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In 1986, the vibraphonist Tom Van Der Geld composed his personal ode to creation, a tonal poem for all natural beings called Small Mountain. It reveals a pure minimalist inspiration, a vibrant style of sound variations that is decidedly more Zen-Impressionistic than the mathematical-metaphysical works of Steve Reich. This music, for four marimbas and other percussion instruments suggests an emotional osmosis with all the elements, a flow of ecstatic progressions that is more immanence than transcendence. It's the rain that falls softly on fragrant moss or the fog that hides the frost on the grass; an exotic spectrum of mutliform colours, dances of leaves, branches, sticks, fronds, lianas, swirls of petals and bark. Ode to the wind, to the rainforest, a psalm to the waters energy that opens the portals of the temples of Nature. As in the aboriginal songlines, every place or being on Planet Earth becomes, through music, space for the sacred.

Sault - Aiir is one of five albums released by the collective Sault on November 1, 2022. This album serves as a companion piece to Air, released earlier in April 2022, and follows a similar classical and orchestral approach. Aiir diverges from the band's more familiar funk, soul, and Afrobeat sound and instead emphasizes a more ethereal, cinematic style with orchestral and choral elements, offering a peaceful, meditative listening experience.

Like Air, Aiir is heavily influenced by classical music, featuring lush string arrangements, choral vocals, and serene soundscapes. The album has a strong focus on minimalist orchestration, blending elements of neo-classical, ambient, and spiritual music. It creates an atmosphere of reflection, calm, and transcendence, with a sense of grandeur and emotional depth. The music on Aiir evokes feelings of nature, spirituality, and human connection.

Thematically, Aiir builds on concepts of nature, space, and spiritual awakening, focusing less on direct social commentary than some of Sault’s other albums. It invites listeners into an experience of contemplation, serenity, and cosmic beauty.

Key Tracks:

"Hopes" – A track with soaring orchestration, featuring delicate strings and vocal harmonies, evoking feelings of aspiration and beauty.
"5am" – This track captures the stillness and calm of early morning, with a meditative quality that invites introspection.
"Healing" – A spiritually charged song that feels like a soundtrack to emotional and physical restoration, utilizing choral vocals and peaceful arrangements.
Connection to Air: While Aiir follows the same stylistic cues as Air, it offers its own distinct mood, acting as a meditative follow-up to its predecessor. The two albums together showcase Sault’s ability to craft music that feels both experimental and deeply evocative, extending beyond traditional genre boundaries.

Although Aiir received less mainstream attention compared to Sault's other albums, it was appreciated for its artistic bravery and its contrast with the group’s typically groove-oriented releases. Critics admired its classical influences and the way it could create an immersive, calming environment for listeners, positioning it as one of Sault’s more reflective and experimental works.

Sault - Aiir is a continuation of the collective’s exploration of new sonic territories, emphasizing their genre-fluid approach and artistic ambitio

Human Remains follows Creatures of the Deep and Black Sarabande as the final installment of a trilogy of piano based recordings by Robert Haigh for Unseen Worlds. The trilogy marks the end of the late era of solo albums by Haigh before he steps away from music production.The title, Human Remains, was initially based on a painting of the same name by Haigh that is suggestive of an ancient structure resolute in the wake of overwhelming forces. As a metaphor for our current times, it could be interpreted as human frailty in the face of nature's unyielding dominion. Conversely, it could represent the persistence of human spirit and resourcefulness in the midst of catastrophe and upheaval.The album opens with 'Beginner's Mind' - a semi-improvised motif develops into an impressionistic refrain. This is followed by "Twilight Flowers" and "Waltz On Treated Wire" - intimate, monochrome piano portraits. Later tracks such as "Lost Albion" and "Signs Of Life" build on skeletal piano motifs with subtle electronic washes, textures and field sounds. The album ends with the elegiac "On Terminus Hill" where a stately piano refrain explores a series of sparse harmonic variations evoking a sense of closure.

Since the 1970s Mario De Leo works as a musician and visual artist. His mechanical paintings are hybrid works that reveal the cosmic spiritualism hidden in the meanders of electronics. With Riccardo Sinigaglia (Futuro Antico, Correnti Magnetiche, Doubling Riders) De Leo consolidates an artistic and human partnership with Lettera Cosmica, a work unpublished to date, produced and recorded in 1981. In a wacky electronic vision of the succession of time, the tracks trace the four seasons in a fine process of analog loops, prepared tapes of strings and piano, time and pitch shifts, filtering with Synthi Ems and Teac 3340 4-track recorder. On this seemingly cold palette, De Leo deploys his own personal Mediterranean fingerpicking, with vocal timbres peculiar to the music of the South of Italy, but no longer circumscribed to the origins of his Pugliese regionalism, as much as to an expressive range seasoned also with irony and avant-garde.The sound writing harmonizes with the evocative cover, in which emerges a warmest human note of "technological peasant”.

La Monte Young was born in Bern, Idaho in 1935. He began his music studies in Los Angeles and later Berkeley, California before relocating to New York City in 1960, where he became a primary influence on Minimalism, the Fluxus movement and performance art through his legendary compositions of extended time durations and the development of just intonation and rational number based tuning systems. With wife and collaborator, artist Marian Zazeela, they would formulate the composite sound environments of the Dream House, which continues to this day. Seeing reissue for the first time since its initial 1969 release, Young and Zazeela's first full-length album is often referred to as "The Black Record" due to Zazeela's stunning cover design, complete with the composer's liner notes in elegant hand-lettered script. Side one was recorded in 1969 (on the date and time indicated by the title) at the gallery of Heiner Friedrich in Munich, where Young and Zazeela premiered their Dream House sound and light installation. Featuring Young and Zazeela's voices against a sine wave drone, the recording is a section of the longer composition Map of 49's Dream the Two Systems of Eleven Sets of Galactic Intervals Ornamental Lightyears Tracery (begun in 1966 as a sub-section of the even larger work The Tortoise, His Dreams and Journeys, which was begun in 1964 with Young group The Theatre of Eternal Music). According to Young, the raga-like melodic phrases of his voice were heavily influenced by his future teacher, the Hindustani singer Pandit Pran Nath. Side two, recorded in Young and Zazeela's NYC studio in 1964, is a section of the longer composition Studies in the Bowed Disc. This composition is an extended, highly abstract noise piece for bowed gong (gifted by sculptor Robert Morris). The liner notes explain that the live performance can be heard at 33 and 1/3 RPM, but may also be played at any slower speed down to 8 and 1/3 RPM for turntables with this capacity.

Des Spheres is inspired by the movement of the planets closest to the earth. the Sun,which begins the piece, is positioned in the central axis. Each planet is represented bytwo sounds: one from a natural recording (Water-Air-Earth-Fire), the other from atiny analog synthesizer. This involves a cross synthesis, in which natural soundsremain inaudible, but modulate synthetic sounds by varying their amplitudes andfrequencies over time in order to obtain an evolving, and partly random timbre.The relative orbits of each planet around the solar axis have been reproduced instereo space. To make them audible, I have had to greatly accelerate thesemovements. The 51 minutes of the piece represent over 100,000 years. Likewise, theambits of the stereo pans for each planet/track correspond to the relative distances ofthe planets in the solar system from the Sun. Saturn therefore undergoes a left/rightmovement over several minutes, while it takes Mercury only a fraction of a second forthe same movement.Each planet corresponds to a pair of different sounds (natural/synthetic), composedfrom distinct pitches, textures, and timbral colors. It is these differences which, bycoming together in the same listening space, express an auditory vision of the solarsystem.Most of the time, I worked in a daze, feeling that the mixer was becoming anextension of myself. I composed daily according to the star which corresponded tothe day of the week (Monday: the Moon - Tuesday: Mars - Wednesday: Mercury etc.).Des Spheres is therefore a piece recorded over 8 days, but involving more than a yearof preliminary research.Far from being music for relaxation, Spheres has a quasi-hypnotic effect, due to thefact that the piece consists of a single large chord of 8 notes, but whose timbres varyin tone and duration. It is not uncommon for listeners to fall asleep on this trip,which is fine with me...Refusing to reproduce an existing astronomical model in which models of reality aretaken for reality itself, the piece refers instead to an organic vision, which in oldentimes was called “the spheres”, the idea that the forces expressed in humans arelinked to the movements of celestial objects.

Through the course of time, DSR Lines (David Edren) never loses his intimate and profound connection to the universe of modular synths. These recordings made during 2014 in a residence at the Cem/Worm studio in Rotterdam, represent a further magical compendium of his Organic Electronic Music. In particular, here he draws from his expressive arsenal the cosmic and galactic potential of the Arp 2500, which happily floating throughout. A rigorous magician of vaporous, oscillating patterns, sidereal frequencies, nebulous dust; an explorer of inter-zonal paths, he unveils new dreamlike dimensions en route to unfold planets. Between Kraut-Kosmische accelerations and a personal approach of gentle minimalism, he always forges rare atmospheres of rhythmic pulsation, full of enveloping, spherical and spiralling sounds, luminous and radiant in their hypnotic aura, or magnificently ecstatic and ascending. Originally released by Ultra Eczema.