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Review: Another collaborative effort from the consistently fascinating US ambient kings Past Inside The President, this time with Hendrix - not that one - and Wayne Robert Thomas, whose atmospheric guitar-led work has featured several times on the label before. If the average ambient album has its head in the clouds, this is more grounding, more gamboling in the fields perhaps than floating in the ether, with gentle flute and guitar giving the walls of synth sounds some perspective. That said, the closing track of the four, 'Retract R (Type K)', sizzles away like something by Growing or even Spaceman 3 left to fry in the sun. Magnificent stuff..

Review: Thomas Xu from Steady Flight Circle and Tommy Kladis from Music Time with Friends come together on this new cassette-only release that captures three of their sessions at Kladis's studio. Xu was on synthesizers while Kladis was in charge of samples, drums and loops on the SP-555 and the final touch was lo-fi drums from John Shaughnessy. It takes the form of two extended jams that reach out to almost 15 minutes of dusty, ambient-laced soundscapes with distant percussive details and melancholic moods. 'Klaxu' has more darkness and more prominent rhythms to it but both pieces make for escapist listening.

Review: Minimal Wave is proud to present The Sound of Indifference, a rare cassette released in 1981 by Aural Indifference. Aural Indifference was a post-punk studio collective from Sydney, Australia. The two principal members were Brian Spencer Hall (the M Squared in house producer) and Kevin Purdy. The cassette album, The Sound of Indifference, was released in 1981, featuring tracks such as "Theme", "Park, and "Man Am I Progressive". Their sound ranges from minimal synth, to post-punk to quirky guitar-driven electronic folk music, some of it resembling John Maus. "Theme" appeared as the closing track on The Minimal Wave Tapes: Volume Two compilation and "Park" appeared on The Bedroom Tapes compilation. Here for the first time, we are offering a reissue of the original cassette, remastered from the master tapes and complete with original artwork, limited to 300 copies.

Review: Escape the grid to Elias Garcia's subterranean world of mutant techno and oozing sci-fi dub, forever lost in the drip with IDS Recordings. Big Tip!

Review: The good news is this isn't a glitch in the matrix, there is an actual new Pulp album out on cassette in 2025. Nearly three decades on from their generation-defining album Different Class and the love for Pulp is still potent. Cocker's kept his tools sharp with various projects and collaborations - including Jav Is... - over the past few years, but that's done little to dampen the yearning from around the world for new Pulp. When they released 'Spike Island' to get the ball rolling, a special tribute was made to late former bassist Steve Mackay, who died in 2023. Two songs on the record are said to date from when Mackay was around, which makes him feel part of this incredibly special project.

Review: Alex Israel's new 'Uncertainty Manipulated' release on Somnambulant Drift features generative music he has crafted by "building elements of arbitrary length that work together melodically but do not correspond in time. As the individual components replay, they overlap coincidentally, resulting in music that makes itself." The result is four tracks of sublime and escapist ambient with no beginning and no end but plenty of heart-aching piano chords, harp strums, hazy drones, mindful synth smears and meditative moods that offer comfort but also encourage inward reflections. It's a perfect coming together of man, machine and absorbing minimalism.

Review: Darren Cunningham, known for his work as Actress, continues to evolve with a striking, abstract mix of sound that blends fragmented beats, ambient textures and the odd burst of warmth. Moving away from his club origins, his latest album embraces a more experimental, collage-like approach, echoing the influence of Georges Braque. The music unfurls in unpredictable ways, weaving atmospheric elements like muffled techno pulses, gamelans and r&b vocal samples into an evolving tapestry of sound. Tracks shift from dark, granular tones reminiscent of Boards of Canada's more ominous moments, to bright, celestial glimpses of light. The juxtaposition of stasis and movement, dread and hope, is central to Cunningham's process, creating a unique sonic landscape of ebb and flow. The occasional playful moments, like the quirky synths of 'Dolphin Spray', add to the album's intriguing unpredictability. Fans of Aphex Twin, Two Lone Swordsmen and Boards of Canada will find familiar sounds here, though Cunningham's distinctive approach makes the experience feel like a scientific exploration of sound itself. With a subtle balance of tension and calm, the album draws listeners into a world of synaptic interplay, where every shift feels deliberate and rewarding.

Review: With Heilun, Hyldipi makes a stunning debut on ambient powerhouse Past Inside The Present by presenting seven meditative compositions shaped by his native Iceland's raw, introspective beauty. Crafted entirely with guitar and minimal hardware, each track feels like a gentle conversation with nature, ephemeral and soul-soothing. From the delicate strums of 'Opnun' to the deep serenity of 'Hvild,' the album flows like glacial melt, patient and healing. 'Fadmur' blooms with aching emotion, while 'Kyrrd' closes the journey in subaquatic calm. This is ambient music for deep listening-an improvised, transcendental escape into stillness, where the ego dissolves and all that remains is presence and peace.

Review: Healing Sound Propagandist releases Julien Demoulin's Ephemeral Maps, a beautifully fitting follow-up to Dreams In Digital Dust. This album continues the journey through the same lush soundscapes that captivated listeners on Demoulin's previous work, but this time subverts them to produce a, well, less dusty, more aerial take. The LP, released on cassette and digital only, sounds like it took a long time to make, and as though its drones were being overturned through and out of ancient soils. From the jump of 'Land Before Memory', we're thrust into what sounds like a contradictorily landed but birds-eye-view of an epochal realm, with an atonal drone heard pocketed below a set of slow-release rustlings and leaven fadings-away. Some moments, like 'Through The Drowned City', revel in high pitch and clarity, while chromaticism and tension thrive elsewhere on moments such as '27th Day (Challenger Deep)'. Intended as a challenge to the idea of the anthropocene, this is somewhat abstracting, depersonalising ambient record, so it's not for the faint of heart, but it doesn't come without a deep reserve of human sentiment either.

Review: Diners Club International recently served up this Hi Tech album, Detwat, on CD, but now backs that up with a limited cassette version featuring some bonus cuts. It originally got released on Omar S's FHXE label and is a sleazy and high-speed ghetto workout with filthy low ends aimed well and truly at the rump. Juke, footwork and plenty of spin-off styles are all chewed up and spat out with plenty of top collars and guests adding colour. There are pumping beats and fractured vocals on 'Money Phone', Drake style trap vocoders on 'TakeOffOnnaPorsche' and bright, reflective, optimistic chords over hurried beats on 'Glitch N Ass' (feat Cheapskate Skutta, Dastardly Kids) amongst many more highlights.

Review: The Smile's Wall of Eyes is a triumph in atmospheric experimentation, bridging the delicate intensity of Radiohead's later works with a more abstract, avant-garde edge. The album is filled with a sense of mystery, its drifting, formless compositions creating a pervasive feeling of unease. Opener 'Wall of Eyes' beckons with eerie folk textures and art-pop flourishes, setting the tone for the record's dark beauty. Bending Hectic' stands as the album's crowning achievement, its near-ambient build-up exploding into a cathartic, thunderous conclusion, balancing beauty and chaos. Elsewhere, 'Read the Room' and 'I Quit' bring rhythmic complexity, adding layers of groove and intricacy. Thom Yorke's vocals, as always, are haunting, tying the record together with familiar yet fresh emotional depth. Wall of Eyes confidently charts its own path, a significant step forward from A Light for Attracting Attention, cementing The Smile as more than a side project, but a vital voice in today's alt-rock landscape.

Review: Thee Marloes bring a fresh and unique sound to the soul music scene, blending elements of soul, jazz, and pop with their Indonesian roots. Hailing from Surabaya, the trio consists of Natassya Sianturi on vocals and keys, Sinatrya ("Raka") Dharaka on guitar, and Tommy Satwick on drums. Their debut album, Perak, harnesses their ability to craft deeply emotional and rhythmically engaging tracks. Opening with 'Midnight Hotline,' a vibrant dancefloor hit with jazzy guitar riffs and infectious piano, Thee Marloes immediately capture attention. The B-side, 'Beri Cinta Waktu,' is a soulful ballad sung in Indonesian, demonstrating their linguistic versatility and heartfelt delivery. Tracks like 'I Know' explore themes of deception in love with a mid-tempo groove, while 'Not Today' offers an uplifting, feel-good vibe perfect for any laid-back setting. 'True Love' dives into soulful jazz, creating a cinematic atmosphere reminiscent of a Tarantino film. The album closes with 'Over,' starting with a powerful drum break and evolving into a beautifully layered melody that encapsulates the intensity of a sudden breakup. Perak is a beacon of Thee Marloes' passion and creativity. Their music transcends cultural and language barriers, leaving a lasting impression.

Review: Over the past four years and under his Tyresta alias, Nick Turner has been integral to operations at PITP's sister label, Fallen Moon Recordings. His meticulous curation for FMR showcases top-tier sound collages and experimental electronic music and that dedication shines in Lia Kohl and Daniel Wyche's latest release, 'Movie Candy. It's a captivating exploration of free-spirited electronic music that seamlessly blends cello, guitar, synths, voice, field recordings, and electronic treatments into a record that brims with both nostalgia and innovation. Wyche describes it as an homage to the obscure ephemera of films-like the allure of candy wrappers and the mesmerising cinema carpets-forging vivid memories that linger and evolve through time.

Review: Using a variety of tape stocks, Black Swan creates a haunting atmosphere that evokes the sensation of uncovering long-lost, sacred recordings hidden in time on his ninth album, Ghost. The New York-based artist reveals that he was inspired by musique concrete and ambient while making the record, which is made up of 20 pieces that all form a continuous suite. Each track varies in length and complexity from short and sweet sketches to more elongated studies and that are made from intense layering and harmonic surges using an array of tape stocks. The result is a haunting, unearthly atmosphere that sounds perfect in this cassette format.

Review: Immerse yourself in the world of Ginger Root, where Cameron Lew's meticulous craftsmanship shines through. Since 2017, this Southern California multi-instrumentalist, producer, songwriter, and visual artist has drawn a dedicated following with his remarkable albums, films, and global tours. Ginger Root's soundia polished blend of synth-pop, alt-disco, boogie, and soulireflects Lew's Asian-American heritage and love for 1970s and '80s music, including Japanese City Pop and its Western counterparts like French Pop and Philly Soul. Lew's third LP, Shinbangumi, marks his debut on Ghostly International and is set for a 2024 release with an accompanying visual album. This album represents a new chapter for Lew, showcasing his confidence and intention in presenting Ginger Root's definitive sound. Tracks like 'No Problems' and 'Better Than Monday' highlight Lew's signature style, blending diverse genres into cohesive songs. With Shinbangumi, Lew masterfully weaves his influences into a modern and refreshing sound, creating an album that serves as both a nostalgic homage and a bold step forward.

Review: Ontology II is a rather impressive 20th full-length from The Corrupting Sea, a well-regarded ambient project helmed by Jason T. Lamoreaux and one that takes the form of a profound exploration of personal experiences and emotions using sound to delve into philosophical themes of being and existence. The album's four carefully crafted tracks transform abstract metaphysical inquiries into tangible auditory experiences that make for a meditative journey. It is quiet and patient yet captivating in its artistry and is exactly the sort of immersive ambient that makes a lasting impression.

Review: Clouds Without Water is a project that came about after the chance meeting of two ambient experimentalists. They were both in attendance to perform at the same electronic music festival but came together over their shared love of Bristol Sound. Working over long distances and through the isolation of the pandemic, they sent tracks to each other "without plans or discussion, only wordless questions buried in the music." What resulted was this album, which evokes celestial dreams, moon-lit otherworldly landscapes and plenty of deep introspection. It is space music for spacing out to.

Review: Dwell Time II is the second part of a three-part project on Past Inside The Present from T.R. Jordan. Each of the albums was made using the same material in the same time frame, and they are all part of one overarching and coherent suite that he refers to as "musical composting." This is the cassette tape version and it is full of grainy, fluttering howls, soft warbling pads, pastoral references like flowing streams and mossy rocks and plenty of grand spatial elegance that harks back to the likes of Hiroshi Yoshimura and early Brian Eno experiments. Another immersive offering from this fine label, then.

Review: This is a reimagined edition of Zach Frizzell aka zake's 2023 album B and expands on its monochrome, drone-driven soundscapes. It complements a series of chiaroscuro art prints and evokes a grayscale melancholy rich in texture and depth as the music conjures images of a weathered dock at dawn with fog and dense landscapes closing in on the horizon. New pieces like 'Betrayal' and reworked tracks like 'Burnt' reveal zake's signature restrained, simmering power and overall the vibes here range from the haunting 'Blight' to the reflective 'Barren'' which emphasise zake's open-ended, evolving approach to ambient music.

Review: Few labels are as idiosyncratic as Theo Parrish's Sound Signature. It deals in house and techno of an otherworldly sort with esoteric rhythms that blur the lines between the synthetic and the organic. And that is exactly the case with the label's magnificent 100th release, a new album from Howard Thomas that takes its cues from his love of 80s sci-fi films and beat tracks. It's a stark world of dance floor pressure with buzzing synths and clattering hits, raw beats and leftfield energy that brings utterly new ideas across seven spellbinding cuts. This is a cassette version of what is an immediately timeless album.

Review: Hypnotism I is a new album from Foundation that the artist himself says has been a cherished part of his work since shortly after his previous work Mountain Ambient IV. We're told that its creation was a slow, immersive process that unfolded over months, with each layer evolving patiently. By composing intuitively, the album emerged naturally to reflect a glacial depth and subconscious growth. Its four pieces are all richly layered soundscapes with wispy melodies and dusty drones that sink you in deep and free your mind of all woes.

Review: Chicago's mighty Specter stands firm as a pivotal figure among the chosen artists on Theo Parrish's esteemed Sound Signature label. His latest new long player Brutus presents another unique fusion of house sounds. In this cassette tape format, Specter expertly merges synthetic and organic elements that call to mind Parrish's own distinctive style. The album also embodies a seamless blend of timeworn, rustic tones and dynamic, futuristic visions within his singular house realm and impart some devastating feelings through the melodies, while the drums consistently mesmerize and keep you entranced within his rhythms.

Review: Marc Ertel's Live At Black Circle on Past Inside The Present US arrives on limited edition cassette and is another sublime ambient entry into this now legendary label's impressive offerings. He has served up similar here before alongside the likes of boss man zake and this time goes deeper than ever into slowly shifting soundscapes that are pregnant with emotion, grey in scale but with a real sense of melancholic beauty. As his tones and timbres evolve, the moods slowly shift and you get ever more subsumed into his sonic universe.

Review: Back to back mix recorded live in Berlin, October 4th 2019.

Review: Virusmoto's 0 was released initially as a digital-only album on UK label Frequency Domain back in 2023. It is a dazzling plunge into otherworldly realms of sound and sensation that fires every synapse in your brain and blends warped electronics, tribal percussion and surreal texture into something that is ever-evolving and hugely absorbing. This most immersive musical world has lush tracks that describe fevered landscapes filled with mystical energy, deep space eeriness and enchanting futurism. Each piece is a psychedelic maze where logic dissolves and emotion reigns from glitchy bleeps to pulsing bass swamps. Perfect for late-night headphone listening or lying back in the sun and losing yourself in the disorienting sounds, it's as unique an album as you will hear.

Review: Thermal Shadow is a first-ever long player from Intertoto, and it is one that has very much not been rushed. This record comes after the artist has spent more than 10 years lost in sonic experiments and now they are all distilled into the eight tunes presented here on a limited edition cassette on the artist's own label. It's a mix of sounds that embrace mistakes, that keep the perfections in and layers up dust, texture, absorbing ambient and barely-there hints of rhythm. They are full of suggestive energy akin to that you might feel when queuing up outside the club and the highs and bass are bleeding out. It's an enticing collection for sure.