Plutonic Rainbows

Robert Aiki Aubrey Lowe’s album Power unfolds as a sculptural sound environment where voice, modular synth, and ambient recordings merge into a single, living organism. Lowe’s voice slides effortlessly between breath, chant, overtone, and electronic shimmer, interweaving with analog drones to build a ritual-like ambience. At its core is the space 'in between the notes' — a deliberate embrace of silence and nuance that allows the listener to become part of the unfolding sonic ritual .

This is not music to simply listen to, but music to inhabit. Layers of modular tones form an architectural soundscape, Lowe’s vocal harmonics act as both anchor and wandering specter, and field recordings introduce the presence of a broader world in motion. The album recalls the patiently nuanced, melancholic logic of his earlier work (like Kulthan), yet Power deepens that legacy into an immersive act of transformation. It’s an atmosphere you enter lightly but leave fundamentally changed — an experience of sound as living energy, at once intimate, uncanny, and profoundly ritualistic.

Available on Boomkat.

I finally added this to my Strangelove collection.

There is a moment, just before the sun slips beneath the Pacific horizon, when the ocean reveals its truest nature — not just in color, but in feeling. Silence the Sea captures that rare synesthetic space where light, scent, and sound collapse into a single impression: vast, resonant, and eternal.

Opening with a breath of salted skin and sun-warmed minerals, this fragrance immediately conjures the chill of deep water and the glint of sunlight caught in surf. You smell the ocean not as a postcard cliché, but as a living, moving force — dark blue and fathoms deep. There’s a physicality to it, like the pressure you feel below the surface, or the echo of whales sounding in distant canyons. It’s not loud, but it is profoundly present.

Ambergris — the soul of this perfume — lends both texture and myth. It’s the scent of ancient marine stories, borne on tides and lifted by the wind. Here, it doesn’t dominate but rather shimmers quietly beneath crystal-clear waves, like something glimpsed just out of reach. Each breath seems to pull you further from shore, toward the open, unknown deep.

Yet, for all its abyssal resonance, Silence the Sea is illuminated by a kind of golden-hour light — that Pacific glow when the surf catches fire and the salt hangs softly in the air. There’s a skin-like warmth that rises over time, as if the sea has kissed you and then dried in the sun. It’s intimate, but never cloying; haunting, but never heavy.

This is not a perfume for those who like easy resolutions. It is a reverie of oceans — clean, deep, and unspeakably vast. Wearing it feels like stepping out of time, standing still in the surf, while the whales sing below and the horizon blazes above.

With Claude Code’s assistance, I built a React-based app featuring a simple countdown. Claude handled the entire process — developing the app, installing all necessary packages and dependencies, pushing it to GitHub, and connecting it to Vercel.

I also added a system, light and dark mode to the application. Again, Claude Code essentially carried out all the work.

Finally, I had Claude Code configure Sentry to monitor the blog in real time, with the added ability to query Sentry through their MCP server.

Yesterday, I spent some time revisiting Roja Parfum’s Lost In Paris and Dior’s Bois Talisman. Between the two, Bois Talisman left the weakest impression — the mid and dry-down stages have a peculiar plastic-like quality. Lost In Paris performed slightly better, though it felt somewhat linear, and I couldn’t detect the butter accord. For a fragrance in their prestige collection, it is something of a disappointment. Some are saying this is the best gourmand ever. I cannot say I agree.