Please can someone just point me to their site, I can't find anything about them, or maybe I'm looking at wrong place? For me, I know it has started, but mix of the 2017.

Cotton Goods has now stopped being.  There will be no future releases.  Thank you all for your support."

Strings

Boris Rogowski conceived the idea for The Waste Land in the autumn of 2020, when the world became quiet again after a deceptively easygoing summer. During a walk among the “last fingers of leaf” he revisited in his mind the landscape of T.S. Eliot’s enigmatic poem The Waste Land, a somber meditation on disillusionment, nostalgia and isolation in the “modern” world of the early 1920s. It had accompanied Rogowski for many years, and knowing entire passages by heart he found that the strange, tuneful lines had left him with a sort of musical map of the Waste Land. What he heard was a string quartet playing amid a stream of dissolving, permanently mutating sounds, seeking hold, losing it, coming up for air again. The music he envisioned melded contradictions into a cohesive whole, was strange yet universally accessible and – just like Eliot’s poem – an expression both of sorrow for a lost world and hope for a new beginning, deep admiration for classical tradition and disgust at the snobbery and ignorance of an elitist class trying to keep it under lock and key.

The even quieter winter months found Rogowski working long days and nights on the score, putting the music in his head to paper. Also, he quested for the sounds that would be able to represent the stream of synthetic memories that in his vision rolled through the music like the river Thames through the central portion of the poem—and found that they were already there, right in front of him: In the early days of the pandemic he and his friend and studio co-owner Bazzazian had harnessed the halt of everyday life to create a library of sounds that embodied their very own idea of style. For this purpose, they had sent their recordings of acoustic and electronic instruments through a specially devised processing chain, giving them an evocative, strangely timeless quality. It was only logical that those sounds would form the foundation of The Waste Land.

Later, in the spring of 2021, other musicians brought in their unique voices: Moishe Lichtfuss [flute, tenor sax] added his woodwind textures to many of the compositions, most notably on “The Sound of Horns and Motors”. Claus Schulte [drums] made a brief, yet crucial appearance on the centerpiece “The Violet Hour”. At last, the Waste Land String Quartet (Alexander Sachs and Irina Borissova [violins], Anna Krimm [viola] and Michael Preuß [cello]) recorded their parts under the baton of fellow composer David Menke who also played the solo piano on the brooding “In Rats’ Alley”.

The Waste Land is a unique musical cosmos that nonetheless touches upon many reference points, among them the minimalist music of composers like Michael Nyman and Philip Glass, Post Rock of bands like Tortoise or Swans and contemporary Experimental and Ambient works like those of KMRU, Christina Vantzou or Tim Hecker. Like Eliot’s poem, it contains a multitude of voices and fuses them to a music very much its own. The album begins with a wash of piano that carries splendor and melancholia in equal measures and ends with the pointillistic rhythm of Morse code spelling out the final words of The Waste Land, “Shantih shantih shantih”—peace.

In 2022, T.S. Eliot’s poem will celebrate its 100th anniversary. Its central themes—solitude, estrangement and a wounded world with an alarmingly uncertain future—are even more pressing today than they were 100 years ago. Boris Rogowski’s soundscapes embody the mood perfectly: The fear and darkness as much as the faint, yet stubborn hope for the light of a new day.

Boris Rogowski - Marie Marie

With ‘No Further Than the Present’ it was Adrian’s intention to take the music further into the realm of ambient music than he had explored before. In this album the synthesizer is more prominent, including the use of the 1978 Jen Synthetone SX1000 which he has had since he was 16 years old. However, each piece also has strong neo-classical elements with melancholic contrapuntal strings appearing in most tracks.

Adrian Lane (UK)
adrianlane.bandcamp.com

Adrian Lane produces quiet, intimate neo-classical music that explores sounds from acoustic sources, mixed with electronic but organic sounding ones. The music feels acoustic, and employs a combination of age-old instruments (piano, violin, alto and baritone bowed psalteries, acoustic guitar, banjo, zither, glockenspiel) mixed with synthesizers and virtual instruments and constructed in a way that could only be achieved with modern technology. Adrian likes to tread the line between the real and the synthetic so that it is difficult for the listener to discern which is which.

Adrian Lane has released 10 albums to date, on the labels; Whitelabrecs, Hibernate Recordings and Preserved Sound, and each album focuses on a different palette of sounds. Some albums are largely piano based, and others focusing more on stringed instruments.

All tracks composed and performed by Adrian Lane
Mastering by Dionis Afonichev (Dionisaf)
Photo by Dionis Afonichev (Dionisaf)
Artwork and cover design by Dionis Afonichev (Dionisaf)

www.chitrarecords.com

No Further Than The Present

Adrian Lane - And Tapers Burned

Taken from the upcoming album 'Längd' - containing over 70 minutes of unreleased material from Hummingbird...

www.fluidaudio.co.uk

Längd

Hummingbird - Längd

Study for a stage drama quartet

Hauschka & Hildur Guðnadóttir - #294

e and i - an inch of air
david newlyn - reconnection  
ido govrin - the salon
ruhe - oral cues
the humble bee - 23 jan 2010
pawn - the book that is never read
astatine - Initial confirement
john supko/ bill seaman - the clicking
whisperer - shimmer
emmanuel witzhum - with strings v.2
relmic statute - tapeloop 2
 
"It’s kind of difficult to pick a favourite Cotton Goods release. Not necessarily because all releases are equally great, but more as a result of the fact that the back catalogue hangs together so perfectly well that it’s hard to consider such a consistently realised aesthetic (despite a disparate array of artists) as having been formed from individual releases. The catalogue almost demands to be considered as a whole. The same aural flavourimbues all the releases and creates a distinct label identity that is unmistakeable amongst a fairly saturated field. Of course this consistency is no accident and is clearly the result of a craftsman-like approach to curation on the behalf of label founder, Craig Tattersall. It is, therefore, probably no surprise that my personal favourite from the back catalogue happens to be an album of Craig’s own output; the humble bee – “morning music”. Across four discs, this album explores every last crevice of those themes that tie the whole label’s output together: disintegration, happy accident, antiquated technology, the details of the everyday, and a wistful melancholia. All the more impressive to me, is that, as the label website states “each cd contains 7 songs, one for each day of the week, one hour was allotted to write, record and document each song”. So, not only is this album a strong personal favourite of mine (not just from this label, but across the entire genre), but it was put together with such strict guidelines and on incredibly tight timeframes. Thanks to Craig for making such great stuff and for offering me the opportunity to contribute to the label myself. It’s been a rare pleasure."

(John McCaffrey)

John McCaffrey - Cotton Goods retrospective selection

The second volume of 'Ambient Archives' comes with music by Gallery Six, Logic Moon, Snufmumriko and Warmth. A wide range of ambient lines, beautiful chords, hazy textures and field recordings. Pure ambient music as it best. 

Tracklist:

01. Gallery Six - On The Waves            05:32
02. Logic Moon - Eremit                   08:20
03. Snufmumriko - Dreamside Athenaeum     10:30
04. Warmth - Wave Growth                  08:38

Written and Produced by Gallery Six, Logic Moon, Snufmumriko and Warmth.
Mastering by Zzzzra.
 
Archives12
Archives / 2015

Gallery Six - On The Waves

Shostakvotich: Concerto for cello and orchestra no.1 in E-flat-Major Op. 107
Gavriel Lipkind, cello
Sinfonia Varsovia / Wojciech Rodek, conductor

Buy on itunes

Shostakovitch Cello Concerto No. 1 Op. 107 In E-flat Major - II. Moderato

From "Brainstun 2"
By Christian Asplund (2000, Norman OK).  Matthew Sperry, contrabass. Christian Asplund, viola.

Construction 1

From Brainstun 2 (Present Sounds). Played by Matthew Sperry (contrabass) and Christian Asplund (viola)

Construction 3

Track taken from the upcoming album 'The Topologies of Blue'...

Bill Seaman - Piano, Piano Libraries, Sample Compositions, Samples, Abstracted Percussion, Non-location Recordings, Electric Guitar Abstractions 
Wei Ping Lin – Violin Solos 
David Rothenberg - Clarinet, Bass Clarinet, Contralto Clarinet Solos
Sid Richardson – Upright Bass Libraries
Tim Bjorklund – Electric Guitar Libraries
Volkmar Klein, Sound Engineer for initial violin recording

...

Produced by Bill Seaman
Mastered by James Plotkin 
Cover design by Ian Hazeldine 
Overall design by Daniel Crossley

...

Special Thanks to all of the musicians + John Supko, Craig Tattersall, Volkmar Klein, Maura Walsh-Seaman, Dan Crossley & James Plotkin.

...

www.fluidaudio.bigcartel.com/mailing-list

The Topologies of Blue

Bill Seaman - Isolated Reflections / Dark Slippages / Falling Inward / A Collection Of Repercussions

akija

from 'Spectral' [CD|LP|DIGITAL]
Denovali Records · den335
available on all formats at http://denovali.com/robinschlochtermeier

Robin Schlochtermeier is an Anglo-German composer who has written the music for several award-winning broadcast documentaries and features. Classically trained, his music often combines organic sound design elements (and occasionally synthesis) with more traditional instrumentation (piano, orchestra).

Most recently Robin composed the music for 'The Spy Who Fell to Earth', an international espionage documentary which was released on Netflix worldwide in 2019. Robin, among others, also scored 'Virgin Queen's Fatal Affair' (Best Specialist Factual - Royal Television Society Awards), the features 'Queens of Syria' (Black Pearl Award - Abu Dhabi Film Festival), 'Retreat' (Premiere at Screenplay Shetland Festival, curated by UK film critic Mark Kermode), 'Oh No, Not Rudy Again!' (Cannes film festival 2015), and 'Strings' (British Independent Film Award).

"Spectral" is the first solo album of Robin Schlochtermeier. It's a set of slow, sometimes ambient pieces that function like distant echoes of childlike experiences of the natural and material world.

“My inspiration for the album is tied up in having become a father recently,” says composer Robin Schlochtermeier. ”As my daughter’s consciousness was forming I would often catch an amazed look on her face or notice that she stopped and stared at some small detail in her environment. This would frequently evoke a profound sense of mystery in me, and I grew curious as to what was causing her to react in such ways.”

The pieces on Spectral are attempts to capture some of this mysterious, nebulous spirit of bafflement and wonderment. “Seeing the world through my daughter’s eyes reminded me of the experiences the world can produce in our minds when we are open, receptive and boundary-less”, says Robin. “I started to wonder if I was half-remembering my own experiences of the world from when I hadn’t yet been trained to carve it up into neat concepts.” The result are pieces like “Lapping”, which in its slow, circular motion points to a rhythm of life unaffected by expectations of busyness, while rooted in a sense of grandeur and timeless wonder.

Spectral was recorded using a British upright piano from the 1950s with original worn strings, which are occasionally dampened with poster putty. The other elements are all forms of electronics and sound design, including a software synth (Retrologue) and custom programmed sounds generated from the composer’s bank of original sample recordings.

One of the aims for the album was to explore a limited palette of sounds. Some pieces only contain 3 layers of sound, while some are a little more complex. “The intention was to create space and openness in the arrangements”, according to Robin. “This principle also led me to explore longer and longer forms. As I went on I felt increasingly drawn to longer emotional arcs, resulting finally in Sonnenstaub."

Spectral

Robin Schlochtermeier - Woodlouse

Kojo Yakei

Moon & Sea

Sadness

In die Ferne - Sedate

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.

John McCaffrey - Cotton Goods retrospective selection

Fluid Radio

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