Ambient pioneer, glam rocker, hit producer, multimedia artist, technological innovator, worldbeat proponent, and self-described non-musician – over the course of his long, prolific, and immensely influential career, Brian Eno has been all of these things and much, much more. Determining his creative pathways with the aid of a deck of instructional, tarot-like cards called Oblique Strategies, Eno champions theory over practice, serendipity over forethought, and texture over craft; in the process, he forever altered the ways in which music is approached, composed, performed, and perceived, and everything from punk to techno to new age bears his unmistakable influence.

The shimmering textures and sparkling patterns on these eight immersive, buoyant dream-fragments began with electric guitar improvisations Erik Wøllo looped in his living room in Norway, utilizing a style first heard on his 2022 Inversions EP. Following the spontaneous and intimate beginnings, Wøllo expands the horizons by seamlessly adding speckles of synthesizers and sequenced rhythmic elements to the sonic excursion built upon his guitar and looping pedal compositions. This minimal album is characterized by simplicity and clarity across the forty-five minutes of emotionally engaging ambient pieces. These tracks invite listeners into a realm where innovation meets passion. Unfolding like a musical narrative, the evolving harmonies and melodic motifs captivate the senses. The interplay between the various guitars and synthesizers creates a harmonious dialogue, engaging from start to finish.

Jonn adds a more romantic element to his space music sound. Tingri is inspired by a small village in Tibet 50 miles from Mount Everest, from where the album title is taken. This album is beautifully haunting with slow off-beat rhythms and subtle melodies.

Jon and Vangelis was a collaborative effort between the singer Jon Anderson (the lead vocalist of the progressive rock band Yes) and the Greek synthesiser musician Vangelis. The duo released four albums between 1980 and 1991. Chronicles is a compilation album produced by Jon and Vangelis, released by Polydor/Spectrum Music in 1994.

Few bands have come to single-handedly rule a genre as well as Stereolab. The only question remaining is which genre. The band's machine-funky grooves, oddball synthetic washes, and disturbingly flat vocals suggest a futuristic disco where the survivors of nuclear war have settled for alienation anthems that recall the "space-age bachelor pad" music of the distant innocent past. But this is all conjecture. No one knows what the music of the future will sound like. (Heck, we once thought by the year 2000 we'd all be walking around in Lost in Space outfits.) Stereolab, however, are certainly what we think of.

On his 2013 release The North Borders, British producer Simon Green (aka Bonobo) continues along the organic-meets-electronic path that his 2010 release Black Sands followed, but this walk takes place as it's turning to dusk, and there are varying degrees of mist and chilliness along the way. Opener "First Fires" with Grey Reverend (singer/songwriter L.D. Brown) sounds like it could be quite warm, but it's entirely autumn-minded sweater music that wistfully wonders what to do with "faded dreams" as Green allows bits of glitchy sunlight to shine through his cloudy synth construction. "Emkay" is the clangs and echoes of a seaside port at night that wonderfully shuffles its way up to a lighthouse tune, then there's majestic songstress Erykah Badu wonderfully vibing ("We don't need no truth/Got plenty/Now it grows on trees") on "Heaven for the Sinner" over Bonobo's deep version of the broken beat. "Towers" suggests sleepy urban buildings in twilight with a vibraphone representing the little bits of life and light that will sparkle through the night, while "Don't Wait" is just before the dawn, as innocent chimes chase away the eerie things that lurk in the darkness.

Jeremiah Cymerman (b. 1980) is a New York City-based composer, multi-instrumentalist and producer. Apocalyptic electroacoustic chamber music. Low drones, earth tones, and birth stones.

This album is an official Steven Wilson (Porcupine Tree) release of his experimental and electronic music recorded between 1990-2003. What you get here is a collection of music that Wilson was messing around with for different purposes, none of it was originally supposed to be released to the public. Of course, since there is a demand for anything 'Steven Wilson' it has been collected for those of us who are curious about anything he does. The music here is quite experimental and leans towards his musical explorations of the early days and his experimental project 'Bass Communion'. There is quite a variety of sounds and styles throughout this music, because the songs were never intended to be put together on any album originally…

On this inclement collaborative mini-album, Mary Lattimore teams up with Weyes Blood's Walt McClements, who plays electronically-enhanced accordion against Lattimore's signature looped harp flourishes. Gorgeous stuff - one for fans of the West Coast new age scene, for sure.

A one-man universe of sound who has learned to play hundreds of instruments from across the globe, which he utilizes in captivating and exotic ways. Collection includes: Implosions (1977); Til The End Of Time (1978); Wings Over Water (1982); Listen To The Rain (1983); East Of The Night (1985); Ocean (1986); The Music Of Stones (1989); Darkness And Light (1990); To The Evening Child (1992); Athos: A Journey To The Holy Mountain (1994); The Garden Of Mirrors (1997); Desert Poems (2001); Life (2004); On The Wing (2006); Bold As Light (2010).

The Undersea World of Jacques Cousteau has been one of television's most celebrated programs of all time. Jean Michel Jarre, a countryman of Jacques Cousteau's, composed and performed an e-music opus in honor of the oceanographer. En Attendant Cousteau (aka Waiting for Cousteau) is a departure from Jarre's usual format. This disc has three tracks that are longer than his normal tracks. (They are between six and nine minutes.) The fourth track is a major work, clocking in at 47 minutes. That track, "En Attendant Cousteau," is an epic minimalist creation. This is groundbreaking stuff, an unusual mode for Jarre, who hasn't gone this far out on a limb since his debut in 1976. It is a worthy risk. The atmospheric minimalism of the title track is deep and substantial. This is a great CD, certainly one of Jarre's top three. It will appeal to fans of Robert Scott Thompson, Jeff Pearce, James Johnson, and Mychael Danna…

Sweet Revenge is an amazingly sophisticated album in which Sakamoto sets the distinctive and heart-rending chordal and harmonic ideas of his soundtrack work to trip-hop and neo-bossa-nova beats. The songs are fronted by a succession of guest vocalists who each contribute lyrics which add up to an amazingly coherent whole–a mature meditation on love, longing, conflict, revenge and regret. As usual, Sakamoto was ahead of his time. By spotlighting the deep poetry of J-ME and Latasha Natasha Diggs, this 1994 album anticipated by years the introspective hip-hop diva trend popularized by Lauryn Hill.

Beauty is the eighth solo studio album by Japanese musician Ryuichi Sakamoto. Beauty is notable for its "collage of styles" that range from rock, techno, and classical to flamenco, African, and Japanese traditional. In discussing whether music is narrative and illustrative or an abstract medium, Sakamoto said, "I have visions sometimes when I'm writing contemporary music, even when it's very logical. For example, for one of my songs on the album Beauty, I was always having visions of Amazonian rainforests, a little plane flying very low over the trees. Trees, trees, trees, and some birds. But the title of the song is 'Calling from Tokyo'." Recorded at various sound studios throughout Tokyo, New York, and Los Angeles, Beauty features many collaborators that include Arto Lindsay, Brian Wilson, Robbie Robertson, and Sly Dunbar.

Limited 10 CD box set. The first-ever CD box set gathering the entire 10 album collection released by Brian Eno's Obscure Records. Originally issued between 1975 and 1978, nearly 50 years on the output of Obscure remains radically forward-thinking - offering glimpses of a future yet to be fully seen - and amounts to one of the most important, influential, and creatively accomplished album series ever conceived. Curated by Eno and the composers Gavin Bryars and Michael Nyman - issuing the recording debuts of Bryars, Nyman, John Adams, Christopher Hobbs, David Toop, Max Eastley, Jan Steele, Simon Jeffes / The Penguin Café Orchestra, and Harold Budd, in addition to important works by John Cage, Tom Phillips, and John White - Obscure's collective output is a groundbreaking landmark in the histories of Minimalism, modern composition, and Experimental music, and laid much of the groundwork for the soon to emerge movement of Ambient music. Illuminating the remarkable, and largely otherwise undocumented, creative ferment within and between the British and American scenes of experimental music during the mid to late 1970s. Offering each of Obscure's albums, completely remastered and housed in faithful replicas of their original covers and liner notes, as well as a booklet filled with rare photos, archival material and texts by - among others - Gavin Bryars, Bradford Bailey, David Toop, Max Eastley, Richard Bernas, and Tom Recchion, this historic collection marks the first time this seminal series has received a complete reissue.

Spoonfed Hybrid, the duo of Ian Masters (Pale Saints) and Chris Trout (A.C. Temple), released their one and only album on 4AD imprint, Guernica, in November 1993. Self-titled, this now-cult release has fans constantly asking for it to be reissued. For its 30th anniversary, 4AD are giving it the expanded treatment, re-releasing the album with a bonus disc of singles, demos and rarities. Beautifully designed, the original artwork has been expanded to now include comprehensive song notes.