quête:j cut

Following his release on Twin Turbo, British artist R.O.S.H. debuts on Rekids with four imaginative cuts entitled ‘Thanks For Keeping It Real EP’.
Real name Roshan Chauhan, UK artist and mix engineer R.O.S.H. has a knack for blending an array of different styles resulting in a refreshing approach to club music and his next release on Radio Slave’s respected Rekids imprint demonstrates exactly that.
With its raw melodies and rough, syncopated percussion, ‘AMG (CLA45 Mix)’ is a monster destined to shake warehouses. ‘In Roll’ then combines a frenetic rhythm with a deep and atmospheric aesthetic before R.O.S.H. takes us into even murkier territories with ‘PACE’ using metallic snares, shadowy reverb and whirring synths. Tying everything together, rattling drums and echoing stabs lay the foundations for ‘Thanks For Keeping It Real’ whilst a moody bassline and soothing chords ebb into the mix. of house music littered with breathy samples and oscillating atmospherics.

The producer behind Sorcery has lent his unique live drummer presence to the techno scene throughout various contributions and collaborations including with Kangding Ray, Belief Defect, Dadub and Powell just to name a few. This musicianship has led him to perform twice at Atonal festival and release on the Atonal imprint with SUMS (Kangding Ray + Barry Burns/Mogwai). Manufactured Conflicts is the hard-hitting precision engineered debut from one of electronic music's most acclaimed experimental underground's drummer. Samuel Kerridge thoughtfully re-engineers 'Orbature' re-pacing the structure and contributing additional textures to the piece. Mastering for digital support by Daniele Antezza @Dadub Studio Vinyl mastering and cut by Simon at The Exchange
Artwork by Rosmarie Weinlich

* The original sister label to Ram Records from the old Ram HQ studio in Essex, Liftin Spirit Records now celebrates it’s 25th year with a special ‘RELOADED’ limited vinyl series of remastered classics, alongside rare and previously unreleased tracks since the beginning in1992.

* DATs from artists such as Andy C, Ant Miles, Shimon, Joint Venture, Flatliner, Interrogator and Red One have been located in the archives. Also from the Ram & Liftin HQ came tracks for the Deep Seven label in 1993 and all these rare DAT masters have been located and now re-cut by Simon, the original Ram & Liftin vinyl masterer at ‘The Exchange’. Initially, Deep Seven remasters will present on a printed white label and unreleased tracks will have a black label.
* The year is 1994 and the awesome combination of Flatliner & Ant Miles gave life to the infamous tracks ‘The Big Bang’ / ‘No Boundaries’. Release no 9 on RAM records tore up sound systems at every Rave in the country. A follow up was on the cards and ‘Flatline’ was born. Put to one side to make way for the Big Bang/No Boundaries remixes, somehow it never resurfaced again... until now!
* A similar story evolved for the A side ‘Just Stop’. A track made in the latter part of 1995, Flatliner comes with yet another amen monster, but this time taking things on more of a rolling Drum & Bass vibe. A golden nugget to own on vinyl for any true Jungle/Drum & Bass fan.

Deliquent Delivery’s third EP titled U​ comes from Dublin based label head Stephen Mahoney, who contributed two tracks to the label’s last split EP.

Mahoney’s vision for Delinquent Delivery is visible on this release, showcasing his talents which range beyond A&R and delving into production. ​U features five untitled tracks, contrasting thumping dancefloor driven techno with spacey atmospheric ambient tones. With over twenty years experience as a DJ, Mahoney’s ear for precise, engaging rhythms and melancholic tones can be heard throughout​ U.​

A1​ sets the tone of ​U.​ A thumping kick lays the foundation for the track, with gritty, cutting melodies juxtaposed with polished, pensive tones. Rhythmic structure is a large component of Mahoney’s signature sound, with cleverly placed hats and snares audible on ​A1​. A strong link to the sounds of Detroit sounds of the ’90s is audible here, synonymous with Zenker Brothers et. all.

A2 c​ontinues down the path previously set out, with another dance floor directed track. More subtle than previously heard, Mahoney drives the track with a glossy lead, only to break the track up and juxtapose it with a gritty, murky underlying melody. ​A2 ​also focuses heavily on rhythmic structure, with well-placed spacing allowing energy to be retracted and reintegrated with more tenacity.

A3​ takes ​U​ to a different space with an ambient excursion. Mahoney here showcases that he is capable of creating lush, captivating soundscapes which transport the listener to a place of tranquillity. Dark, harrowing undertones are balanced with ethereal swells, maintaining the aura of the record established.

B1 moves back to the dancefloor, with a thumping kick and jagged, piercing tones. Mahoney’s versatility as a producer is evident here, as ​B1​ moves in the same vein as the A-side of ​U​ but is completely different in style. Prime-time dance-floor material, this track drives forward with ferocity and grace, cleverly being broken up with sparkling synth tones only to hit back harder than before.

B2​ closes out ​U. ​A bouncy kick drum sets the tone, with atmospheric, dark swells creating an engaging sonic tapestry. Sparse, delicately placed lustrous tones take the lead, with airy swells contributing to form a wonderful balance of light and darkness. Mahoney’s focus on precision within rhythmic structure is again noticeable here, with rhythmic elements forming their own melodies throughout ​B2​.

U​ is Stephen Mahoney’s first full release on Delinquent Delivery and captivates the essence of his vision as a producer entirely. Versatile, engaging and polished, ​U​ contains five tracks which all compliment one another wonderfully. ​U​ is a record which is as useful in a DJ’s record bag as it is for home listening.

Tenesha the Wordsmith, who came to the fore on On The Corner's 2018 release 'Black Noise 2084', has delivered a hard-cutting, gut-wrenching, and extremely moving spoken word album produced by Khalab that brings together different lines of black music - folkloric, jazz, and electronic dance - into an afro-futurist narrative with thunderous results.
Originally from Oakland, California, "a place where revolutionaries are born, Tenesha the Wordsmith originally began to fuse hip hop and poetry while living in Albany, New York, where she created her first collection 'Body Of Work'. Her early influences have returned with features from beatboxers and vocalists that give the album a distinctly urban hip hop vibe.

Anonymous newcomers Broke Brotherhood delivering 4 cuts, from driven trippy techno to wonky house.

Celebrating the broke side of lyf. That side we all know, but forget to wear it with pride. Losing money for the love of music xxx Bobby Donny

Two of our favorite cuts from the rare Black Sun 2 LP, originally released in 1980 by the US Panache Records, now remastered and available on a special 12 inch disco version via Omaggio, courtesy of Philippe Walter.

Cologne’s resident conjurer Hodini steps up for his second solo EP on WOLF Music Recordings. Bringing elements from his hip hop background into this unique five tracker, Hodini dusts off long forgotten cuts, sampled with that MPC chopped graininess, blending lo-fi vocal sound bites with deft jazz loops, all adding a distinct, textured edge to his work.

‘Velved Groove’ and ‘Special Shoutout’ kick things off, snapping in funk fills and skipping guitar riffs behind a concoction of hazy spirals that transfix from the off. The former is an uptempo, twisted, jazz club house jam and the latter a bubbling voyage through the afterhours, bourbons flowing and faces flying from every corner.

A master of misdirection, Hodini also moonlights as one of Germany’s leading underground hip hop producers HulkHodn, proving he can flip styles and meld genres with ease. Featuring his alter ego, ‘Doggo Content’ is his nod to this - a crackling slo-mo trip through the intoxicated mind, soundtracked by stretched vocal snippets, wading bass notes and a crunching snare.

Two of the harder-hitting club tracks close out the EP, both focused around hypnotic bassline carousels and looping layers. ‘Where’s The Wine’ interjects Rhodes flickers with bongo rhythms and unsettling laughes, as ‘One4Fries’ marries off-kilter, piano stabs alongside jazzy flourishes and fizzing percussion.

The Transhumanism collective was born on the dance-floor at Dave Clarke's first Whip It party at the Melkweg in Amsterdam. This is the fourth vinyl release on Bass Agenda Recordings that features the four Dutch Electro artists w1b0, RXmode, Slaves of Sinus, and TFHats. The releases to date have had ongoing support from many key DJs who support the authentic Electro scene - Dave Clarke, UMEK, Helena Hauff, DJ Stingray, Maceo Plex, and Alienata to name but a few. Juan Atkins and Helena Hauff were still dropping w1b0's track from the first release this Summer (2019) at various festivals. It's no surprise that the first in the series has just been repressed, and now, the third in the series keeps the pressure up with 4 brand new tracks. As always, the brief here was simple - "be yourself and do your best to kill it". All four artists have risen to the occasion - maintaining the fundamentals of their individual sounds, evolving a little in some parts, and bringing a compilation with something for every discerning DJ with an ear for cutting edge Electro.

Acclaimed by many as one of the greatest and rarest library LPs of all time, the album 'FEELINGS' by Jay Richford & Gary Stevan aka Stefan Torossi. With its iconic 'naked lady in the wild' cover, has been coveted for many years by collectors of all musical genres. This album showcases some outstanding compositions & arrangements that explore the exciting connections between rhythmic funk and orchestral jazz - and are now for the first time issued on 7" 45 vinyl double pack!

We open with the uplifting “Running Fast” - a driving, pulsating groove laden with Fender Rhodes and swept along by lush strings. If you're not feeling it - book an appointment to see your doctor! Next follows a B-Boy dancer filled with battle floor emotion - “Fearing Much” - this one packs a heavy bass and syncopated drum groove with dramatic, stirring strings. A must have 45 DJs fave! The opening drum break to “Feeling Tense” gives way to mellow vibes with a deep bass, silky strings and charged horns that deliver the perfect slick, down-tempo groove. Last one is another down-tempo vibe heavy on the bass and strings, “Walking in the dark”. 
All in all yet another MUST HAVE Dynamite Cuts 45!

Cult status for those new york disco cuts pioneered by legendary djs such as Larry Levan, Franckie Knuckles, Junior Vasquez, David Morales.

After last year’s excellent ‘Insula’ album, Proc Fiskal returns to Hyperdub with the six track EP ‘Shleekit Doss’; in his own words, “a kind of representation of the time I was running the club night of the same name in Edinburgh. These tunes represent the night’s ethos of genre-defiance and high-energy futuristic sets, ecstatic and transcendent while still being fun and stupid. I was getting my friends to play and I made all the posters on my phone - like this EP’s artwork. I also started hoarding old FM synths which crop up a lot on the EP, and was reading a lot of sci-fi like Isaac Asimov’s ‘Foundation’, and ‘2001’. The night ran until last November when the bouncers and some punters got in a fight, the club got damaged, and unfortunately I got banned too.”

Through this mayhem and misdemeanour, ‘Shleekit Doss’ feels like an oasis of calm; light, bouncy and melodic, the EP sees Proc developing the depth and range of his music in satisfying ways. The beatless, processed male voice choirs of ‘Satan’ open the set, breaking into glitchy drums before the melodies are time-stretched into a pretty drone and gentle rolling piano. Clouds of bittersweet synths waft across cut-up voices and clattering drums on ‘Smith’s Deli’, while ‘Pico’ is a driving mix of tight, tiny micro-edits that feel like micro-house crossbred with jungle breaks. ‘2 Moros’ takes the Sinogrime developed on ‘Insula’ deeper into dense rhythmic abstraction, and on ‘4 minutes’, charming synth melodies and 8-bit bass lines are threaded through skeletal drum machine kicks and snares. ‘Prop-O-Deed’ finishes the EP, Proc Fiskal displaying his inimitable gift for heart-wrenching anthemic melody, built around tuned Asian percussion and scratchy synth violin.

Michal Wolski joins Kynant with a diverse, four-track EP of hyper-detailed techno. ‘Back Entry’ and ‘Inferior Representation’ are peak time cuts with hypnotising touches. On ‘Bathyscaphe’ and ‘Wanderer’, Wolski explores more a melodic, atmospheric direction.

The legendary Blade is back on vinyl with this limited edition 7" and digital release from Boot Records! These are 2 killer tracks from the archives, "Dark Friends" and "Make it Connect", both with cuts from Boots Jazz T. The cover art is by Stilts cementing this as a record not to be missed!



General Information

Title: DARK FRIENDS

Lyrics Written & Performed by: Blade

Produced by: The Manos

Recorded @: The Lion's Den

Mastered by: N/A

Label: 691 Influential

Catalogue Number: N/A

Recorded: 2003

Blade had met a couple of young guys whilst selling his records on the streets around 1991 and kept in touch on a regular basis as they both had a love for the creative side of music making. At this time the guys were just fans of Blade's music but one day turned up at Blade's flat to produce a beat with Blade's help and ever since then have been good friends and later went on to be called THE MANOS

12 years later and with the release of Blade's "STORMS ARE BREWING" album, his distribution company had declared bankruptcy and left him on the verge of losing his house. Not being able to provide for his family, he called up on his close friends THE MANOS to produce a couple tracks while he focussed more on just writing and performing the lyrics while doing what he needed to do to make sure the bills were paid and his house saved from repossession

The first helping of their production skills was showcased on Blade's "SOLDIERS" track which also featured LIFE MC & RESPEK BA. "SOLDIERS" was officially released in 2003 and around the same time Blade & THE MANOS hit the studio again and recorded "DARK FRIENDS"


Due to constant unexpected and sudden unpredictable changes in Blade's personal life, "DARK FRIENDS" never got to see an official release and was shelved as an incomplete demo until years later when it saw an underground release on "BOOT RECORDS". At this point the track was still missing the scratching and now again almost 10 years later and with Blade's very close friendship with DJ JAZZ T and with the addition of the scratching by the one and same, "DARK FRIENDS" now complete with sharp and to the point cutting finally sees the light of day.

Blade retired in 2006 and has been off the radar since until December 2018 when he became a little more active on Facebook and has reconnected with a lot of the fans and friends, with which obvious conversations about unreleased material was bound to surface and as a result "DARK FRIENDS" now is finally released on a limited edition 7" vinyl

General Information

Title: MAKE IT CONNECT

Lyrics Written & Performed by: Blade

Produced by: Blade

Recorded @: The Lion's Den

Mastered by: N/A

Label: 691 Influential

Catalogue Number: N/A

Recorded: 1997

"MAKE IT CONNECT" is one of those rare demos that Blade just threw together in about an hour to pass time and over the years turned out to be one of his favourite tracks, but at the time being completely broke and homeless, living in the basement of a local equipment store in New Cross, releasing this was simply not possible. This track has been sat on a cassette tape for over 20 years and having been played over and over again the quality has completely worn down. Unfortunately the version on the cassette tape was the only version available so separating the channels to get a proper mix is not possible either

However, thanks again to DJ JAZZ T that only made it more interesting to make something of this gem of a track. Blade having been retired now for 13 years, it would only really take one of two things to see Blade on tracks again for public consumption

Nice 1 Records launches with a sublime slice of deep house geared towards tender moments in the dance. We Are Syd's "Gently" in its original form is a smoky downtempo cut riding on a laid back broken beat, honey-coated keys and a powerful vocal turn from accomplished singer Shea Seger. The emphasis on this record is on the two stellar mixes from Baby Ford & Dazmos, leading on the A side with the hazy, old-school groove of the "Backroom Mix". Seger's husky delivery lingers in a mellifluous bed of pads and a classic, understated drum machine funk. On the flip, the "Frontroom Mix" bring the rhythm section to the forefront, letting the undulating bassline carry the track and splashing dubbed out flourishes in the mix for a spellbinding, club-ready end result.

It wasn’t really a movement, barely even a moment, but the Daisy Age was an ethos that permeated pop, R&B and hip hop at the turn of the 90s. Playfulness and good humour were central to De La Soul’s 1989 debut album, “3 Feet High And Rising”, which would go on to cast a long, multi-coloured shadow over rap.

In Britain, the timing for “3 Feet High And Rising” couldn’t have been better. The acid house explosion of 1988 would lead to a radical breaking down of musical barriers in 1989, and its associated look – loose clothing, dayglo colours, smiley faces – chimed with the positivity of De La Soul and rising New York rap acts the Jungle Brothers and A Tribe Called Quest, all at the heart of a growing collective called Native Tongues.

The Native Tongues’ charismatic, summery aura quickly spread west to the Bay Area’s similarly-minded Hieroglyphics crew (Del Tha Funky Homosapien’s ‘Mistadobalina’); Canada’s Dream Warriors (‘My Definition Of A Boombastic Jazz Style’) used “3 Feet High”’s colour palette and borrowed Count Basie and Quincy Jones riffs; Naughty By Nature (OPP) were mentored by Native Tongues heroine Queen Latifah, while Londoner Monie Love was also adopted by the collective, resulting in her Grammy-nominated ‘It’s A Shame (My Sister)’.

It wasn’t built to last, but the Daisy Age reintroduced Multiplication Rock, bubble writing and the gently psychedelic into the charts. It was a brief, but extraordinarily warm and optimistic moment. The songs on this collection promised that the 90s would be a lot more easy-going than the 80s.

Available on CD and double LP.

Phillip Mitchell only cut one single for the Spring subsidiary, Event, in 1975 and despite the beautiful ballad ‘There’s Another In My Life’ being an R&B hit, he did not have a follow-up. However, there were three songs recorded at the Brad Shapiro-led Muscle Shoals session and ‘I’ll See You In Hell First’ was the superb mid-tempo track that lay dormant until compiled on an Ace CD in 1990. It features Mitchell singing at his best on an inspired, self-penned song and is long-overdue a vinyl pressing as originally hoped for.

Singer Ray Godfrey had four 45s for the label but like Mitchell he was best known as a songwriter for Millie Jackson, Joe Simon and Act I in particular. He wrote under his real name of Raeford Gerald. He produced this song on both Joe Simon and Millie Jackson and his own reading has now been found on the multi-track tapes for the song’s recording session. It is a worthy addition to the Godfrey/Gerald catalogue.

The latest addition to Furanum's discography arrives as an EP entitled "White Cold Skin" that simultaneously marks the emergence onto the scene of Beuthen OS. In keeping with the central ethos of the label, the figure behind the guise interrogates and ably materializes the industrial aesthetics of raw power and dystopic bleakness within the confines four diverse yet thematically coherent compositions.

The exploration of said dichotomy is cogently on display within the eponymous track, where an immediately evident presence of inordinate subsonic force is gradually complemented by the imposing throes of harsh yet carefully crafted analog cyclicality. Linearly hurtling toward its final destination, it relentlessly batters the listener with exhilaratory waves of cold sweat in its wake.

In contrast, "J131" and "Porobieni" present far more dispersed and unorthodox rhythmical structures as they maintain the omnipresent sense of part thrilling, part foreboding unease that permeates the record. Propelled by a pervasive pendulatory sway, the former radiates barely repressed power as it exerts its existential narrative, while the latter seems to speak to the ritualistic submission of willing bodies continually broken on the rhythmic wheel of a self-perpetuating cycle of sonic gratification.

Finally, recorded live and serving as an apt epilogue, a beatless yet by no means any less compelling droning rendition closes out the record. Whereas overt melodic content was hitherto eschewed in favor of rhythmic complexity, the piece more than delivers on this front, thrusting the audience into an ever encompassing and vividly visceral collage of throbbing textures as it progresses towards the revelatory unconcealment of a recondite core.

Mastered & cut by Kassian Troyer at Berlin's Dubplates & Mastering,

Our dream team is back in the studio for the new installment of the Seleccion Natural series. This limited 10 inch vinyl comes as an advance of a full-length work to be released this autumn as PoleGroup057.

We provide two cuts of raw and powerful techno cooked by Oscar Mulero, Exium and Reeko in Oscar's studio in the north of Spain. Modular synthesizers, samplers and drum machines expertly crafted on behalf of this proper techno workout.

On the A-side "Split Didactics" gives all the energy from the beginning, fast tempo, hard drums, obsessive sequences and a linear and hypnotic arrangement.

On the B-side "A New Description of Hell" runs in similar parameters, hi speed, harsh sound design, no breaks, no pads no useless elements, just energy and purity.

As an extra bonus, artwork by the mighty Silent Servant.

Matasuna Records once again dug deep for its latest release and comes up with probably one of the best Latinfunk tunes. It was recorded by US band "Los Sobrinos del Juez" and released on their debut album in 1974. Matasuna Records is delighted to officially reissue two cuts from the album on 7inch single.

Founder, producer and singer of the band is Carlos Oliva, who was born in Cuba. He moved to Miami, Florida in 1961, where he had his first engagements. There he linked to other Cuban musicians and decided to move to New York with them to make music.

Some time later Oliva returned to Miami and founded his own band "Los Sobrinos del Juez (The Judge's Nephews)" in 1967. The group is regarded as one of the pioneers of musical fusion, which developed in Miami in the late 1960s and became known as the "Miami Sound". The music styles rock, blues, funk and soul that were popular at that time had an influence on their own compositions, which were enriched and spiced with Cuban/Latin American sounds. The band's first album was released in 1974 on an independent label in Miami and is a good example of this new sound. The album is much sought after and hard to find.

Oliva has released several albums with the band and toured Latin America and Europe. In the early eighties he also founded his own label. In the course of time he and his eight-man band got deeply rooted in the cultural life of Miami and enjoy attention and recognition. They are still on stage as "Los Sobrinos del Juez".

"Harina de Maiz" is the name of the song on the A-side - an uptempo latin funk monster driven by the characteristic wah wah guitar and a psychedelic sounding organ. Listening to it reveals why the song is one of the most funky Latinfunk tunes.

On the flip side it's quite different: "Corned Beef Hash" is a vibrant easy Latinjazz tune, where the talent of the musicians is audible. The perfect interaction of the piano player, the vibraphonist, the flute player and the rest of the band is a musical delicacy for its connoisseur.


a A1 Harina de Maiz clip