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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.

1987 eroberte „Houseman“ die Tanzflächen weltweit – nun kehrt der Klassiker als exklusive, farbige Maxi-Vinyl zurück: neu abgemischt, remastered und bereit für kraftvolle ClubMomente im authentischen Vinyl-Sound.

Track-Highlights der Maxi-Vinyl:

• New Radio Edit – die kompakte Fassung für direkte, energiegeladene Einsätze.
• Oliver Bach Remix – treibender Techno mit maximaler ClubPower.
• Dominatrix Remix – hypnotischer Indie Dance für anspruchsvolle und experimentierfreudige Hörer.
• Remastered Original – der Kult-Track in frischem, modernen Klangbild, klarer und druckvoller als je zuvor.
• Germany Calling (Remastered) – die legendäre Version neu aufgelegt und perfekt für nostalgische Vinyl-Momente


In 1987, ‘Houseman’ conquered dance floors worldwide – now the classic is back as an exclusive, coloured maxi vinyl: remixed, remastered and ready for powerful club moments with authentic vinyl sound.

Track highlights of the maxi vinyl:

• New Radio Edit – the compact version for direct, energetic performances.
• Oliver Bach Remix – driving techno with maximum club power.
• Dominatrix Remix – hypnotic indie dance for discerning and adventurous listeners.
• Remastered Original – the cult track with a fresh, modern sound, clearer and more powerful than ever before.
• Germany Calling (Remastered) – the legendary version reissued and perfect for nostalgic vinyl moments.

(LP, purple cristallo vinyl, continuous mix) Legendary Belgian artist Push returns with a truly special project: an 18-track mini album, presented both on CD digipack and a special vinyl edition in a limited color, where every track connects into a seamless journey.

Each vinyl side plays as one continuous mix and so does the CD, a flowing soundtrack that guides you through deep, cinematic ambient electronica worlds.
Evolving strings, delicate rhythms, and immersive atmospheric layers blend into each other without interruption, creating a unified listening experience that feels more like a film score than a traditional album.
This is Push as you’ve never heard him before — pure emotion, timeless movement, and a full ambient chill out trip for the mind.

BRDK vinyl — an independent label focusing on electronic music (mainly house / minimal).

Der britische Produzent und Elektronikkünstler Joe Thornalley, bekannt als Vegyn, interpretiert das kultige Debütalbum „Moon Safari“ von Air aus dem Jahr 1998 in einem gewagten Crossover der Genres und Epochen neu. Vegyn wurde durch seine Arbeit mit Künstlern wie Frank Ocean und Travis Scott bekannt und hat sich einen Namen als zukunftsorientierter Produzent gemacht, der üppige, atmosphärische Klanglandschaften mit experimentellen Beats und einem Sinn für Unvorhersehbarkeit verbindet. Mit seinem Remix von Moon Safari“ bringt Vegyn seine einzigartige Vision in das beliebte Ambient-Pop-Meisterwerk des französischen Duos ein und verleiht ihm eine frische, moderne Energie.


Vegyns „Moon Safari“-Überarbeitung wird in einer neuen Tracklist enthüllt und erscheint auf schwarzem Vinyl und einem CD-Digisleeve, beide in einer schönen, transparenten blauen Hülle verpackt.

Australian producer Mike Buhl returns to Denude with Modern Explorer II, a four-track meditation on movement, memory and the spaces in between. Techno, downtempo and atmospheric sound design become tools of enquiry here: rhythms are less about function than about asking how far repetition can carry a feeling. From the searching lift of “Voyage Return” and the focused pulse of “Focal” to Vril’s dubbed, peak-time reimagining and the gently dissolving closer “They Were Always”, the record traces a quiet arc from momentum to reflection. Modern Explorer II feels like a small philosophy of the night: music for travelling without arriving, for dancers who know that the journey on the inside is at least as important as the one on the floor.

After a first cosmic cruise through Mediterranean Space Disco by TORRE, Musiq Voyage returns with its second release — this time from one of its own founders, Arno E. Mathieu.
Known for his label collaborations with NYC legend Joe Claussell, for his acclaimed Circumstances Of Chaos LP, and many releases on iconic labels like Compost, Yoruba, Real Tone, Deeply Rooted and Africanism, Arno has spent over two decades jamming & crafting deep, balearic & psychedelic journeys across house and electronic realms.
With MV002, he comes home, channeling the spirit of his native Provence and the sun-drenched pulse of the Mediterranean.
Arno delivers two evocative tracks:
“Phoenix” – an 80’s-inspired electronic resurrection, rising from the ashes on waves of funky basslines, soaring synths, and cosmic guitars.
“L’Amoragie” – a cosmic disco odyssey blending “Amore” and “Hémorragie” into one passionate eruption of love and sound — powered by hypnotic drums, anthemic synths, and euphoric choirs.
Mediterranean soul, space disco energy, and emotional storytelling — Musiq Voyage continues its journey.
Enjoy the trip.

Follow up to last years 12" on Voyage Direct from this active Amsterdam DJ/Producer. TIP!
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" Back in December 2014, Elias Mazian debuted on Voyage Direct with a 12' that perfectly encapsulated his open-minded but interconnected approach to electronic music. He'd already showcased this ability to blend sounds and styles by becoming one of the most talked-about DJs on the Amsterdam scene. With Future Times' (and its superb flipside, They Don't Know'), Mazian gave notice of his undeniable production credentials.

Fast forward to the summer of 2017, and Mazian is ready to drop an EP that not only confirms his status as a rising star of Dutch dance music, but also showcases a newfound ability to combine a finely-tuned sense of what works on the dancefloor with the kind of compositional skills that can take a lifetime to perfect.

The Duplicate EP is an altogether more mature proposition than his debut 12', but retains many of the sounds and influences that marked out his first appearance on Voyage Direct - not least his love of spacey electronics, mood-enhancing chord progressions and sparkling synthesizer motifs.

This can be heard in particular on the title track, an ear-catching club jam that wraps chiming melodies, Mazian's own rapped vocal refrains and electro-era synths around a gently jacking, Chicago style house groove. It's deep, poignant and attractive, with subtle nods to the dreamy Windy City deep house of Larry Heard, the retro-futurist boogie business of Moon B and Dam Funk, and the kaleidoscopic electronic funk of Parliament.

Further proof of Mazian's increased musical maturity can be heard in the breathtaking Dream Mix' of Duplicate'. Featuring a yearning, almost melancholic vocal from the producer himself, the remix offers an analogue style deep house interpretation bristling with cascading melody lines, classic Chicago house bass and bubbly, deep space electronics.

The EP closes with superb bonus cut Ride That Shit Baby', an expansive chunk of mind-altering analogue deep house full of restless ride cymbals, crunchy drum machine hits, starburst electronics, delay-laden organ lines and swirling chord progressions. It's as intricately programmed and produced as anything Mazian has released to date, and twice as emotion-rich. In some ways, it's the perfect end to an EP in which Mazian brilliantly showcases the depth and breadth of his emerging talent."

The label say "Fresh from impressing with the pulsating techno of Boris Werner and the fuzzy live house jams of San Proper, Tom Trago's Voyage Direct label turns to a man who needs little introduction: Dutch legend and man of many pseudonyms Danny Wolfers.
Best known under his Legowelt alias, Wolfers has spent the last two decades flitting between strobe light acid house, 808 electro, fluorescent techno and shimmering space disco. Throughout, he's kept his productions pleasingly analogue-heavy, making great use of classic drum machines and vintage synthesizers. While his music may be steeped in the past, Wolfers' productions always sound like the future.

For this first outing on Voyage Direct, Wolfers resurrects the House of Jezebel alias - a pseudonym previously only used for the twinkling deep house warmth of 2010's 'Love & Happiness' - and delivers two tracks of synth-laden analogue house goodness.

'Back In Dogtown USA' sets the tone, as Wolfers layers rising chords, darting electronics and wide-eyed synthesizer melodies over a clattering analogue house groove. As with much of the legendary Dutch producer's work, the track ripples with rush-inducing melodic intent. It's the soundtrack to a party on Jupiter, and we're all invited.

Wolfers' ups the tempo dramatically on 'I Took A Train In 1979', transplanting us to the far reaches of our galaxy via jackin' techno drums, picturesque organ melodies, drifting chords and intoxicating pads. There are echoes of classic Detroit techno, surging Rotterdam electro and vintage cosmic disco, yet it doesn't really sound like any of these things. Like 'Back In Dogtown USA', 'I Took A Train In 1979' sounds like the past, reconfigured and rearranged for the consumption of future generations. In other words, it's a classic Wolfers production."

Yamaha's DX series of synthesizers has long been a source of inspiration for Tom Trago. The DX7, in particular, appeals to the Dutch producer thanks to a unique sound that he describes as glassy but classic and icy'. 34 years after it went on sale - the same year as Trago was born, interestingly - the synthesizer's sound still bristles with futurist appeal.
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Trago, who was partially trained in how to use the DX7 by studio friends Bok Bok, Sterac Electronics and Juju and Jordash, has decided to pay tribute to this most distinctive of synthesizers by using it as inspiration for Serene Waters, his first EP for Voyage Direct since 2014 epic Hidden Heart of Gold.

Across the course of five sparkling, spacey and melodious tracks, the Voyage Direct chief showcases the variety of sounds that can be teased from the DX7. Compare, for example, the delicate and rush-inducing melodies of dreamy, deep electro opener Harvest' and the two contrasting mixes of Opulent'', variations on a throbbing, futurist techno theme rich in glacial melody lines, bustling synth-bass and spacey chords. The dancefloor possibilities of the synthesizer's sound palette comes to the fore on the stripped-back Within Mix', where Trago's rolling stabs and cascading melodies are wrapped in tougher, denser drums.

The sparkling nature of the DX7's trademark sounds also come to the fore on XYZ', a crunchier and snappier electro outing that recall the effervescent brilliance of Trago's sometime label mate, Sterac Electronics. The track's combination of darting bass and mind-altering, alien electronics is as kaleidoscopic as they come.
Nestled slap bang in the centre of the EP is Red Room', where Trago manipulates his machines to get a far more psychedelic sound. While there's vibrant warmth thanks to some seductive background pads and stretched-out chords, it's the bubbling electronincs and futurist tunefulness that catches the ear. Like much of the rest of the EP, it tiptoes the fine line between poignancy and rush-inducing colourfulness.

The interstellar electronics are once more pushed to the fore on closer '80 Axes', where jaunty synth lines combine with soft bongo hits to create an instinctive rhythm, and intergalactic melodies sprint between the speakers. You can dance if you want to, but lying down is very much encouraged.
As part of the label's mission to champion Dutch talent, Voyage Direct has always promoted new, up and coming, and little-known producers. Boss Tom Trago's master plan includes building a family of artists, in part through helping unheralded local producers to fulfill their potential.

On the label's latest release, he continues that approach, serving up a debut 12' from a mysterious young producer known only as Darling. Those paying close attention to the wider Dutch house and techno scene may have spotted his recent rework of Awanto3's 'Star Butchers' on Dekmantel, in which the man or woman of mystery added some killer keys to the Amsterdam legend's woozy, deep house original.

While that rework was undoubtedly superb, Jacob's Lead offers a truer reflection of the shadowy producer's previously hidden talents. As debut EPs go, it's a bit of a cracker.

The title track, in particular, is a beauty. Its' restless, hypnotic rhythm tips a wink to classic Dutch techno of old, while the undulating, analogue electronics and swirling pads recall the far-sighted retro-futurism of vintage Motor City material. Throw in some of Darling's trademark spine-tingling keys and a deliciously loved-up breakdown, and you have a choice chunk of life-affirming techno.

On the flip, Darling heads towards deeper territory with the bubbling melodies, starburst electronics and saucer-eyed chords of 'Video'. Unashamedly positive in sound and intent, it sounds like the kind of track that will be cited as a classic in two decades time. Melodious and infectious, it casts Darling as the Netherlands' answer to Larry Heard.

It's rare to hear a debut 12' single that really blows you away. That's hardly a controversial statement; in truth, most producers take time to find their feet, developing a distinct style over a period of years, rather than months.
Magnesii, then, is something special. Currently based in Amsterdam. The previously unheard of producer has delivered a stunning debut 12' for Tom Trago's Voyage
Direct label. R Raw, fuzzy and in turns melancholic, spellbinding and intense, its' three tracks bubble and hiss to the distinct sound of vintage analogue hardware.

You see, the young Dutch producer tends to avoid modern computers. 'I often feel like those screens suck my soul away,' he says. Instead, he jams out tunes on a tasteful selection of analogue gear, sequencing with either the Alesis MMT-8 or the Akai MPC2000 - a favourite toy of many of the Netherlands' best electronic producers - and adding basslines, beats, acid lines and melodies on obscure synths and drumcomputers'. His creations are then bounced down straight to 1/4" tape or cassette.

Some of these resultant jams, as showcased on this impressive debut, are nothing less than inspired. Acid lines rise and fall, machine drums rattle, and distinctive synth
lines weave in and out of the mix. These are raw tracks for the dancefloor blessed with all the colour and warmth associated with vintage hardware.

'RZTB Tantra' sets the tone, layering bubbling acid lines and dreamy chords over a relentlessly nagging bassline and punchy, scattergun drum machine percussion. 'Lava Jam' is decidedly deeper, with woozy, emotive melodies and alien electronics tumbling over a dusty rhythm pattern and tactile acid bass.

Magnesii completes a sterling debut with 'Van Dyke Island Jam', whose squidgy bassline and long, drawn-out M1 chords work in complete harmony with the crispy rhythm track and densely building percussion hits. Like its' predecessor, it too seems to be tinged with sadness, as if Magnesii's machines are shedding a tear for glories past.

Clearly, Magnesii is a name to look out for in future. For the time being, we'll have to make do with one of the most impressive debut 12' singles of 2014 to date.

Efde's first release on Voyage Direct. Here he gets a chance to showcase his trademark sound on an expansive, four-track E.P for the Amsterdam-based label.
Some may be familiar with Efde's work through his occasional 12' singles for Nordik Netrecords and Soweso, where he distilled a variety of influences - think dreamy, ultra-deep house, the Chicago bump of Chez Damier, and the sci-fi pulse of Detroit - into tracks that had a distinctive vibe all of their own.

My Bleep' is arguably his most stunning production yet: a spine-tingling re-imagining of Detroit futurism built around sparkling, intertwined melody lines, dusty drum machine rhythms, hissing hi-hats and throbbing, analogue bass. While a thing of rare beauty, it also comes blessed with moments of sweaty percussive intensity, with stacked snare hits that increase in energy as the track progresses. The original's inherent beauty is emphasized further on the accompanying Ambient Mix', which recalls the glory days of Pete Namlook's FAX Records in the early 1990s.

There's more far-sighted dancefloor futurism to be found on the flip, where the spacey chord progressions, sprightly synth-bass and restless rhythms of Just Did It' capture the spirit of both the Motor City, and the classic UK techno-funk of Dave Angel and Luke Slater. A fine EP is completed by the ultra-deep shuffle of CMP135', which successfully draws on Efde's love of bumpin' U.S deep house whilst retaining the intergalactic sounds that are such a key part of the Dutchman's club-ready productions.

This third album by Ryo Fukui arrived a full 17 years after Mellow Dream, marking his first and only solo piano recording. Alongside signature pieces like “Scenery” and “Mellow Dream”, the album includes “Voyage” and “Nord”, both written during a trip toward the northern regions, as well as “Nobody’s”, a piece imbued with Fukui’s deep respect for his mentor Barry Harris. The selection is nothing short of a delight for fans.

Here, the depth and weight Fukui cultivated as a bebop pianist blend seamlessly with the profound “Hokkaido sensibility” that had always resided within him. It is a masterpiece that truly deserves to be passed down through time.

French producer stuckinwaveforms makes his casa voyager debut with a cohesive album that threads together a fresh take across multiple genres. Each track is crafted with precision, bridging heavy-beat energy and deep listening moments. Tested and approved!

SPHERART Records returns with its ART series and a brand new Various Artists release "A TODO RITMO 002" a true piece of art featuring six atomic bombs designed to accompany every selector on their hypnotic journey.

ART002 brings together an exceptional lineup of talents including Andy Somoza, Aka Juanjo, Shkedul, JPG, Ffrvnco and Marino. Each track carries a pure essence, guiding you through a hypnotic and progressive voyage across electro Dracula, acid grooves, and 90s inspired techno percussion.

It’s Clut008.

This time the EP comes from Clut Communication label head Riccardo Rizza.

“Electrons” is his first solo EP on the label, featuring five spacey tracks suitable for any dancefloor, designed to transport you to a different dimension, guided by unique melodies and atmospheres that touch the soul.

Punchy basslines, analog melodies and progressive atmospheres will let you have the perfect record for every situation.

2025 Repress

In 2013 Voyage Direct released Tom Trago’s ‘Hidden Heart of Gold’, an expansive trip into intergalactic deep house territory that ranks as one of his most emotionally charged moments to date.

Hidden Heart Of Gold is undeniably special. A typically spacey and quietly soulful dancefloor epic that stretches out majestically over 13 spellbinding minutes. It was a highlight in many of Trago’s club sets for the best part of 12 months prior to release..

Virtual waves of ambient chords shimmer between the speakers, rising and falling as if drifting through time and space. Meanwhile, eyes-closed melodies reminiscent of classic stargazing techno and disembodied vocal samples ride a tough but unfussy machine drum rhythm and addictive bassline. There are well-timed breakdowns and a gradual, enveloping build towards a heart-breaking climax. Many listeners may feel contrasting emotions; a sense of undiluted joy while dancing, perhaps, but also the odd pang of melancholy when listening on headphones. It's that kind of record.

The tracks intergalactic, emotion-rich inspirations are explored further on the flipside Ambient Mix, a winding, beatless excursion brimming with hazy, late night beauty. Gentle and immersive, it offers a grandiose, never-ending world in which to shed your inhibitions. Shorn of the originals dancefloor paraphernalia, Tom's emotive, wide-eyed vision comes to the fore ¿ all sensual chords, far-sighted pads and gentle, outer-space melodies. Like the A-side club version, it may just take your breath away.

Welcome to the first release on Acid Lamour
A sub label for Lamour Records started in 2018 with a focus on techno and acid dedicated DJs. Releases are limited to 303 vinyls, no re-press.
Anders Ilar and John H are no newcomers to the electronic music scene.
Born in 1973, Anders Ilar began his explorations of electronic music in the mid 80s. Growing up in the small town of Ludvika in Sweden, Ilar spent all of his spare time playing with synthesizers, drum machines, keyboards and sequencers, learning the ins and outs of analogue and digital sound and music creation. Inspired by the early industrial and EBM wave he formed several bands with friends, started playing live shows
at smaller local parties, and released several demo tapes in very limited quantities. In the 90's he gradually shifted his creative influences towards ambient techno and acid and also started to DJ. He started using computer software to produce his music around 1999 and his first vinyl EP was released in 2001 on the german label Plong!, soon to be followed by
many more releases on labels such as Shitkatapult, Audio.nl and Echocord.
Developing his own flavor of deep minimal dub techno and ambient he gained critical acclaim with his album Nightwidth (2006) for Narita Records in the USA. Followed by highly appraised album Sworn on the german label Level Records in 2008. Ilar has also made remixes for celebrated artists such as Apparat, Mikkel Metal and Ripperton and has
appeared on numerous compilations and DJ-mixes. He's performed live on stage through-out most European countries and Japan, as well as doing a small tour with Notch Festival in China in 2008.
Up to 2018 Anders Ilar has produced 13 albums and 25 vinyl EP's and performed in over 15 countries.
Born in 1984 and based in Gothenburg. John H has been DJing, as well as producing tracks, since the late 90s, with Anders as his mentor and teacher, giving John early musical influences spanning across a wide range of genres, from Swedish techno to IDM, Cologne acid craziness and
the sound of Chicago house tracks. The musical output of his DJ-sets usually varies between techno, house, acid, electro and everything in between, depending on the time and location. John has performed on several locations all around Sweden, but also done appreciated gigs in other European countries at clubs like Tresor and Culture Box, and his music has been featured in sets by DJs such as Sven Väth, Adam Beyer,
Joris Voorn, Dense & Pika, Cari Lekebusch, Alan Fitzpatrick, Karotte,
Gregor Tresher, The Hacker and many more.
Coming For Your Tongue EP is Anders and John's 4th collab release, after
acclaimed releases on Flight Recorder and New York Haunted, recorded
during a jam session at John's studio in Bergsjön outside of Gothenburg,
Sweden, using a small setup of analogue synths and drum machines such as
the Roland TR-606, TR-808, a Devil Fish modified TB-303, Minimoog Voyager
and the Arturia Microbrute. After recording Anders spiced things up by
cutting and puzzling loops as well as adding extra effects and drums.

Limited edition of 303, no repress. Vinyl exklusive for 3 months

The Rude Boy moniker has its roots firmly set in the downtown districts of Kingston, Jamaica.
Alongside the regular Ska/Rocksteady sounds coming out of the sound systems, there was an undercurrent theme to some songs that spoke of the struggles of the youth, of their confrontation, arrests and run ins with the establishment.
Some of these songs praised the Rude Boys for their stance and style while other songs were more in contempt with the Rude Boy's attitiudes, comings ,goings and violent behaviour.
For this release we have put together a set of tunes that the Jamaican Rude Boys would have been listening to at the sound systems on the lawns and street corners.
Not only the more obvious Rude Boy tunes like 'Gunmen Coming to Town' , 'Dreader than Dread', 'Moon Hop' but also some of the tunes that made the sound systems rock well into the night.
Hope you enjoy the set,,,,,

The Loon EP by Rubinskee unfolds like a lucid dream — a surreal voyage through shifting moods, hidden meanings, and subconscious awakenings. Each track opens a portal into a distinct emotional landscape, weaving hypnotic rhythms with deep introspection. The journey begins with “The Loon” (ft. DJ Raw), a haunting call from the subconscious — disorienting at first, then transformative once you surrender to its pull. Soos’ XTC Mix elevates this awakening into euphoria, turning chaos into clarity in a moment of pure transcendence. With “Zona Roja,” the listener descends into a feverish groove — a jungle where rhythm devours reason. “El Siguiente Paso” pulses with momentum and resolve, a reminder that evolution demands movement. Finally, “Estás Engañada (Niterói Mix)” closes the trip like a cinematic crossing — nostalgic, unrestrained, and beautifully alive in motion.

A song about Colostomy - from the opening bars you might think so. but it gets worse. 'X rated' stuff.
the label say 'Djoko is no stranger to Voyage Direct. Having first appeared on the label way back in 2012, he's returned numerous times since, becoming an integral member of the imprint's growing family of artists. Elsewhere, he's delivered material on Tuskegee, Mobilee and Leftroom, amongst others, developing an approach that takes inspiration from numerous styles of house and techno. However, little he's previously released can match the raw, eyebrow-raising lust and sexually charged funk of Dirty Talk'.

Driven forward by Djoko's sleazy, whispered spoken word vocal, the original version combines the rubbery, bass-heavy rhythms of classic, Dance Mania-style ghetto house, the delay-laden guitar flashes of vintage NYC proto-house, and the kind of darting, funk-fuelled keys - provided by fellow Dutch producer Kid Sublime - that recall the glory days of '80s electrofunk. Djoko provides an alternate version in the shape of the thrusting, stripped-back Club Dub', with his breathy Accapella' rounding off the A-side.

On the flip, two Voyage Direct stalwarts take it in turns to rework the track. First up is label boss Tom Trago, who builds on Djoko's elastic percussion with some dense new drum hits of his own. These are combined with spacey synths and sharp string stabs, giving Dirty Talk' a more classic techno/house fusion flavour. In contrast, Werner uses the opportunity to turn in a triple-X-rated interpretation full of bounding, Chicago-influenced beats, intergalactic pads, sleazy acid lines, and sweaty, surging drum fills. It's a fittingly breathless remix.'

Experienced Dutch producer Tom Ruijg rightly won praise for his first 12' as Tracey, Skyfall, which surfaced on Voyage Direct in early 2017. Combining elements seemingly inspired by vintage Detroit futurism, '90s ambient techno and his own love of colourful synthesizer melodies, the EP saw Tracey set out his stall in impressive fashion.
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Compare and contrast, for example, the two A-side cuts. While Testarossa' is far-sighted and spacey, with Tracey wrapping intergalactic electronics and lilting synthesizer melodies around a darting synthesizer bassline and swinging, electro-influenced house drums, Sidekick' is blissful and almost overwhelmingly melodious: all 16-bit new age motifs, head-in-the-clouds electronics and driving, locked-in machine drums.

The contrasts continue on the B-side, too. Many DJs may instinctively be drawn towards Made My Love', whose energy-packed groove (think vintage Chicago jack with a dollop of slick NYC house soul) is peppered with spacey chords, undulating electronic motifs and glacial melodies. Yet the track that follows, the wild and windy electro workout that is Interceptor', is every bit as potent when played over club sound systems. The track's inherent hustle, seemingly the product of Ruijg's darting synth stabs and feverish audio textures, is almost impossible to resist.

Casa Voyager welcomes back one of Cairo's most innovative musicians Hassan Abou Alam for his debut EP on the label: Tarnished. A raw, percussive and bass-heavy body of work that pushes electro and breaks into dystopian terrain while keeping feet firmly on the dancefloor.

On a "Balearic-Jazz trip", the phenomenally hyped Thought Leadership returns with another X ideas: the deck this time chooses the Ace of Swords. In the acclaim garnered by III of Pentacles, there were many whispers of “Balearic” from those in the know. As soon as you drop the needle on XI you will be basking in turbo Balearica.

Originally out on cassette only, we present the first ever vinyl issue. It's a hideously limited pressing of 300 for the world, so don't sleep on this.

The sonic palate has been augmented by the addition of synth and bass; there are more guitar layers, more pedals and more organic drums this time – a much fuller production. Still DIY, and still recorded straight to multitrack, just ever so slightly grander in scale; think a rough-hewn, long-lost Claremont 56 cut and you’ll have some idea of how XI opens this future classic LP.

The touchstones so key to the vision of Pentacles (Cocteau Twins, Dif Juz, Durutti Column) are all still present and correct; XII could be a piece from Extractions, XIII is pure Garlands-era Guthrie and, now with the shuffling jazz drums, XV makes TL even more LC – but more disparate influences are found this time out too. ECM guitar legends John Abercrombie and Pat Metheny in the more considered melodic phrasing and harmonic structure of the ideas and a nod to the cosmic Balearic spirit in the overall vibe, means more is offered to the listener across Swords.

XVI and XVII are the biggest indicators to Thought Leaderships’ new found love of The Real Book and their grasp of jazz chords. The former sounds like if Mike Hedges had produced on a heavily sedated ECM date in the early 80s, whilst the latter is Bright Size Life condensed into a most post-punk shard of Strat conversation. The syrupy Phase 90 on the lead parts lends much weight to the guitar melodies, a beautiful tonal counterpoint to the Vox-ish chimes of the plangent chords we’ve all come to love.

The flip again treats us to three extended, improvised jams. XVIII owes as much to Canterbury as it does to Krautrock, another modal voyage through the stars. Light the incense and drift away, guided by delayed cymbals and weaving ribbons of guitar. XIX has almost a New-Wave/Sophisti-Pop energy to it in tone, if not in structure and execution. Something almost Tears for Fears-esque in the chiming chorus guitars. An interesting outlier that has already received a lot of love from those that have heard it. XX is the starkest idea, and the only piece this time with no drums. What we do get, however, is a free exploration over a two chord-vamp. It’s Harvest Time meets Planet Caravan and a fitting end to this Balearic jazz trip.

Be With is honoured to present the first ever vinyl release of Ace Of Swords, carefully remastered by Be With's engineer Simon Francis to ensure it sounds better than ever after its initial tape release. Cicely Balston's expert skills have made sure nothing is lost in the cut at Abbey Road Studios whilst the records have been pressed to the highest possible standard at Record Industry, in Holland. The original tape cover artwork, so crucial to Thought Leadership's striking visual aesthetic, has been rejigged for vinyl issue here at Be With.

The last one flew. You have been warned.

When people think of Yacht Rock-those smooth, sun-drenched sounds that once drifted from Californian radio stations in the late '70s and early '80s-they rarely imagine it echoing through rehearsal rooms in Hamburg or Linz. Yet even far from the Pacific coastline, the appeal of shimmering chords, laid-back grooves, and polished production found fertile ground.
This compilation gathers rare and overlooked tracks from Germany and Austria. These artists embraced West Coast aesthetics with sincerity and subtle twists, resulting in music that feels both familiar and refreshingly new-smooth sounds for cloudy skies. So drop anchor, pour something cool, and enjoy this unexpected cruise through the lesser-charted waters of Euro Yacht Rock.

Our journey begins in Austria, where Reflection's Because (1981) set the tone with blue-eyed soul and analogue warmth-a sunlit blend of Doobie Brothers polish and local charm. Its creator, Dieter Heyduk, reappears with Austrian Sky, a heartfelt nod to his homeland that fuses mountain calm with oceanic longing.
From the North Sea island of Föhr, Ara Pacis dreamed of California on their 1979 self-release To the Westcoast. Inspired by Steely Dan and Lake, they turned German rock precision into breezy, melodic sophistication. Meanwhile, in Düsseldorf, Mainpoint fused funk and jazz-rock on Frisbee, their 1980 single bursting with rhythmic drive and optimism before the tide of the Neue Deutsche Welle swept such grooves aside.
Bremerhaven's Nuages offered the compilation's only instrumental gem, Strange Weekend (1985)-a gentle blend of jazz-funk and rock and largely lost to time. Its cool restraint captures the European interpretation of Californian ease.
Around the same period, British traveler Gavin James recorded River of Laughter in southern Germany, backed by the blues-rock band Black Cat Bone. His acoustic reflections on water and flow mirrored the soft, meditative pulse at Yacht Rock's core.
Berlin's Top Spin kept things playful with Bikin (1985), a funk-fusion snapshot of urban joy that showcased the city's finest session players. From the Ruhr area, the Jan Pack Band is up next. While not a typical Yacht Rock track, Cable Dance is driven by an effortless, groovy '80s vibe.
Peter Seiler's Goldfinger project reimagined Walkin' in the Sand as a relaxed reggae-tinged track, while Munich's Major Seven closed the voyage with Silverboat, a wistful soft rock ballad gliding between melancholy and light.

Across these hidden harbors of German and Austrian pop, the West Coast dream took on new forms-reflected in rivers, skies, and studio lights half a world away from L.A. Under and Above the Clouds celebrates that spirit: the enduring pull of smooth music, wherever it's made.

stompy raw techno cutz by a mystical source...

Piero Umiliani four track 45 featuring the first official vinyl reissue of Union Pacific (taken from 1975's Bon Voyage!!!) and Archeologia Sottomarina (taken from 1972's Storia E Preistoria). Licensed by Liuto Edizioni Musicali and edited* and remastered for 45. Vinyl only release. Limited to 300 copies.

Musiq Voyage sets sail with its debut release by TORRE Bros, a producer duo from Aix-en-Provence. A heartfelt tribute to Marseille and the Mediterranean through two shimmering Space Disco cuts: Gyptis and La Pointe Rouge.
Remixed by the legendary Moplen, Alex From Tokyo, and Julien HBT, this EP blends house, boogie, and balearic vibes into a warm and elegant sonic journey.
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After cruising their native Provence and spinning on the mythical shores of Ibiza with their iconic pink-and-blue DJ truck, the Musiq Voyage crew is proud to launch their new label with a sun-soaked debut EP.
Rooted in Mediterranean soul, Phocaea Vol. 1 features longtime friends and local legends TORRE Bros (Jean-Marc & Patrick Torre), producers from Aix-en-Provence with over two decades of musical exploration—from disco and house to hybrid electronic jams. Known for underground hits like Corps à Corps and Baleora, supported by artists such as Carl Craig, the duo now pays tribute to Marseille, their beloved coastal city.

A1 – Gyptis
Named after the legendary princess said to have founded Marseille, Gyptis is a lush space-disco homage to the city’s ancient roots—where Greek sailors met local tribes, and myth met the Mediterranean.
A2 – Gyptis (Moplen Remix)
Italian disco don Moplen (Chaka Khan, Talking Heads, Loose Change) delivers a floor-ready rework—elevating the groove with cosmic flair while keeping the original’s dreamy vibe.
B1 – La Pointe Rouge
A sonic postcard of one of Marseille’s most iconic seaside spots—sunsets, sailing, and slow walks by the sea. Built on a strong boogie beat, 80s synths, and balearic textures.
B2 – La Pointe Rouge (Alex From Tokyo & Julien HBT Remix)
Legendary DJ/producer Alex From Tokyo (Tokyo Black Star, Innervisions) teams up with Parisian underground figure Julien HBT (Demented, with François X) for a deep, syncopated reimagining. Infused with Chicago house and leftfield boogie influences, this remix flips the original into a spaced-out late-night groover.
More than just a legendary DJ, Alex From Tokyo has built a global career bridging cultures and sounds. After growing up in Japan, he returned to Paris in the early ’90s and co-founded A Deep Groove with DJ Deep and DJ Gregory, launching one of France’s first underground dance radio shows on FG 98.2 FM.
A key link between Europe and Japan, Alex worked with labels like F Com, Mr Bongo, and Yellow Productions, before living in NYC, Berlin, and beyond.

Remix Ep with a broad spectrum of styles and some big named remixers. Side A kicks off with Colin Dale's remix of Dark Male, which is a typically throbbing techno cut for the dance floor, the Second track on Side A is David Duriez pushing an acid house remix of fellow French act G-Prod. On the flip is MOY's step into big bass and fast based breaks led drums which will make your head explode as they build their intensity, the second track is Derek Carr remixing The Vast Profound, his house rework offers all you might expect from this veteran of the scene - looped hooks and deep pads. Lastly The Vast Profound digs into the deeper end of house music layering up pads, strings and lush melodies. Comes with an insert "Remix track selector" on coloured vinyl limited to 135 sale copies.

Eudemonia marks a significant milestone with its 20th release: Cerebral Waves, the debut EP from Irish sound engineer and producer Kevin O'Reilly, known under his alias Otherend. This four-track collection dives deep into the electro continuum, weaving together cerebral rhythms, acidic textures, and cosmic atmospheres.

The EP includes three original tracks built around crisp drum patterns and spacious synths, offering a thoughtful take on electro with subtle cosmic touches. It closes with a remix from Sound Synthesis, who brings a smooth melodic drive while keeping the release’s spacey character intact.

Cerebral Waves is a bold introduction to Otherend’s sonic universe and a fitting landmark for Eudemonia’s evolving catalog. Electro heads, space voyagers, and acid lovers—this one’s for you.

Pioneer of the electronic scene and co-creator of iconic projects like Age Of Love and BBE, Bruno Sanchioni returns with the fourth installment of his acclaimed series: Capture EP 4.
This new chapter delivers four powerful and hypnotic tracks, each crafted with the precision and flair that define Sanchioni’s legacy. With deep grooves, acid-tinged lines, and a finely tuned sense of progression, the EP invites listeners into an immersive and energetic sonic journey.

Capture EP 4 further cements Sanchioni’s reputation as a master of electronic storytelling—pushing boundaries while staying true to the spirit of the underground. A compelling addition to his ever-evolving discography, and a must-have for those who seek depth and intensity on the dancefloor.

French:

Pionnier de la scène électronique et co-créateur de projets emblématiques tels que Age Of Love et BBE, Bruno Sanchioni revient avec le quatrième volet de sa série acclamée : Capture EP 4.
Ce nouvel opus dévoile quatre titres percutants et hypnotiques, façonnés avec la précision et la sensibilité sonore qui font la marque de Sanchioni. Entre grooves profonds, lignes acidulées et constructions immersives, cet EP embarque l’auditeur dans un voyage aussi intense qu’élégant.

Avec Capture EP 4, Bruno Sanchioni confirme une fois de plus son statut de maître de la narration électronique — explorant de nouveaux territoires tout en restant fidèle à l’ADN de l’underground. Un disque incontournable pour les amateurs de sons authentiques, profonds et puissants.

JESUS LOVES SKYLAX #1 A divine transmission from the underground. For this first volume of our new JESUS LOVES SKYLAX series — an homage to the one and only Todd Edwards — we’ve gathered a celestial selection of true believers. UK legend Tom Carruthers sets the tone with '2 You' — raw, jacking machine soul echoing the stripped-down euphoria of ’86 warehouse sessions. Byron The Aquarius follows with 'Aquarius Voyage', a spiritual jazz-funk odyssey that fuses Alabama roots with Detroit depth. Floorfillers’ original anthem 'Sting The Floor' gets a rapturous rework from Omri Smadar, injecting ecstatic peak-time energy into the mix. On the flip, the mysterious duo X & Ivy rise high with two heavyweight cuts — “Ground Floor” and “Frankincense” — maximum house for discerning dancefloors, already championed on BBC Radio 1 and signed to Life & Death. Finally, our beloved Italian craftsman Alessio Collina closes with “Winter Sea,” a deep, emotional glide through timeless house textures.Vinyl only. No digital. No surrender. JLS01 – a message of faith, groove, and uncompromising love. ✝ JESUS LOVES SKYLAX ✝.

Steve Moore reprises his beloved Lovelock guise by presenting his unique riff on the library breaks genre. Business And Pleasure contains grimy groove and sleazy, funk-laden lounge music.

This vinyl release is hyper-limited, with just 500 pressed for the world.

The LP is ushered in by the spacey synth-funk of the sleazy, woozy title track. This is that serious slo-mo cosmic-balearic head-nod shit. Laidback bass, heavy funk with dreamy synth and electric guitars. An outstanding opener. Up next, the dynamic, swaggering "Last Call" is a sophisticated, elegant stroll - sweeping, mellow strings, a smooth bassline and gorgeous percussion with urgent keys and swelling synths.

"Slinky Strut" is another spaced-out, sleazy funk groove with jazz rock by way of a heavy, heavy guitar riff, mellotron and bass breakdowns which build to brass crescendos. Gigantic. "First Class" closes out the side, and, like classic Hawkshaw / Bennett noir, it's got that mysterious and murky stretched out sleuth / detective soul with a great bassline and percussive elements, with swelling strings, ace synths and smooth Rhodes piano melodies entering the mix halfway through. Dramatic guitars and groovy percussion add extra intrigue. It's 7 minutes of funk!

Side B opens with the stretched-out psychedelic funk and jazz groove of "Stank 49". It takes its sweet time to unfurl, creating enormous - almost sensual - anticipation for the ensuing beauty but, as it does, we're left beguiled and straight-up hypnotised. Heaven-sent synth flourishes and a laidback bassline over smooth drums cement its simple, vivacious grace. "Dangerous Man" is that creeping crime funk we all love; heavy bass and fuzzy guitar riffs, mellow strings and sumptuous piano/synths. It's irresistible, it's ominous and it's pretty gargantuan. It's basically like an El-P hip-hop instrumental. We need to get some rappers over this stuff, stat!

"Stinkbug" is a dazzling and funky groove-fuelled jazz-rock workout with fizzing synth riffs joined by full percussion and drum breaks, building with strings to a strong swagger. Vigour! To close out this remarkable set, the breezy "Win Or Lose" is laidback soul-inflected funk, utilising urgent, skipping drums and galloping basslines. Just stunning.

This collection was written and recorded in Spring and Summer of ’24. Everything was tracked at Steve's home studio in Albany, NY except the drums and percussion, which were recorded by Jeff Gretz at his space in NYC. The whole collection is basically a rhythm section feature, so Steve's Rickenbacker 4003 and Fender Jazz Bass play very prominently. The bass guitar serves as lead instrument in a lot of these tracks. Also, lots of Rhodes and stringers (Solina, Logan etc) and guitar (Strat and Les Paul). He even dusted off my sax for this one, which he doesn’t do as often as he’d like!

This type of groove-oriented library music has been a steady part of Steve's diet since the late 90’s. In heavy rotation while writing this collection were the following classics: “Time Signals” by Klaus Weiss, “Tilsley Orchestral No. 10” by Reg Tilsley, and “Heavy Truckin’” by Simon Haseley. “Voyage” by Brian Bennett was also a big one.

Lovelock started as a dedicated Italo-disco project, but over the years Steve expanded it to include anything directly informed by the commercial/pop side of the music of his childhood (70s/80s). Writing and recording this album was, like a lot of Steve's music these days, basically a test to see whether or not he could do it.

The song titles, like the music, are meant to be evocative yet vague. But there is a bit of a travel theme. Steve imagined this record being the soundtrack to a sleazy salesman’s business trip. The kind of guy who, when asked if he’s traveling for business or pleasure, responds “both.” Beyond the traveling salesman comparison, the title directly relates to the creation of this album. This was something he wanted to do just for his own enjoyment. Yet, like our sleazy salesman, he still found a way to get paid.

The album’s cover was designed by Chris Stevenson, with no little direction from Steve. He knew that he wanted to go with something photography-based for this cover so, in true DIY/cheapskate spirit, Steve started by looking through his own photos. He found the cover image on his phone, taken through an almost empty bottle of beer, and it clicked. The whole album has a very boozy vibe (especially with titles like “Last Call”) so this shot seemed appropriate. We, hic, agree.

Mastering for this vinyl edition was overseen by Be With regular Simon Francis, and it was cut by the esteemed Cicely Balston at Abbey Road Studios to be pressed in the Netherlands by Record Industry.

Amonita, the ethereal musician known for her enchanting compositions and captivating live performances, is set to release her latest body of work, the Rainbow EP, under Lee Burridge’s esteemed record label All Day I Dream.

Since her debut in 2017, Amonita has been on a steadfast mission to craft iconic melodies that resonate deeply with listeners, evoking emotions that linger long after the music fades. She seamlessly blends live instrumentation with electronic elements, creating an immersive sonic experience that transports audiences to a world of serenity and wonder. Amonita is no stranger to All Day I Dream; In addition to her Secret of Happiness EP in 2019 and Aura EP in 2021, Amonita has contributed tracks on two A Winter Samplercompilations, and was featured on Gorje Hewek’s 2021 Collages album released on the label.

Drawing inspiration from her time spent in Turkey surrounded by nature, Amonita infuses the Rainbow EP with the essence of the awe-inspiring beauty she experienced: sun-kissed landscapes, tranquil seas, and the vibrant hues of a majestic rainbow. Her music speaks to the hearts of true dreamers – those who believe in love, walk barefoot in the rain, watch sunsets, admire the stars, and are impressed by the mystery and beauty of the moon.

In her own words, Amonita shares, "No matter how difficult your path through storms and thunder is, after that you will see a rainbow!"
This sentiment encapsulates the overarching theme of resilience and hope that resonates throughout the EP, serving as a beacon of light in challenging times. The Rainbow EP is a testament to Amonita's boundless creativity and passion for storytelling through music. From the shimmering melodies of title track ‘Rainbow’ to the hypnotic rhythms of ‘Amulet’ to the dark and mysterious ‘Moon Dust’, each track invites listeners on a transcendent voyage of discovery.

Prepare to be spellbound as Amonita unveils the Rainbow EP on March 29th. Experience the magic for yourself and let the music transport you to a world where you can dream while awake and rainbows reign supreme.

Several years after a 12” for the Unrelatable imprint, Marco Passarani opens a new chapter with F.F.O.M., a work of extra-terrestrial tales that feel grounded, where the hard, dirty work of the people continues on a different planet. The scenery changes, but the story stays the same: broken dreams on arid ground.

Linking back to his early Nature Records releases, Passarani blends experimentation with an unshakable sense of groove, weaving a more abstract narrative without losing the dancefloor pulse. While distinct from his Studiomaster output, the project shares the same DNA, fusing digital and analog textures until the boundaries dissolve.

True to the raw spirit of pure techno and imbued with the unmistakable nuances of the Roman school, F.F.O.M. is both a nod to the past and a step into uncharted territory, where Martian dust meets earthly sweat.

Each track paints a fragment of this imagined frontier: Tales Of Truth reveals shadowy landscapes hiding the real nature of the so-called new promised land; Alone in the Depth drifts through liquid scenery, a classic TR-808 pulsing deep beneath unknown oceans; Clouded Shore distills the numeric essence of groove in a subtle nod to Kraftwerk; Dominion erupts into the fierce struggle for supremacy over the new territories; Passione Orbitale tells of love for the unknown and voyages toward otherworldly sunsets; Exploration Noises echoes the spirit of Ixora from Passarani’s first Nature Records release, with manic, melancholic SH-101 lines riding electro rhythms.

The digital edition includes two exclusive miniatures, fleeting transmissions from the edge of this Martian settlement.

Do you remember Cush?
A nod to the enigmatic Danakil warrior from Corto Maltese — wise, fierce, and fiercely free. That spirit is back, and this time, it speaks through sound.

Welcome to Cush — a bold sonic territory where the elegance of myth meets the urgency of noise.

Across 14 tracks, this power trio delivers a raw, immersive journey that bends genre boundaries and stirs the imagination. A soundscape emerges, somewhere between dystopia and liberation: windswept grooves, fractured brass, buzzing machines, explosive drums. Think improvisation at its most daring, textures at their most tactile, and themes that haunt like echoes from the future.

Cush is a cry. A rebellion. A pulse.
It’s where musique concrète collides with free jazz and industrial atmospheres — and something new is born.

For listeners drawn to Pierre Henry’s audacity, Alain Damasio’s visions, industrial ASMR, or sonic voyages à la Corto: this is your next deep dive.

Unbuckle your seatbelts. You’re in Cush territory.
An album that demands to be heard — and experienced — live.

An elusive cult gem resurfaces through Glossy Mistakes. Originally released in 1986, L'Empire Des Sons is an otherworldly blend of synth pop, folk experimentation, and cinematic percussive layers-dreamlike, poetic, and wildly ahead of its time. L'Empire Des Sons was a fleeting yet powerful transmission from the fringes of the French underground-an album that blurred genre lines and evaded easy classification. Fusing experimental folk, lo-fi synth pop, and avant-garde textures, the record exists in its own sonic universe: poetic, layered, and fiercely independent. Formed in Saint-Étienne by percussionist and composer Dominique Lentin (Dagon, Fille Qui Mousse) and first-time vocalist Bipé Redon, L'Empire Des Sons emerged from the vibrant DIY spirit of the early 1980s. Their paths crossed during the interdisciplinary project L'Opéra Quotidien, and what followed was an intuitive, deeply collaborative process. "I would bring in lyrics and my voice," Bipé recalled, "and Dominique would shape the music around the atmosphere or rhythm suggested by the words." The result is a collection of songs that feel both meticulously constructed and completely free. Ethnic percussion, marimbas, xylophones, and synthesizers dance around Bipé's surreal, fragmented lyrics-little sonic postcards from imagined worlds. There's a theatricality here, but it never feels forced; rather, it's playful, intimate, and raw. Despite their inventiveness, L'Empire Des Sons remained a well-kept secret-circulating only in select avant-garde circles and eventually becoming an extremely sought-after collector's item. Now, thanks to Glossy Mistakes, this lost artifact returns to the world with new life: remastered from the original tapes, pressed on vinyl for the first time with extended liner notes. L'Empire Des Sons was never meant to be boxed in. Like the quote from Brian Eno that opens their liner notes-"For the world to be interesting, you have to be manipulating it all the time"-their music resists stasis. It evolves, shifts, surprises. And now, it finally gets the audience it always deserved.

OCB returns to Casa Voyager following his critically acclaimed Metroplex record with a new EP inspired by Baudrillardian simulacrum. The sound spans a wide range from track to track but remains firmly rooted in the electro and techno tradition.