Sleep – Jaykits

Music in 2025

It was challenging trying to put together a best of list this year. I don’t think I bought 10 albums released for the first time this year. I’ve no doubt there’s been lots of great music out there but my willingness to look for it hasn’t been there this past year.

I did however, buy a lot of 2025 reissues. To make this years look back more interesting, this will be done chronologically and cover the new albums as well as those reissues.

Winter:

January, as is often the case, saw Mogwai release an album, The Bad Fire. They’re not the Young Team anymore, but it was yet another solid Mogwai album. Live Drugs Again by The War On Drugs got a vinyl release as did the, effectively a demo, 1991 by Drop Nineteens, being pressed on vinyl for the first time. I always loved it but it was rough back in the day. It cleaned up well into a very good album in its own right.

February and March produced albums by Sinner DC with Sonic Boom and bdrmm. Maps, musically, was fabulous, but I could’ve lived without Sonic’s vocals. It pains me to say that as a Sonic fan. bdrmm Microtonic was one of my musical highlights of the year. Their blend of shoegaze and electronica works for me.

Spring:

Springtime started early. It was shorts season the moment the clocks changed. Held by Trees released their 2nd full length album Hinterland. I finally got to see them live in July and it was as good as I hoped it would be. They are a very special outfit. Probably my favourite reissue this year was Amorphous Androgynous Alice In Ultraland which landed for Record Store Day. It was my only purchase from RSD but one I always wanted to own. Lovely double orange vinyl to boot. The album is a trip start to finish. I do love this version of Future Sound Of London. Doves Constellations For The Lonely was an early birthday present, and remains one of the better albums this year. During this time I picked up a few reissues such as Slowdive’s Pygmalion but 1993s Quique by Seefeel was one that I’ve played the most since. Darkly hypnotic stuff and well ahead of its time.

Summer:

Most of the gold often happens over the summer. Everyone seems to have loved More by Pulp. It’s no different in our household. It was also the 45th anniversary of Cafe Del Mar so they released a, better than recent efforts, compilation to commemorate this years milestone. My good friend bought me Stars of the Lid Music for Nitrous Oxide )35th anniversary pressing) for my birthday. Best described as jaw clenching, edge of the seat ambient, it’s an immersive experience. Nils Frahm released Night and Day together. At points, it’s barely audible music. Gentle as you like.

The highlight and best album of the year was Still Out by KiF. It’s a homage to Chill Out and includes John Martyn, Steve Hillage, Pink Floyd and Virgina Astley as well as bits from the original album. I first heard it in May and I finally received my record late July. It’s very true to the original whilst still remaining sufficiently different. Between you and I, I can’t believe the album exists but I’m so glad it does. This was the soundtrack to my summer and inspired me to do something similar, more later.

Autumn/Winter:

I’ll be honest, Autumn has been a disappointment. Last year so many good albums were tail end of the year releases. This year it was Richard Ashcroft and his album Lovin’ You. A massive disappointment and my end of the line with Ashcroft purchases. Robert Plant and his Saving Grace project got an album release and it was good to hear his project have something tangible to show. The American Analog Set’s album The Fun Of Watching Fireworks reissue was a delight to pick up. 30 years late to the party but at least I made it to the party.

I asked my mate to recommend a Fall best of as I was starting to listen to them more. He recommended the Cherry Red 50,000 Fall Fans reissue. I preordered it and ended up loving it. It includes all the tunes I really like apart from Eat Yourself Thinner and Oswalds Defence Lawyer. Seems you can’t have it all.

Top 5 Albums:

Still Out – KiF
Microtonic – bdrmm
More – Pulp
Hinterland – Held by Trees
Constellations for the Lonely – Doves

Top 5 2025 Reissues:

Alice In Ultraland – Amorphous Androgynous
50,000 Fall Fans Can’t Be Wrong – The Fall
Quique – Seefeel
1991 – Drop Nineteens
Music For Nitrous Oxide – Stars of the Lid

Something new I learned:

Every year there’s a punt that pays off. A second hand album that grabs your attention in some way so you buy it. Both the cover art and tune Cosmic Kangaroo Juice did that with the 1976 album Alpha Waves by Locust. It’s stoner funk and a total revelation. It just stays the right side of elevator music. It’s not on Spotify but I’m sure it’s kicking around on YouTube. Well worth the 33p paid for it.

The inspiration:

I mentioned the inspiration that Still Out gave me. From late May until early September I worked on my own interpretation of Chill Out. Starting with the original album I used samples and tunes that aligned with each stage of it and built it out from there. Where there was Elvis In the Ghetto there was Strange Fruit by Billie Holliday, waves replaced sheep and so on (the sheep still featured heavily). The mix needed a central theme and that was Caddyshack. I realise using the 1980s movie classic as the central theme in the mix, isn’t exactly Chill Out, but it is an interpretation, my interpretation. I always planned to remove the original album at the end of the process but it worked well as part of the mix, so it remained. A few months on, and I’m still very proud of the outcome. If you’re interested you can find the mix here 👇 See you next year.

2020 April-July: Hello Old Friends

As lockdown continued, time spent listening to music on the daily walk became even more important. I discovered some old albums (Virginia Astley – ‘From Gardens Where We Feel Secure’), uncovered some new (Exo – Tineidae, more to follow…) but most of all listened to new releases from some familiar names. Three albums in particular will remind me of this period:

Glassforms – Bruce Brubaker & Max Cooper

Voices – Max Richter

All Things Being Equal – Sonic Boom

I’ve talked about the monumental Glassforms before so I won’t bore again. It’s all here → Bruce Brubaker & Max Cooper – ‘Glassforms’

Voices by Max Richter (of ‘Sleep‘ fame amongst many others), had been much hyped if you follow his work. The album is themed around the 1948 Universal Declaration of Human Rights. Beautiful passages of music emerge out of short readings from the declaration. All Human Beings (the lead single) is peppered throughout, sometimes ushered in by an ‘Everyone has the right….’ spoken word extract. It’s Max Richter, so it’s layered with strings and piano, just the way i like it.

There’s a download with the vinyl where you not only get the original but also a ‘voiceless’ version. That version has been soundtracking my sleep for a few weeks now. It’s gorgeous, can’t recommend it enough.

Around my birthday Sonic Boom (aka Pete Kember Spectrum/EAR and former Spacemen 3 founder) released All Things Being Equal. The first proper Spectrum/solo album since Forever Alien back in 1997. I’d continued to buy his work through the Experimental Audio Research (EAR) phase. Some work was blissful ie. Mesmerised and even Phenomona 256. It all went a bit dark from The Koner Experiment through Millennium Music, Data Rape and Live at the Dream Palace. He was making music with oscillators and, if i remember right, Speak & Spell machines. By the time he released Pestrepeller (my last EAR purchase) I was pretty much done collecting his music as the albums were becoming an increasingly challenging listen (Try Continuum, the album after Pestrepeller, it’s darker than the ocean floor). I saw him in East Kilbride of all places doing a gig with the oscillator front and centre. You had to be a diehard.

He’d drifted a bit from memory over the intervening years until this release. He did release the War Sucks EP many years back which still displayed the early Sonic Boom/Spectrum sound, the sound I loved. So, All Things Being Equal was a bit out of the blue. It has all the hallmarks of a Sonic Boom album. It reminded me a lot of the Soul Kiss (Glide Devine) and High, Lows & Heavenly Blows era, as well as Recurring, the final Spacemen 3 album. He’s touring in March 2021, playing Stereo in Glasgow. Hopefully, gigs will be a thing again by then. I never realised Sonics music was missing from my life until I heard this album. Welcome back, I hope there’s plenty more to come.

Lockdown has eased, perhaps prematurely, but i’ll still be out with the headphones, far from the crowds gathering tunes for Jaykits Vol. 15. It’s shaping up nicely.

Bruce Brubaker & Max Cooper – ‘Glassforms’

In really simplistic terms, this is pianist Bruce Brubaker beautifully interpreting the music of Philip Glass with Max Cooper providing the electronics and atmospherics. However, there is nothing simplistic about this phenomenal album. What Bruce Brubaker provides is the core of the album, its heart. What Max Cooper brings is the atmosphere and the monster cinematic moments. These two worlds collide perfectly.

It’s based on music by Philip Glass, but it is a ‘re-invigoration, re- contextualisation, post-modernisation,’ explains Brubaker. ‘It’s not a re- mix, it’s a new set of clothes!’. The technical element Max Cooper brings is beyond me. Apparently, he has developed his own tool/system/software with Alexander Randon which takes live feeds from the piano and transforms them into new forms. I don’t understand it, but I don’t need to. The joy is for the listener.

The main pieces are linked by various Preludes (1-5). If Philip Glass is your thing then you’ll be aware of the music interpreted, in their ‘standard’ format. There are 2 stand out moments on the album. The meandering Two Pages and the 13 minute epic Mad Rush. When Mad Rush releases, it is one of those moments that’s makes you stop and listen and wait for the hairs on the back of your neck to settle down. That has happened on each of the dozen or so listens I’ve given this album. Metamorphosis 2 is subtly enhanced, but never to the detriment of the original. Less is more, but the impact is huge.

If there is a better album in 2020 I look forward to hearing it.

I’ve pre-ordered the vinyl for it’s release on July 3rd. Incidentally, our wedding anniversary. Happy anniversary to me.

Listen on Spotify:

Virginia Astley – ‘From Gardens Where We Feel Secure’

Thank you Gideon Coe. During mental health awareness week, Gideon Coe played Virginia Astley – ‘From Gardens Where We Feel Secure‘ (1983) in its entirety on his 6 Music ambient themed show. No interludes, no bantz, just as it was intended. If, like me, this album is new to you and you want a reference point, think The KLF ‘Chill Out’.

From Gardens is as British and summery as an album can get. It is split into 2 ‘movements’, Morning and Afternoon. It’s full of fabulous field recordings of church bells, sheep and owls to name a few. The field recordings act as transitions to the next flute or keyboard led tune. They continue on as loops in the background as the next piece starts. The whole thing forms as whimsicle masterpiece.

Many melodies sound familiar and create a feeling of nostalgia in this listener. I was humming the tunes as the album played out on 6 Music despite never having heard it. Immediate albums often loose interest fairly quickly. However, this is still going strong and I’ve no doubt will continue to.

I’ve played this a few times out on my lockdown walks in my local woodlands. It’s perfect for that. One of the benefits of lockdown is noticing nature more (when my headphones are not in). It’s inspired me to record more summer sounds. I’m currently collecting the many sounds of the blackbird for my end of year mix. Recorded from my garden where I’ve felt secure for the last few months.

If you want to purchase this you’ll have to shell out, as the CD is about £40. The vinyl seems mythical. It was reissued a few years later with the ‘Melt the Snow’ instrumentals. They’re enjoyable but they don’t enhance the core of the album. It’s not on Spotify, but thankfully YouTube has it hosted. Enjoy this.

Q1 2020 – Let the music play

You’d think I’d be hammering out the blogs given all the time I/we have on our hands these days. It’s a product of these times that I find myself tired a lot despite not travelling anywhere. I’ve always been a home lover but adjusting to it 24 hours a day has been more challenging that I imagined. Still, I’m into the groove now and am happy to start sharing some gorgeous albums from early in 2020.

It’s taken until the last month to get back immersed back into the ambient world. The first quarter of 2020 has seen many excellent releases to soothe the soul. In no particular order:

Jonas Munk – Minimum Resistance

Motionfield – Always There

Mercury KX – Flow (Compilation)

The Daydream Club – Piano Project // Duets

Slow Dancing Society & Zake – Mirrored

Federico Mosconi – Il Tempo Della Nostra Estate

Black Taffy – Opal Wand

Mogwai – ZeroZeroZero OST

Ghostpoet – I Grow Tired But Dare Not Fall Asleep

Jonas Munk is responsible for so much of the music I love as he records as Manual and Billow Observatory. If you are a fan of either monikers, then you know what you are getting with this release. To me, it is simple, this is an album so distant and so beautiful, it’s mesmerising. There is certainly nothing hurried about Minimum Resistance.

Almost without fail I’ve played this daily during the lockdown. If, like me, you’ve struggled to settle during these times, this is an album to sit back and disappear into. I love it when I find an album that combines total ambience and euphoria. Highly recommended.

Motionfield’s Always There has a curiously frenetic (it’s all relative) start with ‘Always There Part 1’. The remaining 10 ‘parts’ wash by in a haze.

Mercury KX released the compilation album ‘FLOW’, celebrating the label’s third anniversary. There are new tracks by my favourites such as Federico Albanese of The Blue Hour fame. The main sell however, is Nils Frahms’ reworking of Ólafur Arnalds’ For Now I Am Winter. It’s wonderful, as is much of the rest of Flow.

The Daydream Club – Piano Project // Duets is pretty much as the titled suggests. ‘Plinky plonk’ as my wife once described it. Piano Project // Duets is the sixth album release by The Daydream Club and it is a decade since their debut album Overgrown. It’s duets by pianists. It works.

The Slow Dancing Society (& Zake) release Mirrored showcases both ambient techno (there’s a pulse somewhere in the distance) initially, then slowly drifting off into drones for the remainder of the album. Like Jonas Munk, an album to disappear into and relax the mind and body.

Federico Mosconi is a new name to me. I took a punt as his name appeared in my Spotify ‘Release Radar’. Really glad I did as it is gorgeous. Waves of ambience. Can’t get enough of Il Tempo Della Nostra Estate.

Black Taffy (Donovan Jones) released Opal Wand just last week. He was once a member of post-rock band This Will Destroy You explaining how I first came across his work. This album is more electronic than the others in this list and presents a blend of melody and darkness.

Mogwai are my favourite band, hands down. I’ve grown older as they have, and they always deliver an album that speaks to me at the right time in my life. Their soundtracks have been immense: Zidane, Les Revenants and the epic Atomic, clearly show that. ZeroZeroZero is another expansive soundtrack. Due to these times, it has only been released digitally to date. Can’t wait for the vinyl.

Lastly, the big surprise for me was Ghostpoet. I’d ignorantly dismissed Ghostpoet as I assumed it wasn’t for my ageing bones. I was wrong. I Grow Tired But Dare Not Fall Asleep is a very musical album, clever lyrics and enough repetition to stick in the mind; ‘Selfie away, make sure you use all the filters’. My daily walk has been soundtrack by this album a lot. The biggest musical surprise for me this year.

So, it’s not been the best start to the year but, as always, the music lives on.

Best of 2019

It’s late November and apart from next weeks (Nov 29th) release of Pop Ambient 2020 there’s nothing likely to scare my annual album list. I spent a ridiculous amount of time listening to old 80s records this year. Despite that, many gems were still found in 2019.

#10

The Brian Jonestown Massacre – The Brian Jonestown Massacre

Their one millionth studio album. No sign of a dip in standard. Everything about the album is quality even down to the vinyl release – slate vinyl, shiney inner and plastic outer sleeves. It’s proper rock ‘n’ roll, with the BJM languid twist. I’m slowly working my way through purchasing the back catalogue. I fear I may never get there.

Edwin Collins – Badbea

We saw Edwin this year playing in Dundee. Despite everything that’s happened to him he still writes great tunes and has an unmistakable voice. The tunes on Badbea stack up very well when played next to the classic Orange Juice tracks live. It’s a blessing he is still making music. It would’ve been my Scottish Album of the Year, but that’s just me. The train from Glasgow to London is still running.

Sigur Ros presents Liminal Sleep

2.5 hours long, a more bitseize version of the Max Richter concept album Sleep. I love it when Jonsi gets all ambient on us. Works a treat as it has soundtracked my sleep many a time during 2019.

Slow Meadow – Happy Occident

I fell behind with album releases and listened a lot of ambient albums in a short space of time to catch-up. Many fell by the wayside, but Slow Meadows album shone through. I’m still playing it now and it currently soundtracks those sunrises whilst travelling to work. It’s short but perfectly formed.

Cigarettes After Sex – Cry

Pretty much the same as their debut album. That’s totally alright by me. A band that suits the darker nights. Somber, soporific and uplifting at the same time. Love them, love Cry.

A Winged Victory for the Sullen – The Undivided Five

Four years I’d been waiting on this. The proper studio follow up to the immense Atomos. Nothing wrong with Iris, but it was a film score. Whilst The Undivided Five doesn’t tell a story like it’s predecessor, it is packed with lush orchestration throughout. Accompanied by a ‘making of’ documentary, it showed the level of detail these two incredible artists go to when creating an album.

Sebastian Plano – Verve

This made the start of the year interesting. An album with a story, (see full review Sebastian Plano – Verve) it is a surprise it was ever made. It’s lush atmospheric piano stuff and includes Purples, my favourite tune of 2019.

Colm Mac Con Iomaire – The River Holds Its Breath

Suggested you me by a friend at work (cheers TT). Fiddles abound, it’s instrumental and very Celtic. I found myself listening to more traditional music in the second half of the year, with Rura also being discovered. It still makes me smile whenever I hear it even though I know every twist and turn of the album. It hasn’t been released on vinyl sadly, but we live in hope.

Thom Yorke – Anima

I grew to love this over a period of time. The short movie supporting the album on Netflix helped me understand the album better. It’s electronic, downbeat and glitchy. The vinyl packaging is gorgeous, with hand drawn images on both the cardboard inner sleeves. The vinyl also includes an extra track – Ladies & Gentleman, Thank You For Coming – a borderline euro screamer. See full review Thom Yorke – Anima

Violeta Vicci – Autovia

Classical violinist (viola, electronics etc.) meets production legend Youth and an absolutely gorgeous, ambient album is born. I was blown away from first listen and I’ve grown to love it more as the months have passed. Even if you’re not an ambient lover, this is still worth a listen. Released in August, this was the first in a line of wonderful album releases, some of those mentioned above. However, Autovia remains the best. Nice white vinyl to boot.

Jaykits Vol. 14

The annual Jaykits mix. It’s been a good year.

1. ‘Tuning Out’ – Halftribe

2. ‘Capsules of Energy’ – Max Wurden

3. ‘You’ve Arrived’ – Cocoon

4. ‘The Assassination’ – Martin Phipps

5. ‘Purples’ – Sebastian Plano

6. ‘Eventually’ – Helios

7. ‘Her Angled Beauty’ – Levi Patel

8. ‘Severance’ – Ian Hawgood

9. ‘String Quartet No. 2’ – A Winged Victory for the Sullen

10. ‘Fevrier’ – Tiny Leaves

11. ‘Moving On’ – Laurent Eyquem

12. ‘Dawn Chorus’ – Thom Yorke

13. ‘Explosions in Slow Motion’ – BvDub

14. ‘Our Reflection’ – Max Richter

15. ‘Rudderless’ – Chris Weeks

Klaus Schulze – Timewind

A friend of mine does a lot of work restoring old houses. He often clears them of stuff that’s been left behind. Sometimes there’s some vinyl left over. If it is not claimed, he gets lucky. One of the albums he got, he passed onto me. That album is Klaus Schulze – Timewind. My word, it’s good.

70s ambient is a rare beast for me these days, but is never forgotten. Tangerine Dream and even some Yes/Rick Wakeman still get a play now and again. The genre is another much maligned time in music. It doesn’t help when the aforementioned Rick Wakeman talks of sending out for a curry during Side 3 of Tales For Topographic Oceans when he played it live. In fact, Tales For Topographic Oceans was one of my favourite albums from that time. I can now add Timewind to the favourite list.

It is a little surprising, given the niche nature of this album, that it was a successful album for Schulze. He won an award for this, that meant it was stocked across many places of education in France. This, no doubt, contributed significantly to the units shifted. Although, i’m no expert on classical music, there are apparent references to Wagner. As was the fashion at that time, there are only 2 tracks: Bayreuth Return and Wahnfried 1883, each clocking in around the 30 minute mark.

What does it sounds like? Tangerine Dream isn’t a bad place to start. However, it is definitely more progressive and less monotonous. I am also a massive Nils Frahm fan. His tune Says reminds me of Timewind (i’d heard Says first so maybe it’s the other way around). Using only keyboards, synths and delays, the 2 pieces drift in and out of your consciousness without wavering from their core purpose. There aren’t drones in the modern sense, but the tracks are structured with that type of minor key backdrop. However, both are much lighter and very easy to listen to. The highlight is Bayreuth Return. I love the way it moves in an out, subtly shifting and changing but always maintaining the listeners interest.

2 things of note to finish:

It was reissued a while back with extra tracks. Live versions of Bayreuth Return and another track, Windy Times. Worth seeking out.

I read somewhere each track was recorded in a single take, Kudos.

I’m off to power my way through his extensive back catalogue.

Halftribe – Backwater Revisited

I can always rely on Ryan Bisset (aka Halftribe) to deliver an album that totally speaks to me. Also, a label (Dronarivm) that includes Brock Van Wey (bvdub), is likely to present a joy. Backwater Revisited is definitely that. Most of this summer Halftribe (along with Warmth – Wildlife) have soundtracked my sleep over the summer.

Backwater Revisited, the 4th album by Halftribe, unsurprisingly comprises instrumental landscapes underpinned by lightweight drones. It follows hot the heels of 2018 For the summer, or forever, which was one of the musical highlights of 2018. It’s fair to say a Halftribe release is much looked forward to at Jaykits HQ.

Backwater Revisited kicks off with Tuning Out, which immediately evoked memories of my teenage (late teenage) years and particularly a Creation label act called Sheer. A simple pulse, a repetitive growl, a piano layer and distant vocals create a dark but enticing opening. What follows, over the course of the remaining 12 tracks, is pure beauty. Drones, stretched whispering vocals, keys and softly plucked, heavily filtered guitars predominate as is perfectly evident on More than Autumn.

The entire album never feels hurried. There is always this feeling of space and, despite the relatively repetitive nature of some of the tracks, it never feels overly long. The track lengths are kept to a minimum, only breaking through the 6 minute barrier when the album goes Off Kilter. Curiously, this track really reminds me of I’m not in Love by 10CC. You can make your own mind upon about that. Ideosyncrasy, changes the key but not the mood. It is darker but still maintains the feel overall. I could wax lyrical about the remainder of the tracks on Backwater Revisited but they are primarily variations on a theme. This is no bad thing at all, as for soundtracking sleep there are no surprises. After all, even Dark Side of the Moon has Money to shake the listener from their stupor. Interestingly, the least effective album track is the title track. There is little to lift the drone that forms the basis of this piece. A special mention should go to the fluttering keys of Kaja and the majestic closer Linear with the sound of the dawn chorus.

This will no doubt feature in many end of year lists. It’s already in mine.

Pop Ambient 2019

It’s the end of the year and decent music releases have tailed off. The Christmas albums flood the retailers. Buble and Slade are everywhere. One thing I can always rely on is the November release of Kompakts’ Pop Ambient series. The 2019 edition is textbook. Another compilation of such a high standard, a standard that has been the trademark of the Pop Ambient series over the 18 years it has been in existence.

I read some pre-release marketing that describes this instalment as a departure for the series. A ‘change of pace’, more experimental/avant-garde. To me it’s not. It feels the same as, at least, the last 4 releases, certainly to my untrained ear. I’m very happy about that as I love the Pop Ambient series and its subtly evolving ways. If you’re not familiar with the brand, focus on the Ambient part of the series name. Many of the genres big guns have been part of Wolfgang Voigt‘s Pop Ambient over the years. Some are present on this release, eg. Leandro Fresco to pick out just one.

This years collection has a very strong beginning. From the sprawling Alles Wird Gut opening by stalwart Thore Pfeiffer through the filmscore-esque strings of Coupler‘s A Plain Of Reeds to my personal highlight, the heavily filtered angsty vocals of The Uncertainty Principle by Black Frame, it is clear that this is another special release from Kompakt. Kenneth James Gibson delivers another swirling drone adding tension as the track develops. Morgen Wurde provides Schien Immer, a track that could accompany any space programme, it’s big and it’s beautiful. The album then enters a particularly dark phase. A sweep that includes Gregor Schwellenbach, Last Train To Brooklyn and Max Wurden. It’s easy to get lost in this section. It provides a certain structure to the mix (it’s about this point I realise it’s mixed rather than merely sequenced). Special mention to Last Train To Brooklyn as its twinkling and reverb lift the middle section gloom (slightly). Thomas Fehlmann delivers a fairly structured piece. A soporific rhythm leads into a trademark Leandro Fresco ambient wash (I’m writing this whilst watching the most amazing sunrise-perfect). Yui Onodera provides Cromo 3. Strings at their best. Only 3 minutes long but an attention grabber. Aden by Triola is the weakest piece on the album. It is better suited to a Cafe Del Mar album rather than Pop Ambient. To close, Max Wurden gets a second outing with the wonderful Core, a glorious ending.

All hail Pop Ambient, 18 years old and still as good as ever.