MUSIC

Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (2) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (3) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (4) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (5) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (6) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (7) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (8) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (9) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (2) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (3) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (4) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (5) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (6) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (7) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (8) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (9) Buying Options CD (Compact Disc) Available Now SPS26126 CD | Release date: 8th October 2026 £14.99 LP (Black Vinyl) Available Now SPS26126 | Release date: 8th October 2026 £25.49 LP (Colour Vinyl) Available Now SPS26126 CV | Release date: 8th October 2026 £30.49 Blue vinyl with hand written insert. Mystica Tribe and Scopeotaku, having formed an international dub alliance, release "Mystica Tribe Meet Scopeotaku" via 13 / Silentes. "Taking their sounds into melodic experimental electronic dub territory. Previously, both have fused their own cultures and personalities into numerous dub releases. Now they are expanding their parameters by collaborating on a project that encompasses both their love for psychedelic and electronic audio combined with heavyweight dub reggae rhythms. Mystica Tribe is the musical alias of Tokyo, Japan based producer Taka Noda. Drawing on a wide range of influences from dub, soul, bass and rhythm & blues. Mystica Tribe has been developing a very distinctive sound that exists in a weird freaked out zone, between dub and techno. Noda is especially interested in deep psychedelic music and this is reflected in his productions. Which are equally suited for late night listening sessions or on bent broken dancefloors. Scopeotaku is the alter ego of Scott Prentice, a Glasgow, Scotland based artist. Scopeotaku has experimented with audio since purchasing a sampler and a four track cassette deck many many moons ago. His love for left-field dub and eccentric sounds have led him to create a variety of output, from industrial ambient, illbent electronics to mutant dub."

By gathering so many far-flung but fully committed experiments within 78 minutes, the greatest accomplishment of White Elephant is laying bare his febrile creativity and commitment to growth. Head scratching has never been so much fun.” Peter Margasak, The Wire “An enormous sense of fun underpins this exhilarating ride…Leo's art is tantalising in every sense.” Daniel Spicer, New Internationalist “A dazzlingly chaotic, care-free compilation… Confrontational, complex and utterly compelling.” John Parry, Backseat Mafia “The ideal introduction to a deeply political artist whose output grazes tropicalia, funk carioca, samba, noise and even free jazz.” Boomkat Hive Mind are excited to have worked with Rio de Janeiro based label QTV, to bring you this retrospective from the cosmic joker of contemporary Brazilian music, Negro Leo. NEGRO LEO - White Elephant 2LP It's hard to know where to start with Negro Leo. I could start by saying that Negro Leo's background is in Anthropology and Sociology, and that he didn't start making music until he was 28 years old. I could tell you that in 2020 Paula Gaitán (who has also made films about Arto Lindsay, Eliane Radigue and Agnès Varda) made a documentary film called Riverock: É Rocha e Rio, Negro Leo about him. I could also tell you that in 2021 he became the subject of a scholarly book called Deixa Quimar (Let It Burn) written by philosophy professor and music critic, Bernardo Oliveira. I could also tell you that during his recording career over the past nearly 20 years he has collaborated with a who's who of artists at the cutting edge of contemporary Brazilian music including producers Sergio Machado and Renato Godoy and musicians such as Fábio Sá, Lucas Pires, Kiko Dinucci, Juçara Marçal, Domenico Lancellotti, Ricardo Dias Gomes, Eduardo Manso and of course his wife, Ava Rocha. These are some of the artists who have over the years, helped Negro Leo de Pindaré-Mirim (Maranhão), or Leonardo Campelo Gonçalves as shown on his passport, realise his unorthodox, unpredictable and deeply political musical vision. The music on this retrospective, which draws together songs from his 14 albums, EPs and singles released since 2012, ranges widely and wildly across genres and styles, from the urgent and angular no-wave inspired punk-funk of Niños Heroes or Ilhas de Calor, through the psychedelic hoedown of Noite Invertida or the beautiful and delicate Esferas and on to the maximalist hyperpop of more recent works like RELA or Desejo de Lacrar. Negro Leo consistently confounds, confuses, disturbs and provokes. His music is explicitly and fiercely Brazilian and draws on the history of black Brazilian music for inspiration - Gilberto Gil and Tropicalism, Itamar Assumpção and the Vanguard Paulista, Funk Carioca, the Boi's rhythm from the northern carnivals, the samba of the streets and the country - it's all thrown into the mix, along with free-jazz, noise and various chunks of non-Brazilian pop. Leo's music and songs serve as an essential documentation of the country's rapidly shifting social fabric in the digital age, a time in which the country and its people feel lost in a 'jungle of pixels'. Some of these surreal songs can feel overwhelming at times, like a wall of noise full of unfamiliar sounds and rhythms, but there's an unapologetic punk spirit behind it all, alongside a genius composer. It's worth pushing through the that sense of overwhelm to the place where the beauty and complexity of the composition and songwriting shines.

AMEN is a word that moves between the sacred and the ordinary, across languages and cultures. An ancient, universal expression, born in prayer yet living beyond it — in daily life, especially in the Italian language, where it has become part of ordinary speech, used to accept, conclude, affirm, and let things be. The sixth release on e s p e r p e n t o opens a gateway into a timeless, transcultural dimension through a continuous, immersive sonic flow. While conceived as an intimate listening journey, this record emerged from a shared experience within the walls of Frequenze Studio (Monza). ESPER006 is the result of a three-hour improvised live session that brought together experimental music trio MYS and London-based producer Big Hands.

Archimboldos have clawed their way out of the starcaves of their primordial past and into the tranquil light of a coral garden on their third full length album, Crusta Arcana, a gumbo stewpot of transcendent electronica suffused with tribal rhythms and liquid ambience. Across a stereo field smeared with tolling bells, post-industrial folk percussion, and tinkling keys, Archimboldos soundtrack a science fictional journey, not into the depths of space, but deep beneath the waves. In the past the Chilean duo of Nicolás Carcavilla and Felipe Crocco have described their music as “liminal shrimp folk.” Here they continue this strange exploration when they visit the court of the prawns, producing stately electronic chamber orchestrations. Perhaps these are the frequencies used for ritual dream initiation into the mystery schools of drowned Atlantis. Weaving an ancient sacred science, Archimboldos take listeners on a mystic vovage into their singular crustacean mythology, the crusta of their hidden arcana. Archimbolodos are masters of conjoining cyclonic and centrifugal lines of electricity into spellbinding incantations. These deep-sea transmissions envelope the listener into aquamarine forcefields that are as hallucinatory as they are hypnotic. Navigating these strange fantasias could lead one to getting lost at sea, but the work is buoyed by the somnolent melodies of lonely harpsichords and swelling synth pads whose sustained tones reach towards distant shores. Sailing across a vast expanse of oceanic harmonies and percolating percussion, these pieces are as precise as the hand of a sailor on the rudder, moving with the tide. Casting their net wide across eight pieces, Archimboldos have made a big catch. From the emotive electronic counterpoint found on “Bursting Armor” to the blocks of seaweed tangled sonic sculpture trawled up from the ocean floor on “Aphelion IX.” Other songs are like samples of biological ambience collected from luminous tide pools: resplendent tones placed into a Petri dish of sound, swirled, cultured and fermented until it undulates with the rhythmic movement of microscopic lifeforms. Alternating between rippling minimalist sonority and pounding, progressive, synth-heavy entrancement, Crusta Arcana charts its own idiosyncratic itinerary of instrumental invention. All the while light is down streaming from the heavens to pierce the waters, here calm, there choppy. The intrepid musical captains commanding Archimboldos have laid a course for new archipelagos of the imagination, guided by heavenly constellations. -Justin Patrick Moore, author of The Radio Phonics Laboratory, Telecommunications, Speech Synthesis and the Birth of Electronic Music

Chamber folk whimsy from fallen choirboy Thomas Bush, chasing a 7” with Fergus Jones and an LP for Lost Domain with an elegantly woozy suite of skewed songcraft, subtly overeasy on the bittersweet blooz and detuned bliss-outs... "Since earlier solo efforts like Old And Red (2018), Preludes (2022) and The Next 60 Years (2024), Bush—currently based in Malmö—has traced a digressive path that has proven him capable of everything from murky wobbling dirges to uptight head-bopping laments to crystalline synth chords that hang precariously in the air over your new favourite bass line. Like its title, the album's songs/tunes/opportunities for pleasure offer the listener further evidence of a sensibility that is equal parts ambiguity and clarity. In addition to his solo work, Bush has worked with a range of collaborators in one-off configurations and longer term projects like RAP (with Guy Gormley) and cATHOLIC CHURGH (with Jon Auman). Critical responses to Bush's output have often focused on his predilection for certain folk-ish impulses and instrumentation, but, judging from releases like 2026's guld, his definition of "folk music" seems to have as much to do with A Guy Called Gerald as it does with Shirley Collins or John Martyn. For all of its diversity, what unites Bush's ever-expanding body of work is its dual commitment to experimentation and a job well done."

A mysterious little release from Grace, with a cover of Psychic TV's 1983 track 'The Orchids' on the B-side. Most copies are being sold at concerts, with just a handful making their way into shops.

Stroom hold a light to the delicious Belgy dirge “pop” of Adult Fantasies, sifting Nico-meets-Coil and Jonnine-esque gems from their run of late ‘80s/early ‘90s LPs for Antler and Sub Rosa. This label is all nostalgia for shit we never knew existed but which we feel like we’ve known intimately before - same thing we always say - a kind of unheimlich fuckry that's pretty much a genre all of its own by this point. If that’s too vague, give this a listen if you’ve ever found yourself bawling to Martin Gore’s cover of ‘Motherless Child’, Sylvian & Sakamoto’s 'Bamboo Houses' or Lena Platonos’ 'Bloody Shadows from Afar’. yeah. ‘Towers of Silence’ plays thru a dark dream of urbane ennui and poetic mood enhancers that have somehow escaped our attentions until now. Marbled with fine mycelium veins of lowkey audness that link back thru the label’s NSRD and Pablo’s Eye to Fred A and Hessel Veldman, the sound of Adult Fantasies is faithfully brooding and darkly sexy if you like that kind of thing, and all sequenced to perfection for a quietly oozing and woozy sensation of a record. Drawing songs from ‘8 Neo-Pathetic Scenes’ (1988), ‘For The Time Being’ (1989), and ‘The No-Sleeping Feeling’ (1994), the elegantly druggy vocals of Dirk Seghers blend with his keys and synths by Gerrit Valckanaers and guitars from Gerry Vergult in a late night dedicated style, all slowly paced and sculpted in-the-mix to exquisite degrees. We’re talking about treasures like the Coiled dirges of ‘Twilight’ and ‘Life In Transit’, or the icy minimalist elan of ‘Cage’, or the ideal opener ‘Under A Steelplate Sky’ recalling everything from The Velvets to Jonnine and CS + Kreme. Spot on, this.

Moritz von Oswald, who has created a foundation for deep interaction between authentic Jamaican dub and Detroit-style classic techno through his collaborations with Mark Ernestus, dub techno legend =Basic Channel and Rhythm And Sound, is creating ambient techno. Moritz Von Oswald Trio, a legendary trio teamed up with Max Loderbauer of Sun Electric, the pioneer of , and Vladislav Delay, a master of avant-garde electronic music from Scandinavia and Finland. Stock up on the first album "Vertical Ascent" released in 2009 from London's prestigious !

A historic meeting point between Ethio-jazz and ambient jazz. Born out of Bristol’s Bloom collective, the eight-piece Afro-jazz band Tezeta sees their 2016 debut album Seventh Place finally issued on vinyl via KLANG TONE RECORDS. Exotic Fender Rhodes lines recalling Hailu Mergia, the psychedelic shimmer of vibraphone and marimba, fiercely jazzy saxophone, and the driving force of contemporary Afrobeat converge into a sound that is both refined and full of fire. The 6/8 rhythms radiate the spirit of Ethio-jazz, while the group’s modern sense of crossover resonates with European ensembles such as Debre Damo Dining Orchestra and Langendorf United. A meditative Afro-jazz gem, and one to recommend also to fans of ambient jazz.

The compilation that started the renaissance. In 2002 Audika Records entered into an exclusive licensing agreement with the estate of Arthur Russell to compile and issue previously unreleased and out of print material from Arthur’s vast archive.This first album Calling Out Of Context, features 12 previously unreleased tracks of Buddhist Bubblegum Alt Disco Pop recorded during Arthur’s prime years 1985-90.

Jon Hassell, a genius who just released a remastered version of the famous experimental music history "Vernal Equinox" in March of this year as a memorable debut work, "Listening To Pictures (Pentimento Volume One)" The latest work, "Seeing Through Sound (Pentimento Volume Two)" has been released!

"Pentimento" means "in a painting, the original image, format, and brush flow that has been modified or overlaid reappear." The term accurately describes his innovative style of "painting", creating a new, indescribable, addictive palette by layering subtle differences.
Given the traditional Hassel, this title can be interpreted in many ways. But perhaps the most plausible interpretation at this point is the human instinct to sing and have fun in the face of repeated difficulties. It's the future blues that sang uncertainties and ever-changing shapes. On this album, Hassel is once again adventuring to create new forms and variants of music, incorporating elements of the "fourth world" of the past. It's a thrilling window-like work where you can see what the world's music will be like in the future.

"Jon Hassell is the most influential composer of the last 50 years. His invention, called'Fourth World Music', gives a deep respect to the music of different cultures around the world. He paved the way. His work had a great influence on other artists, through which his musical tastes changed dramatically. His unique intellectual contribution is also noteworthy. He is a patient and eloquent theorist and a great musician. "-Brian Eno

Jon Hassell's greatness in contemporary music history is comparable to Miles Davis, Jimi Hendrix, James Brown, or The Velvet Underground. --The Wire Magazine

The long-awaited CD version of the album includes two newly remastered bonus tracks that were only included on the cassette tape version! Japan’s KAKUHAN deliver a futureshock jolt on their incred debut album ‘Metal Zone’ - deploying drum machine syncopations around bowed cello and angular electronics that sound like the square root of Photek’s ‘Ni Ten Ichi Ryu’, Arthur Russell’s ‘World of Echo’, Beatrice Dillon’s ‘Workaround’ and Mica Levi’s ‘Under The Skin’ - or something like T++ and Errorsmith dissecting Laurie Anderson’s ‘Home Of The Brave’, her electric violin panned and bounced relentlessly around the stereo field. It really is that good - basically all the things we love, in multiples. While "Metal Zone" might be their debut, KAKUHAN are hardly newcomers. Koshiri Hino is a member of goat (jp), releasing a run of records under the YPY moniker, and heading up the NAKID label, while Yuki Nakagawa is a well known cellist and sound artist who has worked with Eli Keszler and Joe Talia among many others. Together, they make a sound that’s considerably more than the sum of its parts - as obsessively tweaked, cybernetic and jerky as Mark Fell, frothing with the same gritted, algorithmic intensity as Autechre's total-darkness sets, stripped to the bone and carved with ritualistic symbolism. The album’s most startling and unexpected moments come when KAKUHAN follow their 'nuum inclinations, snatching grimey bursts and staccato South London shakes and matching them with dissonant excoriations that shuttle the mind into a completely different place. It's not a collision we expected, but it's one that's completely melted us - welding obsessive rhythmic futurism onto bloodcurdling horror orchestration - the most appropriate soundtrack we can imagine for the contemporary era. By the album's final track, we're presented with South Asian microtonal blasts that suddenly make sense of the rest of the album; Nakagawa erupts into Arthur Russell-style clouded psychedelia, while wavering flutes guide bio-mechanical ritual musick formations. It’s the perfect closer for the album’s series of taut, viscous, and relentless gelling of meter and tone in sinuous tangles, weaving across East/West perceptions in spirals toward a distinctive conception of rhythmic euphoria with a sense of precision, dexterity and purpose that nods to classical court or chamber music as much as contemporary experimental digressions. Easily one of the most startling and deadly debuts we’ve heard in 2022; the louder we’ve played it, the more it’s realigned our perception of where experimental and club modes converge - meditative, jerky, flailing genius from the outerzone. Basically - an AOTY level Tip.

Kakuhan, a unit of Hino and Hiroki Nakagawa, has released a self-released CD, which has been sold exclusively at live venues, on "Nakid," a hot label run by Koshiro Hino, who is also well known for his activities with goat and YPY and for running "birdFriend," and has released such powerful artists as Keith Fullerton Whitman and Mark Fell & Will Guthrie. The CD is a self-released CD by Kakuhan, a unit consisting of Hino and Hiroki Nakagawa, which has been sold exclusively at live venues and has won critical acclaim!

The CD includes a live performance by KAKUHAN, a unit consisting of YPY, Hino Koshiro, and cellist Nakagawa Hiroki, at the "Feldman meets freq 2022" event held at Kyushu University in February 2022.
KAKUHAN's first album "Metalzone", released at the end of 2022, was voted the 5th best release of 2022 by Boomkat and the 5th best album of the year by Music Magazine in the best electronic music category. The CD contains a total of six songs, including the previous night's "Prototype," a song from the same album, and includes a song that can only be heard on this CD.
As the unit name suggests, the various elements of both artists' activities-"electronic music/strings," "contemporary/club music," "traditional/contemporary," "physical/metaphysical," "composition/improvisation"-are literally "stirred" in the performance. It is highly recommended to listen to it together with "Metalzone"!

From hollowed-out corridors and whispering tunnels, through soundsystem pressure in darkened rooms illuminated by a single intermittent light, Long Gone's fifth release traces the contours of Miles J Paralysis' mind. Dub elements drift through the fog of post-punk disintegration, while echoing percussion and solemn vocals emerge and recede like distant signals. Heavy with bassweight and foreboding, yet never collapsing under its own density, the record occupies that rare space where dread, depth and breathing room coexist.

‘Hall of Life’ is an EP by the artist bambinodj. It’s his second release on OST. To quote bino, it’s “a sanctuary” — a zone of infinite sky and slow-drifting currents. It’s a place of outstretched hands and horizons without end, of long sighs and levitation. Not a getaway, but an invitation to rise above. It’s the sound of an artist in pursuit of a conduit to something both immediate and higher. The ambient balearia of opener ‘Deep Blue’ is instant immersion. It flings open the windows to a panoramic expanse, cinematic in scope and lush in texture. Five minutes of concentrated ego death; unbound, paradisiacal. A drumless reconstitution of a sound that’s unmistakably bino’s. It’s followed by the one-two kiss of ‘Drummyfeb’ and the Mikey Enwright-elevating ‘Seastar’, which transplant drums inspired by Afro-Caribbean and Latin rhythms onto tingling synths. ‘Spellfall’ plays host to artist Merely, marrying bursts of distortion to juddering beats, electrifying cascades of piano, and shredded guitar. Pure energy; unearthly light refracted on ocean. ‘Unfurling’ and ender ‘Windwoods’ ebb and flow between tension and a cautious optimism, shedding the strictures of the artist’s earlier ‘trancehall’ pigeonholing. It’s fitting — ‘Hall of Life’ is something unto itself, framing a world of its own —a world that rejects escapism and embraces connection. It all feels right.

Portland’s Osmosis chart a cross-section of North American-derived electronics, ranging from Priori’s slow techno slug to Ben Bondy & Special Guest DJ's bleep special as Xphresh. The Osmosis party / festival / interdimensional research consortium’s label wing serve ravers of odder persuasions with something to bite into. Priori & wav4ms’s greazy grindr ‘Colossi’ is a big highlight, and wav4ms also lends to another standout, the sloshing gamelan trip of ‘Belladonna’ with local Portland artist, Carly Banton, which shares a fascination for tuned percussions with muck’s subbass-propelled halfstep mutation ’Ugamelon Spirit’. Xphresh, the duo of Ben Bondy & Special Guest DJ, whisk-up the featherlike bleep stepper ‘Burning Sand’, and the restless writhe of ‘Fuul’ from mor-f.

Equiknoxx’s crackshot screwball Gavsborg meets Grammy-nominated bassist Pele Fyah on a tracky soca and zouk style knees-up blessed with dreamy, discoid synth hooks and wickedly weirdo phrasing. 10 years since Equiknoxx’s landmark debut LP of skewed dancehall on DDS, and chasing up his Carrier collab, Gavsborg maintains an expressively off-kilter style and pattern on ‘Black Roses’, all bolstered by Pele Fyah’s spring-heeled steppas basslines, as formerly found in his band Raging Fyah. Limber like Usain, they bolt the traps at pace in the soca x digidub zinger ‘Black Roses Corner’ and brilliantly temper the momentum in 'Sak Pase', zipping up singeli-esque 16th note trills on swingeing bassline and tropical breeze pads. A killer ‘Spice Island Social Club’ tilts into something like Kraftwerk gone zouk, before they send it cosmic on a standout closer ‘Laventille Space Program’, recalling Hieroglyphic Being and Denis Wise astral-projecting the dance in its corkscrewing craftiness. Tip!

Carrier winds the rhythmic tension to breaking point on his 4th self-released 12”, flexing fine-tuned muscle memory and inch-tight production in acres of negative space across a trio of soundsystem phantoms that dance in the long shadow of D&B and broken beat science. Huge tip FFO Autechre, Burial, Photek, T++. Now three years into a generational run of inspirational plates - including an AOTY ’25 with ‘Rhythm Immortal’ for Modern Love - Carrier’s core sense of discipline and restraint continues to yield peerless reward on ‘Thresholds’. A lifetime’s love of, and immersion in, fwd UK dance musics has prompted him to chase a particular dragon of syncopated swerve and cavernous psychoacoustics to logical, next-level depths diffusing that dread pressure with an adroit, tendon-twitching precision and tactility. Carrier has been instrumental in reminding ravers what was lost when D&B went stadium and pop-chart scale over the past decades, daring to run against the grain, trust his instincts, to return a sense of mystery and bold experimentalism to what was once a thrilling paradigm. This new trio of cuts eke exquisite nuance from tweaked fundamentals, swivelling 2-step off the bone into smoky hall-of-mirrors reflections of ‘Cure’, and specialising in a razor’s edge, toes-off-the-ground sorcery in a recursive, wraithlike zinger, ‘Scout’ that dips to the sexiest, tongue-tip breakdown, beside the tantric, anticipatory chicanery of ‘Black Channels’ which finishes us off with an all-tension-no-release weapon for the ages.

Keith Freund’s music occupies a space where careful musicianship and homebrewed experimentation meet and shake hands. On “Window Left Open,” spacious melodies drift through dense fields of electronic activity: saxophone lines rise above buzzing circuitry, percussion flickers at the edges of the frame, and clustered glitch textures dart through the music like insects in tall summer grass. Every sound feels vividly animated, a charged part of the same mercurial ecosystem. Freund’s talent lies in balancing warmth and unpredictability with remarkable ease. Patient motifs recall the exploratory spirit of early folktronica, while bit-reduced textures, degraded loops, and idiosyncratic synthesis techniques continually reshape the terrain beneath them. Rather than treating acoustic and electronic elements as opposing forces, Freund allows them to intermingle until distinctions dissolve, creating compositions that reward close listening while retaining immediate warmth. This record finds Freund working with a fully formed vocabulary that is truly his own, transforming glitch, melody, improvisation, and atmosphere into songs that are both fundamentally curious and disarmingly engaging.

Teal return with Love Comes Thru, the trio's nine-track debut album. Expanding their emotionally resonant blend of downtempo trip-pop, the record reaches into street soul, dub, and experimental grooves, marking a confident new chapter for the group. At its core, Love Comes Thru is a reflection on the quiet strength of love -- not through grand gestures, but through the steady presence that carries listeners through uncertainty, change, and connection. Written over the course of a year of bi-coastal collaboration, the album became a testament to the bond Teal share as artists, friends, and family. From the lush synth landscapes of "Aries Moon" to the footwork-inspired pulse of "Time Is Blind," the album explores themes of patience, vulnerability, longing, and intimacy. Standout singles "Kissing in a Dream" and the title track lean into left-field street soul, while stripped-back, 808-driven tracks like "Change Your Mind" and "Anomaly" demonstrate the power of restraint without sacrificing momentum. Building on the group's love of ambient improvisation, Love Comes Thru also features instrumental pieces with percussion by Brandon Valdivia (Mas Aya/Lido Pimienta). The album closes with the sensual "Bubbling," bringing the journey full circle with a reminder that love ultimately comes through in its most embodied, physical form. Love Comes Thru is presented in a deluxe, limited-edition matte-finish, double-embossed jacket with a printed inner sleeve. Track Listing: Disc 1 01. Aries Moon 00:40 listen 02. Time Is Blind 00:43 listen 03. Kissing In A Dream 00:33 listen 04. Change Your Mind 00:40 listen 05. Frog's Hollow 00:36 listen 06. Anomaly 01:01 listen 07. Slip Into Stillness 00:40 listen 08. Love Comes Thru 01:25 listen 09. Bubbling 01:00 listen - Teal return with Love Comes Thru, the trio's nine-track debut album. - Expanding their emotionally resonant blend of downtempo trip-pop, the record reaches into street soul, dub, and experimental grooves, marking a confident new chapter for the group. - Love Comes Thru is presented in a deluxe, limited-edition matte-finish, double-embossed jacket with a printed inner sleeve.

Two raw minimal cuts from '94 that will piece up any self respecting dance floor; Mika Vainio, Ilpo Väisänen & Sami Salo at the controls - an ESSENTIAL 12" from Sähkö Recordings, TIP!

Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (2) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (3) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (4) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (5) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (6) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (7) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (8) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (9) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (2) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (3) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (4) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (5) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (6) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (7) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (8) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (9) Buying Options CD (Compact Disc) Available Now SPS26126 CD | Release date: 8th October 2026 £14.99 LP (Black Vinyl) Available Now SPS26126 | Release date: 8th October 2026 £25.49 LP (Colour Vinyl) Available Now SPS26126 CV | Release date: 8th October 2026 £30.49 Blue vinyl with hand written insert. Mystica Tribe and Scopeotaku, having formed an international dub alliance, release "Mystica Tribe Meet Scopeotaku" via 13 / Silentes. "Taking their sounds into melodic experimental electronic dub territory. Previously, both have fused their own cultures and personalities into numerous dub releases. Now they are expanding their parameters by collaborating on a project that encompasses both their love for psychedelic and electronic audio combined with heavyweight dub reggae rhythms. Mystica Tribe is the musical alias of Tokyo, Japan based producer Taka Noda. Drawing on a wide range of influences from dub, soul, bass and rhythm & blues. Mystica Tribe has been developing a very distinctive sound that exists in a weird freaked out zone, between dub and techno. Noda is especially interested in deep psychedelic music and this is reflected in his productions. Which are equally suited for late night listening sessions or on bent broken dancefloors. Scopeotaku is the alter ego of Scott Prentice, a Glasgow, Scotland based artist. Scopeotaku has experimented with audio since purchasing a sampler and a four track cassette deck many many moons ago. His love for left-field dub and eccentric sounds have led him to create a variety of output, from industrial ambient, illbent electronics to mutant dub."

A cranky, poetic-esoteric nEuro vibe puts wind behind the sails of Inkasso & ML’s maiden Stroom entry and their transition from whispered nocturnes to slompy cyber-slugs. Flickering shadowy integers of post-industrial, trip hop, theatrical music and sound poetry, ‘Fashion Recession’ finds the trio of Inkasso & ML indulging their whims toward a sort of soundtrack-like fantasy that leads on from their respective works for the artful types at Kashual Plastik and Osàre! Editions. The combo of dank synths with blunted vox and squashed grooves tessellates ideally with Stroom’s roster of angular audities primed for late night listening. Historic shades of everything from Tuxedomoon to Geins’t Naït and contemporary analogs Thomas Bush or Sholto Dobie come to mind in the album’s sideways drift from smudged downbeats on ‘Soft Layers’ to blown-out bass thunder in ‘Rhythm is a medium of change’, the soured music box melody of ‘Ghosting’, and striking moments of ‘90s noir in ‘Algorithm Poetry’ that sees it off into the Novo Line-like thrum and acidic croak of ‘Disturbing Circles’. Reckon this would all sound ideal on a solo midweek holiday to Antwerp after a break-up, when trying to write that novel you always intended to do.

A key contributor to Wah Wah Wino’s KWALK, Sli Town Crier steps out solo with Auditions. Drawn from an extensive archive of recordings and assembled by Morgan Buckley, it’s a restless collision of raw chops, battered rhythms and heavily mangled beats. Unpredictable and rough around the edges, Auditions pulls its source material apart and stitches it back together into something gloriously unruly.