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WAS - Word and Sound Medien GmbH
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Germany
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new versions of this avantguarde disco/ wave classic with takes by Brennan Green, DJ Spun and others

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Germany
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more cheeky disco action from the always great Rong stable.

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Rongs white label series is back after a 2 year hiatus and kicks into full gear with a 4 re-edit gems by their label allstars. spanning a wide range of tempo and styles with oldschool house and disco cuts by 40 Thieves, DJ Spun ft. Manthraxx and introducing Conor with the assistance of the STranger.

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WAS - Word and Sound Medien GmbH
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Germany
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ON A MISSION FROM THE DEPARTMENT OF DANCE

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Repress of original 1996 classic which has built up over recent years to be a cult house classic with select headsy DJs and players, especially championed by Chris Stussy whose set spins have pushed copies up to £100 on Discogs, support from Saint Lukez on his Instagram channel who now offers an exclusive bonus edit. This will be strictly limited with pre-sales essential. Buy of cry.

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Repress!

“The doors are where the windows should be, and the windows are where the doors should be”. If you had been in one of the more open minded all night raves in the early 90s you are likely more than familiar with Earth Leakage Trip’s ‘No Idea’.

You could write several pages about the 'Psychotronic EP' and still not nail it as well as Discogs user covert_operative's description of 'urban, British psychedelic music.' The Acid House narrative is all about ecstasy, but for many, especially outside of London, there was a lot of LSD involved. Things were edgier, too, with parties in derelict, liminal spaces. By the time this record came out in 1991, the rave was properly diverging from its house music beginnings.

The Psychotronic EP was the first release on the legendary Moving Shadow label. Its lead track 'No Idea' is both the perfect entry point to the catalogue and something of an outlier. Neil Sanford had been writing music for a few years before playing some demos to Rob Playford in his car outside a nightclub in Wood Green. Simon Carter got involved, and the pair went to Playford's studio to manifest the madness they'd been sketching with rudimentary gear.

'No Idea's use of samples was wholly inspired and far more surreal than so many of the dark-side tracks that were to follow it. A friend of Neil's had given him a record called 'Happy Monsters' and the lead track, 'Adventures in the Land of Ooog,' lent the unforgettable children's vocals. Neil initially had his doubts. Had they gone too far? However, while working on the track, Rob Playford's girlfriend ran in shouting, "you HAVE to use that!" And so it came to be.

As a footnote, the track did prove to be strong medicine, with at least one documented account of a promoter having to be talked down by his friends after hearing it when psychedelically altered.

The Psychotronic EP is a truly visionary piece of work, standing poised on the edge of the rave's burgeoning future and entirely outside it. As such, it's never not been a cool record, as appealing to lysergic adventurers as it is to house heads, hardcore ravers, or experimental music pioneers. And it has now been lovingly reissued by Blank Mind, for which I'm eternally grateful, seeing as my copy is battered beyond belief.


Written by Piers Harrison

Remastered by Graeme at the Exchange

Licensed with permission from Moving Shadow

Played by Autechre, Colin Dale, Colin Faver, Orbital

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One of the most evasive titles of the Prescription/Balance catalog, Chez Damier & Stacey Pullen's "Forever Monna" evinces the futurism of the most forward leaning deep house music, purging itself of any relics of disco sentimentality in the sacred quest of that prophecy of infinite, intangible beauty hidden within the patchwork of electronic production. Originally released in apparently minuscule numbers on Serious Grooves in 1993, this remarkable instrumental track was re-released two years later on Ballance, a fine example of these two Detroit pioneers' tireless effort to claim a piece of that brave new world from the unyielding clutches of Techno. Slinky synth loops. eerie chord frames and a brilliantly simple low-end punctuation coalesce in the uncertain, unidentifiable prospect of soul music stripped of any links to the past or present, an inexplicably funky rendition of a deep house slow mounting contagion, infecting fatally the recollections of Parliament/Funkadelic bass-licks and warm organ progressions with a bleak, somehow comforting landscape of fresh alien-esque soul. Previously unattainable without an eighty-dollar plus price-tag, "Forever Monna" joins the growing army of CORE reissues seeking to popularize an often horded and unattainable circle of essential dance music classics, pieces of stunning vision and incomparable genius that should be accessible to more than just a few pockets capable of shelving out the capital for what is rightfully the universal property of electronic musical sublimity.

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Following a hotly tipped first instalment, the Family Trip series continues with a second VA [RIDE19] featuring artists from the Magic Carpet family, celebrating five years of the label. In contrast to the first record, Disc 2 steers us into deeper, clubbier territory with bold basslines, chuggy goodness and mesmerising atmospherics. True to form, there’s an understated wild card on the B2, offering a transcendent cruise to the 5th dimension. Strap in!

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The Gods Must Be Angry comprises 3 tracks that have been doing the rounds with some of
the heaviest-of-the-heavy house DJs, available for the first time on vinyl. We’ve combined
these into one release and added a new track - What I Know - as a vinyl-only exclusive.
Across all four tracks there’s a balanced mix of headiness and body-jerking funk.

A1. Stop:Start
A2. ZEUS
B1. Yagota
B2. What I Know (Vinyl Exclusive)

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Black Vinyl

-Reissue of Rafael Anton Irisarri’s acclaimed album from 2015
-Remastered & featuring a new artwork

Ostinato as resistance: Rafael Anton Irisarri’s landmark work reimagined. Marking the tenth anniversary of the American composer’s critically acclaimed album 'A Fragile Geography', this new edition arrives renewed, both sonically and visually.

First released in 2015 (Room40) during a period of personal upheaval and creative reinvention, it endures as a testament to resilience, transformation, and the connection we hold with the places that shape us.

Written in the aftermath of a devastating theft, A Fragile Geography was born out of loss. Just days before a cross-country move to New York, Irisarri’s entire Seattle-based studio was wiped out. Instruments. Recordings. Archives. Gone without a trace. He arrived on the East Coast to an empty room and the daunting task of starting over.

“This album wasn’t just a record; it was a lifeline,” Irisarri reflects. “It became a way to process the emotional chaos that followed: uprooting, instability, and ultimately, the slow, intuitive rebuilding of a life.”

Composed and recorded in the rural woods of the Hudson Valley, the album took shape in seclusion, surrounded by nature, and through a process guided by improvisation. Embracing limitations, Irisarri wove textural layers of field recordings with half-remembered melodies from his Seattle years, piecing them together like fragments of memory. Tracks like “Displacement,” “Hiatus,” and “Persistence” juxtaposed haunting stillness with restless momentum, mapping an inner terrain of grief, catharsis, and rebirth.

Among its defining sounds is “Empire Systems,” a monumental centerpiece built around a simple four-chord progression, organ textures, and guitar drones. Gradually, the track expands into layers of immersive loops and thick, enveloping distortion that wash over the listener like a rolling wave. Often cited as the album’s most majestic passage, it captures Irisarri at his most sonically ambitious. With a harmonically saturated structure crafted from restraint and repetition, it remains one of his most recognizable compositions: an exercise in the art of maximal minimalism.

From the outset, “Reprisal” received praise from BBC’s Mary Anne Hobbs, who championed the track on her radio show. Her support played a key role in introducing Irisarri’s work to wider audiences and solidifying his place within the lineage of electronic, drone, and experimental sound artists. A slow-burning elegy, the piece emerges from a haze of distortion and sub-bass, with dense, unrelenting drones carrying a sense of mounting tension. Just as it seems to collapse under its own weight, flickers of guitar emerge like distant light through fog. It’s a meditation on dissonance, resolve, and the elusive possibility of release.

The closing track, “Secretly Wishing for Rain,” is steeped in saudade: a longing for Seattle’s dour grey skies, lush green landscapes, and desaturated sunsets. Through it, Irisarri mourns a vanished chapter of life bound to the city, a time documented in scattered mementos and cherished collections, now permanently gone. A reflection on what could never be recovered: an era lost to time. Julia Kent’s looped cello motifs added a melancholic warmth to the track, marking the first collaboration between the two artists and sparking a musical dialogue that would keep growing in the years that followed.

More than a career highlight, A Fragile Geography has laid the foundation for Black Knoll studio, which Irisarri rebuilt from the ground up. The studio has since grown into a creative hub for countless projects, with Irisarri engineering records for iconic music figures like Terry Riley, Ryuichi Sakamoto, William Basinski, MONO, Devendra Banhart, Grouper, Emeralds, Steve Hauschildt, Julianna Barwick, and many others. Carried by its lasting influence, the album has quietly captured the ear of a younger generation, its sound and emotional arc finding new listeners in unexpected corners.

The album’s new visual language was reimagined in collaboration with Mexico City–based designer Daniel Castrejón. Irisarri captured ghostly images at Gaztelugatxeko Doniene, a historic coastal site in Bermeo, Euskal Herria. Castrejón then treated the photographs with distressed textures and spectral overlays. The final artwork channels the rugged, elemental forces that shaped both the music and Irisarri’s aesthetic, renewing his ties to ancestral ground inspired by the Basque homeland of his bloodline.

Mastered by Stephan Mathieu with exceptional attention to detail, this anniversary edition uncovers every nuance in the sound design, enhancing clarity and presence. With each listen, new elements emerge, inviting discovery and reconnection.

“I don’t experience this album as a document of grief anymore,” says Irisarri. “I hear adaptation and I'm reminded that when everything falls apart, something meaningful, maybe even beautiful, can emerge.”

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In Hayk Karoyi’s music, the vibrant palette of the Mediterranean meets the deep layers of Armenian medieval culture. A composer, sound artist, producer, selector, and live performer, as well as a multi-instrumentalist specializing in Armenian woodwinds, Hayk channels his cultural identity intuitively, allowing memory, place, and subconscious expression to shape his sound. Coming from a mixed East Mediterranean and Armenian heritage, he has never aimed to define himself—or his music—within a single tradition.

Instead, his work exists as a continuous fusion: electronic music intertwined with ancient timbres, improvisation, and experimentation. His work has been presented in clubs, concert spaces, and international festivals across Italy, France, Spain, Germany, Armenia, Georgia, Uzbekistan, and Indonesia. He has appeared on festival lineups such as Terraforma Symposia (Italy), Stihia Festival (Uzbekistan), O3 Festival (Armenia), Nopa Sound Festival (Armenia), TKESHI FESTIVAL (GEORGIA) ,Urvakan Festival (Armenia), New East Festival (Barcelona, Spain), Suara Festival (Indonesia), and Un Week-end Festival (France).

“Yotqar” is a love letter to the artists and musicians who have shaped me; those whose music I’ve carried in my heart and those I’ve shared stages and moments with over the years. The album is deeply rooted in Armenian woodwind traditions, echoing voices of the masters I admire. Its soundscape stretches across a wide geography and draws inspiration from the mountains of Syunik to the streets of Anjar, weaving in local sounds, memories and emotions. Endless gratitude to my parents, and especially to my mother for the folklore melodies she sings while cooking, filling the house with warmth and history.” - Hayk Karoyi


A1 AR
A2 Qami
A3 Ghashang
A4 Dumdamta
B1 Woudouk
B2 Yotqar
B3 Ooooooof

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"Please welcome: It’s The Arps! Oslo’s magic music maker Todd Terje has already gained a wunderkind like reputation for his gentle yet potent productions (we won’t mention the “E” word here) on labels like Full Pupp, Permanent Vacation or Running Back on top of being one of the best remixers money can buy (Shit Robot, Bryan Ferry, Dølle Jølle et cetera et cetera). What is there left for him to do? Establish a label of his own! “It’s The Arps” is the starting signal for Olsen. And what a splendid one it is. Created from scratch and solely on the mythical synthesizer ARP 2600 (check www.letsnerd.com for help), it features four tracks (reads instant classics) that couldn’t be a better follow-up to his 2011 super hit EP “Ragysh”. Towering over the assortment is the laser crime scene called “Inspector Norse”. Defying genres and blinkers, this is finest goose bumps dance music that makes you whistle along, laughing and crying all at the same time – but the rest isn’t half bad either. The short, but sweet “Myggsommer” gives away Terje’s secret love for quirky exotika, whereas “Swing Star Pt 1” and its brother have a (balearic) brilliance and witchery to them that is rarely found nowadays. Powered by Smalltown Supersound and housed in a beautiful sleeve courtesy of Bendik Kaltenborn (www.benkalt.no). 100% Arp 2600 and 200% Todd Terje!"



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