For Flow State, we’re listening to two records by Lattimore, whom we’ve recommended a few times in the past, including an interview in 2023. Collected Pieces: 2015-2020 is a great survey of her work, showcasing the way she manipulates the harp sound with pedals to create atmospheres of profundity. Tragic Magic, her collaboration with vocalist and composer Julianna Barwick, came out in January. They recorded in a Paris museum, Lattimore using three golden harps from the 18th and 19th century and Barwick using synths and a vocoder. “It was terrifying to hear the cracks when tuning the harps; they’re very delicate instruments,” she tells Bob on the show. “You think about the person who played them last, the person who initially built them…”

Collected Pieces: 2015-2020 - Mary Lattimore (68m, no vocals)
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Tragic Magic - Mary Lattimore & Julianna Barwick (42m, Barwick’s vocals)
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Have a great Wednesday.

0:00:00 - Ryuichi Sakamoto - solari

0:03:28 - Adam Wiltzie & Jóhann Jóhannsson - Give Into Gravity

0:07:05 - Blanket Swimming - Sovereignty

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Friendship Survival Guide - Adam Wiltzie & Jóhann Jóhannsson (43m, no vocals)
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And Their Refinement of the Decline - Stars of the Lid (120m, no vocals)
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What’s your earliest memory of music?

It would have been the spring of 1972. I was playing around the apartment in the upper east side of Manhattan & fell in my parents bedroom hitting the corner of their bed severely cutting my bottom lip, as my mother took me down & jumped in a taxi to the emergency room I remember the driver blasting “Rocket Man” by Elton John, I will never forget it…

What were your first recordings like? What did you use to make them?

My four-track tape machine at the dawn of the 1990s cost $300, and that was a fortune for me considering I lived in squalor. The sounds we created on these recorders were essential to the sounds we were creating at the time & was the catalyst for Stars of the Lid’s early textural aura.

How did you first get into ambient music?

My first love & major influence was Brian Eno, hard to say there was anyone else that taught me conceptually about how to get in the middle of your ideas, let go of your option paralysis move forward, than the great bald one.

You’ve collaborated with several composers best known for their film scores – Jóhannsson but also Dustin O’Halloran. Stars of the Lid music has been used in film and TV as well. Was Stars of the Lid and your other work influenced by scores?

No, not at all. I am guessing by your question you have never listened to Stars of the Lid? I would also propose that Friendship Survival Guide was not either, it just happened to be the catalyst that started our collaboration. Most of the time when you are scoring films it can be really uninspiring & what was originally going to be this specific sounding entity usually turns into this strange sculpture that is cobbled together by different producers pushing through arbitrary ideas that they feel are an important part of the storytelling process.

What are some similarities and differences in composing for film versus making standalone records?

The biggest difference is composing for film will always fall in the category of “commissioned work,” so essentially it will never be just for yourself. There is always another sentient being that will have a say in the final outcome. This is not always a negative, but the sooner you let go & realise this, you will spend less time fretting about the occasional rejection of your work & ideas.

One of the moving things about Friendship Survival Guide is that listening to it now, knowing the context, it evokes loss, grief, memory, and nostalgia. Yet most of the original material was recorded with Jóhannsson himself. What was your experience revisiting the original recording with not only his memory but also Steve Albini’s in mind?

There was a bit of anxiety leading up to the moment I dived back in but once I started creating again from the palette of sounds we made all those years ago I would say the experience was mostly pleasant, inspiring & rather cathartic. Not sad at all, as the one thing I still feel listening to this is that JJ still sounds so alive to me.

What were the first and second studio setups for this record? What instruments/gear/software did you use during the original collaboration and later completion of the record?

I suppose there were 4 major events to the recording.

#1 was the initial ideas that were recorded between 2013-2017. A lot of these were tape loops that were recorded on a Studer 2 inch 16 track machine, so that we could have our initial loops with multitracks of layers. Then next step was bouncing the loops down to another Studer machine but this one was 2 track 1/2 inch. This also gave us the ability to crush the multitracks a bit. A final bounce was then activated to Johann’s Revox 1/4inch machine & these ended with another layer of tape compression as it starts to get really nasty sounding by the time you shrink the bandwidth from 2 inch to 1/4 inch. Then we digitised & this is what you hear on the recording

#2 was a few years ago when I started to put the pieces together & started to create the arcs that would finish the pieces. This next major event was recording the guitars & re-amping of the tape loops in Chicago with Steve Albini @ Electrical Audio. We used Sovtek MIG 50’s heads through Marshall cabinets with Coles STC 4038 Ribbon mics for the close & Josephson C 617 condensers for the rooms & Steve laid them on the floor, which is a technique I never attempted but they sound incredible for my ears.

#3 was orchestrating the strings & recording in Budapest. We used 24 players & recorded everything in 4 hours.

#4 is the final & most essential which was the final mix with my long time collaborator Francesco Donadello (won a Grammy for his work on the Chernobyl series soundtrack)

How do you discover new music these days? Any recent notable finds?

I am basically forever an inveterate used record collector. I don’t engage in actively seeking out new music from this era, but I am continually fascinated by how much music still exists from the past I have never listened to.

A couple recent finds from the past few years as I am in the middle of some kind of jazz resurgence in my head are Donald Byrd / Electric Byrd & Freddie Hubbard / Red Clay.

Name an underrated artist from the past 50 years.

I am not exactly sure what underrated means as it is forever being used in sports analogy, but for music in my collection it would have to be Robert Hampson.

What are you working on next?

For the moment it is the new A Winged Victory for the Sullen, hopefully it will be released before the end of 2027.

DJ-Kicks - Djrum (82m, some vocals but not many)
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Under Tangled Silence - Djrum (62m, no vocals)
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Cheerio.

Los Ojos Del Cóndor - Hermanos Gutiérrez (32m, no vocals)
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Sonido C​ó​smico - Hermanos Gutiérrez (40m, no vocals)
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Have a great Thursday.

El Miedo No es Una Opción - Julia Gjertsen & Nico Rosenberg (52m, no vocals)
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Shadow Light - Julia Gjertsen (48m, no vocals)
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Have a great Wednesday.

0:00:00 - Ari Balouzian - Starlight

0:01:39 - Gollden - onward & upward

0:04:29 - Space Ghost - Visit Water

0:08:28 - Stars of the Lid - The Daughters of Quiet Minds

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November Variations (2025) Monday 11/17/25 - Stuart Bogie & Buck McDaniel (38m, no vocals)
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November Variations (2024) Wednesday 11/13/24 - Stuart Bogie & Buck McDaniel (32m, no vocals)
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You’re performing with Korey Richey of LCD Soundsystem and comedian Rory Scovel soon.

Korey, Rory, and I have a performance in Denver. We’re going to start workshopping this collaborative improvisational process. We rented a warehouse. The show’s sold out. It’s an exciting collaboration. There’s something so fulfilling about the power of a musical texture. If somebody steps in and just starts illustrating narrative and dramatic and comedic possibilities that exist within it.

I can remember – even if the music is campy or corny or something, as soon as somebody joins it with a narrative context, it can become very affecting. Like if you think about cheap horn samples, some of the hardest music I’ve ever heard has like [horn noises]. It sounds so hard, and it’s like a cheap trumpet patch.

I love to hear music recontextualized. The more true and honest and heartfelt the music is, the funnier it will be. In the same way where when you watch a great standup comedian do an incredible impersonation, it feels hysterical because there’s a virtuosity to the authenticity.

What instruments are Korey and Rory playing?

Korey is doing electronics and guitar. I’m doing woodwinds and electronics. Rory is doing vocals, like comedic – theatrical vocals. We’re exploring different technological possibilities. We’re really just starting off. This is a one way ticket we have together.

And November Variations is in the works.

We’re releasing all of these November Variations from last year again. I’m thrilled with how they turned out. Fritz Myers tweaked the recording process, put some mics in different places, and the fact that we’ve been working together for a year since the first one – you can really hear all of those things in the music. It’s almost like a little miniseries. Like a television miniseries where one thing happens after the other. Over the course of the week it’s like five symphonic movements, with the penultimate one being this depths-of-serenity one and the last one containing the most speed and virtuosity. There’s one in the center that feels kind of angular and confrontational. They all have different aspects and colors. As in the first series, Buck’s motivic stuff – his recurring themes and his memory for melodic information – is fantastic. It gives everything a strong focus.

How did November Variations come about?

Fritz Myers, who produces the event, introduced Buck and me. Fritz is my manager, and early in our relationship, he was like what do you want to do? I said I want to find a place where I can play at 9am every day of the week in a public space. I wanted it to be near my kids’ school, so I can drop them off at school and go and play in front of people, but not necessarily people who expect to see me play. He introduced me to Buck McDaniel, who’s the organist and music director at a church not far from where my kids go to school. We connected immediately musically and artistically and as friends. The music immediately began to unfold from the very first chords.

That came out of your daily playing on Instagram after covid started.

Yes. Also, in my career, I’ve often focused on making one thing and then putting it away and reinventing a whole other thing to do. I go from far extremes one to the other. Before covid, I started looking at art more. I saw this series at the Guggenheim where they show a bunch of works by a particular artist – I saw this series by the sculpture artist Giacometti. I was struck by all the subtlety that emerges when you see someone doing something similar over and over and over again. I went to an exhibit of John Zorn’s sketches, and I thought about his work, how he will exhaustively go through all the little permutations of a subform. It’s beautiful to watch him investigate every corner of these worlds he takes on.

I realized that, in my own way, I needed to have a more repetitive process. I needed to go to the same well for water every day. Through doing that, I’ve gotten a whole new understanding of things, something that I thought was just one approach is dozens of approaches. If I use a rhythm in one piece, now I can use that rhythm in a hundred.

Last time we spoke, you talked about Eno and Indian classical as influences. Was there other music that influenced the daily series?

I have a teacher named W.A. Mathieu. He has a book called Harmonic Experience that I read for years and then in the pandemic, I started studying with him over Zoom – specifically the harmonic lattice, as he describes it. That went to work on the way I play music and the way I understand music.

What did you learn from that?

It increased my understanding of the relationship between the harmonic series, pure intonation, pure ratio, harmonies, and the equal temperament system. I learned a way of moving through different modalities, maintaining the same tonality – what he calls dronality. It’s something that I think most people who’ve taken a long listen and worked on this kind of music experience. His way of describing the subtleties and the tendencies in the melodic and harmonic activity really fit me to a T. It really spoke to me, and I gained a deeper understanding of things, I think. I’m still working on it.

One day he said to me, “Stuart, there’s no success in this. You’re not going to win music.”

It’s an infinite game.

He saw me being hard on myself and he tried to take the pressure off. It’s a beautiful practice studying these things.

Any artists or records that stuck with you in recent years?

Yeah, for sure. I’m always going to back to ‘90s hip-hop. I love all the layering. I love the line of dissonant sound and the looseness of it. I’ve also been working with a looper a lot, so I’m thinking a lot about DJ Premier and El-P and Erick Sermon. Some of my favorites are probably Jeru the Damaja’s The Sun Rises in the East and Gang Starr’s Hard to Earn. Those two records are fantastic, I can’t get enough of them. Nas’s records, anything Q-Tip does.

Gang Starr wasn’t the first artist I’d thought of as an influence, but Oneohtrix Point Never said their track “Robin Hood Theory” had a huge influence on his looping and sampling.

There’s a trial and error in the composition process that is so rigorous – so deeply rigorous that the results are always one of a kind.

You can’t plan the beat or the composition in advance.

You have to have the sound at your fingertips. Music is so elusive. That’s what’s incredible about it to me, because if I listen to something for an hour, I might love it. If I listen to something for two hours, maybe I’ll stop loving it, or I’ll start to doubt its beauty. Maybe the first time I hear it, it hits me sideways. So how do you preserve your sense of what you’re hearing? It’s incredible, I’m in awe of it.

How did you start playing professionally?

In high school and college, I had a band with Zak Mastoon (aka Caural) on guitar, the drummer Andrew Kitchen, the bassist Eric Perney, and the saxophonist Colin Stetson. We had a quartet called Transmission, and we would play around Evanston, IL (1990-1994) then Ann Arbor and Detroit (1994-1998) and San Francisco (1999-2000s). We made it all the way to the Knitting Factory in New York, which was a new music Mecca for us. It was a dream come true to play there.

Then I moved to San Francisco, and then Chicago for about six months, and then I moved to New York in 2000. After moving here, I joined a band called Antibalas and I fell in love with the music of Fela Kuti. And I learned to play the saxophone, in order to play that music. The first sound I went for was an afrobeat sound. I bought one of Colin’s old alto saxophones. He stayed in San Francisco. (When I was there, there was no point in me playing a saxophone.) I was working a job in New York, and I got laid off, and I had some time on my hands. So I started learning saxophone. And then I joined Antibalas through a mentor of mine named Michael Herbst, who was an early member of the group. The band was wonderful. They handed me a tenor saxophone and said, “Play this.” I got right to work. For the first time in my life I found I had an aptitude for a certain musical style.

You hadn’t experienced that before?

No, I had always struggled. I couldn’t play jazz, I couldn’t play blues. I wasn’t that good at classical music. I had gotten through musical school and everything, but one of the things I learned in music school was that I’m not good at playing other people’s music. But I hadn’t played Fela’s music yet. When I found Fela’s music, for the first time in my life I felt aligned. He’s an incredible figure.

A few years ago, I went to Lagos and visited the shrine. I performed there with some of my friends from the Antibalas world. The singer Amayo brought us there. He’s the old singer from Antibalas.

The last question, which is usually the first question, is what’s your earliest memory of music?

A lot of ideas I would feel would come out in little songs that I would sing to myself. I remember picking out a Rush record from the department store because it had a doggy on it. I was a little kid and I was like, “Ooh, doggy on the record.” So I wanted that.

The most interesting early memory of music I had was being captivated by a song called “Jam On It” by a band called Newcleus. It planted the seeds for the sort of rhythmic interplay – it set me up to love electric Miles, funk music, electro, hip-hop. It’s an incredible song. I listen to today and get so fired up when I hear it. I’m still chasing the dreams that this song gave me as a little boy. I remember in my school one of the breaking crews had a strobe light and their shadows were cast on the wall. They were doing these fantastic dance moves. I was eight years old, they were all 12 and 13, dealing with the dance floor in a beautiful way. It thrilled me. Also in that song there was a vocoder (I think), and I loved that. I love the robot sounds.

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For Flow State, we’ve featured Anderson’s music a few times before (worth listening to if you haven’t heard it), so we’re playing records by artists mentioned on the episode. First up is portal iii’s self-titled album from 2020, a post-rock ambient record by Liz Draper (bass), Chris Gray (drums), and Charlie Parr (guitar). Second we’re playing Meno by Liz Draper, from 2025, which similarly uses silence to punctuate its spare instrumentation.

portal iii - portal iii (50m, no vocals)
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Meno - Liz Draper (20m, no vocals)
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Have a great Wednesday.

0:00:00 - Líom - Like I’ve Known You Forever

0:04:52 - Acid Springfield - Petri

0:09:08 - Ben Seretan - 3pm Rainstorm

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Windy&Carl Meet Optigan Conservatory - Windy & Carl (38m, no vocals)
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Portal - Windy & Carl (70m, spoken vocals on track 3)
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We wish you a great start to your week.

Wake the Town - Cousin (35m, no vocals)
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HomeSoon - Cousin (35m, no vocals)
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Have a ripper weekend.

Window - Heathered Pearls (30m, no vocals)
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Loyal - Heathered Pearls (57m, no vocals)
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What’s your earliest memory of music?

Watching my mom and her friends up late at night listening to The Police’s Synchronicity through the cracked open door.

How were you first introduced to ambient music?

In the early mid-90s, Deep Forest, Enigma, and Orbital were probably the firestarters. I wanted more of the beatless moments, so I went down a few different avenues and found trance and local Detroit dub, which were enough subgenres, but they opened up a can of worms for me. 

What early listening most influenced the direction of your sound?

For Heathered Pearls specifically, which was the aughts, so probably just what I have had listed for years on my Facebook in 2010: Gas, Casino Versus Japan, High Wolf, Dettinger, Maurizio, Markus Guentner, burger/ink, Lawrence, Kaito.

What acts / tracks in the Michigan scene inspired you the most and stick with you to this day?

This Juno track my friend Danny Scales played for me when we lived together.

And this Underground Resistance cut:

Both together, I think, marry the spectrum of music I make but come from different sides of the sound that comes from Michigan’s scene.

As Heathered Pearls, you’ve oscillated between ambient and more four-on-the-floor music. Tell us about that journey, and maybe some of the similarities or differences between those production modes.

I wish I could make music for the dance floor; when I make music, I think of it as the prettier side of the noise scene. If I were talented enough, I’d just make IDM. I’m not a piano player; I can’t strum a guitar, keep a beat on a drum kit, or have the balls to write lyrics, but if you leave me with your melody and let me affect it, then I feel at home.

You’ve also been on the other side of the table as an A&R. Tell us how you approached that job, how you assessed demos and such. Did that experience affect you as a musician at all?

Rarely do I sign a lot of the music that aligns with the lane of music that I make. I think I do my job really well because I can relate to everyone involved. I’ve made myself do the work that some people find boring or shitty, and I’ve seen enough outcomes in so many different scenarios in the last 30 years that it gives me more compassion than most. If it’s in the studio, before a show, over dinner, or just a phone call, I feel like I understand it better than most when people start asking the tougher questions. Listening to the music is the fun part.

What was your studio setup for Window? What instruments/gear/software did you use to make the record?

Reason and no samples. I know it’s not the prettiest answer or the answer that you might’ve wanted to read, but I try to push what the program comes with to make it my own.

How do you discover new music these days? Any recent notable finds?

YouTube still. I’ve recently been on a newer jazz kick, sitting on a lot of trip-hop I found over the last few years, and I like what the kids are doing with shoegaze.

Name an underrated artist from the past 50 years.

Casino Versus Japan

What are you working on next?

I’ve been dealing with dizziness for a couple years now, which has kind of shrunk my world a bit if anyone out there also battles with it. This sort of hinders the part of me that can make ambient music, since I find most sounds like what I wanna put out, but I’m feeling slightly better very recently. I hope to make a few more singles or an EP next year and then eventually another album which I’ve already sort of collected the influences which is a process that I love to do before making new music.

Terra Incognita - Akusmi (48m, choral vocals on the last track)
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Fleeting Future - Akusmi (43m, no vocals)
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Have a great Wednesday.

0:00:00 - William Basinski - Melancholia II

0:05:30 - marine eyes & Líom - natural light

0:08:49 - Chihei Hatakeyama - Unconscious Silence I

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The Juniper Tree - Midori Hirano (39m, no vocals)
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Invisible Island - Midori Hirano (41m, no vocals)
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What’s your earliest memory of music?

When I was growing up in Japan in the ‘80s, it was still the bubble era, and there were many children around me who were taking piano lessons.

So whenever I went to play at neighbor’s house, I often heard someone playing the piano. But at the same time, my grandparents bought my brother and me a Super Famicom, which had just been released back then. I often played games like Super Mario with my brother and friends, and the music from those games gradually became embedded in my memory, without me even realizing it. So when I think back on it, both the sound of the piano and the sounds of video games are equally part of my earliest musical memories.

How did you get started with piano? What was the first piece that you learned that felt like a real accomplishment?

As I mentioned above, so many children around me were taking piano lessons when I was a child, so I just became interested in playing it as well. Even in my small hometown, there seemed to be someone giving piano lessons on almost every block in my neighbourhood at that time. But before I started playing piano when I was around six, we had a small pump organ at home, and I remember just playing around on it, making whatever sound I felt like.

I don’t really remember what the first piece I managed to play properly was, but I think it was probably one of those standard little pieces by Bach or Mozart.

What were the artists/albums that early on helped point you in the direction of your own sound?

When I started making electronic music in early 2000s, glitch and all kinds of experimental electronic music were thriving at the time. So I’m sure I was inspired by a lot of those music. But if I had to pick just one, it would have to be Tujiko Noriko’s Shojo Toshi, which was released on Mego. I found it very refreshing how freely field recordings, sampled sounds, and noise were arranged, yet somehow they all came together well as a pop song.

The Juniper Tree is an interesting blend of synth and piano. How do you think about using either instrument – does a musical idea occur to you along with the instrument, or do you tend to find the musical idea once at the instrument?

It really depends, but when speaking about producing the score for The Juniper Tree, I naturally came to the idea of using synthesizers for most of the score, and the piano should stay as occasional use, after watching the film. Because I think this film has a lot of ambiguity showing different kinds of emotions and you can’t really define who is good or bad actually. And I think that electronic sounds are well suited to expressing subtle aspects of human psychology, while an acoustic instrument like the piano, the nature of the instrument can be quite strong, so I feel it can sometimes limit the kind of impression or feeling it creates. So I kept the use of the piano to a minimum, using it instead at key points in the story, and I think it worked quite well.

What was your studio setup for Juniper Tree? What instruments/gear/software did you use to make the album?

Since the music was specifically composed to be performed live as a solo piece, the setup was quite minimal as listed below:

- Arturia MiniFreak

- Small modular setup - Mutable Instruments’ oscillator Plaits, Doepfer’s LFO A-145 and Morphagene by Make Noise

- Strymon Bigsky reverb pedal

- Acoustic piano

Around 60% of the album was made using only with MiniFreak, with 9-10 different presets. I altered their sound characteristics using the filters. For track 8 “Take Me With You,“ I used only Plaits as the sound source. I connected a sine-wave LFO to Plaits’ Level input and used the LFO’s dynamics and intervals to slowly evolve the timbre.

And at the beginning of the track 9 “Mother’s Path,“ I kept a piano phrase recorded with Morphagene looping, while using its granular capabilities to significantly transform the sound. All sounds from both modules were routed through the Bigsky.

To produce the album, I recorded everything in Abelton Live and made some subtle EQ adjustments there, while also adding a minimum amount of reverb using Valhalla plugins. As I was already happy with my initial compositions I’ve made for the premiere concert, I tried not to change them too much and instead focused more on mixing, especially with the last track “Forever In The Sky“ where I used Plugin Boutique’s Stereo Savage to expand and deepen the stereo panning.

What's it like composing for a film, versus creating your own original music?

When composing for a film, you usually have a director who often has certain musical ideas that you need to realize. But when creating your own music, you can do whatever you want, so this is obviously the main difference. But for me, sometimes having musical limitations or being asked to work within someone else’s ideas can actually help me find a new way of approaching things, both technically and creatively.

But the situation with The Juniper Tree was a little different from a usual scoring project, as the music was composed genuinely for live performance. I had complete creative freedom, while the music of course still needed to work well with the story. That was actually the only real limitation I had, and it gave me a lot of inspiration. I’m very thankful to VIERNULVIER for giving me this special opportunity.

How do you discover new music these days? Any recent notable finds?

I often discover new music while exploring Bandcamp or some random websites, or otherwise at concerts or record stores. The record I recently stumbled upon and bought is Helen Money’s Atomic. This album is already a couple of years old, but I’m happy I found it now, thanks to the shop Bis Aufs Messer in Berlin. I really enjoyed the beautiful, massive sound of her cello.

Name an underrated artist from the past 50 years.

I think everyone has a different idea of what makes someone underrated, but if I had to name one, I’d say Natalie Beridze. There’s always a real strength at the core of her sound, and at times, it also has a sense of spaciousness and warmth. I enjoy almost everything she makes.

What are you working on next?

Since I’m releasing two albums this year, and I’ve released quite a few albums and worked on several scoring projects over the past few years as well, I feel like I’d like to focus more on playing live as much as possible for a while, rather than making new music.

Silent Way - Shinichi Atobe (67m, no vocals)
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Heat - Shinichi Atobe (59m, no vocals)
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Have a fantastic weekend.

Today I’d like to shine a light on an artist who is, in my opinion, one of the most brilliant and overlooked minds currently operating in the world of ambient and experimental adjacent sound, someone I recommend whenever I am given the chance: Timothy K. Brown aka TKB.

Trying to describe TKB’s sound in terms of musical reference points is nearly impossible because, simply put, there is nothing out there quite like it. It is a sound that I’d best describe as elemental – as if he somehow discovered a method for recording the ancient music of the earth itself, the essential and imperceptible melody that vibrates through everyone and everything. TKB’s entire discography is well worth delving into, but his three most recent releases (each respectively finding their way to the very top of my year end lists) are all perfect launching points.

2025’s Relentless Ambience is an otherworldly and at times disorienting listen filled with some of the most unique textures I’ve ever heard. Jon Hassell, Zoviet France, and even the work of James Ferraro and Spencer Clarke are the closest comparisons I can think of, but again… TKB’s world is entirely his own. 888 — 890, released just a few months later on World of Knots, takes a much more rhythmic approach, its exoskeletal rhythmic patterns far removed from any sense human involvement, rather resembling those found in nature – the fluttering of moth wings, the whisper of wind through leaves, the mating call of crickets dancing in and out of phase with each other.

His most recent release, Lo on the Ilm, is easily TKB’s most serene work yet. While it might be absent of the jittery and at times anxious sense of constant motion present in much of his work, it is nonetheless defined by the same sense of dark mystery, as if one is peering into the very deepest part of the night, and given access to its most forbidden secrets. Don’t let this description scare you off though – this is possibly the most beautiful album of the year, perfect to drift off to. A much needed corner of serenity in a constantly overstimulating world.

Relentless Ambience - TKB (73m, no vocals)
Bandcamp

888 — 980 - TKB (32m, no vocals)
Bandcamp

Lo on the Ilm - TKB (32m, no vocals)
Bandcamp

Have a great Thursday.