Track taken from the upcoming album 'These Were Failed Assumptions' released through Fluid Audio...

Music by Tropic of Coldness
Mastered by Alex at quiet details studios
Design by Daniel Crossley

These were failed assumptions

Tropic Of Coldness - Circumstances

Taken from the upcoming album 'Wave Particles', released through Fluid Audio...

'Wave Particles' is a project that holds special significance for me. It delves into my ongoing fascination with the intricate interplay between nature, consciousness, and technology. Throughout the year, I've had numerous opportunities to explore these themes. I've become particularly intrigued by the role that resonance plays in connecting these elements, fostering a profound sense of interconnectivity within our surroundings.

As we find ourselves at a unique juncture where nature, consciousness, and technology converge. Through this music, I've aimed to capture the threads that bind these elements together - Alex Smalley

Maria Smalley on vocals
Jane Wild plays violi
Alex Smalley plays guitar, process synthesisers and field recordings

Mastering: Alex Smalley
Music: Maria Smalley / Jane Wild / Alex Smalley
Design: Daniel Crossley
Label: Fluid Audio

Wave Particles

Alex Smalley - Duality

Taken from the upcoming album 'Eight Views Of A Summer', released through Fluid Audio...

Credits:

squncr: tape manipulation, field recordings, sampling, electronics, zither, accordion, Hohner Organetta, Yamaha CP70 and Roland Space Echo.

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

Eight views of a summer

squncr - Perseids

A Temporal Journey Through Daydreams and Nostalgia...

Dreamu, the alias of Madrid-based experimental musician and producer Fran Sarró, presents nrem, his debut album, a 13-track instrumental LP. Inspired by the N-REM (non-rapid eye movement) N1 sleep phase - the transitional state between wakefulness and sleep where reality begins to blur into dreamlike images - nrem delves into this liminal space. Dreamu's landscape is colored by the melancholy of an idealized past that never existed.

The album, recorded primarily on reel-to-reel tape machines and cassettes, employs techniques such as reversed sounds, tape speed changes, and granular synthesis. Its palette is built from processed electric guitars, pianos, samplers, and field recordings.

nrem is the result of a decade-long journey of personal and sonic exploration, crafted within the intimate space of his home studio in Madrid. Surrounded by cables, effect pedals, and tape machines, Dreamu sketched harmonies and textures while navigating an emotional evolution marked by ups and downs, insecurities, and expectations. Composing became a refuge, where those feelings could crystallize into sounds that honestly reflected his vision.

Mastered by Taylor Deupree 
Designed by Daniel Crossley
Released by Fluid Audio

Dreamu - Margarita

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 Acceptance Cycle:

This is a bit easier to write about as it’s essentially a conclusion to The Sound of Someone Leaving album. That album was about loss in many of its forms. 'The Acceptance Cycle' (like its title suggests) is about the cycle you go through in reaching acceptance. The final track (Cycle Seven) has an element of acceptance about it, with the preceding six tracks taking the listener through a range of emotions before reaching that final place- with the Title track setting the scene at the start. To sum this one up- it’s an expressive outpouring of emotions that come after a shock or traumatic event (The Sound of Someone Leaving) which eventually leads you to a place of peace and acceptance. The two pieces are connected- but it’s hard to say how, it’s more of a feeling, like one is ‘discovered’ almost by surprise after listening to the other.

Phil Tomsett - April 2024

Phil Tomsett - The Acceptance Cycle (Preview)

The 'Noise Print' project began from a desire to create deep, earthy textures. I had an image of walking along a narrow forest path and being very present in the moment. For this album I changed my usual approach by setting a one-hour time limit for each studio session. As soon as I set this limitation my ‘chattery brain’ started stirring up doubts about my ability to work under these confines- an hour wasn’t long enough to create ‘amazing music’ and that setting such restraints would be stopping me from producing quality work. However, once I started working, a diﬀerent, more grounded version of myself emerged-more sure footed and less neurotic and anxious, focused on the present moment rather than getting anxious over future outcomes. And the outcomes were good, I was really happy with the material I was creating and the whole of Noise Print was made in these sessions.  

While I made the album I started to think about identity, shadow selves, unconscious selves, versions of ourselves that are quite diﬀerent from the everyday person we think we are. In many ways this was quite comforting, the thought that my everyday self could take it’s hands of the wheel and let a grown up much more capable person could get on with the work. On reflection I realise that making music is one situation in my life where I’m able to tap into this state without too much diﬃculty (most of the time) but it was during the making of Noise Print that I actually noticed it was happening.  

This led me to think about the concept of shadow selves-alternate versions of our subconscious selves that operate beyond our everyday distractions and influences. Like the image of the forest track-a space where the noisy mental clutter fades, and a deeper, older self takes over.  

To sum this one up-it’s like a walk along a narrow forest path and the present moment is very much alive-your mind is right in ‘the now’ with past and future losing any meaning. The ‘Noise Print’ title came about by me thinking if you could print to tape the sound of your psyche/consciousness when your are in this present focused, deep state.  

- Phil Tomsett - April 2024

Noise Print

Phil Tomsett - Noise Print (Preview)

A New Musical Journey for Sleep and Meditation...

Prepare to embark on a transformative auditory experience with the release of 'Musquy (dream)', a groundbreaking composition designed to accompany moments of sleep, meditation, and deep relaxation. Crafted with intentional gentleness and an unparalleled sensitivity to the human spirit, this music serves as a gateway to release and renewal.

Emmanuel’s vision for 'Musquy' centers on the delicate balance between tranquility and inspiration. From the soft melodies to the carefully orchestrated transitions, the music creates an environment conducive to profound inner peace.

Perfectly suited for individuals seeking solace from the noise of daily life, 'Musquy' provides 'a gateway of release in which dreams may awaken in calm and delicate grace'.

The composition’s intricate layering and gentle dynamics are the result of using natural soundscapes, presented in a 24 hour installation by Emmanuel. The result is an immersive experience that gently cradles the listener’s senses and promotes holistic well-being.

...

Emmanuel Witzthum - vocals, electronics, mastering
Daniel Crossley - Design

...

The artist...

Emmanuel combines work as composer, artistic director and creator of artistic digital experiences. He currently serves as Head of Creative Development for the FeelBeit culture house and as the curator of the creative resident program at the ZEISS Innovation hub at KIT.

He has created artistic collaborations with partners such as Ensemble Modern, Frankfurt; IRCAM; Google; The Guggenheim; The Alvin Ailey Dance Company; Enjoy Jazz Festival; The Future en Seine Festival; The Matadero; The Jewish Culture Festival, Krakow, The Jewish Museum, Berlin; The Pacific North Western Ballet; The ZKM and ZEISS amongst others.

He has performed as violist with the Orpheus Chamber Orchestra in NYC, The Berlin Staatskapelle, Ensemble Intercontemporain amongst others. He has recorded for Deutsche Grammophon under Pierre Boulez with Ensemble Intercontemporain.

He is a consultant and lecturer on such topics as - transformation processes in the arts and strategic business development in the arts in the 21st century.

www.fluidaudio.co.uk
www.witzthum.org

Emmanuel Witzthum - Musquy (Dream) excerpt

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

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.

New tracks tagged #Fluid Audio