MUSIC

This was his first studio album in four years since his last album, "Endless Talking", and the first release since moving to EPIC/SONY RECORDS. This work was the result of sessions and collaborations with Arabian musicians, with an inclination towards the 'world music' that was gaining attention at the time. Deployed often in pop culture as punchline, Hosono takes such sight-seeing and transforms it into a metaphor for sample-heavy electronic music, drawing from various cultures and weaving them together into a new holistic vision. Omni Sight Seeing is the clearest iteration of this concept, as he alights on Algerian raï, Martin Denny exotica, and acid house, too. It’s one part Jon Hassell-esque Fourth World, one part Duke Ellington “jungle music,” with Hosono’s singular outlook running through it all.

This is the second album after the transfer of the company, which was released in 1995, and is a compilation of songs created between 1990 and 1994. The album is a work that encompasses the dichotomy and diversity of the Aphex Twin, with acid, noise, and broken beats that could be described as "drill'n'bass," while following the ambient, IDM, and hardcore techno of the early days. The album contains 12 tracks, including the single "Ventolin," which is a strong industrial downtempo explosion, and "Alberto Balsalm," a song that is often mentioned alongside "Xtal. 180g vinyl.

(Limited quantity / Japanese Obi included / Booklet included) Richard D. James, aka Aphex Twin. At a young age, he earned the title of “Techno Mozart” and is widely recognized as the pinnacle of electronic music and the flagship artist of WARP RECORDS. This legendary album, released under the name Polygon Window and which changed the history of electronic music, is finally being reissued on LP with Obi.

(Limited edition/High quality UHQCD)Richard D. James, a.k.a. the Aphex Twin, released "Selected Ambient Works Volume II" in 1994 at the age of 22, a major ambient album that has gone down in music history. This monumental work, which was also the first album for the Aphex Twin after they moved to WARP, is now being released in a new expanded edition with additional material to mark the 30th anniversary of its release.

Since his debut in 2001 on Chain Reaction — the sublabel of the legendary Basic Channel — electronic music producer Shinichi Atobe has fascinated not only dub techno and minimal club audiences but also devoted music lovers around the world. After more than a decade of silence, he began releasing consistently from Manchester’s DDS (Demdike Stare’s label) in 2014, reaffirming his unique presence in contemporary electronic music.

In July of this year, Atobe suddenly launched his own private label, Plastic & Sounds, and now announces its second release, “A1. SynthScale / A2. Disappear | AA. Between Thoughts”, available as a 12-inch (45RPM / limited press) vinyl and in digital formats.

Opening track, elevation synth dub tech “SynthScale” intertwines ascending and descending synth lines with a driving rhythm, revealing hints of progressive rock within its elevation of synth-driven dub techno. “Disappear” follows with floating high tones, an unexpected piano motif, and bursts of tightly struck drums that create a surging momentum. The over ten-minute-long “Between Thoughts” centers on a deep, weighty bassline, interwoven with subtle voice samples, unfolding softly and gracefully into a long-form minimal house piece in Atobe’s unmistakable style.

Mastering and vinyl cutting were handled by Rashad Becker in Berlin, who has worked extensively on Atobe’s previous releases.

After more than 10 years of silence since his debut in 2001 on Chain Reaction subsidiary of Basic Channel, he has been consistently releasing music since 2014 on DDS label in Manchester, UK, attracting not only the club audience of dub techno / minimal but also the enthudieatic music fans around the world. Electronic musician Shinichi Atobe has established his own private label Plastic & Sounds.

The first release on Plastic & Sounds includes two tracks: ‘Whispers into the Void’, which gradually and ascetically develops from minimal synths and rhythms with the introduction of a flowing piano refrain, and the floor use ‘Fleeting_637’, which develops immersive minimal dub techno at around 125 BPM. Mastering / record cutting was done by Rashad Becker in Berlin, who has worked on many of Shinichi Atobe's productions.

A lifelong admirer of DAF, Fixmer has been playing El Que in his DJ sets for years, considering it one of the band’s most enduring and powerful pieces. His connection to the track and to DAF’s groundbreaking legacy is the core inspiration behind these two new remixes, created with both reverence and bold creative vision.

On the “El Que (Terence Fixmer Leather Remix)”, Fixmer remains close to the original’s raw, muscular pulse while injecting a sharp, modern club sensibility. The remix builds on DAF’s unmistakable rhythmics but adds a contemporary momentum that feels like a natural extension of the band’s DNA. “It was like imagining what I would do if I were a member of DAF today,” Fixmer says.

The second version, “El Que (Terence Fixmer Drive Remix)”, ventures deeper into Fixmer’s own territory: darker, hypnotic, and peak-time focused. Tension and release are crafted with surgical precision, taking the original’s spirit into a harder-edged, suspense-driven sound world. It’s a version built for late-night floors without ever losing the soul of El Que.

Fixmer explains:

“I’ve been playing DAF’s El Que in many of my DJ sets for years. It’s a track I deeply loved from the first listen. I’m super proud to have remixed DAF — one of my cult bands and a major influence on my sound and electronic universe.

For the "Leather Remix", I wanted to stay close to the original while bringing modernity and club momentum. For the "Drive Remix", I pushed the track toward darker, peak-time and hypnotic techno, keeping the soul of the original intact.

I wanted to make versions that make you think: ‘I know this track… but wait — what is this version? I want it!’ When I tested them, that’s exactly what happened.”

DAF remains one of the most influential bands in electronic music history. These new remixes by Terence Fixmer reinforce the timeless power of El Que while offering two striking, club-ready perspectives for a new generation of listeners.

Following June's brilliant 'Rhythm Archives', Holy Tongue's Al Wootton continues his hot streak, landing on Sähkö with half an hour of hazed, immersive rhythmic experiments, tracking from vintage dub(step) to minimal techno and confidently striding thru percussive forms that echo from the Balkans to North Africa. RIYL Shackleton, Azu Tiwaline, Muslimgauze, T++, Deena Abdelwahed.

Ever since he dispatched with the Deadboy moniker a few years back and reached into dubbier, more percussive spaces, Wootton's been figuring out exactly where his dexterous productions fit in.He's been most at home on his own Trule imprint, operating at his own pace and shaping the aesthetics as he goes, and 'Rhythm Archives' felt like a mark in the sand, a record that matched his interest in vintage gear and classic production methods with his dedication to wide-eyed, punkish experimentation. 'CRUX', his first record for legendary Finnish label Sähkö, follows that lead, assembling four long percussive jams that sound as if they've toppled off the timeline - if someone told us it was material rescued from a forgotten reel-to-reel, we'd believe it.

There's an outline of dubstep visible in the background on opener 'Essene' that's enhanced by the Skull Disco-esque sub-undulations and wormhole-splitting tape echoes, but the hollow hand drum runs and hallucinatory effects shuttle the composition into darker, more reflective landscapes. Similarly, the busted drum machine intro of 'Per Incanto' might reference Sähkö royalty Mika Vainio and Hertsi, but the track veers leftwards, muddling the mix with psychedelic African Head Charge-style reverberations and trapped, timestretched string loops. It's gear that's intended for deep, intentional listening; the tracks don't contain too much melodic content by design - Wootton's rhythms are layered and hypnotic, and anything else is there to reinforce the general spirit.

Just check 'Cloister', the EP's low-key stand-out, where the lead line is literally just tuned feedback, placed to disorient even the most abstinent listener, or 'Armen', that distorts its sputtering Bruce Haack-in-dub atmosphere with ghosted groans and faint remnants of a trip-hop undercurrent that never fully reached optimal pressure. If you've ingested all the psilocybin from Shackleton's recent run, this is yr next drop.

Growing up in the sound system culture of Leeds in England, George spent a fiver, courtesy of his mum, on a battered old speaker box he named “Echo45”. That box led him to Kevin Harper, a founding member of Nightmares on Wax, a chance meeting that would change the course of his life.

With the latest music “Echo45 Sound System”, Nightmares On Wax takes that lineage a step further—a mixtape that feels like both a celebration and a declaration. It's a living, sound system journey inspired by the original “Echo45” speaker box that merges soul, roots, hip-hop, dub, and electronic textures with a fearless spirit.

Featuring a carefully curated ensemble of collaborators—including Yasiin Bey, Greentea Peng, Sadie Walker, Liam Bailey, and more—the record doesn’t just reflect where Nightmares on Wax has been. While deeply rooted in his origins, sound system culture, and pirate radio, it boldly announces where he’s going.

The most important compilation in the history of electronic music "Artificial Intelligence" will be reissued on vinyl for the first time in 30 years! ! Includes valuable early recordings from Aphex Twin, Autechre, Richie Hawtin, Alex Peterson, and more! !

Many cutting-edge artists such as Aphex Twin, Autechre, Squarepusher, Boards of Canada, Flying Lotus, and Oneohtrix Point Never have been produced. A reissue of the legendary compilation "Artificial Intelligence" released 30 years ago by , a label that continues to make immeasurable achievements in history!
Released in 1992, this compilation features Aphex Twin's The Dice Man alias, Autecha and Richie Hawtin Up! (UP!), B12's Musicology, Alex Peterson (The Orb) and Jimmy Cauty (The KLF).
This work is the first work of the "Artificial Intelligence" series released from 1992 to 1994 by , and from the series, "Surfing On Sine Waves" under the name of Aphex Twin's Polygon Window, Black. Dog Productions' Bytes, B12's Electro-Soma, Richie Hawtin's F.U.S.E. Dimension Intrusion, Speedy J's Ginger, Outeka's Incunabula and Artificial Intelligence II were released. rice field.
The gatefold sleeves have been reimagined by The Designers Republic and cut in classic black wax by Beau Thomas of Ten Eight Seven Mastering.

＜Tracklist＞
01.The Dice Man - Polygon Window
02.Musicology - Telephone 529
03.Autechre - Crystal
04.I.A.O - The Clan
05.Speedy J - De-Orbit
06.Musicology - Premonition
07.UP! - Spiritual High
08.Autechre - The Egg
09.Dr Alex Paterson - Loving You Live

A Day of the Sun is a spiritual jazz masterpiece full of poetry by two geniuses of the Japanese musical scene. Masahiko Togashi and Isao Suzuki, pivotal figures in jazz with a unique talent and sensitivity that transcends conventional jazz forms and styles. In addition to being skilled performers they demonstrate extraordinary compositional talent that transcends their sensibilities and wisdom of more conventional jazz. They are together a wonderful combination of techniques, but without the eyes and ears of these two artists, the mutual understanding, friendship and cooperation that only certain artists are able to recreate together, would never have given rise to this music. The album is based on Togashi's drums/percussion and Suzuki's bass, with occasional changes to cello and piano/synths, and is skillfully performed by just the two of them, creating a unique worldview; a performance that far exceeds expectations. The mystical melodies of the East, earthy percussion, and the sensibilities of the two intertwine to create a unique groove, resulting in a universal masterpiece that will never fade away and connects with today's sound makers and DJs. Top sound quality from original master tapes. Includes 4-sided insert with a very interesting interview at the time with the two musicians regarding the record.

Om Unit surprises us with a second volume of his 'Acid Dub Studies' project, once again fusing his love for the 303 with studio techniques given to us by musical heroes such as King Tubby, Adrian Sherwood, Jammys and Basic Channel

This second volume further solidifies the convincing narrative created by its best-selling predecessor, heading in a more groove-based direction in places whilst being underpinned by the same sonic narrative that has been enjoyed by many music fans from a variety of different spheres for the past 18 months or so

Support so far for the Acid Dub Studies project has come from many corners including some of the most highly respected names in UK Radio such as Don Letts and Steve Barker, Benji B and Tom Ravenscroft as well as a whole host of truly global worldwide underground support both via radio and in the dance

Om Unit says of this record: 'I felt encouraged by the sheer love for the original selection of works to go back in again and continue to experiment with this approach to writing whilst refining some of the process. Being able to combine processes and influence has been the mainstay of my creative life and I hope this next volume of Acid Dub will be enjoyed by everyone who was a fan of the first'

The beloved 303 bassline continues to inspire every new generation and Acid Dub Studies II is another storybook of sound in that vast continuum that shows no sign of slowing down

Petre Inspirescu returns with a four-part suite of mesmeric, long-form compositions. Spanning two 12" records, each track occupies a full side - unfolding with the patience and precision of serialist structures. Drawing from minimalism and contemporary classical traditions, this is introspective electronica in its most refined form - hypnotic, elegant, and quietly expansive.

The musician and DJ Ken Ishii sits right at the pinnacle of techno's most noteworthy, but although a game changer for the artist personally - and for Japanese electronic music in general - his 1994 album 'Reference to Difference' is something of an unsung gem today. Now reissued and remastered, released to mark the 30th anniversary of Musicmine / Sublime Records, and available on vinyl with its original track-list for the first time, this stunning, lesser-known classic is ripe for rediscovery.

“Sinsekai,” the 1994 masterpiece by Tanzmuzik, a Japanese techno/ambient/IDM unit formed by Akiwo Yamamoto and Okihide Sawaki, who were based in the Kansai region and helped shape the dawn of Japanese techno. The album blends YMO-inspired lyricism with elements of European techno, creating a unique musical identity, while its soft and dreamlike soundscapes envelop the entire record.

The next installment of MFM's popular multi-artist compilation Virtual Dreams: 'Virtual Dreams - Ambient Explorations In The House And Techno Age, Japan 1993-1999'. As with Part One, released in 2020, 'Virtual Dreams II' shines a light on house and techno-adjacent music that helped redefine the definition of ambient music during the 1990s.

The focus of Part One heavily fell on music from techno and house producers in Europe, eagerly exploring new soundtracks for chill-out rooms and re-imagining the potential future of club culture from new perspectives. For Part Two, we narrow the lens to focus on a unique time and place, namely Japan between 1993-1999. Despite missing out on the 'Acid House Fever', club culture was beginning to take shape in Japan during the early '90s. In contrast to the rest of the world, where ambient techno / IDM emerged as a by-product or response to the scene, 'listening techno', as it is known in Japan, was a central pillar of the culture right from the start.

'Virtual Dreams II' aims to shine a light on this unique moment in time where the thread of ambient music weaved its way through the music of an emerging club culture. This period saw the birth of many great Japanese techno labels such as Sublime Records, Transonic Records, Syzygy Records, Frogman Records, and Form@ Records, following in the late '90s. 'Virtual Dreams II' features ambient, chill-out, and intelligent techno from these leading labels alongside other lesser-known but equally influential imprints, as well as ambient deviations from Japanese house producers. Much of the music featured has only ever been released on CD.

'Virtual Dreams II' is compiled by Eiji Taniguchi and Jamie Tiller, who have worked closely together on previous Music From Memory releases such as 'Heisei No Oto' and 'Dream Dolphin - Gaia'. It is also the final project Jamie Tiller worked on before his tragic passing in 2023. Jamie had been researching, planning, and compiling this version of Virtual Dreams even before the first chapter was released, believing that there were many great tracks in Japan that fit the concept of the series. Knowing how much love and energy he put into compiling it gives it an extra special place in our hearts.

Compiled by Jamie Tiller and Eiji Taniguchi with artwork by Kenta Senekt, design by Steele Bonus and liner notes by Itaru W. Mita,

The landmark work from Steven Hitchell—better known for his Deepchord and Echospace projects—returns under his Intrusion alias. Originally released in 2008 and later expanded into a two-disc CD edition in 2014, this long-awaited reissue brings the second disc to vinyl for the very first time via echospace [detroit]. Evocative deep dub techno visions such as “A Night To Remember” and “Under The Ocean” sit alongside iconic pieces like “Tswana Dub (Phase90 Restructure)”—also featured on Deadbeat’s classic mix Radio Rothko—while overlooked gems “Love In Lofi” and “Never Forget” finally get their due. The set also includes the live recording “Kingston’s Burning Dub [Live in NYC]”, balancing archival significance with immersive sonic force. Remastered by none other than Stefan Betke, aka Pole, who lends even greater depth to its already profound resonance.

Open Space is proud to present our first ever full-length LP by LA’s newest chillout band, Puli. Some words from our dear friend Matt McDermott below: In recent years, a cadre of musicians from the east side of Los Angeles have reestablished the city of angels as the first city of Balearica. Alex Ho’s “Move Through It” followed in the lumbering footsteps of Project Sandro’s “Blazer.” Now, there’s a new landmark for the floating west coast sound. Swirling, the first album from LA supergroup Puli. If you’ve got your ear to the ground you know the names involved here. Drummer and producer Damon Palermo’s pedigree stretches back a good 15 years or so, starting off with dub punks Mi Ami. Phil Cho is one of the busiest DJs, musicians and advocates for the deep stuff in LA, throwing legendary hillside parties under the Third Place banner. John Jones, the preternaturally talented guitarist and electronic tinkerer, records as AV Moves, is a key member of the Suzanne Kraft and Baba Stiltz live configurations and plays in The Trilogy Tapes-affiliated act Geo Rip. But this listing of personnel and credentials puts too fine a point on it. Puli are three close friends who go to parties, DJ and get tacos together, repairing to their Chinatown studio a few times a week and coming out with remarkably textured, idiosyncratic downtempo jams. Building off the solid foundation of their 7-inch of heavyweight dubs for Melbourne’s Constant Delay, Swirling is an exploration of new horizons in chill out. “Ramona” acts a statement of purpose—with halftime/double-time dub-tinged rhythms, hazy yet bright synth motifs and atmospheric guitar from Jones, not terribly far from the expansive approach of Japanese dub aesthetes Pecker. “Cloudy,” meanwhile, is a sort of deconstructed and bittersweet Balearic pop featuring Cho’s ethereal vocals. “Bongo Springs” is steppers’ house not far from close LA peer Benedek or the Mood Hut crew up north. But what truly sets this record apart is the space and layers in the production—while it’s nominally an electronic record, Puli is a band that has slowly crafted these songs in the rehearsal space. “Havana Jam” cruises along a sliding roundwound bass guitar take with dubby chords and textural guitars. Palermo’s hand drums and live percussion enmesh perfectly with icy pads on “Leech Seed Dub.” Cho is back on the mic for the gorgeous closer, “C.S.B.”, underpinned by breakbeat and trunk-rattling sub bass. Puli doesn’t sound like anyone else, and is ultimately reflective of the city itself. Listening to Swirling feels like navigating a warren of side streets in the eternal sunshine. Take the drive and dive.

先鋭的英国のテクノ・プロデューサー、ShiftedこもGuy Brewerが"Carrier"名義で放つ最新作『FATHOM』が、Perko主宰の〈FELT〉よりリリース。ミニマルな構造の中にドラムンベースのリズムを再構築し、金属的な質感と抽象的なサウンドデザインが融合した全4曲を収録。幻覚的な抽象性を帯びたグリッチ・プログラミングと霧のようなアトモスフィアが特徴的な"FATHOM"や粘性のあるベースと点滅するパルスが印象に残る"The Cusp"、有機的なディテールが際立つ"Trooper"など、IDM、実験的テクノ、アブストラクト・エレクトロニカの愛好者にとって、現代的なリズムとサウンドの探求が詰まった一枚！

Loraine James has processed the last two years of turbulence through her art. The North London producer started a monthly show on NTS radio, shared several projects on Bandcamp, and recorded two Hyperdub releases, the Nothing EP and Reflection, the proper LP follow-up to her 2019 breakthrough, For You and I (which landed James, then a teaching assistant by day, the top spot on year-end lists by Quietus and DJ Mag). She also returned to a distinct creative terrain uncharted since her teenage years. In contrast to her club music sensibilities, this mode embraces keyboard improvisations and vocal experimentation, foregoing percussive structure in favor of shaping atmosphere and tone. From this divergent headspace emerged new coordinates and climates, a new outlet: Whatever The Weather. A longtime fan of ambient-adjacent Ghostly International artists such as Telefon Tel Aviv (who she’d ask to master the album), HTRK (whose singer Jonnine Standish features on Nothing), and Lusine (whom she remixed at the start of 2021), James saw the label as the ideal home for this eponymous album of airy, transportive tracks as they began to formulate. The titling on Whatever The Weather works in degrees; simple parameters allowing James to focus on the nuances as a mood-builder. Her suspended universe fluctuates; freezing, thawing, swaying and blooming from track to track. James describes her jam-based approach for the sessions as “free-flowing, stopping when I felt like I was done,” allowing her subconscious to lead. The improvisations have an intrinsic fluidity to them, akin to sudden weather events passing over a single environment — the location feels fixed while the conditions vary. The album opens at “25°C,” a sunshower of soft hums and keys. As the longest piece, it serves to establish stability, the inflection point where any move above or below this temperate breeze breaks the bliss. Given James’ proclivity for organized chaos in her production, this scene is fleeting, naturally. From that utopia, we plummet to the most melancholic read on the meter, “0°C,” its isolated synth line traversing a hailstorm of steely beats and static. Next, the dial jumps for the propulsive standout “17°C.” Like a timelapse of springtime in the city, the single accelerates across a frenzy of frames; car horns, screeching brakes, and crosswalk chatter fill the pauses between rapid jolts of multi-shaped percussion. For portions of the work, James leans neo-classical, rendering pensive vignettes of cascading piano keys and warm delay. “2°C (Intermittent Rain)” ends the A-Side on a short and stormy loop; a resulting sense of reset permeates the B-Side’s opener, “10°C.” The producer mingles intuitively on echoed organ, locking into and abandoning atypical rhythms that suggest her jazz-oriented interests. “4°C” and “30°C” display the range of James’ vocal experiments. The former chops and pitches her voice to a rhythmic, otherworldly effect, the latter reveals James at her most straightforward (she cites Deftones’ Chino Moreno and American Football’s Mike Kinsella as inspirations), singing tenderly and unobstructed for nearly the duration before beats collide in the climax. Whatever The Weather closes at “36°C,” while a sweltering heat by any standards the track eases along comfortably on a chorus of synth waves, acting as an apt bookend for this evocative, sky-tracing collection that started in a similar state. Cyclical, seasonal, and unpredictable, true to its namesake.

Silver Threads is proud and genuinely honoured to share our second release, “If Not Now, When” by the incredible Raica (Chloe Harris), out on 28th November 2025 and available to pre-order from 18th here and from selected shops.

Chloe Harris (Raica) lives and breathes music. A vastly experienced and unique DJ, a hugely talented and inquisitive recording artist and live performer, co-founder of the legendary Further Records’ label and shop, event curator and psychedelic visual artist (check the cover of her album Dose).

“If Not Now, When” is her fourth album as Raica. It follows her much-loved album, The Absence of Being on Quiet Details earlier this year, a tender transmission of love to those in another realm. Lucent Glances (Greta Cottage Workshop - 2016) and Dose (Further Records - 2015), are incredible, too. Exploratory and untethered, with powerful bass expression.

“If Not Now, When” is a magnificently expansive album that shows Raica’s breadth as an artist – at times delicate and intimate then mindbending and tough, as Chloe leads us on a journey only she could take.

This is a sophisticated, creative album that came out of a difficult time (which we won’t go into again here) and has huge potential to become an instant classic. There’s darkness, warmth but also playfulness and a sparkling lightness of touch. There are mesmerising rhythms, gentle pulses that give the album momentum and reflect Chloe's love of dance music and 90s ambient.

Chloe has a strong and distinctive voice that carries through this album’s range of moods, sounds, textures and tempos. She says, “I felt a sense of freedom, perhaps since I didn’t think anyone would hear it.” I relate to that sense of freedom in obscurity but I’m very pleased Chloe was wrong about that, and that the title – chosen recently – suggests she’s going to share more of her music with us. “It’s just about being able to communicate ideas through sound. Maybe sometimes they land well and others don’t but it’s OK to let it go. Just allowing yourself to just be in the moment and not worrying outside of that.” I couldn't agree more.

I hope “If Not Now, When” touches you as much as it has us. Thanks you to Chloe for trusting me with this precious album.

The CD album of "If Not Now, When" is glass mastered, mastered by Alex Gold at quiet details, with his incredible patience, care and attention, and the beautiful cover art and design is by Emile Facey (Plant43) in collaboration with Raica. The cover art spills out of the frame and the six-panel digipack opens to show another stunning original artwork by Emile.

It follows the same layout as ST01 (Jo Johnson - Alterations Volume One) opens to show a large original illustration that spills and the stitch motif along the bottom links the two releases together when they sit side-by-side on your shelf while the colours of each are unique and contrasting.

Huge thank you to Alex Gold for his support to Silver Threads. Thanks also to Loula Yorke, Philip Sherburne and Neil Mason.

Jo Johnson (erstwhile member of ‘90s riot grrrl legends Huggy Bear) launches her Silver Threads imprint with a double album of bittersweet transmissions of ribboning arps and iridescent greyscale atmospheres conjuring comparisons to Barker, the pastoral kosmiche ends of Border Community or Craven Faults.

"This double album is the inaugural release on Jo Johnson’s Silver Threads label and compiles her ‘slow album’ – work created and shared (in a limited way) in real time from January until June, in response to “bleak and often distressing times”. Alongside each of the five album tracks compiled on CD 1, Jo created Remnants, reworks and original tracks from “discarded audio and coincidental field recordings” that were shared exclusively with her Bandcamp subscribers and these seven tracks are compiled on the second CD.

Alterations Volume One was album of the week in Moonbuilding. In Futurism Restated, Philip Sherburne said it was, “A coherent and enveloping piece of work in which melodic motifs unfold against an ever-changing landscape of pads, drones, and arpeggios. It moves like a slow, broad river throwing off sparks at sunrise.” Electronic Sound said it was “spellbinding” and “never less than mesmerising” in the October issue and will feature an interview with Jo in the December 2025 issue. Surgeon said, “Beautiful restraint and Galactic emotions.” He called the final track, Unpicking, a “masterpiece”."

London’s DJ Ojo expands his deep end club purview to a full album of purring downbeats, lilting rhythmelodies and technoid bassbin pressure with signature restraint and well-balanced weight for Blank Mind. It's really strong, tightly produced gear the far fringes of dub techno, somewhere between Monolake, Convextion, and the sort of thing Beneath and Kowton were up toback in the post-dubstep and post-UKF days of the late ‘00s...

One up to his label debut 12” of ’23, and a preceding EP for Significant Other’s Pain Management, the eight tracks of ‘Total Internal Reflection’ dwell in a vein of syncopated, offbeat UK bass music where deep house, dub techno, and electronic sound designer suss are reduced to barest essentials, as first shaped by the likes of Beneath and Kowton back in the post-dubstep and post-UKF days of the late ‘00s. It’s a sound that can sometimes take itself so seriously to the point of numbness, but is here inflected with just enough personality and sensuality in the tactile dub tech details and whirring, minimalist efficiency of the groove that buoys it to interest for connoisseurs of this sound.

A carefully plotted course emerges in the finely tempered escalation of tempo and opening of envelopes from a squashed, reticulated opener and nervier, skeletal 2-step parry of a title tune spangled with insectoid intricacy and adore dubbing, finding filigree variegation within a theme as the sloshing bleep swag of ‘Entropic’ nudges into mid-tempo swang shades from Paperclip Minimiser aces on ‘World of lens’, and echoes of Pole bounce around the sound sphere of ‘Axiomatic’, with a strong cap-tip to T++, but at depressed pace, on ‘Cruising’, and the sort of subs made for swimming in the club propel its most robust stepper ‘Isomorphic’.

In the mid-90s, Ken Ishii rose to prominence, with a futuristic sound rooted in Detroit’s machine soul yet unmistakably his own. Hailing from Sapporo, Ishii quickly became synonymous with futuristic, cutting-edge productions, and ‘Jelly Tones’ – originally released on R&S Records in 1995 - was the breakthrough release that propelled the Japanese producer to global notoriety.