MMNLS2E23.April
GENA | Shy One | Flea | Natural Magic II | Fred again.. & Thomas Bangalter | Appleblim | Namas
It’s May (end of), and this is April’s post.
Cherry blossoms all gone, but the light is lingering a little longer each evening.
It’s warm, and I am writing this out on the deck. We ate outside tonight and I am listening to the new Martyn album on the OB4 as I write this.
I need to catch up with the writing and get back on track.
This experimental project will evolve over time. I will try some new tunes and rediscover old albums, too. I may also try some themes and specific vibes, but definitely no requests.
8 releases for April, I said I would only do 4 or 5 key ones, but there are a lot of good releases right now.
Carl Craig - Meditations
Ambient / Modular Synthesis / Detroit Planet E Communications, April 2026
Six beatless compositions of modular synthesis, no rhythm or structure in a traditional sense. This was originally conceived years ago, pieces that sat between Craig’s techno work and the orchestral collaborations he’s pursued, and it’s now available on digital platforms for the first time. It bridges his Detroit techno origins with the Synth Ensemble and Versus concert pieces he’s developed more recently, though calling it a bridge doesn’t quite capture what’s happening here.
Each piece moves at its own pace, some featuring near-choral ambient passages, others bristling with alien electronics. Some moments feel like jazz refracted through mill machinery, stretchin where oscillations become hallucinogenic. Track titles are simply numbered, Meditation One through Six.
Anenon - Dream Temperature
Ambient / Electronic / Experimental / Los Angeles Tonal Union, April 2026
Brian Allen Simon’s latest centers on a wind synthesizer, an instrument shaped directly by breath. Sometimes it rattles, sometimes it sounds like waves breaking, sometimes something harder to name.
Simon’s previous album Moons Melt Milk Light went deliberately acoustic. Dream Temperature returns to an electronic processing he explored in his mid-2010s output like Petrol and Tongue. Digital and organic collapse into one release. Piano layers in, saxophone surfaces, but everything passes through a weird transformer.
Field recordings from Auvergne, Big Sur, Berkeley Hills, Los Angeles, Sardinia, and Toyama create some texture to the release. Voices, environmental sounds, travel patina.
The closing track “Postscript” is just a singular piano. After thirty minutes of processed breath and electronics, it lands you somewhere quiet.
Alabaster DePlume - Dear Children Of Our Children, I Knew: Epilogue
Jazz / Instrumental / Political / London International Anthem, May 2026
DePlume recorded this EP in Brooklyn during his March 2025 US tour. He’d been playing shows with bassist Shahzad Ismaily and drummer Tcheser Holmes, performing music from A Blade Because A Blade Is Whole. The three of them had developed enough rapport on stage that they took an off day to capture it in the studio.
Five instrumental pieces. Saxophone, bass, drums. Field recordings of children playing in the West Bank, samples from Bethlehem. The cover features a drawing by Hassan Jawad Abudeia, a 13-year-old from Gaza. The inscription dedicates it to the mother of a martyred witness.
This sits as an epilogue to A Blade, and pairs with the Cremisan: Prologue from late 2024. The connection to Palestine runs through all of it. DePlume has been very explicit about this work emerging from audiences he met on tour, people feeling voiceless about what’s happening in the middle east
V/A — Part Time Archivists | Part Time Forgers (Necessary Unfold)
First release from Necessary Unfold, a newly formed label and collective based in Thessaloniki, Greece, marking the launch of a shared platform emerging from the countries steadily growing leftfield electronic scene. Twelve tracks spanning IDM, breaks, electro, and acid/deep house, nodding to an electronic scene of the 1990s but not as a revival, more like active references filtered through new contemporary production.
Contributors include Rhythm Code Inc., Mouh Aleb Ish, Future Draft, ΠΕΡΑ ΣΤΑ ΟΡΗ, TDK, LEGACY, Varonos, tsev, DimDJ, XU, DJ Tsoug, and Athens Computer Underground. Titles like “Phone Call From Eternal Sunshine Of The Spotless Mind” and “TH1S1-5MY7R-4CKD3-3P4C1-D1825” give you a sense of the vibe running through it. The whole thing maintains a unified feel despite twelve totally different producers, which says something about the sensibilities developing in Thessaloniki’s underground.
Greece has been quietly building a leftfield electronic scene for years now, and this compilation feels like a collective statement from people who have been working in obscurity and decided to make themselves visible.
Seefeel - Sol.Hz
Ambient / Dub / Shoegaze / London Warp, May 2026
Seefeel were the first guitar-based group signed to Warp, back in 1995 with Succour. They’d already spent time dissolving the boundaries between dream pop and electronic music on Quique. Long absences followed. Sol.Hz is their first full-length in fifteen years.
This works as a dub album. Cloud-like at low volume, but through a proper system the bass undertow becomes super apparent. Mark Clifford’s production remains microscopically precise, material dissected and reversioned until it reaches something just right. Sarah Peacock’s manipulated fucked up vocals provide a warmth that keeps it from pure noodly abstractions.
The album title translates as sun plus electricity.
Multicast Dynamics - AI-42: Circles
Deep Ambient / Drone / Techno / Amsterdam Astral Industries, April 2026
Samuel van Dijk returns to Astral Industries with two 25-minute pieces. Circle One and Circle Two. This is deep ambient in the Astral Industries mode. Detailed sound design, hypnotic progressions. Limited edition yellow corona vinyl, mastered by Noel Summerville, artwork by Theo Ellsworth.
Hawksmoor - Am I Conscious Now?
Ambient / Hauntology / Psychedelic / Bristol Before I Die, March 2026
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James McKeown has released thirteen albums as Hawksmoor in less than a decade, which is a remarkable output for music this thoughtful. His work sits in ambient territory but with song structures and melodies appearing more often than you’d expect, sparked by psychogeography, environmental conversations, and hauntological. Past albums have been inspired by Victorian religious architecture, JG Ballard, dreams and altered states, prescription drugs, new town neurosis, and a secretly prehistoric Milton Keynes.
Am I Conscious Now? was shaped with the help of 5-MeO-DMT, a psychedelic compound that supposedly clears the mind rather than overloading it. McKeown describes it as forcing surrender, overriding the body, and the album responds to that experience with calm reflection. Track titles like “Amygdala Opening,” “Golden Dolphins,” “Flooding A Maze (In Slow Motion),” and “Into The White Sun” give you everything you need to know about this album
The music itself is a lot of analog synthesis, old drum boxes, razor and tape, tangled wires, and real instruments. Shades of Eno, Tangerine Dream, Cluster, and Michael Rother without copying any of them. Detailed, textured, deep, and emotionall.
Green-House - Hinterlands
Ambient / Electronic / IDM / Los Angeles Ghostly International, March 2026
Olive Ardizoni and Michael Flanagan are Green-House. Their music doesn’t fit cleanly into pure ambient or old fashiponed New Age. This sounds closer to new forms of IDM or modern classical.
Hinterlands is their first album for Ghostly International after years on Leaving Records. They used to be in Portland, but moved to LA after the pandemic. Everything feels bigger on this relelase, more movement and more percussive.
The centerpiece is the Hinterland suite, three tracks traversing natural terrains. Flute and guitar in the first, contemplative strums and synth in the second and third. “Under the Oak” has otherworldly calm on warbled keys, “Bronze Age” even more subdued. “Valley of Blue” closes in melancholy with synthetic strings and oboe that nod to Final Fantasy. Ardizoni originally called it “Memory of a Chocobo.”
Climate anxiety sits at the edges of the release. Sanibel Island was nearly destroyed in 2022, and “Farewell, Little Island” is all about that. Ardizoni has written about legitimizing emotions like happiness and joy in art, treating them with the same weight as anger or darkness. This is music that acknowledges our fragility while refusing despair.
Peace, more soon.
2026 H1 Project Updates
MMLL (the bigger publishing project) is still stuck in major de-prioritization. I’m still looking for angels and investors to support independent music publishing, looking for someone to pay advances for issue 1 of a thing, so please do get in touch.
MMR is in full flow, a new side business with physical products. Artisanal incense is handmade and paired with classic albums. Music rituals for deep listening.
MMDI went on Instagram to post some stores from my recent Toronto trip. Starting something new this year: featuring a record shop
each month.MMhealing sounds might be back on, new location, in talks. This particular experimental project will evolve over time. I will try some new tunes, play with formats, and rediscover old albums too. I may also try some themes and specific vibes, but definitely no requests.
Peace, more soon.
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