Wayfinding is Christopher Bissonnette’s sixth solo studio release and his first for 12k. The album embodies an evolution of Bissonnette’s work, moving from an exclusively synth-based series of explorations to an amalgam of electronics and acoustic methods. Each track seeks to find grandeur on a diminutive scale. Bissonnette’s focus has shifted from sweeping pastoral drones to introspective passages with delicate melody and elusive harmonies interlaced with studio and field recordings. Wayfinding is Bissonnette’s most intimate and gauzy work to date and executed with beautiful restraint.

Immortal Memory is a collaboration between vocalist Lisa Gerrard and Irish composer Patrick Cassidy. Billed as a cycle of life and death and rebirth, Immortal Memory is better described as an orphaned film score. Cassidy's warm arrangements allow the former Dead Can Dance singer to step out of the dark medieval world that she's called home for nearly 20 years – though there is much of that world within these castle walls – and focus on the simplicity of love, faith, and loss with a grace that's bereft of the icy perfection of her previous work. Gerrard, whose voice has aged like the finest oak, displays an almost supernatural mastery of the material. Her effortless contralto wraps itself around the ten Gaelic, Latin, and Aramaic spirituals like an evening prayer, making each stunning entrance the equivalent of audio comfort food.

At the same time Brian Eno was working on Here Come the Warm Jets, he was flexing his experimental muscle with this album of tape delay manipulation recorded with Robert Fripp. In a system later to be dubbed Frippertronics, Eno and Fripp set up two reel-to-reel tape decks that would allow audio elements to be added to a continuing tape loop, building up a dense layer of sound that slowly decayed as it turned around and around the deck's playback head. Fripp later soloed on top of this. (No Pussyfooting) represents the duo's initial experiments with this system, a side each…

The debut album from Sardinian composer Blinkar från Norr covers a rich, atmospheric and melancholic stretch of territory. Metaphors For Things was born from composer Andrea Garau’s own personal experience of the world today, brought to life through currents of powerful sound and an always shifting but ever-pensive state.
The album aims to express the negative conflicts and diseases often seen in people and modern society, capturing thoughts, emotions and feelings that can generate internal conflicts, anxieties and fears.

Kosmischer Pitch is the 2005 album by German DJ/producer Jan Jelinek. While he normally releases music under a number of pseudonyms, Jelinek often does music under his own name and this is one of them. The CD features a hidden track at the end of track 8, an untitled song that has been isolated into its own file for the MP3 version. This was released on his own ~scape label.

Corymb is the 2004 album by Bryan Hollon, better known under the pseudonym Boom Bip. This was released on the Lex label and features remixes by Boards Of Canada, cLOUDDEAD, Mogwai, Lali Puna, Four Tet and a number of someone elses.

Sanctuary of Dreams (2004). Jesse Sola records as Numina. Sanctuary of Dreams, his first release on a major label (Hypnos Recordings), might be his best effort yet. In the past, his CDs have leaned to the darker sides of ambience. While this disc does have some ominous tones, the overall timbres are gentle and soothing. Sola's style allows the uplifting chords to be the overriding persona of this CD. He combines organic textures with languid atmospheres to create warm and friendly soundscapes…

A companion piece to 2018’s Listening To Pictures, this second volume in the Pentimento series presents eight new tracks by the music visionary, continuing his lifelong exploration of the possibilities of recombination and musical gene-splicing. Pentimento is defined as the “reappearance in a painting of earlier images, forms, or strokes that have been changed and painted over” and this is evident in the innovative production style that ‘paints with sound’ using overlapping nuances to create an undefinable and intoxicating new palette.
In classic Hassell fashion, the title can be interpreted in a myriad of ways, but perhaps the most pertinent at the moment is the human instinct to sing and play through a rain of difficulties…

The Storm is an excursion into deep, often un rooted ambience. Stearns can completely transform a space with his swirling layers of sounds. Environments cascade atop each other as the Balinese "Ketjak" chante merges from a white noise of rain and barber-pole glissando, but he also leavens The Storm with welcome respites of minimally drawn melody. The Last Feeling is a techno-tribal trance work of plaintive flute melody and hypnotic hand percussion, while The Light in the Trees illustrates the deep melancholy Stearns can evoke with just a few well-placed chords.

The second Hypnos release by James Johnson (following Entering Twilight from a couple years back), The Butterfly Chamber is a refined, delicate and beautiful piece of work. James Johnson has advanced his art, especially from the standpoint of musicality, and the incorporation of more traditional elements, into an ambient style. Johnson himself describes The Butterfly Chamber as follows: "With a sonic pallet of generative ambient textures, minimal piano, and live acoustic performances from Chris Short (Ma Ja Le) & Susan Johns, The Butterfly Chamber features richly woven textures and sinuous atmospheres."

The Ministry of Inside Things, includes Chuck van Zyl on synths and Art Cohen on guitar. Their music has been inspired by the Berlin-School of cosmic spacemusic and influenced by everything from sci-fi themes to nuclear fission to chillout room abstractions.
MoIT enjoys the live environment and uses it to further explore and invent their musical stylings. The ultimate goal is to create in the mind of the listener a sense of movement through space along the arc of a dynamic contour. Owing much to improvisation, each original performance traverses many sonic terrains…

Climb aboard to partake on a “Soulful” journey of wondrous feel-good music, evoking warmth, light and intimacy. Familiar but stunningly fresh, the latest Lemongrass output appears like meeting up with a good friend. Cruising at ease through a splendid day, bathing in the sun atop a green meadow or a solitary walk along a beach – that magic is on display throughout the whole album run. Roland Voss aka Lemongrass is a master of weaving subtly soothing and salutary atmospheres by balancing natural and electronic sound sources.

This UK EM duo is bound to set the scene on fire with their debut disc. Fans of mid 1970s Tangerine Dream will love the pulsing sequences and dense Mellotron which harkens back beautifully to Phaedra and Rubycon. Composed of four extended excursions, each track is a veritable cornucopia of rhythms, flowing Mellotron backdrops and various space plucks and laser flashes of effectual synthetics. The album is not just a TD copy, but uniquely original in its own right.

Michael Stearns is an electronic wizard, sound designer and master of analog synth space music. To a certain extent, Michael Stearns can be considered as the founding father of the Californian sacred space music scene next to Steve Roach and Robert Rich. Sacred Site marks the return of Michael Stearns as a solo artist after five busy years creating spectacular soundtrack music. Stearns saw the dawn of the 90's while traveling to Indonesia, Thailand, Egypt, Costa Rica, Brazil and the Galapagos Islands to record indigenous music and sound effects for film assignments. Arriving with an open mind and a finely tuned ear for ambience, he left stimulated - not only by the exotic soundscapes and unfamiliar instruments he heard, but also by the powerful, elemental music of these ancient worlds…

Blending the current trend for all things noisy with something altogether more 'composed' we end up with a curious concoction of Cliff Martinez and Wolf Eyes, stopping at planet Badalamenti for a strong cup of Joe ("black like midnight on a moonless night"). Frost's primary influence (and sound source…) for the album was Michael Gira's seminal noise-rock band Swans, an influence which bubbles majestically on the album's central piece, cunningly titled 'We Love You Michael Gira'. The track starts simply enough; shifting, moody synthesized tones sitting eerily next to shivering waves of guitar noise before both give way to the sort of glacial blip-work that would make Mika Vainio jealous, and then it hits you; chunks of percussive noise that enter the sound-field like a serial killer bursting into the family home, gritty and abrasive, raw and untamed. The Swans factor isn't lost in this track, it's something that needs to be played so loud that it almost hurts the eardrums for full, visceral effect and proves as if proof be needed that Ben Frost is a rare producer who really knows how to use the loud as it should be used.