WNDFRM / WVLT (ASIPV056)

WVLT is the newest sonic addition from WNDFRM (Portland-based, Tim Westcott), an album of eight distinct explorations of micro-rhythmic IDM.

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

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

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

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

Release page

Thesis Collected 01 - album stream

May of last year we featured Gregory Euclide's Thesis Project here on ASIP, detailing the extensive craftsmanship and consideration that goes into each hand-made release. Since our words with Gregory, the series has gone on to host even more beautiful collaborations and some of my favorites of the project so far, including Rafael Anton Irisarri & Julia Barwick, and Anna Rose Carter & Dag Rosenqvist. Gregory's hands have not stopped cutting, shaping, producing, curating, packing and presenting ever since... 

Once you've amassed such an amazing collection of music, and poured hours over each release, I can imagine it being nearly impossible to not feel the urge to present it as a full compilation and unlock some of the beauty for more people to hear; as both an ode to the many artists featured so far, and a release that would no doubt stand on its own.  So here we are, with an exclusive stream of the full compilation below.  

Given these releases are only ever made available as physical items, this compilation is a first for the project and a blessing for anyone that's maybe not lucky enough to own a turntable, but wanted to get their ears on some of the beautiful music and artists featured within. 

It's only really when you read through the powerhouse of names that feature across the series such as; Julia Kent, Loscil, Dustin O'Halloran, Taylor Deupree, RAI, Benoît Pioulard and Kyle Bobby Dunn, that you are hit with how special this project is both its effort and curation. 

THESIS COLLECTED 01 is available as both a limited CD version and digital, and contains one track from each of the first 12 THESIS releases as well as two tracks from THESIS PRINT/TRACK 02 & 04. Along with a bonus track from THESIS PRINT/TRACK 01 (available only on the digital version). 

Read more about the full series in our interview from last year here, or dive into the full project at https://thesisproject.us.

Thesis Collected 01 is available on CD + Digital at Bandcamp.

Tracklist:

01 | Refém | Will Samson | PRINT/TRACK 02
02 | The Iron Town | S. Carey & Taylor Deupree | THESIS 01
03 | Snowfall/Hibernate | Tony Dekker & Kinbrae | THESIS 09
04 | Earth Bound | Sophie Hutchings & Julia Kent | THESIS 06
05 | Viscous | Loscil & Seabuckthorn | THESIS 02
06 | Prism | Anna Rose Carter & Dag Rosenqvist | THESIS 05
07 | Limehouse | Angus MacRae & InsaDonjaKai | THESIS 07
08 | A Pretty A Day | Benoît Pioulard & Dustin O’Halloran | THESIS 04
09 | B2 | Julianna Barwick & Rafael Anton Irisarri | THESIS 10
10 | Carried to a Place Unwinding | Aaron Martin & Tilman Robinson | THESIS 11
11 | Salve Regina | Kyle Bobby Dunn | PRINT/TRACK 04
12 | Early James | Andrew Hargreaves & Andrew Johnson | THESIS 13
13 | Rigor | Takeshi Nishimoto & Roger Döring | THESIS 03

isolatedmix 76 - Dalot: Un-time

Maria Papadomanolaki has been a part of the ASIP library for a few years now.  One of the first artists that caught my ear on the n5MD label, I remember seeing Maria perform many-years ago in London alongside Winterlight and port-royal. Dalot's shoegaze-inspired ambient drones kicked off a brilliant night of relatively unheard artists from the n5MD roster that left me chasing down many back-catalogs as a newbie to n5MD.

After providing a remix on Uncharted Places, Maria was a part of our second vinyl compilation, Europe, finding harmony as she looked back at her home of Kalathas beach in Greece, and setting a warm and gracious tone as the opening track. Her music is often varied as far as ambient goes, from delicate micro-textures, to guitar-laden soundscapes, or as heard on her most recent outing for n5MD in Mutogibito; a moment of rebirth and celebration embracing her post-rock-side, whilst also toying with the more organic elements of experimental electronica.

Just as you think you've got her down, Maria goes and partners with Vietnam's, Sound Awakener, on a new project called 'Little Things', further venturing into microscopic details and varied textures; something the two of them have clearly enjoyed partnering on. Guitars, analog synthesizers and of course a multitude of field recordings create a truly rich and varied palette of ambient and experimental recordings on this release for Fluid Audio. It's music that's evidently filled with heart, obsessed over, and then completed with the tiniest of finishes in mind - a sentiment echoed in Fluid Audio's beautiful packaging for the release.

When I asked for a Dalot isolatedmix, I didn't know which way Maria would take it, but the end result works in harmony with how I began to describe her work alongside Sound Awakener in Little Things. 

Titled 'Un-time', it's a mix of music that bleeds emotion, texture and escapism - all similar traits found in her latest production. A connoisseur of instrumental and organic based ambient music, Maria includes masters of the practice such as Marsen Jules, Taylor Deupree and Harold Budd, to create a blanket of warmth, as microscopic sounds of an abstract nature surround you. 

In Maria's own words, “Un-time offers an open space, a space for undoing and reflection and un-timing, of stepping out of time and the awareness of its passage;  like a mayfly or a dewdrop with shades, and light and colours of many shapes and makings, mostly untimed.”

Little Things is available now.

Download.

Tracklist:

01. Eliane Radigue – L’ile Re-sonante (un-time edit)
02. Philip Jeck -  The All of Water
03. Marsen Jules – Beatyfear VIII
04. Josh Mason – Infinite Crown of Shells
05. Taylor Deupree – Shoals
06. Christina Kubisch  - Night Shift
07. Dalot & Sound Awakener – Sailing
08. Sawako – Wind Shower Particle
09. Deaf Center – Fiction Dawn
10. Harold Budd – Children on the Hill

Artwork/image credit:: sonalidalal

Dalot on Bandcamp | Web | n5MD

The Thesis Project: a lesson in craft

We're big fans of craft when it comes to physical releases. We've gone so far as creating custom wooden CD and vinyl cases for previous releases here at ASIP, and often spend more time discussing artwork than the actual music when it comes to each release. So to see Gregory Euclide pushing forward a truly custom take on physical vinyl releases, we wanted to find out more, especially given the music at hand. 

The Thesis Project was triggered by a deep desire to bring something valuable back into a world of fast consumption, as Gregory began during a recent twitter conversation: "music has always been an object and not just files on a device. I wanted to make music physical, unique and precious again". As an artist behind some well known releases from Erased Tapes and Lubomyr Melnyk, this was Gregory's chance to combine his passion for art and music: "I see the world in musical terms... everything has a sound. Colors, movements... every sound has an action... and that is where I worked for a long time. I was making music with my pencils and brushes. I think it is pretty common for artists to have this connection. I tried to play music when I was in high school and college. I'm not mathematically gifted. I really struggle with it. So, my college music theory class was really hard for me. I think I thought it was out of the picture for me... to be involved in music in any other capacity than a consumer. I did a few album covers for musicians I really respected, but I still felt outside of it all.

When I think about my practice as an artist, I often try to mirror that of the music world. I like how musicians can have different projects, with different names. Artists always seem to be... just them, their name and they have to be consistent. Basically, my move to music through Thesis Project was a move away from the traditional idea of being an artist".

As with all deep desires and ambitions, it took a couple of real-life moments to push Gregory to begin the Thesis Project. Whilst attending a Vic Chestnutt concert, Gregory started wondering how much it would cost to commission a song from such an artist, after which he received a grant from the McKnight Foundation for his artwork, and decided to take his work into a new direction:

"I decided I would start asking musicians that I know if they would like to work on a project. When I am listening to certain musicians I think 'this would be really cool with this or that.' I started thinking about the idea of collaboration as a way to push something forward".

The Thesis Project was born, with the premise to combine two artists who have never worked together before and create a beautifully packaged, and custom release, with each sleeve laser-cut and etched by Gregory himself. Whilst this may seem like a tall ambition, given each piece would be custom and limited to 300 pieces, Gregory knew this was the only way he would be able to fulfill his burning ambition for the project.

"I don't really like the idea of me being the only visual artist for the project. One goal of the project was to try and compensate the artists well. Pay them up front and then give whatever extra is left from sales. This seems to be a successful model as musicians I have spoken with like the arrangement. In order for me to do that I have to do much of the artwork. I make each jacket and sleeve from scratch as well as make each of the unique covers. If I had to pay another artist to do that it would not be possible. So, for now, I'm doing it. I hope people don't get sick of it or think it is an ego thing".

I asked Gregory why he feels each piece needs to be unique, after all, from my experience, a premium, differentiated and highly-considered piece of artwork is enough to make something much more valuable in today's world. But his desire to create something individual stemmed from a desire to go against today's mainstream approach to music. It's his way of giving back to the artists, and to the listener, and leaving something truly unique in the world. 

"Handmade is not a big deal to me in general. If something can be made better with a machine... I think, why not use that. When it comes to music it is different. Much of the project's concept comes as a reaction to my own life. I was eating up albums, buying them online, listening to them, buying more... downloading and downloading. I didn't even know what I had and what I didn't have. I wanted it everywhere. I wanted it free or cheep. It was gross. I wanted to pay attention again. To know the names of songs, to stop and listen, not just have it on as I was doing things. So, I decided it was going to be vinyl only. No streaming. No downloading. No on the go. The process of making the album covers takes over 2 hours a piece. I cut the paper, run the sleeve through the laser cutter, put a drawing on the sleeve, spray a stencil over the drawing, fold and glue the sleeve. I cut the paper, run the jacket through the laser cutter, put a unique painting on the cover, fold and glue the jacket. It is hard work. It is my way to make something that is the opposite of Spotify. It is my payment to the artists. To give them something unique. It is my payment to the music. Music can be turned into 10100001100010110101 and duplicated and deleted and downloaded again and so on. But I wanted to make something that people are careful with. I don't want it to be goofy or over the top. Just hand made because I care".

A wide spectrum of ambient, experimental and alternative stars have been a part of the project so far. Taylor Deupree and Sean Carey (of Bon Iver) graced the Thesis Project's first release, with Loscil & Seabuckthorn following, Sonic Pieces' Takeshi Nishimoto & City Centre Offices' Roger Döring (Dictaphone), Dustin O´Halloran* & Benoît Pioulard, gracing the catalog so far. As if that wasn't enough, the project has also announced collaborations between some ASIP favorites (and artists) including Rafael Anton Irisarri & Julianna Barwick, and Michael Price (Erased Tapes) & Christoph Berg and (it just keeps going), Eluvium & Marcus Fischer. If that list of artist collaborations isn't enough to persuade you of the project's ambition and curatorial skills, then I don't know what is. 

Gregory's curatorial process is based loosely on who he may see as an interesting fit, but mainly because he sees something greater coming from the two parts. As Gregory describes, "I ask these people to work together because I think it is going to be meaningful... to them, to us. When I hear it, it is like... "ok, I was right" Taylor and Sean's work - the first one I did... was over the top. It was so satisfying. They liked it. I liked it. It was a win win. Nothing beats that feeling". 

It's undoubtedly a challenge, defying the norms and akin to the format and approach, bringing something new to an otherwise fast-paced, ephemeral world, but these pairings aren't taken lightly and it takes Gregory a while to think of who would work well together. His dream pairing being Beth Gibbons and Justin Vernon, but until that works out, Gregory's trying to push the boundaries on a classic ambient approach that could quickly become a stale recipe: "I'm always hoping for musicians to take the opportunity to shed a skin, try something new, be totally open. I have a group of amazing musicians that I have not paired up yet, because I don't want the sound to be tired. I don't want to repeat the sound over and over again. I could do piano and ambient things till the end of time, but I'm looking for there to be a little something new in each of the releases."

Once he has decided on the duo, he'll make a graphic for each musician before they make the music: "It is kind of based on what I love about their work... how it makes me feel".  From that, he develops the cover, adding things to the mix based on what comes back music-wise.

The vinyl sleeve artwork is abstract enough, but if you look closely, you'll notice the ongoing theme between them all, with Gregory taking contour drawings of each musician's hand and the city where they reside into consideration. 

Gregory's ambition doesn't stop solely with the Thesis Project concept, with a similar but subtle concept Print/Track also gathering pace. Slightly different to the Thesis Project, Print/Track  features a musician completing one side of a 10" by themselves in response to a work by a visual artist. Or alternatively, a visual artist responds to the work of a musician. The first release out of the blocks comes from Ed Carlsen and Heather Woods Broderick. 

With two base-concepts, a host of amazing artists and all of the artwork falling on Gregory's lap, he's undoubtedly a busy man pushing through a very labor-intensive project. Thesis Project is a platform built entirely with the artists in mind. Funding is set-up to help everyone involved (you buy through a subscription), and Gregory is committed to doing most of the hard work to keep costs down.

It's projects like this that help push ambient and experimental music forward as a whole, whilst also raising awareness for lesser-known artists, now given an esteemed platform to express their works. It's a celebration of the format, showing the world what hard-graft, a focus and a passion for music and artwork can get you. And it's a big middle-finger to the way everyone thinks things should be done. You can move slowly. You can control it all yourself. You can spend more time on the artwork than the music if you wish. You can even fulfill dreams of seeing some of your musical heroes on the same record together. Thesis Project is proof. 

https://thesisproject.us/

Substrata 1.5 - The Final Immersion

The esteemed Substrata festival has come to a close after an epic, final weekend in Seattle. Rafael Anton Irisarri’s yearly ambient/experimental festival, which has been pushing some of the best music to grace this style, and the many (both unknown and known) associated artists, labels and projects, was highly regarded from all corners of the world, and as a result will leave a big hole in the ambient community.

I was lucky enough to attend the past three years, making the journey up from Portland to immerse myself over the long weekend of evening shows. This year was no different, but ultimately very different in meaning. Being the last show, many friends made the trip from across America to show their support and catch the last edition, and it was the first time I got to meet some of them after speaking on email for years. It was a community - a gathering of likeminded friends, more than a festival. We didn’t need to hang out the entire weekend, but we still made the time to grab a beer, a slice of pizza, or go record shopping, then sit and enjoy some beautiful music. 

The opening night always seemed to be one of my favourites at Substrata, and 1.5 opened with Tara Jane O’Neil’s murky drones and angelic voice. Rauelsson surprised many with his experimental approach to the piano, harmonica, xylophone, a tape recorder and audience participation - echoes of "Nils Frahm live" heard throughout conversations after, and the epitome of Rafael’s curation - he was one of the lesser known artist's on the bill, but will undoubtedly be one of the remembered. bvdub then closed the evening with his immersive soundscapes and some haunting visuals from Leo Mayberry. Inverted silhouettes, inspired from many of Brock’s album artwork, crossed with slowly descending cats and intense fire-scapes framing the euphoria and concentration emitting from Brock’s on-stage presence. 

The Friday night opened with a 7ft Gold Harp alongside Mary Lattimore, plucking and looping, twinkling notes, shimmering around the Chapel space. The highly anticipated Lubomyr Melnyk then took the stage, and began by explaining how scientists had got it wrong - sound, was much more than waves, and he was about to prove it to you.  Two pieces of “Continuous Music” in, and Lubomyr preceded a final third piece with a story of a windmill. The story was transferred to his magical fingers and throughout what seemed like a 45 minute spell (it was a little long), page-by-page came to life throughout an entrancing piano master-class. It was then the turn of 12k’s Taylor Deupree to close. More stunning visuals, triggered live by Marcus Fischer, accompanied the descending sunset, with Taylor's intrinsic meddling of the many synths, patches and unknown mechanics laid on the floor in-front of him, showing us a world of delicate sounds you’d likely find hidden amongst the undergrowth on a warm sunny day. 

Melodic drones and the warming sounds of both Tiny Vipers and Panabrite teased the highly anticipated Rachel Grimes, where she would be accompanied on stage by Substrata Alumni, Loscil. With Scott’s laptop turned towards the audience, Rachel poised stern behind the grand piano, and the summer heat finally getting to most of us, the stage was set for the most dramatic show of the weekend. The warmth and undertones resonating from Loscil, complimenting the stark beauty of Rachel’s Piano that we’ve heard on many of their collaborations. It could’ve been the finale to end all finales, but that was left to the legendary Shuttle 358 and his graceful return to music after many long lost years - Paul Clipson’s stunning visuals resonating from 16mm film, complimenting the shimmering beauty resonating from Shuttle 358; the perfect drones to signal another legendary weekend in Seattle, and the celebrated end for one of the most important festivals to ever grace the ambient, modern-classical and experimental community. 

~

You can read about a little Crate Digging trip I took whilst at Substrata with bvdub and Mike Cadoo here , and features on previous Substrata Festivals 1.3 (preview), 1.4 and 1.5 (preview). Please note, the lack of photos for this post was on purpose - I decided to keep my attention focused on the music this year.