isolatedmix 132 - Matt Xavier: Psilocybin Therapy Protocol v1.22a

Matt Xavier has been a friend of mine for many years now. A fellow music obsessive and trusted voice when it comes to all things ambient, techno, and beyond, we finally managed to meet in person while I lived in Los Angeles, and we stayed connected over music ever since.

We’ve swapped stories about pressing vinyl and running labels, and he was the reason I first crossed paths with Joel Mull (Damm) at one of his gatherings held at a beautiful Topanga home. It was a serendipitous moment that still echoes today.

A proponent for the deeper layers found in music, Matt has since become a practician, ambassador, and pioneer for psychedelic soundtracking. Along the way, he shared tracks from ASIP and other labels that were influencing and guiding his private sessions, shaping the grand masterpiece we present to you today. As his practice deepened, we exchanged many texts discussing his ambition to publish a book about his unique experience and include an accompanying mix on ASIP.

Matt’s new book, ‘The Psychedelic DJ: A Practical Guide to Therapeutic Music Curation and Psilocybin-Assisted Therapy’, is a groundbreaking manual for anyone looking to bridge sound and healing. Whether you're a clinician, a DJ, or just someone who knows the power of a well-placed track, Matt’s work will likely reframe how you think about music’s role in inner journeys.

His isolatedmix is a fully formed and accompanying ‘Protocol’, which is an example of one of his many guided sessions, referred to as “therapeutic DJing.” Psilocybin Therapy Protocol v1.22a, distills his craft and evolution in this practice for us all to dip into at a surface level, providing a peek into what are very personal worlds prepared for his clients.

Alongside the mix, Matt joins us for a deep-dive interview, discussing his new book, his transition from rave culture to guided sessions, his real-time curatorial method and how music, when chosen with care, can become a tool for transformation.

astrangelyisolatedplace · isolatedmix 132 - Matt Xavier: Psilocybin Therapy Protocol v1.22a

Listen on Soundcloud, the ASIP Podcast or the 9128.live iOS and Android app.

HQ Download (4gb)

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Tracklist | Bandcamp Playlist to support the featured artists

1. Jon Hopkins – 1/1 Singing Bowl (Ascension)
2. Marconi Union – Weightless Part 1
3. Neel, Voices From The Lake – Planatia
4. Helios – Penumbra
5. 36 & awakened souls – Take Me By The Hand (awakened souls - Acid Dream Version)
6. poemme – awning ~ under the willow tree
7. zakè (扎克) – 000607053 OTS3 [Solar]
8. awakened souls & From Overseas – Migration
9. awakened souls & From Overseas – Certainty Of Tides
10. 36 & awakened souls – Passing Dreams
11. Desert Dwellers – Lotus Garden Spaces
12. Disneynature Soundscapes – Jellyfish Atmosphere (BATHROOM BREAK)
13. Endless Melancholy – When I'm With You
14. Archivist – Photosensitive
15. Jens Buchert – Milano
16. Endless Melancholy & Black Swan – Forever In A Moment
17. Gelka – Ambient Impressions Vol 2 Mashup feat. FredAgain/NilsFrahm/Fejká
18. Lav – Collaborative Survival
19. Unknown – SMD_60_Bb_Oceanic_FX_Long_Surf EDITED
20. Lisa Bella Donna – Crystal Mountains (Matt Xavier EDIT)
21. Alucidnation – Skygazer
22. Wagogo Treeboga – Dream on
23. Poemme (Ed Harrison) – Out (Poemme remix)
24. John Beltran – Lose You
25. John Beltran – I Can Chase You Forever
26. Bluetech – Resonating Heart
27. Chicane – Early
28. Synkro – Midnight Sun (Helios remix)
29. Synkro – Movement
30. Carbon Based Lifeforms – Clouds
31. LF58 – Evocazione/Contatto/Risveglio
32. Liquid Bloom & TRIBONE - Interbeing (Telepathy Remix)
33. Federico Durand – El pequeño zorro colorado
34. alucidnation – All at Sea
35. Slow Meadow – Upstream Dream
36. Endless Melancholy – Expand
37. Orbital – Belfast (ANNA Ambient Remix)
38. Slow Meadow – Fake Magic Is Real
39. Helios – Halving The Compass (Rhian Sheehan Remix)
40. Lusine Icl – Stones throw
41. Slow Meadow – Pareidolia
42. Jon Hopkins – Immunity

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Interview with Matt Xavier, Integrated Psychedelics
Author of The Psychedelic DJ: A Practical Guide to Therapeutic Music Curation and Psilocybin-Assisted Therapy [Buy Paperback] [Buy hardcover]

ASIP: You come from a place of passion, DJing, and running labels. What impacted or influenced the shift into the psychedelic space with music?

Matt: I’ve been passionate about pairing music with life since I was very young, but I especially remember the very first time I ever stepped onto a dancefloor in 1993 at NASA, the legendary rave club in downtown New York City. From that point on, I knew I just had to be involved. I started throwing raves, and eventually became a psychedelic DJ during what I still believe was the most influential time in dance music history. The 90s were a hedonistic blast, especially our groundbreaking psychedelic trance events at the Shelter, but such debauchery also came with some downsides.

I ended up burning out at the turn of the millennium and went sober from 2000 to 2003. That time helped me fall back in love with myself, but I also fell out of love with New York. I moved to LA to be near my friends in Moontribe, who I’d gotten close with in the late 90s. That chapter in LA led to years of nightclub events, DJ sets, and running our techno label, Railyard Recordings. They were wildly fun times, but honestly, LA’s backstage rat race wore me out. Financially, it didn’t really hold up either, so I knew I had to make a change and find something that could carry me, and possibly a family, into the next chapters of my life.

In 2009, I decided to go back to school to become a counselor. I’d had a ton of personal experience with therapy by then, mostly from working through childhood trauma and recreational or problematic drug use during my teenage years. I worked full time as an addiction counselor during the oxycontin and heroin epidemic of the 2010s, and by 2015 the burnout was getting hard to manage. That’s when I decided to revisit psychedelics but this time intentionally, and with a more therapeutic approach.

A few years later, the burnout finally caught up with me. I reached out to a friend who was a therapist working on the MDMA studies at a local university, and they pointed me toward the growing psychedelic integration community. The first time I walked into that space, it felt like home. Not just because it reminded me of my work as a group therapist, but also because of my deep history with psychedelics from the 90s rave and psy-trance scenes. It was a perfect match.

I immediately started seeking training and built out a private practice focused on integration work. That quickly evolved into guiding with psychedelics and music. And at some point, my wife pointed out that I hadn’t actually quit DJing like I thought I had back in 2017. I was just doing it differently. I wasn’t playing to or seeking crowds anymore. I was DJing for one person at a time, what I’ve always called an “audience of one.” And the sets I’ve played in that context have, in many ways, offered more meaning and healing than anything I ever experienced on a dancefloor.

Caught catching up in the garden with Matt’s new book

ASIP: I’m aware this type of practice can come across as very “hippy-dippy shit”, but you approach it through a serious music background. Can you explain, for anyone new to this how your approach differs from the stereotypical approach?

Matt: Oh wow, I totally get that. It’s understandable. Psychedelics still get looked at through the lens of “hippy-dippy shit,” especially because of everything that happened in the 60s and 70s, and how effectively the government programmed society to see psychedelics as ridiculous or unserious. And to be fair, some of that reputation was well earned, and that goes for the ridiculous fashion and antics of ecstasy-rolling ravers of the 90s too.

The way psychedelics were presented during both counterculture movements didn’t exactly help make them look medicinal or appealing to the average person. Hopefully the intentional, therapeutic, research-based approaches being taken these days are starting to change that narrative across the board.

As for the stereotypical approach... I’m honestly not even sure what that means anymore, because my colleagues and I all work in such different ways, sometimes radically different. But if we’re talking about my approach, and what I lay out in the book, I’d say it’s more intentional, more clinical, and more therapeutic, with aspects of spirituality mixed in. It’s not recreational, though there’s nothing wrong with recreating oneself, and it’s definitely not counterculture or political.

The focus of my practice is helping clients safely explore psychedelics to address whatever they’re working through when they arrive. That means looking at both conscious and unconscious drives, in a space that’s safe and clinically informed. I do a full screening and assessment before we begin to make sure someone’s a good fit. Then we do two or three 90-minute prep counseling sessions, and eventually a full journey day, which usually includes a nine-hour arc with a four-hour live DJ set to support their experience.

It’s a serious, detailed, and thorough process that also leaves space for enjoyment, if that’s what the client needs.

ASIP: As you mentioned, you’re approaching it differently from a lot of other psychedelic guides. You’re actively DJ’ing, curating music live during these journeys. Can you talk about your process more?

Matt: Yeah, one of the things I kept seeing in this field were guides who would just pull playlists off Spotify and hit play, hoping the client would be okay with it... and then being shocked when neither the client nor the guide were satisfied. I was never interested or willing to take that chance. And thanks to my background as a DJ, I didn’t have to.

That’s where I started developing something I now call Therapeutic Music Curation. It’s a practice where music is treated like medicine, just like any other consciousness-altering substance. I think of each track as a sonic compound. I collect them, listen to them in different states, get to know their traits, and figure out how they might support a particular client’s intention.

Then I build a rough arc based on what we’ve uncovered during screening and preparation, and align the music to the qualities of the first four stages of the psilocybin experience — the hike, the climb, the summit, and the descent. It’s kind of like an internal therapeutic mountain-climbing expedition, with mushrooms and music doing their magic..

If you want to compare it to DJing, it’s a lot like prepping your record box before you head to the club. You have a general idea of what might work based on the space, the sound system, the time slot, and the vibe. But as any DJ knows, once you walk in and feel the room, all your plans can go out the window. That’s where the magic, and the real skill, comes in.

That moment of adaptation is what I call Psychedelic Soundtracking, the real-time adjustment of the “set” based on what’s actually happening in the room, emotionally and energetically. I’m watching how the client is presenting. Are they crying? Laughing? Silent? Restless? I’m also tracking my own reactions in the field, and using all that information to shape both the sound and the music in response. That’s the head and the heart of it.

Therapeutic Music Curation is the prep. Psychedelic Soundtracking is the execution. And together, that’s what I call Therapeutic DJing, the intentional use of music before, during, and after the session to support the client’s inner process and healing.

ASIP: What does the onboarding process you mention look like?

Matt: Psychedelics are incredibly powerful tools that should be used safely and wisely, preferably by trained professionals, shamans, or experienced psychonauts. To prevent unwanted harm, it’s essential to screen all prospective clients before welcoming them into my practice. That process helps both the client and me figure out if we have rapport, and whether we’re a good fit to work together in such a vulnerable capacity.

Equally important, and maybe even more so, is assessing who isn’t a good candidate for this work. That includes people with certain mental health conditions like bipolar I, schizophrenia, psychosis, borderline personality disorder, or active substance use disorder. I also screen for physical issues that could complicate things, like heart conditions, stroke history, seizures, asthma, and so on. Ruling out those risks is essential, both ethically and for the client’s safety, and mine.

The screening usually happens weeks before the first prep session. Once we begin, we work closely for a few weeks leading up to the journey, and then again afterward for integration. The client isn’t the only one stepping into a vulnerable space, we’re both doing that. Trust and safety are non-negotiable.

ASIP: How do you react as a “DJ” during the session? How are you reading the client in the moment?

Matt: Like I said earlier, I call that part Psychedelic Soundtracking. It’s the live, real-time response to what’s unfolding in the room. It’s how I adjust the music and the energy of the setting based on how the client is showing up, through their words, their silence, or their emotional state.

I might sketch out a rough plan beforehand similar to filling my record box, but as we learned in traditional counseling, I try not to arrive with a fixed agenda. That kind of rigidity can pull you out of attunement. You might miss what’s actually happening in the moment. So I see it more like a choose-your-own-adventure book. The client’s experience shows us what page to turn to next, and I meet them there musically, just like we do on the dance floor.

ASIP: What are the emotional or energetic markers from beginning to end of your sessions, and how do you approach curating for those?

Matt: At the beginning, during what I call the “Hike”, or what others might call the onset, things are usually quiet and restful. The client is often meditating or simply lying still, waiting for the effects to come on. The music is subtle and grounding, the kind of sound that helps you settle in and feel safe, like you're approaching basecamp.

Then comes the “Climb,” which is where the medicine starts ramping up. This is when emotions begin bubbling up such as crying, laughing, yawning, trembling, shifting around. That’s when I start slowly increasing the energy, emotionality, or psychedelic quality of the music. But it’s not about pushing, it’s about supporting the rising effects and helping them make the climb toward the peak.

Next is the “Summit,” the peak. This is when the medicine is at full strength, and ego dissolution can happen. For some clients, it’s a storm of emotion. For others, it’s total stillness. Either way, I usually pull the music way back during this time. There’s a kind of reverence in that moment that I try to honor. The music becomes very spacious. I leave room for the imagination to soar.

After the peak, we enter the “Return,” or descent. This is when the medicine begins to lose strength and agency starts coming back online. Clients might begin to move again, process what just happened, or begin noticing what’s unfolding as they slowly return to their senses. The music reflects that with something melodic and comforting, often with a feeling of homecoming. This is a great phase for what I call “music for remembering.” It helps the client begin to make sense of what they just experienced.

ASIP: Can you explain the different types of music you use, and what mixtures or styles usually work best and what doesn’t?

Matt: Ah, the notorious genre question. Well, I’ve got a soft spot for the classics such as trippy electronic ambient from the ’90s chillout universe, modern neoclassical with lush synths, psychedelic downtempo, and a lot of expansive, cinematic soundscapes. But for me, it’s less about genre and more about emotion and visual enhancement. I lean into music that has emotional depth and visual texture. I need to feel it in my body and see it in my mind. It has to stir something, whether that’s ache, awe, release, or some associated memory.

One thing I’ve noticed — and this might surprise some of the more minor-chord–leaning dancefloor DJs out there — is that I often use major chords and melancholic sublimation in sessions. You can hear this approach in Psilocybin Therapy Protocol 1, which I describe more as “The Light.” This protocol is typically used in early sessions, especially with new clients. The music holds a tone of beauty, grace, and uplift, not in a naive or saccharine way, but in a way that gently invites the heart to open. It’s music that’s both sad and beautiful. Sublimative. It doesn’t deny pain, it transforms and resolves it.

This kind of music resonates with the core human paradox: the struggle and the gratitude of being alive at the same time. For many clients, especially early on, that emotional tone helps them soften into the experience. It creates a container where the nervous system can feel safe enough to let go. It’s the sound of surrender, not force.

On the other hand, Psilocybin Therapy Protocol 2, which I call “The Shadow,” leans into darker, heavier, more introspective psychedelic material with minor chords, tension, and the kind of raw emotionality that meets people deep in their grief, anger, regret, or trauma. These tracks are often used with experienced journeyers or when a client is ready to confront deeper material. It’s still intentional, it’s not “dark for the sake of dark”, but it meets the psyche where it’s at, and it creates a necessary counterbalance to the more major-leaning, sublimative compositions that I’ve found effective for therapeutic work.

What doesn’t work for me is dry “psy-muzak” that lacks energy or sizzle. Music should ignite the senses, spark curiosity, and take you somewhere unexpected. I avoid tracks that feel too safe or lack depth, intensity, or psychedelic flavor. I’m especially mindful of overly dark, twisted, or unnecessarily heavy beat-driven material (unless specifically requested), as it can easily overwhelm or distract in such an intimate, emotionally open therapeutic space. Keep in mind, this is all highly subjective.

At the end of the day, I’m not choosing music to impress a crowd, I’m choosing it to support the transformation of that audience of one that I previously mentioned. That inspires very different selections than what you’d hear in more underground circles. And that means trusting the emotion more than the genre.

ASIP: Can you share a track or a moment in a set that continues to resonate with you, something you’ve returned to again and again?

Matt: Yeah, a few come to mind from Audio Protocol 001. For the onset stage, “Take Me By The Hand (Awakened Souls – Acid Dream Version)” by 36 & Awakened Souls. Cynthia’s vocals and James’s 303 lines are just... divine! It hits that emotional place where people often start crying, not out of sadness, but from that deep inner shift that happens when the medicine starts to open the heart.

Then around the two-hour mark, often when a booster might be kicking in, I’ll bring in something like “Out (Poemme Remix)” by Ed Harrison or “Iliad” by Malibu. Those tracks are pure sublimation: sad but beautiful. They hold sorrow and hope in the same breath, and that kind of emotional container really helps people process what’s surfacing.

During the descent phase of Protocol 1, I mix “Expand” by Endless Melancholy with the ANNA remix of “Belfast” by Orbital. That pairing was originally inspired by a live session with a client years ago, and the reaction was incredibly powerful, it even brought me to tears. It still gives me chills to this day whenever a session calls for it. Together, those two tracks feel like a triumphant return, a kind of emotional homecoming. And that ANNA remix of Orbital’s classic Belfast really hits those “music for remembering” nostalgia buttons.

And that’s the goal, not just to bring someone back, but to bring them back home, with self-reflection, meaning, and celebration.

ASIP: There’s a lot of talk about “set and setting.” What do people often overlook when preparing for, or recovering from, a journey? What are people most surprised about?

Matt: The number one surprise is always how different the journey ends up being from what they expected. People say they have no expectations but of course they do. We all do. And then the medicine shows them something totally unexpected. Sometimes they’re shocked by how powerful it is. Other times, they’re amazed at how safe or courageous they feel when they assume they’d be terrified.

That’s always my favorite moment: when someone realizes they’ve reconnected with a part of themselves they forgot was even there. That’s the real magic.

In terms of preparation, a lot of people forget to start living the life they want on the other side. They wait for the journey to fix them. But I encourage clients to start having conversations with their future selves to ask, “What should I be doing now to get ready for who I’m becoming?” It’s like tending the garden before the rains come. You clear the weeds, loosen the soil, and plant the seeds of intention. Then the medicine knows where to land.

And then there’s the basic stuff: avoiding alcohol, stepping back from news and social media, doing breathwork, staying mindful. These small choices really do help the nervous system prepare to navigate the psychedelic space.

Post-journey, people often think the afterglow will last forever. It won’t. The high wears off. Life gets lifey again. That’s why integration is crucial. Psychedelics aren’t a fix. They plant seeds, but you still have to water them.

We go over all of this in the screening and prep sessions. The journey is just one part of the process, but it’s everything around it that makes it sustainable.

Matt Xavier (center), Joel (2nd from left) and I with friends at one of Matts parties in Topanga. Photo by Jill Sutherland.

ASIP: We’ve previously talked in depth about how the practice of curating music as a guide is hard to protect, people can copy your sets or your tracklists, for example. So what makes a guide special beyond musical choice?

Matt: It’s true that in this day and age, you can’t really guard your IP like we did back in the day such as covering our records to fend off curious trainspotters. Everyone has access to the same tracks now, and artists are getting paid less and less as streaming takes over. So spreading the word is essential to the growth of the artists who make the music we use in sessions. That’s part of the reason I’m so vocal about giving credit to the artists I use and directly supporting them whenever possible. 

But what really makes a guide special isn’t just the music. It’s how you show up. It’s your ability to attune. To sense what’s needed. To recognize that music, like a psychedelic, is a medicine. And that your presence, your pacing, your sensitivity, all of that becomes part of the treatment.

A guide needs to know how to work with both the music, the moment and the psyche. They need to understand trauma. To regulate their own nervous system. To hold space for whatever shows up, whether it’s grief, rage, laughter, silence, or pure cosmic awe.

And honestly, I think anyone doing this work should have at least some training in counseling or psychology. It doesn’t have to be academic, but you need to understand how the human psyche works and how to guide and counsel someone who is trusting you with their most vulnerable states. Otherwise, you’ll be unprepared when the real material surfaces, and you can unintentionally do harm.

ASIP: What are some of the most enlightening, unexpected, or just fun outcomes of your sessions you’ve seen over the years?

Matt: I love that question. There are so many. The most enlightening thing, for me, is just the privilege of sitting with someone who’s opening themselves up that deeply. It’s sacred, and it never ceases to amaze me. To be trusted in that way, to be invited into that kind of vulnerability, it still humbles me every time.

There’ve been moments where people just erupt in tears, and five minutes later they’re laughing uncontrollably. I remember one session in particular, which I wrote about in the book, where the client went from deep sorrow and grief into a spontaneous outburst of joy. I followed him musically, moving from “Forever In A Moment” by Black Swan & Endless Melancholy, and then dropped a custom edit of Junkie XL’s “Intergalactic Space Travel.” The energy exploded with color, and that supported him into full catharsis. I followed that with a beatless track called “Lunar Landscape” by Sacred Seeds to help him land again and integrate that emotional purge. He said afterward it was one of the most cathartic experiences of his life.

Or a more recent session, where the client arrived saying they were excited and had prepared to go deep. From the start, they kept asking me to turn the volume up, and if you know the Adam Audio S3V monitors, you know they can get proper loud. I was stunned at how clearly the client knew what they needed, not just to enjoy the music and the experience, but to actually break through something. I remember giggling to myself as they kept yelling for more volume. It was wild, and totally inspiring! Not only did it help them push through their own blockages, it helped me realize I’d built up some of my own limitations around what’s “allowed” in a session.

Sure enough, the volume amplified the psychedelics and helped them access deeper levels of release. Like the client, I was deeply humbled.

And that’s the thing, to be allowed to witness these kinds of moments, to be part of it in any way, I don’t take it lightly.

ASIP: What advice or recommendations would you give to any DJ who wants to apply some principles of your practice to their own sets, maybe in more intimate or personal settings?

Matt: First and foremost, move slowly. Get properly trained, and do your own deep work before guiding others. Study psychology, counseling, trauma and, of course, psychedelics and psychedelic guiding. Understand what it truly means to hold space, and know your own limits. This will help you recognize who you can, and shouldn't, be working with.

Curate your therapeutic medicine bag. Go through your music library and pull out the tracks that have helped you in difficult moments, the ones that comforted you, inspired you, and made you feel more human. Find the intimate instrumental pieces you turn to when you're alone. These are the sounds that will serve as sonic tools in your practice.

This isn’t a dancefloor so don't get caught up in beatmatching; focus instead on emotion and vision. Learn every nuance of your tracks, their qualities, moods, and shifts. Know which ones calm, which ones activate, which ones expand, resolve, or which ones are trippy. Think about how each song might align with different phases of a psychedelic journey, and allow yourself to experiment with the fun of soundtracking the various moments of your life.

Above all, recognize the sacredness of this work. When someone enters a psychedelic state, they are profoundly open, and you hold responsibility for their safety. The music, medicine, and counsel you provide can either support their healing or add to their struggle. That weight should never be taken lightly.

As the saying goes, “Go slow and dose low. You can always take more, but you can't take less.” Stay humble. Don’t set out to save the world before you know what you’re doing. Listen deeply to your music, your medicines, and most importantly, your clients. Because in the end, they are trusting you with the most vulnerable parts of themselves, and that is truly an honor in this lifetime.

ASIP: Given this mix is named Protocol v1.22a, can we assume there is more to come?

Matt: Psilocybin Therapy Protocol 2, will be available via my website and SoundCloud. I like to call this, “The Shadow,” as it leans into darker, heavier, more introspective psychedelic material with minor chords, tension, and the kind of raw emotionality that meets people deep in their grief, anger, regret, or trauma. These tracks are often used with experienced journeyers or when a client is ready to confront deeper material. It’s still intentional, it’s not “dark for the sake of dark”, but it meets the psyche where it’s at, and it creates a necessary counterbalance to the more major-leaning, sublimative compositions that I’ve found effective for therapeutic work.

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May/June 2025.

Matt Xavier | Website | Soundcloud | Instagram

isolatedmix 128 - Will Oirson

Willem van der Ploeg, hailing from the Netherlands, is a DJ, producer, and co-founder of the label The Something Something, alongside Rutger Paulusse. Willem has been a long-time follower of ASIP, often supporting our mixes and asking for track IDs—something that always piques my curiosity and often leads to unexpected finds. So I was delighted to stumble across another amazing cave of DJ sets through The Something Something’s Red Light Radio show, offering up sessions from recognizable guests such as Alex Albrecht, Wanderwelle and Ario, and then going on to see the fruition of the label in recent years.

As part of The Something Something label, Willem has been gaining momentum with his own production work, leaning toward serene, textured ambient, enriched by found sounds and often shimmering, beautiful melodies. This is showcased perfectly by his 2020 EP, Inland / Tomorrow, of till the end of time, and his most recent single, Escapism.

Will’s DJ sets recently earned him a spot at the prestigious Draaimolen Festival, officiating his keen curatorial ear, which will no doubt lead us all to a world of new artists to explore - a perfect requirement for the isolatedmix series and the mix at hand for #128.

"Thank you for the opportunity to create a mix for ASIP, Ryan!

Many times in life, music helped me to overcome certain hurdles. It always gives me a feeling of escapism and on many occasions it shined a light on dark days. The same goes with this mix; I feel a sense of lightness after experiencing a big burnout a year and a half ago, in which time I’ve made a lot of music. It had no intention, it was just about frequencies and emotions. Now that I'm feeling better, I’ve started releasing tracks and even performed a dj set at Draaimolen Festival Festival featuring some of this music. This mix for A Strangely Isolated Place is about seeing light again, the overcoming of obstacles, and a rekindling of dreams.

It includes some of my favourite tracks from the past few years, such as ‘stasis__relief__’ by 𝚐𝚊𝚋_𝚒 and 'Pillow, Mantra and Trance’ by Li Yilei. And I’m also pleased that I could slip in some amazing music by friends like Bas Dobbelaer, Ramses3000 and Brian Omen. 

Please take a moment to explore the artists and labels included in this mix. They’ve created truly remarkable work, and many continue to do so.” - Will Oirson 

astrangelyisolatedplace · isolatedmix 128 - Will Oirson

Listen on Soundcloud the ASIP Podcast or the 9128.live iOS and Android app

Download MP3

Tracklist: 
01. The Humble Bee - Section V Light [Astral Industries]
02. Brian Omen - 430 [The Something Something…]
03. Leo Cunningham - Dreaming In Threads [Opal Tapes]
04. Azu Tiwaline & Al Wootton - Last Scene [Livity Sound]
05. 𝚐𝚊𝚋_𝚒 - stasis__relief__ [self released]
06. Li Yilei - Pillow, Mantra and Trance [Métron Records]
07. other joe - a cat can look at a king (ft. J) [ost]
08. Will Oirson - Doubting the Hardness of the Spider, I eat the Nest [The Something Something…]
09. John Beltran - You Internalise Them [Delsin]
10. Dettinger - Intershop (7) Remastered 2024 [Kompakt]
11. Bas Dobbelaer - Rest [Something Happening Somewhere] 
12. Jonny Nash & Lindsay Todd - The Gecko That Wore Its Skin Inside Out [Island Of The Gods]
13. Daniel.mp3 - 3 am walk (Slowed & Reverb Version) [self released]
14. Igor Dyachenko - Object (feat. Nikolay Kozlov) [self released]
15. Illuvia - Afterlife Prism [A Strangely Isolated Place] 
16. Zane Trow -haklne [Room40]
17. NEXCYIA - hydro [self released]
18. The Kyoto Connection - Memories From Japan [Temples Of Jura]
19. Luke Elliott - Refractory Cores [AKP Recordings]
20. shinetiac - Dodge Viper Lullaby [West Mineral Ltd.]
21. Jo Johnson - Orbit [Mysteries of the Deep]
21. Ramses3000 - Aphasia [Intercept]

~

The Something Something Soundcloud | Bandcamp | Instagram

isolatedmix 123 - Alex Albrecht

We’re entering a busy half of the year for the label, and while we don’t always use the isolatedmix series to help tee up what’s in store, Alex Albrecht also happens to be a brilliant selector and curator of many great mixes over the years.

Yes, you did read that right, Alex will soon be gracing ASIP with a new release, to be announced in full very shortly and available at the end of September. We had hoped to get this mix out a little earlier in the year but life got in the way for us both, and after a small trip to Japan recently, Alex was able to get some answers down to a few of my questions in anticipation for his awaited release here on ASIP.

~

It's been interesting to see how you've created a very unique style and approach between your own project, with Sean as Albrecht La'Brooy and under the Melquíades guise. How would you describe the differences between them all?

I originally created the Melquiades alias as a way to separate club/dancefloor music from more downtempo/ambient productions under my own name. The music I now produce under Alex Albrecht incorporates all sorts of sounds and influences and in my development, I don’t now see a reason to differentiate.

 Campfire Stories was quite the debut album, and received such a great reception it seems. It combined lovely atmospheres and house elements, with downtempo and instrumental (even jazz). How are your albums born usually?

 My albums are usually created through my field recordings and recent experiences. I generally take recordings and loop/manipulate them to create a canvas and use that as the inspiration for each new track. When I see a larger album coming together I try to identify gaps in the concept and fill it with new productions.

 Your own label imprint, Analogue Attic was home to much of your early work and continues to host some of your music alongside others. How did the label aspect come about?

 The label was definitely created as a way to release our own music but very quickly became a medium to put out music from our friends and influences. The ambition has always been to showcase ambient music specifically made in Australia. We also hope to showcase music that does not generally conform to current trends in the global electronic scene. 

As mentioned already, your music is rich with field recordings and vivid instrumentation. What does your studio setup consist of usually? And what elements have remained a constant?

 My studio has been very consistent throughout the last 6 or 7 years. It has a Nord A1R, A Blofeld, a few Yamaha digital pianos, and some eventide effect pedals. Of course, there is also the Sony PCM A10 recorder which is really an incredible piece of tech.

 If your label (Analogue Attic) is any indication, the output and potential of producers in Australia seem very rich and fertile - is this true? How would you describe the "scene" for this type of music where you are?

 I’d have to agree – it is certainly a fertile scene in Aus with amazing music being produced around the country. There are many artists blending strong musical themes and elements with electronic elements and many gigs/shows aim to push boundaries and do something out of the ordinary.   

Your isolated mix captures your sound very well and includes a variety of styles and influences, what was your approach?

 I am often commuting to work by bike and love an interesting, hypnotic mix to push me along. I have been listening to ASIP mixes for years and was compelled to dive deep into my old libraries to capture some of the nostalgia that I feel with the earliest memories of ASIP. I brought a few of these into the picture with Dousk, John Beltran, BOC and Jesse Somfay  (among others) and was also really happy with how well they’ve stood the test of time.

Other than ahem, a pretty special record dropping here on ASIP soon, what can we expect from you for the remainder of 2023?

It’s unclear for now but I’m always making music and searching for inspiration. I have a huge collection of field recordings from Japan so will be surely using these in the short term to see what it inspires. 

~

Stay tuned for news of Alex’s album on ASIP set to be announced very soon, and available at the end of the month.

astrangelyisolatedplace · isolatedmix 123 - Alex Albrecht

Listen on Soundcloud the ASIP Podcast or the (new!) 9128.live app

Download MP3

Tracklist:

01. IMPS - Heaven and Bagpipes
02. O.S.S - Bianga
03. Sense - Rain 5
04. Marow - Tsih
05. Jesse Somfay - Tomorrow's Yesterday is Today
06. Cyan341 - Pattern4
07. Alex Albrecht - Forest Dance
08. Castel - Estrel
09. Remote - Public Service
10. John Beltran - Gutaris Breeze
11. HOLOVR - Outer Time
12. The Phantasy - Love Will See Us Through
13. Ariet - Shaman's Heart (Polygonia Remix)
14. Boards of Canada - Amo Bishop Roden
15. Dousk - Sidewalk Lovin 

Alex Albrecht | Bandcamp | Instagram | Soundcloud

isolatedmix 108 - Sentre

Our relationship with Quiet Places began last year and their debut album as a trio is slowly but surely becoming a favorite for anyone who likes to dive into intriguing new worlds and wide-screen ambient rabbit holes., or watch epic hour-long expanses.

The three chaps behind the Quiet Places alias: Charlie May, Dennis White and Dave Gardner are all respectable producers in their own right, and with Charlie already providing us with a marathon isolatedmix, it was only a matter of time before we got into the minds of Dennis and Dave, who also produce music as Sentre.

When they’re not making massive anthems like U&ME, or Sleep Acid, Dennis and Dave are finding inspiration from the more chilled side of electronic music and pulling from a wide spectrum of influences to inform one of their many productions - be it as Quiet Places, Sentre or putting together epic live shows for Sasha alongside Charlie (seen here on stage at The Barbican).

Sentre / Bird Up! Records · Sentre - U&ME (Radio Edit)

Stepping up as Sentre behind the controls for isolatedmix 108, we’re treated to a journey that reflects the classic multi-faceted downtempo DJ. Drawing influences from more electronic/dancefloor-oriented producers, and combining more relaxed sensibilities with an overall craft for track selection and vibe, you’ll find a selection of respected electronic music pioneers in Daniel Avery, Nicolas Jaar, Rival Consoles, DJ Healer and Leon Vynehall, spliced with a couple of diggers and their very own edits as Sentre.

Scroll below for a short interview with them both and more insight on the project and mix.

Listen on Soundcloud, Mixcloud, or the ASIP Podcast.

astrangelyisolatedplace · isolatedmix 108 - Sentre

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Tracklist:

01. Lord Of The Isles - Inheritance (feat. Ellen Renton)
02. Leon Vynehall - It Breaks (Chapter IX)
03. John Beltran - Lose You
04. Hania Rani - Buka
05. Map.ache - Ukiu
06. Maarja Nuut & Ruum - Kuud kuulama 
07. Sentre - Waiting for the Sun
08. Rival Consoles - Still Here
09. Daniel Avery - Into the Arms of Stillness
10. Nicolas Jaar - Cenizas
11. The Durutti Column - Opera II
12. Adolf Noise - Last Night of the Year
13. Sebastian Tellier - L’amour et la Violence (Simple Mind Version )
14. DJ Healer - The Interview
15. Claude Speed - R U Sorry
16. Sevendeaths - SH4A
17. The Tourist - Together at the Centre of Creation
18. Sentre - Sleep Acid ( Ambient )
19. Johannes Schmoelling - Perpetual Motion

~

Hello to two-thirds of Quiet Places. Can you tell us a bit in your own words on how you feel about the reception of the record so far? 

We're super happy with how it's been received and very impressed with the listenership loyalty at ASIP. We launched that album into the ether with no great expectations, so to see people buying the lovely package you put together for us is really satisfying. 

How would you describe your Sentre project to anyone new and how did it come about? 

Sentre is predominantly electronic music, mostly aimed at dancefloors but drawing on our different tastes and influences. There's some atonal clubby noise and also some dreamy atmospheric stuff that borders on synth-pop. I met Dave on Gumtree selling sample CDs.

Charlie May (the final third of Quiet Places) said that Dave is an encyclopedia when it comes to production…

Well I don't know anyone else who can play you Afghan funk from the 70s one moment and elusive BOC remixes the next. 

It was also mentioned that two rules of Quiet Places production included no beats and no grid and that Dennis as an amazing drummer. The first is probably handy for an ambient record, but how did Dennis adapt?

It's nice to work within limitations, it'll force you to do things you wouldn't normally. That's actually a principle we've started applying to Sentre as well, we're currently working with a palette of drum sounds and seeing how far we can push it. 

There's actually loads of rhythm in Quiet Places but it's hiding in arpeggios or edits we've done by hand and extrapolated out. It's really interesting that samples have a rhythm of their own when you don't force them to sit on a grid. (Doing drugs helps as well).

Some nice samples make an appearance in this isolatedmix too . Can you help shed some light on any of the samples in the QP record?

Dave and Charlie are the sample kings. We've sampled underwater creatures, ASMR videos, old interviews, UFO enthusiasts.... Our publisher had a job on his hands clearing all those!

Your isolatedmix runs the gauntlet in terms of styles but has a clear overall vibe. How would you describe it? Was that your original intent?

Yes, it was actually. We’re both big Weatherall fans and loved how he used to play a crazy mixture of music but somehow it all worked together. Jose Padilla was excellent at this too. We thought it would be interesting to try and do something similar as a little tribute to both Andrew and Jose. Hopefully, it works and people will enjoy it. 

‘The Interview’ is featured in your mix - a personal fave of mine. Is that your favorite track from the mysterioso?

The whole album deserves a listen in sequence to become properly immersed! My other favorites are 'Planet Lonely' and 'Protectionspell'

We generally like to pick obscure samples so that they can be chopped up to imply slightly odd things or they just completely lose any context. A lot of work went into that for the QP record.

Given the extensive use of samples throughout your productions, people on the street are going to be asking… ARE YOU DJ HEALER?

Sadly not. :(

~

Sentre | Soundcloud | Facebook

isolatedmix 100 - Tom Middleton

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.

~

astrangelyisolatedplace · isolatedmix 100 - Tom Middleton

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.

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

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.

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.

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.

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’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.