Laszlo is the moniker of Aaron Frederick Wheeler, composer/producer based in London. His music blends many genres like IDM/Electronica/Experimental and Jazz/World/Folk/Classical. His first album, which will be released on Lydian Label the 5th of September, is titled RADIAL NERVE. He decided for such a title after he broke his radial nerve and once recovered, succeeded into composing new tracks even if doctors were thinking it would have been impossible to. The eleven tracks of the album shows really well Laszlo's wide musical interests that spans from Balearic atmospheres passing through jazz and techno. Many different instruments have been used on each track and if fusion sounding "Satori" has piano, mandolin, flute and vocals with i.d.m. rhythms, the short opening "Radial Nerve" to me sounds like a techno version of "Tubular Bells" and it sounds great. Percussions, dulcimer, piano, percussions and gongs are the main elements on "Musicbox Vs Dulcimer" while piano (sometimes reversed), vocals, jazzy drums, synth bass, flute and classic guitar are the ones of "Lydia's Dream". Sounding sometimes dreamy and others cinematic RADIAL NERVE will please the lovers of sophisticated chill out music.

Released on Creme Organization, THEY ARRIVE is the newest EP by the famous alien stalker The Exaltics. This release contains six new tracks which are some of the most intriguing, obsessive and dark ones composed by Robert Witschakowski. Three of them (the opening "See It Through My Eyes", "A Strange World Between" and "It Takes Place"), are short and experimental with menacing strings inserts (on "See It Through My Eyes"), aquatic and hypnotic atmospheres ("A Strange World Between") and tense and noisy sounds ("It Takes Place"). The longest ones "They Arrive", "The Wrong Direction" and "One Circle" are minimal and noisy with a bit of Detroit techno ambience ("They Arrive" and "The Wrong Direction") and electro funk with acid influences ("One Circle"). This cool EP is available in black or white vinyl.

This is a tree track album between classical, ambient and sound art composed by Gregor Quade playing synths and Piano and Andreas Usenbenz filtering the produced sounds with the Kaoss Pad. The album is played live and the recording carefully edited by the sound artist.
"February 01.1" opens this release with a small loop and a synth almost droning, than some quiet noises gives depth to all the structure and slowly develops until the piano slowly introduce the listener to the final, almost ambient, part of the track. "February 02.1" is a shimmering miniature constructed upon small loops, resonances and noises. "February 03.1" starts with a small loop introducing a piano loop above a drove and coloured by noises and loops entering and exiting.
Apart for the brief length, less than 25 minutes, this is an example of how economy of material could result in a small beauty in search for good ears. Recommended.

Thaniel Ion Lee is an artist working in the visual field as well in the audio field. False Analog is a three track album constructed with only one musical structure as a reference for composition.
The first track (all the track are untitled) opens with industrial synths above a martial beats ending with a noisey drone. The second track is a sonic assault driven by a ritual rhythmic pattern and an oriental-like synth part, all the track is vaguely reminiscent of the work done by Patrick Leagas during the '90s. The third and final track starts with a synth crescendo introducing a ritual part constructed with noise and beats slowly developing and ending.
Although there's a quite good sound research, the track are simply too long and static, relying on the atmosphere and the ritualistic mood. Only for collectors and curious.

This second release by Paragate' on the trustworthy Auraltone Music's imprint sounds like a sort of documentary collection of a series of mystical experiences, whose title could ideally refer to the musical unwinding of a conceptual catachresis, whereas a reflected light unavoidably amplifies a refecting light. It's a process which seems to have a requital echo in the sound processing: the close delays, the echoing sounds which look like rapidly tramigrating from one point to another one inside the sonic space and evaporating into scented clouds on quasi-drone built on microtonal variations just like permanently recombinating and changing state could be considered a musical transposition of such a process. Most of tracks rest on that kind of padded ambient sets which are close to the so-called therapy music, even if the underlying rules Tim Risher, Tom Deplonty and Claus Gahrn (on mixer and ebow guitar) tried to severely stick to, based on the recursive repetition on a particular number of chords and the slow changes on rhythm as well as on the wise alternation (and in some moments of the record, we could more properly speak about a fusion) between sound and silence, could remind the canonical rigour of a classical ensemble. On the other side if you don't consider just the technical aspect, it could be easy you'll find yourself in an imaginary picaresque novel, wandering about a maze of mental alleys while listening the intricate piano daintiness of tracks like "Lord Of Stones", the muted metallic sticks and plops of "Still Morning" and "Concern With Language" (a track with a whimsical extract from Near and Random Acts by Charles Alexander, recited by an estranging voice), the enveloping natural soundscape of "Still Day" (whereas you could imagine yourself in the middle of an enchanted forest, inhabited by fairy lighting creatures), the sonic alembics inside which the sound seems to be electrochemically treated in "Tafelmusik" and then liquefied in the whispering bliss alchemy of "Stilhed I Spejlet", the entrancing sonic interpretation of the ode "To One In Bedlam" by Ernest Dowson (a poem I didn't know...you can just imagine my enthusiasm when reading verses saying "Half a fool's kingdom, far from men who sow and read/All their days, vanity? Better then mortal flowers/Thy moon-kissed roses seem: better than love or sleep/The star-crowned solitude of thine oblivious hours!"), the stifled tolling in "Quietude" and the sweet hypsnosis of the final "Dreaming". The vague sense of bliss, peace and stillness impregnating the ground of this record could let think about it as a possible soundtrack for a Buddhist sutra, but I could warmly reccomend to listen to it while driving your car surrounded by the colors of dusk or dawn!