Author: dave

After thirteen years of silence from the compound, during which anticipation has grown day by day, Boards of Canada finally return. Inferno retains their signature melodies and atmospheres, drawing on the esoteric influences explored in Societas X Tape (their 2019 NTS mix for Warp Records’ 30th anniversary) and the darker ambience introduced on Tomorrow’s Harvest, further deepened by an expanded role for speech soundbites. Spanning seventy minutes, the new album is available on special edition limited red translucent 2LP vinyl in triple gatefold sleeve with a 16-page booklet, black 2LP vinyl and CD with 20-page booklet.

After thirteen years of silence from the compound, during which anticipation has grown day by day, Boards of Canada finally return. Inferno retains their signature melodies and atmospheres, drawing on the esoteric influences explored in Societas X Tape (their 2019 NTS mix for Warp Records’ 30th anniversary) and the darker ambience introduced on Tomorrow’s Harvest, further deepened by an expanded role for speech soundbites. Spanning seventy minutes, the new album is available on special edition limited red translucent 2LP vinyl in triple gatefold sleeve with a 16-page booklet, black 2LP vinyl and CD with 20-page booklet.

After thirteen years of silence from the compound, during which anticipation has grown day by day, Boards of Canada finally return. Inferno retains their signature melodies and atmospheres, drawing on the esoteric influences explored in Societas X Tape (their 2019 NTS mix for Warp Records’ 30th anniversary) and the darker ambience introduced on Tomorrow’s Harvest, further deepened by an expanded role for speech soundbites. Spanning seventy minutes, the new album is available on special edition limited red translucent 2LP vinyl in triple gatefold sleeve with a 16-page booklet, black 2LP vinyl and CD with 20-page booklet.

Long awaited vinyl re-press of the The Orb’s 2004 double album ‘Bicycles and Tricycles. Considered the originators of ambient house music and catalysts to the rise of electronic music in the charts, The Orb are now celebrated for a career of deftly free-spirited, good-humoured musical creativity. The album features Orb long-term collaborators Thomas Fehlmann, Simon Phillips, John Roome and The KLF’s Jimmy Cauty. This special ltd edition is pressed on clear double vinyl, housed in a widespine, spot glossed sleeve with printed inners. This re-press also Includes an extra track ‘Now Here’ originally only available on the Japanese release of the album.

Seefeel return with their first full-length album in fifteen years – a beautiful, hazy and blissed out collection of fractured melodies and vaporous textures. In some ways, this can be regarded as Seefeel’s ‘dub’ album – the deceptively cloud-like arrangements of Mark Clifford are somewhat ambient adjacent at low volume, but blasting out of a proper sound system, the cavernous bass undertow and skilful employment of effects are more apparent, messing with the listener’s perception of time and audio placement. As always with Seefeel though, it never drifts too far into cold experimentalism or synthetic texture, the heavily manipulated vocals of Sarah Peacock lending the tracks a vital human element, with processed guitar loops allowing slivers of melody to drift through the trails of delay. The longtime perception of the band as sitting at the overlap point between electronic music and experimental guitar music meant that they were often overlooked during their original lifespan, not making music that was instantly recognisable to either scene. Over the years though, this blurring of genre lines increasingly looks prescient of where music was headed, steadily building a catalogue of music that hasn’t aged in quite the same way as some of their contemporaries. Their influence has been cited by a new generation of artists such as Maria Somerville and Yu Su, and they return in 2026 with Sol.Hz, a collection of new tracks that further reinforce the idea that Seefeel’s time has finally come.

Seefeel return with their first full-length album in fifteen years – a beautiful, hazy and blissed out collection of fractured melodies and vaporous textures. In some ways, this can be regarded as Seefeel’s ‘dub’ album – the deceptively cloud-like arrangements of Mark Clifford are somewhat ambient adjacent at low volume, but blasting out of a proper sound system, the cavernous bass undertow and skilful employment of effects are more apparent, messing with the listener’s perception of time and audio placement. As always with Seefeel though, it never drifts too far into cold experimentalism or synthetic texture, the heavily manipulated vocals of Sarah Peacock lending the tracks a vital human element, with processed guitar loops allowing slivers of melody to drift through the trails of delay. The longtime perception of the band as sitting at the overlap point between electronic music and experimental guitar music meant that they were often overlooked during their original lifespan, not making music that was instantly recognisable to either scene. Over the years though, this blurring of genre lines increasingly looks prescient of where music was headed, steadily building a catalogue of music that hasn’t aged in quite the same way as some of their contemporaries. Their influence has been cited by a new generation of artists such as Maria Somerville and Yu Su, and they return in 2026 with Sol.Hz, a collection of new tracks that further reinforce the idea that Seefeel’s time has finally come.

A1 Numbers 1:48
A2 Computer World 8:35
A3 Computer Love 7:13
A4 Home Computer 5:44
A5 The Model 2:44
B1 Geiger Counter 1:34
B2 Radioactivity 4:58
B3 The Voice Of Energy 5:15
B4 Pocket Calculator 3:23
B5 The Robots 6:27

One of the many criticisms of contemporary electronica, specifically of ambient & space music, is of its tendency to bland out in long, tepid passages of faceless whitewash, devoid of character, with little to distinguish it from the endless hours of similar musics present and past. Not so Apollo North. A true partnership forged of influences both Teutonic and today, the team of Paul Darlington (aka Rayspark Industries) and Charles Urban (aka Urban Meditation) aren’t content to simply let their sequencers fly on autopilot, nor their atmospheres shift and purr in anonymous stasis. Across a vivid canvas of four lengthy tracks, their glorious expanse of sound offers a veritable font of surprises. The duo sing the body electric in a literal sense via a simply stunning array of motifs that whirr throughout “Electrical Associations”–liquid squelches forming a rhythmic bed of velvet darkness over which skim juicy tidbits of synth, circuit tweaks, and spongey pads that fulfill all our middle ear desires. “Connection” and “Navigator” inhabit gardens of (un)earthly delights, the former a teeming, watery jungle of effervescent fauna, the latter a fungal labyrinth of unsettling whoosh, melting quasars, and deep-space isolationism, its equilibrium upset by synths reflecting sounds from some gleaming, interstellar metallic strata. And as the album’s titular finale draws to its epic conclusion, a widescreen quest across vast, if inimical, alien terrains recalling the prog-infected ’tronic tropes of Ian Tescee or Lutz Rahn, it’s clear that in Apollo North’s verdant headspace, everyone can hear you dream.

Naming yourself after an internet connection term might seem a bit on the nose, but Ethernet is an artist for whom tech is absolute, and he maximizes its capabilities tenfold. His debut for the Kranky label was a helluva surprise, and nabbing him for Carpe Sonum something of a small coup. Now he unveils this captivating follow-up to his earlier CS issue, a lengthy trawl through the vacuums of space, time, atmosphere, shadow and substance, the textures of which are elasticized virtually to infinity. Operating on a locus with the likes of Gas, The Field, and others of a similar nature who bend the shapes of dub into objects barely recognizable, Ethernet champions pulse as much as pressure. Both “Fire Ceremony” and “Pages” thrum with alien heartbeats, subtly forged but supplying arresting undercurrents to the cinematic sweeps of the synths that expand above. “Embers” casts a warm, waning glow within the silicone membranes of your bass cones, the sounds becalming, the surrounding vistas bathed in rusts and oranges. And across the sputtering beats of “Rivers” travels some wholly vexing coos and aahs that cocoon you in its humid, welcoming afterglow. Drink deep.

Pete Namlook, one of the most influential figures in the history of electronic music, passed away in 2012, leaving behind a vast sonic legacy. Yet Air remains his most poetic, organic, and emotionally resonant project. Created between 1993 and 2006, the Air series is a five-part symphony of ambient, ethnic, jazz, neoclassical, and cosmic electronic elements.

Now, nearly two decades later, Infinite Fog proudly presents the long-awaited reissue of the entire series, for the first time ever as a complete 5CD boxset. From the wind-kissed sensuality of Air I, through the abstract voyages of Air II, the rich instrumental palette of Air III, the stylistic fusion of Air IV, to the deeply personal and introspective Air V, this collection stands as a milestone in ambient music history.

Ethereal female vocals, natural field recordings, cosmic jazz, neoclassical textures, immersive ambient
Recorded in solitude in Hödeshof, Germany — Namlook’s personal creative retreat
For fans of: Brian Eno, Steve Roach, Global Communication, Klaus Schulze
Limited edition 5CD boxset in a deluxe soft-touch case with spot varnish finish

Ambient, world, neoclassical, lounge, and organic field sounds, all in synthesis with deep atmosphere and refined melancholy. A true revelation for lovers of expressive electronics and contemplative ambient.
For the first time, the complete Air series in one definitive edition.

“Air is not just music. It is a state of mind. A space. A travelling without moving. A timeless classic.”

More about this collection:

CD 1: Air I — You (1993)
The beginning of the journey. One of the most delicate and emotionally charged ambient albums.
Ethereal French female vocals, the breath of the wind, slow-evolving synthesizer waves, and a soft touch of melancholy.
A seamless progression from beatless textures to a techno-tinged, passionate climax.

CD 2: Air II — Travelling Without Moving (1994)
Immersion in weightlessness.
Eleven untitled chapters flowing together: from zero BPM up to 130 BPM.
Live percussion and field recordings create an organic sense of movement without relocation.
A sonic reimagining of space and time.

CD 3: Air III — Secret Heritage (1996)
The stage of expansion.
A deeper integration of ethnic instruments, piano, string textures, and Eastern melodies.
“Oui” is built almost entirely on ethnic arrangements, while “Est-ce que l’amour fait mal?” returns to deep bass, string harmonies, and ethereal vocals.

CD 4: Air IV — Elle A Du Shell (1999)
Musical alchemy.
Caribbean jazz, electronic bebop, deep ambient, space trance, and ethno-electronics intertwine into a rich, multilayered composition.
Namlook continues to break down genre boundaries, creating a new form of ambient music.

CD 5: Air V — Jeux Dangereux (2006)
The final and most personal chapter.
According to Pete Namlook himself, the album with the deepest emotional impact.
Air V is a meditation on impossible love, light, and farewell.
A long and maturing journey completed with a conscious and luminous finale.