quête:diggin deep

Berlin-based Italian DJ / producer TRENT returns with 1000 Flashbacks, a retro-facing 4-track EP fit for the chuggy cosmic underground. Known for his vital role in the legendary Cocktail d'Amore scene and his deep-digging sets at Oscillator, Trent channels a rich set of influences and potent nostalgia into four fresh cuts: Gimme Something opens the record with vocal euphoria and funked-out bassline powered disco. Cin Cin is a cheeky toast to Italo-mania, bubbling with percussion seduction. Shiva Boom brings tribal acid hypnosis to downtempo spirit-chug. Down to Oz closes the EP in a hazy groove topped with anthemic melodic line.

DJ Support: DJ Harvey, Hunee

SIRS returns with Volume 7 of his beloved SIRS Cut series—a four-track EP of deep-digging edits spanning disco, beatdown, and soul. Already supported by DJ Harvey, Hunee, and more, each track has been reworked with SIRS’ signature touch—tasteful, floor-ready, and full of character.

VIL Records continues exploring 2000's sound with new unreleased stuff from duo AUT ZEBEL (A.Vadala' & E.Fatovich) , digging in the archives of unreleased tracks from early 2000's , with executive production from Gianluca Marcelli (Digging Deeper Music , VIL Records , Sounds Better) finally bring to life this new project with old roots , the experienced producers at their top in electro house / tech - house / progressive house sound , give us back to early 2000's scene. Limited copies as always don't sleep!

Isle of Jura teams up with French digger Switch Groove on the next compilation titled ‘Archipelago – Cosmic Fusion Gems from France (1978-1988)’.

Switch Groove explains the concept “When I seriously began to search for and collect records, I was mostly interested in sounds from african-american, afro-latin and UK contemporary scenes. Sounds from distant territories, faraway from my native Massif Central, a highland region in the middle of France. The grass is always greener, I guess however, as I was digging in fleamarkets in the early sunday morning light, as well as spending regular sessions in second hands record shops, I began to discover hidden treasures, underground gems and side-projects of an unknown French musical repertoire.

French music is often reduced to its most famous musical forms, characters and signatures : French songwriting and voices, 60s yéyé, prog rock concept albums and soundtrack explorations, 80’s indie rock scene or more recently electronic French touch. All these sounds have a common feature : a geographical link, forged on mainland French territory, following the contour of the so-called Hexagone, the border that shapes the grounds for an homogeneous cultural expression. But beyond this showcase lie more complex, hybrid and global French productions. From French Caribbean Antilles to Parisian suburbs - especially during the ‘Sono Mondiale’ era -, in French areas outside urban cultural centers, musicians have created fusion and cosmic musical expressions. As the mid-seventies meant a greater freedom to make and record music, a wider use of electronic instruments like synthesizers and drum machines helped to deliver some magical projects you could only find lost in the middle of cheap records during a sunny record digging session. I selected these tracks, in an attempt to shape an ARCHIPELAGO that highlights significative contributions of African diasporas and ultramarine territories into French musical borders. It is the map of a land I have gradually drawn, thanks to deep listening of amazing cosmic and fusion tunes. I hope you enjoy the journey.”

The Blind Spot returns with a reissue digging deep into the Italian underground.

Long-awaited and finally here—Max Trebbi’s Multi Delay EP was originally released in 1997 on Stik Records and resurfaces after 28 years, bringing back the hypnotic and raw energy of the late '90s. A solid 3-tracker ready to ignite any dark and proggy dancefloor.

Limited copies, no repress... don't sleep!

Liner Notes by Martyn Pepperell

A collection of ten hypnotic guitar renditions that dive deeply into the traditional compositional musicality that underpins Harakami’s hallucinatory beatscapes before reconsidering them under a fresh, innovative and engaging new light. River: The Timbre of Guitar #2 Rei Harakami signals a new level of awareness and understanding of both Rei Harakami’s significance and Ayane Shino’s undeniable talent.

VITAL SALES POINTS:

In 1996 Tokyo-based label Sublime Records received a cassette demo from Rei Harakami, a 26-year-old Japanese experimental filmmaker, and musician. Within one year Harakami’s debut LP ‘Unrest’ was released. As the 21st century dawned, Harakami was becoming a critically acclaimed figure, and there was a feeling in Japan that Harakami would be an inevitable successor to such luminaries as Haruomi Hosono and Ryuichi Sakamoto. Sadly Harakami passed away at age 40 in 2011, leaving behind a musical legacy that seemed to deserve more recognition. A fitting tribute now comes from the incredibly gifted classical guitarist Ayane Shino. Continuing her album series ‘The Timbre of Guitar’ (the inaugural release of which was ‘Sakura’ - a cover album of Susumu Yokota's seminal album, released through the Swiss label, Mental Groove Records in 2021), she now presents ‘River ???? : The Timbre of Guitar #2 Rei Harakami’. Ayane has reworked some of Harakami’s standout tracks into an album of tranquil yet complex compositions helping to build a new level of awareness and understanding of Rei Harakami’s significance. A collection of ten hypnotic guitar renditions that dive deeply into the traditional compositional musicality that underpins Harakami’s hallucinatory beatscapes before reconsidering them under a fresh, innovative and engaging new light.

In the years that followed Harakami’s untimely passing, Sublime Records continued to sign and support new artists emerging from Japan’s rich and fertile electronic music scene. This eventually led to a meeting with gifted classical guitarist Ayane Shino in 2020. Although a new name within electronica, Shino’s classical resume is impeccable. She has performed with a range of prestigious orchestras in concert halls and at music festivals across Japan, Europe, and South America while playing classical guitar for numerous animations, movies and television commercials and holding various educational roles. These days, she also hosts the Tokyo Harmonics radio show, which is syndicated through Hyogo prefecture’s Ashiya Radio and TJS Radio in Los Angeles.

During her time completing a masters at Tokyo’s University of the Arts, Shino became fascinated by Brian Eno, Aphex Twin, Oneohtrix Point Never, Steve Reich, and, closer to home, Harakami and Susumu Yokota. ”I found myself in an environment where I was surrounded by fellow students who produced computer music, live electronics, and installations,” she explains. Following her meeting with Sublime, Hideoki Amano, the producer and owner of Musicmine, the parent company of the label, asked Shino if she would be open to transcribing and recording an album of covers of the late, great composer, producer and DJ Susumu Yokota’s music in incorporate into then-upcoming events commemorating the 5th anniversary of his death and reissues of his past works. “Yokota made music with the Roland TB-303 bass synthesizer and samplers, not in a way like a conventional instrumentalist, so I was aware it might be more of a challenge for her,” Amano explains. Fittingly, Shino was up for his suggestion, leading to ‘Sakura: The Timbre Of Guitars #1 Susumu Yokota’. Song by song, Sakura highlighted Shino’s free-flowing playing and prowess at translating electronic music into classical guitar shapes.
After considering Harakami’s background as an instrumentalist, Amano felt revisiting his catalogue should be the next step for Shino. Well-versed in how often classical versions of electronic music tend to fall flat, he asked her to examine Harakami’s songs closely, select the musical phrases suitable for guitar and create arrangements that would sound interesting to music listeners with a deep engagement with ambient, techno and electronica. In Harakami’s discography, Shino discovered “a sense of simplicity, warmth, moisture and a floating sensation.” “I was gripped by his songs, which had an array of sounds that gave me a sense of mystery but also coexisted with a sense of familiarity,” she explained. Moving beyond his official releases, Shino began digging through YouTube to find live recordings, radio appearances and obscure outtakes. Within her mind’s eye, imagining playing his songs on guitar was effortless. On her approach to the album, Ayane explains: “For this album, I succeeded in spinning some exquisite, silk thread like delicate tones, interwoven with human warmth, gentleness and simplicity. And I was also able to rework Rei Harakami's distinctive sound with a floating feel to it and transform it into a very classical guitar sound. I hope many people will be able to receive this group of sounds that I created in this album that I played with all my heart.” A record of limitless innate beauty, ‘River ???? : The Timbre of Guitar #2 Rei Harakami’ is a delicate and thoughtful body of work. A true masterclass in deconstruction and subsequent rebuilding, and an eternal lesson in how the art that we leave behind can outlive us all.

2025 Repress

DJ Quik is a giant of West Coast hip-hop. With 1995’s Safe + Sound, he scaled new levels of musical magnificence with his signature new age P-Funk/laconic G-Funk. A quintessential, sun-scorched LA album, this is pretty much essential. Typical for mid-90s albums the original vinyl copies are now rare so here’s the Be With re-issue, complete with “Tanqueray”, the hidden track from the original CD release.

A preternaturally gifted producer/rapper, DJ Quik has produced scores of LA gangsta rap classics. He’s released platinum and gold records of his own, as well as helped craft them for the likes of Tupac, Snoop Dogg, and Dr Dre. Quik has always been quirkier and more interesting than his gangsta rap peers, both musically and lyrically. An old-school funk producer at heart, he’s also incredibly nice on the mic. His raps often deal in boasts, jokes and good times but also cover his beefs, his trials and his trauma. Partying and pain, all mixed up. DJing and producing hype beat tapes from age 14, Quik’s tracks blended the languid funk and rubbery synths of Zapp and George Clinton with a gangsta aesthetic, creating a more danceable foil to Compton’s more typical nihilistic hedonism. Ultimately, his records sound custom engineered to drift out over sun-soaked barbecues.

By the time of his third album DJ Quik was a household name on the West Coast - California’s premier rapper/producer not named Andre Young. Released on Profile in 1995, Safe + Sound was certified gold. Less reliant on samples and more focused on live instruments, it elevated him from producer to fully-fledged composer. This sound — the quick, winding basslines, tinny high hats, smooth instrumental solos, soulful pipes, and Roger Troutman’s talkbox — defined him. This is an album of full-blown masterpieces. Rich soundscapes and masterfully arranged orchestrations with dense layers of sounds, intricate rhythms, and well-balanced songwriting.

The first track proper, “Get At Me” samples Cameo whilst Quik takes aim at the Judases in his life, the horn-laced chorus providing a triumphant feel. On the horizontal “Diggin’ U Out”, the soulful electric piano of Warryn Campbell lays a relaxed groove for Quik to talk over about one of his favourite topics: sex. Title track “Safe + Sound” chronicles Quik’s formative years over a slick instrumental. The moody bass locks a laidback infectious groove, the hook is catchy and Quik’s delivery is in fine form. On the uber-chilled “Somethin’ 4 Tha Mood”, Quik cooks up a breezy, feel good track of sparkly keyboards, syncopated claps, shuffling hi-hats, woozy synths and a floating two-minute flute solo courtesy of Robert “Fonksta” Bacon. Analysing the highs and lows of an average day in the hood, it echoes Cube’s “It Was a Good Day”.

“It’z Your Fantasy” is a silky smooth soundtrack to Quik’s detailed retelling of a sexcapade with a young lady and whilst “Tha Ho In You” is musically perfect for that midsummer family BBQ, its lyrical content is unsurprisingly decidedly less family-friendly. A real highlight, the infamous “Dollaz + Sense” is one of the most ruthless diss tracks of all time. The brutal lyrics ride a laidback West Coast beat, flipping a sample from Young & Company’s “I Like (What You’re Doing To Me)” as Quik fires lyrical shots at his arch Compton nemesis, MC Eiht. On the loping, hazy “Let You Havit”, Quik is again in gangsta mode, with more bars of barbs aimed at Eiht, rhyming over sun-kissed synthy-rollerskate funk.

Some of the finest tracks on Safe + Sound are those designed to de-stress. The evocative “Summer Breeze” is a classic warm-weather jam, anchored by a twangy funk guitar, breezy string arrangement, and a soulful hook delivered by Dionne Knighton. Quik’s nostalgic lyrics are not far from DJ Jazzy Jeff & The Fresh Prince’s “Summertime”, reminiscing over barbecues at the park, young love, and the brevity of halcyon youth. The relaxed and jazzy “Quik’s Groove III” is another highlight, as bass, guitar, piano and flute combine to create a smooth, soulful instrumental.

The swaggering “Shack Up”-sampling “Sucka Free” features a cameo from Playa Hamm, all funky braggadocio and over much too quikly (pun thoroughly intended). The jazz-flavoured “Keep Tha ‘P’ In It”, again featuring Playa Hamm but this time extending the cameo invitations to Hi-C, 2nd II None and Kam, is pure laidback P-Funk. The deep bass and industrial drums make sure the groove hits hard.

“Tanqueray” was originally a hidden track on the CD version of the album, but it’s too good to hide. This wild party samples Brass Construction’s gigantic “Get Up To Get Down” and soars in its drunk-ebullience. An apt way to close this party-driven set.

This 2022 Be With double LP re-issue has been mastered for vinyl by Simon Francis, cut by Pete Norman and pressed at Record Industry. Unusual for the time, Safe + Sound was originally pressed as a double, so all that was missing was the CD’s hidden bonus track “Tanqueray”, so we’ve fixed that. The original vinyl release never got a picture sleeve, so we’ve recreated the original’s promo-style silver-sticker and plain black jacket. A subtle cover for a wonderfully unsubtle record.

Repress!

Mint Condition - A record label focused on excavating the outer fringes of classic House and Techno. Unreleased mixes, classics, overlooked gems and never heard before material, mined from the last 30+ years of contemporary dance music are the order of the day. From Chicago, Detroit and New York to London and beyond. Mint Condition have got their digging hats on to bring you exclusive heat and those rarer than rare jams that have been in your wants list for years. Dig in....

Tobias Menguser, AKA Leon De Winter, was a very influential figure in the 90's Frankfurt techno scene, releasing around 100 records under various aliases, including collaborations with Ricardo Villalobos, but it was his Leon De Winter alias that really caught the ears of legendary London label Eukahouse, who originally releases this 12" all the way back in 1997. A one-off, it is not only unique in its sound design but also genre defying, spanning deep house, tech-house, techno, electro and breaks.
A-Side 'Apollo Jazz' is truly that, sounding like it was composed from a freeform jam on a trip to the Moon. Opening with emotive chords, the track lifts off and builds, melodies effortlessly twist and turn, superbly pulling together a variety of well crafted synths, bass and percussion whilst keeping the energy to the fore. Over to the B-Side, 'Metamat', is bold and more playful in its execution, more sonic trickery abounds as the opening riffs and breakbeat percussion give way to a solid 4/4. The bass is as memorable as it is quirky, but again it's the strength in the way all the elements build and combine that creates some real tripped-out musical moments without ever losing its dance floor appeal.

This is one of Tobias's most sought after releases and it's no wonder his collaborative work with Ricardo Villalobos is legendary. The tracks themselves have remained exciting and relevant, achieving cult status amongst the most discerning DJs, record collectors and music heads alike. Legitimately re-released with the full involvement of Tobias Menguser, lovingly remastered by London's Curve Pusher from the original DATs especially for Mint Condition. 100% legit, licensed and released. Dug, remastered, repackaged and brought to you by the caring folks at your favourite reissue label - Mint Condition!

Late-night jams in their new studio sees Jazzbois return to their beat-tape roots on Still Blunted

Having established themselves as one of the leading live bands in Europe grooving in improvised jazz motifs and hip-hop beats, Budapest trio Jazzbois return with their fourth LP Still Blunted that sees them touch base with their beat-tape roots.

Now situated in the heart of Buda at their new studio above a club, the Hungarian trio of Bencze Molnár (Rhodes/synth), Viktor Sági (bass) and Tamás Czirják (drums) take a more considered approach to Still Blunted and offer a snapshot into the jams, sessions, and shows they have played over the past year. The new album comes after performing at the legendary Montreux Jazz Festival this summer and will be followed by a European tour in October.

Inspired by contemporaries Domi and JD Beck, Kiefer, Nala Sinephro, and the sounds of Radio Juicy, Jazzbois have been more critical of their track selection for the sequel to their Goes Blunt albums. They’ve ripped up their playbook of producing records in a matter of days and took their time to approach the record through reworking their favourite tracks recorded over the past year.

“We’re trying to keep the same formula but there was a lot of thought gone into the process of making an improvised jam sound like a song. It has to be good in the moment, and we chose the ones we felt were expressive and resonated the most with us musically. We focus on our feelings in the moment and have trust in our own taste and music visions.”

The trio’s new studio has offered them the space and time to get the best out of their creativity. “This new spot is a Jazzbois headquarters. It’s above this club, sometimes there's a DJ playing outside on the street – everyday there's something on and lots of people coming and going. We hang out for the whole day and just record anything or edit.”

Jazzbois are a part of the rich, underground jam scene in Budapest, and those improvised-led sessions have fed into Still Blunted. One of their late-night jams turned after-parties produced sketches for tracks they selected for the album.

“It was the end of a wild night celebrating getting the album done. We’re having a jam and we looked around while we were recording and there was twenty people smoking and drinking around us – half of them we didn't even know who they are. It turned into an open after-party where people were coming to ours from the club. It was very spontaneous and unexpectedly, we made five or six new songs we ended up using for the album.”

The ethos of those unplanned, open jams is something they carry through into their live shows, as they never rehearse so their music can develop freely. Their trusted fourth ‘live’ member DomBeats joins them on Still Blunted adding saxophone to some of the psychedelic-tinged beats, such as on singles Shangri La and Chrome. After recently digging back into 70s and 80s jazz, discovering more hip-hop sampled tracks, and absorbing the breaks and high-energy of footwork and juke, these influences come through strong across Still Blunted.

The footwork sound is replicated in the shuffling, busy drums of Shangri La, with the echoing guitar twang reminiscent of a sample you may hear on an MF Doom beat. “Shangri La was a catalyst for the new album. It reflects on our trip to America and SXSW. We played at this venue Shangri La. The Texan air and sun are in that track.”

Chrome takes on a much more furious style of playing that allows for the drums to cascade and flow along with the pulsating, chromatic bass line, with the synths and saxophone spiralling into an engrossing frenzy. The liquidy keys and synths glides over the bass on Flute Thang, creating a 70s jazz-funk vibe that stands out from the rest of the album.

With hundreds of thousands of monthly listeners across Spotify and Apple Music, they have become a playlist staple that has earned them millions of streams since their debut release Jazzbois Goes Blunt in 2019. As more live dates are booked for the Hungarian trio, Jazzbois continue to transform the traditional jazz trio sound into deep, groove-led beats on Still Blunted.

2024 Reissue

Missing returns on his Sub System Recordings label with some 80’s inspired vibes. Keeping the presentation on the 80’s tip we have opted to press this on a fluorescent pink 10”.

Fugitive is Dave Wallace from Aquasky, dusting off his old alias that he used to record under on Underdog Recordings back in 1994. Digging deep for some 80s licks, while rolling out the beats! Watch that drop! On the flipside M-Beat returns to the label for a proper remix on that 94 tip.

Dejan Dex from 005 is back but with Blagoj in their mischievous music duo: Son Kota. From Misla to Termos, Dejan brings forth a new level of artistry with his right hand partner in this sizzling 3 track compilation. Literally sizzling, Termos isn’t shy in sound, waking up the listener with profound, sexy yet soothing beats in a humble, homemade kind of way.

“Our inspirations range from day to day activity. From 80’s pop rock music and good movies to tv shows and live sets from artists that we admire, together we combine all the sounds we hear into one full package.” - Son Kota

Son Kota - A story of two artists meeting halfway, making an alias to expand their music horizons. Focused on finely shaped sounds, and digging deeper as they can into the house music world.
Producing for 13 years running, Son Kota began paving their way around the same time. Coincidence? We think not. Destined to work together, Blagoj and Dejan were passionate pioneers on the Macedonian music scene with their like minded approach to genre identity and track ideation. Officially born in 2017, Son Kota was given its project name meaning “sounds of happiness” in French/Japanese dialect.

The two exude a sense of genuine awe and wonder for minimalism, and the blissful feeling it evokes.
Echoing the 90s once again, Son Kota offers a fresh batch of 3, including a remix by Arapu, each having its own musical idiosyncrasies.

Top of the track list is the dark and moody Vroche: a somewhat psychedelic ensemble of broken beats and synth stabs for the adventurous minimal listener. Up next is Termos, a marvelous piece that embodies classic house qualities peppered with nostalgic melodic elements. Finally, Arapu spins this record further with his own interpretation of Termos, bringing his signature touch to the table. Any Satya fan and production nut will be sure to appreciate his groovy minimal hypnotic flavors.

EDIT & DUB diggin deeper to provide us Vol. 2 in the rarest of the rare series. Expect the unexpected alongside the unreleased disco versions we've come to love. Limited press, colored vinyl. Paper Sleeve. Don't sleep!

Demuja gets us ready for summer with four sublime, bass-drenched house & techno rollers on MUJA. Don’t sleep on this one!

DJ Feedback:

Honey Dijon -Amazing Ep!

Okain (Talman / Infuse / Pleasure Zone) -Nice Detroit vibe on Solid Pleasure and Square One

TEED Totally Enormous Extinct Dinosaurs (GrecoRoman, Polydor,) -loving solid pleasure and if you want

Peter Kruder (Kruder & Dorfmeister / K7) -Solid record ! Thank you !

Nightmares On Wax (Warp Records) -If you want is my jam on here

Laurent Garnier -Demuja does it again.... Great tracks , great EP *full support

HAAi (Coconut Beats) -Deep and groovy house tunes, love the vibe.

Dam Swindle (Heist) -diggin if you want!

Radio Slave (Rekids) -'Solid Pleasure' is great... Gonna test it out this weekend !

Gerd (4Lux / Clone) -great tracks... all are very cool... square one may be my fave!

Yes, *that* Al Hirt record. Featuring the godlike "Harlem Hendoo", looped unforgettably by De La Soul for the legendary Buhloone Mind State cut, "Ego Trippin' (Part Two)"!

Al Hirt's infamous Soul In The Horn is inextricably tangled up in crate-digger lore. Originally released in 1967, the album has been in heavy, heavy demand for over 30 years, entirely down to the majestic soul-jazz fire of "Harlem Hendoo". And it's a song so good, so vital, so timeless, that it will always tower above everything else in its proximity. This one track alone is worth the price of admission - even if the cost of entry were $100 or even $1000.

However, it would be an error to dismiss this record as merely a one tracker, loaded as it is with dope samples for adventurous beat makers. Certainly the funkiest Al Hirt record, it definitely lives up to the "soul" in the title. Thanks to composer Paul Griffin and arranger Teacho Wiltshire, Hirt got uncharacteristically free and groovy throughout. It comes on more like an obscure KPM library funk record than the easy listening Al was notorious for.

A Louisiana trumpeter and band leader who made Allen Toussaint’s “Java” famous, Al Hirt was also known for TV themes, Dixieland, Swing and being a minority owner of the New Orleans Saints. Unlike every other Al Hirt record - and despite most "diggers" claiming otherwise - this here gem is genuinely hard to come across "in the wild". Normally, you can't give Al Hirt records away, except this particular one, which raises pulses in the crate digging community to life-threatening levels. For every owner claiming to have found their copy for a dollar, there's scores more claiming to have *never* unearthed one in the field. So, paradoxically, you can consider this the most tricky-to-pull "thrift store record", ever. This is why we're finally making it available for everyone, not just those with endless hours to spend scouring the global goodwills!

Soul In The Horn represented an expressive detour into authentic soul-jazz for Al Hirt. Throughout, we're struck by a fierce, fiery energy that's otherwise absent from his typically easy listening work. Without question, the slinky, magical "Harlem Hendoo" is the standout, here. It's also the reason why the record is so scarce and commands awe among crate diggers, sounding like something from an obscure and deeply revered spiritual jazz record. As is often the case, the true genius of the song is tricky to do justice to; it's like a minor miracle of songwriting and performance that simply swooned down from the heavens on the back of horns, bells and harpsichord. It's one of the sweetest musical compositions ever recorded inside a studio - it's only failing is that it's just too short. Sampled brilliantly by De La Soul, it has also been used by The Roots for "Stay Cool" and Nightmares On Wax for "Damn".

The rest of the record makes for a mighty fine listen. From the opening cover of Booker T. & The MG's "Honey Pot", to the propulsive, ultra-funky "Mess Around", it's nothing but a good time. Given its title, the elegant stepper "Calypsoul" sounds exactly as you'd hope whilst the melancholic, wistful "Long Gone" hurts so good. Truly, this is just dying to be looped up, Al's muted playing capturing a soulful longing only horns can often achieve. The bluesy, slo-mo swing of "Sweetlips" oscillates between cool disaffection and swelling pride whilst the graceful, low-key funky "Girl" closes out the A-Side in the fine style. Ushering in the B-Side, the brief but brilliant strut of "Love Ya' Baby" shines brightly before the skipping funky-jazz of true highlight "Sunday-Goin' To Meetin' Time" demands both your attention and your dancing shoes. The mellifluous piano-funk of bass and horn-drenched "Snap Back" serves as the sumptuous prelude to "Harlem Hendoo"'s main character energy before the irrepressible, upbeat R&B of "Ludwig" closes out this quite remarkable album. An album deserving of a place in every serious record collection.

The audio for Soul In The Horn has been carefully remastered by Be With regular Simon Francis, ensuring it sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue. This is after-hours music. Let it speak for itself. Listen. Listen to the soul in Al Hirt's horn.

Pariter has lined up a trio of classic house reissues for your enjoyment this Spring. They come from Smooth & Simmonds who are famous for managing to smooth out the differences between house, garage and techno and are firm favourites of deep-digging heads for that reason. All of these cuts - which like the other two EPs have been freshly remastered for the occasion - are some 30-odd years old and are textbook examples of timeless grooves. 'Climax' has tight, kinetic drums that punch out an irresistible pattern as swirling pads fishing them off up top in some style.

For our 50th release on Delusions Of Grandeur we're pleased to bring you seven exclusive tracks from a mighty-fine collection of both existing DOG artists and veritable newcomers alike.
Kicking off Part One we have Rush Hour regular Nebraska who manages to successfully combine elements of wait for it... trance and broken beat into an altogether more exciting and amazing way than that actually sounds on paper. Organic, sampled drums with plenty of grit and dirt lay down a groove whilst spacey synth arps and an almighty break (in a subtle way) make this something of an epic which all of us here have fallen for in a big way.
Quintessentials and Kolour LTD favourite Ugly Drums steps up next digging deep in his seemingly bottomless collection of brilliant of disco and soul to mine some killer samples and conjuring up a masterclass in deepest ravehouse in the process.
Rounding off Part One DOG mainstays and bona fide Retreaters Session Victim do what they do best on Came To Be Alive, turning in a completely blissed-out, dusty soul jam tailor-made as much for cozy nights in front of a log fire as for antipodean BBQ's under a hazy sun.

Laid Back Cover

Digging Deeper continues their research of gems from the past. This time Joe Montana with a release from 1999 originally released on Hole Subaltern . Remastered from original DAT's louder than first pres

Stefan Schwander of course is a man of many names and visions (such as Harmonious Thelonious, Repeat Orchestra and A Rocket in Dub) and here's his latest one: While My Sequencer Gently Bleeps comes up with "OK" on new Hamburg-based label Unsure. As While My Sequencer Gently Bleeps Schwander strips down his equipment even further and refines his longstanding idea of creating reduced minimalistic tracks radiating warmth, digging deep and delivering the groove.

The five tracks on "OK" all follow one basic flow: big basslines, elegant chords and transparent arrangements, rhythms as compelling as unobtrusive. Schwanders love for dub shimmers through the tracks, just as his pop-trained flair for seductive harmonies.
Beautiful groovy music from Düsseldorf to the world. On and on and on.

Digging Deeper Music debut with 1994 italian masterpiece TMSS - Everybody. Limited Press don't sleep.

Digging Deeper return with a must have gem from 90's maestro Maurizio Verbeni with his aka Excessive. Remastered and ready to rock the dancefloors.