Blind Harmonies returns with its second release, this time welcoming Argentinian & Berlin based artist Augusto Taito for a powerful and deeply detailed EP. Built around four carefully crafted tracks, the release moves through driving rhythms, dynamic grooves and refined sound design, balancing raw club energy with subtle textures and hypnotic movement. Each track carries Augusto’s distinctive approach, functional yet emotional, precise yet alive. Alongside the driving moments, the EP also reveals a more personal side through a melodic piece filled with introspection and meaning, adding depth and contrast to the journey. A release designed for both the dance floor and deeper listening.
Mechatronica presents “Residual Future” by Koloah. Across six tracks, Koloah delivers a striking fusion of futuristic electro, bass-heavy rhythms, and expressive vocal experimentation. Combining powerful machine grooves, processed voices, and detailed synth programming, the EP explores the connection between human emotion and technology. From the driving energy of “Graduate” and the vocoder-driven character of “Vocodex” to the deeper moods of “System” and the sharp rhythm of “Edge”, the release moves through a wide spectrum of electronic forms — balancing dancefloor impact with atmosphere, melody, and a strong sense of storytelling. The journey expands further with “Elevator”, a slower, immersive descent built around hypnotic movement, spacious textures, and a more introspective emotional pull. On the other side, “Jump” pushes the pressure higher — a peak-time electro weapon driven by explosive rhythms, heavy low-end force, and Koloah’s unmistakable futuristic energy. Throughout “Residual Future”, vocals become a central element: fragmented, transformed, and woven into the machinery of the tracks. Human traces merge with precise rhythms and futuristic textures, creating a sound world that is both soulful and synthetic. A distinctive statement from Koloah, delivering forward-thinking electro with depth, emotion, and a unique voice-driven identity.
Techno innovator Regent has already made his mark on Mutual Rytm with two previous outings highlighting his refined but powerful style. The Berlin-based artist joins the dots between bold percussive grooves and distinct cerebral layers, with his productions continuing to receive wide support from DJs and tastemakers across the globe. This return to SHDW's flourishing label features one of his most anticipated tracks to date - a truly timeless warehouse anthem that marks an exciting new chapter for both Regent and the label.
'Permean' is a raw but sophisticated piece of techno that merges powerful drums with hypnotic pads. It brims with surgical sound design. While the groove is fierce, a haunting melodic touch adds a soft and deeply emotional edge
as Regent explores the tension between permanence and decay, delivering a timeless and essential track.
The first remix comes from Steve Rachmad under his Sterac guise. This version channels the spirit of his early work - pure, stripped-back techno at its finest. Tightly programmed and deep, it features burrowing bass and impish synths dancing up top to occupy the mind while the body moves.
Next comes a remix from one of the most innovative producers of our time, Rene Pawlowitz, under his Head High alias, a project reserved for his more house leaning sounds. His 'Power Tool Mix' brings his signature loopy style with thudding kicks, raw hi-hats and twitchy synths - already shaping up to be a summer hit. Pawlowitz then steps out under his renowned techno alias Shed. His 'Forceful Pressure Mix' is a blistering and unrelenting weapon, with rusty textures and powerful bass locking you in its glitches, unresolved loops and booming low end.
The sonic movement once known as downbeat continues to cast a long and intimidating shadow over the Austrian electronic music scene, with influential figures like Kruder & Dorfmeister reigning atop a metaphorical mountain of venerable dubplates, resembling ancient gods.
Now, emerging from the depths of this mountain, comes "Triangle," poised to rejuvenate the genre with its eponymous album, brimming with the purest liquid downbeat gold.
Featuring an abundance of dusty breaks, reggae vocals, atmospheric keys and strings, dub stabs, wonky acid sequences, and deep basslines, these tunes check all the right boxes without ever feeling like mere imitations. The overall vibe remains warm, mellow, and hazy, while each track seamlessly weaves in an array of peculiar soundbites.
After a second listen, you may well conclude that this album is a rediscovered DAT tape from the 90s, unearthed from a Viennese basement.
Dive into the depths of "Triangle," an album that bridges eras of timeless electronic soundscapes.
Chicago native Ed Nine delivers another slice of that unmistakable Windy City sound on Four Framed Music. Born and raised in Chicago, his music draws directly from the city’s soulful house roots, raw, authentic, and built to move floors.
No Boundaries EP captures exactly that balance, classic influences with a sharp, modern edge. No gimmicks, just pure Chicago energy across four club-ready cuts.
The A-side hits hard. H2O rolls deep with heavy drums and an emotive vocal that cuts through the groove, while The Boundary locks into a tight, driving rhythm that doesn’t let go.
Flip it over and The Rhythm keeps things flowing, built around a swinging, soulful groove with jazzy key elements. Closing track Ecstatic lifts the mood, layering warm musical elements into a satisfying, feel-good finale.
Four tracks, straight to the floor, Chicago doing what it does best.
DJ Support: Sam Don, Severino Panzetta (Horse Meat Disco), Chris Howler, Sean Johnston, Bill Brewster, For Mankind, Craig Thompson, Andy Taylor, Massimiliano Pagliara, Dean Dixon, Nathan Detroit and many more
Underground Institution Stompa Phunk Re-Launches Vinyl Label with Raw, Chi-House-Inspired Energy. After three decades of defining the UK’s underground club landscape, legendary Brighton party collective Stompa Phunk is officially moving from the dancefloor to the wax with the relaunch of Stompa Phunk Records Inc.
The Heritage: From The Warehouse: The releases will directly honour the roots of house music, a genre born in 1977 at Chicago’s legendary nightclub, The Warehouse. As that scene matured, a grittier, faster, and more experimental counterpart emerged. Defined by an uninhibited, bass-heavy style, it was a movement driven by local innovators who pushed drum machines and synthesisers to their breaking point... It wasn't just a genre; it was a collision between pure imagination and raw machines. A true "sound klash" transformed the local underground subculture into something global...
Release 1: You Had It (Edit) / Music Got (Dub): Capturing the exact spirit of rough, tape-spliced dubbed cuts. The 12-inch from SP resident Sound Klash pairs a vintage production ethos with old hardware pushed to its limits...
The Philosophy: This EP perfectly mirrors the exact philosophy that has fueled Stompa Phunk’s dancefloors since 1996: uncompromising electronic music rooted in heavy sample-delia, jackin' bodies, Acid energy, disco-dub mentality and second-hand technology. Jackinacidiscotech!
Rooted in a wide spectrum of influences—from breakbeat and IDM to dubstep, acid, electro, and techno—Avram’s sound is shaped by years of immersion in underground culture and a deep focus on rhythm, drawing from the raw energy of the UK scene.
Flow State distills this language into a dynamic DJ framework. Spanning breakbeat, raw techno, and acid-leaning elements, the record is built for the dancefloor.
A1 “Limb by Limb” unfolds through breakbeat and dubstep rhythms, flowing into the unmistakable lyrical force of one of Avram’s most influential MCs. A2 “Outer Space” moves into denser, driving territory, grooving alongside techno rhythms and bassline arpeggios.
B1 “Romica Groove” locks into a hypnotic swing—a breakbeat cut with subtle jazzy elements, driven by a catchy bass motif and a familiar clubbing reference. B2 “Everything That’s in Style” closes with sharper, raw-edged energy, channeling old-school melodic techno vibes over a powerful breakbeat foundation.
Balanced between Avram’s originality and his influences, Flow State delivers high-impact tools built for the dancefloor.
For our next release, we welcome Eduardo de la Calle. An artist whose music has long moved beneath the surface of electronic music, shaping minds and dancefloors through depth, restraint and timeless vision. This EP drifts through hypnotic rhythms, deep pulses and evolving textures, inviting the listener into a space where time softens and movement becomes instinct. A meeting of two currents, flowing in the same direction, guided by depth, energy and a shared love for the spaces between sound. Eduardo de la Calle Synthetic Collapse CRRT02 A1 Eduardo de la Calle - Subverse A2 Eduardo de la Calle - Black Input B1 Eduardo de la Calle - Protocol Remain B2 Eduardo de la Calle - Systemic Error All tracks written and produced by Eduardo de la Calle except Black Input and Subverse written and produced by Eduardo de la Calle and Andres Fusaro under the project RSCA. Brighter Days Vocals from Karen Gordon - Djaè - extract from - CAJ201 1992 Mastered by Javier KTC Mastering
Ribe & Roll Dann serve up potent techno on Mutual Rytm with 'Virtus Occulta'.
Built around concepts of unacknowledged work and enduring merit, the release marks their first EP on SHDW's widely
respected label.
Based in Toledo and Madrid, Ribe & Roll Dann are exciting residents at Laster Madrid and Lanna Club, two of Spain's leading venues. Emerging as driving forces in their national techno scene, they have also made an impact on the global landscape, making wider moves through collaborative releases on Klockworks, and individual outings on a number of other influential labels. Having previously featured in the label's Federation of Rytm IV compilation, the pair make their full EP label on SHDW's Mutual Rytm imprint to open March with a deep dive into their expansive sound.
Opener 'Sub Terra' is a pure club tool that is direct, physical and rooted in the underground with a seriously heavy low end. 'Extra Lumen' is more restrained but still built on a steady, forceful rhythm with controlled energy that prefers to operate in the shadows. 'Ars Non Placens' stays true to the idea that music is not made to please, but to exist on its own terms with hunched drums and dubby undercurrents. Next, 'Meritum Negatum' fizzes with static electrical charge and minimal drum funk and is a direct reflection on overlooked skill and unacknowledged work, before closer 'Virtus Persistens' delivers a continuity and a steady pulse rather than an explosive ending, keeping you locked throughout.
In addition, three digital bonus cuts come alongside the vinyl package. 'Labor Inauditus' speaks to hours of technique, production and booth experience that remain invisible. Next come the taught, rubbery rhythms and unrelenting atmosphere of 'Silentium Testium', while 'Sine Aplausu' - which means without applause - brings a ghostly late night vibe that you will never want to end.
Casabianca returns with Omatucada, the second vinyl release from Zagreb-based DJ and producer MIMI.
Omatucada is a journey through percussive sampled rhythms, combining live-recorded instruments, vocal textures, and analog synths across four original productions.
The title track, "Omatucada" opens with a rolling tribal beat and hypnotic vocal fragments, revisiting one of MIMI's earliest productions, originally written many years ago.
"O Lado Negro De Felix" ventures even deeper into dark tribal grooves, suggesting that there is always some light within the darkness, and vice versa.
The B-side moves into more cinematic territory. "VCM" builds driving momentum, drawing heavy influence fro
SILVI005 welcomes Brizman back with Fall Down On Me – a vibrant, groove-driven EP that perfectly captures his signature sound. Built around rolling rhythms, warm textures, and hypnotic movement, the title track delivers the kind of infectious dancefloor groove Brizman has become known for.
The release also features a stunning second original production with Shigar, where beautiful piano arrangements blend effortlessly with Brizman's refined grooves, adding emotional depth while staying true to the EP's understated club aesthetic.
On remix duties, the package brings together two distinct interpretations. Minimal house legend Jay Tripwire delivers his unmistakable touch with a deep, sophisticated rework, while rising talent Danny David brings a fresh perspective to the release with a forward-thinking interpretation.
From the original productions to the carefully selected remixes, SILVI005 is a special release that celebrates timeless grooves, musicality, and the unique sound Brizman continues to shape on the dancefloor
Sincere yet uninhibited. Powerful yet vibrant. This remarkable debut album captures the breakthrough moment of rising pianist Mikio Masuda.
Mikio Masuda first came to prominence as a member of the Terumasa Hino Group, and this is his debut album as a leader. The musicians are essentially the same lineup that was performing with the Hino Group in 1974, but with Masuda at the helm, the music takes on an especially fresh and energetic character. He plays with remarkable freedom and confidence, as if completely at home in the spotlight.
Four of the album’s six tracks are Masuda originals. At times he moves forward with a light, agile touch; at others, he unfolds beautiful themes with lyrical sensitivity. The variety of the compositions and the freshness of the performances are consistently striking.
Among the highlights is “Prayer”, a powerful, Afrocentric piece that stands as an outstanding example of the post-Coltrane approach. Both compositionally and performance-wise, it ranks among the album’s defining achievements.
This album marks the starting point of Masuda’s career and remains one of his signature works, documenting the emergence of an artist who would later become one of the leading figures of the fusion era.
Al Wahem (“The Illusion”) is the new full-length release by PRAED, the Swiss–Lebanese duo of Raed Yassin and Paed Conca. Recorded between Beirut and Berlin, the album returns to the group’s central aesthetic: a rhythm-driven weave of Egyptian shaabi, electronics, improvisation and the gritty pulse of street-level sound. Nearly twenty years into the project, PRAED have distilled their approach into four pieces that subtly shift the listener’s bearings, reordering grooves and fragments until familiar elements take on new identities.
The twenty-minute title track sets the tone. A tightly interlocking two-drum foundation from Pascal Semerdjian and Ayman Zebdawi shapes a structure that expands steadily: synth figures branch outward, clarinet and bass lines act as internal guideposts, and brief vocal calls from Yassin and guest singer Mayssa Jallad sit inside the texture rather than leading it. PRAED’s shaabi keyboard language is present, but the duo stretch it outward, building tension and movement through patient accumulation.
“Al Hathayan,” at 4:46, tightens the focus. Conca’s clarinet moves between melodic arcs and clipped rhythmic gestures, threading through electronic loops that surface and disappear. Zebdawi’s percussion adds a raw, tactile quality, placing acoustic patterns and electronics in direct conversation. The piece acts as a bridge between the album’s two long-form compositions.
Side B begins with “Al Maraya,” a thirteen-minute piece that relies on electronic, bass and clarinet interplay. The atmosphere nods to the breadth of PRAED Orchestra!, but remains anchored in the duo’s rhythmic foundations. Rather than building mass, the layering creates a sense of depth, as if new spaces were opening inside the groove.
The album closes with “Assarab,” featuring keyboardist Amr Said. Semerdjian and Zebdawi again form a dual percussive axis, while synths hover between melody and pulse, and themes recur in widening circles rather than building vertically. The porous boundary between electronic and acoustic sources — processed clarinet mistaken for a sequencer, rhythmic figures springing from live drums — is where the album’s theme of “illusion” shows itself most clearly.
Al Wahem follows a long arc: early releases on Annihaya, a key appearance on Ruptured Sessions Vol. 5 – Live at Radio Lebanon (2013), later albums on Akuphone, and the large-scale PRAED Orchestra! documented on Morphine Records. This new Ruptured/Annihaya co-release brings the duo back to a concentrated format, reorganizing their familiar materials with renewed clarity and intent.
Bogdan Ra kicked off his new label Love Affair with some banging house cuts that threw it back to early Chicago styles. This third outing flips the script and shows his range with four disco sounds that take their cues from the late 70s and 80s: all the hallmarks are there, from the classic synths and vocoders to dusty drum machines. 'Complimento' is a smooth title track, while 'Shout' is a French-tinged funk workout., 'Paramour' glides through cosmic disco textures, while 'Fire in Cairo' brings an unexpected vocal twist and acrobatic bassline full of movement. Charming stuff.
The Spanish Hace Calor Crew are back once again with two more classics, freshly tweaked with intros and outros for seamless mixing in your DJ sets. This time, they bring the heat with timeless cuts from Special Ed and Ms. Dynamite, guaranteed to spice
Optmst has spent the last decade establishing himself as one of Belfast most distinctive underground producers with releases on Shall Not Fade, R&S records & Cloudcore. Rooted in club music but resistant to easy definition, his debut EP Flux moves through 140BPM pressure, postdubstep weight and garage-adjacent rhytms . Warm analog electronics meet infectious grooves, IDM detail and a melodic sensibility that pulls you back to the hook.
Originally released in 2006, John Acquaviva presents Swen Weber's ‘First Stroke’ returns on Secret Weapon Records with a
brand new remix from Luca Lozano. A defining Electro House record of its era, built around its instantly recognizable synth
theme, now gets a sharp 2026 update as Lozano moves the hook onto a break-driven groove, adding playful bass movement
and a futuristic vocal touch.
The remastered original is included on the flip, preserving one of the standout club records from the mid-2000s Electro House
boom.
NOTON is pleased to announce the release of LICHTSTIMME and SCHATTENSTIMME by Alva Noto: two soundtracks for a film that never existed.
The starting point is E. T. A. Hoffmann's The Sandman: a world where perception and reality drift apart, and the question of identity remains unresolved. Recognition, in Hoffmann, is never quite secure. The doppelgänger is less a figure than a condition, the point at which the self can no longer vouch for itself.
The first record, LICHTSTIMME begins in an open, almost weightless sonic world. Something still appears untouched. The music carries a sense of proximity, clarity and trust. But this sense of certainty does not remain. Gradually, the proportions begin to shift. Sounds lose their definitiveness; familiar structures become strange. The music begins to question its own surface. What initially appears as light already contains the possibility of its shadow.
With the second record, SCHATTENSTIMME, the instrument enters the sonic space. The pieces were recorded together with percussionist Rainer Römer and the Ensemble Modern. A central role is given to the Sixxen, the extraordinary metallic percussion instrument originally developed by Iannis Xenakis together with Les Percussions de Strasbourg and instrument maker Robert Hébrard for Pléiades. Its resonances, unusual microtonal structure and distinctive timbre make it an instrument that resists being placed within a familiar musical context. Complete Sixxen sets are extremely rare and require highly specialised construction.
The instrument appears only on the second record. Its absence from LICHTSTIMME and its arrival on SCHATTENSTIMME are structural. It behaves like a shadow: present only when something else has already changed. With its appearance, it is not only the sound that changes. The entire musical space seems to shift its character. The Sixxen's metallic sound becomes the unfamiliar. The unfamiliar becomes a counterpart.
The two records follow an inner movement: from light to shadow, from trust to doubt, from identity to doppelgänger, and back to a harmony that is no longer quite the same. What emerges as an independent, personal sonic language has been transformed by the journey. The unfamiliar has not disappeared. It has become part of the self.
LICHTSTIMME and SCHATTENSTIMME are records about the instability of the familiar. Something is always almost recognisable and never quite confirmed, in the story, and in the sound.
Album art designed by Carsten Nicolai & Nibo.
NOTON is pleased to announce the release of LICHTSTIMME and SCHATTENSTIMME by Alva Noto: two soundtracks for a film that never existed.
The starting point is E. T. A. Hoffmann's The Sandman: a world where perception and reality drift apart, and the question of identity remains unresolved. Recognition, in Hoffmann, is never quite secure. The doppelgänger is less a figure than a condition, the point at which the self can no longer vouch for itself.
The first record, LICHTSTIMME begins in an open, almost weightless sonic world. Something still appears untouched. The music carries a sense of proximity, clarity and trust. But this sense of certainty does not remain. Gradually, the proportions begin to shift. Sounds lose their definitiveness; familiar structures become strange. The music begins to question its own surface. What initially appears as light already contains the possibility of its shadow.
With the second record, SCHATTENSTIMME, the instrument enters the sonic space. The pieces were recorded together with percussionist Rainer Römer and the Ensemble Modern. A central role is given to the Sixxen, the extraordinary metallic percussion instrument originally developed by Iannis Xenakis together with Les Percussions de Strasbourg and instrument maker Robert Hébrard for Pléiades. Its resonances, unusual microtonal structure and distinctive timbre make it an instrument that resists being placed within a familiar musical context. Complete Sixxen sets are extremely rare and require highly specialised construction.
The instrument appears only on the second record. Its absence from LICHTSTIMME and its arrival on SCHATTENSTIMME are structural. It behaves like a shadow: present only when something else has already changed. With its appearance, it is not only the sound that changes. The entire musical space seems to shift its character. The Sixxen's metallic sound becomes the unfamiliar. The unfamiliar becomes a counterpart.
The two records follow an inner movement: from light to shadow, from trust to doubt, from identity to doppelgänger, and back to a harmony that is no longer quite the same. What emerges as an independent, personal sonic language has been transformed by the journey. The unfamiliar has not disappeared. It has become part of the self.
LICHTSTIMME and SCHATTENSTIMME are records about the instability of the familiar. Something is always almost recognisable and never quite confirmed, in the story, and in the sound.
Album art designed by Carsten Nicolai & Nibo.
The first chapter of our 40th Anniversary celebration brought “Love Spy” back to vinyl and invited a new generation of producers to look at Mike Mareen’s 1986 classic from their own perspective.
Part 2 continues the story, but there is no reason to tell the same tale twice.
This time we reach once again into the original 1986 package and bring back the “Salutation Mix”, pairing it with two completely new remixes created by two remarkably colourful personalities from today’s European electronic underground.
And colourful is definitely the right word.
The first comes from Tyrell Corporation.
Behind that name stands Martijn Hoogendijk, better known to most electronic music heads as Alden Tyrell.
For almost three decades, Tyrell has been one of the most distinctive characters of the Dutch electronic scene. His musical world has moved freely between Italo Disco, electro, techno, acid, house and EBM, always with an obvious fascination for machines, analogue synthesis and the raw energy of early electronic dance music.
His relationship with Italo is certainly not a recent fashion. One of his earliest Alden Tyrell releases, “Love Explosion”, appeared on I-F’s Viewlexx label back in 1999, at a time when only a relatively small group of Dutch fanatics were already rediscovering and reinterpreting the forgotten European electronic sounds of the previous decade.
Since the early 2000s he has also been deeply connected with Rotterdam’s legendary Clone Records, not only as a producer and collaborator, but as one of its most important mastering engineers. His fingerprints can be found on an enormous number of Clone releases, including the label’s celebrated work restoring and reissuing the Drexciya catalogue. His studio tells much the same story. Synthesizers, drum machines and hardware collected over decades surround a producer whose fascination with electronic instruments started when he bought his first synthesizer in the 1980s.
For “Love Spy” he appears as Tyrell Corporation and delivers exactly what one might hope for from someone with that history: a remix that understands the original language of Italo and Hi-NRG, but speaks it with the experience of nearly three decades spent inside Dutch electro, techno and machine music.
The second new interpretation comes from France. Bubs, real name Maxime Bunel, followed a very different route.
His earlier productions grew from house, disco and French-touch influences, but over the last few years his attention has increasingly shifted toward Italo Disco, Hi-NRG and the rapidly expanding contemporary italowave scene.
In 2025 he made that commitment official by launching Filter Phaser, his own label dedicated specifically to the new generation of Italo Disco and Hi-NRG. And his “Love Spy” remix shows exactly why his name has been appearing more and more often in this scene. This one is pure dancefloor ammunition.
Bubs keeps the elements that make “Love Spy” instantly recognisable, but raises the temperature considerably. The energy is harder, the dynamics are bigger and the production has been pushed towards the sound of contemporary italowave without sacrificing the melody, drama and personality of Mike Mareen’s original. Old DNA, new blood.
The result is not an attempt to drag “Love Spy” away from 1986. Quite the opposite.
Both remixers clearly understand why the record still works forty years later. They simply approach that DNA from two different generations and two different corners of European electronic music, but with the same respect and adoration to Mike Mareen’s legacy.
The 40th Anniversary Edition Part 2 comes pressed on classic black vinyl and a special ruby-red vinyl edition.
It is also the final Vintage Pleasure Boutique release of 2026.
And somehow it feels like the right record to close the year.
The fifth chapter of The Third Room's curator-led series is shaped by Alarico, one of the defining voices of a new generation pushing techno into faster, sharper and more rhythm-driven territory. Through his productions, DJ sets and close ties to a network of like-minded artists, he has helped shape a contemporary sound defined by tension, detail and forward momentum. For his curation, the focus lies on connection. Bringing together artists operating within a shared sonic language, the release reflects a generation where precision, movement and emotional depth exist in constant dialogue. The record opens with Connection, a first official collaboration between Yanamaste and Alarico. The track captures the intersection of both artists' approaches: Yanamaste's intricate and distinctive synth work meets Alarico's driving, forward momentum. Fast, pulsing and tightly controlled, it unfolds through cycles of tension and release, stripped back to its essential elements. On Crimson Leaf Minstre, Toru Ikemoto builds a detailed and contrasting sound palette. Bright, delicate elements interact with darker stabs that disrupt and reshape the rolling bassline, creating a sense of movement that feels continuous rather than moment-based. The track leans into depth and variation, balancing clarity with a more mysterious tone. Blue Lights by Lea Occhi & Amotik shifts into a more groove-led space. What begins with a functional framework gradually opens up - subtle chords and restrained vocal elements add texture and attitude without overtaking the structure, resulting in a track that feels both light and deep. Closing the record, IB1809 sees Alarico return with a defining statement. Reduced but highly present, the track builds around a strong rhythmic core, where chords, melody and vocal fragments interlock with precision. There is a sense of contrast at play - melancholic yet driven, vulnerable yet forceful - culminating in a moment that feels both functional and expansive. Across all four tracks, the release remains tightly focused - fast, dynamic and cohesive, with a strong emphasis on movement and detail. As the fifth entry in the series, it captures a distinctly modern strain of techno, where emotional nuance and rhythmic intensity are no longer in opposition, but fully aligned. A1 Written and Produced by Irakli Danelia & Alarico Zucchi | A2 Written and Produced by Toru Ikemoto | B1 Written and Produced by Lea Occhi & Anil Chawla | B2 Written and Produced by Alarico Zucchi Mastered by Ahmet Sisman (The Third Room Studios) Artwork by Charlotte Ernst Design by Daniel Bornmann (STUEDIO.XYZ) Distribution by Clone Pressing by Matter Of Fact
The final chapter of The Third Room's curator-led series is shaped by GiGi FM, an artist whose work moves fluidly between club functionality, emotional storytelling and immersive sound design. Through her productions and performances, she has developed a distinct language where rhythm, atmosphere and movement exist in constant dialogue. For the closing chapter, the focus lies on cohesion. Bringing together artists connected through a shared sensitivity for groove, detail and space, the release unfolds through percussive structures and atmospheric elements that move with clarity, depth and intention. The Half Bearded Man by Fergus Sweetland opens the record. A rough yet detailed rhythmic framework, syncopated percussion and a rolling bassline create forward motion, while softer elements and a subtle vocal layer introduce a contrasting sense of lightness, drawing the listener into the track. On Shark Attak, D-Leria places percussion at the centre, but with a more restrained approach. Polyrhythmic bleeps and high-frequency sweeps weave around the groove, maintaining depth and tension without becoming intrusive, giving the track a quiet but persistent drive. The B-side opens with one of its defining moments: Anukari, a collaboration between Efdemin and GiGi FM. Bringing together two distinct approaches, the track unfolds as a layered and atmospheric piece: detailed percussion, connecting textures and subtle melodic fragments create a sense of depth that feels both modern and slightly otherworldly, while remaining inviting and grounded. Closing the record, Even by Fireground reduces the elements further. Warm chords and a restrained rhythmic core create an open, enveloping space, balancing softness with tension and allowing the track to unfold with a quiet sense of momentum. Across all four tracks, the release remains tightly cohesive: built on groove, space and carefully placed detail. As the final entry in the series, it shifts the focus from structure to flow, offering a closing chapter that feels immersive, connected and complete. A1 Written and Produced by Fergus Sweetland | A2 Written and Produced by Giuseppe Scaccia | B1 Written and Produced by Giulia Fournier & Philip Sollmann | B2 Written and Produced by Angela Dragonetto & Danielle Paduano Mastered by Ahmet Sisman (The Third Room Studios) Artwork by Charlotte Ernst Design by Daniel Bornmann (STUEDIO.XYZ) Distribution by Clone Pressing by Matter Of Fact
Faith Beat’s 11th signal comes from Ploy with The 'Flirt' EP. A 5 track journey through the darker shades of house and touches of garage - his signature kick drums and bass lines move your body, while vocal samples pull at your heart and mind.
Released in the winter of 1995, Dah Shinin’ introduced Smif-N-Wessun as torchbearers of the gritty, sample-driven East Coast sound that defined a generation. Backed by Da Beatminerz’ haunting, jazz-laced production and supported by their Boot Camp Clik brethren, Tek and Steele delivered a debut that was as raw as it was revolutionary — capturing the essence of mid-90s Brooklyn.
Now, 30 years later, Dah Shinin’ returns in its most complete form. The 30th Anniversary Definitive Deluxe Edition brings together for the first time in one place, the full original album, two essential remixes "Wrekonize" and "Sound Bwoy Bureill" and rare material, including the long-unreleased “Nuttin’ Move But Da Money,” finally available officially after years on white label.
Pressed across three LPs and housed in a premium tri-fold jacket featuring original artwork, newly commissioned liner notes, period photography, and archival content, this expanded edition stands as a tribute to the album’s creation and legacy. From the underground anthem “Bucktown” to the crew showcase “Cession At Da Doghillee,” every track celebrates the timeless sound that made Dah Shinin’ a classic.
Dark Entries is proud to host Darlynn’s debut album, Dyke Den. Darlynn is an Oakland-based duo composed of Daria Lourd (aka Bored Lord) and her wife, vocalist Jaelynn Walls. Dyke Den is a lesbian love story about two creative individuals finding each other and themselves through effusive and contemplative sonic avenues. Created in their home over the course of two years, this album speaks to the journey of Daria and Jaelynn’s romantic relationship as well as their evolving combined creative impulses.
On Dyke Den, Darlynn display their influences – from Janet Jackson and Sly & the Family Stone, to Frankie Knuckles and Larry Levan – in a sophisticated, fully realized, and overtly queered fashion. Joyous dancefloor moments are abundant. Tracks like “Make Yr Move” and “Like A Summer” celebrate deep house vibes ala Alleviated Records, while sultry R&B moves are flexed on “Girl 2 Girl” and “Alright With Me.” But longing and yearning exist within this joyous arc, and the question arises: “How can I get you to love me?” More than an idealistic narrative of girl meets they/them, Dyke Den paints a portrait of love in all its multifaceted moments: the bids for commitment, the stagnation of years going by, the wormholes of desire. Yet the album maintains its thesis of hope. The sweet, layered harmonies of closing song “Love Letter” display the power of life partnership: “My whole life is a love letter to you.” Dyke Den features artwork by Hailee Va in a sleeve designed by Eloise Shir-Juen Leigh. Darlynn’s final declaration, “We are all creatures of desire, completely built for love.”s
Mount Kimbie’s forthcoming contribution to the acclaimed fabric presents series marks one of the duo’s most dancefloor-focused bodies of work in years. More than simply a release on fabric Records, the project sits within the revered fabric presents mix series, placing Mount Kimbie alongside artists such as Daniel Avery, Midland, Helena Hauff and Overmono, artists who have each delivered defining entries for the series.
Leading the project is first single “Monroe”, a warm yet uplifting club track that unfolds gradually through loose percussion, driving synth work and subtle vocal fragments drifting in and out of the mix, adding flashes of emotion without interrupting the track’s momentum. An ode to their 2017 hit ‘Marilyn’ featuring Micachu, the track carries elements of the original throughout, with flourishes over reverb washed vocals that float around you amongst driving drums and bass. There’s a summery energy running throughout the track, making it equally suited to late-night club systems and open-air festival stages.
Long celebrated as pioneers of the post-dubstep and future garage movements, Mount Kimbie continue to evolve beyond genre boundaries while maintaining the unmistakable sonic identity that has made them one of the defining acts in UK electronic music. Their contribution to the fabric presents series captures the duo at their most refined and exploratory, without losing the emotional atmosphere and understated intensity that has always defined their work.
Released as part of the prestigious fabric presents series via fabric Records, the project signals a bold new chapter for Mount Kimbie.
Pure Motorised Instinct drives over to Dark Entries with At Last I’m Leaving the Earth, an LP of industrial-tinged ambient and new age. When legendary industrial outfit Nagamatzu went dormant in 1991, band member Stephen Jarvis moved forward with Pure Motorised Instinct, a name he pulled from a line in George Romero’s Dawn of the Dead. Throughout two cassette albums - 1991’s Between Intimacy and Elsewhere, and 1993’s Everything Is True - Jarvis pushed the Nagamatzu spirit in new directions. At Last I’m Leaving the Earth collects 9 tracks from this era, which are appearing on vinyl for the first time, along with 3 additional tracks on a bonus CD. The material here sits between the brooding and the optimistic, the claustrophobic and the soporific. Jarvis’s digital synths are pushed so far into tape-scuffed terrain that they talk and squawk analog-like, scurrying with vibrant curiosity. The late-night vibes peak on pieces like “Vincent V,” with its reverb-drenched digital drum machines, or “Geek,” which taps into a wide-eyed proto-vaporwave zone. At Last I’m Leaving the Earth is Black Lodge ambient for the empty set.
Following the passing of our dear friend DJ Romain earlier this year, we've spent a long time reflecting on when to share some of the new music he entrusted to Hard Times Records. The incredible response to 2024’s 'The Lost D.A.T.S.' EPs reignited Romain's creative spark at a time when, unbeknownst to many, he was quietly battling serious ill health. After relocating from his beloved New Jersey to Cleveland, the studio once again became his sanctuary, inspiring a remarkable new chapter of music. The 'New Jersey' and ‘Cleveland’ EPs were the first recordings from that period.
Funky Streets completes the first trio of new EPs, but it is also just a glimpse of the wealth of music Romain crafted before his passing. His final studio sessions became an escape from his daily battles, inspiring a remarkable outpouring of new material that he was determined to finish, knowing his beats would continue to warm dancefloors and further cement the legacy of one of house music's true masters.
Opening with the horn-driven swagger of the title track, the EP moves seamlessly into the soulful groove of 'I Like To Boogie' before culminating in the deep, organ-led dancefloor energy of 'This Is Where I Wanna Be’. Romain signs off with 'The Chocolates’ - an uplifting, guitar-laced boogie jam filled with warmth, joy and unmistakable soul.
Beautifully crafted from beginning to end, Funky Streets stands as a lasting testament to DJ Romain's extraordinary talent, timeless musicality, and enduring contribution to House music. His legacy lives on in every groove.
Excited to share this bomb new release from Scottish techno/house legend Stephen Brown, whose discography reads like a Who's Who of classic techno labels: Transmat Detroit, Djax-UpBeats, Cocoon, Subject Detroit, Theory...
With its instantly recognisable vocal hook, Test 1 is a bona fide, party-starting hand grenade of a tune and destined for track ID requests wherever it drops. Backed by the raw, Chi-town groover Move It (which wouldn't have sounded out-of-place on one of Brown's Djax-up-Beats releases: all off kilter pads, detuned hats and a slamming kick) plus the deeper Tell Him, itself a masterclass in subtlety and groove, this 3-tracker really is quite a package.
All killer: no filler, The Safari EP is essential for fans of proper underground house & techno. Stephen Brown's releases have been falling into the "buy-on-sight" bracket for DJs in the know for many moons now. This release is no different! High quality from Edinburghs finest.
Chimney Town: Frozen in Time - Best Selection brings together 19 tracks from the original soundtrack composed by Harumi Fuuki, including "Frozen in Time" and "366 Days (Nagi's Song ver.)", performed by Fuka Koshiba. This edition features one 33 RPM orange vinyl record. Available as a limited pressing, this album gathers in a single release the music of the new animated film by Akihiro Nishino, creator of Poupelle of Chimney Town.
For the fifth release on At A Glance, Shabi delivers a four-track collection of groove-driven house music built for long nights and packed dancefloors. Blending rolling drums, infectious basslines, soulful vocal touches and a deep sense of movement, AAG005 captures the label’s love for timeless club records with a fresh and contemporary edge.
Opening with “All Night Stompin”, Shabi sets the tone with a driving rhythm and irresistible swing designed to keep bodies moving from start to finish. “Teach You” follows with warm grooves and hypnotic vocal elements, balancing energy and atmosphere in equal measure. On the flip side, “Dee Vibe” dives deeper into stripped-back, late-night territory, locking into a raw and infectious groove, while “Free Our Minds” closes the EP on an uplifting note, combining soulful textures with a powerful dancefloor pulse.
Groovy, classy and effortlessly effective, AAG005 is a versatile house release that feels equally at home in intimate club settings, peak-time sessions and sunrise moments alike. Another essential chapter in the At A Glance catalogue.
Terence returns with a new five track EP. This release confirms his instinct for creating effective dance floor tracks, that move between mental tension, raw energy and hypnotic sound.
MYKI enters the Neptune Discs orbit with a limited edition 12″, tracing the outer zones of house and techno through deep, dubwise pressure and a distinctly nineties haze. With previous outings on Kalahari Oyster Cult, Step Ball Chain, and more recently R.A.N.D. Muzik x Echocentric, MYKI also co-runs the Tofistock label alongside Olsvangèr.
A vivid display of his range as a producer, the EP moves with ease between direct techno, propulsive trance variants, dub-loaded house pressure, and atmospheric, chord-heavy cuts full of texture and detail. With this project, MYKI explores hauntological aspects of dance music — the space between memory, atmosphere, and club functionality.
25% of profits will be donated to support Doha, a 27-year-old architect from Gaza whose home was destroyed during the ongoing devastation in Gaza. Doha has been accepted to study architecture at Delft University of Technology, and funds raised will help cover the visa and relocation costs needed for her and her daughter to reach safety and continue her education.
The release comes housed with an outer sleeve sticker designed by theajm.
Hot on the heels of the massive Grant Dell release, GEMS Delivers another slice of underground house excellence, continuing its relentless journey of showcasing both timeless and forward-thinking underground house music with a powerful new release from Gideon Jackson.
A 3 track EP featuring Helpless (Original Mix) — The standout cut from Gideon’s Outa The Blue EP (1996), capturing the raw, hypnotic energy of the era. Helpless (Freeform Mix) — A previously unreleased 1996 remix, unearthed from the vaults yet sounding as fresh and relevant as ever. Sales In the Wind — A brand new production (2025), proving Gideon remains at the top of his game with a refined yet unmistakable sound.
true underground figure, Gideon Jackson has been deeply embedded in the scene since the formative days of tech house. Renowned for his vinyl-driven approach to house and techno, Gideon blends styles seamlessly, creating a distinctive and instantly recognisable sound.
Widely regarded as one of the key pioneers of the London tech house movement, his productions helped define the genre’s early blueprint — fusing bass-heavy rhythms with hypnotic grooves. His work has appeared on respected labels including Loaded, Pagan, and his own imprint Outa The Blue.
After stepping away from the spotlight, Gideon resurfaced in 2017 with a standout podcast for Strange, reaffirming his influence and deep-rooted musical identity.
His long-awaited return to the decks came in October 2025 at Archivio presents Wiggle in New York, followed by a November appearance at Wiggle at Gaffe — marking a powerful resurgence for one of the scene’s original innovators.
“One foot out the door, another in the otherworld…”
So begins Hannah Lew’s debut, self-titled solo record, soaked in imperious, wide-eyed pop songwriting and a girl-group/post punk aesthetic that belies the artist’s history in the U.S. underground. A towering, hook-laden album, it’s infused with an optimism and surrealism that conversely deals with the times we find ourselves in.
Recorded at home in Richmond, CA and in The Best House studio with Maryam Qudus in Oakland CA, with the assistance of a crack team of West Coast musicians, this album sees Hannah Lew stepping out from behind the legacy of her two groups Grass Widow and Cold Beat. While musically bearing similarities with her previous work, “Hannah Lew” is a bold leap into direct pop territory, making ample use of a vocal style that teases out the inherent melancholy in her melodies. Mastered by Sarah Register, each song is a perfectly honed nugget that frequently pulls the heart in two directions at once.
Themes of change, breaking up, shattering old ways of being are shot through the record. For the front cover, a photograph of the artist’s face was printed, ripped up and re-assembled, resembling the creative process embarked upon by Lew for her first “solo” material. The album feels instinctual, almost dream-like in its assemblage of sweeping synths and pulsating, propulsive drum machine beat patterns with Lew’s vocal performances sensitive and caressing over the top. Increasingly relying on the subconscious and dreams to guide her creative process, Hannah Lew frequently abandons literal interpretations or linear narratives, the songs seeming to exist in a swooning, effortless flow-state while remaining emotionally hard hitting.
On an album where every song could be a single, there are kaleidoscopic shades and varying emotional tones in abundance. First single Another Twilight is carried along a pumping, Italo-disco-style 4/4 beat and mono-synth bass line, the low end pulling at the heart and body. Lew’s vocal melody teases the track before swan-diving into a gorgeous chorus as she sings “it’s all over baby and I don’t mind… in decline, I take my time…” The album is suffused with moments like this. On slow builder Damaged Melody, an arpeggiated synth elongates the verse before a cascading synth showers down melodic glitter. The stunning Replica uses dual swirling synth patterns before a driving, synthpop chorus for the ages carries Hannah Lew’s vocal into the stereo field, sailing in on a high register singed with the embers of a break up.
In a departure from previous groups, her solo songs are guided by dreams and free association inspired by Dada and the Surrealist movement and sculpted afterwards. As such, the songs reveal themselves on repeated listens, revealing traces of heartbreak inspired by both personal and global elements - Hannah Lew regards the album “a wartime album.” On Move In Silence, Lew intones “there’s a war outside, just out of view,” revealing the dichotomy at play throughout. With the songs evolving naturally and in a flow state, the pressures and sadnesses of the modern age bleed through, mixed in with Lew’s inherent love, sensitivity and fractured-but-intact optimism. On the swooning, sublime Sunday layers of Numanoid synths open up for the commanding vocal performance pontificating on grief, love, pain as she “feels the ache on Sunday…” As the chorus builds and Lew’s call-and-response vocal adds to the emotional tension, it almost feels like too much to take.
Elsewhere, there are echoes of Hannah Lew’s previous work. On Time Wasted a bass guitar comes in with a heavy, punk attack before the synths and vocal harmonies reminiscent of later Cold Beat elevate everything. The glassy, sweetly resigned closer The Clock sounds like so classic it could be cover, a sweetened Jesus & Mary Chain tune perhaps, before it erupts into volcanic chorus that could only come from Hannah Lew in 2026.
Nippon Psychedelic Soul 1970-1979 is Time Capsule’s continuation of the deep dive into Japan’s rich history of folk and psychedelic soul music.
Vinyl LP with 4 page insert, original artwork and photos
The kaleidoscopic psychedelia of 1970s Japan captured a fragile and fertile moment as the country sought its future in funk grooves, heavy reverb and lyrical hallucinations.
The follow-up compilation to Time Capsule’s Nippon Acid Folk, Nippon Psychedelic Soul takes myriad pathways into the tripped-out undergrowth of 1970s Japan. Finding their feet at home and looking for inspiration abroad, the musicians featured here were engaged in the communal soul-searching that followed the breakdown of the 1960s protest movements. Some made it big, others drifted into oblivion. The music they left behind shimmers with intensity.
At the core was Happy End, the first project of YMO’s Haroumi Hosono, whose distortion-heavy guitar and crisp back-beat laid the foundations for Japanese lyrics that flipped the paradigm of Japanese rock music on its head. With it came a new found sonic ambition, such as in the bold Philly-soul style arrangements of producer Yuji Ohno, whose work with occult wandered Yoshiko Sai shares some of the bittersweet grandeur of Rotary Connection or David Axelrod.
Then there was Jun Fukamachi, a pioneer of Japanese synthesis, whose debut album was a carnival of orchestral funk, euphoric horn lines and rich production, complete with soaring guitar solos, psychedelic organ and a truly cinematic finale. The first and only time Fukamachi would sing on record, ‘Omae’ rips like the ultimate end-of-nighter.
Influenced by giants of the US soul scene, maverick composer Hiroshi “Monsieur” Kamayatsu (otherwise known as ‘the Brian Wilson of Japan’) went one step further, enlisting Tower of Power to play on ‘Have You Smoked Gauloises?’ The B-side to Monsieur’s biggest-selling single, it coasts with sophisticated cool - a liquid bassline and suave keys comping under a roaring trademark ToP sax solo. No surprise it found favour once more on the Acid Jazz dance floors of ‘90s London.
Such was the spirit of experimentation that big studio productions and private press releases sat side-by-side, with the likes of Momotaro Pink and Kazushi Inamura, taking their hopes of success into their own hands with the resources available to them. More reflective but no less robust, theirs was a heavy, fat-backed drum sound, soaked in dramatic, soulful psychedelia.
If some were dreamers and others space cadets, none were further out than sci-fi writer, musician, activist and self-made scientist Tadashi Goino, who transformed his own fantasy novel Messenger from the Seventh Dimension into an operatic prog odyssey with few discernible musical reference points – a majestic and completely bonkers outlier even among company as strange and brilliant as that which is collected here.
Less a compilation of a scene, as a compilation of a sentiment, Nippon Psychedelic Soul is a wild ride from start to finish, shattering the narratives of the Japanese folk and rock tradition into a million tiny pieces.
Adam Freeland relaunches Marine Parade with the ‘Transhuman’ EP, a collaboration with Spooky’s Duncan Forbes and the first of three releases set to arrive throughout the year. Available to stream now, the title track previews a deeper, more atmospheric direction ahead of Freeland's first solo material in sixteen years and the first new music on Marine Parade since 2009.
Across Adam Freeland and Duncan Forbes’ ‘Transhuman’ EP, broken rhythms sit subtly beneath spacious arrangements, while flickering synths, sci-fi -infused vocals and static-charged textures create an immersive, cinematic feel. It's a sound that reflects both Freeland's longstanding love of dub and Techno and the distance gained from stepping away from the dance music landscape in the 2010s.
Best known for his seminal ‘Coastal Breaks’ mix album and a run of acclaimed releases, remixes, and mix compilations spanning Fabric Live, Global Underground and Back To Mine, Adam Freeland spent a decade living off -grid in California’s Mojave Desert, while also working with Ry X to form The Acid, a band that has since released the ‘Liminal’ LP on Mute/Infectious, penned a film score and toured to great acclaim from well outside the electronic world.
Joining Adam Freeland is Duncan Forbes, one half of pioneering UK duo Spooky, whose landmark releases on Guerilla Records and influential debut album ‘Gargantuan’ helped define the early ambient Techno and progressive House movements. In the decades since, Forbes has continued to evolve through projects including collaborations with Mr. G and Sasha, as well as recent solo releases via Enzo Siragusa’s Fuse London and his own 49North imprint.
The ‘Transhuman’ EP marks the beginning of a new chapter for Marine Parade, with two further EPs from Freeland scheduled throughout 2026. The label will also expand with forthcoming material from longtime friends and previous label artists Evil Nine, alongside a new generation of talent joining the roster.
60 artists from 9 countries gathered in Armenia for the first edition of Notations Laboratory: a two-week interdisciplinary platform initiated and curated by hosq Foundation, bringing together musicians, sound artists, composers, and visual artists to collaboratively explore new artistic forms. Using Avet Terterian’s Symphony No. 3 as a conceptual and sonic point of departure, the participants created 11 original compositions during the laboratory through collective experimentation, improvisation, electroacoustic composition, and cross-disciplinary exchange. Rather than a fixed-genre compilation, the record captures the energy of a temporary artistic ecosystem formed in real time through shared process and collective creation, moving between ambient, drone, contemporary electronic music, experimental folk, and electroacoustic sonic practices. Recorded and produced during Notations Laboratory 2025 at the State Philharmonia of Armenia.
Phosphor returns with its fifth release and a new chapter for the label’s founders, Blue Vision. As their second EP on the imprint, Machines Will Transform Us (PHP005) confirms the project’s direction: a precise balance between club-driven tech house and more immersive, hypnotic electro textures.
Across the EP, Blue Vision asks a simple question: after spending our days connected to algorithms and modern machines, can repetitive rhythms and mechanical grooves on the dancefloor turn us into machines once again, or instead help us reconnect with ourselves?
Machines Will Transform Us (A1) opens the EP with a driving Italo bassline and tight, tech-driven drums. Melodic 80s synths contrast with sharper electro elements, gradually building tension before a final drop designed for peak-time impact. The track sets the tone for the release: machines transform us as much as we transform them.
Then comes Just a Game (A2), blending spacious 90s progressive and synthwave influences over a rock-solid club bassline and crisp drums. Playing with atmosphere and emotion, the track explores the feeling that we are never too far from a simulation, that maybe everything is just a game. Perfectly suited for introspective yet intense moments, it acts as an ideal bridge between harder tracks in a set.
On the flip side, I Love Acid (B1) is direct, hypnotic, and designed to lock the dancefloor into a steady flow. Stripped back to punchy drums and a raw acid line, it takes a minimal approach that works equally well in early hours or late-night sets. Behind the title lies the idea of acid as both machine energy and mental escape, where repetitive sequences blur the boundary between human emotion and mechanical movement.
As a final touch, Scan Your Brain (B2) shifts into deeper, more immersive territory. Analog pad textures create a drifting atmosphere over a hypnotic bassline and electro drums. With this closing track, Blue Vision answers their initial question by imagining the dancefloor as a space to disconnect from rigid thinking. The vocal serves as a reminder that the brain is constantly overloaded, and that dancing becomes a way to let go, reset, and reconnect.
FELT wade deeper into the murky waters of contemporary Scandinavian electroacoustic music following the recent reissue of Johan Wieth’s Health & Safety project on sub-label LEFT and established gems from the likes of Civilistjävel!
Gintė Preisaitė, a Lithuanian artist and graduate of Copenhagen’s Rhythmic Music Conservatory, reveals her first solo release under her own name, following a collaborative effort with Toshimaru Nakamura in 2025 and a number of cassettes as “Baraboro”. The deliberately genre-blurring sound Preisaitė deploys works with composed pop vignettes, sustained drones, FX manipulations and guttural bursts of noise. Sparse piano movements, sample-laden psychedelia and moments of big beat/trip-hop rhythms gel with crowd noise, close mic’d intimacy and experimental percussion with a focus on instrumental timbres and extended techniques.
With a background in composing for large ensembles, Preisaitė's multi-instrumental approach is evident across the eight tracks, moments of dense concrète-style sound collages anchored by the human voice never being far away. She laments on fantasy, absurdity and relationships as a cast of players contribute string, brass, accordion, and guitar parts. Passages move from delicate acoustic folk motifs through to wide-eyed, cut-and-paste glitch electronics and spectral melodic riffs, making the album an unorthodox and welcome addition to Denmark's current world-class music scene.
