Hey, I'm back from touring with Autechre and didn't get the chance to record any of the sets so i did this one at home to represent what i was playing each night!

WTFLOL - 10 TFN
SHIP SKET - LIMBO
TRACKERMATTE - SUNSPIRE
TRACKERMATTE - NEMERBIM
JODEY KENDRICK - PUT OUT 43
SHIP SKET - MIDNIGHT
TRACKERMATTE - W HI HATS
KINGTRIPS TWO
THE TUSS - DEATH FUCK MENTAL BEATS
WTFLOL - KAPTCHA ACID
THE TUSS - SYNTHACON 9
JODEY KENRICK - BAFFLE
BEWWIP - ABCD
VYTEAR_LABIR DAY
AFX EDIT
THE TUSS - LAST RUSHUP
VYTEAR_E
SOUNDMURDERER MEGA MIX

Enjoy!!!!!!!!!

MARK BROOM_AUTECHRE TOUR MIX_2025

Andrew Hargreaves, the man behind projects such as Tape Loop Orchestra & a founding member of The Boats, joins lempuyang under his Beppu alias. Off the back of a 2xLP re-issue of his earlier works on Organic Analogue earlier this year, Andrew presents 'Objects', an outstanding & mature full length that yells future classic. 

For anyone who knows their onions, file this somewhere between Detroit Escalator Company and Bluetrain in your collections.

Beppu - Objects (LPY-24) clips

Another album on lempuyang can only mean another set of remixes. To reimagine 'Objects', we've invited Deadbeat who wraps a cosy blanket around 'Notions', Federsen who takes the stripped dub of 'Ruptures' into 4/4 territory, Merv rework the detroitesque 'Perspectives' into more chord-driven dub shenanigans, and Ohm & Octal Industries provide a hard hitting yet ethereal take on Assertions to close out.

Beppu - Objects Remixes (LPY-24.1) clips

opening track Kesksuvi from new album Kriiva

You don’t have to read the press release for Rafael Anton Irisarri‘s latest opus, Points of Inaccessibility, to know all of its conveyed emotion. It’s already all there. That is the power of music when it’s delivered through the heart and mind by an amazing artist. Sure, there is an interesting background behind this work [and one which you can read on Bandcamp anyway], but for me, it doesn’t matter. When I listened to this album for the first time, I was immediately overwhelmed with its immersive poignant arc, and then I listened to it again, and again, and again… until the four pieces became not just the sounds for the story to be discovered later through these words, but they became the sounds for the story of my own, the one where words are not enough, the one that only speaks in music. This music touches something deeply personal, and then these words come out in abstract. But when you read them, you will know at least one thing: they have been written by a human. They have been triggered by a human. And when two humans speak without words, there is a true and genuine connection. One, which we can’t replace with a digital domain. And as we sink a little deeper every day into a world of artificial emotion, remember that you can return to music. Remember that this music is the key.


Points of Inaccessibility came from thinking about how disconnection feels in an age obsessed with connection. We are constantly online, constantly visible, yet we drift further apart. The real distance isn’t geographic anymore, it’s emotional. We mistake connectivity for community. The more we share, the less we seem to feel. This album is about that strange loneliness that hides inside constant communication, a loneliness that hums quietly beneath the surface of everything. The record isn’t nostalgic. It’s about the way the present is haunted by all the futures that never arrived. We live inside systems that promise connection but deliver repetition. Everything loops, nothing resolves.

— Rafael Anton Irisarri


The album is scheduled to be released on February 6th, 2026, via Irisarri’s own Black Knoll Editions. Preorder the beautifully mastered limited edition 12″ by Stephan Mathieu at his Schwebung Mastering, with a bleak yet stunning cover art by Jaco Schilp. Once again, you can grab the digital and vinyl versions directly from Irisarri’s Bandcamp. Don’t sleep on this one.

https://irisarri.bandcamp.com/album/points-of-inaccessibility

Points of Inaccessibility

Breaking the Unison

TRACK PREMIERE : Rafael Anton Irisarri - Breaking the Unison

Fluid Audio presents 'Broadcasting From Nowhere', the debut album from Ondelunghe, a collaboration between Tokyo-based multi-instrumentalist Hiromu Yamaguchi and Italian composer Guido Lusetti. Conceived not through physical proximity but through distance, correspondence, and quiet exchange, the album feels like a message transmitted across frozen air-intimate, fragile, and partly obscured by static.

Yamaguchi’s contributions-piano and field recordings, carry the brittle tenderness of winter breath. Keys sound as though pressed with hesitation, leaving behind vapour trails of melody that threaten to vanish the moment they form. The recordings themselves crackle and hiss, as if weathered by frost, capturing the small, persistent noises of a world bracing against silence: creaking surfaces, shifting air, something moving just out of sight.

Lusetti’s work-what he refers to as electronic pointillism, does not counter these gestures but suspends them. His tones drift like cold particulate matter, dust motes in a beam of static, circling the piano without ever enclosing it. Occasionally, other voices, Henrik Meierkord’s cello, Ed van der Berkel’s trumpet, Daniele Varelli’s shakuhachi-surface not as performers but as spectral presences. Their sounds arrive like signals from an abandoned transmitter, lingering momentarily before dissolving back into the dark.

The album unfolds slowly, as though aware that silence has weight, and too sudden a movement might shatter it. Notes hang, unravel, and fall away like light snow. The music never insists; it waits. To listen to Broadcasting From Nowhere is to tune into a frequency that feels both familiar and unreachable, a broadcast sent from a place you’re not entirely sure exists, or ever did.

Credits:

Hiromu Yamaguchi: piano, field recordings
Guido Lusetti: free electrons, found voices

Henrik Meierkord: cello 
Ed van der Berkel: trumpet
Daniele Varelli: shakuhachi 

Mixing and mastering: Hiromu Yamaguchi

www.fluidaudio.co.uk

Ondelunghe - Rust Nostalgia

Industrial Sunshine 06/12/25

The following track originally premiered on Headphone Community. Join us now for as little as $1 a month and get early access to unreleased music, in-depth interviews, and exclusive download codes for lossless albums. Plus you get to spend time with a community of music lovers and the musicians themselves!  https://www.patreon.com/HeadphoneCommunity

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Joachim Spieth is a German electronic music producer known for his deep, highly textural, atmospheric ambient music and deconstructed, sometimes dubby, hypnotic techno. His sound encompasses everything I love about Kompakt, where he initially appeared as part of the celebrated Pop Ambient series. In 2007, Joachim founded his Affin imprint, on which he showcases many of his own works, collaborations (with Markus Guentner, warmth, and, yes, zakè), and other solo artists (Gustavo Lamas, rhubiqs, Droneghost, to name a few). 

I covered plenty of Affin releases on HC, and I highly recommend getting lost in the discography on Bandcamp. I also interviewed Joachim exactly a year ago (in December of 2024) and published this In the studio with Joachim Spieth on Headphone Commute. But today I want to share with you his latest piece, titled Rephrase, a single track (for now), which Joachim offered up exclusively to this community [and yes, he's lurking here in the background].

"This piece emerged during preparations for a live set. It is composed of fragmented elements drawn from various previously released tracks, intricately interwoven and transformed through a series of modulators evolving over time. While certain passages may sound familiar, the result is not a “version” of any existing work, but rather a hybrid composition — a fusion of multiple fragments recontextualized into a new and autonomous form."
 -- Joachim Spieth

HEADPHONE COMMUNITY EXCLUSIVE: Joachim Spieth - Rephrase

Fluid Audio is proud to present 'arthur & jeremias', the forthcoming album from Danish composer and sound artist øjeRum - a quiet, introspective work named after two characters from The Castle, Franz Kafka’s unfinished and haunting novel.

Like Kafka’s world, 'arthur & jeremias' exists in a space of uncertainty and longing. It drifts between presence and absence, where meaning is sensed rather than stated. The album unfolds as a slow sonic exploration, fragments of memory, half-remembered rooms, and corridors that seem to lead nowhere and everywhere at once.

Dusted loops circle gently, worn at the edges. Tape hiss breathes between notes. Electronic phrases appear like passing thoughts, only to dissolve again into ambience. There is a deep sense of nostalgia throughout, not for a specific place or time, but for something just out of reach, hovering at the edge of consciousness.

Rather than telling a story outright, 'arthur & jeremias' invites the listener to inhabit a mood. Repetition becomes ritual. Small imperfections are left intact, giving the music a fragile, human quality, as though the recordings themselves are artifacts uncovered from another era.

This is music that rewards patience and stillness. It asks for attentive listening, for surrender to its quiet pull. Like The Castle, the album resists resolution, finding beauty in ambiguity and tenderness in restraint.

The album is mastered by Ian Hawgood, whose sensitive and understated approach preserves the music’s intimacy and dynamic range, allowing the dusted loops, tape hiss, and fragile melodic fragments to remain unpolished and alive - faithful to the album’s quiet emotional core.

Released through Fluid Audio, 'arthur & jeremias' will appear as a limited, hand-assembled physical edition, created with the same care and attention to detail that defines the label’s ethos - a tactile companion to an intimate and reflective listening experience.


arthur & jeremias

DNGLS may initially sound like a new or previously ‘undiscovered’ artist, but behind the alias, you will find Maxime Dangles, a French producer whom I’ve showcased before. I wish I could attribute the music on La route des Alpes – 1921 to a specific genre. But, as usual, there are no categories here. Suffice it to say that if you like Burial, you will enjoy this journey through the Alps. Yes, one would think that once Burial ripped the band-aid off his particular take on garage meets dubstep meets ambient, distilled through a nocturnal and emotionally-haunted electronica, everyone would jump on that bandwagon, and follow through. But, for one reason or another, this wasn’t the case. And yet, when you listen to Dangles’ second track on the album, “Ascension” or “Rouche & Glace”, you’re immediately transported to those murky days of Untrue (and damn, Burial’s self-titled turns 10 years old next May!). But back to La route des Alpes. This album is actually a film score, and was commissioned by the Scène Nationale du Lux in Valence for a cine-concert on André Bayard’s 1921 silent film. This is a journey through the regions like Évian, Col du Galibier, and Mont Blanc. And although we don’t have the silent film, we’ve got this music for you. “Epic flights echoing the grandeur of the landscapes, a deep sense of nostalgia, darker tracks shaped by the harshness of the elements, later contrasted by the lightness of clearings traced by his synthesizers, a fragile, skin-deep composition elevated by immersive and masterful sound design.” I liked this album a lot, and I was initially planning to premiere a track for you on here, but time slipped by, as I got swallowed up by Headphone Community, where I am spending most of my time and energy these days. And that’s all good, since now you get a dedicated write-up. Pick this one up from the French Lifeguards / IFT imprint.



DNGLS - Roche & Glace

Taken from the  album 'The Nearest Exit' out now on Zozaya/Signal.

Pre-order: https://memorydrawings.bandcamp.com/album/the-nearest-exit

The Nearest Exit

Memory Drawings is the beguiling, instrumental project of Minneapolis raised, Morocco-based hammered dulcimer player Joel Hanson, erstwhile Hood guitarist/multi-instrumentalist and sometime Declining Winter main-man Richard Adams, Brave Timbers violinist Sarah Kemp alongside Hood's Gareth S Brown and Chris Cole (Manyfingers/Movietone). Debut album 'Music For Another Loss' was released on Second Language in 2012 followed by 'There Is No Perfect Place' on Hibernate in 2014. Their new album 'The Nearest Exit' is out on Zozaya/Signal in September 2017.