Back catalogue: Classical

Review: Fresh from curating a fine compilation marking 25 years of his admirable DiN label, Ian Boddy unleashes the latest in a long-line of collaborative works. He's previously released joint studio works alongside Chris Carter, Erik Wollo and Mark Shreeve, amongst others and here is in cahoots with Parallel Worlds member (and DiN semi-regular) Dave Bessell. In true ambient fashion, Polarity boasts a two-part, near 52-minute title track: an evocative, creepy and slowly shifting fusion of modular electronic bleeps, vintage analogue synthesiser melodies, immersive chords and - for shortish blasts amongst the aural weightlessness - bubbling beats. To round off the album, the pair drifts further into deep space ambient mode via the Pete Namlook-esque 'Confluence'.

Review: With an artist name like Dali Muru & The Polyphonic Swarm, and an EP title of Murmer of The Bath Spirits, the fact at least part of this record features a narrative about spiritual awakenings in bath houses, set to an eerie, atmospheric ambient soundscape, will surprise very few people. A 15-minute trip into the ether, noises and tones are as wet as they are warm, and the experience like heading out to uncover a faery land mystery.
Things get a little less specific on the appropriately christened 'Track 2', which moves us on from the dreamy quiet into a place that's more forceful, purposeful, harsh, perhaps even darker. Hypnotic loops set above staccato beats, grabbing hi hats and other elements as the track grows in ear worm qualities with each second.

Review: The long-gestating follow up to 1992's initial instalment, Black Aria II would finally arrive in 2006 after years of discussion from Misfits/Samhain horror-punk visionary Glenn Danzig, and further his exploration into the cavernous realms of modern classical dark ambience. Conceptually based around Lillith, the first wife of Adam, the material here is far more minimalist and starker than its gothic predecessor, while utilising a more varied array of instruments on top of the pre-established organ and strings, with more Eastern sonic influences to conjure a mercurial vision independent of the preceding volume. Complete with eerie chimes, chants and esoteric lamentations, the project marks one of Danzig's most intriguing works when compared to, say, his Elvis covers compilations, and offers a transportive, biblical, haunting narrative delivered almost exclusively via instrumental atmospherics and insidious gloom.

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: Taylor Deupree and The Humble Bee have hooked up for their first collaborative album, Re: Case Studies, an immersive and pensive ambient beauty. It was originally conceived as a solo project and Deupree's abstract feedback loop-based compositions were shelved until discussions with the label prompted him to invite a collaborator. Craig Tattersall, aka The Humble Bee, responded with his own sonic interpretations and built on Deupree's foundations. The result is a cohesive yet distinct collaboration that honours the original while evolving into something new so what began as an unfinished idea is now a full-fledged and thoughtful, layered exploration of sound.

Review: Belgian-German band Dictaphone are back with a fifth album that follows on from their highly acclaimed last full length ARP70. One again here leader Oliver Doerell is joined by partners Roger Doring on clarinet and saxophone, and Alex Stolze on violins. The band continue to explore their notion of morbid instruments with an old tale machine and shadowy bass clarinet adding to the many layers of intriguing and mystery. The tracks here are ghostly and spooky, with 10 different journeys into sombre musical darkness that are never austere, but always fascinating. Timely, minimal and unusual, this is a quietly compelling masterpiece.

Review: Beatrice Dillon launches her new label with a new album and her first ever entirely acoustic work, which has been performed by Explore Ensemble and commissioned by Mark Fell. This major composition was recorded both in-studio and live at ZKM Karlsruhe in 2023 and it exemplifies Dillon's meticulous approach to sound. The studio version emphasises precise edits and spatial arrangement while the live rendition thrives on the performers' dynamic interpretation to create a captivating contrast. Guided by influences like W.R. Bion's psychoanalytic ideas and Byung Chul-Han's deconstructionist philosophy, part of the joy of listening is to uncover microtonal details and subtle shifts.

Review: Trying to figure out exactly when you'll stick on the soundtrack to Game of Thrones Season 7 isn't easy. But that's not to say Rabin Djawadi's epic score isn't something to behold. From the word go, this is adventurous stuff, rooted in classical but clearly inspired by visions of fantastical beasts, mythical lands and legendary quests. You almost feel like Cersei Lannister or Jon Snow or Daenerys Targaryen are about to knock on for their dinner. Like pretty much everything the Iranian-German film and TV composer touches - Clash of the Titans, Warcraft, Iron Man - there's little here you'd describe as subtle or understated. Even the more sweeping overtures sound like they were born for grand concert halls. So, providing you have the space at home, go for it.

Review: Recorded during a year in which Sholto Dobie spent time in Vietnam, Sweden and Lithuania, 23 lands on Infant Tree and finally lets us know what a full length album from one of the foremost avant-electronic ambient contemporaries would sound like. A startling debut, albeit one that you don't really feel startled by, more absorbed and elevated, it's an amalgamation of tone, noise, and sound, led by compressed air, tubes, reeds, flutes and timers. Physical instrumentals and things that create a tangible sense of space and place. Born in Edinburgh, but now based in Vilnius - a European hotbed of musical innovation, from throbbing techno to weirdo - 23 distills a number of factors into its immersive whole. In some moments, it's as though signals are being picked up from the deepest corners of our known universe. In others, we feel the intimacy of humanity gathered around sacred fires, the near-silence of our world amid vast emptiness beyond.

Review: Stay With Me is an album by Past Inside The Present label head zake and T.R. Jordan from back in 2022. Now it has been revisited for a series of remixes by Dotlight and extra synth and field recording additions by zake that have all been pressed up to 180 gram purple vinyl. It is a work of immersive ambient beauty, with slowly shifting soundscapes defined by the most subtle of synth wisps, but each conveys a great feeling. Dutch guitarist Dotlights brings gentle beats to the likes of 'Infinite Sound' that add downtempo depths and late night romance to the already soothing original sounds.