Ambient / Minimal / Drone
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Music From Memory presents 'Spacious Heart', the debut solo album from Los Angeles-based musician Anthony Calonico. Known for his work as part of the trio Total Blue, Calonico steps forward here with a collection of songs and instrumentals that invite the listener into his lush, expansive and deeply personal world. Written and recorded gradually between 2020 and 2024, 'Spacious Heart' emerged through a slow and open process, allowing the music to develop without rigid expectations. The album’s sonic landscape sits in a somewhat similar zone to Total Blue, with warm keys, synthesizers and rich production creating spacious environments where melodies and textures open up naturally. ‘Spacious Heart’ effortlessly straddles the transcendental qualities of spiritual jazz, the restraint and space of minimal composers such as Harold Budd, and the quiet intensity and dynamics of songwriters like Mark Hollis and John Martyn, ultimately arriving at something wholly its own. Where ‘Spacious Heart’ diverges mostly clearly from Total Blue is through the presence of Calonico’s voice, the emotional anchor of the record. Smooth, luminous and quietly expressive, his singing carries a sense of earnestness and vulnerability while remaining delicately restrained. The album unfolds as a conversation between song and atmosphere, with vocal pieces drifting in and out of focus, intimate and inward-looking. The surrounding instrumentals open up space for these emotions to breathe, settle and expand, creating a world where feeling, texture and nuance move softly together. ‘Spacious Heart’ will be released digitally, on vinyl and CD through Music From Memory on May 21st. Sleeve art and design by Michael Willis.
Music From Memory presents 'Spacious Heart', the debut solo album from Los Angeles-based musician Anthony Calonico. Known for his work as part of the trio Total Blue, Calonico steps forward here with a collection of songs and instrumentals that invite the listener into his lush, expansive and deeply personal world. Written and recorded gradually between 2020 and 2024, 'Spacious Heart' emerged through a slow and open process, allowing the music to develop without rigid expectations. The album’s sonic landscape sits in a somewhat similar zone to Total Blue, with warm keys, synthesizers and rich production creating spacious environments where melodies and textures open up naturally. ‘Spacious Heart’ effortlessly straddles the transcendental qualities of spiritual jazz, the restraint and space of minimal composers such as Harold Budd, and the quiet intensity and dynamics of songwriters like Mark Hollis and John Martyn, ultimately arriving at something wholly its own. Where ‘Spacious Heart’ diverges mostly clearly from Total Blue is through the presence of Calonico’s voice, the emotional anchor of the record. Smooth, luminous and quietly expressive, his singing carries a sense of earnestness and vulnerability while remaining delicately restrained. The album unfolds as a conversation between song and atmosphere, with vocal pieces drifting in and out of focus, intimate and inward-looking. The surrounding instrumentals open up space for these emotions to breathe, settle and expand, creating a world where feeling, texture and nuance move softly together. ‘Spacious Heart’ will be released digitally, on vinyl and CD through Music From Memory on May 21st. Sleeve art and design by Michael Willis.
Originally recorded in the early 1990s, inrain's 'Rise' sweeps up the only material from A.R. Kane's Rudy Tambala and Cranes vocalist Alison Shaw, a long-lost bridge between shoegaze, dub, electro and trip-hop. Essential listening if yr into Seefeel, Locust or Zurich. Back in 1991, inrain appeared on Rough Trade's Singles Club series with a brief but brilliant 7" that sounded as if it'd been beamed in from another planet. A.R. Kane had been forward thinking, sure, but these three tracks - 'Grow', '...And Julie Rose' and 'Sleep' - juxtaposed Shaw's dreamy vocals with dubby, spacious electronics and shimmering guitars in a way that wouldn't really rise to prominence until years later. Music From Memory does the heavy lifting here, remastering that original 7" from the original DAT tapes and adding the extra track 'Biology' and an alternate version of 'Sleep' to bump up the package. But it's those original tracks that have us by the throat - we really can't believe they've been so slept on over the years. '...And Julie Rose' sounds like it should have been picked up for a Duophonic release a decade later, while 'Sleep' completely pre-empts Seefeel's 'More Like Space EP' that wouldn't appear for another couple of years. Prophetic stuff.
Budapest-based concept label, Blue Sun is launching their new line of vinyl focused releases, aimed primarily on DJs and collectors: the Blue Series. A counterpart to the Orange Series launched last year that showcases a more upbeat side of the label, the new collection presents a darker, more experimental, and introspective musical vision.The first release in the Blue Series is a six-track EP by Budapest based multimedia artist, Virág Réti. Choosing her legal name as her artist persona (“Flower of the Meadow" in Hungarian) also with the track titles capturing the folk names of local fauna, Peremidő evokes the artist's innate connection to nature as a place of refuge from the noise of Eastern European urban life.The EP’s motifs point back to early memories of sitting by a river, simply observing time flowing by. The arc of the songs follow the passage of a day, beginning with the hesitant sounds of early morning, gradually moving on toward more defined, rhythm-driven forms. As the airy textures slowly give way to structure and percussion comes to the forefront, the sense of direction becomes clearer, letting moments of gentle disorder and unexpected sounds to surface.Virág previously appeared on the label’s Blue Sun VA II compilation with her track Bíbic. Since launching her ambient music project in the fall of 2024, she has become one of the promising newcomers in the Hungarian experimental electronic music scene. Her debut EP, Minden Ami Megmaradt (All That Remains), was released last November as the final offering of temporary nites label (2023–2025). She is also the founder and organizer of the Budapest-based experimental electronic event series Still Places.
Clairvoyant Dimensions is the first album by Mei Homeycomb, a new duo of Jordan Czamanski, renowned as a member of the acclaimed Juju & Jordash and the Magic Mountain High project, with solo work released as Jordan GCZ, and legendary saxophonist Jeff Hollie, known mostly for his work with Frank Zappa and Ike Willis. An explorative ambient album, Clairvoyant Dimensions is an exercise in distance and contemplation, and the exhilarating feeling of insight, however fleeting, like staring at the midnight flicker of an old VCR. Czamanski's music has a trademark tenderness and soft-spokenness, an ability to maximize minimalist musical elements and bring them to an open-ended conclusion. Jeff Hollie provides interpretative sax lines on all tracks, slipping into the scene like a shadow, silent and unexpected, touching upon emotional registers almost explicit, yet confounding. As musical signifiers keep turning around themselves, they set up a mood of euphoria, one that suggests understanding. Never explicitly spaced-out, there is continuous reference to cosmoses both inward and far away. Ambient music in modern form. Jordan Czamanski uses his experience in producing off-the-charts club music to come up with five tracks that at times are standstills, and at times dwell in forward momentum. Jeff Hollie provides both comprehension and beautiful confusion. As grainy images switch into focus, Clairvoyant Dimensions is a beautiful and contemplative trip that suggests its own reality in delicate ways. One of the five tracks, the gorgeous live-recorded Painted Desert Pastel, features composer, performer, and researcher Ilya Ziblat Shay on double bass and electronics.
Following The Pocket of Fever, Ambient Sans presents the second part of Masahiro Sugaya’s visionary collaborations with avant-garde performance group Pappa TARAHUMARA, founded by Hiroshi Koike in 1982. The company fused dance, theatre, music and visual art into abstract stage environments, with Sugaya’s music serving as their emotional and conceptual core.
Music From Alejo was his first full score for the troupe—a refined work where repetition and silence mingle with luminous synthesizers and drifting melodic fragments. More structured than The Pocket of Fever, it balances modern composition with subtle inflections of Japanese tradition, evoking a sense of movement suspended between dream and reality.
Reissued for the first time on vinyl, the album includes a printed insert with an exclusive interview and photographs from Sugaya’s home in Japan. A vital rediscovery for admirers of Hiroshi Yoshimura, Midori Takada and Brian Eno, it captures a quietly radical moment in Tokyo’s 1980s experimental scene.
‘Desire’ is the sophomore full-length album by TLF Trio. On ‘Desire’, the group presents their signature, contemporised chamber music through their main instruments: piano, cello and electric guitar; now enhanced by a pervasive use of sampling and a distinct use of silence as musical material.
The album is an aesthetic voyage in a musical landscape of minimalism, classical music, free improvisation, left-field-electronica, and references to pop and house music. It blends into a sound that is experimental and unpredictable – yet at the same time strangely familiar and self-explanatory.
The album’s ten pieces balance an open-ended improvisational intimacy with a tight compositional intention. Each track's repetitiveness operates as a trickling plateau of layered sentiments of times and spaces through the sampling of different acoustic rooms, the playing in specific styles and the curated selection of sounds and instrumentations; a collage of memories and associations patched together to create new meanings.
NYC’s Urner chimes with Dutch label topo2’s tastes for shimmering electronic melody and subtly crooked structures on a quietly charming LP made from Japanese lava, modular synths and software: tipped to fans of Irdial’s Anthony Manning, Georgia’s Brian Close, Visible Cloaks. In the wake of a self-issued 2020 debut and tape on Atlantic Rhythms, ’Afterimages’ is Isaac Pearl aka Urner’s 3rd album and the first to fix his ephemeral tactility to vinyl. Under a name and title hinting (to us at least) a play on psychedelic or oneiric experience, the music follows with an often fleeting, tongue-tip sensuality that patently fits topo2’s emerging remit, as heard in their sides by Upsammy, Mor Elian, Windu. It’s not hard to trace lines from ‘80s Japanese environmental ambient to ‘90s electronica and modernist reflections on new age, partly thanks to its combo of clinking, rhythmelodic Sanukite lithopone tones - think a xylophone made from rare volcanic rock - with analog and digital synth sources, applied with a mix of care and nuanced daring that feels timeless yet also up-to-date in its oloid asymmetry. A whispering opener ‘Options, Thoughts’ unfolds into hyaline dimensions, where the rest settles, offbeat, at meditative pace, between plucked melodic chin reactions of ‘Stranding’, dreamy aeolian harmonics of ‘Anni,’ and air-kissing romance of ‘Lover Cusp.’ The Visible Cloaks comparison is apt on a standout ’Suspend’ and the cascading notes of ‘Tides,’ to a quietly fizzing conclusion.
Music From Memory are thrilled to announce the forthcoming release of ‘Pastoral Blend,’ a new album from the duo of N Kramer and Magnus Bang Olsen (The Zenmenn).
Recorded in Berlin between August 2023 and March 2024, ‘Pastoral Blend’ combines Kramer's improvisational process and mastery of contemporary production techniques with Bang Olsen’s emotive pedal steel guitar playing. The creative process was anchored in capturing various phrases and patterns from the instrument, which were then reshaped, reversed, and layered intricately. This meticulous approach allowed a foundational track to emerge, upon which further arrangements and developments were sculpted. This process, which builds on Kramer's earlier work as Habitat (with J. Foerster, released on Leaving Records), gives the music a gentle asynchronous flow that feels uniquely live and organic.
Merging the warmth and intimacy of instrumental Americana with the glitchy, textural processing reminiscent of early 2000s Max/MSP and influential artists such as Fennesz and Alva Noto, ‘Pastoral Blend’ is a textured drift between analog warmth and digital fragmentation, a delicate equilibrium that duo navigate with remarkable finesse and an air of effortless charm. With titles like ‘Harvest', ‘Agrarian Dawn’, ‘Grasslands’, and ‘Weathered’, Kramer and Bang Olsen evoke a musical vocabulary steeped in themes of landscape, memory, and tradition; a vocabulary that gently alludes to the more familiar and traditional musical structures lying beneath the rich layers of sound. Herein lies the essence of the 'Pastoral Blend’.
‘Pastoral Blend’ will be released on LP and digitally on July 4th 2025. Sleeve art and design by Michael Willis.
Hardback cover. 250 pages, richly illustrated. Aphex Twin: A Disco Pogo Tribute compiles interviews, essays and features from various music journalists, all exploring Richard D. James' decades-long career. Like Daft Punk, the people behind Disco Pogo have had a long-standing relationship with Richard D. James for over 30 years via their 90s magazine Jockey Slut. The book is edited by Disco Pogo editor Jim Butler and features interviews, essays and features from the best music journalists working today. The book features Images from across James' career, and an iconic cover portrait of Aphex by seminal photographer Wolfgang Tillmans, plus a huge amount of great photography of Richard since the very beginning from some of the best music photographers in the world.
Thanks also to the designer of Aphex's logo Paul Nicholson who has opened up his archives to us and also the assistance and support from the label homes of Aphex - Warp, R&S and Rephlex. Thanks also to the people behind Aphex fan website Lanner Chronicle. The book is hardback, 250 plus pages and is beautifully designed and printed of course.
Barely known outside of his home country during his lifetime, the late Japanese ambient music pioneer Hiroshi Yoshimura has seen his global stature rise steadily in the past few years. The 2017 reissue of his lauded debut, Music For Nine Post Cards, along with a slow building cult internet following has helped ignite a renaissance in his acclaimed body of work, much of which has never been released outside of Japan. Known for his sound design and environmental music, Yoshimura worked on a number of commissions following the 1982 release of Music For Nine Post Cards, including works for museums, galleries, public spaces, TV shows, video art, fashion shows, and even a cosmetics company. Originally released in 1986, GREEN is one of Hiroshi Yoshimura’s most well-loved recordings and a favorite of the artist himself. Recorded over the winter of 1985-86 at Yoshimura’s home studio, the compositions unfold at an unhurried pace, a stark contrast to the busy city life of Tokyo. As Yoshimura explained in the original liner notes, the album title in the context of this body of work is not meant to be seen as a color, but is rather used to convey “the comfortable scenery of the natural cycle known as GREEN”—which perfectly encapsulates the soothing and warm sounds contained on the album, although it was created utilizing Yamaha FM synthesizers, known for their crisp digital tones. This edition marks the first reissue of the highly sought-after and impossible to find album. It features the original mix preferred by Yoshimura himself, previously available only on the initial Japanese vinyl release (a limited edition remixed version of the album, with added sound effects, was released on CD in the US). Additionally, this release is the first in our ongoing series, WATER COPY, focusing on the works of Hiroshi Yoshimura.
For years, Takuro Okada has carried a quiet question: how can a Japanese musician honor the music of African Americans without simply borrowing it? That search shapes his new album Konoma, a work guided by the idea of “Afro Mingei.” The Tokyo guitarist, producer, and bandleader has lived inside this tension since childhood, drawn to blues, jazz, and funk records that nourished him, yet hesitant in the face of the histories they hold. The concept of Afro Mingei, which Okada first encountered in an exhibition by artist Theaster Gates, gave him a way forward. Gates connected Black aesthetics with Japanese folk craft, both rooted in resistance — “Black is Beautiful” defying racism, the Mingei movement preserving everyday beauty against industrial erasure. That kinship became the compass for Konoma, a record attuned to echoes across cultures and time.
Konoma holds six originals and two covers, all shaped by this dialogue. The elegantly unhurried “Portrait of Yanagi” drifts like a standard half-remembered from another era, while the brief but potent “Galaxy” gestures toward Sun Ra’s late 1970s electric organ experiments, the fractured propulsion of Flying Lotus’s early beat tapes, and the shadowy atmospheres of trip-hop. Okada’s choice of covers sharpens the conversation: Jan Garbarek’s “Nefertite” shimmers with the cool austerity of 1970s ECM, reframing Europe’s own search for identity inside jazz, while Hiromasa Suzuki’s “Love” channels the electric vibrancy of 1970s Japanese fusion, when musicians fused psychedelia, funk, and folk into a distinctly local dialect. Together, they anchor Konoma in a lineage of artists who bent borrowed forms toward something new.
Okada’s life has been shaped by such crossings. He grew up in Fussa, where the Yokota U.S. Air Force base loomed large, learning guitar in rowdy clubs for American servicemen while teaching himself recording at home. That hybrid education led to collaborations with Haruomi Hosono, Nels Cline, Sam Gendel, James Blackshaw, and Carlos Niño, and to a body of work spanning film soundtracks, collaborative projects, and exploratory solo albums. Earlier this year, Temporal Drift released The Near End, The Dark Night, The County Line, which features selections from Okada’s expansive archive of recorded material, cementing his reputation as one of Japan’s most adventurous contemporary musicians. With Konoma, co-released by ISC Hi-Fi Selects and Temporal Drift, Okada delivers his most personal and expansive statement yet: a meditation on connection, influence, and the beauty that survives across cultures.
- Words by Randall Roberts
Takuro Okada's latest work is the original soundtrack for the film "After the Heat" directed by Hide Yamamoto.
Okada himself plays many of the instruments on the album, including piano and acoustic guitar, and is joined on the album by Kei Matsumaru on saxophone and Hiroki Chiba on double bass. The album was mastered by Jim O'Rourke, whom Okada admires, and features artwork by Toru Kase.
The MerKaBa Brotherhood are Roman Norfleet (The Cosmic Tones Research Trio, Be Present Art Group) and Andre Raiah (Brown Calvin of Brown Calculus) The duo draw from esoteric texts, sacred imagery, and mystic thought, shaping sound into space, tone, and pulse. It's a spare and almost geometric record featuring Sax, keyboard and percussion. The album turns sound into a working language - textures as diagrams and melodies as signals. There is much to be learned and even more to be unlearned.
This album, crafted entirely within a subharmonic framework and meticulously processed through tape manipulation, stands as Concepción Huerta’s sharpest work to date—undoubtedly her most abrasive, intense, and exhilarating. Her signature remains intact: a practice deeply rooted in drone, musique concrète, and hauntingly visceral textures—a kind of soundtrack that evokes powerful, image-driven narratives.
Conceptually, Huerta’s sonic vision evokes an image of open veins, not human veins, but those of the earth itself, the open veins of Latin America. These nervures are, in truth, rivers of lava; fury transmuted into fire coursing beneath the land until it erupts. The album is, in a way, a reflection on dispossession, resource extraction, and colonization. But beyond being a historical commentary—one that some might relegate to a forgotten past—it is also a reminder of the present, of how these practices persist in contemporary, postmodern guises.
It serves as both a tribute to the literary work of Eduardo Galeano, one of the most influential voices of Latin American leftist thought, and a howl from the Lacandon jungle in Mexico, resonating with the Zapatista struggle, the resistance of the Guaraní people in Paraguay and Argentina, and the voices of Indigenous communities across Latin America.
In the 16th century, a book titled Visión de los vencidos (The Broken Spears) was published in Mexico, compiling Nahuatl texts that presented the unofficial history, the account of the defeated. Concepción Huerta’s album El Sol de los Muertos (The Sun of the Dead) is not a call to action nor a reactionary manifesto, but an invitation to reflection, a historical reexamination. It urges us not to accept the official narrative at face value and serves as a warning, to remain vigilant and, within our capacities, resist the resurgence of fascism and colonialism in all its modern forms.
Certain paths necessitate and call for one singular long sequence in order to arrive at a fully formed conversation or reasoning. Nothing seems to broadcast it more clearly than the trajectory Brussels based Italo-Vietnamese artist Nguyễn Zen Mỹ embarked on during the last decade as Radio Hito. After a string of highly cherished and sought out tape releases, Radio Hito’s new album ‘L’uso e gli attributi del cuore’, co-released by Maple Death & Meakusma, unfolds with devastating clarity, a profound balance of depth, minimalism and emotional grounding. A ten-sequence song cycle for voice and MIDI soundfonts adapted from the 2021 book by French poet Claude Royet-Journoud. Written and recorded between January 2023 and August 2025, the cycle evolved through nearly 80 live performances from Galicia to Kazakhstan before arriving at its recorded form. Set to an Italian libretto adapted from Royet-Journoud’s text ‘L'usage et les attributs du cœur’ (POL, 2021), the work revisits the tradition of the 19th-century Lied — art song built on existing poetry — transposed into a radically economical contemporary setting: voice and Casio CTK workstations. "I was interested by this incompleteness CRJ mentions - by the ‘suspension’ of meaning questioning readability and intelligibility. I ‘resisted’ to CRJ’s texts since I met him and got to know his work. […] It seems to me that when playing the songs, I submit an object to be completed by the audience." Radio Hito’s distinctive approach to setting poetry to music — spare arrangements, strophic repetition, and a voice suspended between recital, fm transmission and canzone — creates a language of its own, reaching new heights on ‘L’uso e gli attributi del cuore’, songs that are formally rigorous, emotionally restrained, and shaped by the discipline of sustained live performance, interlocking into a coherent cycle. Rather than illustrating the poem, Radio Hito approaches it as a space of suspension. Royet-Journoud described poetry as a “profession of ignorance,” where meaning remains incomplete; these songs extend that trembling state, allowing repetition, digital timbre, and restraint to hold the text open. Often misread as minimal synth or romantic chanson, Radio Hito’s practice is rooted instead in the lineage of the art song and song cycle: open structures, close attention to language, and a live performance economy that pushes the voice at the heart of the stage. The choice of accessible keyboard workstations — light, portable, and embedded in contemporary popular culture — replaces the historical piano. Radio Hito creates fantastical, mirage-like songs, intimate yet elusive. Her music is forlorn chanson for the digital age; bringing her haunting and beautiful vocalisations into conversation with MIDI soundfonts and humble-yet-deep casio compositions. Music that strides for simplicity, yet lands miraculously within an entire new universe, a uniqueness achieved from like-minded spirits such as Ghedalia Tazartès, Savina Yannatou & Lena Platonos, Dorothy Carter, cycles that trickle down into estuaries.
Mieko Shiomi is known both for her avant-garde musical activities with the Group Ongaku collective during her student years and for her participation in Fluxus from 1964 onwards. The Fluxus Festival held in Venice in 1990, to which she was invited, became a pivotal event that brought about a major shift in her subsequent work. That same year, she self-released a cassette requiem in memory of Fluxus founder George Maciunas.
This tape work combines original compositions performed on synthesizer harpsichord and organ with recordings of her own voice played backwards. These sound sources were taken to a studio and edited together with environmental sounds recorded at the Venice venue. The piece also incorporates the voices of key Fluxus artists including La Monte Young, Marian Zazeela, Eric Andersen, Willem de Ridder, and Ken Friedman. Making use of the specific properties of tape, the piece integrates unique ideas and structures and occupies a distinctive place among Shiomi’s oeuvre.
From the 1950s, Masaaki Takano (1927-2007) worked as a freelance "sound planner," mainly creating sound effects for stage productions. In the mid-1980s he began performances called "Sound Play" where he would perform on his own self-created sound instruments and his collection of ethnic instruments. Growing out of his work with sound effects, he became obsessed with the recording of natural sounds from the 1970s onwards, and this album "Shizukutachi" is a record of a high-quality recording of water droplets that he created in the studio using his own self-created suikinchiku system. This reissue recreates the original LP, using special paper to create beautiful packaging and duplicating the original, ultra-transparent vinyl. The reissue includes newly penned, detailed liner notes by Tomotaro Kaneko (owner of the Japanese Art Sound Archive).
Remastered by Giuseppe Ielasi.
The LP jacket is made from two layers of chipboard cardboard and washi-like "shindanshi" paper that reproduces the feel of the original. The LP also comes with two postcards and a 20-page A4 booklet (Text in Japanese and English),a download code.
Sound Reporters was a Dutch publishing company that specialised in anthropology, religion, and history, releasing unique documents of the cultural multiplicity of human societies and their importance. These recordings were originally released on cassette in 1988, and consist of field recordings made on the Greek island of Amorgos, part of the Cyclades island group in the Aegean Sea. The release was jointly credited to the painter Harry Van Essen, who lived for several years on the island and recorded its soundscapes, and also to the ethnomusicologist and founder of Sound Reporters, Fred Gales, who mixed the recordings.
The recordings consist of sketched amalgams of local sounds from Egiali, a port in the northeast of the island. The first half is a soundscape deeply rooted in the island people’s daily lives, alternating sounds of the sea with popular music, recitations of poetry, the sounds of fishing boats, people playing boardgames, a party. The second half takes us out of the village and into the mountains, unveiling the island’s unadorned natural environment: the sounds of cicadas, the buzz of honeybees, the bells of the large herds of goats left out to pasture, etc.
Space in the Sun was one of Akio Suzuki’s major sound projects, a unique construction completed in 1988 and located on the merdian line, which took around 18 months to build. Its purpose was to allow Suzuki to spend one day, on the autumnal equinox, purifying his sense of hearing in nature. This release comprises a 44 page book containing plans and materials from the time alongside texts, and two CDs of environmental recordings created on site at Space in the Sun. To date only tiny fragments of the recordings made between those massive clay brick walls have been used in performances and no environmental recordings of the objective of the project, i.e. the space itself, have been released. The first disk consists of the first release of “person-less” field recordings made at the same spot that Akio sat at during the event (recorded in 1993, 60 minutes). The second disk consists of a performance that took place in the space. Space in the Sun’s earthen walls have since been demolished, so these recordings represent a return to life of their soft echo, an experience accessible nowhere else.
Originally released on CD in 2009, Engaged Touches has been expanded from the original recordings for a 3LP edition, spanning 5 sides of vinyl, and a 3CD edition of the same expanded version, as well as the original single disc version. All have been remastered by Stephan Mathieu for this special limited edition. Please support artists by purchasing the digital album, not streaming in excess. Thank you.
Originally released in 2009, Capri is a concept album composed of fragmented vignettes, lost minutes and scenes from an idyllic imagining. A collection of brief moments, suspended shimmers, and frail settings, Capri was never meant to be more than its own thin veneer; a naked and subtle wash of saturated and semi-transparent colors, rolling as gently as ocean waves against rocky beaches, of fading afternoon sunlight, of momentary experience. Peaceful yet isolated, quiet yet collapsing, they are fading moments without definite borders, directions, or conclusion. Remastered by Stephan Mathieu from the original tapes, and expanded to include the complete recordings excluded from the 2009 CD edition, this collection is finally present in its complete form in the deluxe edition as a black vinyl 3xLP, and 2CD. All music by Danielle Baquet and Will Long, 2007-2008.
Endlessness is a deep dive into the cycle of existence. The 45-minute album delicately spans 10 tracks with a continuous arpeggio playing throughout, creating an expansive, mesmerising celebration of life cycles and rebirth. Following Sinephro’s critically acclaimed 2021 debut album Space 1.8, Endlessness further elevates her as a transcendent and multi-dimensional composer, beautifully morphing jazz, orchestral, and electronic music.
The album was composed, produced, arranged, and engineered by Sinephro. Performing on the album are Sheila Maurice-Grey, Morgan Simpson, James Mollison, Lyle Barton, Nubya Garcia, Natcyet Wakili, and Dwayne Kilvington, joined by Orchestrate’s 21 string players.