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Fog On Mirror Glass introduces a new aesthetic amongst Donald Beaman albums. After four albums of varied full-band arrangements, this album emerged as an idea to present solo performances in conversation with full-band work. The bulk of the songs were recorded in the same place they were written: Beaman’s living room. Long time bandmate and producer Kirt Lind set up a makeshift studio at Beaman’s house to record the guitar parts in the same room where they were written, using the same guitars on which they were first played.

Unfurling with a measured pace, the resulting album combines elegiac lyrics with elemental arrangements played with an almost jazz-like reverential expressiveness, calling to mind the works of Cass McCombs, Will Oldham, and Jake Xerxes Fussell. Album opener “Glass Bottom Boat” sets the tone for the album with just Beaman and his guitar – written during the final months of a decade-long stay in New York City, the song was finished upon his arrival back in California. Meanwhile the title track, long a staple in live sets, lands near the middle of the album to recalibrate the mood, featuring the ghostly guitar work of longtime collaborator Ken Lovgren. “Old Universe” lifts things up a bit, propelled by the brushwork of drummer Michael Nalin and the jaunty bass playing of Kirt Lind. Finally, the album ends much the way it began, with Beaman and his guitar on album closer “Bamboo”.

“The dictionary definition of less is more.” - ---- Mojo
“His ability to carve universal empathy from mundane domesticity is remarkable.” - ---- RNR Magazine
“...a collection of evocative scenes and vivid emotions sung to sparse musical arrangements in Beaman’s distinctive sonorous tones” - Americana UK
“...pure and simmering, like a tattoo dedicated to a long lost friend, slightly fading from years in the sun, a memory that will always bring a tear in those quiet reflective moments.” - Psychedelic Baby Magazine

Onna Last Live 1983 includes the final performance by the original line-up of Onna, the psych-rock project of revered Japanese manga artist, Keizo Miyanishi. Onna’s legend has largely rested, until now, on one self-released and self-titled seven-inch from 1983. Reissued by Holy Mountain in 2009, its rediscovery, along with several archival live and studio sets that leaked out across the 2000s, signalled to a wider audience the power of Miyanishi’s strikingly hypnotic songwriting. With Onna Last Live 1983, though, we hear the group’s perfect line-up performing at its peak.

While Miyanishi was the core member and conceptualist of Onna, the other members of the group would also go on to make significant contributions to the Japanese underground. Guitarist Michio Kurihara would eventually be known for his membership of YBO2, Ghost and White Heaven, and collaborations with the likes of Boris and Damon & Naomi. Drummer Ken Matsutani formed Marble Sheep & The Run-Down Sun’s Children and The Mickey Guitar Band, while also running the Captain Trip label. Joined by the late bass player Yasui Yutaka, to whom the album is dedicated, this quartet only performed live in 1983; the live set here was recorded at Silver Elephant.

It’s a different line-up to the Onna duo that’s documented on their single. After Miyanishi and fellow manga artist Mafuyu Hiroki recorded that material, Miyanishi decided he wanted to start playing gigs; Hiroki left, and Kurihara, Matsutani and Yutaka joined soon after. This line-up allowed Miyanishi to significantly expand Onna’s powers, leading to a sound that Kurihara once described to Ptolemaic Terrascope magazine as “repetitive and heavy, yet quite orthodox.”

The songs here are simple yet deeply effective in their repetitive power, generally revolving around two or three simply strummed chords for guitar. Bass and drums repeatedly lock into mantra-like grooves as Kurihara’s guitar scales the walls, with Miyanishi’s consumptive moans and sighs sent torquing through FX. The cumulative effect of the seven songs here is very heavy indeed; if the prologue “Always…” drifts beautifully through five minutes of placid, beseeching melancholy, the epilogue, “Never Seen A Light Like This”, spirals out into sixteen minutes of glazed-over psych-rock, completely monomaniacal and thrilling in its slow-motion tumult.

Throughout, you can hear Miyanishi and co. reaching for something ineffable, something beyond and between the notes. It’s a phenomenal performance; it’s also no surprise that the group disintegrated after this show, given its intensity. Matsutani and Yutaka left after the Silver Elephant show, with Miyanishi and Kurihara continuing through the first half of 1984 firstly as a duo, and then a trio with new drummer Yoshiki Ueonyama. Kurihara left soon after. But Onna Last Live 1983 is proof plenty of the powers of the original Onna quartet, sending their Rallizes/Velvets dream-mantras off into darkened, stormy skies.

An album that calls forth urgent desires, bold claims and the right to dream in the face of a reality that stifles hope.
Because Camp Claude never stands still, because the trio always wants more, it ignites with Diane's fire, Mike's freedom and Léo's conviction, and with NEVER SAY NEVER bets on 14 tracks that are electric, powerful and lightning-sharp.
Plural and perfectly eclectic, NEVER SAY NEVER inhabits an intangible musical and temporal space.
Like a mixtape, this new album reveals new sensations with every track, a prayer to be played on repeat, a kind of magic formula made of electro rhythms, retro synths and shoegaze guitars.

Back in 2022, Is It Balearic? Recordings founders Coyote (AKA long-serving producers Richard Hampson aka Ampo and Timm Sure) took time out from releasing music on their own labels to deliver a near perfect mini-album on Phil Cooper’s similarly mind-ed NuNorthern Soul imprint, Everything Moves, Nothing Rests.

A superb exploration of their trademark sound, where gentle downtempo rhythms and nods to dub came cloaked in colourful ambient chords, sun-bright melodic motifs, organic instrumenta-tion and quirky spoken word samples, Everything Moves, Nothing Rests deserved a sequel. So, three and a half years on, the duo has delivered just that: a fine six-track EP that offers an even deeper and more atmospheric exploration of their signature sound.

It is a sonic approach that should now be familiar to Balearic en-thusiasts the world over. Aside from delivering a steady stream of singles, albums and remixes on their own imprint, Hampson and Sure have also showcased their skills and loved-up musical mis-sives on International Feel, Music For Dreams, Needwant, MM Discos and Citizens of Vice.

The Higher The Sky, The Deeper The Ocean, their hotly anticipated NuNorthern Soul return, is named in honour of a quote from Ped-ro Alonso’s documentary series On the Ship of Enchantment, an extended voyage in which the Money Heist movie star meets healers and masters of ancestral medicine across his native Mexi-co.

There’s naturally a meditative and slightly psychedelic sound to much of The Higher The Sky, The Deeper The Ocean, which offers a subtly varied exploration of Coyote’s style and influence. Yearning, soft-focus opener ‘Muted Beauty’ – the kind of immersive, effects-laden and sample-sporting ambient bliss found nestling on Fila Brazillia albums of the mid 1990s – is followed by the similarly gentle ‘Go All The Way’, where delay-laden acoustic guitars, spo-ken word snippets and gaseous chords stretch out atop a languid, slow-motion groove.

‘A Drop in the Ocean’ picks up the pace a little via a glorious hat-tip to turn of the 90s ambient house – all dub-wise bass, heady deep house sonics, spaced-out chords and half-buried references to sunrise-ready Balearic synth-pop records of the late 1980s. Late psychedelic guru Terrence McKenna appears in sampled form on ‘Dolce Far Niente’, a tabla-driven drift and musical hallucination which conjures mental images of lying in the Mexican desert, gazing intently at a starry sky.

In contrast, ‘Riviera Sound’ is a chunkier, brighter and more sun-splashed affair – all deep, dubby bass, sustained piano parts, punchy downtempo breaks and the duo’s trademark ambient pads – while superb closing cut ‘No Coincidences’ fixes jazzy double bass samples, twinkling keyboard motifs, subtle acid lines and Latin-laced percussion to a street soul-adjacent beat.

Heady, impeccably crafted and thoroughly enveloping, The Higher The Sky, The Deeper The Ocean is Coyote at their dazzling best. It marks another significant chapter in their ever-evolving musical journey.

For their second full-length album, Under My Umbrella, Miss Grit has lifted the lid on their internal world, lasering in on the anxieties and heartbreak of the past two years, following their acclaimed debut Follow the Cyborg.

On this album, Margaret Sohn – aka Miss Grit (they/she) – channels the noirish atmosphere of classic trip-hop bands, while adding a hefty dose of maximalism and a dream-pop sensibility. The title is a nod to the iconic Rihanna song and embraces Sohn “…letting people in more on this record and trying not to shy away from that. I’m leaving the cyborg behind, I’m letting it all out.”

This record started to take shape when Sohn returned from an intense touring schedule where they’d driven themself around North America totally alone. When they returned home, Sohn found themselves yearning to capture that specific, less restrained energy of playing live.

Under My Umbrella not only presents Sohn’s gift for complex production, but also the boldness of finding your voice, and ultimately is about coming to terms with yourself, your imperfections, and your complex interior world.

Fifteen years after their first album "Time for a Change", and drawing on the experience of two others ("Elephanz" 2017, and "Rien de personnel" 2023), ELEPHANZ now returns with a fourth album that carries the scent of first loves, the kind you sing from the heart with your hands gripping a guitar.

"Love. Hurt. Repeat." tells, across ten songs, the story of a return to oneself, like coming home after years spent roaming the world, only to realize that everything you needed to understand yourself was already there at the starting line.

To help you understand what this new album makes me feel, I'd like to tell you about my first meeting with Jon and Max in 2009, when I became the band's bassist. Sixteen years ago, I discovered these two young men and set off in their family Kangoo van on my very first tour.

Through our early rehearsals around the piano of their childhood, I discovered their love for pop music in all its breadth, always in search of harmonies and melodies that touch the heart in the simplest way and gently ease your sorrows along the way. With them, I learned to appreciate the mainstream hits I had previously dismissed on principle, and I discovered the demanding art of melody as I listened to them sing about love and friendship through unforgettable catchphrases.

Listening today to some of the songs from their new album, I think back to those two young men with a big-city rock look, shut away in the living room of their family home, talking only about leaving that dull countryside behind to live the big life in the capital (Streets of Rage). What I once took for a kind of revenge against the hostile environment of their adolescence was in fact an almost vital need to find their place among others, to feel understood in order to feel at ease in their own skin.

Today, I find them again with the same guitar and the same inexpensive Juno as back then, but with the confidence shaped by years of concerts, writing, studio encounters, and all kinds of experimentation. The music of this fourth album has never been so close to that of their earliest days, but their voices have been set free. They no longer sing about who they dreamed of becoming, but about who they have always been, their most distant concerns, sometimes even their darkest ones, yet always in search of the light.

It is as if ELEPHANZ had to travel all the way around the world to come face to face with themselves again. There is no longer any shame in being who you are, and it is even the best way to understand yourself, to exist and to heal. To heal from grief and heartbreak, to understand the child you once were and the one who carried them (Mother), to forgive yourself and finally learn to love yourself.

That is what makes this record as sensitive as it is powerful and strikingly truthful. It was written and recorded like a cry, live, in just a few weeks, using the instruments of their beginnings: sharp bass and drums, powerful guitars, and synthesizers that are at times soaring, at times carriers of liberating melodies. The art of ballads remains, as does that of universal pop songs.

There is a beautiful urgency here, the urgency of finding oneself again in order to understand oneself through both pain and beauty, and "Love. Hurt. Repeat." is its most perfect expression.

Venturing into “a limbo world between medieval tropes and modern-day decay”, New Orleans musician Urq (half of art punk duo Spllit) returns with a new solo offering. Recorded over a single, intense month, This Dismal Village is a homespun document that sits somewhere between jittery punk, dreary psychedelia, and hooky bedroom pop. Recorded to 4-track, the record embraces limitation as a creative engine, resulting in a sound that is raw, unsettled, and deeply atmospheric.

The album is set not in a fixed point in time or geography, but a liminal environment where dystopic visions and archaic fixtures exist side by side. In the dismal village, kings and witches share space with televisions, skyscrapers, and modern enterprise; organ fanfares echo down streets populated by disgruntled townsfolk and whispered gossip. It is simultaneously the dark ages, 1950s suburbia, and a 21st-century metropolis. Embracing anachronism was central to the project’s identity, an attempt to collapse history into a single, uneasy present.

Sonically and philosophically, the album sits firmly in the tradition of rough and raw cassette rock. Guided By Voices’ Bee Thousand looms large as an influence, particularly its ability to build an entire world through unpolished, first-take recordings. Robert Pollard’s idea of the “four P’s” (psych, punk, prog, and pop) serves as a neat summary of the artist’s musical instincts and each element can be traced right through the heart of This Dismal Village. Further inspiration comes from post-punk’s so-called “Calgary Sound,” a loose movement blending psych pop, post-punk, and math/prog elements with a home-recorded, unpretentious ethos.

The result is an album that unrolls like a place wandered through, uneasy, occasionally familiar, and impossible to pin down in time. All captured on tape before it could disappear like an apparition, like a dream only half-remembered.

M83 ist seit über zwanzig Jahren eine wichtige Größe in der elektronischen Musik und hat sich durch seine einzigartige Fähigkeit, synthetische Emotionen und cineastische Größe zu verbinden, einen Namen gemacht. Von Hurry Up, We’re Dreaming bis zu seinen zahlreichen Werken für den Film hat Anthony Gonzalez eine starke Verbindung zwischen moderner Popmusik und Autorenfilmen geschaffen.
Mit RESURRECTION präsentiert er nach A Necessary Escape seinen zweiten Soundtrack des Jahres. Dieses neue Werk begleitet den Science-Fiction-Film von Bi Gan, der im offiziellen Wettbewerb von Cannes 2025 ausgewählt und mit dem Sonderpreis der Jury ausgezeichnet wurde.

Das von M83 komponierte, interpretierte und aufgenommene Album umfasst 10 Instrumentaltitel
+ 2 Bonustitel, die luftige elektronische Texturen und orchestrale Kompositionen miteinander verbinden.

Bright morning. To noon and into afternoon. To dusk and the inky night.

A major new exhibition of Mammo’s music spread across a triple disc, twelve track album. Call it a compendium or summary, a network of sparking neurons and painted landscapes in techno.

It folds in all the aspects of his other identities (self-)released over the last few years into an ultimate package ~ Heaven Smile, A∞x, CoA-A, E35, Puddlerunner; really any other project Fabiano has assumed an identity under. It all finds its way into the code and format of Lateral in some way or another.

Here the ground is given for the listener to hear just how much range and individual language there is in the music he’s been making. Fully immersive, inventive and detailed while also elegant and light of touch. It’s quite a package from one of the most talented techno producers right now, gesturing towards different genres and novel ideas in beautiful and intuitive fashion.

Break the pack down for your preferred disc of the day if you like. It’s designed with that modularity in mind. Disc one sparkles with vitality and a buoyancy. The middle disc has more drive and harder bites that you may want to amplify and split out to slot in a DJ bag. Sides five and six move into deeper, dreamier and more emotional techno in twilight. Each one is a little distinct and has its own orbit.

But give it your full attention on the turntable platter too. A listen from beginning to end. There’s lovely dynamics and interplays in the narrative, and its a remarkable new body of work to let your time dilate to.

Mastered and cut by Rashad Becker.

Art by Mammo.Works.

With Neolithic Neon, Appleblim creates a kaleidoscopic reflection of the spirituality inherent within electronic music — the ineffable frequencies and communal traditions that spring from exploratory synthesis, deep-rooted rhythms and myriad other sonic codes.

Throughout his third album for Sneaker Social Club, Laurie Osborne continues to express a fascination with the ancient resonance held within modern rave as he guides his own studio practice towards more purposefully analogue processes. It's reflective of his desire to let go and trust his instincts within the more chaotic realm of voltages and signals, not to mention turning to a wider spread of instrumentation and opening up to noisier avenues. This direction defines the character of Neolithic Neon, which bristles with the living imperfections of the gear in the context of incisive and wide-ranging cuts touching on jungle, dubstep, techno, electro, acid and experimental electronic music of all stripes.

Across Osborne's solo output from 2018's Life In A Laser to 2021 tape Infinite Hieroglyphics, a strong melodic sensibility spills out of the richly layered production. It's equally audible in his Wrecked Lightship collaboration with Adam Winchester, and it charges Neolithic Neon with its star-gazing, contemplative streak. From the knotty plucks and licks weaving through opener 'Moorland' to the vaporous synths darting across the top of hardcore conductor 'Thunderstorm', a dreamlike evocation takes the sound off terra firma, musing on cosmic events and our connection to the enormity of the universe.

Eternally in thrall to the maverick vocabulary of pioneering beat scientists and fuelled by the inspiration of great thinkers dwelling on our purpose and place, Neolithic Neon unfurls big ideas without heavy-handed messaging. Instead, it trusts in the universal and time-honoured language of experimentation and rhythm to present its ideas, true to Appleblim's legacy to date while opening a new chapter in his ongoing sonic quest.

After 90 releases on Future Retro London, I feel like I need to take a bit of a break from the constant workload that's come from running the label on my own. I feel like 50 (the cat number for the main label releases) is a good number to pause on for now.

I've been doing some remixes of the back catalogue & thought that putting them all together on one release at some point would be an interesting concept, so here we are.

Thanks so much to all the supporters, artists, designers & everyone else that's been involved in keeping Future Retro London going for so long, couldn't have done this without each & every one of you.

Kēpa is built whole, even if life has broken a few bones along the way.

Back when he was a pro skater, he gave everything to the board. Today, he gives that same intensity to the stage, delivering hypnotic cine-concerts where motion, sound, and image blur into one. The only falls left now are the ringing final chords of his guitar — not just an instrument, but an extension of his body.

Fingerpicking is his native tongue. So much so that Kēpa no longer sings — he lets the strings speak. Percussive, alive, essential. This music isn’t about performance, it’s about living: a personal quest, a way to reach others by first going inward. Moving against the current without fighting the wind. Finding breath, essence, and remembering we’re all drifting on a spinning planet, surrounded by forces bigger than us.

It’s easier to look away. Easier to follow noise, fear, or false prophets. Harder — and braver — to truly connect.

Released in late 2025, Hotline Service opened the door, offering a wide-open, spiritual escape. With SOUL WASH SERVICES— produced by Timber Timbre — Kēpa goes further. Warmer, deeper, more focused. The album feels like sunlight on asphalt, a long drive with the windows down, time slowing just enough to let something real surface.

A kindred spirit to Hermanos Gutiérrez, Kēpa plays the role of a modern, pagan preacher — guiding us through a dusty, golden road movie that unfolds entirely inside the listener. His music doesn’t shout; it cleans.

Kēpa does it all: writes, plays, films, edits, mixes. Music becomes image, image becomes music. Nothing is separate, on record or on stage. There’s no excess, no showboating — just an open invitation to slow down, go deeper, aim higher.

Tracks like Solarium and Paradisiac reach the peaks with minimal gear: five strings, a few picks, and total control of touch and space. Listening to Kēpa feels like checking in with yourself — a quiet inner trip shaped by sounds from every corner of the world. Blues, not to feel them, but to leave them behind.

After years devoted to picking, his playing has become something sacred.

And if you let it, it carries you with it.

After a six-year hiatus, Efdemin returns with POLY — his fifth studio album, released on the recently revived Berghain-affiliated label, Ostgut Ton.

As the title suggests, POLY explores multiplicity: of rhythm, texture, style, and emotion. Across eleven meticulously sculpted textures, the album weaves a multidimensional web of sonic references, nodding to the origins of techno while pushing resolutely into uncharted terrain. POLY feels like an afterglow—of decades on the dancefloor, of restless sonic exploration, and of a profound connection to the spaces and communities that have shaped Efdemin’s sound.

Over the course of 60 minutes we are taken through different territories and landscapes of sound. Mysterious and swirling, abstract and droning textures over at times fast and stoic rhythmic concepts. Sometimes the sunlight breaks into the opaque and mysterious soundscapes before the pulse is taken over and sucks us back straight into the club.

The overall tone of POLY is mild and playful, introvert and at times dreamy. The music is rich in sonic expression and breathes the spirit of musical concepts that have been refined over the course of decades. What Sollmann has condensed here feels like a culmination of his multilayered and polyphonic personality situated between Club, Museum, Studio and Academy.

The album cover features a striking photograph of a human ear by renowned German artist Isa Genzken. Known for her radical visual language, Genzken’s work here functions as a metaphor for deep listening. The ear symbolises the layered complexity and immersive quality of the music on POLY — an invitation to perceive sound in all its depth, fragility, and force and unlock it’s potential to unite different voices in a distorted reality.
Nach einer sechsjährigen Pause kehrt Efdemin mit POLY zurück – seinem fünften Studioalbum, das auf dem kürzlich wiederbelebten Label Ostgut Ton, dem in-house Label des Berghain erscheint.

Wie der Titel vermuten lässt, beschäftigt sich POLY mit Vielfältigkeit: von Rhythmus,Textur, Style und Emotionen. In elf Stücken webt das Album ein multidimensionales Netz aus klanglichen Referenzen, das auf zurückliegende Ansätze der Klubmusik verweist und gleichzeitig entschlossen in neues Terrain vordringt.

POLY wirkt wie ein Nachglühen – von Jahrzehnten auf der Tanzfläche, von unermüdlicher klanglicher Erkundung und von einer tiefen Verbindung zu den Räumen und Communities, die Efdemins Sound geprägt haben. Im Laufe von 60 Minuten werden die Hörer*innen durch verschiedene Territorien und Klanglandschaften geführt. Mysteriöse und wirbelnde, abstrakte und dröhnende Texturen über teilweise schnellen und stoischen rhythmischen Konzepten. Manchmal bricht das Sonnenlicht in die undurchsichtigen und geheimnisvollen Klanglandschaften ein, bevor der Puls wieder die Oberhand gewinnt und uns direkt zurück in den Klub saugt.

Der Gesamteindruck von POLY ist mild und verspielt, introvertiert und manchmal verträumt. Die Musik ist reich an klanglichem Ausdruck und atmet den Geist musikalischer Konzepte, die im Laufe von Jahrzehnten verfeinert wurden. Was Sollmann hier verdichtet hat, fühlt sich wie eine Kulmination seiner vielschichtigen und polyphonen Identität an, die sich zwischen Klub, Museum, Studio und Akademie bewegt.

Das Albumcover ziert die Nahaufnahme eines menschlichen Ohrs der renommierten deutschen Künstlerin Isa Genzken. Genzken´s Arbeit wirkt hier als Metapher für deep listening. Das Ohr symbolisiert die vielschichtige Komplexität und immersive Qualität der Musik auf POLY – eine Einladung, Klang in seiner ganzen Tiefe, Zerbrechlichkeit und Kraft wahrzunehmen und sein Potenzial zu erschließen, widerstreitende Stimmen in einer verzerrten Realität zu vereinen.

Some grooves don’t rush to the dancefloor — they crawl there, slow and heavy, like smoke wrapping around a bassline. With Fragments of Reality, The Balek Band sculpt an electronic funk that lives between shadow and light — an end-of-the-world fever dream, a Barjavel-style Ravage where chaos turns nihilistic.

No sequencer grid here — just four musicians sharing the same room, shaping air and tension together: drums locked tight with a slap bass, a guitar dripping with echo and heat, and a one-man orchestra behind his machines, weaving acid lines and synth arpeggios while mixing the band live — drenching it in delay, reverb, and saturation, like a dub producer in a Kingston studio, Lee Scratch Perry or King Tubby conjuring ghosts through smoke.

This isn’t fusion — it’s friction. A living ritual where the TB-303 hums, and machines don’t dominate but converse with the human pulse. Each track feels like a night that refuses to end — that humid in-between where trance slips into languor, and the body starts to think for itself.

The record recalls the cosmic jazz of Alain Mion or Eddy Louiss meeting the fiery energy of West African afrobeat musicians freshly arrived in a smoky Belleville basement in the mid-’80s. When The Balek Band summon ghosts, it’s only to reshape them — bending the past into something futuristic, alive, and strangely refreshing. Both disciplined and delirious, Fragments of Reality feels like a promise at dawn: dark funk for the late hours, slow acid for warm blood.

This EP isn’t nostalgic, though it remembers. It’s a transmission from a parallel past — a moment when jazz players met drum machines and decided never to stop playing. Each note sweats, each rhythm breathes. You can almost see the light cutting through the haze, faces half-awake, half-possessed.

The Balek Band aren’t recreating a moment — they’re keeping it alive.
Flesh and cables. Impulse and patience.
A band, not a loop.
A trip, not a format.

Backwoodz Studioz is excited to announce the release of Crayola Circles, a collaboration between rapper Fatboi Sharif and producer Child Actor. While both artists have long standing connections to Backwoodz, this album marks their first collaboration of any kind and breaks new artistic ground for all parties.


Sharif’s previous album, Decay, released on Backwoodz in 2023, was a haunting experimental rap masterpiece, an acid trip in a mental hospital. On Crayola Circles Sharif trades menacing psychedelia for a simmering stew of blacklight expressionism, his verses slipping effortlessly through the swells and tides of Child Actor’s masterful production. No matter how uneasy the waves grow, Sharif is at ease, a truth teller whispering anti-riddles in your ear. This album feels like a new chamber for Child Actor, as well. The producer has been on an impressive run since dropping CINE- a collaboration with rapper Cavalier- on Backwoodz in late 2024. Child Actor has shown up in the liner notes of everyone from Navy Blue (The Sword & The Soaring) to Earl Sweatshirt (Live, Laugh, Love) to ELUCID (Revelator) to Open Mike Eagle (Neighborhood Gods Unlimited), to Ghais Guevara (A Quest to Self-Mythologize), amongst others. On Crayola Circles Child Actor’s production is dynamic, shifting and sliding into new phases and movements in an instant. The beats are full and knotty, leaning into jazz and folk, while remaining tethered to the tender minimalism that is his signature. It’s a difficult balance for any producer, and here it is executed perfectly, placing us in a world of wood and brass, cowhide and undersea piano. On any other record, this soundscape would steal the show — and it very nearly does — but Sharif’s command never wavers, ever in control; a lucid dreamer in an induced coma.
There are no guests, no skits, and no interludes. There might not even be songs, instead Crayola Circles seems akin to a great river; singular, traversing forest and jungle, mountain and valley, running from mouth to endless sea.

Evighet proudly unveils its fifth release, EVIGHET005, featuring the Sky City EP by Dave N.A., the prolific producer from Yerevan known for his refined sound design and emotionally resonant compositions. With a catalog that spans labels such as Typeless Records and Uppers & Downers, his work continues to bridge precision and sensitivity, exploring the borders between rhythmic architecture and ambient introspection. On Sky City EP, Dave N.A. constructs an intricate sonic landscape where lush atmospheres coexist with fractured breaks and IDM-inspired rhythms. Rooted in the traditions of Jungle and Breakbeat yet unbound by genre, each piece reveals a narrative built from texture, movement and space. His music invites reflection while maintaining a dynamic forward energy, evoking the sense of motion through memory and dreamlike transitions. A central moment in the release is “Bloom”, which features a collaboration with Hayk Karoyi on flute. His performance adds an organic depth and melodic fluidity, weaving through electronic layers with warmth and clarity. The result is a delicate interplay between human breath and machine pulse, blurring the boundary between the natural and the synthetic. Sky City EP marks a new chapter for Evighet, reaffirming the label’s dedication to sound as a medium of exploration and storytelling. Through this release, Dave N.A. captures both emotional immediacy and compositional detail, expanding the label’s evolving narrative with a vision that feels deeply personal yet universally resonant.

2026 repress

On his sixth album, The Arc of Tension, the Berlin based DJ, label owner and producer OLIVER KOLETZKI yet again presents his remarkable vision of contemporary electronic music, while he assumes the role of a storyteller. The Arc of Tension speaks to its listener as a singular, self contained work, which communicates by way of its natural flow and arc of suspense. The latter is mirrored not only in the multifarious narrative of the actual album, but can also be understood as evidence for its creator's long musical history. While Koletzki focussed on a diverse range of vocal collaborations on his previous long players, he now moves on to a different form of storytelling, rooted in the quiet confidence of a veteran musician, as well as the hectic lifestyle of a globally in demand DJ. The Arc of Tension is the psychonautic journey through the various continents of Oliver's consciousness. The quiet chirps and warbles, which initially unfold on the opener 'A Tribe Called Kotori', thus act as a loose associative bridge to 'Der Muckenschwarm', Oliver's big breakthrough hit of 2005. The first minutes of the album leave no room for doubt - we are immediately locked into an autobiographical world of sound that knows how to captivate from the get go. The dreamy, exotic timbres of the downbeat tracks 'By My Side', Tankwa Town' and 'Byron Bay' penetrate our minds in a subtle yet purposeful manner. But soon the tension tightens and organic sounds one by one evolve towards a sterner, electronic cadence.

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