Empathy isn’t always what it seems – it might simply be sympathy for the plight of another. Superficially, such efforts are still noble – but a deeper understanding requires genuine connection. Supposed empathy, sometimes ominously, fails to meet this bar.
Featuring piano.
Once upon a time there were two mice. Despite their size, they imagined a world where they could do whatever they wished – where all other forces submitted to their designs. They had this dream quite frequently – essentially, every night.
Featuring metronome and saxophone quartet – baritone, alto, tenor, and soprano.
Vocals in tracks 1 & 3: Mist Spectra.
Vocals in “Fire walk with Me” tracks: Sábila Orbe.
remixes, collabs mixed, cover artwork collage: Sábila Orbe.
All music composed by respective collaborators.
Artists collaborators links:
– The Owl: theowl.bandcamp.com
– Noxpox: noxpox.bandcamp.com
– Dagzzz: soundcloud.com/wearenotlovers
– 16bard: 16bard.bandcamp.com
– Black Market Brains: soundcloud.com/blackmarketbrains
– KΔDΔBRΔ: witchkadabra.bandcamp.com
– L.U.M.A: www.facebook.com/enghis.vonsharklor/videos
– Lezet: lezet.blogspot.com
– el_masmore: elmasmore.bandcamp.com
– Topi Reta: topireta.bandcamp.com
– Mean Flow: meanflow.bandcamp.com
– RAUPPWAR: rauppwar.bandcamp.com
– BLACKCANNON: soundcloud.com/blackcannonz
On the ocean-planet Inhering, the research vessel Submersion drifted through endless cobalt fog.
Inhering I began as a low horizon—distant mountains breathing dub chords into the mist.
Inhering II unfolded in tidal plains of glass, where echoes circled like slow satellites.
Inhering III pulsed beneath submerged forests, each chord a lighthouse flicker in liquid dusk.
Inhering IV rose last—vast, starless skies trembling with atmospheric resonance.
The crew realized the planet wasn’t silent; it was composing. Landscapes spoke in reverb, valleys hummed in delay.
They did not land.
They listened—
and became part of the echo.
Commencing Tomorrow
by Charles Rice Goff III & Michael LaGrega
1 Uniphonic Dawn
2 Fresh As Copperfield
3 The Way You Wish Them To Live
4 Ever Ever Ever
INSTRUMENTATION:
Goff:
Korg R3 Vocoder/Synthesizer
Yamaha VSS-30 Sampler/Synthesizer
Voice
Stylophone
Artiphon Orba
Boss RC 20X Loop Station Loop Duplicator
JVC TD-W303 Stereo Cassette Recorder
Sound Samples From Random Cassette Tapes
Tascam 424MKIII 4-Track Cassette Recorder
LaGrega:
Moog Matriarch
Oberheim Xpander
E-MU PX7 Command Station
LR Baggs Venue DI Pre-Amp
Fourness Electric Violin
Eventide Space
Mackie VLZ 12-channel Mixer
SOFTWARE:
Cool Edit Pro II Multitrack Recorder
Audacity Multitrack Recorder
Several Plug-In Audio Sound Effects
Amazing MIDI Wave-To-MIDI Converter
Musescore MIDI Scorewriter
Roxio 2011 Sound Recorder
PROCESS:
Goff and LaGrega recorded ninety-nine minutes of unrehearsed improvisations on January 2, 2026, at the Taped Rugs Studio in Kansas City, Kansas, USA. The duo produced four individual recordings during the session, each following its own unique trail of interactive atmospheres and moods. Goff edited these recordings into their current forms between January and February, 2026, cutting the total playing time by roughly half of its original length.
The elements of “Uniphonic Dawn” were recorded first, as a single, digital, monophonic track. Originally intended as a test of the wiring set-up, this piece ended up displaying some considerable interactive artistry between the improvisers. Goff retained its monophonic attributes in his edit.
The other three improvisations were each recorded digitally as well as on cassette tape, through a Tascam 4–Track cassette deck. The cassette recordings broke the instrumentation into tracks that could be edited individually. Staying as true as possible to the ebbs and flows of the original improvisations, Goff removed some of the less compelling materials, moved some other elements forward and backward in time, and sparsely added effects to various bits. No materials from any of the four original recordings were transferred to any of the other original recordings. No new elements were added to any of the original recordings. No artificial intelligence (AI) was employed in the editing of this collection.
THEME (?)
As Goff painstakingly worked to refine these recordings, he became more and more conscious of how they acted together to subtly reveal the rudiments of a metaphorical jumping-off point for a journey into a new beginning. (Of course, this metaphor was conjured entirely by Goff’s imagination, which has often been known to stray from traditional human behaviors.) Goff’s whole “new beginning” idea was reinforced by the fact that this collection of recordings was literally birthed at the beginning of a new year.
This album was recorded between November of 2024 and November of 2025.
The songs were then mixed between November 2025 and January 2026.
The words were written throughout 2024 and 2025 and assembled into song lyric form in the fall of 2025.
All words and music written and performed by Keith Helt. Except for Stutter which is a song by Elastica.
Full album available for free download here: www.panyrosasdiscos.org
Any proceeds from this album will be donated to Assata’s Daughters. www.assatasdaughters.org
credits
released February 18, 2026
The prolific noise artist Gensei Hasegawa, who has released countless records around the world, finally arrives at MiMi Records with Memory Rebelion.
This 4-track EP is an experimental, avant-garde descent into dark ambient and harsh noise wall noise.
Like memories refusing to fade, the album builds towering walls of sound, corroded and unrelenting, where distortion becomes remembrance and rebellion becomes resonance against silence. A confrontation with forgetting in brutal form.
A sonic journey that must be listen.
Cat cohabitators know – with great cuteness, comes great expectations. Routines are established, and deviations are not tolerated. Habits are enforced by meow and claw, as once an order of events is set into motion, it must be brought to fruition.
Featuring concert and world percussion, including taiko, vibraslap, cuica, cow bell, triangle, udu, talking drum, timpani, snare, xylophone, marimba, fish bell chimes, and lion’s roar.
SUDONOISE – Channeled Spirits
Lossless formats availables at:
https://oneinfinitenoise.bandcamp.com/album/channeled-spirits
All music, artwork by SUDONOISE.
Side-project by One Infinite Loop.
Compiled, cover collage: Sábila Orbe.
all tracks composed by the respective artists. All compiled from the internet archive 2026 latest releases.
Sources in tracklist order
https://archive.org/details/ghost-stories-ep/
https://archive.org/details/chaos-hunter
https://archive.org/details/somewhere-other-than
https://archive.org/details/RoucaCaliopeEris
https://archive.org/details/for-want-of-heaven-or-fear-of-hell/
https://archive.org/details/waltre-bicycle-madman_20260210
https://archive.org/details/a-dolls-decision-ost-moon-schweikert/
https://archive.org/details/DX-HyperGeometricIndifference
https://archive.org/details/blue-dot-sessions-thimble-rider
https://archive.org/details/NW3-20260125
https://archive.org/details/the-owls-of-the-black-lodge-2026
What’s in a name? That which we call a channel, by any other name would be as off-topic.
Featuring improvised electric keyboard.
“This will be our reply to violence: to make music more intensely, more beautifully, more devotedly than ever before.”
So it goes.
So *something* goes. For now – until it becomes something else. Yet, still – the same.
Featuring bass clarinet, and breathing.
It is another beautiful debut in the MiMi Records catalogue.
This time, the project Câmera Analógica presents even the softest hearts need somewhere to rest, an EP built as a collection of small scenes, inspired by the aesthetics of visual novels and the soundtracks of the 2000s. Each track is presented with beautiful lo-fi beats that capture an intimate, quiet moment, where comfort, nostalgia, and emotional pause meet.
The record moves through urban landscapes, lighter weekends, and moments of contemplation, creating a safe space for feelings that don’t need to be explained. The track titles carry personal meanings, yet remain open to interpretation, inviting the listener to find their own stories within the sound.
An EP to listen to on repeat with headphones.
Periodically, things happen. The specifics depend upon whom they are happening to. Regardless, it can be understood as the union of two sets – that which is expected, and that which is not.
The expected is best met with preparation – practice makes perfect, when a thing can be practiced.
The unexpected requires something else – it asks of us a certain height. To achieve what we can, and to go beyond it, even – especially – imperfectly.
Featuring clarinet.
In the orbital city of KYO, a new dubtechno signal dropped: Outtemporary. Static Flow powered the reactors, a steady pulse holding time in suspension. Along the Driftline, ships slid without thrust, guided by bass and delay. At the Peripher, shadows listened as Echoform folded memories into sound. When systems failed, Aftershape emerged—residual rhythms rebuilding the future from reverberation. The city survived by looping forward, forever out of time.
credits
released January 16, 2026
Insectorama221
all tracks by KYO
Mastering & Artwork by Markus Masuhr
released January 19, 2025
Holy Fanda
–
guitars, banjo (3), bass (1, 2), harmonica, vocals
Nick Jennings
–
drums, banjo (5, 6), bass (3), vocals (5)
Jarda Svoboda
–
harmonium (2, 3, 5, 6)
Tommy Levecchia
–
trumpets (1, 2)
Jakub Schmid
–
trumpets (2, 4, 5)
Vojta Noha
–
clapping hands (4), vocals (3, 5, 6)
Music Holy Fanda
Lyrics Holy Fanda with Alasdair Bouch (1, 2, 4, 6)
and with Noah Treacher (3, 5)
Recorded by Vojta Noha, Nick Jennings and Jarda Svoboda in 2014 and 2015 and with Ondřej Ježek in 2025 in Prague
Mixing Ondřej Ježek (studio Jámor)
Produced by Nick Jennings & Holy Fanda
Mastering Gargle & Expel, Dublin & Prague
Label Polí 5 / 2025 / EPP 285-1
Cover art Carton Clan
Photo FH archives
With this edition thanks to Dalton, Noah, Martin and more
Local optima aren’t – plurality runs counter to true highs. Yet such sweet spots are satisfying nonetheless, and worth indulging in from time to time. Ideals, subjective or otherwise, are still a matter of perspective, and benefit from such reflection.
Featuring electric keys and effects.
It is yet another new artist joining the MiMi Records family.
In this strange space–time condition saturated with information, where the excess of data overrides sensory experience, the Anthropocene no longer presents itself as a future hypothesis but as an immediate, almost physical presence, breathing down our necks.
It is within this horizon of slow collapse — ecological, technological, and symbolic — that over the past decade Nuno Afonso, under the heteronym Falésia, has been searching for liminal sonic territories: landscapes at times volcanic, at times stratospheric, where beauty is still reassembled out of strangeness and deviation.
Música Pobre emerges as one of these singular microcosms: a technological reality that insists on remaining primitive, almost archaic, as if electronics were here less an instrument of progress and more a trace — a remainder, an active ruin.
Between echoes of Mark Fisher’s theoretical formulations, broadcasts from distant and exotic radios, and a panoply of electroacoustic devices, a piece takes shape, divided into two sides that are also two visions of the same world: a fracture, rather than an opposition.
A baffle makes all the difference. If baffled, consider – shifted. Though much remains similar, a new perspective offers altered wavelengths.
Featuring overdubbed tenor saxophone.
Curated Patrick masson.
Cover art Thierry Massard.
Master Niko Deck at Le Belgicide. (nikodeck@gmail.com)
2026 God Hates God Records.
Mitwirkende
veröffentlicht am 1. Januar 2026
“Tout est possible, nous ne sommes pas limités par la technologie,
ou les instruments. Nous ne sommes limités que par notre état d’esprit”.
Don Buchla.
Thank you to all the artists present for this flight number 12 !
