Written and recorded by Daigo Hanada
Mastered by Emil Thomsen (ET Mastering)
Artwork by Kevin Townsend / Layout by Nicolas Hyatt

"Imagine looking out of your window each morning, the same window with each day giving you a unique emotion setting your mood for the day" - Ludovico Einaudi
Ludovico Einaudi is back with a new project, Seven Days Walking: seven releases spanning seven months, featuring a new combination of piano/cello/violin but with a return to his trademark sound that has made him one of the most important and relevant composers today.
The project takes the idea of the same walk done over seven days, but each day the experience is different due to a variety of factors – the weather, the season, the walker's mood, the appearance of different wildlife, a new observation within the landscape and so on.
The first instalment, Seven Days Walking (Day 1), is significant as it establishes the project theme. The subsequent six variations on this theme (Seven Days Walking Days 2 to 7) will be released later this year and will feature stunning cello and violin arrangements, apart from Day 7 which is solely piano. This is essential Einaudi listening.

On respective edges of America — Oregon and Maine — Keith Kenniff records quiet music at night. “When things are calmer,” he says. “My mind is less distracted when I know that everything is dark outside.” For over a decade, such has been the mode — nocturnal, unrushed, using the same mini-cassette recorder, "a lovely little imperfect way to treat sounds" — for one of the country’s most understated composers. Kenniff has housed dozens of ambient releases under the name Helios since 2004, alongside post-classical output as Goldmund, shoegaze pop with his wife Hollie as Mint Julep, and commissions for film and television. It is a reliably transportive body of work that's earned Kenniff a cult following, and a genuine modesty that’s kept him on the fringes, right where he prefers, in the dark.
Kenniff mostly lets his music breathe free of explanation, open to interpretation. As listeners, we follow subtle suggestions — the fiery sky on the cover of 2012's Moiety, the countryside daydream of 2015's Yume — extracting meanings from imagery and inscriptions. Veriditas, the sixth Helios full-length, shares its name with twelfth-century philosopher Hildegard von Bingen's notion of "the greening power of the divine," the term derived from the union of two Latin words: green and truth. Bingen saw the abundance of the earth as vitality to be cultivated, interconnected with the body and spirit. Take the concept in concert with Veriditas' vistas of sound, gazing beyond the tree-lined wonder on its artwork, and we undoubtedly recognize the album's rooting. Kenniff elaborates, "While I’m not a very spiritual person as it relates to a religious belief, I do feel an overwhelming connection between the aesthetics I find pleasing in my experience of nature and my experience of writing music."
Veriditas introduces unusual shapes and landscapes to the Helios catalog. Whereas past songs have followed traditional structures — discernable bell curves with beginnings, arcs, and ends — the focus here is texture and harmony. "I wanted to explore emotionality within something more static." Synth-tones radiate and hum as vignettes, often crisp and cloudless, other times smeared to a queasy Boards of Canada-like unease. The latter burbles below the last moments of "Eventually" and looms over the opener "Seeming" like darkness inching across a forest. Tracks cease at will. "Seeming" fades just after a sliver of light cuts through the mossy pillars. "Latest Lost" mists for just one minute. "Row The Tide" for two, hovering like a helium balloon lost to the horizon. "Even Today" hangs above the snowcaps, suspended in an upper arboreal sequence, as shimmering surges of static trace the treetops below.
Moments on Veriditas pass quickly, but as a series of moments, they are fluid, almost regenerative. Disassembling the album by instruments is difficult. Unlike past Helios work, there is no percussion. The one straightforward use of guitar appears on the ambling "Upward Beside The Gale," strummed solemnly as if over end credits, watching the greenery lapse to grey in the twilight. In the second half of “Dreams,” crystalline piano chords converse with washes of orchestral notes and deep drone, advancing towards temporal clarity, a lookout point, that once presented evaporates.
In a way, Veriditas parallels the path of the Helios project to date: patient, immense, and wondrous without ostentation. Kenniff continues to find a soothing and centering quality in his craft. Aligned with Hildegard von Bingen’s philosophy, Kenniff looks towards sound, like many do to nature, for momentary vigor, for elemental and nourishing prolificacy. Here, in pursuit of viriditas, with precise textures and harmonies, he humbly extends that verdant expression outward, wide and pliable.

Silencia is the latest collection of evocative and lustrous compositions by the Nashville duo Hammock. The band's 10th LP, Silencia closes a trilogy that began with 2017's Mysterium, and'in the tradition of works by Arvo Pärt and Georgy Sviridov, and writers such as Li-Young Li and Maggie Ross'it is a balm, gesturing at the healing that can ascend in silence. Slow-churning and contemplative, Silencia most prominently features strings orchestrated by Viktor Orri Árnason (Nils Frahm, Olafur Arnalds), mists of guitar by Hammock's Marc Byrd and Andrew Thompson, the hushed drone of horns, and 20 elegiac voices from the Budapest Art Choir. The record was mixed and mastered by Francesco Donadello (Winged Victory for the Sullen, Jóhann Jóhannsson, Ben Frost) in Berlin. Founded in 2003, Hammock's music has appeared widely in film and television, most recently in Ricky Gervais's 'After Life', and it has been praised by The Wire, Pitchfork, NPR, The Atlantic, and other major culture media.

Heavy ambient comfort blankets from Malibu; the new moniker for DJ Lostboi, whose string of self-released enigmas 2017-2019 found cult acclaim with the likes of Julianna Barwick among many others.
Bringing a gorgeous pop-ambient sound sensitivity and directness to the current groundswell of ambient music in the air right now, Malibu’s ‘One Life’ is set to touch susceptible souls with its supine, spine-playing qualities.
Strongly reminiscent of Celer and indeed even Julianna Barwick’s style of plainchant, Malibu doesn’t f#ck about when it comes to heart aching composition, stirring up the sweetest, forlorn feels between her windswept intro ‘Nana (Like A Star Made For Me)’, the wistful string figures of ‘Tilting On Windmills’, her Enya-esque mini-epic ‘Camargue’, and the cinematic sweep of ‘One Life.’

原始的音色构建出闪闪发光光，生长着鲜艳植物的奇幻世界。在人类对于世界的探索中，祭祀仪式从古至今是链接人类、星球、造物主和一切未知力量的活动，而音乐是祭祀活动中不可或缺的重要元素。我从中获取灵感，并以自己的感知来重新描绘这未知的空间的奇妙之旅。

Grammy Award-winning, Chicago-based percussion quartet Third Coast Percussion teams up with influential, genre-defying multi-instrumentalist, record producer, songwriter, singer, and composer Devonté Hynes (aka Blood Orange) for an album of imaginative, evocative instrumental music created as the live soundtrack for choreography by the adventurous Hubbard Street Dance Chicago company. The albums three works, all world-premiere recordings, represent Hyness debut on disc as a classical composer. In Perfectly Voiceless, Philip Glass-style minimalism gives way to a catchy pop melody. There Was Nothing blends synthesizer sounds with bowed mallet percussion instruments and moments of meditative lyricism recall the music of Lou Harrison. The expressive harmonies within the gauzy textures of For All Its Fury point to Hynes love of Debussy. Third Coast arranged Hynes music for its immense collection of diverse instruments and performed them on stage with the Hubbard Street dancers in Chicago and on tour. The Los Angeles Times praised Hynes lush score and Third Coasts ability to summon otherworldly sounds from a multitude of idiophones, drums and other devices. Chicagos New City Stage applauded Third Coasts extraordinary performance and ceaseless river of sound.

Anthony Gonzalez, AKA M83 mastermind, released Digital Shades Vol. 1 in 2007 as a compendium of unused ambient tracks for diehard fans to enjoy rather than letting these works disappear into the void. It was a way to breathe life into songs that normally would not see the light of day as well as a vehicle for Gonzalez to explore areas of musical creativity separated from the pop-leaning M83 studio albums. Gonzalez credits Brian Eno’s ambient collections as a primary inspiration for the creation of the Digital Shades series.
Now, twelve years after the initial instalment, M83 has returned with the latest instalment of Digital Shades - one that adopts a grander nature and seeks to transport listeners to another time and place entirely. DSVII is influenced heavily by early video game soundtracks, ‘80s sci-fi/fantasy films and analog synth pioneers such as the aforementioned Brian Eno in addition to Suzanne Ciani, Mort Garson and John Carpenter.

”Structures” is the 5th full length album from Stockholm based Immanu El – an eight track journey of contemporary, progressive pop music with its roots in the bands symptomatic sound of Scandinavian ambience.
The band started to work with this new album already while touring with their latest album ”Hibernation” in 2017. The music is entirely written, recorded and produced in the band’s own studio in Stockholm, Sweden. With "Structures", Immanu El have challenged their way of making music as well as telling stories. The vocals and lyrics drive the songs forward in a sharper and more captivating way, expressing both soul searching and social criticism more distinct lyricwise and in production. The result is the most exciting album ever made by this talented and emotional Swedish pop group.

Country: Ukraine
Genre: Post-Rock / Ambient / Electronic / Piano

Available May 10th
Featuring Music From The New Season Of Twin Peaks
Produced & Mixed By Johnny Jewel
Mastered By Mike Bozzi At Bernie Grundman Mastering

From the creator of Deep Reggaeton and the hit record "¡Estéreo Bomba! Vol. 1", DJ Python, returns with the first masterful full length album "Dulce Compañia". Comprised of eight ethe-real, banging hits of the most unique and thought provoking calibre - mixing Deep House, Shoegaze, Trance, and of course, Reggaeton - these songs-not-tracks slide over the Dembow in the unique way only Python can dream up. Rated E for Everyone.

《间听监》与《记艾灵》区别在于主题内容
“朝简”为二人组合名称。窦唯与文智湧携手制作，并首度以双版异配的方式，丰富聆听体验且同样拒绝陈词营造，遐想与青春颂歌，为怀念初衷……

鹰骨笛/贝斯/吉他：文智湧
鼓/合成器/采样：窦唯
录音混音：罗皓
后期制作：窦唯/文智湧
录音室：董冬冬音乐工作室
录音时间：2017年

前有殃金大咒，后继《菩提祷告》皆以仿经文似…乐风确是迥异…世象有目共睹艺音传感若明…天佑良善逢凶化吉…

器声编奏/采样：窦唯
女声：小六
诵经：窦颖
制作人：窦唯
录音/混音：陈林
录音室：陈林音乐工作室
录音时间：二零一八年
鸣谢：子江及校友团队

Commemorating 50th Anniversary of the Moon landing (July 20 2019) Axis Records is pleased to announce the release of the album by Jeff Mills on his interpretations of Earth's Moon.
"There are influences of the Moon we can detect, measure and document as scientific facts. If these are perceived as rational explanations, then it should raise questions about the possibility of other unseen mental and metaphysical connections humans have, not just with the Moon but with all other celestial bodies in and outside this Solar System. On the flipside, as we recognize that our Sun gives us light and a lifespan, what does an even greater force in the Cosmos, perhaps the darkness [or absence of anything] affects us.
If we look at the Moon as a component in a vast configuration of integral connected parts, then an intuitive sense might lead us to a wider understanding about how deeply our relationship lies.
This album and the imagination that helped to produce it should be considered as a proposition with open-endedness and no foreseeable conclusion. It is a chemistry of facts and feelings based on then, now and forever"

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