hit gold.

Newtone is an electronic music fan’s haven. Well stocked (sometimes too much - you know, when you can’t even flick through) Newtone has philosophically replaced Technique as the DJ’s mecca in Japan and is a one-stop shop for any new release. With bottom shelves organized by distributors, you get a sense (if you know that world atleast) of how many distro’s this store is buying from, and it’s pretty much all of the biggies. Meaning, there’s no shortage of UK, US and EU records available here - a big deal if you’re local to Japan or visiting from Australia (or even the US like me). The prices reflect it, given the imports, but there are definitely some bargains to be had, and given you’d be paying expensive shipping yourself if you normally buy from the UK or EU, it works out just as good if not better. Also, one of the few stores that actually had a rack with new arrivals/recommendations - typical of a classic DJ-focused record store. However, listening wasn’t really an option given so many were new and sealed, so people were visiting the computer to grab audio clips.

Give yourself a couple of hours to truly rummage around in this one and get your headphones at the ready…

I was happy to also find a copy of Striê & Scanner’s ASIP LP in here too.

Average cost: $$$ (mostly new)
Specialty: Techno, Minimal, House, Ambient + more
https://www.newtone-records.com

Raregroove (Osaka)I’ve long heard about *Raregroove,* and it was a must-visit for my short trip this time around. Often known for stocking some of the best Japanese Pop and Ambient, Jazz, World Music, and of course rare groove, it didn’t disappoint. If you’re more of a purist in that sense and going to Japan for the OG or regional presses then this is your spot. It’s world-renowned as one of the best record stores for a reason and if I had time to come back, I would have snapped up quite a few pieces in hindsight, but little did I know my time was about to run short.

Situated in a building shared with about five other record stores, once you’re finished in here, it’s the equivalent of walking into a new office down the hallway to find a whole new set of crates, but unfortunately for me, they were mostly hip-hop focused.

Hope to chat to you again soon, Norio!

Average cost: $$
Specialty: Japanese Pop, Ambient, Nuwave, House, Groove, Jazz etc
https://raregroove.jp/

Revelation Time (Osaka)Perhaps my most successful dig happened to be the last store in Osaka at Revelation Time. This was, after now visiting quite a few stores over the years, perhaps a reflection of the quintessential Japanese record store you can come to expect.

Unassuming building, hidden away on the 4th floor.
One small room
Focused on records, not decor or merch.
Owner behind a desk, cleaning the records and simultaneously DJing.
Second-hand crates well curated and featuring notes / great tagging.

The entire center aisle was full of records I have never seen in the flesh before and the best thing was they made the genre and keywords very clear on the small writeups, which made it much easier to take a chance on a record and listen to it. A record that is simply categorized as “Trance” in many other stores, is less attractive than a record that says “Banging Belgium Trance Classic from 1995”… I’m in… and the wallet shared the pain. I ended up finding a few classic digs, but also some early IDM LPs that I’ve longed for, including Bola and u-ziq, Sensorama and an amazing rare ambient 12” by Haruomi Hosono (member of Yellow Magic Orchestra among many other influential projects).

Average cost: $$
Specialty: Ambient, IDM, Techno, House, Japanese Pop etc.
https://revelationtime.myshopify.com/

~

At this point, we were done, tapped out, and off to DJ in Osaka at an amazing party with Muzan Editions at Bar Wols. Ironically though given the weight being pulled behind me, without any turntables at the venue!

But as with all trips to Japan, I left with a crate full of special music for future listening, and unforgettable memories, longing to be back already.

Raregroove Osaka

  Face Records Tokyo

  Meditations Kyoto

  Next Records Tokyo

Read the first feature from 2018, which includes ten more record stores in Tokyo, here.

I’m delighted to announce a second night of ambient-ish shenanigans in Japan this month, this time alongside the lovey *Muzan Editions* crew, where ***Endurance*** (Muzan founder) will play live and I will be accompanied by ***Saki*** and ***Dérive*** on the decks at Wols bar in Osaka.

This follows the show a week earlier in Tokyo - more info on that show here.

Verb by EnduranceHead over to Muzan Editions to hear more from their great catalog and a taster of what to expect from Endurance and Dérive. Saki, I hear is normally more in the techno realm and we will be treated to a very special, rare ambient set!

Hope to see you there.

Many of you may know I am a big fan of trance music. The Portals feature alongside todos is probably a big giveaway, but I grew up on the stuff. So it’s a very proud moment to have a record on ASIP that definitely… goes there. Amongst the variety of approaches and styles on this record, Mikkel has truly conjured up some magical moments, and whilst it may not all be high-energy euphoria, it’s definitely all euphoria.

~

Norwegian producer Mikkel Rev debuts on A Strangely Isolated Place with his most accomplished album to date; traversing nostalgic chillout, slow-burning downtempo, and euphoric trance, in a similar approach to the diverse styles found within the early pioneering electronic ambient albums of the ‘90s.

As part of the growing label collective Ute Records, Mikkel Rev can often be found entertaining uninhibited ravers amongst the forests of Norway, where he and his label mates are spearheading one of the many so-called Trance revivals. Just as comfortable releasing high-energy 140bpm electronic music alongside Filip Storsveen as Omformer, or creating expansive space-ambient pieces on the flip for the Sinensis label, The Art of Levitation is the perfect gateway into the diverse array of electronic music to emerge from the world of Mikkel Rev.

Moving through various energies and BPMs, The Art of Levitation is clearly vivid in approach and concept, based on track titles and art alone. In a similar parallel to the main room and the chillout room often found at raves, the album invites you to take a journey through both over time. Touching on moments of early electronic ambient, to begin with, it soon evolves into a blissful beat-driven progressive chapter, culminating in a nostalgic nod to the very best moments Trance music has to offer. The ending can be found in the back room, as the journey finally tails in to a more emotional point of reflection.

The Art of Levitation is a mirror to the feelings created, the friends made, the dance floor antics witnessed, and nostalgic moments earned, by everyone who experienced the spectrum of energy and euphoria electronic music can offer during those special times.

The Art of Levitation is available on March 20th, on Gatefold orange 2LP, plus digital. Featuring artwork photography by Wendy Carroll and mastered by Andreas Lupo Lubich.

See the release page to listen and for links to buy.

I’m very excited to be DJ’ing a couple of shows in Japan in March, my first time playing in this wonderful country. A dream come true in many ways, you probably know from my past endeavors how much I adore the culture of Japan, and no better crew to play alongside than Liminal Dreams, who have hosted some wonderful shows over the past year and will be celebrating their 1st anniversary.

You can catch me alongside yolabmi, Yuto Takei, Lynne and Toner, on March 11th at Spread, Tokyo in the awesome town of Shimo Kitazawa (Tokyo).

Listen to some music from the lineup below.

By The Sea by yolabmiRadio Tempo Não Pára · Yuto Takei @ Radio TNP 10.12.2021Mysteries of the Deep · Lynne - Live at Mysteries of the Deep | Vurt (Seoul)

We are very pleased to welcome back Germany’s Max Würden, and his second album on the label, Landmark.

Following his beloved ‘Format’ in 2019 - “the absolute masterpiece deserves to award Würden a place among the likes of Eno, Laraaji, Jenssen, Budd and Roach” by Igloo Mag, Landmark picks up his abstract ambient atmospheres and intricate sound design once more. One '“for the heads”, as I might say, as Max’s music is hard to describe without over-generalizing as an ‘ambient’ album. Max’s music just hits differently and comes from a place of authenticity, without trends or gimmicks.

Landmark sees Max Würden combine and integrate various external forces into his usual studio production process. Inspired by many paintings of powerful landscapes found in thrift stores throughout his hometown of Cologne, Max set out to bring various elements together as one whole over time - allowing an organic process of experimentation and collage.

Landmark by Max WürdenShort phrases of music and field recordings that weren’t originally meant for each other were realized in isolation, such as sounds from his Klangkiste (sound box) built by Max himself, guitars, an old out-of-tune Schimmel piano, and samples of early jazz and classical music. These separate elements eventually, over time, connected and came together as Landmark - a recognizable moment and formation.

The collage of elements found throughout ‘Landmark’, expresses a number of different vantage points from which to gaze and focus your attention. From the more storied and instrumental-based ‘Reprise’ and ‘Range’, to the wide-scape visions of ‘Summiteer’, or the off-world portrayals in ‘Stereo A’ and ‘Stereo B’. Max can be found depicting a montage of intricately detailed moments that invite you to stand and ponder their storied creation, be it emerging from found sound, synthesizers, guitars, samples, or simply his own production sorcery.

Landmark is available on gatefold 2LP gold vinyl and digital, mastered by Rafael Anton Iirsarri and featuring original photography by Max Würden, and artwork by Noah M / Keep Adding. There is also be a very special limited framed painting edition (10), created by Max, available to purchase.

See the release page for all links to listen and buy

*As with all past* *‘Reflection’ year-end mixes**, I start with a collection of music I have enjoyed over the past year. Through the process of compiling a mix, songs are whittled down and selected from this collection. This means many of my favorite tracks and albums are often omitted in this process, due to the need for them to fit in a mix that comes together as organically as possible. As I say every year, this isn’t a definitive ‘best-of’ list, but a selection of just *some* of my favorite music from the year in one easily listenable format. It’s the most enjoyable way for me to boil down the music I’ve loved from the year using these self-imposed restrictions, for you to then enjoy and hopefully discover more. I encourage you to use the mix to jump off and explore each artist, listen to the album in full and see what else is on the label (and check the Buy Music Club list at the bottom). Of course, releases or aliases that are a part of our own label/s are not considered for this mix (**head over here* *for our label-specific 2022 showcase!), and if you want to see the majority of what I’ve been supporting, head over to my* *Bandcamp collection**.*

~

Mixes paint a memory, and in many ways better than a photo. That’s half the reason I do these year-end mixes. Listening back to some of the past ten ‘Reflection on’ editions, each one still does the job of invoking specific memories for me. From the time I made the mix or tracks that trigger a time and place, maybe a gig I went to, an album that soundtracked a special moment, or just a record that didn’t leave my turntable. All of these things influence what tracks go into my year-end mix. It makes it challenging to try and capture, but also rewarding when I come out of the other side with something to listen back to that really shaped my year in listening. Despite this feature taking many, many hours, it’s much easier than doing a list, because not only do I dislike ranking music, but I really enjoy putting together mixes (so any excuse really!).

I haven’t written in-depth track notes for the past few Reflection mixes, mostly due to the sheer high number of track inclusions, but I want to go into depth on the inclusions this time around. I miss writing about music here, and it’s been a few years now since I’ve even posted a review. So hit play below, keep scrolling for the track notes, and link to a BuyMusicClub list to support all the featured music.

astrangelyisolatedplace · ASIP - Reflection on 2022Listen on Soundcloud, or the ASIP Podcast.Download MP3

~

Firstly, let's sweep it under the rug; I’ve broken the biggest rule of the mix and included a track that wasn’t from 2022 (in fact, a couple aren’t strictly, but more on that later). The first track (and album), by maarja nut and ruum was such a lovely discovery for me this year that I missed in 2018, it accidentally slipped into my 2022 playlist due to being on high rotation. Of course, it was the very first track in the mix that set the tone- a hard one to undo when you’ve completed the set. So, because I have no one to answer to but myself, it stays! And I doubt you will regret this decision either if this album is new to you.

Malibu made an appearance in 2020’s mix, and she’s perhaps a good reason for igniting a stronghold in female vocal led-ambient music recently. But few attempts are as ethereal as Malibu’s latest, going full-on Salt Tank (as a fellow Trance lover nicely put it once).

Ecovillage have made some gorgeous music over the years, and their latest album was a work of collaborations with some impressive producers such as Fennesz and harpist Nailah Hunter. My favorite track of the bunch was Memories of Spring featuring Japanese vibraphone player Masayoshi Fujita (the Erased Tapes stalwart).

Raum, a collaborative project by Jefre Cantu-Ledesma and Liz Harris (Grouper) released a long-awaited follow-up to their 2013 album, and it didn’t disappoint. Whilst used more as a texture/segue in this mix, I encourage you to explore the full album. And, in a nod to Liz Harris’ involvement in the artwork for one of our releases this year, it felt fitting to include her project in this mix (thanks Liz!).

I’ve admired GiGi FM’s DJ’ing abilities for a few years now (check out her isolatedmix) but only last year did she debut her production chops with Kiwi Synthesis Diary 21k. I didn’t get around to listening to the album until this year (along with her latest, Magnetite EP) and so it didn’t make last year’s mix which was already out in the world. So here’s another little cheat, albeit a very short inclusion.

You can’t say "In Every Dream Home A Heartache” without reading it like the Roxy Music intro, and Romance and Dean Hurley’s similarly named album is just as memorable for me in many ways. Whilst this track is not my favorite from the album, it reminds me of the church bells and distant music playing from across the farm fields in my hometown back in England.

Fallen, aka Lorenzo Bracaloni seems to have released quite a few albums this year, but I was introduced to Moonlight Romance by Noah M (who creates many of our own artworks and was behind the art for this one). It’s like a new-new-age album, full of life and color, and a really pleasant listen from front to back.

One thing I find hard with this annual mix is whether to include tracks that have appeared in some other mixes of mine this year. Ultimately, I want to try and present new listening experiences with each mix, but then again, I am sure it’s very few of you who actually listen to all of them!… . Steve Roach’s What Remains appeared in a previous mix of mine this year, but this track is him at his very best. Refined, patient, bellowing, and glistening - a master of the style.

Pretty sure nthng has appeared in the last two Reflection mixes, but what can I say… whether he is releasing pounding atmospheric techno or soaring trance-inducing textures like this one, he somehow manages to draw me in with each of his releases. (I think, secretly, he’s a trance head and there’s a subconscious/ telepathic attraction going on between us).

At this point I got lost in the bellows of the last few tracks, so decided to find a way out of this musical chapter, and IKSRE provided a nice euphoric bridge with her vocals. Released on the ‘Healing Together’ compilation curated by Cynthia Bernard / Marine Eyes, plenty of tracks from this comp could’ve made it onto this mix, so you know what to do after...

There was no doubt I was going to try and include a Norm Chambers track in here somewhere, both due to his unfortunate passing this year and his undeniable contribution to the ambient and experimental community. I seeked out a jolt in the mix at this point, so his music didn’t go unnoticed. As someone I follow recently said, you could make five mixes from his library of music and each one would sound different. Thank you for the music Norm - RIP.

Chicago artists Purelink seems to be at the front of this new 'jungle/beat infused choppy ambience™, that I’ve seen becoming quite popular lately (how old do I sound). And one member of this trio features a bit later under a different alias. There is lots to explore in this world - whether it be following each of the member artists, their labels, or some of their own self-released music on Bandcamp. This track fits my dreamy chill-out world perfectly and was a much-needed segue into a more beat-driven chapter of the mix.

Spoiler alert, Mikkel Rev will be making an appearance in the ASIP fam in 2023, so until he does, he’s OK to be included in this mix (!) As part of the Ute Collective hailing from Norway, it’s another rabbit hole of amazing young talent should you be into the more trance-infused sound of ambient music (or indeed, full-on trance music - plenty of that there). He makes some superb atmospheric chugging downtempo that ranges from the delicate to the beat-driven.

Whenever a new Biosphere album drops, it’s met with slight trepidation on my end. Not least because his albums take forever to reach the US on vinyl, but, how do you live up to the classics you created that helped define a genre? But that feeling is always short-lived and none so short as 2022’s effort. In what is a direct throwback to some of his earlier electronic styles, Shortwave Memories is one of his best in the past 10 years - at least. The N-Plants vibe in this particular track is the show-stopper.

ReKaB was a new discovery for me this year, and the Móatún 7 label that homes this release, is a goldmine for electro-leaning music (even featuring a Yagya 10” recently). I think I played this ReKaB album front to back more than five times in the car one day. It’s such an enjoyable listen - not too pretentious, just enough old-school vibe, and energy to keep things present as opposed to wallpaper.

OK, a couple more records were not strictly new in 2022 but I’ve always debated including reissues in this mix, and finally come around to the idea given the proliferation recently. After all, there was never a Reflection on 1993 was there?! Spacetime Continuum and the always-on-point Musique Por La Danse label provide the 90’s throwback. (The similar-era Detroit Escalator reissue would have also made it in here, but I had to stop somewhere).

Daniel Avery’s album is a monolith. Throwbacks to Aphex on a SAW tip, mixed in with wall-shuddering bass and cave-mentality breakdowns. Any electronic fan that spent time in a dimly lit rave is going to enjoy his latest, just as much as the IDM/Electronica fan in all of us. I’m not sure if the track in the mix is my fave of the album yet, but the bigger tracks on the album would have sent this mix into a whole new dimension.

Seeing James Devane pop up this year was weird. Back in my blog days (they still exist today but this specific instance was 13 years ago), I uploaded a cover of Aphex Twin’s Rhubarb by James Devane to Soundcloud to host on the blog (remember those days) - it has 26k plays and the majority of us I’m sure really had no idea who he was until this year. With just one prior release on Discogs, I thought he dropped off radar. I guess he kind of did. This album was therefore a surprise to see, and its Gas-like fringed-techno a pleasant reintroduction.

Prior to Covid, I was due to DJ at an Astral Industries gig in London, and Transcendence Orchestra was on the bill for the second night I was there (when I'd get to relax and enjoy the full night!) It didn’t happen, unfortunately, but I always keep an ear out for their output and regret not being able to see them live. Back to the mix though, I didn’t go too hard on the modular synth-heavy tracks this year, but as with all Reflection mixes, I try and cover the variety of music I’ve been listening to. Whilst the full Transcendence Orchestra album ‘Dreams, Waking Thoughts and Incidents’ is a dark trance-inducing affair that might have felt like a rabbit hole at this point in the mix, this track formed a nice segue into the next with a similar sound…

This was the year Abul Mogard no longer hid behind his “old man steel factory worker” story and came out of the shadows on Houndstooth alongside COH (Gone is my idea for an “I AM THEREFORE I AM (ABUL MOGARD)” t-shirt). I’ve always wondered what Abul Mogard’s (real name Guido Zen) music would sound like if you added some fizz and more obvious structure, and this track can still be found bouncing around in my head somewhere.

Another track not ‘new’ in 2022, but once again, there are no rules when you’re documenting someone so profound. And to lose Low’s Mimi Parker was a shock to everyone this year. I was late to the Low party given how long they have been around, but Mimi’s vocals on this track from one of their most recent albums (Double Negative) are purely angelic. I took liberties with the layering in the mix here, respectfully, so I hope it pays off in the listen as a moment of true reflection.

It’s not often you get treated to some of this early 90’s music for the very first time, but stumbling across Bowery Electric is like finding a long-lost favorite. Originally released in 1996, this is an example of why Kranky is so legendary all those years later, playing host to gems like this.

Nosaj Thing isn’t normally the type of music that stays in my periphery, but my colleagues were sharing the news of this new album, existing on the fringes of hip-hop and electronica, and when Julianna Barwick is involved, I tend to put it at the top of the pile. Whilst the beat closely reminded me of Massive Attack’s Teardrop, there’s no hiding the track’s beauty in totality. Add to this, I took a friend to see Nosaj Thing at The Greek Theater in LA, and we drank way too many Caipirinha’s before stumbling up the hill to the venue and missed Nosaj playing altogether… We did catch Toro Y Moi after though, so it’s a perfect memory captured for 2022.

I’m glad Synkro returned with music this year, and it’s an amazing little EP on R&S to boot. Maybe even more atmospheric than his previous work, the beats are a little more smudged across this EP, but everything he touches has a considered, unique touch that can be heard strongly throughout his work and within collaborations (such as Kiyoko).

There's a substantial amount of music to discover from Neglect on Bandcamp, someone I’ve admired from afar for a while now. This track, taken from his latest album is amongst a beautiful bunch of nostalgic electronica that cries quality.

It’s always hard to single out an Astral Industries release. The consistency of releases are faultless, so my shortlist this year with AI releases to include, was, well… not very short. Mystic AM, however, is the first release by Astral label boss Ario, alongside none other than Rod Modell, so it quickly became top of the pile by reason of a special moment in 2022, not least because of the beauty found in its original Iranian field recordings.

Perhaps one of the most extensive releases of the year comes from the always intriguing Stroom label, and Voice Actor. 109 pieces of music and a surprising quality found throughout. It’s more collage than music when listened to as one, but you’ll find some lovely moments hidden amongst the 8(?) hours. “Will it be available on vinyl” I hear you jest? I’ve seen this popping up in lots of EOY lists already too.

There's talk within my small circles that Music For Animals is Nils Frahm’s best album yet. I’m not sticking by that just yet, as Spaces is probably in my top 10 of all time so far, but it certainly represents a stunning (d)evolution? Not a piano in sight you say? I immediately disbelieved it. But alas. It's like Nils kept getting put into Ambient playlists on Spotify and was like "OK, I'll give you what you really want…”.

I’m not quite sure how I stumbled across Ben Bondy. I think a friend might’ve recommended an album of his (Hadi, was that you?!) but It was enough for me to stalk his many Bandcamp releases and find some lovey instances. This track reminds me of a classic chill-out room track in its swirling laid-back mystery and vocal.

I wouldn’t have come across the All India Radio track if it wasn’t for the great compilation it was presented on this year by Mystic and Quantum (a label responsible for some lovely releases over the years). New to me, it looks like they have quite the discography I’m yet to dig into, but this was a lovely moment that flowed nicely after the previous. Time to do some digging.

Concave Reflection (see Purelink reference above) is another artist in the fringes of my frequent listens but one I’m fully dipping my toes in right now. The full-length album ’The Best People Are Like Water’ is a really interesting listen - kind of metallic, chopped-up ambiance that the Spheric label are becoming known for (and seems to be all the hype right now).

Whilst the next track was originally from an album released a few years back, you’ve probably learned by now I’m bending the rules a little. However, this version of Hania Rani’s track Leaving, is a live recording released in 2022. After watching her live performance on KEXP, (shout to Alex Ruder!) I was truly mind-blown at her talent. It’s easy to make comparisons to Nils of course, but Hania has that vocal element which adds a whole new dimension.

If I had to be pushed, my favorite non-ambient album this year might have come from Mike Paradinas / µ-Ziq. Magic Pony Ride is just pure fun. And you need that in your listening repertoire nowadays, right? The bank of melodies and creativity this guy has amassed over the years must be unbelievable. To think, only some of it makes itself out into the world as a record. He followed this album up with another similar stunner too - spoiled!

I've already given Wardown his superlatives for the year in his isolatedmix feature, but in summary, Wardown II followed up his nostalgic DnB/Jungle debut under this alias in style. Will there be a third that can keep the standard this high??

I could've launched into a complete Jungle/DnB hour at this point, but being 2hrs in, I really had to start winding this beast down and get all the end-of-the-night feels going. Bot1500’s latest EP stepped in nicely here - a lovely collection of melodic IDM and the track Chartreuse 8 felt rather emotional.

Royksopp really don’t do things by halves, and whether the entirety of their music is enjoyed or not when it crosses into the Pop realm, they still manage to conjure up some magic moments. I wanted to try and include a track out of the 3(!) albums they released this year but really couldn't find one that fit outside of this weird sample here. It worked on a few levels for me here though, “Press R to continue” …

Rose Riebl…With three compilations curated by Headphone Commute, the quality found amongst the ‘For Ukraine’ comps should go down as monumental and unmissable. I knew I had to get a track in this mix from the many on display, and this one felt like a perfect near-conclusion to the mix. Don’t miss out on supporting a great cause and listening to some of the best artists creating modern classical music right now.

The final track of the mix comes from EXM. While I normally try and end these mixes with a closer that is potentially surprising or off-genre (maybe a glance at other weird music I listen to) this one just somehow felt right. Uplifting and melodic, you can’t help but mirror its gradual progression with your volume-up button.

~

The art for this mix might feel a little unflattering at first, but I wanted to capture the mass AI hysteria as part of this year’s memory and mix. So, fittingly, this is what I got back with the creative input of ‘A Strangely Isolated Place’. Why so literal, bot?

Tracklist + Buy Music Club:

maarja nuut & ruum - Mahe (Fat Cat Records)
Malibu - Iliad (UNO NYC)
Ecovillage - Memories of Spring feat. Masayoshi Fujita (LAAPS)
Raum - Daughter (Self)
GiGi FM - Rosé (Louise) (Self)
Romance & Dean Hurley - The Flesh Is Weak (Ecstatic)
Fallen - Under A Glass Moon Of Wonder (Aural Canyon)
Steve Roach - What Remains (Self)
nthng - Some Clouds Are Destined To Break (Transatlantic)
IKSRE - You Will Find (PITP)
Norm Chambers - Resonant Foam (Self)
Purelink - Butterfly Jam (uWu Dust Bath)
Mikkel Rev - Ende (Translusid)
Biosphere - Night Shift (Biophon Records)
ReKaB - The Lightest Touch (Móatún 7)
Spacetime Continuum - Drift (Musique Pour La Danse)
Daniel Avery - Lone Swordsman (Mute)
James Devane - Orange and Tan (Umeboshi)
Transcendence Orchestra - The Hills Are Alive (Old Technology)
COH meets Abul Mogard - Traverse Within (Houndstooth)
Low - Fly (Subpop)
Bowery Electric - Postscript (Kranky)
Nosaj Thing feat. Julianna Barwick - Blue Hour (Lucky Me)
Synkro - Last Breath (R&S Records)
Neglect - In The Bondage of Your Identity (Unsilent Desert Press)
Mystic AM - This Spoke Zarathustra (Astral Industries)
Voice Actor - Hurt With Me (STROOM)
Nils Frahm - Right Right Right (Leiter)
Ben Bondy - Spring (Self)
All India Radio - Ancient Invocations (Mystic & Quantum)
Concave Reflection -Daylight Portrait (Theory Therapy)
Hania Rani - Leaving (Live from Studio S2) (Gondwana)
µ-Ziq - Turquoise Hyperfizz (Planet Mu)
Wardown - Stimulus Progression Pattern (Blu Mar Ten)
Bot1500 - Chartreuse 8 (Lith Dolina)
Royksopp - Press <> (Self)
Rose Riebl - Near Dark (Headphone Commute)
EXM - Autumn is Coming (Dyadik)

~

Buy Music Club list >>

Our annual showcase of individual tracks from ASIP's 2022 label releases and a special continuous DJ mix of this year's music from todos.

After providing 2021's compilation mix, our esteemed journeyman, todos takes the reigns again to interpret this year's label releases. Containing at least one track from each of our releases along with many snippets and samples from others, todos weaves a tapestry that somehow manages to traverse ASIP's potentially most varied year to date.

From the intricate world-building sounds of Gadi Sassoon, Deepchild and Strïe; to the dramatic synthesizers born from Scanner and OKRAA; the granulated textures of Viul & Benoît Pioulard; the delicate keys of ASC; and Illuvia's illustrative DnB footprint; this year's mix seemed impossible to weave together, but todos tied it together in style.

Available as Name Your Price on Bandcamp

2022 | Label Compilation (mixed by todos) by A Strangely Isolated Place Full todos Continuous Mix tracklist:

Gadi Sassoon - ‘Sintetico’ edit /Illuvia - ‘Blue Rays’ edit
Deepchild - ‘The Singing Feat. Holly+ / ASC - ‘Third Act’ edit / Scanner -’Nuorp’ edit
ASC - ‘Fifth Act’
Illuvia - ‘Eagle Vision’ /Gadi Sassoon - ‘Bionico’ edit
Deepchild - ‘Dreams Within Dreams’
Gadi Sassoon - ‘Sintetico’
Strië - Aeroplane Flying’ / Strië - ‘Vogel Wolke’ edit / Deepchild - ‘Now It Is Me Being Breathed The Veil Breaks’ edit
Illuvia - Naissance’ / Scanner - ’The Earthbound Fox’ edit
OKRAA - ‘Heartless’
Viul & Benoît Pioulard - ‘Performance’
ASC - ‘Third Act’ / Gadi Sassoon - ‘Collision Suite’ edit
Gadi Sassoon - ‘Life On A Tidally Locked Planet’ / Illuvia - ‘Sea Of Vapour’ edit
Illuvia - ‘Chiara Springs’

~

Listen to all of these releases and find out more on our releases page.

todos on Soundcloud

Mixed version MP3

I fell in love with the very first *Earth House Hold* album (*When Love Lived*). And since picking it up with Brock and pestering him for a demo one day, I never expected an *Earth House Hold* album on ASIP all those years ago. But given our mutual love for house music, it made complete sense.

Today, we get to hear the full spectrum of influences on this alias from Brock. From the defined beats and chopped samples in the first album to the expansive vocals in the second, acid basslines in the third, and deconstructed atmospheres in this, the last Earth House Hold album.

This was never meant to be an all-encompassing collection of all Earth House Hold music (it isn’t). Listening to this project across the (now) four albums, is a lesson in deconstruction, and conceptually, shows how the album styles have evolved over the years. It’s remained one of the most exciting aspects of the alias for me, as Brock continually found new angles to explore and new influences to unearth. Each EHH album is unique and represents a very specific moment in time, a memory, a shed of sunrise through a cracked basement window to him, and to me. It’s easy to say a project is personal, but given our mutual love for house music and how this project has grown over the years, this one hits differently.

The album title summarises this release perfectly. Earth House Hold got off to a slow start, and many people didn’t enjoy this new approach from Brock. But today, ten years later, this is the perfect non-question to the many people who obsess over this alias. It’s not even worth asking…

Available today to preorder on 4XCD sleeve (to fit right into your vinyl shelves) or an extensive digital album containing all 4 albums mastered/remastered by Brock, along with artwork from the OG Peter Skwiot Smith.

Listen/buy

How Deep Is Your Devotion by Earth House Hold

Curated by Alexis Le-Tan and featuring a host of brilliant, inspirational labels, it’s an honor to be invited to be a part of the growing Oddity Radio collective.

The ASIP label profile is now live on the site, including a playlist of tracks from the label so far, which can be added to your listening rotation on the station, a short interview, and an Inspirations mix by yours truly (cue biggest picture of me on the internet).

Oddity asks each label contributor to submit an inspirations mix, and it felt like an extremely daunting task at first. Capturing my inspirations in one mix would send me in circles, and I needed a more specific angle (you know I love a constraint when it comes to mixes!) So instead of looking far and wide or deep into my record collection, I looked to the many artists who have defined ASIP over the years and made it what it is today. They appear in the mix under different guises, collaborations, or with earlier releases before they were on ASIP.

Somehow, it manages to capture the sound of the label and is probably one of my favorite mixes I’ve put together in a while… maybe because of the nostalgia - it reminded me of times many years ago, discovering some of these artists for the first time a long time ago.

Head over to Oddity Radio to listen to the playlist and the Inspirations mix.

Big thanks to Oddity Radio for spreading the love and curating such a great platform, please check it out and the many other great labels featured!

ODDITY RADIO · ASIP - Oddity Influence Mix Inspiration Mix tracklist:

Scanner - Anna Livia Plurabelle
Silence - Santur
Charlie May - Custard
Plastik - Herna 6
Scanner - Scanner 2.4
36 - Geiga
Arovane - scapen te
ASC - Echo Location
bvdub - I Would Have Waited
Leandro Fresco - El Valle
Herrmann & Kleine - Leaving You Behind
Chymera - Umbrella (Beatless mix)
Influx - Dreamscape (ambient mix)
Joel Mull - Alden Plateau
Strië - Capsule
Yagya - Rigning einn
Wanderwelle - The Haunted Shores of Hiva Oa
The Sight Below - Further Away (Benoît Pioulard remix)
Olga Wojciechowska - Primal Fear
Tempelhof & Gigi Masin - Tuvalu
Stareaway - The Loss Of Breath
Johaness Schmölling - Icewalk (Ulrich Schnauss remix)

Out today, we are excited to present a new album by Deepchild on A Strangely Isolated Place.

Australian producer Rick Bull aka Deepchild has a rich catalog of varying techno-leaning productions, appearing on labels such as Affin and Trapez and local Australian outlets since the early 00’s. His most recent, Fathersong came on the ineffable Mille Plateaux; a shimmering post-dub vista, rich in granular textures, inspired by the modern contemporaries.

Mycological Patterns arrives as a post-script to Fathersong, with a more playful approach and an homage to Rick’s love of mushrooms. Utilizing midi clips to generate chordal movement and reharmonize material he has long been obsessed with (such as old vocal recordings, vinyl rips and Peter Gabriel acapellas), Mycological Patterns plays out like a mixtape on purpose; a sketchbook of styles documenting the shifting abstract microcosms the album is titled after.

It’s an album that reminds Rick about the importance of play, especially after grieving the recent loss of his father. Featuring two tracks utilizing Holly Herndon’s AI project ‘Holly+’, the idea of experimentation and letting go spawned perfect anomalies. It was the ‘dithering artifacts, glitches and moments where the AI code revealed its underlying humanity’ that completed the concept Rick originally set out to create.

Mastered by Jay Hodgson at Jedi Mastering and featuring artwork photography by Christopher Landin, Mycological Patterns will be available as a digital download and on all streaming platforms from November 4th 2022.

Buy on Bandcamp

Streaming links

Mycological Patterns by Deepchild

Many people may know you for your techno-inclined productions. What inspired this recent move into more textural/ambient pieces?

Deepchild: I’ve always loved techno, both for its titular ‘functionality’ and the way my experience as a DJ has one of compositing works in context, written by friends and colleagues as a kind of ‘micro-history’, telling a story of place and relationships in particular communal space.

Bridges between Berlin, Detroit, London. For so long, this ‘ecology of place’ felt like a driving force as a ‘techno guy’, but feels increasingly atomised to me in a digital universe. I left London 3 years ago, and Berlin in 2016 after long stints based there. Somehow, this very physical departure from ‘club ground zero’ to the coastline of Sydney, Australia, made the experience of writing for these spaces feel a little dissociative. Not always, but rather more in recent years.

Moreover though, relocating to Australia in 2019 due to my father’s ill health set in train a kind of musical liberation which has certainly changed the flavor of music I’ve been writing of late. After dad died, I decided that it was time to ‘try easier’ and stop ‘grinding’ (this notice of ‘grinding’ and ‘hustling’ is so abhorrent to me) and allow myself to rediscover music beyond the ‘techno industrial complex’. To sift through the ashes of it all. My wife and I joke that dad gave a ‘transmission’ to me to stop and allow some things to be born again with courage - and leaning into fresh musical climes was part of this for me. I adore so much from the ambient and contemporary classical cannon, but it’s taken a while to explore this as a composer.

Steve Reich, Philip Glass, Rod Modell, Arooj Aftab, Aphex Twin, Brian Eno, Vladislav Delay, Sleeparchive, Lawrence English, William Basinski, bvdub and The Caretaker all shepherded me through this recent moment…

What’s remained pivotal and surprising to me has been email correspondence from people like Lawrence English, William Basinski and Brock (as well as old friend Joachim Speith from Affin), all of whom have been so deeply encouraging. This, I must say, is a radical departure from much of my experience of techno-politic, which has sometimes felt a little cannibalistic. Labels like ASIP are wonderful examples of an alternative ‘conversation’ to me, and I’m just so touched to be involved. There’s no mention of Beatport charts, for a start, which is refreshing.

Fathersong by Deepchild

Your recent album on Mille Plateaux, how did it come about and how would you describe this album?

Fathersong was written as a requiem for my father, who died from Dementia related causes 2 years ago. It’s a product both of magic and accident, as well as some degree of intentionality (certainly in spirit). When I listen to it, I think of my father - and ultimately, this was all I wanted to achieve.

After dad died, it felt important that I use the opportunity to ‘stop’ for a while - to take stock of my life, to mark his legacy, to allow for the fullness of grief to reveal its blessing.
I suppose this notion is pretty orthodox in a typical religious sense - an intentional year of mourning, of grieving, of marking a departure. For me, this initially took the form of journaling, of framing up some of his paintings, and of exploring a kind of gentle, musical ‘free-association’, underpinned by lots and lots of therapy.

Lessons from therapy seemed to suggest that generally having less to prove or account for were the ones worth embracing, and the album process was very much a literal exploration of this.

It may sound ridiculous, but much of the album was composed from exploring generative software tools between extended sessions playing the XBox first-person shooter game “Doom”, or overlooking the ocean. Dad’s illness was informed by a life of overwork and exhaustion, so I’ve felt like honoring him involved challenging these notions with my own strategies.

Essentially, I became interested in the value both of anger, self-soothing and roleplay (and playing Doom is a fascinating exploration into this) which are often precluded by our culture’s resistance to acknowledging mortality, and supplanting this with distraction and virtue-signaling. Xbox and ambient music are two valuable tools in my arsenal. As a music producer and sound designer, I’m fortunate that my creative impulse is generally always ‘there’, but sometimes unsure of what form to take. Framed in the light of grief, I decided to experiment with the idea of ‘surrendering the burden of authorship’ in honor of my dad, and explore a little more play in my process again.

Fathersong was composed from composite layers of through-written parts and ideas. A hard-drive laden with renders, spliced and mixed in a way which made sense whilst in the moment- but, crucially, written in a manner which enabled me to distance myself from the ‘burden’ of feeling like I’d written any of it. There are plenty of my original patches in there (if you purchase the Arturia Pigments software you’ll likely hear a few in there!), but I love this idea of a shared cultural commons of ideas, so I’ve explored a heavy quotient of generative tools written by others.

Grief, magic, accident, cracked software - no one has a monopoly on these.

Conceptually, Fathersong is framed as a reflection on the mystery of the moments (seconds, days, years?) between physical death and transfiguration (literal or metaphorical) to whatever happens next after death.

Mille Plateaux have released some iconic albums over the years, what’s your fave from the catalog?

This is almost impossible to pick, but every single Vladislav Delay and Luomo release was profoundly impactful to me. Let’s go with Anima, for now - as a musical artifact and conceptual album (a single track!) it remains divine. Sasu’s work somehow fuses naturalistic and synthetic worlds like few artists Ive heard. He’s a singular voice for Mille Plateaux.

Anima [2022 Remaster] by Vladislav Delay

What inspired you to create Mycological Patterns? How would you describe the evolution of this compared to Fathersong?

Mycological Patterns reads as an extension, and perhaps a post-script to Fathersong. It’s the most ‘playful’ work I’ve created, and a quiet homage to my love of mushrooms. It’s a reflection on the literal decay and rebirth which fungi facilitate. It’s an album which reminds me about play and its importance (I keep hearing John Cage’s beautiful laugh intermingled with the fading voice of my father here).

The album itself was a deeper dive into processes explored in Fathersong. One ‘oblique strategy’ I really wanted to explore here, was to make use of as many freely available commercial midi clips (mostly from RnB and HipHop websites) to generate chordal movement, as well as to reharmonize material I have long been obsessed by (1960s choral recordings, old vinyl rips, Peter Gabriel acapellas) whilst exploring (rather gratuitously) some polyrhythmic tropes from Steve Reich. I’m just so fascinated by the idea of allowing music to ‘write itself’ through curation and curiosity, rather than pre-decided narrative; and I learn as much these days from a Drake record as I do from a Steve Reich experiment. Throw it all against the wall and see what sticks.

The older I become the more I realise how incredibly indebted to the work of individuals like these I am - and, along with my father, I feel like I’m living in a moment where revisiting the spirit of these outliers feels so important to me. It feels like a ripe moment to reflect on being sewn into a bigger story where I don’t need to bear any more ‘authorship’ than necessary. The world probably needs more silence than anything else, and I think it’s ‘silence’ I’m always trying to explore with music.

Mycological Patterns by Deepchild

You use Holly Herndon’s AI project Holly+ in two tracks on this album, can you elaborate on this brilliant project?

Holly (and her partner Mat Dryhurst) are inspiring figures to me exploring the interface AI, ethics and arts discourse.

Holly has moved from being a ‘berlin club kid’ to exploring terrain on the more vibrant conceptual fringes of the musical / choral form, and remains crucially invested in questions relating to authorship and ethics. I love her work with the human voice, and love even more her lack of inherent cynicism when it comes to emergent technology; she’s one of those humans at the coalface of ‘reclaiming the future’ with intelligence and joy, so I’ve followed her work (and podcast!) for some time now.

Holly+ is a piece of wonderful ‘audio deepfake’ software from Holly; a browser-based algorithmic rendering of her voice, where users can upload and reprocess their own audio. Like so much emergent AI technology (I’m thinking specifically of apps like Dal-E Mini here), the brilliance of software like Holly+ is largely in its anomaly - in the dithering artifacts, glitches and moments where the code reveals the ‘fingerprints’ of its underlying humanity. It’s so compelling to me, and a generous invitation to artistic collaboration and conversation from Holly.

Can you describe how you went about creating those two tracks specifically for anybody else looking to do something with the AI tool?

My process with most of the material I compose at the moment is pretty straightforward. I’ll have a big ‘toolkit’ of disparate paths to explore, and literally batch-render elements through / within set parameters.

In the case of Holly+, I actually uploaded and re-synthesised some acapella material from other singers (in some cases who’s voices were already autotuned) to create a hybrid ‘supra-voice’, along with some drum and pad renders - an entire field of ideas, most of which didn’t feature in finished works. In this case, Holly+ has featured as much as a textural device as a melodic one, and it’s the ‘dithering’ artifacts Ive fallen heavily for here. Holly+ has an mp3 larynx, it would seem. I love her spectral overtones and the idea of this entity creating new, strange, composite entities through metabolizing existing work. I suppose, in a way, Holly+ is mycological.

You created a mixed version of this initially, what is the significance or inspiration of this approach?

Writing in ‘mixed format’ continues to be central to my process these days. Primarily because most of the work I write is contextual and experiential rather than broadcast based. I’ve come from a club background where the magic of the form, for me, has been related to the positioning of how an original track might be placed in context of others a dj selects, so I still love writing in this way

Music exists in the context of tradition and experience, and whilst Western delivery has mandated the notion of a ‘single’, it’s not a particularly compelling one to me - I’m far more enamored by the idea of an audio ‘ecosystem’.

Similarly, and in part as a rally against the tyranny of short-form algorithmic convention, I’m interested in writing works that explore a degree of more extended immersion. In this sense, I’m still enamored by artists like Burial whose single ‘tracks’ are not only popular and accessible but also might veer across tempos, form, and tonality in a single edit; they require patience and enough relaxed attention to really enjoy. I’m pretty committed to ‘slowing down’ these days, and writing in a mixed format is a way to suggest this experience.

What can we expect from Deepchild in the future?

There are certainly more forays into generative and ambient work on the cards, and I’d love to begin to translate these into more live performance opportunities. I’m pretty active on the Wavepaths forums, too, and composing music for psychedelic therapy and/or medical interventions feels like a vital space to explore. Similarly, I’ve enjoyed listening to lullabies of late, and feel like there’s far more scope for composing for ‘children’ than conventional wisdom suggests. I work a fair bit with young people in both academic and incarceration forums, and I’d quite like to write a children’s album at some stage. It’s a long way from playing Berghain in a sense, but it’s also not too long an arc to draw. We all need to rediscover both rest and play.

At the moment I’m in the middle of a uni teaching term, and I’ve actually been trying to experiment with writing very linear, eroded, loopy techno again during lunch hour and before class - a counterpoint to textural ambient work; all very time-constrained, too.
Basically, whatever disrupts a process that feels too established (eg turning up to the studio every day and making the same thing) feels creatively energising to me.

I’m releasing a full-length album under a secret alias next month which is an exercise in composing under a totally fabricated ‘entity’, and trying to be disciplined enough to maintain anonymity. I feel like the act of publishing a work changes the way we hear the work, and the act of actively disrupting our attachment to outcome or identity can help us make more compelling, ‘authentic’ music. It sounds paradoxical, but it’s true for me.

~

Deepchild | Soundcloud | Bandcamp | Facebook

Currently, about 100 jazz kissa and jazz bars are open in Tokyo. The number of such rooms in the region began to increase in the early 1960s and peaked in the late 1970s. At the peak, an estimated 200 jazz kissas were operating in Tokyo, but only about 20 remaining rooms have been in business since the 1960s and 1970s. - In Sheeps Clothing

I’ve been obsessed with the documentation of Jazz Kissa lately, thanks to the photography collection by Katsumasa Kusunose. Since my last trip to Japan documenting some of my favorite record stores, I stumbled across this series and never really got to fully embrace its culture whilst traveling in Tokyo (instead opting for record stores) but thanks to the amazing documentation in this series, I’ll definitely be on the hunt for some Jazz Kissa next. time I visit Tokyo. However, after reading these books, it turned out I did visit a couple, without really knowing it, such as Dug, in Shinjuku, pictured below.

If you’re looking to pick up some copies of the photo books (no text so don’t worry about translation!), try the Jazz City store, and a few have also landed stateside at In Sheeps Clothing, who have also hosted a great interview with the series founder.

Charmant

Dug

Oslated is a label collective from South Korea, often found presenting lovely deep meditative techno from the likes of Doltz, Saphileaum, Launaea, Javier Marimon, and many more personal faves. They also host a mix series, which has previously featured some great contributions by many faces readers of ASIP will recognize, so it was a pleasure to be asked to contribute a mix.

I don’t have too much to say on this one, but it moves through some very specific chapters with a common theme throughout (see if you can spot it)… as do many of my mixes! And of course, it’s sprinkled with a few unreleased ASIP label bits.

Listen below or on the Oslated Soundcloud.

Download.

Oslated · Oslated Special Mix 026 - ASIP Tracklist:

Stone - Evil Day [2022 / 3 X L]
Unreleased [Forthcoming on ASIP]
HIA & Biosphere - Snapshot Survey [1996 / Beyond]
Ameeva - Die Wellen Side B [2022 / 9128.live]
Deepchord - Immersion II [2018 / Astral Industries]
Isorinne - Blurred Perceptions of Substance [2016 / Field Records]
o.utlier - Less Popular Than Cats Side B [2022 / Verdant Recordings] + Steve Roach - What Remains [2022 / Timeroom Editions]
Unreleased [Forthcoming on ASIP]
James Murray - Living Ghosts [2017 / Home Normal]
Unreleased [Forthcoming on ASIP]
wndfrm - A [2018 / Sounds et al]
Araceae - Before The Sun [2022 / Faint]
Simone Bauer - Nereide [2019 / Sure Thing]
Aes Dana - Period 10 Evocatory [2021 / Ultimae Records]
Aucuba Replica - Of Grasping [2020 / संस्कार Rites]
Donato Dozzy - Moonlight [2011 / Mule Electronic]
Toki Fuko - What Will Enlightenment Give Me [2021 / Lowless]
Priori - Afterburn [2019 / NAFF]
Mikkel Rev - Revelation In A Chill Out Room [2022 / Translusid] + A Conversation with Rickie Lee Jones [1989 / Geffen Records]
DJ Healer - Hopes and Fears [2018 / All Possible Worlds] + Being - Being, Then [2021 / Firecracker Recordings]
Unreleased [Forthcoming on ASIP]
Shingles - Another Day In Paradise
William Basinski - Fin [2020 / Temporary Residence Limited]
Dedekind Cut - Tahoe [2018 / Kranky]

We’re very excited to announce our next release, by a brilliant artist who may be new to our ambient-leaning circles…

Colombian-born, Juan Carlos Torres Alonso aka OKRAA debuts here on A Strangely Isolated Place with a set of four extended, beguiling tracks that harness the power of a slowly developing, cathartic process of experimentation, textures and noise.

With Garage and Electro releases amongst labels such as Lobster Theremin and Shadow Puppet, Juan’s OKRAA alias has laid ambition to cover many unrestricted styles moving forward, and none could be as fluid in description as ‘1994’.

What began as an experiment in minimalism, 1994’s approach was dictated by the methods used within the creation of its very first track, ‘Ola De Luz’. After developing 15 modules and patterns that were originally meant to be performed live, Juan continued to use this bank of sounds as an expression of his many emotions over the years. Each track on 1994 is inspired by different personal life events, but built upon and evolved from this similar palette of sounds, patches and field recordings.

The result is a record that feels extremely focused, yet alive and growing with each listen, reflecting the many years of changing emotions. The sounds of underwater field recordings cascade into waterfalls of noise, and uniform waves of light, both stimulating and transformative, birth new levels of movement and energy as each track progresses. It’s a combination of majestic force and respect for the detailed listening experience, minimalism birthing maximalism, in many ways.

View full details and links to buy on the release page.

You know we love to make some fun t-shirts every now and then.

This one stemmed from an exploration around the original ASIP logo, where it ended up looking like an old-skool Blog RSS feed icon.

If you have a sharp eye, you will see the ‘a, s, i, p’ in this smaller version on the front of the tee, but I thought it would be fun to further deconstruct it on the back too, and then top it off with some actual code from our RSS feed… slightly modified!

The tee is available in 3 colors (Sand, White and Navy) via Everpress, which means they gather all the pre-orders and then, create the tee and ship it directly to you. It’s slightly more expensive than usual as I have selected the best quality blank they have, and then we have two sides of printing. You have just 30-days to get your order in!

Order via Everpress

Check out the rest of our past designs on the Everpress store and grab some of the very last tees we have left in stock over on our merch page.

Join us this weekend, September 17/18th on 9128.live, as we repeat an immersive listening experience from Barcelona’s recent Mostra Festival and the ambient/experimental-focused Hangar stage.

Beginning on Saturday morning and running for 13hrs, we will repeat some of the many sets that debuted at Mostra this past April, including live and DJ sets from:

Balmat
D.Humo
LF58
LOG
Nono
Timnah Sommerfeldt
Vicki Siolos
Ylia

“Mostra is more than a festival: it seeks to offer an alternative experience that brings us closer to the city. We want those who call Barcelona their home to make this position their own and to feel it belongs to them. That's why we're working to create a network in the scene among collectives, labels, artists, record shops, and other agents in the city.

Because we believe that the new normal must be to cooperate and create community. Barcelona needs a festival like Mostra: we are here to join forces and become a benchmark for a new type of festival with its own identity, committed to what’s local, what’s inclusive, and what’s sustainable.” More on the festival

For set times and the full schedule, visit 9128.live

We just hit a massive milestone with our Energostatic charity mix and compilation, hitting just shy of $5k ($4733.52 to be exact, but rounded the donation up to $5k). I’m humbled by the support this has received, given it is a digital compilation, to hit this number is magic. I am glad we could do something small but meaningful to help with the situation in Ukraine, and specifically, the affected children of Ukraine.

The donation to Save The Children and its specific Ukraine efforts was made today.

Once again, a big thank you to everyone who has purchased the album and enjoyed it along the way. And again, to Energostatic label founder Marc Atmost for helping make this happen.

Let’s keep going!

Portals: Energostatic (For Ukraine) by A Strangely Isolated Place

Not many producers can create new aliases after 10+ years and still manage to drop something completely unexpected and refreshing.

Peter Rogers’ Wardown project did just that in 2020, debuted on the respected Blu Mar Ten label, the self-titled album found admirers from a cross-section of music styles; spanning Jungle, Drum’n Bass and a strong atmospheric element. Wardown / Wardown was consequently one of my most played and admired albums of the year (finding a sweet spot in the Reflection on 2020 and Atmoteka mixes). I found it near impossible to stop the album once it started, as it flowed easily between stories, styles, and sentimental reflection.

Peter is now set to drop his second album under the Wardown alias, simply titled Wardown II, but those who absorbed the nostalgia from his first, will undoubtedly be confident that despite its modest title, the conceptual approach is as strong as ever, and the music will once again be left to do the storytelling.

Continuing with this brilliant reflective approach from the first album, Wardown II can be considered another vivid capture of one of Peter’s undoubtedly many memories he has begun to create with this alias. And just like his productions, his isolatedmix is a natural extension of this approach. As is the case with many producers in this genre, DJ’ing is integral to the culture, so it’s of no surprise for us to be treated to a little bit of a masterclass with this latest installment…

~

ASIP: Many people may know you as one half of the d&b duo Technimatic (and even making an appearance as Technicolour on our Energostatic comp which we were proud to host a few months back). Can you tell us a bit about how you got into producing music and your background?

Pete: I started making electronic music in about 2002. I’d been into jungle and drum & bass as a teenager growing up in Luton, and played in a jazz funk band for many years too. But 2002 - after I’d finished studying graphic design at university and moved to London - was the first time I had the opportunity to buy a computer of my own and actually start trying to create stuff with it.

You debuted the Wardown project on the Blu Mar Ten label in 2020. What inspired this new alias after years under others?

I started Wardown because I had quite specific things I really needed to express and put into music that I didn’t have to the opportunity to elsewhere. Technimatic is my main musical focus of attention and I love it, but sometimes there are things unique to you that you need to be able to say, that might not fit within the canon of music you're making as a duo. Things much more personal. I’ve known Chris Blu Mar Ten for many years and have huge respect for the vision and A&R of his label, so it felt like the perfect fit. Thankfully he was really enthusiastic about putting it out.

Wardown by WardownVignettes of people talking about your hometown of Luton open your first Wardown album, (which was a surprise for me to hear, as I grew up in a nearby town). How would you describe your formative years there? How did it impact your music?

Luton has a very chequered past. It’s regularly featured in the kinds of ‘shittest towns in the UK’ lists that appear online. It’s been home to the English Defence League, Islamic terror cells, and is generally thought of as a fairly ugly, non-descript town on the outskirts of London that has an awful airport. But as a kid, I had a really good upbringing there. And crucially, being near London and the M25 motorway, back in the 90s it had a very strong connection with rave, hardcore, and jungle music. Legendary hardcore DJ Swan-E was from Luton, Blame was from just down the road in Dunstable, there were pirate radio stations broadcasting the music 24/7 in the area, and most importantly for me, there was an amazing record shop called Soul Sense where as a teenager I spent a lot of my time, learning and being inspired by 90s underground music.

I assume you made several trips to London back in the day like most music lovers living in the Shires, for the big nights and DJs in the capital. Who, or what was your mecca back in the day? And which record stores were you gracing?

Absolutely. Once I was allowed to go into Luton town centre on my own without my parents, it wasn’t long before me and my friends were getting on the train and heading into London to buy records. This was the mid-90s and obviously long before smartphones and the internet, so on several occasions we went with the intention of going to Blackmarket Records in Soho, but ended up coming back empty-handed as we simply couldn’t find it! But eventually, we worked it out and it was always a huge buzz. Section 5 on Kings Road in Chelsea was another favourite.

In 2000 I moved to London and that’s when my real clubbing experiences began. Swerve at The Velvet Rooms on a Wednesday, Movement at Bar Rumba on a Thursday, but the real Mecca for me and my friends was The End. It’s still my favourite club that’s existed and so much of my dance music education happened there. We went to most d&b nights but the key event for us was LTJ Bukem’s Progression Sessions, which ran monthly there throughout most of the noughties. I think I went to every single event from about 2002 - 2007.

The Wardown debut was one of my favorites from 2020. A wide spectrum of sounds, running from lush ambient pieces to extremely energetic tracks. The narrative aspect pulled me in, giving off a nostalgic mixtape type of vibe. It felt like it was a pivotal album for you to get out into the world given how personal the elements contained within were - almost a ‘letting go’ kind of feel?

Absolutely. During the start of 2019 I returned to Luton quite a bit. My granddad, who was the last remaining family member living there, was ill. So I went to visit him at his home, and then the hospital until he eventually died. He was 98 so it was no huge shock, but when I was back there, these ideas started forming in my mind. Luton was my home town but the last remaining Rogers had now left and there was nothing left linking me to it. But despite losing those roots and living away from the town for over 20 years, it still had this strange power over me and I felt a really deep connection. Obviously, some of that was down to simple nostalgia for my childhood. But there was something else tied up in it. Something a bit more complex. And making that first album was an attempt to try and express those feelings.

That first track on that album (Culverhouse) has to be one of the most euphoric moments to kick off an album in recent memory of mine. I was definitely keeping it locked for the remainder after that beginning! What was the intention with the sequencing of the album?

I honestly can’t remember much about the sequencing of the first album. It wasn’t like I made 30 or 40 tracks and then whittled them down and picked my favourites. It’s a 10 track album and I think I made 11 tracks, and decided to ditch one of them. I wanted it to be a mix of jungle and ambient soundscapes as I think despite the two genres being in some ways at the opposite ends of the spectrum, they also work beautifully together. When I was initially buying records in the 90s, I used to be obsessed with the intros and breakdowns of certain jungle records. There was a run of releases on DeeJay Recordings from DJ Crystl and Future Sound Of Hardcore that had these sprawling instrumental openings that I used to play over and over again. And obviously LTJ Bukem and a lot of those early releases on Good Looking Records are on the same page. That aesthetic felt like a really good way to try and manifest the ideas I was having.

According to your first album notes, Wardown is an attempt to capture what the Germans call 'sehnsucht', an "inconsolable longing in the heart for we know not what". Where did this attachment come from?

That quote is from the author CS Lewis, attempting to describe the sense of longing he felt for much of his life. And I’ve been kind of obsessed with that feeling for quite a long time too. ‘Sehnsucht’ is a German term that gets somewhere close and there are others in various languages. But it’s a very hard thing to accurately pin down and describe. I sometimes feel as though to get a sense of it I have to look out of the corner of my eye, as when I try and focus directly on it, it disappears. It’s often a very fleeting feeling brought on by certain scenes in the world, weather, photographs, old films. A kind of bittersweet, melancholy feeling about the past and things that have been lost. But quite often it’s a longing for things I’ve never personally experienced or may never have even happened.

“at its simplest, Wardown II is a vision of the future from the past.”

Wardown II by WardownThe new album is a subtle shift in concept from the original and perhaps a continuation chronologically. The nostalgia is still there, but I’m getting a look at the future instead of back like the first album. Maybe the artwork is subliminally pointing me in that direction too. Is this Luton today or in the near future?!

With the first Wardown album I was trying to evoke those feelings of loss and yearning I felt for my home town and earlier life. And that got me thinking about nostalgia in a wider sense and why it’s so alluring, particularly as you get a bit older – but also why it’s so pervasive everywhere you look these days. TV, film, music, advertising, even politics draws on the past, utilises it, and sometimes even weaponises it. It’s an incredibly powerful thing, and for me it can create a strange kind of ‘uncanny valley’ feeling, as though today’s popular culture has become unmoored from history and its once-definitive eras and epochs. So much of what we consume today is full of anachronism, a kind of rehash of what’s come before. I found myself wondering: what happened to the future I imagined when I was a kid?

I think nostalgia is incredibly alluring right now because the future no longer looks bright. We live now with the looming threat of climate change and a catastrophic loss of biodiversity across the world, not to mention war, economic instability and the rise of populism and nationalism. It all feels just too much sometimes, and nostalgia is always there, showing us how better things were in the past – even if the safe, optimistic world it portrays didn’t actually exist in the first place. In that way, nostalgia is dangerous because it stops us looking forward and taking responsibility for the future, with all its challenges – something we all need to do.

Of course, all this is strongly culturally inflected, and when I say ‘we’, I’m coming from a white, Western and affluent perspective; the relationship between nostalgia and progress is likely to be very different for someone born in the global south. But as someone who came of age in Britain in the 90s, the future means a different thing today than it did when I was a child. Back then it felt like there was still a kind of general, unwavering optimism about the coming years, a faith in progress and a belief that society was on the path to an increasingly better place. The fall of the Berlin Wall, the end of communism in the USSR and other Eastern European countries, New Labour, the impending Millennium, which felt like the epitome of all things futuristic – all these things pointed to the fact the future was something to look forward to.

So at its simplest, Wardown II is a vision of the future from the past. I decided to give it quite a strong 1950s / 60s flavour, as to me it seems like that is when the idea of ‘the future’ was at it’s most potent. After the devastation of two world wars came the rise of modernism and its belief that, rather than just being an aesthetic, it could literally improve people’s lives through the creation of a new kind of architecture and design. There were the American and Russian plans to send people into space. Film and TV that painted the future as a shiny kind of utopia, with flying cars, and machines that allowed humans to forget the horrific memories of war and enjoy a life of comfort and leisure.

Samples are obviously a big part of your work (and your isolatedmix). It sounds like your first album was more personal, collected soundbites and samples. And this new album seems a little more abstract in its samples and direction. Can you describe your process for the sample-heavy tracks such as Instant Money? Do you build a track around a sample, go looking for something specific, or have a bank of samples ready to go?

I’ve always been a fan of collage. Art that brings lots of different, often disparate sources together to create something fresh. As a kid I used to cut up catalogues and booklets that came through the front door and make these mad, stuck together images with them. And at university, I was fascinated by the work of artists like Robert Rauschenberg. So when it came to making music, growing up through an era of sample-heavy jungle and hip-hop (‘Entroducing’ by DJ Shadow is one of the most important albums in my life), I adopted a similar technique.

However, with Wardown the approach is slightly different to when I’m working on other things. I initially try and establish quite a strong conceptual starting point before I’ve made any music. I do lots of reading, watch things, and generally think about the world I’m trying to create before anything is made. Obviously things change and develop through the process of actually creating the music, but by starting out like that, I try and attune myself to what I’m looking for, samples wise. It’s like I put little antennas up and then go about my usual life of reading, watching films and documentaries, and listening to music. But because my antennas are up and scanning for quite specific things I’m able to isolate sounds that can potentially work a lot better; sounds that would probably pass me by if I had just been taking it all in in a more general sense. And once I’ve had a strong idea for something I’ll then dive a little deeper, in terms of second-hand records, tapes, online archives and the like.

Wardown II by WardownI’m also a little gutted that Instant Money didn’t make it onto the mix in full here (i hear a quick sample only!) It’s one of my faves and extremely addictive (reminds me a bit of Roni Size’s Dirty Beats in how the vocal burrows deep inside your brain for hours after listening if I dare compare). What was your intention/concept for the mix overall?

The idea for the mix was essentially an extension of what I’ve done with the two albums. A collection of jungle and electronic music combined with longer ambient passages. There are a few personal favourites in there, as well as some lesser-known stuff I thought worked well. I’ve also taken apart elements of some of the music from Wardown II and used that throughout. More collage!

The drum’n bass / jungle mixtape is of course an iconic piece of music culture and by the sounds of it, you’ve perfected your skills at putting one together. Do you consider yourself a DJ? Do you enjoy this aspect of your music?

Well I’ve just come off the back of playing a summer of festival shows as Technimatic, so in that regard, definitely. I do think these days however, there is quite a big difference between being a DJ who plays live shows, and someone who puts mixes together online. Years ago you would just press record and essentially recreate what you do in a live setting. But because of the changes in technology and what you’re now able to do with sequencers, recorded mixes feel like they’ve become a separate thing in their own regard. They definitely are to me, anyway. I love putting together online mixes that pull apart tracks, alter tempos, have multiple elements working at the same time to create something really unique. Maybe a really talented DJ could do it live, but I definitely can’t!

What have been some of your fave mixes over the years that we could go check out? A favorite of all time?

I can’t really discuss jungle and Wardown without mentioning LTJ Bukem’s ‘Essential Mix’ for Radio 1 in 1995. It really was such a defining mix, one that created a kind of blueprint for a whole new musical sub-genre. All the classics are there, and it still sounds fresh and exciting to me. In terms of more recent times, Visible Cloaks’ ‘Music Interiors’ from 2013 is another really important mix for me. It’s a collection of 80s ambient and experimental music from Japan, and it totally blew my mind when I first heard it. The fact there was this huge, rich, inspiring area of music I had no idea existed before listening was really extraordinary. And it just flows so well. I’m eternally thankful for VC for creating it; I’ve played it more times than I can remember.

~

astrangelyisolatedplace · isolatedmix 119 - WardownListen on Soundcloud, Mixcloud, or the ASIP Podcast.

Download

Tracklist:

Soft Robot - ‘Point Nemo’
Kerguelen - ‘Proxemics’
Sycamore Investments - ‘Cherry Bomb’
Wardown - ‘Stimulus Progression Pattern’
LTJ Bukem - ‘Rainfall’
Offthesky -‘Insofar, In So Far’
Freedive - ‘Watering A Flower On The Moon’
Photek - ‘Complex’
Ki One - ‘Life At The End Of The World’
Micronation - ’Photographs of Clouds’
Wardown - ‘The Ideal City’
Advanced Sound & Vision - ‘The Engineered Yes’
Wardown - ‘Lifespan’
Fisher Associates - ‘Scorched Earth’
Wardown - ‘Graphite and Glitter’
The Architex - ‘Altitude’
Creative Innovations Inc. - ‘Stone Tape Theory’
r beny - ‘Eistla’
Jefre Cantu-Ledesma - ‘Song Of Forgiveness Pt. 1’

~

Wardown | Bandcamp | Discogs | Twitter

Our next release comes from the esteemed pairing of Benoît Pioulard and Viul with a 2LP collaboration titled Konec.

This album stuck inside my head as soon as I was done with the first listen. It's unlike anything the pair have done before but closely rooted in each of their own aesthetics. It sits somewhere between a hazy sunset and a dystopian swansong, evoking a lot of nostalgia and plenty of memorable moments throughout the twelve tracks. One of those albums where everyone has a different favorite track!

Mastered by Rafael Anton Irisarri and featuring some stunning hand-drawn artwork by Liz Harris, the gatefold is printed on reverse board gatefold to enhance Liz’s artwork and pressed on Transparent vinyl.

Preorder is available on Monday 15th with full release on August 29th.

Listen to the album and view links to buy on the album release page.

Konec by Viul & Benoît Pioulard

I don’t make best-of Ambient lists, but I know a lot of people search for music that way and some end up here on ASIP wanting an introduction to what others may deem the ‘best’ Ambient music out there or good albums to start with. I also get a few people asking me for recommendations without much context of what they like. A broad mix full of a range of styles, artists and labels is always a good place to start. So with that in mind, we wanted to pull all of our annual Reflection mixes together in one place as a good introduction to Ambient music and its many facets.

Since 2010 (give or take), up until today, they have taken the shape of mixes, as part of our ‘Reflection on…’ series, which is an annual feature we create that combines some of (my) favorite Ambient music of the year and related styles in one long mixed journey, for you to not only explore more but to enjoy without interruptions. Within these, you’ll find plenty to listen to, crossing all genres related to Ambient music, including drone, chill out, experimental, modern classical, IDM, electronic, dub-techno, and many more surprises that bring the mix to life, plucking select tracks from albums that have bene on high rotation that year.

Jump over to the dedicated page with all the features and a Soundcloud playlist.

This is also my own personal challenge to complete the missing years (2011, 2012) and maybe some retrospective earlier years! Stay tuned!

If you’re new to Ambient music, this feature detailing my own personal journey and history with Ambient music is also a good place to start.

After two albums as Comit, James Clements brings his ASC alias to the label with a completely new and revealing style, focusing on the piano and creating space for the listener to construct their own associations with an imaginary Soundtrack.

Bridging the majority of Electronic styles over the past twenty years, from Autonomic and Jungle, to Ambient, Techno and IDM, James Clements can be held up as a master of these styles by many of us, but when it comes to boiling down his musical intricacies to focus on a single instrument, you’d be hard stretched to find something within his vast catalog until now. In 'Original Soundtrack' the piano is now the focus across eight introspective acts, with the spaces and places left open for further interpretation.

Mastered by Rafael Anton Irisarri and featuring photography by Greg Nunn, Original Soundtrack will be available as a limited Digipak CD and digital download. View the release page for more info and links to buy.

Buy on Bandcamp

Buy on Juno

Original Soundtrack by ASC

Arguably Christian Kleine’s most comprehensive and colorful release to capture his enigmatic IDM style, Touch & Fuse was originally released on CD in 2020 and is now available as a Neon Orange 2LP edition.

Touch & Fuse by Christian Kleine Featuring a new vinyl master and lacquer cut by Andreas Lupo Lubich, with revised and expanded artwork by Noah M / Keep Adding, copies are available through our Bandcamp store, our distributors Juno (UK) , One Eye Witness (EU) and additional stores soon.

View the album release page for more information, links to buy and stream.

Out today on our sub-label 9128.live, an incredible live performance by Ameeva, which we had the pleasure of hosting last year during the 9128 anniversary takeover. Now available on digital and a limited edition cassette box with UV printed foil.

Born in Girona, Spain and based in Berlin since 2019, Alex Bussé Santacruz's Ameeva project previously came to life on the Lowless music label in 2020 and the album 'Fractura del Sueño'. His live set for the 9128 Birthday event took these experimental electronics to a deeper, more personal level, weaving friends' samples and conversations into a rich tapestry of drone and field recordings, creating an immersive and enveloping 40-minute narrative.

Available on Bandcamp, and Juno.

Die Wellen by AmeevaThe 9128 label aims to document significant live performances by artists that previously performed on the 9128.live platform. With recordings initially created for a singular collective listening moment, and often as part of a festival or takeover weekend, label recordings will re-present this music for further listening across various formats that best suit each release.

"Ambient as interesting as it is interesting"The term Power Ambient is yes, another attempt at putting a badge or genre to a wide-encompassing range of music stylistically, but it’s one that I have often gravitated towards amongst many others when describing a particular style of music we are dealing with here.

When it comes to a spectrum of Ambient music styles, I’m more often than not on the ‘lean in’ side of things, than the ‘lean back’. It’s easy to throw up Brian Eno’s definition of Ambient music “…as ignorable as it is interesting” to help elaborate on what I mean, as essentially within a Power Ambient context, we are removing the desire to ignore it.

To put it another way, Power Ambient is best suited to those who want to immerse themselves in the music; the wall of sound; big movements; rumbling bass; jarring frequencies, and layers of dense drones. These are elements that envelope a space in richness; be it soft and all-encompassing like a heavy blanket, or more on the noise spectrum, making your body rattle and the hairs on your neck stand-up on end. But the common output is that you're better off taking note of what's happening, than sticking it on in the background and making a cup of tea.

It’s not a new descriptive term. A 2014 Fact magazine article captured a few artists that seemed to be prevailing in this style, alongside a mix that Chris SSG loosely described as including Power Ambient (now Chris references his style as Big Room Ambient). There is no doubt in my mind, however, that a powerful style of Ambient music has exploded in recent years (as has the creativity of Ambient music in general, really). Perhaps this style has been more embraced due to a couple of things.

In dark times comes inherent anger and expression, and it’s pretty grim out there right now. For any music culture, this can often send people into darker production spaces. Secondly, I can feel an emerging undercurrent of rebellion for what ‘Ambient’ can stand for nowadays. With a world of meditative apps and ‘Piano Chill’ playlists continuing to give Ambient music a certain reputation, (at least we have moved on from Spa music, right?), I have a feeling this stereotyping is pushing producers, and even listeners to explore new styles of Ambient music, and opening doors into more expressive forms of music that stand out against an all too frequent beige playlist.

Don't get me wrong, this doesn't mean that Power Ambient is just noise and complexity for the sake of it (it can be) but like all music, there's an art to getting the balance right. For me, Power Ambient can range from relatively quiet, intense soundscapes with a mysterious underpinning, to full-on Hecker and Merzbow wall-shaking. Call it Noise, Drone, Experimental, whatever, but wrapped in a different guise, it still hits a certain way.

I wanted to highlight just a few of my favorite artists whose broad strokes defined ‘Ambient’ music, has always made me sit up and listen. As with all Portals features, I try to focus on a mix to bring the idea to life and a jump-off/entry point for the artists included. This was harder to mix than a regular DJ set, because of the inherent energy of Power Ambient music. Used consistently in a mix, at some point you're going to get burnt out and it will start to fade into the background just like listening to white noise. In my experience, Ambient tracks with force or energy are best used interspersed in sets to make people lean in and grab their attention, or as part of other styles to continue a certain level of energy (I’ve heard this type of music as an interlude in more heavy beat-driven sets for example). It can also work great as a live show where the listener knows what they are getting into already, of course (earplugs at the ready).

As a 1hr+ mix, I, therefore, had to be considerate of the energy and flow and tried to create a few distinct chapters with peaks and troughs and an easy onramp at the beginning.

I encourage you to use the links below to jump off into each artist’s universe on Bandcamp. Despite it being a relatively well-known list of musicians when it comes to the Ambient enthusiasts, I’ve tried to give a good snapshot of artists that might push into this style within some of their works, especially if any of this music is new to you.

RIP to two influential producers included in this mix, Cesar (Mount Shrine) and one of the greatest noise/experimental artists of our time, Mika Vainio.

Listen on Soundcloud, Mixcloud, Youtube (below) or the ASIP Podcast.

astrangelyisolatedplace · Portals Episode 11: Power AmbientDownload MP3

Tracklist:

James Murray - Second Sight (Home Normal)
Ameeva - Side A (9128.live)
Faru - Mirror of Consciousness (Self released)
Sciama - Subsumed (Auxiliary)
Joachim Spieth - Akasha (Affin)
Abul Mogard - Against a White Cloud (Self released)
Leandro Fresco & Rafael Anton Irisarri - Baja dos Singlos (A Strangely Isolated Place)
Mount Shrine - Foggy Deck (Cryo Chamber)
Araceae - Gleaming Embers (Faint Music)
Markus Guentner - Cavus (A Strangely Isolated Place)
r beny - vestigial (Self released)
Caterina Barbieri - TCCTF (Important Records)
Christina Giannone - Realms II (Past Inside The Present)
Christina Vantzou - Glissando for Bodies and Machines in Space (Kranky)
Pechblende - Shackles of Time (Auxiliary)
Tim Hecker - Hatred of Music II (Kranky)
Bana Hafar - Intersecting Voids (Self released)
FRKTL - Scene I: Terra Nullius (Self released)
KMRU & Aho Ssan - Resurgence (Edit) (Subtext Recordings)
Mika Vainio - Kytkenta (Connection) (Touch)
Rafael Anton Irisarri - Arduous Clarity (Dais)
Mika Vainio - Unessa (Sleep) (Touch)

Also….

A big thanks to Ed Isar for inviting me to contribute a mix to his Rinse FM show. Ed is behind the Musique Pour La Danse label (recently reissuing Coil and rEAGENZ albums amongst others), as well as the brilliant Tursiops label.

Below is the text sent along to accompany the show and introduce the rough idea behind it.

I'm a father to two young boys, so finding time to dedicate to a vinyl mix is tough, but I found myself inspired to get behind the decks late one evening and see what would happen. My only intention was that I wanted to include a couple of upcoming releases (test presses) from the label somehow but they are almost the outliers in the set style-wise., so I had to work around them a little. It ended up quite dark, very deep, and pitch-bent, with a few good crackles for good measure and moments I am sure people will be familiar with.

Listen to the mix below or on Soundcloud, with Ed taking the reigns for the first half and some lovely vibes to set up my darker piece!

Rinse France · Ed Isar invite A Strangely Isolated Place - 10 Juin 2022Download (ASIP mix only)

Tracklist:

Enkai Ohakosh - Unknown
Avont - Non-Brio Interlude [Residence Records] (2021)
Off And Gone - Uncle Mike’s Beard [Isla] (1994)
Unreleased (A Strangely Isolated Place)
3.11 - Reduktion [PRS] (2021)
J.S Veiter - Untitled [Expanding Vision] (2022)
Flying Fish Ambience - Monuments in Easter Island [Hospital Productions] (2021)
Joachim Spieth - Hyde [Affin] (2021)
Muziekkamer – Op Zee [Stroom] (2021)
Anatolian Weapons – An Afterthought [Dispari] (2021)
Tomas Jirku - Entropy8 [Silent Season] (2020)
The KLF - Last Train To Trancentral (Mu D. Vari-Speed Version) [Arista] (1991)
Being - Space Again [Firecracker Recordings] (2021)
James Bernard - UW07 (A Strangely Isolated Place) (2021)
Unreleased (A Strangely Isolated Place)

A little extra treat to celebrate the recent release of Gadi Sassoon’s Chaos & Order EP.

After being featured in a few mixes and Gadi’s own sets, we’re pleased to present a study of Hania Rani’s astounding track, Buka which Gadi recently created after obsessing over the piece, recomposing it from scratch in his own unique style.

Along with a free download of the track available on Soundcloud (and a link to the .wav), Gadi has also made the Max for Live plugin he created to produce the track, available as a free download (also here on dropbox).

Gadi Sassoon · Solido Platonico (Hania Rani "Buka" Arpeggio Study)

“A few months back I was studying different arpeggiation styles with my friend Italian producer MACE, and we listened obsessively to Hania Rani’s incredible piece Buka; from there I decided to dive deep into this particularly amazing phrase she has in that piece, and to explore all the ways I could transform it by playing it with synths and resequencing it by using a gridless arpeggiator I made in Max for Live.” - Gadi Sassoon

Please support Hania’s music and the album Home, (it’s an essential album!)

Home by Hania Rani

I’m very excited to welcome Gadi Sassoon back to the label with his second release and the Chaos & Order EP. Following his well-received debut album, Multiverse, Gadi has continued in experimental world-building by creating an immersive record that comes to life in various different ways.

Based on three tracks original created for an immersive Quadraphonic system, the release not only features stunning remixes by Olga Wojciechowska, Max Würden and FRKTL, but is accompanied by separate Binaural versions, Atmos versions, and a super-limited 2LP lathe cut featuring the Quadraphonic splits, enabling a custom playback experience for those lucky to snap one up. Not to mention a beautiful print of the artwork by Noah M / Keep Adding.

Head over to the release page for all the details.

Chaos & Order by Gadi Sassoon

The inaugural 9128.live label release came from the UK’s Jo Johnson and Hilary Robinson, and is now available on 12”. Featuring subtle, harmonic drones and manipulated piano, originally aired as part of the duo’s set for the CALMA (Madrid) takeover on 9128.live, the vinyl edition was cut by Andreas LUPO Lubich, and new vinyl side masters prepared by Rafael Anton Irisarri.

Jo Johnson was a guitarist with punk band Huggy Bear in the 90s, inspired by and aligned with the riot grrrl and queercore movements. She organized underground techno parties with Bleep43 in the early 2000s and founded the crew’s label. Since 2012 she has explored experimental, minimalist music and her debut LP Weaving was released on Further Records in 2014.

After a classical training with composers including Kaija Saariaho, London-based composer, pianist and sometime vocalist Hilary Robinson is active across genres from contemporary classical concert music to experimental. Her music has been performed at festivals such as the UK’s 'Music We’d Like to Hear' and broadcast on BBC Radio.

Session One by Jo Johnson & Hilary RobinsonThe 9128 label aims to document significant live performances by artists that previously performed on the 9128.live platform. With recordings initially created for a singular collective listening moment, and often as part of a festival or takeover weekend, label recordings will re-present this music for further listening across various formats that best suit each release.

Session One is available digitally on Bandcamp, with the vinyl available on Bandcamp, Juno and One Eye Witness, with more stores to follow.

Our latest isolatedmix comes from Mark Nelson, who as Pan•American, or as part of Labradford or even Anjou, has garnered relative cult status amongst the ambient and experimental lifers and tape community. Forming a big part of the Kranky label history from its very first release, Mark recently returned with a new album after a three-year hiatus, and the mature, refined instrumentalism on The Patience Fader is a subtle reminder of the quality Mark has retained over the years - quite an achievement, given his first Pan•American record on Kranky goes back to 1997. I took the chance to send over some questions to Mark to shed some light on the new record and the music that exists in his life right now, alongside his tasteful and electic isolatedmix.

The Patience Fader by Pan•AmericanHi Mark, where are you right now and what have you been listening to lately?

I'm at home in Evanston IL-just north of Chicago. Drinking coffee after work and listening to the water running through the filter of our pet turtle's tank and the music of Mette Henriette. If you're not familiar with her she's a Norwegian composer and saxophone player who put out a record on ECM a couple of years ago it’s so beautiful-one of those records I only let me listen to occasionally because I don't want to become too familiar with it. worried the magic might lessen-but magic never really does.

Last few days I've been listening to lots of the music that made it onto the mix-Mike Cooper, African Head Charge, Ulla, my friend Robert Donne's incredible track Touch my Camera Through the Fence, Takagi Masakatsu. The most recent music that I've really liked are the 3 cd comp by Fubutsushi on Cached Media and my friend Francis Harris' beautiful new record Thresholds that I was lucky enough to contribute to.

Running a label myself, and given you had the honor of being the very first release on Kranky, with Labradford, I’m interested in the details of how that very first album and relationship came about?

It's hard to believe but back then you could put out a 7" single-maybe 300 copies-and be pretty confident all the key distributors, zines, record store buyers and radio stations would find out about it and boost it up if they liked it. Joel and Bruce worked at Cargo-an independent distributor based in Chicago. Our single came across Joel's desk and he felt good enough about it to set in motion the plan he'd been forming to start a label. I remember my friend Andrew who put the single out told me a guy from Cargo was going to call me and I stayed close to the (landline) phone for the next couple days. Joel called, we talked and the rest has unfolded very naturally. A blend of luck and trying to manifest something in the world around the music.

“Romantic minimalism” is used in the text for your new album The Patience Fader, and it’s an apt term for the delicate, perhaps even more ‘focused’ approach on this one. Do you think there is a clear connection between the effects of the past year and the type of music it inspires? Was that the case here?

Yes-absolutely in my case. Both from within and without. Not consciously of course, but Patience Fader was made during the summer and fall of 2020, so Covid, Trumpism, BLM/George Floyd protests were all in full flight. At the same time, my father was dying in a hospice in Virginia that we couldn't visit because of Covid. In some respects, emotions were very simple for me in this time. Right and wrong, life and death joy and sorrow seemed very plainly mapped out.

The album features some smaller ‘vignette’ type tracks, which I personally love. What was your intention behind these as part of the greater album flow? Is there a hidden narrative?

Not a narrative really, no. I would say there's a theme of Roots throughout the record and trying to find different ways to approach what roots and being grounded can mean. So guitar and harmonica as the instruments used speak literally to the basic grounding of American music. The field recording of a summer afternoon and slamming screen door on Baitshop is evocative to me of childhood. There's even a song called Grounded. We were all literally grounded by Covid and I was searching for a sense of Grounding amidst the unraveling.

It seems like you come from the ‘instrumental first’ school of ambient music (as I sometimes like to put it), integrating your instruments as source material, especially on your latest. What does the process for creating a PA album usually look like?

It tends to come out of the daily practice of playing. I like practicing and trying to be "better" as a guitar player. Sometimes it can even feel like if I get an idea I need to dig into, it interrupts just simple, repetitive practice that in some ways I enjoy more. I think I've gotten pretty good at recognizing when an idea needs to be followed through and I do feel like I have an obligation to not let it go. Although in the end, most don't make it. Eventually, I tend to establish something that feels like the first song for an album and the last song, and that's when I know that something new is really emerging.

The Lapsteel / Pedal steel was perhaps brought to ‘ambient fame’ by the KLF’s Chill Out, especially to those who run in more general ‘ambient’ music terms. And I definitely get a similar vibe to that album with The Patience Fader. …“the ghost of rust belts and dust bowls looming in a horizon of deepening dusk.” as the press text puts it. As a foreigner in the US, I’ve always wondered about this romanticism and never really experienced it outside of trips to the desert here in the west. How does this come to life for you personally? Is it something you seek out?

I'm a big fan of Chill Out-but I think Brian Eno and Daniel Lanois got there first on Apollo! Also, the Paris Texas soundtrack and Ry Cooder's slide playing cemented some of those connections that I guess now verge on cliche. Funny enough I'm a bit of an outsider here as well-my Father was a US diplomat and I didn't live in the US until I was a teenager. I've always looked for a way in I guess, and music-rock n roll, country, blues, jazz seemed like a kind of skeleton key. A key to a series of doors that open and close constantly and I seem to remain disoriented. I certainly returned to these roots (literal and figurative) in music for an explanation or comfort as Trump set fire to whatever remained of the Better Angels of what (for some reason) is referred to as the American Experiment. Mixed results.

You speak of the notion of “lighthouse music,” radiance cast from a stable vantage point, sending “a signal to help others through rocks and dangerous currents.” My perception and ‘unromanticizing’ of this after listening to the album, is that you have tried to create very clear, and comforting music, something that will cut through easier and not need too much thought for it to work. I love this overall sentiment - could you expand upon it in your own words?

It's an effort to be uncluttered and go straight for the heart. The beauty in country music is the same effort or effect. It's ok if it's a formula to an extent that's comforting! The songs on my record share a very similar structure and palette to one another-I really wanted to create a world that would be very quickly recognized-meaning the boundaries would be clear right away-and the work could be done within those boundaries. There's certainly much to recommend pushing beyond known boundaries and limits-for me though it's where known elements within a world blur, overlap, merge, surrender and change like water that's what I'm interested in! New possibilities come from new combinations, and new layering of familiar material. Hybrid forms, mutations. I think what we're looking for is here-it's just up to us to make it visible.

~

astrangelyisolatedplace · isolatedmix 118 - Pan•AmericanListen on Soundcloud, Mixcloud, or the ASIP Podcast.

Download

Tracklist:

Willie Nelson- Sad Songs and Waltzes
Ulla - New Poem
Michael Grigoni - Little Cliffs
Sosena Gebre Eyesus - Seqelew Eyalu
Maurizio - MO7A (edit)
Mike Cooper - After Rain
African Head Charge - Bazarre
Takagi Masakatsu - Uter 1
Mary Lattimore - We Just Found Out She Died
Loren Connors - Blues #5
Robert Donne - Touch My Camera Through the Fence
Lokai - Histoire DS

Pan•American:Website | Bandcamp | Soundcloud | Discogs

Copies of Illuvia’s Iridescence of Clouds (Sea of Vapor) have arrived with us at ASIP HQ looking and sounding amazing. The double CD digipak features extended artwork by Noah M / Keep Adding, and a full suite of reworks by Ludvig - versions that didn’t fit the original album or feature additional reworks, alongside completely new tracks, to bring it all together as one complete ambient dnb odyssey.

You can buy the CD direct with ASIP on Bandcamp, with Juno in the UK/EU, or even with Ludvig’s 8Merch store (also good for EU).

More info is available on the album release page.

Ten years ago today, we began our ASIP label endeavors.

While it might seem a little self gratuitous to write about a meaningless moment in time, it’s something I personally like to do in order to take stock, and be able to reflect back on in another ten years.

After a few years of blogging about music here on ASIP, we had created a small community of listeners and artists who were of course, looking for a wider audience. It seemed like a natural step for me to begin a label and start connecting the dots. After all, I was getting sent some brilliant music at this point that simply didn’t have a home past artists self-releasing.

It started with The Places Series. A humble, digital-only series that called on artists we knew at the time to submit a piece of music that represented their strangely isolated place. We had contributions from new artists, and friends and even managed to persuade the likes of Markus Guentner, Leandro Fresco and 36 to contribute - all of whom were (are) musical heroes to me. The releases ranged from single tracks, to EPs and full albums. The latter of which, marked our very first release as Kit (Kit Fegradoe) took a punt with us to put Tré em, out into the world - a time-traveling piece of intricate field recordings and diverse musicality that still manages to stand out amongst a crowd.

Trẻ em by KitThe Places Series ended up running for 29 releases, with all of them captured in this compilation on Bandcamp for ease (and also available individually) marking the 30th release in the series. At this point, it felt right to step into physical editions, and with limited idea on how or funding to make such a step, I decided to kick-start our very first release. Uncharted Placesbegan with a brief to existing Places Series artists to choose an existing track and remix it. What came back was beyond expectations, as was the support to make the project happen.

Once this project sold out, it left me with the motivation to keep going (and a little bit of spare change to invest in the next release, Europe). This process was also new to me, so I took the time to document it as best as I could, to help others, and take stock of the challenges. Reading back on this now, every single point still stands, ten years later (but now I could write a list of 100 things!)

After these compilations, it became exciting to think of the platform I could now offer artists, many of whom, I wouldn’t have dreamt of approaching prior. Our first few artist releases consisted of Arovane, Hior Chronik, Markus Guentner, and Chymera, all of whom I held in high regard and was honored to work with. This trend, working with musicians I hold in the highest regard, luckily didn’t stop, 30 or so vinyl releases later.

Fast forward to 2022, and we’ve kept a regular average cadence of albums/releases per year, and even managed to launch a little sub-label for 9128.live. Despite our reviews and features slowing down here, due to the label focus, we have managed to keep the blog rolling with mixes and some in-depth features through our Portals series. DJing and mix culture will always remain a passion, and be interwoven into ASIP wherever we can.

I have been planning a couple of things to celebrate the 10-year milestone (and would have ideally had a vinyl release to commemorate the milestone, given our focus), but this past year has been a whirlwind. Look out for a couple of projects which will hopefully see the light of day in the next few months.

A massive thank you if you’re reading this - not just acknowledging us on social media, but taking the time to ready a bit of a back story, means a lot. And of course, thank you to every single person, listener, artist and cog in the big vinyl machine that has been a part of this journey for the past ten years.

There are no lofty ambitious goals moving forward. In a small way, I hope to do more events and be able to support our artists in other ways, perhaps more fun merch, but the focus will always remain the same. Putting out music I love, irrespective of where it lands on the spectrum. And ideally, writing a post much like this in another decade.

~

Photo by Pawel Czerwinski with an edit by yours truly.

We are excited to be hosting our second event alongside our favorite Los Angeles (once listening bar now record store) collective, In Sheep’s Clothing Records.

Join us this Saturday, April 9th between 3-7pm at the store for a mini ASIP takeover, featuring guest DJs, complimentary drinks, and exclusive ASIP records and merch.

I’ll be bringing along some location-specific hand-stamped ASIPVA01, as well as previously out-of-stock ASIP titles from my personal collection, ASIP merch + stickers.

We will also be joined by a few TBA ASIP friends spinning records.

Come, say hi! And visit the ISC playlists in the meantime.

436 N Fairfax Ave, Los Angeles

A big thank you to Dorian Denes for providing the stunning custom illustration for the flyer - an interpretation of the shop space, in a similar style to his previous flyer for our event at the ISC listening bar.

Merrin Karras’ 2020 foray into extended compositions combining his Berlin School tendencies and expansive ambient is finally pressed-up on cloudy transparent 12”. Remastered by Rafael Anton Irisarri and featuring revisited art by Noah M / Keep Adding.

~

Conceived and composed in two days, Silent Planet is Brendan's first attempt at a fully continuous piece of music. Normally, albums under his Merrin Karras guise take many months, if not years, to put together:

"I wanted to challenge myself to create a mini-album in a short amount of time, not to think too much about it, but just to let it flow and see what happened. Everything was created in one project, but it's comprised of six distinct sections. Several motifs and elements are re-used at various points throughout the work. It's also the first time that I've used percussion elements in a Merrin Karras work".

The mood spans from brooding to almost Balearic at points, with strong elements of Berlin School and Space Music, classic Trance, and Ambient all intertwined.

Silent Planet is available in digital formats and transparent smoke 12”.

Buy at Bandcamp

Buy at Juno

Buy at One Eye Witness

Silent Planet by Merrin KarrasNote, people who purchased the original Silent Planet album on Bandcamp will be able to re-download to access the new remastered files.

To help continue the much-needed support for the people of Ukraine, we have produced a compilation from one of our favorite Ukrainian-based netlabels, Energostatic Records. Released as part of our Portals deep dive series, the feature includes a remaster of specifically curated tracks, in both individual and mix form. These tracks are available on the ASIP Bandcamp page as Name Your Price, with all proceeds going to Save The Childrenand their specific activities supporting Ukraine at this time.A big thank you to label owner Marian for allowing this project to happen as he deals with life in Kyiv right now, the artists for their participation, and Rafael Anton Irisarri for kindly providing his mastering services. Also, an advanced thank you to all those who listen and support at this very important time.

~

‘Netlabels’ are essentially extinct in today’s music landscape by definition. Of course, there are still labels that just focus on digital releases, but Netlabels came about during a time when there were little to no platforms monetizing digital releases. Digital distributors were reserved for big or established labels as the streaming era ramped up. And Bandcamp didn’t exist.

Netlabels were the next logical step after the file-sharing era (Soulseek et al), where instead of P2P servers and software, artists and label began to push their own agendas online, making files available freely on the internet, often under a Creative Commons license and many through a myriad of MP3 blogs that powered this exciting period. It was also, somewhere at this point in time, coincidentally, that the very first iteration of ASIP was also born, diving deep into MP3 blogs and following various Netlabels religiously. Finding a Netlabel’s basic website or archive.org page was the Bandcamp profile of its day.

Energostatic was pretty late to the ‘Netlabel game’. Their first release didn’t arrive until 2010 when many Netlabels were either fizzing out already or converting to more modern release methods. But Energostatic’s ethos and approach to providing music against a strict aesthetic, for free, made them a torchbearer for the dying art of sharing music online through small yet beloved corners of the internet. As ASIP began in 2008, Energostatic was one of the many Netlabels I followed, and as curators of dub techno in various forms, they operated within another small yet burgeoning scene it seems, given dub-techno as a genre also seems to have dwindled in popularity in recent years.

The writing was perhaps, on the cards for Energostatic, as Marian ceased operations of the label in 2017. But with 49 releases, there was (and still is) a big chunk of music to dig into, which for anybody new to the label, could become a little overwhelming to discover, especially since that number includes several compilations with 20+ tracks each, and many of the artists don’t seem to be very active anymore.

To help support the people of Ukraine during this time in a small way, I reached out to label founder Marian to see if he would like to raise money through a compilation that spotlighted some of my favorite music from the label’s era. Marian had previously released as part of our early Places Series, as Marc Atmost, where he created a track based on some of his early memories in Ukraine (an unsettling and poignant listen under today’s circumstances). Today, Marian is on the ground in Kyiv, doing what he can to survive and support his community.

The majority of the Energostatic catalog is still available for free on Bandcamp, should you wish to explore it yourself. Ranging from Space Ambient to drone; dub-techno and DnB; it became a bittersweet task to sift through the hundreds of tracks and pull together this compilation for a good cause. With the owner and label based in Ukraine (if Netlabels were to even have a ‘base’ of course), the majority of the artists on the label were friends of Marian, so a good majority were Ukraine and Russia-based and a part of local music scenes in each country.

The compilation begins with one of the most gentle tracks you will find across the entire Energostatic catalog. Russian artist KaLGaN made a few appearances over the years, but was better known for his work as 110ml - responsible for the very first artist release on the label (Scratch me / Scratch you) and also included further on in the compilation with his 110ml track, Lights In Window.

Stellardrone (Lithuania), is one of the more well-known artists to be supported by Energostatic, and even made an appearance on the ASIP Full Circle compilation/LP a few years back, highlighting his importance in the evolution of my own musical journey. Edgaras’ music has always remained free on the internet and encaptures some of the finest Space ambient music in recent years. The piece included in the compilation, ‘Light Years’ is perhaps one of his darker, more sincere pieces amongst a stand-out catalog which has unfortunately not seen much activity in recent years

Textural Being (USA) (see isolatedmix29 also) is another artist who I have admired for a long time, and related to the above compilation was in my shortlist for inclusion on Full Circle. The track I had in mind at the time, however, didn’t quite fit the rest of the compilation. Serendipitously, Sept is my all-time favorite track by Sage Taylor / Textural Being, (amongst yet another expansive artist output) so it feels great to present this to a wider audience today.

Marc Atmost (Ukraine), as mentioned above, is the founder of Energostatic, and appears consistently across the label over the years through various guises and musical styles ranging from straight-up dub techno to DnB. This track, Deity is one of my favorites from his consistent output, capturing the very essence of spacious, melodic dub techno.

Olexa, (Ukraine) was a less prolific artist over the years with just one EP and several compilation appearances on Energostatic, but captured the deep dub techno sound aesthetic of the label to perfection.

Gapfield (USA), is a project from US-based Devin Underwood and Jacob Newman. Devin creates some amazing music across a variety of styles and aliases (such as Drexon Field - another fun project I love) and has made several appearances on the Energostatic label, most notably with a solid, straight-up dub-techno album as Specta Ciera(see isolatedmix19). Between Devin and Jacob, they can be found on some amazing ambient labels over the years, such as Carpe Sonum, Neotantra, dataObscura and Bludhoney Records. Their Gapfield project, is definitely one that may have flown under the radar amongst their solid output.

Technicolour’s(UK) ‘Permafrost’, has always been a stand-out track for me on Energostatic and his only appearance on the label. I included it in many of my DJ mixes years ago, and it broke the mold in the label’s beginnings with its Autonomic sound and rampant amen breaks, whilst remaining true to the deep and introspective atmosphere the label ended up pushing. But it wasn’t until seeking permission to include this track did I come to realize that Technicolour, aka Peter Rogers, was in fact, Wardown, who released one of my favorite Drum'n bass albums of 2020 on Blu Mar Ten’s label.

Permafrost could be the apex of compilation, but the journey needed a minute to breathe after that kind of energy, which is where Ayqix’s (Argentina) Raymi (Coldest Version) came into play. The Buenos Aires musician provides an airy respite towards the end of the compilation before the energetic finale, very much reminiscent of the early minimal techno days of Traum Schallplatten.

Closing out the compilation, Enformig, was a Ukrainian Techno producer based in Kharkov who unfortunately died in 2019. His appearances on the label were always met with such high praise and support on social media from Marc, especially for his hardware-driven live sets. This track is perhaps, one of his finest moments from the Energostatic catalog and provides a momentous, energetic and liberating closing chapter to the compilation.

Energostatic’s label motto was "Reach, resist, research”. Label owner Marian didn’t have the time or capacity to answer any of my questions related to its meaning on top of his urgent life on the ground in Kyiv, but I couldn’t help relate this motto to a higher meaning and reminder as I thought about his and many other people’s lives in Ukraine.

Thank you for reading, listening and reflecting.

Support the compilation on Bandcamp with all proceeds going to Save The Children and their Ukraine efforts.

Portals: Energostatic (For Ukraine) by A Strangely Isolated Place~

Podcast link.

The original process working alongside Ludvig Cimbrelius on his album Iridescence of Clouds, was an insightful journey through an artists’ meticulous mindset, as Ludvig let me in on the many iterations and versions of tracks he built along the way. I can be completely honest here; every single version I heard was brilliant he sent my way, but of course, his own artistic vision needed to be fulfilled, and certain versions were left by the wayside. Fast forward a year since the amazing response to this album, and we’re now treated to an entirely new album that is now presented alongside the original. Fully remastered by Ludvig himself to help fulfill every inch of his own vision in complete totality.

Now available on Bandcamp on Digital + 2CD Digipak, see the release page for full details and links to buy.

Iridescence of Clouds (Sea of Vapor) by IlluviaIlluviaexpands upon his 2021 ambient drum'n bass hybrid album Iridescence Of Clouds, with a new suite of alternate and once discarded versions. Revisited, remastered, and presented as an extended digital album and double CD, with a new artwork version by Noah M / Keep Adding.

"During the two-year process of creating the music that became Iridescence of Clouds, I ventured deep in attempts to give form to visions I’ve been catching glimpses of since my youth. Translating emotional landscapes to sound is somewhat of an undertaking when you care about every detail. As it often happens for me when working on an album, the alternate versions and discarded tracks were legion. Amongst them were everything from sketches to almost finished tracks that had been part of the album at some point, later to be replaced and left by the wayside. A while after the release I found myself revisiting these versions and outtakes, and I began gathering up a selection to form another album that I called Sea of Vapor.

It soon became clear to me that all these tracks felt emotionally tied to the original album, and I didn’t really have the sense that this new chapter wanted to stand on its own. That is when the idea of making a double CD came to mind—letting the two chapters come together as one story. Perhaps another reason why this idea resonated with me is that my early days of discovering and exploring the bright new world of atmospheric jungle and drum’n’ bass happened exclusively via the medium of CDs (and not uncommonly double discs). As shared in my entry for ASIP’s mix series [isolatedmix107], those CDs meant the world to me at the time and certainly left a deep imprint, perhaps even down to leaving me with an emotional affinity for the format.

So after another year of traveling through this vaporous rhythmic soundworld, it feels special to be able to present an extended edition of this album complete with a new rendition of the awe-inspiring original artwork by Noah M / Keep Adding (though the original version still leaves me speechless). As far as the music goes, there is no point in pretending that my journey with Iridescence of Clouds has been an easy one, but as a friend and fellow ASIP artist reminded me—maybe it shouldn’t be. And as time passes, it seems to me that the memory of our struggles fade while the beauty of our work remains" - Ludvig Cimbrelius

~

The digital edition of the album will be name-your-price for a limited time on Bandcamp, and all proceeds from digital sales will go directly to support the people of Ukraine. We encourage everyone to give as much as they comfortably can, and all together we will make a difference for those who need it the most right now. Human lives are at stake and your support matters. When we have received a big enough sum to make an impact, we will make an announcement and the sum of all the proceeds collected will be divided equally between Unicef Ukraine (www.unicef.org/ukraine/en) and Nova Ukraine (novaukraine.org)

A new abstract video created by Markus Guentner to showcase the closing track HERE, taken from his latest album Extropy.

The remaining copies of the 2LP are available on Bandcamp and a few select stores still have some in stock.

Extropy by Markus Guentner

After a superb debut album on the esteemed Silent Season in 2015, Alex Moya, aka Refracted has remained in high gear and top of mind when taking stock of some of the best deep techno producers of the past few years. Moving from his expansive tribal rhythms on ‘Through The Spirit Realm’, Alex has gone on to release a number of EPs and created his own output, Mind Express, whilst also becoming a sought-after live act with appearances at Parel-lel Festival and closing the legendary Tresor, nightclub in Berlin.

It was Alex’s set for one of our 9128.live takeovers from Astral Industries that really took my affinity for the producer to the next level, showcasing an intrinsic respect for minimalist ambient music and gloriously immersive tones, all without the deep rhythms often relied upon within his own productions. It takes a deep respect of both disciplines to balance the crossover of techno and ambient music, and Alex seems to have got it down to a T.

Hi Alex, where are you and what’s spinning?

I’m in my warm flat in cold Berlin and currently listening to DJ Shadow and Cut Chemist’s Product Placement, as the soundtrack for my writing.

Through The Spirit Realm [SSV08] by RefractedI am sure many of us in the more Ambient-leaning world first heard you through your debut album on Silent Season. Since then you have produced a number of EP's as opposed to full albums. Have you been holding back?

I have very fond memories of the time I was working on that album. It was so early in my musical career that I felt really free creatively and could explore every path that opened before me. That somehow changed when things started to get serious and I saw myself “forced” to release more dancefloor-friendly material. I have finally managed to free myself from those constraints and have been exploring other sounds again for a while now.

I am confident in what I have learned and have been working on a new album that is practically finished. It is, in my opinion, a good balance between that early sound I had with all the knowledge and techniques I have acquired since then. It is made for horizontal listening. Slow rhythms, drones, quite psychedelic at times and with a lot of texture.

Along a Ghostly Trail [SSV04] by RefractedThere was no purposeful holding back… I think the idea of working on something like this came at the perfect time. There was a story to tell and that’s what I feel a lot of albums are lacking. A story.

Can you tell us a little about your production approach? Are you mainly hardware, digital, or a mix?

I’m very into hardware but I also work in the digital realm. I think a balance of the two is the best way to go. Analog for the playfulness and sound and digital for the convenience and ease of use. Every tool has been carefully selected and has a reason to be.

I like to focus on few things and learn them, squeeze everything I can from them.

My favorite process is getting into the sound, sculpting the waveforms and maximising its potential with carefully crafted effect chains.

Are you getting back to playing live gigs now the pandemic is becoming ‘normal’? How did it impact you these past few years?

Luckily things seem to slowly go back to “normality” and for that, I am very grateful.

The pandemic impacted me in the usual way it has impacted other artists and performers and personally forced me to return to the corporate world from which I escaped many years ago.

It has been quite tough adjusting to the new reality and losing all the freedom I had worked so hard to get but at the same time, it has taught me that I can adapt to big changes like this and push through.

Having a stable income has freed my mind from a lot of stress and worry, and I feel very free creatively. The only problem is mostly finding the right time and mindset for music production.

Various - Nonnative 09. NNN09 by RefractedYou have a knack for deep abstract sounds. Who are some interesting artists or DJs you have seen lately, or are supporting that we may not know about?

I guess it will be hard to discover artists to your readers but there is a crew of very special artists in the UK who are all connected to Astral Industries. After some really fun events and travels together we have become very good friends. I am talking about Ario, o.utlier, hems and, Eight Fold Way. Amazing people, DJ’s and producers.

Hems and o.utlier have just started their own label called Titrate which already has a great first release from Hems. Stay tuned for more as I’m sure there will be some great music coming out on that label. ;)

Can you tell us a bit about your approach to your isolatedmix?

Well, seeing as it was a mix for your series I couldn’t just press record and play a bunch of ambient tracks. I carefully selected tracks that play well together, that I really enjoy and share common ground between them, while thinking of a sequence. So there are parts that are more orchestrated and others on which I am going with the flow.

There are tracks by ishq, Rapoon, Biosphere, Coil, Thomas Köner, Eleh, Windy & Carl, Ø, Rainforest Spiritual Enslavement, Chris Carter and 2 unreleased tracks of mine amongst others.

And lastly, if we weren’t an ambient-leaning bunch, and you weren't making a recorded mix with this audience in mind, what kind of mix would you create?

Probably something quite similar and go nuts on the psychedelia.

~

Listen on Soundcloud, Mixcloud, or the ASIP Podcast.

Download

astrangelyisolatedplace · isolatedmix 117 - RefractedNo tracklist available.
Artwork photo by Mike Petrucci.

Refracted | Bandcamp | Soundcloud

Last week we held our very first live stream over on Bandcamp with Scanner, as he further reinterpreted his works that form his new album alongside Olga Wojciechowska/Strië, ‘Struktura Revisited’.

The full show was around 45-mins long, as Robin took the original material into a more rhythmic and dubby direction - listeners head nodding at home no doubt - but you can watch a small edit of the show below.

Make sure you’re following our Bandcamp page to ensure you don’t miss our next stream.

You can buy Scanner’s new album with Strië here.

For the official release of Struktura Revisited' by Strië & Scanner, we have Robin Rimbaud, aka veteran electronic music producer, Scanner, performing live, taking his reinterpretations from the release, one step further.

A regular performer on Bandcamp live, Robin will be further improvising around his reworks, like a chamber of mirrors, rethinking, rebuilding, reinventing. He will remain online afterward for a chat with everyone to answer questions.

You will be able to purchase the new album during the Livestream, and ticket buyers also get an exclusive track from the album (which will not be made available publicly) and a free download of the ASIP 2021 Label compilation included in the ticket price.

All ticket funds from this event go straight to the artist for his live performance for which he has meticulously prepared especially for us.

Buy tickets on Bandcamp

Polish composer Olga Wojciechowska and veteran electronic producer Robin Rimbaud aka Scanner, combine on A Strangely Isolated Place to revisit a beloved Strië album - Olga’s more electronic and experimental alias.

With previous releases on Serein and Time Released Sound as Strië, Olga Wojciechowska’s ‘Struktura’ was released in 2015 to a limited audience due to its physical-only format. As Olga’s work becomes increasingly more coveted, through her more recent releases on A Strangely Isolated Place (Unseen Traces & Infinite Distances), and with Struktura praised as one of her finest albums to date, the discussion to breathe new life into the album resulted in a unique pairing with Scanner, an electronic music producer and multimedia artist responsible for some of the most defining works of the genre since the early 1990s.

Blurring the line between harmony and dissonance, Struktura’s original recordings paint an eerie, haunting and beautiful picture, conceptualized around abstract art, with intricacies and mystery abound. Strië’s original recordings remain untouched, albeit lovingly remastered by Rafael Anton Irisarri, and it is left to Scanner to provide further interpretations of Olga’s original recordings.

Scanner productions can typically traverse a myriad of styles, but here, Robin took a primarily live-hardware approach to the remixes, allowing the rawness of his recordings to add story and depth. Recorded in one take, with no overdubs, the reinterpretations strip the melodies and textures to their original essence, bringing an entirely analog element to Olga’s intrinsically detailed originals.

Struktura Revisited by Strië & ScannerFeaturing artwork by Rep Ringel and mastered by Rafael Anton Irisarri, Struktura Revisited will be available on Gatefold 2LP in a black/grey half-and-half vinyl, with 6x6” soft-touch heavy art card.

Release date: January 31st, 2022
(Preorder January 10th, 2022)

Join us on January 30th, 11am PST on our Bandcamp page, for a LIVE performance by Scanner, where he will further reinterpret the music from Struktura Revisited.

Our first isolatedmix of the new year arrives intently for this moment in time, as Chris SSG captures a tapestry of ambient across an extended ~2hrs, to welcome in the new year.

As the MNML SSGS co-founder, Chris SSG is likely no stranger to those who have been in the online periphery (or legacy should I say) of ambient and techno forums over the past 15+ years. Coincidentally the MNML SSGS blog came to an end, ten years ago which makes this mix strangely appropriate to be featured here now on (what I think might be one of the last holdouts in the world of blogging!) I found many brilliant mixes through its associated mix series (Donato Dozzy, cio d'or, Peter Van Hoesen, and the very first one in the series remaining on high rotation, from bvdub) to name just a few.

But without dwelling on the past too much, (or how much I miss the days of passionate music bloggers linking up the best mixes of the decade on MP3 links) this background is imperative to the Chris SSG story.

As a curator, Chris’ mixes come from a highly considered approach that stems from years of experience DJing and exposing the best talent and musicians. With a passion for the art of the mix, and many overlaps between us in taste and journey so far, Chris asked to go back and forth for our usual introduction/Q&A, and I thoroughly enjoyed the process as a result.

Continue below for our ponderings on the art of ambient mixes in general, online events, and some background info from Chris on what he is up to, and the mix he prepared especially, to bring in the new year.

~

ASIP: You decided to prepare an isolatedmix for us at a very specific time and moment, can you elaborate on this decision?

Chris SSG: 2021 was a strange year in terms of my relationship with music. It was the least I’ve played since I started to DJ. This was obviously connected to pandemic-related disruptions, but I also have used that time to think about the meaning and purpose of DJing and parties. And, for me at least, I do feel that meaning matters, there are deeper ideas and values connected to what we are doing, and some practices contribute to these more than others. I am still working through all of this, but in the context of recording podcasts, connecting them to certain moments or ideas is a way of making them more than ‘just another mix’. With that in mind, I have been wanting to contribute to the ASIP series for a long time and doing it to mark the new year really appealed to me. While I haven’t been playing, I have been continuing to look for new music, so this mix became an opportunity for me to compile and put some of it together.

I know you mark the end of years with label mixes, and this time you had Todos prepare the label mix for you. Can you talk a bit about why do these end-of-year label mixes, and the significance of asking Todos to do it?

ASIP: ASIP began as a blog with mixes being a big focus (the isolatedmix series for example) so the ‘art of the mix’ has always been a passion of mine; in creating, curating and hosting them. I started putting the end of year label compilations together 3 years ago as the label hit a good cadence and could warrant a ‘sampler’ so to speak, to help introduce people to the varied releases, but I don’t really see much value in just rehashing some chosen tracks, given many ASIP followers probably already own the tracks as full albums. So I wanted to present another angle to these compilations that could offer something new.

Completing a mix with predefined tracks/albums is tough, but I believe in many ways liberating. As you mentioned above, a concept can help make it “more than just a mix”. I often like to enforce my own rules or concepts to help me become even more focused and creative in approach (eg the Portals mixes). I listen to so much music that it can become overwhelming to create mixes with a blank canvas as a starting point.

I discovered todos at the very beginning of the ASIP days and his Kilchurn mixes became some of my favorites of all time, due to his unique style and nostalgic connection with the early 00’s electronic music / Global Underground days. We since became good friends and it was a no-brainer to give him the task of tackling the 2021 comp. I honestly can’t see how many others could’ve achieved what he did with the tracks - he exceeded my expectations. I hope to do the same next year with a DJ, assuming the ASIP 2022 catalog can warrant it and someone is up to the challenge…

How do you tackle your mixes? What’s your process in a situation like you described above?

Chris SSG: I always record my mixes live in one-take and don’t edit them. Sometimes the first attempt doesn’t come together right, and it takes a few attempts, that is what happened for this mix. In terms of preparation, sometimes I am using what I’ve already organised for playing out, and other times, I will prepare a playlist if I have a more specific aim with the mix. When DJing ambient, I separate music out into folders with different energies or functions and move through these different folders as the set develops. This gives me a balance of freedom and structure.

When playing, what I think about is the overall progression of the set, how it hangs together. As I am selecting individual tracks I am focusing on where I want to go, what my aim is. For instance, sometimes I will deliberately have sections that are a bit more challenging or difficult to grasp hold of and then come out of that with something easy, comforting, warm. There is a Japanese expression for this: ‘ame to muchi’, candy and whip. When DJing, you want to be giving candy, but sometimes that means you first need the whip, it makes the candy taste better… That is just one technique, but I do really like creating contrasts. And through doing all of this, ultimately what I am aiming for when playing is to create something cohesive and resonant, and when it works right, to evoke memories and emotions.

I have said this before, but I think there can be a tendency to underestimate the challenge of putting together a compelling ambient mix. It requires more than just removing the beats. From your experience both DJing and curating the mix series, how have you come to think about it? What do you think is distinctive or important about playing ambient?

ASIP: I agree, it’s really hard to do right and I am definitely still learning. I think the most important aspect that I try to hit, is storytelling. And by that, I mean constructing different chapters, moods, or emotions that keep it interesting and flowing well. Or in some cases, showing different or new angles of a concept or style.

You could say, “well that’s the same for any genre mix” but I’d argue ambient music has many more tools to create a narrative (and therefore many more ways to f$#k up). Anger, power, love, nostalgia, comfort, euphoria, or just straight-up noise and sonic resonance, as examples, can all come into play within one ambient mix, with the added element of how they interact with each other and the space you’re creating. So the art of knowing what and when is heightened and similarly even more delicate. Like you said before, toying with them is also an interesting approach too. There are (typically) no beats to hide behind, or vocals to distract the listener so it’s all laid bare in an ambient mix. Ambient DJs are basically playing with their pants ready to be pulled down at any moment given the exposed and sensitive nature of the music :-0

I think the additional tricky part of the ‘ambient mix’ is also the subjectivity of where and how it should be listened to. Ultimately if the DJ has this idea of taking someone on an emotional rollercoaster and the listener is playing the mix in the kitchen on an Alexa whilst they make dinner, it's obviously not going to achieve that goal. This is why, especially for mixes meant for online, I try to give clear concepts or introductions. Never “oh here’s a new mix I hope you like it”. Without context, it becomes a bit more ego-driven and assumes people will love it for the fact you are behind it (which could also happen) , but there are many more elements to come into play for a mix to really hit home.

Similarly, if you’re sitting with friends relaxing to an ambient mix in the classic ‘background’ sense, then I likely don’t care about the weird concept or narrative you had intended. Hearing Eno and Enya (!) in any order will likely do just the trick, so while it takes a lot to perfect a mix, it’s just as important not to get too hung up on the idea of creating some unattainable art form or concept at the end of the day. I say do it for yourself and if others enjoy it, that’s a bonus. Ambient music is very personal anyway - at least it is for me.

Chris SSG: Reading and thinking about your response, I wonder how much of what you describe is distinctive to ambient, and how much is more a reflection of what you (and myself, and our readers hopefully) are interested in. For example, I am sure many dancefloor DJs would regard their music as having the possibility for emotional range and complexity, for developing narrative, and so on. Certainly, in some ways, music with beats is easier to transport, but place and context still matter significantly.

Saying all of that, I think the keyword you use is ‘delicate’, this hits on something important about ambient music. ‘Delicate’ can describe the music and the spaces needed, both physical and mental. Ambient can have a higher cost of entry, the listener might need to be more open or to pay more attention for it to work, for something to happen. Without that engagement, then it is harder for there to be a connection, it easily falls away into background noise. I have experienced this: the setting might be wrong, the crowd might not be open, there just is not space for anything to happen. But… if you get that opening, a bit of connection, then there are some really amazing possibilities with this music. And that is what I am looking for, that chance, that possibility of finding someone willing to listen and engage. In terms of how and in what conditions people choose to listen to what I am doing, I don’t care, I just want them to give me that opportunity, then it is up to me because I have music, ideas, emotions, energies I want to share.

And this comes back to something else you raised - it is very personal for you. This is something really important. When I look at artists I admire, gravitate towards, and appreciate, I notice this feature is present. Their music is a clear manifestation and powerful expression of themselves, it is authentic, it is genuine. And this is actually hard to do as an artist because it means you need to put yourself out there, to be vulnerable, to take risks. This might not be the best route to success or fame or whatever, but for me, at least, I think this is what is necessary. Interestingly, I also see this being an area where younger and growing artists can struggle - it is difficult finding the way to best express yourself, to develop something that is distinctive to you as an artist.

The personal aspect is certainly clear in everything related to ASIP. It is obvious that it is something you attach meaning and value to, there is real care. People see it and appreciate it, and this is reflected in their being a group of people connected by and through ASIP. I was wondering if you can talk a bit about how you think about relationships, connections and community related to music. I feel like this is a very important piece of what we are talking about here, and it is something I feel is so central and important to why we do all of this.

ASIP: The community aspect of ASIP has primarily been built online, as despite a few low-key label shows over the years, I have never been situated in one place for too long to establish a decent ‘local’ community- it’s something I aspire to do one day- but it isn’t something you can force or speed up. It takes years and lots of effort, online or offline (oh, and then the Pandemic came along…)

If I had to try and summarise why community is important for ASIP and in many ways music in general, I think it comes down to trust.

I aspire for people to trust my curation of the label, and in return for that trust, I put everything into making sure the end product is the best I can offer for both the artist and listener. People spend a lot of money buying records, or paying $10 for an album when they could just as quickly jump over to stream it for free, and I don’t think I will ever take that for granted.

I have always been the face behind the label too (which is a double-edged sword in many ways) but it definitely helps with that trust. People email me by name with questions and I can’t tell you how many relationships have begun because of these random emails or interactions. Albums and friendships have been born. Gone are the days when you could hide behind telephone numbers (Fax numbers!) or office doors as a label, and I like that. Of course, there’s something to be said about an air of mystery with music, labels, and artists, but that’s not the course I am on, whether I like it or not. I asked people for money to Kickstart our very first vinyl release in 2013, so my hand has always been on show.

I think this comes full circle when you apply trust to the greater sense of community around ambient music and what you mentioned above. As a listener or event attendee, it’s crucial that you know the promoter, venue or artists involved, understand your investment in time and money, and is doing it for the right reasons - the experience. I relate this back to the Substrata Festival that Rafael Anton Irisarri used to run in Seattle. It was expensive to attend on the face of it, but you had full faith that the setup, venue, sound, acoustics, and curation of the festival would be spot-on every time. This is a rarity nowadays.

I’d be interested to know where you think community and events might be going in the future? With live streaming for example, becoming increasingly popular, the “experience” of the music is no doubt being diluted in many ways. But on the flip side, especially as I have experienced with 9128.live, I am also seeing the community aspect reborn again stronger, as people converge around similar interests and conversations in the most basic ways, which I feel has also been missing with physical, live events. I would go to so many ambient events and not meet a single person due to the way it’s set up, for example.

Chris SSG: It is encouraging your positive experience with 9128.live. I have participated in some of those live streams and it has been nice connecting and chatting with others. Things like this are important, but I do fear they are a bit more the exception than the rule. I also wonder whether something like the 9128 is building off ASIP and a network of people that predates the current iteration of the internet and social media. With the pandemic and people looking for options and things to do, there has been an over-saturation of streams, videos and mixes. If you want to support something now, what do you support? There is so much, it can feel rather overwhelming.

In terms of the future, I am not too worried about streaming events diluting the experience of music, ultimately it tends to be more of a poor substitute for being able to do things in person. We are a long way off being able to replicate the feeling of actually being at an event and experiencing it with others, I am sure all the streaming stuff will die down once the pandemic eases. For the most part, these feel like quick stopgaps while everyone waits to get back to what they were doing beforehand. Indeed, this is partly what I am worried about, from what I can tell, when we get out of this pandemic, I don’t think much will have been learned, and I am worried about many of the more troubling trends in the way electronic music exists and operates at the present moment will continue unabated.

I am concerned about how we can develop, maintain, and sustain a sense of community in the context of social media and an environment dominated by big platforms and big money. 9128.live is a great initiative, Buy Music Club is another one, and the new Nina platform built on Solana also looks very interesting; I hope to see more such initiatives.

After a very long break, I recently decided to start writing again and launched a substack called SSG Space, this is partly to share music and what I am doing, but also to sketch out some thoughts and to do so on my own terms outside of social media and the main platforms. I worry we all end up tending to operate in a closed system in which we are reinforcing and strengthening bad dynamics. I am not sure how we do it, but we need to find new ways and spaces for communicating, sharing, and engaging, the ones we have now are mostly bent and broken. My substack is hopefully a small contribution to this process.

ASIP: Lastly, can you tell us a bit about the mix you have prepared?

Chris SSG: The picture accompanying the mix was taken at Kenroku-en (兼六園), a famous garden in Kanazawa that dates back to the 1620s. I took it on a recent visit, when I arrived it was pitch black, except for the full moon in the sky. I walked around the quiet garden as the sun rose, night turning to day. Looking at the moss and the trees, the paths and the running water, I was overwhelmed by a sense of beauty, filled with awe. I certainly will never be able to achieve such perfection with my music, but what I aspire to is perhaps to generate a faint echo of those feelings. With that in mind, the mix is called ‘fuzzy edges and a scarlet core’.

The mix was recorded at my home in Tokyo, late December 2021. Thanks to Ryan / ASIP, as well as all of the artists and labels included in the mix, especially those who kindly sent promos of some of the tracks. I’ll be glad when I get a chance to play this music out, but for now, I hope you enjoy starting your year with it. Best wishes for 2022, may Fortuna be kind.

~

Listen on Soundcloud, Mixcloud, or the ASIP Podcast.

Download

astrangelyisolatedplace · isolatedmix 116 - Chris SSG: fuzzy edges and a scarlet coreTracklist:

ELpH - Glimpse
Alva Noto - Xerrox Île
Bandhagens Musikförening - Cirkelskifte (Oberheim Matrix 6R)
Nadia Struiwigh - Starring
KMRU - Neutral Points
Coil - Sara Dale's Sensual Massage 7
Air - Spiritual Invocation
Niagara - V
Imaginary Softwoods - The Hi-Lonesome Conifers
Bea Brennan - Losos 2 (Nog mix)
Li Yilei - Kou
Elysia Crampton - Dog Clouds (feat. Jeremy Rojas)
Bernard Parmegiani - Pop Secret
Agonis - Sunlight Filtering Through Skyscrapers
SKY H1 - Labyrinth
XOR Gate - Conic Sections
Felisha Ledesma - 2AM
Mika Vainio - Shells
Autechre - Metaz Form8
Voiski - Confinement 18 (Why Is Time Passing So Quickly These Days?)
SØS Gunver Ryberg - Velvet Dome Of Becoming
Steve Moore - The Prophet Speaks
Mike Nigro - Loose Time
Brett Naucke - Parallax
London Modular Alliance - Hive Mind (Sketch #1)
Vivian Koch - I Know You're Here
Merrin Karras - Crevasse
Hamatsuki - Adaptation is Inevitable
Jo Johnson - Beithe
Nueen - Moving II
Mucho Sueño - Relacional
Priori - Shkrub
Anthony Naples - I Don't Know If That's Just Dreaming

Chris SSG | Soundcloud | Twitter | Bandcamp Collection

10 years ago (back when music blogs outnumbered Spotify playlists), Das Kraftfuttermischwerk invited me to create a mix for their annual Advent Calendar mix series.

Fast forward to 2021 and a lot has happened between our two websites and the world of blogging. But above all, I’m still glad to see people like Ronny (who runs it) keep music blog culture alive, featuring many of our mixes over the years, and now my 2021 Advent Calendar mix contribution.

Focusing on all things ASIP related, with forthcoming bits and a few exclusives, the mix is titled ‘A Weird Winter Gathering’, for many obvious reasons, but inspired by this AI picture received after inputting ‘A Strangely Isolated Place’ on AI Curio Bot.

“A mix of music from the extended world of ASIP, be it forthcoming in 2022, unreleased with no plan as of yet, or a hidden gem, traversing a few different styles. A moment in time capturing just some of the many characters, sounds and styles that will define ASIP in 2022.”

KFMW Adventskalender · 2021 #23: ASIP - A Weird Winter GatheringTracklist (for what it’s worth!)

James Bernard – UWA10 (Loop + additional samples)
Unreleased
DNA – Ecstasy (Charlie May lower gear remix)
Unreleased (forthcoming on ASIP, 2022)
Unreleased (forthcoming on ASIP, 2022)
Unreleased (forthcoming on ASIP, 2022)
Unreleased
Unreleased (forthcoming on ASIP, 2022)
Unreleased (forthcoming on 9128.live, 2022)
Unreleased (forthcoming on ASIP, 2022)
Unreleased (forthcoming on ASIP, 2022)
Unreleased (forthcoming on ASIP, 2022)
Unreleased (forthcoming on ASIP, 2022)

As with all past ‘Reflection’ year-end mixes, I start with a collection of albums I have enjoyed over the year. Through the process of compiling a mix that flows well, songs are whittled down and selected from this collection. This means many of my favorite tracks and albums are often omitted in the process, due to the need for them to fit in a mix that comes together as organically as possible. As I say every year, this isn’t a definitive ‘best-of’ list, but a selection of just some of my favorite music from the year in one easily listenable format. It’s the most enjoyable way for me to boil down the music I’ve loved from the year using these self-imposed restrictions, for you to then enjoy and discover more. I encourage you to use the mix to jump off and explore each artist, listen to the album in full and see what else is on the label (and check the Buy Music Club list). Of course, releases or aliases a part of our own label/s are not considered (head over here for our label-specific 2021 showcase).

Another crazy year in the books (or is this the new normal?). Looking back, it’s been a tough year personally and one that in theory should have left me with more time to listen and absorb music but somehow did the opposite. This mix, as it does every year, serves as a great way for me to dedicate time listening to albums again, and I’m realizing this has become a yearly sort of musical therapy for me. The fact that people actually listen and await the mix, is a lovely bonus.

It’s been interesting to see the pendulum of music move across various online listening platforms during strict lockdowns this past year, and what seemed like an onslaught of output as artists buckled down inside. At one point, I am sure we were all left feeling truly spoiled with music choices and online events, despite not being able to attend physical events until the past few months. I know from my own experience, that many artists have albums in the locker and the labels are now struggling to keep up with the present vinyl production bottle-neck.

On the ASIP label front, we finally managed to launch our 9128.live sister label, producing physical and digital editions from notable live performances, with many more planned for 2022. Despite ACL recently commenting that ASIP seemingly “so far has seemed immune to the vinyl shortage”, we have been massively impacted and have only been able to keep somewhat of a cadence this year because we had so much in the pipeline. Next year, we may see bigger gaps between releases and different formats as we look to work with new plants and basically turn our production flow on its head. Numerous times this year I have questioned whether to continue with our current approach, and I am sure many other labels have felt the same.

On the listening front, and upon reflection, I have definitely been drawn to the more electronic-driven side of ambient music this year. Slightly darker and edgier perhaps for obvious reasons, with less instrumental, gentle, or orchestral sounds in my library overall it seems. The Reflection mix, as it does every year, ends up moving through several different stages and captures many of the different styles of music that have been on high rotation.

This year’s mix, begins with some more tranquil pieces (Hopkins, KMRU, Arian Shafiee), then takes a dive into the deep, dynamic elements (ASC, Inhmost, Sciama, AES DANA, Ulla, Bana Haffar), to then slowly emerge into melody just before the hour with Christina Chatfield. Things become more storied, as pieces are overlapped and looped, presenting the powerful drones of Christina Giannone, and more fluid, energetic beat-driven pieces from Ground Tactics, Whylie, nthng and Skee Mask - most of which made me crave the (out of bounds) dance floor. Beats then become crunched, textured and irregular, with the likes of new discoveries in, Hoavi, Vivan Koch, and Amandra X Matthies. The mix then begins to draw in, as more melodic moments take over from some (old but new) music from Niko Tzoukmanis and CiM, before the final chapter draws in with more organic and spiritual elements from Saphileaum, Alex Albrecht, ending on a positive curtain closer from Wau Wau Collectif. Ending the mix on something more optimistic seems to be a requirement after the journey of this past year.

Thank you to everyone listening and supporting what we do, and I hope you can find a new artist or album to support on Bandcamp with this mix - all this year’s inclusions are below in the Buy Music Club list. For a more extensive list of what I have supported and listened to this year, head over to my Bandcamp collection.

Listen on Soundcloud, Mixcloud, or the ASIP Podcast.

Download

astrangelyisolatedplace · ASIP - Reflection on 2021Tracklist:

000.00. Jon Hopkins - Tayos Caves, Ecuador I (Domino)
006.20. KMRU & Echium - Unending (Self-released)
009.10. Bolivian Fireships - Quiet Room, Locked Door (Hream)
012.50. Arian Shafiee - Wembley (Constellation Tatsu)
018.00. Ab uno - Adonai (Mahorka)
019.30. ASC & Inhmost - Sunrise on Titan (Auxiliary)
026.10. Sciama - Periphery (Auxiliary)
029.00. AES DANA - Foreword (Ultimae)
031.40. Ulla - Shelter (Motion Ward)
033.30. Bana Haffar - Totally Alive and Totally Invisible (Self-released)
039.50. Rainforest Spiritual Enslavement - Flying Fish Ambience (Hospital)
043.20. Nadia Struiwigh - Organic (Nous’klaer)
047.15. Op Zee - Muziekkamer (Stroom.tv)
050.00. Christina Chatfield - Concatenate II (Mysteries of the Deep)
057.10. Nigel Mullaney - The Well Of Sleeping (Behind The Sky Music)
059.00. Avsluta - Meditation 16 [Notes on Iridescence] (e2-e8)
1.00.30 Marine Eyes - On this Fresh Morning (Stereoscenic)
1.03.30. Christina Giannone - Realms II (Past Inside The Present)
1.09.00. Milieu - Terpentine Xylophone (Milieu Music)
1.10.05. Ground Tactics - New Earth (Self-released)
1.16.10. Whylie - JGL24-04 (Lith Dolina)
1.19.40. nthng - Energy Reloading (Lobster Sleep Sequence)
1.25.58. Skee Mask - LFO (Ilian Tape)
1.29.15. Ocoeur - Breaking The Circle (n5MD)
1.32.57. Hoavi - Tessera (Peak Oil)
1.36.17. Vivian Koch - Closed (AD93)
1.39.20. Amandra X Matthies - Cornemuse (Nous’klaer)
1.43.30. Warrington-Runcorn Newtown Development Plan - Part of the Union (CIS)
1.47.35. Akira Sileas - Cliff Cooling (Rusted Tone)
1.52.10. Niko Tzoukmanis - Raindrops (Libreville)
1.57.15. Uf0 - Yeh Premoh (Self-released)
1.59.50. CiM - Metric (Delsin)
2.02.10. Sofie Birch & Johan Carøe - Portal of (Stroom.tv)
2.03.10. Saphileaum - Savar (Good Morning Tapes)
2.07.50. Alex Albrecht - Forest from the Trees, w. Sean La’Brooy (Analogue Attic)
2.12.00. Wau Wau Collectif - Yaral Sal Doom (Sahel Sounds)

I’m not sure how I first came across Gigi Kaiji, aka HVL’s music. But the Georgian artist has done an amazing job at releasing nothing but quality for the past few years now, establishing himself as a true hybrid of techno in all its various guises. Not only that, but the set Gigi played for the Astral Industries takeover on 9128.live was one of the most immersive moments of the event.

Whether it’s the meandering, grainy textures in Aura Fossil’s album opener Newenslo, or the addictive, bubbling didgeridoo in Sallow Myth, it’s no surprise to see Gigi getting plays and support from the likes of Aphex Twin, along with a bunch of superlative comments across his Bandcamp page, and inclusions in many of 2021’s ambient sets I’ve listened to. (Just this week, Trainspotters would’ve spotted HVL in Traumprinz’s latest mix dump).

In the same way perhaps that emerging producers such as Skee Mask are constantly adding new twists and fresh approaches to their music, through his own self-releases, HVL is quickly gathering a similar cult following that doesn’t really fit amongst the traditional techno crowd. As one person puts it on one of his Bandcamp albums, “…one of the world's most exciting, inventive electronic musicians”, or as a glowing RA review recently noted., “this is music that works well in large doses: dreamy and uplifting, all soaring rhythms and twilit atmospheres. It's also impressively dynamic”.

Given the many ambient and dreamy undertones to be found in HVL’s music, I was keen to find out a bit more about Gigi and invite him over our way for an isolatedmix.

Hi Gigi, can you tell us about your musical background?

I have studied classical music on piano and guitar since I was 6. Composed at a young age too, but discovered electronic music only in my late teens.

Your music is extremely varied, but how would you describe your own output?

I couldn't really. I know it's electronic because of the instruments I use to record it. I like to think of it as music that you can enjoy at home in your favorite chair, or on a night drive. Whenever you're comfortable to dive into it.

Aura Fossil by HVLHVL albums have been released on your own label to much success on Bandcamp, what was the reason for not approaching a label with your great music? Do you think we will see vinyl editions of your self-released records at any point?

I do work with labels usually, this time the reason was time saving and the fact that you can profit from it immediately. Also I had this batch of tunes that I wanted to put out exactly the way I wanted. With labels I'd need to make some adjustments. It's useful financially, especially because there are no live gigs happening in Georgia right now. 12" sampler versions of the two albums I released in 2020 will be out on Appian Sounds soon.

Alignment by HVLWhat role does ambient music play in your life and music production?

That's all I listen to in recent years. Most of the music I play at home is either drone or ambient. I haven't really done that many ambient tracks but I use elements of it quite often.

Ostati by HVLSome people might have discovered you from Aphex Twin playing your music in his DJ sets - did this come as a surprise to you?

It was a big surprise when I first found out on reddit by accident, but then I learned that he's quite a digger of obscure stuff and it made more sense to me.

Also, it was very humbling as I have enjoyed his music for more than a decade now, so It felt great!

You have a great track record on Bandcamp so far, so what can we expect from you going forward?

I like to release almost everything I record, so there will be more albums on my Bandcamp and friends' labels too.

Vessel by HVLAnd lastly, can you tell us a bit about the mix you have prepared?

This is a collection of tracks that I would use to fall asleep. Enjoy!

~

Listen on Soundcloud, Mixcloud, or the ASIP Podcast.

astrangelyisolatedplace · isolatedmix 115 - HVLDownload

Tracklist:

Aleksi Perälä - UK74R1619200
Tamo Nasidze - In Memoriam
Area - Tessellated Rhubarb
The Abyss Within Us - Part I
Ryo Murakami - Deist
Bowery Electric - Under The Sun
LF58 - Metamorfosi
Gustavo Santaolalla - Breathless
Unearth Noise - Message From The Dead
Seal Bient - Runout 06.08
ZOV - Yedoma
Bipolardepth - Runout 01.06
Shine Grooves - Salubrious Waters
Seal Bient - Runout 06.03
Okinawa Lifestyle - Underwater
Ludvig Forssell - Bridges
Levan Shanidze - L1 (chushi edit)
Vladislav Dobrovolski - type 2
Kaiji - teapot_lim_hi
Unearth Noise - Soul Surgery
Masterknot - 14.03.2018-3
Nuances - We're Becoming Each Other
HVL - Temppa
Donato Dozzy & Tin Man - Test 3
Nuances - Death of November

~

HVL | Bandcamp | Discogs | Soundcloud

For last year's label compilation, I mentioned how I hoped to invite a guest DJ to compile the next edition, and here we are! Of course, it just had to be our long-term musical companion, a good friend of mine, and well-respected DJ,todos.

I was first introduced to todos through his well-respected Kilchurn Mix series. I’ve said it before, and I’ll say it again, they remain some of my favorite mixes of all time (listen to them all here). His ability to craft a narrative, manipulate samples and respect the grey area between ambient and electronic music, is second-to-none.

Since blogging about his mixes all the way back in 2008, and inviting him to compile a special isolatedmix a few years later, Doug (todos) and I have stayed in touch and connected further after learning we grew up with very similar musical trajectories. Doug also coincidentally, ended up living where my family is today (and where I spent my life growing up) in a surprising twist of fate. And in 2021, after years of speaking online, we finally got to meet, play records (in real life!), and go for a long overdue beer.

I always earmarked Doug to be a part of ASIP somehow, so it is my absolute pleasure to hand over the DJ reins for the 2021 compilation edition. Doug had free choice over which tracks to choose, as long as he included one track from each release of the year. The result is a very special mix, taking us through the ASIP 2021 release catalog in his unique, signature, todos style.

“2021 has been another tough year but the music that has come out of it has been wonderful. With so many excellent releases on the ASIP label, it was exciting yet challenging to be asked to showcase a few on this mix. Massive thanks go out to Ryan for the opportunity and trust in letting me do this, the artists for their incredible talent and hard work, and lastly all the supporters of this music we love, I hope you enjoy.”

— todos

ASIP 2021 mixed by todos is available on Bandcamp, and the digital is currently name your price, with the mixed CD version also available on Juno (and more stores to follow soon).

2021 | Label Compilation (mixed by todos) by A Strangely Isolated Place

The very first live stream on 9128.live broadcast from the studio of Rafael Anton Irisarri, as he and Thomas Meluch (Benoît Pioulard) pieced together a completely live improvisation, christening the newly created 9128 airwaves in 2019 and setting the bar for many more live takeovers.

With one album between them as Gailes, and profound work individually (also together as Orcas), Rafael and Thomas are masters of the ambient craft, combining intricate field recordings, guitar, pedals, vocals, and heady reverb across a 40-minute non-stop immersive listen, split into two 20-minute sides for the inaugural 9128 vinyl release.

The 9128 label aims to document significant live performances by artists that previously performed on the 9128.live platform. With recordings initially created for a singular collective listening moment, and often as part of a festival or takeover weekend, label recordings will re-present this music for further listening across various formats that best suit each release.

Gailes - Session Two, is available as a digital download and 12”, printed in a reverse-board die-cut sleeve, black vinyl.

Buy on Bandcamp

Buy on Juno (UK/ROW)

Buy on One Eye Witness (EU)

Session Two by Gailes

Our latest isolatedmix comes from R.A.D.E, an English artist who (at the time we first spoke) was living in my home of Los Angeles. We were introduced to each other after both he and Illuvia were included in a Bandcamp feature by Joe Muggs, and I thanked Joe for bringing R.A.D.E’s music to my attention, along with many other great releases in the article. It turned out both David (R.A.D.E) and I were both in LA, so had planned to meet up and talk all things music, but life got in the way and David unexpectedly moved to Barcelona earlier this year.

Mixing breaks, ambient, bass, and DnB elements, R.A.D.E’s music sits in that nostalgic territory for anyone who grew up listening to a wide variety of electronic music. Working anywhere between the dancefloor and the chill-out room, it’s a style that draws upon the best parts of each genre, sometimes across a single track, and is often caught varying in focus between each EP, making each of his releases so far, a lovely, varied listen.

The Overview EP by R.A.D.EAs Joe Muggs, put it in the original Bandcamp article best; “The L.A.-based R.A.D.E. loves smooth textures and high production value in his outer-space inspired grooves. Occasionally, that can steer things towards the excesses of prog house (as on “Alta Vista” here); but more often, it works as an update of the warm ‘90s vibes of The Orb, Future Sound of London, and LTJ Bukem”.

With an obvious connection to a musical era and many heroes that I grew up listening to, I was keen to get to know what inspired the (so far) two lovely EP’s from the R.A.D.E camp.

ASIP: Your R.A.D.E catalog is still in the early stages with two mini-albums on Bandcamp - when did you start producing and what was the inspiration to begin R.A.D.E?

R.A.D.E: I’ve been making music for quite a while and put out a couple of releases under a different name on labels in the UK. This would have been mid 2000’s and I would say at that point I hadn’t really found “my sound” so there was a lot of exploration and experimentation but also a lot of procrastination which meant that not much got finished. When I moved to California in 2015 it felt like a new start and I had more of a creative urge than I had for a while, so I spent some time reflecting on the music that had shaped my taste over the years and tried to distill the common elements...The atmospheric nature of ambient music, the low end of dub and drum n bass, recycled breakbeats - these all seemed to be recurring motifs in a lot of the music that I loved, so I tried to weave them together with R.A.D.E into something that sounded contemporary and coherent.

Was it a surprise to be picked out and featured in the Bandcamp article?

Absolutely! Especially given the other artists that were featured - Illuvia, Special Request, Zed Bias, Distance - these are people whose music I really admire. I was very conscious of the fact that R.A.D.E is a new, self-released project and that I didn’t have any kind of profile or label support, so to find myself in that kind of company with my first release gave me a huge confidence boost and motivated me to get back in the studio. I should also shout out Joe Muggs at this point, who wrote the article for Bandcamp and introduced the two of us. His book “Bass, Mids, Tops” is a great window into the influence of UK soundsystem culture. Highly recommended.

Pacific EP by R.A.D.EYour music takes many sources of inspiration, can you tell us in your own words what influences your output?

In terms of musical genre, I already mentioned some of the reference points... I’m drawn to the more electronic end of the ambient spectrum, but breakbeats and bass have also been a constant musical thread for me whether via hip hop, breaks or D&B. A lot of the music that I love fuses those two things - the atmospheric, immersive aspects of ambient and the physicality of Soundsystem music.

I used to DJ chillout rooms and post-rave spaces and so R.A.D.E was partly inspired by that - I wanted to capture some of the communal energy and exhilaration of the rave and blend that with the more solitary, inner exploration that ambient music tends to encourage. There are a lot of interesting contrasts there I think - euphoria versus melancholy; introspection versus shared experience; listening versus dancing; headphone music versus Soundsystem music...

You recently moved to Barcelona, do you see this impacting your music in any way?

Difficult to say right now as I’ve only been here for a month or so. I think California definitely had a subliminal effect on the music. There’s a certain optimism, maybe idealism that is associated with the West Coast and I think that crept in there - albeit tempered with some good old British realism. One of the reasons that I’m drawn to the music of the 90’s is also that there was a lot of positivity and optimism about the future and technology’s role in it during that era. Obviously that’s become quite tainted in recent years, but it’s good to recapture some of that idealism at a time like this I think.

We previously spoke about how you used to DJ as well as produce, what came first and was the mix a nostalgic trip to your DJ days?

DJ’ing came first - just because of a love of discovering new music and sharing it with people. And I enjoyed the fact that in the spaces where I was playing, there was less pressure to make people dance and so you could experiment a bit more and play for people’s heads rather than their feet. Early on, I didn’t think that making music was an option for me since I don’t have any formal musical training, but once it dawned on me that Ableton Live was just another instrument, I dedicated myself to learning to play that and DJ’ing took a back seat. I rarely DJ at all these days, so the mix was an opportunity to dust off my record box and dig out some old favourites but I wanted it to look forwards as well as backwards, so there are quite a few recent tracks in there as well. I’m as excited about discovering new music as I ever was.

Can you tell us a bit about the inspiration behind the mix and the tracks featured?

The mix is almost like a blueprint for the R.A.D.E sound really - it takes in quite a few of the influences that I mentioned earlier and transitions from spacey ambient dub into more breaks driven territory in the second half.

It’s book-ended by Carl Sagan - starting out with his famous “Pale Blue Dot” monologue and then the voice you hear in the final track “Touch Forever” is Sagan’s wife Annie Druyan. She’s talking about how they met and fell in love whilst working together on the Golden Record that accompanied NASA’s Voyager spacecraft. It’s like an interstellar love story - I loved the epic scale of that and the Pale Blue Dot speech. I return to that a lot when things get overwhelming and I need to regain perspective ;-)

So the first two tracks (by Reagenz and A.P.L) are both perennial favourites of mine and then the Om Unit track that follows is taken from his “Acid Dub Studies” LP that came out earlier this year. Jim (Om Unit) is the type of producer that I really admire. He’s not confined by genre and is able to transition from one style to another in a really authentic way. Whether he’s making jungle, footwork, ambient or in this case electronic dub - the quality and consistency is never in question. There are a couple of pretty chill dubstep tracks on there from Ruckspin and Reso after that and then a bit of a lost classic (in my opinion). Jaguar’s “Odyssey” came out in 1998 I think on Rennie Pilgrem’s TCR label and is a great example of the kind of atmospheric breakbeat stuff that inspired R.A.D.E. That sort of sets the tone for the second half of the mix I suppose, although most of the tracks that follow came out in the last couple of years. MOY is from London and has been putting out some really emotive acid breakbeat records on Bandcamp. Long Island Sound are two lads from Dublin who have their own label called Signs of Space. The Will Silver track came out on LA’s Nice Age label and just seemed to be crying out to be mixed into Orbital’s “Belfast” (I’m sure I’m not the first to do this). Plus it was really nice to include Orbital because without them I never would have got into making electronic music in the first place. I remember reading an early interview with them and being struck by their punk DIY ethic - but instead of “buy a guitar and start a band” they applied it to computers, synths and samplers which I found much more relevant and inspiring. And then the last two tracks are both mine. “Witch U” is from my recent EP “Pacific” which was kind of a farewell ode to California and “Touch Forever” is from my debut EP which was called “The Overview”. If you want to know what R.A.D.E is all about I think the mix is a pretty good introduction - I hope you enjoy it.

Listen on Soundcloud, Mixcloud, or the ASIP Podcast.

astrangelyisolatedplace · isolatedmix 114 - R.A.D.EDownload

Tracklist:
01. Reagenz - Ä
02. Carl Sagan - The Pale Blue Dot
03. A Positive Life - The Calling (Loved ‘Ub Mix)
04. Om Unit - Rolling Stock
05. I:Cube - Le Dub
06. Ruckspin & Quark - Sunshine
07. Reso - Namida
08. Jaguar - Odyssey
09. Lone - How Can You Tell
10. MOY - Megatherium
11. Toke - Coast Line Thoughts
12. Long Island Sound - Shadows From Nowhere
13. Will Silver - We Can Talk|
14. Orbital - Belfast
15. Baile - Amae (Sasha Fabric 1999 Mix)
16. Barker - Paradise Engineering
17. R.A.D.E - Witch U
18. R.A.D.E - Touch Forever

R.A.D.E on Bandcamp | Instagram

Watch the new video for Everywhere, taken from Markus Guentner’s new album, Extropy.

Video by Markus himself.

Listen to the new album, Extropy below, available on Bandcamp.

Extropy by Markus Guentner

Our next deep dive for the Portals series sees a revisit to a genre of music that heavily influenced ASIP growing up. Yes, cheese-and-chords in their full glory; classic Trance music.

Love it or hate it, I embrace classic Trance music for its brilliance of the time, and the impact it had on me (and indeed electronic music) growing up. I’ve mentioned before how the chill-out side of Trance music was one of the many avenues to open me up to more electronic ambient music. But this isn’t the path we ended up taking for this Portals feature…

This mix doesn’t come about by chance, or due to the fact that Trance is back in style (thanks to a number of techno DJs integrating some big Trance hits into their sets, or full releases getting the remix treatment 25 years later). It’s a mix I have considered making for a long time, where I could make use of my shelves full of Trance vinyl. But over the past year or so, I have been in conversation with Arjan Rietveld who has recently published an entire book called‘Hypnotised: A Journey Through Trance Music (1990-2005)’ - a deep dive/encyclopedia on the classic Trance sound, that covers “its proto to seminal periods, through to its ascendance and glory years”, across “500 essential records, 75 record labels and 25 albums, with in-depth interviews with 35 influential artists and label owners”. [buy]

It’s the first book of its kind, and for anyone who enjoys the sweet spot of classic Trance music in the late 90’s and early 00’s, it’s an unmissable factoid and commentary on the prime era of the scene. I wanted to support this new encyclopedic endeavor even further and had the idea to pull together some kind of mix here on ASIP to also shine a light on the launch of the book; on the many angles of classic Trance music; and also invite Arjan to provide a bit more detail surrounding his passion project (which follows further below) to round out the feature into a full-on Trance deep dive.

Originally, I wanted to pull together the ambient-leaning side of Trance music - a side that is often misunderstood as questionable chill out music (i.e the ‘Chilled Euphoria’ series) or when done well, many of Global Underground’s Electric Calmmixes by The Forth, and the second CD of this Platipus Beginners Guide. But what may have been originally conceived as an Ambient Trance mix for this Portals feature, quickly took a new direction.

For me to highlight the many Ambient Trance genres, sub-genres and styles, became a daunting task. It’s something that can go many ways depending on your upbringing (and geographic location), such as early 90’s psy/goa in style, acid+breaks, Ambitrance, Euro-trance remixes, or even the 00’s Space-Ambient style. All are often grouped around an ‘Ambient Trance’ notion, depending on your own subjective experiences, and it quickly became a massive task to whittle it down to one mix without going all genre-police on myself. So instead, I came up with a different concept and approach, taking inspiration from Arjan’s book title ‘Hypnotised’, the period, labels and artists that are a part of the book, and the idea of providing “a journey through Trance music”...

What could be more hypnotizing than Trance music itself?

The result is the accompanying mix, titled Classic Trance Loops, which was created by sampling specific segments of vinyl records from my collection.

Each sample was ripped, digitized, and played back/edited live on CDJ’s looping feature, and further re-recorded as a continuous max~3-minute looped section. Then, it was all compiled into one mix in Ableton. (Note, I fully understand there is likely a much easier way to do this with various bits of gear, samplers, Ableton etc, but I enjoyed the process of doing it this way, as it both made me revisit my record collection and mess with my CDJs, which is a treat and a rarity nowadays - I’m a tactile DJ at heart).

Once the core of the mix was compiled in Ableton, I realized it could do with some finessing by someone who knew a lot more about the tool than I do. (I know enough to be dangerous, and with 50+ tracks, multiple sample levels, vinyl noise, and tonnes of loops, it needed a bit of love and external ears). So, as lost brothers in Trance, and one of the best DJs I know, I handed the project off to my good friend todos, who ran the project through his extremely detail-oriented ear, to clean up the sound, artifacts, levels, adding some effects, and giving it a polish (as much as I could have set him up to polish it anyway - ‘You can’t polish a turd, but you can throw glitter on it’, the wise man once said). The end result is a true collaboration between us both which I’m also very proud of making happen. todos will modestly tell you he didn’t do much, but trust me, he did, and I publicly apologize here to todos for so many versions back and forth!!

Ultimately, the mix is a quick-moving snapshot of some of the finest classic Trance moments, without you ever needing to hit the club (unless you’re ok dancing and waiting forever for the drop). It tantalizes those memorable moments found in breakdowns or the euphoric signature synth lines, reminding you of special melodies that will undoubtedly come flooding back in a second. Plenty of classic Trance tracks and loops were recorded in preparation and were unfortunately left on the chopping board, but it was a tough enough job to get these ones sounding (relatively) coherent.

Note, it’s not the expected ambient that you see around these parts either, if that’s what you’re here for. But it is definitely sequenced for more downs than ups; suiting a more horizontal/storied listen; and is hopefully a journey within itself. In a similar way to how I approached the Portals KLF (A New Dimension) mix, it’s meant to be a fun listen and to compliment this feature as a whole. We hope it stirs some moments of joy and reflection to whatever clubs, fields, beaches, or mega-clubs you grew up listening to this music in. Bedroom DJ’s unite.

If the music and mix itself wasn’t enough to take you back to the euphoric highs of Gatecrasher, Home, Amnesia, Cream, et al, then a take a read of a slightly deeper dive into the UK impact on this classic Trance sound, courtesy of Hypnotised author, Arjan Rietveld.

British labels: sanctuaries of trance[Text by Arjan Rietveld, based on the book ‘Hypnotised A Journey Through Trance Music’]

The United Kingdom played an elemental role in the development of trance music across the globe. Aside from the thriving club scene making moves within the country during the roaring nineties, a string of independently operated record labels had already stepped up to chart new musical territories.

In the early nineties, British artists such as Jeremy Dickens, Paul Oakenfold and Simon Berry noted the potential of electronic music and quickly seized the opportunity to set up their own ventures. Each of them started to release material from themselves as well as their network of friends. Meanwhile, 12’’ vinyl records were in demand, as both DJs and collectors preferred the format. Henceforth, it wasn’t unusual for those early labels to sell five-digit quantities of a single record.

Looking back, the most successful ventures took a more broad-minded musical approach, and by doing so, found new paths for the electronic sound to reinvent and expand. Following their efforts, those artists who set up a label themselves also crafted excellent opportunities to put themselves on the global music map. They were able to create a wide network across the industry, whilst also having their name directly connected to each and every record that came out on their label.

Founded in 1986, FFRR was the first label to cast its nets far and wide when it came to dance music. The platform made some big moves in signing a stable of top-shelf hip-hop and R&B acts, early house producers as well as electronic artists within its first years of existence. In 1989, Paul Oakenfold set up Perfecto as a natural extension of his Spectrum club night. In consecutive years, Hooj Choons (1991), React (1991) and Platipus (1993) were added to the ever-growing list of defining electronic music imprints that reached far beyond British territories.

In the slipstream of these platforms, specialised labels such as A Trance Communication Release, Bedrock, Deviant, Silver Planet and Xtravaganza stepped up to offer neatly curated releases. Meanwhile, platforms like Global Underground and Renaissance jumped into the opportunity of pushing the artist-led mix series format, thereby playing a decisive role in making the ‘late’ progressive trance sound available to a more diverse and global audience.

The commercial success of the independent market didn’t pass unnoticed. As a response, various major publishers set up trance-dedicated sub-branches that put their competitive edge to good use to penetrate the market and reap maximum benefits from the continuously growing market that trance then represented. Publishers such as EMI (with its Additive and Positive branches) and Mercury (with Manifesto) pushed more commercial sounding dance acts to the fore. For instance, dance acts such as Fragma, Ian Van Dahl and Lasgo were all familiar with popular British TV programs like Top Of The Pops.

With the competition between actors raging, the digital shift of paradigm that came with the new millennium created new challenges for independent labels. Many labels were simply not able to cope with the sudden upsurge of illegal downloads from websites such as Napster and Soulseek - and its negative impact on physical sales. Most platforms - including Hooj, Platipus and React - soon vanished into thin air, or magically resurfaced only years later.

One exception is Oakenfold’s Perfecto. The imprint managed to withstand the test of time by becoming more flexible and adapting their policies to this intricate new reality. Interestingly, the label still puts out high-principled, and mostly goa-infused, material on a regular basis. After over thirty years of operation, that’s an achievement in its own right. - Arjan Rietveld

~

Trance Loops, was sampled, recorded and mixed by ASIP. Engineered, further effects, finesse and icing-on-the-cake bytodos.

Listen on Soundcloud, Mixcloud, Youtube (below) or the ASIP Podcast.

astrangelyisolatedplace · ASIP & todos - Portals Episode 10: Trance Loops (Hypnotised)Download MP3

Tracklist:

(Tracks are all loops - bar one, I think - in rough order of play, some play numerous times, or play over/with multiple other tracks. Some, may be specific remixes that I have lost full naming of through the process of re-naming and sampling, unfortunately, but I’ve done my best to name the specific remix if applicable).

Jonah - Sssst (Listen) [VC] [1999]
Robert Miles - Children [Platipus] [1995]
Sasha & Maria - Be As One [Deconstruction] [1996]
Sasha - Xpander [Deconstruction] [1999]
Frontside - Dammerung [Venus] [2003]
Albion - Air [Platipus] [1998]
Freefall ft Jan Johnston - Skydive [Renaissance] [1998]
Nalin & Kane - Beachball [ffrr] [1998]
Schiller - Das Glockenspiel [Data] [2001]
C.M - Dream Universe [Hooj] [1998]
Jam & Spoon - Stella [R&S] [1992]
Blank & Jones - Cream [Deviant] [1999]
Lost Tribe - Gamemaster [Hooj] [1999]
Lost Witness - Happiness Happening (Lange Remix) [Ministry] [1999]
Robert Miles - Children [Platipus] [1995]
Ayla - Ayla (DJ Taucher Mix) [Positiva] [1999]
Kamaya Painters - Wasteland (Hitchhiker remix) [Data] [1999]
Push - Universal Nation [Inferno] [1999]
Atlantis vs Avatar - Fiji (Lange mix) [Inferno] [1999]
Skip Raiders feat. Jada - Another Day (Brainbug mix) [Perfecto] [1999]
Brainbug - Another Day (Perfecto remix) [Additive][1996]
CRW - I Feel Love [Nukluez] [2000]
Jam & Spoon - My First Fantastic F.F [R&S] [1992]
Energy 52 - Cafe Del Mar (Solar Stone remix) [Hooj] [1997]
Art of Trance - Madagascar (Michael Woods Chill-Out remix) [Platipus] [2002]
Space Manoeuvres - Stage One [Hooj] [1999]
Junk Project - Composure [Universal Prime Breaks] [1998]
Pete Lazonby - Sacred Cycles [Hooj] [1994]
BT - Flaming June (BT + PVD mix) [Perfecto] [1997]
Agnelli & Nelson - Embrace [Xtravaganza] [2000]
Nalin & Kane - Beachball [ffrr] [1998]
Salt Tank - Eugina (Reactivation mix) [Lost Language] [2000]
Binary Finary - 2000 (Jam X & DuMond's Rmx) [Orbit records] [2000]
Energy 52 - Cafe Del Mar (Nalin & Kane mix) [1998] [Hooj]
Age of Love - Age of Love [React] [1998]
Da Hool - Meet Her At The Love Parade (Nalin & Kane remix) [Kosmo] [1997]
Taucher - Waters (Waters III) [Quad] [1998]
Stef, Pako & Frederik – Seaside Atmosphere (Evolutions Donkey Derby Mix) [Coded][1999]
Paul Van Dyk - For An Angel (Way Out West remix) [Deviant] [1998]
Space Manoeuvres - Stage One [Hooj] [1999]
Faithless - Salva Mea (DTs Mix Show Edit) [Arista] [1997]
BBE - Seven Days & One Week (Kai Tracid Remix) [Urban] [1999]
Three Drives - Greece 2000 [ZYX music] [1998]
Agnelli & Nelson - Hudson St [Xtravanganza] [2000]
X-Cabs - Neuro 99 (Additive mix) [Hook] [1999]
Moonman - Galaxia [Heat] [2000]|
Y Traxx - Mystery Land (Fontaine & Vern mix) [FFRR] [1998]

As a home for collective listening moments, the 9128.live label encourages artists to push their own creative boundaries by presenting new, experimental approaches. This ethos has been encapsulated perfectly by Dennis Huddleston with his latest album as 36 and the third release for 9128.live.

Weaponised Serenity was originally performed as part of the 9128 2-year anniversary show, as 36 reflects on his rave upbringing, creating what can only be described as an ambient take on the early 90's UK hardcore/jungle sound.

36’s signature, cinematic ambient music is often instantly recognizable to his most die-hard followers, even when he is found exploring techno under his SYNE alias. With this one-off set, aptly titled, Weaponised Serenity, Dennis has created an entirely new, surprising and innovative approach to his already beloved creative output.

The 9128 label aims to document significant live performances by artists that previously performed on the 9128.live platform. With recordings initially created for a singular collective listening moment, and often as part of a festival or takeover weekend, label recordings will re-present this music for further listening across various formats that best suit each release.

Now available as a limited edition Cassette Box (white box with metallic foil print) and pro-dubbed Cassette (100 copies), and digital edition. The album will hit streaming platforms in a couple of weeks.

Available on Bandcamp

Weaponised Serenity by 36

It's hard to dedicate good amounts of time to listening to physical records, so when I had a few hours this weekend, I decided to play some of my most recent records that have been piling up on my "un-filed" shelf (everyone has one of those, right? just-in, unorganized, unplayed, etc?!)

I hit the record button without any destination in mind and ported it into 9128.live (as I often do in these ad-hoc instances) and set forth with no agenda.

It starts a little unsure in style, as I try to feel out where I want to take it, and a few dodgy transitions for not knowing the records too well yet, but the universe quickly pushes me into an IDM/synth-heavy world.

I rarely post mixes off the cuff, as I normally obsess over the details and let the moment be the moment, but figured this one might be a good one to explore given the amount of recent LP material on Bandcamp. So here we are, warts-and-all. Enjoy!

Listen on Soundcloud, Mixcloud, or the ASIP Podcast.

astrangelyisolatedplace · ASIP - (Live vinyl mix on 9128.live, 9/25/2021)Download

Tracklist (by album/LP) + Bandcamp links (where possible)

Mu tate - Let Me Put Myself Together [Bandcamp]
Tapes - Silence Please [Bandcamp]
Anatolian Weapons - Mantili EP [Bandcamp]
Saphileaum - Transpersonal Experience [Bandcamp]
Niko Tzoukmanis - Hope Is The Sister Of Despair [Bandcamp]
Still In My Arms: Compiled by Bayu and Moopie (Boc Scadet - Sel Alterat) [Bandcamp]
Loess - Totems [Bandcamp]
Joe McBride & Jack Lever ‎– 21.12 / 30.03 [Discogs]
James Bernard/Influx - Reminiscence [Bandcamp]
Brabuhr Q-ih (Whylie - RDM17-05) [Bandcamp]
Helium - The Works E.P. [Bandcamp]
Niko Tzoukmanis - Hope Is The Sister Of Despair [Bandcamp]
Brabuhr Q-ih (Whylie - ABT22-01 [Bandcamp]
Ochre - An Eye to Windward [Bandcamp]
Nadia Struiwigh - Pax Aurora [Bandcamp]
Jo Johnson - Weaving [Bandcamp]
Anatolian Weapons / Hector Zazou with Laurie Anderson - An Afterthought / Into Your Dreams [Bandcamp]
Anushka Chkheidze - Halfie [Bandcamp]

If you’d have told me back when listening to Pop Ambient’s early versions, we’d be the future home of three Markus Guentner LPs…well.

Looking back, and with this new addition, I believe Markus’ trilogy will be considered a future defining set of ambient works.

Markus Guentner returns with his signature expansive ambient world-building, and the third concept album on A Strangely Isolated Place, titled Extropy.

Extropy marks the final chapter in an accidental triptych of Astronomy-related exploratory albums on A Strangely Isolated Place. From the creation of the Earth and the Moon in his debut album on ASIP, Theia; to the relationship the Earth holds with the greater Galaxy in the follow-up album, Empire (2018). To now, Extropy, and the indefinite growth of the life we hold so dearly.

A pseudoscientific prediction that human intelligence and technology will enable life to expand in an orderly way throughout the entire universe, the idea of Extropy has never been more relevant to the pace of today’s world. In what is a significant moment of reflection on the world we live in today, Markus has found comfort in what some may call his early, classic sound. Taking everything he has learned over the years, with ambitious collaborations tabled this time around, Markus has channeled a purer approach to production and the instruments chosen. The result is arguably his most powerful, atmospheric and reflective album to date.

Extropy by Markus Guentner Life, technology and the human race is changing at an exponential rate, and amongst Extropy’s most absorbing moments, the music encourages a deep need to reflect on where we have come, and where we are today.

Visit the release page for all links to buy and listen

We’ve fallen a little behind the monthly schedule with isolated mixes recently, but that’s mainly because the artists lined up have been working hard on some very special journeys for us all. Getting back into the swing of things now, our latest mix comes from an artist who I got to know through a small online group that obsesses over Trance music, and ultimately helped us bring to life our recent Rapture Network 9128.live takeover, helping organize and provide the brilliant logo/identity for the festival and t-shirts.

When he and I are not obsessing over all types of ambient and psychedelic trance music, Sunju Hargun has been busy launching his new label, Siamese Twins Records, which since 2020 has not only been an outlet for some of his own work, but also served as an introduction to many pan-Asian artists through compilations such as Kāthā, and Vinyan, presenting a spectrum of “Eastern psychedelia”. The compilations represent a great starting point for many new artists stemming from a local scene, and one that I am excited about digging deeper into through both Sunju and his new label curation.

Kāthā V.A. (ST๐๐๕) by Siamese Twins Records

“A hypnotic sound bath in which tribally-rooted ambient morphs into one entity. Drones, live instruments and esoteric textures are transformed into a contemporary Kāthā interpretation.”

Coincidentally, during my trip to Hidden Sounds record store in London, I had picked up a remix EP from Sunju’s label, that delved into the slightly trancier side of his tastes (and label). It was a fleeting visit where the shop owner Alex loaded me up with so many nice bits, that I had hardly stopped to look at the artists and labels in my bag and was purely grabbing stuff on sound - always an exciting tactic for exploring new records when you get them home and realize you ended up supporting someone you enjoy based on music alone.

Vinyan Remixes (SToo๔) by Siamese Twins RecordsIt’s with great pleasure to have Sunju behind the decks for this isolatedmix and a get peek into his own influences that undoubtedly shape his own productions, mixes and label output…

Hi Sunju, can you give us an intro to your musical upbringing?I’m of Indian descent, born and raised in Thailand with some roots from Japan. I find love and happiness in connecting with people through music. I co-run the Siamese Twins records record label focusing on psychedelic sounds from the East. I’m also a part of the Karma Klique collective organizing parties in nature across Thailand with proceeds going to local social causes.

I was surrounded by lots of music when I was young. Lots of people whose music is sought after in the local Thai jazz/blues wave were my father’s friends, and some of that music was connected to psychedelic rock as well. Around that time was also another side of music which was an integral part of my life, came from my mother’s passion for Indian art and traditional Hindu soundtracks from the early 60’s to 70’s.

We are both deep Trance fans at heart - but how did you get into the ambient side of music?At the time I was living in Shanghai, my friends would host intimate house sessions every other weekend to experience ‘trip’ gatherings with the music we felt connected to and grow our little prog-trance family by inviting other ravers we met along the way. Most of us were music nerds of the group that had to contribute to certain hours of the night to share our playlists, and I was mostly in charge of sunrise. Although I was not familiar with the term Ambient back then, instead referred to it as Reprise/Chillout'. Having the pleasure to breathe through the early 2000’s Prog era, I was heavily inspired by compilations from Global Underground, Renaissance & Producers like Satoshi Tommie, Spooky, Starkid, Leama, and Rabbit in the moon are just a few to mention that were a gateway to falling deeply in love with it.

Your new label Siamese Twins Records has made an excellent start, can you tell us a bit about the approach?Thank you so much, very happy to receive great support and words from you about it.
*It has been very community-driven as it's built upon mutual connections and friendships we made over the last five years running events with Karma Klique. We would invite artists from across the Asian region that gained our interest and with a similar ethos. There is a lot of mainstream electronic music here, but luckily there are also a lot of amazing artists, event organizers, record stores and labels that stubbornly do their own thing with a pure love for the art. While connecting with them often music they were working on was shared which we felt deserved a good home. This is also how we connected with Yoshi Nori who runs our sister label 禁JIN from Taipei and is one of the four co-founders of the Siamese Twins label.

The idea from the start was to embrace Asian identity and focus on the more psychedelic sound spectrum which can be both slow as fast. We release ambient, curated as long trips, compilations, but are also releasing trippy dancefloor orientated material ideally to be played at sunrise during a forest rave. We like to mix it up, stay weird. We care a lot about the total process from start to finish with lots of love and attention to detail. We approach it multi-dimensional and a way to have a dialogue with other expressions of Asian culture which shows in Taychin Dunnvatanachit’s artwork approach.

We hope to keep on building on these fundamentals. It’s very much our own thing and approach.*

What is the ambient music scene like in Thailand? How do you try and stay connected locally?*Yes, Bangkok is a special city that I'm happy to call home.

The ambient movement is still quite young, but in the past year alone there might have been a spark of interest towards it being more appreciated by locals mainly because of spending plenty of time at home during the lockdown period. There is also a wave of music makers and collectives popping out at the moment who are heavily promoting it - A wonderful shift, with the hope that it earns a feature in festivals and gatherings on the horizon. The community of quality electronic music in Bangkok is tightly connected through record stores like More Rice and Zudrangma that promote a wide variety of world and electronic music. With the addition of a brand new local online-based radio called “BCR” that has managed to bring artists and friends to share music together during this time when clubs aren’t allowed to open.
You're a great visual artist too, is your music and art symbiotic in approach?*

I would like to think there is an underlying secret connection towards some form of visual identity with my approach to music. In the past, I experienced moments of having these images built from dreams that became starting points to an idea of creating a track. Does not happen often, but when it does - I welcome it!

The mix feels very uplifting, especially near the end. What role does ambient music play in your life at the moment?Ambient music helped me to understand sound layering in a whole different perspective. Over the past two years, I've especially embraced more experimentation in the studio and introduced sounds from various cultures rooted in Asia. This helped a lot to push creative boundaries. When possible I try to spend time learning more about sound’s behavior as well and how daily noise from our surroundings can impact us. Keeping my eyes & ears wide open to observe the smallest details.

Where was the mix prepared and what is the idea behind it?The mix was recorded at home at approximately 10:30 am on a rainy morning. The concept behind the mix was to include tracks that are influencing me at the moment. I'm finding myself drawn towards music from Japanese producers more and more these days and wanted to share some of those discoveries alongside other favourite labels and promos from friends. The mix itself carries a story that feels fluid with a lot of focus on space, texture, and a hint of nostalgic memories. I hope the listeners will enjoy it and feel the same way.

~

Listen on Soundcloud, Mixcloud, or the ASIP Podcast.

astrangelyisolatedplace · isolatedmix 113 - Sunju HarganDownload.

Tracklist:

Adi - Haz
Androne - Signs of life
Yagya – Old Dreams And Memories
Yumi Iwaki - Sleepy Fog
Pataphysical - Moonlit Picnic
Vivian Koch - Who
Lemna - Moments In Eternal Recurrence
Celestial Trax - New Masters of Psychedelic Ambience
Avsluta - Meditation 16
BLNDR - Callopsis
Vivian Koch - Closed (Yosemite Version)
JakoJako - Ochros
Only Thingz - Eyes Wide Open
Kosei Fukuda - Sky Clair (Uchi Remix)
Underworld - Dark & Long (Most 'Ospitable)
Talvin Singh - Butterfly

~

Sunju Hargun | Soundcloud | Bandcamp | Instagram | Bandcamp (Siamese Twins)

When 9128.live launched two years ago, I envisioned a simple outcome - a place for me (selfishly) to tune in to music that I knew I would love, at any moment, be it at my computer, car or kitchen. If anyone else enjoyed it, that would be a brilliant bonus, but I had no idea it would end up where it is today; a little corner of the internet for some like-minded friends to collectively listen together, and present music (during a tough two years which undoubtedly helped us come together). And now a fledgling record label.

“The 9128 label aims to document significant live performances by artists that previously debuted on the 9128.live platform. With recordings initially created for a singular collective listening moment, and often as part of a festival or takeover weekend, label recordings will re-present this music for a greater audience across various formats that best suit each release.”

This weekend we launched our very first release by the brilliant Jo Johnson & Hilary Robinson, with a live recording originally aired for the Calma takeover in April 2021. It’s a spectacular piece of music that progresses through simple, expressive movements revolving around Jo’s synthesizer manipulation and Hilary’s piano. The album is now available on (the new 9128.live) Bandcamp.

Session One by Jo Johnson & Hilary Robinson

Photo by Emile Facey

It was organic in evolution, seeing artists prepare spectacular live sets specifically for airing on the platform. And so it was inevitable I would find my nature wanting to present some of this music to the world once more, be it on ASIP or otherwise. So, taking inspiration from concepts like the legendary John Peel Sessions, or the WXAXRXP collection, I decided to create something similar, where otherwise lost or archived live recordings are once more presented to the world as part of a greater curatorial, and the physical (or digital) formats they deserve.

In contrast to the (now big sister!) A Strangely Isolated Place label, I wanted something which didn’t obsess over the extended storytelling around the release too much. There’s no right or wrong way to present the music you personally believe in, but for 9128.live it really is about the moment, and re-presenting/documenting it. To me, it’s less about portraying a greater concept or narrative, especially as artists often don’t turn up to play live with a title or concept in mind. some are just jamming out! Therefore, the artwork for the 9128.label will remain generic with a simple and minimal approach similar to the main 9128 site. It remains to be seen what may deviate or develop over time, but I will likely keep vinyl as black and other things simple in presentation. We will not be strict in format approach and will choose a format that best suits each release, be it digital, vinyl, tape or CD. (This is also, as much for respect to the current vinyl situation too, which is clogging up the world and the ASIP label pipeline).

Musically, we already have some amazing releases lined up that look back across two years of takeovers. Not to give too much away right now, but the very first live performance on the platform will make up release #2 (and is off at press), and some unexpected deviations in style from familiar artists will be presented. This is an element I am particularly excited about; being an outlet for artists to present one-off works that they might not feel comfortable adding as part of their regular output or having the freedom to be more experimental (because it was a one-off live recording and not a new alias or something that needs overthinking).

As a result of this approach, the label will not adhere to any specific musical genres - just performances that have appeared on 9128.live before (of course, the curation for the takeovers is often contained, so naturally, there will be a focus). And due to the often extended nature of the live recordings, many will likely not be found on streaming services that cannot accommodate such.

Also not forgetting that we have a simple subscription as part of 9128.live which has enabled us to pay fees to artists to re-upload their sets for an exclusive period. For now, I see this as being pivotal to how 9128.live will continue to evolve, as we are able to present more extensive recordings to subscribers that may also include DJ sets and recordings with previously released/exclusive material. Going forward 9128 subscribers will get a discount on the label, should you wish to join and help support us and the artists this way. The label will focus on all-new material for a greater audience.

On hindsight, the 9128.live label evolution was a similar intention to how ASIP originally began; a simple intention to capture music I enjoyed, a place to revisit time and time again to document my listening adventures. And where both started out as small (maybe self-serving!) ideas, both seem to have grown to appeal to a greater audience, which I am extremely thankful for. Especially to the artists who believe in these new ventures enough to trust me with their music and present it to the world.

A big thanks to Jo Johnson, Hilary Robinson, Rafael Anton Irisarri and Molly Smith who have helped get the 9128 label off and running.

See you in the chat.

Following his 2018 Earth House Hold album ‘Never Forget Us’, Brock Van Wey returns with another exploration of the sounds and influences of his early years that come to life through a unique combination of ambient and deep (DEEP) house.

Brock often jokes each time he sends a record over to me that his music gets deeper, but he really mean’t it with this one. His deepest, darkest iteration of the EHH sound yet, now available on two 2LP versions and digital.

astrangelyisolatedplace · Earth House Hold / Daybreak Basements and Broken Hearts (ASIPV031) [PREVIEWS] View the album release page for full details, previews and links to buy.

View fullsize

View fullsize

View fullsize

View fullsize

View fullsize

View fullsize

View fullsize

View fullsize

View fullsize

View fullsize

View fullsize

View fullsize

View fullsize

View fullsize

View fullsize

View fullsize

In many ways,James Bernard’s Unreleased Works are one of ambient music’s biggest crimes. They’ve been sat in James’ DAT archives for years now, with only a few close friends experiencing their greatness through a very limited CDr. After going through the process of this release, I came to understand why. Not only are these extremely personal to James, and remind him of tough times in his life, but being the perfectionist he is, maybe he didn’t see them worthy of a full release one day. How wrong he was!

These are, unbiasedly, some of the greatest ambient electronic tracks I have ever heard. And, yes, quote me; up there with the best of FSOL, The Orb or any 90’s pioneers that nailed that era of classic chill-out sound.

Needless to say, I am beyond proud to finally be releasing James’ Unreleased Works, primarily as a listener, but also as a label.

It was an exciting process to get to this point. The original album has 27 tracks, which wouldn’t work even on two 2LPs. So we cut-out some of the originals, and then sequenced the remainder across two thematic editions - a more ‘Acid;’ leaning 2LP (Acid Dreams) and a more organic, other-wordly edition (Elemental Dreams).

A big thank you to Rafael Anton Irisarri for mastering, and Steve Hyland (Geometric Love) who created some magical artwork for this release - taking our brief and ideating a box, unearthed after years, and coming back to life through various states of decay and forms. This is also our first 2LP presented in reverse-board (to some people’s questions!) to imitate the old sketch-book feel and match the concept.

Both versions combine in one 20-track digital album, and individually across two 2LP editions, now available.

See the release page for more info and links to buy.

Unreleased Works 1994-1999 (Volumes 1 & 2) by James Bernard

ASIP / Europe (ASIPV002) release, when Europe, was…. Europe.

Important - please read the below if you are based in the UK or the EU and buy records from us here at ASIP.

* UPDATED As of September 2nd 2021 - We now have an IOSS number from Bandcamp which will be applied to all of our packages going go the EU. This should* alleviate many of the problems we had previously outlined here, however we still strongly encourage European customers to avoid buying from us in the USA. (If you are a label/artist seeking the IOSS number, please email Bandcamp).

The EU has made substantial changes to cross-border VAT and import regulations starting on July 1st, 2021.

Potential impacts to shipments going to the EU/UK starting on July 1st, 2021:

IN SUMMARY: You may be asked to pay custom/duties upon receipt, due to new EU regulations that are not yet 100% clear. We know for certain, some records are taking 3+months to get into the EU and some have not been delivered whatsoever.
Businesses shipping to the UK/EU now need both a VAT and an IOSS number when importing goods into the UK/EU. (Even for goods less than or equal to €150). We have the IOSS number from Bandcamp and will be applying it to outbound records. Whether that is enough, remains to be seen so far.
Going forward, if you order a record from the ASIP Bandcamp store into the UK or EU, we cannot take responsibility for either a) records not arriving and stuck in customs, or b) records arriving and you being asked to pay extra duties or customs charges upon arrival.
If a record is returned to us, we will politely ask you to pay the postage once more, as this is not a cost we can continually subsidize (often at $30/40 each time).
UK/EU buyers, we ask that you buy records from Juno, or One Eye Witness, or any other store in Europe - see our full list of stockists here.
You can still buy Digital from our Bandcamp store, this is not impacted.

We know there are additional complications to this, such as exclusive availability on our Bandcamp, other charges in your country, and shipping prices, but none of us are in a good situation right now so please be understanding. No one seems to be benefiting from this other than the governments imposing these mandates. Also please consider that every other label and artist in the US is likely in the same boat (whether they know it yet or not).

Thank you for your understanding and support going forward as we try and navigate this new situation.