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Altus- Complex Silence 22 [treetrunk 205]

I’ll admit to being dismayed when Mike Carss told me he didn’t have any self-written liner notes for his Complex Silence 22 release. But he did add, “the track titles pretty much cover what I want to say.”

The first thought that flashed through my mind was, “What could I possibly write, by way of introduction, to do sincere justice to his CS contribution?” I considered writing nothing; just letting the music and the track titles speak for themselves (which happily they accomplish perfectly).

But as the CS curator, I feared my silence might be taken as disrespectful of Mike’s effort and his gift to the Series. So, as I was listening to his release again, searching for appropriate words and phrases, the music itself presented the solution. There was only one word I had to write:


Without doubt, Altus is among the elite best artists working in the ambient music genre. Indeed, his music, with every new release, helps further define the genre. The proof? His music inspires fellow ambient artists and listeners alike. Merely say “Altus” and we all rush to download his latest release, confident it will provide sublime listening and fresh inspiration. Music worth keeping and hearing again and again. Anyone who is a serious ambient music artist, curator, reviewer, or listener knows I am not overstating the case. And it’s exactly that listener confidence and artistic consistency that defines Altus as a master of ambient music.

For Complex Silence 22 the Series is both pleased and proud to present: Altus

Complex Silence 22 at

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Treetrunk 200 Introduces. . .

OK, so we can’t keep a secret very well. So we will disclose, that Treetrunk 200 will feature 5 original tracks by Projekt artist Forrest Fang. Forrest is an immensely talented and popular multi-instrumentalist, who also specializes in generative works. 3 tracks will be generative in nature, and 2 will be “archival”, from earlier eras of Forrest’s work. The e.p. will be a co-release with a cd release on Projekt called “Animism”. All this should take place in late June, 2012.

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Gregory Wildes– In The Studio & In My Room [treetrunk 204]

“…it’s from around 1983, back in the days of analog synths w/patch cords (Arp 2500 and 2600), reel to reel tape delays, Maestro FX , the Muse sequencer, and of course…the amazing EBow.” –Gregory Wildes, 2012

In The Studio & In My Room at

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