"Fluid Reflections" invites you to dive into a world of serene electronic soundscapes, where trance waves and progressive vibrations flow seamlessly together. This instrumental album creates an ethereal atmosphere, blending uplifting melodies with mellow, atmospheric beats. Perfect for those who seek a tranquil yet energizing experience, "Fluid Reflections" is a sonic journey through the depths of progressive house and electronic dance music.

Fluid Reflections

Luminescent Pathways

Górecki- Symphony 3, Op. 36, -Symphony Of Sorrowful Songs

Buy : https://bigoandtwigetti.bandcamp.com/track/crescent

We’re pleased to announce a new collaborative album in conjunction with Bigo & Twigetti. ‘The Exquisite Corpse’ is based on the surrealist game of the same name. Taking Leah Kardos 'Little Phase' as it's starting point, the piece will be reworked by a series of composers and producers to create an album of tracks which continually evolve as each new version is passed from one artist to another, adding to and transforming material from the original piece. We'll be releasing a new track from the album every 2-3 weeks with the first track due towards the end of October and the full album available in April 2017 so keep an eye on our social media for updates.

Jacob David & Thomas Haahr - Crescent

Aphex Twin - Avril 14th

Brian Eno - By This River

'Bone' is the first taste of Ben Chatwin's brand new album 'Drone Signals', to be released on September 14th.

Using the final element of July's 'Staccato Signals' - recording a string quartet - as a starting point, Ben fed the strings through an array of modular synthesisers and utilised modern sampling and granular synthesis to remould the material into new microscopic electronic textures. 

"With 'Bone' I removed everything but the string quartet part from 'Fossils' and started to record new parts around it. Unlike most of the other tracks on 'Drone.' this too became a thickly textured track as I again engulfed the strings with a variety of synthetic textures allowing the strings to rise above it all for a brief moment towards the end of the track, resulting in what is probably the most dramatic moment on the album." - Ben Chatwin

Pre-order here: https://VillageGreen.lnk.to/BMxQDWE

Ben Chatwin - Bone

It is the year 1998: What might have been the first decade in the history of pop music that was characterized by an overwhelming sense of fragmentation is drawing to a close. Anything goes: guitars & electro, retro sounds or wicked forays into the digitized future. Pop hasn’t sounded this optimistic and upbeat in a while, and there’s currently no need for Weltschmerz in Indie anymore. Gunnar Örn Tynes and Örvar Þóreyjarson Smárason have been making music together as múm for about a year at this point – though it’s not like anyone really took note of them or cared back in 1998.
The two band mates are basically nomadic drifters: They are constantly moving from one basement studio to the next, traveling through Europe, recording anything and everything that comes to mind. Whenever they feel like getting some fresh air, they go out with their DAT recorders to do some field recordings – only to return to some unfurnished apartment in Reykjavík, Montpellier or Berlin in order to mix and combine all the recorded material. Accordingly, the duo indeed also pushes the level of fragmentation in music. However, múm do not have set ideas or a clear mission. All they do is sample, play around, mix, recombine things, and ultimately marvel at the results. And then, at a theater production, Gunnar and Örvar meet twin sisters Kristín and Gyða. And then there were four.
Early Birds is all about those days: It’s a compilation of 15 tracks, all of them recorded between 1998-2000 and long-lost or extremely rare, taken from demo tapes or limited edition vinyl releases. Accordingly, you’ll find not only a track from the aforementioned theater production, but also the yet-unreleased “Hvernig á að særa vini sína”, a fan favorite ever since, that was included on the soundtrack to the movie The Exploding Girl.
múm had a trademark even back in the earliest days: their compositions were all about melodies. Yet, that’s about the only thing these 15 songs have in common. Especially the first half of the compilation focuses more on the playful, “full of beans”-type of experimental tracks: pastiche and experimentation are key, and it’s anything goes indeed: they go from hyped-up pre-Electronica sound to jazzy Drum & Bass, and they aren’t even afraid to present a double-neck guitar solo à la Hair Metal done kiddie style. However, as said above, all the early experiments nevertheless share a certain signature sound. The second half of the album is comprised of those quieter, rather massive múm tracks, with only a few analog layers, harmonious and blissful, revolving around each other for minutes. These tracks are somehow reminiscent of minimal music, but then again they are simply too charming, too wistful and clearly not made for academics.
Early Birds ends with a contemplative piece that’s 10 minutes long and comprised of field recordings, harmonica, accordion, and lots of room for reverb (you could almost call it Dub). In this case the song title pretty much translates to “No one was listening to the fiddler, because the fiddle-strings were broken (why can’t you be good to your mother?)”. This final track ultimately became the “Ballad Of The Broken String” on múm’s debut album “Yesterday Was Dramatic – Today Is OK” (2001), though this early version is indeed quite different. When the debut dropped, múm had found their sound. The rest is history: The band was hailed as a key exponent of “Electronica”, and with every release they sounded more and more unique and complete – only to become what might be Iceland’s most original band today.
Early Birds showcases the formative years and perfectly illustrates this evolution, though at the same time it shows that things could’ve turned out quite differently. Plus, it also proves one other thing: Yesterday was OK, too.
The compilation album comes with nostalgic artwork by Ingibjörg Birgisdóttir who experienced the early days of múm first hand. Both the LP and CD version include a booklet that explains how each of the 15 (mostly instrumental) tracks came about.



múm - 0,000Orð

Suspirium (Thom Yorke)

'Fear Of Floating' is the second single from Australian-born, Liverpool-based composer, saxophonist and founder of Immix Ensemble, Daniel Thorne. The track, taken from Daniel's solo debut 'Lines of Sight', is a grand, transposing soundscape that places Daniel’s saxophone front-and-centre, allowing the abstract beauty of his meandering and contorting melody to breathe, amongst the chaotic backdrop of spiralling undulating effects. 'Fear Of Floating' perfectly encapsulates the atmosphere of the record; equal parts magnificent, unnerving, mind-bending and deeply satisfying.     
 
"Although the album wasn't written to follow a specific narrative, I felt it should have the feeling of a journey, leaving a place of chaos and noise and arriving somewhere both serene and unfamiliar. As the final track on the album, I wanted 'Fear of Floating' to be to be the opposite of the album’s beginning ('From Inside, Looking Out') by being much sparser, eschewing large dense textures and instead focusing on a single melodic 'voice' that gets bashed about by its surroundings, before finally washing up somewhere peaceful and alone." — Daniel Thorne
 
Praise for Lines Of Sight, out March 15th on Erased Tapes:
 
“Dizzying compositions that thrive on chaos and control.” Self-titled  

“Analogue and digital, improvisatory and programmed, tactile and gaseous, this ripples between worlds.” DJ Mag
 
Deeply moving, full of otherworldly beauty and rapture, the album is alive, throbbing like a circulatory system, colourful and glowing. It literally dazzles – effectively capturing what the birth (or death) of a planet might sound like.

Every strand is fresh, vital and purposeful. The description ‘seamless’ might suggest a smooth, bland fusion, but here elements overlap in intermittent, undulating layers of mesh. Avant-garde, noise, electronics, ecclesiastical, classical and a touch of jazz come together, each occupying their own space while acquiescing with the whole.

Pre-order 'Lines of Sight' on LP/CD/DL: https://idol.lnk.to/LinesOfSight

Lines of Sight

Fear Of Floating

Daniel Thorne - Fear Of Floating

bohren und der club of gore-unkerich

Evenings - Friend

Piano roots, church soul, Trance energy, Jazz groove. I fuse emotion + innovation for seekers of sound that moves, heals & uplifts. 🎹 Hit play & feel the difference.

--

I grew up behind a piano in a church band, where music wasn’t just played, it meant something. Today, I blend those roots with the pulse of Trance, atmospheric downtempo vibes, and sometimes with the smooth soul of Jazz. My music is a conversation: between classic and modern, faith and feeling, structure and freedom.

Every track I write aims to move more than just your body. It should stir something deeper. Whether you’re winding down, searching for peace, or just love rich harmonies and textured beats, my sound is for you.

This isn’t background noise. It’s music with heart, groove, and purpose.

🎶 Let’s connect through sound. Join the journey.

Luminescent Pathways

Pelenio