Echocord presents the third album by Fluxion. In the beginning of 2013, K. Soublis (aka Fluxion) met Jamaican vocalist Teddy Selassie in NY. After a brief discussion, they started exchanging music and lyrics and by the end of 2013, the Broadwalk Tales album came to life — an album of musical pieces that visit the roots of reggae and dub music with the distinct Fluxion production aesthetic, combining them with more ambient atmospheric tracks as well as techno and more experimental productions. In the words of the artist: “I wanted to make something more than the usual dub techno tracks with a hint of manipulated voices every now and then. Teddy Selassie came in and gave a breath to the whole material, made it more alive, broadening the journey.”
Author: harald
Computer Controlled Acoustic Instruments Vol. 2
Atomos – Full Length
After releasing a first glimpse in the form of the Atomos VII EP earlier this year, A WINGED VICTORY FOR THE SULLEN reveal their second full-length album entitled Atomos which sees the duo introduce flurries of electronics, harp and modular synthesizers to their sound in the follow-up to the 2011 self- titled album. In 2013 AWVFTS caught the ear of WAYNE MCGREGOR, founder of Random Dance Company and resident choreographer at the Royal Ballet, who is perhaps best known for his choreography work on the Radiohead video ‘Lotus Flower’ as well as ‘Ingenue by Atoms For Peace. McGregor used the debut album as the warm-up music during practice sessions for Random, and after noticing the group’s reaction with the music, he contacted ADAM and DUSTIN to see if they would write the score for his new work. Given complete artistic freedom, the duo treated the score with the same care and attention as their debut full-length by recording more than sixty minutes of music over a four-month period across studios in Brussels, Berlin and Reykjavik with the help of their long time collaborative sound engineer FRANCESCO DONADELLO. During the process they came to the realization that this would become their official second studio album. McGregor provided them with the inspiration to expand their sound palette into more electronic territory, whilst keeping their signature chamber sound, resulting in a very unique release. LP to follow. No Export to Europe or the UK.
Early Reflections EP I
No. Inc. are Material Object and AtomTM. Both artists launch their No. label imprint here with a taste of their forthcoming full-length Early Reflection. The tracks featured on this EP are the ambient piece “Early Reflection Part I” and the technoid “Refraction I.” While side A explores the realms of textures and soundscapes, side AA, which is exclusively released here, expands into rhythmical codes and thereby outlines possible horizons both artists are envisioning for their No. platform. Housed in a special sleeve (cut out No. triangle), pressed on 180 gram vinyl and limited to 300 copies.
Seeds in the Tide Vol. 1
2012 marked the 20th anniversary of Robin Storeyâs career as a solo artist recording as Rapoon. Since 1992 and theelease of his debut album âDream Circleâ, Robin has been exploring theotential of post-indutrial ambience enhanced with ethnic sounds offrican and Indian origin. From the beginning, a crucial aspect of his creative process has involved the use of trial-and-error techniques inspired byontemporary experimentalist Karlheinz Stockhausen and krautrockiants Can and Faust. With more than 50 releases he has established his reputation in the world of experimental electronics, creating elusive soundscapes too enchantingo ignore.is music, by turns evocative, atmospheric and mesmerizing, hasained devoted followers all over the world, including in Poland, inoharumâs headquarters. Together with Robin Storey they have prepared this firstolume in a series of archive releases celebrating 20 years of Rapoonâsxistence.âSeeds in the Tideâ collects all of the rare tracks released onompilations and short-run limited editions. The first disc in this double CD collection, âKeepsakesnd Odditiesâ, contains tracks recorded between 1993 and 1999. The secondisc is a reissue of the ultra-limited CDR version of the well-knownMessianicghostsâ album. It includes the original versions of the fourracks from that album that are significantly different from their laterariants.
Autumn of Communion 6
The final (yes, you thought 5 was the end) Autumn of Communion release ever. After interest from fans who wanted this album availble on CD, well here it is! Originally released on the limited Autumn of Communion-1-6 USB boxset (60 copies). Here is your chance to own the this beautiful album. Mega limited run of 100 glass mastered CDs. Over 60 minutes of blissed out ambience from Mick Chillage and Lee Norris.
62 Minutes on Mars
This album is a metaphor for life. The topic ‘Mars’ is the projection screen. It represents a society dominated by money and materialism. The results of this we see when we look at the planet Mars of today. The music is a journey in the orbit of this planet. One floats in the highest orbit on the brink of space and thus in the area of conflict between reality and fiction.
Broken Apart by Echoes
In 2016 Autumn Of communion started work on “Broken Apart By Moonlight” A boxset that comprised of 5 mini CD’s, each CD had one ambient peace spanning 22 minutes, the maximum running time for the mini CD’s.
During these sessions a total of seven pieces where composed and Lee and Mick had the difficult decision of what tracks went on the boxset. The two orphaned tracks luckily found a home on the Nagual 2 USB album collection as “Broken Apart By Echoes” and for those that missed the collection a digital download was made available through bandcamp.
Its now early Autumn 2016 and as work on the 5 CD boxset of “Broken Apart By moonlight” almost comes to a close. Autumn Of Communion have been overflowing with inspiration and ideas and have created an additional piece. Now it only seems fitting to release a limited CD version of Broken Apart By Echoes” with three tracks! Clocking in at close to 70 minutes this should delight those who have requested a CD version.
Bodypop
Neo Ouija is back!
New tracks from Metamatics invoking the beautiful spirit of Lee Norris at his most rhythmically fluid.
After nearly 20 years of Metamatics, Bodypop leaps out and is almost cheekily fresh, firmly strident, fizzing with bubbles of acidic bass lines, lean voices, chattering, all the wheels inside of wheels. New, now, but equally timelessly mature, older and wiser.
This is Metamatics for long journeys, for being transported, deep into Moor Mist hurtling forwards on repeat full volume while diving down country lanes or paths, driving, riding, keeping pace with the elements as a storm breaks and passes, slow-motion sped up. Like us now we are older – slower and faster, the same, new. Now.
Orange
Atom Heart – Orange (monochrome stills) Recorded and released in 1994, this is certainly one of Atom Heart’s classic albums. It can clearly be located in Atom’s “ambient” period, that may be seen as the transition moment right in between his club oriented works (1990-1993) and the birth of his “rather interesting” label (1994). Without hesitation “Orange” can be classified as an “ambient” album in the most traditional sense, even though, like always, Atom had given it a slight twist, which made it simply a bit different from what was out there in 1994 (and probably therefor makes it an album that is still worth listening to nowadays). That said, Fax Records, which released the album back in 1994, decided to release this limited edition re-issue on AW. Atom himself remastered the album just recently which makes an even better soundtrack of today. “Orange” contains 5 tracks, all of them, except for “Rainecho”, can be described as slowly moving, repetitive, abstract textures and within themselves contain different sections or “scenes”. While some tracks carry either a neutral or positive feeling (“One Atomsecond”) others (“Ode to BG”) are rather dark, slightly hostile compositions that remain us of Atom’s “industrial” period for example. “Rainecho” then, is the only rhythmical track on this album which perfectly fits within the previously described abstract worlds of “Orange” and just gives the entire album the right flow.
