Juno Recommends Ambient / Drone: April 2025

Review: Stepping into the world of Hiroshi Yoshimura is like entering a tranquil garden, where every sound is a carefully cultivated element of the landscape. His music, originating in the 1980s, blurs the lines between ambient soundscapes and composed pieces, creating an immersive experience that evokes the serenity of the natural world. 'Over The Clover' whispers with the gentle rustling of leaves, while 'Flora' blossoms with delicate melodies. Yoshimura captures the essence of specific natural elements, from the unfurling of a morning glory in 'Asagao' to the subtle shifts in air pressure in 'Wind Echo'. He even finds music in the unexpected, as 'Maple Syrup Factory' introduces a surprising sweetness to the sonic landscape. But Yoshimura's work is not simply about recreating the sounds of nature. The Japanese musician and composer encourages a deeper listening experience, where subtle details and intricate textures emerge with each listen, definitely music that rewards close attention.

Review: Billow Observatory returns to the fully ambient realms of their 2012 debut with a deeply introspective, percussion-free release that drifts through spectral soundscapes. Created by Jason Kolb and Jonas Munk, the duo's transatlantic collaboration has matured across four full-length albums marked by precision and emotional depth. Here, abandoning traditional structure, the album instead looks to harness the power of chance and randomness with shimmering guitar textures that crackle and dissolve like dust in water. It evokes a world slightly out of sync that is brooding, haunting and beautifully immersive while underlining their place as masters of refined, atmospheric ambient music.

Review: Parus is a Belarusian ethno-ambient project blending pagan songs with modern soundscapes and Zara is their debut album. Led by ethnographer and folk singer Hanna Silivonchyk, the record features traditional Belarusian songs in various dialects, all accompanied by synths and field recordings crafted by Anton Anishchanka. The tracks were gathered during ethnographic expeditions across Belarusian national parks, and songs like 'Soniejka' and the title cut offer intimate reflections on life, love and mythology. It connects to the past while maintaining a deep personal edge that makes Zara a fascinating exploration of Belarusian culture.

Review: Although he initially broke through decades ago as a talented keyboardist- a role he still performs alongside his work as a solo producer - Mark de Clive-Lowe has always been much more than a prodigious musician-for-hire. That was particularly evident on 2021's Hotel San Claudio album, a musical meeting of minds with Shigeto and Melanie Charles. It shines through loud and clear on Past Present (Tone Poems Through Time)', an inspired collection of 'tone poems' - musical pieces that draw direct inspiration from the landscape - created using an electric piano, an enormous list of mostly vintage synthesisers, and field recordings captured on a trip to his father's native Japan. Sitting somewhere between ambient jazz, the epic synth-scapes of Tangerine Dream and the most vivid movie soundtracks, Past Present is emotive, immersive and effortlessly evocative.

Review: Kali Malone's The Sacrificial Code stands as a defining work of 21st Century minimalism, shaped by years of intensive study. Originally released in 2019, the album emerged from her time at Stockholm's Royal College of Music, where she explored sound, space, and alternate tuning systems under the guidance of organ tuner Jan Borjeson. Stripping composition down to its starkest form, she embraced canons and slow-moving harmonic shifts, slowly but surely stepping into a sound emphasising monumentality. Now, six years later, The Sacrificial Code is reissued via Ideologic Organ, featuring a new 2023 recording of the title track on a 16th-century organ. Malone's self-taught recording techniques bring out the instrument's spirant resonance, creating a time-dilating sound. Less mournful, more tranquil, the new version mirrors the concurrent transformations of music and listeners in step, over time.

Review: Yumiko Morioka's Resonance was originally released in 1987 on Akira Ito's Green & Water imprint. Album, artist and label would all trifect to help along the enviro-ambient sound of which Ito was to become a part. For its quiescent but heartrending chamber pianos, Resonance was known for its use mostly in documentaries and as background music for spas, which hardly befitted the weight of Morioka's actual achievement at the time. By 1994, Morioka had moved to California, where she had shifted her focus to family life, unaware that Resonance had gained a new following outside Japan via online platforms. In 2017, when Morioka learned of this, she was recovering from a devastating California wildfire that destroyed her home and belongings. Despite the tragedy, she returned to Japan, worked in commercial music, and later opened a chocolate shop in Tokyo. Resonance, recorded on a Bosendorfer grand, blends improvisation with calm, introspective beauty, influenced by both Japanese environmental music and Western composers such as Erik Satie. The album was remastered in 2023, preserving its serene quality.

Review: Perila returns with a reflective spiritual successor to her 2022 album that comes on Vaagner's sister label A Sunken Mall. The album takes in eight tracks produced between 2021 and 2023 and they all do a fine job of conveying a serene vulnerability with its drifting, ethereal soundscapes smeared with echoing voices, droning guitars and resonant textures. It's like a whispered conversation during quiet moments and once again makes for a world that doesn't need to be understood, only felt. The Air Outside Feels Crazy Right Now reminds us that finding inner peace through music can counter the chaos of the external world and help turn fragility into strength.

Review: Deep Valley is a new collaborative work by Australian artists Seaworthy aka Cameron Webb and Matt Rosner and they came together for it during a week-long residency at Bundanon Art Museum in New South Wales. The property which was gifted to the Australian public by artists Arthur and Yvonne Boyd in the 1990s offers a unique landscape along the Shoalhaven River and is surrounded by sandstone cliffs and diverse wildlife. Drawing inspiration from Boyd's belief that "you can't own a landscape," Deep Valley combines the inspiration of that setting with environmental recordings, guitars, piano, and electronic processing all of which aim to highlight the transient nature of ecosystems and encourage you to reconnect with the sounds of nature.

Review: Ezekiel Honig is a New York City-based artist who founded two vital labels, Anticipate Recordings and Microcosm, and now he is back with a new album on 12K. Unmapping The Distance Keeps Getting Closer is a tender and honest work of art that wears its heart on its sleeve with piano, horns and broken rhythms all characterising the palette. Field recordings are also worked into the arrangements to add a real narrative and to really evoke a sense of place. Add in plenty of textural and tactile motives and you have a journeying album full of melancholy but also a sense of hope.

Review: Hiroshi Yoshimura is having a moment. Originally released in the 1980s, this collection of environmental music from the Japanese musician and composer offers a tranquil listening experience, Yoshimura painting sonic landscapes that evoke the subtle beauty of the natural world. 'Over The Clover' unfolds with the gentle sway of leaves, while 'Flora' captures the delicate essence of blossoming flowers. Each track is a miniature portrait of nature's intricacies, from the unfurling of morning glories in 'Asagao' to the whispering breeze of 'Wind Echo'. 'Maple Syrup Factory' adds a touch of unexpected sweetness, a subtle shift in the otherwise serene palette. But this is more than just pretty soundscapes. Yoshimura's music invites active listening, revealing intricate details that might be missed on a casual listen. It's music that rewards close attention while simultaneously blending into the background of everyday life.

Review: Much to nerdy Japanese electronic lovers' delight, Temporal Drift reissued Hiroshi Yoshimura's Surround last year, and now carry on focussing on his work with the first-ever reissue of Flora, an overlooked gem in ambient music. Recorded in 1987 but unreleased until 2006, which was three years after Yoshimura's sad passing, Flora carries on in style where his acclaimed works Green and Surround left off. It's another sublime record that highlights Yoshimura's ability to explore the interplay between sound and ambience. He was a diverse talent who also created an album for museum playback, and composed a soundtrack for a contemporary fashion show.

Review: Dubio makes no secret of its intention, from the word go. The opening, titular track give us the lay of the land. A record inspired by the soundtrack to a puzzle game of the same name, there's a cyclical, perpetual kind of motion to everything here. Obviously, we know where the start of each piece is, and the conclusion. But the vibe isn't forward motion, nor backwards. Instead, there's a gradual meandering tempo, a loose, open-ended kind of aesthetic that invokes the old cliche - the journey, not the destination. And with that, you can't help but sense a little mystery here, too. Kettel isn't always known for this type of free spirited exploration, and yet here we are, and how we got here is part of what we're trying to figure out. Musically, that means warm pads and string refrains, twinkling chimes, plodding, almost unsteady percussion and a sense of wonder and perpetuity throughout.

Review: Mille Plateaux and Raster hero Andreas Tilliander meets Fire! Orchestra's Goran Kajfes somewhere deep - and we mean DEEP - in the jazz cosmos. The farthest reaches of a universe far, far away, but one that still seems to understand how joyful vast can sound when pierced by the haunting yet strangely alluring sound of brass. But simply defining this as jazz misses a point, then throws us well beyond the pale. In Cmin would be nothing without the electronic tricks and gadgetry that first made us feel as though we'd space-walked off the edge of the known galaxy, out past the Milky Way's stardust. Echoes, tape delays, things that add mood and timbre without necessarily shouting their presence. There's magic at work here. And, contrary to the 21st Century's obsession with under-the-hood, not knowing the how is the reason why you want this.

Review: Ensemble Modern and experimental, Berlin-based music composer and sound artist Hainbach come together for Primer, an album sourced from their 2022 Checkpoint concert and reworked in the studio with bassist Paul Cannon. The record transforms their fine live performance into a rich, immersive home listening experience with Hainbach's signature use of nuclear research gear, tape loops and vintage electronics weaving haunting, ever-shifting textures throughout. As such the pieces pulse with a sonic spark that captures the spirit of experimentation and collaboration and is taps into plenty of avant-garde thinking in its approach to drone and ambient.

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.

Review: Melancholy maestro Brock Van Wey aka Bvdub returns with more immersive and beautifully sad sounds on his latest album In Iron Houses. It is an ambient work that is far too evocative to serve simply as aural wallpaper. Opener 'Madness To Their Methods' for example has a vocal swirling about the synthscapes that is utterly arresting and conveys great emotional pain. 'The Broken Fixing The Broken' is another lament of epic proportions and 'Iron Houses At Night - Star Track' has a little sense of hope in the brighter melodies and another vocal, which this time carries love not loss. 'Perpetual Emotion Machine' shuts down with subtle celestial celebration.

Review: Brock Van Wey is bvdub, a towering ambient figure and venerated veteran who continues to find newness in his work. He's back on Past Inside The Present here with 13 (on vinyl for the first time) which, he says, "represent one edict or idea from chapter 13 of the Tao Te Ching" which are about putting focus on humility and freedom from desire as a way to lead a peaceful life. Flickering melodies and slowly shifting harmonies set the tone from the off with track two introducing pulsing keys and low-end distortion. Elsewhere, layers of propulsive patterns and dubby motifsweave together with soft distortion and tracks ten and 11 build to great intensity and the finale brings delicate strings. Listening is an easy way to ensure a peaceful escape

Review: Trumpeter Chris Ryan Williams and cellist Lester St. Louis form HxH (H by H) are a boundary-pushing electroacoustic duo who work with acoustic instruments and electronics in real-time. Their debut album, released on KMRU's label OFNOT captures their expansive, sculptural sound, and it is one rooted in jazz, noise, classical and Black experimental traditions. Drawing comparisons to Sun Ra or Laurel Halo, their music is fluid, unpredictable and emotionally resonant. Tracks like 'Pyrex Vision' and 'BEACH' showcase a dynamic interplay between form and freedom and are influenced by visual artists like Torkwase Dyson. HxH's sonic world is both daring and intimate and is an ever-shifting architecture of sound.