Compact Disc Catalog

Our catalog of Compact Disc releases. Albums are distributed as CDs that can be ordered at a fair price. Each of these releases is also available for download (mp3).

zen001 - d/form: What Are You Thinking?

Price: CD $7.50

Track Listings

1. 00:00:00/00:05:50 2. 00:05:51/00:11:58 3. 00:11:59/00:21:15 4. 00:21:16/00:25:39 5. 00:25:40/00:29:20 6. 00:29:21/00:37:02 7. 00:37:02/00:44:49 8. 00:44:50/00:48:23 9. 00:48:24/00:51:08 10. 00:51:09/00:60:00

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Credits and Licenses

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zen002 - Pegged (Various Artists)

Price: CD $7.50

Track Listings

1. Graphite [d/form]
2. Coming Out of Hiding [Crud]
3. Children of the Ort Cloud [Paul Edwards]
4. My Gluttonous Lobster Baby [Dhudn]
5. Atrip [Kalx]
6. code029 [zenas(prime)]
7. secon [Ecux]
8. But Now It's Too Late [Dhudn]
9. Utility [Instruction Shuttle]
10. Adinu6 [Kalx]
11. Because You Are [Paul Edwards]
11. yclept [Ecux]
12. Swimshell [Instruction Shuttle]
14. Ear Drum Dream [Crud]
15. Code046 [zenas(prime)]
16. Silica [d/form]

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Album Reviews

AmbiEntrance

Eight Various Artists from Zenapolae's eclectic roster each contribute two pieces which are pegged as widely-ranging sonic experimentalism. Beat-free zones abut with wild rhythmic outbursts and the only consistency is the assurance of unpredictability as strange new avenues open to aural exploration.

An atmospheric opener, d/form's "graphite" hovers in austere synth orchestrations of somber beauty, illuminated by shifting strands of tonal lightness. Mining similarly beatless though spacier zones, CRUD is "coming out of hiding" as gleaming irradiated streams churn in suspension. maudib's "Children of the Ort Cloud" features rougher pulsations which become stippled with rapid e-percussion, and a series of more raucous contortions.

Think drum'n'bass in space... "my gluttonous lobster baby" emits phantasmal keyboard choruses which are overlain by dhudn's busy little rhythms. The wafting synth-symphonics of kalx' "atirp" are infused with funkily aggressive electrobeats, clattering with metallic overtones. The ruffling electron murk of "029" (3:06) by zenas(prime) adopts a hypnotically clunky rhythm and a coordinated pattern of static.

ecux delivers the jungle-istic blips and beats of "secon"; microscopic tribal as rendered by alien robots locks into a groove of clicks, miniature xylotones and resonance. Thudding percussion from instruction shuttle pounds upon the vague wriggling mesh of pulsating synthtronics which is "utility". After meeting each of the artists, their second helpings are dispensed in a differently jumbled order beginning with kalx's video-game quirkiness "adinu6".

ecux reappears with the Eastern-ish bop-and-buzz of "y clept" burdened with repeating spoken word phrases. dhudn's second rounder "but now it's too late" spatters and zips with intriguingly spastic arrhythmia over smooth electronic floes. Powered by distantly muted pounding, "ear drum dream" (6:11) is CRUD's softly scritchy foray into the nocturnal jungles of the sleeping mind. The 70.5 minutes of pegged contain a head-turning 8.3 array of experimentations... from electronic ambient to IDM to exploratory soundscrapes to audio-abstractionism and virtually anything in-between.

These eight Various Artists gather under the banner of independent flagship zenapolae to promote their unique individual expressions.

David J. Opdyke, AmbiEntrance, 2000

Black Monday

this is one of those rare comps where the whole thing works as an entity. there is certainly a wide variety of material and styles,yet nothing finds itself out of place from another.

most of this album fits itself in the experimental electronics or idm niche, lots of easy comparisons to aphex twin and/or autechre material. there is something for everyone who is into some chill shit, from the bouncing edgyness of dhudn's "but now it's too late" to the ethnic spirtualisms of "ear drum dream" by crud to the droning serenity of d/form's tracks to the jazz tinged techno of 'clept' by ecux.

there are 8 artists with 2 songs featured by each on Pegged. my fave track is "atirp" by kalyx. this track is pleasantly twisted, featuring a dichotomy of being sedatedly frantic. lots of clank and clang percussion with sweet strings and spastic synth work make a very intersting listen.

elastic is the word that comes to mind when i think of a lot of the trax on this comp...all in all some nice progressive electronics coming out the US east coast and specifically the NJ underground.

Black Monday, 2001

Mute! Magazine

A compilation of new, innovative, and mostly unheard of experimental bands. Opening with the concrete like ambience of D/Form and going to the off beat rhythms of Crud. Dhudn continues with the labtop sounds of "My Gluttoness Lobster Boy", while Kalx creates some of the most breathtakingly beautiful beat driven ambient pieces this person has managed to encounter in a long time. With more amazing tracks from Zenas(prime), Ecux, and Instruction Shuttle, Pegged is a sign that everything that Zenapolae has in it's future is bright and it will follow on a blip and bleep tune of original sound that far surpasses most everything else in it's category. Find this one kids!

Mute! Magazine, 2001

Grooves Experimental Electronic Music Magazine

Along with Fuzzy Box, Zenapolae is proving that someone is actually listening to experimental electronic music in my home region of South New Jersey, the land of big hair and hoagies. And this 16-track compilation also shows how tight a hold Autechre, for better or worse, has on new IDM (as if you didn't know already) -at least a quarter of the songs here have that skittery-microbeat-and-off-kilter-electronics sound the Manchester duo has perfected. Most remarkable is that two of the Autechre-styled tracks here are from Arizonian Joshua Beeson, who records as Dhudn and offers more evidence that the new icon for teenage musicians is not the guitar god but the bedroom producer.

Other notable artists on Pegged include Kalx ( a No Type MP3 veteran), who creates a bangin' and clangin' din with two post-Autechre tracks ("Atirp", Adinu6"), Muadib, whose "children of the Ort Cloud" is yet another fine slice of nouveau electro, and Zenas(prime), who leans more towards glitchcore on "029" and "046". There's also some dark ambience here, but if you can't get enough of that Autechre sound, Pegged should provide some satiation.

Grooves Experimental Electronic Music Magazine, 2001

Pine Bluff Commercial

Prepare to enter the deep, dark confines of the computer run interior of a spaceship far out in space ... and you're the only crew member. Spacey, experience chilled, trippy technoambient sounds and ethereal transdimensional waves lapping in slow motion at your mind. Smooth moods that feature waaaaay laid back ultra spartan blips and beats and ethereal melodies like unto peaceful oceans afloat in space.

Kristofer Upjohn, Pine Bluff Commercial, 2003

Credits and Licenses

zen003 - Paul Edwards: To Six Billion

Paul Edwards

Paul Edwards, 'To Six Billion' album cover

Price: CD $7.5

Description

Dark yet uplifting, heart-scratching ditties that gracefully glide with charming synthesizer melodies, AFX-ish breakbeats that range from splattering minimal blips and clips to uppity drum 'n' bass, soundtrack-y soundscapes, quirky bubbly-ness and sci-fi spookiness. It's all urbanely laced with funk, soul, jazz, psychedelics, and, on three tracks, the alluring voice of the ballsy, Tracy Chapman-ish Sierra Hurtt-Akselrod.

Downloads (soon)

Tracklist Downloads

1.	Burn	MP3
2.	Skywriting	MP3
3.	Drug & Brace	MP3
4.	Sonoluminescence	MP3
5.	Mattaesque	MP3
6.	Vega	MP3
7.	Your Mind	MP3
8.	Blooming	MP3
9.	The Box Opened	MP3

Artwork Downloads

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Album Reviews

Pine Bluff Commercial

Your guess is as good as mine as to what ths title means. Perhaps six billion is how many light years away your spirit will drift after sliding into Paul Edward's creation, a driftingly beautiful, eclectic mix of ambient electronica. Spartan but effective, with jazzy peaks and world music touches in a couple of places. It's a mellow journey the audio explorer will find here among the stars. This is a lovely construction of quiet but highly effective ambient.

Kristofer Upjohn, Pine Bluff Commercial, 2003

Electronic Music World

A perfect blend of organic sounds, beautiful vocals and dreamy electronica. That is the essence of this 9 track album by Paul Edwards.

The third cd release of this independant label that is, among likeminded people known for it's high quality releases, offers a huge variation of styles, blending together. Jazzy influences, drum 'n' bass rhythms, beautiful vocals by the excellent singer Sierra Hurtt-Akselrod, and a perfectly crafted balance between electronic sounds and organic material give this disc something special. It is the new incarnation of braindance. Is it the new incarnation of lounge. Or is it something completely new. If none of these, then where have I been, not hearing this before.

I myself am especially charmed by the wonderful ambience created in tracks such as Vega, where both the long, evolving soundscapes as the rhythmical aspects contribute evenly to the enormous strength of the track. Your Mind, the track following Vega, just takes off nearly unnoticed, though definately more rhythm-driven. Beautiful.

A very varied album, which can be used a great background music, but which is also perfect to play while paying attention to the music. Dreamy yet catchy. A very interesting listen. Highly recommended.

Stefan Koopmanschap, Electronic Music World, 2003

Splendind E-Zine

Understated beat chemistry, subtle instrumentation and a sense of minimalism dominate the tracks on To Six Billion, carving their way through a variety of electronic styles without ever settling comfortably into a single genre. Paul Edwards has a method to his madness: by touching on a bit of everything, the range is endless, never stagnant, full of possibility. Edwards channels the entire spectrum of mood and atmosphere through his compositions, singling out sounds to investigate the emotive effect and then just as briskly abandoning them to introduce something entirely unfamiliar.

"Skywriting" is propelled on puckered, muted rhythms, jazz-tinged synth refrains and punches of guitar, woven into a meandering pattern that remains cheerful despite its underlying low-key melancholia. "Sonoluminescence" bubbles and percolates on a collection of round, reverberating notes, interrupted by warm snake-like melodies and playful keyboard yawns. The dark sighs and blips of "Mattaesque" lie in stark contrast to "Drug&Brace"'s raw drum and bass beats and gnashing, rough chords, the lilting voice of contributing vocalist Sierra Hurtt-Akselrod trailing through the background. Hurtt-Akselrod's voice graces two additional songs: the upright bass-fueled, sticky elegance of "Burn" and the world music flavoured "Your Mind", replete with spacy synth progressions, tumbling percussion and bits of (what sounds like) a Central Asian or Tibetan horn.

Edwards succeeds in blending the boundaries of style and emerges from the opposite end with a whole new definition of experimental electronica. To Six Billion is what happens when soul, jazz, drum and bass, funk, downtempo and lounge collide -- and it is a lovely combination.

Daniela Maestro, Splendid E-Zine, 2003

Aural Innovations

There is something uniquely beautiful on the new CD by Paul Edwards entitled To 6 Billion. With the perfect mesh of intricate detail, sonic balance,
deeply felt/programmed electronics and angelic vocal work by Sierra Hurtt-Akselrod-- Paul Edwards has hit a Babe Ruthesque home run.

After I listened to the new Paul Edwards CD, I dumped a DJ booking on a friend (also a DJ) and began to sample, scratch, compose beats and string sections for two days at my studio. No horseshit Jack, I got some serious inspiration from this new release. I kept shuffling back and forth between Edwards and Underworld's masterwork, up Fish with the fevered compulsion of a fulltime heroine user.

Edwards digs deep on this release and has more than a few tricks up his down tempo/experimental electronic sleeve. In particular, track 1 (Burn) sets the mood with the following lyrics: You're cold, cold and uncaring. It's like your reading a line off of cue cards. There's nothing in your eyes. There's nothing in your eyes. Heavy stuff, and really, who hasn't felt that at one time or another? The drum programming throughout this track (and album) is remarkable and obsessively executed. The whole damn record warrants more than one listen; this should be in the 10- disc CD-changer for the next 100 years as a record of at least one thing that mankind did.

Haven't heard of Paul Edwards? You will.

Aural Innovations, 2003

AmbiEntrance

Talk about a great first impression... burn's smoky noir-jazz is punctuated by cool, crisp e-beats and sultry vocalizations (which are lyrically interesting, even, adding esoteric twists to its torchy lament) by sierra hurtt-akselrod. Definitely the most "structured" track and an enticing bit of misdirection, as the others tend towards more exploratory zones... Electronic vapors hover, twist and warble through sonoluminescence, a zone of gauzey synth-psychedelia and slippery rhythmic pulsations.

Similarly trippy, skywriting spews hyperflexible guitartronic strands, loosely spiraling saxophonics and light percussive effects. More aggressive drum-n-bassisms propel drug&brace while mattaesque takes a leisurely freeform trek though a world of gleams, glares and bass riffles all stirred up by cymbalic rhythms.

With warped tones and fidgety bleeping keys, your mind (3:12) takes on a surreal sci-fi aspect visited by spectral female crooning. Deep undulations are routinely popped by sub-bass thumps in the moodier murk of the box opened which ends the 42.5-minute show with a more somber mood.

Nice work from paul edwards and friends... though the opening number is my fave, the remaining experimentronic tracks are more suited to these pages. Count on to six billion to deliver a number of assorted good things.

One of the more outright "musical" things I\'ve heard from the Zenapolae label!

David J. Opdyke, AmbiEntrance, 2002

Credits and Licenses

zen004 - Fidget: PAMS and Other Conspiracies

Fidget, 'PAMS and Other Conspiracies' album cover

Price: CD $7.50

Description

During a trip to perform at the Burning Man Festival, Erin Anderson brought along her trusty tape-recorder and recorded hours of interaction with the crowds. Using only these field recordings, non-linear editing techniques, and digital effects, she has created a richly-textured abstract audio collage.

Downloads (soon)

Tracklist Downloads

1.	Just Look at the Sun	MP3
2.	This Life Is	MP3
3.	Ontoo	MP3
4.	Silly Questions	MP3
5.	Guitar Song	MP3
6.	Verbatim	MP3
7.	The Runaround	MP3
8.	Subvert the Subversion	MP3
9.	Whatz Your Name?	MP3
10.	Ognob	MP3
11.	Battle of the Funny Sounds	MP3
12.	Ode to Boh!	MP3

Artwork Downloads

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Full Downloads

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Album Reviews

intellectos

Fidget is Erin Anderson. What makes this CD very interesting is that all the sounds on this disc are sampled from the Burning Man Festival. As her press sheet says, "Using only these field recordings, non-linear editing techniques, and digital effects" she created the whole album. This may sound neat but the album suffers in patches because of this very premise. Before Fidget Erin Anderson spent years as half of the persistent indietronica duo Flowchart. Like Flowchart, Fidget is all about soundscapes, repitition, and introspection. Erin recorded hours of interaction with the crowds which you hear throughout the album. The nature of an album with limited sounds are obvious (i.e. tracks blend into each other to easily) but tracks like Silly Questions and Whatz Your Name? are the exception. This track is one of the few on here that builds up and features a trancey sampled beat and spooky voices. The intelligible samples that pop up in various spots are enjoyable too. On the end of Subvert the Subversion you hear a babbling voice discuss the fault of American Middle East policy in a naive and muddled way or the end of another track which features comedic attempts at a Beach Boy classic. The disc is entertaining where most within this genre simply fail "Pams and .." is consistent.

intellectos, 2003

Splendid E-Zine

For all of us who've spent time at an outdoor festival, this collection of assembled "field recordings" (collected at the Burning Man Festival) makes you reconsider just what you experienced that day. All those overheard conversations, endless sound checks and barking dogs are reassembled here into trippy, metallic loops that squawk, bleep, and careen their way across twelve tracks. Though much of the music is consumed with these rhythmic intervals of spliced-noise, we also get the occasional "original" in extended form. (Imagine one of Burning Man's more philosophically inclined spectators holding forth on "subverting the subversion".) It's true that these fractured soundscapes can make for an almost visual experience, but PAMS ends up sounding a bit cold and claustrophobic, like the soundtrack to a dying party filtered through ten different channels. It's more successful when it gets into a groove and fully develops an idea, as with the droning, almost religious incantations of "yeah yeah yeah" on "The Runaround". Taken as a whole, the complex, searching loops rarely meet on the same plane, leaving the listener to reconcile the many interesting though often incompatible layers. The stories you'll tell yourself to go with these complex soundscapes have some compelling characters and gripping events, but, to my regret, don't always end well.

Rob Guthrie, Splendid E-Zine, 2003

Pine Bluff Commercial

PAMS stands for Pink Alien Monkey Swine. Which is really all you need to know. Almost, anyway. I won't try to describe Fidget's sound. Suffice it to say they are sort of a fusion of the staple sounds of the experimental realm. Vocal samples chatter around elements of noise. The listener succumbs to a strangely engrossing symphony of sound.

Kristofer Upjohn, Pine Bluff Commercial, 2003

Aural Innovations

Each year, thousands gather in the Black Rock Desert in Nevada, US for The Burning Man Festival, an “annual experiment in temporary community dedicated to radical self-expression and radical self-reliance”. Why do I mention this? Because PAMS and Other Conspiracies is a series of sound collages built entirely from field samples recorded at Burning Man. These recordings were layered and put together using electronic processing and non-linear editing techniques.

On first listen, I had not read anything about this recording, and I admit I was a bit baffled by the strange three-dimensional landscapes of noise I heard. I’m sure many listeners would not even consider this music, but to those who embrace John Cage’s definition, “anything that is intended to be music is music” may find this quite an interesting odyssey. After I had read about the source of the recordings used, I was able to listen to the compositions in a new light.

Fidget is Erin Anderson, one half of the electronic experimental duo Flowchart. On PAMS and Other Conspiracies, she takes the concept of “radical self-expression” to heart. This seems as much about Anderson’s experiences at Burning Man as anything. And from the opening siren-like screech of Just Look at the Sun, it’s clear her experience was an active and exciting one. Samples of voices talking, background noises, people making music, etc., are manipulated electronically, and inter-cut in a sonic pastiche. Sometimes Anderson works the samples into a rhythm of sorts, like the bizarre noise structures of Whatz Your Name?, which incorporates chanting and numerous other sounds that drift in and out of the rhythm. Other times, she lets the samples speak for themselves, like on Subvert the Subversion, where a neo-hippie gabs on about the problems with government foreign policy.

It’s all fascinating, to be sure, but not very easy to listen to. Anderson is doing her own thing here, oblivious to the audience, and they can choose to listen, or walk away. But isn’t that what radical self-expression is all about?

Jeff Fitzgerald, Aural Innovations, 2003

Credits and Licenses

zen005 - Instruction Shuttle: Open Sad Circuit

Instruction Shuttle

Price: CD $7.50

Description

After releasing numerous EPs and assorted projects on various independent labels and his own Astromass imprint, Pennsylvania sound sculptor Instruction Shuttle (Todd Christopher) has teamed up with Philadelphia-area indy label Zenapolae records to release the Instruction Shuttle masterpiece Open Sad Circuit CD.

Open Sad Circuit, a sprawling soundscape of 13 "songs", mixes the signature dense atmospherics of it's creator with micro-melodies and angular twitches, only hinting at a conceptual impressionistic portrayal of the "thoughts" and "experiences" of a sentient audio-manipulation system. Instruction Shuttle uses stereo-field explorations and a labyrinth of sonic smears to give the listener a variety of different levels of listening. The rhythms of the CD consist of crunches and glitches that churn and bob in space. The noises and effects that hide in the darkness of the album make themselves known via avatars of movement, appearing out of nowhere to add fluid and motion to this abstract work. Transitional fades and washes of exposition lead the listener by the ear through the soundscape.

Open Sad Circuit is a cross section of the sound that has developed during Instruction Shuttle's ten-plus-years of sound exploration. The imagination of the record presents itself in a very improvisational manner, appearing as a single album-length blur, littered with audible bits and chunks of orthoclase and emeralds. Open Sad Circuit was produced in large by live takes of real-time mixing, and this gives the record a nice organic and comforting feel, regardless of the post-digital apocalyptic cynicism portrayed in the sounds and attitudes..tasty.

Downloads (soon)

Tracklist Downloads

1.	2ml	MP3
2.	Champagne	MP3
3.	Talltowers	MP3
4.	Chimertimer	MP3
5.	My Love For Animals	MP3
6.	Rome Approaching	MP3
7.	Quartz Coarse Land	MP3
8.	Visible Brush Strokes	MP3
9.	Dustbunny	MP3
10.	Kevlar Family Album	MP3
11.	Sectorspectre	MP3
12.	DNADegrade	MP3
13.	Goodbye	MP3

Artwork Downloads

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Full Downloads

Entire album in MP3 format, with art work, zipped, xx MB.
MD5 (zen001.zip) = Xxxxxxxxxxxxxxxxxxxxxxxxxxxxx

Album Reviews

There are no reviews for this CD at this time.

Credits and Licenses

zen007 - Aidan Baker / Matt Borghi: Undercurrents

Aidan Baker and Matt Borghi, 'Undercurrents' album cover

Audio CD/Slim-case (2005)
Catalog No.: ZEN007
Price: CD $7.50

Description

Undercurrents is collaboration between US artist Matt Borghi and Canadian artist Aidan Baker. Droning ambient guitar passages are remixed, reworked, and layered into drifting, amorphous pieces drenched in reverb and echoing with an aquatic, submarine quality.

Track Listings

1.	undercurrent pt1
2.	sunken cathedral
3.	stride
4.	undercurrent pt2
5.	gravesend
6.	precipitate
7.	turning tides
8.	undercurrent pt3

Album Reviews

Funprox Webzine

In the liner notes of Brian Eno's Music for airports, Eno comes to a description of ambient music. He states: "Ambient Music must be able to accommodate many levels of listening attention without enforcing one in particular. (...) Ambient Music is intended to induce calm and a space to think." This was in 1978, but still, a lot of composers of ambience hold up to this advice. Eno is regarded as one of the godfathers of the genre.

Undoubtedly his advices have inspired Baker and Borghi as well. Undercurrents is an ambient work, very deep and dense, reminding me of Vidna Obmana's Shadowing in sorrow and especially Robert Rich's Trances/ drones. Classic ambient so to speak.
Undercurrents is especially good in my opinion since both artists really have attention for melody, besides an artistic eye for the creation of deep, multifaceted drones. Track six "Precipitate" for instance, is an astoundingly sorrowful, deep-layered sound construction.

The great thing about artists with expensive equipment is that you can hear it in their music. So it is on Undercurrents. This is not just a collection of fragments, of piled up noises...it is a harmonic blend of utterly fine-tuned sounds, a lot of them coming from ordinary instruments. The record sounds as a whole of intertwined tracks, undercurrents strong enough to pull you down to sunken cathedrals.

JS, Funprox Webzine, 2005

Igloo Magazine

Aidan Baker and Matt Borghi are part of the new generation of low-light ambientists, travelers on the nocturnal fringes who prospect for sounds in the hinterlands and bring them back to the realms of the light where they are stretched and skewed and bent beyond recognition. Baker and Borghi make sinister drones, soundscapes that drift and haunt. Together, they have produced Undercurrents, a collaboration for Zenapolae which finds both experimenting, trying new things in an effort to discover richer terrains than they've plumbed before.

The rich discovery is the piano. Baker and Borghi traditionally start with the guitar, finding their tones in the long sustain and the tiny reverberations of feedback from their amps. However, Undercurrents is filled with piano. Cautious, careful melodies eke out space within the drifting miasmas of stretched drones, lending grace and movement to the already fragile soundscapes. There are distant field recordings of either birds or street noises (they're buried enough it is hard to tell) in "Precipitate," a whistling wind of sound that runs beneath the glowing tones of transformed guitar notes and the dripping sound of the piano. The three parts of "Undercurrent" are all filled with the slow movement of the keys, melodies that turn and twist unhurriedly while sheets of tones are spread across a watery landscape.

There are some elements of the collaborations between Robert Fripp and Brian Eno in Undercurrents, the same cascading sense of unreality coming from the guitar and the same delicate precision rising from the piano melodies. This record works well both loud and soft as if finds spaces to fill with echoes regardless of its presence in your sonic space. I like the echoes left in my head by Undercurrents; I like the sense of movement beneath a placid surface and I like how Baker & Borghi have made a record that shows off their strengths while venturing into new territories. Aces.

Mark Teppo, Igloo Magazine, 2005

sonomu (sound noise music)

An exquisite set of ambient, interleafing the talents of Aidan Baker and Matt Borghi. Baker is rapidly becoming a familiar name to fans of the drone, with an output of CDs, MP3s and CDRs in the past few years that set him on a course to rival Merzbow and the late Muslimgauze. Matt Borghi is a younger ambient veteran who in this collaboration seems mostly to devote himself to adding dashes of colour to Baker's fascinatingly morphing drones by tinkling at the piano.

It's called Undercurrents and delivers precisely what the title promises. Borghi has previously immersed himself in the depths with the limited release Huronic Minor, so he seems right at home in Baker's oceanic soundwaves. We are pulled down under into a gentle world of rest and tranquility, of warm, pellucid embrace. Atmospherics of the highest water.

Stephen Fruitman, sonomu (sound noise music), 2005

Vital Weekly

This album is totally in the nice tradition of ambient music, totally calm and peaceful. Nothing harsh happens and the intensity is kept on the lowest level. The main sounds are the atmospheric ones and also the classic piano tones which drop in occasionally. Something that sounds like field recordings also appears, but quite blurry and only with an aim of creating an atmosphere, not to surprise or shock, but just gently surrounding you with sound. It's in the best traditions of some of the greatest space ambient composers, as Steve Roach, Vidna Obmana and Robert Rich. Nice and calm, surrounding you with an atmosphere of peace.

Vital Weekly, 2005