× Introduction 01 - Otto Lindholm - Cain 02 - Pan Daijing - The Island Within 03 - Lanark Artefax - Styx 04 - Petit Singe - Komm Wieder Mit 05 - Peder Mannerfelt - Post Sense Perspective 06 - Tomoko Sauvage - In Some Brighter Sphere 07 - Pye Corner Audio - Box In A Box 08 - Sophia Loizou - Shadows of Futurity 09 - Abul Mogard - Trembling With Tenderness 10 - Pär Grindvik - Speaking Their Minds 11 - Koenraad Ecker - Rat's Coat 12 - Roly Porter - Without Form 13 - Hodge - Sunlight On A Broken Column 14 - Gazelle Twin - The Dream Ends 15 - Shapednoise - Ghostly Metafiction 16 - ASC - Tessellate 17 - Batu - Zoo Hypothesis 18 - We Will Fail - Carbon Trail 19 - Peter Van Hoesen - 98 Lines 20 - Spatial - Haunted Dance Hall 21 - Yves De Mey - Solemn But Fading 22 - Mindspan - Accept Things As They Are 23 - Kangding Ray - Glacier 24 - ZOV ZOV - Post Six 25 - Ian William Craig - An End Of Rooms

In Death's Dream Kingdom

ASC - Tessellate

About Tessellate

The overall theme of the poem was something that felt bleak to me. Whether this was what TS Eliot intended or not, I am not sure. It served for the headspace for me to create Tessellate though, which is based around two parts in essence. The first part is a build, in which tension slowly rises, to when it steps into the second half and the darkness just pours out even further.


ASC is a producer/electronic composer who’s aesthetic emerged from the "Autonomic" sound, for the un-initiated this intelligent bass-driven format, disaggregates what is perceivable within the formulaic 170BPM spectrum and was pioneered by Instra:mental and dBridge. James Clements offering in his ASC guise “Nothing Is Certain” captured the movement and has been labelled "mature music of the highest calibre" by Resident Advisors Max Bacharach, an accolade that sets a precedence but is quickly placed in context by the Sundance accredited scores and ambient works that follow.

Clements recent cinematic explorations (forthcoming in 2016) include Bottom Of The World, The Blackout Experiments & Yesterday Last Year. Inspirations are varied and disparately eclectic as one would expect, in interview quoting Sandwell District, Ulrich Schnauss, Future Sound Of London, Brock Van Wey, yet from a sound design perspective, the protagonists Clint Mansell, Brian Eno and Cliff Martinez are cited for their emotive compositions.

Recent releases on experimental labels Auxiliary, Samurai and Silent Season confirm that Clements compositions deliberately exploit genre-imposed lines, rather than conform to them. A firm believer in ASC’s catalogue is RA's Andrew Ryce who speaks eloquently on James’ productions “Clements takes to ambient naturally, mixing field recordings, synthesis and Stars Of The Lid-style melodies, he creates detailed ecosystems of sound. Half organic and half synthetic, his approach is classic in spirit yet modern in execution”. A signature dynamism that has helped secure his first gaming adaptation in "Near Death" (forthcoming 2016).

In terms of the ASC dynamic, his compositions are invariably an intoxicating tapestry that encourage neural escapism, navigation of the sub-conscious mind and exploration of translucent altered states. Tracks favour space, geometric precision and dynamics instead of loudness, haunting downtempo interludes reveal a perfected misty formula with atmospheric nods toward a ground breaking genre non too distant from Autechre and Arovane.