Cerca:submerge

When Chuck D proclaimed "Bass, how low can you go?" on Public Enemy's anthemic 'Bring the Noise,' maybe he was pre-empting or inciting the 10,000 fathoms-deep, spine-bending basslines and sub-quake tremors of 'Implosion.'

Implosion is a crushing split album, appropriately released on The Bug's own PRESSURE label. Mapping out a new form of spectral dub, the sound is deliberately immersive, introverted, and yes, definitely implosive. In pursuit of heavy lids, blurred vision, and merciless bass bin punishment, it’s one part meditation, two parts low-end theory, and essentially a confession of devoted sound system addiction.

As expected from a tag team featuring British soundlab explorer and 'London Zoo' composer Kevin Martin, aka The Bug, and Michael Fiedler, aka Jah Schulz—a long-time graduate of Germany's new school of sound system reggae culture—the duo approaches their target differently yet share the goal of keeping their sound "raw" (Fiedler) and "brutally minimal" (Martin). This proves that opposites can attract, even if their tools are different and their methods sometimes diverge.

From such a disparate combo, hailing from different geographical and aesthetic backgrounds, contrasts are certainly on display, even within each artist's own contributions. From the melancholia and transcendence of 'Alien Virus (West Indian Centre, Leeds),' to the duality of ascension and descension on 'Hope,' or the Sunn 0))) in dub, visceral drone of 'Dread (The End, London),' to the tripped-out repetitions of 'Midnight,' which reinvents Chain Reaction for post-millennials, the result is both sacred and narcotic. Each track illuminates the emotional impact and atmospheric pressure being explored across this deceptively sparse album—a mastery of tone and texture.

This collection might be as reduced, minimal, and deep as The Bug has ever gone, perhaps echoing the solemnity of his recent Kevin Richard Martin Black release and invoking the futurist steppas self-pioneered on his previous Pressure album. Alternatively, Fiedler‘s Ghost Dubs project ventures into his most heavyweight direction yet, which is no mean feat considering his previous, the critically acclaimed album Damaged, was a monstrously massive triumph of analogue weight and enviable sound design.

Implosion is ice-cool, a stark contrast to the warmth and sociability of traditional Jamaican roots and the current trends in digi-dub. Instead, the mood is soaked in tension and intense dread, finding an unexpected melting point where classic dub's stark rhythm attack, isolationist ambience's eerie drift, dub techno's floatation strategies, and even the relentless riffs of doom metal collide. As the bass-obsessed pair drop what is arguably the heaviest ambient dub album to emerge from any electronic sector—a moody counterpoint to The Orb's fluffy clouds, etc, Martin has cited The Roots Radics, Black Jade, and On U Sound's Pounding System as heavily influencing his approach to the album, while Fiedler has expressed his admiration for Adrian Sherwood's productions and Rhythm & Sound's enchanting soundscape. Yet, the super heavyweight pulsations, emotive resonances, and bone-rattling vibrations detonated here effortlessly go far beyond these influences.

Shadowy and elusive, there’s a mysteriousness at this record's core. A haunting moodiness oscillating between nostalgia and future shock. Despite the deadly fixation with SLOW and HEAVY, the album maintains a totally hypnotic swing throughout. Implosion and its lead single 'Imploded Versions' are testaments to being enveloped in bass, seduced by bass, submerged in bass, and utterly crushed by bass, as The Bug and Ghost Dubs seek to craft a new form of dub for zonal headz and Babylon seekers.

Mastered by Stefan Betke (a.k.a. POLE) at Scape Mastering studio, this record is heavy as f-ck without resorting to continuous distortion. It’s low-end worship taken to an absolute extreme, yet remains highly listenable and definitely danceable, albeit at the slowest of paces. Sacred and narcotic, this is low-end worship amplified to the max. Dive in if you dare.

Delsin invites you to submerge into the prismatic electronica of Xenia Reaper. Across nine tracks of exquisitely rendered sonics, the shadowy producer engages in the time-honoured craft of introspective sound manipulation, folding gaseous pads into dissected breaks and running heavyweight machine pulses through achingly beautiful synthesis. The sound is sharply realised, modernist music that revels in the finegrain detail afforded by technology, but never at the expense of warmth and charm. It's nuanced electronica for deep listening, but it also hits on an instinctive, physical level.

In between the folds of ceremony and commonality lies a perennial spring of musical expression.

A statement along the time continuum, or a testament to the resilient resourcefulness embedded in that truth, forms the philosophical approach of this album – the first outing of Dídac.
Studying an extensive archive of instruments, artifacts, and field recordings at the Musée d’ethnographie de Genève—a space steeped in folkloric gesture – Dídac encountered a cosmos of liturgical music and folk song. Anchored in reverance for tradition and transformation alike, this album navigates the old-world Mediterranean lore through a post-modern ambient lens, threading drone, gentle rhythm, electroacoustic textures and the crude tactility of archival material into one woven tapestry.

Under the guidance of Dr. Madeleine Leclair, Dídac was invited to work within one of the world’s most extensive ethno- musicological archives—L’AIMP. In the saturated basements and tape-lined backrooms of the museum, he submerged himself in the sounds of ritual and rural life: wax cylinders from the Eastern Mediterranean, tapes of liturgical hymn, the worn edges of communal song.
In a makeshift studio on the fourth floor of the museum, he sifted through the hours of material he collected, gradually discovering that the archive was no static source – It did not dictate; rather, it served as a companion—offering not answers, but questions. Not a beaten track, but a cluster of sonic clues and riddles. Samples do appear occasionally, tenderly interwoven into the dialogue of the songs. In Dídac’s self-titled debut, the past is not worn as ornament or kitsch; it is listened to and responded to. The museum, its archives, and the visit to Geneva became a foundational culisse of sorts, igniting a myriad of rough cuts and improvisational outtakes.
Dídac, or Diego Ocejo Muñoz, was born in Madrid in 1994 to a family of both Catalan and Castilian origin.

Brought up in a religious household, the influence of the Catholic Church innately shaped the social fabric, schooling and daily life. This lingering dominance led the adolescent Diego into a path of rejection of everything sacramental, promptly resorting to subversion in the shape of grafitti, skateboarding and underground music. Only later in life, after a rigorous venture as an acid and electro producer, the Church re-emerged before him in new light, invoking a deep fascination for its mysticism, iconography and choral tradition.

Spain in general and Catalonia in particular, has long served as a crossroads of the eastern–western Mediterranean continuum, with many of its cultures sharing aspects of way of life and ceremony. At the MEG, Diego found himself puzzled with this realization, resulting in a sonic amalgamation that reaches farther away from the rugged mountains of Catalonia than you might perceive at first encounter.

The deeply embedded memory of rite and public ceremony, religious hymn and landscape—sieved through the undercurrent of personal re-emergence, forms the emotional topography of this album. The record does not trace this landscape; it inhabits it. Its repetitive mysticism and ambient, wide-eyed gaze could possibly evoke (perhaps redundant) comparisons to artists such as Dimitris Petsetakis, or Popol Vuh’s late 70’s cinema scores.
The delicate lines between the sacred and the secular – between memory and re-invention – serve as a cipher to understanding this album in its entirety. Titles like Malpàs Mines or Pantocrator’s Portal Outro nudge toward a folkloric and devotional bedrock—places where labor and spirituality coexist, where names preserve both dust and veneration.

Nevertheless, this is far from mere nostalgia. It is a reclamation — singing alongside the spirits of the past, nurturing what still hums beneath the soil. It is an intimate reflection on tradition, rebellion, adolescence, ceremony and fantasy – a pastoral contemplation on what once was and what is to be.

X-Ray Spex was a British punk rock band that emerged in the late 1970s, known for their distinctive sound, socially conscious lyrics, and the dynamic frontwoman Poly Styrene. The band was active during the first wave of punk rock and played a significant role in the punk movement.
Lead vocalist and songwriter Poly Styrene was known for her unique vocal style and often cited as an influential figure in the punk scene.
Other band members on ‘Germfree Adolescents are Jak Airport: Guitarist / Paul Dean: Bassist / Rudi Thompson: Sax / B P Hurding: Drummer.
X-Ray Spex released their debut album, "Germfree Adolescents," in 1978, featuring the title track, "Germfree Adolescents." The album is considered a classic of the punk era.

Poly Styrene's lyrics often addressed social and consumerist issues, and her unconventional fashion sense and energetic stage presence added to the band's overall identity.

A hill repeating its own name.

Ben Beinn — mountain mountain — an imagined summit, recursive and unstable.

Poole’s new album Ben Beinn follows 2024’s In a River Shadow, and deepens his exploration of environment, voice, and abstraction. If the previous record moved with flowing water and submerged hymns, Ben Beinn climbs into elemental instability: passing storms, coded skies, and sodden ground.

Across ten tracks, Poole entangles the Celtic New Age sound world — traditional instrumentation (flute, low whistle, bagpipe, piano, strings) — with synthesis, environmental recordings, and abstracted voice. The sound palette is tactile — marked by microtonal harmony, swelling dissonance, and a breathy naïvety. Voices in Gaelic, Norwegian, and English surface and dissolve, stretched beyond recognition — more weather than word.

The album’s title refers to a tautological hill — Ben Beinn, or “mountain mountain” — a recursive site where motifs surface, fracture, and re-emerge. On 365 Days of Rain, rainfall data becomes a rhythmic lattice that slips from metrical order. 1000 opens the record in cinematic emergence: mountain icicles and frozen streams swell into strings and breathy melodic weight. Pulling from the connective folktales of hill and mountain trolls — “Dance for a thousand years,” Poole writes, “for jeg har sovet tidlig så lenge.”

Recorded in Scotland between 2024–2025, Ben Beinn draws from environmental recordings of frozen hill passes, storm drains, and peat bogs using contact mics and hydrophones. Rather than simply reflecting place, these recordings press against it — layering the sonic materiality of landscape with synthesis and song. An inflection point between fabrication — folk music as performed identity, a carrier of story — and its obfuscation through digital networks, where tradition is refracted into plural forms.

Musical reference points include the emotionally saturated textures of Inoyama Land, the folk-electronic hybrids of Eli Storbekken, the hyperrealist collage practices of Noah Creshevsky, and the disquieting sonic simulations of James Ferraro. While Ferraro captures the uncanny surfaces of networked life, Ben Beinn turns inward — toward a located listening, shaped by weather, memory, and terrain.

The second in a triptych that began with In a River Shadow, Ben Beinn continues Poole’s excavation of environmental and folk material through contemporary methods. If the first record submerged itself in flowing water and submerged hymns, this one is shaped by the slow pressures of land and sky — a music of erosion, recurrence, and elemental presence.

Inner Zone returns to space•lab with an immersive EP exploring the meeting point of deep techno and progressive minimalism, shadowy rhythms and spatial resonance.

Folded Realm opens the release with a hypnotic pulse, drawing from the darker edges of the Inner Zone sound with precision and restraint. Goa’s Kohra steps in on remix duties, transforming the original into a tunnelling techno weapon — dense, focused, and primed for the floor.

Spiral Form is a slow-burn evolution, unfolding in layers of submerged textures and flickering synth work. Closing the EP, Fallout breaks formation with a menacing, breakbeat-driven excursion through scorched sonic terrain.

With »Roto«, Derek Piotr revisits the aqueous terrain first explored in his 2016 album »Drono«, where the paradox of water’s stillness and perpetual motion was refracted into looping voices and glitching textures. Conceived as a »spiritual successor« and recorded in 2019, the album has lain dormant for six years before surfacing on Discreet Archive. That stretch of silence seems to have deepened its charge – the sound feels unearthed rather than made, like a whirlpool biding its time in obscurity until now.

Unlike »Drono«’s mosaic of shorter pieces, »Roto« unfurls as two expansive half-hour tracks, allowing Piotr to probe repetition with greater intensity. Vowels accumulate until they shimmer with alien sentience, drones grow dense and psychoacoustic, and the smallest digital artifacts flicker like neural sparks. The result is a work that denies familiarity; recurrence here only breeds strangeness, unspooling into a procession of hidden pulses and altered voices that resist prediction, drawing the listener deeper into a submerged, otherworldly space.

Derek Piotr is a folklorist, researcher and performer whose work focuses primarily on the human voice. His work covers practices including fieldwork, vocal performance, preservation and autoethnography; and is primarily concerned with tenderness, fragility, beauty and brutality. He has collaborated with artists including Scott Solter, Nathan Salsburg and Thomas Brinkmann across various disciplines.

He is lead archivist and creative director of the Fieldwork Archive.

"The Golden Age of Wireless is the debut album by English musician Thomas Dolby. The album was originally released in May 1982. Several tracks have a submerged, barely audible layer of almost random sound that serves as a constant (and disturbing) subtext, occasionally erupting into a song. This sonic underworld is all part of Dolby's mechanical wizardry. Rolling Stone magazine awarded The Golden Age of Wireless four stars out of five, calling it ""one of the most impressive debuts"" of 1982. They compared the album's melodicism to the works of Paul McCartney and concluded that ""unlike many synthesizer bands from England, Dolby eschews morbid, droogy drones."" Musician magazine said the album was ""the best damned record to come out of Europe's current fascination with synth-pop. Period."" Theye added, ""Dolby is purely amazing. And best of all, he writes songs.""

The Golden Age Of Wireless is available as a limited edition of 1000 individually numbered copies on silver coloured vinyl and includes an insert. "

Back by popular demand! Dive deep into the depths of the underground with Waterworld, the singular and legendary collaboration between two of hip-hop’s most innovative minds — Cage and Tame One — operating together as Leak Bros. Originally released in 2004 on Eastern Conference Records, Waterworld has remained a cult classic: a surreal, grimy, and conceptually bold record that transforms the world of PCP (aka “leak”) into an immersive sonic hallucination.

Woozy textures, gritty East Coast production, and vividly warped lyricism, earned the album its iconic status among underground heads. Across tracks like “G.O.D.,” “Dead Out,” and “Got Wet,” Cage and Tame One embody fictional leak fiends navigating an absurd, paranoiac landscape of drug-fueled delusion. The beats, handled by producers like Mighty Mi and Camu Tao, are hypnotic and lo-fi, dripping with eerie samples and warped loops that match the narcotic haze of the lyrical content.

Both a conceptual experiment and a raw snapshot of early 2000s hip-hop’s shadowy edges, Waterworld remains as strange and captivating today as it was two decades ago. This repress preserves the original tracklist and aesthetic, with newly remastered audio pressed on high-quality vinyl — perfect for longtime fans and new listeners ready to get wet.

A muffled cry into the technological darkness, Contemporary Movement slid into the world right as the MP3 was seeping out of college dorms. A 39-minute drift into the void, drenched in Cold War-era reverb and then submerged in four track hiss for good measure. Duster constructed a Brutalist masterpiece on the outskirts of a suburban mall, as if to say, "We were here." This numbered 25th anniversary edition is pressed on 180G vinyl and comes with a lyric sheet and poster.

A muffled cry into the technological darkness, Contemporary Movement slid into the world right as the MP3 was seeping out of college dorms. A 39-minute drift into the void, drenched in Cold War-era reverb and then submerged in four track hiss for good measure. Duster constructed a Brutalist masterpiece on the outskirts of a suburban mall, as if to say, "We were here." This numbered 25th anniversary edition is pressed on 180G vinyl and comes with a lyric sheet and poster.

sferic land a debut album of thizzing and blown-out ambient trap x dub techno vapours from XTCLVR.

Produced under trying circumstances, Ukraine’s XTCLVR wrests an escapist sense of hazed beauty on a compelling maiden voyage for bleary-eyed specialists sferic, written and recorded during long nights under curfew and occasional shelling. Vocals are there, but mostly unintelligible, disrupted by a persistent offbeat churn and fragmentary instability, a paradoxically lush but anxious sound that reflects broader butterfly effects of war and its ripples of socio-economic fuckery on one level, and simply a trippy soundtrack to the afters on another.

Ten smudged shots unfurl across a 3D stereo space in gyring and shearing motion, cryptically shielding and scrambling a message meant to be deciphered by your sixth senses. A vocoder is diffused in aerosolised designs on the rugged lean of ‘Perspective’, setting up a chain reaction that buckles to more fraught feels on ‘Allergen’ and the ruptured raptures of a ‘Storm Shadow’ recalling Nazar’s recent sound design spheres for Hyperdub.

BSW948 lends nervous bars laced into the warped matrix of ’Night Shift Cut’, and OB3TH perfuses the iridescent dub techno of ‘The Wise Mystical Tree’, whilst Indy lends to the ambient drill of ‘Acid Flavour’, and closer ‘Dead Smoke’ perhaps best betrays, even if metaphorically, a feeling of psychic distress in its dank, submerged mire.

Featuring waves of neon synths, pristine machine funk, scorched ambient drones, gnarled bass lines, playful radiophonics & industrial percussion, this thrilling selection of obscure 1980's electronica is compiled by Zyklus (Alan Gubby / Revbjelde) and presented on 10" white vinyl. "On a teaching placement during the pandemic, I found a dusty cupboard above our college theatre holding 200+ library music CDs. Most of the discs were from the Arcadia Cosmos library, a prolific production house active during the late 1980s and early 1990s. I spent the next few weeks working through the discs and found several interesting electronic pieces although, pseudonym or not, I didn't recognise any of the composers involved. Further research kept leading to dead ends with Arcadia's owners having long vacated their last known address and web links either broken or abandoned. So more questions than answers remain about the library's provenance. For instance, who was / is the brilliantly named David Beast? Did Kraftwerk engage trans-european lawyers after hearing Endurance Test? Was Sylvia Sommer deliberately channelling vintage 1960's radiophonics by John Baker? What studio gear was used to create the distinctive Arcadia sound? And, for what appears to have been a UK-based company, why are so many of the album titles, tracks and composer names distinctly Germanic? If anyone has the answers please get in touch." Zyklus / Winter 2024

Tough Love brings to vinyl for the first time April Magazine's Sunday Music For An Overpass, a nine track collection originally issued on cassette in vanishingly small number by Paisley Shirt in 2021. The kind of mythical recording you might have once needed to know the band to own. Alas, no longer... Can the universe have two centres? Because if it's not Gothenburg it's San Francisco... It's impossible for me to think about what's going on in that particular part of the west coast right now without immediately being drawn to April Magazine, a comparatively loosely assembled three (sometimes four) piece centred around artist/musician Peter Hurley, who seem to simultaneously operate at both the heart and the margins of the current Bay Area underground. On the one hand they share members with many other bands, their guitarist/singer runs a gallery that functions as some kind of focal point/social space, and Cindy even have a song named after them. On the other hand, their music is resolutely lo-fi and invariably couched in a mysterious haze, the live footage available online seems to suggest that they sound slightly different each time they play, and there are reports they have dozens of songs (possibly albums?) that have not and may never be released, hidden inside their own private universe. On its initial release, Sunday Music For An Overpass was an early attempt to drag the group a little closer into the light, yet inevitably made them feel as endearingly enigmatic as ever. Typically, this vinyl reissue some four years later only goes part way in clearing that alluring fog. April Magazine channel the greats - Spacemen 3, The Pastels, early B&S, Mary Chain, Rainy Day/Opal/Mazzy et al - but submerge their obvious melodic capabilities within seemingly infinite spray can hiss, as if the songs are being pulled backwards through some vortex to the past. Half of these tracks are instrumentals, and it's in those moments that the band are perhaps at their most expressive, suggesting a very inviting melancholy that can't quite be figured out. Though the LP remasters the original recordings and is a little cleaner sounding as a result, no secret is being given away. The appeal is that the more you hear from them, the less you really know, and all the better for it. Maybe, then, it's that April Magazine are here to show there is no centre to the universe, that instead it's always just off to the side...

Alpenglühen continues to establish itself as a trusted source for forward-thinking ambient techno with its latest vinyl release, introducing Vanertia, the new collaborative alias from Vand and !nertia. This debut offering fuses the distinctive sonic DNA of both artists into a deeply textured and rhythmically intricate EP.

The record draws heavily from the dub techno tradition, with spacious delay lines and submerged chord stabs setting the tone across all tracks. Yet it’s the subtle interplay between syncopated grooves and classic 4x4 pulse that gives the record its driving energy. The percussion is detailed and organic, riding a bed of carefully sculpted low-end that never overwhelms but always supports the movement.

The result is a hypnotic, immersive listen that balances club functionality with introspective richness.

With Vanertia, Vand and !nertia have laid the groundwork for what promises to be a highly fruitful collaboration.

Detroit’s own Brian Kage returns with Timeless Times Remixed, a interstellar re-imagination of his album "Timeless Times" featuring an all-star lineup of remixers. Timeless Times Remixed brings together some of the finest minds in house and techno, delivering deep, timeless grooves with Detroit soul.

Brian Kage, a staple of Detroit’s electronic music scene, brings together a heavyweight lineup of producers to rework key tracks from his latest album. The legendary Delano Smith infuses Detroit Techno City with his signature deep and hypnotic touch, while Scotland's Milton Jackson reworks Just The Groove with a dose of his classic rolling house energy. The collaborative Reference (Luke Hess & Brian Kage) Remix of Nordhouse leans into peak time dub-techno atmospheres, while Detroit's newest and finest young talent from the Submerge crew Max Watts takes Galaxian into raw, driving 808 Electro terrain.
This essential four-tracker bridges deep house, techno, electro, and dub, while staying true to the classic and timeless sounds of Detroit’s roots.

Glasgow-based Effective Dreaming—the solo project of Scottish artist and musician Iain Ross—unveils Dream Catalogue Vol. 1, arriving June 21st, 2025 (Summer Solstice) via Swedish experimental label Fluere Tapes.

Issued as a limited run of 50 cassettes, each adorned with hand-worked, corroded copper sheet inserts and labels, Dream Catalogue Vol. 1 feels less like a release and more like an unearthed artefact: weathered, humming, quietly alive. The materials echo the music’s exploration of fragile impermanence and erosion: oxidised metal, magnetic tape, hiss, hum. A tactile world where sound wears its decay like a patina.

Across its length, the album unfolds in a series of flickering vignettes—drifting, dissolving, reappearing. Shaped by synths, environmental recordings, tape loops, and soft drones, the pieces move like glints of light on water—never fixed, always in motion. Achingly beautiful melodies rise and vanish, tracing fragile pathways through a landscape of shifting sensations. Some moments glow with a gentle warmth, like sunlit glass or breath on a fogged mirror. Others slip into shadow: slow, submerged passages feel closer to memory than music. The album feels loose and weightless, yet dense with feeling—a presence more sensed than held.

There is no fixed narrative here—only fragments and artefacts, half-remembered places, echoes of dreams. Each track hovers just at the edge of clarity, evoking not specific stories, but moods, textures, and the quiet drift of time. It’s music that feels both intimate and remote, like overhearing a distant signal only you can understand.

The name Effective Dreaming is drawn from Ursula K. Le Guin’s The Lathe of Heaven, where a dreamer's visions alter the very fabric of reality—past and present reshaped, histories rewritten, unnoticed by all but the dreamer himself. In a similar spirit, Ross’s music inhabits a space where memory, perception, and matter blur—where each sound carries the residue of something once real, now transformed and dissolving as one drifts through the seams of the world.

Dream Catalogue Vol. 1 is a meditation on texture, transience, and the quiet resonance of what slips away.

For listeners of: Wave Temples, Dolphins Into the Future, Guenther Schlienz"

PHASE SHIFTING INDEX is a time capsule record of Jeremy Shaw's vast original artwork that includes audio excerpts, voiceover passages and music composed by There in Spirit and Konrad Black. Shaw's seven-channel video, sound and light installation-that premiered at Centre Pompidou in 2020-uses science fiction, documentary, visual effects and synchronisation to induce an ecstatic experience in narrative temporality. Each video details the belief systems of one of seven fictional subcultural groups spread across time that aspire to induce parallel realities that could redirect the evolution of the human species through embodied forms of ritual, ideology and movement. The vinyl release serves as a gathering of the piece's key audio elements, focussing on their importance to the engineering of the artwork and their stand-alone listening qualities. Side A of the record follows the dramaturgy of the artwork in full-swing, including audio segments from four of its five distinct chapters. Written by long time collaborators Konrad Black and Jeremy Shaw together as There in Spirit, "Cross- Temporal Sync" soundtracks the strobing peak of the installation at the moment when all seven disparate videos fall into a unified choreography in which every person on every screen performs the same ecstatic series of slow-motion movements. The pulsing, hypnotic dirge aligns with the locked choreography in mood and action, caught somewhere between ecstatic trance and somatic takeover. A steady sub line, clipped stabs and a swooping choral gasp harmonise with the dancers movements onscreen while restrained filters open slowly to reveal a submerged melody that builds in intensity towards the chaotic rupture of Black's "Mosh". Here the score breaks into digital shards as heard through analog bodies colliding and pixelating into each other. The dancers eventual dissolution into "Particles" sounds like the field recording of a disembodied neural cosmos. The B-side of the record contains a narrative outline edit of the artwork comprised of music, excerpts and pieces of narration from each video. Listeners can follow along in an accompanying thirty-six page booklet of full-bleed film stills documenting each of the seven groups as they move through the five chapter dramaturgy. Composer Konrad Black's authentically backwards-glancing production and sound design is as disparate as the groups represented on screen. From the bespoke-16mm-tribal-techno of "The Cyclical Culture" and retro-cyber-funk of the "Zero-Ones," to the VHSdark- wave of "The Violet Lux" and skewed vocal/piano minimalism of the "Quantum Modern," each group exists in its own custom-made world out-of-time. The record ends where it began, with the full sequence of "Ramping" playing out as each subcultural world begins to lose control, galvanise, sync, rupture, atomise and scatter throughout the universe, only to loop back into another inevitable beginning. Phase Shifting Index premiered at Centre Pompidou, Paris, in 2020 and has since been exhibited in nine international venues including ARoS, Denmark, MONA, Tasmania, MAC, Montreal and Hamburger Bahnhof, Berlin

Neo Gibson, born in Virginia and based in New York City, records, performs, and produces as 7038634357. This numerical alias, under which Gibson has been releasing work since 2016, offers a window into the careful ambivalences of the musical project. It conjures the impersonal_the opacity and randomness of data, a number that is hard to remember or even say out loud_while also suggesting a direct line of communication with the artist, down to an area code indexing their biography. 7038634357 uses a restricted palette to achieve music that is formally precise and emotionally direct. Their digital-native approach to production, in which frank melodies cross paths with heavy distortion, contains traces of both trance's maximalist arcs and a songwriterly intimacy. Expressive details may appear submerged or abraded, subjected to a canny sense of dynamics and textural specificity. Waterfall Horizon, Gibson's second vinyl record with Blank Forms Editions under the moniker 7038634357, was written for live performance and workshopped over successive shows during their 2022 European tour. Here, hallmarks of their earlier, studio-crafted recordings_digital distortion that obfuscates their lyrics and a slow-burning ambience_are noticeably pared back. Instead, Waterfall Horizon takes on a pop inflection, adopting more traditional lyric scaffolds so that the interstices from verse to chorus or track to track can flourish within their limited tonal range.Across recordings and performances, Gibson activates wide-ranging mechanisms of audience connection: from the relative anonymity of internet platforms to live experiments with the spatial effects of amplification. They have a particular interest in site-specific performances in non-musical spaces, and have performed in a variety of contexts, including the mezzanine of the West 4th Street subway station in New York City and INA GRM/Radio France's Présences électronique festival. Under their own name, Gibson has maintained a longstanding collaboration with the artist Charles Stobbs, working primarily with FM transmission and techniques derived from the early-seventeenth-century English tradition of change-ringing bells. The first 7038634357 vinyl record, Neo Seven, was released on Blank Forms Editions in 2023; previous releases include self-released cassettes and CD-Rs, as well as a pair of EPs on Genome 6.66 Mbp (2018, 2019).

This authorised vinyl reissue of the ultimate Finnish death metal cult LP comes with the original cover art and all the lyrics. In the late days of the early life of death metal in the early nineties, the death metal "community" had strayed from an appreciation of the majestic possibilities of sound, and were making a mundane product instead. They wanted the most "brutal" sound so the largest crowd could hear it, consider themselves "extreme," and go back to work with a hangover. This made the music escape its tiny audience, but killed off exploration as well. In addition, it was defensive and under-confident, feeling its chops lagged behind the rock, blues and jazz genres. Stagnation struck even as the genre accelerated. Enter the dark horse, Demilich. These inventive Finns reintroduced amazement at the possibilities of music. Where most people look at a forest and see wood for sale, a death metal fan after Demilich sees an intricate organism in itself, with the smallest details corresponding to the broadest concepts. The labyrinthine riffs of Demilich corresponded to a worldview that saw the connection between details as a design, and a design as conferring a purpose to life, cycling between birth and death as it spelled out the cryptic intricacies of ancient mysteries. Demilich was like finding a submerged city, or discovering a new path through the mountains, or even confronting a glowering enemy on the open plain. It brought risk, uncertainty, ambiguity and a sense of sublime beauty back to death metal, pulling it away from the slump in which it treated itself as a hammer and every listener as a nail.

This authorised vinyl reissue of the ultimate Finnish death metal cult LP comes with the original cover art and all the lyrics. In the late days of the early life of death metal in the early nineties, the death metal "community" had strayed from an appreciation of the majestic possibilities of sound, and were making a mundane product instead. They wanted the most "brutal" sound so the largest crowd could hear it, consider themselves "extreme," and go back to work with a hangover. This made the music escape its tiny audience, but killed off exploration as well. In addition, it was defensive and under-confident, feeling its chops lagged behind the rock, blues and jazz genres. Stagnation struck even as the genre accelerated. Enter the dark horse, Demilich. These inventive Finns reintroduced amazement at the possibilities of music. Where most people look at a forest and see wood for sale, a death metal fan after Demilich sees an intricate organism in itself, with the smallest details corresponding to the broadest concepts. The labyrinthine riffs of Demilich corresponded to a worldview that saw the connection between details as a design, and a design as conferring a purpose to life, cycling between birth and death as it spelled out the cryptic intricacies of ancient mysteries. Demilich was like finding a submerged city, or discovering a new path through the mountains, or even confronting a glowering enemy on the open plain. It brought risk, uncertainty, ambiguity and a sense of sublime beauty back to death metal, pulling it away from the slump in which it treated itself as a hammer and every listener as a nail.

Spectral Bounce’s fifth instalment comes courtesy of L.A.’s rave archivist and dancefloor operative Dreams, A.K.A. Jesse Pimenta. Throughout his decade-long career the California native has inspected, dissected and concocted all manner of dance musics, leaving his mark with drops on Apron Records, Pinkman, BANK NYC and his own imprint Dance Data. On SPEC05 — Dangerous When Wet — he hijacks the synapses with 4 accomplished productions, plotting a high BPM course through manifold styles using the raw aesthetic that characterises his output.

“Losing Control” is a frenetic dancefloor invitation, immediately locking into a pacing groove. Beneath wild hand drums, Dreams plays with an insistent 303 bassline alternating between rasping buzz and oily squelch, while stern vocals are layered on top of breaks that have been processed to a viscerally satisfying end.

Taking things from delirious dance circle to underwater biosphere, the EP’s eponymous track explores a submerged 1980s Miami. Weighty & enveloping, “Dangerous When Wet” is pure aquatic pop-n-lock — hydraulic electro for a drowned world. Ocean floor caustics are transmuted into auditory form: arpeggios bubble up; drones shimmer mystically; hi-hats hiss like air from an open valve. Amongst the sonar bleeps, a barrage of pummeling low-end is sure to give subwoofers a workout.

“XTC Messenger” delivers an infectious paranoid dispatch, astutely balancing the sensual with the deranged. A slow-mo dial tone unfolds languidly, running counter to nervously twitching high frequencies. Its punchy percussion is tuned for maximum dopamine release; the track’s abrupt vocal chops and mechanical kick-snare pulsation evoke the leather jackets and jagged edges of 1980s industrial discotheque.

“Pressure Points” closes the EP on a heady and mesmerising polymetric trip. The parting track is a lithe yet spacious number, propelled by a rattling break. Here Dreams follows from track 2, creating an immersive environment in which sounds tightly twist and twirl. Shifting oscillators call out like tiny creatures as the bass throbs and wriggles further into your brain, long after the needle hits the runout groove.

“In May 2024, the Brazilian state of Rio Grande do Sul, where I was born and have lived all my life, faced the worst climate catastrophe in its history. After weeks of relentless, torrential rain, its rivers overflowed, flooding much of the region. Entire cities were submerged. More than 170 people lost their lives, and hundreds of thousands of animals perished. Amid this dystopian and desperate situation, flux was composed and recorded in about a week. Initially, the album was created solely as an exercise to maintain my mental health. But when I finished it, I realized that it had become a kind of “sound portrait” of this dark moment—days filled with pain and suffering. Yet it was also a meditation on the ephemerality and fragility of life, and the struggle to survive.”

On their debut album Seven Dances to Embrace the Hollow, Zurich-based artists Magda Drozd and Nicola Genovese, as Sopraterra, offer exactly what’s announced: seven compositions which, as they unhurriedly flow into each other, mark potential entry points to discover what might be lying underneath. By choosing Sopraterra, which translates to “above the earth” in Italian, as their shared project’s name, Drozd and Genovese indicate their own position in this archeological-looking endeavor, hinting at the potential for sonic explorations to produce deeply submerged discoveries.
Sopraterra’s object of inquiry isn’t easily grasped, traversing histories and blending influences alike. In a time-line-bending manner, musical signifiers from the past, along with specific tonal scales lifted from baroque and medieval music, get digitally synthesized. As sonic matter, the result is distinctly of today: a collection of electro-acoustic compositions that remain experimental at their core, referencing genres like post-rock, shoegaze, or psychedelic, while evoking aural memories of ancient times. Seven Dances to Embrace the Hollow pulls backward and pushes forward alike. Without ever forcing a didactic listening experience, musical motifs and archetypes are thoroughly investigated. But there is no scientific ambition at play here. Rather, the harmonies of late medieval Ars Nova or the transcendent elegance of Baroque chamber music lend their emotional qualities to perceived ideas of old times.
Oscillating between ambient and drone, the album’s seven brooding compositions bring primal connections to a universally shared past to the surface. In its multi-directional positioning, Seven Dances to Embrace the Hollow makes the case for embracing the confusion of warped time and paying attention to all that’s rather felt than seen.

Sediment is an assemblage of field recordings made in the Swiss canton of Jura on a single day in August 2022. Jura's rock and limestone formations create a complex topology which hosts a diversity of sound spaces; human, more-than-human, geophonic, subterranean and extra-terrestrial. By walking and driving through this landscape curious pockets of activity are revealed to the listener. The layers of strata that make up Jura; earth, rock, forest, cables, pipes, factories, planes and radio towers inform the sound strata. These recordings incorporate and embrace these many layerings; the acoustic, radio, magnetic, vibrational, tectonic, resonant.

Over the course of a day Tim Shaw and Laurent Güdel followed their ears, they visited forests, mountains, rivers, hydroelectric plants, caves, radio broadcast towers, wind turbines, train tracks, sacred wells, man made tunnels and abandoned factories, harvesting sounds from this tangled and ever-changing soundscape. Using various listening devices they attempted to listen into the full spectrum of activity, hydrophonic, geophonic, air-pressure, electromagnetic and radio.

Sounds harvested include pieces of limestone being submerged into water, electromagnetic fall out from cell towers, the resonance of a limestone processing factory, VLF radio, the mechanisms of infrastructure, radio controlled airplanes and acoustic signals. These files are mixed and blended together to create a new stratification.

The final compositions were separately pieced together in each of the artist's studios using the collective corpus of recordings. The result is two different sonic interpretations of this layered, ancient and complex landscape.

Tim Shaw works with sound, light, and communication media to create performances, installations, and site-responsive interventions. His practice spans environmental sound art, digital media, media archaeology and walking. He frequently presents his work at festivals, in forests, caves, warehouses, up mountains, and in museums and art galleries all over the world.

Laurent Güdel explores analogue synthesis, phonography, and sound archives through multi-channel electroacoustic compositions, live performances, installations, and audio publications. His work explores the politics of sound, the means of production of early electronic music, and the archaeology of audio technologies, their infrastructures and institutions. He is also co-curator of Kopfhörer, a series dedicated to live experimental music.

Boxset w/ 12" + 7" + Tape + Magazine, Posters

Embryo Issue 5 - Interviews and Mix series Exome
Quiet Husband
Jim KirkwoodSvartvit
Trenchfoot
Necropolis Festival White Centipede Noise Cryptworm Hyperdonitia
Crawl of Time
Night Terror Records Disengagement
Snet
Ineffable Slime
Marie Queau
Personal Hell

Natural Sciences Recs started in 2015 before mutating into the Embryo magazine series. Flesh Renewed marks ten years of the label with the fifth issue of Embryo. A light into the gutter of the fringe underground, through new tracks from the labels catalogue, 100 pages of interviews by labels and artists kicking against the grain and ties forged from the 80’s tape network. We invite you to witness the next stage of the evolution.





e A1. Osiris - Starlight Scorpio 1989 - 7"
f B1. SEEMEN - Floating Gently 1989 - 7"

As a founding member of Dublin experimental folk group Lankum, Ian Lynch explores submerged leylines of music and song. Forging a musical path that is all at once dark, mysterious and foreboding, but ultimately transcendental. His new solo project One Leg One Eye sees him taking a fresh approach to musical arrangement culminating in a sound that is more rooted in the raw aesthetics of second wave black metal than contemporary folk. The project was born across 2021, a period in which Lynch was able to enjoy the freedom of experimenting and exploring different paths of sound design without expectation or pressure. Seeking out interesting settings to record music and gather field recordings, there are several environments, external and interior, whose respective essence have seeped into the spirit of the music and come to represent Lynch’s artistic approach and development with this singular debut album, …And Take The Black Worm With Me. Rediscovered spaces in Dublin and the familiar enclave of his bedroom are intrinsic to the distinct and sometimes harrowing atmosphere conjured throughout the album’s five enveloping compositions. One particular location, an abandoned factory where his father worked when Ian was a child, provided a space of great inspiration and intrigue during this time. Lynch frequently visited the large abandoned warehouse and sang with his shruti box, contented in his solitude. ‘I’d Rather Be Tending My Sheep’, grew into existence from those initial sessions, eventually finding a home as an emotive centrepiece to the album. Reflecting on the overall recording of …And Take The Black Worm With Me, Lynch says, “Everything I was doing with these songs was all kind of new to me; experimenting with different sounds, textures and palettes and seeing what I could come up with by piecing it all together. I spent about a year making the album. I loved the whole process because it was basically just me in my bedroom recording everything. The experience of recording like this and having my own time to do it was amazing. I could focus on recording a specific element and happily spend all day working on that one part, doing it as many times as I wanted. At the end of the day if it didn’t feel right, I could just try it again the next day. When you’re on your own you can spend as much time as you want on particular parts until you feel that it’s absolutely perfect. I found that to be a really liberating experience. It was probably my favourite experience recording music.” The collection of songs (and their chronology) featured on …And Take The Black Worm With Me tell a story unique to Lynch’s experiences with anxiety and recognising his shadow self. Whilst the album became an outlet of personal expression for Lynch, the overarching themes and subsequent journey to confront one’s internal dichotomy of light and dark before accepting this inherent duality is universally shared. The eerie and often unsettling world contained within the album’s texturally dense opener ‘Glistening, She Emerges’, driven by the captivating drone of distorted uilleann pipes, immediately immerses the listener in this transportive work. It descends with a great heaviness, yet woven throughout the arrangement is a fascinating and indescribable entity that draws you further into this otherworldly dimension. This mood continues as the tracklist progresses and transitions into Lynch’s haunting realisation of ‘Bold and Undaunted Youth’ which further demonstrates a cinematic influence to Lynch’s compositional style. Sonically, Lynch effectively builds an impressively vast terrain with brilliantly murky lo-fi recording techniques and an unshakable curiosity to move beyond conventional structures and play with the timbre of the instruments available to him. From recording hurdy-gurdy or concertina to tape and experimenting with loops and effects pedals to stitching field recordings together, there’s an intimacy established between Lynch and his audience established through the simultaneously eerie and beautiful tones courting through …And Take The Black Worm With Me. This culminates in ‘Only the Diceys’, the extraordinary closing track in which we reach a place of resolution mapped into the album’s narrative structure. Mixed by longtime collaborator John ‘Spud’ Murphy in his Dublin-based Guerrilla Sounds Studio and mastered by Harvey Birrell …And Take The Black Worm With Me features contributions from Ruth Clinton (Landless) on church organ and vocals by Laurie Shanaman (Ails, Ludicra). Of Shanaman’s participation, in particular, which further illustrates the lo-fi and DIY ethos to the recording, Lynch says, “Laurie is my favourite black metal vocalist of all time and so I reached out to her hoping to have her involved in some way. She did, and she features on the opening track by providing some incredible screams. She recorded them into her phone and sent them over to me; what appears on the album is literally a phone recording of her screaming in her kitchen!” …And Take The Black Worm With Me continues Ian Lynch’s groundbreaking work with Lankum; recontextualising traditional forms and generating new spheres of music in his wake, confirming his status as one of the most interesting and innovative artists working in Ireland today.

Green vinyl repress, standard single sleeve printed inner. 'The Time Has Come' is an absolute master class on words and guitar twisting into one another - the poetry goes beyond simple observation into deeply personal and profound lore. A timeless document of sweet and haunting melodies. My favorite record of all time.' Ryley Walker. // "I've never written songs, regularly, because I never considered myself a songwriter. I've only ever really considered myself a ballad singer, which is what is most important to me. The stories... the ancient nature of the situations and the human condition. And obviously, it's changed so much over the centuries that those songs have been sung, but it always retains that essence of something that's universal... to humanity, and I've always wanted to touch that. I think I wanted to understand people; I think I wanted to understand myself. It's a way of finding the truth. I felt I belonged to that music." Anne Briggs // Offering some of her first original compositions, 'The Time Has Come' was a break from tradition in more ways than one for Anne Briggs. Where previous recordings displayed the unaccompanied melodies of her voice, this album - originally released by CBS in 1971 - brings additional instrumentation in the form of guitar and bouzouki. The result is that her vocals are not submerged, but heightened - the plucked strings providing the perfect foil for her crystalline inflection. 'The Time Has Come' is a mix of Anne's own songs alongside some notable covers (Lal Waterson, Steve Ashley, Stan Ellison, Henry McCulloch). All are graced with the quietly self-assured elegance of Anne's playing, with sounds ranging from the breezy 'Clea Caught A Rabbit' to the terrible beauty of 'Wishing Well' - each song typifying the bouzouki or guitar style. To say that Anne was an accomplished picker is to do her something of an disservice - the intricacy of her finger-work rivals - and more often than not eclipses - any number of her contemporaries.

Watkins Group returns to Frequency Consortium for its second release, pushing further into the murky depths of dubbed-out desolation. Dubh Dubs (Dark Dubs) takes its name literally—seven tracks of cavernous low-end pressure, submerged echoes, and spectral atmospheres, drawing inspiration from the voids between worlds, the unseen corners of deep space, and the eerie stillness of unknown places.

Where Beanntan a’ Bhròin charted a course through the bleak grandeur of the Highlands, Dubh Dubs plunges headfirst into the abyss, embracing the weight of isolation and the slow decay of time. Watkins Group crafts a sound that feels at once infinite and suffocating—pulsing, restrained, and heavy with the dread of something just beyond reach. Tape-warped textures and submerged percussive mutations unfold in glacial movements, calling to mind the nocturnal dub abstractions of Porter Ricks, the blackened ambience of Thomas Köner, and the sub-heavy spirals of Rhythm & Sound at their most ghostly.

A study in tension and negative space, Dubh Dubs marks another compelling entry in the Frequency Consortium catalog—an offering for those drawn to the darker recesses of sound, where every echo leads deeper into the unknown.

In loving memory of my brother and kindred spirit - Marcus Rafferty

"Buena Muerte" is a concatenated anthem that explores death as a central theme, highlighting its benevolence towards a human being who cries out in all ways for its inevitable extinction. "Buena Muerte" is, in turn, an experiment in resurgent creativity where a vibe of the 70s, metal and chaos converge, on the dilapidating base of the heavy and crushing doom stoner that OCULTUM sacredly cultivates. Submerge yourself into a pool of acid joy and find the subaquatic tomb where all gone souls dance. Sadness and drugs builds character.

Violet vinyl, limited to 350 copies. "Buena Muerte" is a concatenated anthem that explores death as a central theme, highlighting its benevolence towards a human being who cries out in all ways for its inevitable extinction. "Buena Muerte" is, in turn, an experiment in resurgent creativity where a vibe of the 70s, metal and chaos converge, on the dilapidating base of the heavy and crushing doom stoner that OCULTUM sacredly cultivates. Submerge yourself into a pool of acid joy and find the subaquatic tomb where all gone souls dance. Sadness and drugs builds character.

Finnish-born producer and pianist Idealism (800K Spotify Monthly Listeners) and French transplant Lucid Green (175k SML) are no strangers to each other’s subtle, yet potent productions. Having worked together on „Untold“ their Sophomore, fully collaborative LP “Unsaid” is a natural journey into the beautiful ambient, downtempo, lo-fi worlds they’ve each created. Through visits to Lucid’s flat in Paris and ideas being exchanged remotely, the duo experimented with different sounds, instruments and aural environments, in the process crafting a natural partnership that sits in a comfortable, melancholic pocket.

With lulling guitar and poignant piano progressions that provide a pillow to rest your ears, and downtempo percussions that keeps you ebbing and flowing along on a subtle current, unsure where one wave ends and the next begins, only the albums progressions dictate the head-nod. The album soars, reminiscent of life’s simple, yet wholly memorable moments.

As with all 823 releases, the project is a visual one as much as it is a musical project. The first singles visualizers are a fusion of Hopes & Dreams Club & 823’s design aesthetics with personal super8 footage captured by Idealism & Lucid Green, beautifully expressed from Hopes & Dreams Club membersi. Each visualizer and single art will easily stand on its own, transporting you to worlds familiar, yet undeniably groovy and sonically comfortable.

823 is a multifaceted Perth-based record label, fashion brand, and artistic community, founded by Australian producer and all-around creative, Ta-ku (630 SML). With an astute attention to detail and an ethos that appreciates the everyday things in life, 823 doesn’t stick to any particular genre. Past 823 releases include “So Far To Go” EP via Cabu (500k SML), Ta-ku and matt mcwaters’s duo project “Black and White,” featuring Masego collaboration “Flight 99” (38mil streams on Spotify), the “All Things Considered” compilations, a curated, collaborative series featuring both budding and well-established artists around the world and have included Idealism, Wun Two, pastels, L.Dre, Flobama, SwuM, Jinsang, Tenderlonious, among a host of others, as well as multiple sold out clothing capsules.

A special ‘Submerge” 12” EP featuring a bunch of reworks of this pivotal track from Apta's forthcoming ‘The Pool’ album on Castles in Space.

Kicking things off, Apta's own rework of the original sees the shadowy textures and droning wall-of-sound backdrop turned into a static-strewn dreamland of a piece, underpinned by a flickering guitar riff, cracked snare drums and fuzzed-out Odyssey strokes before launching into the euphoric half-time vocal refrain.

The follow-up sees Clay Pipe boss, illustrator and musician step into her Hardy Tree guise for a beautifully hypnotic waft of wistful folk-tinged electronics and shimmering ambient textures. It's warmly nostalgic, and packed full of all the feel of a lovely Clay Pipe release.

Following on from that, modular wizard Polypores takes pieces of the original and stretches them into an organic swell of texture and movement, warping the low basses and flickering modular plinks (and / or plonks) into a beautiful, undulating wall.

Flip over and It's none other than the brilliant Pye Corner Audio, providing an organically blooming suite of saturated percussion and woozy drifting oscillators, in peak PCA fashion. There are few artists that can do as much as with little as Martin Jenkins can, and hearing his audio sunshine underpinning the vocal line is breathtaking.

It's good to get the ears nice and soothed too before the aural assault and hypnotic spirit-cleansing heft of the legendary Gnod. Dubby throbbing bass and cavernous reverb tear the original into shards and piece it together as a churning, industrial powerhouse before shooting the rest into the endless reaches of space.

Closing things out on a space theme is the ideal way to do things too, with Field Lines Cartographer's remix taking things waaay into the outer reaches. Grounding bass churns and stellar synth sweeps float below the modulated vocal line, resulting in a perfectly crafted drone, rich in melody but untethered to the earth.

Imaginary friends Akka & BeepBeep share the third release on their label: Floral Ancestors by Raduns. The 12” offers blooming ambient rooted in dub, lush drone and hand-picked cosmic that’s all grown deep in Detroit.

Spacious sonic arrangements vividly swell yet keep grounded within a sculptural rhythmic core. Raduns sows synth basslines and wispy pads next to harmonious guitars and muted field recordings. Grooving propulsion drives throughout. Rhythms appear, in negative space, like outlines between leaves. Recorded with machines direct to SD card, the compositions represent ephemeral blessings of experience. As if strolling into a verdant conservatory, the layered and diverse sensations blend into one cohesive revelatory experience.

On their first record, Raduns draws an ancestral line in Detroit as inspiration. A time when you could ride a streetcar from Dexter-Linwood to Belle Isle. A time before freeway expansion demolished vibrant Black neighborhoods. A time before the rebellion, motown and white flight. A time when Raduns’ great-grandparents were florists in the city, serving the community in times of celebration and times of grief. This melancholic circle shapes the project in which Raduns summons these Floral Ancestors, stretching upward from the darkness of the earth into the light of the world back down once more.

AKKA’s Side: “Grass Boulevard” exhales a luscious soundscape that develops through wave-crashing synths and circulated guitars to a transplanted acid lead. “Spread” lays out a decoration of blended sample and hold synth with kosmische styled guitar licks. Tracked as a single take in a Detroit community studio, the tune intuitively reseeds the symbiotic sprout between krautrock and Detroit techno.

BEEP’s Side: “Metrograde Bouquet” submerges you into the bulb of a handcrafted vase. Dub techno roots grow out into murky water with energy that is subtle yet profound. “Oldest of Arrangements” textures breaths of misty air cascading ventilating in on itself. The track’s time seems to stretch and disappear within a dark and deep undercurrent. A harmonic and reverberant resonance closes the record in a flowering of beauty and peace.

“You’re a flower child. Put this music out.” - Someone Important in Detroit

In Signal, Brendon Moeller takes his expertise in techno, ambient and dub techno into deeper ambient and drone territory, crafting a richly atmospheric journey through sound for Constellation Tatsu’s thoughtful cassette label.

This album gently balances textures, merging natural and synthetic elements for a unique sonic experience. Highlights include the track 'Light', which opens with a minimal drone and subtle, pulsing sub-bass notes, setting a calm yet immersive tone. In 'Wires', Moeller skillfully intertwines organic and electronic soundscapes, bringing together the natural and technological in seamless harmony. 'Nowhere' shifts to a more aquatic feel, conjuring the sensation of being submerged in an otherworldly lagoon. The serene, electronic layering in 'Bask' adds beauty and peace through calm sequencing and warm tones. Closing with 'Beam', Moeller expertly blends real-world sounds and hints of a surreal, alien atmosphere, rounding out an album that’s both tranquil and otherworldly. Signal encapsulates Moeller's thoughtful production approach, giving listeners a deep dive into ambient landscapes that feel as expansive as they are introspective and adventurous.

»Nuts of Ay«, the thirteenth album by the Berlin-based electronic pop duo Tarwater (Ronald Lippok and Bernd Jestram), is their first in a decade, since 2014’s »Adrift«. Beautifully poised and smartly dressed, it's an album that draws Tarwater’s various pasts into a high-definition present, while bringing the duo, yet again, into productive dialogue with all kinds of fellow travellers.

Tarwater’s music has always been marked by a hypnotic pop-ness, but that’s particularly evident on »Nuts of Ay«, where a song like »Hideous Kiss« weaves together jangling guitar, pastoral flute, and flittering electronics into a gem-like construction. While the lyrics of »Hideous Kiss« are written by the duo, »Nuts of Ay« also continues a longstanding Tarwater tradition of recasting the words of others in their own mould. This time, their remit is broad: poetry from Derek Jarman (»All Nuns«) and Millner Place (»Trapdoor Spider«); lyrics from Jean Kenbrovin (»I’m Forever Blowing Bubbles«), the late Shane MacGowan (»USA«) and, again, John Lennon (»Everybody Had a Hard Year«).

This cast of found and borrowed lyricists also finds collaborative echo in the guest musicians dotted throughout »Nuts of Ay«. Schneider TM turns up on the lovely, Felt-like »Spirit of Flux«, where guitars channel the tangled reveries of Vini Reilly and Maurice Deebank into lush pop. Carsten Nicolai joins, as Alva Noto, dappling »On Waves and Years« with intimate glitching textures; he also provides the album cover art. Elsewhere, Masha Qrella appears on »Down Comes the Goose«, and actor Lars Rudolph pitches in for »USA«.

It may have been ten years since the album's predecessor, but Lippok and Jestram have kept active with other projects. They’ve collaborated with Masha Qrella, Immersion, and Iggy Pop; worked on radio plays with Kai Grehn, some based on the writing of Nick Cave (»The Sick Bag Song«, featuring Tilda Swinton, Paula Beer and Alexander Fehling) and William S. Burroughs (»The Cat Inside«); and made music for several radio-tatorts (radio plays based on »Tatort«, a long-running German police TV series) by playwright Tom Peuckert.

Both voracious and committed in their creative energies, Jestram and Lippok report back from these experiments with »Nuts of Ay«, one of their most compelling, deeply lustrous, dreamlike albums yet. They say there was no concept for the album, which is surprising, perhaps, given its holistic mood, explaining it »grew together like a coral reef in the studio over a period of several years«. There’s something to be said for letting an album gather and mutate naturally, without an overarching framework in place, and »Nuts of Ay« certainly feels like an unforced collection of material that nonetheless inhabits a similar space, one where guitars twist like driftwood next to amorphous, aqueous electronics, Lippok’s droll yet completely convincing vocal delivery riding songs that pulse and plume with curious, unpredictable rhythms.

But you can also hear elements – submerged but still present – of other music that’s inspired the duo: they’ve drawn some connections for us with psychedelic folk, Bowie in Berlin, Burial, and the film music of Popol Vuh and Krzysztof Komeda. This music shares a strong sense of place – whether in the world, or the mind – and the twelve songs on »Nuts of Ay« have such similar presence; a shared mood, a shared world, a shared sense of the possibilities of what electronic pop music could, and should, be. A bold and brave pop experiment.

Artwork by Carsten Nicolai
Mastering by Bo Kondren, Calyx Berlin

»Trapdoor Spider«, »On Waves and Years« & »Breaking Day«: lyrics by Milner Place
»All Nuns«: lyrics by Derek Jarman
»USA«: lyrics by Shane MacGowan
»Down Comes the Goose«: lyrics from a traditional song
»Forever Blowing Bubbles«: lyrics by Jaan Kenbrovin
»Everybody Had a Hard Year«: lyrics by John Lennon

"Sympathy Pain is an unusual animal, as their collective backgrounds come from hardcore, drone, and experimental pop in Salt Lake City, Utah. Sympathy Pain began as Skyler Hitchcox’s gloomy drone project which was later joined by Casey Hansen (of Cult Leader) to explore and expand the sullen space that the project initially carved out. Sympathy Pain is rounded out by Chaz Prymek (Lake Mary) and Nora Price. The deep connections to Salt Lake City’s underground well of experimental music have deep entanglements. Sympathy Pain has emerged from those entanglements with a clear eyed thesis, transmuting the often oppressive cultural climate of Utah through a personal veil of heavy sorrow.

Swan Dive is the product of years of excavating that space into a cavern, yielding their self-described “emo)))” (a nod to the preeminent doom/drone band Sunn) while still holding onto the submerged soundscapes that began as the core of the project. The album is expansive — a winding ride that travels from minimalism, to claustrophobic ambient, to triumphant passages that all underscore its forlorn undercurrent.

Originally released in January of 2024 as a CD by The Ghost is Clear and cassette by Diabolical Records, Swan Dive finally finds a new life on vinyl - reissued by the Cincinnati, OH record label Whited Sepulchre Records.

Tracked with Wes Johnson at Archive Recordings in SLC, UT and mixed/mastered by longtime friend and co-conspirator Ben Young, the album features a haunting guest spot by Madeline Johnston of Midwife on “Heaven + Hell” to close out the album."

Die Wahl-New-Yorkerin Yaeji hat sich in den letzten Jahren als Produzentin, Sängerin und DJ mit ihren introspektiven Dance-Floor-Hymnen eine ganz eigene Nische geschaffen. Nach der Veröffentlichung ihrer Debüt-EPs, sowie den Singles "Raingurl" und "Drink I"m Sippin On" in 2017, war sie auf Charli XCXs 2019er Album "Charli" zu hören, remixte Songs für Dua Lipa oder Robyn, kollaborierte mit dem Seouler-Künstler OHHYUK, verkaufte weltweite Headline-Touren aus und eröffnete ihren eigenen Lifestyle Webstore JI-MART. Ihr Sound und ihre Einflüsse sind dabei so vielschichtig wie ihre Herkunft. Geboren im Jahr 1993 in New York reicht ihr Stammbaum von Seoul über Tokyo bis nach Atlanta - Einflüsse die sich in ihrer Musik in Form von koreanischem Indie-Rock und Electronica, 2000er Hip-Hop, sowie Leftfield Bass und Techno wiederfinden. Mit ihrem 2020er Mixtape "WHAT WE DREW“ schärfte Yaeji noch mal ihre Vision als Musikerin, die kreativ losgelöst von Sprachen Genre-Grenzen zu sprengen vermag - kein Wunder, dass sie daraufhin von Pitchfork 2022 zu einer der "25 Artists Shaping the Future of Music" ernannt wurde. Die nahe Zukunft wird sie ebenfalls prägen. Schließlich erscheint am 7. April nun endlich das Debütalbum "With A Hammer" bei XL Recordings. Entstanden innerhalb von zwei Jahren in New York, Seoul und London kurz nach der Veröffentlichung des Mixtapes und während den Lockdowns ist es eine Ode an die Erforschung ihrer selbst, setzte sie sich doch dabei mit ihren eigenen Emotionen auseinander - besonders mit ihrer eigenen, in ihr brodelnden Wut. Während sie textlich zwischen englisch und koreanisch springt, nutzt sie erstmals auch Live-Instrumente, sei es in Form von einem Ensemble an Musikern oder auch zum ersten Mal sie selbst an der Gitarre. "With A Hammer" beinhaltet darüber hinaus auch Features der Produzenten und engen Verbündeten K Wata und Enayet, sowie Gast-Vocals der Londonerin Loraine James und von Nourished by Time aus Baltimore.

Introducing Airways, Alpha Tracks’ new record label, crafted to be an ultra-inclusive platform that celebrates the full spectrum of electronic music.

Airways is a space for experimentation, where fresh and unexplored visions can thrive. It’s an auditory stage for musical ideas in all forms—a place where genre boundaries dissolve, and connections emerge between diverse musical tastes.

Kicking off this new era, the label debuts with a stunning masterpiece from Scandinavian trance artist and avant-gardist Mikkel Rev.