quête:the master of drums

Follow up to Goodge's 2023 album Echoes Of Yesterday. Previous releases found on Hip Dozer and Cascade Records. Tracks found on the popular Spotify Mellow Beats playlist. 11th in 'Jet Set' Cold Busted series. Designed and manufactured similar to the vintage 60's style rice paper sleeves. In his latest EP, Sunday Soul, Goodge takes listeners on a four-track journey through the heart of funk, masterfully blending elements of R&B, jazz, and chilled lo-fi. Released as part of Cold Busted's Jet Set series, this four-song offering follows Goodge's 2023 album Echoes Of Yesterday and showcases his dedication to crafting timeless music. "Lights Out" kicks off the EP with heavy funk and stirring breakbeats, accompanied by a scratchy guitar that summons the revolutionary spirit of the '70s. Horns serve as a call to action, while a rollicking bass line and chunky electric piano might inspire listeners to go out and fight crime. "Promised Land" follows, featuring a formidable funk bass guitar and lead guitar chords that rhythmically play off the delightfully busy drums, creating an atmosphere reminiscent of the city's bustle. The title track, "Sunday Soul," is a rowdy affair with a speech-over-beats leading to crispy snare rolls and chiming electric piano. Shaker magic, staccato horn bleats, and spiral flute bits combine to create a swirling vintage-hued photograph of sound. The EP concludes with "Within Myself," a spacier sonic experience that could serve as the soundtrack for chasing someone across rooftops. It's funk spelled with a capital K. Sunday Soul is a must-listen for fans of of the heavier side of funk, solidifying Goodge's position as a master of his craft, creating a nostalgic yet fresh soundscape that keeps listeners grooving back for more.

Twoosty Mayonez is a duo consisting of Bartosz Wolert (drums) and Kornel Karolak (synthesizers), creating post-jazz music and is considered to be part of the new Polish wave of this genre. The album is a continuation of the story begun in 2123, when Captain Harrison Focus, as a result of an emergency landing of his rocket, lands on the unknown planet Carmin. This story was described and released by U Know Me Records and this is how the (universe) world learned about Twoosty Mayonez. Their latest album is a story about what happens on the surface of the mysterious planet Carmin. This time, the main character of the album is Triceradiplodocus. The songs show changes in mood and atmosphere. The music is full of energy, harmony and emotions that reflect the diversity of the world the hero goes through.

All compositions were created on a weekend in September 2023, as a result of the duo's collective improvisation. The recordings were made at the Twoosty Room studio in Warsaw by the band's drummer.

The album features guest appearances by: Alicja Sobstyl (flute), Ola Szmidt (vocals), Wojtek Mazolewski (double bass), Olaf Węgier (sax). The cover was designed by Dominika Kiszkiel, and the mix and mastering was done by Maciek Goliński (Envee). The album, released in LP and digital formats by U JAZZ ME Records, is scheduled for January 9, 2025.

Josiah aka JdB is a key creative at the heart of the New Palm crew. Not only does he DJ and produce, but also he is a resident at Gradient Campout and a member of LA's PrintShop collective. He has a sound rooted in dubby drums and cavernous grooves, both of which are evident here. 'Feels Good' is a heavy warm-up sound with sparse chords slowly ramping things up, while 'Surface Area' is icy minimalism with abstract sines and FX. 'Come Over' pulls back to a more liquid dub roller and 'Dante Is Late' is an ambient soundscape with plenty of tape hiss and curious melodies drawing you in deep. Stefan Bitke of Scape has taken care of the mastering so these sound superb.

At the time, Mikio Masuda was frequently mentioned as a Japanese jazz musician on par with the soft-and-mellow crossover sound of artists like Bob James and Ramsey Lewis. With a supple sensibility that moves effortlessly between jazz and rock, he stands as one of the defining figures of the 1970s. Now, one of his essential masterpieces, "Moon Stone", has been confirmed for reissue as the fifth installment from SPIN THIS NOW!

Electric Piano, Organ, Clavinet, Synthesizer - Mikio Masuda
Drums - Hideo Yamaki
Electric Bass - Motohiko Hamase
Electric Guitar - Kazumi Watanabe
Electric Guitar, Vocals - Kazumasa Akiyama

Butch returns to Rekids with the ‘Official Bump Call’ EP. Riva Starr steps up with a Warehouse remix.

German DJ/producer Butch returns to Rekids with the ‘Official Bump Call’ EP 22nd May 2026. It marks his first release on the label since 2011’s ‘Raw Beats’ two-tracker, followed by a 2018 appearance remixing Basement Jaxx’s ‘Good Luck’. This time, Snatch! Records boss Riva Starr joins for a remix fresh off the back of his ‘Shine A Light’ EP on Radio Slave’s main imprint.

“‘Bump Call’ and 'Foxtrot Uniform' are messages from old-school players to new-school fools. At a time, when everything revolves around health, discipline, and maximising output – more shows, more structure, more money – this EP is a reminder of where it all came from. From a scene that wasn’t optimised, but lived. From DJs who didn’t just perform – they partied. Yes, times have changed. Even I’m on that fitness wave now, living cleaner and more focused. But this record isn’t about that. It’s a nod to the chaos, the excess, and the raw energy that defined an era. A reminder that it wasn’t always about performance – sometimes it was just about crossing lines” - Butch

Butch’s Official Bump Call' plays with live, loose, and funky drum breaks that ride a swollen bassline. Toms and congas pepper the groove as steamy vocals inject the soul. It's a dusty, heartfelt House sound that balances vintage samples with his signature production prowess, making for a sure-fire summer heater. Riva Starr is an equally influential producer who heads up the Snatch! label and has been turning out essential House sounds for many years. His remix beefs up the drums while keeping the slow-burning vocal heat front and center, creating a devastatingly deep yet driving sound.
'Foxtrot Uniform' is another tasteful jumble of soul, funk, and gospel motifs with a lived-in house groove that's instinctive and real. Emotions bubble up but never boil over as the tension builds, culminating in an utter dance-floor release when the diva's vocal erupts. It's a masterclass in control and release.

Butch has a vast discography spanning labels such as Life And Death, Running Back, Defected, Innervisions, Diynamic, Starr’s Snatch!, and many more, while traversing myriad subgenres. He does it all, from intricate minimal with Ricardo Villalobos to Eastern-inspired psychedelia and pounding, prime-time Techno.

Founded in 2006, Radio Slave’s Rekids expanded with the techno-focused Rekids Special Projects in 2017 and its latest sublabel, REK’D, in 2024. With Matt Edwards as sole A&R, Rekids continues to champion emerging and established artists alike, remaining a trusted home for house and related sounds, with recent releases from DJ Minx, Echonomist, Tal Fussman, and more."

SUN DONT SHINE (formerly EYE AM) is a powerful convergence of four iconic musicians who have shaped the landscape of hard rock and heavy metal. Comprising Kenny Hickey (vocals/guitar, ex-Type O Negative/Silvertomb), Kirk Windstein (guitar/vocals, Crowbar/Down), Johnny Kelly (drums, ex-Type O Negative/Silvertomb), and Todd Strange (bass, ex-Crowbar/Down), the band offers a raw, unfiltered sound that rejects the overly polished, embracing instead the heavy atmosphere of their origins. From Birth to Death is a 2026 masterpiece produced by Duane Simoneaux and recorded at OCD Studios. The album delivers earth-shaking riffs, bleak atmosphere, and a "next level up" in songwriting - darker, heavier, and more versatile than their previous singles.

Blue w/ black splatter vinyl. SUN DONT SHINE (formerly EYE AM) is a powerful convergence of four iconic musicians who have shaped the landscape of hard rock and heavy metal. Comprising Kenny Hickey (vocals/guitar, ex-Type O Negative/Silvertomb), Kirk Windstein (guitar/vocals, Crowbar/Down), Johnny Kelly (drums, ex-Type O Negative/Silvertomb), and Todd Strange (bass, ex-Crowbar/Down), the band offers a raw, unfiltered sound that rejects the overly polished, embracing instead the heavy atmosphere of their origins. From Birth to Death is a 2026 masterpiece produced by Duane Simoneaux and recorded at OCD Studios. The album delivers earth-shaking riffs, bleak atmosphere, and a "next level up" in songwriting - darker, heavier, and more versatile than their previous singles.

With Dispersion, Loom & Thread return to the volatile architecture of the expanded piano trio - and quietly fracture it from within.

Daniel Klein (drums), Tobias Fröhlich (double bass) and Tom Schneider (keys, sampler) remain the sole agents on stage and in the final recording. The triangle holds. And yet, the field has expanded. For their second studio album, the trio fed their improvisations with the timbral signatures of guest saxophone and vibraphone players - not just as additional voices to be featured, but also as material to be absorbed, atomized and redistributed. The result is not augmentation but thorough refraction.

Where the debut album explored the recursive labyrinth of Schneider's live sampling of his own piano, Dispersion introduces an external grain into the feedback system. Breath and metal. Reed turbulence and struck resonance. The trio sampled extended improvisations by saxophone and vibes players: Victor Fox, Asger Nissen, Volker Heuken, and L&T's own Daniel Klein; dissected their attacks, overtones and decay curves, and integrated these fragments into the trio's internal circuitry. What emerges is a play of presences without bodies - instrumental ghosts circulating through the dense weave of rhythm and keys.

At first, one might hear the familiar relational tension: Klein's polyrhythmic elasticity interlocking with Fröhlich's tensile double bass figurations, Schneider poised at the hinge between tonal field and percussive impulse. But soon, the surface splinters - again. A vibraphone shimmer appears, yet no mallets are visible. A reed multiphonic surges through the texture, bending space between bass and drums. These events are neither quotations nor overlays; they are redistributed energies, dispersed across the trio's grammar. A digital multidimensional interplay ensues.

If the first album unfolded as a two-tiered game - live phrase and sampled reflection - Dispersion adds a further axis. The sampled materials from other improvisers are stripped of their erstwhile two-way interaction and reconstituted as malleable particles. Signifier detached from origin, resonance detached from gesture. The trio navigates a constantly shifting topology in which acoustic memory and electronic manipulation are indistinguishable.

Crucially, the album never abandons the physical urgency of three musicians reacting in real time. The additional timbral layers do not thicken the texture into opacity; rather, they introduce stark points and arrows of diffraction. Density opens into prismatic clarity. Lines splinter and regroup. What seems like a quartet or quintet collapses back into three bodies negotiating an expanded field.

Dispersion is not about addition but about distribution - of agency, of timbre, of temporal perspective. It is an album in which the trio setting becomes a site of multiplicity without surrendering its immediacy. A dissolution not only of the divide between present experience and memory, but between inside and outside, self and other.

Three musicians. Countless vectors. A music that fractures in order to cohere.

CREDITS:
Tom Schneider: piano & sampler
Tobi Fröhlich: double bass
Daniel Klein: drums & percussion

sample sources:
Victor Fox: tenor saxophone
Asger Nissen: alto saxophone
Volker Heuken: vibes
Daniel Klein: vibes

Recorded by Martin Dressler at Bauer Studios, Ludwigsburg.
Mixed & mastered by Martin Ruch.
Artwork by Viet Hoa Le.

Farron is back on Shaw Cuts with his next EP called ãHuman LanternsÒ - a tale of social jealousy and long-standing rivalry transformed into 4 bass-heavy broken techno tracks.
The two wealthy kung-fu masters Lung and Tan are embroiled in a long lasting game of perpetual one-upmanship. Vowing to show Tan up, Lung enlists the aid of a man he defeated in a duel years ago in fashioning a masterful lantern for the upcoming festival in which both masters will compete. ãWe Are The WaveÒ and its noisy fragments and broken rhythmics led by a hefty stormy bassline, underline the tension and aversion between the two competing masters.
But the eccentric artisan is more interested in seeking revenge for his old defeat, in taking away everything Lung holds dear. The bass-driven ãSwitch OddÒ and its sharp percussions and phat kick underline the ulterior motives of the shady character.
The evil villainÕs plan of revenge contains kidnapping several beloved women of Lung, skinning them alive and using their flaps of skin to create the ordered lantern. ãGX100Ò and its fast-paced drum pattern carried by virulent synth fragments and raucous pads, epitomises the merciless act of violence.
Tan and Lung falsely accuse each other but feel constrained to eventually team up and hunt the criminal together. ãTalking To ThemÒ rings in furiously and chases the enemy with its rolling bass, chopped vocals and stomping drums, but the villain is sneaky and recalcitrant. Silence before the attackÉ

Baby T is a space away from her work as B.Traits in which Brianna Price can lean more into the junglist, drum ‘n’ bass and hardcore sounds which she loves so dearly. With BSHEE02, the second drop on Price’s own Banshee label, Baby T delivers a darkside masterclass of an EP. This record is a quartet of system blowers which doesn’t let up for a single second from start to finish.

Opener ‘Times Up’ is urgent from the off - the initial strains of this joint find sirens wailing in the monitors over a twitchy kick/drum/hats combo. From here on it’s distilled raver perfection, the drums taking us on a wild Wipeout-style ride as the subbiest of bass skulks at the bottom of the mix. Imagine a more technoid take on the classic breakbeat freerides of Skanna and you’re not far off the ‘Times Up’ sound.

A remix of ‘Times Up’ from man like Aloka leans with devilish glee into the murky underworld that lurks beneath Baby T’s original. Aloka’s version is extremely eerie in a manner which makes you think of the darkest corners of a DMZ party. When things really kick into gear, driven by an irresistible kick dembow, the effect is hypnotic - think the dubwise junglism of the UVB-76 cohort.

BSHEE02’s B-side kicks off with ‘Coercive Control’. This is a cut which delivers on its title in spades, putting the listener in a trance with an interplay of low-slung bass, whirligig synth tones and more of those perfectly executed broken beats. The acid starts to kick in around the minute mark, and it turns out to herald a total earworm of a lead melody.

There’s plenty of dimly-lit malevolence to BHSEE02 closer ‘Dense Dickwood’s grinding atmospherics and gurgling bass throbs. However, Baby T opting for a half-time drum break here gives the cut a vibe not dissimilar to the weightiest jams of classic Massive Attack - that is, until an absolutely remorseless switch-up occurs halfway through, delivering volley after volley of intense drum hits.

Baby T is a space away from her work as B.Traits in which Brianna Price can lean more into the junglist, drum ‘n’ bass and hardcore sounds which she loves so dearly. With BSHEE02, the second drop on Price’s own Banshee label, Baby T delivers a darkside masterclass of an EP. This record is a quartet of system blowers which doesn’t let up for a single second from start to finish.

Opener ‘Times Up’ is urgent from the off - the initial strains of this joint find sirens wailing in the monitors over a twitchy kick/drum/hats combo. From here on it’s distilled raver perfection, the drums taking us on a wild Wipeout-style ride as the subbiest of bass skulks at the bottom of the mix. Imagine a more technoid take on the classic breakbeat freerides of Skanna and you’re not far off the ‘Times Up’ sound.

A remix of ‘Times Up’ from man like Aloka leans with devilish glee into the murky underworld that lurks beneath Baby T’s original. Aloka’s version is extremely eerie in a manner which makes you think of the darkest corners of a DMZ party. When things really kick into gear, driven by an irresistible kick dembow, the effect is hypnotic - think the dubwise junglism of the UVB-76 cohort.

BSHEE02’s B-side kicks off with ‘Coercive Control’. This is a cut which delivers on its title in spades, putting the listener in a trance with an interplay of low-slung bass, whirligig synth tones and more of those perfectly executed broken beats. The acid starts to kick in around the minute mark, and it turns out to herald a total earworm of a lead melody.

There’s plenty of dimly-lit malevolence to BHSEE02 closer ‘Dense Dickwood’s grinding atmospherics and gurgling bass throbs. However, Baby T opting for a half-time drum break here gives the cut a vibe not dissimilar to the weightiest jams of classic Massive Attack - that is, until an absolutely remorseless switch-up occurs halfway through, delivering volley after volley of intense drum hits.

Numbered 150 copies on green vinyl.

The duo Sławek Pezda & Witek Ryć is a project by Krakow-based musicians, a hybrid of ambient, noise, experimental music, jazz, trance, electronica, and ethnic music. The two musicians' musical paths were united by the practice of meditation, which also significantly translates into their musical language and the need to share the peace that flows to the listener through sound.

In their recordings and live performances, the musicians utilize tenor saxophone, modular synthesizers, electronics, drums, flutes, drum pads, Tibetan bowls, gongs, and a wide array of percussion instruments. They have played together in improvised concerts, relaxation concerts, chamber sessions, and even spiritual jazz.

"Kardamon" is the result of one of the live sessions, where the rhythm, based on a simple pulse flowing from a frame drum, accompanied by Ankle Bells (Indian janissary bells played with the foot), is enriched by Sławek's tenor saxophone. In addition to the aforementioned instruments, a synthesizer and a Roland HPD 20 drum machine were also used, accompanied by various percussion instruments (shaker, chimes, bells, etc.), as well as a fragment of Witek's own field recordings from the Polesie National Park.

The remix on the B-side was created by DJ PLASH, who gave the duo's original sounds a completely new dimension. Plash (Marcin Przeplasko) is arguably one of the most sought-after DJs playing for b-girls and b-boys worldwide, a feat culminating in his official performance behind the turntables at the last Summer Olympics. PLASH is Witek's neighbor from Krakow's Nowa Huta district.

The front cover artwork is a painting by Witek Ryć, and the entire album was assembled and framed by Animisiewasz. Mastering was handled by Eprom. The single is limited to 150 copies and is being released by Funky Mamas and Papas Recordings, a label specializing in seven-inch singles since 2008.

Ltd Edition 10"

Budapest based concept label Blue Sun welcomes formerly independent local afrobeat-jazz ensemble to its catalogue with a nuanced 4 tracker EP. The release not only marks the beginning of the collaboration, but a definite new musical direction in the band’s life.

Written in a one week jam session retreat in the Hungarian countryside, and recorded at one of the highest peaks of Hungary after a year of global touring, The Garden becomes an amalgamation of the band's personal and artistic experiences. The material conveys a more jazzier approach, with complex harmonies, and an almost cinematic, dreamlike atmosphere, somewhat distancing from (but not completely forgetting) the previously emphasized, dance-oriented Afro- and Latino roots. Song for Ramon serves as the EP’s emotional climax inspired by the passing of a close friend and local underground chef pioneer.

Formed in 2019 in Budapest, Hakumba is a staple of the Hungarian festival circuit, with a growing international presence (SXSW London, SHIP, PIN Music Showcase). They’ve recently finished a tour in Australia this January.

The groove-driven ensemble blends afrobeat, jazz, and various strands of world music into a sound that is both rhythmically powerful and harmonically adventurous. With an eleven-piece lineup featuring an expansive horn section, multiple vocalists, percussion, and keys, the band moves effortlessly between dancefloor energy and more intricate, jazz-influenced musical ideas.

Like the band’s previous album, the EP was again recorded, mixed, and mastered by András Weil, the producer behind The Qualitons, the only hungarian band ever performed Live at KEXP. This continuity preserves Hakumba’s recognizable sonic identity while giving space for new colors and more complex musical ideas to emerge.

Written & performed by:

Soma Számel – drums
Endre Szép – bass
Imre Hegedűs – guitar
Zalán Bendegúz Huff – guitar, vocals
Csongor Mari – keys
Noel Nagy – percussion, vocals
Dorka Foster – flute, vocals
Kristóf Szabó – alto sax
Alpár Sikó – tenor sax
Gáspár Simon – trumpet
András Téglásy – baritone sax

Produced, recorded, mixed and mastered by Andras Weil
Artwork by Eszter Lukács
Graphic design by Péter Tóth
Manufactured by AD Records
Distributed by Rush Hour

Recorded at Galyatető, Hungary

Released under the Blue Sun

Following their 2023 LP Presents, Nathan Nelson's American Cream Band bring the Twin City heat back to Quindi with an album rooted in duality. From the yin and yang party-starting A side and meditative B side to the dual-attack boy-girl vocals, the nature of opposites and equals steer the expansive, artful strain of rock n' roll that spill out of this wholly unique Minnesotan export. For the ever intriguing Quindi, it's a strident step into Spring after the frosty introspection of Roudi Vagou & Läuten der Seele's Taghelle Nacht. While the world burns and injustice prevails, Twin is a celebration of unity and radical expression-all the more urgent against the backdrop of authoritarian overreach and righteous protest that has whipped through Minneapolis in recent times.
Twin continues Nelson's drive at the helm of American Cream Band to draw in a colourful cast of players to feed into his orgiastic sound, meshing the trance-induction of krautrock with the irrepressible funk of the post-punk-new-wave explosion. But principal among the cast of characters and forming a central tenet to the identity of this album is Liz Buhmann, lead vocalist and a formidable, playful foil to Nelson's own Midwestern twang. Around the electric spark between Buhmann and Nelson, a heavy duty ensemble wrangle guitar, bass, sax, a cornucopia of synths and a battery of percussion into all manner of sonic forms.
The double-sided concept manifests throughout Twin. On 'Call Me' Buhmann sings in French to contrast Nelson's English, while the strident strut of the NYC disco groove is offset by an inherent dreaminess that turns the track into a more cosmic kind of dancefloor workout. 'Ethical Vampire' is a spiky cut with a garage rock patina that spirals into a psychedelic, synth-soaked get-down. 'Don't Burn The House Down' is a loose and limber roller that captures Can at their funkiest along with the hypnotic vibe of other such esteemed long format jammers, but American Cream Band boils that energy into a hook-laden art pop sensibility before a gentle, drawn out landing.
Even the more pensive moments on Twin find space for friction. For all its tender, smoky temperament, 'Leda and the Swan' lets the electric piano and guitar fray at the edges and bleed into the red while Mat Heinrich's tumbling drums lurch with pent-up intensity on the one. 'No Funeral Necessary' skirts around the mellow pools of new age but prefers to let liberally doused Tape Echo tweak out Alex Meffert's honeyed sax inflections and Buhmann and Nelson's disparate sermons.
Nelson describes Twin as "an oppositorum coincidentia" - a reference to the mystical Latin concept of the coincidence of opposites that suggests contradictory ideas 'fall together' in a higher reality. Beyond the sound of the album, this idea also manifests in the cover photography by Sho Nikado and the swans on the LP labels by Autumn Garrington. As freewheeling and wide-open as American Cream Band feels, nothing appears by accident. The end result feels like a nourishing whole - rich with substance and nuance, deep enough to be explored and absorbed yet also so brazen and immediate you can't help but feel its surface charms from the first thrusts of 'The Hive Is Pissed' to the last ripples of 'We're Not So Sinister'.

The latest in Field Records' run of essential vinyl pressings revisits Stephen Hitchell's 2009 masterpiece under his Variant alias, The Setting Sun. As part of Echospace and also celebrated for his productions as Intrusion and Soultek, Hitchell is considered a leading light in dub techno, with the versatility in his sound to range from rhythmic, physical pulses to purely tonal, abyssal drone. His work as Variant, which debuted with The Setting Sun, capitalises on this scope to deliver a compelling ambient-with-teeth set richly deserving of a proper vinyl pressing.

The Setting Sun first emerged on Echospace as a download-only release. Hitchell was at pains to map out the tools that went into the sound on the album — field recordings of storms in Berlin, Germany and train rides in Narita, Japan, outboard synths and samplers. Crucially, he declared no computers were used, and it shows. When The Setting Sun was recorded, in-the-box production was largely dominating electronic music and the technology had yet to replicate the warmth and character of analogue equipment. Hitchell's looming chords come baked with harmonic overtones, surface noise becomes another essential layer and fragments of distortion add to the narrative of these glacial, monumental pieces.

Hitchell threads his dub techno tendencies in subtle ways, from the kick pattering underneath 'As Time Stood Still' to the quintessential metallic delay ripples that define 'A Silent Storm'. 'Someplace Else' has a defined, albeit delicate, rhythm section guiding its lighter shades of pads and chords. However, drums are never a dominant aspect of the music, simply another layer in an intentionally coagulated whole. At times, flickering tones hint at space where percussion once stood, since muted to leave the wet signal setting a new course for the sound, somewhere far beyond drum duties. The hushed ceremony of tracks like 'Adrift' are the perfect scenario in which to absorb these microfibres of detail, where the genius of Hitchell can truly be savoured.

In line with the limitations of record pressing and Hitchell's proclivity for long-form tracks, 'The Setting Sun' is reserved for the digital edition of this reissue. It's a logical move, as the sound palette widens to encompass tangible, organic instrumentation evolving over the best part of half an hour. The presence of piano keys feels stark in the Variant sound world, but Hitchell ably folds these coded elements into his process bathed in the same curious luminosity that lingers around all his work. Evolving at a painstaking pace, the plaintive humanity in the cascading keys and plucked guitar strings renders one of the most personal expressions in Hitchell's considerable canon — a unique piece that holds its own space comfortably, while also adding to the overall weight of The Setting Sun as a profound benchmark in a stellar discography.

2026 Repress

Chlar delivers his debut record for SHDW & Obscure Shapes' Mutual Rytm imprint.

Emerging as artist of note for both now and the future, Chlar continues to craft and shape his sound as he curates his own high-octane approach to techno. Combining dynamic performances taking in three and four deck mixes with his own up front productions and his talents as a former mastering engineer, the Swiss talent has become a respected name amongst his peers. After releases on Lobster Theremin and his own Bipolar Disorder imprint, the Berlin-based DJ, producer and label boss heads to SHDW & Obscure Shape's blooming label Mutual Rytm to deliver six precise and powerful cuts across his 'Optimized Groove' EP.

"As the names states, 'Optimized grooves' is a collection of tracks designed to match specific parts of the event/night. From 'Night Genesis' at the origin of the night through to tracks like 'Maximum Performance', a peak time bomb, and 'Spirit Enhancer' - an uplifting and warm production elevating individuals to higher labels after hours of spiritual connection'" - Chlar

Opener 'Early Morning Acceleration' sets the tone early and dives into a looping ride through slinking hats and bustling arrangements - combining classic influences with forward thinking touches to reveal a dynamic slice of techno. Next, 'Maximum Performance' fuses swelling low-ends, sharp percussion and vibrant leads, while 'Love Blaster' delivers an all out fiesta armed with rolling drums, sharp whistles and rich chords. On the flip, B1 'Night Genesis' sees hypnotic loopy vocals balanced by tough kicks and luminous synths, before 'Spirit Enhancer' showcases a soulful trip as resonant electronics work around the track's tunnelling groove. The digital EP comes with a bonus exclusive production in 'Synaptic Discussion', a euphoric and impactful closer which brings things to a close firmly in the peak time hours.

Chlar 'Optimized Grooves' drops via Mutual Rytm on 9th September 2022.

Baby Ford perfected the minimal sound with his impeccable early run of releases. Now, one of them gets reissued many years on and it still sounds as strikingly new as ever, not least because it has been remastered by the legendary Dubplates & Mastering in Berlin. The sought-after EP from Peter Adshead emerged during his shift toward stripped-back techno and tech-house and captures a deeper, more hypnotic side of his craft. 'Serpentine Tale' coils through hissing rhythms and shadowy bass pressure, while 'Night D3 Died' pairs crunchy drums with mournful synth chords. Closing cut 'The Introducer' drifts into warm, spacious territory.

The album was pressed on double 180g black vinyl.

Limited edition of 200 copies worldwide.

J Dilla passed away 20 years ago. Metro himself paid tribute to the production master.

"Donutroit" is a meticulously crafted tribute to James Dewitt Yancey. Reinterpretations, reworks, and original compositions – a total of 24 tracks produced by Metro, who pays tribute to the legend with this album. Maciej returns with the album after a somewhat lengthy break, but he does it with a bang. This kind of hip-hop with soul elements has been unheard of in Polish music for a long time. This is the first Polish full-length tribute to Dilla. The guests are few, but they are impressive. Emade himself plays drums on two tracks, and Immortal Onion reworked one of James's iconic recordings.

Dawid ObyOby Frańczak is responsible for the full artwork.

The legendary Polish underground label JuNouMi Records is responsible for the pressing.












l 12: The Look Of Love (Medley No. 1) feat. Immortal Onion










[w] 23: The Look Of Love (Medley No. 2) [feat. Immortal Onion]












[l] B7: The Look Of Love (Medley No. 1) [feat. Immortal Onion]










[w] D4: The Look Of Love (Medley No. 2) [feat. Immortal Onion]












[l] B7 | The Look Of Love (Medley No 1) [feat. Immortal Onion]










[w] D4 | The Look Of Love (Medley No 2) [feat. Immortal Onion]

Jazz-fusion, disco-funk, Latin jazz and batucada rhythms get the Filipino treatment onAfter Midnight, the sublime second album from keyboardist Boy Katindig. Originally released in 1980, After Midnight draws heavy influence from soul and funk contemporaries in the US as well as Latin America, in particular the famed Brazilian percussionist Paulinho da Costa.

It’s a testament to his musical prowess that Katindig weaves effortlessly between styles and tempos. His reverence for Paulinho da Costa extends far, with covers of several songs from the latter’s 1979 Happy People album. This includes slow-burner ‘Déjà Vu’ written by Isaac Hayes originally for Dionne Warwick; on the Filipino instrumental version, local legends Jun Regalado and Roger Herrera (from Regalado’s ‘Pinoy Funk’ single) are reunited on drums and bass respectively.

But Katindig’s original compositions hold just as much weight and unique personality: title track ‘After Midnight’ opens with a sultry funk serenade reminiscent of The Isley Brothers, and quickly transforms into a catchy, blistering, saxophone chorus that brims with swagger. Hidden B-side gem ‘Got The Need’ is an uptempo tribute to batucada that would not be out of place in a jazzy house set, and boasts increasingly elaborate and psychedelic solos from Katindig on keys and Ben Concepcion on soprano sax.

Meanwhile, ‘Love Till the End of Time’ is a masterclass in instrumental disco funk, penned by the prolific Greg Phillanganes who at that same time was writing for many of the greats including Chaka Khan, George Benson, Stevie Wonder, The Jacksons and Cheryl Lynn.

This album is lovingly reissued by Sama Sama Records, a boutique label from DJ and collector Norsicaa, who ran the esteemed Soundway Records for 8 years and released the compilation Ayo Ke Disco in late 2024.

The Reflex has been busy of late and, though already a proven master of multi-track mixes and mash-ups, he keeps on reaching new heights with each new drop. This is one of several coming in quick succession and finds him dropping the final part of his label Discolidays' collaboration with the Zagora catalogue, which features tunes by Thomas Bangalter's pops, Daniel Vangarde. Here it is the Gibson Brothers' disco belter 'Heaven' that gets beefed up with bright strings and unrelenting drums, driving you to a place of sheer joy. A more obscure sound come son the flip with uptempo drums and sumptuous musicianship laid down by some of the best of the disco era in Paris.