Steve Hauschildt - Strands

You could say there's a resurgence of ambient music focusing on the strength, simplicity and soul of the synthesizer nowadays. There's not necessarily more of it (it's always been around if you dig hard enough), but it certainly seems like it's more prevalent. This might be due to more known artists switching up styles and giving it a go, but more than likely, it's more and more artists challenging themselves within a restricted pallet. 

I've heard several artists talk about this approach recently - our very own 36 and Merrin Karras being two of them, and fine examples of it. Today, with all the tools at our disposal and the likes of Ableton opening up entire new worlds of sounds, there's something challenging and exciting about getting the most out of an old piece of gear, or manipulating a single sound into your own.

Steve Hauschildt's latest album Strands might not be the epitome of simplicity that comes to mind with that introduction, but it's certainly another beautifully manipulated synthesizer focused album that echoes many of the genres earliest inspirations. 

From the opening track Horizon Of Appearances, sweeping synthesizers paint a picture of deep space exploration, and the constant anxiety of the unknown - a similar exploration in the swells of A False Seeming. The glistening, arpeggiating Same River Twice nods to early Global Communication and Steve Roach, and in a more IDM-approach; Ketracel pings classic highly-strung pads and squelches a-la Autechre & Arovane.  

With such a wealth of electronic inspiration present amongst the album, it's important to remember that Steve has been doing this for quite some time on the esteemed Kranky label. Just last year, Where All Is Fled bought us beautiful warm compositions like Vicinities, and in 2011, the sparkling patterns in Tragedy and Geometry. 

Hauschildt's latest, Strands, is yet another finely tuned, analog masterpiece that stretches the boundaries and possibilities of vintage, analog ambient music. From deep-space tones, to colorful textures and melodic IDM, this is also a reminder that despite my earlier comparisons, this type of music will soon stop echoing the sounds of yester-year, and instead be seen as a style that many of today's best producers are perfecting and pushing forward.

Available on Bandcamp.

36 / The Infinity Room - Now Available

Now available, Dennis Huddleston's new album under his 36 alias, The Infinity Room.

A concept album built around a similar sound and theme, each track builds off the previous, creating "self contained miniature galaxies" (Textura review). 

This blog post may have come a little too late for some, as the response to this album has been amazing so far, with all pre-orders selling out, and the bulk of the copies which were at Juno also selling out, within 24-hours. Thank you to everyone who purchased a copy of the vinyl, and still supports and buys digital music in an ever-increasingly harder industry. 

There will be a few vinyl copies available at the below stores any day now, and the digital is available on the ASIP Bandcamp. Unfortunately, US copies of the vinyl are pretty much sold out everywhere. 

For more information and to listen to the album, head over to the release page, or stream below.

Buy Digital

Vinyl copies (very few) due to be in stock at Boomkat (UK) Phonica (UK) Deejay.de (DE) Redeye (UK) and Ultimae (FR). And a few copies will be made available direct from 36 on Bandcamp. 

ISAN - Glass Bird Movement

Berlin's Morr Music was responsible for some of the best electronica/IDM releases during the pioneering period of the early 00's, alongside labels such as City Center Offices. With the likes of Manual, Christian Kleine, and a rather brilliant Slowdive remix compilation, Blue Skied An' Clear, it's often easy to look back and think the label's best times have passed, but as proven here, one of it's most notorious inclusions, ISAN are back with some of their best work yet. 

The title of their latest release is a perfect reflection of the sound you can expect from Antony Ryan and Robin Saville (ISAN) - six years after their last. Working from different locations (UK and Denmark), the pair create glorious, shimmering patterns of warm electronica that are familiar, yet unmistakably ISAN. Many would claim to have been inspired by Antony and Robin, and it would be easy to draw comparisons that exist somewhere in-between the analog depths of Freescha, the innovative abilities of Aphex Twin, the melodic constructs of BoC, and the technical drum-patterns of Loess, but I do so only to draw attention to the brilliance of ISAN's music.

Tracks like 'Lace Murex' hit with an air of confidence, the crispness of a fine production, that makes the hairs on your neck stand on end, as the slow-burning melody creeps in amongst the pulsating, crunchy synthesizers, all set on a crisp day at the seaside, full of color and joy. 

Switch to the analog 'Rattling Downhill' to hear ISAN's fun retro side, manipulating simple synthesizer constructs into an addictive, progressive dance, as a spectrum of color swirls around your already hypnotized head.

As if demonstrating a breadth of approaches to a sound which is often easy to pigeonhole, tracks like 'Slow Rings' present a completely unique approach to this quirky electronica sound, leading into more ambient and inviting sounds in the softer album closer, 'Risefallasleep'.

As well as being another ISAN classic, this album is one of two things. It's either two master-minds of electronica finally polishing off tracks that have been finessed over 15-years or so, which still feel as fresh today as they ever would. Or Antony and Robin just decided, 'hey, it's about time we showed the world how great this type of music can be again' - like those people you meet who are just so damn good at something, no-matter how little practice they've had - they've just got it, popping up six years later to remind us how music can make you feel. Beautiful colors, happiness, and music that was made with fun and laughter. This is music that ISAN do best, and they do it better than anyone else.

Available on Morr Music and Bandcamp.

Silent Records' "From Here To Tranquility"

You would struggle to name an ambient record label that has stood the test of time since, let's say, the early 1990's. Many labels that come to mind are either now defunct, or stayed the course by diversifying their catalog into more electronic sounds, pioneering the IDM wave in the early 00's, or diving into other genres in the latter 2000's. It's of no surprise given the volatility of the industry over the years and the time and effort that goes into running a label. Perhaps, it's an over-generalization to make such a statement, given the importance of many smaller labels that make up a thriving genre of music, but a purely ambient label over 20-years old is undoubtedly a rarity.

Looking back at those that fell by the way-side, I don't think anyone would disagree when I say Silent Records was one of the pioneering ambient music labels that we wished had continued its course since its dominance in the early 1990's.

The San Francisco based label founded by Kim Cascone in 1986, helped establish the ambient sound we came to love in the 1990's. It's a hard style to describe and is instead often described by its connotations with the 'chill-out' room, eventually leading to the very name 'chill-out'. But as Kim admits, "I'd be hard pressed to describe the aesthetic to anyone... just that you'll know it when you hear it". In fact, Silent Records sat in the very centre of the chill-out culture we now come to associate with the likes of The KLF, Biosphere, or The Orb. Kim Cascone was at the helm of a label that little did he know, would have an impact for years to come:

"It was a very different world then. Silent started life as an experimental industrial label in 1986 but as the company grew we found ourselves in the middle of 90's San Francisco chill room culture. Some of the industrial artists were branching out and making ambient, drone or dark ambient/illbient music, so we went with the flow, but insisted on keeping it diverse. That being said, the chill room culture was very strong in the early 90's and it was easy to get pulled along with it. Needless to say, it was a very interesting time to run an ambient label in San Francisco".

Silent Records went on to release an enticing catalog that I won't even begin to pretend to know extensively (instead, check out this ambientmusicguide.com feature). Like the magic of Pete Namlook and his FAX label, Kim grew a notable collective of artists, introducing people to a style of music that was still finding its place at the time. But, with Kim undertaking new ventures in 1996, Silent came to a close soon after. 

The one good thing us ambient fans have come to realize, is that this style of music is timeless. It isn't restrained by styles or trend, and with the 'chill-out' rooms now effectively an online analogy, ambient music doesn't need a reason to exist - just the fact its beloved music is enough, and today's tools make it easier to reach audiences of old and new.

After a hiatus of nearly 20-years and with little fanfare, Kim unknowingly began to put Silent back on the map. 

"Last year I suffered from a sudden bout of knee inflammation which prevented me from touring, so being someone who hates not being busy I pitched the idea of a streaming radio station comprised of Silent's back catalog to Rusty at SomaFM. When we met at SomaFM to discuss details he asked me if I had ever considered rebooting Silent Records. The idea had never really occurred to me".

Kim goes on to describe that it was never an intention to reboot the label, but with his injury; "It felt like the universe was giving me distinct marching orders". That, combined with a push by James Healy (Air Texture), resulted in the resurrection of Silent this year and with it, two very special releases.

Like all good decisions, it was grounded in his love for the music and the label he cultivated all those years back: "What really inspired me to reboot Silent was reconstructing the Silent roster and releasing new work by them". The result, is two new compilations, titled "From Here To Tranquility Volume 6 - The Renaissance" and "From Here To Tranquility Volume 7 - The Renaissance continues".

Kim affectionately describes the new label collective as "The Silent All Stars (minus the few that have passed away or were unable to contribute)". The compilations also presented Kim with an opportunity to continue the strong ethos of the label - "an incubator of sorts where the artists can develop new work and grow artistically" with the new compilations also accommodating newer faces we respect here at ASIP such as Ethernet.

Not stopping here, next year will see releases by, 23 Degrees, Deeper Than Space, Meterpool as well as some new additions to the family. 

The resurrection of the label is undoubtedly some of the best news to hit the music world recently given the respect and admiration the label garnered over the years. And to celebrate, the man who perhaps gave Kim the final push to start it all again has compiled an exclusive mix for us here on ASIP. Featuring tracks ranging as far back as 1993, alongside tracks from the recent releases, we're treated to a timeless excursion through the Silent catalog by James Healy, titled '30 Years of Silent Records and the From Here to Tranquility Series – The Mix'.

Visit Silent Records on Bandcamp for the latest compilations, and the ever appearing, legendary back-catalog. 

Download

Tracklist:
01. Hyperdelicious – Tales of Suspense (FHTT Volume I) 1993
02. Ambient Temple of Imagination - Thee All Importance of Imagination (FHTT Volume V) 1996
03. Entrancing Iris – Sub-Ocean (FHTT Volume III) 1994
04. Tylervision – The Last Human (FHTT Volume II) 1993
05. Lightwave – Infinite vs Unfinished (FHTT Volume IV) 1995
06. Dialux Rouge – Zircon (FHTT Volume III) 1994
07. Psychic Surfers of Zuvuya – Infiltrate (FHTT Volume III) 1994
08. Omegatribe – Panacea (FHTT Volume III) 1994
09. Heavenly Music Corporation – Octal (FHTT Volume V) 1996
10. Dirk Serries – The Mirrored Dominion (FHTT Volume VII) 2016
11. Spice Barons – Spice of God (FHTT Volume I) 1993
12. Atmosphere Factory – Spring Rain (FHTT Volume VI) 2016
13. Robin Parmar – Shadow (FHTT Volume VII) 2016
14. 23 Degrees – The End of New Beginnings (FHTT Volume IV) 1995

All tracks taken selected from the From Here to Tranquility Series.

https://silentrecords.bandcamp.com/

bvdub - Yours are Stories of Sadness

What hasn't already been said about bvdub and is left to say?

He's a man of many words and expression, often through his relentless music output. Some, have wished for more departures from his sound over the years - a signature sound at that. In Yours are Stories of Sadness, Brock gives a glimpse of change, just enough for him to prove he is never done evolving and in fact, reflecting is just as powerful. 

Brock's releases often vary in intensity and emotion. From the harshness of static, to the rollercoaster of varying song structures, and the pull of the soaring melodies; there's perhaps one thing that Brock hasn't played with before to keep us guessing, and that's track length.

Not to make this entirely about how long a track is, but not only have I wondered what Brock would construct in such strict circumstances, but he's notorious for the progression in his ambient music - so much so they should start naming an approach to ambient music after him...

With each track on this release 1/4 of the normal bvdub length of around 12+ minutes, and each depicting a time in which he remembered a moment from 4-years ago, this is the purest distillation of Brock we've seen to date. 

Each track starts as if it was embarking on a typical bvdub journey, but quickly forms its shape and purpose - be it a unique sample in track 3, Pop Ambient sounding synthesizers in track 5, Helios style organic warmth in track 9, more familiar heart-wrenching chords in track 14 or soaring static and synthesizers in closer, track 19.

bvdub notoriously isn't the easiest introduction into his own music (let me explain that a little). His tracks are often intense and emotional, yet placed for positions of quiet and personal listening. Finding the right moment to listen to bvdub is one of the reasons I don't listen to his albums more - they become destined for very special occasions, intense emotional places, and I think that's why he manages to connect with so many people on a much deeper level than most. You don't listen to one track of his, you listen to an entire album, and you're his companion in time of need, stress, celebration or reflection. Be it a close death, a friendship, or in this instance, fragmented memories, Brock is brilliant at painting these vivid emotions. 

With Yours are Stories of Sadness, Brock not only made his music more accessible, but he's managed to distill the many parts that make up his sound over the years into tiny fragments. You can hear everything in here, with nods to the past and a glimpse into the potential future. He's not one to show off, but if you needed a resume from Brock, this is it - perfectly executed and a summation of his many unique styles. If this is the sound of bvdub recalling memories from the past 4 years, this is also the distilled sound of bvdub from the past 4 years, but with one clear difference.

Unlike his previous works, where the painting was finished, these memories are purposefully grainy and incomplete. Like a 12-minute bvdub track, the remaining 8 minutes or so, are left for you to wonder.  And what better music to wonder with. 

"Unlike all my other works which are meant to be in the foreground, these are meant to stay in the shadows... to be the quiet and subconscious soundtrack... each not a story, but just a moment... that moment you realize. Unlike the norm, when I elucidate every second to near unbearable levels ;), this time how that moment materializes or continues is up to you..." 

Available on Bandcamp.