quête:f free

Underground prominent figures of the Belgian 80's scene, Alain Neffe and Nadine Bal have released and produced dozens of tapes under different monikers.
Bene Gesserit is probably their most famous and iconic one due to its multiple facets.

Originally a tape released in 1981 on their own Insane Music label, "Best Of" encaptures all the DIY and creative freedom of the band.
From the yagé vapors of "Erg Habbiana" to synth madness of "Gloria" or "Gppm" this album summarizes the full spectrum of their ethos :
Insane music without borders.

This reissue additionally includes four unreleased tracks from Alain Neffe vault.

Remastered by Krikor Kouchain and limited to 300 copies.

Since forming in 1999, Suishou No Fune (A Ship Of Crystal), the vehicle for long-term musical collaborators Pirako Kurenai (guitar, voice) and Kageo (guitar), have been one of the most compelling groups in the Japanese underground. Their long, languorous songs are devastating in their simplicity, as though the gently sung ballads of the Velvet Underground’s third album were re-scored by the legendary Japanese free-rock gang, Les Rallizes Denudes. Their new album, 風は春、空は虹、愛は波間に隠れている (The wind is spring -. There is a rainbow in the sky - Love is hiding in the waves.), documents a live performance from May 2021, at Silver Elephant, where the duo are joined by Matsuedo Hideo on bass, and Mark Anderson (Greymouth, Mysteries Of Love) on drums.
The duo of Pirako Kurenai and Kageo have come a long way since their early performances and self-released CD-Rs – in the intervening decades, they’ve released albums on P.S.F., Holy Mountain, Important, Archive, 8mm and Essence, amongst others, each album another manifestation of the duo’s ever-changing same. You can hear them patiently toiling over these beauteous songs, with their choral melodies and lush waves of tonology, Kageo’s guitar radiating bejewelled chimes and dense passages of texture, pulling the songs into a black hole of quietude and sadness. And as Kurenai once told journalist Phil Kaberry, “Suishou No Fune’s songs, sounds and words are often born from heartrending feelings like sadness and pain”.
The wind is spring. There is a rainbow in the sky. Love is hiding in the waves begins with the deep blues of “Cherry”, a drawn-out drift-song that pivots on a most elegant two-chord mantra, as Kurenai sings, siren-like, amidst the sheets of noise Kageo peels from six strings. There’s something painterly about the duo’s playing here, and indeed, Kageo was a painter and Kurenai was a doll maker and watercolour painter when they met in the late ‘90s. On the flip side, a spare, spaced-out improvisation, “A Rainbow Is Floating”, acts as a prelude to “Endless Descent”, one of Suishou No Fune’s most remarkable songs, where a mesmeric guitar line endlessly coils and twines around the flicker and toll of Kurenai’s hypnotic one-chord strum. It’s a bruised, quietly desperate ending to an album that has an achroamatic air, as though the songs were transmitting to a cabal of lost spirits.

Black vinyl, in 3 colour variations of silkscreened jacket with obi in black or kraft, with inserts and a postcard Liner notes by Jon Dale Printed by Alan Sherry

Danny Davis knows the galvanizing power of an anthemic, hair-raising song. As the co-founding songwriter behind the long-running Oklahoma City indie rock outfit Husbands, he’s been meticulously crafting breezy and emotionally potent tunes about finding your place in the world. His writing always strives to break free from monotony and routine, aiming for meaning and clarity through massive choruses and colorful arrangements. Cuatro, Husbands’ adventurous and triumphant fourth album out Oct. 13 via Thirty Tigers, marks a turning point for Davis. It’s the first LP he’s released without his longtime bandmate, collaborator, and close friend Wil Norton. It’s also an album that Davis made during a time of relative personal stability after quitting his nine-to-five and moving with his wife to Costa Rica. Across 11 arena-filling and richly-produced tracks, the full-length is a document of his growth as a human being and a testament to finding peace in relationships evolving.

Inhale. Exhale. Mind your breathing. Squeeze your butt muscles together, and release. Pay no attention to the world on fire around you. This is fine. Written in the most claustrophobic months of 2020, Husbands' third full-length record, "Full-On Monet", plays out like a meditation gone toxic. Densely layered. Lush pop melodies. Surf-rock harmonies. Distorted synth hooks and psychedelic flourishes. All of it coming together to create something that's free-spirited, brainy, fun - and simultaneously jarring, synthetic, and off-kilter. "From far away, it's OK, but up close, it's a big ol' mess."

The Cranberries wiederveröffentlichen eine Deluxe Version ihres dritten Albums „To The Faithful Departed“ aus dem Jahr 1996!

Tracks von „To The Faithful Departed“ wurden über 80 Millionen Mal auf Spotify gestreamt.

Das Album verkaufte sich weltweit über 6 Millionen Mal, erreichte in sechs Ländern Platz 1 und wurde das meistverkaufte Album der Band in den US-Billboard 200.

Bei dieser Deluxe-Wiederveröffentlichung wurde das Originalalbum von John Dent neu gemastert und bei den 2LP-Versionen auf drei Vinylseiten aufgeteilt, wobei die vierte Seite Bonustracks enthält, darunter drei unveröffentlichte Albumdemos, die mit dem Produzenten Tim Palmer (Tears for Fears, H.I.M., The Mission) in Paris aufgenommen wurden.

Das Digital- und 3CD-Set enthält unveröffentlichte Outtakes und frühe Mixe des Studioalbums sowie zwölf seltene Live-Tracks, die auf der ”Free to Decide”-Tour der Band 1996 aufgenommen wurden. Die 2LP- und 3CD-Versionen enthalten eine 4000-seitige Sleevenote über die Entstehung des Albums, die auf Interviews mit den verbliebenen Mitgliedern basiert, die von Bandarchivar Eoin Devereux geführt wurden.

Das Album erscheint als 1LP, 2LP und als 3CD.

The Art of Surrender marks a return to life, sown from primal impulses and hard-won emotional truths. Unrestrained melodic rapture soars above a relentless kick drum, speaking a need to move, to dance, to love. The music is as ambitious as its origins are personal. Tignor plays with scale, crafting multi-movement epics alongside one-minute miniatures. The smallest, most fragile violin gestures, where the finger barely touches the string to extract natural harmonics exist side by side with angular, exotic melodies, asymmetric rhythms, and rapid-fire string crossings. On this LP, Tignor digs even more deeply into the violin and its technicolor reimaginings under his electroacoustic treatments. Christopher Tignor is a composer, violinist, lecturer, and software engineer. His emotionally charged scores and unique focus on live, performance-based electroacoustic practice has won acclaim within both the classical and experimental communities across 10 LPs on the Western Vinyl and New Albion record labels. He creates the live performance software he uses, shared freely. As a composer he has written and recorded work for ensembles including The Knights, A Far Cry string orchestra, and Brooklyn Rider string quartet, performing alongside them at premiere venues including Carnegie's Zankel Hall. As a string arranger he has worked with Helios, Jefre Cantu-Ledesma, John Congleton, This Will Destroy You, Meshell Ndegeocello, and several other artists at the boundaries of popular music. This music breathes, swoons and swoops elegiacally, in the same way a crack symphony might on a good night." MAGNET // "A bulwark against the ambient clatter of everyday life...sheer technical mastery" BANDCAMP (ALBUM OF THE DAY) // "Tignor creates a muttered hum of activity that burbles at the fringes of an internally focused halo of sustained, glowing chords, and the effect is powerful." NPR // "Making computers coexist in harmony with acoustic instruments in a live setting is more easily imagined than achieved. But Christopher Tignor, a young composer and performer shaped as much by his work in downtown nightclubs as by his formal education at Bard College and New York University, proves that it can be done." THE NEW YORK TIMES // "Absurdly talented"

More complex and purposeful than the fragile post- punk of 2019 debut Essentials, the album reflects transition, conceived to flow from "day" (contemplative opener "The Sun") to "night" (dub- inspired closer "Inheritance"). New sonic influences like disco (Donna Summer, The Bee Gees) and 2000s New York indie (Yeah Yeah Yeahs, Interpol) evoke freedom and euphoric joy -- maintaining the band's signature minimalism, When the members of Patio contemplated the inspirations for their long-awaited second album, Collection, they came up with an eclectic mood board comprising videos and images.

A 1977 David Bowie performance of "Heroes" on Top of the Pops.

Laura Branigan belting "Gloria" beneath a sea of disco balls. Masterpieces in marble by Michelangelo and Bernini. Jude Law in The Young Pope. Portraits of iconic superstars: A dapper Bryan Ferry, a melancholy Carmela Soprano, Bianca Jagger serving side-eye, and Andy Warhol eating a cheeseburger. "Collection" is out in September on Fire Talk.

You can listen closely to singer- songwriter Julian Saporiti's lyrics, which juxtapose true stories of struggle from throughout Asia and its diaspora with Saporiti's own reckoning with intergenerational trauma.

You could also let the majesty of Saporiti's songcraft wash over you, his captivating melodies cloaking those themes in a veneer of hope and ecstasy. But the deepest storytelling happens at the sonic level, as sounds drawn from across the Eastern hemisphere mingle freely with distinctly American instrumentation - banjo and koto, lap-steel and guzheng - while electronically manipulated field recordings of rushing water, chirping birds and other natural sounds ground us in the now. Adventurous and affecting,' Empire Electric' offers a vision for a new kind of folk music, one that tells unorthodox stories through unorthodox means and finds new pathways through our tangled roots.

Given more room to freely experiment, Gypsy brings even more latin- flavored progressive rock through frontmen and principle songwriters James "Owl" Walsh and Enrico Rosenbaum's wildly creative minds.

It delves further into studio production, further blurring the line between the acoustic and synthetic worlds. Extreme metal elements are thrown into the mixture of traditional Bugandan percussion and club sounds they've become synonymous with.

The distorted, chaotic energy of the record is channelled into a direct critique of the hostile immigration and freedom of movement policies implemented in the UK, as well as across the world. Fuelled by their frustrations with this intentionally convoluted system, the group have produced their most cataclysmic effort to date.

"Linking the high intensity drumming of the Ugandan Nilotican Ensemble with UK producers Spooky-j and pq, Nihiloxica's off the hook energy has been laying waste to tours and dancehalls since pre- pandemic days...the title track provides a vehement answer in the form of four minutes of corrosively headbanging Afrotech. A hostile environment for fascists." - The Wire

TOP PRIORTY RELEASE. Escape Music is delighted to announce the release date for the long awaited Jelusick debut album title “Follow The Blind Man” featuring Dino Jelusick the most well loved and respected vocalist in the Rock World! will be available on CD, Vinyl, and digital platforms! The Vinyl will be limited edition to 500 copies only! “Blade Bullet” colour and all will be numbered 1-500.Jelusick is: Dino Jelusick – vocals, keyboards, guitar / Ivan Keller – guitar / Luka Broderick – bass, backing vocals / Mario Lepoglavec – drums, backing vocals / Produced by Dino Jelusick, Mixed and Mastered by Simon Jovanovic, Executive Producer Dario Jelusic - JELUSICK played on 4 European tours during 2021- 2023 which also included Guitar Scene festival 2021 where they played with all star band together with John Norum and Gus G. The same line up also played there in 2022 and shared the stage and jammed with Airbourne, Johnny Depp & Jeff Back, Black Label Society, and Beth Hart. Dino Jelusick, born 4 June 1992, is a Croatian rock singer, musician, and songwriter. He was the founder, principal songwriter and lead singer of hard rock band Animal Drive, which was formed in 2012. and dissolved in 2020. Since 2016 Dino became a permanent member of American rock band Trans-Siberian Orchestra. He also worked with Gus G, Mike Mangini, George Lynch, Will Hunt, Michael Romeo, Jeff Scott Soto, Joel Hoekstra, Steve Smith, Jon Oliva, Kip Winger, John Macaluso, Deen Castronovo, Phil Demmel, Mike Portnoy, Henrik Linder, Justin Johnson, Tony Franklin, Kyle Hughes, Virgil Donati, Kiko Loureiro, Jordan Rudess, David Coverdale, Tommy Aldridge, Reb Beach, Michele Luppi, Lachy Doley etc. On July 27th, 2021, upon direct phone call from David Coverdale shortly after that David announced that Dino had become the new member of Whitesnake! In 2009 he started recording a new studio album in Melbourne, Australia which was finalised with producer Robert Ahrling in Malmö, Sweden. The album named “Living My Own Life” was released in August 2011. Between 2012 and 2013 Dino was hired to take part in an international project in South Africa named “Synkropation” where he was featured in several songs and played to an audience of 50.000 people in Johannesburg and also participated in two rock operas. In 2015, American drummer John Macaluso (Ark) invited him as singer and the keyboardist for his new American-Croatian band Stone Leaders. During this time, Dino was also a member of Croatian metal band The Ralph with whom he released the album “Enter Escape” in February 2017. In February 2016 he was noticed by American rock band Trans-Siberian Orchestra. After auditioning and meeting with producer Paul O’Neill and Dino was chosen to join the group. 2018 his band Animal Drive released debut album, “Bite!”, to critical acclaim. April 2019, they released a covers EP titled “Back to the Roots”. Dino was also featured singer on two songs on Magnus Karlsson “Free Fall” album. 2020 Dino Joined ex-Krokus members and Mandy Mayer (Gotthard, Asia, Unisonic…) for a concert project named Gotus and they released a video for the song “Souls Alive” (Unisonic). July 2021 Michael Romeo, guitar master from NY insisted that Dino should sing on his new album “War of the Worlds part 2” and it became a great and successful collaboration. 2022 Dino toured Europe with Whitesnake. As the last part of the EU tour was cancelled due to some DC health issues, Dino joined The Dead Daisies tour replacing Glenn Hughes who got unwell at the end of November 2022.A 2 year long legal battle with Dino’s ex-label was over and he immediately started recording new songs for his band JELUSICK…Welcome back Dino!

Post-war musical history was written in Germany with the MPS label: noble music productions with many international greats come from the Black Forest and are timelessly legendary. Some treasures from the label's archive are released by HGBSBlue on highquality vinyl.

More than 20 top-class jazz musicians met in July 1965 for a jazz workshop at the Ruhr Festival in Recklinghausen and recorded a total of 17 pieces. Nine tracks from the live recording were to be released the same year as the first double LP on the young Villingen jazz label SABA (the forerunner of MPS). Everything was prepared for this, but it never happened.

It is not really clear why, because everything was technically ready for release.

With Hans Koller, Rolf Kühn, Leo Wright, Benny Bailey, Tubby Hayes, Ronnie Ross, Stuff Smith and others, many leading players of the jazz scene at the time were involved. However, the two music tapes were not pressed onto record and slumbered unheard for many years in the MPS archive in Villingen. In 2018, on the 50th anniversary of the MPS label, this was made up for: the double LP, which was to be released as "Junges Forum 65" by SABA, was released by HGBSBlue in a limited edition and is now also available here. The music of the workshop formation is still full of sparkling creativity today, almost 60 years after it was recorded.

You can hear first-class jazz on a bebop basis, which was played in Europe at that time by an immensely creative generation of musicians full of commitment. A listening pleasure for every jazz fan on the one hand, but also a wonderful documentation captured on this double LP.

Kaum eine deutsche Band legt so viel Wert auf ihren Sound, während sie gleichzeitig so gehaltvolle und doch zugängliche Songs schreibt. Und wer nimmt es schon freiwillig auf sich, bei den Album-Aufnahmen auf Taschenlampen und WalkieTalkies angewiesen zu sein? Ohne die ist es einfach nicht möglich, sich in dem langsam zerfallenden, ehemaligen Rundfunkgebäude des MDR und seinen vielen Studios
zurechtzufinden.

In diesem Lost Space in Weimar haben YUUN sich für die Dauer der Aufnahmen häuslich eingerichtet.

Möbel dafür finden sie im ganzen Haus verteilt. Ein Tisch aus dem großen ehemaligen Tanzsaal; ein Stuhl aus dem Untergeschoss, in dem der Schimmel zentimenterdick und pelzig von den Wänden wächst, sodass es nach 10 Minuten schon schwerfällt zu atmen. Wenn sie nachts in den riesigen, gruseligen Gängen des Gebäudes, das noch aus der NS-Zeit stammt, unterwegs sind, verständigen Basti, Jannis und Max von YUUN sich mit Hilfe von drei kleinen bunten Spielzeug Walky-Talkies, um sich nicht zu verlieren.

Sweet little Tekno-Tribe sound, with more familial selecta of artists... A side tends on Techno Pump while the flip is really reminding the old school first OKUPE kind of sounds... Records comes with stickers.

Three appearances on Andy C’s Nightlife 5 in 2010 signaled the start of Wilkinson’s journey with RAM Records. Three years later he would go on to drop his debut album ‘Lazers Not Included’, propelled by the success of ‘Afterglow’, featuring Becky Hill, making a dent in the UK Top 10 and going on to gold certified status with over 150+ million streams to date. Capturing his dancefloor ready sound, which helped make him one of the biggest names in electronic music in the UK and beyond, Lazers features the anthems ‘Take You Higher’, ‘Heartbeat’, ‘Too Close’ and ‘Half Light’.

To mark the 10th anniversary of its release, the album has been pressed in full for the very first time on yellow vinyl. With a refreshed design, this special edition will make a great collector’s item for old and new Wilkinson fans alike.

Blue is the sixth studio album by British band Simply Red. The album includes five cover versions: "Mellow My Mind" from the 1975 Neil Young album Tonight's the Night; two versions of the frequently covered "The Air That I Breathe"; the Gregory Isaacs hit "Night Nurse"; and Dennis Brown’s "Ghetto Girl”.

Freestyle Records proudly present a reissue of Gloria Weems' ace 1983 long-player "Lovelight" - previously only available on a rare South African pressing, and featuring the single "Wanna Dance With You" (licensed for a 12" on storied NYC label Prelude in the same year).

The record was written and produced by Jim Duncombe and Chris Palmer - owner of London's legendary Groove Records and also the man behind UK funk/disco label Groove Production (Surface Noise, Linda Taylor, Caché etc). Chris & Jim had met earlier in the year at the Midem music conference in Cannes, and started writing together shortly after. The initial recording sessions were completed at Duncombe's Powerplay Recording Studios in Switzerland, with American vocalist Gloria Weems (then on a club tour of Switzerland) brought in on vocal duties.

Palmer then added additional recordings and mixed the record down at Groove Production's London base. Criminally it was only ever picked up for release in super limited numbers through the South African label CCP Records - though Chris, through an ongoing licensing relationship via his Groove Production label, managed to license "Wanna Dance With You" and it's dubbed-out b-side "Wanna Version" to the legendary NYC label Prelude. Nevertheless the Lovelight LP represents a lost classic and a rare example of a transatlantic disco-boogie project in the era's golden period, in it's linking up of UK, European and American elements.

In our little history, the number 7, besides a kind of esoteric fascination, has marked important milestones in our evolutionary journey. This is why Raw Culture has decided to pay homage in grand style to its seventh year as an independent sound guarantor. To do so, it weaves a co-production with Oderso Rubini, historical memory of the Italian New Wave and head of Italian Records in the 80s. Out of this synergy comes our 24th release, Ping Pong, a dancefloor of dissonant bounces, where free-form suggestions, electronics and rhythmic improvisation find synthesis in a high-intensity competitive match. Starting from the sampling of Korean ping pong matches and the voices of the speakers, Renzini and Passini build a framework where the sound or voice of the electronically harmonised hoover amalgamates with powerful and syncopated drumming, a sound experiment poised between improvisational heavy jazz and Korean-style electronics.

The record is ideally divided into two converging visions highlighting the duplicity of the game, side A or Master Ping collects the first improvisations made by the duo in 2018 leaving almost unchanged the improvisational spirit close to a kind of degenerate free jazz. Side B or Master Pong made later explores more musical forms, with influences of the krautrock and electronic disco matrix, and sees the collaboration with other musicians from Bologna’s historic rock scene such as Gianluca Patini (Surprize, Slava Trudu, Volkwerk Folletto) on guitars, Giorgio Lavagna on vocals (Gaznevada, Stupid Set) and Enrico Serotti on electronic samples (Confusional Quartet, Stupid Set).

Never played, but old record from label stock

Skin serie maintitle remix and some Acidcore... the whole is packed into a solid Tribecore style.

'In 1972, trumpeter Baikida Carroll and some of his colleagues from the Black Artists Group (more precisely saxophonist/flutist Oliver Lake, trombonist Joseph Bowie, drummer Charles "Bobo" Shaw and trumpeter Floyd LeFlore) took the advice of their friends in the Art Ensemble Of Chicago and left their native Missouri to come and discover the bright lights of Paris for themselves. The following year they would even get the chance to record their only album which would rapidly attain mythical status and a collector’s item: “In Paris, Aries 1973”.

Therefore, it was not surprising that they crossed paths with Jef Gilson in the capital. He was always on the lookout for new artists for his recently formed Palm label and had been active on many fronts in jazz since the end of the 50s. The French bandleader / pianist / composer / sound engineer had already recorded, in the preceding months other American musicians who would go on to have great careers: Byard Lancaster, Keno Speller, Clint Jackson III, Khan Jamal... Gilson therefore offered Baikida Carroll the chance to record his first album under his own name, which would be the 13th release on the label. Carroll logically asked Oliver Lake to join him. He also recruited Manuel Villaroel, a young Franco-Chilien pianist from the group Matchi-Oul, who had already released an album on Futura in 1971 and would release another on Palm in 1976. The group was completed with the addition of Brazilian percussionist Naná Vasconcelos, who had just released a well-received album on the Saravah label. They were ready to enter the studio for the 3rd, 4th and 5th June 1974.

The first side of the album is divided into two long tracks which send free jazz back to its long-lost African roots. The opener “Orange Fish Tears” indeed rolls out a jungle of percussion of all sorts and sizes -the whole group is involved- which weave and mix together reaching a point where all bearings are lost, lending a sense of wonder to the majestic entry of the brass and woodwinds, flying suddenly out from the undergrowth. “Forest Scorpion” (sic) is a real voodoo ceremony where a venomous percussive groove backs the fiery solos from keyboards and saxophone in a furious trance. A warning; after these two tracks listeners are physically and emotionally wiped out!

The other side is more introspective. Deliberately using dissonance and repetition, “Rue Roger” -the only composition by Oliver Lake- in a long dialogue between trumpet and saxophone, could almost remind us of Terry Riley in his favourite ballpark. “Porte D'Orléans”, the fourth and final track on the album, has the group back to their old tricks in a long hallucinatory jam which owes as much to the contemporary music of György Ligeti as to the most angst-ridden Jerry Goldsmith soundtrack music (remember the heavy chords which beat through “Planet of the Apes»).

With these two sides, and in under 45m, Baikida Carroll and his musicians show just what they can do, from cerebral to charnel without ever simplifying things. This is an essential album if you are a fan of free-wheeling avant-garde music from the Art Ensemble of Chicago to Sonic Youth and including Shabaka Hutchings and Rob Mazurek. For those with good taste, in other words.'