There is no greater joy than getting completely, utterly lost in a record. To be so consumed by an album’s sound world that the real world simply passes you by. This is something Portland duo Visible Cloaks achieve on their latest record Reassemblage. Their experimental, ambient album is a sonic delight that is as captivating as it is calming.

From its opening moments, Reassemblage creates an enveloping soundscape that draws the listener in through quiet, delicate passages. Soft, airy percussive sounds intermingle with long, drawn-out synthesizer chords on tracks like ‘Valve’. Whilst on ‘Bloodstream’ arpeggiated electronics and distant voices twirl hypnotically around the listener. As the album progresses, silence becomes almost an instrument in itself, with Visible Cloaks allowing spaces around their constructed sounds as if providing room to breathe.

‘Wintergreen’ is a great example of this, with its rising chimes often giving way to moments of complete silence that almost seem to act as an opportunity for momentary reflection. ‘Valve’ on the other hand, matches much of its early instrumental to Miyako Coda’s spoken word vocals by way of MIDI “translation.” The resulting harmony leaves space around Coda’s vocals that would ordinarily be filled by music, and when Coda’s vocals are removed from the equation it feels as though the music is continuing the dialogue without her.

As the album’s title would suggest, Reassemblage is about breaking down and reconstructing sound. The translation of voice into synthesizer patterns is just one example of this. Visible Cloaks assemble their sound world out of randomised melodies and instruments pulled together from wildly different contexts. The duo draw as much from Eastern musical styles, particularly Japanese experimental music, as much as Western ambient and avant-garde. So whilst there are shades of Jan St. Werner, Brian Eno and Yellow Magic Orchestra, the result is a series of soundscapes like nothing else.