A1_Mind Machine

Wavelengths

Falling

Plexus remixes (Beatrice M. + Herbalistek + Pinch + Katatonic Silentio) snippets (out 27.11.25)

CAIV deliver rigorous, syncopated machine rhythms on the Lives EP from U.S bi-coastal collaborators Israel Vines and Camile Altay, following on from their formidable debut EP Dwellers on Tresor last year.

Lives is four finely calibrated cuts riding a diverse tempo range, unified by rich harmonics and resonant percussive layering over veiled bass textures, where distortion becomes detail.

https://ooda.bandcamp.com/album/lives-ep
https://clonedistribution.com/release/80596

Observe-Orient-Decide-Act

CAIV - Lives

AN ATLAS OF LOSS

Do minerals dream of becoming semiconductors? Do they yearn to carry charges, amplify, switch, and convert energy into emotions comprehensible to humans? And what if, from the darkness of the underground, they had been listening to us sing in caves before the emergence of the first flute? Could they have guided us, through the course of history, to find them, extract them, and create new sounds through sinusoidal waves, to form valves and bend circuits?


If so, minerals would transition from what philosopher Eugene Thacker defines as the ‘planet’—that virginal and unreachable realm for humans that we study through geology, paleontology, and environmental sciences—to the ‘world,’ the space we inhabit, interpret, and synthesise in our daily lives. Sadly, we only remember the world when it erupts violently, through climate catastrophes or when a new virus emerges. Sometimes a tsunami collides with a nuclear plant, or viruses are cultivated as biological weapons in high-security laboratories, provoking a deep biological anxiety, hard to quell, which we all feel beneath our skin.

There exists a third realm, disconnected from both the world and the planet: the ‘earth’, an immense, dense rock floating in space alongside other planets, situated in the cosmological dimension. Relating to the earth is so complex that we only do so through theoretical speculations of a scientific nature or through science fiction, interweaving until one becomes the prophecy of the other, in an infinite, pendular dance. Beyond the darkness of space and Lovecraft’s cosmic horror, the fantasy of human extinction is the most recurrent: to reach a collapse so devastating that we do not survive it, even though the earth does, without us.

In a world where we quantify everything through body sensors, financial algorithms, nanometre-scale robots, and surveillance drones—a world in which everything that can be domesticated and controlled can also be commodified—a superior artificial intelligence would survive the collapse of the species (some speculate it might even cause it) and learn from our mistakes, thanks to our obsessive gathering of data.

Long after our voices fade, minerals will persist in the darkness of screens, in the silicon of chips, and in their pure form, still unexploited underground. Over the millennia, this intelligence might piece together fragments of our reasoning, as if an alien civilization finally connected with one of our spacecrafts loaded with messages cast into the void. It would sort through endless streams of data, unable to grasp the depths of emotion behind what it quantified, recreating simulations of our past, stripped of the nuance that once defined us and conducting experiments in sandboxes.

Some remnants of our existence—faint echoes of forgotten beauty—would be pieced together in an atlas of loss, buried beneath layers of numbers, decayed bots, and corroded hard drives. What will follow? Perhaps bison will once again roam—trotting to the strange pulse of techno, their ancient forms framed by the ruins of our cities. Buildings will crumble, slowly dissolving under the soft touch of ambient music, and a thousand flowers will bloom with that ancient music created through electrical signals and computation.

7 songs for a future both improbable and inevitable—a final message from a world lost to itself, from planet Earth to planet Earth.
A1 by Alex Dickson, Joe Baker.
A2 by Olivier van der Lugt.
A3 by Andre Lira.
B1 by Flore Morfin.
B2 by Jdotbalance.
B3 by Charlie “Eric” Baldwin.
B4 by J. Coles, P. Tipler.


Mastered by Pedro Pina.
Artwork by Aleix Font.
CEEXYZ05.
©️ & ℗ 2025 Lapsus Records.
ceexyz.bandcamp.com

Buy Link (Bandcamp)

Pugilist & Forest Drive West - Polygon [CEEXYZ05]

Two hours of breakneck speed mixing showing everything Henry and his peers have coming up

Henry Greenleaf: 2nd October '25

G'day g'day, another 6 months has gone by since the last Pugcast so I felt it was only natural to record the final mix in the series to showcase some of the stuff I have been working on and have coming over the next year or so!

It is crazy even with 3 full 1 hour production mixes I still haven't even covered half of the music that I am sitting on currently.

Inside this mix is a blend of dubby and musical vibes across the bpm spectrum! Thanks for all your support with Ruff Kutz lately, at a time where it's proving more challenging to create physical media - you keep the culture alive!

Debut album in Feb.

Cheers - Pug

Pugcast Vol 3


Beatrice M. - ‘Midnight Swim’ EP / 23.10.25 / TEC125
Bandcamp: https://beatricem.bandcamp.com/album/midnight-swim-ep

Tracklist:
1. Oval
2. 132 Trek
3. Midnight Swim
4. Slowly Drifting ft. Sub Basics

For their debut EP on Tectonic, Beatrice M. drops four deep, dubby cuts bringing weighted bass energy together with techno sensibilities and advanced percussive manoeuvers. Elegant but powerful tracks built for sound systems and curious ears!

Midnight Swim is an ode to the “softer” club sounds, repetitive aquatic grooves that remind Beatrice of their go-to sport: swimming. No phones, just back and forth in the cold water, settling into a mechanical groove. The opening track, Oval, carries its title from the appreciation of soft edges, little distortion, minimal rhythmic pattern.

Upon hearing Pinch’s tune 136 Trek, (itself a nod to Zinc’s 138 Trek), Beatrice decided to name a tune 132 Trek, to continue the lineage of their musical heritage. The tune was already called Trek because it was made after spending some months in London, and realising “everything is a bloody trek”!! 

The EP’s title track is about warm-up music and enjoying the earlier hours of the party - a quick immersion and then time for bed, rather than banging club tracks all night long. Beatrice likes to show up early at the club, watch it fill and then leave as it packs out. Midnight Swim is a dip into a roller. 

The last tune of the EP features Sub Basics, the first artist to have a vinyl release on Beatrice’s own label, Bait, and one of their biggest musical inspirations. Sub Basics’ immersive progressive sounds fit simultaneously in the deep techno world and the dubstep world. A beautiful in-between.

https://www.instagram.com/beatricem._bait
https://www.instagram.com/tectonicrecordings 



Midnight Swim EP (clips)

Our next VA compilation pushes deeper into the exploratory world of Pressure Dome, presenting another collection of forward-facing cuts that straddle introspection and dancefloor energy. Across ten tracks, familiar names and new collaborators stretch the label’s sonic identity into fresh terrain equally suited for immersive listening as for club catharsis.

Opening the release, Caldera & Yushh combine again with “Bubbletrain” a minimal trip round the swamp with momentum is carried by cavernous space and effervescing textures. Breaka & Yushh follow with “Betta With U”, a fluorescent downtempo beauty that tugs on the heart. On “The Grass”, Harry Rodger & Yushh pair lush atmospheres with contradictory shades of beauty and melancholy.

Piezo & Yushh arpeggiated melodies weave through an intricately designed world. Stones Taro & Breaka continue to twist things up on “Flies In The Kitchen” as warped vocals and warm wubs ride over dancehall rythmns and swampy textures. SCG & Dubrunner’s “Building Farm” bring a heady fusion of dubwise stabs and downtempo propulsion on their second outing together. 

On “Cheeky V”, Gramcy & MLE provide one of the compilation’s most immediate club weapons. Stripped-back, precise, and primed for a wiggle. Dubrunner & Yushh link up on “Trash Panda”, a playful yet fierce construction, where skipping acid lines and lush pads meet in off-kilter harmony.

Closing out the release, Roy Mills & Yushh’s “ZzZ” drifts into dreamier territory with warm vocal chops and weightless breaks, before Forever & Human Resources bring things to an intricate, thoughtful conclusion on “What Kind Of Bird Is This” a deep weave of chords and breaks that leaves the compilation in contemplative flight

Pre-Order

Two [Is Greater Than] One - Part 2 (PDCOLLAB002) [clips]

Sub Basics - Untitled 297

PREORDER: https://bighandsbighands.bandcamp.com/album/anti-militarist-dubs

Upstairs Downstairs is a Naarm/Melbourne-based promoter "specialising in wubs & dubz in the club", but now for the first time bringing said wubz to life as a label. 'Anti Militarist Dubs' is a 4-track EP by London-based, Italian-born producer Big Hands, featuring a track by Naarm's own bass heavyweight Pugilist.

'Stolen Land', premiered here, is that very track. 

Undeniably club-focused, sitting between the edge of techno & bass music, 'Stolen Land' has a depth and space that has come to be one of Pugilist's many calling cards. Twisted polyrhythmic grooves and distorted percussion swirl across dubbed out vocals & low-end growls. 

'Anti Militarist Dubs' releases in full as both a limited vinyl & digitally via Upstairs Downstairs' Bandcamp on Friday, November 14.

PREMIERE: Big Hands 'Stolen Land (feat. Pugilist)' [Upstairs Downstairs]

A label featuring releases from: 
- @JXTPS 
- @EdwardRichardsKV
 - LSS 
- @PODimension

A1_Mind Machine

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