quête:iconic

Mike Parker lands his third chapter in The Devil's Curators series on Spazio Disponibile. Impressively warping time and tempo's with five iconic cuts of his deep mind trips.

From down tempo acid riffs to shuffling dnb, hysteric drones and his trademark metal kick drums, it's another package showing true style isn't bound to one genre.

A1 - Dreamcatcher

A gentle kickoff to the EP sees ASC flex the ethereal side of his compositional range with Dreamcatcher. Bleeps and subtle bongos intro the track before a cymbal-heavy beat rolls into play, urged along by warm 808 basslines. Several samples will trigger the scene veteran's nostalgia glands, and as the Arthur O'Shaughnessy quote proclaims: "We are the music makers, and we are the dreamers of dreams", you cannot help but smile.

A2 - Tranquility

Filtered breakbeats with emphasised kicks begin our journey through Tranquility; a calming piece enriched with luscious synths, glorious pads and echoing vocal samples. ASC takes the listener through a crash course in DJ-friendly classic atmospheric drum & bass, inviting the crowd to take a step back from the chaos of the world and bask in the tranquility of the moment in true Spatial style.

AA1 - Drifting Thru

Remember Demon's Theme? For many it was their introduction to a new world of amen breaks in a birthing jungle / drum & bass landscape, and here ASC pays homage to that break - as well as a certain iconic classic on the Deejay catalog - rewritten impressively with a pure, intensely driven atmosphere and a thumping sub bass to boot as the eerie melody allows this incredible break to take center stage - as it should.

AA2 - Flotation

Closing the EP is Flotation, a building track which fuzes classic breakbeats chopped and punctuated with a slow-burning, gradually intensifying atmosphere. The interplay between breaks, bassline, pads and washing vocals is a delightful experience to behold, the bassline never relenting. Flotation is curiously catchy and will stay long in the memory.

Words by Chris Hayes (Spatial / Red Mist)

Shinoby is back on the iconic label that launched in the end of 2015. Each side includes one original mix and one remix from a few the most interesting and creative artists of the last years. Mass Prod delivers a sneaky techno banger carachterized by a warm modular feeling. Buttechno & Triš built a techno dub aesthetic track in a quietly perfected formula as in the mid-90’s.

Jay - Jay Johanson 's 14th album is one of the most refreshing of his discography. After an introspective and intimate trilogy (“Bury the hatchet” (2017), “Kings Cross” (2019) “Rorschach Test” (2021), FETISH open a new era for the iconic Swedish artist. With this new album Jay - Jay Johanson explore the melancholic, aerial atmosphere that makes the DNA of his music with a cinematographic view. On the other side he offers songs made for the most elegant dancefloors with "Stars Aligns" and "Jeopardize" with their electronic hypnotic melodies. The new Album will drive you from intimate and lounge atmosphere to the dancefloor. An epic journey on the line of the most popular album of the artist. The opening track "Seine" is inspired by the one who disappeared in the water of the Seine in Paris in the 19th Century. It opens with all the romantism of Jay - Jay. "Finally“ sounds like a new classic, sampling the famous 3rd Symphony by Brahms, it reminds all the movies of the 50's calling the phantom of Chet Baker, one of his inspirations. The First part of the album is based on quartet of modern Jazz mixed with Jay - jay's Touch like in Puppet on a String. With the Uptempos "Jeopardize", "The Stars Align", "Summer Night of Love", he brings us from the NY voguing scene to the decadent Berlin clubs. Flesh For Frankenstein offers a rendition of the piano melody by Andy Wharol. One of the icon of the artist. The Album close on Happy Birthday, a smooth and shiny song, with his crooner and lovely voice that will ravish all the lovers. After 27 years of career, the prolific artist continue to deliver an ambitious and marvellous album that would be appreciate by the fans of the first area and the new ones who discovers him this last decade and with his live performances

Stimela were a popular and successful South African Afro-fusion outfit led by guitarist, vocalist, songwriter, producer and arranger Ray Phiri. The band was formed under the name ‘The Cannibals’ during the 1970s when Phiri got together with drummer Isaac Mtshali, keyboard player Thabo Lloyd Lelosa and bass player Jabu Sibumbe. They initially started out as instrumentalists, but later evolved to Afro-fusion when they joined forces with vocalist Jacob “Mparanyana” Radebe in 1975. The story of ‘The Cannibals’ ends when Radebe died in 1978 but the ‘Stimela’ story was only just beginning.

In 1979, after a life-changing experience in Mozambique (where they were stranded for three months) the band members had to sell all their belongings to take a train home. This trip was a watershed moment as it was here where they conceived the new name for the band: The Zulu word for “locomotive-train” STIMELA.



Stimela would soon become little short of an institution in their home country of South Africa. With soulful tunes and gripping lyrics, the band has recorded platinum-winning albums such as Fire, Passion and Ecstasy, Shadows, Fear and Pain & Look Listen and Decide. In addition to recording their own material, the group supplied instrumental accompaniment on albums by a lengthy list of legendary artists. Stimela would go on to gain global fame after being featured on Paul Simon’s iconic 1986 ‘Graceland’ album and the mega tour that followed.



Ray Phiri would enter into many successful collaborations with major acts and artists such as Harari, Joan Baez, Willie Nelson and Manu Dibango. In 2017 he was diagnosed with lung cancer and died at the age of 70. Phiri has received many awards in recognition for his contribution in the music industry, one of these is the Order of Ikhamanga awarded to him by the South African president. This was to honor his sterling contribution to the South African music industry and the successful use of arts as an instrument of social transformation.



Stimela is the tale of a South African band who have battled their way through dark days to take their rightful place in the forefront of the South African apartheid-era music invasion. One of their most memorable tracks “Whispers in the Deep” was even restricted from being broadcasted by the old South African Broadcasting Corporation.



On the album we are presenting you today (Fire, Passion and Ecstasy from 1984) the unique sounds of Ray Phiri’s Stimela are fully showcased. Expect infectious hypnotic build-up grooves, cinematic lowdown jazz-funk, Afro-soul, delightful reggae, gospel influences and funky synth-boogie sounds…all with a touch of early eighties new wave and hints of Island disco mixed with sensual bubblegum pop. It comes as no surprise that the album has now become a sought-after item due to its addictive and original-sounding nature, a must-have for any self-respecting record digger!



These recordings completely encapsulate Stimela’s fusion style. They managed to craft a modern South African sound that continues to influence SA musicians to this day. Never in a rush, yet always with a sense of purpose and direction – like the steam train after which they took their name.

Tidal Waves Music now proudly presents the first reissue of this fantastic Afro-fusion classic since 1990 (originally released in 1984 on Gallo Records) & this is also the first time the album is getting a release outside of the African continent. This rare record (original copies tend to go for large amounts on the secondary market) is now finally back available as a limited 180g vinyl edition (limited to 500 copies) complete with the original artwork. Also included is a double-sided insert containing rare pictures of the band.

Following in the footsteps of his famed brother Madlib, Oh No has become one of the most celebrated independent hip-hop artists of the 21st century. His storied career has included not only rap success but an impressive resume behind the boards, with production credits for Mos Def, Freddie Gibbs, De La Soul, Action Bronson, Talib Kweli, Ab-Soul, and more. An innovator in the art of sampling with a history of exploring diverse source material, Oh No is now back with Good Vibes / Bad Vibes, a new instrumental album deconstructing the work of iconic vibraphonist Roy Ayers. A split collection with two thematically distinct halves, the album is entirely constructed from the early, jazz-centric realm of the Ayers archive. Good Vibes is "light and vibrant, with colorful layers radiating under the sun shine,” Oh No explains, while Bad Vibes contains “dark murky atmospheric tones for the angry moments, those times when it’s necessary to step in the mud.”

Crass Records, alongside One Little Independent Records, reissue
their iconic three volume compilation series, ‘Bullshit Detector’, on LP,
available in both classic black and special edition grey vinyl.
 ‘Bullshit Detector’ was the name of a series of compilation LPs put
together by the anarcho-punk band Crass and released on their own
label. Three editions were released between 1980 and 1984,
consisting of demo tapes, rough recordings and artwork that had
been sent to the band.
 The sound quality of the ‘Bullshit Detector’ series was mixed and
often basic, or even poor, as Crass would master the tapes directly to
record without any additional production or enhancement. For Crass,
the expectation of a polished performance was missing the point.
 After punk had already been co-opted, re-packaged and sold back to
us, ‘Bullshit Detector’ volumes 1-3 were, and still are, seen by many
to capture the purest ethos of punk culture, an event that inspired
hundreds to take to their bedrooms and garages and join the DIY
revolution.
 Crass believed in the power of community and that their movement
was for everybody. These compilations are an admittedly harsh but
important part of that story; when Crass gave punk back to the
people.
 Sleeve notes from ‘Bullshit Detector Three’ read: “Don’t expect music
when the melody is anger, when the message sings defiance, three
chords are frustration when the words are from the heart.”

Crass Records, alongside One Little Independent Records, reissue
their iconic three volume compilation series, ‘Bullshit Detector’, on LP,
available in both classic black and special edition grey vinyl.
 ‘Bullshit Detector’ was the name of a series of compilation LPs put
together by the anarcho-punk band Crass and released on their own
label. Three editions were released between 1980 and 1984,
consisting of demo tapes, rough recordings and artwork that had
been sent to the band.
 The sound quality of the ‘Bullshit Detector’ series was mixed and
often basic, or even poor, as Crass would master the tapes directly to
record without any additional production or enhancement. For Crass,
the expectation of a polished performance was missing the point.
 After punk had already been co-opted, re-packaged and sold back to
us, ‘Bullshit Detector’ volumes 1-3 were, and still are, seen by many
to capture the purest ethos of punk culture, an event that inspired
hundreds to take to their bedrooms and garages and join the DIY
revolution.
 Crass believed in the power of community and that their movement
was for everybody. These compilations are an admittedly harsh but
important part of that story; when Crass gave punk back to the
people.
 Sleeve notes from ‘Bullshit Detector Three’ read: “Don’t expect music
when the melody is anger, when the message sings defiance, three
chords are frustration when the words are from the heart.”

Crass Records, alongside One Little Independent Records, reissue
their iconic three volume compilation series, ‘Bullshit Detector’, on LP,
available in both classic black and special edition grey vinyl.
 ‘Bullshit Detector’ was the name of a series of compilation LPs put
together by the anarcho-punk band Crass and released on their own
label. Three editions were released between 1980 and 1984,
consisting of demo tapes, rough recordings and artwork that had
been sent to the band.
 The sound quality of the ‘Bullshit Detector’ series was mixed and
often basic, or even poor, as Crass would master the tapes directly to
record without any additional production or enhancement. For Crass,
the expectation of a polished performance was missing the point.
 After punk had already been co-opted, re-packaged and sold back to
us, ‘Bullshit Detector’ volumes 1-3 were, and still are, seen by many
to capture the purest ethos of punk culture, an event that inspired
hundreds to take to their bedrooms and garages and join the DIY
revolution.
 Crass believed in the power of community and that their movement
was for everybody. These compilations are an admittedly harsh but
important part of that story; when Crass gave punk back to the
people.
 Sleeve notes from ‘Bullshit Detector Three’ read: “Don’t expect music
when the melody is anger, when the message sings defiance, three
chords are frustration when the words are from the heart.”

Australian pop duo featuring Darren Hayes (vocals) and Daniel Jones (guitar/keys) were inescapable throughout the late 1990’s and early 2000’s. This self titled debut album sold over 15 million copies globally and produced singles ‘Truly Madly Deeply’ as well as ‘I Want You,’ ‘To The Moon And Back’ and more. This iconic album is now available on vinyl for the first time ever and released in it's original Australian form, complete with original track listing and sequence. Formatted as 2 LP’s in striking white vinyl this celebrates the recent 25th anniversary of one of pop music’s most successful debut albums. Marketing activity.

It's hard to think of any other act whose music being added to digital streaming sites would make as many headlines as De La Soul. It has been followed up with a big reissue project that's brought all their many great albums - they made more than just that one iconic one, you know - back to print. Stakes Is High brought the same high levels of wordplay, great beats and overall narrative as any of the band's albums, and all at a time when hip-hop's initial popularity began to wane. Fact fans, take note - Mos Def guested on one tune 'Big Brother Beat' and Common on 'The Bizness' way before anyone knew who either of them was.

The atmospheric aquatic adventures of the World Aquanaut Security Patrol (WASPs) provided the perfect grounds for the evolution of Barry Gray’s own musical odyssey. After navigating otherworldly vistas with experimental minimalism in Fireball XL5, Gray anchored Stingray’s underwater exploits with a cannon of earth-bound incidentals. Employing flutes and gentle woodwind sounds to set the scene, Gray’s music drew attention to the wonder of the series premise, employing lush heavenly strings for the series’ closing theme, ‘Aqua Marina’ (a croon brought to life by in-demand vocalist Gary Miller). The off-duty exploits of the WASP characters also allowed Gray to return to his jazzy routes, with the production team adding a loving reference to the composer in the episode Tune of Danger with a ‘Graystein’ Piano. Episodic melodrama was once again brought to life with bold brass, and driving military marches would establish the WASPs’ base, Marineville, and an unforgettable Match of the Oysters (in The Secret of the Giant Oyster). The DNA of the which would foreshadow the iconic theme for the Andersons’ next series…

Tobias Freund, the Berlin based producer, musician, and label owner of Non Standard Productions has created an incredible cover record that pays tribute to some of the most iconic and influential artists of the past four decades.


The album Tobias. & Friends - TOP TEN places a unique spin on the original tracks, with its combination of electronic sounds and vocal performances from Javiera González, Barbie Williams, Cormac McAdam, Carlos Cabezas, and Stian Westerhus.
Having already worked with Javiera González on the recent post punk album release “The Mutual Torture - Don’t” (NSP 19), Tobias has once again used his talents to honour some of his favourite bands.

Each track has been carefully re-produced at Non Standard Studios in Berlin, resulting in a perfectly balanced mix of old and new.

Erol Alkan further expands on his production for Duran Duran’s acclaimed 2021 studio album, ‘FUTURE PAST’, with a ceremonious, widescreen rework of the single ‘GIVE IT ALL UP’.

Recorded in London with founding members Simon Le Bon, Nick Rhodes, John Taylor and Roger Taylor, as well as Blur's Graham Coxon on guitar, ‘GIVE IT ALL UP’ also features contributions from Swedish singer-songwriter Tove Lo, whose soaring vocals anchor the dramatic progression of Alkan’s sensitive reinterpretation.

Blossoming in unison with Le Bon’s own iconic voice and an insistent bassline that recalls the band’s innovative ‘Night Versions’, Alkan draws closer together Duran Duran’s legendary instinct for both pop music and the dancefloor alike. Expanding on this, the 12” includes a ‘Stripped Vox’ version which appears exclusive to the vinyl edition, arranged by Alkan for his own DJ sets and proven to be a powerful tool at clubs and festivals over the past few months.

"Release of 4 LP Set LIVE – London Roundhouse 11th June INDOCHINE has been part of the History of France for the past 40 years: from 1981 and the election iconic French president François Mitterrand, to this exceptional stadium tour. 6 shows 417,799 spectators ""Central Tour"" the first concert in the world filmed live for IMAX: No. 1 at the box office in 477 theaters (the biggest musical event ever broadcast in France). Concert recorded at the Groupama Stadium in Lyon on June 25, 2022 GUESTS: Christine and the Queens, Philippe Jaroussky,Lou Sirkis,Dimitri Bodiansky,La Musique de la Garde Républicaine Promo: Features London Macadam, Le Petit Journal
Live Reviews:, R2 , London Macadam, London Standard,Record Collector, Frontview, Rock n Load. Format; 4LP"

DARKTHRONE'S LEGENDARY 1989 DEMO, INCLUDING ADDITIONAL
TRACKS FROM BOOTLEG TV 1989, PLUS ADDITIONAL RARE REHEARSAL
TRACKS FROM 1990 - PRESENTED ON BLACK VINYL.
Longstanding Norwegian band Darkthrone started in 1986, originally
under the name of 'Black Death', before their final infamous moniker was introduced Although becoming known the world over as a black metal band crucial to the legacy of the genre, Darkthrone began more as an extreme metal band utilising element of thrash, death & doom metal into their early compositions.

'Cromlech' was Darkthrone's final demo release before a deal was inked with Peaceville Records. The demo was recorded in 1989 with the line- up of Gylve Nagell (Drums), Ted Skjellum (Guitars/vocals), Ivar Enger (Guitars) & Dag Nilsen (Bass); a line-up which would remain in place for the revered 'Soulside Journey' & 'A Blaze
In The Northern Sky' albums.As well as the iconic 'Cromlech' demo itself containing tracks which would go on to form part of the 'Soulside Journey' debut - this release also contains additional tracks from the Bootleg TV Oslo recordings in 1989, including a cover of Celtic Frost's 'Visual Aggression'.

Finally, this edition of 'Cromlech' also includes a trio of instrumental tracks from a rehearsal tape originally made for Peaceville founder Paul "Hammy" Halmshaw, sent to him in 1990.
This edition of 'Cromlech' is presented on vinyl format with printed inner sleeve & includes the original 'Cromlech' art/logo

Taj Mahal can rightfully be called a living legend for his contributions to
popular music
With a voice as instantly recognisable as Louis Armstrong, Ray Charles, or Dr.
John, Taj Mahal has throughout his career pushed the envelope of American
music forward by incorporating sounds from the Caribbean, Africa, traditional
blues and jazz. He has won 3 Grammys from 15 nominations, was inducted into
the Blues Foundation Hall of Fame, and presented with a Lifetime Achievement
Award from the Americana Music Association.
With 'Savoy', Taj takes a new direction in his musical journey, exploring classics
from the American songbook with his good friend and acclaimed record producer
John Simon, whose resume includes producing classic albums by The Band,
Leonard Cohen, Gordon Lightfoot and Blood Sweat & Tears. 'Savoy' is the
realisation of a musical collaboration they had been planning for decades, finally
locking in the studio time to make it happen in August 2022.
Recorded with the hottest musicians in San Francisco, 'Savoy' is a loving
throwback to the sounds of the swing jazz big band era, titled as a tribute to
Harlem's Savoy Ballroom where the music composed by the likes of Duke
Ellington, Louis Jordan, George Gershwin and Louis Armstrong was performed by
a who's who of iconic artists, and now brought back to life by the one and only Taj
Mahal.

Foyer Red’s debut LP, Yarn the Hours Away, plays out as a collection of short stories, each with its environment and protagonist(s) meticulously crafted by the band, with lead singer, vocalist, and clarinetist Elana Riordan at the helm. Foyer Red’s debut EP, Zigzag Wombat, showcased their playfully chaotic arrangements, which bridge art-punk, math rock, and sweetly sung indie with a dash of the zoomies.

The band synthesizes their homespun take on magical realist indie rock that was centered on their EP with their varied musical influences; taking cues from the otherworldly melodies of Cate Le Bon, Yucky Duster’s jangle-filled crayon rock, and the organized chaos of Deerhoof’s iconic polyrhythms. The songs that makeup Yarn the Hours Away are fantastical, surrealist stories that hinge on contemporary, post-digital life.

The lead single “Etc” captures this dynamic perfectly. Anchored by Eric Jaso’s hypnotizing bass line, the song unfolds with off-kilter call-and-response vocals between Riordan and Kristina Moore, their stilted deliveries bouncing around the mix. The track is searching but discontent with the algorithmic and claustrophobic realities of daily life: singer/guitarist Mitch Myers throws the song for a loop singing, “gathering information / will set you free once you’ve reached / 37 percent / of the database.” While there’s paranoia and cynicism undergirding the lyrics, the song itself is a thrilling and playful listen.

The songs on Yarn the Hours Away are uniformly exciting and compelling; each track feels distinct and sometimes even in direct conflict. The peppy opener “Plumbers Unite!” belies its themes of gamification of our daily lives and delves into the science fiction and fantasy songwriting of Foyer Red’s debut EP. Centered around a relentless rhythm section, their dueling vocals never abate; Moore and Riordan’s honey-sweet but getting more frantic as the song progresses, while Myers’ erratic talk-singing culminates in one final frustrated scream. Juxtapose this with “Gorgeous,” a lovely song about Riordan and drummer Marco Ocampo’s relationship that sees the band slowing their pace into a blissful sway. Riordan coos and sighs over the track while recalling “Marco-isms”; botched colloquialisms that Ocampo uses.

“Gorgeous” shares little in common with “Pocket,” a loose lamentation on late capitalism that touches on time travel and human evolution. Moore and Riordan’s exclamations are chopped up and used as rhythm instruments, layered over the intricately frenetic guitars of Myers and Moore. Foyer Red thrives on these extremes and contradictions. Where their first release was self-recorded, this LP found them in Figure8 Studios with a deadline. “It was really liberating,” says Jaso. “We're all just kind of throwing in our own voices and challenging each other to make the songs better.”

Yarn the Hours Away comes from a lyric on the closer “Toy Wagon.” The song that first marked the time Moore and the rest of the band worked together, a promising spark of a thrilling collaboration to come. “It harkens back to all of us coming together and spending the hours together in music,” says Moore. “There are few moments where you get to relax and exhale,” adds Riordan. “It's what happened when the five of us got together and started writing. We just wrote all of these out there songs and we didn't see a reason to dial that back. Its natural form is in its chaos and layered craziness.”

Utrecht based producer Böhm is back with his second batch of heat on MOS Recordings. Right after two recent drops on Steffi's Dolly imprint and the London based EYA Records, Böhm delivers yet again a brilliant take on the deeper side of house music, smoothly blending the iconic MOS strings with drifting bass lines and a spark of idm bleep techno.

Berlin party series and label AWAY Music continues its limited vinyl series called "Reissued", dedicated to re-releasing iconic cuts from the vast collaborative catalog of Move D & Pete Namlook. The second installment "Reissued 2", which follows the series' inaugural EP from 2019, features again some exceptional pieces that were previously only available on CD.


Move D and Pete Namlook are electronic visionaries whose 26-album relationship explored and intertwined psychedelic synthscapes, deep house and techno, future jazz, and downtempo on Namlook's cult imprint Fax Records. Their innovative and influential works keep inspiring electronic music producers today, showcasing their willingness to collaborate and push the boundaries of electronic music.


"Silk Route Part 1", which comes from their 2008 album "Travelling The Silk Route", occupies the A-side with a 12-minute journey full of jazz-infused ambient soundscapes meeting oriental melodies with sophisticated percussion patterns. A truly immersive listening experience!

On the flip, "Sleeplearnin'" was described as psycho-active electronica when it first came out on the "Sons of Kraut" album 17 years ago. Translated, we're talking about minimal house that carries their warm trademark sound, enriched by pulsating echoes, space noises, and relapsing vocoder shreds. It conveys the pair's unique energy that embraces the improvisational moment to create a hypnotic flow that's nothing but timeless.


"Reissued 2" is a true testament to the innovative spirit and pioneering work of Move D and Pete Namlook. With these tracks now available on vinyl for the first time, AWAY's limited series is a must-have for old and new fans alike.