As a tradition at the end of the year, we summarize our music with the compilation RE2025VIEW. We have chosen 20 tracks that currently reflect the sound and mood of the DP-6 Records label. With this accumulated musical baggage, we are ready to embrace 2026, where new releases and discoveries await us.

Thank you for supporting our music and our work. We wish you a Happy New Year!

Music unites!
DP-6 with love!

00:00:00 DP-6 - Sentient (Intro dub)
00:04:19 DP-6 - You Are Always In My Heart
00:08:29 DP-6 - Passage Of Time
00:12:32 doradice. - Dope (DP-6 remix)
00:16:15 DP-6 - Fernweh
00:20:26 DP-6 - Khosta
00:23:58 PTTY, LR - Sleepy
00:27:33 DP-6 - Kintsugi
00:31:50 DP-6 - Sanctuary
00:35:10 DP-6 - Shadow (Day Mix)
00:39:29 Shapeless Lab - Immersive
00:44:03 DP-6 - Turquoise (Forty Cats Remix)
00:47:29 DP-6 - Aguas Blancas
00:51:25 DP-6 - Impassive
00:54:47 Deeplastik - All You Need (DP-6 remix)
00:58:13 DP-6 - Winds Of Saturn (Second Cloud Deck)
01:01:47 DP-6 - Caveman
01:05:35 DP-6 - After The Afterparty (Indigo Dub)
01:09:06 DP-6 - Peace Of Mind
01:10:13 DP-6 - I Will Remain

▶ Buy:
https://dp-6.bandcamp.com/album/re2025view
https://www.beatport.com/release/re2025view/5706663

★ You can support DP-6 and get early access to new works:
🤝 Patreon www.patreon.com/dp6
🤝 Boosty boosty.to/dp-6

✉️ Contact: dp6project@gmail.com
🎧 DP-6 Telegram channel: t.me/dp6music

RE2025VIEW, mixed

Early this morning, right when doing so became legal according to local noise ordinance standards, construction began down the block, by “down the block” meaning what was being attacked by a small army of workers was the entire next block and then continuing around its far corner and down the subsequent hill. The rattling was constant, like the world’s largest coffee grinder on a coarse setting. I set about recording the goings-on, but too many other morning noises conflicted. I set down my phone and got to work. The phone and I were eventually drawn back to the window by the sort of beeping that signals a vehicle is backing up. Each time this bulbous alert sounded, everything else quieted down: traffic, footsteps, construction clatter. It was real-world sidechain, in which the relative seeming volume of one set of sounds seemed to drop in inverse correlation with the rise of another sound, in this case the warning beeps. I never did manage to get a good recording of the rattle caused by all the hammering and digging, but if there is anything I am confident of, it is that this morning will not have been the last of that.

Recorded on an iPhone 17 Pro at 9:20am on Thursday, December 19. 2026.

Block Chain

The drone and click and whir and rattle of the devices that populate home often recede into the background — at least until the machines emitting those sounds break. When they break, the rupture in service is evidenced by a change in tonality. Drone becomes whine, click becomes clatter, and whir becomes squeal. Until then, the sounds attain a level of familiarity that verges on the audible realm’s equivalent of near invisibility. In many cases, the sounds are not merely sounds, but hints at sounds, ventures toward sound. The noise of a dishwasher midway through a cycle hints at the internal oceanic turbulence. Same goes for a dryer and for a refrigerator. I wondered what our refrigerator sounds like from the inside, so I set my phone to record, put it on a shelf between some milk and hummus, and closed the door. The result, the fridge's internal monologue, feels like something in motion, like a long, slow conveyor belt going off into the distance. If you set this file to loop, the seam created when it repeats will display just how much higher the tone is at the end of the recording than at the beginning. This snippet is just a part of a longer recording, during which the pitch shifting is even more varied. The inner life of the refrigerator is, indeed, more compelling than might be suggested by the light drone one hears through walls from several rooms away.

Recorded on an iPhone 17 Pro at 7:57am on Friday, December 19, 2026, in San Francisco’s Richmond District.

Internal Monologue

Artist: doradice. (Russia)
Name: Exclusive Guest Mix for DP-6 Records (Part. 4)
Genre: Deep House
Release Date: 22.12.2025

doradice. ‒ @doradice
DP-6 : https://soundcloud.com/dp-6

CONTACT (DHM):
Email — deephousemoscow@hotmail.com

Follow us:
www.facebook.com/deephousemsk/
www.instagram.com/deephousemoscow/
vk.com/deephousemsk/

doradice. ‒ Exclusive Guest Mix for DP-6 Records (Part. 4)

I go through these occasional spells of making frequent little field recordings of everyday sound. The word “spell” is appropriate, because the making of field recordings opens up the experience of listening in a way that is spellbinding. The more you record, the more you pay attention for things to record, and in turn the more sounds register with you, whether you elect to record them or not. Such was the case when I used the bathroom at a favorite Mexican restaurant after a fine meal of enchiladas, during which we were entertained by a fantastic mariachi trio performing on worn old instruments: an acoustic guitar, a massive guitarron (the six-string acoustic bass), and a trumpet. Each was battered from years of use, and the music sounded all the better for it — and so my ears were tuned to the opportunity afforded by beat-up machines when I locked the bathroom door behind me. The tiny, clean space was irradiated by this pummeling churn, the mix of hum and rattle that is the industrial-strength fan running at high speed. Only later, when listening back, did I even notice the clatter of dishes from the nearby kitchen, so lost was I in the hypnotic whir.

Recorded on an iPhone 17 Pro at 7:57am on Sunday, December 21, 2026, in San Francisco’s Mission District.

Sound Bath(room)

Most of the field recordings that I post are almost exactly as I receive them at the end of the recording process: I hit record, I hit stop, and most of what happens in between is what I share. Which isn’t to say the audio is “pure” by any means. The device I elect to use for the recording, the time and circumstances when I choose to record, the (usually) continuous clip of 30 seconds I select from within the longer recording — all of these elements, among others, are beyond the bounds of anything that might be self-described as purism. The editing process in particular lends an aspect of self-reflection (even, at times, of what George Eliot taught me to term self-rebuke). When recording the sound emitted inside my refrigerator, for example, I immediately chopped off both ends of the process: first, when I closed the door after placing my phone inside the fridge, and second, when I opened the door to extract my phone. In between those mirror-image poles was a minute or so of sound, from which I then extracted what seemed, to me, like prime climate-controlled droning. Later, however, I kept thinking about the recording process, and I returned to what hadn’t made the initial cut. I combined the two ends into one half-minute whole. The clunky percussion of the fridge drawer and door being shut and, then, opened has a industrial-grade vibrancy. While its jittery, stuttering aspect places it in stark contrast to the monotone of the internal hum of the fridge, these two sets of sounds share a welcome practical simplicity, the beauty of an everyday mechanism at various stages of its utilization.

Recorded on an iPhone 17 Pro at 7:57am on Friday, December 19, 2026, in San Francisco’s Richmond District.

Start Stop

There was a break in the storm, a break between storms. A few days earlier, fire had taken out the city’s power, and now water threatened to do the same. The “atmospheric river,” the “Pineapple Express,” the potential “bomb cyclone” — so many colorful names for what amounted to endlessly grey days. An urban hike to the bay served as an unintentionally ironic way to spend the time when rain wasn’t prohibitively pouring — a walk between the raindrops, as the song goes. Being outside felt good, even as the gathering clouds encouraged a near-term retreat. At the water, the waves seemed more powerful than usual, a microcosm of the week’s weather: fierce pounding, followed by relative quiet, then more water-on-land violence. They're called “breakers” for a reason. I raised my phone and hit the red record button, and almost instantly a distant emergency vehicle’s siren inserted itself, underlining the severity of current circumstances. Listening back to the recording, after I got home, I knew to expect that siren, and still I had to restart the track a few times, because I wasn’t certain if the siren I heard was coming out of my speakers or leaking in from outside, where clouds grew darker by the minute.

Recorded on an iPhone 17 Pro at 3:56pm on Wednesday, December 24, 2025, at Baker Beach in San Francisco.

Storm Breakers

▶ Buy:
https://dp-6.bandcamp.com/album/steel-blades
https://www.beatport.com/release/steel-blades/5754545

★ You can support DP-6 and get early access to new works:
🤝 Patreon www.patreon.com/dp6
🤝 Boosty boosty.to/dp-6

✉️ Contact: dp6project@gmail.com
🎧 DP-6 Telegram channel: t.me/dp6music

Steel Blades

Experiment based off of the Zelda Forest Temple theme (http://www.youtube.com/watch?v=NXn88mY50XM). Used SoundMagic spectral (http://www.michaelnorris.info/software/soundmagic-spectral.html) for stretched vocals, OP-1 for the drumkit. Vocal stutters via Izotope's Stutter Edit (http://www.izotope.com/products/audio/stutteredit/)

Temple Backspin

esbie