EP 4 titre enregistré sur un ordi linux avec LMMS et Qtractor
credits
released August 20, 2026
Aude : Programation claviers chant
David : Programation claviers chant
Marius : Guitare
Above the sleeping ocean, the station drifted without a sound. Only a faint Signal Path pulsed through the darkness, carried by endless Silent Current.
Inside, the crew listened as Slow Thaw awakened forgotten memories in the walls. Then came Starfall—distant lights dissolving into echoes, delays, reverbs, and warm dub chords.
A Submarine Drone emerged from the depths, its melody moving slowly through the hull. The station descended, becoming Submerged, deeper and darker, where ancient rhythms echoed through Subterranean caverns.
Nobody spoke.
Beyond the glass, something moved beneath the waves.
Unseen Waves rolled through the abyss, carrying fragments of melodies from a world long vanished.
Toishy Koshimi’s Lost Frequencies_Part Two became their only map—an atmospheric transmission of deep bass, drifting chords, endless echoes, and frequencies lost somewhere between the stars and the sea.
credits
released August 21, 2026
Insectorama236
all tracks by Toishy Koshimi
Mastering & Artwork by Markus Masuhr
![Schulz Audio – Moving On [Remastered]](https://f4.bcbits.com/img/a2637589754_10.jpg "Schulz Audio – Moving On [Remastered]")
A new chapter for a journey that never stopped moving. 
Kopoc Label proudly presents the remastered edition of “Moving On”, the album by Schulz Audio, originally released as KPL057 (2019).
Four pieces moving between Ambient Dub and Dub Techno, creating deep, immersive and timeless sonic landscapes. Now, this work returns with a new mastering, inviting you to rediscover every texture, every space and every detail from a new perspective.
“Moving On” is a journey forward, but also an opportunity to feel it all again.
W&P by soundcloud.com/schulz_audio
credits
released August 23, 2026
released August 21, 2026
SPTW (Some Pretend to Whisper) is the crossroad where sound collagists Perkin Warbek and Stakha meet.
“Delicately mistreated samples, warped instrumentations, repeated loops, liquefied vocals, scraps of arrangements here and there, abstract swarming, analog tape textures and a few minimalist beats cleverly distilled from hip-hop influences… these are some of the ingredients used by Some Pretend to Whisper to shape its strange daydreams”
EUTHYMIA is SPTW’s long-lasting effort to overcome mental issues so as to reach peace and stability in a more and more fragile and inconsistent world. These 12 tracks should be viewed as a time-capsule reflecting the inner thoughts and feelings of its two members whilst keeping their heads above deep water.
EUTHYMIA is the long-anticipated follow up to their debut on Mahorka, At the Foot of the Ladder, from 2024.
All beats: SPTW a.k.a. Some Pretend to Whisper (Perkin Warbek and Stakha). NO AI generated. SP404 MKII + MPC 2000XL, tons of records, and pencils, desks and bottles as weapons of thought.
Programming and editing: Perkin Warbek
Keys / Bass by Stakha on tracks 5, 7, 9, 10
Vocals by Stakha on tracks 2, 5, 6, 8, 9, 10, 11
Vocals by Misty on track 2
Track 10 edited and mastered by the grand wizard Asteroide Maravich
Guitar and vocals by Asteroide Maravich on track 10
sptw.bandcamp.com
Thank you: “SPTW would like to express their greatest love to our families, friends (The Schipper-Tournier family, Deborah, Naïs, Yasmine), our dear neighbours who put up with our sound making (!) and our beloved cat Misty. Special shout out to Ivo Petrov and Mahorka for believing in our project throughout the years, Asteroide Maravich for his constant help and emotional support, IVRO and True Flav.”
“Collected not lost” is a decade of Autonomaton’s work, outside of LPs and EPs, collected. The music was released in the period from 2015 to the end of 2025. It’s done mostly through dubbing and overdubbing sound approaches. Both computer and hardware were used. Programmed or live. The tracks included have been released mostly on VA collections of works, through various online labels from around the globe: Animal Breaks (BE); Ohm Resistance (USA); Treetrunk (USA); DIGITAL DIZZY (UK) – dismissed; EcoSci (BG); eden.deeply (AU); Linear Obsessional Recordings (UK); Petroglyph Music (NOR); Studio 4632 (USA) – dismissed; Cian Orbe (CL); We are all ghosts (UK); Cousin Silas Emporium (UK); Doomcore Records (DE); L.O.T.R (FR); Attenuation Circuit (DE); Mahorka (BG); and couple of self-released entities. Included are various (re)mixes, versions and rebuilds for different artists like Cousin Silas, Passenger of Shit, Mystfied, Emerge!, Protuberance, Teeth of Divine and couple others. These three albums will take you mostly through 3 aspects of Autonomatons sound – teknoiz, ambient drone and dub breakz, reflected also in the title of each volume. The music on the albums will follow this trajectory, starting with noises and drones, then turning to more fluffy ambient and in the final chapter entering the zone of dub and breakz.
All music couresty of Nikolay Stanchev a.k.a. Autonomaton
Track 11 – sounds by Orbital
Track 12 – samples by Thomas Park
With ODrex Trip 069 we welcome another new member to the family, Noosa Sound System! He brings us on an excursion of various dub techno, deep and chill selections titled Rhizomatic. A voyage that branches out in several variations and originals. Back to the Roots :)
Mitwirkende
veröffentlicht am 29. Juni 2024
W+P By Noosa Sound System
Photography By Moolsaasa
Artwork Twin Peetz
Mastered By Twin Peetz
Amphibia drifted beyond mapped constellations, communicating through pressure waves instead of language. Omni Dub awakened the vessel, its dub chords folding space into shimmering echoes. Leave dissolved gravity, allowing memories to float like luminous spores. Expo unfolded impossible architectures where experimental soundscapes replaced matter. On ignited a pulse—minimalistic rhythm structures guiding silent navigation across liquid galaxies. Orchid Dub bloomed in the vacuum, each resonance painting unseen atmospheres around forgotten moons. Pastele blurred the horizon into soft spectral colors, where time expanded between distant reflections. At the journey’s end, Dolphine surfaced from a cosmic ocean, singing through infinite delays until every echo became a new beginning. No destination remained, only endless drift inside the breathing resonance of Amphibia, where silence itself learned to bloom.
Insectorama234
all tracks by Lu Joyce
Mastering & Artwork by Markus Masuhr
released July 14, 2026
To celebrate a monumental historic milestone, Mahorka brings together a curated constellation of producers from its immediate family and close inner galaxy for its 500th release, dropping officially on Netlabel Day 2026.
“Re: Echo Mist Light” is a collective reinterpretation of Wahn’s acclaimed full-length album “Echo Mist Light”, an opus heavily validated by key tastemakers of the electronic scene – including icons like The Bug and Scanner – and proudly selected in the Bandcamp Monthly features. The original LP was widely lauded for its massive cinematic scope, shifting dub-infused techno pulses, and physically tangible sub-bass textures.
Rather than delivering a standard remix album, each contributing artist has remarkably captured the deep, tactile essence and introspective core of Wahn’s original tracks, seamlessly transposing that energy into their own signature sound.
Across the tracklist, the album pieces together an explosive variety of sonic languages, ripping through fragmented IDM, hypnotic techno, scorched-earth glitch abstractions, industrial minimalism, and deep ambient drifts. “Re: Echo Mist Light” stands as a profound testament to underground electronic synergy – a celebration of community where Wahn’s narrative is brilliantly reborn through the diverse minds of the Mahorka galaxy.
Featuring remixes by:
Fluffy Inside · Nonima + Abdicant · Cognition Delay · Mas&Delayer · MEION · Substak · Signalstoerung · Dissolved · Mentome Moir · Valance Drakes · Méconium · Grosso Gadgetto · Genda · Captive Portal · Attaché · Flint Glass · Mitoma · Brainquake
Takashi Izeki presents Life, a sonic universe where the guitar breathes through ambient and atmospheric sound.
His music blends hypnotic rhythms with lush textures, guiding the listener on a serene and deeply emotional journey.
Between Memories, echoes of the past illuminate the present; Deep Sea and Labyrinth plunge into the depths of the soul; Wish transforms hope into a distant horizon.
His environmental music reveals minimalist, warm, and beautifully crafted synthesizer compositions, where every sonic landscape invites contemplation, inner balance, and discovery.
A contemplative, intense, and deeply immersive album, meant to be experienced without haste.
LOW PRESSURE SYSTEMS is a compilation released by Camembert Électrique, dedicated to slow, dense and immersive sonic forms.
Following MONOLITHIC BLOCKS, this project continues the exploration of an aesthetic grounded in bass, repetition and pressure-based dynamics. The tracks gathered here do not follow a single direction, but they share a common focus on sonic material, its internal movement, and the way it can occupy space.
Some pieces unfold very slowly, while others introduce clearer pulses or more present rhythmic elements. Some inhabit brighter spaces, others more opaque atmospheres, yet all maintain an immersive approach, where sound is conceived as an environment rather than a frontal statement.
Listening unfolds as a gradual immersion into textures that transform, layer and expand. Bass often plays a structural role, not as a dominant feature, but as a gravitational force that helps organise the whole.
LOW PRESSURE SYSTEMS thus explores different states of tension and release, between suspension, internal motion and a sense of depth.
Released July 3, 2026 as free (cc) digital download and in beautiful limited CD edition.
“Rare Moments … There are times when a musician seems possessed by an extraordinary creative energy. Christophe Bailleau O’Farrell is undeniably going through one of these periods. His albums follow one another at a steady pace, yet this abundance is never accompanied by any loss of momentum: each new release enriches a constantly expanding universe.
With “Romantic, Visceral”, Bailleau O’Farrell continues this inspired dynamic. A composer, programmer, pianist, guitarist, flutist, and soundscape artist, the musician from the Liège province also knows how to surround himself with the most relevant collaborators: Julien Ash, A Limb, Kozik, or Jordane Prestrot.
“My vision of Romantism: a quest of beauty and mystery, truth…” specifies Christophe.
“Romantic, Visceral” approaches its subject with a discreetly brilliant touch. Here, the displayed romanticism has nothing to do with outdated nostalgia. It is a permanent quest for mystery, infatuated with that murky, Baudelairean, exhilarating beauty!
Christophe Bailleau O’Farrell is a musician in a state of absolute grace!”
–Ilian Mirov, June 2026
“My friend, my mentor is dead. The universe has split in two, me in the middle.
How to find your way back to dreams, to yourself?
Romanticism (and the internal transformations it brings about) is a necessity in a world parched with age.
Fall into darkness. Get up. Recover, leave, hope, continue.
Romantism, visceral.
>From the manure comes the rose.”
–Christophe Bailleau O’Farrell, June 2026
Christophe Bailleau O’Farrell : production, programming, piano, guitar, flute, synths.
with
Julien Ash : sax, violin, synths on tracks 10 & 11
A Limb : sounds and madness on track 6
Kozik : charango on track 6
Jordane Prestrot : keyboards on track 4
Artwork : Christophe Bailleau (bummy style)
Mastering : Julien Ash
My vision of Romantism : a quest of beauty and mystery, truth, a way to calm down never found but approaching / too old to die.
PLEASE RESET THE WORLD
Thanks to Philippe Franck, my family, Ivo, Zorg…
Monofónicos Netlabel rinde un homenaje a Alejandro Vélez, pionero, gestor cultural y alma máter de una cultura musical que hoy respira en Medellín. Este EP póstumo, reunido con amor por sus amigos, es tanto un acto de memoria como una celebración de su legado sonoro.
Este EP es más que música: es un abrazo colectivo de quienes compartieron estudios, pistas de baile, conversaciones interminables y proyectos con alguien que dedicó su vida a construir comunidad a través del sonido. Cada track resuena con la sensibilidad artística que siempre caracterizó a Vélez, con un groove que evoca las noches donde Alejo era el centro gravitacional de la pista.
Monofónicos Netlabel entrega este tributo no como una despedida, sino como un recordatorio de que la música de Alejandro Vélez sigue vibrando en cada rincón de la escena que ayudó a construir.
When I lived in a tiny godforsaken fishing village in Crimea, I had a collection of antique glass fishing floats, picked up on the shores of the Sea of Azov – just like the ones they collect in Japan. Only photographs remain now, because I no longer know where that home of mine is.
And a street that no longer exists for me. A window with erased coordinates. Blue glass floats in a digital media only. Not too much for recollection, I can’t help not to recollect.
—
■ Vu iz dos gesele (as an echo) // Crimean Memoir
A 5-minute raw hauntological document captured accidentally during a Zoom H2 field test.
An enharmonic intersection of the Japanese C In Sen scale and F Harmonic Minor, where the ghost of a traditional melody involuntarily bleeds through a rigid modal space. Left unedited with all the room tones and industrial rumble from an open window.
Video: Shifting light on the original archival photographs of my lost glass floats.
Past youth, on the shelf,
a funfair passes through the city,
The circus sends the animals afar.
Longing melodies, charming beats, and playful layers lead to a cheerful lightness, overlaid by melancholic acoustic waves that send the mind and heart on a journey through time. The sweet memories, whose taste we can still recall, are served up bittersweet on a platter—a gift overflowing with moments of sunshine and playful joy, mixed with tears of happiness, farewell, and longing.
Sami Konzo’s gift to the world and to Phonocake, also somehow fitting for Children’s Day on June 1, which was also Phonocake’s official birthday—its 23rd, officially founded on June 1, 2003. In our usual style, we’re naturally a week late in presenting this musical treat to the grown-up kids and fans.
www.phonocake.org/emptyjar
TEXTET was produced by Takuro Takeda some time ago, but is only now seeing the light of day. In this work, Takeda explores ambient drone landscapes marked by silence, resonance, and urban atmosphere.
The title evokes a fragmented transmission, while the cover — a building beneath a dark blue sky — suggests a space suspended between memory and emptiness.
Throughout the album, slow-moving drones, analog feedback, and degraded textures create an immersive and contemplative experience. Inspired by Japanese environmental minimalism and industrial drone, Takeda builds dense yet subtle compositions where sound seems to slowly expand through space.
A hypnotic, nocturnal, and deeply atmospheric record.
What’s the difference between ‘mengenang’ (to reminisce) and ‘mengingat’ (to remember)? Why do we love to ‘reminisce’ about the past, but hesitate to ‘remember’ things that are ‘long gone’? We say that ‘memories’ or ‘nostalgic moments’ often ambush us suddenly, while ‘remembrance’ must be nurtured and fought for. The songs on Lucy Freia (Aya)’s debut album, in my view, take us on a mental journey in and out of these two modes.
Some friends agree that this album is highly cinematic: it evokes visual imagery of particular scenes. As for the genre of that cinema, I’d say it leans toward horror or thriller—territory that is not new for Aya. As a female composer actively creating music for string ensembles and orchestras, she has previously explored phenomena such as sleep paralysis (Ketindihan), the Sundel Bolong (a ghost in Indonesian folklore, in Anakku Mana), and ‘dreams’ as a space between sleep and wakefulness (30 Seconds Before Waking Up).
This time, however, the sonic elements she uses to craft these soundscapes have expanded: there are samples of fragmented news broadcasts, clips from childhood animated films, the sound of bells, and creeping-swelling piano/synth melodies layered over dark pads. Distortion effects and spatial audio techniques are also employed to immerse the listener’s body even deeper into each scene.
Occasionally, the crackle of a radio serves as a bridge between scenes—as if guiding us to tune in and out of familiar and unfamiliar sounds blended throughout the composition. This fusion might just be Aya’s special method for concocting ‘disruptive nostalgia’. The comfort of memories + the disturbance of recollections that surface during nostalgic moments = an experience of memory reproduction that is never as simple as we think. Enjoy getting lost in this dark and restless space. — Leilani Hermiasih
Lucy Freia is a composer based in Bandung, Indonesia. In 2022–2023, she studied composition privately with Matius Shanboone, and from 2023 to 2025 she continued her studies at the Royal College of Music, London, under the guidance of Kenneth Hesketh.
Freia is an active member of Perempuan Komponis and the Puantronik Study Club, and was also part of the Electronica Society at the Royal College of Music during her Master’s studies. Since 2018, she has been actively writing works in both contemporary classical and non-classical genres, influenced by 20th- and 21st-century composers, rock music subgenres, and electronic music. Since 2022, Freia has delved into electronic music and has written several works in fixed-media format, installations—presented at Electric Dreams: Constellation at the Royal College of Music—as well as acoustic-electronic hybrid pieces—performed by the Acacia Youth String Orchestra at Selasar Sunaryo in 2025 and at Museum MACAN in 2026.
Tokyo-based artist Ash Room presents a new sonic statement, pushing his exploration of rhythm and repetition into uncharted territory.
Building on previous experiments blending Nyabinghi influences with techno, this latest project replaces conventional percussion entirely with the powerful resonance of traditional Japanese Wadaiko drums.
Every sound source, texture, and sample originates from Japanese materials, creating a deeply immersive and culturally rooted sound palette.
Designed for private spaces rather than crowded dance floors, the music embraces loops, noise, accidents, and the unexpected. Hypnotic, raw, and intimate, Ash Room crafts a listening experience for the solitary listener.
