Saya Akesegawa presents Bikkuri – Horror House, a 27-minute plunge into fictional sonic possession. What began as an impromptu visit to a haunted ruin to perform abrasive noise for an otaku audience spiraled into something stranger — a power electronics “exorcism” driven by distortion and intensity.
Blending harsh noise, otanoise textures, and ritualistic energy, Bikkuri – Horror House delivers a dense, unsettling listening experience filled with imagined spiritual disturbances. Chaotic yet deliberate, it transforms performance into narrative and noise into atmosphere.
Enter this fictional world of strange soundscapes, embrace the disturbance, and experience Saya Akesegawa’s experimentation. Step into Bikkuri – Horror House — if you dare.
Mastered by Sou Inomoto
[COMIC]:
clubotaku.org/mimi/extra/bikkuri_horrorhouse_bonuscomic.pdf
The Necrophile Hummingbird Non-Profit Netlabel presents Stigmas From Past by reFUGeeS From Beyond
“Music against history repeating itself endlessly because of the masses’ oblivion.”
Improvisation session recorded the 17th October 2023 at the Cave Haven in Foucherans.
Members :
Master of Ceremony : Psyché Pelik
Disc Jockey : Yoshiwaku Mushotoku
Just a note about bad habits gone… Often in industrial music we steal imagery and sounds from the worst of humanity, the darkness from the past, often to reveal how for exemple today’s politicians, entreprises or influencers, youtubers, whoever from spectacle society starsystem, are not different using the same methods of control than yesterday, just each time more effective with the help of technology. Of course free AI will fight the control AI like always… What if not, the end of any freedom ? Is freedom something else than a luxe for the rich people ? While the poors care mostly to survive. I will not glide on a too much binary view because this is one of the oldest tool to control, separate to reign.
They said provocative… this was right maybe last century or this was more fascination or this was just marketing names and imagery drooping. But for this century, as stated in the presentation of mutation magazine : hope is actually the more provocative weapon.
So I was at a garage sale a few weeks ago. I found a record about the fall of the 3rd reich. I am certain that these speeches would have provided very intense sonic elements to nourish this record. But even if it was a testimony to its fall, it makes me nauseous to still use these materials because there are so many ordinary monsters today and whether they are those of the past or those of the present it is granting them way too much attention.
This text was written during the recording of the album, and it’s still revealing of the ignominy of French politicians. On February 17, 2026, a minute of silence was observed in the National Assembly in memory of a neo-Nazi, racist, and homophobic assailant who died with his victims’ blood on his hands because he refused medical treatment. The whole story is so farcical and stupid that if it weren’t so serious, it would be hard not to mock neo-Nazis. Meanwhile, there have been eleven murders by the far right in France since 2022, and none have received such a tribute. And that’s not all: the media massively attacked La France Insoumise (LFI) even though they had come to attack people attending their meetings! Furthermore, a public gathering was authorized by the state in the following days, complete with Nazi salutes and other horrors. The most ridiculous thing is that the neo-Nazis who organized the ambush near the meeting then hid his face for most of the media campaign, replacing it with an AI-generated portrait because he was mixed-race Latino, and also because it would have been difficult for racists to march with his picture. So even in death they betrayed him.
The worst is when the masses forget what is the real meaning of war,
the poor being killed for the riches benefits.
Like when Ferris Trump Fremont makes war inside with the ice and outside in Iran or other place with resources interesting to plunder.
Fuck War Forever.
Innocent Darkness is a witch house, dark experimental artist from Antwerpen, Belgium.-
All music composed by innocent darkness.-
For more music visit:
transit-dead.bandcamp.com/
youtube.com/channel/UCQoE9wQwDcE0tL2sv5ThQOg
hearthis.at/innocent-darkness
official website: https://innocentdarkness.eu/
An attempt to adapt Juicy J’s mixtape Blue Dream and Lean – particularly his knack for transforming hedonistic excess and everyday encounters with violence into mind melting mantras – into an apocalyptic mode that pushes the cultural exchange of sampling to an extreme where noise and pop merge.
Reversed Bear Trap (Krista Bloom) – samples, modular synthesizer, Teenage Engineering Medieval Sampler, pedal rack, production
K7 Leetha – “weird little pulse” (1)
Muratore Family – album art
Special thanks to my friends and colleagues at both the university and the movie theater as well as pan y rosas discos, my family, my partner and my dog; this album is in part a tribute to your support and kindness as I try to make art while also finishing a dissertation.
“Hikari” se mueve entre el ambient y la experimentación desde gestos mínimos que se expanden lentamente. Son piezas extensas, calmadas, que no buscan explicarse demasiado: música para escuchar sin apuro, dejar correr y perderse un rato dentro.
“Hikari” moves between ambient and experimentation through minimal gestures that slowly unfold. These are long, calm pieces that don’t try to over-explain themselves: music to be listened to without haste, to let run its course and get lost in for a while.
Prvotním impulsem k tomuto albu, byla meluzína, která se proháněla naším pražským bytem. Bylo to velmi intenzivní. Neodolal jsem a dále to zpracoval . Následovaly další terénní nahrávky, nové i z mého archivu. Vše je sporadicky doplněno hudebními nástroji. Lidský faktor ve skladbě Zlatý déšt, je sám o sobě přírodním úkazem.
The initial impulse for this album was the wind howling through our apartment in Prague. It was very intense. I couldn’t resist developing it further. That led to other field recordings—some new, some from my archive. Throughout the album, I occasionally add musical instruments. The human element in the piece “Zlatý déšť” is itself a natural phenomenon.
Mitwirkende
veröffentlicht am 3. März 2026
Pavel Richter – field recording (1-7), samply (1-7), elkyta (1, 5, 7), syntielkyt (5, 7), synti (1-7), elbub (5-6), klár (2), xylfon (1), harmonika (5)
Štěpán Pečírka – hlas a slova (6)
Bára – haf a kňů
Nahráno a mixováno v Richtigmusic studiu během roku 2025
Mastering – Jonáš Richter 2026
Cover – Pavel Richter
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.
elli mia’s 1st original album.
The planet where the girl lived flourished as a member of a star system centered around the Time God’s star. However, it drew too close to the Twin Serpent binary star system, forcing a period of civilizational regression while being ensnared within its gravitational sphere. The civilization, which managed to revive itself by adopting technology discovered on an exoplanet within the binary system, developed extraordinary information transmission and medical technologies. Yet, it built a society that was superficial, theocratic, and totalitarian.
A group emerged that recognized how the Serpent Star System functioned as a barrier, repelling information and domesticating its people. They raised the banner of the Eye, calling for liberation from Serpent rule. However, their migration involved switching star systems before approaching the comet swarm—an astronomical movement that had miraculously occurred periodically until now.
Then, millions of years ago—the song left behind by the stargazing girl from “one cycle ago” was discovered. Written in the same language as the outer planet technology, it conveyed this truth: the Serpent Era always ushered in dawn, though the comet’s approach invariably brought meteorite sacrifices. That they had migrated to disposable artificial planets to survive by minimizing casualties. And the harsh reality that the star of their time had become a black hole, its eyes already closed.
credits
released February 27, 2026
Music by elli mia
Artwork by パンチ (x.com/punch6789)
CAT#: LF321MP3
elli mia:
soundcloud.com/eli2k3
x.com/e11laa
Although the title “Drones postquimio” places the listener in a specific context -reinforced by extended sound materials, namely “drones”- José Gallardo ’s album presents a series of electroacoustic pieces that, while serene and close to an ambient sensibility, contain gestures and articulations that are both delicately handled and highly crafted. These fine details reflect a form of sonic composition rooted in a broad background in electroacoustic music.
The use of tonal elements embodied in synthesized textures, certain repetitive cells, and the aforementioned atmospheric sense of rhythm situate the work within a hybrid territory, at the intersection of traditions such as tape music, ambient and its subgenres, and certain traits of German kosmische Musik. In this way, tonality fades in some passages, as in the piece “4,4”. At other moments, the sound becomes abrasive through raw synthesis and the deployment of mono tracks on each channel -effectively dissociating the stereo field- as heard in parts of the piece “5”.
In the closing tracks, “6,6” and “coda”, rhythmic sequences emerge, both carrying a hint of tonal illusion interwoven with darker elements.
The seven pieces, all brief, seem to invite reflection, encouraging the listener to sink into a fleeting sensation or emotion, distancing themselves from the familiar “chill” territories of ambient, the mysticism of drone, or the excessive articulation of more traditional electroacoustic music.
Alejandro Albornoz.
(Valdivia, Chile. February 2026)
The Necrophile Hummingbird Non-Profit Netlabel presents Live Is Not Enough by reFUGeeS From Beyond
“Alien Egg Punk for Mutant Egg Cups”
This was the first album recorded in the new Champ du Possible studio.
Since then, many others have followed.
https://unclassable.tumblr.com
Recorded on July 8th, 2025 at Le Champ du Possible (“The Field of Possibilities”) in Dole. https://www.soloist.ai/atelierkol
Members :
Master of Ceremony : Psyché Pelik
Disc Jockey : Yoshiwaku Mushotoku
What else?
The Cave Haven is gone, so it was truly moving to discover how this new place sounds.
I think it works — we will be able to continue our explorations here ;)
Dedicated to those who stand up against corrupted politicians,
like in France against the 316 murderers who voted for the Duplomb law. The people will not forget.
Since the recording, new events have unfolded.
It would be laughable if it were not so terrible: the same criminal politicians have introduced yet another law to bring back new pesticides.
If you are French, you can sign the petition against this new law here:
https://petitions.assemblee-nationale.fr/initiatives/i-5103
To understand the level of contempt in France: the Minister of Agriculture referred to victims of pesticide-related cancers as “morbid people.”
In other countries, she would not remain in office. But France is no longer a true democracy. The illegitimate President was elected only to prevent the far right from taking power — yet has done more for those very forces than any previous president.
Trump is a plague, but Macron too.
And beyond individual leaders: while opposing Trump over Greenland, Europe allows the Democratic Republic of Congo to remain under military control for the exploitation of coltan mines.
This is not about one leader, but about all leaders.
We need a different world to face different times.
Perhaps the worst of all are the multinational corporate leaders.
We, the people, must organize ourselves locally.
And if you don’t know — it may sound like fake news, but it is real: a U.S. company has developed an mRNA-based pesticide. There seems to be no limit to greed.
https://www.oecd.org/en/topics/sub-issues/pesticides-and-biocides/rna-interference-based-pesticides.html
There is already one product, Calantha (an RNAi pesticide), authorized in the United States since 2023.
Wahn is an electronic music producer based in Rennes, France, whose work explores the blurred edges between techno, ambient, and bass-driven sound design. His music is built around texture, weight, and duration – where rhythm exists as pressure rather than propulsion, and sound unfolds in slow, immersive layers.
The Drifted series marked a defining phase in his work: a body of releases rooted in rhythmless and slow-motion ambient music, shaped by heavy sub-bass, grain, and cinematic restraint. Each volume is released on a different label and in a different country, turning the series into an ongoing journey beyond comfort zones and algorithmic habits.
Across his releases, Wahn develops a deeply physical approach to sound. Sub-bass is central – not as impact, but as presence – while drones, echoes, and organic textures shape spaces that feel both intimate and unsettled. Melodic elements, often sparse and fragile, offer moments of breath and quiet clarity within darker emotional landscapes.
Whether working in ambient forms or moving toward more rhythmic territories – techno, dub-inflected structures, or hypnotic repetition – his music remains introspective and tactile. Wahn’s sound is less about narrative than sensation: a suspended state where tension, melancholy, and faint light coexist, resonating long after the music fades.
Echo Mist Light unfolds as a dense, inward form of techno – heavy, blurred, and suspended in echo. The music moves through foggy territories where rhythm is present but never dominant, shaped by pressure, repetition, and the slow accumulation of texture. Dub-inflected delays stretch time, while ambient drones linger beneath the surface, anchoring the listener in a space that feels both physical and psychological.
There is a constant tension throughout the album: unease without collapse, weight without aggression. Sub-bass plays a central role – not only as sound, but as sensation – pressing against the body, grounding the mind, reinforcing a feeling of persistence rather than momentum. The tracks seem to circle their own gravity, caught in loops, phases, and residual motion.
Yet Echo Mist Light is not closed or entirely dark. Within the mist, moments of clarity appear. Melodic fragments and restrained harmonies surface quietly, carrying a fragile sense of openness and release. Light does not arrive as resolution, but as something that holds – brief, subtle, and necessary. A glow rather than a breakthrough.
Balancing techno, ambient, and dub aesthetics, the album inhabits a liminal space where repetition becomes introspective and intensity turns inward. Echo Mist Light is music for suspended states – where pressure, doubt, and calm coexist, and where something continues to resonate long after the sound fades.
Composed, produced and mastered by Wahn
Artwork by Erwan Charier
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
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
