Ambient music continues to stretch in different directions this month, from the exposed songwriting of Ana Roxanne and the immersive stillness of zakè to the blurred dub textures of Purelink and the unstable electroacoustic experiments of upsammy and Valentina Magaletti. Elsewhere, artists like Yu Su continue to pull ambient music toward more fluid and hard-to-define territory, folding dub, minimalism and experimental electronics into increasingly open forms.
This month’s selections move between warmth and unease, clarity and abstraction, showing how wide the genre’s boundaries have become while still holding onto atmosphere, patience and emotional weight at the centre.
Teatre – Returning
Teatre expands on his previous compilation appearances on Amulet of Tears with his ambient opus, ‘All Constellations Weaving Into One’. A poetic, dream-like story born from a period of creative stillness, the album serves as a sonic diary of the artist’s return to composition. Recorded chronologically between September and November 2025 in the Antakalnis district of Vilnius, the tracklist captures a raw, evolving journey of rediscovery. The soundscape is a rich tapestry of 90s-era sample fragments, ethereal synthesizer textures, and immersive field recordings.
Columbian Drone Mafia, Tristan Arp – Rafflesia Arnoldii
Rafflesia Arnoldii feat. Tristan Arp is the first single of Sueño en Flor – a fluid and immersive body of work shaped by time, collaboration, and shared space. Built during a year-long residency in London, the album moves between ambient depth, organic textures, and subtle rhythmic movement—capturing the feeling of artists creating together in real time.
Ana Roxanne – Atonement
Ana Roxanne’s Poem 1 moves away from the layered, abstract sound of her earlier work and places her voice firmly at the centre. Written after a period of heartbreak and personal change, the album is sparse and intimate, built around soft piano, bass, strings and restrained electronics. Tracks like “Keepsake” and “Untitled II” highlight her strength as a songwriter, with a strong focus on mood and emotional clarity rather than texture alone. While much of the record deals with grief and isolation, it gradually shifts toward acceptance and forward movement, ending on a note that feels cautiously hopeful rather than defeated.
Yu Su – Cul De Sac
Yu Su’s second album Foundry expands on the fluid, hard-to-pin-down sound of her earlier work, drawing together ambient techno, dub, experimental pop and leftfield electronics into something that feels open and collaborative. Developed partly from material written for a 2025 MUTEK performance and shaped by her move to London, the record explores what Yu describes as “in-between music”, balancing personal roots with a wider set of influences.
zake – HH.1
zakè’s HH is an ambient album shaped by personal grief and uncertainty, written during time spent in hospital rooms while supporting his wife through serious health struggles. Across four long-form pieces, the American composer and Past Inside the Present founder works with slow-moving drones, sustained synth tones and subtle harmonic shifts that seem to suspend time completely.
Rayan Haidar – Seeing light flicker from windows
Beirut-born, Paris-based multi-instrumentalist Rayan Haïdar arrives with CITIES BURN AS WE DREAM OF A RETURN, a profound meditation on displacement, longing, and the impossible distance between memory and its aftermath. Through ambient guitar, effects processing, and experimental techniques, Haïdar weaves melancholic tones with the contrasts that defined their hometown: beauty and turbulence held in the same breath.
Carla Dal Forno – Staying In
Carla dal Forno’s Come Around continues the understated, nocturnal songwriting that has defined much of her work, blending minimal post-punk, dub, dream pop and slow-moving electronics into something intimate and detached at the same time. While not an ambient album, Staying In drifts confidently into appropriate territory.
Dean Grenier – 48 Amends – Sky Mix
Dean Grenier’s Four The Eight is a slow, immersive ambient record built around drifting synth textures, soft harmonic movement and a strong sense of space. The album unfolds patiently across long-form compositions that favour atmosphere and emotional tone over obvious structure, creating music that feels suspended somewhere between reflection and memory.
Purelink, Rainy Miller – Barrons Hotel (I, To, Thee)
Purelink and Rainy Miller’s Barrons Hotel / Yellow Bones brings together Purelink’s blurred ambient dub textures with Rainy Miller’s more emotionally direct songwriting and production style. The release moves through washed-out electronics, low-end pressure and fragmented vocal elements, creating something that feels both distant and deeply human.
upsammy, Valentina Magaletti – It Comes To An End
upsammy and Valentina Magaletti’s Seismo is an electroacoustic collaboration built around improvisation, texture and rhythmic instability. Originally developed from a commission for Amsterdam’s Rijksmuseum, the album began with recordings of improvised percussion captured throughout the museum space before evolving into a more fluid live collaboration.
Alliyah Enyo – when my mind is quiet i drift 2 u
Emerging from a live recording at St.Mary’s Episcopal Cathedral in 2021, Alliyah Enyo’s ‘Echo’s Disintegration’ is a transformational project; a coded reflection on loss, metamorphosis and rebirth.
Almost Silent – Improvement
Kaizen is the PITP solo début of French ambient artist and sound sculptor Almøst Silent (aka Guy Teixeira), whose deep drones, towering harmonies, and nuanced structures strike a unique emotional chord on each of the album’s fourteen pieces. Borrowed from Japanese philosophy, Kaizen denotes “change for the better”, reflecting the process of rebuilding health, confidence, and artistic identity through intuitive creation.
Paperclip Minimiser – II B2
Meticulously assembled from a good 15 years’ worth of source material, Cong Burn boss John Howes’ second Paperclip Minimiser transmission proliferates its predecessor’s network of turn-of-the-millennium aesthetics and concepts, bringing us closer to the lost future promised by the mid-digital age. If the debut album rooted itself in 2006, using an era-specific rig to activate its vintage Winamp-ready sound, ‘II’ pushes the clock forward just a little, recycling an unreleased album that Howes engineered in various locations across the north of England, starting way back in 2011
Grady Steele – IV
Grady Steele (Formant Soundsystem) debuts on FELT with the tender spectre of Nausea, poignant patterns captured through the dusk-hued window pane. Nausea extends across seven movements, narrating sentimental parallels of familiarity. Grady posits concentrated pangs of post-rave nostalgia with rich melodic sustenance, a vivid introspection tempered with field recordings and live instrumentation.
Lia Kohl, Macie Stewart, Whitney Johnson
Whitney Johnson, Lia Kohl, and Macie Stewart are a trio who utilize string instruments, voices, and manual tape effect processing to craft compositions from alternately tranquil and disquieting improvised music. The three musicians are individually rooted in deep sound exploration, multi-disciplinary composition, and all manner of cross-genre collaboration. The musical ground covered by their solo practices is correspondingly expansive, and their individual recording and performance credits read as a veritable who’s who, ranging from DIY darlings to household names of experimental avant-garde, electronic, indie rock, and more.
