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The Great Sea wurde 2022 von JR (Long Distance Calling) und SH (Ordeal & Plight) mit dem Ziel gegründet, eine Atmosphäre zu schaffen, die mit der Majestät der Berge und den schrecklichen Tiefen der Meere mithalten kann
Um dem Sound das zu geben, was er verdient, luden sie Phil Jonas (Crone, exɞ Secrets Of The Moon) und Azathoth (Gràb, exɞDark Fortress) ein, dieser Platte ihren Stempel aufzudrücken und eine Verbindung zwischen dieser Welt und den Sphären zu schaffenɎ von der man nie sprechen kann
Beide Songs sind mit einem Maximum an schwarzem Klebstoff in den Rest der Platte integriert und geben dem Hörer die Erfahrung von Tiefstrom

Trumpeter, santur player, vocalist, and composer Amir ElSaffar joins electronics performer and composer Lorenzo Bianchi-Hoesch in a new project exploring electro-acoustic spaces, maqam, microtonal harmonies, and improvised and composed structures in a modular musical composition that accommodates a variety of musical styles across genres. Together, they create an immersive sound that transcends notions of form, musical language, electronic, and acoustic categories in music. This new work will be a modular composition combining pre-determined structural elements with freely improvised sections, played live by ElSaffar and Bianchi-Hoesch. The work will explore electro-acoustic spaces in a microtonal environment that embraces the sonic spectra of multiple musical languages. Bianchi-Hoesch and ElSaffar are interested in creating a transcultural collaboration combining jazz, contemporary classical music, maqam, raga, and other musical backgrounds, inclusive of all the richness, complexity, and idiomatic expression, without compromising or oversimplifying in order to be compatible with others. They are in search of boundary-less spaces in music.

10th year anniversary reissue of Iggy Pop's Après cover album with a bonus track, Sacha Distel's La Belle Vie and new artwork, and an exclusive poster. Originally released only in France in 2012, Après is being reissued for the first time and is now finally available outside of France.

(10x12" box set, limited to 1000 copies, with premium finishing, uniquely numbered, incl. 10 records in individually printed sleeves, a booklet detailing the club's history & exclusive stickers) Boccaccio has secured its place among legendary venueslike Paradise Garage in New York and The Hacçinda in Manchester. Its bold fusion of emerging electronic genres such as New Beat, Acid, House, and Techno was way ahead of its time, drawing music lovers and clubbers from across Belgium and beyond.



Belgian label Music Man Records presents Boccaccio Life 1987-1993, a new compilation offering a fresh perspective on the legacy of the iconic Belgian club Boccaccio - often associated with the short-lived New Beat movement. The 40-track compilation highlights the raw and futuristic early house and techno sounds that were heard in the pioneering club.

Located in rural Destelbergen (Belgium), just a stone's throw from Ghent, Boccaccio has secured its place among legendary venues like Paradise Garage in New York and The Hacçinda in Manchester. Its bold fusion of emerging electronic genres such as New Beat, Acid, House, and Techno was way ahead of its time, drawing music lovers and clubbers from across Belgium and beyond. Sundays at Boccaccio were unlike anywhere else-offering sounds you couldn't hear anywhere else.

Boccaccio Life 1987-1993 is carefully curated by resident DJ Olivier Pieters and club regular Stefaan Vandenberghe, standing as the ultimate testament to a club that was more than just a venue. For those who experienced it, it was a community - a way of life. Hence the club's full name: Boccaccio Life.

This compilation stands as a testament to an innovative time in electronic music, capturing the raw, futuristic sounds of early house and techno. It sheds light on another side of Boccaccio, one that goes far beyond the short-lived New Beat scene. A carefully curated selection of 40 tracks, resonating with those who were there by offering familiar classics, while also reaching a new generation-those who never experienced it firsthand.

With tracks from Blake Baxter, Virgo, Frankie Knuckles, Tyree, and A Guy Called Gerald, the unmistakable influence of black American pioneers is clear-the originators of the firstanalog house and techno sounds. On the other hand, UK sound innovators such as The Orb and LFO bring both sharp textures and rough breakbeats to the table.

Club staple tracks include dreamy excursions from Roger Sanchez under his Egotrip moniker, the relentless basement house of Circus Bells by Robert Armani on Dance Mania, an uplifting take on a hip-house cut from The D.O.C. (Portrait of A Masterpiece in the CJ Ed-Did-It Mix), a timeless remix of UK Formation's Age of Chance from 1994, and an alternate take on The Tape by Boccaccio club regular and Belgian producer Frank De Wulf, taken from his B-Sides project.

While not always the obvious hits, these tracks have gracefully withstood the test of time, and were exclusive to Sundays at Boccaccio. Now, they are finally available to experience together in one collection, offering a timeless snapshot of a unique era.

A1 - Tidal Realm

Opening with the kind of finely-honed, sumptuous ambience we know and love Aural Imbalance for, Tidal Realm slowly reveals its welcoming arc with filtered breakbeats and a captivating off-beat string melody before analogue amen breaks are expertly chopped and sliced at will for our listening pleasure. Further melodic charm is added as the soothing ambient backdrops rise like a calming mist, blanketing the scene in style.

A2 - Tears Of An Angel

Subdued breaks sleepily laze during the intro to Tears Of An Angel, gently roused to movement by a sombre backdrop of delicate pads and high pitched ambient textures. Once in full swing, the old-school breakbeats nestle perfectly over a deep, earthy 808 bassline while the atmosphere develops continually through a melodic, ethereal landscape crafted with a trademark understated panache.

B1 - Surface Area

Readying for the unexpected, a suitably eerie ambient intro to Surface Area sees Aural Imbalance flex his versatility once more as a stunningly crafted break pattern suddenly takes center stage and immediately whisks the listener on a journey to lands afar. Micro melodies and inimitable pads add depth but make no mistake - these breaks are sublime, and will inspire both the listener and the dancefloor in equal measure.

B2 - Warm Embrace

Closing out the EP we have Warm Embrace, which opens with the sounds of playful fireflies in the twilight, emitting their soft glow through the washes of inexplicably radiant FX. Old school breaks soon enter the mix, constructed with aplomb over a bed of deep, classic 808 bass perfect for the occasion. The breakdown introduces a deliciously delicate melody, adding further depth to the track perfectly before the breaks and nightlife resume their frolics.

Words by Chris Hayes (Spatial / Red Mist)

A1 - Ocean Breeze

Kicking off the EP we have an understated 2-step banger from label head ASC as Ocean Breeze rips into your consciousness, positively bursting at the seams with a wonderful rolling break - make no mistake this track will make you and the dancefloor move. Building continually with a trademark subtle female vocal and wavy synthwork, Ocean Breeze is the perfect livener for any discerning atmospheric set.

A2 - Blue Planet

Straight into the action with a heavy break pattern, Blue Planet sees ASC experiment with deep, thunderous kicks and tightly edited, weighted snares set to take you higher - as the classic, recognisable vocal sample urges.Throughout the track we are treated to a darkly atmosphere created by thoughtful pads and effects which elevate the mix while the breaks make the most of their headline billing to the end.

B1 - Cyclic Nature

Continuing the break focussed approach to the EP, ASC unleashes a break heard right at the start of Spatial's history in Force Majeure - in fact this piece began life as a remix of that very same track, before taking on its own identity and becoming Cyclic Nature. Intense and hot-blooded, dense analogue kicks battle echoing drums and subtle melodies to form a wonderfully constructed atmosphere we just can't get enough of.

B2 - Shapeshift

Dialling back the intensity, Shapeshift is introduced more gradually this time with a DJ-friendly cymbal driven intro, with curious clicks and sound effects jostling over a mellow synthy backdrop. Before long a relaxing old-school break enters the mix while textured pads fluctuate with inquisitive jolts of melodic energy, elevating Shapeshift to become quite the memorable EP closer indeed.

Words by Chris Hayes (Spatial / Red Mist)

Destiny of Illusion is a 24-track full length debut from Pretty V (aka. Voldy Moyo, v7backin2007, #Smokesito), a prolific artist from Wakefield, UK who has been frequently performing and releasing music & videos online for the past 9 years, building notoriety for his unique sound and prolific output and gaining support from artists such as MIKE & King Krule, both of which have brought Voldy out for many shows, and for collaborations.

The album will release on the 24th April 2025, along with a release show the same day at Ormside Projects.

The album is produced entirely by aloisius, a prolific artist & producer, as well as the founder of life is beautiful records). ‘Destiny of Illusion’ is a landmark album for both Pretty V & aloisius, being their first full-run vinyl release. The album will be available exclusively on Vinyl, Cassette & CD.

This album also holds additional historical significance being that it is the first official/ full-run vinyl release for life is beatiful records.

The first pressing of ‘Destiny of Illusion’ will be limited to 397 copies.

Samurai Music returns to the evocative sound world of Ancestral Voices for an album that splits the difference between cinematic sound design and deadly restraint at 170 BPM. Nemeton continues Liam Blackburn's exploration of ancient Celtic mysticism through snaking rhythms and snarling sound design, conjuring a high-definition sonic image of sacred groves and the druids practicing amongst them.

Blackburn's Ancestral Voices project tracks back to 2015, when he debuted on Samurai Horo with the Night Of Visions album. In stark contrast to his celebrated 140 work as Indigo, this project leaned on the inspiration of pagan spirituality to charge his vivid, advanced production style with a rich and mysterious atmosphere. While he's channelled this approach into a variety of tempos and styles, on his 2016 EP Old Earth Voodoo on Samurai Music he applied the concept to a drum & bass framework, which he returns to on Nemeton with rigorous focus.

Far from a straightforward collection of breakbeat tracks, Blackburn uses negative space and pointillist production to carve out an immersive, tense sound world around the 170 grid. He takes a widescreen approach to percussion, running from pin-prick synthesised one-shots to tumbling, organic drums you'd more readily associate with a Hans Zimmer score. Scene-building is the foremost mission across Nemeton, casting otherworldly forces in sweeps of low-end friction and dramatic melodic blooms amidst tangible real-world field recordings of flora and fauna.

Casting the mind back some 2000 years is an exercise in imagination as much as research, and Blackburn ably summons dark fantasy as he delves ever deeper into Welsh mythology with a studious zeal and avid fascination. It's that drive that makes Nemeton burst forth and take shape so powerfully, bristling with kinetic energy and a barely-concealed, strangely seductive menace that leaves a lasting impression long after the last snatch of bass has bared its teeth.

Kali Malone's The Sacrificial Code is the 2019 breakthrough album of the acclaimed composer's pipe organ pieces. Her temporally informed studies of harmonics and intonation breathed life into a suite of compositions which leaves the heart moved and mind still. This 2025 edition was mastered by Rashad Becker and features a new track Sacrificial Code III. Pitchfork praised the album for its "time-stretching properties" and "clean minimalism." Resident Advisor described the album as an "exercise in concentration, restraint, and focus." Tiny Mix Tapes emphasized the "intensity and intimacy" of the album, pointing out how Malone's close miking technique brings out every textural detail of the organ, creating a highly focused and immersive listening experience.

Web Web mit ihrem sechsten Album in sieben Jahren und mit einem neuen Touch. Mehr psychedelisch, mitunter krautiger als zuvor.

Dazu haben sich WEB WEB diesmal (wieder) in Originalbesetzung (ohne Max Herre) einen besonderen Gast ausgesucht: JJ Whitefield (The Poets Of Rhythm / Karl Hector & The Malcouns / Syrup), der den fantastischen Gitarrensound beisteuert. Seine Riffs sind manchmal funky wie bei den Poets Of Rhythm oder Syrup, oder psychedelischer wie bei Karl Hector & The Malcouns oder seinen vielen Live- und Studioaufnahmen mit Embryo. Die Soundfarbe seiner Gitarre gibt dem Album den Schub in die wunderbare Atmosphäre spaciger Jazz-Kraut Bands der Siebziger. Das Konzept des Albums sollte das exakte Gegenteil zum vorigen WEB MAX Album (WEB MAX II) darstellen: Wieder zurück zu den (WEB WEB-) Wurzeln, mit spontanen, improvisierten Stücken, Fragmenten, Ideen, die größtmögliche Freiheit und Live Spirit bedeuten. Und genauso unvorhersehbar und improvisiert war auch die Idee, JJ Whitefield mit ins Boot zu holen: Einen Tag vor der Session dachte sich Roberto Di Gioia: "JJ und ich leben seit jeher in München. Wir sind uns aber leider nie wirklich über den Weg gelaufen. Ich bin ein großer Bewunderer seiner Kunst, seiner Musik, seiner Art zu spielen. Er ist so inspirierend, weil er keine Kompromisse eingeht. Er spielt auf seine so eigene Art und Weise, er ist keine Kopie von irgendwem und irgendwas."

Die 14 Kompositionen entstanden an zwei Tagen, aufgenommen von Jan Krause (Beanfield) in München. Die energetische Live-Session ging über zweimal 10 Stunden, und alle - Roberto Di Gioia (Rhodes, Fender Precision Bass, Moog, Mellotron, Percussion), Christian von Kaphengst (Fender Precision Bass, Rhodes), Peter Gall (Drums, Percussion, Fender Rhodes), Tony Lakatos (Tenorsaxophon, Querflöte) - waren bis ins Mark "on fire". Dabei wechselten die Musiker die Instrumente, um einen vollkommen anderen Gesamtklang zu erzeugen: Kaphengst am Fender Rhodes klingt anders als Roberto, sein Spiel hat einen anderen harmonischen Aufbau, und Roberto am Bass kennt man von zahlreichen Max Herre Aufnahmen, oder von Till Brönners Album "Till Brönner", und natürlich auch bei dem von ihm produzierten "Let Yourself Be Loved" von Joy Denalane, das auf Motown Records erschienen ist.

Hollows Made Homes In Their Sunken Cheeks came into existence as a result of Jon's wishes to take the Ungraven sound somewhere other than a standard 'rock band' setup. Moving away from the traditional 'drums / bass / guitar' structure has allowed Ungraven to experiment further with both sound and composition. 'Hollows_.' Is an experiment in sonics and allows both Davis and Perry to perform a sickening sonic duet as their respective instruments carve a universe shaped hole in your consciousness. Inspired by the duo's past collaborations on Conan tracks such as "Older than Earth" and "Grief Sequence" as well as artists such as Tangerine Dream, Circle, Zombi and Harold Budd. Hollows is a combination of composed and improvised elements, constructed remotely from their bases in England and Denmark. The addition of Perry's synth, organ and piano to Davis's slab like 6 string delivery has produced two epics that are both introspective and pummelling at the same time. Fall untethered into a bleak and expansive soundscape of psychedelic terror, experience a new chapter in Ungraven's tome of tone.

We wanted to celebrate the music of integral Samurai family member Last Life by revisiting his Samurai contributions with remixes from artists Mauro saw as best candidates for adding a new perception.

The second and final collection of remixes of tracks from Last Life's Samurai Music catalogue has now taken it's final form.

Label regulars Sam KDC, Ancestral Voices, Torn and Presha take their scalpels to Mauro's constructions and turn up the intensity, rebuilding them into 4 sinewy exercises in sinister force.

An Introduction To Syd Barrett, is a reissue of the 2010 collection that brought together for the first time the tracks of Pink Floyd and Syd Barrett on one compilation.

David Gilmour, who originally worked on Syd Barrett's two solo albums, as co-producer of The Madcap Laughs and as producer of Barrett, was the executive producer for the album. Damon Iddins and Andy Jackson at Astoria Studios remixed five tracks including ‘Octopus’, ‘She Took A Long Cool Look’, ‘Dominoes’ and ‘Here I Go’, with David Gilmour adding bass guitar to the last track. Pink Floyd's ‘Matilda Mother’ also received a fresh 2010 Mix.

The album features the original 24-page booklet and graphics plus all lyrics, and was designed including the cover art by long time Pink Floyd associate the late Storm Thorgerson and his estimable studio.

Born in Cambridge in 1946, Roger Keith 'Syd' Barrett was the primary songwriter, guitarist and original lead vocalist in the first incarnation of Pink Floyd. He formed the band in the mid-1960s with drummer Nick Mason, bassist Roger Waters and keyboard-player Richard Wright. With their groundbreaking, semi-improvised sets at the legendary UFO Club in London's Tottenham Court Road, they became the prime movers of British psychedelia.

Barrett wrote the warped pop vignettes ‘Arnold Layne’ and ‘See Emily Play’, the group's two hit singles from 1967, as well as 'Apples And Oranges', and the lion's share of the material – the dreamy ‘Matilda Mother’, ‘Chapter 24’ and the whimsical ‘Bike’ – on their debut album The Piper At The Gates Of Dawn. Recorded at EMI's famed Abbey Road Studios while the Beatles were making Sgt Pepper's Lonely Hearts Club Band, Pink Floyd's first album has proved an enduring classic, referenced by everyone from David Bowie to Spiritualized via The Damned.

Barrett contributed ‘Jugband Blues’ to A Saucerful Of Secrets, the band's follow-up, but his behaviour became increasingly erratic and he left in April 1968, a few months after the addition to the group of his Cambridge friend David Gilmour on guitar and vocals.

Syd Barrett's first solo album, The Madcap Laughs, was a long time coming but made the Top 40 on its release in January 1970. Barrett followed in November that year, and contains tracks such as ‘Baby Lemonade’ and ‘Gigolo Aunt’ that provided the names for two cult US groups in the 80s and 90s.

Over the last four decades, Syd Barrett has become the ultimate rock enigma. In 1975, he paid an eerie visit to his former band mates at Abbey Road while they were recording ‘Shine On You Crazy Diamond’, the centrepiece of the Wish You Were Here album he had inspired. He never entered a studio again. In 2001, he was the subject of a BBC Omnibus documentary.

He died in July 2006 but his legacy lives on in the music of R.E.M., Robyn Hitchcock, Julian Cope, Spiritualized, Blur and countless other groups. Earlier this year, Faber and Faber published Syd Barrett: A Very Irregular Head, an exhaustive biography by long-time fan Rob Chapman.

An Introduction To Syd Barrett provides a handy overview of this visionary talent, this madcap genius whose star shone brightly yet burnt out all too quickly.

Looking behind the obvious, forming an orchestra out of everyday surroundings.

Finding the essence in the trivial, clarity in the complex, poetry in simplicity. All of this is part of the goal, meaning and character of Oh No Noh, the project of Leipzig-based guitarist, robot programmer, magnetic tape crumpler and composer Markus Rom. All of this floats and shines through "As Late As Possible", the third Oh No Noh album, which will be released on April 4th, 2025.

The focus of this album, as the title "As Late As Possible" suggests, was patience. A creative lingering, the selfimposed principle of letting ideas mature, consciously leaving them lying and looking at them again in order to discover and refine new things. Always looking for new ways of producing musical sounds, Markus Rom has been blurring the boundaries between LoFi, Indietronica, Postrock, Kraut and Pop with his solo project for several years. His main instruments for this are electric guitar, MIDI robots, tapes and samples. For “As Late As Possible”, Rom expands his setup with a new sound sources (acoustic guitar, banjo, organ) and musical guests: Damian Dalla Torre (Squama) on bass clarinet and Andi Haberl (the Notwist, Sun) on drums.

“As Late As Possible” continues the signature of past releases and adds new facets. Rom's distinctive looping in and over each other is particularly evident in the tracks “Missing the Point”, “Orb” and “Almost Everywhere”. With "Loot", a straightforward and folk-pop piece finds its way onto the album and coexists with math-trained tracks like "Dog Years" or "Dot", which conjure up associations with Weilheim bands like COUCH. The tracks "Bliss of Disconnect" and "Fawn" were created in collaboration with the featured guests Liz Kosack and KMRU. The confidently unplanned is one of the principles around which Oh No Noh itself is also continuously evolving. Part of this development: the radio series "Oh No Noh Radioh", which has so far consisted of over 40 parts, for which Rom invites a guest in each episode to research music together along roughly defined concepts, ideas and inspirations. Together with technology composer Hainbach, free jazz artist Limpe Fuchs and sound artist Elsa M’Bala, for example, encounters were created whose patient search and find and whose controlled coincidences also characterize “As Late As Possible” – but here concentrated, concise, and with all the love of sound and experimentation always committed to the song. With this will to create a song-like narrative, to move, to develop, “As Late As Possible” remains suspended and searching. Its concentration seems light-footed, its happy accidents well-placed, the melancholic beauty of outdated technologies, forgotten musical toys and broken noise sources always forward-looking. Music like the one that comes about when someone programs an entire robot band, which then becomes just a friendly part of the whole.

The artwork for “As Late As Possible” was created by Leipzig comic artist Anna Haifisch. The album was mixed by Adam Lenox and mastered by Frida Claeson Johannsson.

2025 Blue Vinyl Repress

WRWTFWW Records is very honored to announce the official reissue of Grauzone's essential 1981 maxi single with timeless classic "Eisbär", proto-techno beast "FILM 2", and romantic synth ballad "Ich Lieb Sie", just in time for the 40th anniversary of the Swiss band's formation. The three-track vinyl is sourced from the original reels, cut at 45rpm, and comes with its iconic artwork on a 350gsm sleeve.

Ich möchte ein Eisbär sein...Written by Martin Eicher after a nightmare in which he saw talking polar bears on the walls, and with music by the Grauzone crew consisting of Martin and his brother Stephan Eicher, Marco Repetto, Christian "GT" Trüssel, and Claudine Chirac (on saxophone), "Eisbär" is the most recognizable title from the band, a sublime mix of ingredients reflecting the transitional era it comes from - the raw energy of punk music still palpable, combined with the audacity of early electronics, the warm groove of a disco gem, beautifully fragile lyrics, and one of the best basslines ever. It became a mega hit, totally unplanned, but how could you resist such a track

"FILM 2" is the ultimate b-side monster, a menacing all-instrumental pre-techno masterpiece, slowly building to a magnetizing frenzy. An instant underground favorite, it was famously heard played at both speeds depending on the scenes and DJs you were frequenting, 45rpm as it was first intended, and 33rpm for the cosmic experience (search Daniele Baldelli's Cosmic C75 1982 mixtape online for a great example of this).

The maxi single ends with "Ich Lieb Sie", a synth-pop meets doo-wop ballad, a true love song oozing with innocence. Simple, stylish, and just right.

At the crossroads of post-punk, new wave, pop, and electronic experimentation, the Eisbär maxi offers three songs that are technically different but hold the same spirit, the perfect embodiment of Grauzone's music - wild, unpredictable, and youthful, yet sophisticated, catchy, and ingenious. The magic recipe for the good stuff.

Stephan Eicher went on to be, arguably, the most successful Swiss musician ever, with an international career extending from pop chanson to experimental escapades and collaborations with Moondog, artists Sophie Calle and John Armleder, and author Martin Suter among many other luminaries. Marco Repetto flourished as a techno and ambient producer, releasing multiple projects including releases on Aphex Twin's Rephlex label.

Grauzone and WRWTFWW will continue to collaborate on the band's 40th anniversary reissue campaign, with numerous projects planned for the year, including a vast selection of music, visuals, and literature never available before.

Purple Vinyl

House music, nightlife entertainment and DJ/Producer virtuoso Louie Vega has proven over and over again that he's a master chemist in the studio. His latest release is an uptempo and speaker-knocking remix of Funkadelic's 'Ain't That Funkin' Kind of Hard on You' (produced by George Clinton and & G Koop) from the album 'First Ya Gotta Shake the Gate'.
The original version is nothing short of a classic, but it's as if the song had never been invited to a Louie Vega post-midnight global extravaganza. Was the song not aware that spellbound dancing and high BPMs were the standard for House Music Normally, such a blaring disregard for nightlife decorum would relegate a song to the pits of sonic hell, but we're talking about George Clinton here!The original opens up with a G-funk groove that screams Westside and lowriders. The listener is then blessed with Clinton as he adds his sage, soulful and pimpadelic vocals, complemented by Funkadelic singers asking him about the pains of the funk. The semblance of a beat that could drive the dancefloor into the morning hours is there, but in no way has it blossomed into its full glory. Enter Louie Vega.
His remix immediately greets listeners with a decadent spread of instrumentation and chutzpah. The original song's DNA populates the first thirty seconds of the remix but then an explosion takes place and the song assumes a new identity. The transcendent experience is akin to taking the elevator to a rooftop party and once the doors open- boom! The remix begs you to dance, the G-funk groove is now in your face instead of being laidback and percussion takes a front seat to take you away. The song is alive, there's no other way to describe it.
Be sure to buy your vinyl at an outlet near you! the Louie Vega remix of Funkadelic's 'Ain't That Funkin' Kind of Hard on You' on Vega Records!

Running Back is delighted to introduce RB Studio Sessions, a new sub-imprint of music envisioned, recorded and fully realised at Running Back’s in-house studio.
Built on the promise of unfettered creative freedom and aided by agreeable local autobahn connections in the Hesse region, the RB Studio Sessions project is christened with the work of Running Back’s founder, chief dreamer, and Geschäftsführer, Gerd Janson.
For this debut edition, he is joined for a momentous jam by the new-school hero of the house, good friend and kindred spirit, Narciss.
Just as Running Back’s earliest releases dropped a stylus to preserve timeless ideals of club culture, the four tracks on ‘No Maze Like Heaven’ further this continuum by turning back the sonic clock just a decade or so. Picture, if you will, a nascent Narciss, youthfully club
hopping and deeply inspired by the selections of Gerd himself, alongside a selection of DJs coaxing the Panorama Bar blinds open with exquisite, mid-tempo precision.
As such, new light immediately floods in for ‘Chicco’s Chips’, which captures many of those irresistible elements—Italo-tinted synths, hooky vocals, and perfect percussion— regenerated with the wide-eyed, high energy of Narciss’s own solo productions. ‘Elka,
meanwhile, is a richer, deeper dish, masterfully interlocking multiple heavenly melodies under layers of optimistic analogue fuzz.
Narciss and Gerd then look to the Netherlands for further collaboration with one of electronic music’s best-loved vocalists and another fine producer, Coloray, who fills ‘Look For You’ with a yearning performance in the vulnerable, synth-pop tradition. Finally, ‘No
Maze Like Heaven’ builds on this mood and melody for a finale that hits the sweet spot between machine power and oh-so-human emotion.
Featuring labyrinthian artwork from the mighty Gasius., via a sleeve that appears to blend M.C. Escher with MC Hammer, ‘No Maze Like Heaven’ proves to be a divine foundation of RB Studio Sessions. For Narciss, “a memory they will cherish forever.”
For Gerd, a taxdeductible working lunch. For DJs and dancers? Four ebullient hits-in-waiting, sounding great and meaning more.

Rickets EP is the second 12” and tenth release from the label signed by the Valladolid artist Alf.

“The theme of this EP revolves around the hyperactivity that both the capitalist system and ourselves demand of us, thinking that this ultra-productivity will make us feel happy and fulfilled at some point, how we isolate ourselves in our small fortresses and see foreigners as viruses that must be eliminated or expelled.”

The 5 original tracks on this EP have been designed with few tracks but processed thoroughly to create a powerful atmosphere ready for the dance floor.



The technical side of this work is once again the work of Dan Böhler, who has mixed and mastered this album and has also given us a “house brand” remix of the title track of the EP. The visual work is by Marcos Abella.

Madteo is one of the great eccentric visionaries of Electronic Music and his new album Misto Atmosferico E Ad Azione Diretta on Unsure once more happens to be a mind-bending piece of art. Misto Atmosferico E Ad Azione Diretta shifts between focused gritty grooves and the long freeform associative adventures that you haven't heard before, never static, sometimes overwhelming, always on edge.
The opener Cans People is an archaic rave monster, To Know Those Who is non-linear dub techno, Nocturnal Palates expands the Filter House universe and Rave Nite Itz All Right hits you hard and strange (yet subtle, in a way). The last two tracks then let loose; Madteo manipulates time, space and sounds to create the psychedelic secrets of Luglio Ottantotto. And Emo G (Sticky Wicket) explores the outskirts not only of House or Techno or whatever but music in general, a 15-min-trip through the low frequencies, the rumble, the dark hearts and the enchantment. Breathtaking. Bring The Voodoo Down.

WRWTFWW Records is happy to announce its fourth collaboration with New York ambient / jazz / downtempo musician Danny Scott Lane with the release of his newest full-length Songs For Sex. The seductive 11-track album is available as a limited edition LP (500 copies worldwide) housed in a shiny 350gsm silver cardboard sleeve. It is also available digitally.

Danny Scott Lane returns with Songs For Sex, a sultry funk, jazz, and ambient exploration inspired by candid conversations about intimacy. Smooth yet messy, uplifting yet off-kilter, this album captures every mood. It’s sensual furniture (leather sofa) music, deep passion minimalism, hedonistic downtempo, glossy and warm soul electronica.

The velvety sonic affair features the lush sounds of Joseph Shabson, David Lackner, and Simon Herody on flutes and saxophones, making it an irresistible modern brand of smooth jazz, the ideal soundtrack for your favorite pastime.

Songs For Sex follows the release of Danny Scott Lane’s chillout masterpieces Home Decor, Shower, and Caput, all available on WRWTFWW Records. Complete the funky collection now!

T?t 41 is the latest record by modular synthesist and Berghain resident JakoJako (Sibel Koçer), marking her album debut for Mute.

Recorded during a trip to Vietnam and bookended by field recordings from T?t Lunar New Year celebrations, the album is illuminated by references to Koçer's heritage. The melodic palette breaks away from traditional Western scales, drawing instead from the tonal intricacies of the Vietnamese language, inspired by overheard conversations. The album and track titles further honour the vibrant T?t festivities, shrines, and landmarks she encountered during her travels.

This album is, in many ways, a distillation of ideas she has been exploring for years. Tapping into a deep understanding of machine-based music, crafted with a minimalist setup consisting of a Eurorack and Waldorf Iridium Core, T?t 41 reflects on notions of rebirth, and the pursuit of a sonic core. From this simplicity emerge some of her most expansive, unworldly compositions to date.

T?t 41 is available on vinyl in a limited run of just 500 copies worldwide.

To celebrate the 15th anniversary of DJ Hell's groundbreaking album Teufelswerk, this limited anniversary edition brings back the legendary release in a deluxe 3xLP set, pressed on transparent Neon Yellow, Orange, and Red vinyl. Included is an exclusive poster featuring the original vinyl front cover, along with a special hype sticker for collectors. Originally released in 2009, Teufelswerk remains a milestone in electronic music, seamlessly blending techno, ambient, and experimental elements. The album features collaborations with the likes of Bryan Ferry, exploring the duality of Day and Night-contrasting euphoric club tracks with deep, cinematic soundscapes.

With the Do For You EP, Fossar embarks on a deeply personal yet universal journey that’s as adventurous as our label’s name - Zissou. Known for his beautifully textured releases on Fuck Reality and Feuilleton, Fossar delivers a five-track exploration into the highs and lows of forging your own path. Each track reflects a different shade of the journey - passion, doubt, euphoria, and self-discovery, all woven together through Fossar’s signature warm basslines, hypnotic melodies, and crisp, driving rhythms.

More than just an EP, Do For You is a soundtrack for the summer, a call to take charge, and a reminder that the true adventure lies within. The path isn’t always clear, but the music is here to guide you.

The Ibex Band, with Giovanni Rico and Selam Woldemariam at the creative helm, provided the musical backbone for legends like Aster Aweke, Girma Beyene, Tilahun Gessesse, Mulatu Astatke, and Mahmoud Ahmed, including the iconic album Ere Mela Mela, shaping modern Ethiopian music as we know it today. This 1976 album (Ge’ez Year 1968) played a pivotal role in that legacy and has now resurfaced to set the record straight.

There’s a tendency to talk about the seventies as a golden age of Ethiopian music. There are good reasons for that, and just as good reasons against it. However, the notion of a golden past privileges the role of Western explorers and suggests that the pinnacle of Ethiopia’s musical culture is something only a foreigner can appreciate and unearth. It downplays the complexities of Ethiopia’s culture and history, creating an artificial divide between then and now. And it underestimates the constantly evolving sound that has followed.

The legendary musical outfit The Ibex Band, later metamorphosed into The Roha Band, has played a central role in defining the sound of many of the greatest stars on the music scene of Ethiopia from the mid-seventies onwards–but their golden output has never really waned. The story of the origins of the band that provided the musical backbone for greats such as Aster Aweke, Girma Beyene, Tilahun Gessesse, backing the solo career of group member Mahmoud Ahmed as well as backing Mulatu Astatke and many others has yet to be properly told.

Two misconceptions plague the image of Ethiopian music, one is that the music is pure because it is, by some notion, unexploited, the other is that it is all traditional. To begin with, a combination of political changes between the late sixties and the mid-nineties created an environment where only the most dedicated and skilled musicians struggled on and pursued a musical career against fierce odds. The whole Ibex Band, with Giovanni Rico and Selam “Selamino” Seyoum Woldermarian at the creative helm, are arguably the origo of the vibrant scene in the mid-seventies, and the said pair are foremost responsible for not only navigating the band through troubled times, but also modernizing the 6/8 chickchicka rhythm to a contemporary form. Giovanni laid the rhythmic foundation with heavy looped basslines that reinvented traditional melodies as dance music, and with Selamino’s innovative guitar work they influenced scores of musicians from Abegaz Kibrework Shiota to Henock Temesgen. Even Giovanni’s Fender bass and Selamino’s Gibson guitar inspired younger musicians in their choice of instruments. Not only in choice of instruments but also in sound–even as the digital revolution hit Ethiopian music, a lot of popular music still took its cue from the masters from Ibex and Roha.

Ibex emerged out of the ashes of the sixties group the Soul Echos band, adding Giovanni and Selamino to their ranks and taking their cues from a slew of influences, such as Motown and The Beatles, fused with traditional music. A tighter-knit unit than most bands at the time – Ibex has remained six to seven members throughout their whole career, compared to many bands that were as large as fifteen or sixteen men strong when Ibex set out. Their playing has been viciously focused, economical yet heavy. Just a year before the recording sessions of the album in your hands, Giovanni and Selamino made a contribution to the popular musical lexicon of Ethiopia that was simply defining the popular sound: their arrangement and recording of bandmate Mahmoud Ahmed’s solo effort and real commercial breakthrough tune and eponymous album, Ere Mela Mela, from 1975.

Selamino has never limited himself to being an adroit lead guitarist, but has always been a scholar of history, and as such he has probably contributed as much to modern Ethiopian music with his guitar playing and compositions as with a deepened understanding of modern or contemporary – Zemenawi – Ethiopian music. Selamino’s contributions serve as a metaphor for those of the whole band, at one and the same time creating and defining a new, danceable and updated sound anchored in Giovanni’s bass, whilst also elevating the broader scene through their support for others on the scene and on top of that, increasing the understanding of the music.

There is an understandable desire to romanticize the musical heyday Ibex and Roha were at the forefront of, because so much of the output is sorrowfully hard to come by. Ibex creativity was nothing short of ridiculously fierce compared to many of their Western contemporaries. Based on their sheer recorded output alone they could have usurped the title “hardest working in show business” from James Brown, recording more than 250 albums or 2500 songs in the seventies and eighties. Some only surface as cassettes today, others were never given full LP release, and some are simply impossible to find today. In the light of that, it’s nothing short of a miracle that the recording Stereo Instrumental Music from 1976 (Ge’ez Year 1968) has resurfaced. Unearthed in perfect condition on a chrome cassette, this is musical history comes alive–to set the future straight. Stereo Instrumental Music was recorded in collaboration with Karl-Gustav Lundgren, a Swedish national working for the Radio Voice of the Gospel. It took two sessions at the Ras Hotel ballroom in Addis Ababa. The Ibex Band was the first band in Ethiopia to employ a four-track recorder for their recording (the first available in the country, lent by Karl-Gustav). Later the same week, Giovanni and Selamino realized that, lengthwise, the recorded material fell short of what they wished for, so they recorded four more tracks in one more session on a single-track recorder. The Ras Hotel and Ghion Hotel, where the Ibex Band held musical residencies were to Ethiopia in general and Addis Ababa in particular what Motown was to the USA and Detroit a few years earlier – a hotbed of musical creativity and showmanship.

The most astonishing thing about Ethiopian music of the last half century is how tradition and modernity are intertwined. Because of this feature, it’s kind of hard to tell when there ever was or when we are in a “golden age”. So much of music from the past has been criminally neglected, but because of the hardships in the past, it would be an oversimplification to say that said past was a golden age. Probably, the golden age is what we are approaching, because for the first time both the past and future are accessible, and the monumental contributions from before can lay a firm foundation for a thriving music scene today. The Ibex Band stands firmly in the past, present and the future. That, if anything, is golden.

The detailed history of Stereo Instrumental Music is in many ways unique. To begin with, it couldn’t have been recorded earlier (there were no four-track recorders available) and it really couldn’t have been recorded afterwards either, at least not in the years directly following, because of the toll the musical scene took from the unfavorable political climate that followed when the nascent Derg regime and rival groups tried to assert themselves, the musical equipment lent from The Voice of Gospel Radio simply disappeared from Ethiopia when the radio station folded in 1977. Karl-Gustav Lundgren,
the Swedish foreign national who assisted during the recording, worked with the Ethiopian Evangelical Church Mekane Yesus at the time, recalls how they only had about fifteen minutes to get the microphones in place for the recording as to not alert neither the management at Ras Hotel nor the authorities and most importantly, to complete the recording before the curfew came into effect at midnight. In leaping to the opportunity to use previously unavailable equipment to push their sound forward and improvising to meet the logistical challenges, the Ibex Band displayed the very avant-gardism and adaptability that explains their longevity as a band through the years. The recording of Stereo Instrumental Music is from a given time in history, but it sounds as beyond time.
Much of the energy that burst out of the scene that Stereo Instrumental Music came out of dissipated or got sidetracked during the societal changes Ethiopia went through in the 1970s and 80s. Whilst leaders might have professed to be revolutionary, the work ethic of the Ibex Band can truly be described as that. They never called it quits, but adapted, toured extensively abroad in Africa, Europe, and the Middle East, and found ways to work even in the face of the curfew that curtailed a lot of musical life. They even played major arenas in the nineteen eighties, despite said curfew and restrictions. The whole extent of their legacy has never been told, but their music speaks louder than words, so therefore… tune in to the Ibex Band’s Stereo Instrumental Music.

For their second album 'The Foel Tower', Quade holed up in an old stone barn in the cradle of a Welsh mountain valley.
The valley was a stark and windswept backdrop with little daylight, as the band would huddle around crackling fires each evening. “There was very much a feeling of being on the complete fringes of society,” the band says. “The last vestiges of settlement before the unrelenting barren moors that loomed over us.”
It was an environment that would shape the band – a Bristol four piece made up of Barney Matthews, Leo Fini, Matt Griffiths and Tom Connolly – and the record they have made. It’s an album that is as dreamy as it is melancholic, and as quiet and tender as it is forceful and potent – gliding across genres like winds blowing over those wide-spanning Welsh hills – to arrive at something the band half-jokingly, yet somewhat accurately, describe as “doomer sad boy, ambient-dub, folk, experimental post-rock.”

Quade is a band but it’s also a very close-knit group that have been friends since childhood who use this musical vehicle for interpersonal explorations and connections. “We’ve individually experienced a lot of difficulty over the last several years and Quade has represented a space to shelter from these,” the band says. “This means we often communicate extensively with each other about the issues affecting us individually and collectively. These conversations and concerns are central to The Foel Tower.”

In many ways, the making of this record – or any Quade record – goes way deeper than the simple writing, construction and recording of music. It is a profoundly deep and meaningful experience. “A key theme of the album relates to why we connect with specific places in the way that we do,” the group says. “We often remove ourselves to isolated valleys, sheltered from some of the painful personal struggles that we have experienced as a band. These become spaces in which we collectively purge ourselves of some of these difficulties hoping to make Quade a physical and emotional place of solace. This album celebrates these places that we’ve been able to retreat to and recuperate.”

It is a deep, dense record that is stuffed with musical, cinematic and literary influences – from Ursula La Guin and Cormac MacCarthy through to RS Thomas and Yeats – but despite the heavy, introspective and anxious nature of some of the material, it is also a record that is remarkably deft, agile and considered.

Made with producer Jack Ogborne and mixer Larry ‘Bruce’ McCarthy, there is a pleasing duality to the final sound of the record. One that feels fragile and intimate but also powerful and forceful, as introspective as it is expansive, and a record that is as detailed and textured as it is wide open and spacious.

The album title also pays homage to the place that shaped it so greatly. Within this remote Welsh valley stands the Foel Tower, a stone structure filled with valves and cylinders that can raise and lower the level of the reservoir to draw off water. Which it can then send as far as 70 miles to Birmingham. However, in the late 1800s this land was occupied by local farmers and families in the hundreds until the British Government acquired the land, cleared the valleys, and promptly displaced them in order to begin serving the vastly expanding industrial English city. The band dug into the history and politics of this and wove it into the themes they were already thinking about, using what the Foel Tower stands for as something of a contemporary metaphor. “This tension was something that we wanted to explore without the haughty judgement of our more metropolitan lifestyles,” they say. “And to explore how this specifically relates to ourselves: how can we envisage a genuinely ecological future for ourselves – one that is accessible, affordable and in harmony with endangered rural practices.”

What makes The Foel Tower such an incredible record is that it feels born of a time, place and situation that only existed in that very moment. It’s a snapshot of those 10 days spent in rural Wales and all the feelings and anxieties the band were experiencing at that specific time, magically caught on tape. “The album very much feels tied to this valley for us and the conversations and experiences we shared there,” they say. “It brings up a great deal of poignancy for us, an emblem of some fleeting respite from the strains we all have to experience. But there’s also deep sadness knowing how transient these moments are – in fact, there’s just a great deal of sadness in this album. But it’s also a record that while personal, resigned, and emotionally burdened, is ultimately hopeful.”

Christian Kleine continues to unearth long-lost transmissions with Electronic Music From The Lost World: Vol.2 - another batch of pristine artifacts from his personal DAT archive. Much like its predecessor, this release serves as both a time capsule and a reminder of Kleine’s effortless blend of melodic warmth, intricate rhythm programming, punk influences, and a deep-rooted love for the fringes of electronica.
Where Vol.1 felt like an invitation back to the late ‘90s, a time when IDM was still an evolving conversation, this second volume extends the dialogue, revealing more of the sonic experiments and fully-formed pieces that never saw the light of day. Tracks recall specific moments from Kleine’s time living in Berlin, an era of minimal comforts but maximal creativity, where all that really mattered was that the PowerPC, sampler, and synths kept running. This period of introspection, coupled with the musical freedom afforded by cheap rent and late-night school classes, shaped the deeply personal and solitary sound of these recordings.
Visually, Vol 2 shares its origins with the first volume, as Midori Hirano’s stark Berlin photography forms the foundation, and Noah M / Keep Adding pushes the imagery into a brighter, more reflective final space. Final touches remain in familiar hands, with LOOP-O on mastering and lacquer duties, bringing new life to Christian’s OG DAT recordings. 
And much like the classic City Centre Offices era that shaped this sound and Kleine’s early career, this release nods to that legacy. A special limited 7” EP with two bonus tracks, designed in tribute to CCO’s iconic DIY aesthetic, will be available on release day direct from the label’s Bandcamp. 

Signs & Gestures is a various artists limited vinyl pressing which will be available digitally later this year. The vinyl version was mastered by Todd Mariana at Chicago's newest cutting studio, Deep Grooves Mastering.

The compilation features four tracks. Longtime friends Awoke (aka John Griffin) and Jack Buser write the two cuts on the A-side. These guys have known each other for many years and the complimentary nature of their tracks echo their years long relationship. Both use analog gear in their productions. In fact, that is an understatement as both are engineers by day and admitted audio gear junkies by night. Awoke's Untitled #2843 is a quirky drama builder throwing the In My House vocal over squelches and acid lines. Buser's Midi Boson is a classic exercise in simplicity. Drums from an MPC and a lead from Elektron's Monomachine are all it takes for this groove to rattle the dance floor.

Side B is also the work of two close friends. Nathan Drew Larsen remixes Little Turtles by Souls Found. Mazi edits Nathan's remix (released earlier on Fresh Meat's When Bad People Cook Good Food Volume 3) to 6 minutes, removing the atmospheric outro and reducing some of the extended sections. What remains is an energetic workout that is uncommonly melodic and emotional. As Audio Soul Project, Mazi's remix 3 of Sentimental Love combines sections from the first two of his remixes of this song released on Vizual Records back in 2011. This new version will hopefully express the care and love that went into preserving the message of Joshua Iz and Chez Damier's original.

Big new release by Peter Van Hoesen! Continuing his exploration of intricate techno systems, their effect and direct perimeter of action, Peter van Hoesen turns in his newest four-track piece, ‘Prime Directive’: a fascinating dive into the artist’s shape-shifting headspace and inner creative chaos.

Fuelled on a furnace-hot mix of abstract-leaning immersion and hi-octane rhythmic thrust, ‘Prime Directive’ looks at contemporary techno from the angle of experimentation and intuitive abandon. The result comes in the form of four distinct movements, each carving out their own logic and associated behaviour out an endless pool of potentialities. Here comes chaology unfolding in all its unadulterated, visceral glory.

‘Definition by Absence’ breaks the trip in to the sound of a faux-random symphony: its train-like swing and fiery bass seesaw coalesce through an elliptic fluttering of sorts, iterative and not, patterns moving in and out of synchronicity as van Hoesen applies more or less pressure on both ends. All in gusty in-your-face-ness, ‘Variables Edit 1’ whirls and swirls like an ominous vengeance of nature; Its puncturing kicks and whistling menace set against stellar winds and rabid machinery on the prowl for its next victim.

An even more unsettling piece of disjointedly arrhythmic, anti-club music for the dance floor, ‘Prime Directive’ will have you zoning out like a bad dream, flush with metronome-faced monsters and molten clocks hanging from dead trees. ‘Morphology’ could be PVH’s attempt at giving his concepts a carnal carcass to hold onto. Here, rhythm becomes somewhat less erratic, offering his 360-degree vision more melodic surface and actual room for dispersion. One to keep the boundaries pushed and status-quo challenged, this is techno at its most entrancingly bold and fearless.

*This new four-track epic from Peter van Hoesen comes draped in a fine piece of artwork courtesy of Atact, and pressed according to our standards in 180g audiophile quality so you get to experience the Belgian master's chiselled sound design in all its glory.

Repress!

Indiscriminate cruelty to common people: the slogan could be about war or it could be about your eardrums while listening to ‘Tragedy.’ Disclose’s first LP is a landmark of cacophonous, guitar-forward noisy hardcore. Heavily influenced by classic 80s Swedish raw punk, these fifteen songs perfect the unrelenting formula as only Kawakami could. Originally released in Japan on the cult label Overthrow in 1994, this reissue restores the fierce original mix two decades later. It differs from the mix on later represses hailing from Uppsala, where Swedish bombshelter-dwellers keep the flame alive. This authorized reissue reproduces the original artwork, with insert. Crack your brain up!

Repress!

Layer upon layer of noise and distortion, like ashes of nuclear apocalypse raining down. The final LP Disclose released, in 2004, captured the band at a high point. When other d-beat raw punk bands were running low on ideas, Kawakami reinvented the sound, incorporating more metallic influences like Broken Bones while still sticking assiduously close to the template. Originally released for Disclose’s tour of the US west coast, ‘Yesterday’s Fairytale, Tomorrow’s Nightmare’ includes ten tracks and closes with a rampaging masterpiece, the 10-minute ‘Wardead,’ which exists on another astral plane from generic Discharge copyists. This authorized reissue reproduces the original artwork and includes a new insert with liner notes by Stuart Schrader.

An official retrospective (1967 to 1985) of the legendary Beninese Composer, Gentleman & Salsero Gnonnas Pedro, who recorded dozen of albums & singles from the 1960s the 2000s with mythical bands such as Los Panchos, Les Dadjes & Africando !

21 tracks covering the extremely wide musical spectrum of this mythical artist in 40 years of career : Afrobeat, Salsa, Funk, Soul, Jerk & Folk frenzied grooves that will set any dancefloor on fire !

Available in a beautiful Limited Deluxe 2xLP gatefold edition (with a digital voucher including a Bonus track) & in HQ digital format with very detailed biography & liner notes in French & English, + Exclusive pictures, never seen before.

Bonus track : "À Ma Fille" (Digital only, includes with the download voucher of the album that comes with the release)

After “A Journey Into Abstract HipHop” and “Snap Your Neck Back” 7inch EP vinyls , the series continued with "Fuck You I'm 21" EP, which was released digitally only on April 1st 2023…celebrating the 21th anniversary of the first EP ever released back in 2002.
Today we release the 7inch vinyl version of this new EP.
For the occasion, DJ/beatmaker Ugly Mac Beer drops an exclusive B-side track, “Human Sucks”, custom-produced in the spirit of the Gasoline collective project.
Only 500 copies of this gold-colored vinyl will be released, a must-have item.

Edits by Mr K
Edit heavyweight Danny Krivit edges close to full-on remixes with these two extended takes on soul genius Stevie Wonder’s timeless tunes. Using isolated instruments and vocals, the familiar classics take new shape in the able hands of Mr. K, providing a fresh look at cuts that have never faded in popularity. ‘Master Blaster’, Stevie’s tribute to Bob Marley, gets an attention-grabbing intro that is tailor-made to slide right into DJ sets, while the flip, the R&B essential ‘I Was Made To Love Her’, is filled with breakdowns and clever cuts that will open the eyes and ears of even the most jaded soul fanatic. Masterful work from NYC’s edit king and a fitting tribute to the Motown legend on a loud 12-inch readymade for club play. Record Store Day special!

We are thrilled to announce the Playedby020 vinyl compilation, a special edition celebrating Playedby's 10th anniversary. This exclusive collection features 20 notable tracks from renowned international producers. As we mark a decade of musical innovation and passion, the Playedby020 compilation showcases the diverse and cutting-edge sounds that have defined our journey. Join us in celebrating ten years of incredible music with this limited edition vinyl box, a must-have for any electronic music aficionado or committed collector. Thank you for being part of our journey—here's to many more years of musical excellence!

A second appearance of Tammo Hesselink on the Mantis series. Fusing the spatial effects treatments of dub with the metallic clang of industrial percussion and the stark negative space of minimal, Tammo Hesselink's sonic practice continues to create compelling, complex forms. His exacting style toys with atmospheric processing and mechanised motifs in place of traditional melodic elements, unearthing nuanced expression from timbre and rhythm while delivering firm structures for advanced soundsystem immersion.

The next episode of Coqueto Records returns to the VA format, once again showcasing techno and club music. Expect dancefloor-driven mental sounds with hints of electro, trance, and progressive. This release brings together three South American artists alongside French maestro TC-80, marking the label’s fifth installment.

Fear of Dog is back with 5 tracks ready for dancefloor. Controllo 93, this mysterious producer, makes his debut for the first time on FOD Records. Get ready for a journey into dark lands, where gloomy sounds and psychedelic chorus will accompany every tracks. The key element of this release? Bleep sounds that will elevate the whole experience.

Konsudd finds the hyperkinetic Konduku teaming up with close pal Aa Sudd as they match subtlety with intensity. Their high-definition production leads on these spacious works of art, with dynamic layers of atmospherics punctured by dense kick drums. They take care to address soundsystem physicality, loading their kicks with irresistible subs down low and finely chiselling the double-time rhythms up top for an extra boost of energy.