MUSIC

Marking the 20th release on Invisible, Inc. is this special limited edition double-vinyl gatefold compilation featuring tracks from some of the most highly respected musicians of the last five decades. The astonishingly diverse palette of styles comes courtesy of renowned ambient innnovator Laraaji, multi-Grammy Award-winning producer and ground-breaking synthesist and sound engineer Malcolm Cecil (in his Tonto's Expanding Head Band guise), Italian 'Cosmic Disco' pioneer and DJ Daniele Baldelli, avantgarde experimentalist K. Leimer, New York electro synth-pop legend Richard Bone (all five of whom have been active since the '70s or earlier) as well as dub techno locked groove aficionados log(m), West Coast psychedelic electronics maestro Secret Circuit, Berlin-based synthesist/composer Eva Geist plus a veritable "who's who" of some of the finest producers of ambient, dub, downtempo, leftfield and experimental electronica ever collected together on a single piece of wax (or two in this case): Baikonour, Sordid Sound System, Causa, Ulysses, Epsilove, Luv*Jam, Higamos Hogamos, Randweg, Bronze Savage, Komodo Kolektif, Bal5000 and Natural Sugars. Eliciting a distinct sense of musical other-worldlyness, the title is perhaps more than just a nod to Philip K Dick's "Blade Runner" and hints at the idea that if these transmissions 'from beyond' are 'lost' they may in essence be more rooted in our distant past than in some science fiction future. Putting needle to record, ancient rhythms and hypnotic mantras merge with synthesized soundscapes and deep basslines to propel us upward from the primeval forest floor into steady orbit before engaging the hyperspace drive on a trajectory deep into the Great Mystery.

Following the reissues of Pub's beloved early classics "Summer" and "Do You Regret Pantomime?" comes a generous EP of new material. Thankfully the euphoric ambient trance / dub pulse hasn't weakened at all: it's like he never went away. Just in time for fall, Ampoule takes a break from the reissue program to put out the first new material we've heard from Pub in what seems like forever. 'Autumn' plays like a direct continuation of the throbbing hypnotics we last heard on 2001's enduring "Do You Regret Pantomime?" - far more so than Pub's later releases like 2006's gloomy "Sekatuo Ton" and 2012's drifting "Creid", for example. Pub's production, though, has been dragged into a new era, and sounds brighter than ever: the title track brittle and fictile - it's the same old Pub, but with a fresh lick of paint and a nice pink bow. Other than the sound quality, the general musical mode is pretty much unchanged; Pub's distinct blend of arpeggiated analog trance, Chain Reaction dub sonix and THC-laced horizontalism still gives us that floating feeling we had when we heard 'Vilees Wideoo' or 'Summer'. 'Fall in Leaves' absorbs an 'Analogue Bubblebeath' level of oddness, with detuned synths and skittering, spring reverb-drenched beats, a mode that's extended on the record's most generous track - the 12-minute 'Bubble Folder'. It's the most upfront Pub's ever been, wiped clean of any production muck almost glittering in the sunlight, shifting from frangible electro to pulsing, inverted ambience and into key-stepped beat music before sparkling into silence. 'Essence' is the clear high point though, with drums stripped completely to allow Pub's familiar cascading arpeggios to take pride of place. Captivating electronic music that reminds us of simpler times.

Alexis Le Tan and Joakim return to Good Morning tapes as Full Circle. On 'From Back There Again' they glance backwards in order to progress forwards. They're on a mission to sloooow your circulation, as they take elements from ambient, trance and Italo disco and reduce the tempos to a gentle chug, resulting in a more spacious, laid-back psychedelic groove that wouldn't have been out of place in the back room of yer fave '90s rave, with a wee bit of contemporary flavour.

Jonas Wiese’s TIBSLC (standing for The International Billionaire’s Secret Love Child) presents its second album on the sferic label. ‘Hypertranslucent’ derives from the same recording sessions as 2021’s sprawling ‘Decisive Tongue Shifts - Situation Based Compositions’ double LP, with late Nineties ambient music being used as a particular source of inspiration to create evocations of massive cityscapes at night. and , after the post-industrial / deconstructed club. A work that integrates the Ethereal sound design of Mastering is also great with Stephan Mathieu! Limited to 500 copies.

Michel Banabila is an indispensable part of the Dutch experimental music scene, where he has acquired a special place with many, in the 40 years that he has been releasing music. Michel is also just as active as a composer for the theater and ballet world, as well as for TV productions, to considerable fame. The threat of drowning in the sea of his oeuvre is real in view of the unprecedented amount of output, but once sailing unmissable monolithic rock formations loom up rapidly. Echo Transformations' is one of them. It's a magical album, where everything falls into place in a rich domain inspired by the Fourth World dimension. A world of sound arises from our imagination, stimulating the senses. A concept album where every sigh has its place and where no superfluous tone can be heard. What remains is to embrace the inevitable surrender that accompanies unstoppable change. This is Banabila at his best.

When not overseeing A&R and label operations for Isle Of Jura, label boss Kevin Griffiths makes time for music creation in his garden studio in Moana, a sleepy suburb of Adelaide in South Australia. It’s an idyllic location surrounded by palm trees and tropical birdlife and an inspiring spot to fire up the machines, typically with the studio door wide open to soak up the soundtrack provided by mother nature. The resulting tracks, recorded in the midst of the pandemic with no gig distractions, were all heavily influenced by this backdrop of tropical birdsong and wind blowing through the palms, field recordings of which made it into most of the tracks. The album traverses Deep House, Nu-disco, Balearica and Ambient along with some Leftfield samples and a heavy dose Dub throughout. The LP is Pressed on heavyweight 180 Gram Vinyl with sleeve design by IOJ resident designer Bradley Pinkerton.

1983’s Waves of Peace is an album of gentle reflection. The sound of ocean waves permeates every track. Sitar, tambura, synthesizer, and bamboo flute are among the instruments that Aziz & Friends use to conjure their blissful oceanic meditation. “Waves of Peace was born in the beautiful oceanside town of Santa Cruz, California.” Aziz recalls. “Living there in 1982 was the first timeI had ever lived so close to the ocean. I would walk down to the beach on a daily basis. Nature has always been a major source of inspiration in my quest to create beautiful original music. Equally important to me has been recognizing the healing potential of harmonious sound.” “Waves of Peace was my first album to combine instru- mental music with the sounds of nature. Graced by the presence of some truly exceptional local musicians, most of the music was performed and recorded live in the studio.” Aziz explains. “Waves of Peace was created to facilitate relaxation, meditation, healing, and awakening for the body, mind, heart and soul. Let the rhythmic waves of the ocean nourish and inspire you to find your peace within.”

Originally released in 1978, Music By William Eaton is a private-press album from the accomplished experimental stringed instrument builder. The atmospheric recording techniques, mixed with a hint of Fahey/Takoma-lineage make for a listening experience akin to the mountainscape drawing represented on the album cover. The experience may seem simple at first, but like any great trip in nature, new details consistently reveal themselves upon each listen.

“When I started building instruments, playing guitar took on a whole new dimension. From the conception to the birth of each instrument, new layers of meaning unfolded. Cycles, connections and interdependencies became apparent as I contemplated the growth of trees from seed to old age, and the transformation from raw wood to the building of a musical instrument. I sought out quiet natural environments to play and listen to the “voice” of my 6 string, 12 string, 26 string (Elesion Harmonium) and double neck quadraphonic electric guitar. Deep canyons contained a beautiful resonant quality and echo. A starlit night with a full moon provided all the reflection and endless space by which to project music into the cosmos. The sound of a bubbling stream and singing birds added a natural symphonic tapestry to a melody or chord pattern. As I perceived it, everything was participating in a serendipitous dance. Everything was part of the music.

During this time, I decided to record an instrumental album of music. The idea was simple; it would be a series of tone poems with no titles or any information attached, only the words ‘Music by William Eaton.’ While some of the songs evolved out of composed chord progressions, most of the songs were played spontaneously, only on the occasion of the recording. These improvised songs haven’t been played since.” -- William Eaton

"For the very first time, ITDR spaceship travels back in time to unearth 4 tracks from 'Genuine' (aka Chris Zippel) finest productions originally released on Ninetysix sounds in 1997. Celebrating the 25th anniversary of this project, 'Nu Ambient Grooves' is the ultimate mindtrip experience for downtempo, IDM and TB-303 lovers."

Kita --------! It's like presenting a new style and outlook on music through a "book-off" music dig that is unique to Japan. also got a score of "8.4" and BEST NEW MUSIC, but 10 points are necessary for historical significance ... The last sanctuary released on CD in Japan in the 90's Heisei. It's no exaggeration to say that the overwhelming piece "Heisei No Oto", which is a compilation of unknown left-field pop music, has ignited various revival since the 10's and is a prestigious name in Amsterdam, the Netherlands. Appeared from the label ! Including Jun Sato and Love, Peace & Trance, which were also published in "New Age Music Disc Guide", Haruomi Hosono produced Yosui Inoue's Japanese realic "Pi Po Pa", and Toshifumi Hinata produced Xácara, Sakurai. Keisuke's statement Deep House "Harai", Yoshihiko Yokokawa (P-Model, 4-D, etc.) and Kazuko Hashimoto's new-age, ambient, and experimental sounds, as well as An ambitious compilation album that includes the abstract texture peculiar to 90's J-POP, which has not been revival yet like POiSON GiRL FRiEND and Tomoko Kino, which were mentioned before. It seems to be the freshest lineup among the editing boards released from the neighborhood that has promoted the obscure analog recurrence boom since the 10s. The music was selected by Norio Sato of and Eiji Taniguchi of , both the managers of a well-known niche store in Osaka. Supporting is a heart-warming gem called ! And the perfect liner notes by Chee Shimizu. It's a monument! MUST !!!!!!!!!!!

You’ll Never Get To Heaven (Alice Hansen and Chuck Blazevic aka Slow Attack Ensemble) returns with their fourth release Wave Your Moonlight Hat for the Snowfall Train, a collection of ethereal songs that move through the mercurial weather patterns of minimalism and dream pop. The duo named this album after the closing track on Phil Yost’s 1967 release Bent City, inspired by its prescient use of delay processing in elevating spare beatless arrangements into haunting arrays of sonic afterimages — an approach Hansen and Blazevic explore on this outing in their own way, with a few favoured instruments and a Chorus Echo and Revox in hand. The result is a collection of sparse, lightly dub-infused songs and instrumentals, equally icy and wistful, characterized by melodic fretless basslines, spaced-out harmonics, watery piano and marimba, hushed vocals, and tape echo treatments. Stylistically, it’s almost as if the duo was imagining what an early This Mortal Coil demo might have sounded like had Ivo enlisted in lieu of the usual cast, with a pared back L’Empire Des Sons as the session band, and June Hardin or a young Julee Cruise on lead vocals. The album evokes an overcast autumnal evening of cloud-watching, an inner journey witness to an expansive spectrum of moods, from nimbus clouds to shimmering sun showers. RIYL: Broadcast, Weekend’s ‘81 Demos, Chantal Weber, Orquesta de las Nubes, Hydroplane, The Moon and the Melodies, Eberhard Weber.

First Babe Roots album perfectly executed. This is the perfect balance between dub structures and reggae rhythms. Album composed and produced by Babe Roots in Berlin (DE) and Turin (IT) between 2013 and 2016. Mastered by Mathieu Berthet at Berthet Mastering Paris. Artwork by Miranda. 12" 180gr black vinyl.

Discrepant introduces a new series of albums based on the concept of "aquapelago", with gooey compositions from Andrew Pekler, Sugai Ken, Mike Cooper, Yannick Dauby and others. What is it about water that makes it so inspiring for experimental musicians? Discrepant's new series of albums promises to expand on a concept that imagines a deep underwater world. So it makes perfect sense that Japanese composer Sugai Ken - who impressed with 2020's slippery "Tone River" - should start things off with the unsettling 'Boundary', a spoken word piece in English and Japanese leading into Andrew Pekler's predictably balmy 'Shima No Yume', that sounds like being underwater and marooned on a desert island simultaneously. Brussels-based Mexican sound artist Vica Pacheco takes a different approach, splicing together environmental recordings and juxtaposing them with half-speed, haunted brass that sounds as if it's been recorded in an empty swimming pool. Mike Cooper swerves any obvious signals completely, preferring to create a secluded paradise on 'Lamma Island' with gusty field recordings and beachy guitar harmonics. Italian duo Babau bolt together one of our favorite tracks, using idiophones to create a shimmering backdrop that harmonizes with Visible Cloaks' cult "Fairlights, Mallets And Bamboo" mixes.

Antidawn reduces Burial’s music to just the vapours. 

The record explores an interzone between dislocated, patchwork songwriting and eerie, open-world, game space ambience. 

In the resulting no man's land, lyrics take precedence over song, lonely phrases colour the haze, a stark and fragmented structure makes time slow down. 

Antidawn seems to tell a story of a wintertime city, and something beckoning you to follow it into the night. The result is both comforting and disturbing, producing a quiet and uncanny glow against the cold. Sometimes, as it enters 'a bad place', it takes your breath away. And time just stops.

Coinciding with the release of the compilation "1972-1985 KATEBEGIAK Prog-Rock, Psych-Folk & Jazz-Rock Music from the Basque Country [Compiled by DJ Makala]", in which has been included Amaia Zubiria & Pascal Gaigne's "Itsasoa Laino Dago" song, we've just reissue for the very first time this rare & hard to find cult record of Basque music, released on 1985 by Elkar label. AMAIA ZUBIRIA & PASCAL GAIGNE "EGUN ARGI HARTAN" (ELKAR 1985) After the well-earned "Adarra" prize awarded by San Sebastián city council in 2021, the name of Amaia Zubiria is back on people’s lips, one of the most outstandingly beautiful voices in the history of folk and Basque music in general. In fact, thanks to the albums recorded with Haizea and with Txomin Artola and many other collaborations, she has been a constant presence in a long, fruitful career spanning over 40 years. However, despite this popularity, much of her extensive body of work is unknown or remains almost forgotten, apart from four or ve records and her most popular songs. This is a shame, because her forgotten back catalogue contains many of Amaia’s most moving songs. Among them, as a taster and an invitation to get into her music, we encourage you to listen to the enchanting “Itxasoan Laino Dago”, recorded together with Pascal Gaigne in 1985. A track featuring the electronic sounds created with great care by Pascal and adorned by Michel Doneda’s saxophone, and guided with a magical sophistication by the talented sound engineer from Hendaye, Jean Phocas. It is an impossibly beautiful melt of avant garde and traditional music (Text: Antton Iturbe)

"The Japanese avant-garde pop band strove to create a “sacred ambiance” on their second album, fusing unconventional arrangements with bouncing volleyballs and an eyes-wide air of wonder." “It’s rare that art-pop matches its extravagance with such alluring modesty. In doing so, Paradise of Replica feels like encountering cinematic spectacles in miniature.” —Joshua Minsoo Kim (Pitchfork, September 30, 2022)

Following the release of his album trilogy (Kwaidan, Komachi and Kofū), Meitei has established himself as a defining voice in contemporary Japanese music. By sharing intricate sonic stories and impressions of his nation's rich culture, he has built an aural world around his notion of the ‘lost Japanese mood’. His latest project, under the new moniker Tenka, aims to work without the boundaries of theme, storytelling or audience expectations. Spending many hours in the mountain forests that he lives close to, his latest project Hydration explores the rich sensory pleasures of his natural surroundings, focusing on colour, sound, smell, humidity, touch, atmosphere and taste. “For me, making music is not a concept of enjoyment or pleasure, but something that becomes a part of my life, a record of my daily activities, like seeing something with my eyes or breathing in something with my lungs.” A lot of the music on Hydration was created back in 2019, but Tenka felt that there was something missing in the final delivery of the work. Eventually this led to a conversation with the Berlin based, Japanese born scent designer, Ryoko, in which the pair discussed collaborating on a scent to pair with the audio. Designed as a way to give the listener a deeper connection to their own senses and the experience of the music’s author, the combination of ollifactory and aural components connect a shared love of Japanese ecosystems and traditions. ‘I began to feel that in addition to music, there needed to be another essential element - and that it must be a "fragrance”.’ Hydration is available from September 14 on LP, CD and digital formats. The fragrance can be purchased directly from the Métron Records Bandcamp page and comes in a 10ml bottle of diffuser oil, great for home diffusers, as well as an empty 10ml spray bottle in order to create a body or room mist by mixing the oil with water (instructions included for best results). All customers who purchase the fragrance will receive a copy of the album on CD with a companion booklet with words from Tenka and Ryoko about the project.

‘’之 / OF is a word that can be used as a preposition to express the relationship between a part and a whole. It is an unfinished tone, a broken sentence, a start and a whole. It is sustainable, full of potentials and longings.’’ London based performance and sound artist Li Yilei shared an experience familiar to many migrants during the past year of COVID-19 chaos. With their UK visa set to expire, and family back in China, Li made a last-minute dash to return to their nation of birth. Able to board one of the last few flights to China during the initial turmoil of the coronavirus outbreak, Li made it back to Shanghai for a two-week stint in a quarantine hotel. Though Li had already begun creating OF, the reality of the pandemic began to seep into the recordings. Each of the 12 tracks is a study in horology, using metaphorical sound transcriptions and atmospheric extractions to focus on the temporal relationship between experience and surroundings. Li’s awareness of their own understanding of time became increasingly heightened during quarantine and the emotional involvement found within these new realities informed many of the sounds created. ‘’I tried to portray each song as a short, scattered poem - a moment that I captured to represent each hour.’’ Composed using analogue synthesisers, vocal samples, field recordings and string instruments such as the violin and guqin, Li indulges in moments of grief, panic, healing, cessation, melancholy, vastness, hope, joy and emptiness as they explore the acoustic relations between humans and the many forces of nature. The art of the Song Dynasty, with its ancient traditions of poetry and timekeeping, were also great sources of inspiration for the album - whilst paintings from the period, specifically those of flowers and birds, are common themes throughout the tracks. Indeed, it is within the vastness of time that the album artwork comes to relevance. The eighth emperor of the Song Dynasty, Huizong, was a revered artist and a scene from his work ‘Finches and Bamboo’ adorns the album cover. 之 / OF is available from August 16 2021 in a limited pressing of 500 140gm vinyl in a natural translucent colourway. In support of the release Li has made a limited number of handmade xun (a traditional Chinese vessel flute used as far back as 7000 years ago) - these can be purchased from Metron Records bandcamp page. credits

A new avatar on 3XL, someone you may or may not have encountered before on the experiences / west mineral axis, tending to the inner life with a lush fantasy of sound-bathing beatdown and mossy atmospherics somewhere between Ulla x Malibu x Headz-era Mo Wax. ‘Earth FF’ yields a delicate bouquet of synaesthetic ambience designed to sooth yr frayed nerves. The album transposes a flickering vibe to inner sanctums, painting an organically detailed vista that hinges around late ‘90s/early ‘00s illbient/trip hop atmospherics referencing classic Mo Wax / Headz, and melting out into a sanguine bbblisss enhanced by a patina of field recordings. Distinguished by a tender grasp of tongue-tip thizz and lysergic nuance, the 10 tracks fan out in pruned designs between pads and whispered vox reminding us of Kenji Kawai or Nozomu Matsumoto on ‘Evil Day’, via the silvery contrails of ‘Beacon’, the eyrie illbient of ‘Root Loop’, to purest writhing-in-the-floatation tank kiss-off on ’Sunn’ replete with ASMR gynoid vocals on a Perila x Ulla x Malibu tip. With no sharp edges to snag your tumescent skin, it’s all low-lit neon, palm trees gently swaying in the breeze, eyes-rolling in the early-hours, blissed sorta gear.

Fine debut album from blue-eyed soul crooner Seán Being, a softly smudged suite of gauzy, subtly autotuned vocal harmonies a la How To Dress Well, Olan Monk or groggy aspects of pigbaby, wreathed with folksy strings and fractured grooves Seán’s succinct bouquet of seven songs, ‘Faux Window’ is a real one for the daydreamers. Its septet of carefully frayed paeans float by in a gentle haze from the ambient spritz of ‘Fake (Window)’ thru introspective thinking-about-thinking liens of thought recalling a lo-fi Laura Groves in ‘On’, to dialled-down R&B in ‘Everything’, whilst ‘Wasting’ shimmers with a knackered folksy lustre akin to pigbaby, and ‘Otherwise’ continues that drafting smudge to more Americana themed strums. The harmonised glossolalia of ’F.T.O.’ calls to mind Elaine Howley via How To Dress Well to these ears, and ‘This Is What I Want’ keens off into hazy middle distance ambient-pop style with shades of more eaze & claire rousay’s pop works.

Ekkehard Ehlers' seminal plays series was originally released on three 12inches (Staubgold) and two 7inches (Bottrop-Boy) in very limited runs. The entire series was previously only available as a CD compilation or digitally. Keplar finally presents it on double vinyl for the first time, featuring a new cover artwork. Domestic ethnology: Ekkehard Ehlers plays. ‘Play’ is a word in English with many meanings attached. Each one sends you down a different cognitive pathway. When I think of ‘playing’, in the sense of a game, I think of an activity involving more than one person. When Ekkehard Ehlers plays, he is very much on his own. Or, at least, alone but at the same time keeping intimate company with the artistic innovators named in his titles. Robert Johnson. John Cassavetes. Albert Ayler. Cornelius Cardew. Hubert Fichte. Is he playing with them, against them, about them, for them, to them? This can never be known. It is certainly a mistake to try to hear the ‘work’ of these originals in the sounds played by Ekkehard. They’re not cover versions. They’re hardly tributes in the conventional sense. Cassavetes and Fichte are not even musicians, although music played an important part in both their careers. Sure, there are little nods and flashes of recognition – tiny guitar licks among the minimal beats of ‘Robert Johnson 2’; rich bowed instruments in ‘Albert Ayler’, recalling the violin, cello and double bass arrangements on Ayler’s 1967 Live in Greenwich Village LP; the elongated organ lines of ‘Cornelius Cardew 1’ gesturing towards passages in Paragraph 1 of the British composer’s 1971 Marxist monolith, The Great Learning. Ekkehard is not so much playing these figures as allowing himself to be played by them. Playing as an activity also suggests freedom. Maybe the only thing all five named persons have in common is that they were all quiet radicals. In music, literature and cinema, they all stepped, without self-promotion or fanfare, into unmapped territories. Once there they found it necessary to invent new languages in order to survive. Necessity was the mother of their inventiveness. They were also uncomfortable avant gardists. Lonely types, fighting their corners out on the margins, with little reward, often misunderstood, ridiculed or ignored. All died unfairly young. Fichte a victim of HIV/AIDS, Cassavetes of cirrhosis of the liver. (‘Cassavetes 2’ sounds like a tender farewell played across the 59 year old alcoholic director’s death bed.) The deaths of Johnson, Ayler and Cardew have never been satisfactorily explained, and remain shrouded in myths and conspiracy theories. The pioneering expeditions of all five began in that spirit of playful freedom, but inexorably drew them towards the heart of darkness. So these ‘plays’ are micro-dramas, sonic soliloquies, monolog-ins to the private accounts of various geniuses in Ekkehard’s ‘follow’ list. Hacked sensibilities. Artistic manifestos boiled down and distilled, skinned and dried in the digital smokehouse. (Ekkehard Ehlers Flays.) Each of these plays was originally floated out into the world alone on its own disc. The collected works play well as a team – a tranquil, introspective experience where each artist has his own identifiably unique sound character. As an album, Plays is a ‘Plattenragout’ – a ‘record stew’ – which was the title of Hubert Fichte’s LP review column in the leftist culture magazine konkret in the 1960s. The novelist’s work investigating the cultures of South America and the Caribbean islands has been called ‘domestic ethnology’. The writer himself referred to his ‘ethnopoesie’. Ekkehard Ehlers’s intuitive electronic portraits are a form of domestic ethnology in themselves. Invoking another of Ekkehard’s musical aliases, they are portraits of cultural ‘autopoiesies’ – creators whose works were strong enough to have their own self-regenerating life force. (by Rob Young)

Limited 200 copies, Black Vinyl. On behalf of re:discovery records, it is with great excitement that we announce the release of 'Ambient7 - Excepts from 1995-2000' compilation. Ambient7 was a threesome out of Japan that included Chica Asamoto, Masayuki Momo and Shuichi Ikebuchi. Chica Asamoto, an accomplished saxophone player while Masayuki Momo and Shuichi Ikebuchi both talented synthesizer players and producers in their own right. Together, they released 3 full albums during a 6 year span from 1995-2000. Ambient7's sound was a blend of chill out styles including ambient, techno, balearic house and everything in-between. A unique and heartfelt far east version of chill out techno music . 'Escape' is a soft ambient techno track with a touch of dub that is sure to sit along the greats of genre and the time. Surrounding 'Escape', are two short but worthy examples of the Ambient7 sound. First, is the unique tribal attention getter that is 'Prologue' then ending with the beautiful balearic saxophone serenade that is 'Epilogue'. Flip the record and you 'Deep Sea' that comes in just under 11 minutes. A very unique track that we will just encourage you to take the trip and describe it how you would like. Lastly, is the balaeric ambient house lullaby that is 'Orange Sunshine'. Some who have heard this track call it a reason to buy the record alone for not even hearing the other tracks on this EP. A standout and a perfect set opener or closer, this is sure to be the re:discovery track for the summer for 2022. Genre: Techno, ambient, balearic, chill out, dub

The second release on Tonight’s Dream Records is delivered by Baltimore-based ambient and new-school Kosmische guitar musician PJ Dorsey, better known as Tarotplane. The Ektachrome Dawn follows on from the stunning Horizontology (12th Isle) and Light Self All Others (Impatience). He describes the album as a collage of work collated since 2017. Drawing in on inspirations from guitar-oriented psych and modern ambient music, using elements he values and revere in older 70’s head records and mixes it with modern techniques and influences. The tracks fuse traditional rock music, ethereal ambient textures and downtempo electronica, blended together seamlessly to create an engaging and unique listen throughout. The album has been mastered by prolific producer and mastering engineer Rafael Anton Irisarri at Black Knoll Studio who has worked on album for artists such as Inhmost, Juliana Barwick, Grouper, Steve Hauschildt, Loscil, Telefon Tel Aviv and Tycho amongst hundreds of others.

Daucile Moon, which follows Unknown Mobile's releases on No Bad Days, Normals Welcome and Young Adults, started four years ago in Vancouver when Levi Bruce was recovering from a broken toe and collecting MIDI files he found in an old Geocities archive. It was finished earlier this year in Montreal with help from Mike Silver, AKA CFCF, who added plaintive guitar to complete the album's placid and stargazing style of ambient and downtempo music. The album takes its name from an old, obscure Canadian jazz song that Bruce describes as "pretty but also with a serious amount of melancholy," which could also describe his new record. In the vein of Pacific Rhythm label-mate Khotin's standout New Tab album, Daucile Moon comprises drowsy beats and spaced-out loops, referencing the pinnacle of early '90s chillout and ambient while infusing it with the dazed sound of Canadian electronic music in the 2010s. Bruce's process in making Daucile Moon was long but leisurely. He took the melodies from those MIDI files and moved them over to his analogue outboard setup and then back to his computer, creating a digital-analog hybrid that sounds as pleasantly worn as a dog-eared novel. Live instrumentation, like Silver's classical acoustic guitar stylings on "A Windless March Ouest," mingles with occasional dance music references like the subtle acid squelch of "Ravers Sojourn" or the hazy breakbeat of "Oenology." The album was inspired by various happy memories, from sharing wine with friends ("Oenology") to a dog that Bruce met ("Simone Can't Swim"). The result is a patient and personal record that highlights the best qualities of Bruce's previous work as Unknown Mobile, with his distinct style of melody and soundscaping set free from kick drums and the dance floor. It's telling that Bruce originally sent the record, at first called Melancholic Songs For Dogs, to his parents and two grandmas—this is beautiful, relaxing music whose appeal is universal. Thanks for listening!