Ulrich Schnauss

A Strangely Isolated Place (Where it all began)

Twenty years ago today, June 9th, 2003, Ulrich Schnauss released A Strangely Isolated Place on the revered, City Centre Offices label.

This album, along with his similarly brilliant debut ‘Far Away Trains Passing By’ are now widely regarded as an unmatched blend of IDM, Electronica, and Shoegaze-esque etherealness, and generally regarded as a “landmark electronic music statement”. Both transportive and escapist without becoming overly cliché or veering too far back into the experimental realm, it was this unique mix of styles and melodies that made Ulrich’s music popular in a time of internet nerds listening on Pandora, Lastfm and early internet radio streaming stations. Ulrich’s music crossed genres effortlessly, tracks found their way into the electronica and indie scene, just as easily as Global Underground’s legendary mix series, propelling Ulrich’s exposure and helping add a new dimension to club-focused DJ mixes of the time. Nick Warren, Tom Middleton and Jon Hopkins were just some of the artists to include Ulrich’s music within noticeable mixes of the day.

I don’t think I’ve heard anyone describe Ulrich’s output to a tee (mine above is just as terrible), and maybe that’s where I drew so much inspiration from back in the day.

It was 2008. The album had already been out for five years. At a time when I was just trying to document the music I loved, I had (and still) struggled with words on paper. Yet for some reason decided to start a blog about music… The point wasn’t really to review or translate music into words, and I still find that exercise a little pointless. Music exists as music and commentary, is a way to add your own personal reflection. When it veers into conveying an anonymous or represented opinion, it becomes pretty pointless IMHO. Music is personal and subjective on every level. At the end of the day, it was the feeling that album transmitted, the places it took you, and the indescribable intangible qualities that made A Strangely Isolated Place stand out. Trying to describe it will hardly ever do it justice. Similarly, I didn’t feel like I had to describe music to want to share it, but it was the only way outside of sending links to friends.

It helped that around that time I spent around two hours a day on the train commuting to work. The album was perfect window-watching material. When a stranger’s armpits are in your face, standing room only, on the 7.32 am into Kings Cross for 35 minutes, plus delays, this music drew an impenetrable field between my headphones and the real world.

Little did I know at the time I would be here with the name today.

I remember, cautiously, asking Ulrich if it was alright to (basically) rip it off. I refused to start the isolatedmix series until he agreed to be the first. It only felt right, given I had already created an entire website with his album title. Whether he regrets his agreement (or his label at the time) I’m not sure. But it’s now become another way to share his album’s brilliance over time, whether people realize it or not. 

I think about changing the name often, more out of respect for the album and to leave it as its own entity in time. But I’m yet to find a better feeling or description that would capture the music I try to include on the label. Just this week, I signed an artist who was attracted to the label’s name and perceived meaning, as a reason to reach out to me.

So thank you Ulrich, for this album and those people surrounding it, in more ways than one.

PS - Get your music up on Bandcamp!!

 
 

Portals: Atmospheric Drum & Bass Vistas

 
Portal dnb.png

After we announced Illuvia’s, ‘Iridescence of Clouds’ on the label earlier this year, the nostalgia and admiration for atmospheric Drum and Bass within both myself (and I’m sure many of you) it seemed, was quick to rear its head once again. There were two things I wanted to make sure would happen around the same time of the Illuvia release. First, was inviting Ludvig (Illuvia) to record an isolatedmix with some of his many inspirations behind the record (listen here), and second, to create an in-depth Portals feature on the genre. Not only to keep the conversation going but for me to also learn a thing or two, amongst a style I would never profess to be an expert in.

There are no-doubt many experts on the atmospheric Drum and Bass genre, and indeed, many artists to this day still creating music in this style who would be more than suitable to provide a feature. But there’s been one blog/website that I can draw many parallels to ASIP in approach, that also obsesses over this style of music and became the perfect candidate to help out.

Spyros Papatzitzes began God Is No Longer A DJ in 2012 and the blog has become (like many ‘blogs’ nowadays) a rare gem of a resource on the Drum and Bass genre.

Paraphrasing Nick Horby: “What came first, the music or the obsession?” 

I’ve always had this vague idea of keeping a musical diary to capture blurry memories and reflect on the arrogance and naivety of an earlier life I wasn’t quite ready to leave behind, with drum & bass being the focal point. Thoughts and scribbled notes gradually took the form of this blog, which went timidly online in 2012. Fast-forward to the present, this has been a unique opportunity to connect with some of my musical icons, as well as with many like-minded people across the world and celebrate the music we all love. 

Along the years, the content and the scope of the blog expanded to contemporary music, as well as non-d&b material, mainly ambient and modern electronica; music I enjoy when I am not listening to drum & bass, emphasizing on the ‘encyclopedic’ aspect, if I am allowed this self-indulgent term. - Spyros/God Is No Longer A DJ

It was an easy decision to invite Spyros to help create this Portals feature, and along with his encyclopedic knowledge and passion, he partnered up with an old friend, DJ Sin, whom he used to run a DnB radio show with to provide the Portals-specific mix. For this accompanying journey, all tracks were hand-picked from Spyros' record collection bar three, (‘Callisto’, ‘Icefields of Proxima’ and ‘Exhale’) which are only available in digital format.

When I started listening to drum & bass I was intrigued, inspired and seduced by the faceless mystique and the self-reliant attitude of so many artists and labels exploring this bold new cultural form. That experimental fearlessness, an entry point and an outlier both at the same time, captured a vital moment – one that could probably never be replicated – where no approach was off-limits. In the early 90s, the connections with my musical heroes were the odd dj gig, cassette tapes changing hands, magazines and the liner notes/credits on the record sleeves. Then the internet revolution came, which provided a portal to a (brave) new world and unprecedented access to all of us who had been on the outside looking in.

Tracks with long intros, string sections, artful vocal fragments and long emotional breakdowns, which sometimes had been met with cynicism, became an art form with an elevated degree of musicality, rather than formulaic dj tools to facilitate the transition from one track to another. It’s beautiful music inviting the listener to a long idyllic journey, beyond the walls of a mundane reality. 

So, essentially, this playlist consists of snapshots that capture and reflect various moments from my musical journey in the realm of atmospheric music (and drum & bass in particular) for more than 25 years. To be more precise, as I see purists’ eyebrows raising already, there’s a handful of tracks here that are not bona fide d&b, but I’d still argue that they fit in terms of tempo and overall aesthetic and demonstrate the evolution of the atmospheric sound, explicitly representing a counterpoint to the misconception that drum & bass is a musical genre with emphasis on fast beats, which are resolutely cold and mechanical.

I contemplated too long about which tracks should feature on this list, applying some self-imposed restrictions. If I were to compile this list again, it would probably be different, but I had to draw the line somewhere. On reflection though, every single entry is a track I wish I’d written. - Spyros/God Is No Longer A DJ

We hope you enjoy reflecting upon the greats of the style or discovering something new amongst one of electronic music’s most beloved genre ‘glues’ - whether it’s forming a bridge between Ambient music, Jungle or Dub - Atmospheric Drum and Bass has continued to be a genre loved by the majority of electronic music’s followers in some shape or form, whether they know it or not. Spyros has done an amazing job going into detail on the music included here, so grab your headphones, hit play, and carve out some time to admire the storied commentary behind the music behind one of the genres most passionate writers and collectors.

A big thank you to Spyros, and DJ Sin for the effort and detail.

Listen on Soundcloud, Mixcloud, or the ASIP Podcast.

Download

Full Mix Tracklist (Track Notes + introductions + links, ordered by year of official release follow below)

01. Photek – T-Raenon (Op-Art, OP1, 1996)
02. Ulrich Schnauss & ASC – 77 (Auxiliary Music, AUX007, 2012)
03. Akasha ‎– Brown Sugar (PFM’s Cosmic Journey Mix) (Wall Of Sound, WALLT028X, 1997)
04. Bungle – Astral Travel (Soul:r, SOULR060, 2013)
05. Jonny L – Underwater Communication (XL Recordings, XLT74PR2, 1996)
06. Voyager – Apollo (Good Looking Records, GLR027, 1998)
07. Blu Mar Ten – Believe Me (Blu Mar Ten Music, BMT002, 2009)
08. Bop x Synkro – Blurred Memories (Punk’s Not Dead LP, MEDIC41LP, Med School, 2014)
09. Omni Trio – Who Are You? (Aquasky Mix) (Haunted Science LP, Moving Shadow, ASHADOWLP6, 1996)
10. Forme – New Element (Headz 2A, Mo’Wax, 1996)
11. Justice – Aquisse (Pseudo Jazz EP, Basement Records, BRSS54, 1996)
12. Om Unit – Adventures in Eden (Torchlight Vol. 2, Cosmic Bridge, CBR014, 2016)
13. Future Engineers – Exhale (Exhale EP, Transference Recordings, TRF003, 2013)
14. KMC – Space Echo (Partisan Recordings, PART015, 1998)
15. Aural Imbalance – Icefields Of Proxima (Legacy LP, Cadence Recordings, CADLP001, 2012)
16. Seeka – Momento (Modern Urban Jazz 01, Creative Wax, CWLP001, 1997)
17. Intense – The Genesis Project (Earl Grey Remix) (Rugged Vinyl, RUGGED17, 1996)
18. Wax Doctor – Offshore Drift (R&S, RS96103, 1996)
19. Alaska – Jasheri (v2) (Arctic Music, AM009, 2017)
20. Klute – Angel Makers (Read Between The Lines LP, Commercial Suicide, SUICIDELP018, 2017)
21. Boymerang – Soul Beat Runna (Regal, REG14, 1997)
22. Naibu – Opium Lady (Horizons Music, HZN030, 2008)
23. Shogun – Together (Nautilus EP, Renegade Recordings, RR008, 1996)
24. Seba – Dangerous Days (Warm Communications, WARM015, 2009)
25. Eschaton – Callisto (Drum & Space Vol. 2 LP, Omni Music, OMNI016, 2013)
26. dBridge & Instra:mental – Translucent (Sepia Tones EP, Darkestral, DARKESTRAL 004/005, 2009)

~
Artwork photo by Spyros P: “I took the original photo on a cloudy November afternoon in 2017. The view is from the hill where Glasgow Necropolis is located, the 19th century Victorian cemetery overlooking the city. The still loosely reminded me of the record sleeve of the Trans-Central Connection, one of the Moving Shadow regional compilations in the 90s and I tried to capture that moment. ”
~

Photek – T’Raenon
(Op-ART, OP1, 1996)

Rupert Parkes’ and Kirk De Giorgio’s long-term friendship culminated into a record which introduced, for the first time, the crossover sensibility that earned Photek a record deal with Virgin’s sub-label Science and catapulted him to mainstream fame. Rupert and Kirk used to exchange studio tips and rare records to sample from and ‘KJZ’ from Photek’s seminal ‘Modus Operandi’ stands for Kirk’s Jazz. 

Written for De Giorgio’s imprint Applied Rhythmic Technology ‘T-Raenon’ is a tribute to techno and its Detroit origins within a drum & bass context. The EP includes an elegant extended version, where Photek replaces his signature breaks with techno kick drums and celestial snares that still carry the production prowess and majesty of his previous works.

Omni Trio – Who Are You? (Aquasky Mix)
(Haunted Science LP, Moving Shadow, ASHADOWLP6, 1996)

Robert Haigh is a seasoned musician and one of the most respected artists in drum & bass. Under his d&b alias Omni Trio he enjoyed a glistering, prolific and acclaimed recording career with Moving Shadow, especially throughout the 90s. With five personal albums, dozens of stellar singles, EPs and remixes, including an endless list of drum & bass anthems like ‘Renegade Snares’, he garnered universal recognition and praise from his peers and fans alike, despite keeping a low, often mysterious profile. 

The Aquasky remix is taken from ‘Haunted Science’, Omni Trio’s 2nd album for Moving Shadow. Robert Haigh’s extended artist profile and discography highlights from the blog’s archive here.

Justice – Aquisse
(Pseudo Jazz EP, Basement Records, BRSS54, 1996)

Named after a short-lived dilutable soft drink ‘Aquisse’ is a track with anthemic status and probably the one Justice has been most associated with and he’s proudest of. How the track came about has been well documented; one of those precious moments when it becomes apparent that something special has been created. Justice used to work with Vinyl Distribution at the time, who signed it for Basement Records and a couple of weeks later it was licensed by R&S for their ‘In Order To Dance Vol. 6’ compilation. To celebrate the track’s 15th anniversary in 2010, an Aquisse remix project brought it up to date for a new generation of d&b fans including also the original mix and the ’06 reboot by Justice & Neil Trix

‘Aquisse’ is set for a re-release on a vinyl pressing of Justice’s debut album ‘Viewpoints’ this year (fingers crossed!). It was due last year, but circumstances delayed it. It has a fully redesigned artwork and contains all the tracks from the LP on vinyl this time around. Also at some point, there will be a few ‘Aquisse’ re-workings dropping on a limited edition lathe cut.

Shogun – Together
(Nautilus EP, Renegade Recordings, RR008, 1996)

Under the Shogun guise, Oliver Lomax released a string of brilliant classics for Trouble On Vinyl, Renegade and R&S. After signing with Good Looking Records, Lomax adopted the Artemis moniker, which became synonymous with GLR’s deep, atmospheric drum & bass sound, also taking over engineering duties for various GLR artists. He also formed the one-off project Machine with Danny Coffey (Endemic Void) for Creative Wax. The precursor to the Machine project was Shogun’s beautiful re-interpretation of Endemic Void’s ‘Hydrosphere’, the opening track to the ‘Equations LP’. A little fan fact: On the back sleeve production credits of the ‘Modern Urban Jazz’ compilation (CWLP001, 1997) Oliver Lomax is referred to as S. Gunn (a nod to his Shogun alias).

Despite being overshadowed by the undisputed classic ‘Nautilus’ on the flipside, I’ve always had a soft spot for ‘Together’, hence its place in this list. 

Jonny L – Underwater Communication
(XL Recordings, XLT74PR2, 1996)

Inspired by the tectonic shift in sound that paved the way for the emergence of techstep, Jonny L (John Lisners) released his seminal debut LP ‘Sawtooth’ with a glowing return to his hardcore breakbeat origins (he’s been label-mates with The Prodigy at XL Recordings until 1999). Combining the immediacy of techno with the raw edge of drum & bass and delicate synths with retrofitted 303-style acid effects, Jonny L created a drum & bass staple, although apparently it was not premeditated:

“Sawtooth is a mix of sounds I was into at that time. I wasn’t completely sure what I was doing. I knew how I wanted it to sound, so it was a matter of putting that into reality as best I could. I wasn’t trying to make a statement. I was interested in topics like life and space, and using those themes in the music.” – Jonny L

‘Piper’ and ‘Tychonic Cycle’ have been the obvious hits from ‘Sawtooth’, however, it’s ‘Underwater Communication’ (taken from the 2nd part of the promotional 10” single series) which has resonated with me the most. When dolphins sing …

Wax Doctor – Offshore Drift
(R&S, RS96103, 1996)

Wax Doctor (Paul Saunders), who started djing in the late 80s juggling part-time mixing and a promising footballing career (!), eventually made his discography debut on Basement Records in 1992. One of the originators of jungle techno, with clear Detroit influences instilled into his productions, alongside recording partner Alex Reece, Wax Doctor helped into shaping the early sound of Metalheadz, Precious Material and Creative Wax, before drifting towards the mellower and jazzier side of the spectrum for Talkin’ Loud and R&S.

“I've played abroad and people try to dance to the actual breakbeat, but it's the soul inside the breakbeat you have to go for. Some jungle tunes are slower than garage, and if you can't hear it, I think you haven't got any soul”. – Wax Doctor

In a plethora of classics, I’d argue that ‘Offshore Drift’ is Saunders’ magnum opus and can be also found into his retrospective compilation ‘Selected Works 94-96’ (R&S, 1998).

Intense – The Genesis Project (Earl Grey Remix) (Rugged Vinyl, RUGGED17, 1996)

Intense (Dan Duncan, Simon Vispi & Beau Thomas) have been one of the most innovative and exciting production outfits that have graced drum & bass. From their UK hardcore origins to their live PAs accompanied by a full band under their brand name, their sound has been rich with ingenious and ground-breaking ideas, even when electronic dance music was limited to standard analogue sounds. Their unique studio approach, the polar opposite of calculated austerity, mapped jazz free form sensibility into a drum & bass context, sprinkled with the stardust of avant-garde ambience and nouveau funk, ripping the seams of technology and recasting the fragments into new alluring shapes and structures.

Transitioning from the hardcore fringes to the emerging drum & bass sound, Intense made a statement of intent applying a cinematic outlook to their productions for Rugged Vinyl. Drawing inspiration from a wide palette of sounds, from cult sci-fi and horror films (‘Predator’, ‘Army of Darkness’) to Enya’s dreamy pop, Aaliyah’s and Mary J Blige‘s diva vocal lines, they forged an idiosyncratic yet distinctive musical profile, which cemented their reputation. However, it would be their jazz and rare groove aesthetic influences that would open the door to fame and a worldwide audience.

Counter-intuitively, I have chosen the Earl Grey remix instead of the original version of ‘The Genesis Project’, partially because it featured in one of my favourite mixed CDs (LTJ Bukem - The Rebirth); every track from that mix could/should be on this playlist.

Forme – New Element
(Headz 2A, Mo’Wax, 1996)

Forme is the recording moniker Richard File (aka DJ Aura) used for one of the most venerated atmospheric d&b classics of the 90s ‘New Element’. He later resurrected the project for Adam Freeland’s Marine Parade label. Originally hidden in the Mo’WaxHeadz 2A’ compilation and featuring on the mixed CD version of ‘Logical Progression’, as well as on Bukem‘s legendary 1996 Essential Mix (BBC Radio 1, 24-03-1996), ‘New Element’ has recently got a new lease of life with a new track on the flip-side by the Russian label Okbron. Another previously unreleased track from that mix and well-sought after by Bukem aficionados (‘G-Force – Proximity’) is also available now from Okbron.

Seeka – Momento
(Modern Urban Jazz 01, Creative Wax, CWLP001, 1997)

Justice is credited with the discovery of the unsung, but incredible talents of Seeka (Alex Blyth); the electronic reverie ‘Momento’ being my personal highlight from the ‘Modern Urban Jazz LP’. Blyth’s discography debut, as ½ of the production outfit Protaflight, had been released by the obscure Basement offshoot Test Press Records. Although Seeka’s releases have been only a handful (for Modern Urban Jazz, Terry Wilson’s Funk 21 and Nu Directions), each and every-one is outstanding.

Seeka I had discovered early in the year in a studio I was using at the time in London called ‘New Age’. I had arrived early for my slot one evening and found a young guy producing some of the most interesting d&b I had heard for a while. I subsequently released two of these tracks as a 12”, MJAZZ 004, ‘Divers’ and ‘Wasteland’ and still had a track left on the DAT which was ‘Momento’, so it was an easy choice to include it, as along with all his productions it was some of the most challenging and different d&b around that time. Just as a side note, when I refer to the music now as d&b, I never really considered it much then. I know that may sound strange, but I think we always operated as outsiders, I personally always felt on the outside looking in, which is why the Glider-State track was called so. It was always much more about the vibe of the track and its sound, texture and how they fitted together or sounded alongside one another. Seeka’s stuff was just that, I never heard it and thought that’s a stunning d&b track, I always just thought that’s a great sounding track that fits in with the ethos of what we were doing or are about” – Tony ‘Justice’ Bowes

Seeka casts his mind back, a memory that is a soundscape created by melodic strings and electro funk beats” – MUJ Liner Notes

Akasha ‎– Brown Sugar (PFM’s Cosmic Journey Mix) (Wall Of Sound, WALLT028X, 1997)

“I am the first word in motion, my moments are eternities…”

PFM (stands for Progressive Future Music) is a drum and bass outfit synonymous with the atmospheric and mellower side of drum and bass. PFM were formed in Suffolk by Mike Bolton and Jamie Saker, after meeting with Bukem in the early 90s, who eventually convinced them to enter the studio a few years later. They returned the favour with a string of seminal classics for Bukem’s labels. Around 1997, Saker left PFM and Bolton effectively continued the project solo with remarkable success, establishing himself as one of the most in-demand cross-genre remixers. PFM has remixed: Art Of Noise, Lisa Moorish (Saker is credited also for the remix of ‘Love For Life’), David Holmes, Mandalay, Mulu, Eat Static, Trickbaby, Espiritu, Forces Of Nature, Lil’ Louis & The Party and Akasha.

Akasha (Charlie Casey & Damian Hand) formed in 1994 in Brixton and released their debut EP on Wall of Sound the same year. Following a performance at Glastonbury’s Jazz Stage, Akasha released the singles ‘Spanish Fly’ and ‘Brown Sugar’, foreshadowing their acclaimed debut album ‘Cinematique’, with guest appearances by Maxi Jazz from Faithless and Neneh Cherry, who deliverd a stunning cover of Guns ‘n’ Roses’Sweet Child O’ Mine’.

PFM’s ‘Cosmic Journey Mix’ retains esoteric lyrics and stylishly captures the emotional gravity of the original.

Boymerang – Soul Beat Runna
(Regal, REG14, 1997)

I can hardly recall a producer who’s had a brief spell at drum & bass and left such an indelible musical print other than Boymerang. Graham Sutton, member of the post-rock band Bark Psychosis turned Grooverider’s acolyte, has been a purveyor of an apocalyptic breakbeat noir. ‘Soul Beat Runna’ is the lead single from Boymerang’s ground breaking album ‘Balance of The Force’, released on Regal (a part of EMI Group) and features on the menu of the main FIFA Series, France ’98 video game (by EA Sports).

I have found an excerpt of Sutton’s comments on the making of the iconic drum loop in my digital archives. Sadly, I don’t remember where I copied it from (DOA perhaps), so I apologize for not properly crediting the original source:

“You'll have to throw your mind back to a time before computers were audio-manipulators, to when everything was hand-made in a hardware sampler, and the computer was merely a MIDI sequencer. The gear at the time consisted of:
Atari ST running Cubase
Emu E4 - 16 outs
Roland JV1080
Boss SE50
Mackie SR24:4
Sony Portable DAT
...and that was pretty much it!

Step 1: got the original Amen Break, played at original speed, and hand-chopped it in the E4 up into *every* constituent hit, including tiny-tiny flams etc etc.

Step 2: sequenced all the fragments, moving the pieces by the tiniest of amounts, so they played identically time-wise to the original.

Step 3: Using the timing refs from step 2, replaced all the sounds (still at old school original tempo). Only rule was no sound could come from a break that I'd heard already used. You can probably spot at least a JV ride in there.

Step 4: Kept engineering different layers of background noise etc etc, till it sounded "new but old", at least to me.

Step 5: Re-sampled the whole break to DAT, then dumped it back to the E4.

Step 6: Replay back at sped up DnB speed to check for tone and vibe etc. Usually this would then involve going back to Step 3.

Step 7: CHOP CHOP CHOP - one new break to use!

Hehe, it sounds like an easy operation written like that, but honestly, it was fucking time consuming. Probably took a week or two till I was happy. I was so happy when I started hearing others using it, starting with Dilinja's Silver Blade, as I'd left a couple of free bars of just the break in the track, so it could grabbed …”

Voyager – Apollo
(Good Looking Records, GLR027, 1998)

Pete Parsons’ musical career started around the dawn of 90s as an in-house producer, remixer and sound engineer at the famous ‘Monroe Studios’ based on Holloway Road, London and has been involved in production and engineering for a large cross-section of musical styles for many different labels, including the likes of Dee Jay Recordings, Lucky Spin, Moving Shadow, Impact, Suburban Base, Soapbar, Proper Talent and Sound Entity. In 1994, Lucky Spin Records relocated from King’s Road (the premises were taken over by Moving Shadow setting up their own record shop and sub-label Section 5) to Holloway, next door to the Monroe Studios and Parsons soon became the main engineer for Dee Jay & Lucky Spin. After a string of collaborative releases (under various monikers alongside Slipmaster J), Parsons adopted the Voyager recording guise for his productions. With tracks garnering anthemic status at the ‘Speed’ club nights hosted by Bukem and Fabio, it was only a matter of time until he recorded for their labels. The cinematic and breathtaking orchestral strings of ‘Apollo’ render it one of GLR’s finest moments.

Spearheading a more streamlined approach to drum & bass, the artwork has been in tandem with the musical output; futuristic, unconventional and thought-provoking. The sleeve design by Propeller Studio is self-explanatory and depicts blurry parts of the inscriptions on the ‘Voyager Golden Records’, which are two phonograph records that were included aboard both ‘Voyager’ spacecrafts launched in 1977. The records contain sounds and images selected to portray the diversity of life and culture on Earth, and are intended for any intelligent extraterrestrial life form, or for future humans, who may find them. Those records are considered as a sort of a time capsule. Had it been recorded 20 years earlier, ‘Apollo’ could easily feature on the discs; drum & bass’ future legacy.

KMC – Space Echo
(Partisan Recordings, PART015, 1998)

A short-lived, but highly influential label, Partisan was formed by the former Moving Shadow managing crew under Derek Birkett’s One Little Indian Records wing. Sustaining  the quality standards established at their previous posts, the ethos of the new label was to champion distinguished production and artists who were possibly overlooked for not being within the high-profile glittering circle (history, label profile and discography highlights here).

KMC (Keith McKnight) has been the first d&b producer from Scotland to release a d&b record, as well as a owner of Drastik Plastik Records, the mastermind behind the ‘Jungle Book’ d&b events in Edinburgh and artistic supervisor of Temple Music. Regrettably, he abruptly left drum & bass at the end of the 90s due to wranglings with GLR over their record deal; however every single one of his productions is an atmospheric d&b staple and ‘Space Echo’ for Partisan is one of the highlights. In 2009 he launched the digital label Micro Deep Beats offering a bundle of older unreleased tracks for free, as well as new material.

Naibu – Opium Lady
(Horizons Music, HZN030, 2008)

French producer Naibu’s (Robin Leclair) meteoric rise to drum & bass came in 2008. His talents were readily picked up by Fabio’s Creative Source and Horizons Music, the latter becoming Naibu’s creative home in the following years. 

‘Fireflies EP’, where ‘Opium Lady’ is taken from, has been the prelude to his sophomore self-titled album, which was released a year later with a similar artwork concept and the lead track was remixed by Seba. The Japanese culture references are ubiquitous in the graphic illustration designed by Foldesign. The title of the EP is inspired from the emotionally draining 1988 Japanese animated war drama ‘Grave Of The Fireflies’ and the geisha portrait in the sleeve completes the concept.

Blu Mar Ten – Believe Me
(Blu Mar Ten Music, BMT002, 2009)

A few weeks before the official release of the album, I had a casual online conversation with Chris Marigold, which turned out to be prescient; he had been booked on late October 2009 to play Athens for the first time in light of the ‘Natural History’ promotion tour. 

‘Believe Me’ is the lead single and a highlight from Blu Mar Ten’s ‘Natural History LP’, paying homage to Steve Reich (the main riff is sampled from Reich’s ‘Music for 18 Musicians’). The emotionally draining and intimate vocal hook is sampled from The Carpenters’Tryin' To Get The Feeling Again’. The song was recorded in 1975 but was not officially released until 1994 for The Carpenters’ 25th anniversary. A cover version by Barry Manilow became a hit in 1976. Blu Mar Ten aficionados will recognize the vocal from an older Blu Mar Ten track ‘The Feeling’ (released on Deep Structure, 2003).

A 2-part remix package was commissioned the next year, featuring remixes by Klute, Seba, Stray, Bop (who contributed a microfunk re-interpretation of ‘Believe Me’), Kastle & Badmammal. The alluring hand-painted imagery sleeve illustrations of the first singles as well as of the next BMT projects are designed by ithinkitsnice

An inside view into all Blu Mar Ten albums from the blog’s archive here.

Seba – Dangerous Days
(Warm Communications, WARM015, 2009)

Blade Runner and Vangelis’ musical theme have been the unofficial sample pack for electronic music, but if you are looking for a captivating d&b rendition, then look no further. Seba is one of the genre’s most prolific and consistent artists, having recorded literally for every label that matters; with a signature sound that effortlessly sways from the deep and emotive corners to the darker edges of the d&b spectrum. ‘Dangerous Days’ is the second in a string of releases (7 to the time of writing) for the finest Texas-based outlet Warm Communications.

dBridge & Instra:mental – Translucent
(Sepia Tones EP, Darkestral, DARKESTRAL 004/005, 2009)

In 2007, Instra:mental signed with Darkestral Recordings, the eclectic leftfield drum & bass label run by Paul Laidlaw aka Rico Drkstr. Though short-lived, Darkestral introduced cinematic aesthetics, with outstanding releases, supplemented with bespoke vinyl art and packaging. The label’s ethos is summarized in the maxim: “170… respect the speed limit”. Instra:mental found their natural habitat and forged their own musical path with a string of ground-breaking records. 

The pinnacle of their Darkestral discography has probably been the ‘Sepia Tones’ EP (where ‘Translucent’ is taken from), co-produced with dBridge; literally a musical artifact, which foreshadowed the emergence of the ‘Autonomic’ movement. ‘Sepia Tones’ was published in three vinyl variations limited to 500 copies (one in plain black, one in gold and black and one in sepia; the latter probably the most collectible and sought after version) beautifully packaged in reversed heavy board sleeves, coloured pantone black, both inside and out, with gold foil block logos and lettering front and back.

Instra:mental’s discography highlights, profile, interview excerpts, and the background story of ‘Photograph’ from Sepia Tones narrated by Damon Kid Drama has featured on the blog’s ‘Tracks I Wish I’d Written’ here.

Aural Imbalance – Icefields Of Proxima
(Legacy LP, Cadence Recordings, CADLP001, 2012)

Another label that gracefully and unabatingly championed the atmospheric d&b movement in the new millennium is Cadence Recordings; part of the movementinsound music group and home to a wide array of veteran and new producers.

Aural Imbalance (Simon Huxtable) has been a stalwart of atmospheric d&b, who has also broadened his repertoire to accommodate for a more nostalgic electronic sound drawing from his rich production palette. ‘Icefields of Proxima’ is taken from his debut album ‘Legacy’, which is rather poetic, as Cadence is  the label Simon’s recording career started from. ‘Legacy’ is a mixed album, as it has been Simon’s intention from the start; each individual track is part of a larger story.

“I have put my heart and soul into every track with a nod to the past and an eye to the future, in terms of both production and sound. I find it poignant that ‘Legacy’ has found its natural home, as it were on Cadence Recordings, which is where my astral d&b adventure started many moons ago. It's with this in mind that the artist wishes you the listener, a deep and atmospheric voyage with both Cadence and myself! Enjoy” – Legacy liner notes

ASC & Ulrich Schnauss – 77
(Auxiliary, AUX007, 2012)

James Clements (ASC) and Ulrich Schnauss are two of my all-time favourite producers, purveyors of the finest electronic music. Their musical paths had crossed in the past (they had both signed tracks with Good Looking Records in the early 00s) and apparently they were both into each other’s music, so the collaboration seemed inevitable. The title ‘77’ refers to another thing James and Ulrich have in common: their year of birth. 

“It's always been my lucky number too due to that, and I know Ulrich has used it before with his Ethereal 77 project, so it seemed like a natural choice for our first collaborations” - ASC

Beyond the confines of drum & bass, despite being written within the 85/170 framework, ‘77’ is an elegant and adept study of modern electronica. James’ and Ulrich’s long-term dalliance with vintage synths is omnipresent, evoking IDM memories of times past. 

A feature dedicated to ‘77’ as part of the blog’s ‘Tracks I Wish I’d Written’ series is available here.

Bungle – Astral Travel
(Soul:R, SOULR060, 2013)

Soul:R was created by Marcus Intalex and S.T Files in 2001 and soon became the focal point for drum & bass in Manchester and beyond. With an impressive back catalogue and home to some of the genre’s most influential artists, the label is now dormant due to the untimely death of Marcus in 2017. In his loving memory, the ‘Marcus Intalex Music Foundation’ has been established; a cultural hub for Manchester’s electronic music scene and a platform to support and nurture talent in many aspects of music development (Read more about MIMF here).

‘Astral Travel’ (b/w ‘Aura’) is one of the label’s finest moments; in fact I still haven’t decided which side I like the most. Written and produced by one of Brazil’s first-class d&b ambassadors Bungle (André Oliveira Sobota), it was released as part of the 10th soul:R anniversary celebrations.

Future Engineers – Exhale
(Exhale EP, Transference Recordings, TRF003, 2013)

Future Engineers are among my all time favourite producers and have made their name synonymous with the ‘atmo-tech’ pole of the d&b spectrum (alongside Blame, ASC etc.). An exclusive interview with Lee Batchelor, when he was our guest in Athens, Future Engineers’ artist profile and discography highlights are available from the blog’s archive here, so I’ll pick up narrative after Keir and Lee went their separate ways (ca 2007) and Future Engineers became Lee’s solo project. 

Lee launched Transference Recordings in 2010 to release new Future Engineers material. ‘Exhale’ is the lead track of the eponymous EP on Transference, which marks a shift towards more experimental and dystopian avenues. Lee explains:

“I consciously set out to have a variety of styles on the compilation. The bulk of the tracks are primarily aimed at the dance floor but tracks like ‘Exhale’ and Dystopia’ have given me the opportunity to experiment a bit more with the music and the beats. It is quite nice to work on music and not have the restraints of ‘dance floor compatibility’ in the back of your mind. So, I would like to work on some more experimental releases going forward. The flexibility of digital I think also gives you more freedom to experiment” 

Eschaton – Callisto
(Drum & Space Vol. 2 LP, Omni Music, OMNI016, 2013)

One of those labels that have consistently carried the torch of atmospheric drum & bass is Omni Music. The ‘yin & yang’ logo encompasses the vision and ethos of the label: the symbol of dualism, the vicious pendulum between light and dark, reality and fiction, hope and despair, where seemingly contradicting forces actually interconnect and counterbalance. 

Eschaton (Chris Wright) is Omni Music’s founder; a prolific producer and an avid fan of the album format (he has released 21 LPs at the time of writing). Concepts and themes usually revolve around science fiction, cosmology objects and dynamics, real and imaginary travels, as well as the mysteries of the universe that have regaled human imagination for centuries. His affinity for sci-fi literature and cult horror films is demonstrated in his latest venture; book writing. The third and final part of his ‘Survival’ series is out now and the accompanying OST is available here.

‘Callisto’ is taken from ‘Drum & Space Vol. 2’ and the track title refers to the second-largest moon of Jupiter. It is the third-largest moon in the solar system after Ganymede and Saturn's largest moon Titan. Through a telescope, Callisto is brighter than our Moon, due to its surface made up of a very thick layer of ice.

Bop x Synkro – Blurred Memories
(Punk’s Not Dead LP, MEDIC41LP, Med School, 2014)

After 13 years and over 90 releases, Med School completed their natural cycle last year. Med School has been the sister label of Hospital Records and started as a platform to promote new talent, groom them for the main label and accommodate for music that wasn’t exactly suitable for the Hospital sound. Bop is one of the most prominent ‘graduates’ of a special project that in some cases I’d dare say it outclassed the parent label.

Entering a grey area, where the lines between genres become vague, ‘Blurred Memories’ is taken from Bop’s 3rd personal album playfully titled ‘Punk’s Not Dead’ featuring the Autonomic star (and owner of Synkro Music and SK1 record shop) Synkro, who brings new influences to the  ‘microfunk’ sub-genre and beyond.

Om Unit – Adventures in Eden
(Torchlight Vol. 2, Cosmic Bridge, CBR014, 2016)

A keen music scholar and a significant presence in various bass music circles from hip-hop to drum & bass, Jim Coles adopted the Om Unit moniker to re-imagine and cross-breed new sonic tropes, mapping the stylistic links of jungle and footwork with a series of edits, which drew the attention of the drum & bass scene.  In 2011 he set up his own label Cosmic Bridge as a platform for his own material and like minded-artists. Operating on the fringes of various musical styles, Om Unit has methodically enfolded the endless possibilities of bass music under the Cosmic Bridge umbrella. 

After two decades in London, Coles relocated to Bristol in 2015. From his new studio on the English west coast he continues his search through production work and aesthetic exercises. ‘Adventures in Eden’ is taken from the second volume of the ‘Torchlight’ trilogy.

Alaska – Jasheri (v2)
(Arctic Music, AM009, 2017)

Paradox (Dev Pandya) in an older interview cited Future Bound’sBlue Mist’ (Timeless Recordings, 1996) as an inspiration for his early Alaska ambient jungle material. In 2006, Pandya released his second album titled ‘Arctic Foundations’ on 13 Music (a Vibez Recordings’ subsidiary), which foreshadowed the creation of Arctic Music the same year as an exclusive platform for future Alaska recordings. The original version of ‘Jasheri’ was released in 2014 and has been reissued 3 years later with a heartbreaking alternate version (which features in the mix). I can’t help imagining Kiyomi’s fragile and whispery vocals somewhere in the breakdown.

Klute – Angel Makers
(Read Between The Lines LP, Commercial Suicide, SUICIDELP018, 2017)

A certified album artist with a rare consistency that spans more than two decades, Klute (Tom Withers) has opted for full-lengths as a means of artistic expression, although he could get away with releasing music for pretty much any label he deemed fit.  ‘Read Between The Lines’ is Klute’s 8th studio album; a distraction, refuge and personal remedy from the white noise and political hysteria of his surroundings and encapsulates the artistic maturity and versatility of an artist that has defied trends, formulas and genre confines. Renowned for his unique talent to instill a multitude of influences in his productions, from his punk/hardcore origins to techno, house and dub, Klute’s broad repertoire abounds with incredibly inspirational music.

‘Angel Makers’ is taken from ‘Read Between The Lines’ and is a tribute to Brian Bennet’s ‘Rock Dreams’ closing vignette.  I also attach Withers’s poignantly prophetic comment that captured the vision and essence of the album and still sounds as relevant as ever:

“We can’t take things at face value. Work out what people are getting at, question their motives. We’re being led down a dark garden path. Something suggests to me that this was the plan all along” – Interview for UKF, March 2017

 

isolatedmix 100 - Tom Middleton

 
Isolatedmix100.png

Since the first isolatedmix by Ulrich Schnauss in 2009, we’ve been lucky enough to explore many of the artists, DJ’s, producers and inspirations behind this site’s inception. It started as a way for me to dig into what makes some of my musical heroes tick and to this day is a way for me to unearth some insights behind my favorite musicians, both new and old. Isolatedmixes over the years have been themed; full showcases; focused on a specific concept, or simply tracks from the heart. They’ve provided a unique angle on a musician or DJ through the lens of ASIP and each recalls a specific moment in time for me as ASIP has evolved, and I’m sure many others too, who have been along for the ride since the beginning.

The invite sent to this particular contributor has been a dream since before the series even existed. One half of Global Communication; remixer of the finest order; Jedi Knight, Sleep Science Coach; multi-genre DJ, plus a personal memory of a hands-in-the-air-festival-moment-circa-2001 with Take Me With You; we welcome Tom Middleton, and our #100th isolatedmix.

As the man behind some of the most magical ambient music from the past 20+ years and perhaps my #1 ambient record with 76:14, Tom has spent the last few years studying, and educating on the topic of music and sleep. His experience ultimately led him to use his wisdom to good effect, trying to better our musical and mental livelihoods and you’ll struggle to find anyone more suited. Passionate about music in its purest form across multiple genres and disciplines, it was clear after speaking to Tom on the phone recently that he lives and breathes his work, and is dedicated to making a positive change in the world through music.

Pioneering research around the effects of music helping with sleep, culminated in Tom designing an album fit for that very purpose titled ‘Sleep Better’. Backed by science and years of studies, he now counts millions of subscribers who use his music for mental and emotional wellness through his productions in the Calm app, and speaks at conferences around the world as an expert on the topic.

We were lucky enough to (nearly!) have Tom to play at our first ASIP London show back in March as a special surprise guest, but due to Covid-19, those plans were unfortunately put on pause. But, there’s one thing that dastardly thing can’t ruin - the creation of a mix to enjoy anywhere - lockdown or not. Tom’s mix, clocking in at over 3.5hrs long is a true journey into gentle moments; reaching into outer-space; and combining classic-sounding ASIP inspirations; weaving in and out of the many worlds of Tom Middleton over the years. Featuring several tracks from his own back-catalog alongside many personal touches; an exclusive premiere of a new collaboration with Ulrich Schnauss (we’ve gone full circle!) and even a track by Tom’s Jazz Guitarist Grandfather, taken from an old 78. We’ve got a full track-by-track breakdown by Tom below…

Given my admiration for Tom goes back many LP’s and many decades, I sent a few questions his way to accompany the mix. So hit play and get reading below, as we dive into his many projects, inspirations, some niggling personal wonders surrounding Global Communication and of course new music (and that repress!)

This has been pure fan-boy territory - but what else would you expect? Thank you Tom, for so much time and effort that went into the mix; the accompanying questions and the detailed notes, all completed within some very surreal and challenging circumstances for all.

I present to you, the Jedi himself.

~

Listen on Soundcloud, Mixcloud, or the ASIP Podcast.

Download

Track notes & mix introduction from Tom

“Creating the ASIP 100th episode has been a delight, an honour and a privilege. Thank you for this opportunity Ryan. 🙏🏻

I wanted to integrate sounds and music that illustrates my journey to this point. With notable works that emotionally resonate deeply with me (and I hope with the listeners.)

My manifesto and philosophy hasn’t changed much, I still seek to feel that human unique expression of sincere feeling, pure emotional integrity, that an artist can embed within a plethora of frequencies.

From sparse abstract textural pieces that simply evoke colours, temperatures, feelings, to more complex arrangements and compositions that are more detailed and figurative in how they describe the artists vision. Inspirations are clear; Sci-Fi to Sci-Fact, Classical, Soundtracks, Electronic and Ambient to experimental and organic human performances juxtaposed with the sounds of machines.

Highlights include the sonification of the oldest known sound in the cosmos, to moments from my childhood. The voice of Carl Sagan and Vangelis’s soundtrack to The Cosmos, JMJ’s joyful, majestic and uplifting Equinoxe Pt 1 (I recommend playing this if you would like an energy and mood boost). Then my first profound musical memory of my Dad placing me in the stereo sweet spot to listen to Tomita’s Snowflakes Are Dancing vinyl LP at the age of 7. An unforgettable moment hearing Tomita’s peerless synthesised arrangements of Debussy. And the back of the sleeve piques my curiosity into the world of analogue synthesisers. Vangelis, Tomita and Eno are the clearest inspirations in all of my work.

Tomita Rear Sleeve.jpg

A snapshot of the indelible scene in Bladerunner when Rachael makes her first entrance. Followed by a selection of tracks that all have these profound qualities for musical story telling.

The delicate subtlety of Sigur Ros, the warm harmonies of Underworld.

Eno’s 3M5; a few moments of exquisite beauty that for me describe a place I could happily go and live.

GC 4:14 is one of my personal favourites from 76:14 - without realising I had performed the lead synthesised melody as if it was a ‘Cello - my second instrument.

bvdub - this is so hypnotic and enchanting - I can listen to this on loop for hours without fatigue.

Steve Roach, for me is one of those underrated geniuses that to my mind deserves more recognition. His ambient music in many ways is more refined, better produced and more sophisticated than some of his contemporaries.

I’ve segued in a moment from the new GCOM exoplanet exploration project. I loved imagining the sensation of experiencing a refreshing new atmosphere for the first time.

Another Eno classic for me - a track to lose yourself in.

Had to include a more structurally recognisable work from the late sound design genius Thomas Denis Qebrµs. For those unfamiliar with his work. I implore you to dip in and experience a level of unprecedented audio-sensory immersion. At points, it can be uncomfortable and challenging, but there is something so compelling about hearing a musical form that has never really been heard. He achieved his goal of creating alien music.

We leave the first hour with an optimistic crescendo cue from the Prometheus Soundtrack.

A flashback to the untouchably epic theme from Carl Sagan’s Cosmos, which is right up there as one of my all time favourites.

And this direct reference to Vangelis’s production and orchestration style which provided the reverential inspiration for the opening track Sunset from Sleep Better.

I made a special ambient edit of Reload ‘Event Horizon’ that blends the intro and outro sections without the intense rhythmic central workout.

A nod to contemporary 90’s pioneers, educators and inspirations include BOC, The Orb and Spooky (goodness Orange Coloured Liquid is sublime isn’t it?!)

Richard’s effortlessly sublime Lichen transports me straight back to Cornwall every time.

This mix gave me the opportunity to showcase the extraordinary talents of Jeff Taylor Cross - (Apple’s mastermind behind the evolution of Logic / Pro X) who’s career trajectory though music, design and beyond into app engineering and development is unparalleled. An unsung hero in our world of music production! Please extend an applause for Jeff and his team, without whom most of the current wave of ambient music might actually have never been produced without this incredible, limitless creative music production platform.

I’m a huge fan of Albuquerque’s guitar virtuoso and inspiring educator Andy Othling aka Lowercase Noises - and I highly recommend checking his Youtube channel for the most enchanting live ambient performances. Simple Sounds in Simple Places and also informative ‘how to’ videos.

I had to include the joyful electric autoharp ambience of Laraaji - head to the full 20 minute version, sit or lay back, eyes closed, and deploy some conscious breath-work for a truly transcendental experience my friends!

I love the 528Hz Love Frequency drone sequence from Travis (Machine Drum). And here’s a full hour of 528Hz bliss. Feels good to me!

A special mention to the inspiring Yoko Sen. I’ve included this graceful and sensitive sleep-scape as a tribute to the incredible work she is doing in rescoring the sound of hospitals and creating music for palliative care.

I’ve sequenced some introspective and achingly beautiful modern electro-classical cues and electronic masterpieces. Sienna - recommend exploring his harmonically empathetic catalogue. Ilya Malyuev - another lesser known but extremely accomplished artist that truly needs to be discovered.

Interwoven with Jon Hopkins remix of Sea Of Glass, and a few artists that may not be so familiar to the ambient community. The aim is to increase awareness of the extraordinary and abundant musicality to still be discovered. Which synergistically aligns with Ryan’s visionary imprint and radio station.

I’ve included the debut GC release Incidental Harmony which marked the start of the exploration of pure emotions in sound. And an exclusive debut for a collaboration between myself and Ulrich Schnauss we created more than 15 years ago..have to work out exactly when!

Mmoths - this chord progression is so powerful it stops you in your tracks.

John Beltran - Clouds Pull - the most exquisite and uplifting strings and in my opinion on a par with Sebastien Tellier’s La Ritournelle.

Universal Solution - Liquid Love is so potent, has such positive energy, Gavin is so talented and really knows how to channel emotions into sound. I would recommend anytime you need your spirits uplifting.

Ralf and Florian - Tanzmusik - had to include a tribute to one of Kraftwerks founding members Florian Schneider-Esleben, who we lost in April. This group has had more impact on our world than any other. And this is one of those naively beautiful pioneering works that I return to regularly for that simple and playful charm of melody, harmony and rhythm. Think about it. We might not even be doing what we do without their contribution to electronic music.

Brian Eno’s 1:1 sits in the rotating top of my all time favourites, along with An Ending (Ascent) and Ikebukuro. Unparalleled minimalism and effortless execution. Ambient perfection.

Closing the episode we rewind through time to the 1950’s. And a dusty and crackly 78rpm my Grandmother had kept of a recording my Grandfather (whom I never met) Tommy Middleton performed Jazz Guitar on. The track is entitled ‘Always and Always’. In those moments between verses I can hear Tommy’s chords strums and am reminded where some of my musical DNA comes from.

Couldn’t leave you all without a few poignant words from our friend Ben Kenobi (will never forget watching SW at the age of 7 and the profound impact it has had on my imagination and sonic trajectory).

The Force Will Be With You Always.

Huge thanks to Ryan and the important work he is doing in expanding the voice of this subtle musical form around the world.

Hope you enjoy the music, the feelings and the stories.”

- Tom M 01/07/2020 | Instagram: @tommiddletonmusic

190823_THEHYDRA_NilsFrahm_JakeDavis_@hungryvisuals-4055_low.jpg

Full Tracklist

01. Tom Middleton - ASIP + 9128 intro
02. Global Communication - 0:54
03. The oldest sound in the cosmos - cosmic microwave background radiation from the Big Bang Tuning out Saturn radio waves
04. Carl Sagan - Voyager Gold Disc interview
05. Ganymede and Whistlers
06. Jean-Michel Jarre - Equinoxe Pt.1
07. Tomita - Suite Bergamasque / Clair de Lune
08. Vangelis - Dr. Tyrells Owl
09. Chihei Hatakeyama + Federico Durand - Luisa
10. Sigur Rós - Ba Ba Ti Ki Di Do
11. Underworld - Sunshine
12. Brian Eno - 3M5
13. Julianna Barwick - The Harbinger (Alex Somers Remix)
14. Lowercase Noises - The Last Stages of Consumption
15. Global Communication - 4:14
16. Kara Lisa Coverdale - Grafts (edit)
17. bvdub - Make The Pain Go Away
18. Steve Roach - This Moment Is Memory
19. GCOM - Atmosphere Test
20. Brian Eno - Signals
21. Qebrµs - ۩ ִ ְ ֲ ֳ ֲ ۩ - 05 ฌฎ๒๓๔ญ°°°°°
22. Marc Streitenfeld - Earth
23. Vangelis - Heaven and Hell (Theme from 'The Cosmos')
24. Tom Middleton - Sunset
25. Reload (+E621) - Event Horizon (TM edit)
26. Boards of Canada - Olson
27. The Orb - O.O.B.E.
28. Shur-i-kan (Tom Szirtes) - Ebb and Flow
29. Jeff Taylor Cross - Ambient 02
30. Spooky - Orange Coloured Liquid
31. Marcomé - Memoria
32. Aphex Twin - Lichen
33. Lowercase Noises - Ambient Songs 06
34. Laraaji - Being Here
35. Machine Drum - 528Hz Love Frequency
36. Yoko Sen - Sleepscape 6
37. Tom Middleton - St Ives Bay
38. Dustin O’Halloran - Memories (Lion)
39. August Wilhelmsson - Somewhere in Between
40. Sienna - Seven Bays for Seven Days
41. Lights & Motion - Glaciers
42. Rone - Human
43. Tom Middleton - Sea Of Glass (Jon Hopkins mix)
44. One Divided Soul - Of
45. Jakob Ahlbom - Ether
46. LA Synthesis - Zyllvakrynn
47. The Presets - Promises (Nils Frahm Version)
48. Ilya Malyuev - Universe
49. Global Communication - Incidental Harmony
50. Tom Middleton and Ulrich Schnauss - Midaus 1
51. Tom Middleton - WYV AUW CHU (Ambient mix)
52. Mmoths - Deu
53. John Beltran - Clouds Pull
54. Universal Solution - Liquid Love
55. Ralf and Florian - Tanzmusik
56. Brian Eno 1:1 (excerpt)
57. Felix Mendelssohn's Hawaiian Serenaders (featuring Tommy Middleton) - Always and Always
58. Ben Kenobi - The Force Will Be With You Always

~

Interview with Tom Middleton

Let’s set the scene. Where are you right now and what was the last thing you listened to? 

Italy - Vangelis - Création Du Monde

I’m going to start with the obvious… 76.14 is often held up as one of the greatest ambient albums of all time. Did you know you were on to something special when it was released? Do you look back and see it in a similar light?

Very proud of it, and felt like it was an enlightening, evolutionary and educational work. Whilst I’m happy to listen to it, but there are some tracks I prefer to others now.  4:14 and 9:25 are my personal favourites, and I never tire of them. The progression in terms of where it began, the elements that formed it, and where we could take it forward. Exciting project for me. 

The album (76:14) was a chance for me to contribute more to the whole process whereas before Mark was mostly in the driving seat with tracks as Reload. I came in as E621 to add those trademark melodic and harmonic elements. It was a logical and natural artistic evolution from the initial concept I had on my birthday in ‘92 for pure emotions in sound that may use rhythmic and textural foundations from sounds of life and nature that bore Incidental Harmony and Sublime Creation on Evolution. And subsequently Ob-selon Mi-nos ‘happening’ after I lost my Uncle and randomly being in the studio for a session that initially started as a remix project but ultimately it was so different from the original it was essentially a new track. Including the sounds of passing time and movement through space with the Grandfather Clock, trains and planes as sonic metaphors for the passing of a loved one.

It was at times cathartic but deeply rewarding to create. We weren’t considering a niche dance-floor style, simply flowing intuitively, just making what we felt after the educational and exploratory experience of re-translating Chapterhouse’s Blood Music album into the Pentamerous Metamorphosis. This really helped us focus the process and refine our sound ready for 76:14. But Mark and I were oblivious to it being part of any scene or genre. We were pretty isolated from the Ambient Techno hub in London down there in Crewkerne/Somerset!

Ah the infamous Southwest England 90’s crew! Are you still in contact with Richard (Aphex Twin)? Have you guys ever discussed a new collaboration? If not, how can we make it happen?!

Yes, as it happens. I saw him a while back and we chat by email. We did bounce around various ideas. Basically I’d need to go up to his place as he tends to stay local.

Talking of Aphex, 1994 was (in electronic/ambient music at the very least) one of the most defining and greatest years for ambient music (Aphex Twin, Biosphere, Autechre etc). Who or what was inspiring you at the time of producing 76.14?

Music culture was the biggest influence and what we were listening to. Eno and all his ambient collaborators! Lanois, Hassell, Budd, Brook, Laraaji, Tangerine Dream, Vangelis, Tomita, Kraftwerk, Peter Gabriel (particularly Passion - soundtrack to The Last Temptation Of Christ - still peerless and one of the most atmospheric albums), Jarre, Cocteau Twins, This Mortal Coil, Dead Can Dance, John Barry, John Williams, Ennio Morricone, Vaughn Williams, Mahler, Grieg, Debussy, Ravel, Fauré, Chopin, Glass, Reich, The Smiths, The Cure and for me : Prince, Metheny, U2, Human League, OMD, Depeche Mode. 

And our peers… Aphex - of course! (pre Plaid) Black Dog Productions, Carl Craig (as BFC and Psyche.) Derrick May, Kevin Saunderson, Juan Atkins, B12, some of the R&S, Apollo and Eevolute artists.

Plus films and scores..most of the usual Sci-Fi suspects plus more arthouse and natural world inspired works such as Koyaanisqatsi, Attenborough. Personal relationships, family life, social life all had an inevitable impact on the music too.

Have you ever wanted to soundtrack a film?

Totally… and it’s on the agenda. Would love to score an epic Sci-fi / Sci-fact story. Yes, obvious, but I’m a Sci-fi nut.

What are your thoughts on the output of electronic ambient music today? Do you see us having another defining period or year similar to that infamous year of ‘94? 

Actually I’m discovering some wonderful ‘neo-ambient’ or whatever it’s called now!

Although not always new-new, but new to my ears. The joys of Bandcamp, Soundcloud and Spotify. Clearly a new wave coming through. And in some cases with a really authentic, well-considered and produced sound - the legacy of Boards of Canada and washed out cassette and reel-to-reel tape premastering!

Do you have a favorite style of ambient music? Anyone you’re excited about today?

Steve Roach’s vast library always delivers. Eno, naturally. Alien drone, dark drone, frozen soundscapes, not sure if these are actual sub-genres? I actually listen to a lot of sound designers sample packs on loop. Bandcamp and Soundcloud are great places for discovery, and I think the Spotify Artist Radio algorithm can yield surprising results.

Jon Hopkins, Synkro and Ulrich Schnauss have always been right up there for me. Mark Pritchard, goes without saying. Big big fan of Andy Othling’s Lowercase Noise work - epic, expansive, exquisite, delicate, intensely emotive. Love Jeff Taylor’s one hour ambient challenges… he and I definitely share some similar aesthetics. I trust and respect his taste! He switched me onto you (ASIP)!! Seem to have a fair bit of Stars Of The Lid. Guthrie and Budd, Sakamoto, Leandro Fresco, Astropilot, Clem Leek, Carbon Based Lifeforms. Love film soundtrack and neoclassical composers as well such as Max Richter, Ólafur Arnalds. I may well be a fan of some Spotify Fake Artists(!)

But all of this feels known. My quest is to seek unknown and unimaginable sound sources these days. I get bored with the seemingly endless derivative forms of music. For certain projects I’m working on this is necessary. Sleep Better, for example requires the safety and comfort of ‘known’. But in my own audio quests, I crave the unknown. I want unpredictable and challenging, to feel intentional ‘alien’ discomfort as well as comfortable total bliss.

My favourite next level artist that literally stopped me in my tracks sonically when I first heard his work tragically passed away recently. And I was collaborating with him on a few tracks as well. He was called Thomas Denis aka Qebrus from Caen in Normandy. Mind blowing next level sound design. In my opinion he was ‘the next Aphex’, having been inspired by Richard as well. His legacy will live on. Not ambient, but certainly atmospheric, and very challenging post IDM/braindance/glitch/breakcore whatever you might call it. For me it was completely alien sounds from another dimension.

Speaking of slightly alien sounds, one thing I’ve always wondered when listening to 76:14 - the voices we hear on ‘0.54’ - how did these happen and who are these people!?

All friends, or people we recorded at various times whilst on tour. From the daughter of Pete Townshend (yes...The Who) who delivered it in Italian to our then managers Indian wife, a Russian promoter, Dutch distributor (?), our French PR agent, my English landlady! It’s the same message just translated into bunch of different languages including morse code!

76:14 is up there, but so is the Blood Music: Pentamerous Metamorphosis. How did this Chapterhouse remix album come about? Were the band happy with the result? 

I was working in Mighty Force Records and Andy Sheriff came in (I think he had recently moved down to Devon or was staying locally?) He’d picked up Ob-selon Mi-nos and was really feeling it. He mooted the idea of a remix for his band, which we then developed into a re-translation of the entire album. It was such a great experience, working with real musicians/singers. We had access to the all of the multi-tracks, had a critical listen through making notes, curating and cherry picking elements we thought we could use. Then a very natural exploratory creative and production process of highlighting key motifs, themes, passages, textures and parts that we could resample, sound design and craft into entirely new tracks. In some cases a vocal part would inform the entire track, or a melodic phrase or rhythmic part. We were really pleased with it, conceptually and from a sonically aesthetic and production view point. Mark and I headed up to London to meet with Andy and Stephen to play the entire album to them. It was quite a moving experience for all of us! Potent emotional content in the original tracks, amplified and expanded with a little GC mojo.

Were you a big fan of Shoegaze back then? I also admire your remix of Slowdive’s ‘In-Mind’ and it probably helped the cult status of Slowdive grow even bigger within the ambient community that we see today! How did this remix come about? 

I’m personally not really a Shoegaze fan. I liked a few tracks from a few bands, Mark was into MBV, I quite liked some of the textures in Spiritualized’s work, and personally was a big fan of Seefeel (are they considered Shoegaze?) The 147 take does seem to have gained quite a following. We remixed many groups during that time, but this came about via the connection with Slowdive’s label Creation via the sub label Infonet which we’d signed to as Reload.

‘Le Soleil Et La Mer’ is perhaps one of my favorite ‘non-Global Communication’ productions, but it has the hallmark of everything you did as GC. Can you tell us a bit more about your work with Mark as Reload, and what made a Reload production different to work as GC?

I agree, it’s one of my personal favourites in the catalogue and clearly a precursor to the eventual sound of GC. You can hear the evolution in the Reload tracks I began contributing to as E621.

Initially I was contributing melodic and harmonic elements, live synth parts, then production and effects and rhythmic elements from Mosh and Biosphere onwards. In addition I think I brought the idea of conceptual and creative narrative to the partnership.

Looking across your discography, it seems like you enjoy producing and also mixing to a strong narrative. What comes first for you; a concept, or the music? 

You’re absolutely right. Mostly conceptual starting points, whether it’s a personal research project, a direct result of DJing in clubs or festivals, or simply imagining, planning, drafting a narrative or storyboard and then building. It’s quite classical in a sense. I might not always be scoring, but I hear the music in my head first and usually transcribe via whatever tools I need as audio sketches to finish. But some tracks, particularly the more 4/4 club tech/deep/bass/house tracks might have been jams that I built upon.

I can’t ask questions about all your productions as we’ll be here all day… but, Cosmos - ‘Take Me With You’... The white label / instrumental 12” was a massive summer tune for me at a time when I was going to festivals and I had no idea it was you for a while. I searched high and low for a pressing when it was on the radio every day. What inspired this track? Any more anthems on the horizon?

Thanks! It was a simple feeling, missing someone, and creating a tune that made me feel better. Also a bit of exploration into my love of 80’s synth music, Depeche Mode, Human League, OMD, Kraftwerk. And yes..hold tight..anthems galore coming soon. ; )

If they’re taking you with them, where are they going?

To Earth 2.0.

Let’s talk about your latest project ‘Sleep Better’. It’s no surprise to me to hear you release an album based on sleep given how transcendental your productions are, but it was a surprise for me to learn you’re so dedicated to the study and science behind it. How did that happen? What inspired it?

Literally a wake up call to social responsibility! I felt the need to use what I’d learned instinctively over nearly three decades of producing and performing to millions across 49 countries. Using all of that observational research and experience to make some really useful content that genuinely helps address fundamental human needs and problems. It’s still musical and emotional, but it’s mindful, meaningful and purposeful. 

I picked up a phrase that nails this concept - end user empathy. In this case, the need is more sleep, and it opened a huge can of worms. Sleep deprivation is a massive global problem - in fact it’s a modern day epidemic.

The aim was to explore what was out there in this area that claimed to assist with sleep. To discover the most popular tracks and songs globally. Are you ready for a shocker? #1 global Spotify sleep playlists song: Ed Sheeran - Thinking Out Loud. Probably due to his overall popularity…In other studies luckily Mr Eno gets a look in alongside Classical favourites. But all the music that makes anecdotal claims is pretty dreadful in terms of production and sonic aesthetics. I feel I’m at least bringing some of the GC mojo to the proceedings with Sleep Better, and it’s using real scientific research to ‘ethically and responsibly’ trigger the relaxation mechanism.

Can you describe the process for your research and how it impacted the music you produced? 

Deep research means reading as many articles, research papers, white papers, academic publications, meta-analysis and Cochrane reviews as possible to find truth and meaningful data and results to inform my psychoacoustic sound designing. To interview experts and dig through podcasts for the latest insights and developments. I then explore and develop ‘sonic strategies’ that elicit specifically designed positive outcomes. This is the psychoacoustic process. I decide on the outcome, and use a kind of reverse ‘emotional engineering’ to fathom out how to make that response happen. It could be through entrainment, neuromodulation, psychological priming...and other ‘tricks’ that make up the secret sauce recipe that I’m sure even AI will struggle to replicate in absence of a human soul!

Did you ever find yourself scientifically being told to do one thing, but artistically wanting to do another when it came to producing the Sleep Better album? What would you say the balance is between science and art within the music? 

Yes, very much so, you have to be prepared to deliver a best compromise, whereby if the soundscapes are designed to switch you off for a deliberately passive listening experience, that process actually happens, and yet if you decide to actively listen to the soundscapes, you are still rewarded with a pleasant sonic journey. True to Mr Eno’s ambient manifesto!

Ambient music can get a bad rap for people that aren’t familiar with it, often due to its connotations with meditation, yoga, wellness etc. So what’s the feedback been for your Sleep Better album so far? Has it opened up new people to ambient music, helping them seek more? 

The feedback has been incredibly warm and positive. It’s part of a wider campaign around sleep hygiene, which can sometimes get lost within a streaming format like Apple Music or Spotify. We’re trying to help communicate the best way to listen to it as part of better sleep hygiene practice. Simply listening to it without being mindful of your own bad sleep habits or possibly inadequate or ill-considered bedroom environment will always make it a challenge to get a good night’s sleep. Hence the social media campaign and website @sleepbettersounds to provide ongoing dialogue and information on sleep facts, health, science and hygiene.

I hope it will inspire non ambient fans to explore the genre a little deeper.

I’ve always gone to sleep listening to a certain style of music, but it hasn’t always been ambient. Sometimes it can be deep techno just as long as I’m familiar with it and it’s not overly stimulating - it seems to do the trick. Can you describe the correlation between ambient music and sleep?

Interesting, and yes, I fully understand and can relate. There are various modalities that can can influence sleep onset with music.

If the obvious or subliminally implied tempo is slower than your resting heart rate it may start a rhythmic entrainment process triggering the parasympathetic nervous system to respond by switching on the bodies ‘relaxation mode’. If the sounds are hypnotic and organic that helps this process of slowing brain wave frequency, and if the information being processed isn’t too complex, disrupting or arousing this also helps prepare for relaxation. Comforting and familiar sounds illicit positive associations and experiences. This increases the listeners sense of peace, warmth, safety and security which turns off the fight or flight mechanism.

In the case you describe it is exactly that sense of familiarity that aids the switching off mechanism.

Is there anything really surprising that you’ve found in your studies? 

Much of the research is a constant surprise and some clearly confirms what I’ve felt intuitively over the 28 years of producing, touring and performing. The connection between music, body and mind is so fascinating. How certain sounds and patterns trigger certain emotional, physiological and behavioral responses. One of the delights was discovering how the sound of ocean waves can be almost identical in tempo to respiration during sleep. Coupled with the broad, complex frequency spectrum it’s one of the most potent sleep inducing natural sounds. As you listen, you naturally start to breathe in time with the waves.

Does a ticking clock (a-la ‘14.31’) not send people to sleep? (It does me, every time!)

It is very relaxing to listen to, I find the strong, relentless transients can be disruptive and personally would prefer nature sounds that don’t repeat.

So what’s your go to sleep track?

Over the years Eno’s 1:1 was the first go to sleep track, then I enjoyed Ikebukuro more for the sensation of floating. 

I like ever evolving drone based ethereal textures. I want to be transported somewhere. I enjoy the sensation of floating in space that can be achieved with certain sounds.

I designed the latter half of the tracks in Sleep Better like this. So actually tracks 4 - 8 or sometimes 2 - 8 are sufficient.

There are a number of unreleased 90 minute (complete sleep cycle) versions of sleep induction tracks I’ve made. (Hope to share very soon!) I use 4 x 4 box breathing as well. In slow count to 4, hold for 4, out with an ocean woosh sound, wait 4 repeat for a few minutes. It WILL slow heart rate and relax you, preparing you for sleep. I like to wear a sleep mask. And I’ll use 36dB custom fit ear plugs most of the time. Even if I have a soundscape playing to suppress any external noise.

There’s an official repress of 76:14 just announce and a boxset featuring Pentamerous Metamorphosis PLUS unreleased music. THANK YOU. But, seriously, do you have any idea how happy this will make people?

It’s taken a while and has been hampered by challenges but we are finally there! It sounds incredible, thanks to Mark’s meticulous DAT transferring process and Jason at Loud’s characteristic ‘emotional mastering’ approach. And we are excited to collect it all together into a beautifully designed box set.We’re very relieved and proud that we’ve managed to make this happen and happy that fans will be able to own and enjoy this album physically.

The artwork looks great. What was your brief to Mark (Gowing)? Or did you just let him do his thing?

We asked him to acquaint himself with Ben Drury and Will Bankhead’s original artwork. Then a discussion/alignment on aesthetic values and key concepts, but ultimately gave him free rein to interpret.

ReleaseFormat-547246-108135.jpg

The preorder for ‘Transmissions’ on Bleep comes with a rare demo edit of ‘7.39’ - what’s the story behind the edit?

Each track we produced would have to pass the car-test. We would record a live pass to cassette tape, then go and listen to it in Mark’s car and take notes. This critical listening process would inform mix balancing and live effect deployment decisions for premastering the track to DAT. This is one of those versions which we felt had a better Juno 106 patch. For some reason we lost it and had to make it again and something was different. So this is the first version we preferred but couldn't recreate.

I’ve seen the ‘unofficial represses’ of your GC albums out there too, and I know many die-hard fans who have snapped these copies up already not knowing any different. It all got a bit confusing for a while but now it’s clear where people should be putting their money. What was the deal with those?! 

Deeply upsetting that clearly there is no communication between major labels and legacy artists. Had we been asked about the repress license we would obviously have declined.

They claim to have used original masters to remaster. This is a blatant lie. And so we feel sorry for any fans who invested in a substandard product that wasn’t endorsed by us, the band.

190823_THEHYDRA_NilsFrahm_JakeDavis_@hungryvisuals-4231.jpg

Word is there’s also new Global Communication music on the horizon and you’ve been playing some new live shows (pre-Covid of course). What can people expect from your new music? How has your style changed over the years?

Yes, I can confirm a new GCOM album (my new solo incarnation of Global Communication) will be released later this year via !K7 Records

Upon reflection, the style is clearly a direct and natural evolution from the industrial techno collaborations with Mark in the Reload years, through the layered emotional sound-scaping of GC and beyond the concept of Lifetracks - soundtracks to life -  into the realms of soundtracks to preserve life and where next for mankind. I’m addressing a number of themes from Anthropocene man’s challenges with climate change, catastrophic natural events such as the Tohoku tsunami, bush fires, floods and storms. How we’re polluting the air, lands and ocean, depleting natural resources and getting perilously close to a point of no return, maybe there is no going back? And so what are the plans for man to move off world, colonize the Moon and Mars and eventually become an interstellar species. My curiosity spans many scientific disciplines, from biology, physiology, anthropology, ecology, into human behaviour, neuroscience and beyond into astrophysics, rocket science, astronomy and cosmology. So the album fuses all these areas of personal interest and ongoing research. There’s an educational element and inspiration element too. Here’s a link to a short explainer and backstory created for 10-18 year olds for NASA’s SciArt Exchange program.

Where you aware of the current Breakthrough Starshot project to send a fleet of tiny Starchip probes to Alpha Centauri 4.73 light years away?

My current favourite exoplanet is the enigmatically named Teegarden b with a favourable Earth Similarity Index of 0.95, a mere 12 light years away (which would take 208,430 years at Voyager 1 velocity) But the nearest exoplanet that might be life sustaining is Proxima B at 4.24 light years (20 years by Starchip). Which for Star Wars fans like me has a bonus twin sunset (like Tatooine!) from binary stars Alpha Centauri A and B.

TM GCOM Live in Kiev 2.jpg

How will this approach translate to your live shows? 

The live show is a flexible line up, with myself and guest players, including the genius arranger and multi-instrumentalist Ross Sampson, hybrid drum legend Andy Gangadeen (Chase & Status) and a string quartet. It could scale larger and integrate more string players.

Will have a visual element too that follows the narrative of the album.

I’ve been invited to perform music from the new album and join a panel entitled Sensing Space at the The Humans to Mars Summit in Washington at the end of the summer. Check for updates as it may become a virtual experience. 

~

TOM ASIP.jpg

Tom’s Sleep Hygiene Tips

 

Be prepared to adapt and try different combinations to suit your lifestyle and preferences. Once you’ve decided what combination of sleep hygiene tips suit your preferences and lifestyle, it’s important to be consistent with your sleep ritual.

Even if you don’t sleep well one night following trying sleep hygiene tips, don’t give up! Persevere and eventually you will condition your mind and body to adapt to a new sleep routine.

1. Daylight and Exercise

Try to exposure yourself to daylight as early as possible after waking.
Get a walk in or exercise during the day. New research suggests 3 brisk ‘Active 10’ minute walks are as beneficial as the fabled 10,000 steps.

2. Food and drink

Eat a light non-spicy dinner 2-3 hours before bed.
Limit caffeine from coffee, tea or chocolate after 2pm.
Alcohol can actually stimulate waking a few hours after drinking.
Try drinking warm milk, Chamomile or Passion Flower tea.
Eat 2 antioxidant rich kiwi fruit an hour before bed! (Taiwan Taipei Medical University study still can’t explain exactly why - possible serotonin booster?)

3. Environment

Make your bedroom as a comfortable as possible, invest in a quality mattress and pillows.
Keep the room (cave!) cool and as dark as possible for sleeping.
Black-out blinds or an eye mask if you prefer. Oxygen producing houseplants are a plus.
A red/orange-coloured night light is better than a disrupting and stimulating bright white light.

4. Temperature

Before bed, open the window to ventilate the bedroom for 5 minutes.Cooler room temperatures between 16C and 18C (60F - 65F) aids sleep onset. Try taking a warm bath (not hot) with magnesium-rich Epsom salts to relax the central nervous system. A - 1°C drop in body temperature after bathing aids sleep onset.

5. Timing

Melatonin (darkness hormone), which regulates sleep - wake circadian timing, is naturally secreted from 9pm, peaks between 2am and 4am, then falls to daytime levels by 9am. So training your body when it’s time to sleep and wake up everyday is crucial. Use the app to set a reminder to go to bed so you get into a regular habit.

6. Stress & Anxiety

Limit decision-making and try to not end the day in a negative mind state. Write a to-do list and think positively about the future, think of three good things that happened during the day. Sleep performance anxiety can also be counterproductive so try not to worry or ruminate.

7. Breathing

Whilst sitting in bed, try some deep and slow breathing exercises. Try 4x4 box breathing. Slowly inhale through the nose to the count of four. Be aware of filling your lungs. Hold for four (or as long as is comfortable.) Breath out through the mouth to the count of four whilst focusing on emptying your lungs. Repeat for a few minutes.

8. Bedroom

Limit daytime naps to 20 minutes and don’t nap after 5pm.
Lower your exposure to any bright light during the hour or two before bedtime.
Keep the bedroom for sleep (and sex!) The hormone cocktail of dopamine (happiness), oxytocin (love) and prolactin (gratification) all help with mood enhancement and post-coital drowsiness.

9. Technology

Consider removing technology (TVs, laptops etc) from the bedroom. Limit exposure to blue light-emitting screens, as blue light suppresses the production of melatonin. Although your phone is of course needed to listen to the Sleep Better sounds and emit the warm orange sunset glow, try to avoid looking at your phone screen (scrolling through social media etc.) before sleep.
Keep an alarm clock facing the wall to avoid worrying about the time.
Use a gentle natural sound like birdsong to wake up to.

10. Still can’t sleep after 20 minutes?!

Don’t worry - get up, go to another room, read a book, write down your thoughts, continue listening to Sleep Better, try some more 4 x 4 breathing and wait for the next sleep onset phase to occur.

 

Full Circle Anniversary and Charity Compilation: now available

We’re very excited to share with you our ten year anniversary compilation titled, Full Circle. This has been well over a year in the making and was due to be released on the exact anniversary of August 26th, (the date of the first blog post in 2008), but due to our need to get a perfect press, it has been delayed a little until now.

The music presented in this compilation is probably the closest distillation of what has inspired ASIP over the past ten years. The ASIP website and its many versions; blog posts; guest mixes; even some of the older archived (now hidden) posts, were revisited to find the perfect tracks to put forward.

There was however, a few limitations in mind: (1) It had to be a track previously written about or featured in some capacity on ASIP from 2008-2018. (2) The track has previously not been released on vinyl. (3) The artist isn’t currently a part of the ASIP label family.

The end result isn’t a compilation of rarities, b-sides or label exclusives that you may have expected at a typical ten year milestone. Instead, it’s a compilation of music that has helped define ASIP as many people know it today. From drone and space ambient; to shoegaze inspired guitars; nostalgic electronica and melodic synthesizer music, Full Circle presents many of the elements that have been captured over the past ten years on A Strangely Isolated Place.

Pressed into the grooves of this record is some of the finest music to grace my ears that I felt passionate enough to feature on ASIP in the past, and now once more on vinyl - Ryan.

To help celebrate the occasion, all profits from this compilation will go to a charity called The Harmony Project: www.harmony-project.org. We felt that investing in and helping the next generation of potential musicians would be a fitting tribute to the overall concept of the release.

In more ways than one, we’ve come full circle.

For more information, links to buy and listen see the release page.

Thank you to all of the artists, labels and everyone involved in bringing this to life.

 
 

Keaton Henson - Elevator Song (Ulrich Schnauss Remix) [Forerunners Bootleg]

 
SIGNAL2.JPG

We'll soon celebrate ten years since ASIP began (2008-2018) and looking back these last few months, I'm reminded of a time when "blogging" was at its purest. The hunt for music didn't reside on social media alone, nor was it served up to you in feeds or through magic algorithms. Instead, you had to hunt high and low on the internet, often ending up on an artist's own cobbled-together website directory, or a select few music blogs (many of which are no longer around).

In fact one of those (you could say) 'blogs', XLR8R, is still around and offering up the same kind of service it did all those years back, hosting free downloads of individual tracks or under-the-radar indie remixes. Albeit more recently than the times we reference above, in 2014, they offered the brilliant Ulrich Schnauss remix of London based composer Keaton Henson's 'Elevator Song' as a free download. A beautiful remix that epitomized the sound and remixing capabilities of Mr Schnauss and brought that synonymous ethereal shine to the original. 

As we get back to our blogging routes (check out this and this as an example if you weren't following us all those years ago), we thought it'd be nice to continue the age of free downloads, by offering a remix, of that remix, by Forerunners (Brenden LaBonte) via Soundcloud. 

Arizona based Brenden and his Forerunners project heralds from a house and trance background (just check out his Soundcloud for many great examples), but we were originally connected due to his passion for ambient music. Stumbling across ASIP some years ago, and a supporter of the label, Brenden decided to send me this track to see if it was something I wanted to offer up to a wider audience.  At first, I hesitated but then I remembered why ASIP even exists and began all those years back - the joy of sharing great music. 

I am a passionate ambient fan and have been known to selectively rework, remix, and add production to some of my favorites so that I can fit them into live gigs or podcasts and share them with the world. This was exactly the intention I had for Elevator Song, and I think it came together well, at least for my purposes. Properly mastered and road-tested on dance floors worldwide, I felt like it was time to get this into the proper hands, electronic music fans who like myself would hopefully appreciate my humble take on an Ulrich masterpiece.
— Brended LaBonte / Forerunners

Now you all should know me by now too, as I have a soft spot for the more dance-floor oriented stuff of old, and this remix is nothing short of brilliant in the way it gradually builds upon the beautiful melodies both Keaton and Ulrich originally put into play.  

Both Brenden and I take great pleasure in presenting this to you all as a free WAV download below. Enjoy!

Forerunners Soundcloud | Mixcloud | Facebook

Original art by SIX37, @six37 on Instagram