Label Description: With Konstellationen, Camilla Pisani explores language as a fluid and universal force, extending beyond words into sound, gesture, symbols, and even the movements of the stars. At the heart of the work lies rhythm, the fundamental principle linking music, astronomy, and human perception, transforming disparate forms of expression into a unified creative language.
Through layered arrangements, hypnotic pulses, and suspended atmospheric textures, Pisani creates a series of immersive sonic environments where rhythm becomes more than structure, evolving into a vehicle for emotion, transformation, and connection. Delicate yet powerful, the compositions unfold as dreamlike spaces suspended between intimacy and vastness.
Expanding beyond the purely musical, Konstellationen embraces a multidimensional artistic approach in which sound, text, and imagery exist in constant dialogue. Each composition is accompanied by writings developed by the artist over several years, offering poetic entry points into the work and enriching its narrative depth.
Conceived as both a personal reflection and a universal gesture, Konstellationen presents electronic music as a spiritual language, one capable of transcending cultural boundaries through shared sonic experience. Cyclical rhythms echo celestial movements, natural forces, and collective human experience, inviting listeners into a world where perception, imagination, and communication converge.
CD Edition of 200 copies in 4 panel Digipak with 16 pages Booklet.
Mixed and mastered by Matteo Gualeni at @c.o.s.a.studio Teaser by Rosalia Giuliano at @studiogleba
Label Description: “Nostalgic…dreamy. The sweet sound of teenage dreams made real.” Electronic Sound
“Stunning, oneiric, and otherworldly.” Bandcamp Daily
British-Maltese musician James Vella – founder of Phantom Limb – reissues his 2006 debut solo album of gentle, autumnal ambient-electronica wake:sleep for a special 20th anniversary edition featuring three previously unreleased tracks from the same period.
“I was overjoyed to sign my first ever record deal, back in 2006,” Vella reminisces. “I was a dorky teenager, writing songs in my bedroom and, later, university halls when this record came to be. I had published a few tracks on early music platforms like MySpace and mp3 dot com but when Dynamophone Records (a label! with a website!) told me they were listening, I was ecstatic.”
Created on a laptop part-purchased with his small salary as a clerk in a local record store (and with help from his parents, on the promise of using it for school and university work), wake:sleep is a surprisingly developed body of work. Over a gently diminishing palette, the record expresses the passage of falling asleep, opening with organic and flickering textures and ending with amniotic washes of ambient bliss. It was dedicated in full to Vella’s girlfriend at the time: “these songs are love songs” reads the inscription on the (long sold out) original CD. Catching the ear of nascent but momentarily prosperous San Francisco label Dynamophone Records, the album was released in June 2006, Vella still then a teenager, and garnered some recognition in music press at the time. A year later, Vella’s band yndi halda released their debut album and both projects became significantly more visible.
Opening “I Am To You” is made from dulcet synthesis, recordings of real-life moments, clicky IDM-inspired beat programming, and sweetly melodic acoustic instrumentation and voice. It sits alongside early electronica in its delicate micro-beats and blurring of organic with digital. Spotify hit “Leanna is a Quiet Meow” centres on a repeated harmonium motif and a voice pedal. Its combination of serenity and unexpected timbral playfulness has earned over a million plays on everyone’s favourite DSP.
Later in the record, “The Sleepers” acts as a pivot. Beginning with acoustic guitar, angelic pads, and home-recorded drumkit, it eventually gives way to a fizzing deconstruction of the same raw materials, now made hypnagogic and transportive where it was rhythmic before. After this, the album changes dynamic. It lulls, softly, into near silence with the gargantuan 34-minute closer “The Shipwreck” and newly added companion piece “The Lighthouse”.
Three tracks are added to this special anniversary edition of the album: “On Writing”, “Rosalie Sings”, and the aforementioned “The Lighthouse”. These works were composed at the same time as the remainder of the album, but not included in its original track sequence. They have remained unreleased until now.
Vella’s A Lily project was most recently seen with early 2024’s acclaimed Phantom Limb debut Saru l-Qamar, in which he married archival recordings from his native Malta with dulcet new arrangements for hardware synthesis. Twin releases Sleep Through the Storm and Nocturne Thunder were released on The Ransom Note’s Bytes label in 2020 and 2022 respectively. These two releases – and Saru l-Qamar – see Vella return to synthesis and electronic instrumentation following his band-orientated previous album of 2018. Vella is also a founding member of the highly recognised six-piece yndi halda, and has run the Phantom Limb label since its inception in 2017.
Label Description: Following the jazzy library vibes of 2023’s collaborative Dolphin LP with Greg Foat and Moses Boyd, the venetian maestro Gigi Masin returns to the ambience for which he is renowned, with Movement – his first solo full-length since 2020’s Calypso, and his Sacred Bones Records debut. Fuelled by creative reinvention and rhythmic motion, he moves seamlessly between melancholy electronic notes, technoid robotics, groovy liminal cloudscapes, and fathoms-deep ambient aquatics.
Since early beginnings in obscurity, his 1986 debut album Wind slowly built an organic following on late night radio, later bolstered when “Clouds” was sampled by artists like Björk, Post Malone, and more. He now counts Oneohtrix Point Never, Devendra Banhart, Caroline Polachek, and the late Kenny Wheeler as fans.
The new album Movement reflects on Masin’s place within the pantheon of ambient masters, his ongoing artistic ambitions, and his aspirations for a scene which he’s seen grow exponentially from humble beginnings. The LP is also an ode to literal movement, both in nature, and in human physical expressions to sound. Masin strived to make ambient music for movement, not in the standard dance music sense, but “dynamic music, with a beating heart full of love.” Reconfiguring ambient’s association with solitary listening and cold academia, Gigi went outwards, channeling something somatic that connects with the body, not just the mind.
“Bed on Mars” sets the titular tone for Masin’s renewed curiosity, with cosmic atmospherics evoking the sensation of waking up on a new planet unafraid, whilst the poignant synthesized trumpet and suspended liminal limbo of “Lost” feels like floating adrift in an unknown sea. Delving further into off-centre beats is the celestial techno funk of “Deception Dance,” which sounds like Sun Electric jamming with Carl Craig and Kraftwerk. The bright beaming light of “Golden” radiates warmth, sounding like the bossa nova brother of Göttsching’s Balearic classic E2 E4.
Despite the passing of his wife after a long illness, and losing his musical archive in a flood, Gigi remains pure-at-heart and positive, pouring his soul into the pursuit of beauty. The latest in a slow starting but steadily building career, Movement sees Masin continue to secure his seat at the table of true ambient greats.
Label Description: These tracks are mastered in such a way as to allow you to play through the whole set as if it was one experience. The tracks in the middle of the set are mastered quieter, so that you can sleep during your travels, if you wish.
You are on a journey to other worlds, using wormhole navigation and cosmic guidance. You’ll go through parallel universes. A lot of the time, you will need to sleep in order to maintain sanity and these sounds can accompany you if you’ll allow them in. They’ll comfort you, remind you…
There will be echoes of your past lives, encounters and tangential moments. Darkness, beauty and noise will be your companions…
A mangled communication burst…a smattering of spy transmissions…broken broadcasts and ethereal interludes from an Earth long since abandoned by a stupid and brutal race. A race only occasionally capable of connecting to the cosmic wheel that gives our souls energy.
These recordings have been composed, sequenced and mastered in such a way as to allow for periods of hazy dreams, deep sleep, time displacement and finally, awakening. Please use them as you see fit – perhaps as a toolbox for your own sleep travels and dream experimentation.
Music composition and arrangement by Andrew Lagowski 2014-2018 at Studio FWD. Artwork by Knut Enderlein. Mastered by Leaf Audio.
Andrew Lagowski is a British musician and producer who has been active in the electronic music scene since the 1980s. He has released a diverse range of music under various aliases, including Lagowski, Legion, S.E.T.I., Clans of the Alphane Moon and Project Ghost. Lagowski’s early work focused on experimental and industrial music, with albums such as ‘Nadir’ and Legion’s ’Die Datenschleuder’ showcasing his interest in exploring unconventional sound sources and production techniques. In the early 1990s, Lagowski began to move towards a more techno-oriented sound, releasing an influential series of 12” singles on the Chromium Industries label. These helped to establish Lagowski as a key figure in the techno and electronic music scenes. His musical output has continued to evolve and expand over the years, with recent releases such as ‘Secrets of Numbers’ and S.E.T.I.’s ‘Sleep Environments for Interplanetary Travel’ showcasing his continued experimentation with sound and production techniques. Throughout his career, Lagowski’s music has been characterised by its innovative use of electronic instrumentation, as well as his willingness to blend and cross-pollinate genres. His diverse musical catalogue of 60+ albums and 10+ 12” singles has earned him a loyal following and cemented his place as a respected and influential figure in the world of electronic music.
アンドリュー・ラゴフスキーは、1980年代初頭から電子音楽シーンで活動しているイギリスのミュージシャンおよびプロデューサーです。彼はLagowski、Legion、S.E.T.I.、Nagamatzu、Clans of the Alphane Moon、Project Ghostなど、さまざまな別名で多様な音楽をリリースしています。 彼の初期の作品は実験的でインダストリアルな音楽に焦点を当て、S.E.T.I.の『Knowledge』、Lagowskiの『Nadir』、Legionの『Die Datenschleuder』などのアルバムでは非伝統的な音源と制作技術の探求が表れています。 1990年代には、ラゴフスキーはよりテクノ志向のサウンドに移行し、Chromium Industriesレーベルでの一連の影響力ある12インチシングルをリリースしました。これらは彼をテクノおよび電子音楽シーンで重要な存在として確立するのに役立ちました。 彼の音楽は年を重ねるごとに進化し拡大し、最近のリリースである『Secrets of Numbers』やS.E.T.I.の『Sleep Environments for Interplanetary Travel』では、音と制作技術の実験を続けています。 ラゴフスキーのキャリアを通して、彼の音楽は電子楽器の革新的な使用と、ジャンルを融合・交差させる意欲によって特徴づけられています。60以上のアルバムと10以上の12インチシングルからなる多様な音楽カタログは、彼に忠実なファンを魅了し、電子音楽の世界で尊敬される影響力ある人物としての地位を確立しています。
Label Description: After a period of quiet, Golden Ratio Frequencies record label is delighted to mark its return to physical releases with KURAMA from French experimental musician Agathe Max.
Best known for her exquisite, powerful, and deeply emotive work as a virtuoso violinist—across projects including Abstract Concrete (with Charles Hayward of ThisHeat), These Towns (UKEA, Will Glaser) Mésange (God Unknown Records) And Kuro (Rocket Recordings)—KURAMA sees Max step away from strings and into the realms of experimental electronics, ASMR, and healing music.
Named after the Japanese mountain regarded as the birthplace of the energy healing practice of Reiki, KURAMA unfolds as an eight-track journey through the body. It serves as a musical interpretation of the hands-on healing practice, of which Max is a trained practitioner, whilst the act of making the record became a form of self-regulation in itself.
Max explains: “All tracks were composed in the morning, when I would wake up around 7am, often after a series of vivid dreams, in the first light of the day and with the clearest mind as possible to channel the Reiki energy.”
The first track, Space Transformer, is based on ASMR and therapeutic tuning forks, with water and fire elements, crystals and minerals combined with the frequencies of the tuning forks C 256/G 384-C 128-C 64.
All the other tracks are following the solfeggio scale from the crown chakra, third eye, throat, heart, solar plexus, sacral, root as followed 963hz, 852hz, 741hz, 639hz, 528hz, 417hz 396hz.”
This attention to detail may not be immediately obvious, but it is felt, subtly resonating through the body in a series of calming sound experiments. There’s a playful innocence at work, wrapped in healing intention, full of soft pads, arpeggiated synths, and sensory tingling textures, all sitting alongside unexpected touches, such as the purring of Max’s late feline companion, Lemmy. The result evokes echoes of 80s New Age healing cassettes, the environmental Kankyō Ongaku of Japan (think Hiroshi Yoshimura), and contemporary Nu-age minimalism in the vein of Green-House.
Ultimately, KURAMA is a gentle offering, thoughtfully created with deep care and intention, as Max concludes:
“I hope the listener will feel the connection I have implanted in my compositions. They all came from the deepest part of my heart, channeling the healing power of music.”
Physical copies are realised on pro-dubbed C40 lilac marbled cassette tape made from recycled plastics, with a full-colour double-panel inlay and housed in cases UV-printed with the Golden Ratio spiral, limited to just 50 copies.
Written, recorded and produced by Agathe Max during 2020/2021. Artwork – A P Macarte
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.
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
Music For The Rest Of Us 