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Review: Barker's latest release is a masterclass in fluid experimentation, embracing unpredictability with a delicate balance of harmony and controlled chaos. Following his acclaimed previous work, this new collection of tracks finds him refining his craft while allowing for spontaneity to take the lead. Opening with 'Force of Habit', the project immediately sets a tone of shifting momentum, while Reframingithe serotonin-laced lead singleispirals through shimmering arpeggios, evoking echoes of classic trance before drifting into uncharted territory. Tracks like 'Difference' and 'Repetition' and 'The Remembering Self' showcase Barker's intricate layering, weaving together mechanical precision with an organic sense of movement. A deep dive into mechanical instrumentation lies at the heart of this work, with Barker exploring the possibilities of automation not as a replacement for human touch, but as a tool for new forms of expression. The result is a body of work that mirrors the uncertainty of its time, embracing change rather than resisting it. As the final moments of this LP fade out, Barker leaves us with a feeling of transformationimusic that adapts to the moment in which it exists.

Review: Landmarks remains among one of the most eminent ambient albums of our time, and this isn't the first time it's been reissued since its first release in 2018 either. Something in the way the album presents itself, and was formed and marketed - the easygoing simplicity of the artists' real names Will Long and John Daniel; the inspiratory inputs of Peter Weir and Paul Theroux; the visionary character of its track titles, such as 'The signs are everywhere', 'Indistinguishable from magic' and 'S-shaped isthmus' - have all likely lent to its enduring success. However, all these factors are but mere orbital ejecta around its core appeal, which is the soul-quelling ambient music at its center. Only occasionally peppered with the odd bosomy vocal sample - through which allusions to innovation, exploration and the dangers of inner contemplative adventure are heard - we are once again reminded of the boundless wells of beauty unearthed by the Japan resident maestro of chill and the ambient verderer, in combo.

Review: Four Seasons in Kyoto marks the final chapter in Argentina-based electronica group The Kyoto Connection's ambient trilogy following Postcards and The Flower, The Bird and The Mountain. The series is inspired by the ambient and environmental music of 1980s-90s Japan and this final piece of the puzzle paints another delightful musical portrait of rural life that has long been shaped by nature and tradition. Across 14 delicate, transportive compositions, producer Facundo Arena captures the emotional rhythm of Japan's changing seasons with whimsical melodies and gentle percussive patter, soothing vocal coos and more eerie and autumnal pieces. With contributions from Japanese friends and fans, this record feels personal and heartfelt and is a brilliant farewell to a project rooted in beauty and nostalgia.