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2026 RSD Release - GREEN Vinyl

Mark Pritchard (Global Communication / Africa Hi-Tech / Reload / Harmonic 313) produced gem from 2004. Featuring Eska, Nina Miranda and other vocalists. TIP!

An expanded edition of a long out of print Far Out classic. This double vinyl edition will include the track 'Strikehard' for the first time, which was omitted from the original pressing, only released on a separate 12" and CD.

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Far Out Recordings announces the Record Store Day 2026 deluxe double LP reissue of Troubleman’s Time Out of Mind. Originally released in 2004, the album marked a distinctive turn in Mark Pritchard’s expansive career, channeling his pioneering electronic instincts through a filter of Brazilian grooves, African rhythms, and global soul. This special edition includes the underground club classic “Strike Hard” (previously unavailable on the original vinyl), alongside the album’s flawless blend of early-noughties space-age bossa, broken beat, future soul, and psychedelic downtempo.

Under the Troubleman alias, Pritchard stretched his focus outward in every direction. From the UK rave continuum to Brazil, the US, Africa, and beyond, he drew on the psychedelic soul of Dorothy Ashby and David Axelrod, the Afrobeat drive of Fela Kuti and Tony Allen, and the samba-doido energy of Azymuth. Filtering golden-era seventies influences through early-2000s pop, club, and rave lenses, the album moves effortlessly between club-ready tracks like “Strike Hard,” and more laid-back, tripped-out moments that highlight Pritchard’s range, shifting seamlessly from dancefloor heat to outer-bongolian cloud watching.

Featuring vocal contributions from Nina Miranda (Smoke City, Da Lata), Steve Spacek (Spacek, !K7), and Eska (New Sector Movements), the record captures Pritchard at a pivotal moment, exploring how electronic production could absorb and expand the rhythmic complexity of global sounds.

One half of Global Communication and Jedi Knights with Tom Middleton, and Harmonic 313 with Dave Brinkworth, Pritchard has since built a dense, acclaimed discography across numerous aliases and labels. His work on Warp Records has included collaborations with Thom Yorke, and his remix portfolio spans Depeche Mode, PJ Harvey, Underworld, Aphex Twin, Lamb, KRS-One, A Tribe Called Quest, The Orb, and The Beloved.

Remastered from the original sources and pressed to vinyl exclusively for Record Store Day 2026, this edition also faithfully reproduces the album’s psychedelic artwork by renowned British artist and designer Swifty.

Lee Humphreys and Evasive head honcho Rob Pearson returned to the imprint for their 2nd EP together as Lovable Rogues. This followed on from their first collaboration which launched Evasive Records : Look Into Your Eyes / Chica / Twilight Manouvres (EVA001)

For this Ep Rob travelled out to work with Lee in the depths of the German countryside at Lee’s Tofu Studios. EVA003 delivered 3 more tasty underground cuts for main floors and urban warehouse spaces and pleased all the right DJ movers and shakers in the year 2000. It now finds favour in 2024 with Tech House connoisseurs hungry for that early South London Tech sound.

Time Zones delivers some peak time twisted year 2k Tech. Swirling ear candy synths and tripped out almost acidic twangs are the order of the day. A head nodding bass combines with the filtered and sample triggered vocal phrase ‘Eternal Energy Music’. As if the production pair were indeed clairvoyants able to look ahead and prophesize the future state of underground dance floors some 20 years later! This cut has since become a classic requested early noughties gem for those in the know.

On ‘Integer’ Lee Humphreys rides solo to showcase his unique talent and slick production sound. Driving filtered percussion elements and an infectious bass combine with ‘Body Grooving’ vocal cuts and eerie reverse synths and sounds. Lee basically hit this track out of the park here so Rob had no choice but to request this cut and it was snapped up for the EP.

‘Thursday’ see’s Rob & Lee back on the joint production for some Tech Funk shenanigans that are ‘sure to get you high’. Not sure what Mr Humphreys was on to allow Rob to play the lead keyboard solo on this funk fuelled excursion but it stills sounds fresh over 2 decades later.! A very different vibe that has not been equalled or surpassed on Evasive since.

Despite its tragic breakup, Yugoslavia as a political, social and cultural phenomenon still inspires generations, especially those who were born or lived at the time of this utopian land of South Slavs. Those who didn’t enjoy the privilege are still amazed by its 1970s and ’80s music scene and the number of very modern, high quality acts that were so often ahead of their time. Two such acts were Data and The Master Scratch Band, both founded by Zoran Jevtic and Zoran Vracevic, who introduced synth-pop, breakbeat, and hip-hop music in Yugoslavia in 1984 with their releases: SP Neka Ti Se Dese Prave Stvari/Ne Zovi To Ljubavlju and miniLP Deogut (Jugoton). Our latest release, “It Was Ridiculous, It Was Amazing!” gathers their earliest unreleased material from 1981-1983, showcasing a broader range of genres – alongside synth-pop and breakbeat/hip-hop, they also experimented with industrial, EBM, minimal synth, and electro-funk!

The whole record is divided into two parts: on A side there are 7 previously unpublished songs by group DATA, and on B side there are 4 previously unreleased recordings by The Master Scratch Band.

The Data side opens with two unexpected “shocker” tracks: Ja Nisam Kao Ti” (eng. I am Not Like You) and “Izumi” (eng. “Inventions”) from 1981, where they sound like early Deutsch-Amerikanische Freundschaft with unusual vocal pan sound effects on Serbian lyrics and uncompromising synth-based sound. Equally unpredictable are the next two songs: atmospheric “España” and dusty “Damage In My Head,” where Zoran Jevtić boldly steps into the lead vocal role. But the surprises don’t end there. The next two songs, France and Strahovi (eng. “Fears”), bring a mysterious and nostalgic atmosphere, elevated by the irreplaceable sound of the modular Roland System-100M. At the end comes the greatest surprise of all: Data covers YMO-Ballet in a song called Ne Zelim Da Tako Zive (eng, I Don’t Want Them Living Like That) and puts some extra energy in rhythm without losing the original song’s sensibility. Like in the original, the lyrics are tender and yet mysterious and provocative.

The Master Scratch Band side contains the very first versions of the songs Break War, Jailbreak, and Computer Break, originally recorded in studio Druga Maca in Belgrade in 1983. These versions were not released on their mini-LP album Dégout (Jugoton, 1984), and they are actually the first ever hip-hop/Breakbeat recordings in Yugoslavia. With great enthusiasm, every sound was uniquely crafted from scratch using the finest analog gear available in the early ’80s. The two young artists, aiming for international success, chose to write their lyrics in English. The album’s final track, “Mad Scratch,” showcases their talent for creating impressive sound effects, which would be a delight for contemporary DJs and producers who specialize in sampling and scratching old-school hip-hop.

This release is truly a “100% digger’s gem” – 11 previously unreleased tracks from legendary pioneers of electronic, hip-hop, and breakbeat. A collection to discover, enjoy, play, and treasure forever!

2026 Repress

Repress of Simon Copleston a.k.a Iteration X’s debut EP delivered for Evasive Records in 2003. ’Timecheck’ and ‘Liquid Logic’ are 2 slabs of firing tech-house straight out of South London. Simon worked from his own studio and also Online Studios in Croydon. Simon sadly passed away in 2014 and we wanted to make this well sought after release available again so that his musical legacy lives on.

Patience moonlights as one of the most underworked muscles of the modern human. Time meanders at the same pace as always but yet everyone seems to be living their lives as through they are stretching it out like elastic jelly through their fingertips, ignoring the virtue necessary to ride each moment. At the end of patience always lies a reward. DJ Teeth, a veteran disciple of time, presents a sonic palette to Kasra V's V-Sion imprint that is for only the most determined. Symphonic synths and acid swells ebb and flow, vocal samples move like auditory hieroglyphics scrawled on cave walls, and other hidden messages appear, but only for those who wait. Patience will be rewarded.

Welcoming prolific and essential Mexican artist Andy Martin to Animalia, with his mesmerising, mind-bending musical interpretation of the Nahual, a common & integral figure of the belief systems of ancient Indigenous peoples of the Americas, which embodies the spiritual connection between humans & animals. In some traditional stories, this connection is so strong that they are said to transform into one of them. Tierra de Nahuales refers to a region of ancient America inhabited by these mythological beings, which in this EP become part of the Animalia universe, shaped by psychedelic broken rhythms, tribal sounds, and dub influences. A release that feels both deeply personal to Andy's musical & cultural identity as well as the label's own - a telling ode to the abilities of the depth & outer worldly sense to his music - a world-building, shapeshifting & one of a kind artist who feels truly at home in the Animalia family.

Auf ihrem selbstbetitelten zweiten Album taucht das Cosmic Tones Research Trio - bestehend aus Roman Norfleet, Harlan Silverman und Kennedy Verrett - tiefer in die spirituellen Klanglandschaften ein, die ihren genreübergreifenden Ansatz ursprünglich geprägt haben. Das in Portland, Oregon, ansässige Trio schafft ein transzendentales Hörerlebnis, das sowohl in meditativer Stille als auch in rhythmischer Dynamik verwurzelt ist. Mit einer Mischung aus Cello, Altsaxophon, Klavier, Flöten und einer eklektischen Palette von Texturen und Percussions vermittelt das Album eine heilige Energie, die sich sowohl uralt als auch zukunftsweisend anfühlt. Es ist Musik zum Nachdenken, zum Bewegen und für innere Reisen. Die Stücke entfalten sich mit geduldiger Anmut, pulsieren jedoch mit bewussten Rhythmen, die den Zuhörer erden - und damit den zeremoniellen Geist des kosmischen Jazz und tiefer Improvisationstraditionen widerspiegeln. Dies ist keine Hintergrundmusik, sondern eine Einladung, sich ganz einzulassen, mit den Instrumenten zu atmen und den Grenzraum zu erkunden, in dem Klang zum Gebet wird. Mit dem Cosmic Tones Research Trio setzen Norfleet, Silverman und Verrett ihre Erkundung klanglicher Territorien fort, in denen das Mystische und das Musikalische verschmelzen.

"I think I have never met anybody, with the exception of Brazilian guitarists Baden Powell and Toquinho, as connected to his instrument as Agustín Pereyra Lucena" – Vinicius de Moraes

Far Out continues its exploration into the singular catalogue of Argentine guitarist and songwriter Agustin Pereyra Lucena with a special Record Store Day edition of his most celebrated album Ese Dia Va A Llegar.

Agustín Pereyra Lucena was one of South America’s outstanding guitarists. Hailing from Buenos Aires but obsessed with the music of neighbouring Brazil, Agustin abandoned his architecture studies to pursue music full-time, earning friendship and collaborations with Brazilian music's greatest figures including Vinicius de Moraes, Baden Powell, Toquinho, Dorival Caymmi, Maria Bethania and Chico Buarque.

Originally released in 1975, the album has been better known in some parts of the world as Brasiliana – a title repurposed by Agustín's European record label in the 70s to exoticize the sounds of South America for the continental market. It finds Agustin and band—which includes key collaborators Guillermo Reuter on contrabass, and Carlos Carli on drums and percussion— at their most blissfully laid back. The album features idiosyncratic renditions of classics by Antonio Carlos Jobim, Vinicius de Moraes, João Donato and Agustin’s personal hero and friend Baden Powell, alongside Agustín's own works which ooze with captivating mystical wonder.

The analog warmth of the recording is such that it feels like you’re there in mid-seventies Buenos Aires, on a balmy late night session at Estudios Audión, with a group of phenomenally impressive musicians. The heat generated is offset only by the cool temperament of everyone involved. On the handful of vocal tracks on the album, Agustin’s gentle voice is responded to by the liquid smooth vocals of Laura Hatton, Luis Maria Cosenza and Patricia Scheuer.

Agustin’s unique position in the annals of his continent’s musical history has been lovingly maintained by Agustin’s nephew Jose Luis Pereyra Lucena, who has entrusted Far Out Recordings to preserve and re-release Agustin’s works. The music has been professionally remastered at London’s Metropolis Studios, using multiple copies of well kept original vinyl.

Reissued worldwide for the first time under its original title and cover as Agustin originally intended, Ese Dia Va A Llegar will be presented in a limited edition obi-stripped gatefold replica sleeve.

Clairvoyant Dimensions is the first album by Mei Honeycomb, a new duo of Jordan Czamanski, renowned as a member of the acclaimed Juju & Jordash and the Magic Mountain High project, with solo work released as Jordan GCZ, and legendary saxophonist Jeff Hollie, known mostly for his work with Frank Zappa and Ike Willis. An explorative ambient album, Clairvoyant Dimensions is an exercise in distance and contemplation, and the exhilarating feeling of insight, however fleeting, like staring at the midnight flicker of an old VCR. Czamanski's music has a trademark tenderness and soft-spokenness, an ability to maximize minimalist musical elements and bring them to an open-ended conclusion. Jeff Hollie provides interpretative sax lines on all tracks, slipping into the scene like a shadow, silent and unexpected, touching upon emotional registers almost explicit, yet confounding.

As musical signifiers keep turning around themselves, they set up a mood of euphoria, one that suggests understanding. Never explicitly spaced-out, there is continuous reference to cosmoses both inward and far away. Ambient music in modern form. Jordan Czamanski uses his experience in producing off-the-charts club music to come up with five tracks that at times are standstills, and at times dwell in forward momentum. Jeff Hollie provides both comprehension and beautiful confusion. As grainy images switch into focus, Clairvoyant Dimensions is a beautiful and contemplative trip that suggests its own reality in delicate ways. One of the five tracks, the gorgeous live-recorded Painted Desert Pastel, features composer, performer, and researcher Ilya Ziblat Shay on double bass and electronics.

Screen-printed cover designed by Johan Kauth.
Mastering by Rashad Becker

2026 Repress

A record that feels introspective and timeless, balancing dancefloor functionality. With Early Reflections Pt. 2, Insect O. continues the journey with the same quiet confidence and emotional depth that made the first chapter so compelling. Once again rooted in Dub Techno and Dub House, this second installment feels like a natural continuation, deeper in mood, even more immersive in detail, and beautifully refined in its execution. The result is a record that feels introspective and timeless, balancing dancefloor functionality with a deeply emotive listening experience. Insect O. proves once again that true depth does not come from excess, but from restraint, sensitivity and a strong understanding of space and motion.

As one of the foundational artists of Flipsight, it is only fitting that ColorJaxx gives the first major 2 x 12" gatefold statement on the label. The debut album 'In Between' of the Belgian producer gives a full overview of his trademark deep grooves with a re-invention of his club sound.

The first record is your invitation to the beach. The A-side kicks off with the ambient "Playamer", setting a scene of salt air and warm breeze. The shoreline waves combine with an electric piano groove to "Out The Door". This is where a slick trumpet gets the parole and cuts through the atmosphere, signalling to the dancefloor. "Never Enough" serves as a spiritual successor of his first EP on the label "Tales of never": shimmering guitar samples, a warm, everlasting groove, and that unmistakable "ColorJaxx" swing that we fell in love with initially.

The B-side is where Jordy catches the first hints of Spring with "Just Around" by blending uplifting trumpets and sax melodies with a fresh forward-moving baseline. "Higher" elevates the mood further with smooth rhodes keys and a jazzy piano lead. As the evening chill sets in, the first disc concludes with the literal end of the day: "The Beach Is Closed".

Time to grab the second wax out of your gatefold: leave the sand behind for the strobe light as this is where the maestro gets in club mode. "Back Then" serves as the bridge into "Discotheques," a heavy-hitting wink to the old-school Belgian club scene that shaped the underground of the early 2000's. This vibe created "Moving On," a sophisticated French-like house tune with Chris Farmer where the vocalist enters into a constant conversation with rhythmic elements, creating a versatile track that fits in any part of a DJ set.

The finale is reserved for heavy hitters: "This This" and "Disco Trouble" are pure, pumpy club rollers. Peak-time bangers designed for maximum impact, before the album dissolves into the hazy, cinematic outro of "Blurred Lines."

This time around Michael Melchner dishes up three top-notch house tracks for us.

Laurant Webb, Dave Coker, Justin Bailey and Dave Pine were the driving forces behind Strange Weather Studios. Based in Southeast London, the studio served as a creative hub, playing a pivotal role in shaping the sound of a groundbreaking genre. Alongside close friends and collaborators, they produced a series of influential records that have left an indelible mark on the music landscape.

This release is a heartfelt tribute to Strange Weather Studios and the talented individuals who brought its magic to life. It also honours the studio’s production partners though iconic projects such as Housey Doingz, 7th Voyage, Space Bunny, Get Fucked and Green Eyed Monster. These projects that were instrumental in forging the signature, original London Tech House sound.

The tracks on this record have been handpicked by Laurant Webb and Yossi Amoyal, meticulously restored and remastered from the rare original DATs.

This release marks a significant milestone for London Tech House, symbolising a collaboration between its key pioneers and a label that evolved alongside the genre. It’s an organic partnership that celebrates the past and looks towards the future. A project we’re incredibly proud to share with you

Groovy, functional and elegantly reduced Micro House. AFRV008 brings Dubfound for a tight, late-night or early mroning leaning 12" on Aforisme. Freak Love EP moves with that signature micro-house precision: crisp drums, warm low-end pressure and hypnotic groove shifts that keep the floor locked without ever overdoing it. On the A-side, “Freak Love” sets the tone with elastic rhythms and a stripped-back, forward-driving pulse. Flip to “Hold Me Up” for a deeper, more rolling mood, minimal elements arranged with maximum impact. Maher Daniel closes it out with his remix, adding extra swing and a refined, spacious touch that feels made for long blends and after-hours moments.

Siccar Point is the second album release from Intertoto, and is a study of the geographical extremes on the east coast of his native Scotland. The eight pieces of music on the album serve as vignettes portraying this ancient headland, while also acting as an allegorical reference to the pioneering work of Scottish geologist James Hutton, who proposed that geological features are not static but undergo continuous transformation over indefinitely long periods of time.

With this theory — and the striking landscape — in mind, Jamie Coull, aka Intertoto, imagines tectonic forces through tension, space, density, and texture. Divergent and convergent boundaries are realised in different moods throughout. Siccar Point opens with the irregular drift of Raw Lunar Concrete, a track that undulates asymmetrically, pulling you off balance before settling into the pulse of Condor Launch and Cloud Chamber — the more veiled club moments of the album.

Further into the strata, Siccar Point mines deep into the dense textures of Metallic Veins and Redox Dub, before closing with the cascading outro Foraber, shimmering with tones that imagine a view outward from the rocky promontory — beyond the vanishing point.

After a moment of calm, De Lichting returns with the fourth instalment in its double LP album series, Vier.



Never losing touch with its roots in emotional dance music, Vier is a tribute to the electronic soul, something increasingly overlooked on today’s dancefloors. queniv’s Frequency Match opens the album as a gentle invitation, built on minimal drum work and long, stretched pads. RDS’s Aerial Reflections continues in the same vein, leaning into a more serious mood with old school flavoured rhythms.

The first heavier club moment comes from Human Space Machine with Test Rec. A more tense, primetime leaning, proggy groove unfolds, washed in nostalgic strings and trippy elements for both body and mind. Nathan Kofi follows with Kinesis, a proper Detroit infused techno track that pushes the experimental edge further, darker and more driving.

On the second record, the mood shifts into deeper melancholy with Eversines’ Lift The Veil, featuring classic deep house textures of Rhodes chords and FM basses. Nearing the end of the album, Proxyan’s Another delivers pure credits rolling, emotion drenched analogue funk electro, a track the rest of the group had to beg Robbert to include. We are glad we did.

As a kind of bonus track, RDS and Eversines close Vier with a tech house rework of their earlier track Missing. Released on vinyl for the first time, it was previously available only in digital form via Kalahari Oyster Cult.

2026 Repress

The Godfather of Hardcore, Marc Acardipane, needs no introduction. His outstanding releases over the past 30 years speak for themselves. He has been instrumental in helping to create electronic music history, with countless well-known productions which have been unsurpassed by any other artist of this calibre. His timeless masterpieces have been and always will be heard at hardcore raves spanning the circumference of the Planet. With "9 Is A Classic", "Slaves To The Rave", "Pitch-Hiker", "Stereo Murder" and "We Have Arrived", just to name a few, he clearly proves who's the boss. "The Most Famous Unknown" is a well compiled collection of Marc's music, which showcases a mere portion of what he has composed and produced since the early nineties! The vinyl and digital selection of "The Most Famous Unknown" features remixes by Body Sushi a.k.a. VTSS & Randomer, Dasha Rush, Gabber Eleganza feat. Delirio, Jasss, Kilbourne, Minimum Syndicat, Nina Kraviz, Perc, Solid Blake, Stranger, Umwelt and VTSS, which all deliver excellent interpretations of tracks they have chosen to revamp. All original tracks have been re-mastered to the highest possible standard of quality.

Horsemen make their debut on Small Great Things with Southbound, a warm and colourful EP made to ease the winter blues.

Drawing from a wide palette of house influences, the record showcases the duo’s versatility and depth beyond a single formula. The release follows Horsemen’s first year as residents at Small Great House, the label’s monthly party at OXI Berlin, including its beloved summer open airs that helped shape the sound of this EP. Southbound also introduces their first collaboration with vocalist Guya.

While the A-side sets a relaxed tone with disco and jazzy influences, perfect for those summer open-airs, the B-side shifts firmly into club territory, delivering two dancefloor-proven cuts for the night.

The A-side opens with Make Me Feel Excited, an almost disco-tinged summer anthem driven by a distinctive sample. It is followed by Napoliballa, featuring Guya on vocals, a sun-soaked jazzy track with playful rhythms. The side closes with Lighter Days, a moody piano-led track that adds a deeper, more dreamy tone.

The B-side moves into club territory, with Running offering a driving, floor-focused cut led by a bold organ hook, followed by a faster, more club-oriented version of Napoliballa.

2026 Repress

Inner City Sound Archives is the work of a small crew of obsessive DJs, diggers, and archivists. For years, they hunted lost reels — digging through basements, flea markets, forgotten storage rooms — until they uncovered a batch of mysterious acetate tapes. No credits, no labels. Just cryptic handwriting and the hiss of time. What they found were raw, extended disco cuts — played once or twice at underground NYC loft parties in the late '70s, passed hand to hand among a tight circle of selectors, then lost to history. Now, after painstaking transfers and full analog remastering, these tracks are back. Unpolished, hypnotic, physical. Restored with love. Cut loud. Pressed right. For our debut release: six unreleased NYC disco bombs, presented in their original long versions across Sides A & B. Once championed behind closed doors by the likes of Larry Levan, Francis Grasso, Steve D’Acquisto, Walter Gibbons, and Richie Kaczor.