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Incubus is an American rock band from Calabasas, California. The group was formed in 1991 by vocalist Brandon Boyd, lead guitarist Mike Einziger, and drummer José Pasillas while they were students at Calabasas High School. The lineup later expanded to include bassist Alex “Dirk Lance” Katunich and Gavin “DJ Lyfe” Koppel. Both were eventually replaced, Ben Kenney took over on bass, and DJ Kilmore joined as the band’s turntablist. In 2024, Nicole Row replaced Kenney on bass.

Incubus’ sound has been described as a blend of rap metal, funk, jazz, and post‑grunge, often incorporating elements of hip‑hop. This eclectic style helped them become one of the most popular alternative metal bands of the early 2000s.

The band has achieved significant commercial success, earning multiple multi‑platinum releases and producing several hit singles. In 2017, they released their eighth full‑length studio album, 8, with Skrillex contributing to production and mixing.

Best known as one half of KIASMOS alongside Ólafur Arnalds, the Faroe Islands born, Reykjavik based producer Janus Rasmussen has consistently refined an elegant sound that marries sonic precision with emotional depth. Over the past decade, he has built a wide-ranging body of work through collaborations across multiple genres as a producer, songwriter, musician, and mix engineer.

As a solo artist, Janus has crafted compositions that balance immersive sound design, subtle melodic shifts and rhythmic drive, drawing on his diverse musical appreciation and studio experimentation. These experiences have shaped a creative identity that now comes into sharp focus on his most ambitious solo project to date - Inert.

The album marks a bold step forward, thematically exploring the act of breaking free from inertia through embracing creative freedom. With his new work, Janus incorporates his own vocals more than ever, weaving them seamlessly around intricate electronics as he expands his sound into new territory, while retaining the subtle restraint that has defined his output. Drawing inspiration from the dance music spectrum, Inert reflects a renewed sense of momentum, vulnerability and adventurousness in his sound.

Sucata Tapes present the debut album by I'A'V, a conjuration born from an invitation extended by gnration in Braga to Inês Malheiro, completed Violeta Azevedo. Three inescapable figures amidst the portuguese scene, whose precious body of work resonates here in ineffable style.

A blessed triangulation of artists, each with a fully formed vision and a path forged across multiple fronts, I'A'V trace a course of dreamlike songs that blend into a long and volatile poem, where a rarefied electronic landscape of arpeggios, glassy textures, and ruptures seeps into the lyricism of Casellas's cello lines and Azevedo's flute breaths, guided by the Voice.

At times stripped bare, at others soaked in a torrent of post-human effects, settled on Malheiro's expressiveness and elevated by the Azevedo. Volatile Poem, recorded during the mentioned residency, unveils mysteries and conceals realities in a fluid sequence of communal ascension moment

‘MASH DOWN BIRMINGHAM: THE EARLY RECORDINGS OF MUSICAL YOUTH’ NEWLY UNEARTHED EARLY RECORDINGS BY THE FIRST LINE-UP OF MUSICAL YOUTH Mastered from the original tapes by Guy Davie at Electric Needle Mythology, the label founded by music writer, author and broadcaster Pete Paphides, is thrilled to announce ‘MASH DOWN BIRMINGHAM: THE EARLY RECORDINGS OF MUSICAL YOUTH’ – an album of rare and unheard early recordings by Musical Youth, the Birmingham reggae group propelled to worldwide fame with the release of their chart-topping single PASS THE DUTCHIE. ‘MASH DOWN BIRMINGHAM: THE EARLY RECORDINGS OF MUSICAL YOUTH’ combines songs from Musical Youth’s first John Peel session, recorded in 1981 with newly unearthed recordings taken from quarter-inch reels stored for over 40 years by the group’s mentor and producer Toney Owens. The project was seeded as early as 2020, when Paphides sent a speculative message to Owens, after he saw his producer credit on the group’s independently released 1981 single Generals/Political. Paphides wanted to know if Owens had made more recordings of the group in a similar heavier roots reggae vein to those on their debut single. Happening upon the message by chance three years later, Owens allowed Needle Mythology access to his archive of quarter-inch tapes, dating back as far as 1978. The recordings gathered together on ‘MASH DOWN BIRMINGHAM: THE EARLY RECORDINGS OF MUSICAL YOUTH’ shine a light on the exceptional musicianship inculcated into the group by their first frontman Frederick Waite, formerly singer with revered Jamaican rocksteady group The Techniques. Backing Frederick Waite in the early lineup of Musical Youth (originally billed by Toney as Cultural Musical Workshop Youths, were two pairs of brothers) Patrick and Junior Waite, and Kelvin and Michael Grant.

Over the course of more than a decade, the French quartet Lost in Kyiv have refined a sound that fuses cinematic ambition, electronic precision, and visceral live energy into something unmistakably their own. With their new album, `We're All Going To Be Fine', they push that identity further than ever; sharpening their production, intensifying their dynamics, and embracing a darker, more immersive sonic architecture. Lost in Kyiv's music has always thrived on tension between the organic and the synthetic. On `We're All Going To Be Fine', that integration reaches a new level of clarity and depth. The writing and production process was long and exacting, allowing the band to refine every transition and tonal detail. Songs unfold with architectural precision, motifs are introduced subtly before expanding into vast, multi-layered climaxes. Dynamics are handled with patience and control, silence and minimalism are deployed as strategically as explosive crescendos. This careful pacing gives the album a cinematic flow and larger narrative in which struggle and compassion coexist. Guitars surge and recede in wide, panoramic arcs. At moments they shimmer and support, at others they thrash violently, accumulating layers of distortion and harmonic overtones. Acoustic instrumentation is interwoven with sequenced synth lines, pulsing arpeggiators, and carefully sculpted electronic textures that give the band's sound a sense of forward propulsion. Rhythm plays a central role in Lost in Kyiv's identity. The drums provide impact and structure, locking into intricate patterns that interact with bass-driven synth pulses. At times the groove feels almost mechanical, echoing the steady insistence of electronic music; at others, it breathes and swells with human elasticity. This interplay creates a powerful sense of movement, an impression that the music is always advancing, even in its most introspective passages. "We almost consider this album as the first record of a new version of the band. That's why we decided to use the name Lost in Kyiv now. We don't want to erase the past, but it really feels like a new direction. Artistically, I think this album marks the beginning of a new direction, louder and more metal-oriented than what we did before." (Lost in Kyiv) FOR FANS OF Russian Circles * P.G.Lost * The Ocean * Cult of Luna * Brutus * This Will Destroy You

Over the course of more than a decade, the French quartet Lost in Kyiv have refined a sound that fuses cinematic ambition, electronic precision, and visceral live energy into something unmistakably their own. With their new album, `We're All Going To Be Fine', they push that identity further than ever; sharpening their production, intensifying their dynamics, and embracing a darker, more immersive sonic architecture. Lost in Kyiv's music has always thrived on tension between the organic and the synthetic. On `We're All Going To Be Fine', that integration reaches a new level of clarity and depth. The writing and production process was long and exacting, allowing the band to refine every transition and tonal detail. Songs unfold with architectural precision, motifs are introduced subtly before expanding into vast, multi-layered climaxes. Dynamics are handled with patience and control, silence and minimalism are deployed as strategically as explosive crescendos. This careful pacing gives the album a cinematic flow and larger narrative in which struggle and compassion coexist. Guitars surge and recede in wide, panoramic arcs. At moments they shimmer and support, at others they thrash violently, accumulating layers of distortion and harmonic overtones. Acoustic instrumentation is interwoven with sequenced synth lines, pulsing arpeggiators, and carefully sculpted electronic textures that give the band's sound a sense of forward propulsion. Rhythm plays a central role in Lost in Kyiv's identity. The drums provide impact and structure, locking into intricate patterns that interact with bass-driven synth pulses. At times the groove feels almost mechanical, echoing the steady insistence of electronic music; at others, it breathes and swells with human elasticity. This interplay creates a powerful sense of movement, an impression that the music is always advancing, even in its most introspective passages. "We almost consider this album as the first record of a new version of the band. That's why we decided to use the name Lost in Kyiv now. We don't want to erase the past, but it really feels like a new direction. Artistically, I think this album marks the beginning of a new direction, louder and more metal-oriented than what we did before." (Lost in Kyiv) FOR FANS OF Russian Circles * P.G.Lost * The Ocean * Cult of Luna * Brutus * This Will Destroy You

Am 14. Mai 1958 versammelte der Gitarrist Kenny Burrell im Manhattan Towers Studio in New York
sieben hochkarätige Musiker um sich, um im Stil einer lockeren Jamsession bluesige Originale, Balladen
und Standards für zwei Alben aufzunehmen. Während “Blue Lights, Volume 1” noch im selben Jahr von
Blue Note veröffentlicht wurde, erschien “Blue Lights, Volume 2” erst 1961. Das Cover ziert eine Illustration des damals noch relativ unbekannten Andy Warhol. Auf All About Jazz pries Marc Davis den “wirklich
demokratischen” Charakter dieser Jamsession und schrieb: “‘Blue Lights’ bietet eine wunderbare Mischung
aus bluesigen Stücken - daher auch der Titel des Albums - und traditionellem Bop-Spaß, darunter eine
ziemlich mitreißende Version von Duke Ellingtons ‘Caravan’.”

"Chance animates the smallest parts of the universe: the scintillation of the stars is its power, a wildflower its incantation."
—Georges Bataille, Le Petit

"Even on my way to the gambling hall, as soon as I hear, two rooms away, the clink of the scattered money I almost go into convulsions." —Fyodor Dostoevsky, The Gambler

Video gambling addicts, academic researchers, and industry professionals alike describe the trancelike state into which problem gamblers suspend themselves with remarkable consistency: they unanimously call it the machine “zone,” a kind of inner experience during which the rhythmic flow of human-machine collusion borders on mysticism. Time is abolished in the act of contemporary video gambling —simulated slot reels roll, virtual poker decks deal, and all worldly concerns are lost—leaving only the aura of total zone immersion in its wake. Sometimes characterized as the crack cocaine of gambling, the intensity of the machine zone is a symptom of casino ergonomics: emotionally manipulative fragrance-saturation, mesmerizing lights, subtly controlling walkways and, as captured here, meticulously engineered sonic environments all play a role in evoking the timeless void of the zone.

Although I was not yet aware of the extent to which casinos tailor their environments for maximum comfort (and, correspondingly, profit), I did know as I crossed the threshold of my first casino floor last year that I would be back for more. Hit by a cornucopia of slot machine tones, triggering aleatorically and coalescing into shimmering masses, I was struck by the need to return and record the sounds that so entranced me. It wouldn't prove to be easy—casino security is intense—and due to the clandestine nature of the operation, my recording techniques were by no means sophisticated. Equipped with nothing but an Olympus LS-11 recorder's internal microphone stashed in a sweaty coat pocket, I allowed the lure of the zone to guide me through a series of ambling recording sessions, the best of which are included here.

I learned a lot about casino sonics in the process: game designers, for example, once tuned all their machines to the key of C major in order to optimize harmonic cohesion (strict adherence to the key is no more but C still dominates the game floor); one team of designers, the story goes, even spent a month perfecting a single 'ding' sound on one machine. In the interest of preserving the true ambient sounds of the casino these recordings are untreated, but lost in the sea of chance I did exert some affirmative control by means of meandering intent and my actual playing of the machines. And by participating in the games myself I got a taste of the financially debilitating consequences that accompany the enchantment of video gambling. The cassette in your hands represents my endeavor to bring you the zone experience without the harsh comedown of its unfortunate reality.

—Adrian Rew

Brazilian duo DEAFKIDS returns with a vital and combustive new album, CICATRIZES DO FUTURO (SCARS OF THE FUTURE).

This nine-track sonic assault forges a path beyond the conventions and boundaries of static musical genres. Here, electronic fury and feverish organic percussion collide with a relentless Latin American punk spirit.

Vinyl is opaque orange with black dot splatter. Limited


PRESS FOR PREVIOUS ALBUM ‘METAPROGRAMACAO’ (NR113)

LEAD REVIEW IN WIRE MAGAZINE: 'BRAZIL'S DEAFKIDS PERFECT AN UNHOLY COLLISION OF DUB, METAL AND PSYCH ON THEIR CACOPHONOUS NEW ALBUM'
'OPENER 'MENTE BICAMERAL' SOUNDS LIKE BAD-TRIP MINISTRY AND THE SEVEN MINUTE CENTREPIECE 'RAIZ NEGATIVA' IS ABSOLUTELY HUGE' 4.5/5 NARC

“ONE OF THE MOST INDIVIDUAL ENDEAVOURS OUR COMMUNITY WILL DELIVER THIS YEAR” ZERO TOLERANCE.

9/10 REVIEW IN LOUDER THAN WAR: “. IT'S NOISY, IT'S INDUSTRIAL, IT'S PUMMELLING AND ULTIMATELY, IT'S COMPLETELY SATISFYING..

Conceptually, the album is a visceral diagnosis of a world intoxicated by its own fictions
of power, tracing the anatomy of a systemic grand deception and exploring its mechanics
of psychological, social, and material domination, the indelible marks imprinted on bodies
and minds and its catastrophic consequences.

It is a journey from the poisoned and addicted collective psyche to the desperate search for an antidote, while the future seems to be already cursed by the very forces that pretend to build it. Yet, for all its thematic weight, CICATRIZES DO FUTURO is hypnotically danceable - physical and ritualistic music that demands body movement as a form of mental cleansing. The album doesn’t just reflect a fractured and violent world — it breathes desire to live and resist through new sonic paths

Ten years ago, Anderson .Paak didn't just release an album; he staged a full-scale takeover of the soul and hip-hop landscape. Released on January 15, 2016, Malibu served as the definitive arrival of an artist who had spent years grinding in the underground before a star-making turn on Dr. Dre’s Compton. While his previous work hinted at his potential, Malibu was the moment the world met the "Cheeky Andy" persona in full—a virtuosic drummer, a raspy-voiced crooner, and a sharp-witted rapper all rolled into one. The album is a sprawling, sun-drenched journey through the Southern California coast, blending 1970s funk, church-reared gospel, and gritty boom-bap into something that feels both nostalgic and entirely futuristic. With a heavyweight production lineup including 9th Wonder, Madlib, Kaytranada, and Hi-Tek, the record maintains a warm, analog texture that was a breath of fresh air in an increasingly digital era. It’s an album that breathes, full of intentional imperfections and the kind of "in-the-pocket" groove that can only come from a seasoned live performer. Beyond the infectious, dance-floor-ready energy of tracks like "Am I Wrong" and "Come Down," the album is a deeply autobiographical masterwork. .Paak uses the 65-minute runtime to unpack his life story with startling clarity, touching on his mother’s gambling addiction, his father’s incarceration, and his own brushes with homelessness with a sense of resilience that never feels heavy-handed. He weaves these heavy themes through a lens of triumph, grounded by vintage surfing documentary samples that give the project its cinematic, coastal atmosphere. It’s a celebratory record born out of struggle, anchored by his impeccable technicality on the drums and a guest list—featuring ScHoolboy Q, Rapsody, and The Game—that feels hand-picked to complement his specific brand of West Coast swagger. A decade later, Malibu stands as a modern classic and the blueprint for the soulful revivalism that would eventually lead .Paak to global superstardom and Grammy-winning heights. It remains a testament to the idea that the most profound music often comes from the most personal places, proving ten years on that the best way to move forward is to stay rooted in the groove.

With its sunny pop, hypnotic groove and elegant synth-rock, French saxophonist, keyboardist and composer Laurent Bardainne brings together the Poni Hoax team featuring Pupajim & Melissa Weikart on Prologue EP Laurent Bardainne's eclectic musical career includes Poni Hoax (the best French rock band of its generation), Limousine (five albums of cinematic jazz between 2005 and 2023), via Lost (with Camelia Jordana) and Tigre d'Eau Douce with its comforting saxophone. Much like its iconoclastic and delightfully offbeat cover, created by one of the rising figures of the comic book scene, Salome Lahoche, Bardainne shares a taste for sidestepping norms, fertile ambiguity, and joyfully blurred boundaries.

The Debut LP released by Cardinal Fuzz (UK) & Feeding Tube Records (USA). Presented in a hand stamped metallic copper ink (front and back) print on a black card sleeve with insert. Recorded during downtime but sounding anything but casual, Celestial Power emerged when Dead Sea Apes’ Brett Savage and Chris Hardman linked synaptic overload with Cardinal Fuzz’s own Dave Cambridge to form a three-headed amplifier cult. Heavy, raw, and deeply resonant, this is music that embraces volume, repetition, and the beauty of imperfection. What they’ve summoned is a sprawling liturgy of overdriven guitar mantras: brutal, blown-out, and gloriously repetitive. Imagine the Velvet Underground locked in a warehouse mainlining the kosmische pulse of some forgotten Krautrock commune while Bardo Pond’s ash-coated spirit hovers overhead, scattering embers into a storm of PSF-style amplifier abuse. Not so much songs as tectonic events. Not riffs, but rituals. This thing doesn’t purr it howls. You hear the room breathing. You hear amplifiers gasping as they’re pushed past mercy, past design, into some ecstatic mechanical breakdown. Every repetition drills deeper, pushing beyond the horizon line until time itself starts peeling back in sheets. And that’s the point. This is repetition as revelation. Volume as transcendence. Human hands wrestling raw electricity into shape, then losing control of it entirely. On “Mandate Of Heaven,” the circle widens with the arrival of Nik Rayne (The Myrrors), adding another dimension to the ritual, a desert prophet stepping into the feedback storm, pushing the album’s gravitational pull even further into the void. No compromise. No softening. No edges filed off. Just pure voltage, scorched earth repetition, and the kind of heavy psychedelic communion that feels less like listening and more like surviving. Step inside. Bring ear protection. Or don’t. 4 Tracks - 42 Minutes.

Mutant, in partnership with Netflix, are proud to present the premiere physical media release of the soundtrack to the 2025 animated feature adaptation of Roald Dahl's THE TWITS - featuring original songs and Demos by David Byrne, and an original score by Oli Julian.

Featuring vocal performances by David Byrne, Hayley Williams, Natalie Portman, Margo Martindale and Euan Morton (and more) the songs of THE TWITS are exactly what you'd expect from the singular song-writing style of David Byrne - simultaneously unlike anything you've ever heard and yet undeniably catchy. Oli Julian's score is no slouch either - the score to THE TWITS is riddled with fun and bouncy melodies, with quirky instrumentation - bold, playful and vibrant and nearly impossible to categorize into a single genre.

This limited edition physical media release contains TWO exclusive demo recordings by David Byrne, not available anywhere else! With original artwork by Sonny and Biddy - self-proclaimed Twits themselves - this album is a love letter to fans of the book, the film, the music of David Byrne, or the muggle-wump in all of us.

Pressed on 140gm ECO vinyl

An inspired link up between UK and continental producers - yeah, in your face, Brexiteers - as Brit talent and Crayon boss Mark Ambrose joins forces with Spanish duo Serious Cut aka Raul Zapata and Ivan Martinez, across four irresistible cuts. 'Remedy' nods its head subtly to the Diana Ross (and then Associates) classic 'Love Hangover' while enchanted, spacious and spacey grooves do their thing, while the cherry on top of 'Deep Track' proves to be some neat sci-fi spoken word, not to mention the kind of soft, jazzy chords that Global Communication's house productions used to revel in. Flip it over for the more electroid 'Talk Box' and the unashamedly Windy City-referencing 'Auto Level. Four sides of a classic sound, three great producers, two sides of top vinyl and one must buy bit of vinyl.

A Lisbon classic by now, Paraiso (a label, a radio show, a party and now also a documentary) is back for its 19th release with a pairing who's no stranger to the label or the portuguese techno underground: lucky for us, head honcho Shcuro got back in the studio with techno legend in the making Vil to make Repercussions part 2 - and they invited iconic Spanish producer Annie Hall (Delsin, CPU) as a remixer. The record opens with a tour de force, the relentless yet perfectly in control, mutanting and experimental yet elegant and timeless 'Motorik'. In it, you can hear echoes of Detroit groove sense, but also a generous splash of dub sonics seamlessly merging into pure peak time, closed eyes, layers of ear-candy hypnotizing you type of stuff. Things strip back a little in 'Emergence Dub' - still immersive fast techno ammunition, but there is a playful, experimental and sometimes ravey spirit to it, with a wonky mutating key, vocal pads and cheeky percussion working together to create a stunning modern dance piece. Side B is inaugurated by 'Origins', a deep bow to dub traditions with delay-drenched stabs and a bouncy bassline for days. An energetic yet dreamy piece with spoken word samples that will have your heart melt, it perfectly mirrors the duo's influences in a beautiful closing original. Annie Hall steps in for the remix, taking A2 'Emergence Dub' into Breaks geographies, with a talking bassline fit for an electro banger, and the ever-present pads sending us off in zen mode after a delightful ride.

Ready for take off? Metallic States proudly welcomes Chris Carrier for the label’s first full-length album.

This release reflects the recent evolution of Chris’ sound, following a career that has crossed decades, trends, and the constant mutations of electronic music. He embraced these changes naturally while always remaining faithful to his roots and distinctive identity.

From slow-burning trance excursions and mental dancefloor cuts to rave-driven anthems and soothing downtempo moments, this more psychedelic album could well become a landmark entry in his vast discography.

Cody Ferreira aka CoFlo has been operating in classy deep house circles for a while on labels like Freerange and Ocha. The San Fran man has already dropped one EP on Cataleya Music this year and now backs it up with more for Spanish outlet Mate. 'Won't Help It' is pure vibes - shimmering steel drums, cosmic synth breeziness and percussive grooves that bring to mind the classic Body and Soul sound out of New York. On the flip, 'Tell No Lies' is just as magical and elegant, with fluttering melodies and cuddly deep drums all making for life-affirming and positive vibrations of the highest order.

2026 Repress
Twenty five years after its initial release, and accompanying the re-release of 'Internal Empire' Tresor Records is proud to present a new cut and pressing (180gm) of Robert Hood's essential 'Master Builder'.
The ongoing importance of this single and its adjacent album is indisputable, essential both to techno and to Tresor. It is a history intertwined.

This work elevates its maker as master, and remain a cherished moment in the Tresor story, sharing an irrefutable singular magic, sounding as present and indispensable as when first created. To understand this work fully is to stand back and celebrate its impact.
Originally released in 1994, 'Internal Empire' marks a point of transition for Robert Hood moving on from his previous collaborations within Underground Resistance. Robert Hood advanced uncovering the power of true minimalism. Deep soul through a simplicity that showed how much could be done with so little. The devastating rhythms of this album forge the unmatched spirit of this sound, influencing generations to come.

"25 years ago, I was faced with the challenge of following up on 'Minimal Nation'. I cancelled all my tour dates for that summer, setup my studio in the living room and began to work on 'Internal Empire'. My intention was to create something distinctively di erent. Looking out my living room window in Detroit watching people go by gave me a new perspective. It made me look at the world within myself. 25 years later I am still discovering.' - Robert Hood

At the dawn of European techno, before the genre had fully taken shape, a small number of records hinted at what was to come—stripped-down, machine-driven and forward-looking. One of those records was “Die Zukunft” by Scope, a project formed by André Fischer (Recall IV) and Holger Wick (Konzept).

Originally released in 1989 on the now cult Suck Me Plasma label—founded by Talla 2XLC—"Die Zukunft” holds a special place in history as the label’s first release, marking a key moment in the transition from EBM and New Beat into early techno.

Scope’s sound captures this transitional phase with remarkable clarity. Built on minimal drum machine patterns, cold synthetic basslines and sparse melodic fragments, their music sits somewhere between late-80s electronic body music and the emerging techno aesthetic. Driven more by repetition and tension than by traditional song structures, the tracks create a hypnotic, forward-moving energy that reflects the experimental spirit of the time.

This reissue of “Die Zukunft”, limited to 500 copies on black vinyl and 200 copies on purple vinyl, brings together all original tracks from the first pressing alongside the iconic Cybotron Mix, offering a complete snapshot of Scope’s output at a pivotal moment in electronic music history.

At the dawn of European techno, before the genre had fully taken shape, a small number of records hinted at what was to come—stripped-down, machine-driven and forward-looking. One of those records was “Die Zukunft” by Scope, a project formed by André Fischer (Recall IV) and Holger Wick (Konzept).

Originally released in 1989 on the now cult Suck Me Plasma label—founded by Talla 2XLC—"Die Zukunft” holds a special place in history as the label’s first release, marking a key moment in the transition from EBM and New Beat into early techno.

Scope’s sound captures this transitional phase with remarkable clarity. Built on minimal drum machine patterns, cold synthetic basslines and sparse melodic fragments, their music sits somewhere between late-80s electronic body music and the emerging techno aesthetic. Driven more by repetition and tension than by traditional song structures, the tracks create a hypnotic, forward-moving energy that reflects the experimental spirit of the time.

This reissue of “Die Zukunft”, limited to 500 copies on black vinyl and 200 copies on purple vinyl, brings together all original tracks from the first pressing alongside the iconic Cybotron Mix, offering a complete snapshot of Scope’s output at a pivotal moment in electronic music history.

In the early 1990s, Frankfurt stood at the forefront of a rapidly evolving electronic music landscape, where the raw energy of EBM and New Beat was mutating into the earliest forms of techno. Emerging from this fertile environment, Noise Control delivered “Modulator E.P.” in 1992—an overlooked yet striking document of that transitional moment.

Following their earlier releases, “Operation S.B.” (1989, New Zone) and “My Flight” (1989, Zoth Ommog), “Modulator E.P.” marked the project's return and a clear progression towards a more stripped-down, club-oriented sound. Originally issued as the first release on the short-lived Neo Ego label, the EP captures a style in flux, moving between industrial body rhythms, early techno structures and acid-inflected sequences, reflecting the hybrid character of the German electronic underground at the time.

Limited to 300 copies on black vinyl and 200 copies on violet transparent vinyl, this reissue presents all four original tracks in full, alongside the highly sought-after Razormaid remix of “Tehniska Musika”.

In the early 1990s, Frankfurt stood at the forefront of a rapidly evolving electronic music landscape, where the raw energy of EBM and New Beat was mutating into the earliest forms of techno. Emerging from this fertile environment, Noise Control delivered “Modulator E.P.” in 1992—an overlooked yet striking document of that transitional moment.

Following their earlier releases, “Operation S.B.” (1989, New Zone) and “My Flight” (1989, Zoth Ommog), “Modulator E.P.” marked the project's return and a clear progression towards a more stripped-down, club-oriented sound. Originally issued as the first release on the short-lived Neo Ego label, the EP captures a style in flux, moving between industrial body rhythms, early techno structures and acid-inflected sequences, reflecting the hybrid character of the German electronic underground at the time.

Limited to 300 copies on black vinyl and 200 copies on violet transparent vinyl, this reissue presents all four original tracks in full, alongside the highly sought-after Razormaid remix of “Tehniska Musika”.

At the beginning of the 1960s, at the Berklee College of Music, Byard Lancaster met some feisty friends: Sonny Sharrock, Dave Burrell and Ted Daniel. It is easy to see why he rapidly became involved in free jazz. Once he was settled in New York, he appeared on Sunny Murray Quintet, recorded under the leadership of the drum crazy colleague of Albert Ayler.

In 1968, the saxophonist and flutist recorded his first album under his own name: It’s Not Up To Us. The following year he came to Paris in the wake of... Sunny Murray. He would come back to France in 1971 (again with Murray) and in 1973 (without Murray for a change). This is when he met Jef Gilson, the pianist and producer who encouraged him to record under his own name again.

On Palm Records (Gilson’s label), he would release four albums: Us, Mother Africa, Exactement and Funny Funky Rib Crib.

“Funny Funky Rib Crib” is an unforgettable recording (made up of several sessions dating from the middle of 1974) of creative jazz overwhelmed by funk and soul.

If Lancaster had already made successful albums in the same genre – notably New Horizons, under the name Sounds Of Liberation which he co-led with Khan Jamal –, this one is an homage to James Brown and Sammy Davis enjoying the company of a host of guests including François Tusques (electric piano), Clint Jackson III (trumpet), François Nyombo (guitar), Joseph Traindl (trombone)...

Funny Funky Rib Crib’s cover is a three-quarter profile portrait of the saxophonist (who can also be heard on flute, piano and even vocals), however, on the record, it is the whole group, inspired and frenetic, that tests the melodies of “Just Test”, “Dogtown” or “Rib Crib” – the two versions of which display leader Lancaster’s art of nuance. On both sides of the album, the group also moves into a calmer groove, infused by blues and soul, “Work And Pray” and “Loving Kindness” are meditative tracks where listeners can lay back and relax before asking for more: Funny Funky Rib Crib

This new album compiles several songs made in the years following Black To Comm's classic "Alphabet 1968" album. Originally released on the seminal Type label in 2009 (and to be reissued on Cellule 75 this year) "Alphabet 1968" combined the sound of vintage shellac and vinyl loops with broken electronics and field recordings, the press release mentioning disparate influences "ranging from Moondog to Basic Channel by way of Bernard Herrmann". In a beautiful one-page review in The Wire magazine (later reprinted in his book Ghosts Of My Life) Mark Fisher compared Richter's music to JF Sebastian’s miniature automata in Blade Runner ("with their bizarre mixture of the clockwork and the computerised, the antique and the ultramodern, the playful and the sinister"), ETA Hoffmann's inventor-magicians and Auguste Villiers de l'Isle-Adam's 1886 tale of Thomas Edison's (fictitious) construction of an artificial human.

Now titled "Coh Bâle" (inspired by a strange dream) these recordings were supposed to become a follow-up to said album but for reasons unknown it never materialized and the album seemed forever lost. At the time Richter started to dive deeper into several strains of (so-called) world music aka the folk music of Southeast Asia and Eastern Europe as well as liturgical and medieval music, the Kraut-Electronica of Harmonia and several certain Mediterranean experimentalists from the 1980's who started to merge their mostly electronic and field recording based compositions with traditional musics from all over the world by way of new sampling technology.

Many of the songs for the album were recorded while travelling and at various residencies around Europe: a detuned piano in a Thessaloniki basement (Richter played at a children's birthday party there), vintage synthesizers in the GRM studios in Paris, decaying acoustic instruments found in an old Black Forest mansion, childrens' voices at a workshop in Karlsruhe's ZKM Institute; then mixed on headphones in the ICE trains running between these places and his hometown Hamburg.

"Coh Bâle" is taking inspirations from old Nonesuch Explorer and Ocora LP's, Crammed Records, 80s Mediterranean Ambient (Nuno Canavarro, Roberto Musci) combined with the DIY spirit of Deux Filles and Flaming Tunes and the playfulness of Asa Chang & Junray. The songs are both mysterious and transparent, intricate and frugal, vibrant and patient. One of the album's unexpected climaxes is a gorgeous (artificial) berimbau version of the Welsh traditional "Iechyd o Gylch".

No two songs feature the same instrumentation and many acoustic sources (pianos, flutes, wood percussion, viola, tablas, autoharp) were disassembled and later coalesced into new configurations or used as virtual instruments; later combined with samples, field recordings, electronics and (on a few tracks) autotuned vocals reminding of recent works by the likes of Claire Rousay or More Eaze.

We had to wait for a worldwide pandemic for Richter to dig deep into the vaults and finally bring these recordings to light. This is the 2nd release from his archives after the "Diode, Triode" LP which presented Musique Concrète/Acousmatic recordings made at INA/GRM and ZKM. Another massive Double-CD (MM∞XX Vol. 1 & 2) was released last year featuring collaborations with 33 artists such as Andrew Pekler, Richard Youngs, Eric Chenaux, Maja Ratkje, Radwan Ghazi Moumneh of Jerusalem In my Heart, GRM boss François Bonnet (Kassel Jaeger), Felix Kubin, Timo van Luijk (In Camera, Af Ursin), Luke Fowler and many others, showing Richter's versatility and his willingness to reinvent himself for every new release.

Marc Richter is widely known under his Black To Comm moniker, having released (at least) 12 albums under this alias in the last 20 years. He is currently signed to the Thrill Jockey label. Richter composes soundtracks for film and has worked with visual artists such as Mike Kelley and Ho Tzu Nyen. He also records as Jemh Circs and Mouchoir Étanche for his own Cellule 75 label (named in tribute to the late Luc Ferrari).

Sweden has long had a celebrated techno scene and you'd be hard pushed to find anyone who has contributed to it as significantly as Cari Lekebusch. He has a vast back catalogue dating back to the mid-90s under many different aliases, including this one, Phunkey Rhythm Doctor, which yielded his 'Underground Poetry' EP back in 1995. 'Jazz Maze' is an exceptional start - urgent and punchy with freeform melody that brings the fun. 'Mad Poet' is much darker and has a doom-laden vocal over stiff, crisp drums. 'Sugardaddy' is a dubby bumper with a wobbly bassline and wispy synths, cyborg electronics and a cavernous groove. Don't sleep on this one.

Making his first appearance on Flat White Records, NYC’s Malik Hendricks arrives with Stretching, a four-track EP that leans comfortably into the grey space between Deep House and Techno. Across three original cuts, Hendricks delivers warm, hypnotic, and quietly confident sounds that are unmistakably his own.

Rounding out the release is a remix from London-based, Spain-born producer Beringei. Known for his broken-beat excursions, Beringei with a 4x4 workout that still carries his unmistakable percussive touch, proving that even when stepping outside his usual lane, his identity remains firmly intact.

With previous releases on respected imprints like Eglo, Darker Than Wax, and Phuture Shock Muzik, Hendricks arrives in trusted company, thus making it an easy call to hand him the reins for our 15th release.

Born in the ’80s and raised in the ’90s, Malik Hendricks is a product of transatlantic club culture, drawing inspiration from Detroit’s futurism, New York’s grit, and the UK’s rhythmic experimentation. A DJ for over a decade, he approaches music with an almost academic curiosity, seeing the dancefloor as a shared space for cultural exchange.

Recently, his work has caught the attention of heavyweights like Eli Escobar, Byron the Aquarius, James Bangura, and Roy Vision, all stepping in to remix his material. With Stretching, Hendricks continues to prove that subtlety, craft, and groove still go a very long way.

Early DJ Support from: Shy One, LDLDN, Louise Chen, Dam Swindle, LTJ Bukem, Christophe Salin, Franck Roger, Jazzanova, Mr Redley, Last Nubian, Glenn Davis, Seven Davis Jr, Stonie Blue, Stu Clark (WOLF), Adriatique, Marco Weibel, Mr Ties, Tereza, Cottam, Joyce Muniz + MORE

“L’École de la nuit” marks Versatile Records’ 30th anniversary with a musical découpage by label founder Gilb’R. The album’s 12 songs and numerous collaborations form an adroit exploration of life and music, all threaded together by lifelong “partner in crime” I:Cube’s signature mixdowns.

“Hà mar” represents the peak of the album’s organic spectrum—an instantly captivating melodic and percussive Brazilian song featuring Alvaro Lancellotti on guitar and vocals—while “White Light” serves as its electronic counterpart, with a classic pop feel, featuring Swedish singer Monica Tormell

Musically, “L’École de la nuit” moves across many different landscapes and languages, intersecting rock, shoegaze, ambient, electronica, and, of course, jazz. Gilb’R collaborates with a rich arsenal of guest musicians: saxophonist Quentin Rollet; guitarist and producer Maxime Delpierre; French artist Judah Warsky, with whom Gilb’R previously released an album; Jonny Nash, producer and guitarist; as well as Ben Shemie. Not least, father and son Julio and Julinho Pimentel contribute their distinctive percussion, alongside François Creamer on bass clarinet.

“L’École de la nuit” is the 50th album release on Versatile Records. It was initiated in Amsterdam, then entirely reimagined and rebuilt in Paris. It stands as a manifesto for the album format and a tribute to the listener.

German techno producers Brian Sanhaji and Monoloc unite under their collaborative project FORMS for a powerful new release on Modularz. Titled Objectz, the six-track EP explores the more driving dimensions of contemporary techno, built around muscular grooves, tonal rhythmic structures, and dark cinematic sonics engineered for warehouse spaces and late-night dance floors.

Each track demonstrates the duo's refined approach to hypnotic movement and precision-crafted sound design, balancing raw energy with atmospheric depth. From relentless percussive frameworks to immersive textural elements, Objectz delivers a versatile collection that functions equally well as a peak-time weapon or a deeper journey into subterranean techno territory.

Adding another dimension to the release, Modularz label head Developer contributes a remix that further expands the EP's sonic landscape while maintaining its powerful rhythmic focus.

A dynamic and versatile package from two of Germany's most respected producers, Objectz stands as a strong statement of modern warehouse techno—functional, immersive, and built for maximum impact on the dance floor.

Mit Vol. 04: Happy Music For Happy Feet präsentiert Wagram einen weiteren Höhepunkt der beliebten Electronic Music Anthology-Reihe. Auch dieses Kapitel wird von FG Radio, einer der einflussreichsten Stimmen der französischen Electronic-Music-Szene, sorgfältig kuratiert und vereint ein erstklassiges Line-up an House- und Dance-Produzenten, deren Tracks über Jahrzehnte hinweg die Dancefloors geprägt haben. Die Kompilation spannt einen weiten Bogen zwischen zeitlosen Club-Klassikern, funkigen House-Grooves und elektrisierenden Dance-Anthems. Mit einer Mischung aus bekannten Hits, DJ-Lieblingen und stilprägenden Signature-Tracks liefert Happy Music For Happy Feet genau das, was der Titel verspricht: pure, positive, hochgradig tanzbare Energie. Perfekt für DJs, Sammler und für alle, die elektronische Musik in ihrer fröhlichsten, ansteckendsten Form lieben, steht diese Ausgabe für das, was House und Dance seit jeher ausmacht - Leichtigkeit, Euphorie und die Freude am rhythmischen Ausbrechen aus dem Alltag.

With this album, Heleen Van Haegenborgh returns to her roots as a pianist.
In recent years, she has primarily composed works on commission for a diverse range of ensembles, from recorders to foghorns.
On this solo album, her entire journey of musical encounters and compositions comes together subtly.
Van Haegenborgh doesn't think in terms of stories or boxes, but rather in colours, energy, and texture - without drifting into the abstract.
She remains true to her personal inside piano world, including the use of wires she has been experimenting with since 2008. These are given a place here as fully-fledged musical elements, communicating on different levels, in various contexts and forms.
The electronics sometimes become completely one with the piano, but often follow an entirely different path: at times calm, subtle and refined; at other times nervous and under the surface. Always within specific atmospheres and with precise timing.
Van Haegenborgh took charge of every detail from start to finish - electronics, composition, and performance.

Belgian violinist and composer Elisabeth Klinck announces the debut album of her ensemble, Klinck Trio, on VIERNULVIER Records. My Hair is Everywhere will be released on November 7, 2025 on vinyl LP and through all digital platforms.

Rooted in improvisation and guided by openness, the Klinck Trio — Adia Vanheerentals (saxophone, voice), Maya Dhondt (piano, voice), and Elisabeth Klinck (violin, voice) —crafts music where sound and silence are equally vital.

Their debut album is an exploration of fragility, unfolding like a delicate conversation in which each note is chosen with intention and every pause carries presence.

Recorded in the summer of 2024 at Studio Ledeberg, My Hair Is Everywhere captures a moment in time: three musicians meeting in sound, each bringing their own timbre, language and natural state of being into dialogue. Klinck offers seeds of material —metaphors, sketches, sonic ideas — that the ensemble shapes into fully formed pieces. The result is an album that stands complete, yet carries within it the openness to unfold further in live performance, where new layers and resonances can emerge.

In the spirit of American composer and pianist Meredith Monk, the trio embraces lightness andvulnerability, crafting soundscapes that feel both childlike in their intimacy and expansive in their emotional reach. My Hair is Everywhere balances melancholy, tenderness, and harmonic interplay with silence, breath, and resonance—the subtle negative space where music continues beyond the notes themselves. By recording in close proximity, every detail emerges: the strike of piano pedals, the clicking of saxophone keys, the intake of breath, and the faint displacement of air. Textures of dragging violin, whispered fragments, and soft humming become almost tangible, drawing the listener fully into this intimate, enveloping present
moment.

Above all, this compelling debut is an invitation to listen differently: to enter a transformative space where three distinct musical voices find each other in fragility.
The artwork, created by French artist Annabelle Guetatra, reflects the album’s sense of lightness through color and playful collage work.

Phara returns with a second project under his In Glass alias. In 'Scratching the Surface', we're light years away from the heavier, more instructive dance records that have become synonymous with Phara's style. In this EP, the Belgian artist reaffirms his celestial, delicate sound in four tracks that delve further deeper into the emotional soundscape proposed in the first EP.

'Sally' begins the project with the most dance floor oriented of the four tracks, proposing an intoxicating blend of styles that bloom throughout its six minutes. Soft pads and bright keys twinkle along a cradling rhythm as In Glass delivers a truly musical piece that sifts through memories. Percussion is then taken out of the equation as 'All Things (424 Version)' comes and lands softly on the center stage. Lush, ambient waves come lapping at the shore of 'Scratching the Surface', describing nothing but space and serenity - a breath from everything. The dreamy tone of 'All Things' oscillates along reassuringly into the B side, keeping the tempo low and the sound design organic. Here, we step into In Glass's world of dub techno and adjacent sounds that defined his first record last year. 'Plateau' rises slowly from the wax with a round low end and suspended chords that hover high above. Opening stabs over a harmonic bassline make a head massage of a track that sways along. The raw emotion behind In Glass's music is inviting, flashing by as ethereal synths open and close to install a personal, meditative experience of electronic music. The percussion remains discrete, allowing the harmonic information to wash over the listener into the last track of the EP. He concludes with 'My Idle Hands', pressing further into the dub techno sound that echoes through a cathedral of memories. Blurry shapes pass by over a more determined rhythm section, confirming the intimate nature of In Glass's music. The music wanders along, its head in the clouds but with a full heart, telling stories of being lost and finding home.

LP + insert. A cosmically poetic duo playing Afro-Roots-Electro with a clear nod to spiritual jazz. Esinam Dogbatse (flute, synths, vocals, fx, percussion) | Sibusile Xaba (guitar, vocals, percussion).



ESINAM & Sibusile Xaba is a meeting of nomadic, wandering and kindred spirits in music. Both artists draw upon their ancestry: Belgian-Ghanaian(ESINAM) and Kwazulu Natal-South Africa (Sibusile Xaba) through a unique connection, a deep artistic and spiritual level, they use rhythms and grooves to translate stories to the audience. Their vocal chanting enhances trance to rhythmic patterns that grace us by melodies of the future and past.

On April 25th 2025, ESINAM & Sibsile Xaba will release their first joint album entitled 'Healing Voices'.

This album is a reflection of the kaleidoscopic multitude of musical inspirations running through the veins of two very talented solo artists. Both multi-instrumentalists, they provide many different layers to their music. Each track is a reflection of their cross-pollination. Musically inspired by Ghanaian Highlife and traditional songs from Zulu and Ewe culture, but with a distinct contemporary interpretation where their acoustic sound is enhanced by electronic gadgets.

As multi-instrumentalists, the two artists translate messages from their ancestors through rhythms and grooves. Their vocal chanting enhances trance to rhythmic patterns that grace us by melodies of the future and past.

Thanks to their Belgian-Ghanaian and South-African roots, they are unique in their being, strong in their union and connected on deep artistic and spiritual levels. The collaboration between ESINAM and Sibusile Xaba is bringing healing to body and soul.

In 2018 Esinam discovered Sibusile Xaba during his European (solo)tour. She was enchanted by his musical energy and craftsmanship and invited him as a vocal guest feature on the track 'Flowing River', from her debut album 'Shapes in Twilights of infinity'. When she was asked at the first edition of WOMAD Festival in South Africa if she wanted to collaborate with a 'local artist', she didn't have to think twice.

So in October 2022, Esinam and Sibusile seized this opportunity to dive into the rehearsal and recording studio, and discover and combine each other's musical universes to shape up new music together.

In May 2023 this collaboration continued with rehearsals, recordings and a first European tour with performances in Belgium, The Netherlands, France, Germany and Slovenia.

In March 2024 they released the first single 'Africa Wola' out of the fothcoming album. In November 2024, they released a remix of their first single by South-African DJ and producer DaCapo and played at Visa for Music in Morocco.

Brussels-based guitarist Benjamin Sauzereau is one of the most respected figures in Belgian jazz, working across the full spectrum-from elegant jazz to adventurous improvisation. You may know him from projects such as Les Chroniques de l'Inutile, Hendrik Lasure Warm Bad, Book of Air, and Fur. Over the past few years, he has written a large number of compositions under the umbrella of 'REMORQUE', performed in various line-ups-a concept somewhat reminiscent of John Zorn's Masada compositions.



These pieces share a clever and imaginative approach to composition, improvisation, and arrangement. Typically short but vibrant, they shimmer with color and atmosphere-sometimes lyrical and contemplative, other times playful, whimsical, or slightly prickly. Each piece opens up a small, self-contained universe full of nuance, refinement, and space, interpreted by musicians who navigate fluidly between classical discipline and free improvisation.



Following the first release Un on W.E.R.F. Records, Sauzereau now presents the highly anticipated follow-up: DEUX. This second chapter dives even deeper into the sonic world of REMORQUE-further refining its playful contrasts, rich textures, and poetic unpredictability. With DEUX, Sauzereau cements his reputation as a composer who continuously reshapes the boundaries between structure and freedom, offering a listening experience that is as intimate as it is exploratory.

Following their acclaimed debut album The Shedding of Skin (2022), the formation has deepened their relationship through numerous live jams, intense touring and story sharing, pushing both their skills and the boundaries of the project. For its successor, État Coupable, this growth has been enriched by various collaborations, including one with Lebanese-Canadian producer Radwan Ghazi Moumneh (Jerusalem in My Heart).

The first single, Freedom, Asshole, features live drums by Spooky-J from Nihiloxica. With lead vocalist Saif singing, 'I envy you because you can close your eyes, you can choose,' the track addresses those who need to be addressed in the Western world, resulting in a gutwrenching piece of raw electronica that delves into the very definition of freedom. Alongside the launch of the record , the single will be released on Bandcamp and other streaming platforms on Wednesday, January 29.

A series of live dates have been announced including gigs at Ment Festival (SL), Rewire (NL), Donau Festival (AT) and dunk!festival (BE) among others.

Belgian multidisciplinary artist and long time collaborator of the project, Youniss Ahamad, has shared a that embodies unease through distorted images, a black-and-white palette, and abstract bird loops.

“For me ‘Freedom, Asshole’ is about fighting for freedom even when everything seems bleak”
– Youniss Ahamad

The latest contribution to Organic Signs’ Monolith vinyl series, Sefarae, unveils the spellbinding collaborative EP debut of Paris-based rising figures Bambi & Forest.
Elephants drifting through subby realms, birds singing across open skies, distant whispers echoing through warm air…

Sefarae unfolds as an ethereal space where the realm of living creatures merges with our own. On the edge of waking life, vast terrains of golden sand stretch endlessly, hidden oases vanish at dawn. Sefarae invites listeners into thisoneiric territory, a space where wild forces intertwine.

Through a shifting lens of perception, the EP evolves across multiple versions of a single track, each mix revealing a unique facet of the same core essence. Blending percussive textures, organic atmospheres, and psychedelic synths, the release moves seamlessly between hypnotic, playful, and introspective phases.

From the gentle emergence of the Oasis Opening Mix to the mischievous energy of the Cheeky Dub Mix, and finally the soft descent of the Dawn Mix, Sefaraetraces a continuous arc – guiding listeners on an esoteric, immersive journey.

Parissior, moving between EBM, dark disco, indie dance and electronic music while blending analog and digital production.

The album brings together tracks that originally didn’t belong to previous EPs but eventually formed a coherent narrative exploring themes such as digital identity, illusion, authenticity and human imperfection.

From the sense of social pursuit in “The Chase”, to reflections on artificial validation in “True Connection” and “Smoke and Mirrors”, the record balances introspection with dancefloor energy.

The album also includes “Sintes Guarros” featuring Size M, and two additional digital-only tracks, expanding the project beyond the physical format.

Human Control ultimately works as a sonic map connecting machines, emotion and underground culture.

Acclaimed London collective Kokoroko have announced a brand new remix EP titled Brownswood Remix Editions 009 - Kokoroko remixes, set for release on 12th June 2026. The project reimagines standout tracks from their 2025 album Tuff Times Never Last, offering fresh perspectives on three fan favourites through a carefully curated selection of producers.



The EP brings together a dynamic trio of remixers: IG Culture, IZCO, and Musclecars, each delivering a distinct sonic interpretation rooted in club culture, soul, and rhythm-forward experimentation.



Brownswood Remix Editions 009 - Kokoroko remixes will be released on vinyl as part of the Brownswood Remix Editions series, landing as Edition 009. Known for spotlighting forward-thinking reinterpretations from across the global jazz and electronic spectrum, the Brownswood imprint brings a tangible, collector-friendly dimension to the project. This limited vinyl run offers fans and DJs alike the chance to experience these reworks in their fullest analog form, further cementing the EP’s place within the label’s celebrated remix catalogue.



Each remix expands the sonic world of Tuff Times Never Last, an album that resonated widely upon its release in July 2025, praised for its uplifting themes and rich blend of jazz, afrobeat, and soul influences.



With this release, Kokoroko continue to highlight the evolving dialogue between live instrumentation and electronic reinterpretation, reinforcing their place at the forefront of contemporary UK music.

W.R.F. was formed in 2015 by Nina and late studio partner Andrew Weatherall to help wrangle the vast output recorded together beyond his solo releases.
Spotlighting nine tracks from the Apparently Solo series of EPs recorded between 2016- 2019 and released on Bandcamp in 2023, this lustrous time capsule marks the culmination of Walsh and Weatherall’s creative relationship born after they clicked at London’s earliest acid house clubs, becoming partners then managers of their Sabres Of Paradise/Sabrettes labels before taking different paths by the late '90s.
An accomplished musician, Nina had learned the art of studio technology by the time they reunited and started working together in 2012. Created at her Facility 4 Studio situated in the dangerous, gang-ridden no man’s land between Streatham and Mitcham, Anamchara captures the super-prolific creative stretch starting in 2015 that produced Weatherall’s Convenanza and Qualia solo sets, W.R.F.’s The Phoenix Suburb (And Other Stories) plus a whole lot more. According to Nina, Andrew envisioned the spectacular ‘Borderland’ as natural successor to ‘Smokebelch’, his most revered track. When it came to his remix, Nina enlisted renowned viola virtuoso Sarah Sarhandi and composed new harmonies with Pachelbel’s Canon in D Minor in mind.
The set also catches the breakthrough period when, through Nina’s careful coaxing, Andrew started using the computer system she’d set up to better express his musical visions by arranging the elements, grooves and melodies she sent him. Still considered the UK’s greatest DJ-producer, Andrew’s arrangements were inspired by his club-igniting sets. “This allowed me to mix the colours for his palette whilst he was painting the picture,” says Nina. Anamchara straddles the gamut of musical styles explored by W.R.F. at this time, from slower paced psychedelic “drug chug” outings ‘We Two’. ‘Heat To Meat Ratio’, ‘Hidden Watchers Part 1’ to banging acid house and techno sometimes inspired by the violence outside the studio door, including ‘SCHLAP’, ‘Crack-Ed’ and churning acid juggernaut ‘Yacidik’ (“After much dangling of the acid carrot, Andrew took a bite and, after one familiar raised eyebrow, never looked back,” says Nina).
Many tracks fly elements from the enormous sonic library Nina inherited from late partner Erick Legrand that she called The Akashic Library of Sound. Marking Andrew’s 2016 admission into the vault, ‘Rattly Old Puffin’ boasts Erick’s psychedelic guitar and tumbling drum loop Weatherall would run with, including on ‘Borderland’. “Erick was like our third member,” says Nina.
Bringing down the curtain, ‘Alma’’s exquisitely poignant melody that unfolds over thirteen time-stopping minutes was composed by Nina while navigating Erick’s birth and departure date anniversaries to accompany Andrew’s reading from Gordon Burn’s 1991 same-named novel at 2018’s Durham Literary Festival. Burn’s novel imagines early 60s popstrel Alma Cogan, who succumbed to cancer in 1966 surviving to reflect on fame. “Now it just makes me think of Erick. And every time I hear those well-placed cymbal crashes I can only think of the Captain himself.”
A beautiful grand finale for this astonishing selection of pure gold from the vaults.
Kris Needs / 2026

For the 61st outing, Klasse Wrecks heads north once again to Sheffield to the People's Republic of Soyo. The South Yorkshire city has churned out some benchmarks in electronic music over the years and the tradition seems to be continuing, judging by the new 'Altec 1138' EP by producers DJ Steve and Kwake. While the purple bleep lineage can be traced in the 4 tracker, it is not ever classic or pastiche. The spacious dancefloor stompers hit more of an old U.K. Techno vibe and sometimes even venture towards John Carpenter soundtracks in mood and atmosphere. It's classic Wrecks in that it's not classic at all, unconventional genre placement advised