quête:sound 00

After a superlative EP from Chicago's DJ Rahaan, Dublin's Fatty Fatty Phonographics is back with another installment of Pablo and Shoey's 'Rejigs', which have had support from the likes of Hot Toddy, Bicep, Get Down Edits, Leftside Wobble, House of Disco and Rub'N'Tug.

'No Good (Start The Jack) sees them take on Kelly Charles' 'You're No Good', a late 80's New Jersey house bomb and source of the infamous vocal hook from The Prodigy's 'No Good (Start The Dance). After one of the great 80's dance music clichés - an intro where some sassy mama gives her boyfriend shit down an old school telephone line - they go straight for the jugular with that big big hook, spinning the whole thing out for 10 minutes with lots of hypnotic piano loops and large chunks of the great song at the heart of it all. This is one that the crowd will be immediately singing right back at ya at 2am!

'Gonna Get Ya', meanwhile, goes for some Greg Wilson 'Edit The Edit' style shenanigans, taking on Barna Soundmachine's sly, slinky funk loops. The Barna man's original had a whole heap of Diana Ross' vocals from 'I'm Gonna Make You Love Me' at the centre but never let rip with the big hands in the air chorus. The lads have rearranged it here so it's alot less teasin' and alot more ease-in!

The 3rd track is as important to Pablo and Shoey as it is to Moodymann, so 'Funky Rump (Tribute To MCA)' pays tribute to the sadly deceased Beastie Boy by looping up some busy jazz drums from 'Paul's Boutique' and splicing it with a very fitting in concert tribute from the one and only Flava Flav of Public Enemy. The full track, when it eventually arrives, is a relentless clav funk monster that just keeps going and going....

Narratives Music proudly present the debut EP of the artist Rhyming in Fives. The 'Hindsight' EP sees a well respected producer
embark on a new journey under a new alias, with an intention to breach the boundaries of Drum and Bass and the 170bpm template.
Fusing drift space ambience, glassy synths and retro drum machines with gritty warm bass grooves, Rhyming in Fives has gathered
sensibilities from the austere 80s pop of Depeche Mode and Gary Numan, the soundscapes of Cliff Martinez and Vangelis, and
transcended to something altogether more futuristic.
This highly anticipated release has already caught the imagination of DJ's across the genres with huge names such as Paul Woolford,
Om Unit, Com Truise and Zomby working it into their multi tempo sets while still finding its way into the record bags of Drum and
Bass' hottest players such as Doc Scott, Jubei.and BBC Radio's Friction.
Lead track 'Hindsight' glistens with the trademark Narratives sound of emotion and contrast. Melancholic calling synths build over
pumping kick drums and beckon the classic bass to grow and soar to an euphoric drop of arpeggiators and driving percussion. The
ability to draw the listener completely in to its immersive groove and simplicity, only feigns the depth of this beautiful track, a depth
which reveals more with each listen.
Turning many heads has been the track 'With You'. Instantly recognisable, it builds on the same retro influences as the flip but is
injected with the vocals of Hana. Bubbling basses, beautiful keys and a song like structure make this a golden addition to the
Narratives catalogue; one that evokes the summer decadence of Kavinsky's 'Drive' movie soundtrack.
The last track on the EP, 'All's Well' takes the Rhyming in Fives sound to a much more brooding and meditative place. Cavernous
bass, reverbs and FX lead this wave of haunting ambience to create a heartwrenching close to this debut EP. Sentimental, emotional
and relentlessly engaging, 'All's Well' refuses to let the listener do anything but be drawn in.
Only furthering Narratives reputation for releasing music of bold quality and longevity, this EP embraces experimentation and genre
shifting sounds whilst having relentlessly moved dancefloors and festivals over the summer months.
DJ Support includes : Friction, Paul Woolford, Doc Scott, Om Unit, Kuedo, Com Truise, Zomby

Once upon a time...in the midst of masked identities, artist pseudonyms and the like, Midnight Shift introduces a creature not even of human form.

Tapirus conjures music reflecting the duality of his soul. On one hand, rough and acidic to tell of the terrain of his past. And on the other, pure ethereal sounds borne of another place. This EP, showcasing 3 songs of the Tapirus alongside a remix by label artist Basic Soul Unit, is just the introduction to his tale.

The wiggly 'Acid Love Story' enters the room with its tight drum programming and infectious bassline commanding attention. A voice speaks of a love lost: 'She left...she left. Dark time ahead. Dark times in my head.' But perhaps the story is not yet over.

'Trying to Make Something of Life' continues the monologue, conveying an acidic almost bitter experience. Freaked out and haunting, this track is literally inspired by the dead. It lays as atribute to losing yet another close companion in life.

On the flipside, 'To Live in the Hearts...' and its remix comes through. Ascending the scales of life, its Asianic influence and soaring chords take one beyond the clouds. Basic Soul Unit's transforms the track helter-skelter, a frantic pace turning the peaceful tune into beautiful art of war.

Take it, make it, on the A side you will find again a bassmental driven techno track 'Techyes',
8 minutes of a heavy Bassline and trippy Percussions are perfect to burn every Dancefloor !
B Side - Hypnotica Del Mare
After some crazy holydays at he baltic sea coast and the isle ibiza peter found deep inspiration by stones and mushrooms, this brings you 11 minutes of psychedelic acid house with raw basslines and a lot of accidental sound suprises.

The label Bond is the brainchild of Swedish techno DJ and producer Petter B. The concept of the label is 'music by DJs for DJs'. The label focuses on releasing tracks that enable the DJ, rather than the producer, to be creative. It is based on that special bond which is created every time a DJ combines tracks, loops and sounds live into something new and unique.

This second release is a four-track EP made by Petter B himself. The first track is Accent Patterns which is an offbeat rhythmic groover that starts subtle and grows vigorously throughout the length of the track. The next track is Drummer II that, like the name implies, is a drumbeat. With a catchy detuned clap acting as a lead it could add groove to a dead person if necessary.Tool 01 is a tribal DJ tool that hits the dance floor with the same exaggerated force as a sledgehammer crushing an egg. The last track Tool 04 has a repetitive arrangement with mayhem-like delays building up and dropping like there is no tomorrow.

Soul Print Recordings is proud to present their first ever vinyl release. 4 excellent deep tracks pressed on a slice of 12' black gold which features tracks by Fil Lavin & DJP, Petkovski & Akioki and reworks by the mighty Deep Space Orchestra and Liverpool based Andy Ash.
On the A side we find an infectious disco tainted classic deephouse groove called ''Hear Me'' by the likes of Fil Lavin & DJP. Excellent uplifting grooves which are smartly complimented by some subtle sample work. For the A2' Andy Ash is on remix duties. The rework contains a more nervous and elecronic vibe with flipped drums to a more contemporary electroish 80s vibe but still maintains the signature chord sounds of the original effort.
Label founder Petkovski opens the B side together with longtime label collaborator Akioki on their spiritual dancefloor smasher ''Think''. Again some catchy deep chords are subtly placed over balanced drums to uphold the moving vocal sample that lies on top.
The B2 brings us a Deep Space Orchestra rework of Petkovski and Akioki's ''think''.
Like you'd expect from the british duo, a more atmospheric yet staggering vibe has been created, focussing on the electronic bits of the original work a top notch DSO remix has been delivered which is perfect to close down an excellent and very balanced debut 12''.

Santiago Salazar's "Espacio Profundo" is a deep house jam; Lerosa's "Ausgang" is a Summertime house track; Moonstarr's "Complications" is raved up w/broken techno drums; Jason Fine's "Bang" explores the deep end of his sound.

Idiot Savant Masterpieces is the 3rd release and the first full solo EP by Amir Alexander on the Vanguard Sound record label. On display is Amir's somewhat off kilter take on U.S. dance music. An approach so different that one critic described the work of Amir and his crew as Idiot Savant Masterpieces. All bases are covered, acid, deep, big room, and banging techno with a little hip house thrown in for good measure. Vanguard Sound is quickly establishing itself as a label to watch so serious collectors should buy this one on sight!


The Realest of the Real! - An acid/ hip house hybrid banger that draws influence from the classic acid and hip house vibes. With vocals written and performed by Amir himself, this track combines 303 808 and 909 sounds with Amir's "street chants" to create a vibe that looks back to classic Chicago while pushing it forward and into the future.



Sonic Weaponry! - An insidious techno groove that grabs you by the neck on the first note, and never lets go. Tough banging drums combine with a staccato analog synth passage that charges like an advancing army. The rubbery bass line joins the fray to incite utter madness as this deceptively minimalistic track whips the floor into a mad frenzy.



Rebel Music (Version One)! - A big room Banger lead by a phrenetic sine wave bass line that never lets up. Deliberate, yet, stuttering percussion anchors the track. The accompanying synth ostinato continuously shifts as huge lush chords blow through like gale force winds. Black Panther's H. Rap Brown and Stokely Carmichael drop science about the nature of rebellion in the U.S.



Who are You - The "Deepest" track of the four opens with a beautiful ascending/ descending flute like synth passage that instantly sets the soul adrift. The hard and jumpy kicks interplay with a throbbing rhythmic bass that bubbles like a boiling cauldron. About halfway in a driving synth ostinato comes in to push the track forward. In the middle there is a dreamy

Includes limited edition hand painted sleeves.





Following on from their inaugural release DSNT Records are back with a second helping of unvarnished, pummeling tracks in-keeping with the label's clear focus of releasing only the highest quality techno.

Dead Sound (aka Paul Carroll) has made a name for himself after breakthrough releases with Videohead on Ali Wells' heavy duty Perc Trax imprint ('Murder EP', 'The Chosen'), as well as on Australia's Elektrax Recordings, ('DSGL EP'), and sub-label Gynoid Audio ('Your Move', 'Behind Time'), Acroplane Recordings and Counter Pulse ('It's Over').

Bolstering and reinforcing the power of the originals, this release comes fully equipped with some of the finest names in deep, dark and visceral techno on remix duties: Stroboscopic Artefacts' Xhin, Pole Group's Exium and an abstract cut from Monster X.

Support from:
Truss/MPIA3, AnD, Bas Mooy, Perc, Dj Skirt, Sawf, Inigo Kennedy, Raiz, Lakker, Roman Lindau, Donor, Sunil Sharpe.

Steve Lee's (The Project Club) ABOVE MACHINE label returns after 003's massive 'Love Disguise' from Vendetta Suite

This fourth release comes courtesy of acclaimed Italian duo Almunia
Their celebrated output through Paul 'Mudd' Murphy's Claremont56 label, including the recent superb Pulsar LP has seen the their blissful & uplifting Balearic sound
expand and evolve beautifully.



One Time is a gorgeous slice of the same, and conjurs up gentle sea breezes and long summer days perfectly


The ever essential Craig Bratley, whose All Ears distributed Magic Feet label has provided some of our best output, alongside recent hit 'Obsession' on Weatherall's Bird Scarer imprint takes charge on the flipside here.
Craig takes the melodic motif's and vocal parts and weaves a trademark synthed out & acidic chugger of epic proportions. Sure to be belting out across the Adriatic this summer
Andrew Clarke - whose been making an impact with a selection of cuts on labels like Audio Parallax & Chopshop - wraps it all up with a truly amazing rework, managing to retain all the stunning musicality of the original, but elevating the elements to euphoric new heights.

It's only early July, but 2013 has already proven to be a landmark year for production/DJ duo Deep'a & Biri. With a couple of their tracks being released on Transmat Records and appearing on Derrick May's mix compilations on the one hand, while on the other, getting signed to DJ Hell's International DJ Gigolo Records, where they released a single in April and have a full album forthcoming mid-September - it seems that all corners of the techno diaspora are ready to catch up on their sound. But it doesn't stop there, as they now launch their own Tel-Aviv based label, Black Crow. With a successful series of parties operating under the same name, bringing to Tel-Aviv a tasteful selection of the world's top class techno DJ's and live acts, Black Crow, the label, is set to counter-match this high standard with its musical output. Inaugurating the label is the imminent release of 'Redshift", produced in collaboration with their long-time partner and excellent producer on his own right, Gene. 'Redshift' has the signature Deep'a & Biri sound, a pumping Detroit-indebted roller, with shout snippets riding in & out the keys-led workout. Keeping it in the Mediterranean, Greek producer Argy provides the remix, accenting the baseline and adding a spoken vocal that takes 'Redshift' all the way to Chicago. Rounding off the package is 'Blueshift", which demonstrates the team's melodic tendencies, with its more spatial arrangement perfect for those deep space moments.

BNJMN pops up with another splendid and relevant EP.. featuring a remix from Legowelt/Xosar combo, Xamiga. TIP!
Artistic inspiration can come in many forms. On his latest 12' for Rush Hour - his third for the label since 2012 - BNJMN was inspired by one of the wonders of nature, namely the curious combination of speed and grace that is the humble hummingbird.

'I was really interested in how hummingbirds have much faster wing speeds to other birds, so they can hover and fly slowly,' he explains. 'This seemed to tie in with some ideas I'd been playing around with, to create tracks that are fast and accelerated, but could also sound slow.'

'Hummingbird', the title track of an impressive four-track EP that's noticeably cleaner, crisper and sharper than his most recent outing for Rush Hour, 2012's Unknown 2, captures this idea perfectly. Propelled forwards by a lone, 140 BPM kick drum, its waves of crystalline synthesizers and picturesque melodies seem to gracefully hover above the stripped-back rhythm. It's intoxicating, exciting and calming in equal measure, whilst retaining BNJMN's usual dancefloor punch.

'At a club recently someone came up to me after I'd played 'Hummingbird' and said he didn't realise how fast he was dancing till afterwards,' BNJMN says. 'I was really pleased with that, because I'm fascinated with how the energy and tempo of a track can feel different depending on the environment you're in, and how you're feeling.'

He took the same approach with the EP's other original tracks. 'Slow Wave', with its relentless sequenced arpeggio, tumbling melodies and sludgy groove, performs the same trick of the ear, thanks in no small part to clever combinations of fast and slow elements. The melancholic 'CRVD', with its mournful chords and darting, techno-influenced grooves, is similarly schizophrenic.

The EP concludes with its most straightforward dancefloor moment, an inspired remix from Xamiga (AKA Xosar and Legowelt). Decidedly cosmic - like layered, melody-driven analogue techno beamed down from a distant galaxy - it delivers a deeper, hazier alternative to BNJMN's pin-sharp original.

Lee Perry's time at WIRL Records, later to be renamed Dynamic Sounds Studios, was a very productive time
in his career. A run of great singles and the shaping of a new sound, the beginning of what we know today as
Reggae .
Lee Perry (b. Rainford Hugh Perry, 28 March 1936, Hanover,Jamaica) began his entry into the music business at
the age of 16.Moving up to Kingston Town and working around various Sound Systems, before finding
employment at Coxonne Dodd's Studio One set up, in the late 50's early 1960's. Perry started out as a record
scout, organising sessions and supervising auditions at Dodd's record shop on Orange Street. Helping to make
hits for Delroy Wilson ( 'Joe Liges','Spit In The Sky') and the Maytals, which would lead to his own vocal records
released through Studio One.The musical backing for which, came from legendary Studio One house band The
Skatalites. Another important relationship for Perry, his first recordings with Bob Marley came in the form of
the Wailers, also providing backing, alongside the Soulettes who featured Rita Marley. Cutting such tunes as
'Chicken Scratch' around 1965/1966. This tune was also to provide him with one of his future nicknames
'Scratch'. A dispute over credits and money saw Perry leave Studio One and work with various producers
including Clancy Eccles and J. J. Johnson, before arriving at the door of producer Joe Gibbs in 1967. Here he
would write songs and produce hits for artists such as, Errol Dunkley and the Pioneers. A tune cut during his
time with Gibbs, voiced a snipe at fellow employee Dodd, a trademark that would become an outlet for his
frustrations in the business.This particular tune 'The Upsetter' would also provide another moniker and a name
for his label 'Upsetter'. Again lack of musical credit and financial reward saw Perry move on this time to WIRL
(West Indies Records Limited) Records, working alongside manager Clifford Rae, who would provide studio
time and pay for pressings in return for helping to promote and distribute WIRL product, which Perry would
carry out on his trusted Honda 50 motorcycle around Kingston town.
This period at WIRL saw some inspired work from Perry. 'Run For Cover' was another musical blow to a
previous employer, Coxonne Dodd and featured the Sensations on backing vocals and Lynn Taitt's guitar
picking skills. 'People Funny Boy' was a massive hit for Perry going on to sell over 60,000 copies. Joe Gibbs
would be at the end of this musical attack. Perry had felt Joe Gibbs had turned his back on him, after he had
provided hits for groups like, The Pioneers amongst others. The song would be one of the first records to
feature a New Beat (Reggae) inspired by the sounds coming out of a Pocomania Church, Perry had heard one
night.The congregation inside, wailed in a more slower way than the current musical style of the time Ska!. Perry
worked up this new style with Clancy Eccles, who would come under attack himself in 'You Crummy'. Their
closeness, which as detailed in that song would find them, 'Even shared the same Gal' but 'Now it's plain to see we
reached the end'. 'Set Them Free' was an answer record to Prince Buster's 'Judge Dread' (which had
featured Perry on it) a plea to the Judges in Jamaica that handed out extremely harsh sentences to the young
offenders of the time. The track was cut on the same rhythm as 'Run For Cover' . 'Django Shoots First'
inspired by the Spaghetti Western film of the same name, features Sir Lord Comic. One of the early DJ's who
used a jive talking style over rhythms. 'Night Doctor' was a hit instrumental that featured the organ talents
of Ansel Collins, that really push the tune along. 'Something You Got' was a cover of an USA R& B track by
Chris Kenner and 'Wind Up Girl' was cut at the same session. 'Water Pump' was a rude style track that
was cut later and originally released in 1974.As was 'People Sokup Boy' a later version of 'People Funny Boy'.
'Labrish' which means idol talk and gossip, was one of the first great talk over tunes that features Lee Perry
and producer Bunny 'Striker' Lee talking about the Political situation in Jamaica at the time and their own
financial situation and stories of various comrades.The track was originally released in 1973.
Bunny Lee would play a major part in lee Perry's career around this time and they were very close, often
sharing sessions and rhythms. Ironically it would be Bunny Lee that took over Perry's roll at WIRL and become
responsible for the labels products in years to come. Clifford Rae who give control to Bunny for a lot of the
WIRL product and even gave him his shop 101 Orange Street. So here we have a collection of music born out
of a time spent at WIRL Records and providing an important chapter in Lee Perry's career and indeed to the
story of Reggae itself.
Hope you enjoy the set.

We're very happy to welcome aboard new imprint Back To The Balearics

It's a label on a mission to uncover music with significance, special sounds that can make a moment out of nothing.
In an increasingly fast and disposable world the need for such moments is more important than ever.

The first release, by Belfast's MARICOPA, perfectly defines that sound. His electronic tracks blend naïve beauty with emotional depth in a sonic landscape devoid of all the usual musical clichés of dance music.
Back To The Balearics is a journey to nowhere in particular with plenty of musical stop overs on the way.

We hope you will take the trip...

Sister Label to Vanguard Sound Anunnaki Cartel plays host to the fourth installment of the Vanguard Sound Series featuring 4 tracks from crew members Dakini9 (Lola), Chris Mitchell, DJ. Spider, and founder Amir Alexander. During the time since Vanguard Sound Vol. 3 launched the Vanguard Sound label, the series has reached a kind of cult classic status among the most dedicated U.S. underground vinyl collectors. As more and more people discover Alexander and his Crew of ultra talented DJ/Producers, their releases on discogs disappear and then reappear for three to five times their original price. Buy on sight status is quickly being achieved by all six members of this shadowy Crew.

The four tracks contained in this release all touch base with the vibes already established by the Crew, while continuing to expand the sonic palette as well.
Amir Alexander's Cypher is classic dirty analog at it's finest. With a slightly overdriven synth baseline leading the way, followed by restless percussion. Midway through, deep and mysterious pads create a dreamy texture as a spoken word passage muses about loyalty to those you came up with.

Chris Mitchell's 213NL raises the temperature with Chris's signature "Phrenetic" drum programming under an SH101type acid baseline oscillating wildly as melodic strings soar.
DJ Spider keeps things gutter with some Vanguard/ Plan B style street knowledge in the form of New World Resistance. An industrial/ futurist tech beat frenzy full of vocals dropping science about the New Word Order's plans for global domination.
Dakini9 closes the release by taking us to the depths and beyond with her deeply emotive work in the form of Rollercoaster to Nowhere. Sci fi atmospherics weave in and out of lushly serene pads while her always deadly serious percussion marks the time effortlessly. Time travel is evoked as the dulcet tones erode all sense of the here and now. Fall into infinity! For the collector's, this one is not to be missed as it is a rare Vanguard Volume on it's sister label Anunnaki Cartel with both logos on one record. Don't sleep..

Nick Lapien's debut release as Metropolis garnered little attention when it materialized last year. A skeptical yet dedicated network of underground heads built up a subterranean buzz that has yet to spread into the daylight. That initial transmission was thick with the raw analogue flavors that have become ever-present in dance floor fare recently—but his is a sound that is dedicated to the emotive, narrative aspects of electronic music rather than simple fetishization or passing curiosity in the days of yore.

This, his second release as Metropolis, shows a more focused and patient hand at work. The titular track on the A side is a deep, psychedelic groover. Melodies, textures and sequences undulate and intertwine within a lightless atmosphere guided by Lapien with optimum restraint. Equally pensive and gorgeous, The Flood serves as a Machine's beat-less foil on the reverse. Made up of little more than feedback and two slow, echo laden arpeggiated sequences, this is reminiscent of Jean Michel Jarre's more sinister moments: a brilliant paradox of economy and indulgence. Expect to hear more from Lapien here at Sequencias. He has many more dark corners left unexplored.