Field Records takes a look into the vast catalogue of Celer, the prolific ambient project from Tokyo-based artist Will Long. Perfectly Beneath Us was originally released in 2012 as a CD-R on Still*Sleep, and now it’s being presented as a vinyl release remastered by Stephan Mathieu.

Celer began in California as a collaborative project in 2005 between Long and Danielle Baquet, resulting in reams of self-released work up until Baquet passed away in 2009. Long opted to keep their project going, and Celer has continued to grow as an expansive exploration of purest ambient. Meanwhile Long’s solo work under his own name has been equally accomplished, with scores of releases on DJ Sprinkles’ Comatonse Recordings and respected Norwegian leftfield label Smalltown Supersound.

With such a sizable library of sounds to explore, the reissue of Perfectly Beneath Us serves as an ideal entry point into the Celer catalogue, presenting four pieces of sustained, glacial movement wreaking profound emotional impact from the subtlest methods. Long exercises the utmost patience from the shorter ‘Distressing Sensations’ and ‘Ultra-terrestrial Yearning’ through to the 10-minutes-plus stretches of ‘Slightly Apart, Almost Touching’ and ‘Absolute Receptivity Of All The Senses’.

It’s truly immersive, captivating drone music that rewards the attentive listener as much as it soothes the casual drifter. Originally limited to just 100 copies in 2012, it’s now beautifully framed on a carefully considered reissue which adds to Field’s own repertoire of evocative, subliminal electronics.

About Field Records Field Records has been publishing versatile electronic music from a string of high-principled artists since 2008. Firmly rooted in minimalism and modesty, the label gained a reputation for its versatile and atmospheric output - which includes works from the likes of Artefakt, ENA, Imaginary Softwoods, Monolake and SUGAI KEN.

Limited to 300 copies.

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Twenty-three years on from its original release, the debut album of American artist Mike Parker stands proud as a blueprint for deep, hypnotic techno in the new millennium. Originally published as a CD-only edition on Parker’s own Geophone label, Field Records are now giving Dispatches the full vinyl release it so richly deserves - spread across six sides and reproducing Parker’s distinctive artwork at scale.

Charting the course of Parker’s career reads like the evolution of deep techno itself - moving from early collaborations with Donato Dozzy to appearances on seminal labels such as Prologue, Semantica and Spazio Disponibile. The essence of his approach was forged early on, honing techno’s propulsion into a raw essence without losing any of the weight. It’s an exercise in minimalism, but the sound is still monolithic and engulfing, crystal clear in its intention and devoted to the power of subtle pressure. When the decay on a reverb opens up a fraction, Parker’s music leaves enough space for you to notice. Incremental shifts become monumental in his hands and his commitment to subliminal layering reveals hidden depths the further you submit to his hypnotic sound.

This definitive edition of Dispatches looks at the vinyl singles which accompanied the album’s original release and creates a more complete picture of the area that Parker was exploring at the time. It’s the first time that the alternate take of icy depth charge ‘Copper Variations: CV1’ appears on wax, as goes for the pneumatic tension of ‘Reduction’ and evocative miniature sound sculpture ‘Blue Equals Black’. Expanding the album beyond its original CD form, epic rarity ‘Dissolution 99’ presides over the final side, while the standout Voiceprint release is now represented in full with the inclusion of heavyweight stepped techno workout ‘Voiceprint: Voice Two’.

Able to sustain his own creative vision without cowing to the trends or expectations of any scene or clique, Parker’s music has progressed on its own terms. What this reissue demonstrates is how fully formed his vision was - even at a relatively early stage. In an era where the deep techno scene is thriving, Dispatches feels all the more relevant, undiluted by time and still unmatched in its immersive perfection.

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Matching expansive ambience with environmental sound, Chihei Hatakeyama’s new album continues Field Records’ exploration of Japan and the Netherland’s shared approach to water management. As with Sugai Ken’s 2020 album Tone River, a specific project becomes Hatakeyama’s area of focus - in this case the Hachirogata Lake in Akita Prefecture.

Previously the second largest body of water in Japan, the government ordered extensive drainage work of Hachirogata Lake after the second world war with the help of Dutch engineers Pieter Jansen and Adriaan Volker. After the project was completed in 1977, reclaimed land took up eighty percent of Hachirogata Lake’s total size. As a result, a new ecosystem was established as plants spread from surrounding areas, bringing with them a wider variety of birds and other wildlife.

Hatakeyama’s approach to this unique subject matter took in field recordings from particular locations around the lake - the drainage channels, the Ogata bridge, grassland conservation reserves and other key areas. The aquatic subject matter and sonic material is a natural fit for Hatakeyama’s accomplished sound, which has featured on numerous solo works for labels including Kranky, Room40 and his self-run White Paddy Mountain.

From the intimate intricacies of the sampled material to the glacial expanses of droning synthesis and languid guitar, Hatakeyama creates a tangible environment which at once reflects the settings around Hachirogata Lake, while offering the listener any number of imagined scenes to observe in their mind’s eye.

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Field Records proudly presents the first complete vinyl edition of Monolake’s seminal excursion into experimental dub techno, Hongkong. Originally released on the now-classic Chain Reaction label in 1997, this collection of early singles by Robert Henke and Gerhard Behles has gone on to become a vital listening experience in its own right - a genre classic alongside the other groundbreaking works from the likes of Porter Ricks and Vladislav Delay.

The tracks which make up Hongkong were made while Henke and Behles studied computer science and immersed themselves in Berlin’s techno scene. Their early forays into computer-based music production were enabled by the use of the Max/MSP programming environment, forming a backdrop to the landmark work they would undertake in developing the Ableton Live DAW. Henke and Behles travelled to Hong Kong in 1996 to attend the annual International Computer Music Conference, and while there recorded extensive field recordings. These recordings became the glue that pieced together their collaborative tracks into a fluid listening experience for a CD-compilation at Chain Reaction’s request.

While absolutely rooted in the embryonic sound of European dub techno, Monolake’s early work possesses a back room, headphone-ready demeanour which lends itself to the album listening experience. In the cascade of rhythms created by precision engineered delays and subliminal, expansive spatial world building occurring throughout Hongkong, the stage is set for a full and thorough immersion. Before the Monolake sound progressed into a more pointillist form of computer music as Henke’s solo project, Hongkong presented a gritty, grainy sonic still tied in some way to the traditional methods of techno production, even as the artists’ ideas were sending the sequencing and arranging in exciting new directions.

Remastered and presented for the first time as a complete double 12” package, this is the definitive edition of an essential work in the evolution of experimental techno. As Henke himself explains, “twenty-five years later, this record still holds immense value to me in many ways.”

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Field Records is to release a 2CD compilation and 3 vinyl samplers of music from the label's artists old and new entitled simply, Collection. The imprint keeps up the Dutch tradition of releasing deep, Detroit-inspired electronic music with high-class contributions from various artists. Built on minimalism and modesty, the boutique label has expanded into a consortium for quality since first emerging in 2008. The final part of this three part sampler series calls upon Artefakt, Iori and Szare for three more tracks of minimal techno that are stuffed with evocative imagery. Producer duo Artefakt's 'Narcosis' is first and is a tunnelling bit of rich, soft edged minimal techno with subtle celestial pads, Iori gets much more aggressive and textured on his warehouse wig out that is 'Inject' and finally Szare's 'All Over' (which is exclusive to the vinyl sampler of Collection) is a kinetic, tightly programmed bit of playfully rhythmic techno with raw claps and plenty of thick sub bass. Last but not least in the series, this final sampler offers a third techno perspective and closes out what is an essential collection over all.



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Caribbean-Belgian composer, producer and musician Nala Sinephro announces her debut album Space 1.8 with lead track “Space 3”. Space 1.8 will be released on 3rd September via Warp Records.

The instrumental “Space 3” is a short clip from a 3 hour improvised session with drummer Eddie Hick (Sons of Kemet) and producer/multi-instrumentalist Dwayne Kilvington on synths bass (Wonky Logic, Steam Down) culminating in a synth driven, particle-splitting, rapture. Speaking about the track, Sinephro explains: “We recorded it in the start of spring, it was a magical day. The day after recording I collaged the drums, added fifteen synths, produced and mixed it at home and it was all done.”

Sinephro’s music fuses meditative sounds, jazz sensibilities, folk and field recordings. Her musical practice is rooted in the study of frequency and geometry and guided by the premise that sound moves matter. Her debut album Space 1.8 takes shape as a metaphysical structure, where each curative space is a womb-like cocoon created by Sinephro in service of relief and affirmative, ecstatic freedom. Space 1.8 was composed, produced, performed, engineered, recorded, mixed by Sinephro at age 22. On the album, she plays modular synths and pedal harp alongside her friends James Mollison, Shirley Tetteh, Nubya Garcia, Eddie Hick, Dwayne Kilvington, Jake Long, Lyle Barton, Rudi Creswick and more.

Following electrifying live performances across the London scene, word of Nala Sinephro’s playing quickly spread throughout the UK jazz scene, consequently landing her performances as part of the celebrated jazz night Steam Down, alongside playing with and supporting the likes of Demae, Eun, Coby Sey, Rosie Turton, Robert Ames, London Contemporary Orchestra, Touching Bass, Spitfire Audio, Nadeem Din-Gabisi. She was touted as one of The Guardian’s artists to watch in 2020, has garnered support from the likes of Gilles Peterson; and is a resident DJ on NTS sharing monthly selections of celestial sounds. In 2021, she joined the innovative Warp Records roster where she continues to weave her unique sound world.

- Specs Black vinyl 12" in printed inner in printed 3mm spine outer with download card insert

TRACKLIST:
A1. Space 1
A2. Space 2
A3. Space 3
A4. Space 4
A5. Space 5
B1. Space 6
B2. Space 7
B3. Space 8

QUOTES:
“A benchmark in ambient jazz featuring outstanding players and delicately woven arrangements” - 8.3 - Pitchfork (Best New Music)
“Space 1.8 is a healing sound bath full of rigorous psychoacoustic knowledge and elegant playing” - The Observer (One to watch)
“Very few records have this capacity to make you temporarily fearless, but on Space 1.8, Sinephro harnesses the power of sound to move and heal the listener in ways that are real, and expansive.” - 9/10 - Loud & Quiet
"What sticks with Space 1.8 is the focus of its vision: precise like mathematics but imbued with a rich cosmic breadth." - 9/10 - UNCUT
'Her debut album sits at a slight angle to anything else you may have heard coming out of the UK in recent years” - Stereogum
"A calming, restorative and mind-expanding blend of jazz and ambient" - Resident Advisor (RA Recommends)

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MONDOJ20R = Dark Green Vinyl Repress! Languoria is a collaboration between Denmark's Sofie Birch and Poland's Antonina Nowacka. While Birch describes herself as an ambient musician, Nowacka''s primary instrument is her own voice; they share in common a facility for creating complex, layered work. Polish label Mondoj has teamed up with Unsound Festival, who initially brought this project to life for their 2021 Warsaw edition. After another show in Cracow later that year, the two met in Copenhagen to record a series of compositions. Unsound will also premiere Languoria this year in Cracow as well as during their New York offshoot.Sofie has previously published music on Stroom, Seil, Longform Editions and Intercourse. Antonina's debut album "Lamunan" was released in 2020 by Mondoj. Antonina is also half of the A/V experimental duo WIDT.

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WAS - Word and Sound Medien GmbH
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DE - 22113 Hamburg
Germany
Contact: [email protected]More