Label Description: “Listening Spaces” — A New Ambient Album Series
Listening Spaces is a series of ambient albums built for focus, rest, and background listening.
Each release runs approximately one hour, combining minimal ambient textures with natural soundscapes. The emphasis is on space, slow movement, and continuity rather than melody or structure.
All albums will be released individually on Bandcamp under a pay-what-you-want model, but suggested support: $3–$5.
City is a slow-moving urban landscape made out of drifting textures, deep tone, and patient escalation. The music feels like late-night streets, distant lights, and the low hum of a place that never fully goes quiet. Rather than rushing toward a climax, City unfolds gradually, revealing a dense, contemplative world where stillness and motion exist at the same time.
Label Description: Your Ex-Roommates are back, just as the echo-chamber approaches max capacity. The turbulence remains. Jon still has his crusty old drums and a weird new song about a ghost-butler. Paul has been obsessing over obscure Neil Young material and a 70s soft rock band called Christie. Apparently, there’s a third album but for now they offer 6 fresh tracks on an EP called “Fundamental Skills.” What a tease.
All songs written by Paul Foreman & Jon Raedeke except “Sweet Joni,” written by Neil Young, and “Until The Dawn,” written by Jeff Christie.
Guest Musicians: Finn Swingley: guitar and harmony vocals on “Until The Dawn” Kevin Pulaski: bass and piano on “Until The Dawn” Joe Daley: drums on “Until The Dawn” Emma Coate: vocals on “Until The Dawn”
Label Description: Since the release of DAMAGED in 2024, Stuttgart-based producer Michael Fiedler aka GHOST DUBS has been surfing intensifying waves of adulation, finding himself praised regularly by such diverse underground legends as Justin Broadrick (Godflesh/Jesu), Regis, Stefan Betke (POLE), Steve Von Till (Neurosis), and others.
And now, with the release of Oblique, out 25th September on Kevin Martin’s imprint PRESSURE, his recognisable mastery of sculpting sound waves results in a spellbinding set of alien soundscapes. Larger in scale, richer in tone and certainly more cinematic, its cloudy abstractions and shadowy pulsations are no less hypnotic… in fact, probably even more so than its highly acclaimed predecessor. Lower, deeper and definitely moodier, Fiedler has upped his game by reaching further down into his own sonic void, conclusively proving that more ambient definitely doesn’t mean more boring. The appropriately titled 2nd album is a sublime collection of submerged rhythms and craftily blurred melodies. The album’s opener and single “Low Times” makes it glaringly apparent that Fiedler has pushed himself still further in terms of premium craftsmanship, in his relentless quest to extend heavy subterranean grooves and addictive narco loops. With atmospheric pressure pushed to the max, the track resembles a dream date for prime dirt-house-era Andy Stott and Berlin dub-tech pioneers Basic Channel, setting up the album’s heavy-lidded style and corroded sound entirely fittingly…
Across Oblique, Fiedler demonstrates his knack for crafting so much from so few component parts, seemingly becoming a maestro of minimalism. From the furtive balletic gyrations of “After All” and haunting ambience of “Soft Collapse” to the noirish atmospherics of “Blackout Dust” and the seriously chopped-and-screwed ghost of Jamaican reggae on “Bombed Suburbs”, the album moves between submerged rhythms, ambient noise and cinematic tension.
But perhaps what is most impressive about Oblique is that Ghost Dubs makes experimental music that is sensual, funky and literally stunning in its concussive impact, instead of being dry or alienating. Dense in the best possible sense, heavyweight without being punishing, it is the sound of dub techno if it burnt its own rigid rule book and was remixed by the spirit of DJ Screw.
By the time you reach the vaporous mist of album finale “Almost A Structure”, which sounds like KMRU jamming with Echospace, the realisation hits home that Oblique succeeds by navigating its own ultimate evaporation. Any obvious rhythm is craftily filtered out to leave a blurred and blunted residue, full of mystery and question marks. Much like the rest of this incredibly immersive record, it is a triumph of inferred narrative.
It should come as no surprise that Ghost Dubs, aka composer Michael Fiedler, recently scored the acclaimed arthouse film Sound of Falling. The film won the Jury Prize at the 2025 Cannes Film Festival and was selected as Germany’s entry for Best International Feature Film at the 2026 Oscars, subsequently making the shortlist.
Oblique is a future ambient classic that gets more compelling with every listen, illuminating Ghost Dubs revelling in the record’s own unrecognizability and delighting in plotting every elliptical detour. It is the sound of Ghost Dubs shedding his influences and making it 101% clear he has found his own sound.
Ken Li 2026
Produced : Ghost Dubs aka Michael Fiedler Mastered : Stefan Betke (Scape Mastering) Artwork/Photography : The Pathological Puppy
Label Description: You’re trapped underground. The only way out is to make your way through five levels of labyrinths, defeating the guardian beasts. Can you reach the exit alive and sane? NO AI HAS BEEN USED IN ANY ASPECT OF THIS WORK.
Me jamming in The Shed on the CPM DS-2+DF-8 going through OTO Bim and Bam, rhythms by B00GA+Replicant+Dubstation 2, all going through Adverb and Soften. Final levels and editing done in Audacity.
Label Description: Created for Light Waves Collective’s Anthropocene Unseen, an installation shown on Saturday, September 26, 2026 as part of the Luna Fest in Revelstoke, BC, Canada.
Thank you for listening.
Infinite diversity in infinite combinations. Sounds of nature by Ariel Hill, Ciara Linteau, and Julya Hajnoczky.
Label Description: music and time are inextricably linked. here i present drones built by stretching recordings until the transients disappear and only the tone remains. what’s left behind is meditative, occasionally unsettling, and best heard start to finish, alone.
made with a granular time-stretching tool of my own design, a subharmonicon, a piano, a korg M3R and patience.
Sonique, stellaire, introspective, la musique de Pam Risourié tisse un lien androgyne entre shoegaze, songwriting et pop slowcore.
Recording: Peter Deimel @Black Box Studios Overdubs: Lucas Ramos @OneTwoPassIt Studios Production & Mix: Astrel K & Hugo Van Mol Mastering: David Cukier @Studios Delta
In association with Stellar Frequencies Records and Araki Records
