Fluid Audio

Emmanuel Witzthum & Benjamin Miller - Shevarim (Fractures) For brass quartet (2024)... The shofar, an ancient horn traditionally fashioned from a ram’s horn, has long functioned as an instrument of signal, rupture and resonance. Across centuries, its raw and unstable timbre has carried associations of warning, remembrance, awakening and return. Rather than focusing on its liturgical role, Shevarim (Fractures) draws upon the physicality of the shofar’s voice itself: fractured breath, broken calls, unstable overtones and the psychological weight of repetition. The title Shevarim translates as “breaks” or “fractures”, one of the three principal shofar calls, formed from three broken cries often associated with weeping or rupture. Alongside the sustained Tekiah and the urgent, fragmented T’ruah, these archetypal forms become structural and rhythmic material within the work. Witzthum reinterprets these ancient sonic gestures through brass quartet, treating the ensemble less as a traditional chamber formation and more as a resonant body of breath, pressure and metallic vibration. Attacks splinter and dissolve, fanfare-like figures emerge only to collapse inward, and moments of density give way to exposed silence and suspended harmonic space. Rather than presenting the shofar as a symbolic religious object, the work approaches it as a primal acoustic phenomenon, a sound positioned somewhere between human voice, alarm signal and collective memory. Through cycles of deconstruction and reconstruction, Shevarim (Fractures) inhabits a liminal territory between noise and utterance, intimacy and distance, fragmentation and repair. The result is a plaintive and deeply physical work that reflects upon instability, dislocation and the fractured emotional texture of the present moment, while searching, through resonance itself, for the possibility of connection.

A new collaborative album by Sainkho Namtchylak and Mirco Magnani. 
Beyond Fine Lines is a deeply introspective and evocative album that explores the boundaries between life and death, light and darkness, chaos and stillness. Blending poetic and symbolic texts with immersive, ethereal soundscapes, the record unfolds as a contemplative journey into the emotional and philosophical depths of the human
experience. At its core is the extraordinary voice of Sainkho Namtchylak, whose unique vocal language moves between hypnotic tones, spoken word, and powerful improvisations rooted in Siberian and Tuvan traditions. Her voice becomes a true instrument, shifting from intimate whispers to primal expressions-carrying lyrics that reflect on hope, toughness and the cyclical nature of life. The sonic framework is shaped by Berlin-based composer Mirco Magnani, whose compositions create a refined balance between structure and improvisation. His work provides a cohesive and dynamic space where voice and sound interact in a fluid and
expressive dialogue. The collaboration began in 2023, following an initial encounter during the production of Zarathustra – Der Grosse Mittag, and evolved into a full-length project recorded in Berlin later that year. The album developed organically, with vocal lines, overtone
singing and spoken word emerging in direct response to Magnani’s evocative compositions. Beyond Fine Lines is not an album that demands attention, it invites surrender. A sonic meditation on presence and transformation, it offers listeners a space of stillness and reflection, where introspection becomes a shared, universal experience. Credits: Music performed by Mirco Magnani
 Voice, lyrics, spoken word by Sainkho Namtchylak 
Produced and mixed by Mirco Magnani at Undogmatisch, Berlin
 Mastered by Ken Karter at Decode Studio 
Original artwork by Valentina Bardazzi
 Track 1, 2, 7, 8, 9, 10: Music by Mirco Magnani, Lyrics by Sainkho Namtchylak
 Track 3, 4, 5, 6: Music by Mirco Magnani, Sainkho Namtchylak

There is a point at which something familiar begins to dissolve... Not all at once, but slowly, a quiet erosion. Edges soften. Meanings drift. What once held form becomes uncertain, and in that uncertainty, something else begins to surface. Benzalkonium inhabits this threshold. Across two discs, EPIMYTH traces a landscape of pressure and distance, not as narrative, but as presence. The work does not speak directly of its origin, but carries its residue throughout: a tension held beneath the surface, an undercurrent that never quite settles. The first disc is dense to the point of saturation. Sound gathers in thick, collapsing layers, a continuous field without clear entry or release. It presses inward, blurring the boundary between listening and being inside the sound itself. There is no relief offered here, only immersion. And yet, within that immersion, a strange stillness begins to take hold, not calm, but suspension. The second disc withdraws, but does not escape. The weight disperses into fragments, into quieter, more porous forms. Texture replaces force; space becomes an active presence. What remains is a kind of after-image, the imprint of something that has already passed, but continues to resonate. It neither resolves nor resists. It lingers. Together, the two discs exist in quiet opposition. Not as contrast alone, but as parallel states, density and dispersal, proximity and distance. One does not complete the other. They remain unresolved, suspended in relation. Benzalkonium does not offer clarity. It stays with the moment where clarity fails. Presented as a limited double CD edition, each copy is assembled by hand using raw, tactile materials. The physical object mirrors the work itself: restrained, weathered, and intentionally unresolved. No repress. 17:22.500/0:38.500/12:01.000/7:30.000/2:28.000 Audio/Mixing/Mastering - EPIMYTH Dedicated To Lou Reed

There is a quiet moment as winter begins to loosen its grip, when the frost softens, the light lingers a little longer, and time seems to gently unfold. With 'Piano Distance', Japanese composer Nakamura Hiroyuki invites us into that fragile threshold between seasons. A pianist, composer, and visual artist working at the intersection of acoustic instrumentation and electronic processing, Nakamura’s work dissolves boundaries, between sound and environment, between memory and presence. His compositions weave together piano, field recordings, and textured electronics, forming immersive soundscapes that feel as much like places as they do pieces of music. Where earlier works traced a dialogue between cultures and sonic traditions, 'Piano Distance' turns inward towards stillness, reflection, and quiet transformation. This is music of thaw. Delicate piano phrases surface like meltwater, tracing gentle paths through layers of drifting texture and soft harmonic haze. Sounds emerge, linger, and dissolve, carrying with them the subtle tension of something changing, something opening. Time no longer feels suspended, but unfurling. Moments stretch and release, folding softly into one another, echoes of winter still present, yet slowly giving way to light. There is a tenderness here, a sense of transition: of memory beginning to fade, of stillness giving way to movement, of endings quietly becoming beginnings. Nakamura’s process remains intuitive and deeply atmospheric. Rather than imposing structure, he allows the music to gather and recede naturally, like frost melting from a surface, revealing what lies beneath. The result is a work that feels both intimate and quietly expansive-a meditation on impermanence, on seasonal change, and on the gentle passage from stillness into motion. With 'Piano Distance', Nakamura Hiroyuki joins the Fluid Audio catalogue with a release that resonates with its ethos, yet carries its own distinct clarity: restrained, luminous, and deeply contemplative. This is music for the in-between-for the first warmth after cold, for the slow return of light, for the moments when the world begins again.

Fluid Audio is proud to announce the forthcoming release of 'Batiledhu', a new work by Aaron Martin. Composed for a quietly enigmatic film shot in Sardinia, Batiledhu unfolds as a deeply textural and contemplative body of music, existing both in service to the moving image and as a standalone meditation in its own right. Co-directed by photographer and filmmaker Nicol Vizioli, the film inhabits an elemental landscape, coastal, ancient, and quietly surreal. In response, Martin’s score leans into restraint and atmosphere. Subtle strings breathe beneath open spaces; tones linger like sea air against stone. Rather than guiding the narrative overtly, the music hovers at its edges, creating emotional undercurrents that feel both timeless and immediate. Recorded with Martin’s characteristic sensitivity to tone and decay, the compositions are sparse yet immersive, a study in patience, tension, and unresolved beauty. The Sardinian terrain is not illustrated so much as absorbed; its textures and silences become part of the music’s internal architecture. The visual material for the release draws directly from Vizioli’s photography for the film, preserved with care and minimal intervention to honour its integrity. The artwork design has been prepared in collaboration with Ryan Keane, maintaining a cohesive and understated visual identity. Audio mastering has been handled by Ian Hawgood, ensuring depth, clarity, and spatial presence while preserving the fragile dynamics at the heart of the compositions. Following the film’s festival premiere, Batiledhu will be released by Fluid Audio in a limited edition, custom-made format, presented in bespoke packaging, hand-assembled and carefully produced in keeping with the label’s commitment to tactile, archival objects. With Batiledhu, Aaron Martin continues to refine a language that is intimate, elemental, and quietly transcendent, a work shaped as much by silence as by sound. Credits: Music - Aaron Martin / Mastering - Ian Hawgood / Film - Nicol Vizioli / Artwork support - Ryan Keane / Design - Daniel Crossley

Too many new worlds had been discovered; there was a latent wish not to find anything more. Over the reports of explorers on land or on sea there lay a sense of disappointment, an unlocalized pain of vast distances more important than anything to be found beyond them. - Robert Cantwell Kirill Nikolai is a Ukrainian American composer currently based in Seattle. Solennelle marks his first new music in nearly a decade. The work occupies a quiet space between the considered minimalism of Alvin Lucier and Éliane Radigue, and the haunted tonal drift of Gavin Bryars and The Caretaker. Muted sine wave test oscillators hum with the distant steadiness of obsolete laboratory equipment. Sustained clarinet multiphonics hover at the edge of breath. Tape gradually frays and buckles, evoking both motion and suspension - a landscape in which time neither advances nor recedes. Silence plays a central role. Absence becomes structure. Tone dissolves and reforms. The composition unfolds with patience, eventually thinning and eroding at its own edges. “There really is silence, a ten-second void like an inhalation of breath, preceding a soft return, like a ceiling fan in motion… the composition begins to crumple, burning at the edges… distorted and eventually turning into ash.” - Richard Allen, A Closer Listen Following its initial digital release on the French experimental label Falt in early 2026, Fluid Audio presents Solennelle as a limited edition compact disc housed in a hand-selected vintage cartographic cover. Each edition features vintage map fragments, individually sourced and trimmed, making every copy subtly unique. Solennelle for oscillators, clarinet and tape (2025) Kirill Nikolai - composition, sine oscillators, tape Selene Vass - clarinet Recorded and mixed by Kirill Nikolai in Seattle, WA, 2025 Mastered by Alan F. Jones at Laminal Audio, Tracyton, WA, 2025 Design - Daniel Crossley

Fluid Audio is proud to present 'arthur & jeremias', the forthcoming album from Danish composer and sound artist øjeRum - a quiet, introspective work named after two characters from The Castle, Franz Kafka’s unfinished and haunting novel. Like Kafka’s world, 'arthur & jeremias' exists in a space of uncertainty and longing. It drifts between presence and absence, where meaning is sensed rather than stated. The album unfolds as a slow sonic exploration, fragments of memory, half-remembered rooms, and corridors that seem to lead nowhere and everywhere at once. Dusted loops circle gently, worn at the edges. Tape hiss breathes between notes. Electronic phrases appear like passing thoughts, only to dissolve again into ambience. There is a deep sense of nostalgia throughout, not for a specific place or time, but for something just out of reach, hovering at the edge of consciousness. Rather than telling a story outright, 'arthur & jeremias' invites the listener to inhabit a mood. Repetition becomes ritual. Small imperfections are left intact, giving the music a fragile, human quality, as though the recordings themselves are artifacts uncovered from another era. This is music that rewards patience and stillness. It asks for attentive listening, for surrender to its quiet pull. Like The Castle, the album resists resolution, finding beauty in ambiguity and tenderness in restraint. The album is mastered by Ian Hawgood, whose sensitive and understated approach preserves the music’s intimacy and dynamic range, allowing the dusted loops, tape hiss, and fragile melodic fragments to remain unpolished and alive - faithful to the album’s quiet emotional core. Released through Fluid Audio, 'arthur & jeremias' will appear as a limited, hand-assembled physical edition, created with the same care and attention to detail that defines the label’s ethos - a tactile companion to an intimate and reflective listening experience.

Fluid Audio presents 'Broadcasting From Nowhere', the debut album from Ondelunghe, a collaboration between Tokyo-based multi-instrumentalist Hiromu Yamaguchi and Italian composer Guido Lusetti. Conceived not through physical proximity but through distance, correspondence, and quiet exchange, the album feels like a message transmitted across frozen air-intimate, fragile, and partly obscured by static. Yamaguchi’s contributions-piano and field recordings, carry the brittle tenderness of winter breath. Keys sound as though pressed with hesitation, leaving behind vapour trails of melody that threaten to vanish the moment they form. The recordings themselves crackle and hiss, as if weathered by frost, capturing the small, persistent noises of a world bracing against silence: creaking surfaces, shifting air, something moving just out of sight. Lusetti’s work-what he refers to as electronic pointillism, does not counter these gestures but suspends them. His tones drift like cold particulate matter, dust motes in a beam of static, circling the piano without ever enclosing it. Occasionally, other voices, Henrik Meierkord’s cello, Ed van der Berkel’s trumpet, Daniele Varelli’s shakuhachi-surface not as performers but as spectral presences. Their sounds arrive like signals from an abandoned transmitter, lingering momentarily before dissolving back into the dark. The album unfolds slowly, as though aware that silence has weight, and too sudden a movement might shatter it. Notes hang, unravel, and fall away like light snow. The music never insists; it waits. To listen to Broadcasting From Nowhere is to tune into a frequency that feels both familiar and unreachable, a broadcast sent from a place you’re not entirely sure exists, or ever did. Credits: Hiromu Yamaguchi: piano, field recordings Guido Lusetti: free electrons, found voices Henrik Meierkord: cello Ed van der Berkel: trumpet Daniele Varelli: shakuhachi Mixing and mastering: Hiromu Yamaguchi www.fluidaudio.co.uk

Recorded between March and June of this year, Future Flowers is both a reflection and a rebirth - a gentle yet resolute act of hope from composer Hans Nox. Some of these pieces have lived quietly for years - written a decade or more ago, resting like seeds beneath the soil. Others emerged spontaneously during the recording sessions, unfolding in real time as Hans allowed instinct and feeling to take the lead. The result is an album that bridges past and present, memory and anticipation - where old melodies find new breath, and improvisation opens unexpected pathways. “I wanted the entire experience to be more free-flowing, more playful, more adventurous than the usual cautious approach I take to composing,” Hans writes. “Rather than regretting where I’ve been or the paths that led nowhere, I’ve chosen to trust my Savior and strive toward the brightness ahead. Yesterday is gone - tomorrow is coming. How much better it is to pursue confidence and courage.” That sense of spiritual renewal and creative surrender runs through every note. There is a tender humanness here - fragile piano phrases that pause as if mid-thought, ambient textures that drift like light across water, melodies that carry both ache and affirmation. Even the silences seem to speak, offering a kind of stillness that listens back. Future Flowers is, in many ways, an album about release - about letting go of the weight of the past to make room for something more open, more alive. It celebrates the decision to move forward with faith and boldness, even when the path ahead is unclear. The music does not rush; it unfolds patiently, like petals opening in the sun - quiet gestures of trust and becoming. Like its title suggests, Future Flowers invites us to believe in renewal - to tend to the unseen roots beneath our lives, trusting that beauty will bloom again in time. In keeping with the spirit of the music, this release has been lovingly hand-assembled in a limited Fluid Audio edition, pairing Hans Nox’s compositions with bespoke artwork and tactile design. Natural textures, archival papers, and hand-numbered inserts bring a physical warmth to the experience - each copy a small act of devotion, crafted with the same care and intentionality that shaped the album itself. Gentle, honest, and filled with quiet light, Future Flowers is not just a collection of songs - it’s a testament to resilience, to grace, and to the faith that something beautiful still lies ahead. Music - Hans Nox Mastering - Ian Hawgood Design - Daniel Crossley

Gray Acres has always been a space for subtlety and restraint, distinct from the denser, more cinematic atmospheres of Hotel Neon. Where that project often explores process, technique, and narrative arcs, Gray Acres tends to be produced "in the moment" and stays still. It lets you think for yourself. Soft Erasure especially embraces that characteristic stillness. This is the first full-length Gray Acres album since 2021’s “Dreams and Phantoms.” It’s a project that came together slowly with an intentionally light touch…more about dissolving sounds than constructing them. Subtraction vs. addition. The title Soft Erasure came about as we noticed a recurring quality across the recordings: a sense of tangible things like guitars, pianos, and strings fading, softening, and slipping just out of reach as we shaped and processed them. The music feels like it’s constantly on the verge of vanishing, or being gently wiped away into an indistinct atmosphere. That idea of erasure not as violence, but as gentleness, decay, or transformation, felt like the right metaphor to latch on to. It speaks to memory, distance, and time, and how all of those forces shape and reshape our perception of sound and self. Musically, this album is built mainly from resampled acoustic instruments: delicate piano lines, sustained strings, frozen and looped guitar textures. Much of the source material was recorded clean, then stretched, blurred, and layered until it became something abstract…like an impression of a song, or a half-remembered phrase. In some ways, we were trying to find the most washed-out and ephemeral version of each sound. The result is a record that is designed less for narrative and more for immersion. If you’ve followed this project before, I think you’ll hear a natural continuation of its aesthetic. But if you’re new to Gray Acres, this is a great entry point. It’s music that tries not to demand attention, but rewards those who tune in closely for a while. Gray Acres - Soft Erasure Music by Andrew & Michael Tasselmyer Mastered by Alex at Quiet Details

Fluid Audio announces 'Series Of Room', the quietly moving new release from Italian composer Grotta Veterano. Mastered by Ian Hawgood and featuring cover artwork by Danish artist Øjerum, the album offers a deeply introspective journey through sound, memory, and emotional architecture. Initially recorded as a series of private piano sketches - “written improvisations, controlled sketches” - the tracks were never intended as a cohesive album. Yet when brought together, they began to resemble something whole: a constellation of internal spaces, unresolved and beautifully unrefined. “They ended up becoming a series of rooms,” writes Grotta Veterano, “each one made of memory, of recurring fragments from the past, reconstructed over time. When I say ‘a series of rooms,’ I mean the ones we carry inside us, not physical spaces.” Each piece unfolds like an overheard thought, a door left ajar. There’s no grand statement here-only presence, absence, and the trace of something lived. With its unadorned fragility and its refusal to over-explain, Series Of Room speaks in the language of quiet honesty. The album is presented in a meticulously handcrafted edition of 50 copies, drawing from the same tradition of tactile collage and analogue storytelling that has defined recent Fluid Audio editions. Each set features original Ordnance Survey map segments, cloth-backed and carefully bound, forming a unique shell for each copy. Also included are custom-designed A6 prints on heavyweight uncoated stock, vintage photographic slides, black & white travel photographs, photo negatives, and salvaged book pages from. Fragments of reel-to-reel field recording tape, antique travel stubs, and ephemera gathered from forgotten drawers complete the assembly. All elements are housed in a hand-waxed, stamped, scented archival bag, individually numbered. No two packages are alike. No repress. Audio: Grotta Veterano Mastering: Ian Hawgood Cover artwork: Øjerum Design: Daniel Crossley

Fluid Audio presents Giulio Aldinucci & Matteo Uggeri - The Promise of a Threat coming soon on Fluid Audio... In The Promise of a Threat, two veteran composers of ambient and electroacoustic music - Giulio Aldinucci and Matteo Uggeri - converge on a collaborative terrain that is at once intimate and immense, reflective and unsteady, beautiful and unsettling. Created between June 2021 and early 2022, and mastered by Aldinucci in 2025, the album stands as a slow-burning document of digital and emotional correspondence. It reflects the language of ambient music not as static wallpaper, but as a deeply expressive form - one that allows silence and signal, memory and disturbance, to coexist within the same fragile space. A Digital Dialogue Across Distance... The entire work emerged through remote exchanges between Aldinucci (based in Siena, Italy) and Uggeri (Milan, Italy), unfolding gradually through shared sessions, sketches, and iterations over time. The process was not unlike the movement of tectonic plates - imperceptible at first, yet with weight and intention. Layers of processed field recordings, abstracted rhythms, and spectral textures accumulate into dense yet transparent forms. Every detail is traceable, yet elusive. Giulio Aldinucci, known for his deeply spatial drones and sensitive treatment of field material, builds immersive sonic beds that seem to hover just above the surface of the Earth - simultaneously grounded in place and untethered from time. Matteo Uggeri, by contrast, applies a more tactile touch: assembling beats, samples, and environmental recordings into patterns that give pulse and tension to the atmosphere. Together, their styles intersect in subtle and surprising ways - sometimes bleeding into one another, at other times standing apart in contrast. The balance between order and entropy, harmony and noise, creates a dynamic that speaks to the album’s title: The Promise of a Threat. Beauty does not arrive alone. It is always shadowed by its inverse. Processes of Presence and Absence... Across the album’s runtime, the listener is drawn through zones of dissolving melody and shadowy rhythm, passing through spaces that feel neither entirely natural nor entirely artificial. A drum sample on Track 2, provided by Andris Brinkmanis, adds a skeletal percussive element - a quiet agitation beneath the calm. The rhythms are not dominant but suggestive, like distant industrial echoes or memories of forgotten structures. The artists manipulate the digital medium not as a tool of perfection, but of erosion and transformation. Hiss is preserved. Glitches are welcomed. The human ear remains present in every detail. The processing - granular, filtered, stretched - is not ornamental but fundamental, a way of sculpting emotion out of signal. Field recordings are often submerged, embedded beneath layers of drones and rhythms, yet their presence adds a layer of organic residue - a trace of wind, rust, or breath beneath the circuitry. A Tactile Offering... True to the ethos of Fluid Audio, the physical release of The Promise of a Threat will be crafted with great care and material sensitivity. Expect a limited, hand-assembled edition that honours the intimacy and intricacy of the music - an object to be held, as much as heard. Full packaging details and release date will follow. For now, The Promise of a Threat lingers just at the edge of hearing - like the low hum of an incoming storm, or the quiet reassurance of knowing something is coming, even if its shape remains undefined. www.fluidaudio.co.uk

Tament is an exploration of sound as both memory and possibility-an attempt to blur the boundary between the concrete and the imagined, the heard and the felt. This album is born out of an ongoing curiosity: what kind of dialogue can exist between the raw, unfiltered audio of the everyday and the abstract sonic worlds we construct through synthesis and production? At its core, Tament weaves together field recordings, modular synthesizers, and software-generated textures. The ambient recordings are drawn directly from the soundscapes that surround me: the footsteps echoing through familiar streets, fragments of passing conversations, distant traffic, the subtle rhythms of urban life. These are the sounds that often fade into the background, yet they form the soundtrack of my existence. By capturing them, manipulating them, and placing them in new contexts, I aimed to reframe the ordinary-to open a space where the habitual becomes mysterious, and the familiar is rendered strange. This project is not about documentation or representation. Rather, it’s about translation. I wanted to create an alternate version of the spaces I move through-a kind of dream logic of place, where reality is stretched and reassembled into something more ambiguous, immersive, and open-ended. In doing so, Tament becomes a liminal zone, a place between places. Just as important as the sound itself was the intention behind its structure-or rather, the lack of imposed structure. I deliberately avoided giving the tracks a fixed narrative or emotional direction. There are no clear themes or guiding concepts here. The music offers a frame, not a story. It is a space left intentionally undefined, allowing each listener to encounter it without expectation, to inhabit it on their own terms. In that sense, Tament is less an album and more a set of sonic invitations. It is about listening closely, noticing what usually slips past us, and discovering new meaning in repetition, texture, and silence - Glinca Music, production, and mixing by Tazio Iacobacci Mastering by Sebastiano D’Amico at Zen Arcade Track 8 - 'Horocele', features Francesco Canè on modular synthesiser Design by Daniel Crossley

This album is the culmination of an ongoing exploration of musical and sonic concepts, including mutation, evolution over time, generative patterns, sampling and re-sampling. Several tracks from the album have been performed, presented, and utilized in various formats, such as concerts, performances, or installations-either in their entirety or specific sections. The six tracks represent the distilled essence of a creative process that commenced in 2020, characterized by continual iteration, variation, and the transformation of formless clusters of melodies, harmonies, or mere textures into somewhat finished compositions. Each musical piece has been a companion to me for an unusually extended period (something it rarely happens in my process). Much like features in a landscape, these tracks have shaped a geography of memories, places, and fleeting moments over an exceptionally prolonged time in my life (with some, like Bancal, tracing back to 2014). Consequently, the personal and emotional weight they carry is significant and necessitates being acknowledged to make room for the new and unexpected. In Valencian, "una geografia temporal" translates to “a temporary geography."

'Petrichor' is the third studio album from long-time collaborators James Osland and Andrew Heath, and serves as a natural continuation of their creative partnership following the release of Elysian Fields (2024), also on the esteemed Fluid Audio label. The two artists were initially brought together by a shared admiration for each other’s work within the ambient music community. Andrew Heath is an established figure in the genre, with numerous albums and EPs released on respected imprints such as Disco Gecko, Whitelabrecs, Rusted Tone Recordings, Elm Records, and White Paddy Mountain. James Osland, meanwhile, is both an accomplished artist and the founder of Elm Records, a boutique label known for its thoughtful curation. His personal discography includes releases on Unknown Tone Records, Whitelabrecs, Flaming Pines, and Dewtone Recordings, among others. Osland’s practice explores the intersection of sound, memory, and place, working across both sonic and visual mediums. Petrichor began to take shape during an exchange of ideas between the two artists in the late winter and early spring of 2024. As Andrew shared loops and sonic sketches, James found himself listening from his studio, watching the unrelenting English rain from the window. These moments of stillness-quiet reflections on the shifting of seasons-informed the mood and direction of the album. What emerged is a collection of slowly evolving compositions, revealing gentle melodies, nuanced textures, and soft drones-much like the tender unfolding of early spring leaves. The album carefully weaves together field recordings, organic textures, and synthesis to create immersive soundscapes that capture the subtle beauty and contemplative atmosphere of seasonal change.

Blurstem’s 'Remnants and Whispers' is an album of memory-of echoes and fragments, of moments gathered and reshaped, of the past carried gently into the present. Released on Fluid Audio, renowned for its exquisitely crafted physical editions, this collection of soundscapes and textures is imbued with nostalgia, intimacy, and the quiet weight of time. The album weaves together the delicate and the vast, the small and the sweeping. Tiny, almost imperceptible guitar plucks flicker like candlelight amidst expansive ambient washes. The sonic palette moves seamlessly between lo-fi warmth and pristine clarity, embracing the imperfections of cassette recording and the wobbly, warbled charm of home videos from a lost era. Each track breathes with a human touch-organic instruments processed and reimagined, from tremolo strings pitched and resampled on “Tethered” to layers of sound that feel like old photographs brought to life. At its heart, 'Remnants and Whispers' explores the idea of remnants-what we carry with us through life, the fragments of friendships, memories, and fleeting moments that shape who we are. Much like the album’s sonic construction-built from past sketches, ideas, and textures revived and given new form-the music mirrors the way we collect and reinterpret our own experiences over time. This ethos extends beyond the music itself into its physical presentation, with Fluid Audio’s deluxe edition incorporating 1920s sheet music and book fragments as old as the 1890s-historical relics that feel like the perfect visual counterpart to the album’s themes of memory, loss, and renewal. The tactile nature of these artifacts deepens the listening experience, making 'Remnants and Whispers' not just an album, but a tangible connection to the past. Mastered on Bartels’ late ’60s analog tape machine, the album’s final touch further enhances its warmth and character, adding an unmistakable depth and timeless quality to its sonic palette. A meditation on change, nostalgia, and the beauty of imperfection, Remnants and Whispers is an invitation to pause, reflect, and listen-not just to the music, but to the quiet echoes of our own stories. Music: Blurstem Mastering: Bartels Design: Crossley www.fluidaudio.co.uk www.blurstem.bandcamp.com

Originally, both of these long form tracks served as the basis for sound baths I performed for friends and families. I would hit play and then make some sounds in the physical space, focusing on objects in the environment (rustling the leaves on a bush, hitting a metal fence with a stick, clicking stones, etc). I always intended for these tracks to also be able to hold up on their own, so here we are. When is a song done? Don’t we just arbitrarily decide when to call it? I like the idea of this only being part of the “song”, and that the “song” is always changing. After each performance I added little pieces of the fresh live sounds into the pre-recorded mix. There will likely be more performances, so the tracks will change further. This is just where they are now. And I like that. As I worked on these tracks over the last few years, the theme of impermanence became more clear to me. My father was lying on the grass in my parent’s yard for the first performance. That was in 2020, during the pandemic. Recently, my father passed away, so I’m dedicating these songs to him. He was a landscape architect, and I always loved how that sounded, and I always loved him. Performed, recorded, and mixed by nat hawks between 2020-2024. Dedicated to dad. - padna

The Moorish Shield is a subjective navigation. The main beacon on this poetic and haunted route is a villa from the beginning of the twentieth century, called La Mauresque, located in Saint-Jean-Cap-Ferrat, on the French Riviera. Its owners (past and present), its location (nested at the end of the cape, almost invisible…) and the spirit of this place (where, through the ages, the stunning beauty of the landscape always hides a darker dimension…) give matter to sonic explorations, based on field recordings, out of tune pianos, radio interceptions, ghostly tones and tape manipulations. The title comes from a Moroccan symbol placed at the entrance of the villa by its most famous owner: novelist William Somerset Maugham. The main traditional function of such a symbol - central to Maugham’s life - is to protect from the evil eye, while deflecting the evil power back onto the malevolent. The eleven tracks of The Moorish Shield explore this ambivalent relationship between sun and shade and question what a Riviera landscape hides in the Mediterranean bright light, behind the perfectly maintained hedges, through the passing of decades. Written and produced by squncr Mastered by Julien Bayle/Void Label Designed by Daniel Crossley

A New Musical Journey for Sleep and Meditation... Prepare to embark on a transformative auditory experience with the release of 'Musquy (dream)', a groundbreaking composition designed to accompany moments of sleep, meditation, and deep relaxation. Crafted with intentional gentleness and an unparalleled sensitivity to the human spirit, this music serves as a gateway to release and renewal. Emmanuel’s vision for 'Musquy' centers on the delicate balance between tranquility and inspiration. From the soft melodies to the carefully orchestrated transitions, the music creates an environment conducive to profound inner peace. Perfectly suited for individuals seeking solace from the noise of daily life, 'Musquy' provides 'a gateway of release in which dreams may awaken in calm and delicate grace'. The composition’s intricate layering and gentle dynamics are the result of using natural soundscapes, presented in a 24 hour installation by Emmanuel. The result is an immersive experience that gently cradles the listener’s senses and promotes holistic well-being. ... Emmanuel Witzthum - vocals, electronics, mastering Daniel Crossley - Design ... The artist... Emmanuel combines work as composer, artistic director and creator of artistic digital experiences. He currently serves as Head of Creative Development for the FeelBeit culture house and as the curator of the creative resident program at the ZEISS Innovation hub at KIT. He has created artistic collaborations with partners such as Ensemble Modern, Frankfurt; IRCAM; Google; The Guggenheim; The Alvin Ailey Dance Company; Enjoy Jazz Festival; The Future en Seine Festival; The Matadero; The Jewish Culture Festival, Krakow, The Jewish Museum, Berlin; The Pacific North Western Ballet; The ZKM and ZEISS amongst others. He has performed as violist with the Orpheus Chamber Orchestra in NYC, The Berlin Staatskapelle, Ensemble Intercontemporain amongst others. He has recorded for Deutsche Grammophon under Pierre Boulez with Ensemble Intercontemporain. He is a consultant and lecturer on such topics as - transformation processes in the arts and strategic business development in the arts in the 21st century. www.fluidaudio.co.uk www.witzthum.org

The 'Noise Print' project began from a desire to create deep, earthy textures. I had an image of walking along a narrow forest path and being very present in the moment. For this album I changed my usual approach by setting a one-hour time limit for each studio session. As soon as I set this limitation my ‘chattery brain’ started stirring up doubts about my ability to work under these confines- an hour wasn’t long enough to create ‘amazing music’ and that setting such restraints would be stopping me from producing quality work. However, once I started working, a different, more grounded version of myself emerged-more sure footed and less neurotic and anxious, focused on the present moment rather than getting anxious over future outcomes. And the outcomes were good, I was really happy with the material I was creating and the whole of Noise Print was made in these sessions. While I made the album I started to think about identity, shadow selves, unconscious selves, versions of ourselves that are quite different from the everyday person we think we are. In many ways this was quite comforting, the thought that my everyday self could take it’s hands of the wheel and let a grown up much more capable person could get on with the work. On reflection I realise that making music is one situation in my life where I’m able to tap into this state without too much difficulty (most of the time) but it was during the making of Noise Print that I actually noticed it was happening. This led me to think about the concept of shadow selves-alternate versions of our subconscious selves that operate beyond our everyday distractions and influences. Like the image of the forest track-a space where the noisy mental clutter fades, and a deeper, older self takes over. To sum this one up-it’s like a walk along a narrow forest path and the present moment is very much alive-your mind is right in ‘the now’ with past and future losing any meaning. The ‘Noise Print’ title came about by me thinking if you could print to tape the sound of your psyche/consciousness when your are in this present focused, deep state. - Phil Tomsett - April 2024

The Acceptance Cycle: This is a bit easier to write about as it’s essentially a conclusion to The Sound of Someone Leaving album. That album was about loss in many of its forms. 'The Acceptance Cycle' (like its title suggests) is about the cycle you go through in reaching acceptance. The final track (Cycle Seven) has an element of acceptance about it, with the preceding six tracks taking the listener through a range of emotions before reaching that final place- with the Title track setting the scene at the start. To sum this one up- it’s an expressive outpouring of emotions that come after a shock or traumatic event (The Sound of Someone Leaving) which eventually leads you to a place of peace and acceptance. The two pieces are connected- but it’s hard to say how, it’s more of a feeling, like one is ‘discovered’ almost by surprise after listening to the other. Phil Tomsett - April 2024

And now, looking down on us from heaven, you will find the peace you deserve and you will be reunited with dad, uncles, cousins ​​and some of our friends... I offer these sounds so that all of you can connect and celebrate the beautiful memories of the past. I will never forget you brother, I will never forget you family... In memory of Nacho Galán "Jaula" Music composed by Pepo Galán, with contributions from Sita Ostheimer, Karen Vogt, Bicyclops, Mark Crocker, Ohmu, Hannah Elizabeth Cox, Lee Yi, Daniel Rosenholm and Mi Cosa de Resistance. Mastered at Black Knoll Studio (NY) by Rafael Anton Irisarri. Designed by Daniel Crossley (Fluid Audio)

A Temporal Journey Through Daydreams and Nostalgia... Dreamu, the alias of Madrid-based experimental musician and producer Fran Sarró, presents nrem, his debut album, a 13-track instrumental LP. Inspired by the N-REM (non-rapid eye movement) N1 sleep phase - the transitional state between wakefulness and sleep where reality begins to blur into dreamlike images - nrem delves into this liminal space. Dreamu's landscape is colored by the melancholy of an idealized past that never existed. The album, recorded primarily on reel-to-reel tape machines and cassettes, employs techniques such as reversed sounds, tape speed changes, and granular synthesis. Its palette is built from processed electric guitars, pianos, samplers, and field recordings. nrem is the result of a decade-long journey of personal and sonic exploration, crafted within the intimate space of his home studio in Madrid. Surrounded by cables, effect pedals, and tape machines, Dreamu sketched harmonies and textures while navigating an emotional evolution marked by ups and downs, insecurities, and expectations. Composing became a refuge, where those feelings could crystallize into sounds that honestly reflected his vision. Mastered by Taylor Deupree Designed by Daniel Crossley Released by Fluid Audio

Taken from the upcoming album 'Eight Views Of A Summer', released through Fluid Audio... Credits: squncr: tape manipulation, field recordings, sampling, electronics, zither, accordion, Hohner Organetta, Yamaha CP70 and Roland Space Echo. Written and produced by squncr Mastered by Julien Bayle/Void Label Designed by Daniel Crossley

Taken from the upcoming album 'Wave Particles', released through Fluid Audio... 'Wave Particles' is a project that holds special significance for me. It delves into my ongoing fascination with the intricate interplay between nature, consciousness, and technology. Throughout the year, I've had numerous opportunities to explore these themes. I've become particularly intrigued by the role that resonance plays in connecting these elements, fostering a profound sense of interconnectivity within our surroundings. As we find ourselves at a unique juncture where nature, consciousness, and technology converge. Through this music, I've aimed to capture the threads that bind these elements together - Alex Smalley Maria Smalley on vocals Jane Wild plays violi Alex Smalley plays guitar, process synthesisers and field recordings Mastering: Alex Smalley Music: Maria Smalley / Jane Wild / Alex Smalley Design: Daniel Crossley Label: Fluid Audio

Track taken from the upcoming album 'These Were Failed Assumptions' released through Fluid Audio... Music by Tropic of Coldness Mastered by Alex at quiet details studios Design by Daniel Crossley

The artistic collaboration between Giuseppe Cordaro and Marco Giambrone is an immersion into sonic exploration, born from the convergence of distinct musical perspectives and backgrounds. Despite living in distant cities, both share roots firmly planted in a remote mountainous village in Sicily, a wild terrain that has shaped their work. The focal point of this musical journey is the Platani River, known in ancient times as Alico (derived from 'Halykòs,' which means 'salty' in Greek). It's from this river that the entire concept takes shape and evolves, following its sinuous course from the source to its mouth in the sea. Each track of the album is named after the river's tributaries, often little more than thin streams of water that dry up in the summer, leaving muddy beds. This intricate and sensitive path culminates with the Alico River finally merging into the Mediterranean Sea, embracing Capo Bianco. These wild and captivating places have been the source of inspiration for the two musicians, who decided to capture the sensations experienced during their explorations and transform them into a sonic journey. Water, rock, sand, and the vibrant life along the riverbanks are transfigured by modular synths, guitars, and field recordings. The album was created by adopting an instinctive and authentic approach, avoiding overdubs to favor the genuine essence of analog instruments. The result is a sonic journey that captures the raw and magnetic essence of these places, transforming visual suggestions into an immersive and engaging auditory experience. Listening to this work, one is immersed in a sonic world that mirrors the irregular beauty and wild vitality of the Sicilian landscape, uniting past and present in timeless sonic snapshots. Written by Giuseppe Cordaro e Marco Giambrone Recorded by Giuseppe Cordaro at Home Studio Boschi di Puianello - Marco Giambrone at Home Studio San Giovanni Gemini Mixed by Marco Giambrone Mastered by Giuseppe Ielasi Credits: Giuseppe Cordaro : Modular Synthesizer, Programming, Field recordings, (AL)chemy Marco Giambrone: Guitars, Effects, Autoharp, Solina "Platanis oritur inter Castrum Novum et Cammaratam, novi nominis oppida, ex parvis quidem fontibus"

This beautiful collaboration between Andrew Heath and James Osland places itself in a dense, fog-like, woven landscape and charts paths that reveal slow moving cloud-like structures and motifs. Informed by muted modular tones, ethereal guitar work and sparse piano with found-sounds and field recordings that dance around the dense air and leaves the listener in a cocooned, dreamlike state. Elysian Fields is the pair’s second release. They were drawn together by a mutual respect for each others work in the ambient music field. Both are UK based artists. Andrew having released several albums and EPs on Disco Gecko, Whitelabrecs, Rusted Tone Recordings, Elm Records and Chihei Hatakeyama’s Japanese label, White Paddy Mountain. He has collaborated with among others, the legendary Hans-Joachim Roedelius, Dutch ambient guitarist, Anne Chris Bakker and electronica artist, Banco de Gaia. James Osland not only runs the boutique cassette label, Elm Records but releases as an artist in his own right having worked with such labelsu as Unknown Tone Records, Whitelabrecs, Flaming Pines and Rusted Tone Recordings to name a few. His work seeks to explore our relationships with sound, memory and place through a variety of different sonic processes. Both artists continue to quietly work on material together so expect more from this wellspring of beautiful and dreamlike work. Mastered by Alex at quiet details studios Design by Daniel Crossley Release date: 12.01.24

Taken from the upcoming album 'Better Late than Never'... 1. Caught in a current 2. Tales we tell 3. A diary entry from years ago 4. Tanpopo 5. A room of one's own 6. Later 7. Paper lanterns 8. Tales we tell (The Humble Bee Remix) 9. A diary entry from years ago (Tape Loop Orchestra Remix) Credits: All songs performed and improvised by Yasuhiko Fukuzono (aus) and Danny Norbury; Except track 6 written by Yasuhiko Fukuzono Track 7 written by Danny Norbury Track 8 remixed by Craig Tattersall Track 9 remixed by Andrew Hargreaves Performed & recorded between 2010-2013 at: Union Chapel, London Fujimigaoka Church, Tokyo Float, Osaka Nowhere, Toyama St James Priory, Bristol Frameworks Festival, MUG im Einstein München, Munich Mastered by Fields We Found Design by Daniel Crossley

Taken from the upcoming album 'Oyasumi', forthcoming on Fluid Audio... In a musical exchange back and forth between Tokyo and Copenhagen, Kei Nogami (JP) and Mathias Lystbaek (DK) has the created the album Oyasumi. The album is centered around eclectic electroacoustic loops with the addition of piano, flute and cymbal. Oyasumi means ‘Goodnight’ in Japanese, and the music reflects the sleepy haze before dreaming, with repeated fragments of melodies reminiscent of childhood lullabies and music boxes. This quiet album is an exploration of looped and improvised material, suitable for tranquil moments and contemplative pauses. - Kei Nogami (K Nogami): Loops, electronics, field recordings & found objects. - Mathias Lystbaek (Circa Alto): Piano, flute, bass & cymbal. Credits: Artist: K Nogami & Circa Alto Album: Oyasumi Composition & mix: Kei Nogami & Mathias Lystbaek Cover photo: Kei Nogami Label: Fluid Audio Design: Daniel Crossley

New track from Moss Covered Technology; forthcoming on Fluid Audio... Dartmoor! thou wert to me, in childhood's hour, A wild and wondrous region. Day by day Arose upon my youthful eye they belt Of hills mysterious, shadowy, clasping all The green and cheerful landscape sweetly spread Around my home; and with a stern delight I gazed upon thee. How often on the speech Of the half-savage peasant have I hung, To hear of rock-crowned heights on which the cloud For ever rests; and wilds stupendous swept By mightiest storms; of glen, and gorge, and cliff, Terrific, beetling o'er the stone-strewed vale; And giant masses, by the midnight flash Struck from the mountain's hissing brow, and hurled Into the foaming torrent; and of forms That rose amid the desert, rudely shaped By Superstition's hands when time was young; And of the dead, the warrior dead, who sleep Beneath the hollowed cairn! My native fields, Though peerless, ceased to please. The flowery vale, The breezy hill, the river and the wood, Island, reef, headland, and the circling sea, Associated by the sportful hand Of Nature, in a thousand views diverse, Or grand, or lovely, -to my roving eye Displayed in vain their infinite of charms; I thought on thy wild world, -to me a world,- Mysterious Dartmoor, dimly seen, and prized For being distant and untrod; and still Where'er I wander'd, -still my wayward eye Rested on thee! In sunlight and in shade, Repose and storm, wide waste! I since have trod Thy hill and dale magnificent. Again I seek thy solitudes profound, in this Thy hour of deep tranquillity, when rests The sunbeam on thee, and thy desert seems To sleep in the unwonted brightness, calm, But stern; for though the spirit of the Spring Breathes on thee, to the charmer's whisper kind Thou listenest not, nor ever puttest on A robe of beauty, as the fields that bud And blossom hear thee. Yet I love to tread They central wastes when not a sound intrudes Upon the ear, but rush of wing or leap Of the hoarse waterfall. And oh, 'tis sweet To list the music of thy torrent-streams; For thou too hast thy minstrelsies fro him Who from their liberal mountain-urn delights To trace thy waters, as from source to sea They rush tumultuous. Yet for other fields Thy bounty flows eternal. From thy sides Devonia's rivers flow; a thousand brooks Roll o'er they rugged slopes; -'tis but to cheer Yon Austral meads unrivalled, fair as aught That bards have sung, or Fancy has conceived 'Mid all her rich imaginings: whilst thou, The source of half their beauty, wearest still Through centuries, upon they blasted brow, The curse of barrenness. - Noel Thomas Carrington

Ian Hawgood and James Murray began Slow Reels in 2018 from studios in London and Warsaw. The early work involved exchanging heavily modulated long-form textures, recorded on a variety of instruments, notably vintage synths. Reiterative digital manipulations and successive destructive passes through an end-of-life reel-to-reel tape setup resulted in a collection of entirely unrepeatable drone suites. Their debut Farewell Islands for Morr Music was met with widespread critical acclaim. Sustain, presented now by Fluid Audio, extends the force of this uncompromising aesthetic further, as the artists’ shared medium further degenerates into overwhelming, full-frequency emotion. Music: Slow Reels (Ian Hawgood & James Murray) Mastering: Ian Hawgood Design Daniel Crossley ... Made by hand, Book Editions' series. Vintage books dissected, re-assembled and re-structured into book-bound CD covers... 1 x Vintage (circa:1890-1958) hardback clothbound book (re-assembled into CD covers) 1 x CD (full size) 15 Pages of writing / image inserts 12 x edited polaroid prints on luxury uncoated paper (250grm) 1 x Stamped / numbered library card 1 x Vintage photograph (circa; 1902-1946) 1 x Vintage book-mark 1 x Vintage celluloid negative 1 x Vintage 35mm slide 1 x 35mm reel to reel audio strip 1 x vintage music score insert Housed inside glassine bags Stamped / hand numbered / scented Download code (includes 20 PDF prints) Strictly limited edition: 100 copies (no two copies are the same) Made with love...

“I could hear everything, together with the hum of my hotel neon. I never felt sadder in my life.” - Jack Kerouac, “On the Road” (1957) In chapter 13 of Jack Kerouac’s “On the Road,” we find Sal in a Los Angeles hotel room with his new girlfriend, Terry, soon after they’ve decided to hitchhike back to New York with the $10 they share between them. Staring out the window in a sleepless fit, Sal observes a domestic dispute across the street: the humming neon sign of the hotel is an audible element amidst the police’s questioning, family’s sobbing, and city’s howling sirens, all of them blending together in an oddly poignant moment. This idea of sound adding context and emotion to human experiences is the foundation of Hotel Neon. The project formed in 2012 under far less desperate conditions than Sal’s, but it has always been anchored in the practice of recording musical responses to the current moment. The chord progression of “A Lament,” for instance, was recorded in the hours following the breaking news out of Sandy Hook on December 14, 2012. Ever since then, we have continued to create soundtracks for specific settings and situations in our lives. “Hotel Neon 10: Reworks” is a reflection on the 10th anniversary of our debut self-titled album, which was released on July 30, 2013 in a batch of 100 cassettes. Initially a loose collection of minimal drone experiments with no intention for follow-up after the tapes ran out, Hotel Neon has morphed into the central musical identity for each of us, leading to friendships, experiences, and purpose that we could never have imagined at the time. This is not simply a remaster or remix; HN10 has been entirely reworked from the ground up. You will notice that some of the essential elements and structures from the original songs come through, but we made a concerted effort to build on those early ideas and present a new album with our current tools, techniques, and experience. We deeply appreciate your support, and thank you for listening. Music: Hotel Neon (Andrew Tasselmyer, Michael Tasselmyer, Steven Kemner) Mastered: Rafael Anton Irisarri Design Daniel Crossley

Taken from the upcoming album 'Snow Is Absence Singing', forthcoming on Fluid Audio... Music: øjeRum Artwork: øjeRum Mastering: Fields We Found Design: Daniel Crossley www.fluidaudio.co.uk

Taken from the upcoming album 'opening opening'... All music written and recorded by offthesky Mastering by Jason Corder Print layout by Craig Tattersall Design by Daniel Crossley www.fluidaudio.co.uk

Coming soon on Fluid Audio... Music: Fields We Found Mastering: Ian Hawgood Design: Daniel Crossley

Track taken from the upcoming album 'Inlandscape' forthcoming on Fluid Audio... Music: Seabuckthorn Mastering: James Plotkin Design: Daniel Crossley www.fluidaudio.co.uk www.seabuckthorn-music.com

Taken from the upcoming album 'Endless Vacation' forthcoming on Fluid Audio... Music: Grotta Veterano & Musci For Sleep Mastering: Andrea Porcu Design: Danierl Crossley

Taken from the upcoming album 'Family Harmony'... Music: Pepo Galán Guests: Warmth, Benoît Pioulard, Sita Ostheimer, Karen Vogt, Awakened Souls, Markus Guentner Matering: Rafael Anton Irisarri Label: Fluid Audio www.fluidaudio.co.uk

Taken from the upcoming album 'Längd' - containing over 70 minutes of unreleased material from Hummingbird... www.fluidaudio.co.uk

Track taken from the upcoming album 'At Sea'... https://www.fluidaudio.co.uk

Steve Pacheco is a Los Angeles based sound / visual artist and graphic designer. His earliest sonic influence was classical music played through a transistor radio. This lo-fi sound found its way into his current work through the usage of simple melodic loops processed to create warm, hazy, atmospheric soundscapes. His aim is to recall memory / experience / emotion through the language of this weathered aesthetic. He released his debut album, Constellate, on Belgian label Dauw in May of 2017. Shortly after, his second album, The 4th, was released on UK based Whitelabrecs. He has also released compilation tracks and remixes for various labels such as Dragons Eye Recordings, Archives, Home Normal, Dauw & Eilean Recs, El Muelle Records, and Nova Fund Recordings. ……………………………………. The catalyst behind “Fades” is the pondering of the many chapters in our lives. The ways beginnings and endings bookend those chapters, and are a part of every single aspect of being. Where this album differs from previous efforts is that there is no singular narrative or theme being explored. Instead, it is more of a random collection of experiences representing various times in my life. The focus is not on the details of those individual memories or times, but the transitions or “fades” in between. Track listing: 01 Elapse 02 Dandelion 03 Himalaya 04 Distant 05 Eventide 06 Drift 07 Fades Conceived and Written by Steve Pacheco Mixed by Ian Hawgood Design by Daniel Crossley www.fluidaudio.co.uk

Taken from the upcoming album 'Duets' by Andrew Tasselmyer & Blurstem... Music: Andrew Tasselmyer & Blurstem Mastering: Ian Hawgood Design: Daniel Crossley www.fluidaudio.co.uk

Taken from the upcoming album 'The garden of eternal echoes'... "Gradual sunrise over The garden of eternal echoes rain starts to fall" Artist: Emmanuel Witzthum Mastering: Ian Hawgood Label: Fluid Audio Emmanuel Witzthum: Piano, vocals, electronics and dusts Thanks to Rain, Craig, Itamar

Taken from the upcoming album 'Standing on The Precipice of Tears'... Tattersall played Guitar, piano, dusted loops, analogue loops, digital loops, drum machine, analogue synth, synth bass, field recordings, abstractions, fragment constructions and reconstructions, abstractions of Seaman (etc.), analogue spatial recordings, artificial wind, crackles (record surface noise), tape noise. Seaman was working primarily with Ableton Live and contributed vocal, Piano, time abstractions, violin and viola samples, trumpet samples, clarinet samples, drum machine abstractions, drum machine constructions (samples), digital distortions, bit reductions, synth abstractions, abstractions of Tattersall (etc.), digital loops, radical pitch shifts, noise enhancements, historical samples, crackles – record surface noise (from Tattersall), artificial crackles. Solo Viola – Emmanuel Witzthum Solo Violin – Wei Ping Lin (on Uncovered CDs) Additional Voice - Emmanuel Wizthum Trumpet (sample recordings) – Robert Ellis-Geiger Vocal recorded in The Emergence Lab by Seaman using a Roland Edirol R-09HR Ver.3.0

Taken from the upcoming album 'Alden' forthcoming on Fluid Audio. Music by Gilded (Adam Trainer & Matt Rösner) Mastering by Ian Hawgood Design by Daniel Crossley www.fluidaudio.co.uk

Taken from the upcoming album 'Watering a Fake Flower'. .......... Open to the Sea are Enrico Coniglio & Matteo Uggeri... Enrico Coniglio: piano, organ, Yamaha TX7 Matteo Uggeri: rhythms, field recordings, samples, sort of backing vocals with: Mattia Costa: drums Alessandro Sesana: trumpet Andrea Serrapiglio: cello, drones Recorded by Enrico Coniglio and Matteo Uggeri in Venice and Milan. Drums recorded by Gianmaria Aprile at Argolab, Varese. Cello recorded by Andrea Serrapiglio. Additional VOG treatments on “I Can Hear…” by Gianmaria Aprile. Mixed and produced by Matteo Uggeri Mastered by Ian Hawgood Artwork by Daniel Crossley www.fluidaudio.co.uk

Taken from the upcoming album 'Gaze Into The Sun', forthcoming on Fluid Audio...

Taken from the upcoming album 'aSpiritual' by offthesky & Rin Howell... Music: offthesky & Rin Howell Mastering: offthesky / Ian Hawgood Print design: Craig Tattersall Packaging design: Daniel Crossley Label: Fluid Audio www.fluidaudio.co.uk

Taken from the upcoming album '12 tapes | 10 years'... Music: Craig Tattersall / Joe Borreson Mastering: Ian Hawgood Design: Craig Tattersall / Joe Borreson / Daniel Crossley Label: Fluid Audio