The album November 89 comprises a selection of very early GAS tracks, some of which date back to the late 1980s. They were first released in 2008 as a CD insert in the art book ‘Wolfgang Voigt GAS’, published on Raster-Noton.
Just like the photographs in the book, these pieces are early precursors that would evolve in the ensuing years with the albums ‘Zauberberg’ and ‘Königsforst’ into a style-defining, audiovisual “Gesamtkunstwerk” (total work of art) comprising hypnotically focused forest imagery and an abstract, psychedelic wash of sound created by alphorn and bass drum.
…As the title suggests, it was mostly, remarkably, made in ’89, back when Voigt was finding his feet between techno, house and…
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The word “meditative” is as groan-inducingly overused as a descriptor for ambient music as a word can be, yet there’s really no better way to understand the work of 
When composing and recording this album, 
Shadows opens with “The Lone West,” a short, desolate instrumental featuring a simple keyboard refrain with a flute-like quality and what may be an early ’70s drum machine. There’s a bit of Young Marble Giants in there. The Brian Eno of Another Green World, too. The Ghost Box label’s characteristic nebulousness is also apparent.
Stash, the second album from 
Nowhere Sessions was recorded in a secluded family cabin deep in the heart of Iceland, far from the bustle and roar. According to 
Belladonna Nocturne is intended as a thematic sequel to Belladonna, Daniel Lanois’ moody, evocative album of ambient and dub instrumentals from 2005. While it maintains a similar feel and features some of the same personnel, it sounds like a venture into new terrain right from the start. “Cap Negre” is a short intro piece containing sporadic rhythms and heavily detailed yet spacious mixing, leading into the jazzy abstract drift of “At the Foot of the Skyway Bridge.” Slightly haunting yet cool-headed and relaxed, the music paints an intoxicating nighttime scene. “Inside the Walls of Puebla” is more rustic, with sturdy, knocking drums and a Latin flair to the layered acoustic guitars. The deeply resonant piano piece “Snow Lake” seems far too texturally treated to label…
The album art that Max Allison designs for Hausu Mountain, the way-out-there experimental label that he co-founded with Doug Kaplan, often look like the world maps that led players through late-’90s video games: bright, pixelated representations of forests, mountains, ancient ruins and futuristic cities. Zoom in for a closer look, though, and it’s impossible to tell how your digital avatar would make it across these fractured landscapes. On the cover of Juckport, the latest from Allison’s solo project 
The ferny Brutalist cityscape on the cover of 
In November 2025, trombonist and composer 
The innovations of Berlin’s Basic Channel in the mid-’90s led to a whole new way of thinking about dance music, introducing countless producers to the possibilities of reverb and delay. Producers have been working off the template they set for dub techno ever since. Less often imitated is the duo’s work as Rhythm & Sound, where they slowed their music to reggae tempos and hewed closer to the Jamaican innovations that informed their trippy production tricks. This sound is having a small moment right now. Stuttgart’s Ghost Dubs has made a career of it, both solo and with a fired-up Kevin Richard Martin; Brussels’ Carrier shaped it into cavernous forms on last year’s awesome Rhythm Immortal; all the while, co-originator and close Rhythm & Sound collaborator…
A lot of life can happen when nothing’s going on. As the years tick by, landmarks become less regular. Highs become less vaulted. Lows become less abyssal. There’s a reason that posting to social media is mostly a younger person’s game. It’s not that less becomes less exciting or moving, it’s just less flashy. Most of life tends to happen in those quiet periods, which we far too often write off as boring, which, in turn, makes us feel bad about our lives, as if we’re not living up to the influencers we could be.
…compiled by Robert Fripp, including Brian Eno, David Sylvian, Andy Summers, The League of Gentlemen and more.
A lot of people are making music influenced by trip-hop right now, and a lot of it is very good. But it typically skews towards the sultry meeting point of sexual danger and stoned paranoia with the razor-sharp aesthetic edges of the ’90s and ’00s internet. Bristol’s 
The tracks on Along the Low Road, by multi-instrumentalist 
When