5 episodes

Ambient, chill, IDM, shoegaze, drone, techno and electronica mixes from www.astrangelyisolatedplace.com. Featuring the exclusive isolatedmix series with mixes from bvdub, Solar Fields, Markus Guentner, Loscil, Rhian Sheehan, Applescal, Carbon Based Lifeforms, Nick Warren, Ulrich Schnauss, Tripswitch, Marsen Jules, Kettel, 36, Milieu, Jesse Somfay, Helios and many more... For all previous mixes please see the website.

A Strangely Isolated Place A Strangely Isolated Place

    • Music
    • 5.0 • 20 Ratings

Ambient, chill, IDM, shoegaze, drone, techno and electronica mixes from www.astrangelyisolatedplace.com. Featuring the exclusive isolatedmix series with mixes from bvdub, Solar Fields, Markus Guentner, Loscil, Rhian Sheehan, Applescal, Carbon Based Lifeforms, Nick Warren, Ulrich Schnauss, Tripswitch, Marsen Jules, Kettel, 36, Milieu, Jesse Somfay, Helios and many more... For all previous mixes please see the website.

    ASIP - Oslated Special Mix 026

    ASIP - Oslated Special Mix 026

      Oslated is a label collective from South Korea, often found presenting lovely deep meditative techno from the likes of Doltz, Saphileaum, Launaea, Javier Marimon, and many more personal faves. They also host a mix series, which has previously featured some great contributions by many faces readers of ASIP will recognize, so it was a pleasure to be asked to contribute a mix. I don’t have too much to say on this one, but it moves through some very specific chapters with a common theme throughout (see if you can spot it)… as do many of my mixes! And of course, it’s sprinkled with a few unreleased ASIP label bits. Listen below or on the Oslated Soundcloud. Download. Oslated · Oslated Special Mix 026 - ASIP Tracklist:01. Stone - Evil Day [2022 / 3 X L] 02. Unreleased [Forthcoming on ASIP] 03. HIA & Biosphere - Snapshot Survey [1996 / Beyond] 04. Ameeva - Die Wellen Side B [2022 / 9128.live] 05. Deepchord - Immersion II [2018 / Astral Industries] 06. Isorinne - Blurred Perceptions of Substance [2016 / Field Records] 07. o.utlier - Less Popular Than Cats Side B [2022 / Verdant Recordings] + Steve Roach - What Remains [2022 / Timeroom Editions] 08. Unreleased [Forthcoming on ASIP] 09. James Murray - Living Ghosts [2017 / Home Normal] 10. Unreleased [Forthcoming on ASIP] 11. wndfrm - A [2018 / Sounds et al] 12. Araceae - Before The Sun [2022 / Faint] 13. Simone Bauer - Nereide [2019 / Sure Thing] 14. Aes Dana - Period 10 Evocatory [2021 / Ultimae Records] 15. Aucuba Replica - Of Grasping [2020 / संस्कार Rites] 16. Donato Dozzy - Moonlight [2011 / Mule Electronic] 17. Toki Fuko - What Will Enlightenment Give Me [2021 / Lowless] 18. Priori - Afterburn [2019 / NAFF] 19. Mikkel Rev - Revelation In A Chill Out Room [2022 / Translusid] + A Conversation with Rickie Lee Jones [1989 / Geffen Records] 20. DJ Healer - Hopes and Fears [2018 / All Possible Worlds] + Being - Being, Then [2021 / Firecracker Recordings] 21. Unreleased [Forthcoming on ASIP] 22. Shingles - Another Day In Paradise 23. William Basinski - Fin [2020 / Temporary Residence Limited] 24. Dedekind Cut - Tahoe [2018 / Kranky]  

    isolatedmix 119 - Wardown

    isolatedmix 119 - Wardown

      Not many producers can create new aliases after 10+ years and still manage to drop something completely unexpected and refreshing. Peter Rogers’ Wardown project did just that in 2020, debuted on the respected Blu Mar Ten label, the self-titled album found admirers from a cross-section of music styles; spanning Jungle, Drum’n Bass and a strong atmospheric element. Wardown / Wardown was consequently one of my most played and admired albums of the year (finding a sweet spot in the Reflection on 2020 and Atmoteka mixes). I found it near impossible to stop the album once it started, as it flowed easily between stories, styles, and sentimental reflection. Peter is now set to drop his second album under the Wardown alias, simply titled Wardown II, but those who absorbed the nostalgia from his first, will undoubtedly be confident that despite its modest title, the conceptual approach is as strong as ever, and the music will once again be left to do the storytelling. Continuing with this brilliant reflective approach from the first album, Wardown II can be considered another vivid capture of one of Peter’s undoubtedly many memories he has begun to create with this alias. And just like his productions, his isolatedmix is a natural extension of this approach. As is the case with many producers in this genre, DJ’ing is integral to the culture, so it’s of no surprise for us to be treated to a little bit of a masterclass with this latest installment…~ASIP: Many people may know you as one half of the d&b duo Technimatic (and even making an appearance as Technicolour on our Energostatic comp which we were proud to host a few months back). Can you tell us a bit about how you got into producing music and your background?Pete: I started making electronic music in about 2002. I’d been into jungle and drum & bass as a teenager growing up in Luton, and played in a jazz funk band for many years too. But 2002 - after I’d finished studying graphic design at university and moved to London - was the first time I had the opportunity to buy a computer of my own and actually start trying to create stuff with it.You debuted the Wardown project on the Blu Mar Ten label in 2020. What inspired this new alias after years under others?I started Wardown because I had quite specific things I really needed to express and put into music that I didn’t have to the opportunity to elsewhere. Technimatic is my main musical focus of attention and I love it, but sometimes there are things unique to you that you need to be able to say, that might not fit within the canon of music you're making as a duo. Things much more personal. I’ve known Chris Blu Mar Ten for many years and have huge respect for the vision and A&R of his label, so it felt like the perfect fit. Thankfully he was really enthusiastic about putting it out. Wardown by Wardown Vignettes of people talking about your hometown of Luton open your first Wardown album, (which was a surprise for me to hear, as I grew up in a nearby town). How would you describe your formative years there? How did it impact your music?Luton has a very chequered past. It’s regularly featured in the kinds of ‘shittest towns in the UK’ lists that appear online. It’s been home to the English Defence League, Islamic terror cells, and is generally thought of as a fairly ugly, non-descript town on the outskirts of London that has an awful airport. But as a kid, I had a really good upbringing there. And crucially, being near London and the M25 motorway, back in the 90s it had a very strong connection with rave, hardcore, and jungle music. Legendary hardcore DJ Swan-E was from Luton, Blame was from just down the road in Dunstable, there were pirate radio stations broadcasting the music 24/7 in the area, and most importantly for me, there was an amazing record shop called Soul Sense where as a teenager I spent a lot of my time, learning and being inspired by 90s underground music.I assume you made several trips

    Portals: Power Ambient

    Portals: Power Ambient

      "Ambient as interesting as it is interesting"The term Power Ambient is yes, another attempt at putting a badge or genre to a wide-encompassing range of music stylistically, but it’s one that I have often gravitated towards amongst many others when describing a particular style of music we are dealing with here.When it comes to a spectrum of Ambient music styles, I’m more often than not on the ‘lean in’ side of things, than the ‘lean back’. It’s easy to throw up Brian Eno’s definition of Ambient music “…as ignorable as it is interesting” to help elaborate on what I mean, as essentially within a Power Ambient context, we are removing the desire to ignore it.To put it another way, Power Ambient is best suited to those who want to immerse themselves in the music; the wall of sound; big movements; rumbling bass; wide frequencies, and layers of dense drones. These are elements that envelope a space in richness; be it soft and all-encompassing like a heavy blanket, or more on the noise spectrum, making your body rattle and the hairs on your neck stand-up on end. But the common output is that you're better off taking note of what's happening, than sticking it on in the background and making a cup of tea.It’s not a new descriptive term. A 2014 Fact magazine article captured a few artists that seemed to be prevailing in this style, alongside a mix that Chris SSG loosely described as including Power Ambient (now Chris references his style as Big Room Ambient) and more. recently a Bandcamp list (although not sure all that stuff aligns with my own vision for it). There is no doubt in my mind, however, that a powerful style of Ambient music has exploded in recent years (as has the creativity of Ambient music in general, really). Perhaps this style has been more embraced due to a couple of things. In dark times comes inherent anger and expression, and it’s pretty grim out there right now. For any music culture, this can often send people into darker production spaces. Secondly, I can feel an emerging undercurrent of rebellion for what ‘Ambient’ can stand for nowadays. With a world of meditative apps and ‘Piano Chill’ playlists continuing to give Ambient music a certain reputation, (at least we have moved on from Spa music, right?), I have a feeling this stereotyping is pushing producers, and even listeners to explore new styles of Ambient music, and opening doors into more expressive forms of music that stand out against an all too frequent beige playlist. Don't get me wrong, this doesn't mean that Power Ambient is just noise and complexity for the sake of it (it can be) but like all music, there's an art to getting the balance right. For me, Power Ambient can range from relatively quiet, intense soundscapes with a mysterious underpinning, to just short of full-on Merzbow wall-shaking. Call it a version of Noise, Drone, Experimental, whatever, but wrapped in a different guise, it’s still bearable as Ambient music but stops short of becoming too much. I wanted to highlight just a few of my favorite artists whose broad strokes defined ‘Ambient’ music, has always made me sit up and listen. As with all Portals features, I try to focus on a mix to bring the idea to life and a jump-off/entry point for the artists included. This was harder to mix than a regular DJ set, because of the inherent energy of Power Ambient music. Used consistently in a mix, at some point you're going to get burnt out and it will start to fade into the background just like listening to white noise. In my experience, Ambient tracks with force or energy are best used interspersed in sets to make people lean in and grab their attention, or as part of other styles to continue a certain level of energy (I’ve heard this type of music as an interlude in more heavy beat-driven sets for example). It can also work great as a live show where the listener knows what they are getting into already, of course (earplugs at the ready). As a 1

    ASIP on Rinse France - Ed Isar invite A Strangely Isolated Place

    ASIP on Rinse France - Ed Isar invite A Strangely Isolated Place

      A big thanks to Ed Isar for inviting me to contribute a mix to his Rinse FM show. Ed is behind the Musique Pour La Danse label (recently reissuing Coil and rEAGENZ albums amongst others), as well as the brilliant Tursiops label. Below is the text sent along to accompany the show and introduce the rough idea behind it.I'm a father to two young boys, so finding time to dedicate to a vinyl mix is tough, but I found myself inspired to get behind the decks late one evening and see what would happen. My only intention was that I wanted to include a couple of upcoming releases (test presses) from the label somehow but they are almost the outliers in the set style-wise., so I had to work around them a little. It ended up quite dark, very deep, and pitch-bent, with a few good crackles for good measure and moments I am sure people will be familiar with.Listen to the mix below or on Soundcloud, with Ed taking the reigns for the first half and some lovely vibes to set up my darker piece! Rinse France · Ed Isar invite A Strangely Isolated Place - 10 Juin 2022 Download (ASIP mix only) Tracklist:01. Enkai Ohakosh - Unknown 02. Avont - Non-Brio Interlude [Residence Records] (2021) 03. Off And Gone - Uncle Mike’s Beard [Isla] (1994) 04. Unreleased (A Strangely Isolated Place) 05. 3.11 - Reduktion [PRS] (2021) 06. J.S Veiter - Untitled [Expanding Vision] (2022) 07. Flying Fish Ambience - Monuments in Easter Island [Hospital Productions] (2021) 08. Joachim Spieth - Hyde [Affin] (2021) 09. Muziekkamer – Op Zee [Stroom] (2021) 10. Anatolian Weapons – An Afterthought [Dispari] (2021) 11. Tomas Jirku - Entropy8 [Silent Season] (2020) 12. The KLF - Last Train To Trancentral (Mu D. Vari-Speed Version) [Arista] (1991) 13. Being - Space Again [Firecracker Recordings] (2021) 14. James Bernard - UW07 (A Strangely Isolated Place) (2021) 15. Unreleased (A Strangely Isolated Place)  

    isolatedmix 118 - Pan American

    isolatedmix 118 - Pan American

      Our latest isolatedmix comes from Mark Nelson, who as Pan•American, or as part of Labradford or even Anjou, has garnered relative cult status amongst the ambient and experimental lifers and tape community. Forming a big part of the Kranky label history from its very first release, Mark recently returned with a new album after a three-year hiatus, and the mature, refined instrumentalism on The Patience Fader is a subtle reminder of the quality Mark has retained over the years - quite an achievement, given his first Pan•American record on Kranky goes back to 1997. I took the chance to send over some questions to Mark to shed some light on the new record and the music that exists in his life right now, alongside his tasteful and electic isolatedmix. The Patience Fader by Pan•American Hi Mark, where are you right now and what have you been listening to lately? I'm at home in Evanston IL-just north of Chicago. Drinking coffee after work and listening to the water running through the filter of our pet turtle's tank and the music of Mette Henriette. If you're not familiar with her she's a Norwegian composer and saxophone player who put out a  record on ECM a couple of years ago it’s so beautiful-one of those records I only let me listen to occasionally because I don't want to become too familiar with it. worried the magic might lessen-but magic never really does. Last few days I've been listening to lots of the music that made it onto the mix-Mike Cooper, African Head Charge, Ulla, my friend Robert Donne's incredible track Touch my Camera Through the Fence, Takagi Masakatsu.  The most recent music that I've really liked are the 3 cd comp by Fubutsushi on Cached Media and my friend Francis Harris' beautiful new record Thresholds that I was lucky enough to contribute to. Running a label myself, and given you had the honor of being the very first release on Kranky, with Labradford, I’m interested in the details of how that very first album and relationship came about? It's hard to believe but back then you could put out a 7" single-maybe 300 copies-and be pretty confident all the key distributors, zines, record store buyers and radio stations would find out about it and boost it up if they liked it.  Joel and Bruce worked at Cargo-an independent distributor based in Chicago.  Our single came across Joel's desk and he felt good enough about it to set in motion the plan he'd been forming to start a label.  I remember my friend Andrew who put the single out told me a guy from Cargo was going to call me and I stayed close to the (landline) phone for the next couple days.  Joel called, we talked and the rest has unfolded very naturally. A blend of luck and trying to manifest something in the world around the music. “Romantic minimalism” is used in the text for your new album The Patience Fader, and it’s an apt term for the delicate, perhaps even more ‘focused’ approach on this one. Do you think there is a clear connection between the effects of the past year and the type of music it inspires? Was that the case here? Yes-absolutely in my case.   Both from within and without.  Not consciously of course, but Patience Fader was made during the summer and fall of 2020, so  Covid,  Trumpism, BLM/George Floyd protests were all in full flight.  At the same time, my father was dying in a hospice in Virginia that we couldn't visit because of Covid.  In some respects, emotions were very simple for me in this time. Right and wrong, life and death joy and sorrow seemed very plainly mapped out. The album features some smaller ‘vignette’ type tracks, which I personally love. What was your intention behind these as part of the greater album flow? Is there a hidden narrative? Not a narrative really, no. I would say there's a theme of Roots throughout the record and trying to find different ways to approach what roots and being grounded can mean. So guitar and harmonica as the instruments used speak literally to the

Customer Reviews

5.0 out of 5
20 Ratings

20 Ratings

eightball9 ,

ASIP

A GREAT SITE FOR LISTENERS WITH THE LOVE OF GREAT AMBIENT MUSIC TASTES.
KEEP UP THE GREAT WORK AT ASIP.
LOVE THE BEAUTIFUL SOUNDS.

Lee2d2 ,

love it

If you are looking for mixes of the ambient/electronica that are not to heavy then have a listen.
Great music to have on in the background while working late.

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