Cerca:the drop

Slinging back on the electric guitar, ditching the job, upping the BPMs, and falling in love again has resulted in Pete embracing his fuzzed up dream- pop past but also throwing in elements of pop and electronica.

The first fruits of this new-found labour is a brand new single "LOVE'S COMING BACK" which sums up the ethos for his new project all squeezed into 136 amp-frying seconds. Pete first burst onto the scene in the early 90s as the frontman and guitarist of postshoegaze / pre- Britpop band Adorable, whose 1993 album Against Perfection, released on Creation Records, is regularly referred to as a lost indie classic, with the band picking up multiple 'Single of the Week' awards in the NME, and topping the Indie charts. Noel Gallagher once told Creation Records' Alan McGhee that dropping Adorable from the label was one of his biggest mistakes, whilst other artists such as Ash, Slowdive and Brian Jonestown Massacre amongst others have all expressed their admiration for the band. Following this he joined up with his brother Krzys to form One Little Indian band Polak (Swansongs 2000 / Rubbernecking 2002) which took in influences from the likes of Sparklehorse, Radiohead and dEUS, and led The Independent to call him "the most gifted lyricist since Jarvis Cocker last put pen to paper".

There then followed a musical exile, after having what Pete now describes as 'a musical breakdown' before re-emerging alongside celebrated House of Love guitarist Terry Bickers to release two critically acclaimed albums as Pete Fij / Terry Bickers on 2014's Broken Heart Surgery, and 2017's We Are Millionaires, winning the Roundtable 'Single of The Week' on Steve Lamacq's BBC 6Music show - "Beautiful" (MOJO) "Unfailingly lovely" (UNCUT) "Stunning" (OHM) "Beautifully constructed" (Q). Adorable then reformed for a few weeks in 2019 for a series of one off dates that sold out in record time, playing bigger venues than they did in their heyday - and then broke up again.

Vinyl only! 2024 Repress

Josh Wink’s ‘Higher State of Consciousness’ gets a respectful touch-up 25 years on courtesy of the Adana Twins.

The German duo come strong with a pair of remixes, fit for two very different dancefloor scenarios. The first a smart, stripped back breakbeat version that switches from a sparse percussive soundscape to the famous acid warbles, before introducing undulating retro trance synths to the composition for a headmelting finish. Remix Two is a driving, four-to-the-floor, rave-focused affair that builds up the 303s with exhilarating intensity, only letting up in the final moments of the track.

The fresh interpretation follows on from Adana Twins’ super re-work of Patrice Baumel’s ‘Roar’ that dropped on Watergate last November and reinforces the duo’s golden touch on the remix front

Napi Hedz come from the Motor City and is a group made up of Reggie Dokes, Maurice Herd (aka Pirahnahead) and the late Mike's brother, Craig Huckaby. They dropped this EP on the peerless Sound Signature 20 years ago but amid a glut of reissues from Theo Parrish's label, it now resurfaces. Titular opener 'I See Heaven' has a Latin shuffle with woody percussion and time-keeping ticks under swirling vocal loops that are backed with muted horns. It's s sunny sound before 'The Bah' comes alive with a mirage of melodic harp shimmers and rooted, dusty drums with more affected vocal sounds adding the soul.

An alto saxophone and acoustic piano engage in an intimate musical dialogue, reflecting on the current state of improvised music. Okuda and Dyberg’s album unites two artists at the peak of their musical collaboration, deconstructing jazz history into shimmering fragments, reassembling them in new forms that deliberately move away from traditional references. The music incorporates diverse influences—glimpses of classical composers like Webern and Prokofiev, abstract electronic elements reimagined acoustically, and a genuine spirit of exploration seeking a unique musical fusion.

Rooted in jazz, the Okuda / Dyberg Duo performs conceptual improvisations that include pulse, durations, interactions, natural/everyday life objects, soundalized: water dropping, light rain comes to a coffee-filter dripping, construction work or glass breaking sounds. Born in 2018. Glasscut is their third release – the first on vinyl – after Nigatsu 二月 (2019) and Naboer (2020).

2025 Repress

What Two Great Producers Other Then Lee Perry And Bunny Lee Would Be Best Suited For A Dub Soundclash.
Both Producers Were Integral At The Birth Of Dub Music And Would Share Many Rhythms And Sessions, Their Musical Paths Would Cross All Through Their Careers.
It Was In Fact Bunny Lee's Rhythm That Provided The Back Drop To Lee Perry's 'shocks Of Mighty Cut.
Jobs Were Passed From One To The Other, Bunny Lee Taking Over Lee Perry's Position At Wirl Records.
Yes Two Producers Whose Paths Always Seemed To Cross As It Does With This Release.
We Have Selected Some Of Lee Perry's Rhythms, Side One Of This Set, Against Some Bunny Lee Rhythm On Side Two.you Can Hear The Distinctive Sound Of Lee Perry's Black Ark Studio With His Echo-plex Giving His Trademark Whirling Sound Against Bunny Lee's Rhythms Cut At Many Different Studios.
The Winner Of The Soundclash We Will Leave That Decision Up To You The Listener.....
But In This Dub Session There Is No Loser...
All Killer ..no Filler...enjoy...

Stephen McCraven's WOOLEY THE NEWT was originaly released on Marion Browns own Sweet Earth record label in 1979, this is the first reissue on vinyl and cd.

The LP is limited to 450 copies on black vinyl and is housed in a reverse board printed sleeve , with postcard insert and CD is limited to 1000 in gatefold card sleave ..

Its a post bop-spititual jazz beauty,, a record you think you should have known about already,, with OG copys going for $500 this edition should sell fast..

remastered by the carvery in london from master tape and pin drop,,, as half the tapes servived

Ladies and gentlemen, please reserve a warm welcome to the eighth Outdom Records’ release on wax, proudly introducing an already known artist on the label, Denis Kostitsyn, with his new five-tracker EP: “Funny Games”.



A record as cheeky as its title suggests, Funny Games features an adventurous blend of techno, minimal, electro and tech-house, sprinkled with acid squelches, UK breaks & 2 steps grooves and a dash of dubby hypnotic atmosphere. Expect nothing less than Denis’ trademark creativity: playful, gritty and endlessly groovy, a proper bag of surprises for discerning selectors who love their tracks unpredictable, yet razor-sharp on the floor.



Denis Kostitsyn, respected Arma17 club resident and vinyl digger, strong producer with past acclaimed EPs on Exarde, Mung Records and also showcased on our previous Virtual Tools Vol.2 Series with “Rvbbit Hole”. This time, Kostitsyn dives deep into a palette of raw, analog-sounding textures and 90s-minded grooves, shaping tracks that carry both a vintage touch and a futuristic spirit. His production is full of twists—between hypnotic atmospheres, shuffling percussions, heavy basslines, and sudden left turns that keep the crowd locked and guessing. Built as pure dancefloor weapons, each piece doubles as both a tool and a trip, playful in form but deadly in effect!



Outdom Records once again shines a light on forward-thinking underground artistry—music that grooves, mutates, and flips expectations, while staying true to the label’s quirky yet uncompromising DNA.


WARNING: Handle with care, drop with confidence.

Activity FM returns with AFM002, a high-impact VA exploring the outer edges of electro and breaks. On the A-side, two US heavyweights lead the charge: Detroit’s AMX kicks off with Out My Mind, a sleek and soulful cut with razor-sharp bass and icy vocals, followed by Florida’s Exzakt, a true legend, who drops Fvck That Sh1t - a no-holds-barred club weapon full of pressure and punch.

On the flip, Venezuelan pioneers step in: ARA-U (London-based), head of No Static / Automatic, delivers Feels Like Dancing, a gritty analog heater dripping with machine funk, while Barcelona’s Phran, co-founder of ACA and Vimana, closes with Archivo Criminal, a playful yet driving track built for deep, late-night moments.

‘Before the Odysee, there was the Iliad; a tale of the golden age of heroes and warriors.'

The idea behind the Iliads series was to return to the sound of the golden age of Jungle/Drum & Bass, and more specifically the original ‘heroes’ of the Odysee label.
This fourth and final instalment concludes the series; bringing all the different styles of the original Odysee sound together in a grand finale. From deep atmospheric beauty to sinister dystopian breakbeat fury; Iliads IV has it all.

Oubliette immediately creates a feeling of unease and paranoia. The rapid injection of different breakbeats gives the track an unsettled feel; with nervy piano jangles and moaning samples adding to this atmosphere. The track drops with punching subs and razor-sharp curling breaks from amidst the desolation of the atmosphere of the intro. The call and response style is used to cut from break to break maintaining the unease of the intro. The drums & bass break down into a
dystopian landscape of sound, before dropping once more to take the track towards its conclusion.

A Point In Time with its obvious reference to a compilation series on a certain well-loved atmospheric Jungle label is all about conjuring nostalgia. There are notable references to bygone days; the infamous bulb bass and bleeps of the Warehouse days of glory, and the tearing mentasms that enter in the approach to the breakdown. The breaks are crisp and complex, the sub-lines deep and dark; a track truly built for a dark sweaty basement club where the bass bins
are pushed to their limits!

Love & Desire is a sultry deep atmospheric roller full of subtle references to the early UK Garage sound of the mid 90’s or even Deep dub Tech-House. The elegant curls of the Apache break that takes centre stage in this track are complimented by sweeping pads and a set of deep synth stabs that form the rhythmic backbone. The subs drop deep amidst a palette of avant-garde electronica, as the spoken word vocals call out “my love....my desire.”

We really hope you’ve enjoyed the Iliads series as much as we have; they represent a very special sound that is close to the very heart of what we at Odysee are about. As much as they focus the lens on the past, we truly believe they have had a profound effect on our future....in as much as they have brought us back to the raw essence of our sound.
Andy & Tilla

We Are The Robots Vol. 01 – Hypnotica Colectiva 25

Hypnotica Colectiva drops a fresh wax cut: We Are The Robots Vol. 01 — a heavyweight double vinyl release that channels the raw energy of the crew’s legendary club nights and distills 15 years of sonic exploration across electro, broken beats, and IDM textures.

Marking catalogue number HCR025, the Valencia-based imprint doubles down on its underground ethos, curating a ten-track lineup from artists deeply connected to the collective’s orbit. Each contributor brings a distinct flavor of robotic sound design.

Every track has been handpicked for its club impact, conceptual depth, and ability to resonate with the aesthetic of We Are The Robots — a party series that’s been pushing uncompromising electro since 2010. Expect a full-spectrum journey: from cerebral synth workouts to gritty analog pressure, industrial atmospheres, shadowy breaks, and raw minimalism.

Artwork come courtesy of Dani Requeni, keeping the HC Records design language sharp and functional. Steve Voidloss handles mastering duties, ensuring each groove hits with precision.

Mastered by Voidloss at Black Monolith Studio, London.
Artwork, Label art & Designs by Dani Requeni.
All rights reserved.
HC RECORDS
València, 2025.

With Laser Cut, Berlin duo BAUGRUPPE90 opens a new chapter - not just musically, but structurally. It's the debut release on their self-built imprint, MONTAGE, and it sounds exactly like that: raw materials, tightly assembled, no unnecessary ornamentation.

Across four tracks, the duo approaches rhythm with the mindset of architects working with form - intentional, pressurised, and precise. The opener, Laser Cut, slices through the mix with minimalist aggression. Torque Motion grinds forward with mechanical force, while Ground Lift burrows deep into sub-frequency foundations. The closer, Boss (Hard Mix), drops like a slab of reinforced concrete-dense, heavy, and unyielding.

This is club music stripped to its essentials: functional, grounded, and precise. With Laser Cut, BAUGRUPPE90 constructs sonic architecture.

Tuk Smith is the kind of rock 'n' roll ambassador you didn't think existed anymore. Punk maverick from rural Georgia, Biters frontman, producer and solo artist, he's seen the best and worst of a music industry in constant flux. By turns it's left him critically acclaimed, poised for stadiums, dropped, burned out, back in the game and beloved by those for whom rock is still everything. Now based in Nashville, and with his own label Gypsy Rose Records, he creates from a more real place than most. "I want to do something that means something to people," Tuk says, "because a lot of shit nowadays is so disposable and so plastic. I just don't connect with that. I'd like to do things that impact people positively. It's a weird time on the planet, so to have songs about hope, but not be cheesy about it, it's something I think we need with songwriting. That's the kind of music I want to hear." Again, there's that dichotomy he speaks of. "Rock 'n' roll is essentially the illusion of not giving a fuck, right? Like, you know Axl Rose was doing sit-ups and jump rope, and Paul Stanley was on a cardio machine, and they come out and act like it just happens. The point is I sit at that piano many hours, working on this stuff."

South London's restless pulse runs through British-Bengali musician Tara Lily's latest collaboration with the enigmatic King Krule. On 'Quiet Nights (Early Takes)', the pair craft shadowy soundscapes where hazy jazz chords and warped synths blur into something raw and hypnotic. The standout track, "Tropical Storm," described as a "lucid dream playing in our minds again and again" captures flashes of early Archy Marshall chaos, refracted through Tara's sleek and sleepy vocals, over a bed of guitar pedals, synths and DIY beats. Talking about the project Tara says: "'Quiet Nights' are some of the early sketches from a deadly quiet and beautiful period of time. For myself it was a time of stripping back, dropping down into the ground and channelling something raw and real."

After a long hiatus relatively speaking("8" and "9" came out in April 2022) Prins Thomas drops his 10th studio album.

Picking up where the last record ended, it's an introspective but celebratory and uplifting affair. One-man-band jams
turning into mini epics, like coming up for air or seeing the bright lights at the end of a long dark tunnel.

Specially imported from the UK Stay Up Forever office: a new
Suf Special Acid Techno release!! Is available in very small
amount of copies. No Repress !

2025 Repress


Canadian-born, London-based producer, songwriter and vocalist Chloé Raunet aka C.A.R. releases her third album, 'Crossing Prior Street', on Ransom Note Records. Full of bruised-but-ultimatelyhopeful electronic art pop, the album tells Chloe's story of escaping a broken childhood in Vancouver, and finding her way to the lonely streets of East London, at the tender age of 16.

Brian Kage turns up the heat with a full-strength solo outing of deep, dub-heavy grooves. "Dubz on 12" marks the twelfth release on his Michigander imprint, serving four heavyweight techno/house cuts engineered for the most discerning dance floors. Legendary producer Funk D’Void (Soma, Outpost) delivers an interstellar reimagining of Kage’s Learn to Surrender, pushing it into hypnotic, cosmic territory. Complementing the remix, Kage drops three signature dub-driven weapons—Reels for the Wheels, Oberdub, and the title track Dubz on 12. Versatile, heady, and floor-ready, this EP is a must-have for deep listeners and DJs alike—dope, durable, and guaranteed to move.