quête:rösh

[f] 5Alone in My Apartment (Pop 2k) [feat. Ryan Cabrera and Wesley Stromberg of Emblem3)

[h] 7Dragon(s) [feat. Mary Martin and Luna Blak]

"Ethio Jazz" is an album released by the Ethiopian master musician Mulatu Astatke in 1974 on his homeland Ethiopia's Amha Records.
It stands as a milestone not only in his career but also in the history of contemporary Ethiopian music, continuing to shine brightly.
With melancholic melodies played by wind instruments, a polyrhythmic rhythm section creating robust waves, sultry vibes from the vibraphone, and smoky
organ tones, the album is enveloped in the sounds of jazz inherited from the States. This work, where various musical elements are miraculously fused in
perfect balance, undoubtedly reigns at the pinnacle of Ethio Jazz, showcasing Mulatu's ambitious creativity in seeking out new sounds.

Unearthing old gems, remastering and bringing them back to the forefront is what Private Parts are up to for release number 07 in the catalog. Original London Tech masters Rob Pearson & Dave Mothersole originally released Wanting You in the early 00’s, but with the extreme prices on Discogs it seemed like the right choice to get this re pressed for your pleasure.

Wanting you is everything you ever wanted from those timeless sounds of London Tech. Dubbed out vocals, tribal rhythms, pulsating acid lines and a groove to keep you locked right in.

Flipping to the B, and the biggest thank you to Rob himself for spending weeks searching old DAT tapes in his loft to find the original pre master of the driving remix from the late Iteration X. They don’t come more heads down, and hypnotic than this. Throbbing bass stabs, luscious chords and in true Iteration X style, a roller that you could keep you shaking for days on end.

It only seems fitting to dedicate this re issue to Simon Copleston, Mr Iteration X. Thank you for the music!

Tin Fingers takes on a darker, melancholic direction on their second full album. Felix Machtelinckx' weeping vocals, preaching, searching, and trying to understand God, form the leitmotif. With rich melodies, haunting piano sounds, improvisations, first takes and no overdubs, Tin Fingers is searching for pureness and keeping things human and simple. The band is playing together intuitively, without a computer, without ego, just for the sake of music

The creation of the album was very fluent and spontaneous. Singer Felix wrote the backbones of the songs and the lyrics on acoustic guitar and piano. He wanted to have songs ready in order to be able to record and write arrangements fast. With an eye for details but without overthinking, keeping the ideas fresh. 'I wanted to stay in love with the music.' he explains. 'It needed to go fast, very fast, in just two weeks the entire album was recorded and ready to be mixed.'

In the studio, the band especially focused on picking the right mood rather than playing the right notes.

They were fed up with working on a computer for many hours, overthinking production choices, and adding instruments on top of each other as if they were Lego blocks. This time they decided to work in a more traditional way, going for first takes, jams, and essentially working with analog gear. No computers, no screens, no distractions. Only four humans in a studio trying to make a sound together by keeping things spontaneous and raw. They said goodbye to perfection and worked towards an unfinished product, a snapshot.

Tin Fingers also didn't want to sound like any other artist on this record. They decided not to listen to music during the sessions, and to never express ideas by referencing other bands. Just before the studio session, however, bass player Simen Wouters broke the rules and shared Bonnie 'Prince' Billy's, I See Darkness. Its dark and searching sound ended up inspiring the band unmistakably.

Once the recording was finished, the band decided to keep the volatile rhythm going and asked reputable NYC-based mixer and producer D. James Goodwin to finish the job. Goodwin, known for his analog folk productions with a real American punchy sound but a tender touch, proved the right man for the job. He opened up the songs and kept things poetic, minimal but impressive.

Nach seinem Comeback mit „The Healer“ (1989) begab sich John Lee Hooker zu Russian Hill Recording in San Francisco und The Record Plant in Sausalito, um einige seiner bekanntesten Songs neu zu
interpretieren, darunter „Boom Boom“, das diesem Album seinen Titel gibt. Eine Starbesetzung zeitgenössischer Bluesgrößen nahm an den Sessions teil, darunter Charlie Musselwhite, Jimmie Vaughan, Robert
Cray und Albert Collins.

Written and performed entirely by ELLiS
D himself (aka Ellis Dickson) at Hackney Road studios with Shuta Shinoda (Hot Chip,
Jenny Beth), 'Spill' is a seven song jetstream ofrocket-fuelled, goth-tinged glam-punk,
infested with 21st century paranoia:
"The Spill EP is a not so subtle expression of conflict between personality and
character", Ellis explains, "An uneasy alliance of nervous apprehension and joyful
abandon. Throwing myself dramatically onto the funeral pyre one moment, only to get up
and frantically twist my limbs about the next."
The brainchild of drummer-turned-solo musician Ellis Dickson, ELLiS.D has garnered a
growing reputation in the past 12 months for a tireless touring schedule and
increasingly electric live shows, recently described as"one of the most exhilarating live
sets I've seen in months."byFar Out Magazine.
Backed by continuously shifting set of Brighton musicians - in addition to playing
drums across the world with Fat Dog andJohnny Borrell's Jealous Nostril project - his
solo show has performed with the likes ofRazorlight (at Brighton Dome and Eventim
Apollo) The Goa Express , Flip Top Head , Melts , Plantoid, Vinyl Williams , Youth
SectorandThe DSM IV.

Leila Gamal’s ‘Abaleeh Abalingi’

At the height of Pan-Arabism, when the United Arab Republic fused Egypt and Syria in a fleeting but bold experiment, a new wave of popular music was emerging—vibrant, infectious, and universally danceable. Among its lesser-known stars was actress Leila Gamal, whose voice—delicate yet rich with longing—embodied the golden era of Egyptian cinema. Born in Alexandria to Syrian roots, Gamal’s vocals were a magnetic blend of sweetness and passion, with a timeless allure that echoed the silver-screen sweethearts of her time.

Abaleeh Abalingi pulses with the hypnotic drive of funky organ riffs, reminiscent of the blind visionary Ammar El Sheriyi, creating a sound both cinematic and undeniably catchy. The delicate lyrics by Khairi Fouad place the track firmly in the lineage of the Middle East’s most iconic pop divas, from Angham to Nawal El-Zoughbi who he subsequently wrote for. This reissue, lovingly remastered, brings this long-lost gem back to life, where it belongs—spinning on turntables, teasing dance floors, and transporting listeners to Egypt in the late sixties.


Adel Osman’s “Oriental Eyes”

Oriental Eyes captures the essence of the 60s Egyptian Franco-Arab movement, blending Western (often jazz) influences with Arabic melodies to mesh mystique with sensuality. Osman’s commanding yet delicate vocals deliver the bilingual lyrics with captivating sincerity, his voice effortlessly gliding over the swells of the arrangement. The trumpet, possibly connecting him to Zaki Osman of Salah Ragab’s legendary Cairo Jazz Band, adds a layer of flair, enriching the track’s Tarantino-esque eclecticism. Now remastered, ‘Oriental Eyes’ is not only a nostalgic gem but a timeless reminder of the boundary-defying spirit that defined the 1960s musical landscape.

Given the ongoing war efforts against Israel, this record wasn’t pressed by Sono Cairo till much later in 1975 once Egypt had recaptured the Sinai and restored national pride. Sono Cairo (Sawt el-Qahira) was the first Arab-owned and by far the largest record label in the Middle East, amassing an unmatched catalogue of music. With exclusive rights over much of Umm Kulthum’s works, Sono Cairo played a crucial role in disseminating the sounds of Arab Nationalism and projecting Egypt’s soft power across the region.

Muhammad Al-Najjar
London, April 2025

credits
Audio restoration and vinyl mastering: Colin Young
Lacquer cut: Timmion cutting lab
Sleeve and label artwork: Grotezk Studio
Under License of Sono Cairo

Georgette Sayegh & Melhem Barakat – Belghi Kull Mawaidi & Instrumental:

Finally, hopping across from Egypt to Lebanon for this infectious number, Georgette Sayegh delivers what some consider her magnum opus in a captivating duet together with Melhem Barakat, and on the flipside a stripped-down instrumental version that’s equally catchy.

Georgette Sayegh is a legendary Lebanese singer and actress known for her tender and dulcet voice that echoed the grace and beauty of the inimitable Fairuz yet carried its own unique warmth. Her passion for collecting vinyl at an early age formed her eclectic musical palette, and she eventually caught the eyes of the Rahbani brothers and played the lead role in a monthly play written by Fairuz’s son, Ziad. Georgette’s household classic "Yay Yay Ya Nassini” shot her to stardom across the Arab world in the 1970’s, and till this day carries the exact same nostalgia of a Lebanese summertime anthem – flirtatious, jolly, and unfettered. In Belghi Kull Mawaidi (I cancel all my appointments), Sayegh’s voice entwines with compatriot and fellow household staple, Melhem Barakat in an emotional display of longing and depth - her voice delicate yet powerful, effortlessly blending with Barakat's commanding baritone.

The instrumental version on the flipside (surprisingly a stereo mix) reveals a highly catchy arrangement that is lush and emotive, driven by strings that glide smoothly through the melody, while brass instruments add a touch of drama. The rhythm section, punctuated by a steady percussion, anchors the track, allowing the interplay of instruments to build a sense of urgency and longing, accurately reflecting the struggles and emotional resilience that defined Sayegh’s own life.

This reissue, remastered with painstaking care, brings both versions of Belghi Kull Mawaidi back to life, making it an essential addition to any avid listener, DJ or collector’s shelf. It captures the timeless beauty of two of Lebanon's most cherished musical icons, their voices and instruments merging to create a track that resonates through the ages.

Muhammad Al-Najjar
London, April 2025

credits
Audio restoration and vinyl mastering: Colin Young
Lacquer cut: Timmion cutting lab
Sleeve and label artwork: Grotezk Studio
Under License of Voix de L'Orient

Following the release of his fifth studio album ‘Magickal’ at the start of the year, Damian Lazarus now opens a new chapter in the project’s evolution with ‘Magickal Remixed (Part I)’, this first instalment of the two-part series features bold reimagining’s from Harry Romero, Jonathan Kaspar, THEMBA and Mëstiza, offering four fresh takes on standout cuts from the acclaimed long-player.

The package opens with Harry Romero’s ‘Raw Dog’ remix of ‘R U Dreaming?’, originally a deeply introspective cut featuring Canadian maestro Mathew Jonson. Here, the New York favourite dials up the low-end pressure and rhythmic weight, bringing raw tribal energy and heavyweight swing to the original’s dreamlike tones. Jonathan Kaspar’s ‘Sunrise Remix’ of ‘Falling Down’, Lazarus’ collaboration with TEED and A-Trak, comes next. Channelling radiant euphoria through rising pads and sweeping melodic phrasing, it leans into the emotional intensity of the original while transforming it into a full-blown moment of sunrise transcendence.

On the B Side THEMBA delivers striking remix of Damian Lazarus and Jem Cooke’s ‘Searchin’.
THEMBA’s remix builds on that foundation and takes it into expansive, Afro-infused club territory, layering hypnotic percussion, deep rolling grooves, and subtle atmospheric shifts that heighten the emotion and push the track into new late-night spaces. Closing out the release, Spanish duo Mëstiza return to reinterpret their collaboration with the Crosstown head honcho, ‘La Hija De Juan Simón’. Expanding on the track’s flamenco-inspired roots, they layer hand-played percussion, haunting vocal flourishes, and dense atmospheres into a hypnotic, slow-burning groove, bridging folklore and futurism in their unmistakable style.

Satya welcomes one of Romania’s most respected underground talents, Mihai Pol, for a standout vinyl-only release titled "Ebb And Flow". With a sound that embodies precision, groove, and an ever-evolving sense of storytelling, Mihai has carved a unique place within the minimal tech-house landscape since his breakout moment in 2016 with Goneta on Capodopere.

His music, known for its subtle emotional depth and dancefloor functionality, continues to evolve—each release revealing a new side of his sonic palette. From the acid-laced drive of Synkop to the dreamy momentum of Tango, no two records sound alike. A regular on Telum and a fixture at iconic venues like Hoppetosse, La Java, The Block, and Sunwaves Festival, Mihai’s artistry spans both the booth and the studio.

On Ebb And Flow, Mihai delivers a refined suite of tracks created over a focused one-to-two month period, all sharing a clean, underground, club-oriented spirit. "There was no cultural reference for them," he shares. "Just me putting together sounds and playing them live." Built using an analog-heavy arsenal—MPC1000, Rytm, Digitone, Virus, Modular, Prophet6, Octatrack—and a few choice samples, the EP captures Mihai’s organic approach to groove and texture.

"I like to make people dance and feel good, but I also try to tell a story," he says. Ebb And Flow is exactly that: a dancefloor journey that hits the body and speaks to the soul.

The highly anticipated collaboration from Shawn Lee and Kelly Finnigan ishere. The A-side on this 45, Say It Again, features Kelly on vocals and piano. It's asmooth, soulful tune, pulling references from Bobby Caldwell and FM radio. Shawn says of the track "there has always been a mutual admiration societybetween myself & Kelly. Over the years I've had the pleasure of playing onboth the Monophonics & Kelly's solo records in the studio and live onstage. This is the first I've had Kelly on something that I've put together. Good thingscome to those who wait_and here it is!"The instrumental B, Harpsichord Rock, comes straight out of some sort oflost 1970's Italian movie. Entirely written and recorded by Lee, it's a hypnoticjam with a groove. The mood: funk.

180 gram pressing.

Producer, DJ, multi-instrumentalist and live performer Alek Lee returns with his second LP, an immersive instrumental journey shaped by his raw, smoky, guerrilla-style production. Cold Feet invites you deep into the Alek Lee universe, rich with swirling synths, layered percussion, Balearic guitar lines and dub-infused horns.

From the psychedelic, Sade like grooves of the title track and “Too Soon,” both steeped in cinematic mystique, to the sun drenched energy of “Pino Pino” and “The Right Thing,” which shimmer with Balearic disco flair, the album glides effortlessly across moods and tempos. A highlight arrives with the summer dub anthem “Was Was Was,” featuring long time collaborator and former Shame On Us bandmate Yovav Arzi on electric guitar.

The journey winds down with “Illusions,” a sultry, downtempo banger laced with an oriental twist, before dissolving into the final track “Cold Feet Desert”, a return to stillness, barefoot on white desert sand beneath a star strewn sky.

With a career spanning over two decades, Alek Lee has carved out a unique space in the global music scene. Known for his long, genre defying DJ sets and dynamic live performances, he moves fluidly between dub, house, and his own idiosyncratic productions. As a solo artist and through projects like Shame On Us and Project Runaway, Alek has played some of Europe’s most respected venues and festivals, including Sisyphos, Kater Blau, Glastonbury, Garbicz and Fusion. His releases have earned radio play from BBC6’s Iggy Pop and NTS’s David Holmes and featured on Peggy Gou’s Boiler Room and France’s legendary Radio Nova.

Now based in Athens, Alek continues to evolve his distinctive sound with Cold Feet, his most expansive statement yet.

Bad Brains is the self-titled debut studio album recorded by American hardcore punk/reggae band Bad Brains. Recorded in 1981 and released on (then) cassette-only label ROIR on February 5, 1982, many fans refer to it as "The Yellow Tape" because of it's yellow packaging. Though Bad Brains had recorded the 16 song Black Dots album in 1979 and the 5-song Omega Sessions EP in 1980, the ROIR cassette was the band's first release of anything longer than a single. The release includes the original liner notes by Ira Kaplan of Yo La Tengo. This reissue marks the second release in the remaster campaign on the band's own Bad Brains Records imprint with Org Music. In coordination with the band, Org Music has overseen the restoration and remastering of the iconic Bad Brains' recordings. The audio was mastered by Dave Gardner at Infrasonic Mastering.

Indie exclusive Peak Edition on Orange & Black Swirl Vinyl, in a gatefold cover + poster.



It's spring of 2023 in the North Carolina Piedmont, and songwriter and singer M.C. Taylor - leader of the band Hiss Golden Messenger - is feeling alive. Joyful. Eternal, he might say. For the Grammy-nominated musician, whose albums have traced an internal path through adulthood, fatherhood, spirituality, and depression for well over a decade, this is something new. "The tunes on Jump for Joy were composed in free moments throughout 2022, a year during which Hiss was on the road more or less constantly," explains Taylor. "And perhaps because the post-pandemic energy out in the world felt so chaotic and uncertain, I found myself thinking a lot about the role that music has played in my life and how exactly I ended up in the rarefied position of leading a band and crew all over the globe through dingy graffiti-scrawled green rooms, venerated music halls, dust-blown roadside motels.

Sometimes playing in front of 5,000; sometimes 200. Sleeping sitting up. Laughing until my stomach hurts. Not being able to fall asleep at 3 a.m. in some anonymous bed because my mind is spinning with anxiety or depression or adrenaline, or because my ears are still ringing. Robbing Peter to pay Paul, then robbing Paul to pay Peter back. Over and over again. It's an outlaw life but one, I'm coming to realize, that makes me happy." The songs that make up Jump for Joy - the sharpest and most autobiographical that Taylor has written under the Hiss name - read as a sort of epistolary, postcards between the present-day songwriter and his alias Michael Crow, a teenaged dreamer very much like Taylor himself, who trips his way through the 14 tunes that make up the record. In this way, Jump for Joy is a meditation on a life lived with art, and the ways that our hopes and dreams and decisions bump up against_ and, with a little bit of luck, occasionally merge with real life. "Creating this character became the way that I could explore these vulnerable, tender moments that were so decisive in my life, even if I didn't know it at the time," explains Taylor.

Produced by Taylor and engineered by longtime Hiss compatriot Scott Hirsch over two weeks in the late fall of 2022 at the fabled Sonic Ranch studio in Tornillo, TX, just a short walk from the Mexican border, Jump for Joy dances with joyful, spontaneous energy that feels like a fresh chapter in the Hiss Golden Messenger oeuvre. Taylor is accompanied throughout the album by his crack live band: guitarist Chris Boerner, bassist Alex Bingham, keyboardist Sam Fribush, and drummer Nick Falk, a collection of musicians that have helped make Hiss Golden Messenger's live performances legendary affairs

Perro Bueno Edits has been behind some much-sought-after edit releases in recent times and this one is another of the same. The fifth entry in the cult series again looks to unearth rare Afro disco gems and rework them with precision and soul. On Side A, 'AMDS' is a hypnotic cut with a rolling bassline that radiates warmth as the original is respectfully reimagined with sharp edits and an extended arrangement built for movement. The B-side is a spiritual stunner that melds heartfelt vocals with layered rhythms and dreamy keys to back the soulful vocal. It's a dubbed-out groove perfect for late nights with some bright horns adding extra vitality.

"This is brilliant" - Gilles Peterson

Azymuth bassist Alex Malheiros doesn't remember recording this single. It's understandable—the sessions happened over forty years ago, and at the time, Malheiros, Ivan Conti and José Roberto Bertrami were backing countless MPB artists throughout the genre's golden age. As one of Brazil’s most influential groups, Azymuth's story is well known. Vocalist Luisa, however, remains something of an enigma. She recorded this, her one and only single, in 1981 for Carlos Lemos' Piramide Label.

With Luisa’s powerful yet understated vocal, Bertrami's futuristic synths and José Carlos Bigorna's brow-raising tenor sax licks, the stirring early-80s pop ballad "Romantica" should have been a radio hit. On B-side, "Lenha na Fogueira", Azymuth lock into an exceptional samba-funk groove with legendary guitarist Paulinho Guitarra. The record also features backing vocals from the lesser-known vocal group Arco Iris.

Luisa will be reissued for the first time on 7" vinyl and digital on September 5th, 2025, via Far Out Recordings.

In 2024, Kyoto Jazz Massive released their third album as a digital-only project, 30 years after their debut. It now receives the honor of a special vinyl edition, featuring brand-new exclusive mixes by Young Pulse—elevating these already great tracks to even greater heights, for both your ears and your feet.
This marks the first and exclusive collaboration between KJM and Echoes Of A New Dawn Orchestra (aka Jéroboam), the unique Parisian band that has been performing live with KJM across Europe for the past three years. On this occasion, KJM recorded four new tracks with EOANDO, including three original songs ("Power", "Love Wars", and "Impulsive Procession") and a new rendition of “Stand Up”, a previously released composition. To complete the album, you'll also find a stunning cover of KJM’s iconic track "Substream" by EOANDO, as well as their signature piece, “EOANDO's Theme”.
"Power" and "Stand Up" were recorded with Vanessa Freeman, while "Love Wars" features Bembe Segue. This London-based duo has been singing live with KJM since 2004.
"Power" is a crossover anthem, blending jazz-funk and French disco with a gospel touch. Vanessa Freeman’s uplifting lyrics call for collective awareness and energize audiences. "Love Wars" is a live-band interpretation of broken beat with a boogie spirit, enhanced by Bembe Segue’s sharp and spiritual vocals. “EOANDO’s Theme” was specially composed by Echoes Of A New Dawn Orchestra for KJM, capturing the Okino Brothers' love for boogie-funk jams with Brazilian and Balearic influences reminiscent of Azymuth.
“Impulsive Procession” fuses Afro, funk, jazz, fusion, soul, rock, house, and techno—drawing inspiration from several of KJM’s most respected musical heroes. A brand-new version of “Stand Up”, originally released in 2008, was re-recorded live in the studio with EOANDO and fresh vocals by Vanessa Freeman.
The album closes with a reimagined version of “Substream”, one of KJM’s most beloved tracks, covered by EOANDO for the official Tokyo Crossover/Jazz Festival 2023 compilation. This new version was recorded as an organic disco interpretation at Danilo Plessow’s studio in Paris.

Dario Bassolino is pianist, producer and composer born in Naples, where he currently resides. With an eclectic taste and an genre-defying musical ability, he has produced for and played alongside alt-R&B vocalist LNDFK, jazz-funk legend Nicola Conte, Early Sounds boss Pellegrino and has collaborated with Nu Genea, Kurtis Rosenwinkel and rapper Pink Siifu to name a few. Inspired by the Brazilian funk greats Hermeto Pascoal and Airto Moreira and their Italian counterparts such as Franco Califano, Lucio Battisti, Panella, Enzo di Domenico and Gennaro D'Auria. Bassolino’s live show has a very organic form and is inspired by jazz, funk and disco improvisation, having extensive experience playing to enthusiastic international audiences as a session musician at prestigious festivals Primavera Sound, Montreux Jazz festival, Dour Festival and We Out Here.

Bassolino's new release is located where the sea begins and the sky ends. Two tracks that carry the horizon drawing a straight line between Naples, Tunisi and Beirut. A thin but tangible line that unites the Mediterranean poles. Hence the concept of "Popoli del Mare", the multiform sound waves intertwine a composition with an incessant rhythm: the Afro contamination of Charif Megarbane finds a fit with the Italian and dreamy harmonies of Bassolino. Baid Alik is a song of love and hope. The sound, purely inspired by the research of Habibi Funk, evokes the memory of an ancestral past shared by Bassolino with the Tunisian singer Marzouk Mejri.
His voice, halfway between proto- rap and melodic, mix perfectly to the disco-cinematic instrumental.

Backspin's new release comes from Obscure Shape, delivering a deep and versatile techno EP that lives up to its title: 'Zwei Gesichter' (German for 'Two Faces'). Across five tracks, the EP explores the tension between raw force and emotional depth, marrying the label's Hardgroove roots with a more introspective edge.

The A-side presents Obscure Shape's first face: It opens with 'Zwei Seiten', a no-frills banger that hits with immediacy and drive. 'Im Angesicht Der Zeit', the single, leans into groove and movement, offering a more fluid, time-aware flow. 'Die Haut In Der Ich Wohne' pares things back into a minimalistic, loopinghypnosis, evoking the idea of inhabiting one's own skin. On the B-side, presenting the producer's second face, 'Spuren Des Werdens' features producer AMIYE and introduces more melody and saw synths, a reflection on growth and transformation. The closer, 'Von Hoffnung Getragen' - also a collaboration with AMIYE - lifts off with ethereal vocals and a bouncing rhythm, embodying the hope that carries us forward.

With the 'Zwei Gesichter' EP, Obscure Shape crafts a powerful narrative through groove, form and feeling, perfectly aligned with Backspin's evolving reinterpretation of early 2000s techno.

"Eternal Life EP" is a double A-side release featuring two mixes of the title track by father-daughter duo, Floorplan alongside two new solo tracks by Robert Hood.


The glorious "Eternal Life" is an infectious track to raise the roof as only Floorplan can, whether it's Lyric and Robert's tough House A1 version or the more stripped back Mix 2. Flipping to the AA-side Robert delivers his signature "real" minimal Techno sound on the shimmering "God Flow" before closing out with the darker tones of "The Throne". It's an essential release that can take you all the way from daytime festival fields through to late night warehouse dance floors on one EP.

Floorplan x Robert Hood "Eternal Life EP" will follow the vinyl release of Robert Hood's "Art Project EP" which will hit record stores from 13 June.

Die frühen Achtzigerjahre waren für den härteren Rock aus Deutschland eine ganz besondere Zeit. Der ausufernde Progressive Rock und der sogenannte Krautrock waren am Ausklingen, der Punk musste dem New Wave weichen und der Heavy Metal begann Fahrt aufzunehmen.

Einige Bands saßen zwischen 1980 und 1983 zwischen den Stühlen und können gar als „das fehlende Glied“ bezeichnet werden. In diesem Boxset
befinden sich gleich drei Schmuckstücke und Geheimtipps, die heute sogar aufregender klingen als damals. REQUIEM kamen aus Stuttgart
und lieferten auf ihrer einzigen LP einen Mix aus Hardrock, Pomprock und Progressive Rock. Gitarrist Tommy Clauss wurde später mit Bands wie ZAR
berühmt, bei denen auch ex-Uriah Heep Sänger John Lawton dabei war.

SPHINX ist eine andere Geschichte, denn hier haben ein paar italienische Gastarbeitersöhne im Raum Stuttgart eine Band gegründet. So wurde
das Debüt „Here We Are“ vom Label als „Made In Italy“ verkauft, was natürlich nur eine Verkaufsstrategie war. SPHINX nehmen das voraus,
was uns Jahre später unter Anderem Dream Theater lieferten. Eine frühe Version des Prog Metal, oder ein Vorläufer davon. Das gleiche Album wurde
von einem anderen Label 1985 als „Burning Lights“ erneut ins Rennen geschickt; dieses Mal mit einem Heavy Metal-tauglichem Coverartwork.
LIMERICK aus Saarbrücken haben als Schülerband 1980 eine heute sehr rare Single aufgenommen. Das einzige Album erschien dann 1983 – mit
deutschen Texten! Regional war der kräftige Rock mit Dialekt im Gesang sehr erfolgreich und spielte Shows mit Kim Wilde und Climax Blues Band.
Die Gruppe ist heute wieder aktiv und wurde kürzlich im Magazin Rock Hard gefeatured

FJAAK return with a powerful remix package, delivering fresh takes on a selection of tracks from their unforgettable 2024 album 'FJAAK THE SYSTEM'. Welcoming three standout remixes from some of techno's most respected names, 'REMIX02' sees offerings from Robert Hood, Shed and West Code, as well as some surprise Bandcamp digital only remixes selected from the participants of FJAAK's latest remix competition. Kicking off the main remix package release, Detroit legend Robert Hood brings his unmistakable raw, relentless and pioneering sound to the table as he reimagines FJAAK's 'Breathe Underwater'. The genre-defining godfather serves up an undeniably signature cut flooded with euphoric energy, thumping grooves, rippling musicality and spaced-out vocal injections, carving out an authentic Floorplan-esque peak-time jam. Berlin-based artist Shed (one of the many monikers of established electronic stalwart Ren? Pawlowitz) is next to feature, delivering another impressive spin on FJAAK's work, this time exploring his vision on 'Micro Expressions'. An impressive blend of hypnotism and electricity, this bold remix echoes FJAAK's preference for cultivating huge dancefloor heaters that thrive on live instrumentalism and limitless energy. It's racy, groovy and raw, building around rolling rhythms, warping layers of analogue sound and intricate breaks throughout. Argentinian talent West Code was the winner of the 'Redemption' remix competition and rounds off the main package with a huge interpretation of FJAAK's original mix. Almost bordering into tribal techno in places, its emphasis on groove and subtle South American influences create a unique remix, overflowing with boomy low-end drive, piercing percussive drive and mind-bending melodics - a real gem for the height of the party and irresistibly sinister from start to finish. The remix competition of 'Redemption' drew an overwhelming response from producers worldwide, which made it very difficult to choose a winner. Even though West Code's interpretation was the chosen remix, four other interpretations were so good that FJAAK decided to showcase the talent of Helsmoortel, Genex, Ay Din and Your friend daao by including their reworks on an exclusive Bandcamp-only EP, highlighting the duo's ongoing commitment to to the underground.

Bedouin return with their first release on their Human By Default label of 2025, ‘Heavy On My Mind’ – a super-group collaboration with London-born mainstay Robin M and Morcheeba co-founder and lead vocalist SKYE.

A masterclass in blending live instrumentation with subtle musicality for the dancefloor, ‘Heavy On My Mind’ brings SKYE’s entrancing original vocals to the fore over a grooving backdrop of organic beats, lush Spanish guitars, and rippling piano chords. The result is a seven-minute ethereal odyssey set to dazzle wide-eyed dancers as they march into the cosmic unknown.

Widely renowned DJ and producer duo Bedouin have cemented their status as global tastemakers, known for their deep, hypnotic, and worldly musical sensibilities. As they gear up for another standout summer season, including high-profile festival appearances at Sonus, Sziget, and the return of their award-winning SAGA residency on the White Isle, Bedouin team up with Robin M and SKYE to deliver one of their most intimate productions to date.

"We made this tune with summer on our mind... our new collab with Robin M and Skye is now ready to be your soundtrack on and off the dance floor" Bedouin

"I’m delighted to be part of this stunning track. It has an energised spiritual vibe. Lyrically speaks of yearning and desire. I cannot wait to hear it played loud in the club” SKYE

“Heavy on Your Mind came together in one of those rare, effortless sessions, where it just clicked. Bedouin and I went back and forth after, refining the track with such a natural flow. We knew it needed a fresh vocal to really elevate it, and the first person who came to mind was my friend Skye from Morcheeba. She absolutely nailed it and her top line brought the whole track to life" Robin M

After delighting fans of all ages with the surprise children's hit "Long Legged Larry," underground hip-hop icon Aesop Rock returns with "Roadwork Rappin'," a joyful ode to construction vehicles and the kids who love them. Inspired by the fascination many children have with bulldozers, front loaders, and cranes, the track delivers clever rhymes and vivid descriptions in classic Aesop fashion_this time with a whimsical twist. Over a minimal beat with a bouncing bass line that evokes the lumbering roll of oversized construction tires, Aesop celebrates the sights and sounds of work zones, bringing dump trucks and backhoes to life with vivid wordplay. The song is part educational, part imaginative world-building, capturing the wonder of watching giant machines reshape our surroundings. What makes it shine is Aesop's funny and wildly specific wit, packaged in a format that's approachable for younger listeners but still rewarding for longtime fans. With "Roadwork Rappin'," Aesop continues to expand his creative universe in unexpected ways, proving once again that his pen knows no bounds. Whether it's blaring from a car seat playlist or sparking nostalgia in adults who once chased garbage trucks down the block, this track is a joyful celebration of curiosity, machinery, and the poetry hiding in plain sight.

Pop-punk veterans Teenage Bottlerocket are primed to release their new LP Ready to Roll, the band's first full length for Pirates Press Records. "This time around, there was no big concept, no pressure. We just wrote songs that felt good to play," explains bassist Miguel Chen. "That freedom brought something fresh. It reminded us why we started doing this in the first place. The vibe is all about reconnecting with the joy of making music together. "The band returned to The Blasting Room in Fort Collins, CO, with Andrew Berlin behind the board & Jason Livermore overseeing the final master. "The Blasting Room is like home for us," says Miguel. "Working with Andrew and Jason is always a smooth ride-they know how to pull the best out of us." Fans got their first taste of what's to come via the lead single "She's the Shit." Ray Carlisle wrote the song for his wife Rachel, who he says "loves to give me a hard time-she rolls her eyes when I rock out in front of the mirror, makes fun of the music I love, and calls me an old man when I bring up movies she's never seen. And I totally love her for it." As for the song, Ray says, "It kicks the door open. It sets the tone for the whole record-fast, catchy, and not taking itself too seriously. Just the way we like it." This back to basics approach carries through the album, making it equally satisfying for longtime fans & newcomers alike. "Whether it's your first TBR album or your tenth," says Miguel. "There's something here for you." It's packed with everything you'd expect from TBR with a few surprises the band think you'll love - including a couple of songs where Miguel steps up to the mic for his first-ever lead vocals! "We're lucky to still be here, making music with our best friends, and connecting with people who get it," sums up Miguel. "Ready to Roll is exactly what it sounds like-we're stoked, and, in a way, we're just getting started."

Pop-punk veterans Teenage Bottlerocket are primed to release their new LP Ready to Roll, the band's first full length for Pirates Press Records. "This time around, there was no big concept, no pressure. We just wrote songs that felt good to play," explains bassist Miguel Chen. "That freedom brought something fresh. It reminded us why we started doing this in the first place. The vibe is all about reconnecting with the joy of making music together. "The band returned to The Blasting Room in Fort Collins, CO, with Andrew Berlin behind the board & Jason Livermore overseeing the final master. "The Blasting Room is like home for us," says Miguel. "Working with Andrew and Jason is always a smooth ride-they know how to pull the best out of us." Fans got their first taste of what's to come via the lead single "She's the Shit." Ray Carlisle wrote the song for his wife Rachel, who he says "loves to give me a hard time-she rolls her eyes when I rock out in front of the mirror, makes fun of the music I love, and calls me an old man when I bring up movies she's never seen. And I totally love her for it." As for the song, Ray says, "It kicks the door open. It sets the tone for the whole record-fast, catchy, and not taking itself too seriously. Just the way we like it." This back to basics approach carries through the album, making it equally satisfying for longtime fans & newcomers alike. "Whether it's your first TBR album or your tenth," says Miguel. "There's something here for you." It's packed with everything you'd expect from TBR with a few surprises the band think you'll love - including a couple of songs where Miguel steps up to the mic for his first-ever lead vocals! "We're lucky to still be here, making music with our best friends, and connecting with people who get it," sums up Miguel. "Ready to Roll is exactly what it sounds like-we're stoked, and, in a way, we're just getting started."

If any album could conjure up the revolutionary spirit of Jamaica in the mid 1970’s, Tapper Zukie’s invincible M.P.L.A. set would surely be a fighting contender. The coming together of great rhythms and meaningful lyrics in a time of unrest in the country seemed to have made the album all the more urgent and relevant. As time would tell it would also prove to be a lasting success, not only with the hard core reggae fans but also their punk counterparts. Who embraced its militant themes and crossed the album over to a whole new audience. Tapper Zukie (b. David Sinclair, Kingston, Jamaica.) had already returned from a trip to London England by the mid 70’s .Initially sent with help from his parents, brother Blackbeard and producer Bunny ‘Striker’ Lee to remove the youth from his troublesome ways on the streets of Kingston, Jamaica. He had performed some live shows in London and made some recordings for Larry Lawrence, that produced his debut ‘Jump and Twist’. Alongside other recordings that would emerge as his ‘Man A Warrior’ set. But feeling homesick he had returned to Jamaica in 1974 to work with Bunny Lee. His work would consist of arranging sessions and collecting payments to bodyguard, the now very successful producer. His frustration of Bunny Lee’s reluctance to record him led him cutting ‘Judge I Oh Lord’ for producer Lloydie Slim. Bunny Lee’s then recording of Tapper’s ’Natty Dread Don’t Cry’ and its subsequent release aboard, led to an altercation between Tapper and producer. The police had to be called and an offer to provide the singer with a set of rhythms put this matter to rest. The eight rhythms and a further two from Jo Jo Hookim and Ossie Hibbert alongside some free studio time at King Tubby’s Studio would result in the M.P.L.A album.

The rhythm provided by Jo Jo Hookim was a Channel One studio cut by The Revolutionaires based on Little Richards ‘Freedom Blues’ and provided the backdrop to M.P.L.A. The Ossie Hibbert rhythm again cut at Channel One based on The Royals ‘Pick Up The Rockers’ would provide the backdrop to Tapper’s ‘Pick Up The Rockers’. These and the remaining Bunny Lee rhythms, were all cut in a one hour session, at King Tubby’s Studio. ’Don’t Get Crazy’ cut on a rhythm based on the Joe Frazier rhythm to Tony Brevett’s ‘Don’t Get Weary’. ‘Go De Natty’ cut on Cornell Campbell’s ‘Please Be True’, originally a cut to Alexander Henry’s ‘Please Be True’. ‘Stop The Gun Shooting’ runs over Horace Andy’s ‘Skylarking’.’Ital Pot’ cut on Johnny Clarke’s version of Burning Spear’s ‘Creation Rebel. ‘Marcus’ see’s Tapper professing over Johnny Clarke’s ‘Poor Marcus’ .’Chalice To Chalice’ pulls on Johnny Clarke’s ‘Give Me a Love’,’ Don’t Deal With Babylon’ answers Junior Ross and The Spears ‘Babylon Fall’ and ‘Freedom’ rides on the great rhythm of Junior Ross and The Spears ‘Liberty’. An outstanding album cut by one of Jamaica’s finest DJ’s and producers the mighty Tapper Zukie. We hope you enjoy this now timeless set.

Everybody loves the vocal sound of Bob Marley. But what about the music that supports his songs? This album contains a variety of mostly instrumental remixes of well-known Bob Marley songs. An eclectic mix of names have put their personal stamp on some of Bob’s classic tunes with some Interesting results. Cypress Hill’s Sen Dog has taken on ‘African Herbsman’, while Sheep On Drugs have had a stab at ‘Don’t Rock My Boat’. These and many more versions will keep the head nodding at the very least.

Wah Wah 45s present two very special cover versions from our beloved Afro-electronic duo, Raz & Afla, available on 12" vinyl for the very first time! Having recently released their sophomore LP, Echoes Of Resistance, to great acclaim and support ranging from Nick Grimshaw on BBC 6 Music to Tash LC on BBC Radio 1, and the follow up remix project Remixes Of Resistance, the pair offer up their unique takes on two very different slices of club culture on twelve inches of wax.

First up, the pair tackle Aphex Twin's sleazy and sinister turn-of-the-century dance floor bomb Windowlicker and take it somewhere completely unexpected, as Raz explains:

"We wanted to go to a different place from our influences for this one. When we told people we will cover this tune everyone said 'but how?!' In Raz & Afla style. We had an idea of what elements to recreate from the original and how we can reference it within our spectrum of sounds. It was so much fun to do and really kicks off at our live shows."

It's a heavily percussive reinterpretation, replete with spooky wordless vocals, funky guitars and spine tingling synths that builds into something of a future Afro-house anthem, whilst respecting the genius of the original recording.

On the flip, Going Back To My Roots has become a mainstay in Raz & Afla's live sets, and means a lot to them personally, as Raz once again explains:

"We love this song. The lyrics resonate with us, talking about the meaning of connection to a land and its people. The history of this song is also fascinating, from Hugh Masekela and Orlando Julius through Odyssey and Richie Havens. We wanted to give it our own flavour. You can't choose your heritage and where you are born. It is always a part of you and we like to celebrate that."

Written and first recorded by Lamont Dozier in 1977, Going Back To My Roots was famously covered by Richie Havens in 1980 before becoming a huge crossover hit when interpreted by disco outfit Odyssey in 1981. Raz & Afla very much give their version their own unique dance floor feeling. It's one which has received much support on BBC 6 Music.

Starman Records, the Belgian label also specialized in re-releases of Belgian rock from the 60s, 70s, and 80s, has so far released five volumes in the highly anticipated and widely acclaimed Belgian Vaults Series, praised by both press and fans.

These unique albums focus entirely on the sixties and early seventies, compiling many very hard-to-find tracks—mainly originally released as singles on small, long-forgotten labels. Pop, beat, rock ’n’ roll, psych... gems worth rediscovering. The Belgian Vaults are not just collector’s items; the albums feature restored and remastered sound quality and are carefully curated to appeal to all sixties rock enthusiasts.

Record Collector (4-star review): “Devotees of late 60s/early 70s fuzz will be entranced.” — “All high vaultage stuff.”
Shindig: “True obscurities, long overdue their moment in the sun.”
OOR: “A marvelous piece of rock history.”
De Standaard (4-star review): “An amazing piece of Belgian heritage.”
Cobra.be: “The Belgian equivalent of ‘Nuggets’!

Vom "Klassik-Star der Gen Z" zum Pianisten der Stunde: Louis Philippson "My Way"Nur sieben Monate nach seinem Debüt "Exposition" beleuchtet "My Way" die rasante Entwicklung des jungen Pianisten, Social-Media-Stars und Moderators Louis Philippson vom "Klassik-Star der Gen Z" (Süddeutsche Zeitung) zu einem der Pianisten der Stunde. Vom britischen Sender Classic FM wurde Louis als einziger deutscher Künstler in die "Top 30 artists under 30 in 2025" aufgenommen, während BR-Klassik erklärte: "mit Louis Philippson hat die klassische Musik einen neuen Rockstar gefunden." Auch auf den 12 restlos ausverkauften Konzerten seiner Debüt-Tour im Mai 2025 und bei den Arena Shows der "Night of the Proms" im Winter 2024 begeisterte er tausende Menschen für die Klassik auf seine eigene Weise. Daran knüpft Louis Philippson mit seinem Album "My Way" an. Aufgenommen mit dem MDR Sinfonieorchester unter der Leitung von Dirigent Ben Palmer, verbindet es neue Originalkompositionen mit neuen Bearbeitungen bekannter Themen aus der Klassik oder Filmmusik für Solo Piano sowie Piano und Orchester. Zu den neuen Werken zählen unter anderem der virale Hit "Beethoven Virus" für Klavier und Orchester, "Show Waltz" für Klavier und Orchester, "Supernova" für Klavier, Sopran und Orchester, sowie mehrere Solostücke für Klavier. Unter den neu interpretierten Klassikern finden sich das mitreißende Medley "Dancing Bee" für Klavier und Orchester, "Cornfield Chase" für Klavier und kleines Ensemble, sowie eine Bearbeitung von Themen aus den Vierjahreszeiten mit dem Titel "Vivaldi Storm". Key Dates: • 6th June: German public broadcaster MDR broadcasting a studio concert featuring the MDR Radio Symphony Orchestra (reach 1 Mio)Pre-oder start and 1. Single "Für Elise"• 23rd July: German public broadcaster ARD "3nach9" talk show (reach 1 Mio)• 11th Sept: German public broadcaster TV gala ARD Deutscher Radiopreis - 2 performances live (reach 1 Mio +)• 12th Sept: German public broadcaster TV gala MDR Goldene Henne - Performance (reach 2 Mio)Album Release • September: pitch for ClassicFM Gala London • 26th Sept. German public broadcaster MDR Riverboat Talkshow (reach 2 Mio)• October - November: Concerts in GSA in venues up to 3,000 cap (e.g. Hamburg CCH / München Prinzregententheater / Düsseldorf Tonhalle etc.)• 6th Dec: German public broadcaster ARD charity show Ein Herz für Kinder (reach 3 Mio)• Dec: concert at Royal Albert Hall London • Spring 2026: Europa-Tour mit Konzerten in Paris, Benelux, Polen, Spanien usw.In the making: documentary about his life similar to Anastasia Kobekina

Includes insert with lyrics
Featuring the songs "Im Nin Alu-2000", "Show Me" and "Give Me a Sign" a.o.
Limited edition of 750 numbered copies on gold coloured vinyl

Ofra Haza is the eponymous 1997 album by Israeli singer Ofra Haza. It was produced by Frank Peterson (Enigma, Gregorian) and features

Pino Palladino on the bass guitar. The album was recorded in Hamburg and at Abbey Road Studios in London and contains an updated version of the

hit song "Im Nin' Alu". It also features the singles "Show Me" and "Give Me a Sign".

This was Ofra Haza's final full-length studio album before her passing in 2000.

Annlaug Borsheim is an established freelance musician and songwriter based in Bergen, Norway. She comes from the folk music world, but operates within a wide range of genres, theatrical expressions, and instruments. She sings in Norwegian, and the music reflects Annlaug's versatile background, from traditional tunes from Hardanger to indie rock. She is joined by a star team from the local music scene in Bergen, led by the album's producer, Pedro Carmona-Alvarez.

Many have followed in her stiletto-heeled footsteps, yet there is, was and only ever will be one Marilyn Monroe. Amazing as it now seems, Hollywood’s greatest ever sex symbol enjoyed less than a decade at the peak of the acting profession. The movies she made and the iconic images they contained, such as the billowing skirt from The Seven Year Itch, remain staples of popular culture. Andy Warhol turned her image into pop art, but Marilyn’s ‘15 minutes of fame’ made an unprecedented impact. Music was another gift she left the world, and this collection of songs reminds us she could do much more than merely look good

Die GRAMMY®-nominierte Rockband Daughtry kehrt mit dem zweiten Teil ihrer EP „SHOCK TO THE
SYSTEM (PART TWO)“ zurück.
Der zweite Teile von ”Shock To The System” EP erzählt die Geschichte der Band in weiteren Stücken. Die
neuen Tracks ”THE BOTTOM” und ”THE DAY I DIE” reihen sich zu den bisherigen Veröffentlichungen.
Die EP wird ab dem 12.09. auf LP und digital erhältlich sein.