Label Description: ‘Undercurrents’ is an interconnected body of work that drifts into moods and mind travel through the slower side that distances from prior dance/club-intended tracks, a new yet familiar exploration in search of emotional resonance, resemblance and tonal identity following the downbeat, hazy granular synthesis and low lit atmospheres developed on recent and not so recent releases.
For enjoyers of the sound palette from previous albums like Motion Pictures Regime, Screening Plexus, Land Of Hidden Variables and Diffractions but also for new listeners discovering Filmmaker’s catalog.
Music & artwork by Faunes Efe Recorded in Envigado, Colombia in early 2026.
Built for an industrial expansion that never came, Kielder Dam in Northumberland is a monument to a forgotten future. Kielder Water Music explores this engineered landscape through field recordings, electronics, and string quartet.
The four pieces draw on sounds from the valve tower, reservoir, and surrounding forest, alongside interviews with those who live and work at the site. These recordings are woven together with strings, samplers, and analogue and digital synthesizers to create a dream-like sonic portrait of this unique post-industrial space.
Supported by Arts Council England.
Jo Silverston – Cello Drew Morgan – Cello and Bowed Electric Guitar Laura Wilson – Viola Caelia Lunniss – Violin Hugh Blogg – Violin
Mike Roberts – Words
Dan Moore – Fender Rhodes Electric Piano, Field Recordings, Samples and Synthesizers
Strings recorded and engineered by Luke Cawthra
Mixed by TJ Allen
Mastered by Shawn Joseph at Optimum Mastering
Cover Design by Oliver Batho
Thanks to Dan Jones, Andy Sheppard, Jonty Hall, Mike Roberts, Northumbrian Water, Alison Freeman, Hilary Ashton and the estate of Ernest Tomlinson, Riaan Vosloo, Jennifer Bell, Seb Reynolds, James Hester, Ned Rush, Jaqueline Ewers and Jenny Lindfors.
It has been twenty-five years since the seismic events of 2001—when twin towers collapsed under terrorist attack and Coventry’s sonic insurgent Russell Haswell launched his inaugural salvo on the original Mego label with Live Salvage 1997–2000. The intervening era has delivered unrelenting turbulence: protracted wars, institutional corruption, a global pandemic, the resurgence of fascist currents, rampant media distortion, and omnipresent surveillance. For Haswell, a lifelong admirer of 1970s and 1980s dystopian cinema, the verdict is unequivocal: “Science Fiction is now!”
In the face of this darkening reality, LET IT GO arrives as both acknowledgment and antidote. This new full length on Editions Mego extends an olive branch through defiant sonic diversity—an unpredictable mosaic that embraces everything from propulsive rhythms to radical abstraction and enveloping ambience. True to Haswell’s core practice, the material draws from the same tactile, free-improvised electroacoustic framework that powers his live sets: immediate, powerful and unscripted.
The album weaves reverent echoes of 1990s Detroit techno’s hypnotic pulse and the abrasive, metallic edge of the Birmingham sound into fractured generative territories. Haswell returns to his computer-generated origins while integrating his recent modular-synthesis experiments. During a residency at the Bergen Centre for Electronic Arts (BEK) in Norway, he harnessed the latest GRM Tools suite to conjure the volatile, “rapidly fluctuating pitched sounds” that characterized Iannis Xenakis’ late electronic works—resulting in pieces such as Fall 3 and Fall 2, where instability becomes a form of vitality. The tracks Exit Downwards and The Anxieties Of Our Time whilst reflecting the currents of the release also offer surprisingly melodic patterns over jagged rhythms. The wryly titled Thu 25 Dec 2025, (recorded in Glasgow after a solitary post-Christmas-lunch walk home) is a vast drone which evolves according to the random walk model—known more evocatively as the drunken walk—each sonic step veering unpredictably, mirroring the disoriented lens of contemporary existence.
LET IT GO is liberation. Amid the cacophony of crumbling certainties, Haswell deploys a full arsenal of resistance: kinetic drive, disorienting rupture, quiet refuge, raw aggression, and tentative hope. In an age where dystopia has shifted from fiction to lived fact, this music asserts that possibility endures.
Label Description: Current catalogue number is : MF349
Mean Flow is a solo project of Theofil Tsiolakakis from Thessaloniki, Greece.
All 17 tracks of this album have written and recorded between 13th February to 5th of March 2026. Total duration is 01:33:21 (10 main tracks plus 7 bonus (collaboration) track(s), so totally 17 tracks).
Many thanx to the following musician for his collaboration with me to the bonus tracks of this album :
– {AN} Eel (Neal D. Retke) (Toronto, Ontario, Canada) for my rerwork to his track : no 11 “Monks Lick Lips”.
There are also 3 previous remixes/reworks by me to his music and 3 by him to mine on my previous albums : “Enclosed Sky”, “Imaginary 10” #4 Remixed (By Various Artists)”,”Vauge Emotions”, “Unsolved Labyrinth Remixed (By Various Artists)” & “Forgotten Crimes”. Also many Mean Flow tracks included in various artists compilations released by {AN} Eel netlabel called and I hope there are more in the future.
– Sabila Orbe (Rancagua, Chile) and his projects Filmy Ghost, Insectoid Girl, Yaka-anima and Miss Spectra (Rancagua, Chile – Born: Cali, Colombia) (along with Sabila Orbe) and their project Humanfobia for our collaboration track (me adding music to their voice track) : no 12 “Fire Walk With Me”.
There are more collaborations with the projects above with 32 tracks inluded on my previous albums “Enclosed Sky”, “Eternal Call”, “Imaginary 10” #4 Remixed (By Various Artists)”, “Greatest Failure”, ”This Feeling”, ”Darkness Versus Light”, “Humanfobia’s Letargo Sumergido E.P. Reworks”, “Subduction Zone”, “A Monument To The Ruined Age”, “Humanfobia’s Realidades Paralelas Reworks”, “Reductio Ad Absurdum”, the compilation “Mean Flow x Humanfobia – ▼👻░░░ (2022)”,”Unequal Equality”, “Suffocating Pressure”, “Ambient Landscapes”, “Liquid Material”, “Demolition Of Ideals” & “Exhausted”. Also many Mean Flow tracks included in various artists compilations released by Mist Spectra/Humanfobia netlabels called “Cian Orbe”, “Gothic Spectra Compilation”, “Internet Daemon Netlabel” & “Dawn Of Darkness”.
– Marco Lucchi (Modena, Italy) for my rework in his 4 tracks : no 11 “The Scarecrow [Naviar Haiku # 629]”, no 12 “Arpeggios Are Very Selfish N*5”, no 13 “Poetry Makes Nothing Happen” & no 14 “Slowly Gliding [Naviar Haiku # 632]”.
Other 289 Marco Lucchi’s tracks, remixed/reworked by Mean Flow are also included in my previous albums “Viridis Achates”, “Inmost Silence”, “Floating Thoughts”, “Blurred Imagination”, “Eternal Question”, “Black Veils Over Sad Tales”, “Enclosed Sky”, “Eternal Call”, “Dark View”, “Noise Elegance”, “Distant View”, “Obscure Details”, “Greatest Failure”, “This Feeling”, “Marco Lucchi’s 100 First Reworked Tracks”, ”Darkness Versus Light”, “Subduction Zone”, “Winter Tales”, “Anchored Dreams”, “Vauge Emotions”, “Directed Public Awareness”, “A Monument To The Ruined Age”, “Reductio Ad Absurdum”, “Tunnel Vision”, “Ιnsufficient Εnergy”, “Low Profile”, Secret Place”, “Unknown Aspects”, “Endless Destination”, “Timeless Experiences”, ”Elegant Plan”, “Under Epidermis”, “Temporary Respite”, Marco Lucchi’s Reworked Tracks Volume 2″, Marco Lucchi’s Reworked Tracks Volume 3″, “Τhe Τruth Οf Εach”, “Marco Lucchi’s Reworked Tracks Volume 4”, “Dead End”, “Marco Lucchi’s Reworked Tracks Volume 5”, “Unequal Equality”, “Suffocating Pressure”, “Marco Lucchi’s Reworked Tracks Volume 6”, “Ambient Landscapes”, “Liquid Material”, “Social Castration”, “Creative Destruction”, “Forgotten Crimes”, “Rights Vs Prejudices”, “Marco Lucchi’s Mello_w_tron Reworked”, “Hollow Impressiveness”, “Profit Sacrifices”, “Under Destruction”, “Preset Sensitivity”, “Unhealed Scars”, “Traceless”, “Marco Lucchi’s Reworked Tracks Volume 7”, “Pointless”, “Decriminalized Pleasures”, “Hidden Items”, “Marginalized Snapshots”, “Self Destruct”, “Law Of Action And Reaction”, “Pensive Mood”, “40 Years”, “Demystification”, “Marco Lucchi’s Reworked Tracks Volume 8”, “Tired”, “Outside”, “New Member”, “Sad But True”, “Demolition Of Ideals”, “Soft Razors”, “Guilty Silence”, “Fundamental Elements”, “Imagination Release”, “Marco Lucchi’s Reworked Tracks Volume 9”, “Truth Or Dare”, “Short Journey, Infinite Distance”, “No Fair”, “Cornucopia Of Pleasures”, “Green”, “Unpleasant Expectations”, “Sky Limit”, “Destruction Signature”, “Mortgaged Life”, “Life Will Never Stop Being Unfair, Very Unfair”, “Crushed Life”, “Haunted Figurehead”, “Truth Relativism”, “Abnormal Regularity”, “Attribution Of Blame”, “Convalescence”, “Abuse Of Power “, “Unjust Guilt”, “Democratic Dictatorship”, “Clarity Over Compulsion”, “Fight The Sickness”, “Online Decay”, “Negotiated Portrayal”, “Meaningless Purpose”, “Mental Reset”, ”Allegorical Interpretation’ & “High Mental Load”‘.
– Scott Lawlor (Albuquerque, New Mexico, U.S.A.) for my remix to his track : no 14 “Glittering Lights Above The Clouds”.
There are also 7 tracks made by Scott Lawlor and reworked/remixed by Mean Flow for a collaboration album called “Nocturnes, Volume 8”. It’s a part of project where many people rework/remix all of some of these tracks for collaboration albums. First 2 parts of these reworks are included also on my previous album “40 Years”.
– Finally ArtKlang, a collaboration project between Gildas Brugaro and his solo project “SRVTR” (Rennes, Bretagne, France – born: Saint-Malo, Bretagne, France) for my rework to his track : no 13 “Nuit Blanche”. ArtKlang is a collaboration project between Gildas Brugaro (solo project “SRVTR”) (Rennes, Bretagne, France – born: Saint-Malo, Bretagne, France) and Bruno Green (Lennoxville, Quebec, Canada)
There are other 13 SRVTR reworked tracks by me included on my previous albums : “Black Veils Over Sad Tales”, “Dark View”, “Obscure Details”, “Dead End”, “Unequal Equality”, “Suffocating Pressure” & “Ambient Landscapes”. There was also a collbaration track of ours called “Bug Sound” and there were 16 remixes by many various artists to this collaboration track, including also 2 remixes by each of us (Mean Flow & SRVTR), that released as an album called “SRVTR/ Mean Flow : Bug Sound Remixed” in SRVTR’s bandcamp link : srvtr.bandcamp.com/album/srvtr-mean-flow-bug-sound-remixed. This collaboration track “Bug Sound” and my Mean Flow remix of it were included on my previous album “Eternal Question”. Also he remixed Mean Flow’s track “Frozen Lake (SRVTR Remix)” included on my previous album “Imaginary 10” #4 Remixed (By Various Artists)”.
All other music, keyboards, any kind instruments, sounds-noises, sound effects to rest of the songs made by Mean Flow (Theofil Tsiolakakis), Thessaloniki, Greece.
Many thanx to all people who like and support my music.
Two years after releasing the acclaimed Crash Recoil, Anthony Child aka Surgeon returns to Tresor with new LP, Shell~Wave. Retaining the minimal equipment list and studio-version-of-live-show-sets approach of the previous album in order to focus on the work itself, Shell~Wave is a deeply personal document of both where Surgeon is and has been, converging three decades of experience with a continued curiosity in the untested.
“To make this project, I had to dig really deep in terms of what my relationship was to techno; I’ve been involved with it for a really long time and there’s a lot about it I feel dislocated from, so I had to really think hard about what techno is to me. I often get asked “what is techno to you?” but I can’t answer that with words; this album is the answer.”
From the complex, twisting track Infinite Eye to the caustic Soul Fire, the eight tracks that make up the body of the album are single-take explorations of the vast, hard yet minimal techno Child is synonymous with.
Neatly dividing the record in two, the emotional centre of the record comes in the form of Dying, a vibrating, beatless piece that with a mantra-like vocal loop steeped in reverberating effects.
Further echoes of dub production appear throughout the record as tracks like Divine Shadow, and Empty Cloud have an almost ever-present mist of reverberation, driven by the appearance of a new delay unit in the equipment list; while much of the philosophy of Crash Recoil’s creation is present, the process and the instruments have changed as Child again switches up his approach to studio work.
This insistence on trying novel techniques doesn’t preclude returning to old ones, as this use of modern digital machines with live, hands-on takes that are as inspired by 60s producer Joe Meek and 70s reggae as they are by this year’s synthesiser expos.
“For me, it’s an interesting experience returning to old techniques again after 30 years. [I’m] always exploring and finding myself back at the beginning. Connecting the present with the past.”
This philosophy of ‘time travel’ is inherent to the music itself as the synchronised loops repeat while the delay and effects branch out, forming unique eddies; distinct quantum moments within the circular whole; the future leaking through the spaces between the sounds. All of the concepts on the album are perfectly communicated through the painting by Taiwanese artist Jazz Szu-Ying Chen which suggests the movement of water, sound waves, and the chitinous shells of sea creatures. credits released May 2, 2025
All tracks written and produced by Anthony Child. Artwork by Jazz Szu-Ying Chen. Design by Onlab. Mastered by Mike Grinser at Manmade Mastering. Published by Copyright Control.
Thanks to Albert, Dan, Doris, Jazz, Karl, Michael, Mum & Dad, Nancy, Richard, Terry, Thomas & Felix.
