quête:01 011

A new album by legendary Estonian pianist Tõnu Naissoo, accompanied by his new group Tõnu Naissoo Electric Trio !

Accompanied by his synthesizers and two of the best Estonian jazz musicians, bassist Mihkel Mälgand and drummer Ahto Abner, Tõnu Naissoo began recording his album “Different Directions” in the autumn of 2019 at the legendary Linnahall studio that he had booked for that purpose several years in advance. The new tracks he composed for the album flow from jazz-rock to smooth jazz, lingering briefly on the frequency of free jazz.
The popular Estonian jazz pianist Tõnu Naissoo was born in Tallinn, Estonia in 1951. His father Uno Naissoo was a renowned composer and an organizer of jazz festivals, who encouraged Tõnu to take an interest in jazz and improvisation. By the age of 15 he had already begun participating in local jazz orchestra. He performed first time with his trio and presented his jazz music compositions at the international Tallinn Jazz Festival of 1967 in Tallinn. The next year he was given an opportunity to record his own album. Since then he has dedicated himself to jazz music and recorded around 30 albums that have been released in Estonia, Japan and Russia. Most of his earliest recordings have been reissued in recent years.
“Different Directions” feels like Tõnu Naissoo’s ’missing piece’ album from the 1980s. It will be a worthy addition to Tõnu Naissoo’s and Frotee’s discography.

Acclaimed saxophonist, producer and composer Yasuaki Shimizu will release Kiren, his unreleased album from 1984, on the Palto Flats record label on February 25, 2022.

Liner notes by music historian Chee Shimizu, and credits in both Japanese and English.

By the early 1980s Yasuaki Shimizu had established himself on the Japanese new wave scene, producing many important experimental pop records and releasing several albums as the bandleader of
Mariah. Following the release of his widely regarded solo classic Kakashi, from 1982, and the otherworldly Utakata No Hibi, by Mariah in 1983, he went into the studio the following year with frequent
collaborators, producer Aki Ikuta and Morio Watanabe (bassist of Mariah), to record a mystifying collection of experimental dance music. Utilizing cutting-edge technology and studio trickery, Kiren
showcases Shimizu's trademark playfulness, marrying richly layered production techniques to off-kilter, sometimes traditional sounding rhythms and melodies. Portending his work with the Saxophonettes as well as forecasting trends in techno, new wave, and futuristic rhythmic music, this formerly lost album represents an important period of Shimizu's artistic expression, an artist at his peak, while successfully exploring the intersections of fusion, synthpop, new wave, and jazz.

As Chee Shimizu (no relation) writes in the liner notes, Kiren, and his concurrent release Latin were “born out of a free environment of collaboration that existed between Yasuaki and Aki Ikuta ... (exemplifying) his most energetic works.” In listening to Kiren, we might share with Yasuaki Shimizu the joy and excitement of experimentalism and movement that went into the making of this album, now released for the first time many years later.

Limited to 50 copies… Veleno Viola welcomes Parasite, a promising Maltese newcomer, with a 4-tracker EP of edgy, hypnotic and frantic blend of Proto-EBM and oldschool Industrial.

Instinct has been one of the key protagonists in garage's ongoing renaissance. Not only have his tunes given a fresh take on the much loved old sound, but there have been plenty of them, too. Now he's back with yet another full length, and once again it's packed with heat. There are deep shufflers that nod to the original US garage sound, as well as darker, 2-step tinged get downs. More so than before, there seem to be plenty of reversed bass stabs and MC vocals, old school signifiers and jungle breaks that pay homage to the roots of the sound while never simply copying it. The heart aching vocal of 'Don't Know' is our fave and a likely candidate for one of this summer's standout tunes.

"The stakes are high; if I mess up the last bar, the whole recording is ruined." As Dutch pianist Nicolas van Poucke acknowledges, there is an electricity in the room whenever the lathe is on. Direct-to-disc recording generates tension and release unlike other methods, not least in the final moments of a 20-minute solo piano recital. Described as "the young freethinker" of his generation, van Poucke relished the challenge. Having spent day one setting up to record works by Frédéric Chopin, van Poucke changed tack on day two to perform two Beethoven piano sonatas - Sonata No. 12 Opus 26 in A flat major, and Sonata No. 23 Opus 57 in f minor, also known as the "Appassionata".



For fans of great jazz soloists like Keith Jarrett and Bill Evans asmuch as for classical aficionados, van Poucke’s recordings make thebest of the process in capturing a sense of timelessness in the music.

Merit Hemmingson is an 81-year-old matriarch, composer, organist and singer from Jämtland

She has devoted her life to exploring and constructing her own musical landscape, which bends and challenges genres in ways that have often created swells. Since the 1960s, her personal expression has created a unique space in Swedish music history where jazz, groove rock and folk music meet. Throughout her career Merit has moved forward with a strong sense of self and sensitivity to music and she has collaborated with both The Ark and Beppe Wolgers, played on major jazz stages in New York and over the years toured around Sweden and also in Norway. Her long experience invites you to a rare artistic depth, which winds down through narrow caves and out into magnificent saltwater cathedrals.

Featuring musicians like Loney Dear, Martin Hederos and Mattias Bjäred (Soundtrack of our lives), Sara Parkman and many more.

For RE:WARM 011 we present Bibbi ‘You Don’t Mind’. A four-track House infused dancefloor weapon. With hints of early 90s Euro House prime for those vintage Mediterranean sunset dance sessions after a few drinks under the parasol. All 4 tracks are sure-fire winners here. This is the only solo outing for Bibbi on vinyl with this release which is a real shame as she clearly had talent that somehow didn’t translate to capturing the interest of a wider audience.

The record was produced by ‘SUN’ Nkotsoe, formerly one half of Monwa & Sun and a popular solo act after his eponymous debut in 1990 and Looking For Love in 1991. He surely could have put his own name on this four-track e.p, given that the early house beats take centre stage. Recorded at the famous Shandel Studios, the home of many great South African popular acts of the time.

Originally released in 1992 on Diamond Music and officially licensed to RE:WARM records via Gallo Record Company.

Released in 1983 on a miniscule run of 300-self-financed LP’s, Dennis Taylor’s ‘Dayspring’ remains a lost masterwork of transcendental instrumental guitar. An important missing link between the 60’s folkloric experimentalism of John Fahey and Robbie Basho, and the new age atmospherics mined by William Ackerman and Michael Hedges in the early 80’s. Though Taylor’s guitar playing remains crisply unadorned on these 10 tracks, his technique and his compositions stretch beyond the folk roots of the genre. He crafts a soundworld that is both immersive and familiar. His pastoralism has a spaciousness - a pianistic drift - that feels truly timeless.

Taylor cut his musical teeth through the 60’s and 70’s playing with garage rock bands, and later finding his footing in the world of jazz/folk fusion. Sometime in the early 70’s, Taylor found his most profound inspiration to date when he witnessed a live performance from Takoma Records luminary, Leo Kottke. Enraptured by Kottke’s ability to fill the room so completely, with the sound of just one instrument, Taylor was determined to follow a similar path. Thus, he began composing music for solo guitar. He spent nearly a decade writing and honing his pieces, finally entering a studio in 1982 to commit them to tape. Taylor likened the recording experience to “a living room concert.” He recorded each song in a single take, in the order they appear on the album. Paying out of pocket for the recording sessions, studio time was at a premium, so Taylor had arrived prepared. And the results speak for themselves.

Dennis Taylor’s guitar playing is clean, precise, and masterfully proficient. And yet, ‘Dayspring’ is not merely a document of technical ability. His compositions are deeply
expressive. Taylor’s deft fingerpicking is married to achingly beautiful melodicism. His arpeggios chime and roll with painterly expression. Across the breadth of ‘Dayspring’, Dennis Taylor strikes a perfect balance between wistful nostalgia and bold expansion. Though Taylor initially hoped to release his album with new age progenitors Windham Hill, he ultimately decided to release the album on his own. He self-financed a pressing of 300 LP’s, which were largely distributed locally in his hometown of Lincoln, Nebraska. And now, Morning Trip is supremely proud to bring this album back to light. An important missing piece in the expansive tapestry of instrumental guitar music, finally restored.

For more than a decade now, Fleck E.S.C. has marked himself out as one of the most playful and prolific producers in the electro game. Across dozens of releases for labels including Bass Agenda and Science Cult, the France-born, Japan-based artist has made his name through a production style which balances limber beats with exploratory textural work.

Fleck E.S.C. debuted on Central Processing Unit in 2018 with the Discrete Opinion EP. Now, after stopping by the Sheffield label last year on a Silicon Scally remix job, Fleck E.S.C. delivers his second EP for CPU in the form of Rough Silk. The record's intriguing title proves an apt introduction to this four-track affair. These cuts are at once sleek and abrasive, anchored by robotechnic machine-funk grooves yet also full of strange, shifting shapes.

The opening title-track expertly sets out Rough Silk's stall. Heralded by gurgling synths and all manner of whirring percussive tones, 'Rough Silk' blossoms around the minute mark with the introduction of a wickedly buoyant lead synth. This is music at once visceral and full of mystery, the sound of wending through the back alleys, and the feeling carries through to the following cut 'Hat in the Cat' - as the synth pads spool out overhead, the machine-funk snap of the beat has an almost aquatic quality that links it back to Drexciya.

Much like 'Rough Silk', the record's first B-side 'Faking Sweet' also shifts gears. The opening strains of the track seem to be preparing for another insistent, expansive broken-beat pulse, but it stiffens its neck around ninety seconds in. Programmed drums whirr around a jittery machine-gun bass while discordant synths pull at the edges of the track, all of which brings a strong dystopian energy that increases further as the percussion sounds become increasingly bug-eyed.

After so much excitement, 'Digger Play' closes out the EP with a softer touch. There's still plenty of low-slung bounce to the beat, but the track runs a little slower, and there's a warm wistfulness in the synths which gives 'Digger Play' a painterly, almost poetic feel. However, while it may take its foot off the gas, the production here is as deft as it is everywhere else on Rough Silk.

With new EP Rough Silk, electro whizz Fleck E.S.C. brings the sort of casual mastery to proceedings that has characterised his career to date.

RIYL: Silicon Scally, Jensen Interceptor, Annie Hall

In the small inland town of São Domingos on Cape Verde's Santiago Island, The Ano Nobo Quartet delivers a fresh take on Koladera, a guitar-driven, subtly rhythmic sound of a lighter spirit. Their sound tells a global story with Cape Verde at its center, a creole melting pot in the middle of the Atlantic attracting the best from four continents: hypnotic, haunting Koladera guitars inflected with twangs of Salsa Cubano, Spanish Flamenco, Brazilian Samba Canção, Jamaican Reggae, Argentine Tango, Mozambican Marrabenta, and finished with a dash of Black American Blues. It's all here. Absent percussion, the quartet's sound still drips with rhythm. Rich, raw acoustic music you can dance to.

This album was recorded in three locations on Santiago Island: at homes, by the sea, and on the volcanic hills of Cape Verde. Each location used a mobile recording studio equipped with different mics placed near and far to capture both the Spanish and Chinese-made guitars and the natural environment that shapes the saudade, a melancholic longing, of Koladera. Each space has its own atmosphere heard in the interludes.

A double LP pressed at 45 RPM for an even silkier listening experience and packaged in a luxurious matte-laminated gatefold with a high quality 12-page booklet along with a hardcover bookcase CD with a 24-page booklet.

DJ Nobu's Bitta welcomes Refracted. The Spanish producer delivers four expertly crafted cuts of his deep diving techno, fully embracing Bitta's hypnotic and energetic approach. Nobu: "Refracted is a unique techno producer whose work I have been playing in my sets for a long time". And the respect is mutual. Where Refracted witnessed many DJ sets of Nobu in person. "As a fan he experienced a number of my open air sets that were important to me, I think he has developed a complete understanding of what style of track works best on the dance floor in my sets".

Since its inception in 2007, Minimood has continued to explore the deeper, dubbier realms of techno, house and minimal, playing host to the likes of CV313, David Hausdorf, Steve O’Sullivan, Luke Hess, Sascha Dive, Delano Smith and many more. Now, label head Voltmar returns to the subseries Minimood Extra together with his good friend Polish DJ/producer Blazej Malinowski to serve up two individual atmospheric, dub-techno reworks of Russian underground duo Advanced Dreams’ ‘Blurred Trip’ pressed on transparent wax.

Inner Tension chief Blazej Malinowski’s interpretation of the aptly titled ‘Blurred Trip’ creates a complex sonic soundscape as evocative keys, subtle percussion, reverberating basslines and ethereal samples work in harmony. On the flip, Voltmar offers up a chuggy, stripped back reshape as ghostly echoes, tight snares, and a punchy bassline carry this profoundly emotive cut.

Trap Techno Hybrid Dub. For your Safety, please remove all ashtrays around before listening. It's not a game ! #QUELAFIF

We are celebrating 20 years of Kellermusik Records with a new vinyl record.
Exactly 10 years after "Forget the Past". Klima fresh Kellermusik sound in a contemporary guise
We would like to thank R.A.N.D. Muzik and of course all the fans who have always remained loyal to us.
Without you this record would not have been possible.
To the next years of Kellermusik Records!

Adriano Caglioni and Power Records is the combination from the past that always delivered quality productions. Strong beat, heavy synth brass, gloomy atmosphere together with plaintive melodies and masculine male voice. This is the recipe also this time. The new Time Machine release “I’m A Warrior” will lead you back to the Power Records ambience, guided by the vocals of an Italian New Generation artist, Luke White.

The A-side of the vinyl includes an Extended Mix and from the B-side you can find an alternative vocal mix. The vinyl has been pressed on marbled gray vinyl.

Marcel Fengler's IMF begins 2022 with IMF011, the beginning of a new era of the label's outlook, which will combine a focus on new talent, established remixers and a design overhaul.

Belgian artist Milo Spykers is first out of the traps for 2022, with his "Hier & Nu" EP (complete with a remix from Fengler) delivering a four-track punch of modern techno. Spyker's use of dense synths across the EP imbue his tracks with a memorable character that leaps out of the speakers.

From the jagged and oppressive leads of "Hier & Nu" to the outright anthemic riffs of "The Helicity" via the cascading stabs of "Happex", the "Hier & Nu" EP is a boisterous work of controlled chaos. Fengler's remix of "Hier Nu" extracts Spyker's synths, and with clinical precision, reconstructs them around a lean, muscular rhythm track that oozes tension.

"Milo's a very talented young producer. He's got an uncomrpimising taste in techno and that convinced me that he's both a DJ and producer I want to support. I'm really happy to welcome him to the IMF Family." (Marcel Fengler, Jan 2022)

Kobe JT showcases his sonic malleability on TINWHITE011: a tight 4-track EP which guides its listener assertively around the scene-defining avenues of UKG, from melodic garage house to dark two-step swings.

Blissful piano chords, vocal chops and skipping house rhythm imbue the opening track, "All I Do" with a soulful, uplifting groove. Equally as driven by melody, "Next DJ" makes room for more dynamic lower-ends as Kobe teams up with Northern force, The Phat Controlla, to deliver a club-ready speed garage banger.

The record's second half exposes the darker underbelly of Kobe's sound: hostile sub groans shade the stripped-back stepper "Lost In The Club" whilst the fragmented vocals on "Hope" lends the EP's full-bodied closer with an uneasy intensity.

A new sound that blends the auric mind of vaporwave and trap. S?K brings warmth to his synthesized sound that are accompanied by hit damage adlibs.

Carl Finlow keeps on keeping on. As the world changes around him, the veteran producer continues to do what he does best - craft top-quality electro tunes which invoke the sound's Drexciyan heyday, yet carry themselves with an assurance that is all of Finlow's own.

Finlow remains a prolific producer more than a quarter of a century on from his emergence. Still averaging several records a year across a variety of aliases, recent times have seen Finlow forge particularly strong links with the Central Processing Unit label. Now, after a run of EPs for the Sheffield imprint which began with 2018's 'Projections', Finlow's Silicon Scally project offers up CPU's first drop of 2022 in the form of the 'Field Lines' LP.

Silicon Scally productions have long been marked out by how they combine piston-precise beat programming with more textured synth play. 'Field Lines' runs with this formula to deliver some of Finlow's most atmospheric material to date. At once shadowy and expansive, listening to 'Field Lines' is the aural equivalent of taking a night-time drive around some futuristic metropolis.

The beats cruise sleekly here. Many of these burbling machine-funk numbers hover at mid-tempo, the crisp clip of their drum programming given shape and depth by all sorts of percussive tones fizzing around at the fringes of the mix. Even when 'Field Lines' seems to set its sights on the club - the Bunker Records-aping 'Amino', for instance, or the dystopian whizz-bang of 'Static Fire' - the tracks here strut sturdily rather than giving in to full-on freakouts.

However, from this sturdy base, Finlow moves outwards. Working with tones which range from rapid-fire machine-gun bass to keening, dawn chorus keyboard pads, Finlow leads us through the futurescape with the expertise of a seasoned guide. Cuts like 'Submerged' and 'Yield' are brilliantly cinematic, blooming from those reliable drum pulses into miniature masterpieces of nocturnal electronics. Elsewhere on 'Field Lines' there is a mechanical majesty to 'Inhibitor' and 'Altered Domain' which invokes the brave new worlds that Kraftwerk repeatedly conjured in their heyday.

Central Processing Unit's first release of 2022 is 'Field Lines', an LP of electro-funk explorations from Carl Finlow's Silicon Scally project which will thrill regardless of whether it's experienced through headphones or out on the dancefloor.

RIYL: Drexciya, Kraftwerk, Cygnus, Annie Hall

We taking you down to a trip to Bogotà, Colombia!
“Musica tropicale Colombiana contemporanea con rituales de electronica”, rising stars Romperayo hit it again with a blazing 7”.
On the A side, band leader Pedro Ojeda (Los Piranas / Frente Cumbiero / Ondatropica) delivered “Los Demonios De Aguachica” in combination with his fellow musicians, the result is an uptempo High-Life Caribbean gem!
The B side is a classic Romperayo hypnotic loop that will go straight to your inner soul, just like a Jodorowsky's movie.

Gordon Koang is a fountain of warmth and joy, immediately accepting any stranger who strays into his presence. With a beaming smile that is unfettered by blindness, a condition he has lived with since birth, Gordon welcomes any and all around him, encouraging them to sit for a while and chat, maybe even to share a song.

Originating from the Nile Valley in what is now South Sudan, Koang was born blind and began playing music from an early age, busking on the streets of Juba and producing his own self-released CD-R’s and cassettes, before becoming a crowd favourite and recording a series of singles and music videos celebrating South Sudan’s cultural wealth. His music went viral, spreading throughout the country, and Koang was invited to perform at everything from weddings and political rallies to church meetings and parties alike. His reputation quickly grew as the poet and homegrown hero of the Nuer people, sometimes called the ‘Michael Jackson of South Sudan’.

In 2013, while Koang was performing to expatriate Nuer communities in Australia, renewed conflict broke out at home. He made a difficult and heartbreaking decision to not return to Sudan, applying to the Australian government for humanitarian protection. After six long years of waiting, living in a foreign country far away from his family, he now proudly calls himself an ‘Australian’, and eagerly awaits the day he will rejoin his wife and children in safety.

Unity is, remarkably, Gordon’s eleventh full-length album, and his first since coming to Australia. It is his only recorded output in a painstakingly long six years of living as an asylum seeker, mostly recorded in the last winter months of 2019, when Gordon began performing with local musicians through the Music in Exile label. The album was completed just weeks before Gordon was awarded his permanent residency. He could have had no way of knowing, and yet there is no frustration in the songs, not a shred of impatience or anger - only Gordon’s unending positivity, his love of all people and of the world he has never seen.

Karma Sutra were an anarcho pacifist band from Luton, Bedfordshire who formed in the early 80’s after the demise of the legendary the Phallic Symbols. Karma Sutra only had one release at the time - an album self released in 1987 called Daydreams of a Production Line Worker which came towards the end of their lifetime. Sealed Records now release the earlier years of demos and compilation tracks on a 15 track round up. Be Cruel with Your Past and all Who Seek to Keep you There includes their first and primitive demo The New Economy Roast from 1983. It’s very basic and has a Bullshit Detector Compilation quality to it. A few years later came the second demo Shoppers Paradise which is the best material Karma Sutra recorded. Six tracks of well produced classic 80’s Anarcho punk with a driving sound. It’s passionate, tuneful and politically aware. How this wasn’t released at the time on vinyl, is a travesty. Also included is two tracks from the Mortarhate Compilations Who? What? Why? When? Where? and We Don't Want Your Fucking Law!. Finally the last three tracks were from the final line up of the band and were recorded with Spon from UK Decay adding more post punk elements to the sound. The LP comes with a 40 page booklet of Lyrics, handouts, fanzine interviews and statements. FFO: OMEGA TRIBE, CRASS, EXIT STANCE, ALTERNATIVE

XI is back on SUED with this four track EP of brand new material. XI, SVN and PE's (DJ Fett Burger) long running left-field house project keep on exploring the deeper sound of house and techno. Deep analogue cuts recorded on tape in the now well known Neues Deutschland studio, with this duo’s true and familiar sound of the
underground. Not to sleep on!

What You Want welcomes Rowlanz to the family! This great ep should be already out in march but due Covid-19 we've had to stop everything... Finally it's time to bring it out. The physical copies are expected to be here in September. Highly recommended!

Fourth - and last - part of the Modern House Quintet’s album, this time featuring their work under the traditionalMHQ alias. This fourth LP is different from the others because it is centered around percussion, rhodes, vibraphone and jazzy atmospheres.

Romantic proto-acid written and composed by a young Ukrainian student Maxim Shubski in 2010 on a cold winter day in East Germany and subsequently released later same year as a limited run of 100 vinyl copies under “Andreuccio Torelli” moniker. This release was accompanied by a fake story about the lost & found master tapes by an unknown Italian producer from the 80’s. The story is still available as a PDF on the label’s website. Since the original vinyl stampers are long lost, Baran Records has made a new limited 7″ vinyl reissue featuring artwork by Pavel Golubovski from the “Elektroherd” band and careful mastering by Dunkeltier aka DJ Sneaker from Dresden/Berlin at Tail Out Mastering studio.

EAT MORE HOUSE welcomes David Platzdasch & Holger Dix to the artist family! We are happy to present you soon the "Facet EP".
This deep house beauty will be out early August 2021. Highly recommended!

On his new EP Three Colours for Couldn’t Care More the ever-searching RVDS (Golden Pudel Club, Bureau B, It's) keeps his senses wide open and comes up with three amazing tracks as diverse as coherent:

While Clicks in Pink House is enthusiastic warm House Music with a big bassline, Blue Signals in Space' flow of hypnotic meditation has a strange tension underneath that effortlessly connects with the delicate elegance of Purple Dreams in March’s playful piano chords. Three quite different colours that make a beautiful whole.

The 11th release on Tooman Records comes from Quadrakey and contains 4 beautiful tracks. Limited edition, 180g. House music with a deep passion.
We are very delighted to collaborate with talented collage artist Niels Kalk, whose artwork adorns the a-side.

The peeps behind the People Of Earth label claim that Rick Wade is on top form on their latest release. While that's undoubtedly true, the Detroiter has incredibly high standards and rarely puts out anything mediocre. The four tracks here are all deliciously deep and fluid, with the Fender Rhodes solos, meandering organ lines, warm bass and chunky beats of "Never Give Up" delivering just the right blend of instrumental goodness and dancefloor-ready weightiness. "Seen At Night" is an even deeper and hazier treat, while "Forever Alone" sees Wade wrap bongo-laden beats and eyes-closed electric piano chords around a ludicrously warm and heavy bassline. Solo-laden closing cut "Rooftop" is also superb - a proper sundown selection of the highest calibre

Marrrtin, French DJ, producer, and half of the group FUNKY BIJOU presents A Bunch of Funk, a selection of 16 short but sharp tracks building on the artistic heritage of 70s Library music. Album created with several musicians from different countries, working together without ever seeing each other in a studio thanks to Marrrtin's unique production process.
Uptempo, Rhythmic, Brassy, Percussive, Lively and Dancing Vocal, Thematic Dramatic, Activ, Perky, Agressive, Riffy and Groovy: these are the words who can define this album.
Features apprences of: Medline, Felix from FUSIK (USA), Carla Vallet,
Tchoubine Collin (Setenta, FR), Romain Baousson (Bikini achine Drummer), Naufalle from AIWA (France / Irak), Deheb , Meriadeg (Stand High Patrol) and others...
All the Tracks have been played for the RED BULL BC ONE world final in Roma where Marrrtin was mixing.

Dutch veteran Ekman bring his distorted signature sound to Lifeforms with two heavy, spaced out and acidic electro tracks. Digital download included.


Support from: Alienata, Filmaker, Miley Serious, Chupacabras, DVS NME, AETYECK,