‘Mirage’ is a musical phenomenon that arises in the atmosphere due to refraction and total internal reflection of analog sound rays at the boundary between layers of trance of varying density, tribal ambient, and futuristic dub. Thanks to this effect, the observer sees imaginary images of distant objects that are normally hidden behind the horizon, as well as their distorted shapes or reflections.
‘Vibe Ride’ is the sixth release of Adam Rudolph’s Hu Vibrational project and marks his 60th release as a leader or co-leader. “With every record, the goal is to explore new creative territory,” explains Rudolph. Vibe Ride continues a deeper exploration of a trance-like groove and a conceptual framework known as Sonic Mandala. This album marks the most complete realization of that idea, partly due to the group’s experience touring beforehand. That time on the road helped to refine ideas and strengthen musical chemistry. The recording process unfolded organically—likely due to the long-standing collaboration within ensembles like Go: Organic Orchestra and Moving Pictures, where the musicians have developed a deep familiarity with the shared musical language.”
The album was composed in 2007 and done with Roland JX305 synthesizer + Yamaha W7-32 Poly synth/sequencer, with additional sampling in Sony Sound Forge, using real dialogues between cosmonauts in Earth orbit.
Caleidoscopio N. 2 was recorded in the ’70s at Meridiana Recording Studio, by Orchestra Sinfonica Di Roma directed by Gianluigi Gelmetti with flute solo by Daisy Lumini.
In an intricate lattice of ever-evolving electro exploration, Samuel Van Dijk is back on Delsin with a new EP. Under his VC-118A alias, the Helsinki based producer presents a richly textured, cinematic strain of machine funk that reaches beyond dancefloor functionality to test the expressive potential locked within electro’s crisp rhythmic framework. There’s a melancholic mood hovering over ‘Avian’ as Van Dijk allows a subtle edge of distortion to creep into his flickering drum programming. The end result is a pensive sound that touches on the moodiness of orchestral composition, unfurling patiently across extended run times without losing focus. With his characteristic attention to detail and broad dynamic range, Van Dijk continues to offer up a sophisticated, emotionally-charged strain of electro like no other.
Achordat begins as an open entity shifting, adaptive, ready to take new forms. DYL introduces this with four pieces: three solo experiments and a collaboration with Roberta, captured on a Sunday morning of spontaneous creation. Each track opens a different angle, together sketching the first outline of a label built on movement and transformation.
Hailing from Raw Culture, Anna Funk Damage returns with his third release on the Roman label, delivering a record as fierce as it is intimate. ‘Tarantola’ was born out of a winter suspended between contrasting emotions – melancholy, anger, love, confusion – distilled into a sound that transforms personal fragility into collective energy. There’s no pursuit of perfection here, but rather an urgency running through the veins, taking shape across supersonic punk, wave, ambient and industrial. Hailing from Raw Culture, Anna Funk Damage returns with his third release on the Roman label, delivering a record as fierce as it is intimate. Tarantola was born out of a winter suspended between contrasting emotions – melancholy, anger, love, confusion – distilled into a sound that transforms personal fragility into collective energy. There’s no pursuit of perfection here, but rather an urgency running through the veins, taking shape across supersonic punk, wave, ambient and industrial.
”The Happening” by Tomorrow Comes The Harvest is a provocative confrontation. It’s a challenge or dare to the idea that music can be useful if we are able to experience it. I would imagine that to many, music having an objective beyond the listener doesn’t make sense because the general thought is that Music is made for us to consume, to make us remember, to influence us and to make us feel something. The Happening does all those things but much more.
Group Modular breaks the 3-year silence and launches a new series of 7inch releases, powered by Confused Machines and Delights labels. The first 45 features two familiar tunes, previously available only on short-run (and immediately sold-out) lathe-cut releases.
Harap-Alb is the first full-length album by Articulat, following a trilogy of EPs (two released on vinyl) and previous appearances on Rotterdam’s Afrobotic Musicology label. This new project deepens Articulat’s commitment to narrative-rich electronic music – blending structure, rhythm, and texture to evoke both dancefloor tension and cinematic storytelling.
“This album is a personal exploration – an attempt to deconstruct and reimagine, through sound, a story that has been familiar to me since childhood. I first encountered Harap Alb as a crackling, timeworn radio play on vinyl, and its atmosphere has lingered with me ever since. This is my way of keeping that story alive, not by preserving it in amber but by passing it forward in a different form.
Perhaps, years from now, someone will discover this record the same way I found the original. And in doing so, they too will add their own craft and love to the tale.”
Kimatika, the 3rd album by the Slovenian audio-visual trio Etceteral, is a visceral plunge into the raw undercurrents of futuristic jazz, motoric propulsion, free improv and elastic compositions. A growling baritone sax weaves through pulsating electronics and restless drums; the bass frequencies dense and cavernous. It is an arresting and thick tapestry of texture and tension, where noise and polyrhythms collide with urgent, melodic riffs.
Estonian meteoric label Sad Fun lets loose “Sauna Belt” 12 inch by Roma Vjazemski. Vjazemski brings along four tracks from his recent limited cassette “Handlebar” for Berceuse Heroique & adds an extraterritorial remix by Philipp Otterbach. Loose oddball electronica by the Tallinn based astronomy enthusiast.
“This spring, I released my new album Ninety Nine Eyes. Since then, I’ve been working independently to build a tour that brings this music to life on stage — across a wide stretch of Europe, from the Balkans to Amsterdam, and onward through cities like Warsaw, Skopje, and Rome.
This journey has been fully self-initiated: reaching out to venues, confirming shows, navigating logistics — all in the spirit of keeping the music alive and shared. But none of this would exist without the incredible help of a group of local promoters who believe deeply in this music. We’re building this tour step by step, city by city — and their trust and dedication are the backbone of this road.
To sustain this momentum, I need a small push of support to help cover basic travel needs and flight tickets for the upcoming legs of the tour.
Now, I’m turning to you for support to raise 1000–1200 euros to cover essential costs: international flights and basic logistics for the upcoming leg of the tour. To make this happen, I’m opening up a very personal part of my archive:
I’m offering the first three unreleased tracks that shaped the sound of Ninety Nine Eyes — the moment when my music started to shift and evolve after Mulid El-Magnoun. These tracks are not available anywhere else.
Alongside that, I’m sharing a small collection of hand-sewed fabric eyes — each one stitched by my partner and the art director of the project, Alaa Eideh. These are not just artworks — they are extensions of the journey we’ve both taken with this album.
If Ninety Nine Eyes spoke to you — or if you believe in the road that music can carve across borders — your support means everything.”
Aura Sonora returns with a second release, bringing together two meticulous studio craftsmen, DYL from Romanian & Tammo Hesselink from The Netherlands. Their “Moire Patterns” EP kicks off with ‘Pattern 1’, a deep and rhythmic slice of rubbery techno that rides broken beats with atmospheric pulses up top. ‘Pattern 2 slows down to a predatory crawl with icy pads making a dystopian vibe then ‘Pattern 3’ brings a sense of mystic tribal ritual deep in some futuristic jungle and ‘Pattern 4’ closes down with more fantastically crafted, dubby, broken rhythms that are topped with organic percussion and almost impossible not to move to. Pure rhythm science brilliance.
Formed by George Thompson, Kyle Martin and Jonathan Nash, Kommune were active between 2014-2015. As close friends living near each other, their musical journeys were intertwined; Nash and Martin had recently completed their debut album as Land Of Light, while Thompson (aka Black Merlin), at that time putting the finishing touches to his debut album ‘Hipnotik Tradisi’, was also working with Martin as part of the duo Spectral Empire. Sharing equipment and ideas, Kommune arose organically, serving as a creative outlet for exploring analogue machine music in an improvisational context. Sessions in their North London studios led to a handful of gigs at venues including Hamburg’s legendary Golden Pudel and London’s LN-CC. This fleeting chapter of musical history may well have gone entirely undocumented had it not been for the fortuitous decision to meet up for a recording session in October 2014. Filling a car with their machines, they drove to a converted barn in the south of England, proceeded to set up, settle in and hit the record button. Over the course of two days, fuelled by the experiences of recent performances, the trio immersed themselves in the machines, crafting subtly evolving, long-form compositions with an enchanting balance and flow. Across the four long-form compositions that make up ‘Oast’, the trio summons barely controllable scrapes, acid-like bubbles, and bleeps from their machines, leaning on dub mixing techniques to give the tracks a sense of depth, dynamism and organic ambience. Mastery of the TR-808 drum machine is central, with remarkably nuanced drum programming imparting a hypnotic rhythm to the work, allowing other elements to emerge and unfold at a beautifully measured tempo. Recorded entirely live and improvised without any overdubs, ‘Oast’ offers a profound journey into minimalist electronic music while serving as a tribute to friendship, curiosity, and the spirit of experimentation.
In a sea of disposable cookie cutter music Hieroglyphic Being continues to be a singular voice in the crowd. The 12 track album “The Sound Of Something Ending” deftly maps the intersection of house, techno, and EBM, while maintaining the curiosity of free jazz & the DIY of punk.
Max Schreiber is the more introspective guise of Mule Driver, reserved for drifting into fragile and haunted sonic territories. Variations on Memory Vol.2 deepens Schreiber’s exploration of collective sound and personal distortion. This time, fragments of lullabies and children’s songs resurface along side memorial songs – distorted by time, memory, and a quiet sense of unease. Schreiber treats these melodies not as sacred relics, but as raw material: vulnerable to noise, decay, and reinterpretation. Recorded in intuitive, often single-take sessions, the album challenges the listener’s sense of nostalgia. Sentimentality collapses into abstraction, and familiar tunes unravel into drifting soundscapes – like half-remembered scenes from a film that never existed. Variations on Memory Vol. 2 is less about what these songs once meant, and more about what they might conceal.
Cosmin TRG is a Romanian producer who crafted some of the underground’s most innovative sounds a decade or so ago, before going off to work in other creative worlds. Here, for the first time, he links with countryman DYL for a special EP that is decidedly futuristic. ‘Manevre’ is Romanian for ‘manoeuvres’ and comes in three different parts. Each one is fluid minimal sound with deft rhythms, fizzing pads, eerie melodies, sub-aquatic motifs and always absorbing atmospheres. Tammo Hesselink also adds a remix that has more prominent drums, lurching loops and menacing dystopian energy.
Mannequin Records presents Artificial Salvation, the long-awaited next chapter from Taiwan-born, Berlin-based artist Jing. A visceral journey into fragmented identity, post-human desire, and sonic disobedience, the album marks a bold evolution in Jing’s unmistakable language—where rhythm is weapon, voice is distortion, and silence is political. Known for her uncompromising DJ sets and past releases exploring industrial textures, field recordings, and haunting spoken word, Jing now delivers her most narrative-driven and confrontational work to date. Artificial Salvation lives at the intersection of club dystopia and spiritual unease: glitched-out techno structures collide with ghostly chants and collapsing machinery, echoing themes of surveillance, digital exile, and existential displacement. Crafted between Taipei and Berlin, the album draws from a palette both hyper-modern and deeply ancestral—melding broken beats, noise, and vocal manipulation into an unflinching statement of intent.
The Hipodrome Of Music 