Aspetuck / Immersion (ASIPV055)

Aspetuck has been steadily carving out a name for himself through releases on Never Late and Oslated, garnering a respected following for his DJ mixes and festival performances. Aspetuck’s latest record, Immersion, was sequenced and curated from dozens of ideas spanning a transformative few years in Griff Fulton’s life. The album is less a snapshot in time and more of a memory bank - flashes of fatherhood, loss, modular rabbit holes, late-night studio sessions, and long walks by the Hudson River with his daughter.

The emotional undertow of the album is immediate. Opener Hit Me With Your Pet Shark is one of the earliest compositions in the collection, created just months after the loss of Griff’s brother and during the sleepless swirl of new parenthood. Built around a single sound from Spectrasonics Omnisphere, found while rediscovering his brother’s studio gear, the track sets the tone: restrained yet searching, personal without becoming precious.

From there, The Printing Press captures the raw energy of a live jam in Griff’s upstate New York basement, running through a 1980s Tascam mixer like a lo-fi assembly line of synths, pads, and drum machines. REI, named after a spontaneous family mission to find a pink water bottle, encapsulates his knack for imprinting daily minutiae into sound. And title track Immersion- once known simply as Tuesday 303 Jam- emerges from a dinner break and a blender, distilling modular sketches and distorted drums into a powerful, slow-motion march.

Under, Under The Tree hits hardest. Built around a grainy iPhone voice memo of Griff’s daughter singing by the Hudson. And closing the album is Bobik, a collaborative studio session with Moon Patrol channeling the playful chaos of a close friendship and modular exploration. Named after a joke about their golden retriever and filled with alien textures from Griff’s beloved EMU XL7 gifted years ago by his late brother, it’s a fitting send-off to an album that straddles celebration and mourning with grace.

The artwork comes courtesy of Peter Skwiot Smith, whose textured analog/digital aesthetic resonated immediately with Griff’s original vision. Peter’s treatment draws on Griff’s personal photography and leans into motion, blur, and the layered nature of memory, echoing the album's sonic tone without overexplaining it.

Mastered by Sven Weisemann, Immersion is available on blue smoke colored 12” and digital from today, May 15th 2026.

View the release page for all links to buy

WNDFRM / Live at Nonseq (ASIP045)

After presenting a recording from Salvatore Mercatante on our Bandcamp last year, I wanted to try and keep up this approach on the label by surfacing live sets from our artists wherever possible. I knew as soon as I was immersed in WNDFRM’s live set last year, that it would make a great live release and would be enjoyed by anyone who picked up his WVLT release.

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WNDFRM has long occupied a parallel lane, equal parts reductionist and tactile. His studio output, including his 2025 release on ASIP, WVLT, is often about what isn’t there, carving space with restraint and a patient sense of pacing. But in this rare live recording from his appearance at Seattle’s Nonseq series in late 2025, we’re reminded how those same principles can hum with immediacy, weight, and physicality.

Tim’s live set leans even deeper into the tactileness hinted at on WVLT. Over 37 minutes, WNDFRM builds a slow-motion tension through dub-damaged rhythms, brittle textures, and dissolving sequences. Familiar elements, saturated pads, clipped delay lines, off-grid percussion, surface and vanish without resolution. A gradual unravelling from a sound designer in his element.

A huge thanks to Steve Peters, Chloe Harris and the Nonsequitur community for the evening.

Available now as name your price on Bandcamp.

2025 Label Compilation - Mixed by todos

2025 is probably our first year without a proper ambient release, with this year’s annual compilation reflecting how diverse our catalog has grown.

KILN and Monoparts presented music this year that pushed expectations, with KILN’s music pretty much in a world of its own anyway, and Monoparts bringing a vocal-heavy trip-hop record to the lineup - two records that would stand on their own on any label, irrespective of genre classifications.

Christian Kleine’s second Lost World volume spoke to our true IDM roots of past, and Mikkel Rev’s Journey Beyond, to the future perhaps, with a subtle wink to Trance music running through our blood.

A new signing in WNDFRM presented a landscape of micro-rhythmic IDM, as did returning artist Salvatore Mercatante, through a live set that traversed a spectrum of bass-heavy atmospheres.

Tying this all together in one mix has become todos’ annual challenge, and he would be the first to admit this one was his most challenging yet. While I would never force this concept on him, if it didn’t work, todos has the permission to edit, layer, chop and re-work where he needs to, just like a live set. In turn, his magic becomes a completely new way to absorb the releases from our past year, and an enjoyable way to spot moments you missed.

Available on Bandcamp

Thank you to everyone who has supported the label and the artists included here this year.

todos - Continuous mix tracklist

01. Mikkel Rev - ‘Fragile’ (edit) / WNDFRM - ‘WVLT 021’ (edit) / Monoparts - ‘Abandoned Woods’ (edit) / KILN - ‘Moon Ratchet’ (edit)
02. KILN - ‘Ptarmigan’
03. KILN - ‘Moon Ratchet’ / Christian Kleine - ‘Beyond Repair’ (edit)
04. Mikkel Rev - ‘Transmit’ (edit) / KILN - ‘Solarsystem Breathing’
05. Christian Kleine - ‘Slow’ / KILN - ’Cadmium Lounge’ (edit)
06. Salvatore Mercatante - Extract from ‘Live at Public Records’
07. Mikkel Rev - ‘LM8182’
08. Monoparts - ‘Abandoned Woods’
09. WNDFRM - ‘WVLT 021’ / Salvatore Mercatante - Extract from ‘Live at Public Records’ (edit)
10. Christian Kleine - ‘Closer’
11. Monoparts - ‘Abandoned Woods’ (ASC Remix)

Salvatore Mercatante Live at Public Records (ASIP044)

Last December, we were fortunate to host one of our largest label nights to date at Public Records, New York, one of the most renowned venues in the world for sound system quality. One year later, we present to you one of the recordings from the evening, by Brooklyn’s own Salvatore Mercatante.

Live at Public Records captures Salvatore Mercatante at his most unguarded and instinctual, set free from the polish of post-production, delivered to a room of people who gave themselves over to the quiet pull of tension, decay, and harmonic dissonance on one of the best sound systems in the world.

Performed as part of a curated label night inside Public Records’ intimate Sound Room, Salvatore’s set was equal parts sculpture and erosion. Working with a minimalist setup that belied the richness of the result, Salvatore traced an arc through fractured rhythms, bent tones, and fogged-out signal paths, drawing on his 2024 album ‘Ø’ and a trove of unreleased and WIP material.

Following a DJ-set by Aspetuck and preceding a live set by OKRAA as part of the label’s biggest showcase to date, Salvatore’s set was the perfect middle-ground, with signature low-end blooms and crisp drum patterns, reconstituted in real time and massaged by the custom four-point sound system.

Live at Public Records was recorded on December 6th, 2024 in Brooklyn NY, mastered by Antony Ryan at RedRedPaw Mastering. Artwork and video taken from photography by Daniel Salemi.

Available as name your price on Bandcamp

Join us for the listening party at 2pm PST Friday

Photos by Daniel Salemi

Photos by Daniel Salemi

Photos by Daniel Salemi

WNDFRM / WVLT (ASIPV056)

WVLT is the newest sonic addition from WNDFRM (Portland-based, Tim Westcott), an album of eight distinct explorations of micro-rhythmic IDM.

Tim Westcott’s practice is rooted in an acute, nearly forensic attention to sound. Subtle tones, sculpted drones, and lean percussive gestures, always pursued with a patient ear and obsession with sound design. 

With previous releases on Prologue, Home Normal, and Dragon’s Eye Recordings, and several live performances at Mutek, a new album from Tim is a rare yet welcome occurrence. The conceptual approach for WVLT began in 2021, mixing synths with drum machines and granular processing. Lightly arced structures slip between gates of rhythm, shifting pulses, translucent washes, and disquieting residue. There’s a precision to the hesitation and an insistence in the space between notes, a deft balance of raw improvisation and sculpted quietude.

An exercise in immediacy and response, each track builds and unspools, like form in fleeting motion, driven by the moment’s tonal contrasts, micro‑rhythmic interplay, and slight gestures that alter entire planes of listening. It’s minimal without sparsity, intense without density.

Available digitally and on limited transparent dark blue 12”  vinyl on September 26th 2025. Mastered by Taylor Deupree @12k Mastering and featuring artwork by Noah M / Keep Adding.

Release page