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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 "
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 "

Payment Method:

1) Add the shipping costs:


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

3) Specify in your payment the items

4) Place your order by paypal to:

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

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!!!!


Celer is Will Long, who currently lives in Tokyo, Japan, working in publishing, photography, music, and writing. He manages the label Two Acorns, and handles all releases, communication, and distribution of Celer and Chubby Wolf, also performing live regularly as Celer. Currently he is collaborating together with many artists such as with Miko under the name Oh, Yoko, and is involved in other individual projects with Mathieu Ruhlmann, Nicholas Szczepanik, Yui Onodera, Christoph Heemann, Corey Fuller, and Tomoyoshi Date. He recorded his deep and emotional soundscapes on many important records label such as Spekk, Infraction, Home Normal and Experimedia to name a few.

" In the winter of 2009, i spent two months living and working a short-term job in photography and surveying in South Alberta, Canada. Aside from the job, it gave me the opportunity to work further on " Without Retrospect, the Morning ", the final part of the water-themed trilogy of albums that included the previous releases Cursory Asperses and In Escaping Lakes. Some days the snow would be so heavy the sun would never show, and ice covered the windows in the mornings. The wind rushed up the banks of the nearby mountains, and whipped against the buildings. I had brought with me two Sony Tapecorder open reels, and a box of tapes of recordings from the past six months of piano and synthesizer. Using an endless delay system between the two open reels, i listened, layered, cut and pasted the tapes over time. Playing them out loud on the built-in speakers Tapecorder created a new type of texture, from combinations of the ice cold temperatures heated only by the room gas heater, reused tapes, and the decayed quality of the old speakers. After mixing and processing the tapes with microphone and contact microphone recordings of the ice, snow, and sub frequencies of the wind, the cracking and crunching sounds, both high and deep, seemed to appear naturally in the tape. The sub bass widened, and the mid range became thin and fragile.For more than two years the recordings remained untouched, until recently, now in Tokyo, they were mastered, and recorded to new tapes. The affects of the cold, the sudden sunsets through the snow, and the night winds still stay in my mind, like a soundtrack to those two months, not without their own songs of loneliness but with also beauty, sounds seeming like a siren, embracing every unchangeable and otherwise forgetful moment, even in the bitter winter. "   Will Long, October 2012.

Note to the buyer

Order your copy by paypal sending directly the payment to:
Total amount is 16,5€ (shipping costs + handling)

#4 (Lino Monaco and Nicola Buono), is born in the first half of 90's.
This duo,placed near the Vesuvio (Naples), explored all the capabilities of analogic synths since the beginnings, developing an its own idea of sound.
The undifferentiated manipulation of sounds extracted from modular and digital synths or objects/environment sound's recording, leads this original duo to a continuos research of a sonic identity.'s music has been released from labels such as Hefty records (Us) , Mousikelab (It), Flatmate/Storung ( Spain) and Glacial Movements (It). They have worked with different personalities of music business and visual arts, such as John Hughes, Marco Messina, Claudio Sinatti, Gabriella Cerritelli, Giorgio Li Calzi , Red Sector A. Moreover, the deep live-performing activity has led to share important stages of International contest (such as Storung, Sonar...) with prestigious artists like Kraftwerk, Matmos, Telefon Tel aviv,T.A.G.C., Rechenzentrum , Oval, Noto, F. Bretschneider, Plaid , Apparat, Biosphere and many more.
"Descending into crevasse" is a sort of metaphor. An ipotetic journey between the gorges of eternal ices, such as a travel inside ourself researching reassuring corners. A flux of muffled and confused memories, frosted in a wave moving like an algorithm.

Tracks List + info notes

1 synth on axis* [09:51]
2 freezing the fourth string [07:59]
3 moonshine [07:22]
4 attrazione magnetica [12:26]
5 -32°F porcelain , metal & ice [05:32]
6 descending into crevasse [12:30]

written & produced by (Lino Monaco, Nicola Buono)
* composed with Heidseck (Fabrizio Matrone)
Mastered by Denis Blackham @ Skye Mastering
Cover Photo by Bjarne Riesto

You can pre-order your copy:
Glacial Movements proudly presents

PJUSK | Tele

Pjusk is Rune Sagevik and Jostein Dahl Gjelsvik from the west coast of Norway – both from small villages close to nature. The sound of Pjusk is inspired by the harsh Norwegian weather and wild landscape. At the center point of the collaboration between the two is an old cabin high up in the mountains. This is where most of the music of Pjusk is made – framed by snowy peaks and the sound of cold streams.
The album "Tele" (the Norwegian word describing frozen underground water) is a natural progression from the album "Sval" released on the US label 12k in 2010. Inspired by  the arctic wilderness, Tele is a journey of snow, ice and cold.
All tracks composed and produced by Pjusk except:

Track 1 by Pjusk and Andreas Nordenstam
Track 3 by Pjusk and Frodebeats

Mastering and album arrangement by Andreas Nordenstam
Modular sound design by Frodebeats
Guitar treatments by Tor Anders Voldsund
Glacial sound effects by Joe Scarffe

order your copy here:
proudly presents:



Stormloop is Kev Spence from Leeds, England who has been making electronic and ambient recordings since 1999. Snowbound* is his first recording on a record label, and the ambience is in perfect harmony with the icy themes of the Roman Glacial Movements.

Snowbound* is a collection of tracks that was recorded in late december 2009, deep snow had fallen that stayed for over two weeks. Composing usually late into the night, watching the heavy snowfalls was the inspiration for these tracks, and the feeling of been lost in some remote cabin, safe but warm, with good food and drink, staring out at the depths of winter snow that covers the land.
These crystalline soundscapes, take us from the cold winter nights, then out towards the bleakness of space. Snowbound* is an authentic full-immersion into the cold, and you can really feel the snowflakes on your skin.


1. snowbound  (8:19)
2. cold winds  (7:19)
3. a blizzard   (4:33)
4. a calm reflection  (7:38)
5. melt  (2:42)
6. dense fog  (1:38)
7. drifting-decent  (7:40)
8. losing sleep  (4:51)
9. space station j  (4:39)
10. cygnus  (4:26)

Glacial Movements

proudly presents:

I Remember (translations of 'Mørketid')

press release:

"Alessandro Tedeschi, aka Netherworld, has become a dear friend of mine since his kind invitation to produce an album for Glacial Movements last year, and his vision, kindness, and honesty have been an inspiration. He had sent me a copy of his album 'Mørketid,' and from the opening notes I was mesmerized – not in a typical way, as his music is far too subtle for that, but on a much deeper level, as the music brought a flood of memories surging forth that I had long thought lost. It took me back to those times when ambient music was so pure, and so true... so when he then asked if I would be interested in doing a translation of the album, I couldn't have said yes any faster.

I call them translations, as they are not remixes. I used his original work as a base, and it is indeed interwoven in the translations, but my translations serve more as my own narratives on the memories and feelings his original work evoked. The translations are about memories... memories of dreams lost, and never fulfilled... but also the beauty in knowing that dreams exist... as whether they come true or not, it's in their pursuit that life means anything.

The original album brought back all my memories of my time in the early rave scene, the dreams I (and everyone, really) had for the beautiful utopia that only existed in our minds, and which we were only able to reach but a few times – but also my current surroundings of China, where in a rapidly changing environment, I am constantly reminded of unrealized dreams – deserted buildings that stand as monuments of once-great visions, and echoes of so many voices once yearning to be heard, wanting only for the world to remember them for a moment. And so it has been a strange kind of full-circle experience, as I stand in this place with no connection to my former life, yet in it I realize that every 'scene' is the same – we all just want to be heard, by someone - and to be remembered.Bvdub, July 2011"

Tracklist + info notes:

1 This Place Has Only Known Sadness (16:08)
2 We Said Forever (14:40)
3 The Promise (reprise) Feat. David Williams (14:40)
4 Would It Be The Same (13:28)
5 There Was Nothing But Beauty In My Heart (13:20)
6 A Taste Of Your Own Medicine (06:25)

Written and produced by bvdub in Shaoxing, China, 2010.
Mastered by Vincent Kwok in San Francisco, CA. A Glacial Movements Records release, September 2011.
All rights reserved.

You can purchase your copy here:

Best regards,
Alessandro Tedeschi/NETHERWORLD
Glacial Movements
proudly presents:


Loscil is a recording project of the Canadian composer Scott Morgan. His career in the ambient music genre began in 1999 with the debut self-produced work A New Demonstration of Thermodynamic Tendencies which drew the attention of American label Kranky. Working primarily with Kranky and Ghostly International, loscil has released some wonderful works which led him to be defined by worldwide media as one of the most authoritative composers of electronic music of our times. One of loscil's main features is to write environmental weavings which revolve around a well-defined subject. For example, the subject of thermodynamic principles with Triple Point or the subaquatic work Submers, where every composition takes its name from that of a historic submarine. 
This aspect of the Canadian artist perfectly merges with the Glacial Movements theme and philosophy; that of glacial and isolationist ambient music.

In fact, coast/range/arc is centered around the coastal mountains of the Pacific Northwest, studded with glaciers, lakes, waterfalls, canyons and epic views. The majestic ranges form a striking mountain landscape. These tracks explore the timelessness of mountainous elevations; oxygen deprived and surrounded by boundless skies. Mountains are hardly static - in fact they are dynamic on a time scale beyond the human experience.  They grow, buckle, twist, erupt and erode at an epic pace. The Coast Range Arc is filled with such mountains and valleys, their dynamics nearly imperceptible. They evoke awe and a connection to an imperceptible past. They are constantly changing, yet represent such a seemingly stoic fixture in our relatively short lives.

more infos:


Netherworld's icy symphony is back as the moniker of Alessandro Tedeschi, Glacial Movements's mind and arm. After having produced Mørketid – acclaimed by critics all over the world as a precious gem of ambient music, and featured on key compilations such as The Wire Tapper 22 ("Aurora Borealis" blu ice mix, edited for  The Wire), Zaum Vol.1 produced by the Ireland's Psychonavigation, and also a split CD with the Canadian duo Nadja titled "Magma to Ice" (Fario Records).Throughout his own label, Netherworld has worked with internationally renowned artists such as Rapoon (ex Zoviet France), Lull (Mick Harris/Scorn), Francisco Lopez, Oophoi , and bvdub and has already planned new features with Thomas Koner, Loscil, Pjusk and emerging, new talent.
In the sound of the Roman artists, fragments of classical music blend with field recordings of every kind, voices and found sounds are manipulated, sampled and remixed, converting them in new frames and timbres likely to evoke rest and silence typical of the extensive glacial vastnesses. 3 years after his first full length CD, Netherworld comes back with this new work titled "Over the Summit," in which enclosed memories, feelings, and past experiences, deeply lived during the years and surrounded by an almost deafening silence, can be heard and felt circling vast mountains' snowy peaks.
The underlined aspect is the sensation of peacefulness or contemplation of an uncontaminated and silent nature, wrapped in the winter's white blanket. For the six tracks composing "Over the Summit," the sound emanated by the Aurora Borealis has been embraced and manipulated for a work of art, melting it with ethers of orchestral fragments escaped by the perennial layers of Permafrost.

1. Over the Summit (09:02)
2. Aurora performs its last show (10:01)
3. Iceblink [Aurora Borealis mix] (13:14)
4. Crystallized words (05:45)
5. Thoughts locked in the ice (11:32)
6. Iperborea (08:36)

All sound material has been created, composed and mixed by Alessandro Tedeschi / Netherworld: processed and harmonized Northern Lights sounds, field recordings, violin, found sounds
Mastered by Oophoi in The Kiva, December  2010

please listen to this music in a quiet, nocturnal environment at low-medium level

Over the Summit is dedicated to the mythical Hyperborea, the legendary land of the extreme north
Special thanks to Nicoletta my sweet darlin', bvdub, Gianluigi, my family and friends and the worldwide GM supporters

A Glacial Movements Records release, January 2011. All rights reserved



1. Descent To The End (8:08)
2. Nothing From No One (8:48)
3. To Finally Forget It All (21:20)
4. No More Reasons Not To Fall (11:19)
5. No One Will Ever Find You Here (9:18)
6. The Art Of Dying Alone (19:13)

written and produced in Shaoxing, China by Brock Van Wey / bvdub mastered in San Francisco, CA by Vincent Kwok
A Glacial Movements Records release, July 2010. All rights reserved.

Artist: bvdub
Title: The Art Of Dying Alone
Cat. number: GM008
Format: CD digipack
Cover Photo: Bjarne Riesto
Art Direction/Layout: Keep Adding


San Francisco artist bvdub (Brock Van Wey) is known all over the world for having realized resonant jewels of rare beauty such as "White Clouds Drift On and On," "We Were The Sun," "To Live," and many more. He has collaborated with labels such as Millions of Moments, Echospace, Smallfish, Styrax, and the German Kompakt, for which bvdub joined the famous compilation Pop Ambient 2010 curated by Wolfgang Voigt (aka Gas).

The personal sound of this artist moves from refined deep techno settings to more atmospheric and ethereal ones, leading to ambient soundscapes, and aiming to infinity.The treatment of the resonant subject is always executed with skill and discretion, and the sound possesses a wonderful capacity of description which lifts the listener up to the heavens."The Art of Dying Alone" is no exception, and in the new work composed for Glacial Movements, bvdub spans different sound-sorgents of classical moulds such as piano, acoustic guitar, violin and angelic female voices, along with delicate digital soundscapes. All this is manipulated and perfectly orchestrated into six wonderful compositions in which moments of melancholy, isolationism, coldness, and contemplation of life will take the listener's soul on a journey throughout those beautiful and desolate places eternalized in the cover photo by Bjarne Riesto, with great thanks to the huge design-work by Keep Adding studio.

"The Art of Dying Alone" is the contemplation of a final sunset over snowy peaks - it's the end of winter and the beginning of spring - it's a soft coat of ice on flowered grasses, quietly admired one last time.Without a doubt, this is the brightest but most melancholic work ever produced by GM.
New review on CLASSICAL DRONE written by Caleb Deupree

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

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):

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 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,
Glacial Movements Rec.



1. Amarok (64:07)

All sound material has been created at mobile messor by Francisco López (Madrid, Murcia, Riga, Belgrade, Tel Aviv,
Amsterdam), 2007-2009 © francisco lópez 2009
A Glacial Movements Records release, February 2010.All rights reserved.
Artist: Francisco López
Title: Amarok
Cat. number: GM007
Barcode: 08033959880036
Format: CD digipack
Cover Photo: Bjarne Riesto
Art Direction/Layout: Keep Adding

Francisco López is known all over the world as one of the main figures of all time experimental music. He performed in hundreds lives, projects and sound-sets in 60 countries of 5 continents and his huge discography has been released by more than 200 labels all over the world. His musical universe moves from human-ear limits to the deepest abysses of sonorous power and it is mostly composed of field recordings caught along the wildest areas of Earth or between the sounds of industrial world.
For "Amarok" composition two years of hard work have been employed using sounds and processed field
recordings. It's a unequalled conceptual soundscape in this artist's huge discography and it perfectly joins to Glacial Movements aesthetics. After a few seconds from the track beginning we are dip into an arctic trip which lasts more than an hour and in which tangled weavings in a masterly fashion handled by the Spanish artist appear, develop and dissolve. Gusts of arctic wind, the Amarok's wheezing breath  (Amarok is the name of a gigantic wolf in Inuit mythology)  and the sense of loss in the polar night are only some of the sensations that this cryogenic hallucinatory acustic is able to evoke.
"Amarok is probably one of the more isolationist and spookiest work I've ever done" Francisco López,march 2009

Dear friends,

i'm glad to announce you the upcoming CD release on Glacial Movements Record by the great German ambient isolationist composer THOMAS KÖNER!!The title is "Neues Land" and it will be available for November/December 2009.

I'll keep you posted!
Glacial Movements Records
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 "