quête:b legend

Dez Andrés, Detroit’s underground legend and genre-blurring maestro is back with another batch of reworked old skool bangers.

Since the late '90s, Dez has built a respectable catalog that blurs the boundaries between genres. One of motor city’s most prolific artists, his music can be summed up in one word: quality. Now he returns to DFM with a two-sided heater.


Dez flips Odyssey’s classic Native New Yorker into a gritty dembow style club weapon. With iconic vocal lines and signature piano riff, Dez injects his signature bounce and percussive punch, turning this disco anthem into a raw dancefloor destroyer.
Diving deeper, Dez revives Dr. Buzzard's Original Savannah Band’s classic Sun Showers, transforming it into a rhythmic, power groove tailor-made for sweaty basements, rooftop sets and smoke filled dance floors on red-lit nights that refuse to end.

Instant House returns with their long-awaited second 7-inch release, from one of the most respected and underground names of the 1990s deep house era. This essential edition features the out-of-print yet highly sought-after remix of “Hat Hat”, reimagined by the legendary Joe Claussell, a deep, spiritual reconstruction that stands as a true collector’s gem. On the flip side lies the timeless Instant House classic “Mellow Out,” a defining deep house cut that captures the pure essence of the early ’90s movement. Pressed in limited quantities, this 7-inch is a must-have for true deep house collectors and admirers of Instant House and the golden era of late ’80s / early ’90s underground house.

Marlon George is a British DJ and producer based in London renowned for his "slightly spacey, casually jazzy, and fully groovy house music," with support from names as illustrious as Kyle Hall and Jimpster. But really, if he's getting signed by the legendary Trelik, then that's all you need to know about his skills. He lays them bare across three tasteful cuts here, starting with the liquid dub of 'My Secrets Are Safe With Me' with its wispy shards of light piercing the water's surface and glistening against the dusty hi-hats. 'Najagen' has more drive but no less depth and warmth to it and 'Do The Rha!' is another smoky, minimal, heady dub house roller that sneaks right under your skin.

Available for the first time on any format, the soundtrack of Pier Paolo Pasolini's controversial 1975 vision of the Marquis De Sade's 120 Days Of Sodom, featuring beautiful and discordant classical compositions, in stark contrast to the shocking and cruel events unfolding onscreen.
Three weeks before the scandalous release of "Salò, or The 120 Days Of Sodom", Pasolini was brutally murdered in Ostia, Italy. In the wake of the tragedy, legendary composer Ennio Morricone wrote 'Addio a Pier Paolo Pasolini' (Goodbye to Pier Paolo Pasolini) for the late filmmaker, included in the final edit.

Following the narrative of one of Pasolini's defining cinematic moments, the soundtrack opens with Ennio Morricone's "Son Tanto Triste", descends into the melancholic minor chords of Bach, Chopin, Orff, Puccini, and Graziosi, incorporates sinister renditions by the cast, and includes Morricone's own sombre tribute to the director.

Disgusted by the flood of crass sexploitation movies which filled the space opened up by his "Trilogy Of Life", Pasolini turned to the most nihilistic thinker in European history for what became his final film. His version of De Sade's 120 Days Of Sodom, amplified with motifs from Dante's Inferno, confronts the ultimate implications of fascism in a series of sexual and moral atrocities. "The only true anarchy is power".

The LP / CD will be released on Friday 13th February 2026, exactly 249 years since the Marquis de Sade was arrested and imprisoned in the dungeon of the Vincennes fortress for charges of "debauchery and immoderate libertinage" that scandalised his contemporaries.

CHIWAX CLASSIC EDITION prouldy presents Boo Williams - Lost Of Time.
This fantastic release from 1995 came originally out on legendary Relief Records.
The 2026 version contains a new mastering.
Don't feed the Discogs Sharks!

RAWAX proudly welcomes Mr. Terrence Parker to the artist Family!
We're very happy to present you the Legend from Detroit on our Motor City Edition!
Highy recommended!

Glasgow’s Fortified Audio returns after at least a ten years long hiatus (No pun intended) and now returns to the world of bass with a full length album from local music firestarter Ten Years Lost. Modern day trap instrumentals at its core whilst sub-consciously giving hints of Drexciya, Moroder and the Memphis & Croydon bass music regions alongside some real deft sampling but still remains Glasgow at its core!

Following his ‘You Are the Music’ EP for Euphoric State, and the reissue of the underground classic ‘Voices’ by Jewellery, David Inglesfield returns with a second EP by PersistentRain – and the first release on his own label, Precipitation.

‘All Time Is One’ is a meditation on the passing – yet continuity – of time, whether across multiple decades, or just in the transition from one day to another.

Opening track ‘Farewell’ brings disparate voices and sounds from the past back to life in an intense, transcendent journey, all driven by a pulsating bassline.

‘The Night Is Done’ features a solid beat and lush array of synths, with the vocal by Bristolian Christine Hulbert the icing on the cake.

On ‘This Place (Displace)’, Inglesfield, a Londoner from birth, but recently moved to South Wales, turns to consider a corner of his beloved native city, where a once-legendary musical theatre was swept away, to become a makeshift car park in the 1960s, then the site of a brutalist block in the 1970s, now torn down yet again. ‘The first place we’re going to stop at … seems to be NOWHERE!’

‘I Remember’ closes the EP, with fragments of Fender Rhodes and strings fluttering like memories over a moody, minimal sub-bass and insistent kick.

Freaky Chakra hails from San Francisco and is a local legend with a vast discography that has roots back in the early 90s and fetches mad prices on second-hand markets. This is a new one from him that shows off his take on tech, starting with 'Discotechno' which is a bubbly number with rubbery bass and aquatic synth globules. 'Foreign Element' is a heavy dubby stomper with a fat-ass groove and 'Space Jam' then takes off with more cosmic synth smears and delicate motifs drifting above a more muffled rhythm. 'Backflash' shuts down with a wonky back and forth and more late-night grit. A fresh sound from this venerated veteran.

"Frank Virgilio is a Neapolitan DJ who, since 1978, has performed exclusively with vinyl records, a format that has never replaced by other technologies CDs, USB sticks. His career began almost 50 years ago in a small private club in Parco Margherita, Naples, has expanded beyond his hometown to stunning places: Capri, Ischia, Porto Cervo, at the legendary "Music on the Rocks" in Positano, as well as abroad. Today, Frank is also an acclaimed record producer and DJ-remixer, collaborating with several European labels, where he has earned the nickname of "Visionary Remixer". This album, released later than expected, conveys profound emotions. Among the 7 tracks, fully remastered by the ever-present and historic Dom Scuteri, are some sumptuous covers that are absolute dance floor fillers, and thus a slice of Frank Virgilio' s musical paradise, beautifully represented by Gianni Somma's artwork."

The prolific Benin-based Afrobeat legends Orchestre Poly-Rythmo de Cotonou return with a spectacular compilation alongside the enigmatic Antoine Dougbe, the self-styled 'Devil's Prime Minister.' This 12-track collection is the sound of the influential band at their peak and merging circular guitars, hypnotic synths, Afro-Cuban grooves and Cavacha rhythms into an unstoppable whirlwind of energy. Dougbe is an inventive songwriter and supplied compositions that the Poly-Rythmo arranged and performed here so they could lay down music that is fierce, mystical and rhythmically complex, as they always do. Few records convey the power of Benin's late 70s scene like this.

“It’s been on my wishlist for a while that the incredibly talented Julienne Dessagne does a techno EP for us,” Michael Mayer says. You can hear why, straight up, on Speicher 139, as Dessagne’s project Fantastic Twins is finally let loose on Kompakt’s storied series. The key words: psychedelic acid trax. “False Index” is peeled back to core: a fearsome rhythm, with an endlessly helixing synth pattern twisting around your skull, crinkling like cellophane and warping like burnt plastic, while Dessagne’s Sprechstimme floats above everything – detached but effortlessly perceptive. “New Systems” is a new kind of Europe Endless – hypnotic and lush, its deep drones pinpricked by sonar bleep. “Uninhibited” is catchy in a way that only Dessagne can make possible, its vocal tattoo burnt into your mind as it echoes through massive architectures, tones dropping from scaffold and splashing at your feet as glitch-work burrows its way up through the floor, directly into your earholes. Uninhibited? Everything here’s simultaneously under control, all under the watchful, guiding eye of Dessagne, and playfully, wildly out of control, little arrangements of phenomena let loose to build new worlds. Organised chaos, and chaotic organisation.

„Es stand schon seit einiger Zeit auf meiner Wunschliste, dass die unglaublich talentierte Julienne Dessagne eine Techno-EP für uns produziert“, sagt Michael Mayer. Auf Speicher 139 kann man sofort hören, warum, denn Dessagnes Projekt Fantastic Twins erscheint endlich in der legendären Serie von Kompakt. Die Schlüsselwörter: psychedelische Acid-Trax. „False Index“ ist auf das Wesentliche reduziert: ein furchteinflößender Rhythmus mit einem sich endlos windenden Synth-Pattern, das sich um den Schädel dreht, wie Zellophan knistert und sich wie verbranntes Plastik verzieht, während Dessagnes Sprechstimme über allem schwebt – distanziert, aber mühelos wahrnehmbar. „New Systems“ ist eine neue Art von Europa Endlos – hypnotisch und üppig, seine tiefen Drones von Sonar-Pieptönen durchbrochen. „Uninhibited“ ist eingängig auf eine Weise, wie es nur Dessagne möglich macht, ihre Stimme brennt sich in dein Gedächtnis ein, während sie durch massive Architekturen hallt, Töne fallen vom Gerüst und spritzen an deinen Füßen, während sich Glitch-Work seinen Weg durch den Boden bahnt, direkt in deine Ohren. Hemmungslos? Hier ist alles gleichzeitig unter Kontrolle, alles unter dem wachsamen, leitenden Blick von Dessagne, und spielerisch, wild außer Kontrolle, lassen sich kleine Arrangements von Phänomenen los, um neue Welten zu erschaffen. Organisiertes Chaos und chaotische Organisation.

This first-time reissue of Quinteplus’ 1971 album revives a key moment in Argentine jazz, featuring crisp trumpet and tenor sax, electric piano-driven funk and modal grooves, and a tight, spacious rhythm section. It showcases prominent figures like Jorge Anders and “Pocho” Lapouble.

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Quinteplus was born in Buenos Aires at the end of the 1960s, emerging directly from the ideas and experiments of the legendary Agrupación Nuevo Jazz. Founded in the early ’60s, this collective brought together some of the most forward thinking figures in Argentine jazz functioned as a creative lab where musicians questioned where jazz could go next. Among the key ideas discussed was the fusion of jazz with Argentine folk styles such as zamba, chacarera, malambo, cueca, and candombe, as well as a deeper look into African rhythms as a bridge between musical worlds.

Two members of that collective, keyboardist Santiago Giacobbe and bassist Jorge “Negro” González, carried those ideas forward when they formed Quinteplus in 1969. The group came together naturally: all the musicians already knew each other and had played in different projects around the Buenos Aires scene. They shared a strong admiration for Julian “Cannonball” Adderley’s quintet, along with a clear goal—to develop a modern jazz language grounded in local Argentine rhythms.

From the start, Quinteplus stood out for its openness and adventurous spirit. Rhythm was central, and so was experimentation. The band belonged to a generation of Argentine jazz musicians eager to explore electric instruments and new textures, anticipating what would soon be known as jazz-rock. This was happening in Buenos Aires at the very same time Miles Davis was opening new doors with “In a Silent Way” and “Bitches Brew”. Giacobbe introduced one of the first Fender electric pianos in Argentina, while González pioneered the amplification of the upright bass and even developed a hybrid electric, boxless version of the instrument. Trumpeter Gustavo Bergalli, meanwhile, maintained close ties with the emerging Argentine rock scene, collaborating with Luis Alberto Spinetta and appearing on Almendra’s first album.

In 1971, Quinteplus recorded its first and only studio album for EMI. The original lineup featured Jorge Anders on tenor saxophone, Bergalli on trumpet, Giacobbe on keyboards, González on upright and electric bass, and Norberto “Pocho” Lapouble on drums and percussion—who also illustrated the album’s iconic sleeve. The record is a refined showcase of the band’s musical vision: original compositions, fluent jazz language, folk-derived rhythms, funky electric textures, tight ensemble playing, and standout brass solos. Though critically praised, the album received little label support and sold modestly, eventually becoming a sought-after collector’s item.

Quinteplus disbanded in 1973, their music was perhaps too bold and unconventional for its time.

British electronic music pioneers Graham Massey (founding member of Manchester legends 808 State) and Brian Dougans (the mind behind acid house milestone Humanoid and one half of The Future Sound Of London) join forces for their debut collaboration In Place Of Language, released on Belgian label De:tuned.

Both 808 State and Humanoid helped shape the UK's early rave and acid house movement. Here, Massey and Dougans channel that legacy into a beautifully balanced four-track EP that radiates warmth and energy, drawing on more than three decades of experience in electronic music. Inspired by key elements of the '89-91 era while embracing a contemporary edge, the duo merge their distinct sonic identities into a sound that feels both timeless and forward-looking.

In Place Of Language is not a nostalgia trip, but a natural evolution: a meeting point between foundation and future, and a blueprint for a new wave of electronic experimentation!

Kevin Foakes (Openmind, DJ Food, Ninja Tune) created all the graphic work. Mastered by Matt Colton at Metropolis. A separate digital release will also be available at the usual digital shops. Stay tuned!

A dynamic DJ and producer, the Galway-born, Berlin-based artist is driven by mood not genre, gleefully scribbling outside the lines to craft rhythmic, high-vibration dancefloor cuts that make them a delicious match for the Chunkers. Just reference their pin-sharp releases on Radiant, Punctuality, Planet Euphorique and their own World of Worlds imprint. While anyone who’s caught their throwdowns at Draaimolen’s legendary forest stage, Horst Festival or London’s infamous queer party Club Are already knows what’s up.

Their contribution to the BSC catalogue is bang on. Lead cut ‘Track Like’ is a straight-up Chunker. Beginning life as an instrumental, it’s a pumping house cut marked by a grooving bassline, tight drums and a contained ravey energy, before Eoin DJ added that vocal that took the production into peak-time party territory.

A producer who requires no introduction – Jennifer Loveless join the Chunkers fold with a full-bodied remix of ‘Track Like’. Lock in for a funky maximal re-rub with the attitude turned up to 11. Back in Eoin DJ’s corner, the crisp ‘n’ punchy ‘Pure U’ is driven by fat kick drums, euphoric chords and a chunky rolling bassline. Exquisite stuff. A tight Dub version is included in the pack. The EP rounds out with the perky ‘Feel Deeper’, which channels ‘90s New York house and circuit sounds and is built around a hooky vocal line and rhythmic drums.

Eoin DJ follows BELLA, Eliza Rose, Papa Nugs, Paperkraft and remixes Peach and CARISTA in joining the Big Saldo’s Chunkers family as Sally C delights in growing the label via a carefully curated roster of artists.

“I loved the label already, so I was super stoked when Sally asked me to do a release. Chunkers is always

so on-point and consistent with its output. All of the releases are certified party starters – fat basslines, catchy vocals, full of energy and tuned to perfection to hit on the soundsystem. I used that as a jumping off point when making the EP. You could say it’s Chunkers – Eoin DJ style.” – Eoin DJ

“I was hooked on Eoin’s sound since they released ‘Ode to Beachball’ in 2024 on Punctuality Records. I love their ability to weave emotion and groove so seamlessly. It’s been a pleasure working on this EP – I’ve been endlessly rinsing all of the tracks. Such a great producer!” – Sally C

Mit „Golden Chart Hits Of The 60s & 70s Vol. 2“ erscheint eine sorgfältig zusammengestellte Vinyl-Compilation, die die größten Chart-Hits zweier legendärer Musikjahrzehnte vereint. Diese Schallplatte lässt den unverwechselbaren Sound der 60er und 70er Jahre wieder aufleben – voller Nostalgie, Lebensgefühl und zeitloser Melodien.

Die Auswahl reicht von mitreißendem Rock über eingängigen Pop bis hin zu unvergesslichen Evergreens. Mit legendären Künstlern wie Status Quo, Rainbow, Blondie, The Rubettes und Secret Service bietet diese Compilation eine abwechslungsreiche Mischung aus internationalen Klassikern, die Musikgeschichte geschrieben haben.

Das warme, authentische Klangbild der Vinyl-Pressung sorgt für ein besonderes Hörerlebnis und macht diese Zusammenstellung zu einem echten Highlight für Liebhaber analoger Musik

The earliest foundations of the Detroit Harmony group ‘The Gaslight’ came when future lead singer Oliver “Butch” Cheatham via an introduction by his sister Jackie joined a group known as ‘The Young Sirs’ who recorded, “There’s Something The Matter (With Your Heart/African Love” for Magic City during 1969. The group included Oliver’s future brother -in-law Allen Cocker (Jackie’s future husband).

Oliver and Allen went on to form a new vocal quartet with Curtis “Kippy” Anderson and Michael Eatmon. Under the group name of ‘The Gaslight’ they signed to Uptight Productions Incorporated, a local production company founded by local businessmen Marvin Figgins and Arnold Wright. The Gaslight were the only vocal harmony group signed to Uptight Productions and as such, it was they who made the most recordings across two label imprints Grand Junction and Black Rock. The Gaslight’s first single “I Can’t Tell A Lie/Here’s Missing You” was released on Grand Junction (GJ1001) in 1970, For the groups second single Figgin’s placed them under the guidance of legendary producer/songwriter, the late George McGregor under whom they recording “Drifting Away/If You See Her” Grand Junction (GJ1002) released in 1971 For their next release Figgin’s switched the group to his Black Rock label to record “Out Of My Hand/I’m Only A Man” Black Rock (2002) under the pseudonym of Butch & The Newport’s With “Butch” being Oliver’s nickname. A later, second release of “I’m Only A Man” but with a different flip side “I’m Gonna Get You” came out on Grand Junction (GJ1100) in 1973 with the performing artist credits reverting back to ‘The Gaslight’.

Upon leaving Uptight Production’s the group found a new home when George McCregor took them to a new fledgling label T.E.A.I (an abbreviation for “Tellin’ Everybody About It”) owned by ‘The Dramatics’ Road Manager Charles Underwood. ‘The Gaslight’s’ first and only release for T.E.A.I, was the mellifluous 1975 double sider “Just Because Of You/It’s Just Like Magic”. Underwood had precured a working relationship with Polydor Records who picked the release up for national distribution three months later. As good as the record was due to poor promotion it failed to make any notable noise and eventually sank with the group soon after breaking up.

During Soul Junction’s later dealings with the late Oliver Cheatham, respected UK Collector Andy Rix mentioned he owned a three track acetate containing the two mentioned T.E.A.I/Polydor tracks plus a third unissued dance track “Hard Times” which through a licensing deal with Charles Underwood Soul Junction now present to you on a three track 45, released under its full title “Hard Times Are Coming, Hard Times Are Here” backed with a previously unissued mix of “Just Because Of You” alongside the issued 45 version of “It’s Just Like Magic”.

2026 Repress

35th Anniversary Edition of Peacefrog - 2LP Smokey Vinyl

Born and raised in the birthplace of House Music, Paul Johnson was known for his raw, soulful, and infectious sound, that helped shape Chicago's house scene and inspired generations of DJs worldwide in particular he was a massive inspiration to Daft Punk and the 'French Touch' scene. Releasing a vast amount of music throughout the 1990s for some of the most consistently underground dance labels including legendary Chicago imprints Cajual, Relief and Dance Mania he finally gained global fame with his 1999 hit “Get Get Down,” a dancefloor anthem that topped charts across Europe. Despite facing physical challenges, including losing both legs in accidents, he remained an unstoppable force in music—touring, producing, and uplifting others with his resilient spirit and signature groove.
Originally released in 1996 Feel The Music was Paul's second album for Peacefrog Records. Containing some of the classiest house music to hail from the Windy City. Classics such A Little Suntin Suntin , Summer Heat and I Wonder Why will have you smiling while you’re jackin’ and the irresistible and infectious Hear The Music was fthe opening track for Daft Punks legendary Radio 1 Essential Mix.

Naya Beat is excited to announce 'PAWA!', a soaring disco-funk anthem celebrating feminism and the power (pawa) of togetherness. It is a mouthwatering collaboration between legendary jazz vocalist and disco pioneer Asha Puthli and NYC’s punk-chic, discodelic stars Say She She.

A fortuitous and fleeting window between touring schedules allowed Puthli and Say She She’s Nya Gazelle Brown, Sabrina Cunningham, and Piya Malik to write and record Pawa! with members of the cult funk band Orgone in the English countryside at Mike Oldfield’s (Tubular Bells) studio. Pawa! is a tribute to female fortitude and an anthemic call to action for unity and collective action. PAWA TO THE PEOPLE! Asha’s spoken word bursts into a soaring falsetto while Say She She’s celestial three-part harmonies make for a sublime call and response between the fabled mentor and her gifted disciples. Throw in a stellar bassline and one of tightest rhythm sections around, and you have an instant classic. And if that wasn’t enough, four remixes bring Pawa to the dancefloor! The UK’s legendary Crazy P deliver not one, but three future classics – an epic house take with a stomping bassline, a stripped-down vocal dub, and a sunshine-ready disco dub. Not to be outdone, Greece’s favourite dance duo Boys’ Shorts add magical disco touches and reimagine the original as an eight-minute balearic opus.

Featuring beautiful artwork and a premium poly-lined inner sleeve, the 12" has been cut to vinyl for the discerning DJ and listener by Grammy-nominated Frank Merritt from The Carvery, London.

long content, you may need to expand row to see all... Karajans legendärer Dvořák auf recyceltem Vinyl
Die unverkennbare Kraft und Leidenschaft von Dvořáks Sinfonie Nr. 9 „Aus der Neuen Welt“, eingefangen in Karajans legendärer Aufnahme von 1977 mit den Berliner Philharmonikern, erscheint nun in einer limitierten Edition auf recyceltem Vinyl (ReVinyl / Farbe: Red Appeal) – ein beeindruckendes und nachhaltiges Format. Jede zu 100 % aus recyceltem PVC hergestellte Schallplatte besticht durch eine einzigartige, rot-marmorierte Optik, die sie zu einem echten Unikat macht. Hier trifft eine zeitlose Interpretation auf einen neuen Standard für umweltbewusste Audiophile. Diese Einspielung wird weithin für ihren lebendigen, dramatischen Schwung, ihre üppige emotionale Tiefe und ihre erstklassige orchestrale Präzision gefeiert und gilt als Meilenstein in der Geschichte der klassischen Musikaufzeichnung. Karajans Interpretation offenbart feinfühlig, wie Dvořák die musikalischen Eindrücke seiner amerikanischen Zeit in das unverwechselbare Gefüge seines mitteleuropäischen, romantischen Stils einwebt.