Next up on Mesh is Throwing Snow’s ‘Jackals’, a five-track EP drawing on echoes of UK subcultures.

Written in Ireland late last year with the London 2010s in mind, ‘Jackals’ is Throwing Snow’s love letter to his time spent there, tapping into a detailed web of sounds and styles through a personal lens, but skillfully produced to resonate with many. Locating memories in a transient city that is constantly reconfiguring itself, each track is an attempt at honouring fragments of recent, but seemingly distant, musical history. Taking us from DMZ at Brixton Mass to FWD at Plastic People, or Future Garage Fridays in Soho (IYKYK) to early days of NTS, the EP captures some of the fleeting moments that continue to play a significant part in the city’s sonic patchwork.

Production-wise, all the tracks share the same sounds twisted in different directions. The hats are vocoded with noise and random LFOs, and much like the chaos of London, every bounce has a unique pattern.

Opening track ‘Jackals’ walks the line between dub and UK bass, quickly overtaken by a wonky synth lead that spirals eternally upwards. ‘Ohnein’ jumps in with a massive pad swirling above a half-time step. In Throwing Snow’s own words, ‘I had to check with Martyn whether I'd ripped him off, turns out I hadn't, but it's a heavy head nod crossed with Un Vingt from my first 12"’. ‘A Cloud Mountain’ - a nod to the timeless James Holden remix of Nathan Fake’s ‘The Sky Was Pink’, leans into a maximalist progression of deep chords and fractured synths. ‘Forged’ steps into a weightier space with sparse drums driven forward by a deep cut of bass and twitchy echoes. Rounding things off, ‘Path Dependency’ speeds things up with touches of DnB in the drums, distant echoes in the forefront and the occasional sub wobble holding things together.

‘Jackals’ drops Friday 12th September via Mesh. 

@https://soundcloud.com/throwingsnow
https://ffm.to/jackals

BUY RELEASE

Throwing Snow - Jackals

Jackals

A Cloud Mountain

Forged

Path Dependency

Ohnein

If you liked it, a like or follow would mean a lot. Oh, and a repost would be amazing too.

FUJIWARP 19

Cratorch

1979

Houzz 14

WVLT is the newest sonic addition from https://soundcloud.com/wndfrm (Portland-based, Tim Westcott), an album of eight distinct explorations of micro-rhythmic IDM.

Tim Westcott’s practice is rooted in an acute, nearly forensic attention to sound. Subtle tones, sculpted drones, and lean percussive gestures, always pursued with a patient ear and obsession with sound design. 

With previous releases on Prologue, Home Normal, and Dragon’s Eye Recordings, and several live performances at Mutek, a new album from Tim is a rare yet welcome occurrence. The conceptual approach for WVLT began in 2021, mixing synths with drum machines and granular processing. Lightly arced structures slip between gates of rhythm, shifting pulses, translucent washes, and disquieting residue. There’s a precision to the hesitation and an insistence in the space between notes, a deft balance of raw improvisation and sculpted quietude.

An exercise in immediacy and response, each track builds and unspools, like form in fleeting motion, driven by the moment’s tonal contrasts, micro‑rhythmic interplay, and slight gestures that alter entire planes of listening. It’s minimal without sparsity, intense without density.

Available digitally and on limited transparent dark blue 12”  vinyl on September 26th 2025. Mastered by Taylor Deupree @12k Mastering and featuring artwork by Noah M / Keep Adding.

WNDFRM / WVLT (ASIPV056) [Previews]

The pulse continues.

HYBRID PULSE 2 marks the second chapter in Sonora Destroy RecordsThe second volume of our compilation series is finally here — 12 tracks from artists across Colombia, Venezuela, the U.S., India, Australia, Portugal and the Netherlands, pushing the boundaries of club music. From mutant bass to polyrhythmic techno, from twisted breaks to futuristic club experiments, this release is a wild journey into new sonic territories.

This edition brings together: Cagua, Lucid Distraction, Frenquency, Bone Box, arni, Cacumen, Fourtwenty Sound, Paula Velez, Myledo, Bønehead, JUNЖIES, and Mijok. Each track is a statement, each artist adding their own voice to the hybrid pulse of today’s underground.

The artwork was created by KAYU, weaving layers of meaning and energy into the visual identity of the release.

By getting the digital or vinyl release on Bandcamp, you’re not just buying music — you’re directly supporting the artists and helping us keep this project alive.

Also the vinyl limited vinyl edition goes one step further: it comes with a stunning Augmented Reality experience by Muluc Visual Lab, transforming the record into a living, interactive artwork that blurry the edges of music, timeless art and diital craft.

Ultra-Limited Physical Edition (20 for the world)

Sonora Destroy Recs continues tracing the evolving edge of rhythm, sound, and resistance. 

BUY on BANDCAMP

PREMIERE : Lucid Distraction - The Edge

Artist: IFS meets AGF
Title: East-West Logistics
Label: guides
Release date: 10.10.2025
Format: digital / cassette (edition of 60)
Mix & mastering: IFS
Artwork: Marta Sieczkowska

IFS meets... is a series of three releases in which the IFS duo (Krzysztof Ostrowski @kook-on, Mateusz Wysocki @fischerle) produce, curate and host guest vocalists. The first publication in the series was an album recorded with Japanese artist MA. The next is a record created with activist, sound artist and vocalist @agf-antye-greie known as AGF. The last album planned in the series will be a release featuring Wojciech Kosma - @spalarnia.

The impulse to record the album with AGF was a project as part of the Bydgoszcz Experiment Studio, during which the three of them - Ostrowski, Wysocki and Greie-Ripatti - met for three working days in Bydgoszcz, with their final event being their performance together at the cult club MÓZG. The material recorded during the rehearsals and concert was what the artists used to create the album. East-West Logistics is a release that focuses many different strategies and experiences. Such as the fact that Greie-Ripatti, Ostrowski and Wysocki are all artists who come from Eastern Bloc countries, whose memory goes back to the regime changes of the 1990s. Another common fact is that all three live far from urban metropolises, in small towns. This is worth keeping in mind when you start listening to East-West Logistics. 

On a musical level, the artists used every possible excuse to transform their time spent together into verbal and sound material. Recorded junk sounds were incorporated into the album's audiosphere, fragments of conversations between AGF, Ostrowski and Wysocki became part of the lyrics, and the artists' city walks proved to be an important framework for AGF's poetic stories. Antye Greie-Ripatti, returning to outlines after her 2017 instrumental EP, this time focuses primarily on her voice, which becomes the focal point of the compositions created by IFS. 

East-West Logistics can be read as a horizontal movement of meanings: between subject and object, between world and individual, between present and past, between voice and sound, between east and west. On the one hand, AGF leans into psychogeographical intuition – she creates spaces for herself, inhabits them and sets new borders for private experience (the title tracks East-West Logistics and Semi-periphery). On the other hand, there is a touching and personal reflection (Limits and Force to feel). There is also room here for a more abstract and experimental formula (Neuro.logical and C– operator). In terms of sound, IFS try not to interfere with the field of view created by AGF. Although the musical texture is sometimes dense, it provides a well-balanced complement to Greie-Ripatti's voice.

While the first album in the IFS meets... series was a combination of an atomised language and post-footwork rhythms, East-West Logistics operates more sparingly. In contrast to MA's frenetic and jittery expression, AGF's voice oscillates between spoken word and singing, on the one hand being calm and attentive, and on the other precisely describing the observed world. IFS, by contrast, has managed to produce a soundscape that simultaneously complements the Greie-Ripatti narrative, but can also function as an independent sound story.

IFS meets AGF - East-West Logistics

READ > https://inverted-audio.com/premiere-black-point-recursive 

American producer James Cook has quietly built a reputation for unhurried yet deeply considered electronic music. First appearing on Greta Cottage Workshop back in 2013 with his debut CD album 'Sleep Deep, Mountain King' and later stepping out under his Black Point alias for two vinyl releases on Cologne’s revered Out To Lunch, Cook’s productions have always carried a sense of clarity and patience.

Long-time readers may remember that in July 2020 we published IA MIX 336 Black Point, a revealing mix and interview that offered insight into both his background in music and production techniques. That mix hinted at the directions he would later explore, and 'EP 2' issued through Tokyo-based @format-records (pronounced "format"), extends that trajectory - gathering fragments of the past decade into a finely detailed four tracker.

Black Point - Recursive [FORM@ RECORDS]

Analogical Force welcomes back @moy for his third outing on the label. ‘Ghostware EP’ delivers four tracks that push his hybrid of braindance, acid and electro into bold new territory.

Side A opens with Kernel Panic, a pacy cut that flips between breakbeats and 4/4 drive, punctuated by TR727 whistles and percussion, before Megazone dives into chopped breaks, thick bass and a conversation between a 303 and FM-modulated 101. Together they form a high-energy pairing that refracts rave DNA into something sharper and more futuristic.

On the flip, the title track Ghostware goes widescreen with heavy bass, intricate breakbeat manipulations, the unmistakable Korg M1 piano and soaring melodic acid, all tied together by wistful pads and sudden reverbs. Voidwave closes the EP on a darker, twisted note, with slithering AFX Station basslines, constantly evolving acid, and breaks chopped into timing flips that constantly disorient the rhythm.

With Ghostware, MOY refines his sound while embracing new techniques and sharper contrasts. It’s his most progressive and fully realised work to date for Analogical Force, reaffirming both artist and label’s place at the forefront of modern braindance.
—
PREORDER 12" BLUE MARBLE VINYL + DIGITAL: https://tinyurl.com/4nmdvru8
—
A1   KERNEL PANIC                              05:13  
A2   MEGAZONE                                  04:18
B1   GHOSTWARE                                 05:26
B2   VOIDWAVE                                  04:35
—
C+P Analogical Force 2025. All rights reserved. 
Written and produced by Jonny Moy in Norwich / UK
Mastering by Carlos Koschitzky at Koschitzky Studio, Gijón
Design by Geometric Love, UK
Distributed by Clone, Rotterdam 
—
www.analogicalforce.com

Preorder Now

[AF064] MOY 'GHOSTWARE EP' [2025]

Release date: October 23rd, 2025
Released by: Self-released
Written by: Sha Ru
Mastered by: Ten Eight Seven
Artwork by: Sha Ru, BUBU

Vibra Vibra is a new series by Sha Ru, a duo perpetually in nomadic motion, renowned for their deft blend of spoken word and bass-heavy electronics. This first release turns inward on music’s physical pulse, tracing how frequencies ripple through bodies and spaces, shaping the way sound is felt as much as heard.

Low-end waves move like invisible currents — compressing the chest at 50–60Hz, sinking through the gut and legs at 20–40Hz, buzzing in the skull at 60–100Hz. Each track maps these zones, treating bass as a tangible force that sculpts both body and room.

Sha Ru - Above, Below, Around

In the clouds

Mesh - the platform for exploring the intersection between music, art, and
science. 

For label enquiries please contact rosy@thewildseeds.com

Founded by London-based artist and electronic producer Max Cooper, 
Mesh isn’t a typical record label, more an avenue to pursue ideas and 
collaborations with creative people who are pushing the boundaries of their
disciplines.

A Cloud Mountain

Mesh

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