Review: Glenn Astro welcomes Doc Sleep and Delta Rain Dance to his pleasingly unusual and hard-to-pigeonhole Hypno Discs imprint. The selection of tracks they've delivered are pleasingly hazy and immersive, fixing new age and Balearic-minded sounds to deep basslines, dubby textures and mutilated UK bass style rhythms. Check first enveloping opener 'Virta Chords', where reverb-laden kalimba and marimba style melodies and dirt-encrusted ambient textures wrap around a rubbery post-dubstep beat and weighty sub-bass, before admiring the mutant experimental d&b flex of 'Speed (Dub)' - a pleasingly skittish and mind-altering concoction. Things simmer down to an eyes-closed crawl on side B, where the deeply attractive and sample-heavy 'Transition Env' delivers a densely layered ambient soundscape of the sort Rod Modell knocks out in his sleep.
Review: Golden Ivy's new transcendent single marks a celebrated return to the label after time spent with other imprints. Rooted in a sample from Sinnenas Dans by Scanian folk legend Ale Moller, the track evolves into a fourth-world masterpiece that layers in flute melodies with synthesised explorations and rather industrial leaning motorik rhythms. With Moller's blessing, the result is both meditative and grand and on the flip, you will find Philipp Otterbach's post-punk dub reinterpretation. it's rich in deep, sculptural and contrasting soundscapes and invites mindful, low-tempo dances that will resonate on all manner of diverse 'floors.
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: 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: 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: The late Edgar Froese-fronted German band Tangerine Dream are cult heroes to those of us who enjoy proto-electronic sounds. From kosmisch to prog, new age to kraut, they did it all and then some and were still going by 2011 when they released Mona Da Vinci. The album showcases the band's signature mystical soundscapes and was created by Froese before his passing with a mix of ambient, electronic and cinematic elements and plenty of his pioneering synth work. The album remains a standout in the band's vast catalogue and has been remastered for this release so its ethereal textures and evocative melodies sound superb and stand as a testament to Froese's enduring influence.
Review: 'Tranquilizer' first came about in 1994 as a one-off EP released via Instinct Ambient, a sublabel of Instinct Records active until 1997. But Terre Thaemlitz isn't one to settle on just one iteration of her craft; so now the record comes reissued and repackaged as 'Tranquilizer 2', making up for what the artist - in a signature spell of charming cantankery - reveals was a "cliche" unfair record deal. Add to this that the grid of pillows on the original front cover misled its Japanese audience into thinking they were bags of heroin, resulting in no end of sordid misunderstandings, as was characteristic of the 90s. With no distributor in tow, Thaemlitz regales the romantic tale of toting copies of the CD at record shops, where in which only a fraction were sold under "sale-or-return" consignment policies, the reality being that few record shops actually ever realised their promises. Unfair indeed, for the music on this serene classic is like no other, with Thaemlitz's trademark ambient house stasises spanning everything from monologuing dream analyses ('Hovering Glows') to mockingly farcical, but no less captivating, pastiches of "ethno-ambient" ('Fat Chair').
Review: In June, Actress delivered an RA mix that was nothing short of surprisingientirely new, unheard material from Darren S. Cunningham himself. Asked if it was an album, he called it "a collage -Braque," leaving interpretation open. This CD edition captures the essence of Actress's sound: fluid, shape-shifting, and unconcerned with traditional definitions. Whether a mixtape or sonic collage, it's unmistakably Actress, offering listeners a raw, evolving soundscape that resists labels and challenges boundaries, making it an essential piece for fans of his ever-innovative style.
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: Federico Albanese's Blackbirds and the Sun of October is a deeply personal album inspired by his native Monferrato in northern Italy, where it was entirely written and recorded. Returning home in autumn 2022 after years in Berlin, Albanese found creative inspiration in the region's landscapes, history and legends and he describes the album as a reflection on origins, heritage and the freedom that comes with returning home. Unlike his previous works which explored memories and imaginary worlds, this album embraces the tangible beauty of nature and history with a newfound sense of positivity and connection to his surroundings.
Awakened Souls - "Yet Today Is All We Have" (1:04)
Benoit Pioulard - "A Heart Mirrored" (3:50)
Benoit Pioulard - "Our Era" (3:58)
Zake - "I Saw An Angel" (5:29)
Zake - "She Walks In The Sun To Me" (3:22)
Review: Zake's Drone Recordings label offers up this heartfelt collection in celebration of the label head's wife on a milestone birthday. Next to the man himself, awakened souls and Benoît Pioulard also feature with the former offering 'Valleys and Peaks' from Julia's poem which blends Cynthia's ethereal vocals and James Bernard's bass with swirling synths and guitar. Benoît Pioulard's lo-fi folk-pop 'A Heart Mirrored' and dreamy 'Our Era' reflect his signature style while Zake's cinematic pieces, including 'I Saw An Angel,' pay tribute to the inspiration of his wife. A lovely listen with a great concept
Review: Indian-born British composer Cephas Azariah finally unveils his debut album and it very much lives up to expectations. The 12-track neo-classical LP takes influence from ambient and cinematic styles and was rather remarkably composed on a piano bought from Facebook Marketplace. It was completed in a Scottish cabin by the lochs and each track unravels personal conflicts while exploring the paradox of joy that is the sacrifices behind life's rewards. Growing up in the UK after immigrating from India at ten, Cephas witnessed the challenges of adapting to a new culture and through his music he encourages listeners to embrace life's journey and find comfort in its complexities and conflicting emotions.
Review: Hardanger is a collaboration between Mariska Baars, Niki Jansen and Rutger Zuydervelt. Named after Jansen's Hardanger fiddle, the album expands on Baars and Zuydervelt's established chemistry after beginning as Jansen's improvisations with Baars adding vocals and guitar, all later shaped by Zuydervelt into two long-form tracks-one an electro-acoustic collage, the other more meditative. Baars blends ambient and folk and is known for collaborating with artists like Peter Broderick, while Jansen is a folk violinist and Zuydervel's prolific output as Machinefabriek is well worth checking as are his film scores and collabs as Piiptsjilling and Fean with Baars.
Study For Tape Hiss & Other Audio Artefacts (12:01)
Apparition 5 (2:14)
Review: Selected from a decade of recordings, this release showcases Bass Communion at its most experimental and texturally rich. Tracks are layered with analogue imperfectionsitape hiss, wow and flutter, static noiseithat are transformed into haunting soundscapes. The mellotron, buried beneath layers of imagined rust and dirt, adds an eerie, organic depth to the fragmented drones and spectral noise. The carefully constructed album feels like an excavation of forgotten sonic artefacts, with each piece offering a narrative rooted in decay and texture. Pressed on 2xLP, this is a striking addition to the Bass Communion catalogue, perfect for fans of sonic exploration.
Euph (Feelings In Finite) (Bvdubs' Re-Entries) (11:32)
Complete Nonsense (Calm & Chaos) (10:30)
Helix (Radiate In Red) (7:51)
Phosphorous (Elements Of Endlessness) (10:56)
Mars Rain (Freeze & Fall) (6:23)
Lost In It (Life In Lucidity) (10:29)
FM (Frequencies Of Forgiveness) (3:49)
Odyssey (Gazing Into Galaxies) (10:31)
Genetic Experiment (Symbols & Secrets) (2:24)
Review: James Bernard's 1994 ambient masterpiece Atmospherics is now 30 years old. To mark its anniversary the landmark record has been meticulously remastered and paired with a brand-new, track-by-track reinterpretation by Bernard's longtime friend and collaborator, bvdub. Together, these works span four slabs of wax and offer a profound exploration of ambient soundscapes that honour the original while also presenting some fresh, emotive perspectives. A must-have work for your ambient section.
Review: Bersarin Quartett is the work of Thomas Bucker, who since 2012 has released his flagship ambient project via Denovali. The Munster-based artist employs a grandiose orchestral lilt to the compositions on Systeme, threading considered sound design touches in amongst the sweep and swell of strings that rise from his imaginary quartet of players. It's neo-classical with a plaintive, soundtrack-ready quality, but as ever Bucker weaves tension, dissonance and texture in amongst the foreground melodic content to make for a richly compelling listen.
Review: Ever-interested in pushing boundaries through sound and ideas, Bjarki returns to the full-length release schedule with another captivating adventure down electronic roads less travelled. More IDM than techno, tracks like 'Puppet Parade' perhaps hit the nail most squarely in terms of descriptions here - warm pads and metronomic accents in the foreground, strange, treacle-y alien noises in the background. Weird and always wonderful, one of the most impressive achievements here is the deft ability to create soundscapes that simultaneously welcome us with open arms and defy expectation and norms. Whether it's the 170 snares and lush tranquility of 'Healing From Memory', or the strangely rousing but thoroughly off-planet 'Void Visitor' to close.
Review: Ben Lukas Boysen's Alta Ripa marks a transformative milestone in his artistic evolution as he blends introspection with bold experimentation. Rooted in the serene landscapes of rural Germany where his creativity first blossomed, the album also reflects the dynamic energy of Berlin, which reshaped his sound in the early 2000s. Boysen's fourth studio album bridges past and future, merging the reflective melodies of his youth with the innovative tones of Berlin's electronic scene. He describes it as music his 15-year-old self would admire but only his grown-up self could create. Unbound by tradition, Boysen's eclectic influences drive his constant musical reinvention.
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: 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: Michele Soavi's Italian cult horror masterpiece is now 30 years old and has more than stood the test of time. With music composed by Manuel De Sica, the soundtrack masterfully captures the film's darkly comedic and eerie tone by blending gothic atmospheres with electronic grooves and jazz undertones. The score balances sinister and mundane moods effortlessly to perfectly complement the film's unique narrative. This special edition honours De Sica's genius and exemplifies his ability to create haunting yet melodic compositions that resonate with fans of both horror and film music.
Review: Deepspace's 'Neon Blue Utopia' is the 16th album from the Brisbane-based artist is a heady brew of ambient electronica, spacewave and post-rock, conjuring a dreamlike world like a cyberpunk film score filtered through a kaleidoscope. 'Utopia=Visions' sets the tone with its expansive soundscapes and shimmering textures, evoking a sense of awe and wonder. Tracks like 'Parkour on Lazarus Heights' and 'Rainy... Precinct' paint a vivid picture of this futuristic metropolis, with their pulsating rhythms and otherworldly sounds capturing the city's vibrant energy and neon-lit glow. 'Entering Aquarium Prefecture' and 'Bubble Echolalia District' delve into the surreal, their off-kilter rhythms and disorienting soundscapes suggesting a world where reality is fluid and dreams are tangible. The album's second half continues the exploration, venturing into darker and more experimental territories. 'Floor 426-B' and 'Empty Office Space' hint at the city's hidden depths and the lurking shadows beneath its gleaming facade. A proper journey through a world of sonic imagination, this is an immersive and evocative soundscape-fest.
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.
Iancu Dumitrescu - "Movemur Et Sumus" (II + V - Pentru Fernando Grillo)
Octavian Nemescu - "Combinatii In Cercuri"
Stefan Niculescu - "Sincronie"
Corneliu Cezar - "Rota"
Review: A groundbreaking document of avant-garde music from Romania, originally released in 1981 under Ceaucescu's oppressive regime, that's grown in reputation enough over the years to now necessitate a reissue. This compilation, featuring Dumitrescu and three other visionary composersiOctavian Nemescu, Stefan Niculescu and Corneliu Cezaridefies both the political climate and conventional musical boundaries. Opening with Dumitrescu's 'Movemur Et Sumus', the album immediately plunges into uncharted sonic territory. Strings are transformed through radical processing, oscillating between shimmering abstraction and visceral intensity. Nemescu's 'Combinatii In Cercuri' marries intricate ensemble writing with electronic textures added in 1980, creating a circular, evolving soundscape. Niculescu's 'Sincronie' combines composed and improvisational elements, culminating in a hauntingly dramatic exploration of stasis and movement, with Dumitrescu contributing both piano and conducting. Finally, Cezar's 'Rota' blends Balkan and Romanian folk influences with startling electronic effects and prepared instruments, evoking natural sounds like wind and waves alongside experimental timbres. Recorded in a Bucharest radio studio against all odds, this album showcases the revolutionary potential of Dumitrescu's Ansamblul Hyperion, a daring chamber group he founded in 1976. Newly remastered from the original tapes, the reissue preserves the original cover art and reintroduces these boundary-pushing works to a global audience. With its fusion of spectralism, acousmatic exploration and Eastern traditions, this release remains as daring and relevant as ever.
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