NEW ARRIVALS

Lesser known than the highly sought-after ‘A Gira’, yet every bit as perfect for the dancefloor, Trio Ternura’s ‘Razão De Ser’ (1972) blends Brazilian scents, soul music, and stunning vocal harmonies into a timeless masterpiece. Reissued here for the very first time and cut at 45 RPM for superior sound quality. AUDIO: www.youtube.com/watch?v=nfBEJyN0gO0 Menos conocido que el codiciadísimo ‘A Gira’, pero igual de perfecto para la pista de baile, ‘Razão De Ser’ (1972), de Trio Ternura, combina los aires brasileños, la música soul y unas impresionantes armonías vocales para dar forma a una obra maestra atemporal. Reeditado aquí por primera vez y masterizado a 45 RPM para ofrecer una calidad de sonido superior.

“Iker Munduate is an artist and musician who brings a delicate sense of composition and design... Inspired in part by new age music, Its rippling melodies and frictionless glide recall the futuristic utopias of Detroit Escalator Company and the interior reverie of Nobukazu Takemura" - Derek Walmsley Continuing from where he left it 2 years ago after a sold out debut LP released on Hegoa, Iker is back with his follow up “Sinkronia”. A gripping take on Eastern and Western minimalist traditions influenced by the likes of Steve Reich, Suso Saiz or Midori Takada. Transcendental and esoteric rhythmic wonders that take time to unfold. A young percussionist and guitar player with electronic interests displaying a rich sonority and a great sense of structure and arrangements. This record shows the refinement of Iker’s attributes, who initially worked in the noise/punk scene and now is part of the local Free Jazz/Improv landscape of San Sebastian, although he currently lives in New York where he has been playing several gigs including a rendition of Glenn Branca’s Symphony No.13 at Lincoln center with 100 guitarists. For this new album he uses Xylophone, hand drums, electric guitar, synths and percussion instruments that guide us in an energetic way to territories somewhere between Italian avant-garde, Japanese New Age and American Minimalism. Iker Munduate Thusberg is a Basque multi-instrumentalist born and raised in San Sebastian and with strong ties to Mikkeli in Finland, where half of his family are from. A fine arts student at Bilbao’s UPV (Basque university), his interest in sound, art and design has led him to combine all these different disciplines and convey them into his music and his work.

“La Proyección”, the debut LP by Jose María Lluch, architect and musician from San Sebastian, appears as a transition, a gradual shift that happened over time. Intimate and innocent, disconnected and erratic at times, the 11 compositions presented here are extracted from recordings spanning 9 years, between 2015-2024. Humbly assorted in his home studio, the music here is for letting your mind drift. The processes of composition, recording, and editing intertwine. Field recordings from daily chores, fingerpicking guitar, soothing harmonics, tape manipulation and ethereal soundscapes, all combined with naive openness. We uncover joy found in imperfection. It is rare the occasion on which we have the chance to have a peak at someone's work, unattended, without specific context, after years spent making music simply to break away, not for anyone but for themselves. The songs in “La Proyección” unveil exactly that essence, found through collective memory. “La Proyección”, el álbum debut de José María Lluch, arquitecto y músico de San Sebastián, se presenta como una transición, un cambio gradual que se produjo con el tiempo. Íntimas e inocentes, a veces desconectadas y erráticas, las 11 composiciones que aquí se presentan provienen de grabaciones que abarcan 9 años, entre 2015 y 2024. Humildemente reunidas en su estudio casero, la música invita a dejar volar la imaginación. Los procesos de composición, grabación y edición se entrelazan. Grabaciones de campo de tareas cotidianas, guitarra fingerpicking, armónicos suaves, manipulación de cinta y paisajes sonoros etéreos, todo combinado con una apertura ingenua. Es raro tener la oportunidad de asomarse al trabajo de alguien, sin supervisión, sin un contexto específico, después de años dedicados a hacer música sin un fin comercial. Las canciones de “La Proyección” revelan precisamente esa esencia, hallada a través de la memoria colectiva.

Ghetto Records was Joe Bataan's way to get over on The Man and out of the 'hood, a bold move by an artist looking for independence and creative control in an industry that had exploited his talents and treated him like chattel. Hatched from desperation yet full of hope, Ghetto Records came crashing down shortly after its inception. The seven albums in the Ghetto discography languished out of print. Ghetto Records Presents (1970) by Eddie Lebrón was one of them. Lebrón was Ghetto Records's first artist. Bataan supervised the pianist's recording sessions and, importantly, understood Lebrón's desire to have an English-language soul ballad on his album, which was to become a feature of all future releases. To supplement Lebrón's backing band, Orquesta Suave, who had a background in R&B and doo-wop, Bataan brought in high school chum Abdul O'Dool to sing the old chestnut "(I Love You) For Sentimental Reasons." Lebrón was Puerto Rican and raised in New York from the age of five, making him part of the generation of Nuyoricans that expressed themselves through salsa. In addition to playing the piano and leading Eddie Lebrón and His Orchestra Suave, as the band was then called, Lebrón also composed and arranged the tunes on the record. Aside from being distinguished as the debut of both Ghetto Records and Eddie Lebrón's band, Ghetto Records Presents sported an eye-catching cover by Izzy Sanabria. The album is a real treat for heavy salsa and Latin soul lovers that has become a much in-demand record among collectors worldwide. Lebrón and Orquesta Suave parted ways after recording this album largely because Lebrón was increasingly in demand as a sideman. In fact, he continued to play piano with, and compose and arrange for, a host of important salsa outfits over the next two decades. Vampisoul are now reissuing Ghetto Records Presents once again thanks to our collaboration with Now-Again Records. This release includes an insert with liner notes and two bonus tracks.

Here we have a very special reissue, a landmark in the history of Spanish pop music: "La chica de plexiglas" and "La vision," the first two singles by El Aviador Dro y sus Obreros Especializados (released in 1980 and 1981), together with two tracks rescued from a lost 1980 recording session that were never released as a single. The collection is presented exactly as it was originally compiled on a 1983 mini-LP. To this day, this remains the most advanced techno-punk ever made in Spain. Think a Spanish version of Kraftwerk meets Devo meets The Residents. Futuristic electronic music created back when computers were the size of an entire room. Out of print since 1985, we're delighted to bring this groundbreaking gem of early-'80s Spanish pop back into circulation in collaboration with Discos Banana. Tracklisting>> Side A 1. La Chica De Plexiglas 2.Vano Temporal 3. Gestalt Side B 1.La Vision 2. Hal 9000 3. Laser

Between 1999 and 2000, Merzbow entered a new artistic phase, embracing digital production and refining his sonic language. He moved away from the tape collages and improvised circuitry of his earlier years. In their place arose monumental sound structures, dense and meticulously sculpted. Harsh noise, tribal rhythms, and corrosive textures merged into a single, overwhelming sonic body.Yoshinotsune emerged during this especially fertile period and stands as one of Masami Akita’s most evocative works. The album weaves together historical, mythological, and personal references, drawing inspiration from the figure of Minamoto no Yoshitsune. From the outset, bird calls, radio interference, and electronic signals create an enigmatic atmosphere. The result is an unsettling soundscape suspended between nature and technology.Throughout the album, the sound continually transforms, alternating between ominous beats, unearthly moans, and ritualistic pulses. These elements evoke tribal rhythms filtered through circuitry and digital distortion. The music drives forward with relentless force while maintaining a constant tension between motion and stillness. Rather than simply overwhelming, it invites the listener to become immersed in its intricate details.What makes Yoshinotsune so compelling is its perfect balance between technical precision and creative instinct. Though meticulously constructed, its structures retain a raw and immediate vitality. Akita’s hand can always be felt, shaping the sound with intensity and sensitivity. This reissue fully restores the grandeur of one of Merzbow’s richest and most immersive recordings of mid 2000.

Another late night oooooze from short span, this time from NYC’s Eden Aurelius doing that sticky, hazed thing you’ll love if you’ve a feel for False Aralia, 3XL, Emer… "A beautifully poised collection for Short Span. A gorgeous showcase of her singular talent within a sparkling scene. Recorded in Brooklyn, NY, this is an innovative, and graceful body of music that feels truly contemporary. This album felt important for us to have out in time for summer. Emerging out of the heat, a feeling brought alive with the sun. Music that evolves throughout seasons and carries a spectrum of emotional range. Entre Nous is tight, but expansive. Its depth and complexity is languid but has gravitational pull. Like much of her work, this record feels so refreshing because its tracks are both sensory and illusory tones built in gossamer and transitory layers of satin. They have a remarkable sense of presence and pressure - floating rhythmically without sharp edges. There is guidance and gentle control that lead throughout the record. The B side opens with “Ion” featuring Pontiac Streator. The song is formed out of a textural haze. A glistening, iridescent light appears, broken through fabric, projecting a blurred image onto the surface nearby. A hypnotic and evocative collaboration. The shared connection between the two artists’ command of rhythm and ambient language. Mastered and cut by Mike Grinser at Manmade.

Originally released on Mark Ernestus and Moritz von Oswald's Chain Reaction label in 1999, Hallucinator's Landlocked is compiled onto a 2LP for the first time. Created by London trio Anna Piva, Edward George and Trevor Mathison, the album became a quietly influential early dub techno release, built from deep bass, echo, fractured rhythms and carefully sculpted space. Across twelve tracks, sounds fade in and out with hypnotic precision, creating an atmosphere that values silence as much as texture. Beneath its abstract surface sits a dedication to the memory of Stephen Lawrence, lending the music a lasting emotional resonance. More than 25 years on, Landlocked remains a distinctive work of immersive, minimalist electronic music.

Chicago’s excellent, shapeshifting Kino Disk chase 8004’s ace dub abstractions with Eustress’ actions in familiar meadows of overgrown FX, farming post-dub techno landscapes highly tipped FFO Vladislav Delay, Echospace, False Aralia. Peripheral to the Windy City’s fecund undergrowth, Indianapolis-based Heath Gillespie aka Eustress practises forms of dub techno at gauzy arm’s reach from the OG source. On the six tracks of ‘Exit’, his 2nd release for the label, he distorts familiar tropes to taste, diffusing a palette of windswept dub chords and unanchored bass in space crackling with an iridescent grayscale filament. His approach broadly swerves dub techno’s club momentum in favour of soothing meditation, letting everything hang out and slosh, loosely suspended in gritty yet lush amniotic plasm with an effect calling to mind the etheric depths of Echospace or even Werkbund’s atmospheric enigmas. A hands-on background as mixing engineer comes to the fore in his work’s sensory tactility, convecting minds from a slow tempest to beatific bliss-out, rumbles of distant dub chord thunder and carpet rolling gouch-out, ultimately stranding up on the 8 min peninsula of ‘Exit 6’, under a borealis play of smudged, harmonised light, nerves combed into the breeze.

Side A
1. 自分のことだけ考えよう (Remixed by Cornelius)
2. Flow (Remixed by YANN TOMITA  ”A BRAND NEW CADILLAC AND ETERNAL LIFE MIX”)

A massive personal favorite of Demdike Stare's, Shinichi Atobe's 2001 Ship-Scope 12" was the Chain Reaction label's penultimate release, and, with the benefit of hindsight, also one of its most sublime offerings. This necessary 2015 reissue arrives in the wake of Atobe's much-loved archival salvage, Butterfly Effect (DDS 010CD), which caused quite a ripple upon its release in 2014. Notable for its unusually sweeter, dreamier ambient tone, especially when compared with the rest of Chain Reaction catalog, this is a must-have for followers of the romantic streak in Ross 154, Convextion, and classic Chain Reaction.

Shinichi Atobe has managed to stay off the grid since he made an appearance on Basic Channel's Chain Reaction imprint back in 2001. He delivered the second-to-last 12" on the label and then disappeared without a trace, leaving behind a solitary record that's been selling for crazy money and a trail of speculation that has led some people to wonder whether the project was in fact the work of someone on the Basic Channel payroll. That killer Chain Reaction 12" has also been a longtime favorite of Demdike Stare, who have been trying to follow the trail and make contact with Atobe for some time, whoever he turned out to be. A lead from the Basic Channel office turned up an address in Japan and -- unbelievably -- an album full of archival and new material. Demdike painstakingly assembled and compiled the material for this debut album. And what a weird and brilliant album it is -- deploying a slow-churn opener that sounds like a syrupy Actress track, before working through a brilliantly sharp and tactile nine-minute piano house roller that sounds like DJ Sprinkles, then diving headlong into a heady, Vainqueur-inspired drone-world. It's a confounding album, full of odd little signatures that give the whole thing a timeless feeling completely detached from the zeitgeist, like a sound bubble from another era. This is only the second album release on Demdike Stare's DDS imprint, following the release of Nate Young's Regression Vol. 3 (Other Days) (DDS 007LP) in 2013. Who knows what they might turn up next? Mastered by Matt Colton at Alchemy.

Demdike Stare’s DDS label kicks off a new series of limited edition 12”s with the return of Shinichi Atobe, offering a slow evolution of his inimitable deep house, finely balanced with a new found sub-heavy bias while unlocking extra space in the upper registers.

 

 

Atobe’s third 12” since debuting on Chain Reaction in 2001 marks a subtle but crucial development of his style, leaning towards classically deep, dub house templates. On both sides he adds supple flesh and hypnotic emotive pathos to his stripped formula, resulting in some of the most immediate and enduring work in his canon thus far. It coincidentally also marks a decade since he first graced DDS with his debut album ‘Butterfly Effect’, followed by a tranche of cultishly acclaimed albums in the years since.

 

 

On the A-side pearl ‘Ongaku 1’ he steps out with a shimmering take on the effortless gait of M-Series blueprints, as derived from the deepest NYC house, delicately ornamented with cascading levels of detail. Precision-tooled kicks precipitate Prescription-via-Maurizio feathered dub chords, interlaced with a frisson of darker strings and synth melodies for the full goosebump. ‘Dub 6(six)’ on the flip whisks up a psychedelic lattice of arps and synth voices with ruder bass ballast, taking its sweet time before the kicks come to swing the ‘floor deep and wide. 

 

 

Straight bullets, no messing.

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The Story Behind "Rhythm Matter” The origins of Rhyth Matter trace back to 2011, shortly after the Great East Japan Earthquake. While visiting Yony in New York, the artist Marter recorded a series of demos. When Marihito heard these recordings, he immediately saw the potential for a full-length project and envisioned a concept centered on "Live Dub" with a distinct Basic Channel influence. Over several years, the project evolved through a rigorous analog process. The multi-track recordings—originally captured on cassette tape, 4-track, 8-track, and reel-to-reel—were eventually digitized into Pro Tools to be meticulously shaped into the final album. At the time, Marihito was releasing an album through Bill Laswell’s label. When he shared the works-in-progress with Bill and asked if M.O.D. (Laswell's label) would be interested, the answer was a definitive yes. Initially, the album was set for release via a licensing deal with M.O.D. However, complications during the vinyl production phase at M.O.D. led to the difficult decision to scrap the record release. Refusing to let the vision of a physical LP die, Marihito took the project back to his own label, Personal Affair, finally releasing it on both vinyl and digital formats as it was always meant to be heard.

Tthe main alias of René Pawlowitz (aka EQD, Hoover1, STP and many more) capping off a fruitful year on his own The Final Experiment imprint with a new 2xLP entitled The 030 Files. A heads-down trip through a handful of deep and dark techno techniques, Shed nonetheless keeps you engaged throughout with his clever sound design and chilly detours into downtempo and more headphone-oriented affairs. Early album highlight ‘Shot Rhythm’ forego the atypical jackhammer kicks for some hip-swinging drum breaks, and the simmering, skeletal ‘Let Yourself Go’ provides a nice respite, as well.

Following his run of downtempo Quiet Time offerings, Texan producer Gi Gi moves to Vancouver's Mood Hut and maps his "downtempo sampledelia" logic over a syrupy set of deep-as-fuck, back room rollers. Gi Gi's is motivated by the philosophy of sampling - his 2021 album 'Lumino Pleco' was built from textures snatched from Prince, Miles Davis and Erykah Badu records. But he appears to have settled more assuredly into his role at this stage, coining the "downtempo sampledelia" descriptor probably to stop people like us from perpetually reminding him that trip-hop already happened. To his credit, 'In Lieu' does veer further from the dubwise, slo-mo gear that propped up his last few releases, tightening the beats and sharpening those all-important hazy backdrops. And if you recognise a few of the elements, that's partly the point; Gi Gi bashes together the album like a rickety rope bridge between the contemporary listening bar and a half-forgotten record collection that stacks its 'ardcore vinyl alongside Weatherall productions, electro samba reissues, Chicago house and Alex Patterson's dream diaries. 'Pink Dirt' sounds as if it's burying Kirsty Hawkshaw's voice underneath its powdery syncopations and housey piano stabs and on 'Arque', featherlight string plucks are ducked behind rubbery pulses that Gi Gi excites with fractal psy inflections. And the specters of dub and jungle slow dance on 'Downswept', when Gi Gi marinades his expertly chopped breaks in a bubbling synth. It's the kind of gear that makes the most sense while the summer's still in full swing - balearic doesn't even do it justice.

FELT survey Copenhagen's contemporary jazz scene with RMC graduate Vincent Yuen Ruiz’s intimate and strikingly minimal rendition of stifled percussion, spacious piano and precise double bass work, tipped FFO of The Necks x Talk Talk, naturally. Ruiz is a seasoned jazz player who's also nursed a parallel reputation as a post-rocker, formerly playing bass in Plaistow. And it's this knowledge of a world outside of jazz that gives 'Trio' its edge. It's not a post-rock record, by any means, but it's not pure jazz either - or at least, it doesn't sound as if it's confined by the aesthetic. The ensemble formed in 2019, but their last record together, 2021's 'Le seul salut que je connaisse', was recorded as a six-piece. Ruiz strips the sound to its bare bones on 'Trio', relying on unusual percussive sounds (provided by drummer Anders Vestergaard) to fill in some of the gaps. And although Rasmus Kjær takes a de facto lead roll on piano, it's the rhythm section, commanded by Ruiz on double bass, that makes 'Trio' so fascinating. There's an almost meditative sense of calm to opener 'Choral', with Vestergaard's bowed cymbal tones providing a neat bed for Kjær's Bach and Ravel-inspired flourishes. The tension is only released when Ruiz's soft bass enters the frame, played somewhere between improvisation and composition, minimalism and decelerated chamber jazz. Just as he slimmed down his ensemble, Ruiz slims down the pieces themselves, condensing and distilling his ideas so the record never gets busy, or outstays its welcome. Just head to the central piece 'Weaving', beautifully balancing its measured piano with Vestergaard's odd flurries of percussion that sometimes appear for just a second. We can hear post-rock - particularly the variety that Talk Talk perfected - but our brains are also directed into filling in the gaps. 'Trio' is an album that lives and dies on its pauses, focusing on decaying notes and echoing rhythms in all their quiet beauty.

Ampoule's Pub returns with a fresh remaster of the classic 'Summer' and a brand new track titled 'The Fragile Root'

'Summer' was originally released 20 years ago on the Vertical Form label - a result of a multitude of completely live and improvised studio sessions, that gently swell and evolve over the tracks 16 minutes.

'Fragile Root' is a brand new track, think vintage idm - intricate rhythms and melodies crossed with massive dub chords.

Mastered by Dubplates & Mastering

Haruomi Hosono, the pioneering Japanese musician, producer, composer, and founding member of Yellow Magic Orchestra and Happy End, has “found his voice in a late career renaissance," writes The Wire. His five-decade legacy continues to grow and attract new fans, and has been cited by an acclaimed list of artists, including Mac DeMarco, Cameron Winter, Ginger Root, Vampire Weekend, and Harry Styles. Shaped by mid-century American music, Hosono's work now reverberates back through a new generation of Western artists—a remarkable circular exchange.

Yours Sincerely, his 23rd studio album and first collection of new music in over seven years, finds Hosono ever-pushing his exploratory songcraft: “I am now 78 years old, but from here on, I feel a growing curiosity toward the unknown music that my new self will create, while also embracing the music of my former self—as if I now carry two musical worlds within me.” Across arrangements that span tender psych-folk and bubbling avant-pop, Hosono contemplates the concept of a maternal force that envelops the Earth, “humanity’s understanding of the unconditional love possessed by those who give us life,” he says. Songs tap into a collective current, engaging the “deeply buried instincts—maternal compassion and mercy, things we rarely engage with in our daily lives.”

The work represents an artistic and subconscious shift. Several tracks feature female vocalists, such as “Note of Mothership”, a group-chanted expression of childlike wonder, “To a Wild Rose”, which delights with oceanside hums and prose, and on the elegant, marching “Figlio Perdute.” “This was a completely new approach for me,” he adds.

The unofficial title track, “Sincerely”, frames the legend in his signature mode, strumming, singing, playfully pondering the answer to a simple question. How do you express the Japanese ideas of omoiyari (compassion), jihi (慈悲), or boseiai (母性愛) in English? Hosono explains, “I searched, but no word felt quite right. Each came close, yet carried a slightly different nuance…I turned to a more familiar word often used to close a letter: ‘Sincerely.’”

“It is in this spirit that I offer this album to you—sincerely, from the heart.”

On White Morning, Fumio Miyashita distils his healing‑ambient language into two near‑half‑hour reveries: soft synths and gentle acoustic colours held in a discovered stillness that treats music as a space for rest, focus and quiet presence. White Morning, recorded in 1989 at Biwa Studio, captures Fumio Miyashita at the point where his music becomes less a sequence of notes and more a sustained state of being. Active through the late 1980s and early 1990s as a composer, arranger and multi‑instrumentalist, Miyashita carved out a singular niche between healing music, environmental sound and meditative ambient. While many contemporaries busied themselves mapping forests, cities and weather systems in tone, Miyashita turned inward. His pieces were designed explicitly for the body as much as the ear: music for rest, focus, presence, created to support breathing, posture and attention rather than to decorate a room. White Morning distils that vision into its purest form. The album consists of two extended works, 目覚め (See The Light) and 朝の祈り (Morning Prayer), each close to twenty‑five minutes in length. Built from soft synthesizer layers and delicate acoustic textures, they move with a slowness that feels less composed than discovered, as if Miyashita had patiently tuned himself to a particular inner frequency and simply stayed there. Harmonic changes are subtle, almost subliminal; motifs appear and dissolve without insisting on themselves. This is music that refuses to impose – no sharp edges, no dramatic arcs, just a gentle continuity of tone that invites the listener to sink, breathe and notice. In 目覚め (See The Light), bright but gauzy synth overtones suggest the first wash of morning illumination, a cautious opening of the eyes. Underneath, quieter figures pulse with the regularity of a resting heartbeat. The piece doesn’t build toward a climax; instead, it slightly increases its luminosity over time, like a room gradually filling with daylight. 朝の祈り (Morning Prayer) feels even more interior. Here, acoustic colours – faint chimes, possible string or flute traces – thread through the electronic bed, offering points of focus within the ongoing drone. The atmosphere is devotional without belonging to a specific faith: a sense of quietly held intention, of gratitude or petition expressed in sustained tone rather than in words. Originally released on CD in 1991, White Morning circulated quietly among devotees of kankyo ongaku and Japanese new age, passed hand to hand and mentioned in hushed tones alongside favourites by Hiroshi Yoshimura, Satoshi Ashikawa or Klaus Wiese. Unlike many environmental records designed explicitly around place – gardens, galleries, corporate lobbies – Miyashita’s work seems to address the interior “room” of the listener: the nervous system, the breath, the mind’s tendency to wander. That inward focus gives White Morning a particular intimacy. Even at low volume, you sense it re‑tuning the background; at higher levels, it can feel like stepping into a bath of sound. For its third release, Ambient Sans turns to this quietly beloved cornerstone of Japanese ambient, finally bringing White Morning to vinyl after decades of digital and CD‑only existence. The format shift underscores the album’s status as more than functional audio. As a physical object – a record you handle, place on a turntable, flip between sides of dawn and prayer – it becomes a ritual artefact, a tool for framing time at the beginning of a day or at any moment when the listener needs to withdraw without closing off. Essential for anyone drawn to Yoshimura’s environmental lightness, Ashikawa’s meditative depth or Wiese’s healing drones, White Morning stands as one of Miyashita’s most resonant offerings: music that stays, gently, until you’re ready to carry its stillness back into the rest of your life.

Embassy Café is house music laid bare - rough, ready and romantic. It’s the early 90s house record Australia never had - an antipodean take on classic albums such as Dream 2 Science and Amnesia. Starting out as raw cassette tape demos, this collaborative project blends Andras Fox’ deep house productions with the sensual vocals of Oscar S. Thorn. Mixing phrases or straight cuts from experimental jam's with lush rhythm tracks, Embassy Café is a surprising mix of dance floor material alongside slow 80s funk grooves. Recorded live with minimal overdubs, the resulting album tracks are full of the mistakes, noises and distortions that made the early recordings by artists like Virgo Four so appealing. Oscar S. Thorn’s vo¬cals recall a time when house was the mainstay of a marginalized, black, queer audience. For fans of Larry Heard, Frankie Knuckels and Kenny Dixon jr.

The Melting Hours is a live project by Wata Igarashi and Kuniyuki. WataIgarashi continues to make his mark on the history of techno, whilst Kuniyuki has long been revered as one of Sapporo’s greatest treasures. The two artists, who have long held mutual respect for one another, met whilst performing at the Draaimolen Festival 2025, and this encounter gave rise to The Melting Hours. This is the latest release from Rainbow Disco Club’s label imprint, Beyond Space And Time. ‘Blue Sun’ is imbued with a freshness reminiscent of the ambient jazz masterpieces released by prestigious labels such as ECM and Windham Hill. ‘Liquid Dunes’ sees the organic tones of the flute and percussion melt into over ten minutes of abstract sound textures, whilst the breathtaking ‘Cloud Touch’ awakens amidst a swirling vortex of pulsating downbeats and arpeggios. It is said that ‘Blue Sun’ was created by reconstructing studio rehearsal recordings, whilst ‘Liquid Dunes’ and ‘Cloud Touch’ were crafted from live recordings at Draaimolen 2025. The essence of these works—and indeed of the project The Melting Hours itself—lies at the heart of their improvisational nature. It brings to mind the Rainbow Disco Club event back in 2026, where they wove their sounds amidst fresh greenery and surrounded by listeners under a clear blue sky. It felt as though the pulsating energy was spreading across the dance floor, guided by a session from The Melting Hours that seemed almost like a living creature. The organic breath one senses in this work not only evokes precisely that scene but also allows us to feel the unique, ephemeral nature inherent in this project—and, consequently, the boundless possibilities that stem from it.

"When we say feral we mean killable and ungrievable; an animal for whom violent deaths are a possible outcome; that can be culled by slow poison, trapped and left to knaw its own leg off; that is worthless unless domesticated. When we say feral we point to an ideology of extermination and control. When we say feral we mean resisting When we say feral we mean unapologetic."

Argento is the new project from composer and producer David August. Released by Music From Memory, Miraggi draws on time spent between Berlin and Italy's Tyrrhenian coast, blending synthesisers, acoustic percussion, field recordings and electronics into an imagined soundtrack to the Mediterranean. Inspired by Italian library music, jazz fusion and Balearic sounds, the album was created with drummer and percussionist Lorenzo Setti, whose playing helped define its fluid rhythms. Dreamlike yet grounded, Miraggi captures the pull of place, where atmosphere and landscape are as vital as melody.