Sweet Nectar Tapes is proud to present the label’s first LP: “Fool or Genious” by G. S. Ruessler. Nine hardsoft cuts combining stubborn grooves and naïve melodies form an uncompromisingly honest album. Pursuing a genuinely straight-to-the-point approach, the tracks were recorded live from desk without any overdubbing. This record marks the departure point of G. S. Ruessler’s explorations in the sonic realm.
Mystical sounds from the shadows of the night The Zurich duo The Nightstalker, consisting of producers Dan Piu and Popshop (Gary Rich), create a cosmos of sound that plunges deep into the darkness and unfolds an almost magical attraction. After two acclaimed albums on the Berlin label Childhood Intelligence, they now invite us on a sonic fantasy journey with their new mini-album ‘Isoutopic Fantasia’ on World Wide Web Records. With six tracks that oscillate between danceable darkness and playful, surreal moments, ‘Isoutopic Fantasia’ embodies a seductive fusion of mystical depth and bizarre beauty. The sounds are addictive and lead us through a musical dream realm where each beat reveals a new twist and the melodies unfold into sprawling, unexpected dimensions. A sonic fantasy carried by the shadows of the night, in which light and darkness unite in a hypnotic dance.
Heinrich Dressel presents Reflected Skies: a tribute to Dressel’s distinctive style of cinematic ambience. The scenery in Reflected Skies is not the protagonist but rather the details, that hint at a larger picture, like the sky as it appears in everyday reflections. Dark, expectant and mysterious where the listener is left to awe at the subtle questioning of an untold story.
Space Drum Meditation unveils ‘Four Tusks’, their debut album and seventh release on the label. This 12-track journey blends tribal rhythms, atmospheric textures, and electronic elements, interweaving darkness and light. The album un- folds like a ritual, revealing a murky, immersive soundscape shaped by primal beats, ethereal ambience, rumbling thunder, and the whisper of rain, reminiscent of a primeval marshland and drawing one into its depths. Featuring a wide array of instruments including deep percussion, traditional flutes, throat singing, and field recordings – Four Tusks crafts a mysterious tapestry that feels both ancient and futuristic, resonating with nature’s elements.
A deep dive into the raw, unfiltered experience of modern life, this album blends Ambient Noise Experimental with the relentless agony and struggle of societal pressure. Yet, through the chaos, a glimmer of freedom emerges—an unapologetic expression of self, breaking through the limits that confine us. A soundscape that’s both haunting and liberating.
Dark Entries summons Philadelphia synthesizer scribes The Ghostwriters to rouse their ambient masterwork ‘Remote Dreaming’. The late Buchla maestro Charles Cohen and multi-instrumentalist Jeff Cain joined up in 1971 to craft electroacoustic chaos as Anomali, later renaming themselves The Ghostwriters. Their collaborations with choreographers and visual media artists led to their singular style, straddling improvisation and composition, the oneiric and the immediate. Following their debut album, Objects in Mirrors, they were approached by ambient outlet Mu-Pysch. Remote Dreaming would take shape in various studios over nine months. Jeff Cain’s instruments on this project included electric and acoustic pianos, the Juno 106 synthesizer, and a Mirage sampler, while Charles Cohen used his signature Buchla 200 Series Electronic Musical Instrument. A stark departure from the tightly wound first LP, Remote Dreaming shows the duo unfurling with soothing pianos and psychoacoustic textures, its somnambulant drones just skirting the edges of the uncanny. Although ignored in its time, Remote Dreaming is now heralded as a landmark in 80s experimental ambient music. Proceeds will be donated to SOSA (Safe from Online Sex Abuse), a nonprofit that combats online child sex abuse and trafficking.
Senking and DYL team up again. ‘Diving Saucer Attack’ is the first full-length record by the German artist and his Romanian collaborator, released through the Berlin-based Karaoke Kalk label. The six pieces, two of which were produced individually, both showcase the duo’s shared interests for dub-heavy, adventurous electronic music while also emphasising the productive friction generated by the subtle differences between their respective approaches.
Legowelt worked as a sound designer for the factory presets of Mirror, which ended up as Muse which is an 8 voice polyphonic bi-timbral synth. The entire album was recorded with an early prototype of of Moog Mirror.
Next up in the quiet details series is the producer and live performer of everything from the deepest ambience to true dance-floor electro, Emile Facey, otherwise known as Plant43. ‘The Unfading Spark’ shows this immense and honest experience realised to stunning effect. An instant post-club classic, his innate melodic and textural understanding mixes perfectly with a sense of build and release, the album moving through its own indelible world of space-time to completely immerse the listener in its expanding beauty.
Distant Worlds welcomes back Sound Synthesis for a second outing of warm, melodic electro. Fine attention to detail, crisp sonics and deep bass complete the package for an exploration of harmony across all 4 tracks.
Mannequin Records present the official reissue of Caroline K’s outstanding 1987 album, “Now Wait For Last Year.” This haunting, wistful work of post-industrial synthesizer music sees the late Nocturnal Emissions co-founder only solo record. The music on “Now Wait For Last Year” seems to exist firmly outside of it. Tags like industrial, minimal synth or proto-techno can’t really do justice to the richly cinematic sound-world that Caroline K describes: from the sustained ambient tension of sidelong opener “The Happening World” to the future-primitive rhythms and stately piano flourishes “Animal Lattice”, and the melancholic, deep-frozen synth sequences of “Cheart”.”
“These are challenging times in the middle east. As the situation in Gaza gets worst daily, we are committed to doing what we can to end this conflict, and provide aid to the residents of Gaza, as well as all Palestinians in the west bank.
All proceeds from Confused Machines’ digital sales will go directly to Physicians For Human Rights – Israel (PHRI) www.phr.org.il, which continues its medical work and humanitarian aid in the West Bank despite the difficult circumstances.
Since October 2023, PHRI has doubled its activity in the West Bank and is sending two weekly mobile clinic visits to help communities that are cut off from medical treatment due to the severe wave of settler and military violence, movement restrictions, and the financial crisis in the West Bank.
PHRI is currently unable to operate in Gaza due to restrictions by the Israeli authorities, and have been barred from delivering aid to the strip. PHRI is constantly working to resume these activities and will do so as soon as the circumstances allow.
We urge for an immediate ceasefire, the return of all hostages, and a peaceful future for all inhabitants of this troubled land.”
Synth wizard, soundtrack composer, and Zombi member, Steve Moore expands further on his stark and drama filled cosmic sound with a new six track lp. These tracks call to mind to his early-L.I.E.S. releases, where Moore focused on cold arppegations and basic beat constructions to fuel his epic productions which center around pristine soaring synthscapes. A master of the genre, Moore gives us an equal mix of explosive, creepy home at the end of a dark street floor fodder as well as slower tempo cosmic headcrushers, all capable of getting your head or niteclub in a frenzy.
Florian Kupfer presents a new Ambient mini LP caller Way Home. Kupfer says “Piercing thru the ever more present turmoil and dissonances in our daily life i am trying to find refuge in these sounds. This release offers a refined auditory experience, perfect for deep introspection and reflection.”
All proceeds from this mini LP will support Dr. Ghassan Abu Sittah’s Children’s fund. The purpose of this Fund is to treat injured children, rebuild the destroyed medical infrastructure, and establish a sponsorship program for 20,000+ orphans from the conflict.
‘The Double Face of the Zero’ revolves around the progressive crumbling of the human condition, trapped in a Babel of toxic languages, hypnotised by seductive as much as false myths. The traversed architectures are empty or abandoned; inside, only faint echoes of mechanical rhythms reminiscent/incubus of models destined for passive consumption and the reproduction of consensus. Babbling, bare syllables are all that remains of a one-way communication. The new alphabets of communication systems do not need expressive space but consensus time. This journey is closed, however, by a text that is, in its own way, full of hope and that, like a compass, indicates a possible escape route from this mortal spiral of spectacular-media-political consensus. The sound sources from which the work originates are multiple. All electronically processed so as not to show their origin, in order to place themselves in an “other” space. All this not out of sonic sadism but out of a desire to elaborate a sound palette that is as personal as possible. A palette of sounds that tries to place itself outside the fences and categories that delimit even the area of research music, which instead, by definition, should be as model-free as possible.
Identity Theft is the solo electronic music of Michael Buchanan, commencing in 2011 with the album Night Workers. Rooted in Düsseldorf-school electro with strong leanings towards the more abstract Krautrock origins of the genre, “Omnia Vanitas” presents the listener with a narrative arc moving beyond the ‘modern problems’ which previous Identity Theft work was concerned with (e.g. themes of surveillance and paranoia).
Introducing Yarrow Ballet’s V.A. (Volume 01) featuring 10 beautiful tracks. The essence of this compilation its best describes as a listening experience that aligns perfectly with Yarrow Ballet’s musical aesthetic. It captures a balance of darkness and softness, all underscored by a sense of melancholic beauty. The V.A. also embodies a sense of community, similar to that of a close-knit family.
Konduku returns for the fifth and final installment on his Nous’klaer Audio K-series. A diverse four tracker embodying Konduku’s signature style of poly grooves and vibrant euphonies. A flow from dark to light that marks the end of this special series of releases.
The fledgling Detach label continues to show it means business with a new 12″ in a lovely screen-printed sleeve. Romanian artist Dyl is the one in charge and has been serving up consistently excellent and innovative sounds now for serval years. All of these cuts mix up great sound design with languid rhythms – the first is eerie, with watery droplets and glassy tinkles hanging in the air, while ‘Glasshouse 2’ has a percolating rhythm down low. ‘Glasshouse 3’ gets a little more dynamic with a shimmering low end and freaky abstract life forms and ‘Glasshouse 4’ layers in more intense and ever-shifting synth lines while the closer sounds like it’s roaming through a deserted factory long after it shut down.
In 1994, UK ambient pioneers O Yuki Conjugate recorded their landmark Equator album. To mark the 30th anniversary of this musical milestone, many of the same personnel – Roger Horberry (co-founder of O Yuki Conjugate), Dan Mudford (ex-Sons of Silence and co-creator of the Shaun of the Dead soundtrack), Joe Lamb (ex-Sons of Silence) and Malcolm McGeorge – came together to make New Meridian, reflecting the range of influences they’ve picked up over the intervening years. Generously described as “almost like normal music”, the eight tracks of New Meridian feature instrumentation ranging from classic analogue to actual wooden logs. The result takes you on a rain-drenched, open-top ride from Electronica Avenue to the drone caverns of Uranus, with various Fourth World ambi-dub diversions along the way.
The Hipodrome Of Music 