Fluid Radio: Recent Episodes
Fluid Radio
Focusing on experimental genres, we aim to provide a space to share in the creative process and spread the experience of inner exploration through musical expression.
Benjamin Miller - Shevarim (Fractures)For brass quartet (2024)...The shofar, an ancient horn traditionally fashioned from a ram’s horn, has long functioned as an instrument of signal, rupture and resonance. Across centuries, its raw and unstable timbre has carried associations of warning, remembrance, awakening and return. Rather than focusing on its liturgical role, Shevarim (Fractures) draws upon the physicality of the shofar’s voice itself: fractured breath, broken calls, unstable overtones and the psychological weight of repetition.The title Shevarim translates as “breaks” or “fractures”, one of the three principal shofar calls, formed from three broken cries often associated with weeping or rupture. Alongside the sustained Tekiah and the urgent, fragmented T’ruah, these archetypal forms become structural and rhythmic material within the work.Witzthum reinterprets these ancient sonic gestures through brass quartet, treating the ensemble less as a traditional chamber formation and more as a resonant body of breath, pressure and metallic vibration. Attacks splinter and dissolve, fanfare-like figures emerge only to collapse inward, and moments of density give way to exposed silence and suspended harmonic space.Rather than presenting the shofar as a symbolic religious object, the work approaches it as a primal acoustic phenomenon, a sound positioned somewhere between human voice, alarm signal and collective memory. Through cycles of deconstruction and reconstruction, Shevarim (Fractures) inhabits a liminal territory between noise and utterance, intimacy and distance, fragmentation and repair.The result is a plaintive and deeply physical work that reflects upon instability, dislocation and the fractured emotional texture of the present moment, while searching, through resonance itself, for the possibility of connection.
A new collaborative album by Sainkho Namtchylak and Mirco Magnani. Beyond Fine Lines is a deeply introspective and evocative album that explores the boundaries between life and death, light and darkness, chaos and stillness. Blending poetic and symbolic texts with immersive, ethereal soundscapes, the record unfolds as a contemplative journey into the emotional and philosophical depths of the human experience.At its core is the extraordinary voice of Sainkho Namtchylak, whose unique vocal language moves between hypnotic tones, spoken word, and powerful improvisations rooted in Siberian and Tuvan traditions. Her voice becomes a true instrument, shifting from intimate whispers to primal expressions-carrying lyrics that reflect on hope, toughness and the cyclical nature of life.The sonic framework is shaped by Berlin-based composer Mirco Magnani, whose compositions create a refined balance between structure and improvisation. His work provides a cohesive and dynamic space where voice and sound interact in a fluid and expressive dialogue. The collaboration began in 2023, following an initial encounter during the production of Zarathustra – Der Grosse Mittag, and evolved into a full-length project recorded in Berlin later that year. The album developed organically, with vocal lines, overtone singing and spoken word emerging in direct response to Magnani’s evocative compositions.Beyond Fine Lines is not an album that demands attention, it invites surrender. A sonic meditation on presence and transformation, it offers listeners a space of stillness and reflection, where introspection becomes a shared, universal experience.Credits:Music performed by Mirco Magnani Voice, lyrics, spoken word by Sainkho Namtchylak Produced and mixed by Mirco Magnani at Undogmatisch, Berlin Mastered by Ken Karter at Decode Studio Original artwork by Valentina Bardazzi Track 1, 2, 7, 8, 9, 10: Music by Mirco Magnani, Lyrics by Sainkho Namtchylak Track 3, 4, 5, 6: Music by Mirco Magnani, Sainkho Namtchylak
There is a point at which something familiar begins to dissolve...Not all at once, but slowly, a quiet erosion. Edges soften. Meanings drift. What once held form becomes uncertain, and in that uncertainty, something else begins to surface.Benzalkonium inhabits this threshold.Across two discs, EPIMYTH traces a landscape of pressure and distance, not as narrative, but as presence. The work does not speak directly of its origin, but carries its residue throughout: a tension held beneath the surface, an undercurrent that never quite settles.The first disc is dense to the point of saturation. Sound gathers in thick, collapsing layers, a continuous field without clear entry or release. It presses inward, blurring the boundary between listening and being inside the sound itself. There is no relief offered here, only immersion. And yet, within that immersion, a strange stillness begins to take hold, not calm, but suspension.The second disc withdraws, but does not escape. The weight disperses into fragments, into quieter, more porous forms. Texture replaces force; space becomes an active presence. What remains is a kind of after-image, the imprint of something that has already passed, but continues to resonate. It neither resolves nor resists. It lingers.Together, the two discs exist in quiet opposition. Not as contrast alone, but as parallel states, density and dispersal, proximity and distance. One does not complete the other. They remain unresolved, suspended in relation.Benzalkonium does not offer clarity. It stays with the moment where clarity fails.Presented as a limited double CD edition, each copy is assembled by hand using raw, tactile materials. The physical object mirrors the work itself: restrained, weathered, and intentionally unresolved.No repress.17:22.500/0:38.500/12:01.000/7:30.000/2:28.000 Audio/Mixing/Mastering - EPIMYTHDedicated To Lou Reed
There is a quiet moment as winter begins to loosen its grip, when the frost softens, the light lingers a little longer, and time seems to gently unfold. With 'Piano Distance', Japanese composer Nakamura Hiroyuki invites us into that fragile threshold between seasons.A pianist, composer, and visual artist working at the intersection of acoustic instrumentation and electronic processing, Nakamura’s work dissolves boundaries, between sound and environment, between memory and presence. His compositions weave together piano, field recordings, and textured electronics, forming immersive soundscapes that feel as much like places as they do pieces of music.Where earlier works traced a dialogue between cultures and sonic traditions, 'Piano Distance' turns inward towards stillness, reflection, and quiet transformation.This is music of thaw.Delicate piano phrases surface like meltwater, tracing gentle paths through layers of drifting texture and soft harmonic haze. Sounds emerge, linger, and dissolve, carrying with them the subtle tension of something changing, something opening.Time no longer feels suspended, but unfurling.Moments stretch and release, folding softly into one another, echoes of winter still present, yet slowly giving way to light. There is a tenderness here, a sense of transition: of memory beginning to fade, of stillness giving way to movement, of endings quietly becoming beginnings.Nakamura’s process remains intuitive and deeply atmospheric. Rather than imposing structure, he allows the music to gather and recede naturally, like frost melting from a surface, revealing what lies beneath. The result is a work that feels both intimate and quietly expansive-a meditation on impermanence, on seasonal change, and on the gentle passage from stillness into motion.With 'Piano Distance', Nakamura Hiroyuki joins the Fluid Audio catalogue with a release that resonates with its ethos, yet carries its own distinct clarity: restrained, luminous, and deeply contemplative. This is music for the in-between-for the first warmth after cold, for the slow return of light, for the moments when the world begins again.
Fluid Audio is proud to announce the forthcoming release of 'Batiledhu', a new work by Aaron Martin.Composed for a quietly enigmatic film shot in Sardinia, Batiledhu unfolds as a deeply textural and contemplative body of music, existing both in service to the moving image and as a standalone meditation in its own right.Co-directed by photographer and filmmaker Nicol Vizioli, the film inhabits an elemental landscape, coastal, ancient, and quietly surreal. In response, Martin’s score leans into restraint and atmosphere. Subtle strings breathe beneath open spaces; tones linger like sea air against stone. Rather than guiding the narrative overtly, the music hovers at its edges, creating emotional undercurrents that feel both timeless and immediate.Recorded with Martin’s characteristic sensitivity to tone and decay, the compositions are sparse yet immersive, a study in patience, tension, and unresolved beauty. The Sardinian terrain is not illustrated so much as absorbed; its textures and silences become part of the music’s internal architecture.The visual material for the release draws directly from Vizioli’s photography for the film, preserved with care and minimal intervention to honour its integrity. The artwork design has been prepared in collaboration with Ryan Keane, maintaining a cohesive and understated visual identity.Audio mastering has been handled by Ian Hawgood, ensuring depth, clarity, and spatial presence while preserving the fragile dynamics at the heart of the compositions.Following the film’s festival premiere, Batiledhu will be released by Fluid Audio in a limited edition, custom-made format, presented in bespoke packaging, hand-assembled and carefully produced in keeping with the label’s commitment to tactile, archival objects.With Batiledhu, Aaron Martin continues to refine a language that is intimate, elemental, and quietly transcendent, a work shaped as much by silence as by sound.Credits: Music - Aaron Martin / Mastering - Ian Hawgood / Film - Nicol Vizioli / Artwork support - Ryan Keane / Design - Daniel Crossley
Too many new worlds had been discovered; there was a latent wish not to find anything more. Over the reports of explorers on land or on sea there lay a sense of disappointment, an unlocalized pain of vast distances more important than anything to be found beyond them. - Robert CantwellKirill Nikolai is a Ukrainian American composer currently based in Seattle. Solennelle marks his first new music in nearly a decade. The work occupies a quiet space between the considered minimalism of Alvin Lucier and Éliane Radigue, and the haunted tonal drift of Gavin Bryars and The Caretaker.Muted sine wave test oscillators hum with the distant steadiness of obsolete laboratory equipment. Sustained clarinet multiphonics hover at the edge of breath. Tape gradually frays and buckles, evoking both motion and suspension - a landscape in which time neither advances nor recedes.Silence plays a central role. Absence becomes structure. Tone dissolves and reforms. The composition unfolds with patience, eventually thinning and eroding at its own edges.“There really is silence, a ten-second void like an inhalation of breath, preceding a soft return, like a ceiling fan in motion… the composition begins to crumple, burning at the edges… distorted and eventually turning into ash.” - Richard Allen, A Closer ListenFollowing its initial digital release on the French experimental label Falt in early 2026, Fluid Audio presents Solennelle as a limited edition compact disc housed in a hand-selected vintage cartographic cover. Each edition features vintage map fragments, individually sourced and trimmed, making every copy subtly unique.Solennelle for oscillators, clarinet and tape (2025)Kirill Nikolai - composition, sine oscillators, tapeSelene Vass - clarinetRecorded and mixed by Kirill Nikolai in Seattle, WA, 2025Mastered by Alan F. Jones at Laminal Audio, Tracyton, WA, 2025Design - Daniel Crossley
jeremias' will appear as a limited, hand-assembled physical edition, created with the same care and attention to detail that defines the label’s ethos - a tactile companion to an intimate and reflective listening experience.
Fluid Audio presents 'Broadcasting From Nowhere', the debut album from Ondelunghe, a collaboration between Tokyo-based multi-instrumentalist Hiromu Yamaguchi and Italian composer Guido Lusetti. Conceived not through physical proximity but through distance, correspondence, and quiet exchange, the album feels like a message transmitted across frozen air-intimate, fragile, and partly obscured by static.Yamaguchi’s contributions-piano and field recordings, carry the brittle tenderness of winter breath. Keys sound as though pressed with hesitation, leaving behind vapour trails of melody that threaten to vanish the moment they form. The recordings themselves crackle and hiss, as if weathered by frost, capturing the small, persistent noises of a world bracing against silence: creaking surfaces, shifting air, something moving just out of sight.Lusetti’s work-what he refers to as electronic pointillism, does not counter these gestures but suspends them. His tones drift like cold particulate matter, dust motes in a beam of static, circling the piano without ever enclosing it. Occasionally, other voices, Henrik Meierkord’s cello, Ed van der Berkel’s trumpet, Daniele Varelli’s shakuhachi-surface not as performers but as spectral presences. Their sounds arrive like signals from an abandoned transmitter, lingering momentarily before dissolving back into the dark.The album unfolds slowly, as though aware that silence has weight, and too sudden a movement might shatter it. Notes hang, unravel, and fall away like light snow. The music never insists; it waits. To listen to Broadcasting From Nowhere is to tune into a frequency that feels both familiar and unreachable, a broadcast sent from a place you’re not entirely sure exists, or ever did.Credits:Hiromu Yamaguchi: piano, field recordingsGuido Lusetti: free electrons, found voicesHenrik Meierkord: cello Ed van der Berkel: trumpetDaniele Varelli: shakuhachi Mixing and mastering: Hiromu Yamaguchiwww.fluidaudio.co.uk
Recorded between March and June of this year, Future Flowers is both a reflection and a rebirth - a gentle yet resolute act of hope from composer Hans Nox.Some of these pieces have lived quietly for years - written a decade or more ago, resting like seeds beneath the soil. Others emerged spontaneously during the recording sessions, unfolding in real time as Hans allowed instinct and feeling to take the lead. The result is an album that bridges past and present, memory and anticipation - where old melodies find new breath, and improvisation opens unexpected pathways.“I wanted the entire experience to be more free-flowing, more playful, more adventurous than the usual cautious approach I take to composing,” Hans writes. “Rather than regretting where I’ve been or the paths that led nowhere, I’ve chosen to trust my Savior and strive toward the brightness ahead. Yesterday is gone - tomorrow is coming. How much better it is to pursue confidence and courage.”That sense of spiritual renewal and creative surrender runs through every note. There is a tender humanness here - fragile piano phrases that pause as if mid-thought, ambient textures that drift like light across water, melodies that carry both ache and affirmation. Even the silences seem to speak, offering a kind of stillness that listens back.Future Flowers is, in many ways, an album about release - about letting go of the weight of the past to make room for something more open, more alive. It celebrates the decision to move forward with faith and boldness, even when the path ahead is unclear. The music does not rush; it unfolds patiently, like petals opening in the sun - quiet gestures of trust and becoming.Like its title suggests, Future Flowers invites us to believe in renewal - to tend to the unseen roots beneath our lives, trusting that beauty will bloom again in time.In keeping with the spirit of the music, this release has been lovingly hand-assembled in a limited Fluid Audio edition, pairing Hans Nox’s compositions with bespoke artwork and tactile design. Natural textures, archival papers, and hand-numbered inserts bring a physical warmth to the experience - each copy a small act of devotion, crafted with the same care and intentionality that shaped the album itself.Gentle, honest, and filled with quiet light, Future Flowers is not just a collection of songs - it’s a testament to resilience, to grace, and to the faith that something beautiful still lies ahead.Music - Hans NoxMastering - Ian HawgoodDesign - Daniel Crossley
Gray Acres has always been a space for subtlety and restraint, distinct from the denser, more cinematic atmospheres of Hotel Neon. Where that project often explores process, technique, and narrative arcs, Gray Acres tends to be produced "in the moment" and stays still. It lets you think for yourself. Soft Erasure especially embraces that characteristic stillness.This is the first full-length Gray Acres album since 2021’s “Dreams and Phantoms.” It’s a project that came together slowly with an intentionally light touch…more about dissolving sounds than constructing them. Subtraction vs. addition.The title Soft Erasure came about as we noticed a recurring quality across the recordings: a sense of tangible things like guitars, pianos, and strings fading, softening, and slipping just out of reach as we shaped and processed them. The music feels like it’s constantly on the verge of vanishing, or being gently wiped away into an indistinct atmosphere. That idea of erasure not as violence, but as gentleness, decay, or transformation, felt like the right metaphor to latch on to. It speaks to memory, distance, and time, and how all of those forces shape and reshape our perception of sound and self.Musically, this album is built mainly from resampled acoustic instruments: delicate piano lines, sustained strings, frozen and looped guitar textures. Much of the source material was recorded clean, then stretched, blurred, and layered until it became something abstract…like an impression of a song, or a half-remembered phrase. In some ways, we were trying to find the most washed-out and ephemeral version of each sound. The result is a record that is designed less for narrative and more for immersion.If you’ve followed this project before, I think you’ll hear a natural continuation of its aesthetic. But if you’re new to Gray Acres, this is a great entry point. It’s music that tries not to demand attention, but rewards those who tune in closely for a while.Gray Acres - Soft ErasureMusic by Andrew & Michael TasselmyerMastered by Alex at Quiet Details
Fluid Audio announces 'Series Of Room', the quietly moving new release from Italian composer Grotta Veterano. Mastered by Ian Hawgood and featuring cover artwork by Danish artist Øjerum, the album offers a deeply introspective journey through sound, memory, and emotional architecture.Initially recorded as a series of private piano sketches - “written improvisations, controlled sketches” - the tracks were never intended as a cohesive album. Yet when brought together, they began to resemble something whole: a constellation of internal spaces, unresolved and beautifully unrefined.“They ended up becoming a series of rooms,” writes Grotta Veterano, “each one made of memory, of recurring fragments from the past, reconstructed over time. When I say ‘a series of rooms,’ I mean the ones we carry inside us, not physical spaces.”Each piece unfolds like an overheard thought, a door left ajar. There’s no grand statement here-only presence, absence, and the trace of something lived. With its unadorned fragility and its refusal to over-explain, Series Of Room speaks in the language of quiet honesty.The album is presented in a meticulously handcrafted edition of 50 copies, drawing from the same tradition of tactile collage and analogue storytelling that has defined recent Fluid Audio editions. Each set features original Ordnance Survey map segments, cloth-backed and carefully bound, forming a unique shell for each copy. Also included are custom-designed A6 prints on heavyweight uncoated stock, vintage photographic slides, black & white travel photographs, photo negatives, and salvaged book pages from. Fragments of reel-to-reel field recording tape, antique travel stubs, and ephemera gathered from forgotten drawers complete the assembly.All elements are housed in a hand-waxed, stamped, scented archival bag, individually numbered. No two packages are alike. No repress.Audio: Grotta VeteranoMastering: Ian HawgoodCover artwork: ØjerumDesign: Daniel Crossley
Fluid Audio presents Giulio Aldinucci & Matteo Uggeri - The Promise of a Threat coming soon on Fluid Audio...In The Promise of a Threat, two veteran composers of ambient and electroacoustic music - Giulio Aldinucci and Matteo Uggeri - converge on a collaborative terrain that is at once intimate and immense, reflective and unsteady, beautiful and unsettling.Created between June 2021 and early 2022, and mastered by Aldinucci in 2025, the album stands as a slow-burning document of digital and emotional correspondence. It reflects the language of ambient music not as static wallpaper, but as a deeply expressive form - one that allows silence and signal, memory and disturbance, to coexist within the same fragile space.A Digital Dialogue Across Distance...The entire work emerged through remote exchanges between Aldinucci (based in Siena, Italy) and Uggeri (Milan, Italy), unfolding gradually through shared sessions, sketches, and iterations over time. The process was not unlike the movement of tectonic plates - imperceptible at first, yet with weight and intention. Layers of processed field recordings, abstracted rhythms, and spectral textures accumulate into dense yet transparent forms. Every detail is traceable, yet elusive.Giulio Aldinucci, known for his deeply spatial drones and sensitive treatment of field material, builds immersive sonic beds that seem to hover just above the surface of the Earth - simultaneously grounded in place and untethered from time. Matteo Uggeri, by contrast, applies a more tactile touch: assembling beats, samples, and environmental recordings into patterns that give pulse and tension to the atmosphere.Together, their styles intersect in subtle and surprising ways - sometimes bleeding into one another, at other times standing apart in contrast. The balance between order and entropy, harmony and noise, creates a dynamic that speaks to the album’s title: The Promise of a Threat. Beauty does not arrive alone. It is always shadowed by its inverse.Processes of Presence and Absence...Across the album’s runtime, the listener is drawn through zones of dissolving melody and shadowy rhythm, passing through spaces that feel neither entirely natural nor entirely artificial. A drum sample on Track 2, provided by Andris Brinkmanis, adds a skeletal percussive element - a quiet agitation beneath the calm. The rhythms are not dominant but suggestive, like distant industrial echoes or memories of forgotten structures.The artists manipulate the digital medium not as a tool of perfection, but of erosion and transformation. Hiss is preserved. Glitches are welcomed. The human ear remains present in every detail. The processing - granular, filtered, stretched - is not ornamental but fundamental, a way of sculpting emotion out of signal. Field recordings are often submerged, embedded beneath layers of drones and rhythms, yet their presence adds a layer of organic residue - a trace of wind, rust, or breath beneath the circuitry.A Tactile Offering...True to the ethos of Fluid Audio, the physical release of The Promise of a Threat will be crafted with great care and material sensitivity. Expect a limited, hand-assembled edition that honours the intimacy and intricacy of the music - an object to be held, as much as heard. Full packaging details and release date will follow.For now, The Promise of a Threat lingers just at the edge of hearing - like the low hum of an incoming storm, or the quiet reassurance of knowing something is coming, even if its shape remains undefined.www.fluidaudio.co.uk
Tament is an exploration of sound as both memory and possibility-an attempt to blur the boundary between the concrete and the imagined, the heard and the felt. This album is born out of an ongoing curiosity: what kind of dialogue can exist between the raw, unfiltered audio of the everyday and the abstract sonic worlds we construct through synthesis and production?At its core, Tament weaves together field recordings, modular synthesizers, and software-generated textures. The ambient recordings are drawn directly from the soundscapes that surround me: the footsteps echoing through familiar streets, fragments of passing conversations, distant traffic, the subtle rhythms of urban life. These are the sounds that often fade into the background, yet they form the soundtrack of my existence. By capturing them, manipulating them, and placing them in new contexts, I aimed to reframe the ordinary-to open a space where the habitual becomes mysterious, and the familiar is rendered strange.This project is not about documentation or representation. Rather, it’s about translation. I wanted to create an alternate version of the spaces I move through-a kind of dream logic of place, where reality is stretched and reassembled into something more ambiguous, immersive, and open-ended. In doing so, Tament becomes a liminal zone, a place between places.Just as important as the sound itself was the intention behind its structure-or rather, the lack of imposed structure. I deliberately avoided giving the tracks a fixed narrative or emotional direction. There are no clear themes or guiding concepts here. The music offers a frame, not a story. It is a space left intentionally undefined, allowing each listener to encounter it without expectation, to inhabit it on their own terms. In that sense, Tament is less an album and more a set of sonic invitations.It is about listening closely, noticing what usually slips past us, and discovering new meaning in repetition, texture, and silence - GlincaMusic, production, and mixing by Tazio IacobacciMastering by Sebastiano D’Amico at Zen ArcadeTrack 8 - 'Horocele', features Francesco Canè on modular synthesiserDesign by Daniel Crossley
This album is the culmination of an ongoing exploration of musical and sonic concepts, including mutation, evolution over time, generative patterns, sampling and re-sampling. Several tracks from the album have been performed, presented, and utilized in various formats, such as concerts,performances, or installations-either in their entirety or specific sections.The six tracks represent the distilled essence of a creative process that commenced in 2020, characterized by continual iteration, variation, and the transformation of formless clusters of melodies, harmonies, or mere textures into somewhat finished compositions.Each musical piece has been a companion to me for an unusually extended period (something it rarely happens in my process). Much like features in a landscape, these tracks have shaped a geography of memories, places, and fleeting moments over an exceptionally prolonged time in my life (with some, like Bancal, tracing back to 2014). Consequently, the personal and emotional weight they carry is significant and necessitates being acknowledged to make room for the new and unexpected.In Valencian, "una geografia temporal" translates to “a temporary geography."
'Petrichor' is the third studio album from long-time collaborators James Osland and Andrew Heath, and serves as a natural continuation of their creative partnership following the release of Elysian Fields (2024), also on the esteemed Fluid Audio label.The two artists were initially brought together by a shared admiration for each other’s work within the ambient music community. Andrew Heath is an established figure in the genre, with numerous albums and EPs released on respected imprints such as Disco Gecko, Whitelabrecs, Rusted Tone Recordings, Elm Records, and White Paddy Mountain. James Osland, meanwhile, is both an accomplished artist and the founder of Elm Records, a boutique label known for its thoughtful curation. His personal discography includes releases on Unknown Tone Records, Whitelabrecs, Flaming Pines, and Dewtone Recordings, among others. Osland’s practice explores the intersection of sound, memory, and place, working across both sonic and visual mediums.Petrichor began to take shape during an exchange of ideas between the two artists in the late winter and early spring of 2024. As Andrew shared loops and sonic sketches, James found himself listening from his studio, watching the unrelenting English rain from the window. These moments of stillness-quiet reflections on the shifting of seasons-informed the mood and direction of the album.What emerged is a collection of slowly evolving compositions, revealing gentle melodies, nuanced textures, and soft drones-much like the tender unfolding of early spring leaves. The album carefully weaves together field recordings, organic textures, and synthesis to create immersive soundscapes that capture the subtle beauty and contemplative atmosphere of seasonal change.
Blurstem’s 'Remnants and Whispers' is an album of memory-of echoes and fragments, of moments gathered and reshaped, of the past carried gently into the present. Released on Fluid Audio, renowned for its exquisitely crafted physical editions, this collection of soundscapes and textures is imbued with nostalgia, intimacy, and the quiet weight of time.The album weaves together the delicate and the vast, the small and the sweeping. Tiny, almost imperceptible guitar plucks flicker like candlelight amidst expansive ambient washes. The sonic palette moves seamlessly between lo-fi warmth and pristine clarity, embracing the imperfections of cassette recording and the wobbly, warbled charm of home videos from a lost era. Each track breathes with a human touch-organic instruments processed and reimagined, from tremolo strings pitched and resampled on “Tethered” to layers of sound that feel like old photographs brought to life.At its heart, 'Remnants and Whispers' explores the idea of remnants-what we carry with us through life, the fragments of friendships, memories, and fleeting moments that shape who we are. Much like the album’s sonic construction-built from past sketches, ideas, and textures revived and given new form-the music mirrors the way we collect and reinterpret our own experiences over time.This ethos extends beyond the music itself into its physical presentation, with Fluid Audio’s deluxe edition incorporating 1920s sheet music and book fragments as old as the 1890s-historical relics that feel like the perfect visual counterpart to the album’s themes of memory, loss, and renewal. The tactile nature of these artifacts deepens the listening experience, making 'Remnants and Whispers' not just an album, but a tangible connection to the past.Mastered on Bartels’ late ’60s analog tape machine, the album’s final touch further enhances its warmth and character, adding an unmistakable depth and timeless quality to its sonic palette.A meditation on change, nostalgia, and the beauty of imperfection, Remnants and Whispers is an invitation to pause, reflect, and listen-not just to the music, but to the quiet echoes of our own stories.Music: BlurstemMastering: BartelsDesign: Crossleywww.fluidaudio.co.ukwww.blurstem.bandcamp.com
Originally, both of these long form tracks served as the basis for sound baths I performed for friends and families. I would hit play and then make some sounds in the physical space, focusing on objects in the environment (rustling the leaves on a bush, hitting a metal fence with a stick, clicking stones, etc). I always intended for these tracks to also be able to hold up on their own, so here we are. When is a song done? Don’t we just arbitrarily decide when to call it? I like the idea of this only being part of the “song”, and that the “song” is always changing. After each performance I added little pieces of the fresh live sounds into the pre-recorded mix. There will likely be more performances, so the tracks will change further. This is just where they are now. And I like that.As I worked on these tracks over the last few years, the theme of impermanence became more clear to me. My father was lying on the grass in my parent’s yard for the first performance. That was in 2020, during the pandemic. Recently, my father passed away, so I’m dedicating these songs to him. He was a landscape architect, and I always loved how that sounded, and I always loved him.Performed, recorded, and mixed by nat hawks between 2020-2024.Dedicated to dad.- padna
The Moorish Shield is a subjective navigation. The main beacon on this poetic and haunted route is a villa from the beginning of the twentieth century, called La Mauresque, located in Saint-Jean-Cap-Ferrat, on the French Riviera. Its owners (past and present), its location (nested at the end of the cape, almost invisible…) and the spirit of this place (where, through the ages, the stunning beauty of the landscape always hides a darker dimension…) give matter to sonic explorations, based on field recordings, out of tune pianos, radio interceptions, ghostly tones and tape manipulations. The title comes from a Moroccan symbol placed at the entrance of the villa by its most famous owner: novelist William Somerset Maugham. The main traditional function of such a symbol - central to Maugham’s life - is to protect from the evil eye, while deflecting the evil power back onto the malevolent. The eleven tracks of The Moorish Shield explore this ambivalent relationship between sun and shade and question what a Riviera landscape hides in the Mediterranean bright light, behind the perfectly maintained hedges, through the passing of decades.Written and produced by squncrMastered by Julien Bayle/Void LabelDesigned by Daniel Crossley
A New Musical Journey for Sleep and Meditation...Prepare to embark on a transformative auditory experience with the release of 'Musquy (dream)', a groundbreaking composition designed to accompany moments of sleep, meditation, and deep relaxation. Crafted with intentional gentleness and an unparalleled sensitivity to the human spirit, this music serves as a gateway to release and renewal.Emmanuel’s vision for 'Musquy' centers on the delicate balance between tranquility and inspiration. From the soft melodies to the carefully orchestrated transitions, the music creates an environment conducive to profound inner peace.Perfectly suited for individuals seeking solace from the noise of daily life, 'Musquy' provides 'a gateway of release in which dreams may awaken in calm and delicate grace'.The composition’s intricate layering and gentle dynamics are the result of using natural soundscapes, presented in a 24 hour installation by Emmanuel. The result is an immersive experience that gently cradles the listener’s senses and promotes holistic well-being....Emmanuel Witzthum - vocals, electronics, masteringDaniel Crossley - Design...The artist...Emmanuel combines work as composer, artistic director and creator of artistic digital experiences. He currently serves as Head of Creative Development for the FeelBeit culture house and as the curator of the creative resident program at the ZEISS Innovation hub at KIT.He has created artistic collaborations with partners such as Ensemble Modern, Frankfurt; IRCAM; Google; The Guggenheim; The Alvin Ailey Dance Company; Enjoy Jazz Festival; The Future en Seine Festival; The Matadero; The Jewish Culture Festival, Krakow, The Jewish Museum, Berlin; The Pacific North Western Ballet; The ZKM and ZEISS amongst others.He has performed as violist with the Orpheus Chamber Orchestra in NYC, The Berlin Staatskapelle, Ensemble Intercontemporain amongst others. He has recorded for Deutsche Grammophon under Pierre Boulez with Ensemble Intercontemporain.He is a consultant and lecturer on such topics as - transformation processes in the arts and strategic business development in the arts in the 21st century.www.fluidaudio.co.ukwww.witzthum.org
The 'Noise Print' project began from a desire to create deep, earthy textures. I had an image of walking along a narrow forest path and being very present in the moment. For this album I changed my usual approach by setting a one-hour time limit for each studio session. As soon as I set this limitation my ‘chattery brain’ started stirring up doubts about my ability to work under these confines- an hour wasn’t long enough to create ‘amazing music’ and that setting such restraints would be stopping me from producing quality work. However, once I started working, a different, more grounded version of myself emerged-more sure footed and less neurotic and anxious, focused on the present moment rather than getting anxious over future outcomes. And the outcomes were good, I was really happy with the material I was creating and the whole of Noise Print was made in these sessions. While I made the album I started to think about identity, shadow selves, unconscious selves, versions of ourselves that are quite different from the everyday person we think we are. In many ways this was quite comforting, the thought that my everyday self could take it’s hands of the wheel and let a grown up much more capable person could get on with the work. On reflection I realise that making music is one situation in my life where I’m able to tap into this state without too much difficulty (most of the time) but it was during the making of Noise Print that I actually noticed it was happening. This led me to think about the concept of shadow selves-alternate versions of our subconscious selves that operate beyond our everyday distractions and influences. Like the image of the forest track-a space where the noisy mental clutter fades, and a deeper, older self takes over. To sum this one up-it’s like a walk along a narrow forest path and the present moment is very much alive-your mind is right in ‘the now’ with past and future losing any meaning. The ‘Noise Print’ title came about by me thinking if you could print to tape the sound of your psyche/consciousness when your are in this present focused, deep state. - Phil Tomsett - April 2024
The Acceptance Cycle:This is a bit easier to write about as it’s essentially a conclusion to The Sound of Someone Leaving album. That album was about loss in many of its forms. 'The Acceptance Cycle' (like its title suggests) is about the cycle you go through in reaching acceptance. The final track (Cycle Seven) has an element of acceptance about it, with the preceding six tracks taking the listener through a range of emotions before reaching that final place- with the Title track setting the scene at the start. To sum this one up- it’s an expressive outpouring of emotions that come after a shock or traumatic event (The Sound of Someone Leaving) which eventually leads you to a place of peace and acceptance. The two pieces are connected- but it’s hard to say how, it’s more of a feeling, like one is ‘discovered’ almost by surprise after listening to the other.Phil Tomsett - April 2024
And now, looking down on us from heaven, you will find the peace you deserve and you will be reunited with dad, uncles, cousins and some of our friends... I offer these sounds so that all of you can connect and celebrate the beautiful memories of the past. I will never forget you brother, I will never forget you family... In memory of Nacho Galán "Jaula"Music composed by Pepo Galán, with contributions from Sita Ostheimer, Karen Vogt, Bicyclops, Mark Crocker, Ohmu, Hannah Elizabeth Cox, Lee Yi, Daniel Rosenholm and Mi Cosa de Resistance.Mastered at Black Knoll Studio (NY) by Rafael Anton Irisarri.Designed by Daniel Crossley (Fluid Audio)
A Temporal Journey Through Daydreams and Nostalgia...Dreamu, the alias of Madrid-based experimental musician and producer Fran Sarró, presents nrem, his debut album, a 13-track instrumental LP. Inspired by the N-REM (non-rapid eye movement) N1 sleep phase - the transitional state between wakefulness and sleep where reality begins to blur into dreamlike images - nrem delves into this liminal space. Dreamu's landscape is colored by the melancholy of an idealized past that never existed.The album, recorded primarily on reel-to-reel tape machines and cassettes, employs techniques such as reversed sounds, tape speed changes, and granular synthesis. Its palette is built from processed electric guitars, pianos, samplers, and field recordings.nrem is the result of a decade-long journey of personal and sonic exploration, crafted within the intimate space of his home studio in Madrid. Surrounded by cables, effect pedals, and tape machines, Dreamu sketched harmonies and textures while navigating an emotional evolution marked by ups and downs, insecurities, and expectations. Composing became a refuge, where those feelings could crystallize into sounds that honestly reflected his vision.Mastered by Taylor Deupree Designed by Daniel CrossleyReleased by Fluid Audio
Taken from the upcoming album 'Eight Views Of A Summer', released through Fluid Audio...Credits:squncr: tape manipulation, field recordings, sampling, electronics, zither, accordion, Hohner Organetta, Yamaha CP70 and Roland Space Echo.Written and produced by squncrMastered by Julien Bayle/Void Label Designed by Daniel Crossley
Taken from the upcoming album 'Wave Particles', released through Fluid Audio...'Wave Particles' is a project that holds special significance for me. It delves into my ongoing fascination with the intricate interplay between nature, consciousness, and technology. Throughout the year, I've had numerous opportunities to explore these themes. I've become particularly intrigued by the role that resonance plays in connecting these elements, fostering a profound sense of interconnectivity within our surroundings.As we find ourselves at a unique juncture where nature, consciousness, and technology converge. Through this music, I've aimed to capture the threads that bind these elements together - Alex SmalleyMaria Smalley on vocalsJane Wild plays violiAlex Smalley plays guitar, process synthesisers and field recordingsMastering: Alex SmalleyMusic: Maria Smalley / Jane Wild / Alex SmalleyDesign: Daniel CrossleyLabel: Fluid Audio
Track taken from the upcoming album 'These Were Failed Assumptions' released through Fluid Audio...Music by Tropic of ColdnessMastered by Alex at quiet details studiosDesign by Daniel Crossley
The artistic collaboration between Giuseppe Cordaro and Marco Giambrone is an immersion into sonic exploration, born from the convergence of distinct musical perspectives and backgrounds. Despite living in distant cities, both share roots firmly planted in a remote mountainous village in Sicily, a wild terrain that has shaped their work.The focal point of this musical journey is the Platani River, known in ancient times as Alico (derived from 'Halykòs,' which means 'salty' in Greek). It's from this river that the entire concept takes shape and evolves, following its sinuous course from the source to its mouth in the sea. Each track of the album is named after the river's tributaries, often little more than thin streams of water that dry up in the summer, leaving muddy beds. This intricate and sensitive path culminates with the Alico River finally merging into the Mediterranean Sea, embracing Capo Bianco.These wild and captivating places have been the source of inspiration for the two musicians, who decided to capture the sensations experienced during their explorations and transform them into a sonic journey. Water, rock, sand, and the vibrant life along the riverbanks are transfigured by modular synths, guitars, and field recordings.The album was created by adopting an instinctive and authentic approach, avoiding overdubs to favor the genuine essence of analog instruments. The result is a sonic journey that captures the raw and magnetic essence of these places, transforming visual suggestions into an immersive and engaging auditory experience. Listening to this work, one is immersed in a sonic world that mirrors the irregular beauty and wild vitality of the Sicilian landscape, uniting past and present in timeless sonic snapshots.Written by Giuseppe Cordaro e Marco GiambroneRecorded by Giuseppe Cordaro at Home Studio Boschi di Puianello - Marco Giambrone at Home Studio San Giovanni GeminiMixed by Marco GiambroneMastered by Giuseppe IelasiCredits:Giuseppe Cordaro : Modular Synthesizer, Programming, Field recordings, (AL)chemyMarco Giambrone: Guitars, Effects, Autoharp, Solina"Platanis oritur inter Castrum Novum et Cammaratam, novi nominis oppida, ex parvis quidem fontibus"
This beautiful collaboration between Andrew Heath and James Osland places itself in a dense, fog-like, woven landscape and charts paths that reveal slow moving cloud-like structures and motifs. Informed by muted modular tones, ethereal guitar work and sparse piano with found-sounds and field recordings that dance around the dense air and leaves the listener in a cocooned, dreamlike state.Elysian Fields is the pair’s second release. They were drawn together by a mutual respect for each others work in the ambient music field. Both are UK based artists. Andrew having released several albums and EPs on Disco Gecko, Whitelabrecs, Rusted Tone Recordings, Elm Records and Chihei Hatakeyama’s Japanese label, White Paddy Mountain. He has collaborated with among others, the legendary Hans-Joachim Roedelius, Dutch ambient guitarist, Anne Chris Bakker and electronica artist, Banco de Gaia. James Osland not only runs the boutique cassette label, Elm Records but releases as an artist in his own right having worked with such labelsu as Unknown Tone Records, Whitelabrecs, Flaming Pines and Rusted Tone Recordings to name a few. His work seeks to explore our relationships with sound, memory and place through a variety of different sonic processes.Both artists continue to quietly work on material together so expect more from this wellspring of beautiful and dreamlike work.Mastered by Alex at quiet details studiosDesign by Daniel CrossleyRelease date:12.01.24
Taken from the upcoming album 'Better Late than Never'...1. Caught in a current2. Tales we tell3. A diary entry from years ago4. Tanpopo5. A room of one's own6. Later7. Paper lanterns8. Tales we tell (The Humble Bee Remix)9. A diary entry from years ago (Tape Loop Orchestra Remix)Credits:All songs performed and improvised by Yasuhiko Fukuzono (aus) and Danny Norbury;Except track 6 written by Yasuhiko FukuzonoTrack 7 written by Danny NorburyTrack 8 remixed by Craig TattersallTrack 9 remixed by Andrew HargreavesPerformed & recorded between 2010-2013 at: Union Chapel, LondonFujimigaoka Church, TokyoFloat, OsakaNowhere, ToyamaSt James Priory, BristolFrameworks Festival, MUG im Einstein München, MunichMastered by Fields We FoundDesign by Daniel Crossley
Taken from the upcoming album 'Oyasumi', forthcoming on Fluid Audio...In a musical exchange back and forth between Tokyo and Copenhagen, Kei Nogami (JP) and Mathias Lystbaek (DK) has the created the album Oyasumi. The album is centered around eclectic electroacoustic loops with the addition of piano, flute and cymbal. Oyasumi means ‘Goodnight’ in Japanese, and the music reflects the sleepy haze before dreaming, with repeated fragments of melodies reminiscent of childhood lullabies and music boxes. This quiet album is an exploration of looped and improvised material, suitable for tranquil moments and contemplative pauses.- Kei Nogami (K Nogami): Loops, electronics, field recordings & found objects. - Mathias Lystbaek (Circa Alto): Piano, flute, bass & cymbal.Credits:Artist: K Nogami & Circa AltoAlbum: OyasumiComposition & mix: Kei Nogami & Mathias Lystbaek Cover photo: Kei NogamiLabel: Fluid AudioDesign: Daniel Crossley
New track from Moss Covered Technology; forthcoming on Fluid Audio...Dartmoor! thou wert to me, in childhood's hour, A wild and wondrous region. Day by day Arose upon my youthful eye they belt Of hills mysterious, shadowy, clasping all The green and cheerful landscape sweetly spread Around my home; and with a stern delight I gazed upon thee. How often on the speech Of the half-savage peasant have I hung, To hear of rock-crowned heights on which the cloud For ever rests; and wilds stupendous swept By mightiest storms; of glen, and gorge, and cliff, Terrific, beetling o'er the stone-strewed vale; And giant masses, by the midnight flash Struck from the mountain's hissing brow, and hurled Into the foaming torrent; and of forms That rose amid the desert, rudely shaped By Superstition's hands when time was young; And of the dead, the warrior dead, who sleep Beneath the hollowed cairn! My native fields, Though peerless, ceased to please. The flowery vale, The breezy hill, the river and the wood, Island, reef, headland, and the circling sea, Associated by the sportful hand Of Nature, in a thousand views diverse, Or grand, or lovely, -to my roving eye Displayed in vain their infinite of charms; I thought on thy wild world, -to me a world,- Mysterious Dartmoor, dimly seen, and prized For being distant and untrod; and still Where'er I wander'd, -still my wayward eye Rested on thee!In sunlight and in shade, Repose and storm, wide waste! I since have trod Thy hill and dale magnificent. Again I seek thy solitudes profound, in this Thy hour of deep tranquillity, when rests The sunbeam on thee, and thy desert seems To sleep in the unwonted brightness, calm, But stern; for though the spirit of the Spring Breathes on thee, to the charmer's whisper kind Thou listenest not, nor ever puttest on A robe of beauty, as the fields that bud And blossom hear thee. Yet I love to tread They central wastes when not a sound intrudes Upon the ear, but rush of wing or leap Of the hoarse waterfall. And oh, 'tis sweet To list the music of thy torrent-streams; For thou too hast thy minstrelsies fro him Who from their liberal mountain-urn delights To trace thy waters, as from source to sea They rush tumultuous. Yet for other fields Thy bounty flows eternal. From thy sides Devonia's rivers flow; a thousand brooks Roll o'er they rugged slopes; -'tis but to cheer Yon Austral meads unrivalled, fair as aught That bards have sung, or Fancy has conceived 'Mid all her rich imaginings: whilst thou, The source of half their beauty, wearest still Through centuries, upon they blasted brow, The curse of barrenness.- Noel Thomas Carrington
Ian Hawgood and James Murray began Slow Reels in 2018 from studios in London and Warsaw. The early work involved exchanging heavily modulated long-form textures, recorded on a variety of instruments, notably vintage synths. Reiterative digital manipulations and successive destructive passes through an end-of-life reel-to-reel tape setup resulted in a collection of entirely unrepeatable drone suites.Their debut Farewell Islands for Morr Music was met with widespread critical acclaim. Sustain, presented now by Fluid Audio, extends the force of this uncompromising aesthetic further, as the artists’ shared medium further degenerates into overwhelming, full-frequency emotion.Music: Slow Reels (Ian Hawgood & James Murray) Mastering: Ian Hawgood Design Daniel Crossley...Made by hand,Book Editions' series. Vintage books dissected, re-assembled and re-structured into book-bound CD covers...1 x Vintage (circa:1890-1958) hardback clothbound book (re-assembled into CD covers) 1 x CD (full size) 15 Pages of writing / image inserts 12 x edited polaroid prints on luxury uncoated paper (250grm) 1 x Stamped / numbered library card 1 x Vintage photograph (circa; 1902-1946) 1 x Vintage book-mark 1 x Vintage celluloid negative 1 x Vintage 35mm slide 1 x 35mm reel to reel audio strip 1 x vintage music score insert Housed inside glassine bagsStamped / hand numbered / scented Download code (includes 20 PDF prints)Strictly limited edition: 100 copies (no two copies are the same)Made with love...
“I could hear everything, together with the hum of my hotel neon. I never felt sadder in my life.” - Jack Kerouac, “On the Road” (1957)
In chapter 13 of Jack Kerouac’s “On the Road,” we find Sal in a Los Angeles hotel room with his new girlfriend, Terry, soon after they’ve decided to hitchhike back to New York with the $10 they share between them. Staring out the window in a sleepless fit, Sal observes a domestic dispute across the street: the humming neon sign of the hotel is an audible element amidst the police’s questioning, family’s sobbing, and city’s howling sirens, all of them blending together in an oddly poignant moment.
This idea of sound adding context and emotion to human experiences is the foundation of Hotel Neon. The project formed in 2012 under far less desperate conditions than Sal’s, but it has always been anchored in the practice of recording musical responses to the current moment. The chord progression of “A Lament,” for instance, was recorded in the hours following the breaking news out of Sandy Hook on December 14, 2012. Ever since then, we have continued to create soundtracks for specific settings and situations in our lives.
“Hotel Neon 10: Reworks” is a reflection on the 10th anniversary of our debut self-titled album, which was released on July 30, 2013 in a batch of 100 cassettes. Initially a loose collection of minimal drone experiments with no intention for follow-up after the tapes ran out, Hotel Neon has morphed into the central musical identity for each of us, leading to friendships, experiences, and purpose that we could never have imagined at the time.
This is not simply a remaster or remix; HN10 has been entirely reworked from the ground up. You will notice that some of the essential elements and structures from the original songs come through, but we made a concerted effort to build on those early ideas and present a new album with our current tools, techniques, and experience.
We deeply appreciate your support, and thank you for listening.
Music: Hotel Neon (Andrew Tasselmyer, Michael Tasselmyer, Steven Kemner) Mastered: Rafael Anton Irisarri Design Daniel Crossley
Taken from the upcoming album 'Snow Is / Absence Singing', forthcoming on Fluid Audio...
Music: ØjeRum Artwork: ØjeRum Mastering: Fields We Found Design: Daniel Crossley
www.fluidaudio.co.uk
Taken from the upcoming album 'opening opening'...All music written and recorded by offtheskyMastering by Jason CorderPrint layout by Craig TattersallDesign by Daniel Crossleywww.fluidaudio.co.uk
Coming soon on Fluid Audio...Music: Fields We FoundMastering: Ian HawgoodDesign: Daniel Crossley
Track taken from the upcoming album 'Inlandscape' forthcoming on Fluid Audio...Music: SeabuckthornMastering: James PlotkinDesign: Daniel Crossleywww.fluidaudio.co.ukwww.seabuckthorn-music.com
Taken from the upcoming album 'Endless Vacation' forthcoming on Fluid Audio...Music: Grotta Veterano & Musci For Sleep Mastering: Andrea Porcu Design: Danierl Crossley
Taken from the upcoming album 'Family Harmony'...Music: Pepo GalánGuests: Benoît Pioulard, Sita Ostheimer, Karen Vogt, Awakened Souls, Markus GuentnerMatering: Rafael Anton Irisarri Label: Fluid Audiowww.fluidaudio.co.uk
Taken from the upcoming album 'Längd' - containing over 70 minutes of unreleased material from Hummingbird...www.fluidaudio.co.uk
Steve Pacheco is a Los Angeles based sound / visual artist and graphic designer. His earliest sonic influence was classical music played through a transistor radio. This lo-fi sound found its way into his current work through the usage of simple melodic loops processed to create warm, hazy, atmospheric soundscapes. His aim is to recall memory / experience / emotion through the language of this weathered aesthetic.
He released his debut album, Constellate, on Belgian label Dauw in May of 2017. Shortly after, his second album, The 4th, was released on UK based Whitelabrecs. He has also released compilation tracks and remixes for various labels such as Dragons Eye Recordings, Archives, Home Normal, Dauw & Eilean Recs, El Muelle Records, and Nova Fund Recordings.
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The catalyst behind “Fades” is the pondering of the many chapters in our lives. The ways beginnings and endings bookend those chapters, and are a part of every single aspect of being. Where this album differs from previous efforts is that there is no singular narrative or theme being explored. Instead, it is more of a random collection of experiences representing various times in my life. The focus is not on the details of those individual memories or times, but the transitions or “fades” in between.
Track listing:
01 Elapse 02 Dandelion 03 Himalaya 04 Distant 05 Eventide 06 Drift 07 Fades
Conceived and Written by Steve Pacheco Mixed by Ian Hawgood Design by Daniel Crossley
www.fluidaudio.co.uk
Taken from the upcoming album 'Duets' by Andrew Tasselmyer & Blurstem...
Music: Andrew Tasselmyer & Blurstem Mastering: Ian Hawgood Design: Daniel Crossley
www.fluidaudio.co.uk
Taken from the upcoming album 'The garden of eternal echoes'...
"Gradual sunrise over The garden of eternal echoes rain starts to fall"
Artist: Emmanuel Witzthum Mastering: Ian Hawgood Label: Fluid Audio
Emmanuel Witzthum: Piano, vocals, electronics and dusts
Thanks to Rain, Craig, Itamar
Taken from the upcoming album 'Standing on The Precipice of Tears'...
Tattersall played Guitar, piano, dusted loops, analogue loops, digital loops, drum machine, analogue synth, synth bass, field recordings, abstractions, fragment constructions and reconstructions, abstractions of Seaman (etc.), analogue spatial recordings, artificial wind, crackles (record surface noise), tape noise.
Seaman was working primarily with Ableton Live and contributed vocal, Piano, time abstractions, violin and viola samples, trumpet samples, clarinet samples, drum machine abstractions, drum machine constructions (samples), digital distortions, bit reductions, synth abstractions, abstractions of Tattersall (etc.), digital loops, radical pitch shifts, noise enhancements, historical samples, crackles – record surface noise (from Tattersall), artificial crackles.
Solo Viola – Emmanuel Witzthum Solo Violin – Wei Ping Lin (on Uncovered CDs) Additional Voice - Emmanuel Wizthum Trumpet (sample recordings) – Robert Ellis-Geiger Vocal recorded in The Emergence Lab by Seaman using a Roland Edirol R-09HR Ver.3.0
Taken from the upcoming album 'Alden' forthcoming on Fluid Audio.
Music by Gilded (Adam Trainer & Matt Rösner) Mastering by Ian Hawgood Design by Daniel Crossley
www.fluidaudio.co.uk
Taken from the upcoming album 'Watering a Fake Flower'.
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Open to the Sea are Enrico Coniglio & Matteo Uggeri...
Enrico Coniglio: piano, organ, Yamaha TX7 Matteo Uggeri: rhythms, field recordings, samples, sort of backing vocals
with:
Mattia Costa: drums Alessandro Sesana: trumpet Andrea Serrapiglio: cello, drones
Recorded by Enrico Coniglio and Matteo Uggeri in Venice and Milan. Drums recorded by Gianmaria Aprile at Argolab, Varese. Cello recorded by Andrea Serrapiglio. Additional VOG treatments on “I Can Hear…” by Gianmaria Aprile.
Mixed and produced by Matteo Uggeri Mastered by Ian Hawgood Artwork by Daniel Crossley
www.fluidaudio.co.uk
Taken from the upcoming album 'aSpiritual' by offthesky & Rin Howell...
Music: offthesky & Rin Howell Mastering: offthesky / Ian Hawgood Print design: Craig Tattersall Packaging design: Daniel Crossley Label: Fluid Audio
www.fluidaudio.co.uk
Taken from the upcoming album '12 tapes | 10 years'...
Music: Craig Tattersall / Joe Borreson Mastering: Ian Hawgood Design: Craig Tattersall / Joe Borreson / Daniel Crossley Label: Fluid Audio
Track taken from the upcoming album 'Between The Leaves', forthcoming on Fluid Audio.
Music: Pepo Galán & Shinji Wakasa Mastering: Lee Yi (Rottenman Editions) Print design: Craig Tattersall Packaging design: Daniel Crossley
www.fluidaudio.co.uk/mailing-list
Track taken from the upcoming album 'smlsnd' by Xu and Bill Seaman.
smlsnd is about small sounds, atmospheres, environments, noises, and small melodies. The album was put together from a distance (as most collaborative works are these days), Seaman in Durham, North Carolina, USA, and Nicola Fornasari in Cremona, Italy. Some sample libraries were exchanged and the album grew and changed quite organically. Both artists contributed to the titles.
Audio: Xu and Bill Seaman Mastering: Ian Hawgood Print design: Craig Tattersall Design: Daniel Crossley
www.fluidaudio.co.uk
Track taken from the upcoming album 'Unstill' forthcoming on Fluid Audio...
Music: Andy Cartwright Mastering: Ian Hawgood Design: Daniel Crossley Label: Fluid Audio
Taken from the upcoming album 'Unfolding Drama' forthcoming on Fluid Audio...
Music: Grotta Veterano Mastering: Ian Hawgood Print design: Craig Tattersall Packaging design: Daniel Crossley Label: Fluid Audio
www.fluidaudio.bigcartel.com
Introspective and expansive at the same time, See-Through is Kumi Takahara’s debut album — a collection of classical music with a contemporary spirit. Her emotive, indie style is a swirl of raw strings, found sound and glistening piano: part private diary, part daydream.
All tracks composed and produced by Kumi Takahara All violin, viola, cello, contrabass, piano, and singing performed by Kumi Takahara
tr3 & 6 piano by Tomomichi Watanabe tr3 mixed & tr9 produced by Yasuhiko Fukuzono (aus) tr7 produced by Tape Loop Orchestra tr10 produced by The Humble Bee
Recorded at Kumi’s house / 2016-2020 Mastered by KASHIWA Daisuke Photo by Tonje Thilesen Artwork By Jesse Feinman
Track taken from the upcoming album 'Cette Mer Qui Est En Toi'.
Music: Ojerum Mastering: Ian Hawgood Artwork: Ojerum Design: Daniel Crossley
www.fluidaudio.bigcartel.com
Taken from the upcoming album 'All is Memory' forthcoming on Fluid Audio...
“Has it ever struck you that life is all memory, except for the one present moment that goes by you so quick you hardly catch it going?”
Music: Hotel Neon www.hotelneonmusic.com Mastering: Rafael Anton Irisarri www.blackknollstudio.com Record Label: Fluid Audio https://fluidaudio.bigcartel.com
Taken from the upcoming album 'Departures', forthcoming on Fluid Audio...
Credits:
All tracks composed, performed and produced by Maria Papadomanolaki and Nhung Nguen in London, Brighton (Digital Music and Sound Arts Studios, UoB), UK, Hanoi, Vietnam and Chania, Crete.
Mastering: Ian Hawgood
Print design: Craig Tattersall
Packaging design: Daniel Crossley
www.fluidaudio.bigcartel.com
Track taken from Erik Williamson's upcoming album 'The Streets Are Quiet, But The Birds Very Loud', released through Fluid Audio...
Written & Produced by Erik Williamson at In My Room Studio Additional Piano Recorded at Alchemix Recording Studios Mastered by Marly Lüske at Alchemix Recording Studios Images by Erik Williamson Design by Daniel Crossley Thanks: Craig Tattersall / Cotton Goods
www.fluidaudio.bigcartel.com
Exclusive track taken from upcoming album 'Chão Vermelho' released through Miasmah Recordings...
'Chão Vermelho' (Red Floor) is a collection of ritualistic, lamenting pieces influenced by the increasingly dry ground of the surrounding area of central Portugal from where cellist and singer Joana Guerra resides.
An environment of experimentation and risk transports us to an apocalyptic scenario in which the extreme dryness of a ground where nothing can grow anymore is accompanied by dramatic, theatrical compositions. As a murmur or a pagan prayer, the pieces evoke the ever imminent possibility of regeneration: “The name of the album is inspired by the area where I live, with muddy soil. It fascinates me a lot, although the drought and its cracks make me feel terrible”, explains Joana. Perhaps because the floor covering the earth, like a skin of deep cracks, attests to the tiredness, the wrinkles, of civilization.
Small blue-metallic flowers, a white animal about to go extinct, rare stones that only exist in two latitudes, the colour red as a warning sign, ecological sound, but also as a sign of renewal, as in women in their blood cycles. All of this makes up the universe of Joana Guerra's 'Chão Vermelho'. And as long as the mycelium feels our presence, perhaps there is hope for this ground and for such a woman who in her cycles of renewal is too earthy to be holy.
All compositions are by Joana Guerra who, in addition to cello and voice, her main instruments, ventures on Portuguese guitar, prepared electric guitar and keyboard. She is joined by Maria do Mar on the violin and Carlos Godinho on percussion and objects, as well as the contributions of Sofia Queiróz Orê-Ibir and Bernardo Barata, respectively bass and voice.
www.miasmah.com www.joanaguerra.com
Taken from the upcoming album on Fluid Audio...
www.fluidaudio.bigcartel.com/mailing-list
Track taken from the upcoming album 'The Sound of Someone Leaving'...
www.fluidaudio.bigcartel.com/mailing-list
Track taken from the upcoming album 'Hearts full of sorrow, souls full of hope, we look to the west...'
www.fluidaudio.bigcartel.com
Track taken from Seabuckthorn's upcoming album 'Other Other'...
Audio: Seabuckthorn Mastering: James Plotkin Design: Daniel Crossley
www.fluidaudio.bigcartel.com www.seabuckthorn-music.com
Taken from the upcoming album 'Psalm Of Solum' released through Fluid Audio...
www.fluidaudio.bigcartel.com
Track taken from the upcoming album 'Call Me When You Can' by Ned Milligan & John Atkinson.
Ned Milligan- chimes John Atkinson- processing Recorded, composed, and constructed in 2019 Mastered by Taylor Deupree
www.fluidaudio.bigcartel.com
Taken from the upcoming Margins album 'I Tired For Hours', forthcoming on Fluid Audio...
www.fluidaudio.bigcartel.com
Taken from the upcoming album 'Vibra', forthcoming on Fluid Audio...
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Recorded in Litoranea Salentina (Apulia, Italy) in Aug-Sep 2019
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Fabio Orsi plays: synths, effects, laptop, samples
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Design: Daniel Crossley
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Print design: Craig Tattersall
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Mastering: Fabio Orsi
www.fluidaudio.bigcartel.com/mailing-list
Taken from the upcoming album 'Bij Wat Ook Moog' Gebeuren', forthcoming on Fluid Audio...
www.fluidaudio.bigcartel.com/mailing-list
Taken from the upcoming album 'Layers of Memory in the Quiet Voice of Motion', released through Fluid Audio...
Clarinet Solos – James Chu, Recorded by Seaman Violin Solos – Wei Ping Lin, Recorded by Volkmar Klien Horn and Violin Arrangements Seaman Singing - Rin Howell Produced by Corder and Seaman Mastering by Corder Design - Daniel Crossley
www.fluidaudio.bigcartel.com
Taken from the upcoming album 'Until We Fall' released through Fluid Audio...
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Track taken from the upcoming album 'Still Life', forthcoming on Fluid Audio...
Composed mixed and arranged by Edu Comelles using samples from rehearsals with Música Trobada Ensemble of Baroque Music. Samples feature harpsichord, violins and countertenor voice. Electric bass by Isabel Latorre recorded in Valencia in 2019.
www.fluidaudio.bigcartel.com/mailing-list
Taken from the upcoming album 'Chapters' on Fluid Audio...
Music: Und_Ne Mastering: Ian Hawgood Design: Daniel Crossley
www.fluidaudio.bigcartel.com/mailing-list
'Place Language' is an international non-profit compilation album project inspired by the themes found in Robert Macfarlane’s widely-acclaimed book ‘Landmarks’. In particular it focuses on the book’s extensive topographic glossaries, the “word-hoard” of depictive landscape terms gathered from 30 different languages, dialects and sub-dialects around Britain & Ireland and divided into sections by type of terrain (Flatlands, Uplands, Waterlands, Coastlands, Underlands, Northlands, Edgelands, Earthlands and Woodlands). Relying on these topograms, or “tiny place poems”, as creative prompts, Place Language seeks to both inspire a renewed interest in our surroundings and reinvigorate our appreciation for the audible textures & patterns that characterize a place in keeping with the book’s stated desire to “re-wild” our vocabulary.
The collection features the work of 28 different sound-artists, field recordists, and musicians from around the globe each of whom selected a Landmarks topogram and recorded an impression of it thus adding rich new aspects of dimensionality through the act of sonification. These selections cover all nine of the book’s glossaries along with place-words of new coinage as prompted by the blank one which Macfarlane leaves at the end of the book for readers to fill in from their own experience. The end result is a truly global and collaborative survey of place, language, and sound.
Musical artists: Aaron Martin (USA), Anthéne (Canada), Benoît Pioulard (USA), Bethan Kellough (UK), Celer (Japan), Dalot (Greece), Federico Durand (Argentina), Hakobune (Japan), Hammock (USA), Hotel Neon (USA), Ian Hawgood (UK), Kate Carr (UK), Lawrence English (Australia), Lowercase Noises (USA), Marcus Fischer (USA), Melissa Pons (Sweden), Poemme (USA), Porya Hatami (Iran), Richard Skelton aka The Inward Circles (UK), Siavash Amini (Iran), Simon Scott (UK), Sound Awakener (Vietnam), The Green Kingdom (USA), Tobias Hellkvist (Sweden), Warmth (Spain), Wil Bolton (UK), and Yann Novak (USA).
Release Date: 30.09.19 Record Label: Fluid Audio Mastering: Ian Hawgood Artwork: Gregory Euclide Words: Robert Macfarlane Design: Daniel Crossley
www.fluidaudio.bigcartel.com/mailing-list
Taken from the upcoming album 'For Victoria' released through Fluid Audio: 31.08.19.
Audio: Pepo Galán Vocals: Sita Ostheimer Mastering: Rafael Anton Irisarri at Black Knoll Studio (NY) Design: Daniel Crossley
Mailing list: www.fluidaudio.bigcartel.com/mailing-list
Taken from the upcoming album 'Oceanography' on Fluid Audio...
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Taken from the upcoming 2 x CD album 'The Book of Dusts' by Emmanuel Witzthum and E & I
Audio: Emmanuel Witzthum / Craig Tattersall Poetry: Emmanuel Witzthum Mastering: Ian Hawgood Design: Daniel Crossley Label: Fluid Audio
www.fluidaudio.bigcartel.com
Letra Rec a new label formed by Andrew Hargreaves and Craig Tattersall (of The Boats), to give artists space to create music for closer listening. The longer uninterrupted playing time of the CD format allows the listener to fully immerse themselves in the music. Each release will be limited to 250 copies.
“Music has always been a place of refuge for me. My first memory of an epiphany is of realising that I could contribute to this transformative sanctuary in my own way.
Una happened in less than a year. It’s a collection of playful and meditative situations, improvised with friends and lovers, mostly recorded in my home studio in Reykjavík with very little production but all the more heart and raw soul through space echo and tape loop orchestras.”
Four years ago, the California based musician r beny came on the radar with numerous videos on youtube and instagram in which he explored the world of tape and sound synthesis. You could easily see his music growing and pretty soon he came to the fore as a master in modular synthesis.
This culminated in several solo releases and live shows (e.g. with Bing & Ruth, Suzanne Ciani). Herein, r beny, clearly showed his capacities to combine detailed and fragile melodies with subtle textures in order to create sonic narratives with a highly emotional character.
“Echo's Verse” forms no exception on that regard and continues along the same melancholic lines of his previous work. However, whereas the initial albums were much more centred around feelings of loneliness, isolation and solitude, the new album clearly moves away from a sole focus on sad and distressing emotions. “Echo's Verse” touches the other side of the spectrum as it is about emotional connections, bonds and not feeling alone in the universe.
“Echo's Verse” will be out on May 15th on heavyweight clear vinyl* and comes with original handprinted artwork by Femke Strijbol. In addition to the regular version, there will also be a special edition (30 copies) including a unique 1-minute tape loop alongside the record.
www.dauw.bandcamp.com
Four years ago, the California based musician r beny came on the radar with numerous videos on youtube and instagram in which he explored the world of tape and sound synthesis. You could easily see his music growing and pretty soon he came to the fore as a master in modular synthesis.
This culminated in several solo releases and live shows (e.g. with Bing & Ruth, Suzanne Ciani). Herein, r beny, clearly showed his capacities to combine detailed and fragile melodies with subtle textures in order to create sonic narratives with a highly emotional character.
“Echo's Verse” forms no exception on that regard and continues along the same melancholic lines of his previous work. However, whereas the initial albums were much more centred around feelings of loneliness, isolation and solitude, the new album clearly moves away from a sole focus on sad and distressing emotions. “Echo's Verse” touches the other side of the spectrum as it is about emotional connections, bonds and not feeling alone in the universe.
“Echo's Verse” will be out on May 15th on heavyweight clear vinyl* and comes with original handprinted artwork by Femke Strijbol. In addition to the regular version, there will also be a special edition (30 copies) including a unique 1-minute tape loop alongside the record.
www.dauw.bandcamp.com
Four years ago, the California based musician r beny came on the radar with numerous videos on youtube and instagram in which he explored the world of tape and sound synthesis. You could easily see his music growing and pretty soon he came to the fore as a master in modular synthesis.
This culminated in several solo releases and live shows (e.g. with Bing & Ruth, Suzanne Ciani). Herein, r beny, clearly showed his capacities to combine detailed and fragile melodies with subtle textures in order to create sonic narratives with a highly emotional character.
“Echo's Verse” forms no exception on that regard and continues along the same melancholic lines of his previous work. However, whereas the initial albums were much more centred around feelings of loneliness, isolation and solitude, the new album clearly moves away from a sole focus on sad and distressing emotions. “Echo's Verse” touches the other side of the spectrum as it is about emotional connections, bonds and not feeling alone in the universe.
“Echo's Verse” will be out on May 15th on heavyweight clear vinyl* and comes with original handprinted artwork by Femke Strijbol. In addition to the regular version, there will also be a special edition (30 copies) including a unique 1-minute tape loop alongside the record.
www.dauw.bandcamp.com
Four years ago, the California based musician r beny came on the radar with numerous videos on youtube and instagram in which he explored the world of tape and sound synthesis. You could easily see his music growing and pretty soon he came to the fore as a master in modular synthesis.
This culminated in several solo releases and live shows (e.g. with Bing & Ruth, Suzanne Ciani). Herein, r beny, clearly showed his capacities to combine detailed and fragile melodies with subtle textures in order to create sonic narratives with a highly emotional character.
“Echo's Verse” forms no exception on that regard and continues along the same melancholic lines of his previous work. However, whereas the initial albums were much more centred around feelings of loneliness, isolation and solitude, the new album clearly moves away from a sole focus on sad and distressing emotions. “Echo's Verse” touches the other side of the spectrum as it is about emotional connections, bonds and not feeling alone in the universe.
“Echo's Verse” will be out on May 15th on heavyweight clear vinyl* and comes with original handprinted artwork by Femke Strijbol. In addition to the regular version, there will also be a special edition (30 copies) including a unique 1-minute tape loop alongside the record.
www.dauw.bandcamp.com
Four years ago, the California based musician r beny came on the radar with numerous videos on youtube and instagram in which he explored the world of tape and sound synthesis. You could easily see his music growing and pretty soon he came to the fore as a master in modular synthesis.
This culminated in several solo releases and live shows (e.g. with Bing & Ruth, Suzanne Ciani). Herein, r beny, clearly showed his capacities to combine detailed and fragile melodies with subtle textures in order to create sonic narratives with a highly emotional character.
“Echo's Verse” forms no exception on that regard and continues along the same melancholic lines of his previous work. However, whereas the initial albums were much more centred around feelings of loneliness, isolation and solitude, the new album clearly moves away from a sole focus on sad and distressing emotions. “Echo's Verse” touches the other side of the spectrum as it is about emotional connections, bonds and not feeling alone in the universe.
“Echo's Verse” will be out on May 15th on heavyweight clear vinyl* and comes with original handprinted artwork by Femke Strijbol. In addition to the regular version, there will also be a special edition (30 copies) including a unique 1-minute tape loop alongside the record.
www.dauw.bandcamp.com
Four years ago, the California based musician r beny came on the radar with numerous videos on youtube and instagram in which he explored the world of tape and sound synthesis. You could easily see his music growing and pretty soon he came to the fore as a master in modular synthesis.
This culminated in several solo releases and live shows (e.g. with Bing & Ruth, Suzanne Ciani). Herein, r beny, clearly showed his capacities to combine detailed and fragile melodies with subtle textures in order to create sonic narratives with a highly emotional character.
“Echo's Verse” forms no exception on that regard and continues along the same melancholic lines of his previous work. However, whereas the initial albums were much more centred around feelings of loneliness, isolation and solitude, the new album clearly moves away from a sole focus on sad and distressing emotions. “Echo's Verse” touches the other side of the spectrum as it is about emotional connections, bonds and not feeling alone in the universe.
“Echo's Verse” will be out on May 15th on heavyweight clear vinyl* and comes with original handprinted artwork by Femke Strijbol. In addition to the regular version, there will also be a special edition (30 copies) including a unique 1-minute tape loop alongside the record.
www.dauw.bandcamp.com
Taken from the upcoming album 'Annoying Tyrannies' on Fluid Audio...
www.fluidaudio.bigcartel.com/mailing-list
Exclusive audio taken from the upcoming album 'View from Above'...
Christopher Colaço and Philipp Schaeper have known each other since moving from their Southern German hometowns to Berlin. Together they studied Jazz piano/drums at the Berlin University of Arts and immediately dived into the vibrant Jazz scene.
Playing and working together shaped their musical common sense. In 2013 Christopher and Philipp had the opportunity to score their first movie (Oh Boy! – A Coffee in Berlin) and formed an old school sounding Jazz band with friends. After winning the German Academy Award for best original score, they continued to develop their collaborative project as a duo writing and scoring music.
At the same time they are working on their own music and started collaborating with classical musicians from the Mahler Chamber Orchestra in 2018, which lead to their first debut album. The record 'View From Above' consists of 7 tracks, creating atmospheric soundscapes that mingle between film-music, classical minimalism, ambient and electronic music.
'View From Above' provides a portrait of Christopher and Philipp's journey over the past few years and was recorded in Berlin at Bonello Studios. The renown mixing artist Francesco Donadello gave the record its final touch and it will be released on May 10th worldwide.
www.colaco-schaeper.com
Forthcoming on Fluid Audio...
Lucia Adam + Alex Smalley April 2017 - February 2019 Weimar, Germany
www.fluidaudio.bigcartel.com
Track taken from the upcoming album 'The Topologies of Blue'...
Bill Seaman - Piano, Piano Libraries, Sample Compositions, Samples, Abstracted Percussion, Non-location Recordings, Electric Guitar Abstractions Wei Ping Lin – Violin Solos David Rothenberg - Clarinet, Bass Clarinet, Contralto Clarinet Solos Sid Richardson – Upright Bass Libraries Tim Bjorklund – Electric Guitar Libraries Volkmar Klein, Sound Engineer for initial violin recording
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Produced by Bill Seaman Mastered by James Plotkin Cover design by Ian Hazeldine Overall design by Daniel Crossley
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Special Thanks to all of the musicians + John Supko, Craig Tattersall, Volkmar Klein, Maura Walsh-Seaman, Dan Crossley & James Plotkin.
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www.fluidaudio.bigcartel.com/mailing-list
Nottingham-based composer and multi-instrumentalist Thomas William Hill returns to Village Green with Grains of Space, his second album for the label following 2017’s multi-textured Asylum For Eve. It will be released on 12-inch vinyl, CD and digitally on May 17th 2019.
Grains of Space started life as a series of minimal loops, recorded using a viola da gamba – a stringed instrument most popular in the Renaissance and Baroque eras – and a loop pedal. Using the negative space within each loop as the primary drive for composing, Thomas began a process of ‘joining the dots’, allowing the silence to dictate the next layer, informing the length, pitch and timbre of notes.
Between the overlap and juxtaposition of multiple layers, Thomas began to see melodies and rhythms emerging from relatively erratic elements:
“I began to see these loops - and recorded music in general - as a kind of fixed perspective that could be exploited. In isolation, a single layer may be no more than one or two notes punctuating four bars of silence, but when laid over multiple variations on that theme, disparate notes start to dance with each other and new connections take form, like constellations or deconstructed sentences.”
Using those recordings as the foundation, Thomas began incorporating a wide variety of other instruments into his palette, including bowed metallophones, gongs, Tibetan singing bowls, African kalimbas and metal tongue drums, as well as drum machines and analogue synthesisers.
From the tense, opening drones of ‘Carriages’ to sparser, more lyrical works such as ‘Curvature’ and ‘Refract’, Thomas again demonstrates profound compositional insight, crafting highly poignant moments rich with harmony and texture. Complementing this, a more developed sense of pulse and rhythm characterises much of the album, such as the propulsive undertow of ‘Willow’ and the tactile, modernist polyrhythms of ‘Furnace’ and ‘Tongue’.
www.villagegreenrecordings.co.uk
Track taken from the upcoming album 'Solos' on Fluid Audio...
Audio: Christopher Whitley Mastering: James Plotkin Design: Daniel Crossley
www.fluidaudio.bigcartel.com/mailing-list
Available here:
https://www.fluidaudio.co.uk/product/the-seaman-and-the-tattered-sail-standing-on-the-precipice-of-tears
Taken from the upcoming album 'Standing On The Precipice Of Tears'...
Tattersall played Guitar, piano, dusted loops, analogue loops, digital loops, drum machine, analogue synth, synth bass, field recordings, abstractions, fragment constructions and reconstructions, abstractions of Seaman (etc.), analogue spatial recordings, artificial wind, crackles (record surface noise), tape noise.
Seaman was working primarily with Ableton Live and contributed vocal, Piano, time abstractions, violin and viola samples, trumpet samples, clarinet samples, drum machine abstractions, drum machine constructions (samples), digital distortions, bit reductions, synth abstractions, abstractions of Tattersall (etc.), digital loops, radical pitch shifts, noise enhancements, historical samples, crackles – record surface noise (from Tattersall), artificial crackles.
Solo Viola – Emmanuel Witzthum Solo Violin – Wei Ping Lin (on Uncovered CDs) Additional Voice - Emmanuel Wizthum Trumpet (sample recordings) – Robert Ellis-Geiger Vocal recorded in The Emergence Lab by Seaman using a Roland Edirol R-09HR Ver.3.0
www.fluidaudio.bigcartel.com/mailing-list
Track taken from the upcoming album 'Replicas' by Gideon Wolf...
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Constructed over 2 years this album has been slowly pieced together, reshaped, scraped, re-written and made again before becoming the album you are listening to now.
Replicas’ is a dark journey into a past, present and future that is personal, and reflective of wider concerns shaping this island(s) we live on.
At points angry and born out of frustration and angst for the times we are living in, this album goes back to my roots; a council flat in South East London, freedom, degradation, concrete, community, rich, poor, the melting pot of cultures, music, and people.
As cultural lines have been drawn in a different way through gentrification, a poverty divide similar to those of the 80’s and the b word, I have found myself struggling to accept my own place as a working class composer, father and human.
This album I suppose you could say is a meditation on the urban sprawl I grew up in, getting older, and my place in a community that feels like it has lost its way. - GW
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Music - Gideon Wolf Mastering - James Plotkin Design - Daniel crossley Alex Taylor - Violin, Electronics Gabi ‘Moog’ Matzeu – Moog, Juno, SH101 Steph Patten – Cello Yoon-Ji Kim – Violin My family (also in no particular order) Rachel, Reuben, Neath and our latest addition Nova.
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www.fluidaudio.bigcartel.com
Track taken from the upcoming album 'Hearts Must Change' released through Fluid Audio...
Audio: Kirill Mazhai Mastering: Ian Hawgood Design: Daniel Crossley
Mailing list:
www.fluidaudio.bigcartel.com/mailing-list
“A miracle is a shift in perception from fear to love.”
As with most things in life there is a backstory to how this single came into being. Earlier this year Craig and I invited Kira Kira to contribute an album to our new label Letra Rec, and to our combined delight she agreed! A plan was hatched and we expected to hear results early 2019, and promptly got on with our other activities.
Early December I received and email from Kira Kira with an mp3 and the seed of an idea, to release a single “A miracle is a shift in perception from fear to love” in celebration of the winter solstice, the forthcoming holy season and Kira Kira’s birthday. After a few back and forth mails the idea had begun to take root and things were in motion. I would remix the track as an exclusive digital b-side, and in the spirit of the season we would donate all proceeds to UNICEF’s Yemen appeal (https://www.unicef.org.uk/donate/yemen/).
It has been a mad rush to the finishing line getting all the bits together but with hearts full of hope we are pleased to release into the world “A miracle is a shift in perception from fear to love”. We would also like to send a big hug to our friends at Boomkat for hosting this yuletide release. - Andrew Hargreaves (TLO)
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I came across these words in “A Course in Miracles,” one of the greater canons of contemporary spiritual literature originally published by The Foundation for Inner Peace in 1976. When I read this for the first time: “A miracle is a shift in perception from fear to love,” something changed in me. It felt amazing, just reading these words, so I underlined them. And then I wrote them up on a piece of paper and taped it to my wall. Can it be that a bouquet of words has presence? Spirit, even? Being fearful is a pain, it truly is. I’d like to be in love, not fear, so I began to witness these kinds of shifts. To consciously, actively transform fear to love by being present with it and singing is such a primal, effective way to do that.
I’ve practiced Yoga and meditation avidly for about 10 years now and so I am well familiar with the practice of using mantras as medicine for the mind and spirit. But finding words outside the traditional arsenal of healing mantras that resonate with me personally was something else and has taken things to a new level.
I hope this one can be of service to others as well. - Kira Kira
Purchase: https://boomkat.com/products/a-miracle-is-a-shift-in-perception-from-fear-to-love
Track taken from the upcoming album 'Little Notes' released through Fluid Audio.
Music: Steven Kemner Mastered: Taylor Deupree Design: Daniel Crossley / Ian Hazeldine
Mailing list: www.fluidaudio.bigcartel.com/mailing-list
1631 Recordings is proud to release the original score for the indie documentary “The Man Behind The Microphone” composed by Tom Hodge and Franz Kirmann.
Directed by Claire Belhassine and produced by Claire de Lune Films and Roast Beef/Nutopia, The Man Behind The Microphone starts from a very personal story (the British director found out by chance in her early 30s that her grandfather was a legend of Tunisian music, the ‘Frank Sinatra’ of Tunisia) and turns into a family saga and a reflection on the nature of fame, culture, heritage and homeland.
Tom Hodge and Franz Kirmann have worked collaboratively over the past 10 years and have released three albums together under the guise of their post-classical/electronic moniker Piano Interrupted. This is their second soundtrack together, having composed the score to BBC One series McMafia earlier this year.
The Man Behind The Microphone took several years to complete and Kirmann & Hodge were involved early on, sketching compositions loosely inspired by some of Hédi Jouini’s own music. Sometimes they would sample a small musical phrase from his old recordings or write harmonies and chords in a relative key to use as a starting point for their pieces. Their score echoes the melancholy and investigative nature of Claire Belhassine’s quest for her grandfather and the mysterious and fragmented aspects of the story.
Kirmann’s vaporous electronics and Hodge’s ghostly piano and clarinet lines are mixed with earthy analog synth basses and a string quartet provided by the London Contemporary Orchestra. The soundtrack is a melancholic and dreamy journey over 9 pieces, oscillating between post classical, minimalist and ambient music.
“There is a real sense of culmination about this soundtrack. In one way way it is our very first score, as it started long before McMafia. But even more so, you might say it is simultaneously our first and last Piano Interrupted record, or our very first collaboration even. Our album Two By Four was strongly influenced by our work on the prototype of this film and the sound of Papa Hedi. Yet because of the longevity of this film project, our combined musical voice has been profoundly altered by our work on our other two Piano Interrupted albums, as well as the four hours of score we wrote for McMafia. Here we are, full circle.”
www.1631recordings.bandcamp.com
Shortly after releasing his highly acclaimed ‘The Benoît Pioulard Listening Matter’(Kranky), Pioulard left on tour to Europe in order to promote the album. This tour took him to several distinctive places ranging from urban Brussels to rural France and the mystic capital city of Iceland, Reykjavik.
Once returned to Seattle, these new impressions and memories formed the inspiration to make ‘Slow spark, soft spoke’. Not surprisingly, the album continues in the same vein as his tour cd ‘Lignin Poise’ - which was repressed on vinyl by Beacon Sound - and is characterized by slowly moving lo-fi ambient textures. The album reveals Pioulards most melancholic side and once again shows his capabilities to bring beautiful sonic narratives with only a few instrumental layers.
‘Slow spark, soft spoke’ was initially released on tape on Dauw but sold out quickly during pre-order. After having received only sublime reviews and tons of request to re-issue the album, we now decided to give it a well deserved vinyl repress.
“'Never, just as you wanted' is a timeless odyssey of complete transcendence with gradual bliss of guitar tones – and meticulously crafted sounds – that somehow map the ocean swell of human emotions – of the innermost kind – embedded deep within us all." (Fractured Air)
For this vinyl edition, Pioulard decided to add 2 totally new tracks in addition to the 4 initial ones. These new tracks are presented as the single 'Athanasy, 1993' which will be released and announced with the vinyl pre-order on October 4th. All together, the initial EP and the new single form a consistent full length which adds to his impressive and ever growing catalogue.
‘Slow spark, soft spoke’ will be released on October 26th on a limited vinyl edition (200 heavyweight clear vinyl) and digitally. The tape comes with original hand-printed artwork by Femke Strijbol and will be accompanied by a unique polaroid taken by Benoît Pioulard (limited to 50 only).
Shortly after releasing his highly acclaimed ‘The Benoît Pioulard Listening Matter’(Kranky), Pioulard left on tour to Europe in order to promote the album. This tour took him to several distinctive places ranging from urban Brussels to rural France and the mystic capital city of Iceland, Reykjavik.
Once returned to Seattle, these new impressions and memories formed the inspiration to make ‘Slow spark, soft spoke’. Not surprisingly, the album continues in the same vein as his tour cd ‘Lignin Poise’ - which was repressed on vinyl by Beacon Sound - and is characterized by slowly moving lo-fi ambient textures. The album reveals Pioulards most melancholic side and once again shows his capabilities to bring beautiful sonic narratives with only a few instrumental layers.
‘Slow spark, soft spoke’ was initially released on tape on Dauw but sold out quickly during pre-order. After having received only sublime reviews and tons of request to re-issue the album, we now decided to give it a well deserved vinyl repress.
“'Never, just as you wanted' is a timeless odyssey of complete transcendence with gradual bliss of guitar tones – and meticulously crafted sounds – that somehow map the ocean swell of human emotions – of the innermost kind – embedded deep within us all." (Fractured Air)
For this vinyl edition, Pioulard decided to add 2 totally new tracks in addition to the 4 initial ones. These new tracks are presented as the single 'Athanasy, 1993' which will be released and announced with the vinyl pre-order on October 4th. All together, the initial EP and the new single form a consistent full length which adds to his impressive and ever growing catalogue.
‘Slow spark, soft spoke’ will be released on October 26th on a limited vinyl edition (200 heavyweight clear vinyl) and digitally. The tape comes with original hand-printed artwork by Femke Strijbol and will be accompanied by a unique polaroid taken by Benoît Pioulard (limited to 50 only).
Track take from the upcoming album ' Landscapes of Lovers' by James Murray...
www.fluidaudio.bigcartel.com
Anne Lovett’s stunning new release for 1631 is a departure from her beautiful previous solo piano album Beyond (and below). Without loosing any of the startling beauty of the preceding album, in The Eleventh Hour, Anne Lovett revels in a new sonic world. Joined by the London Contemporary Orchestra , UK’s most innovative and respected ensemble routinely heard alongside such luminaries as Radiohead or Johnny Greenwood, and later in duo with phenomenal cellist and composer Oliver Coates, Anne Lovett also introduces subtle electronics interwoven carefully alongside layered melodic piano lines.
The main narrative for the album was conceived shortly after a new addition was brought in to Anne’s studio, a plantation chair which sat opposite her Grotrian-Steinweg grand piano. It led to intense hours of rethinking around the instrument itself and more generally about the seismic shifts that were taking place in society. The album is an attempt to reconcile the flaws of time.
Best described by the Japanese concept of Kintsugi or “broken beauty”, The Eleventh Hour is a heartbreakingly beautiful contribution to the modern “indie” classical genre. The thirteen tracks all meticulously crafted and ringing out with a dark luminosity, like an elegy to our troubled times.
It will appeal to fans of Dustin O’Halloran, Nils Frahm, Max Richter, Philipp Glass, Jóhann Jóhannson who will find many reasons to love this album .
www.1631recordings.bandcamp.com/album/the-eleventh-hour
Mordançage is a new project from Tobias Hellkvist and Andrew Tasselmyer...
The new album is a reference to the photography technique that creates a degraded appearance in photo prints by physically altering film, a close metaphor for the way the album was created; manipulation of source audio and sound design creating a very different result.
Audio: Tobias Hellkvist / Andrew Tasselmyer Mastering: Ian Hawgood Artwork: Brittany Nelson Photography: Craig Tattersall Design: Daniel Crossley
Release date: 30.09.18.
Mailing list: www.fluidaudio.bigcartel.com/mailing-list
Surrogate Sibling is the solo studio project of composer/multi-instrumentalist Dieter Dolezel.
Being an already established, multiple award-winning classically trained composer, originally active in the field of contemporary classical music, his interests gradually developed over time towards a more inclusive approach to music making, one that would incorporate the multitude of musical influences that accompanied him since his earliest days of being a musician. As a consequence, the vision arose to found a music project, that would be an open playing field of free musical expression between the poles of classical and popular music, yet devoid of any mainstream trends and hence, Surrogate Sibling was born.
From early on, a rather unique feature of the project was the notion of featuring various collaborating musicians with vastly different musical backgrounds, that would also possibly change with each new album. The music is deliberately neither strictly classical nor pop, oscillating freely between intricately crafted, chamber-music-like string and piano arrangements and contemporary electronic beats and soundscapes in varying degrees, mixing it up with the occasional electric guitar part, performed by Dolezel himself, incorporating a wide range of influences spanning from Reichian minimalism to Autechre’s abstract electronica and even a little dose of Ravel.
The self-titled debut album was released to critical acclaim on Autentico Music in late 2014, and the sophomore album "Hive" will be released by 1631 Recordings on October 5.
www.1631recordings.bandcamp.com/album/hive
Exclusive track taken from Ben Chatwin’s stunning new offering 'Drone Signals', released through Village Green Records on CD and vinyl format…
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Feeding strings through an array of modular synthesisers and utilising modern sampling andgranular synthesis, Ben Chatwin remoulds his recent ‘Staccato Signals’ album into newmicroscopic electronic textures. ‘Drone Signals’, a companion piece to the original album, is setfor release via Village Green Recordings on 14th September.
Unlike ‘Staccato Signals’ where Ben started with a blank slate and built the music up layer bylayer, finishing with the string quartet, this time the process began with everything on hand. Thetask became dismantling the tracks – stripping them apart to see what was left, letting certainsounds or instruments become the focus, and then rebuilding the arrangements around them.This allowed elements to breathe, yet also to become more static. The less chaotic and moreambient nature of these pieces suggested a related album of versions, a conceptual sibling –‘Drone Signals’.
Using the final element of the previous album, recording the strings, as a starting point to feedinto his machines, Ben developed a central conceptual tool of his previous album – giving upcontrol – even further. The result is a fractured and dissembled interpretation of ‘Staccato Signals’as performed by modular synthesisers.
In this way, ‘Drone Signals’ might best be understood as the aftermath of ‘Staccato Signals’,retaining much that made the latter such a rewarding album – it's mournful beauty, the tense,ambiguous relationship between electronic and acoustic elements, and a delicate if not volatilebalance between elegance and intensity. This time, however, the palette is broader, more static –concerned more with monolithic structures than with sharp edges.
Accordingly, the hectic energy of ‘Hound Point’ and ‘Knots’ from the former melt and decay intothe slow, gradual burns of ‘Nordsjœn’ and ‘Unravel’, while the strings on ‘Black Castle’, prominentand stirring on ‘Staccato’, reappear only in strangled, muted gasps on album-opener ‘BurningWitches’ - occasionally flickering through the smouldering distortion. Where ‘Staccato’ is urgent,dynamic and chaotic, ‘Drone’ is expansive, dispersing its harmonic identity over much widerspaces, requiring more of a vertical listening experience than its predecessor.
Pre-order:
https://villagegreenrecordings.co.uk/shop/music/drone-signals
Track taken from the upcoming album 'The Licence To Interpret Dreams' by Antonymes. ..
The album will be a 2 x CD of the original album, re-mastered by James Plotkin along with a remix CD from the following artists:
Christoph Berg, Humble Bee, Tape Loop Orchestra, Olan Mill, Clem Leek, Antonymes, Ben Chatwin, Aaron Martin, P Jørgensen, Marconi Union, Bill Seaman, Hummingbird and Ian Hawgood.
Physical format will include: A deluxe double edition with a 6 panel blind debosssed outer on heavyweight GF Smith stock, 24 page perfect bound photographic book along with vintage ordnance survey maps of the Lake District.
http://fluidaudio.bigcartel.com/mailing-list
Track taken from the upcoming album 'The Licence To Interpret Dreams' by Antonymes. ..
The album will be a 2 x CD of the original album, re-mastered by James Plotkin along with a remix CD from the following artists:
Christoph Berg, Humble Bee, Tape Loop Orchestra, Olan Mill, Clem Leek, Antonymes, Ben Chatwin, Aaron Martin, P Jørgensen, Marconi Union, Bill Seaman, Hummingbird and Ian Hawgood.
Physical format will include: A deluxe double edition with a 6 panel blind debosssed outer on heavyweight GF Smith stock, 24 page perfect bound photographic book along with vintage ordnance survey maps of the Lake District.
fluidaudio.bigcartel.com/mailing-list
Track taken from the upcoming film-score album 'Wiwanana' by Alessio Ballerini...
Release date: 31.07.18
www.fluidaudio.bigcartel.com/mailing-list www.alessioballerini.com
Exclusive track taken from Olan Mill's latest offering “Curves”, released on Shimmering Moods Records as a limited edition CD / tape...
This record was completed on either side of a trip to Myanmar at the end of 2016 - it captures a time of total change as I prepared to become a father and relocate to Germany.
Built upon field recordings from my home and various work environments I found myself reflecting on places I had spent hours of my life living, working and growing. Layers of processed guitar, synthesisers and voice were added to create a time-capsule of locations and experiences. - Alex Smalley
All tracks by Alex Smalley Mastered by Roel Weerdenburg Shimmering Moods Records 2018
Special thanks to Linus Schrab for helping out with the layout design of the cassette!
Available here:
www.shimmeringmoodsrecords.bandcamp.com/album/curves
Exclusive track taken from the forthcoming album "You Don't Belong" which releases 13.07.2018 on Shimmering Moods Records. Available on a baby blue limited cassette and limited CD in handmade packages.
...
"This album was made between August 2015 and March 2017, which was in some way a transition period for me. Some life stages ended, some relationships failed, some changes happened. All the tracks on the album are dedicated to several places from those times, that meant or still mean something very special to me. A house by the lake, an apartment on the first floor, a park in the middle of the city – the places that stuck with me for a long time and don’t let go.
It’s a tribute to those times, but also some kind of closure. The album was mostly a reminder to myself that when you feel attached to something in one way or another, you need to keep going, to move forward, that you really don’t belong anywhere. It was a reminder that it’s never too late to move on."
All tracks by Kirill Mazhai Mastered by Early Reflections Artwork by Antonina Sotnikova Shimmering Moods Records 2018
Pre Order:
https://shimmeringmoodsrecords.bandcamp.com/album/you-dont-belong
Track taken from the upcoming album 'You Were Always An Island'...
Music: Alaskan Tapes Mastering: Taylor Deupree Design: Daniel Crossley
Release date: 30.06.18 Mailing list subscription (for pre-orders) www.fluidaudio.bigcartel.com/mailing-list
www.fluidaudio.bigcartel.com www.alaskantapes.co
Track taken from the upcoming album 'The Castle and The Garden' released through Fluid Audio on 31.05.18...
www.fluidaudio.bigcartel.com
Exclusive track taken from the upcoming album 'Mirall' released through Sonic Pieces...
Following the intimate but epic Vora from 2013, Rauelsson is back and in grand form with the utterly captivating Mirall, his second full-length album for Sonic Pieces. The new record continues the lush landscapes of earlier times while moving his sound into a feast of organic beats and textural dynamism.
Among the novel elements there's a great sense of joy and upbeat moments scattered throughout the album, mirroring its melancholic base. This combination feels very natural and merges perfectly with the overall majestic sound. Raúl also blends an impressive array of instruments and genres while still reflecting his personal and somewhat secretive presence. The producer lives on the Spanish coast in a rather detached way from any online presence, focusing on family life and the real sense of humanity. This feeling vibrates through the sound of Mirall making for a very emotional venture.
Expect to hear organs, synths, tape-loops, clarinet, strings, piano and percussion, just to name a few key sounds present on this record, all compiled and produced with a passionate taste for acoustic experimentation. This sense of sonic open-mindedness was skillfully amplified by Nils Frahm's studio work, who mixed and mastered Mirall. The album finishes off with a surprising unaccompanied lullaby, interpreted by Heather Woods Broderick. Rauelsson delivers another timeless album we already can't wait to re-visit again and again.
Release Date: May 25, 2018 (Worldwide)
www.sonicpieces.com
Tokyo’s flau record label cerebrate their 10-year anniversary with the 'Waltz Compilation'. The album was also called "A dance to draw circle" in Japan, with each artist producing an interpretation of the meaning of the waltz.
Artists included span the globe from Europe, South America, Australia and Japan: Danny Norbury, Kanazu Tomoyuki, Ensemble 0, Fábio Caramuru, Otto A. Totland, Rayons, Sophie Hutchings, Frédéric D. Oberland, HAU (Henning Schmiedt + aus), Takeo Toyama and MayMay.
Pre-order:
www.flau.bandcamp.com/album/circles www.flau.jp/releases/circles/
Recorded in the last months of 2017, 'The Ambushed Semiotic' is an investigation into the reduction and reconfiguration of pop music using tape loops, chance operations and live mixing, creating what Andrew describes as ‘Distant Pop’.
The factory pressed CD comes housed in a protective anti-static bag and features an art booklet. Limited to 200 copies.
www.tapelooporchestra.com/record/ITCARHCD001
Taken from the upcoming album 'Spheres' released through Sonic Pieces...
Spheres is not only Tatu Rönkkö´s debut album, but it´s also one of the most unusual entries in the Sonic Pieces catalogue so far. As the de-facto reason for Efterklang starting off their new band Liima, Tatu is one of the most diverse and intriguing percussionists working today.
Rönkkö appeared out of nowhere sometime around 2010, performing intense improvised concerts in home-kitchens around Berlin and abroad, using the room and everything in it as his instrument. On Spheres, which includes almost only self-made instruments from everyday objects, he´s taken this idea to the next level. The kitchen and the improvisations around it have been concentrated down to 6 standalone pieces of music, produced in incredible detail.
The sound hovers in the darklands between tribal experimentations, 90's jungle ambient textures and electro-acoustic endeavours. Pieces like Then remind of a more focused Aphex Twin performing with Konono No1 in the Finnish woods. While the title track Spheres even links the sound all the way back to early Photek with it´s reduced cinematic textures and explosive repetitive beats.
All of this says rather little about the actual album as it feels completely its own. Especially the incredible centrepiece Tekoäly featuring Islaja on vocals sounds like nothing else. Rönkkö is a true visionist who manages to balance his mass of sound sources in an expert fashion. Spheres is truly an otherwordly listen.
www.sonicpieces.com www.mi-so-store.com
Track taken from the upcoming album 'And His Many Seas' by Moss Covered Technology...
Audio: Moss Covered Technology Mastering: James Plotkin Design: Daniel Crossley Label: Fluid Audio Release date: 30.04.18
www.fluidaudio.bigcartel.com
'Protective' is the name of the new collaborative LP by two of Bulgaria’s busiest electronic artists Mytrip (Angel Simitchiev) and Evitceles (Etien Slavchev). Not only does the LP feature two solo tracks by each other, but two tracks that reveal their combined efforts and approaches to aggressive electronic music as their new project Protective.
We’re now presenting “Seclusion”, the second single from the LP and their melodic, even mellow take on ambient, with carefully layered melodies, reverb-drenched voices, obscure samples and persistent hi-hat leftovers.
'Protective' is out May 12 on Bulgaria’s Amek Collective. Pre-orders are up and running here:
www.amekcollective.bandcamp.com
Born in Athens, Greek composer Zinovia Arvanitidi is most widely remembered as one half of the duo Pill-Oh in Vanishing Mirror as well as her debut solo The Gift of Affliction. Zinovia returns with her first solo modern classical undertaking titled Ivory, and like its precursors, further highlights her mastery in crafting piano ambiances of austere beauty and melancholia, led by mesmerizing melodies and evolving cinematic textures.
Fully self-produced, the now France-based composer navigates through her own time-memory universe with Debussy-like impressionistic daubs, but sublimely she draws the listener into a strangely familiar landscape where the past confronts the present - it is perhaps a dimension that exists within all of us. As the chapters unfold, memories are untangled as darkness shifts into light. The minimalistic nature of the early piano pieces are then transformed, lush and ornate with orchestral strings, subtle electronic atmospheres, field recordings and airy whispers. What makes Zinovia’s musical expression exquisite would perhaps be her use of the melodica, an instrument uncommon amongst the modern classical genre, that adds a contrasting depth to her harmonic palette.
An omnipresent sense of duality lingers throughout the album, as with the ivory and ebony colours of piano keys, or the birth and decay of seasons. This is a work where the artist has grasped the essence of the quote by Albert Camus: “There is a life and there is a death, and there are beauty and melancholy between”. The aural journey heightens, then subsides with a newfound serenity in closing, engaging the listener to invoke their own introspections on acceptance and healing.
Rooted in film and television (and represented by film composer agency Oticons among the names of Shigeru Umebayashi and Jan A.P Kaczmarek), Zinovia’s well-versed background in cinematic scoring manifests in her dexterity at veiling intricacies within each track that only unveil themselves with each subsequent listen. As a fully expanded realisation of Zinovia’s artistic voice, Ivory will resonate with fans who love Pill-Oh, and appeal to those familiar with Ryuichi Sakamoto and Dustin O’Halloran.
French photographer Aëla Labbé’s enigmatic cover art photography once again unifies with Zinovia’s soundscapes since her work for Vanishing Mirror.
Zinovia Arvanitidi releases Ivory on 29 March 2018 on Piano Day via KITCHEN. LABEL worldwide. Available on 180g white vinyl LP, CD and DL.
Pre-order: www.kitchen-label.com/store/no-21-ivory-zinovia-arvanitidi/
KITCHEN. LABEL : www.kitchen-label.com Zinovia Arvanitidi : www.zinoviaarvanitidi-composer.com
Track taken from the upcoming album '45°12′N 72°54′E' by Giuseppe Cordaro (con_cetta) released through Fluid Audio...
Music: Giuseppe Cordaro Mastering: Paul Corley / Greenhouse Studio / Reykjavìk Design: Daniel Crossley Date: 28.02.18 Dedicated: Zeno
www.fluidaudio.bigcartel.com
Track taken from the upcoming album 'The Autumn Elegy' released through Wist Records...
‘The Autumn Elegy’ is a botanical compendium to the previous season’s diminished sun by Glowing Swords, a collaborative project between Zachary Corsa of Nonconnah & Lost Trail and Scott Cortez of Loveliescrushing. This full length release of rumbled and hazed dissonance features prepared herbarium specimens, a Campbell-Stokes Recorder card and a weather chart of dropping soil temperature.
www.wistrec.com
Exclusive track by Rime Trails taken from the upcoming album 'Sacred Groves' released through Shimmering Moods Records.
"Music for springtime in eight parts. Recorded between April and September, 2016, using various instruments, synthesizers, and a microphone that is now retired. A big thanks goes out to the many birds who were kind enough to lend their voices throughout, wherever they might be now."
Release Date: 9/03/18
Available as a white Limited Edition CD, Professionally manufactured high quality CDr's, limited to 50 copies. Handmade artwork, each hand numbered. White editions handmade wallets with envelopes, small and large sizes. Photo's, transparent bag...
Pre order:
www.shimmeringmoodsrecords.bandcamp.com/album/sacred-groves
Taken from the upcoming album 'Afternoon Hours'...
Audio: Ned Milligan Mastering: Taylor Deupree Design: Daniel Crossley
www.fluidaudio.bigcartel.com
Track taken from the upcoming album 'Far Away Music' released through Preserved Sound...
Far Away Music sees Benjamin Louis Brody reimagine previous compositions to create what he calls “music inside of music”...
“When I started this project, I asked myself whether I could give my music depth perception, similar to a painting or drawing – the classic illusion of train track perspective that gives a painting a certain sense of distance,” says Brody. “With Far Away Music , I set out to do that with sound.”
“The music and sounds you hear could only have been created through computer technology. By manipulating the speed and texture its allowed me to change the perspective of the original content,” says Brody. “Far Away Music represents how I experience my work in a more personal way – it’s vast and subconscious.”
Having composed for NYC’s The Chelsea Symphony, independent films and various mixed ensembles, Brody has also worked with or for composers such as Elliot Goldenthal, Tom Waits and Philip Glass. Far Away Music is Brody’s first album on Preserved Sound.
Release date: February 26. Pre-order here:
www.preservedsound.bandcamp.com
Track taken from the upcoming album 'A Score for Darling' released through Sonic Pieces on Mar 23, 2018 (Worldwide)...
A Score for Darling is both the sound track for the Danish film "Darling" (2017) as well as a collection of outakes from it.
Raúl Pastor Medall (Rauelsson) and Erik K Skodvin (Svarte Greiner & 1/2 of Deaf Center) were paired together to work on the accompanying music after the director, Birgitte Stærmose wanted to try a new direction. Both together and individually they have created a highly affecting collection of pieces to a film that is not afraid of pushing the emotional content to the max, centered around the story of a dancer on the rollercoster ride of her life. This is also the first time either of them have made a full lenght sound track, making it their debut on the big screen.
The music and instrumentation heard on the album is brimming with dynamics and diversity, featuring violin by Christoph Berg, cello by Anne Müller as well as a mass of other sounds like church organs, synths, guitar amp violation, electro-acoustics, piano and more, all layered together into 15 beautiful and devastating fragments of mood. The final piece of the album "Breathe" - featuring Otto A Totland on piano and Katinka Fogh Vindelev (We like We) on voice - can be seen as their own lamenting end title to a longer period of work with this album, finally finished.
www.sonicpieces.com
Track taken from the upcoming album 'Hidden For The Eyes' released though Slowcraft Records on 9th March 2018 (Pre-orders from 2nd March)...
'Solar System for Nina' is a farewell to a girl who decided to leave this world in 2015. She was probably the most kind-hearted creature I met in my life. The symbolism of the song is based on “prayer” for freedom – “May the shields be eradicated and may not be more created.”
Recitation / singing of this text resonates with the opening of three different parts of the composition that symbolize my idea of 3 planets of an extraterrestrial solar system somewhere in the Universe. All planets combine the same motif as the symbol that it is the same star system. It is a string loop that is slowed down during the first two planets and symbolizes the gravity and rotation of the planet. Since I was deeply convinced that Nina is now free, I imagined what it would be like when she visited them when she wanted to. The planets descend gradually from the farthest to the closest to the central star.
The first visited planet is rotating in the opposite direction, wrapped in a thin atmosphere, less massive than Earth, but too cold to have life. Its surface, however, offers breathtaking views and stunning auroras borealis (whistling crackling sound is a aurora borealis radio record). From 2:52 begins the middle and the most massive planet – the iovian gas giant. There are peaceful areas on the planet, but huge tornadoes, unbelievable storms of enormous sizes and catatonic forces are still prevailing. From 6:16 the third, closest, smallest and warmest planet comes. It is a green, living oasis. There are countless beings who are in harmony with themselves and the world they live in. - Lukáš Bulko (Alapastel)
www.slowcraft.bandcamp.com www.slowcraft.info www.alapastel.com
Bruno Sanfilippo’s newest album, Unity, is an emotionally evocative collection that moves the listener through moments that exalt the senses. Through cyclical and minimalist sound, the composer creates visceral experiences that are both ethereal and hauntingly beautiful.
Bruno Sanfilippo is a classically trained musician and composer. His focus alternates between the exploration of minimalist piano concepts and electroacoustic music. He is obsessed with the search for new and unique qualities in music - the amazing, the magical and the deep. In dreams, there's no imagined thing that's too absurd, too strange, and Bruno Sanfilippo's music comes from that inexhaustible and shameless source.
www.dronarivm.bandcamp.com/album/unity
Exclusive track taken from the upcoming album 'Landmarks' released through Constellation Tatsu...
Collaborating for the first time, Will Long and John Daniel combine their methods using tape machines, loops, and computers to score a reimagining of Peter Weir's film and Paul Theroux's novel "The Mosquito Coast". Sourcing inspiration from a view of the film and book as a historical pendulum, the musicians found that these reinterpretations left them nostalgic for a different time, something that's only partly imagined, and without the defined predictions about the life cycles of mass culture based on our limited understanding of current events.
Celer is the solo project of Will Long, an American musician, writer, and photographer living in Tokyo, Japan.
Forest Management is John Daniel, an American musician currently living and working in Chicago, Illinois.
Release Date: 02/05/18
www.ctatsu.bandcamp.com
Taken from the upcoming album 'Little Things' by Dalot & Sound Awakener...
'Little Things' is the first full length collaboration between Vietnamese sound artist Nhung Nguyen (Sound Awakener) and Greek sound artist Maria Papadomanolaki (Dalot). The album marks the completion of a 1.5 year-long exploration of common threads and interests between the two artists most notably the quotidian, the minute and the unnoticed often found in the fringes of big cities, busy landscapes and trajectories. It starts from ground-level interactions, field recordings of soundwalks in parks, on the streets, hydrophones in rivers and contact microphones on bridges and delicately moves to the ethereal; building up atmospheres of dreamsequences that differ from track to track.
‘Little things’ was created by a process of exchange and extraction of draft ideas between the two artists. The creative and personal connection was deep which results in a sense of intuition and mystery throughout the album. Each track has undergone iterative transformations until its final stage, with each artist peeling off layers and sculpting textures and moods prompted by words, memories and places. While, ‘Strangers in the city’ places the listeners in an urban junction, still with their eyes closed, ‘all that fall’ contemplates on the beauty of fallen leaves, autumnal afternoons and the smell of rain. In pieces like ‘a good day to be alone’ the two artists create feather-like motions resembling invisible drizzles of emotions, solitude and dreams filling up an empty, quiet room on a sunny morning. Elsewhere in the album, as in ‘sailing’, darkness supersedes lightness in a long dive into unknown waters.
The album creates a journey for the listener; a journey of changes between the two artists’ lives; the changes in seasons, life-events, ordinary moments and creative processes that affected the perspectives and emotional states within which this album was produced. Rainer Maria Rilke has written that ‘the only journey is the one within’. In ‘Little Things’ the two artists offer an adventurous exploration of internal landscapes through sound and memory, the light and shadow encountered within. Nguyen and Papadomanolaki embark in a musical dialogue in an effort to create a new common dialect between them, a place where they can feel both familiar and lost.
Music: Dalot & Sound Awakener Mastering: James Plotkin Design: Daniel Crossley
www.fluidaudio.bigcartel.com
We wanted to take this opportunity to thank everyone for the overwhelming support throughout 2017. I know we always say it, but we really have been blown away by your kind words and encouragement. You guys are seriously awesome! Also a huge respect to all the artists involved with the record label this year; Caught In The Wake Forever, Hotel Neon, Irving Park, Matteo Uggeri, Aaron Martin, øjeRum, Norihito Suda, Steven Kemner, Craig Tattersall, Lizzie King, Andrew Hargreaves, Nieves Mingueza, James Plotkin, Ian Hazeldine, Ian Hawgood, Taylor Deupree, Gideon Wolf, Aaron Martin, Leonardo Rosado and Bill Seaman.
Born On Christmas Day...
Dan locked himself away for a few hours late last night composing an exclusive mix of audio taken from the 2018 Fluid Audio / Facture release roster. Artists included are: Jason van Wyk, Ben Chatwin, Humble Bee, Marconi Union, Antonymes, Peter Jørgensen, Tape Loop Orchestra, Cameron Day, Dalot & Sound Awakener, Giuseppe Cordaro, James Murray, Kirill Mazhai, Moss Covered Technology and The Seaman & The Tattered Sail.
Headphones advised!
www.fluidaudio.co.uk
Taken from the forthcoming album ‘Taken Apart’ on Fluid Audio…
Taken Apart is a document of the city and the human psyche and 21st century social politics. It incorporates sequences of concrete sound collages and reportage-like location recordings set against layers of string, synth and choir. The follow up to 2015’s Broken Memory Machine, Taken Apart shares many of it’s predecessors traits. However, the reflective romanticism is gone – if Broken Memory Machine told a story from the past, Taken Apart unfolds right here in the wide eyed present, with the listener at the white hot centre of it all.
Music - Phil Tomsett Mastering - James Plotkin Photography - Craig Tattersall & Lizzie King Design - Daniel Crossley
Taken from the upcoming album 'The Epiphanies' by Bill Seaman...
The Epiphanies...
Composing memory The backs of my hands Headlights slowly turning, illuminating the branches Skin (slow) The folds of eros Slow motion in darkness Quietly touching Slow moving fog A quiescence of obsolescence Dark wet trees and angled lines of light The collapse of time Hidden memories and breathing Luminous silent stasis An epiphany of epiphanies
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Seaman – Piano, non-location recordings, ebow guitar, DX7IIE, mellotron, samples, sample arrangements and Ableton Live abstractions. Production. Owen Sidney Richardson — Contrabass and Electric Bass guitar library Craig Tattersall — Synth Bass library Robert Ellis Geiger — Trumpet, Cornet, Flugelhorn library Jonas Braasch — Horn library Ciompy Quartet – Violin library Daniel Howe – Distant Guitar on 14 Design by Daniel Crossley Photography by Nieves Mingueza Mastered by James Plotkin
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I often work by making libraries of particular kinds of sounds or asking people to contribute a library. With the contributed library I often give the players simple verbal instructions, or sing notes I am interested in including. With the piano, I sit down and do a series of improvisations. I then go though these and edit my favorite parts, building a series of fragment libraries, some with little or no abstraction, some greatly abstracted with Ableton Live. I compose in a very sculptural manner with Ableton, dragging things in from the libraries and trying things out often exploring chance related juxtapositions. I often shift the time and transpose individual samples to make them work with the other material. I build up structures, cut/copy/paste complex layered sections, erase sections that are not working, loop things, and slowly construct a track going though many iterations. I often later cut away at the built up tracks, and edit the piece down, further articulating a structure. I often finish with having between 20 and 50 tracks. In the final set of passes I fully articulate the psychoacoustic space, working with panning, eq, distortion, delay, abstraction, and reverb. I further edit and structure the parts that begin to “work”. Along with the piano I make Libraries of DX7IIE sounds, electronic beats, mellotron, electronic micro-rhythms, non-location recordings from noises found on the internet, orchestral abstractions, midi instrument libraries— violin, cello, woodwinds, and I also employ highly abstracted piano. Additionally I build libraries of ‘abstract’ guitars, playing alternate instruments through synthetic and or real amps. This overall method allows me to work very quickly and intuitively. In this case, the music is more sparse than many of my other recordings.
The Epiphanies started with some long titles like An Epiphany Related to the Back of the Hand. I later came to the notion of just titling the album The Epiphanies, and making the titles shorter. When I searched the title I was excited to see that James Joyce had done a series of short poems with the same overarching name. - Seaman 2017
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Special Thanks – Craig Tattersall, John Supko, Daniel Crossley and Fluid Audio
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This album is dedicated to the memories of Rick Tear, Ranulph and Aartje Glanville, Otto Piene and David Bowie.
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www.fluidaudio.bigcartel.com www.billseaman.com www.nievesmingueza.com
Track taken from the upcoming album 'Gradation Movements' on Fluid Audio...
Music: Steven Kemner Mastering: Taylor Deupree Design: Daniel Crossley
Mailing List:
www.fluidaudio.bigcartel.com/mailing-list
Track taken from the upcoming 2 x CD release on Fluid Audio...
Music: Norihito Suda Mastering: James Plotkin Label: Fluid Audio
Mailing List:
www.fluidaudio.bigcartel.com/mailing-list
Track taken from the upcoming album 'Needle Shaped Silence' on Fluid Audio...
Music: øjeRum Strings: Aaron Martin Artwork: øjeRum Label: Fluid Audio
Track taken from the upcoming album on Fluid Audio...
Music: Matteo Uggeri Label: Fluid Audio Mastering: James Plotkin
www.fluidaudio.bigcartel.com/mailing-list
Track taken from the upcoming album '3 5 1' forthcoming on Fluid Audio...
Music: Irving Park Mastering: James Plotkin Record Label: Fluid Audio
www.fluidaudio.bigcartel.com/mailing-list
Many thanks to Colin over at Time Released Sound for putting together a selection of unreleased TRS tracks in celebration of the new Stashed Goods website launch. Check out the huge TRS and TSM sale:
www.bit.ly/2pmSofC
and here:
www.bit.ly/2pqHiUh
Track list:
1 Swoop And Cross - Stories Of Disintegration (Sykkel) 2 Swoop And Cross - Stories Of Disintegration (St. No) 3 Tinycastles - Lull (Turrets) 4 Francesco Maria Narcisi + Giacomo Fidanza - The Accordion Sessions (A1 - In limine) 5 Francesco Maria Narcisi + Giacomo Fidanza - The Accordion Sessions (D1 - Voce celeste I) 6 Morgen Wurde - Assassinous Acts (Forgiveness) 7 Leo Takami - To A Child I
www.timereleasedsound.com
Shimmering Moods boss Paul Slot has put together a wonderful selection of new and unreleased tracks from the label in celebration of the new Stashed Goods web site. You will find lots of new music along with an EXCLUSIVE SALE here:
http://bit.ly/2pZ4VTq
Track list:
- Gipsi - Belgas
- Autumna - Heavy Glow (special H version)
- Bålsam - You'll Be Safe Here
- James Osland - Where It All Began (sat in a church)
- Macheteoxidado - Canyon Sequence 3
- Luca Sigurta - Track 3 from West of Eden
- Jurko Haltuu - Oh Lights Go Down
- Maiya Hershey - Outer Rim
- Eensdenkend - Garden Of Yellow Birds
- Andrew Tasselmyer - Seattle
- Mess Montage - The Death Of Optimus Prime
- Thet Liturgiske Owäsendet - North County
- Murkok - Akbara
- Nao Otsuka - Slide On iron 2
- DR - Ukulele + Playground
Mixed & Selected by Shimmering Moods 2017
www.stashedgoods.co.uk www.shimmeringmoodsrecords.bandcamp.com
Track taken from the new Hotel Neon album 'Context' forthcoming on Fluid Audio...
Mailing list:
www.fluidaudio.bigcartel.com/mailing-list
....
Album Credits:
Music written, recorded and produced by Hotel Neon www.hotelneonmusic.com
Additional textures and arrangement on "4:10 AM" by Takahiro Yorifuji www.hakobunemusic.jp
Vocals on "6:59 AM" and "8:30 AM" by Lacey Tasselmyer.
Mixing and additional production by Matthew Kidd www.slowmeadow.com
Mastering by Taylor Deupree www.12kmastering.com
....
Tracklist:
- 12:41 AM
- 1:57 AM
- 3:04 AM
- 4:10 AM (ft. Hakobune)
- 5:20 AM
- 6:37 AM
- 6:59 AM
- 7:42 AM
- 8:30 AM
....
Release Date: Feb / 2017
Taken from the recent album: Instrumental Transcommunications
Full review:
www.fluid-radio.co.uk/2017/02/tape-loop-orchestra-instrumental-transcommunications/
Instrumental Transcommunications was originally commissioned by Shimmering Moods for their Red Light Radio Show. This edition also includes a track recorded during The Invisibles sessions.
A collection of fragments and reference points from my audio notebooks. Voices from the other side, soundtrack re-edits, the wisdom of Sun Ra, faulty toned radio transmissions, cult leader shout outs, TLO experiments and a few other audio morsels. An esoteric guide to the inspirations that have helped form the foundation to current and future TLO works.
There are other dimensions beyond the material world and the people there are holding out their hands to us.
www.ourotherideas.bigcartel.com
Track taken from the upcoming album 'Under Blankets'...
Audio: Caught In The Wake Forever Mastering: James Plotkin Design: Daniel Crossley
Mailing List:
www.fluidaudio.bigcartel.com
Exclusive track from ambient experimentalist Specimens' debut album 'Sculptures'...
‘Sculptures’ is Alex Ives (AKA Specimens) most ambitious and daring project to date, following on from releases on underground imprint A Giant Fern, Amsterdam-based Shimmering Moods Records & the collaborative Specimens x Daniel Wiesmayr release, ‘Water & Concrete’ on London’s Tenderly Surrender - the title track of which soundtracked a short from film maker & director, Sophie Littman, premiered via Nowness.
Wearing his influences on his sleeve and with a nod to past and present noise pioneers such as Throbbing Gristle, Leyland Kirby, K.Leimer and Ben Frost, ‘Sculptures’ sonically pans between the dream-like fog heard on the track’s ethereal closer, ‘French Morning’, as well as, ‘Cerulean Forest’, and cold industrial textures prevalent on tracks such as ‘A Marble Hallway’ or ‘Thuvian’.
The lighter, more melodic passages perfectly hold together the record’s jagged, abrasive undertones, occasionally leaning towards a more classical feel in a way the likes of William Basinski and Sean McCann display with regular expertise - best illustrated on the tracks ‘Piano Loops’ and ‘VI.VI.MMXV’.
Ives, who also holds a monthly residency on London’s Radar Radio, said of this release “I didn’t want to make a record intentionally difficult to listen to, but I wanted uncomfortable moments. It was important for me to try and make the record sound as human as possible and in some places distinctly live"
This ‘human’ feel discussed by Specimens is partly achieved through utilising samples of Sudanese wrestling & Tuvan Throat Singing, adding a charm that prevents the record from ever feeling too slick.
'Sculptures' was mastered by iconic sound artist and Room 40 label boss, Lawrence English – a man who also was a key influence in the sonic palette harnessed by Specimens.
“I've been a huge fan of his for a while now, he was probably my first introduction into the ambient/drone world. I wanted to have it mastered by someone I know not only specialises in this music, but someone artistically I looked up to.”
Over the past 18 months Specimens has been collaborating and releasing singles and EPs at a pace that hints at an artist never fully satisfied with sitting on a project. It’s through this process the ambitious producer has not only broadened his creative sphere, but honed in on a sound that is unmistakably his own. The result is a record distinctly individual and unapologetically enjoyable to engage with.
‘Sculptures’ will be available on 13th January via First Terrace Records.
Norman Records: http://smarturl.it/sculptures-norman Bleep: http://smarturl.it/sculptures-bleep Juno Records: http://smarturl.it/sculptures-juno
Taken from the upcoming album 'Year Zero'...
Audio/Field Recordings: Gideon Wolf Mastering: James Plotkin Photography: Daniel Crossley
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Taken from the upcoming album 'The Blossoming Of The Nothingness Trees' released through Fluid Audio.
Audio/Field recordings: øjeRum Collage/Prints: øjeRum Mastering James Plotkin Design: Daniel Crossley
www.fluidaudio.bigcartel.com
Track taken from the upcoming album 'Letting Go Variations' by Kirill Nikolai...
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Track taken from the upcoming album 'In The Dead Of Night When Everything Is Asleep' by Aaron Martin and Leonardo Rosado...
Music: Aaron Martin / Leonardo Rosado Mastering: James Plotkin Label: Fluid Audio
www.fluidaudio.bigcartel.com
We are extremely excited to bring you an exclusive track from the upcoming Message To Bears album 'Carved From Tides'...
On Message To Bears’ fourth LP Carved From Tides Jerome Alexander throws all caution to the wind and delivers an experience emotive enough to tug at every fibre in a heartstring. Released on 1st July, Carved From Tides sees Jerome eschew the arbitrary boundaries that have been erected between synthetic music and music made on more traditional instruments. Lead single ‘I’ll Lead You There’ is exemplary. Starting with a gloomy acoustic arpeggio that wouldn’t be out of place in the hands of Elliott Smith or Nick Drake, its folk-like textures are soon penetrated by a thudding beat over which collaborator Will Samson lends his tender reverberating vocals. The heart-wrenching mood of the arrangement lends it a depth of feeling that characterises the whole LP.
Jerome’s love of ambient music is highlighted in the opener ‘Never Be’. It’s a cinematic start to the album, replete with sweeping synths and strings. The muffled piano lends some rhythmic shape to its openness. It ends tempestuously, with thunderous bass raging against the dying synths as it refuses to go gently into the night.
Read more here:
www.fluid-radio.co.uk/2016/06/message-to-bears-carved-from-tides
Pre-Order here:
www.messagetobears.com/album/carved-from-tides
"Reels of music left to rot and decay sporadically, using the most random of recording methods and developments. It was free and without regard; absolutely without over-control..." - Ouvala
All music by Ouvala Mastered by Antony Ryan (ISAN) at RedRedPaw Label: Fluid Audio
www.fluidaudio.co.uk
Like everything, 'In The Lens' has been shaped by its past, the music recovered from the garbled intestines of a decades-old hard drive and previously lost emails that were, over the years, left to wallow in discontinued, withering accounts. Forlorn and forgotten samples that were recorded on cassette dictaphones shed a gentle light on Solo Andata’s musical lineage, but in this new era fresh elements appear alongside these re-worked sounds. As a result, the music has both a contemporary and a lightly dated feel to it, like memories shrouded in orbs of present moment dust...
Full review:
http://www.fluid-radio.co.uk/2016/05/solo-andata-in-the-lens/
Pre-Order:
https://12kmusic.bandcamp.com/album/in-the-lens
We haven't done one of these mixes for a long old time!
A collection of tracks forthcoming on the record label and a few personal favs from the past 12 months.
Headphones advisable...
Enjoy
My father died on 16 March 2011. His body had battled emphysema for years. After complications caused by a bout of pneumonia he finally succumbed. In the aftermath of these events I turned to my piano for solace and escape. The resulting record attempts to address the emotions experienced during the 7 days between his death and funeral. In collaboration with Ed Hamilton, who brilliantly tapped in to my experience and emotion, and with contributions from Christoph Berg, this record is about, and in memory of, my father. - Euan
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Glacis is Euan Alexander Millar-McMeeken with Ed Hamilton
All pieces written and performed by Euan Alexander Millar-McMeeken and Ed Hamilton
Violins on tracks 1, 5 & 7 performed and arranged by Christoph Berg
Violins on track 6 performed by Christoph Berg, arranged by Ed Hamilton
Piano recordings by Ana Roman and Alex Galler at the University of Edinburgh
Produced and mixed by Ed Hamilton
Mastered by James Plotkin
Art by Todd Umhoefer www.oldearthcontact.bandcamp.com
Writing by Ali Millar www.readthesupplement.com
Released through Fluid Audio (May 2016) www.fluidaudio.bigcartel.com
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Thanks, and thanks, and ever thanks In memory of Euan's father, Sandy McMeeken 6 November 1937- 16 March 2011
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Release date 29.04.16 www.fac-ture.co.uk
“Work with the intention of slowly fading from sight.”
Returning to the light from the darkness of 2012’s ‘In a Lonely Place’, The Tape Loop Orchestra and Facture present ‘Go Straight To The Light Of All That You Love’, a landmark intersection of music and visual media. Interrogating the contradictory dualism in the life that inspires art, this unique project displays the panoramic influence of Ozu, Neuer Deutscher Film, Weldon Kees and Yves Klein, as well as forming of a larger arch with TLO’s ongoing body of work.
“Distortions are inherent to representation.”
Examining the multiple philosophical strands found 'In Search Of The Miraculous' - Dutch artist Bas Jan Ader’s intended trio of art actions, P D Ouspensky's book of the same name, Gurdjieff's early teachings - TLO pay homage to the artist’s continual search, even when the camera isn’t looking; searching for miracles, or simply an answer to the metaphysical why...
If life is art, can the artist decide where art ends and art life begins? Can they co-exist in one form? Do we celebrate the art or the artist?
“Death isn’t about judgement, it collects us all.”
As with all TLO releases, the material was recorded after development in live performance, with the new approach of using multi-track control over trademark tape disintegration for the first time. Edited, sequenced and mastered by James Plotkin for both CD and vinyl, with both formats offering different versions of the same work, ‘Go Straight To The Light Of All That You Love’ is an ambitious and densely rewarding entry in a sequence that fiercely questions the collective human failure to unravel complexity.
Performed by Tape Loop Orchestra with Beth Roberts, aus and Cuushe... Mastering: James Plotkin Photography: Azra Haracic Design: Craig Tattersall Inspiration: Bas Jan Ader
With love to:
Craig, Beth, Yasuhiko, Cuushe, Dan & Jess, Alice, Danny, Dean, Miles, Thomas, Michael, Russell, Richard, Joe, Masami and team Bookman
Packaging:
Deluxe 4 panel gatefold covers printed on reverse board Printed inner sleeves Clear vinyl Letter-pressed CD cover Glass mastered (not CD-R) CD 16 page photographic booklet 2 x limited edition prints CD/Booklet/Prints all rest inside hand stiched/sealed oversized glassine bags Hand Tagged/Typed/Individually numbered All of the above rests inside sealed oversized black metallic photographic bags Download code Scent CD and vinyl hold different recordings of the material
Taken from the upcoming album 'Remnants'...
A collection of memories, field recordings, and sound inspired by the remote corners of Iceland.
Available soon as a limited edition package exclusively through Fluid Audio.
http://fluidaudio.bigcartel.com/mailing-list
Recorded, mixed, and produced by Hotel Neon www.hotelneon.bandcamp.com
Mastered by Taylor Deupree www.12kmastering.com
Additional textures on 'Cascading' recorded by Andy Othling www.lowercasenoises.com
Taken from the album 'Diminished Composition', released through Scissor Tail Editions...
Review:
www.fluid-radio.co.uk/2016/01/willamette-diminished-composition/
Buy:
www.store.fluid-radio.co.uk/2016/01/willamette-diminished-composition-vinyl/
www.scissortail.bandcamp.com/album/diminished-composition
For as long as I can remember I've had a fascination with music written for the festive season. I love the beauty and melancholy of traditional Christmas hymns.
In 2010 I was approached by Paul Morley to produce a set of backdrops for a show at London's Southbank Centre, "This Time Of Year," with appearances from Andrew Poppy, Rachael & Becky Unthank, Terry Edwards and Summer Camp. The seed for this EP was sown on this evening, and a couple of the themes were drawn from this performance. - Antonymes
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'At This Time Of Year' is available now via the Antonymes Bandcamp web site:
http://antonymes.bandcamp.com/album/at-this-time-of-year
Also well worth mentioning is the upcoming full length release dropping 22.03.16. We have been lucky enough to hear the album in it's entirety and have been totally blown away by its beauty.
Taken from the upcoming album 'Transient Accidents' on Fluid Audio...
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All tracks produced, mixed and arranged by Sara Galán and Edu Comelles.
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Album recorded during the first weeks of August 2015 at Espai Rambleta in Valencia, Eastern Spain.
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Mastered by Jaume Muntsant.
www.fluidaudio.bigcartel.com
Taken from David Colohan & Richard Moult's upcoming collaborative album 'Branded By Constellations' on Fluid Audio...
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One breath spanning a thousand years Took the eremite's boat To raise his cell upon the rock
To where star-spread crossings mirror tracks Woven to a moorland shrine
And where the stars change places with the falling snow: A net of light to sail his Earth by.
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*Release date: November 2015
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All Sounds recorded in May 2015 in Olafsfjörður, Iceland.
They include: the seagull feeding station near the fish factory, nesting Arctic Terns, underwater recordings of ice dumped in the harbour by a road clearing tractor, the door of the abandoned concrete factory, ski lift wires, fences in the rain, trawler crane wires, underwater trawler recordings and the aqua aerobics class as heard from the mountain top.
Thanks to: Listhus + Alice Liu.
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Read a detailed report along with photographs taken by Kate here:
http://www.fluid-radio.co.uk/2015/10/Iceland
Track taken from the upcoming album 'Into The Well' released through Fluid Audio, October 2015...
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- Music and arrangements by Dag Rosenqvist and Aaron Martin
- Vocals arranged and performed by Dawn Smithson and Jerker Lund
- Horns performed by Henrik Munkeby Nørstebø (trombone) and Jenny Olsson (French horn)
- Recorded in Gothenburg, Sweden and Topeka, Kansas
- Mixed by Dag Rosenqvist at The 63rd Link in Gothenburg
- Mastered by Taylor Deupree at 12K Mastering
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Aaron Martin: Cello, bass, roll up piano, voice, vinyl, singing bowls, banjo, lap steel
Dag Rosenqvist: Piano, pump organ, Fender Rhodes, various organs and synthesizers, acoustic and electric guitars, glockenspiel, voice and field recordings
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Mailing List:
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Coming soon...
Somewhere between now and the future, a hunt begins in the blue neon space before darkness. The near dark.
Gideon Wolf’s new album lives in the headlights on that empty road, sweeping the distant violence at high speed. A soundtrack to the escape from a Ballardian dystopia.
‘Near Dark’ sees the duelling elements of Tristan Shorr’s musical output merge into one; prophetic ambience driving headlong into rhythm and distortion.
Think Ben Frost and Max Richter colliding in a futuristic urban landscape – “a vertical Kubrick event horizon that is equal parts Nils Frahm and Oren Ambarchi” (Cyclic Defrost).
Mastered with precision by James Plotkin, the album will be limited to 200 copies, for release in September 2015, with packaging in the customary Fluid Audio style.
www.fluidaudio.co.uk