quête:part one

The Fluid are arguably the great unsung band from the fertile underground rock scene of the late '80s and early '90s. The Denver five-piece - John Robinson (vocals), James Clower (guitar), Matt Bischoff (bass), Garrett Shavlik (drums), and the dear departed Ricky Kulwicki (guitar) - fused the fire of '80s hardcore with crunching Detroit protopunk, '60s garage rock, and '70s rock swagger. Think MC5, Faces, '70s Stones, all cranked up and really high on Sex Pistols and Black Flag singles. Rising from the ashes of early-'80s Denver bands Frantix (whose "My Dad's a Fuckin' Alcoholic" is a true gem of American punk) and White Trash, The Fluid were the first non-Seattle band to sign to Sub Pop, and Clear Black Paper was the second full-length album the label ever released. The label honchos were fans of Frantix, and happily got involved with The Fluid when the opportunity arose via the label's European licensing partner, Glitterhouse. Witnessing The Fluid's dominant live presence helped - a particularly fiery early show at Seattle's Central Tavern featured The Fluid, Mudhoney, Mother Love Bone, and Soundgarden all trying to outdo one another on stage. The band fit right in on Sub Pop's nascent roster of acts who, wherever they stood on the spectrum of punk/rock/metal, shared a commitment to thunderous riffs and explosive live shows. Legendary for their ferocious stage presence, The Fluid toured all over the US and Europe, holding their own and then some on bills with Mudhoney, Nirvana, Soundgarden, Dinosaur Jr., and other powerhouses of the era. From 1986 to 1993, The Fluid put out four albums and a number of EPs and singles, including a split 7" with Nirvana in 1991, before doing one album for a major label and promptly disbanding. Yet, while their partners-in-crime bulldozed into the mainstream, The Fluid remained something of a cult band, their audience confined to those who got hip during the band's existence, and crate diggers who nabbed original vinyl or CDs, which had quickly become rarities after selling through their original runs. Why? Record industry machinations? The fickle finger of pop culture? Being from Denver, not Seattle? Who the hell knows_ and who cares! The point is the band ripped, and the world deserves to hear them again. The Fluid took influences they shared with their contemporaries and ran in their own direction, focused on ass-shaking grooves more than misanthropic sludge. Rock anthems like "Cold Outside" sit alongside Stooge-oid rhythmic poundings ("Black Glove"), bluesy romps ("Leave It"), the occasional grungy dirge ("Wasted Time"), and raw punk bangers ("Is It Day I'm Seeing?" from the seminal 1988 Sub Pop 200 compilation). The band wasn't shy about their inspiration, either: scattered through their catalog are covers of The Troggs, The Rolling Stones, MC5, Iggy Pop and James Williamson, and Rare Earth. The Fluid stand out as champions of a feral, urgent, exuberant approach to rock 'n roll. As it turns out, that wasn't a recipe for stardom in the era of hyper-slick pop, boomer dinosaurs crying tears in heaven, and hair-metal power-ballads. But someone had to do it. To set things right, Sub Pop, The Fluid, and producer Jack Endino (Nirvana, Soundgarden, High on Fire, Mudhoney) teamed up to refresh and reissue The Fluid's entire indie-label catalog: their 1986 debut, Punch N Judy; 1988's Clear Black Paper; 1989's Roadmouth; the 1990 Glue EP (produced by Butch Vig, of Nevermind fame); and a treasure trove of rarities and previously unreleased material. All the music has been remastered from original tapes by Endino and JJ Golden, and the bulk of it has been meticulously remixed by Endino and the band, righting some sonic quirks that diminished the impact of the original records. Now, with their definitive material sounding better than ever, it's high time The Fluid get their due.

Horrible Occurrences is the title of the new Advance Base album, and there is truth in advertising. In these songs_all centered around a fictional town called Richmond and featuring an interlinked cast of characters_you will hear stories of death and disappearance, climactic confrontations and unsolved mysteries. "Richmond is just this place where all the bad memories live," Owen Ashworth explains, and nearly 30 years into his songwriting career, none of his records have packed quite the emotional intensity of this one. And yet something alchemical happens in the telling of these tales. Like a masterful short story collection, Horrible Occurrences is inspiring and alive, idiosyncratic and electric, pulling you closer with each word. In the six years since his last full-length collection of originals, 2018's Animal Companionship, Ashworth gathered ideas from performing live and traveling around the country, returning to cities that he once called home and revisiting old ghosts, memories, and fragments of unfinished ideas. Blending truth and fiction into a dreamlike composite, the songs convey the winding path our memory takes as the years go by, giving voice to a subconscious that is still unpacking old memories for new wisdom. Drawing inspiration from the otherworldly loneliness depicted on '80s masterpieces like Arthur Russell's World of Echo and Bruce Springsteen's Nebraska, the music never crowds Ashworth's detailed storytelling but it also never feels auxiliary. These are beautiful songs, but they stick with you for their ability to strike dissonant, unforgettable emotional chords. It is this pervasive empathy in Ashworth's songwriting_along with his writerly gift for clear settings and complex characters_that has made him a guiding light for so many independent artists. The things that happen throughout Horrible Occurrences are what we tend to call "unspeakable"_events that draw gut-level responses just from acknowledging that they could happen. But part of the triumph of the record is how simply and generously Ashworth finds the language to share them. For the characters in these songs who make it out okay, these are the types of memories they will be tossing and turning their whole lives, waiting for quiet moments to confide them among the people they trust. For the rest of us, they are signs of life along the highway on a dark, snowy night: reminders that, as isolated as we may feel, we are not alone on the road.

The Fluid are arguably the great unsung band from the fertile underground rock scene of the late '80s and early '90s. The Denver five-piece - John Robinson (vocals), James Clower (guitar), Matt Bischoff (bass), Garrett Shavlik (drums), and the dear departed Ricky Kulwicki (guitar) - fused the fire of '80s hardcore with crunching Detroit protopunk, '60s garage rock, and '70s rock swagger. Think MC5, Faces, '70s Stones, all cranked up and really high on Sex Pistols and Black Flag singles. Rising from the ashes of early-'80s Denver bands Frantix (whose "My Dad's a Fuckin' Alcoholic" is a true gem of American punk) and White Trash, The Fluid were the first non-Seattle band to sign to Sub Pop, and Clear Black Paper was the second full-length album the label ever released. The label honchos were fans of Frantix, and happily got involved with The Fluid when the opportunity arose via the label's European licensing partner, Glitterhouse. Witnessing The Fluid's dominant live presence helped - a particularly fiery early show at Seattle's Central Tavern featured The Fluid, Mudhoney, Mother Love Bone, and Soundgarden all trying to outdo one another on stage. The band fit right in on Sub Pop's nascent roster of acts who, wherever they stood on the spectrum of punk/rock/metal, shared a commitment to thunderous riffs and explosive live shows. Legendary for their ferocious stage presence, The Fluid toured all over the US and Europe, holding their own and then some on bills with Mudhoney, Nirvana, Soundgarden, Dinosaur Jr., and other powerhouses of the era. From 1986 to 1993, The Fluid put out four albums and a number of EPs and singles, including a split 7" with Nirvana in 1991, before doing one album for a major label and promptly disbanding. Yet, while their partners-in-crime bulldozed into the mainstream, The Fluid remained something of a cult band, their audience confined to those who got hip during the band's existence, and crate diggers who nabbed original vinyl or CDs, which had quickly become rarities after selling through their original runs. Why? Record industry machinations? The fickle finger of pop culture? Being from Denver, not Seattle? Who the hell knows_ and who cares! The point is the band ripped, and the world deserves to hear them again. The Fluid took influences they shared with their contemporaries and ran in their own direction, focused on ass-shaking grooves more than misanthropic sludge. Rock anthems like "Cold Outside" sit alongside Stooge-oid rhythmic poundings ("Black Glove"), bluesy romps ("Leave It"), the occasional grungy dirge ("Wasted Time"), and raw punk bangers ("Is It Day I'm Seeing?" from the seminal 1988 Sub Pop 200 compilation). The band wasn't shy about their inspiration, either: scattered through their catalog are covers of The Troggs, The Rolling Stones, MC5, Iggy Pop and James Williamson, and Rare Earth. The Fluid stand out as champions of a feral, urgent, exuberant approach to rock 'n roll. As it turns out, that wasn't a recipe for stardom in the era of hyper-slick pop, boomer dinosaurs crying tears in heaven, and hair-metal power-ballads. But someone had to do it. To set things right, Sub Pop, The Fluid, and producer Jack Endino (Nirvana, Soundgarden, High on Fire, Mudhoney) teamed up to refresh and reissue The Fluid's entire indie-label catalog: their 1986 debut, Punch N Judy; 1988's Clear Black Paper; 1989's Roadmouth; the 1990 Glue EP (produced by Butch Vig, of Nevermind fame); and a treasure trove of rarities and previously unreleased material. All the music has been remastered from original tapes by Endino and JJ Golden, and the bulk of it has been meticulously remixed by Endino and the band, righting some sonic quirks that diminished the impact of the original records. Now, with their definitive material sounding better than ever, it's high time The Fluid get their due.

The Fluid are arguably the great unsung band from the fertile underground rock scene of the late '80s and early '90s. The Denver five-piece - John Robinson (vocals), James Clower (guitar), Matt Bischoff (bass), Garrett Shavlik (drums), and the dear departed Ricky Kulwicki (guitar) - fused the fire of '80s hardcore with crunching Detroit protopunk, '60s garage rock, and '70s rock swagger. Think MC5, Faces, '70s Stones, all cranked up and really high on Sex Pistols and Black Flag singles. Rising from the ashes of early-'80s Denver bands Frantix (whose "My Dad's a Fuckin' Alcoholic" is a true gem of American punk) and White Trash, The Fluid were the first non-Seattle band to sign to Sub Pop, and Clear Black Paper was the second full-length album the label ever released. The label honchos were fans of Frantix, and happily got involved with The Fluid when the opportunity arose via the label's European licensing partner, Glitterhouse. Witnessing The Fluid's dominant live presence helped - a particularly fiery early show at Seattle's Central Tavern featured The Fluid, Mudhoney, Mother Love Bone, and Soundgarden all trying to outdo one another on stage. The band fit right in on Sub Pop's nascent roster of acts who, wherever they stood on the spectrum of punk/rock/metal, shared a commitment to thunderous riffs and explosive live shows. Legendary for their ferocious stage presence, The Fluid toured all over the US and Europe, holding their own and then some on bills with Mudhoney, Nirvana, Soundgarden, Dinosaur Jr., and other powerhouses of the era. From 1986 to 1993, The Fluid put out four albums and a number of EPs and singles, including a split 7" with Nirvana in 1991, before doing one album for a major label and promptly disbanding. Yet, while their partners-in-crime bulldozed into the mainstream, The Fluid remained something of a cult band, their audience confined to those who got hip during the band's existence, and crate diggers who nabbed original vinyl or CDs, which had quickly become rarities after selling through their original runs. Why? Record industry machinations? The fickle finger of pop culture? Being from Denver, not Seattle? Who the hell knows_ and who cares! The point is the band ripped, and the world deserves to hear them again. The Fluid took influences they shared with their contemporaries and ran in their own direction, focused on ass-shaking grooves more than misanthropic sludge. Rock anthems like "Cold Outside" sit alongside Stooge-oid rhythmic poundings ("Black Glove"), bluesy romps ("Leave It"), the occasional grungy dirge ("Wasted Time"), and raw punk bangers ("Is It Day I'm Seeing?" from the seminal 1988 Sub Pop 200 compilation). The band wasn't shy about their inspiration, either: scattered through their catalog are covers of The Troggs, The Rolling Stones, MC5, Iggy Pop and James Williamson, and Rare Earth. The Fluid stand out as champions of a feral, urgent, exuberant approach to rock 'n roll. As it turns out, that wasn't a recipe for stardom in the era of hyper-slick pop, boomer dinosaurs crying tears in heaven, and hair-metal power-ballads. But someone had to do it. To set things right, Sub Pop, The Fluid, and producer Jack Endino (Nirvana, Soundgarden, High on Fire, Mudhoney) teamed up to refresh and reissue The Fluid's entire indie-label catalog: their 1986 debut, Punch N Judy; 1988's Clear Black Paper; 1989's Roadmouth; the 1990 Glue EP (produced by Butch Vig, of Nevermind fame); and a treasure trove of rarities and previously unreleased material. All the music has been remastered from original tapes by Endino and JJ Golden, and the bulk of it has been meticulously remixed by Endino and the band, righting some sonic quirks that diminished the impact of the original records. Now, with their definitive material sounding better than ever, it's high time The Fluid get their due.

The Fluid are arguably the great unsung band from the fertile underground rock scene of the late '80s and early '90s. The Denver five-piece - John Robinson (vocals), James Clower (guitar), Matt Bischoff (bass), Garrett Shavlik (drums), and the dear departed Ricky Kulwicki (guitar) - fused the fire of '80s hardcore with crunching Detroit protopunk, '60s garage rock, and '70s rock swagger. Think MC5, Faces, '70s Stones, all cranked up and really high on Sex Pistols and Black Flag singles. Rising from the ashes of early-'80s Denver bands Frantix (whose "My Dad's a Fuckin' Alcoholic" is a true gem of American punk) and White Trash, The Fluid were the first non-Seattle band to sign to Sub Pop, and Clear Black Paper was the second full-length album the label ever released. The label honchos were fans of Frantix, and happily got involved with The Fluid when the opportunity arose via the label's European licensing partner, Glitterhouse. Witnessing The Fluid's dominant live presence helped - a particularly fiery early show at Seattle's Central Tavern featured The Fluid, Mudhoney, Mother Love Bone, and Soundgarden all trying to outdo one another on stage. The band fit right in on Sub Pop's nascent roster of acts who, wherever they stood on the spectrum of punk/rock/metal, shared a commitment to thunderous riffs and explosive live shows. Legendary for their ferocious stage presence, The Fluid toured all over the US and Europe, holding their own and then some on bills with Mudhoney, Nirvana, Soundgarden, Dinosaur Jr., and other powerhouses of the era. From 1986 to 1993, The Fluid put out four albums and a number of EPs and singles, including a split 7" with Nirvana in 1991, before doing one album for a major label and promptly disbanding. Yet, while their partners-in-crime bulldozed into the mainstream, The Fluid remained something of a cult band, their audience confined to those who got hip during the band's existence, and crate diggers who nabbed original vinyl or CDs, which had quickly become rarities after selling through their original runs. Why? Record industry machinations? The fickle finger of pop culture? Being from Denver, not Seattle? Who the hell knows_ and who cares! The point is the band ripped, and the world deserves to hear them again. The Fluid took influences they shared with their contemporaries and ran in their own direction, focused on ass-shaking grooves more than misanthropic sludge. Rock anthems like "Cold Outside" sit alongside Stooge-oid rhythmic poundings ("Black Glove"), bluesy romps ("Leave It"), the occasional grungy dirge ("Wasted Time"), and raw punk bangers ("Is It Day I'm Seeing?" from the seminal 1988 Sub Pop 200 compilation). The band wasn't shy about their inspiration, either: scattered through their catalog are covers of The Troggs, The Rolling Stones, MC5, Iggy Pop and James Williamson, and Rare Earth. The Fluid stand out as champions of a feral, urgent, exuberant approach to rock 'n roll. As it turns out, that wasn't a recipe for stardom in the era of hyper-slick pop, boomer dinosaurs crying tears in heaven, and hair-metal power-ballads. But someone had to do it. To set things right, Sub Pop, The Fluid, and producer Jack Endino (Nirvana, Soundgarden, High on Fire, Mudhoney) teamed up to refresh and reissue The Fluid's entire indie-label catalog: their 1986 debut, Punch N Judy; 1988's Clear Black Paper; 1989's Roadmouth; the 1990 Glue EP (produced by Butch Vig, of Nevermind fame); and a treasure trove of rarities and previously unreleased material. All the music has been remastered from original tapes by Endino and JJ Golden, and the bulk of it has been meticulously remixed by Endino and the band, righting some sonic quirks that diminished the impact of the original records. Now, with their definitive material sounding better than ever, it's high time The Fluid get their due.

Two decades in, one of dance music’s most celebrated DJs, producers, label owners, A&Rs, broadcasters, and tastemakers has big plans for this anniversary. In June, Anja Schneider will unveil an expansive rework and remix package on her benchmark-setting imprint, Sous Music, some of her best-loved tracks are there in less familiar forms. Expect fresh takes from Anja herself on seven of her favorite tracks plus a wealth of heavyweight remixers: Paramida & E-Talking, Radio Slave, Scuba, JakoJako, Julian Muller, Cassy, Deetron, Leafar Legov, Erobique, Jaymie Silk and Ackermann all being part of the impressive collection.
“The project includes new versions of my favourite tracks from the last 20 years and remixers who have accompanied, influenced, and currently impress me. Each artist holds a special connection for me,” says Anja in anticipation of this milestone release.

British Funk Renegades - Baker Brothers: A Legacy of Groove and Innovation

Since 2001, British funk luminaries the Baker Brothers have been at the forefront of the UK funk scene, consistently redefining the genre while staying true to its roots. Their groove, deeply embedded in soulful nostalgia, draws inspiration from legendary acts such as Steely Dan, Sly and the Family Stone, The Doobie Brothers, D'Angelo, The Roots, The Meters, and Prince.

Renowned for their electrifying live performances, the Baker Brothers deliver an "in-your-face" experience that takes audiences on a journey through their extensive back catalogue, spanning eight studio albums and four live albums. These albums feature collaborations with notable artists, including Hamish Stuart of the Average White Band, Snowboy, and soul divas Vanessa Freeman, Hannah Williams, Acantha Lang, and Katie Holmes.

With over ten tours in Japan and numerous European tours under their belt, the Baker Brothers have proven their enduring appeal. They continue to navigate the challenges of band life with unwavering creativity and passion, using music as their vehicle to overcome life's hurdles.

As they forge ahead with new creations, the Baker Brothers' signature sound—characterised by tight horns, a driving rhythm section, and irresistibly funky guitar riffs—remains as killer as ever. Their journey is a testament to their longevity and their unwavering commitment to pushing the boundaries of funk.

Born and raised in the north of England to the house sound of Chicago and Sheffield, Marcus Paulson has become one of the most credible producers when it comes to classic sounding Chicago influenced house music. He has released on labels like M>O>S Recordings, Tom Carruther’s Non Stop Rhythm or Partout besides his own Junction 4 label.

His new "Pure EP" for Quintessentials is his most mature outing to date: pure house music, pure club tracks, a pure old school feel with a modern twist and a pure joy to listen to!

The album "Plural" celebrates the remarkable encounters and partnerships that have shaped Gabriel Grossi"s 25-year career as a harmonica player, composer, arranger, and producer. Featuring 10 of his own compositions, Grossi"s renowned virtuosity flows with deep sensitivity through various genres, reflecting the solid trajectory of one of the greatest instrumentalists and most creative musicians in Brazilian music. Collaborating with prominent names from both the national and international music scenes, "Plural" showcases Grossi"s music without borders, offering the world a glimpse of his extensive career. For this celebration, outstanding guests were invited to join the musical journey. Including Jacob Collier, Ed Motta, Hermeto Pascoal, Seamus Blake, Omar Sosa and others.

Brussels based pianist Giovanni Di Domenicowas born in Rome in 1977. Majoring in 'jazz piano' at music school - he further built on an encyclopaedic technique; rhythm, harmony and tone are informed by non-western traditions yet equally sensitive to Debussy's "Préludes", Luciano Berio's "Sequenzas", to the 'ambi-ideation' heard in Borah Bergman's Soul Note recordings, Cecil Taylor's polissemic density, Paul Bley's bruised transparency and of course, the most radical manifestations stemming from the underworld of pop music, invariably tied together by his own original praxis.
A distinction - one would call it generational - he shares with many of the musicians he has crossed paths with recently, of which we could enumerate Nate Wooley, Chris Corsano, ArveHenriksen, Jim O'Rourke, Alexandra Grimal, Tetuzi Akiyama, João Lobo or Toshimaru Nakamura.
At the request of W.E.R.F. Records, Giovanni created an entirely new repertoire, teaming up with saxophonist Alexandra Grimal and drummer Eric Thielemans. This collaboration resulted in Echolalia, a suite consisting of three parts: Aoede, Melete, and Mneme. The music is captivating, adventurous, and above all, fascinating.

Earquake 1996 is the 6th part of the nineties cycle by Wolfgang Voigt, released as a double vinyl series on Profan. Besides the Mike Ink remix of one of his biggest techno hits Love Inc. R.E.S.P.E.C.T., Wolfgang Voigt dedicates this edition mainly to his most dust-dry, stoic, abstract-grooving minimal designs of that time. These are pieces with such sonorous, idiosyncratic names as Logorrhoee and Intoleratio, which enchant us back into a minimal techno cosmos of a very special kind.

It may be collected


Earquake 1996 ist der 6te Teil, des als Doppelvinyl Reihe auf Profan erscheinden Neunziger Jahre Zyklus von Wolfgang Voigt. Neben dem Mike Ink Remix eines seiner grössten Technohits Love Inc. R.E.S.P.E.C.T., widmet sich Wolfgang Voigt auf der vorliegenden Ausgabe vor allem seinen staubtrockensten, stoisch, abstrakt-groovenden Minimalentwürfen jener Zeit. Es sind Stücke mit so klangvoll-eigenwilligen Namen wie Logorrhoee und Intoleratio, die uns zurückverzaubern in einen Minimaltechno-Kosmos der ganz besonderen Art.

Es darf gesammelt werden

Classic free jazz album reissued for the first time since the 70s. Old-style gatefold sleeve LP, with liner notes by Ed Hazell.

Noah Howard, an alto saxophonist and composer, was known for weaving intricate and innovative musical patterns, often likening his work to "sound paintings." His 1971 album Patterns, the first LP he self-produced on his Altsax label, stands as a testament to his experimental and spiritual approach to music. In interviews, Howard frequently used visual terms like "patterns" and "shapes" to describe his compositions, emphasizing the importance of melody and structure even in highly improvisational settings. For Howard, patterns and melodies were essential to guiding listeners through his explorations without alienating them, maintaining a balance between innovation and accessibility. Howard's quest for an original sound was deeply influenced by jazz greats like Charlie Parker, Ornette Coleman, and Jackie McLean. While he admired these legends, Howard avoided imitation, striving instead to develop his own distinct voice. His sound was unmistakably his own, and he felt a deep obligation to carry the jazz tradition forward through personal expression, not by mimicking others. His music was also rooted in spirituality, a legacy he traced to his upbringing in the Black Baptist Church. He believed jazz had always contained a spiritual essence, from Louis Armstrong to John Coltrane, and his work aimed to channel this cosmic, spiritual energy.

Patterns was recorded in the Netherlands during Howard's second stint in Europe, where he found a more open, less racially charged environment compared to the U.S. For the album, Howard collaborated with Dutch musicians such as Misha Mengelberg (piano), Han Bennink (drums), and Earl Freeman (bass). Despite the challenges faced by guitarist Jaap Schoonhoven, who felt out of place in the session, the album came together as a powerful mix of blues, jazz, and classical elements.

The music on Patterns is a high-energy fusion of American free jazz and Dutch improvisation. Howard's saxophone work alternates between leading with passionate, lyrical lines and blending into the collective improvisation. The album’s dynamic interplay, particularly between Mengelberg’s dissonant piano clusters and Bennink’s thunderous drumming, creates a vivid "sound painting" full of contrasting forms and colors. Patterns remains one of Howard’s most unique and celebrated recordings, showcasing his visionary approach to jazz.

Obscure & outstanding free jazz album reissued for the first time since it’s original release in 1969. Old-style gatefold sleeve LP, with liner notes by Ed Hazell.

In the late 1960s, young jazz musician Bobby Naughton, a keyboardist and vibraphonist, faced significant challenges as he sought to record his first album. With major record labels and jazz clubs catering only to big names, Naughton and other creative musicians of his generation found themselves sidelined by the mainstream music industry. They turned to self-reliance and self-production, becoming part of a movement of independent musicians. Naughton’s debut album, Nature’s Consort, was a DIY effort in every sense—recorded on home equipment and featuring a hand-printed woodblock cover. The album was distributed independently at concerts and by mail, receiving little attention initially, but over the years it gained a reputation as a rare, sought-after artifact of the period.

Though recorded during an outdoor concert in Connecticut, Nature's Consort reflected the "loft jazz" scene in New York City. This avant-garde jazz movement centered around musicians who lived and played in loft spaces in lower Manhattan. Naughton commuted from his home in Southbury, Connecticut, to play with his bandmates Mark Whitecage, Mario Pavone, and Laurence Cook in New York's lofts. These musicians regularly performed at venues like Studio We, a key gathering spot for free-form jazz, where musicians could experiment and develop their sound, often with no audience present.

Naughton’s journey into jazz was a winding one. Originally from Boston, he played rockabilly and blues-rock before transitioning into free jazz. Inspired by avant-garde artists like Carla Bley and Paul Bley, Naughton sought to explore new forms of music that went beyond traditional jazz structures. His bandmates, Mark Whitecage and Mario Pavone, were both deeply affected by the death of John Coltrane in 1967, which prompted them to quit their day jobs, attend Coltrane’s funeral, and move to New York to pursue jazz full-time.

Nature’s Consort was a collective project, with band members sharing equally in any profits. However, Naughton was the driving force behind the group’s creative direction. He composed much of the original material and selected pieces by Ornette Coleman and Carla Bley for the band’s repertoire. Jazz critic Nat Hentoff praised the album for its “high-risk improvisation” and the musicians' ability to anticipate each other’s moves. Though Nature’s Consort received little press at the time, it has since been recognized as a significant early document of the loft jazz era, representing Naughton’s disciplined, improvisational approach to music.

'If We Land On Water' is the first album from Spiral Wrack, a duo of Ali Wade (Frequency Domain) and Ralph Cumbers (Bass Clef / Myriad Myriads). Although the two have been good friends for decades and appeared on some of the same labels, this album marks their first musical collaboration, following a one-off appearance on Frequency Domain's 2023 compilation, 'Partials III'. Previous solo work from Ralph and Ali has appeared onPunch Drunk, Idle Hands, Pan, Trilogy Tapes and Werk Discs.

Here they present a full-length work of woozy, heavily processed guitar and synth duets, where beachcombed melodies wash up on unknown shores and strange flowers bloom at the high water line. Robin Guthrie meets Laurie Spiegel with Neptune at the controls. Rum and reverb, if you will.

You know when one of your favourite albums of all TIME isn't on vinyl, so you just HAVE to make it happen, right…?

With the kind permission of our pals at Best Before Records, we’re beyond delighted to announce the first ever vinyl pressing of Hey Everyone! by Dananananaykroyd - with gorgeous spot gloss sleeve, extra design flavour by original artist Keaton Henson and a bonus track 'Genuine LBS' - all presented on very limited ‘Pink Sabbath X Black Wax Splatter’ vinyl (never to be repressed in this colour).

A truly classic record, this is absolutely peerless Fight Pop. 'Liable to unite moshers and librarians' said a deeply impressed Pitchfork at the time. Let's party like it's 2009.

Transparent green vinyl, limited to 300 copies. Comprised of individuals deeply rooted in the underground music scene, False Reality are a London-based hardcore band that formed in 2023. Renowned for their thrash infused, hardcore crossover sound and fiercely energetic performances they draw influences from bands such as Trapped Under Ice, Broken Teeth and Backtrack as well as early era Sepultura and even Deftones. Having recorded the debut EP 'Path of Self Destruct' with producer Steve Sears Jr (Gallows, TRC, Prowler, Conjurer), False Reality set out to prove why they stand apart, delivering a release that is in equal parts blistering as it is poetically cathartic. Lyrically delving into the complexities of life, exploring themes of betrayal, societal values, and tragedy. The first single released, 'Opposites React', is a groove-driven empowering track that features vocals from Jem of Aussie hardcore band SPEED, which has received support from Daniel P Carter and Alyx Holcombe on BBC Radio 1. Having initially been released digitally in April 2024, this is the first vinyl pressing of the EP, coming via Hassle Records. Limited to just 300 copies, this vinyl release marks a significant milestone for the band, as their reputation grows rapidly within the scene.

Mischievous festa punk meets astral steppas, kalaedoscopic free ambient meets harsh noise, scattered amen breaks with IDM and free jazz trumpets meets the earthly plod of digidub. It can only be Felinto from Sao Paulo.
UTOPIA MILHÃO honors the life forces that allow us to transform the darkness where dreams reside. The album brings a new moment of intimacy for Felinto's musical expression flowing through dirty, raw, dense and brilliant dub fractals, ready to transform unexpectedly into a new shape then another, and another, and another... featuring collaborations with magical people: Sarine (Deafkids), Douglas Leal (Deafkids), Guizado (Afrobombas), Sandra X, Paula Rebellato (Rakta), Lorena Hollander, Yao Bobby, Kiko Dinucci, Paulo Papaleo, Cint Murphy, Rodrigo Lima.
Felinto is a political agitator and musician at the heart of the São Paulo underground - a movement that confronts the various effects of the capitalist system of racial, sexual, ,,,,, and 22222 lawand material oppression.

His provocations range from yoga for children and parenting studies (SACYOGA), theatre (PROJETO CRIOULOS and PROJETO JAMES BALDWIN), web series highlighting the black presence in electronic music in São Paulo (MODULAÇÃO PRETA), reflective groups on gender violence and masculinities, occupation of public spaces for political art q(Coletivo Sistema Negro), artistic curatorship (Residência SOMSOCOSMOS) and studies with sound as a tool in conflict mediation practices. Felinto composes for film, theatre and immersive installations such as MEGACITIES presented at the National Gallery of Victoria, Canada in 2023.

He is currently researching - as part of a masters project in clinical psychology - the collectivised dream realities of black people. A field of action that contemporary anthropology, psychoanalysis and psychology call ONIROPOLITICA.

His interest in affinity groups, autonomous networks of micro-political articulation and penal abolitionism led him to the questions: what do black people dream about within the permanent context of civil war and state violence (like the one in Brazil)? How does this experience create dreams and how does the dream affect the construction of identities beyond the boundaries established by the capitalist unconscious?

Tommy Boy reissues exclusive limited edition pressing of Afrika Bambatta & Soulsonic Force's "Planet Rock” Considered one of founding fathers of rap, Afrika Bambaataa has long been considered a revolutionary, both within the music business and beyond. Raised in the South Bronx, Afrika Bambaataa made his name as a DJ, rapper and songwriter, eventually becoming the foremost DJ, event organizer and promoter of the large block parties that rocked the neighbourhood during the mid-to-late 70's. Leading into the 80's, Bambaataa had found acclaim for releasing countless genre-defining tracks, infusing Hip Hop and Electronic elements into a sound that would influence other artists for years to come. With the groundbreaking release of Soulsonic Force assisted, "Planet Rock," in 1982, Afrika Bambaataa forever cemented his place in the history books as one of the most revered and innovative artists of his time. Since its release, "Planet Rock" has gone on to be recognized as one of the earliest Hip Hop hits and remains one of the genres most pioneering recordings. A long-time favourite amongst break-dancers, DJ's and music lovers alike, "Planet Rock" was ranked by Rolling Stone magazine at #240 on its list of the 500 Greatest Songs of All Time and has received Gold certification by the RIAA. Originally released in 1986 as a collection of previous singles, this highly sought after record has long since been out of production, until now. Ranked at #84 by Slant Magazine on their "Best Albums of the 1980s" list and was also included in the book, "1001 Albums You Must Hear Before You Die".

Located in a grey zone between ambient, post-natural sound design and hi-tech sacred music, the first long-form physical output from Milanese trio Cortex of Light, features two long compositions merging into one another without a specific beginning or end. This release marks also the first collaboration between A.R.X. and Krisis Publishing.

"Heartfelt was released in 2002; the 7th studio album by the jazz quartet Fourplay. They created a crossover between contemporary jazz, R&B and pop with this album and started reaching a broader audience, partly due to the success of the tracks ""Galaxia"" and ""That's The Time"". Fourplay abandoned their individual processes and decided to record this album by free jamming in the studio. The strongest cuts on Heartfelt are those written by one member or two in combination; on these, from the Pat Metheny-inflected title track to Nathan East's velvety vocal showcase ""Let's Make Love,"" the quartet's taste and fundamentally conservative aesthetic shine most brightly.

Heartfelt is available on vinyl for the first time as a limited edition of 1000 individually numbered copies on gold coloured vinyl and includes 4-page booklet.