brisk

Thanks guys and glad you could make it to the livestream last night!

"Here are ten alternative versions picked from the Substrata recordings sessions that took place between 1995 and 1996." Looks like it's from the era it was actually recorded.

Substrata was the third studio album by the Norwegian electronic artist Biosphere, released 25 years ago by All Saints Records in London. In 2016, Pitchfork ranked it at number 38 on its list of the 50 Best Ambient Albums of All Time. Here are ten alternative versions picked from the Substrata recordings sessions that took place between 1995 and 1996. https://biosphere.bandcamp.com/album/substrata-alternative-versions

Thanks guys 🤗

Back in stock at Norman Records (the best record store in the UK IMO!) after the first allocation we sent them sold out in a day! https://www.normanrecords.com/records/193323-36-the-box

36 - The Box 6xLP Boxset 'The Box' contains the remastered albums Hypersona, Hollow, and Lithea, in addition to Orphans which is a curated selection of compilation tracks, most for the first time on vinyl, as well as arrangements exclusive for this boxset. Entire set spans across six vinyl records, housed in three gatefold jackets with their own unique artwork. /////// USA/Digital: https://pitp.bandcamp.com/album/the-box UK/EU/ROTW: https://www.juno.co.uk/products/36-the-box/886538-01/

Looking forward to this 😉 Tickets are free from https://3six.net/merch/36-the-infinity-room-reinterpreted-live

This is out now! https://pitp.bandcamp.com/album/symmetry-systems The metallic silver variation has sold out, but there are still some copies of the trans blue vinyl. And digital of course.

Thanks guys. Apologies in advance for the price on Juno. USA imports (which is where the label is located) are REALLY expensive now. We negotiated to have them as low as possible, but this seems to be the new reality of imports I'm afraid. That aside, hope you all enjoy the record! It's just the start. This year is going to be absolutely bonkers if you dig 36 stuff 😉

Thanks. We had a lot of fun making this one 🙂 Also, for UK/EU peeps, it's available at Juno now https://www.juno.co.uk/artists/Syne/

There's some beautiful moments in it, but they're fleeting moments with no real connection to each other. If I was to guess, this is a collection of 30-60 second loops that he has made/collected over the years (perhaps as prototypes for longer tracks that never materialised) and rather than using them for outros at the end of "proper" tunes like he usually does, he has made an LP-length collage of them, using the familiar vinyl crackle to separate each section. It's sort of a Burial ambient compilation, which is still cool, but it feels so fractured that it's hard to really connect with, because by the time you're invested emotionally in the tune, the next part plays which is totally different and takes you out of the moment. With ambient, being in the zone is crucial and getting pulled out of it is jarring as hell. I do see the "Chill Out" inspiration, but whereas that album flows seamlessly, this is way more awkwardly paced. It's still well worth a listen and as I say, there's some real gems in it (New Love in particular, and it's also the tune where the individual segments work best together) but sitting through 45 minutes to find the bits that resonate for 45 seconds or so will put me off future listens I think. I just kinda wish he developed it a bit more and it could have been something special.

I've seen this happen a few times now with quite a few artists I know over the past year or 2. There is practically zero oversight on these digital streaming platforms. Anyone can just make a Distrokid account and upload stuff onto an artists page, claim the royalties (however small they might be) with zero consequences for doing so. It's shit for James because he's not on Spotify to begin with, and you have to effectively opt-in to opt-out, which is another matter in itself. The other option is DMCA, which means giving up personal information to Spotify, which I would assume is the last thing he wants to do. It's a well known album at this point, so I'm sure with enough fuss on Twitter, it'll get the attention of Spotify and be pulled. But it'll happen again I'm sure, so it's a never-ending game of whack a mole. James has made his opinion on Spotify quite clear (and more importantly, actually stuck to his ideals and kept his music off there) which I respect 100%. But considering the album is on Youtube in its entirety (which pays even less and are arguably worse when it comes to looking after artists and creators) and has been utterly butchered by zoomer kids on tik-tok for the last 12 months, it might just be worth uploading it himself and giving whatever it earns on there to a dementia charity or something. Either way, this shit needs to change cos it's getting worse, not better.

It sounds like he's found his old GAS sample pack and made some new tunes with all the samples, then added a high-freq tone pulsing over the entire album. His 90s GAS material is so seminal, so it's always gonna sound dope, but yeah, it's a bit... Lazy? It works better if you consider it more like a GAS self-remix project. But as a new album?

Just to note that the record has sold out direct and most copies sent to Juno (inc the limited red variant) have gone. There's a handful of copies of the trans clear version left here though https://www.juno.co.uk/products/36-duenn-distance-as-power/853108-01/

Thanks guys. Really happy to have this out in the world, finally. Something I've wanted to make for many, many years, but could never find a way to do it Some Justice until now.