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Farron is back on Shaw Cuts with his next EP called ãHuman LanternsÒ - a tale of social jealousy and long-standing rivalry transformed into 4 bass-heavy broken techno tracks.
The two wealthy kung-fu masters Lung and Tan are embroiled in a long lasting game of perpetual one-upmanship. Vowing to show Tan up, Lung enlists the aid of a man he defeated in a duel years ago in fashioning a masterful lantern for the upcoming festival in which both masters will compete. ãWe Are The WaveÒ and its noisy fragments and broken rhythmics led by a hefty stormy bassline, underline the tension and aversion between the two competing masters.
But the eccentric artisan is more interested in seeking revenge for his old defeat, in taking away everything Lung holds dear. The bass-driven ãSwitch OddÒ and its sharp percussions and phat kick underline the ulterior motives of the shady character.
The evil villainÕs plan of revenge contains kidnapping several beloved women of Lung, skinning them alive and using their flaps of skin to create the ordered lantern. ãGX100Ò and its fast-paced drum pattern carried by virulent synth fragments and raucous pads, epitomises the merciless act of violence.
Tan and Lung falsely accuse each other but feel constrained to eventually team up and hunt the criminal together. ãTalking To ThemÒ rings in furiously and chases the enemy with its rolling bass, chopped vocals and stomping drums, but the villain is sneaky and recalcitrant. Silence before the attackÉ

2026 Repress

After releasing on a variety of labels for a few decades FFF presents the "Control Tower EP" the first release on his own "3AM Eternal" label. This 3 track EP brings a mixture of styles from within the hardcore & jungle universe. The titel track "Control Tower" is a mix of dub infused amen jungle, clash vocals and rare grooves. Followed by "Cut Bwoy" hectic, stomping, moshpit ready, hardcore & dubby. The final tune Obedience goes a bit deeper, a synth heavy, moody amen roller but still with plenty of choppage.

For our 30th anniversary, we reissue three absolute minimal techno statements by Robert Hood. These tracks define the birth of minimal techno — reduced to rhythm, pressure and repetition. No ornament. No compromise. Just structure, tension and movement. Originally released on Logistic Records, they remain as powerful and modern today as they were in the early 90s. Functional. Spiritual. Underground.

EU/UK Exclusive

Japanese pressing

From Universal Music's vast catalogue, the essence of Japanese AOR, all tracks are selected and played in Muro's mix cd 'Diggin' Japanese AOR' released in 2017 and now released on 2LP.

This includes some of hidden gems such as Maki Asakawa's 'American Night', Yoshio Harada and more from the late 80's to early 90's - the golden time of Japanese AOR.

EU/UK Exclusive

Japanese pressing - comes with Obi

A compilation of the Japanese band 'Piper' who formed and released 5 albums in 80's, and for this special compilation all tracks are selected by the original members and taken from their 4 albums released between 1983 - 1985.

Including the city pop classics 'Summer Breeze' & 'Breezing' along with more mellow funk/soul crossover fusion hits.

/// First track, Symmetry, debuted on BBC Radio 6 New Music Fix, 10th February: "A beautiful, beautiful album" /// I got my life back. On 17 February 2025, 1024 rays of ultra sound converged at an operation table in Bern, Switzerland, and disconnected a noisy circuit on my brain. 90% of the manifestation ceased – of a disease that I no longer wish to mention by its name. During the same period, I completed my new album: Self Help Manual. I’ve read more current research about the nameless disease than my neurologist, who despite that I didn’t follow his advice on suitable treatment, called me after the successful operation: a brave, brave man. I have composed the music in the same way as in my previous album – Songs for the Nervous System – through layers upon layers of improvisations in dialogue with my synthesizers, most of which are the same age as me. I made the majority of the songs in my studio in the remains of Old Hagalund in Solna. I edited the recordings in my bed during the waking hours of clarity at night. Some songs – NAC, Ketosis, Overkill – were recorded in the basement of my childhood home in Skutskär, in Norduppland, where I’d returned to be nurtured by my retired parents – who during a night when I couldn’t turn over in bed, or pull the blanket over me – made a list of what would happen to my belongings. To my friends who have stood out with me despite my disease, I want to state: you will not inherit me yet. On the new album, the electric bass takes on a leading role. ESG and Liquid Liquid have been important when I reinvented my baselines, limited and liberated by my poor fine motor skills. Plasma is my homage to Summertime Rolls by Jane’s Addiction, that I listened to frequently in my youth. I guess that no one will hear the resemblance. In several songs, the Fender Rhodes plays an important role, a magical instrument that I bought shortly after my diagnosis over a decade ago, and for a long time didn’t dare to touch out of respect for Herbie Hancock and Fela Kuti. A couple of songs draw inspiration from the Horn of Africa – Inner Nile and Delta. At first, subconsciously in the reverb-drenched Inner Nile, then more consciously in Delta. I’m sorry it doesn’t swing the right way, but it was my attempt to return to the cradle of humanity. Longevity is possibly my favourite. The melody is played by an arpeggiator that I controlled by pressing down different keys in an exhilarating sense of freedom. One song in particular, the second track – One – has caused friends to associate freely: one thought it sounded like Patrick Cowley, another like Sly & Robbie meets Kraftwerk, a third like Air – Moonlight Safari. I made one song just before the surgery: opening track Symmetry. It’s the mightiest and most minimal song. I made one song after the surgery: finishing track Self Help Manual. My previous medication pump is heard through the microphone of my Ovation Magnum. It’s the most hopeful song on the album. I took the cover photos with my Hasselblad during walks in Tokyo suburbs of Ōmori and Kamata more than ten years ago. It was something about the faith of the traffic cones that fascinated me – born in the same streamlined form, they had over the years become increasingly individual and lovable. The mixing was finalized by Christoffer Roth in the newly built Studio Dubious in Nacka. Rashad Becker, who in an interview said that he listens as much with his mouth as with his ears, mastered the album at Clunk in Berlin. Right now it feels like anything is possible. My recovery is perhaps a small step for mankind, but a giant leap for me. I hereby leave the music to you. Joakim Forsgren

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

■ The latest installment in the popular ocean themed compilation series “SALT... meets ISLAND CAFE”, curated by the beach life magazine/media SALT...,
is DEEP BLUE the series’ first ever ambient music compilation. Centered around the title concept inspired by the deep, tranquil blue of the ocean, the album
presents soothing music tailored to modern lifestyles, spanning chillout, Balearic, meditation, and healing sounds.

■ Ten artists each highly trusted by discerning listeners across the ambient, chillout, Balearic, and surf‑music scenes have created brand‑new, original ambient
tracks inspired by the theme. From pioneers active since the ’90s to cutting‑edge trackmakers, this compilation brings together a stunning collection of
ocean‑themed ambient music.

■ Mastering is handled by ambient/Balearic maestro Calm, who is also featured as one of the contributing artists, delivering an exceptional sonic experience.
Enjoy all ten tracks, each expressing its own unique interpretation of DEEP BLUE.

■ The artwork features an artistic photograph by Pedro Gomes, a Brazil born, Japan based surf photographer, with design by Masato Maekawa (tAnkers inc.),
known for his work across apparel and outdoor brands. Under the supervision of SALT..., the visuals perfectly capture the compilation’s immersive world.


[b] a2. [.que] / deeply

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

Enter the debut LP of the now Spatial regular Chronicle - Expect a joyous, varied blend of old school brand new atmospherics from one of the scene’s most talented producers. A1 - 20th Century Man Straight into the beats for the deliciously cheery opening, 20th Century Man encapsulates so much of what Chronicle does best - old school breakbeat sensibilities delivered with an inimitable atmospheric charm, strongly reminiscent of that peak Good Looking era we all adored. Incredible synthwork and analogue drums layered with danceable 2-step breaks and melodies take your mind exactly where you want to be. A2 - Terraformers Seminal synths and birdsong effects prepare us for an impossibly crisp breakbeat and 808 bassline to drive this track along, coloured by a myriad of subtle blips and bleeps, delicately flecked across a detailed and optimistic soundscape. Very DJ-friendly from the first to the final bar, the purity of Chronicle’s approach to atmospheric drum & bass is once again at its best here on Spatial. B1 - Boundless Space Playful twittering birds, gentle hi-hats and panning synths introduce Boundless Space, a blissful, serene treat for the senses which soon kicks into flourishing life with the timeless Circles break. Vocal samples punctuate the soothing breakdown with exquisitely programmed effects dotted here, there and everywhere, completing a stunning composition that both reflects on the past and looks forward in equal measure. B2 - Ephemeral Style A light, delicately calming pad-laden intro with echoing melodies opens Ephemeral style, soon punctuated by a sublime 808 bassline preceding the drop. Chronicle showcases his dancefloor breakbeat prowess with an energetic 2-step break pattern, expertly programmed and riddled with detail and density, creating a wonderful collage of sound and a perfect addition to any era-spanning atmospheric set. C1 - Modular Expansion Eerily reminiscent tones harking back to the golden, ultra-classic Good Looking era introduce us to Modular Expansion, a track which quickly adds layer upon layer of original identity to the vibe with crisp breaks, a wonderful metallic backdrop snare and subtle vocal samples. The joyously retrospective breakdown complements the energy of the track beautifully, capping off another gem for the record box. C2 - Limbic System Chronicle introduces Limbic System with swathes of swirling pads and synths, straddled with a subtle yet enigmatic melody carrying us through the drop, where we are treated to a lusciously constructed old school break pattern with a modern twist. Enter the breakdown and the keen ear will spot sampled quotes from Total Recall, which fit the vibe perfectly. “You went to Recall?” - yes, we sure did. And we enjoyed the trip! D1 - Non-Euclidian Continuing the blissful retrospective atmospheric tone of the album, Chronicle serves up Non-Euclidian which opens with a wonderfully synthy intro flecked with old school break samples and an earworm melody, before the onslaught of layered breaks provides variety as well as a thoroughly danceable pattern to unleash on the discerning dancefloor. Trademark dotted effects punctuate the track throughout. D2 - Deep Thought Capping off the LP we have Deep Thought, setting a calming and quietly brooding vibe before impossibly crisp beats kick in and elevate proceedings nicely. Chronicle effortlessly leads the listener through the drop with an analogue punch, earthy basslines and fluttering effects with the kind of flair we’ve come to love from such a vastly experienced and talented producer - perfectly complementing the vibe here at Spatial. Words by Chris Hayes (Spatial / Red Mist)

2026 Repress
A notoriously jaw-dropping folk-funk classic, long treasured by the Balearic fraternity, the self-titled LP from the brothers Batteau nevertheless remains a criminally underheard gem. Appealing to fans stuck on Ned Doheny's scorching blue-eyed soul as well as Gene Clark's rich country-rock, it's an honour to present the first officially licensed vinyl reissue of this undoubted masterpiece of proto-Yacht-Rock.

Like a forgotten piece of baroque folk caught in 1973, Batteaux's eponymous album somehow sounds magically timeless. A full 45 years after the fact, it remains a mystery as to why they weren't better known. The lush production and virtuoso playing conforms with the ruling aesthetic of the time - well-crafted, melodic songs performed with precision and balance - whilst the shimmering AOR atmosphere and sun-dappled vocal washes align neatly with the best Crosby, Stills & Nash records.

Throughout, the beautifully penned tracks hold traces of Jimmie Spheeris, America and Seals & Crofts. The immaculately orchestrated percussion and additional instrumentation (electric piano and fiddle to name a few) are performed by perennially celebrated West-Coast cats including Tom Scott, John Guerin and Andy Newmark.

It's no surprise that the heavenly "High Tide" is such a Balearic touchstone. A free soul aqua-space groover, its sophisticated rhythms predict the swing of CSN's canonical "Dark Star" by a full four years. An alternative measure of its enduring magnificence can be gauged by MF Doom sampling Paul Horn's wonderful version, subsequently used by Ghostface Killah.

The highlights are many and memorable. Gorgeous opener "Tell Her She's Lovely" is the perfect example of the addictive, melody-driven songwriting which really should have earned them stardom. Moody ballad "Living's Worth Loving" is nothing short of heartbreaking whilst the chugging elegance of "Wake Me In The Morning" showcases their bewitching harmonies. The hypnotic yearning of "Lady Of The Lake" is an exquisitely string-drenched, piano-laced favourite that achieves a peculiar strutting-funk. It's that good.

This lovingly curated reissue enables a long overdue reappraisal of the hitherto buried genius of Batteaux. The serene aqua artwork which adorned the original jacket - their father worked on a dolphin-human communication project in Hawaii, hence the infamous design - and sumptuous inner sleeve have been faithfully restored. Whilst, with access to the original tapes, Simon Francis' sensitive mastering elevates the sound throughout and, as ever, it has been pressed at a reassuringly weighty 180g.

■ Human is a deeply “human” cover album by Gota Nishidera (NONA REEVES), focusing on the world of 80s–90s Japanese kayokyoku and new music.
Following his well received 2023 solo cover album Sunset Rain, this new release features an unprecedentedly wide ranging selection of songs spanning works
by Kyohei Tsutsumi, Reiko Yugawa, and Eiichi Ohtaki, all of whom Nishidera either learned from directly or profoundly respects for their devotion to the study and
practice of pop music.

■ After experiencing major success across Asia including two China tours with NONA REEVES and solo performances in Taiwan Gota Nishidera revisited the essence
of Japanese pop music from a renewed perspective. The result is a meticulously crafted collection of eight ultimate tracks, tightly packed with the charm of Japanese
pop. Born in 1973, Nishidera absorbed the new wave of Japanese music that began in 1980 in real time, and here he updates that experience for the present day.
With arrangements and vocals filled with deep affection for the originals, he offers a modern and fresh reinterpretation of these classics.

■ The album is produced by long time collaborators Yuzuru Tomita, Tomoya Yamagata, and rising talent Yudai Ohi. On the track “Woman (from W’s Tragedy)”,
Nishidera performs a duet with Megumi Mashiro of Hicksville, a vocalist he has worked with for many years on NONA REEVES recordings and live shows.

■ Mastering is handled by ambient/balearic maestro Calm, delivering a stunning final sound.

■ The jacket design is created by Keita Fukumi, producer of the YouTube channel Gota Nishidera Channel NGC. Shot at Nishidera’s local barbershop in Sangenjaya
during his usual haircut, the artwork vividly captures the “human” essence at the heart of this project."

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.

London Jazz Classics originally came out in 1993 - the first album ever to be released on Soul Jazz Records. The album brought together rare and obscure dance tracks in a unique mix of jazz dance and fusion, funk, Brazilian and Latin grooves. 

The album was ironically titled - none of the music was from London, none of the music was traditionally classified as jazz, and all of the tracks were at the time practically unknown to most people. Instead these were tracks that were filling dancefloors in a nascent jazz dance scene in London being created by a small group of DJs – Paul Murphy, Gilles Peterson, Sylvester, Patrick Forge and a few others.

As demand for these rare groove jazz tracks grew, previously unknown records such as Alive!’s ‘Skindo Le Le’, Doug Richardson’s ‘Salsa Mama’, Carlos Franzetti’s ‘Cocoa Funk’ and Emilio Santiago’s ‘Bananeira’ became sort after and even-harder-to-find items with original copies going for £100s of pounds. 
These tracks became part of the soundtrack to this jazz dance scene which has now spread across the world. This music paved the way for the arrival of many of the UK’s new wave of current artists such Shabaka Hutchings, Nubya Garcia and Ezra Collective who today offer a uniquely London sensibility of fusing jazz with wide-ranging cultural influences – everything from afrobeat to soul.

London Jazz Classics was the first album to bring this jazz dance music featured here to a wider audience. More than 30 years since its initial release Soul Jazz Records are releasing this new 2026 edition, bringing the music once more to a new generation of listeners.

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.

Deaf Florists, the alias of Conor Wheeler, returns with a powerful new EP on trUst Recordings, the imprint founded by Saoirse. A key figure in the pre-social media UK techno and bass underground, Wheeler first made his mark in the early 2010s with his label Nineteen89, operating alongside the era that birthed influential collectives such as Night Slugs, Swamp81 and Hessle Audio.

After years spent navigating the industry—managing artists, overseeing A&R for major labels, and curating club nights at some of the UK’s most respected venues—Wheeler channels 17 years of deep listening and lived experience into Deaf Florists. The project moves fluidly between peak-time intensity and introspective depth, unbound by strict genre lines.

Lead track “Squelch, already a highly ID’d fixture in Saoirse’s DJ sets, is built around a corrosive acid line from a Roland TB-03, reinforced by a Behringer Crave counter bass and a pitched-down vocal command to “get down.” “Melt” detonates with industrial force, inspired by the chaos of a reactor in meltdown—earning Saoirse’s succinct verdict: “It’s a bomb.” Closing cut “Gunk” nods to the hypnotic repetition of Mr G, transforming a stripped-back DJ tool into a distorted techno workout primed for dark rooms.

Kercha’s debut album ‘Open The Door’ arrives this April via DNO Records. The Black Sea artist’s mystical, disorienting style has set the tone for the label since he dropped the inaugural release six years ago. Now, across 16 tracks — including collabs with Mystic State, Congi, NST, Khromi and Finnoh — his smoky sampledelic dubstep is tighter, heavier, and more curious than ever, with a new sense of danger and bubbling rage that feels fit for our chaotic times.

Themes of movement and change course through the LP. On the opening gambit ‘A Path Into The Unknown’, twinkling arpeggios emerge from the gloom like stars lighting the way. Tracks like the eponymous ‘Open The Door’ and ‘Mind Extraction’ deliver that classic Kercha sound, where left-field samples dart in at right angles. ‘Dangerous Road’ weaves between the call and response action of grotty stabs and devilish subs. ‘Take A Break’, featuring Mystic State, goes on the attack with searing acid. ‘Can’t Wait For Today’, though lethargic in its pace, sees San Francisco-based rapper Finnoh deliver stream-of-consciousness bars that skewer our present and nudge us to revolution.

Work took place over the course of several years, during which Kercha relocated with his family from Russia to Georgia, where he now resides in the capital, Tbilisi. “Sometimes I wrote music while travelling on a bus, sometimes late at night while my family was asleep, sometimes just sitting on the grass in a park, and of course in my home studio as well,” he says. “By the time the album was finished, it included music from different periods, and it may vary in sound and concept.”

Any major upheaval in life will result in moments of hardship, but also hope. Both can be found throughout ‘Open The Door’. There’s times when the darkness threatens to envelope everything: during the cold, crackling ‘Disclosed’ and the eerie, dystopian ‘Infection Of Lies’; on ‘Trigger Activation’, with its grunting lows and broken glass hook, and ‘Ballistics’, where a wall of sub-bass is pierced by shrapnel stabs.

The balancing light comes on ‘4 AM’, featuring Nottingham duo Congi, when clashing swords and cinematic strings, meet a soft Rhodes piano — the juxtaposition between heavy low-end and floaty keys and vox reflecting those moments of transcendence often found in the early hours. From the injection of garage energy on ‘Bubs’, with Edinburgh’s Khromi. And on with ‘My Feeling’, featuring South Russian vocalist NST, which closes the album on a deep but expansive note, bookending the experience with more starlight synth tones.

“It’s a reflection of my life journey and the changes connected with emigration and overcoming various difficulties,” explains Kercha. “This period means a lot to me, which is why the album includes tracks from the time of preparing to leave up to adapting to a new country.”

Still, he wants listeners to be able to derive their own understanding. “I think the essence lies in the ability to contemplate, not in any predetermined meaning,” he says. “I can only say one thing: thank you for appreciating what I do and for your support. I hope it inspires you to make the same firm decisions to change for the better as it did for me.”

Out via 4 x 12” vinyl, ‘Open The Door’ is a captivating artistic statement, showcasing the journey of an artist with a truly original signature sound — a rarity that should be treasured and celebrated.

Rhythms of postmodern realism at the very bottom of the DNO.

2026 Repress

It’s rare that a certain sound is entirely an artist’s own. Although undeniably a stew of impeccable influences – from blues to folk to Latin to dusty funk, soul and hip-hop – one cannot hear a Tommy Guerrero song without immediately recognising it as his - and his only.
The cult skater from San Francisco is globally renowned as one of the original members of the legendary “Bones Brigade” team. And as an accomplished multi-instrumentalist, his laid-back soul is beloved by all who’ve basked in its blissful glow.
There’s something elemental about this music that really stirs the soul. Strikingly beautiful and instantly addictive, it’s a kind of funk-fuelled, melody-driven, groove-based magic. There’s a serenity and heart in the playing that radiates warmth and splendour, as if crafted for endless sunsets. His albums that surfaced on Mo Wax at the turn of the century have been treasured since their release and it’s two of his most vital LPs that we’re honoured to reintroduce.
The originals were quietly pressed on to a single piece of vinyl so we’ve worked closely with Tommy this year to bring you these fresh, limited editions. They have been lovingly remastered, cut nice and loud on to heavyweight double vinyl and presented in deluxe gatefold jackets.
Soul Food Taqueria continued Guerrero’s guitar soul but represented a step forward with its polished production and greater complexity of instrumentation. Denied the promotion it deserved upon release, it flew under the radar. It is now the most wanted record of his wondrous back catalogue.
Guerrero’s atmospheric touch and subtle guitar provide lush, glimmering pieces of musical texture. Within his spacious compositions, uniquely arranged instruments flourish alongside each other to create a languid soundtrack for halcyon days.
As ever, the diversity on display is beguiling. From bossa nova, samba and cumbia rhythms to understated folk, funk and soul grooves, this is another exotic set of mellow gold; perfectly represented by ESPO’s memorable artwork. Furthermore, the title’s hybridity reflects the intoxicating sweep of stylistic flavours served up, reminding us that, however tricky it is to categorise Guerrero’s special blend, it’s always a pleasure to indulge in something so creative and adventurous.
Dubby, bass-heavy instrumentals give way to moody folk-soul – witness “It Gets Heavy”, featuring melancholic vocals from Gresham Taylor – whilst “Thank You MK” is a gentle ode to the tropics, featuring ethereal instrumentation, bright bass and warm, jazzy guitars. The second half in particular contains a number of stunning ambient tracks – check “Lost Unfound”, “Another Brother Gone” and “Broken Blood” - built around minimalist, laid-back grooves and detailed guitar orchestrations which wouldn’t be out of place on the latest Jonny Nash release.
Guerrero closes this flawless set with a moment of true beauty. Restrained and graceful, “Falling Awake” is a pared back piece containing meditative guitar melodies set against melancholic piano arrangements. It brings proceedings to the most peaceful close. Seductively good, it reminds you just how great simplicity can sound.

Brånd is one weird/post black metal act from the Upper Austrian town of Linz.

Started off in 2015 as a solo act by Vritra (also in Kringa and Weathered Crest) with the need for a form of expression free from perfection or boundaries, over the past ten years the ever-evolving project ventured into various soundscapes, from crude black metal to lo-fi ambient and from ferocious post-punk to psych downer rock, all while splitting releases with extreme underground torchbearers like Absolute Key, Calvary and Rosa Nebel.

Joined by musicians to evolve old and new ideas, Brånd debut full-length album grew from 4-track demos gathered over the last decade to become an album of richly arranged songs from all over the fields of interest, breaking from their lo-fi tradition to new horizons.

To describe thoroughly “Tåg & Nåcht” is possibly the hardest task to do, given all the influences that are skilfully intertwined and perfectly balanced. In this witches’ brew the most schooled listeners will hear some angular post-punk à la Gang Of Four sustaining pagan declamations in the vein of Fenriz folk metal excursus Isengard. Straight forward dark anarcho punk assaults are mitigated by almost new age juxtapositions. Traces of 70’s German krautrock like La Düsseldorf are melted into a heavy metal cast, while wind instrument raids that are equally James Chance and Death In June seem to drop when least expected.

The sound is crunchy and surprisingly warm, contrary to what one might expect of a band emerging from a black metal background. But right now, Brånd is so much more than this: they can master a wide range of sounds that span from 70’s space rock, passing through 80’s post-punk and UK82, reaching 90’s black metal and 2000’s blackgaze, all in one incredibly coherent album. If this sounds too good to be true, suit yourself and press Play.
Split released with Tour De Garde in US/CA.