ASIP - Deep Breakfast Mix 267

The Deep Breakfast mix series has slowly (quite quickly compared to my isolatedmix efforts!) become one of the greatest ambient-leaning mix series around, pulling in some of the finest curators and artists to grace our small world. From well-known artists and DJs to passionate music collectors, it seems Francesco, the curator, is intent on hosting a series truly meant for every corner of the ambient spectrum.

The name of the mix series gives you an idea of what to expect, and for my submission, I battled hard with what style to attempt in order to live up to the many great mixes that have been featured before. Breakfast to me - deep or not - can often be light and uplifting - chill or even dubtechno on some mornings. But similarly, a deep breakfast may also mean the edges of light at 4 or 5am… and this is more the route I went with this mix. Look out for some of the many upcoming ASIP tracks featured in this one!

Big thanks to Francesco for the invite, and I hope you all enjoy the mix.

Deep Breakfast Series · Deep Breakfast 267 ~ ASIP

Listen on Soundcloud or the ASIP Podcast

Download MP3

Tracklist:
01. swanasa - AHO (A Strangely Isolated Place, Forthcoming)
02. Hiemal - Pays D'en Haut I (Self)
03. Thomas Koner - Nuut (Night) (Force Inc)
04. Markus Guentner & Abul Mogard - While Hunting Nightmares And Dreaming For Peace (A Strangely Isolated Place, Forthcoming)
05. Ayaavaaki & Purl - Einstein-Rosen Bridge (Passage II) (LILA)
06. LF58 - Utopia (Northern Electronics)
07. Avsluta - It's Always Lonely Being Free (Self)
08. Pete Namlook & Bill Laswell - Angel Tech (Subharmonic)
09. STBL - Carousel Of Light (Self)
10. Mikkel Rev - Lauryl (A Strangely Isolated Place, Forthcoming)
11. James Murray - Grace (Home Normal)
12. Robert Rich - Summer Thunder (Self)
13. OKRAA - Canto Luminoso a la Luna (A Strangely Isolated Place, Forthcoming)

Silent State + The Fires Of Ork (Pete Namlook + Geir Jenssen)

On hindsight, Silent State began with little fanfare, given where we stand today with the label’s output over the past few years. Reissues and uploads of classic albums from Pete Namlook and the extended FAX family suddenly started to become available on Bandcamp—to everyone’s surprise—and speculation was quick to rise, given the passing of Pete Namlook many years ago. However, this situation has since been clarified by Silent State founder Nils Wortmann and he can now focus on fulfilling the label’s ambition; bringing some of the most genre-defining ambient and ambient techno albums, to wider audiences through new masters and pristine physical editions.

The next album to be reissued on Silent State, is indeed worthy of the defining tag, combining FAX founder Pete Namlook with Geir Jenssen, aka Biosphere, under the The Fires Of Ork collaboration, and one of the most revered collaborations within the early days of ambient techno.

A piece of dark art ambient wizardry, Geir’s fingerprints run deep through its mystical narration- beautiful analog textures, samples, bleeps, and foreboding atmospheres. Combined with Pete’s expansive long-form musical storytelling (also quite literally, through the distorted German voice samples), the two composers are captured working in absolute harmony, in what is undoubtedly one of the best, and finest ambient techno albums of our time.

I took the opportunity to ask Nils Wortmann, founder and operator of Silent State a few questions below surrounding the labels approach and this release. Preorder the vinyl reissue, featuring fresh mastering from Stephan Mathieu and available on 2xLP on April 5th via the Silent State Bandcamp page.

Interview with Silent State founder, Nils Wortmann., March 2024. 

How did the Silent State label begin?

Nils Wortmann: First and foremost, with pure fandom. I’m a die-hard music fan and vinyl addict and listen to Ambient music for almost three decades now. It's a sonic tapestry that envelops me, offering inner calmness, inspiration, and a sort of escape from the complexity of this world. A few months before the pandemic, I embarked on a personal stretch goal that pushed me out of my comfort zone. Inspired by David Toop's "Ocean Of Sound," I aimed to write a book in German compiling 100 ambient album reviews for beginners in the genre. During this period, I found myself immersed in Pete Namlook's intriguing music, which accompanied me through the writing process. This led me to question why no one was reissuing these remarkable albums on vinyl. Securing a publisher for the book project boosted my confidence, and I began searching for assistance to steer me in the right direction. Reflecting back, I'm grateful that I persevered and continued my exploration. In March 2021, I successfully obtained the master rights to Peter's works through a legally binding contract with the former Pete Namlook estate administrator, in alignment with his family's consent. Their approval was of utmost importance to me.

In the beginning, launching a one-man label was intimidating, and delving into all the associated tasks felt daunting. However, dipping toes into Graphic Design, Contracting, Licensing, Distribution, Royalties, Data Analysis, Marketing & Promotion, Branding, Managing finances, budgeting for projects, Sync, and the entire vinyl manufacturing process was and still is really exciting. I am still learning a lot. Yet, the most rewarding aspect that energizes me is engaging with the Ambient community: connecting with former Fax heads, new fans, artists, other labels, and contributors to these reissue projects. I am incredibly grateful for this experience, though it leaves me somewhat speechless.

Was Silent State always going to be a FAX reissue-focused project?

NW: My goal then and now remains to honor Pete Namlook's legacy and share his timeless music through physical releases. While this serves as the guiding principle for Silent State, my aspiration extends to creating a platform for lesser-known artists like my man Günter Schlienz and releasing their albums on vinyl. Perhaps one day, I'll reach that point, as currently, label mates seem to primarily appreciate the Namlook releases the most. 

How are you deciding which albums to reissue? 

NW: I got my favorite albums from the Namlook cosmos and have made careful selections thus far, I believe. There's no magic formula to it, and I don't analyze streaming numbers to determine which tracks and albums are most popular. That approach doesn't resonate with me. Take Air V, for example; it doesn't appear to have garnered much popularity, but it has deeply resonated with me and continues to do so. I often come back to the album. Eventually, I plan to reissue it and simply hope for support from the audience. Is it a financial gamble? Most likely...

How do you manage the production process for reissues? Do you have full remit of choice when it comes to mastering, pressing etc? And are any artists still involved?

NW: As a solo entity running a label, the flexibility of the Silent State release schedule allows for meticulous planning of reissues well in advance. Lead time is key, so to speak. Firstly, ensuring proper mastering of the audio material for vinyl treatment is crucial. I've been fortunate to enlist Stephan Mathieu for mastering the initial catalog numbers, such as Air I/II, Silence I, and now Fires Of Ork, resulting in exceptional sound quality. Stephan Mathieu is undeniably an eminent authority in the Ambient world and one of the most experienced mastering engineers out there. Once the master prints are received, I liaise with the pressing plant to estimate delivery dates, followed by rough backward scheduling, placing orders and settling invoices.

Artwork design is paramount, and while I have a vision beforehand, I've entrusted Juliane Hohlbaum with all SSR releases' designs, and Joanna Jon's skills for gatefold sleeve and inlay designs for Fires Of Ork. We collaborate in refinement meetings to finalize the design. For upcoming projects, I've secured Andre Ruello, known for his work on almost every Fax album, which is incredibly exciting! Upon receiving audio material and print data, the pressing plant handles production until I inspect the test pressings diligently. Although nerve-wracking at times, such as the Silence I reissue requiring multiple lacquer cuts, these incidents are rare. Fires Of Ork, in particular, has turned out exceptionally well. Geir and I decided to release the album on Silent State, agreeing to collaborate on design but with less involvement in the physical production phase.

This all speaks to a great focus on quality, and I see this first-hand with the records I have purchased from you. I probably know this answer, but is this a time-intensive project for you?

NW: First and foremost, thank you for noticing and asking me about it. The truth of the matter is, that it is a time-intensive project. But although the tasks can be time-consuming, I genuinely enjoy them. In the midst of all the digital pressure, I find solace in unplugging and engaging in hands-on activities like preparing download codes, stamping envelopes, writing postcards and recently, delving into lino-printing, such as for "Fires Of Ork." The other day, I produced 100 lino prints using a wooden tortilla press I acquired from the US. It was both exhausting and incredibly enjoyable because my latest son insisted in helping me out and we listened to some records while printing together. Additionally, I plan to include a review from a fan, Michael Thomas, whose journey with Fax Records began with "Fires Of Ork." I did this with Paul Livingstone, another Fax head, for Air II and it was also really well received. These are moments in time and a rare chance to revisit these classic albums and to pay respect to the art and to properly engrave it in history.

Fires Of Ork is, of course, a big favorite of mine. Was it an easy project to clear?

NW: Surprisingly, clearing this album was relatively straightforward. Geir, being quite approachable, mentioned in our e-mail exchanges that he frequently receives inquiries about a vinyl reissue of Fires of Ork. Given that Fires of Ork is also a personal favorite of mine, we quickly established a licensing agreement and initiated the project. For me, it was an obvious decision, considering I own every Biosphere album, and Geir is undoubtedly one of the foremost ambient artists out there. This opportunity feels truly unique, and I'm certain I'll fondly reminisce about this thrilling project in the future.

Two of Silent State’s previous heralded reissues on my turntables.

Do you have a favorite of the Namlook or Biosphere catalog, one that you may not get to reissue?

Unlike many Namlook enthusiasts, I deeply connect with the Air and Silence series, cherishing them dearly. Additionally, I have a strong appreciation for the "Music For Urban Meditation" series, which, surprisingly, doesn't receive as much attention as it deserves imho. While reissuing the latter one on vinyl carries financial risks, I fear I might regret not attempting it. Man, these drones are just amazing. Moreover, I find “Music For Ballet“ fascinating. In my quest for more insight, I engaged in a lengthy conversation with Christian Moeller, the former director of "Electro Clips," and delved into the archives of the Institute for Urban History Frankfurt, exploring reviews and learning more about the William Forsythe ensemble. I even obtained licenses for some previously unreleased images from Ivan Nemec who photographed this orcherstration. This reissue project has been ongoing for over 1.5 years now and may still require additional time, especially as it will include a booklet, and progress moves at a slow pace. Nonetheless, as the saying goes, good things take time. Another favorite is undoubtedly the Sultan series...still ahead of it's time and such an incredible piece of art.

What other gems can we expect soon?

NW: I'm constantly working on new projects, like the aforementioned Music For Ballet project, but I also enjoy keeping some surprises for label friends. While I can't reveal specific details about release schedule just yet, rest assured that there are some exciting gems in the works! The next reissue is planned for November 2024.

~

Preorder Fires of Ork via Silent State on April 5th.

Monument Waves 002 : ASIP

A new mix for the brilliant Monument platform, and their new series ‘Waves’ which looks to feature more of the ambient side of things, rather than the deep techno world they are known for, if the first of the series by Chris SSG is any indication.

After our label showcase mix I did for them a few years back, I was extremely pleased to return to Monument again and decided on a new approach for #2.

Taking inspiration from the podcast series’ title, I aimed to create a mix that focused on repetition and layers, as if staring out to sea watching blankets of waves roll in from miles out; changing in intensity, but forever calming in their unbound repetition.

The result is reflective of the many adjacent styles I enjoy from ambient, to IDM and deeper techno and some of the seconds of tracks that stand out to me, or I forever wished to be looped in my head - be it a texture, vocal or beat pattern.

Thank you Monument for the support over the years, and for inviting me to what I am sure will become a very special series.

MONUMENT · Monument Waves 002 : ASIP

Listen on Soundcloud or the ASIP Podcast

Download MP3

Tracklist:

01. Mikkel Rev - Evocation  [Unreleased / A Strangely Isolated Place] (Loop/edit)
02. Chronovalve - Almost There [Home Normal] (Loop/edit)
03 . Yumi Iwaki - Nocturnal[Kankyō Records]  (Loop/edit)
04. DJ Healer - Great Escape [All Possible Worlds] (Loop/edit)
05. Susumu Yokota - No Kaori [Leaf Label] (Loop/edit)
06. The National Pool - Through The Beach [Infraction] (Loop/edit)
07. Bana Haffar - Lifter [Touch] (Loop/edit)
08. Pontiac Streator - Stuck In A Cave [Motion Ward] (Loop/edit)
09. TSR - 01 [Record Union] (Loop/edit)
10. Christina Chatfield - Sutro [Mysteries of the Deep] (Loop/edit)
11. Oneohtrix Point Never - Format & Journey North [Arbor] (Loop/edit)
12. Gi Gi - Montjuic Feat. Mi Mi [Quiet Time] (Loop/edit)
13. Jonny Nash - All I Ever Need [Melody As Truth] (Loop/edit)
14. Saphileaum - Elegant Voyage [Mysteries of The Deep] (Loop/edit)
15. RQ - Hounds (Sam KDC remix) [Auxiliary] (Loop/edit)
16. Michael Stearns - In The Beginning [Continuum Montage] (Loop/edit)
17. Solar Quest - Flying Spirals [Crammed Discs] (Loop/edit)
18. Zodiac Childs - Kepler Track Two (Zodiac Wax) (Loop/edit)
19. Central Industrial - After Image [Auxiliary] (Loop/edit)
20. Intrepid Soul - Under The Sun (The Gods Planet) (Loop/edit) 
21. Anatolian Weapons - Teachings In Stone [Self] (Loop/edit)
22. Theef - Sun & Smoke  (Unreleased / A Strangely Isolated Place) (Loop/edit)
23. Quiet Places - Side B (A Strangely Isolated Place) (Loop/edit)
24. Courtesy - You're Not Alone [Kulør] (feat. Erika de Casier & August Rosenbaum) (Loop/edit)
25. Maxime Denuc - Ouverture [Vlek] (Loop/edit)
26. µ-Ziq - Whale Soup [Self] (Loop/edit)
27. Adam Johnson - Version 02 [Merck] (Loop/edit)
28. Autechre - Bronchusevernmx24 + Aphex Twin - On + Aleksi Perala - UK74R1406070 (edit)
29. Pub - Summer [Vertical Form] (Loop/edit)
30. Loess - Sofar [Toytronic] (edit)
31. Biosphere - Monju 1 [Touch] (Loop/edit)
32. Salvatore Mercatante - Classical [Unreleased]
33. OKRAA - La Gran Corriente [Unreleased / A Strangely Isolated Place]
34. Lihla - Becoming Human [A Strangely Isolated Place] (Loop/edit)
35. Ylia - Drifting Off into The Waves  [Balmat] (Loop/edit)
36. The Eightsome Reel - A Stranger Landing  [Self] (Loop/edit)
37. Terre Thaemlitz - Music is Controllable Desire You Can Own [Self]
38. Echospace - Love Always Lives [Self] 
39. Bill Laswell & Pete Namlook - Telepathy II [FAX] (Loop/edit)

ASIP - Tranquility

Inspired by the greatest years. Tranquility of the highest order.

A mix of music taken from, and inspired by the most influential years of electronic and ambient music - the 90’s.

astrangelyisolatedplace · ASIP - Tranquility

Listen on Soundcloud, or the ASIP Podcast.
Download MP3

01. MLO - Shadows of Life and Thought (2021)
02. Merrin Karras - unreleased
03. Stryke - Introspection Part 1 (1994)
04. Glide - Space Van (1997)
05. Solar Quest - Save The Whale (1994)
06. Namlook & Montana - Path VII (2010)
07. Young American Primitive - Sunrise (1993)
08. Beaumont Hannant - Vague (1994)
09. B12 - Void/Comm (1996)
10. Perishing Thirst - Sacred Agency (2018)
11. Speedy J - Pepper (1994)
12. A Positive Life - The Calling (Loved'Ub Remix) (1993)
13. Global Communication - 8:07 (1994)
14. Moby - Myopia (1993)
15. Geir Jenssen & Pete Namlook - In Heaven (1993)
16. Mick Chillage - Hypersleep (2022 mix) (2022)
17. Niko Tzoukmanis - Fallen Angel (2023)
18. Spooky - Orange Colored Liquid (1993)
19. Omicron - Tranquility Base (1994)

isolatedmix 111 - Ian Boddy (DiN)

There aren’t many ambient labels that have been going for 20+ years, but you can count Ian Boddy’s DiN as one of the greats. An amazing musician and synthesist himself, Ian has curated one of the finest ambient synthesizer-focused labels around, with many of the genre’s greats gracing the catalog over the years. Scanner, Tetsu Inoue, Robert Rich, Nigel Mullaney, Bluetech, and Markus Reuter featuring with stunning full-lengths, and within the label’s Tone Science compilation series, the curations spreads its arms ever wider - proven with the latest edition Tone Science Module 5, featuring works by Hélène Vogelsinger, Johnny Woods and Lisa Bella Donna.

Ian also makes brilliant label-focused mixes that highlight some of the work on the label, in both mixed and individual track format, so when I proposed an isolatedmix, we went straight into discussing his own personal inspirations as a mix concept. In true OG style, Ian has dug into a selection of early ambient music, that is often presented in extended (long-form) style (as it was much more back in the day) which means these types of tracks rarely see themselves as a part of DJ mixes nowadays. Ian has taken these excerpts and seamlessly blended them into one educational look back into some of the greats of the early ambient style.

A big thanks toWendy Carroll for the isolatedmix art/image.

~

ASIP - You're likely considered a veteran of the scene now, but for those new to you, can you give us a brief introduction?

IB - Well I first got into Electronic Music in the mid-1970s through bands such as Tangerine Dream, Klaus Schulze, Vangelis & Jean Michel Jarre. In 1978 whilst at University studying Biochemistry I was introduced to an open-access sound studio at a place called Spectro where I was confronted by weird & wonderful instruments such as the VCS3 & a host of Revox reel to reel tape recorders. It didn’t take long to get hooked and in 1980 I released my first cassette album & started to play improvised concerts. In 1983 my first vinyl album The Climb was released followed by a performance at the very first UK Electronica festival.

I continued to release albums & perform concerts & hone my craft and then in the 1990s, I got into producing library music as well as sound design work. In 1999 I launched the DiN label & in 2002 after 12 years working for Akai I went full-time professional earning a living from my music. The intervening years have seen me split my time between pursuing my own releases / running the DiN label, composing library music & creating sound libraries/sound design.

Your mix contains a lot of early ambient musicians. Whether it’s Kraut-rock, Berlin-School, or Brian Eno, what's your point of view on the absolute beginnings of the ambient genre and what was your own experience?

It’s a very different experience hearing new music for the first time in your formative years - which is usually in your teens - then coming to a genre of music later in life or when said genre has already been out for quite a while. So the first two Electronic Music tracks I can distinctly remember hearing were The Mysterious Semblance at the Strand of Nightmares by Tangerine Dream from the album Phaedra & Wahnfried 1883 by Klaus Schulze from the album Timewind. I was probably about 15 or 16 and they simply blew me away. I hadn’t heard anything like this before because, well, there simply wasn’t anything else like this before. Each of these artists only had a handful of albums out so it didn’t take long to discover their back catalogues. There were no reference points. This was an incredibly inspiring time for me to hear this music and I think the many years that they have been out now & the tsunami of other music like this will diminish the effect for someone getting into this music now.

The term Ambient music is much overused and I was also around at the time when Music For Airports came out & again this was incredible to hear at that time. What both these styles have in common - the Berlin School guys and the ambient side that Eno championed was the ability to get lost in the music. To quote Julian Cope when talking about the very early Tangerine Dream album Zeit - “the music becomes the room”.

What made you start DiN in 1999?

In the 1980s my cassette & vinyl releases were on a series of small boutique labels and then in the 1990s, I started to release my own work such as The Uncertainty Principle & The Deep on CD on a label I called Something Else Records. However, it was very piecemeal and had to be fitted in & around my family life & work at Akai. There was no real plan or strategy. I’ll openly admit I really got into the Fax label and liked how the sorely missed Peter Namlook had a rotating pool of artists with lots of interesting cross-genre fertilisation of ideas.

So in 1998, I started to formulate my own ideas for a label. I wanted to combine my own Berlin School synth heritage with other styles of electronic music. I’ve never been one to do the same thing over & over again. I also wanted to more actively pursue musical collaborations with a range of artists. I also wanted the label to have an identifiable visual aesthetic and to be released as collectible limited editions. Thus DiN launched in 1999 & to date (May 2001) has 66 physical releases on the main DiN label, 5 volumes of the Tone Science series & 26 digital-only albums - with plenty more to follow.

The label has a rotation of very consistent artists, but what do you look for in any new artist demos that come your way?

Two things really - a certain, almost indefinable “quality” & a musicality which catches my ear. It’s just one of those things - you “just know” when something is good - trust your instincts. I mean I’m not running DiN as some huge multi-national corporation where profit is the only driver of your business. I have other forms of musical earnings from the more commercial worlds of library music & sound design so in a way I can afford to indulge myself with DiN. It’s a reflection of my musical personality.

What's been your proudest moment running the DiN label to date?

I wouldn’t say I have a proudest moment more than I’m very proud of DiN in its entirety. I can’t quite believe it’s been going for over 20 years now and that there have been almost 100 releases in total. I’d like to think that for someone new discovering DiN it would be like “Wow” what is this label and then the joy of working through the catalogue. Sure not every release is going to appeal to everyone but I can remember having that experience with Fax & it was quite a ride.

Your partner’s (Wendy’s) art features heavily on the label and on this mix - are there any creative differences when it comes to choosing art or working together?

Yes, Wendy & I have been together for almost 8 years now. She’s a very talented photographer & artist who is just now later in her life finding the time to spread her creative wings. I’ve always had a certain aesthetic for the DiN artwork which avoided the obvious cliches of space & sci-fi imagery. I like the ambiguity of Wendys work - they’re often familiar things such as rock, tree bark or rust but presented in such a way that they go beneath the surface and show the whole amazing world of detail & texture that many folk often don’t even notice.

Your career has undoubtedly seen many chapters of synthesizer music over the years. What's your point of view on the future for this style? Do you feel like this type of music will become even more accessible with the advent of software and cheaper versions of classic synths?

Well, certainly when I first started out in 1978 it was very expensive to buy these instruments. I think my first synth was a Jen string machine in 1980 and then shortly after a single case of Roland System 100-M modular which I still have. This was pre-MIDI & computer software but it doesn’t really matter. The technological side of electronic music has always been a driving force for how it sounded but musically a composer will always find a way of expressing themselves whatever the tools they have available. Now of course it’s so much easier in so many ways to record & release music in all genres let alone electronic music.

However what hasn’t changed is that you as the composer has to have a musical idea, there has to be some form of a creative spark of what you are trying to achieve musically. The whole renaissance in the use of modular synths is very refreshing. I mean during the 1990s folk were throwing these things away but I never gave up on my use of modular. But the last few years have seen an explosion in the use of these systems. I think this is great as it’s brought a new generation of musicians in who are finding new & evolving ways of expressing their own musical personalities which I for one find fascinating.

Can you tell us about the mix you have prepared for us and the inspiration behind it?

I wanted to showcase my musical heritage - there’s no reason why I should hide away from it, so much of the music is what inspired me when I was a teenager & into my twenties. So there are tracks from Tangerine Dream, Klaus Schulze (part of Wahnfried 1883 which I mentioned above), Vangelis, Ashra & Popul Vuh. Also connecting to other artists I’ve talked about & which are important to me is part of Discreet Music by Brian Eno which uses tape looping that I used to experiment with whilst at Spectro as well as a piece by Peter Namlook.

I’m also very much into classical music too which for me often has crossover with some styles of Electronic Music especially those pieces that have an impressionistic feel. I couldn’t resist using a piece by Ligeti - probably made famous by its use in the film 2001 crossing over into Rubycon by Tangerine Dream.

The set closes with one of my favourite composers Arvo Pärt with this incredible piece that comes out of a track by Biosphere - such lovely juxtapositions. I’ve done a lot of these mixes on DiN with the six iNDEX compilations as well as the two DiN mixes and Tone Science albums so I’m always looking to take the listener on a musical journey with highs & lows, points for reflection and emotional intensity.

~

Listen on Soundcloud, Mixcloud, or the ASIP Podcast.

astrangelyisolatedplace · isolatedmix 111 - Ian Boddy (DiN)

Download

Tracklist*:

01. Vangelis - Creation Du Monde
02. György Ligeti - Atmosphères
03. Tangerine Dream - Rubycon Part One
04. Ashra - Nightdust
05. Klaus Schulze - Wahnfried 1883
06. Brian Eno - Discreet Music
07. Popul Vuh - In Den Gärten Pharaos
08. Pete Namlook - Trip 1
09. Wendy Carlos - Fall
10. Biosphere - Kobresia
11. Arvo Pärt - Cantus In Memory Of Benjamin Britten

*Many of these tracks are extended / long tracks, so you could consider these as excerpts.

~

Ian Boddy | DiN | Web | Facebook | Twitter | Instagram | Youtube