How does lightning reach the ground?
Inexorably and without repetition, it follows a critical path. Where resistance is least, it descends – and consumes.
Featuring orchestral strings and brass, percussion, detuned piano, electric guitar, drum kit, organ, alto flute, boys’ choir, synth, and effects.
The Necrophile Hummingbird Non-Profit Netlabel presents Perceptronic by reFUGeeS From Beyond
“Psychotronic Cyberpunk for Biological Neural Networks”
Improvisation recorded the 1st March 2026 at Le Champ Du Possible (The Possibility’s Field) in Dole www.soloist.ai/atelierkol
Members :
Master of Ceremony : Psyché Pelik
Disc Jockey (indeed mostly electric & electronic devices) : Yoshiwaku Mushotoku
In 1941 in Berlin, Hermann Schmidt wrote a Memorandum in favor of the founding of an institute for regulatory technology. Control and Regulation wills gave birth to cybernetics. Science without conscience is, but the ruin of the soul said Français Rabelais, he didn’t know how right he was. It’s just a question of time for a process to achieve its purpose.
Whereas the main problem is still the earth resources massive destruction. Cybernetic is the key to understand the fundamental problem with Artificial Intelligence. But things can’t be solved by being against or for AI. It need a better understanding of the roots : the technofascism. So despite being about artificial intelligence topic this album is absolutely AI-Free Music.
Dedicated to the lost in Hallucination Humanity.
Since the storytelling turned the real into a fiction, we are all characters of an infamous Z movie. Press the button to turn off the movie. Shut down the dystopia by becoming real.
Artwork draw done by Psyché Pelik. Used as texture by Yoshiwaku.
Well, what’s this? The guitarist who usually goes berzerk on the guitar with “Die Leere im Kern deiner Hoffnung” is now releasing an album of acoustic songs as FC Stoffel. Few people have seen this side of him so far, but that’s about to change.
As a father of two and a proven master of spontaneous songwriting, it’s no surprise that FC Stoffel has written songs from time to time over the years to entertain his children. And that he’s occasionally performed them for small groups. Of course, always only upon their insistent requests. Due to the ever-growing demand, he has now recorded these songs under his bed over the course of the past year. Recorded and sung in one take with just two microphones. Everything is very direct and unvarnished, a bit raw and not perfect, but full of wit and charm. May young and old and small and big alike enjoy it.
V/A compilation inspired on classic vampire movies.
But mainly on Lust for a Vampire (1971)
Compiled, artwork collage by Sábila Orbe.-
“Rezumar” is configured as a transmission system from an aquatic and subterranean environment, where sound is not projected—it seeps through.
The work unfolds as a network of relationships between water, matter, and electricity, articulated through an assembly of hybrid devices. The water phone and the “Après-Baschet” resonators do not establish hierarchies; instead, they complement one another: one explores states of liquid resonance, impact, and friction, while the other oscillates between rhythmic pulses and extended atmospheres, generating a pendular movement that structures the listening experience.
The Oceanic tamtam and the Euphonic expand this field, activating micro-vibrations, displacements, and shifting densities. Each moment of the album corresponds to a transformation of the environment: from the opening of the ocean, through zones of pressure and instability, to the entrance into rocky cavities and an interior space of shelter.
A presence moves through this system. It does not observe—it calibrates, activates, and translates. Its movement is almost imperceptible, yet sufficient to alter the balance between elements.
“Rezumar” proposes a mode of listening in a state of immersion, where the boundaries between instrument, body, and environment dissolve.
Yadak + Kýmatha
(Santiago, Chile. Mayo / May 2026)
Patience is the new chapter from lou & len, a Portuguese project inhabiting the space where noise meets tenderness. Influenced by the sensory vertigo of My Bloody Valentine and the spectral harmonies of Cocteau Twins, the duo crafts songs wrapped in an enveloping haze of liquid guitars, ethereal vocals, and melodies that seem suspended in time.
Between beautiful ambient noises and textures of diffused shimmer, Patience transforms vulnerability into sonic catharsis.
An album both intimate and expansive, where each track pulses like memory, dream, and distortion in perfect communion.
A must listen!!!
Entwined, betwixt and twisted – beneath a silken sheet. A before and an after, with a coupling on the beat.
Fertility is but assured, as opposites will meet. This is a fecund evening, where creation is complete.
Featuring alto saxophone.
This album reflects on the feeling of a world devolving into chaos and the associated anxiety, while grasping desperately for some kind of sense of normalcy throughout. It’s also about the retreat into apathy or aimlessness.
Secondly, this is an exercise in making musical choices that can stand out in in a world where music can be prompted into existence; or the resentment of even having to think about that in the first place.
“The Dark Fungus,” a self-titled debut album forged in the sonic trenches of Roland MC-707, Bitwig Studio, Vital VST, and Novation Circuit Tracks, is a visceral descent into a nightmare both conceptual and auditory. The premise—a mycological war where a fungal infection forces humanity into a perpetual Witchhouse rave—is handled with terrifying dedication. This isn’t just an album; it’s the soundtrack to a civilization’s slow, rhythmic surrender.
From the first track, “The Mycelial Call (to Dance),” the gear synergy is evident. The MC-707’s tactical groovebox sequencing provides a heavy, slightly disjointed rhythmic anchor, while Vital’s spectral synthesis creates twisting, screeching leads that simulate the infection’s spread. Bitwig Studio acts as the chaotic conductor, processing these elements with ghosted delays and granular textures, making tracks like “Spores of War” feel like they are dissolving in real-time.
Standout track “The Infected’s Trance” perfectly encapsulates the album’s concept, using the Circuit Tracks for an aggressive, relentless Witchhouse beat that violently contrasts with a momentary, hauntingly beautiful melodic pad from the MC-707. The drop is a devastating cocktail of crushing distortion and sub-bass, marking the point where dancing becomes mandatory and grotesque. The album closes with “The Last Rave (of the Living),” a slow, ambient-industrial dirge, featuring chopped-and-screwed whispered vocals that sound like final warnings—or commands—from the fungus itself. “The Dark Fungus” is a dense, challenging masterclass in sonic storytelling, demanding listeners surrender to the dance of the infected.
Breaking in isn’t always about burglary – it can also refer to the process of getting a new thing settled. Fresh, crisp – but not yet pliable. It takes use and time for many materials to reach their optimal point.
Featuring clarinet.
Roads Through the Mirror is a conceptual music project spanning 11 orchestral pieces, each approximately an hour long, with a completion timeline of 4-5 years.
Inspired by Andrei Tarkovsky’s films and Marcel Proust’s exploration of time, the series aims to musically articulate themes like spirituality, nostalgia, dreams, and nature.
The project delves into the Time-Space-Thought Theorem, utilizing Sonic Archetypes to explore the interconnectedness of human existence through music.
Exploring ascension and enlightenment through sound
A single uninterrupted transmission from bruitkasten @ Ebertplatz Cologne during a concert in September 2025.
Anja Kreysing (accordion & electronics) and Stefan Strasser (guitar & electronics) navigate dense sonic geographies of abstract texture and harmonic traces, where signals erode, tonal fragments emerge and disappear, and noise moves like weather across concrete structures.
This soundtrack is shaped through realtime compositional interaction rooted in radical listening. Cinematic in scope and associative in form, the music of Stefan and Anja unfolds like an acoustic film without images – a voyage through unstable sonic landscapes that trigger a vivid cinema of the mind.
Available on Enough Records :
enoughrecords.scene.org/release/enrmp560
enoughrec.bandcamp.com/album/coruscant
Electronic ambient breaks album by French project Iliaque.
Un grand merci à Filipe
credits
released April 27, 2026
Rythm : Laurent Wirz (1-4) / Top of Bongo (CCMixter)(7)
Photo de Béa / Visuel de Iliaque
Arcs, is the new record of by Masato Abe inspired by a vast cosmic cycle, tracing the arc from the origin of life through explosive diversification, into the present age, and toward an eventual ending.
Each track reflects a moment within this imagined continuum, suggesting both repetition and parallel unfolding across time. Blending ambient and drone styles, the work creates immersive soundscapes that evoke scale, mystery, and quiet transformation.
Arcs invites listeners to contemplate existence, continuity, and renewal, offering a meditative journey that resonates beyond linear storytelling and into something expansive.
It’s easy to unfocus – it only takes a moment. That moment can stretch and blur and become something else. Yet there’s more to all this than just being along for the ride. The capacity to experience is an unparalleled wealth.
Featuring piano.
Compiled, artwork collage by Sábila Orbe.
This is a v/a compilation that works as a flashback for witchy music composed in the past, exactly 10 years ago. Also this release is a tribute to one of the best modern witch related movies: THE LOVE WITCH, released in 2016.-
All tracks composed in 2016 by respective artists:
– VOKOJ: soundcloud.com/vokoj/oblak-popela /// soundcloud.com/vokoj
– Monomorte: www.discogs.com/release/14589470-Monomorte-Season-Of-The-Aftermath
/// monomorte.bandcamp.com/track/season-of-the-aftermath-2024-remaster
– HᗗLFMᗗSSED:
soundcloud.com/half-massed/weakling /// soundcloud.com/half-massed/promise
– whhp: soundcloud.com/whhp002/sets/whhp-feb-2thousand16-yr
– Simone D’ Annunzio: archive.org/details/SimoneDAnnunzio01VOID/
– Humanfobia: archive.org/details/humanfobia-campos-de-lo-translucido /// archive.org/details/humanfobia-a-fobia-collection2
– Filmy Ghost: archive.org/details/humanfobia-filmyghost-rosa-mosqueta-tea-garden
– {Re}/Tkus:
panpanpanaviandistresscall.bandcamp.com/album/experimenting-with-alice
– Joseph Curwen:
www.jamendo.com/album/159434/mors-principium-est
– Harper Hair: archive.org/details/jockitch_201608/
Patagonia, the region where I live, is a vast territory at the edge of the world, shared by Chile and Argentina. It has a low population density and hosts unique ecosystems, with a wide range of landscapes including rain-soaked forested archipelagos, mountains, ice fields, lake basins, and immense steppes.
It is no secret that it has been—and continues to be—subject to extractivism. Nor that its original inhabitants, the Southern Indigenous Peoples, were subjected to massacres and displacement in order to exploit their ancestral lands. What I present here is not just an album. It is also an exercise in memory and a reflection on the degradation of nature in the name of economic growth and employment—processes that ultimately benefit a few external interests.
It addresses both past and present actions that have severely damaged Patagonian ecosystems: the whaling industry, the introduction of beavers, and salmon farming. It reflects on disasters such as the oil spill of the tanker “Metula” in the Strait of Magellan, and the passage of a ghost fishing fleet through our waters. It also considers the invasion of “Didymo”, an exotic microalgae species that infests our rivers and lakes.
It speaks to the widely promoted hydrogen–ammonia industry, labeled as “green”, yet posing a threat to the biological integrity of the steppe and the Magellanic maritime territory. And to the wildfires that ravage our forests year after year, often under uncertain and troubling circumstances.
This album does not seek to soothe or provide comfort. Rather, through sound, it conveys my concern for the future of Patagonia—my place in the world, which I recognize as my home. A place that must remain a sanctuary for natural and human life, increasingly under threat on a global scale.
Rafael Cheuquelaf
(Punta Arenas, Chile. April 2026)
The Necrophile Hummingbird non profit netlabel presents The Third Wave by Valérie Bourquin and Ed End
“Antifascist Music for Musical Experiment Lovers”
Recorded and mixed in Franche-Comté in 2026.
Sometimes the world collapse, and albums like The Third Wave are created.
“Capitalism and Fascism are one under the iron mask. Fascism is the expression of Capitalism’s death struggle. War is the life blood of Capitalism.” Kenneth Patchen.
Our first album 7 Marvels focused on capitalism, this one is about fascism.
All the kind of internet surfer waiting on the shore for the third wave, should be aware that like Ron Jones one could discover too late that it maybe a tsunami…
“Why can’t we just say what we think?” asked Sherry Tousley to Ron Jones before to be banished to the library…
That’s a really relevant question.
The artwork was created using drawings done by Tom Parker for The Third Wave story published in 1976 in The CoEvolution Quarterly an extra of The Whole Earth Catalogue.
You can read it here https://archive.org/details/coevolutionquart00unse_6/page/132/mode/2up
Special thanks to Stéphanie from our local food not bomb, to bring back the third wave theme at the right time.
In france the fascism come mostly by the medias, few ultra richs are owning most of the mainstream newspapers and the two biggest TV, Bernard Arnault, Patrick Drahi, Vincent Bolloré,
for example this last one owns CNEWS a TV which would be forbidden in any democracy, because they spread more fake news and real far right propaganda than any other channels, Fox news beside it have no bias at all. This nasty guy also owns the biggest french schoolbook editor…
Dedicated to those breakers who refuse to give up in the face of the wave, because if you do not resist, there is no hope left for the future.
We hope that everyone will struggle, by any means possible, against all forms of fascism, as well as any new forms of Nazism.
