Atmospherae

"'I Fell in Love' is a lush and emotive tune, one whose airy melodies and icy structure mirrors the group's "Scandinavian surroundings of native forests and snow," from which Gidge is said to gather much of its inspiration. Spanning over six minutes, the track moves at a patient pace, gradually adding melodies and new layers of miniature percussion to the song's somber bounce as it builds towards its climax."
- Glenn Jackson, XLR8R

Order our debut album 'Autumn Bells' here:
https://atomnation.bandcamp.com/album/autumn-bells

Download 'I Fell In Love' for free over at XLR8R:
http://www.xlr8r.com/mp3/2014/05/i-fell-love

Autumn Bells

I Fell In Love

Gidge - I Fell In Love

Created in the isolation of the British countryside, Desert Sound Colony is inspired by faintly remembered sounds and almost forgotten memories. The thread running through the melodic, visceral tracks touch on a sense of melancholy present within us all.
Occupying a space somewhere between ‘60s Psychedelia and the pulsating sounds of future-clubs, Desert Sound Colony is both infectious and ethereal, shrouding the listener in a gentle, rhythmical canopy.

The Way I Began

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Au centre de l'étoile à cinq branches que forme Le monde des Fleurs se tient le grand Irminsul. Un arbre dont il n'est possible de distinguer que les branches basses, les plus hautes côtoyant les cieux, au-dessus des nuages. On raconte que jadis, après l'invasion des Carnivoras, Irminsul aurait jailli de l'antre de la planète, pour veiller sur les années à venir. A son pied, une hutte. Elle abriterait le Landscapes Dessinateur. Personne ne s'en est jamais approché.

Irminsul, le pilier du monde

Boris Rogowski – The Darkness of Future Past
(out on piano and coffee records on November 7, 2025)

Jonas Burgwinkel—drums
Viktorija Kukule—vocals
Roland Muenchow—flute
Boris Rogowski—keyboards, (bass) guitar, percussion, programming, vocals
David Schuette—cello
Isabelle Seemann—vocals

Press info:
Somehow, Boris Rogowski’s The Darkness of Future Past manages to go from Renaissance and Baroque influences and minimalist piano pieces via Ambient all the way to arena-sized pop music. It has no right to work, but it works perfectly. I don’t know how.
If I had only one word to describe its general mood, I would call it haunting. And the album itself is haunted, too, by the ghosts of the past, of classical composers (Orlando DiLasso, Eric Satie and Alfred Schnittke explicitly, many others lurk in the shadows) and more recent musical specters. It’s called The Darkness of Future Past, and yes, that’s a Twin Peaks reference… but let’s not make too much of it, there are no real connections (I think!) except for a general love of mystery, darkness and beauty.

In contrast to Rogowski’s 2023 album The Waste Land that was largely defined by a good amount of classical rigor, consistent chamber instrumentation and a complete lack of vocals, The Darkness of Future Past is almost loose: We have long, winding instrumental pieces that straddle Ambient (The Past, Like a Strange Bird), Minimalism (The Bloom and the Flutter) and Jazz noir (the title piece). They are humming with sounds and melodies that always seem in a state of either synthesis or decay, giving way to one another or sticking around in the form of eerie echo loops that build up a dreamlike musical structure always on the verge
of collapsing into itself.
Those long-form soundscapes, some of which feature ominous spoken Journal Entries, alternate with solo piano pieces that sound like at least three different instruments—but were, in fact, all recorded with an old upright built in 1906 by some regal German manufacture. The audaciously titled Gymnopedie No. 4 wears its influence on its sleeve—and delivers on its promise: Rogowski’s love, respect and understanding of the original works of Eric Satie shine through in every note. Similarly, the other piano pieces, from the tiptoeing Sleeping Dogs to the dreamy, improvisational One Lonely Autoresponder Message, feel a bit like memory palaces—reminiscent of music that has always been around, but at the same time very much their own beasts.
And then, of course, we have the songs: Nothing Wrong is strikingly beautiful, its sparse musical arrangement serving as the perfect bed for Rogowski’s falsetto and the ghostly choir backing it. breatheINbreatheOUT is downright scary, like a field recording of some strange initiation rite: The words ‘breathe in, breathe out, it’s all right/mankind is no longer your kind’ are delivered in a moody croon that seems to channel the later Scott Walker.
And then, just when you think you have finally figured out how this album works, it leaves you with Them!, a monolithic sound colossus that begins as a shoegaze-y electro pop song and develops over 6 minutes into an arena-sized hymn with an otherworldly female voice lamenting ‘What a lonely world’ over and over. Rogowski did much of the work on The Darkness of Future Past in a desert cabin near Joshua Tree—maybe he passed Coachella on his way back; that, at least, would be a good explanation of the sound of Them!

There is a very clear and distinct consciousness of the past, and there are projections into the future that are as nebulous as they are frightening. The Darkness of Future Past has the power to conjure up mysteries, to shed just the right amount of light on them and keep us intrigued—without ever giving them up or serving us easy explanations. The beauty of the music itself remains a secret, one that Boris Rogowski as its composer seems hell-bent on protecting. After all, no-one needs to know who killed Laura Palmer.

Journal Entry #2—The Bloom and the Flutter : DiLasso, Schnittke, Goats, Ghosts

Support the psalms - www.patreon.com/join/psalms

A cappella setting of Psalm 145, with a melody inspired by Beethoven’s 7th (Allegretto).
Unaccompanied, reverent, congregational-style psalm singing.

Style: Unaccompanied / metrical psalmody / choral

Inspiration: Beethoven’s Symphony No. 7, Allegretto (public domain)

Support the psalms 

Psalm 145 ( Beethoven's 7th Allegretto | Acapella Psalm Singing) "One Generation speaks to another"

Deep and dubby ambient flow gently pulsating with atmospheric electro echoings: enter Granite. 

Inspired by natural rocks this opus is composed by Martin Van Rossum under his Martin Nonstatic moniker. 

A twelve-tracks album of smooth catchy drifts, hypnotic melodies and waves of subtle beats that contrast with lush soundscapes. 
Spiced-up blend of deep techno slash house, dub and downtempo, enhances clean-cut electronic rhythms and soothing rolling bass lines. 
Granite is Martin’s third album following releases on Bine Music and Silent Season and tracks on several compilations including Passages and the forthcoming Digiseeds by Ambientium.

Granite

Download

In collaboration with film company Lampray & arts platform Norr, we offer Lulin: a 24 minute film and 42 minutes of audio. Pre-orders of the 12" vinyl & film are up now at the @atomnation Bandcamp page. Lulin is out Friday March 18. 

http://soundsofatiredcity.com/premiere-gidge-byn
https://atomnation.bandcamp.com/album/lulin
https://bleep.com/release/71011-gidge-lulin
https://boomkat.com/products/lulin

Pre-order

Gidge - Byn (08:04/12:00)

New mini album LNLNN out now on @atomnation
Stream / purchase: atomnationrec.lnk.to/LNLNN

Gidge - Eyes Open

from 'Automatism' [CD|2LP|DIGITAL]
Denovali Records · den317
available on all formats at http://denovali.com/saffronkeira

Sed de furioso quid dicetur qui rationem non habet? Et de mente capto, et de frenetico, vel de infantulo? (But what shall we say of a madman bereft of reason? And of the deranged, the delirious and the mentally retarded? - Bracton: De Legibus Et Consuetudinibus Angliæ)

Man is proud of his conscious mind that sets him apart from animals. For this reason he fears the unconscious and is fascinating by it at the same time. 'Automatism' refers to various forms of unconscious behaviour such as the unconscious creation of art which sees its culmination in pictures created by generative adversarial networks, a particular kind of artificially intelligent systems that can create artificial images, sound or text which are indistinguishable from real or human-made creations. 

'Automatism' is the latest album of Sardinian sound researcher Eugenio Caria, a concept album dealing with the eponymous subject. The albums of Caria's project Saffronkeira have often dealt with aspects of the human mind. 'Automatism' is partly a journey through the vastness of the unconscious and partly an unconscious creation itself. Skilfully adding together sound to sound and layer to layer, Caria manages to craft pieces of electronic music that invoke the feeling of endlessness without being flamboyant. Still, every moment of this album feels invariably rich, and it becomes clear that every sound has passed a meticulous refinement process, resulting in what is easily Saffronkeira's most sophisticated work to date.

Et hæc vera sunt quod furiosus non tenetur, nisi hoc fecerit simulato furore cum dilucidis gaudeat intervallis. (That a madman is not liable is true, unless he acts under pretense of madness while enjoying lucid intervals. - Bracton: De Legibus Et Consuetudinibus Angliæ)

Automatism

Saffronkeira - Conscious In Origin?

Catalogue Number: MKG009
Release date: Oct 15, 2009 

Marketing Music


Landscapes

Another week, another track premiere… but is it truly just ‘another’ track that bubbled up onto the top of this appending queue? I feel I know the work that goes in by composers. No matter if the track is short of stretched in time. Each little note, each pad evolving in its frequency band. Each slight adjustment to the volume curve, to carry forth the story in dynamics. Each atmospheric treatment with the reverbed textures. Each painstakingly placed sound in the stereo field – front, back, and center. Post-processed, mixed, and mastered; listened to on every speaker; then played and listened to again, again, and then some more, until the music feels just perfect for the only one who made it. And what about the others? Will they hear the small details, the carved out, guided path, the melodies that pierce the harmony in places, the melodies that hold the message of the piece? Who’s genuinely listening out there, consuming and appreciating the endless time and love poured into music? I know that I am. I hope you hear it too…

This is the sixth full-length for Bordeaux-based Franck Zaragoza, appearing, once again, on the beloved n5MD under his Ocoeur moniker, under which he’s been making music for over a decade now. The album embraces sound design with its melodic side of synthesizer music. So all the knob-twist-junkies of the analog and software emulations can marvel at the output that’s much more than just another jamming-late-night-sink-hole of their time. Here, Zaragoza brings it all together into a single cohesive package of an album that seeps with inspiration from its every nook. The sound is rounded and gentle, in many places very vital and organic, and then is structured in the architecture of complex rhythmic twists [check out “Glow” on the full album when it comes out tomorrow]. Meanwhile, the concept comes in with a message, of slowly fading and receding from reality, into our anti-social, virtual, and ego-feeding worlds.

"‘Everything’ is an expression of empathy towards our world that I feel is being completely neglected and abused. It is like a clock ticking reminding us the creation, the beauty and happiness trampled by emotionless people, blinded by their own greed and hatred." --Franck Zaragoza

Catch Everything on n5MD released tomorrow, February 28th. Available on all digital platforms, digipak CD, and 180 grams of ultra-clear vinyl.

Everything

TRACK PREMIERE : Ocoeur - Everything

Ryan Lee West aka Rival Consoles announces details of his highly anticipated new album 'Articulation', out on July 31. Pr-order is on LP & DL: https://idol.lnk.to/articulation

Lead track and album centrepiece 'Articulation' links the record back to the analogue fluidity and colour of 2016’s 'Night Melody'. The division of varying time signatures, intertwined with a complex structure of notes, creates an expression of a moving structure and conjures a dreamy, motorik energy. Ryan Lee West explains, "The title track is about articulation and playfulness with shape and time. Its structure is very machine-like, but I was really interested in how melody and sense of story could develop out of this, and it became an exploration of mathematical structures — patterns and shapes having a conversation. I love that something on paper can appear rigid and calculated, but then take on new meaning based on the context that surrounds it, or how it changes over time."

'Articulation', which follows 2018’s 'Persona', was conceived with a very visual way of thinking, unusual for the London musician and producer. During the writing process Ryan drew structures, shapes and patterns by hand to try and find new ways of thinking about music, giving himself a way to problem-solve away from the computer. The album title references a piece by the avant-garde contemporary composer Györgi Ligeti, though not for its music, but for the non-traditional graphic score that accompanied it.

“I find electronic music is often battling to say something with integrity because technology and production can easily get in the way. I think the goal of a lot of electronic composers is to find a balance between the vision of the idea and the power of possibilities on the computer. With a pen and paper sketch you can compose and rethink ideas without technology getting in the way, so for me it acts as a very helpful tool to refresh the process.” — Ryan Lee West

Since the release of 'Persona', Ryan Lee West has taken his captivating live A/V set to all corners of the world. Last seen live on stage with 17 players of the London Contemporary Orchestra for a sold-out orchestral performance at Southbank Centre’s Queen Elizabeth Hall in January 2020.

Meanwhile Ryan has kept busy. After contributing an exclusive track 'Them Is Us' to Adult Swim’s coveted Singles series, he recently shared the beautifully textured solo piano piece 'Winter’s Lament' on this year’s Piano Day. He has also been in high demand as a composer, scoring Charlie Brooker’s much talked about Black Mirror episode Striking Vipers, composing original music for Secret Cinema presents Stranger Things as well as renowned choreographer Alexander’s Whitley’s groundbreaking new work Overflow which was set to premiere at London’s Sadler’s Wells Theatre this spring.

Articulation

Stream & order LP · DL

Rival Consoles - Articulation

Main synth part for Untravel, creating with the prophet 8, this is a synth part that I am most proud of, because it has so much subtle in it, yet it is over edited at all, this was made very quickly and intuitively.

Untravel - Main Synth

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Bookings: pete@wearee.nl

somebody from nowhere...

Time of renaissance must come if we want to prevail 



Gidge - Byn (08:04/12:00)

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