quête:emotion

A surefire Salsoul classic and comfortably one of the label's finest moments, the self-titled LP from The Strangers was originally released in that golden year of 1983 and is one of the greatest albums of the post-disco era. It’s one of Be With's favourite ever LPs and it's a complete honour to be giving it our reissue treatment.

Still strangely overlooked but not for much longer, The Strangers contains flawless tracks with truly top tier production and includes the eternal Paradise Garage favourite "Step Into My Dream."

Are they Strangers to us? Well, no, they shouldn't be. The Strangers were a US electronic-funk studio concept group comprising Edward "Tree" Moore, Howard King and Hubert Eaves III, all key members of Mtume and Gary Bartz NTU Troop and, in the case of Eaves, one half of D-Train.

Now I KNOW you're gonna dig this!

We kick off with the dope electro-funk of "Wanna Take Your Body" which features Gary Bartz on sax (!) and becomes more sensational and irresistible the longer it plays. The wonky super-bomb "Let Me Take You Home" has a punk-funk, post-Prince feel, driving and delicate all at the same time while "Show Me How You Like It" is pure FUNK, the groove just pure fire.

Side B is perfection. It kicks off with the NTS favourite "Love Rescue", a track so slick it positively SLAPS out the gate and, while it bangs throughout, the vocals and melodies elevate this to the status of EMOTIONAL POP.

Next up, "Step Out Of My Dream" swaggers forth, the undisputed masterpiece that was huge with the London DJs and UK Soul fraternity; it's not hard to see why. It's a gliding, smooth, soulful piece of once-in-a-lifetime magic.

DYSTORTION
Extrawelt's Latest and Longest-Brewing Album Lands This December on Cocoon

In this beautiful world marked by rising chaos, sometimes the simplest way to escape its troubles is through sonic relief. Germany's renowned electronic duo Extrawelt will offer exactly that with their 5th full-length album, DYSTORTION, via Cocoon Recordings this December.

For over two decades, the humble duo behind Extrawelt, who shy away from making music for clicks, have been a steadfast presence in electronic music. Known as serious studio and tour-focused artists who craft timepiece albums, each a work of enduring craft, that go on to create atmospheric, out-of-the-box live acts, they've been shaping and redefining electronica since their first release.


DYSTORTION is their most diverse and evocative album to date. Imagined over six years and shaped by a world in flux through COVID, political upheavals, social media, and AI, it reflects the contrasts and twists we've all felt while offering surges of serenity and hope. From brooding tension to playful relief, it moves through different states in an evolved Extrawelt manner.

The album's opening credit, "Grand Départ," as if a cinematic prelude, invites us into a world of creeping bass, an explicitly Extrawelt sound that's synonymous with the "anti-genre genre" they work within. The album's second track, "Clapland," sees Extrawelt joining forces with Jimi Jules, a name synonymous with excellence in electronic music, creating a rare collaboration that is felt in every note. Soon, the mood shifts into softer melodies as heard in "Surrounded By Miracles," "Hope Sounds Good," and "Sir Stringalot," which bring bright euphorics to balance the darker moments in an album echoed by industrial influences. Later, as "Dystortion" (the album's title track) unfolds, we're drawn into something few electronic artists can create: raw emotion. This is a gritty landscape as reflective as it is pulsing, glitchy, intense, and richly textured.

DYSTORTION is a reflection of a complex, divided world, carried through dramatically with Extrawelt's signature techno tension. Like the world right now, it is full of contradictions, surprises, and moments of introspection, an essential listen for fans of mature electronic music that may or may not need a reminder of why, after 20 years, we're still listening.

Housmose launches its new CLUB CUTS series with Vol.1, a curated five-track vinyl showcasing the raw, deep, soulful, and garage-inspired sounds that define the label’s spirit.

Limited to 300 hand-numbered copies (200 black, 100 red), this first edition captures a timeless club essence - from punchy grooves to late-night introspection. Deeleegenz opens the record with “M.W.H.I.”, a fierce and energetic cut packed with garage swing and raw punch - the perfect statement for the series debut. On A2, Mike Ekim delivers “The Main Street”, a UK garage-driven banger built around crisp drums and rolling low-end pressure. On the flip, Reagan Mian’s “Memories” dives deep into emotional territory - a nostalgic deep house journey that blends warmth, groove, and a pure club spirit. Rawdio follows with “Mirari”, weaving hypnotic synths and lush pads into a dreamy early-90s atmosphere. Finally, Max Telaer closes the record with "Fair Weather", a jazzy, sample-rich groove that radiates soul and wraps the compilation with finesse. With striking artwork by Sozyone, CLUB CUTS Vol.1 stands as both a collector’s piece and a dancefloor weapon - crafted for DJs, diggers, and anyone who still believes in the magic of wax.

Figure is celebrating its 150th release with a loaded triple vinyl compilation, showcasing artists both old and new to the label – a testament to what the Figure sound is today. The cover art has been commissioned from Berlin-based graffiti artist Erik Winkler, whose spray-painted work is adorning the thick triple-pocket sleeve housing three colored records.

The compilation features some important recent additions to our growing roster: both Jancen and Arthur Robert deliver their unique take on tunneling techno, be it searing or psychedelic. And Brazilian shape-shifter Vinicius Honorio carves out his own gliding bass frequencies while A-STS relies classic drum machine bleep hypnosis.

Label head Len Faki’s own energetic appearance echoes his versatile style found on his recent album release. The all-out production featuring strings and quirky synths sits in contrast with Jeroen Search & Decoder - a pairing of veterans, whose minimal hardware sound slowly builds over trippy acid loops. The flipside belongs to a younger generation of producers, namely IGLO turning out a superb techno roller teeming with life and lush with details. The duo of Munich brothers Glaskin already remixed Faki for his Fusion album, their first original release on Figure comes a skillful blend of distorted stabs and deep grooves.

Equally refined but with a harder edge to it, Scheermann practices a dark, minimalist approach where each element gets time to shine for maximum effect. His bleak track is aptly paired with a rare solo release of Obscure Shape whose fractures of a dreamy, twinkly melody make for one of the most emotional moments of the compilation. The final side holds Roman Poncet’s seasoned understanding of groove, balancing perfectly the dubby stabs and vocal chops for a dazzlingly perfect loop. The final tones to this milestone release come courtesy of another of Figure’s bright new voices: Arkan manages to conjure up a powerful sense of progression, where colourful synths converge in harmonies over an effortlessly bouncing beat.

It is a rare moment for an independent label to make to number 150. But to keep finding new talent who help re-shape the signature sound while expanding the family roster, that’s a true blessing. This package shows how Figure is growing and adapting as a label, staying relevant as one of the leading voices in modern techno.

Releasing a first EP at 35, after more than 20 years listening to alternative music and 10 years of DJing, could only result in something matured - something fermented. Fermented Beats EP is a blend of raw club energy and emotional textures, where grooves meet melodies. Rooted in club music but infused with influences from across genres, it reflects years spent absorbing music from a lot of different angles, distilled into a few tracks that speak both to the body and to the mind.

Repress 2026

Born in Sant Cugat del Valles, Spain, Rosalia has spent the last decade reshaping the language of pop by folding flamenco's emotional gravity into experimental production. Her fourth studio record pushes that ambition further. Recorded at London's Studio 13 with the London Symphony Orchestra conducted by Daniel Bjarnason, Lux is conceived as a four-part suite exploring "feminine mysticism, transformation and transcendence". Across its eighteen tracks, she blends classical orchestration with industrial textures and devotional themes. The lead single 'Berghain' - featuring Bjork and Yves Tumor - fuses cathedral-scale electronics with liturgical chant while 'La Rumba Del Perdon' pairs Estrella Morente and Silvia Perez Cruz in a near-sacred lament. Sung in English, German and Spanish, it's Rosalia's boldest statement yet.

London duo Babeheaven — vocalist Nancy Andersen and producer/multi- instrumentalist Jamie Travis — return after four years with their highly anticipated 5-track EP ‘Slower Than Sound’, released via Scenic Route on October 24.

Following their singles ‘Beloved’ and the 6 Music-premiered track ‘Picture This’, ‘Slower Than Sound’ marks a deeply personal and intimate turn for Babeheaven. Written and recorded largely in Nancy’s home studio, the EP embraces minimal instrumentation, acoustic textures, and spacious arrangements, capturing the emotional vulnerability and euphoria the duo describe as “Post Rave” — the music you listen to on the ride home from a
party.

“It feels like a rebirth in a lot of ways,” says Nancy. “Writing at home gave me space to experiment, make mistakes, and rebuild confidence. Once I brought the songs to Jamie, we shaped them together into what you hear now.”

The EP explores love, reflection, and personal growth. Beloved conjures a comforting, almost mythic presence, while Lost For Words reflects the struggle to connect with the world and oneself. Picture This offers snapshots of a relationship, looking back while imagining its future. The cover Tiny Demons by Todd Rundgren blends seamlessly with the EP’s introspective mood, and Loud Thoughts, featuring Samba Jean-Baptiste, captures heartbreak, burnout, and creative pressure. “I hope people can find their own meaning in these songs,” Nancy says. “I’m writing for myself, but music is for each listener to interpret.”

Since debuting with Friday Sky in 2016, Babeheaven have steadily built a loyal following through their acclaimed albums Home For Now and Sink Into Me, amassing over 65 million Spotify streams and earning support from BBC Radio 1, 6 Music, and KCRW. Their live shows have sold out Village Underground,

Bush Hall, and Jazz Cafe, and they’ve shared stages with Cigarettes After Sex, Loyle Carner, and Nilüfer Yanya. Visually, Babeheaven’s world has been shaped alongside creatives including Margot Bowman, Frank Lebon, Tegen Williams, Sacha Beeley, and Joyce Ng, cementing their reputation as one of the UK’s most distinctive acts.

After facing cancelled tours, industry pressures, and a period of creative doubt, Slower Than Sound represents a return to the core of their artistry: intimate, honest, and self-produced. Jamie reflects: “Not putting out music for so long was hard, so we hope this is the start of a more prolific period for us, reconnecting with the London music community and beyond.”

With Collective, the Barcelona- and London-based imprint Rhythm Cult once again proves why it stands among the most respected underground platforms in European electronic music. Founded by Paul Loraine, the label has built a reputation for bridging deep musicality, minimal precision, and timeless dancefloor function´, always with an ear for detail and emotional resonance. The first installment of the Collective series gathers a remarkable lineup of producers Jim Rivers, Satoshi Fumi, DCLVIII OFC, Mark Jackus, and Michael Wardemann, each contributing to a shared aesthetic that defines the Rhythm Cult sound: sophisticated, groove-driven, and deeply human. Subtle textures, rolling basslines, and understated movement shape a release that feels equally suited for intimate clubs and open-minded floors. Collective embodies the label’s dedication to quality, authenticity, and artistry, a modern classic in the making from one of the scene’s most consistent and forward-thinking imprints.

Following a number of more vocal-led releases, French deep house don Franck Roger returns to his tracky house roots with this latest drop on Seasons Limited. Kicking off is 'Mind Games', a swirling, peak-time house seducer built for late night floors and on the flip, 'I Can Feel Ur Love' stays deep but has a subtle skip to the kicks, while molten chords are draped over the beats and subtle vocal swirls marble the mood. 'Gerkin Moods' pays tribute to the legend Larry Heard, not just in title. It's got real emotional depth and a deeply cosmic atmosphere.

Electro don Carl Finlow dropped 'Convergence' under his Random Factor alias back in 2005. It was a definitive showcase of the talent that continues to stand him out two decades on and is completely devoid of samples. Every note is carefully crafted as part of an emotional electro-pop classic that track gained legendary status thanks to Craig Richards, who has made it a regular in his sets at Fabric and Houghton Festival. John Tejada injects glitchy textures and stuttered vocals into his rework, and this reissue includes a subtly remastered version with improved fidelity and brand-new artwork by Finlow himself.

Since the late 1960s, jazz drummer Takeo Moriyama has been a dominant force in the free jazz scene, initially with the Yosuke Yamashita Trio, and more recently, collaborating with the KYOTO JAZZ SEXTET, earning respect from past to present. Recorded in 1980 with his quartet featuring Fumio Itabashi, this album is renowned for being the first to include the emotionally rich Japanese masterpiece "Watarase". Other highlights include the spirited "Exchange" and the beautifully poignant "Goodbye". Each track is a standout, offering a grand-scale performance where tranquility and movement organically intertwine, making it one of the top albums in the history of Japanese jazz.

Takeo Moriyama (Drums)
Yoshio Kuniyasu (Tenor & Soprano Sax)
Fumio Itabashi (Piano)
Hideaki Mochizuki (Bass)
Koichi Matsukaze (Alto & Tenor Sax, Flute)

Swimming Paul’s music has always lived in the push-and-pull between euphoria and melancholy; the rare kind of electronic music that can make you cry while your body keeps moving.



On Smiling Through the Pain 2 (out October 24 via Headroom Records), the French-born, London-based producer doubles down on that emotional duality, delivering an album that feels as much like a diary as it does a DJ set.

Over the course of 15 tracks, Paul stitches together late-night catharsis, suburban nostalgia, and the jagged tenderness of early adulthood. The record is sequenced like an unbroken night out: the giddy anticipation, the sudden moments of reflection, the quiet comedown as the sun edges in. It’s an album that refuses to treat joy and sadness as opposites, they coexist here, often in the same chord progression.



“I don’t want to escape the feelings, I want to bring them with me” Paul says. “If you can’t stop thinking about something, you might as well dance with it.”

That philosophy runs through the singles: the emotional release of Holly (with Junior Simba), the aching nostalgia of Different Time, the hypnotic haze of Hard 2 Sleep, and the house-driven Drinking to Get Drunk, a bittersweet ode to nights spent outrunning your own thoughts. Elsewhere, Liza M1 folds heartbreak into an almost triumphant piano hook, while Shine a Light urges listeners to take risks and live without hesitation—as if youth’s boldness could be bottled.



Since debuting in 2023, Swimming Paul has quietly built an empire on emotional resonance: 150 million streams across platforms, 1.9 million monthly listeners on Spotify and more than 50 editorial placements (including Dance Party, Crying on the Dancefloor, Electronic Rising….), 10,000+ radio spins worldwide, and sold-out tours across Europe and North America. His sound has earned co-signs from BBC Radio 1, Triple J, KCRW, Sirius XM and a wave of DJs who value melody as much as momentum.

But Smiling Through the Pain 2 isn’t chasing charts, it’s chasing connections. Paul’s global fanbase, nurtured through a lively Discord community and nights on the road, has become a two-way conversation, with fans’ stories feeding back into the music’s emotional core.
This autumn, Paul takes the album to stages that match its ambition, from London to a string of US club dates, festivals and intimate pop ups designed for shared release.



Smiling Through the Pain 2 is an invitation to feel everything at once. To sweat through the sadness. To let your guard down under strobe lights. To realise that the best nights out don’t make you forget; they help you remember.

UK producer Tom Carruthers returns with a scorching 5-tracker for Skylax Records, diving headfirst into the primal roots of jackin’ house, proto-italo, and early machine funk. Known for his raw MPC-driven grooves on L.I.E.S., Clone Jack For Daze, Syncrophone, and Craigie Knowes, Carruthers channels the energy of the underground circa ’86—pure drum machine soul for the dancefloor faithful. Side A kicks off with the title track “Neutralise”, all sharp snares, warped synths and hypnotic repetition—a jack track in the truest sense. “Deep North” follows with ghostly pads and relentless drum programming, while “No More” brings metallic tension and stripped-down funk with a heavy nod to Chicago’s original blueprints. On the flip, “Pascals” weaves cosmic arps through rugged percussion, merging italo sensuality with bleep-era minimalism. The closer, “Cosmic Ride”, is exactly that: a journey through spacey chords, dusty rhythm boxes, and that unmistakable feeling of warehouse euphoria at 4 a.m. Neutralise EP is a raw, timeless record that strips dance music down to its essence—jacking, emotional, physical. To match the sonic purity and timeless aesthetic of the release, we enlisted the iconic H5 studio—a name synonymous with visionary design in music and culture. Known for their groundbreaking work with Daft Punk, YSL, and numerous award-winning visual campaigns, H5 brings a level of artistic sophistication that elevates this EP into a complete sensory object. Their clean, modernist design echoes the stripped yet futuristic vibe of Tom Carruthers’ sound—a perfect fusion of form and function, underground and high art. Vinyl only. No digital. No compromise. For fans of: Virgo Four, Baby Ford, Larry Heard, early Warp, Mr. Fingers, and Beppe Loda.

For its debut release, Echoform presents a sonic palette of the shapes and colors that define its events.
The journey begins with Circles, a tension-packed peaktime driver. Built around a deep bassline, layered leads, and emotional pads, all tied together by a vocal that calls for love.
Next is Squares, a raw, heads-down groover made for sweaty dancefloors. Dreamy FX meet stripped-back rhythms in a hypnotic blend.
The EP closes with Another Shape, a 90s-inspired tech house cut with a deep emotional core. Subtle pads and a rolling groove carry you through the early hours.

Echoform is a newly formed record label based in Amsterdam and Berlin. Formerly known as boshuis, the label has been refreshed with a new mission: to unravel the mysteries of visualising sound. Have a look at their artworks and take some time. “Do you hear what you see?”

From the soulful underground of Argentina comes a new chapter on Abuelo Negro Limited, the Taylor Fass EP. A beautifully crafted release that bridges emotion, groove, and timeless aesthetics. Each track unfolds with subtle depth: warm pads, dusty percussion, hypnotic basslines, and that unmistakable deep-house pulse that feels both classic and fresh. It’s music for intimate dancefloors and late-night reflection, the kind of sound that connects body and soul without ever forcing attention. Taylor Fass EP embodies the label’s spirit, raw yet refined, deeply human and full of feeling. The stunning artwork completes the vision, reflecting the warmth, nostalgia, and understated elegance of the music itself. A heartfelt release from Buenos Aires to the world, for those who still believe that house music is more than rhythm, it’s emotion.

When Chuck D proclaimed "Bass, how low can you go?" on Public Enemy's anthemic 'Bring the Noise,' maybe he was pre-empting or inciting the 10,000 fathoms-deep, spine-bending basslines and sub-quake tremors of 'Implosion.'

Implosion is a crushing split album, appropriately released on The Bug's own PRESSURE label. Mapping out a new form of spectral dub, the sound is deliberately immersive, introverted, and yes, definitely implosive. In pursuit of heavy lids, blurred vision, and merciless bass bin punishment, it’s one part meditation, two parts low-end theory, and essentially a confession of devoted sound system addiction.

As expected from a tag team featuring British soundlab explorer and 'London Zoo' composer Kevin Martin, aka The Bug, and Michael Fiedler, aka Jah Schulz—a long-time graduate of Germany's new school of sound system reggae culture—the duo approaches their target differently yet share the goal of keeping their sound "raw" (Fiedler) and "brutally minimal" (Martin). This proves that opposites can attract, even if their tools are different and their methods sometimes diverge.

From such a disparate combo, hailing from different geographical and aesthetic backgrounds, contrasts are certainly on display, even within each artist's own contributions. From the melancholia and transcendence of 'Alien Virus (West Indian Centre, Leeds),' to the duality of ascension and descension on 'Hope,' or the Sunn 0))) in dub, visceral drone of 'Dread (The End, London),' to the tripped-out repetitions of 'Midnight,' which reinvents Chain Reaction for post-millennials, the result is both sacred and narcotic. Each track illuminates the emotional impact and atmospheric pressure being explored across this deceptively sparse album—a mastery of tone and texture.

This collection might be as reduced, minimal, and deep as The Bug has ever gone, perhaps echoing the solemnity of his recent Kevin Richard Martin Black release and invoking the futurist steppas self-pioneered on his previous Pressure album. Alternatively, Fiedler‘s Ghost Dubs project ventures into his most heavyweight direction yet, which is no mean feat considering his previous, the critically acclaimed album Damaged, was a monstrously massive triumph of analogue weight and enviable sound design.

Implosion is ice-cool, a stark contrast to the warmth and sociability of traditional Jamaican roots and the current trends in digi-dub. Instead, the mood is soaked in tension and intense dread, finding an unexpected melting point where classic dub's stark rhythm attack, isolationist ambience's eerie drift, dub techno's floatation strategies, and even the relentless riffs of doom metal collide. As the bass-obsessed pair drop what is arguably the heaviest ambient dub album to emerge from any electronic sector—a moody counterpoint to The Orb's fluffy clouds, etc, Martin has cited The Roots Radics, Black Jade, and On U Sound's Pounding System as heavily influencing his approach to the album, while Fiedler has expressed his admiration for Adrian Sherwood's productions and Rhythm & Sound's enchanting soundscape. Yet, the super heavyweight pulsations, emotive resonances, and bone-rattling vibrations detonated here effortlessly go far beyond these influences.

Shadowy and elusive, there’s a mysteriousness at this record's core. A haunting moodiness oscillating between nostalgia and future shock. Despite the deadly fixation with SLOW and HEAVY, the album maintains a totally hypnotic swing throughout. Implosion and its lead single 'Imploded Versions' are testaments to being enveloped in bass, seduced by bass, submerged in bass, and utterly crushed by bass, as The Bug and Ghost Dubs seek to craft a new form of dub for zonal headz and Babylon seekers.

Mastered by Stefan Betke (a.k.a. POLE) at Scape Mastering studio, this record is heavy as f-ck without resorting to continuous distortion. It’s low-end worship taken to an absolute extreme, yet remains highly listenable and definitely danceable, albeit at the slowest of paces. Sacred and narcotic, this is low-end worship amplified to the max. Dive in if you dare.

Hania Rani ist eine mehrfach preisgekrönte Komponistin und Pianistin, die mühelos zwischen der Welt der
klassischen und der experimentellen Musik wechselt.
Aufgenommen in den Abbey Road Studios mit einem 45-köpfigen Orchester, markiert „Non Fiction“ einen
neuen Abschnitt in Ranis Karriere, da sie von den elektronischen Klängen ihres gefeierten Albums „Ghosts“
in den symphonischen Bereich übergeht und eine Brücke zwischen ihrem eleganten Experimentalismus und
ihrer klassischen Ausbildung schlägt.
Non Fiction ist Ranis erstes Klavierkonzert und symphonisches Werk. Es ist auch eine Reaktion auf die Entdeckung der Kompositionen des jungen Musikwunderkindes, Josima Feldschuh, die während der Schrecken
des Zweiten Weltkriegs im Warschauer Ghetto entstanden sind. Bewegt von der Geschichte des jungen
Mädchens, beschloss Rani, sie durch die Linse der aktuellen Schreckenssituationen in der Ukraine und im
Gazastreifen zu betrachten und zu untersuchen, wie wir diese durch moderne Medien wahrnehmen. Dabei
erforscht Rani die ständige Koexistenz von Harmonie und Unordnung, schafft eine klangliche Metapher
für das Überleben des menschlichen Geistes angesichts von Gewalt und nutzt den emotionalen Wert von
Klängen, um diese irgendwie fernen Konflikte für uns auf menschlicher Ebene nachvollziehbarer zu machen.

MAXIMILIAN’s records takes listeners on a journey across two parallel paths.
Beginning with the full A-side, it unfolds as a driving, emotional exploration—diving deep into questions of consciousness that have been asked time and time again.
In contrast, the B1 cut delivers a more aggressive energy, pushing you beyond your comfort zone, only to leave you with a sense of release by its conclusion.

2025 Repress

Two revered dance music institutions come together here as Pye Corner Audio steps up to Emotional Response with his debut EP for the label. What's more, it is a two-parter with the second half also available now. This one from Martin Jenkins finds him making an homage to the acid house he has always loved with opener 'Stegan Acid' starting with slow grocers and foggy moods run through with subtle 303 modulations. 'Magnetic Acid Three' is another deep and stripped-back sound with rumbling drums and bass coloured with soft acid contours and 'Thermionic Acid' gurgles a little more as the icy hi-hats cut through a mutant deep techno swamp. 'Magnetic Acid One' is one final meditation on acidic house depths.

With Dominik Eulberg and Arne Schaffhausen (of EXTRAWELT) we welcome back two longtime Cocoon heroes to the label. The two were featured in a VICE Magazine special last year for a 'field recording' documentary. you-need-to-hear-this/dominik-eulberg-westerwald-extrawelt-zurich-lost-and-found) which marked the beginning of a new collaboration. Dominik and Arne checked their fresh recorded sounds in the studio and found out that there have a common base and musical understanding. They started to work on new tracks and it looks like this joint venture will continue for a longer time. The first results of their mutual work is 'A Little Further' which will be released in three different versions on Cocoon Recordings in the next weeks (COR12117). So let's start with 'Not On A Map' version: This one seems to be tailor made for the next afterhour and the rising sun. Dominik and Arne create the perfect mood for those special moments on the floor with a nice mix of energetic beats, interesting sounds and an emotional bass- and synth-programming. So many layers and different levels however the overall picture never gets overcharged or too demanding. Coming up next is the '37 Routes' version which quite stands out with the used breakbeats and no standard 4/4 kick drum. The synths are more scratchy and louder and the bassline seems to jump out of the speakers, this is a massive wall of sound production. The direction here is clear. However the two incorporated some cool and magic breaks that seem to refer to the deeper Eulberg sound which forms a great mix of two different techno-visions. Last but not least there's the 'Imaginery Escort' version which appears a bit like the dub edit of 'A Little Further".