PRE-ORDERS
163 products
Latest EP from Lewisham, London born and based Coby Sey – and inaugural release on Coby’s new label, Cardinal Loom, created 10 years after founding and initiating the label and collective CURL with Mica Levi and Brother May. This EP consists of 5 instrumental songs: 3 new songs and 2 pre-existing songs, all led by piano and keyboards. The mini-LP version comes with 3 more songs, exclusive to vinyl. “I’ve spent years devoting my time collaborating with artists and musicians, in the studio or live on tour. In rare moments of solitude, I sit in front of a piano or my trusty DX keyboard, play melodies I have in my head and pour it out. These recordings are some of these moments.” The vinyl version of ‘Passengers’ is extended to a mini-LP with 3 vinyl only tracks ‘Crossing’, ‘Seen In Another’ and ‘Extended Capacity’, new vinyl only recordings of ‘Face’ and ‘To’ alongside existing songs ‘Dusk’, ‘Passengers’ and ‘Dawn’.
Copilot said: Originally released as a cassette in 2020, A Heavenly Touch stands as an important early work by Claire Rousay. Blending field recordings, drone, electronic sound, free improvisation, and electro-acoustic elements, the album reveals many of the ideas and approaches that would come to define her later output.
Experimental musician Claire Rousay and visual artist Dani Toral have been in each others’ orbit since young adulthood in San Antonio, but it took a decade for them to find A Softer Focus. Before Rousay had put her compositional gray matter to task for the album’s music, she knew she wanted to work with Toral- being familiar with her past work centering her Mexican heritage. Toral’s vibrant color palette and reinterpretations of comfort in oneself and the natural, vegetative world connected easily with her explorations in communication and intimacy. Historically, Rousay primarily operated in non-melodic experimental music, sculpting compositions from obsessive field recordings, inserting voice-to-text, percussion played via text message sounds, conversations, and daily life. By contrast, the six-song collection and collaborative project A Softer Focus is lush and almost entirely melodic, even veering into pop at a couple points. Though Rousay created the album’s recordings, Toral created the artwork and visual narrative for the album - the recurring floral motifs and designs, the photography, the video work, and the ceramic whistles that accompany a special edition of the vinyl record. She also assisted in crafting the linguistic framework, assisting with song titles, and coming up with the name of the album - “A Softer Focus” became the album’s central motif, alluding to the meditative or recollective-dream state of creating. Toral, being primarily a painter and ceramicist, took on this challenge of working digitally to create a visual language accompanying the music. She wanted to explore the feelings of present familiarity she felt with Rousay, through warm light and glow while mimicking the flow of the music using her organic soft shapes melding together and creating a portal-like entry to the album. Fittingly, the songs gently amble from one to the next, creating a syrupy, hypnagogic narrative that uses string sections, field recordings, and vocals to touch upon love, friendship, endurance, and transcendence - sounding like what living inside a brain must feel like, oscillating on how far to let its guest in. Songs like “Peak Chroma” and “Stoned Gesture” are the closest Rousay’s gotten to pop, and are signposts of her growing compositional prowess. It’s on the third track “Peak Chroma” that the first and most wonderful surprise of A Softer Focus arises. The song begins with an airy drone that cuts out right as Rousay’s tastefully autotuned voice emerges alongside cello from Chicago musician Lia Kohl. “Stoned Gesture” also boasts autotuned vocals, though it is a more overtly melancholy composition, perhaps even dirge-like while Rousay brings in field recordings of percussive fireworks that dart around another of clinking ice in a glass. A Softer Focus is an exciting next step for both Rousay’s compositional practice and Toral’s visual work, showcasing both artists venturing into new territories, and coming out the other side with strengthened friendship and impactful creation. It’s a testament to their trust, playfulness, and candor that we’re allowed to come along for the ride.
A Malaysian double-header 7” capturing the explosion of synth-pop and breakdance in the mid-80s. Both tracks are reissued for the first time on vinyl, with the artwork playing upon the design of a Lunar New Year red packet. The A-side leads with the ‘King of Hakka Songs’ Chong Sau-Lin with the Shaolin Band, and the track ‘恭喜恭喜’ (‘Gongxi Gongxi’) - a Mandarin greeting commonly made at Chinese New Year. Chong channels the early 80s sound of Grandmaster Flash or Beat Street, while deftly placing traditional gongs alongside vinyl scratching, drum machines and synth riffs dripping in attitude. With very few Melectronic artists creating music inspired by Chinese New Year, it’s refreshingly quirky and smile-inducing. On the flip is a never-before reissued Malay power ballad by Mazuin Hamzah, a catchy slice of nostalgic synth-pop guaranteed to restyle your hair into a voluminous perm. Hamzah was part of the Malaysian disco supergroup Quinary MM with her siblings, until she left to pursue a solo career in the early 80s. ‘Cinta Di MBawah Seribu Warna’ (translation: ‘Love Beneath A Thousand Colours’) is taken from her last album in 1987 before she left the music industry to marry into the royal family of Brunei. Chong Sau-Lin (called Jeung Siu Lam and Zhang Shaolin in Cantonese and Mandarin respectively) is a popular artist from Malaysia, known for enthusiastically singing in Hakka dialect and Mandarin Chinese about mundane situations or local attractions. Chong has been releasing music since the late 70s including covers of Michael Jackson, while his 90s Eurobeat/hi-NRG song ‘Jalan Alor’ has recently Mbeen re-circulating among international audiences
Recorded the year after 'Spiritual Nature' (1975), the seminal work by the great Japanese drummer and percussionist Masahiko Togashi, who continued his career by developing his own unique playing style despite becoming paraplegic. This album, which symbolizes Masahiko Togashi’s peak creative period and is highly regarded by collectors of Japanese jazz and spiritual jazz, is being reissued as the 12th release in the Spin This Now! series—50 years after its original release in November 1976!
Fourth volume in Dave Huismans' beloved ex_libris series - a tightly focused suite of slowly unfolding, percussive midtempo mosaics. Bare-bones with maximal dynamics, the narratives are driven by rhythm this time. A diversion of sorts, yet very much from the same environment as previous volumes. Alive as ever.
Seán Being recorded Thank Goodness alone between London and Ireland from 2023 to 2026, building an overdubbed chamber band from bass, viola, piano, harpsichord, voice and drums. A key figure in experimental Irish music, Being has played with Princ€ss and Maria Somerville and worked with artists including Olan Monk, Nashpaints and Florian TM Zeizig. Their wider practice stretches from electronics and improvisation to Gregorian chant and car-horn performances, with those varied interests feeding into this first full-length album.
Bo Harwood (1946–2022) was one of those behind-the-scenes figures of American independent cinema: a self-taught musician, composer, sound editor, sound mixer and songwriter. Harwood started out as the lead singer and guitarist of a Southern California rock band before a chance meeting with John Cassavetes changed the course of his career. He scored his first feature, The Bach Train, in 1969, and later joined Husbands as an inexperienced assistant in the editing room. He gradually became Cassavetes’s sound editor, music supervisor, composer and sound mixer, eventually working across six of his films, from Husbands and A Woman Under the Influence through The Killing of a Chinese Bookie, Opening Night and Love Streams. Harwood’s music is inseparable from the peculiar emotional universe of those films: strange, romantic, funny and often devastating. Harwood and Cassavetes worked closely and instinctively together, developing music in the process of making the films. The surviving master tapes reveal something of this exchange: alongside finished pieces are improvisations, experiments and conversations, capturing the two of them working through ideas in real time. Harwood’s compositions were often recorded as rough “scratch tracks”, with Cassavetes preferring their immediacy and vulnerability to more polished arrangements. This nine-track LP brings together some of that work. There is something wonderfully intimate about hearing these recordings outside the films: the songs stand on their own, while retaining the rawness and emotional charge that made Harwood’s collaboration with Cassavetes so distinctive. A small document of a remarkable and largely overlooked body of work.
Jakarta x NYC’s charming Asa Tone trio chase their Ariel Kalma jams with a beatific bouquet of electronica-meets-gamelan delicacies, surely recalling their near namesake Asa-Chang & Junray’s Y2K classic ‘Hana’ as much as Visible Cloaks in their play of feathered rhythmelody, hyaline synths and lathered vox, benefitting from Tristan Arp’s filigree production. “Music From Memory presents ‘Mutualkind’, by Asa Tone, the collaborative project of Melati ESP, Tristan Arp and Kaazi. Written between Indonesia, Mexico City, Berlin and New York, the record unfolds through a process of continual exchange, where distance itself becomes part of the group’s music formation. At the centre of the album is the idea of a shared language, formed across differences in geography, experience and musical approach. One such process explores Tristan’s electronic hand percussion triggering fragments of Melati’s voice in real time, while a library of spoken words and phonemes are reshaped through chance-based rhythmic processes. Voice becomes percussion, rhythm becomes melody, and the lines between individual contributions begin to dissolve. Some pieces, including ‘Water Talk’ and ‘Second Language’, were recorded live in a single take, while others were assembled gradually through remote exchange. During the final sessions in Indonesia, Balinese percussionist Putu Septa contributed kendang to two tracks, bringing the instrument into dialogue with modular synthesis, FM textures, electronic drums, MIDI wind instruments and Melati’s shifting vocal forms. Sounds are slowed, stuttered and reorganised, reflecting a world shaped by illusory borders, vanishing landscapes and glitching ecosystems. Yet the album remains rooted in the act of tending to something shared: a musical field built through listening, improvisation and repeated moments of reunion. ‘Mutualkind’ seeks to blur boundaries without erasing the identities that meet across them, providing a space in which voice and instrument, self and other, separation and togetherness can briefly exist at once.”
B. Close’s B. Chamber (Stratum B) follows Stratum A, completing a two-part collection drawn from over 130 pieces recorded in rural Connecticut between 2021 and 2025. The Los Angeles artist works with tangled rhythms, fractured electronics and unpredictable samples, moving between abstract sound design and restless footwork. 'Mediatic' features the drawn-out vocals of Woodson Robins Legrand, while 'Botanic Circuit' incorporates floating vocal fragments. Elsewhere, 'Mourning Class' picks up the pace and 'Playing Possum' collapses into wonky trumpet sounds. An intriguing selection from a remarkably prolific experimental musician.
This autumn sees the release of ‘En de stilstaande tijd voor (elektro-)akoestisch ensemble’ (And Stationary Time for (electro-)acoustic ensemble), the new album by composer and musician Sietse van Erve. With this release, Van Erve marks a definitive turning point in his artistic career: bidding farewell to his long-standing pseudonym Orphax to continue under his own name. From Rewire to the Studio The foundations for this album were laid during a memorable live performance at the Rewire Festival 2025 in Den Haag (The Hague). There, Van Erve presented the composition for the first time with an ensemble featuring Anne La Berge (flute), Gareth Davis (bass clarinet), and Dario Calderone (double bass). The leading Dutch newspaper De Volkskrant praised the performance as "incomprehensibly still", drifting on a single, drone-like tone through which the instruments softly float. Van Erve recalls the intensity of that debut: “I don’t think I’ve ever been as nervous for a performance as I was for Rewire. A packed hall in Amare, during such a major festival”. Following a second successful performance at Festival Musica in Strasbourg, the decision was made to capture the work permanently in the studio. A New Vision of Nostalgia The composition originates from Van Erve’s fascination with time and nostalgia, inspired by a 1960s postcard of a Spanish village where time seemed to freeze. While based on a solo piece from 2020, the (electro-)acoustic instrumentation provides a completely new interpretation. The transition from solo electronics to an ensemble brought unique challenges. Van Erve explains: “Certain effects can be triggered with a single knob on a synthesizer, but they result in almost unplayable parts for other instruments. In those situations, I presented the challenge to the group and we searched for a solution together.’’ Identity and Evolution The album also marks a personal transition for the artist. Regarding the departure from his moniker, he states: “I was looking for the right moment, and now it feels right. With this project, I have finally been able to do what I’ve had in my head for a long time... I feel I have achieved something, and that is why I think it is a good time to initiate the name change." Realisation through Crowdfunding Recorded in the spring of 2026 at Studio 150—located in a former church in Amsterdam-Noord known for its exceptional acoustics—the album was captured by Joeri Saal. The production of the deluxe vinyl LP and CD was made possible through a successful crowdfunding campaign via Dutch platform Voordekunst, where supporters contributed to the studio and production costs.
Everyone knows Hawaii is one of the most musically rich regions in the world... why then is the Honolulu airport using AI music? When we heard the news that the airport is playing AI-generated “muzak”, we were reminded of Brian Eno’s genre-defying 1978 album and were similarly inspired to react. Recreating an ambient masterpiece isn’t in our wheelhouse, so we started digging through our catalog of licensed music and quickly realized this was our chance to highlight some of favorite songs from the so-called "CD era", primarily the 1990s and 2000s with a few exceptions. In less than 20 minutes, we had 17 original songs from local artists, recorded between 1984 and 2017, ready. This is Music For The Airport.
Jahtarian Dubbers reaches Volume Six with another collision of 8-bit electronics, heavyweight dub and cosmic experimentation. Roger Robinson joins Mophono, while Maffi, Tapes and Green Jesus bring warped riddims and Casio mischief. The Other Others, Daniel Monaco, Elijah Minelli & Kiki Hitomi, Bo Marley and S.NOVA push things further out, with Slim Levy sending The Beatles into orbit. Snorks add more dub pressure, disrupt heads into spaced-out hip-hop and Barcelona’s STA close proceedings with a suitably mind-bending finale.
Lino Capra Vaccina and Luca Formentini join forces on Limen, an album of spontaneous improvisations recorded during a five-day studio residency in 2025. Created without fixed structures, the music preserves the immediacy of its first performances, with subtle later additions expanding rather than reshaping the original recordings. Named after the Latin word for 'threshold', Limen explores the space between improvisation and composition, silence and resonance. A founding member of Aktuala, Lino Capra Vaccina is a key figure in Italian experimental music whose minimalist approach has evolved over five decades. Luca Formentini is a composer and sound artist whose atmospheric work blends improvisation, field recordings and electroacoustic techniques, with collaborators including Holger Czukay, Robert Rich and Steve Jansen.
Okayama drummer and electronic musician Takafumi Okada, aka Nboj Tespo, follows Blessed Planet with Stories In The Womb. Inspired by the birth of his child, the album imagines the development of a fetus through low-end electronics, pulsing rhythms and enclosed, womb-like sonics. Real-life recordings are worked into the music: ‘Umbilical Chant’ incorporates the sound of the baby’s umbilical cord, while ‘Bye Placenta’ captures its first cry alongside pinging synths, polyrhythmic percussion and organ-like figures. A psychedelic electronic take on growth, birth and the strange business of arriving in the world.
Berlin-based French-Vietnamese sound artist Margaux Gazur explores distance and connection on Over There. Built from acoustic instruments, electronics, field recordings and found sounds, the album moves between ambient composition, musique concrète and melodic passages. Family runs through the record: ‘Stella & Louise’ uses recordings of Gazur’s younger sisters playing during a Christmas holiday, while ‘Finding the Way’ and ‘To the Ones We Love’ draw on childhood nostalgia and reconnecting with family and friends. Over There turns everyday sounds and personal moments into music about separation, belonging and finding a way home.
*Originally pressed in 2021 - this is a brand new master and cut in a limited edition version* In partnership with Analogue Foundation, Oshu Records is proud to present the limited edtion vinyl repress of "Laroyê" in a thick cardboard tip-on gatefold jacket on 2x 180g vinyl. Acclaimed Hungarian, Berlin-based producer, composer and pianist Àbáse (AKA Szabolcs Bognár) returns, sharing a special, 5 anniversary remaster of his breakthrough project 'Laroyê'. Releasing on Friday 1 May via Bridge The Gap & Oshu Records, this sensitive exploration of Afro-Brazilian culture originally began as an audio diary, documenting Szabolcs’ travels and collaborations in Brazil through a collection of voice memos, fragmented beats, sketches and field recordings. As his journey progressed, and his collaborations and research deepened, the music project started to take on its own life: "Laroyê evolved through weeks and months of research and collaborations into the album that it is now. That means that all the sessions were done in different apartments, small studios, often with borrowed equipment, which all adds to the character, but makes the creation of a coherent sound a challenge. Benjamin Tierney, Erik Breuer and Analogue Foundation did an incredible job with the mixes and with this new remaster. I truly believe that we are able to hear the tracks in a new light, with even more depth and clarity." Coming from the West African Yoruban language, Àbáse stands for "collaboration" – a key element of the music perfectly encapsulated on 'Laroyê'. Recorded in Rio de Janeiro and Salvador, Àbáse spent five months working with diverse artists, from young talents to veterans of the Brazilian scene including Letieres Leite, Luciane Dom, Dofono d'Omolu, Afrojazz and more. The album explores the rich heritage of afro-brasilian culture through samba, MPB and Candomblé, mixing these with broken beat, hip hop and afrobeat, creating a contemporary homage to the classic Brazilian sound. Szabolcs shares: "Despite already leading and managing musical projects that are close to my hearth, I always felt that one day I would like to start a solo project, where I could take full responsibility for the artistic direction and the music would reflect a truly personal vision. In 2017, I decided to take five months to fulfil a childhood dream and travel to Brazil to expand my creative horizon and expose myself to new influences." An album standout is the bass-heavy, afro-brazilian ‘Agangatolú, which Àbáse describes as "best exemplifying the story and concept of Laroye as a collaborative effort - a research project exploring the rich heritage of Afro Brazilian culture through my own lens." The track features singers and percussion players Jadson Xabla and Gabriel Santana - two artists based out of one of the oldest terreiros (houses of worship) in Bahia, whilst drummer Jorge Dubman is an integral part of one of the most famous afrobeat bands from Salvador IFA. The contributions of one of Szabolcsoldest collaborators - Hungarian flautist Fanni Zahar - also made the track a full-circle moment. On a quest for cosmic grooves of unity, Àbáses music pulls from an eclectic blend of global reference points, including modal jazz, Hungarian folk, West African, Brazilian, hiphop and underground electronic music. His work has drawn widespread critical acclaim from the likes of MOJO, Songlines, Soulection and The Guardian, and been supported by key tastemakers including Gilles Peterson, Jamz Supernova and BAMBII. As a keyboard player, Szabolcs has also collaborated with the likes of Wayne Snow, Dele Sosimi, Patti Smith, Emmanuel Wilkins, Gulty Simpson and Zeitgeist Freedom Energy Exchange. 'Laroyê' (2026 Remaster) will release on Friday 1st May via Bridge The Gap & Oshu Records.
Irish electronic pioneer Roger Doyle presents Idir, his third solo release for Allchival. Mostly composed between 2023 and 2025, it brings together fixed electronic works, software piano improvisations and voice. The album also features a new recording of music from Operating Theatre’s 1986 production of Sebastian Barry’s The Pentagonal Dream, performed by Olwen Fouéré, plus a piece responding to the dreamlike language of James Joyce’s Finnegans Wake. Meaning ‘between’ in Irish, Idir connects different eras, technologies, theatre and electronic composition.
"On the album, you’ll find a touch of the old and a great deal of new material. ‘Geen Genade’, ‘Wat Voel Je Nou’ and ‘Verloren’ still stand strong in pride of place, reminding us why we love De Ambassade so much in the first place. The opener and title track, ‘Duistre Kamers’ has a dark industrial vibe that is a perfect introduction of what is to come. Somehow ‘Zo Hoog Als De Bogen’ feels warm and cold simultaneously, it maintains an almost spooky tone; ‘Malefica’ in comparison sounds raw, uncut and almost upbeat. ‘Niet Van Mij’ is one of the reasons the album is so special. Its unexpected wavering synths create another contrast of the melancholic and the joyful in one, and the heavy percussion and echoing vocals tie it in with the rest. ‘Laatste Uur’ kicks you in the face, again with this industrial, moody feel and beautifully handled synths. The closing track ‘Wapengekletter’ is elegant, and a new favourite here. The dark vocals, haunting melody and cleverly tempoed percussion conclude the album wonderfully. Overall, De Ambassade has hit the nail on the head and produced this autumn’s must have Amsterdam album."
Dennis & Christy Soares are a husband-and-wife duo whose prolific output - over 100 albums and nearly 2,000 songs recorded across CD, cassette, vinyl, and streaming - stands as one of the most quietly remarkable self-made catalogs in contemporary music. "Based for two decades on the Big Island of Hawai'i before recently relocating to Centralia, Washington, the pair have been making music together since meeting at San Joaquin Delta College in 1986, channeling a DIY spirit rooted in sincerity, spirituality, and an unshakeable belief in the power of a song. Their work spans platforms most listeners have never heard of, distributed through sheer determination and an infectious enthusiasm for reaching new ears. Free At Last is an 11-track anthology compiled by AGS founder Roger Bong, representing less than 1% of Dennis & Christy's total recorded output. Drawing from more than 600 songs considered over the course of 12 years, the collection makes no claim to being definitive - instead, it offers what Bong calls "simply an invitation": a way in for new listeners, and a distillation of the warmth and pure intention that runs through everything this duo creates. From their earliest recordings to the present day, Dennis & Christy have never stopped making music on their own terms. Free At Last is an introduction long in the making, and very much overdue."
"In August 2025, we gathered in Tindafel, a village by the sea in the north of Morocco, with a bunch of instruments our friend Abdou had lent us, along with a few things we brought ourselves. At the core, Pablo plays gimbri, Miguel plays drums, Juan plays guitar and keyboards, sings and handles the radio transmissions, and Javier sings, plays keyboard and works with digital effects. Loops were created interchangeably by Pablo, Miguel and Javier, while Pablo would often also pick up the guitar or keyboards, with everyone moving between instruments and roles throughout the recording. Nothing was written beforehand. All tracks were improvised and recorded in a single take using a room microphone, so no mixing was possible. To this day, as we write this, none of the tracks have been played again — yet!"
MTMS2 - Mystica Tribe Meets Scopeotaku 2 Following the duos first release - Mystica Tribe Meets Scopeotaku on 13/Silentes. "Mystica Tribe and Scopeotaku push their collaborative adventures further with MTMS2. Creating psychedelic dubs with rich textures, tape saturation and echo chambers. Utilising acid synths combined with deep dub rhythms and melodic electronics evolving into a new dimension of dub. Deep psychedelic electronic steppers blend with bass pressure and heavyweight rhythms drifting into techno, ambient and mutant dub. Creating a sonic adventure where tradition is often pushed into unfamiliar territory. Two distant worlds, one frequency. Nine tracks for the mind and body. Deep dub frequencies. Psychedelic textures. Heavyweight rhythms. Mystica Tribe is the musical alias of Tokyo, Japan based producer Taka Noda. Drawing on a wide range of influences from dub, soul, bass and rhythm & blues. Mystica Tribe has been developing a very distinctive sound that exists in a weird freaked out zone, between dub and techno. Noda is especially interested in deep psychedelic music and this is reflected in his productions. Which are equally suited for late night listening sessions or on bent broken dancefloors. Scopeotaku is the alter ego of Scott Prentice, a Glasgow, Scotland based artist. Scopeotaku has experimented with audio since purchasing a sampler and a four track cassette deck many many moons ago. His love for left-field dub and eccentric sounds have led him to create a variety of output, from industrial ambient, illbent electronics to mutant dub."
Since his landmark 2015 album 'Precipice', Byron Westbrook has explored sound in broadly visual terms, using his subtle compositions to activate or address viewable phenomena or themes. Andrei Tarkovsky famously described his filmmaking process as "sculpting in time" and Westbrook takes a similarly philosophical approach to his detailed soundscapes, creating perceptible color, texture and physical space by carefully analyzing his various elements and their psychological effect on the listener, using techniques that are often only employed by film technicians. His last album, 2024's acclaimed 'Translucents', was an opportunity for Westbrook to directly address the concept of "audio afterimage", bending the history of electroacoustic music in on itself and dazzling the senses almost cinematically. And on its 2026 follow-up, 'A Landform Embodies A Mythical Creature', he continues the train of thought by making an even more concerted effort to harmonize with the language of visual art, working in parallel with acclaimed Los Angeles-based artist Brice Bischoff, whose enigmatic environmental photographs share much of the same creative DNA. Westbrook first met Bischoff in 2013 and was immediately struck by their commonalities; not only did they share a fascination with duration and perception, but they both grew up in southern Louisiana, where the extreme humidity provokes a very tangible human response. Just as Westbrook explores space, texture and sonic color by working with long, detailed stretches of sound, Bischoff makes extended 15+ minute long exposures, interacting with the environment in front of his camera's open shutter to leave only phantom remnants behind. Both artists are concerned with the metaphysical, using their art to suggest a world beyond our own - operating on a different timescale or illuminated by different frequencies of light. The title of the album is taken from the text of Bischoff's book 'How Close' and its photographs, captured in a remote location that has often been used as the backdrop for science fiction films, directly inform Westbrook's approach to the sound. Responding to 16 of the book's photographs, Westbrook created 16 discrete "audio scenes", using cassette recordings of his real-world interactions with resonant spaces, using various objects to create echoes and drones in canyons, caves and ravines. Back in the studio, he augmented the recordings with spatial effects more commonly used in film, fabricating artificial zones within his concrete environments. "For some time, I've been using sound to represent a sense of presence that can be visualized," he explains. "I've also been experimenting with the activation of environments as a way to illustrate space, so Bischoff's photographs - with their ghostly blurs of human intervention and sculptural objects - provided a unique prompt to explore that idea further." And that's expressed quickly as blustering winds metamorphose into seismic, rumbling drones on the album's opening side. Uncanny footsteps echo somewhere overhead before becoming rainfall and intricately tuned tones suggest the humming desert atmosphere. Westbrook continues to work at his own pace, painting in subtle shades yet always recognizing the power of the edit. His scenes sometimes arrive with a force that's as powerful as the finale of "slow cinema" maestro Apichatpong Weerasethakul's 'Memoria', when an imagined object suddenly becomes real. Before the end of the first side, earthly sounds are augmented by chattering alien vocalizations and whirring mechanical whining that might suggest a vast extraterrestrial object looming in the mountains. On the flip meanwhile, Westbrook descends into eldritch territory, letting harsh weather uncover sounds that might have been buried for millennia. Often terrifyingly beautiful, it's sound that fluidly shifts between the physical world and a space that's much more intangible, suggesting history, myth and mystery with its levitational textures and colorful blurs. Like Bischoff's photographs, Westbrook's scenes consider the limitless possibility of the unseen: what might lurk in the parts of the spectrum we can't see, or hear?