Two tracks taken from the stunning album 'Misty Shroud Of Regrets' by Day Before Us.

Info / Images:

www.fluid-radio.co.uk/2013/12/day-before-us-misty-shroud-of-regrets

Record Label:

www.rageineden.org

Artist:

www.daybeforeus.tumblr.com

Buy:

www.daybeforeus1.bandcamp.com

Day Before Us - The Iron Shroud / Day Before Us

Full Review:

www.fluid-radio.co.uk/2011/06/bon-iver-%E2%80%93-bon-iver/

Bon Iver - Wash.

And now, looking down on us from heaven, you will find the peace you deserve and you will be reunited with dad, uncles, cousins ​​and some of our friends... I offer these sounds so that all of you can connect and celebrate the beautiful memories of the past. I will never forget you brother, I will never forget you family... In memory of Nacho Galán "Jaula"

Music composed by Pepo Galán, with contributions from Sita Ostheimer, Karen Vogt, Bicyclops, Mark Crocker, Ohmu, Hannah Elizabeth Cox, Lee Yi, Daniel Rosenholm and Mi Cosa de Resistance.

Mastered at Black Knoll Studio (NY) by Rafael Anton Irisarri.

Designed by Daniel Crossley (Fluid Audio)



Pepo Galán - She Lost You (ft. Sita Ostheimer)

The Moorish Shield is a subjective navigation. The main beacon on this poetic and haunted route is a villa from the beginning of the twentieth century, called La Mauresque, located in Saint-Jean-Cap-Ferrat, on the French Riviera. Its owners (past and present), its location (nested at the end of the cape, almost invisible…) and the spirit of this place (where, through the ages, the stunning beauty of the landscape always hides a darker dimension…) give matter to sonic explorations, based on field recordings, out of tune pianos, radio interceptions, ghostly tones and tape manipulations. The title comes from a Moroccan symbol placed at the entrance of the villa by its most famous owner: novelist William Somerset Maugham. The main traditional function of such a symbol - central to Maugham’s life - is to protect from the evil eye, while deflecting the evil power back onto the malevolent. The eleven tracks of The Moorish Shield explore this ambivalent relationship between sun and shade and question what a Riviera landscape hides in the Mediterranean bright light, behind the perfectly maintained hedges, through the passing of decades.

Written and produced by squncr
Mastered by Julien Bayle/Void Label
Designed by Daniel Crossley

squncr - Umbrella Pine

Originally, both of these long form tracks served as the basis for sound baths I performed for friends and families. I would hit play and then make some sounds in the physical space, focusing on objects in the environment (rustling the leaves on a bush, hitting a metal fence with a stick, clicking stones, etc). I always intended for these tracks to also be able to hold up on their own, so here we are.  

When is a song done? Don’t we just arbitrarily decide when to call it? I like the idea of this only being part of the “song”, and that the “song” is always changing. After each performance I added little pieces of the fresh live sounds into the pre-recorded mix. There will likely be more performances, so the tracks will change further. This is just where they are now. And I like that.

As I worked on these tracks over the last few years, the theme of impermanence became more clear to me. My father was lying on the grass in my parent’s yard for the first performance. That was in 2020, during the pandemic. Recently, my father passed away, so I’m dedicating these songs to him. He was a landscape architect, and I always loved how that sounded, and I always loved him.

Performed, recorded, and mixed by nat hawks between 2020-2024.

Dedicated to dad.

- padna


padna - vol.1 (sample)

Blurstem’s 'Remnants and Whispers' is an album of memory-of echoes and fragments, of moments gathered and reshaped, of the past carried gently into the present. Released on Fluid Audio, renowned for its exquisitely crafted physical editions, this collection of soundscapes and textures is imbued with nostalgia, intimacy, and the quiet weight of time.

The album weaves together the delicate and the vast, the small and the sweeping. Tiny, almost imperceptible guitar plucks flicker like candlelight amidst expansive ambient washes. The sonic palette moves seamlessly between lo-fi warmth and pristine clarity, embracing the imperfections of cassette recording and the wobbly, warbled charm of home videos from a lost era. Each track breathes with a human touch-organic instruments processed and reimagined, from tremolo strings pitched and resampled on “Tethered” to layers of sound that feel like old photographs brought to life.

At its heart, 'Remnants and Whispers' explores the idea of remnants-what we carry with us through life, the fragments of friendships, memories, and fleeting moments that shape who we are. Much like the album’s sonic construction-built from past sketches, ideas, and textures revived and given new form-the music mirrors the way we collect and reinterpret our own experiences over time.

This ethos extends beyond the music itself into its physical presentation, with Fluid Audio’s deluxe edition incorporating 1920s sheet music and book fragments as old as the 1890s-historical relics that feel like the perfect visual counterpart to the album’s themes of memory, loss, and renewal. The tactile nature of these artifacts deepens the listening experience, making 'Remnants and Whispers' not just an album, but a tangible connection to the past.

Mastered on Bartels’ late ’60s analog tape machine, the album’s final touch further enhances its warmth and character, adding an unmistakable depth and timeless quality to its sonic palette.

A meditation on change, nostalgia, and the beauty of imperfection, Remnants and Whispers is an invitation to pause, reflect, and listen-not just to the music, but to the quiet echoes of our own stories.

Music: Blurstem
Mastering: Bartels
Design: Crossley

www.fluidaudio.co.uk
www.blurstem.bandcamp.com

Blurstem - Along the Rails

'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

This album is the culmination of an ongoing exploration of musical and sonic concepts, including mutation, evolution over time, generative patterns, sampling and re-sampling. Several tracks from the album have been performed, presented, and utilized in various formats, such as concerts,
performances, or installations-either in their entirety or specific sections.

The six tracks represent the distilled essence of a creative process that commenced in 2020, characterized by continual iteration, variation, and the transformation of formless clusters of melodies, harmonies, or mere textures into somewhat finished compositions.

Each musical piece has been a companion to me for an unusually extended period (something it rarely happens in my process). Much like features in a landscape, these tracks have shaped a geography of memories, places, and fleeting moments over an exceptionally prolonged time in my life (with some, like Bancal, tracing back to 2014). Consequently, the personal and emotional weight they carry is significant and necessitates being acknowledged to make room for the new and unexpected.

In Valencian, "una geografia temporal" translates to “a temporary geography."

Edu Comelles - Mola

Tament is an exploration of sound as both memory and possibility-an attempt to blur the boundary between the concrete and the imagined, the heard and the felt. This album is born out of an ongoing curiosity: what kind of dialogue can exist between the raw, unfiltered audio of the everyday and the abstract sonic worlds we construct through synthesis and production?

At its core, Tament weaves together field recordings, modular synthesizers, and software-generated textures. The ambient recordings are drawn directly from the soundscapes that surround me: the footsteps echoing through familiar streets, fragments of passing conversations, distant traffic, the subtle rhythms of urban life. These are the sounds that often fade into the background, yet they form the soundtrack of my existence. By capturing them, manipulating them, and placing them in new contexts, I aimed to reframe the ordinary-to open a space where the habitual becomes mysterious, and the familiar is rendered strange.

This project is not about documentation or representation. Rather, it’s about translation. I wanted to create an alternate version of the spaces I move through-a kind of dream logic of place, where reality is stretched and reassembled into something more ambiguous, immersive, and open-ended. In doing so, Tament becomes a liminal zone, a place between places.

Just as important as the sound itself was the intention behind its structure-or rather, the lack of imposed structure. I deliberately avoided giving the tracks a fixed narrative or emotional direction. There are no clear themes or guiding concepts here. The music offers a frame, not a story. It is a space left intentionally undefined, allowing each listener to encounter it without expectation, to inhabit it on their own terms. In that sense, Tament is less an album and more a set of sonic invitations.

It is about listening closely, noticing what usually slips past us, and discovering new meaning in repetition, texture, and silence - Glinca

Music, production, and mixing by Tazio Iacobacci
Mastering by Sebastiano D’Amico at Zen Arcade
Track 8 - 'Horocele', features Francesco Canè on modular synthesiser
Design by Daniel Crossley

Glinca - Alized

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

Fluid Audio announces 'Series Of Room', the quietly moving new release from Italian composer Grotta Veterano. Mastered by Ian Hawgood and featuring cover artwork by Danish artist Øjerum, the album offers a deeply introspective journey through sound, memory, and emotional architecture.

Initially recorded as a series of private piano sketches - “written improvisations, controlled sketches” - the tracks were never intended as a cohesive album. Yet when brought together, they began to resemble something whole: a constellation of internal spaces, unresolved and beautifully unrefined.

“They ended up becoming a series of rooms,” writes Grotta Veterano, “each one made of memory, of recurring fragments from the past, reconstructed over time. When I say ‘a series of rooms,’ I mean the ones we carry inside us, not physical spaces.”

Each piece unfolds like an overheard thought, a door left ajar. There’s no grand statement here-only presence, absence, and the trace of something lived. With its unadorned fragility and its refusal to over-explain, Series Of Room speaks in the language of quiet honesty.

The album is presented in a meticulously handcrafted edition of 50 copies, drawing from the same tradition of tactile collage and analogue storytelling that has defined recent Fluid Audio editions. Each set features original Ordnance Survey map segments, cloth-backed and carefully bound, forming a unique shell for each copy. Also included are custom-designed A6 prints on heavyweight uncoated stock, vintage photographic slides, black & white travel photographs, photo negatives, and salvaged book pages from. Fragments of reel-to-reel field recording tape, antique travel stubs, and ephemera gathered from forgotten drawers complete the assembly.

All elements are housed in a hand-waxed, stamped, scented archival bag, individually numbered. No two packages are alike. No repress.

Audio: Grotta Veterano
Mastering: Ian Hawgood
Cover artwork: Øjerum
Design: Daniel Crossley

Grotta Veterano - For The Birds

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

Recorded between March and June of this year, Future Flowers is both a reflection and a rebirth - a gentle yet resolute act of hope from composer Hans Nox.

Some of these pieces have lived quietly for years - written a decade or more ago, resting like seeds beneath the soil. Others emerged spontaneously during the recording sessions, unfolding in real time as Hans allowed instinct and feeling to take the lead. The result is an album that bridges past and present, memory and anticipation - where old melodies find new breath, and improvisation opens unexpected pathways.

“I wanted the entire experience to be more free-flowing, more playful, more adventurous than the usual cautious approach I take to composing,” Hans writes. “Rather than regretting where I’ve been or the paths that led nowhere, I’ve chosen to trust my Savior and strive toward the brightness ahead. Yesterday is gone - tomorrow is coming. How much better it is to pursue confidence and courage.”

That sense of spiritual renewal and creative surrender runs through every note. There is a tender humanness here - fragile piano phrases that pause as if mid-thought, ambient textures that drift like light across water, melodies that carry both ache and affirmation. Even the silences seem to speak, offering a kind of stillness that listens back.

Future Flowers is, in many ways, an album about release - about letting go of the weight of the past to make room for something more open, more alive. It celebrates the decision to move forward with faith and boldness, even when the path ahead is unclear. The music does not rush; it unfolds patiently, like petals opening in the sun - quiet gestures of trust and becoming.

Like its title suggests, Future Flowers invites us to believe in renewal - to tend to the unseen roots beneath our lives, trusting that beauty will bloom again in time.

In keeping with the spirit of the music, this release has been lovingly hand-assembled in a limited Fluid Audio edition, pairing Hans Nox’s compositions with bespoke artwork and tactile design. Natural textures, archival papers, and hand-numbered inserts bring a physical warmth to the experience - each copy a small act of devotion, crafted with the same care and intentionality that shaped the album itself.

Gentle, honest, and filled with quiet light, Future Flowers is not just a collection of songs - it’s a testament to resilience, to grace, and to the faith that something beautiful still lies ahead.

Music - Hans Nox
Mastering - Ian Hawgood
Design - Daniel Crossley

Hold Fast

Coming soon...

Somewhere between now and the future, a hunt begins in the blue neon space before darkness. The near dark.

Gideon Wolf’s new album lives in the headlights on that empty road, sweeping the distant violence at high speed. A soundtrack to the escape from a Ballardian dystopia.

‘Near Dark’ sees the duelling elements of Tristan Shorr’s musical output merge into one; prophetic ambience driving headlong into rhythm and distortion.  

Think Ben Frost and Max Richter colliding in a futuristic urban landscape – “a vertical Kubrick event horizon that is equal parts Nils Frahm and Oren Ambarchi” (Cyclic Defrost).

Mastered with precision by James Plotkin, the album will be limited to 200 copies, for release in September 2015, with packaging in the customary Fluid Audio style.

www.fluidaudio.co.uk

Gideon Wolf - Hunger

Track taken from the upcoming album 'Pan Tone' on Sonic Pieces.

Full Fluid Radio review here:

http://www.fluid-radio.co.uk/2011/09/hauschka-hildur-gudnadottir-pan-tone

Hauschka & Hildur Gudnadottir - black6

Taken from the upcoming album 'Transient Accidents' on Fluid Audio...

- All tracks produced, mixed and arranged by Sara Galán and Edu Comelles. 

- Album recorded during the first weeks of August 2015 at Espai Rambleta in Valencia, Eastern Spain.

- Mastered by Jaume Muntsant.

www.fluidaudio.bigcartel.com

Cello & Laptop - On The Verge

My father died on 16 March 2011.  His body had battled emphysema for years.  After complications caused by a bout of pneumonia he finally succumbed.  In the aftermath of these events I turned to my piano for solace and escape.  The resulting record attempts to address the emotions experienced during the 7 days between his death and funeral.  In collaboration with Ed Hamilton, who brilliantly tapped in to my experience and emotion, and with contributions from Christoph Berg, this record is about, and in memory of, my father. - Euan

............

Glacis is Euan Alexander Millar-McMeeken with Ed Hamilton

All pieces written and performed by Euan Alexander Millar-McMeeken and Ed Hamilton

Violins on tracks 1, 5 & 7 performed and arranged by Christoph Berg

Violins on track 6 performed by Christoph Berg, arranged by Ed Hamilton

Piano recordings by Ana Roman and Alex Galler at the University of Edinburgh

Produced and mixed by Ed Hamilton

Mastered by James Plotkin

Art by Todd Umhoefer
www.oldearthcontact.bandcamp.com

Writing by Ali Millar 
www.readthesupplement.com

Released through Fluid Audio (May 2016)
www.fluidaudio.bigcartel.com

............

Thanks, and thanks, and ever thanks
 
In memory of Euan's father, Sandy McMeeken 6 November 1937- 16 March 2011

............



Glacis - From One Room To Another (So You Leave Me Now)

Track taken from the upcoming album 'Letting Go Variations' by Kirill Nikolai...

http://fluidaudio.bigcartel.com/mailing-list



Letting Go Variations

Kirill Nikolai - Reconstructions, For Lack Of Anything Else

Track taken from the upcoming Willamette album 'Always In Postscript' released through Own Records;

Fluid Radio review:

www.fluid-radio.co.uk/2012/01/willamette-always-in-postscript/

Willamette - Portrait Of A Sleeping Girl With Radio

Exclusive track taken from the upcoming album 'Landmarks' released through Constellation Tatsu...

Collaborating for the first time, Will Long and John Daniel combine their methods using tape machines, loops, and computers to score a reimagining of Peter Weir's film and Paul Theroux's novel "The Mosquito Coast". Sourcing inspiration from a view of the film and book as a historical pendulum, the musicians found that these reinterpretations left them nostalgic for a different time, something that's only partly imagined, and without the defined predictions about the life cycles of mass culture based on our limited understanding of current events.

Celer is the solo project of Will Long, an American musician, writer, and photographer living in Tokyo, Japan.

Forest Management is John Daniel, an American musician currently living and working in Chicago, Illinois.

Release Date: 02/05/18

www.ctatsu.bandcamp.com

Landmarks

Celer & Forest Management - Indistinguishable from magic

Track taken from the upcoming album 'A Score for Darling' released through Sonic Pieces on Mar 23, 2018 (Worldwide)...

A Score for Darling is both the sound track for the Danish film "Darling" (2017) as well as a collection of outakes from it.

Raúl Pastor Medall (Rauelsson) and Erik K Skodvin (Svarte Greiner & 1/2 of Deaf Center) were paired together to work on the accompanying music after the director, Birgitte Stærmose wanted to try a new direction. Both together and individually they have created a highly affecting collection of pieces to a film that is not afraid of pushing the emotional content to the max, centered around the story of a dancer on the rollercoster ride of her life. This is also the first time either of them have made a full lenght sound track, making it their debut on the big screen.

The music and instrumentation heard on the album is brimming with dynamics and diversity, featuring violin by Christoph Berg, cello by Anne Müller as well as a mass of other sounds like church organs, synths, guitar amp violation, electro-acoustics, piano and more, all layered together into 15 beautiful and devastating fragments of mood. The final piece of the album "Breathe" - featuring Otto A Totland on piano and Katinka Fogh Vindelev (We like We) on voice - can be seen as their own lamenting end title to a longer period of work with this album, finally finished.

www.sonicpieces.com

A Score for Darling

Pre-Order

Erik K. Skodvin & Rauelsson - Breathe

Track taken from the upcoming album 'And His Many Seas' by Moss Covered Technology...

Audio: Moss Covered Technology
Mastering: James Plotkin
Design: Daniel Crossley
Label: Fluid Audio
Release date: 30.04.18

www.fluidaudio.bigcartel.com

And His Many Seas

Moss Covered Technology - Sea #4

Exclusive track taken from the forthcoming album "You Don't Belong" which releases 13.07.2018 on Shimmering Moods Records. Available on a baby blue limited cassette and limited CD in handmade packages.

...

"This album was made between August 2015 and March 2017, which was in some way a transition period for me. Some life stages ended, some relationships failed, some changes happened. All the tracks on the album are dedicated to several places from those times, that meant or still mean something very special to me. A house by the lake, an apartment on the first floor, a park in the middle of the city – the places that stuck with me for a long time and don’t let go. 

It’s a tribute to those times, but also some kind of closure. The album was mostly a reminder to myself that when you feel attached to something in one way or another, you need to keep going, to move forward, that you really don’t belong anywhere. It was a reminder that it’s never too late to move on." 

All tracks by Kirill Mazhai 
Mastered by Early Reflections 
Artwork by Antonina Sotnikova 
Shimmering Moods Records 2018

Pre Order: 

https://shimmeringmoodsrecords.bandcamp.com/album/you-dont-belong

You Don't Belong

N59.957534 E30.323258

Kirill Mazhai - N59.957534 E30.323258

Mordançage is a new project from Tobias Hellkvist and Andrew Tasselmyer...  

The new album is a reference to the photography technique that creates  a degraded appearance in photo prints by physically altering film, a close metaphor for the way the album was created; manipulation of source audio and sound design creating a very different result.

Audio: Tobias Hellkvist / Andrew Tasselmyer
Mastering: Ian Hawgood
Artwork: Brittany Nelson
Photography: Craig Tattersall
Design: Daniel Crossley

Release date: 
30.09.18.

Mailing list: 
www.fluidaudio.bigcartel.com/mailing-list

Mordançage

Pre-order

Mordançage - Now Before Us

Surrogate Sibling is the solo studio project of composer/multi-instrumentalist Dieter Dolezel.

Being an already established, multiple award-winning classically trained composer, originally active in the field of contemporary classical music, his interests gradually developed over time towards a more inclusive approach to music making, one that would incorporate the multitude of musical influences that accompanied him since his earliest days of being a musician. As a consequence, the vision arose to found a music project, that would be an open playing field of free musical expression between the poles of classical and popular music, yet devoid of any mainstream trends and hence, Surrogate Sibling was born.

From early on, a rather unique feature of the project was the notion of featuring various collaborating musicians with vastly different musical backgrounds, that would also possibly change with each new album.
The music is deliberately neither strictly classical nor pop, oscillating freely between intricately crafted, chamber-music-like string and piano arrangements and contemporary electronic beats and soundscapes in varying degrees, mixing it up with the occasional electric guitar part, performed by Dolezel himself, incorporating a wide range of influences spanning from Reichian minimalism to Autechre’s abstract electronica and even a little dose of Ravel.

The self-titled debut album was released to critical acclaim on Autentico Music in late 2014, and the sophomore album "Hive" will be released by 1631 Recordings on October 5.

www.1631recordings.bandcamp.com/album/hive

Hive

Surrogate Sibling - Tellur

Anne Lovett’s stunning new release for 1631 is a departure from her beautiful previous solo piano album Beyond (and below). Without loosing any of the startling beauty of the preceding album, in The Eleventh Hour, Anne Lovett revels in a new sonic world. Joined by the London Contemporary Orchestra , UK’s most innovative and respected ensemble routinely heard alongside such luminaries as Radiohead or Johnny Greenwood, and later in duo with phenomenal cellist and composer Oliver Coates, Anne Lovett also introduces subtle electronics interwoven carefully alongside layered melodic piano lines.

The main narrative for the album was conceived shortly after a new addition was brought in to Anne’s studio, a plantation chair which sat opposite her Grotrian-Steinweg grand piano. It led to intense hours of rethinking around the instrument itself and more generally about the seismic shifts that were taking place in society. The album is an attempt to reconcile the flaws of time. 

Best described by the Japanese concept of Kintsugi or “broken beauty”, The Eleventh Hour is a heartbreakingly beautiful contribution to the modern “indie” classical genre. The thirteen tracks all meticulously crafted and ringing out with a dark luminosity, like an elegy to our troubled times. 

It will appeal to fans of Dustin O’Halloran, Nils Frahm, Max Richter, Philipp Glass, Jóhann Jóhannson who will find many reasons to love this album .

www.1631recordings.bandcamp.com/album/the-eleventh-hour

The Eleventh Hour

Anne Lovett - The Eleventh Hour

1631 Recordings is proud to release the original score for the indie documentary “The Man Behind The Microphone” composed by Tom Hodge and Franz Kirmann.

Directed by Claire Belhassine and produced by Claire de Lune Films and Roast Beef/Nutopia, The Man Behind The Microphone starts from a very personal story (the British director found out by chance in her early 30s that her grandfather was a legend of Tunisian music, the ‘Frank Sinatra’ of Tunisia) and turns into a family saga and a reflection on the nature of fame, culture, heritage and homeland.

Tom Hodge and Franz Kirmann have worked collaboratively over the past 10 years and have released three albums together under the guise of their post-classical/electronic moniker Piano Interrupted. This is their  second soundtrack together, having composed the score to BBC One series McMafia earlier this year.

The Man Behind The Microphone took several years to complete and Kirmann & Hodge were involved early on, sketching compositions loosely inspired by some of Hédi Jouini’s own music. Sometimes they would sample a small musical phrase from his old recordings or write harmonies and chords in a relative key to use as a starting point for their pieces. Their score echoes the melancholy and investigative nature of Claire Belhassine’s quest for her grandfather and the mysterious and fragmented aspects of the story.

Kirmann’s vaporous electronics and Hodge’s ghostly piano and clarinet lines are mixed with earthy analog synth basses and a string quartet provided by the London Contemporary Orchestra. The soundtrack is a melancholic and dreamy journey over 9 pieces, oscillating between post classical, minimalist and ambient music.

“There is a real sense of culmination about this soundtrack. In one way way it is our very first score, as it started long before McMafia. But even more so, you might say it is simultaneously our first and last Piano Interrupted record, or our very first collaboration even. Our album Two By Four was strongly influenced by our work on the prototype of this film and the sound of Papa Hedi. Yet because of the longevity of this film project, our combined musical voice has been profoundly altered by our work on our other two Piano Interrupted albums, as well as the four hours of score we wrote for McMafia. Here we are, full circle.”

www.1631recordings.bandcamp.com

The Man Behind The Microphone

Tom Hodge & Franz Kirmann - Ghost Of My Grandfather

Track taken from the upcoming album 'Hearts Must Change' released through Fluid Audio...

Audio: Kirill Mazhai
Mastering: Ian Hawgood
Design: Daniel Crossley

Mailing  list:

www.fluidaudio.bigcartel.com/mailing-list

Love Theme

Kirill Mazhai - Love Theme

Taken from the upcoming album 'For Victoria' released through Fluid Audio: 31.08.19.

Audio: Pepo Galán
Vocals: Sita Ostheimer
Mastering: Rafael Anton Irisarri at Black Knoll Studio (NY)
Design: Daniel Crossley

Mailing list:
www.fluidaudio.bigcartel.com/mailing-list

For Victoria

Pepo Galán - Abstract Dream With Haines

Taken from the album 'Ethe' released through Deadslackstring
Review: http://www.fluid-radio.co.uk/2010/11/richard-moult-ethe/

Richard Moult - The Five Daughters I

Track taken from the stunning new album 'The Man Who Died In His Boat'.

Full review:

"Grouper isn’t just a listening experience; it’s a dive of faith into another dimension..."

www.fluid-radio.co.uk/2013/01/grouper-the-man-who-died-in-his-boat

Grouper - Being Her Shadow

Offered as metaphor and delivered as analogy...

The Blizzard That Birthed Her is the continuing echo of this year’s Home Normal success, Book Of The Folded Forest. Birthed as two original Orla Wren tracks ‘Five Acre Ladder’ and ‘Mountains And Wishbones’ which were recorded in the same session, Tui then worked the cello, bass and vo- cals of Aaron Martin into two alternative versions of each track, making up the 4 tracks on the 10” vinyl for Facture.

He then offered the same to Isnaj Dui who contributed some flute for him to then create the two versions with her as guest. To complete the companion 8 track letter pressed CD version the two "reprise" versions were created by Tui utilizing parts from the other tracks.

Mastered precisely by James Plotkin, the project is released as a limited edition run of 300 copies designed by Daniel Crossley; 4 track 10” vinyl on reverse board heavy card with printed inner sleeves with designs by Montreal designer Urban9, download code, 8 track
4-panel letter pressed CDs with wrap-around letter pressed bands, 4 prints resting inside typed/ numbered glassine photo bags, 2 x double sided prints, pressed flowers, all resting inside large scented letter pressed envelopes with beautiful artwork again by Urban9.

To accompany the album an exclusive promo film was made for the track Five Acre Ladder (re- prise) by Lumacell. And a very special exclusive bonus track The Cup Of Remembered Things is also included as a free download.

A returned honour of growth and loss, this album complements her predecessor as an expressive companion piece requiring little explanation.

Release Date: 01.12.13

www.fac-ture.co.uk
www.orlawren.eu

Orla Wren - Five Acre Ladder ( Reprise )

Track taken from Seabuckthorn's upcoming album 'Other Other'...

Audio: Seabuckthorn
Mastering: James Plotkin
Design: Daniel Crossley

www.fluidaudio.bigcartel.com
www.seabuckthorn-music.com

Other Other

Meridian

Seabuckthorn - Meridian

Track taken from Dustin O’Halloran's upcoming album 'Lumiere' released via FatCat’s 130701 imprint (a home for the orchestrally/classically aligned composers attached to the label)

Dustin O’Halloran - We Move Lightly

Track taken from the new album 'Rites', released via Subtext Recordings.

Read it:

www.fluid-radio.co.uk/2013/04/paul-jebanasam-rites/

Buy it:

www.subtext.bigcartel.com/product/paul-jebanasam-rites

Paul Jebanasam - Rites III

Focusing on experimental genres, we aim to provide a space to share in the creative process and spread the experience of inner exploration through musical expression.

Fluid Audio

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