quête:mo mo

Sirko Müller, one half of Tokomak and a familiar face from Mojubas Wandering sublabel, drops two deep organic dub tracks for his debut on Kontakt. Don Williams, the head of Mojuba, delivers a hypnotic, repetitive treatment of the main track. Pure quality vibes all around.

Heavyweight Black Vinyl / Original glued prints on Thick Cardboard 700 gram / 2 Separated parts hand-glued / Glossy lamination / PVC outer sleeve / Insert with 10 pages Booklet 30 x 30 cm printed on Gmund Colro Felt Red Purplea d 90 Gram Favini papers with detailed interview between Tony Higgins and Mustafa's family (his sisters and children are all musicians), as well as an insight into the recording of the album with Gregory Bufford, the drummer for the session, lyrics and exclusive pictures.


Colored Vinyl Details:
Heavyweight "A side - B side solid purple + transparent blue" vinyl / Original glued prints on Thick Cardboard 700 gram / 2 Separated parts hand-glued / Glossy lamination / PVC outer sleeve / Insert with 10 pages Booklet 30 x 30 cm printed on Gmund Colro Felt Red Purplea d 90 Gram Favini papers with detailed interview between Tony Higgins and Mustafa's family (his sisters and children are all musicians), as well as an insight into the recording of the album with Gregory Bufford, the drummer for the session, lyrics and exclusive pictures.

Peronnel:
Mustafa Abdul Rahman - Tenor Saxophone, Percussion, Producer
Ahmed Abdullah - Trumpet
Malachi Thompson - Drums
Gregory Bufford - Bass
Richard Radu Williams - Piano
Rafik Abdur Rahim
Tony Smith - Guitar
Larry Banks - Synthesizer
Khalil Abdullah - Congas
Babafumi Akunyon - Percussions
Odell Grier Backing Vocals – Fred Harley, Hilda "Asia" Richbow , Linda Hall

Notes:
In the course of our deep research, we sometimes discover a hidden thread that unites musicians, songwriters, artists, and poets linked by music. Mustafa's 'Polygamy' is no exception. Apart from the music - the main reason we decided to work on this first ever re-press, a jewel at the crossroads between jazz funk, spiritual jazz and proto rap - are the many other things that make Mustafa an intriguing and fascinating character. For starters, he was a childhood friend of the Ayler brothers with whom he played in different formations. He also played with other beloved figures such as Noah Howard and Charles Tyler, on a still unreleased album recorded for Amiri Baraka's Jihad label, and worked with The Legendary Master Brotherhood and Steve Reid. This and much more will be revealed in a detailed interview between Tony Higgins and Mustafa's family (his sisters and children are all musicians), as well as an insight into the recording of the album with Gregory Bufford, the drummer for the session.

Imagine a nocturnal rendezvous between the lyrical playfulness of Serge Gainsbourg and the infectious yet smooth danceability of Daft Punk. Tormento is a sexy soft disco odyssey that weaves a contemporary fantasy where dilemmas and desires—torments of the heart and flesh—are bathed in the sultry glow of classic erotic cinema.

Recorded in Los Angeles and Paris, the song is a collaborative effort between composer and multi-instrumentalist Louis Fontaine, DJ and music supervisor Alix Brown, and lyricist and writer Margo Fortuny. This sonic tale of longing and uncertainty, ignited by the trio's shared love for 1970s sounds, cinema, and style, draws inspiration from the cinematic soundscapes of François de Roubaix and from French and Italian chanson.

Tormento pairs a haunting, nostalgic melody with a late-70s disco arrangement featuring a mix of vintage synthesizers, driving basslines, and rhythmic percussion. Alix Brown's ethereal vocals convey the electrifying thrill of an immediate, magnetic attraction.There's seduction, mystery, the poetry of a moment, the allure of transgression, indecision, and all the things that happen late at night. When faced with temptation, what do you do? Perhaps, yousurrender to the sweet, intoxicating rhythm of the forbidden.

Adance song for night owls, loners, and romantics, Tormento is out on 7" and digital on February 14th, 2025, courtesy of Four Flies.

The NOW Yearbook series continues with the ultimate soundtrack to one of pop’s most dynamic years: 1998 - out February 14th! This collection brings together the biggest and most iconic tracks from the year, presented across three stunning coloured vinyl discs, pressed in neon violet with 43 tracks from the era and two CD editions available as a standard 4-CD set, and as a special edition 4-CD set in ‘hardback book’ packaging, which includes a 28-page booklet packed with notes about all of the 80 featured tracks that capture the unforgettable sounds from the year. Whether you’re reliving the hits or discovering them for the first time, this collection brings you the best from the singles charts of 1998.. Whether you're revisiting these unforgettable hits or discovering them anew, NOW - Yearbook 1998 brings you the best from the singles charts of 1998!

Shaka is a multi-talented DJ / Producer who produces music that crosses several sub-genres of House, and at the highest level of musicality and soul. While well-known in his home country of Switzerland through his 3 decades in the industry, he is now on the verge of gaining much more intensive and wide-spread acclaim with his debut 4 track EP on Nervous Records.

In 2016, Universal Music and The Walt Disney Company France presented ‘Jazz Loves Disney’, followed in 2017 by ‘Jazz Loves Disney 2 – A Kind of Magic’, as part of the We Love Disney series.

Produced by Jay Newland, arranged and directed by Rob Mousey, the project brought together talented and renowned artists to pay tribute to the most beautiful and symbolic tunes of Walt Disney’s magic world and render exclusive jazz versions.

The remarkable cast includes Gregory Porter, Melody Gardot, Stacey Kent, George Benson, Madeleine Peyroux, Laura Mvula, Jacob Collier, Bebel Gilberto, Jamie Callum and Eric Cantona.

Legendary French DJ and producer The Hacker debuts on Radio Slave’s Rekids with the ‘Laser & Smoke’ EP on 21st February 2025. The two-track ‘Laser & Smoke’ EP harkens back to The Hacker’s early 90s roots in Detroit-inspired Electro & Techno. First, he starts with ‘Turborave’, a tasteful, bleepy cut with an unignorable bassline and muted dub chords that wash over its snappy groove. ‘Turborave’ is the kind of heads-down, lose-yourself dancefloor moment for the later hours before ‘Harmonia’ sees The Hacker play with high-voltage cables on the B-side. Charged-up zaps and zippy acid call and respond while bodied drum hits keep the rhythm moving, whistles and pads occasionally joining in.

Pioneering DJ and producer The Hacker is renowned for being a leading proponent of Electroclash in the early 2000s, his Techno and EBM-infused sound, and iconic collaborations with Miss Kittin. With releases on labels like Dark Entries, Mannequin Records, and Turbo, as well as remixes for Air, Soft Cell, Dave Clarke, and Front 242, The Hacker remains a vital force in electronic music. He now adds Radio Slave’s Rekids to his extensive discography for the first time via the ‘Laser & Smoke EP.

Radio Slave’s Rekids was founded in 2006 and has since spawned successful offshoots with the Techno-focused Rekids Special Projects in 2017 and its newest sublabel, REK’D, in 2024. With Matt Edwards as the sole A&R, Rekids has been crucial in developing early artist careers and has become a haven for established acts operating in House and adjacent genres, having recently featured the likes of Harry Romero, Hilit Kolet, William Kiss, Bushwacka, Mathias Kaden, Tiger Stripes, Tal Fussman, and many more.

North of Loreto (side project of Bassi Maestro) and Alex Fernet, among the most significant exponents of Italian nu_boogie, are ready to publish their first release as a couple: next February 7th it will be released in 12" format by Maledetta Discoteca and with distribution digital curated by Believe Music Italia "Disco / Diavolo Blu", first work born from the very fresh union between the two artists.

Two songs that fully describe the musical souls of the two artists for a meeting that enhances and amplifies their respective attitudes and qualities.

Artwork by Riccardo Michelazzo

Descr: The return of Monday Morning on vinyl is captained by it’s founder Manuel De Lorenzi in sweet company of his close friends and talented producers Giacomo Silvestri, Freddie Wall and Fichs. The aim of the label is always to promote music without compromises so you can play it loud on the dance floor or just listen at home to understand the journey and the message that Manuel De Lorenzi wants to give to the people. As the vinyl says: WE ARE ALL UNDER THE SAME MESSAGE CALLED LOVE…!

Born in 1989 in Bamako, Mali, Nfaly Diakité is a member of the Donsow, Bambara animist hunters. Nfaly Diakité is named after his grandfather, the late Nfaly Diakité, one of Mali’s most respected donso chiefs. His grandfather did not play, but as a leading figure in the donso brotherhood, he was always accompanied by musician Yoro Sidibé. Nfaly grew up alongside Yoro Sidibé, who became his first master of the donso ngoni, a type of eight-stringed antelope skin harp. After leaving school to devote himself to his instrument, Nfaly continued his apprenticeship with Diakaria Diakité and Oumar Sidibé, two donso masters from the Wassolo region.

He quickly made a name for himself in the donso community and was much asked to play at the traditional ceremonies of his brotherhood. He then met percussionist Ibrahim Sarr and joined the BKO Quintet, with whom he recorded an album and toured Europe and the United States. His virtuosity on the donso ngoni soon attracted attention, and he took part in numerous music and dance festivals in Mali and abroad, with the aim of raising awareness of this little-known traditional instrument.

Nfaly Diakité is also a Kônô, meaning that he is responsible for passing on the history and culture of the Bambara people through music and song. He pursues his mission by combining tradition with more contemporary sounds and by collaborating with artists from a wide range of musical backgrounds. For him, music is a means of conveying messages of peace, love and harmony, and his compositions evoke the values of respect, tolerance and open-mindedness.

‘Tribute to Toumani Koné’ is Nfay Diakité’s first solo album, recorded in Bamako in June 2020. On the album, Nfaly is the only singer, providing backing vocals and playing the donso ngoni and keregne. The album is a tribute to the storyteller and poet Toumani Koné, the greatest donso ngoni player since N’gonifo Bourama. Nfaly Diakité is a representative of the new generation of donso ngoni players and he wishes to pay tribute to Toumani Koné, who throughout his long career has been a symbol of courage, daring, loyalty and honesty.

The nine-track of this solo album leaves no room for hesitation. Three instruments (donso ngoni, voice and keregne) manage to carry one into another dimension without ever tiring. The fitting and precise rhythm is a deep but melodious transe. Nfaly’s voice plays between expressive urgency and calm wisdom, and the choruses with his own voice multiply the planes of dimension of the music. The donso n’goni, of which Nfaly is an excellent player, sounds rough and earthy but always clear and sharp. All the strength of a music that does not belong to a single musician but to a long cultural tradition of which he is the spokesman is expressed here. The young Nfaly, thanks to his experience and sensitivity, succeeds on his own in pushing us into this world without feeling the weight of tradition but only the liberation of music that sounds all the more contemporary. This album is to be listened to in its entirety as one tight journey between repeated formulas, highlights and moments of rest within the same relentless rhythm. The densest moment is probably found in the heart of the album, between the tracks Nankama (the predestined one) and Mogote Diabeye (no one can please everyone). Here, the message, which can be deciphered from the translation of the lyrics, seems to transcend language barriers and intepret us directly about our human condition, urging us to move our bodies to the dense rhythm of life.

Humphrey Aniakor started Duomo Sounds after a trip to Milan. The idea was to produce a new sound for the emerging generation. A sleek funky but refined, Nigerian disco sound. This compilation captures all of that intention with a broad array of artistes. The music is sometimes sung in local Nigerian languages and sometimes in English but always with an African Accent. Modern grooves for an African market.

After several months spent hanging out at studios in Los Angeles and New York, observing the musicians, producers and engineers at work. He went to nightclubs to study what kind of sonic textures made the crowd move. And when he felt he had gotten the hang of it, he returned to Nigeria to set up his record label. A label that would showcase the au courant, cosmopolitan face of the Nigeria’s emerging young generation. That would encompass the boundlessness of imagination, focus, persistence and craftsmanship. That would deliver music that touched the soul.

There was hardly a shortage of available musical talent by 1980, as Duomo was preparing to launch. The seventies had seen a massive flowering of bands offering a wide array of sounds and styles. But 1980 proved to be the year that would change the topography of the music landscape and its approach to packaging talent. Artistes like Mike Umoh (erstewhile drummer with Bongos Ikwue and the Groovies), Bindiga (Ghanian afrofunk musicians), Christy Ogbah (who worked as a policewoman) bring their personal artistry to create the new sound.

And he would call it—what else?—Duomo. Duomo Sounds Limited.

This combination created high-quality Nigerian music but it also marked the end of bands as the focal point for the popular music marketing. After Okotie’s breakthrough, it became clear that the eighties would be the era of the solo artist. And this would lead to the fracture of established bands as members opted to roll the dice on solo careers.

Early 1980, UB40 scored their first success with Food For Thought', reaching high in the charts. By the time they released their first album they were already so successful that they had signed off on unemployment benefit, leading to the stamped Signing Off featured on form 40, for the sleeve of their debut album. The first dub album ever to reach the album charts in the U.K. included One In Ten' and Don't Slow Down'.

In 1983 the band put on a new project, boasting ten cover versions of Jamaican hits and, contrary to low expectations, it became a huge hit and the band's first number one album. Tracks included are Cherry Oh Baby' and Please Don't Make Me Cry' and Red Red Wine'. The latter was a rather poppy song and became the band's biggest selling single ever, entailing their definitive worldwide break through.

There have been lots of collaborations through the years and most of these became huge hit songs. Together with Chrissie Hynde UB40 recorded two singles: I Got You Babe' (1985) and Breakfast In Bed' (1988). They teamed up with Afrika Bambaataa for Reckless' (1988) and with Robert Palmer the band released I'll Be Your Baby Tonight' (1990), just to name a few.
UB40 - COLLECTED has captured all the different phases of the band in one complete album, from classic hits combined with the new!

With an intrigue for a particular niche of old UK hardcore which takes cues from Sheffield bleep ambience, heady rave futurism and soft, almost new age synth pads, Blank Mind presents ‘Lost Paradise: Blissed Out Hardcore 91-94’. Though the records gathered for the compilation span a short three-year period and bridge the gap between scenes, the collection manages to find a sweet spot where the influence of Warp’s Artificial Intelligence, back room chill out sonics and the nascent jungle boom meet with elements of Italian piano house and slower breakbeat cuts.

Opting to focus on atmosphere to highlight shared connections; in this case the duality of often serene and calming soundscapes with frenzied breaks and bass (see Hedgehog Affair’s ‘Parameters’ and Luxury’s ‘Twirl’ respectively); Lost Paradise is a formidable collection of tracks plucked from a thriving time for British dance music experimentation. The general themes of ascension and escapism channelled through digital samplers are also inescapably linked to a turbulent time in politics, beginning in the post-Thatcher years and culminating in the year the harshest anti-rave Criminal Justice Act came into force.

Initially building the compilation around DJ Mayhem’s track ‘Inesse’, Blank Mind label founder Sam Purcell and Amsterdam based producer Tammo Hesselink began a process of swapping favourites and deep cuts to spread across this 2x12” doublepack. The compilation avoids any obvious centrepieces through masterful sequencing, allowing for moments of refrain and tempo changes in a way that helps add to their overall vision of what this music is and can be; “We wanted to frame hardcore in a different light, looking at this idea of ecstasy through the traditional meaning of the word and exploring that symbolism”. By drawing from what some might consider the softer edges of the movement, the pair offer a look into the relevance of these tracks in the contemporary era, where the past years have seen both an explosion in popularity of old ambient/new-age music and a certified jungle revival.

RHZ005 Duc In Altum:
Midnight Sun
Release Notes

The Brazilian-Serbian duo Duc In Altum returns to Rhizome following their 2020 digital mini-album As Above So Below. Our fifth vinyl EP on the label, Midnight Sun, finds Duc In Altum experimenting with dance floor acid rhythms and breakbeat-house grooves. The relentless remixes come from two other music friends, the Romanian icons Priku and Sepp.

“Midnight Sun” demonstrates the duo's acidy reflexes. Clever chords both center and accent the melody. The 303 line expands into the seething bass beneath as the track progresses into a deep dance floor burner.

Priku remixes “Midnight Sun” with his signature groovy, breezy style. Light chords drift above transformed 303, now a monster tech house bassline. The sun beckons.

The second side begins with “Yanomamis” and a journey through the inner worlds of Duc In Altum. The track begins with winding pads, effects, and an initial silvery breakbeat. The center of the track shifts perspectives to unveil a dreamy house groove before the breakbeat returns to call us back.

A remix of “Yanomamis”by Sepp closes out the record as the dance floor psychic yet again crafts the perfect rolling groove. It's a fitting Sunwaves-savvy party track and only gets better each time that glorious groove breaks the tension.

Tracklisting
A1: “Midnight Sun”
A2: “Midnight Sun (Priku Remix)”
B1: “Yanomamis”
B2: “Yanomamis (Sepp Remix)”

written and produced by Eric Frizzo Jonsson and Arjana Vrhovac Jonsson in São Paulo, Brazil;

remixes by Priku and Sepp

mastering by Ednner Soares

Define: Global Bass Culture. What initially started out as a remix request from the South African Sneja Recordings label for a tune written by Colombian artist Juan Diego Pedroza a.k.a. Iam JDP ended up as the second limited edition vinyl release on the German underground label Freebreakz.FWD. Embracing influences from Chicago's Footwork x Juke sound as well as UK Bass Music, IDM and other electronic subcultures Sascha Müller and baze.djunkiii deliver a sparse, tense and wildly hypnotic take on the 160 bpm freeform movement, continously fusing and layering intermingling rhythmic patterns with ethereal vocal snippets, Trap- and Drill-infused hi-hats, an ever floating minimalist synth motif and deadly low end attacks for some of the most advanced dancefloors out there. This is crime scene music. Mastered by Frederic Stader.

Here is our Hot Sauce Volume 5 showcasing some seriously groovy and rare Rocksteady,
Boss and Reggay tracks mixed expertly for yet another thrilling early Reggae experience on vinyl.


Here is the much anticipated volume 5 of the HOT SAUCE compilation LPs dedicated to the Trojan related labels between 1965 and 1975.
HOT SAUCE volume 5 features outstanding original Rocksteady, Boss Reggae and early Reggae (“Reggay”) tracks including rare songs, overlooked gems, hidden treasures and a couple of hits. The record labels showcased on this fourth volume are Amalgamated, Bread, Downtown, Duke, Explosion, Grape, Harry J Records , JJ Records, Rio, Splash, Upsetter and Techniques.

The tracks here have been selected according to their musical interest firstly, their rarity, and their complementarity.
These tracks are all outstanding tracks, “killer tracks”, there is no “filler” whatsoever.

Particular attention has been paid to the way the songs are sequenced (or “mixed”) so that the album builds up nicely and gradually, generally starting
with the Rocksteady songs on the A side and the 70s songs on the B side.
The HOT SAUCE series is a musical journey across Trojan and its labels showcasing early Jamaican Reggae’s diverse musical genres and outstanding artists.
Since the early 70s’ “Tighten Up” and “Club Reggae” series, no compilations have really explored these labels in depth on vinyl.
It might be the last volume of the series as we know it so we wanted to make a splash for volume 5.
It is a nod to self-censored lewd Reggae covers from Trojan and Pama in early 70s. So don't fret,
a collectible yellow sticker has been strategically applied on the shrink-wrap to cover Miss Rocksteady's bottom!!
With its striking cover and its thrilling Reggay selection, volume 5 is bound to become another successful album in the Hot Sauce series...

Dennis Brown was a Jamaican reggae singer and one of the most popular artists in the history of Jamaican recorded music.

Bob Marley cited Brown as his favourite singer, dubbing him “The Crown Prince of Reggae”, and Brown would prove influential on future generations of reggae

singers. In 2023, Rolling Stone ranked Brown at number 67 on its list of the 200 Greatest Singers of All Time.

This album includes the classic tracks “Silhouettes “, “Lips of Wine”, “Changing Times” and “I Didn’t Know”.

Super Reggae & Soul Hits is available as a numbered limited edition of 500 copies on orange coloured vinyl

Oversized custom cut LP jackets (13” / 33.02 cm width)
Silkscreened with bespoke iridescent citrus green ink by Mark Rice
Short story by Natalia Zuluaga

Flexi 7”:
steaming mescaline (extended mix by bad lsd trips)
Citrus green metallic foil stamp
Pressed in full stereo
Edition of 150

I.

bad lsd trips is the collaborative duo of makers doris dana and domingo castillo flores. Respectively the two have fostered practices that have sprawled out through various approaches and, whether in the lanes of the musical or the contemporary arts, the phenomenology of the social and inclusive prevails. On ultrafest, this motif continues through the psychedelia of its eight time-defying recordings, welcoming the listener into an open temporal architecture of the stereo field as a signifier of environment. It is worth noting that the group began collaborating in Miami, Florida with longer form improvisations recorded to a stereo cassette deck. In these recordings, the paved geographical sprawl and oceanic view permeated the approach to amassing long swaths of sound material. Listening back on that work at the time of this writing, each track feels as though one is walking into an active space, arriving to an event already in full swing and finding your place inside of it. On ultrafest (this album) something different occurs. The space and events are built around you as you move through the record.

II.

The name of the album is ultrafest, which should effectively provoke your mind's eye the imagery of young people dancing, salivating, grinding, and imbibing chemical compounds to the perversely formalized musical genres of “Electronic Dance Music” and latter-era Dubstep often heard in European Uber rides and energy drink commercials. A far distance from the icy and machinic reverie of Techno’s finest rave eras or the notable historical contributions of Miami’s cerebral producers to IDM’s global output, ultrafest is a libidinal catharsis as festival scaled to a multinational corporation of hedonistic excess. The festival has been a hallmark of Miami cultural industry production and optical enticement for tourism, purportedly bringing in nearly a billion dollars in revenue to the city since 2012. Scores of documentation exist wherein this decadent escapism leaves the concertgoer, usually in some neon garment on a near nude body potentially adorned with fluffy faux fur leg warmers, facing a comedown from the combination of volume, sun, dehydration, and methylenedioxy-methylamphetamine. This MDMA experience characterizes an aspect of the way bad lsd trips employs vocals and pitch on this album. The detached, high octaved longing of a high pitched vocal is decoupled from its typical auditory body of song. High-pass clicks and pops touch the (h)air on the back of the neck, promising goosebumps and teasing towards euphoric rushes of dopamine, yet also exist decoupled from the body of song. As the dopamine depletes and the sun imposes itself, Miami’s downtown of skeleton real estate is your company as you meander towards your parked vehicle to rest your fatigued senses, elevated heart rate, and quench the need for air conditioning on your skin. The immediacy of bombastic social immersion to architectural alienation palpable here.

III...

- Nick Klein

2025 Repress

The Birgan project is all about melding diverse musical words - ambient, techno and Afro-inspired polyrhythms - into something that is utterly unique. Many artists set out with this intention but few achieve it as successfully as this one, as this sensational EP shows. It is an immersive and escapist five-track work of stunning sound designs and inventive rhythm that feels both organic and natural yet synthetic and futuristic. The tracks explore deep, mysterious sonic landscapes that are both tranquil yet complex and make for an immersive, thought-provoking listen from the dubscapes of 'Beats Of The Congo Cosmos' to the more psychedelic realms of 'Subaquatic Sonic Voyage'.

Inspired by "slow and quiet life on the southern coasts of England", the debut from CVOIA - a new collaboration between producers and Captured Visions label founders Adam O'Hara and Tom Parker - offers gorgeously lolloping, lazy beats and expansive, cinematic orchestration. There's the brittle, slow motion breakbeats and woozy instrumentation of the duo's original, then remixes from four of their favourite acts: Awakened Souls, Inhmost, Jack Lever and Synkro. All the tracks are about as strenuous as an afternoon on the beach, and equally nourishing, with Synkro's rich, synth-soaked near-ambient mix a dramatic, undisputed highlight. Jack Never's Northern Mix, meanwhile, wouldn't sound out of place nestled somewhere in Mo'Wax's first dozen or so releases. High praise indeed, but much deserved.

Der Einstieg in die Musik von Q Lazzarus erfolgte für fast alle über „Goodbye Horses“. Der Song tauchte erstmals 1988 in Jonathan Demmes „Married to the Mob“ auf, aber er sollte sich erst dann vollständig im Bewusstsein der Menschen verankern, als er 1991 in Demmes „The Silence of the Lambs“ wieder auftauchte. „Goodbye Horses“ fühlte sich an wie ein in sich geschlossenes Universum - traumhaft und völlig ungewöhnlich, ein sofortiger Klassiker, der die Zuhörer fesselte und neugierig auf die geheimnisvolle Stimme dahinter machte. Diese Stimme gehörte Diane Luckey, einer einzigartig talentierten Künstlerin, deren Musik ihrer Zeit voraus war und die letztlich zu Lebzeiten weitgehend unerkannt bleiben sollte. In Verbindung mit der Veröffentlichung des Dokumentarfilms „Goodbye Horses: The Many Lives of Q Lazzarus“ von Aridjis Fuentes veröffentlicht Sacred Bones eine Sammlung von Songs, die die gesamte Karriere von Q abdecken und die verschiedenen Epochen ihres Schaffens und die ganze Bandbreite ihrer Persönlichkeit zeigen. „Goodbye Horses“ ist die erste Musiksammlung, die den Segen von Qs verbliebener Familie erhalten hat, und hat die Besonderheit, ihre erste und einzige Albumveröffentlichung in voller Länge zu sein. Aufgenommen zwischen 1985 und 1995, spiegelt diese Fundgrube bisher unveröffentlichter Musik einige der interessantesten Facetten der Popmusik der letzten vier Jahrzehnte auf eine Weise wider, die sowohl versiert als auch wild eklektisch wirkt Das titelgebende „Goodbye Horses“ bleibt ein einzigartiges Stück gespenstischer New-Wave-Perfektion, und man könnte sich ein ganzes Q-Lazzarus-Album vorstellen, das sich um diese Ästhetik dreht, aber ähnlich den Gesangsikonen Alison Moyet, Annie Lennox oder Lisa Gerrard eignet sich Qs chamäleonhafte Stimme perfekt für eine Vielzahl von Stilen und Settings. Ihre Coverversion von Talking aHeads' „Heaven“ verwandelt den Song in eine aus voller Kehle gesungene Power-Ballade mit klimpernden Klavierverzierungen, während ihre Interpretation von Gershwins „Summertime“ wie eine dubbige Club-Reduktion klingt, die zu einem Grace Jones Stück der Nightclubbing-Ära hätte passen können. Tracks wie „My Mistake“ und „Hellfire“ flirten mit House-Musik und zeigen, wie frech und glockig Qs Stimme sein kann, wenn sie sich richtig austobt, während „Don't Let Go“ wie eine bombastische Radiosingle klingt, die Cher vor einigen Jahrzehnten hätte veröffentlichen können. Andere Songs wie „Bang Bang“ und „I See Your Eyes“ sind von einer gitarrenbetonten Alt-Rock-Sensibilität, die in einem Paralleluniversum auch auf MTVs 120 Minutes Show hätte laufen können. „Goodbye Horses“ verkörpert das Potenzial für so viele verschiedene Arten von Karrieren, die, aus welchen Gründen auch immer, nie vollständig verwirklicht wurden. Dass wir jetzt diese Songs in der Welt haben und ein klareres Bild von der Person dahinter, ist nichts weniger als ein Segen.

The Legacy lives on.
While on Belgian Bootlegs 3 one could find “a track that would never be re-released, Maybe Tomorrow” Belgian Bootlegs 4 features another track “that will never be re-released”
FRED & MAX’ “Good Way” is one of the most sought-after Belgian trance-classics. Hard to find copies fetch up to 300€ on Discogs.

Add to this amazing gem a sniff of PAT KRIMSON & OLIVER ADAMS in the form of ULTRA SHOCK (“The Sound Of “E”), another hard to find one, “Pat’s Birthday” by LA BUSH TEAM and an almost forgotten early techno-gem by legends 2 FLYING STONES (“L.F.O. Cookies”) and you know BELGIAN BOOTLEGS 4 is another bestseller.

Since launching her own club night, “Motivation,” back in 2018, B.AI has played a key role in bringing the underground’s club sounds to her home country, China. While introducing some of the scene's most exciting artists to her local audiences, she emerged as one to look out for as well: first as a DJ and quickly thereafter as a producer. Her original takes – a sensitive, highly personal approach to melody and a knack for playing with expectations – crystallized in a slew of A+ releases and a couple of international tours. This trajectory, shaped by taking matters into her own hands and self-empowerment, now sees a logical next step, with the inception of a label that will also operate under the “Motivation” banner and features her own “Hope” EP as its first release.

Sparkling mallets, with synth-pop quality catchiness, open the title track. Rather than further evolving, their two-bar arrangement gets looped over and again, serving as the foundation for a slick FM bass rhythm and a variety of hooks. Although these incline to the bright, the overall vibe is melancholic. In vintage B.AI style, the aptly titled “Hope” is more ambiguous than its patches suggest. Similarly, the vocal this type of palette would call for ultimately comes in the form of aloof, covert musings. A bit buried in the mix, they are most efficient – just like the tension that keeps brooding underneath the surface.

“Murderbot Diaries 1991” turbocharges four-to-the-floor synthetic drums with an arpeggiated rolling bass. The blue note melody on top feels sequenced via a pocket calculator, and the dissonant, electroclash-reminiscent stabs that follow might sound even more angular. The tune is frantic, sinister – and perhaps above all tongue in cheek. It reaches fever pitch with the arrival of a tubular bell theme between the two breaks.

“Once”’s slomo cutoff modulation on the 16th note mid-bass instantly creates a sultry atmosphere that meshes greatly with the pastel cool of the gently delayed DX7 leads. The energy drifts between effortless control and uncertain outcome. These contrasts are amplified as the drums alternate amidst moderation and beat-repeat rendered havoc.

On “Only We Know,” a progressive sine lead lays out the central motif. Yet as briskly as it appears, it makes way for detuned, gliding square waves taking on the same theme. This outlines the track’s structure: as slightly morphed repetitions keep getting introduced almost haphazardly, a dreamlike, mesmerizing ambience unfolds. Techy drum rhythms and a 101-type bass make sure everything stays fuelled. Within the ingenious tapestry of melodies and new twists, it never loses touch with the dance floor. It illustrates B.AI’s club savvy neatly and is therefore a perfect closer for this EP.

Dear Friends, Shouldn’t we all take a moment to re­ect on ourselves from time to time, break away from habits, and venture down new paths? Simon Hinter, widely recognised as a house producer with releases on renowned labels such as Freerange, Quintessentials, and Kerri Chandler’s Madhouse Records, is now daring to explore something new with us, while embracing something old: Drum’n’Bass is his great old love, now rekindled with his Confusion EP.

Unsurprisingly, this comes with intense emotions, and the four tracks of the EP oscillate between profound euphoria and melancholia. You can sense both, the beginning and the end of a party night at the same time. These tracks, however, defy the current listening habits shaped by the need for instant grati¬cation. Instead, they are an ode to the loop. Here, the mind is invited to engage, to actively listen and perceptually complete the experience. We hope you enjoy this rollercoaster of emotions! Sincerly yours, Brombért P.S.: The physical release comes with handcrafted, screen-printed artwork by the fabulous graphic artist Zatina Kessl

Get ready to jump as Bogwoppa returns with 'SPIKE UP EP' from Secret Squirrel! Packed with throwback breaks and a badboy basslines, This exuberant release channels classic UK vibes with a modern edge into 4 bombastic tracks guaranteed to shake you out of your tree.

Don't miss out - Bogwoppa is back, and it's time to move!

The Spanish duo returns with a powerful new EP on their label, nheoma. Fusing complex patterns with relentless energy, Coded Fragments captures their signature style and the raw essence of Exiums sound.

Rocksteady Disco welcomes Dennis Liber & Lex for a standout debut here. Their four-tracker captures the magic of musical nights spent down in Mexican hotspot Tulum with organic and airy grooves aplenty. 'Una Sera D'Estate' (feat Max Giovara) exodus late-night warmth and loved-up vibes with its melodic bassline and disco-tinged house drums. 'End Of The Line' is more lively but is no less direct with its big drums and pointed bass phrasings. Liber then goes solo for the dreamy, Italo-tinged yet tropical 'Playa Eden' and wonderfully escapist closer 'Hidden Island' complete with Balearic beats and the sound of singing dolphins.

Throughout the 1980s, Michael Antener, born and raised in Bern, Switzerland, initiated an array of sonic endeavours in the realm of industrial, dark, aggressive music. Of his times as a post-apocalyptic hunter, he says today: I found a musical niche where I could express myself, along with other people who were not afraid of dark themes. It would have been hard to sing about love in my music, so I included sounds and cries of pain taken from horror movies.

It was a fortunate coincidence to come across one of his self released records, the 1986 EP Strangler of the Swamp, which marked the beginning of our quest to find this all but forgotten musician whose work seemed nowhere to be found. Eventually, we got in touch with Michael, who is still living in Bern, and began the process of searching through all his surviving musical and visual material.

The triple vinyl release is all about documenting Michael Anteners adventures during that intense 1980s period. We tried our best to select the most interesting material from his two earliest projects, The Strangler of the Swamp and Bande Berne Crematoire, comprising materials from vinyl records, cassettes, and live recordings, some of it unreleased. The release also includes a deep dive into Michaels visual archive of posters, photos, and sleeve artworks.

The disjointed, tumultuous body of work presented here marks the testament of a fringe musician who was disruptive and confrontational, keen to shock and alarm people (much to our liking), and who could easily have been lost in oblivion.

Limited, 200 copies only.

This new one from our favourite US ambient outlet takes the form of a selection of long-form compositions from artists who are close to the label. As such it's a perfect reflection of its signature sound - deeply immersive soundscapes, slowly shifting synths and meditative moods made with a mix of hardware tools, guitars, pedals and even baritone vocals. It's named after a Norwegian term for warmth and intimacy, which certainly plays out from the evolving loops of 'A Whisper' to the textured melancholy of 'Canaan' and the reverberant drift of 'Coronation Ring'.

Still sniffing out the gnarliest bassweight swerves on his rounds in the underground, Dogpatrol makes his way back to Sneaker Social Club for another four cuts of irreverent, misfit rave damage.

Hailing from Offenbach (DE) but with a sound more indebted to UK styles like breakbeat hardcore, dubstep and garage, DogPatrol has been a natural fit on Sneaker. The slanted approach he takes to his influences results in a mutant style that shuffles and slams in all the right places without sounding like anything else out there.

‘1200kcal’ rides jagged, dusty drums that come on like drunken UKG, offset by rubbery bass arps that add a cosmic lick to proceedings. ‘Baby Flame’ has a nastier outlook hinging on a bludgeoning synth splat that calls back to the Control Tower brand of warehouse electro from the early 00s. Making sure no-one is second guessing the scent Dogpatrol is tracking, ‘Ya Playin Yaself’ dips into a dubstep-minded half-step roller with naive keys run through a giddy signal chain. ‘Offgenbach HBF Riddim’ completes the set with a breakbeat cut n’ paste job which tracks back to the source with strong echoes of The Blapps Posse’s raw and funky approach.

The reference points are just slight hints of familiarity, but Dogpatrol comes across as inspired as ever digging up the bones of cult rave signifiers and chewing them into his own unique shapes.

Dajusch unleashes the 'Ambition EP', a raw and uncompromising statement of techno tradition. Berlin-based producer, DJ and sound engineer Dajusch returns with his latest four-track EP, a high-powered offering that channels the essence of Detroit and Chicago techno while pushing the boundaries of contemporary club sound. Known for his deep connection to electronic music's pioneering roots and his work behind the scenes as a mastering engineer, Dajusch brings an intense and refined energy to this release. The EP opens with the single 'No Mas', a relentless percussive workout where hypnotic synths intertwine with driving drum patterns, setting the stage for an unyielding ride. The title track 'Ambition' follows suit with a high-octane groove, combining raw machine-funk aesthetics with a pulsating bassline and intricate, evolving textures that command the dance floor. On the flip side, 'Split' takes a darker and more cerebral turn, layering industrial-tinged sonics over a tight, rolling beat, blurring the line between peak-time energy and introspective depth. Closing out the EP is '36g', a heady, propulsive cut that builds into a whirlwind of syncopated rhythms and distorted stabs, rounding off the record with a powerful, no-holds-barred climax. With Ambition, the Spandau20 artist Dajusch reinforces his position as a purist and innovator, delivering a release that feels both timeless and forward-thinking. Whether experienced in the heart of a sweaty warehouse or through the pulse of a late-night drive, this EP stands as a testament to the raw, unfiltered power of techno.

a A1 Rasta We Rasta Remix

repressed !

With this Ep for Mother Tongue Gerald Mitchell really shows what Soul is all about. The first Los Hermanos Ep on vinyl in over a decade brings it back to Church and then some! From the Gospel tones of the dancefloor smasher 'Another Day', to the electric techno-jazz of 'Binary Funk Infusion' featuring Bob Rogue think of Herbie's Dedication meeting Axis and finally closing and melting with 'Let Lot Live' featuring the incredible voice of Billy Love...it was definitely worth the wait.

Born less than an hour from Chicago but now based in Detroit, Rick Wade cut his DJ teeth in Michigan's Nectarine Ballroom in the 80s and early 90s, at the same time as a certain Jeff Mills was also making giant strides at the venue. Wade's sound is more rooted in deep house but, as this four tracker demonstrates, there's a cosmic spirituality and otherworldliness to his music that it shares with the best of UR and other notable Detroit greats. We kick off with 'Groove Tool', powered by a beautifully pliable, funky bassline and embellished with floating chords and subtle bell sounds way up in the high frequency range. 'Pimp Prophecy' boasts a little more disco swagger, with its niggling guitar riff and some excellent bongo bashing. 'Jazzy Tears' revolves around a sturdy kick and a processed, timestretched vocal refrain, played off against jazzy guitar chords and strings ascending to the heavens. 'Ooo Ahh' is probably the catchiest of the lot, with a shuffling beat undercarriage and an infectious hook, all wrapped up - as all four tracks are - in some understated but still lush musicality. 'Deep Incantations' indeed.

Having shared stages with artists like Efterklang and Ólafur Arnalds, Samson has long felt like an outsider, caught between being “too experimental” for some and “too indie” for others. His struggle to fit into a defined space has deeply influenced his music. After the pandemic derailed a major indie record deal, Samson grew disillusioned with the industry, reflecting on how his search for belonging had often been met with barriers.

His new album “Songs of Beginning & Belonging” are reflections on these experiences. Moving away from the themes of home and displacement that coloured his earlier works, the new album reflects a sense of inner peace and renewal. It is a delicate, meditative collection that underscores Samson’s growth as an artist and a person, driven by a desire to move past old wounds and start anew.

“Songs of Beginning & Belonging” is an album that feels at once delicately sparse, at times even symphonic, but is tied together by a repeated and palpable feeling of quiet liberation - a determination for things to move forward rather than reflecting back on what’s come before.

Recorded between November 2022 and May 2024 in Will’s former studio, a secluded spot on the River Tejo in Almada, which he shared with Casper Clausen of Efterklang), the album was made specifically for Dauw, who had asked Will to create a piece of music for them. The album was, as always, largely recorded using his 1970's 'Uher 4200' tape machine, plus a small collection of other tape machines that wind their way in and out of the recordings and shape in it in a beautifully singular way.

2024 Repress

Alessandro Alessandroni's "OPEN AIR PARADE" is finally reissued through SME. The very best library record by the cult maestro on the dreams podium alongside SPONTANEOUS, the 2 FARFALLA's recordings and RITMO DELL'INDUSTRIA we released 2 years ago. A long-awaited masterpiece and sought-after gem by record collectors all over the world originally released in 1972 on the mythical SR Records with two tracks by the great bassist Giovanni Tommaso who surely played in this session. A dreamy album with the top-notch, strung-out Psychedelic Funk sounds ever recorded in Italy during the early 70s, laden Beat and groovy music with lush arrangements and insane vocal themes by Alessandro Alessandroni's Cantori Moderni chorus. Italian Library gem!