quête:each

Steyoyoke proudly presents “Couple Affair 10”, a remarkable double vinyl showcasing the collaborative spirit of the esteemed label members. This release features six tracks created through dynamic collaborations between Soul Button, Clawz SG, Monarke, MPathy, Haffenfold, Grammik, Lost Rhythm, and Michael Warren. “Couple Affair 10” serves as a testament to the unity and passion within the Steyoyoke family, further solidifying their commitment to the Ethereal Techno scene. With each track, this significant release beautifully encapsulates the creative synergy and collective talent that defines Steyoyoke, offering a truly immersive and transcendent musical experience. Vinyl enthusiasts and electronic music connoisseurs alike will be captivated by the sonic journey presented on “Couple Affair 10”.

These recordings weren't intended for release, they aren't even demos, but rather exercises – process tracks in an attempt to mirror the influences of an aspiring artist as they oriented their emerging work. Most of the tracks were constructed in single sittings and recorded to cassette at home in Glasgow through a Philips AW-7694 boombox. That they feel finished, even iconic amid the shortlived confluence between Detroit techno and intelligent dance music, is a testament to what was materialising, but also to our collective nostalgia, revisionism, and thirst to understand how we've arrived here and why. Übungen has that youthful and pre-internet utopian aura, without being tethered to the phony maxed-out optimism ricocheting across the Atlantic in a 4G pollution. That I first came to Dave Clark's earliest work in the anxiety-ripening stage of the pandemic while I was becoming chronically sick – a time when it was all too easy to glide through dystopian nightmares and realities alike – only speaks to the work's presence and its allowance to dream, ahistoricism or splice into the affect of histories, and to dismantle the contemporary, not in an arsy or nihilistic way, but to appreciate (questioningly) the passage of time.

Sitting somewhere between an EP and a full-length, these six pieces predate Dave's other archival release – Sparky's 94Archive2/8 Rubadub, 2015, which also features cassette transfers originally recorded in stereo without overdubs. As a sound archivist myself, it was a welcome experience first listening to Dave's transfers on headphones while walking around the canals of Maryhill rather than handling the digital captures in a studio. I've been enamored with the music ever since and despite the original utilitarian intention, shifting contexts and the chance to listen afresh decades on allows for clearance (dare I say recuperation). It is, for this reason, and the sardonic re-opening of archival material perverted into something on the ground, that's not merely dog shit, that I am very pleased to finally share this collection.

Each of the titles provides the recording year and is initialed by the respective influence: Carl Craig, Aphex Twin (you'll recognise the shimmering hi-hats), Yellow Magic Orchestra, Black Dog, Polygon Window, and Drexycia.

All music was produced by Dave Clark, except "1993CC" produced by Dave Clark & Graeme Slater, and "1992PW" produced by Dave Clark & Roger Elliott.

Montreal duo Bas Relief present a collection of rough-cut IDM and pitch-corrected emo on Insulary, a five-song EP out June 2023 on Brooklyn imprint Quiet Time. Written and compiled long distance from threads of bass music-inspired alt pop and guitar recorded in isolation, Insulary is the duo’s first substantial release since 2018. Granulated microglitches fill out the digital drum arrangements, calling on influences Baths and Loraine James, overlaid with warm piano progressions, melancholic guitar loops, and collaged vocal production.

These self-reckoning, forlorn vocals form a patchwork narrative, hazed like a shapeshifted memory, long reconfigured with each conjuring, coherence inconsistent but still there. Recurring dreams find home among recursive passages, self-referencing lyrically and with samples churned through plugins, recorded on loop until you fall upon the most satisfying aha! moment and lock it to the grid. At certain moments all the pieces combine to reminisce in sentimental shards of Porter Robinson or The Postal Service, while never straying from Bas Relief’s own vernacular.

Visiting the past in person simply by walking the routes you took in a life long past, that reenactment of memory, that attempt to capture that which you can’t – it might even be a future – is a central bolt of Insulary’s lyrical content. It’s sentimental, it longs for some past which might not even have existed, and it’s hopeful too, never capitulating to traditional structures in its embrace of unusual stylistic combinations. Insulary – brim-packed with fragments of drum and bass, uptempo electronica, and emo – is but a preview of Bas Relief’s exciting near future

Wildflower is a trio comprising Idris Rahman (sax), Leon Brichard (bass) and Tom Skinner (drums).

The trio takes you on an intense, meditative and spiritual musical journey that embodies the spirit of freedom. Based around hypnotic grooves laid down by Brichard’s unswervingly solid bass lines, drummer Skinner plays around artfully with the beats, grooving hard in constantly shifting, unexpected turns of rhythmic play. Rahman’s contributions range from subtle conversational interplay to loudly expressed angry passion to the most delicate of whispers, conveying a depth of emotion and a deep sense of musical structure withIn an ever changing sea of musical conversation.

Using simple, arresting melodies as a starting point, the trio create freely improvised waves of emotion ranging from powerful climaxes to hauntingly beautiful breath-like passages and everything in-between, creating unique forms and structures that react to the acoustics and the atmosphere of the situation.

Taking inspiration from the spiritual jazz pioneers such as John and Alice Coltrane, Pharoah Sanders, Yusef Lateef and Sun Ra, compositional influences range from Gnawa music to modal jazz to Bengali folk music but the scope is wider still and the important unifying factor is the spontaneous communication and interplay between the three musicians. Rather than having a tight rigid structure, the tunes are allowed to breathe and develop into new unexplored forms, allowing fresh interpretations that make each performance a unique experience.

The album is a collection of live and studio recordings that have been recorded and mixed by the band.

"We entered the shadowy mouth of a new space, descending into a realm that precedes the underworld, the arcane, far from our time. We met beasts that gave us lessons about their language which we started learning without grammar."


'The animal world is a constant in the work of Milan improvisational duo Rosso Polare. If Cani Lenti was guided by the diaphanous birdsong integrated into their sparkling mix of folklore, ambiences and occasional humming, on Bocca D’ombra the themes go darker, textures are harder to pin down and the animal presence takes on new connotations.

Instead of an anonymous, patchworked outdoors we enter a cavernous space that invokes the collective unconscious with bestial and funereal undertones, as the animals take on the role of the psychopomps, ancient guides through the shadow realm.

The album is influenced by Timothy Morton’s Dark Ecology, a thinker who sees the constant exchange between the human and natural world as an ongoing dialogue, the two influencing each other, in a series of reverberating loops. This looping is also reflected in their compositions, where improvisations with traditional instruments like electric and acoustic guitars, monophonic synths, horns or flutes meet natural noise-making tools like branches, rocks or nuts that amount to lugubrious, often dissonant textures. Bocca D’ombra is built on a series of whispers, breaths, panting and rustling, creating a feeling of closeness sometimes verging on the claustrophobic, ingeniously set against sounds evoking space – fireworks crackling, crows echoing, church bells reverberating, indistinct cries from a children’s playground.

Distance and repetition are deeply ingrained in their own understanding of sound and their surroundings, becoming the building blocks of their practice. Just like Gregory Bateson in the ‘70s, the duo believes in a more romantic approach to ecology, seeking a porous border between self and environment, human and animal, internal monologue and external ambient hum.

If earlier releases were noisier and denser, Bocca D’ombra is tight and focused - every sound and melody is given room to breathe and develop on its own, enhancing the haunting, otherworldly aspect of the music. The result is heady, intoxicating mix which sublimates chaos into sparkling compositions of contemporary animism.'

Legendary Memphis soul brothers William, Bertram and Randy Brown released an album under the group name TEN-63 entitled FACING THE MUSIC, it was published in 2009, but recorded sometime earlier. YOU AND ME was played out and initially covered up by Mike Ward circa 1989/90 receiving cult status.

YOU AND ME and our pick for the flip SAY WE’LL STAY are beautifully constructed songs with each of the Brown brothers serving up a solo part, it cannot be denied their contrasting vocal styles and harmonies are supreme in the extreme!

The Browns’ contribution to the Memphis music scene is etched in history. William, who sadly passed away in 2015 was a member of The Mad Lads. Randy and Bertram were members of The Newcomers, Bertram went on to be a part of soul funk group Kwick and of course Randy had a glittering solo career with LPs on Parachute, Chocolate City and Stax as well as numerous singles; he is regarded by many as being one of the finest vocalists of his genre.

8 years almost to the day after releasing his unique re-interpretation album of his field recordings made in the late 90's in Tanzania, Kink Gong is back with another volume of bushmen madness. Here’s what Kink Gong aka Laurent Jean-neau has to say about his end of millennium trip:

‘’My experience in Tanzania is now over 20 years and most of the so called remix was started in Tanzania and left un-finished, then eventually retouched in Vienna, Paris, Shanghai, Kunming, Dali or Vientiane. 20 years later I searched my Tanzanian files and rediscovered unfinished tracks which are being now refreshed on this new record.

Back to the early days of the XXI century, when I lost my health trying to survive with the HADZAs, the last bushmen in northern Tanzania. In 1999 James Stephenson from NYC invited me to join his Hadzas friends. I would leave the bush to rest in a place with enough food and electricity and start to edit, loop and work on the original recordings, to trans-form them into organic abstract compositions, the only instrument I had recorded a lot with the Hadzas was the malimba and I bought different malimbas in Arusha to take back with me to Europe, I used either the original record-ings or me playing malimbas on some tracks and applied some electronic treatment to it, at that time I used Roland synths for some tracks.

The original recordings are related to scenes at night by the fire with the Hadzas, but also 3 different types of celebra-tions, Epeme Men was recorded on a moonless night with men and women singing and dancing in complete dark-ness in Mangola, an Hadza camp. Irawk Drum Under the Rain was recorded during daytime at a Multi ethnic gathering at the Franciscan Spanish catholic mission with a crowd dancing and singing under heavy rain while an IRAWK large (and wet) drum was being played, Northern Tanzania. Makonde Island was recorded in southern Tanzania at the boarder with Mozambique and is a pure scene of trance taking place on an island where the MAKONDE fishermen off the coast of Mtwara, get wild, hitting plastic containers for the sound, drunk and stoned men and women are hysterical-ly jumping and falling on each other, ending up with a few wounded.
Once again I'm responsible for this act of multicultural sabotage, but don’t forget that you can always listen to the origi-nal recordings on the Kink Gong recs collection. ‘’
Laurent Jeanneau, Berlin 2023

The Blood of Heroes is a amalgamation of artists re-envisioning worlds first created in the Rutger Hauer film by the same name. In “Nine Cities”, the trilogy is completed. The first self-titled album depicted the PRESENT post-apocalypse as depicted in the film. The second album,The Waking Nightmare, showed the world during the actual apocalypse in the PAST that led to the times in the film. This third album is the FUTURE – further past even post-apocalypse – “Nine Cities buried deep underground” – what had survived, and how did these cities evolve beyond the world-ending criteria of their creation and burial? Past the film inspired storyline, we have for the first time in many years, 2 members of the original Napalm Death collaborating with each other: guitarist Justin K. Broadrick is joined by Scorn beat master Mick Harris. With Submeged on bass, and Enduser on keyboards, the frame is set. Joined by all the artists depicted below, including returning vocalist Dr. Israel, and Fear Factory’s Burton C. Bell, this cast is full of surprising interactions, all masterfully mixed by Dadub’s Daniele Antezza. Original artwork is an extended booklet by Khomatech; these Nine Cities are a world of their own, illustrated by one of the masters of fantasial art.

"Why "Bouncer"?
In Club Culture, the bouncer represents the image of determination, a
fundamental element that characterizes every produced track.

I imagined this album as a virtual club in the metaverse, where my
avatar is a BOUNCER.

Here, the music plays loud, the bar is open, and each track on the
tracklist carries a part of my soul and my influences.

For me, this project represents a meeting point between the roots of my eclecticism and the strength of the artists involved, creating a mix of sounds and styles that reflects my artistic and personal journey.

With this album, I want to celebrate Club Culture and all its influences
on my life and music, offering an authentic and deep sonic experience
for all fans of the genre.

**Debut album from former 'Eighties Matchbox B Line Disaster' front man Guy McKnight's new band.** **ORANGE MARBLE COLOURED VINYL - VERY LIMITED!!** The DSM IV’s debut album, “NEW AGE PARANOIA,” is an impressive collection of stories, beats, guitars, and noise. The album seamlessly weaves together sobering but dream-filled songs that explore the ways in which our collective minds are influenced by mass media, entertainment industries, and social media. Formed by Guy McKnight of critically acclaimed and cult favourite The Eighties Matchbox B-Line Disaster. The DSM IV has a dark sound that blends noise-rock, synth-pop and industrial, that delivers a unique musical experience. Their music is cacophonous and epic, featuring rich textures and melodic hooks that keep listeners captivated. The band’s powerful soundscapes, combined with their thought-provoking lyrics, create a mesmerizing atmosphere that both entertains and encourages introspection. The album prompts important questions about our society, such as what’s driving the normalization of a narcissistic culture that prioritizes personal desires over altruism. It delves into the ways in which technology, social media, and mass media shape our collective psyche and affect our relationships with ourselves and each other. The DSM IV’s music offers a timely and compelling commentary on these issues. The DSM IV is a band that creates music with a powerful message that resonates with people who feel that a kinder world is possible. Their songs are both nasty and nice, reflective and entertaining. With “NEW AGE PARANOIA,” The DSM IV has crafted an album that will captivate and inspire listeners, while also prompting deeper reflection on our society’s values and priorities.

Georgina's Rumba is a magnum opus in the field of latin music in the broadest sense. Gabriele Deiana Sardinian guitarist, composer, arranger, producer and lyricist brings together 36 musicians for this work, including the winners of the Latin Grammy 2021 Alain Perez and Ivan "Melon" Lewis. 15 Cubans, 12 Spanish gypsies, 5 Spanish and 3 Venezuelans give life to a musical biographical journey that ranges from latin jazz to bolero, salsa, flamenco-jazz, tropical, nordic
argentine style, son montuno and modern flamenco.

The record also features former members of the Paco de Lucia sextet including Jorge Pardo and Carles Benavent. The best of the best of each genre. The vinyl format is gatefold and contains a 6 pages insert 30cm x 30cm with photos and the history of the album.


A true and fascinating novel in that began in 1992. The cover is a hand-painted watercolor by the illustrator Gianluigi Concas and contains an encrypted rebus that can be solved by reading the novel in the insert.