Label Description: Collected together for the first time, this five-CD box set brings together the various works from the Music For Real Airports project.
The collection not only includes Music For Real Airports, Music For Airport Lounges, and Music For Dead Airports, but also features a substantial amount of new, unheard material, alternate mixes and live recordings taken from our archive. This second box set reflects a long and uneasy relationship with airports.
After years spent sitting in airports, travelling to and from gigs, we have seen past the polished surfaces and the promises of comfort and efficiency. They present a controlled fiction, a managed calm built on delay, surveillance and routine.
Across five hours of music, much of it previously unheard and available for the first time, the box set confronts the modern reality of travel and the corporate structures that shape it. The music documents these spaces as they are experienced rather than as they are sold.
The over 60-minutes’ long ‚All Gates Open (Original Motion Picture Soundtrack)‘ demonstrates Blood Incantation’s diverse capability of songwriting and reveals a light, beautiful and holistic side, serving as the pastoral „yang energy“ of the dark atmosphere of ‚Timewave Zero‘
Line-Up: Paul Riedel Jeff Barrett Morris Kolontyrsky Isaac Faulk
Aspetuck has been steadily carving out a name for himself through releases on Never Late and Oslated, garnering a respected following for his DJ mixes and festival performances. Aspetuck’s latest record, Immersion, was sequenced and curated from dozens of ideas spanning a transformative few years in Griff’s life. The album is less a snapshot in time and more of a memory bank – flashes of fatherhood, loss, modular rabbit holes, late-night studio sessions, and long walks by the Hudson River with his daughter.
The emotional undertow of the album is immediate. Opener, Hit Me With Your Pet Shark, is one of the earliest compositions in the collection, created just months after the loss of Griff’s brother and during the sleepless swirl of new parenthood. Built around a single sound from Spectrasonics Omnisphere, found while rediscovering his brother’s studio gear, the track sets the tone: restrained yet searching, personal without becoming precious.
From there, The Printing Press captures the raw energy of a live jam in Griff’s upstate New York basement, running through a 1980s Tascam mixer like a lo-fi assembly line of synths, pads, and drum machines. REI, named after a spontaneous family mission to find a pink water bottle, encapsulates his knack for imprinting daily minutiae into sound. And title track Immersion- once known simply as “Tuesday 303 Jam”- emerges from a dinner break and a blender, distilling modular sketches and distorted drums into a powerful, slow-motion march.
Under, Under The Tree hits hardest. Built around a grainy iPhone voice memo of Griff’s daughter singing by the Hudson. And closing the album is Bobik, a collaborative studio session with Moon Patrol channeling the playful chaos of a close friendship and modular exploration. Named after a joke about their golden retriever and filled with alien textures from Griff’s beloved EMU XL7 gifted years ago by his late brother, it’s a fitting send-off to an album that straddles celebration and mourning with grace.
The artwork comes courtesy of Peter Skwiot Smith, whose textured analog/digital aesthetic resonated immediately with Griff’s original vision. Peter’s treatment draws on Griff’s personal photography and leans into motion, blur, and the layered nature of memory, echoing the album’s sonic tone without overexplaining it.
Mastered by Sven Weisemann, Immersion is available on blue smoke colored 12” and digital
Written and produced by Griff Fulton Mastered by Sven Weisemann Artwork by Peter Skwiot Smith Cat: ASIPV055
Label Description: Here is my thirteenth self-released album. The title was particularly guided by the opening track, and the appearance of distortions in my daily life and, I suspect, the lives of many others too. The presence of déjà vu has also been keenly felt here, although those past echoes seem more akin to prophecy and prediction.
I would describe this as predominantly ambient music, but featuring some occasional glitchy, synthetic elements.
All tracks were originally recorded between October 2021 and July 2023. Final mixing and mastering took place between November 2021 and December 2024.
I think it’s interesting to note that the number of instruments and effects used on this album is quite low in comparison to earlier releases.
Genre: electronica, ambient, glitch
Written, recorded, mixed and mastered in 24-bit audio by Whatsisname
Paramnesia and Polarised recorded and mixed in EnergyXT2.7 Extinguished recorded and mixed in EXT64beta3-mar23,EXT64beta4-jun23 Antarctica and Bathe at Your Own Risk recorded and mixed in MuLAB 9 Dissolve recorded and mixed in MuLAB 8 Lens recorded and mixed in EXT64alpha5,EXT64beta4-jun23
“Tres Muscae Consummunt Cadaver Equi Aeque Cito Ac Leo”.
We never met each other and we barely heard of each others solo music. Just a quick and brief e-mail exchange and month later we had an incredible piece of work that stands as one of one of my most graceful and elegant recordings to ever be a part of. I allowed Andrew Liles to mix and compose because I wanted to see how my sounds and noise could be utilized in a more song/musical fashion. When I first heard this recording I almost cried it was so beautiful. Once we were strangers to each other and now friends thanks to this recording. – Daniel Menche, May 21, 2013
Acoustic instrument sounds and noise by Daniel Menche. Additional instruments and electronic treatments by Andrew Liles. composition and mixing by Andrew Liles.
Mixed by Andrew Liles Recorded 2006-2007 in Portland, USA and at the Bear Den, Brighton, East Sussex, UK.
This Bandcamp release is %100 approved by Andrew Liles. Please run to his site and listen and support his work! www.andrewliles.com
A note from Cleared Our approach to making records has always involved an exchange of individually created sounds, which are joined together through live improvisation, studio recording, and the use of diagrammatic visual scores. Over the last several years, we have been interested in expanding very small fragments of these discreet pieces of audio into long-form compositions. This process has resulted in a new approach to how we build tracks from the ground up. In this particular workflow, one of us is largely responsible for supplying the main cache of sounds, and the other is responsible for the processing and sequencing of those sounds.
As we developed this kind of working relationship, the nature of the material has ventured into a palette that is more electronic. This is perhaps a result of the “collage” aspect of how the audio is arranged inside of a digital environment, as well as our continued discovery and use of new digital processing tools. We are constantly attempting to extract as much as possible out of an initial collection of audio, which typically includes field recordings, synthesis experiments, bits of acoustic instrumentation, and found sounds. In many instances the original sounds are manipulated far beyond their recognizable characteristics, which creates new and unexpected results.
We also share a great personal interest in utilizing sounds with different levels of fidelity, as we both enjoy the unique traits inherent in various recording formats. The artifacts and destructive compression of antiquated digital recorders, and the pristine qualities of modern studio technology both contain, in different ways, our own intimate relationships to such devices and spaces. We believe this is reflective of how we associate and remember sound, which is through the peripherals of its delivery. In the context of Cleared, this interest is pursued to further the poetic and gestural features of our music, and to create records that are infused with visual imagery, memory, and the physical environments in which we find inspiration.
Lustres is the most detailed and refined output of our studio practice using this method of exchanging sound material. The four tracks present a mood that, for us, is indicative of a kind of rolling celestial atmosphere. Simultaneously, there exists both a subterranean and starlit quality about the music. To us, it is not unlike the imagined terrain of a distant meteor or orbiting asteroid, alternating between the extremes of light and temperature as its path is slowly carved in a dark vacuum. It is music for contemplation and quiet reflection, as these are the states of listening we have come to greatly appreciate in our personal lives, and as the space in which we are most happy to have our music experienced. Lustres is a document being released as we near 15 years of the Cleared collaboration, and we hope it offers listeners a chapter of our story that, while rooted in our past material, advances the core discipline of what we have always pursued as our central theme: Patience.
All sounds by Steven Hess and Michael Vallera Arranged and mixed by Michael Vallera Mastered by Lawrence English at Negative Space Photography by MIchael Vallera Design by Traianos Pakioufakis
Echoes of Loneliness unfolds like an intimate film without words — a journey through light, silence, and memory. Under the name Heÿkla, French composer Thomas Méreur shapes an ambient universe where every sound becomes a fragment of story. His voice and piano, once central, now dissolve into layers of textures, distant echoes, and fragile harmonies.
The result is both cinematic and minimalistic: wide sonic landscapes filled with space and emotion, where subtle changes in tone evoke movement more than melody. Each track evolves slowly, like an image coming into focus, revealing its own poetic atmosphere — sometimes tender, sometimes unsettling, always human. Echoes of Loneliness invites the listener to drift through invisible places, to feel rather than understand, and to discover beauty in quiet transformation.
Songs of life and death, of magic and the empirical, of dreaming and waking.
Included with this album are free download codes for the following albums: ‘We have met before,’ the shadow spoke… These Are The Days of Burning Books Reflections from a Sacred Pool In the Palace of Joy Starfall Manichees and Madmen The Lord of Shades Decides Live Soundtrack #69 A Thousand Twangling Instruments
You’ll receive your codes via direct message in the Bandcamp app.
Music For The Rest Of Us 