The Perennial Series is a new division of Lapsus Records and is dedicated to works from established artists in the universe of contemporary electronic music. As the name suggests, timeless music will form the cornerstone of the Perennial Series through pieces that have passed through numerous fashions and trends: musical treasures that have never been pressed to vinyl, decades old discontinued album reissues, or new artist releases that already form part of electronic music culture history.

Check all our releases at www.lapsusrecords.cat.

Lapsus Records - Perennial Series Releases

Dance music has always been grounded in a sense of place. Chicago, Detroit, London, Berlin—a zip code can tell you as much about the music as the year it was made. But beyond the nuts and bolts of the here and now lies a netherzone where some of the best electronic music floats, impossible to pin down. Swayzak’s (@s_w_z_k) 'Snowboarding in Argentina' is one such record.

The title hints at its uncanny placelessness. The music has nothing outwardly to do with Argentina, for one thing. The work of UK producers David Nicholas Brown and James S. Taylor, it was recorded in a number of locations—mostly bedrooms—around London. Yet there is little that is quintessentially British about the music. Instead, Brown and Taylor drew much of their inspiration from, on the one hand, the luminous chords and silky heft of Detroit techno, and on the other, the staccato drums and clipped textures that were then beginning to bubble out of Berlin and Cologne.

The core of 'Snowboarding in Argentina' appeared on a series of three two-track singles in 1997. (Taylor brought 10 copies of the first to Berlin’s Hard Wax, sold them directly to the shop for a fistful of Deutschmarks, and turned around and spent the money on records; that’s how DIY electronic music worked in those days.) The album itself appeared in 1998 on London’s Pagan label and quickly built a cult following. It was clear that the music was in conversation with its contemporaries: Heard from the right angle, it was possible to imagine it as a halfway point between the proto progressive house of Underworld and the monochromatic minimalism of Kompakt. But it also didn’t quite sound like anything else around; it was a dispatch from an unknown territory that needed no special understanding to decipher.

A quarter century later, 'Snowboarding in Argentina' sounds simply eternal. Certain hallmarks of ’90s production are available—the music’s almost murky warmth is a reminder of what electronic music sounded like before software swallowed everything into its digital maw—but there’s nothing dated about it. The exploratory nature of these tracks, as the result of experimenting with their machines’ limitations, never eclipses their musical or emotional essence.

Long since been deemed a classic, 'Snowboarding in Argentina' remains an underdog in the annals of electronic music. Its semi-obscurity was surely not helped by the decision to publish nine of its original 12 tracks on the CD, and seven on the vinyl, with only four appearing on both formats. Twenty-five years after its original release, Lapsus’ Perennial Series edition unites, for the first time, all the album’s tracks as a single triple-vinyl package, rounding out the 12 original songs with previously unreleased material. Working off the original DAT premasters, Swayzak have created new edits of all the tracks. The result might be considered the definitive edition of the album as it was meant to be, after a 25-year journey. It seems fitting that an album so timeless would continue morphing throughout its lifespan. For fans, it’s the chance to hear a beloved album as never before. And for newcomers, it’s the perfect introduction to a record that, in its own quiet way, reshaped the sound of electronic music, opening up new frontiers unbound by cartography or calendars.

https://swayzak.bandcamp.com/album/snowboarding-in-argentina-25th-anniversary-edition

Snowboarding in Argentina (25th Anniversary Edition)

Swayzak - Snowboarding in Argentina (25th Anniversary Edition) [LPS-PS13]

Back in the 1990s video games were still largely seen as nerdy: fun, sure, but basically a guilty pleasure that you’d soon grow out of. The release in 1995 of wipE'out'', a lightning-fast, razor-sharp, futuristic racing game that helped to launch the PlayStation in Europe and North America, changed all that. This was a game that looked and sounded both adult and cool, the kind of game you would put on display in your living room, rather than hide away under your bed. Key to this was the fact that wipE'out'' borrowed unashamedly from the clubbing experience and electronic music, in a way that put it at the heart of progressive mid 90s culture. It soon became a phenomenon.

wipE'out'' looked sensational, with Sheffield agency The Designers Republic - known for their work with Warp - creating the visuals, packaging and manual for the game, drawing heavily on the bright colours and excitable geometric shapes of the rave and club flyers of the early 90s.

wipE'out'' also sounded like a new rave dream. The European version of the game included music from The Chemical Brothers, Leftfield and Orbital, the kind of fashionable game syncs that were almost unheard of at the time. Equally striking was the game’s original music, which came from Welsh musician Tim Wright, aka @coldstorage, by this point already a veteran in the video games world, having worked on the music for Amiga titles such as Lemmings and Shadow of the Beast 2. His music for wipE'out'' was, if anything, even more extreme than the big-name syncs, mixing the accelerated beats of drum & bass with the pure synth rush of trance to make music that sounded as breathlessly exciting as playing the game felt.

These tracks were burned into the brains of millions of gamers; the soundtrack to a generation of late-night anti-gravity racing, as the sun gingerly rose beyond the curtains. But they haven’t, perhaps, quite got the respect they deserve, something that this release will address. In 2023, video game music is finally getting its dues; here, remastered and repackaged –and also remixed by cutting edge producers such as Kode9, μ-Ziq, Brainwaltzera, Simo Cell, Wordcolour, James Shinra, Surgeons Girl and Dattassette– are some of the most important, thrilling, innovative and most fun songs ever committed to game release.

wipE'out'' - The Zero Gravity Soundtrack

CoLD SToRAGE - Messij / wipE'out'' - The Zero Gravity Soundtrack [LPS-PS14]

The release in 1995 of wipE'out'', a lightning-fast, razor-sharp, futuristic racing game that helped to launch the PlayStation in Europe and North America, changed video games industry. Equally striking was the game’s original music, which came from Welsh musician Tim Wright, aka CoLD SToRAGE, mixing the accelerated beats of drum & bass with the pure synth rush of trance to make music that sounded as breathlessly exciting as playing the game felt.
   
The first advancement of wipE'out'' - The Zero Gravity Soundtrack comes with three powerful tracks: the original production 'Messij' –and indeed one of the most beloved tracks from the score– together with two stellar remixes by @hyperdub's head @kodenine and British producer Datassette (@datashat).

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General Blurb:

Back in the 1990s video games were still largely seen as nerdy: fun, sure, but basically a guilty pleasure that you’d soon grow out of. The release in 1995 of wipE'out'', a lightning-fast, razor-sharp, futuristic racing game that helped to launch the PlayStation in Europe and North America, changed all that. This was a game that looked and sounded both adult and cool, the kind of game you would put on display in your living room, rather than hide away under your bed. Key to this was the fact that wipE'out'' borrowed unashamedly from the clubbing experience and electronic music, in a way that put it at the heart of progressive mid 90s culture. It soon became a phenomenon.

wipE'out'' looked sensational, with Sheffield agency The Designers Republic - known for their work with Warp - creating the visuals, packaging and manual for the game, drawing heavily on the bright colours and excitable geometric shapes of the rave and club flyers of the early 90s.

wipE'out'' also sounded like a new rave dream. The European version of the game included music from The Chemical Brothers, Leftfield and Orbital, the kind of fashionable game syncs that were almost unheard of at the time. Equally striking was the game’s original music, which came from Welsh musician Tim Wright, aka @coldstorage, by this point already a veteran in the video games world, having worked on the music for Amiga titles such as Lemmings and Shadow of the Beast 2. His music for wipE'out'' was, if anything, even more extreme than the big-name syncs, mixing the accelerated beats of drum & bass with the pure synth rush of trance to make music that sounded as breathlessly exciting as playing the game felt.

These tracks were burned into the brains of millions of gamers; the soundtrack to a generation of late-night anti-gravity racing, as the sun gingerly rose beyond the curtains. But they haven’t, perhaps, quite got the respect they deserve, something that this release will address. In 2023, video game music is finally getting its dues; here, remastered and repackaged –and also remixed by cutting edge producers such as Kode9, μ-Ziq, Brainwaltzera, Simo Cell, Wordcolour, James Shinra, Surgeons Girl and Dattassette– are some of the most important, thrilling, innovative and most fun songs ever committed to game release.

Messij (Kode9 Remix) / wipE'out'' - The Zero Gravity Soundtrack [LPS-PS14]

Messij (Datassette Remix) / wipE'out'' - The Zero Gravity Soundtrack [LPS-PS14]

CoLD SToRAGE - Canada / wipE'out'' - The Zero Gravity Soundtrack [LPS-PS14]

CoLD SToRAGE - Trancevaal / wipE'out'' - The Zero Gravity Soundtrack [LPS-PS14]

The release in 1995 of wipE'out'', a lightning-fast, razor-sharp, futuristic racing game that helped to launch the PlayStation in Europe and North America, changed video games industry. Equally striking was the game’s original music, which came from Welsh musician Tim Wright, aka CoLD SToRAGE, mixing the accelerated beats of drum & bass with the pure synth rush of trance to make music that sounded as breathlessly exciting as playing the game felt.

The second instalment of the advanced singles from wipE'out'' - The Zero Gravity Soundtrack comes in the form of a 4-track package containing two original songs by CoLD SToRAGE –the iconic 'Canada' and the trance based 'Trancevaal'– plus two additional remixes by the French producer @simocell and the British IDM master @jamesshinra.

------------------

General Blurb:

Back in the 1990s video games were still largely seen as nerdy: fun, sure, but basically a guilty pleasure that you’d soon grow out of. The release in 1995 of wipE'out'', a lightning-fast, razor-sharp, futuristic racing game that helped to launch the PlayStation in Europe and North America, changed all that. This was a game that looked and sounded both adult and cool, the kind of game you would put on display in your living room, rather than hide away under your bed. Key to this was the fact that wipE'out'' borrowed unashamedly from the clubbing experience and electronic music, in a way that put it at the heart of progressive mid 90s culture. It soon became a phenomenon.

wipE'out'' looked sensational, with Sheffield agency The Designers Republic - known for their work with Warp - creating the visuals, packaging and manual for the game, drawing heavily on the bright colours and excitable geometric shapes of the rave and club flyers of the early 90s.

wipE'out'' also sounded like a new rave dream. The European version of the game included music from The Chemical Brothers, Leftfield and Orbital, the kind of fashionable game syncs that were almost unheard of at the time. Equally striking was the game’s original music, which came from Welsh musician Tim Wright, aka @coldstorage, by this point already a veteran in the video games world, having worked on the music for Amiga titles such as Lemmings and Shadow of the Beast 2. His music for wipE'out'' was, if anything, even more extreme than the big-name syncs, mixing the accelerated beats of drum & bass with the pure synth rush of trance to make music that sounded as breathlessly exciting as playing the game felt.

These tracks were burned into the brains of millions of gamers; the soundtrack to a generation of late-night anti-gravity racing, as the sun gingerly rose beyond the curtains. But they haven’t, perhaps, quite got the respect they deserve, something that this release will address. In 2023, video game music is finally getting its dues; here, remastered and repackaged –and also remixed by cutting edge producers such as Kode9, μ-Ziq, Brainwaltzera, Simo Cell, Wordcolour, James Shinra, Surgeons Girl and Dattassette– are some of the most important, thrilling, innovative and most fun songs ever committed to game release.

Canada (James Shinra Remix) / wipE'out'' - The Zero Gravity Soundtrack [LPS-PS14]

Trancevaal (Simo Cell Remix) / wipE'out'' - The Zero Gravity Soundtrack [LPS-PS14]

The release in 1995 of wipE'out'', a lightning-fast, razor-sharp, futuristic racing game that helped to launch the PlayStation in Europe and North America, changed video games industry. Equally striking was the game’s original music, which came from Welsh musician Tim Wright, aka CoLD SToRAGE, mixing the accelerated beats of drum & bass with the pure synth rush of trance to make music that sounded as breathlessly exciting as playing the game felt. 

The second single of the timeless wipE'out'' - The Zero Gravity Soundtrack presents two of the most iconic tunes of the score, the original intro track of the video game and the speedy 'DOH-T'. The package is completed with two masterful remixes by Planet Mu's founder μ-Ziq, aka Mike Paradinas (@mikep), and the braindance producer @wordcolour.

------------------

General Blurb:

Back in the 1990s video games were still largely seen as nerdy: fun, sure, but basically a guilty pleasure that you’d soon grow out of. The release in 1995 of wipE'out'', a lightning-fast, razor-sharp, futuristic racing game that helped to launch the PlayStation in Europe and North America, changed all that. This was a game that looked and sounded both adult and cool, the kind of game you would put on display in your living room, rather than hide away under your bed. Key to this was the fact that wipE'out'' borrowed unashamedly from the clubbing experience and electronic music, in a way that put it at the heart of progressive mid 90s culture. It soon became a phenomenon.

wipE'out'' looked sensational, with Sheffield agency The Designers Republic - known for their work with Warp - creating the visuals, packaging and manual for the game, drawing heavily on the bright colours and excitable geometric shapes of the rave and club flyers of the early 90s.

wipE'out'' also sounded like a new rave dream. The European version of the game included music from The Chemical Brothers, Leftfield and Orbital, the kind of fashionable game syncs that were almost unheard of at the time. Equally striking was the game’s original music, which came from Welsh musician Tim Wright, aka @coldstorage, by this point already a veteran in the video games world, having worked on the music for Amiga titles such as Lemmings and Shadow of the Beast 2. His music for wipE'out'' was, if anything, even more extreme than the big-name syncs, mixing the accelerated beats of drum & bass with the pure synth rush of trance to make music that sounded as breathlessly exciting as playing the game felt.

These tracks were burned into the brains of millions of gamers; the soundtrack to a generation of late-night anti-gravity racing, as the sun gingerly rose beyond the curtains. But they haven’t, perhaps, quite got the respect they deserve, something that this release will address. In 2023, video game music is finally getting its dues; here, remastered and repackaged –and also remixed by cutting edge producers such as Kode9, μ-Ziq, Brainwaltzera, Simo Cell, Wordcolour, James Shinra, Surgeons Girl and Dattassette– are some of the most important, thrilling, innovative and most fun songs ever committed to game release.

CoLD SToRAGE - DOH-T / wipE'out'' - The Zero Gravity Soundtrack [LPS-PS14]

CoLD SToRAGE - WipE′out″ Intro / wipE'out'' - The Zero Gravity Soundtrack [LPS-PS14]

CoLD SToRAGE - WipE′out″ Intro (µ-Ziq Remix) / wipE'out'' - The Zero Gravity Soundtrack [LPS-PS14]

CoLD SToRAGE - DOH-T (Wordcolour Remix) / wipE'out'' - The Zero Gravity Soundtrack [LPS-PS14]

The release in 1995 of wipE'out'', a lightning-fast, razor-sharp, futuristic racing game that helped to launch the PlayStation in Europe and North America, changed video games industry. Equally striking was the game’s original music, which came from Welsh musician Tim Wright, aka CoLD SToRAGE, mixing the accelerated beats of drum & bass with the pure synth rush of trance to make music that sounded as breathlessly exciting as playing the game felt.

The closing single of the timeless wipE'out'' - The Zero Gravity Soundtrack shares a special lineup. Brakbeat takes control on 'Hakapik Murder' track and 'Cairodrome' reveals the hypnotic trance sound that was key for the score success back in the mid 90s. In addition, two amazing remixers are on board: the elusive and mysterious @brainwaltzera and the Bristol based synth wizard @surgeonsgirl.

------------------

General Blurb:

Back in the 1990s video games were still largely seen as nerdy: fun, sure, but basically a guilty pleasure that you’d soon grow out of. The release in 1995 of wipE'out'', a lightning-fast, razor-sharp, futuristic racing game that helped to launch the PlayStation in Europe and North America, changed all that. This was a game that looked and sounded both adult and cool, the kind of game you would put on display in your living room, rather than hide away under your bed. Key to this was the fact that wipE'out'' borrowed unashamedly from the clubbing experience and electronic music, in a way that put it at the heart of progressive mid 90s culture. It soon became a phenomenon.

wipE'out'' looked sensational, with Sheffield agency The Designers Republic - known for their work with Warp - creating the visuals, packaging and manual for the game, drawing heavily on the bright colours and excitable geometric shapes of the rave and club flyers of the early 90s.

wipE'out'' also sounded like a new rave dream. The European version of the game included music from The Chemical Brothers, Leftfield and Orbital, the kind of fashionable game syncs that were almost unheard of at the time. Equally striking was the game’s original music, which came from Welsh musician Tim Wright, aka @coldstorage, by this point already a veteran in the video games world, having worked on the music for Amiga titles such as Lemmings and Shadow of the Beast 2. His music for wipE'out'' was, if anything, even more extreme than the big-name syncs, mixing the accelerated beats of drum & bass with the pure synth rush of trance to make music that sounded as breathlessly exciting as playing the game felt.

These tracks were burned into the brains of millions of gamers; the soundtrack to a generation of late-night anti-gravity racing, as the sun gingerly rose beyond the curtains. But they haven’t, perhaps, quite got the respect they deserve, something that this release will address. In 2023, video game music is finally getting its dues; here, remastered and repackaged –and also remixed by cutting edge producers such as Kode9, μ-Ziq, Brainwaltzera, Simo Cell, Wordcolour, James Shinra, Surgeons Girl and Dattassette– are some of the most important, thrilling, innovative and most fun songs ever committed to game release.

CoLD SToRAGE - Cairodrome / wipE'out'' - The Zero Gravity Soundtrack [LPS-PS14]

CoLD SToRAGE - Xylem (Brainwaltzera Remix) / wipE'out'' - The Zero Gravity Soundtrack [LPS-PS14]

CoLD SToRAGE - Cairodrome (Surgeons Girl Remix) / wipE'out' - The Zero Gravity Soundtrack [LPS-PS14]

Although 30 years after its birth this fundamental electronic gem called 'Reflections' has achieved cult status, it is worth remembering that it all started in 1993 in a small apartment in Waterloo, London, with the help of a mixer and a bunch of hardware synth and drum machines of hardware, with the mastodontic Oberheim OB-8 synthesizer as the main partner.

While in the UK the vast majority of kids showed a certain rejection of what came from North America in the form of electro, Kirk Degiorgio, under his alias As One, embraced it openly and incorporated it into his productions along with influences from other genres that he had already adored since he was young, such as jazz, soul or funk, thus becoming one of the true early adopters of Detroit techno in the UK.

If we look back, 'Reflections' is a challenge in itself, and even more so considering what the consumption pattern of electronic music was in the early 90s. This timeless album fits into the delicate border between being enough club to work on the dance floor, and still being musical and cerebral enough to be listened to at home. A milestone that, whether premeditated or not, Degiorgio more than achieved.

Three decades later Lapsus Records has been able to access the pre-masters extracted from the original DATs to build a special 30th anniversary edition within its Perennial series. For the occasion, this reissue not only offers the tracks included in the first edition, it also adds the songs 'The Priestess' –never released on vinyl before– and Forgotten Memory –until now unreleased and rediscovered in one of the DATs dating back to 1992 from the 'Reflections' recording sessions. We are therefore facing the definitive edition of an album that, despite coexisting with the explosion of the rave movement, would pave the path for the UK-Detroit connection.

All tracks written, mixed and produced by Kirk Degiorgio.
Published by Bucks Music Group, UK.
Mastered by Pedro Pina.
Artwork update by Basora.
LPS-PS15.
© 1994 ART Records.
℗ 2024 Lapsus Records.
www.lapsus.cat

Recorded 1992-1994 at ART Studios, London, UK - using Kurzweil K2000, Oberheim OB8, Oberheim Matrix 1000, Roland R8, Roland TR-808, Roland TR-909, Akai S950, Yamaha DX100, Yamaha SPX 900, Kawai K3.

Reflections (30th Anniversary Edition)

As One - Mihara (2024 Remaster) | Reflections (30th Anniversary Edition) [LPS-PS15]

'When Can' is a journey through the realms of musical serendipity, an ode to the unexpected twists of collaborative intuition. Conceived in the spring of 2012, this masterpiece is the culmination of a decade-long friendship between Reimer Eising aka @kettelmusic, and Lennard van der Last aka Secede, two of the most talented electronic music producers from The Netherlands.

'When Can' is not just a collection of songs; it's a seamless continuum where each track breathes life into the next. As the listener delves into the sonic story, the music leads to uncharted territories, incorporating ambient and cinematic sounds and blending them with reminiscences from Renaissance to Baroque music. Far from a preconceived plan, the album organically unfolded, capturing the essence of the musical exploration from these two brilliant minds.

More than a decade after its birth, Lapsus is proud to release 'When Can' for the first time on vinyl. For this meticulously curated deluxe edition all the tracks have been remastered, and the artwork has been updated by Basora studio. And there's much more inside: two lithographic prints featuring original paintings by Jeroen Advocaat plus an extra 10" including the unreleased tracks 'Zipvanes' –a 10 minutes alternative cut of 'Ringvanes'– and 'Spoonful'.

When Can (Deluxe Edition)

Kettel & Secede - Zipvanes | When Can (Deluxe Edition) [LPS-PS16]

lapsus.bandcamp.com/album/science-art-and-ritual-30th-anniversary-edition

'Science, Art And Ritual' is a story of ‘process'. Growing up in Harrow (a then quiet suburb of London) in the 70’s and 80’s from the age of about 10, Kingsuk Biswas aka Bedouin Ascent's ears opened up to sound as he scanned the airwaves. The undeniable righteousness of 80’s dub via David Rodigan’s Roots Rockers shows was the first prominent influence he received, and with punk roots —and his burgeoning record collection— became exposed to the breathless post punk experimentation that followed in the early 80’s sweeping up free jazz, noise, dub and much more. Throughout though, he maintained his fascination with Indian Classical music which was a mainstay in his parent’s house and spoke with the same infinite space as Joy Division's 'Unknown Pleasures', and King Tubby’s Studio dispatches. Through those teens he assembled and de-assembled, knocking about with fellow travellers —punk bands, garage, space rock, noise. Something was happening. On-U Sound, ECM, Factory Records kept him plugged in and sane.

At that time Kingsuk's core studio setup revolved around his vintage Gretsch, Fender Jazz, Moog, TR-606 and rudimentary FX. He added congas, folk instruments, pipes, hand percussion, gongs, and jammed out shards of funk, noise, jazz fusion, electro and ambience into his hungry Tascam Portastudio. By 1987 these had morphed into what we’d now refer to broadly as techno, but the genre didn't exist beyond the reverberating walls of his bedsit, and he hadn’t yet plugged into the global conversation.

'Science, Art And Ritual' was released in 1994 by Rising High Records and was presented as Bedouin Ascent's debut album, although 'Music for Particles' (released in 1995, again on Rising High) was recorded even before —'SAR' sessions span from 1992-1993, whereas 'Music for Particles' were earlier from 1989-1992, with some older 4-track references from about 1986 too.

Weaved in throughout the album are subconscious references to music that Kingsuk heard in the past that still remained within sight as companions. The opening track "Ancient Ocean III", referencing the extinct ocean Tethis, unapologetically channels Tackhead, Colourbox, Mantronix and Lee Perry. The style was also deliberately juxtaposed to the prevailing sound in techno at the time, which had locked onto a rigid form of symmetrical kicks and light snare drums. Elsewhere 80’s soul and funk are frozen and captured in fragile glass lattices. Electric pianos resound throughout, such as in "He Is She", probably a half-memory of 70’s MOR radio from childhood sleepy night drives. A duel between kick drums from three generations of Roland drum machines —TR-808, TR-707 and R-8— is a central theme in "Transition-R", all in conversation, calling and responding. These were not just machines to Bedouin Ascent, but part of an extended family, with heart and soul.

Three decades after seeing the light, Lapsus is proud to present a special 30th anniversary reissue of this left-field techno gem in a repackaged and redesigned edition. All pressed on a deluxe 3LP marbled vinyl and including a limited lithographic insert print of the original album cover. All tracks have been restored and remastered directly from the original DAT tapes, and the album also features previously unreleased tracks such as "In the Clouds" and "Thru Water" —regularly performed live at that time and produced in the same period as the album sessions in 1993.

'Science, Art And Ritual’ may refer to esoteric traditions in Indian philosophy, but equally embodies the collision of the science, the art and the ritual that is at the core of being immersed in a deep musical journey. 

Buy link

Bedouin Ascent - In the Clouds - 2024 Remaster | Science, Art And Ritual (30th Anniversary Edition) [LPS-PS17]

Bedouin Ascent - Ancient Ocean III - 2024 Remaster | Science, Art And Ritual (30th Anniversary Edition) [LPS-PS17]

Originally recorded in the Dutch towns of Ureterp and Groningen between 2003 and 2005, 'Through Friendly Waters' marks a pivotal moment in Reimer Eising’s —better known as Kettel— journey through melodic braindance and ambient electronica. With his classical training on piano and a refined sensibility for gentle electronic textures, Kettel weaves together shimmering piano motifs, warm ambient textures, playful breakbeats, and pastoral atmospheres that shimmer with emotional resonance.

First released in 2005 via his own label Sending Orbs, the album soon achieved cult status among IDM fans, celebrated for balancing playful compositional elegance with heartfelt sonic depth. TFW still remains as a timeless soundtrack that perfectly encapsulates why Kettel remains a key figure of electronic music enthusiasts two decades on.

To honour its twentieth anniversary, Lapsus Records presents 'Through Friendly Waters (20th Anniversary Edition)', marking the album’s debut on vinyl within the Perennial Series. This edition has been remastered by Alex Ferrer and redesigned by Basora, resulting in a deluxe version that also includes the tracks "Unistar" and "Toen", which were originally released only on CD by the Timothy Really label back in 2007.

· Buy link (Bandcamp): kettel.bandcamp.com/album/through-friendly-waters-20th-anniversary-edition

Written and produced by Reimer Eising. Recorded in Ureterp and Groningen 2003-2005
Remastered by Alex Ferrer.
Original artwork by Jeroen Advocaat.
Artwork update by Basora.

LPS-PS18.
www.lapsus.cat

© 2005 Sending Orbs
℗ 2025 Lapsus Records

lapsus.bandcamp.com

Buy Link (Bandcamp)

Kettel - Pinch of Peer - 2025 Remaster [LPS-PS18]

Run by @wooky
www.lapsus.cat

Record Labels: Lapsus Records, Balmat & C.E.E.
Distribution by !K7 (www.k7.com)

Weekly podcast Lapsus Radio co-hosted by @wooky and @psherburne.
Support: www.patreon.com/LapsusRadio
Listen: www.mixcloud.com/Lapsus_Radio

Booking and Management Agency: www.lapsusagency.com

Lapsus Records - Perennial Series Releases

Lapsus / C.E.E.