quête:good co

Coil T-Shirt Dots
Collaboration with Ateliers Dénudés.
One white with black print, the other black with also black print (really good).
To play and wear in the dark.

Shipping is available for presale orders only.

Available sizes: S/M/L/XL/XXL

Coil T-Shirt Dots
Collaboration with Ateliers Dénudés.
One white with black print, the other black with also black print (really good).
To play and wear in the dark.

Shipping is available for presale orders only.

Available sizes: S/M/L/XL/XXL

Coil T-Shirt Dots
Collaboration with Ateliers Dénudés.
One white with black print, the other black with also black print (really good).
To play and wear in the dark.

Shipping is available for presale orders only.

Available sizes: S/M/L/XL/XXL

Coil T-Shirt Dots
Collaboration with Ateliers Dénudés.
One white with black print, the other black with also black print (really good).
To play and wear in the dark.

Shipping is available for presale orders only.

Available sizes: S/M/L/XL/XXL

Coil T-Shirt Dots
Collaboration with Ateliers Dénudés.
One white with black print, the other black with also black print (really good).
To play and wear in the dark.

Shipping is available for presale orders only.

Available sizes: S/M/L/XL/XXL

2024 Repress

Earl's back on his own imprint MELANGE. This time around, he has the U.K's finest - Mr Kaidi Tatham - on Flute and Guitar duties. Side B includes 2 versions of title track 'Higher. Take ya pick!!

Artwork by frequent collaborator and good friend, Ral Duke. Ral has been behind artwork for the likes of Griselda Records( Westside Gunn, Conway, Benny the Butcher), Alchemist, Ghostface Killah, among a whole heap of others. Keep a look out for some weighty merchandise to accompany the release. We got some goodness coming your way.

2025 Repress

Burnski's Constant Black label puts out constantly good sounds for all those of a minimal and tech house persuasion. This 33rd such outing comes from Per Hammer who offers a trio of irresistible grooves. 'Everybody_hz' kicks off with rubbery drums and bass intertwining with each other while wonky synths up top add some tripped-out feels. A Varhat adds a little extra bounce and urgency to this silky late-night hypnotiser and then it's back to Hammer for 'The Danish URL'. It's a hooky groove with warped pads rippling up top while closer 'Arkivo' is a more textural and abstract affair with a nice dubby undercurrent.

Trevor Lucas and Gerry Conway were members of the folk-rock group Eclection, who released an album in August 1968 on Elektra Records. After the group disbanded in 1969, they formed Fotheringay with Lucas's girlfriend Sandy Denny, who had recently left Fairport Convention. The Fairports were recording mostly traditional folk material at this time and Denny left the group so that she could perform more of her own compositions.
The BBC session on Side One of this LP features songs from the first Fotheringay album and took place at the Playhouse Theatre on April 13th 1970. The songs on Side Two were recorded at BBC’s Maida Vale Studios in November 1970. They are ‘off-air’ recordings but the sound quality is still very good.

Eclection’s lack of commercial success remains a mystery to this day. This selection of BBC Top Gear recordings demonstrates their song-writing strength and musical prowess. Only three tracks appeared on the band’s sole studio LP: the remaining nine songs suggest what a second LP might have sounded like. Highly recommended to fans of Fairport Convention, with whom Eclection share some musical DNA.
Comes with full recording credits and extensive sleeve notes.
Recording Quality Very Good/Excellent throughout.

Can’t go over it. Can’t go under it. Gotta go through it. And somewhere out there in the Pitch black beyond all darkness lies Peace & Purpose. The horizon you never quite crest until the inevitable end. Breathe deep — this fearful moment is the most alive you’re ever gonna feel. For the last decade, Crack Cloud’s vision has grown ever more expansive, more cinematic. Last go around, they dropped from The Heavens and then performed with their bare backs to an endless darkening desert. Now they’ve crammed all that life into some metallic and strange object called Peace & Purpose. All the terror of living. All the helplessness. All the raw human will. All glued and screwed and locked into this impossible tactile shape of dungeon dub; sour milk vox; Avant-protest music. Music arm wrestling itself to the ground. Far afield of beauty. The discordant symphony of factory farming and grim timber of the meat processing plant. The grinding din of the cogs. And yet, never giving up in spite of all good sense. Even in death, we are a coterie of survivors. Look now: There’s Terry Fox on his one-legged Marathon of Hope across The Great White North while cancer spreads through his lungs. A self-annihilating drive to feel alive. Rage against the dying of the light, they say. Well, how ‘bout it then!??! Peace & Purpose is not in any way some art project meditation on Punk Rock. It is Punk Rock. Terrifying, inspiring, vital, invigorating and most importantly, utterly unexpected. Every goddamn stupid day is a sublime slice of fresh hell. That’s the point. Gotta go through it. Wishing you Peace & Purpose — if only in that last big breath.

Carly Simon’s quietly intense sophomore album comes across like an assertive notice nailed to a telephone pole for all to see. Bold, personal, and autobiographical, Anticipation announces the arrival of an artist who won’t back down. While Simon stands her ground on her eponymous debut, she elevates her passion and persona to heightened levels throughout this gold-certified record, dealing in private matters related to love, relationships, and desire. At times, Simon is nothing short of primal. She reflects on the difficulties of retaining your own identity while also giving yourself to a partner. Simon’s connection to her folk roots would never be stronger.

Sourced from the original master tapes, strictly limited to 3,000 numbered copies, pressed at Fidelity Record Pressing in California, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s 180g 45RPM 2LP set of Anticipation lays bare the rich tapestries afforded by the spare blend of soft guitars, mellow orchestration, and dreamy melodies. Audiophiles and record collectors, take note: This is the first time Anticipation has been available on 45RPM. The wider grooves and dead-quiet surfaces prove extremely rewarding.

The rhythmic framework anchored by session pro Andy Newmark’s drumming sounds dynamic and balanced, with songs benefiting from a focused midrange and taut low-end. Simon’s attachment to and investment in each lyric is made evident by way of the intimate, hushed atmospherics and expansive responsiveness. And just as Simon’s vocals feel more transparent and direct, so, too, do the supporting choral arrangements.

Released before the singer-songwriter movement reached full bloom, Anticipation remains remarkable for the high-quality songwriting and Simon’s gutsy stance. The album cover — depicting the vocalist holding the gates at Queen Mary’s Garden in Regent’s Park and seemingly defying anyone to take her on — serves as a metaphor for the content within.

Known for having relationships with high-profile partners, Simon was heavily involved with Cat Stevens leading up to the recording of Anticipation. She draws from her experiences to craft tunes that resonate because of their honesty, realism, and strength. Few of those moments are better known than the Top 20 title track, which Simon composed in just 15 minutes as she waited for Stevens to pick her up for a date. Imbued with the nervousness, tension, and excitement that accompany the moments when a romance could go either way, the Grammy-nominated song presages the feminist-minded vulnerability and burning longing that informs a majority of the record.

On the soulful “Legend in Your Own Time,” also inspired by Stevens, Simon harnesses yearning as a conduit to feel-good paradise. Deemed by Rolling Stone an “absolute clincher, an awesome description of the psychic ravages of gone-nuts, know-nothing love,” her cover of Kris Kristofferson’s “I’ve Got to Have You” moans with no-holds-barred desire and breathtaking sensuality.

For all the wanting Simon pursues on Anticipation, her way of staying in control — vocally and personally — make the record a courageous statement of contemporary femininity. For further evidence, look to the bossa nova of “Summer’s Coming Around Again,” somber “Share the End,” soothing “Three Days,” and sincere “Julie Through the Glass,” a tribute to her young niece.

Simon would achieve international fame with her next album, No Secrets. Yet as this definitive reissue shows, Anticipation suggests the rest of the world was just a little late catching up to her.

In the evolving landscape of modern Southern hip-hop, the pairing of Starlito and Bandplay stands out as a unique bridge between street-level authenticity and refined, calculated musicality. Their collaborative project, Not The Country You Know, functions less like a standard release and more as a manifesto—a masterclass in the chemistry between a seasoned, introspective lyricist and a producer who possesses an intuitive grasp of the region's pulse. It is an exploration of legacy and adaptation, capturing the tension between where they came from and where the culture is currently headed.

Bandplay, long recognized for sculpting the sonic identity of Memphis icons, brings his signature, trunk-rattling 808s to the project, yet he manages to pivot here. The production feels remarkably expansive, masterfully blending the raw, stripped-back aesthetics of classic Tennessee rap with forward-thinking textures that refuse to be confined to a single sub-genre. Complementing this, Starlito operates with his trademark mix of cynical observation and genuine vulnerability. He navigates these beats with the weary grace of an artist who has weathered the music industry's relentless cycles, treating every bar like a necessary piece of a larger, ongoing story.

The album’s title serves as a direct commentary on these shifting tides. Across the tracklist, the duo investigates the growing disparity between the romanticized South and the cold realities of the streets, alongside the inevitable evolution of the music business itself. There is no frantic chasing of streaming-era trends or algorithmic bait here; instead, the project remains a stubborn, confident assertion of artistic identity. By weaving together Starlito’s "voice-of-reason" flow and Bandplay’s evolving, genre-bending sound, Not The Country You Know challenges the listener to abandon their preconceived notions of the region, offering instead a complex, urgent vision of a South that is as haunting as it is vibrant.

The latest and greatest producer in a proud British tradition that good music need not take itself seriously. Outlandish samples, meet dissonant vibraphones in a combination that has been described as “lovely stuff”

The Pleased As Punch crew have every right to be as they roll out another eccentric disco 12". It's Saison that kicks off with the expressive and true 'I Can Make Good Music', a freewheeling collage of excitable loops, florid strings and disco drums with loopy vocals building the heat. 'You Are The One' from Fresco Edits is a chunky, drum-first sound with bobbling bass notes and great swing. Mainline's 'Heat Up The House' calms the vibe and sinks into a deeper, more smooth house sound for when the mood switches once the sun sets and DiscoPlex's 'The Funk' then brings a big finish with monstrous kicks and chopped and smeared synths bring the colour to a Kerri Chandler style groove.

Welcome back, hope you've had a good trip so far. While we're digging global tunes, let's not forget what's cooking in our own yards. No less then a new dub don has risen from the wastelands of bratwursts, nutcrackers and garden gnomes: Toni Wobble is looking back on over 20 years of roots in punk, free parties and political movements. From anti-nuclear activism to the Gaggeldub performances, Toni's dug deep into the Dub universe: from Dubstation to Rootsbase to Subardo. By 2012, Toni became a respected operator of Leipzig's Plug Dub Soundsystem. Soon after, he didn't hesitate to create the very own solarpowered Sunplugged sound. Toni's live dub sets hit with all depth and energy of low bass sound culture, shaking the foundations with refreshing freakuency adventures. After a guest spot on our 18th release, helping RUZ dubbing out a deep b-side, it's time to unleash the full Wobble fury on 45Seven!
Out In Da Streetz was born in a lockdown, when urban life got stall, opening space for experiments. Inspired by Juke and Footwork at nights such as Bassmæssage, Toni ventured into Jungle production - the genre him love from way back. The result is an opus of subs, breaks, skanks and dubs. Expect 30 Hertz bass, wobbly midranges, halftime snares and Jungle edits sharp like razor. Don't miss the Ini cameo and hand-made skank work straight from the lab. The result ain't just a track, it's a state of inner and outer emergency, a deep dive into groove, texture and creative chaos.
Irie Cruise rolls up like a cloud of green smoke riding through the streets with a sick ride in a surreal vibe. Rootsy rhythms meet subtle Jungle twists inbetween the twinkles of Dub and the flickers of breakbeats. When the hook drops, the impulse fires up, the lowrider bounces through the turns of skanks, throwing dub delays and gliding deep into the night. By the final tone, you didn't just take a ride, you're actually a bit closer to the sun.
Toni Wobble is giving the full hundred. Dub ain't just a genre, it's a portal to infinite spaces of sound. It's a culture, a process and an attitude, all about echo, bass and space. But it's also about experimentation, consciousness and transformation. Each delay loop is reshaping reality, tearing it down and rebuilding it from the ground up. D.U.B. equals to deep universal beats, the universal frequency... Deep, wide and open. Tune in and dub out!

Veinyl returns with Decant Vol 1, the fourth release and the label's first Various Artists compilation. Rooted in the label’s philosophy of connecting sound, atmosphere, and the social ritual surrounding a good bottle of wine, this record unites producers from the deeper edges of house and tech-house. Much like wine, which brings people together and reveals different notes with every sip, Veinyl seeks to curate music that encourages listeners to savour the moment and discover new layers with each play.

Diego Krause opens the bottle with “Currents,” setting the tone with controlled momentum. Punchy kick and bass sync with swinging hats and airy pads as crystalline synths gradually expand in colour, culminating in sparse, darker echoes and an understated atmosphere in its final moments. Lescano’s “Illusion” uses a stripped-back tech-house palette of resonant dubby chords, vocal echoes, and funky bass stabs, all thrown into motion, ready for the dancefloor. On the flip, NVNDO & Until6’s “Donkey Long” brings a playful shift: bongo-driven percussion, rubbery grooves, and 90s-tinted house basslines and synthwork give it a hint of Balearic flavour without losing club weight. Skotsch closes with “Blood,” a dark, jacking tune where acidic basslines, razor-sharp drum programming, and teasing vocal fragments close the V.A. out with punch and style.

With Decant Vol. I, Veinyl distils its approach into four tracks that move between minimal house atmosphere and tech-house mechanics without losing focus on groove. It’s a compilation that highlights the label’s ear for subtle detail and functional design, pointing toward a catalogue shaped less by trends than by carefully curated underground talent and special dancefloor moments.

Another haul of hard hitting house gems from Duster Valentine’s debut album pressed to vinyl for the first time.

A love note to formative years in the ‘80s and early ‘90s, off his chops at The Haçienda and other legendary Manchester clubs, it’s a masterclass in demonstrating the flavours-within-a-theme that emerged from the Chi, 313, and NYC during that pivotal era, and would light the touch paper of a UK club revolution.

In Duster Valentine’s hands the sound is presented stripped to salient fundamentals, prizing the sound before it went commercial, ranging from sampler-knuckling garage-house stabbers thru haughty canter and plushest, pendulous grooves. He homes in hard on that point when hip hop and electro gave way to house in the Todd Terry-via-Pal Joey style jam »Getting’ Dub«, and gives a big salute to Chez N Trent’s rugged, chord-riding haughtiness via Levon Vincent in »Hit Me From Behind«.

»Strobelight Honnies« leans into the sound’s deepest ends with perfectly weighted bassline, cold drums and sublime string tension dubbed with hypnotic elegance, where »The KatG Chord« follows with shimmers of Anthony Shakir via Michael J Blood. Suffice it to say they’re all perlers and bang on the £ if you know what’s good.

Bella Boo lands on Aus Music with a mix of party-starting and heart-racing house jams

Swedish artist KURT. brings her characterful style to the title cut

Bella Boo has lit up the house world since breaking through in 2018. She has become a Studio Barnhus mainstay with a sound that is both emotional and energetic in the way it contrasts light and dark. It's built on solid grooves with fresh sound designs and has taken her to dj everywhere from Panorama Bar to Printworks. Her debut LP, as well as follow-up EPs, have seen her nominated for several Swedish Grammys and seen her profile grow around the world. KURT. is a rising star from Stockholm with an electric sound that blends club, r&b, pop and soul. It's high on attitude and laced with her own provocative vocals. She guests on opener 'Shake Down', which is a chunky, bass-first rhythm packed with character: hints of jungle breaks, heat-damaged synths and blasts of gloopy bass all bring the fun before KURT.'s vocal motifs - which are variously sultry, whispered and visceral - inject even more heat. The Regrette Rien Mix takes on a late-night feel with sustained chords and a silky smooth vocal from KURT. that turns you inwards. Bella Boo then goes solo for the super vibey 'Atlas', a deep, cruising house cut with catchy percussion and lush, layered bells. The golden chords and shimmering pads are immersive and expansive as the bass powered on. Lastly, '8Ball' quickens your step with bumpy kicks and increasingly detuned, wonky synths that bring a future feel to a punchy yet cuddly and feel-good groove.

As Deep Dive Corp., Peter Musebrink and Björn Gerhard spent the 2000s making slow, warm downtempo. Box of Frox was the same two men doing the exact opposite: fast, progressive, techy, trancy, hypnotic and relentless.

Box of Frox left behind just two records, a single and this album, before disappearing for good. Floordiving went out of print, and there it stayed. It's become one of those records people keep looking for and rarely find. Originals barely turn up, and when one does, it's gone quickly and for serious money.

Tremendo brings it back in two parts, four tracks at a time, the way they deserve to be heard. This is Part 1, remastered and back on vinyl for the first time in over twenty years.

LP,180g, 2027 REISSUE - REMASTERED FROM ORIGINAL TAPES, CAREFULLY REPRODUCED ORIGINAL ART

When Alan Parker recorded the killer library soul-funk LP The Voice of Soul with session vocalist Madeline Bell in 1976, some bright spark at Themes decided to also release all of the backing tracks as a separate, and equally innocuously title LP called The Sound of Soul. Thank goodness for bright sparks.
Released as a collection of unobtrusive musical backings in various rhythmic styles', the LP's original description dryly explains these tracks have been issued without melody and are therefore particularly suitable for use behind commentary. Female vocal versions of these tracks are issued on TIM 1021 The Voice Of Soul and it is possible to edit from vocal version to instrumental version or vica versa where commentary or scene changes occur'.Madeline Bell was backed by The Rhythm Section, who were for all intents and purposes the Themes International Music house band. So what we end up with here is entire album of instrumental work-outs by a band comprised of the formidable talents of Alan Hawkshaw on keyboards, Alan Parker on guitars, Barry Morgan on drums, Les Hurdle on bass guitar and Frank Ricotti on percussion.
Without Bell's vocals these backing tracks are given all the room they need to breathe. Each one more than stands up on its own.
The Sound of Soul is a real diggers' delight and, unsurprisingly, a must-have counterpart to The Voice of Soul.
As with all ten re-issues, the audio for The Sound of Soul comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We've taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM's brand identity.

Obelix is the brainchild of UK producers Richard George and Corine Trembath, whose timeless take on house and techno has long been cherished by underground heads and vinyl collectors alike.

With releases on Pacific Records, Mosaic and Stickman, their music occupies a distinctive space between early house and techno, raw, hypnotic and deeply musical, built around rolling 909 rhythms, expertly programmed 303 acid lines and the unmistakable character of analogue hardware.

Following an extensive dive into their DAT archives, Pariter presents The Lost Tapes, a collection of previously unreleased recordings made in the mid-1990s. Carefully restored and curated by Yossi Amoyal, the material retains all the rawness, warmth and analogue
character of the original tapes, offering a rare glimpse into a particularly fertile period of UK underground dance music.

The two part release is completed by Whatever, their sought after classic originally released on Offshoot, a timeless slice that stands alongside the unreleased recordings as an essential piece of the Obelix story.

The Lost Tapes documents a sound that has lost none of its power, raw, hypnotic and unmistakably timeless.

Parisian producer, Hyacin steps up for the 7th edition of the AURUM series with 3 house tools that pack a punch on the dance floor and he is in good company as Triptil steps up for remix duties with his signature sound and style!

Tried and tested around the world from the industries finest!

Limited press, vinyl only.

Welcome to THE VAULT for 1985. A collection that digs deeper into the year’s musical landscape – uncovering singles that may not have always reached the highest chart positions but remain essential to the rich and diverse pop story of 1985. Some were overshadowed at the time, some were highlights from albums that had already sold huge amounts, some found greater success internationally – but all deserve their place in this continued celebration of 80s pop.

45 tracks across 3-LPs – pressed in gorgeous green vinyl – NOW Yearbook – The Vault: 1985.

LP1 opens with a trio of tracks from huge-selling albums:- Bruce Springsteen’s ‘My Hometown’, the sixth single in the UK from ‘Born in the U.S.A’ - one of the best-selling albums of the decade, followed by Bryan Ferry with the stunning ‘Windswept’ from ‘Boys And Girls’ and Sting’s ‘Love Is The Seventh Wave’, taken from his solo debut ‘The Dream Of The Blue Turtles’. Next up, Go West with a U.S single release ‘Eye To Eye’, Scritti Politti with ‘Perfect Way’ – their biggest hit in America, and ABC with ‘Be Near Me’. The first side closes with two established bands; Heaven 17 and Orchestral Manoeuvres In The Dark… Flip the LP over for Adam Ant with ‘Vive Le Rock’, Midge Ure, Blancmange and the second collaboration between Philip Oakey & Giorgio Moroder with ‘Good-Bye Bad Times’. The Style Council’s ‘Welcome To Milton Keynes’ leads to LP1’s closer’s from Simply Red and Fine Young Cannibals who followed their debut ‘Johnny Come Home’ with ‘Blue’.

LP2 opens with Cocteau Twins and the dream-pop atmospherics of ‘Aikea-Guinea’, ahead of The Jesus And Mary Chain with ‘Just Like Honey’, and The Dream Academy with ‘The Love Parade’.

Brilliant with their cover of James Brown’s ‘It’s A Man’s Man’s Man’s World’ and jazz-influenced pop from Matt Bianco are up next ahead of the sublime ‘Castles In The Air’ from The Colourfield and Elvis Costello & The Attractions, who released the 1979 track ‘Green Shirt’ to promote their ‘Best Of’ collection … and the side closes with The Clash’s ‘This Is England’ which would become their last originally released hit…whilst on the other side…celebrate the dancefloor, with a vibrant mix of Hi-NRG, soul, electro and club-influenced pop:- Opening with Sheryl Lee Ralph’s ‘In The Evening’ and Barbara Pennington’s equally superb ‘On A Crowded Street’, the hi-energy continues with Miquel Brown and Hazell Dean ahead of a US hit from Laura Branigan (‘Spanish Eddie’) and Divine’s cover of ‘Twistin’ The Night Away’. LP2 finishes with a massive U.S. dancefloor smash for Eddie Murphy with ‘Party All The Time’.

The final LP kicks off with a bunch of singles that achieved bigger hit status in the US than here and opens with Billy Joel’s ‘You’re Only Human (Second Wind)’, a track written exclusively for his ‘Greatest Hits – Volume I & II’ compilation, ahead of pop-rock from John Mellencamp plus an anthemic smash from Bon Jovi. Pat Benatar’s ‘Invincible’ features ahead of The Power Station’s third US Top 40 hit…whilst back in the UK Chris Rea enjoyed his biggest chart hit to date with ‘Stainsby Girls’ and the side is completed by Marillion with ‘Heart Of Lothian’ the third hit from their huge ‘Misplaced Childhood’ album… Flip to the final side for the stellar vocals on ‘Act Of War’, the huge collaboration between Elton John & Millie Jackson ahead of dancefloor smash ‘New Attitude’ from Patti Labelle and ‘Show Some Respect’ a U.S. single from Tina Turner. Sophisticated pop-R&B from Michael McDonald and Daryl Hall & John Oates come ahead of the collection’s closers- and two outstanding vocal performances: Chaka Khan’s ‘Through The Fire’ and the U.S. breakthrough hit from Whitney Houston with ‘You Give Good Love’ – signalling the arrival of one of the decade’s brightest new stars.

NOW Yearbook – The Vault: 1985 – A deeper dive into an unforgettable year in pop.

Speak to Orlando Higginbottom, aka TEED, and themes of love and obsession with electronic music quickly emerge, rooted in a childhood shaped by classical training and underground dance culture. His project Totally Enormous Extinct Dinosaurs, initially a joke, grew into a global success, taking his melodic, vocal-driven dance pop to clubs and festivals worldwide. Since relocating to Los Angeles in 2015, the city"s sounds and "pre-gaming" nightlife culture have inspired his upbeat, club-focused DJ-Kicks mix. The compilation includes new exclusive tracks by TEED alongside exclusives from Joe Goddard, Jacques Greene, Austin Ato, Casino Times, and Oscar Farrell.

LOS ANGELES—To celebrate the 40th anniversary of the celebrated Talking Heads and Jonathan Demme’s concert film Stop Making Sense, the set will be re-released as a 2LP and 2CD/Blu-ray set this summer.

Released last year, the sold-out Deluxe Edition of the soundtrack will return as a 2-LP black vinyl on Rhino and 2-LP crystal clear vinyl at retail. Both variants feature a 12-page booklet with liner notes from all four band members –Tina Weymouth, David Byrne, Chris Frantz, and Jerry Harrison—and band photos. The 2CD/Blu-ray version includes the entire 28-page booklet from last year’s Deluxe Edition and a Dolby Atmos mix of the complete concert, mixed by Jerry Harrison and E.T. Thorngren, who also mixed the original release. Both will be available on July 26. Pre-order now.

The band appeared together for a sold-out screening and Q&A last night at the Pantages Theater, the same theater at which Stop Making Sense was recorded. They were joined by Blondshell, who performed “Thank You For Sending Me an Angel.” Another special screening with the band will occur in Brooklyn at the King’s Theater on June 13, with the Q&A hosted by Questlove and The Linda Linda’s performing “Found a Job.” The two events cap off a banner year of celebrations for what many consider to be the best concert film of all time.

The inspiration for Stop Making Sense came when director Jonathan Demme saw Talking Heads perform during the band’s 1983 tour for Speaking in Tongues. Afterward, he approached them with the idea of making the show into a concert film. They agreed and worked together over the next few months to finalize the details. Ultimately, Demme filmed three shows at Hollywood’s Pantages Theater in December 1983 to create Stop Making Sense.

The concert film presents a retrospective of the band up to that point, with a performance that weaves together songs from all six of its studio albums. The show progresses methodically, opening with Byrne onstage performing “Psycho Killer” alone with a drum machine. After each song, he’s joined by a new band member until Weymouth, Frantz, and Harrison are all on stage with him. The group continues to grow throughout the concert as members of the stellar touring band are added: keyboardist Bernie Worrell, percussionist Steve Scales, guitarist Alex Weir, and backup singers Lynn Mabry and Ednah Holt.

The band performs 18 songs in Stop Making Sense, including its recent single at the time, “Burning Down The House.” That summer, the song was in heavy rotation on radio and MTV, helping the song become the band’s first top 10 hit in America. It was, however, a different song from Speaking in Tongues that was destined to deliver one of the film’s signature moments. Talking Heads would perform “Girlfriend Is Better” wearing the now iconic, oversized suit inspired by costumes worn in traditional Japanese theater. For good measure, a picture of David Byrne in the suit also graces the album cover.

Stop Making Sense focuses mainly on music by Talking Heads but does include a few songs recorded outside the band: “Genius Of Love” by Tom Tom Club, “What A Day That Was” and “Big Business” from Byrne’s 1981 album, The Catherine Wheel. Limited edition vinyl versions of both of these albums, along with Harrison’s The Red And The Black, were released for this year’s Record Store Day.

When it arrived in September 1984, Stop Making Sense was an artistic and commercial triumph. The film had people dancing in theatre aisles, and the soundtrack sold over two million copies. Just last year, the Library of Congress added Stop Making Sense to the National Film Registry in recognition of its cultural, historical, and aesthetic significance.

Weymouth praises Demme as a collaborator: “…Jonathan was a very enthusiastic, highly adaptive, and imaginative guy who was just as good a listener as he was a talker and collaborator. From the get-go you just got the impression he was as flexible as he was disciplined. Being team players, that boded well for a great relationship and a great film!”

Harrison says the film still holds up today: “To me, Stop Making Sense has remained relevant because the staging and lighting techniques could have been created in a much earlier time period. For example, Vari-Lights, lights with motors to re-aim them, had just come into vogue. Had we used them, there would have been a timestamp on the film, and it eventually would have felt dated...The absence of interviews, combined with the elegant and timeless lighting, created a film that can be watched over and over.”

Byrne says it’s interesting that this album was – for many people – an introduction to Talking Heads. “We had done a live album before this, but coupled with the film, and with the improved mixes and sound quality, this record reached a whole new audience. As often happens, the songs got an added energy when we performed them live and were inspired by having an audience. In many ways, these versions are more exciting than the studio recordings, so maybe that’s why a lot of folks discovered us via this record.”

Frantz recalls the sheer joy surrounding the entire Stop Making Sense experience. “I’m talking about real, conscious, transcendent joy… I’m talking about what the Southern gospel people call ‘getting happy,’ which means ‘to be filled with the Spirit.’ That is what happened to us onstage every night, and from my seat behind the drums, I recognized that this was happening to the audience too. Joy was visible in front of me and all around me every night.”

Allein' by Quarks is a timeless piece of German electro-pop culture that captures the nostalgia of Berlin’s wild & spaced out 2000s like no other!

Originally released on the duo's third album "Trigger Me Happy", the single was later released as a 12" with two massive remixes that were only available on vinyl.

Whether it's Sascha Funke's haunting minimal techno masterpiece or Swayzak's colourful & electrifying banger - both remixes leave no doubt that this 12" will bring goosebumps & tears of joy to every dance floor until the end of time!

With all original masters & DATs lost, this reissue has been carefully restored & remastered from the original vinyl by Dubplates & Mastering. Sounding crystal clear & ready for the club in 2026!

goodbye.

2026 Repress

Fresh his Keysound D&B opus Blue, Sully returns to Astrophonica with four pristine slabs of breakbeat science. "Flock" places the full strength melodic elements over the faraway amen echoes in a way that's not dissimilar to early Good Looking. "Helios" is a much colder flashback to the darker corners of jungle's formative dance; all breathy minor key chords and vapour trails of paranoia countered neatly by a precision dub vocal sample. "Crystal Cuts" recalibrates the focus to the drums by way of broad jazz chord strokes while "Hours/Miles & Still" concludes affairs on an emotional electronica tip where the breakbeats thanks to a beautifully arresting intro. Powerful.

As a group, Grand Puba, Sadat X, and Lord Jamar fused politically conscious lyrics with jazzy, sample- heavy production rooted in golden age boom bap. Widely praised by critics, \u2000One for All\u2000remains a cornerstone of early '90s East Coast rap. This box set includes the entire track list as 7" singles, including its most celebrated singles: "Brand Nubian," "Feel So Good," "Slow Down," "Wake Up" and "All For One.

Real heads with good memories and a lifelong love of good grooves might remember that the original mixes of 'Disco Glory' first appeared on DJ Garth's Wicked imprint in 1996. Top DJ dogs like Danny Tenaglia, Francois K and Doc Martin all used to drop them on the regular and ensuing remixes even made their way onto Sony Pictures' 'Groove' soundtrack. The DJ Garth & ETI mixes have long been out of print, so fetch a pretty penny on the second-hand market, which means it's great news that the 30th anniversary is marked with a fresh return to wax. The Acid Rock mix is psychedelic and trippy, the Look To The Moon dub is a dark and dubby tech sound that could be brand new, and the Ye Olde Organ Grinder mix has a moody and retro house charm.

Errortica takes the scene by storm with here new mini-album — 'I'm Good'. The four-tracker includes previously dropped singles 'Copy Me' and 'Psycho' (feat. Reptiloid), as well as two fresh tracks feat. nashnocap and Blessna. Highlighting her serious studio skills, Errortica mixes different genres: dirty rave vibes with distorted basslines, hardcore hoovers, mixing breakbeat drums and gabber-inspired kick, with a contemporary vocal mix attitude that’s raw, tough, and sexy. In a chase of a perfect dancefloor hit, Errortica continues to drive her dancefloors into a wild, electrified zone for some unforgettable experience. In a chase of a perfect dancefloor hit, Errortica continues to drive her dancefloors into a wild, electrified zone for some unforgettable experience.

Over the last half decade or so, Monsieur Von Pratt has marked himself out as one of the 21st century disco scene's most reliable re-editors, with a party-starting trademark sound built around blends of borrowed instrumentation and rolling, house-style beats. This signature sound is very much evident across the producer's tenth contribution to his own Illegal Disco series. He begins by polishing and tooling up a sparing, horn-heavy disco classic 'Don't Say Goodbye', before rearranging and lightly updating a squelchy synth-bass propelled chunk of disco-boogie goodness ('Gonna Getcha'). Rounding off a fine EP is 'Make Love To You', a more low-down and celebratory chunk of beefed-out disco-fink hedonism.

madness" she whispered as she tried to navigate through an onslaught of people.
She carried a feeling of numbness within her that helped her manage the constant distortion and the all to obvious hypocrisy surrounding her. Mindless wandering after having just survived another day in the trenches was a welcomed exercise in fact she had already begun to dissociate from the commonly perceived reality; entering the one of her choosing. If one was to observe her, a sway to the hips could be noticed furthermore, as if momentarily height on a good thought the woman now strutted around attracting all sorts of attention, from negative to overtly admiring.
All the cages in her mind were artfully crafted with beautiful bars made of gold and the ceilings had their own stars and suns that shone upon them. None of them were locked

Mr Bongo presents a reissue of one of the rarest releases on the illustrious and now ultra-rare tax scam label TSG Records. A label with a checkered past, operated by Lloyd Price and with alleged ties to boxing promoter Don King. The album in question, Disco Party by Reality, is a stunning journey through ‘70s dancefloor-focussed funk into early proto-disco grooves. Back in mid-‘70s Manhattan, Dr. Otto Gomez and a group of fellow New York musicians including Tony Dixon, Norman Drayton, Tony Dupree, Al Jones and Fred Nanton were brought in for a recording session by songwriter and producer, Billy Nichols. Laying down one of Nichols' songs and a selection of the group's own, they were paid as session musicians and thought little of it. The tapes came to the attention of Lloyd Price who struck a deal with Nichols unbeknownst to Gomez and the rest of the band. Price then pressed the album and put it out in 1976 on a newly formed subsidiary label, TSG Records, that would later be documented as one of the US tax scam labels of the ‘70s. Such labels were created to exploit a loophole in the US tax system, running up inflated production costs / losses that investors or the parent label could write off against their tax bills. Releases on these labels were never intended to have commercial success. They would usually be produced in incredibly limited pressing numbers and have little to no promotion or distribution. As such many of these records instantly fell into obscurity, becoming mythical amongst DJs and record collectors. Sadly, this meant that artists like Dr. Otto Gomez and friends never had the chance for their record and their talents to shine at the time. In fact, it was only when Jazzman reached out for their 2022 reissue that Dr. Otto Gomez became aware that the album had ever been released and heard the story behind it. Disco Party is a time capsule where ‘70s instrumental funk edges and intertwines into an early disco sound. The sessions are for the dancefloor, minimalist and groove-based. The bass and drums are at the forefront, providing the pulse of the album. Driving funky guitar licks, and a brilliant horn section weave their way in and out of the productions. Highlights include the uplifting feel-good ‘Let's Party People’, the early disco swagger of ‘Reality’, and ‘Disco Party (Let's Have A)’ with its wah-wah groove and percussion break, which could easily have found its home on a Blaxploitation film soundtrack of the period. It’s not just rarity that makes this record so sought after, but rather the fact that it is a superb example of dancefloor-focussed mid ‘70s funk and disco.

La Textil Collective & 303 Audiophile Bar new label Backstage Records is finally here.

To kick off the first release Downtown Sai is in charge with 4 dancefloor-weapons 'Feel Mad Good EP' a walk between French House and Electro Sai's unique production style.

Spaceships on the Blade is the 2022 solo album from San Francisco legend, entrepreneur and rapper, Larry June. The 20-track album features the singles, “Private Valet,” & “In My Pockets,” and sees production from a wide range of producers such as, The Alchemist, Jake One, DJ Khalil, Cardo, DJ.Fresh, Chuck Inglish, Turbo & more. Enlisting the help from fellow rap luminaries such as 2 Chainz, Babyface Ray, Curren$y and more, Spaceships on the Blade shows that Uncle Larry always has an eye on expanding and diversifying income steams and will continue to do numbers for a long time. Good Job, Larry. 2xLP, Black Vinyl, Widespine Jacket, Printed Sleeves.

With Mr. Coconut, Cosmo Dance delivers a four-track EP that strengthens a distinctive sonic identity, blending retro aesthetics, club culture and cinematic sensibility into a cohesive body of work.

The title track unfolds through refined dynamic control. Warm multilayered percussion, textured guitars and a deep yet restrained bassline create an organic groove that evolves gradually rather than relying on obvious drops. The production favors subtle progression and hypnotic growth, resulting in elegant, mature dance music.

Goodbye expands the project’s narrative dimension. Inspired by the atmosphere of Italian ’70s library music, the track represents the protagonist’s theatrical exit from the club — not a melancholic farewell, but a charismatic closing scene. A playful detail emerges when Dandolo (Cosmo Dance’s alter ego) delivers an ironic “cough solo” precisely as an off-voice introduces Mr. Coconut, adding a self-aware cinematic twist.

Dub nuts explores deeper dub-informed territory. Built through layering and subtraction, the track showcases careful spatial control and restrained low-end management.

The EP closes with the Coccappella Version, a stripped-down reinterpretation of the title track focused solely on percussion and voice, revealing the rhythmic backbone of the project.

Mr. Coconut is a refined balance between club functionality and cinematic storytelling — controlled, elegant and unmistakably personal. It’s not about peak-time fireworks — it’s about atmosphere, detail and identity.

2026 Repress

Berlin’s Beste Modus has been moving from strength to strength over the past five years, with the DJ and producer collective all making their mark on the local scene in the German capital and across the globe. Here we see two of the members stepping up to deliver two-tracks each for the labels ninth release.

Cinthie takes the a-side and leads with ‘Everything I Say’, employing choppy synth stabs, bumpy bass and heavily swung 909 drums alongside a hooky vocal before ‘Good For You And Me’ edges into Garage territory, fusing bright piano chords and a stab-led
bass hook with tension building strings and soulful vocals lines.
On the flip is two cuts from stevn.aint.leavn, the first of which, ‘Quins’, takes a more stripped-back approach via rumbling subs, metallic percussion and a stuttering synth line throughout. ‘Spiff’ then closes the package with an array of organic drum hits, soft chords, airy chimes and heady electronic synths all unfolding dynamically throughout.

Yore Records proudly welcomes Craig Alexander with a deep and timeless 12" straight out of the birthplace of House: Chicago.
Across four previously unreleased cuts, Craig Alexander delivers a refined blend of deep, jazz-inflected House music. Rooted in the classic traditions of the genre yet shaped by a distinctly musical and organic approach, these tracks unfold with warmth, depth, and subtle complexity.
Rich chord progressions, soulful textures, and fluid grooves come together to create a truly immersive listening experience. There’s a clear nod to the golden era of House, while the production maintains a fresh and contemporary edge — perfectly aligning with the ethos of Yore Records.
This 12" is both a DJ tool and a deep listening journey — versatile, emotional, and built for long nights and early mornings alike.
A genuine and heartfelt statement from an artist deeply connected to the roots of House music.Strictly limited to 250 copies worldwide / no repress.

Depeche Mode, Yazoo, Erasure's Vince Clarke, Blancmange's Neil Arthur and the electronic producer-writer-synth-nerd Benge have joined forces to form the new project Doublespeak. Set to be released on May 29th, their self-titled debut album revisits eleven of their favourite songs from the past four decades, each reimagined and renewed in the timeless space of gleaming analogue electronica.

The 'Doublespeak' album is divided between songs from the postpunk netherworld brought blinking into the light (Fad Gadget, The Sound, Young Marble Giants), pop radio monsters ushered back down a dark stairway into the club (ABBA, David Essex, The Carpenters) and buried treasures from the 1990s onwards (The Magnetic Fields, Ed Dowie and Laptop).

Collectively, the album amounts to a shadow autobiography of the three collaborators' continuing musical education. Doublespeak is the great human songbook, synthesised.
Empathic vocals, bold arrangements and glowing analogue electronics turn familiar and forgotten songs into a personal, forward-looking electronic statement.