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Vieri Mura grew up under Sardinia’s intense sun. For many years, he has traveled to the north of the island to visit the renowned singer Maria Teresa Pirrigheddu (b. 1942). What began as a musical interest evolved into a profound familial bond. Rundinas (“Swallows” in Sardinian), captured by Vieri on portable devices, documents this relationship, along with the sound of the island, and the rhythm of Maria Teresa’s daily life. Maria Teresa sings orally transmitted cantos a chiterra over Vieri’s minimal compositions for guitar (Side A, in her garden) and organ (Side B, in the church, steps from her home). Swallows drift throughout, symbols of passing seasons and fleeting youth. Maria Teresa, now 84, her voice at once agile and veiled with age, imparts new layers of meaning to these ancient chants. One of the most profoundly moving and transporting pieces of music we’ve heard, recorded in the present yet stretching back hundreds of years, a musical dialogue between two artists of different generations and the land that nourished them. A source of hope and beauty in a diminished world.
Arca, a musician, producer, vocalist, and visual artist from Venezuela, has become an indispensable figure in the contemporary music scene. Following his 2020 album *KiCk i*—which earned him two Grammy nominations—he has released the five-part *KICK* series (*Kick II* (2021), *Kick III* (2021), *Kick IIII* (2021), and *kiCK iiiii* (2021)), he is making his long-awaited comeback with the full-length album *XXXXX*.
Karen y Los Remedios’ new album Bestiaria expands the introspective world they established earlier, drawing on Mexican mythology, folk traditions, and feminine symbolism to shape a dense, narrative-driven form of electronic music.
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.
Naya Beat’s second installment in the acclaimed series, Select Remixes and Reworks 2, digs into South Asian rare groove, disco, and new wave, reimagining them for contemporary dance‑music culture.
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.
The only break-up record you'll ever need to own. With its lofted harmonies, pick-pocket rhythms, and wailing-in-the-2AM-distance ambulance guitar solos, Ida's 1996 sophomore album leaked out of Brooklyn via detachable car stereo CD players and mixtapes from long-distance lovers. Originally issued on the stalwart Simple Machines label, this 30th anniversary deluxe Numero edition of I Know About You adds half a dozen extras, a wealth of photographic evidence - tissues not included.
The only break-up record you'll ever need to own. With its lofted harmonies, pick-pocket rhythms, and wailing-in-the-2AM-distance ambulance guitar solos, Ida's 1996 sophomore album leaked out of Brooklyn via detachable car stereo CD players and mixtapes from long-distance lovers. Originally issued on the stalwart Simple Machines label, this 30th anniversary deluxe Numero edition of I Know About You adds half a dozen extras, a wealth of photographic evidence - tissues not included.
Celebrating half a century since its legendary debut, Guruh Gipsy returns in a definitive 2026 official reissue—honoring one of the most visionary works in Indonesian music history. Widely regarded as one of the greatest Indonesian albums of all time, this landmark release is an experimental collaboration between Guruh Soekarnoputra and the progressive rock collective Gipsy. Its bold fusion of Balinese traditional music, orchestral composition, and progressive rock spirit resulted in a work far ahead of its time—a sonic artifact that remains deeply relevant and inspiring today.
with Japanese Obi. 4LP Black vinyl in polylined inner sleeves in gatefold outer sleeve
Named for Bach's Inventions - played on piano growing up - Inventio carries a Baroque sensibility: trilling polyphonic textures and lush vocal harmonies rising above it all. Sonic touchstones include Björk, Elizabeth Fraser, and the kulning-style singing of Lena Willemark. Made across three years in Sweden, the album was built without Murex knowing it would become one. Collaborators including Pelle Westlin, Isak Hedtjärn, and Elvira Anderfjärd gave the work what Murex calls "extra arms." All music videos are directed by Murex herself.
Ancient History is a 2026 studio album by American rapper Wiki, released on June 12, 2026, through his own independent label, Wikset Enterprise. It marks his first fully solo record since his 2019 album Oofie.
When a British alt-soul and art-pop duo collaborates with Filipino musical royalty, the result is a blinding flash of artistic spirit that transcends geographical and generational barriers. For Margate-based act Thandii, a chaotic whirlwind of a trip to Manila allowed Graham Godfrey and Jess Berry to explore a new cultural context of song-writing. After several prolific years of self-released albums together, they took the opportunity to channel Graham’s Filipino heritage through an ambitious and somewhat zany project proposed by the label Sama Sama Records: for Thandii to make their next album with the most recorded drummer in the Philippines, Jun Regalado. Now in his late 70s, Jun Regalado has recently gained more recognition internationally after the reissue of his track ‘Pinoy Funk’ (from the Soundway compilation Ayo Ke Disco in 2024), along with the discovery of nearly 500 album appearances that are now finding themselves in the collections of younger generations. And on Coco Okayo - the first time he has collaborated outside of his contemporaries - Regalado effectively passes the torch. Not only does Thandii take inspiration from the 70s ‘Manila Sound’ movement, the sound of Manila itself is inescapably embedded in the album via the local recording studio. It was “like stepping into a time-warp”, the duo say. “Period correct pre-amps, compressors and instruments recreated the tones of the era, and combined with Sir Jun’s magical sound and touch – it created an authenticity so completely right for the moment.” In exploring a sound born of the diaspora with roots in British soul music, Coco Okayo makes full use of the polymath abilities of both Jess and Graham. While they provide vocals, percussion, flutes and production, they still manage to carve out space for regular Margate collaborators (including keyboardist Steve Pringle, Graham’s bandmate in Pigeon), as well as tapping Filipino connections in the United States such as Wyn Avillas and Ian Santillano. “I felt like the melodies and flurries of flute poured out of me during this whole process - it was quite freeing and explorative and unlike any album we’d made previously”, says Jess. The resulting album dances around genres and influences, from OPM to soul, disco-funk and trip-hop, refusing to be categorised as any one thing and yet cohesive in its sound. Thandii likes to dub it MAR-NILA. “It’s a new genre coming from Filipino diaspora artists paying tribute to the Manila sound of the 70s,” say Thandii, “but combining it with modern day post-punk-disco, beat-driven-art-pop music coming from the small seaside town of Margate”. Whichever way the listener might interpret it, it’s clear that Coco Okayo is not stuck between worlds, but rather, has built a utopian world of its own.
PRE-ORDERSep 18, 2026 (EST) LP - Black SS083lp 6669454152402 $13.00 3 TOTAL 3 Teranga, the final album in the Wau Wau Collectif trilogy, the dreamy cross-cultural collaboration across cultures, finds the band finally coming together. Taking its name from the Wolof word “teranga” is used to express a welcomeness, a hospitality to others, and something loosely as a shared meeting - an apt title for the album that is an expression of a meeting. The project began in the village of Toubab Dialaw in 2018, where two musicians Arouna Kane and Karl-Jonas Winquist first conceived of the idea. Over the subsequent years, the project evolved, with the two producers trading files back and forth over WhatsApp, incorporating their network of friends and colleagues into what would become a the Wau Wau Collectif, culminating in their first album “Yaral Sa Doom” (2021) and "Mariage” (2022). Their latest album, Teranga, is the third entry and final entry in this trilogy, finalized and mixed during the the band's first live tour - a five week sprawling journey across Europe with "three swedes, three Senegalaise, and a french driver, a lovely mess of languages”, Karl-Jonas explains. At the heart at the heart of Wau Wau Collective is a strong musical foundation, borne not just by the wide cultural swath from which the collective draws inspiration but from the deftly talented musicians - composed and performed with a staggering 26 different songwriters and musicians, playing an impressive array of instrumentation, from balfon, ngoni, calabasse, violin, cello, saxophone, and omnicord. The resulting sound is complicated to place, but sonically has certainly found its place in Teranga. At times, dreamy and meditative, but imbued with an organic soul, a wholly unique sound that is both anachronistic and future facing. “Oh, Africa” could be at home on a classic reissue, with an almost Turkish guitar riff, where 100 ans (their first live studio recording) reminiscent of early 2000s Amadou et Mariam. With roots in avant garde (Karl-Jonas has cited Barney Wilen's Moshi as an inspiration) while Wau Wau draws inspirations from these experiments, though diverging in their dedication to the collaborative spirit - a project enabled by cellphones, WhatsApp, and mp3s zipping around the internet - slightly ironic considering how acoustic and grounded and human it feels. As we close the chapter on the trilogy, Karl-Jonas insists that this may well be just the beginning: “we have barely started in some ways” he says, with plans shaping in the next year for getting the whole band together, and more tours on the horizon, more hope, more humanity, and more coming together.
Intentions, megiapa’s lush and emotionally layered debut album, feels less like a collection of songs and more like a living archive of transformation. Across its warm synths, fluttering basslines, meditative voice notes and spiritual grooves, the Los Angeles-based producer, vocalist and composer maps the uncertain terrain between heartbreak, healing, fear and surrender. The album’s title is genuine. “The record is literally my intentions,” she says. “It’s a representation of my intentions, my dreams over the last five years or so.” Those years carried the weight of upheaval: the pandemic, the collapse of a long-term relationship, a move away from Chicago, and the disorientation that follows when the structure of your life suddenly disappears beneath you. But Intentions never sounds defeated. Instead, it radiates the quiet confidence of someone learning to trust herself in real time. That trust is embedded in the music’s very construction. Before this album, megiapa largely worked alone, making instrumentals in solitude, creating loops and fragments for herself without much thought toward public consumption. “These were just beats that I made for myself,” she explains. “It was my personal thing.” During the pandemic, she gained attention for her diddies series — brief, playful sketches often completed in a single evening. While those tracks carried an improvisatory charm, Intentions represents something deeper: patience. “What if I spend time with my music?” she remembers asking herself. The earliest pieces on Intentions date back to 2020 and 2021, but the album gradually evolved into something larger than its creator initially imagined. A grant from the city of Chicago helped push the project toward completion during one of the most unstable periods of her life. “I made a difficult decision that completely changed the stability I knew,” she says. “And so the record really is a representation of me returning to myself and gathering all these ideas and desires into one final offering.” That sense of accumulation defines the album’s beauty, as it feels handmade in the truest sense: every synth patch, vocal harmony and drum pattern carries the residue of lived experience. As a result, the collaborators surrounding megiapa function as witnesses to her becoming. Bassist The Growth Eternal and keyboardist Ahmad Muhammad (also known as Kafari) help ground the music in a deep-pocketed warmth, while drummer Mekala Session gives several tracks their stormy propulsion. Elsewhere, contributions from Blvck Spvde, Aankha Neal, Telemakus, Aisha Mars and 10.4 ROG add texture to songs already rich with feeling. For megiapa, creative partnership became part of the lesson. “Do I continue to take up space on this track,” she recalls asking herself, “or do I allow the piano to shine through?” Learning when to step back and let the music breathe became an act of growth. Right away, “Open Your Eyes,” produced by 10.4 ROG , sets the project’s fervent tone. Floating atop bright keys and an incessant chime, the song invites listeners toward reflection without losing its breezy accessibility. “Everything we need is within us,” she says of the track’s message. “We all reflect each other.” It’s the kind of statement that could sound overly sentimental in less capable hands, but megiapa delivers it with grounded sincerity. Elsewhere, Intentions reveals its bruises more directly. “Can’t Believe” — featuring Resavoir’s Will Miller on EVI, horn and piano — confronts the wreckage of a relationship with startling honesty, pairing Roland 808-inspired drums with aching reflections about longing for something that ultimately could not survive. “I can’t believe what I wanted,” she sings at the song’s center. Yet even here, the album isn’t bitter. The pain becomes a nudge to strive higher. That tension between disquiet and faith reaches its apex on “Crashing Down,” one of the album’s most resonant moments. Written during a Mexico retreat amid the chaos of the pandemic, the song emerged almost like a mantra. When she later revisited the song during periods of upheaval, the lyrics sounded like a prophecy. Intentions is also deeply informed by Black spiritual thought and cosmic possibility. Tracks like “(_(_on_the_spaceway_)_)” and “on the spaceway (frfr)” channel the liberatory philosophies of Sun Ra, imagining expansiveness beyond earthly limitation. “I imagine Black people in this spaceway just enjoying themselves in their full expansiveness,” she explains. In that sense, the album joins a lineage of Black experimental music that treats joy itself as resistance. Though International Anthem may seem like an unexpected home for the project, the partnership makes sense. The label has supported megiapa since her earliest days in Chicago, with figures like Alejandro “King Hippo” Ayala encouraging her long before the wider world caught on. “It’s like putting music out with my family at this point,” she says. By the time Intentions concludes, what remains is the feeling of having accompanied someone through a profound shift. The album asks listeners to relinquish their fear of the unknown. Again and again, megiapa returns to the same guiding principle: trust the process; everything will work out. “Fear is a hindrance to our dreams and our goals and the beauty of life,” she says. “Please dream with me. Please take a moment to reflect. And please be okay with things being uncertain.” On Intentions, this state becomes its own kind of freedom.
Forgotten electronic treasures by composer Ton de Leeuw rediscovered: first release in the Dutch Oscillation Series Dutch Oscillation Series (DOS) proudly announces the release of a box set featuring the complete electronic works of Ton de Leeuw (1926–1996). This publication marks the first instalment in a new series that brings the history of Dutch electronic music to life for a broad audience. The official presentation will take place on Saturday, 12 September, during the Gaudeamus Festival for contemporary music in Utrecht. Unique discoveries from the archive. For far too long, twentieth-century Dutch electronic music has remained hidden away in dim archives, only occasionally accessible under optimal conditions. Many compositions have not been heard for decades, perhaps after being presented to an audience only once. For this project, the original tapes were carefully traced in basements and archives, including the mysterious work Chronos, which was rediscovered in the collection of the Netherlands Music Institute (NMI). Even close collaborators of De Leeuw were unaware of the existence of Chronos. Another highlight of this release is the radiophonic oratorio Job (1956), which was awarded the Prix Italia radio prize by broadcaster Rai. The recordings were digitised by experts at the Institute of Sonology and the Instituut voor Beeld en Geluid (Netherlands Institute for Sound and Vision). The music was then meticulously restored and mastered in the studio of Jos Smolders (EARLabs), in accordance with modern standards, while strictly adhering to the composer’s original artistic intentions. The edition includes eight works composed between 1956 and 1982. The collection is released as a deluxe LP and CD box set and is also available via streaming and as high-resolution downloads. For an optimal listening experience, originally four-channel works such as Elektronische Studie (Electronic Study) and Antiphonie (Antiphony) are available as special Dolby Atmos downloads, allowing listeners to experience at home the unique spatial sound world envisioned by Ton de Leeuw. About Ton de LeeuwTon de Leeuw was one of the most influential Dutch composers of the twentieth century. A thinker with a distinctly cosmopolitan outlook, he immersed himself deeply in musical cultures from India, Japan, and Indonesia, among others. His work consistently sought to bridge Eastern and Western musical traditions and concepts. In addition, De Leeuw enjoyed a distinguished academic career. He served for many years as senior lecturer and director at the Amsterdam Conservatory and was affiliated as a senior research fellow with the University of Amsterdam. His book Muziek van de twintigste eeuw (Music of the Twentieth Century) remains a standard reference work.
Savage first-wave screamo from San Diego’s white belt progenitors. Collected for the first time on this 39-minute LP are Antioch Arrow’s complete Gravity recordings, including In Love With Jetts LP (+ a pair of previously unissued outtakes), The Lady Is A Cat 12”, Candle split, and two live Che Cafe tracks captured at the quintet’s spazzy peak. 23 tracks remastered from corroded DATs and annotated by Tony Rettman, plus lyrics, photos, and flyers, all housed in a stunning gatefold jacket for maximum McClard rage-baiting. ”A roar of nothing”—HeartattaCk
Savage first-wave screamo from San Diego’s white belt progenitors. Collected for the first time on this 39-minute LP are Antioch Arrow’s complete Gravity recordings, including In Love With Jetts LP (+ a pair of previously unissued outtakes), The Lady Is A Cat 12”, Candle split, and two live Che Cafe tracks captured at the quintet’s spazzy peak. 23 tracks remastered from corroded DATs and annotated by Tony Rettman, plus lyrics, photos, and flyers, all housed in a stunning gatefold jacket for maximum McClard rage-baiting. ”A roar of nothing”—HeartattaCk
Selva Discos is proud to present its latest release: the EP by the band Discoteca Tropicana. This record features 4 original tracks that celebrate the rhythms that have influenced Brazilian disco music, showcasing the best of this fusion: the swing and tropical flavour that bring sunshine to any dance floor. The project is the result of a collaboration between Kiko Costato, the enfant terrible of the Brazilian music scene, and Zé Nigro, a producer and multi-instrumentalist who has won two Grammy Awards and has worked with major names in Brazilian and international music such as João Donato, Antonio Carlos & Jocafi and Natasha Diggs. This EP is based on 4 different themes. For each one, Kiko and Zé Nigro recruited some of Brazil’s finest studio musicians – people who work with Seu Jorge, Céu, Criolo, Metá Metá, Cidadão Instigado and Tulipa Ruiz – as well as pioneering artists from the Brazilian Black music scene, such as the backing vocalists who work with the legendary Gilberto Gil. “Corpos Celestes” is a more classic “disco diva” track, featuring string arrangements and a grand piano, as if it were the start of the evening, a magical moment straight from the heyday of disco in the United States; “Corpo Treme” is the sweat, the vuco-vuco, a song for that moment when you’ve already let yourself go, a sprint to the frenetic rhythm of the carimbó; “Tobina” is the meeting of Brazil and Africa, from which Brazilian swing is born, an original chant straight from the Congo, with a characteristic African guitar, adapted to Brazilian rhythms, just like the afoxé. Finally, the dancefloor hit “Não Pode Acabar”, a more urban disco track, which works just as well for kicking off a party with the right vibe as for closing a set with the highest energy.
Two deep, meditative house tracks from Suze Ijó & Zopelar."On “Ritual of Dance,” Nhojj’s voice guides the listener onto a (makeshift) dance floor, as the track builds in intensity, mirroring the rising energy of a dance session. On the flip, “Groove Extracts” leans further into a stripped, hypnotic space. Driven by percussion, bass, and a wandering key solo. It draws you inward towards the more meditative side of losing yourself in the groove. Inviting the body to take over where the mind dissolves.Ritual of Dance EP is about the journey of dancing alone or together."
In 2009, the label Art Yard sent a probe into the outer regions of contemporary electronic music, releasing Berliner Ring's "Orbital" album, a dub techno hymnal for Berlin’s orbital ring road. Drawing together the disparate elements of invented instruments, modified keyboards, customized rhythm and string machines, it was built around moods and themes drawn from the Berlin landscape. One member of the Ring, Alexander Christou, also a part of the Berlin electro rock group Elecdrones, recording for Katzensonne. The band were “not interested in the crafting of chunks of music ready to be consumed”. Christou has since been recording under the moniker Al Chem, crossing analogue and digital realms, synthesizing a kind of philosopher’s stone. As Al Chem, he released on Tummy Touch Records, and now follows with a collection of foggy electronic dub meditations recorded between 2000 and 2005 in a full album. In the battle to harness the elements, ancient mists permeated Chem’s music. A murky, mercurial humidity saturates the project. A distinctly north European descendant of dub, a kind of Seventh Seal that Bergman could have made, if provided enough hydroponic infusions. No Hopper is a rework of the Ras Michael song No Hoppers, from his legendary album, Rastafari Dub, Chem's version shuffles the pack of electronic percussion with organic, Moondog-like rhythms and hazy atmospheric chords; The Prophet pinpoints Chem's GPS firmly in Berlin, just as The Red Tower blurs that kick-drum parallel between reggae and house music; Baudelaire sputters digital delay, piling on the pressure, a clatter of surgical implements performing an operation out of Dead Ringers, the patient storming out of the theatre with loosely fitted mechanical body parts; the instrumental No Hopper only serves to highlight the distant gathering storm. Ladder of Perfection rounds off the set with a drone, creaking with bubbling digital mud pools.
'Denshi Ongaku No Bigaku Vol. 3', a Cosmocities compilation put together by label owner Matt Soulie which continues the journey through Japan’s diverse sonic landscape. "Since its inception, the Denshi Ongaku No Bigaku project has paid tribute to a musical culture that has profoundly influenced the Cosmocities vision. Where the first volume explored dreamy ambient textures and deep electronic moods, and the second shifted focus towards boogie-laden rhythms and jazz-fuelled dancefloor excursions, Volume 3 finds a natural balance between introspection and movement. The compilation opens with Yosi Horikawa’s sublime “Bubbles”, an ambient masterpiece whose delicate organic textures gently set the tone. Chari Chari’s “Luna de Ritmos” follows with deep, ethereal house atmospherics before Force Of Nature’s hypnotic “Skyy High” guides listeners further into immersive territory. The journey continues through the experimental electronics of XTAL’s “Skygazer” and the analogue warmth of Takuya Matsumoto’s “Jump Rope Music”, while regular Cosmocities contributor Yuu Udagawa delivers the sophisticated high-tech jazz house groove of “Little Secrets”. On the second half of the collection, Kuniyuki’s remix of Slow Didi’s “Follow Me” brings rich jazz-inflected elegance, leading seamlessly into the futuristic techno-swing fusion of DJ Eiji Takehana featuring Yusuke Nakamura’s “Deep Track Jazz”. Tominori Hosoya’s “Summer Dreamers” adds a deeply emotional and dreamlike house moment before Azzurro’s “Just A Touch Of Love” shifts the focus firmly towards the dancefloor with a hypnotic late-night thumper. Closing the compilation is AcidGelge’s “Fatality 4”, a beautifully spacey and atmospheric finale that leaves the listener suspended somewhere between the club, the cosmos and the imagination."
'Denshi Ongaku No Bigaku Vol. 4' is Cosmocities' new compilation put together by label owner Matt Soulie which further explores the depth and diversity of Japan's electronic underground music scene. "Since its inception, the Denshi Ongaku No Bigaku project has celebrated the artists and sounds that have profoundly influenced the Cosmocities vision. Across four volumes, the series has journeyed through ambient soundscapes, deep house, boogie, jazz-infused electronics and forward-thinking club music. Volume 4 shifts the focus firmly towards the deeper end of the dancefloor, bringing together timeless classics, rare gems and sought-after reinterpretations from some of Japan's most respected producers. Opening proceedings is Kaoru Inoue's remix of Soft's "Art Farmer", a rolling percussive Afro-house excursion rich in hypnotic groove and organic rhythm. XTAL's "Heavenly Overtone" follows with a beautifully cosmic house journey, combining shimmering keys and celestial atmospheres that perfectly capture the compilation's expansive spirit. On the B-side, Slow Didi's "Follow Me (Hidaway Mix Instrumental)" delivers a deep and hypnotic groove before Tokyo Black Star's "Fantastique Voyage" channels the soulful, sophisticated energy of classic 1990s deep house. The journey continues with Manabu Nagayama and Soichi Terada's "Low Tension", presented here in a sublime instrumental remix by Satoshi Fumi and Yoshi Horino, where warm piano melodies and elegant synth work create a timeless late-night mood. The final stretch moves into more driving territory. Hiroshi Watanabe's "The Orionids (2025 Revised)" subtly raises the tempo, blending deep house sensibilities with sleek tech-inflected textures. Kaoru Inoue's "Ground Rhythm", reworked by The Backwoods, plunges deeper into hypnotic territory with a heads-down groove designed for intimate basement spaces and low-lit dancefloors. Closing the compilation is Bitowa and YAMADAtheGIANT's "Forest (Mixtacy Exclusive Version)", a trippy, immersive finale that leaves listeners suspended in a dreamlike state between nature, rhythm and imagination. A carefully curated collection of deep, cosmic and forward-thinking sounds, Denshi Ongaku No Bigaku Vol. 4 once again showcases the enduring creativity, innovation and global influence of Japanese electronic music."