Suche:the head

DJ Support: Luke Una, Darryn Jones, Red Greg, Gilles Peterson, Patrick Forge

The second EP in the set from the dynamic duo themselves, The Mighty Zaf and Linkwood. 2 more killer edits to devastate the more headsy dancefloors.
Limited stock of these early copies. Act fast.

London experimental spoken word and electronics duo BAG land on Phantom Limb with mesmerising new album This House is a Body, marrying visceral poetry with exploratory production to achieve beguiling, occasionally screwy and occasionally dreamy sonics.

“This album functions as a floor plan, a house in itself, collecting and containing the ecosystems of multiple rooms,” write BAG - Canadian artist and poet Jody DeSchutter and London producer Daniel Allison. “The roles we play can be defined by the room we are in; and it can be near impossible to tell what room we are in without looking from outside. This album maps out a number of rooms which hold such relations, memories, or experiences and builds them all into a single house, a single body.” Formed from Allison’s headspinning, depth-mining production for synthesis, field recording, and acoustic instrumentation, and DeSchutter’s lysergic and prophetic spoken word, the palette of This House is a Body can turn on a dime from claustrophobia and dread to hyperreal dream sequence, illuminated in sunstreamed glory in places and dripping with basement effluvia in others. Throughout, words, meaning, and imagery all dissolve into an architecture of alternately familiar and unknowable sound.

Deep Detroit heat from "the Ambassador of house music" MIKE "AGENT X" CLARK who drops this tasty 12" on COLLECTIVE RHYTHM NETWORK. Dark beats for the heads down crowd! On the flip Detroit's ADMIN (INFOLINES) adds his distinct touch for a killer, more dancefloor oriented remix.

180g

Our very first release on the label back in 2018. We are always being asked if we will repress it again, and now we have. But this time it's slightly different to our first pressings - for this repress we took the original DAT rips to Dapz at Compound Audio for him to master. And then those masters were shipped to Beau at Ten Eight Seven Mastering. So now this release is audibly similar to our other releases over the past 8 years - and in turn the label has been updated. So for those collector headz out there, it'll always be apparent which pressing this one is.

Red and Black Galaxy Vinyl. Kmoe is a young Canadian artist who emerged from the 2021 SoundCloud/Discord scene. Kmoe blends hyperpop and glitchy production with catchy indie-pop melodies and pitched up vocals. His sound is characterized as a "modern-day romantic" take on electronic music, heavily influenced by shoegaze, hip hop and experimental pop.

We are back again in 2026 with more DJ Seduction - this time his very sought after Papillion alias that he released back in 1992 on a private pressing. All headz that use to go out raving back in the day will recognise So Good for those days, plus its been well sampled over the years too. A total anthem!

BILLY CHILDISH veröffentlicht seit 1979 Platten, HOLLY GOLIGHTLY seit 1990; 1999 taten sie sich für ein gemeinsames Projekt zusammen, das ursprünglich in den USA bei Wabana Records erschien. IN BLOOD ist ein großartiges Album, das bei der ersten Veröffentlichung in Europa so gut wie ignoriert wurde. Der Untertitel von IN BLOOD lautet ONE CHORD! ONE SONG! ONE SOUND!. Aber es ist so viel mehr als das: Tracks wie ,Demolition Girl" und ,Step Out" dröhnen aus deiner Stereoanlage - wirklich großartige, dreckige Ein-Akkord-Blues-Songs (mit vielen Noten), mit Gesangswechseln, klirrenden Gitarren und begleitet von der Medway Delta Review, zu der Bruce und Johnny von Thee Headcoats sowie Johnny Gibb von den Wildebeests gehören. Während Einfachheit, Wiederholung und purer Rock-'n'-Roll-Minimalismus das Herzstück des Albums bilden, verliert IN BLOOD nie an Reiz. Es macht einfach süchtig! Diese Neuauflage erscheint auf schwarzem Vinyl.

Die erste britische Pressung seit der Vinyl-Ausgabe von Hangman Records aus dem Jahr 1991! Jetzt erweitert um zwei zusätzliche Titel: ihre ersten beiden Singles - ,Headcoat Girl" und ,Davey Crockett"! "Da saßen wir also, um einen Küchentisch herum, und tüftelten an Ideen und Melodien für ,Girlsville". ,Wild Man" - wow! ,Round Every Corner" (von Billy für uns geschrieben), ,First Plane Home", ein Kinks-Cover, das wir immer live spielten, ebenso wie ,Meet Jacqueline" (anscheinend von Albert Hammond geschrieben, seltsam!). Jeder Track war ein Hit, finde ich. Dann machten wir uns auf, die Welt zu erobern - mit unseren Alben ,Have Love Will Travel", ,Bozstik Haze" (nicht lila!) und ,Punk Girls" sowie zahlreichen 7"-Knallern. Was für ein Spaß, bis ,Here Comes Cessation" kam. Na ja, dachten wir zumindest..." - MISS LUDELLA BLACK - JAN 20206

Silk Cuts returns with its second fresh drop of "nameless and shameless" series edits. These essential 7-inch mashups are floor-fillers lovingly crafted for all the party DJs, turntablists bods and heads. Highly recommended and available exclusively as a limited edition vinyl only release, stay tuned for more.

En Route is Oddisee’s latest EP—a soulful snapshot of motion and meaning. Each track is a reflection of movement—physical, emotional, and spiritual. Its music for the journey, wherever you're headed. One time pressing on CD

The return of Jonne Lydén aka 53X is an exhilarating welcome for Emotional Especial with 4 more seismic analogue psychedelic jams that are becoming recognisably a unique and hypnotic statement.

Lydén’s studio time is distillation for personal contemplation and perfection just 3 releases in 5 years that are worth the wait. The heady demand for his debut ‘Synapse’ and the following ‘Zen ‘23’ on Especial (limited repress incoming!) show constant development a sound of widescreen technoscope where dub beats trance pyrotechnics and 303 mind-melt swirling in a cosmic matter.

His return takes this further his music heritage in Finland’s hardcore punk scene to finding the techno of Detroit and Berlin before submerging in synths and drum programming jamming recording and mixing these trip-out electronic journeys live.

This heavy 4/4 jack is apparent on opening Sanctuary. Like his recent outings ‘Radar’ found on the Especial 50th “sampler” release ‘Gracias Especial’ (EES050) and also ‘Simulaato’ hidden away on blink and you miss it cult label Avidya (AVI003) this is a pure undiluted bang. Straight forward heavy bass kicking charged with acid 303 and monotonic vocal insights the track is a flourishing temple a call of embrace.

The eponymous Cyan Haze showcases 53X’s cinematic finest panoramic audio and sound design creating expansive phonics. BPMs drop samples flourish around break drops and rolling bass – breathing looping shouting lifting.

Owls enlightens. Hardware rumbles cerebral a temporal universe awakening. The collage of found sound successive sequential all encased by hypnotic broken chords rolling bass and melancholic piano refrain. Meta worming braindance ecstatic tribal industrial gliding by Shiva into the night.

Dust closes apt its basement collage pounds Lydén to techno genesis. Proto-zeitgeist steppa dark room incantation pulling and expanding the fantasy to strange dreamscapes. Reincarnation and hope in 2026.

A cult electronic artefact from 1999 resurfaces here as DHS's 'From Outer Space' lands once more on wax. Ben Stokes' project has always thrived on the fringes of breakbeat and acid experimentation. Stretching across 12 minutes, 'From Outerspace' is a patiently unfurling trip built on hypnotic loops, eerie atmospherics and a restless low end that never quite settles. Fairground oddities, UFO signals and disembodied shrieks drift in and out of focus to tease the floor before locking into a rugged, heads-down stride. On the flip, 'DHS Theme 2014' and 'Voodoo Breaks' extend the sampledelic ritual with squelch and understated menace.

After releases on Bordello A Parigi and ZONE label (run by The Hacker, Gesaffelstein) and more recent his 'Into the Zone' Ep for Neuma Records Hungarian based Martin S. debuts on Rotterdam Electronix with ''Life of Crime'' ep! A functional and highly effective 4 tracker inspired the French Electro sound. Big tip 4 the Electro heads!

Back in 2022, Is It Balearic? Recordings founders Coyote (AKA long-serving producers Richard Hampson aka Ampo and Timm Sure) took time out from releasing music on their own labels to deliver a near perfect mini-album on Phil Cooper’s similarly mind-ed NuNorthern Soul imprint, Everything Moves, Nothing Rests.

A superb exploration of their trademark sound, where gentle downtempo rhythms and nods to dub came cloaked in colourful ambient chords, sun-bright melodic motifs, organic instrumenta-tion and quirky spoken word samples, Everything Moves, Nothing Rests deserved a sequel. So, three and a half years on, the duo has delivered just that: a fine six-track EP that offers an even deeper and more atmospheric exploration of their signature sound.

It is a sonic approach that should now be familiar to Balearic en-thusiasts the world over. Aside from delivering a steady stream of singles, albums and remixes on their own imprint, Hampson and Sure have also showcased their skills and loved-up musical mis-sives on International Feel, Music For Dreams, Needwant, MM Discos and Citizens of Vice.

The Higher The Sky, The Deeper The Ocean, their hotly anticipated NuNorthern Soul return, is named in honour of a quote from Ped-ro Alonso’s documentary series On the Ship of Enchantment, an extended voyage in which the Money Heist movie star meets healers and masters of ancestral medicine across his native Mexi-co.

There’s naturally a meditative and slightly psychedelic sound to much of The Higher The Sky, The Deeper The Ocean, which offers a subtly varied exploration of Coyote’s style and influence. Yearning, soft-focus opener ‘Muted Beauty’ – the kind of immersive, effects-laden and sample-sporting ambient bliss found nestling on Fila Brazillia albums of the mid 1990s – is followed by the similarly gentle ‘Go All The Way’, where delay-laden acoustic guitars, spo-ken word snippets and gaseous chords stretch out atop a languid, slow-motion groove.

‘A Drop in the Ocean’ picks up the pace a little via a glorious hat-tip to turn of the 90s ambient house – all dub-wise bass, heady deep house sonics, spaced-out chords and half-buried references to sunrise-ready Balearic synth-pop records of the late 1980s. Late psychedelic guru Terrence McKenna appears in sampled form on ‘Dolce Far Niente’, a tabla-driven drift and musical hallucination which conjures mental images of lying in the Mexican desert, gazing intently at a starry sky.

In contrast, ‘Riviera Sound’ is a chunkier, brighter and more sun-splashed affair – all deep, dubby bass, sustained piano parts, punchy downtempo breaks and the duo’s trademark ambient pads – while superb closing cut ‘No Coincidences’ fixes jazzy double bass samples, twinkling keyboard motifs, subtle acid lines and Latin-laced percussion to a street soul-adjacent beat.

Heady, impeccably crafted and thoroughly enveloping, The Higher The Sky, The Deeper The Ocean is Coyote at their dazzling best. It marks another significant chapter in their ever-evolving musical journey.

- 2026 repress -

SHDW & Obscure Shape launch new label Mutual Rytm with powerful eight-track V/A "Federation Of Rytm I", featuring VIL & Cravo, Lars Huismann, Grindvik and more.

Favourites for many within today's modern techno landscape, Stuttgart-based pairing Marco Blasi and Luigi Urban, aka SHDW & Obscure Shape, continue to grow their profile and position as artists leading the current new wave of techno. Having launched their first label From Another Mind in 2014, releasing material from themselves alongside remixes from the likes of Rodhad, James Ruskin and Dax J, early December welcomes the arrival of a new project and a second imprint to the fold, Mutual Rytm.

Showcasing a new dimension of techno and electronic music, celebrating originality and innovation by combining timeless cuts from the past with cutting edge sounds of the present and the future, the label will serve as a breeding ground for new artists alongside established talent and legends from the scene. Opening the imprint in style, the label bosses head up the first-ever release and the first V/A "Federation Of Rytm I" as they welcome a selection of new and established talent.

"Since the beginning of the global pandemic, we have been diving deep into the roots of our music and working on the aesthetics of our sound. That's when we realized that now is the right time to start a new project which differs from FAM, in both musical and artistic direction. The project will showcase a new dimension that aims to channel the authentic perspectives of both established and up-and-coming talents. With our new label, we want to give all artists the opportunity of musical freedom and expression of their versatility as producers. It is an honour to accompany the young artists on their careers, to see them grow and to help them in their development as musicians." - SHDW & Obscure Shape

The duos rolling opener "Conquest Of Paradise" quickly sets the tone and builds to reveal a classy and slick offering, combining rich stabs with tough drums and sharp hats, while Invexis keeps the tempo high as he weaves escalating synths and pacy kicks across "Elektronenwind". VIL & Cravo combine on the jacking and lively "Apolonia Loop", as eerie synths work amongst warped vocals across a tweaked out peak-time effort, before Alarico keeps the energy levels up throughout the relentless funk of "I'm Into You".

The second half of the package sees Lars Huismann enter the fray with the no-nonsense, snaking grooves of "Hyper Dub", with Nicolas Vogler's "Sauva Bite" fusing hypnotic tones with straight regimented claps for an intense yet playful ride through sounds and sonics. "Your Dry Lips" switches up the aesthetic as Grindvik journeys down a wormhole of metallic percussion and warping low-ends, before closing the show with authority via Stigmata's grinding and menacing offering "Gestas".

WRWTFWW Records is proud to present THE GENTLE PEOPLE - Soundtracks for Living (Expanded Edition), ?the ultimate Lounge/Chill Out classic from 1997, reborn! Available as a limited edition white vinyl 3LP in heavyweight 3-panel gatefold sleeve.

When The Gentle People first glided into the mid-90s on clouds of strings, sugar and sine waves, they sounded like visitors from another, more glamorous planet. Signed to Richard D. James and Grant Wilson-Claridge's cult label Rephlex, this multinational "E-Z-Core" lounge unit took the aesthetics of 50s/60s easy listening and exotica and gently smuggled them into 1990s club culture.

Soundtracks for Living was their defining statement: an album that "takes the lounge scene and runs away with it entirely… blissful and heavenly," as one contemporary review put it. Imagine KLF's Chill Out or Space growing up on French 60/70s pop, bossa nova, soundtracks, vocal harmony groups, library music and easy listening then slipping out for a late-night date with dub, ambient techno and bubble-bath pop. That's Soundtracks for Living: a record that can score cocktail hour, 4am taxi rides, and daydreams in headphones with the same effortless grace.

The Gentle People - Dougee Dimensional, Laurie LeMans, Valentine Carnelian and Honeymink - began in early-90s Brixton, throwing dress-up theme parties before taking their audio-visual universe into the studio. For them, music was "a way of life": soothing to the ear, rich in pop hooks, and pitched somewhere between the playfully idiotic and the hyper-intelligent. Their debut on Rephlex was the single "Journey", later blessed with a shimmering Aphex Twin remix that pushed their sugar-coated sound even further into outer space.

This Expanded Edition of Soundtracks for Living finally gives this glambient lounge-pop milestone the treatment it has always deserved. Spread lovingly across 3LP, it features new mastering from the original sources, allowing every harp glissando, string swell and analog squiggle to float in high-fidelity widescreen. The core album is complemented by a bonus 12" of unreleased and rare material, offering a deeper dive into the Gentle world: alternate takes, lost interludes, and secret soundtrack cues for lives not yet lived.

Crucially, "Journey" appears here in its original version, Gentle Instrumental and the cult Aphex Twin remix, reuniting band and labelmate in one place and underlining the quietly radical nature of the project: this was lounge music that could sit next to braindance, acid and IDM and still steal the scene.

Pressed on limited edition white vinyl, Soundtrack for Living (Expanded Edition) invites long-time fans and new listeners alike to step back into The Gentle People's universe - a place of fondue parties, bubble chairs, star-lit elevators and endlessly rewinding sunsets, where "the pathway to the stars" is never quite out of reach.

In an era that often reduces the 90s to big-room bangers and grunge guitars, Soundtracks for Living remains a quietly subversive reminder that the decade was also about imagination, camp, softness and utopian possibility. As later writers have noted, The Gentle People weren't just a curiosity on a weird label; they became unlikely icons of a whole loungecore moment, gracing TV, compilations and magazine spreads, and proving that tenderness could be as futuristic as any drum machine.
In conjunction with this release, WRWTFWW has also unearthed The Gentle People's Peel Sessions, a 4-track EP from their 1997 BBC on-air performance, available on vinyl for the first time ever !

Music never exists in a vacuum — every scene and sound evolves from the non-stop exchange of ideas between different groups and cultures. Traditions get passed down from one generation to the next, and then individual heads take influence from their own unique perspective. Sometimes, certain people strike upon fusions that spark massive new movements, but even those rarest innovations came from somewhere.

Jon E Cash knows this more than most — the legendary beats he started putting out at the turn of the millennium had their own disparate roots and influences which he had the motivation to put together into a sound he called sublow. There wasn't any other reference point for this music — when he took the first white labels of 'Drop Top Bimmer Kid' into Blackmarket Records in Soho, London, he had to describe it to a puzzled Nicky Blackmarket and J Da Flex as being, "between garage and hip-hop."

Playing catch-up in 2004, Rephlex Records nodded to sublow when trying to introduce a wider audience to the sounds which had been tearing up the London underground. "Grime. Sublow. Dubstep... It's Music. Different people call it different things depending on when they discovered it." But Jon E Cash's sound was rooted in more than the UK garage that had dominated the clubs through the late 90s, reaching way back to his pre-teen days when the first waves of hip-hop culture crossed the Atlantic and broke in the UK.

25 years on, it's a fine time to reflect on the impact of the music Cash made at the turn of the millennium. History looks back favourably on what he and the Black Ops crew were doing with sublow in the early 00s. The timing meant it ran in parallel with what was happening over East with Pay As U Go, Roll Deep et al, and of course there was crossover. Every DJ and every MC was on the hunt for the best beats they could find. But there's a whole different swagger to sublow — a different web of influences, a different intention and so a different outcome. It's still there in the beats Cash is making more than 20 years later — his 3dom Music label is carrying upfront productions with that sublow DNA coursing through their veins. Whatever the beat or the tempo, the drums are still hard as nails, and the bass is tuned for maximum rave damage.

The long-awaited reissue of Toba makes it clear, once and for all, to fans and industry insiders that disco music produced in Italy between the late 70s and early 80s had no chance of success. What was disparagingly called "spaghetti disco", considered a poor imitation of real American disco music, only good for Japanese cartoons. This was the main reason that prompted Italians to record their songs abroad, as Fratelli La Bionda with their pseudonym D.D.Sound in Munich. Luigi Figini, with "Supercool" and "Percussion Sundance" by Edo Martin and Pino Santapaga (the same as "Step By Step" by Koxo), claimed that Kash was a one-off Swedish disco project, a lie that came to light when an Italian test pressing from the previous year, made by GDB, was posted !!! Amin-Peck followed the trend of passing off their songs as foreign music on the intuition of their Roman producers. So ''Love Disgrace'' was released on 7'' by a label called Connection, which never really existed, created for the purpose by Giancarlo Meo, confident that this would bring success to the Bolognese duo who were already creating 'proto Italo-Disco tracks' with a new-wave trend. To make the whole operation seem real, the London agency Ellie Jay Ltd. was involved, contacting Andy Fernbach of Jacobs Studios Ltd. The vinyl was also produced in the UK, otherwise the deception would have been discovered, then imported to Italy by Best Record. Italo-Disco was officially born after this, in 1982, not before! Everything makes sense now ! Real events that actually happened and purely invented names and anecdotes. Just think, even the image of Tony Balch used for the cover of Toba was taken from Grand Theft's 1978 album "Have You Seen This Band?" and reproduced on the new redesigned cover, as were the heads of the other musicians. The idea of a real band called Toba had finally come to fruition and would lead to a second sensational success the following year. Now it all makes sense! Facts and anecdotes that really happened and names and circumstances that are purely fictional. Finally, everything adds up! Real things and invented names of musicians and collaborators. It's important to clarify what we've said above, but we haven't talked about "Make Your Mind Up" and "Don't Take It" and the two masterful remixes performed by Dave Mathmos. In short: with the original versions we'll make Italo-Disco purists happy, with the remix versions we'll please new younger followers with more modern sounds and versions more in line with today's tastes and trends.

WRWTFWW Records releases THE GENTLE PEOPLE - The Peel Sessions, available on vinyl for the first time ever, in conjunction with the worldwide expanded reissue of the group's Soundtracks for Living. Lounge/Chill Out music reborn !

This is an exclusive 4-song EP recorded in 1997 on BBC's Peel Sessions, as The Gentle People were doing the rounds for the release of their legendary debut album. These live versions have never seen the light of day before - a must have for all the gentle fans !
When The Gentle People first glided into the mid-90s on clouds of strings, sugar and sine waves, they sounded like visitors from another, more glamorous planet. Signed to Richard D. James and Grant Wilson-Claridge's cult label Rephlex, this multinational "E-Z-Core" lounge unit took the aesthetics of 50s/60s easy listening and exotica and gently smuggled them into 1990s club culture.

Imagine KLF's Chill Out or Space growing up on French 60/70s pop, bossa nova, soundtracks, vocal harmony groups, library music and easy listening then slipping out for a late-night date with dub, ambient techno and bubble-bath pop. That's The Gentle People : music that can score cocktail hour, 4am taxi rides, and daydreams in headphones with the same effortless grace.

The Gentle People weren't just a curiosity on a weird label; they became unlikely icons of a whole loungecore moment, gracing TV, compilations and magazine spreads, and proving that tenderness could be as futuristic as any drum machine.

With Zera, Len Faki returns to Figure with a tightly focused EP that moves between raw, driving functionality and more open, atmospheric moments. Across five tracks, he explores variations in groove, tone and energy, balancing direct, floor-ready structures with a more fluid and spacious approach.

Opening cut Maschine Girl locks into a restless, forward-driving groove. Crisp percussion and a tightly coiled low end create immediate momentum, while sharp synth fragments and metallic accents add a nervous edge. The track stays stripped and efficient, letting its steady build and controlled tension carry the energy.
Kobold follows with a darker and more twisted tone. Warped synth figures weave through a heavy rhythmic backbone, giving the track a slightly mischievous character while maintaining a firm, heads-down drive. The interplay between tonal movement and grounded percussion keeps the groove dynamic without breaking its focus.
Closing the A-side, Maschine Girl (Version) revisits the opener from a different angle. Elements are tightened and subtly rebalanced, shifting the emphasis further toward rhythm and direct impact. More reduced and tool-like in nature, it pushes the groove forward with a sharper, club-ready feel.
On the flip, Zera unfolds with a broader sense of space. Hypnotic synth movement and layered atmospheres sit atop a firm low-end framework, gradually building intensity while maintaining a deep, immersive flow. The track thrives on its slow development, drawing the listener further into its evolving structure.
Rounding out the release, Zera (Hardspace Mix) reimagines the original with a heavier, more physical approach. The groove becomes more pronounced and the rhythmic pressure more direct, tightening the structure into a denser, floor-driven tool that emphasises impact and propulsion.
With Zera, Len Faki delivers a cohesive and wide-ranging release that connects raw, driving tools with more expansive, early morning-leaning grooves — further reflecting the breadth and versatility that has defined his output in recent years.

Drawing from traditions of musique concrète and ambient synthesis, The Vertical Luminous creates a world of textural depth and microscopic wonder. Across its tracks, bubbling tones, processed field recordings, and shifting electronic layers intertwine, evoking the sensation of listening in on the hidden rhythms of atoms, molecules, and micro-organisms.
'While grounded in experimental technique, The Vertical Luminous avoids the academic or austere, instead embracing a mischievous sense of melody and curiosity - a reminder that exploration and joy can coexist in sound.
'The result is a record that is both meditative and playful, equally suited to deep listening or casual drift.'

Increasingly essential US artist Ben Hixon drops sublime deep house EP on Kai Alce's faultless NDATL Muzik. The six classy tracks will appeal to those who appreciate the subtleties of the classic Midwestern sound.

Ben is a Texas-born, but Brooklyn-based artist who has become a firm favourite of true deep house heads in the last year or so. He has put out several EPs on Dolfin, all of which find a perfect sweet spot between immersive atmospheres and late-night drive. Dusty analogue textures and frayed edges define his drums, while the subtle details are intelligent and add effortless emotion. He is a perfect fit for NDATL Muzik, the Atlanta label that has long been a flagbearer for well-crafted house grooves like these.

'Taping' kicks off with heavy kicks that swing under gentle chords that are perfect for after dark. There's a persuasive bump in the beats that will get early evening dancers primed and ready for more. Next up we have 'Y Do U Get So Nervous' - a mastery of sampling with nagging vocal hooks, cascading piano keys and wet finger clicks all adding soul to another low-key but all-consuming groove. 'Area Code 336 Phone Rings' is a higgledy-piggledy tapestry of toms and stuttering kicks with vocal fragments to match - the thrill is the looseness of it all. The smouldering and meandering 'December Blackout' is for gazing off it into the distance at the busy yet muted jazz keys that twinkle like faraway stars. 'It's Like A Vision' picks up the pace with more closely stacked kicks but still oodles of cuddly warmth and smudged synth work, before '0823' ends with a decidedly heavy feel - spare, lump drums unfurl beneath forlorn synths that feel utterly bruised and heartbroken.

Ben Hixon's deft artistry makes these quiet, texture tunes irresistibly danceable yet emotionally profound.

RAPRAVE is an exciting collective born out of New York City, specialising in creating music teetering on the cusp of hip-hop and dance music. Consistently great releases like 'Heaven Plus', which is the ninth on the label, perfectly showcase how successful they are at executing this vision. The two tracker, headed by Dallas export Stonie Blue, is a fine display in a mixture of Chicago House, deep house and hip-hop, akin to a Galcher Lustwerk, or from the other side of the pond, Isaac Carter. On 'HEAVEN', smooth, sexy chords and choppy percussion prop up Blue's lyrics: "I found heaven, Heaven in the club". Then, as if in an attempt to make a club ready two-tracker even more club ready, Blue recruits London-based producer tom huna to inject some 2-step flavour into the B-side with 'FWM (S+H MIX)'. On this track, glitchy drum workouts and slick electric piano stabs meld with sensual vocals to create an intimate, late night banger.

2026 Repress!

Doc Scott was on the decks. It was at Tribal Gathering (I think), 1996, standing in front of a wall of speakers to one side of the stage,
enjoying myself, like you do, when this sound started growing inside my brain. My head was then ripped clean off my shoulders!
Words are still hard to find! It was the first time I ever heard Shadow Boxing and its the only thing I still remember from that night. Om
Unit's 2014 Remix is paired with the 1996 original. DJ support from: Fabio, Mark Pritchard, Friction, Surgeon, Toddla T, Laurent
Garnier, Pinch, Zinc, Baliey, Rob Both, Billy Nasty, Krust & John B.

“duo,” a collaboration between norwegian jazz heavyweight bugge wesseltoft and german house visionary henrik schwarz, is finally being reissued. it stands as one of the finest albums in the history of club music to so beautifully fuse jazz and electronic music. deep and experimental yet irresistibly melodic, this gem of a record possesses a captivating sensibility that draws in listeners of every kind. newly remastered by kuniyuki, this long-awaited reissue comes pressed on 180g vinyl. the refreshed artwork has been created by emerging japanese artist joji nakamura

happy 15th anniversary!

„Duo“, eine Zusammenarbeit zwischen dem norwegischen Jazz-Schwergewicht Bugge Wesseltoft und dem deutschen House-Visionär Henrik Schwarz, wird endlich neu aufgelegt. Es gilt als eines der besten Alben in der Geschichte der Clubmusik, das Jazz und elektronische Musik so wunderschön miteinander verbindet. Tiefgründig und experimentell, aber dennoch unwiderstehlich melodisch, besitzt dieses Juwel von einem Album eine fesselnde Sensibilität, die Zuhörer aller Art in ihren Bann zieht. Neu gemastert von Kuniyuki, erscheint diese lang erwartete Neuauflage auf 180-Gramm-Vinyl. Das überarbeitete Artwork stammt vom aufstrebenden japanischen Künstler Joji Nakamura.

Herzlichen Glückwunsch zum 15-jährigen Jubiläum!

2026 Repress
Gockel steps out with Otorongo - a 4-track EP of deep, dub-infused techno touched with Detroit spirit. Heavy low-ends, driving rhythms, and atmospheric layers make this one built for heads and dancefloors alike. Each track carries its own depth and character, yet together they form a powerful and immersive journey. Released as the second chapter on Patent, this record showcases the label's evolving sonic identity.

The Parade imprint returns for its seventh outing, keeping the mystery alive with a four-track heater from a nameless contributor. The Neo Piano EP is a masterclass in dancefloor nostalgia, expertly blending the euphoria of the early 90s with modern, punchy production.

On the A-side, "Everyday" sets the tone with soaring chords and a breakbeat foundation that feels both fresh and familiar. It’s followed by "Angelite," a shimmering roller that leans into the lighter side of rave, balancing celestial pads with a driving rhythm section.

Flip the wax for "Somebody 2 Love," a high-energy edit that reconstructs a classic vocal into a peak-time breaks anthem. Closing out the record is "Da sweetest Ting," a bass-heavy, old-school leaning cut that lives up to its name with infectious hooks and a soulful finish.

Pure dancefloor functionalism with a sentimental heart—strictly for the heads.



>>> comes in different marbled colored 12 “ Vinyl and ONLY on Vinyl <<<

A delve into the murky avenues of sonic territories, exploring off-grid zones & askew worlds – Daisy Moon leans harder into her 4/4 vision in this dancefloor-ready EP – the first release for Off-Kilter.

Each track pulses along to its own singular logic, with Daisy’s distinctive voice and vocal manipulations playfully drizzled throughout, marking an elegant collision of her sonic worlds.

Spirit Princess is a breakneck peak-time explosion – club-ready and bouncy with a pulsing bassline fit to burst from the subs of any system underpinning waves of textured ambience, nagging synths and granular gusts of found sound.

Fuelled with late night techno energy, Grain Pip offers a heads down counterpoint to the title track, while the B side serves up different energies again. Perhaps the most playful track on the record – The Stuff – demonstrates Daisy’s cheekier side as a producer and person, as inspired by a summer of fun with friends on festival dancefloors: a house banger stuffed with melodic stabs, pitched vocals and swung hats, made for the joys and follies of the 3am dancefloor. Drop Cycle rounds things off with a trippy, rolling excursion of delays and warped synths.

Dizzying sonics and relentless dancefloor energy with razor-sharp precision and uncompromising force.

Special UK Import from the headquarters of Stay Up Forever; Low Quantity Available ! Benji 303 delivers one of the best Acid Techno EPs he’s produced so far for Triple A (Acid Artists In Action) with loads of attitude and funked up 303’s, and a strong anti racist message on the A1 !

Record Kicks freut sich, die Vinyl-Neuauflage zum 10-jährigen Jubiläum von ,Late Nights & Heartbreak" zu präsentieren, dem Durchbruchsalbum von Hannah Williams & The Affirmations, auf dem der Song zu finden ist, der zum emotionalen Rückgrat von Jay-Zs wegweisendem Album ,4:44" wurde. ,Late Nights & Heartbreak" kam 2016 raus und wurde von Kritikern gelobt. Seitdem ist es ein moderner Soul-Klassiker. Sein Vermächtnis wurde besiegelt, als Jay-Z den Titelsong von ,4:44" komplett um Hannah Williams' Originalaufnahme herum aufgebaut hat. Der Song, der als unverfälschtes Geständnis der Untreue genutzt wurde, war Jay-Zs Antwort auf ,Lemonade" von seiner Frau Beyoncé und machte Hannahs unverwechselbare Stimme einem weltweiten Publikum bekannt. Aufgenommen im Quatermass Studio in London - der Heimat der Kulthelden The Heliocentrics - zeigt ,Late Nights & Heartbreak" Hannah, begleitet von ihrer neu gegründeten Band The Affirmations. Produziert wurde das Album von Malcolm Catto, der für seine Arbeit mit Künstlern wie Mulatu Astatke, Orlando Julius, Floating Points, Quantic, DJ Shadow und Madlib. Das Album wurde komplett analog gemischt und auf Band gemastert und bietet einen rohen, druckvollen und zutiefst eindringlichen Sound. Auf 13 Tracks erkundet ,Late Nights & Heartbreak" viszeralen, kraftvollen Soul mit einem subtilen psychedelischen Touch. Von der eindringlichen ersten Single ,Tame in the Water" bis zum unerbittlichen achtminütigen Groove von ,Still in My Head" zeigt das Album die schiere Kraft und Kontrolle von Hannahs Stimme in ihrer elektrisierendsten Form. ,Woman Got Soul" liefert fünf Minuten mitreißenden, kraftvollen Funk, während tiefgründigere Stücke wie ,Another Sunrise" und ,Your Luck Can Change" einen üppigen, emotionalen Hintergrund für Themen wie Liebe, Lust, Sehnsucht, Wut und Verletzlichkeit bieten. Alle Songs sind Originalkompositionen, die von dem in Bristol ansässigen Kollektiv um The Affirmations unter der Leitung von Musikdirektor James Graham geschrieben wurden - mit Ausnahme einer atemberaubenden, psychedelisch-souligen Neuinterpretation von ,Dazed and Confused", die stark von der Originalversion von Jake Holmes inspiriert ist. Hannah Williams, die schon früh von der verstorbenen Sharon Jones gesegnet wurde, eroberte 2012 mit ihrem Debütalbum ,A Hill of Feathers" die Soul-Szene. Die Single ,Work It Out" wurde ein Indie-Radiohit und ebnete den Weg für eine Karriere, die von moderner Soul-Mythologie geprägt ist. Aufgewachsen in einem musikalischen Haushalt, sang Hannah ab dem Alter von sechs Jahren im Kirchenchor und konnte Noten lesen, bevor sie richtig lesen konnte. Heute ist sie eine unaufhaltsame Kraft - eine Künstlerin mit einem seltenen Talent, wie es nur einmal in einer Generation vorkommt. Zehn Jahre später kehrt ,Late Nights & Heartbreak" in dieser speziellen Jubiläumsausgabe auf Vinyl zurück und bestätigt erneut, warum Hannah Williams & The Affirmations nach wie vor zu den kraftvollsten Stimmen des zeitgenössischen Soul gehören.

Forever Records

Music springs eternal. Recognising the enduring power of timeless albums to guide us through life, Forever Records is a reissue series dedicated to rediscovering lost musical treasures from across the spectrum of head-feeding, heart-rending electronic music.

Established by Rush Hour co-founder Christiaan Macdonald and Delsin founder Marsel van der Wielen, Forever Records places heartfelt faith in a carefully curated sequence of seminal, largely forgotten records from disparate eras, scenes and spaces within electronic music history. Tipped towards the mellow and introspective, these are albums that stop time when the needle hits the groove, stirring only when it's time to flip over before you sink back into the experience. That's what albums were always meant to be about, back then, right now, always and forever.


The Release:
Dancing on the wildest edge of the 90s outsider techno zeitgeist while proudly independent of any so-called scene, Ov Biospheres And Sacred Grooves: A Document Ov New Edge Folk Classics is both of its time and out of time. Rooted in the experiments of electronic music pioneers, industrial culture and ethnic music from around the globe while responding to the house and techno explosion, Robbert Heynen, Reinier Brekelmans, Reinoud van den Broek and Tim Freeman's freewheeling masterpiece takes in lush electronica and murky abstraction on its singular voyage through parts unknown.

Forever Records presents an extensive reissue edition of the first 'fully released' Psychick Warriors Ov Gaia album. Originally released in 1992, this is the first time the full, previously CD-only, version of Ov Biospheres and Sacred Grooves will be pressed on vinyl. The original LP and CD artwork from the various editions released in the early 90s has been combined and designed by the band, and the audio has been remastered with their full approval. As well as a new LP edition of the album, there will also be a uniquely numbered, limited edition available housed in a gatefold sleeve that comes with a bonus 10" featuring two previously unreleased tracks.

Press response to Ov Biospheres and Sacred Grooves - A Document Ov New Edge Folk Classics:

“That’s Magick! The Psychick Warriors Ov Gaia are Holland’s best kept secret.”
Sherman, NME, UK 1992

“PWOG’s debut LP is an organic invocation rite — the soundtrack to a new world coming to life, an odyssey. Cross-cultural rhythms, ambiences and environmental samples segue into one another like a fluid relay, and unlike the majority of dance records, it never settles into a routine. It’s always evolving, always unpredictable, an indefinitely religious experience.”
John Selzer, Melody Maker, UK 1992.

"Grown men, who snorted their first ecstasy to this record, stammered with tears in their eyes about divine experiences and the cosmos, man."
Peter Erik Hillenbach, Marabo Magazine, Germany 1992.

Sacred Grooves’ introduces tribal dance music for the mind, body music leaning on the avant garde. Its ripples of sound drift through tranced out ritualistic beats into ambience and serenity resembling something akin to The Orb meeting Klaus Schulze at a brain tuning session.
Sherman, NME, UK 1992

"There's still dance for a moment, in the opening track "The Challenge," then Psychick Warriors roam the earth, where African drummers, tropical sounds, and science-fiction chords have found their place in a spiralling interplay of rhythms and sounds. A captivating, almost magical ritual." Corné Evers, Oor Magazine, Netherlands 1992.

"It's truly astonishing what these Dutchmen have come up with for their first LP. Their roots might explain the enigma, for Psychick Warriors are more in the tradition of Psychic TV than in the desolate temples of techno-house fetishists, to which they are wrongly relegated. Here, chromosomes dance, not instincts." CMK, Tip, Germany 1992.

"The transcendental essence of this album is spread throughout, with musical gravitations emerging unexpectedly from sonic experiments that are sometimes primitive, sometimes
futuristic in intention… But there is always an aura of cosmic magic that constantly puts all the parts involved in conflict and which, upon closer analysis, ends up being the main reason for the final result." Blitz Magazine, Portugal 1992.

Forever Records

Music springs eternal. Recognising the enduring power of timeless albums to guide us through life, Forever Records is a reissue series dedicated to rediscovering lost musical treasures from across the spectrum of head-feeding, heart-rending electronic music.

Established by Rush Hour co-founder Christiaan Macdonald and Delsin founder Marsel van der Wielen, Forever Records places heartfelt faith in a carefully curated sequence of seminal, largely forgotten records from disparate eras, scenes and spaces within electronic music history. Tipped towards the mellow and introspective, these are albums that stop time when the needle hits the groove, stirring only when it's time to flip over before you sink back into the experience. That's what albums were always meant to be about, back then, right now, always and forever.


The Release:
Dancing on the wildest edge of the 90s outsider techno zeitgeist while proudly independent of any so-called scene, Ov Biospheres And Sacred Grooves: A Document Ov New Edge Folk Classics is both of its time and out of time. Rooted in the experiments of electronic music pioneers, industrial culture and ethnic music from around the globe while responding to the house and techno explosion, Robbert Heynen, Reinier Brekelmans, Reinoud van den Broek and Tim Freeman's freewheeling masterpiece takes in lush electronica and murky abstraction on its singular voyage through parts unknown.

Forever Records presents an extensive reissue edition of the first 'fully released' Psychick Warriors Ov Gaia album. Originally released in 1992, this is the first time the full, previously CD-only, version of Ov Biospheres and Sacred Grooves will be pressed on vinyl. The original LP and CD artwork from the various editions released in the early 90s has been combined and designed by the band, and the audio has been remastered with their full approval. As well as a new LP edition of the album, there will also be a uniquely numbered, limited edition available housed in a gatefold sleeve that comes with a bonus 10" featuring two previously unreleased tracks.

Press response to Ov Biospheres and Sacred Grooves - A Document Ov New Edge Folk Classics:

“That’s Magick! The Psychick Warriors Ov Gaia are Holland’s best kept secret.”
Sherman, NME, UK 1992

“PWOG’s debut LP is an organic invocation rite — the soundtrack to a new world coming to life, an odyssey. Cross-cultural rhythms, ambiences and environmental samples segue into one another like a fluid relay, and unlike the majority of dance records, it never settles into a routine. It’s always evolving, always unpredictable, an indefinitely religious experience.”
John Selzer, Melody Maker, UK 1992.

"Grown men, who snorted their first ecstasy to this record, stammered with tears in their eyes about divine experiences and the cosmos, man."
Peter Erik Hillenbach, Marabo Magazine, Germany 1992.

Sacred Grooves’ introduces tribal dance music for the mind, body music leaning on the avant garde. Its ripples of sound drift through tranced out ritualistic beats into ambience and serenity resembling something akin to The Orb meeting Klaus Schulze at a brain tuning session.
Sherman, NME, UK 1992

"There's still dance for a moment, in the opening track "The Challenge," then Psychick Warriors roam the earth, where African drummers, tropical sounds, and science-fiction chords have found their place in a spiralling interplay of rhythms and sounds. A captivating, almost magical ritual." Corné Evers, Oor Magazine, Netherlands 1992.

"It's truly astonishing what these Dutchmen have come up with for their first LP. Their roots might explain the enigma, for Psychick Warriors are more in the tradition of Psychic TV than in the desolate temples of techno-house fetishists, to which they are wrongly relegated. Here, chromosomes dance, not instincts." CMK, Tip, Germany 1992.

"The transcendental essence of this album is spread throughout, with musical gravitations emerging unexpectedly from sonic experiments that are sometimes primitive, sometimes
futuristic in intention… But there is always an aura of cosmic magic that constantly puts all the parts involved in conflict and which, upon closer analysis, ends up being the main reason for the final result." Blitz Magazine, Portugal 1992.

The master of ambient soundscapes, intertwining authentic old school breakbeats with his inimitable style returns with a fresh album of choice cuts for the Spatial crew. A1 - Form of Defraction Opening the LP in his gloriously unique style, Aural Imbalance sets the tone with a powerfully ambient intro of padwork and delicately filtered breaks before dense, analogue old school breakbeats roar to life sending the track skyward. The sublime 808 bassline simmers beneath an ever-evolving soundscape of twinkling melodies and strings, the very essence of serenity captured in just under 7 minutes of audio bliss. A2 - Discreet Function Enveloping the listener with a warm blanket of silky ambience, Discreet Function soon jolts to life with a crunchy breakbeat that counteracts yet compliments the pads and myriad of delicious micro melodies so well, you wonder how it’s possible to take such extremes and mix them down so expertly that our ears accept it as one. After a relatively brief breakdown the track rolls out before the breaks are snatched away at the death - capping off a quite unique composition. B1 - Softlight Light cymbals and delicate textures introduce us to Softlight, a track which sees Aural Imbalance guiding the listener through the clouds to a haven of gentle serenity where your troubles simply fade away, punctuated by a stunningly programmed and memorable Hot Pants break pattern, timid classic basslines and an overall plethora of sun-baked energy - perfect for the headphones and the record box - as always. B2 - Airwave Immensely old school vibes are immediately present in Airwave, with analogue breaks and succinct female vocal samples that mingle with echoing melodies and synthwork to create a beautifully flowing and unique slice of atmospheric gold. Additional breaks are fused into the mix as the track progresses, elevating the piece to the heights we have come to expect from Aural Imbalance, yet never cease to amaze. C1 - Speed of Light Gentle cymbals and filtered breaks open Speed of Light, before a crisp barrage of amen goodness descends and dominates proceedings - just as a good amen should! Programmed to perfection with an immensely danceable rolling pattern, the amens lead us through a sea of washing synths and delicate melodies, intertwining and frolicking in the mix, completing a charming and memorable piece. C2 - Fading Star Playful strings and a luscious 808 bassline play with sumptuous padwork in the intro to Fading Star, a track which sees Aural Imbalance capture the essence of 90’s jungle and it’s symbiotic relationship with atmospheric drum & bass perfectly. Developing throughout with an array of unassuming effects and a quietly moving vibe, Fading Star is the perfect addition to sets spanning the entire history of this music. D1 - Drifting Under Bright Skies Aural Imbalance resurrects the excellent break last featured on Spatial in his sublime track Surface Area, this time chopped and sliced to a different vibe, with kickdrums at the forefront and that fantastically crunchy snare deployed more sparingly. Shimmering padwork and light melodies dance across the mix throughout to leave us with a refreshingly unique and memorable track you won’t be able to get enough of. D2 - Violet Completing this fine LP of old school ambient breakbeat mastery, Aural Imbalance deploys Violet to see us out - a climactic-feeling romp that opens with quiet intent before launching the listener through cheery melodic tones and bustling soundscapes, sprinkled liberally with airy pads and fluttering micro melodies that zip and whoosh around thick analogue breakbeats. A fitting end to a thoroughly enjoyable album. Words by Chris Hayes (Spatial / Red Mist) credits

Moondata’s little-known sole single, 1984’s decidedly Balearic, jazz-funk/boogie fusion gem ‘Let The Moonshine In’, is a very important record to the Rotation Sound System crew. It has become a familiar favourite at their annual Rotation Garden Party micro-festival and formed the centrepiece of their first compilation, summer 2025’s superb Everything You’re About To Hear Is True Volume 1. It’s increasingly rare these days for an artist from the 80s to still have their master tapes but even rarer still for them to have the multitrack tapes too. This is something of the holy grail when it comes to licensing old music so when it happens the opportunity to remix and create new versions needs to be grabbed with both hands.

The original record, a genuine rarity beloved of synth-loving crate-diggers, had an unusual gestation. Originally recorded in demo form by musician Jean-Marie Gogniat, it was turned into a finished single by a group of German musicians with a little help from lyricist and vocalist Joe Mwenda, and a crew of backing vocalists whose number included a locally based American singer – a pre-fame Jennifer Rush. Fittingly, the pre-vocal instrumental mix, which has sat unreleased since 1984, is included as a bonus track on the digital edition of this new remix package. The Rotation Sound System crew’s mixes, headed up by long-serving producer Dean Meredith, sprinkle 21st century magic across Gogniat’s one-off masterpiece while retaining core elements of the original and offering nods aplenty to club-focused sounds of the 1980s. They are, in effect, the versions the track deserved – but never got – back in the mid 1980s.

To begin, Meredith reunites with long-time production partner Andrew Meecham for the pair’s first remix as Chicken Lips in three years – a typically sparse and spaced-out ‘Malfunction Dub’ with delay-laden synths, vocals and guitar snippets sit over a sparse post-electro beat and bass guitar. Meredith then joins forces with fellow Rotation Sound System member Ben Shenton for takes under their two bestknown aliases. First, they don the T-Kutt guise for some dubbed out, funky bass guitar-propelled boogie-meets-proto house action that rocks out a killer, Clavinet-expanded groove while spinning in talkbox and backing vocals.

The pair then re-emerge as Mind Fair, famed for their releases on Golf Channel Recordings and their own Rogue Cat Sounds, and deliver a warmer, deeper and more organic-sounding take that’s as languid and tactile as it is warm and saucereyed. To round off the vinyl version of the EP, Rotation Sound System’s other core members – Rob J, Rich Hall and Stuart Robinson – don the now-familiar Wrekin Havoc guise and re-invent the track as a raw, analogue-rich shuffle through 1980s electro – all squelchy synth-bass, stabbing, cut-up vocal samples, chiming synth melodies and echoing beats. The expanded digital download edition of the EP contains a trio of additional bonus rubs. Alongside instrumental versions of the T-Kutt and Mind Fair mixes, we also get a full vocal T-Kutt rework that adds back in Joe Mwenda’s beautifully delivered verses. These additional DJ tools round off a beautifully rendered set of re-imaginations of a genuine cult classic. Gogniat, the man who started it all way back in the summer of 1984, certainly approves.

Sometimes the title of an album tells you everything you need to know. Laurence Pike’s Possible Utopias for Jazz Quintet is like that: The music within represents a search for freedom, potentiality—liberatory strategies that transcend the ego and the solitary, atomized figure.

But in this case, the album title is also a red herring, because there is no jazz quintet here—just Pike, his drums, and his machines, not so much an ersatz ensemble as a purely notional one, a thought experiment equipped with drumsticks, circuitry, and the desire to go beyond hardwired limits.

And the results, strictly speaking, aren’t really jazz, though they incorporate the vocabulary of jazz, along with that of ambient, electronica, and post-rock. They are some other thing, cognizant of genre but never beholden to it. Again, we’re talking about a search for freedom here.

The Sydney-based musician has a long history of coloring outside the lines, not just in his solo recordings—including four albums for the Leaf label between 2018 and 2024—but also in the trio Pivot (later PVT); Szun Waves (alongside saxophonist Jack Wyllie and Border Community’s Luke Abbott); Triosk, which recorded an album with Jan Jelinek in 2003; and even post-punk titans Liars, whom he joined in late 2018.

Of his first album for Balmat, Pike says, “My loose concept was: What does music sound like when the expectations of late capitalism are removed from it? How might a jazz musician from an idealised culture of the future, or even another world, utilise musical language when the conventions of style and marketing are no longer a factor in music making?”

That inquiry, he says, connects to his “guiding principle: that the purpose of music is to access something bigger than the individual, and reveal a sense of possibility and freedom in the world to the listener. To create an understanding that the future can be something other than what we imagined or expect, even unconsciously.”

Heady ideas, but plug into his stream-of-metaconsciousness flow and you may start to intuit what motivates him. There is a deeply lyrical expression in these pieces—in the ruminative piano of opener “Guardians of Memory,” for example—but also a sense of exploded perspective, of ideas approached from more angles than any one mind could dream up. Of a collectivized consciousness, of mycelial networks branching across tone and rhythm and timbre, of ideas articulated in distributed fashion, nodal points dancing across drum heads.

Pike’s imaginary quintet is hardly without precedent; it’s a continuation of concepts floated across Jan Jelinek’s Loop-Finding-Jazz-Records, Burnt Friedman’s many guises, and much of the recombinant improv of the International Anthem roster, not to mention the far corners of ECM’s catalog in the late 1970s and 1980s, which Pike says have been integral to his development since he was a teenager. Possible Utopias for Jazz Quintet is a point in a continuum, a voice in a conversation, a question with no obvious answer: How can the search for otherness in music manifest something true about ourselves?

Music springs eternal. Recognising the enduring power of timeless albums to guide us through life, Forever Records is a reissue series dedicated to rediscovering lost musical treasures from across the spectrum of head-feeding, heart-rending electronic music.

Established by Rush Hour co-founder Christiaan Macdonald and Delsin founder Marsel van der Wielen, Forever Records places heartfelt faith in a carefully curated sequence of seminal, largely forgotten records from disparate eras, scenes and spaces within electronic music history. Tipped towards the mellow and introspective, these are albums that stop time when the needle hits the groove, stirring only when it's time to flip over before you sink back into the experience. That's what albums were always meant to be about, back then, right now, always and forever.



The Release:
Striking the sweet spot between sampledelic downtempo and earth-rooted deep house, Fila Brazillia's Old Codes New Chaos is a maverick patchwork of grooves and soundscapes. Crafted in North East England in the vibrant period before chill-out was co-opted by advertising, Steve Cobby and Dave McSherry's sharp-eared funk formula remains a cult classic suite of exquisite productions spanning deep house, broken beat and ambient shot through with wry humour.
Last physically released in limited quantities in 2002, Forever Records are revisiting this 1994 gem with an extensive reissue led by a triple vinyl pressing. As well as a new LP edition of the album, there will also be a uniquely numbered, limited edition housed in a gatefold sleeve that comes with a bonus 10" featuring two previously unreleased tracks.

'Chemistry' and 'Rankine', plus an exclusive print of Catherine Brennand's watercolour painting that graces the front of the album. All editions also features liner notes by veteran music journalist John McCready.

Press response to Old Codes New Chaos:
"The album that made the world finally sit up and take notice of the avant funk grooves coming from Hull's immaculately stoned tech funk magicians." Frank Tope, Mixmag, UK 1994.
"This album… stands out a mile from most of its peers as a work of untouchable genius." Bill Brewster, DJ Mag UK 1994.

"Fila works because they fit into that no man’s land, the space in your record collection where ambient seems too much like wallpaper and house seems just too braindead for your bedroom " Frank Tope, Mixmag, UK 1994.

"Having already created the perfect desert island disc, "Mermaids" and explored the darker side of sub bass on the 17-minute extravaganza "Fila Funk", Fila Brazillia have just unleashed their moving debut LP, "Old Codes New Chaos", and to be quite honest, you'd be fool to miss out this time around." Mandi James, Melody Maker, UK 1994.

“Where Cobby and Man rip up the rulebook on the four to the floor and probably make the greatest afterhours house album in the word”. Tony Marcus, Mixmag, 1996.

Music springs eternal. Recognising the enduring power of timeless albums to guide us through life, Forever Records is a reissue series dedicated to rediscovering lost musical treasures from across the spectrum of head-feeding, heart-rending electronic music.

Established by Rush Hour co-founder Christiaan Macdonald and Delsin founder Marsel van der Wielen, Forever Records places heartfelt faith in a carefully curated sequence of seminal, largely forgotten records from disparate eras, scenes and spaces within electronic music history. Tipped towards the mellow and introspective, these are albums that stop time when the needle hits the groove, stirring only when it's time to flip over before you sink back into the experience. That's what albums were always meant to be about, back then, right now, always and forever.



The Release:
Striking the sweet spot between sampledelic downtempo and earth-rooted deep house, Fila Brazillia's Old Codes New Chaos is a maverick patchwork of grooves and soundscapes. Crafted in North East England in the vibrant period before chill-out was co-opted by advertising, Steve Cobby and Dave McSherry's sharp-eared funk formula remains a cult classic suite of exquisite productions spanning deep house, broken beat and ambient shot through with wry humour.
Last physically released in limited quantities in 2002, Forever Records are revisiting this 1994 gem with an extensive reissue led by a triple vinyl pressing. As well as a new LP edition of the album, there will also be a uniquely numbered, limited edition housed in a gatefold sleeve that comes with a bonus 10" featuring two previously unreleased tracks.

'Chemistry' and 'Rankine', plus an exclusive print of Catherine Brennand's watercolour painting that graces the front of the album. All editions also features liner notes by veteran music journalist John McCready.

Press response to Old Codes New Chaos:
"The album that made the world finally sit up and take notice of the avant funk grooves coming from Hull's immaculately stoned tech funk magicians." Frank Tope, Mixmag, UK 1994.
"This album… stands out a mile from most of its peers as a work of untouchable genius." Bill Brewster, DJ Mag UK 1994.

"Fila works because they fit into that no man’s land, the space in your record collection where ambient seems too much like wallpaper and house seems just too braindead for your bedroom " Frank Tope, Mixmag, UK 1994.

"Having already created the perfect desert island disc, "Mermaids" and explored the darker side of sub bass on the 17-minute extravaganza "Fila Funk", Fila Brazillia have just unleashed their moving debut LP, "Old Codes New Chaos", and to be quite honest, you'd be fool to miss out this time around." Mandi James, Melody Maker, UK 1994.

“Where Cobby and Man rip up the rulebook on the four to the floor and probably make the greatest afterhours house album in the word”. Tony Marcus, Mixmag, 1996.

Emotional Rescue returns after a much-needed year hiatus, refreshed and ready, as it moves into its 15th year, to further explore the environs of oft-forgotten musical secrets and present them to new heads and minds.

To celebrate, the label looks back to one of its favourite collaborations, the music of French ‘Ethno-Industrialists’ Vox Populi! in presenting a truly unique EP of “In Dub”, inspired remixes by 4 fellow Paris based artists of today in Full Circle, Froid Dub, Krikor and Shelter.

“In Dub” takes a selection of songs from the series of albums reissued or compiled on Emotional Rescue and sister label, Platform 23, and gives the Master tapes to this talented ensemble to offer their own, unique dub reworks. The project explores the on-going advances in technology offered, mixed with pure talent and a respectful homage.

Formed by Axel Kyrou and including wife Mitra, as well as long-term music and art partners Pierre Jolivet aka Pacific 231 and Francis Lafont aka FR6 Man, they forged a path from obscure, drum and drum-based cassette releases on to fully realized albums and compilations on their now cult Vox Man Records.

Alexis Le Tan and Joakim’s Full Circle project starts, with their electronic dub remake of Soleyman Dub from the ‘Alternatif Réalisme’ compilation (ERC079). With releases on Good Morning Tapes, Offen and their own “Released” label, their plaudits as master diggers and producers of dubby tripped-out inspired electronics – releasing slowed Trance some 10 years before anyone else – is inspired. Tuning in and turning on the original dub into a mantra style slow-breaks (Digi)dub is the perfect experimental flavour.

Jube Man is next, a twisted, psychedelic dub out by rising stars Froid Dub. The stand-out from the ‘Magiques Creations’ release (ERC052), an album that explored Vox Populi’s furtive post-industrial period of 1984 to 1988, Jube Man was the perfect selection by the duo of François Marché and Stéphane Bodin.

Froid Dub have steadily developed their “cold” Digidub style to acclaim –

releasing a steady flow of dub inspired electronics on their own label Delodio, as well as recently appearing on sister label Emotional Response’s 10th year anniversary collection, ‘All Trades’. Their haunting, shuffling and murky acid / piano dub, with the drifting “Space Echoing” of Mitra’s vocals from the live desk mix, creates a ghostly version to effect.

Next, master mixer, producer and engineer Krikor serves a steppers remake with his “OverDub” of Zen-Dub. With a career that spans releases on Tigersushi, LIES and Soul Jazz, his sound has developed from Electro, House and Techno, to Acid, Bleep, Dancehall, Dub and touches of Gabba.

Taken from Vox Populi!’s master-opus Aither (ERC030), the first of our reissues dating back to 2016, Zen-Dub’s pacey, lo-fi dub experience is transformed and overdubbed into an incessant sound system throb, a true bass quaking “steppa”.

To close, Micro Climax is put through Shelter’s increasing avant dub exposition. Appearing on the likes of Growing Bin, Emotional Response and his own Protopost, as well for – and being in-house designer – on the much-missed Séance Centre, Alan Briand aka Shelter productions have developed from Balearic, Edits and House to explore Avant, Raga and live Dub productions.

Appearing on the recent ‘Ethniques Pyschedeliques’ compilation on Platform 23 (PLA032), in original form Micro Climax is a sprawling 10-minute ethno-dub of whispered vocals, drone and sub bass. Shelter strips it back, keeping background effects, adding live bass and percussion to create a wonky, slow, shuffling ska-lite excursion to complete a true “In Dub”.

What"s new for the first time in over a decade? Squirrel Bait"s self-titled 12" EP and Skag Heaven in the black. In "85-"87, their screamin" teenage psycho dilemmas stood way out in the emerging field of metal damaged hardcore punk. "Kid Dynamite" would ring in your head like a #1 single that had just unseated "Sun God" from the vaunted top spot. Every week. Anthems for the freaks! It happened fast. After a couple of records, guitarists David Grubbs and Brian McMahan split for Bastro and Slint (and Gastr del Sol and The For Carnation, respectively) With Grubbs went bassist Clark Johnson, original Bait batterie mate Britt Walford joined McMahan in Slint. Leaving only the stuff of legend: records eternally exploding with youthful feels through all the endless winters and summers of hearts and minds. Repressed, Squirrel Bait can now continue to dialogue with the young in the creation of new useful and unforgettable experiences. For the children of tomorrow as well as your own damn selves, get copies now.

Danish producer Kasper Bjørke returns with a new release on Tropical Animals, the “Veri/Gliss” EP a work that fully captures his signature blend of cinematic depth, refined production, and forward-thinking electronic aesthetics.

“Veri” opens the EP as a richly layered and immersive experience. Built around an evolving tapestry of textures, the track unfolds through pulsating synths, shifting sonic details, and a steady yet powerful rhythm. The result is a truly intergalactic journey, where each element seems to orbit around a constantly transforming emotional core. This is Bjørke at his most visionary-bridging club functionality with intricate sound design in a hypnotic and expansive narrative.

On remix duties, label head Ricardo Baez reinterprets “Veri” with a sharper, more direct approach. Stripping back the original’s layered atmospheres, he delivers a driving electro version that’s lean, tense, and fully focused on the dancefloor. With its tight groove and immediate impact, the remix is built for peak-time energy and club intensity.

On the flip side, “Gliss” reveals a more intimate and emotive dimension of Bjørke’s sound. A modern electronic ballad, the track blends sensual rhythms with delicate, suspended melodies. Its subtle yet captivating groove carries the listener to an unknown planet, where everything moves in sync, locked into the same pulse and flow. It’s a piece that radiates both mystery and warmth, showcasing Bjørke’s ability to craft deeply atmospheric yet rhythmically engaging compositions.

With the “Veri/Gliss” EP, Kasper Bjørke and Tropical Animals reinforce a shared artistic vision where sonic exploration meets club-ready precision, balancing introspection and dancefloor energy, cosmic textures and physical groove.