quête:du
2024 Repress
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This compilation is also the story of our parties since the beginning, of happy moments spent inParisian night-clubs, but of periods during when we were slaving away too...his compilation includes unforgettable tracks that flood andstick to your mind for ever!It would have been impossible to set up the compilation without the unconditional support of all the artists...a big THANKS to everybody! » Niko (Dj Okin Akaniko)
2008 was a heady time for the third wave (or was it the fourth?) of deep house, and this is a tune from Swedish Markus Enochson that was hugely popular at the time, with big dawgs like Dixon, Dean Da Costa and Jimpster all finding ways to work it into their sets. 'These Won't Put Me Down' pairs supple and broad bass with zippy synths that energise and enliven the mix without getting too main room. If you really like things pair back to the most sultry, candlelit essential,s then the Charles Webster Dub is one of his many classics. Marku& Enochson & The Subliminal Kid then combine for a second rework which layers in some filtered vocals for that woozy, blurry late-night vibe.
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Ellen Allien meldet sich mit ihrem brandneuen Studio-Album "Sool" zurück. Sie zählt zweifelsohne zu den Pionieren der elektronischen Musik und geniesst weltweit ein exzellentes Standing als Musikerin und DJ. Seit Anfang der 90er Jahre ist sie ein Garant und Aushängeschild für den typischen "Sound Of Berlin", den sie mit in die Welt getragen hat und zählt ganz klar zu den weltweit bekanntesten weiblichen DJs überhaupt.
Willkommen in der Allien Welt! "SOOL" ist subtil, geheimnisvoll und minimal. "SOOL" ist das NEUE Album von Ellen Allien. "Entstanden im Winter 2007/2008 in Berlin, als mein Ventil, mein Ausweg. Die Winter in der Stadt sind für mich schon immer eine sehr kreative Zeit gewesen; vor allem nach diesem heißen, durchgedrehten Sommer und Herbst 2007 in der Hauptstadt. Ich habe keine Gigs, ich bin sonst nie so lange an einem Ort. Ich drehe stattdessen im Studio an Knöpfen und Reglern und singe. "Yeah! Minimal - was bedeutet das für mich?" Minimal ist einfach da. Das umzusetzen, diese Unmittelbarkeit mit meinen Händen zu formen, das lag mir am Herzen. Ein Hauch von positiver, abgründiger Energie soll Platz für die Ohren schaffen. Für meine, deine, eure. Was ist SOOL? Wer ist SOOL? Wie ist SOOL? SOOL ist alles, Alles und Nichts davon - SOOL ist ein Fantasiewort, eine Schöpfung, die für mich die spezielle Atmosphäre des Albums reflektiert, aber auch meine eigene Person. Ich bin ich, ich bin aber auch das, was ihr aus mir macht, mit mir macht, was ich mit euch mache. SOOL ist Neugierde, Raum, Architektur. Skizzen, zeichnend! Festhaltend!" (Ellen Allien)
Daptone bring you 'He Upset Your Dreams' from Hank "Soul Man" Mullen for their new reissue imprint, to share their love of some of their favourite rare and unreleased soulful tracks. The A side is an up-tempo groover concerning the saddest subject of all; not one, but two broken hearts. This is an effort from the Avengers on the Audel imprint out of Buffalo NY. The band formed in the mid-60s and toured a dynamic show with three very different vocalists: Hank Mullen, Moe Jones and Carlena Weaver; they released two singles in 1970 on their own label. In the 70s the group toured as backing band for Eddie Floyd, Arthur Conley, Betty Wright and Betty Swan. Sadly, soon after the records' release, Hank Mullen, then in his mid twenties, died tragically due to a heart attack.
Destination PUB ! Let's drink a good beer, while listening this fat hard Bass to open the chakras !
Loud sound thankx to a massive pre-mastering a an excellent cut. A bit original, to avoid the style to become boring...
Let the dance floor ignite with this latest installment on the Legendary techno label.
Gideon fires em up with a set of floor rockin tracks opening up with the uplifting floor filler "Sunrising." A tune sure to reek havoc through its hypnotic synth stabs. On the flip the journey continues with the perfect warm up in "Nightfall", and progresses into a dub fueled chugger in "Daybreak".
the new club burner based on this fantastic steve silk hurley house classic by rickster !!!
- O&Apos;Placar (Feat. Jorge Lopez Ruiz)
- Para Nosotros Solamente (Feat. Jorge Lopez Ruiz)
- Balewada (Feat. Jorge Lopez Ruiz)
- Los Berugos Wor (Feat. Jorge Lopez Ruiz)
- La Hora De La Sed Maldita (Feat. Jorge Lopez Ruiz)
- El Viaje De Dumpty (Feat. Jorge Lopez Ruiz)
- Eterna Presencia (Feat. Jorge Lopez Ruiz)
- Mira Tú (Feat. Jorge Lopez Ruiz)
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Altercat proudly presents the definitive reissue of one of the crown jewels of South American jazz. Essentially the brainchild of Argentinian jazz's leading figure Jorge López Ruiz, the project Viejas Raíces marked López Ruiz's departure from the traditional forms of jazz. The trio that recorded this album, consisting of López Ruiz joined by his life-long friend drummer Pocho Lapouble and gifted Chilean pianist Matías Pizarro, created a thrilling blend of jazz and Uruguayan candombe, surrounded by an undeniable cinematic feel spurred by López Ruiz's long experience in the soundtrack field. When read as one element, the cleverly chosen combination of group name and album title (in English: 'Old Roots of the Colonies of the River Plate') readily hints at the kind of sounds the listener will be challenged with when diving into this LP.
Recorded in 1976 in the wake of the "Proceso de Reorganización Nacional", the bloodiest period of dictatorship in Argentina, the album was initially frowned upon by critics and public alike, both still firmly rooted in jazz traditionalism and obviously not ready for the new ideas that musicians like López Ruiz were experimenting with. Despite being a commercial flop upon its release, the album has been enjoying a growing reputation over the last two decades, acclaimed by jazz enthusiasts who value it from a different historical perspective and embrace its experimentation during this revolutionary period of change.
Forty-five years after its release, the album receives the Altercat treatment with a much deserved deluxe reissue, with sound direct from the master tapes and an accompanying 12-page booklet with previously unpublished pictures and bilingual liner notes telling everything you ever wanted to know about the album and those who made it possible.
Some clean, remixed, re-edited tracks by Amplified orchestra. Quite obscure material, essential stuff and a must have for all the italo / cosmic disco heads & CBS.nu addicts, fans of Lindstrom & Thomas, Clone, Environ, Rong music, Idjut boys... actually for everyone who is always on the search for fresh tunes, new or old!
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Release no. 7 on the mighty SYMP.TOM imprint!!
MENTAL WRECKAGE is back and this time he joins forces with THE RELIC to form a new project that goes under the name of DUAL MECHANISM!
This joint venture stand for raw, f*cked up and mechanikal beats with a slight touch of techno and noise....shaken, not stirred!
ommy four seven is a young successful and prolific producer : not only has he had tracks signed to labels like brique rouge, catwash records, io music, love minus zero and jm recordings, but he has also remixed artists such as mike monday, fex, tom pooks and mark o'sullivan. being a permanent member of the br mob, he's the future of the label. mark o'sullivan is half of dk7 with jesper dahlbäck and member of the mighty quark.
In 2006, Dutchmen Bert Kroes & Krijn van Heuseden teamed up to explore their shared passion for techno house music under the name K-DRIVE & GINMAN. This resulted in a remix for the upcoming German dj/producer Daniel Melhart on the Manual Music imprint. Their musical style covers about the whole spectrum of techno music, raging from pure techno do more minimal sounds and electro.
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feat. single cell orchestra
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Repressed !!
Jay Dee needs no introduction. Widely regarded as one of the most important figures in hip–hop alongside Pete Rock, Kanye West, Pharell, and Dr. Dre, his influence has reached far beyond the genre. Known widely as your favourite producer’s favourite producer, and having produced and remixed for legends like Janet Jackson, Daft Punk, A Tribe Called Quest, Brand New Heavies, Busta Rhymes, Common, Erykah Badu, Guru, The Pharcyde, The Roots, De La Soul, and Royce Da 5’9"—the list is endless—there is no questioning Jay Dee’s genius. Many have tried, but none have been able to duplicate his sound. Originally released in 2001, Welcome 2 Detroit marked Jay Dee’s first solo project and the groundbreaking debut of BBE’s Beat Generation series, where producers stepped into the spotlight with complete creative freedom. A paradigm-shifting record, it was short-listed for Artistic Achievement in Music in October 2001 (the U.S. equivalent of the Mercury Prize) and instantly set the bar for everything that followed. Now, 25 years later, Welcome 2 Detroit returns in a long-awaited repress, celebrating a quarter-century of influence and innovation. This anniversary edition brings the instrumental version of the album back into circulation after years out of print, allowing listeners to experience the full depth and complexity of Jay Dee’s production in its purest form. Stripped of vocals, the intricacy, texture, and brilliance of his work shine brighter than ever—revealing details you may have missed the first time around. Make sure you grab a piece of history.
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herrliche tracks !! A jul & august ( dub )
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The unstoppable Spaziale Recordings set their sights on an absolute Paradise Garage classic from 1982 - the much sought after and instantly recognisable ‘Together Forever’ by Exodus. This fully licensed, remastered reissue comes housed in a full picture sleeve and contains a killer DEF Mix from Stefano Ritteri alongside the original extended vocal and dub versions.
Bursting with passion, ‘Together Forever’ is a record that was destined for greatness. A Larry Levan favourite, and for good reason. Produced by Errol Mattis and featuring one of the most sampled vocals in house music, there’s a triple threat of plucked basslines, clavinet power and joyful horns backed with the kind of percussion that ignites a rarely witnessed tribal energy within. It’s had crowds in fits of frenzies ever since its release and every collection deserves this gem nestled within it.
As well as the original extended vocal and dub versions, Stefano Ritteri steps up to add his own special touch, giving it some proto house power. He echoes and manipulates those fiery vocals, introducing each element gradually from the acid tinged topline to the layers of drum machine heat, gradually building the suspense to pure fever pitch.
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Spinning Plates is back for another long overdue release, and this time it comes in the form of a split EP featuring returning artist Andy Rantzen and Laccy with two tracks each. The vinyl only release comes with very special screen-printed silkscreen artwork and is pressed on meaty 180g vinyl for an extra warm and deep sound. Andy Rantzen is a Sydney based artist who appeared on this label's superb second release. The '98%' track from it was used by Sonja Moonear in her Cocoon Mix CD shared with Carl Craig, and Andy is also well-known as part of the duo Itch-E and Scratch-E along with Paul Mac. He assumes that alias here for a remix of 'The Dial'. Laccy aka Pascal Sturmer is a young but talented artist who regularly finds himself behind the decks at cult clubs like Berlin's Club de Visionaire and the Spaced parties in London. A friend of label A&R Bruno Schmidt, he just released on Francesco del Garda's label Timeless, is a real underground head with a bottomless well of knowledge when it comes to cult sounds and scenes and is signed to the top Crisalida agency.
We’re extremely proud to present Leaving Time, a new EP by Christoph de Babalon. The EP has all the menace and grit that the Hamburg-born, Berlin-based producer is known for, but packs a potent, dance-ready punch that breaks new ground.
Leaving Time begins with the snarling subs ‘The Upper Hand’, and momentum builds through the panoramic breakbeats of ‘I Trusted You’ and dubwise groove of ‘Steps Into Solitude’ to reach the symphonic release of ‘Got to Let Go’.
This record encapsulates everything we love about Christoph’s music – it’s doom-laden, introspective and crafted with intent.
In short, it’s CDB on a 140 / fwd tip - fuck the chairs!
About Christoph de Babalon:
Christoph de Bablon first became known for his work on Alec Empire’s Digital Hardcore Recordings in the early 1990s and has championed a misanthropic take on drum and bass that has stood the test of time.
A punk-influenced fusion of jungle, breakbeat and dark soundscapes, his signature sound has become the stuff of legend – Thom Yorke once said Christoph’s pioneering debut album 'If You’re Into It, I’m Out Of It’ was the “most menacing record” in his collection.
After a brief hiatus composing music for theatre (we’d like to hear what that sounded like), recent releases on labels such as A Colourful Storm, V I S and AD93 have sparked renewed interest in the German producer, and with much excitement from his loyal following of die-hard supporters.
Dubbed out disco edits made with love, drenched in summer spice and slapped straight on the grill to waft out across the hazy breeze!
From the Latin infused sax power of ‘Doin’ It’, to the Italo tinged synth pop nugget, ‘Pop Lock’ and back round to the sensual boogie gem ‘Right Now’, it’s another must have set of edits from the Labor of Love crew.
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- Anointing Of The Sick
- Empty Eyes Creation
- Cunt And Cocaine
- Coronation Oath
- Hunting The Nephilim
- The Beating Heart Is A Lonely Hunter
- Golden Clit Of Abomination
ArsGoatia ist ein besonderes Geschöpf. Eine neue Formation mit vielen Verbindungen in verschiedene Richtungen. Es ist kein Geheimnis, dass sie sich aus dem Umfeld der "Funkenflug Society" und den Bewohnern der mystischen Neudegg Alm zusammengefunden haben. Die "Funkenfluag Society" ist ein Kollektiv von leidenschaftlichen Menschen. Sie betreiben eine kleine, aber feine Brauerei hoch oben in den Alpen, es gibt Kunst und Freiheit, Handwerk, Performance, Höhepunkt ist das Musikfestival "House Of The Holy" während der Sommersonnenwende. B.R. ist der Gründer und Mastermind des Festivals und Frontmann von ArsGoatia: "Wir alle bestehen aus Klang... Musik erleuchtet und verbindet Menschen! Unser Spirit ist es, Regeln zu brechen, Mauern zum Einsturz zu bringen und Grenzen zu überschreiten!"
"Agitators Of Hysteria" ist ArsGoatias zweites Album. Wütende Ausbrüche, die aus den Tiefen eines undurchdringlichen Abgrunds aufsteigen und luziferische Wahrheiten predigen, durchdrungen von Perversion, finsterer Bosheit, unerbittlicher Gewalt und Tod. Eine psychedelische Erfahrung wird vom ersten Song an versprochen.
Erstaunlich ist die Produktion von "Agitators Of Hysteria". Das Album wurde in den Q7 Studios/Deutschland von Michael Zech (The Ruins Of Beverast, Ascension, Hell Militia) aufgenommen und gemischt und in den Woodshed Studios/Deutschland von V. Santura (Trypticon, Dark Fortress, Celtic Frost) gemastert. T.K. erklärt: "Viele von uns schätzen einen lebendigen, feurigen Soundblast und diese Jungs liefern!
Profanität! Infamie! Fackeln hoch!
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Kaspi & Stride is a new project from Justin Tripp, best known as one half of the Georgia equation. Leanings has its origins in rigorous yet laid back studio sessions, dual personal practice sensibilities that seem to get at Tripp’s creative ethos as well as any descriptors might. The material here was born out of collaborative studio sessions with multi-instrumentalist Jimy Seitang (Conga Square/Stygian Stride) - the “Stride” of K&S. The music from these sessions has been reworked and recontextualized by Tripp to form the eight tracks found on the record. These compositions are heady and diverse, anchored by infectious drum patterns and intricate electronics, capably occupying a somewhat hard to define space between “club ready” and “home listening.”
“Vishing” throbs with a wide-eyed intensity, infused with the type of deceptively rudimentary synth stabs and bass swells that wouldn’t be out of place on an early Hype Williams record. With contributions from Mary Lattimore and Jon Leland, “Kaptoxa” charts a more ethereal, if no less dizzying, course. Indeed, this is an album that navigates dense, tactile passages and airy, celestial planes with aplomb, making a case for Tripp’s prowess as both composer and arranger with equal priority. The most important thing is to keep moving.
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With Contemplative Figuration we see Broshuda pushing his amorphous, impossible-to-pin-down music in exciting new directions. Stitched together in various European cities over the last few years, it is the artist’s most dynamic and ambitious release thus far, drawing equally from musique concrete, beat research, ambient, tape collage, and spoken word. Episodic in nature, the collection functions well as a sort of impressionistic travelogue, with romantic, hazy atmospheres coaxed from borrowed equipment, serendipitous recording sessions with old friends, and even a drum sequence programmed with Mario Paint, among other curios and sleights of hand. Broshuda deftly wrings bonafide cohesion and balance from these disparate source materials, tools, and locations, as on opener “Kakigori,” which allows a snaking harmonic drone the space to evolve before exploding it into a sort of seething, dubbed out pointillism. Later, “Lied Für Hase” concocts a potent, humid atmosphere of beautifully evolving acoustic piano loops and elegant narration. Taken as a whole, Contemplative Figuration is a weightless, transportive record, one that is bursting at the seams with ideas, mischief, and a restless spirit.
Mastered by Helmut Erler at D&M, Artwork by Alex McCullough and Niall Wynne Lewis.
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Motoko & Myers is the collaborative project of Bay Area-based duo Wonja Fairbrother and Daniel Letson. “Colocate” follows their 2018 debut release on the Open Hands Real Flames imprint (Bass Clef), further developing their distinctive style which combines melodic, pop song structures with live improvisation and odd or no-meter approaches to rhythm and timing. It is a collection of bright, addictive listening, full of tracks that manage to feel at once hooky and aleatory, naive and rigorously arranged.
Recorded and assembled sporadically over a period of several years, the album’s idiosyncratic palette was achieved through much technical and methodological eccentricity: “4-handed” collaborative keyboard playing; 12-bit sampling and archaic presets; field recordings of cicadas in Louisville, Kentucky and church bells in Freiburg im Breisgau. The album’s nine tracks exude a homespun quality that is rare to find in contemporary electronic music – hazy, warm, and disarmingly organic.
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Following releases on West Mineral and Lillerne Tapes, Iggy Romeu’s inimitable Mister Water Wet project makes its Soda Gong debut. “Top Natural Drum” feels like a double entendre ode to digging culture, drawing equally from the plantlife in the dirt and the grooves in the stacks. Tracks like opener “Soak” concoct a haze of resonant ceramic/wooden percs, skittering drum programming, and addictive yet diffuse melodic and harmonic textures. Dusty-fingered nodders like “Caged at Last”, “Classicfit,” and “Gossamer Hits Softly Spun” harken back to the glory days of instrumental hiphop and downtempo, sounding a bit like transmissions from some lost Landspeed Records or Mo’ Wax comp, or like field recordings from the courtyard at Scribble Jam that have been infused with the slippery sonic signatures and sleights of hand that define MWW productions. What links these two distinctive tonal registers is a sort of lingering warmth – warmth like the saturation of natural dye or sunlight on a brisk, clear Midwestern autumn day.
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“Trash Can Lamb” is a new solo album from Akron, OH-based multi instrumentalist Keith Freund. For the better part of twenty years, Freund has been producing intimate, shape-shifting music on his own and as part of collaborative projects such as Trouble Books, Lemon Quartet, and Aqueduct Ensemble. Here, he concocts a heady, homespun broth of analog synthesis, bit-reduced sampling, piano, standup bass, saxophone, and location recordings, arriving at a loose and evocative set of songs. Throughout the album, we hear 8-bit experimental delays mangling airy acoustic materials, denaturalizing them into primitive loop structures while retaining their golden-hued, melodic cores. The sputters, hisses, and croaks of handmade electronics nuzzle up to wistful piano and saxophone ruminations; the pure pandemonium of chaotic triangle wave patching and filtered noise settles into the serenity of a backyard dusk full of spring peepers (or maybe they’re crickets…). It’s in the space between the ragtag and rough-hewn and the romantic and yearning that Freund situates these compositions; it’s a peek inside a workshop that sits atop the trees, branches scraping on the windows, bluejays who just won’t knock it off, a table fan spinning slower and slower, its cheap blades covered in dust.
All music by Keith Freund, with contributions by Linda Lejsovka, G.S. Schray, Steve Clements, and Corey Farrow.
Mastered by Kassian Troyer at D&M.
Art/design by Alex McCullough and Felix Luke.
