Essentially, out of nowhere, we get an album that is at the same time experimental and utterly listenable at the same time.

With all its eclecticism, it’s an intriguing album, no matter what.

You can call ‘Adonis’ mood music, or any other name, but the key adjective here would be excellent.

YAI intricately combine all their influences and musical elements here, process it (that is where those laptops come in), and turn it into music that makes sense, with or without the laptop.

The key feel of this early recording is the sense of timelessness it brings – it might have been recorded in the early eighties but it sounds like it could have been done so 10 years ago, yesterday, or on September 27, 2024.

Peck adds an e to those motions, making this album fully engaging, not just to himself but to his listeners too, something not easily found these days in electronically created music.

What we get is a standout noisy dream pop, a veritable feat these days.

What might seem senseless to some artists makes full sense for Brown, and luckily for him, all the eleven compositions here work seamlessly and effectively, coming up with an album that deserves detailed listening.

The music here has that effortless quality that comes when you are able to easily transform your emotions and reminisces into music. An excellent debut.

Big Bib Motion turns out to be quite a fitting title for this album which brings along music that evolves with every new listen.

We get a pastoral set of post-ambient sketches that involve seemingly disparate elements that Dawson pieces together with such a light touch that it makes perfect sense.

Such intriguing concepts as Wallis undertakes here are often great ideas that are hard to execute, but Wallis comes through this process with flying colours.

On the whole, it all makes full sense and Smote’s grand stream keeps on flowing, slowly dropping all the veils covering it presenting its true (good looking) face.

With all the experimental touches throughout this album, it is the exemplary sense of pop melody that fits her lyrics that carry the key weight of Linehan’s music.

Call it roots, call it singer-songwriter fare, or whatever else you will, Jordie Lane has come up with some sophisticated, intricate music that should take him a long way.

Throughout the album, Cochran is able to place his music on that still not fully defined sub-genre of ‘ambient Americana’, by actually giving it new touches and dimensions, music that might serve as a measure to other artists venturing into this field.

It is that emotional element here that is the one that binds everything into something that surpasses just instrumental excellence on this album.

It is all realistic, and they simply belong, here and now.

Excellent mood music, rain or shine, day or night, in the tropics, or elsewhere.

Atlas is another excellent Guthrie effort, albeit a brief one, but something his devoted fans will certainly cherish.

On paper, it sounds like a lofty concept, that is not so easy achievable, but Elliott’s soundscapes here in almost all of the 11 compositions here achieve his set goal.