ambient

Breeze Mode

Dreams

AMBIENT

Airy Ambient for Sleep: Night Sounds

Ambient for Yoga: Downward

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Taken from @benbondy 's self-titled cassette, out 4/20/2022 on Quiet Time.

Ben Bondy 

Buy Cassette

Ben Bondy - The Only Part of You I Ever Really Needed

CD + Download

Emily Glass - Waterlogged Reality Core

one kiss

Gravity

Crescent

A bunch of sounds I have been bustling around these last months. Now they are digital available from my bandcamp.

Artwork by Iñigo Villafranca Apesteguia
Mastered by Shy

The Now Liminal

Choose To Be Gay (Femenine)

A Love Letter to Water is the instrumental debut EP by Colombian-born, Los Angeles based therapist and musician Alicia Ramírez, aka Inkarose.

Four sonic poems are dedicated to the Spirit of Water – its circular, shape-shifting motion spans from River and Ocean to Clouds and Rain, and then returns to River. This record explores the curative properties of Water; a precious inhale and exhale, the mantra and pranayama of the Forest. Woven with love, these tracks feature special field recordings from various natural environments, including the Tayrona Jungle in Santa Marta, the rainforest in Kauai, and surrounding soundscapes of Los Angeles and Bogotá.

This voyage of sound is graced by the loving touch and musical contributions of dear friends and loved ones, including Carlos Niño (percussion), Rumi Inoue (Alto and Soprano Flutes), Matt Little (Keys), Yeuda Ben-Atar (Flute Synth), and Ian Roller (Alto Sax).

A Love Letter to Water is a love letter to the Self.

Inkarose - Cloud Waltz (with Yeuda Ben-Atar [Flute Synth] and Carlos Niño [Percussion])

Mermaid Fabrics

Diagrams of Thought

To Eve

Meet Me At Sachas

Meet Me At Sachas (feat. Florence Sinclair)

https://buttechno.bandcamp.com/album/yalta-ukraine
all proceeds go to Ukraine charities and defence needs

Synthopia

Advanced Myth

Hung Rose

After the success of 2016's 'Open Water', udmo returns with three meticulous compositions based on themes of industry and space.
The tightly woven, grooving ethereal sounds that we have come to associate with this young artist are even more developed with his second release.

Label heads Albrecht La'Brooy contribute with a deeply hypnotic 'Friday arvo knock-off' remix suited to the early hours.

[AAR010] UDMO - Luba Luft

[AAR010] UDMO - Slow Day (Albrecht La'Brooy's Friday Arvo Knock Off)

Albrecht La’Brooy and Sleep D have joined up again, this time on Analogue Attic Recordings. “After the Rain” is a hypnotic, ambient experience designed to be listened to from start to finish. 

Their second release for the year uses themes and recordings taken from their tour of Australia in July 2017.

[AAR011] Sleep D & Albrecht La'Brooy - After the Rain

Written and recorded from 2006 to 2011 in Madison & Oconto Falls, Wisconsin and Bø i Telemark, Norway, this is the debut self-titled ambient album by John Praw.

O! Sky, O! Sky

PR02/Float

Jemi

Loscil - "Container Ships"

Analogue Attic continues to draw from the fresh stream of talent running out of Australia, this time with Jack Burton, a composition student from the prestigious Victorian College of the Arts. His debut LP 'Lake Monger' was composed across two cities over the period of a year and features contemplative synths, techno and experimental influences. 

The record climaxes in the three-part, 12-minute title track that swells in energy and intensity, drawing influence from ambient masterpieces of the 90s with modern day production, demonstrating impressive compositional maturity.

LP release date:
25th May 2019

Lake Monger MP3 Clips

[AAR015] Jack Burton - Opus

Albrecht La'Brooy showcase the breezier side of their label, scattering a number of unreleased and live recordings along the way.

Read RA's Label Of The Month feature here: https://www.residentadvisor.net/features/3547

Analogue Attic - Label Of The Month

Sophia Zhuravkova - Unseen [Cassette, Release June 19th]
ny-agenda.bandcamp.com/album/unseen

Music by Sophia Zhuravkova

NAN02 © 2020 NY AGENDA & Sophia Zhuravkova

In what could be seen as an effort to redefine or decode the core idea of the field recording as simply the aural equivalent of a photograph; the works of Zhuravkova casts an effortlessly clear spotlight on a new vision of nature. A nature which is connected and wi-fi accessible, a nature of which every part is browsable via satellite view in Google Maps. A nature which might never know true solitude beyond that which we project unto it. 

And yet our idea of nature as a place outside of society is inherently a definition of solitude due to its lack of people. One might have thought that the advances of modern communication technology would make us immune to solitude; as we are always a phone call, video call or text message away from just about anyone else. Does anyone even enter a forest without the safety net of a smartphone these days? However, the biology of our minds cannot be fooled - we are hardwired for physical contact. In light of this, the voice samples on Unseen only serves to haunt the album with a hollow presence, enforcing the notion of solitude. 

But this is not solitude of the desolate kind. While equally tapping into the emotional potential of longing, there is tranquility and harmony in the soundscapes Zhuravkova envisions. The opaque haze of these compositions keeps one grounded in their eternal presence. This experience which Zhuravkova aims to capture reveals an intimacy with oneself in our relation to the “nature” of the outdoors. However transparent the world may seem through the lens of modern technology, there is still the possibility of the unseen. 

Vision itself is a key element to Zhuravkova’s music; as her daytime job is as a video editor, she often draws from this experience when composing. “It happens naturally” she says. “For instance, as a visual story unfolds it has a rhythm, a picture, a sound, and a meaning. They come together to produce an image in one’s mind. People only hear sounds, while I know all the intimate feelings, which were put into each track.”

Words by Simon Eliasson

Unseen

NAN02 - Sophia Zhuravkova - Unseen

kindtree - Pretty Puddle

A decade since his first productions as part of Pendle Coven, Miles Whittaker delivers his debut album proper for Modern Love. The intervening time has seen him forge a formidable reputation alongside Sean Canty as Demdike Stare, and with Andy Stott as Millie & Andrea, beside his operations in the hardware field as Suum Cuique, solo excursions as MLZ and shadowy involvement in the HATE project - all the while building upon his in-demand skills as a DJ of twenty odd years experience, accumulating and absorbing far flung knowledge of hardcore UK jungle, Chicago house, Motor City Soul, the obscure UK techno of labels like Radioactive Lamb and Irdial, Italian concrète, Synthwave and contemporary noise. Which brings us to 'Faint Hearted', the Burnley-bred, Berlin-based maestro's debut solo opus; eight entirely analogue constructions riding the wave from wormhole hardcore clatter ('Lebensform') to body-compressing subbass undulations ('Irreligious'), trekking through frayed techno minimalism ('Status Narcissism') to mind-drift ambient ('Sense Data') and what sounds like a Demdike Stare track constructed on a worksite ('Rejoice'). But if you ask us, the best bits occur right at the end, with the ominous bass, funereal strings and obliterated noise of 'Archaic Thought Pattern 1' or the field recording clangour of 'Queuing', and certainly the majestically gratifying yet subtly dystopian 9 minute closer 'Loran Dreams'. As an individual sonic statement, it's an evocative exposition of Miles’ love of electronic music in all its shapes, harnessing his fidgety production style into one expansive, restless set of tracks.

Sense Data

Rejoice

The Caretaker returns with a long-in-the-making soundtrack to acclaimed filmmaker Grant Gee's documentary about German writer WG Sebald. 'Patience (After Sebald)' is a multi-layered film essay on landscape, art, history, life and loss - an exploration of the work and influence of German writer WG Sebald (1944-2001), told via a long walk through coastal East Anglia tracking his most famous book 'The Rings Of Saturn'. The source material for 'Patience' was sourced from Franz Schubert's 1827 piece 'Winterreise' and subjected to his perplexing processes, smudging and rubbing isolated fragments into a dust-caked haze of plangent keys, strangely resolved loops and de-pitched vocals which recede from view as eerily as they appear.

04 - When the dog days were drawing to an end

@acidpauli
facebook.com/therealacidpauli
twitter.com/acidpauli
instagram.com/therealacidpauli
@ouiemusic
facebook.com/ouiemusic
instagram.com/ouie_music

“Basically my albums have developed into my personal field of experimentation” says Martin Gretschmann, aka Acid Pauli. Known primarily for his psychedelic, leftfield club sounds that weave between slo-mo beats and deep burners, his EPs, remixes and collaborations have generally been more focused on the dancefloor. With his latest album, MOD (his third full-length released on his own Ouie label), Gretschmann goes in a tangential direction, drawing inspiration from modular synthesis and the scene that has flourished around it over the last years. The result is an album produced almost entirely with modular systems, inspired by the possibilities and restrictions of carefully shepherding machines that sing to themselves. 
“I know a lot of people who somehow found themselves and electronic music in a boring dead-end alley, and who have now found completely new worlds through modules”, he explains. Experimental as MOD may be, it certainly isn’t ‘difficult’ or inaccessible - or as someone put it, the nine tracks here are “soft, elegant, fluent, dreamy - the tracks achieve the effect of space-time morphing - magical states”. 
The album is best heard as one continuous piece, allowing it to unfold its delights gently. Most of the tracks were recorded live in one take - often with Gretschmann recording up to 10 different versions before choosing the final piece. 
Propagating Flip Flops starts things off - its glitchy textures and sync-shifting set the scene for the album - the sounds evolving and developing before resolving into a warm, ethereal tone. Intellijel Bell is made up of deep loops of rhythmic sounds, while metallic sounds and a submerged jazzy undertone hint at the classic Acid Pauli sense of fun. Acid On Yusef uses looped up rhythmic pulses and bass tones, joined by modulated beeps and blips. A touch of that iconic liquid acid sound pulls it together and gives the track its name. Sublime Frequencies Of Cairo is another beatless, floating collection of loops that shift and morph - seemingly suspended in space, before an ambient orchestral element resolves the track. 
As the title suggests, Du Brecht, Ich Dub revolves around a bass heavy sound, building up a rhythm of disparate elements that develop into a tense yet somehow weightless groove. Life Polarizer is further evidence that an Acid Pauli album will always somehow drift back towards the groove. The track works the effects pretty hard - sounds pinging between left and right and ebbing and flowing into the mix. Peace Waer Schoen also makes heavy use of delay to create a dubbed-out, wonky feel. The freedom of getting away from computer based production is referenced sardonically in Quantize Hell - its bleepy sounds find a rhythm and progression outside of the grid. Finally, No Kick, No Cry brings the journey to a close - it’s the first and only kick drum of the album and adds a structure to the magical unpredictability of the looped sounds. 
The album’s artwork perfectly reflects these sounds within - created by musician and artist Billy Caso. Each track is also accompanied by a minimalist video, created with a device from this modular world - the "Vidiot". It’s clear that in MOD, Gretschmann has produced a homage to the modular scene that might inspire as many people as it delights.

Acid Pauli - No Kick, No Cry

quiet time for your mind

sorry, we don't accept demos right now