Strong and very emotive. Catches me. Excellent balance in disturbance and power.

Lend Me Your Radio - Apr 16

Tracklist

01. Circles in circles - Sonogaze
02. Dag Rosenqvist -  Med vänlig hälsning
03. James Osland and Andrew Heath - I Could Smell Summer In The Sea Air
04. Jogging House - Haystacks
05. Michael Grigoni - Pan•American - Baritone Boderlands
06. David Cordero & Rhucle - Triangle Inequality
07.  Runaway Horses and Valotihkuu - Distant Nightlights
08. Glacis and Polaroid Notes - To Be Watched
09. r beny -  Echoing Pastoral
10.  Between - As Well

416. Sleepy Sunday Podcast (Elm Records)

'Petrichor' is the third studio album from long-time collaborators James Osland and Andrew Heath, and serves as a natural continuation of their creative partnership following the release of Elysian Fields (2024), also on the esteemed Fluid Audio label.

The two artists were initially brought together by a shared admiration for each other’s work within the ambient music community. Andrew Heath is an established figure in the genre, with numerous albums and EPs released on respected imprints such as Disco Gecko, Whitelabrecs, Rusted Tone Recordings, Elm Records, and White Paddy Mountain. James Osland, meanwhile, is both an accomplished artist and the founder of Elm Records, a boutique label known for its thoughtful curation. His personal discography includes releases on Unknown Tone Records, Whitelabrecs, Flaming Pines, and Dewtone Recordings, among others. Osland’s practice explores the intersection of sound, memory, and place, working across both sonic and visual mediums.

Petrichor began to take shape during an exchange of ideas between the two artists in the late winter and early spring of 2024. As Andrew shared loops and sonic sketches, James found himself listening from his studio, watching the unrelenting English rain from the window. These moments of stillness-quiet reflections on the shifting of seasons-informed the mood and direction of the album.

What emerged is a collection of slowly evolving compositions, revealing gentle melodies, nuanced textures, and soft drones-much like the tender unfolding of early spring leaves. The album carefully weaves together field recordings, organic textures, and synthesis to create immersive soundscapes that capture the subtle beauty and contemplative atmosphere of seasonal change.

James Osland & Andrew Heath - Outside The Light Was Starting To Wane

Tracklist

01. Claire Rousay & Gretchen Korsmo - Spiral Branches
02. James Osland - The Last Breath Of Summer
03. Ghost and Tape - Pardinyas
04. The Deccan Traps - Kinder Ascent 
05. Julia Gjertsen and Gustav Davidsson - Into The Night
06. Pye Corner Audio - Memoria Del Agua
07.  Hadley Roe - When I Look Back...
08. Ian Hawgood - Live Texture I
09. Glacis -  To Begin Again
10. Masaya Ozaki - Frá Vatni
11. Darren McClure -Fernlike

427. Sleepy Sunday Podcast (Elm Records)

Fluid Audio presents Giulio Aldinucci & Matteo Uggeri - The Promise of a Threat coming soon on Fluid Audio...

In The Promise of a Threat, two veteran composers of ambient and electroacoustic music - Giulio Aldinucci and Matteo Uggeri - converge on a collaborative terrain that is at once intimate and immense, reflective and unsteady, beautiful and unsettling.

Created between June 2021 and early 2022, and mastered by Aldinucci in 2025, the album stands as a slow-burning document of digital and emotional correspondence. It reflects the language of ambient music not as static wallpaper, but as a deeply expressive form - one that allows silence and signal, memory and disturbance, to coexist within the same fragile space.

A Digital Dialogue Across Distance...

The entire work emerged through remote exchanges between Aldinucci (based in Siena, Italy) and Uggeri (Milan, Italy), unfolding gradually through shared sessions, sketches, and iterations over time. The process was not unlike the movement of tectonic plates - imperceptible at first, yet with weight and intention. Layers of processed field recordings, abstracted rhythms, and spectral textures accumulate into dense yet transparent forms. Every detail is traceable, yet elusive.

Giulio Aldinucci, known for his deeply spatial drones and sensitive treatment of field material, builds immersive sonic beds that seem to hover just above the surface of the Earth - simultaneously grounded in place and untethered from time. Matteo Uggeri, by contrast, applies a more tactile touch: assembling beats, samples, and environmental recordings into patterns that give pulse and tension to the atmosphere.

Together, their styles intersect in subtle and surprising ways - sometimes bleeding into one another, at other times standing apart in contrast. The balance between order and entropy, harmony and noise, creates a dynamic that speaks to the album’s title: The Promise of a Threat. Beauty does not arrive alone. It is always shadowed by its inverse.

Processes of Presence and Absence...

Across the album’s runtime, the listener is drawn through zones of dissolving melody and shadowy rhythm, passing through spaces that feel neither entirely natural nor entirely artificial. A drum sample on Track 2, provided by Andris Brinkmanis, adds a skeletal percussive element - a quiet agitation beneath the calm. The rhythms are not dominant but suggestive, like distant industrial echoes or memories of forgotten structures.

The artists manipulate the digital medium not as a tool of perfection, but of erosion and transformation. Hiss is preserved. Glitches are welcomed. The human ear remains present in every detail. The processing - granular, filtered, stretched - is not ornamental but fundamental, a way of sculpting emotion out of signal. Field recordings are often submerged, embedded beneath layers of drones and rhythms, yet their presence adds a layer of organic residue - a trace of wind, rust, or breath beneath the circuitry.

A Tactile Offering...

True to the ethos of Fluid Audio, the physical release of The Promise of a Threat will be crafted with great care and material sensitivity. Expect a limited, hand-assembled edition that honours the intimacy and intricacy of the music - an object to be held, as much as heard. Full packaging details and release date will follow.

For now, The Promise of a Threat lingers just at the edge of hearing - like the low hum of an incoming storm, or the quiet reassurance of knowing something is coming, even if its shape remains undefined.

www.fluidaudio.co.uk

So Finally I Stared at It All, Still and Satisfied

Tracklist

01. Lake Mary & Daniel Wyche -Deer's Breathe In Every Color
02. Rhucle & morimoto naoki - Kisui
03. Folk Reels - Youth
04. Akira Film Script - O
05. Ghost and Tape - Paredes
06. Richard Ginns - Beneath Our Feet
07. Altars Altars -  Balu
08. América Analógica - Anochece

430. Sleepy Sunday Podcast (Elm Records)

Tracklist

01. The Humble Bee -  13 jan 2010
02. Seaworthy & Matt Rösner - Whispered Surfaces
03. Ambalek - Heage
04. Darren Harper - Brook
05. Old Amica - Signal
06. Stijn Hüwels - Horizon
07. A winged Victory For The Sullen - Atomos
08. Arovane & Taylor Deupree - Neben_Ghost
09. Wil Bolton -  Skymning
10. Lorenz Weber - Nami-makori
11. Bird Battles - Moth River

432. Sleepy Sunday Podcast (Elm Records)

Gray Acres has always been a space for subtlety and restraint, distinct from the denser, more cinematic atmospheres of Hotel Neon. Where that project often explores process, technique, and narrative arcs, Gray Acres tends to be produced "in the moment" and stays still. It lets you think for yourself. Soft Erasure especially embraces that characteristic stillness.

This is the first full-length Gray Acres album since 2021’s “Dreams and Phantoms.” It’s a project that came together slowly with an intentionally light touch…more about dissolving sounds than constructing them. Subtraction vs. addition.

The title Soft Erasure came about as we noticed a recurring quality across the recordings: a sense of tangible things like guitars, pianos, and strings fading, softening, and slipping just out of reach as we shaped and processed them. The music feels like it’s constantly on the verge of vanishing, or being gently wiped away into an indistinct atmosphere. That idea of erasure not as violence, but as gentleness, decay, or transformation, felt like the right metaphor to latch on to. It speaks to memory, distance, and time, and how all of those forces shape and reshape our perception of sound and self.

Musically, this album is built mainly from resampled acoustic instruments: delicate piano lines, sustained strings, frozen and looped guitar textures. Much of the source material was recorded clean, then stretched, blurred, and layered until it became something abstract…like an impression of a song, or a half-remembered phrase. In some ways, we were trying to find the most washed-out and ephemeral version of each sound. The result is a record that is designed less for narrative and more for immersion.

If you’ve followed this project before, I think you’ll hear a natural continuation of its aesthetic. But if you’re new to Gray Acres, this is a great entry point. It’s music that tries not to demand attention, but rewards those who tune in closely for a while.

Gray Acres - Soft Erasure
Music by Andrew & Michael Tasselmyer
Mastered by Alex at Quiet Details

Gray Acres - Vestige

from 'A Requiem For Edward Snowden' [CD|LP|DIGITAL]
Denovali Records · den255
available on all formats at [http://denovali.com/matthewcollings]

MATTHEW COLLINGS is a Scotland-based composer. Not only being a solo recording and live artist, he collaborates regularly with artists from all kinds of fields including musicians (e.g. Dag Rosenqvist from JASPER TX and Denovali label mate TALVIHORROS), dancers and filmmakers. He’s responsible for several installations using custom-made software, which have been exhibited at Burning Man Festival in San Francisco or Glasgow's Centre for Contemporary Arts. His work for films includes a specially commissioned live score for Dziga Vertov’s 1929 silent classic, ‘The Man with the Movie Camera’ and an invitation to work on ‘The Invisibles’, a commission from Amnesty International.

'A Requiem for Edward Snowden' is a large scale live audiovisual performance piece that has been performed among others at the Glasgow Centre for Contemporary Art and the Gaudeamus Muziekweek in Utrecht. The piece focuses on a number of themes which are extremely relevant to our lives in the 21st century, based around the actions and decisions of whistleblower Edward Snowden; loss of faith and security, the hacking of digital media, invasion of privacy and personal sacrifice.

The documents released by Snowden reveal that we live in a world in which we are totally reliant not just on methods of communication, but on daily routines in which our privacy is completely compromised. The piece explores the consequences of this situation through a combination of electronic sound, acoustic instrumentation and live visuals. The gestures and performance from two live electronics performers, a clarinetist and string section are analysed and interact with real-time visual work by Jules Rawlinson (pixelmechanics.com), exploring the piece's central themes at sonic and visual levels.

'By turns politically muscular and poignantly nuanced, Collings' excellent piece is a heartening reminder of the quality of new music being created and performed in Scotland today' - The Herald Scotland

This album constitutes the entire musical part of the performance. However, as the piece was conceived as an audio-visual piece, the visuals are included as downloadable content.

A Requiem for Edward Snowden

Matthew Collings - Maersk Recorder

Taken from the album 'It’s Hard For Me To Say I’m Sorry' released as LP, CD and Download

Christian Fennesz & Jim O’Rourke 'I Just Want You To Stay (excerpt)' (EMEGO 221)

Ballet

Double

Taken from the forthcoming album Modern Pressure by Australian producer Kane Ikin.

Out soon on Type Recordings LLC.

http://www.typerecords.com

Kane Ikin - Crosstalk

Pattern Repetition 02

Drøne ‎– Reversing Into The Future (Extract)

This classic minimal music album is now available again on vinyl for the first time since the 70s.

https://www.aguirrerecords.com/collections/aguirre-records/products/terry-riley-persian-surgery-dervishes-2xlp

Californian composer Terry Riley’s In C, first issued on vinyl in 1968, is widely acknowledged as a Minimalist landmark that altered the course of twentieth-century music. His influential album A Rainbow In Curved Air, which appeared the following year, is a vivid fusion of rock and raga, jazz and psychedelia realised through overdubbing on an 8-track machine which had recently been installed at the studios of Columbia Records.  

By the early 70s Riley had come to feel that scores were a distraction. Faithful interpretation of an already written piece was a deviation from the true purpose of making music, which was spiritual quest. Fortunately, some of those live performances, personal journeys towards a state of transcendence, were captured on tape. Persian Surgery Dervishes, issued initially on the French label Shandar, features two such concerts for electric organ and reel-to-reel delay, one recorded in Los Angeles on 18th April 1971, the other in Paris on 24th May 1972.

At the start of that decade Riley became a dedicated student of the great Hindustani singer Pandit Pran Nath. Looking into North Indian classical tradition he found correspondences to modal and cyclic ideas that he was already working on. In 1971, as a way to learn more, Riley himself started teaching Indian music at Mills College, in Oakland. That experience fed directly into his solo keyboard performances, but other influences were also shaping the music heard on Persian Surgery Dervishes. Personal research into ancient Persian culture and the poetry of Rumi lit up his imagination, while the repetitive swirling of Sufi devotional music from North Africa, which Riley had first encountered in Europe during the early 60s, reverberates through these performances. Jazz, as conceived by such masters such as Bill Evans and John Coltrane, is also present as an enduring source of inspiration. 

The Californian version of Persian Surgery Dervishes starts with low dark tones, dense and brooding like a huddled human figure, deep in introspection. But as the improvisation unfolds Riley’s buoyant spirit asserts itself, spiralling out in ecstatic coils, as though liberated from the grip of body consciousness. The Parisian concert conveys a different mood, brighter and more open in texture, more relaxed from the outset and breathing with greater freedom as it takes flight. 

Echoes of Terry Riley’s inspired music have spread far and wide - into progressive rock, New Age and ambient soundings, film soundtracks, blissed-out electronica and dance-floor trance. His fluent and hypnotic keyboard playing can be heard as part of a continuum, transmitting energies from ancient and distant musical sources into the living here and now. Persian Surgery Dervishes is a significant part of that picture, a mesmerising record of a vital stage in Riley’s ongoing quest for connection with the universal mind and the sublime music that flows ceaselessly from it. 

“Music is my spiritual path. It’s my way of finding out who I am.”  Terry Riley, in 1976

Terry Riley - Persian Surgery Dervishes - Performance 02 Part 1

Through Inland - Vanessa Wagner - was able to gift us with imaginary landscapes, through which the listeners could roam freely in a gently throbbing natural world, and where each note was a step and every sound formed a path… Inland Versions is the electronic extension of the project and includes 6 reworks by GAS, Suzanne Ciani, Vladislav Delay, Marc Melia, Hüma Utku and Nadia Struiwigh 

Your are listening to https://soundcloud.com/nadiastruiwigh rework for Vanessa Wagner´s piano solo interpretation for Philip Glass`s Etude 9. 

Inland Remixes available in 12" and all digital platforms on september 27th 

Preorder on Bleep (clear vinyl version ) -https://bleep.com/release/138667-vanessa-wagner-inland-versions

Pre-order

Vanessa Wagner - Etude 9 Nadia Struiwigh Experimental Edit [Philip Glass]

This piece, initially titled "Untitled 14 March" is now featured on my new album "In a Few Places Along the River" released via Bandcamp on 01/02/2022

https://abulmogard.bandcamp.com/album/in-a-few-places-along-the-river

Thanks to William Oldroyd for providing the initial inspiration for this piece.

Matthew Collings - Maersk Recorder

Denovali

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