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Neroli reaches release number 50 during its 20th anniversary and celebrates with a special project, an album of songs by some of the label artists and friends. The title reference goes back to 20 years ago when label’s honcho Volcov decided to give the label the name of Brian Eno’s Neroli album, an hour long ambient opus inspired by the oil derived by the flowers of the Seville orange. So after 20 years and 50 releases the label goes full circle and offers an album of delicate and heartwarming melodies and atmospheric songs. The talent of original UK dons Kirk Degiorgio, Dego and Ian o’Brien is enrolled once again to guarantee sophistication and depth. Patrice Scott and Fred P, who had recently released eps on Neroli, are joined here by fellow spacecadet Aybee…all delivering warm futuristic pieces! K15 and Linkwood debut on the label, opening and closing the album with class. And there is even a lost composition by Volcov himself with Detroit’s Gerald Mitchell and Pirahnahead as part of some 2010 sessions that might resurface soon…THE FIRST CIRCLE is complete!

Design by Al White. Manufactured and Distributed by Mother Tongue, Verona.

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Afro-Caribbean voodoo polyrhythms meet bass-weight dub electronics on Vodou Alé, the debut full-length collaboration between Haitian six-piece Chouk Bwa and Belgian production duo, The Ångströmers. The traditional and contemporary collide on this nine-track merger of distinct Haitian mizik rasin (roots music) and rumbling electronic production, forging a thrilling and hypnotic dialogue between minimalist sound design and Afro-Haitian drum talk.

Credits:
Jean Claude “Sambaton” Dorvil
lead singer, fè
Maloune Prévaly* & Edèle “Sasufi” Joseph
chorus
Gomez “Djopipi” Henris*, Sadrack “Mazaka Lakwa” Merzier & Jean Rigaud Aimable
traditional drums and chorus
Riscot “Ti moso” Cedieu & Yves “Tiaye” Figaro
traditional drums on Odjay - Nati Kongo
The Ångströmers: Nicolas Esterle & Frédéric Alstadt
electronics
Michael Wolteche
additional keys on Sali Lento
*additional lead singers on Odjay - Nati Kongo

All songs arranged and produced by The Ångströmers
Recorded by the Ångströmers at Les Ateliers Claus Brussels, November 2018 except Odjay - Nati Kongo recorded at Institut Français de Port au Prince Haiti, April 2017
Produced by The Ångströmers at Ångström Studio, January to December 2019
Mixed by The Ångströmers & HHY at Ångström Studio & la Savonnerie studio Brussels November 2019
Mastering by Nicolas Esterle & Frédéric Alstadt
Lacquer cut by Frédéric Alstadt at Ångström Studio January 2020 Executive producer, artistic advisor & mèt akò la Michael Wolteche Graphic design by Félix Vincent
Picture by Eric Desjeux

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On April 3rd 2020, two weeks into the UK's total coronavirus lockdown and in an attempt to find something positive as a break from ping-ponging between high anxiety and frustrated bemusement, I sent out the call for submissions for a new compilation of music, which had some clear stipulations.

The message read as follows:
Submissions are requested for inclusion on CiS062 - "The Isolation Tapes".
Submissions must have been recorded between:
Monday 23rd March:
The date the UK lockdown was imposed
and
Friday 17th April:
The closing date for submissions to the project.

Submissions *must* be new works recorded by the artist in isolation.
Castles in Space will handle mastering and manufacture, we just need your pre-mixed masters.
Submissions must include an image which represents teh artist or the creation of the piece in isolation.
Release date for CiS062 is 29th May. Profits will be donated to Cavell Nurses' Trust www.cavellnursestrust.org
They assist nurses, midwives and healthcare assistants, both working and retired, when they’re suffering personal or financial hardship. This is often due to illness, disability, older age, domestic abuse and the impact of coronavirus.

The results were positively overwhelming and easily surpassed anything that I could have hoped for. I thought that I *might* be tapping into something, as some conversations with musicians I know and work with were indicating that the enforced period of downtime was proving to be extremely productive. Albums were being finished. Ideas exchanged over Zoom conversations were being laid down on hard drives around the world. There was, quite literally, something in the air.

By the end of the 2.5 week period the window for submissions was open, I had received somewhere in the region of 250 submissions. Pretty much all of them being of astonishing quality and accomplishment. While this was extremely heartwarming and satisfying, it also presented a real challenge in that the editing job was going to be massive and difficult. Further criteria were therefore set to assist the selection process.

1. As a general rule, anything too dark or dystopian was out. There were several sampled politicians and creeped out drone-a-thons, but I quickly came to the decision that this release had to offer something uplifting for the listener. We had to find some light and positivity in the darkness. For me, the tracks that worked best offered a droll commentary on our unprecedented situation without being overwhelmed by it.

2. The works really did have to be conceived and completed between 23rd March and 17th April. That rule was enforced pretty hard. Anything that had been "finished" or had undergone a "final mix" during that time was deemed to not meet meet the criteria for submission. It was important for me to capture the moment in the reaction of the contributors. Hopefully this global lockdown situation will never happen again, so I was viewing this as a one time only opportunity to document something unique.

3. As the submissions rolled in via email, Twitter, Instagram and facebook, it quickly became apparent that the original idea of releasing one cassette volume was not going to be sufficient. There was simply too much good stuff coming in. The scope was therefore quickly expanded out to include a CD volume and a cassette with three sides. 'Side three' being a download only selection.

And so began the selection of around 60 tracks which went forward for mastering by Jez Butler. Jez did a fantastic job of carefully mastering everything to a consistent, steady level. Brightening and de-harshing where necessary. There than began the marathon weekend long session of sequencing what tracks were going to go where. Once a final selection and sequence was decided upon, Nick Taylor was engaged to do his usual superb job on the artwork.

The finished compilation offers more than 60 tracks across CD, cassette and digital download.

The images submitted by the contributing artists add another dimension to the project and are available to see at castlesinspace.com

The Isolation Tapes project is sold in support of the magnificent Cavell Nurses' Trust. A wonderful organisation which helps nurses, midwives and healthcare assistants, both working and retired, when they’re suffering personal or financial hardship. This is often due to illness, disability, older age, domestic abuse and the impact of coronavirus.

It is sincerely hoped that you will find much to enjoy in The Isolation Tapes. It was both an absolute joy and an arduous headache to put together (in a good way). The final edit was extremely difficult and there is certainly enough stuff in the can for further releases if these volumes find some appreciation.

As ever, thanks for listening.
Stay safe and well.
Colin Morrison
Castles in Space. May 21st 2020 

Credits

Mastered by Jez Butler
Artwork and design by Nick Taylor for spectral-studio.co.uk

CiS062CD is also available as a related compact disc volume featuring an additional selection of works.

All tracks are under license to Castles in Space for the purposes of this release and all copyright remains with the artists.

Profits from this album will go to support Cavell Nurses’ Trust (registered charity no. 1160148 and SC041453).
Cavell Nurses’ Trust proudly give money and support to nurses, midwives and healthcare assistants in hardship whether they are working or retired.
If you are a healthcare professional experiencing personal or financial hardship, please contact them today at: www.cavellnursestrust.org / 01527 595999.

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Dislocation Songs​ was recorded over the past 3 years – on and off – in ​Chris Menist​ AKA Awkward Corners’ home studio. It started as a reaction to the UK post-2016’s Brexit vote and an emotional response to the negative direction the country is taking with regards to immigration, politics and social priorities. The record shifts between optimism and resignation. The recording process offered emotional catharsis, and a space to summarise feelings that can be hard to put into words. The record is a collection of textures, rhythms and tones touching on downtempo beats, devotional music and electronic sounds. Music you can even meditate to. Chris is joined for three tracks by ​Sarathy Korwar​, who plays tablas in this setting.

Intriguing opener​ Drawing A Blank​ ​features a minimal, distorted rhythm around which filtered Balafons & Illimbas work. ​Straight Ahead​ e​mploys a unique swinging rhythm composed of a single repetitive tone. Dream-like soloing synth lines float over Chris’s conga percussion. ​I’ll Do It Tomorrow​ ​is one of Dislocation Songs​ standouts: a beautiful composition of both organic conga and percussion sounds and electronic synth lines. Dub effects punctuate throughout.

Just Around The Corner​ g​ets its groove on with Sarathy Korwar’s tablas taking centre stage alongside the exquisite sounding Shahi Baaja. A single repetitive tone is again employed to hypnotic effect.​ J​ohn Dillinger’s Death Mask Parts 1 and 2​ concludes the LP in epic style with 10 experimental minutes of delayed, flanged and distorted beats, tones, tablas and Shahi Baaja - a dark meditation on governmental failure and obfuscation.

Written, Produced and Performed by Chris Menist

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Hear & Now’s 2018 debut album Aurora Baleare was undoubtedly one of the most magical full-length excursions to appear on Claremont 56 to date; a drowsy, mood-enhancing masterpiece full to bursting with tactile grooves, blissful guitar motifs, dreamy aural textures and seductive, slow-burn melodies. The culmination of two years of work by longtime friends Ricky L and Marco Radicioni – a pair of experienced deep house producers whose solo careers stretch back to the 1990s – the album was as finely crafted as it was musically stunning.

Two years on, the pair return to Claremont 56 with the hotly anticipated follow-up, Alba Sol, a similarly seductive and sun-kissed set that is every bit as beguiling as its lauded predecessor. Once again built around the pair’s trademark blend of colourful synthesizer melodies, ear-catching improvised guitar motifs, soft-touch grooves, enveloping chords and fireside-warm bass, the set’s eight tracks are vivid, vibrant and as memorable as watching the sun rise over the Mediterranean or Adriatic seas.

This time round, listeners can expect a few more nods towards the kind of glassy-eyed ‘dream house’ that was once one of Italian dance music’s greatest exports – think Don Carlos, Sueno Latino, Keytronics Ensemble etc. – and synthesizer-heavy 1980s new age ambience, though the duo’s trademark sonic template is evident throughout.

These influences can clearly be heard on “Larus”, where jangling piano riffs, mid-80s new age synths and cascading David Gilmour style guitar solos rise above thickset chords and sparse beats, the eyes-closed, arpeggio-driven goodness of “Acqua Tronica” – which also features some of Marco’s funkiest guitar playing to date – and the head-nodding haziness of “Danza Delle Onde”. They’re there, too, within the mid-tempo rush of “Litorale”, an emotive and life-affirming mixture of metronomic beats, fluid piano solos, retro-futurist synths, locked-in bass and pads so sumptuous you almost want to reach out and grab them.

While the subtle evolution of the duo’s sound is evident throughout, Alba Sol also contains a swathe of tracks that echo the slow-motion hedonism of their earlier work. Closing cut “Pioggia Sil Mare”, for example, is a beguiling and brilliant foray into kaleidoscopic ambient house territory rich in in slowly unfurling musical motifs, while “Polvese” chugs along on waves of stretched-out electric guitar notes, echoing percussion hits and the sort of stoned bass that was such a feature of Aurora Baleare.

Then there’s the album-opening title track, a gloriously epic, joyously blissful number that first wowed listeners on the recent Claremont Editions One compilation and already feels like a downtempo classic. It brilliantly sets the tone for a sophomore set that’s arguably even more wonderful than its stunning predecessor.

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Turn On The Sunlight was born out of the collaborations of Carlos Niño and Jesse Peterson, who lived on opposite coasts at the time - therefore, many of their first musical journeys also involved actual travel.  

After contributing a remix to Build An Ark’s “Dawn Remixes” and several songs to the album “High With A Little Help From” by Carlos Niño & Friends (both Kindred Spirits, 2009), Jesse and Carlos decided to work as a duo on what became Turn On The Sunlight’s self-titled debut (Disques Corde, 2010).  This was followed by a remix project featuring contributions from Nobukazu Takemura, Miguel Atwood-Ferguson & Daedelus (Disques Corde, 2012).  A second album, “New Day” (Rings), was released in 2013, with additional members Hiro Makino, Gabe Noel, Dexter Story, Andres Renteria and Mia Doi Todd, who sang ‘In The Dawn’ as a tribute to the recently-departed Rei Harakami (who had shared bills with the band on a tour of Japan in 2010).  

As Turn On The Sunlight, Jesse and Carlos also worked together on songs which were included on three other Carlos Niño & Friends releases, “Aquariusssssss” (Corde, 2012, “Aurorasmushroomtenderness” (CNF, 2014) and “Flutes, Echoes, It’s All Happening” (Leaving, 2016).  One of these songs, “Forward To The Sun” featured Jesse and Kamasi Washington playing a song written by Carlos.  Other appearances include a song on Dexter Story’s “Seasons” (Kindred Spirits, 2012), Nabowa Meets Carlos Niño & Friends (AWDR/LR2, 2014), “Happy Earth Day 2015” with Mia Doi Todd (Dear Ear) and Laraaji’s “Sun Transformations” remix project (All Saints, 2018)

“Warm Waves” grew out of improvisations by a group consisting of musicians who have contributed to previous TOTS releases and live performances, with the new additions of Laraaji, Sam Gendel, Luis Pérez Ixoneztli and Mitchell Brown.  Carlos then prepared two remixes, both featuring Jamael Dean (whose new release on Stones Throw is currently making waves of its own).  The album features vocals and the voice-like sounds of Sam’s electronically-processed saxophone, but is intentionally devoid of words, save for the phrase “Peace All Over” spoken by Laraaji in one of Carlos’ remixes.  "Peace All Over" is, hopefully, the feeling that the music will convey to its listeners.  
Credits
Tracks 1-5 produced by Jesse Peterson 
Tracks 6 & 7 produced by Carlos Niño

Mia Doi Todd - voice, piano
Sam Gendel - saxophone, electronics
Luis Pérez Ixoneztli - bird sounds, ceramic aerophones, percussion, water drums
Jesse Peterson - bass, guitar, organ, bird sounds, wooden whistles, ukulele, piano
Andres Renteria - percussion, marimba
Mitchell Brown - synthesizers, magnetic tape, percussion
Gabe Noel - bass
Laraaji - voice + zither
Arji - bells + shells

Mastering by Miles Senzaki at Grandma's Dojo Studio
Photo by Akiko Bharoocha

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Music From Memory are delighted to present Fools’ debut album ‘Fools’ Harp Vol. I’ and the first solo release of American musician Christopher Bear. Drummer and multi-instrumentalist of cult Indie band ’Grizzly Bear’, ‘Fools’ is a pseudonym that Christopher has been using while working on his independent music making for some time now.

Often finding the structure and form of a more traditional ‘song’ and the concept of an album too restrictive, Christopher finally set aside a six week period in the summer of 2019 to explore the possibilities of jamming alone and seeing where it took him: recording each instrument himself and then responding through improvisation to his own recordings. Whilst doing most of the recording in a digital set up, he also set out to capture some of the same mental and sonic space from his time recording on 4-track.

The results of these Fools sessions, he explains, feel “almost more like a mixtape than an ‘album’ per se” to him. With a sense of the dichotomy between nostalgia and the future, ‘Fools’ Harp Vol. I’ seeks to transport the listener to a world both familiar and comforting, exploring something undiscovered while maintaining a deep sense of openness and curiosity. The album will be released in vinyl and digital formats with a cassette release to follow including additional bonus tracks.

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Two years in the making and taking advantage of the latest technologies in 3D binaural audio, Other Worlds provides the listener with four immersive and hypnotic pieces of music exclusively designed for headphone listening. Each composition offers a seamless blend of electronic and acoustic instruments merging into a slow and organic pulse.

Musically inspired on Jon Hassell’s Fourth World series, this new side-project by Alejandro Mosso adds a technological twist to the tradition of imagining non-existent musical worlds. Carving into decades of experience in electronic music production and into his recent endeavours in sound installation art and advanced spatialisation technologies, Alejandro delivers a non-conventional record, yet surprisingly accessible. Music that can work as a functional and meditative background, while also offering enough complexity and detail to reward the most curious listeners.

* Binaural audio is a 3D sound format for headphones, where sound sources are spatialised simulating a 360° sphere around the listener. Sounds can not only be perceived left or right like in traditional stereo, but from above, below, front, back, and every possible angle. In order to experience the record correctly, please listen with high quality headphones (preferably over-ear), in a quiet environment and with closed eyes.

Photo by Anna Zaro.