The effect created here is quite similar to the one created by those old kaleidoscope boxes, that create patterns that come and go, never to be repeated again. It might sound simple, but it still creates a mesmerising effect.

Everyday might have a simple title, but there is nothing mundane or simplistic in Kuroda’s music. Again.

It all could have turned into incredible musical chaos, but instead, the band on a whole are able to keep in sensible and musically tight, bringing that fresh air to some old (and not so old) musical concepts. Nostalgia with a twist.

It can all work if you inject a hefty dose of individuality into it all, and that is exactly what Nyte and The Awakening do on this self-titled album.

The seemingly incompatible sounds she comes up with throughout the album sound like they have always belonged together, exactly as Ganya envisioned them.

What we get is a cool, calm and collected combination of improvisation and composition that any late-night listener will keep close to their chest (and play medium of choice).

This album turns out to be a quite dazzling collage of sounds, something that you can call a ‘true’ ambient music.

Such an approach puts the listener in a position of immersing in Lindeman’s music while asking the same question Lindeman does, with the answers lingering somewhere in the air.

Whatever Sembrano did or will do within his ‘natural’ classical music background, this electro-pop guise seems to suit him quite well.

All the light and dark (noir) elements intertwine throughout, creating something that could be called positive grey, a musical feat rarely achieved these days.

From the more experimental ‘Slow New Year’ to the melodically flowing ‘Maria’ the trio creates music that has both sense and purpose.

Listening to this album as a unified whole, it is great to have back one of the masters of modern electronic music.

No more than two spoonfuls of sugar in this (musical) tea, just a good autumnal soundtrack for any occasion.

The vast record, book and film collection that the duo obviously possesses is felt throughout this album, where the duo turns any metal at hand into something soft as snow.

Trecka proves that you can be a writer, journalist, music critic, and musician at the same time without faltering with your music.

Porterfield’s ‘Kitsch Machine’ is neither of the two but something worth investigating whatever music you like.

Azariah seems to have struck the right balance between the genres he is operating within, exhibiting delicate composing and arranging skills that make his music work.

Overall, it works quite effectively for Tombstones In Their Eyes, the heaviness of their sound being there in the right measure.

An excellent introduction to an artist that obviously has the ability to grow further.

When there is so much genuine emotion involved in music making, the results are bound to be equally stirring and calming for the listeners too, trying to make the sense not only out of what Blakeslee felt but what they feel too.

No weak or meandering songs of the nine are presented here, announcing Blue Zero as a band all shoegaze fans can easily embrace.