quête:le co

The third album by Popol Vuh, a collective of musicians founded in Germany by Florian Fricke in 1969. 'Hosianna Mantra’ was a departure from the band’s first two records. Leader Florian Fricke abandoned the use of the Moog synthesiser and instead employed acoustic instrumentation such as piano, oboe and tambura. The record also featured evocative vocals by Korean singer Djong Yun and guitar contributions from Conny Veit.

The resulting album was one of the most inspiring, evocative and beautiful works to emerge in Germany in the 1970s and its fusion of ethnic, classical and ambient influences remains unique.

It is little wonder that 'Hosianna Mantra’ remains regarded as one of the finest works by Popol Vuh and continues to be held in high regard by both critics and aficionados alike.

This Esoteric Recordings edition has been cut at Abbey Road studios and replicates the original album artwork.

Lathe of Heaven kehren mit ihrem zweiten Album Aurora zurück, einer kühnen Erweiterung ihrer klanglichen und thematischen Palette, die sich wie eine Reihe lebendiger, emotionaler Vignetten entfaltet. "Aurora" ist eine bisher unerforschte Variante des Lathe of Heaven-Sounds, die eine delikate Balance zwischen ihren Punk-Wurzeln und einer fesselnden New-Wave- und 80er-Jahre-Post-Punk-Ästhetik bietet, die Einflüsse aus dem britischen und finnischen Post-Punk der mittleren 80er-Jahre mit subtilen Nuancen aus dem Underground-Pop der 90er-Jahre und der Gegenwart kombiniert. Aufgenommen mit Ben Greenberg bei Circular Ruin und gemastert von Brad Boatright, ist das Album klanglich beeinflusst vom melodischen Rock von The Cure, Musta Paraatis Gothic-Post-Punk-Synthie und intensivem Schlagzeugspiel und A Flock of Seagulls' Art-Pop-Gesang und Gitarrenriffs. Textlich schreckt Aurora nicht vor schweren Themen zurück. Aurora ist als eine Sammlung von Science-Fiction-Kurzgeschichten gedacht, die von Themen wie Antikolonialismus, Vielfalt und Gleichberechtigung beeinflusst sind und sich in den Texten niederschlagen. Diese Geschichten sind von den Romanen von Ursula K. le Guin, Octavia Butler, Greg Egan und Peter Watts inspiriert und führen den Hörer in mythische, kühne und etwas beunruhigende Realitäten. Der Titeltrack "Aurora" spielt in einer dystopischen Zukunft, in der die Erde aufgrund von nuklearem Fallout längst verlassen ist - er erforscht Themen wie Verlust, Liebe und Hingabe. "Oblivion" befasst sich mit dem Phänomen der semantischen Sättigung - wenn man ein Wort oft genug sagt, verliert es seine Bedeutung. "Exodus" ist eine Neuinterpretation des Schiffsparadoxons von Theseus und erzählt von der Erfahrung, das Bewusstsein in einen neuen, perfekten Körper zu übertragen. An anderer Stelle steht "Portrait of a Scorched-Earth" für einen direkten Akt des Widerstands. Als einer der emotionalsten Songs des Albums bricht er mit der üblichen lyrischen Abstraktion der Band und ist eine schonungslose Abrechnung mit den Schrecken der modernen Kriegsführung und der Vertreibung, die in der gelebten Tragödie von Gaza wurzelt. Lathe of Heaven hoffen, dass "Aurora" ein breites Spektrum an Emotionen hervor ruft und zum Nachdenken über den Zustand unserer Realität und der Menschheit anregt. Es ist literarisch, ohne prätentiös zu sein, politisch, ohne zu predigen, und emotional, ohne mit der Wimper zu zucken. Jeder Song hält ein Stück eines zerbrochenen Spiegels, und was zum Vorschein kommt, ist eine prismatische, verwundete Schönheit, die mit tausend Gesichtern zurückstarrt. "Aurora" erhebt den Anspruch, "ohne Angst in das traumlose Vergessen zu zittern". Sie sind herzlich eingeladen.

Das neueste Album der neuseeländischen Indie-Rock-Helden The Beths, Straight Line Was A Lie, ist ein eingängiger, sofortiger Klassiker. Geschrieben in Los Angeles und selbst aufgenommen in der Heimatstadt der Band, Auckland, folgt Straight Line Was A Lie (ihre erste Veröffentlichung für ANTI-) auf die von der Kritik gefeierte LP Expert in A Dying Field aus dem Jahr 2022. Leadsängerin und Songwriterin Liz Stokes taucht tiefer in ihre Psyche ein, um alles zu thematisieren, von Umwegen über die körperliche und geistige Gesundheit Herausforderungen und belastende Familiendynamiken. Inspiriert von The Go-Go"s, Olivia Rodrigo, dem Filmemacher Akira Kurosawa und Stephen King"s On Writing, hat Stokes" Songwriting eine verblüffende neue Tiefe der Einsicht und Verletzlichkeit erreicht. Fans werden zustimmen, dass Straight Line Was A Lie das bisher am schärfsten beobachtete, wahrhaftigste und poetischste Beths-Projekt ist.

Das neueste Album der neuseeländischen Indie-Rock-Helden The Beths, Straight Line Was A Lie, ist ein eingängiger, sofortiger Klassiker. Geschrieben in Los Angeles und selbst aufgenommen in der Heimatstadt der Band, Auckland, folgt Straight Line Was A Lie (ihre erste Veröffentlichung für ANTI-) auf die von der Kritik gefeierte LP Expert in A Dying Field aus dem Jahr 2022. Leadsängerin und Songwriterin Liz Stokes taucht tiefer in ihre Psyche ein, um alles zu thematisieren, von Umwegen über die körperliche und geistige Gesundheit Herausforderungen und belastende Familiendynamiken. Inspiriert von The Go-Go"s, Olivia Rodrigo, dem Filmemacher Akira Kurosawa und Stephen King"s On Writing, hat Stokes" Songwriting eine verblüffende neue Tiefe der Einsicht und Verletzlichkeit erreicht. Fans werden zustimmen, dass Straight Line Was A Lie das bisher am schärfsten beobachtete, wahrhaftigste und poetischste Beths-Projekt ist.

Students of Decay presents The Dip, a new full-length recording by Berlin-based artist and composer Thomas Ankersmit, marking his debut with the label and sixth album to date. Comprised of two expansive, sidelong pieces composed entirely on the Serge Modular synthesizer, it signals a subtle yet significant shift in Ankersmit’s trajectory, imbuing the hyper-physical, psychoacoustic intensities of his live performances with introspective, atmospheric, and even melodic elements.

Primarily known for a site-responsive approach to sound, often realized in the moment of performance, Ankersmit’s turn toward the studio in the last few years has opened up a new dimension within his practice. It is in this quiet rupture that The Dip emerged, a study in internality and suspended states, rich with cinematic undercurrents and ghostly spatial suggestion. Here, electricity itself feels transfigured – becoming supple, even organic – within an environment shaped entirely by analog signals.

Over the past two decades, Ankersmit has established himself as one of the foremost practitioners of the Serge, the notoriously idiosyncratic and expressive instrument that has remained central to his work. On The Dip, he harnesses its potential not for brute force or disorientation, but for spaciousness, resonance, and lyrical abstraction. Without resorting to additional processing or effects, he draws out tones that feel simultaneously raw and refined, articulated and blurred – intricate structures that seem to breathe and evolve of their own volition.

The result is a kind of auditory hallucination, a “cinema for the ears,” wherein impressions, emotional arcs, and imagined topographies unfold. Each side of The Dip plays like a single gesture unfolding in time – a spatial narrative constructed through vibration, density, and the movement of air.

The Dip follows acclaimed works on PAN, Touch, and Shelter Press, and reaffirms Thomas Ankersmit’s position as one of the most focused and probing voices in contemporary experimental music. Quietly radical and meticulously constructed, it is less a departure than a deepening – a descent into a more private sonic world, where the boundaries between perception, memory, and pure signal dissolve.

"Wao" ist das spontane und traumhafte neue Album von Joseph Shabason, Nicholas Krgovich und dem legendären japanischen Duo Tenniscoats. Aufgenommen an zwei ungeplanten Tagen in der Künstlerunterkunft Guggenheim House in Kobe am Meer, fängt "Wao" die Magie der reinen Improvisation, die Freude an einer sofortigen Verbindung und die stille Poesie des Alltags ein. Das Projekt begann im Frühjahr 2024, als Shabason und Krgovich zu ihrer ersten Tournee als Duo nach Japan reisten. Labelchef Koji Saito organisierte nicht nur ihre Termine, sondern auch für Tenniscoats - Saya und Takashi Ueno -, die sowohl als Vorgruppe als auch als Backing Band fungierten. Nach nur zwei Proben stimmte die musikalische Chemie auf der Bühne sofort, und ihre Auftritte wurden von Abend zu Abend flüssiger und spielerischer. In Erwartung ihrer Synergie buchte Saito während einer kurzen Tourneepause Zeit für Aufnahmen im Guggenheim House. Die Sessions waren völlig unstrukturiert: keine Songs, keine Pläne - nur Instrumente, ein paar Mikrofone und der Schwung eines gemeinsamen Gefühls. Was dabei herauskam, ist eine Sammlung von Songs, die sich in Echtzeit entwickelt haben. Am ersten Tag schrieb Nick im Garten eine Melodie, inspiriert von japanischen Bezeichnungen für verschiedene Wolkentypen, während die anderen unwissentlich eine vergessene Tenniscoats-Melodie wiederbelebten. Stücke wie ,A Fish Called Wanda" und ,Departed Bird" entstanden in solchen Momenten, geprägt von Intuition und sanften Einwürfen alltäglicher Wunder. Zuggeräusche von den nahegelegenen Gleisen driften in die Aufnahmen hinein und wieder heraus und fügen dem luftigen, intimen Sound Textur und Lokalität hinzu. Musikalisch schwebt Wao zwischen dem zarten, experimentellen Folk-Pop von Tenniscoats und der charakteristischen Wärme und melodischen Klarheit von Shabason und Krgovich. Es gibt ein sanftes Gefühl der Überraschung, das sich durch das Album zieht - Ideen, die von Hand zu Hand gereicht werden, Gesang, der wie ein Geschenk dargeboten wird, jeder Track kommt ohne Gewalt an. Die Reihenfolge des Albums folgt der Reihenfolge, in der die Songs entstanden sind, um die Frische und den Fluss der Erfahrung zu bewahren. "Wao" ist eine Hommage an die Leichtigkeit, das Vertrauen und die Freude, gemeinsam etwas Ephemeres zu schaffen, und ist weniger ein ausgefeiltes Statement als ein wunderschöner gemeinsamer Moment. Wie Saya nach einer Aufnahme flüsterte: "Oh_ wao". Diese stille Ehrfurcht sagt alles.

Subtil welcomes back French producer VENDi for its 29th release, Zndya EP - a three-track collaboration featuring BH2M and T.N.O.
Built on tight grooves, layered textures and spacious atmospheres, the EP blends minimal foundations with genre-fluid ideas and detailed sound design.

The title track Zndya, produced with T.N.O., opens with a fusion of stripped-back minimal and cosmic synth work, drawing influence from Nordic space disco. Arpeggiated leads and a steady, motorik groove stretch the track into wide, cinematic territory — functional and trippy in equal measure.
Session Height, co-produced with BH2M, shifts into peak-time mode with a rolling groove of syncopated basslines, cascading synth delays and chopped vocal fragments.

On the flip, Session Four, also in cooperation with BH2M, closes the EP on a jazzier note. Its full-spectrum sound design — from tight percussion to scattered melodic elements — plays out like organized chaos, balancing deep grooves with intricate detail.

With Zndya EP, VENDi delivers a focused and versatile record that fits naturally into the Subtil catalog — refined, functional and full of character, equally suited for peak-time tension or late-night introspection.

Mutant, in partnership with Howe Records, is proud to present Howard Shore's incredible score and 17th collaboration with legendary filmmaker David Cronenberg: THE SHROUDS. Over the course of four decades, Howard Shore and David Cronenberg have collaborated on countless masterpieces (Crash, Videodrome, Dead Ringers, History of Violence... the list goes on and on). The Shrouds continues in the mold of Crimes of the Future, with a delicate but deceptive score. In a film about burial, decay, and the search for meaning—marred by conspiracy theories and an overreliance on technology—the film and score find a space that balances the ethereal and the dreadful. The sacred and profane. It's a profoundly beautiful work of art from a maestro who has made some of the best film music of our lifetimes. "Howard Shore’s score, a mix of hymns and organs, beautifully layers the film’s imagery.”

Ihr erstes Live-Album "Live At The Valley Of The Temples" hat das weltweit erfolgreiche italienische Trio IL VOLO vor der beeindruckenden Kulisse des Tempels der Concordia aufgenommen - einem der bedeutendsten Monumente im berühmten Tal der Tempel in Agrigento, der italienischen Kulturhauptstadt 2025. Musikalisch haben sich die drei Tenöre Piero Barone, Ignazio Boschetto und Gianluca Ginoble dabei vom Lebensgefühl ihres Heimatlandes Italien inspirieren lassen Mit der Verbindung von neapolitanischen Liedern wie "'O Sole Mio" oder "Vida de Mi Vida" und Opernhits wie "Nessun Dorma" und Klassikern aus Pop und Filmmusik, gelang ihnen eine mitreißende Konzertnacht voller magischer Momente. Ein besonderes Highlight ist das berühmte, wie mitreißende "Libiamo ne'lieti valici" aus Verdis "La Traviata" mit Star-Sopranistin Pretty Yende. Auch neue Versionen von Hits aus ihrer bisherigen Karriere finden auf "Live At The Valley Of The Temples" ihren Platz. Darunter auch "Capolavoro" aus ihrem letzten Studioalbum "Ad Astra", das 2024 beim Sanremo-Festival präsentiert wurde und die Herzen ihres weltweiten Publikums eroberte.

'it’s his loosest, dreamiest dispatch yet, an enveloping and atmospheric collection that constantly comes together and breaks apart.'

Maxo releases his new album Mars Is Electric. Earlier this week, Maxo released a third haunting video, directed by Vincent Haycock, from the visual world of ‘Mars’ for the title track. Maxo previewed the album with the release of singles “Human?” and “Donahoo’s Chicken” this spring, which arrived with equally raw, inventive, and unnerving music videos.

Mars Is Electric is Maxo’s first official release since he dropped two critically acclaimed albums in 2023 with Even God Has A Sense of Humor and Debbie’s Son. His fifth full-length album finds the Southern Californian artist self-aware and mature. Having lived the last decade of his musical life intentionally creating specific bodies of work rooted in imagery, observation, and capturing moments, Maxo spent this previous year freely creating without a specific plan, relieved from all obligations and restrictions.

“This is the first time that I really didn’t care, I didn’t approach things so seriously,” the artist shrugs off, meaning that without expectations or specific goals, his creativity flourished. This opening finds the artist having conversations he’s been avoiding, having lived silently in the pain of those topics for the past few years. Exploring uncomfortable themes about personal life, relationships, and family fractures, life before and after the loss of innocence, and an abundance of existential spirals.

The exploration was not only thematic but also musical in nature. During the creation process, Maxo was immersed in a wide array of music from past to present - France Joli, $amaad, Steve Spacek, Cherelle, DJ Quik, Lisha G - influences that seeped their way into these songs. The album opens in a loose, dreamlike state—experimental and searching, mirroring the emotional fog of someone looking for something real to hold onto. But as it progresses, so does Maxo’s energy as he fiercely rides and weaves on songs with a contagious confidence, producing some of his most kinetic and lyrically impressive music to date.

As the work and vision coalesced into a body of work, Maxo found that he was unlocking a creative language with his collaborators that felt wholly new - a new understanding of why and how he was making art for this world. What emerged from this year-long process was a new musical journey and a future where Maxo refuses to be another bad example of what could be, refusing to mind the blueprint set down. Maxo is the sole voice on the album featuring production by lastnamedavid, Quelle Chris, Baird, Groove, and more.

Listen to Mars Is Electric above, see full album details below, and stay tuned for more from Maxo very soon.

The album C.Q. was originally released in 1968 by the Dutch Nederbeat band The Outsiders, featuring Wally Tax (vocals), Ronnie Splinter (guitar), Leendert "Buzz" Busch (drums), and Frank Beek (bass guitar)._x000d__x000a_The Outsiders, hailing from Amsterdam, were a key figure in the Dutch Nederbeat movement—a local interpretation of beat music inspired by the British Invasion. Though the album C.Q. initially struggled commercially, it has since gained recognition as a psychedelic and garage rock masterpiece._x000d__x000a_C.Q. is available as a limited edition on yellow coloured vinyl and packed in a gloss laminated gatefold sleeve.

The members of Someone Still Loves You Boris Yeltsin couldn’t list a single music blog until their lo-fi MP3s and low-res JPEGs made them worldwide icons of Blogdom in 2005. Even Spin read an SSLYBY blog, downloaded their music and declared the Missouri band “could succeed The Shins as the band that will change your life."
 
Recorded in the attic and living room of guitarist Will Knauer's home, Broom, SSLYBY's debut record, is an expertly crafted indie pop gem.
 
Originally, SSLYBY had a simple ambition: to make the “Local Releases” bin at CD Warehouse. However, Broomturned into a classic rock ‘n’ roll record -- the kind where pop perfectionism meets studio experimentation and each track flows effortlessly. Seemingly innocuous pop songs are molded by happy accidents of fate -- sometimes involving unexplained swarming sounds and doubled drums tracks --into the warm, ethereal tracks that made the album into a sensation.
 
Originally self-released by the band to sell at shows, Broom was remastered and released via Polyvinyl in late 2006.

Mit nur 14 Jahren begann Trelane als Backgroundsängerin bei Billy Childish und CTMF und sprang bei einer BBC6 Session als Leadsängerin für einen Ramones-Song ein. Als die Band Trelanes großartige Stimme hörte, beschloss sie, ihn bei einigen Monkees-Covers als Leadsängerin auszuprobieren. Trelane kam auf die Idee für den Bandnamen. Weitere Aufnahmen sind geplant. Der folgende Text steht in englischer Originalsprache auf der Rückseite der ersten 7"-Single der Band... "Wir trafen Trelane zum ersten Mal im Jahr 2267 n. Chr. während einer Versorgungsmission zur Kolonie Beta VI. Trelane war jung, mutig, trug knielange Mokassins - angeblich aus dem Besitz eines gewissen Peter Tork - eine Cowboyjacke mit idiotisch langen Fransen und ,hippe" Hosen. ,Steht ihr auf die Monkees?", fragte Trelane. ,Natürlich", antworteten wir. ,Groovy", lachte Trelane, ,ich taufe euch auf den Namen The Squires of Gothos. Habt ihr ein Cembalo?" ,Nein, tut mir leid." ,Keine Sorge, ich zaubern eins her - und hier ist ein Studio. Jetzt hört auf, rumzualbern, und lasst uns aufnehmen!" Und so kam es, und hier ist das Ergebnis. Dig!!!" - Mister Schneider: The Vincent van Gogh-Gogh, Malibu, LA Lead-Gesang - Trelane The Squires of Gothos: Bass / Backing-Gesang - Jableeta Schlagzeug - Ginger Chunks Gitarre - Sir Quentin Gaydish - eine Childish Produktion!

White vinyl. The record is housed in a gatefold jacket, designed as your own personal treasure chest. Akupara Games and Black Screen Records are over the moon (and down in the crypt) to announce the soundtrack release of the game hit Cryptmaster on vinyl. For the music, sound expert Surasshu, part of the duo Aivi & Surasshu (i.a. Steven Universe), has teamed up with Stemage and Catton Arthur to virtuously solve the puzzle of a perfectly fitting game score. SAY ANYTHING in this bizarre dungeon adventure where words control everything. Fill in the blanks with text or voice to uncover lost abilities, embark on strange quests, and solve mindbending riddles. Can you conquer the crypt and uncover the mystery at the heart of Cryptmaster? In the ancient past, four brave heroes banded together to destroy a terrible evil, giving their lives to save countless others. But now their eternal rest has been disturbed by the Cryptmaster, a capricious necromancer in whose thrall they must ascend through the buried strata of the city above them - the gloomy Bonehouses, mysterious Sunken Sea and freakish Downwood. With the enigmatic Soulstone in hand, the four adventurers must recover their memories, solve whimsical puzzles and defeat outlandish enemies. From fishing and card games to bardic rap battles, finding the right word is the key to success. Who knows, maybe you'll even remember a little more than you bargained for. Surasshu, veteran of television and game music, brings out the best in the Cryptmaster soundtrack, featuring his peers Catton Arthur on bass and Stemage on guitar. From laid back accordions of the Bonehouses, to the shredding guitar of battles, to the piper's haunting melody, this album features enough musical morsels to keep all kinds of dungeon-crawling deviants tapping their toes.

WYRD, the third full-length album by Crawling Chaos, is an anthology-based work built around a series of archetypes tied to the concept of destiny, fate, and becoming. In the Northern European culture these ideas are encapsulated in the term wyrd, as opposed to notions of free will and self-determination. The main theme is expanded and explored across the album's ten tracks following a narrative thread which unites some of the most fascinating female figures of classical mythology, European folklore, and history-from the Norse Norns to Macbeth's witches serving Hecate, from the Greco-Roman Furies to the fearsome Thessalian necromancers. As with Crawling Chaos' previous works, WYRD is full of literary quotes and easter eggs, offering subtle nods to the most curious among the listeners. Musically speaking, the album is uncompromising, heavy, and very dark.

Limited marbled vinyl. WYRD, the third full-length album by Crawling Chaos, is an anthology-based work built around a series of archetypes tied to the concept of destiny, fate, and becoming. In the Northern European culture these ideas are encapsulated in the term wyrd, as opposed to notions of free will and self-determination. The main theme is expanded and explored across the album's ten tracks following a narrative thread which unites some of the most fascinating female figures of classical mythology, European folklore, and history-from the Norse Norns to Macbeth's witches serving Hecate, from the Greco-Roman Furies to the fearsome Thessalian necromancers. As with Crawling Chaos' previous works, WYRD is full of literary quotes and easter eggs, offering subtle nods to the most curious among the listeners. Musically speaking, the album is uncompromising, heavy, and very dark.

MOST SOUGHT AFTER & HARDEST TO FIND IN NYC TECHNO/HOUSE/GHETTO HISTORY.

We proudly welcome Frankie Bones to our label with a compilation of what is in my opinion one of the grails of the music for dancing in dark clubs and warehouse raves.

GHETTO TECHNICS is now compiled in 2 volumes for maximum dancefloor damage, remastered for the greatest impact but preserving all the essence and aesthetic, including & unreleased tunes from the time.

FOR TRUE DISC-JOCKEYS & COLLECTORS.
OFTENPLUSNEVERMINUS+8
H.

Canadian disco-soul outfit The Spandettes were in sparkling form when they laid down their stunning covers of Lemuria's Hawaiian groove classics 'All I've Got to Give' and 'Hunk of Heaven.' Both now appear on this limited-edition double 7", which will bring some summer heat to any set you play. Fronted by three powerhouse female vocalists, the cultured band blends lush harmonies with irresistible rhythms as they revive a couple of free-soul gems for a new generation of ears. 'All I've Got to Give' first appeared on a sold-out P-Vine 7" back in 2015 and is a sentimental swooner that is super loved up, while 'Hunk of Heaven', taken from the debut album Spandex Effect, here makes its debut on 45rpm. It's a more upbeat and swooning funk gem with gorgeous vocals.

Black Vinyl LP with insert (including the story behind the album and lyrics with English translation)

After their first LP, in 1987, Pedro gathered his usual band, Carlos Sousa on keyboard, Bulimundo on drums, Nuno Santos and Zézé on lead and rhythm guitars, Augusto Rasta on bass, Daló on sax and finally Dalú on percussions, for yet another project, one that carried both their names: Jacinta Sanches - Pedro Ramos. Eight days, no more, that’s all Pedro Ramos and Jacinta Sanches needed inside the Estúdios Musicorde. The process was natural, as with all their music, memories recollected and arranged by Pedro on café napkins, rehearsed and perfected at home with Jacinta. Together they imagined music where Cape Verdean saudade could dance together with Kingston’s skank, two island hearts beating inside European concrete.

His name is Pedro Correia Ramos Varela, born in Praia, Santiago, Cabo Verde on April 6th 1954; her name is Jacinta Lopes Veiga Varela, born in Cidade Velha, Santiago, Cabo Verde on January 22nd 1959. The two met in Praia, where a few exchanged words turned into long evening conversations; conversations into friendship; friendship into love; and love into six wonderful children. After the independence of Cabo Verde, they got married in 1978 and moved to Portugal, where Pedro started working as a welder for Lisnave and playing the guitar in a band in Ramada. Trading shipyard sparks by day for the after-hours pulse of Cova da Moura, his love for music proved harder than steel. And in 1982, after seeing Bob Marley and Peter Tosh in Rotterdam, he opened his own Dancing Bar just below their house, a pioneering space for the promotion of reggae music in Portugal.

Their Dancing Bar kept its doors open from 1982 to 1994, seeing the release of two albums and more singles. To this day, Pedro and Jacinta are still making music, one the inspiration of the other. They define themselves as simple people, living happy without prejudice, friends with the world.

After a two-year hiatus from recording, the OC based band reconvened in 2023, returning to where it all started: drummer Lucas Ovalle"s garage. It was in this familiar environment that Ovalle, guitarist lead singer Josiah, guitarist Corbin Jacques,and bassist Seth Thomson learned how to be friends again and shared all the anxieties and revelations they"d endured on hiatus through crafting songs. The 13 songs that make up Big Smile are the band"s emotional champions that track the tumultuous period between the start of their break and the peace they found on their way back to each other. In the studio with fellow California legends Rob Schnapf (The Vines, Beck) and Matt Schuessler (Kurt Vile, Cat Power), GREER grew up again, taking more ownership over their sound and learning to speak producer-ese. Big Smile is the sound of a band exorcising their demons, learning to trust themselves, and asserting themselves with newfound earnestness and maturity. It"s the sound of a band that"s fallen in love with rocking out again. It"s the sound of friends rediscovering each other and the magic that they can create together when they embrace each other"s vulnerable side. With Big Smile, GREER has arrived as a serious, and seriously fun, alt rock band with diversity of sound and unity of vision.