quête:d bridge

Limited to 300 copies. No repress.

This is Queenie DJ and Music producer from China I’m thrilled and honoured to have YangBing — a true master of Chinese electronic music — join this project with his remix for spring

About this EP — “Four Seasons (IIII Season)”It took me two years to complete this album (from pre production to Released )
This EP was inspired by the distinct feeling and atmosphere of each season. The four vinyl colours reflect that same seasonal bloom.

Track by Track:

1. Spring (Splash Fluorescent Pink Vinyl)
This song was born during Spring Festival in Guangzhou. To capture the local spirit, I sampled the classic Cantonese opera “The Princess’ Flower” — a touch of tradition. YangBing’s remix then injects vibrant electronic energy, making the track blossom with the renewal of spring.

2. Summer (Splash Blue Vinyl)
I was sitting by the sea in Xiamen, coffee in hand, feeling the sun and ocean breeze wash over me. Right then, it hit me: a jazz-house tune would be the perfect soundtrack to that summer afternoon. This track is that moment, frozen in sound.

3. Autumn (Splash Yellow Vinyl)
For me, autumn is a bridge to winter — a time for natural soundscapes. You’ll hear birds, evocative chimes, and traditional Chinese textures like the Jiangnan pipa and urgent gong rhythms. Part of this song was inspired by Yangshuo, where mountains and water truly embody the season’s essence. It’s where East meets West, sparking something special.

4. Winter (Splash Pure White Vinyl)
A downtempo rhythm to ease busy minds. Winter’s morning light enters on the lingering birdsongs of autumn, followed by subtle holiday warmth and the quiet feeling of falling snow. To me, winter is a season of gathering — of holidays, family and friends.
(coloured vinyl 12" 180g comes in different coloured vinyl, we cannot guarantee which colour you will receive))

Phosphor returns with its fifth release and a new chapter for the label’s founders, Blue Vision. As their second EP on the imprint, Machines Will Transform Us (PHP005) confirms the project’s direction: a precise balance between club-driven tech house and more immersive, hypnotic electro textures.

Across the EP, Blue Vision asks a simple question: after spending our days connected to algorithms and modern machines, can repetitive rhythms and mechanical grooves on the dancefloor turn us into machines once again, or instead help us reconnect with ourselves?

Machines Will Transform Us (A1) opens the EP with a driving Italo bassline and tight, tech-driven drums. Melodic 80s synths contrast with sharper electro elements, gradually building tension before a final drop designed for peak-time impact. The track sets the tone for the release: machines transform us as much as we transform them.

Then comes Just a Game (A2), blending spacious 90s progressive and synthwave influences over a rock-solid club bassline and crisp drums. Playing with atmosphere and emotion, the track explores the feeling that we are never too far from a simulation, that maybe everything is just a game. Perfectly suited for introspective yet intense moments, it acts as an ideal bridge between harder tracks in a set.

On the flip side, I Love Acid (B1) is direct, hypnotic, and designed to lock the dancefloor into a steady flow. Stripped back to punchy drums and a raw acid line, it takes a minimal approach that works equally well in early hours or late-night sets. Behind the title lies the idea of acid as both machine energy and mental escape, where repetitive sequences blur the boundary between human emotion and mechanical movement.

As a final touch, Scan Your Brain (B2) shifts into deeper, more immersive territory. Analog pad textures create a drifting atmosphere over a hypnotic bassline and electro drums. With this closing track, Blue Vision answers their initial question by imagining the dancefloor as a space to disconnect from rigid thinking. The vocal serves as a reminder that the brain is constantly overloaded, and that dancing becomes a way to let go, reset, and reconnect.

After more than a decade shaping dancefloors and curating sound, ROOTS steps into a new chapter with the launch of its vinyl imprint: ROOTS LTD, a platform dedicated to exploring the essence of “the sounds of Roots.”

The inaugural release comes courtesy of Gojnea76, delivering a refined four-track EP built with the dancefloor in mind. Drawing on the spirit of ‘90s tech house and memphis rap, the record blends solid basslines, groovy vocal cuts, and rolling pads into a cohesive and timeless journey.

With his unmistakable signature, Gojnea crafts a debut that feels both nostalgic and forward-thinking, a statement piece to mark the beginning of ROOTS LTD.

Monolith 45 series I

A new chapter emerges within Organic Signs.Conceived as a vessel dedicated to a single frequency, Monolith 45 is born to trace the lineage of progressive trance — that tribal, hypnotic, and ceremonial sound that carved its path during the early 2000s, and which today we reclaim with reverence.

Each release stands as a stone marker along this continuum: timeless signals that resonate equally with memory and vision. As with the broader work of Organic Signs, this new line will follow a dual path: rescuing forgotten gems from the past while also curating new music that embodies the same spirit.

Monolith 45 becomes the place where past and present intertwine, shaping a narrative that honors tradition while opening new doors for exploration.

The first monolith in the series carries with it two totems of the genre:
On the A-side, Magnetrixx – Intraferences, originally released in the year 2000 on the legendary Tatsu Records. Behind this moniker stands Stefan Lewin, not only a key architect of the progressive trance sound but also the mind behind ACL (Audiophile Circuits League), one of the most special modular synthesizer brands..

His work bridges eras: from shaping the trancefloor at the turn of the millennium to designing instruments that define modern electronic creation.On the B-side, Ticon – Lo Mi Hi, a track that saw the light in 2001 on Digital Structures, one of the most influential labels of that era.

Ticon are nothing short of mythical within this universe — pioneers whose sound blurred borders between deep grooves, psychedelic textures, and progressive structures, leaving an indelible mark that still resonates with dancers and producers worldwide.

With Monolith 45, we seek not only to preserve these transmissions but to project them into the present: to reawaken a sound that was always more than music, a tribal pulse, a ritual language that invited bodies and minds into collective trance.
This is our homage, our offering, and our way of extending the path forward.

Numbers welcome New York’s Jubilee to the Glasgow based label - Main Character EP features ‘Trippin’’, a collaboration with Jersey club Queen UNIIQU3. One of the most vital voices in American underground dance music for over a decade, Jubilee brings her South Florida rave roots and East Coast sensibilities to the imprint.

Born from the dizzying emotions of love and grief, the EP opens with the cheeky cackle of UNIIQU3 on ‘Trippin’’. Marking their hotly-anticipated first collaborative release, ‘Trippin’’ bridges Jubilee’s Miami bass heritage and UNIIQU3’s Jersey club sound to create a playful lead single featuring tantalizing vocals.

Starting to work on Main Character in 2019, Jubilee revisited the project during an intense period of change and loss. Bringing in further influences from electro, Baltimore club, 90’s dance and techno to create her signature sound, Jubilee channels the fun, drama and chaos that comes hand in hand during challenging times. A deeply personal release, Jubilee looks to her friends and family for inspiration, including a sample of her parents on ‘Lucky’.

Jubilee’s debut on Numbers continues a stand-out year for the dynamic artist who released two stellar EPs earlier this year alongside celebrating 10 years of Magic City - her party series and record label which was awarded DJ Mag’s ‘Best Record Label’ in 2023 - with a run of records, merch and events across the States.

kuniyuki takahashi – new single on studio mule studio mule is proud to announce the latest release from one of japan’s most respected producers and musicians, kuniyuki takahashi. this new single was created with the atmosphere of our listening bar studio mule in mind, and showcases kuniyuki’s unmatched ability to bridge dance music with sophisticated musical expression. the a-side, “open window,” is a modern classical piece inspired by the light and breeze flowing into his sapporo studio—an uplifting, deeply moving composition. on the b-side, “tobira” offers a dreamlike journey of ethnic new-age jazz, evoking the sensation of stepping into a new world. kuniyuki is a rare artist who has continued to push boundaries across genres, and this release is no exception—a future classic in the making. the artwork has been designed by yoshirotten, a leading figure in tokyo’s contemporary art scene. with this release, studio mule delivers an inspired response to the timeless legacy of ecm, while continuing to explore new musical horizons.

2026 Repress

Step onto the dancefloor and relive the golden age of club culture with the revival of Jon Pleased Wimmin’s iconic anthem “P.A.S.S.I.O.N,” brought back by Full Circle in a brand-new package of remixes. Following the success of the Tin Tin Out Mix reissue in 2023, this release features fresh reinterpretations from some of today’s most exciting names, including the legendary Demi Riquísimo and a brand new remix from Jon himself with Paul Morrell, a triple platinum selling remixer, for the likes of Ava-Max, Kelly Clarkson, All Saints & Troye Sivan.

Jon Cooper, universally known as Jon Pleased Wimmin, became a defining figure of the UK scene thanks to his flamboyant presence and finely tuned knack for getting the party started.

From his beginnings as a face on London’s late-80s dancefloors, Jon made the leap from clubgoer to DJ in 1991 with his Cabaret act The Pleased Wimmin, catching the eye of Danny Rampling and securing sets at the legendary Milk Bar. His unmistakable style, fearlessness behind the decks, and sheer love of music led to him touring the world, being voted 6th in DJ Magazines' Top 100 DJ poll and reaching Top 30 with the original release of P.A.S.S.I.O.N. He is still playing out weekly across Europe & the U.K.

With Full Circle’s revival, P.A.S.S.I.O.N bridges past and present, paying tribute to Jon’s legacy while propelling the track into a new dimension. Alongside Demi’s deep, groove-heavy rework, the package also includes a brand-new Jon Pleased Wimmin & Paul Morrell Remix, road tested by Jon this summer at Pikes & 528 Ibiza, which injects fresh energy and an edge while staying true to the spirit of the original.

This isn’t just a reissue; it’s a chance to own a piece of dance music history, reimagined for today’s floors. Grab your copy, feel the groove, and let these remixes guide you back into the feeling of where it all began.

The latest release in the Party Tricks reissue series bridges rediscovery with new horizons.

Sebastian Barrymore plays a role in each project, appearing alongside friends throughout the record with unreleased gems and long-lost favorites.



On the A-side, Spilt Coffee (Barrymore & Steven D Wakeling) present two Electro/Tech-House explorations. One cut (A1) previously appeared on vinyl (SPC 001), while the other (A2) resurfaces after disappearing from their website and the realm years ago.

The B-side reveals two unreleased works from the past, which showcase different shades of Barrymore’s collaborations.



M3 Project - Editors (Barrymore & Dan Braine) blends deep house with strong synthpop influences, echoing the peak era of those sounds that once defined dancefloors.

Closing the journey on a life-affirming moment of calm, Droppenkiken - Take Life (Barrymore) delivers a heartfelt downtempo finale.

Indo Warehouse presents ‘Bombay Acid’ on Crosstown Rebels, featuring Kunal Merchant and Raja Kumari. The hypnotic new single, fusing heritage and future-focused touches, lands with a remix from SYREETA

Making their debut on Crosstown Rebels, New York collective Indo Warehouse unveils ‘Bombay Acid’. The release is a collaboration between co-founder Kunal Merchant and acclaimed vocalist Raja Kumari, capturing the Indo Warehouse ethos: hypnotic grooves, ancestral textures,and underground energy fused into one expansive, ritualistic journey.‘Bombay Acid’ pairs Merchant’s meticulously layered production, melding deep, hypnotic grooves with textures drawn from South Asian musical traditions, with Kumari’s commanding vocals. The track unfolds as both a club-ready cut and an immersive ritual, bridging cultural heritage and contemporary electronic sounds. A Grammy-nominated rapper, singer, and classically trained dancer, Raja Kumari bridges Indian tradition with contemporary global music. She has collaborated with Timbaland, Dr. Dre, Gwen Stefani, John Legend, and Iggy Azalea, and has performed at Coachella, Wireless, and India’s NH7 Festival. Her imprint, Godmother Records, and projects such as ‘The Bridge’ (2023) and ‘Kashi to Kailash’ (2025) explore resilience and spiritual depth, making her one of the most distinctive voices in modern music.

On the flip, SYREETA delivers a striking rework. Authentic and fearless, the UK favourite has shattered glass ceilings while drawing on chunky basslines and energetic grooves from house and techno to craft her own sound and style. Her remix injects ‘Bombay Acid’ with that signature low-end punch, while driving and harnessing the track’s cosmic energy for late-night dancefloors.Kunal Merchant has spent years building a sound that is simultaneously drawn from his South Asian lineage and futuristic. From appearances at Coachella, Hï Ibiza, Fabric London, and Brooklyn Mirage, to releases across the Indo House spectrum, he has become a central figure in shaping the genre and bringing South Asian voices to the global electronic stage. Indo Warehouse, co-founded by Merchant and Kahani in 2022, has evolved from its underground origins in New York into an international movement. Their live shows are immersive experiences, rituals where identity, tradition, and club culture collide, and their releases continue to push the boundaries of house and techno while remaining deeply grounded in their origins. With ‘Bombay Acid’, Merchant and Kumari deliver a production that is both hypnotic and expansive, inviting listeners
into a universe where rhythm, culture, and underground energy meet in unison.

'Find a Way' is the new album from Manchester-based pianist, composer, and producer Matt Wilde, released via his own imprint Hello World Records. The album serves as a reminder that creativity should be accessible and the importance of opening yourself to the unexpected as you 'Find a Way' through all endeavours. Digging into improvisation and jazz harmony on the LP, he crafts a sound that bridges jazz, hip hop, and electronic music, adding: "The creative act is not a matter of waiting for the perfect conditions, but of moving gently, insistently, through the imperfect".

Focus and title track "Find a Way" encapsulates this journey of process. Humans are known for adaptation and response when they face challenges, seeking solutions towards a better world. "Find a Way" leans into our instinctive reaction to improvise and reshape, taking the listener on an unexpected journey. The opening loop could as easily feel at home as part of an electronic soundscape, developing into a clock-like effect from the drums. This keeps time, allowing a duet between keys and trumpet to unfold, symbolising the individual, imperfect and non-linear paths we all carve out day to day.

The album was funded by Arts Council England and created in close collaboration with trumpeter and composer Aaron Wood, with the pair recording in Aaron's rural DIY studio in Huddersfield. Through improvising upright piano, Rhodes and trumpet over intricately programmed beats, the duo captured the spontaneity that makes jazz feel alive, but with the forward-facing touch of Ableton live production. "I actually had live drums recorded for this project and then deleted all of them and instead programmed intricate drums on Ableton live myself to create the kinds of drum sounds I could hear in my head," Matt adds, explaining the onerous process that truly made 'Find a Way' a labour of love.

Matt Wilde discovered jazz through an unconventional journey, and 'Find a Way' is an introspective map of this musical development. Starting out as a self-taught beatmaker, growing up Matt made tracks for friends in the grime scene before falling in love with jazz through the sample-heavy works of Madlib, J Dilla, and Pete Rock. Hints of this influence can be found on "Windup", driven by a deeper bass and a glitchy intensity not commonly associated with jazz. There are also nods to the weekly DJ residencies Matt had in his late teens, establishing a love for club music at iconic Manchester venues like Sankeys. "It's Ok, Feel it" incorporates pitched-up kicks and crisp, papery snares that pay tribute to UK dance culture and the foundation of connection in this world.

Guided by values of accessibility and creativity, Matt has become a key voice in the UK's boundary-pushing jazz and beats scene. His debut album 'Hello World' alongside EPs and single releases, have been championed by the likes of BBC Radio 1, Jamie Cullum and Soweto Kinch (BBC Radio 2), 'Round Midnight (BBC Radio 3), and across BBC 6Music, Jazz FM and Worldwide FM. He has performed headline shows at Band on the Wall (Manchester) and The Lower Third (London) and showcased his music at Brick Lane Jazz Festival and London's iconic Jazz Café.

A proud Mancunian with Polish roots, Matt's values-driven approach reflects his passion for community and empowering others through the arts. Matt founded the UK's first youth-led charity and is a trustee of Manchester music charity Brighter Sound. Driven by these values of equality and inclusion, Hello World Records strives to champion grassroots music with a backbone of fairness built into the business model. The imprint is named after Matt's debut album, released via Band on the Wall Recordings; simultaneously championing the music scene and global musical footprint of Manchester and highlighting the importance of artists reminding people: Hello World, I've made it. I'm still here.

- Martha Cleary, Glow Artists

Recloose’s ‘Dust’ returns to the spotlight on The Remedy Project, with the remaster of the original joined by remixes from Natasha Diggs, Aroop Roy and a never before available accapella.

First championed by Gilles Peterson on BBC Radio 1 in the noughties, ‘Dust’ is now a cult favourite as it effortlessly bridged genres and soundtracked dancefloors across the globe. The track’s warm groove, featuring Joe Dukie’s unmistakable vocals and Recloose’s signature production, cemented it as an underground classic; Dallas Tamaira, occasionally releasing under the alias Joe Dukie, is best known as the lead singer of New Zealand band Fat Freddy’s Drop.

A pioneering figure in the Detroit electronic scene, Recloose (aka Matt Chicoine) first broke through in the late 90s with support from techno legend Carl Craig, releasing on Planet E and later building deep ties with New Zealand’s fertile soul and jazz community. His music fuses house, funk, and broken beat with a distinct warmth and musicality that have made him a trusted name across generations of selectors.

To mark its 20th anniversary, ‘Dust’ is renewed with a package of remixes from some of the scene’s finest tastemakers. Natasha Diggs injects her soulful New York finesse, while Aroop Roy brings his global dancefloor touch. With the two new remixes sitting alongside the both the original record and the accapella, ‘Dust’ is ready to gain a new generation of fans.

DDE Signature Tracks is a record label based in Bogotá, Colombia, curated by the team behind Discos del Espacio Record Shop.

For our third release, we proudly present Stand Your Ground — a refined EP by Colombian producer Bralan Arias, who delivers four deep yet dynamic original tracks that carry emotional depth while remaining fully suitable for the dancefloor. Emerging as one of the most talked-about names in Colombia’s house music scene, Arias draws inspiration from jazz and collaborates closely with Bogotá-based musicians, infusing his productions with organic textures and harmonic richness. His sound bridges atmospheric depth with infectious groove, creating tracks that resonate in both intimate and late-night settings.

On the flip side, Emilio Mustafá reinterprets a track called On My Own with a distinctive UK garage twist. His remix injects syncopated percussion, shuffled grooves, and infectious energy, offering a playful counterpoint to the original’s depth and making it an essential weapon for adventurous selectors.

Out soon on 12” vinyl.

Pink Concrete's upcoming EP, Jazz Sultan HNT003, is dedicated to Frederick Bruce Thomas (1872-1928), often called the Jazz Sultan. Born in Mississippi, Thomas overcame the hardships of the post-slavery U.S. and personal tragedy to build an extraordinary life through jazz-from France to Moscow, where he became the first Black Russian citizen, and later to Istanbul, earning his legendary title. The EP honors both his triumphs and struggles-celebrating his role as a pioneer who bridged cultures and left a lasting mark on the European music scene of his era.

Berlin’s Limited White Label presents the vinyl debut of New York City-based composer, producer, and drummer Zachary Berns. A fixture of NYC’s jazz and underground scenes, Berns has built a reputation through boundary-crossing projects (notably “zbeeez” and jazz/hip-hop collective “poetic thrust”), collaborations with rising artists across R&B, jazz, and electronic music, and acclaimed appearances at parties such as “Soul in the Horn”. With LTDWLBL011, he steps forward under his full name for the first time, delivering a statement that bridges his dual lineage in jazz and house/electronic/club music.

El AMBIE—TÓN is back. The reference #002 is an exercise of Memory (Memoria), it is a place where the water blooms on the earth and the wind in the mountains. It is jungle and city. Mountain and noise. Imbalance and harmony. It is a lake in the sky, a forest between seas. A still cloud in la cordillera, a name that floats. This collaboration between Colombian Drone Mafia and Gibrana Cervantes is the beginning and end of a fragile geography, like the magic and mafia of our platanal.

But who is behind this new combo and bridge between South and Central America? CDM is the new alias of Nyksan, a Bogota-born techno-affiliated deejay and sound artist who is also one of the co-founders of TraTraTrax. From the other side, Mexican composer and violinist Gibrana Cervantes is one of the most outstanding string voices in the daring electronic music landscape in recent times. The duo's cabalistic work creates intricate and dark ambient, all woven around gut-moving sonorities. Colombian Drone Mafia dissolves the boundaries between synthesis and field recordings, crafting experimental yet primitive textures that infect listeners through the layered melodic spaces that Gibrana masters.

We cordially invite you to listen to this journey of immersive drones through vegetation and concrete jungle, music that is at times contemplative and at other times violent. Music framed between deep listening and deep boredom. A glimpse of the sound of the end.

A bit of backstory behind this release, I first met Hilton (Jack Horner) at an event in 2012 that took place in a venue called Crucifix Lane (also known as Jack's, now defunct due to expansion of London Bridge station). He's good friends with Krome & Time who were performing that night and I remember chatting with him about jungle (I was still a very eager young lad that was in his first year of raving and very keen to talk about jungle/hardcore/d&b to anyone that would be willing to endure it!) and he mentioned that he used to make jungle in the 90s. I asked who he was and when he told me he was Jack Horner, I went mental because I was a big fan of the 2nd release on Spectrum Records (The Hoover & I Got This Feeling) and to actually meet the person behind those tunes was a really special situation for me to be in.

Unfortunately, I was too shy to get any contact details for him and I never saw him again or knew anyone that had a way of getting in touch with him. That was until very recently, when he had started attending Distant Planet events in London & I got the chance to meet him again, only to be shocked by him telling me that he had been following me & my music and was a fan of me & my label! This time, I made sure that I was able to get contact details for him, I was not going to make the same mistake as last time!

Last December, he messaged me asking if I would be up for doing a remix of The Hoover & I was quite unsure about doing it because of how much I really enjoy the original and feel like it does pretty much everything it needs to do with the sounds used. But, I thought it would be worth a try so I gave it a go and Hilton really liked the outcome (which was a huge relief ????), even though I was a bit too scared to change too much of it haha.

He then asked if I would be interested in releasing it on Future Retro London, which I'd never considered doing because I thought he would have had his own plans for it but I was willing to try & see if we could make a release out of this. I messaged Dwarde & Kid Lib to ask if they'd be up for doing remixes of the same tune (at the time, we only had access to the samples from The Hoover) and they both were and they did great work taking the original track in different directions, each in their own way.

Around the time of making The Hoover, Hilton made another tune with similar samples called After The Pain, which was never released, but he still had the tune. The problem is that he only had it in the form of a cassette recording, which wasn't very good quality and probably would not be easily cleaned up for release. So, I decided to remake the tune from scratch, using the samples I had from The Hoover, as well as sourcing & recreating other sounds used. I was able to remake the whole tune arrangement & then Kid Lib mixed it down to make it sound more sonically similar to how it would have sounded when it was originally made back in 94/95.

Anyway, story time over, big thanks to Hilton for his co-operation & assistance on making this release happen, to Dwarde & Kid Lib for their remix work & a special shout going out to Hughesee for going through Hilton's collection of floppy disks to find & record the samples for The Hoover.

When Radial Gaze meets Nicola Kubebe, the result is Iron Pinky Toad — a title that sounds either like a secret kung-fu move or a lost cartoon book. But don’t be fooled — this one hits hard.

The long-awaited collab brings three original tracks — Phantom Limb, Lights of Phoenix and the title cut Iron Pinky Toad — that effortlessly bridge the gap between slow-burning tribal techno and the raw pulse of new beat nested into an early techno nutshell. Imagine dancing barefoot in a ritual under a disco eclipse — you’re getting close.

To seal the record, Playground Records boss Martin Noise steps in alongside rising sensation Anastasia Zems, pushing the release into full-blown dancefloor sorcery. The groove is deep, the bass is sweaty, and the toad… well, the toad is on fire !

Dropping Friday, July 18, 2025, via THISBE Recordings — available on vinyl and digital. Spin it, stream it, or whisper its name into the smoke at 3AM — either way, the dancefloor won’t know what hit it.

Let the amphibian groove begin.

Artwork by Christoffer Budtz

The begena is a large ten-stringed lyre which is part of the traditional Amharic heritage of Ethiopia. The Amharas, who have long formed the politically and culturally dominant people of Ethiopia, mainly inhabit the central and northern part of the country. In the majority, they follow the monophysite Orthodox Tewahido Church established in the early fourth century AD.

Music plays a very important part in the life of the church. Most of the liturgy is sung and, contrary to secular music, it is accompanied by percussion instruments only. The begena occupies a special place because it is the one melodic instrument exclusively dedicated to the spiritual repertory. Because of its mythical origin, it is highly respected. Tradition holds that the begena was given to king David by God, and brought to Ethiopia by Menelik I, together with the Ark of the Covenant. It has always been the instrument of kings and nobles. Played by pious men and women of letters, it never became widespread. But it never disappeared either, not even under the Derg regime (1974-1991) which had banned the instrument.

Among Amhara string instruments, the begena is the most carefully crafted, especially with regard to the ornately sculpted crossbar. Its ten gut strings are cleaned and twisted several times. The characteristic buzzing timbre equalled by no other Amhara instrument is due to the enzirotch, that is, small bits of leather placed between each string and the bridge. This plays an important part in the sound production by creating a brief contact between the string and the upper rim of the bridge, thus modifying the vibrating properties of the string. In this manner, the spectrum of the sound is considerably enhanced (up to over 10 kHz).

The begena is a very powerful instrument, it keeps the devil thirty steps away, and its presence in the home wards off malicious spirits. Priests and preachers recommend its presence, especially during Lent (Fassika Tsom) when the Orthodox Amharas ponder their sins and repent. Because of its spiritual import, the begena generates intense emotion. According to some musicians, playing the begena brings them into direct contact with God or the Virgin Mary. The religious role of the begena is underscored by the shape of the instrument, each part symbolises an important element of the faith. The crossbar for instance, which reaches across the entire width of the instrument, represents God who is above all things. The belly which "gives birth" to the sound represents the Virgin Mary, and the ten strings recall the Ten Commandments.

Recorded by Stéphanie Weisser in Addis Ababa, Ethiopia, March 2002-December 2005.

Mastered by Renaud Millet-Lacombe.

Issued under license from VDE-Gallo, Switzerland.

Modi: Three Days on the Wing of Madness is a 2024 biographical drama based on the life of renowned Italian artist Amedeo Modigliani.
Directed by Johnny Depp, the film stars Riccardo Scamarcio in the title role, with supporting performances by Stephen Graham,
Al Pacino, and Antonia Desplat. The film’s original soundtrack plays a pivotal role, blending evocative original compositions by The Tiger Lillies
with classic tracks from artists such as Charles Trenet, Augie March, Tom Waits, and The Velvet Underground & Nico.
The soundtrack is available as a deluxe 2LP vinyl set in a gatefold sleeve with imagery from the film
And as a 2CD Box Set with lift-off lid, featuring a 24-page booklet including exclusive notes from Johnny Depp and behind-the-scenes images