The album Antipodesia contains dimly lit soundscapes of earthly and alien origin, many of which are being serenaded or illuminated by Mills' seductive trumpet off in the distance. Intermixed are manipulated samples of a variety of sonic impulses and instrumental performances, most of which are driven by groove-oriented beats and percussion.
The use of voice is dispersed on occasion, as are loop-style programmed sounds amidst live recordings. The melodies are often simple, which becomes effective and evocative over the course of the album. "Brightlands Avenue" is an example of what can result from a captured improvisation that is later touched up and through composed like a soundtrack to a scene in a film.
Many of these scapes strike a balance between natural and surreal environments, acoustic and electronic soundworlds, and often times include layered field recordings from disparate lands. "Zagreb" is a nice example that incorporates industrial or transportation sounds juxtaposed with a drifting and lyrical, Dvorak- style melody. The closing epic, "Sawtooth" commences with a droning pad with granulated noise particles that weave in and out of the foreground. When Mills’ trumpeting reappears it is one of the most thought-provoking and interesting moments on the disc.
For those into audiovisual aesthetics, there is a fine booklet included in the liner sleeve which contains some photography that one might imagine themselves inside while listening to the music. Recommended to fans of abstracted world music, manipulated world instruments mixed with groove, and those on the lighter and hemp-friendly side of Miles Davis’ electric period.