Back catalogue: Balearic/Downtempo

Review: The second release in Oslo imprint Snorkel's limited-edition EP series brings together Norwegian producers Olefonken and Raaja Bones for a collection of cuts that was reported recorded in a cabin in the woods (of which there are plenty in Norway). Stylistically, it recalls the krautrock, dub disco and "Scandi-learic" sounds of Lindstrom & Prins Thomas's collaborative work of the late 2000s, giving it a sparkling sheen and 21st century finish. That's arguably best exemplified by the head-nodding shuffle of 'Babor', which is the most dancefloor-friendly of the trio of cuts on show. Elsewhere, 'Uti Fjaera' is sweet, off-kilter and blissful, with child-like melodies rising above a deep, organic house groove, while 'Baby Blue' sounds like a long-lost Todd Terje remix of a Prins Thomas single from 2005.

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: Swiss imprint WRWTFWW continues to do deep dives into the forgotten corners of electronic music history, returning with shining sonic pearls of genuine historic significance. Here they deliver a first ever vinyl pressing of early Japanese electronic music producer (and bona fide experimental hero) Yashio Ojima's 1983 album Club, a set that was originally only released on an exceptionally limited cassette. Given its vintage, the album has held up incredibly well, in part because its unique, unearthly blend of minimalist electro, music concrete-inspired loop experiments, off-kilter ambient soundscapes and picturesque, post new-age soundscapes remains as far-sighted and unusual in 2024 as it did 41 years ago.

Review: This French artist, who has captivated audiences with her collaborations alongside Mura Masa, Pomme and Flavien Berger, returns with a deeply personal album that explores the complexities of self-discovery and the search for meaning in a world obsessed with self-improvement. The album's title track, 'choke enough', is a poignant reflection on the need for connection and the pursuit of intense emotions. Oklou's warm, beautiful productions, a signature of her sound, conjure a liminal space where the boundaries between introspection and euphoria blur with delicate synthesiser arpeggios and found sound samples. 'family and friends', the album's first single, delves into the search for answers and the desire to escape from intangible memories. Oklou's lyrics, delivered with a vulnerable yet defiant honesty, capture the anxieties and uncertainties of a generation navigating a world where virtual and physical identities are inextricably intertwined. After gaining international acclaim with her collaborations and her critically acclaimed mixtape 'galore', Oklou's debut album marks a turning point in her artistic evolution, a bold yet introspective work that challenges listeners to confront their own anxieties and desires.

Review: Oklou is a French musician and is known to her parents as Marylou Mayniel. She dropped her debut album back in February and on it collaborates with artists such as Bladee and underscores, while some expert studio contributions from producers like the revered A.G. Cook, plus Danny L Harle and Casey MQ. Choke Enough blends Y2K influences with medieval melodies to reflect Oklou's evolution from her 2020 mixtape, Galore. This new long player offers up a deep dive into her meticulous approach to electronic, modern, 'hyper' pop while incorporating classical rigour. Standout tracks like the title track and 'Endless' are great reflections of her unique artistic vision while balancing formal complexity with subdued emotional impact.

Review: OKRAA's La Gran Corriente represents a significant creative turning point for Colombian-born Juan Carlos Torres Alonso. Released via A Strangely Isolated Place, the album follows a transformative experience Juan had in Bogota in May 2023. It was there that he encountered what he describes as "an infinite current behind or inside of everything," a revelation that completely changed his approach to music. Scrapping earlier demos, Juan embraced a more fluid and organic style, abandoning fixed grids and BPMs, and tapping into the spontaneous energy that characterised his other production alias, Laudrup. The result is a hypnotic journey through time and space, as the album's non-linear structures give way to unexpected yet cohesive sonic moments. 'La Gran Corriente' features "happy accidents" throughout, subtle production quirks that contribute to its distinct sound. Central to the project is a poem written by Juan, weaving reflections on time and reality into the fabric of the music. Lines like "the land of oblivion is not real" and "time is an illusion" form the backbone of the album's philosophical undercurrent. The album's release is paired with artwork by Peter Skwiot Smith, with the 2xLP available on limited edition coloured vinyl, fully mastered by Taylor Deupree.

Review: Surreal, scratchy, corkboard dub dance beats for the in-betweeners and misfits of the world, laid down by Merseyside producer Ali Omar for Efficient Space AUS. Suitably named after that potently compressed and chunked form of cannabis known as hashish, the music here sounds about as sedatively stoned as is often the affective result of the drug. Omar brings a psychedelic, sample-based approach to the fold, with strobe-lit, basement smoke-clouds of kalimba, gong, vocal and async-bass all colliding on 'The Last Straw' and 'On Release', veering into floaty dub and red-eyed downbeat by the time of 'Poor Man Beggar Thief'.

Review: It is always good to hear from Maya Ongaku especially when it comes to a new long player. This one excels at blending the ambient vibes of their previous album Approach to Anima with vibrant electronic dance styles. The result is a fresh fusion of hypnotic soundscapes and infectious rhythms with nice uplifting melodies, all complemented by delicate Japanese vocals. The album creates a shimmering, sincere atmosphere that draws on Eastern synth exotica that is both beguiling and irresistible. With its blend of lush textures and optimistic energy, Electronic Phantoms is a smart evolution in Maya Ongaku's ever-enchanting sound.

Review: The Orb's 13th album is a carefully crafted collection of tracks that are couched in minimal techno and ambient house. The first half embraces so-called 'Schaffel' rhythms, while the second half explores classic Orb sonic landscapes and features guest appearances from Schneider TM and Ulf Lohmann. The likes of 'Captain Korma' are warmly infused melodic jaunts with shimmering vocals, 'Cool Harbour' is a lumpy, dubby and off-balance workout and 'Kompagna (Zandic mix)' is a raw, experimental blend of harmonic tones, smeared samples and ambient bliss. This one, then, continues The Orb's legacy of genre-defying music which started in the late 80s when they pioneered chill-out and ambient house.