Ambient Composer Rafael Anton Irisarri’s Dispersion of Belief
For a record conceived of following the 2016 US election and a global pandemic, ambient maestro Rafael Anton Irisarri is ready to soundtrack our downfall.
For a record conceived of following the 2016 US election and a global pandemic, ambient maestro Rafael Anton Irisarri is ready to soundtrack our downfall.
The collaboration between ethereal pop trio Cocteau Twins and avant-gardist Harold Budd, The Moon and the Melodies, hits vinyl for the first time since 1986.
Japanese multi-instrumentalist and composer Masayoshi Fujita weaves mallet percussion and synths together for an arresting experience on Migratory.
Nala Sinephro’s Endlessness is music that is good for the ear, the mind, the heart, and the very future of the philosophical orientations of jazz.
British ambient composer Jon Hopkins creates dark, intimate landscapes of analogue and electronic sound on his new “ceremonial” album RITUAL.
Umberto is a master of creating moods that may be unfamiliar and alien but, like the best ambient music, are eventually welcoming in their own way.
Chuck Johnson’s soundscapes have a widescreen feel with pedal steel guitar, twangy fingerpicking, and well-executed use of synthesizers and meditative drones.
Ever-evolving experimental guitarist and composer Jessica Ackerley talks about – among other things – their eclectic and ambitious new solo album.
Chanel Beads’ LP uncovers flashes of revelation—insights that carry bedroom pop to a new level of ambitiousness while staying faithful to its homemade appeal.
Ambient country’s SUSS thrive on moody atmospheres and calm amidst the tension. Their music is imbued with the beauty and mystery of the American West.
Los Angeles experimental label Leaving Records embrace an “all genre” aesthetic. At 15 years old, their artists are moving the cultural needle in a big way.
It’s a rare artist indeed who can turn tools for expressing existential dread toward a grateful appreciation of life, but Fire-Toolz accomplishes this on Breeze.