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James Murray * Pleq

Floods Returned

Floods Returned


James Murray‘s discography goes back to 2004, when he released a track as Sub on one of the legendary EM:T label compilations.  He releases under his own name, and his output seems to increase every year: three titles in 2016 and this is the third title only halfway through 2017.
Steadily working on his distinct, personal and intimate sound, he has become one of the landmark producers in the ambient/drone genre.

His previous albums were much praised for their style and content, but for a creative artist an album release is never a definitive version.
Floods Returned  revisits tracks from Murray‘s previous albums Floods, The Land Bridge and Mount View, a ‘biographical trilogy’ released between 2012 and 2014. 

Tracks from these albums are not just remastered but completely reworked:
“Simply to recombine a few elements on many of these productions is to invite another composition to spontaneously unfurl, often equally faithful to the spirit of my intent as the original.”

Like many artists do, Murray “is circling his private collection of hopes, fears, dreams and disappointments, looking at this strange assemblage from every angle, pushing and pulling to see what falls out”.

The titles still refer to the original tracks, so if you want you can compare these versions with the originals. But there are also added new title in brackets, indicating that they can best be seen as new compositions. 
Floods Returned 
simply feels like a completely new album.
Norman Records described this as “slow unfolding ambience that has the etherial uplifting qualities of Brian Eno’s Apollo” – not a compliment that should be easily given, but I think it just about nails it.


PLEQ – RE:COMPOSITION  Also on Spotify

Re:composition is a different kind of retrospective compilation.
It is a collection of (eleven) remixes of Pleq‘s (Bartosz Dziadosz’)  music tracks that were previously released on many different label.

The common denominator of all remix artists is that they all have released music on the Dronarivm labels.
And that is quite a tribe: Philippe Lamy, Autistici, Segue, The Green Kingdom, offthesky, Olan Mill, Legiac, Aaron Martin, Elegi and Tomasz Mrenca. Each taking a different approach in de- and re-constructing Pleq‘s music.

Re:composition not only shows the versatility and inventiveness of his work, it also demonstrates that the Dronarivm artists share their artistic vision – facilitated by the label’s mission to “fulfill the expectations of music lovers of ambient and drone.”

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Pleq & Giulio Aldinucci; Umchunga; Dronny Darko & ProtoU; Matthew Atkins

Dronny Darko & ProtoU

Pleq + Giulio

Italian electroacoustic artist Giulio Aldinucci (also known as Obsil) meets Polish experimental wizard Bartosz Dziadosz (aka Pleq). The opening (title) track was their first collaboration, previously published on Home Normal’s Elements 5They continued working together after that, which resulted in these four tracks. It’s a fascinating mix of matching ingredients: the subtle piano notes, vocal samples, field recordings and stretched drones all seem to fall into the right place.
The piano notes in the title track never take center stage: they are mere accents in the background, yet once you heard them you’ll always recognise them.
Three of the four tracks are reworked by The Green Kingdom, Christopher Bissonnette and Olan Mill to complete this full album.
If this is the prelude, we can definitely look forward to further collaboration work from these two artists!


It starts with a quiet drone, but after a few minutes there’s an unexpected twist in intensity. Droning organ sounds and effects reminiscent of early Pink Floyd, from their most psychedelic period. But on the other side, there are also the calm guitar themes from the title track.
Nima Pourkarimi (from Tehran) named Umchunga after the Mira Calix song Umchunga Locks. This is his debut album: ‘six tracks of atmosphere drones and static noise, each reflecting a particular state of mind in which he found himself at the time.’
I don’t know if it’s the context and being from Tehran that gives this album an extra, and somewhat different, dimension: there’s a cry of despair in almost every track, but there’s also hope.

A (dark) ambient concept-album: starting out with the Big Bang (13.8 billion years ago), and exloring various stages of evolution from there – even into the distant future in Leaving Earth (2135 AD).
Given the enormous span of time it thematically covers, it’s remarkable that these seven tracks sound remarkably consistent: it’s a calm atmospheric, misty cover to immerse yourself deeply into.
Of course, you can also ignore the concept if you want, and just see where your own imagination gets you.
Dronny Darko is Olec Puzan (and onviously fascinated by all things outer space), and ProtoU is Sasha Cats  – a trained violinist and choir vocalist now exploring more experimental territories. They are both living in Kiev (Ukraine).

Geometric Decay

Matthew Atkins (not be confused with Matthew (‘Monty’) Adkins – the difference is only one letter) runs the Minimal Resource Manipulation label, and this album is the fourth release under his own name.
Atkins uses all kinds of found sounds, field recordings and drones, takes them out of their original context to replace them in these sonic collages ‘whose textures teeter at the edge of noise in places. This is offset with almost meditative passages with snatches of repeated melodies and looped textural blocks’.
The result is a fascinating kind of abstract, industrial, but above all otherworldly soundscapes. Bandcamp offers the digital download, but you can order a hand stamped cardboard sleeve physical edition here.

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OfftheSky & Pleq; Frozen Vaults; Darren McClure; Fabio Perletta (∅E)

Frozen Vaults - 1816

A Thousand Fields

Apart from running and curating the Dronarivm label, Pleq (Bartosz Dziadosz) is one of those artists with an extremely high release rate, so it’s quite difficult to keep up. But at the same time it’s important to keep yourself informed, because in the blink of an eye you might miss something very beautiful.
Like, for example, this collaboration with Jason (Offthesky) Corderreleased on 2xLP + 7″ (the 7″ for the first 300 only!) and as a digital download.
(A CD version may be available in the future).
The sound of this album is somewhat different you may expect from their previous work: electronic are present but less prominent, in favour of a large-scale orchestral sound. It’s part ambient music and part modern classical; both equally balanced.
“What has been hinted at in solo and prior collaborations meshed together with an influence of equal parts minimalism, fourth world ambience, field recordings, drone, and experimental composition to a stunning degree.”
Try the opener track for example – I guess you’ll be hooked and want to hear the full album!

Frozen Vaults - 1816

Pleq is also one of the core members of The Frozen Vaults – a modern classical collective also featuring Harry ‘Spheruleus’ Towell Yuki Murata (piano), David Dhonau (cello) and  Tomasz Mrenca (violin).
 is the group’s debut album, released on the Voxxov record label.
The title refers to ‘the year without summer’ – one of the coldest years the world has ever seen; the coldness attributed to a violent volcanic eruption of Mount Tabora in 1815.
Between all other original compositions there’s an unexpected arrangement of God Rest Ye Merry Gentlemen, which immediately seems to link this album to christmas time and thus feels a bit weird on this (spring-released) album.
Every detail of this album refers to the cold, to the ‘perishing chills that so many were subjected to over the course of the year’, but still to my ears the music radiates a lot of warmth – like sitting close to a woodfire while the cold is raging outside.
I suspect this will not be the last we hear from The Fronzen Vaults, because the string/piano section combines beautifully with Pleq and Spheruleus’ electronics and field recordings.

Primary Locations

While it’s a please in itself to simply listen to this album, it’s also important to know about its background concept: the relationship between sound and light.
For this album, Darren McClure converted the wavelength of  color ranges into corresponding audible frequency ranges: 397-431 Hz for red to orange, 464-497 Hz for yellow to lemon, and 598 to 665 Hz for blue to violet.
With these specific frequency ranges new music was created. This music was then linked to specific recordings from locations containing one of these primary colours: the main bridge at Matsumo Castle (Red), a metal overpass supporting train lines (Yellow), and a tarp-covered shed situated among farmland and rice-fields (Blue). The resulting pieces are fascinating ‘sonic snaphots of three sites, their ambience and the sound of their colors’ 

Fabio Perletta - Seeds

Unseed is the first release in a news series on Arboretum (a young experimental label from Berlin) called Hanami Series: one release every year between April and May. Hanami is a Japanese word referring to the tradition of contemplating the transient beauty of nature, and to help you contemplate the CD is bundled with some original japanese cherry tree seeds!
Fabio Perletta (also releasing as ∅eis an italian multimedia artist with a lot of experience in music as well as installation and performance art.
Unseed is created re-using and re-processing samples that were originally used for his 2012 album Transfer – an album exploring Affective Computing: ‘a sonic reflection about all affective phenomena which come out by the use of digital interfaces: the emotions are thus converted twice (reality-digital, digital reality).’
It’s an interesting thought: though this music is created strictly with electronic means it still definitely is affective music. Positive and light in nature, too – thus a perfect help for contemplating the transit beauty of nature!


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Richard Chartier; Pleq+Philippe Lamy; Pjusk+Sleep Orchestra; Thomas Tilly

Line 066

In the Shortlist sections, I will mention the albums that I enjoyed listening to, but couldn’t find the time (or the right words) for a “full” review for. Still, I definitely think they deserve your attention, with ór without extra words!

Line 066

Where most releases nowadays are focussed on a physical release on a vinyl album and thus do not cross the 40 minute mark, Richard Chartier chooses a different approach and squeezes the most out of the possibilities of a digital release: Subsequent Materials (2006 – 2012) offers no less than three hours of his characteristic electronic music.

Subsequent Materials (2006 – 2012)is the third release in a Richard Chartier compilation series, following up “Other Materials” from 2002, and “Further Materials” from 2008. It presents a collection of (out-of-print) compilation tracks, soundtracks for visual pieces, unreleased and previously unavailable works, and compositions previously only available as bonus tracks.
17 Tracks in various lengths (the shortest is 00’34”, the longest 34’32”), but fitting together perfectly as a sampler of Chartier’s ingenious “reductionist” electronic soundworks.


Sans Titre

Two prolific experimental artists combining their talents (again): Pleq (Bartosz Dziadosz, from Poland) and Philippe Lamy (from France). There are five untitled tracks (counting from “Sans Titre Zéro” to “Sans Titre Quatre”), and three impressive additional remixes by Pjusk, Marcus Fjellström and Ben Lukas Boysen.
The suspenseful minimalist, fragmented textures get a nice extra ‘Film Noir’ layer with the lush french spoken word fragments of Sandrine Deumier in some of the tracks.


Pjusk + Sleep Orchestra


Also on Spotify

Another fruitful collaboration: this time between Christopher Pegg (Sleep Orchestra, UK) and Pjusk (Rune Sagevik and Jostein Dahl Gjelsvik, Norway). They met at the Barcelona Storung Festival, after Christopher was recommended to listen to Pjusk’s “Tele”.
Drowning In The Sky “creates a soundtrack of ambient soundscapes and drones that move you slowly and steadily through an ever changing landscape of water, fog and the clouds in the sky. This is the type of music to listen to when you just want to float away to another world.”
And that is exactly the kind of sound that the Dronarivm label (which is curated by Pleq, so that completes the circle) specializes in!

Script Geometry

(Physical Edition HERE)
Field Recordings always present some difficult questions. Is it music, composition, or just ‘captured sounds’? Yet sometimes these questions are not relevant, because the result can be enjoyed as if it were composed soundscapes. Chris Watson has some fine releases proving that. But this Thomas Tillyproject is another fine example!
These sounds are recorded at the heart of the tropical rainforest in French Guiana, and presented without any electronic treatment (apart from an occasional low-cut filter and sometimes some mixing and editing).
Of course there are the inevitable familiar cricket sounds, but are also a lot of strange sounding creatures, that at times sound like they were electronically created.
“There exists something in a tropical forest that sounds like and plays within the realms of electronics, music and electronics noise; something characteristic of an era long before the birth of biotopes that form this forest and create this sound.”
It’s a massive 2.5 hour project: the (beautifully designed!) physical edition contains 2 vinyl LP’s and one CD (the CD containing a one hour ‘reference recording’). Mastering was done by James Plotkin, which is worth mentioning since his mastering skills definitely enhance the impact of these sounds. Sounds that seem to come from a different world – but don’t.

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Philippe Lamy + Pleq (3 Titles)



Philippe Lamy (France) is an artist combining various art-forms. He’s a painter, but also teaches ‘plastic arts’ at the School of Architecture in Toulouse. He started creating music about ten years ago, “feeling that his paintings and music resonate together”.
His soundscapes indeed resemble paintings: they are incredibly detailed, almost organic, including a wide dynamic range of sounds.

His latest solo album,SlowFast, is recently released, following up two recent collaboration projects with well-known Polish artist Pleq.

SlowFast is released on the new Dronarivm label from Russia, which is quickly building a firm reputation with their quality releases of electronic soundscapes.
Dronarivm’s physical releases are alway extremely limited (SlowFast is limited to 75), but can also be obtained digitally through Bandcamp.

The postcard cover shows a man walking through a deserted landscape, “walking across the desert with memories of the sounds where he has come from, of what he has left behind. Crossing the arid landscape, he listens to those sound images, he is haunted by them, he superimposes them on the present and brings them with him toward the future he is making for. Step by step, he uses this confrontation to reinterpret his memories and to finally attempt to grasp the music of the desert.”
I can assure you: that’s exactly how the music sounds.

Philippe Lamy – Bloud


Pleq + Philippe Lamy – Momentum
Considering the way they both create their music, it was inevitable that Pleq (Bartosz Dsziadosz) and Philippe Lamy eventually would come to work together.
They obviously share their musical vision, and they have the same focus on creating spacious yet incredibly detailed landscapes of sound.
Momentum seamlessly blends both artists’ way of constructing “immersive worlds from microsounds, noise fields, glitches, mutated drones and field recordings”.

Like SlowFast mentioned before, Momentum takes the listener to imaginary landscapes, far far away, with tracks taking the time to develop in full.
Immersive as they are, this is never “just” droning….there’s alway a lot going on, showing enough details to keep your full attention.

The album is completed with three remixes by Mise_En_Scene, Yukimito Hamasaki and Machinefabriek, respectively. (Considering the way they work and how prolific they both are, I wonder when we will see a full collaboration between Pleq and Machinefabriek)

Pleq + Philippe Lamy – Dropping Waves


Pleq + Philippe Lamy – Split
And to conclude this impressive batch this little gem should also be mentioned:

The successful Pleq / Lamy collaboration is continued with two long tracks on this first edition of Dronarivm’s “32” series: a cassette with (about) 32 minutes of music released in a limited physical edition of 32 (but also available as a digital download).
“This original dialogue between the modern ambient musicians attempts to emphasize their individuality and find common ground.”

With this particular start of the series, the standard is set high. So keep an eye on Dronarivm in the near future!

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Time Released Sound: the Chocolate Box series


I can’t really decide if I should consider Time Released Sound primarily an art or a music label.

I can drool when watching the incredible (handmade!) art that is created for each initial release. Carefully handcrafted, with regards to every detail, but consequently they also carry a price tag that seems to aim at art collectors more than the average music lover.

These special releases are always very limited and often quickly sell out. Luckily for those of us not fast (or rich) enough, Time Released Sound often immediately re-release these titles as a standard 5″-CD with a regular picture sleeve.

Below are some of the highlights of the latest batch: theChocolate Box” series. This, of course, refers to the Deluxe packaging of each individual title. Check the website for more details about that: I’ll leave out the notes about the packaging and will just focus on the music.

Four Peaks

Bernard “Sonmi451” Zwijzen 
may very well be one of the more familiar names in this batch of artists. 
Four Peaksrefers to some of the mountain peaks of the Alps and Dolemites (“which, closer to home as they may well be, are still unreachable in reality for most of us…”).
The four peaks (Eiger, Grossglockner, Matterhorn and Tre Cime Di Lavaredo) are conquered in just over 35 minutes of beautiful, crackling atmospheric sounds.
However much I love the soundscapes, I found it a bit hard sometimes to find the thematic relation from the music to the titles – especially with the japanese (or korean?) spoken word samples on Grossglockner.
But in fact I would not be surprised at all if there turned out to be a Grossglockner replica somewhere in Japan..

Sonmi451 – Grossglockner

Quietus Gradualis


On “Quietus Gradualis” (“Quiet, Gradual”, but you probably guessed that), Pleq (Bartosz Dziadosz) and Spheruleus (Harry Towell) join forces in creating two slowly unfolding tracks, each twenty minutes in length.
Spheruleus’ “guitar meanderings and pseudo stringed ambiance” is subtly layered in Pleq’s “slightly crunchy and somewhat droney top coating” .
Like on their earlier projects, this duo deliver some adventurous soundscapes with a spontaneous, improvisational feel.



In recent years, Jan (poetry) and Romke (guitar) Kleefstra have become internationally known as the nucleus of many different projects, performing with a lot of different artists (such as Machinefabriek, Peter Broderick, Greg Haines and many others).
Though each of the setting for their work is different, their music is immediately recognisable for its dreamlike improvised soundscapes and for the soft whispering (frysian) poetry spoken by Jan Kleefstra.
For Sinneplakken, the Kleefstra’s team up with Sytze Pruiksma (percussion) and Christiaan Kuitwaard (guitar).
Compared to earlier Kleefstra projects, Sinneplakken has a rougher, unpolished feeling, steeped in those shorter days and longer nights of mysterious northern climes”.

Kleefstra (x2), Pruiksma, Kuitwaard – Oanspielt

Rezo Glonti


While all artists mentioned above may be familiar, the name Rezo Glonti was new to me.
“The Diary of the Second Officer”
is in fact the first release of this Georgian sound artist.
Its sound is refreshingly original and different – in concept as well as in the sounds itself.
manages to link analog synth sounds to contemporary glitchy soundscapes, and relate environmental to electronic.
His sources include recordings from his own travels and visits to Batumi, Singapore, Kagoshima, Istanbul, Lagos, and a small Georgian village called Chibati.
But it is not ‘just’ environmental field recordings we hear: Glonty acts as the ‘second officer’ himself, guiding us through locations that may sound vaguely familiar but at the same time alienated and otherworldy.

Rezo Glonti – Kagoshima

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McDougall + Sasajima; Hydrophones; Francisco Lopez; Pleq a.o.


In the Shortlist sections, I will mention some of the albums that I enjoyed listening to, but couldn’t find the time (or the right words) for a “full” review for. Still, I think they deserve your attention: use the links to find more info and hear previews.


James McDougall & Hiroku Sasajima – Injya
Using environmental sounds from Australia and Japan, McDougall and Sasajima create a new virtual world by rearranging and manipulating the original recordings. Their carefully crafted collages manage to maintain the ‘natural’ feeling of the recordings yet at the same times creates a non-existent landscape that is fascinating to listen to. One of the best environmental soundscapes I know.


Various Artists – Hydrophones
Using only (publicly available) recordings from the National Oceanographic and Atmospheric Administration (NOAA), carefully manipulating the underwater sounds of ships, earthquakes, “air guns”, whale sounds and some unknown sources, this free download includes three immersive sub-aquatic ambient soundscapes created by Michael Hendley, Beau Finley and Keep.


Francisco Lopez – Untitled (2009)
When a double cd-album with 14 tracks (all called ‘Untitled’, with only numbers to distinguish them, ranging from 2 to 20 minutes) opens with a recording of a loud snore, you know you may be in for some surprises. Francisco Lopez approaches the sounds of this world like watching it through a microscope. Even the tiniest detail may sound massively impressing. This is sound art at its most abstract – obviously not for everyone, but very rewarding when you’re open for it. “What is real, what is masqueraded, transmuted? Can we believe our ears at all?”

Pleq and Lauki

Pleq and Lauki –Perceiving Perspective
Released on a limited C30 cassette, Pleq (Bartosz Dziadosz) and Mike Lauki “combine forces once again to document the delicate middle ground between modern compositional structures and widescreen ambient soundscapes.”
Absolute standout track is Lauki’s – “Deconstruction (Pleq Remix)”, with a beautiful solo violin part played by Heike Grafe.Let’s hope these tracks will also be made available as a digital download once the cassette release sold out (which will probably be quite soon).

Time and Language

Pleq, Hiroku Sasajima, Spheruleus – Time and Language
This album was released on vinyl at the end of 2011, but can also be downloaded digitally for just a few bucks. And it’s definitely worth doing so, because these four tracks contain a beautiful blend of “Hiroki Sasajima’s field recordings and drones, carefully adapted by Pleq with the addition of gentle drones and glitching textures, with Spheruleus weaving in subtle acoustic sounds using his instrument collection”.

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Interesting Collaborations


In the Shortlist sections, I will mention some of the albums that I enjoyed listening to, but couldn’t find the time (or the right words) for a “full” review for. Still, I think they deserve your attention: use the links to find more info and hear previews.

Night Blossom

The Beautiful Schizophonic & Yui Onodera – Night Blossom
The Beautiful Schizophonic 
(Jorge Mantas, Portugal) and Yui Onodera (Japan), two renowned sound artists,  continue to refine their collaborative work that started in 2009, with “Radiance”. 
Immersive, yet restrained, beauty. 

Woven Tide

From the Mouth of the Sun – Woven Tide
From the Mouth of the Sun is the name of the first project of Dag Rosenqvist (Jasper TX)  and Aaron Martin. Just mentioning these two names should raise your interest!
“Out of the charred embers of dusk Woven Tide emerges with an incandescent glow. Each glimmer cast by the sustained notes of ebony keys, the taut strings of the cello, and the rampant buzz of guitar lights our way, gives us hope, brings us into the dawn of a new day. As From The Mouth of the Sun, the duo act as our torchbearers, scrawling messages along the walls of an elongated cave, toiling through the decayed remnants of fetid matter to create eight illuminating pieces.”

Time & Language

Pleq, Spheruleus, Hiroki Sasajima – Time & Language
Cross-continental collaboration of Pleq (Poland, glitch electronics), Hiroki Sasajima (Japan,Field Recordings) and Spheruleus (UK, Acoustic Instruments).  
Hiroki Sasajima’s field recordings and drones are carefully adapted by Pleq with the addition of gentle drones and glitching textures, with Spheruleus weaving in subtle acoustic sounds using his instrument collection. Together, three far-flung sound artists have created a short and beautifully cohesive selection of moods.”
Limited 180gr. vinyl edition; but also available as digital download.

Windy and Carl

Windy and Carl – We Will Always Be
Not exactly a ‘one-off’ collaboration, since Windy (Weber) and Carl (Huttgren) perform as husband and wife since about 1993. Although their back-catalogue is quite extensive, this is their first release since 2008.  Carefully crafted guitar-based drones. Don’t let the vocal opening track and the sustained distortion in the closing track (19 minutes called “Fainting in the Presence of the Lord”) catch you off-guard: there’s a lot of beauty inbetween…

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Specta Ciera; Sense; Pleq + Lauki; Ujjaya; Sequence 2


In the Shortlist sections, I will mention some of the albums that I enjoyed listening to, but couldn’t find the time (or the right words) for a “full” review for. Still, I think they deserve your attention: use the links to find more info and hear previews.


Specta Ciera – Underpass
Specta Ciera 
is the pseudonym for sound designer Devin Underwood from Cambridge, MA. Underpass” is the latest in a line of 15+ releases combining ambient drones, field recordings and avant garde electronics. The four tracks on this (FREE) FeedbackLoopLabel release are warm, immersive and slightly dark. (In fact there are three tracks, because the title track returns in a Darren Harper mix). This great EP only scratches the surface of the compositional style and approach Specta Ciera employs, so it may be a good starting point for checking out his back-catalogue.

sense - selected moments

Sense – Selected Moments Vol. I
With his vintage synth sounds, Sense, aka Adam Raisbeck, brings back “the golden era of 90’s ambient music”. The sounds are beautiful analog, but the music itself is far from ‘retro’. The compositions are warm and nicely balanced. In Adam’s own words: It’s about selected moments of my life over the last 5 years and consequential realisations from looking at those moments individually it’s about change and growth its about opening hearts and healing. My ultimate goal is create an interface via my music whereby people listening to it will totally feel what’s happening and understand what I was feeling at the time I was making the music, it’s something that is to me – beyond-sonic.”

Pleq + Lauki

Pleq + Lauki – The Anatomy of Melancholy
(the extremely prolific Bartosz Dziadosz, from Poland) and Mikel Lauki (from Barcelona) follow up their Gravity Lens release on Ephre Imprint with this new (but limited) release. The album title and artwork may serve as a perfect description for their music. The first ten tracks (no titles, just numbers), are followed by four remixes by Maps and Diagrams, Spheruleus, OfftheSky and Antonymes, who are each zooming in deeply to focus on different details. 

Ujjaya cover

Ujjaya – Le Maitre des Carrefours
“Maybe I  should be the only Malagasy ambient artist in the world.”, Ujjaya (Randriambololona Héry) states. This may well explain the “Fourth World Music” feeling (a term introduced by Jon Hassell) on this album, which has some similarities to the beautiful Penjaga Isaf’s album reviewed a while ago. 
Le Maitre des Carrefours (The Master of Crossroads) was created for a ballet made by Vanessa Villain, called “Subliminal“, “telling how the man exploit the Earth and how in return nature take her revenge. Shortly after happens the one of most devastating tsunami in south-east Asia”.
Free download from the Clinical Archive Netlabel.

Sequence 2

Various Artists – Sequence 2
Future Sequence is not only a great source of information about all things ambient-music related (review, interviews, mixes), it only offers this massive download-only compilations for FREE!
Please note: this is more than 4 hours of music! Don’t take this all in at once, because there’s almost too much to enjoy. To name just a few contributing artists: Maps and Diagrams, Felicia Atkinson, Hakobune, Pascal Savy, Nils Frahm & Anne Müller, Specta Siera, and a lot lot more.

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Pleq, Spheruleus & Various – "A Silent Swaying Breath"

Pleq Spheruleus

When they decided to work together on a charity fund-raising album “for those that has beenaffected by the recent unrest that ravaged cities across the country” (referring of course to the recent UK riots), Pleq (Bartosz Dziadosz) and Spheruleus (Harry Towell) chose a different approach.

Instead of asking fellow artists to contribute a complete track, they teamed up with SoundFjord (UK Sound Art Gallery), and started asking their (immense) network of ‘artists, musicians and the general public’ to contribute just a short (under one minute) sample for this project.
Then they started working on these samples, creating this one hour album with twelve full length tracks.

That must have an hell of a job, since the list of contributors adds up to about 75 names, and quite a lot familiar among them, such as Hakobune, Isnaj Dui, Inventors of Aircraft, Lauki, Marco Lucchi, Petri Kuljuntaustaa, Mystified, Offthesky, Porzellan, Robert Curgenven, Savaran, Simon Whetham, Steve Roden, Wil Bolton….I could go on for a while, but the full list is available on the Bandcamp page.

Though in fact they are the actual creators, Pleq and Spheruleus don’t take full credit for it, listing it under “Various (Artists)”. But they have done a remarkable job creating such coherent, homogenous tracks from this “eclectic selection of field recordings, samples, spoken word pieces and instrumentation, creating momentous emotional landscapes for the listener, delicate, tender moments and most of all, a yearning tumult of haunting quietude: a silent, swaying breath.

This album is available as a digital download only.
For only 3.99 GBP (EUR 4,65/USD 6,40) or preferrably some more you don’t only download this amazing “compilation”, but also help support the following charity organisations:

No reason NOT to download it!

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