◔̯◔
26—06—10
Two Swedes with a Moog each, locked into what sounds like a negotiation between melodic minimalism and pure synthesis drift. Malmberg’s Mother-32 threads repetitive figure-work while Möller’s DFAM adds percussive friction and unexpected timbral shifts—neither player seems interested in consensus. It’s less about modular showiness than the particular tension that emerges when two people aren’t quite playing the same composition.
Eric Malmberg: Moog mother 32
Ulf Möller: Moog DFAM.
Mastered by Daniel Westerlund
26—06—04
Kai Nobuko’s Safe Space does exactly what its title promises without the cloying sentiment—lo-fi chip aesthetics and wooden percussion arranged as something between a lullaby and a music box left running in an empty room. There’s a knowing restraint here that separates it from the usual bedroom-pop-beats-with-Nintendo-filter treatment; the tracks sit still rather than build, more interested in texture than hooks. If you’ve already exhausted your supply of Kero Kero Bonito and Sewerslvt, this lands somewhere adjacent—quiet enough to miss if you’re not paying attention, which is probably the point.
Welcome and relax
this space is the safe spaceA sweet cozy corner of music where curiosity, creativity and kindness come first.
Here you can feel the gentle charm of nostalgic 8 bit soundsOr perhaps feel the spark from the bright tones of a xylophone.
But most of all: Just calm down and enjoy this atmosphere of relaxed playfulness.
On Toxic Chicken.
By 1980, Lennon had spent half a decade out of the spotlight raising his kid—a choice that itself felt radical in rock circles. Double Fantasy documents his attempt to re-enter the studio as a married man with something to prove, alternating his streamlined pop songs with Ono’s more abstract contributions. The result sits uncomfortably between comeback record and artistic statement, neither fully convincing. History remembers the album mostly as a footnote to tragedy, which is precisely why it deserves hearing on its own merits: a document of two artists at odds with their own mythology.
Double Fantasy is the fifth collaborative studio album by John Lennon and Yoko Ono, the seventh studio album released by John Lennon under his own name, and the final one before Lennon's death. Released in November 1980 on Geffen Records, the album marked Lennon's short-lived return to recording music full-time, following his five-year hiatus to raise his son Sean. Recording sessions took place at the Hit Factory in New York City between August and October 1980. The final album features songs from both Lennon and Ono, largely alternating between the two in its track listing. Other tracks recorded by Lennon from the sessions were compiled by Ono for release on Milk and Honey in 1984.
26—05—30
William S. Burroughs Recites Edgar Allan Poe’s The Mask Of The Red Death.
Crisci and Ruhig’s collaboration sits in that liminal space where post-industrial drone meets something almost devotional—synth tones that feel half-buried in tape hiss, stretched across stretches of nothing much at all. It’s the sound of waiting in a room you can’t quite leave, patient and slightly hypnotic rather than blissful despite the title. For those who’ve worn out their copies of Penderecki and found mainstream minimal too clean.
***
I feel
strangely
normal.
***
26—05—23
Two UK veterans circling back to the UK hard house template of the early 2000s—that narrow window when the genre was all urgency, cheap synth stabs, and whoever could make a bassline hit hardest. Whizzkid’s vocals slot into the chaos with workmanlike precision, nothing fancy. Lobsta B’s engineering is crisp enough that you can hear exactly what’s trying to kill you. Not reinvention, not irony—just craft applied to a sound that briefly mattered and now matters again in the way that only overlooked club music does.
UK artists Lobsta B & Whizzkid team up for the first time for the Hardclaw Heaven EP on Sachsentrance. The EP is influenced by the early 2000s sound of UK hard house, bounce and donk. Producer Lobsta B delivers three 150bpm dancefloor anthems, with vocalist MC Whizzkid providing catchy lyrics. The tracks feature old school rave stabs, searing acid riffs and pounding donk basslines.
—
26—05—23
Haslacher’s latest batch of compositions land somewhere between the methodical patience of early Oval and the quietly obsessive world-building of tape culture—patient, iterative work that unfolds rather than announces itself. Fifteen tracks across a cassette suggests economy over sprawl, which fits: these sound like pieces that know exactly what they’re doing within their narrow parameters. Not particularly warm, not particularly cold, just precise enough to make the limitations feel intentional.
Fifteen new compositions from Andi Haslacher, written and recorded over the last years, now available on cassette via BRV.
BB 027, Beatbude 2026 (LC 98619).
—
26—05—22
Blumm’s second outing is a kind of instrumental chamber pop that sits nowhere obvious—folk harmonies processed through modular logic, strings that sound like they’re being played through water, rhythms that breathe instead of pulse. It’s the sound of someone who knows exactly which acoustic instruments to mic and which ones to run through effects, which is rarer than it should be. The warmth is real because the arrangements are patient enough to earn it.
F.S.Blumm returns with his second album on LEITER, WELLEN FORMEN. Built on sublime arrangements featuring Blumm’s signature collection of idiosyncratic instruments, the record weaves together long melodic lines, acoustic timbres, and subtly sculpted atmospheres. It unfolds like contemporary chamber music, while keeping one foot firmly rooted in minimalism. WELLEN FORMEN radiates a sense of social well-being, human warmth, and togetherness as a counterpoint to contemporary isolation: sharing beauty, breathing in unison and connecting, positively.