Grid Of Points, by Grouper

Ethereal voice + piano. Haunting & elegant – released April 27, 2018

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r u s t (an experimental mix)

Experimental Ambient; slightly caustic & glitchy . . . 66:02

This was originally mixed in 2014 & re-worked (tweaked, shortened) in 2015 & then re-re-worked in February of 2016 (ghosted treatments & segues) – until it was hammered into finely flattened sheet metal (in the form of experimental ambient).

This is a personal favorite (hence the labored re-workings);  as a matter of fact, it’s Monday evening, August 6, 2018 & I’m vacationing on Assateague Island in Maryland & listening to this as I type . It’s a mix that I go to when I want to toss the interesting+ignorable Ambient audiological dice.

Sequenced slowest to fastest, think of it as a soundtrack for air-conditioning & industrial fan installation . . .
;- )

01 Thomas Lehn + Toshimaru Nakamura – Untitled
(interpolating Plastikman, Trent Reznor/Quake, DJ Samsara & Teruyuki Nobuchika)
02 Ambient Landscape – ArBom (interpolating Rick Wright‘s ‘Breaking Water‘)
03 Emil Klotzsch – Geisterhaus
04 Red Clouds – Burning Metal Object
05 Leonardo Rosado – Leaving and Staying
06 Seren Fordd – Rin-Se    (courtesy of Low Light mixes)
07 Periskop – Blackout 1
08 Heiner Goebbels – The Salt
09 Speedy J – Amoco Cadiz
10 Eno/Wobble – Unusual Balance
11 Erik Skodvin – Red Box Curves

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Macondo, by Miguel Isaza

In ‘100 Years of Solitude’ by Gabriel García Marquez, there is Macondo: a town hard to declare as fully real or fictional; an archetype of the magical-real; an interstitial town, where things are, but are not. Object-oriented philosophy proposes a not so distant idea: a flat consideration of objects, an ethereal alchemy in which everything, no matter if physical or imaginary, coexists although remaining autonomous.

Such ideas can be related to listening and composition in order to reflect the state of things after the anthropocene and also to consider sound as a way to explore objects and their dramas. If we consider things equally, no matter how real they are, then we can approach all objects as ‘sonic’, to value objects as resonances, being there but not. Sound in an ontological interstice for which causality is not conceived as fixed to a particular mechanistic perspective but rather a sonic scaffolding: a mutant, mysterious, paradoxical set of objects.

When it comes to listening, both materiality and intangibility interact, so here composition appears as a way of weaving such interstitial objects, made of echoes of field recordings, found objects, aural situations, sonic memories, digital dots, analog synths, electromagnetic fields, musical instruments, among others. Everything with everything, not caring about sounds, but objects as such.

Macondo was composed in Medellín, Colombia during 2017, based on an exploration of materials gathered since 2012 and used in a research project called Aleph, started in 2016 with video artist Rossana Uribe and philosopher Camilo Tamayo and dedicated to research into magical realism. It has presented both in av installations and performance, the first sonic-only result of the process, presented initially in an acousmatic installation at FLORA ars+natura gallery in Bogotá, Colombia.

Track names 1 to 3 have been taken literally from a phrase present in the first page of 100 years of solitude: “(1) The world was so recent (2) that many things lacked names, (3) and in order to indicate them it was necessary to point…”. Track 4 is a quote by Timothy Morton from his book ‘Realist Magic’.

• Released November 17, 2017
• Images by Rossana Uribe. Special thanks to Cat, Ross, Richard and Fabio.
• c 2017 Miguel Isaza / p 2017 LINE

Retrovision

Remixed on a humid July evening by the Ambient Landscape engineering staff. We basically chopped up the original (with a digital Ginsu knife) & then re-sequenced/reassembled it . . . from slower/softer to faster/louder compositions.

With mixing, it remains our steadfast opinion that sequencing (the order of the tracks) can either make or break a mix project. One would never mix a Brahms lullaby into Bowie’s ‘Suffragette City‘ – that’s obvious; but there are subtle, not-so-obvious nuances, especially within the Ambient genre that must be taken into account when pushing out the final deliverable.

Artists include

Sergio Merce | Brian Eno/Jah Wobble | Ocoeur | Rafael Anton Irisarri | Svarte Greiner |The Caretaker | Joacim Nodwall  | Croww | Ø | Pan Dailing | Robert Musci | SOTE | Paul Jebson | Akira Rabielas | Robert Aiki Aubrey Lowe | BJ Nielson | Paul Jebson/Emptyset | J. G Biberkopf | Sandro Mussida & Claudio Rocchi

Running time: 63:02

s l i p s t r e a m . 4

The fourth installment of the now legendary ambient series.

72:11

01 Kim Cascone – Blue Fluorescent
02 Jeff Greinke – Low Ceiling
03 Matthew Florianz – 3×3
04 Numina – The Nautilus Chamber
05 Rhythym & Noise – A Filament in Strata
06 Fourcolor – Curves of Air
07 Dwight Ashley – Impervious
08 David Darling – Etude for T.O.D.
10 Brian Eno – Francisco
11 Christian Sotemann – A Lonely Walk Across the Beach
11 David Torn – Them Buried Standing
12 Zoviet France – Static Fields
13 Si Begg – Location 9
14 Seofon – Lessons In Being Nothing
15 Steve Roach & Loren Nerell – Paraterra (excerpt)

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Adrift, by Pascal Savy

Adrift is conceived as a sound exploration of a sea area in close proximity of the fictional island of Eilean. The land itself haunts the music as a spectral presence exerting a pull on the narrative and is occasionally seen through a thick veil of mist and fog.

The eight tracks on the album works as a series of discrete but related mythical seascapes, each evoking in their own way the elusiveness and foreboding nature of this space.

Sounds : tape loops, synthesisers, sine waves, guitar, xylophone, bells, feedback and pedals.

vimeo.com/106070200

Released October 10, 2014

Written and mixed by Pascal Savy (April-August 2014)
Mastering by Taylor Deupree (September 2014)
Artwork photos by Mathias Van Eecloo
Design by Rémi Verdier
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Organism Evolution, by Arovane and Porya Hatami

On “Organism_evolution”, the follow-up to last year’s critically acclaimed “Organism”, AROVANE and PORYA HATAMI add elements of musique concrète and electro acoustic music to their experimental, field recording-based ambient sounds.

Since his return from a 9 year long hibernation in 2013, the Berlin based electronic artist UWE ZAHN alias AROVANE has been more productive than ever and released a dozen of solo and collaborative albums. PORYA HATAMI, one of the main protagonists of the vivid Iranian electronic underground, released several albums on labels like HIBERNATE and introduced himself as a skilled experimental sound artist exploring the balance between electronics and environmental sounds.
“Organism_evolution”, as the title points out, develops further the aesthetics of “Organism” where the duo crafted sophisticated ambient music of timeless beauty. Their new album reveals influences of musique concrète and electro acoustic music that place the tracks in a more experimental field. Using techniques like modular synthesis, granular synthesis, spectral processing, granular synthesis, resynthesis and resonator / modal synthesis, AROVANE and HATAMI used many different layers of processed sounds and field recordings to create depth and complexity – with every new encounter, the listener will discover new sonic aspects and dive deeper into the multifaceted structures of the masterly sound-designed 23 compositions.
Besides the release of “Organism_evolution” as digital download, there is also a double CD combining the new album and the critically acclaimed “Organism” from 2017 in a special gatefold digisleeve.

• Released April 20, 2018
• All sounds written and produced by Arovane + Porya Hatami in 2017
• Mastered by Porya Hatami
• Cover designed by Salah Ebrahimi

m e n h i r

Crafted from various acquisitions picked up over the past seven to eight months;  ambient, drone & hybrid recommendations via Twitter, Bandcamp, Ello, Mixcloud, Blogs & a few Net-Label requests . . .then woven all together with some ghost editing, & a little piano, violin & cello tossed in.

The cover image is supposed to be the latest “alien” spacecraft spotted by those who claim these things to be, uhm. . .genuine ( ; -D ) – so playing this may attract unwelcome travelers from distant galaxies…or not
(besides, I can’t see any windows on it…so it would be a long, boring ride…unless they’ve somehow acquired a cadre of my mixes!)

The title is a synonym for ‘monolith‘*, courtesy of Thesaurus.com.
70:21

#ambient | #drone | #experimental

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01 Steve Roach – Darkest Before Dawn (excerpt)
>>>01b David WJ Mackenzie – Podgorica (excerpt)
. . . . . . . . . . . .[Bandcamp version only]
02 Triac – Day 5
03 Arash Akbari – As The Silence Grew
04 Ambient Portal – Interra-Flow (excerpt)
05 T E N – DP
06 Max Corbacho – Monolith* (edit)
07 Mathieu Lamontagne – Dans le Champ
08 Hior Chronik – Rememeber
09 Lowercase Noises – Evident Signs of Recovery
10 Aaron Martin & Machinefabriek – Seeker (ghosted-fabriek edit)
11 Wound – Rise with me Forever Across the Silent Sand
12 Darren McClure & José Soberanes – Amphibian
13 Martin Nonstatic – Keplers-Laws

Gravity and Grace, by Ekca Liena

The third album in the series that started with Slow Music for Rapid Eye Movement and continued with Graduals.

Released on ConSouling Sounds, February 2018.

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All About Jazz

From now to 2019 . . . our output falls into the Jazz/Ether Jazz category 41.2% of the mixological time.

And, in the beginning . . . (cover from “the interview”) – grab your copy before they’re gone!
;- )

[<satire>]