Buscar:field

Siren Selector launches its mixtape series with a companion release to Remy Solar’s - ‘Heavy Terrain’ cassette.

“Jamaican music grows in rings like an old tree. From a core of early riddims, the genius of Studio One, versions of original basslines and melodies evolve over time New releases of the same tune follow each other through the 70s, 80s, 90s, into this millennium. Generations of the same family. And then there’s the unreleased versions, the frontier dubs built strictly for sound systems, held close by those who got them and only gradually circulated into the wider audience of selectors and collectors. These are the ones where the bass is heavier, the echoes more mind- bending, the effects wilder and the drums harder. Older sound followers tell stories of how these dubs defined dances, flattened opponents in clashes, inspired a dozen rewinds. Younger followers remember these tales and pass them down. These dubs are folklore.

Who knows how many such versions there are in the vast worldwide archives of Jamaican music? Not me. But as a little taster of a lifetime’s musical journey you can open your ears right now to a few moments: Lacksley’s Castell’s “Unkind”, transported from the sprightly riddim which underpinned it on his Princess Lady album and reengineered into a thunderous version of Ras Michael’s None A Jah Jah Children; “Deceivers” by the Heptones, stripped back into something simultaneously ethereal and bathyspheric; Keith Hudson’s “I’m No Fool” emerging from a pressure cooker of bass and drum; Jah Lloyd’s “Black Moses”, busting down walls with its epic echo and siren opening.

I started collecting these dubs in the late 90s. We were going to Shaka at the Rocket, Aba Shanti in the Arches, then Imperial Gardens. Entebbe somewhere off Mare Street. Iration Steppas in Kingsland Road, Jah Tubby’s in the Rec. We were doing our own parties at the time in east London, Bohemia Place, then Trenz, Dungeons, the old social services office by London Fields. Building up a sound, taking it on the road, crew sitting on the speaker boxes in the back of a Mercedes 508. Under the stars or in warehouses with sweat dripping from the ceiling, lugging crates and amps across fields or up flights of stairs, stringing up boxes under bridges, in car parks or on roundabouts. Waiting for the moment to drop the dubs.

This tape is dedicated to my crew and all the music providers and anyone who also knew or wants to know these moments.“

Fifty Physical Copies - 60 mins - No digital

A few words for the album
Moment’s Aeternity:
a 12/8 composition celebrating the raw power of the “moment”, marked by whirling improvised moments between drums, bass clarinet and Harris P’s Armenian duduk.

Pajko, fire in the forest on the mountain:
in Sokratis own words: “I have a really vivid memory as a child. I was staring at the Djena mountain from my window in Archangellos which sits on the Pajko mountain. A little beam of light shone far in the horizon; it was a fire that in my little eyes looked as if the giants of Almopia were trying to communicate with each other using phryktoria (a way of contacting through fire in Ancient Greece).”

Footprints of some Giant Steps:
While the classic compositions of two true Jazz Giants- Wayne Shorter and John Coltrane- are certainly different, they do both connect in a mystical way. Rearranged in 5/8 combining half of each melody and half of each one’s chord progression, keeping the form of the piece for improvisation, still in 5.

Oson Zeis Fainou (Seikilo’s Epitaph):
found in a tomb stone in the Northeast of Greece, this is the only melody saved from the ancient times. It is accompanied by lyrics contemplating the meaning of life:
Ὅσον ζῇς φαίνου
μηδὲν ὅλως σὺ λυποῦ πρὸς ὀλίγον ἐστὶ τὸ ζῆν τὸ τέλος ὁ xρόνος ἀπαιτεῖ.
‘’While you live, shine
don’t feel blue for anything because our life is short and time demands an end.’’

Here is to Oghene K:
’’Hey man, where is the groove?’’, he would say, just to trigger another wave of inspiration for Sokratis. Oghene was a true force of nature, a well of kindness, a masterful artist that left this world too early. This one is for him.

Balkan Riff (for Milcho Leviev):
Milcho Leviev (1936-2019), was a long-time friend and collaborator and a true inspiration for expression, creativity and colorfulness. Expressing the deep sentiments evoked by the Balkan sound and history, this is a sorrowful dialogue between bass clarinet and contrabass.

Spirits of Djena:
one of the most esoteric and personal moments of the album. Composed and recorded during the challenging times of the COVID-era, you can hear the baritone and tenor saxophone firmly grounded on a crispy, hypnotizing contrabass groove.

Sokratis Votskos Quartet
Kostas Anastasiadis / Giorgos Klountzos - Chrysidis: Drums
Leandros Pasias: Piano
Vaggelis Vrachnos: Contrabass
Sokratis Votskos: Soprano Saxophone, Bass Clarinet and Compositions


Sokratis Votskos is a jazz saxophonist, clarinetist, composer, educator, and bandleader from Greece. Deeply invested in unearthing the folk sounds and heritage music of Greece and Eastern Europe, he weaves these into modern jazz compositions though the use of melodies, polyrhythms, and his reedy, timeless tone. He leads the Sokratis Votskos Quartet, he is one half of Kolida Babo and member of the Reggetiko Project. A highly regarded sideman and ensemble player, he has worked extensively with renowned jazz musicians with several highly acclaimed releases (MiC, Jazzman, Walt Disney and now Fair Weather Friends Records).

He has performed his music in numerous venues and festivals worldwide from Vinterjazz in Copenhagen, to the EFG London Jazz Festival where he performed at the legendary Ronnie Scott’s alongside Greg Foat.

He is also an archaeoacoustics researcher and enthusiast, having completed his Master studies on the field of ancient ritualistic caves of Greece research.

Leandros Pasias was born in Thessaloniki, Greece. At age 10 was introduced to piano, continuing his studies at the Modern Conservatory of Thessaloniki and later at the Conservatorium van Amsterdam in the department of jazz piano.Ηe holds a classical harmony diploma and a BA at the Department of Music Studies at the Aristotle University of Thessaloniki. In 2020 he received jazz improvisation lessons from Aaron Parks.

With a series of appearances in multiple international jazz festivals, Leandros has collaborated with a wide range of musicians from Nicolas Masson and James Wylie to Marina Osk, Ivo Papasov and Haris Lambrakis, among others.

A member of the Yako Trio, he released “OdesSea” on Fair Weather Friends Records (2021).

Vangelis Vrachnos was born in Thessaloniki, Greece, in 1989. While he started playing the bass at the age of 12, alongside his brother, his studies would commence a few years later. Introduced to double bass at the age of 23, he undertook jazz double bass studies at the Codarts Αcademy of Rotterdam. He has participated in several festivals such as the Technopolis and Odessa international jazz festivals. Since returning to his hometown, in 2015, he has been a founding member of Mordana and Yako Trio and has collaborated with a series of musicians like James Wyllie, Sokrates Votskos and Dimitis Agelakis, among others.

Kostas Anastasiadis is a tireless researcher, that has been diligently studying Tradition and its evolution, creating a fresh amalgam of sound moods. His mature improvisational virtuosity highlights a uniquely individual artistic expression and was recognized with the ̈Unique Individual Stylist" award by the PIT (Percussion Institute of Technology) in Los Angeles, California. He has been associated with various ensembles that have garnered significant interest in the global music scene. As an educator, he is the founder of "The Harmony of Rhythm" musical method, which aims to explore and establish the elements that constitute the concept of rhythm.

Giorgos Klountzos-Chrysidis was born in Thessaloniki in 1991. Following studies at the Modern Conservatory of Thessaloniki, he moved to France and the Conservatoire de Nice. With performances at well-known festivals like Nice Jazz Festival, Nuits du Sud and Jazz à Vienne, he had the opportunity to meet the American drummer Leon Parker, who encouraged him to move to Paris, where he spent the next two years under his tutoring and guidance.

In 2016, came a defining moment in his career as he traveled to New York for the first time. He participated in the quartet of saxophonist Diego Rivera for a series of performances and attended lessons by Rodney Whitaker and Randy "Uncle G" Gelispie at Michigan's State University.

Collaborations include Xavier Davis, Ricky Ford, Nicolas Masson, Diego Rivera, Craig Bailey, Baptiste Herbin, Marc Abrams, Pantelis Stoikos, Antonis Anissegos, David Lynch, Ziad Rajab and Ivo Papasov, among others.

An assorted mixtape-style collection of recordings from Constantin Brăiloiu's World Collection of Folk Music archive, originally broadcast on NTS Radio in July 2017, issued as part of DINTE's 10th anniversary series.

Comprising field recordings made by the pioneering Romanian ethnomusicologist of English, Irish, Gaelic, Norwegian, Breton, Japanese, Italian, Swiss, Basque, Fulah, Sardinian, Estonian, Georgian, Greek, Turkish, Judaeo-Spanish, Portuguese, French, Chinese, Russian, Hausa, Tuareg, Indian, Corsican, Ethiopian, Romanian, Walloon, Flemish, German, Kabyle, Bulgarian, Macedonian, Bosnian and Caribou Eskimo folk songs & dances.

Demilitarize follows Nazar’s remarkable 2020 debut Guerrilla, which reprocessed Angolan kuduro music with rough textures, field recordings and media clips, telling a personal story of the civil war that exiled his family to Europe, while his father, a rebel General, fought a losing battle in the jungle back home. After Guerrilla, and an extended period of serious illness, now Demilitarize is motivated by a reckoning with mortality and the flowering of new love, turning the ‘rough kuduro’ of Guerrilla inside out.This is a deep sound world, genuinely dreamy, the arc of the album describing shedding the armour of trauma and surrendering to this new situation. A constant and unexpected aspect of Demilitarize is Nazar's gentle, submerged vocal. Insistent and mantra-like, it’s like a cross between Elisabeth Frazer, Arthur Russell and Frank Ocean, and the music is fragile and opaque in response. The rhythms of kuduro are still here,but move around his voice like fish around a swimmer, while precise sound design illuminates from different angles. Chords spiral, ripple and shoot through the beats giving tracks the loosest of settings; songs disassemble; vocals float off-centre.

Gravity Pleasure's inaugural release is a rippling compilation of womxn, trans, and non-binary artists and
collaborators that invites listeners into an aqueous paraworld of fluid resistance and sonic kinship. Across 21 tracks from the likes of Yetsuby, Flora Yin Wong, Felisha Ledesma, Ursula Sereghy, tibslc, and more, Water Bodies spans a post-genre miasma of ethereal mermaid music, cathartic flows, and glistening sibilants. Inspired by a poetic prompt from Lou Croff Blake, each track is an exquisite message in a bottle of deep diving emotionality. Pulling from a wide range of musical perspectives – field recording, lovesick ballads, shimmering downtempo, post-party comedown, and percolating ambient – the compilation contains multitudes yet maintains deep sentimental coherence. Like a wave crashing in slow motion, each artist sonifies possible ways of being, insisting on the porous, the interdependent, and the deep and unruly. Water Bodies reminds us that home is a body made of water, to which we all belong.


Credits Curated by Ashlynn White & Madelyn Byrd
Artwork by Dre Roelandt
Layout by Madelyn Byrd Mastered by Estle
Distributed by Rubadub
Published by Gravity Pleasure ❊ GP01 ❊ 2025

A fragile sense of time and memory runs through 'Thrill', the third collaborative album from Yana Pavlova and Pavel Milyakov. Recorded across four years and completed shortly before Pavlova's passing in February 2025, the collection expands the delicate language they introduced on Blue. The 14 scratchy, diaristic pieces move between ambient drift, field recordings and loose jazz inflections where haunted vocals, blurred guitars and faded textures surface then dissolve again. Rather than settling into fixed forms, the music unfolds patiently, revealing quiet emotional weight and space. It makes for a fitting closing chapter and a great document of Pavlova's singular, ethereal voice.

In Gianfranco Rosi’s portrait of Naples, Sotto le Nuvole, the ground shakes periodically. Between Mount Vesuvius and the Tyrrhenian Sea, the fumaroles of the Phlegraean Fields hiss volcanic gas and steam. Below the sleeping volcano, modern day Naples emerges in black and white and fills with voices, with lives. From the traces of history and the concerns of the present, Rosi documents a city immersed in its continuous past, with Daniel Blumberg’s minimal soundscape hovering in a sonic space between liquid and air.
Tasked with creating a soundscape that would suspend space within Rosi’s film, Blumberg called upon the extended technique of saxophonists Seymour Wright and John Butcher to create a gossamer fabric of traces and sounds abstracted from their instruments. Having transitioned from theoretical physics to the saxophone, John Butcher has always deeply considered space in the context of his playing. His concerns are with flow, density and how the saxophone is situated in the living world. Zeroing in on the core sonic properties of the mechanical and acoustic components of the saxophone, Seymour Wright has integrated its every breath, reed vibration, keypad clatter and hissed microtone of his alto into his own, unique improvisational language. In his work with these two seminal players, Blumberg makes his most concentrated soundtrack to date - reinforcing the film's sense of overlapping time and space, and pushing at the limits of experimentation.

Initially recorded in Daniel’s flat in London, Butcher and Wright centre themselves around long, consistent tones, so soft that it seems breath is being gently pulled from the saxophone's bell by an invisible hand. Blumberg himself adds haunting bass harmonica, and recordings of Wright’s launeddas - a traditional and ancient triple pipe polyphonic reed instrument from Sardinia, Italy. Blumberg then travelled to the volcanic region of Baia, next to Pompeii. Once a flourishing classical Roman city loved by Nero, Baia slowly sank under hydrothermal pressure, leaving the city in a kind of geological purgatory. Using specialised geophones and hydrophones, Blumberg took those initial recordings and amplified them underwater, sending them calling out across the ruins of Baia’s mosaics, Nymphaeum statues and villas.

“It was important to me that the music was whispered in the same landscape that Gianfranco has worked for the past three years, so that you can hear the volcanic air gulping, the lapping of the waves, the steam and bubbles popping against John and Seymour’s saxophone breaths – an echo from a suspended time.”
What emerges is deeply melancholic, tender, subtle and right at the edges of audio technology. Submerged in an aquarian mausoleum, the mysterious vibrations of the saxophone and its bell become an echo of an echo, wading from the future into the past. ‘Sotto le Nuvole’ is less a soundtrack than a process of aeration - a sonic puncture in the material of the film which allows its central message to breathe, and a remarkable experiment at the limits of the saxophone’s possibility.

Nous'klaer Audio introduces Maask with four sculptural works of sound: layers upon layers, each carrying a sense of life moving through every frequency. Built from field recordings gathered in remote corners of the world and transformed into powerful tracks for the dancefloor. Across these tracks you can hear a storm moving the branches of an oak in Powys, reeds photosynthesising beneath a lake in Rajasthan, highland moss, thunder above Kumasi and wind moving through a neolithic burial chamber on an island off Cornwall. As delicate as these unprocessed sounds are, as powerful are the synergies in their final forms.

It’s time to unleash the mini-album from pothOles: Today Tomorrow Whichever Comes First. This project started well over a decade ago and has evolved into six tracks. It’s a lush journey of deep house, built on scattered breaks, sample chops, and growling acid lines. The release features unique sonic textures, including field recordings captured during a sabbatical in Western Kenya back in 2011. The full pothOles package.

For the first time ever, this Common Labour wax arrives in a fully printed sleeve, featuring amazing artwork by Jessica Michaela. Don’t miss out on this limited run—only 195 hand-stamped and numbered copies are available worldwide.

The third installment of the Collaborations series by Artefakt on their own De Stijl imprint welcomes KMRU. The Nairobi-born, Berlin-based sound artist is known for his immersive use of field recordings, ambient textures and experimental compositions. Together they recorded an extended dialogue rooted in improvisation, shaped by environment and close listening. Artefakt and KMRU blur the lines between ambient, acoustic and electronic forms, creating a spacious and contemplative collection of improvisations.

Over a decade has passed since this was released, and it has truly aged like fine wine. This release features 2 timeless cuts from the mind and soul of intrusion, mixed and recorded near the heart of Detroit. This was beautifully remastered by dub innovator and pioneer, Stefan Betke POLE @ scape mastering in Berlin, DE. The recordings were pulled from the session masters conducted by Bazza @ Alchemy Mastering in London to ensure a perfectly balanced mix and preserving the soul and spirit of the original tape master. The first incarnation of "A Gentle Embrace" came in the form of three extended reshapes from cv313 & variant and now we're proud to offer the original work on beautiful crystal/silver mixed clear 150 gram wax! :)

On side A the most pristine of dub techno is on offer here, this is Detroit techno stripped down to its most minimal core. A gorgeous subtle ambient soundscape exploring the deepest end of dub and house with gentle surges of organic elements, field recordings and modular movements simply out of this world. The "Reduction" mix on side B captures those chilling glacial soundscapes, trademark basslines and mesmerizing gaseous atmospheres subtly layer into the mix. Otherworldly to say the very least, this is music to swim in, breathe in and to pray to - for the spirit and the soul. Essential!

Molekül celebrates its 10 year anniversary with its most ambitious release to date. The label brings together 16 tracks from artists who have shaped its DNA over the years. This compilation looks to the future rather than the past and represents the result of a decade of exploration, forming into a sound that is built on multiple influences, raw, peaky and impactful. The release features peak-time cuts from BAUGRUPPE90, Mark Broom or Zisko, alongside a new generation pushing techno forward like KUSS & Sicion, Seigg and Fran LF. It also dives into more hypnotic territories with tracks by JKS or Hemka, and delivers loopy and effective tools for the dancefloor from Mython, as well as a new standout collaboration between Beau Didier, Flits and Isaiah.

Besides his work as a painter, filmmaker and set designer, Philippe Lamiral Poirier (1951-2025) played guitar and saxophone in the group Kat Onoma, which he co-founded with Rodolphe Burger.

His fifth studio album combines his written texts with music composed by his son, Roméo Poirier, whom he considered to be cut from the same musical cloth as he was. It also confirms what has emerged from his previous albums, namely songs more spoken than sung and whose words evoke images, thus the album’s title – Images parlées.

A book of his paintings, Images traversées, will be published simultaneously with the album.

In this continual back and forth movement between text and image, music has always been present – sensitive and abstract, expressing nothing other than itself. It hollows out a place to tell us where we are. It is life without delay.

Roméo Poirier is working in the field of electronic music, focusing on heavy processing of samples and digital collage. He released albums on the London based record label Kit Records (Plage Arrière), the mancunian record label Sferic (Hotel Nota), and Jan Jelinek’s own imprint Faitiche (Living Room and Off The Record).

Straight from the weedy fields of swampville Bruxelles we bring you 8 ‘tranches de vie’ of deep zone-hall by weirdtronic bass veteran Michael Crabbé’s best fitting sound costume to date: the mighty Rudi J! You might know him from earlier outfits but that’s not the main issue here. Rudi J is!

When this swamp thing touches the pads, it’s off-road after three seconds, even if you’re in the middle of Europe’s capital. Mixing analog dirt and digital sound bits in a very loose and personal take on dancehall, we’re pretty far away from the dance floor but definitely swinging. It’s a trippy affair wandering around concrete flowers with a deep ambient flavor, but it’s edgy.

A hot summer fever dream following his own lusty path, full of life and wonder but with something sinister hiding around every corner. Often reaching for the stars, a deeper shade of bass keeps things nicely grounded. These sounds are built with a sound system in mind and bass culture at heart. Even if you can definitely surf on it from your couch, picking out all of its ear-pricking details, it will very much come alive on a big sound.

A layered affair with almost jazzy and orchestral elements peeping through the stereo-field, spectral and dissonant but also playful. Like early dubstep, some of these tunes can destroy a clubsound, keeping you skunking out in pedestrian mode and snorting up the atmospherics, finally forgetting about that damn phone.

Pon is Tujiko Noriko’s sixth album for Editions Mego and a further extension of her already significant body of work as both a solo and collaborative artist. Dedicated to her cat who she adopted as an infant and passed away due an accident having been born deaf, Pon is imbued with abstraction, tenderness and a deep emotional resonance.

Noriko’s palette of electronics, romantic melodies and surprising sonic details are all fully present here, and like her last full length, 2023’s Crépuscule this is an epic work, released as a 2LP by Editions Mego alongside a Japanese CD release.

The unmistakable hue of Japan hovers throughout this emotional rich landscape. Subtle field recordings and fragile, abstract motifs drift through the album, all cloaked in a warmth and humanity that only Noriko seems able to conjure.

Pon moves effortlessly between the childlike and the obscure. There are moments of deceptive simplicity where unexpected elements suddenly surface — strange voices emerge on Boku Wa Obaka, Knife of Yonder is a standout: a startling ten-minute unfolding that begins with a warm, almost Eno-esque drift before launching into a soaring mid-section and finally landing somewhere unexpectedly blues-adjacent.

Kikoeru Pon is brimming with childlike wonder — a heartfelt ballad that dissolves into domestic field recordings, including sounds of the feline for whom both the album and track are named. A quietly devastating ending that brings the personal nature of the record into sharp focus.

There is a deep sense of the human in the way Noriko embraces technology. This is far from cold abstraction; rather, Ponfeels like a colourful photo album, documenting Noriko’s inner world and instincts with remarkable intimacy. Hovering in liminal states between pop, ambient and abstraction, this is a deeply affective and moving release that reveals new surprises with each listen.

The emotional range of Noriko’s latest offering inspires hope in a world in disarray. It is both gentle and epic and one which we feel embodies the work of an artist fully at the height of her powers.

‘Yarrow’ is a bouquet of new music by Portland, Oregon-based musician and field recordist Patricia Wolf, marking the label’s ninth release and the third of Season Two. These works are her reflections on the life cycle of plants and their dynamic ecological relationships.

Wolf created the album in response to her artist residency at the Rocky Mountain Biological Laboratory in Gothic, Colorado, as part of the Art-Science Exchange Project in the summer of 2024. She worked closely with ecologists Dr Paul CaraDonna, Dr Amy Iler, Dr Jane Ogilvie, Dr Nickolas Waser, Dr Mary Price, and Dr Will Petry, spending weeks engaged in long-term research on plants, pollinators, and their interactions as the climate changes.

Each track on Yarrow looks at a different part of a plant’s life. The songs touch on the conditions that plants need to grow, the quiet life of roots, how flowers attract pollinators, and the strength of seeds. The first single, 'Inflorescence', the scientific name for the floral display that a plant makes in an effort to reproduce, captures this event in song. The music slowly builds layers, reflecting the album’s overall feel. The album ends with the majestic Boards of Canada-esque 'Adapted for Extreme Conditions', and the entire b-side features Patricia’s field recordings from around Gothic, Colorado, and a guided meditation by Dr Paul CaraDonna, whose research inspired the project, inviting listeners to tune into the sounds and activities of the ecosystem.

Carve is the second full-length by Bay Area artist Kathryn Mohr. Written over the course of five years and recorded over several weeks in a rural singlewide in the Mojave Desert, the album centers on love experienced as a form of grief, not as an aftermath of loss, but as a condition of intimacy itself.

Mohr describes Carve as an album about how memory exists outside the body, embedded in places and landscapes. It is shaped by her first return to the American Southwest since a childhood road trip at age five, and by the experience of moving through terrain that holds emotional weight long after its origins fade. The record considers how intimacy feels after years of isolation, and what it takes to carve out a life that allows for trust, presence, and feeling rather than mere survival. The project took form after a difficult tour that ended in Joshua Tree. Mohr pointed her car into the desert and drove alone, crisscrossing the Mojave on dirt roads. Months later, she returned to record the album, working alone with an acoustic guitar, a field recorder, and limited supplies. Following that period, Mohr began to allow for intimacy and connection. The time she spent recording Carve in the desert did not create isolation so much as mirror it. Working alone out of an old, western-themed jail Airbnb, the physical enclosure reflected the emotional conditions under which much of the record had been written: distance, restraint, and long stretches of stillness. In that context, love was not experienced as escape, but as something inseparable from impermanence and the awareness of loss.

This tension between connection and inevitability sits at the center of Carve. Some of the album’s songs were written earlier, during a prolonged period marked by emotional distance and apathy. Over those four years, Mohr was working through unprocessed childhood memories and their long-term effects on her ability to connect with others. The work was slow and difficult, involving a fundamental reshaping of how she related to herself and to the world. Carve was mixed by Richard Chowenhill of Flenser labelmates Agriculture. Rather than offering resolution, the album documents the act of remaining present within tension. Carve is not about escaping grief, but about accepting it as inseparable from love itself. Kathryn Mohr’s previous effort “Waiting Room” received the coveted ‘Best New Music' designation and a score of 8.4 from Pitchfork.

MEGAPTERA, the scientific name of the humpback whale, is also the title of the new album by French producer and composer Rone.


Born from an ambitious film project, the record was largely composed at sea, off the coasts of Brittany and Réunion Island, using a modular synthesizer and melodic sketches developed for an almost unreal proposition: attempting to resonate with whales through music.


Following Room With a View—a soundtrack to a performance created with the alternative dance company La Horde, exploring collapse and rebirth—Rone continues his investigation into new imaginaries. If that earlier work emerged from reflections on ecological, social, and technological tipping points, MEGAPTERA marks a shift: away from the city, toward the sea.


Gradually, he moved away from performance toward a more craft-based approach, extending his practice beyond the studio into a wider space of listening, exchange, and fieldwork. Early footage of sailors broadcasting his work into open water—seemingly answered by whale presence—circulated online, generating fascination, but also a growing unease for the artist regarding what these projections might imply.


This tension became the starting point for a longer period of field experimentation, developed in dialogue with scientists, environmentalists, sailors, and bioacousticians. The resulting 15-track album reflects this open-ended inquiry — not only into whether human-made sound can reach whales, but also into how this process can shape a new form of electronic music, and open it towards new deep-sea soundscapes.


Rather than seeking imitation, Rone works with reduction. Drawing on research into cetacean vocalisation, he pares back his language—focusing on frequency bands, repetition, and suspended structures. Minimalism appears less as reference than as natural convergence.

2026 Repress

Jack Stevens aka Sully has become somewhat of a cult figure in the jungle world with his output being in high demand. His work is unmistakable. It’s always true to it’s origins while simultaneously adding new takes and juxtapositions in palette and composition. A true artist that excels in his field.

Stevens returns to Astrophonica with Swandive, a body of work presented in dual energies - dark & light, body & mind, Yin & Yang. In Werk you’re put to the test physically as es- ki-like percussion stabs grab the attention and demand a response. A staple in Fracture’s DJ sets for the last year or so.

Poison demonstrates a side to Stevens’ production that is harder, meaner, cruder and all together more brutal than he is known for. The result is an infectious mix of venomous bass and corrupted drum breaks fit to kill any dance.

The title track Swandive begins to counterbalance the fierce energy and bring some harmony opening with calming strings and trademark icy melodies before elevating to an intense state of amen divinity that twists and turns in a story like fashion.

Memories completes the balance with euphoric bass stabs and emotional strings culminat- ing in a searing and conclusive anime-like solo. Some of Stevens’ most daring work. The cycle is complete.

The definitive 1998 True Metal Masterpiece - reissued on red vinyl!