A Strangely Isolated Place

  A new mix for the brilliant Monument platform, and their new series ‘Waves’ which looks to feature more of the ambient side of things, rather than the deep techno world they are known for, if the first of the series by Chris SSG is any indication. After our label showcase mix I did for them a few years back, I was extremely pleased to return to Monument again and decided on a new approach for #2. Taking inspiration from the podcast series’ title, I aimed to create a mix that focused on repetition and layers, as if staring out to sea watching blankets of waves roll in from miles out; changing in intensity, but forever calming in their unbound repetition.The result is reflective of the many adjacent styles I enjoy from ambient, to IDM and deeper techno and some of the seconds of tracks that stand out to me, or I forever wished to be looped in my head - be it a texture, vocal or beat pattern. Thank you Monument for the support over the years, and for inviting me to what I am sure will become a very special series. MONUMENT · Monument Waves 002 : ASIP Listen on Soundcloud or the ASIP PodcastDownload MP3Tracklist:01. Mikkel Rev - Evocation  [Unreleased / A Strangely Isolated Place] (Loop/edit)02. Chronovalve - Almost There [Home Normal] (Loop/edit)03 . Yumi Iwaki - Nocturnal[Kankyō Records]  (Loop/edit)04. DJ Healer - Great Escape [All Possible Worlds] (Loop/edit)05. Susumu Yokota - No Kaori [Leaf Label] (Loop/edit)06. The National Pool - Through The Beach [Infraction] (Loop/edit)07. Bana Haffar - Lifter [Touch] (Loop/edit)08. Pontiac Streator - Stuck In A Cave [Motion Ward] (Loop/edit)09. TSR - 01 [Record Union] (Loop/edit)10. Christina Chatfield - Sutro [Mysteries of the Deep] (Loop/edit)11. Oneohtrix Point Never - Format & Journey North [Arbor] (Loop/edit)12. Gi Gi - Montjuic Feat. Mi Mi [Quiet Time] (Loop/edit)13. Jonny Nash - All I Ever Need [Melody As Truth] (Loop/edit)14. Saphileaum - Elegant Voyage [Mysteries of The Deep] (Loop/edit)15. RQ - Hounds (Sam KDC remix) [Auxiliary] (Loop/edit)16. Michael Stearns - In The Beginning [Continuum Montage] (Loop/edit)17. Solar Quest - Flying Spirals [Crammed Discs] (Loop/edit)18. Zodiac Childs - Kepler Track Two (Zodiac Wax) (Loop/edit)19. Central Industrial - After Image [Auxiliary] (Loop/edit)20. Intrepid Soul - Under The Sun (The Gods Planet) (Loop/edit) 21. Anatolian Weapons - Teachings In Stone [Self] (Loop/edit)22. Theef - Sun & Smoke  (Unreleased / A Strangely Isolated Place) (Loop/edit)23. Quiet Places - Side B (A Strangely Isolated Place) (Loop/edit)24. Courtesy - You're Not Alone [Kulør] (feat. Erika de Casier & August Rosenbaum) (Loop/edit)25. Maxime Denuc - Ouverture [Vlek] (Loop/edit)26. µ-Ziq - Whale Soup [Self] (Loop/edit)27. Adam Johnson - Version 02 [Merck] (Loop/edit)28. Autechre - Bronchusevernmx24 + Aphex Twin - On + Aleksi Perala - UK74R1406070 (edit)29. Pub - Summer [Vertical Form] (Loop/edit)30. Loess - Sofar [Toytronic] (edit)31. Biosphere - Monju 1 [Touch] (Loop/edit)32. Salvatore Mercatante - Classical [Unreleased]33. OKRAA - La Gran Corriente [Unreleased / A Strangely Isolated Place]34. Lihla - Becoming Human [A Strangely Isolated Place] (Loop/edit)35. Ylia - Drifting Off into The Waves  [Balmat] (Loop/edit)36. The Eightsome Reel - A Stranger Landing  [Self] (Loop/edit)37. Terre Thaemlitz - Music is Controllable Desire You Can Own [Self]38. Echospace - Love Always Lives [Self] 39. Bill Laswell & Pete Namlook - Telepathy II [FAX] (Loop/edit)  

  After Sa Pa’s isolatedmix contribution last month, we continue in an unintentional alphabetical spectrum of brilliant producers, with Saphileaum. There comes a time after listening to some musicians for many years that certain instruments and musical approaches begin to stand out. Sure, most of the time you probably know what album you’re sticking on the turntable, but when you have those days you put on shuffle (or when you’re listening to 9128.live, cough cough), some producers start to stand out and trigger the music-geek in you from the first few seconds. It can take many years or decades to find and hone a unique style, but I think Georgian producer Andro Gogibedashvili is well on his way to carving out a unique style of organic, new-age ambient and tribal-infused techno. Saphileaum’s isolatedmix is a perfect example of his style as a whole, with elements you might hear in his productions stylistically coming to the fore throughout the 25 tracks, despite not including a single track of his own in the mix. I sent Andro a few questions to complement this wonderfully energizing trip. Check out his latest release on the revered Mule Musiq label, and expect more music from him soon. ~I first came across your work in 2019 with Silent Season, how have things changed for you since?My first release on Silent Season called "The Traveler" was a sort of a turning point for me and my sound. It was music that I'd created after a pretty long break recording-wise. Since the release was out, a sort of a new journey began for me. I started making more tribalistic and electro-acoustic musical pieces and was also trying to balance them out with downtempo and half-beat grooves, sometimes a bit techno-like maybe too. I also dived a lot into Percussions and eventually ended up learning and playing on real Congas, Bongos, and Georgian Dhol. I'm still in the process of learning and hopefully, it will never end! <a href="https://saphileaum.bandcamp.com/album/the-traveler">The Traveler by Saphileaum</a> I can start to recognize your style over the years which is often a sign of a great unique producer. But how would you describe your sound to someone new?Thank you very much! I appreciate it. I would describe my music as "Background Music", "Music which you play at gatherings", "Music for Meditation", "Music for looking at the night sky". I would describe the sound as Tribal, Ambient, Cosmic, Joyful and Relaxing. Your Discogs profile states "Saphileaum is highly inspired by esoteric, mystic, new age, cosmic and visionary art and teachings". Do you think New Age music is becoming more prevalent today? Is this something you aspire to? Yeah, I think New Age music is slowly starting to get more and more recognized. It is quite a young genre still, compared with the other ones. Plus, there are some musicians and producers who are pushing the boundaries of what New Age music can sound like and it's really amazing to see it grow. First thing that I immediately fell in love with, before listening to the actual music, was the name itself, New Age Music... <a href="https://saphileaum.bandcamp.com/album/saphileaum-transpersonal-experience-4">Saphileaum - Transpersonal Experience by Saphileaum</a> You’ve been on several labels over the years including Oslated, Constellation Tapes, Mysteries of the Deep, Mule Musique and Good Morning Tapes (the GMT released in 2021 was one of my favorites of yours). What is the goal of releasing on different labels? I look at labels as traveling to another country that I've never been to. Meeting new people, exploring its culture and heritage, and contributing to it. There are always new possibilities, new inspirations, and new crowds in every label. It's very important for me that a label where I release music has a sort of a musical or ideological vision that I share and like and that it's represented well visually. I should feel inspired by and connected to it.Can you tell us about the mix you have prepared? The mix was mainly inspired by the music I've been enjoying recently. It's ambient, but it’s rhythmical and diverse. There are a few ethnic tracks that might sound similar, but they have elements that differ them culturally. I like the thin multicultural line it has, which might be tricky to notice, maybe. To be honest, there was no particular vibe I was after, I just wanted to create an interesting musical journey to enjoy.There are quite a few artists in here I’m unaware of, are there any you’d like to call out in particular? I would like to thank all the artists, whose music I've included in this mix, for creating these pieces and putting them out in the world. I recommend checking them all out, there's much more to explore! astrangelyisolatedplace · isolatedmix 126 - Saphileaum Listen on Soundcloud the ASIP Podcast or the 9128.live iOS and Android appDownload MP3Tracklist:1. DJ Sports - Akrasia (Subsidiary Mix)2. William Arist - Black and White3. Andrew Pekler - Hy Brasil4. Don't DJ - Southeast Subteranne5. Another Fine Day - Esperanto6. Greville - Marbles7. Forest on Stasys - Atlantico Sur8. Eyot Tapes - Jungle Tapes9. Robert Rich - Rainforest Suite Drumsong10. Jeans - Ganglia11. Om Buschman - Prima Kalimba12. Guem et Zaka - Mouvements13. Sara Berts - Nova14. Mo Boma - Jijimuge Two15. Yves Tumor - Role In Creation16. Posm - Bamboo17. Steve Roach - The Reflecting Chamber18. Jorge Reyes & Antonio Zepeda - Wawaki19. Auragraph - Downcast20. Nicolas Gaunin - Marama21. Matthewdavid - Unfolding Atlantis22. Sage - Mind BodyAlgorythm23. Gigi Masin - Panama Girl24. Asa Tone - Perpetual Motion Via Jungle Transport25. Alex Kassian - Chopstick Romance~Saphileaum Bandcamp | Instagram | Soundcloud | Facebook  

  As someone who enjoys the process of putting together mixes- specifically more conceptual ambient leaning mixes- I often think about how I would approach playing an event designed for sleep. I’m yet to play a set like this live, but I did tackle something similar in the Portals series by roughly mixing styles that aligned to specific sleep stages (eg, REM, deep etc). But in person, sleep is never as predictable as hypothetical sleep stages in a recorded mix, let alone the idea of a room full of people mirroring these stages at the same time. To approach an in-person set designed for sleep would be a daunting undertaking, but an extremely rewarding experience for both DJ and listener - the career highlight for an ambient DJ, maybe... They say the warm-up set is the hardest test for a DJ and I would tend to agree. But I’d love to see some of the world’s best DJs execute 3.5 hours of music for a room full of people looking to do the exact opposite of dancing, or even listening, for the entire duration… Sa Pa has executed this concept flawlessly.No stranger to the minutia and atmosphere needed to transport someone from a horizontal state into an elevated lucid dream, I can hardly think of anyone better to take control of such a situation than Berlin-based artist, Sa Pa. His latest release for Astral Industries (the undisputed label kings of lucid states, no doubt) is the perfect example of transportive and psychedelic ambient music down to the finest grain of sound, sample and texture. <a href="https://astralindustries.bandcamp.com/album/ai-33-atmospheric-fragments">AI-33: Atmospheric Fragments by Sa Pa</a> If Sa Pa’s productions weren’t enough to demonstrate his transportive power and worldbuilding tendencies, then his recent captures from his own Absurd Lustre events, or his mix for one of our 9128.live takeovers, may have provided an additional glimpse of what to expect when he was given the reigns for an all-night sleep in event recently, in Leipzig.“For years I've kept a mental cache of what music would I'd love to play at a sleep in, but was never really sure if there'd be a chance, so small some dreams came true that night for me too - it was a pretty rare experience I'd say especially with everyone there really taking part in the concept”.It’s not often we get the chance to host a set from an event that by its very nature, is designed to be experienced in person, but after several trials of this mix (on a plane, going to sleep, and waking up from sleep, then all states in between), the concept translates to an outstanding headphone session and the perfect concept for a defining moment in the isolatedmix series of concepts and sounds. “I think it was one of the deepest and most solitary DJing experiences I have ever been part of, and driving a three and half hour cloud through the pitch darkness was a beautifully liminal journey, caring for the dreams of those in the room, some 100-200 people or so”.A 3.5hr liminal state available for your own time and place, in the gentle hands and ears of Sa Pa, displaying the very essence of horizontal ambient music designed to immerse, weave and transport. Featuring tracks from, Luc Ferrari, Zenxen, Pinkcourtesyphone, cv313, Jason Lescalleet, Yann Novak, BJ Nilsen, Robert Henke, Rod Modell, Ryoji Ikeda, Steve Roach and Sa Pa, himself. Introduction and words from Sa Pa - ‘Diary of a Lonely DJ’:There’s something about gazing out of a train window or being 30-thousand feet high up in the troposphere, that evokes a feeling of what we try best to describe as liminality. With this in mind, Deutsche Bahn had me scuttling toward Leipzig from Berlin on a typically stark and windy day that could of been taken right out of a Wim Wenders classic; the treetops lining Urbanstraße on the way to Hauptbahnhof looking as stripped and brittle as burnt skeletons in the snow.Some 8-to-10 degrees warmer in Saxony, I arrived at a city shrouded in mist, with the darkness of the early afternoon somehow made a touch warmer by that first Friday-feeling of the year. Onwards to Leipziger Baumwollspinnerei - a converted cotton mill where this evening’s ‘Sleep In’ would take place - the 14 tram would rumble past the pink and lilac glow of the city’s opera house. Sleep Ins are no new thing, and to be in the arms of the proverbial morpheus with some 200 people in an industrial estate does have its abstract appeal, and I’d be lying if I said I wasn’t a fan of the concept.Around 6PM, dragging their mattresses in with them, it was encouraging to see people arrive some eight-hours before the witching hour. Tuning in to the event myself, and finding a little respite backstage, I drifted in and out of consciousness, occasionally breaking REM sleep to acknowledge the sounds of “Simple Headphone Mind” and Zoviet France’s remix of Panasonic, reverberating in the hall.With a medley of lullabies soundtracking the evening so far, preparing selections too deep even for my own Absurd Lustre event, provided a much needed boost of waking life before taking to the couch in the DJ booth. Over the course of the next three-and-a-half hours, in near pitch-darkness, I was able to draw from a rare cache of non-music and atmosphere, embraced at large by a small flotilla of sleeping souls, leaving port to navigate the inner landscapes of a technicolour head trip.With only the dimmed lights of my equipment and an exit sign illuminating the room, safe to say, it was a resolutely profound DJing experience and deep journey into the estranged fields of time and space. There were moments at the helm where I felt like a small craft adrift in a sea of voluminous black, while simultaneously part of a delicate collective sub-consciousness, sailing through a dream-like abyss. As if bridging a void between the physical world and something beyond the imagination, it was truly a strangely isolated place.~Listen on Soundcloud the ASIP Podcast or the 9128.live iOS and Android appDownload MP3 astrangelyisolatedplace · isolatedmix 125 - Sa Pa (Sleep In) The start of the event, as attendees bring in mattresses ready for the night and Sa Pa’ set. Sa Pa | Web | Instagram | Soundcloud | Absurd Lustre | Soundcloud (Absurd Lustre) | Instagram (Absurd Lustre)  

  As with all past ‘Reflection’ year-end mixes, I start with a collection of albums, EPs, and compilations I have enjoyed over the past year. Through the process of compiling a mix, tracks are selected from this extensive collection. This ultimately means many of my favorite tracks and albums are often omitted in this process, due to the organic process of compiling a mix, things don’t fit, or fall by the wayside. There are many albums I had on high rotation missing from this mix, but I have to stop somewhere. As I say every year, this isn’t a definitive ‘best-of’ list, but a selection of *some* of my favorite music from the year in one listenable format. It’s the most enjoyable way for me to boil down the music I’ve loved from the year using these self-imposed restrictions, for you to enjoy and hopefully discover more, and for me to reflect on time and time again - like a photograph that captures the year in music. I encourage you to use the mix to explore each artist, listen to the album in full, and explore each label (and check the Buy Music Club list at the bottom). If you want to see the majority of music I’ve been supporting this year, head over to my Bandcamp collection. For the ASIP year-end label compilation, see the feature and mix here.~Yikes, I crossed the 3-hour mark! Well, that speaks volumes to the amount of great music that was released this year, and I’m already feeling guilty about omissions from this mix. But alas, it needs to stop somewhere, the Holiday’s are coming… This edition marks the tenth year in succession (2010 was the first mix but I skipped doing this for two years for some reason) and it is an extremely enjoyable exercise I look forward to every year. Revisiting many of the albums I’ve purchased throughout the year, and records from my shelf, then taking the time to absorb more recent releases - the process is cathartic (after the slight anxiety that builds knowing I have a beast of a mix to tackle, and hard decisions to be made). Looking back at previous Reflection mixes, I am evidently a creature of habit and seem to gravitate to certain artists more than most over the years (we all have our faves), but I also take a lot of time to dig for new artists and approaches to music in this realm, and this year’s edition is probably the most varied in music styles since the Reflection series began. Ambient, field recordings, drone (Power-ambient, even), big saxophones (the flute revival didn’t make it ;-), Japanese left-field pop, deep techno, chugging techno, modern classical, experimental, jungle, breaks, dub and more… as you might imagine, this is a 3hr mix that feels more like a showcase than a DJ mix in the traditional sense, as I’m focusing on creating chapters of different styles, but I hope makes for an attentive listen if you’ve got 3hrs to spare. Am I going to write about all 42 tracks? Not this time, as I don’t think there’s much I can illustrate other than ‘go listen to that entire album!’ but I will make a few observations on themes that emerged as I was going through this process. Firstly, the far corners of Bandcamp are very much alive, so for anyone looking for alternatives given all the talk with Bandcamp this year, please don’t hit the escape button and continue to support us- I continued to find so many new labels and artists, some of which are included here such as Liis Ring, Etüüd, ǝɯǝɐ, Azu Tiwaline and not to forget a kick-ass Jungle community throwing out some lovely 90’s infused comps. Bandcamp keeps small labels and artists alive right now (only two of these tracks were physical releases and not on Bandcamp - #19 & #42). I spent a lot of time listening to music that would work for the two shows I played in Japan earlier this year, and for those who listened back to one of the sets I posted, you may notice a few similar tracks/artists appearing here again which I’ve held in high regard since their release, such as Jo Johnson, Field Lines Cartographer and Endurance. On reflection, there was a lot of deepness for me this year that came from preparing for and inspired by those sets, sitting on the edges of techno with lots of synthesizer/Berlin school projects (as well as a couple of artists I got to see in person whilst over there such as Yolabmi and Endurance).There were a couple of glaring omissions from this mix (*checks Bandcamp app most played*) which I had on rotation so much this year that I still wanted to mention, such as Imaginary Softwoods, who was behind one of my favorite tracks of the year, ‘Diagrams of the Universe’. Along with Johnny Nash’s Point of Entry - a tranquil guitar-laden affair, both of which never left my turntable for long.The ever-expanding ASIP roster of artists, both alumni and current, had an extremely busy year evidently (I try to restrict their inclusions in this mix where I can otherwise it could be an entire ASIP promo show… hey that’s an idea…). bvdub released about ~10 masterpieces, as only he can, flaunting all possible peripherals in his deep arsenal (along with rounding out the Earth House Hold project with us of course). ASC was crazy busy with his quality retro Spatial DnB releases (one of them made it in here). For those who enjoyed Alex Albrecht’s debut with us, don’t miss his earlier 2023 release. Deepchild released another great textured follow-up to his ASIP debut for those wanting more. 36 continued some rave-esque ambient no doubt inspired by his 9128 recording a few years back. Markus Guentner began an exciting collab project with Joachim Spieth (and also appeared in several other collaborations). RAI kept things relatively reflective with a few Bandcamp specials and recordings from his live tour. Benoit Pîoulard made a beautiful return to Morr Music, and Christian Kleine rounded out the year with a limited vinyl press. Those needing more from our 2023 new signing Mikkel Rev, can check out his earlier album released in January this year. James Bernard had a busy year alongside his wife as Awakened Souls, and found more 90’s DAT goodness among many other projects. Mick Chillage released a superb sleeper IDM album in the form of Initial Programs. Dr Atmo’s throwback to his early sounds saw a rebirth of one of his most enjoyed albums alongside new remixes. Wanderwelle made their second full-length odyssey for Important Records and Yagya continued to explore uncharted new takes on his sound through his new label imprint. Scanner’s innovative repertoire continued to expand and one of my faves of his came in the form of this collab. Hior Chronik published a couple of unreleased gems. And lastly, Ludvig Cimbrelius aka Purl/Illuvia and Arovane managed to sneak onto this mix with a couple of their releases… Two labels who hit home runs for me this year with the majority of their releases. Illian Tape had some extremely great (and varied) electronic releases. And while Mysteries of the Deep’s output was relatively choice (quality over quantity), 3 out of the 4 releases made it onto the mix! There are a couple of tracks in the mix from albums that align with what seems to be, the common consensus on some of the ‘best’ electronic releases from the year (one of the advantages of my waiting until mid-December to finish this mix is I see what other people are rating highly or what I might’ve missed) such as James Holden’s psychedelic return, and Purelink’s amphibious dub LP. But other than those two, I think everyone should find something new among the twists and turns across the 3 hours and 42 tracks.For the mix artwork this year, and after last year’s terribly basic AI take (it’s come a long way in a year!), I toyed with creating another AI attempt on a “A Strangely Isolated Place” prompt, but you have to spend time to get quality back out of these lil’ work gnomes. Every image I created from that prompt ended up being a stereotypical lonely hiker (with 4 fingers I’m sure) strolling through a highly conceptual colorful future universe. Either that or a decrepit shed…So instead, I opted for an image that means much more to me… a wall. Not just any wall though, it’s the wall outside of Spread nightclub in Tokyo where I had the pleasure of playing an ambient set this year, meeting new friends, and making some amazing memories.Thanks to all of the artists and labels included here who have soundtracked my year in more ways than one, and the many more I didn’t manage to include this time around. Be sure to check the previous year’s Reflection mixes for more of the same. Hope you enjoy the listen back at a great year of music. astrangelyisolatedplace · ASIP - Reflection on 2023 Listen on Soundcloud the ASIP Podcast or the 9128.live iOS and Android appDownload MP3Tracklist:01. Sleep D - Hector (Dreaming) (Butter Sessions) 02. Liis Ring - after-image IV: abborresjön (Breton Cassette) 03. William Selman - Leaky Paradise (Mysteries of the Deep) 04. Etüüd - Õhtute kollane tolm (Self released) 05. TU M' - Monochrome #26 (Line Imprint) 06. Arovane - ypaal (Quiet Details) 07. Field Lines Cartographer - Mountain Icicles (Castles in Space) 08. Dream Dolphin - Gaia (Ethereal Fantasy) (Music from Memory) 09. Salamanda - Nostalgia (Wisdom Teeth) 10. Endurance - Crest v2 (Muzan Editions) 11. Suzanne Ciani & Jonathan Fitoussi - Coral Reef (Transversales) 12. Alex Israel - Vacua (Somnambulant Drift) 13. The Black Dog - The Mundane (Dust Science) 14. Locust - Miriam (Mysteries of the Deep) 15. Niko Tzoukmanis - Way Home (Libreville Records) 16. Jo Johnson - Transience (Mysteries of the Deep) 17. Dasha

  ASIP is going on fifteen years of existence now (as a website and blog at least), and a few things have remained a constant over the years helping keep us going. One of them has been the support of Juno and in particular, Milo Bragg, who was the first distributor to take us on as a label back in 2013. As many labels and musicians will know, it’s pretty hard to get your start in this world, and Juno can be held up as one of only a few who have kept an open ear to our style of music and given it a home (and subsequently many other labels like us). Over these past ten years or so, Milo and I have gotten to know each other relatively well, and more recently Milo has stepped into the label game with Future Primitive Records and can be found putting together some sublime vinyl-forward mixes. I’m excited to find our worlds overlap here in the isolatedmix series, as Milo recorded a vinyl-only set a few months back and sent it my way, (after a long delay - sorry Milo - Good things come… etc etc.). Featuring several tracks and albums that have been on high rotation for me, it’s a superb trip that I think many of you will enjoy. ~You’ve worked at Juno for many years now, how has this shaped you musically? For example, I imagine getting exposed to a great amount of music over the years... It’s definitely helped me find what I do and don’t like for myself. When I first started in the late ‘90s/early ‘00s I’d sit and listen through a massive pile of records at the end of each day and didn’t have to pay attention to press or DJs like most people back then, I could find the good shit for myself! Listening to the new releases in an office environment shaped my taste to be more chilled too. It just suits the environment, when I first started I was predominantly into hard club bangers :)I’m interested to know a bit about your view on record labels within your role and what you think it takes to succeed as a label nowadays. Everyone knows pressing vinyl is hard, and securing a great distributor like Juno is just as hard and critical for further exposure. How have you seen things change for labels since you started at Juno all those years ago? It’s so tough for vinyl labels now especially the new smaller ones doing really interesting stuff sadly. The visual side of things has become so important with stores using Instagram so much they need the record to look good. I think the “anti-marketing” days of just putting some clips up on Soundcloud are over sadly, I’m always so stoked on DJs/artists/labels that aren’t on Instagram but I don’t think you can escape it anymore, especially if you’re just starting out. Silent Season · Campfire Stories 79 (A New Dawn) by Milo Bragg Juno has always been a great supporter of ambient music in general, giving a platform to many small labels such as ourselves over the years. What does it take in your opinion to secure a distributor like Juno? Yeah, my boss Richard (one of Juno’s founders) loves his ambient :) If you’re not going to get a well-known artist involved at the early stages to help bring attention and get the label off the ground, the music (and artwork) had better be bloody good! You’ve got your own projects going on too, with the Club Rooted mix series and the Future Primitive label, can you give us a brief intro into these? Club Rooted was a product of listening to records in the Juno office with Matthew Kent (Blowing Up The Workshop/Mana) and suddenly realising they weren’t dance music anymore but still very much rooted in club culture. I got really excited about that zone and thread that runs through electronic music’s history. There are so many good labels pushing stuff that rides this line, and events too like Absurde Lustre (& more recently A New Wave) in Berlin run by Sa Pa & Blume.How or why did you decide to start Future Primitive? (Did seeing labels at Juno all those years make you want to do something similar?!) I’ve always been obsessed with vinyl labels so of course I’d want my own and it was a way of contributing to the scene without being a producer + I came across a lot of music through work by artists like Murcof & DJ Guy that was CD or tape only the label was a way of me getting those tracks onto wax! The original of The Leo Anibaldi track “Aeon Fusion I” from FPR001 was super fast too and the label enabled me to work with the artist to slow it down and to get it DJ-friendly for the vinyl heads :)This mix came out of nowhere and (for everyone here) took a while for me to actually publish it since you sent it last year! What was the inspiration behind it? I got excited about recording an ambient mix. It felt challenging, I wanted to capture something in between the old chill-out room sets and a modern-sounding warm-up. It only takes a couple of good records to inspire me to start piecing a mix together, it’s often their juxtaposition I get a real kick out of. I love beat-matching records that shouldn’t work together on paper and have always found DJs that make a new sound by mixing old records very inspiring, it’s not a million miles from producing really. Konduku is definitely someone I think finds a new thread in old records that inspires me a lot. Club Rooted · Club Rooted #3 / Konduku Given you get the pick of the bunch at Juno and get to listen to so many records in advance, who are some musicians or labels that might be relatively new or unheard of that excite you when landing on your desk? PVAS, Kosmogonik (check their ambient stuff!), Purelink, Cousin, Yushh, Mu Tate, Sindh, X Or Size, Rat Heart + love the Luck Of Access and Doo labels.I’ve followed your mixes for years now, but see you’re also DJing out quite a bit more now. What are some records that never leave your bag?Money Morning - Corporate Karma, Drux – Transe Deep Version, 3 Chairs - 3 Chairs, Alka Rex - Shapes to Phases, Bluetrain - Babylon Paralysis.~ astrangelyisolatedplace · isolatedmix 124 - Milo Bragg Listen on Soundcloud the ASIP Podcast or the 9128.live iOS and Android appDownload MP3Tracklist:01. Dwig - Keep Us outro (Dwig)02. Leo Anibaldi - Evocation Part II (Future Primitive)03. Benjamin Brunn - Life Cycle (Black Wall)04. Deadbeat - Right As Rain (~scape)05. UD - Adapter (Kimochi)06. Alexx A-Game - Braver (Swing Ting Smooth Version)(Swing Ting)07. CN - Adrift (Future Primitive)08. Satoshi & Makoto - Crepescule Leger (Safe Trip)09. Bauri - Have No Fear (Expanding Records)10. Sindh - Ayaka System (Sindh)11. Being - I Can't Look At It Though (Firecracker Recordings)12. The Detroit Escalator Co. - Float (Peacefrog Records)13. Leo James - Lonely (Mind Dance)14. Money Morning - Therah (Acting Press)15. Mike Paradinas - Hi-Q (Interdimensional Transmissions)16. John Heckle - Where The Wild Ones Go (Mathematics Recordings)17. Tongues Of Light - Awakening outro (Pre-Cert Home Entertainment)18. Design A Wave - Weird F (No 'Label')~Artwork photo by JethroFuture Primitive | Web | Soundcloud | Bandcamp | Discogs    

  The Observatory is a new mix series curated by Jay Keegan and has already featured a few of my favorite artists and DJs since its recent inception. I can tell that Jay has an ear for great sound and curators, so I’m excited to see where the series goes in the future and was honored to play a part in its path forward. I took the opportunity to spotlight a few unreleased gems in this mix, as well as two very exciting ASIP releases in the works… Recent contributions have come from the likes of, Jo Johnson, Toner (Liminal Dreams), Gentle Force and Patricia Wolf. Listen to the full series on Soundcloud. Here’s what I had to say about the mix when sending it over to Jay. This mix came together over a 2/3 month period, as I've spent a large part of the summer between Oregon and California with family and haven't had much dedicated time to focus on a mix. Normally I approach mixes more conceptually, but this one came to life organically in pieces, over time. In hindsight, the mix reflects a specific period in time for me and a lot of my life musically over the past few months. From the unfortunate passing of Brian McBride (Stars of The Lid) and revisiting those brilliant albums nearly every evening; anticipating the new Lord of The Isles album after his standout isolatedmix this year; our latest label addition from Mary Yalex; music being sent to my inbox from new artists; and of course, a couple of upcoming ASIP releases that are keeping me busy lately. Thank you for having me as part of the series.   The Observatory · The Observatory - ASIP Listen on The Observatory Soundcloud or the ASIP PodcastDownload MP3Tracklist:01. Mary Yalex - Snowy Avenue (Excerpt) (Yalex Recordings) [Forthcoming]02. Stars of The Lid - Down (Kranky) [2001] 03. Monolake - Mass Transit Railway (Field Records) [2023]04. nthng - Unlimited () (Excerpt) (Transatlantic) [2023]05. Liai - A-A (Quiet Time) [2022]06. Terre Thaemlitz - Liebesmachine (Comatonse) [2019]07. Biosphere - Antennaria (Alternative Version) (Biophon) [2022]08. Vernal Equinox - Six Figures In A Landscape (Clover Recordings) [1997]09. hoyah חיה - BB walk [10129] (Mellia) [2022]10. Andy Aquarius - Kyrie (Constellation Tatsu) [2022]11. Romance & Dean Hurley - Still Lives (Ecstatic) [2022]12. Chihei Hatakeyama - Insects Chirping (Field Records) [2023]13. Lord of The Isles - Last Day (AD93) [Forthcoming]14. Alex Israel - Octonions (Somnambulant Drift) [2023]15. Shīdo - Denial (Unreleased)16. Owl - Moonshine Haze (Silent Season) [2021]17. Not Glass - Fallite Fallentes (Ecstatic) [2019]18. Carl Stone - Lim 1974 (Unseen Worlds) [2016]19. Stars of The Lid - Preludes (In C Sharp Major) (Kranky) [2001]20. Arovane - Yord (Quiet Details) [2023]21. Markus Guentner & Arovane - Utopian Fragment (A Strangely Isolated Place) [Forthcoming]22. Salvatore Mercatante - Open, Open (A Strangely Isolated Place) [Forthcoming]Mix artwork by Clayton Ciolac  

  We’re entering a busy half of the year for the label, and while we don’t always use the isolatedmix series to help tee up what’s in store, Alex Albrecht also happens to be a brilliant selector and curator of many great mixes over the years. Yes, you did read that right, Alex will soon be gracing ASIP with a new release, to be announced in full very shortly and available at the end of September. We had hoped to get this mix out a little earlier in the year but life got in the way for us both, and after a small trip to Japan recently, Alex was able to get some answers down to a few of my questions in anticipation for his awaited release here on ASIP. ~It's been interesting to see how you've created a very unique style and approach between your own project, with Sean as Albrecht La'Brooy and under the Melquíades guise. How would you describe the differences between them all?I originally created the Melquiades alias as a way to separate club/dancefloor music from more downtempo/ambient productions under my own name. The music I now produce under Alex Albrecht incorporates all sorts of sounds and influences and in my development, I don’t now see a reason to differentiate. <a href="https://analogueattic.bandcamp.com/album/campfire-stories">Campfire Stories by Alex Albrecht</a>  Campfire Stories was quite the debut album, and received such a great reception it seems. It combined lovely atmospheres and house elements, with downtempo and instrumental (even jazz). How are your albums born usually?  My albums are usually created through my field recordings and recent experiences. I generally take recordings and loop/manipulate them to create a canvas and use that as the inspiration for each new track. When I see a larger album coming together I try to identify gaps in the concept and fill it with new productions. Your own label imprint, Analogue Attic was home to much of your early work and continues to host some of your music alongside others. How did the label aspect come about? The label was definitely created as a way to release our own music but very quickly became a medium to put out music from our friends and influences. The ambition has always been to showcase ambient music specifically made in Australia. We also hope to showcase music that does not generally conform to current trends in the global electronic scene.  <a href="https://albrechtlabrooy.bandcamp.com/album/healesville">Healesville by Albrecht La'Brooy</a> As mentioned already, your music is rich with field recordings and vivid instrumentation. What does your studio setup consist of usually? And what elements have remained a constant? My studio has been very consistent throughout the last 6 or 7 years. It has a Nord A1R, A Blofeld, a few Yamaha digital pianos, and some eventide effect pedals. Of course, there is also the Sony PCM A10 recorder which is really an incredible piece of tech. If your label (Analogue Attic) is any indication, the output and potential of producers in Australia seem very rich and fertile - is this true? How would you describe the "scene" for this type of music where you are? I’d have to agree – it is certainly a fertile scene in Aus with amazing music being produced around the country. There are many artists blending strong musical themes and elements with electronic elements and many gigs/shows aim to push boundaries and do something out of the ordinary.   Your isolated mix captures your sound very well and includes a variety of styles and influences, what was your approach? I am often commuting to work by bike and love an interesting, hypnotic mix to push me along. I have been listening to ASIP mixes for years and was compelled to dive deep into my old libraries to capture some of the nostalgia that I feel with the earliest memories of ASIP. I brought a few of these into the picture with Dousk, John Beltran, BOC and Jesse Somfay  (among others) and was also really happy with how well they’ve stood the test of time.Other than ahem, a pretty special record dropping here on ASIP soon, what can we expect from you for the remainder of 2023?It’s unclear for now but I’m always making music and searching for inspiration. I have a huge collection of field recordings from Japan so will be surely using these in the short term to see what it inspires. ~Stay tuned for news of Alex’s album on ASIP set to be announced very soon, and available at the end of the month. astrangelyisolatedplace · isolatedmix 123 - Alex Albrecht Listen on Soundcloud the ASIP Podcast or the (new!) 9128.live appDownload MP3Tracklist:01. IMPS - Heaven and Bagpipes02. O.S.S - Bianga03. Sense - Rain 504. Marow - Tsih05. Jesse Somfay - Tomorrow's Yesterday is Today06. Cyan341 - Pattern407. Alex Albrecht - Forest Dance08. Castel - Estrel09. Remote - Public Service10. John Beltran - Gutaris Breeze11. HOLOVR - Outer Time12. The Phantasy - Love Will See Us Through13. Ariet - Shaman's Heart (Polygonia Remix)14. Boards of Canada - Amo Bishop Roden15. Dousk - Sidewalk Lovin Alex Albrecht | Bandcamp | Instagram | Soundcloud  

  We are very excited to welcome Mary Yalex to the label soon, and her upcoming release set to be announced in August. Mary’s work has appeared on respected labels such as Muzan Editions, map.ache’s ‘Kann’’, Carsten Jost’s ‘Dial’, Sound as Language, and her own label, Yalex Recordings. Her productions have spanned various ambient and experimental styles, and I am very excited to present a new album distilling her years of hard work into her sharpest vision yet. There’s no better way to get to know an artist than stepping up to the isolatedmix series to illustrate your music style and background, and the mix is a great reflection of what to expect from her new record. Mary Yalex’s album on ASIP is set to be announced in August, so in the meantime, please enjoy a short interview and perfectly curated mix (including a track from the upcoming album to preview).~Hi Mary, what has influenced you to produce music today?As a child, I was attracted to music not played with acoustic instruments.  My mother had a Vermona Piano Strings in the DDR. It was 1989 when my mother bought them and I was 5 years old. I liked to play Rum on the piano and tried to play melodies (and the scratching of the sliders, when you wanted to switch to strings, was really terrible as I remember it). Music has always played a big role in my childhood. I would look and listen excitedly to my mother's record collection, from Pink Floyd, Led Zeppelin to Bronski Beat. I think the music you hear as a child is a much greater influence than what you hear today, and my interest in electronic music works was there from the beginning. Over the years, you acquire techniques and repetition, and processes for how to make music. But today's influence is much more based on what happens around you, as in the world; how you perceive things and the people you are surrounded by, more than the music you hear. A melody always comes out of a mood and feeling. <a href="https://maryyalex.bandcamp.com/album/sunset-stories">Sunset Stories by Mary Yalex</a> I’m interested to learn about this production process; how you approach making music conceptually - do you have ideas & concepts or improvise? When I make music, I sit down at my synthesizer or electric piano and play a melody first - the main core. It has to feel great, if not then I'll throw it away. I never force myself to make music, for me it is important, there must be a feeling and it must flow. I like to use the same techniques that have been acquired over the years - it is a familiar process of editing. So what motivates you to sit down and make music? Is it a personal outlet? How easy does it come to you? For me, it is a passion to make music, a feeling that has to come out. I get in a bad mood when I can't make music so it also helps me cope with moods, discovering new sounds and possibilities again.What instruments/gear do you tend to focus on or always work with?I mainly produce with Elektron Octatrack, Clavia Nord Rack 2 and Elektron Digitone. <a href="https://maryyalex.bandcamp.com/album/ohra">Ohra by Mary Yalex</a> You normally accompany your releases with your own paintings - how would you describe this relationship? Were you a visual artist or a musician first?I used to paint in my childhood when I lived in Austria. I only really started producing electronic music more recently. I want to give the whole thing a picture - something that is more than just a photograph. How does your home city and local history impact your music?I have been living in Erfurt now for a year and a half. I'm getting older and I'm also looking for a quiet life. I don't need the hustle and bustle of a big city anymore. Here in Erfurt I also have my studio. During the Corona period, I decided to go back to my home country. It hasn't really changed much for me as I live very withdrawn. For me and my music, the place has never played a big role. Back when I went to Leipzig in 2008, there were more opportunities in my learned profession. Your isolatedmix is a mixture of different styles of artists, many of whom are on regular rotation for me. Can you tell us how you approached the mix?I always look for pieces that match my mood. You start with quieter pieces, which are also a bit atmospheric. I like to combine emotional music with ambient drone pieces, the dreamy pieces at the end. For me, it always has to sound like a trip.If you could make a mix of any type of music, what would it be and what might be the most surprising track inclusion?Boy Harsher - Burn it downYou have a new album coming up on ASIP, what can people expect? To describe it briefly, it is for me, one of my most profound and dynamic albums…~ astrangelyisolatedplace · isolatedmix 122 - Mary Yalex Listen on Soundcloud or the ASIP Podcast.Download MP3Tracklist:01. James Murray - Careful Now02. CORBEN - The Zills03. Ripperton - Ingénuité04. The House In The Woods - Tone Intervals05. Chestnut People, Priori, Ludwig A.F: - IV06. Viul & Benoit Pioulard - Catalune07. Mary Yalex - Endless Possibilities08. Lauge, Alvaro Suarez, Fallen Metropolis - -FAM015- May 7 - Live 09. Room 208 & Zuwe - Time Moved Like It Used To10. DJ In A Dream - La Silhouette11. Måla - E Is For Elegance (With Burning Pyre)12. Martinou - ...in all it's splendor13. Boliden - Pools14. Malibu - Atlantic Diva15. Boy is Fiction - Silversand16. nthng - Looking OutsideMary Yalex | Website | Bandcamp | Instagram | Soundcloud  

  Inspired by the greatest years. Tranquility of the highest order.A mix of music taken from, and inspired by the most influential years of electronic and ambient music - the 90’s. astrangelyisolatedplace · ASIP - Tranquility Listen on Soundcloud, or the ASIP Podcast.Download MP3 01. MLO - Shadows of Life and Thought (2021)02. Merrin Karras - unreleased 03. Stryke - Introspection Part 1 (1994) 04. Glide - Space Van (1997)05. Solar Quest - Save The Whale (1994)06. Namlook & Montana - Path VII (2010)07. Young American Primitive - Sunrise (1993)08. Beaumont Hannant - Vague (1994)09. B12 - Void/Comm (1996) 10. Perishing Thirst - Sacred Agency (2018)11. Speedy J - Pepper (1994) 12. A Positive Life - The Calling (Loved'Ub Remix) (1993)13. Global Communication - 8:07 (1994)14. Moby - Myopia (1993)15. Geir Jenssen & Pete Namlook - In Heaven (1993)16. Mick Chillage - Hypersleep (2022 mix) (2022)17. Niko Tzoukmanis - Fallen Angel (2023) 18. Spooky - Orange Colored Liquid (1993)19. Omicron - Tranquility Base (1994)  

  One of the very few known labels emerging from South Korea and going from strength to strength recently, Oslated has become a consistent outlet for quality deep techno and ambient-leaning electronic music. Helmed by Jongmin Lee, the label, and its sublabel Huinali keep a busy calendar between them, push a variety of artists both new and known in our small circles. Oslated, also keep a great guest mix series going to help fuel the collective inspiration. Segue, Inhmost, Doltz, Earthen Sea, Javier Maramon, Saphileaum, Polygonia, and many more artists have graced the catalogs of Oslated and Huinali in recent years, and the label’s various artist compilations expand even further into great artist territory. Needless to say, with such a rich and growing catalog, it’s a perfect time to use the isolatedmix series to highlight some of the great music across the two labels along with a few questions for label owner Jongmin Lee…ASIP: How did Oslated begin and what was the inspiration to start a label?Oslated: The Oslated project is a natural byproduct of my beliefs since 2016. It includes the label’s international scope based on my past experiences. The label's early mission statement was to feature unknown talented young DJs and producers, but if there were things that inspired me, it would be based on my various experiences in music for the past 20 years - since I was in my late teens. This still stands today. You have a great ear for music and I much of your output. What is your general approach to the label’s releases?First of all, I really appreciate the good feedback & support from many followers & friends including you. I want to give various answers to this question, but to put it simply, I believe in my ears, brain, and heart. What happens after that, whether good or not, I come to a conclusion after the release. I think this way is better. As my belief is that almost all releases on the label were a good experience for me. Therefore, I still believe in my choices, and I still love all the artists I've released on the label. <a href="https://oslated.bandcamp.com/album/k-shkil-osp003">Kóshkil [OSP003] by Vanoni</a> How would you describe the difference between Oslated and the sublabel, Huinali to the listener?When I founded the Huinali Recordings sublabel, I wanted to differentiate myself from the parent label, Oslated. However, while out running one day, I thought it was not something I’m absolutely set on differentiating. It's classified according to the artist's wishes, and this is always in progress. So I don't know. The same question was previously asked on a webzine, and my answer to this is still valid: "To be honest, the genre division for our both labels didn’t matter from quite a while ago. What I think iss important now, is the relationship between the concept of an entire album and the corresponding time with the artist."What are your most and least favorite parts of running a label? My favorite part is, of course, when I see an artist get a very good response to a release and develop further musically. I would say the hardest part is the interpersonal relationships. I get the most stress from this part, but I put the most effort into directing and consulting myself to minimize this and to be flexible with one another. This is probably the common denominator of all label & platform owners...isn't it? <a href="https://huinalidub.bandcamp.com/album/harbour-cove-dubs-hnp001">Harbour Cove Dubs [HNP001] by Segue</a> You just pressed your first vinyl record for Huinali, with Segue, who I admire. What made you decide to move into vinyl for this release?First, I don't want to say that a lot of physical releases are the goal. Anyway, Oslated had already released 3 vinyl records, and at some point the sub-label Huinali planned to do a vinyl release as well, from the day it was founded. And yes, I tried to do this naturally. Before being a label owner I was a DJ and a collector of various music. I honestly don't want to differentiate between digital and physical and I just want to release GOOD MUSIC. The reason I release physically as well is simply because my followers wish.If you could have released any favorite/past album in the world on your label, what would it be and why?I myself had such a wishful plan, and I’m the one who insists on “Oldies, but goodies” too. But as time passed, I realized something myself. Now, my simple argument for this question is, "The past is beautiful when it is the past."You had S-Pill make the mix, can you tell us a bit about him and why you chose him to create the mix?Seojun oh aka S-Pill is my close brother, and he holds the title of the only official DJ artist on the label. I guarantee that he is the best DJ in Korea and proud of him. This is the only reason.What can you tell us about the future of Oslated and Huinali? I don't want to elaborate on this question, but love Paul Valery's quotes here. "Nothing is complete unless you put it in final shape.". "The trouble with our times is that the future is not what it used to be."~ astrangelyisolatedplace · isolatedmix 121 - Oslated & Huinali Showcase (Mixed by S-Pill) Listen on Soundcloud or the ASIP Podcast.Download MP3Tracklist:1. Inhmost - River Crossing [HNL008]2. Gallery Six - Wish On A Star [HNL006]3. Vâyu - To Achieve Awareness [HNL015]4. Earthen Sea - Outcropping [HNL004]5. Moon Patrol - Inparke [OSL026]6. Adhémar - Smell Of A Summer Field [HNC001]7. Lindamann - Blue Hour [HNL017]8. Javier Marimon - Dem Cics [HNL002]9. The Vision Reels - Her Form Is Slowly Morphing [HNL016]10. Daniel[i] - Eubela [HNL010]11. Segue - Deep Green Dub [HNP001]12. Launaea - Reflected Life [OSL017]13. Asllan - Citizen of the World (Soolee Rework) [OSL024]14. Saphileaum - No Clue Of Life [OSL006]15. Zemög - Hiking In Chicaque [HNL011]16. Owl - Forest Shadow [HNL014]17. Doltz - En [Forthcoming on Huinali Recordings]18. ABSIS - Static Trip [OSL021]19. Polygonia - Tanz der Gliederfüßer [HNL012]20. Einox - Chirico (Romi's Paradox) [OSL016]21. Sanjib - Without Words [OSL008]22. Javier Salazar - Acae (Adhémar & Javier Marimon Repitch) [OSL025]23. Aspetuck - Microscopic Moments Of Focus [OSL023]24. Modeo - Nobody Sleeps [OSC002]25. Ryefield Society - Sun Fossils [HNL018]~S-Pill (Oslated / Jeju Island, South Korea) | Soundcloud | Facebook | InstagramOslated | links  

  Well, a whole nine months since our last isolatedmix, we return in style… Scottish producer Lord Of The Isles has been high on rotation for me for about ten years now, with a string of electronic EPs across labels such as Mule Musiq, Permanent Vacation, Phonica and ESP Institue. Never guessing where he was going to push next, Neil has remained a bit of an enigma in style over the years and more recently, has captured hearts with an emotional, Poem-infused EP on Whities (more on that below) and in December just gone, a more ambient-leaning debut on Lapsus. The result is an artist that appeals to the electronic music fan in more ways than one. An artist you grow attached to as you walk alongside an ego-less evolution, welcoming new approaches and experimentation, always eager to see what he takes on next. While Neil is obviously adept a putting together a DJ mix [check], we’re even more fortunate that Neil has taken a much more dedicated route to his mix contribution, with a 100% unreleased mix of his own material. ~Hi Neil, being a man of the outdoors it seems, where are you right now and what are you enjoying, outside of the music world?Not in the wilds at the moment, unfortunately! But I will be soon. I’m taking some recording equipment up north in a few weeks to hopefully finish my next album. Outside of writing music, I’m enjoying keeping fit and reading. I’m reading Under The Skin by Michael Faber right now for the second time. <a href="https://lordoftheisles.bandcamp.com/album/subtle-thoughts">Subtle Thoughts by Lord Of The Isles</a> Your style is notoriously hard to pin down (which I love), but I'd love to know how you would describe it to anyone new to your music. Deep and melodic maybe? I’ve always listened to all kinds of music and I've always had a very open mind in that regard. I suppose you are exposed to different things at different times throughout life. What music did you grow up on to influence it? There was a lot of Motown going on in my family very early on, and hearing stuff like Cream and Kate Bush now always transports me back in time when I hear it, as does a lot of soul, hip hop, and indie from 80s and 90s. Way too many to mention!! Growing up in the nineties, Acid House, Detroit techno, and Chicago House all played major roles in influencing my style, as did dub, dub techno, and all things ambient. Sorry, sounds all so clichéd! But it’s true. <a href="https://lordoftheisles.bandcamp.com/album/night-of-the-endless-beyond">Night Of The Endless Beyond by Lord Of The Isles</a> You've recorded a more ambient-leaning isolatedmix, and a few of your most recent albums definitely veered this way too. Is this a reflection of your current taste or mood right now, or something else?It’s just the way it’s come together in the studio past few years, although, I am becoming aware that there’s now a lot of people now that think all I do is ambient music. I have another album coming later this year that was completed over a year ago which is also ambient, but that will be the last release like that for a while I think, as the music I’m working on at the moment is definitely not ambient!  <a href="https://lordoftheisles.bandcamp.com/album/whities-029">Whities 029 by Lord Of The Isles</a> Your Whities EP with Ellen Renton’s vocals is definitely a personal favorite of mine. You also sampled Carl Sagan in your latest album. Can you tell me a bit about your approach to integrating guest vocals and samples?With Ellen, I write music inspired by her poems. Other vocal samples are usually things I hear in films or documentaries that resonate with me. Growing up listening to artists like the Orb, BOC, and The Black Dog has given me an appreciation for disparate vocal samples. I love the cinematic quality it adds to the atmosphere.  <a href="https://lordoftheisles.bandcamp.com/album/parabolas-of-neon">Parabolas Of Neon by Lord Of The Isles</a> You have a monthly radio show on Openlab, How do you go about selecting music for the show, or what can people expect? I still buy and collect a lot of music, so it’s a great outlet for me to share music I love. You’ll hear mostly, electronica, deep house, techno, and breakbeat. <a href="https://lordoftheisles.bandcamp.com/album/glisk-science-ep">Glisk Science EP by Lord Of The Isles</a> Your isolatedmix is 100% unreleased music, so no tracklist here. Can you tell us a bit about how you put it together?It’s a bit of a hybrid set - half DJ half live, all unreleased music. It may well be the last ambient thing from me for a while. No plans to release any of it at the moment. Lastly, I read you're a candle fan (as am I) What's your latest scent?!Lol! :) I have a trial tester from an amazing new Scottish aromatherapy brand called àile. They do amazing products and are thinking about doing a candle. It’s cedar wood, mandarin, and clove I think. It’s great!~ astrangelyisolatedplace · isolatedmix 120 - Lord Of The Isles Listen on Soundcloud or the ASIP Podcast.Download MP3(No tracklist as all unreleased material)Artwork image by Faisal Waheed.Lord Of The Isles Bandcamp | Discogs | Soundcloud  

  As with all past ‘Reflection’ year-end mixes, I start with a collection of music I have enjoyed over the past year. Through the process of compiling a mix, songs are whittled down and selected from this collection. This means many of my favorite tracks and albums are often omitted in this process, due to the need for them to fit in a mix that comes together as organically as possible. As I say every year, this isn’t a definitive ‘best-of’ list, but a selection of just *some* of my favorite music from the year in one easily listenable format. It’s the most enjoyable way for me to boil down the music I’ve loved from the year using these self-imposed restrictions, for you to then enjoy and hopefully discover more. I encourage you to use the mix to jump off and explore each artist, listen to the album in full and see what else is on the label (and check the Buy Music Club list at the bottom). Of course, releases or aliases that are a part of our own label/s are not considered for this mix (head over here for our label-specific 2022 showcase!), and if you want to see the majority of what I’ve been supporting, head over to my Bandcamp collection.~Mixes paint a memory, and in many ways better than a photo. That’s half the reason I do these year-end mixes. Listening back to some of the past ten ‘Reflection on’ editions, each one still does the job of invoking specific memories for me. From the time I made the mix or tracks that trigger a time and place, maybe a gig I went to, an album that soundtracked a special moment, or just a record that didn’t leave my turntable. All of these things influence what tracks go into my year-end mix. It makes it challenging to try and capture, but also rewarding when I come out of the other side with something to listen back to that really shaped my year in listening. Despite this feature taking many, many hours, it’s much easier than doing a list, because not only do I dislike ranking music, but I really enjoy putting together mixes (so any excuse really!).I haven’t written in-depth track notes for the past few Reflection mixes, mostly due to the sheer high number of track inclusions, but I want to go into depth on the inclusions this time around. I miss writing about music here, and it’s been a few years now since I’ve even posted a review. So hit play below, keep scrolling for the track notes, and link to a BuyMusicClub list to support all the featured music. astrangelyisolatedplace · ASIP - Reflection on 2022 Listen on Soundcloud, or the ASIP Podcast.Download MP3~Firstly, let's sweep it under the rug; I’ve broken the biggest rule of the mix and included a track that wasn’t from 2022 (in fact, a couple aren’t strictly, but more on that later). The first track (and album), by maarja nut and ruum was such a lovely discovery for me this year that I missed in 2018, it accidentally slipped into my 2022 playlist due to being on high rotation. Of course, it was the very first track in the mix that set the tone- a hard one to undo when you’ve completed the set. So, because I have no one to answer to but myself, it stays! And I doubt you will regret this decision either if this album is new to you. Malibu made an appearance in 2020’s mix, and she’s perhaps a good reason for igniting a stronghold in female vocal led-ambient music recently. But few attempts are as ethereal as Malibu’s latest, going full-on Salt Tank (as a fellow Trance lover nicely put it once).Ecovillage have made some gorgeous music over the years, and their latest album was a work of collaborations with some impressive producers such as Fennesz and harpist Nailah Hunter. My favorite track of the bunch was Memories of Spring featuring Japanese vibraphone player Masayoshi Fujita (the Erased Tapes stalwart). Raum, a collaborative project by Jefre Cantu-Ledesma and Liz Harris (Grouper) released a long-awaited follow-up to their 2013 album, and it didn’t disappoint. Whilst used more as a texture/segue in this mix, I encourage you to explore the full album. And, in a nod to Liz Harris’ involvement in the artwork for one of our releases this year, it felt fitting to include her project in this mix (thanks Liz!).I’ve admired GiGi FM’s DJ’ing abilities for a few years now (check out her isolatedmix) but only last year did she debut her production chops with Kiwi Synthesis Diary 21k. I didn’t get around to listening to the album until this year (along with her latest, Magnetite EP) and so it didn’t make last year’s mix which was already out in the world. So here’s another little cheat, albeit a very short inclusion. You can’t say "In Every Dream Home A Heartache” without reading it like the Roxy Music intro, and Romance and Dean Hurley’s similarly named album is just as memorable for me in many ways. Whilst this track is not my favorite from the album, it reminds me of the church bells and distant music playing from across the farm fields in my hometown back in England.Fallen, aka Lorenzo Bracaloni seems to have released quite a few albums this year, but I was introduced to Moonlight Romance by Noah M (who creates many of our own artworks and was behind the art for this one). It’s like a new-new-age album, full of life and color, and a really pleasant listen from front to back.One thing I find hard with this annual mix is whether to include tracks that have appeared in some other mixes of mine this year. Ultimately, I want to try and present new listening experiences with each mix, but then again, I am sure it’s very few of you who actually listen to all of them!… . Steve Roach’s What Remains appeared in a previous mix of mine this year, but this track is him at his very best. Refined, patient, bellowing, and glistening - a master of the style.Pretty sure nthng has appeared in the last two Reflection mixes, but what can I say… whether he is releasing pounding atmospheric techno or soaring trance-inducing textures like this one, he somehow manages to draw me in with each of his releases. (I think, secretly, he’s a trance head and there’s a subconscious/ telepathic attraction going on between us).At this point I got lost in the bellows of the last few tracks, so decided to find a way out of this musical chapter, and IKSRE provided a nice euphoric bridge with her vocals. Released on the ‘Healing Together’ compilation curated by Cynthia Bernard / Marine Eyes, plenty of tracks from this comp could’ve made it onto this mix, so you know what to do after...There was no doubt I was going to try and include a Norm Chambers track in here somewhere, both due to his unfortunate passing this year and his undeniable contribution to the ambient and experimental community. I seeked out a jolt in the mix at this point, so his music didn’t go unnoticed. As someone I follow recently said, you could make five mixes from his library of music and each one would sound different. Thank you for the music Norm - RIP.Chicago artists Purelink seems to be at the front of this new 'jungle/beat infused choppy ambience™, that I’ve seen becoming quite popular lately (how old do I sound). And one member of this trio features a bit later under a different alias. There is lots to explore in this world - whether it be following each of the member artists, their labels, or some of their own self-released music on Bandcamp. This track fits my dreamy chill-out world perfectly and was a much-needed segue into a more beat-driven chapter of the mix. Spoiler alert, Mikkel Rev will be making an appearance in the ASIP fam in 2023, so until he does, he’s OK to be included in this mix (!) As part of the Ute Collective hailing from Norway, it’s another rabbit hole of amazing young talent should you be into the more trance-infused sound of ambient music (or indeed, full-on trance music - plenty of that there). He makes some superb atmospheric chugging downtempo that ranges from the delicate to the beat-driven.Whenever a new Biosphere album drops, it’s met with slight trepidation on my end. Not least because his albums take forever to reach the US on vinyl, but, how do you live up to the classics you created that helped define a genre? But that feeling is always short-lived and none so short as 2022’s effort. In what is a direct throwback to some of his earlier electronic styles, Shortwave Memories is one of his best in the past 10 years - at least. The N-Plants vibe in this particular track is the show-stopper. ReKaB was a new discovery for me this year, and the Móatún 7 label that homes this release, is a goldmine for electro-leaning music (even featuring a Yagya 10” recently). I think I played this ReKaB album front to back more than five times in the car one day. It’s such an enjoyable listen - not too pretentious, just enough old-school vibe, and energy to keep things present as opposed to wallpaper.  OK, a couple more records were not strictly new in 2022 but I’ve always debated including reissues in this mix, and finally come around to the idea given the proliferation recently. After all, there was never a Reflection on 1993 was there?!  Spacetime Continuum and the always-on-point Musique Por La Danse label provide the 90’s throwback. (The similar-era Detroit Escalator reissue would have also made it in here, but I had to stop somewhere). Daniel Avery’s album is a monolith. Throwbacks to Aphex on a SAW tip, mixed in with wall-shuddering bass and cave-mentality breakdowns. Any electronic fan that spent time in a dimly lit rave is going to enjoy his latest, just as much as the IDM/Electronica fan in all of us. I’m not sure if the t

Our annual showcase of individual tracks from ASIP's 2022 label releases and a special continuous DJ mix of this year's music from todos.After providing 2021's compilation mix, our esteemed journeyman, todos takes the reigns again to interpret this year's label releases. Containing at least one track from each of our releases along with many snippets and samples from others, todos weaves a tapestry that somehow manages to traverse ASIP's potentially most varied year to date.From the intricate world-building sounds of Gadi Sassoon, Deepchild and Strïe; to the dramatic synthesizers born from Scanner and OKRAA; the granulated textures of Viul & Benoît Pioulard; the delicate keys of ASC; and Illuvia's illustrative DnB footprint; this year's mix seemed impossible to weave together, but todos tied it together in style.Available as Name Your Price on Bandcamp  2022 | Label Compilation (mixed by todos) by A Strangely Isolated Place  Full todos Continuous Mix tracklist:01. Gadi Sassoon - ‘Sintetico’ edit /Illuvia - ‘Blue Rays’ edit02. Deepchild - ‘The Singing Feat. Holly+ / ASC - ‘Third Act’ edit / Scanner -’Nuorp’ edit03. ASC - ‘Fifth Act’04. Illuvia - ‘Eagle Vision’ /Gadi Sassoon - ‘Bionico’ edit05. Deepchild - ‘Dreams Within Dreams’06. Gadi Sassoon - ‘Sintetico’07. Strië - Aeroplane Flying’ / Strië - ‘Vogel Wolke’ edit / Deepchild - ‘Now It Is Me Being Breathed The Veil Breaks’ edit08. Illuvia - Naissance’ / Scanner - ’The Earthbound Fox’ edit09. OKRAA - ‘Heartless’10. Viul & Benoît Pioulard - ‘Performance’11. ASC - ‘Third Act’ / Gadi Sassoon - ‘Collision Suite’ edit12. Gadi Sassoon - ‘Life On A Tidally Locked Planet’ / Illuvia - ‘Sea Of Vapour’ edit13. Illuvia - ‘Chiara Springs’~Listen to all of these releases and find out more on our releases page.todos on SoundcloudMixed version MP3   

Curated by Alexis Le-Tan and featuring a host of brilliant, inspirational labels, it’s an honor to be invited to be a part of the growing Oddity Radio collective. The ASIP label profile is now live on the site, including a playlist of tracks from the label so far, which can be added to your listening rotation on the station, a short interview, and an Inspirations mix by yours truly (cue biggest picture of me on the internet).Oddity asks each label contributor to submit an inspirations mix, and it felt like an extremely daunting task at first. Capturing my inspirations in one mix would send me in circles, and I needed a more specific angle (you know I love a constraint when it comes to mixes!) So instead of looking far and wide or deep into my record collection, I looked to the many artists who have defined ASIP over the years and made it what it is today. They appear in the mix under different guises, collaborations, or with earlier releases before they were on ASIP. Somehow, it manages to capture the sound of the label and is probably one of my favorite mixes I’ve put together in a while… maybe because of the nostalgia - it reminded me of times many years ago, discovering some of these artists for the first time a long time ago. Head over to Oddity Radio to listen to the playlist and the Inspirations mix. Big thanks to Oddity Radio for spreading the love and curating such a great platform, please check it out and the many other great labels featured!  ODDITY RADIO · ASIP - Oddity Influence Mix  Inspiration Mix tracklist:01. Scanner - Anna Livia Plurabelle02. Silence - Santur03. Charlie May - Custard04. Plastik - Herna 605. Scanner - Scanner 2.406. 36 - Geiga07. Arovane - scapen te08. ASC - Echo Location09. bvdub - I Would Have Waited10. Leandro Fresco - El Valle11. Herrmann & Kleine - Leaving You Behind12. Chymera - Umbrella (Beatless mix)13. Influx - Dreamscape (ambient mix)14. Joel Mull - Alden Plateau15. Strië - Capsule16. Yagya - Rigning einn17. Wanderwelle - The Haunted Shores of Hiva Oa18. The Sight Below - Further Away (Benoît Pioulard remix)19. Olga Wojciechowska - Primal Fear20. Tempelhof & Gigi Masin - Tuvalu21. Stareaway - The Loss Of Breath22. Johaness Schmölling - Icewalk (Ulrich Schnauss remix)Inspiration mix MP3   

  Oslated is a label collective from South Korea, often found presenting lovely deep meditative techno from the likes of Doltz, Saphileaum, Launaea, Javier Marimon, and many more personal faves. They also host a mix series, which has previously featured some great contributions by many faces readers of ASIP will recognize, so it was a pleasure to be asked to contribute a mix. I don’t have too much to say on this one, but it moves through some very specific chapters with a common theme throughout (see if you can spot it)… as do many of my mixes! And of course, it’s sprinkled with a few unreleased ASIP label bits. Listen below or on the Oslated Soundcloud. Download. Oslated · Oslated Special Mix 026 - ASIP Tracklist:01. Stone - Evil Day [2022 / 3 X L]02. Unreleased [Forthcoming on ASIP]03. HIA & Biosphere - Snapshot Survey [1996 / Beyond]04. Ameeva - Die Wellen Side B [2022 / 9128.live]05. Deepchord - Immersion II [2018 / Astral Industries]06. Isorinne - Blurred Perceptions of Substance [2016 / Field Records]07. o.utlier - Less Popular Than Cats Side B [2022 / Verdant Recordings] + Steve Roach - What Remains [2022 / Timeroom Editions]08. Unreleased [Forthcoming on ASIP]09. James Murray - Living Ghosts [2017 / Home Normal]10. Unreleased [Forthcoming on ASIP]11. wndfrm - A [2018 / Sounds et al]12. Araceae - Before The Sun [2022 / Faint]13. Simone Bauer - Nereide [2019 / Sure Thing]14. Aes Dana - Period 10 Evocatory [2021 / Ultimae Records]15. Aucuba Replica - Of Grasping [2020 / संस्कार Rites]16. Donato Dozzy - Moonlight [2011 / Mule Electronic]17. Toki Fuko - What Will Enlightenment Give Me [2021 / Lowless]18. Priori - Afterburn [2019 / NAFF]19. Mikkel Rev - Revelation In A Chill Out Room [2022 / Translusid] + A Conversation with Rickie Lee Jones [1989 / Geffen Records]20. DJ Healer - Hopes and Fears [2018 / All Possible Worlds] + Being - Being, Then [2021 / Firecracker Recordings]21. Unreleased [Forthcoming on ASIP]22. Shingles - Another Day In Paradise23. William Basinski - Fin [2020 / Temporary Residence Limited]24. Dedekind Cut - Tahoe [2018 / Kranky]  

  Not many producers can create new aliases after 10+ years and still manage to drop something completely unexpected and refreshing. Peter Rogers’ Wardown project did just that in 2020, debuted on the respected Blu Mar Ten label, the self-titled album found admirers from a cross-section of music styles; spanning Jungle, Drum’n Bass and a strong atmospheric element. Wardown / Wardown was consequently one of my most played and admired albums of the year (finding a sweet spot in the Reflection on 2020 and Atmoteka mixes). I found it near impossible to stop the album once it started, as it flowed easily between stories, styles, and sentimental reflection. Peter is now set to drop his second album under the Wardown alias, simply titled Wardown II, but those who absorbed the nostalgia from his first, will undoubtedly be confident that despite its modest title, the conceptual approach is as strong as ever, and the music will once again be left to do the storytelling. Continuing with this brilliant reflective approach from the first album, Wardown II can be considered another vivid capture of one of Peter’s undoubtedly many memories he has begun to create with this alias. And just like his productions, his isolatedmix is a natural extension of this approach. As is the case with many producers in this genre, DJ’ing is integral to the culture, so it’s of no surprise for us to be treated to a little bit of a masterclass with this latest installment…~ASIP: Many people may know you as one half of the d&b duo Technimatic (and even making an appearance as Technicolour on our Energostatic comp which we were proud to host a few months back). Can you tell us a bit about how you got into producing music and your background?Pete: I started making electronic music in about 2002. I’d been into jungle and drum & bass as a teenager growing up in Luton, and played in a jazz funk band for many years too. But 2002 - after I’d finished studying graphic design at university and moved to London - was the first time I had the opportunity to buy a computer of my own and actually start trying to create stuff with it.You debuted the Wardown project on the Blu Mar Ten label in 2020. What inspired this new alias after years under others?I started Wardown because I had quite specific things I really needed to express and put into music that I didn’t have to the opportunity to elsewhere. Technimatic is my main musical focus of attention and I love it, but sometimes there are things unique to you that you need to be able to say, that might not fit within the canon of music you're making as a duo. Things much more personal. I’ve known Chris Blu Mar Ten for many years and have huge respect for the vision and A&R of his label, so it felt like the perfect fit. Thankfully he was really enthusiastic about putting it out. Wardown by Wardown Vignettes of people talking about your hometown of Luton open your first Wardown album, (which was a surprise for me to hear, as I grew up in a nearby town). How would you describe your formative years there? How did it impact your music?Luton has a very chequered past. It’s regularly featured in the kinds of ‘shittest towns in the UK’ lists that appear online. It’s been home to the English Defence League, Islamic terror cells, and is generally thought of as a fairly ugly, non-descript town on the outskirts of London that has an awful airport. But as a kid, I had a really good upbringing there. And crucially, being near London and the M25 motorway, back in the 90s it had a very strong connection with rave, hardcore, and jungle music. Legendary hardcore DJ Swan-E was from Luton, Blame was from just down the road in Dunstable, there were pirate radio stations broadcasting the music 24/7 in the area, and most importantly for me, there was an amazing record shop called Soul Sense where as a teenager I spent a lot of my time, learning and being inspired by 90s underground music.I assume you made several trips to London back in the day like most music lovers living in the Shires, for the big nights and DJs in the capital. Who, or what was your mecca back in the day? And which record stores were you gracing?Absolutely. Once I was allowed to go into Luton town centre on my own without my parents, it wasn’t long before me and my friends were getting on the train and heading into London to buy records. This was the mid-90s and obviously long before smartphones and the internet, so on several occasions we went with the intention of going to Blackmarket Records in Soho, but ended up coming back empty-handed as we simply couldn’t find it! But eventually, we worked it out and it was always a huge buzz. Section 5 on Kings Road in Chelsea was another favourite.In 2000 I moved to London and that’s when my real clubbing experiences began. Swerve at The Velvet Rooms on a Wednesday, Movement at Bar Rumba on a Thursday, but the real Mecca for me and my friends was The End. It’s still my favourite club that’s existed and so much of my dance music education happened there. We went to most d&b nights but the key event for us was LTJ Bukem’s Progression Sessions, which ran monthly there throughout most of the noughties. I think I went to every single event from about 2002 - 2007.The Wardown debut was one of my favorites from 2020. A wide spectrum of sounds, running from lush ambient pieces to extremely energetic tracks. The narrative aspect pulled me in, giving off a nostalgic mixtape type of vibe. It felt like it was a pivotal album for you to get out into the world given how personal the elements contained within were - almost a ‘letting go’ kind of feel?Absolutely. During the start of 2019 I returned to Luton quite a bit. My granddad, who was the last remaining family member living there, was ill. So I went to visit him at his home, and then the hospital until he eventually died. He was 98 so it was no huge shock, but when I was back there, these ideas started forming in my mind. Luton was my home town but the last remaining Rogers had now left and there was nothing left linking me to it. But despite losing those roots and living away from the town for over 20 years, it still had this strange power over me and I felt a really deep connection. Obviously, some of that was down to simple nostalgia for my childhood. But there was something else tied up in it. Something a bit more complex. And making that first album was an attempt to try and express those feelings. That first track on that album (Culverhouse) has to be one of the most euphoric moments to kick off an album in recent memory of mine. I was definitely keeping it locked for the remainder after that beginning! What was the intention with the sequencing of the album?I honestly can’t remember much about the sequencing of the first album. It wasn’t like I made 30 or 40 tracks and then whittled them down and picked my favourites. It’s a 10 track album and I think I made 11 tracks, and decided to ditch one of them. I wanted it to be a mix of jungle and ambient soundscapes as I think despite the two genres being in some ways at the opposite ends of the spectrum, they also work beautifully together. When I was initially buying records in the 90s, I used to be obsessed with the intros and breakdowns of certain jungle records. There was a run of releases on DeeJay Recordings from DJ Crystl and Future Sound Of Hardcore that had these sprawling instrumental openings that I used to play over and over again. And obviously LTJ Bukem and a lot of those early releases on Good Looking Records are on the same page. That aesthetic felt like a really good way to try and manifest the ideas I was having.According to your first album notes, Wardown is an attempt to capture what the Germans call 'sehnsucht', an "inconsolable longing in the heart for we know not what". Where did this attachment come from?That quote is from the author CS Lewis, attempting to describe the sense of longing he felt for much of his life. And I’ve been kind of obsessed with that feeling for quite a long time too. ‘Sehnsucht’ is a German term that gets somewhere close and there are others in various languages. But it’s a very hard thing to accurately pin down and describe. I sometimes feel as though to get a sense of it I have to look out of the corner of my eye, as when I try and focus directly on it, it disappears. It’s often a very fleeting feeling brought on by certain scenes in the world, weather, photographs, old films. A kind of bittersweet, melancholy feeling about the past and things that have been lost. But quite often it’s a longing for things I’ve never personally experienced or may never have even happened. “at its simplest, Wardown II is a vision of the future from the past.” Wardown II by Wardown The new album is a subtle shift in concept from the original and perhaps a continuation chronologically. The nostalgia is still there, but I’m getting a look at the future instead of back like the first album. Maybe the artwork is subliminally pointing me in that direction too. Is this Luton today or in the near future?!With the first Wardown album I was trying to evoke those feelings of loss and yearning I felt for my home town and earlier life. And that got me thinking about nostalgia in a wider sense and why it’s so alluring, particularly as you get a bit

  "Ambient as interesting as it is interesting"The term Power Ambient is yes, another attempt at putting a badge or genre to a wide-encompassing range of music stylistically, but it’s one that I have often gravitated towards amongst many others when describing a particular style of music we are dealing with here.When it comes to a spectrum of Ambient music styles, I’m more often than not on the ‘lean in’ side of things, than the ‘lean back’. It’s easy to throw up Brian Eno’s definition of Ambient music “…as ignorable as it is interesting” to help elaborate on what I mean, as essentially within a Power Ambient context, we are removing the desire to ignore it.To put it another way, Power Ambient is best suited to those who want to immerse themselves in the music; the wall of sound; big movements; rumbling bass; wide frequencies, and layers of dense drones. These are elements that envelope a space in richness; be it soft and all-encompassing like a heavy blanket, or more on the noise spectrum, making your body rattle and the hairs on your neck stand-up on end. But the common output is that you're better off taking note of what's happening, than sticking it on in the background and making a cup of tea.It’s not a new descriptive term. A 2014 Fact magazine article captured a few artists that seemed to be prevailing in this style, alongside a mix that Chris SSG loosely described as including Power Ambient (now Chris references his style as Big Room Ambient) and more. recently a Bandcamp list (although not sure all that stuff aligns with my own vision for it). There is no doubt in my mind, however, that a powerful style of Ambient music has exploded in recent years (as has the creativity of Ambient music in general, really). Perhaps this style has been more embraced due to a couple of things. In dark times comes inherent anger and expression, and it’s pretty grim out there right now. For any music culture, this can often send people into darker production spaces. Secondly, I can feel an emerging undercurrent of rebellion for what ‘Ambient’ can stand for nowadays. With a world of meditative apps and ‘Piano Chill’ playlists continuing to give Ambient music a certain reputation, (at least we have moved on from Spa music, right?), I have a feeling this stereotyping is pushing producers, and even listeners to explore new styles of Ambient music, and opening doors into more expressive forms of music that stand out against an all too frequent beige playlist. Don't get me wrong, this doesn't mean that Power Ambient is just noise and complexity for the sake of it (it can be) but like all music, there's an art to getting the balance right. For me, Power Ambient can range from relatively quiet, intense soundscapes with a mysterious underpinning, to just short of full-on Merzbow wall-shaking. Call it a version of Noise, Drone, Experimental, whatever, but wrapped in a different guise, it’s still bearable as Ambient music but stops short of becoming too much. I wanted to highlight just a few of my favorite artists whose broad strokes defined ‘Ambient’ music, has always made me sit up and listen. As with all Portals features, I try to focus on a mix to bring the idea to life and a jump-off/entry point for the artists included. This was harder to mix than a regular DJ set, because of the inherent energy of Power Ambient music. Used consistently in a mix, at some point you're going to get burnt out and it will start to fade into the background just like listening to white noise. In my experience, Ambient tracks with force or energy are best used interspersed in sets to make people lean in and grab their attention, or as part of other styles to continue a certain level of energy (I’ve heard this type of music as an interlude in more heavy beat-driven sets for example). It can also work great as a live show where the listener knows what they are getting into already, of course (earplugs at the ready). As a 1hr+ mix, I, therefore, had to be considerate of the energy and flow and tried to create a few distinct chapters with peaks and troughs and an easy onramp at the beginning. I encourage you to use the links below to jump off into each artist’s universe on Bandcamp. Despite it being a relatively well-known list of musicians when it comes to the Ambient enthusiasts, I’ve tried to give a good snapshot of artists that might push into this style within some of their works, especially if any of this music is new to you. RIP to two influential producers included in this mix, Cesar (Mount Shrine) and one of the greatest noise/experimental artists of our time, Mika Vainio. Listen on Soundcloud, Mixcloud, Youtube (below) or the ASIP Podcast. astrangelyisolatedplace · Portals Episode 11: Power Ambient Download MP3Tracklist:01. James Murray - Second Sight (Home Normal)02. Ameeva - Die Wellen (9128.live)03. Faru - Mirror of Consciousness (Self released)04. Sciama - Subsumed (Auxiliary)05. Joachim Spieth - Akasha (Affin)06. Abul Mogard - Against a White Cloud (Self released)07. Leandro Fresco & Rafael Anton Irisarri - Baja dos Singlos (A Strangely Isolated Place)08. Mount Shrine - Foggy Deck (Cryo Chamber)09. Araceae - Gleaming Embers (Faint Music)10. Markus Guentner - Cavus (A Strangely Isolated Place)11. r beny - vestigial (Self released)12. Caterina Barbieri - TCCTF (Important Records)13. Christina Giannone - Realms II (Past Inside The Present)14. Christina Vantzou - Glissando for Bodies and Machines in Space (Kranky)15. Pechblende - Shackles of Time (Auxiliary) 16. Tim Hecker - Hatred of Music II (Kranky)17. Bana Hafar - Intersecting Voids (Self released)18. FRKTL - Scene I: Terra Nullius (Self released)19. KMRU & Aho Ssan - Resurgence (Edit) (Subtext Recordings)20. Mika Vainio - Kytkenta (Connection) (Touch)21. Rafael Anton Irisarri - Arduous Clarity (Dais)22. Mika Vainio - Unessa (Sleep) (Touch)Also….  

  A big thanks to Ed Isar for inviting me to contribute a mix to his Rinse FM show. Ed is behind the Musique Pour La Danse label (recently reissuing Coil and rEAGENZ albums amongst others), as well as the brilliant Tursiops label. Below is the text sent along to accompany the show and introduce the rough idea behind it.I'm a father to two young boys, so finding time to dedicate to a vinyl mix is tough, but I found myself inspired to get behind the decks late one evening and see what would happen. My only intention was that I wanted to include a couple of upcoming releases (test presses) from the label somehow but they are almost the outliers in the set style-wise., so I had to work around them a little. It ended up quite dark, very deep, and pitch-bent, with a few good crackles for good measure and moments I am sure people will be familiar with.Listen to the mix below or on Soundcloud, with Ed taking the reigns for the first half and some lovely vibes to set up my darker piece! Rinse France · Ed Isar invite A Strangely Isolated Place - 10 Juin 2022 Download (ASIP mix only) Tracklist:01. Enkai Ohakosh - Unknown02. Avont - Non-Brio Interlude [Residence Records] (2021)03. Off And Gone - Uncle Mike’s Beard [Isla] (1994)04. Unreleased (A Strangely Isolated Place)05. 3.11 - Reduktion [PRS] (2021)06. J.S Zeiter - Untitled [Expanding Vision] (2022)07. Flying Fish Ambience - Monuments in Easter Island [Hospital Productions] (2021)08. Joachim Spieth - Hyde [Affin] (2021)09. Muziekkamer – Op Zee [Stroom] (2021)10. Anatolian Weapons – An Afterthought [Dispari] (2021)11. Tomas Jirku - Entropy8 [Silent Season] (2020)12. The KLF - Last Train To Trancentral (Mu D. Vari-Speed Version) [Arista] (1991)13. Being - Space Again [Firecracker Recordings] (2021)14. James Bernard - UW07 (A Strangely Isolated Place) (2021)15. Unreleased (A Strangely Isolated Place)  

  A little extra treat to celebrate the recent release of Gadi Sassoon’s Chaos & Order EP. After being featured in a few mixes and Gadi’s own sets, we’re pleased to present a study of Hania Rani’s astounding track, Buka which Gadi recently created after obsessing over the piece, recomposing it from scratch in his own unique style. Along with a free download of the track available on Soundcloud (and a link to the .wav), Gadi has also made the Max for Live plugin he created to produce the track, available as a free download (also here on dropbox). Gadi Sassoon · Solido Platonico (Hania Rani "Buka" Arpeggio Study) “A few months back I was studying different arpeggiation styles with my friend Italian producer MACE, and we listened obsessively to Hania Rani’s incredible piece Buka; from there I decided to dive deep into this particularly amazing phrase she has in that piece, and to explore all the ways I could transform it by playing it with synths and resequencing it by using a gridless arpeggiator I made in Max for Live.” - Gadi SassoonPlease support Hania’s music and the album Home, (it’s an essential album!) <a href="https://haniarani.bandcamp.com/album/home">Home by Hania Rani</a> 

  Our latest isolatedmix comes from Mark Nelson, who as Pan•American, or as part of Labradford or even Anjou, has garnered relative cult status amongst the ambient and experimental lifers and tape community. Forming a big part of the Kranky label history from its very first release, Mark recently returned with a new album after a three-year hiatus, and the mature, refined instrumentalism on The Patience Fader is a subtle reminder of the quality Mark has retained over the years - quite an achievement, given his first Pan•American record on Kranky goes back to 1997. I took the chance to send over some questions to Mark to shed some light on the new record and the music that exists in his life right now, alongside his tasteful and electic isolatedmix. The Patience Fader by Pan•American Hi Mark, where are you right now and what have you been listening to lately? I'm at home in Evanston IL-just north of Chicago. Drinking coffee after work and listening to the water running through the filter of our pet turtle's tank and the music of Mette Henriette. If you're not familiar with her she's a Norwegian composer and saxophone player who put out a  record on ECM a couple of years ago it’s so beautiful-one of those records I only let me listen to occasionally because I don't want to become too familiar with it. worried the magic might lessen-but magic never really does. Last few days I've been listening to lots of the music that made it onto the mix-Mike Cooper, African Head Charge, Ulla, my friend Robert Donne's incredible track Touch my Camera Through the Fence, Takagi Masakatsu.  The most recent music that I've really liked are the 3 cd comp by Fubutsushi on Cached Media and my friend Francis Harris' beautiful new record Thresholds that I was lucky enough to contribute to. Running a label myself, and given you had the honor of being the very first release on Kranky, with Labradford, I’m interested in the details of how that very first album and relationship came about? It's hard to believe but back then you could put out a 7" single-maybe 300 copies-and be pretty confident all the key distributors, zines, record store buyers and radio stations would find out about it and boost it up if they liked it.  Joel and Bruce worked at Cargo-an independent distributor based in Chicago.  Our single came across Joel's desk and he felt good enough about it to set in motion the plan he'd been forming to start a label.  I remember my friend Andrew who put the single out told me a guy from Cargo was going to call me and I stayed close to the (landline) phone for the next couple days.  Joel called, we talked and the rest has unfolded very naturally. A blend of luck and trying to manifest something in the world around the music. “Romantic minimalism” is used in the text for your new album The Patience Fader, and it’s an apt term for the delicate, perhaps even more ‘focused’ approach on this one. Do you think there is a clear connection between the effects of the past year and the type of music it inspires? Was that the case here? Yes-absolutely in my case.   Both from within and without.  Not consciously of course, but Patience Fader was made during the summer and fall of 2020, so  Covid,  Trumpism, BLM/George Floyd protests were all in full flight.  At the same time, my father was dying in a hospice in Virginia that we couldn't visit because of Covid.  In some respects, emotions were very simple for me in this time. Right and wrong, life and death joy and sorrow seemed very plainly mapped out. The album features some smaller ‘vignette’ type tracks, which I personally love. What was your intention behind these as part of the greater album flow? Is there a hidden narrative? Not a narrative really, no. I would say there's a theme of Roots throughout the record and trying to find different ways to approach what roots and being grounded can mean. So guitar and harmonica as the instruments used speak literally to the basic grounding of American music. The field recording of a summer afternoon and slamming screen door on Baitshop is evocative to me of childhood.  There's even a song called Grounded.  We were all literally grounded by Covid and I was searching for a  sense of Grounding amidst the unraveling. It seems like you come from the ‘instrumental first’ school of ambient music (as I sometimes like to put it), integrating your instruments as source material, especially on your latest. What does the process for creating a PA album usually look like? It tends to come out of the daily practice of playing. I like practicing and trying to be "better" as a guitar player.  Sometimes it can even feel like if I get an idea I need to dig into, it interrupts just simple, repetitive practice that in some ways I enjoy more. I think I've gotten pretty good at recognizing when an idea needs to be followed through and I do feel like I have an obligation to not let it go.  Although in the end, most don't make it.  Eventually, I tend to establish something that feels like the first song for an album and the last song, and that's when I know that something new is really emerging. The Lapsteel / Pedal steel was perhaps brought to ‘ambient fame’ by the KLF’s Chill Out, especially to those who run in more general ‘ambient’ music terms. And I definitely get a similar vibe to that album with The Patience Fader. …“the ghost of rust belts and dust bowls looming in a horizon of deepening dusk.” as the press text puts it. As a foreigner in the US, I’ve always wondered about this romanticism and never really experienced it outside of trips to the desert here in the west. How does this come to life for you personally? Is it something you seek out? I'm a big fan of Chill Out-but I think Brian Eno and Daniel Lanois got there first on Apollo! Also, the Paris Texas soundtrack and Ry Cooder's slide playing cemented some of those connections that I guess now verge on cliche. Funny enough I'm a bit of an outsider here as well-my Father was a US diplomat and I didn't live in the US until I was a teenager.  I've always looked for a way in I guess, and music-rock n roll, country, blues, jazz seemed like a kind of skeleton key. A key to a series of doors that open and close constantly and I seem to remain disoriented.  I certainly returned to these roots (literal and figurative) in music for an explanation or comfort as Trump set fire to whatever remained of the Better Angels of what (for some reason) is referred to as the American Experiment. Mixed results. You speak of the notion of “lighthouse music,” radiance cast from a stable vantage point, sending “a signal to help others through rocks and dangerous currents.” My perception and ‘unromanticizing’ of this after listening to the album, is that you have tried to create very clear, and comforting music, something that will cut through easier and not need too much thought for it to work. I love this overall sentiment - could you expand upon it in your own words? It's an effort to be uncluttered and go straight for the heart. The beauty in country music is the same effort or effect.  It's ok if it's a formula to an extent that's comforting! The songs on my record share a very similar structure and palette to one another-I really wanted to create a world that would be very quickly recognized-meaning the boundaries would be clear right away-and the work could be done within those boundaries.  There's certainly much to recommend pushing beyond known boundaries and limits-for me though it's where known elements within a world blur, overlap, merge, surrender and change like water that's what I'm interested in! New possibilities come from new combinations, and new layering of familiar material. Hybrid forms, mutations.  I think what we're looking for is here-it's just up to us to make it visible.~ astrangelyisolatedplace · isolatedmix 118 - Pan•American Listen on Soundcloud, Mixcloud, or the ASIP Podcast.DownloadTracklist:01. Willie Nelson- Sad Songs and Waltzes02. Ulla - New Poem03. Michael Grigoni - Little Cliffs04. Sosena Gebre Eyesus - Seqelew Eyalu05. Maurizio - MO7A (edit)06. Mike Cooper - After Rain07. African Head Charge - Bazarre08. Takagi Masakatsu - Uter 109. Mary Lattimore - We Just Found Out She Died10. Loren Connors - Blues #511. Robert Donne - Touch My Camera Through the Fence12. Lokai - Histoire DSPan•American: Website | Bandcamp | Soundcloud | Discogs