quête:aud

New full length album of Franck Vigroux's uncompromising signature sound of colossal electronic music. Atotal gathers material from Franck's latest live A/V of the the same name. Working with his long time visual partner Antoine Schmitt, ATOTAL is an audiovisual performance aiming to reconstruct in order to better deconstruct the processes of imposition of will by repetition and absolute synchronism, to propose a breach to a potentially life-saving decoincidence. The total work of art, when pushed to its paroxysm of absolute coincidence of the perceptions of a captive spectator, is similar to the techniques of mental manipulation of totalitarian regimes, proceeding by annihilation of the critical mind, repetitive semantic pounding, subliminal messages. The ideal of a deterministic universe of Newton in which everything rationally stems from its causes, in which everything is predictable like a totality for Laplace’s daemon, where everything can be considered already written, has been undermined in the infinitely small of the uncertainties of Heisenberg which tell us that it is impossible to know everything about a particle, in the quantum mechanics of Schrödinger which reveals to us that the looker affects the looked-at, and in the infinitely abstract of Gödel’s incompleteness which explains to us that certain things are literally unexplainable. The show ATOTAL slips into these flaws and, like a clinamen of Lucretia, deviates the visual and audio atoms from their destiny. Mastering by Denis Blackham. Artwork by Mostafa Khaled

Nastia presents Lee Holman's latest EP on her rising record label "NECHTO".

As an artist whose music is firmly rooted in techno, Lee is not shy of mixing the broad range of sounds the genre presents. When taking his machines on an auditory journey, the music producer strongly depends on his inner self and aims to stir a range of feelings through his work.

With a focus on the dancefloor in terms of its rhythm, the "Footprints on the Moon" EP released via "NECHTO", delves into the theme of the cosmos. The experience one has on the dance floor is set side by side with a dream-like voyage through the infinite galaxy. The EP also includes a vocoder - the first time the artist has used such an element in his music production.

In terms of the process, completing the EP took 18 months of hard and diligent work. "I had to dig very deep working on this EP. I made so many tracks throughout the process to arrive at something that worked for the label, Nastia and myself", says Lee. "I worked night and day and in between, while out of the studio, listened back to my day's work over and over, finding the small details and making mental notes on what to target for my next studio session. It was a process."

What Plus instruments? The title implies the secondary nature of the tools used to produce the sounds, maybe even of the sounds themselves. The means of making sound are not important, but the sounds themselves are, but even beyond them there is a force, a grumbling. Maybe best represented by the first sound heard on Plus Instruments “Februauri- April 81”, a sound that is more felt than heard. The grumbling persists throughout the album, not in the same sonic way but things gyrate and repeat until they are mineral and not purely auditory. Using toys, drum machines, and other homemade electronics designed by front person Truus de Groot, the band manages to obscure every song into a hard to maintain mix of No Wave drive, New Wave sheen, and dance music groove. Consisting of Truus, Lee Ranaldo and David Linton, the trio smashes the sound of early 80s New York with the equally as progressive European experimentation of the time. Completely without total contemporaries, Plus instruments make music free of bounds from time, labels, and place. Originally released by Kremlin records, run by Sonic Youth’s future manager Carlos Van Hitfje, Domani Sounds proudly presents Febrauri-April 81' featuring brand new liner notes by Hitfje himself.

Isoviha was recorded four years ago, inspired by ideas that Sasu Ripatti (aka Vladislav Delay) had been reflecting on for a long time. This album is a counterpart to his two Rakka albums which were a personal reflection on the nature and sound-world of the northern Arctic wilderness, 1000 kilometres north of where he lives on the Finnish island of Hailuoto. It's an area he loves to explore, trekking out alone to enjoy its rugged power. However the sound world of Isoviha is a return to man-made civilization. Musically Isoviha presents a more complicated world than Rakka; overloaded and unpredictable, audio archaeology that layers and juxtaposes everyday sounds into intense sculptures of noise and drone. As a musical observation internally and externally, it's influenced by the heightened anxious intensity Sasu feels when returning from the empty wilderness. The ratcheting up of urban noise on Isoviha is built with insistent loops that seem to malfunction the faster they spiral and the dangerous overwhelming potential of ordinary objects and events: shimmering, hammering, crowds, radio distortion, ancient backfiring engines. It's hypermodern musique concrète, married to a jazz drummer's intuitive sense of rhythm. Going back even further in time but still tethered to the local, Isoviha also means 'the great wrath' and refers to a time in Finland under Russian occupation in the 1700s. A time when all the Islanders of Hailuoto were killed, apart from a single couple who were left to bury the dead. As if time is non-linear, the response to toxicity and madness that drives the album feels even more appropriate now than when it was written four years ago and confirmation that the horrors of the past still darken the present.

"Full recording of one of the most engaging and beguiling Late Junction live sessions we’ve ever heard - the one off first meeting between Korean multi-instrumentalist Park Jiha and writer and performer Roy Claire Potter.
It’s an unlikely pairing which works from the first breath. Park Jiha plays the saenghwang, a Korean mouth organ which she blows in long multiphonics to set pace for Potter’s words. They unfurl a scene slowly in front of you, rich and focused, shifting your field of vision and drawing you in, elsewhere. It’s impossible not to follow, not to look for where they point. When the piri sounds for a flooded town on the B side, the water flows between your own feet; Potter’s words a sometimes frightening hörspiel in scouse.

Though the details are fine, the space each artist gives one another and their instruments, their language, is given to the listener in turn. A careful melody picks out a route for words with no fixed meaning, a body with no fixed direction, and we are invited to listen and see a kind of music made visible in its inference. A truly very special record we are very proud to share.
—
Influenced by linguistics and performance theory, Roy Claire Potter makes performance, text, drawing, installation and film, and oen collaborates with musicians and sound artists to make audio for music festivals and radio. Across the wide range of their practice, Roy tells stories built from fragmented, intense images that depict moving bodies or domestic scenes and architectural settings. Roy’s interest in subtext and narrative sequencing is felt in the way they use fast-paced talking or reading speeds, and restricted or partial views of space. Complicated social or group dynamics, and the aftermath of violent events are common themes in Roy’s work and are usually treated with a dark, sometimes wilful humour.

Park Jiha creates exploratory music rooted in traditional Korean instrumental performance. To this session she brings three instruments: a Korean hammered dulcimer called a yanggeum, a saenghwang which is an instrument made of 24 slender bamboo pipes attached to a bowl and played like a harmonica and a double-reed bamboo flute called a piri, which sounds similar to an oboe.
—
Recorded and mixed on: 30 January 2020 by Rob Winter, Pete Smith and Andy Rushton at Maida Vale Studios, London for “Late Junction - Roy Claire Potter and Park Jiha in session”. Produced by Rebecca Gaskell, Katie Callin and Alannah Chance at Reduced Listening for BBC Radio 3."

2020. The year of the corona-pandemic, when the music world was forced into a standstill, five old friends put in motion an old idea that had been lingering - and what eventually was to become a new band and powerhouse: The Halo Effect.
The members of The Halo Effect are not only masters of their domain, but also some of the pioneers of the Gothenburg melodeath scene; Lead guitarists and melodic deathslingers Niclas Engelin and Jesper Strömblad, lead singer and raging growler and lyricist Mikael Stanne, further on adding to this mix is the solid backbone and foundation of power bassist Peter Iwers, and his partner in crime since twenty plus years, hard-hitting drummer Daniel Svensson.
Knowing each other from an early age during the late 80’s and then playing together in different constellations during the 90’s, they came to dominate the Metal scene in Gothenburg - mainly being part of the two major bands and metal exports In Flames and Dark Tranquillity, also two of the pioneers and major forces behind the melodeath monicker: The Gothenburg Sound. A sound that would echo far and wide across the world and influence countless of metal bands during the 90’s and early 2000’s.This was also the initial thought behind The Halo Effect - to go back to the roots and
explore what the groundbreaking metal sounded like then. And add the experience and skills of what the members could bring to the table now. The result is an exceptional album and real tour de force to fans of melodeath where the echoes of the Gothenburg Sound is evident. The Halo Effect delivers the goods in a brutally efficient display of heart pounding beats, melodic mayhem and furious growling at its best. Raw, yetmelodic, and in your melted face.Buckle up and remove your ear plugs. The restrictions are being lifted, the pandemic is over, and The Halo Effect is finally ready to meet its audience all over the world.

2020. The year of the corona-pandemic, when the music world was forced into a standstill, five old friends put in motion an old idea that had been lingering - and what eventually was to become a new band and powerhouse: The Halo Effect.
The members of The Halo Effect are not only masters of their domain, but also some of the pioneers of the Gothenburg melodeath scene; Lead guitarists and melodic deathslingers Niclas Engelin and Jesper Strömblad, lead singer and raging growler and lyricist Mikael Stanne, further on adding to this mix is the solid backbone and foundation of power bassist Peter Iwers, and his partner in crime since twenty plus years, hard-hitting drummer Daniel Svensson.
Knowing each other from an early age during the late 80’s and then playing together in different constellations during the 90’s, they came to dominate the Metal scene in Gothenburg - mainly being part of the two major bands and metal exports In Flames and Dark Tranquillity, also two of the pioneers and major forces behind the melodeath monicker: The Gothenburg Sound. A sound that would echo far and wide across the world and influence countless of metal bands during the 90’s and early 2000’s.This was also the initial thought behind The Halo Effect - to go back to the roots and
explore what the groundbreaking metal sounded like then. And add the experience and skills of what the members could bring to the table now. The result is an exceptional album and real tour de force to fans of melodeath where the echoes of the Gothenburg Sound is evident. The Halo Effect delivers the goods in a brutally efficient display of heart pounding beats, melodic mayhem and furious growling at its best. Raw, yetmelodic, and in your melted face.Buckle up and remove your ear plugs. The restrictions are being lifted, the pandemic is over, and The Halo Effect is finally ready to meet its audience all over the world.

2020. The year of the corona-pandemic, when the music world was forced into a standstill, five old friends put in motion an old idea that had been lingering - and what eventually was to become a new band and powerhouse: The Halo Effect.
The members of The Halo Effect are not only masters of their domain, but also some of the pioneers of the Gothenburg melodeath scene; Lead guitarists and melodic deathslingers Niclas Engelin and Jesper Strömblad, lead singer and raging growler and lyricist Mikael Stanne, further on adding to this mix is the solid backbone and foundation of power bassist Peter Iwers, and his partner in crime since twenty plus years, hard-hitting drummer Daniel Svensson.
Knowing each other from an early age during the late 80’s and then playing together in different constellations during the 90’s, they came to dominate the Metal scene in Gothenburg - mainly being part of the two major bands and metal exports In Flames and Dark Tranquillity, also two of the pioneers and major forces behind the melodeath monicker: The Gothenburg Sound. A sound that would echo far and wide across the world and influence countless of metal bands during the 90’s and early 2000’s.This was also the initial thought behind The Halo Effect - to go back to the roots and
explore what the groundbreaking metal sounded like then. And add the experience and skills of what the members could bring to the table now. The result is an exceptional album and real tour de force to fans of melodeath where the echoes of the Gothenburg Sound is evident. The Halo Effect delivers the goods in a brutally efficient display of heart pounding beats, melodic mayhem and furious growling at its best. Raw, yetmelodic, and in your melted face.Buckle up and remove your ear plugs. The restrictions are being lifted, the pandemic is over, and The Halo Effect is finally ready to meet its audience all over the world.

This was the first album from Experimental Audio Research (aka E.A.R) an experimental music collective formed around Sonic Boom (Pete Kember), founding member of Spacemen 3 (along with Jason Pierce), who, on this project works closely with Eddie Prevost (AMM), Kevin Shields (My Bloody Valentine) and Kevin Martin (God). Although not released until 1996, Beyond The Pale was originally recorded in Northampton, back in 1992 at Angus Wallace’s Far Heath Studios. This is the limited edition heavy weight, 180g transparent vinyl LP that was produced and mixed by Sonic and has been pressed in a limited run for 2022. The original artwork, created by long time E.A.R. collaborator - artist Anthony Ausgang, looks brighter and crisper than ever in this sturdy 300gsm sleeve. This is the first vinyl in a series of E.A.R. releases, all in heavy weight and coloured vinyl, throughout 2022 and it sounds incredible.

• 180 GRAM AUDIOPHILE VINYL
• DEBUT ALBUM FROM CANADIAN
MELODIC ROCK BAND HAREM SCAREM
• FEATURES THE SINGLES “SLOWLY
SLIPPING AWAY” AND “HONESTLY” A.O.
• LIMITED EDITION OF 1000 INDIVIDUALLY
NUMBERED COPIES ON CRYSTAL CLEAR
& GOLD MARBLED VINYL

Canadian melodic hard rock band Harem Scarem was founded in 1987 and are best known for their hard-hitting guitar riffs, incendiary guitar solos, powerful vocals and huge anthemic choruses. They released a total of 15 studio albums, including their 1991 self-titled debut album, which included two hit tracks: “Slowly Slipping Away” and “Honestly”. The album features guest appearances by Ray Coburn (Honeymoon Suite), Carl Dixon (Coney Hatch) and Paul MacAusland (Haywire). The opening track “Hard To Love” was co-written by songwriter Christopher Ward, who is best known as the co-writer of worldwide hit “Black Velvet” by Alannah Myles.

Harem Scarem is available as a limited edition of 1000 individually numbered copies on crystal clear & gold marbled vinyl.

• 180 GRAM AUDIOPHILE VINYL
• FEATURING NO. 1 HIT “ONE WAY TICKET”
• PRODUCED BY FRANK FARIAN (FOUNDER OF MILLI VANILLI, LA BOUCHE AND
BONEY M.)
• LIMITED EDITION OF 750 INDIVIDUALLY NUMBERED COPIES ON LIGHT GREEN COLOURED VINYL

Formed in 1969 as Silent Eruption, their members hailed from Ghana, Curaçao, Guyana and Jamaica. Precious Wilson, who joined Eruption in 1974, added an element to the band’s sound that led to their international success. While on the road in Germany, they were discovered by talent scout and producer Frank Farian, who is also known as the founder of Boney M., Milli Vanilli and La Bouche.

In 1979 Eruption released their second studio album Leave A Light, which contained their characteristic funky euro-disco sound. The first single release was a cover of Caston & Majors’ “Leave A Light (I’ll Keep A Light In My Window)”. The second single was also a cover version, this time the Sixties hit “One Way Ticket” by Neil Sedaka. The single led Eruption to the top ten in the UK and all over Europe.

Leave A Light is available as a limited edition of 750 individually numbered copies on light green coloured vinyl.

Repress 22.11.22 !

A STUNNING RHYTHMIC FUSION OF LATIN AND JAZZ WITH A UNIQUE SPIRITUAL PULSE.

If ever a record called be called a lost masterpiece then this record more than deserves that epithet. First released on an obscure French label in the 1970's it might have sunk further into obscurity and left no trace of it's passing but somehow a handful of copies turned up in various Jazz shops in London where it was snapped up by DJ Paul Murphy who was then playing to the embryonic jazz dance scene, based at the very first Jazz Room club: The Horseshoe in London's Tottenham Court Road, a decaying, seedy, sticky carpeted old West End ballroom that had seen better days. This and a select few records in a similar vein were being played to an appreciative audience who demanded tough raw percussive rhythms overlaid with some furious jazzy soloing and whenever this record hit the turntable it left even the most demanding groover sated.

It's a really fantastic collection from this barely known reedman and his excellent band which also features a guest appearance by American Legend Horace Parlan who is best known for his Afro-Cuban session "Headin' South" on Blue Note Records.

Superbly produced by drummer Peter Schmidlin, who has conjured up a spiritual modal mixdown of Afro-Cuban & Jazz extended percussive workouts that are uncompromising in their groove and which manage to sound both timeless and modern. The record is being re-released with the original striking artwork, guaranteed to be a talking point.

A luminary of anthemic and melodic-driven techno, Enrico Sangiuliano’s path to the upper echelon of dance music has been a rapid, yet authentic one. Taking us on his newest exploration into the world of sound design and story-telling, the Emilia-native unveils the first chapter in a series of opuses under his time-limited NINETOZERO record label. The highly-anticipated countdown of releases begins today with number 9; the 4-track “Silence” EP - out now across all streaming platforms.

The extended-player opens with the reserved ‘inner mix’ of “Silence”; a cinematic masterpiece that challenges the format and flow of techno cuts and instead, radiates a measured and reflective spirit. Bright, twinkling synthwork ebbs and flows between its crisp percussion and distorted bassline, creating a push and pull effect that allows each element its moment in the spotlight. The second offering, “Future Dust”, is teased with the sound of a ticking clock that morphs effortlessly into a strong percussive line, commanded by the raw hollow sensibilities of its kick. The distinct ticking returns to welcome in the break, bringing with it a hypercharged melodic sequence and pitch-bending rave stabs. The components soon flurry together in preparation for the monumental drop, which is succeeded by an unrelenting peak-time worthy drive to the finish.

“New Expression Of Love” is the next to play; a quirky cut with plenty of intrigue and unpredictable twists and turns. Laced with offbeat synth hits that ooze a nostalgic timbre, the tune’s intro airs a subtle swing groove. As it reaches its all-important core, we’re cloaked in an intoxicating melody that serves as pure rapture for the ears, and will no doubt satiate the modern audience’s craving for euphoric sequences. Entering the break, Enrico flares his experimental capabilities, providing us with a moment of break-beat bliss that’s fuelled by acid goodness. A ‘vocal mix’ of “Silence” rounds out the EP with the distinct mantra, ‘we live in silence’, whilst its modular ‘beeps’ signal a countdown clock in reference to the project’s embedded concept of time.

Championing music on a deeper conceptual level, Enrico’s NINETOZERO output is a reflection of his tenacious appetite for evolution and refinement. Producing with a level of finesse well beyond his years, his artistic vibrancy has ensured quick elevation to the top, all the while maintaining a sound that is discernibly his own. Now standing as one of the circuit’s most cherished visionaries, and with an unrivalled back catalogue of Beatport No.1’s to his name, the contemporary sound designer’s first and forthcoming bodies of work under the NINETOZERO umbrella are further proof of his impending rise to dance music royalty.

Rebecca Goldberg wrote TROIS CENT TROIS as an auditory postcard with musings from a late-summer road trip across France in 2021. On TCT Rebecca sonically guides us through the emotion of new adventure and the risks involved during a time of global uncertainty.

The first single, TROIT CENT TROIS, is a play of the French way to say Detroit and 3-0-3. Like Rebecca's previous work on Detroit Underground, acid is the EP’s predominant sound. The next stop, A2 track Le Détroits, is an acidic metaphor for the celestial beauty of the French countryside. Face A ends with The Perception of our Power, a Ghettotech cut that's full of Detroit-funky/beloved-in-Paris bounce.

Flip to Face B and bathe in the acid arpeggiation of the lead-off track Paradoxe du Plaisir (Pleasure Paradox in English), referring to the practical difficulties encountered in the pursuit of pleasure. The destination B2 track, What It Means (To Start Over in a Ruined World), waxes poetic on the explanation with throbbing percussion and call and response rhythms.

According to Viktor Frankl in Man's Search for Meaning, "Happiness cannot be pursued; it must ensued and it only does so as the unintended side effect of one's personal dedication to a cause greater than oneself or as the by-product of one's surrender to a person other than oneself."

TROIS CENT TROIS was featured on Bandcamp’s “New and Notable” releases list and was highly regarded in The Wire magazine.

For the vinyl release, Rebecca designed a minimal black and white package with slanted black text reminiscent of France's directional local road signs. The vinyl is limited to 303 copies and each one is hand-signed and numbered.

Re-released after being unavailable for 2+ years. Andrés Landero embodies like no other the spirit that made it possible to bring cumbia to the world. His legacy represents a creative pinnacle of tropical music and has influenced countless artists. This collection gathers tracks from 1966 to 1982, taken from his albums on Discos Fuentes and other labels. They all are extraordinary masterpieces of Colombian popular music. Includes liner notes by Carlos Mario Mojica (Don Alirio).
Andrés Gregorio Landero Guerra, born in 1931 in San Jacinto, Colombia, embodies like no other artist the spirit that made it possible to bring cumbia music to the world. Synonymous with the evolution of this musical genre, inevitably any selection of Landero's best songs cannot aspire to do him full justice.From the very first note he played, Landero managed to charm audiences through a complex weave of compositions, shot through with local nuances and diverse derivations from his native Caribbean province. A torrent of words and refreshingly original, he constantly sought to create his own language while remaining acutely alive to tradition. Driven by a strong personality and undeniable abilities, and solely governed by his desire to follow his musical vocation and write songs that faithfully reflect the stories of his pure native land, Landero left home at seventeen, manifesting his passion to take artistic creation to the limit while demonstrating his belief in freedom and communal living, expressed through the free rein he gives to transparent narratives in all of his songs.
Not one of the records released during Andrés Landero's career is bad, mediocre or dispensable. His coherent and constant efforts to build on the foundations of the cumbia tradition form an extraordinary legacy rich in masterpieces of Colombian popular music. Sixteen years after his death, he continues to be the creative summit of an entourage of names associated with the folk music of the tropics. He is the author of a polyphonic blossoming whose beats still sound fresh today and the outstanding figure through which to appreciate, from a historical perspective, the syncretism of indigenous and African slave music from the Caribbean coast, namely cumbia.

Two years after their first major release on Nice Guys, the band Marcoca returns with a new full-length album Cosmic Blunder. It originated out of the urge to merge new psychedelic sounds with elements of funk, jazz and surf rock, while keeping the stuff that worked on the first record in place. The result is a reverb soaked ride through songs that cover the ups and downs of life and all the questions that come along with it. While some of the songs had been previously arranged, some instrumental parts developed during the recording process in order to preserve the natural flow of the music.

Inspired by their travels around the warm beaches of our beautiful planet, the eight tracks of this long-player help the listener walk through a colorful Californian dream. The husky voice of the singer Marco Rinke invites us to an auditory journey to the 70s. This LP proves to be a real cathartic experience for the ears and the mind.

Cosmic Blunder, the eponymous track of this release, embodies the soul of the whole album, influenced by psychedelic and surf rock. With its groovy elements and symphonic guitars, the four musicians succeed to elevate one’s mind to spheres of beauty and inner peace. Overall, this LP turns out to be a real cathartic experience for the ears and the mind that wants to erase the physical self in favour of the mind.

Produced by David Chazam (Jean-Jacques Perrey, Monique Sonique) "Psychosomnia" by Müholos is a powerful kind of audio synths therapy. Follow the dosage to the letter or be subject to permanent electronic ecstasy!

Ibiza Global Radio is a global reference point for electronic music in the world. Born in Ibiza, for Ibiza and for the rest of the world. A unique sound in an unusual style and excellent “music selection criteria” make Ibiza Global Radio a staple in the genre, so much so that it has a loyal audience of more than 18 million unique monthly listeners worldwide.

Ibiza Global World, a virtual, physical and multimedia platform where radio, TV, events and social media allow the World to experience the White Island, its love and freedom, 12 months a year.

Thanks to this first LP, the label "IBIZA GLOBAL RECORS" is
born. This LP is designed in a unique and exclusive package with 6
tracks with a new electronic sound, created by 6 Great Artists for Clubbing, available for now only in physical format LP and the exclusive worldwide is controlled by "Self Distribuzione S.r.l."

From July 30-31, the project will be presented at the mega event IBIZA GLOBAL FESTIVAL which will be attended by Top DJs like “Luciano” or “Nic Fanciulli” or “Jose Maria Ramon” (Artistic Director of Ibiza Global Radio) and many other Top Djs from all over the World with an expected attendance of over 40 thousand people on one of the most beautiful beaches of Ibiza !!!! Stay tuned

Ibiza Global Radio is a global reference point for electronic music in the world. Born in Ibiza, for Ibiza and for the rest of the world. A unique sound in an unusual style and excellent “music selection criteria” make Ibiza Global Radio a staple in the genre, so much so that it has a loyal audience of more than 18 million unique monthly listeners worldwide.

Ibiza Global World, a virtual, physical and multimedia platform where radio, TV, events and social media allow the World to experience the White Island, its love and freedom, 12 months a year.

Thanks to this first LP, the label "IBIZA GLOBAL RECORS" is
born. This LP is designed in a unique and exclusive package with 6
tracks with a new electronic sound, created by 6 Great Artists for Clubbing, available for now only in physical format LP and the exclusive worldwide is controlled by "Self Distribuzione S.r.l."

From July 30-31, the project will be presented at the mega event IBIZA GLOBAL FESTIVAL which will be attended by Top DJs like “Luciano” or “Nic Fanciulli” or “Jose Maria Ramon” (Artistic Director of Ibiza Global Radio) and many other Top Djs from all over the World with an expected attendance of over 40 thousand people on one of the most beautiful beaches of Ibiza !!!! Stay tuned