This is the first collaborative album by Japanese composer Masaya Kato and Russian composer Denis Davydov (Valotihkuu). Denis made soundscapes with nature sounds and a variety of acoustic and electroacoustic instruments, tape loops. After that Masaya composed and played Fender Rhodes and added little bits of vinyl and tape noises.
The track titles are named after ingredients of dyestuffs, pigments for blue colors.
We hope you enjoy this magical collaboration!

'Life' is the fifth ambient album by Warmth, with a closer sound to his first works 'Essay' and 'Home', but with the darker approach of the most recent 'Parallel' and especially 'Wildlife'.

Universally acclaimed as one of the major releases of 2004! ''Venice was recorded on location in the summer of 2003 and subsequently assembled and mixed at Amann Studios, Vienna in January/February 2004. Venice, the fourth studio album by Christian Fennesz, finds electronic music at a crossroads between its early status as digital subculture, and the feeling that there has to be something more, an emotional quality that rises above noise and moves towards melody and rapture. Includes the continuation of his collaboration with David Sylvian on the track 'Transit', following the success of their duo on Sylvian's 2003 solo album, Blemish.'' on the UK Touch label.

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.

Shutting Down Here is a special work. Symbolically, it covers a period of thirty years, between two visits by Jim O'Rourke to the GRM, the first, as a young man fascinated by the institution and his repertoire, the second, as an accomplished musician, influential and imbued with an aura of mystery. Shutting Down Here is a piece shaped like an universe, a heterogeneous world in which collides the multiple musical facets of Jim O'Rourke: instrumental writing, field recordings, electronic textures and cybernetic becomings, dynamic spaces, harmonic spaces, silent spans . This variety of approach, strangely, does not in any way weaken the coherence of the whole and this is the talent of Jim O'Rourke, a talent, properly speaking, of composition, where all the sound elements compete and participate to stakes that exceed them and of a common destiny, that is to say of an apparition.

Label: Domino – RUG1152D1
Format: 2 x File, WAV, Single
Country: UK
Released: May 7, 2020
Genre: Electronic
Style: Ambient, Drone

Inspired by an expedition into Ecuador’s ancient caves, the vaunted techno producer presents an immersive ambient album designed to accompany guided trips.

For a quarter-century, the Canadian chamber ensemble has made hold music for awaiting a revolution. Suddenly, on their seventh album, they sound hopeful it could come.

EVERYWHERE AT THE END OF TIME (COMPLETE EDITION)
When work began on this series it was difficult to predict how the music would unravel itself. Dementia is an emotive subject for many and always a subject I have treated with maximum respect.
Stages have all been artistic reflections of specific symptoms which can be common with the progression and advancement of the
different forms of Alzheimer's.
Thanks always for your support of this series of works
remembered by The Caretaker.
Physical editions of all stages on both vinyl and compact-disc
are available now and are being distributed by Boomkat.
boomkat.com/labels/history-always-favours-the-winners
May the ballroom remain eternal.
C'est fini.
--
STAGE 1 - (A+B)
Here we experience the first signs of memory loss.
This stage is most like a beautiful daydream.
The glory of old age and recollection.
The last of the great days.
STAGE 2 - (C+D)
The second stage is the self realisation and awareness that something is wrong with a refusal to accept that. More effort is made to remember so memories can be more long form with a little more deterioration in quality. The overall personal mood is generally lower than the first stage and at a point before confusion starts setting in.
STAGE 3 - (E+F)
Here we are presented with some of the last coherent memories before confusion fully rolls in and the grey mists form and fade away. Finest moments have been remembered, the musical flow in places is more confused and tangled. As we progress some singular memories become more disturbed, isolated, broken and distant. These are the last embers of awareness before we enter the post awareness stages.
STAGE 4 - (G+H+I+J)
Post-Awareness Stage 4 is where serenity and the ability to recall singular memories gives way to confusions and horror. It's the beginning of an eventual process where all memories begin to become more fluid through entanglements, repetition and rupture.
STAGE 5 - (K+L+M+N)
Post-Awareness Stage 5 confusions and horror.
More extreme entanglements, repetition and rupture can give way to
calmer moments. The unfamiliar may sound and feel familiar.
Time is often spent only in the moment leading to isolation.
STAGE 6 - (O+P+Q+R)
Post-Awareness Stage 6 Is without description.
--
All stages featuring cover art imagined and painted by Ivan Seal.
All stages mastered by Lupo at Calyx in Berlin.
All stages were released on Vinyl and Compact Disc via
'History Always Favours The Winners'.
Distribution of Vinyl and CD's by Boomkat.

Experiential composer Tim Hecker’s ninth official full-length, Konoyo (“the world over here”) was largely recorded during several trips to Japan where he collaborated with members of the gagaku ensemble Tokyo Gakuso, in a temple on the outskirts of Tokyo.
"Inspired by conversations with a recently deceased friend about negative space and a sense of music’s increasingly banal density, Hecker found himself drawn towards restraint and elegance, while making music both collectively and alone.
As with the Icelandic choir he arranged on 2016’s Love Streams, the heights of Hecker’s talent emerge in his manipulation of source material, bending and burnishing it into fantastical new forms. Keening strings are stretched into surreal, pixelated mirages; woodwinds warble and dissipate as fractal whispers of spatial haze; sparse gestures of percussion are chopped, isolated, and eroded, like disembodied signals from the afterlife. Both in texture and intent, Konoyo conjures a somber, ceremonial mood, suffused with ritual and regret. Visions flutter and fade; dreams gleam and decay.
Hecker will stage a series of special performances in tandem with the album's release, featuring members of the gagaku ensemble on shō, ryuteki and hichiriki, accompanied by Kara-Lis Coverdale."

serenitatem, the fifteenth installment of RVNG’s intergenerational FRKWYS series, joins Visible Cloaks with Yoshio Ojima and Satsuki Shibano, trailblazers of the Japanese ambient music scene in the 1980s and 90s. While the music excels on an environmental level familiar in the collective’s individual works, serenitatem reaches unseen stratums — a pure synthesis of artistic vision, technological sophistication, futurist ambition, and, occasionally, ancient polyphony.

Brock Van Wey, aka bvdub, is undoubtedly among the greatest and most prolific artists in the world, whose music directly affects the heart, soul, and human mind. His soundscapes spread in the air as if they were delicate and slow movements of the northern lights, or the wind that blows on the flowers of the trees in spring. There is something divine in bvdub's music, and Glacial Movements is more than honored to welcome another great work for the world, Ten Times the World Lied, his fifth album on the Roman label, as he nears forty overall. Ten songs impossible to describe in words, but which will breach the heart of all those who lose themselves in this sonic wonder. Completely devoid of vocals for the first time ever, Brock spins but layers upon layers of divine clouds, gradually darkening, gradually closing in - expertly mastered by the artist himself, culminating in arguably the best album he has composed for Glacial Movements to date.
Alessandro Tedeschi – label founder of Glacial Movements

After its own death
0 - 7:48:544 Cloudmouth
7:48:544 - 8:19:489 blue room
8:17:503 - 11:27:011 Night-walking
11:27:011 -16:41:254 Funer al song
16:41:254 - 26:00:991 Thirteen (version)
26:00:991 - 28:39:125 Crying jar
28:39:125 - 29:29:394 Entry
29:29:394 - 37:33:056 Walking in a spiral towards the house
37:30:846 - end Weightless
Walking in a spiral towards the house
0 - 3:14:509 Night-walking
3:14:509 - 8:37:153 Funeral song
8:37:153 - 12:59:510 Thirteen
12:59:510 - end Walking in a spiral towards the house
“Crying Jar” features Michael Morley, Gabie Strong, and Christopher Reid Martin.
Thanks to Matt, Marcel, Sergio, Fridaymilk, Jefre, and to Kassian.
Organizational support from ZDB/Tremor, Unsound, Barbican, and the Goethe institute.
For Aihna.
credits
released February 8, 2019