The first album by Benny Nilsen for Ash International. Benny founded Hazard in 1996 after a couple of years in several local ear-peaking guitar bands. Has since then been taking more and more interest in extreme weather conditions and its effect on humans - field recordings and the perception of time and space as experienced with sound.

In ancient Greece, music played a central role in all areas of life, both public and private. We can only imagine how this music sounded. But there are many visual sources that can tell us who was playing which instruments and in which settings, as well as showing us that there were often people dancing together. Listening to "The M. band" by Pina Bounce, one seems to perceive a sonic glimpse into those ancient times, reverberating through the long notes of the trumpet and filtered by the distortions of the electrical equipment.

Spring Light is the 3rd release in a series of 4 albums which started with Autumn and Winter Light and will finish with Summer Light.
Spring Light was inspired by a series of spontanoeus sketches made using 'Bloom' the software app by Brian eno and Peter Chilvers. These sketches were then pushed further into time and space and began to take on the form of the final work as hidden layers and sounds were added and embellishments made and resynthesis began to take effect.
As with Autumn and Winter Light the album and soundscape is largely pastoral or inspired by the local landscape down here in Cornwall but also delves deeper into local mythology and other magical aspects of the area drawing the the Genii loci or spirit of the land in larger measure to inspire and empower the work…

"Celestis: Space Ceremonial Music" definitely stands out in the discography of this project, known mainly for its post-industrial and avant-garde recordings. It would be no exaggeration to say that this is their most accessible work (in a good sense) correlating with the best examples of such acclaimed masters of the "space genre" as Jean-Michel Jarre or Klaus Schulze. At the same time the music on "Celestis" is in no way secondary, it is modern and quite craftily made. From the opening theme "Capsula" the album's atmosphere plunges the listener into a world of spiritual experience, calls to take an imaginary space travel; fly towards Space along with the remains held in capsulas…

One of the first of the blissed-out rave acts to storm the charts, and also one of the longest lasting, the Future Sound of London deserved a good singles compilation, and fortunately they get one with the Virgin retrospective Teachings from the Electronic Brain. Their highest moments were virtually always their singles, and short-form tracks offer a much easier path to understanding the music of Brian Dougans and Garry Cobain than their occasionally bloated LPs. Teachings from the Electronic Brain neglects nothing of real value, beginning with their first chart hit ("Papua New Guinea") and grabbing the best tracks from their albums Accelerator ("Expander"), Lifeforms (the title track), the live-in-the-studio ISDN ("Far-Out Son of Lung and the Ramblings of a Madman," "Smokin' Japanese Babe"), and Dead Cities ("We Have Explosive"). Best of all, licensing requirements prevented the addition of material from 2002's half-baked The Isness.

Awakenings 2006 Vol. 1. John Sherwood who is responsible for the Awakenings series of concerts in Leeds has put together another compilation for us (the first being 'Awakenings 2005') featuring both known (['ramp], The Omega Syndicate, Gert Emmens, Create, Nattefrost…) and lesser known acts. Much of the music is exclusive to this set.
Awakenings 2006 Vol. 2. This is a double album set containing all previously unreleased material (except for probably the Entity track). There is quite a variety of music to be found on this 2 CD set, some real gems included…

This is the 3rd and final album in a 3 CD set originally released on Txt recordings by Lee Norris and Matt Hillier as 'Plank and Ishq' and continues the journey through the land of the 'Crows An Wra' and mythical landscape of cornish radiophonic oscillations and Henge like vista's. Surfice to say its a fairly odd work at times, at other times light and floaty like a cornish opiate cream tea and dream like, detached, we cant use that word enough. The music was conjured from a mental space of freeform experimentation and fluid like acts of non conformity. It suits late night headphone excursions well and is its own work, something different and one for the collection, unique and a genuine work of art in some respects maybe as its uncontrived and seeks to just exist for its own sake.

The music of Norwegian trumpeter/Nu Jazz progenitor, Nils Petter Molvaer, has always been cinematic. Call it music for a non-existent movie or a film of the mind, Molvaer's albums, beginning with the groundbreaking Khmer (ECM, 1997), have always been about aural landscapes evocative of highly personal imagery and plenty of club-ready grooves. Even in performance, the lighting provided by Tord "Prince of Darkness" Knudsen is intended to provoke the imagination rather than focus attention on the musicians. It's no surprise, then, that Molvaer has been recruited to provide music for film. His score for the 2005 French film Edy already saw limited release on Molvaer's Sula imprint the same year. Re-Vision culls four pieces from Edy and, by combining them with music from two other films—the 2007 German film Hoppet and 1999 Norwegian documentary Frozen Heart—and one non-soundtrack piece, fashions a continuous 46-minute suite that stands independently as yet another highly visual piece, incorporating Molvaer's ever-expanding frames of reference. Re-Vision is also Molvaer's first release in years to not primarily feature members of his touring band, but guitarist Eivind Aarset remains a fundamental part of its overall soundscape.

Leaving To Nothing (1995). This album is truly authentic to the best of what was being recorded in the mid to late 1970s electronic scene. It's where rock meets electro. This recording is almost haunting. It's as if the talented musicians who recorded this album were transported through time and just started jamming. If you like Floyd, Parsons, Carlos, Tomita, Vangelis, Baumann, Tangerine Dream, or any of the other notables of that era…

This is a collection of songs from 1988-1993. A joint effort by Rhys Fulber and former Front Line Assembly bandmate Bill Leeb, the successful project Delerium has produced some of the most unusual sounds to emanate from Vancouver, Canada. With Leeb responsible for finding samples, writing lyrics, creating basslines, sequencing, and overseeing the project and Fulber handling the sampling and programming and using a chords/string pad to craft additional melodies and arrangements, the group's sound is a dance-inspiring mix of electronics and post-industrial attitude.

This is the 2nd of a 3 disk CD set on Txt recordings of free form psychedelic inspired soundscapes and ambient pieces by Lee Norriss and Matt Hillier and Plank and Ishq and written in free form creative space.
The music and ambience harks back to the old days of 90's free form music where nothing was planned and the sonic worlds flowed out of the speakers. Its 'free music' for headphone tweakers, not written to impress or be perfect, not wrtten to be 'the best work', it was created to exist and paint a picture in a detached way and a colourfull one. Its what it is and unique and thats enough to warrant its existance.

Italian pianist turned DJ Robert Miles scored a massive international hit with his wonderful, dreamy dance cut "Children" (one of the 1990s biggest and best dance hits) from his debut album Dreamland. The album at times sounds as if it were one continuous song (or set of beats with similar chord progressions) stretched over an hour, which may detract some, but, in essence, is what makes his sonic dreamscape so engaging. It's at once both dancefloor and chill out material; one of those discs where one can hit the play button, drift into a different dimension, and forget about worldly worries. Dreamland, which is both melancholy and blissful, succeeds in its simplicity. Highlights include the second single, "Fable," which continues with the same formula he utilized in "Children," this time using ethereal female chant-like vocals (also included is an instrumental version of "Fable").