Electronic / Experimental

Originally commissioned by Walt Disney Concert Hall for the LA Philharmonic’s centennial festival, 100 cymbals is a study in restraint, space and subtle sonic transformation.

Following his 2017 orchestral work performed by 100 modified cars in Los Angeles, Ryoji Ikeda took an opposite approach: replacing overwhelming volume with near-silence, while retaining the number 100. Expanding an earlier composition for 12 cymbals into a work for ten performers and 100 instruments, Ikeda developed a choreographic composition in which the cymbals remain fixed in a 10 × 10 grid as the performers move between them.

Each cymbal is unique, struck with a variety of mallets to produce delicate, shifting textures. Slowly evolving and richly atmospheric, these sounds form a sonic landscape that envelops the listener—a forest of sound shaped by subtle changes in articulation, movement and dynamics.

A meditation on space, perception and the expressive possibilities of minimal sound, 100 cymbals reveals the extraordinary complexity that can emerge from the quietest gestures.

Tim Reaper, a key player in Jungle’s new wave of producers is back on Hyperdub with his debut solo album, World's End. This is hard to believe considering how much music he has produced, released and facilitated through his label Future Retro over the last few years. It follows In Full Effect, his 2024 collaborative LP with Australian producer Kloke. That record showcased a particular vintage of the Jungle sound. In contrast, Worlds End refreshes and updates his sound for 2027, building on experiments from his 2024 Scorched Earth EP. He described how that earlier release ‘was inspired by a conversation I had with a mate where he was asking how I define "Jungle” - and for me, Jungle is mainly about the breakbeats and the tempo, but it could have anything else going on within that template. The realisation made me want to challenge myself to try and bring in newer/lesser referenced sounds.’ World’s End stays true to that open definition of jungle, recalibrating the new with the old, a rhythmachine for processing the present. Opening with the jubilant rollage of chopped marching band samples on Roll Call, the album gets deeper, heavier and darker as it unfurls, drawing fragments of gqom’s atmospheric tension, footwork’s bouncy kicks, drill’s sinuous, warped basslines, the distortion and riffage of rage rap and techno’s synthscapes into its omnivorous breakbeat whirlpool. It’s a bruising ride that waxes and wanes as Tim charts his path forward.

Techno, Mondo, Lo-Fi - they anticipated the entire universe of these genres in 1978.

Recorded on a 4-channel tape recorder before their debut and released as a CD in 1996 to great acclaim, the legendary sound collection "1978" is finally being released as an LP for the first time after 30 years. It includes three previously unreleased tracks, including "Confusion," which had a different version on a fan club-exclusive flexi-disc.

A year before releasing their debut album from Toshiba EMI, Hikashu was already creating their own fascinating music. In a house off a narrow alley leading to the train tracks from the intersection at 6-chome, Toyotamakita, Tokyo, with the shutters closed and blankets hung, they reverberated sounds to intense rhythm machines. —Koichi Makigami

An album etched not only in the history of Japanese rock but also in the history of rock worldwide!A miraculous sound that never ages!Due to popular demand, re-released on clear vinyl!

●Why did the world's avant-garde musicians want to create "sound" with Conny Plank back then? The album "Phew" (released in 1981) was produced at the legendary Conny's Studio, which spawned masterpieces by Kraftwerk, Neu!, DAF, Eno, and others, with former Aunt Sally member Phew joining them.

●Holger Czukay and Jaki Liebezeit, former members of the German rock band Can, who had a great influence on techno and post-rock, participated.

●Conny Plank's outstanding engineering and Holger Czukay's ingenious editing created a groundbreaking sound world that still resonates uniquely and never fades even today.

PS. To buy digital tracks or the full digital album, please head over to : astralsynthtransmitters.bandcamp.com/album/zodu-were so the artists gets their deserved share. This is why we set the crazy digital price here, to avoid anyone ordering digital from us. But the vinyls is a different thing, you are more than welcome to order these goodies! ---- HOTLY RECOMMENDED! The Brussels-based DJ, producer and tireless record digger soFa elsewhere returns to The Astral Synth Transmitters for a new encounter (following "Lulanga Tales", his collaboration with Nyati Mayi) This time, his path crosses with Zouratié Koné, a musician from Burkina Faso rooted in the Griot tradition. Brought together through Brussels’ musical underground, the two found common ground in the studio, bringing together practices that may seem distant at first, but share the same refusal to treat music as something fixed in time. Zouratié Koné comes from a lineage in which music carries memory. In the Griot tradition, songs, stories and knowledge remain alive by being passed from one generation to the next and continually finding a new place in the present. Since childhood, Zouratié has devoted himself to his instruments, particularly the kora and ngoni, not only playing them but also building them himself. On the other side of the conversation, soFa deploys through The Astral Synth Transmitters a language of synthesizers, machines and distinctly leftfield production. Recorded in Brussels, Zodu Were grew from this exchange between two practices, two histories and two ways of keeping music in motion. The result is neither an exercise in preservation nor an attempt to simply dress traditional music in contemporary production. Zodu Were is built on the movement between acoustic and electronic, ancestral and futuristic, warmth and cold, human and machine - creating a space where distinct musical worlds can meet without one disappearing into the other. An “ancient future” where tradition is not something to look back upon, but a living force capable of being transformed, transmitted and sent somewhere new.

Tapan’s God Knows, released by Music From Memory sister label Second Circle, combines slow electronic rhythms, jazz improvisation and live percussion. Producers Nebojša Bogdanović and Goran Simonoski anchor an expanded ensemble with dub bass, while guitars, drums and Jamal Alkiswani’s saxophone, flute and zurla weave through the electronics. Rooted in Belgrade’s club culture, the group use repetition and open-ended improvisation to stretch their music beyond the dancefloor. Instruments emerge and recede as rhythms unfold, reflecting the album’s themes of urban loneliness, fractured relationships and spiritual uncertainty. Recorded at Hill River and La Plant studios, it makes room for spacious passages within the dense ensemble playing.

Barely known to the international public, the Electone pioneer and virtuoso Shigeo Sekito is the man behind four LP volumes titled “Special Sound Series” published by Nippon Columbia between 1975 and 1977. One of his masterpieces from “Vol. 2” titled “The Word II” gained great popularity after inspiring Mac DeMarco to cover it creating one of his most acclaimed tracks to date, an unforgettable tribute to Sekito’s blissful compositions. Quavo feat. Travis Scott, Eevee and others followed sampling this track to create new tunes. During the past years youtube’s music recommendation algorithm also did its part popularizing this track and the whole vol.2 LP online as well as creating an unsatisfiable demand for the highly sought-after 12” which hadn’t been reissued to date. Shigeo Sekito studied piano as a child and aspired to become a composer, studying composition at Osaka Kyouiku University. He was later attracted to a new Yamaha instrument called “the Electone”, and won the first prize at the National Electone Competition in 1967. He was one of the leading figures in the world of the Electone, while teaching younger students. He also performed and composed music on the piano under the name of Ken Akishino (秋篠健) and published some of his works on his YouTube channel before passing away in 2021. Originally released in 1975, Shigeo Sekito’s “Special Sound Series Vol. 2” is one of the best examples of his Electone works as a composer and pioneer. As a Malaysian newspaper described in a 1991 article: “His fresh, energetic, rhythmic and sometimes humorous style of playing is attracting a growing number of fans and enthusiasts to try and play Electone, and is expected to develop new possibilities in the Electone world. He is actively engaged in numerous concerts and recordings, both at home and abroad, practicing up to 14 to 15 hours a day. Sekito’s music can be described as “careful as the devil and daring as the angel itself”. His selection of tone color and miraculously sound manipulations make us find ourselves all of a sudden pulled back to our past inner experiences or thrown away into an opened future cosmic space. This is indeed a demonic work and may also result from the sweetness and purity of the angelic whisperings."

Norwegian improvisational trio Supersilent release 15, their first album since 2018, as they approach their 30th anniversary. Formed in 1997, the group have always worked without rehearsals, written material or prior discussion, building their music from spontaneous sessions. Arve Henriksen (trumpet and voice), Ståle Storløkken (keyboards and synthesizers) and Helge Sten, aka Deathprod (electronics), move between free jazz, drone, electroacoustic experimentation and noise. Spanning 15 tracks and 64 minutes, 15 continues their long-running numbered series that began on Rune Grammofon.

the second album released in 2007, which won one of the biggest accolades as ‘the most important piece of electronic music of the century’, is reissued on 2LP (140g black vinyl).

3TWI (عتوي) the name of Fatima Al Qadiri’s new EP, is Kuwaiti Arabic femme slang for dirty old man, literally meaning “male alley cat.” Over four regional club tracks, Al Qadiri explores the gaze of this sleazy yet pitiful background character with long-time friends and vocal collaborators Bobo Secret, Lama3an and Gumar. Conceptually, the EP follows Al Qadiri’s long-term pre-occupation with dance music, gender identity and performance in West Asia. Musically, the release is a homage and love letter to West Asian folk dance music. 3twi celebrates the ethnic diversity of the region and the shared love of musical traditions across borders, through a coy queer lens. Lyrically, the record is split between suggestive spoken word (ft Lama3an and Bobo Secret) and yearning anthems (ft Gumar), all queer in intention and meaning and largely improvised. The final track, ta3alay, samples acapella taken from the theme song of a Japanese cartoon, Tokimeki Tonight, translated for Arab audiences as Ranzy Almudhisha, originally sung by Lebanese singer Ihsan Sadek, and re-sung by Gumar to create a double vocal. All the songs are in Kuwaiti Arabic except ta3alay, sung in Classical Arabic, and zan kardeh yaw nah, which is in 3eemi (عيمي), a regional dialect of Farsi reflecting the Iranian heritage of Gumar and Al Qadiri. 7ilween loosely translates as “pretty young things”. The lyrics play out a shady encounter between the 3twi and his potential clients that fit the description. Zan kardeh ya nah is 3eemi for “did you get married or not?” and the answer is inferred as No – a defacto West Asian queer anthem. Zilim means “macho man” and is an ode to the region's butch femmes. The hook translates as “She, She’s the macho man, Her!” Ta3alay is a love song which means “Come here.” The lyrics profess, “Oh tone in the mind, and in the realm of imagination, oh beautiful picture, do not stay imaginary, come here.”

In their third collaboration, the shared project between Merzbow and Pedro Vian shifts towards less confrontational and more introspective terrain. Bardo Thödol, released as an LP, draws on The Tibetan Book of the Dead not so much as an explicit narrative framework but as a conceptual resonance: a passage, a suspension between states. Where Inside Richard Serra Sculptures and The Wheel of Mani foregrounded a relatively defined dialectic between Vian’s environmental restraint and Masami Akita’s impulsive, textural excess, that friction here appears to dissolve in favour of a more homogeneous mass. Noise, far from its most abrasive edge, is reconfigured as a continuous field — dense yet permeable. Within this flow, melodic structures emerge without assertion, surfacing almost incidentally as by-products of the accumulation of frequencies itself. The result is less a reconciliation of languages than a blurring of their boundaries: a space in which intensity is internalised and the radical gesture folds into a more sustained, contemplative mode of listening.

To celebrate 20 years of this incredible album by Masami Akita, we are doing a limited edition gatefold vinyl pressing on baby pink colored vinyl limited to 300 copies worldwide.

Limited edition of 200 copies. Merzbow is a Japanoise legend who has been advocating and practicing thoroughgoing ahimsa. This is the first analogue/cassette version of their very popular CD-only release "Door Open At 8 AM" released in 1999. Recorded at his home studio, Bedroom, Tokyo, in April/May 1998 using EMS VCS3, EMS Synthi 'A', Moog Rogue, Theremin, etc., this is a career-defining album. Recorded around the same time as one of Merzbow's most adventurous works, Aqua, it pays homage to the free jazz musicians he admires. Tony Williams and John Coltrane were also sampled. Remastered at Munemihouse in 2020. Remastered at Munemihouse in 2020 with new artwork by himself. Includes additional bonus tracks.

ALLVEI (pronounced AHL-vay) is an ambient-jazz trio featuring Norwegian guitarist Eivind J. Vullum (HMD,Vibrasjon), Polish saxophonist Jerzy Mączyński (Polish Jazz, UHF) and Swiss drummer Nicolas Stocker (ECM, Nik Bärtsch’s Mobile). With its roots and meaning coming from a specific region on the North-Westcoast of Norway, ALLVEI describes an eternity in time, and the endlessness in space. It’s a musical and physical journey that begins deep in the mountains of Norway via Warsaw, Zürich and ends in Kristiania. It’s a fitting name for the trio’s musical experiments, operating in a continuous evolving sonic space. The five compositions act as a visual site-map of the first cycle of the ALLVEI project. From the subtle minimalism of ‘Almberg’ and unruffled sounds of ‘Driva,’ an enchanting web of rhythmical structures and ethereal sounds unfold, centred around subtle polyrhythms and free improvisation. ‘Mariensztat’ brims with exotic textures and tasteful arrangements, while understated explosions and quietly composed atmospheres dictate the pace of ‘Züri,’ before the album climaxes with the surging ‘Kristiania,’ awash with Stocker’s shuffling drumbeats.

New York producer Daniel Creahan returns as Alien D with his debut full-length on Theory Therapy — following last year's For the Early Hours of a World in Bloom EP, Smoker's Choice takes on a decidedly more spacious and inward bent, softened rhythms and arrangements given more room to breathe as electronics and acoustic composition fold into a shifting, ethereal wash. A record of drifting forms and blurred boundaries where nothing feels entirely fixed. Collaborations run throughout — guest vocals from his wife Ellen, washed-out zither, bowed banjo and scorching saxophone leads, each instrument buffed into a mass of sound through Creahan's dubwise interpolations. A sub-bass tone might linger beneath the surface before receding into the haze; a groove can feel steady one moment and subtly shift the next. Repetition becomes less about locking into a pattern than watching it slowly change, like the same view seen through moving water. Smoker's Choice finds its depth in these small shifts — dub rhythms, soft-edged electronics and acoustic inflections reaching something dreamlike but tactile, where atmosphere and groove are never quite separate. A landscape of slow-moving forces, entirely absorbing.

The UK’s Afro-club Queen, Shannen SP chases her ‘Amapiano Now’ comp for NTS with a cherry-picked survey of Mzansi Bass, including one of her own, locked to the emergent South African hybrid of Bacardi energy and amapiano log drum grooves currently catching fire beyond SA. Spotlighting the freshest iteration of a lineage that runs from ‘80s bubblegum to ‘90s and ‘00s kwaito, thru gqom, amapiano, bacardi and 3-step in recent decades, Shannen SP’s curatorial chops are deadly on-point yet again with this lot for Colombia’s TraTraTrax. Anyone keeping up with contemporary South African styles and patterns will recognise certain hallmarks of prevailing sounds tessellated into the more layered, sticky and even psycho-sexual thrust of Mzansi Bass, which clearly favours an added lash of raving trance synths and simmering energy bound to connect with proper dancers everywhere. Perhaps most notably, it opens with Shannen SP’s debut production credit (after vocal on Nazar’s ‘Airstrike’ in 2020), in duo with Hennybelit on the transition from tense techno hunch to gluts-twang bass in ‘Mzansi Bass’, smartly cued up next to DJ Lag’s nagging trance vamps on ’NOPS’, for the strongest introduction to this new permutation. The pressure holds tight for the rest, firing zippy Kaito-style electro motifs on State Offf’s ‘Alarm’, and full wingspan glyder ‘Favelas’ ft. Lyzza. Jay Music rams the energy with a romantic keen in the finely yoked trot of ‘Midnight Session’, and Deep Narratives plumb proper subbass levels on the quaking ace ‘Ghetto Gong’, next to the martial pomp of ‘Stjwetla Revisit’ by Audio Addicts, and a surprise left turn to Barbie SZN’s cunty rap on blown-out bass in ‘GTI.’

Debut Short Span LP from Miles ov Demdike Stare, Pendle Coven and Suum Cuique fame, co-founder of the DDS label, longtime pal, and in recent years mastering engineer to countless releases you’ll find strewn accross these pages. It documents 30 years of "warm up" jams, spanning many modes and eras in inimitably deep and fractious style... "The practice of dub techno and its tendrils is a fundamental for me, both aesthetically and from an engineering perspective. I start every recording session with a dub inspired jam, the first piece I ever recorded in 1996 was an effort to recreate Phylyps Trak with only a Korg X3 and an Ibanez PUE5 (borrowed from Gary Howell). It was an awesome introduction to jamming, and the footing stones of noise, delay and saturation were explored with my foot hard on the enthusiasm pedal. These practice jams are in some sense cathartic, the first step taken again & again, which helps me move forwards each session and additionally helps to 'warm the circuits' both of myself and the machines. After realising the genius of Basic Channel is akin to the genius of peasant food, using every ingredient with nothing left to waste, (up to and including the oft maligned working noise of the machines themselves), this was a watershed moment for my own subjective progression. No longer tied to just emulation of something inspiring, but taking these learned tools into other areas of music helped to break free from a strong current of influence and also to progress into other areas with the new toolbox. Dub: The importance of the dub pioneers should never be understated, in modern music and my own practice. Yet with my initial inspiration being two german dudes issuing extreme techno variants with obscured label designs, who then signposted their listeners to their own inspirations (via their Wackies re-issues or nodded to on their Rhythm & Sound/Burial Mix sub-labels), meant that I started late and travelled backwards. Learning to notice the live mixing of Mikey Dread or Lee Perry when the faders are bleeding through even when turned down, (echoed in BC's Quadrant Dub), or the brash send effects literally thrown into the mix also taught me that 'rough' mixing can inject a recording with life, uniqueness and the most right wrongness. Looking back Basic Channels very few elements helped me realise that the rules to be understood, are also the best ones to be broken. Push the mixer into the red. Amp that noise up from the tape delay cos it sounds sick. Pseudo side-chain effects cos the kicks are way too loud and the mixer can't sum it nicely. Spam the send knob into the delay units now, now and now. Carelessness. Noise: Once I wrapped my head around the intrinsic 'noise' element that set those records apart, this became a torchlight into the alt noise movements which I was tentatively exploring at the time, and also is evidently a connection or thread into them. Whether the Industrial/Post Punk UK scene (This Heat, TG, A Tent, F.E.) or the prolific output of the US Noise scene (Wolf Eyes, Live & Shave in LA, and subsequently following the lineage all the way back to Chrome's Alien Soundtracks), I had finally discovered a connection from techno to this 'free for all' corner of music. This input from the Noise arena of sound is, in my experience, an all important step for a sonic artist, taking it's roots and extending out from Stockhausen/Pierre Henry and utilised/warped/mangled by thousands of adventurous pioneers ever since, I now see the line separating the high brow and the low brow is actually an artery carrying information from the head to the heart. Vault is a selection of these jams that precede each of my solo recording sessions, for 30 years I've recorded hundreds of these 'workouts'. They are never intended as serious statements, just moments of naive enjoyment, yet most importantly they are time & space captured as practice. The objective is always a warm up exercise, but sometimes those exercises turn a different corner, with a certain focus or direction dependent on what random samples are left in my machines from the previous session, instead of conscious choices, these unconscious elements can facilitate those 'positive mistakes' that make a piece of sound retain a different feel or colour and thus become special, or at least special to the creator. I am quite conscious that the 'record everything' aspect of my ethos has been invaluable in cataloguing and saving these jams, while the attitude of carelessness during this process (after all, it's only a warm up jam) invites more enjoyment than seriousness ever could. Even if you don't feel the piece at the time, record it, because some years later it may well fit, or become relevant in a way you never intended." -Miles

Maruyama follows Vapor Curve with grainy film, a hardware-only mini album created without the use of computer-based recording software. Built from synthesizers, samplers and delay units alone, it finds beauty in restraint, combining minimal harmonies with glowing ambient passages, shimmering arpeggios and the warm, grainy character of vintage samplers. Inspired by the faded texture of old film stock, grainy film expands on its predecessor with a deeper, more abstract and dub-inflected sound. Maruyama describes it as "music for a cigar" – understated electronic music that quietly transforms the atmosphere rather than demanding attention. Nostalgic melodies and lingering echoes capture a sense of impermanence, making this a meditative and deeply absorbing listen.

Few artforms are as apt to describing the fervour and tumult of human emotions as music is. Songs transport us to real and imaginary places, living someone else's experiences as our own, connecting with thoughts and feelings through melodies, rhythm and words. As a producer working primarily with the tools of traditional Hip-Hop – samplers, records, synthesizers – Onra has distinguished himself over the past decade as one of the best of his generation, capable of creating vivid music that sparks the mind of the listener and brings them along to uniquely detailed spaces, both real and imagined. On “Nobody Has To Know”, his fifth album for All City Records, the versatile French producer created music that reflects on the various aspects of a secret relationship pulling from R&B,New Jack Swing and Funk to soundtrack the passions of attraction. Stylistically “Nobody Has To Know” picks up from the Future Funk style Onra originated on his 2010's “Long Distance” (and its 2012 companion EP “Deep In The Night” for Fool's Gold). Where those two releases mined the early and mid parts of the 1980s for ideas and references, the new album digs into late '80s and early '90s jams for smoother and richer sounds. Bolstering the record are two talented multi-instrumentalists, New Zealand's Lewis McCallum and Belgium's Pomrad, who bring touches of virtuosity to Onra's trademark smooth arrangements. The result is a record that, like its theme, oscillates between tender, torrid and tumultuous. Over its 13 tracks “Nobody Has To Know” details the ups and downs of a secret relationship, from the excitement of doing something forbidden to the aftermath of living out fantasies. On "Let Me Fantasize" a rolling bassline and sparkling melodies capture the excitement of what is possible, the mind wandering into the forbidden. "No Question" taps into New Jack Swing to act out desires that can't be suppressed, exuberant solos echoing dangerous feelings. With its hard drums and smooth horn solos, and chorus of "Freak" takes you to that place where you can do things you only dreamed about. Balancing this intensity are more introspective moments. "Not Long Ago" rolls out gentle synth solos and nostalgic samples to reflect on past relationships and the very human desire to have what you had or can no longer reach. Rich textures and a languid rhythm underpin the reflective mood of "Nothing To Lose," as you wonder what could go wrong – it's a fine line after all. The fantasizing, excitement and danger of fatal attraction are all reflected through the prism of the music. With “Nobody Has To Know” Onra deftly evolves the style he first began to explore a decade ago with his unique touch, re-affirming a unique sound rooted in warmth and setting the mood for some late-night escapades.

Jakarta x NYC’s charming Asa Tone trio chase their Ariel Kalma jams with a beatific bouquet of electronica-meets-gamelan delicacies, surely recalling their near namesake Asa-Chang & Junray’s Y2K classic ‘Hana’ as much as Visible Cloaks in their play of feathered rhythmelody, hyaline synths and lathered vox, benefitting from Tristan Arp’s filigree production. “Music From Memory presents ‘Mutualkind’, by Asa Tone, the collaborative project of Melati ESP, Tristan Arp and Kaazi. Written between Indonesia, Mexico City, Berlin and New York, the record unfolds through a process of continual exchange, where distance itself becomes part of the group’s music formation. At the centre of the album is the idea of a shared language, formed across differences in geography, experience and musical approach. One such process explores Tristan’s electronic hand percussion triggering fragments of Melati’s voice in real time, while a library of spoken words and phonemes are reshaped through chance-based rhythmic processes. Voice becomes percussion, rhythm becomes melody, and the lines between individual contributions begin to dissolve. Some pieces, including ‘Water Talk’ and ‘Second Language’, were recorded live in a single take, while others were assembled gradually through remote exchange. During the final sessions in Indonesia, Balinese percussionist Putu Septa contributed kendang to two tracks, bringing the instrument into dialogue with modular synthesis, FM textures, electronic drums, MIDI wind instruments and Melati’s shifting vocal forms. Sounds are slowed, stuttered and reorganised, reflecting a world shaped by illusory borders, vanishing landscapes and glitching ecosystems. Yet the album remains rooted in the act of tending to something shared: a musical field built through listening, improvisation and repeated moments of reunion. ‘Mutualkind’ seeks to blur boundaries without erasing the identities that meet across them, providing a space in which voice and instrument, self and other, separation and togetherness can briefly exist at once.”

'Denshi Ongaku No Bigaku Vol. 3', a Cosmocities compilation put together by label owner Matt Soulie which continues the journey through Japan’s diverse sonic landscape. "Since its inception, the Denshi Ongaku No Bigaku project has paid tribute to a musical culture that has profoundly influenced the Cosmocities vision. Where the first volume explored dreamy ambient textures and deep electronic moods, and the second shifted focus towards boogie-laden rhythms and jazz-fuelled dancefloor excursions, Volume 3 finds a natural balance between introspection and movement. The compilation opens with Yosi Horikawa’s sublime “Bubbles”, an ambient masterpiece whose delicate organic textures gently set the tone. Chari Chari’s “Luna de Ritmos” follows with deep, ethereal house atmospherics before Force Of Nature’s hypnotic “Skyy High” guides listeners further into immersive territory. The journey continues through the experimental electronics of XTAL’s “Skygazer” and the analogue warmth of Takuya Matsumoto’s “Jump Rope Music”, while regular Cosmocities contributor Yuu Udagawa delivers the sophisticated high-tech jazz house groove of “Little Secrets”. On the second half of the collection, Kuniyuki’s remix of Slow Didi’s “Follow Me” brings rich jazz-inflected elegance, leading seamlessly into the futuristic techno-swing fusion of DJ Eiji Takehana featuring Yusuke Nakamura’s “Deep Track Jazz”. Tominori Hosoya’s “Summer Dreamers” adds a deeply emotional and dreamlike house moment before Azzurro’s “Just A Touch Of Love” shifts the focus firmly towards the dancefloor with a hypnotic late-night thumper. Closing the compilation is AcidGelge’s “Fatality 4”, a beautifully spacey and atmospheric finale that leaves the listener suspended somewhere between the club, the cosmos and the imagination."

Latest EP from Lewisham, London born and based Coby Sey – and inaugural release on Coby’s new label, Cardinal Loom, created 10 years after founding and initiating the label and collective CURL with Mica Levi and Brother May.

This EP consists of 5 instrumental songs: 3 new songs and 2 pre-existing songs, all led by piano and keyboards. The mini-LP version comes with 3 more songs, exclusive to vinyl.

“I’ve spent years devoting my time collaborating with artists and musicians, in the studio or live on tour. In rare moments of solitude, I sit in front of a piano or my trusty DX keyboard, play melodies I have in my head and pour it out. These recordings are some of these moments.” 

The vinyl version of ‘Passengers’ is extended to a mini-LP with 3 vinyl only tracks ‘Crossing’, ‘Seen In Another’ and ‘Extended Capacity’, new vinyl only recordings of ‘Face’ and ‘To’ alongside existing songs ‘Dusk’, ‘Passengers’ and ‘Dawn’.

Music From Memory presents Mood Programs – Extended Play, the debut release from LA MARR, a new project conceived by Ron Trent. The first in an ongoing series for the label, it explores Trent’s fascination with mood, acoustics and the emotional impact of sound within physical space.Drawing inspiration from ambient music, dub, New Age, Krautrock, New Wave and HiFi sound system culture, LA MARR channels decades of sonic exploration into a refined contemporary framework. Built from a blend of analogue techniques and modern production methods, the project focuses on depth, warmth and carefully crafted atmospheres.Across the two tracks, 'Good Magic' and 'Clear', shimmering synth patterns, drifting pads, organic percussion and subtle low-end movement combine to create meditative, spacious compositions. Thoughtfully constructed and richly atmospheric, Mood Programs – Extended Play reflects Trent’s ongoing pursuit of sound as an immersive and transformative experience.

On his standout debut LP, DJ Grzyb marshals a rudely squashed swamp dance at the head of his octet, The Make-Believe Ensemble, landing with early support by Nathan Gregory Wilkins, babyschön, Skyrager (Psychemagick), Tom Ravenscroft, Elena Colombi The lessons of dub, new age ambient and Italian cosmic disco that fed into the proto-Goa melange continue to inspire DJ Grzyb and his band of slow disco marauders on this trippy 14-track journey. Their first venture unfolds as a sort of album-cum-mixtape, all handling a vast array of East-West instruments - from brass and woodwind sections to sitar, tanpura, and trad. Thai khaen, ching, pi phu Thai - in a wandering sort of cinematic, narrative-driven fashion. It’s almost entirely yoked to a purposefully slow pace, but does prang out a sore thumb ‘The Three Deaths’ ft. Naphta, aiming it all squarely at the feet of Vladimir Ivkovic or Andrew Weatherall fiends.