Deep, deep stuff on the debut album from K Wata. Long and dubwise, dark and detailed. With bass that fills and warms a space. All noir. Cast shadows against the wall. Weight being shifted and distributed with singularly delicate poise, like a knife being balanced on the end of a finger. Theres a silvery, loose flow state to this record that maybe reveals the way some tracks were first written to be deployed live at Sustain Release 2025. Then taken back to the lab and tightened up further into the albums final form, with beautiful mixing work between Kenzo and Chris Botta. With that in mind, Give U Space unfolds slowly and fluidly, giving the listener the chance to access and open up to the deepness of the sound, being led down a path. It rolls and builds momentum and groove, and ratchets tensions up toward peaks of energy "Whisper Dub" and "There Will Be Love". The tunes feel architectural. Rooms to be in and settle into. Simultaneously stripped back and then etched with neat little details and characterful or atmospheric sound choices. The silhouette of slo mo Memphis and Houston trap is a leading influence, especially with the drums. Mixing with bits of clickncut sampling and psychoacoustic tricks, the penumbra of dub techno and drowsier dubstep, and SGs soft vocals rising in the ether. The presence and inspiration of the sound system is obvious in all of Kenzos work, the music can rattle when spun up louder or blended into the club. But K Watas uniqueness and signature comes from an often equally inward facing quality, touched by distance and longing and a sort of chiaroscuro incandescent light set up.

Short Span Ambient / Experimental

Bright morning. To noon and into afternoon. To dusk and the inky night. A major new exhibition of Mammos music spread across a triple disc, twelve track album. Call it a compendium or summary, a network of sparking neurons and painted landscapes in techno. It folds in all the aspects of his other identities (self-)released over the last few years into an ultimate package ~ Heaven Smile, Ax, CoA-A, E35, Puddlerunner; really any other project Fabiano has assumed an identity under. It all finds its way into the code and format of Lateral in some way or another. Here the ground is given for the listener to hear just how much range and individual language there is in the music hes been making. Fully immersive, inventive and detailed while also elegant and light of touch. Its quite a package from one of the most talented techno producers right now, gesturing towards different genres and novel ideas in beautiful and intuitive fashion. Break the pack down for your preferred disc of the day if you like. Its designed with that modularity in mind. Disc one sparkles with vitality and a buoyancy. The middle disc has more drive and harder bites that you may want to amplify and split out to slot in a DJ bag. Sides five and six move into deeper, dreamier and more emotional techno in twilight. Each one is a little distinct and has its own orbit. But give it your full attention on the turntable platter too. A listen from beginning to end. Theres lovely dynamics and interplays in the narrative, and its a remarkable new body of work to let your time dilate to.

Presenting the remarkable second album by the Chinese musician, DJ and creative chef Yu Su. An evolution from her 2021 debut LP and two track single released last year, Foundry radiates a fresh, fully-fledged and far-reaching sound. The nucleus of Foundry began with material penned for live performance at MUTEK in 2025, alongside a move to London which brought about new shifts in perspective. Searching for a style that was true both to her roots and progression as an artist, Yu ventured in a post-orientalist direction, and came upon a language of in-between music. Mixing the eclectic influence of her DJ sets with genre-defying collaborators and newfound taste for minimal and ambient techno, a dusky, dub-inflected character began to emerge. This broad palette reiterates Yus prior form in making connections across disciplines, which have not only consisted of music, but also multisensory endeavors which incorporate taste and smell. With cover art featuring hammered metalwork by the artist Brendan Ratzlaff, for Yu the foundry represents a nexus of creation; a shared workspace where collaborators combined their materials and skills. With the input of Seefeel, Dip In The Pool, and Memotone, together their broad spectrum of aural elements underwent a chemical transformation, and were forged into something new. Well-designed, ergonomic yet occasionally amorphous, the effect is that of meticulous freedom, both controlled and free flowing. Using immersive sound design, Yu creates inspiring spaces to revel in, which are warm yet steeped in shadow, with flashes of silvery light. Featuring Yu in with duet Miyako Koda of cult Japanese art pop duo Dip In The Pool, the record kicks off in swirling but poised fashion with A Jewel. The dusky, reverberant underwater minimalism of Sunless follows, which features British composer Memotone, and was influenced by Chris Markers 1983 film Sans Soleil. The dubby, sunkissed affirmation on Cul De Sac leads to the thumping acid stomp of Foundry, and onto the hazy glow of One Place After Another, featuring lauded soundheads Seefeel, where Yus voice is joined by Sarah Peacocks, alongside Mark Cliffords seductively gauzy fuzz guitar. Venturing into more ominous territory is the liminal ambient dub of Wanli, followed by the rich textured flutter of Os Cionn, which translates from Gaelic as above. The album ends with the reflective, processional pulse of Ripe Fruits, which was inspired by Frederic Leightons 1892 oil painting The Garden of the Hesperides. The LPs visual was art directed by Lucas Dupuy, whose approach perfectly encapsulates Yus spatial sonics: We both think in layers, she comments. Not linear layering, but horizontal layering, like weaving metallic threads, where a bigger picture of a grainy sphere will occur at the end.

Presenting the remarkable second album by the Chinese musician, DJ and creative chef Yu Su. An evolution from her 2021 debut LP and two track single released last year, Foundry radiates a fresh, fully-fledged and far-reaching sound. The nucleus of Foundry began with material penned for live performance at MUTEK in 2025, alongside a move to London which brought about new shifts in perspective. Searching for a style that was true both to her roots and progression as an artist, Yu ventured in a post-orientalist direction, and came upon a language of in-between music. Mixing the eclectic influence of her DJ sets with genre-defying collaborators and newfound taste for minimal and ambient techno, a dusky, dub-inflected character began to emerge. This broad palette reiterates Yus prior form in making connections across disciplines, which have not only consisted of music, but also multisensory endeavors which incorporate taste and smell. With cover art featuring hammered metalwork by the artist Brendan Ratzlaff, for Yu the foundry represents a nexus of creation; a shared workspace where collaborators combined their materials and skills. With the input of Seefeel, Dip In The Pool, and Memotone, together their broad spectrum of aural elements underwent a chemical transformation, and were forged into something new. Well-designed, ergonomic yet occasionally amorphous, the effect is that of meticulous freedom, both controlled and free flowing. Using immersive sound design, Yu creates inspiring spaces to revel in, which are warm yet steeped in shadow, with flashes of silvery light. Featuring Yu in with duet Miyako Koda of cult Japanese art pop duo Dip In The Pool, the record kicks off in swirling but poised fashion with A Jewel. The dusky, reverberant underwater minimalism of Sunless follows, which features British composer Memotone, and was influenced by Chris Markers 1983 film Sans Soleil. The dubby, sunkissed affirmation on Cul De Sac leads to the thumping acid stomp of Foundry, and onto the hazy glow of One Place After Another, featuring lauded soundheads Seefeel, where Yus voice is joined by Sarah Peacocks, alongside Mark Cliffords seductively gauzy fuzz guitar. Venturing into more ominous territory is the liminal ambient dub of Wanli, followed by the rich textured flutter of Os Cionn, which translates from Gaelic as above. The album ends with the reflective, processional pulse of Ripe Fruits, which was inspired by Frederic Leightons 1892 oil painting The Garden of the Hesperides. The LPs visual was art directed by Lucas Dupuy, whose approach perfectly encapsulates Yus spatial sonics: We both think in layers, she comments. Not linear layering, but horizontal layering, like weaving metallic threads, where a bigger picture of a grainy sphere will occur at the end.

Deep, deep stuff on the debut album from K Wata. Long and dubwise, dark and detailed. With bass that fills and warms a space. All noir. Cast shadows against the wall. Weight being shifted and distributed with singularly delicate poise, like a knife being balanced on the end of a finger. Theres a silvery, loose flow state to this record that maybe reveals the way some tracks were first written to be deployed live at Sustain Release 2025. Then taken back to the lab and tightened up further into the albums final form, with beautiful mixing work between Kenzo and Chris Botta. With that in mind, Give U Space unfolds slowly and fluidly, giving the listener the chance to access and open up to the deepness of the sound, being led down a path. It rolls and builds momentum and groove, and ratchets tensions up toward peaks of energy "Whisper Dub" and "There Will Be Love". The tunes feel architectural. Rooms to be in and settle into. Simultaneously stripped back and then etched with neat little details and characterful or atmospheric sound choices. The silhouette of slo mo Memphis and Houston trap is a leading influence, especially with the drums. Mixing with bits of clickncut sampling and psychoacoustic tricks, the penumbra of dub techno and drowsier dubstep, and SGs soft vocals rising in the ether. The presence and inspiration of the sound system is obvious in all of Kenzos work, the music can rattle when spun up louder or blended into the club. But K Watas uniqueness and signature comes from an often equally inward facing quality, touched by distance and longing and a sort of chiaroscuro incandescent light set up.

Striking out in a new creative direction while retaining her trademark dimensionality and shapeshifter styles, Yu Sus first singles for Short Span set the pace for whats to come in 2026. Folding together certain elements of minimal, the warm shade of downtempo, and the momentum and horsepower of techno, Foundry and Bonita highlight the producer and DJs keen ear for detail and textural variety, carrying the depth and sensitivity which has always made her music so alluring and kaleidoscopic as it twists between genres. But these are also club tracks and the most dance-forward release from Yu in a minute.The two tunes were engineered as exclamation points and decentered grooves when built for live sets throughout 2025 at festivals like Mutek, and serve as a taste of the bossier, growling end of her forthcoming albums full range. In the interim Yu Sus practice has continued to push boundaries. Her Polyphonic Eating series, begun in 2022, has evolved into a transformative approach experimenting with modern culinary environments, applying concepts of Oliveros-inspired deep listening and the heightening of perception through a theatrical marriage of multisensory elements, set in intimate venues. Her relocation from Vancouver to London and immersion in a new location also contributed towards developing perspectives on sounds and sonic inputs that ultimately shaped the direction of these tracks.

Short Span Ambient / Experimental