It is more of an acoustic take of the original, full of the electronic side of trip hop, and if it was out of  Kiiōtō’s comfort zone, maybe they should stay out of it for a while.

This ‘Arizona’ might not be full of sand, but it is these seemingly small grains of music that make it sound quite big, actually.

It seems that Conic Rose has further perfected their craft of bringing some fresh air to current modern jazz trends.

It turns out that on ‘Time Out of Mind, ’ Pritchard composed a detailed summary of what trip hop was (and still is) all about.

Sabel and Vildgren wrap it all up in some gentle and subtly complex songwriting that makes it all sound like it is worth the effort of turning it all into music, as well as keeping that search for the right path going.

By using the combination of acoustic (‘regular’) instrumentation and electronics Jarboe is attempting to make a connection between all that is visible, obvious and invisible, mystic in the natural world.

Seretan & Thayer were able to make a seemingly complicated concept sound as easy and natural as their “machine in the garden” should sound. Their sunbeam sounds quite natural indeed.

Viggen notes that booking agents often have a problem deciding which venues to give her- classical, jazz or post rock – but her listeners shouldn’t or wouldn’t care because it makes all the sense musically.

Jetzer’s music turns out to be a well-crafted, ambient combination of jazz, krautrock, and world music that sometimes can veer into the dreaded new age territory, but never touches it here.

Affini’s artistic background definitely played an important part in creating an important part in making ‘Rust’ work, coupled with the fact that Affini made a wise decision to keep these pieces relatively short and as realistic as possible.

It is that old (and always exciting) psych sound that India Tigers in Texas have brought to these current times.

The result is well-thought-out and simultaneously loose and tight acid jazz with late-night soul embellishments that work at any point in time you play this album.

Dickson is able to achieve the balance between post-modern classical and avant-pop she seems to be striving for.

What we get is music that is dark and solemn, but at the same time it is music that moves the listener, as it is able to communicate the effect personal tragedies had on the composer, creating a cathartic experience.

It all flows with quite some ease and sense of personality, something that does present itself after almost 40 years on the music scene, and while some artists lose it after being on the scene for so long, the black watch have still got it.

Ave Grave & Unlearn have created music that ebbs and flows with ease, creating the exact mood pieces that they set out to do.

Blues giant B.B. King is quoted as saying that simple notes are the hardest ones to play and make it sound good, with David August proving him right with different instruments in a different musical genre and setting.

Pine was able to conjure not only the environment she used for her recordings, but the emotions those surroundings impressed on her, transcending the usual field recording scenario.

And it is all in the sonic layers and nuances here, with the duo being able to extract everything their instruments is able to offer.

Here, it all runs as a film noir soundtrack with its ups, downs, stress and calm, all placed in a seemingly perfect order.

The ‘Dream On’ title is a perfect fit for this late-night delight.