Back catalogue: Ambient/Drone

Review: German artist Uwe Zahn (Arovane) and 12k's Taylor Deupree join forces for the first time, having first become acquainted through a shared love of music tech. As Zahn recalls: "After a long email conversation, Taylor and I came up with the idea of recording an album only with sound sources from the Nonlinear Labs C15 synthesizer that we both own. The first sketches were made with an exchanging of C15 patches and a constantly growing shared sound pool that led to the structure of the first songs. Preferring to work in person, but hampered by the pandemic, we resorted to sending projects back and forth. and developed an organic method that inspired and excited us."
With a shared love of experimentation, the two partners took on different roles, Deupree offering the rough diamonds, organic loops and mixing skills, while Zahn took on the more fragile, miniscule sound design. Described as "deep and haunting", with massive worlds compacted into each sound and movement.

Review: Marseille's IOT Records is the home for Azu Tiwaline's latest dubbed out and dreamy pads and manipulated field recordings. It's her second album and is another one that stands up to her reputation for being a true innovator. Following on from Draw Me a silence in 2020, Teh Fifth Dream is an hour long session that veers from reverberating and bass heavy steppers to next level synth-scapes. Field recordings made in the desert of her native El Djerid, in South Tunisia, feature heavily as do tombak drums and modular synths from Franco-Persian spar Cinna Peyghamy.

Review: London-based Australian vocalist, producer and multi-instrumentalist Penelope Trappe has always made immersive, enveloping and deeply atmospheric that sidesteps convention. It was that uniquely haunting and emotive approach to ambient and electronica that earned her deals with Optimo Music and Houndstooth, amongst others. Now signed to One Little Independent, Trappes has pushed the boat out further on Requiem, a mournful and bittersweet musical meditation in which her distinctively sweet-but-drowsy vocals rise above manipulated cello textures, hushed field recordings, ambient textures and intriguing electronic sounds aplenty. It's bold, beautiful and at times breathtakingly brilliant, once again marking Trappes out as an artist with a genuinely unique musical vision.

Review: By Scott Hansen's previously prolific standards, we've had to wait a fair old while for a new album. Infinite Health, the third Tycho album for Ninja Tune after years signed to Ghostly International, is by design something of a reset: a self-proclaimed meditation on "hope for the future" mixed with a "requiem for the past". Stylistically, that also means a return to his electronic roots, with colourful, melody-rich and sun-splashed synth sounds combined with unfussy beats and breaks, toasty basslines and glistening, AM radio-friendly guitar licks. It is then, regardless of the inspirations behind it, a classic-sounding Tycho album - as highlights 'Phantom', the instrumental deep synth-pop dreaminess of 'Devices' and the lo-fi, trip-hop influenced shuffle of 'Green' emphatically prove.

Review: Past Inside The Present label head and ambient powerhouse zake and Tyresta follow up their recent and well-received The Worlds We Leave Behind with Jade, a companion album that expands on previous themes in three long-form tracks. It's a deep blending of pregnant drones and delicate details that is typically organic and analogue. 'Jade No. 1' layers analogue textures that make for a comforting, melancholic embrace, while 'Jade No. 2' features more fractured melodies and natural sounds that bring a sense of peace and calm. The third cut, 'Waiting For the Light,' is a lofty one with soft synths and orchestral gravitas that with the other two pieces make for a contemplative and reflective listen.

Review: Past Inside The Present proudly shares the release of The Worlds We Leave Behind, the second full-length record from the duo of Zake (aka. Zach Frizzell) and Tyresta (aka. Nick Turner). Building on both quotidian and profound contrasts and blurring their associations - Turner's day job as a Chicago social worker, Frizzell's reverent interest in the sublimities of natural lansdcapes - this record continues the theme already played up by the pair's earlier collaborative efforts, that of personal strife and experiential wisdom, which colour the impressions we derive from our environments. Being a "spiritual sequel" to the pair's first album Drift (2023), the album educes long, heavy-set, gut-fluttering ambient montages, from aphasic, fragmentary titles, such as 'The Worlds We Leave Behind' and 'You Will Become A Song'.