Code Indigo is one of those hard to categorise electronic bands whose music and concept albums cross genres and has wide appeal. The music is original, with thematic compositions, an imaginative combination of synths, keyboards, guitar, samples and rhythms plus a good helping of experimental, ambient and down tempo chill out influences. The music compares to that of a ‘Blade Runner’ style soundtrack, with Pink Floyd and Art of Noise influences. The band was founded in 1994 by David Wright and Robert Fox with the original line-up completed by Nik Smith and Vaughn Evans.

Solar Promenades is a strong set of new age/space music tracks that are dreamy and melodic, but that also carry an undercurrent of mystery and darkness. Enterphase is made up of keyboardists Fred Becker and Jeff Filbert. On this release, they are joined by David Wright, Dean de Benedictis and John Dumitru, who contribute additional synth work and sound design. They make creative use of a massive arsenal of synths. Enterphase’s music recalls the sounds of classic space music and Berlin school electronica of the seventites. Their music has hints of early Tangerine Dream, Klaus Schulze, Mychael Danna, Steve Roach and Michael Stearns. Many of the tracks on Solar Promenades are gentle and contemplative. Enterphase makes extensive use of the bell-like sounds of the Yamaha DX7, along with slow, phasing strings, creating textures that change continually without jarring…

Serge Douw was born in Australia and is an expert in laser technology, this album being the musical score to a laser light show which tracks the formation of life on Earth.
Powerful and emotive, grand and majestic, the strength and purpose of this futuristic music will entrance you. Monumentally moving music with percussive and inventive scores that captivate the essence of life on Earth, and the changes that are needed to create harmony and to evolve positively into the future.
Basically if you are "into" Jarre then you should find much to your liking on this album.

Deep Skies 1: Light From Orion (2003). Forming the first release in Kevin Kendle's exciting new Deep Skies series, this is music inspired by the constellation of Orion. Orion contains some amazing features - supergiant stars, beautiful star-forming nebulae - these were the inspiration behind the amazing sounds on this album. All the hallmarks of the finest American space synth music pioneers of the mid-late eighties, combined with the best influences of artists such as Serrie and Stearns. But the sheer magical feel and atmosphere of the music sets it apart from even those great musicians…

Innovative Communication has honored that historic mission with Lunar Landing, a package which includes an official Apollo 11 patch and a special commemorarive CD combining tracks from IC's most distinguished New Age composers and actual radio transmissions between Apollo 11 and NASA Mission Control to recreate the riveting drama and transcendant awe of those heady days in 1969.

Chris MacDonald releases music under the name Telomere. MacDonald’s primary instrument is a Serge modular synthesizer (also called "The Mighty Serge" by fellow space-travellers Kevin Braheny and Michael Stearns), a now legendary piece of gear whose hallmark is its flexible programability and the resulting unique sounds. MacDonald is known for creating electronic deep space music.
His gifts shine through on his 1998 debut recording, Astral Currents. The music here almost has a bit of a Tangerine Dream feel in places, but then traces of 1970s Pink Floyd and Steve Roach happen to come out of this recordings as well. Astral Currents is a very warm recording, and one that is a truly a cult-classic among ambient music fans…

The music of 'Lander Modules' was recorded and mastered in January 2024. The album is a live recording of 'Home Concert 58'. The five tracks tell a story of ancient, present and future lander modules, sent out to the moons of the solar system.
As much a live performer as an electronic-ambient producer, Martin Stürtzer utilizes improvisational techniques and a broad collection of new and vintage synthesizers to create the deep worlds of sound he is known for with Phobos, Sphäre Sechs and Thalaron.

Night in The Vapor Jungle (1999). With this follow-up to his first release Mysterious Motions of Memory, visionary artist John Flomer returns to his magical palette to draw forth deep, introspective, at times almost dangerous, ineffable melodies beckoning the listener to the resting place of scattered passions and forgotten ideals, waiting to be rediscovered and set free. Dark and moody piano textures enchant, ethereal symphonies of sound envelop, and pulses of rhythmic vibrations conjure patterns like constellations of stars in yet another ingenious and creative work by a composer unlike any other today…

Jonn Serrie introduces Day Star, the second chapter in his sci-fi series that began with the release of Thousand Star. Day Star further explores deep space tapestries and galactic vistas, giving the audience a rich sonic voyage with every listen. The song titles and poem act as a guide to the voyage with timing and sound design elements emphasizing direction and place. The album is intended to play as if the listener were taking part in a imaginary science fiction novel told with music and sound.

There is no sound in space, of course, and yet over the years certain conventions have grown up, especially in film, as composers and sound effects people have tried to provide aural equivalents to the sights of stars and planets moving through the void. By now, listeners "know" what space sounds like, and Jonn Serrie's series of albums, some of their material drawn from the soundscapes he has developed for planetarium shows, well represent these impressions. In the slow-moving patterns, bits of melody and rhythm are heard here and there, but most of the music is open-ended: if not formless, it nevertheless employs loose structures in which moods or themes can stretch or be abruptly terminated. Century Seasons is a two-disc compilation in which tracks from earlier Serrie albums have been remixed and woven together to create a lengthy journey through musical space…

Jonn Serrie proves on Planetary Chronicles, Vol. II a second time that in the genre of space music there are no limits to the imagination. Exploring the universe with Serrie - inner or outer - is like watching a plume of smoke twist and turn in currents of air then gradually disappear. This innovator of space music achieves an otherworldliness on Planetary Chronicles, Vol. II by discovering the uncharted possibilities of the synthesizer. This is not Big Bang Music; rather, it's the quiet exploration of the invisible matter of whatever universe you choose.

"Celestis: Space Ceremonial Music" definitely stands out in the discography of this project, known mainly for its post-industrial and avant-garde recordings. It would be no exaggeration to say that this is their most accessible work (in a good sense) correlating with the best examples of such acclaimed masters of the "space genre" as Jean-Michel Jarre or Klaus Schulze. At the same time the music on "Celestis" is in no way secondary, it is modern and quite craftily made. From the opening theme "Capsula" the album's atmosphere plunges the listener into a world of spiritual experience, calls to take an imaginary space travel; fly towards Space along with the remains held in capsulas…

Bernd Kistenmacher is a german producer and musician specialised in spherical "kosmische" synthscapes. He started his career in the 80's with a handful of sonic, epic synthezised electronic efforts taking inspiration from Klaus Schulze and the Berlin electronic school. His musical releases deliver complex, achieved floating dreamy-like melodies floating throw deep cerebral spaces.
"Romantic Times" was the third and last production, which was recorded and sold on music cassette audiotapes before Bernd Kistenmacher started to publish his music on vinyl and CDs from autumn 1986 on. "Romantic Times" was released for the first time on CD in 1999.

With The Miraculous, Swedish singer, songwriter, and keyboardist Anna von Hausswolff has delivered an album as different from 2013's celebrated Ceremony as that was from 2010's Singing From The Grave. On Ceremony, Hausswolff discovered the sonic possibilities of the cathedral organ. Her four-octave vocal range rose above compositions that wove classically tinged Gothic art pop and skeletal post-rock that touched on Sweden's gloomy operatic and folk traditions. Sometimes gentle and dreamy, and just as often moody and droning (sometimes inside the same tune), she has created an iconoclastic brand of indie music. On The Miraculous, Hausswolff doubles down on the organ. The instrument she's using here is an enormous 9,000-pipe Acusticum Organ designed by Gerard Woehl. Its vast tonal and instrumental possibilities include sounds for glockenspiel, vibraphone, celeste, percussion, and indefinable high-pitched shrieking sounds that extend the upper reaches of the Western harmonic system (these pipes are partially submerged in water).

Swedish singer, songwriter, and keyboardist Anna von Hausswolff issued her debut full-length Singing from the Grave in 2012. Despite its sobering title, the album was full of melodic, fragile, Gothic ballads. On Ceremony, the term "Gothic" applies even more here than on its predecessor, yet the music has progressed almost immeasurably. Von Hausswolff employed an Annedal church organ as her primary instrument on this date (it's on nine of the 13 songs), though she also plays piano and synth. Its amazing array of tones, sounds, and timbres color the proceedings with an array of possibilities most pop recordings never imagine, let alone use. Further, Von Hausswolff's approach here has been influenced directly – and admittedly – by the post-metal sonics of Earth and the groundbreaking vocal innovations of Diamanda Galas.