ACV#07

Virtual Landscapes™

Beyond the Human Eye





D.C_17



Dream Corp.

Envisioning The Perfect Virtual Experience™

FMR-53

Max Graef returns to Tartelet Records with Natural Element, a genre-bending listening trip pitched towards bass-heavy daydreaming and sensitive dancefloor escapades. Out June 14.



The trailblazing German producer is back, this time applying his sparkling flair and infectious appeal to the widescreen spectrum of psychedelic, starry-eyed jams of his third album, comfortably nestled into a bean bag in the backroom.



Natural Element coincides with the 10th anniversary of his revered debut LP Rivers of the Red Planet, which remains a cherished high watermark for label and artist alike. It also serves to highlight how much time has passed, and how much has changed. 2018’s follow-up Lo Siento Mucho Pero No Hablo Tu Idioma was a step into many other musical approaches and made clear Graef didn’t want to rest on the broad appeal of his earlier funked-up, jazz-sampling house sound. Natural Element is the sound of an artist more at ease with the parts of his legacy which hold true, and those he wants to let go of.



But there absolutely is funk to be found on Natural Element. It’s in the low-slung chill-out of ‘Sports (Is Good For You)’ and the nagging synth-slap-bass underpinning ‘Around The Globe’. But the glue which holds the album together across all kinds of tempos and energies is a shimmering, organic psychedelia — dreamy chords and artful sonic brushstrokes which gleam out of the mix. It’s a quality universal across the aqueous beauty of tropical breakbeat roller ‘We are the World (Test Drive)’ and the cascading slo-mo ecosystem of album-opening double-act ‘Sound Bytes’ and ‘Zitar’.



The process on Natural Element was one of reflection for Graef, who has been plenty busy with his TAX FREE label and the spider’s web of offbeat collaborations and projects which orbit it. The freewheeling quality of that outlet helps inform the freedom which Graef brings to this album. Initially a mixtape concept to gather up recent ideas, it soon evolved as he got deeper into MPC sketches and reconnected with the approach he had when he was in his late teens.



“After the sketches I worked a lot with the computer again, which I haven’t done in years,” Graef reveals. “Intensive MIDI work and arrangement, but especially working with elements of the sketches in all possible ways, going back and forth with analog and digital equipment, pitching, time-stretching, really soaking up the beautiful inspiration of limitation.”



Taking a patchwork approach but pushing himself to make use of all elements from the initial sessions, Graef wound up with an album which still retains a certain scrappy mixtape quality, but equally represents his artistic approach in the here and now as a richly developed listening trip.



“The new album is in many ways a more grounded version and display of my musical universe,” he explains. “In some ways it is a transmitter and vehicle of my sound world, because I also like to go much wilder into exploring different approaches and ways of making music nowadays, but it is also very honest since it evolved so naturally in the process.”



Casting one ear back to that landmark debut LP feels like listening to an entirely different epoch, not just for Graef but for music as a whole. What’s heartening is that the magic which made Graef stand out back then is still absolutely present and correct in his new guise. It would be far less rewarding if he was just trotting out more of the same formula, after all. As he says himself:



“There is nothing worse than stagnation and conformism. I still am the same person, my ideals and values have not changed much, but my influences and approaches have.”



Natural Element, out June 14th on vinyl and digital. The album will be preceded by three singles; Sports (Is Good For You) April 4th, We Are the World (Test Drive) April 24th and Sound Bytes & Zitar May 15th.

The signal arrived without warning—Forgotten Moments by DF90, drifting through deep space like a memory that refused to fade.

Each track unlocked a layer of the ship’s consciousness. Frequency Drop dimmed the lights as gravity pulsed in slow dub chords. In Infinite Loop, time fractured, repeating corridors and footsteps that echoed into nothing. Inner Space revealed thoughts not my own—soft, melodic, endless.

By Passing Dub, I realized the ship was alive, speaking through delay and reverb. Retrograde reversed my memories, unspooling them into static. Then came System Error—a rupture, silence swallowing rhythm.

Only Winter Echoes remained, cold and distant, whispering across the void.

I was no longer piloting.

I was being played.

The hypnotica transmissions of Jungle Gym exec Caleb Draves encompass every terrain and trance-state, from equatorial drone to aquatic miasma to stardust murmur, coaxed from fluctuating wooden floor gear assemblages: software, FX, keys, miked ephemera. Earth Mirage collects 11 of his most recent and revelatory rippling ecosystems to paint an expansive panorama of the Dravier dimension, high and low and longform, alternately windswept, psychic, and subterranean. Elements of gamelan, hand percussion, synthesizer, rainstick, and field recording ebb and echo and decay in opaque symmetries, like tarot symbols scrawled in smoke on cave walls.



A limited selection of these tracks appeared previously on Jungle Gym or its sister division Tourist, but in altered form; the rest are fresh additions to Draves' deepening discography. Totaling a full hour, this is as close to a definitive work as the project has yet ventured, a gallery of masks and mirages, for earths both future and forgotten.

Give me money over the internet

Cascading Sectors arrives, the 11th installment of the Natural Expressions series, where dub techno's subterranean pulse converges with industrial textures and shimmering ambience. Inspired by the hidden anatomy of nuclear reactor facilities-cooling towers, control rooms, and the silent hum of containment systems-this record explores the friction between technological precision and organic decay.



Across two halves, Cascading Sectors balances warmth and tension. The Dub Side unfurls with deep, gelatinous basslines and drifting delays. 'Spiral' pulses with a hypnotic rhythm, evoking the slow, methodical approach of engines synchronizing as they approach the boarding platform. 'Barycenter' finds equilibrium in echoing chords, while 'Nuclear Fission' fractures rhythms with deep dub stabs. A brief sunlit warmth arrives in 'Sun,' where muted pads and submerged percussion hint at a distant horizon, before 'Sector 5,' where Visitor XIX and legendary producer Mikael Delta weave rhythms and chords into the subterranean grooves.



Flip to the Hard Side, and the machinery seems to rev into overdrive. 'Reflector' drifts through the circuitry like a spectral scan, its metallic hits mapping unseen terrain-each ricochet a signal bending space, collapsing distance. 'Peripheral Vision' conjures surveillance-state unease through echoing textures, and 'Z-Axis' delivers a cathartic finale-a distorted cascade of noise and bass that fades into a white-out.



Recorded with vintage analog delays, tapes, spring reverbs, and modular synthesis, Cascading Sectors captures the analog imperfections at the heart of both human invention and inevitable entropy. Whether you're exploring the control room or wandering the turbine halls in your mind's eye, this album is your passport to an immersive dub techno reactor tour.

Official licensed soundtrack. Produced by Andrew Harrington and Neal Grandstaff. Recorded with an authentic Roland SC-55 from the original archived MIDI files.



The music, having originally been arranged using the Roland Sound Canvas SC-55, has been recorded directly from the original archived MIDI files using an authentic SC-55. Due to the hardware limitations of the SC-55 causing polyphony problems, if necessary, each channel has been recorded independently and then merged into a single track. Therefore, no notation data is lost through polyphony limitations and the tracks may be heard at their fullest.



Bonus material:

(#1) Exclusive commentary written by Andrew Harrington and Neal Grandstaff.

(#2) Detailed archival tracklist.



The archival soundtrack series contains all known music from said title, including 1 second jingles, unused music, beta versions, and more.



Soundtrack and any bonus materials may not be re-distributed elsewhere withouth the express permission of Xeen Music.

A continuous transmission from a world that almost existed.



This 53-minute compilation brings together fragments from across the Dreamfibre archive, soundscapes shaped by the optimism of early 2000s digital design, where glass, water, and light converge into something both futuristic and strangely familiar.

The first new classic-style slushwave album by t e l e p a t h テレパシー能力者 since 2015



夜明けが訪れる



Side 1 - 21:37

運命の縁から跳び立つ私を、白い鳳凰の翼が抱きしめる

その鏡は君じゃなく、私の孤独を映していた



Side 2 - 21:47

死の森にて結ばれた強制の契り

あの微笑みの裏で、君は私をほどいていた



Side 3 - 20:57

愛という名のラビリンスで、私は私を見失っていた

この夢の中で、君は私の心に光を灯すために歌う



Side 4 - 20:37

私はあなたに溶けて、光になる

今は離れていても、心はいつもそばにいる

私たちの夢を覚えていますか？ 星がまだ語りかけているのに

Ocean Breeze was originally made in 2018, but i've had a lot of troubles with my pc, i got to save it so you can give it a listen now!

Originally released via Eternal Vibes. Available on all music streaming services like Spotify, Apple Music, Deezer, etc.

Hello ! This is a compilation of tracks from Lily island that draws inspiration from different Nintendo games, and more particularly water levels :) Those tracks were previously released, but I've remastered them here for the occasion.



I hope you will enjoy, thanks for your support <3

(as usual : no AI)

Album published by Xeen Music (2025-05-08)



Produced by Andrew Harrington and Takeshi Abo (阿保 剛).



This soundtrack has been recorded with a real PC-9821 with a PC9801-86 (OPNA) soundcard, and a real FM-TOWNS machine (OPN2 soundchip).



Bonus material:

(#1) Detailed archival tracklist.

(#2) Commentary



The archival soundtrack series contains all known music from said title, including 1 second jingles, unused music, beta versions, and more. (In this case, there are several beta versions not currently included upon request of the composer.)



Soundtrack and any bonus materials may not be re-distributed elsewhere without the express permission of Xeen Music.



Proceeds (after Bandcamp fees) divided between Xeen Music and Takeshi Abo (most of which goes to Takeshi Abo).



Note: The game using this music contains lewd adult content. Xeen Music does play nor endorse any games containing such themes in any way, and is providing the album solely for an independent musical listening experience.