Companies etc▼
Mastered At – GS Mastering & Post
Copyright (c) – Silent Season
Credits▼
Mastered By – A.P.*
Music By [Created By] – Federsen
Photography By [Photo] – Tomas Jirku
Notes▼
"Thanks to Jenny for all her patience and support"
Copyright © 2011 Silent Season [SSD04]
Limited to 300 copies. Packaged in a cardboard sleeve, with a free Silent Season sticker.
Purchase within official label shop includes digital download with bonus track 'Magnetic Reference Laboratory'.
soundcloud.com/federsen

Barcode and Other Identifiers▼
Matrix / Runout: DISC MAKERS MVI2639

Daniel Lopatin, best known by the recording alias Oneohtrix Point Never, is a Brooklyn-based American musician working in electronic and experimental music. He began releasing synth-based recordings in the mid-2000s, receiving initial acclaim for the 2009 compilation Rifts

"Passive Aggressive", the first collaborative album release from Jonny Nash & Suzanne Kraft.
Produced in 2016, in close proximity to the M56 Motorway.
8 track vinyl and digital / Release date 22/05/2017.
MELODY AS TRUTH

Melody As Truth returns with "Talk From Home" an album from Los Angeles native Suzanne Kraft. "Talk From Home" showcases Kraft's emotional depth as a producer, and skill as a multi-instrumentalist. Recorded over a few weeks in the winter of 2014, the intimacy of the recordings shines through in a melancholic yet hopeful world of melody and tone.

在傳統語境中說到山水，多半關乎隱逸，真隱逸不常有，而真山水常有。葉公好龍的是，真山真水其實是「可怕的自然」，並非閒居宴坐的所在。山水畫作為一種「馴服的自然」，即古人說的「澄懷觀道，臥以游之」、「不下堂筵，坐窮林泉」，自南北朝鮮嫩的發端，五代兩宋的窮其理而後成為一種遊戲，到明清之後陳陳相因的體系內繁殖——其蓬勃發展的歷史反而是與人的身體離開自然山林而進入人工城市的歷史併行的。這張專輯也是對這一母題的延續。在人的身體都快離開人工城市而進入虛擬現實的環境下，給重複了上千年的「陳腔濫調」再增添一次重釋，帶著「山水」這一母題，以即興演奏的方式完成整張錄音。在曲目的定名上，也避開中國傳統的「意象命題」式標題，只以分秒為替代，在「說」與聽之間，帶著各自的審美體驗，進行一次互動，映照各自心中的佳山水。此時，山水形象的遙遠、陳舊、累贅和模糊或許又給「重新出發」以很大的空間。
演奏：六貯（竹管樂器）/ 栖崖（吉他）
錄音：六貯/栖崖
混音/母帶處理：栖崖
錄音時間：2016年04月至2018年11月
錄音地點：寧波 / 杭州 / 紐約
視覺設計：栖崖

Yann Tiersen releases his brand new album All. All is the first album to be recorded at Tiersen’s new studio, venue and community centre, The Eskal, built in an abandoned discotheque on the island of Ushant, a small island positioned in the Celtic sea between Brittany and Cornwall, Tiersen’s home for the past 10 years. The album, mixed and co-produced by Gareth Jones, continues the themes of environment and a connection to nature first explored on EUSA, incorporating recordings from outside of Brittany, such as the redwood forests of California as well as field recordings from Tempelhof airport in Berlin (on ‘Tempelhof’), plus guest vocalists.

Music To Draw To: Satellite, an ambient electronic record featuring vocals by Icelandic singer Emilíana Torrini. An uncharted journey for the legendary scratch DJ, producer, and composer, Kid Koala’s fifth studio album is an emotional work of expansive instrumental soundscapes and chilling vocal ballads.
A record of many firsts for Eric San, the inaugural volume in the Music To Draw To series finds Kid Koala collaborating with a singer, writing lyrics, and producing and performing all instruments. Satellite is the renowned audio-collagist’s first non-sample-based record, using an array of synthesizers, keys, guitars, basses, strings, turntables, noisemakers, and inventive recording techniques to create its celestial atmosphere.
Written during the gelid Montreal winter, Music To Draw To: Satellite tells a heartrending tale of discovery and loss through the lens of lovers separated by a one-way space mission to Mars. The album’s eighteen spacious movements are threaded with eight lyrical songs written by Kid Koala in collaboration with Emilíana Torrini.
Now, Kid Koala’s “work-zone” mass-creativity events and his “quiet-time” compositions combine in gentle yet icy synergy, creating a new intersection for his inventive musical storytelling. An otherworldly departure from the dense sonic patchwork of his earlier releases, Music To Draw To: Satellite is in stark, beautiful comparison an ambient masterpiece: over 72 minutes of stardust settling over Kid Koala’s trove of turntables and sentiment.

Luke Younger returns to PAN with an eight-track album of his most direct work to date. Composed alone at NO studio in the Essex countryside, to start an album with a piece called ‘Capital Crisis (New City Loop)’ seems an intentional misnomer. Long, sustained periods in the rural studio setting see Younger working with an array of fragmented, disassociated sound sources to build upon 2015’s Olympic Mess. It shares a similarly inclined vision of the urban environment, but here Chemical Flowers makes reference to paradoxical notions of authenticity and creative practice by way of questioning the structures around us. Collages are assembled and dismantled, temporal and spatial boundaries fluctuate and movement is an overarching theme.
Surrealist drowned world atmospheres sculpted far enough away from the source of inspiration leave plenty of room for ambiguity. The nocturnal nature of the recording process is self-evident, and pieces like ‘Leave Them All Behind’ tap into a deep psychedelic undercurrent. Confused
narratives, emotions and aleatory hallucinations ebb and flow throughout. ‘I Knew You Would Respond’ evokes murky soundtrack terrain with eerie repetitive strings and ambient respite, disrupted periodically by brief bursts of granular noise. It’s one of the records most unnerving moments, possibly as it’s one of the most recognisably human.
The album navigates dense passages with recurring signifiers. Hollow percussion, modulating delay and curious field recordings come and go, maintaining a perpetual state of flux where nothing stays the same for long. The drowned world theatricals return on the swamp-like ‘Lizard in Fear’ whilst string rhythms creep in on the penultimate track to incite momentary electroacoustic harmony. Floating synthesis slowly washes over and the title track unfolds - five minutes of reverb-laced portamento, visions of decay and Editions EG influenced world-building. Movement is key.

老牌组合一张偏 chillout 的氛围专辑。泳池海边躺椅鸡尾酒晒太阳，要 chill 起来。