Cerca:surfaces

Originally released in 2008 on Ezekiel Honig’s own Anticipate Recordings, Surfaces of a Broken Marching Band finds the artist refining a compositional language rooted in the methodologies of musique concrete, ambient, and beat research. Working from a palette of environmental recordings, instrumental fragments, and soft electronic treatments, Honig pushes the source material into an array of sympathetic forms ranging from pillow-soft, lowercase ambient to diffuse downtempo and minimal house. For its reissue on Keplar, the album has been remastered by Kassian Troyer (D&M), bringing a new clarity to its intricate, low-lit architectures.

Throughout the record, serving almost as audiographic guideposts, are faint but insistent gestures toward propulsion, an abiding and recurrent 4/4 pulse that guides the music laterally and instantiates a slow negotiation between its various elements. This music invites close listening precisely by not revealing itself all at once, allowing small collisions of timbre and subtle shifts in emphasis to carry the weight. The traces of lived environments that remain embedded in the mix - distant crowds, sounds of transit, the indistinct acoustics of interiors in flux - expand the frame without breaking its intimacy, creating a potent dislocation between the nearness of the sound and the scale of its sources.

Rather than foregrounding any single voice, this is music that distributes attention equally across its materials, allowing background details to assert their presence as much as melody or rhythm. Honig presents listeners with an astute practice that’s concerned less with building from the ground up than with uncovering what happens when disparate textures and structures are brought into close contact with one another. (Alex Cobb, 2026)

• New album by Hieroglyphic Being features score for abstract animation film.

• Through off-world frequencies and raw primal sounds, ‘Quadric Surfaces’ presents a collection of exploratory left-field dance music.

• 2LP, pressed on black vinyl, printed inners.

• Artwork by Gabriela González.



VIERNULVIER RECORDS presents its new LP release ‘Quadric Surfaces’ by iconic electronic producer Hieroglyphic Being aka Jamal R Moss. It collects the soundtracks Moss wrote for ‘Parellel Spheres’ & ‘Figures in Mynd’, two parts of an abstract animation film by visual artist Gabriela González Rondon. The film premiered in October 2023 during Videodroom / Film Festival Ghent.



In her surreal and trippy gem of analog filmmaking Gonzales draws up whole universes of movement and color that seem to share a spiritual space with likeminded sci-fi writers such as Ursula K Le Guin or filmmaker John Whitney. The soundtrack for this dreamy experiment was provided by kindred soul and psychonaut Hieroglyphic Being.



For over 20 years Moss has been an one-off musical explorer that takes inspiration from House, Industrial, Kraut, Avant-Jazz and Noise to make his spectacularly unique take on radical & psychedelic (dance) music.



VIERNULVIER RECORDS is the Belgian record label by VIERNULVIER Arts Centre (Ghent). The label focuses on music that is unconventional, unafraid to go against the grain. A mix of local and international talent, always linked to visual arts or performances.

„Drifts and Surfaces“ ist ein dreiteiliges Set, wobei jedes Werk aus Auftragsarbeiten hervorgeht und durch gemeinsame Themen vereint wird: der Fluss zwischen ephemerer Bewegung und alltäglichem Stillstand, das Paradoxon von außergewöhnlicher und alltäglicher Schönheit und der Ehrgeiz und Müßiggang, der das Leben im 21. Jahrhundert ausmacht Saxl nutzt weiterhin kammermusikalische Ensembles neben analogen Synthesizern und digitalen Experimenten und vertieft sich dabei in strukturelle Emotionen und die lebendigen Details kleiner Handlungen. Während ihre bahnbrechende LP „The Blue of Distance“ (2021) Feld-Aufnahmen aus den Adirondacks und dem Lake Superior verarbeitete, stammt Saxls Quellenmaterial hier vor allem aus Live-Percussion und anderen Instrumenten. Das Projekt begann 2018 im Brooklyner Stadtteil Red Hook in dem Proberaum, den sich Saxls Band mit dem Percussion-Trio Tigue teilt. Später im selben Jahr spielten sie gemeinsam eine Residency und nahmen das Stück auf. 2021 begann sie ein neues Auftragswerk mit Third Coast Percussion aus Chicago. Der Titel „Drifts“ bezieht sich auf den Roman von Kate Zambreno aus dem Jahr 2020, in dem die Protagonistin von der Arbeit von Chantal Ackerman fasziniert ist, die die typisch weiblichen, unsichtbaren Formen der häuslichen Arbeit als ebenso wertvoll darstellt wie Tätigkeiten, die gemeinhin als produktiv angesehen werden. Saxl stellt „Drifts“ im Geiste dieser feministischen These auf: „Es fühlt sich an, als gäbe es hier eine kleine Reihe von Frauen, die diese Idee erforschen und kleine Aktionen feiern, von denen ich hoffe, dass ich deren Arbeit fortsetze.“ Das letzte Stück, „Surfaces“, wurde vom Guggenheim Museum in Verbindung mit der Alex Katz-Retrospektive im Jahr 2022 in Auftrag gegeben. Die Gruppe - bestehend aus Henry Solomon am Baritonsaxophon, Robby Bowen am Glasmarimbaphon und Saxl - lehnt sich an leichte, nachdenkliche Töne an, die von der Gegenwartsbezogenheit des bahnbrechenden Malers inspiriert sind. Katz' Arbeit beschäftigt sich mit der optischen Wahrnehmung von „schnell vergehenden Dingen“, wie der Liminalität der Dämmerung, wenn die Umrisse eines Objekts beginnen, undeutlich zu werden. „Die Art und Weise, in der sich unsere Wahrnehmung der Dinge verändert, nicht weil sie sich verändern, sondern weil wir uns verändern“, erklärt Saxl. „Ich wollte, dass sich diese wirklich kleinen Veränderungen dramatisch anfühlen, um die imaginäre Bewegung in seinen Gemälden widerzuspiegeln.“ Tritt man zurück, um „Surfaces“ innerhalb des Sets zu betrachten, findet Saxl den Strom, der sich durch die gesamte Arbeit zieht, das Konzept des Selbst als Teil von etwas Größerem. „Katz‘ Darstellung mehrerer Generationen von New Yorker Künstlern hat mich dazu inspiriert, darüber nachzudenken, dass es kein individuelles ‘Ich' als Künstler gibt, ohne die Künstler, die vor mir kamen, und die Gemeinschaft der Künstler, mit denen ich zusammengewachsen bin. Die Grenzen zwischen uns verschwimmen, und ich habe das Gefühl, dass ich auf einer verwobenen Oberfläche getragen werde, die von der Gemeinschaft um mich herum gebildet wird. Gleichzeitig weiß ich aber auch, dass ich mich irgendwann nach innen wenden und allein hinausschwimmen muss.“

Mit dem kommenden Album setzten Surfaces ihren Weg in diesem Jahr fort, nachdem ihr weltweit bekanntes
Album „Pacifico“ aus dem Jahr 2021 mit der herausragenden Single „Wave Of You“ und den Kollaborationen „Sheesh!“ und „Come With Me“ weltweit über 2,8 Milliarden Streams erreicht hat. Jetzt konzentrieren
sich Forrest und Colin auf das nächste Kapitel ihrer musikalischen Karriere.
Um ihren Sound neu zu definieren und ihr Handwerk zu perfektionieren, haben sich die beiden in einem
Haus in Joshua Tree zurückgezogen, um mit neuen Sounds zu experimentieren und Aufnahmen zu machen.
Inspiriert von Künstlern wie Tame Impala und Tom Misch, wagten sich Surfaces aus der Norm heraus und
schufen einige ihrer bisher innovativsten Werke. Mit ihren neuesten Singles „I Can’t Help But Feel“ und
jetzt „What’s Been On Your Mind?“ geht das Duo seinen Weg weiter und macht neugierig auf das Album
”Hidden Youth”, das das am 20.01.2023 auch auf Vinyl erscheint.

Soda Gong presents “Support Surfaces,” the new record by Alexi Baris, a musician hailing from Vancouver, British Columbia. Baris’ methods are patient and deceptively rigorous, trading in sonics that are at once organized and organic. Synthetic and acoustic elements are presented in sonorous states of perpetual flux, carefully amalgamated into structures of fertile ambiguity. His is a diligent and painterly approach to sound design and arrangement, in which tiny events are magnified and brought up close, and expansive gestures are repurposed and shifted in scale. There is an abiding quality to these compositions, sounds that have been hung in the air with remarkable restraint and left to float there, defined by texture, tone, and their own entrancing spatiality.

All music by Alexi Baris.
Mastered by Kassian Troyer at D&M.
Artwork and Design by Alex McCullough.

AO (Trascendental Amor Organization) appears with a five-track EP for Modern Obscure Music's Trip-Vapor-Club Focus Series, released as a vinyl-only edition. The record aligns with the series' ongoing interest in club music as an experimental framework, following releases by Pedro Vian and Actress.
Drawing from techno and electro without committing to their functional codes, the EP explores rhythm as texture and acidic repetition as inquiry. Pulses are skeletal, surfaces are unstable, and melodic fragments emerge only to dissolve back into noise and space. The tracks suggest movement without instruction, privileging sensation over utility.
Minimal in format yet dense in implication, the EP positions the dancefloor as a speculative zone-sound designed as much for close listening as for physical immersion.

Sa Pa launches Dub Techno For Life: a dedicated outlet for the artist’s more dancefloor-focused material - work that has largely sat outside the conceptual frame of his previous releases.

The label’s first release, Girls on Tour EP, opens with “Mokira Ultra Dub”, a 10-minute club rework of Mokira classic “Manipulation Musik”. Originally produced alongside an ambient version commissioned for Kontra Musik’s 2016 Kontra X compilation, the dancefloor mix was ultimately shelved until now. With Andreas ‘Mokira’ Tilliander’s blessing, it finally surfaces as a standalone Sa Pa production. A track too banging to go unreleased.

“Waiting For You” traces back to Sa Pa’s orbit around the giegling ecosystem via FORUM. Once lined up for an official release on the parent label before plans stalled, the track slipped into the archives. Buoyant and disarmingly pop by Sa Pa standards, it finds its place here as the A2 - tuned to the collective memory of mid-2010s German house music.

Harnessing the spirit of Chain Reaction from the abandoned patches and borrowed machines of a rainy night’s recording in Taipei, the B-side’s “Modular System” captures a late-night, one-take modular jam. A broken yet hopeful “World Saving Banger” closes the EP with some raw and IDM-leaning force, showcasing Sa Pa’s new label - and the Girls On Tour EP - as a space for neo dub techno ideals to take shape.

Josh Mason’s new collection, "Wave Salt +7," emerges from an oblique origin. Unearthed from a dormant hard drive, it documents a set of work sessions only partially recoverable, their original continuity and intent fractured by time and technical failure. What remains is a constellation of mercurial gestures that proves, against all odds, to be entirely consonant with Mason’s ongoing musical concerns.

In a sense, the very condition of partiality proves generative, with elision operating on multiple levels - structural, sonic, and archival - shaping both the music itself and the circumstances of its (re)appearance. Phrases surface only to be truncated or displaced, hovering at the edge of resolution, and transitions are implied rather than fully enacted. Absence functions not as a deficit, but as an important compositional resource.

Central to the album’s sound is a distinctive use of vocoding. Deployed not to simulate vocal presence but as a tool for tonal sculpting, it yields a shifting lattice of smeared harmonics, angular melody, and attenuated noise. Sounds are pressed through one another, their edges softened, shifted, or selectively erased, producing surfaces simultaneously articulated and porous. Rather than reconstructing a lost whole, the album posits a mode of listening attuned to gaps, interruptions, and unstable forms. Even so, in keeping with Mason’s broader practice, this music remains grounded in melodic logic and a distinctly human scale, ensuring that its fragmentary structures register not solely as experiments, but as expressions of proximity and feeling.

Destination Unknown is an EP by Unpronounceable born from an archive of sounds collected between 2019 and 2024—sonic fragments that took shape without a predetermined direction guided only by an open idea in constant transformation. The original track conceived as a “destination unknown” composition developed its own independent identity. However precisely because of its fluid and cross-genre nature Unpronounceable chose not to place it within a traditional EP context instead opening it up to a multiplicity of perspectives by inviting five artists to reinterpret it freely without genre constraints.

The result is an EP that unfolds like an alternative map of the same sonic territory where each remix explores a distinct direction transforming Destination Unknown into a multifaceted and ever-evolving experience.

In Carl Finlow’s remix Destination Unknown takes on a strong cinematic and narrative dimension. Inspired by the title Finlow imagines a mysterious journey toward a futuristic dystopian city turning the track into a kind of electro soundtrack—dark yet ironic rich in character and capable of evoking vivid images and motion.

MANASYt pushes the track toward more physical and ritualistic territories focusing on the dark pads and the more oneiric vocal elements of the original. The result is a hypnotic pulsating tribal-industrial reinterpretation where rhythm and sonic material become central intensifying the track’s most visceral qualities.

With Gay Horror the focus shifts to an emotional and narrative dimension. The vocals are deliberately made elusive and undefined while the structure develops through a slow controlled crescendo that recalls the atmospheres of ’90s trip-hop. This version also reflects a long-standing human and artistic relationship conceived as a story that travels through time and reaches the present day.

Kevin Follet adopts a more conceptual approach overturning the perspective of the original track. Rather than working with its main elements he brings the underlying structures to the foreground transforming what usually remains hidden into the core of his reinterpretation. His remix is elegant and deep balancing sound exploration with a strong attention to songwriting.

Closing the EP is GP The Synth Roller with a radical and highly experimental reinterpretation. The track behaves like an unstable system: parameters shift without warning surfaces lose coherence sudden accelerations collide with moments of arrest. There is no resolution only a sonic condition in constant tension eventually condensing into a dark compact mass.

Taken as a whole Destination Unknown is far more than a simple remix collection: it is a collective exploration of the potential of a single composition. Unpronounceable’s original track and the reinterpretations by Carl Finlow MANASYt Gay Horror Kevin Follet and GP The Synth Roller move across electro techno industrial and experimental territories offering six different perspectives from the same starting point. An open journey with no fixed destination where every detour becomes an integral part of the path.

Jim O'Rourke and Jos Smolders teamed up again after their first collaboration, Additive Inverse from 2021. Over a period of three years, both artists worked in sessions of a day, each in their own studio.
The result is sometimes like a warm cloud of sounds, suddenly breaking up into a rhythmic, irregular pattern, after which it dives into introverted mindsets. The music is in constant flux
The project followed the same workflow, but this time Jim took the lead and kicked off with a salvo of sounds that he extracted from his Kyma System. Both Jos and Jim were quite interested in the spectral character of sounds. Jim applied Kyma algorithms while Jos granulated his basic recordings. That way, textures are built, quite slowly moving from warm to gritty, from hard surfaces to deep sonic wells.

ICONYC steps into new territory with Traffk, a spellbinding EP from UVITA, Twiins, and Motip White. Built around two deeply immersive compositions, Traffik operates as a threshold rather than a destination — a carefully measured passage into unfamiliar territory where tension is curated, expectations are subverted, and every detail feels deliberately withheld until the right moment.

At the center lies the title track, “Traffik,” a commanding convergence of three distinct creative voices distilled into a singular, unsettling vision. Suspended between austere minimalism and intricate design, the piece unfolds with a forceful rhythmic backbone that plunges into subterranean depths. Twisting brass motifs flicker and bend like fractured light across polished surfaces, creating an atmosphere that is both tactile and elusive. As the groove locks into a hypnotic oscillation, a spectral vocal presence emerges, injecting a sense of weight and foreboding before the track fractures inward, collapsing into a violent release that ejects us from its vortex with uncompromising intensity.

On our B-side, UVITA and Twiins reconvene for “Lucy Tried For It,” a continuation that trades overt drama for a slow-burning psychological pull. Anchored by a prowling low-frequency current and a relentless percussive drive, the track draws us deeper through carefully placed sonic detonations that expand its spatial dimension. Gradually, malfunctioning mechanical textures and distant, almost feral cries seep into the framework, setting the stage for an introspective spoken-word moment that nudges the piece further into the subconscious. As fragmented melodic elements begin to surface, “Lucy Tried For It” reaches a moment of suspended reflection before surging forward once more, closing the EP on an emotionally charged and resolute note.

Secrets are dangerous things.

perlaplastica, the new label from Katia Curie and Nizar Sarakbi, steps out of the shadows with its inaugural EP, Dangerous Secrets. Alongside co-conspirator Tom Altthaler aka Reduks, the trio sketch a stripped-back, dub-infused approach across four tracks laced with subtle samples from Twin Peaks.

The A-side leans into rolling, hypnotic tech-house, while the flip moves through an elegant remix before closing on a driving, break-led finish.

All tracks are mastered by Marco Pellegrini (Analog Cut Mastering). The visual world is shaped by Nikolaus Prinz. Limited to 250 copies, vinyl only.

What began as a natural collaboration now surfaces as something more deliberate. A first glimpse into a shared language

The Shroud's appearance on Droogs is a masterclass in the fundamentals with four tracks that wear their influences proudly without ever becoming slavish to what has come before. Opener 'Cross' dives deep and rarely surfaces, rewiring classic shapes in murky bass underworlds. The title track is a rhythm slasher with steely-plated drums and growing low end menace, then 'Ouroboros' cranks the pressure to new levels without ever veering too far from meticulously programmed breaks. It has a schizophrenic panic to it in the scratchy textures and vocals that bleed in and out, then 'Restless Minds' closes things out with the sort of rhythm that gets you dropping your shoulder and fully locked in to each and every bump.

Rhiza Semar presents its fourth chapter with Yildizlara, a four-track odyssey shaped from shadow, rhythm, and elemental texture. Crafted as both visceral tools and introspective journeys, the record navigates between ominous density and luminous release, guided by a deep awareness of space, myth, and matter. As an artist, Hitam paves the way for a new sound emerging from his burrows to build bridges between electronic subgenres while shaping a landscape unmistakably his own. Orb Weaver opens the cycle with jagged IDM rhythms that coil and release like threads of a web pulled taut. Originally composed for the graduation project of fashion designer Tim van der Plas, who's collection was inspired on climbing out of depression, its atmosphere is dark and ceremonial, with textures scraping against silence until catharsis emerges from the tension. A confrontation between inner turmoil and release. On Vanishing of the Anasazi, cavernous reverbs carry traces of lost structures, percussion echoing as if across ruins. A relentless drive holds the ghost of ritual processions, summoning a spectral energy that feels at once monumental and hollowed-out. The track suspends itself between presence and absence, architecture and collapse, leaving the listener in a space where echoes become the only surviving form of memory. Mesh Grip plunges downward into subterranean force. A thundering groove rumbles like minerals being unearthed, goblin-like figures at work in hidden shafts, chiseling away at stone in endless rhythm. From this pressure, a sudden swell of melancholy pads rises, reframing the heaviness with emotional resonance as if the whispers of angelic guardians seep into the caverns, transforming extraction into elegy. What begins as pure drive of endurance evolves into an introspective meditation. Closing the release, Yildizlara unfolds as an epic ascent. Layered rhythms rush forward with urgency, intricate yet propulsive, while chopped vocals bring back a sensual human element, scattering like signals across the night sky. Animalistic atmospheres dart through the mix as spectral cries and furtive movements, adding a primal dimension to the drive. What begins as erratic and untamed slowly converges into warmth and ultimate catharsis: a cosmic tale inscribed in sound, both intimate and monumental, familiar yet born of hidden memory. Yildizlara is both innovative and ancestral; a release where turbulence becomes ritual, and where rhythmic complexity unearths fragments of hidden memory. Beneath its dark and erratic surfaces lies a strange familiarity, like echoes of a primal past resurfacing through sound, reminding us of worlds once known but long concealed. Words by A. Veyra

Métron Records announces Mycorrhizal Music, the forthcoming album from composer and multi instrumentalist Ess Whiteley. Currently a PhD candidate in Composition at the University of California-San Diego, Whiteley’s practice spans recordings, installations, performances, and scores, a body of work as diverse as the fungal webs that inspire it.

Across seven tracks, Whiteley explores interconnected sound worlds shaped by mycelium networks, rhizomatic structures, and other unseen systems that sustain life. Rooted in experimental electronics, minimalism, ambient and IDM, the record imagines sound as ephemeral connective tissue capable of reshaping how a listener might experience time, memory, and futurity.

At the core of Whiteley’s work is an excavation of what lies beneath perception, the felt but unspoken currents of emotionality and subtle experiences that dwell in the unconscious.

Mycorrhizal Music channels these hidden threads into a speculative ecosystem of kinship and exchange, where joy, play, and spirituality interlace like branching hyphae beneath the soil. Mycorrhizal Music has been conceived as kinetic ambient music, designed to move with the listener while walking, riding trains, driving, cooking, where everyday rhythms align with shifting sonic textures, reminding them of hidden, interconnected, mycelial webs of spiritual vitality beneath the surfaces of daily activity.

Guided by a vision of speculative ecology and interspecies resonance, it thrives in contrasts: tracks like Rhizomatic Harpists and Whispered Messages in Tapestried Fields of Fluid Motion pulse with fluid momentum, while Kaleidoscopic Patterns of Emptiness Dancing drifts into fragile stillness.

With artwork by Kenta Senekt and mastering by Brandon Hocura, Mycorrhizal Music extends Métron Records’ ethos of cultivating subtle, interconnected sound worlds.

The legacy of wipE′out′′ has transcended time and cemented itself as a true transgenerational phenomenon. Launched in 1995, it didn’t just revolutionise the gaming industry, it created a bridge between the gaming ecosystem and the raver community. Its futuristic aesthetics and forward-thinking sound left a mark not only on mainstream audiences but also on the most demanding corners of the underground.

Decades later, the game’s impact is still alive. The release in 2023 of The Zero Gravity Soundtrack on Lapsus Records proved once again that wipE′out′′’s accompanying audio will go down in history as much more than just an anti-gravity racing game soundtrack.

This is why we decided to go deeper into the slipstream and build the second volume you’re now holding in your hands. Drawn from the original archives of Tim Wright, aka CoLD SToRAGE, this new collection surfaces unreleased cuts, pieces that couldn’t fit on the first edition, and a suite of self-authored ambient reworks that translate pure velocity into wide-screen atmospherics engineered for the long straights, the drone of airbrakes, the blue hour between checkpoints. It also reconnects the circuit, gathering selections and variants tied to later chapters of the saga — wipE′out′′ HD and wipE′out′′ Pure — plus alternative mixes that, until now, only existed in the Sega Saturn dimension of the franchise.

Finally, the material takes a leap into the future in the hands of four remixers especially chosen for this release: Tim Reaper, SHERELLE, Mantra, and NikNak, who collectively forge links between CoLD SToRAGE’s pioneering musical vision, the sound world of the game, and the contemporary breakbeats and drum & bass vanguard.

Expect the DNA you remember — accelerated breaks, trance-vector synths, jungle influences, sub-bass rumbling neatly beneath the craft’s hull, and at times even echoes of classic hardstyle — now revealed with new angles and air. The previously unheard material carries the same aerodynamic design sense that made these tracks feel faster than the track map itself, while the ambient versions open the field of view with melodies hovering at the lip of overdrive. Without a doubt, here you’ll find a strong sense of nostalgia. But this isn’t just nostalgia; it’s also proof that this sound world continues to evolve when you ease off the throttle.

For the faithful — crate-digging ravers, speed-run obsessives, and design nerds — this is an essential expansion pack: compiling rarities, restoring context, and reframing the emotional core of wipE′out′′ for late nights and early mornings alike. Bridging memory and momentum, club and console, rush and afterglow. Strap in.

Detailed tracklist, with annotations by Tim Wright aka CoLD SToRAGE

· Scratch Pad 1: “This track was composed using incomplete tracks that were developed around the time of the first wipE′out′′. It’s so long because it was used for a marathon-length Psygnosis promotional video.”

· Messij Received: “Messij was a firm favourite with wipE′out′′ fans, so it made sense that there’d be more where that came from — this was one of those re-workings.”

· God’s Gift: “I was always very fond of Erasure’s track Love to Hate You with the canned crowd FX sounds. God’s Gift was a tongue-in-cheek reference to how some musicians think they are just that. This was way before I even played live as CoLD SToRAGE.”

· Tentative: “I wasn’t sure about introducing some wacky beats and distorted sounds into one of the tracks, because it was kinda heading away from the other tracks, hence Tentative — but it turned out OK.”

· Canada 2048: “When wipE′out′′ 2048 was launched I decided to re-make Canada as a kind of tribute, but in a slightly new-tech, laid-back way, using Propellerhead Reason and all software synths.”

· Wiped Out: “Based on a few riffs from a MIDI file unused at the time of the original wipE′out′′ game compositions, this featured on my debut album MELT.”

· Body in Motion (Body Plus Mix): “A more trippy interpretation of Body in Motion that featured on non PlayStation versions of the game e.g. Sega Saturn.”

· Onyx (“Dark Side of the Moon”): “Onyx was my sole contribution to wipE′out′′ Pure on the Sony PSP handheld gaming console. This version was something I developed in a darker style, that eventually erupts into a crescendo.”

· Messij Received (WSTWGBE Mix): “Like I say, Messij was a hit with most wipE′out′′ fans, so when I was asked to compose more music for non-PlayStation versions, I adapted this tune into a parallel-universe version for PC and Sega Saturn. By the way, WSTWGBE refers to Who Said This Was Going To Be Easy?”

· Canada (Drunken Ausländer Mix): “In early 2018 I released a fresh album called Ch'illout′′, a re-working of many of my wipE′out′′ tracks in an ambient, Sunday-morning vibe style — it was a few years’ work, here and there.”

· Tentative (Woffenfum Mix): “Another chilled re-working of one of my wipE′out′′ tracks, the mix named with a nod to a good friend of mine, Carl Woffenden — someone who I've worked with for many years in the games industry.”

· Messij (Bobbing Boat Mix): “A nice cheesy computer blip-blop start belies its deep and upbeat chilled-out melodic finale.”

· Body in Motion (Timeless Techno Mix): “Another classic track given the chilled-out vibe mix, as featured originally on my Ch'illout′′ album. This one’s a really trippy, deep-space take on the original.”

· DOH-T (AM / FM Mix): “The idea with this chilled-out mix was to imagine all the melodic parts of this varied track being broadcast on terrestrial radio, so each theme drifts in and out through the radio static.”

· ’95 Future Echoes: “Originally developed as a companion album for wipE′out′′ HD, this track actually has its roots in a tiny loop of a song that never progressed to anything special back in the mid-’90s when I was composing for the original game.”

· Turbine: “Also from my wipE′out′′ HD album, it leans heavily into the upbeat, uplifting tunes from the original game, but also steals a bit of vibe and energy from The Prodigy, with those distorted flute sounds.”

· Pencil Neck: “This excerpt from my wipE′out′′ HD album features lots of sounds centre-stage and forward from Propellerhead Reason’s Subtractor virtual synth. I learned to love this more than my JD-800!”

· Messij 2005 (New Science Mix): “Yet another take on the track that still raises a smile, this time through a mix of samples from the original and Propellerhead Reason — the ‘new science’ when compared to an Amiga 1200 running Bars and Pipes.”

Alkaline is sound forged in FM — metallic surfaces, syncopated pulses, and cinematic structures. An alternative path that doesn’t reject acid, but moves into a realm less warm, more mineral, more futuristic.

With CT012, Cosmic Tribe takes the Alkaline Sound into the uncharted: music as a tool for deep-space and hidden-dimension exploration. Each track is a fragment of an expedition beyond known frontiers — charting invisible territories, intercepting signals from other worlds, and navigating encounters that alter the course of the mission.

From EC13 and Calagad 13 comes a radical, visionary approach: not just tracks to hear, but cinematic sonic devices designed to remodel the listener’s inner architecture, ignite their imagination, and expand the very map of perception.

A work of meticulous sound and mastering, paired with exceptional artwork, presented in a strictly limited edition of 150 copies on crystal-clear transparent vinyl.

Swiss shapeshifter Elsa surfaces on Punctuality for the first time, marking the label’s seventh release with a debut EP that dives deep and swims sideways through an eclectic milieu of club influences.

Across the five tracks on Web Glow, there are nods to turn-of-the-century tech house, liquid D&B, broken IDM, psy-laced trance, and modern tek mutations. Subtle wubs ripple under the surface, low-end pressure coils tight, and meticulous sound design binds the tracks into a fully realized vision of Elsa’s forward-thinking sound. Enter the unfolding.

Roza Terenzi steps up to remix “Web Glow,” reanimating the track as a skeletal early-morning stepper—the mood is giving sizzling dubbed-out vocal wisps, pulsing subs, and stripped-back drums. “Groupie” notches up the BPM but keeps things fluid with aquatic atmospherix, jittering FX, and drums that skid out and under rolling basslines.

“Fortune Cookie” flashes uk-tinged tech house with shimmering shards of SFX, resplendent with stuttering kicks, glassy pads, and sultry textures. The halftime jungle-IDM stylings of “No Ads” round off the EP in a haze of fractured breaks and dubbed-out atmospherics. A murky, magnetic debut on Punctuality—Elsa sketches out a soundworld all her own. Dive in and catch it.

Celestial Echo (miche & Stu Clark) team up with Divine Disco’s Greg Belson to launch a brand-new 7-inch series spotlighting Detroit’s powerhouse gospel, soul and R&B label — HOB (House of Beauty). Founded in 1956 by Mrs. Carmen Murphy, HOB wasn't just a label — it was a beacon. From the basement of her beauty salon on Detroit’s West Side, she ran one of the most important Black-owned gospel imprints of the 20th century. At a time when both the music industry and the country were stacked against her, Mrs. Murphy built a sanctuary for soul — a Black woman-owned business and creative hub in volatile times.

This inaugural 7-inch kicks off with two in-demand killers:

Side A: Elder Ward & The Ward Singers – "It’ll All Be Over" A fast-paced gospel dancer with a monster groove, killer breaks and heart-wrenching vocal delivery — this one’s a guaranteed floor-filler and rarely surfaces for less than £250 on the collector circuit, if at all. Urgent, uplifting, and impossible to ignore.

Side B: Victory Travelers – "Power Lord" Another holy grail moment — deep, raw, and unshakeably soulful. Rare in its original form, often fetching close to £100, it’s a heavy dose of electrified gospel sure to hit home with fans of deep soul and spiritual funk alike. Fully licensed and remastered, this 7-inch comes housed in a custom Celestial Echo / Divine Disco series sleeve with a faithful reproduction of the HOB label.

How enduring is the signature song from Harry Chapin’s Verities & Balderdash? So timeless that it became the subject of a 2025 documentary in which artists from multiple generations weigh in on its impact on their lives and craft. “Cat’s in the Cradle” doubtlessly remains the main event on the singer-songwriter’s 1974 album. The legendary opening track also serves as a guidepost for the bold personal and social material that follows — as well as the gorgeous folk-rock arrangements that underpin the New York native’s most commercially successful work.

Sourced from the original master tapes, pressed at Fidelity Record Pressing, housed in a Stoughton jacket complete with a four-page insert, and strictly limited to 3,000 numbered copies, Mobile Fidelity’s 180g 33RPM LP of Verities & Balderdash presents Chapin’s fourth full-length in audiophile quality for the first time on vinyl. Captured during a golden era for sonics and production, the Top 5 effort features remarkable tonal balance, instrumental separation, and organic naturalism. Those valued aspects come into supreme focus on this reissue, which plays with dead-quiet surfaces and a low noise floor.

The newfound clarity, openness, and imaging underscore the lasting appeal of Chapin’s tender deliveries, soulful timbre, and careful phrasing. Every word comes across with incredible realism, while his underrated guitar playing occupies its own distinctive space. Also notable: The extension of the tasteful string accents; airiness of the backing vocals; depth and shape of the spare bass lines; and width and depth of the soundstaging. When on “Six String Orchestra” Chapin calls out names of instruments, they appear like magic, the band performing feet from you. Chapin has never sounded so lifelike on record.

Certified double platinum, Verities & Balderdash resonated with the times and public. “Cat’s in the Cradle” reached No. 1 on the chart on its way to being inducted into the Grammy Hall of Fame. The romantic ballad “I Wanna Learn a Love Song” flirted with the Top 40 and wrapped listeners in the equivalent of a cozy blanket. The record’s other single, the mini-epic “What Made America Famous?,” helped establish Chapin as one of the country’s most incisive and insightful commentators.

Verities & Balderdash teems with situational devices and topical matters. Chapin observes everything from the polarization of the nation to changes in moral standards and cultural priorities. He investigates pressing themes without ever turning preachy or elevating himself above the matters at hand. On “Halfway to Heaven,” whose coda races to the finish and ranks as the most urgent moment on the record, Chapin inhabits the mind of his frustrated protagonist akin to an eagle-eyed novelist.

Conveying emotions that range from melancholic to carefree, Chapin is as much of a singer as a storyteller. He assumes the voice of multiple characters within a single narrative. During the quirky “30,000 Pounds of Bananas,” a tale based on a delivery-truck accident in 1965, Chapin alters his delivery, pronunciation, and diction to become an old man reflecting on the mishap and mess. The tempo, too, adjusts to match the speed of the vehicle Chapin describes.

Adorned with timely laugh tracks to reinforce the bittersweet humor, the stripped-down “Six String Orchestra” takes everything up another notch, with Chapin intentionally missing guitar notes or playing a broken passage to illustrate the failures of the hopeful protagonist who doesn’t have what’s required to make it as an artist.

Chapin, of course, did not have any such problem. The lynchpin of a career cut short by a tragic traffic incident, Verities & Balderdash is Exhibit A of the savvy craft, feeling, and perspective he lent to American music.

Carly Simon’s No. 1 smash “You’re So Vain” lingers as one of the most clever and famous songs ever recorded. The subject of mass speculation ever since its release, soon after which it occupied the top spot on multiple Billboard charts for weeks, the anthem kept a captive public guessing at the identity of its smug subject for decades. The question surrounding the protagonist’s identity remained perhaps the only mystery on the otherwise sexually open and autobiographically daring No Secrets, Simon’s commercial breakthrough and ‘70s singer-songwriter staple.

Sourced from the original master tapes, pressed at Fidelity Record Pressing in California, strictly limited to 3,000 numbered copies, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s 180g 45RPM 2LP set affords the platinum-certified 1972 effort the finest sonic treatment it’s received on vinyl. Helmed by Richard Perry and recorded at London’s Trident Studios — where Beatles, David Bowie, and Elton John captured landmark LPs — No Secrets touts exceptional production qualities highlighted by this restorative reissue.

Audiophiles and record collectors, take note: This is the first time No Secrets has been available on 45RPM. The wider grooves and dead-quiet surfaces pay instant dividends. Simple, elegant, and disarming, songs seemingly float amid wide, deep soundstages. Simon’s voice takes on a confident, assertive tenor that emerges with accurate imaging, balanced tonality, and palpable presence. String arrangements and backing vocals come through with similar realism.

Enhanced by an all-star cast — Simon’s then-husband James Taylor, Paul and Linda McCartney, Mick Jagger, Lowell George, Klaus Voorman, Bobby Keys, Jim Keltner, Nicky Hopkins, and Bonnie Bramlett are among the renowned musicians who lend a hand — No Secrets advances Simon’s themes of personal introspectiveness, no-holds-barred reflectiveness, and feminist-inspired boldness. She makes every moment of No Secrets worth savoring. Simon invests her all in the songs, handling beautiful ballads, sassy folk-rock numbers, and bluesy fare with calm, composure, and candor.

While acknowledging her own regrets (“You’re So Vain”) and loss (“The Carter Family”), Simon champions the highs (“The Right Thing to Do”) and pains (“His Friends Are More Than Fond of Robin”) of love in a sincere manner indicative of her maturity as both an artist and singer. The New York native distinguishes “When You Close Your Eyes” with deep-rooted spirituality, recalls childhood joys via charming sentimentality on “It Was So Easy,” and and takes ownership of her persona on a cover of Taylor’s “Night Owl.”

“We have no secrets
/We tell each other everything,” Simon sings at the record’s midpoint, encapsulating both the themes and bravura of an effort that was nominated for four Grammy Awards and saw her write or co-write every song but one. Combined with Perry’s savvy instrumental arrangements, her self-assured performances and forthright lyrics grant No Secrets an edginess and relevance immune to the ravages of time.

The moment the instantly recognizable intertwined guitar passage on the title track to the Eagles' Hotel California begins, the record's genius becomes obvious all over again. Ranked the 118th Greatest Album of All Time by Rolling Stone, certified by RIAA as the third best-selling LP in history, and considered the foundation on which the Golden State's mid-‘70s music scene was built, the 1976 landmark is a music staple immune to shifts in trends, eras, and styles. Fearlessly addressing the chaos and consequences of American life, its songs remain strikingly prescient and gain creedence with each passing day.

Mastered from the original analogue master tapes, pressed on MoFi SuperVinyl, and limited to 17,500 numbered copies, Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP vinyl box set ensures you will want to permanently check into and never leave this particular Hotel California. Up to the herculean task of standing head and shoulders above all prior reissues, this collectible edition plays with extreme clarity, organic richness, tube-like warmth, massive dynamics, and microscopic levels of detail. You'll be able to practically smell the colitas and feel the breeze in your hair. Songs come across with an epic sweep and feature immersive, front-to-back soundstages that allow the music unprecedented air, roominess, and separation. As for the noise floor? It's basically as invisible as the spirits that waft in the corridors of the unforgettable title song.

Aesthetically, the premium packaging and presentation of the UD1S Hotel California pressing befit its esteemed status. Housed in a deluxe box, it features gorgeous foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendour of the recording. From every angle, this UD1S reissue exists as a curatorial artefact meant to be preserved, touched, and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in the art – and everything involved with the album, from the renowned cover art to the meticulous finishes.

Indeed, the opportunity to zero in on all the particulars of the 26-million-selling Eagles record dubbed "a legitimate rock masterpiece" by vaunted Los Angeles Times scribe Robert Hilburn has never been better. A global phenomenon that marked the band debut of guitarist-singer Joe Walsh, Hotel California continues to resonate and connect with listeners of all generations taken by its narrative depth, stark directness, picturesque melodies, daring majesty, and ardent emotionalism. Adorned with a breathtaking exterior photograph of the Beverly Hills Hotel that serves as the simultaneously haunting and alluring cover art, and rounded out by a rear-cover shot of the Lido Hotel lobby that reinforces a notion that teeters between permanence and transience, Hotel California is brilliantly tied to a specific place that functions as a universally understood metaphor for the American Dream.

Confronting the darker undercurrents and oft-ignored constructs attached to that romantic notion, the record's songs revolve around a host of shared themes: excess, mobility, stability, illusion, fame, destruction, and idealism included. Notably, Hotel California appeared at a crucial junction in American history: During the country's bicentennial and amid escalating controversies related to the Vietnam War, energy crisis, and governmental corruption. That the Eagles manage to channel such cultural, social, and economical matters into a cohesive, stately, big-picture statement is alone a stupendous feat. That the album's reach, boldness, vitality, accessibility, and understated intensity have never waned make it a marvel.

Reflecting on Hotel California 40 years after its original release, and indirectly explaining its enduring appeal and increasing relevance, singer-songwriter Don Henley confirmed the record pertains to the "loss of innocence, the cost of naiveté...the difficulties of balancing loving relationships and work, trying to square the conflicting relationship between business and art; the corruption in politics, the fading away of the Sixties dream of ‘peace, love and understanding.'"

It can be argued that Henley and company squarely hit on and drove home those ideas in the surreal title track, chart-topping "Life in the Fast Lane," and grand "The Last Resort" alone. But that would miss the forest for the trees. Experienced as an unbroken whole, complete with the pristinely shot imagery and physical grooves, Hotel California unfolds like a geography-conscious saga by James Michener and plays like colour-saturated movie shot on 70mm film by Martin Scorsese. It's about our collective and individual decisions – and the shape of our past, present, and future. And, just like that conjured by our imaginations, Hotel California continues to take on a life of its own.

More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior
Mobile Fidelity Sound Lab's UltraDisc One-Step (UD1S) technique bypasses generational losses inherent to the traditional three-step plating process by removing two steps: the production of father and mother plates, which are created to yield numerous stampers from each lacquer that is cut. For UD1S plating, stampers (also called "converts") are made directly from the lacquers. Since each lacquer yields only one stamper, multiple lacquers need to be cut. Mobile Fidelity's UD1S process produces a final LP with the lowest-possible noise floor. The removal of two steps of the plating process also reveals musical details and dynamics that would otherwise be lost due to the standard multi-step process. With UD1S, every aspect of vinyl production is optimized to produce the best-sounding vinyl album available today.

MoFi SuperVinyl
Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analogue lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.

Carly Simon’s quietly intense sophomore album comes across like an assertive notice nailed to a telephone pole for all to see. Bold, personal, and autobiographical, Anticipation announces the arrival of an artist who won’t back down. While Simon stands her ground on her eponymous debut, she elevates her passion and persona to heightened levels throughout this gold-certified record, dealing in private matters related to love, relationships, and desire. At times, Simon is nothing short of primal. She reflects on the difficulties of retaining your own identity while also giving yourself to a partner. Simon’s connection to her folk roots would never be stronger.

Sourced from the original master tapes, strictly limited to 3,000 numbered copies, pressed at Fidelity Record Pressing in California, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s 180g 45RPM 2LP set of Anticipation lays bare the rich tapestries afforded by the spare blend of soft guitars, mellow orchestration, and dreamy melodies. Audiophiles and record collectors, take note: This is the first time Anticipation has been available on 45RPM. The wider grooves and dead-quiet surfaces prove extremely rewarding.

The rhythmic framework anchored by session pro Andy Newmark’s drumming sounds dynamic and balanced, with songs benefiting from a focused midrange and taut low-end. Simon’s attachment to and investment in each lyric is made evident by way of the intimate, hushed atmospherics and expansive responsiveness. And just as Simon’s vocals feel more transparent and direct, so, too, do the supporting choral arrangements.

Released before the singer-songwriter movement reached full bloom, Anticipation remains remarkable for the high-quality songwriting and Simon’s gutsy stance. The album cover — depicting the vocalist holding the gates at Queen Mary’s Garden in Regent’s Park and seemingly defying anyone to take her on — serves as a metaphor for the content within.

Known for having relationships with high-profile partners, Simon was heavily involved with Cat Stevens leading up to the recording of Anticipation. She draws from her experiences to craft tunes that resonate because of their honesty, realism, and strength. Few of those moments are better known than the Top 20 title track, which Simon composed in just 15 minutes as she waited for Stevens to pick her up for a date. Imbued with the nervousness, tension, and excitement that accompany the moments when a romance could go either way, the Grammy-nominated song presages the feminist-minded vulnerability and burning longing that informs a majority of the record.

On the soulful “Legend in Your Own Time,” also inspired by Stevens, Simon harnesses yearning as a conduit to feel-good paradise. Deemed by Rolling Stone an “absolute clincher, an awesome description of the psychic ravages of gone-nuts, know-nothing love,” her cover of Kris Kristofferson’s “I’ve Got to Have You” moans with no-holds-barred desire and breathtaking sensuality.

For all the wanting Simon pursues on Anticipation, her way of staying in control — vocally and personally — make the record a courageous statement of contemporary femininity. For further evidence, look to the bossa nova of “Summer’s Coming Around Again,” somber “Share the End,” soothing “Three Days,” and sincere “Julie Through the Glass,” a tribute to her young niece.

Simon would achieve international fame with her next album, No Secrets. Yet as this definitive reissue shows, Anticipation suggests the rest of the world was just a little late catching up to her.

After a few years quietly holed up in the studio, patiently dialing the details, Modal Citizen surfaces with a debut EP showcasing his spin on the golden era of Tech House.
Built on shuffling drums, warm low-ends and a handful of cheeky melodic hooks that seem to appear out of nowhere and refuse to leave. Heads-down gear with just enough mischief for the late hours and a fine-tuned system.

No fuss, no fireworks – just straight grooves that do the business.

You’re gonna be humming those melodies all night long, trust us.

Play & play & play baby!

A fish dreams in a drum machine. Hidden Operator surfaces, soaked in fog and radio hiss. The fever escapes. Kontra-Musik and Kess Kill hold hands in a burning telephone booth--two labels dancing backwards through a mirror, cackling. This is a record made of riddles and ruin. Dub coughs in the corner. Proto techno slips on oil. UK hardcore gurgles something unspeakable before melting into a slo-mo house groove with a hangover. Lo-fi? No-fi. High-why. Slightly wrong but utterly intentional. Basslines stagger like drunks in a maze. Snares in existential crisis. Synths whispering conspiracy theories. This is an apparition. Half dungeon, half dancefloor, half pigeon coop. Understanding is colonialism. Twitch instead.? KONTRAKESS01. Carved in vinyl. Released into the ether. Confuse your neighbours. Alarm your pets. Send postcards from the inside.

Right now, right this second and of course right this moment while you listening to it or even while reading this line of text may be witnessed the real royalty of the underground of Thailand - DOTT. Pakarapol, the mastermind behind this release has made his name in concrete actions towards the development of the local and international scene whether it’s to play sweaty basements or grand festivals, releasing quality music or being one of the driving forces behind the record store called “More Rice” which is located in the heart of the capital city - Bangkok. On the title track of the release there has been intensive remix work done by the Uruguay’s own diamond level producer Luis Malon. Luis has brought his view and vision of how things are done and has flawlessly executed this doing so. With this Thai - Uruguayan connection the release is born for our ears and souls to indulge in and of course without any doubt to raise that dust from the floors, roofs or any given surfaces once the low ends of the record starting to give off its vibrations.

Berlin techno talent Regent returns to Mutual Rytm with second 12" release, 'Delta Hyve' - a five-track package lined with peak-time heat.

Regent is an ever-growing voice in the global techno conversation. His tracks have found their way into high-profile sets worldwide and are renowned for their impressive blend of the past and the present. Versatile but always designed for maximum impact, delivering an impressively crafted sound made for powerful systems, this new outing offers a wealth of different moods and grooves for various parts of the night. Returning to SHDW's Mutual Rytm imprint following 2023's successful 'Coral Knife' EP, he unveils a fresh selection of cuts that emphasise his emergence with 'Delta Hyve'.

The title cut 'Delta Hyve' opens up with devastating low ends and busy synths that scurry about the mix to bring dynamism to the rooted drums, while 'Ophaal' delivers thumping kicks and coarse, textured hits scrape and scratch, while supersized hi-hats bring the intensity to all new levels. 'Hygea Core' brings the pressure with hunched-over drum patterns and a sense of urgency in the bass, while creepy pads create an unsettling atmosphere. 'New Narrative' powers on like a train with high-speed rhythms and metallic percussive surfaces, all sweeping you off your feet, before 'Ree 54' switches things up with bright synth flashes and more extraverted grooves that hark back to the machine soul of early Detroit techno.

The first digital bonus, 'Presence', is intense and tinged with the grit of a warehouse and menacing vocals, while 'Rheplica' delivers unrelenting loopy drum funk with shattered glass melodies to close the show.

Unspecified Enemies, the project led by Louis Digital (Numbers, Counterattack, Arcola) present their debut album Romance in the Age of Adaptive Feedback.

Written and produced by Louis Digital, the album incorporates fragments of music data generated by long-time collaborator CiM (Ann Aimee, Delsin). Describing the title track, Louis Digital states:

“It’s the microelectronic sound of a city playing strange light games with itself, evoking bitcrushed desires and floating images, an urban phantasy stored on the broken circuits of an Ensoniq ASR-10.”

The origins of Romance in the Age of Adaptive Feedback trace back to 2006, when Louis Digital launched Diamond Sea, a series of events at London’s ICA that introduced the Unspecified Enemies project and a label called City of Quartz. The vision was to merge the hi-tech electronic textures of contemporary R&B with the sampling and sequencing techniques of pioneers like Anthony Shakir and Soundhack. However, the music was lost in time, and City of Quartz never released a single record.

Yet, the story took an unexpected turn. At one of these events, Spencer from Numbers received a CD containing early recordings. Years later, Numbers encouraged Louis Digital to reconstruct the lost music for an album. The result is a work resurrected from the past and reimagined for the future—retrieved in fragments from a broken Iomega Jazz SCSI Drive.

Expanding on the album’s themes, Louis Digital reflects:

“By the late ’90s the cinematic image of Los Angeles and the sound of Detroit techno had crystallised a new style of living in time and space. In 1997 Mike Davis — the political activist, urbanist, writer and historian of Los Angeles — suggested that it all had “something to do with a microelectronic aesthetic of very transient and decaying states”. It was a romantic vision — one where the city’s glass surfaces reflected a musical desire for futurity not yet dominated by data-driven corporate life. These were strange days to live through. This album evokes the embers of this fibre-optic moment, when urban revolution in an age of digital reification still felt possible.”

The album features full sleeve artwork and a poster designed by Ben Drury. In support of the release, an NTS show titled Romance and Reification will explore the cinematic and electronic music influences behind the album.

KEY Vinyls 47th release dives into a silver-plated, machine driven world crafted by Eduardo De La Calle: Kapila. Across four chapters, De La Calles veteran touch shaped by over 25 years of sonic innovation brings to the label a sleek yet abrasive metallic landscape.

The A side opens with Kardama, unfolding a funky yet metallic interplay with sharp bells and stinging rides slicing through a round, acidic bassline. The track proposes a wide spatial range of sounds, a continuous exchange and interplay of elements.

Khatvanga follows, soft yet needle-sharp a lullaby evoking complexity through simplicity. Deceptively minimalistic, its delicate construction disguises its robust power, marking a signature De La Calle moment: feeling held by a soft energy which is equally pungent. With Kankas, the tempo intensifies.

Rugged surfaces and strong high frequencies merge with a type of construction that leans heavily on rhythm, channeling the pulse of a machine in its element. And lastly, Kala mutates into a sci-fi fever dream.

Tense atmospheres build, the machines world grows fuller, and shimmering synths take on a life of their own. The result is a dense, captivating finale that mirrors the increasingly blurred line between man and
machine.

Astral travel with Cybotron into the meta-narrative of the Parallel Shift, a new sonic fiction that raises many questions about military science of the near-future and the possibility of other worlds.
Descending backward through the rhythms of time, the Skynet module retracts from the hyper-structural society of 2100, edging toward the mid-century modern age teetering on the brink of what was then the frontier of “the future”. The system boots the Infiniti process, morphing into a cosmotechnic vessel coursing the superhighway of burgeoning general intelligence, seeking data from just before “the overshoot and collapse.”
R&D methods, rhythmanalytically applied, dissect the aftermath of an industrial society that burst through the ecological capacity of Spaceship Earth. Fractal visions of war and innovation spike and recede from and into the surfaces of reality being bent and guiding the eyes, ears, touch towards a laboratory in the year 1961. A nuclear expert, Don Lewis, receives orders to decrypt the mysterious black dodecagonal disc known as Fortec and the extraterrestrial biology unearthed in Roswell. He joins a team disassembling Fortec and studying the recurrent dodecahedral patterns linked to the human nervous system.
Through dismantling and probing, the team cycles through a saecular search devoid of finite conclusions, limited by Earth’s intellectual and technological prowess. One 1960s night, Lewis, while meddling with Fortec’s cyborganic innards, accidentally electrifies himself. His cyclotron and missile experience guides him to circuit-bend Fortec, stirring the entity from a mechanical slumber. Lewis and Fortec communicate in resonances, until it drifts back into a tranquil stasis.
The US Defense and contractors, unbeknownst to them, observe this breakthrough. They later permit Lewis to exit military service as the Air Force forms the Foreign Technology Division. Concurrently, MJ12 evolves into CY12, delving into second-order cybernetics. Lewis clandestinely keeps working on Fortec fragments, transitioning from military engineer to musician, pioneering the LEO module, a fusion of Fortec’s essence and audio engineering.
He shares his insights with Roland founder Ikutaro Kakehashi, aiding the creation of the iconic TR-808. Meanwhile, Fortec branches out, coining “Cyberspace” – a collective illusion of liberty unshackled by physical, political, or spiritual bounds, anchored in the equitable distribution of The Golden Ratio across realities. Yet “Cyberspace” morphs into a chaotic truth reservoir, spilling over into deception.
The Parallel Shift manifests in the perpetual “Now,” a collapsed event horizon where past and future are ensnared in a relentless present, unfurling along a dissolving timeline, overseen by a monolithic simulation under ceaseless watch…
— The Rhythmanalyst aka DeForrest Brown, Jr.

Eaux proudly announces a new collaborative mini-album from label boss Rrose and Polygonia. Containing six tracks and over 40 minutes of music housed in a fully printed sleeve with artwork by Jon-Paul Villegas, the record focuses squarely on the dancefloor while infusing it with the kinds of psychoactive drones, intricate polyrhythms, and relentless modulations that have come to identify both of their approaches to sound. Featured heavily are their shared interests in sonic shapes that resemble natural forms and conjure tactile feelings, in this case related to themes of skin-like surfaces and circulatory systems experienced simultaneously on a micro and macro level. While several of the tracks hover in a flexible tempo range between 125 and 130 bpm, "Stretcher" reaches up to 142, and the closing track "Vena Cava" trades the kick drums for spectrally processed percussion and endlessly diverging high-frequency pulses.

The story behind the release starts in 2022, when Rrose reached out to Polygonia after noticing that her tracks were appearing in their sets more frequently than any other artist. Never before had Rrose proposed a collaboration with someone they hadn't met before, but there was such an obvious connection in their approach to sound that it felt necessary. As it turns out, Polygonia had only become interested in techno after hearing Rrose perform at a festival in 2018. It all made sense, and they began sharing sketches and unfinished ideas with each other, trading them back and forth until they reached completion. Without any announcement of their collaboration, the two artists have since been asked to share the stage together several times. It seems there are other people out there sensing a connection...


Bios:

RROSE

Rrose is an alias of the multi-disciplinary artist Seth Horvitz, born and raised in California, and currently based in London. Active since 2011, the Rrose project explores the intersection of hypnotic techno, experimental composition and psychoacoustic phenomena with a meticulous touch. The first major breakthrough was 2012's "Waterfall" for Sandwell District which followed "Motormouth Variations," a collaborative project with composer, improviser, and activist Bob Ostertag. After the shuttering of Sandwell District, Rrose established Eaux, a home for further solo productions and collaborations. Building on his studies in electronic composition and history at Mills College, Rrose's electronic pieces blur the lines between thrillingly claustrophobic club tracks and destabilizing sound art explorations. In 2015, she released an extended version of James Tenney's postcard composition "Having Never Written a Note For Percussion" for solo gong, and in 2018 collaborated with Charlemagne Palestine on "The Goldennn Meeenn + Sheeenn" for two grand pianos. These works overlapped with the development of Rrose's singular techno: EPs like "Vanishing Pools," "The Ends of Weather" and "Arc Unknown" as well as 2019's debut LP "Hymn to Moisture" and last year's follow up "Please Touch." Rrose is also active as a touring DJ and live performer, equally comfortable commanding sweaty warehouse dancefloors and seated audiences in historic concert halls. Appearances include Unsound, Atonal, Semibreve, Dekmantel, Mutek, Sonic Acts, Nuit Sonore, Mostra, Parallel, Theatre Graslin, Nextones, and Berghain.
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POLYGONIA

Polygonia represents a multidisciplinary music and art project conceived by Lindsey Wang from Munich, Germany.

She draws inspiration from her many years of practicing various acoustic instruments and her keen interest for other cultural forms of expression, which she translates into the digital language of electronic music and art.

Her productions' soundscape exudes a mystical, organic quality, featuring intricate and compelling rhythms. Polygonia's sound palette ranges from energetic, groovy Deep Techno, Downtempo, Grey Area to textural and/or harmonic Ambient. Besides, she is not afraid to include influences from the genres House, Drum and Bass, Electro etc.. In addition inspiration from nature play a major role in many of her productions. Exemplary for her style are for instance her 'Otro Mundo' EP (2023) on Bambounou's Bambel Imprint, her 'Bloom' EP (2022) on the American record label Sure Thing, the release 'Deformed Human Nature' (2021) on her own label IO, as well as the album 'Abbilder einer vergessenen Welt' (2021) on the Korean label Huinali.

Her DJ and live sets too reflect her passion for different genres. Depending on the time of day and setting, Polygonia shows a different musical side. What unites all her dance music sets is the hypnotizing effect that invites to completely lose oneself in the world of sounds for a longer period of time. Several voices from the audience also confirm that the musician always tells a complex story within her mixes, allowing for very clear highs and lows. In the same set there can be very harmonic passages, which provide emotional moments and on the other hand extremely texture-heavy dark tracks, which establish a connection with the subconscious and put the listener in a kind of trance.

Polygonia has already visited numerous of prestigious venues. She is now a regular at Tresor or Berghain in Berlin and additionally started her residency in 2023 at Munich-based BLITZ club.

Introducing the inaugural release from "Vorm", "Vorm Series: One," a compelling compilation showcasing five tracks from a lineup of esteemed and emerging producers. This release marks the beginning for the young record label "Vorm", setting a high standard with its diverse and dynamic sounds.

From the producer and "Newrhythmic Records" founder, "Joton", comes "Neon Dystopia." This opener track of the release plunges into a hard hitting soundscape, blending pulsating basslines with highly pitched atmo surfaces. "Mineral" by Kon Janson dives into a mineral-rich sonic experience, where intricate rhythms meet hypnotic textures. This subterranean grooves is exactly the addition that the A-side needs and rounds off the whole thing as powerfully as possible.

"Ricardo Garduno" delivers "They're Between Us." This starter track on the B-side is a dark, spacious force of cavernous beats and atmospheres, perfect for those moments of peak-time intensity. Founder "Maasym" presents "Raeder," a sophisticated blend of a industrial trippy synth line and highly dense effective elements.

The track evolves with mechanical precision, emphasizing and focusing on the minimalist effects, percussions and drums. Closing out the release is Berlin-based rising producer & live artist "Peryl" with "Melting Room." This track is a melting pot of raw-high energy and experimental tones, pushing boundaries with its innovative, detailed sound design.

Limited 150 Pieces Hand numbered Marble/Grey/Black - Craftpack Cover with glued Patch - Infosheed - Stickers - Butter Rug ( Bombtrap Logo ) Kicking things off on the A-Side is an brutal technoish interpredation & exclusive vinyl only version of the italian guy I-ROBOTS track “Frau” by ILLNURSE........ Current releases from I-Robots OPILEC MUSIC and iLLnurse RAW ......followed by the renowned Columbian Artist Filmmaker the owner of his Label Body Musick who’s welcomed to our Bombtrap Camp for the first time. His productions are demanding, multi-layered and spread a morbid atmosphere that we appreciate very much. We could not decide and so there are 2 nasty dance floors monsters of him on it...... current releases Tartarus Records ......In case you weren't awake, "Endless" by the Georgian Downwell from Tiflis conjures up the distorted depths of screaming vocals and sub-splitting kicks for a wake-up call..... current releases Persephonic Sirens ( Ancient Methods ) , X-IMG , HEX Techno movement and Deviate records ...and this is where "Body Theory", from Lyon based guy NƵM 99 seamlessly picks up. The whipping hi-hats and polyrhythmic surfaces kicks you into your own afterlife...... current releases Persephonic Sirens ( Ancient Methods ) and Flesh or Die ( Rave Or Die ) .....the closing "LIES" comes from our mate Delectro also from columbia and he get you a KO finish with his EBM killer vision of a post apocalyptic view of the future of the world. current releases on Dame-Music and Industrias Mekanikas so play it loud and attack your crowd. peace

In an interview for The Wire magazine back in January 2012, Spencer Clark claimed that one the most important "lesson" learned while performing with The Skaters was "stay true to your imagination". Taking this life motto at heart, Clark's world today is still a place of wonder and myth, conveyed through a myriad of aliases and invocations like Vodka Soap, Fourth World Magazine or Typhonian Highlife. Always the wide-eyed mystic and searcher of the netherworld, Clark surfaces again on Discrepant sister label Pacific City Discs, straight from the Canary Islands with this not quite but somewhat reissue under his celebrated and celebratory Monopoly Child Star Searchers alias.

Combining visions from two long, long sold out and hardly traceable releases on Clark's own Pacific City label, pressed for the first time ever in wax with a new master by D&M - as it should - 'The Aqueducts Of Channel Island/Prince Of Parrot Shooters' stands as a vital piece in an ever changing and deeply personal mandala-like oeuvre. An hypnotic and appropriately lo-fi flux of bouncy hand percussion loops, nature calls and celestial synth harmonies that weave themselves into trance inducing rituals. Levitating fever-dream recordings from imaginary topographies, or perhaps a gateway to fortean alternate realities just lurking around the corner. Stay true to your imagination indeed.

Third Limited 12″vinyl release on Moving Rhythms by Norwell, GGGG & Foreign Sequence and FracTAL.

Release 75. Reptant’s third. The reptilian overlord surfaces only once every 25 – right on the jubilee, without fail.

Combining menace and kitsch the way only the Rotterdam greats do so effortlessly, he comes in smooth af on the opening cut. Mainframe-tapping machine funk, almost sounding like the Antipodean lovechild of Kraftwerk and Egyptian Lover.

From there, laced with spite and insectoid detail. Noirish cybernetics delivered with genuine vigour, all across a triple-pronged strike of electro excellence. Properly aerodynamic.
Not a tribute to a classic period – rather, a continuation of what the genre’s forebears built. A tried and tested formula that never loses bite, truly heralding Reptant as a standard bearer for electro in the modern era.
The cold-blooded one, right on schedule.