quête:plan b

LP includes Poster.

When Sacred Bones first began their Mort Garson reissue project in 2019 with a proper reissue of Plantasia, the Garson-naissance began in earnest. Soon after, you could hear Mort Garson and his Moogs bubbling up on TV shows, documentaries, podcasts, hip-hop tracks, or anywhere else, the man a cultural phenomenon once more.

Like a perennial that returns with each new spring, the Mort Garson archives have brought to bear yet another awe-inspiring bloom.

Journey to the Moon and Beyond finds even more new facets to the man's sound. There's the soundtrack to the 1974 blaxploitation film Black Eye (starring Fred Williamson) alongside some newly unearthed music for advertising. Just as regal is "Zoos of the World," where Garson soundtracks the wild, preening, slumbering animals from a 1970 National Geographic special of the same name.

The mind reels at just what project would have yielded a scintillating title like "Western Dragon," but these three selections were found on tapes in the archive with no further information. The crown jewel of the set is no doubt Garson's soundtrack to the live broadcast of the 1969 Apollo 11 moon landing, as first heard on CBS News. That's one small step for man, one giant leap for Moogkind. But for decades, this audio was presumed lost, the only trace of it appearing to be from an old YouTube clip. Thankfully, diligent audio archivist Andy Zax came across a copy of the master tape while going through the massive Rod McKuen archive.

So now we get to hear it in all its glory. Across six minutes, Garson conjures broad fantasias, whirring mooncraft sounds, zero-gravity squelches, and twinkling études. It showcases Mort's many moods: sweet, exploratory, whimsical, a little bit corny, weaving it all together in a glorious whole.

Maybe at the time it scanned as crass and opportunistic for Garson to apply his keyboards to subjects like astrological signs, the occult, hippiedom, houseplants, or the moon landing. But more than most other electronic music pioneers of his ilk, Garson foresaw the integration of such electronics into our daily lives, how they would allow us to engage with the world.

LP includes Poster.

When Sacred Bones first began their Mort Garson reissue project in 2019 with a proper reissue of Plantasia, the Garson-naissance began in earnest. Soon after, you could hear Mort Garson and his Moogs bubbling up on TV shows, documentaries, podcasts, hip-hop tracks, or anywhere else, the man a cultural phenomenon once more.

Like a perennial that returns with each new spring, the Mort Garson archives have brought to bear yet another awe-inspiring bloom.

Journey to the Moon and Beyond finds even more new facets to the man's sound. There's the soundtrack to the 1974 blaxploitation film Black Eye (starring Fred Williamson) alongside some newly unearthed music for advertising. Just as regal is "Zoos of the World," where Garson soundtracks the wild, preening, slumbering animals from a 1970 National Geographic special of the same name.

The mind reels at just what project would have yielded a scintillating title like "Western Dragon," but these three selections were found on tapes in the archive with no further information. The crown jewel of the set is no doubt Garson's soundtrack to the live broadcast of the 1969 Apollo 11 moon landing, as first heard on CBS News. That's one small step for man, one giant leap for Moogkind. But for decades, this audio was presumed lost, the only trace of it appearing to be from an old YouTube clip. Thankfully, diligent audio archivist Andy Zax came across a copy of the master tape while going through the massive Rod McKuen archive.

So now we get to hear it in all its glory. Across six minutes, Garson conjures broad fantasias, whirring mooncraft sounds, zero-gravity squelches, and twinkling études. It showcases Mort's many moods: sweet, exploratory, whimsical, a little bit corny, weaving it all together in a glorious whole.

Maybe at the time it scanned as crass and opportunistic for Garson to apply his keyboards to subjects like astrological signs, the occult, hippiedom, houseplants, or the moon landing. But more than most other electronic music pioneers of his ilk, Garson foresaw the integration of such electronics into our daily lives, how they would allow us to engage with the world.

Western Massachusetts band Landowner play abrasively clean minimalist-punk. Singer Dan Shaw began Landowner in 2016, writing and recording Impressive Almanac with a practice amp and a laptop drum machine. Those available tools would inform the band’s unapologetic sound—clean, confrontational, and absurdly stark. With a stated goal to sound like “Antelope playing Discharge”, Landowner’s diamond hard structures, repetitious instrumentals and caricatured hardcore make space for lyrics that reflect on the global systems our lives are tangled in and the dark absurdities we take for granted.

Landowner’s fourth Born Yesterday full length Escape the Compound focuses on the powerful grips manipulators and reality-deniers have on their victims, examining the social, political and interpersonal damage of cult-like influence and control. “A lot of the lyrics focus on cult manipulators and narcissists: falling victim to their toxic dynamics, and the difficulty of escaping their grip” says Shaw. From climate change deniers and conspiracy theorists to deceptive narcissists and actual cult leaders, Landowner explores the ubiquity of modern unreality through evocative imagery and a keen sense of awareness. The band’s plain instrumentation sheds and subverts hardcore punk’s noisy veil in favor of a direct, unswerving examination of these themes.

Written and recorded following the release of 2020’s Consultant, Escape the Compound finds Landowner leaning into the studio through deeper experimentation with a wider palette of sounds. The group’s lineup of Josh Owsley (bass), Elliot Hughes (guitar), Jeff Gilmartin (guitar), Josh Daniel (drums) and Dan Shaw played often since coming together in 2017. But with pandemic restrictions in place, the making of Escape the Compound became a much more insular pursuit, one where the mixing and mastering process helped turn the band’s most varied batch of material into a cohesive, thematic collection of songs.

Album opener “Witch Museum” is a collage of dark Massachusetts historical imagery. The song evokes a kind of cult dynamic traveling like a shadow through time, where dark absurdities are taken for granted, toxic behaviors are excused, and normalcy begins to shift. The line “Gail's behavior has changed” casts fictional “Gail” as the dark manipulator, whose whim we’re at the mercy of. She sheds her toxic behavior and the crisis finally ends - “and peace returns to the Commonwealth”- an absurdity, given that cult leaders and narcissists rarely seem to change.

By considering the past, Landowner sheds light on the present. The band challenges egomaniacs reluctant to accept an uncomfortable reality with both cynicism and concern. The literal landowner described in “Heat Stroke” collapses in exhaustion, cooked by a suffocating bass line and sizzling hi-hats. “You'd rather die of heat stroke than to let anybody see you change your mind,” Shaw gasps, later pleading with the character in “Floodwatch” to “please reconsider” their brazen stubbornness as they plunge through the rising waters of a flooded road.

The character in “Swimmer of Note” refuses to admit their miscalculations, instead doubling down on an ever-growing and increasingly-unsteady tower of lies. The sneering “Damning Evidence” sets a scene all too familiar: a smoking gun scenario with zero consequences. Shaw’s exaggerated vocal refrains and sarcastic inflections mock false hope: “how will they be expected to keep their minds intact, at the shock of simply hearing such damning evidence?”

“Beyond the Darkened Library” creaks open a secret passageway into a dimly lit, endless labyrinth of conspiracy theories, in which the character becomes hopelessly lost. “Aftermath” sounds the alarms: “stare so long that you start getting used to it; one glance says you should never get used to it.” The pair of “Tactics” tracks express what Shaw calls “an interpersonal microcosm of the album’s themes.”

Perhaps the most ambitious arc on Escape the Compound loosely begins with the title track. The subject in “Escape the Compound” gradually recognizes their own victimhood and plans a calculated flight from the “captivating shepherd” – hop the fence, flee, and regain autonomy. As the narrator escapes their stifling and abusive cult microcosm, a much grander existential timeline begins to appear. “Thousands of Years in Fast Forward” narrates a psychedelic surrender to the shared human experience through space and time, an ego-death adjacent to our ancestry, our own existence, and the before and after. “At the site of the crater, molecular hands unclasp molecular hands as you lose conditioning,” Shaw sings on the title track, “Your grandmother's garden. Your grandmother's kitchen. Your grandmother's primordial ocean.” It’s a profound actualizing glimpse into a true, forgotten reality and a startling reconnection with the self.

The 1974 debut album Ojinga’s Own and single Basa Bongo/Black Pepper by Guyanese Afro-Folk band The Yoruba Singers has been remastered for vinyl and digital.
The Yoruba Singers formed in Georgetown, Guyana in 1971. Despite their name they were not from Nigeria, but identified strongly with the area from which so many of the African diaspora in Guyana and neighbouring regions were originally descended.

The group started adapting Guyanese traditional folk music as well as writing their own - blending a mixture of protest, social commentary, blues, and genres inspired by the times. Beginning with about 12 people sharing vocal duties, most of the early repertoire was inspired
by folk songs that started life on plantations or in religious settings accompanied by a few sparse musical instruments.


Integral to the Yoruba Singers’ sound are echoes of Obeah traditions which are very closely related to the Santería religion of Cuba and the Orisha and Shango traditions of Trinidad and Tobago. Calypso and steel band culture from nearby Trinidad and Tobago was to some extent part of the musical DNA of the group, but they were naturally also influenced by the massive volume of rocksteady and roots-reggae coming from Jamaica.

As its now tradition we start the year with yet another fluid album from Portuguese pianist and composer Tiago Sousa.

Presenting now the second volume of his ongoing series »Organic Music Tapes«, Tiago now adds the electric organ to his trademark piano compositions, broadening his palette of sounds into an even more fluid and organic world with references to American minimalism of the 60’s, in particular Terry Riley and Steve Reich’s influence both looms heavily over these pieces

The piano still takes centre stage here but the organ opens both sides of the album like a statement of intention… the compositions take a nebulae type state, floating eternally over stars and planets, with their indefinite and indeterminate contours, never settling and never leaving.

Music as organic matter, like water, sand, stars or nebulae. Tiago translates complex patterns into transcendental experiences to our ears whilst cementing further his place as one of the most distinct voices to emerge out of the modern wellspring of piano driven minimalism.

"Bills past due, what you gon do?"

2lanes is part of the latest resurgence in Detroit's techno underground whose infamy is built via amorphous live appearances / DJ sets, collaborations with contemporaries like AceMo and John F.M., and a steady, hilarious and blunt presence on Twitter. PGS is proud to present 2lane’s 2nd piece of wax, the AA side "Baby's Born To Fish'' / "Impish Desires'' following the "Giving & Receiving" EP on NYC's Ceramic Records, February 2020.

2 Lanes first appeared in Detroit ~six years ago and quickly made a name for himself in the local scene, promoting shows with international artists and friends from NYC, all while making an effort to respect the city's unique musical identity and history. He carries the tradition of Detroit's electronic pioneers who pursued new ideas in production and gear, bringing perfection to the craft, and developing unique twists in his process.

Participating in the contemporary electronic music world required splitting your time between 2 places at once: Online, always-on, in constant engagement with friends + foe alike; In Real Life, physically traveling city to city, DJing and collaborating, all while maintaining a sense of self. And now, all that's different.

"Lately, I've been, going, going through some changes"

Releasing a club-ready 12" in the midst of a global pandemic? That's the 2 Lanes. We heard an earlier version of "Baby's Born 2 Fish" what feels like 10 years ago, rinsing "Impish Desires" when there were still gigs. Do you remember the Apollo Masters plant fire in early February? How long were pressing plants closed, again? How long have we been living in this new reality? 2lanes hopes that the messages of this music; fear, isolation, friendship, love and how we exist at this intersection comes through for the listener.

"Baby's Born To Fish" / "Impish Desires" is a heavy hitting AA side, rejuvenating, explosive, off your face. They're ready for the eventual return 2 the dance floor, and sooner for your streaming DJ set. We don't know when we can see you IRL, but we know it'll be in mixes for decades to come.

"You’re gonna cast your reel out and you don’t know if you’re gonna get a fish that day, but you’re still gonna cast it out." - 2 Lanes

orbit is the electronic project of 28 year old producer and songwriter Marcel Heym. With a soundscape marked by a blend of raw acoustic guitars and atmospheric synth leads, orbit combines imagery of life in the countryside with an immersive dream world. After releasing three EPs since 2020 and having an international Hit with his track “Perspectives” as well as several live shows and a Support Tour through Europe with Parra for Cuva, orbit announces his upcoming EP for April ‘23 alongside a special concert in the Berlin Zeiss Planetarium. The new EP is moving a newly dark sphere into the artist’s universe - a powerful piece of gloomy, vast synthie soundscapes, orbit’s characteristic hazy vocals and soft acoustic guitars.

Bonded over the struggles of the pandemic and a mutual love for Motown, Soul and Afrobeat, Denmark"s renowned outlet for jazz, April Records proudly presents "Moko Jumbie", the debut by it"s latest outfit "A Plane To Catch". The vibrant Danish jazz scene came to a crashing halt along with the rest of the world in early 2020, and a tight-knit community of up-and-coming musicians were thrust into a void, robbed of the largest part of their livelihood and joy, live performance. Gathering in a graffiti-smudged artist"s space in an old industrial facility in Copenhagen"s outskirts, they created a space for themselves to improvise in a funky, groove-based setting. What came out was an expression of longing for all that was lost during the pandemic - a musical antidote to the loss of fun, joy, community, movement, travel and youthful abandon that the pandemic had temporarily put a halt to. Exploring the rich exchange between West African musical traditions and Western funk and soul, this is music meant for dancing, transporting the listener to dance floors both real and imagined. Featuring warm, raw production the record creates a real sense of energy and intimacy, as if the listener is in a dark club with an electric jam band. Through the eight compositions the quintet joyfully navigates familiar harmonic clichés from 70"s soul tunes, a variety of infectious toe-tapping grooves, playful improvisations and melodic duo horn arranging. Explorations of darker tonalites popularied be Ethio-Jazz legend Mulatu Astatke provide a welcome departure through harmonic contrast and propulsive polyrhythmic groove. The title "Moko Jumbie" derives from a mythical character in Afro-Caribbean folklore. During carnival season masked Moko Jumbies can be seen dancing on stilts in colorful garments, towering over the crowds. Part gods, part healers, part ghosts, and most importantly: moving expressions of freedom and the perfect mascot for this celebratory album.

SMK is back and he's Aint Nuttin Shakin. A packed Memphis classic with gangsta hits only. Originally released in '96 and never before pressed on wax. Better be fast on this low down g-rap monster from another planet

SMK is back and he's Aint Nuttin Shakin. A packed Memphis classic with gangsta hits only. Originally released in '96 and never before pressed on wax. Better be fast on this low down g-rap monster from another planet

Regeln sind dazu da, gebrochen zu werden, und Grenzen existieren, damit man sie überschreiten kann.

Wer wüsste das besser als Caleb Zackery Toliver alias Don Toliver , der alle Hürden und Hindernisse in Lichtgeschwindigkeit überquert. Der vielfach Platin-ausgezeichnete Sänger, Songwriter und Künstler aus Houston, Texas hat sich von einer Underground-Instanz zum Superstar entwickelt - unbestreitbar, unzähmbar und mit einem unnachahmlichen Stil ausgestattet, der von Hip-Hop-Hochglanz, intergalaktischem R&B, progressivem Pop und einem guten Schuss Rockstar-Attitüde geprägt ist. Selbst in dieser Branche voller extrovertierter Sonderlinge gibt es niemanden, der klingt, aussieht und sich anfühlt wie Don.

Sein Vehikel für den nächsten Überschalltrip: das neue Album "LOVE SICK" . Auf seinem dritten Werk stellt Toliver visuelle Anleihen aus der Disco-Kultur, Mafia-Filmen und dem opulenten Design der 70er-Jahre in einen zeitgemäßen Kontext. Das Album erzählt die Geschichte von Don, der ein Speiselokal führt, das "Love Sick Diner", und nun plant, in die Nachtclubszene einzusteigen. Dabei gerät er jedoch mit dem Gesetz in Konflikt. "LOVE SICK" nimmt uns mit in eine Welt, die so facettenreich und einzigartig ist wie der Künstler Don Toliver selbst.

"What do you get when 2 esteemed Belgian producers/DJ's collaborate with their favorite New York / New Jersey MC's? You get a bullseye. The long awaited release of the international album 'Moving Targets' by Chillowproductions & DJ Grazzhoppa is in sight.

On March 10th, the first single ""Fly Ego"" will drop. Moving Targets pretty much speaks for itself. For this single, the duo set their scopes on New Jersey rapper Venomous2000. While he's aiming for you!"

INTERSPECIES RECORDS, an inter-disciplinary label that brings together not only DJs and producers, but also visual artists, electronic instrument engineers, and other specialists in sound and space, is proud to release its fourth 12-inch record!

For our latest offering we present the return of Recloose, a veteran producer who has created numerous masterpieces on labels like Planet E, Rush Hour, Peacefrog, and other global imprints since the late 1990s. He continues to explore his sound in this ambitious work, blending old and new influences, samples and synths, delivering two anthems for the dancers and heads alike.

This release also includes stellar remix work from Middle Point, DJ NORIZM and kashi, the label crew of INTERSPECIES RECORDS. In the spirit of their label, each remix presents a unique twist on the original by pushing musical boundaries, fusing elements of Balearic, Loft House, Dub, UKG, Jazz House, and African sounds.

As is the case with the world’s best DJs, this is a piece of music that conjures a new, unknown world by freely mixing without restraint.

For more than a decade, Freak Heat Waves have been steadily amassing a cult following and earning acclaim from both critics and underground aficionados alike. Their music is a heady cocktail that defies easy categorization, blending elements of post-punk, psych, dub, ambient, house, and techno.

Their eclectic sound has served as the soundtrack to countless DIY punk shows, outsider galleries and sleazy discos, establishing the duo as iconoclasts with a reputation for ignoring expectations and subverting genre conventions. While at times, the term ‘acquired taste’ may have seemed fitting, their latest release offers their most alluring output to date.

Mondo Tempo, the duo's fifth LP, released through Vancouver's Mood Hut, was primarily recorded at their home studios in Montreal and Victoria. Building upon the electronic explorations of their previous record, Zap The Planet (Telephone Explosion), they inject their signature sound with a smoother and sweeter blend of dance music. The album’s tracks feature midi smoothness, trance mantras, dancehall grooves, ambient textures and vocal samples, creating a world that is both captivating and immersive.

Notably, the lead single “In A Moment Divine” features a collaboration with Cindy Lee, resulting in a dance floor number that boldly ventures beyond the familiar wheelhouses of both acts. With Mondo Tempo Freak Heat Waves solidify their reputation as one of the most exciting and unpredictable acts around.

In collaboration with Timmion Records, Daptone is proud to present My Echo, Shadow and Me, the debut album from the soulful Chicano brother, Johnny Benavidez. Hailing from San Diego (via El Paso, TX), Johnny's desire to sing was influenced by his grandfather, John Lorenzo Guzman, who as a teen in the early sixties spent some time harmonising with groups in El Paso, most notably Sonny Powell and the Night Dreamers. When he was 13, Johnny was given a record player and a box filled with R&B, Doo-Wop, and Soul 45s that he studied obsessively, employing the harmonies and melodies therein to cultivatehis own unique voice. After a chance encounter with the legendary Dimas Garza, Johnny's career began to blossom and soon he would find himself singing alongside stars like Eugene Pitt and Archie Bell, garnering the interest of Timmion Records..


Backed by the incomparable Cold Diamond & Mink (Bobby Oroza, Pratt & Moody) two incredibly successful singles were cut and plans for a full length were struck, culminating in 11 original songs penned by Benavidez. From the uplifting bounce of the title track, the doo-wop dinged "Dedicated to You", the Latin flare of "Uncle Sam," to the Sweet Soul masterpiece "Somebody Cares" (licensed and released on a Penrose Records 45), My Echo, Shadow and Me is not only an aweinspiring display of Jonny's versatility as an artist but also serves as a window into the eclectic array of soulful sounds that inspired him to fall in love with music and become a singer. A must have for fans of Daptone, Timmion, Penrose, et al.

purple marbled vinyl

Hard to believe, but the last solo instrumental album of the Italo-Viennese Fid Mella was released 7 years ago. During this time, the beat maestro has been anything but lazy, releasing numerous projects with artists such as Crack Ignaz, Torky Tork, Kamp, Silk Mob, as well as top-notch fellow musicians from Italy. Anyone who has ever taken a closer look at Fid Mella's instrumentals knows that his music always works independently of current trends or hypes. Since the beginning of his career, he has remained unwaveringly true to his own sound aesthetic and yet never lost touch with current productions. Fid Mella's new album "Cioccolato" is also bursting with creativity and musical relentlessness but is always catchy and packed with tons of flavor.
The new album was created in the close circle of the family - a converted farmhouse functioned as a creative workshop, where all samples used on "Cioccolato" were recorded during extensive jam sessions with Mella's wife, his brother and his father. The result is 17 gourmet instrumental pieces whose musical spectrum ranges from Brazilian bossa nova lightness to syrup-soaked Texas vibes.

In 2019, Snorkel Records had the pleasure of sharing their lost classic "Riders". And now, finally, all planets are aligned for what will become dibidim's future album classic "Superheaven". Soon it will be visible to the naked eye, starting on the western horizon and moving upward and eastward, in the form of a limited-edition 180-gram vinyl record.