ASIP - Reflection on 2019

We’ve given a recap of our label releases this year and now it’s time to reflect on some of the music I’ve enjoyed listening to in 2019.

“What an amazing year for music”. I feel like I could say that every year, but really, every year has great music if you dig deep enough. But this year especially, music seems to have taken on a new lease of life and ramped up a notch in terms of output and velocity - in my world at least. If I had to guess as to why, it might be because Bandcamp is becoming more and more ubiquitous for independent artists and subsequently a daily visit for listeners like me. This ubiquity has meant a) more people getting their music out into the world, b) easier ways for people like me (who want to) to support the music we enjoy and c) new labels capitalizing on a distribution process that until a few years ago, was very hard to stand up.

2019 even played host to the mighty Radiohead embracing the Bandcamp platform with ~18,000 (last time I counted before it was removed) purchasers of their unreleased OK Computer Outtakes album at a minimum of ~$23-a-pop. That’s a crazy sum for purchased music. There’s also Buy Music Club, launched by Avalon Emerson, which (technically launched at the end of 2018 but was fully embraced this year) seems to have been used by many notable DJs using it to link to music played in their sets (you can find this Reflection on 2019 mix in a list below). And lastly, Bandcamp themselves, through their Bandcamp Daily platform, have done an almighty job of stepping up their editorial game spotlighting music on the platform through a constant stream of style/genre specific breakdowns. The clichéd music industry in-depth ‘album review’ seems to have been flipped to keep up with this increased output too, turning into an equivalent wade through micro-genres, bringing people a choice of obscure styled albums in the same vein. It’s hard to find the extended narratives on one album nowadays it seems… All this to say that it’s encouraging to see a model that goes some way to working for independent artists, labels and listeners, getting more out into the world.

Now, to wade through some (some) of it.

As with all of my ‘Reflection’ year-end mixes, I start with a long list of albums I have enjoyed over the year. Often hundreds. Through the process of putting a mix together that flows well, the songs are whittled down and selected from each album. This means many of my favorite tracks are often omitted in the process (even favorite tracks from a favorite album). But as I say every year, this isn’t a definitive ‘best-of’ list, but an organic selection of some of my favorite music from the year in a listenable format - it’s the most enjoyable way for me to boil down music I’ve loved from the year using these self-imposed restrictions. Use the mix to jump off and explore more from each artist and album.

This year’s mix ended up being primarily ambient, but with an unexpected ending. The last few yearly Reflection mixes have tended to switch-up gears throughout the mix and cover some of my other musical loves like; electronica, IDM, techno etc. But this time around, I found myself with a (roughly) two-hour ambient-leaning mix before I even came up for air. I debated stopping there (and have provided an MP3 version below to download just the ambient portion should you prefer your music more horizontal), but the full mix went on…

The initial two-hour ambient chapter of the mix is followed by a series of tracks that you could say are a nod to the early years of rave and the chill-out rooms; an alternative ‘retro-feeling suite’. This 90’s sound seems to have made a big impact on 2019 across many genres, from rave-inspired breaks in House and Techno, to Jungle and Balearic back in the game- the 90’s sound seems to be having its moment (or does it every year?!). I wanted to capture a snapshot of it here as I noticed a trend in what I was listening to. On hindsight, the mix ended up like a backwards 90’s album format - with ambient at the front instead of the usual album-ender.

Titled, ‘The Jilted Suite’, this ending chapter is a small dive into some of the non-ambient music I’ve enjoyed this year and is titled so in honor of ‘The Narcotic Suite’ from The Prodigy’s album (RIP Keith Flint - 2019).

So as a final warning, if you’re drifting off at that two-hour mark to the lulls and swells, you have been warned, things switch up after that.

I would normally do a quick written run-down of the music featured at this point, but I feel like I’ve done enough talking already to give an additional 37 track commentary.

All of these albums have been purchased (where possible) through Bandcamp also viewable via my Bandcamp collection page, and I’ve compiled them all into a Buy Music Club list here. Label names below hyperlink to each Bandcamp release (again, where possible - I think all but one release does). Please support and buy this music!

Thanks for listening and for a great year.

Listen on Soundcloud, below or head over to Mixcloud. You might also catch it on 9128.live and you can also get it in Podcasts/iTunes/RSS etc.

Download (Full mix including the Jilted Suite)
Download (Ambient mix only)

Tracklist:

01. Hollie Kenniff - Home Will Follow [n5MD]
02. r beny - Echoes Verse [Dauw]
03. Nils Frahm - Talisman [Erased Tapes]
04. Malibu - One Life [Uno NYC]
05. 36 & Black Swan - Part 2 [Past Inside The Present]
06. Ohio - Rows, Barns, Fields [12K]
07. ASC - Echo Location [Silent Season]
08. Celer - Rains Lit By Neon [Self] READ
09. nthng - Shine [Transatlantic Records]
10. Olan Mill - Metatrons Cube [Dronarivm]
11. Caught In The Wake Forever - NV Drowning [Archives]
12. Simone Giudice - Momento [Delirio]
13. Nathaniel Young - May I Speak Candidly [Mysteries of The Deep]
14. Caterina Barbieri - Fantas [Editions Mego]
15. Violeta Vicci - Violet Light [Painted World] READ
16. Susumu Yokota - Ama and the Mountain [Lo Recordings]
17. Jogging House - Traverse [Dauw]
18. Dots - Tonic Edge [Astral Industries]
19. Coppice Halifax - Slow Earth Ritual [Milieu Music]
20. Sound Awakener - Ammil [Facture]
21. Hotel Neon - Sunfire [Archives]
22. Rafael Anton Irisarri - Decay Waves [Room 40]
23. Hammock - Adnasjur [Facture]
24. Arovane & Mike Lazarev - Us, Inside [Eilean]
25. 扎克 - 000820001 [Past Inside The Present]
26. Bersarin Quartett - Siehst du das auch [Denovali]
[27 - Ambient mix version only]. Aardvarck - U Are, Not What U Think [Crowd]
The Jilted Suite
27. Desolate - Ode To Sines [Fauxpas]
28. RX-101 - Rendezvous Beacon [Suction Records]
29. Priori - 6thematic [NAFF]
30. Phillipe Cam - Manga [Traum Schallplatten]
31. Perishing Thirst - OK - [NAFF]
32. Boreal Massif - Low Forties [Pessimist Productions]
33. Homemade Weapons - Svalsat (Donato Dozzy Remix) [Samurai]
34. ASC - Nimbus [Auxiliary]
35. Nathan Micay - LeafCutAngelicDepths [Lucky Me]
36. CFCF - Closed Space (Single Edit) [BGM Solutions]
37. Coil - Alternative Theme From Gay Man’s Guide To Safer Sex [Mental Groove]

Portals: The KLF's Chill Out (A New Dimension)

First off, I’ve never had so much fun compiling a mix. Limitations really do help focus. But as soon as I had the idea and began strategizing how to go about it, I didn’t realize what I was getting into. I ended up in Psychedelic Rock Youtube rabbit holes, reading forums from the 1990’s that no longer worked in a browser; downloading .txt files from KLF obsessives; listening to the album on repeat, again and again. It was brilliant. And I urge anyone to do the same to truly understand a piece of music and go deep on something you enjoy. This album is the Holy Grail for many of us, and is without a doubt in my top 10 of all time. It’s at least one of my most played albums due to its inclusion as a regular bedtime routine (despite my wife asking why she can hear sheep noises and then continuing to freak out).

To reinterpret The KLF’s Chill Out, might be similar to many peoples polarizing opinions on remixes. Most of the time (and I often agree), it shouldn’t even be messed with. But, what’s interesting with Chill Out, is that it’s as much a DJ mix as it is piece of music. The line between producer and DJ is blurred. Apart from a couple of (soon to then be) popular KLF tunes in the latter half of the album, the majority of the recording is improvised sessions pulled together and re-recorded live, alongside a wealth of samples ranging from Elvis Presley, 808 State, Fleetwood Mac, trains, chanting and radio announcements. On hindsight after digging into this further than ever before, I started to wonder how this album is even any good. There’s crazy people shouting in the background and loud vehicles rushing past. How is this Chill-out? Well it is, and it’s a genius, landmark piece of work.

If you’ve got this far and have no idea what I’m talking about, then go listen to the original before going any further. That’s a large point of this piece - to hold in high regard one of the best electronic albums of all time, and like all of the Portal’s features, add my own deeper story and perspective to it.

Chill Out was pioneering in approach. Completed by mad-scientists Jimmy Cauty and Bill Drummond, who later went on to burn a million pounds, it was arguably the first time an entire album was thought of as one meandering journey with samples at the core. Eno was doing long-form ambient, but he certainly didn’t have the sheep. It was 1990. People got high listening to this (proven after digging into the forums and Youtube comments), came-down on this, or reflected on times when they were high and subsequently reached all kinds of new dimensions. There’s a reason those sheep, Tuvan throat singers and mad radio presenters are in here - they're moments you don’t expect, whilst at the same time depicting a vivid new (or old, or imagined) world - a world that is often attributed as a road-trip across the USA. That’s the very reason why the best Ambient music (and Chill-out in its earliest forms) are so powerful. The music transports you.

You could argue this album is just as relevant today than it was back in 1990. It’s no secret that The KLF were rebelling against a society and its norms, and this album was the gift they gave to everyone else suffering at the same time. The idea of a rave society as a form of rebellion was reaching its peak, and where raves existed, often too the come-down and the chill-out room. The album is peppered with political, likely subliminal messaging and samples. It would be easy to slip into a 2019 version of this - it basically writes itself with the crazy political world of 2019, but I chose not to take that route.

The overall idea for this mix has been in my head for a few years now. I got to the point where I decided to try and capture all new field recordings and maybe one day, actually make some music to accompany them. As it turns out, that was way too ambitious. I ended up staying as close to the original album as I could with the premise of not lifting anything from it. I laid the original album down as one track in Ableton, and then started adding music and moments in parallel, eventually removing the original album completely. The tracks I chose vary from classic pieces, to slightly more obscure, and some even released within the past few months.

The end result is a similarly timed and themed reinterpretation of the overall concept, with completely new music and samples. Just two small moments in here use the same sample that ended up in the original KLF recording (as much as we can only assume), but they are used slightly differently in this version. See if you can spot them. After completing the mix, I ended up reading the Discogs listing which does a good job describing the concept of the album, a concept I had coincidentally tried to adhere to.

"Chill Out is a single continuous musical piece having many distinctive sections, each of which either segues into or introduces the next. The album as a whole is a progression, with percussion gradually introduced during the second half. "

"The album has many recurring musical elements, which unify and merge the parts into the collective whole. Common characteristics of most parts include ethereal background synthesizers, the use of echo and pitch bend, samples of nature and transport, and the punctuation of soft synthesizer loops by sudden flourishes of harmonious sound.” - Discogs

I had to stop myself getting meta with the interpretation and remind myself to zoom out every now and then and build this as an enjoyable mix. I could have - in theory - copied every single moment down to a tee with a new or similar sound, but there were some moments that I enjoyed the flow and let it continue. There were moments from the original album that, when taken out of context, you could never even start to replicate in any way. And then there were some that seemed to be reflected nicely with a new piece of music.

Is it as good as the original? No way.
Is it meant for sleeping? Give it a try.
Are there sheep? Not as you know them.
Is this sacrilege? To many of us, maybe.
But so is burning a million pounds 😉

Download MP3

‘Tracklist’

For the best experience, I would suggest listening without looking at the track list first. If you knew what was coming in the original album, would it have been as fun?!

Tracks are listed below in (very) rough order in which they first play. Most of the time 4/5 tracks are playing at the same time. Many tracks are used multiple times at different points in the mix. Plus there are other small samples used that were changed from existence and not listed below.

…

Keep going…

Keep going…

Ourson - Calm Mountain Night
Bartosz Kruczyński - Pastoral Sequences
Ourson - Mountain, Bird, Boo
Chris Watson - El Divisadero
Saariselka - Ceres
Markus Guentner - Sparks
Oneohtrix Point Never - Immanence
The Chi Factory - Part One
Fedor Tau Steppe Kargiraa
Markus Guentner - Express Yourself
Bochum Welt - Canyon Drive
Ernest Hood - Gloaming
Boards of Canada - Dave (I’m a real traditionalist)
Ernest Hood - From The Bluff
Tongues of Light - Healing Side
Priori - 2see
Klimek - Milk and Honey
Akis - The Powers of Pi
Boreal Massif - Weather In August
Heavenly Music Corporation - Cloudless Light
Boreal Network - Cumulonimbus
Ex-Terrestrial - Water Walk
The KLF - Snub TV interview
Bartosz Kruczyński - V
Perishing Thirst - Boshing So High
808 State - In Yer Face (Bicep Remix)
Leo Anibaldi - Universal
Boards of Canada - Ready Let’s Go
Boreal Network - Viewers Like You
Stranger On The Shore - Acker Bilk
Boards of Canada - Apparatus

isolatedmix 94 - Brambles

Back in 2012 we were introduced to the work of Brambles. It came through a debut release on Welsh label Serein. From the very first track on ‘Charcoal’, as those beautiful strings hit, we knew we were in for something spectacular. It seems like millions agreed too, with 2.1m people streaming the track on Soundcloud since its upload - a testament to the beauty at hand. The album only got better as it progressed too, with the second track ‘Such Owls As You’ ending up as my favorite.

It wasn’t until 2015 that we were treated with a follow-up arriving as a single, more experimental track in ‘Half Gramme Holiday’, featuring another beautiful composition but this time underpinned by slow heart-beating drums. It was a subtle progression, perhaps enough of a progression after a three-year hiatus. But since then, we’ve been waiting to see where Brambles would land next. A full four years later (and three years after I emailed inviting Brambles to contribute an isolatedmix ha!) we have a new album coming soon, and an accompanying journey in the form of isolatedmix 94.

The lead single from the (yet untitled) album, Spirits may come as a surprise to listeners expecting another Charcoal. But Brambles’ respect for texture, composure and melody is clearly evident throughout this new approach.

… the sound palette has shifted dramatically but the moody and melancholic qualities that made their previous release so resonant remain deeply embedded.

One notable addition is the added manipulation of vocals. In Spirits, this evangelical, alien language is used as an instrument, never quite overpowering, holding enough back to add depth and mysteriousness.

The new balance of ambient and more colorful pop-infused productions comes to life within Brambles’ isolatedmix, showing where the inspiration has arisen from over the past few years.

This mix is a little trip around my current influences. Starting with experimental ambient, to left-field pop and ending with dreamy folky shoegaze. Some tracks are recent discoveries and others are tracks I keep returning to. I love how the internet has spawned so many micro-genres and niches. It's overwhelming at times but also exciting to find a new style and follow that path through the various artists, collaborations and offshoots. I have also included an unreleased Brambles track which will be on my forthcoming album - M.

Download.

Tracklist:

01. Kara-Lis Coverdale - Touch me & die
02. Ryuichi Sakamoto - Fullmoon (Motion Graphics Remix)
03. Natureboy Flako - Gelis
04. Brambles - Out Of Bounds
05. Amnesia Scanner - AS Daemon
06. Aisha Devi - Two Serpents
07. Susumu Yokota - GEKKOH
08. Visible Cloaks, Yoshio Ojima, Satsuki Shibano - Anata
09. Zora Jones - Oh Boy
10. Lorn - UNDEAD DOGS
11. SOPHIE - Is It Cold In The Water?
12. Charli XCX - Cross You Out (feat. Sky Ferreira)
13. Nosaj Thing - How We Do (feat. KAZU)
14. M83 - Corridor
15. Florist - The Fear of Losing This
16. Slowdive - So Tired
17. Julia Holter - How Long?
18. Grouper - I’m Clean Now
19. John Maus - Cop Killer

Brambles | Soundcloud | Discogs | Bandcamp

isolatedmix 93 - Chihei Hatakeyama

Chihei Hatakeyama discovered ambient music accidentally. Growing up enjoying heavy-rock music throughout the clubs of Japan, he would hear basements and secondary rooms playing what he refers to as “softer music”. Chihei originally set out to recreate in the guise of bands like My Bloody Valentine, but the infamous vocals that accompanied the guitars and gazing became something he couldn’t replicate, often leaving him with just the beat and structure. It was this process of elimination that forced him to explore the freeing creativity once you start to remove the idea of any predetermined limitations. Only then did he realize he was making what other people called ‘ambient’ music.

This trial-and-error is coincidentally the perfect elemental breakdown of Chihei’s ambient work. Distant gauzy guitars and finely tuned electronics weave like the waves of his hometown Kanagawa, creating soft and beautiful ambient music that has no limitations in structure or approach. It’s classically Japanese in its calmness, purity, and refinement, and in Chihei’s appreciation for finding beauty in the every-day (the Japanese art of Sen no Rikyū).

Often using paintings as inspiration, Chihei will start in a similar manner as the painter, by setting a tone and color through his “synthesizer, guitar or effects unit”, further improvising on that sound to make the delicate melody and chords.

With releases on Kranky, Home Normal, Hibernate, Rural Colours, Dronarivm, Room40, Constellation Tatsu, and his own label White Paddy Mountain, Chihei is without a doubt a well revered producer within the ambient music world. Chihei’s latest album returning to Room40, titled Forgotten Hill, is the perfect example of this artistic quality and his overarching influences of place, creating an impressionist meditation on his journey through the Asuka region of Japan; an area known for its burial mounds, epic Buddhist monuments and quietly poetic landscapes.

“A few years ago I went on a trip to the Asuka region. This album, ‘Forgotten Hill’, draws all of its inspiration from this trip. The experiences I had on this journey were used as compositional guides to compile the sonic impressions I experienced during this time.” - Chihei

Like most of Chihei’s work, the album is delivered deep within the details, tone and textures. It’s ambient music at its purest that requires attention if you’re to fulfill the gravitas of the story at hand. And similar to a painting, you can stand and stare at it all day, placing yourself in the mindset and eventual place of Chihei. There are no spectacular technique changes throughout the album - a similar palette is used - but the swells, depth and colors draw you in, ask you to look out, reflect or move on.

For his isolatedmix, Chihei draws on inspirations across the ambient music spectrum. From the early pioneers of Robin Guthrie, Harold Budd, Windy & Carl, to more modern approaches from Burial, Ana Roxanne and Huerco S, alongside fellow Japanese producers Motohiko Hamase, Satoshi Ashikawa, Yumbo and Yutaka Hirose and more contemporary pieces from Hope Sandoval and Julee Cruise.

Download

Tracklist:

01. Robin Guthrie & Harold Budd - Neil's Theme
02. Leif - Loom Dream
03. Wilkes - Descending
04. Julee Cruise - Floating
05. Nivhek - After its own death
06. Yutaka Hirose - Taiko
07. Burial - Ghost Hardware
08. Satoshi Ashikawa - Still Way
09. Les Bertucci - Accumulations
10. Suso Saiz - Mexican Bells
11. Ana Roxanne - Nocturne
12. Hope Sandoval & The Warm Inventions - On The Low
13. Lumens & Profits - Coastin
14. Luis Paniagua - Prepartivos Para El Viaje
15. Motohiko Hamase - Elan Vital
16. Jonny Nash - Shell
17. Huerco S / Lifeblood (Naïve Melody)
18. Leyland Kirby Presents V/Vm - Monroes Stockport
19. Windy & Carl -- My Love
20. Rebekah Del Rio - No Star
21. Yumbo - Ishi Ga Full

Chihei Hatakeyama | Website | Bandcamp | Discogs

ASIP (Live DJ set) Dance Spirit Gallery Experience / World of Light

The scene - a Los Angeles warehouse, adorned with light sculptures and 50ft wall projections as the downtown skyline sinks from day-to-night. Naturally, it called for some Blade Runner inspired sounds.

Live recording from The World Of Light Museum, Los Angeles, where Dance Spirit curated a massive Gallery Experience in August 2019 featuring 50ft wall projections and art exhibits by Purdy Lites + more.

My set came after a beautiful opening modular set by Constant Shapes and was followed by Dance Spirit Live, Philip Jung (formerly of M.A.N.D.Y) and Concret.

Thank you to Dance Spirit and the Space Cadet crew for having me. To stay up to date on events by Dance Spirit related to the Space Cadet magazine, follow the Facebook page here or mailing list.

Tracklist is withheld for now as the set contains some ASIP unreleased works.