quête:sho r

2023 Repress

DJ Koze - with his friendly and sometimes slightly melancholic take on the world - is one of the greatest auteurs of club music today, and one of the few internationally active DJs who dares to make music that has relevance beyond the dance floor. During the 70-minute journey on his DJ Kicks - the 50th edition - Kosi
Kos manages to establish a uniform color even though genres alternate in a way that is rarely heard on a mix CD: the stripped down hip hop of Madlib, brutalist Berghain techno, timeless songwriting, floating indie-pop and outlier numbers that oscillate between absurdity andmelancholy. Koze's disregard for the stylistic yoke presents him with an immense challenge. Hence, almost all the tracks are more or less edited, and one is fully rhymed (Session Victim: Hyuwee).Koze rambles on here himself: "I didn't want to kick around ophisticated knowledge, but rather try and weave together some good gems that would make sense to anyone, even people who aren't necessarily music nerds". But this is blabbing that you can count on, also because he approaches the term "mix" from a different angle and doesn't even try to make something fit that doesn't fit: "During the day, I don't need to hear anything that's mixed on the beat. I put the focus on making sure that it works harmoniously - the idea is more to create the impression of a radio show, like people such as John Peel did so uniquely. There is a giant cosmos of music and it runs through my filter".

SamOne is back with his third and final installment of his EP series on ShakeWell Music. Breakz N Harmony Pt. 3 ties the trilogy together, blending a variety of styles with dubby, dreamy textures while staying true to his signature rough and bass-heavy sound. The result is another solid 4-track 12" that feels both fresh and familiar, showcasing his ability to evolve without losing the essence of what makes his music stand out. The series as a whole and the final chapter in particular, reflects his ongoing journey of refining his sound and exploring new creative horizons.

Losh is a series of parties held at the magical Chapala lake in Ajijic, Mexico, aimed at preserving the essence of underground sound and its culture. The event has hosted performances by artists such as Satoshi Tomiie, Shonky, Priku, Arapu, Markus Nikolai and more. Now, Losh is exploring new horizons with the launch of its own vinyl label. The music for this first release features tracks by Michael James, Tijn, DJ Unknown 1900, and Mike.D.

Explosive UK producer Bullet Tooth — one of the most talked-about names in bass music for 2025 — crashes onto Time Is Now, the cutting-edge sister label of Shall Not Fade, with a thunderous three-track EP that delivers nothing short of pure, sub-heavy chaos. Known for his genre-warping blend of UKG, breaks, jungle, and grime-inflected basslines, Bullet Tooth has been making serious waves in the underground with his uncompromising sound and high-octane DJ sets.

Drawing influence from the raw energy of early dubstep and the precision of modern UK club sounds, Bullet Tooth’s productions are built to devastate dancefloors — and this latest release is no exception. Packed with seismic low-end pressure, razor-sharp percussion, and twisted vocal chops, each track is a statement of intent from a producer firmly in his stride.

This marks Bullet Tooth’s debut on Time Is Now, a label that has rapidly become a cornerstone of the UK’s contemporary bass scene. Since its launch, Time Is Now has earned a reputation for championing the next generation of bass-heavy innovators — from UKG and breaks to jungle and speed garage — offering a platform for artists who push the boundaries of sound system culture with forward-thinking flair.

With this release, Bullet Tooth not only cements his place among the UK’s most exciting producers but also adds another essential entry to Time Is Now’s ever-growing catalogue of future classics.

At A Glance Records is thrilled to unveil its second release, AAG002 by the incomparable UC Beatz. Known for seamlessly weaving lush, emotive textures with irresistibly groovy disco-house rhythms, UC Beatz once again delivers an enthralling journey into the essence of house music.

Following the success of AAG001, this release showcases UC Beatz's masterful ability to shape deep, soulful soundscapes and intricate beats, striking the perfect balance between immersive storytelling and dancefloor energy.

As the younger sibling of Small Great Things., At A Glance continues to champion innovative, boundary-pushing sounds. With a keen ear for blending timeless influences with modern flair, this release promises to resonate with dedicated listeners and discerning DJs alike.

Silver Tears is the new joint venture by Berlin-based gent Luca Venezia and Damian Shilman, respectively of Curses and Skelesys’ fame.

The duo first debuted in 2023 on Next Wave Acid Punx Deux (Chapter 2) compilation delivering one track rich with deep bass lines, crystal clear guitars and captivating mechanical drums. One somehow classic formula enriched by an universal allure that left you hoping for more. And here we are: these charming men have been working hard for the past two years and their first, self-titled full-length album is now ready.

Eight new cuts of elegant electronic beat-driven coldwave with baritone vocals, sharp arpeggios and no lack of slow passages, recalling 90’s shoegaze or moody grunge. A subtle play of juxtaposition of dancing moments and introspective retreats, dancefloor-oriented grooves and caustic precipices, sometimes crowned by the two dueting at vocals. One wide musical cape to cloak all the angles of the Goth subculture and prove how this can still be relevant some many years after it first bursted out.

limited to 500 copies

What do you get if you put two synthesizer sorcerers in the same room? In the case of Skatebård and Lauer, the answer is Trollkraft. Between them, the Norwegian-German partnership have hundreds of releases, run record labels and have wowed crowds across the globe. In short, the two tracks of Trollkraft are the product of some serious electronic talent. Rich and textured drum layers give way to strings and a vibrating bass for the title piece. Twists and turns abound, elements of disco and house brush shoulders with indie and italo as the pair tear down genre divisions. A 90s heyday influence that runs through both offerings, with “One Night In Geilo” taking its cue from house rhythms and a two-stepping melody adopted from that emblematic decade. Reimagining rave in their own effervescent and playful style, these strobe and fog veterans serve up a fat slice of glow-stick elation. Strings weave high into the dawning sky, bongos and toms reveling next incandescent synthines with just a touch of trance thrown in to add spice to this heady and euphoric mix.

Two tracks from two true masters.

Exact replica picture sleeve seven-inch reissue of this hidden super-catchy punk/power pop 45 from the very short-lived punk group Trash. The music is raw, naive three-chord genius!
The group Trash were from Weybridge, Surrey and found little success at the time. They released just two singles to absolutely no fanfare at all in 1977 and 78 despite being signed to Polydor Records.
Trash's 'Priorities', the group's debut single is now available once again for the first time in nearly 50 years on Soul Jazz Records in a very limited edition one-off pressing of 300 copies.

The Aachen Jazz Files

A collection of essential jazz from the NABEL record label (1980-1994), compiled by miche & Rainer Truby.

The Aachen Jazz Files celebrates the pioneering spirit of NABEL Records—one of Germany’s most underrated yet influential independent jazz labels. Founded in 1980 by Rainer Wiedensohler, NABEL became a home for innovative musicians blending classic acoustic jazz with fusion, Brazilian rhythms, and avant-garde flourishes.

This compilation collects some of the label’s finest moments, including the soulful and Latin-tinged brilliance of Monika Linges Quartet (whose album *Floating* was reissued last year by PANORAMA Records for RSD Black Friday), the cosmic jazz explorations of John Thomas & Lifeforce, the deep jazz-funk grooves of Hipsters In The Zone, and the stunning, expressive vocals of Maria João’s quintet.

Nestled in the far west of Germany, near the Dutch and Belgian borders, Aachen has long been a hidden gem for jazz lovers. Its vibrant scene, fueled by music schools and the legendary Malteserkeller jazz club, cultivated a unique sound that resonated far beyond its city limits. In fact, the city didn’t just birth a jazz movement—it also lays claim to opening Germany’s first discotheque in 1959.

From London to Tokyo, NABEL’s releases became secret weapons for jazz DJs seeking deep, danceable cuts. The label’s trademark blend of acoustic jazz, fusion, and Brazilian influences made its way onto turntables in underground clubs and festival stages worldwide.

Expect elegant samba jazz, spiritual grooves, and modal masterpieces that capture the essence of NABEL’s golden years. Monika Linges’ contributions shine with her rich harmonies and heartfelt compositions, while John Thomas & Lifeforce deliver a perfect storm of fiery instrumentation and deep soul. Maria João’s early recordings showcase her extraordinary vocal range, and Hipsters In The Zone bring a forward-thinking, acid jazz-infused perspective to the NABEL sound.

As co-compiler Rainer Truby puts it:

'NABEL Records always had this special ‘Aachen sound’—a jazz flavor that carried its own energy, somewhere between the cool sophistication of fusion and the warmth of Brazilian music. It’s a pleasure to finally bring together some of these classics in one essential collection.'

Compiled by miche & Rainer Truby.

PANORAMA Records is a London-based label dedicated to unearthing and reintroducing rare and essential music to new generations. With a focus on jazz, funk, and global grooves, the label has built a reputation for high-quality reissues that capture the spirit of the originals while providing fresh context for today’s listeners. Their past releases have garnered support from tastemakers like Gilles Peterson, Patrick Forge, and Mr Bongo DJs.

Terror/Cactus returns to Names You Can Trust for the first time since his debut on the label's Split Single series from 2020. Since then, the Seattle-based Martin Selasco has been steadily cultivating his individual brand of futuristic electronic cumbia, playing a multitude of shows and festivals, as well as releasing a handful of singles and a self-produced long-player, Forastero. The Buenos Aires-born Selasco embodies the new wave of cumbia that has always been championed by his home country: machine-forward audio/visual performances combined with a mixture of bugged out digital folklore and live instrumentation, and in the case of this latest recording with NYCT, baritone and clarinet from Seattle-collaborator Kate Olson.

The fourth vinyl of Storytellers Records takes shape on the mystical shores of the Black Sea, where George Heerd has laid its foundation.

Simon Herody put together a live solo performance sequencing electronic devices on stage for him to jam over with acoustic instruments. He played a lot in hotels and lobbies. The music had to be present but not too intrusive. Subtle electronics to guide his saxophone and flute playing. The setup proved successful and inspired him to compose the works that would become 'Hard Lounge'.

'At the same time, I was working at a bar/record store in Neukölln called Motif. Everything changed when I discovered the album "Heisei No Oto - Japanese Left-field Pop From The CD Age." I remember this guy, Jamie, who would sometimes bring new releases to the shop. This album really changed things for me; I was constantly playing it and it inspired the creation of these works tremendously.

The composition process for "Hard Lounge" was pretty unclear. I never really made conscious choices; I wanted to escape the conflicts that come with picking the right chords. I aimed to create music that transports your imagination to a sort of retro 80s jazz lounge, where people feel comfortable and at ease just sitting and listening. I wanted to act like a music designer, giving people a chance to listen without demanding too much of their attention.'

One of the most politically charged terms of the 20th century, the Iron Curtain was a metaphor for political and cultural division. In a post-war telegram Winston Churchill referred to the fault line that ran through Europe between East and West as "an Iron Curtain is drawn down upon their front. We do not know what is going on behind".



In this two-part album, as far as jazz is concerned, we will showcase, describe and celebrate exactly what was 'going on behind'. We see that music is the power supreme, with the ability to transcend all barriers, be they physical, political or metaphorical.



Our liner notes illustrate the complex and contradictory history of Soviet jazz, and the tracks we've chosen cover the key period of the early 1960s to the 1980s. It was during these dark years of the Cold War that the Soviet Union and its satellite states produced a number of outstanding artists playing in a variety of styles. The impact of modernism, from hard bop and Latin to modal and cool jazz, had found its way through cracks in the curtain. The deeply-felt ancestral strains of traditional European folk music were combined with the exciting new and progressive sounds of the West, and a radical, intoxicating brew was created that no amount of guns, tanks or polonium tea could overcome.



We chronicle the triumph of jazz at a time of extreme geopolitical conflict. What went on behind the Iron Curtain in these countries was once mysterious and unknown to the West, but the perseverance of their artists provided sound and light amid the secretive, dark days of the communist-capitalist standoff. There was no end of life-affirming spiritual jazz behind the Iron Curtain.



"Whether it's by improvisation in the African-American jazz tradition, or by a village kobza player standing on top of a damn hill - he feels connected to the stars."

You've heard it in many of Bukkha's, Mysticwood's and King Original's sessions, and it made you dance and prance.
The moment you have all been waiting for is here!
BUKKHA003 features grime king, Footsie, pon the mic over a nice rockers style riddim built by the original US dub/steppas king, Bukkha.
Footsie come through and provides a deep meditative vocal flow.
Joining us on the vocal mix and horn cut is trumpet badman, Aba Ariginal.
You already know these are guaranteed ANTHEM vibes!
To close the A side, Bukkha dubs the riddim in his unique style and fashion.
On the flip, man like Charlie Mystic steps up to the plate, and brings new life to the vocals by putting them on a heavy steppas riddim.
Mysticwood takes you on a journey with this one by showing you his versatile style.
All of Mysticwood's cuts are certified bangers to take your session/set to the next level.

Mary Yuzovskaya unveils the 'The More You Know' remix EP on her vinyl-only Monday Off imprint, releasing 6th June 2025. Featuring reworks from Spain's ORBE, 90s US Techno legend Mike Parker, Judas Records' JUDAS, and Duna founder CONCEPTUAL.

First up, Token and Mote-Evolver artist and Orbe Records boss ORBE remixes 'Ittiologia', maintaining the original's hypnotism by amplifying its eerie soundscapes for a loopy, deep space trip. JUDAS, shrouded in mystery yet known for his self-released EPs on his eponymous label and releases on ARTS, then revisits 'Micologia', completely reworking its tripped-out sequences into short bursts of droning synth work.

Tresor, Semantica, and Prologue's Mike Parker also provides a version of 'Micologia', with the US Techno lynchpin slowing down its rhythm while its weighted synthlines bubble up between its kicks and rides. Closing out this remix package, Italy's CONCEPTUAL reworks 'Ittiologia', building tension via the original's dark and shadowy atmospheres but switching up its low-end for an electric, late-night feel.

Mary Yuzovskaya is a storyteller. Through delicate, masterful curation and a deep knowledge of experimental, trippy Techno, she weaves together sonic journeys - with 'The More You Know - Remixes' making for another excellent addition to her Monday Off label.

CS003, our next offering on wax, is home-grown. The Instruction EP features three original productions by label co-founder Niall Kelly complimented by a remix from the inimitable Carl Finlow. Niall’s debut EP showcases his prowess as producer harking to a pool of influences found in the sonic DNA of our hometown of Leeds, with added firepower provided by a legendary artist with close ties to the city.

Echoes of the rowdy bygone Mint Club ooze through the slappy tech house roller ’Section 1’ which opens the record. The chunky basslines retro synths and robotic vocoder connect the dots from Niall’s palette to the unmistakeable sound of Yorkshire Bleep on ‘Seven Wolves’. Carl’s treatment of ‘Section 1’ pivots into a darker, dystopian soundscape full of fizzing hi hats and dizzying synths that amalgamate into a dancefloor shaker that is unmistakably Finlow. The EP is rounded off by Groove Key, a track which serves up a special disorientating euphoria designed to be heard on large soundsystems and felt deep within your bones.

here may still be electronic music artists in this age of overflow and convenience who follow their own artistic vision regardless of what attention it might bring, if any. With an output that shows individualism, ideas and a signature sound. An ongoing creative process, uncompromising and adventurous, even eccentric, with results of consistent quality and determination. Dennis Busch aka James Din A4 is an archetypical example for this type of artist. He flooded the scene with releases in the 00s with numerous monikers, mostly on his own Esel imprint, and they were all great. On the outside you had his singular artworks (he is also a very accomplished collage artist) and quirkily humorous titles, and on the inside you had his music, also seemingly informed by a collage approach (only with samples), managing to sound focussed and out of focus, often at the same time. If you listen to a James Din A4 track it probably is simultaneously playful and disciplined. Anything can happen, and a lot if it actually does.

For quite some years, music releases by James Din A 4 were scarce. Jan Jelinek, an ardent fan, re-interpreted some of his favourites from the vast back catalogue as an album in 2014, then ten years later the album „Ins Licht“ appeared, and it quite nonchalantly continued what seemed to have stopped, right on the same level of greatness. And now we know that it still continues, as the label Live At Robert Johnson releases the new album „Never Look Back“. Its title should not be taken too literally, as all the trademarks of his musical legacy are perfectly intact. You will find the light and air that seems to seep through the sounds, the frisky structural details, the jolly melodies, the subtle deepness, the minimalistic yet not too strict grooves.

But do not be mistaken, this album is not looking back too much, of course. After all, this is music that is still evolving. Let’s hope for more glimpses of James Din A4‘s special and spacious world, they are ever
needed.

LIMITED VINYL COMES IN CARDBOARD SLEEVE WITH BOOKLET!
OSTRANENIE is a collection of digitally manipulated, impressionistic piano miniatures — each named after blockbuster films and TV series. Improvised late at night as a reaction against passive media consumption, these pieces function as both homage and critique, navigating the space between classical impressionism and contemporary digital manipulation. They don’t just deconstruct traditional piano expression; they interrogate the emotional stakes of sound in an era where immersion culture flattens meaning and algorithmic logic erodes agency.

The album’s title references the Russian formalist Viktor Shklovsky’s concept of “ostranenie” (ɐstrɐˈnjenjɪj, estrangement/defamiliarization), a term he introduced in the early 1920s to describe art’s role in resisting the indifference of habitual perception.

“And so, held accountable for nothing, life fades into nothingness. Automation eats away at things, at clothes, at furniture, at our wives, and at our fear of war.”
—Viktor Shklovsky, Theory of Prose (1925)

Shklovsky saw art as a way to break through the anesthetizing effects of routine, stripping away the layers of habit that dull our senses. By making the familiar strange, art reclaims perception from the mechanical and the automatic. His argument wasn’t just a theoretical exercise — it was a response to a world rapidly consumed by industrialization, war machines, and the alienation of a technologically dominated modern life. In this context, he positioned artistic technique as something autonomous, distinct from mere social criticism or psychological reflection. Art seeks to remove “...the crust that the world of things deposits on our senses, with routine’s unending murder of the real.” Ben Ehrenreich on Serena Vitale’s Making Strange (The Nation, 2013)

This tension—between revolutionary/artistic and industrial technologies—defined the 20th century, and it continues to resonate today. The mechanization and automation that fueled the First World War’s devastation, alongside the social and economic turbulence of the 1920s, became central to the era’s self-conception. But just as technology was a source of alienation, it was also positioned as an agent of radical change. As the shock of modernity disrupted the human condition, it also became the driving force behind an ideological utopia — one that ultimately deformed into political totalitarianism — a paradox that remains unresolved.

OSTRANENIE plays within this contradiction. The music shifts seamlessly between an uncanny black MIDI dismantling of traditional piano virtuosity and moments of raw, fragile intimacy. The result is a work that resists automatic anonymity while questioning what it means to create in an era where the technological mediation of sound — and experience itself — is unavoidable: Art in the age of its technological constructedness.

BOOOoo! is back with a new VA gathering Ildec, Pagenty, Phase O'Matic, Gogo Gadgeto & label-head BOOH!

The fourth installment has been carefully curated to showcase five distinct facets of the darker side of the electro scene, while maintaining a softer, more accessible edge. Each track is suitable for both daytime and nighttime play.