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Glacial Movements Records proudly presents:



1. A Pillow of Clouds   (5.22)
2. Daylight Fading Into Evening Silence   (5.05)
3. The Pond Reflected Her Smile   (9.13)
4. Zero Gravity   (10.59)
5. Syhan   (12.11)
6. Alone in the Rising Fog   (18.31)
7. Night of Trembling Stars   (06.05)

All sound material has been recorded and mixed by Enrico Coniglio at Tripi h. Studio (Venice-Italy) and
Oophoi in The Kiva, winter 2008
A Glacial Movements Records release, May 2009.All right reserved.

Title: Cloudlands
Cat. number  GM006
Barcode: 08033959880029
Format  CD digipack
Photo by Bjarne Riesto
Graphic solution and artwork by Alessandra Clini

Aquadorsa is a new musical Italian ambient project formed by  Enrico Coniglio and Oophoi.Theyr first work "Cloudlands" is a perfect mix of glithc,classical and orchestral glacial ambient soundscapes. Enrico Coniglio is a guitar player  and composer and his research has increasingly focused on the relationship between 'music' and 'landscape ', in an attempt to represent the contemporary crisis of the territory, the loss of nature and identity of places, and the unknown on the evolution of post-urban and post-industrial territory. He has collaborated with various artists, including: Nicola Alesini, Joachim Roedelius and Elisa Marzorati.He has produced some releases such as "AREAVIRUS - topofonie vol.1" (2007 Psychonavigation), "dyanMU" (2008 Psychonavigation) and digital releases Sapientumsuperacquis on Touch Radio (Touch records) and Crònicaster (Crònica Electronica).Gianluigi Gasparetti better know as Oophoi started his own music experiments in 1995, trying to explore the shores of deep space-ambient. His live album "The spirals of time", released in 1997 by Amplexus, has been voted as one of the best ambient albums of all times.Oophoi uses traditional instruments as synths and sampling machines and his music is recorded using analog-only devices in The Kiva.He has released CDs for many International labels such as Amplexus, Hypnos, Nextera, Prikosnovénie and Glacial Movements and he has collaborated with Louisa John Krol,Alio die,Mathias Grassow and Klaus Wiese.


Glacial Movements Records proudly presents:

- Solstice City -


1.To The Other Shore [3.14]
2.Trough Wind And Broken Ice [20.49]
3. The Snow Angel Factory [26.35]

All sound material has been digitally processed and arranged at Studio 3, EMS in Stockholm, Sweden, 2006
A Glacial Movements Records release, February 2009.All right reserved.

Format:  CD digipack
Photo by: Bjarne Riesto
Graphic solution and artwork by: Oleg Galy (Tantric GFX)


Skare is the collaboration of Mathias Josefson (Moljebka Pvlse), Fredrik Olofsson and Per Åhlund. The members of Skare are all fascinated by the circulation of water, snow and ice. The metamorphosis from gas to floating liquid to snow to solid ice through freezing, the light reflecting from the snow and filtered through the ice as a prisma and - most of all - the sound of this ever ongoing circle.

Skare's first album, Solstice City, is an interpretation of a journey through a shifting landscape where the city meets nature. Departing from a distant and foreign shore, the traveller embarks a ship, uncertain of his destination. This prelude, introduced vividly in "To the other shore", releases this pilgrim to further explore yet unchartered territories. Leaving all man-made conventions, the second track "Through Wind and Broken Ice" takes us where the city imitates nature. Finally, a factory appears in the whiteout; a place where angels are manufactured as presented in the final track "The Snow Angel Factory"...

The vehicles used by Skare on this journey are field recordings, found sounds and treated and manipulated instruments.


Still Available:

LULL "Like a slow river"
RAPOON "Time Frost" (few copies left)
NETHERWORLD "Morketid" (few copies left)
OOPHOI "Wurm Series I"

Upcoming Releases 2009:

AQUA DORSA (Oophoi/Enrico Coniglio) "Cloudlands"

Dear friends and listeners,

Upcoming releases 2009 on GLACIAL MOVEMENTS:

GM005 SKARE "Solstice City"
GM007 AQUA DORSA "Cloudlands"(Oophoi/Enrico Coniglio)

Stay tuned!!!!


And a new one reviewed by Larry Johnson for EARLAB

RATED: 10 / 10

"Mick Harris who has been composing isolationist ambient music as Lull since 1992 must feel right at home at Glacial Movements Records - a label that has rapidly made a name for itself by specializing in releasing exactly this style of ambient music. Following a few years of silence, Lull makes a impressive return with the release of Like A Slow River.
For me, Mick Harris is one part of a trio of elders of dark ambient music. Brian "Lustmord" Williams introduced me to the genre in general, Thomas Köner made me a believer in the eerie beauty of quiet, vast, dim soundscapes, and Lull has shown me just how cold and absolutely desolate dark ambient can be. Without classics like Paradise Disowned, Permafrost, and Cold Summer, its doubtful that the genre would have the same powerful appeal to me that it has had.
Just like the releasing label, Mick Harris certainly has a genuine passion for dark, brooding, isolationist ambient music and the merging of these two powerful purveyors of this genre was bound to result in something good. Every aspect of Like a Slow River reflects this fervor. Images of ice, glacial regions, and barren, windswept landscapes abound in not only in the sounds and beautiful artwork accompanying the six panel digipack but also in the suggestive track titles: Whiteout, The Sheet, Like a Slow River, Treeless Grounds, and Illusion of Unbroken Surface. Slow-moving, icy cold, iridescent drones are the rule on these five compositions whose deceivingly minimal, haunting ambiance creeps up on the listener, ever so slowly, numbing the senses and lulling the mind into a stupor.

[edited by mgriffin to fix broken link]
A new review of LULL "Like a slow river" @ IGLOO MAG written by Alan Lockett, Contributing Editor

(07.08.08) Mick (MJ) Harris, once known for a seemingly unlikely transmigration of the musical soul from death metal to isolationist ambient, is back, after a lull, appositely, as Lull. By now Harris has attained a hallowed place in the canon of Dark Ambient, alongside the likes of Lustmord and Thomas Köner. In terms of the foundations of a sub-genre, these last-mentioned were the ones who did the heavy digging work, with Harris arriving late to benefit from a ferment of industrial-ambient and dark-drone activity in the early-90s. In fact Harris, for all his accumulated kudos, was no great pioneer, the true founder of this inverted church being Brian "Lustmord" Williams, the true High Priest of Isolationist Rituals, who was fully forged in the UK industrial flame of the early 80s. In terms of input, being brutal, a tendency he would be familiar with as ex-Napalm Death merchant, Harris brought little to the sounding table other than a mimetic ear for the spooked and the downright desolate, sprung from a harsh audio-sensibility allied to a soundscaping skill which enabled him to find something aesthetically pleasing in the deepest and darkest recesses of the Muse's expression, most clearly seen on 1994's isolationist classic, Cold Summer.
And so to Like A Slow River, an atonal orchestration of sussurating and wheezing ebb and flow and rumblings of submarine currents beneath an ice-bedecked surface. Low-end eddies churn at bathyscape depths while the surface is perturbed with the sound of fissures forming and ice turning to meltwater. The music is unrelenting in its dronal creed, but Harris weaves movement into his slabs and wedges of sound, with arcing dives and slow falls inward effectively articulating a slow drift into the abyss. The topography depicted is desolate and bleak, rendered in tones unmoored from any harmonic or rhythmic referents, but Lull's sombre drone diaries are possessed of a kind of blasted heath cruel beauty. Five variations on a theme are rolled out, all forged with deep bass surges and eerie mid-range tonalities, distinction being created through the differing configurations of its sounding sources, varying resonances, modulations and vibrations, and shifts in cadence and timbre. Some tend more toward evacuated space ("Whiteout" and "The Sheet"), while others inhabit more alien zones ("Treeless Grounds" and "Illusion Of Unbroken Surface").
Like A Slow River is, ultimately, not so much an ambient album in the Eno tradition, but rather a softer reined-in extension of the industrial power electronics tradition, its sounds at times liminal, at times subsonic, almost tailor made to the motivating philosophy behind the doom-laden drift of Glacial Movements. Head Glacial Mover, Alessandro Tedeschi, claims a wider remit than the simply musical for GM, aiming to do his bit to help protect the Arctic and Antarctic areas by raising awareness of their gradual effacement through musical mediation, and more power to his environmental elbow. Some might see the conceptual programme as musically limiting but, like the many and subtly different Mozart symphonies or Bach fugues, it could equally be seen as a suggestive overarching theme driving many interpretations. So far, at least, it has given rise to several quite different takes - from Rapoon, Oophoi, and Tedeschi's own Netherworld. And Lull's addition is certainly on a par with these, and this work rivals those of his mentors, Lustmord and Köner, in the power of its dark poesis.

A new review of LULL "Like a slow river" by Cyclic Defrost

"It's been a long, strange trip for Mick Harris. Once upon a time he was the drummer with Napalm Death, (in)famous for compacting heavy metal into super-concentrated tracks of sometimes just a few seconds duration. But he's gone to the other extreme with his dark ambient project Lull. Like a Slow River is his eight or ninth album under this name, and it's a challenging listen. Five tracks are listed on this 60 minute outing, but it might as well be one long suite, as the pieces all sound more or less the same. This disc exists in a hinterland somewhere between music and noise - there's no rhythm, harmony, or melody - and yet... If it's noise, it's not confrontational in the style of Whitehouse et al. It's the aural equivalent of standing on a hill, listening to the sound of the wind, looking out across a bleak, barren landscape - and in fact one of the tracks is titled 'Treeless Grounds'. The overall sound is reminiscent of Thomas Koner (and indeed Lull & Koner shared space on Virgin's groundbreaking Ambient 4: Isolationism CD back in 1994), but not as austere. Lull is unlikely to ever find himself on the cover of glossy magazines, but the few people who do buy this release will savour it, the way you would an expensive bottle of wine.

Ewan Burke "
A new review published @ BRAINWASHED and written by Simon Marshall-Jones

"Mick Harris' latest release as Lull is a quiet and stately album, the sounds at times being barely above a whisper, a state of affairs entirely in keeping with the motivating philosophy behind the Italian label Glacial Movements i.e., making us aware of the paradoxically fragile strength and crystalline beauty of the polar regions before it's too late.

The sussurating washes gently ebb and flow in frozen cadence, just like a floe-laden river in the Arctic, while simultaneously deep bass rumbles just on the edge of hearing run like submarine currents beneath the ice-bedecked surface. Riding the surface are the keening howls of biting winds and the hollow windings of tunnel-blown air. Those bass currents run fathoms deep while the frail ice above grinds and cracks between the walls of snow-bright chasms, reflecting pristine sunlight back into the cold depths of space. Just like the slow Arctic rivers too, this is in no particular hurry to get anywhere. Time in a place like this doesn't mean much in the grand scheme of things, where the accumulation of snow and ice forming the sculptural glaciers and cliffs took slow incremental millennia measured in millimeters, a place where an entire continent has the patience of geology. This is deep time, a time that bears no reference to the human; likewise its beauty, a quality forever beyond the reach of all but the most determined explorer, even in the 21st century. In perhaps an accidental coincidence (or perhaps, as is likely, a case of reading too much into things), each of the tracks gets progressively shorter and shorter, ranging from 14:33 down to 4:39, in a reflection perhaps of how the southern and northern continents, that have slowly evolved and remained practically static over the millennia are now, suddenly, due to our ignorance and ill-conceived environmental blindness, becoming compromised and fast disppearing—a slight conceit on my part maybe but nevertheless I feel it an observation worth pointing out.

Harris calls forth frozen atmospheres and ice-bound river and landscapes, shimmering reverberations trapped in water become clear glacial amber, and there to remain for untold years. Mirroring insects trapped in real amber, these are moments in time and slivers of the past, forever destined to play out their last moments in an endlessly abrupt memorial. These are both temporal and physical shards, meandering into the mysterious heart of inaccessibility; one gets the feeling that buried deep within the crystalline bosom of the polar continents is a similarly frozen secret, a deep secret that is known only to the ice and snow, and is whispered to the winds in the language of the slow rivers of ice. An icily haunting and ghostly ambience pervades each of these five pieces, almost akin to a physical presence that itself seems to hide secrets, ghosts endlessly wandering the wastes of the white desert searching for the frozen secret at the heart of a continent.

I have thoroughly enjoyed each of the five releases from Glacial Movements; label-owner Alessandro Tedeschi has a keen ear for the glacial and deeply icy in ambient music, and once again he has hit the spot with this CD from Harris. Yet again here is another imagining of the snowbound lands lying at the ends of the earth, and once again it succeeds in conjuring and evoking pristine images of mountainous bright eye-piercing white and over-arching azure blue, set amidst the foam-flecked lashings of the surrounding oceans. Deep ambience has always been my thing, and in my view it can't get any deeper than this: timeless frozen music for a timeless frozen place."


a new review of LULL "Like a slow river" written by BDN @ White Line:

Glacial Movements – I wondered how long a label could sustain its existence based upon a singular aesthetic theme, exploiting desolate, glacial atmospherics in a regular stream of releases. Yet, defying all my expectations, Glacial Movements has not only survived in these difficult economic times, but has actually thrived. I have watched them with interest, emerging from anonymity, and fledgling beginnings that demonstrated a flawed, but passionate approach, to now attracting one of the Isolationism /Dark Ambience scene's elder statesmen, Mick Harris of LULL.
The label now has a premier artist on its roster, and the packaging and design of "Like a Slow River" does justice to the sheer quality of this release. Harris infuses glorious and resonant precision into his work, with the soft focus shimmering atmospherics of "Whiteout", and "The Sheet", there is a sense of foreboding throughout, and we are immediately plunged into a bleak and desolate soundscape that rivals the work of Lustmord or Thomas Koner. The title track, and indeed each subsequent piece, deploys a serene, eerie fabric of sound, rich and reverberant tonalisms, time –dilated and expansive tracts, imbued with Arctic silence, and haunting ambience.

There are no end of descriptive words that can be employed to describe these soundscapes, most of which are used [perhaps over-used] on a regular basis, so without labouring the point any further this is an important release, marking a time and a place, defining and crystallising the label's whole aesthetic in a singular masterful release. Go and Buy Now. BGN



1. Whiteout  (14:30)
2. The sheet  (14:37)
3. Like a slow river  (14:02)
4. Treeless grounds  (12:25)
5. Illusion of unbroken surface  (04:31)

Created and Mixed by M.J. Harris February/March 2008 for Glacial Movements Records
All right reserved

Cat.number  GM004
Format  CD 6 panels digipack
Photo by Bjarne Riesto
Graphic solution and artwork by Oleg (Tantric Harmonies)

After a long period of silence, Glacial Movements Records is glad to announce you the return of the most important representative of ambient isolationist music ever: the wonderful English artist Mick J. Harris aka LULL (Scorn, Painkiller, Napalm Death).Unquestionable genius of the last century's second half European music and point of reference about the rising isolationist aesthetics, being on the same wavelength as post-rock last scenaries.

"Like a slow river" it's a work characterized by sharp and minimal atmospheres but also dark, cold and huge such as big bodies of ice which slowly move carried by an endless river. The five compositions of "Like a slow river" reach the high expectations of the previous works such as "Cold Summer", "Continue" and the "Murder Ballads" trilogy with Martin Bates. With no doubt, this is the coldest and darkest work ever composed by this pioneer of industrial-ambient music. You all will be led to the oblivion of your existence....the freezing darkness of these glacial night is going to come down on your bodies and'll fall in your deepest sleep with the far echo of glacial runnings....

....the way to eternity is in front of you.....

LULL is Back!!



illegal download kills Glacial Movements!!


split FARIO CD10

Press Release:

Talented Italian ambient composer Alessandro Tedeschi runs the Glacial Movements record label and plays music as Netherworld. His fascination for polar landscapes and soundscapes makes him close to industrial ambient pioneers such as Thomas Köner, Rapoon, Biosphere and Lull. Icy, windy, droning and deeply 'protomelodic' at once, his music is a poetic translation of the ice floe. For this record, he used processed fragments of classical music. Nadja is the drone / doom / ambient duo of Canadian musicians Aidan Baker and Leah Buckareff. Their behemoth of sound is a construction of heat, weight, loop and vapour. Here, they had to break Netherworld's ice and find a way to the red core of Earth. The common track brings heat onto ice, which warms up, crackles and soon melts. As a conclusion, the long piece by Nadja is total heat. This is Nadja 'unrhythmed', which means pure lava.

This CD features exclusive graphic concepts and artwork by Alan McClelland

Track Listing:

Netherworld - Closing To A Winter Night - 8:59
Netherworld - Frozen Divinity - 7:17
Netherworld - Closing To A Glacial Dawn - 10:13
Nadja & Netherworld - Ice To Magma - 9:15
Nadja - Kriplyana (Melted & Refrozen Snow That Looks Blue In Early Morning) - 19:00

more info:
a new one by BRAINWASHED

Oophoi, "An Aerial View"     
Written by Simon Marshall-Jones     
Sunday, 30 March 2008 

Italy's Alessandro Tedeschi (the man behind both the ambient Netherworld outfit and Glacial Movements) seems to be waging a one-man campaign through his label to make us aware of the fragility of the icy snowbound environments situated at both poles of our planet. This release, by fellow Italian ambient artist Oöphoi (Gianluigi Gasparetti), is the label's fourth foray and steadfastly continues the tradition set by the previous three in bringing  extended and hauntingly crystalline sound explorations of these threatened environments.

Glacial Movements

Oöphoi here regales us with a delicately sparkling, shimmering meditation on that very fragile nature of the pristine ice-sheets floating on the waters of the northern and southern extremities of this globe—an endangered fragility made even more topical with the news that large cracks are appearing in the massive Wilkins ice-shelf in Antarctica and that glacier-loss is accelerating. Oöphoi brings this matter to our attention through the medium of just over 65 minutes of minimalist drone, composed of slowly evolving and minutely changing synth washes providing a dreamlike backdrop for the ghostly voice of a solitary theremin, perhaps lamenting and bewailing the complacency and the careless attitude with which the human species disregards the health of his only home. The net result being a long slowly-unwinding Eno-esque ambientscape, describing a world where mankind has very rarely set foot simply because of an accident of geography and climatology, a place of endless stretches of white populated only by polar creatures supremely adapted to these harsh conditions, yet still, paradoxically, a place where the reach of man's shortsightedness has had, and continues to have, a profoundly damaging effect.

What I took from this was the shiveringly haunting beauty gracing one of the last true wildernesses left on this much-traversed and explored world of ours, a beauty bathed for at least half the year in utter darkness, the skies only occasionally enlivened by the playful auroral visitations splashing themselves across the vast expanse of midnight blue, the stars peeking out from behind the shimmering veil of electrons like some shy maiden. Oophoi's soundscapes capture that essential crispness of the polar air, where everything takes on a clarity unavailable elsewhere, where the light from billions of tiny pinpoints of light reach us and put on a gloriously unashamed display, perhaps because of the very fact that there are very few witnesses around. The whole sound, just like the land itself, welcomes the listener wholeheartedly with a coldly soporific and torpid embrace, enveloping one with a desire to do nothing but lie back and let the imagined warmth overwhelm, until life itself becomes a dream slipping through numb fingers.

This harks back to the early experiments in ambient soundscapes, gently wafting, swirling and mesmerising, unhurried, just like the slow progress of the glaciers and floes of ice flowing on the frigid seas of these ice-bound regions. Deeply spiritual in many ways and deeply moving, unfolding with a stately pace befitting the rhythm of life in these stark deserts of ice and snow, this album was, for me, redolent of both crisply cold but sun-lit winter mornings, or that part of the day when the blue skies of the day have given way to the deep purples and blues of twilight, the time when the stars emerge from the wings in order to put on their nightly show. This is shatteringly beautiful, scintillatingly frozen, and stunningly magnificent ambience.


http://www. gothtronic. com/?page=23&reviews=4752

Six releases until the year 2000, one release in the year the world could have ended and as the world didn't end, Gianluigi Gasparetti dedicated himself to making ambient and released seventy-four titels since. Alone under the name Oophoi or in collaboration with many artists of which Klaus Wiese is just one of them.

Admitted, his works are mostly unknown to me except for a sampler contribution here and there, so "An aerial view" is a nice place to start exploring his mind. And his mind is one that perfectly fits in the scene of Italian ambient artists. Nice long-stretched pads and strings under a bouquet of miniature pre-recorded sounds and modulations.

The subtitle of this album is "for theremin and synths" which seems to be referring to the source of these recordings. The fact that synths are being used is quite obvious in the aural spectrum, but even after several listenings I can't find the theremin-sound.
Not that it devaluates the music, hell no!

The soundscape being presented is just what a soundscape should be - nice, filling the empty spaces, giving you enough perspective to follow it on both high volume as well as background-volume. And as stated before: True Italian ambience, so if Hic Sunt Leones and Amplexus releases are your 'thing', do not hesitate to dive into the ice-cold world that is Wurm.

The Wurm-series is a new sub-division of Glacial Movements, but I must admit that I miss the deeper contemplation of creating a sub-label at this moment in time. Both divisions focus on ambient in a cold environment and this is only the fourth release from Glacial Movements. The future might explain it, we just have to wait on yet another nice release from Italy.

Band: Oophoi(int)
Label: Glacial Movements
Genre: ambient (ambient / soundscapes / ritual / drones)
Type: cd
Grade: 7.4
Review by: Bauke

http://whiteline1. wordpress. com/2008/03/30/oophoi-an-aerial-view-cd-glacial-movements/

Oophoi - An Aerial View - CD- Glacial Movements
www. glacialmovments. com Poised as it is, as the first official release in Glacial Movements' "WURM" series, Oophoi offer up a glistening, expansive ambient workout, not unlike several of the multitude of ambient artists operating at the turn of the noughties. Oophoi summarise their work as an "airy drone with minimal variations", actively attempting to side step some of the pitfalls and cliches attached to any sonic interpretation of cold and icy landscapes, and in doing so, manage to summon up some of the energy reminiscent of the early era of ambient music.

The WURM series was offered up to artists to create uninterrupted, long- form pieces of atmospherics relating to the WURM period of glaciation, giving each artist an opportunity for truly immersive and engaging work, intended to "..describe the endless ice age, its eternal ice, the blinding white light, the abyssal silence, a music that will transport the listener to peaceful, unexplored lands..". Thus reads the GM press release for the series, and this first release does the job admirably. An Aerial View could easily eclipse Eno's "Apollo" series in its prescriptive and slowly unfolding sensibility, it washes and waves, its serenity and gentility only minutely disturbed by luminous tones from theremin and synthesisers, actively drawing the listener into a world and an age beyond present day comprehension. Best listend to in a calm and undisturbed room, devoid of any distractions, An Aerial View is best appreciated in one sitting. Original and ground breaking it is not..but if you are in need of aural sedative, or sonic balm, this is truly the album for you. Highly recommended.

Hello Folks

Oophoi "Wurm Series I" it's now available @ Glacial Movements Records!
More infos:

Still available @ Glacial Movements:

GM002 NETHERWORLD  " Morketid " (CD digipack)
GM003 RAPOON  " Time Frost " (CD digipack)

and,after some years of silence, Glacial Movements Records is glad to announce you the return of the great isolationist ambient composer


...........expect deep tonal drifts and drones........

out soon @ Glacial Movements Records
Hello folks,

a new review of Time Frost @ US well knowed magazine SIGNAL TO NOISE (issue 49) written by Darren Bergstein:

Circuit Breakers column by Darren Bergstein

Robin Storey, aka Rapoon, has always been an industrious fellow, what with another handful of releases spread out over differing labels throughout 2007. His debut on Italian newie Glacial Movements, Time Frost, finds him ever-so-slightly deviating from his aural signature; although his is a catalog that isn't without its detours (say, Cold War Drum 'n' Bass, for instance), Storey's carved out such an acute niche for himself that he's practically his own genre. Time Frost is an ode to frozen isolationism, Storey utilizing snatches of Strauss's Blue Danube as the basis for his demonstrative loops, of which he then twists, corkscrews, and otherwise manipulates into some pretty spellbinding shapes. Place this album right next to Wolfgang Voigt's various Gas projects of the 90s, and sensorialism becomes an autonomic function. In general, Storey's expertise lies in mapping out and navigating a mood; here, it's lucid dreaming or various psychogeographic states, organizing a series of revolving faux-crescendos that conceal latent power. "Horizon Discrete" makes the bite of wind chill a tangible presence coating the speaker fabric, and the softly cooing droneblitzes of "Thin Light" circulate vividly enough to pierce the darkness, but it's on the half-hour-plus "Ice Whispers" where Storey's seemingly "tiny" sounds are writ large: massed chorales of sound that surge, billow, hover, and enshroud the ear in a veritable tour de force of symphonic beauty. A highwater mark in the Rapoon oeuvre, and one of Storey's best recent recordings.
Hello folks,

pre-orders of Wurm Series I - OOPHOI - now @ GLACIAL MOVEMENTS RECORDS

still available:

NETHERWORLD "Morketid" CD digipack
RAPOON "Time Frost" CD digipack

I uploaded new reviews of both CDs!
and forthcoming release on Glacial Movements will be LULL (Mick Harris/Scorn)

Best regards,

WURM SERIES I : OOPHOI    "an aerial view " CD digipack

" When I've been asked to describe the Ice Age with an uninterrupted drone, I knew I wanted to avoid the cliches of the genre: dark rumblings, massive low frequencies, cold atmospheres. I had to describe with sounds the white landscape, the blinding light reflected by the frozen oceans, the abyssal silence.I have imagined myself in flight over this Sleeping Earth, a solitary winged-being surrounded by winds, air, water and ice. This led me to compose an airy drone with minimal variations and delicate tones, an hommage to a pure, incontaminated and remote land."
Oophoi, winter 2007

Hello folks,

a double new review of Rapoon "Time Frost" by BRAINWASHED and REGEN MAGAZINE!


Written by Matthew Spencer     
Sunday, 02 December 2007 

"Two of ambient music's greatest strengths are conjuring up isolated locations and immense timelines. In Time Frost, Robin Storey uses them to imagine a Europe chilled by ocean currents altered by global warming. It is easy to be cynical about climate change as an artistic subject considering its status as Hollywood's pet-cause of the moment.  Time Frost does something far more satisfying: it calls to mind vivid images that do not need to be interpreted through an ideology. 

Considering the chilly subject matter, the album has a thick, full bodied sound. Storey used an old vinyl copy of Strauss' Blue Danube for much of the source material. Even though the piece is digitally processed beyond recognition, the richness of the orchestra and the snowy crackle of the record still remain. That analogue glow colors the sparse, unaccompanied loops, providing variety to the simple, repetitious song structures. Even in the arid, droning "Horizon Discrete," the fluidity of Strauss' music remains intact, like the wind blowing up drifts from a glacier.

The hypothetical waste-land that Storey envisions is not featureless and uniformly hostile. The time lapse waltz of "Thin Light" elegantly evokes a winter sunrise. Bubbly synthesizers mimic a thick, wet snow-shower in "A Color of Darkness." Without shouting the message, these tracks suggest that the world's beauty will continue, even if it becomes too hostile for us to live on it.

Despite a personal affinity for the natural world, music with environmental themes has always struck me as cheesy. Although the destruction humanity inflicts on the planet is truly dramatic, it is easier to make an episode of Captain Planet than a nuanced work of art. By remaining ambiguous, however, Time Frost has a much better chance of aging well than the bloated pontifications of Live Earth. Even if global warming is not your crusade, you can still sit back and enjoy this album. No moralizing is required."


Posted: Thursday, December 13, 2007
By: Matthew Johnson

"Assistant Editor Manipulated Strauss samples evoke a frozen Danube River on Robin Storey's latest offering.With Time Frost, Rapoon founder (and former Zoviet France member) Robin Storey explores the idea of a future European ice age. Taking the iconic Danube River as his starting point, Storey imagines the river frozen solid. Marrying the imagery with the music, Storey takes sampled snippets of Johann Strauss' "Blue Danube Waltz" from vinyl lock grooves, loops them over one another, and processes them in the studio. The result is less static than one might expect, but then again, ice itself isn't as static as it appears. It grinds against itself, breaks off into sheets, compresses, forms ridges. Likewise, the fuzzy looped string tones of opening track "Glacial Danube" are similarly dynamic, degrading in time as they pan across the stereo channels. It's actually disconcerting, the way one tone will cut off sharply on one channel as another begins simultaneously on the other, sharp and jarring as frostbite. Things go deeper on "Thin Light." The sound degrades less, because there's less of it to degrade; the high end, the tinny treble, is gone now, leaving only the icy depths and the melancholy mid-range. "A Darkness of Snow" deepens things further, tempting sleep with slow rolling distortion, and while "Horizon Discrete" starts off with the tension of sustained violins, it ends with a deep, almost oceanic drone. These admittedly fascinating pieces are, in a way, mere preludes to the final track, the half-hour epic "Ice Whispers." Though it utilizes similar sounds and techniques to the earlier tracks, its length gives Storey the chance to move things at the truly glacial pace its subject matter deserves. Beginning with the omnipresent loops of scratchy violin, it fades into a deep, distorted tranquility, eventually adding hints of echoing clatter, like ice cracking under its own weight and amplified by the natural reverb of permanent winter. Storey's frozen landscapes do an excellent job of melding sound with concept, and if Time Frost is at times stark and inhospitable, it's a testament of how well he has executed his concept."

Hello folks,

i'm honored to announce you that i'm in collaboration with NADJA (Aidan Baker/Leah Buckareff) for a split CD that will be available on Feb/March 2008 for one of the best experimental record label of the world: FARIO

The Fario label was created in 1998 by the staff of the French magazine Fear Drop.The concept behind Fario is the meeting : collaborations between two artists.Fario records show two halves created separately and a common track in the middle, a moment to share views or to oppose feelings.


Fragile / Dither
Mimetic kKno / Delphium
99 mg / Laurent Pernice
Lull / Origami Arktika
Francisco López / Steve Roden
Rapoon / Désaccord Majeur
Vromb / Telepherique
Troum / Christian Renou
Thomas Köner (the CD is due out 2008)
Nadja / Netherworld (the CD is due out 2008)
Other Ambient (and related) Music / WURM SERIES: OOPHOI
December 10, 2007, 05:15:21 AM

WÜrm is the name of the world's most recent glaciation which ended around 10000 years ago and have occurred in the Pleistocene epoch. The term WÜrm comes from a river in the Alps where the glaciation was first identified. During the height of glaciation, most of Europe and Eurasia was open steppe-tundra, while the Alps presented solid ice fields and montane glaciers. Scandinavia and much of Britain were under ice.

Immense white expanses...infinite silences...sunrays reflected by eternal icefields...every release of this new series will be a circular, slowly-unfolding and ethereal long-form musical piece, in which the artist will describe this endless Ice Age, its eternal ice, the blinding white light, the abyssal silence. Music will transport the listener to peaceful and unexplored lands.

out soon: OOPHOI cd digipack ltd. 1000 copies