quête:the rhythm

Glasser, the elevated electronic project from Cameron
Mesirow, releases her anticipated third album, ‘crux’, via
One Little Independent Records.
 ‘crux’ takes Glasser’s entrancing blend of dreamy
experimental pop and layered electronics to explore
themes of personal identity, emotional vulnerability, and
the human experience. The album maps journeys of selfdiscovery as she unpacks intimate experiences with a
maturity and cathartic outlook. Specifically, the tracks on
‘crux’ discuss the death of an old friend, her meditations
on the fragility of life and the delicacy of relationships in
times of uncertainty.
 More than anything it’s about the importance of creativity
and writing while healing, and on an individual level,
looking inward and the examination of one’s grief, anxiety,
and insecurities. Musically it searches outward, it includes
the use of traditional folk, Celtic to communicate her
Scottish roots, and Eastern-European styles, all introduced
to her lush, atmospheric production, intricate vocal
harmonies, and complex rhythms.
 “Soaring vocals with free-flowing, rhythm-obsessed
eclecticism that make for a notably welcoming collection of
atmospheric, electronics-brushed pop” - Pitchfork
 “It’s Glasser’s sonic constructions which holds our interest
first and foremost; a bolder and more up-front sound” -
The Line of Best Fit
 “Potent, sexually charged and teeming with life. Make no
mistake, this isn’t sex as male-gaze-pandering titillation,
packaged in clichéd, chart-friendly couplets, but sex from a
singular female perspective: intimate, all-encompassing,
ecstatic. This is pop for consenting adults: music for awake
minds” - Dazed

Plant43 wrote a trio of EPs over the winter season at the end of 2022 and the start of 23 and has been putting them out on his own Plant43 Recordings label.

This third part from the man born Emile Facey is another emotional rollercoaster that conveys the wintry scenes in which they were written while also taking you on to the more warm and optimistic light of spring.

Lithe electro rhythms and icy synths open up on 'Tidal Flexing' while 'Reflective Waves' gets a little darker and more intense. 'System's Edge' is a celestial cruise with quick, slick drums and masterful leads then 'Mind Drift' channels Drexcyian cyborg funk to close. The final part of the story comes on coloured vinyl but only in limited quantities.

Brace yourself for a trifecta of Ben Liebrand interpretations on Moses – We Just, each one leaving an indelible imprint on this iconic Italo Disco anthem. With his deft touch, Ben infuses the track with a modern twist, showering it with his signature drums and analog wizardry. The result? A colossal sonic experience of this Romano Musumarra produced anthem, that resonates deep within your soul, paying homage to the song’s origins, its entrancing melodies, its pulsating rhythms, and above all, its sheer originality. Close your eyes and surrender to the nostalgia of bygone days, whisked away on a euphoric journey to the vibrant 80s. The ‘Our Evolution” mix, featured on the B-Side, being almost 12 minutes long! Prepare to be dazzled by the unparalleled brilliance of this outstanding Italo Disco reinvention!

French label and promoter Much More recordings is proud to present the second vinyl of its collection. This vinyl features 6 tracks ranging from breaks to techno and passing electronica, designed for soundsystem and anchored in their proper original and analogic techno sound.

- In the cosmos of techno, a pear takes height,
As Hawking once mused, our past's pear-shaped light.
Evoking the essence of techno's design.
From acid's lemon embrace to bitter-sweet's delight,
Techno's past and future, in pear-shaped swirl.
Upon the tree stump, a glimpse of starlight,
A timeless journey, through cosmic embrace.
Techno's essence, expanding through space,
Techno's soulful evolution, a work of art. -

AudioKast joins, promoting sheer delight. Intelligent, smooth, with a touch of piano, A break-infused track, atmospheric glow. Falling Echoes, from France's southern land, Techno that lingers, both fresh and grand. Straight, mental, efficient, it ensnares, A captivating sound, with eternal affairs. Ricardo Garduno, Mexico's pride, Illegal Alien's head, his track provides heavy, straightforward, 4-to-the-floor, A dancefloor bomb, demanding much more. Johannes Astrup,
from Copenhagen's embrace, Smart-stepping techno, a timeless grace. Killing beats that reverberate and flow, Infinite rhythms, an everlasting show. Joton and Aicrag, a powerful duo, Break smart-stepping techno, boomy and true. Their collaboration, a vibrating spell, Moving bodies, a dancefloor's sweet swell. The Blackmailer, a friend tried and true, Driving, big room, a relentless beat, Techno's love, a symphony complete. Dear friends, in this cosmic dance we partake, Love and techno, our souls awake.We are back to the essence, and yet, much more.

This is the 10th year edition of the album "Hayalet Islığı (Instrumentals)" by Istanbul based Turkish producer Farazi. Originally released on September 13th 2013, the 10th year edition is remastered for the vinyl and digital release. The instrumental album is a combination of music based on classic Hip Hop rhythm and beats with samples taken from psychedelic rock to old Soviet and Balkan music. On Spotify alone, the album is streamed over 50 million times.

Auf "Off The Grid" verschmelzt traditionelle Rhythmen mit elektronischer Musik.

"Off the Grid" ist eine Reise, die die Entstehungsgeschichte von Tanzrhythmen aus Afrika mit der elektronischen Tanzmusik der heutigen Clubs und Festivals verbindet und afrikanische Folklore und Geschichten mit Rap, Jazz und Hip-Hop verknüpft. Die beiden kreativen Köpfe hinter Onipa - Tom Excell (Nubiyan Twist) und Kweku Sackey (K.O.G. & the Zongo Brigade) - haben zusammen mit Finn Booth am Schlagzeug und Dwayne Kilvington (alias Wonky Logic) an den Synthesizern eine lebensbejahende und höchst originelle Klangwelt geschaffen

Another 1983 gem is remastered by the label Mr. Disc Organization
"Gaucho - Dance Forever"!

Gaucho is the trio formed by the great Italian producers Stefano Pulga, Luciano Ninzatti and Bruno Bergonzi that some of them remember in other music groups such as "Kano," "Dharma," "Sphinx" etc.

"Dance Forever!" Yes we want to dance forever with this rhythm!
Percussion that doesn't stop and this synth that provides the backdrop for this dance.

There is also a remix by young Musta and Stefano Ritteri who have
strengthened the track making it more powerful!

Brutter continue with their deep dives into the endless possibilities of beat music. The duo has a gravitation towards headstrong bass drums and pulsating patterns that contain remnants of everything from dub to disco, from hip-hop to mechanical workshop. On their fourth album 'Outta', Brutter steps out of their good dogmatic rhythm skin and brings strings into the mix. Auto-harp and lap steel guitar contribute twisted sweet tones and floating comments to everything that otherwise thumps and beats. 'Outta' gives a precise sound picture of where Brutter has ended up after 10 years of digging for rare beat metal. Brutter is the duo consisting of Norwegian brothers Christian and Fredrik Wallumrød, founded in 2012. Christian Wallumrød is a well renown pianist and composer, releasing music since 1996 on labels like ECM Records, Jazzland and Hubro. Fredrik Wallumrød was educated at the Trondheim Music Conservatory, same as his brother, with focus on drums and jazz as a genre. He has later changed his course for rock/metal and more pop-oriented music, such as Span / El Caco / Dog Almighty, in addition to his work with singer/songwriter Susanna and soul / r&b artist Jarle Bernhoft. Christian Wallumrød – drum machines, electronics, auto harp Fredrik Wallumrød – drums, drum synth, electronics, lap steel.

Michael Gray returns with a pulsating journey fuelled by irresistible beats, captivatingly catchy looped synths, and mesmerisingly sliced-up vocals that seamlessly blend with the main vocal. As the bass line drops, an ethereal soundscape of dreamy pads envelops you, transporting you to a realm where smooth modern dance floor grooves converge with a nostalgic nod to the glorious 80s.

With his expert craftsmanship, Michael Gray weaves together a tapestry of sonic delight that will leave you spellbound. Get ready to surrender to the infectious rhythms and timeless charm of his immaculate musical creation!

STONEMILLER INC. spielen ehrlichen und kompromisslosen Hard Rock!

Freut euch auf ein Feuerwerk an mächtigen Gitarrenriffs, eingängigen und stadiontauglichen Melodien mit hohem Wiedererkennungswert, einer donnernden Rhythmusfraktion, sowie der einzigartigen und unverwechselbaren Stimme von Sänger Francis Soto!
STONEMILLER INC. transportieren den Hard-Rock-Sound der 80er Jahre mit ihrem eigenen, unverwechselbaren Stil in das neue Jahrtausend: Ehrlich, bodenständig und kompromisslos.
Diese Songs haben ihren ganz eigenen Charme und werden euch mit Sicherheit in ihren Bann ziehen!

Ursprünglich von der Sängerin und Multi-Instrumentalistin Cathy Lucas im Jahr 2015 gegründet, ist VANISHING TWIN nach einer Reihe von Besetzungswechseln nun das eingespielte Kollektiv aus Lucas, der Schlagzeugerin Valentina Magaletti und dem Bassisten Susumu Mukai. Mit den unterschiedlichen Hintergründen und Berührungspunkten ihrer Mitglieder - Lucas' linkes Songhandwerk, Magalettis einzigartige Herangehensweise an der Perkussion und Mukais lange Erfahrung in der Produktion elektronischer Musik - hat die Band seit 2016 auf fast einem Dutzend Veröffentlichungen einen hypnotischen Sound an der Schnittstelle von Minimalismus, Kosmischer Musik, Post-Punk und traumbeladenem, psychedelischem Pop entwickelt. "Afternoon X" zeigt VANISHING TWIN inmitten einer ausgeprägten kreativen Veränderung, in der jedes Mitglied weniger definierte Rollen übernahm und einen kollaborativen Ansatz verfolgte, der eher an die Arbeit dreier Co-Produzenten als an die einer Band erinnert. Das Album, das Ende 2022/Anfang 2023 aufgenommen wurde, ist das Ergebnis einer Reihe von Marathon-Aufnahmesitzungen, an denen das Trio in verschiedenen Konfigurationen teilnahmen. Mit einer spielerischen Balance aus Humor und Strenge, bei der jedes Mitglied die Rolle des Multiinstrumentalisten und den Prozess über das Ergebnis stellt, setzt "Afternoon X" den Weg der Erkundung fort, der ihre letzten Veröffentlichungen bestimmt hat. Metronomische, zyklische Patterns und pulsierenden Basslinien bilden nach wie vor das Herzstück ihres Sounds, aber diese verwurzelten Rhythmen ergeben nun die Grundlage für das Streben nach einer größeren klanglichen und strukturellen Bandbreite. Somit begeben sich VANISHING TWIN auf eine neue, facettenreiche Reise, die in ihrer Gesamtheit ihr bisher spannendstes Werk veröffentlichen.

Da ist er... der Beat der grossen Stadt - und ich dachte schon, dass die Gäng alle schon im Ruhestand wären und dann flattert die Mail ins Haus: Peeps von Surf Nazis Must Die, Herpes, Heat... wilde Nummer, hau drauf und ungestüm... Jetzt, ein paar Monate später, sind Leute weg und neue da und die Sache läuft. Am Sound hat sich nichts geändert, liefert das energetische Quartett weiterhin extrem treibenden Upbeat-Postpunk oder No Future-Sound. Man hört etwas Parquet Courts, etwas Uranium Club, etwas Dischord-Sound und 70s Punk - schneidende Gitarren, wummernder Bass und ein von 16tel getriebenes Schlagzeug - hektisch, rhythmisch, schiebend, manchmal hypnotisch repetitiv. Und über alldem schnarzt der aufgekratze Gesang von Florian Pühs, der über all jene Großstadt/Kleinstadt/Jugend/Durchdreh-Sachen singt, die einem manchmal sehr bekannt und manchmal sehr unbekannt vorkommen. Es werden auf jeden Fall Antworten auf einige der wichtigen Fragen des Lebens gegeben - oder wisst Ihr was Hüsker Dü tun würde? Oder was mit Dennis Rodman los ist, warum der Fahrstuhl dich nicht runterziehen soll oder was die Höhe-und Tiefpunkte im Leben eines Liftboys sind?

Nur wenige Hardrock-Alben sind so intim wie die modernen Veröffentlichungen von OF MICE & MEN. Während ihre Songs die Art von rhythmischem Druck und hymnischen Bombast haben, die das Festivalpublikum begeistern, sind die konfessionellen Texte und eindringlichen Melodien das Herzstück ihres Schaffens. Das südkalifornische Quartett nahm alle kreativen Angelegenheiten selbst in die Hand und produzierte und konstruierte alle Songs auf Tether, ihrem erstaunlichen achten Album. Frontmann Aaron Pauley hat das Album gemischt und gemastert, während Schlagzeuger Valentino Arteaga das Artwork des Albums entworfen und gemalt hat. Wie es eine Legion treuer Zuhörer auf der ganzen Welt erwartet hat, haben die Gitarristen Phil Manansala und Alan Ashby, Aaron und Tino ihr Herz und ihre Seele in jede Note gesteckt und so ein weiteres Klangdokument ihres Lebens geschaffen.

For this album Ghetto Kumbé has enlisted an all-star roster of artists from four different continents, they’ve put together a fresh version of their debut album that’s been specifically geared to the world’s diverse slate of dancefloors, whether at home or in the club, this double 12” 45 RPM is the perfect format to experience this music. There's no denying the power of the drum. It's primal, it cuts across borders and most importantly, it makes you want to move. Ghetto Kumbé don't just understand that they celebrate it, and it's why the tambor was at the heart of the Bogotá-based trio's 2020 self-titled debut album. Rooted in mysticism and the Afro-Caribbean rhythms they'd grown up with all their lives, the critically acclaimed LP thrillingly updated the traditional Latin template, folding in elements of modern hip-hop, house and bass music while also delivering a transportive Afro-futurist vision. On Clubbing Remixes, that vision has been further amplified, as Ghetto Kumbé who were already one of Colombia's most prominent alternative acts have now gone fully global; enlisting an all-star roster of artists from four different continents, they've put together a fresh version of their debut album that's been specifically geared to the world's diverse slate of dancefloors. As the title implies, the new LP is meant for the club, which is why Ghetto Kumbé have turned to Latin music heavyweights like Trooka a multiple Grammy winner whose resume includes work with Lin-Manuel Miranda and Residente and Monte (a.k.a. Bomba Estéreo founder Simón Mejía), along with top-shelf DJs like Nickodemus and Uproot Andy, two NYC artists who've spent decades championing Afro-Latin rhythms. True to the LP's global spirit, the record also includes reworks from batida maestro DJ Firmeza, fellow Afro-Portuguese outfit Studio Bros and Parisian house groovers Les Enfants Sauvages, plus genre-blurring remixes from sonically adventurous Colombians Montoya (himself another ZZK artist) and Cero39. Even the artwork on Clubbing Remixes is a remix, as Ghetto Kumbé have tapped Uganda's Denzel Muhumuza to transform the cover of their debut album into a new, explicitly Afro-futuristic illustration. Depicting a strong Black face and glowing neon fauna beneath a sparkling moonlit sky, the fantastical image speaks to both the ritual magic and Afro-indebted heritage of Ghetto Kumbé's music, and thanks to Clubbing Remixes, the group's passionate, drum-fueled sounds will soon be blasting out of soundsystems around the globe.a

Gottwax is back with its seventh instalment, and this time, the reins are in the hands of the Beeyou co-founder and FUSE regular, Laidlaw. Laidlaw showcases his unparalleled talent and versatility as a producer in the 'Prophecy' EP, solidifying his status as one of the rising stars in the scene. This four-track EP takes listeners on a journey through deep house, stripped-back grooves, and breakbeat, making it an absolute essential for every discerning DJ's collection.

The EP kicks off with 'Wait Till The End,' a deep house gem with a playful bass line, moody chords, and sparkling top notes. Each element is thoughtfully crafted, blending harmoniously to create an atmosphere that subtly builds throughout the track. 'Wait Till The End' is a flawlessly realised tune, serving as an incredibly strong start to this EP.

Next up is 'Planet 727,’ is a minimal groover with deep, subby bass and hints of tribal drums, infusing the rhythm with captivating movement. This track is one for late-night, ensuring the dance floor keeps moving till the early hours.

As the title track of the EP, 'Prophecy' does not disappoint. This groove-laden breakbeat track is brimming with deep sub bass and intricate textures, leading into an infectious melody. A must-have in every DJ's bag, 'Prophecy' will undoubtedly be the soundtrack for countless future parties.

Closing out the EP is 'That Was Well Quick,' a high-energy composition adorned with mesmerising melodic textures. With its hypnotising baseline groove and captivating top lines, this track creates an infectious atmosphere, injecting an electrifying energy into the dance floor. 'That Was Well Quick' is an absolute essential for all devoted electronic music lovers.

We are beyond excited to welcome Laidlaw to the Gottwax family and share this incredible release you. Prepare to be taken on an unforgettable sonic journey with the ‘Prophecy EP’.

Since stepping onto the scene over a decade ago, Romanian producer Nu Zau has become a figurehead for the microhouse scene his homeland is synonymous with, racking up releases on the likes of the Italian Modbox helmed Castanea, Stockholm’s Sono Unica and Aurum, sub-label of the renowned white label Telum imprint. Here, we see Nu Zau joining the roster of Basel, Switzerland’s Adam’s Bite, home to material from the likes of Barac, Cristi Cons, Traumer and Ion Ludwig amongst others.

Leading the way on the package is ‘Feeling Alive’ a subtly unfurling journey that twists and turns through bouncy bass notes, an amalgamation of modulating synth flutters, hypnotic voices and crisp percussion. ‘Your Turn’ follows next and shifts gears towards squelchy acid bass, choppy stab sequences and ethereal pads, all underpinned by a crunchy, raw drum workout.

On the flip-side ‘Intense Jazzy’, as the name would suggest leans into a more organic feel with a snaking bass line, a shuffled jazz-tinged rhythm and a murky underlying tension perfectly crafted for dark, smoky rooms. ‘The Light We Carry’ then rounds out the release, bringing swirling resonant synth textures and robotic voices into the mix alongside a swaying sub bass groove and low-slung drums

Lower-case and higher-vibes, loket is the saxophonic alias of Tahl Klainman, a versatile presence in Berlin’s alternative and underground scene, whose diverse productions have traversed ambient, trance, techno and jazz on labels such as Mama Told Ya, Hot Concept and Tax Free Records. More recently loket also guested on Massimiliano Pagliara’s LP ‘See You In Paradise’, which received the 2023 German Record Critics’ Award, as well as establishing Klainman as one of the few saxophonists to have jammed live to a peak-time Panorama Bar dancefloor.

Reigniting the languid futurism of trip-hop and downtempo, ‘All Ages’ ably delivers the most inclusive distillation of loket’s sound thus far, paying respect to the influences such as William Orbit and Moby, as well as fourth-world innovator Jon Hassell’s philosophy of blending traditional instrumentation with contemporary electronic experimentalism. Mixed in collaboration with Angus Finlayson, aka Minor Science, each of ‘All Ages’ four pieces transmit the wonder and free-spirited optimism reflected on photographer Jordan Kirk’s wide-eyed cover art.

Title track ‘All Ages’ prizes open a saxophonic wormhole to beckon an infectiously baggy groove, unexpectedly referencing the optimistic rhythm of acid-house inflected Madchester, only with gnarlier guitars to contrast a seriously insistent bassline. ‘Afternoon at Bärenquell’ boldly teases out sonic pleasure from even more idiosyncratic means, melding baroque strings and twinkling new-age melodies to loket’s emotive brass, culminating in a neo-classical finale that seems to suspend itself mid-air.

‘Sanders Groove’ sees loket’s sax step back on a bed of soft, jazz-inflected percussion and unpredictable electronics, melting as one into a slow-motion riff that’s equal parts indie jam and musique concrete. Finally, ‘Soft as Moonlight’ makes good on its romantic namesake with a swelling arrangement that free floats into deft percussion, dreaming and teeming with positive energy.

One of the most prolific and celebrated blues-rock artists in the UK,
Danny Bryant is to release a brand-new album - 'Rise' - on 29 September through Jazzhaus Records

His 13th album, it is Danny at his dynamic best - his distinctive guitar once again complementing his gravel tone vocal that exudes with the raw emotion this new body of work intended.'Rise' follows the release of his critically acclaimed 2021 album 'Rage To Survive' which Blues Matters! Magazine described as"... everything I part with money for and this will be played and played" and Classic Rock Magazine noted Danny's true blues- rock credentials by describing it as"... new songs with blues- rock provenance." Written by Danny (except for the Bob Dylan cover 'I Want You') and co- produced with Ian Dowling and mastered by Gwyn Mathias, 'Rise', like all twelve albums previous, further deepens Danny's authority as one of the leaders in British blues- rock proving his genuine authenticity.

The album opens with title track 'Rise' - 2 mins 52 of pure blues-rock with Danny's playing evolving throughout to then fade and almost blend into 'Animal In Me' which raises the tempo with its more classic blues rhythmic pattern allowing his vocal to stretch and shine before track three - 'Louise' - slows the album back down with a more solemn acoustic feel that brings anguish out in the track.

Track four - 'Hard Way To Go' - goes back to the more riff- heavy- guitar playing Danny is known for before beautifully contrasting with the toned down acoustic playing of 'Scarlett Street'. 'Into The Slipstream' moves the album into a positive optimistic direction beautifully encapsulated by a gospel vocal accompaniment that supports and builds the track throughout before once again contrasting yet blending brilliantly with track seven 'Julienne' that is more piano focused, relying on Danny's vocal to bring the emotion while still running gospel vocal through the track.

The final three tracks of the album are almost an encapsulation of the whole album. 'Silver and Gold' has a more traditional, stripped back blues feel, whilst Bob Dylan cover 'I Want You' follows a simple acoustic chord pattern and once again Danny's vocal carries the tracks passion throughout with light and shade demonstrating his vocal power before going into the final track 'Drown Jam' that as the title suggests, is Danny playing with pure feel. The album's final trio of
tracks is testament to why Danny is one of Britain's great blues-rock artists.

If the name of this collection of traxxx offends you, move on — there’s no hope for you here. If, on the other hand, Toribio’s salacious fun-pun cracked your cool exterior, here’s an introduction to a set of bangers that helps exemplify New York’s increasingly exuberant dancefloor, and what producer/DJ Cesar Toribio brings to it. His is a ribald, rhythmic take on dance music, neither for the weak of musical character (purists need not apply) nor for the weak of ass (-shaking). In fact, the proof is right there, in Toribio’s label’s and monthly party’s name: Bring Dat Ass. This command is not optional, but *the* key ingredient for a good time.

The five songs Toribio has created for “Tongue In Cheeks,” BDA’s first release, comprise a horny melting pot of tribal house and Linn-drum plug-ins, minimalist synth textures and basslines, hi-hats reminiscent of electro and freestyle classics, some of which are infused with New York’s Latin club history and futures. The lead-off track, “No Pare,” is based on the producer’s 808-driven reinvention of the call-and-response hook from Proyecto Uno’s 1993 merengue-house smash “El Tiburón,” marking the first time the group has ever cleared a sample of this Nuyodominican classic. We predict that “No Pare” will be a Fall 2023 monster.

Guest vocal appearances by The Illustrious Blacks and Maluca, cornerstones of different dance-floor scenes in a city currently hitting peak-energy levels, show the breadth of Toribio’s regard for community: There is a lot of crossover to how the punky Dominicana MC from Washington Heights chooses to slang-tastically “Werk It Out,” and how the Neo-Afro-Futuristic-Psychedelic-Surrealistic-Hippys Monstah Black and Manchildblack infuse a dollop of booty into “Work Dat Shit.” And the two different metallic beats point at seemingly separate parts of Toribio’s musical heritage uniting. There’s no formula, but if there was, it would be: Make it sexy. Make it (consensually) grindy. Make it funny to the point of ridiculous but so funky that the laughter becomes more fuel to the joyous momentum propelling the movement. Then make it home — or try to.

Cesar Toribio’s home is, originally Tampa — and the DR, where he’d spend summers with family. He was a drum-corps prodigy who went to Berklee to become a jazz drummer and be like Gil Evans. He idolized Miles’ orchestral arranger’s work as much as Dilla’s beats, but then discovered house music, so it was a wrap. The 2021 band album Toribio made under the name Conclave — which included his sister Sharin and musicians from such great projects as Standing On the Corner, No Regular Play and Irreversible Entanglements — unearthed the work of a singer-songwriter-arranger-producer of immeasurably nuanced, soulful jazz-house music. But when Toribio started DJing more and more, he decided to listen to the devil on his shoulder who told him to Bring Dat Ass. As Cesar damn-well knows, it’s the devil who has the better jokes and holds the better parties, so his ears perked up. “Tongue in Cheeks” is the music Toribio says he made to play at these parties, because he can’t find it anywhere else. It’s hard to disagree.