Zeu — “Reckoning”

“Reckoning” by Zeu feels less like a single and more like a warning before the full storm arrives.

The track is the third single from Zeu’s upcoming album Existor, following “Sympathy” and “Nostalgia,” with the full record expected on July 17, 2026 via Everything Evaporated. That context matters: “Reckoning” does not sound like an isolated song, but like one chapter in a larger emotional architecture.

Based in Northeast Pennsylvania, Zeu describes the project with stark precision: existential dread. On “Reckoning,” that phrase becomes musical language. The song moves through gothic rock, neofolk and dark alternative territory, but avoids empty theatricality. Its darkness is not decorative; it feels internal, heavy and lived-in.

There is something severe in the track’s atmosphere — a sense of memory turning into judgment, or private damage becoming unavoidable. The production is restrained, the mood is tense, and the song carries the feeling of someone standing at the edge of a personal collapse, not to dramatize it, but to finally name it.

For MUZORAMA, “Reckoning” is interesting because it comes from the margins rather than from a polished promotional machine. It is new, under-radar, emotionally direct and genre-blurred in the right way.

MUZORAMA recommends it for listeners drawn to the darker edge of post-punk, gothic songwriting and neofolk — music that does not comfort, but clarifies.

TM — “Fundo”

“Fundo” does not try to seduce quickly. It moves with patience, pressure and restraint — the kind of deep techno that is less about impact and more about depth, repetition and slow psychological movement.

The track opens Layers Of Meaning Part IV, a new three-track EP by TM, released on Porto’s Timeless O’Clock label. The title itself is important: in Portuguese, “fundo” can suggest bottom, depth, background, or something hidden underneath the surface. The music follows that idea. Nothing is decorative here. Pads, acid-touched synth lines and a stripped rhythmic structure slowly pull the listener inward.

This is techno without spectacle. It does not depend on a dramatic drop or an obvious hook. Instead, “Fundo” creates its force through atmosphere, tension and small changes in texture. It feels like a track designed for a dark room, but also for headphones — functional enough for the club, introspective enough for private listening.

Timeless O’Clock, based in Porto, has been active as both label and event promoter since 2019, and this release reflects that local underground language: minimal, serious, physical, but not cold.

MUZORAMA recommends “Fundo” for listeners who are interested in electronic music as a space of concentration — music that does not explain itself immediately, but slowly opens below the surface.

Ilaria Capalbo — “Arrival”

“Arrival” begins like an opening door rather than a declaration. The first track from Ilaria Capalbo’s new album The Brightest Sun does not rush to impress; it builds its own internal weather — bass, saxophones, guitar and drums moving through tension, space and controlled eruption.

Capalbo is an Italian-born, Stockholm-based bassist and composer whose work stands at the meeting point of modern jazz, free improvisation, rock energy and chamber-like detail. On “Arrival,” the bass is not simply the foundation. It is the dramatic center: physical, melodic, searching, sometimes almost architectural.

The piece has the feeling of a beginning, but not a simple one. It is not “arrival” as comfort; it is arrival as transformation — entering a new emotional territory where rhythm, melody and noise are all part of the same language. The quintet gives the music both density and air: saxophones cut through, guitar adds electricity, drums keep the pulse unstable enough to stay alive.

What makes the track interesting for MUZORAMA is its refusal to sit politely inside one jazz category. It is modern jazz, but also experimental music. It has composition, but it breathes like improvisation. It has force, but also tenderness.

Released in June 2026, “Arrival” is a strong entry point into The Brightest Sun — a record shaped by personal change, intensity and a very human sense of movement.

Oyubi — “Just arrive at Twiske”

Tokyo producer Oyubi does not treat club music as pure function. On “Just arrive at Twiske,” rhythm becomes geography: fast, restless, fragmented, but also strangely open, as if the track is moving through a landscape rather than simply attacking the dancefloor.

The piece comes from White birch burns, Oyubi’s debut album on TREKKIE TRAX, released in June 2026. Rooted in juke, footwork and ghettotech, the album also carries something more personal and atmospheric. Its title refers to a Bon tradition in Nagano, where white birch is burned to send off spirits — an image that connects the record to memory, loss and movement.

“Just arrive at Twiske” was inspired by the landscape of Lente Kabinet, the Dutch festival where Oyubi performed in 2025. That detail matters. The track sounds less like a closed studio exercise and more like a travel fragment: Tokyo footwork filtered through European festival air, physical rhythm meeting distant scenery.

What makes Oyubi interesting is that he does not simply reproduce Chicago footwork or global club formulas. His beats are precise and body-driven, but the structure keeps shifting. There is pressure, speed and bass, yet also a sense of observation.

MUZORAMA recommends “Just arrive at Twiske” for listeners interested in the point where club music becomes memory, movement and place.

Dream Attack Drum Machine — “Bootlicker”

Some new bands introduce themselves politely. Dream Attack Drum Machine do not.

“Bootlicker,” the opening track from their first demo, arrives from Leiria, Portugal, with a deliberately raw combination of post-punk tension, emo-darkness and 1980s drum-machine energy. It is short, direct and slightly ugly in the right way — built from heavy bass, synthetic pulse, simple guitar lines and vocals that sound less like performance and more like pressure escaping from a closed room.

The project appears on Headshrinker Records, a small Portuguese label that describes itself through rock’n’roll madness rather than polished industry language. That is important. “Bootlicker” does not feel like a product trying to enter a playlist. It feels like a demo in the original sense: a rough signal from a band still forming its own nervous system.

What makes the track interesting is the collision of moods. There is post-punk discipline, but also emotional excess. There is an 80s machine rhythm, but no nostalgic comfort. The title itself suggests submission, power, resentment — a small political word turned into a dark, physical song.

Released in June 2026, “Bootlicker” is not refined, and that is exactly why it works. It has the energy of something that has not yet been cleaned up by taste, management or consensus.

MUZORAMA recommends it for listeners who like their post-punk nervous, synthetic, bass-heavy and still close to the basement.

Dust Sucker Jazz by TV-99-AD

TV-99-AD — “Dust Sucker Jazz”

Some tracks do not arrive from the future. They return from a half-forgotten room where machines were still physical, rhythm was still discovered by hand, and jazz could accidentally appear inside electronic music without asking permission.

“Dust Sucker Jazz” by TV-99-AD is one of those strange returns. Officially released in July 2026 by Tokyo’s FORM@ RECORDS, the track comes from the Dutch group’s late-1990s archive — a period when the trio were working with hardware, DAT recordings, breakbeats, electric jazz fragments and the dry imagination of underground European electronics.

The title almost sounds like a joke, but the music is serious in the best possible way: loose, dusty, mechanical, warm, slightly absurd. It does not behave like a jazz track, and it does not fully belong to techno or IDM either. Instead, it moves somewhere between a late-night studio jam, a forgotten breakbeat experiment and a fictional soundtrack for an empty shopping mall after midnight.

TV-99-AD were active in the Dutch underground during the 1990s, then disappeared from view for a long time. Now, through the Japanese label FORM@ RECORDS, this material receives a second life. That international detour — Netherlands to Japan, 1990s to 2026 — makes “Dust Sucker Jazz” more than just an archival release. It feels like a small musical time capsule being opened in public.

MUZORAMA recommends it for listeners who like electronic music with history, humor, texture and a little bit of mystery.

Trentemøller on KEXP

I was on a late-night scroll when KEXP’s brand-new session popped into my feed, and I’m so glad I pressed play. Danish sound-designer Anders Trentemøller turns up with a razor-tight five-piece—he handles guitar and synths, Icelandic singer Dísa drifts at center stage, backed by bass, drums, and a guitar/keys multitasker. Tracked 11 Feb 2025 and posted in April, the 23-minute set bottles the widescreen tension of his current tour.

They open with “I Give My Tears”: woozy bass, gated snares, then a shoegaze blast that floods the room. “Dreamweavers” starts as short-wave hiss, locates a heartbeat pulse, and finally soars into a synth-pop sunrise that’s sad yet strangely hopeful. “Nightfall” circles a dusk-lit guitar loop; Dísa’s gauzy vocal floats until the band swells into full cinematic drama. For the finale they time-warp to 2013 with “Still On Fire,” ripping off the dream-pop gauze—industrial kicks, serrated bass, cold-wave guitars igniting dark-club euphoria. KEXP’s mix captures every analog echo and tom rattle, so cue the headphones. If you drifted from Trentemøller after Lost, this video is a perfect reason to dive back in—and share it forward.

MUZORAMA RECOMENDS APRIL 2025

Compilation Album – "Even the Forest Hums" (2025)
This compilation delves into the rich musical heritage of Soviet Ukraine, featuring songs and instrumentals from 1971 to 1996. Highlights include the Shapoval Sextet’s psychedelic jazz-rock rendition of a Cossack song and Vadym Khrapachov’s electronic track for the film “Flights in Dreams and Reality.” This collection offers a unique blend of experimental and traditional sounds that align with your appreciation for culturally diverse music.

​New Release: DJ Koze's "Music Can Hear Us" (Released April 4, 2025) 

DJ Koze returns with an album that seamlessly blends introspective melodies with dance-inducing rhythms. Collaborations with artists like Sophia Kennedy and Damon Albarn add depth to the eclectic electronic compositions. This release resonates with your fondness for experimental electronic music and innovative collaborations.

New Release: Demilitarize by Nazar (Scheduled for release on April 25, 2025)

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Angolan producer Nazar's forthcoming album is inspired by introspection and classic cyberpunk aesthetics. The lead single, "Anticipate," sets the tone for an album that promises to blend electronic music with personal narratives, reflecting on themes of mortality and resilience.

Overlooked Gem – Mabe Fratti's "Sentir Que No Sabes" (2024)

Guatemalan cellist and composer Mabe Fratti offers an experimental sound that defies categorization. Her album "Sentir Que No Sabes" combines avant-garde elements with emotive melodies, appealing to your appreciation for leftfield and culturally diverse music.

 

Timeless Classic – Tim Maia – "Tim Maia (1970)

Tim Maia’s debut album is a groove-soaked cornerstone of Brazilian soul, infused with funk, gospel, and rock energy. His deep voice and raw charisma fuel this genre-defying classic, bridging Rio’s samba spirit with American soul. It’s a vital record for understanding Brazil’s musical crosscurrents in the '70s—spiritual, funky, and unfiltered.

New Music by MUZORAMA / Rediscovering the Joy of Music

After a long hiatus, I finally found time this weekend to dive back into one of my favorite pastimes: curating innovative music videos. This fresh playlist spans a diverse range of genres, showcasing the incredible creativity in today's music scene.

From the indie folk musings of Goldie Boutilier to the alt-pop brilliance of Nilüfer Yanya, the selection covers expansive musical ground. We journey through electronic landscapes with RÜFÜS DU SOL, explore jazz fusion with Ezra Collective, and delve into soulful territories with Michael Kiwanuka.

The videos themselves are a feast for the eyes, ranging from surreal narratives to minimalist visualizers. Whether it's the genre-bending sounds of Glass Beams' raga-disco fusion or the raw energy of Remi Wolf's quirky pop, each entry offers something fresh and exciting.

This eclectic mix reminds us why music videos remain a vital art form, pushing the boundaries of both sound and vision. Dive in and rediscover the magic of innovative music and visuals.

New Music curated by Muzorama

Ai Review: flypaper - "old friend"

radioelectronauts.com

In a landscape teeming with auditory experiences, flypaper's latest single "old friend" emerges as a poignant chronicle of relational ebbs and flows. Rory Sear, the creative force behind flypaper, once again captures the essence of indie rock's introspective side with a track that delves deep into the heart of change, longing, and the timeless dance of friendship.  "old friend" is an odyssey through the realms of nostalgia, uncertainty, and hope, masterfully encapsulated within the confines of a four-minute musical journey. The song’s reflective and somewhat melancholic tone is immediately engaging, drawing listeners into a narrative that is both personal and universally relatable. The narrative probes the resilience of connections as they weather the storms of distance and life's inevitable challenges. With an undercurrent of nostalgia and a palpable longing for a return to simpler times, Sear navigates the complexities of human relationships with a delicate precision that is both moving and profound.  Musically, "old friend" straddles various genres, comfortably situating itself in the interstices of indie rock, alternative rock, and pop rock, with touches of indie pop and dream pop. Its lo-fi and shoegaze elements add layers of texture, creating an immersive soundscape that complements the song's thematic depth. The choice of instruments – guitar, drums, bass, synthesizer, and piano – works in harmony to evoke a mood that is simultaneously melancholic, reflective, intimate, nostalgic, and peaceful.

flypaper's new EP another orbit is due out May 10 via PNKSLM Recordings

MUZORAMA / SEPTEMBER 2023

Latest songs compiled by SirG of MUZORAMA

Junglissia / Modern Jungle Music Mix

 radioelectronauts.com

A mix of a fresh jungle music compiled and mixed by SirJee

New Frontiers VIII by Sergi Gvarjaladze

radioelectronauts.com

A collection of fresh international tracks compiled by SirJee (Sergi Gvarjaladze)

Tracklist:
Troy Kurtz - Acid For Horses
Lord Fascinator - The Search Continues (Simple Symmetry Remix)
Tomhas - Sleep deprivation
Annie Hall - Memories That Never Happened
Basic Bastard - Engine (Original Mix)
Fleck E_.S.C. - Chicken Breast
Captain Mustache - Super Great Song (Commuter Remix)
C04 - EConcave
Alex Jann - Psy Culture
SVK - Secret Metaverse
Anunaku - Celeste
DJ Backspace - Metaverse
Sound Synthesis - VCLexP
Unknown - LBIAM
Rosa Red - Rhapsody

Sergi's Deezer Playlist I

radioelectronauts.com

Introducing the newest music releases playlist, carefully compiled and curated by none other than Sergi Gvarjaladze himself. Sergi is the founder of the esteemed Electronauts Awards and serves as the Chief Development Officer of the Kettari foundation. He is also a talented musician who has recently released music under the pseudonym Sir Jee.

This playlist features the latest and greatest songs from various genres, handpicked by Sergi himself. From catchy pop tunes to soulful ballads, there's something for everyone on this playlist. Whether you're a music lover or just looking for something new to listen to, this compilation is sure to impress.

The Golden Age of Apocalypse (Ten Year Anniversary Edition) by Thundercat

radioelectronauts.com

"The Golden Age of Apocalypse" was a record that introduced Stephen Bruner, also known as Thundercat, as a talented musician and creative force. The album was executive produced by Flying Lotus and featured a group of talented young musicians from Los Angeles, including Young Jazz Giants Kamasi Washington, Cameron Graves and Ronald Bruner Jr, as well as Austin Peralta, Brandon Coleman, Taylor Graves, Hadrien Féraud and Oliver Johnson. The release of this album inspired and motivated many of these musicians to release their own albums, which gained recognition and attention for the wealth of jazz talent in LA, specifically Kamasi Washington's "The Epic" in 2015.

Anything In Return (Instrumentals) by Toro y Moi

radioelectronauts.com

Ten years ago, Chaz Bear, (known professionally as Toro y Moi) a musician and producer, made the move from Columbia, South Carolina to Berkeley, California. This was the first time he had ever lived away from his home state, and he was excited to explore the new music scene in the Bay Area.  It was around this time that he was introduced to Pat Brown and the team at Different Fur Recording Studios in San Francisco. Chaz was excited about the opportunity to make a full record in a studio for the first time, as he had previously only worked in studios to mix his bedroom recordings.  To prepare for this new experience, Chaz was deliberate with his material, writing about 15 demos at home before bringing them into the studio to finish. As he explored San Francisco and Los Angeles more, he became more familiar with the club scene and how music works in those spaces. This experience influenced him to aim for a bigger sound.  Hearing the songs from his album "Anything in Return" come alive in the studio was a unique and rare experience that taught him how to play with space in the sub-frequency area. The lyrics for the songs were created last in the process, which makes Chaz happy to share the original versions of these songs, the instrumentals, with his fans. He hopes that it will bring them closer to the songs in a way.

"Anything in Return" is a collection of rhythmic, mellow, ethereal, and lush music that transports listeners to a dreamy and introspective world. The album's sound is characterised by its intricate beats, soothing melodies, and captivating soundscapes.

Ryuichi Sakamoto – 12

"12" is a new album by Japanese composer and performer Ryuichi Sakamoto. It is a musical diary of his experiences during treatment for cancer, and was recorded during convalescence. The album is stripped back and more instinctive than his previous album "async," and is a reflection of endurance, struggle and the ability to create something new. The album is characterized by its use of cavernous synths, sparse piano playing, and background noise such as medical apparatus and rhythmic breathing. The tracks range from dark, desolate compositions to more delicate, achingly beautiful pieces. It is a powerful and emotional reflection of one's journey through illness and uncertainty.

5 albums to start the year with

Oath Records is excited to announce the release of Jascha Hagen's third LP, "Songs for a Future Generation." Hagen is known for pushing the boundaries of the House and Deep House genres, incorporating elements of Downtempo and Techno to create a unique sound that is constantly evolving. With a discography spanning over a decade, Hagen has developed a reputation for crafting immersive and balanced musical experiences. His previous releases, including "Harmonies Romantiques" and "A Touch of Cold Water," showcase his ability to seamlessly move between different parts of the auditory spectrum and fill in the gaps between them. "Songs for a Future Generation" is no exception, featuring uptempo tracks like "QQQ" and "Slide Through the Valley" alongside slower, introspective cuts like "Rivers of Absence," "Too Far," and "Swaying." The album also includes more experimental tracks like "L7 Dreams," "Gem," and "XX Blues," all of which showcase Hagen's innovative approach to creating music that is both conceptual and deeply satisfying. "Songs for a Future Generation" is the latest addition to Hagen's impressive body of work and is sure to be a must-listen for fans of constantly evolving House music.

Slikback, a musician based in Nairobi, Kenya, has released a new album titled K E K K A N. The album features 10 experimental, club-ready tracks, building on the success of Slikback's earlier EPs such as FINAL_, TYPE_, 22122, and TIER. Slikback, also known as Freddy M Njau, gained recognition with the release of his debut EP, Lasakaneku, on the Hakuna Kulala label, an offshoot of Nyege Nyege Tapes. He has since become one of the label's most successful artists.

Since their debut LP "GLP," we've known that the two take a slightly different approach when working on their duo project than when working under their own solo personas. Straight, technoid techno with lots of rhythm and amusing melodies is what Green Lake Project is known for. And they did "Thrust" to perfection by doing just that. We embark on an exciting voyage that takes us across strange galaxies and to the very edge of the cosmos. The CD is referred to by GLP as "Space Techno," and I won't argue with that. Synthesizers that pulse above our heads are like lasers, while funky percussionists zip past us like little comets. We occasionally hear seductive, extraterrestrial vocals that eventually convince us that we are no longer on Earth.

Electronic music is just one of the many genres of music that have a long history in Miami. This compilation, which includes classics of house music as well as IDM and the fathers of hip hop, aims to demonstrate what we've stood for over the past 30 years. We've always loved our city, and we want to emphasise how we've all impacted one another. The current generation is advancing things while maintaining the bar that earlier generations established. This collection might make it easier to understand where we've come from and where we're headed.

The Spanish progressive electronic band releases a debut album with unexpected musical mixture of  idm ambient krautrock prog prog rock progressive electronic and synthpop.

МUZORAMA 9 / NEW MUSIC COLLECTION

radioelectronauts.com

Latest multi genre music collection curated by SirJee