See the film here:

Atomos is the upcoming second album by ambient music duo A Winged Victory for the Sullen. The album is due to be released on October 6, 2014 on the labels Erased Tapes and Kranky.
The album contains the music from the original score for Atomos, a dance piece by contemporary choreographer Wayne McGregor and his company Wayne McGregor Random Dance. The music was recorded in Summer 2013, in studios in Brussels, Berlin and Reykjavik. Regarding the recording process, pianist Dustin O'Halloran has commented: "We never imagined 2013 would be such an explosively creative year. The first record took us two years from start to finish, but in the micro span of time over last summer we were able to change the formula for the way we write, record, and let go. It was incredibly liberating."[1] The dance piece premiered at Sadler's Wells, London, on 9 October 2013.
The album was preceded by the Atomos VII EP, which was released on April 28, 2014. Besides the title track, the EP also contained 'Minuet For A Cheap Piano Number One' (an outtake from the A Winged Victory for the Sullen album sessions) and a reinterpretation of 'Atomos VII' by Australian composer Ben Frost.

++Pre-order ships with an exclusive free live EP 'Parting Waves'...Vinyl ships on or before August 1, Digital ships July 21++
Wilderness of Mirrors is the new album from Lawrence English. It is two years in the making and the first album created since the release of his 2011 ode to J.A Baker’s novel, The Peregrine. It is English’s most tectonic auditory offering to date, an unrelenting passage of colliding waves of harmony and dynamic live instrumentation.
The phrase, wilderness of mirrors, draws its root from T.S Eliot’s elegant poem Gerontion. During the cold war, the phrase became associated with campaigns of miscommunication carried out by opposing state intelligence agencies. Within the context of the record, the phrase acted as a metaphor for a process of iteration that sat at the compositional core of the LP. Buried in each final piece, like an unheard whisper, is a singularity that was slowly reflected back upon itself in a flood of compositional feedback. Erasure through auditory burial.
Wilderness Of Mirrors also reflects English’s interests in extreme dynamics and densities, something evidenced in his live performances of the past half decade. The album’s overriding aesthetic of harmonic distortion reveals his ongoing explorations into the potentials of dense sonics.
“During the course of this record,” English explains, “I was fortunate enough to experience live performances by artists I deeply respect for their use of volume as an affecting quality, specifically Earth, Swans and My Bloody Valentine. I had the chance to experience each of these groups at various stages in the making this record and each of them reinforced my interest in emulating that inner ear and bodily sensation that extreme densities of vibration in air brings about.”
The album is moreover a reflection on the current exploitation of the ideals of the wilderness of mirrors, retuned and refocused from the politics of the state, to the politics of the modern multiplex. The amorphous and entangled nature of the modern world is one where thoughtless information prevails in an environment starved of applied wisdom. Wilderness Of Mirrors is a stab at those living spectres (human and otherwise) that haunt our seemingly frail commitments to being humane.
“We face constant and unsettled change,” English notes, “It's not merely an issue of the changes taking place around us, but the speed at which these changes are occurring. We bare witness to the retraction of a great many social conditions and contracts that have previously assisted us in being more humane than the generations that precede us. We are seeing this ideal of betterment eroded here in Australia and abroad too. This record is me yelling into what seems to be an ever-growing black abyss. I wonder if my voice will reflect off something?”
Wilderness Of Mirrors is reflection upon reflection, a pure white out of absolute aurality.

Hydras Dream is a special collaboration between the Swedish musicians ANNA VON HAUSSWOLFF and MATTI BYE (winner of the Guldbaggen 2014 price for scoring the film drama "Faro" and composer of the film score for "The 100-Year-Old Man Who Climbed Out the Window and Disappeared"). The concept behind this project is to interpret stories, movies and myths into musical landscapes. For their debut album "The Little Match Girl", von Hausswolff and Bye construed the beautiful and melancholic story by H.C. Andersen of the same title. Asked about the reason for this particular choice, the two musicians state: "It was her tragic faith in the winter's cold that inspired us. She is freezing to death with no money and no comfort, she is all alone, dreaming of a warmer place. When death strikes her she is filled with magical illusions and dreams. Oddly enough, hypothermia and death are the only two comfort zones we experience in this story. Sad but beautiful."
The music of Hydras Dream is mostly made through improvisation and by using repetitious patterns and melodies. Indeed, the two musicians state "We want to use intuition and spontaneity as two key elements in the compositions, and therefore we don't pre-record anything. We just play whatever feels good and fits the theme and press rec." Thus it is no surprise that "The Little Match Girl" was written and recorded during only three days in Matti Bye's studio. Exploring the entire spectrum of their instruments, von Hausswolff and Bye ingeniously combined their virtuosity in order to craft an eclectic and delicate album, located somewhere inbetween neo-classical experimentalism and avantgarde dream-pop. One can virtually image how the notes of this debut faintly resound behind the candle-lit windows which separate the little match girl from the life-saving warmth, how their echoes join her in her inevitable fate ...

nothings66 待望の新作は、山梨県在住、独Traum やmule electronic からリリースを続けてきたKosuke Anamizu によるソロプロジェクト、moshimoss の最新作「endless endings」
米dynamophone からひっそりとリリースされた1st Album はその類希な内容の良さと湧き上がるような美しさから、ただ放たれただけにも関わらず音楽だけが一人歩きをしながら、ゆっくりと人々の心に辿り着ていきました。
モンタナのBillings Gazette やUS のUtne Reader ではMax Richter らと、日本のmusic times などを筆頭に世界中の媒体やブログに取り上げられ、Sigur Ros の新曲と称された楽曲はYouTube で50 万回再生を誇る。
目立った活動をせずともFacebook のファン数は1000 人を超えるなど、その愛おしい旋律や夜明けの息吹を感じられるような音楽性は、世界中を旅しながら沢山の人の心を動かし続けています。
2012 年にはFujiRockFestival への出演も果たし、3 年の時を経て、遂にmoshimoss の2nd Album が完成しました。
前作の叙情的で追憶にふけるようなサウンドスケープはそのままに。
1 曲ごとに姿を変えるギターや鍵盤、数々のシーンで記録されたフィールドレコーディング、大地の果てや夕映の空を象徴するかのようなシンセ、名前の無いテープ古いテープから聴こえてくるようなボイスサンプルなど、おびただしい数の有機的な粒子が溶け込み、揺らめく世界が実に精巧に生成されています。
さらにアイスランドでとてもポピュラーなバンドRokkurro からボーカリスト/チェリストであるLily and Fox の唄声をフィーチャーしたトラックも封入されています。
マスタリングにはなんとNils Frahm を起用。
ミニマル・ダブなどで培ってきた音響の感覚なのであろう、普遍的なエレクトロニカ/アンビエントとは決定的に違う独特の響き。
どこまでも続く、終わりのない終わりが、確かにここに存在しています。
次々と折り重なる深淵のアンビエンスが、聴き手を優しく暖かく包み込む、稀代の感動作です。
メディア掲載レビューほか

The first album by Ben Lukas Boysen (also known for being the musician behind Hecq), "Gravity" is a deeply personal work in which this highly-praised producer sheds the artifacts of electronic music to compose a solemn and touching album of beauty and depths. Melancholic piano lines, warm analogue sound, tender drums: "Gravity" is only as sad as you want it to be, for it is first a solitary and introvert journey through heights and emotions. Much more than a new beginning: a revealing.

Julianna Barwick is an American musician who composes using electronic loops. Her first album was released in 2009.

"After finishing Lithea in January 2012, I had completely burnt myself out from making music, both physically and creatively. I took a year out and made no tunes at all during this time. Around January 2013, I bought some new gear, invested time in my studio, removed all distractions around me and started work on what would eventually be a new 36 album. I got myself into the mind frame I did when I quit my day job 5 years ago and started work on my début, Hypersona; no expectations, no pressure, no bullshit. Just making music for fun again. 6 months later, "Shadow Play" was finished. I think it includes some of the best pieces of music I have worked on and I'm excited that people can finally hear it" - 36

Axel Wilner AKA The Field presents his new project, Loops of Your Heart, the audible manifestation of what happened when a Swede moved himself to Berlin to immerse himself in the sonic adventure playground that is Berlin. 'And Never Ending Nights' is steeped in German influence, from its obvious incarnation in the sampled voices of German children on the track 'Neukolln', mimicking the cacophony of noise he encounters outside his Berlin studio, to the celebration of the German musical tradition that basks in a lack of restraint and is best exemplified by esteemed German names such as Cluster, Holger Czukay and You. Wilner revels in this new-found liberty and interacts on new melodic levels with his hardware arsenal of synthesizers and guitars.

Delving ever deeper in the science of his art, this is Machinefabriek's take on what might be the most common sensation of all - the colours around us. Originating from the exhibition Colour Tales, held at the WM Gallery in Amsterdam in 2011, these tracks are based on ideas from a series of Intriguingly visual and original short stories on the theme of colours, written by Latvian writer Imants Ziedonis. The result is an album of meticulously crafted drones with depth, details and a sense of adventure. Soundscapes for an audience of careful listeners.