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Mythology has a recurring theme: creating ambiguity by rearranging worlds and creatures that normally don’t belong together. Centaurs, Minotaurs, Hydras and so on: mockery and mystery intertwine into entities that are in equal parts magnificent and ridiculous. Referencing this idea in the present, Loris S. Sarid conjures 12 compositions simultaneously showing traits of dreamlike trap, candy-flavoured New Age and Spoken Word. The lines between spiritual and mundane, drama and parody are bent and questioned, used as raw material and treated with the same importance. Binding the work together is the sense of feeling peacefully lost inside a shuffling iPod, buried in a quiet zen garden inside a noisy shopping mall or vice versa. What connects Ambient music, which often anonymously swims into endless sleeping playlists with monthly subscriptions to well-being, to the mainstream output of commercial music? "Ambient $" doesn’t explore the social aspect of this question, but rather celebrates the beauty of its paradoxes. This album is the morning choir of forgotten NFTs, brewing lyrics in their binary exile. The television homily of a wrestler turned priest, turned influencer chef, then hermit and then rapper. Randomness is reclaimed as a human quality, and the aesthetics of mass music consumption are repurposed into a rather inexpensive guide to streaming-service-enlightenment.

Glasgow-based, Rome-born Loris S. Sarid, like many during the pandemic, found himself placing his focus in all new places once he was locked down with little to do. As such his close care for a little tomato plant, grown on a windowsill in his flat, gave him an unusual spark of inspiration which led to this album, Music for Tomato Plants. It is his homage to "the unapparent courage of simplicity, and the beauty and lightness of the most ordinary things." In real terms, it is a lush ambient exploration with melodies that are optimistic and hopeful. Sustained chords unfurl like new growth, fresh percussive lines emerge like ripened fruit and the whole thing is beautifully pure and innocent.

New family members Loris S. Sarid & Innis Chonnel summon a long-overdue return to the 12th Isle with an album built around percussive sounds taken from various mic-ed up objects found in a wood workshop on the East Coast of Scotland. With the pair occasionally leaving said workshop to enjoy some respite in Innis Chonnel’s horse box / studio, the artists hatched a plan to process and program their field recordings, later combining them with improvised synthesiser rhythms and overdubs. The tracks began to materialise over the course of a few follow-up sessions by which time saws sang and flutes flowed through watering cans. Shortly afterwards they found their way to us via carrier pigeon on a CD-ROM that smelt vaguely of soiled hay and we knew we had to act.

South Asian super-producers Lapgan and Baalti – the former a Madlib-disciple spinning hip-hop grooves out of dusty desi samples, the latter duo purveyors of intricately tapestried dance music – holed up in the California desert in early 2024 for a songwriting session to blend their complimentary styles. They ended up with several albums worth of club material built upon decades of Indian music history – floor fillers that move like early Four Tet meets The Avalanches. They’ve been teasing this material around the world during live sets – from Paris Fashion Week to Glastonbury, London Clubs to BK Warehouse parties, sessions at Lot Radio and Karachi Community Radio, and anywhere else they find an aux. The result has been endless ID requests for unreleased gems like “Ipa Ma” and “Lime Tikka”, calls which should finally be answered with the release of Threads.

Lapgan Bio
Chicago-based archivist and producer Lapgan has become renowned for his signature style: unearthing rare and forgotten Indian & Pakistani sounds and recontextualizing them into hip-hop and dance beats that evoke J Dilla and Madlib. He has cultivated a reputation for quietly revolutionary sample-work across his beloved solo projects History and Duniya Kya Hai, as well as LAFANDAR, his critically acclaimed team up with Heems (of Das Racist / Swet Shop Boys). He has worked with a range of artists from both the West (Your Old Droog, Saul Williams, Cool Calm Pete, Kool Keith, Open Mike Eagle, Blue, Quelle Chris) and the East (EXCISE DEPT, Baalti, Sid Sriram, Sid Vashi, Dynoman), and has been featured in global media including Pitchfork, FADER, Stereogum, Passion of the Weiss, Mixmag, Homegrown, and Vinyl Me, Please. Over the past year he has headlined clubs and performed at festivals across the world from Chicago and New York to London and India, and was personally invited to soundtrack back to back Paris Fashion Week shows for the similarly norm-shifting designer Kartik Research. In 2026 he will soundtrack his third Kartik Research runway show, as well as reissue Duniya Kya Hai for its five-year anniversary alongside a companion EP featuring remixes from peers and supporters Arushi Jain, Loris, Mera Bhai, Malkfunktion, and Maral.

Baalti Bio
Baalti makes electronic music built around rhythm, pressure, and collective release – weaving through leftfield bass, dusty hip hop, tripped out dub and raw house all while maintaining a throughline rooted in South Asian culture seen through the lens of a sweaty dancefloor. In the last year they have experienced a whirlwind rise and growing global recognition: from their EP Mela vividly evoking West Bengal’s sound system culture to their Tamil-cinema-infused filter-house project with Anish Kumar Stunt Doubles, in addition to wide-ranging collabs and remixes alongside DJ ADHD, Naya Beat, and A.R. RahmanThey have also built a reputation for their frenetic live show, with appearances at international festivals like Glastonbury and MELT, headlining shows across Australia and Europe and supporting influences turned peers like Four Tet and Disclosure across North America. Their explosive, percussion-heavy sets have been platformed by Rinse FM, NTS, The Lot Radio, Beats In Space, and Refuge Worldwide, and their music has been renowned by publications including Pitchfork, Bandcamp Daily, RA, and MixMag. Their forward momentum continues into 2026 with slated headline tours in India, Australia, and Asia along with appearances at Coachella, Party in the Paddock, Fvded in the Park, and We Out Here festivals.

Blackwater Label’s Goldenboy sub-label third chapter is an ode to the immensity and vastness of the sea, a journey across deep waters, uncertain ports and endless horizons. "Never Give Up" is dedicated to the memory of Alessio Fantozzi, a pioneer of the waters whose spirit continues to resonate through those who choose to venture beyond the shore. This four-way collaboration is our tribute to him: four artists, four visions, one voyage into the unknown. Loris Ligonzo opens the journey with "Subalpine Nocturne", a Balearic-tinged deep house excursion that invites us to dive into the sonic ocean Blackwater has been navigating for more than a decade, warm, hypnotic and submerged. With "Apparently", T/Error brings us into an unsafe and gloomy harbour. Dark electro and suspended tension create the feeling of a vessel waiting to depart, caught between the certainty of the shore and the call of new waters. Stefano Rocchi contributes "Mushy", acting as the propulsion system of our pirate vessel, the Blackwater Ship. Acid-infused electro drives the journey deeper into the abyss, with no fear for those who trust the... more credits releases September 24, 2026 Written and Performed by V/A Mastered by Stefano Rocchi at Niumen Studio,Rome Produced by Blackwater Label, 2026 Distributed by Triple Vision, Rotterdam Nvmqvam Cede // Vsqve Ad Finem

Hopsydian are an Italian pop-metalcore outfit from Milan, formed in 2024, combining alluring and sacral atmospheres with modern metalcore power, alt-metal edge, and post-hardcore urgency.
Built on cinematic tension and explosive dynamics, their sound fuses dark, ritualistic undertones with sleek contemporary production and massive, chant-ready choruses
where beauty and brutality collide in equal measure.
The band was formed by vocalist Myles Idolo alongside guitarists Loris Ronchi and Nikolay Deliyski, later completed by bassist Roberto Vezi. The drummer remains anonymous. Their name--Hopsydian--comes from Hope and Obsidian, a ""magic rock"" symbolizing resilience, shadow, and rebirth, perfectly reflecting the duality at the heart of their music.
Hopsydian revolve around worship, love, obsession, sin, and the temptation of becoming God--balancing the holiness of gold with the black of transgression. Hopsydian balance modern heaviness with cinematic elegance--where intimate melodies and shimmering textures collide with crushing riffs and commanding rhythm sections. Their songs move like a ceremony: building atmosphere, sharpening emotion, and detonating into choruses designed to be shouted back from the crowd. Hopsydian explore the most dangerous forms of faith:
worship, love, obsession, sin, and the seduction of becoming God. Their narratives live in extremes:
desire framed as devotion, temptation disguised as salvation, and beauty that burns at the edges. It's an aesthetic of contrast: the holiness of gold set against the darkness that it can't fully conquer.
Benjamin Wilson from band Caskets helped the band develop their album artistic direction
Despite having released only six songs, Hopsydian have already proven their live impact. In 2025, they debuted on the Slam Dunk Italy main stage, sharing the bill with names such as LANDMVRKS, A Day To Remember, and Caskets, before going on to support Caskets in Milan shortly after. Momentum is building fast--and with a fanbase already demanding the next step, Hopsydian are poised to turn their growing catalogue into what it's meant to become: a fully-fledged era, and the tour that brings it to life.

Sisko Electrofanatik's Gain Records recently had a chart-topping hit with the label boss’ track “Only One”, and is back with a new collaborative EP by Roberto Pagliaccia and Dubskull.

Along with the three original tracks, the EP also features a remix from T78 who in addition to releasing on his own label Autektone Records has also featured on Filth on Acid, Intec, and Suara.

Roberto Pagliaccia and Dubskull are both Italian artists. Dubskull whose dark and atmospheric style has been a feature of labels like Reload and Riot, and this is their third time featuring on Gain. Roberto Pagliaccia is an exciting new talent, and this is only his 3rd release after a recent debut on Lapsus Music, Blackboard with AudioJack remix.

T78 has had a recent hit track made in collaboration with Space92, and in addition to his many hard-hitting solo releases, he has also worked with A*S*Y*S, Raito, and Maxie Devine.

With brooding tension and twisted euphoria, this release has a peak time energy with acid tones.

“Skil” opens the release with a slow-building tension before the uplifting energy of the lead synth, then T78 lifts the tempo of Skil with his explosive remix. “Loris” has a dystopian atmosphere filled with dark suspense, and “Acid Jungle“ closes out the release with its rubbery lead synth and modulating tones.

Turn the page to a warmer chapter. The second instalment of our Seasons 2026 collection has arrived. This carefully curated compilation captures the golden warmth of the season, the laid-back rhythms of lazy afternoons and the soothing atmosphere of endless summer days. Packed with hours of gentle summer lo-fi, this album is your perfect companion for soaking up the sun, focusing on your work sessions, or unwinding after a long day.

The opening chapter of our 2026 Seasons Collection has arrived. This curated compilation captures the very essence of spring, the sound of blooming nature, soft sunlight, and the quiet joy of a fresh start. Featuring hours of cozy spring lofi and gentle chill music, this record is your dedicated companion to help you relax, reset, and find your flow during your daily rituals.

Constellation Tatsu welcomes US artist Brendan Principato aka Saapato for what is a hugely conceptual new album based around decomposition. It was sparked when Saapato saw a dead fox lying by the side of the road on his way home from a job in a local warehouse. He used that as a jumping-off point to interrogate "transformation, interconnectedness, and renewal" and the five stages of decomposition, namely fresh, bloat, active decay, advanced decay and dry/remains. Several collaborators help him on his way as he sketches out various instrumental textures which variously have occasional shards of light, lingering melancholy and a subtle sense of hope.

This self-titled LP marks the fifth release of Scottish artist Murray Collier’s Dip Friso project, his longest running alias and the solitary vanguard of his own Real Landscape imprint. Across the six tracks he delivers another collection of warped percussive loops, heavily manipulated guitar work and psychedelic sound experiments that drift between popular music forms ('I’ll Get to Hiding') and whittled down takes on electric blues and shoegaze ('Another Country’). The former features the instantly recognisable croon of Still House Plants vocalist Jess HK embellishing a backdrop of tape loop alchemy, an inspired pairing given the shared history of Glasgow dwelling. ‘Thin Ayrshire’ (written with Hannan Jones) treads a similar path with Collier’s own beyond-unrecognisable voice featuring, broken suddenly by a brief flash of 12th Isle’s Loris S. Sarid & Innis Chonnel’s ‘Spalted Water Portal’ thanks to a recycled tape spool. ‘A Sorry Business’ takes on avant-jazz inspired puddle skronk, a stunted casio bleep propelling forward guitar dirge and cymbal crashes, whilst Australian minimal wave heroes The Systematics are paid homage via a farewell cover of their track ‘Midnight on Balancing Day’ (here ‘Midnight’).

All in, the album sees the project incorporating more instrumentation and a full use of vocalists, leaning less heavily on gauzy sample collage styles and providing a more introspective look at the hazy, dubwise world Collier has been building for the past half a decade.

Gloam is the highly anticipated sophomore album from alternative folk band MAYBEL. Similar characteristics from their debut, Gathering, are carried forward: elegant harmonies, soft instrumentals and a shared optimism coupled with a wide open vulnerability. The songs still echo the intimacy, warmth and closeness of their relationships, yet the band has matured. MAYBEL's evolution shines through with ambitious compositions, thoughtful songwriting, and a deeper understanding of themselves as the album’s themes pierce with growing pains, anxieties and hopes for change. It’s a record about movement and stopping; the ongoing act of coming apart and coming together. Gloam is for listening in your bedroom or in transit, missing friends, on your way to see them. It holds an optimism that rings clear yet nestles and dwells in a brooding, muddy darkness - placing it firmly in the illustrious Canadian folk canon. This is the first album for which all four members (Fez Gielen, Ali Hendra, Loris Kecaj and Lauren Spear) wrote songs. For the most part, they were written during the pandemic separately and then shared in the upstairs living room where Lauren, Ali and Loris used to live together. The result is a shared diary on love, grief and moving on. The band's ability to effortlessly blend traditional folk elements with modern production techniques is reminiscent of the collaborations between Emmylou Harris and Daniel Lanois. Just as Harris and Lanois brought a fresh perspective to country music, MAYBEL embraces experimentation in their sound without compromising the warmth and intimacy inherent to folk music. As with their debut Gathering, MAYBEL recorded Gloam with producer/engineer Jonas Bonnetta at Port William Sound in Mountain Grove, Ontario. Resonating with a sound borne of the studio’s deeply intimate rural environs it is no wonder the band chose to return. Here they were joined by Eliza Niemi on bass/cello, Caylie Runciman on bass/drums with Jonas adding synths and percussion. Gloam is an old Scottish word for twilight. It appears like a fantasy between the day and night, a time seemingly frozen, drifting, or ignored all together. Gloam is the mood and time within which the album takes place. MAYBEL describes it as being: “In transition, between sleeping and waking—a quiet underworld where one is alone with their thoughts, in true presence with the in-between.” The final track on the album, “For Nothing”, captures something of the album’s twilight hope. It begins with lilting solos and gracefully builds in energy and color. MAYBEL sings to its listeners, “All that work for nothing” with a buoyancy and radiance that chimes against the lyrics. They repeat: “All that work for nothing”. For all of the band, the last few years have resulted in significant change and stress. Yet they continue to try, through their music, to will themselves towards optimism. They ask for you to marvel with them at the charming and terrifying possibility of life. They harmonize again, not despairingly, but almost ecstatically “All that work for nothing!”

Eck Echo records is set to release a mixed bag of original songs and remixes by one of digital cumbia's founding fathers, Peru's Tribilin Sound. Plastic Toy Sounds turns "Virgenes del Sol" into a woozy cumbia-dub with bright, shimmering guitar lines. Loris, adds squiggly sawtooth synths to the already irresistible beat of "Sarita", and Chancha Via Circuito offers up an atmospheric take on "Condorcanqui" that sounds like DJ Shadow and Augustus Pablo soundtracking a Peruvian heist while Peruvian duo Dengue Dengue Dengue reinvent "El Carmen's" Afro-Peruvian festejo groove as ageless ambient techno. Eck Echo records is set to release a mixed bag of original songs and remixes by one of digital cumbia's founding fathers, Peru's Tribilin Sound. Jalea is the affectionate term used by seafood-craving Peruvians for one of the country's signature dishes. In this jalea the menu consists of four original tracks highlighting the artist's career on one side, and four selected remixes by iconic producers from Mexico, Argentina, and Peru. Tribi arrived on the scene as digital cumbia was busy spreading its wings from Buenos Aires, soon to take over Latin America (and later the world), with Lima the next city to catch the bug. Ernesto had been DJ'ing in clubs since the mid-90s, and experimenting with Peruvian cumbia since the mid-00s, but the birth of his alias Tribilin Sound allowed him to go wholesale into his beloved chicha, reinterpreting grooves by classic Peruvian groups like La Pintura Roja, Los Titanes and Chacalón y la Nueva Crema, as well as proving to be a dab hand at a mash-up. Soon, he found himself at the heart of a like-minded community, releasing a debut self-titled album with Peruvian label, Terror Negro, and following it up with Aquí Siempre Bailamos (2014) for pan-Latin collective Sello Regional. Coming from a club background, rhythm has always been central to Ernesto's approach, his adopting of Peruvian styles never deviating from the necessity to get bodies moving, and the remixers here seem to take delight in stretching out his rhythms. Mexico's Plastic Toy Sounds turns "Virgenes del Sol" into a woozy cumbia-dub with bright, shimmering guitar lines; another Mexican, Loris, adds squiggly sawtooth synths to the already irresistible beat of "Sarita", and Chancha Via Circuito offers up an atmospheric take on "Condorcanqui" that sounds like DJ Shadow and Augustus Pablo soundtracking a Peruvian heist while Peruvian thunder-duo Dengue Dengue Dengue reinvent "El Carmen's" Afro-Peruvian festejo groove as ageless ambient techno..

TAUMEL - the third studio album by the internationally acclaimed brass techno phenomenon MEUTE: Hamburg-based techno marching band MEUTE will release their third studio album: TAUMEL will be out on Friday, 18 November 2022 on the band's own label TUMULT. With their unique blend of hypnotic techno and energetic live performance, the 11-member band has made a globally acclaimed career start.
Tracklisting

8 years after the release of his critically acclaimed latest album 'Bambi Galaxy', Florent Marchet is back. Since his debut, Florent Marchet has continued to produce and create for cinema, theater, literature... and to tour with multiple projects and original creations. He has become in the space of a few years one of the finest feathers of French song, and one of the most productive and singular artists of his generation. With this new album, the first on Labréa / Wagram, Florent Marchet reconnects with tradition and modernity. This album is a real journey. Composed of 13 tracks exclusively recorded in his own studio with sound engineer Loris Bernot. He has a duet with the artist PR2B.