ASIP - Reflection on 2020

As with all past ‘Reflection’ year-end mixes, I start with a collection of albums I have enjoyed over the year. Through the process of compiling a mix that flows well, songs are whittled down and selected from this collection. This means many of my favorite tracks and albums are often omitted in the process, due to the need for them to fit in a mix that comes together as organically as possible. As I say every year, this isn’t a definitive ‘best-of’ list, but a selection of some of my favorite music from the year in one easily listenable format. It’s the most enjoyable way for me to boil down music I’ve loved from the year using these self-imposed restrictions, for you to then enjoy and discover more. I encourage you to use the mix to jump off and explore each artist, album and label (and check the Buy Music Club list).

~

This year was different. Well, of course, in an obvious mask-over-the-face-lock-down kinda way, but all that aside, the amount of music made and consumed by all accounts was like no other year. No doubt, because everyone is locked-up inside, encouraged by platforms like Bandcamp and the now regular ‘Bandcamp Fridays’. As a result, this years Reflection mix started as a daunting effort and took me to developing a slightly new process to get it over the line.

Listening behaviors were forcibly changed for all of us. In addition to the crazy Bandcamp Friday release rampages, Live streams became the weekend plans and we had a brilliant year over on 9128.live hosting five weekend takeovers, which, by all accounts provided some amazing respite as we all hunkered down inside. We never would’ve guessed in August 2019 when we launched 9128.live, that online streaming events would be such a focus for the entire year ahead. As a result of the takeovers; the DJs; live acts; labels, and a bunch of listeners ID’ing music in the chat, music discovery accelerated even further (for me atleast) during these takeovers. An example track ID list from the last takeover can be found here.

This seems to be the first year I haven’t been able to keep up syncing purchases on my hard-drive (which is primed for mix prep due to my playlist organization OCD). I still listened to it all, but I listened even more through the Bandcamp app, so haven’t felt the need to obsessively download it all throughout the year. That was a problem if I was going to start compiling the mix in my usual way with digital files…

As a result, I decided to create even more self-imposed-restrictions (always needed given the enormity of choice) and began by mixing some vinyl from the past year.

I got about an hours worth of a good mix which I was happy with enough to exist online for eternity - just cherry-picking records from my 2020 collection, recording until I had a mix that sounded a bit shoddy. At that point, I was a little relieved, as a direction and vibe had already been set and would pave the way for the rest of the mix to be built. (It also gave me the opportunity to swap out the first track post recording, which began with some bad static for some reason). So the mix ended up being about an hours worth of vinyl, followed by digital. I know some people really don’t give a crap how a mix was made, but this helped with my overall curation process and ensured it actually got done!

Upon reflection, the mix manages to hit on my 2020 music spectrum and gives a good idea of what I’ve had on rotation. Lots of deep textured ambient (LOG, Slow Reels, KMRU, Patricia Wolf, Chronovalve etc - this part could go on forever), abstract beat driven atmospheres (Evan Caminiti, Daniel Avery, Space Afrika, Tomas Jirku etc) and the more joyous, playful, euphoric side of electronic music (Ian Boddy, Pub, DJ Lostboi, Rone etc). My rave roots rarely disappear it seems and muscle memory still finds a way through via Sophia Loizou and later on in full force with Wardown. Maybe in a desperate desire to return to events listening to DJs and Live acts, I wanted to end the mix on a high-note, and hopefully lift-up the terrible year it’s been for everyone.

This year’s mix; vinyl or not, every track is available on Bandcamp. Score any of them below using the Buy Music Club list and for even more music I’ve been enjoying this this year, see my Bandcamp collection.

Thank you for reading, listening, supporting in 2020, before and beyond. I hope you can escape for a few hours with this mix, as it ending up being a joy to piece together and reflect on the great music from the year, not only included in the mix, but also the many other albums I simply could not fit in but had fun revisiting during the process.

Listen on Soundcloud, Mixcloud, or the ASIP Podcast.

Download

astrangelyisolatedplace · ASIP - Reflection on 2020

Tracklist:

000.00. Yumiko Moriaka - 銀の船 (Métron Records)
004.41. LOG - Log 9 (Experiences Ltd)
008.19. Úlfur (Ft. Cellist Gyda Valtýsdóttir) - Feathered (Touch The Plants)
011.13. Yumi Iwaki - Initial Tidings (Mystery Circles)
015.00. Slow Reels - Miya (Morr Music)
016.45. Rafael Anton Irisarri - Arduous Clarity (Dais)
020.13. Ian Boddy - Omicron (Behind The Sky)
025.00. Jonathan Fitoussi - Oceans (Transversales Disques)
028.00. Evan Caminiti - Plume (Dust Editions)
031.20. LF58 - Iniziazione (Astral Industries)
034.45. Night Sea - This Will Take Time (Silent Season)
039.25. Neel - Alchemy (Ido)
043.20. Sophia Loizou - Vestal Waters (Houndstooth)
047.06. Tomas Jirku - Entropy 8 (Silent Season)
051.05. Daniel Avery - Into The Arms of Stillness (Phantasy Sound)
056.32. Abfahrt Hinwil - Phase4 (Lapsus Records)
059.00. Pub - Fragile Root (Ampoule)
1.03.10. Space Africa - Self (Self)
1.04.45. DJ Lostboi - Ordinary People (Queeste)
1.07.09. Lucy Gooch - We Carry (Looking Glass)
1.10.15. Robert Lippock - With Tomorrow (7K!)
1.12.30. HVL - newenslo (Self)
1.20.00 KMRU - ulmma (Seil)
1.23.10. Patricia Wolf - All Things Change (Beacon Sound)
1.25.17. Perila & Ulla - Every something is an echo of nothing (Silence)
1.27.53. Awakened Souls & Pepo Galán - Center of the Sea (Hush Hush)
1.30.25 Chronovalve - Breathing Space (Home Normal)
1.34.39. Adam Wiltzie - How to Disappear inside a thirty-piece Orchestra (7K!)
1.37.37. Epic 45 - Sidings (Wayside & Woodland)
1.39.24. Ocoeur - Ascent (n5MD)
1.43.47. nthng - With You (Lobster Theremin)
1.50.10. Wardown - Culverhouse (Blu Mar Ten)
1.53.17. Rone - Human (InFiné)
1.58.55. Malibu - Lost At Sea (Kelly Moran remix) (Uno NYC)
2.02.34. Il Quadro di Troisi - Real (Raster)
RIP Harold Budd, Pauline Anna Strom & José Padilla.

2020 ASIP Label Showcase (Mixed Edition + CD)

After our successful 2019 edition, our annual label retrospective has now evolved in tradition to include a mixed edition available on CD (and of course digital).

Featuring one track from each of our 2020 releases, the digital download is now available alongside the CD, with the latter featuring a few additional tracks that aren’t available individually.

The artwork is always a personal choice for this compilation - and reflects my year in some way or another. This time, it features screen-grabs from a film that not only visually felt relevant, but captured the notion of everyone being inside - wishing to be somewhere else. I won’t say which film it was incase I get into issues, but lets just say it’s a heart-warming film about a man who did everything he could to escape reality and get in contact with others.

A big thank you to all of the artists for a brilliant year, and to you, for listening and supporting our music.

We also have a limited set of download cards available to purchase with this release - a perfect gift to introduce someone to the label maybe!

Available on Bandcamp.

Video: Gadi Sassoon & Luigi Ziliani - MACROCOSMO

We are excited to present a new film by Gadi Sassoon and the visual artist for his new record, Luigi Ziliani.

Titled MACROCOSMO, the film features music from Gadi’s album Multiverse (available here) and stunning visuals by artist Luigi Ziliani that debuted as part of their TEDxLakeComo presentation late last year.

Music:
Gadi Sassoon - Moto Perpetuo
Gadi Sassoon - Life On A Tidally Locked Planet
Listen to Multiverse, here.

ASIP HQ - Custom shelving and DJ setup

This seems a little self-gratuitous to post on here, but I spent a long time searching for inspiration on a setup for my equipment and records, so I hope more people might find it helpful if they are looking for something similar.

After years of trying to find the perfect solution, I have recently completed the bulk of my dream “DJ” setup. It took me a while to decide whether I wanted a full wall of records, or to incorporate the equipment somehow, and it wasn’t until I saw something similar from my friend Joel Mull (ASIP Artist, Damm) that I decided to do both.

Before this, I was looking at a myriad of potential shelving solutions to fit the room. I needed something as custom as possible to maximize the space, and a few key negotiables.

At first, I looked at Rakks, which is extremely modular, but ended up being expensive and not the ‘natural’ look I had hoped for. I also entertained Vitsoe (designed by Dieter Rams), which is similar to the more popular Floyd Shelving System (whom Ghostly have a collab version with) but then started to see the price tags... Additionally, all three sit within the same realm but rely on certain dimensions to an extent. So either way, I would’ve ended up leaving space against the wall at some point. But if industrial is the look you are going for out of the box, these are probably your best bet.

Once I had decided that the wall space needed to incorporate my equipment (I had entertained building a separate island in the middle of the room at one point) I decided that my ‘dream’ scenario was too custom for the above shelving systems. I had a few must haves (otherwise I’d be sticking with my Ikea Kallax for another lifetime):

• An ear-height monitor shelf.

• A drawer, or option to tuck my turntables - so not only can my feet place underneath to help with my back, but to maximize space.

• A diagonal-placed shelf for CDJs + laptop (which even works as a record display)

• And the biggest missing component from out-of-the-box shelving systems- record store style forward facing “bins”… after years of flicking through albums sideways at home, any vinyl collector will likely attest to how much more enjoyable it is to flick through records front-facing - with artwork in full and that natural digger-finger in full power!

Inspiration, (bad) drawings in keynote, and shots of works in progress

So I started looking for a woodsman/ carpenter to build it from scratch and luckily I found just the man, Mike - ( I’m happy to share his details if you get in touch).

The shelving sections came together quite easily according to Mike - basic shelving cut to requirements, but it was the turntable drawer that was yet to be worked out…

Once the 4 main sectional shelving units were created (left bottom, right bottom and two top), they were installed (without the turntable draw or CDJ shelf). At this point, I painted the shelves white (another big decision, after debating leaving them a natural wood color).

Mike then attacked the turntable drawer, using solid pieces of Oak and joining without screws to keep the seams and exterior sides smooth and feel like one solid chunk of wood. Mike had my equipment to hand to make the recessed sections perfectly, but what we hadn’t worked out yet was how it a) all fitted together with sprawling cables out of the back b) how far it had to pull out to give enough clearance once all in place and c) the final stain/ color of the draw.

Turntable Drawer up close (mid-blend!)

Color was decided first, after debating a black stain, or matching the lighter oak wood floor - I wanted something that contrasted with the white, yet felt natural and homely, so opted for a ‘Trans Red Oxide’ stain which I liked the sound of as well as nailing the desired effect. Once we had it stained and all the shelving painted white, Mike started to install the drawer on heavy duty slides, pulling out a further 6-inches from the furthest front alignment.

With the drawer in, we hung the angled shelf which would hold the CDJs. This was hollow, to allow wires to drop through two side holes (with added desk grommets) - a decision I was later thankful for, after nearly hacking a square out of the middle to allow for access, and drilled the entire thing into the studs to ensure stability.

Turntable Drawer sliders

Time to install the equipment.

After dropping in the turntables and mixer and pinching my fingers numerous times, I quickly found out the myriad of cables out the back did not have enough clearance - especially because the angled shelf was now installed above, it made getting back there even harder to fiddle around. So we had to remove the drawer and clear some additional notches at the back - open it up a little more.

Additionally, it was at this point we took advantage of having it out again, and added small holes under the draw - enough to get a finger through - to poke the bottom of the equipment to help leverage out again (as it was near impossible to get it out the first time due to them being flush).

The control panel

After installation, and of course after a few high-volume mixes to test it all out and make sure it didn’t fall off the walls, I started to look at the smaller details needed to add.

I’ve added cabinet lighting to the left and right record bins, and intend to add a library-style light in the central position. Then I need to attempt to tidy up the cables at the back a bit. After that, and as long as my trusty Pioneer and Technics hold up and (a flash new mixer stays at bay) I should be able to leave it be, and enjoy it to its fullest with a few friends (one day!)

A big thank you to the talented woodsman, Mike who helped fulfill my ambition and going the extra mile; Joel for his inspiration; and to my wife who helped with the grueling paint job.

Hope you enjoyed reading about the process.

Record “Bins” with added perspex dividers (and a prototype ASIP divider)

Choon.

Ready for takeoff

isolatedmix 105 - SaffronKeira

After a string of powerful albums with the Denovali label, Eugenio Caria is quickly becoming synonymous with the more epic and intense side of ambient music. Often introducing beats or IDM influences, amongst classical elements and big swells of atmospheric textures, with albums normally built upon strong, vivid concepts, SaffronKeira’s music draws you in for the full, immersive, storytelling experience.

Eugenio’s 2019 album ‘Automatism’, sat with many of my faves of the year, and with the new album ‘In Origine: The Field Of Repentance’ released just a few months ago, it’s clear that SaffronKeira has a lot to give. We sat down with Eugenio to ask a few questions to accompany his suitably powerful isolatedmix.

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Hi Eugenio, thank you for the isolatedmix and for the brilliant new album.
Hi Ryan! Thanks to you!

Many will undoubtedly know you as a producer in your own right, but some keen eyes may have spotted you on the credits of our recent Blinkar från Norr record. Can you tell us about that experience?

Yes, working with Andrea it was a really good experience, also because here in Sardinia we are very few who produce this kind of music ... when I meet Andrea he showed me his knowledge and passion of “that kind of music” and I see again myself at his age…

Andrea in the beginning, was a student of mine, studying production and some skills started to appear from his mind pretty soon… he’s shy but with a lot of intelligence and musical culture from such a young age. In the few years he has been producing music I have seen him embark on a beautiful musical journey. I think ‘Metaphors For Things’ is a great album! Working in my studio at ‘Suvitas’ was a pleasure with lots of good times and shared comparisons and choices together with him.

What do you try and bring to a new production relationship like this? Can you describe the process with Andrea?

I try to take the production to a higher level - trying to fill some gaps and give a continuous mood/color. But I always respect the philosophy and the will of the artist and look for a compromise through a comparison between us, trying to establish a long-term relationship and trust. It is very difficult to get your hands on work of others without compromising their vision sometimes, as it is still something intimate and personal. From my point of view the additional production is a different example from mastering (for example). Mastering is an art undoubtedly, and in many cases it gives high value to potentially dull work, but a mix for example, can drastically change a piece of music. 

Regarding the process with Andrea, we worked on the original material to create new drone layering through the use of echo tapes such as Roland Space echo, Chorus Echo and different vintage outboards. We also used different delay and reverbs trying to better understand the spaces by finding the right balance and also trying to remove - in some cases - that digital touch, trying to make it warmer and more alive. Then we moved on to the arrangement.

Your new album, ‘In Origine: The Field Of Repentence’ incorporates Jazz artist Paolo Fresu - what was the idea behind this collaboration?

I already released an album - ‘Cause and effect’ in 2013 with another Sardinia Trumpeter and I was astonished of the power and soul of this instrument. Paolo Fresu is one of the best trumpet players in the world, and he has worked with other heroes such Jon Hassell, Nils Petter Molvaer and many others. Here in Sardinia he’s an institution and a legend and I’ve know him as an artist since when I was kid… It was one of my goals to make a record with him, so I started some years ago to write draft/landscape sounds thinking about his projection with his great instruments on top of my music, even before I knew he would accept this collaboration.

It may have also came about from the relationship we have with our magic island ‘Sardinia’…

Tell us about that… Sardinia seems to have a lot of great music exports - why do you think that is? How does the music scene differ from the mainland at all?

Yes it's true, the Sardinian scene really has a lot of talented artists who are making their way and exporting their sound all over the world. See for example artists like: Claudio PRC, Dusty Kid, Perry Frank, Paolo Angeli, Paolo Fresu, Stefano Guzzetti (and Blinkar från Norr) just to name a few. All different from each other but each with their own identity which I believe is also transmitted by the power and magic of this land.

I believe that being partially isolated, we withdraw into ourselves by isolating ourselves and allowing ourselves to be contaminated by the scents and climate of this land, sometimes even by the desolation that occurs in the winter months... in the end I think this answer has a connection with ASIP :) a strangely isolated place = that's what Sardinia is!

You’ve been releasing on Denovali since 2012 as your only label home. Can you tell us a about your relationship with them?\

Well, like you said it’s like my home now. They were the first to believe in my art…and I feel super comfortable without any kind of pressure. The first love is never forgotten

Where do you take your inspiration from musically?

I try to find inspiration continuously, traveling, knowing and confronting myself with new and different cultures. This has given me so much in terms of inspiration. Unfortunately for problems that we all know, we cannot travel and I miss this so much. But all of this is also a time for reflection and inspiration; when you are hungry for culture, traveling is like a drug!

It allows me to escape and paint new ideas in my head that I can turn into music, so now that all of this is missing it makes me think a lot…

Other sources of inspiration include the music itself, movies, books, and nature is obviously always in the foreground. But also a man in his actions of the past and present is a primary factor that leads me to be inspired to make music… In fact the concept of my new album ‘In Origine: The Field of Repentance’ came from here.

I see you play live and recently played the notorious Funkhaus in Germany. What elements do you incorporate into your live sets?

Yes, such a great experience, with a great audience; lineup; soundsystem and a magical place… If you have never been there you can’t imagine. The acoustics are fabulous.

Funkhaus is a temple of music, a journey through time. In this specific live set, I incorporated some draft and unfinished material from the new album and I used some trumpet loops that I had from Paolo Fresu’s recordings, processed live with a granular fx + some improvisation on a Eurorack system. Plus some unreleased material - I used a lot of beat, idm, ambient stuff.

Can you tell us about your isolatedmix and the idea behind it?

When I choose the music my main idea it was to have a continuous mood/status/path of thinking that would fit the ASIP world, but without using all music from the ASIP catalog. I hope that I reached this goal and the listener will have a good feeling… I’m huge fan of the isolated mix series!

Listen on Soundcloud, Mixcloud, or the ASIP Podcast.

astrangelyisolatedplace · isolatedmix 105 - SaffronKeira

Download

Tracklist

01. Blinkar från Norr - Motionless
02. Biosphere - Birds Fly by Flapping Their Wings (v2)
03. Becoming Animal - The Sky Is Ever Falling (Abul Mogard Remix)
04. Emra Grid - Trace It Back
05. Lawrence English - Hapless Gatherer
06. Cristian Vogel - Signal Symbol
07. Emra Grid - Fifteen Day Trilogy
08. Rafael Anton Irisarri - Black Pitch
09. Siavash Amini and Saåad - Dragging the Harrow
10. LF58 - Metamorfosi
11. Alina Kalancea - Devil's Lullaby
12. Saffronkeira - Chthonian (w/Mia Zabelka)

SaffronKeira | Bandcamp | Soundcloud | Denovali