Label Description: We say it every year, but Fall might be our favorite season. Summer calmly faded away and the days have started to shorten with the evenings stretching a little further into the night. Essentials Fall 2026 is here and listening feels like wandering beneath streetlights while the rest of the city closes its eyes. We’re proud of these carefully-curated 24 new tracks to help guide you through your crisp autumn nights. Warm melodies and steady rhythms. Songs to soundtrack meaningful conversations, late-night walks, and the unmatched energy that comes alive after dark.
Our Essentials series is a seasonal compilation that has been around since 2016. This chapter, for Fall 2026, we visit Chillville’s Silvercrest, the nocturnal neighborhood where life begins as the sun goes down. By day, the streets sit silent behind shuttered storefronts and darkened windows. By night, the neighborhood awakens. An intricate network of rooftops connected by bridges, boardwalks, and hanging pathways offers a unique nightlife drawn by an atmosphere and energy that only Silvercrest can offer.
If you’re looking for mellow instrumentals to accompany an evening under the stars, calming songs for those late-night hours as the leaves begin to fall, or simply something to keep you company as autumn begins to unfold, these tracks are ready for you. Datsunn, Aso, Arbour, Birocratic, and 30 other producers bring warmth to these cooling nights with their signature sounds. We welcome the longer evenings. The hoodies, the stars. Like we said, it’s our favorite month (don’t tell the others). Fall has a way of inviting us in.
Label Description: THE LEAF LIBRARY OPEN THE ARCHIVES AGAIN WITH SECOND COLLECTION OF RARITIES, LOST SONGS AND STRANGE SEEDS
Library Music: Volume Two— out 25 September 2026 via wiaiwya (wia130lp)
“One of Britain’s most quietly treasured experimental pop groups”
Following the much-loved Library Music: Volume One (2022), and hot on the heels of this year’s critically acclaimed ‘After The Rain, Strange Seeds’ (9/10 – Uncut) , London group The Leaf Library return with a second journey through the margins of their catalogue. Gathering together rare recordings, compilation tracks, limited edition releases, collaborations and hidden gems from their ever-expanding musical world, Library Music: Volume Two is another vibrant and varied collection of electronic indie pop, in all its guises.
Far from a conventional odds and ends collection, the double LP compilation reveals another side of a band who have always treated the spaces between albums as places to explore. These are the moments where ideas stretch out; there are hypnotic drones, motorik rhythms, glowing analogue textures, pastoral electronics and the warm, melodic melancholy that has become unmistakably The Leaf Library. There is the electro-pop of Flowers At The Border, the psych rock-adjacent Building Better Worlds, and the gentle chamber shuffle of Kendrick Road. Tracks range from the 22 minute folk kosmiche epic Versatile Clouds to the 59 seconds, record skip punctuation mark of Harmonic Runout, with a whole array of trips, ideas and experiments in between.
Since forming in a pre-Ghost Box, Castles in Space and Clay Pipe world, The Leaf Library have carved out a unique place somewhere between dream pop, kosmische repetition and experimental songcraft — drawing comparisons to Stereolab, Broadcast, Yo La Tengo and the outer edges of library music, while creating a sound entirely their own.
“We’ve always loved making things outside the pressure of a ‘proper’ album,” says singer/guitarist Matt Ashton. “Singles, collaborations and compilation tracks give you permission to follow an idea wherever it wants to go. Looking back, those pieces tell their own story.”
Where their studio albums have shown the group carefully building immersive worlds, the Library Music series maps the pathways between them — the sketches, diversions and unexpected discoveries that often reveal the most about a band.
Across a lucky thirteen tracks, Library Music: volume two is a reminder that some of the best discoveries are found on the shelves you forgot to check.
Praise for The Leaf Library:
“Melancholy wonder… woozy ebb and flow” — The Guardian “Vintage modern indie greatness” — Is This Music? “World-weary yet innocent, blissful dreampop.” – Uncut “A spooky, pastoral ramble that is both atmospheric and unnerving.” – The Quietus “A sensory deprivation tank of experimental sometimes-pop.” – Concrete Islands “Early Stereolab motorik melodicism” — Fika Recordings
Label Description: In 2023, Kraków-based composer Martyna Basta and Los Angeles-based sound artist claire rousay were invited to Poland by Unsound for a short residency, where they spent a few days trading ideas and concepts, and brainstorming their first collaboration. Initially motivated to create lengthy, expansive pieces together, they also ended up experimenting with shorter vignettes, and ‘hotel room’ expresses these two extremes, featuring three long-form tracks and three brief, euphoric songs. “It wasn’t something we specifically planned,” explains Basta. “It just unfolded that way.” The most important stage of the process, however, was the period that followed the residency, when rousay and Basta began working on their sketches in isolation, trading drafts and sculpting the sounds independently before rousay handled the final mixdown. In the comfort of their own bedrooms, they were better able to reflect their individual creative routines, organically reaching a junction where their music felt truly unified. Even while they were in Poland, the duo joked that it might have been easier if they’d been holed up in separate rooms emailing each other.
Both artists have had an energetic few years: after steadily building a reputation for her diaristic and candid concrète experiments, rousay signed to Thrill Jockey in 2023, releasing the acclaimed ‘sentiment’, ‘a little death’ and the more eaze collaboration ‘no floor’; Basta, meanwhile, followed up 2023’s hallucinatory ‘Slowly Forgetting, Barely Remembering’ and her debut for Belgium’s Stroom imprint, ‘Diaries Beneath Fragile Glass’ with a studio album on !K7’s 7K sublabel: ‘Winged in Collapse’. The title of their collaboration reflects rousay and Basta’s hectic touring schedules in the wake of these releases, the constant feeling of displacement and the emotions that emerge when the environment is in flux. “I know we aren’t the only musicians traveling and creating work at the same time,” says rousay, “but being able to speak about that experience and all the things that come with it was comforting.” And the music itself, assembled from hypnagogic field recordings, spectral voices, electronics and filtered instrumental improvisations, sounds bewitchingly unmoored, not tied to a specific location but hovering around the uncanny space in-between.
Scratchy ASMR sounds introduce us to the opening track ‘Zoom’, initially obscuring the duo’s elegiac harmonies. They are careful to let the various elements evolve at their own pace, with the fictile guitar drones melting into the foreground while Basta’s dissociated whispers and rousay’s illusory synths pick out the subtlest subliminal shades. It all builds to the piece’s dramatic third act, when layered chords ring out like organ blasts, enveloping the negative space. The shorter, more anxiety-provoking ‘Denim’ is remarkably divergent, a dismantled folk memory pieced together from skeletal piano notes, vaporous choral echoes, haunting string plucks and pulsating feedback. Where the music aligns is in the mood itself, capturing a feeling that’s neither completely abstract nor fully referential. Not ambient exactly, ‘hotel room’ is a suite of soundscapes that gesture towards structure while repeatedly folding in on themselves.
On ‘Lost and Found’, wordless Autotuned ad-libs spiral around delicate guitar plucks and washing waves, coalescing into a faded Polaroid of opiated Americana, and on ‘Where Are You Now’, operatic squeals and corroded orchestral scrapes are juxtaposed with nauseous low-end tones. Evaporating until only industrial whirrs and music box chimes remain, the latter encapsulates the entire album’s chilling liminality, smudging saturated voices with casual electro-acoustic interjections before it erupts abruptly, transforming into a dense, pitch-skewed hymn. ‘hotel room’ plays like a surreal travelogue, teasing listeners with airy familiarities as it humidifies dry, awkward spaces. More a labyrinth of catacombs than a single, fixed chamber, it’s Escher-like – cryptic and seductive – and decked out with personal asides and intimate details that reward the most patient, curious listeners.
recorded by claire rousay & martyna basta mixed by claire rousay & martyna basta mastered by stephan mathieu at schwebung mastering lacquer cut by stefan betke at scape mastering album cover painting and design / typography by karolina szwed layout by aleksandra grunholz curated by mat schulz and wannes cuypers commissioned by unsound
Asymptote’s focus defines the space where a perfect vision emerges, but remains just out of reach. It embodies a late-night meditation on closure, emergence and expectations; it’s deeply personal ambient atmosphere pulses inside reflective spaces. As listening deepens, sounds and textures emerge to reveal that our most profound truths are found not at the end, but in the eternal, atmospheric distance between the seeker and the source. ____________ INTERVIEW
Triplicate Records: What have you been up to lately?
Pollsign: Well with regards to this sphere: I want to say lots, but everything seems meticulously cared for, and then haphazardly released into the world. Behind the scenes I’m always thinking about new directions, options, or modes of working. But in the end, I don’t always have a clear plan, so that adds some internal conflict, ha.
Triplicate Records: What was the main inspiration behind “Asymptote”?
Pollsign: Asymptote is an interesting release – it’s a long form piece I’ve worked on since 2022, taking many breaks, changing things up, and frankly, shelving it for a quite a bit. It’s a shock that it actually survived a major tech failure I experienced in 2025 – I had the stems and entire contents of the project saved in an earlier form.
Originally it was inspired by a lot of early to mid 90s ambient. Stuff off Fax records and that lineage. Later on some elements of more ambient vaporwave releases wormed their way in. I really tried so many different things with this particular release, and it never felt like it was “getting there”. That’s where this idea of the asymptote came about. This form that never fully reaches a conclusive end.
It’s definitely an album about the frustration and beauty of feeling incomplete. I wanted to explore some things I go through often in creative pursuits – that deeply human feeling of getting closer and closer to a feeling, or a perfect version, while also realizing the past, present and future me might never agree on the end result.
I felt like I needed closure on it, though. So I worked to finally finish it off and gain that clarity the comes when you finally say “it’s time, this is done”.
Triplicate Records: Can you tell me about the separation between Pollsign and Survey Channel?
Pollsign: Initially pollsign was a means to work in more ambient spaces, and outside of my own expectations of my survey channel work. I’ve come to find the distinction doesn’t really make a difference, so I’ve sort of abandoned the idea of working under too many aliases. This release definitely encapsulates a lot of what I wanted to explore. I also really enjoyed working on the “jam” that ended up becoming “Resect”. I think it probably flew under the radar. I never had huge plans to market this project, so if and when I ever feel that something would benefit more from the freedom it brings, I’ll probably revisit.
Triplicate Records: When did you first become interested in creating music?
Pollsign: I grew up in a musical family in many ways – my parents both had really diverse taste. My mother tried hard to get us all interested in music with lessons. Her mother played piano and had this pretty big Hammond organ in her house that we’d mess around with as kids. As you do when you’re a kid though, you don’t have the foresight to work through things, and I struggled a lot with thoughts of inadequacy and fear, so I self-sabotaged many attempts at creating music. It wasn’t until 2019 that I really forced myself to mess around in that space. And after years of dormant creative energy, I like to think it paid off some.
Triplicate Records: What have you been listening to lately?
Pollsign: I’m bad about new music. I have my go-tos and don’t really actively seek out new music. Of course I’ve been listening to a lot of Boards of Canada since they dropped a new one. I’ve also been listened to a lot of Future Sound of London, Oval, Tetsu Inoue and Bill Laswell collabs . Also plenty of vaporwave sub-genres.
Triplicate Records: What’s next for you?
Pollsign: Not sure yet, but I have a lot of survey channel material I’m working on. Hopefully a tape release? Maybe some live shows in 2027? And I will likely continue to release under my vaporwave project in slow drips.
Composed & Produced by Pollsign Mastered by Michael Southard Artwork by Michael Southard & Pollsign
Label Description: Esqueça o Black Metal norueguês feito por mauricinho que passa frio na floresta: este é o puro sumo do underground nativista, parido diretamente da baia de um cavalo no coração dos pampas. O álbum traz a saga de Lord Bagual, um sujeito que troca a igreja pelo entrevero, o vinho litúrgico pela canha da braba e o cheiro de incenso pelo perfume de esterco de vaca ensacado. Entre riffs que parecem coice de mula, vocais gravados à base de muita aguardente e letras que ensinam como fazer churrasco de padre, o trabalho é uma homenagem soturna a todos os jaguaras, chinelos e bagaceiros que já levaram um laço na vida. Um disco feito sob medida para aterrorizar as chinocas na saída da missa e fazer qualquer taura da roça pedir arrego. —- Forget Norwegian Black Metal made by rich kids shivering in the woods: this is the pure, raw essence of Southern Brazilian countryside underground, born straight out of a horse stall. The album chronicles the saga of Lord Bagual, a local menace who trades church for street brawls, communion wine for lethal moonshine, and holy incense for the sweet smell of bagged cow dung. Packed with riffs that hit like a mule kick, harsh vocals fueled by cheap booze, and lyrics offering practical advice on how to barbecue priests, this record is a dark tribute to every countryside rogue and troublemaker out there. Craftily designed to terrify churchgoing girls and leave even the toughest farmers begging for mercy.
Label Description: Keen listeners who have dug below the surface of Oren Ambarchi’s triple-digit discography know that alongside hypnotic minimalism, veins of irreverent and joyously wayward exploration run deep. Cooked is something of a landmark in Oren’s work, bringing this gloriously cuckoo sensibility right into the heart of his most high-profile solo work. Carrying on the grand Ambarchi tradition of meticulously constructed all-star studio jams (which reached new heights with Shebang, his 2022 Drag City debut), Cooked brings together collaborators from Australia, Germany, Japan and Sweden for two side-long epics where the foot keeps tapping even as the mind boggles.
Beginning with piano ripples from Eiko Ishibashi, after only a few seconds “Hidden Tableau” takes an unexpected turn with the entrance of a groaning synthetic voice (created by Konrad Sprenger, production mastermind at the helm for Shebang and this piece). The first half of the piece develops as an oddly moving concerto for this moaning and growling ghost in the machine and a delicate backdrop of piano, organ-like tones, and Oren’s signature shimmering Leslie guitar. As the beautifully flexible swing of Joe Talia’s drums enters, the harmonies fill out into woozy clouds and the synthetic voice seems to morph into something approaching a mutant trumpet. In a left turn that seems to come out of nowhere yet make an inexplicable kind of sense, the piece is then overtaken by patterns of intricate guitar and synthetic arpeggios. These might be Jim O’Rourke on synth, but who knows? If we learned anything from Simian Angel and Shebang, it’s that almost anything we hear could come from Oren’s guitar.
Cooked is a long way from the spacious, light-dappled grooves of Ghosted, but Oren’s Swedish bandmates play starring roles here, with Johan Berthling’s double bass anchoring both sides, and drummer Andreas Werliin lending his delicate touch to the second piece, “Sleight of Hand”. Beginning with glistening layers of electric 12-string guitar, “Sleight of Hand” takes some key cues from electric Miles touchstones like “Feio” or his epic take on David Crosby’s “Guinnevere”, with Berthling’s sparse basslines punctuating an almost weightless cornucopia of shifting detail, glimmering with subtle contributions from Michiko Ogawa on shō and James Rushford on a panoply of acoustic keyboards. Suddenly, everything is overwhelmed by a knotty, hyper- complex ‘solo’ from Marcus Pal on digital synthesis, teleporting us to an alternate history where Allan Holdsworth traded the SynthAxe for Xenakis’ UPIC. Building with additional drums and percussion from Will Guthrie to a peak of sizzling intensity, the music then goes sideways into a gently surreal coda, where some distinctly Zawinul-esque chords and Fredrik Rasten’s guitar float over a sprightly rhythm box, the avian inventions of Swedish virtuoso whistler Isak Hedtjärn wafting atop the sunlit stew.
It’s certainly Cooked, but not overcooked. Like 10cc in their prime, it layers a dizzying number of elements through intricate studio processes, yet somehow remains open, spontaneous, and intuitive, the whole thing suffused with an omnivorous love of music where everything is up for grabs. It’s a big call, but Cooked might just be the wildest ride that Oren Ambarchi has taken us on yet.
2026, Drag City
Oren Ambarchi – Guitars and whatnot
Hidden Tableau: Johan Berthling – Double bass Eiko Ishibashi – Piano Jim O’Rourke – Synth Konrad Sprenger – Voice synthesis, electronics & production Joe Talia – Drums
Sleight of Hand: Johan Berthling – Double Bass Will Guthrie – Gamelan & drums Isak Hedtjärn – Whistling Michiko Ogawa – Shō Marcus Pal – Synthetic Sound Fredrik Rasten – Guitars James Rushford – Celeste, piano & portative organ Andreas Werliin – Drums
Hidden Tableau was made in collaboration with Konrad Sprenger and recorded October 2022-January 2025 at: Choose studio, Berlin (engineer: Joerg Hiller) Hoshi To Niji recording studio & Steamroom, Japan (engineer: Jim O’Rourke) Hello Daydreamer studio, Macedon Ranges, Victoria (engineer: Joe Talia) Rymden studio, Stockholm (engineer: Daniel Bengston) Mixed and edited by Joe Talia with Oren Ambarchi February 2025 in Melbourne
Sleight of Hand recorded December 2024-August 2025 at: Sun Lint studio, Berlin (engineer: Fredrik Rasten) Rymden studio, Stockholm (engineer: Daniel Bengston) Brian Brown studio, Melbourne (engineer: Joe Talia) The Crystal Ball, Berlin (engineer: Sam Dunscombe) Studio D’En Haut, Nantes (engineer: Lucas Pizzini) The Marcus Pal Institute of Abstract Epistemology, Berlin (engineer: Marcus Pal) Edited by Oren Ambarchi at the Shitting Wheel, Berlin Mixed by Joe Talia with Oren Ambarchi January 2026 in Melbourne
Mastered March 2026 by Joe Talia
Photos by Lasse Marhaug Sleeve design/Typo/Color tweaking by Stephen O’Malley
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.
