Re:Mission Entertainment is proud to announce SILENCE, MELT AND MOURN, the new album from Dead Voices on Air, arriving October 31st, 2025. Created during preparations for a US tour, the album features new material alongside reimagined versions of songs from across Mark Spybey’s career. The live set will include selections originally released by Download, Beehatch, DVOA, and other collaborative projects. Working with Nathan Jamiel of The Drood and longtime friend Stephen Weatherall, Spybey approached the process by writing new music and revisiting older work with fresh arrangements and a renewed focus on vocals and song structure. SILENCE, MELT AND MOURN is a reflection of that journey, built on collaboration, reinvention, and respect for the creative voices that shaped it.
All music produced by: Nathan Jamiel, Mark Spybey and Stephen Weatherall
Nathan Jamiel – Guitar, Bass, Synthesizers, Keyboards, Vocals Mark Spybey – Drums, Keyboards, Vocals, Trumpet, Toys Stephen Weatherall – Bass, Vocals Mark Sanderson – Synthesizer, Baritone Ukelele (2,5) All lyrics by Nathan Jamiel and Mark Spybey
Mastered by Mark Pistel Art by Mark Spybey, layout by David Babbitt With thanks to Wes Turner and scott crow
eMERGENCY heARTS / Re:Mission Entertainment
Dedicated to Vince Wald (1976-2024) and Daniel Doss
snow pellets are small, resilient spheres or irregular fragments of crystallized snow, often encasing frozen water within their compact structures. born through delicate atmospheric processes, partial melting, refreezing, or the gradual compaction of snow by wind, they embody the intricate geometry of winter’s transient artistry.
this winter, anatoly grinberg invites us into his newest creation: a resonant world of granular synthesis where sound becomes sculpture, and the hush of frozen air turns into music – a space where science dissolves seamlessly into poetry. credits releases November 4, 2025
anatoly grinberg, known by his artistic moniker tokee, is a moscow-based sound mixer, mastering engineer, and composer whose work bridges film, television, and experimental electronica. he refined his craft in sound engineering and mastering at the israeli school of sound in tel aviv, where his fascination with the hidden architecture of sound began to take shape.
since the early 2000s, anatoly grinberg has sculpted sonic landscapes that balance emotional resonance with meticulous precision, marking the emergence of a distinct and contemplative voice within the electronic avant-garde. through the influential ant-zen label, he has collaborated with artists including mark spybey, gwenn tremorin (flint glass), and andreas davids (xotox), each project revealing new dimensions of his immersive and introspective sound world.
Over the last half-decade, Uruguayan music producer and vocalist Lila Tirando a Violeta has distinguished herself internationally through a series of releases for Hyperdub and N.A.A.F.I and audiovisual sets for Mutek, Primavera Sound, Boiler Room TV, and Unsound Festival. Along the way, she has positioned herself on the vanguard of an aesthetic that reframes South American melodies and percussion inside avant-garde soundscapes and hard-edged machine beats equal parts IDM, industrial, techno and gabber.
Recorded during the introspective quietude that followed her relocation from the Netherlands to Ireland in 2023, Dream of Snakes is Lila’s first album for the Berlin-based record and art label Unguarded. A cycle of visceral, experimental club tracks, the album merges Lila’s memories of South America with her present-day realities, filtered through a longstanding love of sci-fi and post-punk and a desire to bring dancefloors together without letting go of her distinctive musical voice.
After falling in love with the Emerald Isle’s lush countryside, Lila began making outdoor field recordings on daily hikes. “I started to feel a strong urge to create music that would inspire me to move around or at least feel the music in my body,” she explains. Having previously created two concept albums in quick succession, Desire Path and Accela (with Sin Maldita), Lila was more than ready to put pre-existing narrative and subtext to one side during creation. “I wanted to feel the music coursing through my nervous system, that same adrenaline rush I get when watching a David Cronenberg film,” she continues.
Before moving to Ireland, Lila experienced a recurring dream about snakes. Rather than being frightening, however, it was comforting. As she began to layer up her field recordings with synthesisers, urgent rhythms, voice and studio production, she found herself researching the meaning of her dream. “During this process, I rediscovered a song from my childhood, ‘Sueño con Serpientes’ by the Cuban songwriter Silvio Rodríguez, which my grandparents often played,” she says. In the song’s eerie, leftfield folk soundworld and impressionistic lyrics, Lila found a north star to return to while completing Dream of Snakes.
Opening with the nocturnal ambience of ‘Unworthy Praise,’ Lila collapses the boundaries between field recordings, synthesis, and percussion until they become indistinguishable before taking things in a technonaturalistic direction on ‘New Flesh. ‘Created with Björk collaborators SideProject, ‘Ostrich: Ñandú’ is a flurry of ostrich calls, synth arpeggios, and fast-paced man-machine rhythms. Up next, ‘Heavy Is The Soul’ sees her keeping up the intensity while drawing from her love of Goth-rock.
From there, Lila explores a Latin American slanted rhythmic ambient soundscape on ‘Retumba En Tu Piel’, blends breakbeats with mantras via ‘Rest & Relaxation’, turns the echoes of oblivion into a new wave/synth-pop inspired dancefloor anthem called ‘Eco del Olvido’ with Lighght. Closing with the frenetic cyborg rhythms and synth-squelches of ‘Eye Slice’ featuring JQ, Dream of Snakes lands in the sweet spot between braindance and the sweaty physicality of body music. It’s ready for the dancefloor and so much more.
released April 25, 2025
All tracks written and produced by Lila Tirando a Violeta, except where noted:
Additional production on tracks 2,5,6 by Pobvio and Sin Maldita Eco del Olvido, Heavy is the Soul featuring Lighght Eye Slice Featuring JQ Ostrich/Ñandú featuring Sideproject
Artwork by Dario Alva Mixing and Mastering by Sin Maldita Text by Martyn Pepperell
“Henner reaches out to the listener directly…Rejuvenating and universal…Gorgeous.” The Quietus
“Meandering from emo rave to gamelan, Henner pours his heart into these elegant ambient soundscapes.” MOJO
Enigmatic UK producer Dylan Henner announces new album of deeply considered and choral-laced experimental ambient music Star Dream FM, said to be taped from a mysterious radio broadcast that plays his favourite memories from adolescence.
“Late one evening, I was listening to the radio alone at home. I couldn’t find the station I wanted, so I shifted the dial around for a while. Between frequencies, fading in and out of fidelity, I found a station I’d never heard before. To my amazement, the station was broadcasting my own memories. Memories from when I was seventeen. Some of the most formative and important moments of my life, alive on the air,” Dylan Henner’s self-penned mythology begins. “I called some friends and asked if they could find the same frequency, but no-one did. So, quickly as I could, I stuck a blank tape into my hi-fi and hit record. At some point I heard the jingle and the name of the station: Star Dream FM.”
Though (clearly) fictional, the backdrop to new album Star Dream FM represents a tactile canvas on which the record’s true meaning is painted. It is, through Henner’s now-characteristic employment of ambient-textured synthesis, marimba, digital choir, and processed voice, a study of late adolescence and the experience of being seventeen.
“Why seventeen? Because (in Western, 21st century culture at least) it is a unique time of fragility and self-realisation. A gateway between the joy and wonder of childhood and the heavy realities of adult life. A seventeen year old has almost formed their outlook, mindset, purpose, drive, but only as a hop away from childhood. It’s a challenging period, sure, but also a time of optimism, of excitement for a new life to begin in your own image.”
The result of this examination is a collection of meticulously constructed human-not-human compositions built from Henner’s mesmeric brand of desolate beauty. His immersive, storytelling range is broad, spanning from serene to cerebral, from powerful to uncanny. Henner references ambient and experimental music, chamber composition, the human voice, sound design, and field recordings, and wraps everything in the myth of his imaginary radio station Star Dream FM. Opening with the station’s sting and “I Borrowed my Dad’s Car But We Had Nowhere To Go So We Drove Around Listening to Music All Night”, a disconnected, fuzzy DJ osmoses between non-human singing and floral synthesis that opens and flutters like fast-motion botany, eventually yielding a choral denouement of magisterial elegance.
Key moment “I Used To See Her On The Way Home from School and She Lit Up The Sky with her Beauty” marries heavily processed and near-wordless vocals with angelic harp swells, gently undulating bass frequencies, and digital string ensemble to mimic the glory and reverence of early church music. Which is, incidentally, a key influence to Henner’s practice.
Little is known about Dylan Henner, who landed on the ambient scene in 2020 with cassette releases for Phantom Limb, Belgian label Dauw, and cult tastemakers AD93. He barely promotes himself publicly, instead choosing to communicate through disarmingly poetic song titles. His debut album “The Invention of the Human” (AD93, 2020 – a recipient of BBC 6Music’s Album of the Year honours) responds to a set of philosophical questions – what exactly makes us human? What good is civilisation when there’s so much misery attached to it? How will technology affect humanity in the long run? In 2022, he released follow-up You Always Will Be on AD93, which traced the course of a single life from birth, to childhood, to adolescence, adulthood, parenthood, middle-age, old-age, and demise. He has also covered Raymond Scott, Terry Riley, Aphex Twin, Ryuichi Sakamoto, and Su Tissue among numerous further projects.
HAUSMO150 – LP / CD / DIG credits released September 26, 2025
Music by Daryl Groetsch, Portland, Oregon.
Main synthesizers: Spectrasonics Omnisphere, AAS Chromaphone, Korg Wavestate, Korg Gadget, VirSyn Addictive Pro. Plus a variety of sequencers and arpeggiators. No Al.
“All the busy little creatures Chasing out their destinies Living in their pools They soon forget about the sea” -Neil Peart, “Natural Science”
Mastered by Angel Marcloid at Angel Hair Audio. Art by Max.
Label Description: Waxing Crescent is very happy to announce the new project from xlmxkhfi (al-makhfi, which translates to the hidden one). Based in Beirut, Sarah Huneidi is an editor and audio visual artist, and is co-founder of Shatr, a collective that aims to excite, nurture and showcase experimental modes of poetry and literature. I discovered Sarah thanks to Clair (HotGem), and listened to her EP ‘afterthought’ on VV-VA, which showcases ambient, dream pop sounds, produced through processing textures, vocals, and melodies on both hardware and software.
I didn’t set out to make an album. I set out to survive some long, stressful nights.
I tend to take on many projects at one time, often too many and this album came from a place I don’t talk about much anxiety and isolation. I made Tired Monster during a period of serious burnout, physically, creatively, and emotionally. Not the loud kind, but the slow, creeping kind that wears you down until you barely recognize yourself. In between albums, and starting a record label, the music started as a way to process that. It’s the sound of pushing forward when you’re running on fumes, of feeling heavy but still restless. The “monster” in the title isn’t a villain, it’s the tired version of yourself that refuses to give up, even when you kind of want to.
This album is my most personal work yet. It blends my love for cinematic sound design with the darker beat driven textures I’ve always gravitated toward. You’ll hear ambient decay, distorted rhythms, and moments of tension and release that mirror how I was feeling while making it.
There’s no single genre here it’s my hybrid of cinematic electronic storytelling, crafted in isolation and shaped by late nights; the need to process life without words. I hope these tracks feel like a mirror, or maybe a companion.
If you’ve ever felt overwhelmed but couldn’t slow down… this one’s for you.
Thanks for listening to what I couldn’t put into words.
Music For The Rest Of Us 