Category: Hypnos Store Special Offers

Blowout Sale: Foundry Items

Hello all, we’re back from our short holiday break with a big blowout sale on all our FOUNDRY items!

Seofon – Zero Point$3.99
zero point

Zero Point inaugurates a collaboration between Hypnos and The Foundry, which will continue with an ongoing series of releases featuring ambient and experimental music.
Zero Point is the product of “recycling” collaborations begun between Vidna Obmana, Steve Roach and Seofon. As the project progressed Stephen Kent, Robert Rich, Not Breathing, and Thermal were included in the circle and the result is a wonderful album full of shifting textures and shimmering ideas. Recycling is a term coined by Vidna Obmana (and Asmus Tietchens) to describe a process more immersive than simple remixing.

Zero Point: lessons in being nothing showcases some of the great talents in electronic music today, and finds them participating in a unique form of collaboration. With Ambient Temple of Imagination (ATOI) tracks as the inspiration and source material, Vidna Obmana, Steve Roach, and Seofon opened a circle of recycling. Entirely new pieces were created using a variety of methods and collaborative trajectories with Seofon (a member of Ambient Temple of Imagination) serving as a center-point: coordinating the project, making his own recycling contributions, and integrating the finished tracks into a hypnotic tapestry. The resulting music has traveled a long way from its origins, the original material barely recognizable in the new pieces. This album is full of rich textures, subtle and powerful both. Follow the rhythms, connect the melodies and harmonics in your listening; the rewards are great!

Listen to the track SPLENDORS from this album HERE.

Dean Santomieri – The Boy Beneath the Sea

The third Hypnos/Foundry co-release, THE BOY BENEATH THE SEA fluidly weaves together music and spoken word to create an affecting 40 minute immersive environment. The story of a boy who leaves his home to live under the sea is unique and yet somehow familiar, like a book remembered from childhood. Dean Santomieri’s narrative is evocative and personal, and the words are perfectly complemented by the musical contributions of Bruce Anderson, Karen Stackpole and David Kwan.
Santomieri chose three experienced and respected musicians to work with in creating THE BOY BENEATH THE SEA. Bruce Anderson, leader of the seminal Art-Rock band MX-80, plays a specially designed chromatically tuned, baritone guitar. Bruce has performed and recorded with The Residents and Henry Kaiser. David Kwan is a composer and video artist whose works can be heard on the Asphodel/Sombient and Artifact labels. Karen Stackpole is a drummer/percussionist with a soft spot for gongs. Her current involvements include Euphonics, a gongs/metals/singing bowls duo, and Malcolm Mooney & the10th Planet. She has worked with a number of Bay Area free jazz and improvisational groups.

Dean Santomieri has been working with electronic music and musique concrete since 1971, as well as creating multi-image pieces, films and videos. In recent years Santomieri formed the duo Donkey Boy which employed live electronic music, slides or video, story-telling, costumes, and props in their many Bay Area performances. Since 1997 Santomieri has also been performing with Malcolm Mooney & the10th Planet (Mooney was the original singer with the German progressive-rock group Can), providing electronics and guitar. In 1998 Santomieri formed a multi-media group with Anderson, Stackpole and Kwan, for live performance of his short stories (narration accompanied by live music and video). This ensemble’s first show, THE BOY BENEATH THE SEA, was performed numerous times in the Bay Area, and lead to this CD release. In 2000 the Archipelago imprint released Santomieri’s Crude Rotation, a 3″ CD, EP of musique concrete/ electronic pieces, to critical praise.

Collectively this ensemble of Kwan, Anderson and Stackpole improvised a rich musical setting for Santomieri’s timeless fable. Words and music interact and a spell is cast. Images grow, become vivid, and fade into salt washed ghosts. The waves of the story recede and THE BOY BENEATH THE SEA leaves behind pools of dreamy tableaux for us to muse upon, beachcombers to the phantasmagoric.

A preliminary review:
“The Boy Beneath the Sea” is an enigmatic ambient saga coordinated by Dean Santomieri. He narrates the story. Improvisations by Bruce Anderson (chromotone guitar), David Kwan (sampling, processing and tidal control) and Karen Stackpole (percussion and gongs) surround Dean’s narration.

This is an eerie and eclectic construction. The entire project borders on the avante garde and the nouveau noir. The story is interesting and offbeat. The music, while straightforward at times, benefits from David’s processing and pre-mastering techniques and from Dean’s direction and production control.

Keeping the focus on the music is difficult. The story is very cool and Dean’s narrative style is hypnotic. The music is very worthy. The experimental sounds and overt minimalism serve the story very well. It IS the background. It DEFINES the background. Thus, it is definitive ambience.

It IS possible to play this CD as a pure background. To do so would be to miss the story. This is a cool experience. It demands total attention!” –Jim Brenholts

eM – All the Stars Burning Bright

This new album is something of a departure for eM. Though it draws on techniques and concepts from earlier projects, ALL THE STARS BURNING BRIGHT delves into the sounds of deep space and aims to capture the otherness of the universe beyond earth. To this end sound sources include NASA recordings made by various space probes and further exploration of digital audio manipulation.

ALL THE STARS BURNING BRIGHT is an exploration of the universe through sound, an experiment designed by eM to venture beyond our gravity well. Beginning with A Dream of Summer Stars we leave the familiar confines of our horizons and venture into more remote and unearthly sonic realms. Parsecs, constructed largely from heavily processed NASA recordings, propels us across open vacuum, and through the Starswarm that follows. Suspensions and Burning Bright suggest both the immense stillness and roiling activity of the night sky, while Between provides a melancholy respite before the revelations of Others. Our dream fades as we drift Beyond the Shoals of Stars.

These pieces ruminate not simply on the stars, but on the space between them. The compositions emulate no one model, but draw on many sources, from the Voyager recordings to the writings of Brian Aldiss and H.P. Lovecraft. ALL THE STARS BURNING BRIGHT also functions as a kind of diary, giving voice to a variety of dreams and memories.

Mollusk – Accretions

ACCRETIONS represents a melding of digital audio and organic inspiration. Mollusk delves into the oceanic realm with compositions at once experimental and atmospheric. Waves crash, tides ebb and flow, and the ancient mollusks follow their own paths through this wonderful collection.
ACCRETIONS, a melding of organic inspiration and digital audio, is the first CD release from Mollusk, the musical alter ego of Malcolm Bly. Bly was working in web design at the time, and created the music of Mollusk entirely through digital means, employing sampling and DSP applications, as well as experimenting with the process of using the artifacts of MP3- format compression to create a “low resolution” sound. “It seemed to me that the medium of the MP3 wanted to be played with, explored for its own abilities, not simply used as a means to poorly represent higher quality sounds.”

To this end Bly incorporated the idea of low resolution audio output into his compositional approach, so that the final form of these pieces has, until this release, not been a CD or 16-bit/44.1kHz sound files, but a stereo MP3 file. Besides creating what Bly refers to as the “Mollusk sound,” working with low kbps rates meant that the resulting MP3s were smaller than those produced at the more common 128kbps or 192kbps, and this meant shorter download times. For instance, the 20 minute Ancient Seas became a meager 4.6MB, instead of the 18MB one might expect.

For the ACCRETIONS compact disc release, Mollusk has created the new track Barnacle: Archipelago, and remixed/remastered all the compositions to CD quality audio. The tracks The Sea and The Cry of the Distant Nautilus retain the low resolution Mollusk sound, but the other pieces have been recreated in high resolution 44.1 kHz sound.

An adventure into more experimental “digitalism,” ACCRETIONS will appeal to the more adventurous listener who enjoys 21st century musical modes such as “glitch” and microsound.

“The waves which flow from Mollusk tend to be gentle, if a bit strange; the Accretions of their abstract-though-thematic soundstreams flow jointly into an esoteric 8.4 sonic tidepool of deep listening. ” –The AmbiEntrance

Various Artists – 360°

2002. New compilation from Foundry/Hypnos featuring Rhomb, eM, High Skies, Seofon with Mark Van Hoen, Sketch, Thermal, and Kim Cascone.

The Foundry says:
This compilation has as its center point a story fragment, a series of episodes taking our narrator through an enigmatic arc, an arc becoming a circle, an arc of 360°. Tracks draw on a variety of electronic music flavours, from ambient electronica to microsound and glitch. Contributors to 360° are, in order of appearance: Rhomb (releases on The Foundry and Archipelago imprint), eM (releases on The Foundry, Archipelago and Fallt), Jonathan Hughes (formerly Subspace with release on Sunburst Fifty), High Skies (Mat Jarvis, formerly Gas on Emit), Seofon with Mark Van Hoen (Seofon is a member of Ambient Temple of Imagination as well as a solo artist; Mark Van Hoen has released work as Locust and under his own name on Touch), Sketch (releases on Apollo and on End of Hum), Thermal (releases on his own Boxman label and Archipelago imprint), and Kim Cascone (releases on Ritornell and Digital Narcis among many others). Quite a range of talented artists!

Listen to HIGH SKIES – STAARS from this album HERE.

Jonathan Hughes – Trillium

The latest from the Hypnos/Foundry partnership is TRILLIUM, by Jonathan Hughes, an artist who has released a handful of CDs under the pseudonym Subspace (including the inventive two disc set FLUID and the wonderful faux soundtrack LOW FREQUENCY OSCILLATOR). With TRILLIUM, Hughes makes his first solo appearance for The Foundry. The pieces on this album, all experiments with the 3/4 time signature, bring together different sound sources and styles into a unique and compelling collection of dreaming ambience.
Jonathan Hughes has been creating electronic music since getting his first synthesizer as a teenager in the 1980s. Hughes collaborated with Mollusk on four tracks (one of which is available on Mollusk’s Foundry release ACCRETIONS), and another of which will be appearing on the LOST + FOUND compilation). He has appeared on over 20 CDs, and has played keyboards and guitar, as well as provided engineering, mastering, and graphic design for numerous artists’ CDs.

Various Artists – Lost and Found (2cd)

A two disc compilation giving a glimpse into both the past and present activities of Hypnos partner The Foundry. This serves as an excellent “cross-section” sampler of current Foundry artists, for listeners interested in exploring the label but not sure where to start, as well as functioning as a document of early Foundry recordings, from the days of the imprint’s lower-profile, pre-Hypnos.
A growing number of listeners have purchased such recent Hypnos/Foundry titles as ZERO POINT by Seofon, ALL THE STARS BURNING BRIGHT by eM, and TRILLIUM by Jonathan Hughes, and these new enthusiasts to The Foundry will find LOST AND FOUND a gateway to the exploration of other works by these artists, as well as such Foundry figures as Rhomb, The Apiary, Mollusk, Dean Santomieri, and M. Bentley.

Various Artists – Sub.Terra

Experimental compilation featuring Interstitial, Vidna Obmana, Saul Stokes, M. Bentley, and Vir Unis

“The latest release from Foundry Records, “sub.terra” is a fascinating compilation based around the concept of creating a series of pieces using only a trumpet as source material. the artists all started with a set of trumpet recordings and from there processed and treated the tracks until they came up with the works contained herein. and a very impressive collection of works it is! featuring tracks by Vir Unis, vidnaObmana, Saul Stokes, Michael Bentley and Interstitial, “sub.terra” provides not only an excellent group of challenging pieces, it also serves as an introduction to some of the best artists in the field of electronic music today. with each of the artists contributing their own interpretations, each adding their own particular sounds and flaours, “sub.terra” crosses a range of styles and ideals. from the dark drones of Interstitial, through the percussive groove of Vir Unis, the space and movement of vidnaObmana, the hypnotic chilled electronics of Saul Stokes, and the dark deep-space explorations of Michael Bentley, “sub.terra” is an excellent collection, and well worth checking out.” –rik maclean – ping things

“This release from features 61 minutes of collaborative electronic ambience. The project was initiated by Interstitial (aka John Koch-Northrup), who created a basic theme that was then provided to a selection of notable ambient synthesists who elaborated on the original template. The CD begins with Interstitial’s original theme. An assemblage of ethereal tonalities congeal to generate a distinctly subterranean harmony of subtly varying textures, often pitching shrill enough to emulate horns echoing from cavernous strata. Then Vir Unis (aka John Strate-Hootman) applies whispering beats and a dreamier sense to the caverous reverberations. While those beats start out as barely noticable, their soft patter rises to more definable status, evoking an anticipatory tension to the mix. Soon, the rhythms evolve into an engaging enhancement that rivals the basic template for the audience’s attention. The next track finds VidnaObmana embellishing the template with ghostly undertones that accentuate the echoing quality of Interstitial’s melody, changing the mix into a haunting procession through underground tunnels. Then Saul Stokes takes a shot at mutating the basic theme, transforming Interstitial’s caverous mood into an interstellar medium full of twinkling stars and breathing nebulae. Rhythms emerge to attribute more body to the infinity, and those tempos continue to grow, overwhelming the underlying structure. Which leads to a remix by Michael Bentley (aka eM), who dissembles the template into quite a different sonic creature. Textures become more elongated, creating a more suspenseful ambience punctuated by horn-bursts of utmost clarity. The introduction of quasi-radio emissions render the piece into a pulsating deconstruction. The finale belongs to Interstitial, who blends elements from all these collaborators together to produce a magnum opus of ambient proportions. (While the basic template and the other remixes are between 8 to 11 minutes long, this piece clocks in at over 16 minutes.) Expert manipulation infuses aspects from each earlier treatment into the basic theme, producing a lush track that flourishes with variations while taking a more introspective tact.” –

Ben Swire – Equilibrium (CDEP)$0.99

First release in the Foundry EP series — only about 18 minutes of music; quirky, rhythmic electronic music, perhaps similar to Jonathan Hughes TRILLIUM, also on Foundry.
The Foundry press release:
The first in the FOUNDRY EP SERIES is Ben Swire’s Equilibrium, bringing together the strands of beat, melody, and atmosphere to create an intoxicating travelogue in sound. The detail in these compositions is remarkable, each piece picking up the thread of the others as well as developing its own unique character. This release will appeal to anyone who has enjoyed Jonathan Hughes’ Trillium CD, the output of City Centre Offices, or Susumu Yokota’s Grinning Cat and Sakura.

Early on Ben Swire’s interest in music took the form of building a studio in the basement of his home in Newton, MA (a suburb of Boston) and engineering for a variety of acts. He played drums with the band Bode, and gradually became interested in exploring different unique production techniques and creating his own music.

Ben graduated from the University of Massachusetts at Amherst in 2000 with a BA in Media Arts. While there he studied electronic music composition with Charles Bestor, winner of the 1999 Bourges (France) International Electro-Acoustic Music Competition (Dr Bestor had studied with Vladimir Ussachevsky). In 2000 Ben released a split 7″ record with the band Audio Explorations which caught the attention of Riz Maslen (aka Neotropic) with whom he later collaborated on an NTone (a division of Ninja Tune) 7″ that included the work of ex-Verve guitarist Nick McCabe. During this time time Ben was living in London and performed as a member of the act “Minus” crafting live experimental and improvisational electronic music. More recently Ben scored “FM,” an animation piece by Australian artist Rebecca Cannon which was premiered at the 2002 Transmediale Festival in Berlin.

eM – Outward (CDEP)

Second release in the Foundry EP series (after Ben Swire’s surprising EQUILIBRIUM) – about 20 minutes of experimental abstract digitalism at a great price!
The Foundry says:
This release continues the FOUNDRYEP series, following Ben Swire’s Equilibrium EP. It features music in an atmospheric and experimental mode, following along the lines of eM’s All the Stars Burning Bright release, but also incorporating other ideas and sounds.

The Outward EP is the first eM solo release since 2001’s All the Stars Burning Bright. eM (Foundry founder Michael Bentley) follows on from where All the Stars Burning Bright left off, exploring a more experimental sound with this suite of three pieces. Beginning with the loops and drones of From the Earth, developing through textural washes of Across the Milky Way, and closing with the powerful and hypnotic rhythms of Beyond the Magellanic Clouds, Outward presents an engrossing soundscape that occupies an audio space where Robert Rich, Lustmord and Brian Eno meet.

from the earth [7.01]
across the milky way [7.43]
beyond the magellanic clouds [6.17]

Michael Bentley, founder of The Foundry label, has recorded under several names [eM, The Apiary and Rhomb (with Nathan Kreisberg)] and has released a number of EPs and CDs of electronic and experimental music. Projects include releases for the Irish label Fällt (as eM) as part of the invalidObject series; for Archipelago, a loose association of Bay Area artists (EPs as eM and Rhomb), inclusion on a CD compilation accompanying the latest issue of MIT Press’ Computer Music Journal (one track as eM), as well as tracks on releases from No Type, SlapArt, and Dark Duck. Future plans include new full length CDs under both the eM and Apiary monickers, as well as collaborations within the Archipelago.

Bentley has composed and recorded electronic music off and on for a number of years, often collaborating with long time friend Nathan Kreisberg (most recently as Rhomb). Interest in other musical forms, most notably folk music of the British Isles (especially that of Scotland), has lead to performances at music/dance festivals in the Czech Republic, Austria, Norway and California, as well as performing and recording gigs on both east and west coasts of the US. The Foundry, originally begun (in 1985) as an umbrella for publishing chapbooks, emerged as an outlet for Bentley’s musical endeavours in 1995. After several cassette releases the first Foundry CDs were issued in 1997. The Foundry catalogue has garnered critical praise (see review index here) and airplay throughout Europe, Australia, the US and Canada. In 2001 The Foundry began a collaboration with the Hypnos recording label, resulting in nine releases over the last 14 months.

Blowout Sale: Vidna Obmana – An Opera for Four Fusion Works

We’ve decided to do something a little different for this week’s Hypnos sale, so we’re bringing you Vidna Obmana’s AN OPERA FOR FOUR FUSION WORKS at an incredible discount! Whether you pick up all four or just the ones you need to fill out your collection, you definitely won’t find a better deal than this! We’re even going to extend the sale and keep the low prices going through November 29th.

vidnaObmana – An Opera for Four Fusions Works (Act 1, Echoes of Steel) –$3.99 (Yes, even along with the four-CD case!)
act 1

AN OPERA FOR FOUR FUSION WORKS is a unique project by Vidna Obmana and Hypnos — a four-CD album, released one CD at a time. The first disc will be released next month in a case (similar to the one used for Robert Rich’s Humidity) that will have space for all four discs, though slots 2, 3 and 4 will be empty. The listener can then purchase the later installments as they are released gradually over the next year or two, and insert them into the case. The second, third and fourth discs will not be sold in their own cases, and will be shipped in a plastic sleeve only! This will allow us to release the project gradually, and will facilitate convenient storage for the completed four-disc set. Of course it will mean that you need to purchase the first disc in order to have a proper case for the other discs. Only when all four discs have been released, we will make available the whole set of four discs, pre-packaged together.
In each of the four chapters or “Acts,” Belgian ambient/experimental artist Vidna Obmana will rework or “recycle” the sound sources of a different musician or group. The four acts will be linked in a thematic sense, but will use completely different and distinct sound sources as raw material for Vidna Obmana’s manipulation.

“Act One” of the Opera (a conceptual title only — you won’t find operatic vocals here) is “Echoes of Steel” featuring guitar recordings by Dreams In Exile (see for more information). The result is an austere, yet beautiful collaging of textures at once recognizably guitar-like, and at the same time abstract and strange.

Vidna Obmana continues the bold artistic exploration he began on Hypnos with LANDSCAPE IN OBSCURITY, continued with the diptych THE SURREAL SANCTUARY and THE CONTEMPORARY NOCTURNE, and most recently the two-disc SOUNDTRACK FOR THE AQUARIUM.

“The first of a 4-CD set to be released individually over the course of the next year or so, this inaugural volume sees renowned Belgian ambient/world artist VIDNA OBMANA manipulating and recycling guitar sounds from the American group DREAMS IN EXILE. The resultant album is a lovely and nearly ambient selection of tracks that do retain a guitar feel, yet flow like ambient music–drifty, pastoral, and dreamlike. ‘Echoes Of Steel’ is a symphonic tapestry of metallic strings and gently wafting melodic shifts, perfectly suited for a quiet evening of peaceful relaxation. Later tracks like ‘III’ include wispy and harmonic vocals, creating a soothing and warm ebb. The final track, simply titled ‘I’, is just about as gorgeous as music gets–a great piece of ‘pure’ music to touch the soul. Can’t say enough, but this release is superlative in every way, evocative and imaginative, a beautiful landscape without equal.” –Godsend E-zine

Listen to a bit from this album HERE.

vidnaObmana – An Opera for Four Fusions Works (Act 2, Phrasing the Air)
act 2

“Eagerly expected and now available is the 2nd chapter in VidnaObmana’s ambitious Opera for Four Fusion Works.

Act II : Phrasing the Air centers around the soprano saxophone, brilliantly played by American natural Bill Fox. What follows is a beautiful fusion of honest sax harmonies, multi-layers of recyclings and a collection of haunting themes. An album which differs immensely from Act I but simultaneously utilizes the same approach. A very unique recording which isn’t that experimental than most of vidna’s recycling works are but one that focuses more onto the aspect of harmony and atmosphere. A very unique recording and now available. Remember that it comes only in a simple sleeve holding the CD and booklet to insert yourself into the 4CD box-set supplied with Act I : Echoes of Steel. Separately available now but if you don’t have Act I : Echoes of Steel yet, you can now order them together in the 4CD box-set as well.

Dive deep into VidnaObmana’s world of recycling.” –Michael Foster / Ambientvisions

“This release from 2003 offers 62 minutes of quasi-classical ambience. Accompanying Vidna Obmana’s electronics, guitars, bowed strings and infinite recycling on this recording is Bill Fox on soprano saxophone.

Taking the concept of “drone” to new levels, this music has an eternally expansive sound. The tonalities and textures flow like unbridled liquid; unfettered by gravity or inertia, they seek to fill space with their pensive disposition. The air transforms into a roiling essence, ethereal yet substantial in its shadowy presence. It’s as if thought has spilled out of the mind to take on vaporous form.

Ebow guitars and bowed strings generate the impression of an orchestral mien, distant and ghostly in its definition. Emulating a buzzsaw whose growl has been elongated until it loses its aggressive outcry and adopts a more passive euphony, these treated strings become a fundamental element that unifies man and atmosphere.

Predominant amid these soundscapes is Fox’s saxophone. Treated to become a seamless horizon of sound, the horn’s call forms impressive cloudbanks of moaning resonance. This sonic overcast blocks all light and silence, shrouding the landscape with serene moods that evoke an eternal dusk. Pulsing notes are contorted and folded back onto themselves, creating a pastiche of eerie quality.

This music offers a dense ambience that embodies dark demeanor with celestial optimism. It achieves this state with classical instruments swimming in a pool of electronic treatments. The electronics are actually secondary to the traditional instruments, used to transform rather than immerse.

Enthralling and pleasantly imperious.” –Reviewed by Matt Howarth, Sonic Curiosity

vidnaObmana – An Opera for Four Fusions Works (Act 3, Reflection on Scale) –$3.99
act 3

Each of the four acts of this project utilize different source recordings by a different artist. This time the featured artist is Kenneth Kirschner, performing on piano. The treatments and processing by vidnaObmana this time are quite daring and experimental, edging at times into the realm of “glitch” or subtle noise experimenation. Overall, though, the feel is of gentle piano sonics, with a smooth and hypnotizing atmosphere rarely disturbed by well-placed bits of digital distortion.

Belgian ambient experimentalist Vidna Obmana is working at the height of his powers here, as he nears the end of his 4-part “Opera” cycle.

The usual disclaimer applies… this music is not in any real sense “opera” music, and the term is used only to suggest the varied, multi-part quality of this ongoing release.

“The fact that Dirk Serries, for twenty or so years, the man behind Vidna Obmana, started a new ‘band’ (again of just himself), did lead to the conclusion that Vidna Obmana was dead, or on hold at least. But it’s not. Or perhaps it is, and is Hypnos just a bit late, releasing this album. It’s the third act in a series of four. The first one was by Vidna Obmana himself, and on the second he transformed the saxophone sounds (see Vital Weekly 420). For the third act Vidna Obmana treats the piano sounds, played by Kenneth Kirschner, who is perhaps best known for similar collaborations with Taylor Deupree. The piano playing of Kirschner is quiet, just a few notes every once in a while, and the recordings he makes are usually finely treated with small clicks and hiss. This is excellent music for Vidna Obmana to expand his ambient tapestries on. Vidna Obmana adds guitar and synthesizers, after which he locks the music into his chamber of sound effects, looping all the sounds, making small shifting changes while certain elements keep returning ad infinitum. The piano sounds by Kirschner remain audible throughout this work, it doesn’t seem that they are treated to such an extent. In the warm ambient bath created by Vidna Obmana they find a good home. Soberly orchestrated, the dedication to Morton Feldman is no surprise (although perhaps many more notes are played here than on average Feldman composition). Vidna Obmana doesn’t necessarily add something new to ambient, but his music still belongs to the best the genre has to offer.” –Vital E-Zine, Frans DeWaard

vidnaObmana – An Opera for Four Fusions Works (Act 4, The Bowing Harmony) –$3.99

act 4

The fourth and final installment in vidnaObmana’s ambitious “Opera For Four Fusion Works” project. Each “act” of this project involves vidnaObmana’s reworking and recycling audio sources from different collaborators.

Act I used guitar pieces from Dreams in Exile, Act II used Bill Fox’s saxophone recordings, Act III worked from the foundation of Kenneth Kirschner’s piano works, and this last installment utilizes the voice of Steven Wilson ( No-Man, Porcupine Tree, and the artist behind Bass Communion). Even those who are thinking “I don’t like voice with my ambient music” will really love this. It’s one of the most unusual and yet relevant recordings ever released by Hypnos, in which a very recognizable sound, the human voice, is progressively transformed from the familiar, into stranger and more “ambient” atmospheres. It’s captivating & beautiful.

The usual disclaimer applies… this music is not in any real sense “opera” music, and the term is used only to suggest the varied, multi-part quality of this ongoing release.

 “ACT FOUR is an eerie layering of haunting vocals with appropriately dark textures on synth, electric guitar, and “infinite recycling.” It is perfectly creepy, and intensely so, which is undoubtedly the desired effect.” –-Phil Derby, Electroambient Space

vidnaObmana – An Opera for Four Fusion Works (Acts 1-4, 4CDs)
all 4

Now that Acts 1-4 of vidnaObmana’s epic OPERA FOR FOUR FUSION WORKS project have been released, we’re making available a discounted package of all 4 parts together, for those of you who have not purchased any of the parts along the way.

The usual disclaimer applies… this music is not in any real sense “opera” music, and the term is used only to suggest the varied, multi-part quality of this ongoing release.

AN OPERA FOR FOUR FUSION WORKS is a unique project by Vidna Obmana and Hypnos — a four-CD album, released one CD at a time. The first disc comes in a case (similar to the one used for Robert Rich’s Humidity) that will have space for all four discs, though slots 2, 3 and 4 will be empty. The listener can then purchase the later installments as they are released gradually, and insert them into the case.

Act I used guitar pieces from Dreams in Exile, Act II used Bill Fox’s saxophone recordings, Act III worked from the foundation of Kenneth Kirschner’s piano works, and the last installment utilized the voice of Steven Wilson (No-Man, Porcupine Tree, and the artist behind Bass Communion).

Weekly Sale Item: Hypnos Digipaks

Looking to add to your collection of Hypnos digipak releases? Now’s your chance! Regularly priced at $11.99, we’re price-cutting them this week to just $7.99! (2CDs regularly priced at $13.99, right now just $9.99.) Sale prices are guaranteed through November 15th, so visit the HYPNOS RECORDINGS section of the HYPNOS ONLINE STORE soon for some great deals!

Follow links for track listings and MP3 samples of all titles.

Herion – Out and About
Herion is an Italian trio whose members include Emanuele Errante (known to Hypnos customers for Humus on Evan Bartholomew’s Somnia label), Enrico Coniglio (Aqua Dorsa project collaborator with Oophoi for the album Cloudlands, he also released Sea Cathedrals solo on Silentes), and Elisa Marzorati.

They’ve created a beautiful and compelling combination of delicate musical structures with “glitch” components and strange, experimental little samples. Always a pleasant, peaceful listen, Out and About brings a blissed-out classical musicality into connection with an artful edge. This combination of elements results in an especially sensitive, moving set of mood pieces. Somewhere between chamber music and minimalism, between lightness and melancholy, this trio balances elements uncommon in ambient music.

Pre-release review:
“Emanuele Errante, Enrico Coniglio, and Elisa Marzorati have created a wonderful album that moves right to the soul of the listener. While I was familiar with Emanuele Errante, who released the excellent Humus album on Somnia in 2008, the other performers were a mystery to me. Marzorati’s piano motifs, mixed with Coniglio’s multi-faceted contributions involving melodica, harmonica, and treated guitar, all meld beautifully with Errante’s orchestral arrangements.”-–Review by Michael Vitrano for Fluid Radio

“WVKR-FM “Secret Music” Top 25 Albums of 2010
#16. Herion – Out and About – Hypnos” –Scott Raymond, WVKR Radio “Secret Music

“What we have in Herion’s Out and About is a work that is ambient chamber music in every sense of the term: spatial, intimate, classically based. Strip away the subtle wash of electronics that Emanuele Errante and Enrico Coniglio whisper beneath piano from Elisa Marzorati and viola by Piergabriela Mancuso, and what’s left is a rich bed of beautiful compositions for traditional acoustic instruments. (Besides their laptop work, Errante and Coniglio also add strings, guitars and more.) One of the best compliments I can pay Herion is to say that I’d listen just to those elements, sans electronics, and still firmly enjoy the disc. With the opening track, “Oxg,” Herion establish their acoustic-drone base, the metallic rasp of the strings adding not just a texture to the sound, but an equal sense of emotional warmth and humanity. It’s part of the real beauty of Out and About — the way in which we’re intermittently reminded, as the disc goes along, that the sounds aren’t all circuit-born. It’s a good reminder, since it’s easy to lose sight of that as Herion quietly wrap you in smooth sound- ribbons. There’s a lot to like here, and much of begins with Marzaorati’s piano work. Her playing is sweet, graceful and impeccable, whether it’s thoughtfully wandering through Errante and Coniglio’s misty landscapes (“One Minute Before the Sunrise”), holding a polite dialogue with a sighing harmonica (“Cab”), dropping like forgotten tears (“Lindos”), or giving itself over to electronic treatment to capture a sound-image (“The Hanging Glacier”). The disc closes with her playing alone on the appropriately titled “Solo,” and it’s a standout moment on an excellent disc. And while her playing is central to Out and About, it’s the atmospheres that Errante and Coniglio craft around her and Mancuso that give the whole thing an amazing depth and a touch of the ethereal. The worlds are perfectly blended on the dramatic “Moske Orgulje,” with all elements adding their voices in balance. From start to finish, Out and About moves from moments of soulful serenity to breathtaking beauty. Its organic roots run deep to ground the listener in the moment and the experience. Out and About is a Hypnagogue Highly Recommended CD.”
–Reviewed by John Shanahan for Hypnagogue

Nebulæ – The Path of White Clouds

path clouds
Hypnos is pleased to reissue this classic ambient album first released by the Stella Maris label. Nebulæ (previously known as “Nebula”) is an European ambient supergroup of sorts, featuring Oophoi, Tau Ceti, Mathias Grassow, Klaus Wiese, Lorenzo Pierobon, Luna, and Mauro Malgrande. This is a beautiful, ethereal and abstract ambient recording, which certainly deserved greater attention than it received prior to the demise of Stella Maris, which existed only long enough to release two Nebula albums. That first release was a limited edition CDR but our reissue is a professionally manufactured CD in a beautiful digipak with new graphics.

The Path of White Clouds explores a serene and otherworldly soundspace. Meditative and gentle, these six tracks are sure to appeal to listeners who enjoy the more spacious ambient works released by Oophoi during the height of his Umbra and Penumra sister labels. The sound sources utilized here lean more toward the organic and physical instruments, and electronic processing and synthesizers are used subtly to accentuate the rest.

In the years since this album was released, Oophoi has grown from just another new practitioner of ambient music to a recording artist as respected and well-loved as any other. We at Hypnos have released other Oophoi works such as Athlit, and his collaboration with Paul Vnuk Jr. (of Ma Ja Le), Distance to Zero. We also have an upcoming release The Martian Chronicles by Oophoi with Seren Ffordd. Usually we focus on releasing new projects, but sometimes a significant early work becomes completely unavailable. In a case such as this, the material strong enough taht we’re sure listeners will feel it compares favorably with anything recorded since. The Path of White Clouds deserves to be heard.

Steve Brand – Avatara

Steve Brand got his start releasing experimental music under the name “Augur,” and more recently switched over to releasing music under his own name (both solo and in collaboration with such artists as Ishq and Disturbed Earth) on the Atmoworks, Hypnos Secret Sounds and Relaxed Machinery labels. He’s quickly established himself as one of the more interesting and distinctive artists working in ambient music, and having released two albums Bridge to Nowhere and Children of Alcyone on Hypnos Secret Sounds in 2008 and 2009, we’re very excited to follow up with Steve Brand’s new album Avatara on the main Hypnos imprint. This album has a ritual feel common to many of Brand’s recordings, though Avatara is more ambient and less percussive. The recording starts out in a place of low-key contemplation and evolves through distinct stages and moods, though it is always gentle and meditative.

Steve Brand describes some of the inspirations behind this album:
Avatara is Sanskrit for “descent” in the sense of a deity’s descent from heaven to earth. Avatara is inspired by the various avatars of various ages and cultures…Yeshua, Quan Yin, Buddha, Brigit, Krishna, Saint Germain, White Buffalo Calf Woman, and others. I’m fascinated by the idea and the various stories in various ages and cultures of humans becoming “ascended masters,” or avatars, non-human beings that still are attached to humans and choose to returns to Earth to assist them. The stories vary, and almost every culture has its masters, but one thing is consistent throughout each of their stories, they’ve realized a more expanded expression of being and awareness, of what we are and what we are capable of, and return to assist other human beings.

“To state that AVATARA (61’16”) is “Experimental” is only half the story. While it is an album of sonic experiments, it is not just a random organization of sound. Ambient artist Steve Brand tells a story – although AVATARA does bring more questions than answers. As it wanders the terrain of the possible this work asks you to adjust your sensitivity to music and its possible variations. Some of the pieces are controlled collisions of carefully rendered tones, while others breathe and expand beautifully across a brain-churning expanse of space. Opening with a curious metallic clamor Brand sets an unusual atmosphere. By continually introducing new timbres and captivating designs, across six tracks he sustains a striking sense of wonder. Moods range from dark and questioning to luminous and hopeful. Born of digital, this experience gets better with each pass. The mind seeks patterns, in the world and in music and art. Works like AVATARA at first seem formless. But one must tolerate being lost to appreciate this music. Through active listening we find this work’s structure and then its meaning – grasping the whole from the sum of its parts.” –Reviewed by Chuck VanZyl, Star’s End Radio

“If you’re looking for a contemplative ambient release with a minimal framework, Steve Brand’s “Avatara” (inspired by the various avatars of various ages and cultures) could be an appropriate choice. I for one would classify it as high-quality contemplative music, due to its ongoing gentle flow of textural pads with occasional mystic undercurrents and nature sounds. The six meandering tracks feature spacious music for slow, silent times and meditation, smoothly opening the gate to a world of splendour and wonder.

“Avatara’s” longform soundcape music, devoid of any rhythm, is great to escape from the rat race of modern life, as it makes the busy mind settle down bit by bit along the way.”
–Reviewed by Bert Strolenberg,

A Produce & Loren Nerell – Intangible

The first collaboration between two artists well-known to Hypnos listeners and fans of ambient & experimental music in general.

While Intangible has a meditative and tranquil drifting quality, it also incorporates more melodic and rhythmic elements than most ambient music of the present day. Listeners who like their ambience musical will enjoy this as much as those who like their drones deep and mystical.

Though it’s the duo’s first collaboration together, both of them have been releasing music for about a quarter century. These guys are responsible for some of our “Desert Island Disc” listening material here at Hypnos HQ (A Smooth Surface and Lilin Dewa are both long-time favorites). Often at Hypnos we try to introduce new, fresh talent to our listeners, but this is a case of two music-makers who know all the tricks, and yet continue to create work as vibrant and inspired as anything on the cutting edge.

A Produce has released ten albums, including two on Hypnos (Smile on the Void solo, and Altara in collaboration with Hypnos founder M. Griffin). Loren Nerell has released solo work on Amplexus, Soleilmoon, and Side Effects, and collaborated with ambient music giant Steve Roach on Terraform in 2006.

“This release from 2011 offers 55 minutes of ethereal ambience.

Melodic elements lurk within these harmonic electronic compositions.

Many of the electronics are keyboard generated in contrast to the sustained drone backdrops that ripple like environments of cloud throughout the pieces. The keyboards introduce pacific patterns, often twinkling like luminous fish swimming through a murky medium.

While a certain gentility is pronounced in the majority of the sonics, some sounds possess a subtle density which injects a dramatic flair to the otherwise floating mien. At other times the auralscapes feature heavenly pulsations, drawing attention to a positive radiance from above.

Some pieces feature ethnic percussives; in one case that influence is tempered by winsome flutes, creating a pensive diversity. Other pieces utilize synthetic beats to introduce languid rhythms to the songs. And there are some songs devoid of any tempos altogether.

These compositions are tailored to induce a trance state in the listener, removing them from the heyday of their mortal routines and relegating their consciousness to a region of deceptively intangible (but artfully prevailing) potential. The insertion of melody into the harmonic fabric results in highly engaging tuneage.” –Reviewed by

“Great album. An “instant classic” in the Hypnos catalog, and probably the best thing I’ve heard this year.” –Drone On, on the Hypnos Forum

Seren Ffordd & Oophoi – The Martian Chronicles

The Martian Chronicles, inspired by Ray Bradbury’s story collection of the same name, sounds very much like the soundtrack to a mysterious and strange science fiction film that exists only in the imaginations of Seren Ffordd and Oöphoi. These seven tracks, while slow, moody and at times weirdly alien, also evoke a drama and emotional depth absent from much recent ambient music. It’s a complex and beautiful mixture of electronic instruments, field recordings and percussion.

These artists will both likely be familiar to Hypnos listeners. Seren Ffordd has released several albums on our Hypnos Secret Sound imprint, and also contributed to the Hypnos compilation Sounds of a Universe Overheard. The name Seren Ffordd (real name Andy Benford) is Welsh for Star Road, Way of Stars or Milky Way.

Oöphoi himself released Athlit in 2002, Distance to Zero (with Paul Vnuk) in 2006, and his Nebulae group project album Path of White Clouds in 2011, all on Hypnos. Gianluigi Gasparetti, the man behind Oöphoi, first became known for creating the excellent Italian music periodical Deep Listenings. His Oöphoi persona burst onto the ambient music scene in the late 1990s and quickly became one of the most talented and prolific sound artists around. He founded the now-defunct labels Umbra and Penumbra, which released the earliest recordings of Seren Ffordd. After working together in this capacity for several years The Martian Chronicles is their first collaboration, but not their last; the pair has already completed another full album worth of material.

We at Hypnos are proud to bring you this collaborative work from two of the most interesting and talented ambient musicians out there, and we hope you’ll enjoy it as much as we do.

“The Martian Chronicles is a 74-minute longform album inspired by Ray Bradbury’s short science fiction story by the same name. It is the first collaborative album between Oöphoi (aka Italian drone expert Gianluigi Gasparetti) and Welch soundscape composer Seren Ffordd (aka Andy Benford).

What we got here is a deep and immersive work of cinematic ambient that took about three years in the making. The seven tracks feature vast, dark and slow morphing drone textures along field recordings and percussion, making up an intense trip into a mysterious and alienating world with psychedelic edges.

The Martian Chronicles is a spacious recording meant for deeper and focussed listening, that seems to submerge the listener even more when heard with a good pair of headphones. If you’re into dense ambient art works with both subtle changes along fine environmental sounds, this quality album is for you.” –Review by Bert Strolenberg

“Two drone purveyors are unlocking the gateway of the Void, enter now!!!

Seren Ffordd, in Wales based drone master, has released since 2006 several albums and EPs on Oöphoi’s Umbra and Penumbra labels. Now teamed with the Italian drone king for their first collaborative work, “The Martian Chronicles”, on Hypnos, where both artists have released several albums (Seren Ffordd on Hypnos Secret Sounds). Sculpted during 2006-2009 and inspired by Ray Bradbury’s short science fiction story from 1950, “The Martian Chronicles”, released in October 2011 and packaged in attractive 4-panel digipak, is an adventurous and deep sonic exploration merging the talents of Andy Benford aka Seren Ffordd and Gianluigi Gasparetti aka Oöphoi. Nearly 15 minutes long overture, “The Long Years”, opens this grandeur voyage with colossally deep drones with invading bells, gongs and extraterrestrial-infused rumblings and resonations. A truly immense soundwalls designed for all aficionados of ultra deep, massive ambience, magnificent!!! With the next, again 15-minute composition, we dive straightly into a chasmic void. “Dead Cities” are painted in the first half with extremely freezing drones and mechanized breathings climbing into the throne of drones, while in the second half the breathings slowly dissolve and some, rather distractive and ominous effects step into the fore and color this ultimate giant drone wizardry. This is stunningly stellar and powerful sound sculpting evoking wonderful sense of spatial emptiness!!! “Blue Fire”, another longer piece, keeps on the more active, emerging route, where assorted, mostly otherworldly, at times oddly sounding effects and outbursts enrich the drone. Also few recognizable sounds can be heard, for example something like a trot of a horse. “End Of A Changeling” is shorter, eclectic piece featuring extracts from each track, cut and mixed. “Canals” opens with watery and distant storm sounds that support more free floating drifts, quite relieving and relaxing when comparing to preceding adventurous sonic alchemy. The next composition, “Flamebirds Waiting For The Storm”, as its title tells, is flavored with processed bird calls, later the rain and thunder shake the heaven to achieve the most organic environment. Deeply echoed, slow-motion drones with occasional rumblings escape into the darkness of sinkholing “Unremembered” and provide the closing part of this truly absorbing and fantabulous sonic mystery and mastery. “The Martian Chronicles” is purely transcendental listening experience!!! Two drone purveyors are unlocking the gateway of the Void, enter now!!!” –Review by Richard Gurtler

Caul – Let the Stars Assume the Whole of Night
Caul has released an array of incredible dark, cinematic ambient music, but much of it has been self-released in small quantities, so many listeners who might potentially enjoy his work might be unfamiliar with it. His collaboration with Numina, Inside the Hollow Realm, did receive a fair bit of attention five or six years ago, but Caul has mostly flown under the radar. As I mentioned, most of his work has been self-released, often in elegant, artisanal hand-made packaging. See his Discogs Page for more information about his work, or his own site at

Let the Stars Assume the Whole of Night is a wonderful mix of sounds and atmospheres: dark without being spooky, melodic but not pretty, listenable, but too nervous and somber to ever become predictable. These pieces are more composed and structured than most ambient music, more akin to the soundtrack for some dark and moody piece of cinema. Imagine the score to an undiscovered work by David Lynch or Andrei Tarkovsky and you have the idea.

“Caul is Brett Smith.

A variety of instruments are employed in conjunction with electronics to generate soothing tuneage.

In one track, piano delineates passages of delicate resonance. In another, guitars establish a mildly bouncy mood. One piece flourishes with cerebral cellos, while another utilizes the darker timbre of bass in tandem with crisply twinkling keyboards to create a gentle flow. Another track combines soft violins with heavenly chorales to achieve a celestial demeanor. While another piece takes a dark turn with remote percussives, grinding guitar chords and ominous tonalities, all of which accomplish a pensive mood more than any sense of dread.

While electronics are definitely present (often in a subtle fashion that serves to mesh everything together) their presence is generally too subliminal to clearly detect.

Despite their versatility, these compositions share a common temperament of pensive melodies. The music is somber, but not dark; relaxed, but not drab. No matter what you want to classify it as, though, the end result is satisfying, rewarding the listener with a pleasant sonic environment. Since the tracks are all short, the type of pleasantness changes in definition but remains constant in its lilting result.” –Review by Matt Howarth, Sonic Curiosity

Bruno Sanfilippo – Urbs

Bruno Sanfilippo is a classically trained musician and composer, resident of Barcelona, Spain, and cofounder of the ad21 label. He has collaborated with such notable artists as Mathias Grassow, Byron Metcalf, Max Corbacho and Alio Die.

Sanfilippo’s work ranges from more melodic and structured to ambient drones with more a subtle and subdued musical component. Urbs, Sanfilippo’s first project released with Hypnos Recordings, falls nicely in the middle ground among the artist’s previous work. It’s an intriguing combination of ambient textures with location sound recordings, along the lines of the classic Hypnos releases Sonic Continuum (Modell and Mantra) and Silence Speaks in Shadow (Paul Vnuk Jr.), but with more of an urban or cityscape flavor.

The title Urbs derives from the prominent incorporation urban sound environments, recorded by Sanfilippo in urban environments such as train stations, streets, bars and other public areas to explore the boundaries between the textural sounds which surround all of us day to day, and the nature of composed sound art such as music. These “real world” sound textures merge with more traditional electronics such as synthesizers and samplers, leaving no doubt as to the composed and “intentional” nature of these soundscapes.

Gentle and evocative, subtly textural and transporting, Urbs is something we genuinely expect to become a long-term favorite among Hypnos releases.

“Field recordings are the key elements of “Urbs” and “BIOMA”, the last two albums of Bruno Sanfilippo (on “BIOMA” he was joined by his fellow soundscaper, Max Corbacho). While on “BIOMA” documenting the life of a nature, on “Urbs” Bruno has decided to focus on everyday’s life of a city, when collecting location recordings from various European metropoles plus New York by mapping surrounding environments like train or subway stations, streets, bars, churches… This brand new album, Bruno’s 16th when counting also his collaborations with Mathias Grassow or above mentioned Max Corbacho, is not only his premiere work for renowned Hypnos label, but also a quite radical departure from all his previous works that are spanning from rather ambient/new age oriented, through deeper organic or cinematic ambience to modern classical influenced. Bruno Sanfilippo is now venturing with “Urbs” into more minimal soundscaping with gently portrayed pulsing life of the city. To be honest, without knowing the name of the artist who is behind “Urbs”, I would never connect it to Bruno Sanfilippo. But don’t be afraid, because this chameleonic change is not only totally adventurous, but also proving the unlimited creativity and considerable talent of this sound architect (born in Buenos Aires, Argentina, but residing in Barcelona, Spain). “Urban Flow” is perfectly chosen name for opening piece, with dominating colder on-site recordings of various rumblings, noises, buzzes, creaks or squeaks, all wrapped by hazed nocturnal atmosphere and masterfully merged with deeply evocative drones and assorted mesmerizingly or mysteriously emerging voice and choir samples. Wow, this is absolutely phenomenal, nearly 15-minute intro!!! Grandioso & mágico, Bruno!!! Voice transmissions unfold the next piece, “The City Reflected”, clocking over 20 minutes. Deep, nearly ear-bending echoes, various rumblings, mysteriously odd voices enter the stage as well, everything harmoniously crafted and bridged, and superbly evoking a place similar to some underground lively corridor. Cascading sonic palette is minimal, but intense and maximally effective. “Chaotic Order”, a 25 and half minutes long opus reveals with deeper drones, again enriched by distant conversations and various street rumblings, serenely drifting before entering during the second third into slightly more active areas with glitchy and hissy elements invading. The last third returns to more mysterious and droning course with assorted noises, breathings and voices on the back. Definitely another deeply absorbing masterpiece!!! The closing piece, 7-minute “The Gray Umbrella”, is colored by various voice recordings, possibly the most textured sonic escapade slowly moving towards the end into minimal and quieter, nearly meditative outro. “Urbs” is stirringly challenging and refreshing, carefully sculpted and fused into amazingly homogeneous structure, with strong attention paid to every detail. This album delivers enormous amount of spectacular listening moments and transports each listener into magnificently immersing urban environments. Bravo to Bruno Sanfilippo, bravo to Hypnos!!!” –review by Richard Gurtler

“It looks like Hypnos hit the bullseye with this splendid release. It’s already among my top favorites. Bruno’s best by far IMHO…. This music deserves a mountain of praise. Congrats to Hypnos for such a memorable release.” –Joseph Pe

Numina – The Deception of Reality

The Deception of Reality is the fourth Numina release on Hypnos, the first since 2007’s Shift to the Ghost. Still present is Numina’s trademark sound, combining abstract deep-space textures with subtle melodic and rhythmic elements, but with a new emphasis on more vivid sonics. Listeners seeking smooth, creamy synthesizer background textures will still find them, here overlaid with more “up front” accents. Extra care has been taken in the mixing and mastering to preserve the separation and placement of individual instruments, and we believe the result is the best pure sound experience Numina has ever come up with.

As with the last Numina album, The Deception of Reality is a continuous, long-form ambient music piece of about 72 minutes, broken into five “tracks” for listening convenience. Unlike much long-form ambient, this sound work is ever-changing, continually evolving in mood and sound texture, bringing in new instruments while fading out old ones. Despite its continuous format, the album is so varied across its duration that most listeners would likely never notice they’re listening to a single unbroken piece.

Numina is vague about the meaning of the title, which could be taken in any of several ways. Some hint may be derived from the Albert Einstein quote within the liner notes: “Reality is merely an illusion, albeit a very persistent one.”

We at Hypnos sincerely believe this to be the best Numina work yet, sure to please his existing fans while perhaps engaging with some new listeners as well.

Robert Rich – Sunyata & Inner Landscapes (2CD)

We’re very pleased to make available this archival 2CD digipak reissue of two of Robert Rich’s earliest albums, Sunyata and Inner Landscapes. Both albums were originally released on cassette, then issued for the first time on CD by Hypnos in 1999-2000. Two classic Robert Rich albums together in a deluxe package including 2CDs, 6-panel digipak and 8 page booklet insert.

Of this new release, Robert says:
Three decades after the release of my early works “Sunyata” (1982) and “Inner Landscapes” (1985), we created an archival edition with the help of Mike Griffin at Hypnos, who sponsored the first CD re-issues of these albums back in the late 1990s. After those pressings sold out, we decided to wait before bringing them back, assuming that the interest in physical media might be diminishing in favor of downloads. As it happens, people still express interest in getting a beautiful artistic package holding music that somehow stays relevant after all these years. “Sunyata & Inner Landscapes” will be the first of two double CD re-issues with beautiful digipack artwork and an 8 page booklet, followed in a few months with another archival edition of “Trances & Drones.”

Robert Rich – Trances & Drones (2CD)
tran and dron
Hypnos is pleased to collaborate with Robert Rich on this deluxe reissue of Rich’s out of print classic ambient drone work.

Originally released on cassette individually three decades ago, Trances and Drones were later released together on double-CD by Extreme (1994) and Release (2000). Our new edition, designed to be the ultimate archival version of an essential ambient/drone classic, includes a beautiful 6-panel digipak with 8-page full-color booklet insert.

Antonio Testa & Michel Moglia – Forget the Past

forget the past
Antonio Testa may be best known for his ethno-ambient collaborations with Alio Die, but he has also released a diverse variety of solo ambient music on such labels as Hic Sunt Leones, Faria and Emit. Testa’s collaborator Michel Moglia, credited here with fire organ, flute and drones, will be a new name to most.

Often ambient recordings pursue a single sub-genre or niche — dark ambient, ethno ambient or drone, for example — and stick faithfully to it. Forget the Past exhibits a pleasing diversity, with plenty of gently atmospheric stretches, rthythms that sometimes fade out and at other times build to a wicked trance churn. The sound is clean, yet derives from a full list of natural and organic sound source, and a diverse set of field recordings.

One track lays gritty, hallucinogenic flute lines over a slow-swooping psychedelic rhythm mechanism and incantatory female whispers and recitations like an overheard magic spell. Another mixes bird sounds and subtle electronic atmosphere with distantly echoing percussion, creating something like a soundtrack to a lost film by Alejandro Jodorowsky. Percussion with a tribal or ethno flavor is used in an unusual way, not to fake a specific brand of exoticism, but to create a sense of something both intuitively familiar and also strangely foreign.

Forget The Past covers a lot of sonic ground and a broad range of moods, but it’s always unpredictible and fresh, while remaining smooth, introspective and restrained.

Subradial – Ice Diving
ice diving
Subradial is the musical alias of Tomasz Szatewicz, who was born in the small Polish town of Mragowo. He’s been creating electronic music for twenty years, and has previously released the albums Bioloophorm 1, Bioloophorm 2 and Biorephorm on labels such as dataObscura and AtmoWoroks. His more recent work combines drones, subtle rhythmic loops and textures into churning, visually evocative soundworlds.

Of his inspirations and approach, Tomasz AKA Subradial says: “I was always inspired by listening to the sounds of the environment… I use everything that sounds interesting and what I can further process to create the imagined soundscape, a vision of some place, express my emotions or moods connected with particular times or places, either existing in real life or just imagined/dreamed.”

Ice Diving, his first release for Hypnos Recordings, is an album composed around a theme suggested by the title: a soundtrack to an underwater journey. Like the title, the cover photo (from an actual ice diving expedition in Antarctica) gives a sense of the sound worlds evoked by Subradial’s music. Many ambient recording artists apply titles to their music intending to suggest a theme, but here the effect is especially strong.

Ice Diving is an extraordinarily visual and immersive sound journey, with a wonderful balance between atmospheric/drone elements, and more musical or rhythmic components.

Dave Fulton – Of Those Things Left Unsaid

things left unsaid
Of Those Things Left Unsaid is the first new solo release in over a decade from Dave Fulton, former member of electronic group Dweller at the Threshold (who released Ouroborus on Hypnos sublabel Binary in 2001. Fulton also released The Range, a collaboration with multi-instrumentalist Giles Reaves, on Binary in 2007, and two collaborations with Hypnos founder M. Griffin, The Most Distant Point Known and Imprint.

Incorporating a blend of rich analog and modular electronics along with digital synthesizers, plus piano and guitar, Of Those Things Left Unsaid evolved over the course of thirteen years’ creation. Composed and recorded by Dave Fulton, with contributions from Jamie Haggerty and Giles Reaves, a completely organic approach to recording was taken, using a variety of vintage electronic synthesizers and early 8 & 12 bit samplers. While much modern electronic music is primarily sequence-driven and quantized to a degree that renders the music more robotic than human, Fulton tried to use computers only as recording the performances, not driving them.

Perhaps Fulton’s most emotive and personal work, Of Those Things Left Unsaid should not only appeal to existing fans of Fulton’s earlier solo and collaborative works, but also those listeners seeking a blend of retro and modern electronic sounds with a smooth musicality.


“Dave Fulton’s latest sonic collection is pure lush, analog goodness. Moody, blissed-out synths weave, stereo-pan and bubble through serene, haunting soundscapes. The perfect emotive-yet-chill soundtrack for driving, meditation, running along the Coast on a cold, rainy morning or working on that unsolved murder mystery in the dead of night.”
–Andy Fish


Weekly Sale Item: Various Artists – Andrew Liles, Resonant Drift, Rod Modell, etc.

Everyone seemed to like last week’s various artist picks so well, we’ve decided to do another round of them! Sale prices good through November 8th or while supplies last.

Resonant Drift – Full Circle –Regularly $9.99, right now just $5.99
full circle

“Resonant Drift return, bearing new worlds of sound that vary from wide, windswept desert-ambient vistas and hushed, cloud-shrouded meditation chambers to uncertain, grit-choked places better left unnamed. Tone and texture chart the course on Full Circle, a journey that goes as far inward as it does out, making it a trip worth taking over and over.”

Listen to the beautiful track, “And Then The Rain” from this album HERE.

Dale Lloyd – Semper
–Regularly $7.99, right now just $4.99

“Semper is Alluvial’s first release of 2005 and is co-released with the and/OAR label. Seattle-based composer Dale Lloyd has collaborated in the past with people such as Yannick Dauby and Michael Northam, and has had work released by labels such as Bremsstrahlung Recordings, Staalplaat and Sirr.ecords. For the past 5 years, Lloyd has played a quiet but strong role in bringing new life to the notion of “environmental recordings as sound art” (or “Phonography”) with the highly regarded compilations produced for, as well as other projects and activities.

The first piece entitled “Semper”, is mostly a quiet and contemplative work, yet it contains sprawling builds from near silent ebbs and flows to thunderous crescendos. Also heard are delicate field recordings and found objects transformed and woven into intricate electronic tapestries. The second and shorter piece titled “Magnesian Recumbit” is a slowly building ambient work with a unique sense of melancholy that makes for a perfect ending.

“For me, Semper basically illustrates a series of self-searching questions (with subtle epiphanies) followed by a somewhat enigmatic resolve or ‘answer’, of which I believe we have all encountered in our lives in one way or another.”
(Dale Lloyd)

Surely, it is one of the strongest works to come from both Lloyd and Alluvial.”
(Kevin Wienke – Alluvial Recordings)

Andrew Liles – All Closed Doors
–Regularly $9.99, right now just $5.99

“With a title such as ‘Largactil and Dilaudin for the Soul’ this newest release from British composer Andrew Liles should give an indication of the eccentricies from where this recording is coming from. One track of stark resonating piano followed by the slow warming of the orchestra that draws you in. Once there, it tip toes, echoes and dissolves with each track re-emerging more fractured than the next. Intricacies of creaks, dull thuds, traditional instrumentation and then subtle ambient drones. ‘All Closed Doors’ could be the aural equivalent of living in a disused cupboard; dusty and empty – dark and damp. Perhaps the definitive song on the album, ‘What Never Will Be’ is a bizarre ghostly version of the ‘que sera sera.'”

Listen to the track, “What Will Never Be” from this album HERE.

Synthetic Block – Sonic Approach
–Regularly $8.99, right now just $5.99

This Hypnos/Binary debut by Synthetic Block blends “classic EM” elements with a more modern approach. It was mastered by Dave Fulton (who also played on one track) and is sonically amazing. One of the best things about running a small record label is the opportunity to help expose more people to artists like this one, whose work merits much wider exposure. Give it a listen!

“I cannot believe that there is not more feedback regarding “sonic approach”. upon receiving my radio promo the first note on track 1 totally captivated me. block approaches sonic sounds immediately and never slows. and, of course, fulton pulls some tricks. “square triangle” is my top playlist pick because of it’s well defined and energetic change in tempo and musical registration. all tks are getting air and well deserving of such. are you guys collaborating with the russians? are you on the same interstellar link? very few composers are in touch with the same deep grooves and beats (nearly industrial), but very melodic. not wanting to pass judgement, or anything, but “sonic approach” & “fields” are two HYPNOS/BINARY tops. thank you my friends…” –Flyingdude, WAWL Radio host, on the Hypnos Forum

“Jonathan Block is a poet in every sense of the word. Recording as Synthetic Block, he creates beautiful verse with his synthesizer and manipulations. Sonic Approach, his third release and Hypnos debut, is his best work by far. He has always combined deep drones and vast atmospheres with Berlin school sequences and rhythms. He does it again with an intense flair and smooth segues. While there are eight tracks on this disc, Block’s techniques and style treat the set as one long-form (58-minute) composition. Dave Fulton, of Dweller at the Threshold, mastered and did the post-production engineering. He also contributed some analog synth work. This CD is a masterful example of the Binary mission — excellent retro e-music with modern digital enhancements. It will appeal to fans of Rudy Adrian, Paul Ellis, Saul Stokes, and Ron Boots.”
–AMG, reviewed by Jim Brenholts

Listen to MP3 clips from this album HERE.

Bruno Sanfilippo – Subliminal Pulse
–Regularly $11.99, right now just $8.99
subliminal pulse

“Veteran Electronic/Ambient composer and recording artist Bruno Sanfilippo has been creating and releasing impressive soundscapes since 1991. Now the internationally established instrumentalist delivers his first official US release, Subliminal Pulse, a tranquil and hypnotic ambient musical tapestry comprised of delicate melodies, layered electronics and synth textures that seem to come from deep within a dream.”

Listen to the track, “Slipped Time” from this album HERE.

Rod Modell – Vibrasound (The Deepchord Years 1999-2004)
–Regularly $13.99, right now just $8.99

Rhythmic pulses, vibrating and echoing in deep-orange and shades of red. An archival collection of more atmospheric loops/tracks from Deepchord Records (Detroit Michigan). All previously released on 12-inch vinyl, and now completely out of print in vinyl format. This is the first time these tracks have appeared on compact disc. Lo-Fi dub-techno from Detroit.

Listen to the track, “Forester Park” from this album HERE.

Aspectee – Morben
–Regularly $7.99, right now just $4.99

Influenced by the human condition and the human experience, by humanity’s fortune and misfortune, the soundscapes of Aspectee’s “Morben” are varied, ranging from ambient to dark ambient to experimental, though the sounds remain forever blackened, and the moods heavy.”

Presented to you in digipak format, limited to 500 copies. -First Fallen Star

MORBEN creates tense atmospheres through opposing sounds, deep drones, but has also very cinematic elements. The opening of the album, ‘Stuhlmann’, sounds very grand and has a very cinematic quality. ‘Dianthus’ is etched in very intense and deep drone and has very interesting sound design. ‘Newin’ is a very great soundscape with a more experimental structure. It has some nice orchestral elements and a very mystical sound. An amazing sound experience! ‘gotheDrStone’ continues this way, but has a more angelic feel to it. ‘kince’ is a great emotional piece that has a kind of sad element to it, but also feels uplifting in other ways. Towards the end it gets a more raw sound. It has some very dual feelings that make this song very interesting to listen to. ‘aspectee’ starts very raw and abstract, but halfway turns more deep and cinematic. ‘betho et’ reminds me somewhat of the netherworld soundscapes of Vestigial. It’s a very rich soundscape that is also very immersive. ‘leanon’ is also a very deep voyage into the underworld, where all things hidden seems to show themselves. The album ends with ‘unwic’, which is a very soothing piece of music. It’s this conclusion that gives the whole album its emotional heart.

Aube – Metal on Metal (2CD)
–Regularly $11.99, right now just $8.99

“Alchemical secrets and the magic of metallic materials, of their acoustic characters, and the possible technological manipulations on the sounds that are possible to pull out… Resonances, mantric vibrations, hypnotics bell rings, sounds of cymbals, plates, rings… Tubular elements are used or more ordinary and simple metallic objects of common use are bowed or scraped. Aube acquires the sounds of transforming essence… decomposing and recomposing the shape… Fragmenting, expanding,stratifying and elaborating the sonorous matter, constructs complex wafts, resounding weaves carpets, interlaces thin threads of metallic tensions, crumbles and agglomerates acoustic particles, leaves to flowing, reverberating, harmonic drones…” -Silentes

Listen to a track from this album HERE.

Weekly Sale Item: Various Artists – Robert Rich, Saul Stokes, and More

We’ve got some great deals this week on selected items by various artists, and the low prices are good through November 1st!

Robert Rich – Temple of the Invisible –Regularly $7.99, right now just $5.99

First new Rich work since Seven Veils, this one uses entirely “natural” and acoustic sound sources to weave an exotic and hypnotic sound tapestry. Features performances by Forrest Fang, Tom Heasley, Sukhawat Ali Khan and others.

Temple of the Invisible finds Robert Rich at his most organic, eschewing the trappings of modernity or stylistic boundaries. Using only simple acoustic instruments, Rich crafts a document from a distant time and place, a lost culture with musical underpinnings that reach from Java to North Africa, from Medieval Europe to the Tibetan Plateau. “A music-scape that oozes with primitive life, as if pulsing from the swamp itself. . . A time traveller searching for the aperture that looks back to Eden.” –San Francisco Chronicle

Listen to the track, “Entranon” from this album HERE.

Robert Rich – Calling Down the Sky
–Regularly $7.99, right now just $5.99

Robert’s second self-released disc (following last year’s well-received Temple of the Invisible) is a recording of a 2003 Denver concert — ambient and atmospheric Rich sounds, similar to the Humidity release on Hypnos.
This 74 minute live recording documents an entirely improvised concert in Denver CO, on Saturday July 26, 2003, with an intimate audience who came prepared for anything. With a thunderstorm forming outside, breaking to a peak mid-concert, this improvisation refered directly to the recent weather I had experienced on tour that summer. Below are two journal entries that might flesh out the meaning of the cover artwork, visually interpreted by John Bergin.


Tuesday June 10 – East of Oklahoma City

I’m watching a giant storm cell bubbling to the south. My position eastbound on I-40 is perfect, at the edge of the storm avoiding danger, far enough away that I can observe the shape of the towering cumulonimbus with its top sheared off into ice crystals high up in the stratosphere; yet close enough to study the battleship green shelf of mammatus clouds overhead to my right, a clausterphobic ceiling textured underneath with curling roiling bruise-colored tubules, not unlike giant intestines. My sense of distance gets boggled by the size of this storm, on the horizon of a flat land, possibly centered 100 miles away, yet with tendrils that drop an occasional pocket of heavy rain and lightning on the highway in front and behind me. I’m mesmerized by the power and danger that this living entity represents, enchanted by its awesome beauty.

Monday July 21 – Tornadoes in Southern Michigan

Driving southwest to Peoria I hit the most intense weather I have seen yet on this trip. Blue-black clouds up ahead, deep opaque blurs underneath, telling me I’ll hit heavy rain. I tune into the radio news, and listen to tornado warnings for the two counties north of me, with a tornado moving southeast. It’ll probably miss me, since I’m driving west, but the weather looks big.

The 18 wheel semi in front of me slows down as we approach a wall of rain. The driver turns on his hazard lights, and for 20 minutes those blinking red lights provide my only clue about the road. We’re driving about 15 miles per hour through an airborne lake. Water hits the car so hard it’s deafening, and the wipers prove useless. I feel like I’m driving a submarine. Common sense would have suggested I pull over and wait for the storm to pass, but I figure I’m OK as long as the truck in front of me stays on the road.


From the Liner Notes:

Heavy weather tailed me during Summer 2003, as I circled the country giving concerts. From wind storms in the desert to tornadoes in the Midwest, flooding in the East and lightning on the high plains, the sky exerted its influence.

All came into focus during this improvised house concert in Denver, a journey joined by a circle of 26 friends. A dialog between music and the elements took form like a shamanic exchange, an act of supplication in respect to stronger forces, calling down the sky to return a gift from the clouds.

Listen to the track, “Erasing Traces” from this album HERE.

Robert Rich – Open Window
–Regularly $7.99, right now just $5.99

Piano Solos

While better known for his electronic textures, Robert Rich often includes piano solos during his live concerts. Open Window documents his improvisational approach to acoustic piano, with influences ranging from Alan Hovhannes, G.I. Gurdjieff and Erik Satie to Terry Riley and Keith Jarrett.

Rich chose to record Open Window on his own 1925 vintage A.B. Chase baby grand, an instrument with a more intimate sound than a full-size concert piano. Over a period of two months, he kept a daily schedule of piano improvisation, with microphones set up to record at all times. The pieces selected here reflect special moments during this concentrated period. These were the moments when effort vanished, and the music seemed to write itself.

Listen to the track, “Insular” from this album HERE.

David Tollefson – Near and Far –Regularly $7.99, right now just $4.99
near and far

David Tollefson, perhaps best known as half of Viridian Sun, also received much praise for his 1997 solo debut on Hypnos entitled NEW EYES ON THE UNIVERSE. Like his debut, NEAR AND FAR is at times both musical and dramatic, while at other moments unabashedly experimentalist in its approach.
Every sound on this CD was made with an electric guitar, though many will doubt this claim, as with Tollefson’s previous work. Whether or not your consider yourself a fan of “guitar music,” you’ll find an astonishing sonic variety here, as well as an unquestionable breadth of artistic reach.

“Top 10 Albums of 2000.” –Pretty Bruises Magazine

“Top 10 of 2000….Three Hypnos releases in my top ten… any question what label is releasing the best ambient music these days?” –David Bass on the Ambient Music mailing list

“David Tollefson is an experimental guitarist whose recording debut began as a member (along with Hypnos founder and solo recording artist M. Griffin) of Viridian Sun on 1997’s ambient/experimental work, Solar Noise. Tollefson’s solo debut, New Eyes on the Universe, was released in the following year to wide critical acclaim. Viridian Sun’s 1999 second release, Perihelion, went deeper into abstract sonic expressionism.

His new release is a brooding, contemplative collection of eight compositions that drift deep into the listener’s stream of consciousness. It contains cinematic atmospheres and dark abstract rich textures, both detailed and organic.

It is a collection of some of the most beautiful haunting music I’ve ever encountered. It is one of the most thought provoking and significant musical statements that Hypnos has released to date. Near and Far brims with possibilities for the future, pushing electronic synthesis and acoustic manipulation deep into forbidden lines of enquiry.

Tollefson’s triumph here does not lie merely in his technical prowness, but in the emotional aspect of his music. The tracks that make up Near and Far are compelling and moody, displaying Tollefson’s talent for traversing the space, ambient, and experimental genres with ease and grace” –Alternate Music Press reviewed by Ben Kettlewell

Listen to MP3 clips for this album HERE.

David Tollefson – New Eyes on the Universe
–Regularly $7.99, right now just $4.99

Tollefson explores the use of treated electric guitar as a sound source for unusual ambient textures and rich sonic atmospheres.

“Best Release of 1998.”
–Phil Derby / Wind and Wire Magazine

“Top 10 of 1998.”
–Chuck VanZyl, Star’s End Radio, WXPN, Philadelphia

“Top 30 of 1998.”
–Eric Meece / Mystic Music / KKUP Radio

“An exquisite collection of moody, minimal and very effective pieces, beautifully sequenced and with the right pace of movement and choice of soundcolors. Excellent.”
–Vidna Obmana

“Extremely high quality guitar ambience from one half of Portland’s Viridian Sun, David Tollefson. ‘Empyrean’ has a tentative, threatening air, a kind of looped and progressively virulent agitation that fades away before possible violence; ‘Phase (Travel)’ is a somber, swirling ride through the Milky Way; the title track also cruises the heavens, the intermittent subterranean machinery pulse of the engines drawing focus from the stars to the tenuous confines of the space ship; ‘Painted Sky’ has an anxious, subdued turbulence quality–Van Gogh’s Starry Night (on Mars). My favorite track, ‘Palomar,’ flows from dark crystals reverberating by sunlight, to winking stars shimmering by moonlight, to clouds of lightly distorted, ominous radiance that pass in front of both–an amazingly textured stream of consciousness journey that holds within it’s multifaceted layers: wariness and wonder, caution and awe. What really makes this work is the use of the guitar as a conduit for David’s broad sonic trek through the heavens, through the deceptively gentle, seemingly familiar, to the subtly unearthly; in that respect, there are only a few moments on this disc where it is noticeably a guitar creating the music. Not unlike Maeror Tri, though the songs are shorter, more compact (more appropriate for the attention deficit 90’s?). Well worth your attention!”
–John C. Smith / Outburn Magazine

Listen to MP3 clips from this album HERE.

Saul Stokes – Outfolding –Special low price of $4.99

The primary sound sources on all Saul Stokes recordings are several vintage-style analog modular synthesizers built by Stokes himself. But don’t mistake this to mean Stokes is working in a retro or “classic E-music” style, because this is definitely not the case. Perhaps no artist in the ambient/experimental music scene possesses a sound as distinctive, fresh and modern.

Those who have seen Saul’s much-acclaimed live performances in Philadelphia during the past year can attest to his challenging and dynamic sound. It’s world music for the mid-21st century, way ahead of its time. Ambient atmospherics blend with riveting electronic experimentalism, guided by an artistic savvy and grace all too rare in this tech-oriented genre.

“Significant Releases of 2000 list.”
–Star’s End Radio host Chuck VanZyl

“An understated, clever set of rhythmic and/or floating ambient pieces. Abstract, dry, and intelligent.
Top 4 of 2000 (#4).”
–Hannah M.G. Shapero on

“Quite recently I have had the distinct pleasure of hearing Saul Stokes’ “Outfolding.” Absolutely brilliant piece of work.”
–Jeff aka Mxyzptlk, on the Ambient Music internet mailing list

“Saul Stokes is a very characteristic artist specialized in the electronic ambient/experimental music. In his recordings he tends to use primarily, as the basic sources of his sound, the modular analog synthesizers as well as other electronic instruments he himself builds, yet his music possesses a modern touch, fresh and daring indeed, masterfully managing the technology at his disposal. A supporter of live performances, his sound is challenging and dynamic. His music flows, evolving, never losing its intrinsic beauty, deep, hypnotic, with electronic undercurrents that lead to atmospheres full of a soft energy, at times with space or cosmic brushes, and always having in mind the exploration of new soundscapes with a creativity that can hardly be surpassed.” –Amazing Sounds, MONTSE ANDREU

Listen to MP3 clips from this album HERE.

Saul Stokes – Abstraction
–Regularly $6.99, right now just $4.99

First release by Saul Stokes on the Green House label. Combines never- before-heard live performance elements into a soundscape collage — a very fresh sound that’s different from his Hypnos releases…. more “abstract,” as hinted by the title.
Says Stokes: My latest release “Abstraction,” fuses the best of 3 years of concert recordings with my latest multitrack atmospheric work. From Philadelphia to Seattle, this album is a fireball of ambiance. “Abstraction” isn’t a noise collage, or easy listening ambient fluff. It is an incredibly listenable, wildly fresh and inventive continuous play album.

“Electrical appliances today are taken for granted by our culture, but not by Saul Stokes. Dubbed everything from Sonic Innovator to (in jest) “Popular Science’s Electronic Musician of the Year”, Stokes stands out in his field by having designed and built his own array of museum quality electronic instruments. This achievement enables Stokes with precise control over his original sounds and textures from the AC plug all the way to the PA speakers. But this is about more than just wires and solder. While Stokes demonstrates unprecedented real-time control over the output of his gear, inspiration for his music comes from an outlet on a more human scale. The intimacy of the concert stage is where Stokes transforms his craft into art. The immediacy of the moment, the consistent pattern of change and the spark of inspiration all act upon Stokes as he produces continuous currents of sound for a spellbound audience. At these rare and wonderful events, harmony takes a backseat to timbre as determiner of the emotional content of a piece. Constantly adjusting the tonal qualities of the composition by ear, the direction of a piece can change at will as the schematic of the performance is updated and changed by Stokes moment to moment. Although faded from his consciousness, the audience plays an important role in his music too. According to Stokes, these compositions cannot be realized outside the intimacy of the live environment. The new album Abstraction, compiles highlights from several such occasions. Each track is born out of vision, craft and spontaneity and strung together one after the other to form a virtual concert. The album flows smoothly through a contoured electric landscape of distinctive pads, drifting pitches and atonal synthesizer effects. Abstraction is a cerebral album that seductively draws the listener in, leaving you to find your own way out.” – Chuck van Zyl/STAR’S END

Listen to the track, “The Twin Worlds of Abstraction” from this album HERE.

Saul Stokes – Villa Galaxia
–Regularly $8.99, right now just $5.99

Always one of the most popular artists on the Hypnos and Binary labels through the years, Saul Stokes is also one we’ve been very proud to “launch” into the ambient/electronica world. The first new work by Saul Stokes on Hypnos/Binary since Fields in 2005, this is certainly one of the most hotly-anticipated discs we’ve released in years.

Saul Stokes says: Stokes’ 8th solo album to date, Villa Galaxia is a hyperfusion of sonic exploration seeded in Stokes’ seminary music past, while arcing into a completely new genre defining collection of songs. Stripping away any notion of ambient drone or chill out labeling, Villa Galaxia surfs its own ocean of contemporary electronic music culture with eccentric listenable experimentalism wrapped in catchy lyrical orchestras of electronic fireworks.

A Produce – Reflect Like a Mirror, Respond Like an Echo
–Regularly $9.99, right now just $5.99

1997 special edition (remastered, with extra tracks) version of 1992 release.

“Each piece is polished and deep, an evocative marvel inspiring an alert state, sometimes a let’s-go-bye-bye state in others…. This heartfelt and intelligent creation is a worthy successor to Harold Budd/Brian Eno’s Plateaux of Mirror.”
–NAPRA Journal

“Absolutely entrancing and mood-seducing, this is active ambient music, and, although electronically derived and motivated, results in an abundancy of lush, warm sounds that invite, beckon and entice. Keyboardist Ruben Garcia assists on the title track and the achingly beautiful “Clear Pools,” where the dark hues of A Produce’s electronics mesh seamlessly with Garcia’s striking digital chords. Captivating.”
–i/e Magazine

“This fascinating CD combines the best of Eno, Budd, Hassell, Roach, Rich, and Borden. The result is a meditative trance journey the like of which I haven’t heard since Michael Stearns’ Planetary Unfolding…. an utterly sublime tour of outer and inner space….. This CD covers a lot of ground and will cross many listening genre boundaries, as is evidenced by its reviews in all the other alternative music publications.”

“Eno/Hassell fourth-world ambiance and Harold Budd styled keyboard atmospherics….. The most distinctive tracks are the last three, all of which have a strong invented ethnic flavor….. Other tracks are nicely (and even beautifully) done, but have a more generic meditative quality which hovers somewhere between background and foreground.”
— Option

“Overall, this creation is haunting, almost unsettling, probing hidden mysteries of the soul. Many cuts are very long, and very hypnotic, with an organic shimmering sound like random molecular movement. Its otherworldly ambiance brings to mind the devic kingdom. Great for deep journeying.” Heartsong Review

“Well away from the melodic-based Eno ambient explorations, this is much moodier and strange music where often the sounds are unidentifable and the mood elusive. A kind of uneasy ambient music, I suppose, that reveals itself more with each listen.”
–Audion (England)

Listen to MP3 clips HERE.

Listen to the full title track from this album HERE.

A Produce – White Sands
–Regularly $9.99, right now just $5.99

“A Produce has done it again with his best work ever, White Sands. This is one of those recordings that gets better with each listening. Is it because it’s timeless, trance inducing, yet ‘alert’ music? That rare moment of clarity when one is quiet yet very ‘alive’? Or is it a reflective, sonic snapshot of an at peace artist? A Produce, I feel, is on to something.”
–Dwight Loop, Santa Fe Sun

“This is a contemplative, diverse mix of slow ambient synthesizer places that compare favorably with similar works by Brian Eno, Steve Roach, Aphex Twin and Sati. The CD flows well even though it contains a considerable variety of sounds, and merits a serious listen. There is something here for every New Age/ambient/space music enthusiast– electronic New Age, tribal techno, meditative, ambient and sombient pieces, as well as works falling between definable genres, making this one of my favorite recent releases of ambient music by a single artist.”
–New Age Voice

“A Produce has consistently turned out albums of highly evocative and frequently very beautiful music which has on occasion been referred to as ‘trance’ music but would more accurately be described as ‘sound paintings.’ Each place evokes a place, a natural environment, a state of being. The composer is subtle in his use of eclectic resources that span the techno-tribal spectrum…. The White Sands anthology is a perfect introduction to this talented artist’s oeuvre.”
–P-Form Magazine

Listen to the track, “Clear Pools” from this album HERE.