The minimalist Japanese art of Ikebana (flower arrangement) puts emphasis on the other parts of plants, like leaves and stems, with a focus on the overall 'shape' of the arrangement rather than just the petal-ly ends. It's about serenity and uncomplicated beauty rather than the explosions of colour or pungent aromas. The simplicity and subtlety of the form are exactly why electronica duo, IKEBANA, have selected it as their nom de plume. The two minds behind the project, En and Maki, blur shoegaze effects with the ambient prowess of labelmate Masayoshi Fujita, or post-rock artists like Eluvium. It's a tranquil style that they peddle, comprising lucid guitars, sparse bass and spaced-out synthwork.

In the beginning, IKEBANA was a project shared by Maki (of INCENSE), MoOoG Yamamoto (of Buffalo Daughter) and DJ Codomo; the latter two eventually departed and Maki partnered with En for an eponymous debut last year, which piqued the interest of James McNew from Yo La Tengo (who will joining with the pair for a remix project later this year). This second record, entitled When You Arrive There, sees the twosome begin on sturdier ground - their sound is established and they've been working together for a substantial amount of time, which has surely given them time to work out the kinks and evolve as artists.

'Rose' is a meditative cut, inciting trance-like states with its feedback loops and metronome strumming. The main appeal doesn't lie in melody or lyrics, but in the sleight-of-hand layering - Maki and En gradually build up an engrossing blanket of a track from tiny shards of reverb, guitar and shoegaze effects. By the end, there are warm'n'fuzzy vocals, winter's sun synths and thick textures. 'Kiss' is similar. There is actually a hook from the start (a rather sweet guitar riff solemnly whispering), and though the soundscapes remain frail, there's more energy in the vocals and there seems to be a stronger impetus behind the effort. However, despite the minor differences, it relies on the same structure of supine near-silence cautiously building to shimmering lo-fi pop.

Opener 'Ends' has more balls. It's less ambient. There's an overture of solemn gong/chimes before shoegaze guitars sweep in and squirm underneath fragile synth lines. The noises are less 'pretty', though still very palatable, and there's a different timbre to the music; it's more confident, and guitars glimmer amid a bouquet of pedalboard FX. 'Alone' is also more guitar-based. It's more like traditional shoegaze than most of the LP, with both rhythm and lead guitar parts crafting the atmosphere. It's like a scaled-back, stripped-down version of an Asobi Seksu ballad.

IKEBANA offer up some gorgeous sounds on When You Arrive There. There's healthy dollops of ambiance. Glittering electronica fuses with muddy shoegaze-ish guitars for a calming concoction primed to sooth insomniacs. It's another sublime release from the Tokyo-based flau, who are keeping stocks of ethereal minimalism high for the rest of the world, presumably in case of a perilous shortage.