Review: The next level beat maker and sound designer that is Skee Mask returns to long-time home label Ilian Tape with another bold and brilliant album, Resort. It's an album that expands on the artist's usual sound with fusions of celestial ambient, IDM sound design and lithe, rhythmic techno drums. There are breakbeats on 'Reminiscrmx' backlit by heavenly pads, 'Schneiders Paradox' is marbled with zippy pads and raw drum hits, 'BB Care' glistens with a futuristic glow and 'Holzl Was A Dancer' slips into a shuffling, UKG tinged dub house pumper. It's a wild, wonderful ride that reaches all new levels for this already accomplished producer.
Marc Ertel & Wayne Robert Thomas - "Coronation Ring" (11:56)
Review: This new one from our favourite US ambient outlet takes the form of a selection of long-form compositions from artists who are close to the label. As such it's a perfect reflection of its signature sound - deeply immersive soundscapes, slowly shifting synths and meditative moods made with a mix of hardware tools, guitars, pedals and even baritone vocals. It's named after a Norwegian term for warmth and intimacy, which certainly plays out from the evolving loops of 'A Whisper' to the textured melancholy of 'Canaan' and the reverberant drift of 'Coronation Ring'.
Review: In line with the timely reappraisal of all things R&S related, the resurgent Apollo have seen the opportunity to bring one of their most celebrated records back for another round. Aphex Twin's ambient recordings mature magnificently with age, sounding ever richer and more emotive as the rest of electronic music continues to play catch up all around. From the gentle breakbeats of "Xtal" to the aquatic techno lure of "Tha", the airy rave of "Pulsewidth" to the heartwrenching composition of "Ageispolis", every track is a perennial example of how far ambient techno could reach even back then. It's just that no-one quite had the arm-span of Richard D. James.
Review: French electronic icon Laurent Garnier returns with the FABRICLG4 EP to celebrate the 25th anniversary of London's legendary club. This release showcases Garnier's signature range and opens with 'Playing with the Low-End,' a fierce 2-step track that nods to the heritage of UK club sounds. The journey then shifts to techno with 'Resonances from the D' barrelling along with great force and then on the flip side, 'Odyssee Maison' features deep house grooves with Dan Diamond and last but not least 'On the Way Home' rounds out the experience with ambient sounds. This one comes with "augmented reality artwork" by Atelier 14 and is another doozy from the already untouchable Garnier.
Review: It's the album that redefined ambient music, not least for a generation of parasympathetic ravers. Aphex Twin's Selected Ambient Works Volume II marked a stylistic shift away from the first edition in the infamous ambient LP 'series', Selected Ambient Works 85-92. Volume II differed substantially; this time, there would be no 'techno' addendum to 'ambient', and all tracks thereupon would lack the usual indulgence of beats, however easy-on-the-ears these had been beforehand. Known for its many numbered tracks - which on the original edition, rather than track names, denoted references to images of natural forms, textures and geologic readymades, all bathed in orange, and from which fans had to infer the written names - this expanded edition stays faithful to this origin. Even so, it adds two unreleased D Jamesian treats - provided you don't count the massive Soundcloud dump of 2015 as a release - 'th1 [evnslower]' and a reversed version of 'Rhubarb' - as well as a the previously vinyl only '#19'.
Review: Darren Cunningham, known for his work as Actress, continues to evolve with a striking, abstract mix of sound that blends fragmented beats, ambient textures and the odd burst of warmth. Moving away from his club origins, his latest album embraces a more experimental, collage-like approach, echoing the influence of Georges Braque. The music unfurls in unpredictable ways, weaving atmospheric elements like muffled techno pulses, gamelans and r&b vocal samples into an evolving tapestry of sound. Tracks shift from dark, granular tones reminiscent of Boards of Canada's more ominous moments, to bright, celestial glimpses of light. The juxtaposition of stasis and movement, dread and hope, is central to Cunningham's process, creating a unique sonic landscape of ebb and flow. The occasional playful moments, like the quirky synths of 'Dolphin Spray', add to the album's intriguing unpredictability. Fans of Aphex Twin, Two Lone Swordsmen and Boards of Canada will find familiar sounds here, though Cunningham's distinctive approach makes the experience feel like a scientific exploration of sound itself. With a subtle balance of tension and calm, the album draws listeners into a world of synaptic interplay, where every shift feels deliberate and rewarding.
Review: New York-based minimal electronica artist Brendon Moeller takes cues from drum & bass and lowercase on his latest record for ESP Institute. Like a sonic Hockney painting, just six generous tracks span a curtly two sides on 12", as classy deluges marry with designer percs, conspiring to make a large but radially controlled splash. Every experiential stylistic base Moeller has passed so far, such as IDM or ambient dub, is revisited and checked off, and combined to form a wet emulsion here. 'Vibrations', the highlight of ours, pays special attention to fricative, stimulant audio-exploits in the sound design, with its synthetic mid-claves and potent rubber basses sounding like the reflex responses it predicts and expects from us. No wonder ESP liken the entire record to one big tingling sensation.
Review: Ocean Moon, the alias of Cornwall-based producer and Lo Recordings founder Jon Tye, presents his latest offering, an ambient electronic work imbued with a gentle positivity. Tye, also known for his work with the UK ambient duo MLO, explores themes of artificial intelligence and consciousness evolution throughout the album. Side one delves into AI through a philosophical lens, drawing inspiration from Buddhist perspectives and texts like 'The Physics Of Immortality' and 'Novacene'. Tracks such as 'Ways To The Deep Meadow' and 'Souls Fall Away' offer a refreshing counterpoint to the often-negative portrayals of AI, radiating a sense of optimism and possibility. Side two features two extended compositions created for visual projects. 'Made In Dreams', utilising AI technology, creates an ethereal, warm atmosphere and 'An Ending Full Of Light', composed for Vix Hill Ryder's Wild Edges film, evokes a sense of serenity and resolution. Subtle melodies and delicate touches help craft music that truly nourishes the soul here.
Review: Golden Ivy's two celebrated albums are finally back, reissued together as a stunning 2xLP gatefold limited to 300 copies. Across six tracks, the music blends the precision of urban, programmed rhythms with the organic flow of violin and flute, creating a soundscape that feels both expansive and intimate. Inspired by Jon Hassell's fourth world concept, the compositions explore the tension between industrial landscapes and wilderness, melding folk influences into a contemporary frame. Highlights include the whimsical charm of 'Long John Silver' and the wistful beauty of 'Gamle Van.' This reissue captures Golden Ivy's mastery of simplicity, repetition, and emotional depth.
Review: Four years ago, Jon Linksey brought his Sectra project to Tectonic to the first time, serving up an impossible-to-pigeonhole set that combined his love of abstract noise, drone, industrial, techno and warped dancehall. The producer expands on these ideas on Through The Static, his first album to be released on anything other than cassette. In some ways it was designed with the CD format in mind, with the 13 'official tracks' - decidedly dystopian, angular and frequently intense affairs full of mutant rhythms and flashes of genuine musical emotion - being joined by a five-track bonus EP that can apparently be heard "through" the sound of static bolted onto the end of the EP. It's an interesting and unusual idea, but it's the adventurous and experimental qualities of the main album that makes it such a vital listen.
Review: Italian label Suoni Incisi launched in 2020 with a mission to offer up hugely emotional electronic music that fuses experimentation with multi-genre explorations. The boss that gave their name to the label takes charge of this third transmission and it is a deep techno journey into sustained chords, mysterious pads and the sort of muttered vocals that add real atmosphere. 'Track 2' on the flipside is similar in make-up with liquid rhythms, cavernous and dubby bass and subtle musings, this time with some eerie flute melodies drifting up top.
Review: Miki Yui's As If is a captivating exploration of sound, blending organic elements with modular synthesis to create an immersive sonic landscape. Inspired by her 2018 experience in the Amazon rainforest, Yui found parallels between the natural sounds of the jungle and the modular electronics she had been exploring for decades. The result is a series of compositions that evolve and mutate slowly, much like nature itself, emphasising subtle shifts in texture and tone. Tracks like 'Generativ' are a lively, kinetic energy, with ticking and clacking electronics that seem to hover and rotate, revealing intricate patterns with each listen. In contrast, pieces such as 'Song 4' provide a more tranquil, reflective atmosphere, evoking a calm, late-night ambiance. 'Summernight' captures the humid essence of a tropical sunset, layering rich tones that feel both familiar and otherworldly. As If draws loose comparisons to the works of Laurie Spiegel and Eliane Radigue, but Yui's approach is uniquely her own. Her compositions feel almost tactile, with each sound carefully shaped to form a physical presence in the listener's environment. A poetic study of sound's capacity to evolve naturally, creating deeply sensory, listening experiences.
Review: Vienna's Johannes Auvinen, aka Tin Man, and Mexico City's Gabo Barranco, aka AAAA, make up DOVS. Their second album together moves in the direction of retro aesthetics, harking back to a time where charting the "out-there" psychogeographic terrains of life might have been simpler. Billed as a "strictly ambient" affair - contrasting to their last collaborative record Silent Cities, and its dance focus - this quaint synth-driven LP is demonstrates how one might use melody and gear-born timbre to flesh out an open, point-blank theme. From allusions to architectural design to nature to the Islamic philosopher Rumi, this record is a soft-spoken yet eloquent dalliance with simplicity, inviting us listeners to step out into the open.
Love Song For A Vampire (performed by Annie Lennox) (4:24)
Review: In 1992, Francis Ford Coppola tapped Polish composer Wojciech Kilar to create the score for his adaptation of Dracula. Kilar, relatively unknown at the time, crafted a haunting and atmospheric composition that adds depth to the story of the infamous vampire. The score relies on low tones to evoke dread, as heard in the main title, 'Dracula: In the Beginning', where deep cello and bass strings set a sinister tone for Count Dracula's eerie castle. 'Vampire Hunters' builds a tense violin theme, punctuated by woodwinds and percussion, reflecting the determination of Van Helsing in his pursuit of the vampire. 'Ring of Fire' delivers a ferocious climax, blending demonic voices and chorale elements in a chilling fashion. The highlight of the score is its haunting minimalism. Kilar avoids conventional melodies, focusing instead on repetitive, unsettling arrangements that grow in intensity. Tracks like 'The Storm' showcase his mastery, shifting from delicate harp plucking to powerful brass and gothic organ swells. Kilar's score stands out for its unique use of instrumentation and atmosphere, making it a perfect complement to the gothic horror of the film. Now available on 180-gram yellow vinyl, this chilling composition is essential for fans of the legendary story.
Review: WRWTFWW Records is back with a third collaboration with Japanese electronic, ambient and synth-pop group Interior. This time they reissue a forgotten 1989 solo gem by band member Daisuke Hinata that very much deserves more spotlight. Tarzanland captures the essence of late-'80s California with sun-soaked kanky? ongaku, minimalistic proto-chillwave and breezy synth melodies all washing over you in delightful fashion. Its lush soundscapes evoke the likes of Steve Winwood and Steely Dan as it is infused with nostalgia and serene electronic sounds. They make for a blissful journey through simple pleasures, where ocean waves and warm breezes empty your mind of all but the nicest of thoughts.
Review: We're told that inspiration for this bumper new double album of super fresh techno from the young New Palm label came in 2023 when the artists met up on the LA River armed with "a couple of generators, a Klipsch system, turntables, and a modular rig, for a day into night of music centred around various forms of dub." The results are superb, with Charles Edward opening up with the sparse, laid-back dub of 'Bogus August', Lena Deen keeping it deft with the ambient soundscapes of 'Either Ore' and Berndt's 'Solstice' exploring widescreen minimalism dub, with plenty more to love in between.
Review: Bristol trio Jabu returns with A Soft And Gatherable Star, their latest album on the Always + Forever label. Known for blending dub and Bristol's sound system culture, Jabu expands their sonic landscape while bringing songwriting to the forefront. Echoes of the city's landmarks and personal memories, like lost parents and youth, inform the album's narrative. Tracks like 'Oceanside Spider House' veer away from trip-hop, instead evoking the ethereal shimmer of The Cure and Cocteau Twins. 'Gently Fade' channels shadowy jazz ballads, while 'Seamills' flows with a slow, aquatic rhythm, enhanced by fuzzy saxophone notes from Lorenzo Prati. Rakhi Singh and Sebastian Gainsborough's fragile strings on 'All Night' create a dreamlike ambiance, and 'If I Asked You, You'd Tell Me' features Josh Horsley's cello, cloaked in texture and restraint. With influences ranging from ambient soundscapes to the delicate beauty of Mica Levi's work, A Soft And Gatherable Star feels organic, allowing songs to evolve naturally. Recorded between Bristol and Childs' mother's home, the album reflects on lost teenage memories and the eerie transformation of familiar spaces. It's a meditative journey, rooted in emotion and subtle, cinematic sound design.
Review: In a collaboration for the ages, we hear German kosmische musician Hans-Joachim Roedelius (Cluster, Harmonia) team up with Japanese flutist Yuko Matsuzaki and Berlin Philharmonic analog musician sound engineer Onnen Bock for a nacreous improv blast. Spanning soft, pearly electronica and neoclassical, Moon Garden comprises five works, incorporating techniques and fragments of songs already released. A mythical aura unfurls through synth koto and organic harmonics; 'In The Forest Of Syrinx' establishes a singing bowled, new age aesthetic, segueing into the purely vocal threnody 'Sapphire Jellyfish'. Bridging electronic washes, piano and female vocals, this is a borderless soundscape of exciting proportions.
Review: Reissued on Important Records comes Agartha, which forms part of a long wave of easy listening and new age music made popular in the 1980s and 90s. Meredith Young-Sowers joins a class of musicians, from Eliane Radigue to Steven Halpern, who made music as utilities for meditation. Young-Sowers' work, however, may share an aesthetic with these knowns, but otherwise nurtures an eerier vibe. Agartha was originally released in 1986 on cassette, and is made up largely of unnaturally sustained sine tone unfurlings laid in harmonic or minor keys, as if to decouple the unsettling atmosphere of the music from their meditative capacity. Though it sounds like it, the record is not aleatory, rather it is composed expressly to sound like it has been transmitted from an extimate point outside of human consciousness. No wonder it is named after a mythical land said to lie deep below the Earth's crust!
Review: Radart, the alias of Australian producer Dylan Batelic, makes his long-playing debut with an eclectic collection of electronic music. Compiled from works created between 2022 and 2024, it reveals an artist comfortable shifting between ambient textures, downtempo grooves and broken beats. The album opens with the atmospheric washes of 'Prelude' before moving into the driving rhythms of 'Attack'. 'Trip Planet' lives up to its name, a cosmic swirl of synths and beats. Elsewhere, '301' and 'Soil Test' delve into more experimental territory, while tracks like 'Welcome' and 'Wish' offer moments of unexpected melodic beauty. Navigating a range of electronic genres with confidence and flair, this is a strong statement of intent from an artist clearly comfortable exploring the outer reaches of electronic music.
Review: Terra Utopia returns to Emotional Response with a second release, a collection of ten tracks blending ambient textures, atmospheric rhythms and fluid drum & bass. French producer Benoit B revives this project after the success of the first Terra Utopia recordings, delivering another thoughtful exploration of soundscapes. Initially conceived as a short-lived project, the first Terra Utopia was recorded in two weeks during a spring in Athens, capturing a deeply personal sonic aesthetic. This second offering reflects an evolution in style while retaining its essence. Tracks unfold like snapshots of expansive skies, tranquil seas and warm summer days, creating a narrative of serene moments and astral imaginings. The beats feel crisp and purposeful, and every cut is crafted for both personal immersion and DJ functionality. A highlight is the collaboration with singer dvdv on 'Shadows Of Memories', where her ethereal vocals float over dreamlike instrumentation, offering an evocative, hypnotic centerpiece. Terra Utopia continues to conjure vivid sonic imagery with its latest chapter.
Orbital, David Holmes, DJ Helen - "Tonight In Belfast" (feat Mike Garry) (11:58)
Orbital - "Belfast" (David Holmes remix) (12:03)
Review: Poet, librarian, Mancunian, father, husband, uncle, brother. Mike Garry is many things to many people, but tonight, Matthew, his voices guides our eyes upwards, inviting us to stargaze to one of Orbital's most emotionally resonant and timeless pieces of rave noise. Belfast Revisited would be one way to describe it, taking some of the classic and unmistakable elements of that anthem and turning it into something new. First and foremost freshness comes with the spoken word addition - a thoroughly positive, passionate and amorous declaration of unending love that could feel jarring depending on whether you always felt 'Belfast' was reflective and slightly melancholy, or not. Gone too are the breaks, replaced now by stadium-sized four-to-the-floor turning what was once the end of the night walking home at dawn into something that sounds way more 11PM at the concert.
Review: Richie Hawtin's early music was undoubtedly a product of his surroundings in Windsor (the Canadian one) and Detroit, but over time a more European dimension to his sound emerged which naturally aligned with the developments taking place at Warp. When the Artificial Intelligence series came together, Hawtin's approach was certainly tipped more towards techno in the American sense of the word, but his pointillist beats and synth sequences on Dimension Intrusion slotted in comfortably between Speedy J, Polygon Window and Autechre. Not just a horizontal home listening affair, there's plenty of rave teeth to tracks like 'F.U.' and 'Substance Abuse', as he demonstrated his gift for telling vivid, narcotic stories with the 303 and 909. Now, the album has finally remastered and reissued, sounding the best it ever has and released alongside a new edition of Speedy J's equally seminal Ginger.
Review: Active now for some 40 years, Hiull's Andrew Chalk explores the quiet, intimate spaces between melody and texture, highlighting fleeting moments with a painter's touch heer across 15 tracks. While his previous release, Songs of the Sea, unfolded in long, in depth waves, Dioramas embraces succinct pieces in each composition showing a look into a world rich with hushed tones and slow-moving beauty. There's a gentle warmth that permeates much of the album, as if the music is unfolding in soft light. 'The Carrach' introduces a folksy lilt, its melody turning over itself like a jewel slowly spinning on a dial. 'The Changes' evokes a meditative solemnity with its rich, organ-led hymn, while 'Lonely House' closes the album with stretched, whispering strings that shimmer like reflections on water. These small but striking details never disrupt the album's stillness but instead highlight Chalk's ability to subtly shift focus, revealing new layers of depth in each listen. A master of texture and restraint, Chalk continues to refine his singular approach to ambient and drone, weaving together fragile yet deep soundscapes. On Dioramas, the British Andrew Chalk returns to the art of miniaturism, crafting delicate, self-contained sonic vignettes that feel like carefully composed dioramas in sound.
Review: Berlin-based artist Pavel Milyakov collaborates with Yana Pavlova, Martyna Basta, Richie Culver and Torus on Enthropic Vision, an album-length collection of tracks spanning diverse genres. The A-side starts with the melancholic ambience of 'Moon Chant', featuring the ethereal vocals of Krakow experimental music scene veteran Martyna Basta, before 'Tesco' brings bleak trancey loops blended with British contemporary artist Richie Culver's spoken word poetry. 'Eternal Break', with Netherlands-based artist Torus, is all low subs, ecstatic pads and abrasive breaks, then the B-side kicks in with 'Gabba 17' - not a 170bpm gabba anthem, but rather a ghostly techno workout with an admittedly urgent 4/4 kick - and continues with another tune featuring Richie Culver's spoken word fused with breaks. The album closes with the grim beauty of 'The Thrill', recorded in collaboration with Ukrainian singer Yana Pavlova and transports more wised up listeners back to the hypnagogic universe of the duo's 2021 Blue LP.
Review: This album marks a departure for Rauelsson, embracing simplicity and minimalism to create an atmosphere of silence and solitude. 'Niu' is a predominantly raw and acoustic recording, a nine-song journey through orchestral compositions, delicate synth miniatures, and sparse brass and woodwind drones. The album features a diverse range of instrumentation, including orchestral pieces like 'Prelude No. 7', airy synth arpeggios and fairytale flute compositions with guest flutist Heather Woods Broderick. Katrine Grarup Elbo lends her voice to a spoken-word piece, adding another layer of depth to this introspective and evocative album. Recorded primarily in Sofia and Berlin, 'Niu' is a fantastic illustration of Rauelsson's artistry and ability to create music that's both deeply personal and universally resonant.
Review: Certain Path is a serene, piano-driven album by collaborators zake (aka label head Zach Frizzell), From Overseas which is Kevin Sery and City of Dawn aka Damien Duque. This reflective collection of seven pieces invites deep contemplation with tender piano motifs and subtle drones creating a meditative atmosphere. Opening with 'Where Time Slows Down,' the album blends delicate melodies with layered guitar textures. Inspired by Frizzell's wife, the title track offers heartfelt emotion, while 'Avec l'aide de Vincent' honours a close mentor. Throughout, the artists employ nocturnal recording sessions, field recordings and analogue treatments to craft an introspective, evocative listening experience.
Review: Long-time European techno innovator Joachim Spieth has hooked up with Agustin Mena aka Warmth for a debut collaborative album that blends their shared love for expansive soundscapes and atmospheric compositions. Warmth is the Spanish ambient producer who is also behind the SVLBRD alias so these two know a thing or two about how to get the most out of their machines and so they prove here across an album of seven immersive tracks. They are rife with organic textures and evoke a sense of space and timeless longing, all with a gently persuasive sense of movement.
Review: Civilistjavel! returns with a seven-track exploration of melancholic soundscapes, further developing the sonic territory charted in Brodfoda. Tomas Boden's work, released on FELT, continues to weave together beauty and dread, employing a deliberately slow tempo that conjures a sense of isolated, arctic air. This LP builds organically upon the foundations of Brodfoda. 'XIII''s unsettling hum transitions smoothly into the dusky textures of 'XIV'. The dewy ambience of 'XV' precedes the hypnotic, shadowy dub of 'XVI'. 'XVII''s windswept, acid-tinged interlude then segues into the introspective drones of 'XVIII'. The collection concludes with 'XIX', where Thomas Bush's crooning vocals offer a hint of dawn, intertwining with organs, guitars and subtle sound design. A powerful emotional impact through minimalist means, skilled storytelling at its best.
Review: In line with the timely reappraisal of all things R&S related, the resurgent Apollo have seen the opportunity to bring one of their most celebrated records back for another round on CD. Aphex Twin's ambient recordings mature magnificently with age, sounding ever richer and more emotive as the rest of electronic music continues to play catch up all around. From the gentle breakbeats of "Xtal" to the aquatic techno lure of "Tha", the airy rave of "Pulsewidth" to the heartwrenching composition of "Ageispolis", every track is a perennial example of how far ambient techno could reach even back then. It's just that no-one quite had the arm-span of Richard D. James.
Review: What goes around, comes around, at least when it comes to dance music culture. The rise in new productions informed by early psy-trance and hallucinatory ambient techno jams has led to a swathe of reissues of long-forgotten releases from the 1990s. Here's another, and a chance to cop London outfit Shpongle's 1998 debut album, Are You Shpongled. As an LP, it's very much of its time, with the pair brilliantly blurring the boundaries between spacey ambient, dub, chill out room-ready downtempo grooves, intergalactic-sounding drum & bass, flute-sporting soundscapes and the kind of bustling rhythms and shroom-fuelled electronics that were once the preserve of new age travellers in brightly coloured trousers and slightly damp woolly hats.
Review: Manafon by David Sylvain of Japan fame is an underrated gem. The electroacoustic improvisation, complete lack of drums, coupled with Sylvain's voice right at the front of the mix, makes for an ambient, freeform and highly experimental sound. The art-pop sonics that saw him gain success in the 70s and 80s is left firmly in the past and he's doing exactly the music he wants hear - not what's expected of him commercially. Now, on vinyl for the first time, comes remixes by classical contemporary genius Dai Fujikura - he wrote the string parts - of six songs from said album. There's also new songs, heavily influenced by Fujikura and an 18-minute piece ('When We Return You Won't Recognise Us') culled from a much longer sound installation that Fukikura and Sylvain created together for the 2008-09 Biennial of Canaries in Gran Canaria. How music this sublime hasn't been on vinyl from the start is beyond us. Thankfully, that's now rectified.
Review: It's been nearly seven years since Lennard van der Last AKA Secede last appeared on vinyl, and that was in the company of collaborator Reimer "Kettel" Eising. Up until that point, he'd released fine fare on a regular basis, with 2005's "Tryshasla" album arguably being the most acclaimed of the lot. If you missed out first time round (and many of us did), help is at hand via this first ever vinyl edition of the previously digital-only album. It remains a fine set, with van der Last drifting between drowsy, liquid ambience, crackling, spaced-out electronica, woozy soundscapes, post trip-hop bliss, sunrise drum and bass and melancholic, Erik Satie style piano compositions. In other words, it's ace.
Review: Japanese duo Inoyama Land's "Danzindan-Pojidon" is a cult experimental ambient classic from 1983. It has been reissued a number of times but always sells out fast, and for good reason: it's a beautifully crepuscular, pastoral musical landscape with sustained minimal synths hypnotising you with delicate keys bringing oriental flavours to gently propulsive ambience. It's organic, environmental and new age music with none of the cliches and will bring a smile to you face as well as warmth to your heart. "Glass Chime" is a particularly standout track of real melodic joy, while "Mizue" is gorgeously melancholic.
Review: This is the first time that Coil's original Love's Secret Domain album from 1991 has ever been reissued. It comes at a time when a few of the seminal electronic band's record are making their way back onto shelves and we couldn't be happier about that. It has been specially remastered by Martin Bowes and comes on nice heavy vinyl for a fulsome listening experience. Musically, the album departs from the doom and gloom of previous records for a more upbeat sound but still with plenty of trippy invention.
Review: Two Johns unite: griot and kora master John Haycock, hailing from Manchester, and fellow multi-instrumentalist John Ellis, team up for the spiritual-visionary album 'Didymus'. Enlisting a ragtag band of musicians to produce something far beyond what the average folk artist can make on their own, the album centres on a single mantra: 'visions create'. The aim is to sonically chart a roadmap towards a bright future, a feat that seems impossible: the means are sequenced electronic, dub-psychs flourishings, solstice chants, and poetry from a band of wordsmiths such as Rob Dunford and Sunflower Bill.
Review: Verdant's tenth release is another meandering and mystic trip through ambient electronic sounds that leaves you a million miles away from wherever you started. All four artists here excel with electro producer Reedale Ris kicking off in languid, far-sighted fashion with their mournful synths and distant cosmic designs. Out.Lier's 'Track 2' is another one cast adrift on deepest space with smeared pads and floating aural details suspending you in mid air. Jo Johnson's cascading synth motifs are pure and innocent and cathartic and Romanticise The World's 'Track 4' is mellifluous and hopeful.
Review: Last October, acclaimed saxophonist Pharoah Sanders turned 80 years young, and his input on this album is testimony to the fact he has clearly aged like a fine wine. Not that this is to suggest preceding outings were anything less worthy than this collaborative project, which sees Sam Shepherd, the British electronic artist better known to most as Floating Points, write nine spectacular arrangements which are then performed by said brass legend, alongside The London Symphony Orchestra.
The results are spectacular, and wildly far-reaching, albeit firmly rooted in jazz with classical undertones. From the movements that made this final cut, some are whisper quiet and delicate to the point of risking breaking off if you were handling haphazardly. Others are booming loud, musical jumbo jets landing at the end of another great crescendo. Whether hushed or monumental, though, we can feel every note and bar of this masterpiece.
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