Hello everyone! We’re back for another round. Our April Selection brings together ten releases, chosen without any particular logic — simply for the pleasure of listening. This time we found ourselves drawn to several albums, whose many tracks shaped a denser, longer listening experience. Enjoy!

---

☉ Mike Parker – Echo Disintegrator [Samurai]

The new album “Echo Disintegrator”, produced by Buffalo-born mastermind Mike Parker, opens April’s selection of our Staff Picks column. Placed at the top of the list in chronological order of release, this record fully earns its position: yet another testament to how a true veteran of the techno scene can keep surprising, innovating and pushing into uncharted territory. Landing once again on Samurai Music, Echo Disintegrator marks Parker’s return to the long-form format. Orbiting the 170 BPM mark, the album sees Parker carve his unmistakable sonic identity into drum & bass architecture, balancing brutalist rhythmic precision with the lithe, surgical frequency work that has long defined his sound. Cuts like Earth Energy Imbalance and Positronic Tentacles lock into a relentless rolling momentum, while Lunar Nocturne, Ghost Rain and the title track lean into half-time space and a low-slung, dembow-inflected swagger — a body of work that is at once ruthlessly functional and remarkably subtle, with a visceral, almost physical quality to its sound design.
[» listen and support here]

---

☉ Skeptical – Blimp EP [Rubi Records]

With “Blimp”, his latest outing on Rubi Records, Skeptical doubles down on the leaner, more austere side of his production craft, offering a stripped-back and almost surgical reading of drum & bass.
The four tracks unfold with a quiet sense of discipline: the structures are taut, the gestures restrained, and every element seems carefully weighed before being placed in the mix. Nothing feels superfluous — dry, uncompromising kicks, basslines that hit with compact precision, and an almost architectural use of space that keeps the pressure constant without ever tipping into excess.
[» listen and support here]

---

☉ Vanity Productions – The Vanity Project [Northern Electronics]

“The Vanity Project” by Vanity Productions, released on Northern Electronics, is a dense, fragmented work that resists any sense of linearity. Through noise electronics, field recordings, and tape manipulation, the LP builds an uneven, layered surface on which sounds emerge and dissolve without ever settling into stable reference points.
The listening experience is deliberately disorienting — closer to a perceptual drift than to a conventional structure. Source and signal collapse into one another, while fragments of contemporary media are reworked into a collage of found sound, environmental interference, and emotional residue.
The result is a dark, introspective record, suspended between Nordic restraint and sonic abstraction: conceived less as an immediate listen than as an immersive experience, a quiet yet insistent reflection that resonates long after it ends.
[» listen and support here]

---

☉ Damos Room – All Shall Go [Long Gone Are The Old Traditions]

“All Shall Go” asks not for attention but for surrender. Damos Room — the trio of Luke Miles, Nicholas Elson and Huw Oleskar (also known as Elijah Minnelli) — have created an album that finds its meaning in what has been worn away rather than what has been added. It fits Long Gone Are The Old Traditions’ catalogue with unusual precision: sound that occupies a room the way smoke occupies a chapel, altering its temperature rather than filling it. Dub is stripped to its bare bones — pulse without body, reverberation without source. Half-formed voices drift past like figures glimpsed from a great distance. There are no climaxes, no resolutions; rhythm, when it arrives, arrives as an interruption. And yet nothing is static. The music builds through attrition, the way a coastline does, the way a candle does. Closer to a vigil than a rite — a watching-over, austere and unhurried, that earns its place amongst the haunted and the half-erased.
[» listen and support here]

---

☉ Oisel – Montenero [Hayes]

Whenever we come across a release by Oisel, we never quite know what to expect. What we do know, even before pressing play, is that we are bound to be surprised. “Montenero” is a seven-track EP released on the Portuguese label Hayes, which on this occasion steps away from the signature sounds that typically define its catalogue. This feels entirely natural when it comes to Oisel — in our view, a producer with the rare ability to astonish through his abstract language. A language that is undeniably singular, and one capable of redefining the very concept of “techno.”
[» listen and support here]

---

☉ Zyggurat – Sphere to Sphere [Old Technology]

“Sphere to Sphere”, the new abum by Zyggurat for Old Technology, unfolds as an expansive sonic voyage through ambient, drone, and cosmic improvisation. Long, fluid tracks shape a suspended landscape in which experimental jazz and psychedelia dissolve into a continuous flow, traced by a thread that twists, doubles back, and somehow holds its line. The record privileges immersion and perceptual drift over structure — hypnotic, spiritual, and unmistakably off-axis: a resonant chamber vibrating loud enough to occupy several places at once.
Also available on cassette, in a stunning bright orange edition.
[» listen and support here]

---

☉ Paperclip Minimiser – Topology Transform [Blank Mind]

“Topology Transform” sees Paperclip Minimiser land on Blank Mind with a minimal, cerebral EP that further refines his language at the intersection of micro-dub techno and rhythmic experimentation.
On the A side, crooked rhythms and perceptual shifts move between 150 BPM intensity and half-time openness, with a sharp focus on space and dynamics. The B side stretches into a deep, immersive ambient repose, preserving the release’s coherence and its finely tuned sonic sensibility.
A concise yet densely woven listen that favours detail and introspection over immediate impact.
[» listen and support here]

---

☉ Luigi Tozzi – Plastic Venus [Non Series]

After two years, Italian hypnotic techno maestro Luigi Tozzi makes his long-awaited return to the revered Non Series imprint with “Plastic Venus” — a four-track EP that channels minimal, hypnotic depth into a body of work of striking elegance. Each cut stands as a testament to the meticulous sound design that has cemented the Roman producer’s status as one of the genre’s most influential pioneers. There’s no room for compromise here: this is serious, uncompromising craftsmanship. We’re firmly in the territory of solid, fully-realised techno — faithful to a singular artistic vision that refuses to dilute with the passing of time. Undoubtedly one of the most accomplished releases to emerge from Non Series in recent memory.
[» listen and support here]

---

☉ zakè, Ossa, ASC – Microliths and Momentary Drifts [Zakè Drone Recordings]

Some records ask to be put on; this one asks to be inhabited. Microliths and Momentary Drifts is the first full-length meeting of zakè (Zach Frizzell), Ossa (Kaiton Slusher) and ASC (James Clements), three figures who have circled each other for years across Zakè Drone Recordings and Past Inside The Present, and who finally converge here in a single, sustained conversation.
Eight Microliths slip between seven longer Momentary Drifts, the latter unfurling at the unhurried pace of weather rolling in from a distance. The album reaches its solemn centre in Momentary Drift 6, while Momentary Drift 7 opens a side door for Chad Mossholder of Twine, whose grit-flecked guitar carves an essential abrasion into the closing stretch. Microlith 8 fades into crackle, suspended between hope and resignation.
[» listen and support here]

---

☉ Rodja – Third Force [XCPT]

Spanning a decade of recordings between Tehran and Matera, “Third Force” — Rodja‘s debut album, released via XCPT — is an immersion into dubbed-out sonics shaped by memory and experimentation. The nine tracks collected here trace a personal geography — moving between Ekbatan’s concrete echoes and the ancient stone reverberations of southern Italy. Rooted in dub science, the album unfolds as a series of versions, mutations, and reassemblies. Rhythms dissolve and re-emerge, fragments of sound are treated, re-treated, and sent back through the echo chamber — a study in transformation, where each piece feels like a parallel state of another. Working from tapes and DAT recordings, Nothus re-arranged the material in post-production, producing three further versions extending the album’s internal logic of drift, erosion, and return. Nothing resolves but everything circulates.
[» listen and support here]