MUSIC

The ambient lofigaze soundtrack for interdimensional travel. Compiled from hissy cassettes 4-tracked between 1991-'95, lovesliescrushing's sophomore album xuvetyn originally released in 1996, now achieving the patina of legend some 30 years later. This double LP edition is housed in a tip-on jacket illustrated with Melissa Arpin Duimstra and Scott Cortez's abstract photography, plus a lyric sheet translating the expressive glossolalia. "A disorientingly beautiful cloud of neon drones and voices from the other side. Music that will envelop you, that you can disappear inside of." -Jefre Cantu-Ledesma

Known for the meditative ambient jazz masterpiece "Natten"! This work is also outstanding! The prestigious label "Luaka Bop" presided over by David Byrne of Talking Heads has announced the latest work "Kosmos" by Bremer McCoy, a noteworthy jazz unit from Denmark consisting of keyboardist Jonathan Bremer and acoustic bassist Morten McCoy.

This essential reissue presents a rare collection of dub instrumental reggae tracks recorded by Tommy McCook (who you may know as the sax man from super ska outfit The Skatalites) and Bobby Ellis (who played the trumpet for dub legends The Upsetters) in 1977. Originally licensed to Grove Music, this still remarkable album features renowned musicians such as Sly and Robbie, Ansel Collins on organ, Clinton Fearon from The Gladiators on lead guitar, and Bernard Harvey of The Wailers on piano. The recordings took place at Channel One and were mixed at King Tubby Studio and every single tune cuts deep and with great authenticity.

Based in Hong Kong, vocalist and songwriter Anita Tatlow — also known for her work as Salt of the Sound and Narrow Skies — presents a delicate ambient work that gently draws the listener into its sound world.

Based in Hong Kong, vocalist and songwriter Anita Tatlow — also known for her work as Salt of the Sound and Narrow Skies — presents a delicate ambient work that gently draws the listener into its sound world.

A work that crystallizes the delicate ambient and electronica that Maps and Diagrams excels at into a quiet homage to nature. Warm cassette‑tape textures blend with gently wavering electronic tones, creating a serene sonic world where wind and light seem to drift slowly through a forest.

Part of only a small and very much underground music scene in his hometown of Venice, Gigi Masin self released two modestly pressed LP's 'Wind' (1986) and 'Wind Collector' (1991) and appeared along side Charles Hayward for the Sub Rosa compilation LP "Les Nouvelles Musiques De Chambre Volume 2" (1988).

Having met with little commercial success in Italy at the time, Gigi Masin's solo albums remained for the most part totally unknown. His music has though in recent years, and seemingly by pure word of mouth, developed almost something of a cult following.

Gigi Masin's uniquely intricate and at times deeply emotive compositions take the listener into a realm of contemplation, a spellbound mind state where time and space appear to dissolve. His sparse and hypnotic often loop-based compositions seem to draw parallels with Detroit Techno's earliest beginnings, all at once conjuring those same feelings of both melancholic longing and ecstatic joy.

With access to Masin's large body of work, far greater than that of the handful of released recordings, Music From Memory's new compilation covers a period of over 30 years, from the mid 1980's up until recent works . Including seventeen compositions, most of which have remained unreleased or unavailable until now, 'Talk To The Sea' aims to shine a light on Gigi Masin's unique and heartfelt talent. This is electronic music from the soul."

2025 repress. "Out-of-print LPs from the critically acclaimed electronic experimental singer/songwriter. Unavailable since 2012.'This sound / synapse transposition is as haunting as it is beautiful -- surely Grouper's best.' --Tiny Mix Tapes. 'If past Grouper releases have inhabited abyssal trenches and damp backwoods, here Harris takes us journeying across constellations and stars. Two of the most beguiling albums of the year, exquisitely realized and singularly evocative.' --The Quietus. 'This music feels both spacey and expansive and also oddly intimate and grounded, the work of someone who has mastered her tools and knows how to get the most out of them.' --Pitchfork. 'Harris finds a way to dive deeper in simple and unassuming ways.' --NPR."

Neo Gibson records, performs, and produces under the alias 7038634357. Their music is characterized by its formal precision, melodic structure, and an idiosyncratic emotional tenor. Up until this point, it has been primarily self-released on small-batch CD-R’s and performed in intimate settings. Synthesized and recorded entirely on their computer, Neo Seven is their first vinyl record, and perhaps their seventh release depending on where you begin amidst their prolific and fluid output. Within a runtime of just over thirty minutes, Neo Seven contains a spare, beautiful, and raw journey through the artist's emotive, psychologically-charged ambient songwriting. The album’s seven tracks bleed into and out of one another, continually forming and deforming between soundscape, song, and silence. The record opens slowly with Winded, as brief intervals of soft noise, nearly indistinguishable from dust breeding on the turntable, gradually become the ground upon which harmonic form is built. As tones subtly shift across regular lulls of sound, one gets the sense they’re traveling amidst a pulsar in deep space. Neo’s heavily-processed melodies, gated regularly by silence, form the heartbeat of the record, creating an expansive field in which an interior, subjective journey takes place. Square Heart utilizes this motif to rhythmic ends, in what surprisingly develops into an achingly tender pop song, albeit one in which Neo’s robotic, heavily vocoded voice is distant, sullen, and mixed low. As each track explores its own interior logic, complex forms emerge out of simple structures, and layers of oscillations commingle and build upon one another. Rhythmic cuts of compressive texture begin to feel like meteors burning up in the atmosphere or hail upon the windshield. The record begins and ends with Neo’s slowly built-up waves of ambient harmony being cut by grating digital noise. On the final track, Perfect Night, beneath the thrashing, a song-form appears nearly inaudibly. Hidden beneath the noise, Neo’s voice bears a clarity and a softness that is revealed only momentarily, when the noise flitters out cinematically toward the end of the track.

A leading figure in the current ambient/experimental scene, Portland-based Patricia Wolf delivers her second release on Balmat with a soundtrack for a documentary set in Iceland. Centered around the UDO Super 6 synthesizer, and incorporating guitar, mallet percussion, and field recordings, it carefully maps the intersections of landscape and memory. Avoiding overtly dramatic swells, its sustained layers shift subtly, allowing traces of childhood recollections and Nordic folklore to emerge with quiet beauty. A work where Wolf’s meticulous sound design and lyrical sensibility converge, standing as a defining statement in her career.

Six Pianos is a minimalist piece for six pianos by the American composer Steve Reich. It was completed in March 1973. Music for Mallet Instruments, Voices and Organ – again – emerged in the same year. The piece is scored for glockenspiels, marimbas, metallophone (vibraphone without resonator fans), women's voices and organ. The piece is in four sections, played without a break, marked off by changes in key and meter.

Heith's music has always been infused with sacred mystery, striking a delicate balance between lived experience and imagination. On Escape Lounge, his second full-length release for PAN, Heith draws inspiration from contemporary digital spirituality and interpretations of experience that are crossing over from cultural niches into the mainstream – including internet-based conspiracy theories and psychological operations. The album presents a sonic diary recorded across Milan, Berlin, London, and Stockholm, crafting a post-informational folklore while exploring new territories in personal songwriting. The title Escape Lounge, inspired by airport waiting areas, serves as a metaphorical waiting room of the mind. Its hidden passages can lead either to peril and loss or to enlightenment and kaleidoscopic mental landscapes. This liminal space echoes the mysterious realms of Twin Peaks or the viral "Backrooms" phenomenon. Within it, contributing musicians – including frequent collaborators Leonardo Rubboli, Aase Nielsen, and 33 drummer Alexander Iezzi – move like ethereal presences, creating intangible soundscapes that leave traces of post-hypnotic melancholia. Notably, the vocal contributions from Price and James K enhance the otherworldly atmosphere, their multifaceted timbres adding layers of intentional ambiguity. Throughout the album, Heith masterfully blends acoustic instruments, human voices, and digital technology along an uncharted path that references the experimental pop of 90s trip-hop, 2000s indie-folk songwriting, and lush Mediterranean psychedelia. The sounds are meticulously crafted, combining synthesizers with guitar-based compositions in a computational songwriting approach that creates a collage across eras and landscapes. Each track unveils new dimensions of this delicate hallucinogenic narrative, delivering an immersive listening experience. As reality continuously shifts, Escape Lounge emerges as both sanctuary and confinement – a space of momentary connections and endless potential. In 2025, Heith will debut a new live show and audiovisual collaboration titled 'The Talk' with James K and Günseli Yalcinkaya, commissioned and premiering at Sonar Festival, Terraforma, Nuit Sonores, and Reworks.

Prajñāghoṣa's debut ambient album on Into The Deep Treasury is a narrative, a musical poem, an attempt to share the story of a transformative odyssey — an outer and inner journey marked by higher aspirations, spiritual growth, and a profound connection with the world.

Coming with a 8 pages booklet

Absolutely essential. Deluxe 2LP edition of this impeccable album from 1988. The spot glossed Gatefold jacket features artwork including archival photos & drawings from Woo’s archives as well as liner notes by Clive Ives (one half of the band). Issued for the first time in its entirety on vinyl, spread over two LPs, and remastered from newly discovered hi-quality DAT sources, we’re thrilled to present the definitive version of Woo’s most fully-formed album. A cosmic testament to the healing power of love, utilizing vocoded clarinets, pastoral guitars, homespun folk lullabies, and lilting electronics, coalescing into a an hour plus long journey through their otherworldly soundscapes. A prime entry point to Woo’s sound, containing some of their most beloved songs, such as ‘Make Me Tea,’ ‘It’s Love,’ ‘Hopi’ and many others, and also including a never-before heard bonus track – the vocal version of ‘It’s Love.’ Into The Heart Of Love was originally self-released on cassette in 1988, with a wider cassette release in 1990. Compiled from home recordings from the preceding years, and released during a transitional point for the band, the Ives brothers see this album as their most complete work, offering space to the listener to stretch out and immerse themselves into the warmth of their sound. Woo is the uncategorizable project of Clive and Mark Ives from Brighton, UK. Since the 1970s, the duo have been recording a plethora of eclectic sounds, most falling under the blanket genre of new age, but spiraling out toward notions of ambient sounds, jazz, and other spiritual takes on modern music. They received some acclaim for their early releases, including 1982's Whichever Way You Are Going, You Are Going Wrong and 1989's It's Cosy Inside, but their work began to receive renewed appreciation during the 2010s, when labels such as Drag City and Palto Flats reissued the band's albums. The brothers remained active all the while, digitally self-issuing material.

Featuring contributions from Nick León, More Eaze, and Ultrafog, Berlin-based producer ben bondy—a key figure in the post-“dubient” underground alongside peers like Exael and Ulla—unveils his latest work, XO Salt Llif3, now issued on vinyl via 3XL. A fragile sound-poem adrift in the fissures of emotion, the album layers microscopic textures, whispered vocals, and fragmentary lyrics. On “Bend,” the refrain etches the resonance of broken love and resignation, while hazy synths and grainy noise sketch out blurred contours. Tracks like “Ur Ghost Is My Shadow” and “Flood” summon waves of introspection and gloom that rise and recede like tides. Neither blessing nor refusal, XO Salt Llif3 stands as bondy’s latest statement—an inquiry poised at the edge of existence itself.

Shipping begins September 21: an improvised ambient/experimental document born in Kyoto’s Imadegawa. The collaborative work IMA DE GAWA GINGA by CazU-23 & Sinkichi now arrives on cassette. CazU-23, an artist who has explored a unique sonic world through solo and band activities, employs guitar and monosynth to striking effect, while Sinkichi—a veteran DJ/producer active since the dawn of Kyoto’s club scene—works fluidly with modular synths and field recordings. Recorded in a single, unbroken session at Softribe Studio, the album interweaves the plucked tones of a 1970s Teisco guitar, shimmering modular layers, and environmental sounds gathered from the city, achieving a quietude and spaciousness akin to the night air. Subtle noise and breath-like resonances evoke layers of time and fragments of memory, with a sense of prayer offered as homage to the late ambient DJ OPERON. A meditative minimal new age/ambient work, where city and nature, present and memory converge into a small yet luminous galaxy.

‘Four Seasons in Kyoto’ marks the final chapter of The Kyoto Connection’s Ambient Japanese trilogy, following Postcards (2018) and The Flower, The Bird and The Mountain (2022). Like its predecessors, this album pays homage to the pioneering ambient and environmental music movements of 1980s and 1990s Japan. The album unfolds as the imagined soundtrack to life in a quiet rural village, where nature and tradition shape the rhythm of everyday existence. Across 15 evocative compositions, The Kyoto Connection captures the essence of Japan’s ever-changing seasons, weaving together delicate melodies and immersive soundscapes. With contributions from friends and fans in Japan, Four Seasons in Kyoto is both a tribute and a transportive listening experience from producer Facundo Arena, the composer and producer behind The Kyoto Connection. With Four Seasons in Kyoto, Facundo Arena continues his deep exploration of Japanese ambient and environmental music, blending his long-standing admiration for Kyoto’s cultural heritage with a sound that feels both nostalgic and timeless. While Postcards was an instinctive homage and The Flower, The Bird and The Mountain drew from real Kyoto field recordings, this final chapter in the trilogy leans further into the imagined, an intimate portrait of an unseen yet deeply felt Japan. Organic soundscapes and drifting melodies mirror the slow change of seasons, evoking the impermanence central to Japanese aesthetics. The result is a record that seamlessly bridges the natural and the synthetic, memory and imagination, a fitting conclusion to a journey that began with an algorithmic discovery and blossomed into a rich sonic world of its own. 2025 marks the 20th anniversary of The Kyoto Connection and also their first tour of Japan where they will be visiting Tokyo, Okinawa and of course Kyoto collaborating with local musicians and playing live. The album is pressed on heavyweight 180 Gram Vinyl with sleeve design by Bradley Pinkerton.

A long-lost live recording from 2005 by Shizuka, the legendary psychedelic band led by doll artist Shizuka Miura—whose cult popularity has only grown since her passing—and her husband Maki Miura, renowned guitarist of Les Rallizes Dénudés, Fushitsusha, and Ookami no Jikan. Released by UFO CREAtions, a new Beijing label carrying the spirit of P.S.F. into the present alongside imprints such as Black Editions, An’archives, and Eschogras Records. Captured at Tokyo’s Koenji U.F.O. Club in 2005, this long-hidden performance is an essential document for fans. Fragile gothic atmospheres, doll-like dreams steeped in girlish decadence, smoke-shrouded psychedelia in the direct lineage of Les Rallizes Dénudés, rustic incantations, and dreamgaze-like weightlessness intertwine to conjure a snowfield of phantom suns—nowhere and everywhere at once. Lo-fi yet radiating an uncanny beauty, this is a true hidden gem of neo-psychedelia. Limited to 100 copies.

Suishou no Fune, the solitary psychedelic band whose works have graced Important Records, Holy Mountain, and Japan’s avant-garde stronghold P.S.F. Records. True to their name—taken from a classic song by The Doors—they have long spun visionary and transcendent sound worlds. Now in stock: their 2024 double-cassette box set. Released on Love Share Dopamine (L.S.D.), a sub-label of Beijing’s rising UFO CREAtions, carrying forward the devotion to P.S.F. alongside imprints such as Black Editions, An’archives, and Eschogras Records. Recorded live at the sacred venue Kuroneko Sabō in Asagaya in April 2024, the performance moves from pitch-black P.S.F.–to–Ftarri-like free improvisation and silence, through the smoke-shrouded, decadent psychedelia in the lineage of Les Rallizes Dénudés, to drifting slow-psych like ripples across water, and even slow psychedelic shoegaze recalling Hallelujahs and Nagisa ni te. A definitive document of dense, multifaceted visions. Hand-numbered edition of 100 copies.

Praised by The Wire as “mystical, expansive and serene.” Oren Ambarchi—renowned Australian experimentalist, head of the influential imprint Black Truffle, and long-time collaborator with Jim O’Rourke, Keith Rowe, and Keiji Haino—joins forces with Norwegian guitarist Fredrik Rasten, known for releases on Edition Wandelweiser, Sofa, and Meenna, for this striking 2025 collaboration. Released on the adventurous Belgian label VIERNULVIER (home to Claire Rousay, Hieroglyphic Being, and Miaux), the album offers a newly composed score to Eduard Grečner’s 1967 Slovak cult film Dragon’s Return. Recorded live at the Videodroom Festival during Film Fest Ghent in 2024, where the score was premiered alongside the screening, the performance captures a singular moment of improvisation between sound and image. Interweaving 12-string guitar, voice, flutes, percussion, and shells, Ambarchi and Rasten conjure a soundworld at once folkloric and contemplative, suffused with the aura of ritual prayer. The result is a breathtaking evocation of a forgotten myth reborn in the present.

The self-titled album by Spool, the collaborative project of Berlin-based sound artist and ambient composer Florian T M Zeisig—known for his deeply moving Music For Parents, dedicated to his insomniac parents—and performer/artist Angel Paradise, has arrived via Somewhere Press. Glassy, delicate particles of sound drift like snowflakes through a quiet winter night, casting a gentle, ethereal glow. Layers of piano, field recordings, and microscopic synth textures unfold into a sound world suspended between memory and dream. Warm, intimate drones align with the rhythm of breath, while faint melodies linger like whispered thoughts. At times naïve, at times reverent in their embrace of emptiness, these eight tracks resonate with a profound introspection. A crystalline embodiment of contemporary ambient aesthetics—where silence and tenderness converge.

The 12th full-length by Pacific Northwest artist Liz Harris aka Grouper is a collection of songs spanning fifteen years. She characterizes Shade as an album about respite, and the coast, poetically and literally. How one frames themselves in a landscape, how in turn it frames themselves; memories and experiences carried forward mapping a connection to place -- 'an ode to blue / what lives in shade.' Songs touch on loss, flaws, hiding places, love. Deep connections to the Bay Area, and the North Coast, with its unique moods of solitude, beauty, and isolation -- a place described and transformed by the chaos and power of rivermouth, wild maritime storms, columns of mist that rise up unexpectedly on the road at night. Portions were recorded on Mount Tamalpais during a self-made residency years back, other pieces made longer ago in Portland, while the rest were tracked during more recent sessions in Astoria. Throughout, Harris threads a hidden radiant language of voice, disquiet, and guitar, framed by open space and the sense of being far away -- 'Echoing a lighthouse, burying the faults of being human / Into things that we project upon the sky at night.

Ruins was made in Aljezur, Portugal in 2011 on a residency set up by Galeria Zé dos Bois. I recorded everything there except the last song, which I did at mother's house in 2004. Iʼm still surprised by what I wound up with. It was the first time Iʼd sat still for a few years; processed a lot of political anger and emotional garbage. Recorded pretty simply, with a portable 4-track ,Sony stereo mic and an upright piano. When I wasnʼt recording songs I was hiking several miles to the beach. The path woundthrough the ruins of several old estates and a small village.The album is a document. A nod to that daily walk. Failed structures. Living in the remains of love. I left the songs the way they came (microwave beep from when power went out after a storm); I hope that the album bears some resemblance to the place that I was in.

Am I ever gonna be the one? Do I ever wanna be with someone? Am I ever gonna be the one? Will I ever end up being someone?