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This release came about after reading the following review in Ampersand
Etc, in March of 2003:

"Recently, Stuart Dodman sent me a demo of some of his work 'concerning
the displacement of frequencies in an architectural space' in which he
records objects/spaces, manipulates them slightly and plays with them
(plus chucks in a statistical analysis) creating 'a conceptual sound
installation'. The six tracks total about 22 minutes and are gorgeous. There
is a passing similarity to some of the Japanese sine works, especially in
their changes as you move. But Dodman is working in lower frequencies
and with rumbles and hisses that slip and glide past you, slowly
modulating and layering, mastered at a low volume and very effective as
subtle shifting ambiences. The first is long and more stately while the other
pieces maintain the tension in a shorter frame with more activity, pulsing
and shimmering." (Jeremy Keens - Ampersand Etcetera)

You Fill Me includes tracks that appeared on the demo reviewed by Mr.
Keens (some being different versions), plus three additional tracks, to
make up a full length release. Listening in either a quiet room or
headphones is highly recommended. Cover design by Stuart Dodman.
Font design and layout assitance by Andy Garnett.

AMPERSAND ETCETERA (APRIL 2004)
Some time ago, Stuart Dodman sent me some tracks. Not really a demo
but "part of an ongoing study." Anyway, I reviewed the disk, Dale Lloyd saw
the review, contacted Stuart and now those tracks, reworked and added to,
have become You Fill Me (and/OAR, and/13). Which is exactly what I wanted
one of the effects of & etc to be!

Subtitled "recordings of architectural acoustics", this is 44 minutes of quiet
(but not necessarily soft) thrumming humming semi-auditory, often visceral
movement. There are two main forms on the album. The more minimal
ones such as "INOB", "BN", "I2", and "OB" layer and weave rumbles and
pulses with some slow changes, together with more active buzzes and
waves, susurrii, tones, and some deep deep throbs that shake the
speakers in tangibly subtle meditations that can be longer and more varied
or short focused explorations, building and ending in slow fades.

The more active pieces are ones like "FDE" where waves of white noise
and throbs become a cycling scrape and tone shifting to a signal pulse,
ringing and building. The tones move from around your head to deep within
it before fading to a rumble pulse. "NI1" is like a compendium of three or
four shorter segments which it abruptly moves between and abruptness is
not a common quality here. "B1" approaches noise as the passing railway
carriages build to a flock with high sine inside, and in the very up front "TO"
there is even the suggestion of voices. The final track moves in a different
direction and provides more musicality which has been nudged towards
earlier like a humming chorus of welling tones and clicks, soft white noise
waves gently dominating.

A lovely album of architectural ambience of which we are very (vicariously)
proud. (Jeremy Keens)

IGLOO microview volume 5 (MARCH 2004)
* * * * Ambience has a new name on this release by Stuart Dodman called
You Fill Me. The sine wave frequencies here are taken from architectural
spaces. The muted hum purrs mildly and shifts dramatically if you are
adorning headphones. Its reverberation creates this channeling of waves
that is like getting an inner ear massage. Brighton-based (UK) Dodman
has worked as a visual artist for over a decade and I believe this 9 track disc
is his solo debut. With a firm nod to alums of Raster-Noton, You Fill Me
traces around the high pitch beams of sound to create a sort of dot matrix
composition. My favorite track, "BN", is like a filtered fine mist slow-motion
drone, deep roar with a sublime top-of-the-scale tonal ending. Filled with a
certain youthful angst that I can't really pin down - but that is what makes it
so interesting to try and catch. (TJ Norris)

SMALLFISH (APRIL 2004)
You Fill Me is a series of nine recordings of architectural acoustics and
whilst this could easily lead you to believe that it might be a soulless series
of field recordings, nothing could be further from the truth. Each track is
deliberately and immaculately put together with a superb attention to detail
and clever uses of manipulation. The atmospheres are spacious and
resonant with a strange depth that penetrates throughout, even when
there's barely a whisper of sound. Textural glitches, clicks, and crackles add
a layer of varied and interesting sound and the whole CD sits together
perfectly, each track complimenting the next. Recommended for lovers of
12k and L-ne, amongst others. Nice minimalistic artwork too!