Admittedly, this is my first time listening to øjeRum. The Danish composer and sound artist has been highly prolific since dropping his first release back in 2015. With a vast discography spanning over 75 albums on labels like 12k, Room40, and Opal Tapes, his latest release on Fluid Audio is a
spectacular and immersive 30-minute journey through minimal techno, inspired by two characters from Franz Kafka’s unfinished and haunting novel The Castle. If tape-warmed loops and minimal repetition are your thing, look no further. Right, I’m off to wade through his enormous discography, though honestly, I’ve no idea where to start. It’s one of those beautiful problems: too much good music and no obvious entry point.

Having already dropped three brilliant tracks from their upcoming Tales of a Wanderer album, DREAMSCAPES return to the site with Wanderer. It’s the London sextet’s meditation on solitude, featuring Lucy-Anne Daniels – ambient jazz-fusion built on spontaneous improvisation, shaped by composer Julien Durand’s Brazilian collaborations with Toninho Horta and Guinga. Check out the new track below and look out for the album, which is out next week. Impressive from start to finish.

The tremendously talented trio of Dave Harrington, Max Jaffe, and Patrick Shiroishi have a new album titled Making Colours on the way. As the press release describes, ” the group works at a cross section of avant-garde, ambient, electronic, post-hardcore, and free jazz, but is not really any of those things.” Making Colors is out digitally and on vinyl on April 24th. The raw, gritty lead track ‘FRACTAL HASH’ is waiting for you just below.

With his Dream Temperature album on the way, Los Angeles-based saxophonist, producer and composer Brian Allen Simon, aka Anenon, has shared a brand new song, ‘When The Light Appears, Boy’, which follows up the title track. On the deeply evocative new album ‘Dream Temperature’, to be released April 24th on Tonal Union, he shifts electronic processing to the foreground, introducing digitised wind instruments and unworldly atmospherics, not heard since his innovating mid-late 2010s output. Give both tracks a listen below.

Elori Saxl and Henry Solomon are no strangers, having collaborated on Saxl’s Texada soundtrack and her Drifts and Surfaces EP. On Seeing Is Forgetting, Saxl and Solomon make improvisation feel less like risk than instinct. Saxl’s analog synths and Solomon’s baritone sax and bass clarinet move with such patient chemistry that the album often seems to blur the line between breath and circuitry. Pieces like ‘Reverence’, ‘Symmetries’ and ‘Heart’ unfold slowly but never drift; each phrase hangs in the air just long enough to glow. What makes the record so affecting is its restraint. Rather than forcing ambient grandeur or jazz spontaneity, the duo let both emerge naturally, shaping a sound that is intimate, searching, and quietly radiant. One for listeners who like their textures to unfold slowly, with a distinctly fourth‑world perspective.