Transmigration is a record label and archive dedicated to reissuing temporarily lost or forgotten psychedelic electronic music.
Founded in 2022 by Berlin-based DJ David Fogarty, the label has since gathered momentum and recognition for breathing new life into niche catalogues – often forgotten ambient and trance records from the ’90s – through careful restoration and presentation to new audiences.
Like many of the best record labels, Transmigration’s output is reflective of what you might hear in one of David’s DJ sets. Drawing from a wide-ranging record collection, he occupies a unique space that blends the deeper ends of house, techno, and trance, in a way that appeals to both large audiences and hardcore music nerds alike.
It’s an approach that has seen him play the main rooms of both Bassiani in Tbilisi and Berghain in Berlin, as well as eclectic digger spots like Düsseldorf’s Salon Des Amateurs. David hosts regular nights at local favourite basement club Sameheads, and is part of the team at Sound Metaphors as well. We caught up with him to talk shop on the story behind Transmigrations, and what it’s like running an independent label in 2025.
I started the label in 2018. Somehow, I got a copy of the Hi EP by Ebi and thought more people should hear this music. At the time, Susumu Yokota wasn’t regarded as legend status like he is now. I remember googling him and finding almost no information.
I managed to get in touch with Uwe, the owner of Space Teddy, who very kindly helped me license it. I also need to give a shout out to my close friend Richard Akingbehin, who had already been running his label Kynant for a few years at that point and gave me some advice on pressing plants, distributors, and the very important Finanzamt and GEMA stuff.
In 2020, Castro and Nemo from Sound Metaphors offered to take it on as the first external label for their burgeoning distribution operation. I was lucky the label was able to grow with the distro—they taught me a lot about the importance of good artwork, release scheduling, and promotion.
“The approach to curation
has always been to release
music
I think more people
should hear.”
The approach to curation has always been to release music I think more people should hear. Sometimes it’s a record I’ve had for years; other times, it’s something I find on Discogs that I can’t afford, or something that exists only in digital form. More recently, friends have been sending me suggestions. Stuff that’s a bit more house-oriented is usually released on Sound Migration, but there are no strict rules.
The licensing process is always different—sometimes it comes together quickly, and other times it can take years. I think the longest time from the initial email to the record being released was five years.
A big challenge is keeping things fresh after over 30 releases across the label and sub-labels. That’s why I’m pushing more for remixes, compilations, unreleased material, and even new music. Additionally, I think every label is currently struggling with inflation, increased production costs post-pandemic, and lower consumer demand. I’m very grateful to all the shops that continue to stock the releases and to everyone supporting the vinyl format.
Actually, it was Nemo’s suggestion to create a logo—I was the only label on the distribution website without one.
“I found the image while walking around Heidesee; it’s based on the logo of a rehab centre in that area.”
I’ve been doing the artwork myself since the 15th release. I like to limit myself to using only the graphic design technology that would have been available to an independent label when the music was released—that’s why most of the sleeves are two-colour vector designs. I’m a big fan of simple ’90s record designs; stuff like Outlander’s Vamp or the first Drexciya records are a big inspiration.
It was recorded at home on 2 Technics and a Xone mixer. I let the tracks play a bit longer and went a bit weirder than I might have if I was playing at a club.