quête:jo jo

NON EXCL LP , Black Vinyl

The Soulful Trio, a band from Barcelona made up of three musicians with an international background (Spain, Holland, Argentina, USA, France) after playing their repertoire live in different venues for several months, with their songs well shot, have decided to record "Said & Done", in one of the best studios of Barcelona, nine original compositions of Soul-Jazz with derivations towards funk and blues.

Music reminiscent of the classics of the Hammond B3 organ trio such as Jimmy Smith, Jack McDuff, Lonnie Smith, Richard “Groove” Holmes or Big John Patton, reinventing the sound and bringing it closer to today with their vibrant fusion of genres full of energy.

Enjoy this instrumental Soul-Jazz album with these young veterans Homero Tolosa (drums), Pablo Sánchez (guitar) and Lucas Herrera Fernández (Hammond B3) in all their splendor with their respective instruments including the exciting & dynamic sounds of the Hammond B3, the great electric guitar groove of solos and huge variety of rhythms, playing a music that is always intense and made from their hearts.

The Last Question is the first album by electronics master Tim Clark. It collects his early works, when he was the Music Director of the Strasenburgh Planetarium in Rochester, N.Y. These tunes were the soundtrack to the planetarium’s adaptation of Isaac Asimov’s The Last Question short stoy. The idea was conceived by Von Del Chamberlain, director of teh Abrams Planetarium, and was taken to fruition in a joint venture bewtween the Abrams and Strasenbergh Planetariums, were the shows were premiered in 1972.

Clark composed and produced the works in the Strasenberg Planetarium’s own sound studio, equipped with three Ampex 440 recorders, a 4-channel mixing board with 18 inputs and a Moog Synthesizer. The album was released as a private pressing in 1973 and it has since become an elusive collector’s piece among electronic music afficionados. Comes with remastered sound and straight reproduction of the original artwork.

ULTRA RARE OUTER SPACE PRIVATE PRESS!

RIYL : Tonto’s Expanding Head Band, Iasos, Peter Davidson, Michael Stearns, Steve Roach...

The Last Question is the first album by electronics master Tim Clark. It collects his early works, when he was the Music Director of the Strasenburgh Planetarium in Rochester, N.Y. These tunes were the soundtrack to the planetarium’s adaptation of Isaac Asimov’s The Last Question short stoy. The idea was conceived by Von Del Chamberlain, director of teh Abrams Planetarium, and was taken to fruition in a joint venture bewtween the Abrams and Strasenbergh Planetariums, were the shows were premiered in 1972.

Clark composed and produced the works in the Strasenberg Planetarium’s own sound studio, equipped with three Ampex 440 recorders, a 4-channel mixing board with 18 inputs and a Moog Synthesizer. The album was released as a private pressing in 1973 and it has since become an elusive collector’s piece among electronic music afficionados. Comes with remastered sound and straight reproduction of the original artwork.

ULTRA RARE OUTER SPACE PRIVATE PRESS!

RIYL : Tonto’s Expanding Head Band, Iasos, Peter Davidson, Michael Stearns, Steve Roach...

After two decades, the indietronic veteran returns with a powerful sonic reflection on today’s sociopolitical climate and a poignant reminder of music’s enduring ability to heal, unite, and inspire. Blending experimental electronics with krautrock sensibilities, the album thrives on spontaneity, collaboration, and the beauty of ‘happy accidents’.

While many of Nitrada’s sonic trademarks remain — intricate, rickety beats; enigmatic field recordings; and gut-punching string melodies — EVERYTHING THAT IS NOT COUNTED WILL BE LOST marks a shift in approach. Experimenting with different constellations of musical machines, Christophe Stoll, the mind behind Nitrada, recorded hours of improvisations (some shared on his Instagram). These sketches became the raw material for more elaborate, carefully structured arrangements.

True to his collaborative spirit, Stoll brought in like-minded artists to shape the final album: Jan Sturm (aka STURM) lends his touch to the shimmering FRAGMENTS OF LIGHT. The euphoric dystopian WE DANCE IN THE CHAOS features Landobe (Marco Heinle) and Patrick Siegfried Zimmer on vocals. Luca di Mira (of Giardini di Mirò fame) contributes synths, cello, and delicate textures to some tracks, while Johannes Schardt’s guitar work brings a visceral, post-rock edge to NO HYMN FOR NOBODY and IL ROMANTICISMO DELL’APOCALISSE, nodding to Stoll’s roots in punk and indie.

“The goal is to take listeners on a journey through different timbres and sonic landscapes — a collage of diverse ideas and inspirations,” says Stoll about his album which effortlessly juxtaposes experimental ambient soundscapes, heavy jagged guitars, and minimal techno pulses, making them feel as though they’ve always belonged together. Because, in the end, they do – all part of the shared vocabulary of our universal language: MUSIC.

Seven years after their last release (Helltown, 2018), Electric Citizen returns with their fourth album, EC4-a powerful statement of renewal and raw energy. Written by Ross Dolan with contributions from the full band, the album was meticulously crafted over several years and recorded with Mike Montgomery and John Hoffman at Candyland Studio in Dayton, KY. The album was mixed by Collin Dupuis (Lana Del Rey, The Black Keys) in Detroit and mastered by JJ Golden at Golden Mastering in California. The album art was created by Neil Krug (Lana Del Rey, Tame Impala, Weyes Blood), who the band worked with for their first album, Sateen. Now signed to Heavy Psych Sounds, the band is ready to unleash their most potent work yet-a fusion of hypnotic grooves, searing guitars, and Laura Dolan's mesmerizing vocals. EC4 is both a homecoming and a rebirth. Electric Citizen is back!

Solid red vinyl, limited to 350 copies. Seven years after their last release (Helltown, 2018), Electric Citizen returns with their fourth album, EC4-a powerful statement of renewal and raw energy. Written by Ross Dolan with contributions from the full band, the album was meticulously crafted over several years and recorded with Mike Montgomery and John Hoffman at Candyland Studio in Dayton, KY. The album was mixed by Collin Dupuis (Lana Del Rey, The Black Keys) in Detroit and mastered by JJ Golden at Golden Mastering in California. The album art was created by Neil Krug (Lana Del Rey, Tame Impala, Weyes Blood), who the band worked with for their first album, Sateen. Now signed to Heavy Psych Sounds, the band is ready to unleash their most potent work yet-a fusion of hypnotic grooves, searing guitars, and Laura Dolan's mesmerizing vocals. EC4 is both a homecoming and a rebirth. Electric Citizen is back!

Im oberfränkischen Sulzbach-Rosenberg, dem Standort der Maxhütte, brannte Ende des Jahrzehnts natürlich nichts außer dem Feuer in den Hochöfen, in denen Stahl geschmolzen wird. Floh de Cologne sahen sich über viele Monate dort um, die fünf Langhaarigen aus Preußen (Enxing) redeten mit Gott und der Welt. "Wir waren mit der Zeit integriert." So entstand Koslowsky.

Darin gehört das Epos "Prinzessin auf der Nadel" zum Besten, was die deutsche Rockmusik hervorgebracht hat. Der Text stammt von Peter Maiwald (1946–2008). Er porträtiert die Umstände, die eine junge Frau aus Sulzbach in die Droge als »Aus- weg« führt. Uraufgeführt an zwei Abenden im Dezember 1979 im Saal der Gaststätte "Josefshaus", gewerkschaftlich unterstützt wie manche andere Floh-Produktion, er- reichte sie auch die Belegschaft des Stahlwerkes – bis spät in die Nacht unterhielt ich mich danach mit einem Stahlwerker bei gutem bayrischen Bier. Im Betrieb hatte er so einiges mitbekommen von der Vorgeschichte. Das Programm steht für die Brillanz, die Floh de Cologne musikalisch wie textlich im Laufe der Jahre erreicht hatten, erhielt den deutschen Kleinkunstpreis und wurde fürs Fernsehen aufgezeichnet. Ins erste Programm schaffte es Koslowsky nicht, aber immerhin in mehrere dritte.

Drei KontinenteɎ drei musikalische Weltbürgerɍ In der Berliner Philharmonie haben sie ihre Herkunft und ihre globalen Erfahrunɞ gen zu einem fesselnden LiveɞKonzertprogramm vereintɎ das WüstenbluesɎ GnawaɞTranceɎ Jazz aus dem Nahen OstenɎ Rock und fernöstliche Gelassenheit umfasstɍ Die drei hochkarätigen Musiker haben aus ihrem musikalischen Erbe geschöpftɎ und ein Fest der menschlichen Verwandtschaft geschaffenɎ das atembeɞ raubend lebendig istɍ

First vinyl album ever by the infamous Hague rap formation De Kraaien!
Released on neon green vinyl. Live already a sensation and also tens of
millions of streams on Spotify, now there is the new album on poisonous
green vinyl.

This Project is really a two in one offering. Combining the three tracks from Ringer’s 2021 release, the “Meta Music EP” and his darker more aggressive moniker, Black Sued’s offering the “Rogue EP”. The EP is sort of a yin and yang. Monotone is a deep chordal track with uplifting vocals and a pulsing almost distorted bassline. This track is complimented with minimal drums and a simple yet beautiful synth riffs that bring it all together. New Plan is a fast paced cut that insights the listener to move. The drums and chords wrestle in a rhythmic dance while Ringer’s voice projects the essence of this side of the 12”. Positivity and persistence, the energy is alive in this track. YIA, an acronym that stands for Yes I Am, is meditative and filled with affirmations for the listener. Deep solemn chords, and the sounds of a thunder storm take the listener into a inner place of self reflection. The affirmations are for the listener to embody, a solid thought provoking end to this side of the 12”.

Rogue, the title track of this side of the record, is an intelligent, dark and jazz filled groove, that takes the listener on a journey. The groove is easy to catch, and wraps the listener into an almost mysterious landscape of rhythm and melody. Keeping the tone of this side of the 12” is Maze. The chords and rhythm walk in tandem to a beat that almost favors a marching band. A higher energy feel arrives as the 16th high hats meet a long defining chord that take this track to the next level. Deep Dirt reminds me of a drum machine tweaking or malfunctioning. The ominous chords paired with the distorted synth and bass lines that carry the listener through the filth that is this track.

Golden hour couldn't come soon enough for HATT.D, presenting his new EP on Belgian label Flipsight.

Our sun-soaked journey along the lakeside begins with the title track, 'Hold Me' . An unexpected vocal flip that transforms a forgotten sample into a soulful plea. Next up, 'DANCE' delivers a mellow yet club-ready groove, driven by sharp vocal chops and Dave's signature bass-forward rhythm.

On the B-side, 'Check This Shhh Out' fires things up with no-nonsense energy: snappy hi-hats, heavy kicks and pure peak-time attitude.

Closing the ensemble is 'Connection', an ode to the deep, often elusive feeling of true human connectivity.

To celebrate the imprint’s 20th release, it only feels right for label head Pegasvs to be left in control, with ‘Extend and Play’ a wonderful representation of not only Pegasvs’ signature style but the start of a joyous new chapter for the label as it looks forward to another 20 releases.

Well known by now for his simmering and infectious house-laden cuts, ‘Extend and Play’ is yet another wondrous piece of house music that cuts across the genre’s horizon line with aplomb.

The title track unravels with a myriad of Jazz and funk fusion melodies nestled atop a delicate rhythmic section that never ceases to get the room shakin’.

‘Wonky Business’ is a slice of hands-in-the-air dance music that pairs infectious disco guitar riffs with infectious melodies and an irresistible bassline.

‘Hidden Sounds’ sits somewhere in the midrange between the previous two numbers, with driving chords sitting atop a rolling rhythmic bed that simply oozes energy and feet moving.

Finally, ‘Not Far Behind’ slides into view to facilitate a little trip into paradise, as euphoric pads and scintillating acid lines lift the listener to new heights of being.

Early Support from Bill Brewster, Laurent Garnier, Robert Owens, Bradley Zero, Jimpster, Crazy P, Auntie Flo…

Vinyl comes housed in a custom sleeve with artwork by Cerri Studio.

3rd limited edition vinyl EP in the series of EPs celebrating the 20th anniversary of the group Chinese Man and Chinese Man Records. For this 3rd opus, we take a look back at the various collaborations between Chinese Man and O.B.F over the years. Two versions of Salune included, plus two O.B.F.-Remixes of CM tracks. 20 years logo by Joan Oaï of Life. Available on limited transparent purple vinyl.

Haunting, discordant and deeply unsettling, `Les Maîtres Fous' (`The Mad Masters') was written by French post-metal collective Year of No Light in response to French filmmaker Jean Rouch's controversial 1950's docufiction of the same name. Commissioned by Musée Du Quai Branly in Paris for their 2012 `L'Invention Du Sauvage' exhibition, trance-metal pioneers Year of No Light approached the ritual practices of the Hauka movement as depicted in the film and responded with their uniquely hypnotic heaviness. Performed only twice, once at the exhibition on the 6th January, 2012 and again in Bordeaux on the 29th January, 2015; this release is a live recording of the second and final performance of `Les Maîtres Fous'. Whilst Year of No Light have a long history of collaboration with forward-thinking filmmakers and visual artists, the sensitivity of this documentary's problematic subject matter and the intensity of the band's performance made this performance both a physically and emotionally demanding experience; something that can be keenly felt upon listening. Founded in September 2001 by a collection of Bordeaux's heavy scene stalwarts as an ongoing side project encompassing elements of sludge metal and shoegaze, Year of No Light released their debut album, Nord, in 2006 to critical acclaim. The subsequent years however saw a significant lineup change with the band replacing their vocalist with a third guitarist to become a fully instrumental sextet incorporating aspects of black metal, drone electronica and dark ambient into their already formidable sound. 2010's four track epic Ausserwelt and the 2013 follow up Tocsin saw Year of No Light distilling their punishing sound even further; stalling the tempo to a glacial crawl and tuning guitars ever downwards to new uncharted depths. Consolamentum, the band's first full-length release in nine years and their first with Pelagic Records, brought the outfit's crushing double-drumming percussion to the fore as a masterclass in dynamic control saw Year of No Light embrace the highest highs and the lowest lows of the intervening years. Now approaching their 25th anniversary, `Les Maître Fous' is a pressing reminder that, despite the band's long and ongoing journey, Year of No Light have never been afraid to experiment, to take risks, to square up to life's ugliness and look it straight in the eye. FOR FANS OF Neurosis, Cult of Luna, SWANS, ISIS, Russian Circles, My Bloody Valentine, Chelsea Wolfe

Haunting, discordant and deeply unsettling, `Les Maîtres Fous' (`The Mad Masters') was written by French post-metal collective Year of No Light in response to French filmmaker Jean Rouch's controversial 1950's docufiction of the same name. Commissioned by Musée Du Quai Branly in Paris for their 2012 `L'Invention Du Sauvage' exhibition, trance-metal pioneers Year of No Light approached the ritual practices of the Hauka movement as depicted in the film and responded with their uniquely hypnotic heaviness. Performed only twice, once at the exhibition on the 6th January, 2012 and again in Bordeaux on the 29th January, 2015; this release is a live recording of the second and final performance of `Les Maîtres Fous'. Whilst Year of No Light have a long history of collaboration with forward-thinking filmmakers and visual artists, the sensitivity of this documentary's problematic subject matter and the intensity of the band's performance made this performance both a physically and emotionally demanding experience; something that can be keenly felt upon listening. Founded in September 2001 by a collection of Bordeaux's heavy scene stalwarts as an ongoing side project encompassing elements of sludge metal and shoegaze, Year of No Light released their debut album, Nord, in 2006 to critical acclaim. The subsequent years however saw a significant lineup change with the band replacing their vocalist with a third guitarist to become a fully instrumental sextet incorporating aspects of black metal, drone electronica and dark ambient into their already formidable sound. 2010's four track epic Ausserwelt and the 2013 follow up Tocsin saw Year of No Light distilling their punishing sound even further; stalling the tempo to a glacial crawl and tuning guitars ever downwards to new uncharted depths. Consolamentum, the band's first full-length release in nine years and their first with Pelagic Records, brought the outfit's crushing double-drumming percussion to the fore as a masterclass in dynamic control saw Year of No Light embrace the highest highs and the lowest lows of the intervening years. Now approaching their 25th anniversary, `Les Maître Fous' is a pressing reminder that, despite the band's long and ongoing journey, Year of No Light have never been afraid to experiment, to take risks, to square up to life's ugliness and look it straight in the eye. FOR FANS OF Neurosis, Cult of Luna, SWANS, ISIS, Russian Circles, My Bloody Valentine, Chelsea Wolfe. The Dim Gleam edition is kind of a beige vinyl colour

The Southern Fold wurde 2014 in Kilkenny, Irland, von Sänger/Gitarrist/Songwriter Emlyn Holden gegründet. Die Band integriert Elemente aus Country, Blues und Gospel in einen Folk-/Roots-Sound und findet Einflüsse von so weit her wie Hank Williams, Nirvana und alles dazwischen. Holden griff mit zehn Jahren zum ersten Mal zur Gitarre, als er Elvis Presley hörte, und war in seinen frühen Teenagerjahren völlig in die alten Sun-Aufnahmen vertieft. Über die Roots-Rocker Creedence Clearwater Revival und den Punkrock schuf er sich eine vielseitige Inspirationsquelle. Die Entdeckung der Alt-Country-Pioniere Uncle Tupelo und Wilco brachte Country zurück in sein Songwriting und führte ihn auf den Weg zu The Southern Fold. Ursprünglich als Duo im Stil von Gram Parsons/Emmylou Harris gestartet, enthielt die erste EP der Band - "A True Ascension from the Wayward Path" aus dem Jahr 2016 - fünf eigene Songs sowie ein Cover von "Where Did You Sleep Last Night". Es war eine reduzierte Folk-Country-Nummer, gepaart mit sehr persönlichen Texten und zusätzlicher Instrumentierung durch Klavier, Cello und E-Gitarre. Es folgten einige Jahre intensiver Konzerttätigkeit, und bis zum Erscheinen des Albums "Bible Fear"s" im Jahr 2019 hatte sich die Band zu einer vollständigen fünfköpfigen Band entwickelt, die einen eher Folk-Rock-orientierten Sound hervorbrachte. In dieser Post-Covid-Zeit erlebten wir den Aufstieg der Southern Fold aus der Asche mit einigen neuen Singles ("Nothing to Fear" und "Before the Fall"), die 2024 im Eigenverlag veröffentlicht wurden. Zu Holden in einer neuen Live-Besetzung gesellen sich der ehemalige Blackbird & Crow-Gitarrist Stephen Doohan, die aus Mauritius stammende Madeline Leclezio am Gesang, der kanadische Schlagzeuger Gregor Beresford und der ehemalige Midnight Union Band-Bassist Brian McGrath. Diese Kernbesetzung spielte einige äußerst gut aufgenommene Konzerte bei den Kilkenny Roots 2024, im Whelan"s, Dublin mit den Frank and Walters und bei der britischen Ramblin" Roots Revue im April 2025.

In den frühen 70er Jahren war Fernsehen ein wichtiges Mittel, um Musiker in den eigenen vier Wänden bekannt zu machen. Frank Zappa, der mit seiner Tournee-Lichtshow und seinem Bühnenaufbau voll ausgestattet war, versuchte, Videomaterial für seine eigene Fernsehproduktion aufzunehmen, um es den großen Sendern anzubieten. Genau wie bei den Dreharbeiten zu The Roxy Performances Monate zuvor gab es technische Probleme, die letztendlich dazu führten, dass das Filmmaterial beiseite gelegt wurde. 50 Jahre später, mit den Fortschritten bei den Bearbeitungswerkzeugen für die Nachbearbeitung, präsentieren wir ”Cheaper Than Cheep”. Dieses neue 2-stündige Konzertprogramm bietet klassische Auftritte der Mothers-Besetzung von 1974, direkt von den neu restaurierten Original-Audio- und Videoband-Mastern aus dem Archiv. Die offzielle Zappa-Veröffentlichung Nr. 130 erscheint in einer speziellen, limitierten Super Deluxe-Edition mit dem remasterten Konzertvideo und brandneuem Dolby Atmos, 5.1 Surround sowie Stereo-Mix auf einer Blu-ray, dem Stereo-Soundtrack auf 2 CDs und 3 LPs auf 180 Gramm schwarzem Vinyl, einem ausführlichen Booklet mit seltenen, bisher unveröffentlichten Bildern und Linernotes von Ruth Underwood und Joe Travers, alles in einem ausziehbaren Schuber verpackt. Weitere Formate sind eine komplette 2-CD + Blu-ray und ein eigenständiger Soundtrack auf 3 LPs auf 180 Gramm schwarzem Vinyl

In den frühen 70er Jahren war Fernsehen ein wichtiges Mittel, um Musiker in den eigenen vier Wänden bekannt zu machen. Frank Zappa, der mit seiner Tournee-Lichtshow und seinem Bühnenaufbau voll ausgestattet war, versuchte, Videomaterial für seine eigene Fernsehproduktion aufzunehmen, um es den großen Sendern anzubieten. Genau wie bei den Dreharbeiten zu The Roxy Performances Monate zuvor gab es technische Probleme, die letztendlich dazu führten, dass das Filmmaterial beiseite gelegt wurde. 50 Jahre später, mit den Fortschritten bei den Bearbeitungswerkzeugen für die Nachbearbeitung, präsentieren wir ”Cheaper Than Cheep”. Dieses neue 2-stündige Konzertprogramm bietet klassische Auftritte der Mothers-Besetzung von 1974, direkt von den neu restaurierten Original-Audio- und Videoband-Mastern aus dem Archiv. Die offzielle Zappa-Veröffentlichung Nr. 130 erscheint in einer speziellen, limitierten Super Deluxe-Edition mit dem remasterten Konzertvideo und brandneuem Dolby Atmos, 5.1 Surround sowie Stereo-Mix auf einer Blu-ray, dem Stereo-Soundtrack auf 2 CDs und 3 LPs auf 180 Gramm schwarzem Vinyl, einem ausführlichen Booklet mit seltenen, bisher unveröffentlichten Bildern und Linernotes von Ruth Underwood und Joe Travers, alles in einem ausziehbaren Schuber verpackt. Weitere Formate sind eine komplette 2-CD + Blu-ray und ein eigenständiger Soundtrack auf 3 LPs auf 180 Gramm schwarzem Vinyl