On Sundays we take a step back and turn the dial a notch down. This day of the weekend is a great opportunity to let in the sound waves that massages the eardrums and stimulate the senses. Sounds meditative huh, but after a good weekend of absorbing the club most of you will walk around the house like zombies anyway.

Throughout the later half of the 20th century, Edwin Land’s Polaroid film came to dominate photo albums – offering the chance to ‘capture the moment’ and relive it seconds later, Land’s product revolutionized the way people documented the world around them. Yet Polaroid cameras did more than simply recount past moments – the medium itself inserted a soft-focus, dream-like quality that appeared to suggest vague recollection over exacting reality.

Following in this tradition, Akira Kosemura’s latest pop miniature for Someone Good, Polaroid Piano, shares this hazy filmic impression. It’s less (or even not) electronic then you would expect maybe from us, but it’s so pretty I just have to share it. It’s a snapshot of his increasingly personal and evocative piano and electronics pieces offered as a series of small but gloriously rich auditory phrases. Played notes and the mechanism of the piano itself share equal presence in the compositions – Kosemura’s physicality evident throughout the album.

If you listen closely you will hear that Akira made use of little bits of exterior field recordings (recorded in various locations including recordings from Brisbane and Hobart by Lawrence English). This release takes you to a fuzzy warm place where time has no meaning and love is just around the corner. Polaroid Piano feels like one long sonic dream with no need for separate tracks. But if I had to choose “Would” is my favorite I can play over and over. Life doesn’t feel complicated while cycling around the city with my earbuds playing Polaroid Piano.

Polaroid Piano, like the film from which its name is drawn, captures a moment but does so with a shimmer of the unreal and the imagined.