The music of Brendon Anderegg is a hall of mirrors, multilayered and self-obscuring. Largely filtered through Mountains, his pioneering electronic project with Koen Holtkamp, Anderegg emerged as a solo artist in the late ‘90s. In recent years, Anderegg has become sought after for his film scoring and audio work with his studio Telescope Audio, contributing to Emmy-nominated films 102 Minutes that Changed America and 9/11: The Days After for the History Channel, and working with clients from ESPN to Laura Poitras’ Praxis Films. He returns now with June on Thrill Jockey, released fittingly on June 15th.

June represents Brendon limiting his tools and thereby departing from his previous approaches to creating music. Folding time, space, and ambience across June’s two sides, a shimmering expanse of synthesizer-fed structure and tone emerges: a singular sonic landscape with varied emotional triggers from melancholy to playful. The music on June is a complex network of layers, combining to create a congruous whole. Collapsing history into its own contemporary sonic movements, Anderegg’s methodically created work falls in the lineage of electronic pioneers like Bernard Parmegiani, early ambient projects like Tangerine Dream, Popul Vuh, and Cluster, and puts his solo work in the realm of New Age figures like Michael Sterns and JD Emmanuel.

A singularly beautiful and challenging work, June marks the long overdue reemergence of Brendon Anderegg as a solo voice. An immersive two-side realization made for contemplative, meditative listening, June is contemporary electronic synthesis in the most literal sense of the word.