Has there ever been a better time for dreamscapes? I'm not sure, but this John Gómez compiled compilation of material from Brazilian composer and multi-instrumentalist Priscilla Ermel is really helping me drift away right now. In fact, "Origens Da Luz" might be the closest thing to sunshine on a cloudy day.

Collecting material recorded between 1986 and 1994, collectively speaking, the fifteen songs that make up "Origens Da Luz" render the concept of ancient futurism as a rich tapestry of songcraft and sonic exploration. Priscilla accomplishes this by combining traditional indigenous instrumentation, glossy synthesisers and nature field recordings. While juxtaposing a forward learning passion for technology with a reverent love and respect for ancient systems, she works up simple ideas into the sort of fully fleshed out environments that look at time as a circle, while using the machinations of the infinite loop to pursue new languages within sound.

To arrive at this point however, as with the best, Priscilla had to live life a bit. She studied cello and guitar from an early age - while growing up in São Paulo - before taking a left turn out of contemporary European classical music into folkloric music. From there, aspirations towards the Tom Jobim and Chico Buarque schools of bossa nova, samba and MPB expanded into community recordings in the style of Harry Smith, nature field recordings, documentation film-making, and long stints spent living with indigenous populations in Brazil. Add in a period of study with renowned Taoist master Liu Pai Lin, and the understanding of the lower tempos that came from that, and you have the blueprint for her evocative, genre-spanning style. Spend some time with "Origens Da Luz", you won't regret it.

"Origens Da Luz" is out now in 2xLP and digital formats through Music From Memory (order here)