Really enjoying this new material, thank you.

Gentle beings, we are entering the world of the ambient, atmospheric, downtempo, and sublime. Transcend at your leisure. [cover Alexandra Spence | photo Lucy Parakhina]

Third State

The Dwarfs Of East Agouza • Neptune Anteater

Chahar

Yek (Single Edit)

Magic Thread

Weave (2025 Remastered)

Image (1983-1998)

Yume Uta (2025 Remastered)

Don't Trust Mirrors

Prism drift

Sakura

Hisen (2025 Remaster)

Jessica Moss • until all are free

Stay, Nomad

Stutter

Gray Acres has always been a space for subtlety and restraint, distinct from the denser, more cinematic atmospheres of Hotel Neon. Where that project often explores process, technique, and narrative arcs, Gray Acres tends to be produced "in the moment" and stays still. It lets you think for yourself. Soft Erasure especially embraces that characteristic stillness.

This is the first full-length Gray Acres album since 2021’s “Dreams and Phantoms.” It’s a project that came together slowly with an intentionally light touch…more about dissolving sounds than constructing them. Subtraction vs. addition.

The title Soft Erasure came about as we noticed a recurring quality across the recordings: a sense of tangible things like guitars, pianos, and strings fading, softening, and slipping just out of reach as we shaped and processed them. The music feels like it’s constantly on the verge of vanishing, or being gently wiped away into an indistinct atmosphere. That idea of erasure not as violence, but as gentleness, decay, or transformation, felt like the right metaphor to latch on to. It speaks to memory, distance, and time, and how all of those forces shape and reshape our perception of sound and self.

Musically, this album is built mainly from resampled acoustic instruments: delicate piano lines, sustained strings, frozen and looped guitar textures. Much of the source material was recorded clean, then stretched, blurred, and layered until it became something abstract…like an impression of a song, or a half-remembered phrase. In some ways, we were trying to find the most washed-out and ephemeral version of each sound. The result is a record that is designed less for narrative and more for immersion.

If you’ve followed this project before, I think you’ll hear a natural continuation of its aesthetic. But if you’re new to Gray Acres, this is a great entry point. It’s music that tries not to demand attention, but rewards those who tune in closely for a while.

Gray Acres - Soft Erasure
Music by Andrew & Michael Tasselmyer
Mastered by Alex at Quiet Details

Gray Acres - Vestige

I Used To See Her On The Way Home from School and She Lit Up The Sky with her Beauty

~ LAAPS 048 ~ [SEQ.06 - LP48]

artist : Ensemble 0
album : L'Incroyable Femme Des Neiges
duration : 26.40 mn
date : November 12th, 2025

edition :
-  vinyl : limited to 200 copies / white LP / selective UV varnish (front+back) / hand numbered 
- cd : limited to 150 copies / pantone / hand numbered + handcrafted, sealed

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pre-order : October 23rd, 2025 / official release : November 12th, 2025
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Composition and arrangements: Joël Mérah, Stéphane Garin, Sylvain Chauveau

Performed by:
Jérôme Capdepont - trombone
Sylvain Chauveau - acoustic guitar
Vianney Desplantes - euphonium, tuba, flugabone
Tanguy Gallavardin - clarinets
Júlia Gállego Ronda - flutes
Stéphane Garin - percussion, piano, organ
Joël Mérah - acoustic guitar, piano, ukulele, organ, harmonium

Recording and mixing: Johannes Buff, Shorebreaker studio (Tarnos, France). 
Assistant: Xan Bidegain
Artistic director: Joël Mérah
Administration: Nicolas Michamblé

Thanks to Alexandre Maillet, Vanessa Pigot, Laurie Garcia Garin et Sébastien Betbeder.

Mastered by Simon Lancelot
Artwork by Jonathan Smith
Design by Sprflxgrfzm
 
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Links :
https://laaps.bandcamp.com/music
www.instagram.com/iikki_laaps/
https://www.ensemble0.com/
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℗ & © 2 0 2 5 - L A A P S - L A A P S 0 4 8

Ensemble 0 - Les Grands Espaces

Cellular Songs

Breathstream

Written, recorded and produced off grid in a solar-powered caravan the remote, Aussie outback “expansion a (south)" is the latest solo offering from Naarm/Melbourne-based vocalist, multi instrumentalist, sound healer and producer IKSRE (aka Phoebe Dubar). Gorgeous, evocative and intimate, an expansion of the body, mind and soul, this album traverses ambient, cinematic, experimental, dream pop and psychedelia and is quite unlike anything she has ever released before. Equal parts intimate travel journal and expansive, ambient journey; an aural adventure to some of the wildest places on earth.

From April to August 2025, IKSRE (Phoebe Dubar) and her husband and their eight-year old daughter packed up and hit the road to explore the road less travelled - westward from their home in Naarm/Melbourne to incredibly isolated, Western Australian coastline, and through the Northern Territory and Central Australian outback. They travelled 20,000km over a four-month period to some of the most untouched, pristine places left on earth. True wilderness.

Armed with a small selection of instruments - electric guitar (her first foray into the instrument), OP-1 field synth, SM58 microphone, two small singing bowls and a selection of guitar pedals - every song was written off grid in the confines of the family’s solar powered caravan after an awe inspiring moment. From swimming with whale sharks at Nyinggulu/Ningaloo, to listening to swimming in ancient gorges in Karijini National Park and crossing the vast, endless expanse of the Nullarbor plain, each track hints at these iconic places, captured in the moment in sound and accompanying photographs and video. A multi dimensional postcard from the wilderness.

Arguably her most intimate album, definitely her most raw - background noise left in and no post production after she returned home; vocals are far from perfect in places, and include clicks and background sounds from inside (and outside) the small space they called home for months. It also includes field recordings collected in some of these places.

karijini (iron. spinifex): red, iron rich dirt; shimmering clumps of golden spinifex; vertigo-inducing gorges and freshwater swimming holes. A week spent in this glorious place - the highlight of 120 days on the road. Recorded in an afternoon in the caravan, this is a pure love song to this special place. Trademark, heart-centred vocals coo “Karijini” while guitars, bass and synths swirl around. 

written, performed, recorded, produced and mixed by Phoebe Dubar (IKSRE)
mastered by James Bernard, Ambient Mountain House
photography by Phoebe Dubar

karijini (iron. spinfex)

Cyprien Gaillard - Retinal Rivalry
Label: PAN
Cat.No.: PAN 157
Release Date: 17 October 2025
Purchase: pan.lnk.to/RetinalRivalry

Retinal Rivalry is the soundtrack to Cyprien Gaillard’s new stereoscopic film, Retinal Rivalry (2024). It is an entrancing journey through Germany’s urban landscape and its layers of historical and social significance. Building on his previous exploration of the sculptural qualities of three-dimensional moving images, the work extends beyond the confines of the screen. By harnessing cutting-edge technology to its full potential, Gaillard offers an expanded, sharpened and deeply affecting novel view of the world around us.

Retinal Rivalry is named after the visual perception phenomenon that occurs when the brain receives two conflicting images at the same time. Instead of blending into one 3D image, the neural system alternates between prioritising one image while suppressing the other, causing confusion and discomfort for the viewer.

Gaillard’s film engages with these complexities of visual processing and the limitations of technology, collating visual information through exceptional, often tongue-in-cheek, shots that intertwine the inside and outside, the contained and dispersed, and the natural and built.

His camera adopts unusual viewpoints, shifting from smooth aerial perspectives to a rodent’s low gaze to the dizzying darting in and out on the bulbous nose of a sculpture, or a long shot of a train moving through a landscape, drawing us into a layered experience that teeters between a bad trip and unexpected beauty providing solace.

The film’s score draws from diverse sonic elements, bolstering its exploration of dissonance and synchrony. Indonesian instrumental music is reworked and combined with field recordings of heavy machinery rumbling and strangely melodic retching. The soundtrack also incorporates the opening lines to Werner Herzog’s Aguirre, the Wrath of God (1972), along with its accompanying overture by German band Popol Vuh. 

The soundscape of Retinal Rivalry contrasts its images—what we see is often at odds with what we hear. Only one section lets sound and image converge: a fractured leg pumps the pedal of an interactive organ to play a piece by Johann Sebastian Bach that repeatedly falters.

The film Retinal Rivalry will be on view at Haus der Kunst in Munich from October 17, 2025, to March 8, 2026.

Cyprien Gaillard - Retinal Rivalry (PAN 157)

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