Emika & Paul Frick collaborate and make magical music from pianos, a vibraphone robot and synths that play themselves.

Classy debut album of horizon-scanning but intimate chamber compositions by Elori Saxl, seamlessly weaving a range of classical orchestration with field recordings and electronics.

Belfast-born, London-based duo Bicep (Matt McBriar and Andy Ferguson) release their hotly anticipated second album, “Isles”, on 22 January 2021 via Ninja Tune.

Arca drops the dekunstructed club electronyx in favor of captivating church-core theatrics - think Michael Nyman x Björk, ish.

I'm a wave. I'm a particle. Tiny droplets of pain. Quintessence of suffering. Quintessence of happiness. I'm the element. I'm the foundation. I'm a god. I'm nothing. No time. No reality.

Hilyard brings his first solo album to Cryo Chamber with Furthermore. A deep space adventure that lets you float in zero-G and gaze upon the anomalies of the universe.

Secluded Loops is a free compilation that features some tracks created around the same time as the ones from "Winter Restlessness", my debut album released last year through Cryo Chamber, and tracks that were discarded from the initial track listing drafts. Around 30-35 songs were made, so here's 5 handpicked tracks from the archives.

Imagine the internal workings of the human mind laid to waste like some post apocalyptic world. Those few tortured threads of humanity left drifting painfully through a vast empty nothingness. A deafening silence becomes an unbearable blinding hum, the pulsing in your temples an industrial nightmare.

We humans, the nascent beings that we are, still haven’t quite figured out the full potential of music. Dancing, meditating, emoting, protesting; these are all pretty basic. But what if we communicated more complex ideas with music? What if we codified all of our activities with music? This idea came to composer Joanne Forman when she was commissioned to create the soundscape for an environmental exhibition of sculpture called Artifacts from an Alien Civilization in 1987. The sculptures, elaborate ruins that had been found on the moon, begged the question: who created them and for what purpose?

Jaga Jazzist return with their new album Pyramid, where the legendary Norwegian eight-piece takes a deep dive into post-rock, jazz and psychedelia influences. It’s their first album since 2015’s Starfire, their ninth album in a career now spanning four decades, but it marks the group’s debut on Brainfeeder, the LA-based imprint curated by Flying Lotus. On Pyramid, Jaga Jazzist have crafted a suitably cosmic sound to match their new label home, all the while nodding to forebears spanning from 80s jazz band Out To Lunch and Norwegian synth guru Ståle Storløkken, to contemporaries Tame Impala, Todd Terje and Jon Hopkins.

Johannes Auvinen is regarded among the best to ever wield a 303, but here commits his love for classic European synth music in a convincing style that holds up to comparison with inspirations ranging from Ash Ra Temple’s Jenseits to the iciest contours of the Sähkö label.

Its first reissue since it was first released in 1985, Giovanni Christani’s acoustic ambient album has a cult status among collectors, samplers and leftfield music lovers. Evocative and alluring with the right amount of rhythmic momentum to give it a narrative and movement; as we flicker and sway from tribal tub-thumping fear to meditative chiming bliss it’s clear that Giovanni was decades ahead of his time.

Sightless Pit brings together three of the most ambitious and prolific minds in heavy music today. The trio, comprised of Lee Buford of The Body, Kristin Hayter of Lingua Ignota and Dylan Walker of Full of Hell, combine their profound talents and eclectic tastes to make music that is defiantly original and emotionally sublime. Grave of a Dog was crafted without any clear rules or guidelines beyond their desire to work with one another.

Huerta’s debut album for Voyage is a righteous journey along the coast of California; a psychosomatic blend of melodic rhythm, natural sounds and ambient textures.

Bob Moses formed when two high-school acquaintances from Vancouver (one a rock musician, the other making trance and progressive house) happened upon each other in a New York City parking lot. Not bad for an origin story. Recorded in Los Angeles after a few years of road testing, their second album (after 2015’s Days Gone By, which yielded them a Grammy) plays like a more anthemic spin on the style of bands like Chromatics or The xx: sleek, melancholic club pop with a touch of indie rock. “You and I found our faith in the will of a lie,” Tom Howie sings on the Depeche Mode-ish “Back Down,” rising up before vanishing into the dry ice of Jimmy Vallance’s synths.