Vaellus 00B

“a reworking of Carter’s analogue sound experiments recorded in the 1970s and 1980s, features heavily manipulated and transmogrified drifting ambient textures, whilst still retaining the core essence of the original tracks.”

“it's like jungle without the breaks, as those signature bucking basslines chart a path through otherwise formless ambience. It's heavy stuff, but it's also as fluffy as a cloud.”

“produced alongside regular collaborator DB1 the eight minute composition journeys through unfurling, expansive pads, subtly nuanced bass warbles and gritty off-kilter percussion. ”

“With techno it feels like there was and is a shared purpose, even if it’s a limited one. That feeling was totally new for me. Producing techno was quite liberating for me. I could focus on sound design and I didn’t have to worry about clever rhythms anymore. ”

“The thumping bass underpins shimmering melodies that sound like a shoegaze-informed strain of EDM. Amid all of this is her echoing vocals, which murmur like an apparition.”

“ Interweaves threads of ambient electronica, odd techno, drone and field recording into exploratory psychedelia. Composed after returning from binaural field recording trips in Coed Camlyn, Maentwrog.”

“Long lost album from Kieran Warren aka Atonal. Originally made in 1994, essential for the fans of early Aphex Twin and Bochum Welt.”

“His body of work demonstrates an impressive, evolving artistry, exploring harmonic and textural sounds underlined by a powerful devotion to computer-based production.”

“ this is one of the definitive overviews of Simon Walley’s intimate, introspective electro-techno sound. From the crunch of bit-crushed drums to dreamy, swooning pads, everything in the CiM soundworld feels positively considered and elegant.”

“Working with elements from techno culture, glitch aesthetics, intricate IDM rhythms and lush ambient textures, Costello never once adheres to tried and tested formulas and conventions, but holistically moulds complex compositions out of distinct and discrete parts.”

“When the roads and skies were forced into quietude, the birdsong took over. The skies and branches were full of clarity with avian voices echoing through the crisp air of the fen valley. The birds were singing so loudly that I had to sing back.”

“Interlocking tiers of texture, echo, and fractal electronics coil and cascade in exquisite mosaics, equal parts voyaging ambient and ‘molecular dance.’ formed during a shared tenure at a Zen Buddhist monastery, bonding over mutual fascinations with deep listening and intersections of sonic futurism and archaism.”

“where environmental sounds blend in with modular synthesis, drum machines, effects and analog oscillators resulting in a cinematic listening experience where psychedelia, ritualism, and mysticism weave together in a sort of alien soundscape.”

“Popping drum machines flit and flutter according to an eschewed house sensibility, sometimes morphing into something like a kuduro rhythm, as basslines vary from bubbly acidity to virtually non-existent in the moments where Perälä allows the twinkling high end to do all the talking.”

“he continues to do what he does best: attempt to move microsound away from the world of theory and towards absolute real life. music about, and to be listened to in, unexpected places.”

“Where does the memory of a melody reside? Lucid phrases and half-remembered intonations buried somewhere, folded into times and places.”

“Deploying just intonation as a means for psycho-physiological exploration, deftly intervenes with the expectations of minimalism, durational music, and drone. across the work’s slow evolution, sublime tonalities ride a razors edge between darkness and light.”