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On April 7th electronic luminary Nathan Fake presents the new longplayer ‘Crystal Vision’ on his own Cambria Instruments imprint, which features collaborations with Clark and Wizard Apprentice.

This is music for music’s sake – recorded without angles, agendas and themes – so Fake was free to simply continue honing his craft and express himself non-literally. Aptly titled, there’s a clarity of execution and ambition, and a peak effectiveness to the record that just sounds right.

Continuing to set a personal bar higher and topping his own best, the mark of master craftsperson is everywhere, but that doesn’t mean it’s polished; There’s plenty of rawness evident, with spiky sonics keeping ears on high alert – full of endorphin-flooded rave energy.

Following a short, scene-setting ‘Arrival’ – a simple major chord arpeggio played on a Jupiter 6 which sounds like curtains opening at dawn, things begin apace with ‘The Grass’, which hurtles like a precision-tuned bullet train through Arctic tundra. The undulating effect of compression is emphasised by the classic techno trope where 2 rhythms jar yet interlock, creating an exquisitely disorientating strobe-like flutter. On the track’s guest, Fake comments, “I fell in love with Wizard Apprentice's ‘I Am Invisible’ and felt our musical styles were similar. Their vocals are smooth and clear and sharp at the same time. They’re like a calm within the storm.”

Inspired by Italo disco but sounding wholly alien and futuristic, ‘Vimana’’s fizzing buzzsaw arpeggiated bassline, popping snares and bright whirling melody are equally an electro trance melange, with an effervescent major chord Arp that kicks in midway.

Reminiscent of what used to be called ‘funky techno’ but with sparklier sounds, ‘Boss Core’ blinds like sunshine bouncing off ice. Using his trusty Boss DR550 drum machine, and inspired by Autechre's ‘Vose In’, the track peaks by reaching that melancholic/euphoric axis for which he is loved.

With chugging slow breakbeats not a million miles from Board Of Canada or trip hop, ‘Crystal Vision’ rolls along, with the melody opening up, revealing more hidden notes as it progresses, building into a fractal, kaleidoscopic mosaic.

An emotional outpouring with serotonin surging through the circuitry, classic breakbeats and layers of lazers, ‘Bibled’ has all the hallmarks of a classic. This is a bonafide festival-set closing, hugging-your-mates, moment – or, with its guitar solo, “a power ballad” – as Nathan calls it.

A minimalistic moment of calm midway through the album, ‘CMD’’s gently comforting dreamscape is conjured with FM stacked and detuned sine waves which are left to breathe, whilst the chunky Chicagoan house jack of ‘Hawk’ brings to mind classic Relief records, but even more detuned and wibbly, and laden with synths.

As the title suggests, ‘Amen 96’ is in Fake’s own words, “me having a go at jungle. I grew up listening to it, and I remember as a teenager it sounded like the most intense and otherworldly music ever. It still does. This track is an experiment to see how my melodic style works against amen breaks”. Closer to the braindance end of the spectrum than ‘proper’ jungle (and all the more interesting for it), Fake channels the spirit of Squarepusher but makes it his own, brimming with melodious twinkle.

A collaboration with Nathan’s close friend and genuine musical hero Clark. ‘Outsider’ finds this dream team alchemising pure gold that’s bigger than the sum of their parts. Skittering, intense, far-reaching end epic, the pair close proceedings on a grandly dramatic note. In 2020 Nathan released the album ‘Blizzards’, which was described by The Quietus as “his best work”, and “his best LP yet” yet by Resident Advisor. The equally well received ‘Blizzards Remixes’ EP which featured Afrodeutsche and Irene Dresel followed in 2021, as did a nationwide UK tour.

An in-demand remixer, Fake has added his magic to tracks by Radiohead, Clark, Perc, Jon Hopkins, GoGo Penguin, Dominik Eulberg, Christian Löffler and Damian Lazarus, working for labels including Ninja Tune, Domino, Warp, Blue Note and Kompakt.

Lobster Theremin ambient sub-label Lobster Sleep Sequence announce their double LP + 7” album from Dutch producer nthng - featuring a limited run of copies on deep green vinyl. Themed around events in the artist's life, Unfinished is a deeply personal journey, yet there’s something very relatable to the world he has conjured. Lockdown has forced us to look inward, explore realities within ourselves and the fragility of our forgotten world. The album is a series of peaks and troughs - hopeful words, ominous tones and other-worldly soundscapes, giving way to a journey in no way linear - but a true reflection of our times. The title track sets the scene perfectly, while Son features deep bass notes, dreamy keys and spoken word - creating a visceral and unsettling scene. Subnautica resides in the fringes of ambient and techno - as tribalistic drums are suspended in our new rendered reality.

The marching bass and howling synths of Wrath of the Demon lull conspicuously in a vacuum, while the hauntingly beautiful vocals featured on Disappeared But Not Forgotten evoke a poignant, powerful reaction across the record’s B-side - “Everything stopped, you just disappeared...”

At its most tranquil Our Time offers a sense of rest - a space to appreciate, as we leave the window open, peer outside and feel the gentle breeze brush across our face. Saafe continues this theme, and feels like a warm embrace - “She saved my life in a matter of speaking, when she gave me back the power to believe.”

Ending Theme is beautifully organic as you hear the sound of the piano pedal touch the floor, tones are introspective and vulnerable - while the looming presence of uncertainty subtly takes form in thinly layered pads.

The album also sees the release of a digi only bonus track Only a Flash of Light and invites you outside while the stars are at their brightest.

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Grey Vinyl

Lobster Theremin continue a string of euphoric, rave ready techno and trance cuts with a release from Germany’s Rove Ranger that’s hard, fast and effective. Straight off the back of his latest release on ravey UK imprint 10 Pills Mate, and his incredible track ‘Stutenlove’ on Lobster’s PLUR Compilation Volume 1. Rove Ranger is the dancefloor gift that keeps on giving. ‘

Opener ‘1998’ conjures up earlier release Rave Memories, with loopy, psychedelic, thundering 140+ techno, hurtling us from acid car ride into full flight across a sunset-burnt sky. Hefty percussive techno with an old skool sound, waves or rave drift over pacey heat and compelling kicks. Then we arrive at ‘101010’. 100% warehouse body music on this driving title track. Organic, clinking, clattering shell percussion clops over a dark, endless beat. True Berlin warehouse spirit channelled into the machine.

The uplifting ‘In My Mind’ is a proper chunky club pumper, blending lush vocals, squelchy bass lines and housier elements. The peak of euphoria and a nostalgic trip back to 90’s fusion dance music. Rounding out the EP on a eurorave tip, ‘Schaltkreis’ launches down a swirling, mesmerising wormhole. Pulling together urgent trance-synth stabs, racing pulse drumwork and crushed production taking us headlong into the abyss

High Focus Records are excited to share a new full length offering from prolific Brighton based producer Mr Slipz, this time with a fresh label signing, Australian rapper Nelson Dialect. A landmark release and signing for High Focus with Nelson being the first international signing on the label. UK listeners might have first heard Nelson collaborating with Verbz & Mr Slipz on the song ‘Hope’ from their acclaimed LP ‘Radio Waves’ released on High Focus in 2020. Nelson has a cult following in his own right in Australia, and previously released music on the legendary U.S label Fat Beats to great acclaim. Now teaming up with one of the most exciting and respected UK producers, Nelson & Mr Slipz deliver ‘Ever Since’. A statement piece by two artists with well over a decade spent on their craft which sounds as urgent and refreshing as if it were their first time releasing music. The album’s title is a reference to the endless quest for a timeless sound, reflecting the creative partnerships which spark from a seemingly forever existing thread of music. The two artists crossed paths whilst Nelson was on tour in Brighton, and a chance introduction to Slipz made this album a reality. As fate would have it, due to a cancellation of plans and changing of schedules during Nelson’s tour, the pair ended up in the studio for 8 days straight together which is when the bulk of the album was created. They each saw this as a cosmic alignment and thus played into the albums astrological artwork themes and overarching concept. Striving to capture the lightning in a bottle moment, what resulted musically on this album was an inspired surge of energy and intense creative output that is felt across the entire LP. Equal parts personal and lyrically dextrous, Nelson explores a multitude of concepts over the hard hitting drums and jazzy samples producer Mr Slipz is renowned for through his previous work with artists including Verbz, Kofi Stone, Vitamin G & Datkid among many more. The album features a slew of impressive guest verses including label mates Vitamin G & Verbz on the emphatic ‘Oxford Scholars’. Two legends Jehst & Confucius MC combine on ‘Smooth Ride’. Bronx pioneer & D.I.T.C legend A.G delivers a show stopping verse on ‘Trembling the Marrow’. There are hypnotic singing performances by Indira May on ‘First Date’ & ‘Open Book’ as well as Hiatus Kaiyote back up vocalist Jace XL on the soul stirring anthem “Figure Out What’s Right”. U.S rappers SickInTheHead & Cazeaux O.S.L.O round out the impressive guest list on the album with their inspired verses. Listeners caught their first glimpse of the duo with their debut single ‘Only Just Begun’. A whirlwind 3 verse tune showcasing the relentless wordplay and imagery Nelson is regarded for over a moody, hard hitting Slipz production. With a buzz already around what Nelson Dialect & Mr Slipz are brewing, the duo have just released their second single ‘Oxford Scholars’ featuring label mates Vitamin G & Verbz

The moons of Saturn are the inspiration for this brooding, often soaring and searching odyssey of dark electronica.

The second largest planet in the solar system after Jupiter, and the sixth planet from the sun, Saturn is orbited by 53 confirmed moons, with another 29 that are unnamed and still being studied.

Saturnian is a suite of thirteen choral tracks taking their names from some of Saturn's known moons; Dione, Daphnis, Phoebe, Prometheus, Rhea, Janus, Titan, Enceladus, Tethys, Telesto, Mimas, Hyperion and Iapetus, all named after figures from Greek and Roman mythology, each loaded with their own turbulent back stories. It is the debut release by Holmes + atten Ash, written, recorded and produced remotely in Edinburgh and Bristol by the duo Simon Holmes and Paul Nash.

Their project began during the 2020 lockdown. For Simon, time was spent exploring the Pentland Hills south of Edinburgh. For Paul, the Mendip Hills, south of Bristol. Both would experience the darker side of our human impact on the environment. Simon observed the wilderness as a wasteland, finding discarded, rusting metal littering the Pentland Hills while Paul witnessed the decimation of the ancient woodland of the Mendips' King's Wood due to the destructive tree fungus ash dieback.

These field trips fuelled a desire to navigate not just the landscape, but the duo's emotional place within it. Their collaboration led to a concept album that explores the outer reaches of the solar system, while simultaneously grounding them in a specific place. Looking inwards as much as outwards, theycreated soundscapes based on deeply imagined and felt connections to their surroundings.

After Simon had created a choral piece to accompany Luke Jerram's enormous, world touring artwork Museum of the Moon, Saturnian was a natural progression. When Simon was sent an initial score for the ethereal track Enceladus, composed by Paul in Bristol, he added choral arrangements recorded in Edinburgh. Their shimmering, tense opus continued to evolve from there. Just as the discarded bed springs and abandoned car parts that Simon stumbled upon in the Pentland Hills seemed to him at once "horrible but also oddly beautiful", Saturnian melds together melancholy and levity, fusing moments of dark angst with a celestial calm.

Opening with the glistening, hopeful brightness of Dione, increasingly urgent rhythms give way to digital, otherworldly calls from what might be rainforest creatures chirping into life with robotic squawks and delicate keyboard lines on Phoebe, followed by slowed down, monastic song on Rhea. Tethys is a hypnotic blur of synthesiser and soft chanting, while Rhea is a mysterious, echoing chasm, lifted by melodic, gentle male vocals. Janus has a glowing, effervescent energy, swiftly followed by a sense of tension on Titan, which throbs with driving percussive unease.

The album artwork is a pencil drawing created by Edinburgh artist Simon Kirby. It was made by a robot drawing machine, using custom algorithms that bring to life recordings of the sound of magnetic waves near Saturn's icy moon, Enceladus. The lines in the centre of the drawing are distorted by sound captured by the Cassini spacecraft which studied Saturn for over a decade.

Much like Saturn and its frozen, rocky moons, this debut album from Holmes + atten Ash is mysterious and beguiling, with a hint of foreboding in the depths of its powerful beauty and epic scale.

AVNU (UK) follows up his fantastic recent single on Ellum Audio with a long-awaited and hugely adventurous new album, ‘Tough To Love But Worth The Effort’.

AVNU (UK) is based on the East Coast of Scotland and has been deeply immersed in music for twenty plus years. He has a love of everything from rock, soul and blues to disco, electro, techno, trance and rave. All of that comes out in his innovative sounds, which range from sweat-inducing club tracks to hooky and feel-good grooves. This album finds him working his magic across 15 tracks that bring plenty of fresh perspective to house, electro, synth, techno and pop. They add up to a storytelling record filled with left turns and tracks that work in a range of different contexts.

'Surprise!' opens with a glossy electro beat and shimmering 80s synths that set the tone for the whole record. 'I Love You' brings a French touch influence with plenty of filtered synth loops and crisp drums under a soulful vocal, then 'Supaflake' cuts loose on an old-school funk vibe with nods to early Daft Punk. This most colourful of records plays out through the likes of sombre cosmic techno offering 'Bad Karma,' the longing chords and heavy-hearted electronica of 'Odyssey Jam' feat Mariel Ito and distorted bass of 'Phlegm In The Street' which comes with laser-like synths and menacing vocals.

The future styles continue on 'Yo E, Check This Out' which collides jungle breakbeats with brain-melting sine waves, while 'Wilkie' is a moment to catch your breath amongst bright and shiny synths and deeper drums that suspend you in a celestial sky. 'Proud You’re Mine' is a perfect electro-dance-pop gem that has potential to be a summer festival anthem and the title track closes down with six minutes of enchanting and mystical synth lines and hypnotic drums.

‘Tough To Love But Worth The Effort’ is a spectacularly broad and accomplished album that lives in a world of its own.

Sometimes it only takes a short getaway to the beach at the beginning of a new romance to open your heart to the wonders of the universe. On this record CV Vision taps into the ebb and flow of the sea, the cycle of coastal processes, and repositions the library sounds he’s mastered so well somewhere on the other side of the bay.

White noise washes like gentle waves up against analog synths and acoustic guitars, while the full spectrum of holiday possibilities are reflected: Surf’s Up (Let’s Trip) captures that roadtrip excitement, albeit with some psychedelic twist. But it’s not all sunshine - CV Vision makes sure to show the grey clouds too, with the sweet melancholy of Rainy Days.

Somewhere between dune rides and underwater dives, camp fires and sunsets, CV Vision captures a weekend at the beach in song. After a short moment of reflection (and some hallucinatory assistance), he wrote the lyrics and pieced the record together in the following weeks, to create what you see and hear now.

Instrumental interludes brush up against ballads and field recordings, to paint a wonderfully rich audio postcard from deep within CV Vision’s heart.

Kilòmetro 4.5 takes you into danceable ambient sounds through a dreamy album produced by Snad. Loop DreamZz is an ethereal representation of nostalgic soundscapes. It wraps you in a strange yet familiar sense of paradise at twilight, be it before dawn or post-sunset. Faint birdsong, gentle waves, and the bittersweet tiredness when you’re one of the last on the sandy dancefloor, yet perpetually craving to keep the dream looping.

Having crested the west coast modular-ambient wave in just a few releases - including 2018's Sharing Waves on the influential LA experimental imprint Leaving Records - Sean Hellfritsch has swapped the mossy analog synth improvisations of his prior output for refined melodic arrangements dressed in sprightly dawn-of-digital textures. Big Earth Energy plumbs the depths of Hellfritsch's multimedia mind and naturalist heart, spinning an impressionistic narrative world off of cultural touchstones like the PC game MYST, and the work of Studio Ghibli composer Joe Hisaishi. Inspired by the aforementioned, and guided by Hellfritsch's experience as an animator and filmmaker, Big Earth Energy is the soundtrack to a hypothetical video game with a pointedly ecological premise, and a twist of psychedelic charm. In Hellfritsch's imagined virtual journey, the player assumes the perspective of a treefrog sixty-five-million years ago, hopping epochs with each new level, forming a comprehensive picture of the massive changes the planet has gone through over the eons. The ultimate goal of the game is not to amass resources, defeat enemies, or gain power, but to fully witness the unfolding of one of the biggest systems of energy imaginable - or as the album's creator puts it - "to explore the incomprehensibly vast energetic expression and mystery that is Earth." Big Earth Energy is steeped in exploratory RPG intrigue, possibility, and contemplation, lovingly overlaid with Miyazaki-an sentiments and aesthetics. The through-composed, organic, meandering synthesis heard on previous Cool Maritime albums has been fully replaced by meticulous polygonal arrangements that recall the computerized sheen of late 80s work by composers like Hiroshi Yoshimura, and Yoichiro Yoshikawa - using true-to-period gear no less. Even given its referentiality, Big Earth Energy comes off as forward-facing where so much reminiscent music remains fixed to a bygone moment in pop culture. Hellfritsch has created a musical world where the endless verdancy of the biosphere finds its parallel in the golden age of early 1990s video games, and late 80s Japanese environmental music, all while pointing to a hopeful planetary and artistic future that vindicates the motives of all of these muses.

Black Vinyl

Time has come for Futurepast to release a long format album: Alarm Phase Red - catalogue number FPLP01 - will be the first full-length work from Futurepast founder Davy Vandegaer, appearing here under a new name: Brainwashed Today.

Rooted in a conceptual approach of electronic music, this double LP ranges from industrial ambient to experimental techno. Like an antidote to a twisted reality of controlled screens and mental isolation, Alarm Phase Red uses the raw language of electricity
to reach the core of the machine and sabotage it, reverse its effects by mirroring them. Fighting fire with fire, deflecting the pressure and strain of a world driven by fear and anger, the music of Brainwashed Today acts like a cathartic escape from technological enslavement.

With the purchase of the vinyl comes a batch of three digital bonus tracks pursuing further the sound research of the album.

Matir Gaan is a collaboration between young Bengali migrant, Mohammed After Hussain and Italian electronic artist, Andrea Rusconi (aka Paq). The resulting album delightfully combines the ancient folk songs of Md After's homeland with Paq's cosmic synth exotica.

Mohammed After Hussain escaped Bangladesh in 2015 and arrived in Italy in 2017 after a long and dangerous journey across the Mediterranean from the violence he found in Libya. In Italy he found safety and hospitality as an asylum seeker in Rimini's Associazione Ardea, where Andrea is involved with 'Ardea Recordings' - a project aiming to create an archive of songs, stories and sounds by some of the people who spent some time with Ardea's refugee programme.

Md After was invited to sing and play the folk and village songs he knew on the harmonium and pakhawaj (two headed drum) while Andrea immersed himself in the songs providing a bed of warm Crumar synth and Veena drones to create a finished album of totally uniquela renditions of the mystic Baul folk songs known so well by people across the Bangla speaking regions of India.

The Bauls are a famous group of wandering minstrels from the region of Bengal whose culture is derived from the teachings of the early Sufi mystics and Hindu Fakhirs. The Baul devotees are considered to be mad, or possessed, with the love of God. While transcending religion the Baul compositions celebrate celestial and earthly love and expound the key philosophy of “Deha tatta” or truth in the body, epitomised by the aphorism “whatever is in the universe is in the body”. They reach for divinity here in this world and they seek to access it through music and dance. They seek spirituality in the music, they live fo r the music, wandering from village to village offering ecstatic sound waves in exchange for sustenance. Their presence remains an important part of village life in Bangladesh, and this is why Md After knows the songs despite the fact he would not consider himself part of the Baul ascetic tradition.

We hope you'll enjoy this wonderfully psychedelic album, with its unique interpretations of these ancient mystic songs from the earth.

Comes with a printed inner sleeve featuring sleeve notes and lyric translations by Brian P. Heilman

‘Hypnosis’ was one of Drumcode’s most vital under-the-radar releases of 2019. Its creator, Veerus, returns to the mothership for another top-shelf offering.

The Italian’s career is a brilliant slow burner, releasing EPs sparingly over the course of his 14-year career. There’s a narrative quality to each track too, the artist reveling in a drama-laden call-and-response dynamic. All three cuts from his latest ‘System’ EP are made for big moments.

The title track was created with Amsterdam’s holy rave cauldron the Gashouder in mind, and was completed by Veerus just a few days before ADE last year. Balancing on a knife’s edge between tension and euphoria, the track’s twisted synth lines sent an energy surge through the iconic venue.

‘Year’ is a deadly one-two combo of synapse-searing synths and sharp drums as jagged waves of sound throb with panoramic effect. It was a captivating highlight of Beyer’s set at Amnesia in Milan in February, the final session before the lockdown. ‘Pyramid’ was debuted at Beyer’s Cercle performance last September, sound tracking a blissful post-sunset moment at the Théâtre antique de Lugdunum in Lyon.

RX-101 has quietly been making waves in the IDM/electronic music underground for the past few years, through a series of archival releases — material recorded in the late-90s, but previously unreleased until Suction Records began compiling and releasing these records in 2016. What’s truly mind-boggling about RX-101’s output is the sheer quantity of stunning, top-drawer material that Dutch producer Erik Jong recorded over the period of just 3 years, 1997-1999. Many have suggested that the whole thing is a publicity stunt — some insisting that this is all new material masquerading as vintage, while others have proposed that the material may in fact be a secret alias for Aphex Twin to release gems from his own legendary ’90s audio archive. RX-101 has absolutely nailed the sound, and quality, of early-90s AFX/Rephlex, that much is true. “Serenity,” this latest full-length RX-101 release, is no exception.

Just as RX-101’s last album, 2019’s Dopamine, concentrated on one hallmark of Aphex Twin’s sound — the smooth melodic techno of his Selected Ambient Works 1985-1992 LP — so too does Serenity reference another classic early-Aphex era, but this time it’s a completely different beast. Don't let the title fool you - Suction Records' latest dive into RX-101's 1997-1999 tape archives is not all lush, serene melodies. On Serenity, scorched, crunchy jackhammer beats combine with emotional, plaintive pads, delivering a classic set of vintage-Rephlex-style bliss, à la AFX, Caustic Window, and Cylob. It was Cylob who coined the term Industrial Folk Songs for his classic 1995 LP, and that release is clearly a blueprint for RX-101’s latest collection.

Standout cut Hearts Utd., featuring a stunning music video by Aidan Fantinatto and I Dream Of Wires’ director Robert Fantinatto, not only nails the magic of AFX’s trademark, irresistible jackhammer-beats-meets-plaintive-melody device, it arguably rivals the master at his own sound. As a whole, what could be a harsh and monotonous collection is lifted by RX-101’s subtle diversity and skill, particularly in his ability to create eerie, evocative moods, with gorgeous melodies that speak volumes of emotion.

Discovered, curated and managed by Exos, Planet X is the latest discovery in our solar system. Little is known about this mystical planet other than that it radiates sound waves on the rougher side of the galactic spectrum. This first release comes from Exos himself where he fuses together old and new material with remixes from his astro pals, Ben Sims and Antigone. The release takes off with an old 90’s Exos track which is then warped and mixed by Ben Sims in his signature hardgroove style. Next in orbit is Bingo, a brand new track for interstellar clubbing that sounds like a country theme where Exos sampled a live guitar from his father’s rock band. The outcome is a dark and raw mixture of a 909 beat with a dark space cowboy riff from the blackest hole of our galaxy. The Antigone remix takes us near the event horizon where there is absolute chaos between dimensions.
The second release from Planet X will launch off next autumn with fellow space cadet Lafontaine on a 4 track storming missile and signs off with a nuclear remix by the one and only Matrixxman.
Start the countdown for our journey to the center of the galactic dancefloor!

Mannequin's 100th - a comp looking forward featuring an international and serious cast... BIG TIP!
The modern synthwave scene would be significantly poorer without the keen ear and tireless efforts of the Mannequin label run by Alessandro Adriani. Geographically situated within the nerve centers of Rome and Berlin, yet with a musical spirit that easily transcends these boundary lines, Mannequin's back catalog has been an important component in the modular assemblage that makes up electronics-based independent music in the 21st century, and an important reference point for those who need to defend against the lazy accusations that this such is purely retro' in its form and content. Recent accolades and accomplishments - being named Resident Advisor's label of the month' for May of this year, starting the 'Death of the Machines' 12' series, and being given the 'green light' for bi-monthly parties at the Säule room in Berghain - have been earned through Mannequin's unflagging commitment to sonic diversity and Adriani's own realization that the anxious and sharp-edged sounds associated with, say, the Cold War of the 1980s can convey a completely different message today. Adriani says it best when claiming that there is no such thing as 'old' or 'new' music...only the music of now'. With this cogent statement of intent, Mannequin continues to go on exploratory missions to find the best and most relevant aspects of genres like acid, industrial, EBM, post-punk, coldwave and still more.

Which brings us to Mannequin's newest project and 100th release overall: the Waves of the Future double LP compilation, which itself is not a conventional retrospective collection. Case in point - none of the artists appearing on this collection have put out their own releases on Mannequin yet, despite acting as Mannequin's unofficial ambassadors (via DJ sets and other means). This makes the set even more compelling rather than less so, since it shows how Mannequin fits into a larger picture that includes other scene leaders and label owners including Beau Wanzer, Willie Burns (WT Records), Silent Servant (Jealous God) and Ron Morelli (L.I.E.S.). Of equal importance is how Waves of the Future projects a sense of aesthetic resilience and continuity, showcasing just how well the current artists allied with Mannequin employ and re-interpret the sonic lexicon that appears on that label's reissues of 'classic' acts such as Nocturnal Emissions, Bourbonese Qualk, Din A Testbild and Doris Norton.

However, none of this would matter as much if the music itself didn't have strong potential for lighting a blaze in the dark corners of the human imagination, and of course for forcing bodies into motion. Each track here pivots around a couple of key sound elements that seem to set the stage for the next track to come: see the sputtering / chopped ghost voices on Morelli's Charges Won't Stick,' which easily informs the slicing drone and authoritarian beat of Shawn O' Sullivan's Ill Fit,' which then lays down the emotional foundation for the sequencer-powered With You' from An-I & Adriani or the glassy landscape of Illum Sphere's Exhaustion'. Elsewhere, the wired mischief of Not Waving intersects easily with the spherical electro-funk and coded commands of Beau Wanzer. When all the disparate parts of Waves of the Future are soldered together, it perfectly illustrates Mannequin's non-linear philosophy and Adriani's suggestion that Mannequin listeners directly engage with the music rather than trying too hard to analyze or dissect it.

The follow up to her UK number 1 album This Is How Tomorrow Moves, the stark and striking fourth album by beabadoobee is named for the electricity towers that dot every major artery in the world—the strong, spindly structures that reminded Beatrice Laus of her connection to friends and family at home while she was staring down extreme disconnection and isolation on tour over the past few years.

The title can also be read as an allusion to Laus’ spiky, forceful new sound—the waves of distortion that crash and shatter across this record’s 14 songs mirroring the intense crackle you hear when walking under power lines. The pylon is also a fitting symbol for an album that reckons with the repetitive anxieties of your mid-twenties: What if I’m always going to be this way? What if life is just pylon after pylon on the road?

The album’s first single is available to stream and buy from today: “Sun Has Set” introduces Pylon as, in essence, a set of songs that began as diary entries, words that Laus thought she’d never be able to say out loud. “A lot of the songs on this record are things I wish I could have said to someone,” she says. “This song has this petty tunnel vision—it’s like, I hate you. You’re gonna stay here and listen to how much I hate you. Because I never got to say that.” The single comes accompanied by a striking first person video directed by Bea’s partner and longtime visual collaborator Jake Erland.


Ever a devotee of pure rock music—both as something to be cherished and something to be played with—Laus casts these feelings in songs that touch on classic grunge, midwest emo and ‘90s radio rock, zeroing in on a sound that is both harsher and more direct than any of her previous records. She says the music she’s loved has “always been an influence” on her music, and so for B4 she went straight to the source. A fair few of Beabadoobee’s composite influences contributed to Pylon, a fact that speaks to the goodwill and respect Laus has amassed over the course of her relatively brief career.

Hayley Williams sings on “Nothing to Prove,” a deeply anthemic indie-rock song about getting your power back from fairweather friends who just want a bit of your success. The moody “Powerlines” features a verse from Turnstile singer Brendan Yates, a master of matching vocal force with emotional nuance. Elsewhere, you’ll find contributions from Pinegrove’s Evan Stephens Hall, Deftones’ Chino Moreno, and Title Fight’s Shane Moran, as well as, on “Write Me A Letter”, production work from Laus’ longtime friends and collaborators Matty Healy and George Daniel of The 1975.

Beabadoobee will debut songs from the record on the Powerlines Tour, her first ever arena shows and biggest tour to date, taking in shows across North America, the UK and Europe this autumn-winter. The Powerlines Tour kicks off 1 October and includes stops at Madison Square Garden, The Kia Forum, The O2 and more (full routing below). Support comes from Wisp in the US, Canada and UK and Violet Grohl in France, The Netherlands, Belgium and Germany.





Born in the Philippines and raised in London, Beatrice Laus emerged as a British alternative music icon across three acclaimed albums and five EPs. She has garnered multiple BRIT Award and BBC Sound Of nominations, and won NME’s Radar award, whilst amassing over 10 billion streams worldwide and more than 12 million followers across her social channels.

This Is How Tomorrow Moves became her first record to reach number 1 on the UK Official Album Chart in 2024, following her Top 10 albums Fake It Flowers (which reached number 8) in 2020 and 2022’s Beatopia (#4). Earlier this year, beabadoobee released the one-off single ‘‘All I Did Was Dream Of You,” teaming up with Grammy-nominated best New Artist The Marías, the result of a longtime mutual creative admiration between María Zardoya and Bea.

Long overdue reissue of classic Scottish ambient techno banger ‘Mindweeds’, originally released in 1993 on the Pure-affiliated T&B Vinyl label run by Keith McIvor (JD Twitch) and Andy Watson (Brainstorm). With a Discogs demand ratio at about 300 have : 2000 want, and used prices peaking at over £100, now seems to be the right time for a re-release.

State of Flux were Roger Elliott and Dave Clark (aka Sparky, LUMA, Truffle Club and main man behind Kübler-Ross). They first met at Glasgow’s Strathclyde University in 1990, bonding over a shared love of weasel racing, German sausages and “man-duos” like The KLF and The Shamen. Dave was fully pubescent and already had a synth and drum machine, while Roger – a late developer – bought “another cheap synth, a Commodore Amiga for sequencing and a tiny mixer with no EQ”. For two long years they concentrated hard on “churning out unlistenable pish”, admittedly clueless about what they were trying to do.

Then – out of nowhere in the summer of 1992 – a flatmate’s Jello Biafra spoken word CD (‘I Blow Minds For A Living’) provided the inspiration to unlock the spark of dynamite that set the raving world on fire. Sampled using a Walkman* cassette** tape*** on playback (a decision the pair soon came to regret every time the track was subsequently performed live), Jello’s pilfered rant would soon become the crucial glue that held together the burgeoning kaleidoscopic helicopter spliff that is ‘Mindweeds’, loaded as it was – and indeed still is – with a veritably seething morass of cheeky electronic blims, nasal filter cheese and gay Caledonian spunk.

* a vintage portable listening device roughly the size of 4 iPhones stacked on top of one another and weighing the same as a small tub of yoghurt

** a plastic cartridge enclosing 2 miniature spools of magnetically coated, polyester-type plastic film (magnetic tape), notoriously convenient for pirating copyright material and secreting in one’s underpants for transporting between illicit market trader stalls

*** thin ribbon coated with ferromagnetic particles, usually ferric oxide but also chromium dioxide, "pseudochrome" ferricobalt or iron-cobalt-nickel “metal” formulations – with the latter types sounding marginally less crap

Playing demos of the track to friends, one thing led to another and a copy arrived with Twitch. Meeting the legends behind Pure in late 1992, a release was scheduled for summer 1993… but not before a promotional live gig in February of that year, supporting their heroes The Black Dog. Confessing that they “didn’t have a clue how to play live”, the duo played it safe, “went to a studio near Edinburgh airport to record the ‘live’ show” and then “mimed it off a DAT” at the gig, “standing in front of unplugged synths”. Soon after this, they recorded the full EP at Finitribe’s ‘Finiflex’ studio in Leith, Edinburgh and the record came out as planned that summer – the same week as Underworld’s ‘Rez’.

The record received high praise, appeared in many big-name DJ charts, sold out very quickly and was repressed within a few weeks, selling several thousand copies by the end of 1993 – no mean feat in an era when people had to use landline phones ****, faxes ***** or good old-fashioned carrier pigeons ****** to ascertain literally anything about the outside world, what was cool, where to buy the cool shit, or how to meet people and have fun.

**** a fixed communication device that connects to a telephone network using physical wires, cables, or a stationary base unit tied to a specific geographic address, using a handset incorporating a mouthpiece featuring a small metal disk and carbon grains, converting sound pressure from the human voice into a flow of electrical waves caused by these grains being squeezed together, before the variable signal is transmitted down DC voltage-powered copper wire and rerouted by a central exchange to arrive at the earpiece magnet of the target receiver’s handset, moving a small speaker cone accordingly so the message is intelligible WITHOUT THE PERSON SPEAKING ACTUALLY BEING PRESENT

***** as above, but for the d/Deaf

****** flying vermin riddled with diseases and capable of surviving nuclear armageddon

Soon Roger and Dave became sick of the Walkman being the only instrument played live in their set: with their new found fame and riches, they invested in a case for their Amiga to transport it around Scotland, while also putting in the hours on how to pretend to play live better with a sequencer and synths that were FINALLY plugged in. Following the release of ‘The Mercury EP' in April 1994, they embarked on a full tour of the UK and even managed to part ways and end the band by June that year.

This reissue includes the two original mixes of ‘Mindweeds’ recorded at Finiflex (‘Original’ and engineer ‘Fred's Fancy’), the original cassette demo (mastered directly from the actual recording sent to Twitch & Brainstorm in 1992) and a live version recorded at the Birmingham club night 'Oscillate' in April 1994.

Garefowl is a project connected to the archipelago of St Kilda, Scotland. Ewan Macdonald and his father Murdo, relatives of one of the men who killed the last Great Auk (Garefowl), conceived the project to reflect on and mark this family history. Garefowl is an international collective of musicians combining strings and electronics: Nathan Bontrager (viola da gamba/harmonium/banjo), Stuart Graham (bouzouki/harmonica/harmonium), Chris Jones (concertina/mandolin), Ewan Macdonald (fiddle/smallpipe drone), Richard O’Flynn (island sounds/percussion/XRD drones), Jess Whelligan (cello).

Things That Vanish was recorded on Hirta, the main island of St Kilda, at night. The soundscapes of Hirta breathe across the record: a quiet rolling swell of winds, waves, birds, and the otherworldly thrum of the snipe. Taking influence from the traditional folk music of St Kilda, the tunes on the record are inspired by the threatened seabirds of the islands. The band were intrigued by the folk stories around these birds, and how they often are depicted to imbue a primal, dark and haunting nature. In such tales, the birds retain a quality akin to a sea monster: preying upon calves and sheep, and believed to be the pelagic souls of drowned sailors or the cursed spirits of cruel captains.

No synthesizers were used on the recording. Instead, the production draws entirely on sampled and processed field and hydrophone recordings collected on St Kilda. Additionally, drones were created through a process pioneered by Richard O’Flynn and Joe Gardner. Rock or bone samples are analysed using X-ray diffraction (XRD), which creates a spectrum with peaks corresponding to the sample’s chemical composition; this spectrum can then be mapped to sine waves, forming a drone.

2026 Repress

'Quiet Pieces' initiates Abul Mogard’s personal imprint Soft Echoes with a definitive self-portrait of calm, contemplative, and discreet inner landscapes made audible. It is the first solo album on vinyl in four years. RIYL Alessandro Cortini, William Basinski, The Caretaker.

While sifting through archived material left idle from earlier projects, a chance encounter with a late uncle’s trove of beloved 78rpm classical and opera records prompted the reworking and completion of what would eventually become the album. Spinning dusty records at 33 and 45rpm, Abul Mogard recombined their enduring spectres with unfinished sketches from his archive. The resulting soundscape blurs distinctions between his memories and those of another, exquisitely short-circuiting the senses with its waking, dream-like lucidity.

This was a process I hadn’t explored in my earlier works. I began sampling brief moments from these records, altering them with studio effects and playing them at slower speeds. In many cases, I wasn’t entirely sure how the original music sounded. These fragments, once further processed, became a source of inspiration for my new compositions. Over time, I realised that the old pieces from the archive and the new material derived from the samples naturally complemented each other.”

The resulting pieces hover over a threshold, a liminal space that harmonises the old and older material. Voluminous waves of quiet and loud undulate between consonance and dissonance, conjuring imagery of a decaying grandeur that humanity’s decadence has surrendered to the elements. Abul Mogard’s seemingly abandoned yet vast landscapes are nevertheless intimate with timbral frissons of red-lined distortion. Elusive, yet as tangible as sea spray or smog, they affect the olfactory senses with a rarified, synesthetic quality that modestly engages one’s emotional register – a hypnotic, distinguishing feature long hailed as one of the hallmarks of his work. A fidelity to memory and dream recall is sensitively probed in the journey from the stately symphonic stasis of 'Following a dream' to the almost industrial, untethered brutality evoked by a looming silhouette that’s never fully visible in 'Constantly slipping away', culminating in the foreboding coda of 'Like a bird'. Those pieces appear to shield the album’s sentimental core, where the tempestuous play of light and shadow of 'In a studded procession' escalates to breathtaking, panoramic climax, while 'Through whispers' evokes an out-of-body-like experience encountered with visceral poignancy.

Looking back, Mogard notes an unexpected influence: “I realise being inspired by Phill Niblock, whose work I had barely known at the time but explored after his passing in 2024. His album 'Boston Tenor Index' changed the way I approached dissonance. It encouraged me to push my sound further, to the edge of a space where I began to feel uncomfortable.”

The album artwork, created by longtime collaborator Marja de Sanctis, features a photograph taken at the Temple of Jupiter Anxur, an archaeological site overlooking the Mediterranean Sea. Captured with an iPhone, the image traces the residual presence of construction techniques and architectural forms of the Romans, where material history is transcribed through contemporary tools. The convergence of ancient and modern technology aims to reverberate the site’s lasting spiritual presence – an echo persisting in what is now perceived as a quiet, emptied space. The spiral gestures towards infinity and light. Past and present dissolve into one another, reflecting 'Quiet Pieces' meditation on sound, memory, and time.

RIYL Alessandro Cortini, William Basinski, The Caretaker

Since the release of DAMAGED in 2024, Michael Fiedler aka GHOST DUBS has been surfing intensifying waves of adulation, earning praise from such diverse underground legends as Justin Broadrick (Godflesh/Jesu), Regis, Stefan Betke (Pole) and Steve Von Till (Neurosis). With second album Oblique, his mastery of sculpting sound waves results in a spellbinding set of alien soundscapes: larger in scale, richer in tone and considerably more cinematic than its predecessor. Lower, deeper and moodier, its cloudy abstractions, shadowy pulsations and submerged rhythms find Fiedler reaching further into his own sonic void, crafting blurred melodies and addictive narco loops into something simultaneously heavyweight and hypnotic. Album opener "Low Times" sets the atmospheric pressure to maximum, resembling a dream date between prime dirt-house era Andy Stott and Berlin dub-tech pioneers Basic Channel. From there, Oblique descends into a series of enchanting mood scenes: the furtive, balletic gyrations of "After All", the haunting ambience and buried heartbeat throb of "Soft Collapse", and the noirish atmospherics of "Blackout Dust", which worms its way into the mind like some forgotten David Lynch scene. The spirit of reggae is more distanced here than on DAMAGED, but the ghost of Jamaican dub still permeates these foggy soundscapes, particularly on "Bombed Suburbs", where Augustus Pablo-style melodicism is chopped, screwed and slowed into a magnetic lock groove. Superficially minimal but maximal in its minute detail, Oblique is a record of contorted reflections, mesmeric echoes and tantalising audio mirages. By the vaporous mist of closing track "Almost a Structure", obvious rhythm has been craftily filtered away, leaving a blurred and blunted residue full of mystery and implied narrative. Dense in the best possible sense and crushing when played loud yet equally potent played quiet, Oblique imagines dub techno burning its own rigid rulebook: sensual, funky and concussive rather than dry or alienating. "Second album from electronic producer Michael Fiedler's GHOST DUBS project. "Follows up from the highly-acclaimed 'Implosion' album with The Bug from 2025. "Debut album 'Damaged' sold out its three initial pressings and has just been repressed "Michael Fiedler recently scored 'Sound of Falling' which won a Cannes award in 2025 and made the shortlist for an Oscar, too.

maya ongaku has always been searching for what exists just beyond the edge of perception. Since forming in the seaside towns surrounding Enoshima, the trio has followed a path guided less by intention than intuition, allowing songs, ideas, and experiences to emerge through a process they describe as 自然発生 (shizen hassei), spontaneous occurrence. Nothing Space Music is the deepest expression of that philosophy to date.

Written in the aftermath of several years of international touring, the album emerged from a growing desire to reconnect with silence. As stages became larger and the world around them moved faster, the band found themselves drawn toward the quieter spaces beneath it all. What began as a reflection on stillness & silence eventually expanded into the idea of "Nothing Space". To realise the album, maya ongaku created an entirely new environment for themselves. Near a seaside shrine in their hometown, the trio transformed a large soundproof building into Nothing Space Studio, a space built specifically around the needs of this record.

Nothing Space Music: a meditation on presence, perception, and the possibility of rediscovering the world through attentive listening.

Courant Zéro is the new moniker of Montréal multi-media installation artist and Kohlenstoff label co-founder Maxime Corbeil-Perron, signalling his return to purely recording-based electronic music production following several years focused on award-winning experimental film and audio-visual works. Solari channels his cinematic sensibility and decade-long exploration of sound art and electroacoustic counterpoint into deep cuts of maximalist ambient electronica. Drawing on his early background as a pianist and jazz drummer, Corbeil-Perron weaves a fabric of melodic and rhythmic vectors with his unique timbral palette, intersecting modern composition, IDM, ambient, glitch, and noise on a debut album brimming with sonic detail and emotive resonance. A fixture of Montréal's sound art community as both creator and curator since the early 2010s, Corbeil-Perron's work has ranged from "hypnotic A/V onslaught" (FACT Magazine) to the "richly nuanced acousmatic journey" of his 2018 EP Polychrome (Bandcamp Best Contemporary Classical Of The Month), with earlier electronic and techno-adjacent projects like Political Ritual, Dresden, and Le poisson d'argent garnering accolades from avant-music outlets A Closer Listen, Silence and Sound, and Musicworks, among others. Courant Zéro mobilizes this cumulative wealth of explorative sonic experience in the service of distinctive compositional architectures and electronic music pathways that fans of Floating Points, Jan Jelinek, Squarepusher, Tim Hecker, and Oneohtrix Point Never should find compelling. Title track "Solari" opens the album with a cavernous ambient glitch-drone soundscape that envelops ever-shifting timbres of modular arpeggiation, serving as introduction to the clarion call of "En deçà du réel", an homage to video artist Manon Labrecque, where layers of interweaving melodic counterpoint played on Buchla and other synths slowly build to widescreen immersive intensities; "I have this vision of Labreque vibrating eternally between two frames of magnetic VHS tape_ the slow pace of the piece also inspired by Tarkovsky's approach to scenography" says Corbeil-Perron. "Strange Aorta" is ectoplasmic ambient with wistful melody lines transmuting along a central filament, awash in shifting waves of low-end and ricocheting tonal glitch, the title a reference to "the thumping rhythm beating around the main melody_and the heavy remnants of grief related to my father's passing and a brutal confrontation with my own mortality a few years back." Tracks like "La peau des dents" and "Eroding Us" are more firmly rooted in electroacoustic and aleatory systems music, where colliding loops are shaped into unstable flows of deconstructed slippage and reconvergence. Those two pieces bookend the album's pivotal center: the gorgeous piano digitalia of "Horizon n'arrête" and the skittering electronica of 9-minute opus "Unyeldd", its loping broken beat and cascading melodic glitter like a cluster of wind-up music boxes in a dappled forest _ and for Corbeil- Perron also partly inspired by now fellow Constellation labelmates Do Make Say Think: "I spent a lot of time rediscovering their records after seeing them last September 2024 which definitely influenced this piece." Courant Zéro's debut is a vibrant sonic rebus at the junction of electronic, electroacoustic, noise and ambient music that resists easy categorisation. Solari strikes a compelling balance of unsettled disorientation and hospitable warmth, teeming with real feeling throughout. The album's cover art painting Cryptography I by Yen-Chao Lin represents this prevailing sensibility, its mazelike circuitry distinctly carved and crisply rendered, while filigreed with handmade detail and artisanal patina. Thanks for listening.

After his contribution to Tangled Waves Vol. 2 with “Grit Wave”, Little Sea returns to Bosconi for his first solo EP.

A producer, vinyl collector and lifelong student of electronic music, Little Sea has spent over two decades refining a sound shaped by the Italian progressive and techno scene of the ’90s, filtered through a contemporary approach. In 2025 he launched his own imprint, Sea Horse Records, followed by the Mental Tools Series.

Ritmo Divino moves across progressive house, breaks and trance without leaning on nostalgia, drawing naturally from a musical language that still feels relevant today.

“Minx” opens the record with rolling grooves, hypnotic sequences and a powerful electro-tinged breakdown. “Vital” shifts into broken rhythms, combining UK-inspired breaks with spacious pads and uplifting progressive melodies.

On the flip, “Shields” explores darker territory through restrained percussion, deep basslines and whispered vocal textures, before the title track “Ritmo Divino” closes the EP with a warm, emotional take on late-’90s progressive—melodic, expansive and perfectly suited to the final moments of a set.

Four tracks that bridge classic influences and contemporary production, confirming Little Sea as a distinctive new voice within the Bosconi catalogue.

Clear Vinyl


Her sound remains vast and yearning, with gut-punch drums pushing through explosions of colored powder; her voice is a chrome-plated sigh, and her agile melodies soar effortlessly. - Pitchfork *BEST NEW MUSIC*
she achieves some serious cinematic grandeur. - Stereogum
Simply too sublimely crafted to ignore. - Consequence of Sound
A catchy ethereal piece of pop - Brooklyn Vegan
Rose's layered, reverb-laden vocals hit like waves of sunlight, warming her lines almost to the point of wordlessness. - Paste Magazine


"Hila. A record about loss. What persists beyond the range of ordinary perception? The place mourning keeps returning to - not quite transcendence, not quite doubt. The edge of what we can see."
Frankie Rose has spent fifteen years building one of the most quietly distinctive bodies of work in American independent music. Bursting out of the shackles of her legacy on 2024's Love As Projection, 2026's Hila builds on the muscular, dance-ready songwriting and transcendent melodies to result on Rose's most exploratory and affecting record of her career. Imbued with yearning melodies and brooding post-punk dynamics, Hila is Frankie Rose at her most impressionistic and expansive.

Self-produced at her home studio featuring collaborations with drummer Justin Welch (Elastica/Lush), Hila was recorded following extensive touring with The Jesus & Mary Chain and Swervedriver. The result is the most confident, searching music Rose has produced; muscular in its production yet emotionally vulnerable in its diffracted neon glow. A record informed by loss and the way grief mutates our senses, it's fitting that Rose channels the nuanced darkness of later Coil, at times the pounding EBM-production of Skinny Puppy and the near-spiritual alien-ness of Cocteau Twins. On Hila, the doors of perception are constantly melting, revealing the porous nature of the seen and unseen. The result is a synesthesia that flips the senses.

If Love As Projection was an outward-looking record looking to embrace the world, Hila brings the dark cosmos into inner space. Rose's love for 80s production and soaring melodies remain, they're cornerstones to her craft after all, but there's something more assured and gothic underneath the massive waves of sound. Opener Olo shimmers into a pulsating, cinematic brooder, Rose's vocal transcending and swan diving between registers in the chorus breakdowns. First single Cant Be Wrong serves as a transition from the optimistic pop of Rose's previous album, introducing a thumping 80s funk rhythm track under the soaring vocal performance. The ebullient Shadow Twin is that song's sibling, recalling major label-era Strawberry Switchblade melancholy mixed with Robin Guthrie's twinkling guitar work.

Hila blossoms darkly from here on in, blowing out into a glacial wide-screen sonic dynamic. On Rainman and the title track the listener is transported to a rain-soaked, nocturnal cityscape ridden with desire, moonlight cutting through blinds, intoxicating chasms without bounds. Rose's use of saxophone and digital synthesis recalls the nightmusic of Hats-era Blue Nile or the more ambient end of Emeralds' catalog. Indeed, in the towering synthetic cello sounds that climb into the mind on Hila, there's a distinct flavour of the instrumentals on Bowie's Low. This is musick to play in the dark, to light the way a little, just enough to trick the senses.
Leading into the strobe-filled haze, single Manifest pounds forward with a massive Industrial 4/4 beat and post-punk/goth musicality, an exercise in unlit ecstasy. For Best Of Times, the liberal saxophone passages feel like a suppressed, 80s Michael Mann soundtrack with Frankie Rose's effortless, melodic vocal performance probing, searching for connection. Navigating through the dry, iced landscape into a rising sun, closer Velvet Refrain flips the melancholy of the preceding passages. With a massive sound dripping with harmony, the clanging guitar and vocal duet feels they're sound-tracking an unexpected happy ending after bouts of darkness."

The follow up to her UK number 1 album This Is How Tomorrow Moves, the stark and striking fourth album by beabadoobee is named for the electricity towers that dot every major artery in the world—the strong, spindly structures that reminded Beatrice Laus of her connection to friends and family at home while she was staring down extreme disconnection and isolation on tour over the past few years.

The title can also be read as an allusion to Laus’ spiky, forceful new sound—the waves of distortion that crash and shatter across this record’s 14 songs mirroring the intense crackle you hear when walking under power lines. The pylon is also a fitting symbol for an album that reckons with the repetitive anxieties of your mid-twenties: What if I’m always going to be this way? What if life is just pylon after pylon on the road?

The album’s first single is available to stream and buy from today: “Sun Has Set” introduces Pylon as, in essence, a set of songs that began as diary entries, words that Laus thought she’d never be able to say out loud. “A lot of the songs on this record are things I wish I could have said to someone,” she says. “This song has this petty tunnel vision—it’s like, I hate you. You’re gonna stay here and listen to how much I hate you. Because I never got to say that.” The single comes accompanied by a striking first person video directed by Bea’s partner and longtime visual collaborator Jake Erland.


Ever a devotee of pure rock music—both as something to be cherished and something to be played with—Laus casts these feelings in songs that touch on classic grunge, midwest emo and ‘90s radio rock, zeroing in on a sound that is both harsher and more direct than any of her previous records. She says the music she’s loved has “always been an influence” on her music, and so for B4 she went straight to the source. A fair few of Beabadoobee’s composite influences contributed to Pylon, a fact that speaks to the goodwill and respect Laus has amassed over the course of her relatively brief career.

Hayley Williams sings on “Nothing to Prove,” a deeply anthemic indie-rock song about getting your power back from fairweather friends who just want a bit of your success. The moody “Powerlines” features a verse from Turnstile singer Brendan Yates, a master of matching vocal force with emotional nuance. Elsewhere, you’ll find contributions from Pinegrove’s Evan Stephens Hall, Deftones’ Chino Moreno, and Title Fight’s Shane Moran, as well as, on “Write Me A Letter”, production work from Laus’ longtime friends and collaborators Matty Healy and George Daniel of The 1975.

Beabadoobee will debut songs from the record on the Powerlines Tour, her first ever arena shows and biggest tour to date, taking in shows across North America, the UK and Europe this autumn-winter. The Powerlines Tour kicks off 1 October and includes stops at Madison Square Garden, The Kia Forum, The O2 and more (full routing below). Support comes from Wisp in the US, Canada and UK and Violet Grohl in France, The Netherlands, Belgium and Germany.





Born in the Philippines and raised in London, Beatrice Laus emerged as a British alternative music icon across three acclaimed albums and five EPs. She has garnered multiple BRIT Award and BBC Sound Of nominations, and won NME’s Radar award, whilst amassing over 10 billion streams worldwide and more than 12 million followers across her social channels.

This Is How Tomorrow Moves became her first record to reach number 1 on the UK Official Album Chart in 2024, following her Top 10 albums Fake It Flowers (which reached number 8) in 2020 and 2022’s Beatopia (#4). Earlier this year, beabadoobee released the one-off single ‘‘All I Did Was Dream Of You,” teaming up with Grammy-nominated best New Artist The Marías, the result of a longtime mutual creative admiration between María Zardoya and Bea.

Led By Vultures, the new Los Angeles based heavy rock band fronted by Brian Tichy (Ozzy Osbourne, Whitesnake, Foreigner, Billy Idol, Gene Simmons, etc...)
has come together over the past year to record its powerful, uncompromising, undeniable brand of heavy music, and released their highly anticipated first single “Get It Right” in late-March. With that comes 12 songs dominated by loud guitar, massive drums, big riffs, killer grooves, aggressive vocals, and a feeling of flying through a tornado! With a pro home studio, Tichy started the recording
process and instead of trying to find the right players, engineers and producers, he chose to see it through on his own, and aim to make it feel and sound like a band that’s been together for years. Long time buddy/keyboard virtuoso Derek Sherinian (Alice Cooper, Dream Theater) lent a hand on a few tunes, including some co-writing and it was Sherinian who has been one of Tichy’s main friends, supporting him and telling him to stop talking and to get writing and recording!!
Led By Vultures is all about serving the song, the groove and the power it possesses. The recording process began as an organic, exciting, challenge for Tichy but soon became an all-consuming obsession to serve the songs and sounds with all of his being and abilities. This includes a rule of no samples or
auto tune! Led By Vultures; not just a band but a pure musical obsession!

Archimboldos have clawed their way out of the starcaves of their primordial past and into the tranquil light of a coral garden on their third full length album, Crusta Arcana, a gumbo stewpot of transcendent electronica suffused with tribal rhythms and liquid ambience. Across a stereo field smeared with tolling bells, post-industrial folk percussion, and tinkling keys, Archimboldos soundtrack a science fictional journey, not into the depths of space, but deep beneath the waves.

In the past the Chilean duo of Nicolás Carcavilla and Felipe Crocco have described their music as “liminal shrimp folk.” Here they continue this strange exploration when they visit the court of the prawns, producing stately electronic chamber orchestrations. Perhaps these are the frequencies used for ritual dream initiation into the mystery schools of drowned Atlantis. Weaving an ancient sacred science, Archimboldos take listeners on a mystic vovage into their singular crustacean mythology, the crusta of their hidden arcana.

Archimbolodos are masters of conjoining cyclonic and centrifugal lines of electricity into spellbinding incantations. These deep-sea transmissions envelope the listener into aquamarine forcefields that are as hallucinatory as they are hypnotic. Navigating these strange fantasias could lead one to getting lost at sea, but the work is buoyed by the somnolent melodies of lonely harpsichords and swelling synth pads whose sustained tones reach towards distant shores. Sailing across a vast expanse of oceanic harmonies and percolating percussion, these pieces are as precise as the hand of a sailor on the rudder, moving with the tide.

Casting their net wide across eight pieces, Archimboldos have made a big catch. From the emotive electronic counterpoint found on “Bursting Armor” to the blocks of seaweed tangled sonic sculpture trawled up from the ocean floor on “Aphelion IX.” Other songs are like samples of biological ambience collected from luminous tide pools: resplendent tones placed into a Petri dish of sound, swirled, cultured and fermented until it undulates with the rhythmic movement of microscopic lifeforms. Alternating between rippling minimalist sonority and pounding, progressive, synth-heavy entrancement, Crusta Arcana charts its own idiosyncratic itinerary of instrumental invention.

All the while light is down streaming from the heavens to pierce the waters, here calm, there choppy. The intrepid musical captains commanding Archimboldos have laid a course for new archipelagos of the imagination, guided by heavenly constellations.

-Justin Patrick Moore, author of The Radio Phonics Laboratory, Telecommunications, Speech Synthesis and the Birth of Electronic Music

"Psicofásicos" by The Silver Pumpkins is a unique document: an EP that is virtually impossible to find in its original edition, offering an essential glimpse into Bolivia's thrilling 1960s rock scene-raw, wild, and unlike almost anything else. Beyond the ubiquitous covers of Cream and Jimi Hendrix recorded by countless South American bands, this EP features the far less common 'Pushing Too Hard' by The Seeds and, most notably, the dark, powerful 'You're Gonna Miss Me' by the 13th Floor Elevators. Bolivia boasts an extraordinary musical legacy of raw, garage-driven '60s sounds. Alongside Peru, it was one of the South American countries where the greatest number of recordings in this style were released-captured with limited resources but overflowing with spontaneity, energy, and attitude. The difficulty of obtaining the records that were shaping the latest Anglo-American rock trends of the 1960s in many Spanish-speaking Latin American countries led to a proliferation of local bands covering their musical heroes. Well-known artists such as Cream, Jimi Hendrix, and Iron Butterfly were reinterpreted by countless groups, making these songs available to local audiences without having to rely on imported records reaching their countries. By doing so, these bands helped spread the cutting-edge rock music already making waves elsewhere in the world. What makes this release particularly unusual is that the band chose to cover second-tier cult acts rather than the obvious classics-groups that only briefly cracked the U.S. Top 50 in the late '60s, such as The Seeds and 13th Floor Elevators. Originally released on the Bolivian Psicofásico label, this exceptionally rare EP pairs The Seeds' garage anthem 'Pushing Too Hard' with the ferocious, immortal 'You're Gonna Miss Me' by Roky Erickson and the 13th Floor Elevators. The raw power of the original songs is pushed even further here by the rudimentary recording techniques and the limited instrumental skills of the very young members of The Silver Pumpkins. The result is a one-of-a-kind document-virtually impossible to find in its original pressing-that helps complete the picture of Bolivia's fascinating '60s rock scene. First-ever reissue.

Originally released in 2012, 1999 is the definitive debut mixtape from Brooklyn MC Joey Bada$$ that helped reshape the modern underground rap landscape. Leaning heavily into the golden era sound, a 17-year-old Joey earned instant critical acclaim by paying flawless homage to the 90s. Beyond timeless standout tracks like “Waves,” “Survival Tactics,” and “Snakes,” the 15-track mixtape boasts production from icons like Chuck Strangers, Lord Finesse, MF DOOM, and J Dilla. It remains a crucial time capsule for the Pro Era collective, featuring memorable verses from Kirk Knight, CJ Fly, Nyck Caution, Rokamouth, Dessy Hinds, Dyemond Lewis, T’nah Apex, and the late Capital STEEZ. A classic that still sounds as fresh today as it did a decade ago. Pro Era Forever.

There is a pivotal scene in “August in the Water” (dir. Sōgo Ishii, 1995) where the surface of a pool turns into a stone wall. The water that gave the protagonist's life its meaning becomes a threat. As you fall through this stone wall, you appear in a set of underwater coral-reef corridors, and one of the most beautiful musical themes begins to play: Aquatic Ambience, composed by David Wise for Donkey Kong Country (1994). It's a theme that represents the weightless vibe of your new deep-sea life, where you go about your mundane errands, collecting bananas while driving on a swordfish, or, as HerzMayhem put it: "Poor monkey... always swimming, never going anywhere..."

Synthetic Water Music is the second of three compilations, following Synthetic Bird Music and timed to mappa's 10th anniversary. As with the birds, it gathers friends of the label, artists who have released with mappa or played our shows. Most of the music is new, made to measure for this compilation, much of it from Central and Eastern European hands. Birds and water mix well, so please feel invited to play them together, creating your own environments.

Where the birds were in one flock, water is dispersed across four chapters. You live your life as a droppity drop: vapour in the heavens, condensing in clouds, falling into a swamp, trickling into the deepest sea.

Tlālōcān (Cassette 1, Side A)
A place of eternal spring, of aquatic energy that nourishes everything and allows all things to bloom. Bubbly and splishy-sploshy, it is full of dripping sounds and moist caverns (“Emerald Pool” by Pauline Anna Strom), a landscape filled with living fountains (“Oh, to be a Fountain” by Eva Sajanová) and winding streams that flow through the area, forming part of its organic architecture. It is also a paradise reserved for those whose deaths were water-related, where the aquatic and terrestrial beings live in symbiosis and perspectives shift rapidly, from observing a single droplet (Shakali, Lau Nau) to dew (Feronia Wennborg & Lucy Duncombe) and on to flowing currents (Visible Cloaks) that gradually transform into river music (Ursula K. Le Guin & Todd Barton).

Nephelora (Cassette 1, Side B)
A celestial anti-gravity sound world made of evaporation, steam and the formation of clouds, as if looking at “The Sky At The Bottom of the Well” (by Natalia Beylis) or at “The Cloud That Never Rains” (by Henrique Vaz).

If a cloud never rains,
it is not a cloud at all, but a veil that parches the earth with its gaze.
It generates only its own shadow —
a looming mass of suspended longing,
a sky that hoards but never yields,
a reservoir that swallows every river and returns nothing but echoes.

The water in this world is often invisible but sometimes all the more present, as Bint Mbareh describes it: “Recently been obsessed with invisible waters because I come from a place where you have to imagine the water is there even though you cannot see a river, a sea, usually no rain, so water is in the air, the voice and the imaginal realm, drought is imagined to be negotiable.”

Žaboglach Zha-bo-glahch (Cassette 2, Side A)
A fusion of Scottish lochs and Slovak ponds: a misty, foul-smelling, swampy realm, the kind of place that swallowed Artax from The NeverEnding Story. Stagnant waters full of decay become a blooming habitat for sirens (“thereby losing the weightless delight of being swept along with it” by Adam Badí Donoval) and beings straddling the line between fauna and flora, inventing their own communication systems (“Water-lily phase” by Action Pyramid).

R'lyeh (Cassette 2, Side B)
A brooding sunken city at the bottom of the ocean. It’s a journey to get there. Let this chapter guide you, from the shore down to the depths, to the gates of an unexplored world that is inherently dark, unfathomable, and beyond the limits of human perception: starting with seasickness ("Seasick" by Nikolaienko), passing through a classic Poe-esque maelstrom ("Flurry at the Whirl-pull" by Atte Elias Kantonen), a gateway into the darkness and emptiness of the ocean floor, and finally traversing the city itself (“last waves of 2025” by Jules Reidy).
But what is pulling you to a place like this that only a few explore and even fewer leave? Maybe “the darkness that water can contain, the expanse of things we don't know and that can trigger fear instincts even as we try to rationalise them and think we are in control of the rest of nature” (“supercritical fluids” by Diane Barbé).

Dive in and surface wherever you like. Always swimming, never going anywhere. Just don’t forget to take water breaks.

P.S. Birds, then water, can you guess what comes next? Synthetic Soil Music, an elegy for insects and worms? Synthetic Glaciers, or maybe Pollinators? Which sounds would you miss the most if they disappeared? Or what if the third one never comes at all, and somebody, or something, makes Synthetic mappa Music instead. Don't you worry, with the right training data, it can all be replicated, better than the real thing.

Two tracks extending towards the 10 minute marker, very much in the unique style of Robert Mononom which was already being refined throughout his previous 3 EPs, now culminating in 2 excursions throughout deep hypnotic/psychedelic machine made sounds. A side is built on an aggressive triple and double beat kick drum with a very dubby "big room" presence upon which waves of other nuances in noise get overlayed slowly transforming the 165+ BPM experience throughout what sounds like an extended live mix. B side goes in more spacial/atmospheric direction where hi hats take control over the kick, capturing the witness in a whirlwind of dubbed out overlaying rhythmic patterns. A sound so raw and pure in its introspection, clearly showing Robert's capacity of developing an aesthetic of his own.

Shoal corrals three original solo productions into ISOTOOP’s fourth record, each demonstrating refinement of the artist’s sound and technique, finished by a fitting retelling of ‘Interlocking’ by Antony Linell.

It begins with helical hypnotism; ‘Strange Blue Knots’ drives directly forward on muscular bass, but pointillistic synthwork creates an aural illusion of a spiral aperture tightening; the landscape remains broad, but focus is drawn down to the loci of motion. All containment is blown away by the incomparable force of ‘Roxellana’. Here, the forward motion is not illusory but the irrefutable command of hurricane tailwinds. Thunder heralds full-band waves of unbridled sound, and though the rudder is surrendered to the billowing storm, no part of the weapon is directionless chaos.

Shoal’s tale concludes with ‘Interlocking’, a step back from the monstrous energy of the preceding track (anything and all would be); attention is built again on guile and quiet magnetism, commonly felt attributes throughout the artist’s repertoire. This concept of restraint as force receives a sharpening by Antony Linell, whose sonic influence is present throughout the record, like fossilised footprints. In the calm, sheltered lee of the mountain, the slope behind the wave’s punching crest, Linell’s calmer, stripped-back version feels like a fireside retelling of a myth; still full of the magnitude of the original events, the space surrounding the action is foregrounded. 

Every tale may be reduced to the same core elements: the hand; the knife it holds; vivid silence presaging the moment of action. Fitting that the tale of three parts is summarised by a fourth, wider perspective.

Shoal corrals three original solo productions into ISOTOOP’s fourth record, each demonstrating refinement of the artist’s sound and technique, finished by a fitting retelling of ‘Interlocking’ by Antony Linell.

It begins with helical hypnotism; ‘Strange Blue Knots’ drives directly forward on muscular bass, but pointillistic synthwork creates an aural illusion of a spiral aperture tightening; the landscape remains broad, but focus is drawn down to the loci of motion. All containment is blown away by the incomparable force of ‘Roxellana’. Here, the forward motion is not illusory but the irrefutable command of hurricane tailwinds. Thunder heralds full-band waves of unbridled sound, and though the rudder is surrendered to the billowing storm, no part of the weapon is directionless chaos.

Shoal’s tale concludes with ‘Interlocking’, a step back from the monstrous energy of the preceding track (anything and all would be); attention is built again on guile and quiet magnetism, commonly felt attributes throughout the artist’s repertoire. This concept of restraint as force receives a sharpening by Antony Linell, whose sonic influence is present throughout the record, like fossilised footprints. In the calm, sheltered lee of the mountain, the slope behind the wave’s punching crest, Linell’s calmer, stripped-back version feels like a fireside retelling of a myth; still full of the magnitude of the original events, the space surrounding the action is foregrounded. 

Every tale may be reduced to the same core elements: the hand; the knife it holds; vivid silence presaging the moment of action. Fitting that the tale of three parts is summarised by a fourth, wider perspective.

After making waves in the underground with their first release, psychedelic techno explorations from Winkles, A Sky Full Of Numbers head to the shoreline with a five tracker of misty electronica from Japan’s The Rituals, the new collaboration between Tasoko and DOLTZ. Across acclaimed releases on Explore, Bitta, and Delsin, the duo have separately explored deep techno, ambient, acid house and IDM, showcasing innovative sound design and spacious, understated grooves. For AFSON, the duo apply their unique point of view at a lower tempo, pulling away from the peak time to deliver a shadowy journey through dewy electronics.
Opening transmission 503M feels like tuning into a damaged frequency somewhere beyond the cloud line. Misty lead synths slither through blown circuitry while buzzing sequences and short-circuiting percussion crackle against purring bass pressure below.
There’s an eerie electricity in the atmosphere, as if the track’s been exposed to too much heat and left glowing softly in the dark. From the opening bars, The Rituals instantly establish their ability to make techno feel both mechanical and hallucinatory.
Ugan sees the duo descend deeper into the haze. Reverb-drenched synth motifs hover like distant lights through thick fog while a propulsive dub bassline locks into loose electro-funk rhythms beneath. There are echoes of hauntological electronics and early IDM experiments here, but The Rituals avoid nostalgia entirely, steering the track instead towards something crepuscular and alive.
Stepping out of the shadows, Broken Frog Lamp pushes forward on a rolling rhythmic framework as melodies slowly force their way through layers of sea mist and static interference. Atmospheric without losing momentum, the track balances submerged emotional weight with hypnotic forward motion.
The mood softens but never dissipates on Salty Air, a damp and dewy excursion into dubbed-out psychedelia. Rainfall ambience, skittering stone percussion and swelling pads fold around sliding sub bass and filtered stabs, while jazzy cymbals and syncopated hats gently pull the track forward, as the condensation clings to the hardware.
Closing cut “Night, Castle, Reflection” drifts into darker territories, where redlining drums and pulsing low-end pressure throb beneath thick layers of saturated texture. Woozy synth work smears against tightly controlled rhythms, creating an immersive and slightly uneasy atmosphere that closes the EP at its most introspective point.
Taken as a whole, the EP transports you into the midnight hour, when the comforting embrace of stillness can easily nudge you towards hallucination, dissolving the boundaries between dream state and dancefloor hypnosis.

Opéra de Nuit emerge from their long slumber to grace Dark Entries with the frostiest of reissues. Formed in 1982 in Valréas in the southeast of France, Opéra de Nuit only released 3 records throughout their career: EPs in 1984 and 1986, with a full LP following in 1988. But devotees of dark music will need no introduction to this band, who are almost definitional of the coldwave genre, and whose rabid cult following has each record readily trading for three-digit prices. Opéra de Nuit’s sound is pure hellish heaven: frigid synths, jangly guitars, and sorrow-laden vox. Check out the pummelling desperation of “Annabella,” the uber-brooding vibes of “Boris Transylvania Camp,” or the elegant anthem “Karen Lloyd” (and don’t forget to watch the video!). This reissue collects their entire newly remastered discography - thirteen lucky tracks. This reissue marks the first time that their work will be reissued on vinyl and digital, and is presented in gatefold jacket with lyrics and photos. Whether you’re new to the genre or a veteran of the coldest waves, Opéra de Nuit brings the essential sound of immortal despair.

Purple & Translucent Orange Vinyl. Raw Fury and Black Screen Records are outta space to announce Cameron Paxton's game soundtrack masterpiece Dome Keeper on vinyl. The double LP set includes both volumes, "Vol 1: The Engineer" and "Vol 2: The Assessor", in their entirety pressed on beautifully coloured wax and packed in a sleeve that is featuring the iconic artwork of the game. Composed by Cameron Paxton, Dome Keeper features an enchanting original soundtrack that combines a mysterious atmosphere with an adventurous sense of wonder. Paxton got into the project early on and saw the game become reality right from the start: "Dome Keeper began life as a game jam title called Dome Romantik. So originally the scope was much smaller. Because I was there at the beginning of development, I had a long time to spend experimenting and coming up with the vibe before the game ever got picked up."

Re- Release in Transparent Blue Curacao Vinyl

With governments finally admitting that UFOs do in fact exist, and humanity attempting to heal from a state of recent crisis, the timing couldn’t be more appropriate for the newest addition to the HYPOCRISY catalog: WORSHIP, due to be released Fall 2021 via Nuclear Blast Records. Aptly titled, the album cover shows a mass of humans reaching up mindlessly to the sky as glowing spaceships shaped like the HYPOCRISY crosses sigil beam down to descend upon earthen civilizations and Mayan temples. Designed by artist Blake Armstrong (Kataklysm, In Flames, Carnifex, etc.), WORSHIP’s artwork speaks to the history of the relationship between humanity and extraterrestrials. “They’re coming back to collect,” explains founder and HYPOCRISY mastermind Peter Tägtgren.
A track entitled CHEMICAL WHORE breaches the subject of pharmaceutical addiction, and those who engineer it. “We are all chemical whores. We regularly consume prescriptions and drugs because we think we need it; we use one pill to heal the damage done by another medicine... it’s a vicious cycle.” Musically, it’s the only song that was written by all 3 core members of the band and translates into a recognizable, mid-tempo HYPOCRISY sound much like ERASER or FRACTURED MILLENIUM. Traveling from Sweden to Russia, the band also shot an official music video for CHEMICAL WHORE.
The DEAD WORLD music was written by Peter Tägtgren’s son, Sebastian. “We actually started to write an album together, something like 11 or 12 songs, but we never put any vocals in there and we just sort of set it aside. Then when I started writing HYPOCRISY I realized I really liked the song… it feels fresh. I think my kid got some new blood in there.” While the song comes equipped with a modern feel, the writing is still old fashioned at its core. Going into detail about the illuminati and black ops government, the lyrics examine how miserable these figureheads and theories can make us. “Call it fantasy, call it sci-fi, there are plenty of conspiracies in the world but I find these ones interesting,” explains Tägtgren.
GREEDY BASTARDS is another track outlined by simplicity and catchiness. Chugging riffs encapsulate a sound that almost verges on the realms of thrash while still keeping its feet firmly planted in the world of death metal. The lyrics touch on the greed and methods of control that we see various governments around the world today; how they manipulate people against one another and abuse the masses.
For Tägtgren, the inspiration to write new HYPOCRISY comes in waves. “I believe we were out on tour for another project and I began to get hungry again. I started spitting out some new riffs and when I had 7-8 songs done, I invited the rest of the guys to join me and contribute, and from there we started putting everything together. We had a break for a few months, continued recording, went back on tour… it never stops. There was a lot of jumping back and forth, and then COVID came and things got really weird.”
Tägtgren was one of the many musically inclined who was forced into sudden isolation upon the onset of COVID 19, only for Tägtgren, this is common practice when creating new songs. “A lot of things in the world stopped, and it was time to finish everything I hadn’t finished.” As usual, all recording and mixing took place at Tägtgren’s home studio in Sweden.
It has been 8 long years since the last record, and HYPOCRISY fans can feel the itch. WORSHIP is 11 tracks of precise, ferocious musicianship. Commonly inspired by the fusion of the modern and the ancient, HYPOCRISY has once more found a way to combine innovative ideas with classic sound in order to deliver something metalheads can enjoyably consume with awe and brutal vigor. HYPOCRISY is Peter Tägtgren (Lead Guitar & Vocals), Mikael Hedlund (Bass Guitar), and Reidar “Horgh” Horghagen (Drums).