News - PARALLAX SOUNDS MUSIC LABEL

PARALLAX SOUNDS (NEWS)

Amazing new music video from "Syntaks". "Someone Elses Dream" taken from the album "Nachtblende". Watch below:

93MillionMilesFromTheSun makes number 15 in John Peel's Festive 50 Best Tracks of 2010!!!

BIG NEWS!!! "93MillionMilesFromSun - Waiting There (Dandelion Radio Session)" track has made it inside the legendary John Peel's Festive Top 50 Best Tracks of 2010! 93MMFTS came in as high up as number 15! Beating the likes of Warp's Gonjasufi, 4AD's The National, These New Puritans, Caribou, Crystal Castles, James Blake, Gil Scott Heron, Best Coast, Beach House, and many more! We are truly honoured!
This is a dream come true! Such a great achievement! This will go down in history! You can download the track for FREE on the "All You've Found EP" from this Parallax Sounds website.
Many thanks to all the kind voters, Mark Whitby, Dandelion Radio and John Peel up in the sky! Congratulations to 93MillionMilesFromTheSun!
If you want to view The Top 50 chart, just click the link below.

RECENT NEWS:

Syntaks – Nachtblende album gets a nice review on the "God Is In The Tv Zine" website, comparing some of the music on the album to "Low" era David Bowie and Brian Eno.
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Small review of Syntaks album Nachtblende on the electronic section of The Silent Ballet: Denmark's dynamic duo Syntaks also features vocals on Nachtblende (Parallax Sounds, 9/26), but of a more languid vibe; this project is tailor-made for the trip-hop minded, but also contains elements of shoegaze, post-rock and even opera.
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Jonas Munk, the genius behind Manual, Causa Sui and recent collaborator with Ulrich Schnauss has compiled an awesome music compilation of electronic, shoegazey artists that are from his hometown of Odense, Denmark. This compilation is available on the A Strangely Isolated Place website as a FREE download and includes artists like Syntaks, Manual, Rumskib, Keith Canisius, Limp and many more. Jonas Munk also talks about the compilation and what inspired him to create it.
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Syntaks - Nachtblende album gets a nice review on "Drowned In Sound" website:

Copenhagen-based composer cum arranger Jakob Skott isn't exactly a newcomer to making and releasing music. Having recorded under the guise of Syntaks for a decade now as well as his involvement in Limp with former Causa Sui bandmate Jonas Munk, Skott has spent the ensuing years perfecting his art to the point where he's now considered one of the leading lights of the underground ambient techno scene alongside the likes of Ulrich Schnauss and Apparat.

Having recruited occasional vocalist Anna Cecilia as a full-time member of Syntaks prior to 2009's Ylajali, his fourth long player and undoubted breakthrough record, Skott's decision to spend the next 18 months creating his widescreen masterpiece looks to have paid off. For the most part at least.

Nachtblende then, Syntaks' first release for West Country DIY label Parallax Sounds, collects together a mammoth 15, tracks all characterised by Skott's trademark swooping synths and Cecilia's haunting, choral vocal stylings. Clocking in at well over an hour from start to finish, it takes a full 40 minutes or so for the first and only legible vocal on Nachtblende to appear. "I see you walking by..." coos Cecilia ornately on the symphonic 'Into Two'. At times reminiscent of Portishead at their most awkward, or a more melody-driven Boards Of Canada, it sits as a hazy cornerstone for Nachtblende's unassailable charm.

Channeling back through the album's unmistakeable beauty, it becomes apparent that Nachtblende could have been written as a film score more than anything else. Opener 'Iris Germanica' recalls Groove Armada's 'At The River' for atmospheric, stoned aquatic beats, while the backwards masked trip hop punctuating 'Shiftandshade Ahead' has a similar hallucinatory effect as Loveless' subtler moments.

Possibly the main criticism that can be aimed at Nachtblende - and indeed the majority of records associated with this genre - is that the majority of the 15 individual pieces follow a similar pattern to what's gone before, ultimately making the record a challenging listen from beginning to end whereby maybe a ruthless exercise in editing could have resulted in a more succinct and compartmentalised album.

On the whole though, Nachtblende is a worthwhile addition to 2011's seemingly errant fascination with ambient techno, and even if it does outstay its welcome towards the end, offers plenty for the returning listener to encompass and discover on each subsequent visit. 7 / 10 - Dom Gourlay (DIS)
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Syntaks - Oak Moon track is being played on John Peel's Dandelion Radio every day this month. Mark Whitby dj says it's one his favourites of 2011. So that's 2 tracks played now on his show, the first track being "Submariner". You can hear it about 1 hour and 25 minutes into the show: http://www.dandelionradio.com/ Schedule times here: http://www.dandelionradio.com/schedule.htm
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Perfect Midnight World says: Syntaks are a Danish duo that makes shimmering electro-shoegaze for the post-rock set. Their new album, Nachtblende sounds like a darker blend of M83 and I Break Horses. That is to say, it’s really pretty damn good. The track "Oak Moon" is one of my favorites. It’s a melancholic lullaby with hazy vocals and twinkling synths. It’s worth your time for sure.
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This is what 17dots had to say about Syntaks - Nachtblende: Speakers Going Enya. Or: Neon Barwick. Startlingly pretty New Age vocal coos and cries haunting a rotted analog-tape atmosphere that will feel very familiar to chillwave enthusiasts.
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Syntaks - Nachtblende album gets a review on Danish music magazine "Gaffa":

Syntaks, which is part of the recognized environmental projects around the Causa Sui and Manual, is out with a new plate, which in many ways is an extension of Ylajali from 2009. Noise surfaces consisting of electronically manipulated guitars, pianos and synths drenched in oceans of reverb, lazily fremadhumpende beats and Anna Cecilia spherical, often wordless vocals creates a sound that is deeply romantic, almost lyrical, and sometimes it gets a little too much of it good in terms of what Michael Strunge described as dragging "heaven down to earth."

Ironically, now that Jakob is Skøtt drummer aforementioned Causa Sui, it seems to be rhythmic under-prioritized in favor of the spherical. Often they seem simple beats like a pale version of indieknægts groove.

Therefore, it is also nice when you manage to combine beats and music of the spheres, as the trio lise existing Lucertola or at best number plate Days Of Future Past, where hand-played drums supports the beautiful sky noise.

GAFFA: 4 stars out of 6.
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Syntaks gets a small feature on The 405 music website:
"Danish two-piece create a fantastic brand of ambient electronica. who effortlessly reference all the great electro-shoegaze whilst creating a unique sound".
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Syntaks - Nachtblende album gets an glowing and meaningful review on Candid Magazine:

Okay, so I’ll be honest, I’ve not heard much of Syntaks’ material, one thing I do know is, Nachtblende is the latest offering from the Copenhagen duo and on the first listen I was transfixed.

To me, the album was a seamless dream in the sense that I listened to it with complete ease and without distraction. I felt as though it was a soundtrack to my thoughts, that it would be a great aid to the making of profound discoveries. Anna Celilia’s ghostly sighs often brought goosebumps to my skin and the entire composition created an atmosphere that I believe, no other form of media can. It was so easy to get lost in the consonance and become hypnotised by the cacophony of sounds. Nachtblende symbolises luxurious escapism as tracks such as Lucertola and Oak Moon take you away from the irrelevancies that surround you.

You can tell by listening that this is not an album made by amateurs. It has an air of superiority, but is not in the slightest sense ostentatious. Without any doubts, it is on a whole different spectrum to the music which fills the mainstream charts. It seems advanced, cinematic in some ways, due to the emotion which oozes through the speakers.

It is said that Syntaks draw inspiriation from the likes of Brian Eno and Steve Reich. I can definitely understand why. Nachtblende demonstrates the spectacular beauty of ambience and in a way, it signifies the power of music as a creative medium. Ruby Glass made me consider Syntaks as the rebellious younger sister of Brian Eno’s solo work and to stretch the family tree further, the cousin of Texan group, Explosions in the Sky.

This comment on the emotions and thoughts derived from Nachtblende doesn’t really do Jakob Skott and Anna Celilia any justice. Their work, as part of Syntaks, represents raw talent and a deeper understanding of what music can mean to a person. It’s safe to say that Parallax Sounds have a winner on their hands. Personally, I’m privilidged to have been able to experience what Syntaks have to offer. It isn’t just music – it’s a transgression of emotional expression through sound.
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Syntaks - Nachtblende" album gets a nice review on Bleep:

Gushing waves of cinematic sound from Danish duo, Jakob Skott and Anna Cecilia. The pair follow on from their last album on Ghostly International and past releases on Morr Music, with their latest album offering; a compelling concoction of big expansive swaths of colour and light and touches of influence from stalwarts of the nineties shoegaze scene such as My Bloody Valentine and The Cocteau Twins. Seefeel fans take note!
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Syntaks - Nachtblende album gets a beautiful review on Boomkat:

Denmark's most romantic shoegazers, Jakob Skøtt (also of Limp, Causa Sui) and Anna Cecilia, reunite for a lush follow-up to 'Ylajali' released on Ghostly International in 2009. Over two years on, 'Nachtblende' (an aberration of the phrase for day-for-night filters used in the movies) finds their sound shining like a distant Scandinavian beacon on the shores of the Chill wave and dreamy synth pop resurgence which has sprouted since they were last heard. But we should be careful to point out that these guys, well Jakob, at least, have been at it for much longer than the current wave riders, and it's very clear to tell from ther multi-layered and truly expansive sound design. The usual list of influences from Carpenter to Boards Of Canada and Seefeel are ticked off in style, but all with that uniquely Scando-melodic which is so inescapably their finest feature, and certainly enhanced by Anna's dizzyingly beautiful coos and doe-eyed sighs, summoning distinct parallels with the likes of Grouper and almost fringing on the likes of How To Dress Well or the Tri Angle sound at times. Ultimately, for fans of BoC, Ulrich Schnauss or M83, this is one you really can't do without. Recommended! *Housed in gatefold matt-card slipcase*
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Syntaks - Nachtblende album gets reviewed on "Undertoner" music website:

Jakob Skøtt belongs to the small group of young musicians from Odense, which almost created a scene around their own music. First as a member of Limp, since a member of Causa Sui and alongside his solo project Syntax , which since 2009 and the album Ylajali have been a duo with singer Anna Cecilia. Musically, the kinship with another one of Odense's finest, Jonas Munk and his Manual project, nor so distant, while Rasmus Elm Rasmussen releases that aerosol is not as basking and lazy.

There are clear references to drømmepop and English shoegazer on Nachtblende. And these are dreamy landscapes built from wall to wall synths, driven by beats, sometimes trailing, sometimes more heavy and insistent, which is why Anna Cecilia's vocal work that seldom reaches more than to be another flat in the soundstage. It should not be perceived negatively, but more as an observation that only a few times, which is articulated words on the album - and when they arise, for example. in the duet "When Tomorrow Turns a Million" or "Oak Moon", they are extremely fluffy and almost incomprehensible. Just as the genre requires.

It's almost plush and painted with broad brush all the way through Nachtblende. Sharpest are the numbers where synth surfaces and vocals makes room for something melodic theme, providing a familiarity of an album that otherwise threatens to flow together into one mass. "Shiftandshade Ahead" does it by letting the numbers be a classic song structure, with verses and choruses, which both have a strong melody while a song like "Someone Else's Dream" opens with a melancholic piano theme accompanied by creepy mermaid song go again through whole number.

A few sites used a guitar, and its brighter tones are a nice change of pace to the extensive use of synths, as well can be quite heavy. In "Into Two" gets the guitar interplay of multiple layers of Anna Cecilia's voice that weaves in and out between each other, while the guitar reeling like a drunken man in the intro of "Days of Future Past" before the number is more rocking.

With a running time of 68 minutes, the listener is put on something of a test in time. And although the benefits and drawbacks of long album should not influence this review too much, pops up thinking anyway, while listening to Nachtblende. The idea behind the length may well be that it takes time to be enveloping the dreamy landscapes and the melancholy warmth that characterizes the album. But there are some tracks on the album, which drops a little dull, and some others who stylistic break with the overall mood. As a result, Syntax is not entirely advantages over an hour of playing time.

It is especially centrist with tracks like "Oak Moon" and "Lucertola" which has neither a vocal melody or interesting beats to keep your attention. The structure Syntax else has caught on in the beginning of the album, lost a little here. And "Days of Future Past" and especially "Journey to the Third Part of the Night" stands both tempo and with the aggressive guitars and drums so much out from the rest of the album that seems misplaced. Noted should be the beautiful surfaces with Anna Cecilia's voice, creating a wall of airy vocals on the latter.

In 2009 the duo released "Ylajali" on Ghostly International Records and by then Anna became more focused on doing her beautiful vocals and wordless soprano sighs.

Jakob started out with Jonas Munk as part of the band Limp (with one release in 2002 on Morr Music), as well as a fixed part in Manual's liveset and Golden Sun album on Darla Records.

Jakob is also the drummer in danish psych-kraut outfit Causa Sui, and 2011 has already seen collaborations in that direction with members of Tortoise and Sunburned Hand of the Man. Syntaks even did a piece for The Royal Danish ballet in 2010.

Syntaks take their influences from ambient electronic artists like Boards Of Canada, Brian Eno, Seefeel, film score artists like Ennio Morricone, John Carpenter, and the dreamy shoegaze sounds of the Cocteau Twins, M83, Slowdive, Ulrich Schnauss, and other early 90's shoegaze bands.

Modern likes on prog are often waist deep in pretention and homage, but there's something very likeable about "Quipu". Yes, Ellis clearly knows his jazz, prog and fusion stories (and isn't afraid to show off his breadth of knowledge and skill) but there's a certain starry-eyed exploratory spirit that marks it out. It's there with the free jazz dischord of "Psaw" and the densely patterned "Birth". Ellis work occasionally recalls the late 90's Glaswegian band "Gainger", abeit less overtly Krautrock influenced, and spacier.
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Brian Ellis "Quipu" album gets a nice review on "Music Web Express 3000" (MWE3) in their "Record Label/Music Spotlight" section for the month of June.

Some reviewer over in the U.K. had a near religious experience after playing the seven cut Quipu from Callifornia based guitarist Brian Ellis. I was skeptical but, honestly after playing this CD for a few weeks, I too am amazed. The English spawned some of the original and greatest space rockers ever—from Ummagumma era Pink Floyd to Steve Hillage with Gong—and guitarist Ellis clearly sounds inspired by them all! Recording Quipu as a totally instrumental artist, Ellis lets his fingers and guitars do the talking and then some. Interesting that some jazz buffs are also making comparisons between Ellis and Mahavishnu era John McLaughlin and even influences like Miles Davis, perhaps with a touch of Van Der Graaf Generator. Supporting his own efforts on a range of instruments—including guitars, drums, synths, sitars, sax and more—Ellis crosses over from jazz fusion to a more Euro-centric vibe so effortlessly that you’ll have to check the cover art to see who you’re listening to, often within the span of one song. Even in this age of cutbacks and downloads, Ellis has done a nice job on the CD packaging. It’s not overly elaborate but the CD is cased in an appealing looking cardboard slipcase adorned with a very intriguing front and back cover painting.
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BRIAN ELLIS-QUIPU album review on Freqzine website. For fans of: Sun Ra Arkestra & Acid Mothers Temple.

Brian Ellis is the guitar player with the band Astra, whose album The Weirding was one of the best of a batch of progressive rock revival albums released last year. It swept majestically over musical fields covered by Yes, early Genesis and King Crimson. On what appears to be his sixth solo release, Quipu, Ellis touches upon and expands on all these elements to make an interesting album.
About halfway through the track changes into a heavy metal take on a Magma workout, guitars power ahead and wrestle with rhythm in a hard edge Christian Vander-style percussive bleed that sets the tone for the album
"Birth" starts off in a jazzy ambient style mode that strays onto territory covered by Rain Tree Crow's set of improvisational pieces that made up their sole album. Horns squelch away over Bruford-esque drum patterns while keyboards pad out layers of sound beneath. About halfway through the track changes into a heavy metal take on a Magma workout, guitars power ahead and wrestle with rhythm in a hard edge Christian Vander-style percussive bleed that sets the tone for the album. "Canyon Star" has melodic symphonic guitar that touches upon certain tonal passages of Steve Howe's work on "The Remembering" from Tales From Topographic Oceans. Here Ellis seems to play the "Relayer" chorus over the top of an interesting keyboard passage before the song breaks down into a jaunty Van der Graaf Generator sax and guitar battle for its final half. After a fairly ambient opening "Count To Ten" becomes a far more standard blues/jazz piece that takes onboard Bitches Brew-era Miles Davis atonal keyboard pulses while the guitar soars and sax heads off with a vigorous screeching solo before bringing the track back down to earth for its ending. "Funeral March" begins with a considered riff that tracks the guitar and organ to a slow build up before the sax takes over the melody and the guitar is left to fill the space. The track plays over this riff until it seems to fall away exhausted, and this was the first time I started to question what Ellis was trying to say with these instrumental pieces as I felt here that this sounded somewhat laboured compared to the preceding tracks.
"Gossamer" begins with sloppy laid-back jazz drum rhythm that slides into a Mahavishnu Orchestra section before swirling synths and straight-ahead guitar clatter into a section that sounds somewhat like early Hawkwind holding back. This odd amalgam works in the track's favour, especially during the closing segment that drifts like a cosmic wind to its fade out. "Psaw" has psychedelic guitar playing over late sixties free jazz elements that wouldn't seem out of place on a Sun Ra Arkestra album of this era. The music sounds largely improvised and is probably closer in tone to some of Acid Mothers Temple's work rather than, say, Miles Davis. Deep bass synth introduces "Walomendem" and a lead synth ramble's a half forgotten melody before the track packs its Magma punch. Klaus Blasquiz-style vocalising resonates over Jannick Top bass booms while piano plays atonal scattering around over its downward riff. This track could have easily been an extra track on Mekanik Destruktiw Kommandoh – it is Ellis doing a homage to Magma, plain and simple as that. This is not deriding the piece in anyway as it certainly packs a punch and gives a genuine ferocity some of the other tracks lack.
as it certainly packs a punch and gives a genuine ferocity
What Ellis has created here is a hybrid prog meets free jazz album that sits at times uncomfortably on the fence. It works best when it steams full a head in its Magma-style vein as its passion and power then comes to the fore. It just feels, at times, though like it staggers drunkenly into areas it seems unsure of and then backs away. Its triumphant last track shows where maybe some of the rest of the album could have touched more which would have made the whole thing a tour-de-force. Ellis has made a brave record and doing so he may well have alienated some of his listeners before they can swallow the album as whole and appreciate the varied vistas he has painted with his broad brush. It's certainly well worth a listen even if you only venture as far as "Walomendem's" firey brilliance.
-Gary Parsons- http://www.freqzine.net/reviews/brian-ellis-quipu/
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BRIAN ELLIS (ASTRA guitarist) "QUIPU" album gets an amazing review on "ToMeToTheWeatherMachine" website:

Quipu has been on the back-burner for a while. Recorded over a two-year period in '07 and '08, San Diego-based Brian Ellis was careful and considered in collecting these tracks together on a CD. Following the dissolution of his previous label, Benbecula Records, and employing a completely different approach to composition and recording (moving away from sample-based foundations and switching to a multi-tracking setup), the record has been just sitting for the past couple of years, stewing in its saucy psychedelic gravy. Simmering, bubbling slowly, awaiting the boil. Leave it to Parallax Sounds (the label that brought you TOME-absolute-favo's 2muchachos) to pick up the ball and slam-fucking-dunk this one straight into my CD player. This thing is a psych-rock-jazz-hybrid-monster-opus-masterpiece. Totally spaced-out, gnarly, aggressive, brooding, building, exploding... Ellis makes music that's fun for us bloggers: totally easy to slap as many descriptors as possible onto, but evading the English language just enough to keep our readers guessing. Impossible to nail down entirely, here's what I can muster from this thing, and I can only hope you'll guess good enough to realize you want a copy for yourself.

Ellis is indeed talented and certainly has a knack for all things psych. He plays almost every instrument on the album, which is what is probably the most impressive thing about the recording, considering the album is full of horns, synths, percussion instruments, and some fantastic guitar and bass playing. But he's not a genius at all the instruments. His best work (as previously alluded to) is on the guitar, which is something he completely slays throughout the album - wringing its neck, violently yanking its hairs, twisting its knobs and making it beg for mercy, the instrument sobbing, wailing, and screaming, constantly shrouded in fuzzy, warbly effects. He's also a talented synth artist, squeezing pitches, bending them, and mesmerizing with some hypnotic looping patterns. Add to that, Ellis is a pretty decent drummer, pounding out odd-time signatures, slashing away at crunchy hi-hats and outlining forms for the instruments to connect with unisons between drawn-out moments of modal meditations for noodling improvisations to swirl around above. These elements all come together very nicely on the album's first half, exhibiting Ellis as a veritable swiss-army knife of fusion jazz. The chops on these various instruments holds these tunes back ever-so-slightly, though, as some tunes like "Funeral March" tend to march along rather slowly and a bit un-eventfully. If you were expecting something like Miles Davis, Return to Forever, or Mahavishnu, you wouldn't be far off, but don't expect something as seasoned as 10, 20, 30 years of experience with acid, heroin, and good-old-fashioned weed, not to mention years of professional schooling or thousands of hours of practice behind Chick Corea, Billy Cobham, Joe Zawinul, Eddie Gomez, or any of those ridiculos. Though these musicians appear as Godly apparitions throughout the album, Brian Ellis is certainly not these people. However, only three albums into his solo career (Ellis is also the guitarist of Astra), he is a young musician, and has done an admirable job. Hence, the future for this guy is about as bright as they come.

Now then, the album's second half is where things really start to get interesting. Ellis brought on a fellow named David Hurley to lay down drums for these tunes, and the difference is stunning. With light pitter-pattering cymbals around polyrhythmic experimentations a-la Tony Williams, and heavy-as-Hell, absolutely dizzying Bill Ward-style explosion fills, Hurley takes Ellis' vision to a completely different level. Look no further than the album's last, the unbelievably intense track "Walomendem" for your real fix. This track has it all—soli-sectioned refrains, driving rhythms, confusing harmonics, and more of those sickening guitar licks filling out the song's 14+ minute run-time. No doubt, one of the best pieces of music I've heard so far this year.

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"BRIAN ELLIS - QUIPU" ALBUM AVAILABLE TO BUY NOW!

If this was 1973, Brian Ellis would be challenging Mike Oldfield for Best multi-Instrumentalist award. The man's a hero! UNCUT magazine 4/5

“Quipu” isn’t music that will sound exactly like Bitches Brew or any of your favorite records from that period. “Quipu” is more so a continuation of what that world meant and the importance of keeping that tradition and spirit alive. The heart, discipline and of course the gear it took to achieve that type of sound Miles Davis and the others made so famous is truly a gift to this world. SOUND COLOUR AND VIBRATION.

closing epics "Psaw" & Magma tribute "Walomendem" are cosmic prog at it's filthiest, explosive spurts of solar fire arcing into infinity. THE WIRE mag.

"Quipu" is an astonishing piece of work, especially when it was the work of just one man! "The freeform lunacy of Gong" CLASSIC ROCK presents PROG.

PHANTOM - GREAT PRETENDER / VOODOO ROMANTIC

"Single Of The Month", and "15th Best Single Of The Year 2009" in Artrocker magazine!

"The aural equivalent of a black cat sneaking across silk sheets... in the melodramatic mansion of a slightly eccentric painter - "Track Of The Day" - Q Magazine

"Gruelling and dark, Phantom's macabre rockabilly is offset by that great elusive character: the female Morrissey. Inventive and stoically playful Elsie Martins hold the audience at arms length, they remain intriguing throughout" - The Skinny.

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CHECK OUT THESE RELEASES! CLICK ON ALBUM PICTURE TO BUY, LISTEN OR VISIT RELEASE PAGE.

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"SYNTAKS - NACHTBLENDE" ALBUM AVAILABLE TO BUY NOW!

Syntaks are purveyors of a harmonic and ghostly sound comparable to that of Aphex Twin or Sigur Ros - ICON UK

Gushing waves of cinematic sound from Danish duo, The pair follow on from their last album on Ghostly International and past releases on Morr Music, with their latest album offering; a compelling concoction of big expansive swaths of colour and light and touches of influence from stalwarts of the nineties shoegaze scene such as My Bloody Valentine and The Cocteau Twins. Seefeel fans take note! - Bleep

Ultimately, for fans of BoC, Ulrich Schnauss or M83, this is one you really can't do without. Recommended! - Boomkat

"Danish two-piece create a fantastic brand of ambient electronica. who effortlessly reference all the great electro-shoegaze whilst creating a unique sound" - The 405

Nachtblende is a worthwhile addition to 2011's seemingly errant fascination with ambient techno - Drowned In Sound 7/10

Some of the music on "Nachtblende" album by Syntaks sounds like "Low" era David Bowie and Brian Eno - God Is In The Tv Zine

2muchachos -Formanta album has elements of electronica, field recordings, folktronica, shoegaze, krautrock and ambient. Each track is carefully crafted by gradually washing you gently with their beautiful sounds. For fans of Seefeel, Radiohead, Ulrich Schnauss, Sigur Ros, mum, and ambient works era Aphex Twin.

9/10 - DyingForBadMusic / Album of the week - Resident

One of the year's strongest releases - ToMeToTheWeatherMachine

Outstanding combination of dubstep & classical music - PennyBlackMusic

Unjustly underrated masterpiece - Indie Rock Mag

Sjofn's album is blowing my mind - one of the most remarkable albums of the year. It deserves to be enormous. Mark Whitby - Dandelion Radio

Minimalistic and simple folk music, but with very thoughtful arrangements and well crafted songs - One Chord.Blog

Experimental and accessible, this organic, minimalist folk album, invites us to curl up in a quilt to enjoy this little moment of comfort, making us temporarily forget the difficulties of outside world with an almost disconcerting ease. Magical. A debut album of a goddess / mermaid haunting Icelandic charm. IIntriguing. Final Mark: 16/20. - With Music In Mind.

One of 2009's most exquisite offerings on the album front - Drowned in Sound

3rd best shoegaze album of 2009 - Shoegaze Blog

93MMFTS put on their display of effects to great results - Built On A Weakspot

The sound of the sun exploding! 7/10
- Crumbs In The Butter

Epic, Gorgeous and Majestic.. 8.5/10
- Albatross

If we could rescore the Donnie Darko soundtrack, it would be 90% Foreign Cinema tracks - Flavorpill

For fans of: Depeche Mode, New Order, Massive Attack, Cocteau Twins, The Cure, Portishead - Go211.com

9/10 - Music with an exclamation point!

Exciting music is rare, and creative music is even scarcer in today’s social structure; finding this was pure synchronicity - Steven DiEva 4/5

For fans of Boards of Canada, 80's tv and film soundtracks or Giorgio Moroder, Jan Hammer, Maps, M83, and Vangelis.

Ototek's EpicElectro! album is indeed epic and electronic with a range of different vintage 80's synth sounds that are cleverly crafted into songs. A fine blend of beautiful, warm arrangements with cool Electronic, New Wave, and Shoegaze sounds and full of nostalgic moments.
- Parallax Sounds

Portal dishes up lovely, whispering tunes, that shimmer with dreamy, fragile melodies and nostalgic, full-moon ice halo sounds - Sefrotron.

Portal's An Uninsured Flood album is like Aphex Twin's Selected Ambient Works 2 meets Boards of Canada. This is IDM with elements of dark surrealness. 2 cds with 25 tracks in total, you definitely get your moneys worth with this epic electronic album - Parallax Sounds.

PARALLAX SOUNDS RECORDS IS THE FIRST MUSIC LABEL THAT SELLS MUSIC AND OFFERS FREE MUSIC ASWELL THROUGH THE PRANA SERIES (THE NET LABEL SECTION OF PARALLAX SOUNDS).
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