quête:p run

Hua Li has often worked the fruitful tension between opposing forces, whether being mixed-race, bisexual, or overtly political and softly vulnerable. Now the “half-Chinese, half-militant, half-rapper of your heart” is back with "ripe fruit falls but not in your mouth", her most ambitious and personal record to date. Playing between hazy R&B, hip-hop, jazz and electronic, Hua Li’s sophomore LP takes the imaginary garden as a proxy for cultivating home. With complex vocal arrangements, lush production by Alex Thibault (aka Gloze), and big, vibrant mixing by TNGHT’s Lunice, ripe fruit is a private confessional on a loud-ass record.

Following 2019’s Dynasty and 2020’s critically acclaimed Yellow Crane EP, "ripe fruit" is characteristically libertine. Textured and sensual, the Montreal multi-hyphenate balances her rich, waveforming tone with danceable, electronic signatures. The rapper is fierce and frequently funny, erupting from gauzy runs to deliver a quick uppercut that stings. With hooky, addictive features by Ambrose Getz and Darkus Millon, ripe fruit is an intimate record of healing, with Montreal’s nightlife at its heart. An artful collaborator, Hua Li co-wrote and performed on Gayance's 2023 Polaris short-listed album, Masquerade, and is the touring DJ for Inuk electro-pop throat singer, Riit.

Her charismatic stage show has taken her around the world, including tours with Cadence Weapon and Fat Tony (serving as the former’s touring DJ), to Reykjavik’s Secret Solstice Festival, the Montreal International Jazz Festival, and Pride Toronto. Luminous and compelling, Hua Li shows it takes tenderness to let things ripen, and guts to let things die. In-between is a kind of rapture that begs to be savoured.

For Fans Of: Gayance, Tirzah, FKA Twigs, Heems, Tkay Maidza

2024 Repress

Diggin In The Crates (D.I.T.C.) was born out of a group of artists who began making noise in the late ‘80s and into the next decade and beyond—namely Lord Finesse, Diamond D, and Fat Joe. After well-received albums, an official, wider collective was founded that also included O.C., Big L, Buckwild, and producer-rapper combo, Show & A.G. (originally known as Showbiz & A.G.).


The crew proceeded to drop a run of sublime records, including Show & A.G.’s Soul Clap EP (1992), their full-length debut Runaway Slave (1992), followed by Goodfellas in 1995. Show & A.G.’s next project, Full Scale, arrived in 1998 and featured appearances from O.C., KRS-One, Big Pun, the Ghetto Dwellas and verses from members of D.I.T.C. including Diamond D, Big L and Lord Finesse.


In 2002 a CD version titled Full Scale LP (using the same artwork) was released with 10 additional tracks which had originally been released on various 12" singles and projects in the late 1990s. The project had never been released on vinyl in its entirety – until now.
Production on Full Scale was handled by Showbiz and A.G. except for "Time To Get This Money" which was produced by long-time collaborator Ahmed, and "Hold Mines" and "Hidden Crates" which were produced by DJ Greyboy.


The assortment of guest features doesn’t detract from A.G., a masterful emcee with a no-nonsense style that is simple but impactful. Full Scale follows the tried and true blueprint from Show & AG’s earlier classics cementing its place in hip hop history.

Kendra is excited to release a new 45, featuring a special a bonus track written and recorded during the 'I Am What I'm Waiting For' sessions, as well as a new 45-edit of her instant classic 'Birthday Song.' The A-side 'Fine Right Here,' the bonus cut from Kendra Morris's brand new LP 'I Am What I'm Waiting For' (which has received incredible support from the likes of Rolling Stone France, KCRW, WNYC, Flood Magazine, and countless others), takes a look into the deeply introverted side of Kendra. "This song is about being ok just sitting inside and missing the party," Kendra explains. "It's the antithesis to FOMO." Written to accompany a rainy day, the song feels like you're being enveloped in a hug. Sonically, the track tips its hat to Ethiopian Jazz and soul of the 70s, like Rose Royce and the Delfonics. The warm vibraphone, sturdy bass line, and vocal reverb create a layered tapestry of sound that wraps around your shoulders and drifts into your ears. The new 45-edit of 'Birthday Song' is for the DJs. It's an upbeat and funky jubilant jam that's ready and waiting to take the place of outdated standards. Both tracks were co-written and produced by Torbitt Schwartz (AKA Little Shalimar) of Run the Jewels, 'Fine Right Here' is a welcome departure to the upbeat nature of 'I Am What I'm Waiting For' whereas 'Birthday Song' is set to be a celebratory go-to

"Undici/Dodici" war das erste Lebenszeichen des italienischen Screamo-Outfits OJNE aus 2013. Das Line-Up hat sich geändert, mehrere EPs und eine komplette LP wurden veröffentlicht, viele Shows rund um den Globus wurden gespielt. Der klassische Sound des italienischen Screamo trifft auf die Strukturen des Post-Hardcore und die Atmosphäre des Post-Rock, in einem eindringlichen Konzept über Gewalt, Wachstum, Hoffnung und Rache.

Feinster Oi!/Streetpunk aus vier Ländern (US, CAN, IR, GER) trifft sich hier auf einem Album. Jeweils drei neue, unveröffentlichte Tracks liefern die vier Combos hier ab. Die beiden LP-Seiten teilen sich RED BRICKS aus Hamburg, THE UNCOUTH aus Kansas City, AN SLUA aus Gaillimh sowie RECKLESS UPSTARTS aus Ontario mit je drei Songs. Die Bands eint die Verknüpfung aus anti-rassisitscher, antifaschsitischer Attitüde und dem rauen Sound der Straße mit Working-Class-Mentallity und einer derben Prise Oi! Veröffentlicht in Kooperation mit Insurgence Records (Kanada). Klassisch schwarzes Vinyl!

This is tenor saxophonist Hank Mobley’s first release on the Prestige label, after one previous Blue Note release. Here he is joined by Donald Byrd (trumpet), Barry Harris (piano), Doug Watkins (bass) and

Art Taylor (drum) with a guest appearance from Jackie McLean (alto saxophone) on one track. As one might expected, the program is quite « be boppy »,

with the band running through bop standards like Bud Powell « Bouncing with Bud », Monk’s « 52nd Street » and Parker’s « Au Privave ». Mobley’s supremely confident solos are

highlights of these tracks and he swings through the rather plain arrangements of « Bouncing with Bud » and « Au Privave » , with exceptional phrasing and melodic finesse, through Byrd’s and Harris’s solos as satisfying as well.

« Lush Life » (1958) is among John Coltrane’s best endeavours on the Prestige (and Music) label. One reason can easily be attributed to the interesting personnel and the

subsequent lack of a keyboard player for the August 16, 1957, session that yielded the majority of the material. Coltrane (tenor sax) had to essentially lead the compact trio of himself,

Earl May (bass) and Art Taylor (drums). The intimate setting is perfect for ballads such as the opener ‘Like Someone in Love ». John Coltrane doesn’t have to supplement the frequent

redundancy inherent in pianists, so he has plenty of room to express himself through simple and ornate passages.

May provides a platform for Coltrane’s even keeled runs before the tenor drops out, allowing both Earl May and then Art Taylor a chance to shine.

The fun cat-and-mouse-like antics continue as Taylor can be heard encouraging the tenor player to raise the stakes and the tempo – which he does to great effect.

Kjetil Mulelid's various projects have received international acclaim, ranging from his duo with Siril Malmedal Hauge, his trio, and the quartet Wako. His first solo album, "Piano" (Rune Grammofon, 2021) received plaudits that placed him in the same company as pianists like Keith Jarret, Brad Mehldau, and Bill Evans. With "Agoja" Mulelid demonstrates what a musician and composer worthy of such acclaim can do with an ensemble cast of musicians of the highest calibre. On "Agoja" three features are immediately apparent. First, that Mulelid's compositions are melodic, yet frequently surprising in their path from their beginning to end; second, that he is a generous band leader, allowing the musicians both to be themselves and to express themselves, often while he merges almost completely into the background; finally, that each composition has its own unique identity, yet bears Mulelid's hallmark clearly and distinctly. Kjetil Mulelid (b.1991, Hurdal, Norway) has distinguished himself as an inventive artist, blending jazz, psalms, and improvised music in both his own playing and compositions. After graduating from the famous "Jazzlinja" in Trondheim back in 2014, he has been heavily touring the world's nooks and crannies with his own music and projects. He has played concerts in large parts of Europe and Japan and released several well-received albums as a solo artists, as well as with his own Kjetil Mulelid Trio, the jazz quartet Wako, with singer Emilie Storaas as the duo Kjemilie, and with singer Siril Malmedal Hauge - both as a band and as a piano / vocal duo.

Die britischen Metalcore-Überflieger While She Sleeps loten auf ihrem neuen Album kompromisslos unberechenbar die Grenzen ihres Genres neu aus. So entsteht eine Collage der musikalischen Leidenschaften ihrer einzelnen Band-Mitglieder. 'SELF HELL' fühlt sich an wie das zweite Debütalbum einer Band, die in den letzten zehn Jahren zu einer so vitalen Kraft geworden ist. Die Riffs sind weiter brachial. Vintage Synthesizer lassen elektronische Einflüsse wie Aphex Twin, Bicep oder Prodigy erkennen.

Die fünfköpfige Band hat auf ihrem sechsten Studio-Album einen unglaublich kraftvollen und kreativen Weg gefunden, die Essenz und Vision jedes einzelnen Bandmitglieds zum Ausdruck zu bringen. 'SELF HELL' ist von einer von Britpop geprägten Working-Class-Jugend in den Bergbaudörfern rund um Sheffield geprägt. Ein trotziger „Nothing-to-lose-and-everything-to-gain“-Spirit schwebt über allem.

The Renegade Bob Ross unleashes his insanity with this, what was originally his debut EP. This record has everything that makes hardcore great! Hefty breaks, rolling melodies into manic pianos, hoovers, bonkers stabs and above all else, excitement! Renegade Bob Ross has a passion for crazy breakbeat hardcore and it shows in this perfectly.

Repress!

Melbourne's Sgt Slick slides on over with five of his finest re-edits on a newly formed label Sgt Slick Recuts. 20 years deep in the game, accolades aplenty, collabs with some the finest out there and a serious string of his own productions, Sgt Slick knows what works on the dancefloor and these edits showcase that to a T. Some out and out classics, reworked with the club clearly in mind.

Arguably one of the most memorable house music moments, born out of the black LGBT scene in Chicago at the legendary Warehouse and known as one of Frankie Knuckles earliest productions; ‘Your Love’ is a stone cold classic. A record that is up there with the greats, instantly recognisable and a song that only get better with time.

Written by Jamie Principle and originally released in 1986, ‘Your Love’ has become a seminal recording over the past 34 years. Originally an underground club anthem, famously borrowed on the crossover hit ‘You’ve Got The Love’ (The Source feat. Candi Staton), and most recently re-produced by as part of the Director’s Cut project which aimed to update a number of classic cuts for the modern dancefloor, this is a record that endures the test of time. Working alongside The Frankie Knuckles Foundation and Eric Kupper, SoSure Music now releases two new remixes for 2020 from Darrius Syrossian and Alan Dixon.

First up, House music aficionado and legendary Sankey’s resident Darius Syrossian offers his unique blend of beats to the remix package. With releases on the likes of Get Physical, Viva Music and Hot Creations, Darius’ production is heavily influenced by some of the greats – think of the finest spinners from Detroit, New York and Chicago – and is well placed to approach this huge task. Darius introduces a rolling house beat and some old skool breakbeats into his mix, keeping the energy high throughout; bringing a feeling of a euphoria and hitting the peak time moment.

Charting a rapid rise through the ranks in a relatively short time Alan Dixon is already building a name for himself in House and Nu Disco scene and has recently released on labels including Glitterbox, Permanent Vacation, Running Back and True Romance. Alan’s remix aims directly at the centre of the disco dancefloor. A strong beat dominates a unique energy through the mix along with a slightly nostalgic vibe. With a beautiful floaty interlude and a raw emotion this remix updates a classic with respect while also giving a fresh new twist.

2024 repress !

Chicago Proto House Re-issue with Gerd Janson & Enzo Elia Edit

Master Plan was the Chicago based dance music project of Pepper Gomez and Tom O’Callahan. Spanning from 1984 to 1986, the groups development is in sync with the dance music scene of Chicago during that era. While their first record „Pushin’ Too Hard“ is a Windy City version of the NYC club music of the time and its European cross-pollination, „Electric Baile“ from two years later down the line is almost a quantum jump into house music. With the engineering help of Matt Warren, it bears the marks of Ron Hardy, Chip E, Farley Jackmaster Funk or the WBMX dance party craze, if you will. Here you have remastered and updated versions by Enzo Elia and Gerd Janson. The first ones’ edit attempt of „Electric Baile“ ignited this edition. A custom-tailored main mix is completed by a dub and useful bonus beat version to do, what DJs used to do. Concluded by two edits of „Pushin’ Too Hard“ by GJ, you get two great slices of yesterday that are still major dance music blue prints today.

High Roller Records, mustard vinyl, insert, bonus CD, ltd 200, Mastered for vinyl by Patrick W. Engel

John’s debut album was recorded at Tony Pyke’s home studio in Dryburgh Road, Putney in glorious mono and then mastered at Pye Studios, Marble Arch, London for the princely sum of £158. Recording and mastering was completed by 9 August and London Conversation was released when John was just nineteen in October 1967. Theo Johnson took the role of producer under the supervision of Chris Blackwell and the cover photograph of John perched amongst chimney pots was taken on the roof of Blackwell’s apartment. Talking to Music Week magazine in 2007 John recalled that he recorded the whole album in one afternoon in a two-track studio on Putney High Street.

The album is in the folk tradition and contains some excellent lyrics and jazzy instrumentation including the sitar and flute in Rolling Home. As a result it won praise and the instrumentation distinguished John from his contemporaries in the folk scene. Back To Stay is a beautiful love song with a sad and dreamy melody, a sign of things to come.

John took up guitar whilst at school and although he was only nineteen he was already acknowledged locally as an accomplished guitarist. He was influenced by two people in particular, amongst others, that he knew. “Les Brown, who is completely unknown and has never recorded…he plays a kind of American Doc Watson guitar very very well. Lovely voice. Also a friend of mine called Paul Wheeler who is featured on the second album.”