quête:mo style

The long-awaited reissue of Another Song by Music Service, one of the finest Italo-Disco tracks goes to Antony Soumas, the amazing Greek DJ owner of Disco Time Records in Athens. Tony's passion for Italo-Disco style is known worldwide and is worth further amplifying. Among the spin-offs conceived by Amin-Peck (editor's note: in strict Bolognese dialect means "I hang myself!"), Another Song turns out to be the favorite of the "purists" of Italo. The synthesizers of George Fyron and Leonard Parker are excellent as always, but here we also find awesome sauce male voices! In a certain sense you have the sensation of listening to Big In Japan, but perhaps it is just a suggestion of the dee-jays who push one record after another. One last curiosity dictated by the sagacious dj-writer Antonio Stanzani, better known as Ciancio DJ: the Music Service band proposed to Luca Zanarini to sing Another Song, but the lyrics of the song did not yet existed His friend Gianni Ruberti made himself available and by isolating in a room for two hours he made the lyrics that all of us after more than 40 years enjoy.

The West African band and new sensation LAGOS IN PARIS make their striking debut with the release of their first and bold, EP « WE ARE LAGOS IN PARIS ».


After gaining support on their two first singles « Mali Spirit » and « Afro G Western » from Colors Studio, Trace or even Rollingstone and being broadcasted on BBC Radio 1Xtra the collective continues to expand and spread what they call the AFRAW sound : a mix of traditional African music with modern electronic styles resulting in a raw, powerful, and unique sound.
Recorded in different places across West Africa and Europe, every track on « WE ARE LAGOS IN PARIS » is shaped by the artists, musicians, and cultures they encountered along the way.


Blending heady blues loops in « Afro G Western », or groovy electronic basslines in « Faya », always with pure vibrant vocals, LAGOS IN PARIS offers trough this project a visceral and authentic experience speaking directly to the soul.


The listening experience also extends to the visual with the single « Faya », which will be accompanied by a video shot in Ghana, capturing the energy and aesthetic of the song.

The first resonant space Zosha Warpeha played in was the Emanuel Vigeland Museum in Oslo, Norway. Built as a mausoleum, its walls reach up into a gradual archway, creating an environment where sound expands and reverberates for twelve seconds before decaying into silence. Warpeha was greeted only by dim lights when she entered, and it wasn’t until she had spent several minutes listening that she was able to make out the frescoes that covered every inch of the room: graphic depictions of the cycle of life from conception through death. As the sound of her Hardanger d’amore encountered the walls and these slowly emerging scenes, they obscured its point of origin in both time and space, augmenting its own life cycle. The experience sat in the back of her mind over the next several years as she developed her own patient style of composition and performance, one that comes into full bloom on her new album I grow accustomed to the dark.

When Warpeha was selected as an artist in residence at Brooklyn’s ISSUE Project Room in 2025, she saw it as an opportunity to more intentionally explore how her music might fill a room with ample natural reverb. I grow accustomed to the dark documents two single-take solo performances for Hardanger d’amore and voice at IPR, with both pieces composed in a unique tuning system developed to interact with the space itself. Listeners can trace resonance from the contact of the bow on gut strings into the body of the instrument, its five sympathetic strings offering another layer of refraction, before the sound is thrown about the cavity of the room. The echoes emerge like a photographic double exposure, or wisps of smoke that linger in the air, creating ghostly harmonic convergences that blur the line between what is there and not-there. Sound begins to act like light, a synesthetic alchemy that transforms drones into beams and ornamental trills into flickers.

Both side-long compositions, “filament” and “visual purple,” exemplify a duality that animates Warpeha’s music: an expressive, individualistic style that draws on extensive knowledge of her instrument’s history in folk traditions, and an austere, devotional quality maintained by focus and precision. Though very different in character and structure, both pieces evolve slowly through numerous repetitive phrases, passages of stillness, and bursts of intensity. “filament” opens with a cycle of delicate melodic fragments played and sung around a drone before blossoming into an outpouring of swooping arpeggios, harmonics flying from the strings like sparks off a bonfire. The disorienting pulsation of harmonic beating forms the core of “visual purple,” the close-tone dissonance building to a swarm of open strings ringing boldly throughout the space. After the knotty tones reach their climax, the piece collapses into studied quietude, hushed, but without any drop in intensity.

When Warpeha first visited the Vigeland Museum in 2019, she was in Oslo to deepen her relationship to the Hardanger fiddle through the study of Norwegian traditional music, which is primarily passed down aurally. The experience of learning songs by ear, not only internalizing the tune but also absorbing the techniques and tonalities by listening, was a crucial step in her development as a composer. The years since have seen her sharpen those skills as a prolific member of the New York avant-garde and improvised music communities. Warpeha’s music encourages listeners to join her in this journey, to listen closely with each repeated phrase and through each dramatic shift. Like the frescoes on Vigeland’s walls, with time and intention, the depth of I grow accustomed to the dark comes on like a revelation.

2026 Repress

The Illegal Disco Limited series is already so wrong it's right and once again it is the inimitable Monsieur Van Pratt dropping two undeniable edits on this one. 'What About Me' kicks off and is a clever flip of a classic groove that has a Chic-style baseline keeping busy down below natty piano work and with hefty drums powering it on. 'Sunset
Driver' is a chugging retro-future disco sound with Michael Jackson vocals from an elusive demo. On the flip, Van Pratt teams up with Boogietraxx for a bright take on the Japanese viral fav 'Stay With Me' and Boogietraxx then takes over solo, first with the funk-driven 'Moving Down the Line' before closing with the feel-good spark of 'Pretty Good Feeling.'

2026 Repress

Portuguese techno mainstay Dextro drops cultured EP 'Covil Dos Abutres' for his label debut on Mutual Rytm.

Dextro has been immersed in electronic music and DJing since the early 90s. In the decades since, he has become synonymous with a sound deeply rooted in simplicity and authenticity. Fuelled by a passion for his craft, his production process is guided by intuition and spans a diverse range of styles, from tunnelling grooves to more potent techno with deep and hypnotic layers. He has held several key residencies and released on top labels like CLR and Missile Records, and he adds to those with a first outing on SHDW's Mutual Rytm with 'Covil Dos Abutres'.

The five-track 12" and eight-track digital EP has a sleek, stripped-back style, with wide-spanning corners of the techno realm explored. 'Covil Dos Abutres' is a deep space transmission with journeying, frictionless beats and deft sci-fi motifs that recall classic touches synonymous with the genre's pioneers. 'Correct Incorrect' keeps the pressure on with more rubbery, dubbed-out groves beautifully decorated with delicate melodies. 'Vida E Morte' is another sublime and hypotonic minimal techno sound with funk in the kicks and a freaky late-night spirit. 'Element One' again combines perfectly reduced drum groves with atmospheric pads and curious samples that keep you intrigued, and 'Beautiful Day' closes out with sonar-like synth pulses over the most skeletal but captivating rhythms. Digital cuts 'Time Line', 'Savana Urbana', and 'Diferencas' further explore the intersection of minimalism with cosmic synth designs that take you off into distant astral worlds.

Following his critically acclaimed debut "Dentsu2060" released via Lorenzo Senni's Presto!?, Tasho Ishi's second full-length album "Tasho Ishi lI" is now available on his own label T's.

tI features the new-wave Parapara anthem "Collapse Roppongihills" which became a staple at Narita Airport raves. celebrity trap rave track "DreamDrakeDrain" reminiscent of jam session between Drake and David Chronenberg. the junk entertainment track "Hellnwein" depicting modern pop utopia and its violent underbelly.

The Japanese-style Eurodance meets Philip Glass "The Bachelor" inspired by reality TV. These anthems are contemporary, pop, and carry Tasho Ishi's unique critical edge.

The second album, 'Tasho Ishi Il', is both a musical translation of Japan's diverse techno-animism and a sequel to the previous work "Dentsu2060" Techno-animism: Para Para, anime voice actors, reality TV, epics, advertising, and raves. Each track stands alone yet forms part of a larger, chronologically unfolding narrative.

While all tracks are animated by Japan-specific sound imagery, this is a pop album rather than avant-garde or abstract. In essence, it's a series of songs generated by rave trans-layers, serving as both reportage and documentation tracing Tasho Ishi's visionary city and its phenomena.

Known Associates ist der aufregende Nachfolger ihres gefeierten Albums The Interrogator aus dem Jahr 2024, das für viel Aufregung sorgte, und ein Fiebertraum aus Van Morrison-Hörnern und Leonard Cohen-Gefühlen und bestätigt den stetig wachsenden Ruf von Elizabeth Nelson als eine unserer wichtigsten Songwriterinnen. Wie ihre langjährige Heldin Lucinda Williams hat sich Nelson langsam aber sicher einen Namen gemacht und gleichzeitig einen immer größeren literarischen Ruf erworben, der sie zu einer gefeierten Autorin für die New York Times, den Atlantic, den New Yorker und Oxford American gemacht hat. Außerdem hat sie Liner Notes für Neuauflagen von Bob Dylan und den Replacements geschrieben. Majestätisch, bunt zusammengewürfelt und voller Geschichten über Pech, zerbrochene Erleuchtungen und Secondhand-Wunder, die jedem Fan von Richard Thompson, David Berman oder Tom Waits bekannt sein dürften, sagen Mystiker und Statistiker bereits: Known Associates ist eines der besten Alben des Jahres 2026, und Elizabeth Nelson ist eine der besten Singer-Songwriterinnen der Welt.

This is a special work by acclaimed composer and musician Adriaan de Roover, who has released records on Dauw, VIERNULVIER, PIAS, and Consouling Sounds. Chansons de trottoir / Stoepliedjes documents his relationship to sampling in the form of a radio play.

Originally created as a radio piece for Resonance FM in Manchester, the album is a sonic portrait of a walk through Brussels. It is constructed from two field recordings: one made during a walk from Metro Midi towards Adriaan’s home, and another recorded on a walk towards Flagey. Rather than foregrounding recognizable landmarks, the piece focuses on the pavement underfoot: the steady, repetitive rhythm of footsteps on sidewalk tiles.

The recordings are mixed with samples from the music of the Brussels hip-hop group STIKSTOF. Their music became the soundtrack to a period in which Adriaan’s desire to move from Antwerp to Brussels began to take shape. Through repeated listening, the city of Brussels gradually revealed itself to him. This experience echoes that of countless music fans who, while listening to The Beatles, imagine what Liverpool might be like: a city revealed through sound and myth, often crystallized in lukewarm Hard Rock Café–style projections.

Chansons de trottoir / Stoepliedjes is an exercise in sampling and an exploration of how one might find a personal place within the music of others. It frames appropriation as an attentive and considered act. Suspended between memory and imagination, the piece exists closer to a dream state than to reportage.

INTERWOVEN' is a four-track split EP that binds together two of Denmark's most forwardthinking heavy acts: HIRAKI and Meejah. Built on a shared appetite for boundary-pushing intensity, the collaboration channels the urgency of electronic hardcore, the spaciousness of experimental rock, and the emotional depth of cinematic metal into an immersive work that is at once confrontational and deeply connective. As a part of Denmark's flourishing underground scene for dark and heavy music, the HIRAKI trio deploys an aggressive style of progressive synthpunk from the edge of the abyss. The band presents this sonic assault to accompany the inevitable fact that our world is sick, and we all take part in maintaining the fucked up systemic structures. MEEJAH is a Post/Experimental Danish-Korean band from Copenhagen weaving together Nordic Melancholia & Korean Ancestry. The results sound like Heaven, Thunder, Mountain, Earth, Wind, Fire, Water, Lake. Across these four tracks, both bands challenge each other to step past familiar contours, unraveling and recombining their musical identities until a new hybrid shape emerges_volatile, textured, and unmistakably alive. FOR FANS OF The Body * The Armed * Sightless Pit * Massive Attack * Julie Christmas * Death Engine

INTERWOVEN' is a four-track split EP that binds together two of Denmark's most forwardthinking heavy acts: HIRAKI and Meejah. Built on a shared appetite for boundary-pushing intensity, the collaboration channels the urgency of electronic hardcore, the spaciousness of experimental rock, and the emotional depth of cinematic metal into an immersive work that is at once confrontational and deeply connective. As a part of Denmark's flourishing underground scene for dark and heavy music, the HIRAKI trio deploys an aggressive style of progressive synthpunk from the edge of the abyss. The band presents this sonic assault to accompany the inevitable fact that our world is sick, and we all take part in maintaining the fucked up systemic structures. MEEJAH is a Post/Experimental Danish-Korean band from Copenhagen weaving together Nordic Melancholia & Korean Ancestry. The results sound like Heaven, Thunder, Mountain, Earth, Wind, Fire, Water, Lake. Across these four tracks, both bands challenge each other to step past familiar contours, unraveling and recombining their musical identities until a new hybrid shape emerges_volatile, textured, and unmistakably alive. FOR FANS OF The Body * The Armed * Sightless Pit * Massive Attack * Julie Christmas * Death Engine The single colour edition comes as white vinyl!

The Lost Highway of Hank Williams and the Highway To Hell of AC/DC are indeed the same damn road. Featuring 12 classic outlaw country songs done in their own inimitable style, the album was recorded completely live in the studio. The bad are supporting the release of the album as well as their 25th Anniversary with extensive live touring and festival throughout the UK, Ireland, and Western Europe throughout 2026. Full UK Tour starting FEB 11 Nerve Centre Londonderry. 12th Whelan's Dublin. 13th The Empire Music Hall Belfast. 14th Liquid Room Edinburgh. 15th PJ Molloys Dunfermline. 17th The Georgian Theatre Stockton-on-tees. 18th Docks Academy Grimsby. 19th Pocklington Arts Centre. 20th The Hairy Dog Derby, 21st Picturedrome Holmfirth. 22nd The Drill Lincoln. 24th 53 Degrees Preston. 25th Queens Hall Narberth, 26th HAYSEED DIXIE Cardiff. 27th Sin City Swansea. 28th Crickhowell. MAR 1st HAYSEED DIXIE Merthyr Tydfil. 3rd The Fleece Bristol, 4th Roadmender Northampton. 5th The Factory Live Worthing. 6th The Harlington Fleet. 7th MK11 Milton Keynes. 8th Hertford Corn Exchange.

Palmier is producer and rapper Rocé's new album. At the crossroads of Sade and Rakim, the album unfolds an impeccable flow over gentle melodies, the mellow sound of the saxophone softening the sharpness of the spoken truths. Rocé delivers a melody of hope, and appreciation of determination in the face of the impossible. "La Voie Lactée" features the captivating voice of Natacha Atlas and the sublime orchestrated violins of Samy Bishaï, the whole thing wrapped up in the style reminiscent of Isaac Hayes' soul and Portishead's trip-hop. "Laisse les enfants courir" reveals a soulful hip-hop, between powerful groove and relentless flow, where Rocé blends political lucidity and poetic verse while Cisko's subtle arrangements sculpt an organic, sensitive landscape, poised between tension and serenity. On "Lunaire", Rocé surprises us right away, with a sharp and melodic flow. Driven by powerful imagery and sharp lyrics, the track transforms anger into creative energy. It portrays an artist outside the mainstream, aware of the world's failings but determined to create his own haven. Palmier embodies themelancholy of unfinished struggles, perseverance, and the promise of a brighter dawn.FEAT. NATACHA ATLAS & LE VIOLONISTE SAMY BISHAI

Best Of CDs & Digitals from No New Style msuic !

"Simply Hardcore" !

Since the label resumed activity last year, this is already the fourth release on Mars Assault Limited, the sub-label of Mars Assault dedicated to faster and/or more industrial music.
This time we have tracks from Pardonax, (remixed by Matt Green) and Biscanna, as well as an extra "secret track" from an undisclosed artist, for a total of 4 tracks, all in the Hardcore-Techno style, and yet all different from each other.
Cut in 33/45 rpm for optimal sound quality by the legendary Hervé @ DK Mastering, who managed to fit all tracks on a 10" vinyl for extra cuteness.
Final release to be pressed on "winter gold" vinyl colour, with a smaller 85mm label to fit more music on each side.
300 copies limited.

UK hardcore : that Hip Hop versus hardkick style ! On the flip you'll have a crossbreed more hardcore oriented and an oldschool Early hardcore tune. Massive Ep again on HKV !


Pressed on lurid green with smears of the devils foul bile.

* More from the vaults of Alpha and Omega in the shape of `Warrior Dub’, previously an LP-only track appearing on the `Everyday Life’ LP in 1993, with the dub cut on vinyl for first time.

* As always from A&O, they reliably unleash a heavy-weight, mystical shimmering slice of 90s-style dub.

Comic Sans are back! The San Sebastián Midwest Emo quartet has finished their second album, "Todas las cosas que nos salieron mal", following" Éramos felices y no lo sabíamos" and the EP "Ojalá fuera mi cumpleaños". However, "Todas las cosas que nos salieron mal" and its opening single mark an evolution within Comic Sans"s perfectly recognizable style. Without abandoning the parameters of midwest emo, the San Sebastián band wants to reach a wider audience and sound more like themselves than their influences. They have matured, and it shows in deeper lyrics, while still remaining honest and direct, and in a more personal choice of structures, effects, and melodies. Everything"s more indie, really; understanding indie no longer as a genre (which it never was) or a classification related to the size of a band"s distribution channels, whether more mainstream or more underground, but as the desire to move away from the conventions of the style in which they emerged and took their first steps in order to develop something genuinely their own.

The “5” Royales were the most enduring and influential of all the 1950s proto-soul groups. In a very crowded market, their success was remarkable. The Royales were the first African American group to introduce gospel based vocal styles into the rhythm and blues format. This gave an intensity to their recordings and live performances that no other combo could get near, thanks to the passion and power that lead singer Johnny Tanner generated. Furthermore, the group possessed in Lowman Pauling a songwriter of genius and a guitarist, who invented an exciting style of playing that linked stinging solos with rhythmic accompaniment. The Harbingers Of Soul is a mouth-watering overview featuring the best of the King era and the most soulful sides from their stay at Home Of The Blues. 180gsm vinyl. Sleeve notes by John Ridley.

Recorded spontaneously in a single afternoon, the album captures an unguarded musical conversation between two of the most compelling voices of their generation. Born in Brixton and now based in Harlem, Ruben Fox has emerged as a major presence on the international jazz scene, renowned for the depth of his sound, the emotional clarity of his ballad playing, and a voice rooted in tradition while speaking firmly in the present. His work follows collaborations with artists including Wynton Marsalis, Barry Harris, Roy Hargrove, Jon Batiste, and George Coleman, and builds on the critical acclaim of his 2021 debut Introducing Ruben Fox.

Micah Thomas is one of the most celebrated pianists of his generation, praised for a style that is both restlessly inventive and deeply grounded in the history of the music. A Jerome L. Greene Fellow and Juilliard alumnus, Thomas has worked extensively with Immanuel Wilkins, Joshua Redman, Ambrose Akinmusire, and Billy Drummond, and has been recognised by DownBeat, Jazz Magazine, and The New York City Jazz Record as a defining contemporary voice. Fox and Thomas first developed their musical relationship while studying at Juilliard, where they regularly played duo sets. In Two Minds was recorded on a whim at Chris Pattishall's apartment in Washington Heights, with no rehearsal, no edits, and no agenda beyond mutual respect, listening, and shared musical values. Over three hours, the pair simply showed up and played.

The result is an intimate, conversational record that foregrounds generosity, empathy, and deep musical listening. Sparse, direct, and emotionally rich, In Two Minds offers a rare document of two artists meeting in real time, balancing history, intellect, warmth, and spontaneity.

Collecting Orders For 2025 Repress

Ruff n’ ready torque collides with the nocturnal as Argentinian donny JUAAN enters the fray.

A properly intoxicating melange of boisterous, straight-for-the-jugular biz and late-night seduction. Four distinct, durable traxxx tailor-made for the witching hour. Icily moody with a bit of menace and dread about it. It’s also very slick, optimised and fine-tuned for maximum dancefloor impact.

Critics often highlight his ‘90s-indebted approach, and while those influences remain ever-present, this one has more in common with dancefloor styles prevalent a decade prior. Shades of darkwave, Detroit In Effect and the nascent years of Chi-Town house depending on the track, but never do we run the risk of falling into pastiche.

Pure forward momentum with a decidedly mean streak coursing throughout. Plenty of sci-fi flourish, funked-out where it counts. Flush with dystopian romance and a decent dose of weirdo flex.

Quintessentially Kalahari.