Reserve your CD (+immediate download) here:
ultimae.bandcamp.com/merch
“Terrene” stands as the first musical encounter between Danish and French composers Henrik Laugesen and Vincent Villuis respectively known as Lauge and AES Dana.
A cornucopia of evanescent pads and elaborate rhythms with a distinctive downtempo vibe; a daedal story taking one on a magnetic peregrination through dense and contrasted sonic geographies, picturing the notion of temporality and space.
This mighty 10 track album elicits emotions and feelings and will leave you full of moxie!
released December 7, 2022
Written & Produced by Henrik Laugesen & Vincent Villuis
Audio Mastering by Vincent Villuis at Ultimae Studios (studios@ultimae.com)
C&P 2022 Ultimae
© all rights reserved

Moby在今年发行的新专辑Wait For Me，凭借优柔的电音旋律，飘渺的人声小调获得不错的反应，之后Moby在10月份发行了这张Live De La Semaine的现场专辑，并以CD和DVD形式非正式发行。其中邀请了制作人好友Stphane Saunier担当开场和结尾的制作，自己其中送上了现场重新制作的7首新专辑歌曲，依然是以柔美的旋律作为基调，力图让现场的人们感受到更大的音响效果。
(转自VC，
)

Moby has announced that he will release a new two-and-a-half-hour ambient album on New Year’s Day.
The producer will start 2023 by sharing the lengthy new record, titled ‘ambient23’, which was, he revealed, made “almost exclusively made with weird old drum machines and old synths.”
Over the last few months, Moby has shared a number of posts detailing his process in creating the album and sharing updates on its progress with fans.

When words trail off at the beginning of claire rousay’s “everything perfect is already here,” ornate instrumentation is waiting to fill a void left by the breakdown of language. Yet it becomes clear as we trace rousay’s collaged sonic pathway that breakdown, of meaning and also of melody, is also a place to rest. everything perfect… is made up of two extended compositions that cycle between familiarity and unknowing. There are seemingly infinite ways to feel in response to these pieces of music, which shift tone across their languid duration, earnest like a familiar song but unbound from the emotional didacticisms of lyrical voice and pop form.
rousay builds a fluid landscape around the acoustic contributions of Alex Cunningham (violin), Mari Maurice (electronics and violin), Marilu Donovan (harp), and Theodore Cale Schafer (piano), whose respective melodies weave gently in and out, sometimes steady, sometimes aching, sometimes receding altogether in deference to less overtly musical sounds. That is, percussive texture in the form of unvarnished samples and field recordings: the rattle and rustle and the stops and starts of life unfurling, voices sharing memories nearly out of reach, doors closing, wind against a microphone. Everything comes from somewhere in particular, possessing the veneer of the<span><span class="bcTruncateEllipsis">...</span></span><span class="bcTruncateMore" style="display:none"> diaristic, but sound’s provenance is secondary here and so these details become tangled and fused. On this release I hear such details not as individual ornaments or stories but the collective architecture of the greater composition. It’s an architecture that is not quite formed and thus full of openings out to the world unfolding.
“The world unfolding,” that’s a kind way of saying change, movement, loss, transformation. Things rousay here indexes, not without shards of desire or pain, still somehow what I hear is coarse peace in the in-between. These two pieces sweep you away and then bring you to earth, but which is which, anyway? Where am I now? What is different outside of me? What is different inside of me? Um. I think. everything is perfect is already here, like the answers to these questions, is loose and beautiful in surprising ways.
The music guides a certain experience of the world around. In claire’s music there is this marriage—not just a pairing or juxtaposition but an interrelationship, an eventual confusion—of song/texture, narrative/abstraction, figure/ground. Everything comes from somewhere in particular but not just the voices, the field recordings, the what is being said or meant, what matters is “the where you are now.” There are so many ways of anchoring oneself in the present, some have to do with fantasy or storytelling and some with accepting what is.
These two compositions find peace between these modes. They sweep you away and then bring you to earth, but which is which, anyway? Their mode of feeling is inquisitive. Where am I now? What has changed outside of me? What has changed inside of me? The music, like the answers to these questions, is loose and beautiful in surprising ways.</span><span>&nbsp; <a>more</a></span>releases April 22, 2022

All music by claire rousay
with alex cunningham (violin), mari maurice (electronics, violin), marilu donovan (harp), theodore cale schafer (piano).

artwork by katie fuller
layout by bartolomé sanson
mastered by stephan mathieu
1. it feels foolish to care (15:05)
2. everything perfect is already here (15:11)
shelter press 2022 SP134

U.K. edition of new album by German electronica hailed by iD magazine as 'Germany's Greatest 21st Century Pop Duo', 'Inheritors of Kraftwerk's Mantle' by Muzik magazine and according to NME 'Mouse On Mars Are A Fully Occupied Jacuzzi For The Mind'. 12 tracks & over an hour long!

タイ、東南アジアを代表する映像作家であり、日本だけでなく世界中で、映画監督、アーティストとして注目を集めるアピチャッポン・ウィーラセタクンの映像作品に使用された数々の楽曲を一枚にコンパイルしたアルバムが遂に発表される。
昨年末には東京都写真美術館の総合開館20周年記念として開催された個展「亡霊たち」で大成功を収め、今年2月のTPAMでは上映パフォーマンス「フィーバー・ルーム」を上演、4月からワタリウム美術館で開催された「坂本龍一｜設置音楽展」でもコラボレーターとして参加している。
現在、SCAI THE BATHHOUSEにてカナダの俳優、コナー・ジェサップを起用した作品も含む新シリーズを個展「Memoria」で発表中（8月4日迄）、森美術館での「サンシャワー:東南アジアの現代美術展 1980年代から現在まで」（10月23日迄）では、チャイ・シリとの共作で巨大なゾウを美術館入口に宙吊りするなど、話題作を常に提供している。
2010年「カンヌ国際映画祭」最高賞（パルムドール）受賞した長編映画『ブンミおじさんの森』（2010年）をはじめ、初の舞台作品「フィーバー・ルーム」（2015年）他、アピチャッポン監督の作品に使用された楽曲を全14曲収録し、音源だけでも楽しめる素晴らしい作品に仕上がっている。
アピチャッポン作品の音楽に携わってきたリット（アックリットチャルーム・カンラヤーナミット。：2004年の『トロピカル・マラディ』以後、アピチャッポン監督のインスタレーション等も含む全作品で音響・ミックスを担当）と清水宏一（Numb主宰のRevirthからソロ作もリリースしているタイ在住のサウンド・アーティストで、アピチャッポン監督の最新映画にも参加）が自らのプロデュース楽曲の提供のみならず、アルバムのコンパイルも担当している。
マスタリングは、ベルリンを拠点とするサウンド・アーティストにして、マスタリング／カッティング・エンジニアとしても有名なラッシャッド・ベッカー（RASHAD BECKER。名門Dubplates & Mastering）が担当。
日本先行発売（海外ではSUB ROSAより発売予定）。

Historically informed violin player, prize-winning street musician, new age experimentalist, chamber ensemble performer and conservatoire deviant. The career of Valentina Goncharova (b. Kyiv 1953) shares parallels with those associated with the broader new music movement of the 20th century and the dissemination of home recording technologies. Valentina’s was a youth spent immersed in the world of classical music study under soviet rule, first in Kyiv and later in Leningrad (now St. Petersburg) from the age of 16. With the supervision of professors M. Vayman and B. Gutnikov she learned concert violin and developed alternate playing styles alongside skilled pianists. A student of the Leningrad conservatoire during the years 1969 through to 1983, her repertoire included music for violin and later expanded to contemporary music composition. The improvisatory nature of free jazz and then budding experimental rock circles also intrigued Valentina during this period in Leningrad. Departing from the rules of the conservatoire, she briefly performed in underground rock clubs alongside future members of the industrial group Pop- Mechanika (Popular Mechanics). This perpetual state of flux is central to the variety found within ‘Recordings Vol. 1’, though as opposed to any degree of uncertainty Valentina’s practice is one in flux by way of earnest curiosity.

Hammock’s latest single, co-written by Lumenette (Christine Byrd), beautifully blends crystalline lead guitar textures with subtle ambient drone, creating a soothing foundation for the ethereal tones of Lumenette’s vocals.
“All Around My Head”, the debut album from Lumenette, will release on August 12, 2022, with its first single available June 17th.
Hammock will release its next full-length album later this year.
lumenette.bandcamp.com
lyrics
Every drop of rain
Wants to drown me
Every falling star
Tries to burn me
This is how I feel
I’m a sensory explosion
Is any of this real?
I’m a sensory explosion
Is any of it real?
Is this real?
credits
released June 3, 2022
Mixed by Julian Kindred at Nonsuch Park Studio, London, England
Mastered by Emre Ramazanoglu at Hoxa HQ, London, England
Lyrics, Vocals: Lumenette (Christine Byrd)
Drums: Jake Finch
Co-Produced by Chad Howat, Marc Byrd, Christine Byrd, Andrew Thompson
Photo by Takeshi Suga
license
all rights reserved

Mastered By – Alexandre Lehmann
Photography By – Alexander Kopatz
Written By, Producer – Ludvig Cimbrelius

We find ourselves increasingly in a swell of solastalgia. Day to day, a vision of what might come to pass builds; one dystopian impression at a time. Solastalgia is not a new phenomena however, rather it has haunted us over the centuries. Change has never been humanities’ strong suit, but it has been our shadow. The perpetual ruptures in what we know and how we live are an inevitability; time takes no prisoners, no matter how tightly we might grasp things from moment to moment.
It’s here, at this fractious nexus of unpredictability and an absence of control that Rafael Anton Irisarri has created his latest work. Building on the echoes of landscape that guided his previous Room40 editions, Solastalgia imagines that which is not yet known. It traces possible terminus points for futures that many of us will not live to see. Utilising a range of unexpected variables, automations and uncontrolled systems in the creation of the recordings, Irisarri has developed a new approach to his work, seamlessly weaving together intense layers of texture and saturated harmony.
Within these works, distant melodies emerge and in their wake the listeners’ focus shifts again and again. A never ending loop of the unconscious feeding into the conscious is formed. Whilst the skeletal form of pieces such as 'Coastal Trapped Disturbance' might remain, the organic matter that is the body of the music is in a process of persistent transformation. These subconscious variations morph the pieces from within. This is a record of sublimation, and dwells in states of transition and becoming.
Recorded in two suites (one released on LP and the other available initially only on limited edition cassette) , each section is a distorted mirror reflection of the other. Solastalgia stands as a landmark undertaking for Irisarri, it encourages us to remain unsettled and attentive in the moment, and prompts us to listen deeper and imagine what lies beyond or in excess of our expectations.

On his new album 'Observation of Breath' for the Swiss-based Hallow Ground label, Lawrence English works exclusively with an organ for four compositions that are exercises in "maximal minimalism" as their creator himself notes in a nod to Charlemagne Palestine, who coined this term.
"While it seems somewhat fitting that those four pieces based on a steady flow of air were conceived and recorded in a situation of accelerated standstill caused by a respiratory disease, the Room40 founder is not so much concerned with capturing the zeitgeist than rather incorporating the spirit of time itself. »It is a record about presence and patience,« he explains. Exploring the unique sonic affordances of a singular instrument, »Observation of Breath« is not only devoted to the durability of sound but also to its density. That it marks his debut on Hallow Ground after having shaped its sound by mastering most of the label’s releases in recent years is just as fitting then as its release following albums by Kali Malone and FUJI|||||||||||TA, whose innovative work with organ instruments have facilitated a rediscovery of their possibilities.English’s compositions however are neither directly indebted nor responding to these musicians.
His exploration of the organ’s many facets started a decade ago when the composer was given access to an instrument built in 1889 that is presently housed at The Old Museum in Brisbane. After it had already played a crucial role on his seminal albums »Wilderness Of Mirrors« and »Cruel Optimism,« last year’s self-released »Lassitude« was the first record that English entirely composed and recorded with that instrument. »During the soft lockdowns, I spent many days playing to an empty concert hall, recording the pieces that became ›Lassitude‹ and then, this album,« says English in regards to an unfortunate situation that fortunately provided him with time and space—two major themes but also key qualities of the four new compositions. In this sense, he goes on, »Observation of Breath« resolves a number of the questions originally raised by »Lassitude."

Issued in 6-panel digifile with 90-page booklet with liner notes in French and English. Digifile and booklet housed in a O-case.

Label notes -
Fallow Recordings is pleased to present "Marhofn", by the established artist Maps and Diagrams. "Marhofn" is a balance of delecate piano composition & mediative drones.
In a world of endless distractions and noise, its a blessing to release a work of such gentle melody.
Artist notes -
Maps and Diagrams made these songs during moments of reflection and uncertainty last year, creating subtle and melancholic feelings with a combination of tape loops and piano.