quête:the explosion

Reaching out to the real roots of the Jamaican sixties musical explosion…

Some of the originators of the genre, including Ernest Ranglin, Lennie Hibbert & Cecil Lloyd, playing in their element and demonstrating just where they're coming from

Techno workhorse Dustmite demonstrates once again why he’s appreciated for his uniquely deep and diverse production styles. “Warpath”, the 6th release on Supervoid Records, is a palette of contrasting elements that are sure to strike a notable chord in listeners’ minds.
The titular track opens with determination. Heavy kicks drive a syncopated rhythm as momentous explosions decompress into oily murk. The polyrhythmic synth stabs of “Weaving” evoke imagery of complex machinery calibrated in near- perfect synchronicity. The hard offbeat shuffle of “Flares” conjures a primal response with scattered dissociative flashes. A foreboding mood descends over the listener in “Caustics.” Increasing tension and a pensive ambience.

It wasn’t really a movement, barely even a moment, but the Daisy Age was an ethos that permeated pop, R&B and hip hop at the turn of the 90s. Playfulness and good humour were central to De La Soul’s 1989 debut album, “3 Feet High And Rising”, which would go on to cast a long, multi-coloured shadow over rap.

In Britain, the timing for “3 Feet High And Rising” couldn’t have been better. The acid house explosion of 1988 would lead to a radical breaking down of musical barriers in 1989, and its associated look – loose clothing, dayglo colours, smiley faces – chimed with the positivity of De La Soul and rising New York rap acts the Jungle Brothers and A Tribe Called Quest, all at the heart of a growing collective called Native Tongues.

The Native Tongues’ charismatic, summery aura quickly spread west to the Bay Area’s similarly-minded Hieroglyphics crew (Del Tha Funky Homosapien’s ‘Mistadobalina’); Canada’s Dream Warriors (‘My Definition Of A Boombastic Jazz Style’) used “3 Feet High”’s colour palette and borrowed Count Basie and Quincy Jones riffs; Naughty By Nature (OPP) were mentored by Native Tongues heroine Queen Latifah, while Londoner Monie Love was also adopted by the collective, resulting in her Grammy-nominated ‘It’s A Shame (My Sister)’.

It wasn’t built to last, but the Daisy Age reintroduced Multiplication Rock, bubble writing and the gently psychedelic into the charts. It was a brief, but extraordinarily warm and optimistic moment. The songs on this collection promised that the 90s would be a lot more easy-going than the 80s.

Available on CD and double LP.

Wow !

A bona fide genius from the formative 12" remix era of NYC's Disco explosion opens up his secret vault !!

These are previously unreleased versions of classic cuts from one of the pioneers
Super limited...

Soundway Records presents the eponymous debut LP from in-demand Amsterdam five piece The Mauskovic Dance Band – fusing no-wave dance punk, Afro-Caribbean rhythms and space disco in a “controlled explosion” (The Quietus).

Entirely self-produced, the band has reiterated their favourite elements of the 70s and 80s legacy of the Afro-Latin psychedelic music of Colombia and Peru, interpreting it through the context of modern day Amsterdam. The output is a lo-fi No Wave groove all its own - rooted in a deep love of champeta, Palenque, psychedelic cumbia, chichi, classic afrobeat and picó soundsystem culture.

Since the release of their “Down In The Basement” EP on Soundway Records in early 2018, the band have found themselves on a hectic European touring schedule – not to mention being involved in other side projects. Following stints with Turkish psychedelic folk rock group Altin Gün, and touring with the re-formed 70s Zamrock outfit W.I.T.C.H., Nic Mauskovic also teamed up with Dutch neo-psychedelic artist Jacco Gardner to form the “cinematic Balearic disco” duo of Bruxas (released by Dutch institution Dekmantel) – and together, they mixed The Mauskovic Dance Band debut album in Lisbon.

Lead single Space Drum Machine encapsulates the band’s prototypical brand of busy rhythmic patterns interwoven with insistent synth stabs and vibrant disco toms, layered with an elastic guitar riff drawing inspiration from Kenyan kikuyu and benga styles. High-pitched vocals describe being on a flight together and inciting each other to press a button of unknown consequence with “push it, push it” - and push it they do, at breakneck pace. And of course, the undeniable influence of Amsterdam’s hotbed of underground dance producers shines through as it does on all tracks - with the vintage psychedelic swirl of synthesiser, lo-fi drum machines and tape recording.

A few years ago, Roi took the wise decision of changing his life, he got away from the madding crowd of the city and moved to the coast of Dexo, surrounded by nature and animals. This kind of retreat has been the trigger of an enormous personal growth and a strong feeling of freedom, which has led him to find a certain inner calm, also to feel the constant climatic changes which are so typical of Galicia, alternating between wind, rain and sun. Roi has found himself; this deep self-knowledge has provoked an internal explosion of inspiration that made him to fully immerse in music production after years of experimenting.

Concurring with the 10th anniversary tour of the label and promoter Fanzine Project which he co-manages, the artist from A Coruna will publish his first EP next month of June. He comes with melodies full of power, light and elegance, embracing a wide spectrum of music styles which meet in a perfect point of balance between strength and delicacy. Deixo EP is the outcome of a small tribute paid to his three main sources of inspiration: The wonderful landscape of the coast of Dexo, Seixo Branco Point and his unconditional companion: His dog Tigre.

Legendary artist Mick Harris (Napalm Death, Painkiller, Scorn…) kicks off his 2019 with this EP of tar-black, bass heavy sonic violence. This EP features 4 reworks of “Salford Priors”, one of the heaviest tracks from his return-to-form album “Over Depth”, the first by Mick Harris himself, and 3 more by his longtime collaborators in the production guises of Fausten, Stormfield, and Monster X. The EP begins with an apocalyptic, dubbed out violent rework by the man himself, creeping in with a cold, calm eerie drone that quickly goes from zero to 100%, blasting into a full force attack of artillery percussion and strafing, shrapnel textures atop the landmine subs and characteristic Harris snarling mono-bass.

Julien Caraz has caused much distress over the years with the sheer rage and precision sonic assaults of his Monster X project. Here he eschews his usual frenetic tempos for a solid 130BPM, a sleek techno destroyer built for giant spaces and huge soundsystems in mind. The Combat Recordings boss has worked audiovisually with Mick since the Scorn AV at Bangface Weekend in 2011, touring with Fret AV in 2018. Here he switches back into audio mode to rework Salford Priors into a hard electro assault for the Stormfield remix.

Fausten is the shadowy, twisted collaboration between Monster X and Stormfield.
Having released a staggeringly twisted album on the legendary Ad Noiseam, Fausten
went into hibernation as the pair pursued their own projects, with only a few sporadic tracks surfacing over the years. The pair have been putting together an album’s worth of new material for 2019, beginning with a powerful remix of Salford Priors. Taking Fret back into it’s aquatic, fathoms-deep sonic territory, this remix is a behemoth work that moves at quarter-step tempo, allowing for more physicality and dynamics, the profound pulse of each profoundly deep bassdrum like an underwater volcanic explosion, with skittering percussion the resonates in the stillness.

Wow !

A bona fide genius from the formative 12" remix era of NYC's Disco explosion opens up his secret vault !!

These are previously unreleased gems from one of the pioneers
Super limited...

There have been millions of typical disco edits in the last years. But there is so much more interesting music from the late 1970s and early 80s yet to bubble its way to the surface. One of those lesser explored fields is the crazy funky side of Germany's underground disco and new wave from that period. At the time, many German bands were trying to make their own version of English and American styles. After Kraftwerk and Can had started to use the German language in a cool, new way, many bands that followed in their steps experimented with German new wave. Most of these bands didn't reach a bigger audience. Their records never got pressed to more than 300 - 500 copies as they were a number of years ahead of the huge commercial explosion of German pop in 1984: The NDW aka 'Neue Deutsche Welle", with Nena's humongous hit 99 Red Balloons. The bands featured on the compilation released their music before the NDW hype and later broke up. Plenty of these early bands are best forgotten but if you dig deeper you'll find the gems, bursting with style and attitude. And that's just what Toy Tonics heads Mathias Munk Modica & Kapote did. They hit gold.

Johnny Clarke & King Tubby & Dillinger & Prince Jazzbo feat. Tommy McCook & The legendary Aggrovators & The Mighty Diamonds - Soul Jazz Records presents Bunny Lee: Dreads Enter the Gates with Praise - The Mighty Striker Shoots the Hits!

Soul Jazz Records presents this new collection featuring the heavy 70s roots reggae of Bunny
Lee - a living legend, one of the last of the great Jamaican record producers who helped shape
and define reggae music in the 1970s from a small island sound into an internationally
successful musical genre.
From teenage fan to young record plugger for Duke Reid, Sir Coxsone and other early
pioneering Jamaican musical entrepreneurs, Lee has spent his whole professional life inside the
Kingston music industry. In the 1970s he rose up to become one of the major record producers
in Jamaica alongside Lee 'Scratch' Perry and the other 'small axe' producers who broke the
dominance of the 'big tree' producers that had ruled Jamaican music in the 1960s.
Featuring some of the heaviest Jamaican artists, including Johnny Clarke, King Tubby, Dillinger,
Prince Jazzbo, Tommy McCook, The legendary Aggrovators (featuring Sly and Robbie), The
Mighty Diamonds and more, the album is a rollercoaster ride of rare, deep and classic 1970s
roots, dub and DJ sounds.
During this era, 'flying cymbals', crashing reverbs, dark echoing thunderclap gunshots and
other 'implements of sound' filled his record productions as Bunny Lee explored the outer limits
of dub with his friend King Tubby in the mix on wild versions that accompanied any 45. A
Bunny Lee record provides a creative and mysterious hidden guide to reggae music itself, a
double-sided three-minute intangible history lesson etched in wax.
Bunny Lee was one of the first Jamaican producers to travel to England in the late 1960s, at
the beginning of the nascent British reggae music industry as record companies such as
Trojan, Pama and others began licensing Jamaican music in the UK to supply the expanding
West Indian communities living up and down England. Lee encouraged other Jamaican
producers to do the same, including Lee Perry, Harry J and Niney The Observer and also
became a conduit between the British music industry and numerous younger Island-based
producers - a frequent flyer reggae ambassador, a musical courier exchanging tapes for
royalties.
Bunny Lee's first recordings in the late 1960s were mainly rock steady but as the 70s
approached the music soon began to mutate and slow down into 'reggae' as the sound became
heavier, more rootsy and the sound itself began to change with the explosion of dub.
Lee was at the forefront to this dramatic musical shift into roots reggae and by this time had
become a major producer, capable of working with whoever he chose as world-famous singers,
DJs and musicians lined up to work with the charismatic man. Lee also employed a fluid but
stable set of crack session musicians who he named The Aggrovators.
Most of the recordings featured here come from the mid 70s, a time when Bunny Lee was
definitely in the zone, releasing heavyweight singles at an almost unstoppable rate. Bunny
Lee's career stretches over five decades and he has upwards of 2,000 production credits on
vinyl.
This album comes with extensive sleevenotes, an interview with Bunny Lee and exclusive
photography. The album is available as a CD pack with 24-page booklet, massive triple LP vinyl
with digital download code, house inner and full notes, as well as digital album.

Limited retail edition in double transparent yellow vinyl.
Explosions in Slow Motion is the new album from Brock Van Wey's transcendent bvdub project.
Van Wey's previous n5MD album Heart- less found him harnessing the turmoil around him to create something vast, emotive, and brooding, yet somehow comforting, allowing you to cradle in its weight.
Months after Heartless' release Van Wey moved from turbulent times of his native California home to the chilling winter of Warsaw Poland. A divergence. Alone against the icy cold, confined to the indoors in search of protection against the world outside, Van Wey channeled, as he always does, his surroundings as they coalesced with his self-imposed aberration. The outcome of this move, and period of near total isolation, is Explosions in Slow Motion.
Featuring four long-form songs accompanied by four 'ember' vignettes, Explosions in Slow Motion is quite possibly Van Wey's most mournfully isolated work in his massive discography to date.
Filled with swelling arcs of spectres from the past appearing then slowly drift away. Foggy memories of friends, loved ones, and even adversaries seem to achingly sweep across Explosions in Slow Motion's eighty-minute runtime.
There is a forlorn thread of shrouded nostalgia throughout the album which by album's end leads to catharsis, acceptance and the finality of progres- sion.

Hound Gawd! Records Wird Das Neue «the Gentlemens» Album Mit Dem Ikonischen Und Ironischen Titel «triage» Am 22. Februar 2019 Auf Vinyl, Als Cd Und In Digitaler Form Weltweit Veröffentlichen. Beim Dritten Album Der The Gentlements Spielt Giordano Baldoni An Der Gitarre, Daniele Fioretti Am Schlagzeug Und Paolo Fioretti An Der Gitarre Und Am Gesang. «triage» Enthält 11 Erstklassige Stücke Rohen Rock'n'rolls Gespickt Mit Blueseinflüssen.

Auf Diesem Album Sind Sämtliche Tourerlebnisse Und Ekzesse Der Band Seit Dem Letzten Veröffentlichten Album Im Jahr 2016 Verarbeitet. Das Trio Beginnt Bei Den Wurzeln, Nimmt Den Garage Blues Als Sprungbrett, Saugt Sämtliche Einflüsse Des Rock'n'rolls Auf Und Kontaminiert Sie, Sodass «triage» Das Persönlichste Und Sicherlich Charakteristischste Werk Der Band Ist. The Gentlemens Injizieren Blues Punk, Rockabilly Und Den Garagensound Der 60er Jahre Mit Ihrer Eigenen Wut. Roh, Wild, Aber Unglaublich Eingängig, Deckt Dieses Album Eine Breitere Klangpalette Ab, Als Man Es Zunächst Vermuten Mag. Von Poppig Bis Wild Spiegelt Es Ein Großes Spektrum An Ideen Und Emotionen Wieder Und Behält Gleichzeitig Eine Überraschende Konsistenz Bei.

Aufgenommen Und Gemischt Wurde Das Album Im "outside - Inside Studio" Von Gianluca Turrini (jon Spencer Blues Explosion, One Dimensional Man) Und Matt Bordin (mojomatics, Squadra Omega), Gemastert Von Andrea De Bernardi Im Eleven Mastering Studio.

Black Truffle is excited to announce the release of the first-ever vinyl reissue of Ruedi Häusermann's Galerie Randolph, a masterpiece of solo multi-tracking originally released on CD by Unit Records in 1995. Born in 1948 and residing in the medieval Swiss town of Lenzburg, and virtually unknown outside of the German-speaking world, Häusermann is a multi-instrumentalist and enormously prolific composer who works primarily in the medium of absurdist music-theatre. A virtuoso wind player and free improviser who also composes for traditional classical instrumentation, his work is characterised by subtly surreal humour and the unlikely combination of extended technique and simple, at times almost child-like, melodic ideas. Named after his rehearsal room in Lenzburg, Galerie Randolph uses an enormous array of instruments to craft a work of singular compositional vision. Each of the twelve pieces begins from the same two elements: a woozy, sliding scatter of tones played on a home-made contraption stretching two guitar strings between the top of Häusermann's alto saxophone and an amplified cup, and a series of uneasy block chords sounded on accordion and reeds. On each piece these two elements (whose pitch gradually raises throughout the record) are complemented by entirely different material, all of it played by Häusermann. Ranging from layered flutes to one-finger piano melodies to unintelligible vocals to musique concrete interjections to free jazz saxophone explosions, these additional layers combine with the endlessly returning idée fixe of the foundational elements to create a truly dream-like listening experience, a gently deranged realm in which we lose all sense of linear time. Calling up the most unlikely combinations of possible predecessors - Erik Satie, Gerry Mulligan, and Helmut Lachenmann perhaps -Galerie Randolph ultimately defies comparison. Almost unknown except to a select group of cognoscenti such as Jim O'Rourke, yet destined to become a cult classic, Galerie Randolph is an instance of that most rare thing: music the likes of which you have never heard before.

Presented in a deluxe gatefold sleeve with gorgeous archival images by the composer. Design by Stephen O'Malley. Mastered and cut by Rashad Becker at D&M, Berlin

Key selling points: - Black Truffle is excited to announce the release of the first-ever vinyl reissue of Ruedi Häusermann's Galerie Randolph, a masterpiece of solo multi-tracking originally released in 1995, the album utilises an enormous array of instruments to craft a work of singular compositional vision.

- Calling up the most unlikely combinations of possible predecessors - Erik Satie, Gerry Mulligan, and Helmut Lachenmann perhaps -Galerie Randolph ultimately defies comparison.

- Each of the twelve pieces begins from the same two elements: a woozy, sliding scatter of tones and a series of uneasy block chords sounded on accordion and reeds. On each piece these two elements are complemented by entirely different material, ranging from layered flutes to one-finger piano melodies to unintelligible vocals to musique concrete interjections to free jazz saxophone explosions, these additional layers combine with the endlessly returning idée fixe of the foundational elements to create a truly dream-like listening experience, a gently deranged realm in which we lose all sense of linear time.

- Almost unknown except to a select group of cognoscenti such as Jim O'Rourke, yet destined to become a cult classic, Galerie Randolph is an instance of that most rare thing: music the likes of which you have never heard before.

- Galerie Randolph is presented in a deluxe gatefold sleeve with gorgeous archival images by the composer with design by Stephen O'Malley. Mastered and cut by Rashad Becker at D&M, Berlin

After a long time in the works, Mothball Record is proud to present a lost album from legendary Italian wave band: Ruins.

Hailing from Venice, Ruins are one of the pioneering artists of the Italian new wave scene beginning in the late seventies: an explosion of new and exciting art, music and film.

The tracks on 'New Record' were taken from the self-distributed, tape only release from 1983 'Side Roads'.
This album was timed directly before their most well-known releases in contemporary times, the 'Fire / Crime' 12' and the eponymous 4 track EP on Black Square.

Taken from the original master tapes and selected by Ruins themselves, the album should be listened as a whole to gain the full experience, but immediate 'must-hear' tracks are 'I Don't Know', 'I Love You' and 'Last Night DJ Killed My Wife' featuring early use of Roland TB303.

At times unsettling, beautiful, violent, harmonious, these songs will finally get the audience and exposure they deserve 35 years later.

Freamon is a denizen of the modern world, allegedly hailing from NY, according to some, not relevant, says he. What matters is the music - finely honed and carefully crafted dancefloor gems, served up with love the way they used to be, the way they ought to be.

The Hot Damn! EP is his second release on the mysterious Turbocapitalism label, after 2016's Black Grid EP. This time, he has decided to shine a spine-tingling light on our souls. He wants you to raise your hands and put them together in an overdose of holy joy on this unashamedly celebratory slab of sweet gospel grooving. Can you feel the spirit One listen to 'No More Crying' will settle any doubts on the subject. It's gospel-funk. Or gospel-not-gospel, which is like a million samples taken from every soul record you never heard, seamlessly stitched together as if created fresh today, with one idea - to meld together into one big explosion of spine-tingling dance floor joy!

The title track takes things down a notch with a heavy kick drum shuffle - stripped back analogue house, making for an intoxicating, dense brew of sounds, feelings and ideas. Fierce, pulsating free jazz sounds, snaking around that deliciously tense, bustling bottom end, creating an infectious groove that is fresh, different and most of all, impossible to resist.

Meanwhile, Madrid's DJF and Damian Schwartz do what they do best: they take that thing straight to the centre of Detroit, let it adjust to the new environment and then freely cruise the boulevards at night.

Cosmin TRG is back on his white label operation, Sportiv. Brixtonstrasse explores an imaginary buffer zone between the urban angst of London's pirate transmissions and the warehouse logic of Berlin's post-Iron Curtain freedom and energy explosion. In line with the label's semiotics, Gloria is named after the rather unsuccessful 3rd League football club from Cosmin's home town. It's a high octane tribal workout with fuzzy chords, in the vein of 90s luminaries like Sterac, bringing back hints of the era's unbridled energy and enthusiasm.

SEPT 2016. The Moog Sound Lab's first trip out for a live session at Café Oto's project & café rooms. Jimi Tenor, finnish futurist, shako & Warp Records confederate, jazzed, funked, far-ra'd out. Tony Allen - original drummer to Fela Kuti - Godfather of the Afro-Beat.

These two titans of the beat strange -fed & watered through the mighty Moog Sound Lab via a prototype future sound

systems drum trigger unit built & operated by UK moog minder engineer Mr Finlay Shakespeare. New sound universes emerge, collide.

Explosions & implosions make sonic debris. Cosmic dancers prepare to be run ragged by a feral 'tronic funk that brings to mind early 'D.A.F.

Southern Lord Is Excited To Bring Forth The Debut Album By Los Angeles-based Rock Trio, The Primals, Founded By Current And Former Members Of Darkest Hour, The Explosion, Dead To Fall, And More.

All Love Is True Love, The Primals' Debut Album, Features Ten Infectious Tracks Produced By John Reis (rocket From The Crypt, Drive Like Jehu, Hot Snakes) And Completed With Cover Art By Laura K. Giron.

Fans Of Wand, Ty Segall, Nirvana, And The Pixies Are Especially Recommended To Tune In.

he band's first full-length, All Love Is True Love, will see release on September 7th, the label this week sharing the first single, 'Fortune & Sons.'  'Fortune & Sons' Now Streaming

About the track the band note, ''Fortune & Sons' is one of the heaviest songs on the record. Though the album offers a plentiful dose of dynamic variety, we wanted to kick you off with a ripper.'

The Primals is comprised of vocalist/guitarist John Henry (vocalist for Darkest Hour), bassist Chad Fjerstad (formerly of Dead To Fall), and drummer Andrew Black (formerly of The Explosion). The band's fuzzy execution is equal slabs ripping guitar heaviness and infectious pop sensibility. Concocted by a seasoned group of thrashers with a historical backbone in D.C. punk community. The disintegrated spirit of grunge rises from the ashes, revitalized in a new light.

Artilect's varied musical background is one of the primary reasons why his production is so coveted throughout the back catalogue of the labels he's released on. Beginning his career in Manchester during the mid 90s, his love of breakbeats lead him into the world of hardcore and jungle, where his appreciation of electronic music grew year by year, whether that was the sounds of Detroit or Acid Techno. Having supported artists like the legendary Marcus Intalex at Guidance, his part in the Northern collective Audiosalad helped promote his finely honed craft to a more widespread audience. And now he joins the roster of Horizons Music, an imprint who strives to only deliver the most cutting-edge records from the underground; it seemed like the perfect home for an artist who has only offered the same standard with every track he's released. And the 'Black Fire' EP is no different, with its full spectrum look at the influences which have enabled Artilect to reach this monumental stage in his career.* Title-track 'Black Fire' is chaotic with its swathes of crashing percussion; its impact gains more and more momentum as it gradually builds and crashes along its finely-chiselled bassline. 'Hoax' has the same old-school feel, paying homage to the producer's roots whilst he flexes his ability to create hard-lined breaks which crash against the record's firing drum sequences. 'Deep Signals' is moodier in its approach, with each weighty bass pad lowering the tone as it draws you in gradually. Whilst 'Deep Signals' still nods its head to the type of music which made drum & bass so infamous during its explosion, it alludes to its more contemporary world, with Artilect enabling you to become fully immersed within it. Finally, 'Tryptamine' once again offers a darker edge although this time is goes to even filthier depths, taking you along for the journey through shaking subs and cranking atmospherics. It has a creeping blow, proving that Artilect reigns supreme over his soundscape; another reason why Horizons brought him on board to deliver such a mind-bending release, alongside his eloquent production standard and refusal to bow against commercial pressure. 

Look we're five records deep and yes, we aren't sure which tune is on which side... But luckily, this release is as high concept as Speed 2: Cruise Control. On one side you will find 'AD', which samples an inspiring speech given by the heroic Angela Davis at Southbank in 2017. Listen to her wisdom as you play this in your front room at 7am to people who suddenly can't quite look at their hands properly. The other side "PAS" greets you with warnings of atomic explosions over a riotous jam between a Yamaha CS-10 and a sturdy analogue 808 clone. If you have a pressing need for air raid sirens, this is for you. We hope you like this West Friends Release. There will be more..