A dip into the evolving and colorful world of modular synth buoyed by Elisabeth’s discernible progression towards structure and overall lift. Even in what is likely his most ambient of compositions to date, Cedric keeps every shifting pad, drifting drone and pull of strings towards a single focal point. There is plenty of drift and floating harmonics, but ultimately every sound has a home, a job and purpose.  Ambient music as aspirational world-building.  


Heavily chopped vocals expressing a wordless nostalgia for a bygone childhood where we processed the world as we experienced it. Nascent pre-frontal cortex filtering everything through emotion and memory. Mountie’s crushing ennui casts a long shadow through its lilting orchestral samples and birch-bare snaps of percussion and the slow roll of a kick drum propels “Gilly” back through time. 


“I can’t help the ones that I love get better”. “In Between” is sung in protest against the tendency to avert our gaze from the hurt that we cause others in our pursuit to alleviate our own pain. Written in massive swells of shoegaze sheen over the rawness of self-discovery of raw truths, “In Between”is brutal introspection written in a sky-writing plane over Brooklyn. 

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“Rowan” is a compassionate and contemplative song that bring together two pianists carving out a shared sonic space. Lilting melodies are anchored by a damped piano hitting lower register chords that highlight the mechanical action of. the instrument. Perfect falling asleep and waking up music.

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Kyle Yip is the Toronto-based musician, label owner and promoter reintegrating old school techno workman-like beats with a left-field array of influences from free-jazz to footwork to Acid House into a body of  experimental work that feels fully lived in that a pastiche of unrelated points. “In My Room” flows from uneasy beats to smooth jazz samples.  Excellent work.  


It’s impossible not to be impressed by the Brooklyn art-pop band ackerman. Blending technicolor washes of Animal Collective’s maximalist melodies with a penchant for side-chained four-on-the-floor house beats, “84 Palms” is a strangely nostalgic but ultimately danceable song that sounds conceived in a bedroom but at its most at home blasting across a crowded dancefloor. 


A London and Berlin based collaborative project between Sean Phillips and Martin Aggrowe, “Sea Life” is a modern aquatic journey of immersive synths, bubbling beats and underwater vocals. Mapping the ocean topography and sine wave charts, “Sea Life” offers a meditative dip into a world of gentle current pulls and abundant unesse life unsween 

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Always a reliable resource for modern classical music, 1631 Recordings have delivered again with this stunning solo piano recording by Matthew Stewart-Evans. Highlighting a penchant for melancholy melodies strung together with a smoky, late-night flair with trills and flourishes that tend to hang in the air like smoke from a forlorn cigarette. 


The South African solo guitarist’s “Ocean Gate” is a wide-open and expansive exploration of the guitar’s melodic potential. Drenched in reverb, “Ocean Gate” moves from technical runs – delivering with gorgeous harmonics – to meditative passages that allow notes and phrases to come to their natural conclusion – suspended before coming back down to earth.


Named after the “helpful idiot” and only purely good character in the Bothers Karamazov, “Alyosha” dips and sways into fragmented melodies and full-bodied instrumentation that swirl and land in unexpectedly rich sonic territory – full of playful counter-melodies, pitch-shifted vocals and weighted lyrics that trend towards the wistful and nostalgic. Engaging work from this Portland based artist. 


Lest you forget Chillwave and its powerful ability to wring unplaced nostalgia from a swirling sea of synth lines, softened percussion pads and a commanding vocal melody, SLC’s Divorce Court is here to remind you that you owe back payments. “Sea of White” is a floating, woozy composition that hits that hits some of the most poignant high notes of groups like Small Black while maintaining a forward gaze out of the Chillwave ghetto.  


What does a “polygender post-world punk rock octet designed to spread chaos, mayhem and psychedelic vibrations of universal love and cosmic death” mean to you? How does it operate IRL? In between the wheezing, mechanical drone of guitars, the monophonic ritualistic abandonment of self, the tales of conspiracy theory that results in self-actualization from psyche-shattering trauma, the sine-riding synths and trumpets with a threatening aura, “Sea of Corpses” is lovingly held together with strong psychic ropes between the sprawling membership of Pisswater Preachers. 8 members totally bought into a higher calling of universal love and cosmic death. “Sea of Corpses” is a startlingly realized step-forward for the band, recalling the Butthole Surfers and Oxbow’s muscular noise rock as much as it does the work of a troupe of cosmic pranksters. 

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