Fluid Audio

Fluid Audio announces 'Series Of Room', the quietly moving new release from Italian composer Grotta Veterano. Mastered by Ian Hawgood and featuring cover artwork by Danish artist Øjerum, the album offers a deeply introspective journey through sound, memory, and emotional architecture.

Initially recorded as a series of private piano sketches - “written improvisations, controlled sketches” - the tracks were never intended as a cohesive album. Yet when brought together, they began to resemble something whole: a constellation of internal spaces, unresolved and beautifully unrefined.

“They ended up becoming a series of rooms,” writes Grotta Veterano, “each one made of memory, of recurring fragments from the past, reconstructed over time. When I say ‘a series of rooms,’ I mean the ones we carry inside us, not physical spaces.”

Each piece unfolds like an overheard thought, a door left ajar. There’s no grand statement here-only presence, absence, and the trace of something lived. With its unadorned fragility and its refusal to over-explain, Series Of Room speaks in the language of quiet honesty.

The album is presented in a meticulously handcrafted edition of 50 copies, drawing from the same tradition of tactile collage and analogue storytelling that has defined recent Fluid Audio editions. Each set features original Ordnance Survey map segments, cloth-backed and carefully bound, forming a unique shell for each copy. Also included are custom-designed A6 prints on heavyweight uncoated stock, vintage photographic slides, black & white travel photographs, photo negatives, and salvaged book pages from. Fragments of reel-to-reel field recording tape, antique travel stubs, and ephemera gathered from forgotten drawers complete the assembly.

All elements are housed in a hand-waxed, stamped, scented archival bag, individually numbered. No two packages are alike. No repress.

Audio: Grotta Veterano

Mastering: Ian Hawgood

Cover artwork: Øjerum

Design: Daniel Crossley

Fluid Audio presents Giulio Aldinucci & Matteo Uggeri - The Promise of a Threat coming soon on Fluid Audio...

In The Promise of a Threat, two veteran composers of ambient and electroacoustic music - Giulio Aldinucci and Matteo Uggeri - converge on a collaborative terrain that is at once intimate and immense, reflective and unsteady, beautiful and unsettling.

Created between June 2021 and early 2022, and mastered by Aldinucci in 2025, the album stands as a slow-burning document of digital and emotional correspondence. It reflects the language of ambient music not as static wallpaper, but as a deeply expressive form - one that allows silence and signal, memory and disturbance, to coexist within the same fragile space.

A Digital Dialogue Across Distance...

The entire work emerged through remote exchanges between Aldinucci (based in Siena, Italy) and Uggeri (Milan, Italy), unfolding gradually through shared sessions, sketches, and iterations over time. The process was not unlike the movement of tectonic plates - imperceptible at first, yet with weight and intention. Layers of processed field recordings, abstracted rhythms, and spectral textures accumulate into dense yet transparent forms. Every detail is traceable, yet elusive.

Giulio Aldinucci, known for his deeply spatial drones and sensitive treatment of field material, builds immersive sonic beds that seem to hover just above the surface of the Earth - simultaneously grounded in place and untethered from time. Matteo Uggeri, by contrast, applies a more tactile touch: assembling beats, samples, and environmental recordings into patterns that give pulse and tension to the atmosphere.

Together, their styles intersect in subtle and surprising ways - sometimes bleeding into one another, at other times standing apart in contrast. The balance between order and entropy, harmony and noise, creates a dynamic that speaks to the album’s title: The Promise of a Threat. Beauty does not arrive alone. It is always shadowed by its inverse.

Processes of Presence and Absence...

Across the album’s runtime, the listener is drawn through zones of dissolving melody and shadowy rhythm, passing through spaces that feel neither entirely natural nor entirely artificial. A drum sample on Track 2, provided by Andris Brinkmanis, adds a skeletal percussive element - a quiet agitation beneath the calm. The rhythms are not dominant but suggestive, like distant industrial echoes or memories of forgotten structures.

The artists manipulate the digital medium not as a tool of perfection, but of erosion and transformation. Hiss is preserved. Glitches are welcomed. The human ear remains present in every detail. The processing - granular, filtered, stretched - is not ornamental but fundamental, a way of sculpting emotion out of signal. Field recordings are often submerged, embedded beneath layers of drones and rhythms, yet their presence adds a layer of organic residue - a trace of wind, rust, or breath beneath the circuitry.

A Tactile Offering...

True to the ethos of Fluid Audio, the physical release of The Promise of a Threat will be crafted with great care and material sensitivity. Expect a limited, hand-assembled edition that honours the intimacy and intricacy of the music - an object to be held, as much as heard. Full packaging details and release date will follow.

For now, The Promise of a Threat lingers just at the edge of hearing - like the low hum of an incoming storm, or the quiet reassurance of knowing something is coming, even if its shape remains undefined.

www.fluidaudio.co.uk

Tament is an exploration of sound as both memory and possibility-an attempt to blur the boundary between the concrete and the imagined, the heard and the felt. This album is born out of an ongoing curiosity: what kind of dialogue can exist between the raw, unfiltered audio of the everyday and the abstract sonic worlds we construct through synthesis and production?

At its core, Tament weaves together field recordings, modular synthesizers, and software-generated textures. The ambient recordings are drawn directly from the soundscapes that surround me: the footsteps echoing through familiar streets, fragments of passing conversations, distant traffic, the subtle rhythms of urban life. These are the sounds that often fade into the background, yet they form the soundtrack of my existence. By capturing them, manipulating them, and placing them in new contexts, I aimed to reframe the ordinary-to open a space where the habitual becomes mysterious, and the familiar is rendered strange.

This project is not about documentation or representation. Rather, it’s about translation. I wanted to create an alternate version of the spaces I move through-a kind of dream logic of place, where reality is stretched and reassembled into something more ambiguous, immersive, and open-ended. In doing so, Tament becomes a liminal zone, a place between places.

Just as important as the sound itself was the intention behind its structure-or rather, the lack of imposed structure. I deliberately avoided giving the tracks a fixed narrative or emotional direction. There are no clear themes or guiding concepts here. The music offers a frame, not a story. It is a space left intentionally undefined, allowing each listener to encounter it without expectation, to inhabit it on their own terms. In that sense, Tament is less an album and more a set of sonic invitations.

It is about listening closely, noticing what usually slips past us, and discovering new meaning in repetition, texture, and silence - Glinca

Music, production, and mixing by Tazio Iacobacci

Mastering by Sebastiano D’Amico at Zen Arcade

Track 8 - 'Horocele', features Francesco Canè on modular synthesiser

Design by Daniel Crossley

This album is the culmination of an ongoing exploration of musical and sonic concepts, including mutation, evolution over time, generative patterns, sampling and re-sampling. Several tracks from the album have been performed, presented, and utilized in various formats, such as concerts,

performances, or installations-either in their entirety or specific sections.

The six tracks represent the distilled essence of a creative process that commenced in 2020, characterized by continual iteration, variation, and the transformation of formless clusters of melodies, harmonies, or mere textures into somewhat finished compositions.

Each musical piece has been a companion to me for an unusually extended period (something it rarely happens in my process). Much like features in a landscape, these tracks have shaped a geography of memories, places, and fleeting moments over an exceptionally prolonged time in my life (with some, like Bancal, tracing back to 2014). Consequently, the personal and emotional weight they carry is significant and necessitates being acknowledged to make room for the new and unexpected.

In Valencian, "una geografia temporal" translates to “a temporary geography."

'Petrichor' is the third studio album from long-time collaborators James Osland and Andrew Heath, and serves as a natural continuation of their creative partnership following the release of Elysian Fields (2024), also on the esteemed Fluid Audio label.

The two artists were initially brought together by a shared admiration for each other’s work within the ambient music community. Andrew Heath is an established figure in the genre, with numerous albums and EPs released on respected imprints such as Disco Gecko, Whitelabrecs, Rusted Tone Recordings, Elm Records, and White Paddy Mountain. James Osland, meanwhile, is both an accomplished artist and the founder of Elm Records, a boutique label known for its thoughtful curation. His personal discography includes releases on Unknown Tone Records, Whitelabrecs, Flaming Pines, and Dewtone Recordings, among others. Osland’s practice explores the intersection of sound, memory, and place, working across both sonic and visual mediums.

Petrichor began to take shape during an exchange of ideas between the two artists in the late winter and early spring of 2024. As Andrew shared loops and sonic sketches, James found himself listening from his studio, watching the unrelenting English rain from the window. These moments of stillness-quiet reflections on the shifting of seasons-informed the mood and direction of the album.

What emerged is a collection of slowly evolving compositions, revealing gentle melodies, nuanced textures, and soft drones-much like the tender unfolding of early spring leaves. The album carefully weaves together field recordings, organic textures, and synthesis to create immersive soundscapes that capture the subtle beauty and contemplative atmosphere of seasonal change.

Blurstem’s 'Remnants and Whispers' is an album of memory-of echoes and fragments, of moments gathered and reshaped, of the past carried gently into the present. Released on Fluid Audio, renowned for its exquisitely crafted physical editions, this collection of soundscapes and textures is imbued with nostalgia, intimacy, and the quiet weight of time.

The album weaves together the delicate and the vast, the small and the sweeping. Tiny, almost imperceptible guitar plucks flicker like candlelight amidst expansive ambient washes. The sonic palette moves seamlessly between lo-fi warmth and pristine clarity, embracing the imperfections of cassette recording and the wobbly, warbled charm of home videos from a lost era. Each track breathes with a human touch-organic instruments processed and reimagined, from tremolo strings pitched and resampled on “Tethered” to layers of sound that feel like old photographs brought to life.

At its heart, 'Remnants and Whispers' explores the idea of remnants-what we carry with us through life, the fragments of friendships, memories, and fleeting moments that shape who we are. Much like the album’s sonic construction-built from past sketches, ideas, and textures revived and given new form-the music mirrors the way we collect and reinterpret our own experiences over time.

This ethos extends beyond the music itself into its physical presentation, with Fluid Audio’s deluxe edition incorporating 1920s sheet music and book fragments as old as the 1890s-historical relics that feel like the perfect visual counterpart to the album’s themes of memory, loss, and renewal. The tactile nature of these artifacts deepens the listening experience, making 'Remnants and Whispers' not just an album, but a tangible connection to the past.

Mastered on Bartels’ late ’60s analog tape machine, the album’s final touch further enhances its warmth and character, adding an unmistakable depth and timeless quality to its sonic palette.

A meditation on change, nostalgia, and the beauty of imperfection, Remnants and Whispers is an invitation to pause, reflect, and listen-not just to the music, but to the quiet echoes of our own stories.

Music: Blurstem

Mastering: Bartels

Design: Crossley

www.fluidaudio.co.uk

www.blurstem.bandcamp.com

Originally, both of these long form tracks served as the basis for sound baths I performed for friends and families. I would hit play and then make some sounds in the physical space, focusing on objects in the environment (rustling the leaves on a bush, hitting a metal fence with a stick, clicking stones, etc). I always intended for these tracks to also be able to hold up on their own, so here we are.

When is a song done? Don’t we just arbitrarily decide when to call it? I like the idea of this only being part of the “song”, and that the “song” is always changing. After each performance I added little pieces of the fresh live sounds into the pre-recorded mix. There will likely be more performances, so the tracks will change further. This is just where they are now. And I like that.

As I worked on these tracks over the last few years, the theme of impermanence became more clear to me. My father was lying on the grass in my parent’s yard for the first performance. That was in 2020, during the pandemic. Recently, my father passed away, so I’m dedicating these songs to him. He was a landscape architect, and I always loved how that sounded, and I always loved him.

Performed, recorded, and mixed by nat hawks between 2020-2024.

Dedicated to dad.

- padna

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

Written and produced by squncr

Mastered by Julien Bayle/Void Label

Designed by Daniel Crossley

A New Musical Journey for Sleep and Meditation...

Prepare to embark on a transformative auditory experience with the release of 'Musquy (dream)', a groundbreaking composition designed to accompany moments of sleep, meditation, and deep relaxation. Crafted with intentional gentleness and an unparalleled sensitivity to the human spirit, this music serves as a gateway to release and renewal.

Emmanuel’s vision for 'Musquy' centers on the delicate balance between tranquility and inspiration. From the soft melodies to the carefully orchestrated transitions, the music creates an environment conducive to profound inner peace.

Perfectly suited for individuals seeking solace from the noise of daily life, 'Musquy' provides 'a gateway of release in which dreams may awaken in calm and delicate grace'.

The composition’s intricate layering and gentle dynamics are the result of using natural soundscapes, presented in a 24 hour installation by Emmanuel. The result is an immersive experience that gently cradles the listener’s senses and promotes holistic well-being.

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Emmanuel Witzthum - vocals, electronics, mastering

Daniel Crossley - Design

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The artist...

Emmanuel combines work as composer, artistic director and creator of artistic digital experiences. He currently serves as Head of Creative Development for the FeelBeit culture house and as the curator of the creative resident program at the ZEISS Innovation hub at KIT.

He has created artistic collaborations with partners such as Ensemble Modern, Frankfurt; IRCAM; Google; The Guggenheim; The Alvin Ailey Dance Company; Enjoy Jazz Festival; The Future en Seine Festival; The Matadero; The Jewish Culture Festival, Krakow, The Jewish Museum, Berlin; The Pacific North Western Ballet; The ZKM and ZEISS amongst others.

He has performed as violist with the Orpheus Chamber Orchestra in NYC, The Berlin Staatskapelle, Ensemble Intercontemporain amongst others. He has recorded for Deutsche Grammophon under Pierre Boulez with Ensemble Intercontemporain.

He is a consultant and lecturer on such topics as - transformation processes in the arts and strategic business development in the arts in the 21st century.

www.fluidaudio.co.uk

www.witzthum.org

The 'Noise Print' project began from a desire to create deep, earthy textures. I had an image of walking along a narrow forest path and being very present in the moment. For this album I changed my usual approach by setting a one-hour time limit for each studio session. As soon as I set this limitation my ‘chattery brain’ started stirring up doubts about my ability to work under these confines- an hour wasn’t long enough to create ‘amazing music’ and that setting such restraints would be stopping me from producing quality work. However, once I started working, a different, more grounded version of myself emerged-more sure footed and less neurotic and anxious, focused on the present moment rather than getting anxious over future outcomes. And the outcomes were good, I was really happy with the material I was creating and the whole of Noise Print was made in these sessions.

While I made the album I started to think about identity, shadow selves, unconscious selves, versions of ourselves that are quite different from the everyday person we think we are. In many ways this was quite comforting, the thought that my everyday self could take it’s hands of the wheel and let a grown up much more capable person could get on with the work. On reflection I realise that making music is one situation in my life where I’m able to tap into this state without too much difficulty (most of the time) but it was during the making of Noise Print that I actually noticed it was happening.

This led me to think about the concept of shadow selves-alternate versions of our subconscious selves that operate beyond our everyday distractions and influences. Like the image of the forest track-a space where the noisy mental clutter fades, and a deeper, older self takes over.

To sum this one up-it’s like a walk along a narrow forest path and the present moment is very much alive-your mind is right in ‘the now’ with past and future losing any meaning. The ‘Noise Print’ title came about by me thinking if you could print to tape the sound of your psyche/consciousness when your are in this present focused, deep state.

- Phil Tomsett - April 2024