SIDE B
B1-JA
B2-SHILL
B3-REI
B4-OHW
B5-RERU
B6-SOLEKARA
B7-ENE

MA - VWV Side B (preview)

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

Best known for his cinematic jungle excursions, Seb Uncles returns to Livity Sound for a second extended release of introspective electronics with a strong influence from mystical sources. 

As Eusebeia, Uncles has developed a strong, independent presence in modern electronic music defined by a prolific run of deep-diving, breakbeat-driven albums and EPs. In 2022 he released Cosmos on Livity Sound, a mini-album that zoomed out to a more reflective strain of electronica shaped by atmospheric synth lines in the hauntological vein of Ghost Box, Pye Corner Audio et al. 

The Wyrding Way finds Uncles delving even deeper into this area of his output, keeping drums to a bare minimum and focusing instead on powerful melodic lines. There are still considered soundsystem moments that connect with Livity's long-standing sonic focus, not least the subtle dub inflection of EP centrepiece 'By The Light Of The Moon'. Elsewhere Uncles leaves the melodic parts unaccompanied, letting the phrasing and emotional pull of the title track tell its own story. 

Balancing light and dark elements and drawing inspiration from personal experiences and perspectives, combined with spiritual and existential observations, Uncles capitalises on the evocative streak in his studio practice to deliver a timeless, immersive experience unlike anything else in his considerable back catalogue.

Eusebeia - By The Light of The Moon

TRISTAN ARP 23.9.25

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]

Upon announcement of the next Bait release, Tighe, Pianeti Sintetici & Yogg have all 3 recorded a 20 mins mix each showcasing their own output.

Bait présente Tighe, Pianeti Sintetici & Yogg (100% production mixes) - 1er Octobre 2025

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]


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)

Here’s DJ JM with a mix of sleek & hypnotic 00s tech house and groovy house tunes.

DJ JM @ Drift Radio 02-10-25

ITX040 DARIO ZENKER - CONFIGURATION SUPPORT

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

complex structures | rhythmic grooves | minimalism
label owner @paide

MA - VWV Side B (preview)

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