Sound fractals & crisp atmospheres . . .
Sound fractals & crisp atmospheres . . .
Sound fractals & crisp atmospheres . . .
ド リ フ ト (the drift) | experimental ambient | 81:28
Wanderings & meanderings across an ambient aural landscape . . .
. . . driven by the 20 year anniversary release of Shuttle358’s Frame; & mixed in with some recently acquired sounds.
We broke from our standard slowest-to-fastest mix methodology to “drift” with the sonance & speed play; nothing outlandish, but the landscape ducks & weaves (slightly) between beatless drifts & then back again.
Tested on more than one occasion via earbuds . . . we think you’ll like it!
Download via Bandcamp
Listen via Mixcloud
(the Japanese letters in the title are preventing the graphic from showing on some site links)
01 Riverrun – Hamworthy Common II
02 Carlo Giustini – Preghiera Su Walkman (Zolfo)
03 Brian Eno – Strange Quiet
04 Taylor Deupree – Minism (m)ORPH Mix (edit)
05 The Rain Dogs – Light
06 Shuttle358 – Fissure
07 Nico Guerrero – Materiae Melancholia (edit)
08 Iluiteq – A Sylvan Elegy
09 Shuttle358 – Cavalry
10 Micah Frank – Traverse
11 J. Peter Schwalm & Markus Reuter – Ein Riss
12 Lammergeyer – All This Time
13 AES DANA – Period 09; Ambivalent
14 The Grid & Robert Fripp – Loom
A beautiful collection of new #Ambient music.
This is the 22nd compilation of music from the Haiku challenge: music made in response to a weekly assigned haiku poem. For more information, and to join the project, visit www.naviarrecords.com/about/naviar-haiku
The compilation is free to download but donations are appreciated.
Please follow and support the artists involved:
Boson Spin soundcloud.com/boson_spin
Carlos R soundcloud.com/carlos-r
Ed Mundio soundcloud.com/edmundio1
El Wud soundcloud.com/el-wud-1
halF unusual soundcloud.com/half-unusual
Night Note soundcloud.com/mmastalka
Time Rival soundcloud.com/timerival
Tunnelwater soundcloud… more
Released June 30, 2021
Picture by Alexander Andrews unsplash.com/@alex_andrews
Deep and dubby ambient flow gently pulsating with atmospheric electro echoings: enter Granite.
Inspired by natural rocks this opus is composed by Martin Van Rossum under his Martin Nonstatic moniker.
A twelve-tracks album of smooth catchy drifts, hypnotic melodies and waves of subtle beats that contrast with lush soundscapes.
Spiced-up blend of deep techno slash house, dub and downtempo, enhances clean-cut electronic rhythms and soothing rolling bass lines.
Granite is Martin’s third album following releases on Bine Music and Silent Season and tracks on several compilations including Passages and the forthcoming Digiseeds by Ambientium.
released November 11, 2015
Written & Produced by Martin Van Rossum
Mastered by Vincent Villuis | Ultimae Studio
Artwork by Markus Wilwerscheid and Arnaud Galoppe
Throughout eleven cuts painstakingly executed but lacking not an iota of the fresh, spontaneous oomph that made his sound stand out of the crowd of techno producers to have emerged over the past decade, Adriani lays the foundations to a suspended sound imaginarium, governed by its own rules and principles of gravity. Revolving around the notions of sublimation and quest for inner balance, ‘Morphic Dreams’ is comprised of four distinct sequences, conceived and designed as reflections of four mental states, each of them linked to the four alchemical elements – i.e. Water, Earth, Air and Fire – here represented by the A, B, C and D-sides. Fluid and enveloping, the A-side bathes the listener in some zero-G uterine vortex, pitching and rolling from the slo-burning exotic sensuality and tribal spell of ‘The Tropical Year’ to the trunk-bending, arpeggiated fast-track pulse of ‘Storm Trees’, through Raindance’s feverish electro swing. Entering a further abrasive, minerally rich phase, the B-side unleashes Adriani’s dark side with optimum conviction. Deeply anchored in earthly materiality, this new evolution stage starts off to the frantic Italo bass of ‘Dissolving Images’, rushing headlong into a kaleidoscopic maelstrom of fractured reflections and nasty Giallo-like ambience. The delirious body stretch sequence then rather abruptly swerves onto a calmer flux with ‘Dust/Mist’, a much enticingly hip-swaying collaboration with Simon Crab, ex-member of the seminal ’80s UK industrial-experimental band Bourbonese Qualk, before ‘Casting The Runes’ engulfs us into a tormented world of swollen eeriness and disquieting esoterism.
Back to a widescreen showcase of droney distortions, nasty acid swashes and other quirky drum programming, ‘Hors De Combat’ opens a new chapter, shortly followed by the playful bass intricacies and modular jeu-de-piste of ‘Invisible Seekers’, featuring Avian affiliate and longtime friend Shawn O’Sullivan. A further mind-expanding piece, C-side closer ‘Crow’ deploys its blackened wings wide and high as a chaos of martial percussions and liquefying synths slivers crash past the red-hot skyline. A fluttering melodic interlude, ‘Things About To Disappear’ blazes a clean trail for ‘Make Words Split And Crack’ to flourish, slowly but surely blooming into a nonstop grandiose twelve minute-shy finale geared up with the stirring cacophonic force of a Ligetian symphony and something of an epic-scale Kubrickian soundtrack.
Morphic Dreams on Stroboscopic Artifacts
How To Empty A Cup was recorded almost entirely in the rain, which is unusual because it was recorded in Los Angeles. The album was organically written & produced by Danny Scott Lane who called upon a few key guests for wind and string features. How To Empty A Cup is inspired by the sounds of the artist’s immediate surroundings: children playing outside of the window, a teachers strike, the bird’s nest above the street sign, crickets in the bush near the parking lot. This is Lane’s debut album as a solo artist.
all songs written, recorded, mixed and mastered by Danny Scott Lane
keyboard and field recordings by Danny Scott Lane
flute on ELEVEN by Joseph Shabason
saxophone on FOUR by Joseph Shabason
various cello by Harrison Lee
various flute by Hannah Go
cover photo by Danny Scott Lane
cover design by Andrew Stilkey
2019 Shimmering Moods Records
Released July 5, 2019
Nice — very nice — already looking @ excerpts for future mix podcasts . . .
Ambient artists and peers Ian Hawgood, Porya Hatami and David Newman have come together to compose a series of works based on the concept of creation, change and loss. Partial Deletion of Everything (Vol I) marks the beginning of this shared stream of consciousness.
The first volume contains a single long-form track titled ‘Iuxta Mare’. The track weaves acoustic instruments, field recordings, synthesizers and modular chains to sculpt its narrative and channel a flow across acoustic space, time and silence.
The Partial Deletion of Everything series focuses on impermanent objects and their placement within time. Even somethings as vast and powerful as the ocean was once not here. The Work chronicles the impact of beautiful moments in time and documents how they change, disintegrate and fade. Each ‘deletion’ references the interplay between physical reality and subjective experience. Our bodies hold memories and experience the impact of changes and loss.
As an artist collective, we are pleased the music is at once exquisitely sad and uplifting. It flows at a surface level whilst encompassing deep undercurrents. Like ocean waves, each reflection holds up a mirror to the experience time passing.
Our work to date as individual artists has featured on many excellent labels including 12k, Home Normal, Hibernate, Audiobulb, Dragons Eye, 12 rec, Eilean Records and many others.
Released November 4, 2020
Written during the beautiful and quiet springtime of 2020, Drawings from Imagined Cities represents a shift in my work from the intimate and at times darker and somber moods of previous releases, to a more open and tonal sound reflecting that peaceful, unhurried environment. I found myself experimenting with a more dreamlike palette, warmer and quieter which mirrored the days I spent walking and simply listening to the muted world around me. My ever present use of field recordings are delightful traces of small events that took place during the writing of this album, for example the blackbird in ‘Melancholia’ which we would listen to each evening as the light faded in our garden.
So, informed by this ‘quiet time’ that we all found ourselves in, I was also inspired by much of the new music I was listening to which seemed to resonate with this feeling of allowing oneself to drift as if in a daydream. My ‘rediscovery’ of an earlier body of my work that became ‘Arcadia’ seemed to point in that direction as well.
I had also started experimenting much more with my guitar and this album presents it more prominently than previous releases, but possibly not in ways that are easily recognizable. I loved the physicality of playing, with small movements bringing about a controlled change in sound however, my continuing fascination with the piano remains.
Originally released on cassette, I’m hugely grateful to Elm Records for bringing this into the world.
Released July 23, 2021
Mastered by James Armstrong
Artwork – Sat.VI by Ian Chamberlain
Some nice, dark techno drones & drifts here . . .
7 years of silence. 7 years waiting.
The master of dark simplicity: beat, bass, drift, drone – Mick Harris has re-engaged with his longest running, primary artist identity, SCORN. His first salvo upon return, the “Feather” EP is anything but light. It is the darkest possible bassweight, a vortex of low frequency into which all light is subsumed.
The 3 entirely separate versions of the title track plumb unknown depths with harried atmospheres, reminiscent of Scorn’s earlier days, a time before bass music became a popular movement and Harris was the absolute pioneer in the genre. Bass weight, dub production technique with multiple delay channels, time and phrase morphology and erupting samples keep all 3 variations differing as they decompose. The final track tells a truth of life: “Whatever Is Touched Turns” and lays it out with pounding multiple basslines and the most punishing kick drum in any Scorn track ever.
Feather is a return to arms for the one referred to as the Dark Lord of Bass. Scorn lives again.
Released June 7, 2019
Created by Mick Mongoose Harris
2019 in The Lads Old Room B14
In pursuit of excellence
Digressions & musings on Ambient, Electronica, Mixing & the Ether
Jazz is the Teacher - Funk is the Preacher
lead from the front
Christian inspiration and encouragement to give a jolt of caffeine to your soul.
We started and we will finish