Slowly evolving, expansive, monolithic, Gradient Fade's music draws you into an atmosphere recalling prehistoric times. Any fan of Gas, Brian Eno, or Fennesz will enjoy this.

"The work of prolific Los Angeles producer M. Geddes Gengras is often discussed in terms of “vibes.” This is fair enough, given the wandering modular synth experiments for which he’s known (not to mention his warmer forays into dub alongside Sun Araw, and his stated late-blooming appreciation for the Dead). Lest such language imply a relaxed sort of grooviness, however, his latest full-length—a double LP comprising four barely-discrete compositions, each around 18 minutes—extends into more anxious territory. Composed and recorded over the last six years, Interior Architecture is so expansive that it can be hard for the listener to find her footing. What’s rewarding, in addition to the lush and liquid sound of Gengras’ indulgent approach, is that very experience of instability. It’s more pronounced than in his previous releases, and here takes on a psychological dimension. Taking his time to build and disassemble each passage, Gengras seems to work without many constraints. As his compositions develop out, there’s an experiential and pleasure-taking quality to his application of new progressions, even when they’re wholly dissonant. Outside of this project, he collaborates with a number of Los Angeles musicians, but here he’s very much working alone, a fact that underscores the interiority audible throughout. This is briefly disrupted by the introduction of Seth Kasselman on clarinet on “Extension_Breath_Worm Suite Pt. 3,” an element that, though it enters and exits in appropriately abstract squelches, contrasts somewhat curiously with the album’s vocabulary. Gengras otherwise comfortably and loosely fills out space, lost in what he’s making." - Thea Ballard, Pitchfork Media

California-born artist Brogan Bentley produces a hybrid style that draws inspiration from the sub-sonic bellows of the electronic underground upwards to the celestial music of the spheres. A deep familial lineage in music provides a foundation that allows him to seamlessly convey what is timeless and essential through song, using Jungle, Ambient, Psychedelic and Dub stylings as vessels to carry energy forth. With Bentley’s soaring vocals serving as guides, his ethereal leanings are grounded by the depths of soulfulness. Having released music with Los Angeles-based Leaving Records since 2012, his second full-length LP with the label will be arriving in 2021. Photo by Inga Schunn.      

Gabriel Ramos started making solo recordings while living in Portland, Oregon around 2005. He was inspired by the DIY drive of the city, hosting live shows at his house, (which frequently would consist of friends' bands from San Francisco) and his growing fascination and voracious consumption of music: "I can trace it back to the first time Spector Protector played at my house and getting a tour cassette afterwards from one of the two members, Eric Davis. That and being freshly exposed to groups like Suicide and Arthur Russell were very inspirational to begin recording music on my own, which was something I had been doing, though fairly aimlessly up to that point. In terms of sonic influences, I try and change my process as much as I can (usually through collaboration) and vary the instrumentation. My visions of songs usually end up as a clunky homage to late 70s punk rock, a marriage of dub and krautrock repetition and cavernous space.”