In practice, the Pop Ambient series generally tends more towards beatless, shimmering ambiance than to anything approaching radio-ready pop. (For the latter, look no further than the Kompakt Pop sublabel, yet another spinoff in the company's garden of forking paths.) Emphasizing affect over structure, the records owe more to Brian Eno's vision of aural wallpaper than to any conceptualist pursuits: every album is essentially a collection of silky throw pillows, and even within a given record there's little to stick in the memory. Synthesizers and string samples swell into billowing, flickering harmonies, from placid, sunlit tones to shadowy dissonance; beats are blurred into slow, tidal pulses. Occasionally, a track stands out: Fehlmann's oily "Camilla" is among the strangest things he's ever done — true hypermodern jazz comprised of brushed ride cymbals, oily leads and a mist of bell tones. But for the most part, this is music to fall asleep to, as a related title from Pop Ambient contributor Klimek nakedly proclaims.