quête:perc ma

Mit Africanism Vol. 5 kehrt das legendäre Afro-House-Kollektiv rund um Bob Sinclar zurück und präsentiert ein kraftvolles, globales Club-Statement voller Rhythmus, Identität und musikalischer Verbindung. Das Album vereint herausragende Produzenten und Artists wie DJ Gregory, Moonlight Benjamin, Boddhi Satva, Arkadyan, Jesús Fernández, Bonga u. v. a. in zwölf Tracks, die moderne House-Produktionen mit afrikanischer Energie, traditionellen Instrumenten und organischen Grooves verschmelzen lassen. Von der voodoo-getränkten Intensität von "Zanmi Kanmarad" über die angolanische Tiefenwärme von "Mulemba Xangola" bis hin zum treibenden Club-Momentum von "Block Party (Baron Remix)" oder "Salsa House" liefert Africanism Vol. 5 ein Panorama aktueller Afro-House-Kultur. Die musikalische Bandbreite reicht von haitianischer Soul-Elektronik über pan-afrikanische Percussion bis zu modernen House-Arrangements mit französischer Produktionshandschrift. Ein hochkarätiges Producer-Album, das die DNA des Africanism-Sounds konsequent fortschreibt: international, zeitgemäß, tanzbar und voller musikalischer Identität.

madness" she whispered as she tried to navigate through an onslaught of people.
She carried a feeling of numbness within her that helped her manage the constant distortion and the all to obvious hypocrisy surrounding her. Mindless wandering after having just survived another day in the trenches was a welcomed exercise in fact she had already begun to dissociate from the commonly perceived reality; entering the one of her choosing. If one was to observe her, a sway to the hips could be noticed furthermore, as if momentarily height on a good thought the woman now strutted around attracting all sorts of attention, from negative to overtly admiring.
All the cages in her mind were artfully crafted with beautiful bars made of gold and the ceilings had their own stars and suns that shone upon them. None of them were locked

This solo percussion work was recorded in 1980 and released in 1981 by Masahiko Togashi, one of Japan’s leading percussionists and drummers. After becoming partially paralyzed, he created this recording of a world of sound using drums, bells, gongs, and a wide variety of percussion instruments, together with his own original playing methods and techniques.

Stanz Amor delivers a five-track EP that blends crunchy sound design, tribal influences and driving grooves into a cohesive statement of energy, movement and atmosphere. Hailing from Blackpool UK, Stanz Amor emerged in 2023 with a distinctly old-school approach, channeling groove, rhythm and intensity into a modern context, which he showcases on his Backspin Records debut EP 'Mercurial'. ??Opening with 'Kong', the EP sets the tone with an old school spirit reimagined through a contemporary lens. Loopy structures, banging percussion and textured, gritty elements create a hypnotic flow designed for peak-time moments. 'Mercurial' raises the intensity, propelled by fast-paced hi-hats and shimmering rides that injectconstant motion, while a rolling low end gives the track serious weight. A striking Latin vocal lingers throughout, leaving a lasting impression long after the track fades. On the B-side 'Count' shifts the energy into a groove led by rolling bongos, underpinned by a heavy sub and catchy, repeating vocals that lock into a tight, circular rhythm. 'Yawhoo' follows with a punchy kick, rumbling foundation and driving percussion, elevated by a cheeky vocal and a whistle straight out of the 90s rave era, adding a playful, nostalgic edge. The closing track is a remix of 'Count' by Steve Redhead, who reinterprets the original with forceful yet hypnotic percussion and finely detailed vocal work. A Belgian techno mainstay since the early 2000s, Redhead is known for his uncompromising, groove-driven sound and lasting influence within the underground. ??With this release, Stanz Amor delivers a focused and effective collection built on groove, repetition and dancefloor functionality. Released on Regal's Backspin Records, a label rooted in the underground and dedicated to honoring techno's origins while pushing its future, the project balances nostalgia with modern clarity, designed to resonate in clubs and leave a lasting impact.

araviglia, the sixth album by Italian percussionist and producer Gabriele Poso, celebrates collective musicianship through a vibrant, groove-driven sound. Inspired by late 70s Italian disco and global rhythms, the record blends Mediterranean warmth, Afro Caribbean percussion and jazz sensibility, with one foot firmly on the dancefloor. Recorded live to tape in an analog studio in southern Italy, with heavy percussion, Rhodes, Hammond and a full brass section, the album delivers an organic, joyful sound built for both deep listening and global dance floors.

araviglia, the sixth album by Italian percussionist and producer Gabriele Poso, celebrates collective musicianship through a vibrant, groove-driven sound. Inspired by late 70s Italian disco and global rhythms, the record blends Mediterranean warmth, Afro Caribbean percussion and jazz sensibility, with one foot firmly on the dancefloor. Recorded live to tape in an analog studio in southern Italy, with heavy percussion, Rhodes, Hammond and a full brass section, the album delivers an organic, joyful sound built for both deep listening and global dance floors.

Continuing its faithful documentation of the early years of Monolake, Field Records proudly present the first-ever vinyl pressing of seminal 1999 album Interstate. In a kaleidoscopic lattice of micro-rhythms and exquisitely dynamic textural work, Robert Henke and Gerhard Behles fully collaborated for the final time on this record — and created an electronica landmark in the process.

Monolake's evolution from their earlier dub-techno-tinted works saw their exploration of Max/MSP go further out. The duo yielded greater complexity in the behaviour of their sound palette to achieve an organismic quality that remains an enduring influence on so many strands of experimental electronic music today. Interstate is a vivid record that builds up eight different ecosystems of sound and subtly threads elegant grooves through their root structures.

There's a house-like undulation to the low-end driving 'Tangent-I' and 'Tangent-II', but the infinitesimally detailed layers of sound on top swoon from techno synth shimmers to trickling waters, snaking delay trails and pin prick percussion. You can hear the unmistakable, snappy rhythmic thrust of drum & bass driving 'Ginza', but here it's used as an engine for the crispest array of designer percussion and dub-soaked synth chirrups. Across every track, Henke and Behles demonstrate a potent combination, both groovily instinctive and eternally fascinating to try and pick apart.

After Interstate, Behles departed to focus entirely on the development of Ableton Live and Henke steered Monolake towards a leaner — but no less pioneering — sound. Every Monolake record has its own unique context and sound, and the circumstances of Interstate could never be repeated. Capturing the leaps in progress that were being made in digital music production at the end of the millennium, it's an information-rich document of a moment in time that still sounds wildly futuristic 27 years later.

Phara returns with a second project under his In Glass alias. In 'Scratching the Surface', we're light years away from the heavier, more instructive dance records that have become synonymous with Phara's style. In this EP, the Belgian artist reaffirms his celestial, delicate sound in four tracks that delve further deeper into the emotional soundscape proposed in the first EP.

'Sally' begins the project with the most dance floor oriented of the four tracks, proposing an intoxicating blend of styles that bloom throughout its six minutes. Soft pads and bright keys twinkle along a cradling rhythm as In Glass delivers a truly musical piece that sifts through memories. Percussion is then taken out of the equation as 'All Things (424 Version)' comes and lands softly on the center stage. Lush, ambient waves come lapping at the shore of 'Scratching the Surface', describing nothing but space and serenity - a breath from everything. The dreamy tone of 'All Things' oscillates along reassuringly into the B side, keeping the tempo low and the sound design organic. Here, we step into In Glass's world of dub techno and adjacent sounds that defined his first record last year. 'Plateau' rises slowly from the wax with a round low end and suspended chords that hover high above. Opening stabs over a harmonic bassline make a head massage of a track that sways along. The raw emotion behind In Glass's music is inviting, flashing by as ethereal synths open and close to install a personal, meditative experience of electronic music. The percussion remains discrete, allowing the harmonic information to wash over the listener into the last track of the EP. He concludes with 'My Idle Hands', pressing further into the dub techno sound that echoes through a cathedral of memories. Blurry shapes pass by over a more determined rhythm section, confirming the intimate nature of In Glass's music. The music wanders along, its head in the clouds but with a full heart, telling stories of being lost and finding home.

Fuse leans further into its proposed aesthetic of biting club tracks with a brand new release by Cirkle. ‘Infinity Drift’ balances powerful sound system sound design with lush ambiance, creating standout moments on a dancefloor with a taste of nostalgia. These tracks explore the richness in themes that techno can have when made by someone who’s spent years meticulously crafting it. ‘Skyland’ asserts itself first with impressive pace. Swift chord stabs open and close to create waves of excitement and craze in the track while percussion shuffles along to add impact; Cirkle is an artist of all rooms and dimensions. Shrill sound design cuts through the stereo field creating a wormhole in the middle of rhythmic determination. Tension balance and anticipation are his specialty and every transition whips his dispersed elements into singularity in the EP, specifically the title track. A truly musical piece that embraces the crowd with vintage warmth, ‘Infinity Drift’ tones down the dissonance in exchange for something closer to astral exploration. These larger than life themes are never lost on dancers and serve to unify the dancefloor into an organism instead of pushing sound system violence. This is a theme that is omnipresent in Cirkle’s music and carried through into ‘Stimulus’. Here, the Greek producer dips into the hypnotic bordering on psychotic, stretching arpeggios and delays across drum transitions and time. The dimension of ‘Stimulus’ matches the preceding tracks with ease, but stands out in its effect, rolling a powerful synth through reliably tuned percussion. For the final track, ‘Impulse’ sees Cirkle prioritizing the importance of drums. Pressing hard on the drive of the kick, rides and filtered claps squeeze their way out of the low end to create an infectious groove. Stabs of ethereal pads envelope the rest of the EP, leaving space for the rest to breathe. Bumping along the way, Cirkle lands the EP with class, cementing himself further as an artist whose knowledge of the dancefloor creates a singular experience.

Unheard Music returns with its second release, delivering a hypnotic and club-driven Tech House package by Malandra Jr. and pizzaaftersex.
Built around the infectious pull of Your Retreat, this EP captures that late-night tension where groove, atmosphere, and repetition lock into one fluid movement. The original mix sets the tone with a stripped yet emotionally charged framework, balancing rolling percussion, subtle pressure, and a strong sense of floor-focused depth.

2026 Repress

&Me, the chunky critter, did it again! This hypnotic one-off was stoically crafted to be lifted into the next dimension with thousands of people. Where the hospitality of all-encompassing love and euphoria awaits with arms raised and eyes closed.

Mano le tough found the original Muddy Funster so boring that he ran out of cigarettes. Even as a non-smoker! With his congenial version of this evergreens, this deranged pig forces his cranky perception on us and takes us into a mystical world in which no two stones are alike, but whose unique construction represents an earthquake-proof pyramid of love whose dimensions have perfect relationships to the size of the earth and to mathematical laws. Illumination feat Roísín Murphy as Mano Le Toughs needs A Birra Light Remix persistently pulls us music-loving dance muffins under the disco ball with all the TikiTaka tricks in the book, only to let us go and spin gloriously free at the crucial moment. So beautiful, we dance, wow.

Repress of 2018’s classic compilation from Brownswood.

A primer on London’s bright-burning young jazz scene, this new compilation brings together a collection of some of its sharpest talents. A set of nine newly-recorded tracks, We Out Here captures a moment where genre markers matter less than raw, focused energy. Looking at the album’s running order, it could easily serve as a name-checking exercise for some of London’s most-tipped and hardworking bands of the past couple of years. Recorded across three long, fruitful days in a North West London studio, the crossover between each of the groups speaks to the close-knit circles which make up the scene.

Surveying the way that London’s jazz-influenced music had spread outside of its usual spaces in recent years, this album bottles up some of the vital ideas emanating from that burgeoning movement. Giving a platform to a scene where mutual cooperation and a DIY spirit are second-nature, it’s a window into the wide-eyed future of London’s musical underground.

Ubiquitous, much-lauded saxophonist Shabaka Hutchings is the project’s musical director. His own recent projects span from South Africa-connected, spiritually-minded jazz players Shabaka and the Ancestors to Sons of Kemet, who match diasporically-connected compositions with viscerally-direct live shows. His entry on the album, ‘Black Skin, Black Masks’, is typically difficult-to-define: with an off-kilter, shifting rhythmic backbone, repeated phrases – mirrored between clarinet and bass clarinet – shape the track with an alluring hue. His input ties together a deft, genre-agnostic sensibility that’s shared through all the players on the record.

Theon Cross – who’s also part of Sons of Kemet with Hutchings – starts his track, ‘Brockley’, with the solo, distinctive low rumble of his tuba. Winding and mesmeric, it sees tuba and sax lines winding together in rhythmic and melodic parallels. Ezra Collective – whose drummer and bandleader Femi Koleoso has toured with Pharaohe Monch – run a tight, Afrobeat-tipped rhythm on ‘Pure Shade’, with the final third changing gear into a melodic, momentous closing stretch.

Joe Armon-Jones, whose ludicrous chops on the piano have seen him touring with the likes of Ata Kak, showcases earworm-like, insistent motifs on ‘Go See’, balanced with a playful, improvisatory approach with room for ad-libbing and solos a-plenty. Taking a softer tact than many of the other entries, Kokoroko – whose guitarist Oscar Jerome has been making waves with his solo material – spin a lyrical, steady-paced meditation on ‘Abusey Junction’, matching chanted vocals with gently-played guitar.

Nodding to spiritual jazz influences, Maisha’s ‘Inside The Acorn’ is a wandering, explorative rumination, balancing delicate washes of piano and percussion with sharp interplay between flute and bass clarinet. In contrast, Nubya Garcia’s ‘Once’ is taut and carefully-poised, her tenor sax guiding a carefully-built energy to an explosive conclusion. And finally, Triforce’s ‘Walls’ is a performance in two parts: starting with Mansur Brown’s languorous, lyrical guitar, the second half switches up to a low-slung, g-funk-tipped groove.

Al Wahem (“The Illusion”) is the new full-length release by PRAED, the Swiss–Lebanese duo of Raed Yassin and Paed Conca. Recorded between Beirut and Berlin, the album returns to the group’s central aesthetic: a rhythm-driven weave of Egyptian shaabi, electronics, improvisation and the gritty pulse of street-level sound. Nearly twenty years into the project, PRAED have distilled their approach into four pieces that subtly shift the listener’s bearings, reordering grooves and fragments until familiar elements take on new identities.
The twenty-minute title track sets the tone. A tightly interlocking two-drum foundation from Pascal Semerdjian and Ayman Zebdawi shapes a structure that expands steadily: synth figures branch outward, clarinet and bass lines act as internal guideposts, and brief vocal calls from Yassin and guest singer Mayssa Jallad sit inside the texture rather than leading it. PRAED’s shaabi keyboard language is present, but the duo stretch it outward, building tension and movement through patient accumulation.

“Al Hathayan,” at 4:46, tightens the focus. Conca’s clarinet moves between melodic arcs and clipped rhythmic gestures, threading through electronic loops that surface and disappear. Zebdawi’s percussion adds a raw, tactile quality, placing acoustic patterns and electronics in direct conversation. The piece acts as a bridge between the album’s two long-form compositions.
Side B begins with “Al Maraya,” a thirteen-minute piece that relies on electronic, bass and clarinet interplay. The atmosphere nods to the breadth of PRAED Orchestra!, but remains anchored in the duo’s rhythmic foundations. Rather than building mass, the layering creates a sense of depth, as if new spaces were opening inside the groove.
The album closes with “Assarab,” featuring keyboardist Amr Said. Semerdjian and Zebdawi again form a dual percussive axis, while synths hover between melody and pulse, and themes recur in widening circles rather than building vertically. The porous boundary between electronic and acoustic sources — processed clarinet mistaken for a sequencer, rhythmic figures springing from live drums — is where the album’s theme of “illusion” shows itself most clearly.

Al Wahem follows a long arc: early releases on Annihaya, a key appearance on Ruptured Sessions Vol. 5 – Live at Radio Lebanon (2013), later albums on Akuphone, and the large-scale PRAED Orchestra! documented on Morphine Records. This new Ruptured/Annihaya co-release brings the duo back to a concentrated format, reorganizing their familiar materials with renewed clarity and intent.

Ramping up the intensity from his 2025 debut, Joe Milli returns to Livity Sound with a spring-loaded EP of upfront club workouts that once again split the difference between techno propulsion and UK Funky swagger.

Milli's previous release, Deep Forest, carried a dubby atmosphere on top of its bassweight rhythms. On this new four-track EP, the shroud lifts and he leans in on raw, impactful drums and sparse sound fields.

'Retreat' piles percussion into an uptempo stomper with a looped intensity and carnival accents on top, and 'Mantra' offers a similar 4/4 thrust around the 140 mark. Meanwhile, 'Revival' locks down low into a heavy dembow-informed groove and 'The Less You Know' prizes tense, precisely arranged hand drums with a minimal finish primed for creative blends.

Zeroing in on stark, heads-down production for the club, the Repetitions EP offers a different slant on Milli's emergent, sharply executed sound.

Irish label Il Corpo returns for its third outing with a hard to pigeon hole 10” from 710 Exit. 2 tracks that sit on the electro end of things but with a generous nod to the sound of Detroit, early UK breakbeat, soul and the deeper realms of electronic music. Close To The Sun feels like more than just a cosmic position. A solid 808 foundation and loose percussion sit beneath a bed of synth lines and soaring pads that are guaranteed to stir the soul. The signal for nostalgia is strong but there are plenty more twists and turns to keep the listener engaged. Warped guitar and soul samples make Strat an infectious workout brimming with experimentation and originality. Effected chords take on an almost vocal quality which talks over the casual, understated funk on offer here. Ever changing tones draw you in and make it hard to distinguish between guitar, synth or human. A unique E.P. which will find its way into the sets of varying selectors at this summer’s gatherings.

The Hacker teams up with Rein for ‘We Come Alive’ on Rekids. French producer The Hacker joins forces with vocalist, songwriter, and producer Rein for ‘We Come Alive’ on Rekids, arriving 19th June 2026. A longstanding figure within the underground, The Hacker helped shape the early electroclash movement through his analogue-heavy sound and influential releases on labels including Turbo Recordings and Dark Entries, while Rein has built an international reputation through a darkwave-influenced sound that blurs underground and crossover electronics, alongside releases on Boysnoize Records and live appearances with Front 242 and Nitzer Ebb.

Built as a tribute to the dance floor “We Come Alive” explores the feeling of liberation and connection that only exists late at night. Think an Alison Moyet-inspired vocal over stripped-back machine funk somewhere between LFO and Kraftwerk.” - The Hacker & Rein

The Hacker & Rein’s ‘We Come Alive’ pairs sharp, angular rhythms with punishing low-end pressure as acid lines twist through scintillating percussion and jacked-up drums. Amid the machine-heavy intensity, Rein’s vocals cut through the mix with clarity and emotion, lending a euphoric edge to the track’s raw, strobe-lit energy.

For this new 45, "Matasuna Records" returns to the "ATCO" and "Atlantic" vaults, pairing two distinct cuts from the 1960s New York Latin music landscape.

On the A-side, "The Harvey Averne Dozen's" "You’re No Good" blends warm "Latin Soul crossover" with a steady mid-tempo groove and vibraphone-led arrangement. The flip side features "Louie Ramirez & His Orchestra's" "Mueve la Cadera" – a percussion and brass-driven "Boogaloo" recording full of movement, tension and energy.

Two contrasting yet complementary sides, now officially back on 45.

Brussels-based Maloca presents Paradise Mountain, the new EP from Katatonic Silentio, DJ and production moniker of Italian sound artist Mariachiara Troianiello. Positioned in counterpoint to her darker,
more visceral work, the record delicately folds Detroit electro and techno drum structures into a softened New Age glow, generating environments that breathe, shimmer, and slowly coalesce.

Across the EP, tracks unfold gently, rife with wet modular tones, chromatic arpeggiations, and light-touch percussion which drifts in and out of focus, blurring the line between dancefloor function and inward-facing sound art. Paradise Mountain ultimately traces a slow ascent through luminous, carefully crafted terrain - quietly joyful and deeply hypnotic in its approach.

The new 12" release, "Call and Response", by the enigmatic artist MD, is a masterclass in the resurgence of retro techno, bridging the gap between the raw industrialism of early 90s Detroit and a modern, high-fidelity punch. The A-side is defined by its massive, anthemic vibes, built around a thundering TR-909 kick and a soaring, crystalline synth lead that feels both nostalgic and startlingly fresh. What truly sets this record apart, however, is its intricate counterpoint structure; rather than relying on simple loops, MD weaves multiple independent melodic lines together in a rhythmic dance of tension and release. The "call" begins as a jagged, percussive stab that is immediately answered by a "response" of lush, interlocking minor-key arpeggios, creating a sense of constant movement and architectural depth. It’s a track that demands attention on a massive sound system, proving that the classic techno blueprint can still be expanded into something grand and deeply intellectual.

Limited to 250 copies

Intifaxa is the first part in a series of 4 outstanding double vinyl albums with bonus songs, previously released on CD between 1990 and 1994 on the Australian cult label Extreme Music.

Intifaxa is full of heavy percussion fire with deep tribal grooves, embedded in modulated field recordings. The album is a transcendental journey into Eastern soundscapes and a secret weapon for DJs who enjoy to tear down the borders of tribal underground house and psychedelic trance music.

The original tracks were perfectly remastered for this first time ever vinyl release and the new masters received high praise from the Extreme Music owner Roger Richards.
New sleeve designs were created by Oleg Galay, who is famous for his artworks for many Muslimgauze reissues.
All 4 album covers are made from extra heavy cardboard with deluxe spot UV finish and inside print.