Label Description: For almost four decades, MZ.412 have forged some of the most uncompromising ritual industrial and dark ambient soundscapes the world has ever known.
“The Nar Mattaru Curses” gathers obscure recordings from their whole career including previously unreleased or buried tracks, recorded between 1989 and 2017 in the legendary Nar Mattaru studio. Raw hymns of apocalyptic industrialism, occult malevolence, and crushing sonic sorcery that never made the original albums.
An essential transmission for devotees of black industrial and dark ambient music.
CD in matt digipak, with artwork by Abby Helasdottir.
Label Description: Originally released in 2016 on Constellation Tatsu, Body Trip introduced Japanese ambient composer H. Takahashi’s quietly immersive approach to minimal electronic composition. Built from delicate synth tones, meditative repetition, and understated melodic movement, the album has become a lasting favorite within contemporary ambient circles.
Over the past decade, Takahashi has developed an internationally respected body of work spanning releases such as Raum, Low Power, Escapism, Elegy, and Paleozoic. Beyond his solo output, he has collaborated through projects including UNKNOWN ME, ATORIS, and H TO O, contributed music for installations and exhibitions, and performed throughout Japan’s experimental and ambient music communities.
Body Trip (Remixed & Remastered) revisits the original 2016 album with a newly remastered edition alongside reinterpretations from a cross-generational group of contemporary electronic artists. The collection connects H. Takahashi’s meditative ambient language with artists working across contemporary experimental electronics, dub-informed minimalism, ambient techno, and modern new age composition, extending the album’s original aesthetic into a broader contemporary context. Fans and listeners have frequently described Takahashi’s music as calming, minimal, comforting, and deeply transportive, with recent online discussions continuing to highlight Body Trip and Escapism as standout works in modern Japanese ambient music. credits released July 28, 2026
All songs recorded by H. Takahashi Artwork & design by Yudai Osawa
Label Description: Oakland, CA — Talking in a Different Way is the debut full-length release of sachi’s mirror, the creative alias of multi-instrumentalist, producer, and composer Shaina Pan. Melding disparate elements of ambient, electronic, dream-pop, and avant-garde classical, Pan beckons us into sonic worlds equally enigmatic and emotive.
Across a collection of self-produced songs and vignettes that began to take form during a month-long residency in Vallejo, CA in the spring of 2025, she explores a theme of constant and quiet evolution, posing the question: What are we if the world we were born into no longer exists? How do we relate to one another and ourselves? Using field recordings and looped textures as sonic blueprints, she patiently constructs dimly lit, spiraling paths that simultaneously churn inward towards memory and outward towards the cosmos.
Pan studied violin performance at Indiana University and the San Francisco Conservatory of Music, specializing in contemporary classical music. After nearly two decades of performing in classical ensembles, Pan left the path to becoming a symphony violinist, burnt out and frustrated by a culture of rigidity. She settled in Oakland where she eventually began writing and performing in post-punk quartet Juicebumps.
Emboldened by her peers in the Bay Area scene, she found herself shifting towards composition and improvisation, using her violin, voice, and laptop to explore electroacoustic composition. From those efforts emerged room to receive, her 2025 debut EP on Cone Shape Top Imprint. Talking in a Different Way arrives one year later on Constellation Tatsu, a woozy 35-minute spell sparkling with the same experimental spirit, this time with moody sampled textures, gossamer string arrangements, and Pan’s vocals at the fore.
Al (sic) tracks composed, performed, and recorded by Shaina Pan Mixed by Beau Sorenson Mastered by Sébastien Politi Drums on tracks 2 and 4 recorded by Chris Grant Artwork and design by Ramon Keimig Additional layout by Parker Richard
Guitar on track 1 by Jas Stade Drums on tracks 2 and 4 by Rick Altieri Synthesizer on track 2, guitar on tracks 3 and 4, and additional vocals on track 4 by Parker Richard Saxophone on tracks 6 and 9 by David Alvarez
Label Description: Setting aside the dread-soaked UK atmosphere of his Karkossyn moniker, Tavis Hitchcock introduces Grandma Love. In stark contrast to his previous work, Grandma Love welcomes listeners home for a warm, hearty stew just before the streetlights come on. Drawing from childhood nostalgia, Cornish summers, and family day trips, Hitchcock pulls the plug on a reservoir of mood and atmosphere that sits somewhere between post-club sofa lounging and early morning coffee mug steam.
Following his appearance on Northfield Records’ Gilbert Road EP with the track “A2,” this self-titled debut album dawns the opening chapter in the Grandma Love story. Filled with field recordings, delicate percussion, washed-out pads, and fragments of home-video VHS recordings, the album opens a time capsule of lost memories, coastal daydreams, and a longing for a time washed far away with the tide.
Written, recorded, and produced by Tavis Hitchcock Artwork by Tavis Hitchcock Images by Karen & Bill Mckinley
Label Description: These songs invite progressive, collectivist, and non-confrontational reflection as an antidote to the years of programming and propaganda we all endure. Let’s help each other UNLEARN. Let’s afford each other the space to grow. //
SONG SUMMARY: 01. Knocks – Finding the energy to take positive action 02. I Gotta Go – How life goes on amid daily horrors 03. Temperature Drop – How no one’s coming to save us 04. Last Song – How AI art & music will change us 05. Read Me Out – Turning the page on the Boomer’s world 06. Nothing Left – Silence will speak on your behalf if you don’t 07. Doing Any Good – How advocating for change is depleting 08. Fever – How to develop empathy for the victims of disinformation 09. The Recidivist – How old habits and ideas imprison us 10. Graveyard of Good Intentions – We’re fighting the wrong battle 11. Cheap Seats – How to deal with the “Billionaire Problem” 12. Wipe Right Out – How you won’t listen to me anyway
We are waking up one by one. The algorithms will try to keep us apart because this is what those in power fear the most – that we learn from each other’s experiences. //
This is why art is so important. Stories and narratives are the only way to create positive change. So we come together around art. And conversation. And solidarity. And big ideas. //
Positive change is a collective effort. Individualism is our common enemy. //
PRAISE: “My pick for this week is the just released ‘No Love Songs Volume 2.’ Singer/songwriter/guitarist Michael Boezi and a bunch of fine musicians bring us a great collection of songs about the unfortunate state of the world.
Despite the subject matter, which is presented through great lyrics and excellent instrumentation, the album is not depressing, because it’s a perfect example of how art is essential in hard times, of how we can work through chaos by using our creativity.”
— Aaron Smith (source: BlueSky)
CREDITS: Lyrics and music by Michael Boezi
PERFORMERS: Michael Boezi: Voice, guitars on all songs Dave Brophy: Drums & percussion on all songs Joe McMahon: Bass guitar on all songs Andrew Stern: Lead guitar on 2, 5, 7, 8, 9, 10, 11, 12 Andrew Stern: 12-string guitar on 8, 9 Andrew Stern: Slide guitar on 12 Britt Connors: Backing vocals on 3, 6, 8 James Rohr: Wurlitzer on 3, piano on 6 Andy Santospago: Pedal steel guitar on 1, lap steel on 4 Aaron DeGraff: Backing vocals on 9 Dave Brophy: Backing vocals on 1, 4, 5, 6, 7, 8, 11, 12 Peter Fernandez: Rhodes on 1, 2, 9 Peter Fernandez: Organ on 1, 2, 5, 8, 9 Peter Fernandez: Synth & other keyboards on 1, 5 Andrew Stern: Triangle on 2 Dave Brophy: Organ on 7
PRODUCTION: Recorded at Studio Solitaire in Somerville, MA All songs engineered by Dave Brophy Backing vocals engineered by Mike Connors on 3, 6, 8
Arranged by Michael Boezi and Dave Brophy Produced by Michael Boezi and Dave Brophy Mixed and mastered by Dave Brophy Cover photograph by Michael Boezi Cover design by Michael Boezi
Cover image: Title: [Emma Gillingham Bostwick, half-length portrait of a woman, three-quarters to left, facing three-quarters to right] Artist: Mathew B. Brady Date: Between 1851 and 1860 Source: Library of Congress Underlying Rights: Public Domain Worldwide
Label Description: There isn’t one song on here that stands out as a single: Howcha Magowcha is very much an album, and a discordant, noisy one at that. There’s no time to settle into any of the songs: mellow moments are torn in half with propulsive drumming and low-slung bass, while the guitars fire off in all directions. It’s music that keeps you on edge, engaged, exhilarated. And however big the 90s revival gets, they’ll never make ‘em quite like this again. Aural Aggravation (auralaggravation.com/tag/turkish-delight/)
Video review from Celebutant / Mario Epstein > bit.ly/2uL5FQz
Label Description: “The meeting of two personalities is like the contact of two chemical substances: if there is a reaction, both are transformed.” CG Jung
Such a great bulk of my life, spent muffling the tender inner voice, in maybe-understandable, certainly misguided attempt to shield myself from further feelings of loss. I believe we are all susceptible to this tendency. Turns out it only sublimates the pain, causing it to erupt in greater violence still, jutting out in all directions in fits of hollowed impotence, thorny, as failing, tangled canes.
We outsource the difficult imperative of the conscience to reaction, to the rage and hopelessness proffered by the digital half-world, to charlatan-shepherds of collapsing pretense. We listen for it in the emotional labor of the hurting, merrily excusing ourselves over the darling cliff of claimed helplessness, siblings in tow.
I have been working at listening for it a might bit better. These tunes are meditations on my novice’s effort at the same. They are an apology and appreciation to Augustine, decades gone, for being held as object and unwitting surrogate to my own inner voice. Apology for this too-usual offloading of emotional work, work I should ought to have been doing myself, projected onto a mythologized, magical “other”. Gratitude for the borrowed “Nah, Pelon” that stood in for my conscience such a number of years and spared so many along the way some of my very worst ideas.
I have come to know my conscience as a tiny, sometimes intruding guest, an insectile dragon, often annoying, as it pollinates this inverted flower, this fig, my clumsy devotion.
Self-congratulations hangs around all day, every day, a constant histamine crackle, as I clod-hopper my way along, trying not to break every single thing I come across. Still, volcanic consequence slices clean through my Chuck’s, describing old desolation, enriching future soil under these weeping feet.
The ration is bitter with the sap of old choices, but it nourishes well, across a tongue, plump and honeyed with gratitude.
Turns out his first name wasn’t Solamente, after all. He has only ever had one name. I just didn’t have the language yet to know any different.
But I am working to understand.
Enjoy,
Clayton aka c.soûle
Written, recorded, and produced by c.soûle Mastered by Thomas Ragsdale
Label Description: “It felt like it had been such a long time since I’d released anything that felt aligned with that sound I was exploring back in the early days of the Kahn project, and whilst I naturally wanted to bring something contemporary to the table with this record it was nice to allow myself to fall back into that older version of my musical identity. My past life, if you like.”
Mastering : Lewis @ Star Delta Artwork : Joshua Hughes-Games Manufacture : Intakt! Berlin
Music For The Rest Of Us 