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The triumphant follow-up to their universally acclaimed self-titled debut in 2014, which re-envisioned minimal techno with orchestral flourishes and weightless production. They’d made most of that album in just two weeks; this time it’s been 10 years. The making of \u003cem\u003eII \u003c\/em\u003ewas a test of their friendship, but also testament to how great musical chemistry can always go the distance and be just the same as it ever was.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThey worked on a lot of \u003cem\u003eII\u003c\/em\u003e during the lost year of 2020-2021, including a trip to Ólafur’s studio in Bali. “\u003cem\u003eWe spent a month there and wrote a few songs that ended up on the record\u003c\/em\u003e,” says Janus. The pair sampled traditional Balinese percussion like the gamelan and incorporated Janus’s field recordings of their natural surroundings – the sound of birds, crickets and, on standout track ‘Dazed’, echoing the sunrise over the lush landscape. \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eKiasmos have an enviable knack for conveying complex emotions and evocative visuals with instrumental music. But this time they’ve got more experience as producers to draw on. The album’s expansiveness can be linked to Ólafur’s intervening years as a Grammy-nominated composer and prominent soundtracker in film and TV.\u003cstrong\u003e \u003c\/strong\u003eAnd they’ve subtly shifted from four-to-the-floor to the frenetic broken beats of UK dance music, experimenting more with BPMs, echoing Janus’s time spent DJing in major venues worldwide. 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Whilst at a music residency in Stockholm in 2021, Fujita met Swedish shō player Mattias Hållsten. Although it was a brief encounter, the two musicians stayed in touch. During a visit to Japan, Hållsten stopped by the studio and played on three of the tracks, including the alluring album closer ‘Yodaka’, exceeding Fujita’s own expectations.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eAnother collaborator, American poet Moor Mother asked Fujita to contribute vibraphone to her upcoming album, and in return lent her powerful voice to the Migratory’s centrepiece, Our Mother’s Lights — “it carries a kind of African and Asian vibe, a perfect match for the energy of the piece,” he adds.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eAs with Bird Ambience, Fujita continues to be inspired by our feathered friends. 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The album imagines a young musician named Green working in a future dawning era where lost signals and enduring impulses are unearthed from the sediments of technology and time. Across twelve compositions, Green becomes the compass in an epoch of transition; one shaded with pastoral patinas and studded with the fragments of allegorical ruin. As tattered as it is tender, Atlas of Green is a patchwork of scavenged relics and bygone hues, cast through the iridescent shimmers of a mid-future in flux.\u003c\/p\u003e\n\u003cp\u003eMapping new folds in the passage of time, Atlas of Green is traced with an aura of sonic urgency which arises through its process-led construction. Following a series of live shows in early 2023, the record was created with an assemblage of analogue electronics and acoustic instruments, including scratched records and a broken four track, collaging studio work with recorded live recordings featuring work in progress. 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