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Hello Folks,


3 CDs of your choice + 1 digital album: 20€ (shipping costs escluded)

Feel free to choice your items from the following list:

CDs Digipack:

OOPHOI " An Aerial View "
LULL " Like a Slow River "
SKARE " Solstice City "
AQUADORSA " Cloudlands "
FRANCISCO LOPEZ " Amarok "
BVDUB " I Remember "
PJUSK " Tele "
RETINA.IT " Descending into Crevasse "
CELER " Without Retrospect, the Morning "
AIDAN BAKER " Aneira "
NETHERWORLD " Alchemy of Ice "
BVDUB & LOSCIL " Erebus "

Digital Albums:

FROZEN THOUGHTS " Calm Before the Storm"
YUYA OTA " Arctic April Mother "
NETHERWORLD " Over the Summit "
AIDAN BAKER " Aneira "
VV.AA " CRYOSPHERE "

Payment Method:

1) Add the shipping costs:

EUROPE: 6€
USA & CANADA: 9€
REST OF THE WORLD: 13€

2) Add 4% of the total amount (paypal fees)

3) Specify in your payment the items

4) Place your order by paypal to: orders@glacialmovements.com


This offer is valid until December 31, 2013.
Further infos: www.glacialmovements.com


Upcoming releases:

Yair Elazar Glotman " Northern Gulfs " (January 2014)
Scanner " tba " (February 2014)
Final " tba " (May 2014)
Marsen Jules " The Empire Of Silence " (September 2014)

Hello to all,

yesterday there were the funeral of our friend Gigi. Now he rest in peace in the small cemetery near his home.
I have no words to describe my deep sadness, because first of all Gigi was my friend, a true friend with whom i shared many things...

how can i ever forget all the listeings that we did together in the Kiva? And what about long walks in the paths near your home with  Alessandra? I remember that i was always going grazy you about the mastering of my CDs ... you released my first work on your label Umbra, and you gave me the opportunity to express my thoughts trough sounds ....You've been a true pioneer in many fields, but above all, a great friend. I'll miss you a lot, but your memory will always live in me, until the end.

I will never forget you!!!!

Alessandro

You can listen some audio samples here:

http://www.juno.co.uk/ppps/products/1791845-02.htm

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New review on CLASSICAL DRONE written by Caleb Deupree

http://classicaldrone.blogspot.com/2010/03/running-with-wolf.html

Francisco López is one of the most prolific sound artists active today. Since his earliest releases, more than twenty years ago, he has released well over a hundred albums and has rejuvenated musique concrète through extensive use of field recordings and other types of found sounds. I wrote about Wind [Patagonia], one of his overt field recording albums, here a while back. For as many López works as have a recognizable and sometimes even fully credited provenance, there are albums where he provides no clue whatsoever on the sounds' origins, in notes or in the works themselves. In addition, many of his pieces are untitled and packaged in the most minimal way possible — clear jewel cases, plain white cardboard — obscuring any real-world referents as much as possible in packaging as with sound sources.

The line between abstract sound object and discernable documentary is continuous, and one of López's first releases in 2010, one of his most evocative sound works to date, takes an oblique tangent to both paths. Released on the isolationist label Glacial Movements, Amarok participates in similar visual imagery as the rest of the label, with the beautiful abstract Bjarne Riesto photograph Flight gracing the cover. There's also a suggestive Inuit connection with the album's name, Amarok being a gigantic wolf in Inuit mythology. López provides no additional clues, no indication of his sound sources in the rather sparse notes, and no obvious sonic referents in the music. With a single track over an hour long, Amarok has a narrative quality that is unusual in López's longer work.

Amarok is dominated by three loud, complex sections that are separated by interludes with varying degrees of tranquility. The first mountain is exactly the sort of great cavernous crescendo I have come to expect from López. Periodic subsonic booms and percussive noise bursts introduce an ominous, murky tension soon after the beginning. A second long section builds further, with breathing sounds and a low rattle suggesting the titular giant wolf growling deep from the back of his throat. While López's trademark resonances fill the background, muffled voices and watery gurgling drift into a soft hum like the arctic wind. There's movement even here, oscillations in space, volume and timbre becoming very quiet, audible only on headphones, and eventually, not even there. The last of the three loud sections starts with an accretion of overtone drones, with circling winds, a deep tumbling, and noises that conjure images of ghost sailors on phantom ships sometimes audible through the fog. This very complex and glorious set of sounds launches into a final quiet drone section.

Anyone with even a passing interest in contemporary drone will have heard some of López's music. His pieces overtly based on field recordings seem to keep their popularity, perhaps because of the high level of activity inside the sounds or the inevitable challenge of picking out small details for identification games. He's also created unsourcable works, nearly featureless expanses constructed from white and pink noise generators sensitively filtered. characterized by the juxtaposition of extended monolithic sound blocks, without any obvious connection between them. Amarok is neither of these. With complex, thick sound masses that draw us to López in the first place, it also has substantial continuity and development, unified perhaps with some of the same sound objects used in the different sections. It has the kind of organic development that I hear in López' naturalist works, sonic fields alive with possibilities. And it has a balance between onslaught and silence that's essential in a long form, all of which make Amarok one of López's most significant works to date.

New review on BRAINWASHED Written by Justin Patrick

http://brainwashed.com/index.php?option=com_content&task=view&id=8119&Itemid=1

Lopez' music has a way of getting under my skin, in the same way the faint whine from fluorescent lights and computer screens in an office or the background hum of refrigerators and appliances at home do. While listening to Amarok it becomes part of the environment and the mind filters out its steady subliminal assault. At times I almost forgot I had an album playing, but then the pressure either built up with noise reasserting itself, or it halted abruptly at which times I felt an immediate sense of ease and relaxation. These moments don't last though and the underlying anxiety (both frigid and animalistic) inevitably returns.

Although one continuous work, there are clear movements or sections within Amarok. The first is like a slow wind that gradually builds up into a gale of near white noise with a driving pulse of low-end macerating beneath. The storm of sounds disperses abruptly before descending back into an icy oblivion where it meanders around for a while longer.

For me, the high point of the 64 minute soundscape comes early on, in what I hear as a second movement to the work, starting around the 16 minute mark. It also places the recording in the context of its given name: Amarok is a monstrous wolf in Inuit mythology that tracks down and devours anyone who is foolish enough to hunt alone at night. I can hear the bestial snarls of this creature—compoundeded from what manner of source material I know not—as it tramples through snowy arctic wastes. At first it sounds like chains being drug across the ice, or the heavy chug of an ocean liner. Whatever the original field recordings were of, they quickly transform into vaporous snarls. The bestial growls of terror become slightly more defined while leaving plenty of room for my imagination to fill in the gaps.

The long remainder of the album is not as blatantly horrific though it is unsettling. Recorded between 2007-2009 and evocative of desolate isolation, Lopez claims it is the "spookiest work I've ever done." It is easy to agree with him on this point, based on what else I've heard from this extremely prolific sound artist. He is clearly a master at creating soundtracks for inner cinema. Approaching the work as if I was at one of his concerts, blindfolded, I am able to pay proper attention to the minutiae of sound. As a cunning craftsman he is able to shape it to precise effect.

Hello folks,

Amarok review by BOOMKAT (UK):

http://www.boomkat.com/item.cfm?id=285669

For those yet to discover Francisco Lopez's vast discography, Amarok represents a brilliant way in. While not necessarily any more or any less accessible than material you'll hear elsewhere in his catalogue, there are ties between this mammoth hour-long piece and the language of dark-ambient music. You'll have to crank the volume a little bit to appreciate the scale and dynamic range employed here, but once you've acclimatised the Spanish composer soon immerses you in an icy drone-grotto, booming with low end presence and ground-melting rumbles while a biting arctic wind circulates. The piece's name, Amarok, is derived from a giant wolf in Inuit mythology. Aptly, at one stage you hear a snarling, heavy breathing rise up from the backdrop, sounding like a field recording of some terrifying cave beast, which by Lopez's very studious and level-headed standards almost comes across as a bit campy, but in this context such noises fit in with the bleak polar atmospherics of the piece. In addition to Lopez regulars, fans of Thomas Koner and Deathprod would do well to ckeck this out. Highly recommended.

Hello drone on,

thanks for your comments of Cloudlands and An Aerieal View and for your suggestions (are appreciated) but in my opinion i think that Amarok it's not only noise...is an authentic journey into the lands cold and the sound samples can not give you the real idea of what is really the entire CD.I have produce Amarok because it's a soundscape that describes the most hostile lands of the Arctic where the Inuit live...therefore for me - and Glacial Movements - it has sense

I'm not agree with you when you say that Lopez is overrated.... :) i have into my agenda of 2010 a new Netherworld CD "Over The Summit" and a new Thomas Koner "Neues Land"

Best regards,
Alessandro/NETHERWORLD
Glacial Movements Rec.

New review by DARREN BERGSTEIN on Signal to Noise issue 55:

On the flipside, the trio operating as Skare (scare?) bring back isolationism with a vengeance, all dark ambient motifs aside. Like Aquadorsa, they have an uncanny knack for disorienting expectations thanks to a clever use of found sound, dialogue, glitchy crackle and a flair for environmental realism that also manages to dash cliché to the (frozen) earth. Solstice City, despite the barren, windswept, icy tundra of its cover, doesn't attempt to ape the defrosted aural palates of Mssrs. Koner, Biosphere, or the Kubrick-desolate fantasies of the Canadian Cyclic Law crew. Rather, the pointillistic sounds, resonant with the crunching of geomorphic permafrost underfoot, twinkling and falling to earth in a light if foreboding arctic mist, attain their strong footing in your consciousness precisely because of their stark flavors. The 20-minute "Through Wind and Broken Ice" illustrates those two phenomena perfectly, using their obvious identifiers to expound upon landscapes comprised of snap, pop, the bleating of distant, lonely fowl, and air whipping through furrows of moist oxygen. Even better is the near half-hour "The Snow Angel Factory": low-key atmospherics sit amid wailing cries from the outer horizon, where the props of a high-altitude plane becomes the lone humanoid interruptor piercing the "silence", where a solipsist air develops between prickly decays of synth fuzz and tone shudder, resulting in regions fairly bristling with abject tension. The idea of simple "field recordings" dappled across digitized soundscapes is turned inside out here: the melding of the corporeal and incorporeal is near epic in its scope, and when the surroundings breach outright, multiple noises, one becomes uncertain where the studio ends and the reality of these febrile environs begins. Pretty awesome.

New review of AQUADORSA by DARREN BERGSTEIN on Signal to Noise Magazine issue 55:

Italy's Glacial Movements label has, little by little, minimal increment by minimal increment, established itself as one of the world's most vital headquarters for both rural and worldwide-etched ambient and related musics. Though only a few releases in, already we've seen the likes of Rapoon and Lull (two soundscaping giants, certainly) make their presence known across the label's remit; future works are promised by no less a global isolationist than Thomas Koner, as well as the mutable Francisco Lopez and Marsen Jules.

Aquadorsa pairs two of Italy's finest sound artisans together in one of the more intriguing collaborations of late: the erstwhile Oophoi, whose own vast library of drones and broadstroke works has assumed mammoth proportions in both size and outreach, and relative newcomer Enrico Coniglio, whose 2007 release Areavirus on the Irish Psychonavigation label was one of that year's most criminally neglected outings. At first this doesn't appear to be the most simpatico of partnerships: though both artists are adept programmers of the requisite synths and samplers on hand, Coniglio's "classical" approach to sonic mythmaking feels at odds with expert abstractionist Oophoi. Naturally, initial appearances are deceiving, no less so in this case. Cloudlands reveals itself to be a veritable anomaly in this age of the mono(tone)drone and so much over-arching minimalism; layered and detailed to an impeccable degree, the seven lengthy pieces are practically regal in their pragmatic impressionism. Rather than ply more easily contrived and trivial "dark" ambient pursuits, or simply probe typically spatial, post-Tangerine Dream confines, the duo create a teeming hive of (micro)activity that plays like a millennia-burnished ecosystem of sound. Misty mountain samples, sharp clangs of (processed) guitar, metallic-buffed textures, and a number of surprisingly off-putting touches neatly sidestep the usual ambient clichés; sure, barometric pressures rise and fall, atmospheres are breached and respirate effectively, but everything seems intentionally placed here, with nary a duff note or redundant gesture. Powerful stuff, rife with ingenuity and constantly interesting—more please, fellas.

Hello folks,

a new review of AQUADORSA "Cloudlands" by Vital Weekly 683

" This is a new name, well at least to me it is. Behind Aqua Dorsa we find
Italy's well-known master of all thing very ambient Oophoi and a new name,
Enrico Coniglio. The latter gets credit for guitars, synthesizers,
programming and sampling, while Oophoi takes control of synthesizers,
piano, percussion, waterphone, chimes, singing bowls, theremin,
programming and sampling. Seeing this being released by Glacial Movements,
a label who announce themselves as 'ambient' and 'isolationist', and taken
Oophoi's previous output in account, you know which direction this. This
is ambient music but then with a little bit more, and no doubt Coniglio is
the man responsible for that extra bite. Not simply satisfied with 'just'
ambient synthesizer textures, there is an addition from the world of
microsound to this. Underneath the warm tapestries are woven of
synthesizers playing sustained textured sounds, but the icing (pun
intended) on the cake comes from the crackles, buzz and hiss that are on
top of this. That makes that this music moves out of the usual ambient
field, and blends together ambient and microsound, while, because its not
entirely generated in the digital realm, its not entirely ambient glitch
either. A marriage that works wonderfully well, I'd say. Deep atmospheric
textures, icy glitches on top. Maybe the album as a whole is a bit long.
One long track could have easily been skipped to make the album even a bit
stronger, where it now is a bit too much of the same here and there. But
its a fine altogether. (FdW) "

and another new one by Norman Records:

" I feel like I'm in trapped some sort of ambient corner here sometimes. I appear to have become the office ambient beard without even realising! Well here's a CD of 'ambience' by Aqua Dorsa who are a couple of chilled out Italian dudes from all account. You know my brother in law was calling both his wife and child dude the other day. It must have been very confusing for them.... Anyway one of these Italians is Oophoi who is a reasonably well known ambient lord and if you've not heard his work then you should check it out. A couple of minutes into this and there's some beats and all sorts of stuff going on. In fact it reminds me a lot of when I first heard ambient music back in the late 80's when it was essentially just slowed down and more chilled out techno. There used to be a lot more going on in ambient music than you get these days. Cloudlands is one of those 'interesting' ambient albums and it harks back to those times where more shit was happening on the stereo and it's not just a long drawn out piece of music based around a whale farting. Well worth a punt!

by Phil "