All music recorded/mixed/mastered at studio 'BILO' in Belgrade, Serbia by David Maxim Micic.
Guest artists:
-Everything's Fine: Mina Mladenovic (solo violin)
-Where is Now: Aleksandra Radosavljevic & Vladimir Lalic (vocals), Larissa Terescenko (solo violin), Jakub Zytecki (guitar)
-Smile: Aleksandra Djelmas & Vladimir Lalic (vocals), Jeff Loomis (guitar)
-Nostalgia: Vasil Hadzimanov (keyboard)
-Wrinkle Maze: Bilo Choir (Aleksandra Djelmas, Tanja Knezevic, Vladimir Lalic, Marko Pantelic, Ivan Propadovic, Marko Zivkovic), Larissa Terescenko (solo violin), Per Nilsson (guitar)
-Daydreamers: Aleksandra Radosavljevic, Vladimir Lalic, Dunja Markovic (vocals)
stay fab! <3
credits
released 17 November 2013

Abul Mogard's first new solo album since 2015’s ‘Circular Forms’, a staggering suite of widescreen landscapes painted in self-built modular synth strokes. Hugely recommended if you're into Alessandro Cortini, early OPN, Coil, Brian Eno...
Above All Dreams is Abul Mogard’s beautifully absorbing new album for Ecstatic, deploying six longform pieces for the most expansive solo release by Mogard to date. Taking into account its intangible divinity and cinematic quality - the result of no less than three years diligent work - it is arguably elevated to the level of his master opus; presenting a modular distillation of Mogard’s most intoxicating strain of hauntology.
Consistent with Mogard’s music since the sought-after VCO tapes c. 2012-2013, the allure to Above All Dreams lies in his ability to evoke and render feelings which are perhaps purposefully avoided in more academic echelons of drone music. Rather than a purist expression of physics thru maths and geometry, Mogard voices his soul, improvising on modular synth for hours, days, months and years in the same way a more conventional “band” develops group intuition.
While hands-on, the intuitive evolution of process locates a newfound freedom in his music that implies a recognition of the metaphysical or post-physical, while Mogard explicitly points to influence from the Brazilian music of Tom Zé, Antonio Carlos Jobim and Chico Buarque, whose approach to shape and density, or perceptions of light and delicacy, also go some way to explaining the ephemeral intangibility of Above All Dreams.
The results are best considered as the ephemera of non-verbal communications. From the gaseous bloom of Quiet Dreams to the opiated depth of Where Not Even to the starlit awn of Upon The Smallish Circulation, and through the B-side’s keeling, 16 minute+ panoramas of Above All Dreams and The Roof Falls, the power of Abul Mogard’s dreams above all transcends sound, feeling and physics in a truly remarkable way that evades words or concrete notation.

Abul Mogard -
‘And We Are Passing Through Silently’ is the sublime first survey of reworks by cult synthesist, Abul Mogard.
Rounding up divine renderings of songs by Aïsha Devi, Penelope Trappes (The Golden Filter) and nick nicely (heralded by luminaries of the US underground Ariel Pink & John Maus), the album culminates with Brian Eno’s collaboration with Irish avant-folk band Fovea Hex. Also included is Abul’s brand new rework of Becoming Animal’s ‘The Sky Is Ever Falling’ starring vocals from Cinder (This Mortal Coil/Cindytalk) and Massimo Pupillo on bass (Zu/Thurston Moore/Stephen O' Malley), exclusive to the 2LP, CD and digital release. Houndstooth have long been admirers of Abul Mogard’s beautifully stately, romantic melancholia for the best part of this decade.
By most measures, Abul Mogard and his music are among electronic music’s most perplexing and revered quantities. Abul emerged in 2012 with an eponymous (and now sought after) cassette release for Steve Moore’s VCO.
Unfurling Aïsha Devi into acres of imaginary space with ‘O.M.A.’ and transforming Penelope Trappes’ ‘Carry Me’ into a 12 minute organ meditation, Abul amplifies the emotions of each song while only making them feel more elusive in the process. It’s an approach which yields stunning results in the widescreen reframing of Cinder on ‘The Sky Is ever Falling’, and in his breathtaking, slow-mo explosion of Brian Eno’s Choral vocals for Fovea Hex, while the bruised soul and lysergic greys of his nick nicely rework, beautifully demonstrates the heart-wrenching grasp of harmonic distortion that everyone craves in Abul’s work.
Leading on from Abul Mogard’s ‘Above All Dreams’ album in 2018 for Not Waving’s Ecstatic, and following veiled live appearances across Europe, ‘And We Are Passing Through Silently’ offers another tantalising window onto one of modern synth music’s rarest spirits.
Art by London-based long-time collaborator Marja de Sanctis, who also works closely with Abul Mogard’s live visuals (marja.co)