Lost Again On Waking – A Project in Music & Photography by Glacis and Heidi Kuisma…

Glacis is Edinburgh based musician Euan McMeeken.

Heidi Kuisma is a photographer from Finland now living in Glasgow, Scotland.

Lost Again On Waking. 4 sets of photographs taken by Heidi Kuisma sometime in 2009. 4 different locations. 4 very different sets of images. Documents of time and place. Interpreted by Euan as 4 pieces of ambient piano music to sit alongside the images. The sets/compositions are titled in both English and Finnish:

1. the forgotten time – unohdettu aika
2. maybe you will find me – ehkä löydät minut
3. we walk long distances through silent sleep – me kävelemme pitkiä matkoja hiljaisen unen läpi
4. you can still be beautiful – voit olla vielä kaunis

The tracks were written by Euan McMeeken. They were performed by Euan McMeeken and James Scott (Conquering Animal Sound/The Japanese War Effort). They were mixed by James Scott and they were mastered by Fraser McGowan (Small Town Boredom/Caught In The Wake Forever). A bonus track, the Fieldhead edit of “we walk long distances through silent sleep” will be available on the cd.

Limited to only 50 copies, the package comes with letter pressed covers in two different stitched fabric pouches (randomly assigned when shipped) along with a postcard in hand stamped envelopes, sixteen page photo booklet, bonus vinyl disk containing a one hour mix of delicate soundscapes all packaged with loving care into manilla stamped/numbered envelopes.

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Having started playing piano, guitar and bass at a young age, Euan spent much of his late teens and most of his 20’s fronting Edinburgh band, The Kays Lavelle. He began writing ambient piano pieces in 2010 and upon the split of The Kays has focused his attention on these simple piano pieces.

‘Lost Again on Waking’ captures the simplistic beauty of the piano and merges it with atmospheric soundscapes and textures to create wistful memories of moments captured, never to be lost. Memories of time and place. Accompanying the wonderful photos of Heidi Kuisma, ‘Lost Again on Waking’ is a dreamlike journey exploring, through music, the images that we too often fail to share and the emotions that these moments generate. ‘Lost Again on Waking’ should firmly launch Glacis into the spotlight as one to watch in the future.

Release date is 27.07.11.

As usual those on the mailing list will have the opportunity of grabbing a copy early.

Jointly curated by Daniel Crossley (Fluid Radio/Fluid Audio/Facture) and Jonathan Lees (Hibernate/Rural Colours) Kanshin is a two CD compilation album that presents a collection of sound design work from some of the scene’s finest artists from across the globe. It has been put together to raise money for the current recovery in Japan following March’s earthquake.

As the sensationalist media broadcasters find other things to talk about in the news, a huge recovery operation is still on-going as we speak. Many people have lost everything. So we decided to put together Kanshin so that via Ian Hawgood, 100% of profit from compilation sales will go directly towards the Japan recovery and on-going relief efforts. Ian lives in Japan and his wife is currently working with both the Japan Earthquake Animal Rescue and Support organisation (JEARS) in Sendai and surrounding areas, as well as the Direct Help for Victims and Animals Rejected from Shelters in Japan group who are going up to areas which are not receiving government support for food, water, basic supplies, as well as rebuilding and cleaning up. By this means they are able to transport food, clothing and aid directly almost every other weekend and during holidays to areas which are not getting enough or any support. Ian’s wife has also arranged a house as a base in Sendai for volunteers and a temporary home for found animals who are then moved on through JEARS either to foster homes or animal centres. We felt that any funds we can send this way would probably have more of an immediate impact than donating via one of the larger UK charities.

Ian himself has contributed to the compilation in a collaboration with Peter Jørgensen and through 3 hours and some 30 tracks, the line up that comprises this album is surely as exciting as it gets…

This release is made possible by the generosity of all of the artists involved, Ian Hazeldine (Cover art), Wil Bolton (Mastering) and Damian Valles (Digital distribution).

More details Kanshin.co.uk

Tracklist:

1. Clem Leek: Light Passage II (Grief)
2. Hummingbird: Dancing Shadows
3. Relmic Statute: Lopery
4. Scissors and Sellotape: Heal
5. P Jørgensen & Ian Hawgood: Isles
6. Wil Bolton: Lost In Transit
7. Field Rotation: A Pondering Silence
8. Caught In The Wake Forever: LiaFail (At Dawn)
9. Damian Valles: Clime
10. Library Tapes: May (Variation)
11. Yellow6: Repeat
12. Maps & Diagrams with Yvat: Again
13. Felicia Atkinson: Chaleur Vacante
14. Hessien: Flightless And Nocturnal
15. Yann Novak: 3 Surfaces Excerpt
16. Offthesky With Ten And Tracer: Therapy Refuge
17. Orla Wren With Katie English: Swallowtail Yellow
18. The Moving Dawn Orchestra: We’re Here
19. Spheruleus: Residue
20. The Silence Set: So Will Everything We Love
21. Aaron Martin & Machinefabriek: Utsutsu
22. Szymon Kaliski: And Longing
23. Jeremy Bible & Jason Henry: Grainslip
24. Bengalfuel: Gorgon
25. David Newlyn: Landscape (III)
26. Tom White: Bright Rooms
27. Listening Mirror: The Cause Of It All
28. Talvihorros – Perigee
29. Alex Durlak: Bellows
30. Antonymes: Kiotsuketene
31. Kyle Bobby Dunn: Britannia Into Morning

Pre Order: Ships June 10th

Fluid Audio Store
Hibernate Recordings Store
Stashed Goods Store

Digital through Bandcamp

“Acoustic Tales”, the new release on Fluid Audio by Field Rotation, is more of a trip to another country than it is an album…

Where albums are generally collections of songs, this release is comprised of territories, each vast in scope – rolling hills, panoramic horizons and acres of fields. Each track is a full day in this wilderness – traversing hillsides, rivers and embankments, up hill and down dale. Each trip is undertaken differently, with the sun in the sky throwing different angles of light and illuminating hidden aspects of the terrain.

Christoph Berg built this world throughout a two-year period, with the stated aim of integrating the literary traits of Kafka and Hemingway into an auditory form, seamlessly blending cinematic character with a subtle and mature melodic personality. The restrained arrangements are draped around melancholic yet triumphant airs, representing a dramatic leap into the assured and dignified confidence of a skilled practitioner at work.

Nils Frahm at Durton Studio in Berlin has mastered the project from analogue tape, and the deep corners of the tracks are tactile and textured as a result. Assisting is cellist Danny Norbury, adding signature flair on ‘Tale 4’.

Continuing Fluid Audio’s well-established tradition of elaborate and bespoke presentation, the letter pressed packaging draws together themes found in the gaunt vignetted 20-page booklet with stunning photographic artwork by Antonymes. The artwork and music is also presented in conjunction with themed poetry from Estela Lamat, continuing her association with the label.

Also in continuation with Fluid tradition this limited release will be constrained to 200 copies, not to be reprinted.

The literary worlds Berg is channeling often represent alternate worlds to the ones we inhabit, reimagined as familiar but distant metaphysical versions of places in time. “Acoustic Tales” is the same – a window into a black and white slow motion landscape, embodied in a master class of modern classical composition, textural acoustic sound design and subtle electronic layering.

Available mid December: Anyone on this mailing list will be given the opportunity to reserve a copy with a one off 24 hour pre-order coming soon.

www.fluidaudio.co.uk
www.fieldrotation.de
www.myspace.com/fieldrotation

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Early Review:

“Acoustic Tales” by Field Rotation, the most recent release on Fluid Audio, could be something approaching a modern classic.

Without being overly hyperbolic (and one could be forgiven for being skeptical about a review from the site releasing it), it is without question the high water mark of Christoph Berg’s career thus far, and threatens sees him leap into territory many would not have expected to see him occupy. After I reviewed Christoph’s release on Hibernate from earlier this year, “Why Things Are Different”, I could not have honestly said I would have expected this from him within the same calendar year.

The album is the culmination of two years work – musical creations from 2009 to 2010, a collection of pieces intended to replicate in auditory form the literary short stories of Kafka and Hemingway. Whilst the ambition may sound horrifically pretentious, the execution is flawless and Berg has blended many elements (strings, electronics, subtle percussion, drones, textures, hiss, foreground and background melody, organ, piano, field clatter) to create a release that sounds at once familiar but distinctively original.

The album is clothed in the characteristically elaborate Fluid Audio pressed packaging, in this instance themed around black and white photography of rural and industrial landmarks. I was fortunate enough to see the video accompaniment to ‘Acoustic Tale 9’ as my introduction to the piece, and was impressed with the consistent tone and theme that the designers have managed to impart on the production – it all reads as a roadmap to an undiscovered or remote territory.

The photography in the 20-page booklet is really quite striking, as is the previously mentioned video. Danny Norbury has also contributed cello to one track, and this record in its entirety feels like a “sum of its parts” – contributors working towards a high standard and all achieving that common goal. Estela Lamat contributes poems, similar to the last Hessien release on the label but the tone is more direct and fractionally less elaborate than “Obelisk|Stelea”.

Rereading the last paragraph, it strikes me that tone here is indeed the key – that quality being an almost an indefinable element, and it can be all that can distinguish average work from great work. The TONE here is fantastic, and I’m not talking about a musical tone – rather an ability to marry different elements without resorting to cliché, or cheese, or to overplay the elements.

A mark of a mature artist, and here in spades.

I’m reminded of several contempories – Loscil, Max Richter, a less morbid Erik K. Skodvin as a starting point – some bass surges at the tail end remind of Solo Andata’s bottom end experimentation. Some delayed guitar notes bring to mind post rock minimalism, and some incredibly moving chord changes in some tracks bring to mind post rock’s direct emotional heft also.

It’s also worth stating that mentioning common touchstones should not be confused with direct comparison – the overall character of the music is such that it has its own distinct personality. That personality is by turns hopeful and resigned, and it never sinks to outright despair – the overall mood is one of restrained cathartic release, and it is an affecting one at that.

The mastering deserves to be singled out for high praise – the production is something else. Clean, crisp, warm and enveloping; the project was apparently brought to disc from analogue tape in Berlin and the process was worth the time. Nils Frahm, the mastering engineer, has worked some magic here.

This year has seen some great records, some of which were released in the last month or so. I’m confident we won’t see something of this standard within the last few weeks, so I’m confident in saying it is one of the best of the year.

Those lucky enough to secure one of these rare gems will doubtless return to it repeatedly over the years. Get one if you can.

- Review by Alex Gibson for Fluid Radio

Limited to 200 copies for the world. Fluid Audio and Handstitched* have joined forces to release an EP by Hessien entitled “Obelisk|Stelea” including exclusive reworking of the original source material by Solo Andata, Jasper TX, Zelienople and Konntinent…

Remaining copies available through Experimedia

Surprising astrologists everywhere, Hessien continue to generate spontaneously out of the ether near the equator, somewhere between Australia and the UK. The most recent occurrence being “Obelisk|Stelea”, constructed in between the north-south divide.

Free Bonus Track For Download:

“Obelisk” – as Hessien’s landscape evolves, the sound continues to push into an environment littered with obstacles. Although not obvious at first, there is a relationship between these objects; a focus on submerged, hazy rhythms and textures that mirror the unconventional landscapes and surrounds. Prominent on this release is the human voice, represented in snatches of field recordings and overheard conversations, including vocals contributed by Jane Williams. Acoustic tones continue to underpin the tactile electronic arrangements – loops, delays, e-bow, cello, pedals, creaking furniture and low-fi hiss rearing up then dropping away as quickly as they came.

“Stelea” – these four pieces have been intercepted in various states of formation by – Solo Andata – combining distant parts of the original composition with their faultless signature sequences, unmistakable and balanced.

The ever-prolific Jasper TX – weaving his acoustical, drone-style magic into the mix, floating into a territory with a never-ending haze as the backdrop.

Zelienople – an open-handed reinterpretation shines and guides the way forward with acoustic/prog interestingness, flowing with a staccato pulse.

And finally, Konntinent – transporting the listener into an irregular, avant-garde-like version, fuzzed-up, resampled and re-routed via a tape deck.

All four reworks have been broken down, inspected, and then put back together. Four pieces becoming eight tales of dislocation, separation and musical connectivity. Hessien and the four remixers conspire a bizarre plot and an equally bizarre, larger-than-life conclusion.

Packaged in letter pressed covers that slip nicely into organic silk screened cotton pouches, this Handstitched* /Fluid Audio split release is limited to 200 copies. An 8-page full colour booklet containing exclusive images and 4 specially commissioned poems by Estela Lamat, themed around the 4 original songs by Hessien, also accompanies the release.

Songs 1-4 produced by Hessien (Charles Sage & Tim Diagram) 2010. Recorded on location in Queanbeyan, Australia and Cambridgshire, UK. Songs 5-8 remixed by Jasper TX, Solo Andata, Zelienople and Konntinent.

1. A Letter from Engels
2. Gazed and Pale Reflections
3. Five Sisters
4. Breaking Webs
5. Gazed and Pale Reflections – Solo Andata Remix
6. A Letter from Engels – Jasper TX Remix
7. Five Sisters – Zelienople Remix
8. Breaking Webs – Konntinents’ Analogue edit.

Remaining copies available through Experimedia

www.fluidaudio.co.uk
www.handstitched.net

www.hessien.net
www.myspace.com/soloandata
www.myspace.com/jaspertx
www.myspace.com/zelienople
www.myspace.com/konntinent

Aliases are not a new concept – but the increasing cult of personality surrounding modern music, and the Amway-esque need to tie recorded output to a brand or package has certainly seen a rise in the use of them in recent years…

Sold Out

Hummingbird (not to be confused with the 70’s band of the same name) is the non de plume of an otherwise well known composer behind the album “Our Fearful Symmetry”, which defines elements within the modern classical genre. It includes subtle string arrangements mixed with echoes of piano notes, fused with hallmarks of the electro-acoustic genre – waves of static, white noise and field recordings tangle with layers of fragmented texture that create both the foreground and background.

From the sparse nature of opening track “Uncertainty in Copenhagen”, the album leads into a myriad spectrum of haunting environments both soothing and unsettling — a reflection of the modern neurosis that albums like “OK Computer” documented, and the veins that artists Max Richter, Peter Broderick and Machinefabriek continue to mine.

Hummingbird treads carefully on the line of fact and fiction, creating a solace of sound by both live instrumentation and automated means. “Our Fearful Symmetry” reveals beautiful and thought-provoking music, dizzying and imaginative in detail which will impart a self-conscious resonance into any listener.

Listeners drawn to the mysterious nature of the project will soon find themselves rewarded with a cohesive journey through 11 tracks that reward repeated visits, with rich reverbed soundscapes that are both familiar and distant. One can only hope that the person behind the veil continues to toil in obscurity to bring more of such material to the surface (even if it remains unattributed).

“Our Fearful Symmetry” comes packaged in handmade, letter-pressed sleeves. Each issue is accompanied with an original photographic polaroid slide, dating back to the 1940’s. The release is limited to one hundred copies and will not be made available digitally.

Track List:

Uncertainty in Copenhagen
Seeds of Deception
The Little Green Box
Sketch of the Mythology
Eemina
Florian
Thoughts in the Head
Starfish Seastar
Defining Space
The Making of a Revolution
Garden of Secrets

Reviews:

Hummingbird’s “Our Fearful Symmetry” is an album of incredible poise, precision and elegance. From the opening notes of piano-led ‘Uncertainty in Copenhagen’ to the final decaying haze of “Garden of Secrets” there is not a phrase, sound, or idea out of place. It is evident, even on a first listen, that the musical mind behind Hummingbird had an inordinately clear vision of what this album was to sound like – each track has been put together with a diamond cutter’s eye for detail.

The tracks that make up the album are pared back to bare bones but remain remarkably and resoundingly complete. “Sketch of the Mythology”, for example, over the course of its brief 3 ½ minute duration, is at once wistful and grand. A pensive cello carves out a quintessentially mournful phrase which, delicately accentuated by simple touches of piano, gives way in the middle of the track to  lulling washes of  voice. Gradually the cello returns with what could be the sound of crickets or the whirring of a broken tape player. The effect is oddly nostalgic and ghostly– like revisiting a, now abandoned, childhood home.

“The little green box”, another stand-out tune, takes a music-box melody slowly being unwound and carefully sets it against a subdued and diffuse arpeggio before allowing the delicate structure to break down and reform in a different guise, bathed in warm vinyl crackle. The unfurling melodies and depth of production on this track alone would make this an album worth owning – yet a similar level of quality can be found across all 11 pieces here.

On “Starfish Seastar”, the listener is carried along on echoing, widescreen piano notes and snatches of doleful strings within an enveloping cloud of reverb.  This is music of an unhurriedly assured modesty – it is not pretending to grandeur but nor is it shying away from distinction. An imperturbable balance is struck.

Throughout “Our Fearful Symmetry” we hear pianos, cellos, undefined humming pads, snatches of conversation, vinyl pops – the elements are, no doubt, familiar to fans of electronically-tinged modern classical sounds, but there is something just right about their use here. Rarely are such commonly used ingredients put together so expertly in a single track – how much more rare to hear this level of expertise across an entire album?

Hummingbird’s marriage of restrained classicism and contemporary electronic atmospheric manipulation means that “Our Fearful Symmetry” is very much a record of the moment – the ambient/electro-acoustic scene abounds with artists mining the same vein of inspiration – however, while many acts aspire to the creation of reminiscence-evoking beauty it is an uncommon achievement. The artist behind Hummingbird accomplishes a startling ubiquity of grace throughout this album and though it is a debut outing for the project, the strength of the material and its connotative power betray the unmistakable hand of a master at work. – John McCaffrey

Its been a while since I had a chance to review anything from the Fluid Audio label so the chance to check out ‘Our Fearful Symmetry’ by Hummingbird was something of a long overdue treat. Rather than give myself a dedicated listening session this album became my walking companion over the last day or so as I moved around a bright and sunny yet somewhat quiet Sheffield (the students have gone home and Glastonbury seems to have beckoned the rest).

Its a striking collection, sparse and slightly otherworldly. The arrangements are largely minimal consisting of spacious piano arrangements, strings and a disparate array of varied percussive elements. The overrall mood is one that is rooted in melancholy but in this instance that’s no bad thing. Right from the opening track “Uncertainty In Copenhagen” we have gentile arrangements that really seek to draw the attention of the listener, listening to this on headphones does have the effect of making the everyday world become somewhat secondary. A sun drenched day in a slightly underpopulated city suddenly becomes akin to being the last man on Earth. The skittish found sounds that fall into place behind the musical arrangements are the aural equivalent of something playing across the edge of your field of vision. Intriguing stuff indeed.

Its an unusual soundtrack for these balmy sunny days but trust me its a worthwhile one. – Adrian Carter

Sometimes, all it takes is one moment in music, a specific sound, a sliver of a piano note, a shimmer of guitar, where the listener is, at once, completely taken over…

An unassuming sound creates a moment of clarity for the listener and from that moment, the listener is transfixed on the music, a sense of bewilderment overwhelms them, and they are beholden to the album until it finally ends. Hummingbird, the nom de plume of an otherwise well-known composer, of whom very little is known, creates many of these moments throughout Our Fearful Symmetry, and at each, wonder abounds.

Upon pressing play, “Uncertainty in Copenhagen” lulls the listener into the minute intricacies of the sustained notes of piano, which find their way through the current of strings gliding fluidly around the piece. The listener continues to be drawn in further from the ominous plucks of “Seeds of Deception” to the sparse notes of “The Little Green Box”. Each sound emitted sends the listener off on tangents of introspection, allowing them to move effortlessly from place to place, in tune with one’s physical surroundings as well as the space surrounding the sounds.

Most of the pieces on Our Fearful Symmetry are built around subtle string arrangements that become entangled in a string of piano notes, odd field recordings, as on “Thoughts in the Head” where I could swear there was the sound of a clanging buoy gently rocking on the sea, and other minimal electronic textures that add to the wonderful use of space on each of the pieces presented here.

The listener is never overwhelmed, and instead, is given space to breathe and absorb, before returning to soak in the ever-expanding sea of sounds. On “Defining Space”, Hummingbird does just that for the listener, which is a microcosm of the album as a whole, creating a place in order for the listener to exist and giving that place meaning or definition.

This album is truly a wonder and as it is limited to 100 copies, those lucky enough to secure a copy will bask in its beauty for a long time. – Michael Vitrano

Taking some time out from making music with Charles Sage as Hessien, Tim Martin brings his Maps and Diagrams project to the surface with four exclusive songs for Fluid Audio.

‘Cubiculo’ features a more structured, loop-based arrangement, drawing attention to a rounded and melodic stencil with focus on subtle, micro-crystalised rhythm, surrounded by a self-assurance and tangled textures with a salute towards the work of Oval and their deconstructed works of the 90′s.

‘Cubiculo’ creates a less-harsh listening environment compared to ‘The Giant Woods’ album on Yuki Yaki released in December 2009 and this is another steadfast release carefully crafted, interwoven with unfolding elements that makes Maps and Diagrams’ compositions so precisely enduring.

The Silent Ballet Review:

There are many traps into which electronic music can (and regularly does) fall. The nature of a music that is conceived, planned, and created entirely on a computer screen means that the composers can often get caught up in excessive lengths, dead textures, and alienating structures. For this reason it is all the more impressive when a strong statement is made in electronic music. Maps and Diagrams’ Cubiculo is one such example. At under twenty minutes, it is if anything a bit short, but this is a welcome feature of an electronic release as compared to extreme lengths resulting from a composer laying out all of his ideas without editing himself. The short length makes Cubiculo a concise statement of what Maps and Diagrams’ Tim Martin is trying to achieve – beautiful, looping, dreamlike tracks with extreme attention to the textural details of every sound produced.

The sense of listening to a half-remembered dream is strong throughout Cubiculo. Sounds are looped with additional layers slowly accumulating, constantly giving all of the detailed electronic sounds new contexts to work within. One of the wonderful features of the music is that Martin puts a lot of attention into the individual sounds he is using. While many electronic artists put most of the focus into the structuring and gathering of materials, every sound on this album feels like it was created or altered with great attention to textural detail.

Right from opening track, “The Melancholy of the Weavers,” all sounds hover gently within a cohesive structure – the light percussive elements sound organic, the repetitive bass sound is active and warm, and every loop dropped into place over this structure feels as though Martin has put infinite care into its exact sonic specifications. Every sound is extremely active and organic, creating dense, lively textures. It is from this combination of detailed, surreal sounds and constant looping that the album gains its strange, dreamlike sound. Every pop, hum, glitch, and drone sounds specifically crafted for the exact sonic context that Martin, rather than being haphazardly stacked in whatever configuration happened to occur. This leads to true beauty in some spots, like on “Gnomish Twang” when slight traces of melody arise out of the static foreground that gives the track its specific sound.

One benefit of the nonstop release of solo electronic albums is that they make it all the more exciting to come across albums where there is real effort and attention to detail. Anyone with a computer can now throw together an uninspired, lazy collage in a sequencing program in a matter of minutes. Releases like Cubiculo remind us that there are still attentive composers out there with an ear for detail and the desire to create rewarding works. While the music itself would definitely make this album highly suggested, the short length and free download from Fluid Audio means that no fan of organic-sounding ambient electronic should pass on this release.

-Patrick Nickleson

The Moving Dawn Orchestra is the latest project from Guy Andrews, a UK based producer known for the ambient electro-acoustic jazz act ‘iambic’.

The intention of The Moving Dawn Orchestra is to seamlessly blend electronics into the Contemporary Classical genre, creating minimalistic, electro-acoustic and organic orchestral soundscapes.

The Moving Dawn Orchestra’s first EP entitled ‘Dials’ is a representation of four seasons of a year and will be released as a limited edition CD with special packaging on Fluid Audio.

Reviews:

All four pieces are expertly executed and while The Moving Dawn Orchestra’s sound is full it’s not excessively so, as Andrews takes great care to strike the perfect balance in the settings’ arrangements. - Textura

This exploration of the natural world is something Andrews has explored through his work with Iambic², but here, programmed beats are replaced with a more painterly method, the evocations more elegiac. – The Line of Best Fit

I think we’ve all forgotten just how integral things like sleeve art used to be when you picked up a release. In this modern age of throwaway file shares and digital bundles it takes a release like this to make you realise what we may have lost. – London News 020 Magazine

Dials is a graceful suite of four mid-length compositions with minimalist sparsity and contemporary beauty. – Morpheus Magazine

Dials is so lovely, perky, and perfect that it will make many other CDs seem paltry and sad 8/10 – The Silent Ballet

Deviously simple instrumentation allows for the real story being told to manifest in your mind. Join me on the adventure. - Chillbase

Licht und Schatten is the new venture from Germany’s Field Rotation, and also the prelude to his main album due for release on Fluid Audio in 2010.

The project contains seven tracks focusing on the theme of light and shadow (the digital version of the EP is a four-track release).

The Limited Edition CD offers 100 individually signed/numbered copies, packaged in gorgeous hand stitched material, along with a full colour poster, badge and a nice little surprise.

Reviews:

The listener becomes immersed in a a world of pieces which entwine elements of classical composition, stark electronics and futuristic film soundtracks – 020 Magazine

This is a quality EP that will appeal to fans of both the electro-neo-classic and minimalist chillout genres. Fans of Deaf Centre, Ultimae, Bersarin Quartett and the likes will love Licht und Schatten. Morpheus Magazine

A prophetic release of music that sets new boundaries in Electro-acoustic manipulations – Chillbase

A well-crafted and well-made album that just might be the perfect music to play as you find your day coming to a close. Psy- Ambient

As suggested by its title, ‘Hope’ embodies a concept of positivity and the alleviation of strife through the creative translation of emotion into sounds sent to soothe (and) images formed to inspire.

Artists were asked to create compositions that reflected their interpretation of the term Hope, producing varied yet cohesive results with a profound resonance.

50% of the profits are donated to Toybox, a charity providing aid, shelter and support for homeless children in Latin America, the majority of which are estimated a life expectancy of around four years on the street.

Coupling all of this with the CD’s bespoke artwork and carbon neutral manufacture provides a consumable and tangible product that serves to aid a constructive cause through the medium of music.

Reviews:

Hope comes pretty close to being everything a compilation should be!’ Textura

‘As a collection the material on offer here drift back and forth from what you would classify as more traditional ambient into electroacoustic territory with its found sound association. Melodies drift and disperse and give way to tones and washes, often there is a deepening sense of drama to the pieces and while in many cases they burn slowly there is a relentless nature to them (have a listen to Field Rotation’s Regenezit for example)’. 020 Magazine

‘A fine project one hopes will find as large an audience as possible’. Sonomu

‘If you enjoy classical beauty and ambient downtempo you will be hard pressed to find a stronger collaborative album than Hope this year’. Morpheus

Purchase here