isolatedmix 118 - Pan American

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.

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.

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Tracklist:

01. Willie Nelson- Sad Songs and Waltzes
02. Ulla - New Poem
03. Michael Grigoni - Little Cliffs
04. Sosena Gebre Eyesus - Seqelew Eyalu
05. Maurizio - MO7A (edit)
06. Mike Cooper - After Rain
07. African Head Charge - Bazarre
08. Takagi Masakatsu - Uter 1
09. Mary Lattimore - We Just Found Out She Died
10. Loren Connors - Blues #5
11. Robert Donne - Touch My Camera Through the Fence
12. Lokai - Histoire DS

Pan•American: Website | Bandcamp | Soundcloud | Discogs

Portals: Energostatic (For Ukraine)

To help continue the much-needed support for the people of Ukraine, we have produced a compilation from one of our favorite Ukrainian-based netlabels, Energostatic Records. Released as part of our Portals deep dive series, the feature includes a remaster of specifically curated tracks, in both individual and mix form. These tracks are available on the ASIP Bandcamp page as Name Your Price, with all proceeds going to Save The Children and their specific activities supporting Ukraine at this time. A big thank you to label owner Marian for allowing this project to happen as he deals with life in Kyiv right now, the artists for their participation, and Rafael Anton Irisarri for kindly providing his mastering services. Also, an advanced thank you to all those who listen and support at this very important time.

~

‘Netlabels’ are essentially extinct in today’s music landscape by definition. Of course, there are still labels that just focus on digital releases, but Netlabels came about during a time when there were little to no platforms monetizing digital releases. Digital distributors were reserved for big or established labels as the streaming era ramped up. And Bandcamp didn’t exist.

Netlabels were the next logical step after the file-sharing era (Soulseek et al), where instead of P2P servers and software, artists and label began to push their own agendas online, making files available freely on the internet, often under a Creative Commons license and many through a myriad of MP3 blogs that powered this exciting period. It was also, somewhere at this point in time, coincidentally, that the very first iteration of ASIP was also born, diving deep into MP3 blogs and following various Netlabels religiously. Finding a Netlabel’s basic website or archive.org page was the Bandcamp profile of its day.

Energostatic was pretty late to the ‘Netlabel game’. Their first release didn’t arrive until 2010 when many Netlabels were either fizzing out already or converting to more modern release methods. But Energostatic’s ethos and approach to providing music against a strict aesthetic, for free, made them a torchbearer for the dying art of sharing music online through small yet beloved corners of the internet. As ASIP began in 2008, Energostatic was one of the many Netlabels I followed, and as curators of dub techno in various forms, they operated within another small yet burgeoning scene it seems, given dub-techno as a genre also seems to have dwindled in popularity in recent years.

The writing was perhaps, on the cards for Energostatic, as Marian ceased operations of the label in 2017. But with 49 releases, there was (and still is) a big chunk of music to dig into, which for anybody new to the label, could become a little overwhelming to discover, especially since that number includes several compilations with 20+ tracks each, and many of the artists don’t seem to be very active anymore.

To help support the people of Ukraine during this time in a small way, I reached out to label founder Marian to see if he would like to raise money through a compilation that spotlighted some of my favorite music from the label’s era. Marian had previously released as part of our early Places Series, as Marc Atmost, where he created a track based on some of his early memories in Ukraine (an unsettling and poignant listen under today’s circumstances). Today, Marian is on the ground in Kyiv, doing what he can to survive and support his community.

The majority of the Energostatic catalog is still available for free on Bandcamp, should you wish to explore it yourself. Ranging from Space Ambient to drone; dub-techno and DnB; it became a bittersweet task to sift through the hundreds of tracks and pull together this compilation for a good cause. With the owner and label based in Ukraine (if Netlabels were to even have a ‘base’ of course), the majority of the artists on the label were friends of Marian, so a good majority were Ukraine and Russia-based and a part of local music scenes in each country.

The compilation begins with one of the most gentle tracks you will find across the entire Energostatic catalog. Russian artist KaLGaN made a few appearances over the years, but was better known for his work as 110ml - responsible for the very first artist release on the label (Scratch me / Scratch you) and also included further on in the compilation with his 110ml track, Lights In Window.

Stellardrone (Lithuania), is one of the more well-known artists to be supported by Energostatic, and even made an appearance on the ASIP Full Circle compilation/LP a few years back, highlighting his importance in the evolution of my own musical journey. Edgaras’ music has always remained free on the internet and encaptures some of the finest Space ambient music in recent years. The piece included in the compilation, ‘Light Years’ is perhaps one of his darker, more sincere pieces amongst a stand-out catalog which has unfortunately not seen much activity in recent years

Textural Being (USA) (see isolatedmix29 also) is another artist who I have admired for a long time, and related to the above compilation was in my shortlist for inclusion on Full Circle. The track I had in mind at the time, however, didn’t quite fit the rest of the compilation. Serendipitously, Sept is my all-time favorite track by Sage Taylor / Textural Being, (amongst yet another expansive artist output) so it feels great to present this to a wider audience today.

Marc Atmost (Ukraine), as mentioned above, is the founder of Energostatic, and appears consistently across the label over the years through various guises and musical styles ranging from straight-up dub techno to DnB. This track, Deity is one of my favorites from his consistent output, capturing the very essence of spacious, melodic dub techno.

Olexa, (Ukraine) was a less prolific artist over the years with just one EP and several compilation appearances on Energostatic, but captured the deep dub techno sound aesthetic of the label to perfection.

Gapfield (USA), is a project from US-based Devin Underwood and Jacob Newman. Devin creates some amazing music across a variety of styles and aliases (such as Drexon Field - another fun project I love) and has made several appearances on the Energostatic label, most notably with a solid, straight-up dub-techno album as Specta Ciera (see isolatedmix19). Between Devin and Jacob, they can be found on some amazing ambient labels over the years, such as Carpe Sonum, Neotantra, dataObscura and Bludhoney Records. Their Gapfield project, is definitely one that may have flown under the radar amongst their solid output.

Technicolour’s (UK) ‘Permafrost’, has always been a stand-out track for me on Energostatic and his only appearance on the label. I included it in many of my DJ mixes years ago, and it broke the mold in the label’s beginnings with its Autonomic sound and rampant amen breaks, whilst remaining true to the deep and introspective atmosphere the label ended up pushing. But it wasn’t until seeking permission to include this track did I come to realize that Technicolour, aka Peter Rogers, was in fact, Wardown, who released one of my favorite Drum'n bass albums of 2020 on Blu Mar Ten’s label.

Permafrost could be the apex of compilation, but the journey needed a minute to breathe after that kind of energy, which is where Ayqix’s (Argentina) Raymi (Coldest Version) came into play. The Buenos Aires musician provides an airy respite towards the end of the compilation before the energetic finale, very much reminiscent of the early minimal techno days of Traum Schallplatten.

Closing out the compilation, Enformig, was a Ukrainian Techno producer based in Kharkov who unfortunately died in 2019. His appearances on the label were always met with such high praise and support on social media from Marc, especially for his hardware-driven live sets. This track is perhaps, one of his finest moments from the Energostatic catalog and provides a momentous, energetic and liberating closing chapter to the compilation.

Energostatic’s label motto was "Reach, resist, research”. Label owner Marian didn’t have the time or capacity to answer any of my questions related to its meaning on top of his urgent life on the ground in Kyiv, but I couldn’t help relate this motto to a higher meaning and reminder as I thought about his and many other people’s lives in Ukraine.

Thank you for reading, listening and reflecting.

Support the compilation on Bandcamp with all proceeds going to Save The Children and their Ukraine efforts.

~

Podcast link.

isolatedmix 117 - Refracted

After a superb debut album on the esteemed Silent Season in 2015, Alex Moya, aka Refracted has remained in high gear and top of mind when taking stock of some of the best deep techno producers of the past few years. Moving from his expansive tribal rhythms on ‘Through The Spirit Realm’, Alex has gone on to release a number of EPs and created his own output, Mind Express, whilst also becoming a sought-after live act with appearances at Parel-lel Festival and closing the legendary Tresor, nightclub in Berlin.

It was Alex’s set for one of our 9128.live takeovers from Astral Industries that really took my affinity for the producer to the next level, showcasing an intrinsic respect for minimalist ambient music and gloriously immersive tones, all without the deep rhythms often relied upon within his own productions. It takes a deep respect of both disciplines to balance the crossover of techno and ambient music, and Alex seems to have got it down to a T.

Hi Alex, where are you and what’s spinning?

I’m in my warm flat in cold Berlin and currently listening to DJ Shadow and Cut Chemist’s Product Placement, as the soundtrack for my writing.

I am sure many of us in the more Ambient-leaning world first heard you through your debut album on Silent Season. Since then you have produced a number of EP's as opposed to full albums. Have you been holding back?

I have very fond memories of the time I was working on that album. It was so early in my musical career that I felt really free creatively and could explore every path that opened before me. That somehow changed when things started to get serious and I saw myself “forced” to release more dancefloor-friendly material. I have finally managed to free myself from those constraints and have been exploring other sounds again for a while now.

I am confident in what I have learned and have been working on a new album that is practically finished. It is, in my opinion, a good balance between that early sound I had with all the knowledge and techniques I have acquired since then. It is made for horizontal listening. Slow rhythms, drones, quite psychedelic at times and with a lot of texture.

There was no purposeful holding back… I think the idea of working on something like this came at the perfect time. There was a story to tell and that’s what I feel a lot of albums are lacking. A story.

Can you tell us a little about your production approach? Are you mainly hardware, digital, or a mix?

I’m very into hardware but I also work in the digital realm. I think a balance of the two is the best way to go. Analog for the playfulness and sound and digital for the convenience and ease of use. Every tool has been carefully selected and has a reason to be.

I like to focus on few things and learn them, squeeze everything I can from them.

My favorite process is getting into the sound, sculpting the waveforms and maximising its potential with carefully crafted effect chains.

Are you getting back to playing live gigs now the pandemic is becoming ‘normal’? How did it impact you these past few years?

Luckily things seem to slowly go back to “normality” and for that, I am very grateful.

The pandemic impacted me in the usual way it has impacted other artists and performers and personally forced me to return to the corporate world from which I escaped many years ago.

It has been quite tough adjusting to the new reality and losing all the freedom I had worked so hard to get but at the same time, it has taught me that I can adapt to big changes like this and push through.

Having a stable income has freed my mind from a lot of stress and worry, and I feel very free creatively. The only problem is mostly finding the right time and mindset for music production.

You have a knack for deep abstract sounds. Who are some interesting artists or DJs you have seen lately, or are supporting that we may not know about?

I guess it will be hard to discover artists to your readers but there is a crew of very special artists in the UK who are all connected to Astral Industries. After some really fun events and travels together we have become very good friends. I am talking about Ario, o.utlier, hems and, Eight Fold Way. Amazing people, DJ’s and producers.

Hems and o.utlier have just started their own label called Titrate which already has a great first release from Hems. Stay tuned for more as I’m sure there will be some great music coming out on that label. ;)

Can you tell us a bit about your approach to your isolatedmix?

Well, seeing as it was a mix for your series I couldn’t just press record and play a bunch of ambient tracks. I carefully selected tracks that play well together, that I really enjoy and share common ground between them, while thinking of a sequence. So there are parts that are more orchestrated and others on which I am going with the flow.

There are tracks by ishq, Rapoon, Biosphere, Coil, Thomas Köner, Eleh, Windy & Carl, Ø, Rainforest Spiritual Enslavement, Chris Carter and 2 unreleased tracks of mine amongst others.

And lastly, if we weren’t an ambient-leaning bunch, and you weren't making a recorded mix with this audience in mind, what kind of mix would you create?

Probably something quite similar and go nuts on the psychedelia.

~

Listen on Soundcloud, Mixcloud, or the ASIP Podcast.

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astrangelyisolatedplace · isolatedmix 117 - Refracted

No tracklist available.
Artwork photo by Mike Petrucci.

Refracted | Bandcamp | Soundcloud

ASIP – A Weird Winter Gathering (Label mix for Kraftfuttermischwerk Advent Calendar)

10 years ago (back when music blogs outnumbered Spotify playlists), Das Kraftfuttermischwerk invited me to create a mix for their annual Advent Calendar mix series.

Fast forward to 2021 and a lot has happened between our two websites and the world of blogging. But above all, I’m still glad to see people like Ronny (who runs it) keep music blog culture alive, featuring many of our mixes over the years, and now my 2021 Advent Calendar mix contribution.

Focusing on all things ASIP related, with forthcoming bits and a few exclusives, the mix is titled ‘A Weird Winter Gathering’, for many obvious reasons, but inspired by this AI picture received after inputting ‘A Strangely Isolated Place’ on AI Curio Bot.

“A mix of music from the extended world of ASIP, be it forthcoming in 2022, unreleased with no plan as of yet, or a hidden gem, traversing a few different styles. A moment in time capturing just some of the many characters, sounds and styles that will define ASIP in 2022.”

KFMW Adventskalender · 2021 #23: ASIP - A Weird Winter Gathering

Tracklist (for what it’s worth!)

01. James Bernard – UWA10 (Loop + additional samples)
02. Unreleased
03. DNA – Ecstasy (Charlie May lower gear remix)
04. Unreleased (forthcoming on ASIP, 2022)
05. Unreleased (forthcoming on ASIP, 2022)
06. Unreleased (forthcoming on ASIP, 2022)
07. Unreleased
08. Unreleased (forthcoming on ASIP, 2022)
09. Unreleased (forthcoming on 9128.live, 2022)
10. Unreleased (forthcoming on ASIP, 2022)
11. Unreleased (forthcoming on ASIP, 2022)
12. Unreleased (forthcoming on ASIP, 2022)
13. Unreleased (forthcoming on ASIP, 2022)

ASIP - Reflection on 2021

As with all past ‘Reflection’ year-end mixes, I start with a collection of albums I have enjoyed over the year. Through the process of compiling a mix that flows well, songs are whittled down and selected from this collection. This means many of my favorite tracks and albums are often omitted in the 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 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). Of course, releases or aliases a part of our own label/s are not considered (head over here for our label-specific 2021 showcase).

Another crazy year in the books (or is this the new normal?). Looking back, it’s been a tough year personally and one that in theory should have left me with more time to listen and absorb music but somehow did the opposite. This mix, as it does every year, serves as a great way for me to dedicate time listening to albums again, and I’m realizing this has become a yearly sort of musical therapy for me. The fact that people actually listen and await the mix, is a lovely bonus.

It’s been interesting to see the pendulum of music move across various online listening platforms during strict lockdowns this past year, and what seemed like an onslaught of output as artists buckled down inside. At one point, I am sure we were all left feeling truly spoiled with music choices and online events, despite not being able to attend physical events until the past few months. I know from my own experience, that many artists have albums in the locker and the labels are now struggling to keep up with the present vinyl production bottle-neck.

On the ASIP label front, we finally managed to launch our 9128.live sister label, producing physical and digital editions from notable live performances, with many more planned for 2022. Despite ACL recently commenting that ASIP seemingly “so far has seemed immune to the vinyl shortage”, we have been massively impacted and have only been able to keep somewhat of a cadence this year because we had so much in the pipeline. Next year, we may see bigger gaps between releases and different formats as we look to work with new plants and basically turn our production flow on its head. Numerous times this year I have questioned whether to continue with our current approach, and I am sure many other labels have felt the same.

On the listening front, and upon reflection, I have definitely been drawn to the more electronic-driven side of ambient music this year. Slightly darker and edgier perhaps for obvious reasons, with less instrumental, gentle, or orchestral sounds in my library overall it seems. The Reflection mix, as it does every year, ends up moving through several different stages and captures many of the different styles of music that have been on high rotation.

This year’s mix, begins with some more tranquil pieces (Hopkins, KMRU, Arian Shafiee), then takes a dive into the deep, dynamic elements (ASC, Inhmost, Sciama, AES DANA, Ulla, Bana Haffar), to then slowly emerge into melody just before the hour with Christina Chatfield. Things become more storied, as pieces are overlapped and looped, presenting the powerful drones of Christina Giannone, and more fluid, energetic beat-driven pieces from Ground Tactics, Whylie, nthng and Skee Mask - most of which made me crave the (out of bounds) dance floor. Beats then become crunched, textured and irregular, with the likes of new discoveries in, Hoavi, Vivan Koch, and Amandra X Matthies. The mix then begins to draw in, as more melodic moments take over from some (old but new) music from Niko Tzoukmanis and CiM, before the final chapter draws in with more organic and spiritual elements from Saphileaum, Alex Albrecht, ending on a positive curtain closer from Wau Wau Collectif. Ending the mix on something more optimistic seems to be a requirement after the journey of this past year.

Thank you to everyone listening and supporting what we do, and I hope you can find a new artist or album to support on Bandcamp with this mix - all this year’s inclusions are below in the Buy Music Club list. For a more extensive list of what I have supported and listened to this year, head over to my Bandcamp collection.

Listen on Soundcloud, Mixcloud, or the ASIP Podcast.

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astrangelyisolatedplace · ASIP - Reflection on 2021

Tracklist:

000.00. Jon Hopkins - Tayos Caves, Ecuador I (Domino)
006.20. KMRU & Echium - Unending (Self-released)
009.10. Bolivian Fireships - Quiet Room, Locked Door (Hream)
012.50. Arian Shafiee - Wembley (Constellation Tatsu)
018.00. Ab uno - Adonai (Mahorka)
019.30. ASC & Inhmost - Sunrise on Titan (Auxiliary)
026.10. Sciama - Periphery (Auxiliary)
029.00. AES DANA - Foreword (Ultimae)
031.40. Ulla - Shelter (Motion Ward)
033.30. Bana Haffar - Totally Alive and Totally Invisible (Self-released)
039.50. Rainforest Spiritual Enslavement - Flying Fish Ambience (Hospital)
043.20. Nadia Struiwigh - Organic (Nous’klaer)
047.15. Op Zee - Muziekkamer (Stroom.tv)
050.00. Christina Chatfield - Concatenate II (Mysteries of the Deep)
057.10. Nigel Mullaney - The Well Of Sleeping (Behind The Sky Music)
059.00. Avsluta - Meditation 16 [Notes on Iridescence] (e2-e8)
1.00.30 Marine Eyes - On this Fresh Morning (Stereoscenic)
1.03.30. Christina Giannone - Realms II (Past Inside The Present)
1.09.00. Milieu - Terpentine Xylophone (Milieu Music)
1.10.05. Ground Tactics - New Earth (Self-released)
1.16.10. Whylie - JGL24-04 (Lith Dolina)
1.19.40. nthng - Energy Reloading (Lobster Sleep Sequence)
1.25.58. Skee Mask - LFO (Ilian Tape)
1.29.15. Ocoeur - Breaking The Circle (n5MD)
1.32.57. Hoavi - Tessera (Peak Oil)
1.36.17. Vivian Koch - Closed (AD93)
1.39.20. Amandra X Matthies - Cornemuse (Nous’klaer)
1.43.30. Warrington-Runcorn Newtown Development Plan - Part of the Union (CIS)
1.47.35. Akira Sileas - Cliff Cooling (Rusted Tone)
1.52.10. Niko Tzoukmanis - Raindrops (Libreville)
1.57.15. Uf0 - Yeh Premoh (Self-released)
1.59.50. CiM - Metric (Delsin)
2.02.10. Sofie Birch & Johan Carøe - Portal of (Stroom.tv)
2.03.10. Saphileaum - Savar (Good Morning Tapes)
2.07.50. Alex Albrecht - Forest from the Trees, w. Sean La’Brooy (Analogue Attic)
2.12.00. Wau Wau Collectif - Yaral Sal Doom (Sahel Sounds)