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Ricardo Donoso brings his triptych of releases to a close with this remix EP, bringing in five diverse and respected artists to pick tracks for re-working. Yves De Mey opens proceedings with a nerve-wracking, midnight black take on 'The Sphinx' which slowly builds through layers of skittering synths, while Recondite, hot on the heels of his Hinterland album, brings 'Diagonal Environment' straight to the floor with a driving 4/4 that adds a solid backbone to proceedings.On the flip, Subtext figurehead Paul Jebanasam offers up the most abstract cut on the record withthe dark and winding 'Affirmation' remix complete with intricate compositional elements and blasting cinematics, while John Tejada offers a club-ready version of 'The Redeemer' before Andreas Tilliander's TM404 provides an acid-soaked take on 'Open Drawer, Full of Masks' .

"Enomeni" (which is greek and means "connected") is a document of a very special live performance. Aidan Baker, N and Dirk Serries came together for the first time to play an improvised live session. The result is an one hour session, divided into four tracks, which show up an impressively increasing soundjourney with accentuating moments, ending up in a massive drone with squeaking and buzzing guitars.

Cute Heels is the solo project of Bogota´ born, experimental producer Victor Lenis. Since the early 2000's Lenis has been working on a myriad of electronic projects, including the management of the labels Black Leather Records and Romance Moderne, in his current home of Brussels. Drawing on the influences of the radical punk scene that surrounded him growing up in Columbia while nurturing his passion for synthesizers and drum machines, Lenis developed the broody, gloomy brand of electro-techno that is Cute Heels. Deemed by Juan Atkins as ''the new blood and spirit for the next step in techno music'' Cute Heels has released various digital only releases over the years, as well as his first vinyl release, an EP on Gooiland Elektro. His debut album Spiritual, rides the line between cold electro-techno and left field electronic body music. Inspired by equal parts Liaisons Dangereuses and Drexciya, Spiritual takes the listener on a journey over 8 tracks and 40 minutes of music. Listening to "Spiritual" you can see why. The songs on this full length reveal a sublime influence from Detroit techno, early Chicago house and new wave; advanced electronics for the dance floor, pumping and sophisticated. The album was recorded and mixed by Victor at Sensorium Studio in Zagreb, Croatia in November 2013. Each song has been mastered for vinyl at Fantasy Studios in Berkeley by George Horn. Each LP is packaged in a custom-made jacket by our in-house designer Eloise Leigh and incorporates the geometry of analog synthesizers and celestial rose patterns. 

Anthony Child AKA Surgeon presents the second volume of recordings of Buchla Music Easel recorded in the jungle of Maui. Again we find Child's in a more ambient guise and setting as the calm breath of the jungle sets a real time back-drop for his electronic explorations. There is no additional layering and all environmental sounds simply 'occurred' throughout the improvisations. The range on display veers from melodic drones to sparkling arpeggios all revolving around a thick bed of (Buchla) electronic and (environmental) acoustic interplay. Nine Personality Type Map hovers on a bed of syncopated rhythms whilst the nearby sonic mist of the forest seeths in and out of the frame whilst Nightfall Of Diamonds provides a sonic analogy for the darkness and light contradiction that occurs only in such rich natural environments. The simultaneous acts of improvising, listening and creating provide a rich setting for the curious listener. Another gem in a catalogue filled with gold.

The danish label Echocord Records was formed 15 years ago this year by Kenneth Christiansen. It will now be celebrated with a compilation plus a big tour around it. We are super happy and proud that we can still continue releasing quality electronic music.
The compilation contains 10 tracks from 10 artists that all have been releasing on Echocord and Echocord Colour before from veterans Mikkel Metal, Deadbeat, Fluxion to newer signed artist Arovane.
All tracks are new and unreleased.
"15 Years With Echocord" covers the typical Echocord sound. From ambinet/chillout by STL, stoned dub by Beat Pharmacy, to typical Dub-Techno and House from Fluxion, Resoe and XDB, to the more dancefloor peak tracks by Mike Dehnert and Deadbeat.
Lets do another 15 years .

BAKK kicks off a new series of records with Plafond 1 made for drowning in the deep end of the pool. Legowelt, SFV Acid and Haron provide you with an eery collection of ambient harmonies and melodic rhythms best served when lying on the floor, gazing in to the abyss. Comes in special screen printed outer sleeve and wicked obi strip made by the BAKK Centre for Mindfulness.

This avant-chamber ensemble was formed by its namesake, polymath percussionist Thor Harris (Swans). The album was recorded in Albuquerque, New Mexico, and produced by Jeremy Barnes and Heather Trost from A Hawk & A Hacksaw and Deerhoof's John Dieterich. The three core members of the band are Peggy Ghorbani on marimba, Sarah "Goat" Gautier on marimba, vibraphone, xylophone, organ, voice, mellotron and piano and Harris on sundry percussion and wind instruments including some of his own devising

This fourth volume and 'dedicated to the magic of Venice. A riplo cd flavor Vintagedifferenziato for mood and style, from the typical chill out tunes suited to more 'rilassanfi atmospheres (cd1) sequentially mixed (60 minutes) traveling by gondola from the magical atmosphere of one of the' most 'visited city in the world, to songs more 'moved that puts you in an exclusive aperitif in Piazza San Marco in cd 2. to complete the volume there is a third cD devoted entirely to traditional songs. A collectible gem at a bargain price.

Anthony Child AKA Surgeon presents the second volume of recordings of Buchla Music Easel recorded in the jungle of Maui. Again we find Child's in a more ambient guise and setting as the calm breath of the jungle sets a real time back-drop for his electronic explorations. There is no additional layering and all environmental sounds simply 'occurred' throughout the improvisations. The range on display veers from melodic drones to sparkling arpeggios all revolving around a thick bed of (Buchla) electronic and (environmental) acoustic interplay. Nine Personality Type Map hovers on a bed of syncopated rhythms whilst the nearby sonic mist of the forest seeths in and out of the frame whilst Nightfall Of Diamonds provides a sonic analogy for the darkness and light contradiction that occurs only in such rich natural environments. The simultaneous acts of improvising, listening and creating provide a rich setting for the curious listener. Another gem in a catalogue filled with gold.

Following up his previous album Skygaze' (EHBR 2013), the Canarian producer Javier Pérez Rodríguez, known as Resonance presents his latest creation: Ligt Continuum' a symphonic-techno soundtrack which tells an emotional journey taking Light simbology as an element that can be as fragile as strong, transporter and still, fleeting and perpetual...

Keeping with the idea of his past work, Resonance gives his particular and poetic vision of electronic music without giving up his love for the electronic clubbing sounds he has developed throughout his career fusing brightly with styles from underground and experimental music to pop sounding thus making apealling his producctions to different audiences.

Light Continuum' contains vocal and instrumental pieces which appear as true precious and overwhelming hymns with the common base of taking the listener into an impressive landscape surrounded by overflowing synthesizers, liquid guitarrs and multilayer sounds. Pure electronic music which allows dreaming.

The album is presented by "El Hombre Bala Records" and available worldwide both in vinyl and digital format from Straight Distribution and Digdis.yl and digital format from Straight Distribution and Digdis.

Toulousians Romain Barbot and Gregory Buffier have produced more than a dozen tormented ambient-drone records under the name Saa°ad. Verdaillon is the fruit of a commission by the local Les Orgues festival, which gave them access to the Puget organ located in the Church of Notre-Dame de la Dalbade.

Via dynamics of elevation, suspension and tension, Saa°ad's music aims for altered states. Consisting of thick patches of sound, it gathers powerful harmonies and buries them under the rustle of elusive, intimate, far-flung sampling. From the start, Saa°ad has been obsessed with in situ creation, field recording and acoustics, but also, more implicitly, with baroque music. so their encounter with the Dalbade organ seemed a propitious challenge.

Even in the sparkling main themes, the organ seems unevenly tuned, at times granular, with a range of concrete, percussive and eolian expression. Sometimes the organ is played when it is off; a couple of tracks utilise spare old pipes, like flutes.

Verdaillon eschews the easy lyricism of much ambient music, in favour of an extremely rare quality of dynamic and detail. The record's singular and discreet beauty is due to the organ in all of its most secular aspects, and to a certain 'something in the air' of that particular place, on those particular days... the breath of life itself.

Aus follow up a slew of successful records from Fold, Bwana, Sei A and Shenoda with the welcome return of long-term label affiliate Kieran Lomax aka Komon. Having offered several collaborations on the label alongside Appleblim and label owner Will Saul - Komon now lines up his second solo EP 'Splice'. As a producer whose first productions were drum & bass records, his subsequent work on Aus as well as labels such as the Hypercolour affiliated HYPE LTD and Appleblim's Apple Pips have never been lacking in energy, remained UK-centric and always held a bold, sturdy quality. His latest EP is no exception as it brings together three richly textured productions rife with scuttling drums and glowing tones. 'Yeah' kicks things off field recordings and other-worldly FX ducking under a sharp, forthright kick. Moody synths are smeared over sharply swung hats as a tense, held tone gathers steam ahead of a tough and impactful drop. 'Lo Output' then rolls out loose-limbed drums and finger clicks alongside warped and panned atmospherics. Warming stabs and deftly snipped vocals work together to create arresting riffs before the distinctly eyesdown pads of Splice Boundary are beautifully interweaved to close off a satisfyingly varied collection.

La Boutique De La Musique : a collection of music from the world , refined and exclusive . This third and last number and ' dedicated to the famous Miami nightlife . A triple differentiated CD for mood and style that traces the typical sound delmultietnico capital of Florida. By chill out music & lounge suitable for most ' relaxing atmospheres ( cd1 ) to the most' lively songs and rich Latin American sounds in mixed delcd 2 , to close at the end with a third album entirely dedicated to traditional songs are characterized by sounds of gypsy guitars and other typical instruments of this wonderful peninsula and ' Florida

* Matt Preston aka Phaeleh reprises the sounds of his 2014 album 'Somnus' with a second long playing ambient deviation. Intended as a soundtrack to explore the perception of self-importance, 'Illusion Of The Tale' operates with a reduced sonic palette of effected live synthesiser workouts and experimental recording techniques infused with worldwide field recordings.

* The majority of 'Illusion Of The Tale' is based heavily on live synth recordings, recorded live with inherent human mistakes and imperfections kept in to avoid the heavily repetitive process of working 'in the box'. A selection of tracks are recordings using Phaeleh's live show setup, which resamples and manipulates existing material. Some are constructed using more traditional composition - 'In the Emerald' is a live piano recording and live doubling of that part with classical guitar - whereas others are strongly experimental - 'Origins' is made from his thumb holding the end of a cable running through a pedal board, then looped and pitched down.

* Layers of field recordings were added to the tracks to create a sense of noise or the real world. Recorded over a few years, collecting these sounds took Phaeleh from Bristol cemeteries, libraries in Wiltshire and Welsh rock pools to getting lost in the Costa Rican rainforest, riding the Hong Kong MTR underground, walking through cicadas in Colorado and watching Melbourne skateboarders. Ideas for the album's cartographic artwork, evocative of the minimalism movement, started flowing after the music was mostly finished, informed from the idea of recordings from around the world and the travels that accompanied them.

* Since his debut release in 2008, Phaeleh has developed an inimitable style of electronic music, cementing his position as one of the most consistently exciting producers to emerge from his hometown of Bristol. He returned from a hiatus this spring with the 'All That Remains' EP, five tracks ranging from icy house dystopia, heartbreaking solo piano, garage roots explorations, classical themes and guitar driven melancholia - supported by DJ shows at Motion, Bristol and Fabric, London. 'Illusion of the Tale' satisfies the demand for new music from his incredibly dedicated fan base and cleans the palate for a new full artist album currently in development.

* "The album title is my polite way of saying we live in a world of bullshit and bullshitters. Essentially I feel we all live in a constant lie, whether it be our Facebook profile pictures, the need to present our lives as perfect, with good looking partners, intelligent children, the perfect job etc. People feel the need to present their situations as being something they're not. We all suffer. We all have setbacks and difficulties, but we live in a world where people always want to pretend everything is fine. I feel that the music provides a chance to pause and escape the illusion of the everyday lie we present not only to the world but also ourselves. One of the most important things I did was embrace the ultimate pointlessness of all our existences in the grand scheme of the universe. I still believe that we should make the most of our time here and lead positive lives and be nice human beings, but I do find it funny that we as a species think we matter, when really we don't. So I guess it's my way of saying nothing really matters, stop pretending everything is perfect, and let go of this collective lie and just take some time to chill the fuck out. I want the album to be an escape from everyday lives. I want it to be a soundtrack for people to let go."

- Phaeleh

Being pioneers with a new album created in no more than 6 months, THE ORB are bound to be exposed to fan expectations running high, while quizzical questions about little fluffy clouds and the good old times take over. It's especially jarring as the duo of accomplished soundsmiths Alex Paterson and Thomas Fehlmann has become known for its genre-bending curiosity and surprising sonic detours, exploring experimental soundscapes as well as club-friendly beats. The funny thing is, though, that whatever the context, you know a track from THE ORB when you hear it. Case in point: COW / CHILL OUT, WORLD!, their latest full-length offering - a masterful ambient album that branches out in many directions, but unmistakably sounds like THE ORB in either ear (and probably to your third ear, too).
"The idea was simply to make an ambient album", Dr Paterson explains, "we didn't look back and study earlier recordings, but wanted a more spontaneous approach, a focus on THE ORB today, our vibe in 2016." In contrast to their much-acclaimed previous full-length MOONBUILDING 2703 AD (KOMPAKT 330 CD 124) - which took years to prepare and finetune -, the new album was produced over the course of only five sessions in six months, directly following the like-minded ALPINE EP (KOMPAKT 339): "it got so spontaneous that a track like 9 ELMS OVER RIVER ENO (CHANNEL 9) consisted only of material collected at North Carolina's Moogfest in May - second-hand records from local stores, field recordings, live samples from gigs that we liked, and of course an excursion to the Eno River, which actually exists. This geographic intimacy and the spontaneity are among the top reasons why we love this album so much."
Herr Fehlmann sees the duo's relentless gigging schedule as a formative influence on the new album: "the countless performances we've played in the last years - probably up to 300 - have brought us closer as a musical unit. The spice of our concerts is improvisation - a fertile process that we've brought to the studio, where we operate with very simple rules of engagement (in this case "ambient") and go wherever the flow takes us." It's an approach that one might expect from traditional acoustic instrumentation, not necessarily an electronic set-up, but for THE ORB it works wonders: "we're quite happy and also a little bit proud that we've reached this level of unscripted levity with purely electronic means. We're finessing ourselves, sort of, always looking for the next sonic surprise that leaves us rubbing our eyes about how the heck we got there."
Once more, THE ORB's trademark playfulness is on full display on COW / CHILL OUT, WORLD!, and it doesn't limit itself to the multi-layered sampling and psychedelic sound composites that the duo has become known for - you'll find it in the album title as well. The simple invitation (or order) to chill out (relax Calm the eff down) is converted into an acronym - and the cow that you might expect to find on a Pink Floyd cover or with iconic UK chill-out/dance pranksters The KLF. It's not so much an obscure trope coming full circle as a perfect example for THE ORB's multitimbral approach to sound and meaning - a compelling, immersive journey to diverse places and impressions. Each track title is a conceptual work in its own right, playing with multiple references, some of which remain highly personal and mysterious. But the greatest feat of THE ORB's latest outing might just be how all this semantic doodling never gets in the way of the actual listening, at all times directly relating the artists' sonic vitality and cheerful nosiness. Chill out world! and treat yourself to an outstanding new ambient experience from THE ORB.

Everyone's looking for inner peace of some kind even warmongers. As most intelligent people know, music is one of the most effective ways to achieve that blessed, blissed state. The debut album by Seattle producer Monadh (Jake Muir) offers yet more crucial aid in the war on stress. Muara is an ambient album in the purest, chillest meaning of the term. Its seven tracks are awash in aquatic signifiers and textures; each one is a rejuvenating dip in healing, icy waters. (Muara is Javanese for "estuary.") Which isn't to say that Muara should be filed in New Age sections of record shops (not that there's anything wrong with that). Rather, what the album most resembles is the ambient output of artists like Biosphere. Loscil, and The Sight Below—musicians who uncannily make you warm to cold tones. "The way I make music is really stream of consciousness," Muir says. "My friend calls it 'slow improv.' I happened to be watching a lot of older Japanese cinema, especially samurai stuff, from the '50s to the '70s while making the album." Natural habitats also played a significant role, Muir notes. "My favorite music is informed by mood and place." This deep into the 21st century, it's not easy to create ambient music that sounds vital and untainted by hackneyed tropes. Monadh succeeds in this difficult task, through a combination of his field recordings from the Pacific Northwest and meticulously chosen samples mostly lifted and pitchshifted from library records of a pastoral and romantic bent. He also cites Andrew Pekler's Sentimental Favourites and Biosphere's Shenzhou as inspirations.

Soft bangers and beatless movements from Brooklyn­ based producer UMFANG, following up last years 1080p ­released cassette 'Ok' with the five track 'Riffs' 12'.

This vinyl debut finds her tripping on ambient and rediscovering the Microkorg that she tried to sell but started experimenting with again. These five vivid tracks are a logical progression from the previous polyrhythmic techno—footwork thoughts, avoiding 4/4 and textured with imagery, simple melodies and landscape ­invoking sensations.

UMFANG is Emma Olson, prolific DJ, co­-founder of Discwoman and programmes Technofeminism, a monthly residency at Bossa Nova Civic Club focusing on emerging local talent and an affection for vinyl.

La Boutique De La Musique : a collection of music from the world , refined and exclusive . This second issue is dedicated to the oriental atmosphere of Marrakech . A triple CD from different exotic flavor to mood and style , from the typical style songs " Buddah Bar" suitable for the most relaxing atmospheres ( CD1 ) into a sequence from one hour completely mixed along magical atmosphere of the East , the most lively tunes and rich percussion sounds in mixed CD2 , to close finally with a third CD devoted entirely to traditional songs are characterized by sounds of gamelan , rattles and other instruments typical of a East to discover. A collectible gem at a bargain price !

La Boutique De La Musique : a collection of music from the world , refined and exclusive . The first issue is dedicated to Brazil , in one of his most representative and fascinating cities : San Salvador De Bahia . A triple differentiated CD for mood and style , from the typical chill - bossa tunes suitable for the most relaxing atmospheres ( CD1 ) , for a sequence completely mixed within an hour of magical atmospheres bossa , the liveliest tunes at discosamba pace in mixed CD2 in which we find historical pieces like " Mas Que Nada " and " Magalenha " , to close with a third CD devoted entirely to traditional songs that have characterized decades of the carioca world music. A collectible gem at a bargain price !

Manchester-based duo Shield Patterns return on September 2nd with a new album entitled Mirror Breathing. Released on band member Richard Knox's own Gizeh Records label, Mirror Breathing follows on from the critically acclaimed debut album Contour Lines in 2014 and 2015's Violet EP.
Where it's predecessors took a more stark, electronic and processed approach, Mirror Breathing is an altogether warmer, more cinematic record. The cello of guest collaborator Julia Kent (Antony & the Johnsons / The Leaf Label) introduces a new element and a new energy to the sound, pulling the songs into a more symphonic form. The electronics, drones and field recordings are intricately and painstakingly arranged by the duo, meandering between haunting vocal passages, clarinet swells and delicate synth phrases. The album ebbs and flows through hypnotic beats (Dusk, Blue Shutters, Glow), ethereal and tender piano-led songs (Bruises, Anymore) to more aggressive, heavily experimental, free-jazz elements (Balance & Scatter).
Continuing the fiercely DIY ethos adopted by both band and label, Mirror Breathing has been written, recorded and produced in its entirety by Claire Brentnall and Knox in their home studio in the Peak District. The record is both personal and universal, an exploration in sound and songwriting. The music Shield Patterns are making is difficult to place into genres or pigeon-holes. Experimental sounds are married to striking, inventive melodies throughout, it's contemporary pop music of sorts with a richly detailed cosmic edge.
Some words from Claire about the album:
"The album for me is about feeling connected, exploring what it means to be a friend, to be in love, to be an individual, to be part of a collective unconscious. It's about the beauty of imperfection, of making mistakes, and the discoveries that are made by chance as we learn to exist."

Denovali present the QUINTESENCE soundtrack composed & produced by Ricardo Donoso in May 2015. QUINTESENCE was created by installation artist Florence To (uk) and composer Ricardo Donoso (bra) after a series of conversations and collaborations in 2014. They shared a mutual interest in the psychological research in their work and wanted to further develop this as a thematic process in a live audio visual performance. QUINTESENCE was commissioned & premiered at the Satosphere dome, Society for Arts and Technology in Montreal in May 2015. The dome, 18 meters in diameter and 11.5 to 13m high, forms a 360-degree spherical projection and is made up of 157 speakers in clusters of four around the perimeter of the dome, giving a surround sound of 39.4 channels. QUINTESENCE examines a system of elements that represent the development of the psychic process; symbols represent parts of the subconscious, telling a story of how memory may be disorientated, distorted, and dysfunctional yet acting as a linear process to individuation.

Through Ricardo Donoso's score we see trace elements of these processes and symbols within the sounds themselves - within each musical decision. Donoso's score continues to advance his foray into electro-acoustic hybrids, explicitly here with the use of Spectralism. Washes of lush string trio including contrabass, cello and viola are dismembered and placed through the wringer of Donoso's custom signal processing chains. QUINTESENCE also emphasizes Donoso's skills as a sound designer, where alien textures, Xenakian computer music and massive tone clusters collide and shatter against each other for moments of either breathtaking beauty or stretches of repulsiveness. Serene piano and vocal elements are pinned against oppressive drones and digital clatter, each voice fighting for its space in the vacuum of the dome.

Although an entirely high level digital production, the duality of QUINTESENCE that is played out is that the subject matter is really about the natural world and our relationship to it. It is about existing on a plane void of technology while discovering your identity within the context of a purely natural world, uninterrupted by contemporary hurdles.

Michele Mininni's Hyper Martino EP is a strange adventure in sound, the finest example of music noir and engaging story of audio science fiction. Michele hails from South Italy and counts everything from post-punk, krautrock to new wave, house and disco amongst his influences. He's been a DJ for years but only in 2014 has released his debut Tupolev Love EP on Glasgow's Optimo Trax. He immediately found himself in the spotlight of discerning DJs and music collectors alike. After a few months he released another highly acclaimed EP entitled Endless Ceremony on Belgian label Curle. And now, after a short hiatus he returns with his latest Hyper Martino EP radiating oblique and unpredictable sounds. Remixes come courtesy of Tel Aviv's hit-assembly-line Red Axes who yet again deliver a bloody good remix, and of a reckless New Age traveller, industrial-yoga-trance guru and Australian multi culturist Dreems.Le Temps Perdu is a new label founded by Lemmy Caution, a man of mistery, a fan of steal mustangs, robot poetry and otherworldly sounds, well know across The Outlands and operating from Alphaville.

The 10th Anniversary edition of this classic album from the master of drone and Kosmiche Musik was originally released on CDr by Kill Shaman in 2006. Sonic Meditations presents a first time vinyl and cassette edition, newly mastered after being out of print since 2009.

"Gorgeous drifting ethereal krautrocky ambience is what Expo '70 is all about, and eyes closed, you'd be hard pressed to not think this was some Ash Ra Tempel disc or some long lost A.R. and The Machines lp. Crafted entirely from guitars, sitar and Moog, each track here is some sort of lengthy, mesmerizingingly blissed out minimal drone jam. Guitar figures are looped into hypnotic cycles, over shimmery whirls of fuzzy sound and distant drones, the looped riffs slowly shifting and gently changing shape. It's almost like some sort of new age space rock Steve Reich." - Aquarius Records couldn't have summed up the etherial mystique around Wright's developing project better.

The 10th Anniversary edition of this classic album from the master of drone and Kosmiche Musik was originally released on CDr by Kill Shaman in 2006. Sonic Meditations presents a first time vinyl and cassette edition, newly mastered after being out of print since 2009.

"Gorgeous drifting ethereal krautrocky ambience is what Expo '70 is all about, and eyes closed, you'd be hard pressed to not think this was some Ash Ra Tempel disc or some long lost A.R. and The Machines lp. Crafted entirely from guitars, sitar and Moog, each track here is some sort of lengthy, mesmerizingingly blissed out minimal drone jam. Guitar figures are looped into hypnotic cycles, over shimmery whirls of fuzzy sound and distant drones, the looped riffs slowly shifting and gently changing shape. It's almost like some sort of new age space rock Steve Reich." - Aquarius Records couldn't have summed up the etherial mystique around Wright's developing project better.

Following a few years of back-catalog recovery, K. Leimer has completed work on his first new solo album since The Grey Catalog. These ten new tracks follow an emergent arc, a refinement of the techniques he has used since Permissions. Highly tactile, with an emphasis on subharmonics, Re-enact sketches an antediluvian soundstage of deteriorating fragments scattered among still-recognizeable artifacts.

This multitude of points-of-collapse in textural, timbral, harmonic and rhythmic relationships, continually folds in on itself to reveal moments of inner coherence and cognition. Embedded throughout with a wealth of digital and analog detail, Re-enact sets a new post-ambient direction for Leimer's work.

K. Leimer founded Palace of Lights in 1979. Leimer's early work has recently been reissued by Autumn and RVNG, and his early cassette work is in the critically acclaimed VOD box set American Cassette Culture. Leimer has been actively producing music since the mid 1970s - his current catalog includes 17 albums plus two collaborative albums with Marc Barreca. Leimer's work is included in the collection of The British Library.

Having never met before entering the studio together, harpist MARY LATTIMORE (who has collaborated with Thurston Moore, Kurt Vile, Jarvis Cocker and Meg Baird to name a few) and koto player MAXWELL AUGUST CROY made an album in less than 48 hours, all live with no overdubs. Lattimore experiments with effects through her Lyon & Healy Concert Grand harp. Croy is a multi-instrumentalist whose work fluctuates liberally between melody, classicism and experimentation.

Terelan Canyon is a new' sound built on interplay and improvisation that explores space and form, with virtually no ego, filled with sonic imagery and a tapestry of emotions. Epic and beautiful, this recording is a special moment captured in time.

REPRESSED !!

Denovali present the QUINTESENCE soundtrack composed & produced by Ricardo Donoso in May 2015. QUINTESENCE was created by installation artist Florence To (uk) and composer Ricardo Donoso (bra) after a series of conversations and collaborations in 2014. They shared a mutual interest in the psychological research in their work and wanted to further develop this as a thematic process in a live audio visual performance. QUINTESENCE was commissioned & premiered at the Satosphere dome, Society for Arts and Technology in Montreal in May 2015. The dome, 18 meters in diameter and 11.5 to 13m high, forms a 360-degree spherical projection and is made up of 157 speakers in clusters of four around the perimeter of the dome, giving a surround sound of 39.4 channels. QUINTESENCE examines a system of elements that represent the development of the psychic process; symbols represent parts of the subconscious, telling a story of how memory may be disorientated, distorted, and dysfunctional yet acting as a linear process to individuation.

Through Ricardo Donoso's score we see trace elements of these processes and symbols within the sounds themselves - within each musical decision. Donoso's score continues to advance his foray into electro-acoustic hybrids, explicitly here with the use of Spectralism. Washes of lush string trio including contrabass, cello and viola are dismembered and placed through the wringer of Donoso's custom signal processing chains. QUINTESENCE also emphasizes Donoso's skills as a sound designer, where alien textures, Xenakian computer music and massive tone clusters collide and shatter against each other for moments of either breathtaking beauty or stretches of repulsiveness. Serene piano and vocal elements are pinned against oppressive drones and digital clatter, each voice fighting for its space in the vacuum of the dome.

Although an entirely high level digital production, the duality of QUINTESENCE that is played out is that the subject matter is really about the natural world and our relationship to it. It is about existing on a plane void of technology while discovering your identity within the context of a purely natural world, uninterrupted by contemporary hurdles.

Robert Witschakowski takes a break from rewiring the rules of electro with his prolific The Exaltics project to deliver the eerie soundtrack album, 'Acanthosaura'. Working with Nico Jagiella - with whom he co-runs the Solar One label - the pair have created the soundtrack for a world of flickering shadows, dark ambient textures and ominous bass tones. It's the first Crotaphytus release in six years and according to Witschakowski, a project stemming from his love of reptiles and movie soundtracks. Like previous Crotaphytus releases on Solar One, 'Acanthosaura' is a deeply atmospheric affair. With each track title a reference to different types of lizards, from the death-paced drums of Cyclura Cornuta' to the slow-motion ebm-disco groove of Xenosaurus Platyceps' and the murderous subs of Caiman Latirostris". In between, the dark ambient passages of Conolophus Subcristatus' and Amblyrhynchus Cristatus' as well as nods to The Exaltics' spaced out electro in Iguana Delicatissima". However, Robert insists that the album remains true to the project's ethos. Crotaphytus is always dark and haunting. The project has no rules and that gives us the total freedom to make everything with it. I make also different styles with The Exaltics, but I have a concrete vision every time. With Crotaphytus, we let it flow and see were we land at the end. For this album, we tried to create an atmosphere like you are in a deep jungle, chased by giant lizards. Ambient has really the power to transport feelings. I guess this is subliminal in us from watching films.





[€] B1 | Corytophanes Cristatus (4:16)

Following the RVNG reissues of A Period of Review (ranked the No. 7 reissue of 2014 by WIRE) and Artificial Dance (ranked the No. 2 reissue of 2015 by WIRE) Closed System Potentials, recorded in 1979 and originally released in 1980, finds its way back to vinyl in a completely remastered + expanded edition. The LP includes two previously unreleased tracks plus the included digital version includes an additional two unreleased tracks, all taken from the original CSP sessions

Format Limited CD Digipac, 500 copies Remix (Ambientesque) versions of their critically acclaimed 2012 album 'Future That Never Happened' - Sonic Boom from Spacemen 3 provided 3 remixes, prelude to their forthcoming collaboration album 'Maps' due early 2015 Geneva-based trio Sinner DC return with an all new remix album, featuring 12 new versions and 4 interludes from their 2012 LP 'Future That Never Happened'. Far from being a patchwork collection of remixes,'Ambient Mixes' is a brand new album; an 80- minute cinematic trip following the tradition of ambient/chillout albums in the vein of The Orb, Le Coeur, and KLF! Having been a key influence on the likes of My Bloody Valentine and producer for MGMT and Panda Bear, Sonic Boom's involvement marks another milestone for Sinner DC, which will begin in late 2014 with 'Ambient Mixes'

Collapsing Horizons is the third full length album from Netherlands based deep ambient duo Tangent.

Limited clear with white splatter and blue with white vinyl. NON-RETURNABLE

This album much like the two preceding it—2013s "1mk2" (Mindtrick) and 2014s "Transience" (Tympanik)— is a sonic journey with arching atmospheres and themes. An aural representation of the formation of matter and it's disintegration in unison. The music, much as the album's namesake, could very well be the soundtrack to new universes being created on the ashes of collapsing ones.

Ralph van Reijendam and Robbert Kok who are the two behind Tangent moonlight in a long list of paradoxical musical projects. Fire Walk with Us, Rob Klerkx and the Secret, Disavowed, and Synesis Absorption are all quite different from Tangent's sprawling yet steady ambience.

This such daily musical juxtaposition allows Tangent the immersive focus on the ideas that make Tangent what it is. It would be a misnomer to think that with all the extra curricular time spent in more extreme forms of music that Tangent is a frenetic force. They are exactly the opposite. Dense pads, rolling beats and brilliant shimmers of resonance punctuate their electronic based instrumentals in just the correct manner to stargaze, day-dream, bliss-out, or even brood about starting over...

Mastered by: Matt Colton at Alchemy Mastering, UK

Human Rays - Stockholm, Sweden producer Robin Smeds Mattila—says that the music on A Tension was made during nocturnal sessions in a studio full of mostly cheap analog and digital gear, all in one take. "I kind of let the mood guide me and just go with it," he says. The result is a gripping fourtrack´suite of emotionally charged minimal ambient that was created quickly but sounds like it was rigorously sweated over for many weeks. After a handful of releases that explored noisy, quasiindustrial techno, Mattila here deviates into a more abstract, melancholy mode with A Tension. His creative process involves experimenting "to see how far I can push a sound with a pretty lofi setup. Improvisation and limitations are part of the thing that makes it interesting." This approach yields riveting dividends right from the start on A Tension. On "Condensity," the sparse pinging and distant, muted beats commingle with what sounds like rough wind or waves, hinting at the Arctic vibes that Biosphere conjured on Substrata. It's at once chill and chilling, tranquil and unsettling. "Between The Hours" places spindly, woody beats beneath a dramatic sweep of synthetic strings, ebbing and flowing like Fripp & Eno's monumental "An Index Of Metals." "Neverendless" might be even more redolent of the North Pole than "Condensity," its severely minimal isolationist ambience suggesting Mick Harris' nonemorecold Lull or Thomas Köner's Permafrost. On "Manual Litany I," Mattila takes what sounds like a sentimental synth melody and smears it into a mantra of compelling drudgery. He notes that the track draws inspiration from William Basinski, who's famous for his series of profoundly poignant Disintegration Loops albums.

Dear Listener,
Thank you for purchasing this trio of vinyl records.
The music contained within is a delightfully diverse collection that I hope you will find pleasing to your ears. Much like a bowl of goulash, not all the ingredients may be to your liking. It is undeniably more rustic roadside tavern than refined dining but as you have already purchased this release (downloads do not come with liner notes!), I guess you already trust me behind the pots and pans.
I have been spoilt for choice by the many fine ingredients available to me and have become somewhat blinded in compiling the final tracklist. However, the end result has now been tested on my nearest and dearest to approval. And with that I present to you, my own special "Paradise Goulash".
Prins Thomas, 28th of July 2015

STICKER:
This 3LP contains a selection of tracks used in the mix.
Includes tracks by Il Guardiano Del Faro, Gabor Szabo, Claude Speeed, Brian Bennett Band, Young Marco, Actress, C Cat Trance, Mistral, Richard Schneider Jr., Wally Badarou, Jan Akkerman, Siriusmo, Blacknecks, Johanna Billing, Krater & Kurt Vile.

Manchester-based duo Shield Patterns return on September 2nd with a new album entitled Mirror Breathing. Released on band member Richard Knox's own Gizeh Records label, Mirror Breathing follows on from the critically acclaimed debut album Contour Lines in 2014 and 2015's Violet EP.
Where it's predecessors took a more stark, electronic and processed approach, Mirror Breathing is an altogether warmer, more cinematic record. The cello of guest collaborator Julia Kent (Antony & the Johnsons / The Leaf Label) introduces a new element and a new energy to the sound, pulling the songs into a more symphonic form. The electronics, drones and field recordings are intricately and painstakingly arranged by the duo, meandering between haunting vocal passages, clarinet swells and delicate synth phrases. The album ebbs and flows through hypnotic beats (Dusk, Blue Shutters, Glow), ethereal and tender piano-led songs (Bruises, Anymore) to more aggressive, heavily experimental, free-jazz elements (Balance & Scatter).
Continuing the fiercely DIY ethos adopted by both band and label, Mirror Breathing has been written, recorded and produced in its entirety by Claire Brentnall and Knox in their home studio in the Peak District. The record is both personal and universal, an exploration in sound and songwriting. The music Shield Patterns are making is difficult to place into genres or pigeon-holes. Experimental sounds are married to striking, inventive melodies throughout, it's contemporary pop music of sorts with a richly detailed cosmic edge.
Some words from Claire about the album:
"The album for me is about feeling connected, exploring what it means to be a friend, to be in love, to be an individual, to be part of a collective unconscious. It's about the beauty of imperfection, of making mistakes, and the discoveries that are made by chance as we learn to exist."

Slovenia's prime annual selection of dubbed out electronica gets an extra boost with 4 new artists. The compilation effortlesly swivels between electronic soundscapes and organic dub. Equally enjoyable in a cozy home enviroment and in darker club atmosphere.