Thesis Collected 01 - album stream

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

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

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

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

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

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

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

Tracklist:

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

isolatedmix 78 - Goldmund

We welcome Keith Kenniff back to the isolatedmix series under his post-classical moniker, Goldmund. 

A master of many styles of ambient and instrumental music, be it textured ethereal daydreams as Helios, shoegaze inspired ambient alongside his wife, Hollie, or his more instrumental, post-classical side as Goldmund, Keith's output is somehow always outdoing his last note. As a result he has grown a significant following and appreciation over the years, me included.  

It's the latter of those three guises that we find ourselves being presented with another beautiful album of late, titled 'Occasus'. Released earlier this month, the album is another fine collection of minimal piano pieces. Staying close to some of his more melodic and infamous productions as Helios, boasting a grainy texture and more analog stylings throughout, Occasus presents numerous uplifting moments - a collection of short stories if you will, amid layers of dusty keys. 

A master of his instrument, Keith is one of only a very few musicians who can walk us through a myriad of emotions in one album, evident yet again on Occasus. The piano, playing a key part in every chapter, but each track boasting something unique to the hands of Goldmund that others simply cannot match. His sound, a blueprint for many artists striving for that rare combination of emotion, melody and immersive, lost-in-a-daydream-feels. 

Unlike his first isolatedmix back in 2010, which focused on some of his favorite soundtracks and compositions, Keith now chooses to embellish on some of the many styles that likely go into a Goldmund production. You may be expecting a masterclass in modern classical music given that introduction or the moniker find ourselves under, but mixed amongst the many pivotal instrumental moments, are textured elements and softly painted melodies - the two added influences and key ingredients that you can always hear within any Goldmund production. Add to that, a man that knows the secret behind an emotive score; applied to the mix format, and you're in for a beautiful journey. 

Download.

Tracklist:

01. 0:00 - 1:04 - Black Moth Super Rainbow - Dandelion Graves (end melody)
02. 1:04 - 3:46 - Scott Gilmore - Things Forgotten
03. 3:46 - 5:18 - Monster Rally - Love
04. 5:18 - 7:32 - Limalo - Viewing Growth (w-Botany)
05. 7:32 - 10:09 - Yuutsu - Familiar
06. 10:09 - 13:37 - Mary Lattimore - Hello From The Edge of the Earth
07. 13:37 - 15:28 - Michael Andrews - Goldfish
08. 15:28 - 18:48 - Martin Glass - Floating To Work
09. 18:48 - 23:54 - Lexaunculpt - Emori Dixon Renamed
10. 23:54 - 26:55 - Jóhann Jóhannsson - Odi Et Amo
11. 26:55 - 30:17 - John Dowland - A Pavan
12. 30:17 - 35:32 - Virginia Astley - With My Eyes Open I'm Dreaming
13. 35:32 - 36:48 - Karen Peris - Wales Because the Sun Will Shine
14. 36:48 - 41:14 - Hollie Kenniff - Home Will Follow
15. 41:14 - 43:42 - Ben Lukas Boysen - Eos
16. 43:42 - 46:06 - Dan Romer - Guns Up

Goldmund / Keith Kenniff | Web | Twitter | Bandcamp/Store 

Listen to Keith's first isolatedmix as Helios, here. 

Behind the scenes with the artwork from Earth House Hold's, Never Forget Us

Earth House Hold's, Never Forget Us had a unique process behind the artwork, so I thought it would be worth telling the story behind it. 

Brock and I went around in circles for a few months trying to land on an iconic approach for Never Forget Us (often, with ASIP releases, the artwork takes longer than the music). Some artists have a very clear brief or idea for what they would like to see, but Brock wanted my take on the artwork too (I always try to collaborate as much as possible on artwork and appreciate whenever artists ask for my input and this album was a special piece for us both). We ended up going back and forth for a significant time, before we finally decided to use some amazing photography by Mamii - a close friend of Brock's. 

Mamii's photographs - a sample selection show above - were taken using a pinhole photography approach, giving them their unique, warm and 'in-motion', blurry feel. For anyone close to Brock's previous releases, you'll see a common theme and style in the photography he chooses and these photographs were a fitting tribute to his past, while offering a new perspective for his new record. 

Brock sent me scanned copies of the original photographs, which I then replicated and had printed again as polaroids (meta!) - around 50 different images, with 4 copies of each (200 total). The idea we had, was to shoot the photographs from above to create an abstract and detailed pattern for the front and inside vinyl artwork. 

Close up, you'd see the many memories. Far away, it'd become an intriguing pattern.

I asked my friend, designer, photographer, Mike Marquez to help out with the photography, styling and ultimately the layout. We jumped into the studio, and despite my original idea to shoot just a couple of photographs on the front, it seemed a little forced and empty behind the camera, so we began to throw more and more photographs on to the pile.

When you try and make something like the above appear natural and random, it becomes harder then you'd expect. We spent most of our time rearranging the photographs so that the imagery, colors and detail were balanced across the spread. Throwing photos from above and letting them land naturally, then fussing over the details. Mamii's photographs ranged from cityscapes, to views from a train, flowers, fields and a house, so I decided to try and keep similar subjects close to each other to tell a story as you followed the overall pattern.

Once Mike and I were happy with the front, we continued to add more photographs to extend the same approach for the inside gatefold. I always try to provide additional detail, and a new layer to the story with the inside gatefold on our releases. With this one, it was easy to extend the story we started on to the inside.

I originally imagined the edges of the photos to signal the edges of the pattern on the front, but we decided that it looked better cropped into a square - appearing cleaner, and also giving the impression of a window into the journey (gatefold) inside.

Once we aligned on the front and inside layout, we then had to tackle the vinyl color.

For those that are wondering, vinyl color choice is not taken lightly for ASIP releases... aesthetics and quality are always considered side-by-side.

Rarely do we know the color of vinyl before aligning on artwork. If we want it to compliment overall, it makes sense to decide after, but sometimes the artwork really doesn't help with the vinyl color decision or point to an obvious color. Case in point here due to the many colors included in the photographs. Potentially, too much choice... 

To make matters worse, I have to try and decide on a vinyl color using small samples (I'm lucky enough to have these - many people don't), which appear slightly different when photographed - so using vinyl plant catalogs and sending pictures over to the artist is never an exact science if you're looking for a perfect color match. The listed Pantone references they provide are nothing like the real thing in many instances either, so coloring them in a mock in photoshop is never realistic enough.

I ended up sending Brock several of the below photographs that showed a sample set against a print out of the artwork mock. I now realize, I'm taking photos, of a photo, that has multiple photos, reprinted as polaroid photos, that were scanned photos, from original pinhole photos.... 

Those with a keen eye, may see that we ended up going with the above transparent blue (which actually photographed a little turquoise above, but ended up even better than imagined in real life). 

Once the vinyl color was decided, the order was sent... then, it's in the hands of the vinyl gods, as we wait for anything up to 3-months to see your creation - hopefully - turn up looking just how you wanted it. This one did. 

Lastly, I had a selection of Mamii's photographs printed on very high quality card and placed inside the package for anyone who purchased the record with me direct on Bandcamp, as an added bonus. 

Thanks to everyone who has purchased the record and made some very kind comments on the artwork (and the music, of course). And thank you to Mike for his helping hand, photography and keen eye. 

Buy Earth House Hold / Never Forget Us.

Watch a video using a selection of Mamii's photographs, here. 

Filter Tapes 030 "Out Of Context" by Christian Kleine

The below is a Google Translate (rough) English translation of the article that originally featured on Das Filter in German, hosted by Christian Kleine's long-lost partner in crime, Thaddi Herrmann (Herrmann & Kleine), including an interview by Das Filter's Ji-Hun Kim. 

Christian Kleine's release with ASIP, is available now on double gatefold green vinyl + digital. 

Read Christian's bio + get to know playlist, here. 

Tracklist

01. François Bayle - Erosphere
02. Electroshock Presents Electroacoustic Music, Vol. IV - Tears [by Alexander Nemtin]
03. Acreil - Miscellaneous Synth Demos - 21 Casio HT-6000-Digitech RDS 3.6 (Everything Happens Slowly)
04. UR - Electronic Warfare
05. Electroids - Midnight Drive
06. MEC - Musique Expérimentale Castelroussine - 02 Méta
07. Thomas Leer - Private Plane
08. The Beatles - Mellotron Music No. 1
09. Lizzy Mercier Descloux - Torso Corso
10. Cecil Leuter - Crazy Sounds No. 4
11. Dosh - My Favorite Colors Red
12. Bochum Welt - Fortune Green
13. Labradford - And Jonathan Morken
14. Seefeel - Time to Find Me (AFX Fast Mix)
15. Tone Language - Winter's Thrill
16. Kenny Larkin - Maritime
17. Silence and Wisdom - Oakwood Green
18. Haighinsha - Lusefeea

Interview with Christian Kleine, by Ji-Hun Kim (Das Filter). 

The musician and producer Christian Kleine was an important part of a youth movement that called itself the early 2000s Indietronica. Christian released as a solo artist on labels such as Morr Music and City Center Offices and operated together with Thaddeus Herrmann and the project Herrmann & Kleine. With the EP "Kickboard Girl" they succeeded in 1999, a veritable international independent hit. But that's almost 20 years ago. Some time ago Christian's "Electronic Music From The Lost World: (1998-2001)" appeared on the American label A Strangely Isolated Place. And he continues to be a diligent producer, who publishes wonderful albums on a regular basis. For the thirtieth run number of our filter tape series, Christian has developed a wondrously independent language. The Beatles next to Labradford and Kenny Larkin: Always a bit out of context, where music is just starting to get exciting. Ji-Hun Kim talked to him about cigarettes in the Spex, many years at Ableton, the Krux to the Internet, and laptops to bandmates.

Thank you for your beautiful filter tape. First tell a little bit about it. 
It covers a wide range. From 60s easy listening to techno, pretty much everything is there. I was never a purist.

Is there a story you wanted to tell? 
It's mainly stuff I just feel like doing. It was about music that does not cling too much to a time context. I always find it interesting to listen to music where you can not tell if it's 30 years old or yesterday. For example, the record "Silence of Wisdom" by Deux Filles, which dates from the early 80s. But that could be just like last week.

I find the context you open up exciting as well. I would never have thought to hear techno such as Bochum Welt or UR in your mix.
I do not even realize that as techno. Even if that of course fits into the club context. However, I often notice that music, even if freed from the genre costume, can still work. I'm from a small town, Lindau am Bodensee. That's where I started in the early 1990s. There could be no puristic evenings, there were not enough people. So I mixed hip hop, house and techno, but also early jungle and guitar music. We just wanted to hear good music.

I grew up in the Ruhr area and even there it was much more eclectic. I think it is retrospective but not that bad either. In Berlin, there were already small-scale techno camps in the 90s. 
Total. But I also thought it was a pity that Berlin was not a little more fluffy. That one did not just say: the main thing is good music. That can be anything.

Although I was amazed at how consistently you have published the past years records. I know your stuff well from the beginning of the 2000s and heard it a lot. 
Since I started with music - that started in 1995 - it was important to me. I never wanted to start a great career. I always wanted to do something, so I can look back to see what I've done in times past. I once won a competition, that was in 1998, and then went to the Winter Music Conference.

Competition? Where, when? 
Marlboro.

I almost got involved in a Marlboro USA road trip at the age of 19. At that time they were allowed to.
There was an ad in the Spex. I participated and actually won. At the time I had started with the production, first pieces and was totally looking forward to the journey. That must be supercool, I thought to myself. Daft Punk was there, all the drum and bass people from London who thought at the time that they would take over the world. A fun time. But at the same time, I was standing in the Hilton hotel, where the conference was taking place, watching the action, I almost as an outsider - because that's not what I really belonged to - and saw how the music industry works. So I asked myself if I really want to play along. Is it something that drives you? Somehow I found that pretty awful.

Do you still trust the industry today? 
At the time I asked myself: is this a life plan? Is music producing a complete life plan? Do I want to be a musician? But then I decided against it. Simply for the reason that the music industry is just strange and I also consider music as a kind of balance to the real life out there.

It should be mentioned that you have been working at Ableton since the very beginning. 
Yes for about 17 years.

What exactly are you responsible for? 
I started as technical support and then I took care of the Max for Live division and programmed a lot for it. Today, I also do a lot of prototyping for native instruments and effects implemented in Ableton Live. Say everything that has to do with DSP processing. I'm currently working on the basic ideas. Today this is also called UX, User Experience.

That is already nerdy. 
As a matter of fact. I'm quite a nerd, too. I touched almost every synthesizer in the world at least once. But actually I do not like the word nerd.

If you've seen a success story like Ableton backstage for so long, how does that work? 
For me, that feels like I've lived through four or five companies. There have been deep changes over time. Within the industry, within the company, within the society. The perception of how people use computers has changed a lot in the last 15 years. But also the kind of people who use such things.

At the end of the 90s you were in Berlin. It started with people making music on laptops. Labels like Morr Music became known. Indietronica was suddenly a thing. I always notice that today many people have never perceived Berlin as an indie city. Berlin bands like Contriva were totally inspiring for me. Today, most people shrug their shoulders. 
It no longer exists in the perception. It seems to me that this was totally ousted from the canon. The indie and electronica scene was a big pillar of this city. Culturally urban historical, if you can say that, but that does not matter anymore. What a pity, but techno just rolls everything flat. That's fact. For me, the Indietronica thing was a plant that needed to be cared for more carefully.

Even more mainstream acts like Paula have emerged. 
It was perceived throughout the world. Indietronica from Berlin attracted attention in Japan, USA and also Canada. That was relevant and I found that so exciting. It was not just a Berlin-related thing. Often Berlin issues have that to them, that they never come out of Berlin and are only occupied with themselves.

If you travel internationally, is it for music? 
First of all, it was all friends and mates, so the big industry was far away. City Center Offices was not Sony Music or anything right now.

Are you missing the road? 
I miss it already. But it was also very exhausting, because I have always put the tours on my free holidays. If you join this for a few years, there are hardly any free weekends left. That sounds like whining at a high level and probably is. But with a full-time job and the music at the same time - you can get close to burnout. From time to time I still give concerts, but that is not comparable to that time. But I am glad that I had it. That was a lot of fun.

Nevertheless, you have managed to constantly produce your own albums in recent years and publish yourself. 
Everything on Bandcamp. I had the claim of myself to continue to produce music, also because it is simply important to me. I've applied here and there for a few labels. But because I was completely outside the context, nothing came of it. That was maybe three e-mails. Among other things, I asked Mute Records, completely megalomaniac (laughs). "First of all start with the little ones." Of course, nothing happened, but thanks to Bandcamp you can do that pretty well today.

You still have to discipline yourself. 
I agree. That's pretty strange, too. Because there is no feedback, far and wide. You're the maker of everything, from music to cover, and most of all, there's no one who reflects that. There is also no one who reviews this because it does not appear on any well-known label. That's me and the internet. The Internet itself gives you no feedback.

It is said that the Internet brings all countries together. 
Yes and no. Of course, I am happy when someone from Argentina writes to me and is happy about my music. But that's a different process than meeting someone and talking about your music, either because that person has a label. The internet does not give me anything. Since I have no personal reference to. After I was no longer with Morr Music - until then everything fell into my lap - I first had to learn to make everything self-sufficient. That was an important process.

You just recently released your record "Electronic Music from the Lost World" with pieces from the years 1998 to 2001?
I have a bag full of old DAT tapes. 40 to 50 tapes are in there. Four years ago, I started listening and digitizing the old tapes. Then I spoke with Thomas Morr, who also wanted to publish that first. This then drew because things have intervened time and again. Then I started talking to the label A Strangely Isolated Place from Los Angeles. Through Arovane, Uwe, I came to the contact and so it came to the release. After 20 years, I thought, it was time. I am glad it appeared in the form on double vinyl. It represents a completely different time. It was all innocent much. (Link to buy!)

For me, you are musically but still an indie musician and guitarist, who simply got into the wrong circles in Berlin. 
That's right (laughs). I always hated computers. Until I realized that you can make music with it, but until then I did not want to have anything to do with it. Ironically, if you look at my job of today. But yes, actually I come from the guitar corner. The fact that I started using computers to make music was mainly due to the lack of musicians with whom one could have formed a band.

To bring four people in Berlin regularly in a rehearsal room is also an impossibility. 
I totally understand that. But yes, maybe electronic music is just an urban thing. It was like that in New York and London. Electronics was already the basic tenor in Berlin in the 90s. But I never had any connection to Berlin guitar scenes. When I produced Drum and Bass in the late '90s, I only knew Thaddi's radio show. Then I got drunk with my tapes and I tried to turn it to him, so he plays it. It all started.

~

Mix artwork by Julian Priess

ASIP - The Last Frequencies (mix for Headphone Commute)

One last time, tuned to nothingness,
A swan song for the remnants. 
Empty buildings, rain and the dark abyss,
Lit by neon rain and the artificial descendants.  

Our good friend Headphone Commute has just published a new mix of mine, titled The Last Frequencies. It's a pretty obvious concept once you listen, but sometimes these things come to me at the end rather than the beginning. I started this mix after the terrible news of Jóhann Jóhannsson's death and was left wondering what the score for Blade Runner would've or could've been at the time. Perhaps, this thought process subliminally inspired me to create something of my own. Only on hindsight did I realize.  

It took a few months to compile and I went through five different versions before finally settling here. Given how much time I spent on it, I thought I'd try to do it even more justice by adding some comments on the featured tracks below. As always, I see mixes as an amazing point of discovery here on ASIP, so want to do everything to support the artists featured within. 

Make sure you check out the rest of Headphone Commute's guest mixes - the last one by 36, for example, and a recent epic journey by Roel Funcken - just two that shouldn't be missed. 

And thanks to HC for hosting me on his great platform for music discovery - our partner in the ever-expanding conquest to highlight the best ambient music out in the world. 

Read more on Headphone Commute.  

Listen on Soundcloud

Direct download

Tracklist + track notes:

01. Computer Afterlife - (Various samples) [Self released]

This album is the perfect entry point to Vaporwave (shudder?). If you haven't already been digging around the recent phenomenon that's rife on Bandcamp. 'Infinity Frequencies' is like a compilation of retro advertisements and elevator music, all put through the Vaporwave machine. On its own, the album is an interesting listen as opposed to a relaxed experience, but I chose to edit several of the tracks and combine with TV static to give the effect of someone/something searching through frequencies. It also inspired the name of the mix, as the journey goes on to dictate the dystopian world before the last frequency is heard. Available on Bandcamp.

02. Rashida Prime - {modular frame} [Cyber Dream Records]

Continuing the Vaporwave-wave, there's a side to this style that I really love, and Rashida Prime is a good example. To many, this is just heavily textured and processed drone music. But in a similar vein to the likes of Rafael Anton Irisarri, Rashida manages to score a beautiful melody amongst all the noise and static. I also added a little monologue from Blade Runner here to set the scene. Rashida Prime's album, Damaged Interface, is also available on Bludhoney - perhaps one of the most influential Vaporwave labels out there should you want to dig deep. Available on Bandcamp. 

03. Innerst Inne - Solen Träffar Topparna Först (Further Records)

Innerst Inne are Andreas Tilliander and Johan T Karlsson and this, I believe, is their first outing together - on Further Records, no less. Hailing from Scandinavia, with the album made in Sweden, it'd be silly to think inspiration hasn't been drawn from the cold depths, or the ever-growing techno scene that seems to influence everything that comes out of this part of the world right now. This album contains it all though - murky, deep ambience alongside some beautiful analog synthesizer moments, rooted in archaic dissonance. Fans of Alessandro Cortini, Isorinne, Rashad Becker, rejoice. Available on Bandcamp. 

04. Merrin Karras - 47 Drawn [Unreleased]

Some exciting music in the near future from Merrin Karras. For now... 

05. Steve Moore - Aphellion [Spectrum Spools]

I think I've included a Steve Moore track in nearly every mix I've put together in the past few years. He's a master of manipulation and does an amazing job at portraying new, futuristic places. This album, Pangaea Ultima does just that, and depicts a vision of a new world "away from the standards of time that we have insisted upon giving it". Available on Bandcamp. 

06. 輕描淡寫 - 我昨晚梦见你了 [Bludhoney Records]

Back into Vaporwave again, but I bet you didn't know it... This is where the genre crosses over with many other ambient styles, with the introduction of a piano blurring the lines. Still, the ominous sound of dystopian rain-soaked city streets is still present. Available on Bandcamp. 

07. Swoop & Cross - St. No [Time Released Sound]

A beautifully packaged vinyl by the aesthetic-forward label Time Released Sound, Swoop & Cross create a delicate and unmissable album in every way. I enjoyed the harmonious shift from the previous melody into the similar piano melody here - like the rainy, neon-lit streets emerging out of the dark into the daylight. Available on Bandcamp.  

08. Aleksi Perälä - UK74R1406060 [DUB]

Aleksi's music is often electro/techno-forward and normally wouldn't fit into this set (unless I took a turn into much heavier stuff), but this track features a stripped-back underlying analog tone that shifted the mood of the mix from a quaint piano melody into something a little more ominous. Aleksi's Colundi Sequence albums are pioneering in their approach, and you'll no-doubt find something mesmerizing amongst the many editions out there right now - even if you can't decipher the track names. He's a modern-day Aphex Twin in many ways. Available on Bandcamp. 

09. Isorinne - Whereabouts Unknown [Field Records]

This track features a bunch of abstract sounds and samples at the beginning, which is a little out out of the ordinary for the normally icy-smooth ambient stylings of Isorinne. The album this track is lifted off is from 2016, so if you've enjoyed Isorinne's recent brilliance on Northern Electronics, take a dig back into his earlier works for a little variety. Whereabouts Unknown gave the impression of something changing - a bustle and commotion - that led into the warmer tones of RAI.  Available on Bandcamp.

10. Rafael Anton Irisarri - Two and a Half Minutes (Geographic North)

Rafael continues to surpass expectations with his very purposeful "active-listening" ambient aesthetic. This is just one of many great tracks that have recently seen the light through two tape releases - one on Geographic North titled Midnight Colors and another, Sirimiri on Umor Rex. I felt bad keeping the inclusion of this track pretty short, but in a similar belief to RAI himself; less is more. Hope he agrees here! Available on Bandcamp.

11. 36 - Further Room 4 [A Strangely Isolated Place] + Alva Noto - Xerrox Monophaser 2 [Raster Noton]

For those that purchased 36's album, Infinity Room, you likely received a hidden surprise (that many still to this day might not know about). A full EP titled Further Rooms, accessed via a password-protected page hidden in the vinyl etching. Many say it's as good as the main album, evident here with Further Room 4. Again, not one to purposefully blemish an already good track, I originally had Alva Noto's infamous Xerrox Monophaser 2 at a very low level in the background to add some additional depth to the mix, but brought it up a little more as it seemed to fit well with the overall lost-in-space vibe Dennis' track was painting. Further Rooms still lies hidden for those that want to hunt it down... but Alva Noto's classic album is available in all good stores / Alva Noto website. 

12. Markus Guentner - New World Order  [A Strangely Isolated Place] + Global Communication - 0.54

For those that are taking the time to read this, then let this be your official notice - our next release on ASIP will see the return of Markus Guentner. More on that to come, but to continue this idea of lost and dying frequencies in the mix, Global Communication's now infamous intermission from their legendary ambient album 76.14, came to mind, and fitted perfectly with Markus's track. Like floating out into the dark void... 

13. The National Pool - Brick Cloud-Area 2 [Infraction]

I've already gushed about this album on ASIP, so head on over here to read more. Available on Bandcamp. 

14. Christoph De Babalon - Brilliance [DHR]

Hype hype hype. This album did receive. And it's a hard listen overall, but this Gas-esque track is one of the better from the album that will strike a chord with us ambient fans. The rest of the album however, is mainly very hard techno-edged-drum'n bass. You have been warned (or encouraged). Good luck hunting it down again, after a recent repress. 

15. Biosphere - Hyperborea [Biophon Records]

No-one depicts being lost in space, as sounds from far off worlds echo in the distance, better than Biosphere. All mixes should consider a 'classic' moment within the track list, and this one does the job for me. At this point in the mix, I had pictured a person floating through the void with his/her communication struggling to grasp the last few sounds from the world they just departed. Or is it the world they're floating towards? Available on Bandcamp. 

16. The Black Dog - Part One [Self released]

Dig anywhere amongst The Black Dog's extensive catalog and you'll find some beauty hidden amongst the darkest depths of techno. This self-released EP was the last time they got to work with good friend, Shawn Bloodworth - a fittingly beautiful tribute. Available on Bandcamp. 

17. Dino Sabatini - And It All Ends Here (feat. Antonello Salis) [Outis Music] 

I initially had the mix ending up in waves of static - a more literal homage to the title and concept of the mix. But this track by Dino Sabatini paid homage to a dystopian future in a different way - like an 80's film closing credits. Slightly Vangelis in style. An apt title too, from a stunning album. Available on Bandcamp.

Check back here soon for links to download the mix. 

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Artwork edited by me; Ryan Griffin, featuring photography by Karen Sayser, Keith Camilleri & Sandeep Swarnkar.